:00:25. > :00:29.Hello and welcome to Film 2014. We are live. If you'd like to get in
:00:30. > :00:36.touch the details are on the screen now. Coming up on tonight's show.
:00:37. > :00:42.Lars von Trier explores the explicit in his psycho-sexual epic,
:00:43. > :00:47.Nymphomaniac. My name is Jo. I'm a nymphomaniac. Tilda Swinton and Tom
:00:48. > :00:53.Hiddleston are bound for eternity in Only Lovers Left Alive. I have what
:00:54. > :00:57.you need. Not that I need. Geoffrey Rush and Emily Watson star in the
:00:58. > :01:05.adaptation of the bestseller The Book Thief. You've kept me alive.
:01:06. > :01:10.Don't ever forget that. Plus, we review Colin Farrell in a A New York
:01:11. > :01:19.Winter's Tale. Danny is here and we are joined by guest critic Kevin
:01:20. > :01:23.Kmare. That was very well done. First up, Nymphomaniac Parts One and
:01:24. > :01:27.Two, the story of Joe, a self-confessed nymphomaniac who
:01:28. > :01:31.looks back on her erotic encounters. If I asked you to take my virginity
:01:32. > :01:40.would that be a problem Not a problem. You have to ask him if he
:01:41. > :01:44.wants to have sex with me. I'm a nymphomaniac. We say sex addict. The
:01:45. > :01:52.story of a self-diagnosed nymphomaniac. From the age of about
:01:53. > :01:59.50, told by Charlotte Gainsbourg. I play Joe, so from 15-31. When
:02:00. > :02:06.Charlotte comes she tells a story I come into the flakbacks. Joe is in
:02:07. > :02:10.her self-discovery. Take them to the laboratory and you have sex with
:02:11. > :02:15.them. What if it's nasty? You think of a bag of chocolate sweeties.
:02:16. > :02:19.Because I was playing Joe when she was discovering herself by the time
:02:20. > :02:24.Charlotte takes over Joe is more self-assured. She knows what she is
:02:25. > :02:27.doing. I don't know if they'd ever have been able to cut the film in
:02:28. > :02:32.about two hours. It would have been impossible. So that Lars can put all
:02:33. > :02:39.the things he wanted to put in. It needed to be in two films. I mean
:02:40. > :02:46.the sex scenes, I mean it is strange, you know. I'm not going to
:02:47. > :02:50.lie. But it's also, you're provided with prosthetics. You are going to a
:02:51. > :02:54.porn double, there are all these effects. Immediately you go - it's
:02:55. > :02:59.fine. If I can stay within my comfort zone and still be able to,
:03:00. > :03:04.you know, act in this film and work with Lars then, great. I'm going to
:03:05. > :03:11.jump in. Would it be all right if I show the children the whoreing
:03:12. > :03:17.built. They have a stake in this event. It was daunting. It was also
:03:18. > :03:23.extremely fun and it was a really great challenge for me. It was my
:03:24. > :03:29.first first role. My first job. To be surrounded by these amazing
:03:30. > :03:33.actors, oh, my God, Uma Thurman, Christian Slater Hollywood actors
:03:34. > :03:36.hes, these are the big guns I'm not even a pistol. Perhaps the
:03:37. > :03:40.difference between me and other people is that I've always demanded
:03:41. > :03:44.for more from the sunset. More spectacular colours when the sun hit
:03:45. > :03:50.the horizon. That's about my only sin. As soon as you bring up
:03:51. > :03:54.sexuality, immediately it creates a problem. I think maybe that's why
:03:55. > :03:59.they see it as controversial. I don't think he's trying to say this
:04:00. > :04:04.is what sex is, I think he's also trying to show that sex isn't always
:04:05. > :04:07.romantic, as you see it in the movies. It doesn't have to be
:04:08. > :04:12.romantic. You always see it with silky sheets. Then they kiss, oh,
:04:13. > :04:19.they are done. It's like - wait a minute!
:04:20. > :04:26.I've never met a bad human being. Well, you have now. Before we talk
:04:27. > :04:31.about what you both think of the film we should say it's accent week.
:04:32. > :04:36.Hence Kevin went off on one, which we loved. Will you do that the whole
:04:37. > :04:41.time I'll try! What do you think? Is There is no end of grunting and
:04:42. > :04:45.heaving and sweating and moaning and grinding in Nymphomaniac. There are
:04:46. > :04:51.all kinds of sex going on, I learnt a few new things myself. It's about
:04:52. > :04:55.everything at once, religion, families, fly-fishing, it's abouts
:04:56. > :05:01.Lars von Trier and anyone who knows Lars von Trier in any one scene in
:05:02. > :05:04.his films you feel about applauding and strangling him. That's true for
:05:05. > :05:10.Nymphomaniac for the duration of the four hours. There would be moments
:05:11. > :05:14.of boredom and where you think of writing a stern letter of
:05:15. > :05:19.complaints. This film is intensely funny and wildly inventive and
:05:20. > :05:23.almost heartbreaking. The world is a more interesting place for having
:05:24. > :05:30.Nymphomaniac in it. I found someone who disagrees. I can't find out what
:05:31. > :05:35.accent is next. Frank Lamb says, "it's dross, like a film made by an
:05:36. > :05:40.art student trying to impress the pretty girl in the class" Is it
:05:41. > :05:45.Frank? Yes? Is I feel we saw different films. The film I was saw
:05:46. > :05:49.was intriguing. It's two films. The film I saw was intriguing for the
:05:50. > :05:55.first film and a bit of the second film. It had an interesting motor
:05:56. > :05:59.and idea which was to marry explicit sex with intellectual curiosities.
:06:00. > :06:05.In doing so it seemed to be trying to lift the veil on humanitarian
:06:06. > :06:12.where we all -- humanity where we live in a place where it's a battle
:06:13. > :06:17.between mind, soul, in ellect verses the gut. Somewhere maybe, at the
:06:18. > :06:25.point where Charlotte Gainsbourg's body double was getting their bum
:06:26. > :06:30.whacked38 times the film anded me and Lars von Trier lost interest
:06:31. > :06:34.interest in what they were doing. It suddenly fell apart. It became
:06:35. > :06:39.boring. You saw, this is what he was doing. Because it was very long
:06:40. > :06:44.Would you preferred, we should explain you watch the first one,
:06:45. > :06:49.there is an interval, then you watch the second one. Would you prefer to
:06:50. > :06:55.watch the first oned and be done with it? It could be a size issue.
:06:56. > :07:00.Too big to handle. Will get into trouble! It's the repetition. I
:07:01. > :07:04.think after four hours it's a four hour sex marathon. After that much
:07:05. > :07:08.time the cracks start to show. I don't think it's as clever as he
:07:09. > :07:12.thinks it. Lars von Trier makes films like he thinks he is the
:07:13. > :07:18.cleverest person in the room. Thought most of it was supposed to
:07:19. > :07:23.be funny. Did I... It's volatile cocktail. You have the art house
:07:24. > :07:28.gloom and despair going on. The other half is Carry On, Frankie
:07:29. > :07:35.Howard. I don't think he thinks he is clever. It's unfashionably
:07:36. > :07:41.sincere. No. I think he means it. It can't be Carry On and sincere at the
:07:42. > :07:47.same time. It's studently funny. It's the idea of - let's have a
:07:48. > :07:52.wacky fight of about 95% of paedophiles are all great because
:07:53. > :07:57.they don't act on their impulses and more sex - That's not played for
:07:58. > :08:01.laughs You are being poked and prodded all the time by an Iish
:08:02. > :08:04.student. That is Lars von Trier's whole thing. Did you not like the
:08:05. > :08:08.marriage of this woman who was desperate to shock her audience.
:08:09. > :08:15.She's Lars von Trier. I quite like... OK, right. Thank you. But
:08:16. > :08:19.against him, who is unshockable? Did you not like those two... That's the
:08:20. > :08:26.mechanics of the movie. It's not a story. It's like, without being
:08:27. > :08:29.pretentious, like dialogue where he's just, a, verses b, put them
:08:30. > :08:33.together am they bang about a couple of ideas. Quickly. Can we just
:08:34. > :08:40.mention performances. Anybody stand out for you? Is Mixed performances.
:08:41. > :08:44.Jamie Bell makes this fantastic. Shifting sadist. Uma Thurman steals
:08:45. > :08:47.the film in five minutes. Given the film it is takes doing. Christian
:08:48. > :08:58.Slater looks like it wasn't the career he was expecting when he was
:08:59. > :09:02.doing Pump up the Volume. Sheila's accent comes from a country we
:09:03. > :09:07.haven't discovered. I'm horrified - So down on it? Absolutely. Films
:09:08. > :09:11.like this don't come along so often. The sooner or later Lars von Trier
:09:12. > :09:15.his career is like a therapy session for him. Sooner or later he will
:09:16. > :09:20.crack it and work out of his systemed and make Legally Blonde. At
:09:21. > :09:32.that point we would have lost something. You say lost, I say gain.
:09:33. > :09:35.Nymphomaniac 1 and 2 will be in cinemas for one day only this
:09:36. > :09:39.Saturday and then on general release from Friday 28th. Next, Colin
:09:40. > :09:43.Farrell stars as a man in search of a miracle in A New York Winter's
:09:44. > :09:50.Tale. There is a world behind the world, where we are all connected.
:09:51. > :09:55.What winter's tale is a fairytale for grownups. A thief who falls in
:09:56. > :10:00.love with a dying heirest hes and hopes he can save her life with his
:10:01. > :10:04.love. It squeaks. You have a gun? Just robbing the place, you know. Is
:10:05. > :10:10.that still your intention? No, it isn't. Well, then, I suppose the
:10:11. > :10:17.polite thing to do would be to offer you a cup of tea. It's a piece of
:10:18. > :10:24.fiction. His journey through it was very much born of his... A lot of
:10:25. > :10:34.his experience of love and loss. My My wife passed away while I was
:10:35. > :10:39.trying to figure out how to turn it into a navigatable object. It became
:10:40. > :10:43.a kind of love letter to her. What's the best thing you've ever stolen?
:10:44. > :10:49.I'm beginning to think I haven't stolen it yet. They have a love
:10:50. > :10:52.affair that transcends time and ends up kind of existing in some way
:10:53. > :10:56.shape or form for the 100 years that the story takes place. These two
:10:57. > :11:00.people have never believed that that would ever be part of their life.
:11:01. > :11:14.The that they fall even quicker and even more madly. You are impossibly
:11:15. > :11:18.beautiful. So are you. It's about the most unedgy script that I've
:11:19. > :11:22.ever read. It's so sentimental. It's so sweet and it inspires to such
:11:23. > :11:25.lofty notions about love. It was one of the things that scared me about
:11:26. > :11:33.it, but one of the things I loved about it. Are you all right? I'm
:11:34. > :11:38.Abbey. What is your name? I don't know. I've had no memory for as long
:11:39. > :11:46.as I can remember. I appreciate the help. I hope it finds its place. It
:11:47. > :11:56.is a utterly romantic, utterly uncynical object. The Her name was
:11:57. > :12:02.Beverly. What's happening here? Their love is so strong it agenda
:12:03. > :12:09.Tats the shades of light and dark manipulating the existence of all
:12:10. > :12:13.human beings. You will not be saving anyone. Maybe there is something you
:12:14. > :12:19.are still meant to do. It was definitely, you know, it continues
:12:20. > :12:30.to be a very, very pro emotional experience. -- profound emotional
:12:31. > :12:40.experience. Is What do you think? Best Film I have seen. Can we do
:12:41. > :12:44.accents. It's indignified to carp on about accents as they are trying to
:12:45. > :12:54.do their best. Russell Crowe's Irish accent is straight out of The Little
:12:55. > :13:00.People. Never heard it spoke... Low pressure are corn. That for me
:13:01. > :13:05.up-ended the film. Maybe American's don't complain about Liam Neeson's
:13:06. > :13:13.American accent. It's Showgirl's cheese. Yeah, it's the Showgirl's
:13:14. > :13:18.version of you know Princesses Bride of a romantic movie. Even mentioning
:13:19. > :13:22.the Princess Bride. It's difficult to make a cult movie nowadays. To
:13:23. > :13:24.make a cult movie it has to be accidental. Everybody know what is
:13:25. > :13:28.they are doing. Everybody is knowing. This is a true cult movie
:13:29. > :13:34.in waiting. I don't think anybody knew what they were doing. If you
:13:35. > :13:37.went to see tie tantic having been force fed cough medicine and been
:13:38. > :13:41.asked what you saw, it's kind of this film. Russell Crowe, it's
:13:42. > :13:50.extraordinary what he is doing. The only explanation I think is that he
:13:51. > :13:57.came off the set of Les Mis, and thought, next time I will take it up
:13:58. > :14:02.a notch. He has. Will Smith? There is a gem of a nice idea in this.
:14:03. > :14:07.Half way I got it, OK, it's Gangs of New York meets the mortal
:14:08. > :14:12.instruments this is what they are doing, angels and demons in New
:14:13. > :14:17.York. Maybe with different director, different script and cast this could
:14:18. > :14:22.have been the film - With do you respect the sad circumstances this
:14:23. > :14:26.came out, to have the same writer, same producer, if any film was
:14:27. > :14:33.calling out for a producer to stride on set and say, no, no, it's this.
:14:34. > :14:38.Will Smith and Russell Crowe are extraordinary. If you were
:14:39. > :14:44.directoring a panto you might say "tone it down, loves" here they
:14:45. > :14:48.don't. They think they have gold dust in the bag. Everyone in the
:14:49. > :14:52.screening room was aghast. I can't explain what it's about. You know,
:14:53. > :14:56.there is a horse, he's good. Other people are bad. The horse is really
:14:57. > :15:00.a dog. Yes, there is that. Don't pull on that string.
:15:01. > :15:06.Now, Tilda Swinton and Tom Hiddleston team up as a pair of
:15:07. > :15:22.vampires who have been in love for centuries in Only Lovers Left Alive.
:15:23. > :15:30.When it first met Jim, all he said to me, he wanted to make a film
:15:31. > :15:36.about love. And really, it was about two people, Yemen and yang, black
:15:37. > :15:42.and white, the sun and the moon. They were very rare, sensitive,
:15:43. > :15:50.allocate beings. And the twist was, that these two creatures were
:15:51. > :15:54.vampires. They are vampires that lives without
:15:55. > :15:59.reflection. But I think they reflect each other. That is the way that
:16:00. > :16:04.they operate for one another. So there is something unique about
:16:05. > :16:10.them. Having said that, there may be a pair of vampires living on every
:16:11. > :16:18.corner, you don't know. I can think of some people who might very well
:16:19. > :16:31.be described as such. 1868. I look so young. That suicidal Mt scandal.
:16:32. > :16:35.Let's hope he is just Ron Antic. Being so reclusive and everything is
:16:36. > :16:42.probably only going to make me more interested in your music. What a
:16:43. > :16:50.drag back in our contemporary culture, vampires are everywhere.
:16:51. > :16:54.Blood on a stick. Delicious. Jim was taking something that was very
:16:55. > :16:58.popular and making it his own. Why don't think I have ever met anyone
:16:59. > :17:06.like him. He is a poet. He is a poet of cinema and music. We're going to
:17:07. > :17:09.have so much fun together. I don't think I did anything particularly to
:17:10. > :17:15.prepare for the role. I hung out with Jim Jarmusch for, I don't know
:17:16. > :17:30.how long. I have hung out with him for 15 years!
:17:31. > :17:41.You have been pretty lucky in love. If I'm a say-so. -- if I may say so.
:17:42. > :17:47.I have what you need. Not what I need.
:17:48. > :17:52.Danny? I have always had certain preconceptions about the kind of
:17:53. > :17:55.people that were sunshine to lack -- sunglasses in nightclubs. But it
:17:56. > :17:59.turns out they were just vampires, Jim Jarmusch vampires. They are
:18:00. > :18:04.these affable, slightly depressed and cats. I think that works. As Jim
:18:05. > :18:10.Jarmusch movies go, this is slight and sweet. It is charming. I can
:18:11. > :18:17.find nothing to objective. I agree totally. -- nothing to object to. It
:18:18. > :18:24.is hard and depressing to see you do not object to anything but it is
:18:25. > :18:27.like Jim Jarmusch is hit and miss. He made an appalling movie a few
:18:28. > :18:33.years ago and then Broken Flowers before that. He is up and down. This
:18:34. > :18:40.felt like his challenge was to make a vampire film after twilight. It
:18:41. > :18:44.seems like it is such a dead genre, excuse the pun. Post Twilight, it is
:18:45. > :18:49.so difficult to make something original. Identity was reasonable.
:18:50. > :18:57.That was arthouse vampires. Abraham Lincoln, Vampire Hunter. Struggling
:18:58. > :19:03.at the edge of the genre. Jarmusch's question seems to be, can
:19:04. > :19:10.you make it his own a of hipster guitarists. And it is fine. It is
:19:11. > :19:13.much better than fine! The answer is, yes. I think the casting is
:19:14. > :19:17.great. Tom Hiddleston and Tilda Swinton, they are fun to watch and
:19:18. > :19:23.they are having fun. It is smart casting, because they have that a of
:19:24. > :19:29.dilapidated aristocrats, who might have been around for thousands of
:19:30. > :19:34.years locked in a spare room in Mick Jagger's house in Performance. It
:19:35. > :19:37.did not want to be a vampire film. I thought it was about true love and
:19:38. > :19:41.they just happened to be vampires. It was not all about vampires. A lot
:19:42. > :19:48.to their characters and therefore they were great together. -- I love
:19:49. > :19:58.their characters. I would tell people to go and see this film.
:19:59. > :20:04.There was some voluntary -esque name-dropping. Shakespeare and
:20:05. > :20:09.Marleau... -- voluntary. It has to keep nudging you in the ribs to let
:20:10. > :20:13.you know that it is really into the White stripes. But there are funny
:20:14. > :20:17.moments. Jeffrey Wright, Tom Hiddleston, there was the scene
:20:18. > :20:20.where he arrived at his hospital, covered in blood and he was the
:20:21. > :20:25.world's least convincing Doctor. Every one of those scenes makes the
:20:26. > :20:32.film worth it. And Detroit is a fantastic location, these skeletal
:20:33. > :20:36.ruins. I've been waiting for a film that was not a remake of Robocop to
:20:37. > :20:42.come and use Detroit as a location. Finally, Geoffrey Rush and Emily
:20:43. > :20:44.Watson star in The Book Thief, adapted from the best selling young
:20:45. > :21:06.adult novel by Markus Zusak. It is set in a small town in Germany
:21:07. > :21:09.in a very ordinary little street, with an ordinary little family.
:21:10. > :21:12.Everything is seen through the eyes of a young girl who arrives as a
:21:13. > :21:20.foster child in this home. There is an archetypical mean stepmother and
:21:21. > :21:26.an archetypical gentle woodcarver of a stepfather who teaches her to
:21:27. > :21:32.read. There is a secretive that the family has which is that a young
:21:33. > :21:45.Jewish boy asks for their help and they hide him in the basement for
:21:46. > :21:52.two years. Quickly! Who seek? -- who is he. His name is Max and he needs
:21:53. > :21:57.help. Are you hiding from Hitler? I am in. I am a Jew. If anyone saw
:21:58. > :22:02.him, they would take you away from me and I cannot tell you what they
:22:03. > :22:07.would do for him -- from him. No melodrama, no sentimentality.
:22:08. > :22:14.Honest. No acting. Because we have to believe what these characters are
:22:15. > :22:18.going through. They are checking the basement. What is this about? Max!
:22:19. > :22:30.Max! It is an odd thing. I think if they
:22:31. > :22:33.are wrecked decides to take on an adaptation, he doesn't because he
:22:34. > :22:37.really the original source material. They would not do it if
:22:38. > :22:47.they did not like the novel. Did anyone see UQ back -- see you? We
:22:48. > :22:54.will make this our secret. It is very interesting. We are now seeing
:22:55. > :23:04.audiences and people engaging on a strong emotional level. You have
:23:05. > :23:11.kept me alive. Don't forget that. Words are life. If your eyes could
:23:12. > :23:16.speak, what would they say? I wanted it to appeal to a wider audience. I
:23:17. > :23:19.wanted 12-year-olds to go to the film got it has such a positive
:23:20. > :23:26.message and because it deals with a part of history that should not be
:23:27. > :23:36.forgotten. There once was a girl who had a
:23:37. > :23:43.friend that lived in the shadows. She would remind him of how the sun
:23:44. > :23:46.felt on his skin and Bobby air felt like to breathe. -- wanted the air.
:23:47. > :23:56.And that reminded her that she was still alive. What did you think? It
:23:57. > :24:00.is cuddly blanket of a film but it does that by telling you that war is
:24:01. > :24:05.not as bad as all that. It looks lavish and lush. It has that look
:24:06. > :24:09.that can only be achieved by sending people out to polish everything
:24:10. > :24:13.between takes. If you want a World War II movie where even the book
:24:14. > :24:20.burning looks nice, this is the film for you. So harsh! So harsh! They
:24:21. > :24:26.are meant to be nice! It is a look at Germany during World War II.
:24:27. > :24:32.Possibly a very pretty Germany, but I've thought that was great. I
:24:33. > :24:35.thought the idea that you going into the classroom and there is a
:24:36. > :24:38.portrait of Hitler and nobody is freaked out by it and the kids are
:24:39. > :24:41.singing anti-Semitic songs and no one is freaked out and then they go
:24:42. > :24:46.to the book morning and night and no one has bothered, halfway through
:24:47. > :24:50.that I was unnerved. -- book burning. I thought this was
:24:51. > :24:54.subversive. But you think, they are OK, they are not really Nazis.
:24:55. > :25:00.Germany was not really full of Nazis(!) Book was number one in the
:25:01. > :25:07.New York Best Seller list for 230 weeks. -- of the book. I love to the
:25:08. > :25:17.first three pages so much. I thought character, Death, did not appear in
:25:18. > :25:24.the film, so I'd got the film. -- the book. Markus Zusak is very good
:25:25. > :25:27.year and Emily Watson is incapable of being bad. But when you think
:25:28. > :25:34.about what they have to work with. There is a rich streak of guff in
:25:35. > :25:38.this film. The first scene, boy is brought to Emily Watson, a stern
:25:39. > :25:42.hausfrau. She looks at her, and she says, cannot even have her in the
:25:43. > :25:46.house because she is filthy. And she looks like she has been in the spa
:25:47. > :25:51.for a week. She is radiant and glowing. She looks like a friend of
:25:52. > :25:56.Coleen Rooney. That all business runs through the whole film. You
:25:57. > :26:06.know what that is, that is casting. -- that bogus mess. It is made by
:26:07. > :26:10.Brian Percival, who cut his teeth on Downton Abbey. So it is going to be
:26:11. > :26:17.traditional film-making. I believe what Truffaut used to call the
:26:18. > :26:23.cinema to Papa. It is traditional, non-challenging. If you accept those
:26:24. > :26:30.parameters, it is dignified storytelling. I did not find it
:26:31. > :26:33.dignified. And there is the most crass moment of product placement I
:26:34. > :26:39.think I have ever seen in the history of cinema at the end. It is
:26:40. > :26:44.a pivotal moment and it is kind of out of nowhere. It is like Schindler
:26:45. > :26:48.is list being interrupted so that Liam Neeson can have a can of juice.
:26:49. > :26:55.The director said he wanted 12-year-olds to go and see it. Maybe
:26:56. > :27:02.that is why it is softer? A World War II movie doesn't have to be
:27:03. > :27:07.gut-wrenching. It doesn't have to be existentially ruined. But it was not
:27:08. > :27:16.a nice time. Moving onto film of the week. Lars Von Trier's Nymphomaniac.
:27:17. > :27:21.It has to be The Book Thief. Nymphomaniac is misogynistic, wildly
:27:22. > :27:26.misogynistic. As a woman, how can you not notice that? I think
:27:27. > :27:30.everything is such a mystic. But did not think that was particularly.
:27:31. > :27:38.Now, we have to debate this for hours. That is a brilliant time to
:27:39. > :27:42.bring that up. We will chat, off a. -- off air. And The Book Thief will
:27:43. > :27:45.be in cinemas from February 26th. That's all from us. We'll be back
:27:46. > :27:49.next Wednesday at 11:05, when we review Liam Neeson in Non Stop,
:27:50. > :27:52.Danny meets Wes Anderson and we and talk all things Oscar. We're going
:27:53. > :27:55.to play out tonight with Noah, the new film from Black Swan director,
:27:56. > :27:57.Darren Aronofsky. It's in cinemas in April. Thank you so much for
:27:58. > :28:13.watching. Good night.
:28:14. > :28:22.Man corrupted this world. He polluted it with violence. So we
:28:23. > :28:32.must be destroyed. A great flood is coming. We must make a vessel to
:28:33. > :28:41.hold the innocent. Father! Ham! There is nothing for you here. You
:28:42. > :28:50.define me? I am not alone. The choice is in your hands, no. --
:28:51. > :28:55.Noah. When they come, they will be desperate and they will be many.
:28:56. > :29:02.Take the arc!