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Hot Ones - Season 29 - Episode 11: Oscar Isaac Has Beef With Spicy Wings
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00:00I'm not even focused up here at the moment.
00:02I'm just kind of like, what's happening?
00:05Lots of plates spinning over here.
00:07Yeah, yeah.
00:14Hey, what's going on, everybody?
00:16For First We Feast, I'm Sean Evans, and you're watching Hot Ones.
00:18It's the show with hot questions and even hotter wings.
00:21And today we're joined by Oscar Isaac.
00:22He's a Golden Globe award-winning actor whose work spans everything from the Broadway stage
00:26to beloved indie films to the biggest box office franchises in Hollywood.
00:30You can also catch him starring in the rage-fueled dark comedy series Beef,
00:33which returns for its second season on Netflix April 16th.
00:36Oscar Isaac, welcome to the show.
00:38Hey, Sean, I'm very delighted to be here.
00:41At least in the beginning.
00:42Yeah.
00:43What's going through your head as you prepare to take on this gauntlet?
00:46Just surrender.
00:47Just surrendering the war with reality.
00:50I'm here.
00:52I'm ready.
01:16All right.
01:17We're in.
01:19Meow.
01:21Okay.
01:22What are you, little cat?
01:24Garlic delight.
01:25Mm-hmm.
01:28Mm-hmm.
01:34So, beef creator Lee Sung-jin says that the second season of the show is about the internal
01:39repression of rage you see in the workplace, a different engine from season one's road rage
01:43clash.
01:43As an actor, what's it like to play someone who's constantly suppressing their beef rather
01:49than acting on it?
01:50Yeah, it was interesting because I think, like, I was a couple weeks in, I was finding
01:54myself getting really hoarse, and I was having trouble getting air out.
01:59And I was like, I feel like it was just so strangled.
02:01And so it was manifesting itself as, like, a very strangled feeling.
02:05And that was, like, not on purpose.
02:07It just, I think, was from playing somebody that's being so squeezed.
02:11You know, Sonny's just so great at that humor of people kind of being squeezed, and they
02:16make these sounds.
02:18As you learn.
02:19Mm-hmm.
02:19Which is what life is, really.
02:20Life squeezes us, and these are the sounds we make.
02:35That's yummy.
02:36You like that one?
02:37Yeah.
02:39I like pickled things.
02:41So, I've heard you describe acting as humiliation management.
02:45Can you unpackage that?
02:49Yeah, you know, that's kind of like the tightrope walk, right?
02:53That's why it's a little bit of an extreme sport, because you put yourself out there.
02:57There's no separation between you and the work.
03:00You know, and you arrive in a room with lots of people, there's lights on, and expecting
03:04you to find some sort of honest moment or whatever that is.
03:08But, you know, I mean, they say public speaking is, people are more afraid of that than death.
03:12Like anything, yeah.
03:13Yeah.
03:13So, that's part of the thing of just, like, you put yourself out there, and, you know,
03:17and some people deal with it by, like, punching themselves in the face before a take, and some
03:21people want to humiliate themselves more.
03:22Some people need to control everything.
03:24And so that, for me, it gives me a lot of empathy for the way people need to manage those
03:29things to try to arrive to somewhere that's interesting to them.
03:32So, how easy is it for you to switch into iambic pentameter?
03:36Like, is there a metronome in your head?
03:37We were just talking about iambic pentameter.
03:39Yeah, yeah.
03:40Is there, like, a metronome in your head that you can lock into to describe hot sauce flavors,
03:45or is it something that requires a lot of work with the script?
03:48I mean, a little bit of both, but we naturally speak, if you speak English, you kind of naturally
03:52speak in iambic pentameter.
03:53If you start to break it down, like, you know, we naturally speak in iambic pentameter if
03:57you start to break it down, you know, ba-da-ba-da-da, you know, it just kind of keeps
04:01going in that way, and it's just fun to see if you can force things into that rhythm,
04:06and it can sometimes elicit almost, like, Chris Walken-esque readings of things, because
04:11you're like, that splits right in the middle, and, you know, it's fun.
04:19A little sweetness.
04:22Oh, this is, like, a lull, so I get the guard down.
04:26Oh.
04:27Before the...
04:28You're recognizing that.
04:28The villain comes.
04:29Yeah.
04:31You know too much.
04:32Mm-hmm.
04:34So, in working in the Star Wars franchise, I've heard you say that a TIE fighter is more
04:38comfortable than an X-Wing.
04:40From an actor's perspective, what is, like, the difference in those cockpits?
04:44The X-Wing is a lot tighter.
04:46I think it was also just the nature of the way we filmed those scenes, because, especially
04:51on the first one, the first one, it was outside on a gimbal, and so, you know, I'd be kind
04:58of squashed into this X-Wing, like, the sun bearing down, and, like, the cameras kind
05:03of, they're, like, really high up, and that was just, it was really intense, and they're
05:09screaming, like, okay, look left, look right.
05:11They're just like, all right, the guy just died.
05:13Be afraid, but not too afraid.
05:14Be heroically afraid.
05:16You know?
05:17So, and I'm just kind of, like, moving on this, like, on this horrible ride.
05:21And then the ex, the TIE fighter, you know, the way we shot that, they'd kind of made a
05:26lot more room in it so the camera could go around, and I'm back-to-back with Boyega on
05:31that one, and that was actually, it was, like, one of the first things that we shot, and I
05:34just remember the whole thing being a bit lighter.
05:37So, in my mind, TIE fighters are the way to go.
05:44Which one is the Smokin' Dragon?
05:49Edgy.
05:49Or edgier.
05:50Yeah.
05:50We're getting edgy over here.
05:52Getting dangerous.
05:54Right.
05:56So, when you have a particularly critical or taxing scene circled on the script, like,
06:02for example, Victor Frankenstein's deathbed, what is the day like in the back of the
06:06buildup to it?
06:07Like, is it different from other days on the call sheet, or more similar than one would
06:10think?
06:11Yeah, it's an interesting one that you bring up.
06:13That day, I spent it, you know, I was like, I'm going to focus.
06:16I'm not going to really, you know, expend a lot of energy.
06:18I kind of want to just maintain myself in a state of as much relaxation as I can be, so
06:23that I'm available for stuff to come up, and I listen to my sad sack music, and I, you
06:28know, looked at pictures of people that have passed, and people that mean something to me
06:32when I was at someone's deathbed, you know, just kind of bringing up some of those things.
06:36And I went in, and we shot the scene, and it was five or six takes, and Guillermo was
06:43very happy with it.
06:44Everyone felt really good.
06:45There were some tears in the crew.
06:46It's like, we got it.
06:47Great.
06:48And then the way that Guillermo edits, he's kind of quilting the movie as it goes.
06:52He's got, like, a pretty full edit with music on it the very next day, which is kind
06:57of terrifying.
06:58But he's like, you want to see it?
06:59You want to see it, cabron?
06:59And I'm like, okay.
07:01And I was like, and I watched it, and I just was like, was that take four that we used?
07:06He's like, yeah, that was take four.
07:08I was like, I don't know if that was take four.
07:09He's like, it's take four.
07:10And then we looked, and it wasn't take four.
07:11It was like, it wasn't the right take, but then I saw the take, and it wasn't that much
07:14better either.
07:15And I was like, all right.
07:16And I was sitting down.
07:17We were going to shoot an insert, and then he's like, he comes and sits next to me.
07:20He's like, what's the matter?
07:21I was like, well, you know, I'm feeling a little insecure.
07:25And he's like, well, you are an actor.
07:26And I was like, no, no, I know.
07:27I know, but I just feel like maybe I should have, like, looked up and said, you know,
07:30I'm sorry, or I should have, and he's like, no, no, those are all ideas.
07:32You know, you were really in it.
07:34And my spidey sense says that it's great.
07:37And then he's like, go take a break, and we're going to shoot this insert.
07:39And I went to my trailer, and I just relaxed, and I made a phone call or whatever, and
07:43forgot everything, and came back in, and he was set up for something else.
07:46I was like, what's this?
07:47He's like, we're going to do it again.
07:47We're going to do a close-up again.
07:48I was like, wait.
07:49He's like, you know, if nothing comes, then I'll just make fun of you for the rest of your life.
07:53And so I didn't have time to, like, listen to anything or think of anybody, or, you know,
07:57and we just did it, and a lot of different things came out, and that's what ended up
08:02being in the movie.
08:03So, you know, it's one of those funny things where you try to control it, and it's not totally
08:10up to you how it comes out, you know?
08:12And it's usually better when you get out of the way.
08:19I love you, Amarillo.
08:21I feel, I think I'm good so far.
08:24So far, so good.
08:25I am.
08:25I'm all right if you're all right.
08:26Yeah.
08:27Is it true that your costume in X-Men Apocalypse was so heavy and claustrophobic that you'd have
08:32to retreat to a cooling tent in between takes?
08:35I would.
08:36I would.
08:37I did the, I, one of the big reasons I did the jab, I was like, Fassbender, Jennifer
08:40Lawrence, and McAvoy, and all these amazing actors.
08:43You know, yeah, and then I never saw any of them because I was so overheated, and like
08:47I couldn't turn, so I just got put in this cooling tent, and sometimes someone would come
08:51by and be like, hey, Oscar, you know, and by the time I turned around, they were gone
08:55already, so it was a, it was a very challenging, it was very challenging, but I'm thankful for
09:01the cooling tent.
09:02Is it true that your uncle, a huge Star Wars fan, brought custom shirts for the cast when
09:08he visited the set, a gesture that moved J.J. Abrams to make him an extra in the film?
09:12He did, my uncle, my uncle Guillermo, he had made these Star Wars shirts, and he was such
09:19a, such a huge, huge fan and a collector, and actually, speaking about shirts, I'm wearing
09:24this shirt, which is Hidden Temple Toys, which my dear cousin Ed and his wife Jen, they have
09:31this collectibles toy shop in Selma, North Carolina, and sadly my cousin last month lost his life
09:39in a car accident, and he was like an amazing superhero of a human, you know, and I do believe
09:46you are what you love, and he really loved superheroes, and he loved collectibles, and, uh, and he was just
09:52like a protector of, of people that are less fortunate, and people that are vulnerable, and like a beautiful,
09:58beautiful man, so, and he was always like, Oscar, you gotta do hot ones, you gotta do hot ones, man,
10:02I was like,
10:02I don't know, man, I don't know if I can handle it, he's like, you gotta do it, man, don't
10:05be a pussy,
10:06and, uh, and so, you know, to get to be here, and I was like, all right, I'm taking you
10:10with me, Ed,
10:10so, yeah.
10:11Love that.
10:11And thank you, Ed, for the referral, by the way.
10:19Okay, how am I doing, Gino?
10:21Well, that sounds like, just don't embarrass me, Dad, please, don't embarrass me.
10:25All right, so this one is called Homegrown Hell here, in the six spot.
10:32And these are the ones for the season, because you change them every season, right?
10:35Mm-hmm.
10:35So you're, you're getting used to these a little bit now.
10:38Yeah, this is the second-to-last shoot of this season, so about to say goodbye.
10:41All right.
10:42Actually, to this lineup right here, so, savoring every last drop while I've got it, you know?
10:47It's always so sad to say goodbye to these ones.
10:50But there's no color changing at all on the lips? I mean, you've got, you've got it down.
10:53I'm practiced, you know, I put my 10,000 hours in at this point.
10:56That's good, well, we all gotta be good at something.
10:58That's true, this is what I got.
11:02Which theater was more essential in your journey as an actor,
11:05the Coconut Grove Playhouse or the old area stage theater?
11:09Oh, wow, that's a, that's a very sweet question.
11:13Um, without a doubt, area stage, man, I love that Coconut Grove was just always such a staple there,
11:18which has since, it's gone.
11:20But area stage, John Rodez and Maria Rodez, um, I remember that was the first time I even saw,
11:26uh, a play that wasn't like a musical or anything, a straight play.
11:30A friend took me and I watched, uh, I saw Oleana, David Mavits, Oleana.
11:35I just, my mind was blown, I was 17, and I waited afterwards to, like, meet the artistic director.
11:40I was like, I would like to work with you, sir!
11:42And, uh, and then, uh, about a year later, I auditioned for, like, an original play, and I, I did
11:48that,
11:48and I got, I got to do that play, and I became really close with John, and he became a
11:52mentor to me.
11:53And we did quite a few plays after that together, and, um...
11:57That's where the first domino fell.
11:59Yeah, yeah, and we keep in touch, and he came up to see me do a play, the last play
12:02I did a couple years ago,
12:03and, yeah, and they have an acting school down in Miami.
12:11Okay, now we're getting silly, right?
12:21Oh, I mean, I'm, I guess I'm pretty numbed out already, so...
12:27Good place to be on this show.
12:28I'm not feeling too many sharp hits, but I see what's coming.
12:31For me, I just feel this one in my chest, you know, and the throat starts to light up.
12:34See, I was gonna say it's staying neck up for me right now.
12:36But, uh, we'll see what happens later in the day.
12:38Yeah, hopefully we can catch the same wavelength at some point over here.
12:41So, you've collected the infinity stones of A-list directors from the Coen brothers to Ridley Scott to Guillermo del
12:49Toro,
12:49and that's kind of just scratching the surface.
12:51Yeah, yeah, it's starting to come in a little bit.
12:52It's waving and saying, hello, hello, I'm here.
12:55Of the directors you've worked with, which one would you say requires the fewest number of takes in aggregate before
13:01moving on to the next scene?
13:02Oh, that was Paul Schrader.
13:03It was, like, one, two, max.
13:07Soderbergh, as well.
13:08I mean, that was, like, one of my very first things I ever did,
13:10and he just, he's editing it in his head so much that he knows exactly the snippet that he needs.
13:15I remember I was, I remember following Benicio, who did a movie called Che, Che Guevara,
13:19and I was following him into the United Nations, and I think he, there was someone behind me.
13:24He goes in, the door kind of hits me, and then I keep going,
13:27and then someone else literally, like, falls and gets stuck in it, and I keep going,
13:29and then he's like, moving on!
13:31And I was like, did you see that?
13:32He's like, yeah, yeah, yeah.
13:33Anyway, next thing, you know, so that I was, you just never know what's going on in there.
13:37Is it true that you and director Alex Gardland debated what the robot's private part should be called in Ex
13:43Machina?
13:44And if so, do you remember how you landed where you landed?
13:47Yeah, this, so this is my dad.
13:48My dad's a doctor.
13:50And, uh, I, you know, it's an incredible script.
13:53It's so amazing.
13:54And I showed it to him, and he's like, I don't buy it.
13:57And I was like, like, the whole thing?
13:58He's like, yeah.
13:59And I was like, why?
13:59And he's like, and it was just because of this.
14:01He's like, you wouldn't call it an, uh, you wouldn't call it a cavity.
14:06And he's like, he's like, ew, you wouldn't call it a cavity.
14:09I'm like, what do you mean?
14:10He's like, it's an orifice.
14:11A cavity is like a cavity.
14:12You know, you'd call it an orifice or a, yeah.
14:17And I was like, all right, Dad.
14:18And if I, if the, what if, if I change that, then it's awesome?
14:20He's like, yeah.
14:22And so I think we went with orifice?
14:25Hole?
14:26I don't know.
14:26I don't know what we went with.
14:27I'm not sure.
14:28But it was as long as it wasn't cavity.
14:31And, you know, speaking of cavities, mine are kind of lighting up right now.
14:34Yeah, yeah, yeah.
14:35But not enough to stop me.
14:36Yeah, I feel like this, it'll change the situation and then I won't be able to recover.
14:41So I'm going to, I'm holding off as long as I can.
14:43All right, then I will too.
14:45We'll see if we can hold off after this one.
14:47All right.
14:47This is the bomb beyond insanity.
14:49Yep.
14:50And this has not changed at all?
14:51No.
14:52You talked about out with the old and with the new, except for this one, which always holds down
14:56its spot.
14:57The ingredients or the style, it's always the same.
14:59Exactly.
15:00Every single time.
15:01It's our control in the experiment.
15:07Uh-huh.
15:10That's so gross.
15:15Looking over, can we get a thumbs up?
15:18There it is.
15:18There it is.
15:21Woo!
15:22Yeah.
15:23Okay.
15:24Okay, okay.
15:26So you've been an incredibly prolific actor over the last couple of decades, stacking up
15:30dozens and dozens of credits along the way.
15:32So what I want to do here is test your recall.
15:36What I'm going to do is I'm going to give you the tagline to an Oscar Isaac film, and
15:40then I'm going to challenge you to try to connect the tagline to the name of the movie,
15:44if you're ready.
15:45What's that?
15:48To erase the line between man and machine is to obscure the line between man and gods.
15:54Totally.
15:55Um, do you know which Oscar Isaac movie is?
15:59Um, I said that?
16:02No, it's a tagline in the movie.
16:04It's a tagline in the movie that I was in.
16:05Yeah.
16:06Can you give it to me one more time?
16:07Yep.
16:08To erase the line between man and machine is to obscure the line between man and gods.
16:15A little wordy.
16:17Um, X-Pacific?
16:19Bing, bing, bing, bing.
16:20One for one.
16:21That was good.
16:22That was good.
16:23How about this one?
16:23New York City, 1981, a dangerous place to build an empire here.
16:28That was, you were using that context clues right there.
16:31They'll get harder.
16:32They'll get harder.
16:34Let the past die.
16:35Ah, he'll, he'll.
16:36Kill it if you have to.
16:38Yeah.
16:40Um, let the past die.
16:42Kill it if you have to.
16:44I want to go back in time.
16:46It's got to be like a, something about, uh, going back, going through the past.
16:52Can I do it one more time with it?
16:54Let the past die.
16:55Kill it if you have to.
16:57Apocalypse?
16:58Is that X-Men?
16:59It's the last time.
17:01Um, I'm sorry.
17:03I don't know.
17:04I'm sorry.
17:05Make no apologies.
17:06I'm so sorry, Sean.
17:07Make no apologies.
17:08You seem so disappointed.
17:11You really let that one sit.
17:12Beyond fear, destiny awaits, it begins.
17:16Doom.
17:17There you go.
17:18Yeah, no fear.
17:19No fear.
17:19Back on the horse.
17:19No fear.
17:20Only monsters play God.
17:23Frankenstein.
17:23There you go.
17:25He's playing the hand he was dealt.
17:29Um, uh, card counter.
17:31You are doing great using the context here.
17:34How about this?
17:35Warrior hero, the untold story of the man behind the legend.
17:41The man behind the legend.
17:43What's the, what is the man behind the legend?
17:45It's a legendary man.
17:47Did I do a legendary man?
17:48It's an untold story.
17:51I don't think I do legendary men.
17:54Is Robin Hood a legend?
17:56Oh, God, yeah.
17:57I'm just thinking about myself, you know?
18:00I'm just thinking about, I'm just up in here too much right now.
18:03I get it.
18:03One last one for you.
18:04It's about others.
18:04It's about serving others.
18:05It's Russell Crowe.
18:07He's the legend.
18:09Every couple meets their match.
18:12Every couple meets their match.
18:16Is this the beef timeline?
18:17What a pro.
18:18I mean, I haven't seen it, bro.
18:19What a pro.
18:19All right.
18:20What a pro.
18:20I mean, all right.
18:22Two?
18:23I got two.
18:24Six out of eight is good on the show.
18:26It's a recurring game that we play.
18:27Okay, all right.
18:28And you're...
18:28Does it mean I'm just like so egotistical that I just, I just know them?
18:32Like, I got this.
18:33But you know what?
18:34The work paid off.
18:35Good.
18:35Good.
18:36As long as it paid off.
18:39Are you ready to move on here to Sonson for Nine?
18:41So ready.
18:42I'm so ready.
18:42I'm ready.
18:43So up next is a squash reaper exos.
18:46You're in the ninth spot.
18:48Okay, baby.
18:49Okay, baby.
18:59I'm just trying not to shit my pants right now.
19:01I feel like that's the feeling that I'm having.
19:03So I'm not even focused.
19:04That's the plight of every hot one's guest.
19:05What's happening subterranean.
19:08Lots of plates spinning over here.
19:10Yeah, yeah, yeah.
19:10There's some tectonic shifts.
19:12Can you give us one highlight and one lowlight of having a cat as a co-star?
19:17Like, what are the pitfalls and what are the rewards of sharing so many scenes with an orange tabby for
19:22Inside Llewyn Davis?
19:23Mostly pitfalls.
19:24Yeah.
19:25I'd imagine.
19:27There was, like, six different cats that all had different skill sets or just what, you know, were just naturally
19:34inclined.
19:35Areas of specialization.
19:36Exactly, like, this one is basically kind of dead.
19:39So just, uh, if you just needed to sit there.
19:41The docile cat, that's your one.
19:43Yeah, yeah.
19:43And then, but the one that they'd often give me was, like, the more feral one.
19:47Uh, and they would tie it, they would tie it to me with, like, this wire so that if it
19:51did run out, it wouldn't get away.
19:53And I had to run down the steps to try to catch the subway.
19:59And almost every time it would jump.
20:02And then because it couldn't get away, it would get really pissed at me.
20:05And then just attack my legs.
20:07And you're tethered, so you can't even escape.
20:09And I couldn't get away.
20:09We're both like, ah!
20:10Yeah.
20:11That was, uh, that was awful.
20:13And then be careful around the eyes.
20:14Yeah, yeah, yeah.
20:14You're right.
20:16Um, and, uh, yeah, the, uh, the animal trainers, God bless them, seemed to be more like animal agitators.
20:23They would, like, get them really nervous and then give them to me, you know?
20:26Uh, so that was, that was tough.
20:28But we got through it.
20:30All right, Oscar.
20:32Okay.
20:35You know the, you know the drill.
20:36I do.
20:42Okay.
20:43Vamos.
20:45All right, let's see how you're doing.
20:46You're doing a little, little dip.
20:47A little dip.
20:47A little dip.
20:48A little dip.
20:48A little dip.
20:49Okay.
20:51And with that.
20:52Salud.
20:53Salud.
20:57And this is, like, the millions and the millions up there?
21:00We're up in the clouds.
21:02Yeah.
21:05But the good news is, the wings of death are behind us.
21:09You have conquered the Hot Ones Gauntlet.
21:12And to close things out, it's been such a remarkable journey through your acting career,
21:17through the spice.
21:18But to close things out, I want to bring it full circle.
21:21Your high school yearbook quote was,
21:23I like to be different, and I'm into the arts.
21:25When you look at me, you can tell.
21:28How accurate is that to the Oscar of 2026?
21:33Like, does that yearbook quote hold up?
21:35I mean, let's just hear it again.
21:36Let's just go hear it again.
21:36Sure.
21:37It's, I like to be different, and I'm into the arts.
21:39When you look at me, you can tell.
21:42Does that hold up 25 years later?
21:44I mean, look at me.
21:46You can tell.
21:47When I look.
21:48I'm into the arts.
21:51The dark arts.
21:54And you know what?
21:54You've conquered the dark arts of spice today.
21:58And now, there's nothing left to do but roll out the red carpet for you.
22:01This camera, this camera, this camera.
22:03Let the people know what you have going on in your life.
22:05Beef, season two.
22:08No, beef season two, April...
22:1316th.
22:14This guy's fucking good.
22:16You're really good.
22:19April 16th, like Sean said, beef season two.
22:23It's going to be good.
22:24And you can tell when you look at my eyes.
22:27That's a guy who's into the arts.
22:29Yeah, this guy's in the arts.
22:31He knows.
22:31He knows what's going on.
22:36Cool.
22:40Sweet, man.
22:41I did ask for the bad bunny of the coconut ice cream.
22:44Oh, you know what?
22:45When I saw that, I'm like, that's my jam.
22:47We do have that.
22:48I heard.
22:49Hold on.
22:49And we're quick on the draw.
22:51Or at least...
22:51I think I've earned it.
22:54I think I've earned the...
22:56Yeah, you've earned this.
22:57And I need to go go.
23:08You didn't have to.
23:10I got to get some of yours now.
23:12For the...
23:13You got to give me some of yours.
23:14For the plot.
23:15There we go.
23:18Great job.
23:19Great job.
23:20Thanks, buddy.
23:22Woo!
23:26Hey, what's going on, Hot Ones fans?
23:28You know you can catch me every Thursday interviewing celebrities over the wings of death.
23:32But if you're looking for a little more Scoville-laced action, tune in Tuesdays for Hot Ones Versus.
23:38It's the show where celebrities go head-to-head.
23:40They either tell the truth or suffer the wrath of the last dab.
23:44So tune in Tuesdays for a front-row seat to the fiery fights and celebrity clashes.
23:49That's Hot Ones Versus.
23:51Tuesdays on First We Feast.
23:53Don't miss it.
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