- 2 gün önce
Im A Stranger Here Myself
Kategori
🎥
Kısa filmDöküm
02:09M.K.
02:15M.K.
02:57İzlediğiniz için teşekkür ederim.
03:27İzlediğiniz için teşekkür ederim.
03:57İzlediğiniz için teşekkür ederim.
04:27İzlediğiniz için teşekkür ederim.
04:59İzlediğiniz için teşekkür ederim.
05:01İzlediğiniz için teşekkür ederim.
05:03İzlediğiniz için teşekkür ederim.
05:05İzlediğiniz için teşekkür ederim.
06:37İzlediğiniz için teşekkür ederim.
06:39İzlediğiniz için teşekkür ederim.
06:41İzlediğiniz için teşekkür ederim.
06:43İzlediğiniz için teşekkür ederim.
06:53İzlediğiniz için teşekkür ederim.
06:55İzlediğiniz için teşekkür ederim.
06:57İzlediğiniz için teşekkür ederim.
06:59İzlediğiniz için teşekkür ederim.
07:01İzlediğiniz için teşekkür ederim.
07:03İzlediğiniz için teşekkür ederim.
07:05İzlediğiniz için teşekkür ederim.
07:07İzlediğiniz için teşekkür ederim.
07:09İzlediğiniz için teşekkür ederim.
07:11İzlediğiniz için teşekkür ederim.
07:13İzlediğiniz için teşekkür ederim.
07:15İzlediğiniz için teşekkür ederim.
07:17İzlediğiniz için teşekkür ederim.
07:47İzlediğiniz için teşekkür ederim.
08:17İzlediğiniz için teşekkür ederim.
08:43İzlediğiniz için teşekkür ederim.
08:44Ah.
08:46Bir virtue de benzeri mevcuttın.
08:48Teşekkürler.
08:49Şimdi eşi ve babamın.
08:55Teşekkürler.
09:04Öğrenin bir yolu.
09:09You got a cold.
09:11I'm sorry, I have.
09:14İzlediğiniz için teşekkür ederim.
09:37İzlediğiniz için teşekkür ederim.
10:07İzlediğiniz için teşekkür ederim.
10:37İzlediğiniz için teşekkür ederim.
11:09İzlediğiniz için teşekkür ederim.
11:11İzlediğiniz için teşekkür ederim.
11:13İzlediğiniz için teşekkür ederim.
11:15İzlediğiniz için teşekkür ederim.
11:17İzlediğiniz için teşekkür ederim.
11:19İzlediğiniz için teşekkür ederim.
11:21İzlediğiniz için teşekkür ederim.
11:23İzlediğiniz için teşekkür ederim.
11:25İzlediğiniz için teşekkür ederim.
11:27İzlediğiniz için teşekkür ederim.
11:29İzlediğiniz için teşekkür ederim.
11:31İzlediğiniz için teşekkür ederim.
11:33İzlediğiniz için teşekkür ederim.
11:35İzlediğiniz için teşekkür ederim.
11:37İzlediğiniz için teşekkür ederim.
11:39İzlediğiniz için teşekkür ederim.
11:41İzlediğiniz için teşekkür ederim.
11:43İzlediğiniz için teşekkür ederim.
11:45İzlediğiniz için teşekkür ederim.
11:47İzlediğiniz için teşekkür ederim.
11:49İzlediğiniz için teşekkür ederim.
11:51İzlediğiniz için teşekkür ederim.
11:53İzlediğiniz için teşekkür ederim.
11:55İzlediğiniz için teşekkür ederim.
11:57Ve İzlediğiniz için teşekkür ederim.
11:59İzlediğiniz için teşekkür ederim.
12:01Bir sonraki bir şey.
12:03Bir sonraki bir şey.
12:09Hey, bums!
12:11Hey, bak atı.
12:13Buna baktık.
12:15Bakın.
12:17Bir sonraki bir şey.
12:19Hemenin deyince.
12:21Hemenin deyince.
12:23Hemenin deyince.
12:25Hemenin deyince.
12:27Yen-i en ya.
12:29Ve baksana.
12:31Evet, baksana-baksana.
12:33Czenli çapın.
12:35Önceler become.
12:37Her 경우에는 bu işi baksana.
12:39Onu insanlar şunun kötü bilgesini.
12:41Belki mu var.
12:43Öncelerinde.
12:45maintenleri mesela.
12:47Öncelerinde.
12:49Öncelerinde.
12:51Öncelerinde.
12:53Öncelerinde.
12:55O filmi.
12:57He's a con artist and he knows how to manipulate people if that's an acceptable word but that's part of the talent of a director. He's always wanted to be cherished by young people and he scorns his own generation which has rejected him apparently and he just likes working with young people.
13:22As far as his role in the film, which is an essential part of the whole film, he's, as a character, I guess he's something like the parole officer in Rebel, always caring for young people and he's been like a father to us and a counselor and a teacher at the same time.
13:45Ray's unconventional teaching methods demanded intensive involvement from his students, leading them to adopt a communal living arrangement that brought down continual harassment from conservative university authorities.
13:58Eventually, the group was forced to move to a farm just outside of town.
14:02Gradually, under Ray's direction, teacher and students alike attempted to develop an original approach to filmmaking that would express in a new way the process of self-discovery that has always been one of Nick Ray's central themes.
14:15Look, I like this quality on, I like this quality on here better than I like the correction one.
14:22The overexposed one.
14:25Why do you like that one better?
14:26Because I like it better.
14:31Now, look, this is dull.
14:33This is one of the many aesthetic characters in the world. Look at it.
14:37I know which thought it is. I know which thought it is.
14:39Well, this is dull as hell, you know.
14:41How did Bogart take to playing the part of the writer in In a Lonely Place, which is rather a departure for him?
14:51Well, I had taken the gun away from his hand for the first time in Knock on Any Door.
14:56And the second time, he was ready for it, a little bit more ready for it.
15:11And he obviously loved it. It's one of his favorite films.
15:15But it was a very personal story.
15:23A very personal story.
15:25The last part of it,
15:26I had written with Andrew Salt and Bundy Salt had headed east.
15:40In the meantime, I had separated from my wife, Gloria Graham,
15:44who was playing opposite bogey.
15:46And if I had let the producer, Bobby Lord, or bogey know that,
15:54they would have gone crazy, or Harry Cohn would have gone crazy.
15:58And so I said,
15:59Well, look, I'm having trouble with the third act.
16:03Make an apartment for me out of a couple dressing rooms.
16:07Because I don't want to drive to Malibu every night.
16:09And I want to get down and get on stage and work at night.
16:19Which I did.
16:20And Gloria behaved beautifully.
16:21Nobody knew that we were separated.
16:24And I just couldn't believe the ending that Bundy and I had written.
16:32I shot it because it was my obligation to do it.
16:35Then I kicked everybody off stage except Bogart, Art Smith, and Gloria.
16:41And we improvised the ending as it is now.
16:45The original ending we had written so that it was all tied up into a very neat package.
16:51Frank Lovejoy coming in and arresting him
16:53as he was writing the last lines having killed Gloria.
16:58And I said,
16:59What shit?
17:01I can't do it.
17:02I just can't do it.
17:03Romances don't have to end that way.
17:07Marriages don't have to end that way.
17:08They don't have to end in violence, for Christ's sake, you know.
17:13And let the audience find out and make up its own mind about
17:17what's going to happen to Bogie
17:20when he goes outside of the apartment area.
17:25Which was the first apartment I lived in in Hollywood, by the way.
17:29This was a very personal film.
17:33Bogart plays a neurotic screenwriter with a violent temper
17:39who was unjustly suspected of murder.
17:42The police investigation places an intolerable strain
17:44on his relationship with Gloria Graham.
17:49Right there.
17:49The moment we see them together and talking,
17:53right after my rap for the detective.
17:56Working within the studio system,
17:58Ray, like other directors,
18:00often had to relinquish control of a picture
18:02at the vital stage of editing.
18:07We mix the speaker over this.
18:09Which take is this?
18:24This is like take four or something.
18:26Listen to take six.
18:27Six?
18:28Yes, there is one.
18:29Right there, sir.
18:31And also, I want to put back in,
18:34because in seeing the assembly in Boston,
18:41it struck me that we have no resolution to this at all,
18:45and we must have that jump of Leslie into Doug's arms.
18:52Why don't you do the tape?
18:53No.
18:55Oh, yes.
18:57How did you approach your cutting in Hollywood?
19:00But I would cut every night after shooting.
19:02As you want.
19:04I'll usually have a rough cut in the film
19:06within a week after I finish.
19:07But this is different.
19:13This is a method of teaching.
19:20That we've come out with the film is,
19:23we hope, a very lucky accident.
19:34Now it's crescendo, right from here.
19:37Before that.
19:38This part comes in before that.
19:40Now, let's listen to another take, if you can.
19:43Okay.
19:44Because I have one which is almost on the nose.
19:47When do you want to crescendo?
19:49Crescendo begins while we're on their backs.
19:51Oh, right.
19:51While we're on their backs.
19:52Right, right there.
19:53So if I cut two bars, I think that will...
19:55No, the two bars will bring you into the la-la-la-la.
19:59How have you organized your students' work on this production?
20:02Following a rotation system with somebody being on one sequence,
20:07somebody else being on another sequence.
20:10And finding that a person who may be emotionally involved in one sequence
20:19may not be doing as good an editing job as somebody else might do.
20:23Take him off, put him onto something else.
20:25Do you find you...
20:29Can you get a consistent rhythm to the picture with...
20:31That's my final job.
20:34Everything that goes through here now goes through me.
20:41Finally, there can only be Lee.
20:44Finally, there must be the director.
20:46Whenever you're ready, Luke.
20:48Yeah, okay.
20:4916, you ready?
20:50You can look the lights, please.
20:51When the young French critics first began to develop the author theory,
20:54the concept of the director as the central creative force in the making of a film was a new one.
20:59No other American director attracted more sustained enthusiasm
21:02from François Truffaut, Jean-Luc Godard, and their colleagues than Nicolas Ray.
21:07I think what attracted us to is that there was something European for this man of Hollywood, in fact.
21:15And what there was European, it was perhaps the fragility, the vulnerability of the main characters.
21:21Bien qu'il tournait quelquefois avec des vedettes, comme John Wayne ou Fred Bogart,
21:26et ses personnages masculins n'étaient pas machos, ou Sterling Hayden.
21:31Il y avait cette grande sensibilité, et surtout dans le traitement, je dois dire, des histoires sentimentales,
21:39qui donnaient une impression de très grande réalité.
21:41À une époque où le cinéma d'Hollywood n'était pas facilement personnel ou autobiographique,
21:46on avait toujours l'impression que les histoires d'amour dans les films de Nicolas Ray étaient des histoires vraies.
21:58J'ai dit une fois, et je suis prêt à le redire aujourd'hui devant cette caméra,
22:02j'ai dit une fois qu'un film comme Johnny Guitar a eu plus d'importance dans ma vie que dans celle de Nicolas Ray.
22:07C'est-à-dire que c'est un film pour lequel je me suis pris de passion dès que je l'ai vu,
22:11mais j'étais critique au moment où je l'ai vu, j'ai écrit dessus,
22:14et j'ai écrit dessus plusieurs articles,
22:15et on a commencé d'ailleurs comme ça une correspondance avec Nicolas Ray.
22:20Mais je parlais de ça à propos de Johnny Guitar,
22:22qui est un film effectivement qui a une très grande importance dans ma vie,
22:25je ne sais pas pourquoi, parce que je l'ai trouvé très fort, très profond,
22:28sur les relations hommes-femmes,
22:31et je crois que c'est le seul film,
22:34c'est le seul film dans lequel j'ai vu traiter un thème qui est très intéressant,
22:39dans un certain stade des relations amoureuses,
22:41qui est l'amertume.
22:42L'amertume de gens qui se sont aimés, qui ne s'aiment plus,
22:44et je crois qu'aucun film n'a traité ça aussi bien que Johnny Guitar.
22:49As their concept of the film evolved,
23:04Ray and his students continually revised their scenario,
23:07endlessly reshooting sequences.
23:11By this time, they have been working together for nearly two years.
23:15What I feel is that I want to give.
23:19Right, I know.
23:20It's a very difficult time now.
23:22As the project's shortage of funds grew critical,
23:28production would cease intermittently for want of cash to buy film stock.
23:32Ray fell ill that winter and suffered from bouts of despair.
23:35Because when you had further blankets,
23:39because you're the one who wanted to come in and warm Tom originally as you did.
23:44Right?
23:45Right.
23:46And so at this moment...
23:48The company would work when it could,
23:50from noon throughout the night until dawn in bitter cold,
23:53functioning on a few hours sleep,
23:55snatched between takes.
23:56Action!
23:59Action!
24:05I don't think that I could have gotten him,
24:08or I could ever get him,
24:09such a good acting teacher.
24:10I think he's the greatest teacher of acting in the world.
24:15I'm really excited by that.
24:16And the reason that I still work on the film,
24:19because I've wanted to leave, you know, now for...
24:22since May,
24:24is because this relationship that I have with Nick
24:29is still very exciting.
24:32The energy is still very high.
24:36You don't even take time with me anymore.
24:39Play your part or else get your ass off the set.
24:41My concentration is on him in this angle,
24:44and I don't want your personal hostility
24:48or whatever the hell you are feeling
24:50to take a part in the film.
24:52at this point,
24:54not at all.
24:56Not at all, at all, at all,
24:58Leslie!
25:07My personal hostility is not involved in this film.
25:10It's not involved when I woke you there to there.
25:13So I don't know what you're talking about.
25:15Well, then, honey,
25:18you haven't learned anything about acting.
25:20If that's, if that's, you know, your judgment.
25:23Right.
25:23Come on, keep it.
25:27But I remain immune to it.
25:29If I know what I know.
25:30You sure know your immunity, you know.
25:33Yes.
25:34I, I will not try to convince you.
25:40I will not try to convince you.
25:43All you, all you can do is just
25:45cut ass out.
25:47If I waited for you four hours tonight,
25:51that meant that I didn't wait for you.
25:52You didn't wait for me for four hours.
25:53I did fucking too.
25:55I beg your pardon.
25:56I beg your pardon.
26:01Tell me when you waited for four hours for me.
26:03From 8.15 till 12.
26:058.15, you called.
26:07That's right.
26:07Who did you talk to?
26:10Judy.
26:14So how did you wait for me?
26:16Because she's part of the crew.
26:18I thought there's some kind of communication.
26:30We waited for you, for Christ's sake.
26:33Well, how was I going to get over here?
26:35Somebody was going to come after you.
26:37But they didn't.
26:37And I called and no one came.
26:39You were going on to camp.
26:40I was not.
26:41You said, don't go on camp.
26:43I did not go on camp.
26:44Because then it would take even an hour.
26:46You're talking bullshit.
26:47I am not.
26:49You're talking petty bullshit.
26:50I am not.
26:51Four hours is a lot of time.
26:52You want to talk about the part,
26:54I'll talk about the part.
26:55I will not talk about petty bullshit.
26:57It's not petty bullshit.
26:58It's a matter of time.
26:59That's all.
27:02And if time is of the essence in this film,
27:04then it's not petty.
27:05Do you have any questions about this?
27:18No, I just won't move there to there.
27:20I don't want to feel any kind of reluctance at all.
27:24I don't want to feel any kind of reluctance at all.
27:49You should.
27:55It's for the scene.
27:57Because you want to do that thing for him.
28:01To show him.
28:04So it's with reluctance you give them to her.
28:07And that is, this is the only moment of heroic action in the film.
28:12All right, ready for picture, please.
28:17We've got to get the focus on.
28:19Ready.
28:20Less okay.
28:22Roll them.
28:23Sound on.
28:24Camera on.
28:24Speed.
28:25Action.
28:33All right, now.
28:35Turn that way again.
28:36All right.
28:36All right.
28:36Now.
28:36Turn that way again.
28:36I like this very much.
28:58I just want to see the other kind of graciousness come into it.
29:03I want to extend, extend the moment a little longer.
29:15Because what may take a moment in, or just a second in the thought,
29:23is the kind of miracle we film, where you can extend that thought into 30 seconds, 40 seconds.
29:37Now we want to extend it to 8 seconds.
29:39All right.
29:40So I think it's the move first, and then they, okay, darling, you, you do it.
30:05Leslie.
30:17Leslie.
30:17Ah.
30:19Wonderful.
30:21Thanks.
30:22I try not to direct them until just before the scene, which is part of what the hassle was about last night.
30:28But when a person has the stink of the gallows about her, then you, then you're bound to run into the same thing that you might run into with a Tallulah bank head.
30:46Or a, well, hell, I've only had two fights with actors in my life, really.
30:54And you use what is of their essence at the moment.
31:03Because that is their easiest reference point.
31:06And you have to be aware of that and how to agitate it, how to make it work for you in the scene.
31:15What their immediate concern is.
31:16He showed me about a year ago little bits of the Bingham film, and some of them were, I couldn't tell what the whole film was like at all.
31:25I mean, there wasn't enough of it.
31:26But I saw a couple of sequences that were quite amazing and really reminded me of Nick's kind of talent, which he was showing in the days when he was making Rebel Without a Cause.
31:40And those extremely passionate and vital pictures about the young.
31:47How did you get the part in Rebel?
31:48Well, Nick made a lot of tests of different girls.
31:54I think there were about 50 of us, and it sort of narrowed down.
31:57There were 50 to begin with, and the second day it was down to 10, and the third day I think it was down to 5 or 6.
32:04But the big problem was that I had really up to that point only played children, and although I was 15, the last thing I did was in pigtails or something.
32:13And so I was finding it difficult to convince, and Nick was also finding it difficult to convince the studio that I was out of pigtails.
32:20So one day I came on an interview with a boyfriend who had a cut on his face, and Nick said, where did he get that?
32:27And I said, drag racing.
32:29And then shortly afterward, I was actually in a bad car accident with Dennis Hopper, in which Dennis was driving too fast.
32:38We were all thrown from the car and brought to the hospital.
32:41And I was sort of semi-conscious, and the police were called, and they were asking me my parents' phone number.
32:49And I kept saying, it's Nick Ray.
32:51Call Nick Ray.
32:52And the number is so forth and so forth, the number of the Chateau Marmont.
32:55And I just kept repeating that, and so that's who they did call.
32:58And Nick sent his doctor down to the hospital, and then he came down, and I said, Nick, they called me a goddamn juvenile delinquent.
33:05Now do I get the part.
33:07And you got it.
33:07And I got it.
33:09No director that I'd ever worked with had ever improvised.
33:13And Nick's bungalow at the Chateau Marmont, where he lived, was the, the set was built from that, so that when we rehearsed, we really rehearsed as though in a set, and we improvised most of the scenes.
33:28Could you tell us something about the relationship between Nick Ray and Jimmy Dean?
33:34Well, they obviously had become very close, because before the film started, they sort of hung around together, and as you mentioned, went to New York.
33:44And so that Jimmy trusted Nick a great deal.
33:47And I think Nick was very fatherly towards Jimmy.
33:51I mean, he was to Sal and to myself as well.
33:56But I think Nick just absolutely understood Jimmy.
33:59They were just completely in tune and personality.
34:02I guess maybe Jimmy reminded Nick of himself a great deal.
34:06So that there was never any friction, as there was between Jimmy and other directors that he worked with.
34:11And it was just a wonderful blend.
34:15And Nick brought out this feeling of trust in Jimmy.
34:18But working with Jimmy was, you know, like a real, real joy.
34:30But I had the advantage of his having worked with Kazan.
34:37And where he at least had a method of beginning.
34:44I developed the method a little bit more, because Kazan and I had matriculated at about the same time in the theater.
34:55And he had taught me a lot.
34:58I think I'm, I think the nicest thing Gaj ever said to me was,
35:03how did you get that spontaneous performance out of Jimmy?
35:08But method changes with damn near every actor.
35:11And I honored his imagination more than almost anything else.
35:17Dean was the only one in the cast who had any real comprehension of method or of the school of theater in which I had grown up.
35:25And you couldn't use the word improvise.
35:35If you used the word improvise with people like Andaran or Jim Bacchus or Virginia Brissac,
35:44They'd say, oh, this, oh, this artsy school, hmm?
35:51And, and, uh, uh, so you'd, I'd use old vaudevillian terms.
35:58The director has to be able to work with everybody from every, every school, you know?
36:05No cast is ever made up of really the same people, the same background.
36:10Uh, so you have to use all the techniques you've ever learned,
36:17whether it's that, what you learned from a vaudevillian or from an old leading man like Fuller Mellish
36:23who came over with Henry Irving and Minnie Madden and Fisk or, or, uh, burlesque people like Red Buttons or, or, uh, Phil Silvers or, uh, uh,
36:39or from miners or shrimp fishermen or, uh, or your own peers as you grow up at the theater.
36:51It's, uh, it's, uh, a Cary Grant, for instance, is a, as a fellow like Duke Ellington has in, in his trunk
37:03so many tunes, well, Cary Grant has so many notes of sunsets, so many jokes,
37:13so many things that he's collected and remained collecting every single year of his life, you know,
37:17that, that his, his, his memory, his effective memory
37:22is always implemented by an easy reference, you know?
37:29He has them in the trunk.
37:31He doesn't have to refer to them because the compartments of the brain have them,
37:34but having written them down, having noted them, having taken the, the, uh, the visual memory of,
37:44like, that tree between those two little shacks there
37:48being something which you might remember in a scene
37:54and say, why don't we use that?
37:56After Rebel Without a Cause, Nicholas Ray continued to produce some extraordinary work.
38:04Although he was one of Hollywood's most respected directors,
38:08Ray still suffered studio interference that Baudela-ized his conception on several films
38:12and he began to work abroad.
38:14Thereafter, he drifted from one project to another
38:16through the Byzantine complications of independent production
38:19and multinational financing.
38:22Compromises were still required,
38:24but Ray did enjoy a measure of autonomy beyond that generally accorded him in Hollywood.
38:29Then, in 1960,
38:31he was drawn into the world of blockbuster spectacles.
38:35Although he brought his immense visual talent
38:37and some original conceptions to the rather inflated material,
38:41Nicholas Ray seemed glaringly out of place,
38:43overseeing the massive technology
38:45and impersonal logistics
38:47of a king of kings
38:49or of 55 days at Peking.
38:51Uh, why did he get discouraged?
38:54Uh, this is the terrible evil, I think, of the Hollywood system.
38:58I think you, uh, end up,
39:01because you do get screwed occasionally by studios,
39:04you do get frustrated,
39:06uh, they do mess up your work
39:08and make it more difficult for you to work,
39:10or they did in those days when the studios really existed,
39:12they don't really exist anymore,
39:14uh, in that sense.
39:15Um, I think Nick, uh,
39:17was probably much more vulnerable than other people.
39:20Everybody has this,
39:21but whereas a man like Kazan,
39:23uh, was able,
39:24who's tough as nails,
39:26was able to take it in stride,
39:27I think Nick, finally,
39:29was, uh, partially destroyed by it
39:31and became almost perverse
39:33in his, uh,
39:35in his resistance,
39:36in his, uh, uh,
39:38almost being prepared to be screwed
39:40before, uh, anticipating
39:42the screwings before they actually occurred.
39:45Now, that is not rare.
39:46That happens to many directors
39:49and many people who work in the business.
39:51It affected Nick more than other people.
39:54Most, uh, film courses or film classes
39:57concentrate on, you know,
40:06getting rid of the responsibilities of the students
40:09as quickly as possible
40:10by putting them off in corners
40:11and shooting eight millimeter films,
40:13which they can do all by themselves
40:15and, uh,
40:18and, uh,
40:18present for a senior thesis.
40:21Therefore, the emphasis is on
40:24a kind of static camera
40:25with a, uh,
40:28with cute ideas
40:32or masturbatory ideas
40:33or date-making ideas
40:36or anything except the, uh,
40:40relationship with other human beings.
40:43And film is a collective art.
40:46It's an eclectic art.
40:47It's a collective art.
40:48And, uh,
40:50and it's, uh,
40:55by its own nature,
40:57become the most communicative art
40:59that we have in the world.
41:02And the only two great ambassadors
41:04we've ever had
41:05from the United States
41:06have been jazz and film.
41:07and that doesn't come
41:11from sitting off in a corner.
41:21For all his hardships,
41:24Nicholas Ray remains
41:25both intransigent and optimistic,
41:27facing an uncertain future,
41:29determined to make films
41:30in his own way.
41:32In a sense,
41:33each project he undertakes
41:34might be likened to the blind run
41:36in Rebel Without a Cause,
41:37as a slightly mad test of courage
41:39that leads him up to
41:41and perhaps over
41:41the edge of disaster.
41:44While Ray did find
41:45in Binghamton momentarily
41:46a kind of community
41:47and collective endeavor
41:47for which he had long
41:49been searching,
41:50in the end,
41:51Nick Ray knows
41:52that he must drive
41:53his blind run alone.
41:55As he has often remarked,
41:56the working title
41:57of every film he has ever made
41:58has been
41:59I'm a Stranger Here Myself.
42:03Uh, there's a little camera
42:05on this.
42:07It might be good emotionally
42:18for you to take
42:19the low camera.
42:26She's putting the blankets
42:28on Tom.
42:29Yeah.
42:29Yeah, go ahead.
42:34That you tip up to her.
42:37What do you mean?
42:38I take a camera that's...
42:39That's the low camera.
42:41As the blankets come on to her.
42:43You should live 75 here.
42:47And, uh,
42:48you tip up to her.
42:51I think it's emotionally
42:53a good thing.
42:54All right.
42:55Okay.
42:58What edge, please?
42:59Um,
43:00155.
43:02It looks very beautiful to me.
43:04It's a wrap in here, right?
43:05That's a wrap.
43:06All right.
43:15I'm there.
43:27You.
İlk yorumu siz yapın