Browse content similar to Jackie, Lion, Split. Check below for episodes and series from the same categories and more!
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This is the brand new sparkly series of Film 2017 and I'm Zoe Ball. | :00:27. | :00:44. | |
Yes, it's late, really late, but we're live and would love | :00:45. | :00:46. | |
to hear from you, so why not get in touch. | :00:47. | :00:49. | |
Our big question tonight, with a whole new year of films | :00:50. | :00:51. | |
coming up, what are you most looking forward to? | :00:52. | :00:54. | |
Tweet and let us know, details on the screen now. | :00:55. | :00:56. | |
Devastation in Dallas. I'm not the First Lady any more. Natalie Portman | :00:57. | :01:01. | |
is America's first widow in Jackie. People can see through their own | :01:02. | :01:08. | |
eyes. James McAvoy takes on the role of a lifetime. In twisted thriller | :01:09. | :01:14. | |
Split. He'll do awful things to you. It's a long way home for Def Patel. | :01:15. | :01:25. | |
He and Nicole Kidman star in Lion. Plus, Alice Lowe, star and director | :01:26. | :01:30. | |
of new Brit horror, Prevenge, reveals what really, | :01:31. | :01:33. | |
really makes her scared and it's not Joining me to talk movies | :01:34. | :01:35. | |
is the excellent Mr Chris Hewitt from Empire Magazine and our regular | :01:36. | :01:40. | |
super critic, Danny Leigh. Beautiful. When I'm excited I roll | :01:41. | :01:49. | |
out the black socks the that is how it works. We will rein in that | :01:50. | :01:55. | |
excitment it's early days. So many films cot coming out this year are | :01:56. | :01:58. | |
you like this? There could be great films around the corner. There could | :01:59. | :02:02. | |
be stinkers. Speaking of which... No. Coming up first tonight. | :02:03. | :02:09. | |
With just two days until Michelle makes way for Melania, | :02:10. | :02:11. | |
director Pablo Lerrain's new film, Jackie, couldn't be more timely. | :02:12. | :02:13. | |
Natalie Portman stars as perhaps America's most iconic First Lady | :02:14. | :02:16. | |
struggling to cope in the aftermath of JFK's assassination. | :02:17. | :02:18. | |
People like to believe in fairytales. Are you ready? Of | :02:19. | :02:26. | |
course. And you? I believe that the | :02:27. | :02:38. | |
characters we read about on the page end up being more real than the men | :02:39. | :02:48. | |
who stand beside us. Everyone knows my story. We know Jackie as an I | :02:49. | :02:53. | |
con. She had this particular style. It's one of the things she's really | :02:54. | :02:58. | |
remembered for. The hair, the clothes, the grace. I think | :02:59. | :03:01. | |
everything in the White House should be the best. It has to be beautiful. | :03:02. | :03:07. | |
The clothes are obviously very much a part of the facade that we know | :03:08. | :03:12. | |
about Jackie. Her cost umm designer did a great job recreating the | :03:13. | :03:16. | |
wardrobe she was wearing during particular scenes. Let them seen | :03:17. | :03:26. | |
what they've done. Cut. Our story started with th incredible | :03:27. | :03:31. | |
screenplay. It took a long time to find the director. I was like, why | :03:32. | :03:36. | |
me? Why are you offering this pro yebth to someone from Chile south, | :03:37. | :03:41. | |
South America. He didn't have the bagsage everybody else had. He said | :03:42. | :03:44. | |
- let me treat her like everyone else and how she must have felt. | :03:45. | :03:48. | |
That is why you're so in Jackie's world thaw forget it's Natalie. I I | :03:49. | :03:55. | |
somewhere what was real, what was performance. That's nice. We tried | :03:56. | :04:00. | |
to explore different layers... When men see me now, what do you think | :04:01. | :04:05. | |
they feel I called my mother when I was invited to make this movie. She | :04:06. | :04:09. | |
was like - son, you make that movie. It was the story of a mother, not | :04:10. | :04:13. | |
the mother of those two kids, but at some point the mother of a country. | :04:14. | :04:17. | |
It's our last chance. The most interesting films can come from | :04:18. | :04:20. | |
someone who see it is with fresh eyes. Action. He took the project in | :04:21. | :04:26. | |
an unexpected and visionary direction. They wanted to share my | :04:27. | :04:31. | |
grief. So I let them. Natalie portman, she studied Jackie, | :04:32. | :04:44. | |
her accent help convinced a lot of people. Has she convinced you? She | :04:45. | :04:53. | |
has. I don't come at it with a Natalie Portman fan. I think here | :04:54. | :04:58. | |
she is great. It's perfect casting. Jackie Kennedy was a woman who was | :04:59. | :05:03. | |
brittle and mannered playing a role all the time time nails it. More | :05:04. | :05:08. | |
than mimick are you. The film is more than one of those Wikipedia | :05:09. | :05:15. | |
with popcorn. There issing something rich and strange going on. Are you | :05:16. | :05:20. | |
not seeing her life story but how it would have responded in this mad and | :05:21. | :05:25. | |
unreal moment after the world has changed and her world was turned | :05:26. | :05:29. | |
upside. She was a contradiction. We think of a woman in this immaculate | :05:30. | :05:35. | |
pink Chanel suit covered in the blood of her husband. Two things | :05:36. | :05:43. | |
going on with her at once. The movie captures that beautifully. What did | :05:44. | :05:48. | |
you think? I will defend, Natalie Portman. She deserved her Oscar. . | :05:49. | :05:52. | |
May get a second one for this. She is fantastic. Pablo Larrain presents | :05:53. | :05:57. | |
the movie in an interesting way. It bounces around from scenes that take | :05:58. | :06:02. | |
place in the immediate aftermath of JFK's assassination she is covered | :06:03. | :06:06. | |
in blood and grappling with grief and conversation she has with a | :06:07. | :06:12. | |
journalist played by Billy Crudup where she is more together and in | :06:13. | :06:17. | |
control of her emotions. Wonderful to go across that gamut of emotion. | :06:18. | :06:20. | |
Two things going on at once. The woman is completely unhinged by | :06:21. | :06:28. | |
grief. The death of her husband. Her first reaction is they will have to | :06:29. | :06:33. | |
sell the furniture and she is chain smoking with a journalist. The | :06:34. | :06:37. | |
journalist said, I mights mention you smoking. She goes - I don't | :06:38. | :06:43. | |
smoke. She is shaping history. She is thinking, fiercely and eerily | :06:44. | :06:45. | |
focus and very in control. That is fascinating. Someone who is falling | :06:46. | :06:50. | |
apart and very in control. The movie reflects that. Sometimes it feels | :06:51. | :06:57. | |
chaotic. Other times it it's razor-sharp. You found it | :06:58. | :07:02. | |
convincing. I found it cold. The woman lost her husband in a gruesome | :07:03. | :07:06. | |
way, I thought about it in a way I never thought about it before. | :07:07. | :07:10. | |
Pulling herself together and go through horrendous grief in the | :07:11. | :07:13. | |
public eye, she was only 34. So much going on. In their own private lives | :07:14. | :07:18. | |
there was a lot going on. Of course. It left me strangely cold. I found | :07:19. | :07:23. | |
myself looking at her wig. It might have been Natalie Portman's hair and | :07:24. | :07:30. | |
wondering off. I wanted to have empathy. I was really disappointed? | :07:31. | :07:34. | |
I can see that. There is a coldness to it. A veneer. A surfaced movie. | :07:35. | :07:40. | |
Than reflects what life was like for Jackie Kennedy in that moment shechl | :07:41. | :07:44. | |
couldn't be the grieving widow, falling apart at home. She had to be | :07:45. | :07:48. | |
this incredibly composed figure we see behind the veil famously. She | :07:49. | :07:53. | |
had to... It was an act. She was so good at it. She keeps saying, "I'm | :07:54. | :07:58. | |
doing my job" that is how she approached it. Very much as First | :07:59. | :08:04. | |
Lady and an occupation as well. She was going through something no-one | :08:05. | :08:07. | |
had gone through for a long time before that. Impossible to know the | :08:08. | :08:10. | |
emotions she went through. Good performance. The camera is in her | :08:11. | :08:15. | |
face and our face face for a lot of it. Interesting you didn't feel. It | :08:16. | :08:19. | |
I felt the emotion come through the screen. It forces you to engage. | :08:20. | :08:23. | |
It's hard to play an iconic role. People will pull it apart if it's | :08:24. | :08:27. | |
not right. Imagine the weight on her. At 3.00am in the morning you | :08:28. | :08:35. | |
can hear the scream of Nico Kidman playing Princess Grace of Monaco. | :08:36. | :08:40. | |
The roles crush actresses. Natalie Portman runs with it. I'm devastated | :08:41. | :08:47. | |
that Lady Ga Ga is not playing Cilla Black. We are all devastated. | :08:48. | :08:56. | |
Writer director M Night Shyamalan first made his name 17 years ago | :08:57. | :08:59. | |
with the shockingly twisty The Sixth Sense. | :09:00. | :09:00. | |
Now, he's back with another high concept, | :09:01. | :09:02. | |
psychological thriller, Split. | :09:03. | :09:03. | |
It stars James McAvoy as a man with 24 personalities, | :09:04. | :09:05. | |
some of which are good and some of which are very, very bad. | :09:06. | :09:24. | |
Hey, pardon me, sir, I think you have the wrong car. Three girls that | :09:25. | :09:34. | |
get abducted. What are we doing here? They are brought to this | :09:35. | :09:40. | |
windowless room. Open the door! I think u think you are in a movie | :09:41. | :09:44. | |
like Saw. Three people have to escape and out wit the captor and | :09:45. | :09:48. | |
that stuff. The next time they see me I'm someone else. I happen to be | :09:49. | :09:54. | |
a woman called Patricia. I will talk to him. I'm not the person who | :09:55. | :10:01. | |
abducted them I'm a boy called Hedwig. I have red socks. They | :10:02. | :10:06. | |
understand they are being held by somebody has a disorder known as | :10:07. | :10:15. | |
DID. Now I see. That's clever. Three of the 23 personalities that live | :10:16. | :10:23. | |
within that one body have gone back. Dennis is very unstable. I'm not | :10:24. | :10:28. | |
Dennis. I've been fascinated by this condition. He's not allowed to touch | :10:29. | :10:33. | |
you. He knows that. It's one that people in the field don't really | :10:34. | :10:37. | |
believe in. I believe in it. I believe it does exist. I think there | :10:38. | :10:41. | |
is documentationation which proves it without a doubt. It's still | :10:42. | :10:46. | |
controversial I've never seen a case like this before. 23 identities live | :10:47. | :10:52. | |
in Kevin's body. The trick of this film is to balance that comedy with | :10:53. | :10:57. | |
the tension and you want the audience to feel frightened, laugh, | :10:58. | :11:00. | |
you want them to feel sad and sympathy. You want them to hate and | :11:01. | :11:03. | |
love you. We play with all of that all the way through. He's done awful | :11:04. | :11:07. | |
things to people and he'll do awful things to you. Humour works against, | :11:08. | :11:16. | |
tension works against. Emotion. When the audience wants to laughed and | :11:17. | :11:19. | |
not, it's very difficult to do. In fact, I'm trying to do almost like | :11:20. | :11:23. | |
this moment when it's really uncomfortable laughter. That's what | :11:24. | :11:29. | |
I'm pushing towards. Help me get out of here. An individual with multiple | :11:30. | :11:34. | |
personalities can change their body chemistry with their thoughts. | :11:35. | :11:38. | |
Someone's coming for you. Who is coming? The Beast. Firstly, can I | :11:39. | :11:47. | |
say I ray tore James McAvoy as an actor and human being. He is working | :11:48. | :11:50. | |
his pants off here I'm glad you are saying this now. I am. As Barry, | :11:51. | :11:56. | |
Dennis, Patricia, head wing. What did you make of it. A lot of roles? | :11:57. | :12:03. | |
You may have a split on the sofa. We may have to divide ourselves. Let us | :12:04. | :12:08. | |
not be hasty. Is it I liked this film. Danny is it with aing for a | :12:09. | :12:12. | |
return to form from M Night Shyamalan. | :12:13. | :12:15. | |
He made awful films over the last few years The Happening, what | :12:16. | :12:22. | |
happened there? Last year he made Visit Down and dirty horror film and | :12:23. | :12:26. | |
showed signs of a return to form. This cements this. It's closer to | :12:27. | :12:31. | |
The Sixth Sense. Closer to Signs, not quite there. For me it's a very | :12:32. | :12:37. | |
effective, darkly comy psychological thriller than the horror film it it | :12:38. | :12:43. | |
has been painted out to be. I did laugh, but the implausibility in | :12:44. | :12:48. | |
places that I found frustrating. Here he is dealing with the | :12:49. | :12:54. | |
character who has quite a complexent mal health issue. DID, of course, | :12:55. | :12:58. | |
multiple personalities. My own thing with it, you take something like | :12:59. | :13:02. | |
that at the beginning it goes to such detail of explaining why this | :13:03. | :13:05. | |
happened and cases of this in the past and then takes that to slightly | :13:06. | :13:09. | |
the ridiculous, I thought. That frustrated me a little bit. You can | :13:10. | :13:15. | |
use mental health as a vehicle for a sort of slap stick horror/thriller | :13:16. | :13:21. | |
and miss represent mental health issues if it's 1960 and you are | :13:22. | :13:26. | |
making Psycho. This is not Psycho. I like it a little less than you, | :13:27. | :13:33. | |
Chris. I thought it was the most slab dash grubby sub-standard films | :13:34. | :13:38. | |
I've seen. Two bad films for the price of one. A thriller with no | :13:39. | :13:47. | |
thrills. . Given that M Night Shyamalan is a middle-aged dude | :13:48. | :13:51. | |
there is footage of teenage girls in his bras and pants. Though it is the | :13:52. | :13:55. | |
bad guy who convinced them to do that. He likes to make sure we see | :13:56. | :13:58. | |
it too. He moves the camera that way. On any number of levels this is | :13:59. | :14:01. | |
sweaty, toxic, claptrap. disorder, I am with you. You have | :14:02. | :14:12. | |
three girls and once they're locked up and removing their clothes and | :14:13. | :14:19. | |
then giving a character who might fight back some predictable back | :14:20. | :14:22. | |
story and slightly unnecessary I thought. It does veer into | :14:23. | :14:29. | |
unexpectedly dark territory towards the end and certain things rear | :14:30. | :14:33. | |
their head, but we can't talk about them. There is one thing at the end | :14:34. | :14:37. | |
that bounced out of cinema with just a smile on my face. But we can't | :14:38. | :14:42. | |
talk about that. There are things you would see every week in an | :14:43. | :14:51. | |
episode of Law and Order. M Night Shyamalan pushed it into a darkly | :14:52. | :14:57. | |
funny area and you have the great performance from James McAvoy. He is | :14:58. | :15:02. | |
great. We see about eight or nine of the 23 penalties and he attacks it | :15:03. | :15:07. | |
and there is, his tongue is in his cheek, but it is a wonderful | :15:08. | :15:12. | |
performance. Really goes for it. I bounced out of cinema as well at the | :15:13. | :15:16. | |
end. We are united in that. For very different reasons. | :15:17. | :15:19. | |
She's starred as a homicidal caravanner, a criminal poet and now | :15:20. | :15:21. | |
in her directorial debut, Prevenge, actress Alice Lowe stars | :15:22. | :15:24. | |
as a bloodthirsty mother-to-be enjoying a pre-natal killing spree. | :15:25. | :15:26. | |
Perhaps, unsurprisingly, Lowe is a big horror fan, | :15:27. | :15:28. | |
so who better then to ask for her creepiest cinematic kids? | :15:29. | :15:39. | |
You're this force of nature now inside you. Baby know what is to do. | :15:40. | :15:47. | |
Baby will tell you what to do. It is just nature's way. | :15:48. | :15:55. | |
Hi I'm Alice Lowe the direct and and star of Prevenge, a film about a | :15:56. | :16:07. | |
woman who goes on a killing spree while pregnant. You're insane. I'm a | :16:08. | :16:17. | |
working mother. I thought I would choose some of my favourite creepy | :16:18. | :16:22. | |
kids in horror that inspired for this film. I love the stillness of | :16:23. | :16:33. | |
The Innocents and the sound design is incredible and the little boy | :16:34. | :16:38. | |
Mile is creepy. He has adult knowledge within him, because he is | :16:39. | :16:43. | |
possessed by this ghost of this evil man. Now, you're my prisoner. Myles | :16:44. | :16:58. | |
let me go. Why? You're hurting me. A classic is Don't Look Now. I'm a | :16:59. | :17:10. | |
friend. About a human drama and the best horror is the drama, it is not | :17:11. | :17:15. | |
the ghost that is scarry, it is what happened to the family and they have | :17:16. | :17:19. | |
a child who died and the father is convinced that he sees the child in | :17:20. | :17:24. | |
Venice running around the streets in this red coat. What I drew for my | :17:25. | :17:30. | |
film from that film is a sense of sadness and regret and someone who | :17:31. | :17:36. | |
is trapped in the past and you feel like when someone's trapped in the | :17:37. | :17:40. | |
past and that it only going to be a matter o' time before they meet | :17:41. | :17:42. | |
death. I don't know. When I first saw The | :17:43. | :17:57. | |
Shining, it wasn't because I saw it, it was because I wasn't allowed to | :17:58. | :18:01. | |
watch it and my sister enacted it for me scene by scene and it was | :18:02. | :18:09. | |
chilling. Red Rum. Red Rum. Red Rum. It is an interesting meditation on | :18:10. | :18:14. | |
family and the pressures of being a parent. Have you ever thought about | :18:15. | :18:19. | |
my responsibilities? I'm sure it is terrifying to anyone who is | :18:20. | :18:22. | |
experiencing sleep deprivation and feels they would like to chase their | :18:23. | :18:30. | |
child around the house with an axe. Yes the twin girls at the end of the | :18:31. | :18:35. | |
corridor, they're very creepy. They don't do anything. They don't even | :18:36. | :18:39. | |
move. They just stand there. That is more scary. Come and play with us, | :18:40. | :18:51. | |
Danny. Carrie I think can count as a creepy kid, because she is ra | :18:52. | :18:56. | |
teenager and experiencing puberty and it unleashes these powers within | :18:57. | :19:01. | |
her. She is able to kill people with her mind. There is a lot of blood | :19:02. | :19:10. | |
and he was influenced by Blues and Reds and vivid colours to help show | :19:11. | :19:22. | |
this hormonal intensity that arrives with this. I love the | :19:23. | :19:30. | |
mother/daughter relationship. I shows the psychosis that can go on | :19:31. | :19:33. | |
there. It is one you rarely see on screen. All of those films have | :19:34. | :19:43. | |
something that really beds in deeply and they're all things that stay | :19:44. | :19:49. | |
within you. I think it is because it goes beyond the dialogue. Kiss me | :19:50. | :19:54. | |
good night. And the characters, it is actually something that... | :19:55. | :19:59. | |
Getting hammered into the back of your retina. | :20:00. | :20:02. | |
And we'll be reviewing Alice's new film Prevenge | :20:03. | :20:05. | |
Just one of the cinematic treats on the way in 2017. | :20:06. | :20:09. | |
Let's see what you're most looking forward to. | :20:10. | :20:11. | |
Danny, Chris - what are you most excited about this year film wise? | :20:12. | :20:17. | |
Chris as a Dorset boy and Chisil Beach and a new Cohen brothers. And | :20:18. | :20:35. | |
Rose looking forward to Beauty And The Beast. Will they sing the songs? | :20:36. | :20:45. | |
Yes. Steve sent a list. Blade Runner and alien covenant, a great year for | :20:46. | :20:55. | |
sci-fi. I will go for Baby Driver, that promises to be unlike anything | :20:56. | :21:00. | |
we have seen, a car chase movie and sort of musical. I'm intrigued. It | :21:01. | :21:08. | |
will be a great sound track and a heist and a chase. Sold. Moonlight. | :21:09. | :21:22. | |
And I will mention Elle, a revenge thriller that will blow people's | :21:23. | :21:31. | |
minds and quickly Jaw bone, a British boxing movie with Jonny | :21:32. | :21:40. | |
Harris. And Split Two. Now Lion, following a man's quest to finds the | :21:41. | :21:45. | |
family he was separated from as a child 25 years ago. Where are you | :21:46. | :21:55. | |
from? Calcutta. Which part. I'm adopted. Starting to remember. Story | :21:56. | :22:01. | |
of that beautiful boy. I had forgotten. Are you OK? I had another | :22:02. | :22:16. | |
family. What happened? I was lost. I have to find my way back home. How | :22:17. | :22:21. | |
long were you on the train? A couple of days. A couple of days. It would | :22:22. | :22:27. | |
take a lifetime to search all the stations in India. You have no idea | :22:28. | :22:35. | |
what it is like. How every day my real brother screams my name. I | :22:36. | :22:43. | |
thought I could teepest keep the family together. If they're not | :22:44. | :22:49. | |
there. I don't have a choice. What was she like? Beautiful. Every night | :22:50. | :22:57. | |
I imagine that I'm walking those streets. And I know every single | :22:58. | :23:04. | |
step of the way. I whisper in her ear. I'm here. Oh, I have gone | :23:05. | :23:14. | |
again. I am feeling overwhelmed and may start weeping. Not like when I | :23:15. | :23:20. | |
watched Manchester by Sea. But it is very moving. Yes the second half of | :23:21. | :23:29. | |
Lion I like, it is very solid with a good performance. The first half is | :23:30. | :23:34. | |
extraordinary. There is barely a word in it. It is this little boy | :23:35. | :23:45. | |
Saroo who is spirited away and lost in the bedlam of calve cut that. | :23:46. | :23:52. | |
Calcutta. It is a bit lop sided, the second half can't keep up. But the | :23:53. | :23:56. | |
first half is very good. Performances from the two boys who | :23:57. | :24:02. | |
play brothers, they are incredible. Yes. He was six years old when he | :24:03. | :24:10. | |
made the film and no training. His eyes are amazing. And he grows up to | :24:11. | :24:15. | |
be become Dev Patel and I agree, the second half is fine. It just treads | :24:16. | :24:24. | |
a lot of water. He has a decision do I look for my parents and he takes a | :24:25. | :24:29. | |
long time to make it. He is should I? Maybe I should. No OK I will. You | :24:30. | :24:36. | |
can see why the movie, there is no at lot of drama in the search. It is | :24:37. | :24:42. | |
difficult. I like the second half a bit more than you. We see Dev Patel | :24:43. | :24:50. | |
and we first met him on screen in Slumdog Millionaire, where he was a | :24:51. | :24:54. | |
child himself. But here he has brawned out and he is like a grown | :24:55. | :24:59. | |
man and he is still a bit overshadowed. But that is part of | :25:00. | :25:05. | |
film. His character is overshadowed by his past and it makes sense. I | :25:06. | :25:12. | |
still think Dev Patel is good and it is interesting when you have a role | :25:13. | :25:19. | |
that calls for an actor to symbolise mental disintegration with a beard. | :25:20. | :25:30. | |
You can end up with Iain Beale. But Dev Patel it is about the eyes. It | :25:31. | :25:36. | |
is a subtle and difficult performance. It his best | :25:37. | :25:41. | |
performance. And he is doing an Australian accents. He conveys that | :25:42. | :25:47. | |
anguish and there is a good supporting cast. But the second half | :25:48. | :25:51. | |
peoples it is putting scenes in to try and get to the end and to get to | :25:52. | :25:59. | |
it movie length. But sorry. There a scene where Nicole Kidman has a | :26:00. | :26:06. | |
dialogue and it should say, vote me for Best Supporting Actor. I did. I | :26:07. | :26:11. | |
was put on holds. The first half is about momentum and motion and the | :26:12. | :26:15. | |
boy going to Calcutta. The second half is about someone who is stuck. | :26:16. | :26:21. | |
What is weird is it ends up it can't help being a huge slab of product | :26:22. | :26:25. | |
for Google Earth. Because he is trying use that track down where he | :26:26. | :26:31. | |
is from. And goggle earth seems -- Google Earth seems useful if you | :26:32. | :26:36. | |
were spirited away as a small boy. Otherwise I'm sketchy on what its | :26:37. | :26:44. | |
use could be. If you choose a film of the week. Split. Jackie and the | :26:45. | :26:50. | |
first half of Lion. For me Lion. I loved it. That is almost it. Next | :26:51. | :26:55. | |
week the brilliant Charlie Brooker is here and I leave you with a brief | :26:56. | :27:00. | |
look at some of the films coming your way in 2017. Thanks for | :27:01. | :27:02. | |
watching and good night. 400,000 men on this beach. There is | :27:03. | :27:28. | |
no hiding from this, son. I'm home! There is my favourite. I'm putting | :27:29. | :27:34. | |
together a team, people with special abilities. You see I believe enemies | :27:35. | :27:38. | |
are coming. Stop right there. I'm in! That's Kong. He is king around | :27:39. | :27:53. | |
here. I was the first negroe female student. It is important, you have | :27:54. | :27:59. | |
got to decide for yourself who you want to be. What you looking at me | :28:00. | :28:01. | |
like that for? If something welcome back to happen | :28:02. | :28:13. | |
to you... I could never forgive myself. They're like any other | :28:14. | :28:27. | |
machine. I did your job once. I was good at it. Things were simpler | :28:28. | :28:38. | |
then. Meet the princess. What about that? What? Show time A-hole! | :28:39. | :28:52. | |
Everyone! I get to keep the suit? Of course, just don't anything I would | :28:53. | :29:03. | |
do and definitely don't do anything I would do. There is a grey area and | :29:04. | :29:07. | |
that is where you operate. | :29:08. | :29:09. |