0:00:46 > 0:00:50The layers and the sense of fun and playfulness
0:00:50 > 0:00:53when I'm referencing different things...
0:00:53 > 0:00:57In my opinion, anyone would be able to get it, in a really intuitive way.
0:00:57 > 0:01:01You don't have to have, in any way, been to art college or anything
0:01:01 > 0:01:05like that, and I find that people do appreciate it on many levels.
0:01:38 > 0:01:42I've been given lots of opportunities where you're completely free.
0:01:42 > 0:01:44It's the opposite of being controlled.
0:01:44 > 0:01:49Like, "Please, come and do what you want here", so I haven't even had
0:01:49 > 0:01:54to think about where I place myself in relation to performance art.
0:01:54 > 0:01:57It's slightly outrageous. I'm quite spoilt.
0:02:14 > 0:02:16If you are obsessively trying to work on an idea
0:02:16 > 0:02:19and you don't want to be bothered by eating, porridge is amazing.
0:02:19 > 0:02:22It means that you don't have to eat for ages.
0:02:22 > 0:02:24Totally unfascinating thing
0:02:24 > 0:02:27is that I mix my porridge half water, half milk.
0:02:35 > 0:02:38My name is like a trading name,
0:02:38 > 0:02:41or like a nom de plume,
0:02:41 > 0:02:44nom de guerre, whatever it is. A stage name.
0:02:44 > 0:02:46All of the above makes sense.
0:02:46 > 0:02:49When someone uses a name for when they work, if that makes sense.
0:02:49 > 0:02:52It's very straightforward, very simple for me.
0:02:58 > 0:03:01During some of the time when I was using that name, I thought
0:03:01 > 0:03:06it would be really irritating and funny to change it again,
0:03:06 > 0:03:08when the people who had been irritated by it
0:03:08 > 0:03:10were just settling with it.
0:03:10 > 0:03:12So I waited until what I thought was the right time,
0:03:12 > 0:03:14and it felt like it was this summer.
0:03:14 > 0:03:17So I went for it and it seems to have been really perfect
0:03:17 > 0:03:19and quite fun, still.
0:03:19 > 0:03:21I just can't describe it.
0:03:21 > 0:03:23With anything like that, I definitely don't care.
0:03:23 > 0:03:27It's like I'm choosing a name to cheer myself up,
0:03:27 > 0:03:30but it's extremely complicated, all the reasons.
0:03:30 > 0:03:33There's so many reasons that you could pick on to talk about,
0:03:33 > 0:03:36or you could choose to explain.
0:03:36 > 0:03:40And in a simple way, the name is a way to keep me cheered up.
0:03:40 > 0:03:45It's not for any other person. It's like a private joke, in a weird way.
0:04:02 > 0:04:04I received a phone call asking me
0:04:04 > 0:04:06if I'd like to be part of the Turner Prize,
0:04:06 > 0:04:08and I think of my work almost like a child
0:04:08 > 0:04:10that I've had for seven, eight years.
0:04:10 > 0:04:13It feels like I love it in the same way, weirdly.
0:04:13 > 0:04:16So I don't have a dilemma between my work and my baby.
0:04:16 > 0:04:19I love them like they're both kids.
0:04:19 > 0:04:22And so to turn down the Turner Prize feels wrong,
0:04:22 > 0:04:24because it feels like you're denying your child,
0:04:24 > 0:04:27that's eight years old, the fun that it should have, or something.
0:04:27 > 0:04:29So I said yes to it.
0:04:29 > 0:04:31This little person was three months old
0:04:31 > 0:04:36and I had to continue to be a good, professional artist.
0:04:36 > 0:04:38Also, I had to contribute to my income as well.
0:04:38 > 0:04:41So it's quite normal, in a weird way.
0:04:41 > 0:04:44I'm sure it's normal for everyone these days to balance.
0:04:46 > 0:04:48Impressive. Impressive brushing.
0:04:48 > 0:04:50Shall I help?
0:04:55 > 0:04:58There was stability in my family before I was born
0:04:58 > 0:05:00until an age of roughly when I was three,
0:05:00 > 0:05:02and then from the age of three,
0:05:02 > 0:05:05there was a lot of travelling and transition.
0:05:07 > 0:05:09My parents, through their work...
0:05:09 > 0:05:15We lived in Hong Kong, and we lived in Malaysia, and in Australia,
0:05:15 > 0:05:18and even in Pakistan for a little bit.
0:05:19 > 0:05:22There were times when we lived on beaches in Australia,
0:05:22 > 0:05:25and at the night-time, there were sunsets
0:05:25 > 0:05:27and parrots came onto our balcony.
0:05:28 > 0:05:32It was very colourful, wild, free and exotic, I guess, as well.
0:05:34 > 0:05:40Both my parents have encouraged us to have unconventional,
0:05:40 > 0:05:42alternative upbringings and lifestyles.
0:05:42 > 0:05:45To be honest with you, I think I've even been almost, like,
0:05:45 > 0:05:51an experiment by my parents, to have a different take on life.
0:05:51 > 0:05:53I think they really wanted it, actually.
0:06:46 > 0:06:48This whole room is one piece of art.
0:06:48 > 0:06:51This is one element, the brain bug is one element,
0:06:51 > 0:06:53the diorama is one element, the gobos are one element.
0:06:58 > 0:07:00I've just started without planning it.
0:07:01 > 0:07:03It's like when you write a sign
0:07:03 > 0:07:06and you haven't planned out where to put the letters,
0:07:06 > 0:07:08so you ended up squeezing all the letters at the end.
0:07:08 > 0:07:13You know, the last three letters haven't got the perfect spacing.
0:07:14 > 0:07:18At worst, it's called abysmal, and at best, it's called punk.
0:07:35 > 0:07:39I've got the means to hold together a group of people
0:07:39 > 0:07:42to have a particular time,
0:07:42 > 0:07:48like a buoyant sense of freedom, a sense of autonomy,
0:07:48 > 0:07:51as if they're sort of feeling like they're empowered.
0:07:52 > 0:07:57So, I'm asking, very simply, whether our morality is up-to-date
0:07:57 > 0:08:02with the amount of medical and technical advance
0:08:02 > 0:08:04that we have in our society. It's very simple.
0:08:04 > 0:08:07It's like our outdated morality is probably more linked
0:08:07 > 0:08:09to Victorian times or medieval times or something like this.
0:08:09 > 0:08:12Financial gurus such as Alvin Hall
0:08:12 > 0:08:16encourage people to rein in their spending...
0:08:18 > 0:08:22..to control their fiscal urges and desires,
0:08:22 > 0:08:25and, in this way, gain freedom.
0:08:35 > 0:08:41Can we adapt and cope, and change, and have good quality of life,
0:08:41 > 0:08:45and feel confident and full of morale?
0:08:45 > 0:08:48And the performances definitely ask those questions.
0:08:48 > 0:08:50I'm not trying to hide it.
0:08:50 > 0:08:53If they're seen to be just entertaining,
0:08:53 > 0:08:56that would be kind of wrong, to be honest with you.
0:09:02 > 0:09:05This is the brain bug from Starship Troopers.
0:09:23 > 0:09:27We're inside the brain bug and it's like a metal,
0:09:27 > 0:09:30aluminium frame with two layers of skin.
0:09:30 > 0:09:32One is foam and one's cloth.
0:09:33 > 0:09:37People say that I'm intentionally bad,
0:09:37 > 0:09:42as if I was intentionally amateurish with my aesthetic, when, actually,
0:09:42 > 0:09:47if you were to watch me, I'm just excited and impatient to make things.
0:09:47 > 0:09:49And I'm making them myself, that's why they look bad.
0:09:49 > 0:09:51It's me making them.
0:09:51 > 0:09:53It's not because I'm employing a professional or that I've
0:09:53 > 0:09:56spent five years learning how to use the material,
0:09:56 > 0:10:00it's because I'm trying to botch it together quickly to tell a story.
0:10:03 > 0:10:07I want to make it really expressive and dirty, and sort of crazy,
0:10:07 > 0:10:09and I don't have any other people other than myself,
0:10:09 > 0:10:11so I might have to just go crazy on my own.
0:10:16 > 0:10:24I'm totally interested and always full of respect
0:10:24 > 0:10:27when I research and learn about any of the artists
0:10:27 > 0:10:30who have gone through the '60s and '70s,
0:10:30 > 0:10:33all these famous periods of happenings
0:10:33 > 0:10:35and art events, performance...
0:10:35 > 0:10:39I just think it's nothing but deeply impressive.
0:10:41 > 0:10:43I was invited by some friends
0:10:43 > 0:10:45who were from the same art college as me
0:10:45 > 0:10:49to put on a live element in a show they were doing.
0:10:49 > 0:10:52Then I started researching, kind of thinking that it would be funny,
0:10:52 > 0:10:56not laughing, but I was being very flippant... I was thinking,
0:10:56 > 0:11:00"Oh, I'll just have a go at re-enacting the Anthropometries."
0:11:00 > 0:11:03There was this really famous moment where the women were painted
0:11:03 > 0:11:06and they impressed their bodies with the blue paint
0:11:06 > 0:11:08and made these brilliant, famous impressions.
0:11:08 > 0:11:11Some of them were just slid across the floor, and it was all
0:11:11 > 0:11:14kind of as if they were brushes, rather than using brushes.
0:11:14 > 0:11:18He really questioned things. He threw away the paint brush.
0:11:18 > 0:11:22And he wanted to have naked women in the studio to be more invigorated,
0:11:22 > 0:11:23so it's just wonderful.
0:11:23 > 0:11:25I think he's brilliant.
0:11:25 > 0:11:33But in all honesty, in total, natural, knee jerk reaction reality,
0:11:33 > 0:11:36the people who I reference are more like the Marx Brothers,
0:11:36 > 0:11:38Mae West,
0:11:38 > 0:11:42anyone from Kenny Everett to Harry Hill.
0:11:43 > 0:11:48There's a level where I'm genuinely connected to something
0:11:48 > 0:11:51more like carnival and comedy...
0:11:53 > 0:11:57..rather than endurance performance arts.
0:11:57 > 0:12:02I've been given lots of opportunities where you're completely free.
0:12:02 > 0:12:05I am being given total rein,
0:12:05 > 0:12:09and that's happened to me for a long time now, from college.
0:12:09 > 0:12:12It's as if I'm been given... It's the opposite of being controlled.
0:12:12 > 0:12:16Like, "Please, come and do what you want here",
0:12:16 > 0:12:20so I haven't even had to think about where I place myself,
0:12:20 > 0:12:22really, in relation to performance art and things.
0:12:22 > 0:12:25It's slightly outrageous, like I'm quite spoilt.
0:12:52 > 0:12:56We've come to these caves called Peel Street Caves,
0:12:56 > 0:12:59and we're going to do a section of the film where people are going
0:12:59 > 0:13:03to be doing debt counselling and it's going to be a small section
0:13:03 > 0:13:06filmed that will be part of Nottingham Contemporary's exhibition.
0:13:17 > 0:13:19We're in the Peel Street Caves,
0:13:19 > 0:13:21which are under the city of Nottingham.
0:13:21 > 0:13:23This is also known as Rouse's Sand Mine,
0:13:23 > 0:13:27and it's one of the 550 caves that we know about under the city.
0:13:27 > 0:13:29They're all sandstone, they're all man made,
0:13:29 > 0:13:32and this is the biggest, we think, anyway.
0:13:32 > 0:13:34We're all happy? Are you happy? Is that it?
0:13:34 > 0:13:37'The space is beautiful to me
0:13:37 > 0:13:42'because I want to present a kind of help group,
0:13:42 > 0:13:44'like an anger management,
0:13:44 > 0:13:47or maybe a Weight Watchers group,
0:13:47 > 0:13:50but this one, in this case, is debt counselling.
0:13:52 > 0:13:58'I wanted it to look a little bit like medieval pictures of purgatory.
0:13:58 > 0:14:00'In reality, their real debt problems
0:14:00 > 0:14:04and the proportions of the rocks
0:14:04 > 0:14:10'are to be in relation to the actual debt that the person has.
0:14:10 > 0:14:14'We're going to put the rocks on our backs and walk around,
0:14:14 > 0:14:18'and then the character who's playing the debt counsellor,
0:14:18 > 0:14:25'who's the star of my story, she's going to be very calmly,
0:14:25 > 0:14:27'and in a concerned way,
0:14:27 > 0:14:30discussing the individual debt problems which each of the people in the group.
0:14:30 > 0:14:33Anyone who's ready, can you jump in the middle?
0:14:33 > 0:14:35I want to do Joanne's hair.
0:14:35 > 0:14:38'Hopefully, it'll come across as visually interesting,
0:14:38 > 0:14:42'and maybe, I don't know, MAYBE humorous, but we'll see.
0:14:42 > 0:14:45'It might just come across as earnest and odd.
0:14:45 > 0:14:47But I'm going to have a go at doing it.
0:14:50 > 0:14:52'In the medieval times, there was this idea
0:14:52 > 0:14:54'that you could buy your way into heaven,
0:14:54 > 0:14:57'and then, in Victorian times, there was debtors' prisons,
0:14:57 > 0:15:00'and now we have credit card culture,
0:15:00 > 0:15:03'so I was just interested in the differences.
0:15:03 > 0:15:08'And I was wanting to really have a debt counselling club
0:15:08 > 0:15:12'were people really did have papier-mache boulders
0:15:12 > 0:15:15'that corresponded to their bank balances.
0:15:16 > 0:15:21'And in the film or video we're doing now, they're just meant to be
0:15:21 > 0:15:27'that that whole idea, as a package, gets represented in the film.'
0:15:29 > 0:15:31Does it look worthwhile doing?
0:15:31 > 0:15:33Can you touch your chin again like you do?
0:15:33 > 0:15:36I do feel like I've done all I can for you now.
0:15:38 > 0:15:40CHETWYND LAUGHS
0:15:40 > 0:15:42I've never given up on someone before though.
0:15:43 > 0:15:47GIGGLING: You guys have got it wrong, he needs to be congratulated.
0:15:48 > 0:15:49Thank you.
0:15:51 > 0:15:54'I don't seem to work in any way in a professional,
0:15:54 > 0:15:55'conventional film-making way.
0:15:57 > 0:16:02'I have a slight reaction to the professional film industry.
0:16:02 > 0:16:05I respect it but, for some reason, I want to work in a much more
0:16:05 > 0:16:07low economy and hand-to-mouth way,
0:16:07 > 0:16:12'and very much allowing spontaneity.'
0:16:12 > 0:16:13Is there any light as she comes up here?
0:16:13 > 0:16:15Does she get caught by the light?
0:16:15 > 0:16:19'My mum's a professional set designer, a production designer,
0:16:19 > 0:16:23and she's won an Oscar for Howards End, with Merchant Ivory.
0:16:25 > 0:16:29'Some of my earliest memories of being on a film set playing
0:16:29 > 0:16:32'with my brother, and we're having a lot of fun,
0:16:32 > 0:16:34'and everyone on the set was really great with us.
0:16:34 > 0:16:35'They were welcoming.'
0:16:35 > 0:16:37You're doing really well.
0:16:37 > 0:16:41'I remember we used remember we used to smash up doors with chains
0:16:41 > 0:16:45'so that the doors had chips, so that it looked as though
0:16:45 > 0:16:48'it had been lived in and other sort of film tricks.'
0:16:48 > 0:16:50If you want to, we can offer you...
0:16:50 > 0:16:54What seems to really work is eating really, really harsh horseradishes.
0:16:54 > 0:16:57Amazingly, Jacob was nearly in tears. Would you like to do that?
0:16:57 > 0:16:59Lucy's game, Martin's smiling.
0:16:59 > 0:17:03Eat it quickly then move your hand away. Well done.
0:17:11 > 0:17:14'The group I work with, I problem solve with them
0:17:14 > 0:17:15'and I test the ideas to the group
0:17:15 > 0:17:17'I'm going to out the performance on with.
0:17:17 > 0:17:20'They understand the ideas, they like them.
0:17:20 > 0:17:23'The group's made up of quite a random group of people anyway,
0:17:23 > 0:17:27'from different backgrounds, so that's the lock, at that moment,
0:17:27 > 0:17:30'when you realise that the group enjoy all of the humour
0:17:30 > 0:17:32'and all of the references.
0:17:32 > 0:17:36'Normally, that will be a successful communication to an audience.
0:17:36 > 0:17:38'I've found it very straightforwardly.'
0:17:48 > 0:17:50Do you know sewing machine pinning? I don't know.
0:17:50 > 0:17:54If you do it like this, the sewing machine can go over it,
0:17:54 > 0:17:55but I don't mind.
0:17:57 > 0:17:59So, this is like a... How do I put it?
0:17:59 > 0:18:02This is like a spare three hours,
0:18:02 > 0:18:06where we can make the costumes ready for the performances
0:18:06 > 0:18:07that are coming up.
0:18:07 > 0:18:12It's like a moment, a day before the opening, where you could go
0:18:12 > 0:18:14and relax, but in fact it's really useful
0:18:14 > 0:18:17to just get ahead of some of the workload,
0:18:17 > 0:18:19get some of the things mended,
0:18:19 > 0:18:23and make sure that the guys who are performing
0:18:23 > 0:18:27feel like they're slightly loved or slightly looked after.
0:18:32 > 0:18:34This one...
0:18:34 > 0:18:39You know in Star Wars there's this creature called a Wookiee
0:18:39 > 0:18:42that Chewbacca is well known for being?
0:18:42 > 0:18:46These are Wookiee children, this is a Wookiee child.
0:18:46 > 0:18:48I think they're going through a sort of teenage crisis
0:18:48 > 0:18:50and they've dyed their hair pink or something.
0:18:50 > 0:18:52I don't know what it is.
0:18:54 > 0:18:57- Oh, my God, you're making pink fur go everywhere.- It's tiny.- That's good!
0:18:57 > 0:19:00- I made it for a small person. - I'm not a small person.
0:19:07 > 0:19:10You see... Can you see the layers I was talking about?
0:19:10 > 0:19:13This is done, this is finished.
0:19:13 > 0:19:15Turn around, honey.
0:19:15 > 0:19:17Look, these are the layers I was talking about.
0:19:17 > 0:19:19They're missing, but guess what?
0:19:19 > 0:19:21We can't find, in Nottingham,
0:19:21 > 0:19:25any of this brilliant fuzzy cheap fur that's only £1.99 a packet,
0:19:25 > 0:19:29so I have this extremely thin pink fur to compensate with,
0:19:29 > 0:19:32so I'm just going to have to get on with it and do that.
0:19:39 > 0:19:40You can't fixate thinking,
0:19:40 > 0:19:43"Oh, my God! We haven't done this bit!"
0:19:43 > 0:19:45When someone is looking at the costume in all,
0:19:45 > 0:19:49it has an effect, and also, when the person, who's an audience,
0:19:49 > 0:19:51is looking at all the different costumes and things going on,
0:19:51 > 0:19:54the many layers, it all adds up.
0:19:54 > 0:19:57I'm quite aware that I'm not fixating on things.
0:19:59 > 0:20:03Which sounds like I don't have any quality control again,
0:20:03 > 0:20:06but I'm just bashing things out,
0:20:06 > 0:20:10and I know that the end result has a much better energy than
0:20:10 > 0:20:13if you were trying to do everything meticulously
0:20:13 > 0:20:17and didn't manage to get an overall,
0:20:17 > 0:20:20I don't know, sense of it.
0:20:32 > 0:20:35I think Marvin Gaye Chetwynd's work is seriously funny,
0:20:35 > 0:20:38and I mean that in every sense.
0:20:40 > 0:20:44It's all about pleasure, joy, exuberance, laughter,
0:20:44 > 0:20:48but I think it's quite a radical laughter.
0:20:54 > 0:20:56It's almost child-like joy
0:20:56 > 0:21:00resituated in an adult field of references
0:21:00 > 0:21:02and in an adult context,
0:21:02 > 0:21:04which is something that everyone can engage with.
0:21:15 > 0:21:20The way of exhibiting in the art world on a high profile level
0:21:20 > 0:21:25is in museums where there's a lot of people coming in who are expecting
0:21:25 > 0:21:30to be given the same experience each hour of the day the museum's open.
0:21:33 > 0:21:38But instead, oddly, I've been really stretched
0:21:38 > 0:21:41and strained to produce a performative thing,
0:21:41 > 0:21:44a performative atmosphere,
0:21:44 > 0:21:49a performance to happen, like, the whole time the museum's open...
0:21:51 > 0:21:52..which is incredibly strenuous.
0:21:52 > 0:21:55It's like making people into dancing monkeys or something.
0:21:55 > 0:21:57It's impossible.
0:21:57 > 0:21:59You can do it for a time that makes sense to you,
0:21:59 > 0:22:01and then you have to be relaxed or normal.
0:22:15 > 0:22:18The phrase that I've been given by the Turner Prize experience
0:22:18 > 0:22:21was that I have to make my work more robust
0:22:21 > 0:22:26to handle the amount of public that would be happy to see it,
0:22:26 > 0:22:31so I'm meant to meet the demand rather than it being able to be
0:22:31 > 0:22:33that I can say, "No, that's impossible.
0:22:33 > 0:22:38"I really need to only do once a week for one hour."
0:22:38 > 0:22:41The answer I found is through film,
0:22:41 > 0:22:43because of people like the Marx Brothers
0:22:43 > 0:22:45making their brilliant films,
0:22:45 > 0:22:50that you can manage to make a film that's really chaotic
0:22:50 > 0:22:54and full of mayhem and that an audience would experience
0:22:54 > 0:22:57that as if they were experiencing a live performance.
0:22:57 > 0:23:00I actually seem to be slipping into making films
0:23:00 > 0:23:02just to solve that problem.
0:23:07 > 0:23:11MUSIC: "Jump In The Line" By Harry Belafonte
0:23:46 > 0:23:50It's fantastic. It's really, really... It's great.
0:23:59 > 0:24:03The thing that's important about the contribution of the people
0:24:03 > 0:24:06I work with is simply that - that they contribute.
0:24:06 > 0:24:09If you're working with a group of people you don't know,
0:24:09 > 0:24:12they're too shy to actually jump in and contribute
0:24:12 > 0:24:15and understand what you're trying to do.
0:24:16 > 0:24:22I can set up a certain framework, but I need the energy
0:24:22 > 0:24:24and contribution and ideas
0:24:24 > 0:24:28of everyone to spill in and to mix together.
0:24:28 > 0:24:30CHATTER
0:24:30 > 0:24:34Everyone locks their minds in in the same kind of level of...
0:24:34 > 0:24:36free will and concentration,
0:24:36 > 0:24:37so it's quite exciting.
0:24:37 > 0:24:39It gets very exciting...
0:24:39 > 0:24:41That's really important.
0:25:45 > 0:25:50We can't ever get away with statements, it seems.
0:25:50 > 0:25:53It's as if we're not allowed to be that confident or
0:25:53 > 0:25:56something like that. Everyone criticises you too quickly.
0:25:56 > 0:25:59So rather than have a clean, clear statement,
0:25:59 > 0:26:02I am posing questions, which is almost...
0:26:02 > 0:26:06the manipulative way to get away with being political.
0:26:10 > 0:26:14ROCK MUSIC PLAYS
0:26:24 > 0:26:26It's good. It's been very good,
0:26:26 > 0:26:30but there are different waves of energy within it.
0:26:30 > 0:26:34It's like we're meant to somehow be intensely partying for four hours.
0:26:34 > 0:26:37But at the moment there have been really good waves of moments
0:26:37 > 0:26:40that have felt really, like, perfect.
0:26:40 > 0:26:43And then there's other moments where you can tell everyone really
0:26:43 > 0:26:46wants to go to the real backstage, like relax a bit.
0:26:46 > 0:26:48So it's an odd thing where you have to,
0:26:48 > 0:26:52like, timetable the times to relax and times to be...
0:26:53 > 0:26:55..for ever in some way performing.
0:26:58 > 0:27:01There's three different elements that seem to be working.
0:27:01 > 0:27:03The puppets and the dancers seem to work.
0:27:06 > 0:27:08And the Star Wars film really works when the song,
0:27:08 > 0:27:10when the numbers, happen.
0:27:12 > 0:27:15And also, there's enough for people to see, like, even if
0:27:15 > 0:27:19they're coming in and things aren't really necessarily at a peak.
0:27:19 > 0:27:21I do think there's a lot to appreciate.
0:27:21 > 0:27:23SHE LAUGHS
0:27:23 > 0:27:26# It's over, it's over... #
0:27:26 > 0:27:30It's, like, something that could be considered very dangerous,
0:27:30 > 0:27:32like a cult, or overly controlled,
0:27:32 > 0:27:36but it's all volunteered and held together for a short period of time,
0:27:36 > 0:27:38and then it is over.
0:27:39 > 0:27:42I let go. I'm not trying to build something.
0:27:46 > 0:27:50I find that people do appreciate it on many levels,
0:27:50 > 0:27:53so I don't feel that I'm in trouble with this.
0:27:53 > 0:27:56I feel like it's really natural, and I'm quite confident that the
0:27:56 > 0:27:58referencing I do somehow communicates.
0:27:58 > 0:28:02And that's weirdly why people keep asking me to do projects.
0:28:02 > 0:28:04It is that is communicates.
0:28:04 > 0:28:06# It's over
0:28:06 > 0:28:07# It's over
0:28:07 > 0:28:09# It's over
0:28:09 > 0:28:11# It's over
0:28:11 > 0:28:13# Goodbye, 1,000 times goodbye
0:28:13 > 0:28:16# The thought may have crossed my mind
0:28:16 > 0:28:20# That list would be my last goodbye... #