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Hello and welcome to the new series of Film 2015. | :00:25. | :00:27. | |
We'd like to hear from you, so please do tweet us. | :00:28. | :00:29. | |
The Hunger Games saga draws to a close. | :00:30. | :00:46. | |
Sex, love and everything in between in Gaspar Noe's erotic drama | :00:47. | :00:52. | |
And we have a close encounter with legendary director Steven Spielberg. | :00:53. | :01:00. | |
I'm not going to tell you a bloody thing. Fair enough! | :01:01. | :01:06. | |
Plus we'll take a look at Australian drama The Dressmaker, | :01:07. | :01:08. | |
With me on the sofa, as ever, is always on-trend Danny Leigh, | :01:09. | :01:17. | |
and joining us is the equally delicious Peter Bradshaw. | :01:18. | :01:21. | |
First up is the last instalment of The Hunger Games quadrilogy. | :01:22. | :01:23. | |
Back in 2012 when the Games began, Jennifer Lawrence didn't have | :01:24. | :01:26. | |
an Oscar and Katniss hadn't even contemplated rebellion. | :01:27. | :01:42. | |
My dear Ms. Verdeen, make no mistake, the game is coming to its | :01:43. | :01:55. | |
end. It's a bleak story about the reality of war, so all of the movies | :01:56. | :02:01. | |
have been a build-up to this final battle. Our future starts tomorrow | :02:02. | :02:09. | |
at dawn. When we march together into the capital. There's rebellion | :02:10. | :02:17. | |
building and Katniss is building in her position as the Mockingjay. In | :02:18. | :02:23. | |
this film it is the final collision of all the conflicts that have been | :02:24. | :02:27. | |
building throughout the series. One way or another this war is going to | :02:28. | :02:31. | |
come to an end. Of course it is darker. It has to be by necessity. | :02:32. | :02:37. | |
It is a gradual progression towards tend of the world or the beginning | :02:38. | :02:43. | |
of a new world. The movie becomes a war movie. This is a girl who has an | :02:44. | :02:49. | |
objective to go kill a dictator and she's going to do whatever it takes | :02:50. | :02:52. | |
oing to do whatever it takes to achieve that goal. | :02:53. | :02:54. | |
# Are you still trying to protect me? Real or not real? Real. That's | :02:55. | :03:04. | |
what you and I do. Keep each other alive. I want it to be intense, I | :03:05. | :03:11. | |
want it to be emotional. I didn't feel the need to explore carnage and | :03:12. | :03:16. | |
gore and blood and guts. To me it was always about the emotional | :03:17. | :03:19. | |
impact of everything. These books have always been intense. These | :03:20. | :03:22. | |
books have always appealed to teenagers and I think they are about | :03:23. | :03:25. | |
ideas that are important for teenagers to learn about and think | :03:26. | :03:29. | |
about. What you are seeing is how people have changed through the | :03:30. | :03:34. | |
experiences of war and how one person manages to stand by her good | :03:35. | :03:38. | |
morals and values and do the right thing. Tonight, turn your weapons to | :03:39. | :03:49. | |
the capital. Turn your weapons to snow. And if there's any question as | :03:50. | :03:59. | |
to what it is an allegory for, of the the powers that be in the United | :04:00. | :04:05. | |
States of America. It's profiteers. War is for profit. It is not to save | :04:06. | :04:11. | |
the world, for democracy or King and country. No, bullshit. It's for the | :04:12. | :04:15. | |
profit of Top 10% and the young people who | :04:16. | :04:23. | |
will see this film must recognise that in the future blind faith in | :04:24. | :04:28. | |
their leaders, as Bruce Springsteen said, will get you dead. Snow has to | :04:29. | :04:37. | |
pay for what he's done. Make no mistake, the game isn't over. | :04:38. | :04:44. | |
Danny? I feel very sad, very bereft. The longer this series has gone on | :04:45. | :04:55. | |
the more I realise how rare and special Hunger Games was. The | :04:56. | :05:01. | |
gargantuan blockbuster franchise, which asked wild and interesting | :05:02. | :05:05. | |
questions, I'm competing with Peter Bradshaw here. You used the word | :05:06. | :05:11. | |
interesting I'm pleased it is end ing with this narrative arc clicking | :05:12. | :05:15. | |
into place and it is still spectacular. I agree. It is still | :05:16. | :05:23. | |
smart. There's some wonderful Kat acting as well. Is a hug | :05:24. | :05:28. | |
appropriate? I will cuddle you after. But you're wrong, I'm sad | :05:29. | :05:36. | |
that it ended like this. I'm not talking about the last 15 minute of | :05:37. | :05:40. | |
the film but the whole nine hours of the film, which I thought she had | :05:41. | :05:46. | |
much less power, much loose oomph, I thought hit be taken away. I've got | :05:47. | :05:53. | |
to say I agree with that. This is the franchise that refused to die. | :05:54. | :06:00. | |
All the other ones have died. Divergent died and Twilight died but | :06:01. | :06:07. | |
this for me stayed stubbornly alive. This was a weird nihilist dystopian | :06:08. | :06:14. | |
power behind it. I don't buy into it, I'm not a believer like Danny, | :06:15. | :06:21. | |
but I still think Jennifer Lawrence carries it. Oh my God, can you | :06:22. | :06:26. | |
imagine if she wasn't there?! Oh, I feel physically sick. ? The action | :06:27. | :06:29. | |
hiller seen where they take the capital and it turns outs the be | :06:30. | :06:36. | |
booby-trapped, I thought it was a great scene, Tiscali good. I don't | :06:37. | :06:41. | |
think it is any great shakes, but I do think it stayed alive in the most | :06:42. | :06:47. | |
interesting way. This felt very drawn out and there were long | :06:48. | :06:51. | |
periods where it was like group therapy sessions, where there were | :06:52. | :06:54. | |
long shots of them all having the same conversation. The endless, if | :06:55. | :07:00. | |
you want to kill me... That's because it is more of an action | :07:01. | :07:06. | |
movie. It is a sturdy and competent action movie, and that's what it is. | :07:07. | :07:12. | |
There is an old line about movies you can't make an antiwar movie. As | :07:13. | :07:18. | |
soon as you show this stuff on scene it becomes exciting and glamorous, | :07:19. | :07:24. | |
but Hunger Games makes a spectacular thinking action movie which also | :07:25. | :07:34. | |
brings out how flat out sad it is. There's a very thrilling and | :07:35. | :07:38. | |
spectacular action scene but that's only 12 minutes. I don't think it is | :07:39. | :07:43. | |
about war in the sense that Donald Sutherland thinks it is. It is a | :07:44. | :07:47. | |
really interesting or semi interesting algae about -- allegory | :07:48. | :07:58. | |
about how young people feel. The way she gets keep getting shot in scenes | :07:59. | :08:03. | |
unseriously and wakes up the next day in a hospital bed. And in the | :08:04. | :08:08. | |
books she is so powerful, so strong, she speaks from the heart, she's a | :08:09. | :08:16. | |
wonderful figure, and here in one miniature speech she goes OK... It | :08:17. | :08:26. | |
is frustrating. So many movies treat us like kids but this one treats us | :08:27. | :08:37. | |
like an adult. I'm not. The tigress, I take it all back. It is like face | :08:38. | :08:44. | |
painting. All Jennifer Lawrence needs to do now is overtake Russell | :08:45. | :08:47. | |
and we are all set. For lots of people, Steven Spielberg | :08:48. | :08:52. | |
is the uncrowned king of Hollywood. ET, Schindler's List, Indiana | :08:53. | :08:55. | |
Jones, Jaws - just one of those films would make an entire career, | :08:56. | :08:57. | |
but Spielberg made them all, and with his new film Bridge of Spies | :08:58. | :09:00. | |
opening next week, Spielberg's roll Our own Danny Leigh took him | :09:01. | :09:03. | |
back to where it all began. He put a generation off going into | :09:04. | :09:14. | |
the water in Jaws, snatched our breath away in Jurassic Park. And he | :09:15. | :09:19. | |
created the most loveable alien in movie history. ET... Steven | :09:20. | :09:25. | |
Spielberg plays with our emotions better than anyone. Is it a boy or a | :09:26. | :09:33. | |
girl? He's been doing it for 40 years, but it so nearly didn't | :09:34. | :09:38. | |
happen. Steven thank you for joining us. I wanted to talk to you a little | :09:39. | :09:43. | |
about Jaws, which has had hits 40th birthday. Famously the story was you | :09:44. | :09:47. | |
were repeatedly almost fired from that film. Had you been fired what | :09:48. | :09:53. | |
would have happened? I think they would have shut down the picture. | :09:54. | :09:57. | |
The head of the studio was never going to allow me to get fired, I | :09:58. | :10:04. | |
knew that, but a come under him determined I was off the picture. We | :10:05. | :10:09. | |
were 100 days off schedule. Anybody else would have fired that director | :10:10. | :10:13. | |
Ben he was seven days over schedule, but he was my mentor, he discovered | :10:14. | :10:18. | |
me, I owed my career to him and I said, I will finish this picture, I | :10:19. | :10:24. | |
can't tell you when, I won't make false promises, but I will finish | :10:25. | :10:28. | |
it, and I can't tell you whether it will be good or not, but the end is | :10:29. | :10:34. | |
in sights. He said go ahead, finish the picture. | :10:35. | :10:45. | |
If you hadn't made Jaws would your career have ended up in the same | :10:46. | :11:01. | |
place eventually? If I hadn't made a movie that was such a quantum | :11:02. | :11:04. | |
success I wouldn't have had the freedom to decide what movie I | :11:05. | :11:11. | |
wanted to make next. I would have been a director for hire, attaching | :11:12. | :11:16. | |
myself to projects that the studios had preapproved as opposed to | :11:17. | :11:21. | |
creating my own projects and being able to get a studio to agree to | :11:22. | :11:24. | |
finance a project they didn't see eye to eye with me on. Success | :11:25. | :11:29. | |
allows you to get the financing, if the studio doesn't believe in the | :11:30. | :11:37. | |
project but you do. It sounds like you've reached the stage in your | :11:38. | :11:43. | |
career where a Steven Spielberg movie is a genre in itself. Do you | :11:44. | :11:49. | |
think these are separate pieces? I try to tell different kinds of | :11:50. | :11:53. | |
stories, especially stories I'm not personally familiar with. Stories | :11:54. | :11:56. | |
that are outside my comfort zone. I think I do better work as a film | :11:57. | :12:00. | |
maker when I'm not in my comfort zone and I have to learn a whole new | :12:01. | :12:12. | |
set of precepts. Your films are always so good at capturing that | :12:13. | :12:16. | |
child's eye view. Do you still feel like a child when watching your own | :12:17. | :12:22. | |
movies? I feel childlike when I watch a picture that evokes those | :12:23. | :12:25. | |
feelings of innocence and wonder, awe. So when I see a movie like | :12:26. | :12:30. | |
that, I completely convert to a child. I think all of us do. That's | :12:31. | :12:34. | |
the effect certain movies have on audiences. It feels like your films | :12:35. | :12:39. | |
have unique gift of touching everyone emotionally. For me it was | :12:40. | :12:44. | |
ET. I saw it when I was ten and I was never the same again. When you | :12:45. | :12:49. | |
realise you have that power and gift, do you feel you have to -- use | :12:50. | :13:02. | |
it wisely? . I never use that word. It is like kismet, luck and timing. | :13:03. | :13:08. | |
The movie has to be good but there has to be other factors involved in | :13:09. | :13:13. | |
it too. Even the culture, the social temperature in the air. Bridge of | :13:14. | :13:17. | |
Spies is connecting with people for a lot of good reasons, good | :13:18. | :13:23. | |
performances, and an intriguing story that no-one had ever heard of | :13:24. | :13:29. | |
until Matt Sharman, the British play right brought it to me. Wow! Not | :13:30. | :13:34. | |
sure I want to pick that up. This is the fourth film you have made with | :13:35. | :13:40. | |
Tom Hanks. When you have that relationship with an actor, is it | :13:41. | :13:45. | |
strictly professional, or do you strike up a friendship off camera. | :13:46. | :13:51. | |
Is a personal friendship part of that? Of course it is friendship. | :13:52. | :13:57. | |
You enjoy the company of the actor, and in Tom Hanks' case we were | :13:58. | :14:02. | |
personal friends for 12 years before making Private Ryan. Private Ryan | :14:03. | :14:08. | |
was a test, can a friendship survive when two personal buddies become | :14:09. | :14:12. | |
professional colleagues. And it did. Bridge of Spies I think is your 11th | :14:13. | :14:18. | |
film in the last 15 years. That's a scary work ethic. Does there come a | :14:19. | :14:22. | |
moment when you think, actually I'm going to walk away for a while? I | :14:23. | :14:27. | |
have walked away twice for three years. After shinned shinned, | :14:28. | :14:34. | |
because -- of Schindler's List, because it was a very tough and | :14:35. | :14:38. | |
emotion experience to get through that. After private Ryan I didn't | :14:39. | :14:44. | |
work for three years. It is not that I'm ever not working or active but I | :14:45. | :14:49. | |
have taken breaks from directing. Especially when the movie has had an | :14:50. | :14:52. | |
impact on me personally. Are there any films of yours which | :14:53. | :15:06. | |
you feel were underrated? Munich perhaps. I think that was | :15:07. | :15:12. | |
underrated. And there is of movie I am really fond of called Always, and | :15:13. | :15:19. | |
perhaps that is the most underrated movie I have directed. That is one | :15:20. | :15:26. | |
of my favourite films that I have made which nobody has seen. | :15:27. | :15:29. | |
Literally I have spoken to people who have never seen it. I have seen | :15:30. | :15:36. | |
that movie, it is a great movie. If the director of Bridge Of Spies | :15:37. | :15:40. | |
could go back and give some advice to the Steven Spielberg who was | :15:41. | :15:44. | |
making Jaws in his 20s, what advice would you give? If I could go back | :15:45. | :15:50. | |
in time and talk to myself? That is a movie, you see! That is a very | :15:51. | :15:57. | |
good plot! The most important advice I could give myself is to say, I am | :15:58. | :16:03. | |
not going to tell you a bloody thing because the most important thing and | :16:04. | :16:06. | |
the greatest thing about life is the surprises. Just take them in your | :16:07. | :16:12. | |
stride. So, did you love him? He is adopting me. Excellent! | :16:13. | :16:16. | |
And we'll be reviewing Bridge of Spies next week. | :16:17. | :16:19. | |
Next up is Love 3D, a seriously erotic drama from French | :16:20. | :16:22. | |
director Gaspar Noe, featuring unsimulated sex and a memorable | :16:23. | :16:26. | |
ejaculation in 3D, which we can't show you, even on late night telly! | :16:27. | :16:29. | |
Even so, there are some scenes of a sexually explicit nature coming | :16:30. | :16:32. | |
They are not many movies which portray passionate love for what it | :16:33. | :16:55. | |
is. In my case, I really wanted to do a movie which seemed to me to | :16:56. | :17:01. | |
portray what these universal experiences are. What happened? It | :17:02. | :17:18. | |
broke. Did you come? The story of a young guy who wakes up in the | :17:19. | :17:23. | |
morning on the 1st of January and he is next to his girlfriend and they | :17:24. | :17:27. | |
have a baby. This guy is remembering his passionate love affair with a | :17:28. | :17:33. | |
girl which lasted two years and it was very extreme. The movie | :17:34. | :17:39. | |
describes how it goes when you are at it did to someone. Got to take | :17:40. | :17:47. | |
care of that baby. Leave me alone, please. Trying to get the movie | :17:48. | :17:55. | |
financed was not so easy, because when people ask you how you are | :17:56. | :17:59. | |
going to shoot those love scenes, I say... Yes, but how much are you | :18:00. | :18:04. | |
going to show? Yes, but what will the rating be? I do not see why when | :18:05. | :18:10. | |
people get naked touching each other, you should cut and go to the | :18:11. | :18:13. | |
next morning. Watching them naked is fascinating. I could have done the | :18:14. | :18:19. | |
movie also with other people. I don't know if the movie would have | :18:20. | :18:23. | |
been that touching. Because it seems they make a perfect couple | :18:24. | :18:29. | |
on-screen, although the guy is not always bright, there is some kind of | :18:30. | :18:34. | |
perfection. It is touching. All these sex scenes or the love scenes | :18:35. | :18:41. | |
are tainted with that sadness of somebody who lost a lot. They are | :18:42. | :18:51. | |
emotionally arousing. From a heartbreaking point of view, yes, | :18:52. | :18:56. | |
you can get aroused but I have not heard of anybody masturbating in the | :18:57. | :19:01. | |
cinema. All right, then! I have not heard of anybody doing that, either. | :19:02. | :19:08. | |
I think like all of his films it is about basically three things. It is | :19:09. | :19:12. | |
about hard-core penetrates sex, cocaine and sulphate, really. It is | :19:13. | :19:18. | |
about depressive self-hate. And of these things I think the third is | :19:19. | :19:22. | |
the most important. It is what is driving it. I was fascinated by this | :19:23. | :19:25. | |
film. It is less technically ambitious than his other films. It | :19:26. | :19:31. | |
is lower budget even though it has this 3D novelty thing going on. I | :19:32. | :19:35. | |
think you need a sort of a sense of humour to buy into it. But there is | :19:36. | :19:40. | |
something fascinating about it. It is just fascinatingly obsessed with | :19:41. | :19:44. | |
sex. And it is unapologetic about that. I think it is great, because | :19:45. | :19:51. | |
everybody pretends not to be affected by sex. There are lots of | :19:52. | :19:56. | |
sophisticates who will say when confronted by a film like this, it | :19:57. | :20:00. | |
is very boring. Absolute rubbish, it is not boring at all. But I think it | :20:01. | :20:06. | |
is such a strange thing. Clearly it is a film with a lot of bare flesh | :20:07. | :20:13. | |
and so many tongues! But actually... It is not about sex or rather it is | :20:14. | :20:19. | |
about sex and also the Messi stuff which goes on. I think once you have | :20:20. | :20:23. | |
wiped off the surface of this film and see what is really going on, it | :20:24. | :20:29. | |
is quite a poignant, plaintive, old-fashioned, doomed romance. It is | :20:30. | :20:34. | |
briefing counter, but more sticky. That is how I took it. It is about | :20:35. | :20:39. | |
men and women. And his stupidity. Absolutely. I think we are allowed | :20:40. | :20:45. | |
to quote. He actually says, I am addict. And he is, here's a massive | :20:46. | :20:55. | |
dick. I could not cope with the whispering voice over, and actually | :20:56. | :21:04. | |
the dialogue. The sex is excellent. It is surprisingly soft core in a | :21:05. | :21:08. | |
way because it is all about consenting sex with a condom. It is | :21:09. | :21:13. | |
very, very responsible stuff. Considering it is Gaspar Noe, who is | :21:14. | :21:19. | |
usually the most shocking, hard-core of them all. And if you listen to | :21:20. | :21:26. | |
who is being asked and told to do what, who is really interested in | :21:27. | :21:31. | |
who, it does tell its own story. So I will go and see the film again. So | :21:32. | :21:35. | |
when people see me watching the film, be aware that while I am | :21:36. | :21:41. | |
sitting there watching it, all I am thinking about is narrative subtext | :21:42. | :21:47. | |
and compositional... You mentioned controversial - there is that scene | :21:48. | :21:53. | |
which is 3D, straight at the lens, I had never seen anything like that | :21:54. | :21:58. | |
before? It sticks in the mind. You do find yourself flinching. I think | :21:59. | :22:03. | |
the most outrageous character is the one played by Gaspar, the gallery | :22:04. | :22:09. | |
owner who has a sex scene in the film. It is not beyond the bounds of | :22:10. | :22:15. | |
possibility that Gaspar Noe has made this entire film simply to get | :22:16. | :22:19. | |
himself a sex scene with a very beautiful woman. It is the most wish | :22:20. | :22:25. | |
fulfilment film ever. His last film left everybody who saw it fried and | :22:26. | :22:32. | |
twitching so he is allowed to be melancholy and reflective and expose | :22:33. | :22:33. | |
himself in every way. Next is Aussie costume drama | :22:34. | :22:35. | |
The Dressmaker. Set in 1950s outback Australia, Kate | :22:36. | :22:37. | |
Winslet plays seamstress siren Tilly Myrtle, you grew up, you got out. | :22:38. | :23:07. | |
The murderous is back! I need to remember the truth. They say she | :23:08. | :23:12. | |
killed a boy. Where do you go from here? I reckon you came home for one | :23:13. | :23:27. | |
of two things - revenge or... A dress cannot change anything. Watch | :23:28. | :23:34. | |
and learn, Gertrude. I can make you the most striking girl. Take your | :23:35. | :23:40. | |
clothes off. A murderer and a lesbian. | :23:41. | :23:45. | |
This film is completely and utterly unhinged. I think I might mean that | :23:46. | :23:51. | |
as a condiment. It is not the film you think you are going to get. You | :23:52. | :23:57. | |
think it will be a quite sweet tale about Kate Winslet arriving in this | :23:58. | :24:02. | |
dusty place running up these lavish frocks for the bored ladies. But | :24:03. | :24:11. | |
actually it is not that movie. Real movie is the evil twin of that | :24:12. | :24:19. | |
film, which is this quite dark movie, which is actually like | :24:20. | :24:24. | |
Carrie. It is a better remake of carry them Carrie was. I don't know | :24:25. | :24:28. | |
what to make of it but it is not the film you think. I saw it... We saw | :24:29. | :24:36. | |
it altogether. Not altogether! No, but I found it unbelievably | :24:37. | :24:40. | |
enjoyable. Oh, my god! Please tell me... I think the choking awfulness | :24:41. | :24:48. | |
of this film settles on you like acid rain. It is just appalling. It | :24:49. | :24:57. | |
is not! It is an unfunny, small-town comedy which tries to be an an | :24:58. | :25:07. | |
interesting tragedy. And the sheer tonal misjudgement is just terrible | :25:08. | :25:13. | |
and horrible! It is totally odd. I don't know what genre to put it in. | :25:14. | :25:20. | |
You can put it as terrible. Kate Winslet is so strong, so brilliant. | :25:21. | :25:25. | |
For her alone... I think Kate Winslet does a professional job of | :25:26. | :25:29. | |
work but she is marooned in the middle of a terrible film. A bit | :25:30. | :25:36. | |
like Juliette Binoche in Chocolate with that same sticky horribleness. | :25:37. | :25:44. | |
She is not saying dressmaking is life affirming! And tries to get | :25:45. | :25:52. | |
away with it! I am completely with you, Claudia. I don't know how this | :25:53. | :25:58. | |
film got made the way it was. The Coen brothers talk about directing, | :25:59. | :26:02. | |
and the job of directing is time management. But that is what is so | :26:03. | :26:07. | |
fascinating about this. The town has been totally mismanaged. I do not | :26:08. | :26:12. | |
know what the tone is, how would you describe it? It is dark, it is | :26:13. | :26:16. | |
weird, it is like nothing you have ever seen. It stays with you. It is | :26:17. | :26:23. | |
profound humourlessness. Come of it! The tone is left home alone with a | :26:24. | :26:29. | |
box of matches. Fantastic! Please! Have you abandoned all... I would | :26:30. | :26:38. | |
like to say that this was kept between the three of us, but I like | :26:39. | :26:45. | |
this film. Even five minutes of this film! Each minute lasts an hour how | :26:46. | :26:52. | |
can you say that after you watched nine days of Mockingjay?! That went | :26:53. | :26:58. | |
fast in the blink of an eye by comparison. I think this is really | :26:59. | :27:03. | |
darkly funny. I do not want to give anything away. It is darkly | :27:04. | :27:10. | |
unfunny, yes, sort of. I am saying it is darkly funny but I'm not sure | :27:11. | :27:17. | |
it is trying to be. Yes! I think it is trying to get points. It is | :27:18. | :27:23. | |
trying to be darkly funny or darkly this, that or the other. OK, Film of | :27:24. | :27:37. | |
the Week? I will give it to me Love. I will give it to Hunger Games. | :27:38. | :27:42. | |
Playing us out tonight is Quentin Tarantino's True Romance | :27:43. | :27:46. | |
You Said Last Night Was One Of The Best Times You Ever Had. Yes, but I | :27:47. | :28:01. | |
am talking about the whole night. I never had such fun. It is true, you | :28:02. | :28:07. | |
are like Elvis, you are like Elvis, UI like kung fu movies, you are like | :28:08. | :28:12. | |
the Partridge family. I don't like the Partridge family! I feel really | :28:13. | :28:23. | |
goofy saying this after only knowing you one night. Me being a call girl | :28:24. | :28:37. | |
and all. But I think I love you. Wait a second. Let's try and keep | :28:38. | :28:48. | |
this whole thing in post. You just said you loved me. If I say I love | :28:49. | :28:54. | |
you and we throw caution to the wind... I am not lying to you. I | :28:55. | :28:59. | |
will never lie to you again. | :29:00. | :29:05. |