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Trump has delivered a speech to the National Rifle Association, the | :00:00. | :00:00. | |
first US president to do that since Ronald Reagan. Now on BBC News, it | :00:00. | :00:07. | |
is time for Talking movies. Hello and welcome to this special | :00:08. | :00:33. | |
Tribeca Film Festival edition of Talking Movies. In today's | :00:34. | :00:39. | |
programme, with sections on gaming, television and virtual reality, is | :00:40. | :00:44. | |
Tribeca moving away from just being a Film Festival? We will always be | :00:45. | :00:49. | |
about film, there is no question. That is in our DNA. It was a | :00:50. | :00:53. | |
festival in which the wonders of virtual reality were fully on | :00:54. | :00:58. | |
display. If you sit in a movie theatre and the character turns and | :00:59. | :01:01. | |
looks at the camera, they call at breaking the fourth wall. But in VR | :01:02. | :01:05. | |
there are no walls. Plus, Tribeca had movies from around the world. A | :01:06. | :01:09. | |
drama set in China, and the story of women's emancipation in Switzerland | :01:10. | :01:14. | |
in the 1970s. Bexley had these arguments in the 1970s. They were, | :01:15. | :01:18. | |
like, if women do politics it is apocalypse. Then there were | :01:19. | :01:24. | |
Tribeca's political films, the politically charged Confusing Times. | :01:25. | :01:29. | |
We are living in a surreal time, I just don't know what to make of it. | :01:30. | :01:33. | |
And a feature on people for whom the environment make them ill. All that | :01:34. | :01:37. | |
and more in the special Tribeca Film Festival edition of Talking Movies. | :01:38. | :01:48. | |
New York's Landmark radio city music Hall is home to the world-famous | :01:49. | :01:52. | |
synchronised dance is known as the Rockettes. But this year it has also | :01:53. | :01:57. | |
played host to launch of a rather different kind of showbiz Robert De | :01:58. | :02:03. | |
Niro's Tribeca Film Festival. I have learned through the years that Clive | :02:04. | :02:08. | |
really has a weakness for artists. A documentary profile of legendary | :02:09. | :02:13. | |
American musical executive Clive Davis opened the festival, a man who | :02:14. | :02:16. | |
has influenced the careers of such artists as Barry Mallow, Bruce | :02:17. | :02:19. | |
Springsteen, Aretha Franklin, Patti Smith and many more. But he is still | :02:20. | :02:26. | |
going strong at age 85, impressed Festival co-founder Robert De Niro. | :02:27. | :02:30. | |
I am not post to his aid, but I am getting there. So I have... He is an | :02:31. | :02:35. | |
inspiration. The longer he keeps going, the better it is for me. This | :02:36. | :02:42. | |
two Power documentary was put together by a filmmaker who has | :02:43. | :02:48. | |
packed a lot into it. Everything. 55 to 58 interviews, something like | :02:49. | :02:52. | |
that. Just an unbelievable amount of music and art and artists and | :02:53. | :02:56. | |
executives, it is just a blizzard of stars and things that people have | :02:57. | :03:01. | |
relationships with. You know, it is the history of popular music, 50 | :03:02. | :03:05. | |
years. Every so on somebody turned out to be a big hit. There is much | :03:06. | :03:10. | |
to admire in Clive Davis. His ability to stop spot and nurture | :03:11. | :03:15. | |
talent, his tenacity, but the film is not a warts and all exposure. It | :03:16. | :03:20. | |
is a puff piece in that it only tells his side of the story, and | :03:21. | :03:24. | |
there is nothing in it that makes him look at all negative. It was | :03:25. | :03:28. | |
kind of typical for a Tribeca opening night, where often you have | :03:29. | :03:31. | |
got a big gala event organised around a very important media | :03:32. | :03:35. | |
figure. And so they show a documentary that is fairly common | :03:36. | :03:39. | |
entry to that person in order to tie in the sort of celebrations, in this | :03:40. | :03:43. | |
case a big concert with lots of people. Tribeca's 12 day festival | :03:44. | :03:50. | |
isn't designed with the highbrow cineaste in mind. There are lots to | :03:51. | :03:55. | |
choose from, everything from Tom Hanks and Emma Watson to a political | :03:56. | :04:00. | |
satire setting India, the issue related documentaries, the porter at | :04:01. | :04:04. | |
the late actor Heath Ledger. No wonder just a Film Festival, Tribeca | :04:05. | :04:08. | |
also unveiled TV shows, virtual reality project and gaming. As | :04:09. | :04:13. | |
technology has changed, as the weight distribution has changed, we | :04:14. | :04:16. | |
are about storytelling. And good storytelling, whether or not it is | :04:17. | :04:20. | |
in gaming or amazing documentaries, short films, and great narratives. | :04:21. | :04:28. | |
This is the first Tribeca festival since Donald Trump became president. | :04:29. | :04:33. | |
These are politically charged times, giving Tribeca films which touch on | :04:34. | :04:37. | |
politics a special resonance. One looking back is the Reagan Show, | :04:38. | :04:42. | |
examining President Ronald Reagan and how the administration of the | :04:43. | :04:46. | |
long-time Hollywood actor use television to its advantage. The | :04:47. | :04:50. | |
film is made up entirely of archival footage from the time. A business | :04:51. | :04:53. | |
that I used to be instead save something for the third act. And we | :04:54. | :04:59. | |
will. The images suggest that the Reagan administration governed by | :05:00. | :05:01. | |
relying on what social commentators have turned post- truth politics. | :05:02. | :05:07. | |
Post- truth politics is a world in which politics is more about the | :05:08. | :05:13. | |
spectacle and the entertainment value of the event, rather than any | :05:14. | :05:21. | |
kind of real world, verifiable facts, evidence, truth. So if the | :05:22. | :05:26. | |
Reagan administration planted the seed is of post- truth politics, | :05:27. | :05:32. | |
then the Trump administration has really been harvesting that crop. | :05:33. | :05:41. | |
Tribeca is closing with screenings of the Godfather and Godfather part | :05:42. | :05:48. | |
two. Robert De Niro thinks that they connected with audiences because at | :05:49. | :05:51. | |
a time when the social fabric in America appeared to be fraying at | :05:52. | :05:55. | |
present a strong quarter of a family. People felt more enacted to | :05:56. | :05:58. | |
that than they did to the dissolution and the cynicism and | :05:59. | :06:02. | |
suspicion of the government, and so on -- portrait. I think that that | :06:03. | :06:07. | |
just... I am oversimplifying it, but that had a lot to do with it, in | :06:08. | :06:13. | |
some way. Too many New Yorkers, Tribeca is a welcome hodgepodge of | :06:14. | :06:16. | |
movies and affiliated activities, often proves very engaging. At the | :06:17. | :06:21. | |
festival is yet to launch a truly memorable picture that comes to | :06:22. | :06:28. | |
define it. During festival time, there was much talk about a sideshow | :06:29. | :06:32. | |
that could become the main show in years to come. Virtual reality. All | :06:33. | :06:37. | |
told, some 30 different virtual reality projects were on display. | :06:38. | :06:41. | |
Each attracting a lot of interest. Tristan Daley went along to | :06:42. | :06:51. | |
investigate. On the fifth floor of the Tribeca festival hub, | :06:52. | :06:53. | |
participants with headsets covering their eyes walk around waving their | :06:54. | :06:57. | |
hands in the air, interacting with a world only they can see. Tribeca is | :06:58. | :07:01. | |
one of several film festivals across the world to be demonstrating | :07:02. | :07:05. | |
burgeoning virtual reality technology, with a number of | :07:06. | :07:08. | |
different installations, in a time when the market for this gadgetry is | :07:09. | :07:12. | |
rapidly expanding. But Tribeca specially designed their exhibition | :07:13. | :07:18. | |
space to bring the most out of their virtual reality experiences. These | :07:19. | :07:21. | |
installations are not in your living room, so when you go into one of | :07:22. | :07:25. | |
these pieces you are not just putting the headset on. You are | :07:26. | :07:28. | |
actually entering the inflation that has been built specifically for the | :07:29. | :07:32. | |
space, so it is actually a bespoke experience. And it is actually a | :07:33. | :07:36. | |
very... It is like a collective experience, because people talk | :07:37. | :07:39. | |
about VR being very lonely but what I love about this as we are figuring | :07:40. | :07:43. | |
out ways to bring people into spaces and actually have them be part of | :07:44. | :07:47. | |
something that feels collective. They are very excited about the | :07:48. | :07:51. | |
cutting edge nature of these projects, claiming creators are | :07:52. | :07:54. | |
pushing the possibilities of virtual reality to its limits. Tree hug | :07:55. | :08:02. | |
Wawona is a project in which the dissidents creep up the trunk of a | :08:03. | :08:07. | |
tree and are able to see it produce oxygen. Creators wanted to immerse | :08:08. | :08:11. | |
the audience not only in the sights and sounds but also the actual smell | :08:12. | :08:16. | |
of the tree. We have got sent release system, so that adds... When | :08:17. | :08:22. | |
you push ahead through the bar, through the SAP, to the internals of | :08:23. | :08:27. | |
tree, the sound changes and the scent changes. The more you are | :08:28. | :08:30. | |
pushed into that world, with your senses, the more reel that journey | :08:31. | :08:35. | |
feels. So we are always pushing the limits of that and we have got that | :08:36. | :08:39. | |
sculptural elements, and your touch aligns with the virtual feed. Unlike | :08:40. | :08:42. | |
traditional motion picture formats, virtual reality thrust viewers into | :08:43. | :08:49. | |
a virtual 3-D space in which most times you can see 360 degrees around | :08:50. | :08:52. | |
you. Some veteran Phil Magas like Steven Spielberg are daunted by the | :08:53. | :08:56. | |
new technology, saying it takes control away from the storytellers, | :08:57. | :08:59. | |
giving the audience more choice on where to look. The advent of virtual | :09:00. | :09:06. | |
reality has given filmmakers a new storytelling vocabulary, that is | :09:07. | :09:10. | |
distinct from cinema. The director of the Madagascar animation | :09:11. | :09:17. | |
franchise brought Rainbow Crowed to Tribeca this year. It is a retelling | :09:18. | :09:21. | |
of a native American hotel. To him, virtual reality as a medium in its | :09:22. | :09:25. | |
own right. Coming from the storm world, I have directed a number of | :09:26. | :09:31. | |
films, and I thought easy, this is going to be no big deal, I've done | :09:32. | :09:35. | |
this for 25 years but I got humble really quick when I got into VR and | :09:36. | :09:40. | |
realised that it is just not the same. It just feels different, it | :09:41. | :09:42. | |
looks different. Audiences respond to it in different ways. You know, | :09:43. | :09:47. | |
if you said in a movie theatre and a character turns the camera, I don't | :09:48. | :09:50. | |
really feel like they are looking at me. You know, they call it raking | :09:51. | :09:54. | |
the fourth wall, but in VR, there are no walls. And that is a pretty | :09:55. | :09:58. | |
amazing experience for audiences. This whole space is in such a period | :09:59. | :10:03. | |
of flux. And what is so interesting about all this technology is every | :10:04. | :10:06. | |
time you get your hands around one thing and you figure out how it | :10:07. | :10:10. | |
works, like, Tribeca next is going to look completely different. It | :10:11. | :10:14. | |
just keeps. Many challenges lie ahead for this medium, such as how | :10:15. | :10:19. | |
best to harness virtual reality to tell original stories, and how to | :10:20. | :10:23. | |
develop mass distribution so hundreds can share the same virtual | :10:24. | :10:26. | |
reality experience simultaneously. And commercially, a priority remains | :10:27. | :10:32. | |
developing an effective business model so this new technology can be | :10:33. | :10:42. | |
monetised. Now on to some Tribeca films in a bit more detail. It goes | :10:43. | :10:47. | |
without saying that Tribeca is an American festival. After all, it | :10:48. | :10:50. | |
takes place on American soil. But this year, films from some 31 | :10:51. | :10:53. | |
different countries were shown. Among them, King of the king, set | :10:54. | :11:01. | |
and shot in China. Basically it is a father-son relationship drama, but | :11:02. | :11:05. | |
it is also an ode to cinema, as our correspondent reports. Set in China | :11:06. | :11:12. | |
in 1998, King of the king is a layered comedy about a projectionist | :11:13. | :11:15. | |
whose love for movies, and even greater love for his son. The story | :11:16. | :11:21. | |
is about a father who is a projectionist. He has got a son who | :11:22. | :11:25. | |
works with him in business, which as they travel around China, or rural | :11:26. | :11:29. | |
parts of China, and they scream movies for villagers. And his | :11:30. | :11:33. | |
project catches fire. And they have two start finding new ways to work | :11:34. | :11:38. | |
together. The ex-wife is putting an enormous amount of pressure on them, | :11:39. | :11:41. | |
on the father, he has basically given them an ultimatum that unless | :11:42. | :11:45. | |
he pays X amount of money he is basically not going to have custody | :11:46. | :11:49. | |
of his child any more. And that is why he goes to the great expense of | :11:50. | :11:53. | |
bootlegging movies in order to keep his son. He even Rolls himself up | :11:54. | :11:57. | |
with film to smuggle them to the basement where he makes his DVDs. | :11:58. | :12:05. | |
According to voters, the digital age phenomenally transformed cinema in | :12:06. | :12:08. | |
China. It was really only when DVDs entered the market, in the 1990s, | :12:09. | :12:17. | |
and VCDs, different types of video discs, that these movies were able | :12:18. | :12:21. | |
to enter the home and be consumed by people who beforehand didn't have | :12:22. | :12:26. | |
access to these type of stories. And Sam Voutas says an easy way to get | :12:27. | :12:30. | |
your hands on a DVD copy of your favourite movie was from but later | :12:31. | :12:34. | |
on the street. He got the idea from the story when one of his previous | :12:35. | :12:38. | |
films, also set in China, was bootlegged in real life. It was sort | :12:39. | :12:43. | |
of a spark that got me writing. So our previous film, within a week it | :12:44. | :12:47. | |
was on the streets of Beijing, and rather than get angry, I was | :12:48. | :12:51. | |
actually very impressed with the creativity that the bootleggers had. | :12:52. | :12:55. | |
They had done their own artwork, they had done their own credit is, | :12:56. | :12:58. | |
really interesting stuff. So I realise that there was a creative | :12:59. | :13:03. | |
element to the bootlegging. And that is how it started. It is more of a | :13:04. | :13:08. | |
sort of... I guess you could say it is a celebration of the creativity | :13:09. | :13:15. | |
of that... Of that world. King of the king is Sam Voutas's first film | :13:16. | :13:21. | |
to premiere at the Tribeca Film Festival. Support doesn't guarantee | :13:22. | :13:29. | |
him widescale success, but he hopes that the exposure from this festival | :13:30. | :13:32. | |
will bring a wide audience from those who only saw his last film on | :13:33. | :13:37. | |
bootlegged. While making movie about the bootlegging industry in China is | :13:38. | :13:41. | |
clever and a bit tongue in cheek, for the producer of the film, it all | :13:42. | :13:45. | |
comes back to one thing. A tale of a father and his son. It is a love | :13:46. | :13:50. | |
letter, father to son and son to father, as well as of other to | :13:51. | :13:55. | |
cinema, and to his passions in life. The real heart of the film is about | :13:56. | :14:06. | |
love. People whose lives are destabilised by products like house | :14:07. | :14:10. | |
paint, perfume, even mobile phones. These are the individuals | :14:11. | :14:17. | |
scrutinised in the Tribeca documentary The Sensitives. | :14:18. | :14:24. | |
The subjects of this powerful new documentary, The Sensitives, live | :14:25. | :14:35. | |
day to day in a unique ligament. The new disorder that the mainstream | :14:36. | :14:39. | |
medical community recognises as real but has not yet developed any | :14:40. | :14:43. | |
treatment or medication for. It has a name. Multiple chemical | :14:44. | :14:47. | |
sensitivity. But because the symptoms vary dramatically, many | :14:48. | :14:52. | |
suffer to even -- struggle to even define their illness. He started | :14:53. | :14:55. | |
having trouble at work with his colleagues, their personal hygiene, | :14:56. | :15:00. | |
their shampoo, things like that. What they have in common is they | :15:01. | :15:05. | |
developed these debilitating reactions to commonplace things in | :15:06. | :15:08. | |
the environment, things we take for granted, like garden pesticides or | :15:09. | :15:14. | |
house paint, perfume and Cologne and even cellphones, wireless router is | :15:15. | :15:22. | |
and things like that. The degree to which it of those things affects | :15:23. | :15:26. | |
them varies and the kinds of things, the way it manifests, has variation. | :15:27. | :15:32. | |
What they share in common is the things that most of us are | :15:33. | :15:35. | |
unaffected by in small amounts affects them immensely. This radio | :15:36. | :15:42. | |
is on at home way to figure out if any electrical appliances are | :15:43. | :15:47. | |
spewing out electromagnetic fields. In order to function with any | :15:48. | :15:51. | |
normalcy the subjects must dramatically rearrange their lives. | :15:52. | :15:55. | |
Some move to promote areas where there are fewer man-made chemicals | :15:56. | :15:59. | |
and electronics, others create safe spaces in their homes and where a | :16:00. | :16:03. | |
mask any time they leave. Even documenting their lives was a unique | :16:04. | :16:06. | |
challenge for the filmmakers, since the cameras and microphones needed | :16:07. | :16:10. | |
to capture these stories, often making the subjects physically sick. | :16:11. | :16:16. | |
They are unsure of the effects of the camera because they normally | :16:17. | :16:19. | |
avoid things like that at all costs, but they signed up to be part of | :16:20. | :16:24. | |
this project because they feel like their story is being told and that | :16:25. | :16:27. | |
could help other people like them feel less lonely and marginalised. | :16:28. | :16:31. | |
Like they are not the only ones. So there were many moments where I have | :16:32. | :16:35. | |
to stop shooting because the subjects were feeling uncomfortable | :16:36. | :16:42. | |
with what was going on. Most of the film, I keep a healthy distance | :16:43. | :16:46. | |
between the subject and myself. This is a story that could have been told | :16:47. | :16:50. | |
in a variety of ways. Filmmakers could have done a conventional | :16:51. | :16:53. | |
talking head style documentary with members of the medical community, | :16:54. | :16:57. | |
they could have focused on the companies that create these | :16:58. | :17:00. | |
chemicals and electronics. Instead The Sensitives looks at its subjects | :17:01. | :17:04. | |
to a personal lens, examining how this unique illness impacts their | :17:05. | :17:07. | |
relationships. We really protected him against this chemical | :17:08. | :17:13. | |
sensitivity. The story of the caregivers was just as important as | :17:14. | :17:18. | |
those who were afflicted with them. I mean, it's the other half of the | :17:19. | :17:22. | |
story, it's what grounds their identity. Are their loved one | :17:23. | :17:27. | |
sticking by and keeping them in contact with the world? And | :17:28. | :17:31. | |
96-year-old grandmother who delivers mail and supplies and tries to bring | :17:32. | :17:34. | |
some kind of levity to their lives every day. Or a wife who tries to | :17:35. | :17:39. | |
keep her husband saying by thinking and interacting with his | :17:40. | :17:45. | |
grandchildren through all this. So those stories to me were just as | :17:46. | :17:49. | |
compelling as those who were sick and also served as a really | :17:50. | :17:52. | |
important bridge to everyone who would watch this film. When you are | :17:53. | :17:57. | |
that impaired it can really make you feel like dirt. For instance, go | :17:58. | :18:02. | |
into the store each day, people usually notice that you are not | :18:03. | :18:06. | |
acting like everyone else, but they don't really know what's going on. | :18:07. | :18:09. | |
Whenever we are confronted with an illness we don't understand, we | :18:10. | :18:13. | |
almost always put the blame on the person who is it. Multiple | :18:14. | :18:16. | |
sclerosis, before we understood how it works, you were an hysterical | :18:17. | :18:21. | |
woman, that's why you felt that way. PTSD was, you are a man with a weak | :18:22. | :18:26. | |
constitution. Man up. Aid was, you are gay. That's why this is coming | :18:27. | :18:34. | |
upon you. -- Aids was. Said before we knew what was going on we phrased | :18:35. | :18:39. | |
it in such a way that it will blame on the person who was sick. It's | :18:40. | :18:43. | |
your fault. You why your own worst enemy. I think these people suffered | :18:44. | :18:46. | |
the same kind of treatment, being that people were saying it was in | :18:47. | :18:50. | |
the ahead, it's all your fault. I would like this film to encourage | :18:51. | :18:55. | |
discussion and get us past that and break that pattern. When you are | :18:56. | :18:58. | |
already not feeling well, you begin to feel like you are the scum of the | :18:59. | :19:01. | |
earth. When I was scrutinising the Tribeca | :19:02. | :19:15. | |
lineup this year for films that Talking Movies could possibly cover, | :19:16. | :19:19. | |
I was startled by the right upper one of them which mentioned the | :19:20. | :19:23. | |
women in Switzerland did get the right to vote until very late, 1971. | :19:24. | :19:29. | |
The Tribeca film of divine order looked at the story of one woman's | :19:30. | :19:31. | |
emancipation in that time. In the film the protagonist is a | :19:32. | :19:46. | |
wife who without complaints tends to the needs of her husband, father and | :19:47. | :19:50. | |
two children. But she wants more. She wants to work. At that time in | :19:51. | :19:53. | |
Switzerland women couldn't work without permission from their | :19:54. | :19:57. | |
husbands. She is just a regular person in the village, very busy | :19:58. | :20:01. | |
with her kids and she finds out when her husband forbid to the work that | :20:02. | :20:05. | |
she is actually really affected by these discriminatory laws in | :20:06. | :20:10. | |
Switzerland and also that she can't vote, she starts to be angry about | :20:11. | :20:14. | |
it and she starts to become a rebel and fight for it. As The Divine | :20:15. | :20:18. | |
Order makes clear, women's rights in early 1970s Switzerland were | :20:19. | :20:24. | |
minimal. 1971, its 46 years ago. Nothing. And they have no right, no | :20:25. | :20:31. | |
right to go to work, no right to open up a bank account. They | :20:32. | :20:36. | |
couldn't sign a contract without the wheel of a man. -- the will. | :20:37. | :20:43. | |
Having women involved in the political process was seen as being | :20:44. | :20:49. | |
against gods law, against the divine order. The film doesn't directly | :20:50. | :20:56. | |
address why Switzerland commonly thought of as quite a modern country | :20:57. | :21:00. | |
was so late in granting women the right to vote. There are several | :21:01. | :21:04. | |
possible explanations. I think the big reason is that Switzerland is a | :21:05. | :21:10. | |
deeply conservative country and very opposed to change. Switzerland has | :21:11. | :21:15. | |
always been kind of well, like after the Second World War the world was | :21:16. | :21:18. | |
in shreds, but Switzerland was still a cave. So they didn't be the | :21:19. | :21:25. | |
necessity. But we are fine! Everything is fine, we shouldn't | :21:26. | :21:30. | |
change it. In the film one of the most visible local opponents in | :21:31. | :21:34. | |
granting women the right to vote is a woman at smack the head of the | :21:35. | :21:37. | |
anti- politicisation of women's action committee. Many women were | :21:38. | :21:42. | |
opposed to universal suffrage. I thought that was a very intriguing | :21:43. | :21:46. | |
antagonist because it is so surprising that it's a woman. I read | :21:47. | :21:50. | |
a whole dissertation on them. I thought that's more interesting. I | :21:51. | :21:56. | |
think patriarch in the end affects everybody, men and women, and I | :21:57. | :22:00. | |
wanted to break up that strict line between men and women because it is | :22:01. | :22:04. | |
not between men and women. I deeply believe the quality is good for men | :22:05. | :22:09. | |
and women. The film has already opened in Switzerland. It is a story | :22:10. | :22:13. | |
of female empowerment which really resonated with the picture arriving | :22:14. | :22:17. | |
in cinemas at the time of the worldwide women's march in the wake | :22:18. | :22:21. | |
of President Trump's inauguration. I think with the current political | :22:22. | :22:26. | |
atmosphere, I think the film has become more timely than we | :22:27. | :22:30. | |
anticipated one year ago. Because the film is also about courage, | :22:31. | :22:35. | |
about standing up and voicing your opinion, about fighting for justice | :22:36. | :22:41. | |
and equality. This story of Swiss women's emancipation is quite good | :22:42. | :22:47. | |
cinema. The lead actor is convincing in the central role and The Divine | :22:48. | :22:51. | |
Order very effectively paints a picture of an inward looking | :22:52. | :22:56. | |
community, sealed off from the rest of the world, that threatens to | :22:57. | :22:58. | |
suffocate its inhabitants. That brings this special Tribeca | :22:59. | :23:08. | |
film festival edition of Talking Movies to a close. We hope you've | :23:09. | :23:13. | |
enjoyed the programme. Remember, you can always reach us online and you | :23:14. | :23:18. | |
can find us on Facebook too. From me Tom Brook and the rest of the | :23:19. | :23:23. | |
Talking Movies production crew in New York, it's goodbye. We leave you | :23:24. | :23:30. | |
with a clip from a virtual reality project called Life of Us, the story | :23:31. | :23:33. | |
of evolution on earth. | :23:34. | :23:37. |