WEBVTT

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<v Speaker 1>Old is bot, It's show tied.

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<v Speaker 2>People say good money to see this movie.

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<v Speaker 1>When they go out to a theater.

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<v Speaker 3>They want cold sodas, hot popcorn, and no monsters.

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<v Speaker 1>In the Protection Booth, everyone pretend podcasting isn't boring, done.

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<v Speaker 4>At all, Sam on the Limit, Influencial Exclusive a man

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<v Speaker 4>sim It's depressive suicide or black Metal Bracy as I am.

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<v Speaker 3>So I'm not for the memant.

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<v Speaker 4>Mats a sad as a Sina, matas a sina, The

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<v Speaker 4>spear tacks spear Trap.

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<v Speaker 2>Can control forward to Hey, folks, welcome to a special

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<v Speaker 2>episode of The Projection Booth. I'm your host Mike White.

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<v Speaker 2>On this episode, I'm talking with screenwriter Barry Keating. He

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<v Speaker 2>is the force behind Invoking Yell, the new film by

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<v Speaker 2>Patricio Velederis. It is a Chilean horror film set back

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<v Speaker 2>in the nineteen nineties, kind of a throwback to the

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<v Speaker 2>Blair Witch Project, where it is three women who will

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<v Speaker 2>go out into the woods to shoot their demo tape

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<v Speaker 2>for their black metal band. Thank you so much for listening,

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<v Speaker 2>and I hope you enjoyed the interview. How did you

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<v Speaker 2>get involved in screenwriting?

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<v Speaker 1>I started as a journalist writing for a local newspaper

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<v Speaker 1>here in my own ten and then I went to

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<v Speaker 1>university to study screenwriting. While I was there, I was

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<v Speaker 1>working at the video store and this guy came in

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<v Speaker 1>and we were just chatting about like movies and games

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<v Speaker 1>and stuff, and he was like, Hey, I'm an editor

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<v Speaker 1>a video game. Mike's a PlayStation He said, you want

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<v Speaker 1>a job. So I sacked off university and I took

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<v Speaker 1>a job as a journalist at this PlayStation two magazine.

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<v Speaker 1>From there, I hopped to DVD Review to do news editing, feature,

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<v Speaker 1>I started writing film, did a bit of freelance for Empire.

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<v Speaker 1>Then I moved to online and I segued into game

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<v Speaker 1>development there. But all the way in the background was

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<v Speaker 1>always running my own stuff, talking to people, and I

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<v Speaker 1>got this opportunity to a bunch of comics based on IPS.

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<v Speaker 1>One was for Day, The Dead Battle Royale was another one,

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<v Speaker 1>and then the Demons, and there were little sort of

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<v Speaker 1>mini comics that would sit inside special released some arrow

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<v Speaker 1>video back when they wanted to do these little still

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<v Speaker 1>little inlace and Big got not nominated for award that

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<v Speaker 1>went up in Italy. Talking to a bunch of Serbian

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<v Speaker 1>guys who just made an R movie called Zone the Dead,

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<v Speaker 1>and they were like, hey, we want to do a

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<v Speaker 1>sequel called Wrath of the Dead. And I was like, yes,

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<v Speaker 1>I'm over here, give me the job, and we started

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<v Speaker 1>talking and I ended up working with those guys and

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<v Speaker 1>Ken read on that script. It never happened, And there

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<v Speaker 1>were many other stories of different projects that worked. One.

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<v Speaker 1>At one point I was working with Brian Josna on

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<v Speaker 1>adapting Reanimator into a comic series. I know what they've

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<v Speaker 1>been done in the past. We're going to try and

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<v Speaker 1>redo the movies and then fill in the gaps in between.

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<v Speaker 1>And that didn't happen. And then I stayed focused on

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<v Speaker 1>writing game stories because that's pretty much what I do

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<v Speaker 1>for my day job, which is game narrative. And yeah,

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<v Speaker 1>and then the serving guys called me up and I

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<v Speaker 1>just was one of the kind of cusp of moving

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<v Speaker 1>to Madrine for a job. And they said, hey, look

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<v Speaker 1>look at this film. We're shooting it. The script needs

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<v Speaker 1>a bit of work, We've got a few months, or

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<v Speaker 1>do you want to do it now?

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<v Speaker 2>Yeah?

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<v Speaker 1>Of course, And so I took it on and I

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<v Speaker 1>looked on the script and then I didn't really think

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<v Speaker 1>to be perfect, be honest with education. There was so

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<v Speaker 1>many false starts. I'm not sure what's happened about like

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<v Speaker 1>seven months later, I was going for work and there

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<v Speaker 1>was an email with a trailer for the movie, which

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<v Speaker 1>turned out to be Killing Mare Made, which was the

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<v Speaker 1>first thing i'd written the cup produced, and I just

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<v Speaker 1>remember living in the three year class going, Wow, this

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<v Speaker 1>is an actual movie. It's a real Really, I didn't

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<v Speaker 1>realize this was going to happen. And that where I

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<v Speaker 1>went over to Belgrade and when I was there so

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<v Speaker 1>I know another movie, and I I came back and

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<v Speaker 1>I had a friend who was a producing partner up

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<v Speaker 1>to Servey Guys. He had put me in touch with

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<v Speaker 1>Patricia the Patricio and I worked on a street plight

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<v Speaker 1>for sort of home invasion called Breath. We couldn't get

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<v Speaker 1>that off the ground, and then we kept talking and

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<v Speaker 1>that ultimately led to the sort of creation of Downhill.

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<v Speaker 1>And once we broke Downhill together and shot that, that

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<v Speaker 1>was the beginning of our sort of working relationship. When

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<v Speaker 1>we've just done so much stuff in me like Knight

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<v Speaker 1>goes to Guarrap and Embryo and this, it's it's been

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<v Speaker 1>a bit of a brend about journey to get its

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<v Speaker 1>almost what I wanted to do when it just took

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<v Speaker 1>a little longer than I planned.

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<v Speaker 2>What was it like the first time you heard somebody

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<v Speaker 2>say you're a dialogue? Oh?

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<v Speaker 1>I died. I was mortified, to be honest. I remember.

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<v Speaker 1>The first time was it was at the premiere of

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<v Speaker 1>Killing Mermaid and it was in this big, massive place

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<v Speaker 1>called the Sava Center in Belgrade. But you're talking like

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<v Speaker 1>a couple of thousand people, and I just I just

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<v Speaker 1>remembered sinking into the seat just because I don't know,

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<v Speaker 1>it was so crazy to hear it, but I was

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<v Speaker 1>just like, oh my god, I wish I had to

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<v Speaker 1>change that, and I don't like the way that sounds,

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<v Speaker 1>and oh no, and why did I like that? I

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<v Speaker 1>was sitting just having their panic, see. But eventually got

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<v Speaker 1>over that. But yeah, now it's cool to see what

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<v Speaker 1>people do with the dialogue and what they do with

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<v Speaker 1>the script and what they take from that, what's on

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<v Speaker 1>the page, and how they turned that into a performance.

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<v Speaker 1>So that's pretty cool. But yeah, the very first time,

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<v Speaker 1>I think I was like, oh man, maybe I chose

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<v Speaker 1>the all care.

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<v Speaker 2>You talked a little bit about working with Patrizia, but

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<v Speaker 2>what's that working relationship? Like, how do you guys go

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<v Speaker 2>back and forth? As far as the ideas the shaping

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<v Speaker 2>of everything.

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<v Speaker 1>We've been working together I think speaking a decade. We

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<v Speaker 1>constantly communicate on Facebook and on What'sapp, just sending stuff

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<v Speaker 1>back and forth, messages and this, but basically how we've

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<v Speaker 1>always communicated. He might have an idea, we'll start kicking

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<v Speaker 1>it around back or create a document, bencing back and forth,

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<v Speaker 1>and then well flectu at the treatment and whatnot together

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<v Speaker 1>and then once we have that script and I'll send

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<v Speaker 1>it to him, they'll give me his notes. So it's

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<v Speaker 1>really is a back and forth. But the funny thing

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<v Speaker 1>is I don't speak Spanish and protruce you understand it's great,

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<v Speaker 1>but we don't put the drop on cause but we

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<v Speaker 1>get able to write it really well. So do we

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<v Speaker 1>communicate via text, which I'm sure people thinks of an

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<v Speaker 1>odd relationship, but I always sit to my wife. I

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<v Speaker 1>really must learn Spanish because I've been working together issue

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<v Speaker 1>some lock. But it is very much a pink obsession

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<v Speaker 1>where we pushed stuff back and forth. I do remember

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<v Speaker 1>the day hell we hadn't finished Breath and showing it

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<v Speaker 1>around and seeing what was happening, and then we were

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<v Speaker 1>talking about it would be cool to do something in

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<v Speaker 1>the world of extreme sports, and we got talking about

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<v Speaker 1>different types of Dan Hill Mountain. Mike, You're write in

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<v Speaker 1>the forest and generally the forest is worset, creepy, mad

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<v Speaker 1>shit happens, so maybe let's just go with that. And

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<v Speaker 1>that's how we started working on that one's ideas back

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<v Speaker 1>and forth. And then I remember with Embryo, which was

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<v Speaker 1>a mad one where we had the idea for us

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<v Speaker 1>start working on a script and then it's basically like

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<v Speaker 1>COVID Hit, you don't even manage to shoot. I think

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<v Speaker 1>it was twenty five minutes of actual film footage, and

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<v Speaker 1>then we were like, why are we going to be

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<v Speaker 1>able to do this? So I started looking at the

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<v Speaker 1>script and we started rewiring it essentially, and then he

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<v Speaker 1>was a shoot loads of stuff in his home with

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<v Speaker 1>just himself and his daughter and his wife, and it

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<v Speaker 1>was Comata with Frankenstein this thing together. But we did

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<v Speaker 1>and they played at fried Fest hilariously. It played at

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<v Speaker 1>fried Fest and it was an online version and the

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<v Speaker 1>subtitles that we had in it didn't trigger, so I

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<v Speaker 1>think it was what happened was it was like these

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<v Speaker 1>old generated subtitles started just following this cleeding, like what

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<v Speaker 1>was being said would made no sense whatsoever. I was

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<v Speaker 1>just like, is all we can do about it? Just

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<v Speaker 1>go with it and anybody everybody could laugh at it, like, yeah,

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<v Speaker 1>it was some fun experience.

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<v Speaker 2>You talked about how when you wrote Killer Mermaid or

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<v Speaker 2>rewrote that one just went into the void. You didn't

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<v Speaker 2>even know what was happening until you know it came

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<v Speaker 2>back to you. When it comes to these films that

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<v Speaker 2>you're making with Patricio, are you going to the set

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<v Speaker 2>or are you just handing them over and saying, okay,

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<v Speaker 2>good luck, have fun and children.

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<v Speaker 1>For whatever reason, it's just so it's hard to make

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<v Speaker 1>that show. One day I'm going to we'll get the

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<v Speaker 1>opportunity to to fly over and do a shoot whatever

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<v Speaker 1>or something like that.

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<v Speaker 2>We work it up.

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<v Speaker 1>But yeah, it's a great working relationship and and it's

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<v Speaker 1>worked really so far. But yeah, there are some things

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<v Speaker 1>about it that I wish that we could change, which

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<v Speaker 1>is like getting on set and hanging out and going shoot.

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<v Speaker 1>I would have loved to have been there for invoking

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<v Speaker 1>three days shooting this thing in the woods, and Dan

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<v Speaker 1>Hill looked great, as well. But I get to live

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<v Speaker 1>vicariously through all the pictures and the messages that they

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<v Speaker 1>sent me. And you're like, oh, I don't ca like,

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<v Speaker 1>I'm okay with that. I know I was gonna say,

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<v Speaker 1>but there's another guy that which is you had worked

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<v Speaker 1>with Pastor Andrea and he's an Italian writer. He was

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<v Speaker 1>posting a message on basebook like I've written whatever fourteen

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<v Speaker 1>movies and I've never once been on the center. I've

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<v Speaker 1>never once met the actors that have been in the movie.

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<v Speaker 1>So I was like, hey, fake going that one.

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<v Speaker 2>So where did the idea for invoking Yell come from?

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<v Speaker 1>I think it's a bit of a shame of trivia here,

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<v Speaker 1>But basically, he had been making a bunch of movies

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<v Speaker 1>and then he had made one movie and he had

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<v Speaker 1>a conversation about see was in a bit of a

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<v Speaker 1>ways we didn't have to do creative creatively, and so

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<v Speaker 1>we got to joking best stuff back and forthy and

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<v Speaker 1>he was saying, like the idea of this love letter

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<v Speaker 1>to the Blair witch to sort of nineties and he's

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<v Speaker 1>a huge black metal man, and it came from that

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<v Speaker 1>whole conversation about what if this happened but we see

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<v Speaker 1>three girls going out to the words to record the psychophony,

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<v Speaker 1>and we just ran with it from there, and I

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<v Speaker 1>knew the you know, this was a zero buch and

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<v Speaker 1>it was just like flying by the seat of your pets,

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<v Speaker 1>and we were just come up with it. We knew

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<v Speaker 1>the limitations of what we had, which was like very little,

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<v Speaker 1>tried to write to very little, and that was it.

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<v Speaker 1>And I think, really what, honestly what carries the film

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<v Speaker 1>through from start to finish are the performances. And I

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<v Speaker 1>think the relationship that you see on screen Towe three

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<v Speaker 1>girls is just they really elevate. They're just so good

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<v Speaker 1>and you believe them, and you do feel like you're

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<v Speaker 1>just watching these kind of nineties teenagers want to be

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<v Speaker 1>black metal legends doing something awfully stupid that leads to

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<v Speaker 1>something horrible. So yeah, but they sold it.

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<v Speaker 2>So so when did you finish the screenplay and when

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<v Speaker 2>did they shoot?

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<v Speaker 1>Well, I can't remember the timeline, but basically how this

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<v Speaker 1>one worked in particular was truciha idea and then we

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<v Speaker 1>buy the storage structure back and forth, and then because

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<v Speaker 1>he was going to shoot it in Spanish over there,

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<v Speaker 1>we go through the screen talk through and then I

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<v Speaker 1>would suggest to fix this, change this, move this here,

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<v Speaker 1>things like that. So that's how we know this one.

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<v Speaker 1>Because he was he wanted to get out and do it.

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<v Speaker 1>But that's heavy how that one worked. It was very

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<v Speaker 1>quickly he knew he had the money. There was a

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<v Speaker 1>few months to keep them with the script and then okay,

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<v Speaker 1>we got money. We got it was a super micro

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<v Speaker 1>bunch of job, so there wasn't a big lapse in

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<v Speaker 1>time between finishing the script shot and.

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<v Speaker 2>How much later do you see it? And do you

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<v Speaker 2>see it with subtitles first or just purely in Spanish.

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<v Speaker 1>The whole thing that I was, how I saw this

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<v Speaker 1>one kind of generates in front of me was first

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<v Speaker 1>of all that he showed me some of the footage school,

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<v Speaker 1>and then the big thing that we went back and

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<v Speaker 1>forth quite a lot was the look to make it

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<v Speaker 1>look like that, and it was this nineties vaes that

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<v Speaker 1>that that Blair witch vibe about it, and so we

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<v Speaker 1>went back up for a lot on that, just sharing

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<v Speaker 1>different sort of effects and how we go what we

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<v Speaker 1>thought he was this, how does that look? And we'll

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<v Speaker 1>get there and eventually hit upon that that's what that's

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<v Speaker 1>the look that's it, don't touch anything from there, that's

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<v Speaker 1>what you need to do. And then yes with guys

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<v Speaker 1>back and forth, and then he would give be like

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<v Speaker 1>I saw a version with like rough translation sub set

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<v Speaker 1>on it. I was like, okay, this is true. And

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<v Speaker 1>then he got a guy who did a full on

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<v Speaker 1>propertranslation script, which is really great and really help. So yeah,

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<v Speaker 1>in different stages trimming thing here, it's all it's a

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<v Speaker 1>little bit too lock air. Let's cut it back. I

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<v Speaker 1>think the leader to better his stuff, especially considering you've

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<v Speaker 1>got that's what is it fifty six minutes with just

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<v Speaker 1>the relationship before the needle drop.

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<v Speaker 2>You're writing this over in Ireland. He shouldn't get over

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<v Speaker 2>in Chile with something like a found footage film. It

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<v Speaker 2>feels like the sets or the setting would be really crucial.

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<v Speaker 2>Is he going out and taking photos or is he

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<v Speaker 2>just describing things or is it just one he knows.

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<v Speaker 1>Where to go. He's fairly good with the sort of

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<v Speaker 1>the location. Some members shot around there and Dan Hills

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<v Speaker 1>shut out and the forest and stuff, and then he

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<v Speaker 1>had the bus, so he's pretty good at finding places.

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<v Speaker 1>A creepy thing he was hiking and quite a bit.

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<v Speaker 1>So if he's been a good eye for this sort

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<v Speaker 1>of stuff.

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<v Speaker 2>Have you seen the movie with an audience?

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<v Speaker 3>No?

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<v Speaker 1>No, And it's one of those weird ones where it

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<v Speaker 1>was doing the rents for all the festivals and I

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<v Speaker 1>just haven't. No, it's not out here, so I'm hoping

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<v Speaker 1>to get to see it. I've seen it a few

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<v Speaker 1>times that just watching your at home, and I wish, Yeah,

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<v Speaker 1>I would like to see you. But I think, truthfully,

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<v Speaker 1>I think I've only ever seen two or three films

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<v Speaker 1>I've done. It's I'm in a weird position. It's like

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<v Speaker 1>you're the guy and you do the script and then

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<v Speaker 1>you hand it over stuff like that. I'm still thankful

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<v Speaker 1>for where I am, but yeah, there's a few things

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<v Speaker 1>I would certainly love to improve.

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<v Speaker 2>Are you still your own harshest critic when you're watching

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<v Speaker 2>these gone I should have rewritten that. Oh I should

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<v Speaker 2>have changed that.

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<v Speaker 1>Oh yeah, all the time. I do that with everything

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<v Speaker 1>I've written. What's in the day job, it's the same.

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<v Speaker 3>I think.

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<v Speaker 1>I'm currently one of the writers on the new James

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00:14:58.200 --> 00:15:02.480
<v Speaker 1>Bond game for IOI to Active, and when I'm testing that,

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<v Speaker 1>like always, well, you're always super everything. I wish you

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00:15:06.200 --> 00:15:07.960
<v Speaker 1>could always you know, change it and stuff like that.

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<v Speaker 1>I do find, yeah, that I'm constantly really listening to stop.

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<v Speaker 1>A couple of times, like some of the movies I've

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<v Speaker 1>done and appeared on TV and I've stuck them on

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<v Speaker 1>just to see and I was like, oh, I wish

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<v Speaker 1>I changed that. But look, I think it's probably not

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<v Speaker 1>a bad thing. I was sitting there watching something. Yes,

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<v Speaker 1>that's the best that could have done, or that's amazing.

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00:15:27.399 --> 00:15:28.759
<v Speaker 1>I probably shouldn't be doing.

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<v Speaker 2>What What is the difference writing between movies and video games?

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<v Speaker 1>I suppose the biggest difference is that it's when you're

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<v Speaker 1>in control, you as the writer and the director, your

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<v Speaker 1>control of every pacing to what the what the audience

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<v Speaker 1>sees all that. And when it comes to a video

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<v Speaker 1>it's a player facing experience. They're on the sticks, they're

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<v Speaker 1>the ones controlling the game, so you have to take

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00:15:52.840 --> 00:15:56.279
<v Speaker 1>it to it. And even if you've got a very linear,

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00:15:56.360 --> 00:15:58.600
<v Speaker 1>straightforward the art game, the player will do things to

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00:15:58.960 --> 00:16:01.840
<v Speaker 1>defy the narrative, and that's the biggest And then of

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00:16:01.879 --> 00:16:04.840
<v Speaker 1>course with games it's use so many different tools. You

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00:16:04.919 --> 00:16:08.360
<v Speaker 1>might write cinematics which would look like a screenplay. That's fine,

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00:16:08.440 --> 00:16:10.080
<v Speaker 1>that's not the easy stuff, right, but the one that

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00:16:10.159 --> 00:16:13.679
<v Speaker 1>looks most familiar, and then you would have all of

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00:16:13.759 --> 00:16:17.240
<v Speaker 1>the lines that the non playable characters might say, Hey,

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00:16:17.279 --> 00:16:21.639
<v Speaker 1>he's over there, they all. That's all Excel sheets, thousands

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00:16:21.679 --> 00:16:25.639
<v Speaker 1>of thousands of lines. You're using ovingds, bespoke software. You

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00:16:25.759 --> 00:16:28.279
<v Speaker 1>might write a Microsoft word there. A lot of studios

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00:16:28.320 --> 00:16:31.559
<v Speaker 1>have tools, some of which will look a lot like

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00:16:32.120 --> 00:16:34.759
<v Speaker 1>final draft screenplay. But yet it's a bit of everything.

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00:16:34.799 --> 00:16:39.639
<v Speaker 1>It's a very Frankensteinian process. But it's fun, very chatting to.

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<v Speaker 2>I know you probably can't talk a lot about the

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00:16:42.679 --> 00:16:44.919
<v Speaker 2>James Bond video game, but I'm curious, with something like

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00:16:45.000 --> 00:16:48.399
<v Speaker 2>that which has such a rich history, are you doing

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00:16:49.120 --> 00:16:52.159
<v Speaker 2>individual scenes? Are you doing that kind of overall story,

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<v Speaker 2>because I'm sure that you have to pay a lot

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00:16:54.320 --> 00:16:56.840
<v Speaker 2>of lip service to in Fleming and all the things

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<v Speaker 2>that have come before.

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<v Speaker 1>Yeah, I can't really say too much, but what it

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00:17:00.559 --> 00:17:03.360
<v Speaker 1>is is it's an origin story and there is a

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00:17:03.440 --> 00:17:06.920
<v Speaker 1>really great story in place, and yeah, like make it

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00:17:07.720 --> 00:17:10.319
<v Speaker 1>what we believe is a really great Bond story. And

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<v Speaker 1>of course there are going to be tips of the

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00:17:13.319 --> 00:17:15.920
<v Speaker 1>hat to everything stuff like that, but yeah, it's fun.

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<v Speaker 1>I am ND Eight of the Hills it's so hard

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00:17:19.039 --> 00:17:19.680
<v Speaker 1>to talk about it.

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00:17:21.160 --> 00:17:24.000
<v Speaker 2>Yeah, no, I can totally understand. It's such a huge

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00:17:24.039 --> 00:17:27.799
<v Speaker 2>ip and it's only been going on since the mid fifties.

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<v Speaker 1>There's a lot of that expectations and we're aware of that.

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00:17:31.599 --> 00:17:34.079
<v Speaker 1>And yeah, it's just it's fun. It's coming really great.

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<v Speaker 2>So that's the day job. What's the next movie for you?

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00:17:37.680 --> 00:17:40.279
<v Speaker 1>I'm not sure, Like I had a couple of I've

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00:17:40.359 --> 00:17:42.160
<v Speaker 1>done a couple of scripts. I wrote an action script

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00:17:42.279 --> 00:17:44.559
<v Speaker 1>back at the start of the year. I think that's

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00:17:44.759 --> 00:17:48.519
<v Speaker 1>trundling through development. I'm not really sure. I just did

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00:17:48.559 --> 00:17:51.680
<v Speaker 1>a polished job recently on another project for a producer

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00:17:51.720 --> 00:17:54.680
<v Speaker 1>I worked with again on That World, Laris Kerchie. He's

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00:17:54.759 --> 00:17:57.519
<v Speaker 1>been a great guy. He's the doors for me. Actually

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00:17:57.519 --> 00:18:00.279
<v Speaker 1>had a lot of different opportunities in terms of my

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00:18:00.400 --> 00:18:02.920
<v Speaker 1>own stuff. I've got two or three different projects that

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00:18:02.960 --> 00:18:06.720
<v Speaker 1>I'm developing, and I'm hoping to have scripts done by

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00:18:06.880 --> 00:18:09.920
<v Speaker 1>early next year. It's find the time because when you're

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00:18:09.920 --> 00:18:13.319
<v Speaker 1>writing during the day, whatever it is, I decide to

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00:18:13.480 --> 00:18:17.200
<v Speaker 1>focus on as like my next project, whether it's specscript

352
00:18:17.319 --> 00:18:19.519
<v Speaker 1>or something like that, I have to really be into

353
00:18:19.559 --> 00:18:21.000
<v Speaker 1>it because I have to be able to come down

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<v Speaker 1>here at sort of eight thirty at night, after I

355
00:18:23.599 --> 00:18:26.119
<v Speaker 1>put the kids to bed, and I'm sitting right for

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00:18:26.240 --> 00:18:29.440
<v Speaker 1>like two to three hours, depending on how much juice

357
00:18:29.480 --> 00:18:32.480
<v Speaker 1>is in the tank. Really that's the truth. But yeah, well,

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00:18:32.480 --> 00:18:34.880
<v Speaker 1>a bunch of different a bunch of irons in fires

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<v Speaker 1>and trying to see where I can take things.

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<v Speaker 2>Yeah, hopefully something hits for you soon. And in the

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<v Speaker 2>meantime it sounds like quite a good challenge with the

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<v Speaker 2>James Bond game.

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<v Speaker 1>Yeah, yah, yeah, that is a bit s good. Poe

364
00:18:46.720 --> 00:18:49.079
<v Speaker 1>accept great Tam. Good people work with it, just trying

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<v Speaker 1>to make the best game we can't as possible.

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<v Speaker 2>Mister Keating, Thank you so much for your time. This

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<v Speaker 2>is great talking with you.

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<v Speaker 1>Yeah, likewise, I really appreciate all right, I.

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<v Speaker 3>Don't say to fuck of a cry. I was wait,

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00:20:00.599 --> 00:20:08.079
<v Speaker 3>what you know? Great life? What fine? You know they're

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00:20:08.279 --> 00:20:13.720
<v Speaker 3>poking double its side. It means I got my life

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00:20:13.799 --> 00:20:19.160
<v Speaker 3>on the line, So I start to break gone, Yeah

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<v Speaker 3>why read class, what win? Cut the water, take your

374
00:20:24.000 --> 00:20:30.319
<v Speaker 3>dumb bad and for give domain. This was over. So

375
00:20:30.480 --> 00:20:33.279
<v Speaker 3>that's like, well I'm going for the colt, but you

376
00:20:33.400 --> 00:20:36.240
<v Speaker 3>can both gos for me and this mo in your

377
00:20:36.319 --> 00:20:39.599
<v Speaker 3>heart and the like your chest. Still thought that was all?

378
00:20:41.000 --> 00:20:43.960
<v Speaker 3>And son over to your sight your fi or brop

379
00:20:44.640 --> 00:20:51.319
<v Speaker 3>your gun bigs. I came back. I came back. What why? What?

380
00:20:51.680 --> 00:20:52.200
<v Speaker 3>Every day?

381
00:20:52.839 --> 00:20:54.839
<v Speaker 4>The line you my.

382
00:20:54.920 --> 00:20:57.720
<v Speaker 3>Prison, boring quad on the line and everything I go.

383
00:20:58.079 --> 00:21:02.960
<v Speaker 3>I'm puting a lot a fucking life. Well why read, climb?

384
00:21:03.279 --> 00:21:08.240
<v Speaker 3>Why fly? You know how that would? I? So you'll

385
00:21:08.319 --> 00:21:13.440
<v Speaker 3>chance use the lifetime I went several So I say,

386
00:21:13.480 --> 00:21:16.200
<v Speaker 3>you're bright, why not take my eye? Probably let the

387
00:21:16.279 --> 00:21:19.440
<v Speaker 3>loose dead live on my days still be stared at

388
00:21:19.480 --> 00:21:24.160
<v Speaker 3>the chows of debate, fool die and all I know me?

389
00:21:24.279 --> 00:21:25.039
<v Speaker 1>Why down.

390
00:21:27.680 --> 00:21:27.839
<v Speaker 3>Right?

391
00:21:27.920 --> 00:21:29.960
<v Speaker 1>Love my side so.

392
00:21:30.079 --> 00:21:35.400
<v Speaker 3>That nothing ness, my clive where on my side, my

393
00:21:35.599 --> 00:21:39.680
<v Speaker 3>feeling is gone, my live right of my side of.

394
00:21:40.680 --> 00:21:42.440
<v Speaker 1>Free flowers outside.

395
00:21:42.000 --> 00:21:47.599
<v Speaker 3>My own welcome my sight, the cry that sound.

396
00:21:47.759 --> 00:21:48.680
<v Speaker 1>They know justice.

397
00:21:48.759 --> 00:21:57.559
<v Speaker 3>I'm drunk it by I go slake clim white grey clive,

398
00:21:57.920 --> 00:22:04.680
<v Speaker 3>w F and prok dollar nuts aside wrap on that side,

399
00:22:04.920 --> 00:22:07.279
<v Speaker 3>crack on that side. A love that can fly on

400
00:22:07.640 --> 00:22:09.440
<v Speaker 3>talbankis wap.

401
00:22:09.279 --> 00:22:11.400
<v Speaker 1>On my side, wak on my side.

402
00:22:11.440 --> 00:22:13.359
<v Speaker 3>The alba nuts and side