:00:25. > :00:28.Hello and welcome to the new series of Film 2015.
:00:29. > :00:31.We'd like to hear from you, so please do tweet us or get
:00:32. > :00:46.Sersha Ronan sets sail for America in period romance, "Brooklyn".
:00:47. > :00:52.How would it be for you if I did go home? I would be afraid. Afraid I
:00:53. > :00:56.wouldn't come back? Murder on the dancefloor
:00:57. > :00:58.for Nicholas Hoult in And Oscar-winning screenwriter Aaron
:00:59. > :01:08.Sorkin on the joys of writing. Most of the time I'm banging my head
:01:09. > :01:11.against the wall because I can't think of what to write.
:01:12. > :01:14.Plus "He Named Me Malala" - the life and times of the girl who was
:01:15. > :01:18.With me, as ever, is the gorgeous Danny Leigh.
:01:19. > :01:21.And completing the sofa line up for this first show is glorious
:01:22. > :01:26.Thank you both so much. Danny, what's been your favourite film, if
:01:27. > :01:34.this isn't too weird a question, since we've been off air? Mad Max
:01:35. > :01:40.the Rewrite, and the Lobster. Not the Lobster and not Spectre. That's
:01:41. > :01:42.clear. Mine would be Amy. I feel like we're offer.
:01:43. > :01:44.First up, the big screen adaptation of Colm
:01:45. > :01:47.Set in the 1950s, Sersha Ronan stars as a young woman
:01:48. > :01:54.who leaves Ireland behind to start a new life in New York.
:01:55. > :02:04.I'm away to America. My sister is there. I can't buy you a future,
:02:05. > :02:10.can't buy you life you need. Will you come see me one day? Yes.
:02:11. > :02:18.Passport, please. This way, next, please. It is set in the 1950s and
:02:19. > :02:23.it is about this young woman calmed ailish who is sent to live in
:02:24. > :02:29.Brooklyn New York. And really the goal is for her to have a better
:02:30. > :02:37.life. Father Flood sponsored me, found you a job. I will thank you to
:02:38. > :02:43.keep his name out of the conversation. We need Irish girls in
:02:44. > :02:47.Brooklyn. I wish I could stop feeling like I'm an Irish girl in
:02:48. > :02:52.Ireland. She goes through extreme homesickness and it weighs her down
:02:53. > :03:01.for a long time. Gradually it is lifted off her a little bit and she
:03:02. > :03:13.false in love. I'm ready. It is about which life she wants
:03:14. > :03:16.ultimately. I felt it was the first time I had seen an el immigration
:03:17. > :03:22.story in the Irish context told from the point of view of a young woman.
:03:23. > :03:26.Dear Rose, thank you for your letter. I was happy to hear about
:03:27. > :03:30.your golf tournament. You must have been really pleased. I still miss
:03:31. > :03:37.you and mother and think about you every day. I think column in the
:03:38. > :03:41.novel and then Nick in the screenplay captured that exact
:03:42. > :03:44.emotional discombobulation that happens when somebody moves from
:03:45. > :03:49.their homeland to another country. When we were making it, in the year
:03:50. > :03:53.leading up to shooting the film, the she had been through that thing
:03:54. > :04:00.herself and was confused by it. But she was lucky enough to have the
:04:01. > :04:09.film to place all of that emotion on screen. Hello? Mammy? Everyone's
:04:10. > :04:15.gone, I have nobody. How would it be for you if I did go home? I would be
:04:16. > :04:23.afraid. Afraid that I wouldn't come back? Brooklyn has changed me. It is
:04:24. > :04:27.still deeply affects me. It was tough and you were in quite a
:04:28. > :04:30.vulnerable position because we were telling a story about your
:04:31. > :04:40.relationship with home and you want to get that right. You have beaches
:04:41. > :04:44.in Brooklyn. It's not the same. Ireland will always be in my heart
:04:45. > :04:48.and I will take it with me wherever I go, but there's other places I
:04:49. > :04:54.want to live, where I want to work. Home is home.
:04:55. > :05:01.Danny, what did you think? It is such a simple thing you keep
:05:02. > :05:05.expecting something else to happen, like it will turn into a zombie
:05:06. > :05:11.film, but none of that happened. It is so clean, so sweet, so pure
:05:12. > :05:16.vanilla you think you must be about to either die of boredom or throw up
:05:17. > :05:21.and you realise you've been sucked in and you are wrapped up in a love
:05:22. > :05:27.triangle. You would have to be a person of a hard and small heart not
:05:28. > :05:31.to become smitten with it. I don't know quite why I like it. Some films
:05:32. > :05:35.you can analyse and dissect them and pin down what's so great about them.
:05:36. > :05:42.There is something on going on with Brooklyn. It is the magic of cinema.
:05:43. > :05:46.And didn't this film appear at Sundance and everybody went, there
:05:47. > :05:49.was a huge fight. It sold for more money than any other film has done.
:05:50. > :05:54.It is very moving and incredibly timely. This is a movie about
:05:55. > :05:58.immigration. Immigration is the great public debate of our time.
:05:59. > :06:01.There can't be a single person watching tonight who hasn't at some
:06:02. > :06:04.point over the last few months thought about their relationship
:06:05. > :06:09.with the idea of the emigre. Of course this isn't an issue film. It
:06:10. > :06:13.is not about escaping conflict and it is set in the past. But the thing
:06:14. > :06:20.about good cinema is that it is immediate. It feels condemn tri. I
:06:21. > :06:23.think you saw in that VT before they were talking about homesickness. I
:06:24. > :06:28.think it does that better than most filmsive have ever seen on that
:06:29. > :06:35.subject. Homesickness. Really that's what it is. This terrible freight of
:06:36. > :06:40.regret and longing. This idea of an uphill mountain you have to climb to
:06:41. > :06:44.reinvent yourself. It aces that beautifully. There are lots of
:06:45. > :06:49.things one feels about it but isn't this all about her? I can't think of
:06:50. > :06:55.another actress who could do it without it being slightly sepia or
:06:56. > :07:02.adorable or cosy. She, her face, the way she does it, she is almost, as
:07:03. > :07:06.if this isn't too weird, quite cold. That's a good word, cold. I think
:07:07. > :07:11.she would make a good serial killer can. She's been a great actress
:07:12. > :07:16.waiting for the right film. Without this it would be icky. If you think
:07:17. > :07:23.about an actress like Carey Mulligan and the people who made this film.
:07:24. > :07:29.They made An Education. That film launched Carey Mulligan's film.
:07:30. > :07:36.Think of an actress like Mulligan, who is high impact, or Andrea Rose
:07:37. > :07:44.borough, it is could that she is much more withdrawn and withheld.
:07:45. > :07:48.What it makes you feel is optimistic for her career. There's resume for
:07:49. > :07:54.development. Her bag of tricks is not all out yet and that's really
:07:55. > :07:59.another great thing. She is so good at pensive silence. A lot of actors
:08:00. > :08:03.can't do that, they look like they are under heavy sedation. And
:08:04. > :08:08.shouldn't we mention Nick Hornby's script? It is not overladen, there
:08:09. > :08:12.are proper moments of silence. Beautifully done. He's an
:08:13. > :08:16.interesting screenwriter. When he is adapting even his own books he does
:08:17. > :08:21.take the melodrama out of things. He's taken this moval and blurred a
:08:22. > :08:27.few of the lines in an interest way. One of the interesting things it
:08:28. > :08:31.does which I really love is seeing a society and culture in a way we have
:08:32. > :08:38.been seen before. We've seen a lot of working class Ireland on film. We
:08:39. > :08:43.haven't seen post war rural middle class aspirational Ireland, the
:08:44. > :08:47.Ireland of golf clubs and four-course dinner at the golf club
:08:48. > :08:52.with wine and coffee. It was exciting. And it works like a
:08:53. > :09:01.thriller. I totally agree. The second half of the movie feels as
:09:02. > :09:05.jangly as Mad Max, which I have mentioned twice. Double entry
:09:06. > :09:08.book-keeping and walks along the beach. We love it, you must go.
:09:09. > :09:12.Nicholas Hoult stars as a ruthlessly ambitious music industry exec who'll
:09:13. > :09:16.As you might imagine, wannabe record executives use some
:09:17. > :09:30.UN you are standing on wafer thin ice. Beneath your feet you can see
:09:31. > :09:43.sharks circling. These are your colleagues, your friends. Lock off.
:09:44. > :09:48.Welcome to the music industry. It is about an A and R manager, someone
:09:49. > :09:52.who is ruthless and cut throat about trying to keep his job in a world
:09:53. > :09:56.filled with people who aren't good at their jobs and don't realise what
:09:57. > :10:01.going be a success, so are living in fear constantly. Only one thing in
:10:02. > :10:11.fear constantly. Only one thing matters in this racket - big hit
:10:12. > :10:19.records. They could develop. Like a facting tumour. This is based more
:10:20. > :10:23.around how uncreative and diabolical the industry could be. A lot of
:10:24. > :10:28.people I know that are in the industry see a lot of realities come
:10:29. > :10:35.to life in this. How do you want to play this? You be the enthusiastic
:10:36. > :10:40.music lover, bang on about indie B sides. I will do the industry thing
:10:41. > :10:45.when it says tell us about the label. The mentality of the record
:10:46. > :10:53.industry the film represents I would say is fairly accurate. So, what's
:10:54. > :10:57.your favourite track? For me one of the biggest reasons I want to be
:10:58. > :11:00.involved in this is that it is an authentic voice. John worked in the
:11:01. > :11:05.music industry and it is talking about music in a very authentic way.
:11:06. > :11:20.And the way that John writes dialogue has a special rhythm to it
:11:21. > :11:25.that took a bit of writing. We'll interfere with the artistic process,
:11:26. > :11:33.mix tracks without your permission and force you to appear on
:11:34. > :11:39.children's programmes when you are ill in the morning. Antonia? I can't
:11:40. > :11:44.think of a single good thing to say about this film. Oh, no! Sorry, I
:11:45. > :11:51.have tried. I'm not going to pull any punches. This is a very faithful
:11:52. > :11:54.adaptation of a sour screenplay of the sourest book you could possibly
:11:55. > :12:00.imagine. Now, it is not a thrilling film. It is not radical, it is not
:12:01. > :12:05.particularly genuinely angry and neither is it shocking. If you want
:12:06. > :12:09.to see a radical shocking satire on the music industry, watch 24 Hour
:12:10. > :12:14.Party People. The reason that movie stands up is because it is a satire
:12:15. > :12:18.of something it loves. This doesn't work because it is a satire of
:12:19. > :12:22.something it hates. If you are going to go and spent 10 quid in the
:12:23. > :12:27.cinema are you going to spend it on something that's full of hate? I
:12:28. > :12:33.think it is toxic. I really hated it. What about Nicholas Hoult? I
:12:34. > :12:38.love him. There were some great movement, you didn't agree? Nicholas
:12:39. > :12:44.Hoult was really great in Mad Max. I think we can put this to one side.
:12:45. > :12:49.It is an uncanny time capsule of 1997. The problem was 1997 was
:12:50. > :12:57.possibly the worst year in modern British history. You can't possibly
:12:58. > :13:01.mean that. There was stuffed crusts in pizzas, Oasis. And you felt like
:13:02. > :13:05.you were locked in a room with 100 people doing cocaine. You don't want
:13:06. > :13:09.to be taken back there, Danny. I never did it anyway, so I sat there
:13:10. > :13:12.miserably. That's the problem with the film, the people old enough to
:13:13. > :13:18.appreciate why this is quite so funny and why the mention of a
:13:19. > :13:26.menswear CD is inspired are going to be old enough to not to want to go
:13:27. > :13:33.back to 1997 and to remember the looming elephant in the room,
:13:34. > :13:36.American Psycho. Nicholas Hoult wanted to be involved in it is
:13:37. > :13:40.because of the breaking of the fourth wall aspect, the looking to
:13:41. > :13:45.camera, the speaking to camera. When he's walking down the plane, he's
:13:46. > :13:50.talking to me. I felt it. It doesn't work. Even chaplain struggled with
:13:51. > :13:57.that? The Great Dictator. It is hard to get right. When it does work,
:13:58. > :14:01.like in American Psycho, it is not a brilliant film but a great
:14:02. > :14:11.performance... Can I say, what did you think of this scene in Cannes
:14:12. > :14:19.where Maurice is... The mullet and he's playing his song. You love that
:14:20. > :14:24.scene. Did you not like that scene? No, there's nothing about the
:14:25. > :14:31.film... Listen, I think there is stunny stuff here. John Niven is a
:14:32. > :14:34.funny writer, there is funny lines. There's morbid entertainment value
:14:35. > :14:40.in matching up the semi fictional bands on screen with their real-life
:14:41. > :14:44.counterparts. Nicholas Hoult is funny and Cossack dances ashes the
:14:45. > :14:49.gents That stuff works. You keep coming back to the same problem,
:14:50. > :14:53.that '90s was a terrible time. It is so sour, full of loathing for
:14:54. > :14:58.anything. The one thing I liked about it was the Lazies. They were a
:14:59. > :15:02.good band. OK. You were on your own like that. You are saying it is
:15:03. > :15:07.almost like you could doing alpicture of Alex James and it would
:15:08. > :15:11.make the same point about the 1990s. Let's leave it behind. That's harsh,
:15:12. > :15:16.he makes delicious cheese. Next, Oscar-winning writer of "The
:15:17. > :15:18.Social Network", "The West Wing" and Since
:15:19. > :15:22.his big screen debut 23 years ago, Sorkin has become Hollywood's "go
:15:23. > :15:25.to" man for smart, witty screenplays Just don't ask him to talk
:15:26. > :15:37.about himself. I'm a lot better on paper than I am
:15:38. > :15:46.in person. What you do? I play the orchestra. My friends, my daughter,
:15:47. > :15:53.my beer ads in Chile. What you protect me for? $1700 a week. I
:15:54. > :16:01.wouldn't take a bullet for that. Did you order the code red? Your dam
:16:02. > :16:03.right I did! The cliche about Hollywood writers
:16:04. > :16:09.is that they start writing because they are uncomfortable in speaking.
:16:10. > :16:13.Was that true with you? I would much, much rather do this interview
:16:14. > :16:18.by e-mail them the way we are doing it right now. I am not as polished
:16:19. > :16:23.as the characters I write or as smart as they are all witty. That is
:16:24. > :16:28.something that happens when I am in a room by myself and have time. And
:16:29. > :16:33.I'm doing the thing I am most comfortable at. But that quality
:16:34. > :16:40.also helps me identify with the ball like Steve Jobs and Mark Zarco Berg.
:16:41. > :16:45.You are going to be a very successful computer person. You will
:16:46. > :16:49.go through life thinking that girls don't like you, and I want you to
:16:50. > :17:06.know from the bottom of my heart but that won't be true.
:17:07. > :17:13.Mark Zarco Zuckerberg invented something that he needed. Are you
:17:14. > :17:20.OK? We are ranking girls. Other students? This is in such a good
:17:21. > :17:23.idea. I need the algorithm. That cliche about writers is true for me
:17:24. > :17:28.and has helped me identify with some people I have written. Aaron Sorkin
:17:29. > :17:37.burst onto the Hollywood scene in 1992 with his debut screenplay a few
:17:38. > :17:44.good men. You want answers? I want the truth! You can't handle the
:17:45. > :17:48.truth! I don't write things that are meant to be read. I write things
:17:49. > :17:53.that are meant to be performed. So my job isn't over once the script is
:17:54. > :17:56.done. And is that important to you as a writer, do you have a
:17:57. > :17:59.relationship with the director? Some directors would think, once I have
:18:00. > :18:04.the script, I am done with the writer. I wouldn't want to work with
:18:05. > :18:14.that director. Everyone is waiting for the man. It is an abstract. In
:18:15. > :18:20.his new film, Steve Jobs, Aaron Sorkin collaborates with Danny
:18:21. > :18:26.Boyle, and a new set of actors face the challenge of 180 pages of his
:18:27. > :18:29.language, a daunting chance. I remember flicking the pages and
:18:30. > :18:34.going, there were no stage directions, it was just people
:18:35. > :18:39.talking, and it was like a plate, a very long play. And that is
:18:40. > :18:44.overwhelming and intimidating, and your instinct as an actor is I
:18:45. > :18:48.absolutely can't do this. But all I had to do was take a breath and
:18:49. > :18:55.think about poor Michael Fassbender who is on every single page. I can't
:18:56. > :19:02.even pick the script up, it is so... Don't panic! And I am proof
:19:03. > :19:12.after three years of Newsroom, you will survive this. Ask me again. Ask
:19:13. > :19:23.me your idiot question again. What makes America the greatest country
:19:24. > :19:27.in the world? You do. When I find an actor who I really like we think
:19:28. > :19:32.fits particularly well with the style I like to write in, I try to
:19:33. > :19:36.keep that actor in my pocket, work with them as many times as I can. I
:19:37. > :19:41.tried to work with actors and actresses from the West Wing cast as
:19:42. > :19:45.often as I can. It is like getting back together with your old band. I
:19:46. > :19:52.am on the way to see the president. Flamingo is on her way. What did you
:19:53. > :19:58.call me? Tell me about your writing routine. The cliche is someone
:19:59. > :20:02.sitting there at 2am. I do have much of a routine because most of the
:20:03. > :20:08.time I am banging my head against the wall because I'm stuck. I can't
:20:09. > :20:15.think of what to write. You don't just let the genius come and start
:20:16. > :20:23.doing it. But that senior have described, that is how writers are
:20:24. > :20:29.always portrayed. Surely when someone is making the Aaron Sorkin
:20:30. > :20:33.film, that is going to be the way it will be written. I hope that film is
:20:34. > :20:37.never made! But whoever writes it is going to need to condense that year
:20:38. > :20:43.of banging my head against the wall and lying on the couch and watching
:20:44. > :20:47.ESPN and ordering another pizza and driving around in my car. They are
:20:48. > :20:55.not going to be interested in any of that. They will have me look at
:20:56. > :21:03.something over there, that teapot, teapot, I'm inspired!
:21:04. > :21:12.Teapot and Aaron Sorkin, I would watch. Do you love him? I have been
:21:13. > :21:14.blinded by his teeth for the last week! We will be reviewing Steve
:21:15. > :21:18.Jobs on next week's show. Next is a documentary
:21:19. > :21:20.about the life of Malala Yousafzai, the 18-year-old shot by the Taliban
:21:21. > :21:25.simply for speaking up. There is a moment when you have to
:21:26. > :21:35.choose whether to be silent or to stand up. Tonight Malala remains in
:21:36. > :21:40.intensive care. She was shot in the Headford daring to suggest that
:21:41. > :21:44.girls should to school. A documentary about Malala Yousafzai.
:21:45. > :21:47.Some people have heard about her father being shot on her school bus
:21:48. > :21:53.or winning the Nobel Peace Prize. They thought that the bullet would
:21:54. > :21:58.silence us. But it is really a story of this amazing girl and her father,
:21:59. > :22:03.and how they went from this very small-town and become the people who
:22:04. > :22:07.have captured our imagination. Me and my wife, we cried all night. My
:22:08. > :22:12.doctors told me she would survive, but she may not be the same as she
:22:13. > :22:16.was. When that happens to you, the small things go away, and she has a
:22:17. > :22:21.very simple, strong focus about how she wants to live her life. I'm
:22:22. > :22:27.still 17. I'm still a teenager. Who would you have been if you were
:22:28. > :22:34.still an ordinary girl? I am still an ordinary girl with an ordinary
:22:35. > :22:37.mother and father. When I arrived in Birmingham and rang the doorbell of
:22:38. > :22:42.their home, I didn't know who I was going to meet. And I don't think
:22:43. > :22:48.they knew who I was. Here is this guy with odd hair from LA. And so it
:22:49. > :22:53.could have gone awfully wrong. This is the laziest one. Look at the
:22:54. > :22:58.first impression! What is beautiful about this family is Malala doesn't
:22:59. > :23:04.live in fear. And she is not a bitter person. It doesn't matter for
:23:05. > :23:09.me if the left side of my face isn't working, or if I cannot blink this I
:23:10. > :23:14.properly. I have been with her in the White House, and she walks up to
:23:15. > :23:19.President Obama and asks him about drum strikes in Pakistan. A lot of
:23:20. > :23:24.grown men would be afraid to ask the President about that. She is not
:23:25. > :23:27.afraid. And then she is at home opening her laptop when looking at
:23:28. > :23:30.pictures of Brad Pitt and Roger Federer.
:23:31. > :23:33.Will you ever ask a boy out on a date?
:23:34. > :23:40.So she has this double life where she is a forceful advocate for
:23:41. > :23:47.girls, but also just a teenager. I am those 66 million girls deprived
:23:48. > :23:53.in education, and I am not a lone voice. I am many. Our voices are our
:23:54. > :23:56.most powerful weapon. She really is a world leader, and she has the
:23:57. > :24:01.stuff it takes to be that person. I see her being an advocate for a long
:24:02. > :24:05.time. I chose this life, and now I must continue it.
:24:06. > :24:12.Danny? I don't know what we're supposed to be. Malala herself is
:24:13. > :24:18.this awesome super-heroine, and the screen lights up when she is there.
:24:19. > :24:21.They showed the Taliban having greyed out the face of a model on a
:24:22. > :24:25.billboard, and you see her face, and you realise, this is why she is so
:24:26. > :24:31.magnetic and will change the world, is changing the world. The film is a
:24:32. > :24:42.trench, and I don't think it has any of her charisma, and it almost as
:24:43. > :24:52.her a disservice. The makers also made an Inconvenient Truth. It is
:24:53. > :24:56.boring. No, no, no! I want every 13-year-old to see it. It isn't
:24:57. > :25:03.boring. She will take over the world. I hope C does -- she does,
:25:04. > :25:08.but I also want to see her playing snap with her brothers. It is a
:25:09. > :25:12.great film, but I have a couple of problems with it. The music is up
:25:13. > :25:18.swelling the entire time, you don't need to be told how to feel or to be
:25:19. > :25:21.moved, the film does this too much. And it does slightly do a disservice
:25:22. > :25:27.in that it short-changes her a little. We see her giving lots of
:25:28. > :25:31.speeches in African schools, speeches at the UN and all sorts of
:25:32. > :25:37.impressive things, but what it doesn't do, it puts it into a small
:25:38. > :25:40.montage embedded two thirds of the way into the movie, the speeches
:25:41. > :25:47.that got her shot in the first place. She wasn't giving a generic
:25:48. > :25:51.speech about gender and education. She is naming names. She is saying
:25:52. > :25:55.this Taliban leader, this guy, how come he is still walking the
:25:56. > :25:58.streets? And she is very young at this point, and these people are
:25:59. > :26:03.looking down on her as she is speaking, and she talks about
:26:04. > :26:07.speaking with flames, and she is electric, she is like Joan of Arc.
:26:08. > :26:10.Why don't we see more of that? I would have loved to see that full
:26:11. > :26:16.speech. I would just like and are half of that. Or they should have
:26:17. > :26:20.given her the camera. She is electrifying, she is galvanising.
:26:21. > :26:23.And the film isn't. You can come away from the film thinking that the
:26:24. > :26:30.greatest achievement of her life was meeting Bono. I do think you do get
:26:31. > :26:33.that, and what makes her extraordinary is seeing the
:26:34. > :26:37.ordinary. I love her telling her dad that she doesn't like her team made
:26:38. > :26:44.like that. Or that she had a crush on Roger Federer. And she makes
:26:45. > :26:49.those speeches about, I am you, I am everybody, and I find it even more
:26:50. > :26:54.moving. What is brilliant about this film is that it shows you the
:26:55. > :26:58.tremendous chasm, the difference between great oratory and
:26:59. > :27:03.speech-making. All totalitarian regimes, Hitler, Stalin, Chairman
:27:04. > :27:07.Mao, any religious bigot you could care to mention, they all love
:27:08. > :27:12.speeches, they never stop talking, they drill you into submission. Then
:27:13. > :27:16.you hear someone like Malala or even her father who was also a great
:27:17. > :27:22.oratory, and you hear the difference between oratory and rhetoric. And it
:27:23. > :27:28.is there in this film. Film of the week, quickly? Brooklyn. Malala.
:27:29. > :27:31.Well, that's it for another week, how fabulous to be back!
:27:32. > :28:04.Look at his face! Looking especially lovely today, sweetheart. Don't
:28:05. > :28:08.sweetheart me. I'm dying, possibly. We've all got to go sometime. Smells
:28:09. > :28:14.like you already have all stop I'm going to call you lily. The fact is,
:28:15. > :28:18.I believe I am a woman. I believe it, too. Life is a sacred creation.
:28:19. > :28:32.It's alive! We all have one enemy. Tonight, turn
:28:33. > :28:38.your weapons to the capital. Welcome to the 76 hundred games. I am
:28:39. > :28:42.talking about the security of your country. You could prevent a full
:28:43. > :28:49.thermonuclear exchange with the saviour union. We gave each other
:28:50. > :28:51.the most breathtaking of gifts. Don't ever think that the world owes
:28:52. > :28:55.you anything, because it doesn't. My name's joy, by the way. We are
:28:56. > :29:23.home. The Osgood Box can wipe out
:29:24. > :29:26.humankind.