Latest / Cinema Yūgen / Surviving the Horror: Nancy McLoughlin

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Surviving the Horror: Nancy McLoughlin · Cinema Yūgen

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G'day. That's right. It's that time again.
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Time for Cinema Yugen. I don't know.
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Yes, welcome back. Cinema Yugen Yugenites.
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Nancy McLaughlin, my guest today. Nancy McLaughlin was born on November 14,
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1956 in Hackensack, New Jersey, where Miss Tasmoco is from.
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Anyone who's fans of Superman the movie, she says, Lex, my mother lives in Hackensack.
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But Lex didn't really care. But we care that Nancy's from Hackensack.
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She's an actress and writer known for Friday the 13th, part six.
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Jason lives. Sometimes they come back in any day now. She's been married to
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writer-director Tom McLaughlin since July 2nd, 1983.
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Wonderful, stellar careers we are.
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Very honoured indeed to have true Hollywood horror film royalty in the form
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of the delicious, vivacious,
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intoxicating and electrifying Nancy McLaughlin.
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G'day, Nancy I am so grateful to be here Thank you And I welcome you,
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and I thank you Thank you very much for being with us,
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Considering that I know that you've seen a lot of horror movies So you know
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Australian men in beards are not always friendly.
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Very good And you do know Lizbeth Lives They're thinking of doing a fan film
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called Lizbeth Lives Yeah,
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I see that you're producing a sort of adjacent movie recently.
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I'm not allowed to talk about it, but I am.
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It's the first time I've produced, I've gotten credit for producing something,
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but I have produced before.
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Right, yeah. It's a Santa Claus movie, a Christmas movie.
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Awesome. You never know, Nancy, when you're in the moment, obviously way back
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when you were freezing in that puddle.
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That it would become some sort of iconic moment in the future,
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right? I had no clue at all. I was freezing.
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And being the good sport that I am, they'd never do your own stunts like that again.
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And they would put the puddle in a, you know, do it in a barn or something.
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Whereas it was 18 below zero. It really was that cold. If you see everybody else around me.
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And then did you hear how I had to clean up?
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In the shower, ice-cold water, ice-cold freezing.
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You go from cold to freezing to frozen. To frozen.
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And I had mud, that Georgia clay mud in my ears for a week. I couldn't get it
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off because it really is sticky.
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It was harrowing. Yeah.
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Yeah, it looked like it. So, I mean, they were unwittingly forcing you into
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a method performance. They were.
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I'm not even joking I'm not
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even joking because I don't know if you noticed but where they put the money
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or something I start because there's plastic under the puddle and I couldn't
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get a grip in the ground so that was totally just push cut,
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for them to say cut so they realized that it wasn't going well and they didn't so I just kept going,
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I think you have the distinction of being one of the only, I don't know about
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with Jason, but certainly one of the victims of these horror luminaries,
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characters that has offered him money.
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And also one of the most gratuitous deaths. Yeah.
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There's nothing. I don't do anything wrong. I'm doing the right thing trying to get away. Yeah.
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And young Tony Goldwyn. I remember seeing him last year pop up in Oppenheimer.
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He's a very good actor.
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Excellent actor. It was his first movie. Yeah.
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It was his first movie. You did that Stephen King one. Sometimes they come back
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with an actor I'm fascinated with, William Sanderson.
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Oh, me, yes. Tony didn't do that because I was going to say,
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I don't think Tony was in that. Yeah, no, sorry.
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He was in everything. He does very well And he's such a nice man He deserves
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everything that he gets Oh You were speaking of William Sanderson Yes,
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excellent actor That cast was superb And Tim Matheson,
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a funny little quick story um i
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haven't seen tim in probably eight years and
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i know my i never changed my contacts and i was calling another tim right so
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i said yeah sir you called him and all of a sudden i see tim matheson's name
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pop up and i went no i'm not calling i hang up the phone a second later he calls
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me and we speak for like four hours it was like just,
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like no time has been lost. Like old days, yeah.
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That's great. No, it always strikes me as odd,
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like people in this industry work so hard to make things that are iconic,
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but I think it's more to do with Francis Coppola once said that time is the
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great critic of everything that we do,
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whether it's going to last on.
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You never know, like we were talking about before, You never know in the moment
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whether anything you do, whether it be a horror movie or a Western or whatever
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you are into, whether it's going to be something that will last. True?
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I appreciate you saying that because that is the biggest truth I could say about movies.
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And look at the cold things that come back, you know, that you really realize
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are great movies or It's a Wonderful Life or It Happened One Night was a failure in their eyes.
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And, you know, excuse me, a failure? and I had no clue of Friday the 13th.
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And specifically, I do think this was the best one. I just like the humor.
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I like the pacing. I like the way he's brought back. I think it really is well done.
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So it's one that I'm really proud of, that it's not so gory.
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It's really fun. It's a fun one that I think anybody can say.
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Yeah. And I mean, the thing about these characters and these kinds of films
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is they really do have sort of an immortality because people keep wanting to reboot and remake them.
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And like this project that you're currently involved with, do spin-offs because
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as simplistic as these characters are,
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these behemoths in masks with machetes or knives for fingers or whatever the
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case may be, as simplistically as they're drawn,
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they're quite complex in many ways, because they're the physical embodiment
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of everything we're afraid of, true? Absolutely.
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Once again, you're really quite poetic. That's absolutely true, and doing conventions –,
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I was told to steer away from them. I don't know why.
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And I did only because, well, because I was working and I was raising children and I was doing things.
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But I have to say, I love them.
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I have never met more down-to-earth, kind, loving people.
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And that's exactly what I say. They say, thank you for this,
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this. I felt very growing up this and that helped me with, I just, I really enjoy that.
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And I see the history and in any great movie, you have to, in any great writing,
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there has to be that death, that comeuppance.
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And when this part was being written and I was being asked to do it,
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I was going, I'm sorry, I'm not going out my underpants saying who's out there.
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I won't do it. I just won't do it. I won't. I kept saying what I wouldn't do. I said, this is absurd.
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We're running. I don't care if this is Halloween. I don't care. I don't care.
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So it was kind of written for me. Okay. Yeah. Which is kind of funny.
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And little girl Nancy, at the end, I mean, when Jason never gets near the children
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and Jason's near the children and she's turning around praying.
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Well, that was a little owed to me because that's such, you can't have Jason in there.
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You gotta get rid of him. She's got to pray him away.
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No it's um it's it's strange to see the evolution and and and like you were saying,
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the conditions that you endured workplace health workplace health and safety
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would never cover some of these things the way they the way the way they used
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to make movies as opposed to the way they make movies now a producer would never
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allow me to do what i did i mean even just in In terms of even,
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not just in terms of the way actors treated and what they're expected to do,
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but also, you know, simple things like safety on set and, and.
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You know, so much care and attention to the protection of the cast and crew,
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which, which seemed to be kind of a, a bit of a throwaway thing back in the day.
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Like if someone got hurt, well, you know, we, we've got medics here,
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but they were willing to push the boundaries in names of, in the name of.
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Well, a real spear. It was a real spear.
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I was told it was a fake spear. Right. And fake glass too, wasn't it? And fake glass.
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It was real glass. Or candy glass. Yeah. It was a real mess. A real mess.
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I missed my head by this much. Wow.
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The producers didn't care.
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Did not care. And when the regulator kept breaking, because regulators aren't
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meant to be in muddy water. No, not yet. Yeah.
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And that they braced my head underwater.
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Why couldn't it be just a stinking stuffed body? Yeah. You know?
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Easily. Nope. It's easier to get her head underwater, upside down,
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use a regulator, have the mud down her throat.
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And, you know, you try not to complain. And then, like, when the blood's—and
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I can't breathe. And I'm holding my breath as long as I can.
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You could have sworn I was the biggest, fattest baby for wanting to take a breath.
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They had a second regulator, and the second regulator didn't work.
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So then they just said, I'll just put her head down there, hold it in the thing.
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And hold your breath, Nancy.
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No. I did.
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There is no, and when you hear of what, you know, happened a couple of years
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ago with the gun, it made no sense to me at all because every time I'm handed a gun,
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I mean, I worked on a series as a criminalist and every time they handed me
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a gun, it could be every day, they'd show me the gun. I was so bored.
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I was like, and there would never be ammunition on a set. No, no. That happened.
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No, yeah. Yeah, no, it's sad, tragic.
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No one should ever be hurt, let alone lose their life for making a movie or
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any art for that fact, forget movies. Any for anything. No one should lose their life.
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Because it's something that, especially when it's something that is so.
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There's so much red tape and so much safety protocol when they go through these
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things, and there's plenty of documentaries which show how much prep and attention.
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So when it does happen and people say an accident, well, really, is it an accident?
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It probably shouldn't have been in the first place. Like you said,
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there shouldn't have been any live ammunition on the set anyway. Ever. It's illegal.
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It's illegal. So it's tragic. It's tragic to see the way that actors,
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crew members sometimes fall fall into that crevasse where, you know,
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that moment of neglect leads to something unfortunate and as unpredictable as
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the situation may have been.
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There were certainly measures in place to prevent it from ever happening, you know.
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And what about the other accidents of grips because they've worked 20-hour days, you know?
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Great. But as an actor, that is my impetus to make sure I hit my mark,
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say my line, and be as correct as I am because I do not want to waste.
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Too many people have lost their lives because of exhaustion.
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I like the way the French do movies.
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I honestly think there's no reason to have to work hard.
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12 hours is a very long day for most people, but for an actor, a crew, it's nothing.
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Well, particularly if you're one of those actors that have to be there early
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to get, you know, if you have to get into some sort of specialty makeup or effects
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makeup or complicated costume or whatever the case may be.
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So you're there before the sun comes up, you're there all day into the night.
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24 hours. And then hours afterwards to get all the stuff off and then get back
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to wherever you're staying and get a few hours sleep and then do it all over again, yeah?
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They do give you eight hours to sleep. Oh, well done. There you go. That's a bonus.
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I think there might be a 12-hour thing. And if you're a smart actor,
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I mean, at this point, I would kind of say, you know, I would have a say at this point.
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But I've never really, and I did have that series where I played Annie Potts' Any Day Now.
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Great civil rights show. And I don't think you guys have ever seen it.
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But it's a great civil rights show.
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And with Donzile Abernathy, Ralph Abernathy's reverend.
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So those two families traveled together. So all those civil rights incidents,
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she was a young child, ain't it? So we got to go visit them.
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Just full access to the King family. What an amazing experience.
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But i also played her 70 year old mother who had
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rubber on her face every time she did so it
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was two hours to get into the makeup and an hour
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and a half to get out of the makeup yeah so those
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days and you couldn't really because the makeup was so bad you couldn't even eat
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right those were hard
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days yeah yeah and then if you screw up a line there you're like i'm never getting
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out of here yeah it must be it must be a chore like you see all those uh you
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know the old stories of i remember roddy mcbath seeing an interview with roddy
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mcdowell talking about planet of the apes,
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oh god he said during lunch they had to always replace the lip part because
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you would go and try and eat some food and the food would fall behind the fake
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lip on the front of their face they always had to pull it off and there'd be
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peas and carrots and and and whatever back when Catering in Hollywood was obviously a lot healthier.
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Oh, catering's real good usually. Yeah. It is.
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Yeah. I talked to, when I was interviewing Don the Dragon Wilson many years
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ago, he said, oh, yeah, you can tell how good a movie is based on the catering.
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Like how big a movie you're on based on how the, you know, because he talked
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about, usually there's a table full of snacks and stuff.
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But he said on this one, he did one of the Batman films.
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And at lunchtime, he says, where do they go? Where do you go?
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And he says, there's a trailer out in the lot. So he walked out and there was
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a trailer and he went inside and there was a little man, a chef in there.
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And he says, what do you want for lunch, Mr.
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And he's like, well, I don't know, a steak.
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And so they cooked him a steak and everything. He was like, I couldn't believe
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it. Usually it's cold pizza.
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Not the stuff I do. I'm telling you, there's always a trailer.
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And they might not say if I wanted, oh, I want to.
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But no, they might have steak. They'd have a fish option, a chicken option, and a vegan option.
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They didn't used to. But now they have a vegan option. So they might do three
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options is what they usually do.
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And they're very good chefs.
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And the craft service often, like sometimes you can't get to lunch because for
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whatever reason they're, you know, going over time and you don't get lunch.
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The craft service usually will make you, there's then chili and then there's
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really homemade soups and bread. But, you know, usually my experience,
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except if it's, I mean, I've done a lot of student films for people as well.
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Right. And then that might be a little lower, but I mean, that is, you're lucky.
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Right. But never been cold pizza. Oh, there you go. Well, that's good. Hot soup is, yeah.
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Yeah. No, they serve so much food.
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I mean, on a series, just like a, not a fancy series, just a series series.
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Yeah. It's my experience.
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Yeah, I saw the making of, I think it was from Dusk Till Dawn,
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and they follow the craft services man around, and he says, oh,
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yeah, twice a week we do chocolate mochas,
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and they have these wonderful, beautiful, big chocolate mochas, and he walks in.
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They just walk in with trays, and, of course, anyone can grab them,
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you know, like the gaffers and the grips and, you know.
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And eventually, if you're lucky enough for the tray to get to where you are, you'll get one.
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That's exactly right. Well, you have to wait for the next tray to come through.
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But, Nancy, I was listening to some other interviews that you did,
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and you talked a little bit about your childhood.
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And oddly enough, I reviewed a film recently for Film Threat called Tinseltown
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Blues, which made me think of the stories that you told about growing up,
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having creative parents, a creative father, and in the industry.
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I did. it's it's ironic that
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you spoke about in that interview it's ironic in this film
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that the the the lead character who's
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an actress you talked about feeling very alone and the the character in this
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film suffers from i mean the plot of the movie is her suffering from this she
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wants to be part of this world that her father and everyone else look because
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she's surrounded you you know when you,
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I imagine being born in and around the industry and you're surrounded by it.
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You can't help but be some sort of like a sponge that sucks, that just absorbs.
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I was shockingly a very quiet child. Yeah.
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I mean, the people I was around, I was a very quiet child.
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I don't know if I've ever mentioned this, but when we first moved to California, Yeah.
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Okay. My family, we weren't fancy. My father was a writer, comedy writer,
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and he was working on a show.
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And they were saying, where do I move? You know, my family.
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So he came out six months before us. And because everybody lived in Beverly
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Hills, we moved to Beverly Hills, which was culture shock from Hack and Sack, New Jersey.
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And i mean i never tasted a bagel
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i never tasted an avocado i never it just
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i i lived in such a sheltered bubble and
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it was now a whole new world but the reason i said
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just so many fun stories there but i went to beverly hills beverly vista seventh
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grade we moved away pretty quickly because it was just awful um but not beverly
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hills just whatever uh and so i couldn't join the sports program because it
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was January or something.
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And the Jackson five had just moved there and they were not going to school.
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Obviously they were being tutored and they were best friends with the Gordies, obviously.
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And so Michael would go to the sporting events and I would go to the sporting
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events just to go to do something.
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And I spent hours and hours and hours with Michael
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jackson he was my friend when i first moved to california yeah and then lo we
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moved away and then lo and behold like when i was 24 i went to church i probably
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went to church a lot before then too but i was going to this church and michael
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jackson and a handler was next to him
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a friend oh he always had a friend sitting with him and this is thriller and
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i was asked to be in the Thriller video.
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Wow. I didn't want to be a mummy.
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Stupidest move of my whole life. Stupidest thing I've ever done. I'd be a mummy now.
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So for six months, I was trying to get my gumption up to say,
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do you remember me? Because we were good.
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I mean, he talked deep, but you're so young, you don't know the pain they're sharing with you.
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And you don't know what's really going on. And you don't realize how famous they are.
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So there was no like, oh, he's Michael Jackson. Right, right.
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Yeah. But he was Michael Jackson. Yeah, yeah, yeah.
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At 23 or 24, whatever, it took me six months, and he would sing beautifully to go to them.
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And the week I had my gumption up, he never showed up again.
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Wow. I never saw him again. There you go. Weird. Wow.
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It's funny you brought up Thriller. I remember interviewing Mick Garris some
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years ago. I know him well.
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Mick, yeah. And I read in some things about him that he and his wife were both,
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ironically, were both in the Thriller. They were in it.
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That's why. And I asked him whether he actually met his wife.
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They didn't actually meet on that.
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I thought that would be beautiful if he actually met as zombies on Thriller, but they didn't.
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Was that the same with your husband when he directed you?
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Is that how you didn't hook up on the horror movie? We did hook up on a horror
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movie. Okay, you did. But not that horror movie.
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Frankenheimer, John Frankenheimer, was doing Prophecy. Okay.
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And he was the monster. I was a dancer.
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Right. And he was, and remind me to tell you about Coppola.
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He was a monster, the monster Barbara, they called her, in the Prophecy movie.
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Yeah, yeah, yeah. So it was a closed set. It was a closed set.
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Nobody was allowed on it.
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My friend, who happens to be a Thai princess, a real Thai princess. Wow, there you go.
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Okay, you can't make that up. There's a movie in that?
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When I tell you there's movies here, her father, she couldn't be part of the
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royal line because her mother married an American. Oh, I get it.
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She was married, but she was raised in Thailand in American schools.
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Right. And in London. So she had this very English accent. You would never know.
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She looks completely Thai.
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But she spoke with a beautiful English accent. and you wouldn't understand that
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she wouldn't understand our culture.
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But anyway, her father did security on, he was in the CIA and he did security on that movie.
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So John Frankenheimer loved him and loved Thai food.
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So we just pick up the Thai food for him and go on the set.
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And that's the first time I saw Tommy and me being very shy and I had never dated before,
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because I was going to be an actress and an actress can't really get married
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or have children Because you can only do one thing well I made up things in
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my head Since I was this big I had all these little rules I had to follow,
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So we walk on the set He's climbing out of this It's very romantic Climbing
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out of the monster suit And,
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he's stretching out. Did you know Tom McLachlan was a mime? I shouldn't talk
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about him, but he was a mime.
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And he studied with Ducru and Marstall. So he's stretching out and he's looking at me.
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And I was looking at him and then he saw me looking at him and I look away real quick.
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And I went, darn it. I literally said this to somebody. I don't know.
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Some things prophetically pop out of my mouth and
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i'm gonna say prophetically because there was i went darn
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it he's cute and he's gay and he must
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be because he's a dancer every dancer i knew
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was gay and that it's there's no judgment there but
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i'm just saying that's yeah you know what
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i mean so i i happened to go up to someone and said you
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know what that's the man i'm gonna marry wow i hadn't
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met him didn't speak to them nothing i left
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the set i went to work i was a waitress there
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i met everybody in the world old world in hollywood very
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big place but i don't see well so i was
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waiting i felt someone follow me to the
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car and i wouldn't turn around but because i'm from new jersey i knew to carry
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my keys like this and if anybody come near me i'm gonna kill them and i no one
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came near me and got to work this is how we met he after he got off he went
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to my girlfriend and found out where I worked and everything and showed up.
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And I was thinking, gosh, I should smile. I should at least go on a date or something.
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And he's loping down the street. And Tommy has a very interesting walk.
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And I went, he sort of walks like that guy. I should smile.
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And he had stripes on, like that guy had stripes on him. He had stripes on like
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that. That was so stupid of me.
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I didn't recognize him until he was this close to me because my vision's that bad.
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And he went, I thought I'd never see you again that's how we met and i just
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said are you hungry i'll get you a table there's no no can i meet you afterwards
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so that's that's beautiful it's there's a movie in that too.
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There's no good ending oh that's lovely it really it was a very lovely now i
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don't know how mick and Cynthia met, but I met them then, and they were together as a couple.
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And do you know who Cynthia's father is? No.
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Be prepared to be blown away. Okay. Have you ever heard of the book Unbroken?
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Yeah. I haven't read it, but I've heard of it, yeah.
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Did you ever see the movie Unbroke? Angelina Jolie's first movie.
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Oh, yeah, yeah, yeah. It's been a while, but yeah, I haven't seen it. Just glance.
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Leo Zamperini. Uh-huh. That's her father.
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Wow. He comes from stellar lineage.
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Wow. And I got the honor to know him because he married way late.
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I mean, he was in prison camps and this and that, whatever.
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But he married way later and had her way later in life. So he was like in his
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80s and he was still doing wheels for wheels for people.
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And whenever we'd go over, he and I would sit and talk and he'd tell me stories. Wow.
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That's incredible. I mean, those are miracles. Yeah.
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Those are blessings we get every day, little ones, if you notice.
27:52
If you notice, catch the miracle.
27:55
Yeah. I tell you, it's one thing, Nancy, I love about the movie business is
28:00
even the people in it, regardless whether they've been in it for a few years
28:04
or their whole life, they're all still fans.
28:09
They're all still, you know, so when you meet, when you do meet people that
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you idolize, even though you're in the business, you still get as starstruck
28:16
as you would if you weren't. You know what I mean?
28:19
Okay. I'm not very starstruck. Can I tell you one starstruck thing? Yeah, go for it.
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Oh, it's so funny. I worked at that restaurant and I could care less about Clint
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Eastwood. I mean, now I adore him, I love him, whatever.
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But like he was icon then and everybody's like, Clint Eastwood's coming in.
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He's in your station. And I went, I don't care.
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I didn't say that. I wasn't rude. But in my heart, I'm like, oh, that's fine.
28:44
I mean, I waited on everybody by that point. So as I'm walking to the table,
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he had his two sons there.
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And I went, he looks like a nice man.
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That's good. I like that he looks like a nice man.
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And then he looked at me, he smiled, and I took his order nicely and politely.
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And I walked back to the kitchen.
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I'd been staring in his eyes. I didn't write anything down.
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I didn't know what he said. He mesmerized me.
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I didn't know it at the moment. I didn't know. I went to the kitchen to give him my order.
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And I had no order to get. I had to go back to the table and say,
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excuse me, Mr. Eastwood.
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I seem to have forgotten to write down what you said.
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And he gave me this sweet smile of knowing.
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Like this probably happens to him all the time. Right, yeah.
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I write down the order this time because I'm on top of it. I'm paying attention now.
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And I go back. I get the order. So I'm bringing out some milkshakes. His eyes catch my eyes.
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Shoot. They went flying. I slipped and they went flying up in the air. Wow.
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And his sons and mysteries would kindly cleaned it up. Wow.
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Everybody else probably cleaned it up, but they got up quickly.
30:03
And he just made me feel not like an idiot.
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But that's the one time I would say I was starstruck. Right, yeah.
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Now I've been in a similar situation. I remember interviewing, geez, who was it now?
30:17
It was randomly at a film festival once and I bumped into somebody and I did
30:24
the whole interview and realized that I hadn't recorded a thing.
30:30
I got home and so eager to play
30:33
it back and there was nothing there's nothing
30:36
i'm so grateful i'm so grateful because
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i was just a little kid in me was just blown away that i was talking to this
30:44
person and uh it was just yeah the the mind and the mind and the body were not
30:50
working in unison you might say that happened and i honestly say i've met very
30:56
big people and I have tripped very big people.
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To have them see me. I tripped over Baryshnikov.
31:07
Wow. Because I really wanted to meet him.
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And I fall. I don't make them fall. But if you're in a big crowd,
31:15
I crack myself up at the things I would do.
31:19
Steven Spielberg tripped.
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Yeah. Yeah.
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Very sweetly. Wow. Most of them that I tripped. And sweetly. Yeah. Wow.
31:30
Nancy, I'll say what I say to most people who are full of great stories. You need to write a book.
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I do. I really do. I am writing a script. Forgive me. Okay. Well done.
31:41
Well done. My father's novel. No.
31:43
Father's novel. Okay, cool. And an homage to my father, Mark Bowerster.
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He lives in Turkey. He's a Stanford professor, writer, and we became friends.
31:57
And he were writing this script and it's for my father. Awesome.
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And then I have, yes, lots of
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other scripts. And actually, I don't have a horror. I have a fairy tale.
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I have a courtroom drama that I lived. I have this, I have that.
32:16
And my mind, Tommy's mind, other people's minds, they go there and they're really good.
32:22
I just did a short, not a short, a film for a festival And it's called The Missing Sock.
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And this director and producer team, our writer, director, producer team, are amazing.
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Amazing. And it was so much fun. And it mixed horror with humor. Wow.
32:44
In the tale and the story of The Missing Sock and where it goes. Cool. And it's so cool.
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I can't wait to see it. That's awesome. I'm very impressed with them.
32:55
Wow. Stuff like that is just...
32:58
And then to have done, you know, for your kids, someone at Chapman doing a thing.
33:05
And then they're like big stories now.
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You know what I mean? But you, I always say yes. I shouldn't say that on TV. But I do.
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I'm pretty much, I'm pretty easy that way.
33:18
I've offered my house for filming. And because I've offered that,
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do you know, I'm pretty sure you know it, Dungeons and Dragons and Stranger Things.
33:26
Yes. Last year was the 50th anniversary.
33:29
They filmed here. My house was their backdrop. Wow. Awesome.
33:34
And I didn't know. I just said Jess. I had no idea who it was.
33:38
And I'm like, are you kidding me?
33:40
They're here? And we have a time talking.
33:44
That's incredible. Well, Nancy, before we run out of time, I'd like to thank
33:48
you on behalf of our listening audience.
33:52
Hollywood royalty, horror royalty, thank you for all the work you're doing.
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We look forward to everything you've got coming.
33:58
It all sounds awesome. And thank you very much for being our guest on Cinema Yuga.
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Thank you. What an honor, an honor and a pleasure and bless you.
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And thank you for caring.
34:09
Yes, Nancy McLaughlin. What a wonderful lady, full of fantastic stories.
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She really needs to write some of those down.
34:18
Great stuff. check all the links in the description to follow all of nancy's
34:25
wonderful projects and all the things she's got going nancy mclaughlin wonderful
34:32
lady check the links in the description,
34:37
and as always my little yugenites thank you for listening to us on spotify or
34:43
wherever you choose to listen to your favorite podcasts i'm ken hill and until
34:47
next time you've been listening to cinema?
34:50
Zero games!
34:52
Music.