:00:00. > :00:25.This programme contains some strong language.
:00:26. > :00:28.Hello there, this is Film 2017, and I'm Lauren Laverne.
:00:29. > :00:31.It's probably well past everyone's bedtime,
:00:32. > :00:33.but we're live and - crucially - awake,
:00:34. > :00:38.Tonight, we're celebrating the career of Sir John Hurt,
:00:39. > :00:44.Drop us a tweet and tell us - what's your favourite Hurt
:00:45. > :01:06.All that glitters. We've got a gold mine. Matthew McConaughey stars in
:01:07. > :01:16.adventure romp Gold. What a goddamn ride! Would you marry
:01:17. > :01:21.me? Ruth Negga stars in race drama Loving.
:01:22. > :01:27.And bless, she is killing for two, murder and motherhood combined for
:01:28. > :01:29.Alice Lowe in pregnancy slasher flick Alice Lowe.
:01:30. > :01:31.I'm gonna cut you. Plus, we'll be looking
:01:32. > :01:33.at German vater und daughter With me to talk all things
:01:34. > :01:45.movie-related are critics Gentleman, hello. Hello. Hello. As
:01:46. > :01:51.the opening hello awkward question, what is your cinema snack of choice?
:01:52. > :01:55.Harrow Borough at all times. I would bring a large fruits direct -- fruit
:01:56. > :01:58.salad and help myself. How classy! Kicking off the show tonight
:01:59. > :02:02.is adventure drama Gold, starring a fat, balding
:02:03. > :02:04.Matthew McConaughey as Kenny Wells - a money man on-the-make,
:02:05. > :02:06.who misguidedly goes in search of gold and fortune
:02:07. > :02:19.in the jungles of Indonesia. I had a dream. It was like I was
:02:20. > :02:26.being called. It was a gold calling. It was a gold calling.
:02:27. > :02:31.It was 1988, gold calling. It was 1988, I lost my house. I lost
:02:32. > :02:41.everything. Most people would have been dead, but I'm here. We've got
:02:42. > :02:49.our gold mine! We got a gold mine! Yes!
:02:50. > :02:53.Do you believe you're sitting on a larger scald find of the decade? We
:02:54. > :02:58.are talking over $30 billion. How does it feel to be a rock star?
:02:59. > :03:02.There is no way I could possibly describe the feeling. Amazing how a
:03:03. > :03:07.little gold can just change everything. It almost seems too good
:03:08. > :03:18.to be true. It usually is! Better or worse, the right had begun
:03:19. > :03:24.and what a goddamn ride! What happened at the meeting? You
:03:25. > :03:33.want to talk about the truth? FBI! $17 million disappeared
:03:34. > :03:42.overnight. I'm not in a die! -- I am touching a
:03:43. > :03:46.tiger. Not even a metaphor, he was touching a tiger.
:03:47. > :03:51.Seven years since the last film of Stephen Gaghan, have we missed him?
:03:52. > :03:56.His last film was really good, I am not sure about Gold, it is all about
:03:57. > :04:00.Matthew McConaughey, I have never seen anybody so childishly excited
:04:01. > :04:05.about this paunch and this boldness, I think he thinks that his acting
:04:06. > :04:10.and it becomes a test of strength. How much of his twinkly Hollywood
:04:11. > :04:16.charisma can withstand the indignity of sitting in his Y fronts? He has
:04:17. > :04:18.done big transformations before, Dallas Buyers Club, very thin in
:04:19. > :04:25.that movie and a wonderful film. I liked him in that. He is
:04:26. > :04:31.insufferable in this. He is absolutely unbearable. His self love
:04:32. > :04:35.pulses radioactively from the screen, it is just unbearable! He is
:04:36. > :04:41.so high risk, he is a big gun and he goes off with a loud bang! Sometimes
:04:42. > :04:45.he is a loose cannon. He needs a tight script and a close directorial
:04:46. > :04:51.hand, he gets neither here and the film itself is such a Turkey, it is
:04:52. > :04:55.stodgy and shapeless and rubbish. It was the makings of a great story,
:04:56. > :04:59.the great American metaphor, the search for gold, it is part of the
:05:00. > :05:05.National identity, and I felt they were determined to stay in the
:05:06. > :05:09.shadows and make it a broken and is. Yes, there is a great story about
:05:10. > :05:12.gold fever but they are not interested in that. They are
:05:13. > :05:17.interested in the first ten minutes of the Wolf of Wall Street, which
:05:18. > :05:21.was electric and Matthew McConaughey almost walked away with it. They are
:05:22. > :05:24.literally thinking in terms of numbers, people like that for ten
:05:25. > :05:28.minutes, how much would they like it two hours? Like they will like 200
:05:29. > :05:33.times, they they are not mathematicians. This film has
:05:34. > :05:39.nothing like the human interest. It does not have the wit or steel to be
:05:40. > :05:46.a proper satire or the humanity and warm and genuine humour to be a
:05:47. > :05:50.human interest drama. There is no bromance, Edgar Ramirez is just
:05:51. > :05:56.phoning it in. I would not want a bromance with him. What about Bryce
:05:57. > :05:59.Dallas Howard? Underwritten, she comes in at the start and Matthew
:06:00. > :06:04.McConaughey explains mining and drilling with the metaphor of a
:06:05. > :06:08.handbag like she is a pigeon and we are pigeons who do not understand
:06:09. > :06:14.it! He establishes his own mastery of the situation. The treasure of
:06:15. > :06:18.Madre rate is terrifying because it seems that all Stephen Gaghan has
:06:19. > :06:23.seen is Martin Scorsese films, but it is the one you see down the
:06:24. > :06:29.market where they have misspelt his name, it is a pound shop version!
:06:30. > :06:34.That is brutal! Stick that on the poster! Really? And the central
:06:35. > :06:40.character, one of the problems is that we are supposed to like him.
:06:41. > :06:44.Exactly, it wants its cake and eat it and it wants to portray Matthew
:06:45. > :06:48.McConaughey as an entrepreneur who carries out this huge fraud but he
:06:49. > :06:52.is the victim as well, so it wants to give him the glamour and appeal
:06:53. > :06:57.of a Jordan Bell for a figure and make him a nice guy, so it really
:06:58. > :07:03.tries to play both sides. At times, you almost smell him, there is a
:07:04. > :07:06.cloud of overflowing ashtrays and cheap cologne and Scotch but the
:07:07. > :07:10.actor is a terrible person and the movie should be about that and that
:07:11. > :07:12.is what Wolf of Wall Street is about. I expected that and it never
:07:13. > :07:16.came. No, it never did. All right. Also out this week,
:07:17. > :07:18.director Jeff Nichols' civil rights love story,
:07:19. > :07:19.Loving. Ruth Negga and Joel Edgerton star
:07:20. > :07:26.as Mildred and Richard Loving, an interracial couple
:07:27. > :07:27.who were threatened with prison in Fifties Virginia when they dared
:07:28. > :07:36.to marry and fall in love. Like it? I'm going to build you a
:07:37. > :07:47.house right here, our house. Would you marry me? This is a film about
:07:48. > :07:52.Richard and Mildred Loving, married in 1958 in Virginia, he was white
:07:53. > :07:54.and she was black, that was against the law.
:07:55. > :07:58.The police broke into their home in the middle of the night. The rest of
:07:59. > :08:04.them. And they were exiled from the home for 25 years.
:08:05. > :08:12.It is one of the most sincere love stories I have ever witnessed.
:08:13. > :08:20.I can take care of you. I know that. I can take care of you. We wanted a
:08:21. > :08:29.film that represented these people as we interpreted them. A political,
:08:30. > :08:33.very quiet. Sometimes, words do often get in the way. What intrigues
:08:34. > :08:39.me about human beings is often what we don't say. It is an amazing
:08:40. > :08:43.opportunity to talk about race and marriage equality but at the end of
:08:44. > :08:46.the day, we are really just talking about two people that loved each
:08:47. > :08:50.other. Is there anything you'd like me to
:08:51. > :09:00.say to the Supreme Court justices of the United States?
:09:01. > :09:05.No. Tell the judge I love my wife. Richard Loving being a white person
:09:06. > :09:09.and Mildred being a coloured person did unlawfully cohabitate as husband
:09:10. > :09:15.and wife! Are you nervous?
:09:16. > :09:18.I suppose. I think that we must recognise that everybody's story
:09:19. > :09:23.needs to be told. I think it's all right. This is not
:09:24. > :09:27.African American history, this is American history. And these are
:09:28. > :09:31.American stories, I would argue more than that, these are universal
:09:32. > :09:34.stories. Do you realise this case could alter
:09:35. > :09:38.the constitution of the United States?
:09:39. > :09:44.Do you think you will lose? We may lose the small battles, but we will
:09:45. > :09:51.win the big war. Peter, Loving, this is prejudice as
:09:52. > :09:56.corrosive rather than explosive. It is very understated. Very tense and
:09:57. > :10:00.beautiful. I agree, I think Ruth Negga is the beating heart of this
:10:01. > :10:04.film, she is absolutely brilliant, she is calm and gentle and
:10:05. > :10:08.incredibly intelligent in the way she understates every scene and
:10:09. > :10:12.every line reading and she creates this incredible aura around herself.
:10:13. > :10:19.If I could give her the Best actress Oscar right now, I would do, I would
:10:20. > :10:22.put it in the post to her right now. She is absolutely brilliant. What
:10:23. > :10:27.you think our chances with stiff competition? She should get the shot
:10:28. > :10:31.went boat and Natalie Portman gets it for Jackie. But I think Ruth
:10:32. > :10:35.Negga should get it, she is absolutely brilliant. I think she is
:10:36. > :10:40.slightly better than the film. This is a lovely film, but I think the
:10:41. > :10:44.scenes of the Supreme Court and the legalistic scenes toward the end,
:10:45. > :10:48.they are a little bit too deep and maybe there is something a little
:10:49. > :10:53.constrained and oversensitive about the way Jeff Nichols dramatises
:10:54. > :10:57.their intimacy. And I think maybe we could have seen more of their
:10:58. > :11:01.passion in a way. But I don't want to sound like I am bad-mouthing this
:11:02. > :11:07.film because Ruth Negga is so wonderful. Danny, I loved this film
:11:08. > :11:11.and what I liked was that in civil rights movies, there had been so
:11:12. > :11:17.many fantastic ones and there are these scenes of great oratory and
:11:18. > :11:22.excreting drama -- extreme drama and people overcoming it, but these
:11:23. > :11:25.people are not that. They are not especially political or great
:11:26. > :11:29.orators, they cannot stand in court and have their say, they are just
:11:30. > :11:33.living their lives but they make a huge difference. Absolutely right,
:11:34. > :11:37.there has been a decision not to make it to the stirring and rousing
:11:38. > :11:41.civil rights movie and even at home, they do not talk to each other very
:11:42. > :11:45.much. I agree with Peter, it does not always work but when it does, it
:11:46. > :11:48.works beautifully. You see characters who are not saying they
:11:49. > :11:51.love each other the whole time coming you just see it the way they
:11:52. > :11:54.are, physically the way they are with each other. So when America
:11:55. > :12:01.turns on them, you realise, of course they are a couple, we have
:12:02. > :12:04.seen them. It is not a question of telling each other, it is a question
:12:05. > :12:09.of being a couple. It seems monstrous when the night police
:12:10. > :12:12.burst in the darkness and they are in a cell block. Loving feel
:12:13. > :12:17.slightly different talking about it now than it did when it was first
:12:18. > :12:22.made in 2011 and even when it started screening last year. Now you
:12:23. > :12:27.see those scenes in 1958 which seem like something America some should
:12:28. > :12:30.have moved out from and there is a President in the White House who
:12:31. > :12:33.thinks this is buzzing the storage and a stroll down memory lane. So
:12:34. > :12:38.the film feels much less comfortable. There is a disconnect
:12:39. > :12:43.and it makes it more urgent. Director Jeff Nichols is very
:12:44. > :12:49.eclectic. Midnight Special. Shelter. How does this fit with his work? It
:12:50. > :12:52.is interesting, it meshes with the calm and ambient nature of his
:12:53. > :12:57.film-making. His gift for magic and got atmosphere and calm and
:12:58. > :13:02.gentle... Not doing anything dramatic. In Midnight Special,
:13:03. > :13:07.eading you something weird and occult was going to happen. Take
:13:08. > :13:10.shelter as well. It is different now, what is looming over the
:13:11. > :13:17.horizon is a racist, horrible event which is not just a question of bad
:13:18. > :13:20.and bigoted good old boys at the law of the lands, it is entrenched
:13:21. > :13:25.within the law of the land and that is the important part of the film.
:13:26. > :13:28.The law enacted by 10,000 strutting... Yes.
:13:29. > :13:30.Next is actress Alice Lowe's directorial feature debut,
:13:31. > :13:32.Prevenge - a tale of a heavily pregnant woman who shuns
:13:33. > :13:34.NCT and pre-natal yoga in favour of murder,
:13:35. > :13:50.I'm really sorry about your loss, I know it must be very difficult for
:13:51. > :13:55.you. At the end of the day, you've got this force of nature now inside
:13:56. > :14:01.you. Baby knows what to do. Baby will tell you what to do. It's just
:14:02. > :14:10.nature's way. I think nature is a bit of an ask,
:14:11. > :14:14.don't you? Prevenge is a pregnancy revenge
:14:15. > :14:22.killer, it is a very dark comedy about a pregnant woman, Ruth, who
:14:23. > :14:28.takes revenge upon society. I am a working mother.
:14:29. > :14:36.I did it when I was seven under half months pregnant. Children these days
:14:37. > :14:41.are really spoiled. Money, I want a PlayStation, money, I want you to
:14:42. > :14:46.kill Batman. I guess I felt that it was quite an alienating experience,
:14:47. > :14:49.well I was supposed to be a different person because you're
:14:50. > :14:56.having a baby -- I want you to kill that man. I'm scared of her. I
:14:57. > :15:00.thought, if I did a pregnant character, it must be the opposite
:15:01. > :15:06.to any assumptions you have about a pregnant person. Why are you telling
:15:07. > :15:11.me that? So you know that you have no control over your mind or your
:15:12. > :15:17.body any more. This one does. I really want the film to show the
:15:18. > :15:23.powerful sensory experience of being pregnant and the weird hormones
:15:24. > :15:27.going through you. You have dreams. Listen to the sound of my voice.
:15:28. > :15:33.Things seemed really brightly coloured at times, I had a powerful
:15:34. > :15:38.sense of smell. It was like being a werewolf. You wouldn't believe what
:15:39. > :15:42.I've been doing. I wanted to put that into the film, there are lots
:15:43. > :15:53.of close-ups and intense sound design. Sort of replicating the
:15:54. > :15:59.experience of being pregnant. Negativity's not good for the baby's
:16:00. > :16:03.spirit. You think? What are you doing? Fucking hell!
:16:04. > :16:13.I mean, who doesn't want to see a heavily pregnant woman having a
:16:14. > :16:19.knife fight with the Queen of the Ironborn from Game of Thrones? I've
:16:20. > :16:23.been waiting for this film. It sounds bad to say is less funny than
:16:24. > :16:31.I expected but it is a compliment. It is dark. This isn't that kind of
:16:32. > :16:35.comedy horror, with some slapstick zombies, there's something very
:16:36. > :16:38.disturbing going on. She's made a fine horror movie. It is a film
:16:39. > :16:50.about obsession and your body being taken over. Peter and I will explain
:16:51. > :16:55.the pregnancy! Shaping, out -- shaving, ouch. It is like Henry,
:16:56. > :17:00.portrait of a serial killer. It is like Alien, waiting for the birth
:17:01. > :17:05.scene, something malevolent and violent because that is what
:17:06. > :17:11.pregnancy is, it shatters the hushed tones of hypocrisy around pregnancy
:17:12. > :17:16.and you realise it is a horribly transgressive event and this film
:17:17. > :17:21.pays a condiment to that truth. It's really powerful and very authentic,
:17:22. > :17:30.it feels like a video diary dictated by Alice Lowe's id. I want to know
:17:31. > :17:33.what you think about it because from the outside, it seems more of a
:17:34. > :17:40.primal experience than it already did. Thinking back to my time in NCT
:17:41. > :17:45.classes with ladies talking about water retention, it feels different,
:17:46. > :17:51.but you have gone through this. I mean, you know, we all have our off
:17:52. > :17:55.days, I don't think many people go on a killing spree! It is stressful.
:17:56. > :18:00.I love the film and I love the quirkiness of it, the fact that it
:18:01. > :18:05.is telling a different story about pregnancy, albeit a very gory and
:18:06. > :18:14.violent one. Alice described it as art is an old pot -- artisinal pot.
:18:15. > :18:19.She wrote it in two weeks and filmed it in 11 days when she was seven
:18:20. > :18:27.months pregnant. Yet, I'm impressed by that. It was very cheap, it must
:18:28. > :18:30.have cost the same as Matthew McConaughey's bald wig. She must
:18:31. > :18:42.have filmed it with hidden cameras, it feels so real. It doesn't stand
:18:43. > :18:46.up logically. It is dreamlike, woozy. She has a great way, she's
:18:47. > :18:49.great in front of the camera and also behind it. She whips up quite a
:18:50. > :18:56.troubling mood. I've been having sleepless nights. As it stayed with
:18:57. > :19:07.you? Absolutely not. Ten hours a night! Like a log. She captures that
:19:08. > :19:10.kind of English Grotte. That almost smell, the pet shop smell, like
:19:11. > :19:22.particulate coming off the screen. What about the boring is? -- the
:19:23. > :19:28.gore level? I feel like she put a finger in my ear and is having a
:19:29. > :19:35.waggle. This is one of those subjects where the is to the point,
:19:36. > :19:45.it is one of those experiences where you experience serious horribleness.
:19:46. > :19:47.-- goriness. We are brave soldiers! Haven't you done well?
:19:48. > :19:51.And Prevenge is out in cinemas next Friday.
:19:52. > :19:53.Now, earlier this week, film lost one of its most eclectic
:19:54. > :19:55.and original actors, Sir John Hurt.
:19:56. > :19:58.In a career spanning over 60 years, he worked on everything
:19:59. > :20:01.from Hollywood blockbusters like Alien and Harry Potter
:20:02. > :20:03.to smaller, artier projects such as David Lynch's second film,
:20:04. > :20:21.There is something that I've been meaning to ask you for some time
:20:22. > :20:35.now. What's that? Can you cure me? No. No, we... We can care for you
:20:36. > :20:43.but we can't cure you. No. I thought not. Oh, man. What are your
:20:44. > :20:50.favourite performances? I wish you hadn't played that scene, it is not
:20:51. > :20:54.a sentimental film but it is also a film, there are line readings that
:20:55. > :20:59.just met you, that gets me every time. Something so spend about John
:21:00. > :21:03.Hurt and so human. Elephant Man is the perfect role but you can go
:21:04. > :21:09.through his whole career. Jackie, a lovely parting note for him, he's
:21:10. > :21:14.very good in that. He was a one-off, which performance stood out for you?
:21:15. > :21:21.I would say Scandal, about the Profumo affair of the 1960s which
:21:22. > :21:26.had Ian McKellen as Profumo. John Hurt played Stephen Ward, the
:21:27. > :21:33.osteopath. He was brilliant. He was a strong and weak character, he was
:21:34. > :21:37.defiant and transgressive, he wanted pleasure and challenged hypocrisy
:21:38. > :21:41.and yet he was fatally in all of the establishment. A brilliant and
:21:42. > :21:45.detailed performance. Absolutely wonderful. We have some of your
:21:46. > :21:52.tweets here that you been sending in. Jack says it is hard to choose
:21:53. > :21:58.but he was great in Little Malcolm And His Struggle Against The
:21:59. > :22:04.Eunuchs. Another says that they loved John Hurt in ten Rillington
:22:05. > :22:11.Place and in An Enlistment In New York. Another says that they loved
:22:12. > :22:12.him in 1984, playing Winston. I wonder if anybody has been watching
:22:13. > :22:14.that this week! Now, a two-hour-42-minute long
:22:15. > :22:24.German comedy may not sound like it would make
:22:25. > :22:26.many movie posters. Nominated for an Oscar last week,
:22:27. > :22:29.Toni Erdmann is the story of a father trying to reconnect
:22:30. > :22:53.with his daughter, I know, it's really busy and the
:22:54. > :23:01.moment. We were fighting over who had the most horrible weekend. I
:23:02. > :23:07.probably had the worst one, my father, without any warning... I am
:23:08. > :23:26.Toni, Toni Erdmann. I am Ambassador Toni Erdmann and
:23:27. > :23:33.this is my secretary. I have to arrest you. I'm sorry, my
:23:34. > :23:57.father made a stupid joke. All right, then. Peter, starting
:23:58. > :24:05.with you, three hours of laugh a minute 's German comedy. It is two
:24:06. > :24:10.hours 40 minutes. I thought this was a brilliant film, very emotionally
:24:11. > :24:17.touching, I love the father daughter story but I wasn't rolling in the
:24:18. > :24:20.aisles. It is a tragedy really, the tragic moment, the two tragic
:24:21. > :24:24.moments in your life, when you are growing up and you realise your dad
:24:25. > :24:27.isn't funny any more. The jokes that had you rolling in the aisles when
:24:28. > :24:31.you were ten years old and then you become a teenager and you think,
:24:32. > :24:36.stop it, stop trying to control me with jokes and it gets worse in your
:24:37. > :24:42.20s. It happens again when you are a parent and your kid says that you
:24:43. > :24:46.aren't funny any more. It is a film about someone trying in a very
:24:47. > :24:52.misjudged way to use jokes, not genuine humour, but stupid jokes to
:24:53. > :25:00.break through to your daughter. Going into the wigs and the teeth.
:25:01. > :25:05.It is not funny and it is tragically ambiguous because you think, is this
:25:06. > :25:10.a nice thing to do, or is it just abuse, passive aggressive control?
:25:11. > :25:20.We should say that there is no umpah music. Practical jokes are central
:25:21. > :25:24.to it because if anyone has known a practical joker, there is a strange
:25:25. > :25:31.pathology. There is a savagery to the film, you keep expecting them to
:25:32. > :25:36.have this kind of gooey reunion. There is something quite brutal
:25:37. > :25:40.about it. It reminds me of 70s British sitcoms like Fawlty Towers
:25:41. > :25:46.where Basil and Sybil hated each other, there wasn't this reservoir
:25:47. > :25:52.of affection. This taps into that. That's why we love those shows. Does
:25:53. > :26:04.the same apply? It reminds me of a more sentimental Hollywood movie
:26:05. > :26:11.like About Schmidt. It has a European hard-core sensibility, like
:26:12. > :26:16.Lars von Trio's The Idiots. There is a chill of fear because this guy is
:26:17. > :26:22.stalking her. He wouldn't dream of doing it to his son, if he was in
:26:23. > :26:26.that situation, undermining his professional standing but there is
:26:27. > :26:38.something gendered about it. She has to deal with her colleagues a lot as
:26:39. > :26:45.well. By a female director, Marian Ardagh -- Maren Ade. People talk
:26:46. > :26:49.about the length of it but it's interesting I don't think it would
:26:50. > :26:58.be half the film it is if it wasn't as long. It is madly long, it is
:26:59. > :27:02.like a Met fix -- Netflix series, it is like she couldn't bear to throw
:27:03. > :27:05.away any of the scenes they did. It wouldn't have the flavour without
:27:06. > :27:11.the vast reach. It is like a huge epic. Last 30 minutes is so
:27:12. > :27:18.unhinged, you need a couple of hours to work up to it.
:27:19. > :27:21.OK, so an interracial love story, a pregnant serial killer,
:27:22. > :27:22.Matthew McConaughey and a German comedy.
:27:23. > :27:39.Toni Erdmann. Toni. Fantastic. Prevenge for me.
:27:40. > :27:42.This time next week, the wonderful Clara Amfo
:27:43. > :27:44.will be sitting right here, on this very sofa.
:27:45. > :27:47.But I'll leave you with an exclusive look at "Mad to be Normal",
:27:48. > :27:50.which gets its World Premiere at the Glasgow Film Festival
:27:51. > :27:53.David Tennant stars as radical Scottish psychiatrist RD Laing,
:27:54. > :27:57.who set up a medication-free community for psychiatric patients
:27:58. > :28:09.Good night. I'm told that at your mental institution you advocate
:28:10. > :28:14.treatment for schizophrenics without any medication. It isn't a mental
:28:15. > :28:18.institution, it is a household of people with different states of
:28:19. > :28:26.mind, living together as people. Never taken drugs. LST sends you
:28:27. > :28:32.mad. We are friends, right? We look out for each other. What's the
:28:33. > :28:43.matter? It is people that nobody else gives a Funk about. -- fuck
:28:44. > :28:45.about. I've seen what families do to each other, I'm not putting my
:28:46. > :28:51.children through that. A coward walks away. A brave man walks away.
:28:52. > :28:58.Ooh! Drop it! It's not a prison, it's a
:28:59. > :29:07.hospital, it is a, not a punishment. Your name is Toby.
:29:08. > :29:28.Argh! You brought this upon yourself.
:29:29. > :29:32.No, you brought it on my family!