- 6 weeks ago
Sylvester Stallone joins GQ as he revisits some of the most iconic characters from his career so far: from his legendary starring role in the Rocky franchise to his portrayal of the titular protagonist Rambo.Credits:Director: Jeremy ClowneyDirector of Photography: Charlie JordanEditor: Matt BraunsdorfTalent: Sylvester StalloneSenior Producer: Michael BeckertLine Producer: Jen SantosProduction Manager: James Pipitone, Elizabeth HymesTalent Booker: Meredith Lee, Mica MedoffCamera Operator: Chris EustacheGaffer: Duell DavisSound Mixer: Sean PaulsenProduction Assistant: Shanti Cuizon-BurdenPost Production Supervisor: Jess DunnSupervising Editor: Rob LombardiAdditional Editor: Dan BerlinAssistant Editor: Andy Morell
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LifestyleTranscript
00:00I was never comfortable.
00:01I dodged that bullet for two years, three years, and Ryan Coogler was very persistent,
00:06kept pushing it, and we had the same agent.
00:09But I didn't want to do it because the way he had written it, Rocky dies.
00:19I thought it was a great movie.
00:34It's one of the few films that really hangs up, and it's almost as close to happening.
00:39There's certain kind of mannerisms, and we call it the gentilization of society, everything
00:46so meek, and then a couple of guys, one guy gets out, they have the very guy who is from
00:52the violent, I don't even know what it would be, like 1990, that's how far back.
00:58And I thought it was just very, very contemporary.
01:01I just ran into the director of that in New York, maybe three weeks ago, Marco Brambilla.
01:09I thought it was really well done.
01:16Wesley was wild, he's a wild man, very energetic, good fighter.
01:25When we were doing kicks, I had to wear something like a plate here so he could really lay into
01:31me and I could feel it, and it was good.
01:33But Wesley, he really dug down there and gave a very memorable character, things with his
01:38hair and his voice, and he was good, he was at the top of his game then.
01:51I thought the set design was brilliant, it was what we call a practical set.
01:56Those things really worked, and actually I'm glad you brought that up, because I thought
02:00those are the two most dangerous stunts I've ever done, is one with that giant claw, because
02:06sometimes it would go, the hydraulics would go sideways, and the strength in those metal
02:11claws would tear you up.
02:13And the other thing is, when they froze me originally, and they put me in this round tub,
02:17thick plexiglass, you couldn't break it with a sledgehammer, and they started pouring in
02:21warm oil, and it's filling up, filling up to here, and right here it's supposed to cut.
02:27If it goes on at 30 seconds, it's going to go to here, and you can't get out, because the
02:32lid was bolted on, and I had a couple of fellas that were sitting there with sledgehammers
02:37and hatches.
02:38And I go, now that the scene is over, why don't you try to open it?
02:41And of course, they hit it 20 times, couldn't crack it.
02:45So that was crazy.
02:49Why Philadelphia?
03:05Well, I lived in Philadelphia when my parents got divorced, and I quit school at 15.
03:13And I actually worked along the docks driving a forklift for my stepfather's company, and
03:18I got to know that world very well.
03:21So for one year, I was this dropout working along the docks, and I'd never thought about
03:27ever writing anything.
03:28I wasn't a very good student, but when the time came to write Rocky, I said, you know
03:33Philadelphia?
03:34You don't really know New York anymore, and it's a real tough city, and all the athletic
03:38people that are tough, and they've always been the poor nephew of New York kind of a
03:44thing.
03:45So Philly always has a chip on its shoulder, and I thought, then I started doing some research
03:50about the Philadelphia fighter.
03:52It's a different breed, you know, Bernard Hopkins and Joe Frazier, they're just tough.
04:00I was pretty much at the end of my rope.
04:02I had written a couple of screenplays, and one was pretty good called Parrot Ice Alley, but
04:07I was so broke.
04:08I sold the rights for $100, and these producers, I finally got a meeting with them called Charlotte
04:15from Winkler, said, ah, we'd like to do this Paradise Alley, but you sold it to a couple
04:21of amateurs, so that ship sailed.
04:24And I went home.
04:25He said, you blew your chance.
04:27That was it.
04:28That was your moment.
04:29And I said, you've got to do something.
04:31And I started walking around at night, it's like 1 o'clock, 2 o'clock, 3 o'clock, I'm walking
04:36around a place called Balboa Park in the valley.
04:39Balboa, interesting.
04:43Then I thought, maybe, but I like Mean Streets, why don't you do kind of a Mean Streets thing?
04:50So I wrote a story about this collector and everything else, and Adrian, and then my wife
04:56at the time said, I don't like it.
04:58I think Rocky's mean.
05:00I went, really?
05:01I was trying to make him this misunderstood guy.
05:05That triggered me, realizing I had to surround myself with other positive characters, Apollo
05:10Creed, Mickey, Paulie, all these individual people that would give the movie some scope.
05:19So I went back, started writing like a madman, about 24 hours I had that pretty much down,
05:24and the rest is history.
05:26The reigning heavyweight champion of the world, Rocky Balboa!
05:31I thought of three, when you think you've actually accomplished something, and you realize you've
05:37been carried and protected and insulated.
05:40And that's happened to so many people in their own lives.
05:43Like their parents love them so much, they don't let them go out in the real world, and
05:47then when they do, they get demolished.
05:49And it's happened a lot to fighters, where you take easy fights, easy fights, easy fights.
05:55Time comes along where a killer shows up.
05:57Boom.
05:58You know?
05:59We just saw that recently.
06:01You know?
06:02So I thought, when Rocky's on the beach, the scene with Adrian, maybe the best scene up
06:07to that time, and all the Rockies were, I'm afraid.
06:10I'm afraid.
06:11I don't want to lose what I got.
06:12I don't want to lose what I got.
06:14And that was, as you say, impactful.
06:17We got cars!
06:18We got money!
06:19We got everything but the truth!
06:21I'm afraid!
06:22Alright?
06:23You want to hear me say it?
06:24You want to break me down?
06:25Alright, I'm afraid!
06:26I envisioned, like I always fantasized about being a boxer, because I always had this,
06:32maybe not an inferiority complex, but a hero complex.
06:35You always wanted to come to rescue or something, but I never really learned it.
06:39But the training that I went through on this just changed me as my life as a man.
06:44I felt as though you are really going into a world that you don't know.
06:48But every fight film I had seen, they always seemed to miss the mark.
06:54They didn't spend enough time really learning the craft.
06:57It takes a long time.
07:00So, by having a miracle man like Carl Weathers come along, it was just like two perfect dance
07:08partners.
07:09I was flat footed and crewed, he was on his toes.
07:12And even though he had never boxed, he was that good of an athlete that he could have been
07:17a boxer.
07:18And that changed it all.
07:20If it had been anyone other than him, because he was magical, he should have been nominated,
07:26you know, especially in the second, third one.
07:29So, I, that was transformative, it really was.
07:35Writing the script, since I never really trained, I went, ah, we need to have something in here.
07:41And there hadn't even been a song written.
07:44And I said to John, the director, I go, everywhere we go that's cinematic, like along the railroad tracks
07:51that are on bridge, let me look like I'm training here.
07:54In other words, we don't have a plan to cut a montage, but if we had all these little pieces,
07:59you could put something together.
08:01And like, I never did a one arm push up in my life, ever.
08:04I don't think I've done it since, because it's really bad for the rotator cuffs.
08:09Just at one time, I said, all right, let me try it.
08:11And you become so invigorated with that camera's on, trying to do something unique,
08:16especially getting hit and stung with a medicine ball.
08:19But that's where it all came around.
08:21Then there was a song called, Grounds for Separation, written by Hall and Oates.
08:26And it was, dun, dun, dun, dun, dun, dun, dun, dun, dun, dun, dun, dun.
08:30I went, ooh.
08:32So we did that, and then Bill Conte, who was brilliant, came along, and then we find it all.
08:38And turned it into Gonna Fly Now.
08:40How about a statement, Rocky?
08:41Actually, I don't know. I am a loss for words.
08:44Rocky, Rocky!
08:45Rocky, did you think you had it once?
08:47I don't know.
08:48How's my nose look too bad as Mickey's?
08:51Ain't that horrible. Now give him a break.
08:53I liked Two a lot, because Two was an actual continuation of One.
08:58I knew we couldn't make a five-hour movie, a four-and-a-half-hour movie,
09:01but literally there is no time lapse.
09:04It's right as soon as he comes out of the ring.
09:07And I thought that was just as good as Rocky 1, but in Rocky 1 you had the element of surprise.
09:13The other two, Mr. T, you know, that was a very vindictive fight.
09:19And also an experiment, I didn't want to go 15 rounds.
09:22I figured the audience had seen it twice.
09:24So you had to put in, or I had to put in this time code.
09:30Let's call it like that.
09:31You have three rounds, and after that you're a dead man.
09:35You cannot fight at that speed.
09:37You are not Apollo Creed.
09:38And that kind of energy against Mr. T is going to burn you out quicker.
09:42So you have to win.
09:44I'm telling you, nobody wants to do this.
09:46The studio goes, absolutely not.
09:48Because if you fail, you're stuck.
09:51That's your big finale.
09:52But it worked.
09:53And it had to be done mathematically.
09:55I took as many punches that would be in a 15 round Rocky fight.
10:00And condensed all that punching into three rounds.
10:03So it was so manic.
10:05And it worked.
10:08Creed.
10:12How do you know all this?
10:14How do you think?
10:16He's my father.
10:21I was never comfortable.
10:23I dodged that bullet for two years, three years.
10:26And Ryan Coogler was very persistent.
10:28Kept pushing it.
10:29And we had the same agent.
10:31But I didn't want to do it because the way he had written it, Rocky dies.
10:36He gets Lou Gehrig's disease.
10:38I said this.
10:39I have a big thing about characters like that dying.
10:43I'd much rather them get on a train going somewhere you never see him again.
10:47But to die, it will just bum the audience out completely.
10:52So once we got over that, I said, okay, we'll give it a shot.
10:56And it was a lot of dramatic acting in that.
11:00Because I couldn't use my body.
11:02I'm not fighting.
11:04So that was a good challenge.
11:06And it turned out pretty well.
11:08We used to do that with one hand.
11:09I don't want to say anything though.
11:11What about working with Michael Jordan, especially in the first one?
11:16What was your guy's dynamic like?
11:18Well, it was good because he had a very good movement like an athlete.
11:25And his body developed quickly.
11:27And the thing is, he was very optimistic and outgoing.
11:32He enjoyed the whole process.
11:34I remember we did a scene where Rocky's training with him.
11:37I'm holding the pads.
11:38And all of a sudden, I start to dry heave and break down.
11:41And I realize I have something terribly wrong with me.
11:44And I'm going, I'm sorry.
11:45I'm sorry.
11:46And it triggered him.
11:48And he had five minutes of uncontrollable crying.
11:52Just the camera wasn't even rolling.
11:54So it had touched into something in his own past that was very, very profound.
11:59And then we just sat there like two people bawling.
12:02But it's not even in the movie.
12:04It's just, we literally for four or five minutes.
12:07And we had to cut.
12:08That was the end of the day.
12:09It was over.
12:10We couldn't go back to it anymore.
12:12Now, I don't know what caused that.
12:14And I still don't to this day.
12:16But we both had breakdowns.
12:19We were so psychologically invested.
12:22Obviously, we come from different walks in life.
12:24But that's where we both said, all right, we've had a tough upbringing and parental issues.
12:32How he dealt with his parents, how he dealt with mine.
12:35So I was the Rocky figure.
12:37It looked like I'm dying.
12:39And I think he kind of projected maybe that that happened to his family.
12:45And it affected him profoundly.
12:55It's your time.
12:56I think it gets to the point where you become an unnecessary flashback.
13:02In the end of two, I say, you don't need me anymore.
13:05You're on your own.
13:06And that was passing the mantle.
13:08Because it's the same reason that, you know, I couldn't go back to Adrian all the time.
13:18Because it was pretty much the same dialogue.
13:20Don't fight.
13:21You're going to get hurt.
13:22Don't fight.
13:23So when she was removed, now the story went in a whole different direction.
13:26And I guess Creed III did the same thing.
13:29Rambo.
13:30Drive.
13:32Don't look at me.
13:33Look at the road.
13:34I was the 11th choice.
13:35The original script is Rambo was a homicidal maniac.
13:52He killed the PTSD.
13:53He killed children.
13:54He killed fishermen.
13:55He was unmanageable.
13:56And then eventually he had to be put to death by Troutman.
13:59I go, this is not a very uplifting movie.
14:02And I think they eventually remade it with a name change called The Hunted, I think, with
14:09Tommy Lee Jones and Benicio Del Toro.
14:12And that was more like the real Rambo.
14:14And they had to kill each other.
14:16It's like a pretty bad outcome on that.
14:19So I said, why don't we give hope?
14:22He tries to avoid fighting.
14:24He just wants to go away.
14:26Let him go.
14:27And this sheriff, his ego is such that I'm not going to let this nobody get away.
14:33So it was all about this manifestation of false pride on the sheriff's part.
14:39And they cut one thing out of the screenplay I thought was a big mistake.
14:43The reason he hated Rambo so much is because he had fought in the Korean War.
14:46And no one even thinks of the 35,000 people that died in the Korean War almost as much as Vietnam.
14:52And Vietnam was getting all this sympathy.
14:55But it wasn't.
14:56It was getting a lot of wrath and ridicule.
14:58So both of them had these complexes.
15:00But the sheriff was going to fight his own war, the Korean War against Rambo.
15:05So it was a personal weird vendetta.
15:08I wish they had kept that in.
15:09It was kind of interesting.
15:10And the box is wired.
15:12And he opened up the box.
15:13Fucking blew his body all over the place.
15:15And he's laying there.
15:17And he's fucking screaming.
15:18There's pieces of them all over me.
15:20Just like this.
15:21And I'm trying to pull him off, you know.
15:23And it's my friend.
15:24It's all over me.
15:25Once I got to do the rewrite.
15:27And he has a speech at the very end.
15:30And I did a lot of research in that.
15:32It's always a fellow who has been autistic.
15:35And he's pouring out.
15:37It's disjointed.
15:38It's a manifestation of his complete breakdown and loss.
15:42And I thought, that's pretty good.
15:45Also, inadvertently, I've considered it the best action film I've ever done.
15:52And I think it might be one of the first, when you say, pure action films.
15:57You've had car chases.
15:58You've had gun fights.
15:59But I mean, it's all action.
16:01You're speaking with your body, your looks, your intentions.
16:04And the other characters are doing the dialogue.
16:07You are in action the whole time.
16:10I was trying to keep anything to keep warm.
16:12I hung up with a headband.
16:14I was running through the woods.
16:16And I saw this abandoned dump truck.
16:18I mean, I didn't even get there.
16:20I'm all these giant pines.
16:22And underneath was this rotten piece of brown canvas.
16:27And I thought, I'm freezing.
16:29Maybe I can work this into the screenplay.
16:32Sure enough, I ripped this thing and I started cutting it up.
16:35And then we lined it, because the water was pouring through.
16:38It was freezing cold up there.
16:40And that's one of those lucky things.
16:51Rambo 3 was...
16:54There was absolutely no special effects in it.
16:56It's all...
16:57No CGI, I mean.
16:59It was very, very dangerous, very boiling hot.
17:02And...
17:04It was...
17:05It was really well made.
17:07Except, from the time we were editing to the time it came out,
17:10Russia, who had been in a cold war with us for about 40 years,
17:14decided to come over and shake their hands and kiss and make up.
17:18And now everyone goes, what is Stallone trying to do?
17:20He started another war with Russia.
17:22And I mean, I would come into press conferences and people would boo.
17:26Like, well, what are you trying to do?
17:28I go, have you ever heard of the cold war?
17:30What am I trying to do?
17:32So, you gotta be careful if you're dealing with topical subjects.
17:36The Expendables.
17:42I'll take the four on the left.
17:44Why don't you take the two on the right and leave the rest alone?
17:47I kill them all!
17:48I don't care!
17:49You should take the two on the right, not the first anymore.
17:52The only thing faster is light.
17:54What it was is, I took my wife to an oldies concert.
17:58Ten groups.
17:59And I go, oh God.
18:00When I was young, they were all great.
18:02I said to my wife, you're gonna love this.
18:05This is sensational.
18:06She goes, okay.
18:07So we go to the, I think it's the Hollywood Bowl.
18:11And the first guy comes on.
18:13The Righteous Brothers, except there's only one of them.
18:15The other one passed away, so it's the Righteous Guy.
18:17And then it's the young rascals.
18:20There was four guys, now it's one guy.
18:22And he's an old rascal.
18:24And he's like, you know, hiding behind everything.
18:27It was a nightmare.
18:28And finally, Blood, Sweat and Tears.
18:31Oh, honey.
18:32I literally, when I was backpacking across Europe,
18:35I carried their album in my backpack.
18:37That's how much I loved.
18:38This guy was a killer.
18:40David Clayton Thomas.
18:41He used to dress in leather and come out.
18:43Now, Blood, Sweat and Tears, they all come out.
18:47And he's dressed in corduroy with like a flannel shirt
18:51tucked into his buckle and belt his way up here.
18:54And he goes, you made me so.
18:57You guessed it.
18:59Very happy.
19:00And I went, oh, my God.
19:02She's looking at me.
19:03You're taking years off my life.
19:06Let's get out of here.
19:07And I went, so, years later, I thought of all these Asher guys
19:12that pretty much run the course.
19:14Pretty much me too.
19:15But if you bring them back for an oldies concert,
19:19people will come.
19:20Individually, nobody's going to come.
19:22So I thought, okay, let me get Dolph and Digg and Jason Statham.
19:27All these people.
19:28Jet Li.
19:29That's an event.
19:30Just like the oldies concert.
19:32See how it worked out?
19:33And that's what did it.
19:35It was a curiosity factor.
19:37Trench?
19:41Oh, this is embarrassing.
19:43Yeah, sure is.
19:44Working with Schwarzenegger, what was that dynamic way?
19:47What did you feel here?
19:48Very competitive.
19:49I'll say that.
19:50We've been competitive since we first laid eyes on each other.
19:55And not always in the healthiest way.
19:57But we finally came to terms when he was running with governor
20:00and everything was nice.
20:02And it actually became, you know, great frenemies.
20:06And to this day, you know, that has been,
20:10it's been quite striking because, you know,
20:13the phone would pick up,
20:14hey, how you doing?
20:15What's going on?
20:16And he went, not much, man.
20:19Let's talk about it.
20:22Copland.
20:26And that's the best thing I ever did with my life.
20:29So you want to sit around your whole life wishing you were on the force?
20:32Let them spill.
20:36I wouldn't know where to begin.
20:38At that time, I was mainly relegated to a fellow who just did action film
20:43and relied upon his muscle and being in shape.
20:46And I said, I know there's a lot more in there.
20:49So when the script came along with James Mangold,
20:54I had to actually divest everything that I had,
20:57which I was, you know, using as making a living,
21:00which is being in shape,
21:01to be uninsured.
21:03And it was like completely out of shape.
21:05And half hearing is gone.
21:08So it kind of put me in this kind of really vulnerable place.
21:11So that's why I did it for this big challenge.
21:15Maybe we should go up there.
21:17You know, like about 30, 35 pounds,
21:19but it wasn't muscular weight.
21:21It was just pancake weight.
21:23It was fun doing it, I'll say that.
21:25There were two scenes that were really important.
21:27One is where I always wanted to date this girl,
21:31and she was not attracted to me or anything else.
21:36And there's a scene in there where,
21:38why didn't you ever get married?
21:39And I go, because all the good girls were taken,
21:42meaning her.
21:43And then a Bruce Springsteen song comes on,
21:46all of that.
21:47But it's something I've been looking forward to.
21:49It was one of the main reasons I wanted to show to myself.
21:53You know, we all know what we're pretty much capable of
21:57or not capable of.
21:58And I had read so many times about the kind of roles I did
22:03were superficial and took nothing to it.
22:05I said, well, there is a lot more to it,
22:07but I'll go back and do a drama with you.
22:10Because Rocky really was a drama.
22:13It was only six minutes of fighting.
22:14The rest of it was talking and acting.
22:17So I just wanted to go toe-to-toe with De Niro
22:20and Keitel and Ray Liotta.
22:22It worked out real fun.
22:24It was good.
22:25Excuse me.
22:26Mo, I apologize.
22:27I'm sorry for rushing in like this, but you were right.
22:30They tried to kill him like you said, but he got away.
22:33Now he's running through the woods.
22:34He's like a scared animal.
22:35The first scene, it was supposed to be,
22:39it's coming out of subways, walking through doorways.
22:42In other words, the day to acclimate yourself,
22:44to get over your opening jitters, let's say.
22:47Call it that.
22:48So I thought I was going to do that.
22:51No, no.
22:52You're doing the eight-page thing with De Niro.
22:54I said, excuse me?
22:55I haven't prepared for this.
22:57So we did the eight pages and then De Niro wasn't giving me his best.
23:02I could feel it.
23:03Just wasn't.
23:04I kept ad-libbing.
23:05I kept ad-libbing and irritating him until finally he gave me something.
23:11He gave me De Niro.
23:13I offered you a chance when we could have done something.
23:15I offered you a chance to be a cop and you blew it.
23:19You blew it.
23:20And I thought that was kind of funny.
23:22And it proved the point that you just don't give up on a scene,
23:25a serious scene, because the other actor is just not quite in sync with you.
23:31You keep working it.
23:32Cobra.
23:33The court is civilized, isn't it?
23:34But I'm not.
23:35This is where the law stops.
23:36And I start.
23:37Cobra was triggered by a squad of policemen in the 40s and 50s here called the Hats or
23:44something like that.
23:58And they would go out and take care of business on their own.
24:01You know, you're the disease, I'm the cure kind of mentality.
24:04And I thought, why don't I create this character?
24:07And he's head of a group called the Zombie Squad.
24:09Even though you never see them, I work for the Zombie Squad.
24:13And so we did this kind of, it was almost, if you look at it today, this gothic comic kind
24:19of thing, you know, where it's the bad guy with a knife with spikes going around the middle
24:24of the knife.
24:25It's way over the top, but I wanted to do something like that.
24:28And pulling up in a Mercury, I come out wearing motorcycle boots.
24:32And they said, well, how can you put a title over this that describes it in a few words?
24:38I go, okay, think of Bruce Springsteen with a badge.
24:42There it is.
24:43There's your concept right there.
24:52My biggest regret is that I didn't do Cobras franchise, Tango and Cash and Demolition Man.
25:00I felt each one of those had at least three movies in them.
25:05But I was just, I guess maybe too lazy, but I didn't do it.
25:11But I felt those films had potential to go on.
25:17Tulsa King.
25:18Howdy.
25:19Howdy.
25:20Can I help you?
25:21Yeah.
25:22I just got into town.
25:25I'm just looking around and I'm wondering how does all this work?
25:31Taylor Sheridan gave me a call around 10 o'clock at night.
25:35He goes, I got this concert about a gangster fish out of water being banned to Tulsa, Oklahoma.
25:42I went, I'm in.
25:43Because I've always wanted to play a gangster, but play it a little differently because it
25:48had been done so brilliantly before.
25:50It was Tony Soprano and Casino and all that.
25:53When we were allowed to all work together with Terrence Winter, myself and Taylor, we kind of came up with this,
26:02one thing that was necessary was heart and some humor.
26:06Because that hadn't been done really, not really, in a long running character.
26:12So that was the intrigue.
26:14I wanted to see also, I wanted to basically play myself.
26:17The concept of waking up one morning, you're not an actor, you're a gangster,
26:22but you have the same personality.
26:24So what you see up there is pretty much me.
26:27I sent my own message.
26:29What?
26:31Hey.
26:36Silence is golden.
26:42Well, I think the direction of White is what he, you can identify with him because
26:49being shipped to a place that you've never been to in your life.
26:53At 75 years old, you have no friends.
26:55Loneliness is abounding everywhere.
26:58And you're basically sent there to die.
27:00That was becoming a very grim story until the character, the driver, shows up, Tyson.
27:06And then all of a sudden you now have some comedic relief.
27:09And for the first time, the audience goes, oh, this is not as dark as we thought.
27:14This is going to be maybe kind of an unusual ride between humor and drama.
27:21TV is much harder.
27:22Much harder, much faster.
27:24It's unrelenting.
27:25And also, it just battles your brain all over.
27:28It's like being punched with a jab every 10 seconds because nothing is ever done in continuity.
27:34You're jumping here, jumping there, and all right, we're ready.
27:37I just got back to it.
27:38We're ready.
27:39Come on back up.
27:40So it's unrelenting.
27:41Whereas in a film, we used to have 90-day shoots.
27:45Here you have to do two hours in 11 days, 12 days.
27:52So if you really break it down, one series, one season on Tulsa Chain is the equivalent to
27:59five Rocky movies in time because you have each movie, Rocky's a two-hour movie, right?
28:05Those two hours are just two episodes.
28:08You still have eight more to go to finish the series.
28:11That's a lot of work.
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