Jack Vettriano

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0:00:02 > 0:00:08- MAN SINGS:- # She wore blue velvet

0:00:10 > 0:00:15# Bluer then velvet were her eyes... #

0:00:17 > 0:00:22The fact is I love to see craftsmanship.

0:00:22 > 0:00:24I love to see craft.

0:00:26 > 0:00:34# She wore blue velvet

0:00:34 > 0:00:35# Whoa, whoa

0:00:35 > 0:00:39# Bluer than velvet were her eyes

0:00:39 > 0:00:41# Whoa, whoa, whoa

0:00:41 > 0:00:45# Warmer than May her tender sighs

0:00:45 > 0:00:52# Love was ours

0:00:52 > 0:00:58# Ours a love I held tightly... #

0:00:58 > 0:01:04I think what I do, is that at least I try.

0:01:04 > 0:01:08And I love that part in One Flew Over The Cuckoo's Nest

0:01:08 > 0:01:10when Jack Nicholson tries to lift the big basin.

0:01:10 > 0:01:12And he doesn't do it.

0:01:12 > 0:01:16And he turns round and he looks at the rest of them and he says,

0:01:16 > 0:01:18"At least I tried."

0:01:18 > 0:01:23And that's what I think I do. At least I'm prepared to paint

0:01:23 > 0:01:27and put it up on the wall, and you can have go at it if you like.

0:01:27 > 0:01:31MUSIC: "When The Man Comes Around" by Johnny Cash

0:01:37 > 0:01:42# There's a man going round taking names

0:01:42 > 0:01:45# And he decides who to free and who to blame

0:01:47 > 0:01:51# Everybody won't be treated all the same

0:01:52 > 0:01:56# There'll be a golden ladder reaching down

0:01:58 > 0:02:01# When the man comes around...#

0:02:11 > 0:02:13KNOCKING

0:02:13 > 0:02:21MUSIC: "Wondrous Place" by Billy Fury

0:02:22 > 0:02:27# I found a place full of charms

0:02:27 > 0:02:31# A magic world in my baby's arms

0:02:31 > 0:02:37# Her soft embrace like satin and lace

0:02:37 > 0:02:40# A wondrous place... #

0:02:42 > 0:02:44I'm like a director.

0:02:44 > 0:02:48But you don't get a movie from me, you get just one shot.

0:02:48 > 0:02:53It's a kind of nostalgia, purely escapism.

0:02:53 > 0:02:55It just takes you somewhere else.

0:02:55 > 0:02:57# A wondrous place

0:02:57 > 0:03:02# Man, I'm nowhere

0:03:02 > 0:03:05# When I'm anywhere else... #

0:03:07 > 0:03:10I'm usually painting by five o'clock.

0:03:10 > 0:03:13You know, steal a march on the world and get up early

0:03:13 > 0:03:15and get on with the bloody job.

0:03:15 > 0:03:18# Her tender hands on my face... #

0:03:19 > 0:03:23I paint in this bay window.

0:03:23 > 0:03:27I'm not somebody who, you know, who throws paint around.

0:03:27 > 0:03:31Buckets of this and rolls of canvas and stuff.

0:03:31 > 0:03:33Everything is fairly tight.

0:03:33 > 0:03:39So I knew that if I was tidy enough, this would do me just nicely.

0:03:42 > 0:03:45INTERVIEWER: What's this one called?

0:03:45 > 0:03:48This painting is called For My Lover.

0:03:48 > 0:03:55It's really to do with the fine art of preparing yourself for courtship.

0:03:55 > 0:03:57I say that tongue in cheek.

0:03:57 > 0:04:02But we are no different from any other species.

0:04:02 > 0:04:06Is that when we want to meet a member of the opposite sex,

0:04:06 > 0:04:10or even same sex, is that we make ourselves look as good as we can.

0:04:10 > 0:04:16And this woman painting her toenails and it's called For My Lover.

0:04:16 > 0:04:18And she's having a glass of wine

0:04:18 > 0:04:22because she knows the night is going to go quite well.

0:04:22 > 0:04:25Or she hopes the night is going to go quite well.

0:04:27 > 0:04:30In the early days I can recall a critic saying,

0:04:30 > 0:04:34"Jack Vettriano is not a painter, he just colours in."

0:04:35 > 0:04:38And another one saying...

0:04:41 > 0:04:44.."Jack Vettriano is a painter by numbers."

0:04:44 > 0:04:50And I just find that arrogance to be breathtaking,

0:04:50 > 0:04:55really breathtaking because that, to me, is not criticism.

0:04:55 > 0:04:59That's almost violence.

0:04:59 > 0:05:00I personally...

0:05:00 > 0:05:05PHONE RINGS

0:05:05 > 0:05:07INTERVIEWER: Are you going to get that?

0:05:09 > 0:05:12It might happen now and again. British Gas are after me.

0:05:19 > 0:05:22I was born in November 1951.

0:05:22 > 0:05:25I lived in a town called Methil.

0:05:25 > 0:05:31At that time, that area of Fife relied completely on coal mining.

0:05:31 > 0:05:34My father was a coalminer, my grandfather was a coalminer,

0:05:34 > 0:05:36and it was pretty poor.

0:05:38 > 0:05:40Me and my brother had to share a bed.

0:05:40 > 0:05:42And the bathroom, I remember,

0:05:42 > 0:05:46was kept immaculately clean, for visitors.

0:05:46 > 0:05:49So my dad had to shave at the kitchen sink.

0:05:49 > 0:05:51And all my father ever said to me was,

0:05:51 > 0:05:54"Look, get a trade, just get a trade."

0:05:55 > 0:05:58And I was down the pits at 16.

0:05:59 > 0:06:05I think the only people that romanticise about working down a pit

0:06:05 > 0:06:07are people that never worked down a pit.

0:06:07 > 0:06:10You know, it's hellish, it really is hellish.

0:06:10 > 0:06:15And I paint what I paint because it's escapism.

0:06:15 > 0:06:19And for me, what romance was, was fur coats

0:06:19 > 0:06:25and cigarette holders, and nylons and stilettos and make-up.

0:06:25 > 0:06:27You know, that's what I paint.

0:06:29 > 0:06:32JAZZ MUSIC PLAYS

0:06:41 > 0:06:48Well, having never attended art classes for any length of time,

0:06:48 > 0:06:52I think that I realised fairly early on that

0:06:52 > 0:06:56I don't want to work with anybody around me.

0:06:56 > 0:07:02I don't want to have a model sitting there for three days at a time.

0:07:02 > 0:07:08I want the photographs taken. And I want her out of here.

0:07:09 > 0:07:13When I first started to get recognition,

0:07:14 > 0:07:20I felt a bit fraudulent about working from photographs.

0:07:20 > 0:07:26But I think... I think most artists do.

0:07:26 > 0:07:28INTERCOM BUZZES

0:07:33 > 0:07:35- Hiya, Kara.- 'Hi, Jack.'

0:07:35 > 0:07:38- First floor. Come up. - 'Coming.'

0:07:40 > 0:07:42- Hello.- Hiya.- How are you?

0:07:42 > 0:07:44- Lovely to see you again. - Good to see you.

0:07:44 > 0:07:45Come on in.

0:07:49 > 0:07:52- I'll get you a cup of tea in a second.- Oh, I love this room!

0:07:53 > 0:07:57We've got, I think, about six outfits for you to try.

0:08:04 > 0:08:07Outfit number one.

0:08:07 > 0:08:10- Oh, my God.- I like this.

0:08:10 > 0:08:15It's lovely. What colour is that? Is it cerise?

0:08:15 > 0:08:19- I would say fuchsia but...- But I can't spell fuchsia.

0:08:19 > 0:08:21No, neither can I!

0:08:21 > 0:08:22THEY LAUGH

0:08:24 > 0:08:32I suppose secretly I'd quite like a dark, oomphy picture by Jack.

0:08:32 > 0:08:37I would say the dark side, the seven sins side.

0:08:37 > 0:08:40But I've got a feeling there's a car involved.

0:08:40 > 0:08:42I've had lots of photo shoots done in the past

0:08:42 > 0:08:45and seen photos of myself, but never a painting.

0:08:45 > 0:08:47I think what a lovely thing to have.

0:08:50 > 0:08:51Not that I'm getting it.

0:08:51 > 0:08:53I don't think he said I can have it!

0:08:53 > 0:09:00# Dance me to your beauty with a burning violin... #

0:09:00 > 0:09:02I love this one.

0:09:02 > 0:09:07As Marlon Brando said in a film, "I could have been a contender."

0:09:07 > 0:09:09- Yeah.- That could be a contender.

0:09:09 > 0:09:11- I think this is a real... - Yeah, yeah.

0:09:14 > 0:09:19# Dance me to the end of love

0:09:21 > 0:09:25# Dance me to the end of... #

0:09:25 > 0:09:27I think I made a mistake with that.

0:09:29 > 0:09:31Oh, I'm glad this is the last one.

0:09:34 > 0:09:36Ooh.

0:09:36 > 0:09:38What are you doing on Saturday?

0:09:38 > 0:09:40HE LAUGHS WRYLY

0:09:40 > 0:09:46Erm... I love that because I think that it's going to be a grey day

0:09:46 > 0:09:49in London and you're going to be in a grey mood,

0:09:49 > 0:09:51and I just love this splash of colour.

0:09:51 > 0:09:54Right, well, thanks very much, that was great.

0:09:54 > 0:09:56I'll see you...

0:09:56 > 0:09:59- Friday, 11 o'clock. - I look forward to it.

0:09:59 > 0:10:02- Yeah, yeah.- Thank you.

0:10:02 > 0:10:04Have a good day. Right, see you then.

0:10:04 > 0:10:07- See you on Friday.- Take care, bye. - Lots of love.

0:10:17 > 0:10:22I was painting a lot of paintings to do with love and affection,

0:10:22 > 0:10:25betrayal, you know, everyday things we all do,

0:10:25 > 0:10:27or some of us do.

0:10:29 > 0:10:34I was busy painting people in bedrooms and bars and stuff.

0:10:34 > 0:10:38And then I thought, "Where do people who fall in love...

0:10:38 > 0:10:39"where are they drawn to?"

0:10:39 > 0:10:42They are clearly drawn to beaches.

0:10:45 > 0:10:50Most people, given the opportunity, would dance on the beach with

0:10:50 > 0:10:55the one they love with a butler sheltering them from the rain.

0:10:55 > 0:10:58You put that up on the wall, and perhaps it gives you some hope.

0:10:59 > 0:11:04It would be churlish of me to say that I'm not proud of that painting.

0:11:04 > 0:11:12But it's got me into a few scrapes because I painted the figures

0:11:12 > 0:11:17directly out of Artists & Illustrators manual,

0:11:17 > 0:11:21and then somebody came across it.

0:11:21 > 0:11:25And went to a newspaper in Scotland and said,

0:11:25 > 0:11:27"Here's what he's done."

0:11:27 > 0:11:30And they made a huge thing out of,

0:11:30 > 0:11:34"Oh, he's copied this, he's copied that."

0:11:34 > 0:11:38And I said, "Look, that's what the book was for."

0:11:40 > 0:11:44MID-TEMPO JAZZ MUSIC PLAYS

0:11:55 > 0:12:01I don't say this lightly. The public support for me has been astonishing.

0:12:01 > 0:12:07I've never denied that I would like recognition

0:12:07 > 0:12:11from the National Galleries of Scotland or Tate.

0:12:11 > 0:12:13I often think that, where would you rather be?

0:12:13 > 0:12:17Would you rather be hanging on people's walls,

0:12:17 > 0:12:19or would you rather be in the basement of the Tate?

0:12:24 > 0:12:27SULTRY MUSIC PLAYS

0:12:41 > 0:12:47I don't think that the art establishment take sex seriously.

0:12:47 > 0:12:51In this country we're still thinking that...

0:12:51 > 0:12:58"Mmm, sex, oh, no, that's not serious. That's not serious."

0:12:58 > 0:13:05If I were to paint industrial decline or inner city drug abuse,

0:13:05 > 0:13:09you can't help but think that might be taken quite seriously.

0:13:09 > 0:13:13But a woman painting her toenails for her lover.

0:13:13 > 0:13:16That's just Benny Hill.

0:13:16 > 0:13:22# Dance me to your beauty with a burning violin

0:13:23 > 0:13:30# Dance me through the panic till I'm gathered safely in

0:13:30 > 0:13:34# Lift me like an olive branch... #

0:13:34 > 0:13:37I like to think I'm very considerate when I'm working with models,

0:13:37 > 0:13:41in so far as I always tell them what the idea is.

0:13:41 > 0:13:45Perhaps you may be looking like a streetwalker or something,

0:13:45 > 0:13:51so that they don't get the sense of being exploited in any way.

0:13:51 > 0:13:56# Let me see your beauty when the witnesses are gone... #

0:13:56 > 0:14:00And there have been women who have said, "No, I'd rather not do that.

0:14:00 > 0:14:03"It doesn't seem right for me."

0:14:03 > 0:14:06Which I've always thought quite odd, because in the acting profession,

0:14:06 > 0:14:10I mean, nobody really thinks Sharon Stone goes around with no pants on.

0:14:10 > 0:14:15ROCK'N'ROLL MUSIC PLAYS

0:14:28 > 0:14:30Lovely to see you.

0:14:30 > 0:14:32- So good to see you. - You're looking good.

0:14:32 > 0:14:33Thank you.

0:14:33 > 0:14:36- Right, erm...- Wow!

0:14:36 > 0:14:37John, come in.

0:14:37 > 0:14:39This is Kara Tointon. This is John Swannell.

0:14:39 > 0:14:42- Lovely to meet you. - Nice to see you too.

0:14:42 > 0:14:48British icon, British icon, British icon.

0:14:48 > 0:14:51And some obscure painter.

0:14:51 > 0:14:52HE GIGGLES

0:14:57 > 0:15:00I once had a relationship with somebody

0:15:00 > 0:15:04who I shouldn't have had a relationship with.

0:15:04 > 0:15:06And we used to meet.

0:15:06 > 0:15:09We both used to drive to a certain spot.

0:15:11 > 0:15:16Then one day, she just never turned up.

0:15:16 > 0:15:22The idea is that I want Kara to be playing the role

0:15:22 > 0:15:25that I was playing at that point in time.

0:15:25 > 0:15:28And so I'm trying to create you know, this beautiful woman

0:15:28 > 0:15:31who's about to be terribly, terribly disappointed.

0:15:32 > 0:15:37I often put women in my paintings to play the role

0:15:37 > 0:15:43that I would be playing, because I'm a wee bit shy about saying,

0:15:43 > 0:15:45"I got my heart broken."

0:15:45 > 0:15:49So I make it a woman so I get off the hook, and I don't have to say,

0:15:49 > 0:15:51"Oh, yeah, that's me, dumped again."

0:15:55 > 0:15:58I've been having an affair for quite some time.

0:15:58 > 0:16:02We've been meeting at this particular venue,

0:16:02 > 0:16:04all through the summer.

0:16:04 > 0:16:08And this evening, the guy is not going to turn up.

0:16:08 > 0:16:12And there's a lot of heartbreak in that, so it's quite a sad story.

0:16:12 > 0:16:18So I've got to channel sad thoughts, of, you know,

0:16:18 > 0:16:19she's going to get her heart broken.

0:16:19 > 0:16:22No, that's OK. Just push... That's nice.

0:16:22 > 0:16:24Just turn your head to the mirror.

0:16:24 > 0:16:27Can you close your mouth in some of them?

0:16:27 > 0:16:29I'm not very good at doing teeth.

0:16:30 > 0:16:33- John, this is my job.- Sorry?

0:16:33 > 0:16:35This is my job.

0:16:35 > 0:16:38Good, and then just over your shoulder again.

0:16:38 > 0:16:40CAMERA CLICKS

0:16:42 > 0:16:45John Swannell's taking over my job.

0:16:47 > 0:16:48But he is good.

0:16:56 > 0:17:00When I first became a painter, that is a professional painter,

0:17:00 > 0:17:04up until then, I just copied paintings

0:17:04 > 0:17:08because I didn't have any ideas.

0:17:08 > 0:17:12Just try it. Being a bit impatient, just stick that hand on your hip.

0:17:12 > 0:17:14Just a bit impatient - that's lovely.

0:17:14 > 0:17:16What is it that means anything to you?

0:17:16 > 0:17:20Because I do believe as an artist

0:17:20 > 0:17:23there has to be a degree of integrity.

0:17:23 > 0:17:25The work has to come from here, you know.

0:17:27 > 0:17:30And I thought the things that move me

0:17:30 > 0:17:32have been in front of me all my life.

0:17:32 > 0:17:34They're called women.

0:17:35 > 0:17:38Kara, could you lean back?

0:17:38 > 0:17:39- Yeah.- Yeah, yeah.

0:17:42 > 0:17:44Lovely, it's got a nice mood to it.

0:17:50 > 0:17:53MUSIC: "Hey Good Lookin'" by Hank Williams

0:17:56 > 0:17:59- JACK SINGS:- # Hey good lookin'

0:17:59 > 0:18:02# What ya got cookin'

0:18:02 > 0:18:09# How's about cookin' something up with me... #

0:18:09 > 0:18:13# Hey, sweet baby

0:18:13 > 0:18:16# Don't you think maybe

0:18:16 > 0:18:23# We could find us a brand new recipe

0:18:23 > 0:18:27# I got a hot rod Ford and a two dollar bill

0:18:27 > 0:18:30# And I know a spot right over the hill... #

0:18:32 > 0:18:34Right, that's me, ready to roll.

0:18:36 > 0:18:38And here we go.

0:18:40 > 0:18:45You just really hope that you've got your colours right.

0:18:53 > 0:18:57You know, I'm one of the few painters who paint

0:18:57 > 0:19:00in a realist and figurative way.

0:19:00 > 0:19:08And this is my territory and I will defend it

0:19:08 > 0:19:16and I'll try to look after it until I stop breathing.

0:19:16 > 0:19:20MUSIC: "Dink's Song" by Bob Dylan

0:19:20 > 0:19:26# Fare thee well, my honey, fare thee well... #

0:19:32 > 0:19:35I must confess to you, I'm not too pleased

0:19:35 > 0:19:39with the colour of this chrome, I'm really not.

0:19:42 > 0:19:45I'm sorry I'm slightly distracted here, um...

0:19:54 > 0:19:55Oh, Christ!

0:19:55 > 0:19:56RATTLING

0:20:01 > 0:20:07The problem is that this area here, this is supposed to be chrome.

0:20:07 > 0:20:11Then when I look at that, there's a section there that is not.

0:20:11 > 0:20:13That's the colour of the car.

0:20:13 > 0:20:16So I'm going to take a rag

0:20:16 > 0:20:21and lift that paint right out of there and try to get this colour,

0:20:21 > 0:20:24the colour of the car, down there on a strip.

0:20:25 > 0:20:30That's just what you would call an irritation.

0:20:30 > 0:20:35Because it's not as though I've never painted before.

0:20:36 > 0:20:39You know, I ought to know what I'm doing.

0:20:42 > 0:20:49So, um... Yeah, I'm a wee bit disappointed in myself

0:20:49 > 0:20:51for getting this wrong.

0:20:51 > 0:20:56Yesterday was just a bit of a bloody nightmare, because...

0:20:59 > 0:21:00Oh, shit!

0:21:05 > 0:21:08- Oh, bugger. - INTERVIEWER: What's wrong?

0:21:08 > 0:21:09I've just put too much...

0:21:09 > 0:21:13I forgot that the brush had turps on it.

0:21:16 > 0:21:19DRILLING OUTSIDE

0:21:19 > 0:21:22INTERVIEWER: You don't feel you're having a great day?

0:21:22 > 0:21:24No, I'm...

0:21:24 > 0:21:27DRILLING STOPS

0:21:27 > 0:21:29DRILLING STARTS UP AGAIN

0:21:29 > 0:21:31Oh, Christ!

0:21:37 > 0:21:39Well, if this doesn't work,

0:21:39 > 0:21:42let's blame it on the roadworks.

0:21:49 > 0:21:51I just I haven't...

0:21:53 > 0:21:57Haven't prepared well enough for this, even in my mind.

0:21:57 > 0:21:59Erm...

0:22:01 > 0:22:03And, er...

0:22:04 > 0:22:06This just is not...

0:22:06 > 0:22:10DRILLING STARTS AGAIN

0:22:11 > 0:22:15This just isn't the quality that I could do.

0:22:16 > 0:22:19This is just a bloody nightmare.

0:22:19 > 0:22:21MUSIC: "Personal Jesus" by Johnny Cash

0:22:27 > 0:22:30It's just not good enough.

0:22:34 > 0:22:40# Your own personal Jesus

0:22:42 > 0:22:45# Someone to hear your prayers

0:22:45 > 0:22:48# Someone who cares

0:22:50 > 0:22:55# Your own personal Jesus

0:22:58 > 0:23:00# Someone to hear your prayers... #

0:23:00 > 0:23:02That's it.

0:23:02 > 0:23:06So... That's what I call turping.

0:23:10 > 0:23:12HE SIGHS DEEPLY

0:23:18 > 0:23:23# Well, my friends have gone and my hair is grey

0:23:23 > 0:23:28# I ache in the places where I used to play

0:23:28 > 0:23:31# And I'm crazy for love

0:23:31 > 0:23:34# But I'm not coming on

0:23:37 > 0:23:44# I'm just paying my rent every day in the Tower of Song... #

0:23:45 > 0:23:50The last exhibition I was at was Francis Bacon at the Tate.

0:23:50 > 0:23:56I just got this awful feeling that I was looking at a real artist.

0:23:56 > 0:24:00And I felt, not fraudulent,

0:24:00 > 0:24:06but I started to think that my art just didn't stand up.

0:24:06 > 0:24:10And I remember feeling almost breathless.

0:24:10 > 0:24:13And I don't think I painted for about two weeks,

0:24:13 > 0:24:16because I felt like a sham.

0:24:16 > 0:24:19And it took me two weeks to recover.

0:24:19 > 0:24:25And think, "No, Jack. That's Francis Bacon, that's what he did.

0:24:25 > 0:24:28"This is what you do. Don't get the two things confused."

0:24:28 > 0:24:32MUSIC: "Crazy" by Patsy Cline

0:24:42 > 0:24:45# Crazy

0:24:45 > 0:24:53# I'm crazy for feeling so lonely

0:24:55 > 0:24:58# I'm crazy

0:24:58 > 0:25:03# Crazy for feeling so blue... #

0:25:06 > 0:25:11Well, after yesterday's very disappointing day,

0:25:11 > 0:25:18I've decided to go back to my original idea, which was

0:25:18 > 0:25:21a full-size study of Kara.

0:25:21 > 0:25:23I can't promise you much today.

0:25:23 > 0:25:27But what I can promise is that this will come to life very quickly.

0:25:29 > 0:25:35Well, what I'm going to do is to start to pick out

0:25:35 > 0:25:38the highlights in the car.

0:25:38 > 0:25:40That is to say, you know,

0:25:40 > 0:25:43the areas that the sunlight hits the car.

0:25:43 > 0:25:48Suddenly, something which was kind of flat and 2D,

0:25:48 > 0:25:50suddenly starts to ping.

0:26:02 > 0:26:04Um... I'm quite pleased with it.

0:26:06 > 0:26:11Right, so you pick up a bit of light paint, and you know what I do?

0:26:11 > 0:26:12I cross my fingers.

0:26:19 > 0:26:20HE LAUGHS

0:26:23 > 0:26:25I don't think there's much more I can do to this,

0:26:25 > 0:26:28so we'll stick it in the frame and see how it looks.

0:26:42 > 0:26:44I don't think it's the best painting I've ever done,

0:26:44 > 0:26:50but it's a study and it's whether... Does this work?

0:26:50 > 0:26:52And I think it does. I think it does.

0:26:54 > 0:26:56I think that looks pretty good.

0:26:56 > 0:26:58I think it's quite a sexy little piece.

0:26:58 > 0:27:00She looks great there,

0:27:00 > 0:27:02you know, standing waiting for her lover.

0:27:02 > 0:27:05So... Well done, Jack.

0:27:14 > 0:27:18I wish sometimes that I could appreciate my success a bit more,

0:27:18 > 0:27:21but it's just not my nature.

0:27:21 > 0:27:25# If I had wings... #

0:27:25 > 0:27:30I've been blessed with a certain gift that is appreciated by people.

0:27:30 > 0:27:34And I'm cursed with this mind

0:27:34 > 0:27:41that doesn't quite ever give itself peace or give itself credit.

0:27:41 > 0:27:46# Fair thee well, my honey fare thee well...#

0:27:46 > 0:27:52And to quote the bard, Leonard Cohen, he says,

0:27:52 > 0:27:57"People think I'm miserable and that I'm suicidal, but I'm not."

0:27:57 > 0:28:01It's just that this is my mode. This is my personality.

0:28:04 > 0:28:08I like to examine religion, I like to examine love.

0:28:12 > 0:28:15The last thing I am is cutting edge.

0:28:15 > 0:28:17I just believe that you have a vision

0:28:17 > 0:28:18and you know what you want to do.

0:28:22 > 0:28:25Honesty. I put a lot of... I put a lot of...

0:28:25 > 0:28:28What's the word I'm looking for?

0:28:28 > 0:28:30INTERVIEWER: Store?

0:28:30 > 0:28:31I put a lot of store in honesty, yeah.

0:28:31 > 0:28:34MUSIC: "Hey Ho" by The Lumineers

0:28:34 > 0:28:37# Hey

0:28:37 > 0:28:38# Ho

0:28:38 > 0:28:40# I been trying to do it right

0:28:40 > 0:28:41# Hey

0:28:41 > 0:28:43# I been living a lonely life

0:28:43 > 0:28:44# Ho

0:28:44 > 0:28:46# I been sleeping here instead

0:28:46 > 0:28:47# Hey

0:28:47 > 0:28:49# I been sleeping in my bed

0:28:49 > 0:28:51# Ho

0:28:51 > 0:28:52# I been sleeping in my bed

0:28:52 > 0:28:55# Hey

0:28:55 > 0:28:56# Ho. #