0:00:10 > 0:00:13Welcome to HARDtalk.
0:00:13 > 0:00:17Draw up a list of the biggest bands in the history of rock and roll
0:00:17 > 0:00:21and a remarkable number of them will be British.
0:00:21 > 0:00:23There are The Beatles, The Rolling Stones,
0:00:23 > 0:00:31and also Pink Floyd.
0:00:32 > 0:00:34I speak to Roger Waters, who was a prominent figure
0:00:34 > 0:00:41in the band until he quit in 1985.
0:00:41 > 0:00:49He still remains one of the most controversial of rock stars.
0:01:14 > 0:01:18Roger Waters, welcome to HARDtalk.
0:01:18 > 0:01:20Thank you.
0:01:20 > 0:01:23It has been more than 30 years since you wrote The Wall.
0:01:23 > 0:01:25You are still touring it.
0:01:25 > 0:01:29It was born out of pain and anger.
0:01:29 > 0:01:35Do you still feel that pain and anger?
0:01:35 > 0:01:40The feelings involved, I mean feelings come up as they do,
0:01:40 > 0:01:49but my feelings are different over the years.
0:01:49 > 0:01:51Does that make it difficult to put the show together
0:01:51 > 0:01:53with the same feeling?
0:01:53 > 0:01:56No.
0:01:56 > 0:01:59There was a very long hiatus between the shows that happened
0:01:59 > 0:02:06in 1979, 1980, and 1981 and the one in 2010.
0:02:06 > 0:02:13The latest had been in production since 2009.
0:02:13 > 0:02:16When I started, I thought I can only really do this if I reinvent
0:02:16 > 0:02:21the show to suit who I am now.
0:02:21 > 0:02:24That is, the show in 1979 was the product of an angry,
0:02:24 > 0:02:29almost but not quite middle-aged man.
0:02:29 > 0:02:33I had problems with relationships, women...
0:02:33 > 0:02:36There was some political content but I was determined to focus more
0:02:36 > 0:02:42on the politics and much less of a personal narrative.
0:02:42 > 0:02:48We spent many months preparing the visuals and the way
0:02:48 > 0:02:49the show would work.
0:02:49 > 0:02:53I want to talk about the politics of the show in a minute but some
0:02:53 > 0:02:56of those people watching here might not know the Roger Waters
0:02:56 > 0:02:59story, so I want to stick with the personal for a second.
0:02:59 > 0:03:02The Wall is almost like a form of memoir -
0:03:02 > 0:03:06so much of it seems to be in essence about the terrible loss you suffered
0:03:06 > 0:03:07as a baby.
0:03:07 > 0:03:09Your father was lost in the war.
0:03:09 > 0:03:10You never really knew him.
0:03:10 > 0:03:15Also, you hated your school and your educational experience.
0:03:15 > 0:03:18I wonder whether even though the pain has gone, whether those
0:03:18 > 0:03:22experiences still shape you.
0:03:22 > 0:03:28My father clearly...
0:03:28 > 0:03:33I am so grateful that I carry his genes.
0:03:33 > 0:03:36My father was a wonderful man.
0:03:36 > 0:03:44He was only 30 when he died, when he was fighting the Nazis.
0:03:44 > 0:03:47He was an extremely interesting man who died absolutely
0:03:47 > 0:03:51for his principles.
0:03:51 > 0:03:53He was a conscientious objector at the beginning
0:03:53 > 0:03:55of the Second World War.
0:03:55 > 0:03:57of the Second World War.
0:03:57 > 0:04:00Then he worked as an ambulance driver through the Blitz and he then
0:04:00 > 0:04:04started to do voluntary work on bomb sites, where he met my mother,
0:04:04 > 0:04:08and together they became interested in politics.
0:04:08 > 0:04:10They probably both joined the Communist Party either before
0:04:10 > 0:04:12or around that time.
0:04:12 > 0:04:15He eventually decided that his communism and the need
0:04:15 > 0:04:21to defeat fascism trumped his Christianity.
0:04:21 > 0:04:24He told the Commission Board he changed his mind and he wanted
0:04:24 > 0:04:30to go and fight.
0:04:30 > 0:04:40He did all this training and was then shot and killed.
0:04:40 > 0:04:43What intrigues me is that you have such passion for him even though
0:04:43 > 0:04:47you never knew him.
0:04:47 > 0:04:49The fact of not knowing him...
0:04:49 > 0:04:52That maybe has intensified the desire for you to do something
0:04:52 > 0:04:59with your life that you believe he would have been proud of.
0:04:59 > 0:05:01You are absolutely right.
0:05:01 > 0:05:05On a gig, somewhere in America, we have veterans who come
0:05:05 > 0:05:09at half-time to every show.
0:05:09 > 0:05:12One year, there was one man who was out of the main circle
0:05:12 > 0:05:16of people wanting to take pictures and get autographs.
0:05:16 > 0:05:20He stopped me when I was leaving and he put his hand out.
0:05:20 > 0:05:28I took his hand but he would not let go of me.
0:05:28 > 0:05:30He looked me in the eyes...
0:05:30 > 0:05:32It is hard for me to tell you this...
0:05:32 > 0:05:34He said...
0:05:34 > 0:05:38Your father would be proud of you.
0:05:38 > 0:05:41That meant a lot?
0:05:41 > 0:05:49It wasn't him saying it that meant it, I cannot not be moved even
0:05:49 > 0:05:57at age 75 at what my father might have thought about what I do.
0:05:57 > 0:06:00In retrospect, I admired him so much.
0:06:00 > 0:06:02And my mother as well, I must say.
0:06:02 > 0:06:05That is a very powerful personal motivation.
0:06:05 > 0:06:08Let's talk about politics.
0:06:08 > 0:06:11Your dad was a member of the Communist Party for a while.
0:06:11 > 0:06:16You have become associated with very strong political opinion.
0:06:16 > 0:06:19The Wall, the show that you are still doing,
0:06:19 > 0:06:24is loaded with political commentary and political comment.
0:06:24 > 0:06:26It is.
0:06:26 > 0:06:28You are correct.
0:06:28 > 0:06:33Perhaps the strongest reaction you have got is from people who see
0:06:33 > 0:06:37some of the imagery, particularly that imagery
0:06:37 > 0:06:39of the inflatable pig, which is an essential part
0:06:39 > 0:06:44of the show...
0:06:44 > 0:06:51Some people see it as anti-Israeli and anti-Semitic.
0:06:51 > 0:06:56This has become an old chestnut.
0:06:56 > 0:07:03The appearance of the pig where I am playing the part of the fascist
0:07:03 > 0:07:11demagogue is satire, and it is recognised as being that.
0:07:11 > 0:07:14This record has been out there with the lyrics that contain
0:07:14 > 0:07:17the work which is part of the narrative for
0:07:17 > 0:07:21as you say, since 1979.
0:07:21 > 0:07:25The use of different symbols on the pig which I include the Star
0:07:25 > 0:07:29of David, the crucifix, the dollar, the hammer and sickle,
0:07:29 > 0:07:32all kinds of other symbols, are there because I felt
0:07:32 > 0:07:37they were relevant when they were designed.
0:07:38 > 0:07:42They have been a part of the show since 2010.
0:07:42 > 0:07:45I was accused of being anti-Semitic by the ADL
0:07:45 > 0:07:47which is the Anti-Defamation League.
0:07:47 > 0:07:55It is an organisation in the United States.
0:07:55 > 0:07:59It purports to have been set up to protect Judaism and the Jewish
0:07:59 > 0:08:04people from defamation.
0:08:04 > 0:08:06Hang on, let me finish.
0:08:06 > 0:08:08This is very important.
0:08:08 > 0:08:11I wrote back to them in 2010 when this thing started.
0:08:11 > 0:08:15They sent people to see the show and they made the decision that this
0:08:15 > 0:08:18was satire and it was not anti-Semitic.
0:08:18 > 0:08:21I don't want to spend too long on this.
0:08:21 > 0:08:22I don't either.
0:08:22 > 0:08:24This is not what it is about.
0:08:24 > 0:08:28The show is about my desire to break down the walls between different
0:08:28 > 0:08:31people, ethnicities, nationalities...
0:08:31 > 0:08:34We will definitely move on because there is more
0:08:34 > 0:08:35we want to talk about.
0:08:35 > 0:08:39The fact that some Jewish people who have seen the show had been
0:08:39 > 0:08:42upset by it, have found it offensive, has it ever given
0:08:42 > 0:08:45you pause, perhaps prompted you to think about whether you're
0:08:45 > 0:08:51going to change the way you present the show?
0:08:51 > 0:08:53Of course.
0:08:53 > 0:08:56I think about it every day.
0:08:56 > 0:08:58Of course it does. Of course it does.
0:08:58 > 0:09:00You can't dismiss people's feelings.
0:09:00 > 0:09:02It is with me the whole time.
0:09:02 > 0:09:03But you haven't changed it.
0:09:03 > 0:09:06No because...
0:09:06 > 0:09:09How could I put it?
0:09:09 > 0:09:13You cannot join the Ostrich Society, bury your head in the sand,
0:09:13 > 0:09:20pretend the problems don't exist in the Middle East.
0:09:20 > 0:09:25Elie Wiesel, the Romanian-born American writer who wrote 'Night'
0:09:25 > 0:09:29says the greatest sin of all is to stand by -
0:09:29 > 0:09:39to stand by, silent and indifferent.
0:09:39 > 0:09:44I suggest that should be true of any act of repression or any predicament
0:09:44 > 0:09:48that human beings find themselves in, irrespective of their religion
0:09:48 > 0:09:55or their race or their nationality.
0:09:55 > 0:09:57Let's leave politics.
0:09:57 > 0:10:06I want to go back to the beginning.
0:10:06 > 0:10:09I'm interested in what you just said about not believing
0:10:09 > 0:10:11you are always right.
0:10:11 > 0:10:14I want to go back to the creative beginning of Pink Floyd,
0:10:14 > 0:10:21when you got together in the '60s and you co-founded the band.
0:10:21 > 0:10:24When you look back on those years, on the way that you related
0:10:24 > 0:10:30to the other members of the band, the way you talk about them,
0:10:30 > 0:10:33do you think you got some things wrong in the way you handled
0:10:33 > 0:10:37relationships and the band?
0:10:37 > 0:10:39I don't think you are talking about the early years.
0:10:39 > 0:10:43The very early years were '64, '65, '66.
0:10:43 > 0:10:56We turned pro in 1967...
0:10:56 > 0:10:59And then Dave joined the band and it was difficult after that.
0:10:59 > 0:11:08Syd was important, he wrote most of the songs.
0:11:08 > 0:11:14Basically, it was in his hands...
0:11:14 > 0:11:18You have described him as a visionary.
0:11:18 > 0:11:23Was it the drugs that destroyed Syd Barrett?
0:11:23 > 0:11:27If it was, how close did drugs come in that era of acid and psychedelia
0:11:27 > 0:11:32to actually destroying the band?
0:11:32 > 0:11:35My view was that drugs and LSD were not solely responsible
0:11:35 > 0:11:45for Syd's illness.
0:11:45 > 0:11:49I felt at the time that Syd was drifting off the rails
0:11:49 > 0:11:52and when you're drifting off the rails the worst thing
0:11:52 > 0:11:56you could do is start messing around with hallucinogenics.
0:11:56 > 0:11:59There's no question.
0:11:59 > 0:12:02He took a lot of LSD.
0:12:02 > 0:12:05I wasn't living with him at the time.
0:12:05 > 0:12:07I wonder whether you, David Gilmour and others
0:12:08 > 0:12:09were on the same path.
0:12:09 > 0:12:12No.
0:12:12 > 0:12:16I took LSD once in my life and it was amazing but both thought,
0:12:16 > 0:12:18"Wow!
0:12:18 > 0:12:21I don't want to go through that again." But it definitely
0:12:21 > 0:12:27exacerbated the symptoms that loosely strung together
0:12:27 > 0:12:32you and I might call schizophrenia.
0:12:32 > 0:12:38He heard voices, he became uncommunicative.
0:12:38 > 0:12:40They affect you deeply.
0:12:40 > 0:12:44There really were black holes in the sky.
0:12:44 > 0:12:48After his departure, you created music that will live
0:12:48 > 0:12:54as long as rock and roll.
0:12:54 > 0:12:57The Dark Side of the Moon is still one of the most popular
0:12:57 > 0:13:05albums to download in the world.
0:13:05 > 0:13:08Another interesting thing you have said is that this was,
0:13:08 > 0:13:12in essence, the moment when you felt the band had achieved what it had
0:13:12 > 0:13:17set out to do, what you had set out to achieve, and so from then on,
0:13:17 > 0:13:21you clung together more out of fear than hope.
0:13:21 > 0:13:24Right, well that is my opinion.
0:13:24 > 0:13:26So was it a downward slide from that?
0:13:27 > 0:13:34No.
0:13:34 > 0:13:36You look at what we did together even though it ,
0:13:36 > 0:13:40of course not.
0:13:40 > 0:13:42As uncomfortable as it was to be in that relationship...
0:13:42 > 0:13:45We were no longer four guys in the garage.
0:13:45 > 0:13:47We were a real group.
0:13:47 > 0:13:52Four guys driven by the ambition of making it.
0:13:52 > 0:13:55With The Dark Side of the Moon, we made it.
0:13:55 > 0:13:58Then those ambitions ceased to be so important.
0:13:58 > 0:14:05The cracks which led to the schism in 1983 or whenever it was...
0:14:05 > 0:14:10Feelings are different over the years.
0:14:10 > 0:14:11That is very honest.
0:14:11 > 0:14:17What kind of life was it like?
0:14:17 > 0:14:19Maybe for David Gilmour, more than anybody.
0:14:19 > 0:14:24How can you live side by side, work together and actually rub each
0:14:24 > 0:14:32other up the wrong way, have a deteriorating relationship
0:14:32 > 0:14:37and, excuse my language, p*** each other off?
0:14:37 > 0:14:39Must have been a very weird life.
0:14:39 > 0:14:42We did not live side-by-side.
0:14:42 > 0:14:51Outside working hours, we never saw each other.
0:14:51 > 0:14:53You couldn't stand the sight of each other?
0:14:54 > 0:14:56It became increasingly clear, as the years went by,
0:14:56 > 0:15:00we did not have much in common but we worked well.
0:15:01 > 0:15:06The work we did together, in spite of the fact
0:15:06 > 0:15:10that we were not blood brothers, was remarkable.
0:15:10 > 0:15:13We both made contributions.
0:15:13 > 0:15:16With respect, over years since, you have talked about the fact that,
0:15:16 > 0:15:19you know, you felt the song writing, frankly, was more
0:15:19 > 0:15:28and more being yours.
0:15:29 > 0:15:31You thought they were not contributing very much.
0:15:31 > 0:15:32Towards the end...
0:15:32 > 0:15:34These are facts.
0:15:34 > 0:15:37Towards the end, David Gilmour said certain sessions and recording
0:15:37 > 0:15:40meetings, he thought there was no point in turning up
0:15:40 > 0:15:47because you were so controlling.
0:15:47 > 0:15:50You are such a stirrer.
0:15:50 > 0:15:52I am not going there.
0:15:52 > 0:15:53That is it.
0:15:53 > 0:15:54I am not going any further.
0:15:54 > 0:15:56We had a great career together.
0:15:56 > 0:15:57It was fantastic.
0:15:57 > 0:15:59I look back upon it with huge pride, you know.
0:15:59 > 0:16:02With great feeling of...
0:16:02 > 0:16:05It almost surprised that we managed to somehow to create
0:16:05 > 0:16:13this great work.
0:16:13 > 0:16:16I am not going to applaud it or blame anybody.
0:16:16 > 0:16:17Sorry to interrupt.
0:16:17 > 0:16:18It is so interesting.
0:16:18 > 0:16:22For people around the world who know the band and know the story
0:16:22 > 0:16:25of the band, the rancour that came out in 1985 and when you walked
0:16:25 > 0:16:28away, the years of legal battles because you did not want
0:16:28 > 0:16:31the Pink Floyd name to continue, you thought it was wrong
0:16:31 > 0:16:33because you went from the band?
0:16:33 > 0:16:35I did think it was wrong.
0:16:35 > 0:16:36And I was wrong.
0:16:36 > 0:16:37Were you?
0:16:37 > 0:16:41Of course I was.
0:16:41 > 0:16:42Who cares?
0:16:42 > 0:16:43It was a commercial decision.
0:16:43 > 0:16:48One of the few times the legal profession has taught me something.
0:16:48 > 0:16:51When I went to the chaps, I said, Listen.
0:16:51 > 0:16:51We're broke.
0:16:51 > 0:16:54This isn't Pink Floyd anymore.
0:16:54 > 0:16:56They said, what do you mean?
0:16:56 > 0:16:57It is irrelevant.
0:16:57 > 0:17:01It is a label and it has commercial value.
0:17:01 > 0:17:03You can't say it is going to cease to exist.
0:17:03 > 0:17:10You obviously don't understand English jurisprudence.
0:17:10 > 0:17:14It is not about what you think but what it is.
0:17:14 > 0:17:17Sorry to go on.
0:17:17 > 0:17:21The law is everything that we have.
0:17:21 > 0:17:26That is what The Wall was about.
0:17:26 > 0:17:28It is about 1789, 1776.
0:17:28 > 0:17:32The Wall is about 1948, human rights.
0:17:32 > 0:17:34It is about our declaration.
0:17:34 > 0:17:35I have got here.
0:17:35 > 0:17:38What The Wall is all about is you.
0:17:38 > 0:17:41I'm fishing for an explanation or a description of how and why
0:17:41 > 0:17:49you really changed after the rancour of the mid-'80s.
0:17:49 > 0:17:51I'll read out something you said.
0:17:51 > 0:17:53You said, I was frightened, defensive, embarrassed,
0:17:53 > 0:17:54sexually insecure.
0:17:54 > 0:17:58That is why I was aggressive.
0:17:58 > 0:18:02That was the old you.
0:18:02 > 0:18:10After that, you found a way back to a relationship with the band.
0:18:10 > 0:18:14In 2005, you played for Live Aid when Pink Floyd came together again.
0:18:14 > 0:18:16So what happened?
0:18:16 > 0:18:23After our schism, when David Gilmour and Nick Mason went off and played
0:18:23 > 0:18:26all over the world and I was moving around with different bands that
0:18:26 > 0:18:29I put together, with solo albums, it was difficult.
0:18:29 > 0:18:32Nobody had any idea what it was and nobody was interested.
0:18:32 > 0:18:33They knew who you were.
0:18:33 > 0:18:45They didn't.
0:18:45 > 0:18:49The critics at the time did not like your solo material.
0:18:49 > 0:18:53That might be true as well.
0:18:53 > 0:18:56The public would not respond to anything.
0:18:56 > 0:19:03How was that for you?
0:19:03 > 0:19:08It was very character for me.
0:19:08 > 0:19:11There was a famous occasion when I was in Cincinnati
0:19:11 > 0:19:14and I played in 4,000-capacity arenas and then, the next day,
0:19:14 > 0:19:17the chaps were playing to a sold-out show, 70,000 people,
0:19:17 > 0:19:24in a stadium.
0:19:24 > 0:19:26The chaps being Pink Floyd?
0:19:26 > 0:19:27Yeah.
0:19:27 > 0:19:28That must have hurt.
0:19:28 > 0:19:32No.
0:19:32 > 0:19:34You know what?
0:19:35 > 0:19:38This is character for me.
0:19:38 > 0:19:40Who was it?
0:19:40 > 0:19:44Young always said, I'm worried about so-and-so.
0:19:44 > 0:19:49He has suffered a great success.
0:19:49 > 0:19:56Not saying that Young has the answer to everything.
0:19:56 > 0:19:59But I do not think there was anything wrong with a little
0:19:59 > 0:20:04bit of humbling...
0:20:04 > 0:20:10You talk about being wrong in terms of the legal lawsuits
0:20:10 > 0:20:12against the band in the mid- '80s.
0:20:12 > 0:20:15Looking back, you think there is some truth in the caricature
0:20:15 > 0:20:18of you as being a control freak, domineering, just trying too much
0:20:18 > 0:20:28too often to drive the band exactly where you wanted it to go?
0:20:28 > 0:20:30Yes.
0:20:30 > 0:20:31Yes and no.
0:20:31 > 0:20:35I might be domineering.
0:20:35 > 0:20:37But you either have ideas or you do not.
0:20:37 > 0:20:41And if you do have ideas, you cannot be expected to sit
0:20:41 > 0:20:43on them like that, just because somebody else
0:20:43 > 0:20:45isn't having ideas.
0:20:45 > 0:20:50So that's why it was a great thing for us to split up,
0:20:50 > 0:20:54or for me to leave, if you like, so I could express my ideas
0:20:54 > 0:20:56unfettered.
0:20:56 > 0:20:58And my ideas are still...
0:20:58 > 0:20:59I have had a few breakthroughs recently.
0:20:59 > 0:21:01But I will not talk about it.
0:21:01 > 0:21:05I will make the records.
0:21:05 > 0:21:07I have a strong idea and I shall pursue it.
0:21:07 > 0:21:10I will make at least one more record.
0:21:10 > 0:21:16I'm looking forward to getting my teeth stuck into it.
0:21:16 > 0:21:20I could not do that if somebody was looking over my shoulder saying,
0:21:20 > 0:21:22I do not think that is good.
0:21:22 > 0:21:23Well, do something yourself then.
0:21:23 > 0:21:26I might need a few years before I write a song.
0:21:26 > 0:21:28How frustrating has it been?
0:21:28 > 0:21:31The rock industry is obsessed with reunions and reworking the past
0:21:31 > 0:21:34that, I dare say, pretty much every week, since you walked out
0:21:34 > 0:21:36of Pink Floyd, and despite the mini-reunion, you still
0:21:36 > 0:21:42constantly get asked...
0:21:43 > 0:21:44No, I don't.
0:21:44 > 0:21:48People have finally realised that they are flogging a dead horse.
0:21:48 > 0:21:50Do you think we really have?
0:21:50 > 0:21:51Yes.
0:21:51 > 0:21:55Absolutely.
0:21:55 > 0:21:58People rarely bring it up with me at all.
0:21:58 > 0:22:01Is there a part of you that looks at Mick Jagger
0:22:01 > 0:22:10and the Rolling Stones, David Bowie, all of these...
0:22:10 > 0:22:12David Bowie has not toured for years and years.
0:22:12 > 0:22:13Anyway.
0:22:13 > 0:22:14He has released an album.
0:22:14 > 0:22:17I just wonder whether you sometimes look at that and you think,
0:22:17 > 0:22:18you know what?
0:22:18 > 0:22:24Pink Floyd could still produce new music.
0:22:24 > 0:22:25No.
0:22:25 > 0:22:27It so weird that you should be asking these questions.
0:22:27 > 0:22:30Normally, you are really intelligent and you ask proper questions.
0:22:30 > 0:22:34You know, about proper things.
0:22:34 > 0:22:41The reasons for me leaving in 1985 would not pertain now...
0:22:41 > 0:22:4230 years...
0:22:42 > 0:22:43Because you changed.
0:22:43 > 0:22:47But the situation has not changed.
0:22:47 > 0:22:52Fundamentally, I have not changed at all.
0:22:52 > 0:22:55You are right when you say I like to be in charge
0:22:55 > 0:22:58of my own destiny and I like to pursue my...
0:22:58 > 0:23:01Having said that, I also like to work with other people
0:23:01 > 0:23:03who are creative.
0:23:03 > 0:23:05It is one of the great pleasures of being...
0:23:05 > 0:23:07It is not like being a painter.
0:23:07 > 0:23:08Final question.
0:23:08 > 0:23:09This is about you as an artist.
0:23:09 > 0:23:10Your motivation.
0:23:10 > 0:23:14Do you have to believe that your best work is still to come
0:23:14 > 0:23:18or is there a part of you that acknowledges that the work that
0:23:18 > 0:23:30will define you as an artist happened a long time ago?
0:23:30 > 0:23:34That is a good question.
0:23:34 > 0:23:40The third album I made on my own, Amused To Death, in my view,
0:23:40 > 0:23:44never received the attention it deserved.
0:23:44 > 0:23:47In your view, is it up there on the same artistic level
0:23:47 > 0:23:53as The Dark Side Of The Moon or The Wall?
0:23:53 > 0:23:54Yes.
0:23:54 > 0:23:58And it surpasses Wish You Were Here or Animals, or any other work
0:23:58 > 0:23:58that we did.
0:23:58 > 0:24:05By quite a large margin.
0:24:05 > 0:24:08However, to answer the question, I am as excited about what I am
0:24:08 > 0:24:12going to do, when the tour has finished, as I am about either
0:24:12 > 0:24:17of those works or The Dark Side Of The Moon.
0:24:17 > 0:24:20I will have to end there.
0:24:20 > 0:24:22Roger Waters, thank you very much.
0:24:22 > 0:24:23I have enjoyed it immensely.
0:24:23 > 0:24:29Thank you.
0:24:45 > 0:24:47Hello.