Speaker 1: Oh is it show die? People say good money to
Speaker 1: see this movie. When they go out to a theater,
Speaker 1: they want clod sodas, hot popcorn and no monsters in
Speaker 1: the protection booth. Everyone pretend podcasting isn't boring.
Speaker 2: Cut it off. Uh, I think I'm dead. You don't
Speaker 2: look so good.
Speaker 1: Yeah, I'm pretty sure I die. Who struggling comedian. No,
Speaker 1: I'm fucking gigs lying on his own bathroom floor.
Speaker 2: Come on, get up.
Speaker 3: I can see that it is my apartment, but it
Speaker 3: also isn't my apartment.
Speaker 1: What's like a sublease situation.
Speaker 4: All of this everything you're seeing is my subconscious.
Speaker 1: It's very dogfel Thank you. Yes, that's been driving me crazy.
Speaker 1: Maybe this is why I'm here.
Speaker 2: I hope you get back up there.
Speaker 1: Maybe I'm here because you and I have unresolved business.
Speaker 1: Gonna be a professional failure. Yeah, but we would put
Speaker 1: a gash on my forehead? Or whose.
Speaker 2: My roommate was vaguely threatening?
Speaker 5: You think I don't know what you too?
Speaker 1: Are up to a friend of mine for years, she's
Speaker 1: a comic. I mean, what am I supposed to be scared?
Speaker 1: Is you like, do I need to hide?
Speaker 2: Could you?
Speaker 1: What's what's going on right now. I think if you
Speaker 1: give up here and that's it. That's why she's coming
Speaker 1: over here her weed in California on Valentine's Day. I
Speaker 1: think you're a grown time.
Speaker 2: Did you hear that?
Speaker 5: What's I gotta get to the bathroom.
Speaker 1: In the bathroom, that's where he passed out.
Speaker 5: Hey, folks, welcome to a special episode of The Projection Booth.
Speaker 5: I'm your host Mike White. On this episode, I'm talking
Speaker 5: with Tim Hotkeett. He is the director and co writer
Speaker 5: of the new film Me Myself and the Void. It
Speaker 5: is about a struggling stand up comedian who finds himself
Speaker 5: kind of dead on his own bathroom floor and the
Speaker 5: problems that go along with that. I mean, we've all
Speaker 5: been there, right. The film is currently available through most
Speaker 5: streaming services where you buy your films. Check those out
Speaker 5: and I hope you enjoy this interview. I want to
Speaker 5: talk to you about Me Myself and the Void, but
Speaker 5: I really want to know a little bit more about
Speaker 5: you and how you even got into filmmaking.
Speaker 1: I know I was passionate about sale honestly since my
Speaker 1: teenage years, like typical sort of home camera stuff, started
Speaker 1: uploading things online around that time when it was still
Speaker 1: Google video and YouTube. And it was funny because at
Speaker 1: that time, when you were making your own putting your
Speaker 1: material out there is mainly to share with your friends
Speaker 1: or kind of pretend to yourself. You had a broadcasting channel,
Speaker 1: right like a lot of early YouTube channels are like
Speaker 1: so and so TV or something like that. So that
Speaker 1: was what I did on the weekends. I would shoot
Speaker 1: things with my friends, do comedy sketches and bad James
Speaker 1: Bond rip offs, that kind of thing. But then it
Speaker 1: happened to be in that era when online video was new,
Speaker 1: and I happened to after a while, I realized that
Speaker 1: people who were just my friends or family were commenting
Speaker 1: on the work, and before you knew it, you were
Speaker 1: starting to make friends and connections online. And so I
Speaker 1: happened to catch that early YouTube wave. I would say
Speaker 1: it was certainly a big part of my practical filmmaking experience.
Speaker 1: And this was when I was a teenager, so shortly
Speaker 1: after that, when it came time to choose what I
Speaker 1: was going to study, I chose to do a degree
Speaker 1: gold Film studies at the University of Greenwage, and so
Speaker 1: that really set me off on that path. Like It
Speaker 1: was a combination of that opportunity to play around making
Speaker 1: my own things like true amateur just starting, and then yeah,
Speaker 1: choosing to go and study it.
Speaker 5: I am very familiar with at least one piece of
Speaker 5: your work, but I never knew the context, and I
Speaker 5: never knew that it was yours. I have seen how
Speaker 5: to Get out of a Speeding Ticket I don't know
Speaker 5: how many times on Instagram. Can you tell me a
Speaker 5: little bit more about the making of that and the
Speaker 5: circumstances around it.
Speaker 1: But that's funny that you single that one out, because
Speaker 1: I'm pretty sure I can say with a lot of
Speaker 1: confidence that is comfortably the most viewed piece of media
Speaker 1: I've ever made. And yeah, that came about because a
Speaker 1: couple of years ago, I had already moved to LA
Speaker 1: at this point, and through a connection somehow, I got
Speaker 1: in with the folks at Funny Would Die and they
Speaker 1: were still funding some like original comedy concepts at the time,
Speaker 1: and so we went back and forth and I pitched
Speaker 1: this idea of how to series and the first one
Speaker 1: was going to be how to Get out of the
Speaker 1: Speeding Ticket? And I pitched them the concept for it,
Speaker 1: and then yeah, they gave us a little, very small
Speaker 1: budget to go make it, and then we went out
Speaker 1: there and yeah, that one somehow struck a chord seemingly
Speaker 1: with the Internet because because funnily enough, I know that
Speaker 1: the person I cast in it, Don Ferrah, who is
Speaker 1: a wonderful filmmaker and musician in his own right, and
Speaker 1: now he gets messaged about that a lot because it
Speaker 1: keeps finding new pockets of audience, like it shows up
Speaker 1: on Reddit or then it shows up on TikTok or
Speaker 1: all these things. So yeah, something about that particular sketch.
Speaker 1: We told something out of the user on that one.
Speaker 1: I couldn't explain it, but it seems to have done
Speaker 1: really well, and I'm glad people enjoy it.
Speaker 5: So tell me about me and myself and the Void.
Speaker 5: Is this your future debut?
Speaker 1: Yes, sir, Yes, this is my first feature film, and yeah,
Speaker 1: it was my co writer and I, Nick Oldashore. We
Speaker 1: had worked on something with Adobe, who have this amazing
Speaker 1: thing called the Community Funds, and we'd done this sort
Speaker 1: of small project for them, where the element that was
Speaker 1: similar was that we used sort of a black space
Speaker 1: and then like very minimalistic props to convey to the
Speaker 1: audience where the scene was taking place, and so obviously
Speaker 1: something about that stuck in our heads. Could we do
Speaker 1: a sort of strange void world? But as I'm telling
Speaker 1: you that right now, I'm sure you can tell that's
Speaker 1: already a story yet. But then I think once we
Speaker 1: clicked into this idea of what if it's about a
Speaker 1: character who's trapped in a void world and the hook
Speaker 1: of the film is his earthly body is trapped in
Speaker 1: the real world somewhere and he has to figure out
Speaker 1: how he got there. And I think once we felt
Speaker 1: like we had that, I'm a sucker for hook. Once
Speaker 1: I feel like I have something that evokes a question
Speaker 1: and has a mystery element, That's what we felt like
Speaker 1: we had something, and that then sent us off on
Speaker 1: the geney of making me myself and the void.
Speaker 5: It's so interesting because I know filmmaking is basically solving
Speaker 5: a lot of problems, and the movie itself is solving
Speaker 5: a lot of problems. You have your character trapped in
Speaker 5: this place and you just keep throwing obstacles. How did
Speaker 5: you even work out the story beats for this?
Speaker 1: Yeah, it was I think what both Nick and I
Speaker 1: would probably say that we learned on this was the
Speaker 1: way in which plot and character have to just be intertwined.
Speaker 1: But it's obviously a famous for most directers that's always a
Speaker 1: are you good at plot or are you good at
Speaker 1: a character? But perfect well, those two things are belded
Speaker 1: and are the same thing. And so for us, a
Speaker 1: lot of answers started coming once we realized, okay, once
Speaker 1: we understood better who Jack our protagonist was, and that
Speaker 1: it was really going to be a story about him
Speaker 1: reconciling the various ways in which he'd not been great
Speaker 1: to the closest people in his life, and that he
Speaker 1: in many ways is his own obstacle, and that he
Speaker 1: was gonna through the process of kind of Christmas carrolling
Speaker 1: his way through his own memories was going to be
Speaker 1: like learning about himself and what ultimately as he uncovers
Speaker 1: his mystery, like he's sort of piroh, but he's investigating
Speaker 1: his own theaming murder or not murder. And yet once
Speaker 1: we honed in on that, that became something that we
Speaker 1: felt interested us. One thing we knew that was also
Speaker 1: fundamentally a struggle when you choose to set a film
Speaker 1: that's obviously minimalistic on purpose by design, and it's set
Speaker 1: in it kind of heightened the reality. Of course, you
Speaker 1: want to keep the stakes very grounded and relatable. I
Speaker 1: think we found that the more we just honed in
Speaker 1: on who is this guy, We're going to keep learning
Speaker 1: more about him and he's going to start in one place,
Speaker 1: but in what way is he going to change by
Speaker 1: the end of the story and maybe reconcile the ways
Speaker 1: in which he wasn't a great guy. I think we
Speaker 1: found that the more we came back to character, the
Speaker 1: more we could find our way through the story. It
Speaker 1: had to make emotional sense. It could just be like, oh,
Speaker 1: we're just exploring a void. Well, the newings that it
Speaker 1: all had to be filtered through who is this character
Speaker 1: and what's he going to learn?
Speaker 5: When your three main leads are so crucial for this
Speaker 5: because it's them interacting or having their separate scenes throughout
Speaker 5: this whole thing, where did you find your cast at?
Speaker 1: Yes, so me myself and the boyd. I was very
Speaker 1: blessed that I'd had the privilege of working with Jack
Speaker 1: the Senate and Christmas Fryer. I'd worked with them funnily
Speaker 1: enough on one of those Funny or Die sketches. There
Speaker 1: was how together a speeding ticket, and there was one
Speaker 1: called How to Get Out of Jury Duty in which
Speaker 1: I caught them, and so I got to work with
Speaker 1: them back then, and before that we'd done one other
Speaker 1: comedy sketch together. I was such a huge fan of
Speaker 1: their work, and I was always convinced that these guys
Speaker 1: absolutely have the chops to carry a film as actors,
Speaker 1: that they would be able to take you through not
Speaker 1: just the funny and the banter and be very watchable,
Speaker 1: but that they would also be able to carry the
Speaker 1: emotional beats that a feature film would require. So relatively
Speaker 1: early in the development process, Nick and I decided shall
Speaker 1: we just name them Chris and Jack, in the hopes
Speaker 1: that would be complimentary that by the time I approached
Speaker 1: them about it, that I would be able to say
Speaker 1: we genuinely wrote it for you, and I'm happy to
Speaker 1: report as evidence from me talking to you now that yeah,
Speaker 1: they responded to that because I think it felt like
Speaker 1: it tied in with the kind of work they're interested
Speaker 1: in doing, like having a fantastical element but ultimately character story.
Speaker 1: So I think we share those creative values. And that's
Speaker 1: how luckily that was an easy one. I had the
Speaker 1: director in I could just reach out and be like hopefully,
Speaker 1: whereas obviously to get to Kelly we had to go
Speaker 1: through more traditional channels. So our casting directors anime were
Speaker 1: and Ashley Duancing reached out to folks at CAA and
Speaker 1: did the whole write the letter explain why I thought
Speaker 1: she would be amazing for the role. She happened to
Speaker 1: have shared a scene with Jack in a show called
Speaker 1: Sorry for Your Loss, which she started with Elizabeth Olsen,
Speaker 1: and it was just one scene, but they were very
Speaker 1: cute together. They had a little flirtatious moment and I
Speaker 1: remember just thinking that they were they were quite charming,
Speaker 1: and so being very British, I was like, what if
Speaker 1: they're a couple who have broken up? Which twitch And yeah,
Speaker 1: it was lovely. And I was so thrilled when you
Speaker 1: basically led to a zoom and then got a chance
Speaker 1: to meet Kelly and we had a chance to talk
Speaker 1: about what she was seeing in the script, and I
Speaker 1: was so grateful that she responded to it. And then
Speaker 1: it was such a dream come true. I know the
Speaker 1: phrase that you come back to with, like what first
Speaker 1: time filmmaking gets to work with Kelly Marie Trent in
Speaker 1: their first film, Like, what an amazing privilege to have
Speaker 1: feel that way about cast in general. He concused and
Speaker 1: jameson and filled out the ensemble as I belluted to earlier,
Speaker 1: but so literally it's in the pantol like it takes
Speaker 1: place in a void. By default, I can't distract you
Speaker 1: withzy production design. It always comes down to the actors, right,
Speaker 1: but in this film even more so. But it's really
Speaker 1: going to come down to those actors convincing you of
Speaker 1: the emotional halts of the scene and of who these
Speaker 1: characters are. And I truly believe if I hadn't gotten
Speaker 1: as lucky with the cast, I don't think the film
Speaker 1: would work as well as it does. I am so
Speaker 1: privileged to have gone to work with such top talent
Speaker 1: on my first film. I feel like I've almost been
Speaker 1: sent up to now be, you know, an unrealistic expectation
Speaker 1: of how films come together. I'm very lucky.
Speaker 5: What kind of challenges were there when it came to
Speaker 5: shooting The Void, because I love how infinite, but not
Speaker 5: it is just the way that you do the production
Speaker 5: design on that Yeah, thank you.
Speaker 2: Yeah.
Speaker 1: It was a lot of collaboration obviously between camera team
Speaker 1: and production design relatively early in the process, because there
Speaker 1: were times when we were entertaining what if we shot
Speaker 1: in a real apartment location and then tried to replicate
Speaker 1: that on a sound stage, But relatively early we found
Speaker 1: that wouldn't give us the kind of control we needed,
Speaker 1: because it would actually be difficult to, for instance, find
Speaker 1: a real life location and then go, okay, now we
Speaker 1: need the same door that exists. So it pretty early
Speaker 1: became apparent that we were going to have to build
Speaker 1: Jack's apartment, then strip it away to then start creating
Speaker 1: the various void landscapes. And it was certainly a challenge, yeah,
Speaker 1: because hopefully the song doesn't feel this way for a studio.
Speaker 1: It was actually a relatively small studio, so we had
Speaker 1: to try and communicate scope for somebody's mind, like these
Speaker 1: bigger sort of set pieces and landscapes, when ultimately you're
Speaker 1: still in quite a contained space. So, for instance, the
Speaker 1: one I'm quite proud of actually is a good example
Speaker 1: is that first time they walk out into the void
Speaker 1: world and they see that long path that sort of
Speaker 1: heads out all the way into the distance. That was
Speaker 1: basically like okay, So we built a big chunk of
Speaker 1: the path and then knew we were going to have
Speaker 1: to extend it so that it would feel even bigger
Speaker 1: and more infinite. It was just fun. It was fun
Speaker 1: solving all the challenges because for me, all filmmakers, I
Speaker 1: think are advised, especially early on in your career advice
Speaker 1: try and come up with your contained, one location movie.
Speaker 1: And I think it's hard, right, because we've all seen
Speaker 1: great examples of those movies. But I also think it's
Speaker 1: actually complicated when you dive into it, of like, Okay,
Speaker 1: why are we in this space the whole time? And
Speaker 1: but we still make it makes sense dramatically. And my
Speaker 1: hope with me myself void was that by having a
Speaker 1: sort of void wellpot and world flashbacks of the things
Speaker 1: that you could make a sort of contained movie feel
Speaker 1: like it has bigger scope, not just in sets and
Speaker 1: the various things you're seeing, but also emotionally, right, like
Speaker 1: going deeper into the characters to hopefully paint a broader
Speaker 1: picture for what is ultimately still a very small movie.
Speaker 5: This is a compliment. There's a huge level of absurdism
Speaker 5: to so much of this, and even in some of
Speaker 5: the shorts of yours that I've seen, it's almost like
Speaker 5: a puran Della or Beckett kind of thing. What are
Speaker 5: some of your influences.
Speaker 1: I suppose as I came up in a lot of
Speaker 1: my early exposure in filmmaking was sketch comedy, So I
Speaker 1: was working early YouTube two thousand UK comedy scene was
Speaker 1: where I was a lot of my early attempts at
Speaker 1: making my own work. So I was working with folks
Speaker 1: like Thomas Ridgewell, Tom Scart, Jack and Dean and all
Speaker 1: these folks who was doing it in that era, and
Speaker 1: we were all just so inspired by people who are
Speaker 1: doing in America. And it was in that time when
Speaker 1: but the comedy scene felt like actually sketch comedy felt
Speaker 1: like it was moving to the Internet at that time.
Speaker 1: But I also think more broadly, I appreciate films that
Speaker 1: have a certain heft but are able to leverage that
Speaker 1: with a certain light tone. It's funny, it's less absurdist
Speaker 1: camp of princes. I've always loved Alexander Payne's work for
Speaker 1: a similar reason, like where if like they are these
Speaker 1: quite heartfelt stories and they really go quite deep in
Speaker 1: the character, but there's always a sort of lightness of
Speaker 1: ex future, almost like a wry sense of humor that
Speaker 1: goes along with them, So I think I'm drawn to
Speaker 1: that in my filmmaking, like I look for filmmakers who
Speaker 1: were able to like with a little bit of a wink.
Speaker 1: But then we're still going to go to some real
Speaker 1: places over the course of the narrative. But yeah, on me,
Speaker 1: myself and the Void in particular. I actually, funnily enough,
Speaker 1: a lot of our references in developing the story weren't
Speaker 1: as comedic mi co right, Nick All the show is
Speaker 1: a stand up comedian, so that helps obviously in informing
Speaker 1: Jack's character, but also and he's always thinking jokes, happiness,
Speaker 1: and he and I certainly bond on that level. But
Speaker 1: funnily enough, our influence is going into it. Were much
Speaker 1: more sort of eternal Sunshine, It's a Wonderful Life. More
Speaker 1: recently Pixar's Soul, like all of those films have narratives
Speaker 1: about people in various stages caught between some kind of
Speaker 1: heightened reality or life and death having to face up
Speaker 1: to something. Those were more of our influences when writing,
Speaker 1: and then the comedy almost just came to us more naturally,
Speaker 1: but we were trying to pay more attention to those
Speaker 1: kind of grander examples and then it's been used, are
Speaker 1: more like absurdist willing to go to zany places into
Speaker 1: those films.
Speaker 5: But when did you actually shoot this?
Speaker 1: So we filmed, we were about to come up on the
Speaker 1: exact three year mark. We shot I Leave the first
Speaker 1: three weeks of November twenty twenty one. I actually, nowadays
Speaker 1: I feel the need to say the word omicron. Don't
Speaker 1: set people back in the time of what was going
Speaker 1: on at the time. It was actually quite a stressful
Speaker 1: time to be making a first feature or just a
Speaker 1: feature in general. Like Ryan, my producer, Ryan Bluett Eoway
Speaker 1: likes to say that when we took our first meeting,
Speaker 1: we were like freshly vaccinated and ready to take on
Speaker 1: the world. Like that's when we were having all these conversations.
Speaker 1: It's been quite a journey when I especially when I
Speaker 1: remember it in those terms.
Speaker 5: I don't want to violate HIPPAA or anything. But did
Speaker 5: they make it sick or were you able to keep
Speaker 5: everybody healthy?
Speaker 1: We were able to keep everybody healthy. Yeah, we were
Speaker 1: very Fortunately we were doing daily testing and at the
Speaker 1: time coordinating with the casting depop to make sure everybody
Speaker 1: ideally was vaccinated before they came on set and all
Speaker 1: of that and obviously masks and all the necessary protocols,
Speaker 1: and yeah, I'm very happy to report we didn't really
Speaker 1: have a we didn't have a case breakout, which it
Speaker 1: hides ot against seemed like a miracle, and I know,
Speaker 1: actually I do think I genuinely also think that we
Speaker 1: were lucky that we shot in November, because I know
Speaker 1: that sort of end November, after that Thanksgiving period into Christmas,
Speaker 1: there was a whole other wave and I genuinely think
Speaker 1: we could have found ourselves in trouble or having to
Speaker 1: shut down if we had shot even three weeks later, honestly, So,
Speaker 1: I you know, it's another example of like that is
Speaker 1: not lost on me that I think we got very
Speaker 1: lucky to have gotten through the film and got it
Speaker 1: all in the can. And yeah, so grateful, And obviously
Speaker 1: that was a lot of that was also coordinated so
Speaker 1: well by my producer and Blewet and by the and
Speaker 1: Eco band and like really making sure that we took
Speaker 1: all of that very seriously. And yeah, very blessed.
Speaker 5: And I know you recently played that Fantastic Fest. Was
Speaker 5: that your premiere?
Speaker 1: So we actually didn't play at fantastic Fests, but I
Speaker 1: believe just just Cook may have mentioned like he was
Speaker 1: there talking about it, but I believe so. Our premiere
Speaker 1: was that Dancers with Films in twenty twenty three, I
Speaker 1: believe last year, and then we also screened at not
Speaker 1: Filmfest in Italy, and then we also screened at film
Speaker 1: Quest in Utah and it was great, like we were
Speaker 1: very fun experienced all the different festivals and just informative
Speaker 1: as a filmmakers were because you've lived with the film
Speaker 1: for so long and then getting to share it and
Speaker 1: share it in front of different audiences was something I
Speaker 1: found forever fascinating, like how does an Italian, more European
Speaker 1: leaning crowd take in the same work, and then a
Speaker 1: film Quest is a bit more like fantasy audience and
Speaker 1: all these different things, and all responded to the film
Speaker 1: that had lovely things to say, but it was just
Speaker 1: interesting watching the differences and how it was received. One
Speaker 1: that always stuck with me was Ryan blewer tonight when
Speaker 1: we were at NOT Filmfest in South of Caangelo, the
Speaker 1: Little Mania. I believe I might have butchered that, but
Speaker 1: we were there in Italy and we watched its screen
Speaker 1: and it was funny because the audience was a lot
Speaker 1: quieter actually speaking to some of the day humor, it
Speaker 1: was like they weren't laughing as much as for instance,
Speaker 1: crowd did at Duns films or even afterwards a film quest,
Speaker 1: and obviously Ryan and I a little nervous all like,
Speaker 1: so they get the back of is this bombing?
Speaker 5: Are not screaming?
Speaker 1: Well? But then what was funny was afterwards actually people
Speaker 1: came and they mainly just talked about the ways in
Speaker 1: which the film made them think that they should call
Speaker 1: their X or they were talking about it much more
Speaker 1: as like through a relationship perspective, like they took in
Speaker 1: the zaniness almost as whatever. Like they were engaging with
Speaker 1: it much more like a character drama, which you know,
Speaker 1: I don't think that necessarily has to mean that's a
Speaker 1: stereotype about all Europeans or Italians for that matter, But
Speaker 1: it was just that crowd certainly engages with it much
Speaker 1: more like a drama, which was just interesting. You just
Speaker 1: learn the different ways in which it can land in
Speaker 1: different rooms. It's endlessly fascinating, I think is obviously you're
Speaker 1: so close to it as the person who made it,
Speaker 1: it comes to that point where experiencing it with different
Speaker 1: audiences is such a gift because you get understand what
Speaker 1: you've made through other people in a way.
Speaker 5: What sucks for you.
Speaker 1: I have a couple of short form comedy stuff that
Speaker 1: I will actually be putting out pretty soon, and part
Speaker 1: of that is to hopefully talk to some of the
Speaker 1: people who used to watch me on YouTube and be like, hey,
Speaker 1: here I am. I'm back for a limited time only.
Speaker 1: And also, FYI I made a movie, go watch it.
Speaker 1: So that's some stuff that I'll be doing in the
Speaker 1: short term. Have another feature that we currently are shopping around,
Speaker 1: and hopefully we'll come together. But obviously those are bigger
Speaker 1: movements that I just have to go to the filmmaking
Speaker 1: gods and pray. But yeah, like I'm excited. I think
Speaker 1: my main thing at the moment is just talking to
Speaker 1: lovely folks like yourself and getting the word out about
Speaker 1: me and myself of the void.
Speaker 5: Speaking of work, can people see it?
Speaker 1: Yeah? So it is currently available in all the major
Speaker 1: places where you rent and stream movies, so that's Apple TV,
Speaker 1: at Prime Video, Google Play, YouTube, Fandango. You should if
Speaker 1: you search it, especially in the States, I believe also
Speaker 1: in the UK and in Europe it should show up.
Speaker 1: So yeah, please go watch Me Myself on the Void
Speaker 1: and let us know what you think.
Speaker 5: Leave us a review, and thank you so much for
Speaker 5: your time, and thank you so much for making such
Speaker 5: a delightful film. I really had a lot of fun
Speaker 5: with that.
Speaker 1: Thank you so much for having me, And it was
Speaker 1: really nice to meet you.
Speaker 2: Mike Ull love so.
Speaker 3: Cousing my mind coming up a love so sup so loved,
Speaker 3: so dumb and so many ways, oh so many unning,
Speaker 3: So stop right.
Speaker 2: Prom by no no, no, no, no no.
Speaker 4: Love sound up, love it so dumb, trying something tame,
Speaker 4: so jo stay can.
Speaker 6: Lost your mother bu bye cat from story that dumb
Speaker 6: but bye ca story dead bye can.
Speaker 2: Love for boy and some heads some dumb Hello, and
Speaker 2: I love it, love it, love the boy, My boy
Speaker 2: don't love it some.
Speaker 4: Love that's not dust just dump dump just so loving
Speaker 4: the voice my boy to love.
Speaker 2: Love me boy, but boy doesn't love it. So let's
Speaker 2: stop dub love No boy, that's not love the boy.
Speaker 2: I shall look sometimes some something