All language subtitles for Werner.Herzog.Radical.Dreamer.2022.1080p.AMZN.WEB-DL.DDP5.1.H.264-NTb - 3 - Subtitle (SRT), English

I do not dream.

Very, very rarely.

I always feel it as a void,
something that was missing.

But, I do have
an equivalent of dreams

when I'm... when I'm walking,
for example.

Or sometimes when
I'm driving very long distances,

when I'm over 20 hours
in the car,

all of a sudden,
the car fills with insects

and butterflies
that are crowding around.

My existence has a meaning

when I'm trying do a story

when we're this deep
inside all of us.

And there are certain things

that I recognize as being in us,

but they have not
been articulated yet.

And that's, for me,
an equivalent to dream.

I just try to
remain a good soldier.

I mean a good soldier of cinema.

He has searched every
corner of the world

and collected some of
the most rapturous dreams

that transcended the mundane,

that contributed to our
collective cosmic dream.

I feel that, for great
filmmakers, for true artists,

Werner's work opens up
whole approaches,

makes things possible that
would not otherwise be possible.

An impossible story,
an impossible task,

an impossible dream
shot by someone

who is also
is an impossible dreamer

magnified and also validated

all of us also
having impossible dreams.

And no one else can
do the style, as well.

You can't really imitate it,
it's impossible.

I mean you can
kind of parody it,

but it's impossible to
actually see the world

how he sees it.

I mean, the fact that you
would come up with

moving a ship across a mountain.

Uh, what?

That's fresh. That's new.

That's badass.

That's Werner Herzog.

Excuse me, my name
is Walter Hottenhoffer,

and I'm in the pharmaceutical
business.

I was imprisoned in Siberia.

I spent my first winter
wearing a dead man's coat,

a hole in one pocket.

I chewed these fingers off

before the frostbite
could turn to gangrene.

I mean look
at Werner's face, right?

He's got a good face, right?

He's got
a really fascinating face,

so he can just sit
there and do nothing

and you're,
"Oh yeah, fantastic," yeah.

I think many people do not
know how to deal with me.

They are puzzled.

Some... something that
disquiets them.

All my films come out from pain.

That's the source.

That's where they come from,
not from pleasure.

I think there's something
about him that is so hypnotic.

I've dwelled among the humans.

Their entire culture is
built around their penises.

It's funny to say
they are small,

it's funny to say they are big.

We wanted to
get a quick exterior shot

of Herzog in his native habitat

when things took
an unexpected turn.

In Germany, I've somehow
left the paved road.

Mm-hmm.

Nobody cares about my films.

For example, let's...

What was that?

Werner called and he said,

"I don't know
quite how to tell you,

but strange things have happened
the last couple of days."

We quickly realized that

some whacko had taken a pot
shot at us with an air rifle

and Herzog had been hit.

With an air rifle, right?

Some nutty fan.

He has to be very careful.

Wow!

You what? You were shot?

Why didn't you call the police?

And so Werner said
the classic Werner line,

"It wasn't that serious of
a gunshot wound."

You're bleeding!

I think here somewhere, yeah.

Look! You're...

I mean that's a...

Somebody shot at you and
created a wound in your abdomen.

It's not significant.

Werner ate the shoe?

Oh, that's right!

I mean that sounds like
it probably is true.

Is it true?

Well, he cooked it,
he didn't actually eat it.

Well, I believe that
he could eat his shoe.

Did he eat the whole shoe?

A few questions
while he's preparing it...

He makes himself a
target for unlikely events

because he wants that, right?

He wants a fascinating life.

And that will come your way
if you declare you want that.

What does
memory do to human beings?

How does it shift?

How do we form our
existence through memory?

There's no truth in memory.

We lived in this building here,
these lower windows.

And on top, there was
another family of refugees.

We were displaced by the war.

That was a kitchen.
It's all empty now, yeah.

This was the kitchen,
but it was smaller.

You see, there it was
until the table here.

And then there was a room...
- Yeah.

There was here a room which
was only that wide, not much.

And there were two beds,
Til and I,

and there was
only that much space

to the next wall, and there
was a third room for my mother.

It was...
And no heating in there.

You see, they took the wall out.

- Right.
- Doesn't exist like it...

But I don't want to go inside.

Why not?

No, it doesn't feel right.

- Then we don't.
- Yeah.

My father did not live with us.

He left the family fairly
soon after my birth.

And I'm glad that I didn't
grow up with a father,

with a commander-in-chief, somehow.

It was anarchy
in the best sense.

No rules, we set our own rules.

We would have assigned one
loaf of bread for the week

and my mother
would make, with a knife,

marks or grooves
for Monday, Tuesday,

and we would always be hungry,

and sometimes by Friday
the bread was eaten

and we would hang on her skirt

and would cry and ask
for something to eat.

And my mother...
And it's terrible.

For children, it's okay,
but for mothers it's terrible.

She...

One day I remember, she
abruptly turned around to us

and very calm and
very controlled said to us,

"If I could cut it
out of my ribs,

I would cut it out of
my ribs, but I cannot.

So, you will stay
hungry until Monday."

Shall we go to the waterfall?

We could have a look at
the waterfall, yeah, yeah.

That's my favorite place.

- Let's go there.
- All right.

I'm not crying
because of emotion.

It's my place.
It's where I belong.

You see, sometimes I believe

that people carry in them
a landscape of their soul.

I've spoken
often about it in films,

also has become very important,
but that's where I belong.

That's my landscape.

That's me.

Yeah?

That was good.

That kid is good.

When you come over a ramp
and go into an abyss,

you will shrink back from it,

you would lean, and that would
somersault you backwards.

But you have to lean into it.

You have to do the unnatural.

When you are really flying far,
you are not a human anymore,

you will transform yourself.

You transmute
yourself into a bird.

I really, really wanted to fly.

And I would
give a lot if I could fly.

It's an injustice.

It's an injustice in my life

that I haven't
become an athlete,

and it's an injustice of nature
that we do not have wings.

Nobody took me seriously
because I was way too young,

but I boldly went
to production companies,

and one of them I remember
slapped his thighs and he shout,

"Ah, the kindergarten is
trying to make movies today!"

It was not
a school of filmmaking,

not like, let's say neo-realism.

Thanks God,
we didn't have a common style,

it was individual styles
and individual characters.

They all lived in Munich.

He's taken
something that's real,

that's a quotidian landscape,

and made is something
utterly ecstatic.

And the plot cracks open there,

and gives way to this moment
of like, oceanic consciousness

where the world just expands
and we're in this dream.

For years, I wanted to meet her.

I didn't dare to meet her.

Only through Lotte Eisner, I
started to see films by Murnau,

and I saw Nosferatu.

She saw signs of life.

She immediately said
this is finally film again

after the time of Nazis,

and so it brought us together,

and we were kind of instant,
not deep friendship,

but she became my mentor.

She was very important for me.

Do we know from
which planet you are?

Not really, no.

You don't know?

But this is the planet, yes?

This is the planet, yes.

- Yeah.
- Yeah.

Your sandals are spectacular.

And you're doing what here now?

So, he was just making

an offering to
the water god over there.

- Yeah.
- Now he's gonna

come up and here, he's...

Now he hears a voice come,
he doesn't know where it's from.

And it's the mountain
speaking to him.

- Okay.
- So, he's about to find out

who's talking to him, who is...

And who is
the voice of the mountain?

I don't have one yet.

Do you want to be
an evil mountain?

- No, no, no.
- I'll cast somebody else

to be an evil mountain.

I keep telling everyone,
emancipate yourself from me now.

Well, I think it's good
for young filmmakers,

they are all
professionals already,

to, um...

to work with somebody who
has much more experience.

It's not that
I'm saying I'm better,

but I've much more experience

and I can tell them what to
avoid and how to avoid mistakes.

And it's a sense of...

In a way, it sounds awful,

but a sense of duty
because there's so many,

so many coming at me who
want to learn from me

or be my assistant.

Some iconic sort of images

to suffer from
your bad preparation.

There's one filmmaker
from your era...

My era is still on, watch out.

Be careful what you are saying.

I don't remember her story,
but we'll see her in a moment.

So, it's going well? Yeah.

Ah, like this, okay.

I admire his capacity
of going behind a story

that may seem impossible
and making it possible,

like to do the doable,
like he says all the time.

I've been a huge fan of
Werner's work for a long time.

I did an online masterclass
that he has,

and I've got to say it
really changed my life.

So, when I learned that

the place where he filmed
Even Dwarfs Started Small

was one of
the locations available,

I started thinking, "Okay,
what can I do in this place

that can match
the framework of the workshop?"

I have not been here
for over 50 years,

more than half a century
since the making of the film.

1969 it was finished.

So, it was mostly here.

I see the tracks.

Right here,
the smallest of the midget

laughing as if
there was no tomorrow.

I said to him...

He wanted to know
how long it would take.

I said, "As long as
there is breath in you,

you have to laugh," yeah.

There are images
that are people,

than just a certain action
or an element of a story.

It's beyond a story.

That's what you
have to find in your life

when you are making films.

You have to
step beyond the facts,

beyond what
you normally see in theaters.

It's still alive.

I still see the car circling
and it's just totally alive.

Hmm.

Are these good
memories or bad memories?

It's what I remember,

and it's not good or bad,
it's just part of my life,

and I did good battle here
and that was that.

That's how life
should be lived, yeah.

All right.

Yeah.

Huh.

The same sound, I remember it.

The sound of leaves.

Day, night, whenever you were
here, it would be like that.

Okay.

This army
descending through the clouds

on this switchbacking trail.

We've all dreamed that image.

That image is
in our DNA, almost.

And to open a film that
way is to immediately

force us to go on that
journey with those...

With Aguirre and his men.

Lucki became
the producer of the films.

He has something in him
which inspires confidence.

And very often,
when things got desperate,

he always somehow
managed to bring us

back to normal, so to speak.

When I wrote the screenplay,

I immediately
saw that it was Kinski.

He had to do it.

Of course, I knew what
was going to come at me.

I knew I have to
domesticate the wild beast,

not to make it a tame beast,

but domesticate it
to keep a certain frame,

like you're the window,
you have to have a frame,

and within this frame,
there's cinema.

But don't ask me
how hard it was.

I knew there was something big.

There was something that others
would not be able to make.

And I knew Kinski's performance

would be of a quality
that we have not seen

for a long, long time
in German cinema

or in general cinema worldwide.

You haven't seen anything
like this, and I knew it.

Back then, it was an event.

If it was playing somewhere,

you might go to
Philadelphia to go see it

or travel to go see this film.

It was life, you know?

It's like you bit into,

like, an exquisitely
sour and sweet fruit

that you never tasted before.

He was making the same film,

which I do believe most
filmmakers do that.

I think he has
the same character,

they're in different situations,

and he was
looking for the same thing.

And I think that might be
his own struggle in life

you see almost
in every character.

In questions of life or
death, one should walk.

You know that I walked

because Lotte Eisner
was critically ill

and somehow everything
protested inside of me,

and it was almost like
a pilgrimage that I did.

And I knew if I came on foot,

she would be out of hospital.

And I knew if I did not walk
up against it, she would die.

"Then she looked at me and
smiled very delicately.

And since she knew

that I was someone on foot,

and therefore unprotected,

she understood me.

For one splendid,
fleeting moment,

something mellow flowed
through my deadly tired body.

I said to her, 'Open the window,

from these last days onward,
I can fly.'"

I was scouting
locations in Brittany.

I come across a place, Karnak,

where 4,000 gigantic rocks erected,

and I said to myself,
"I'm not going to leave here

until I know how I would do it."

And I developed some sort
of stone age technology.

And a friend of mine
came to Munich

and they said,
"I have a great story!

There was this rubber baron,
Jose Fermín Fitzcarrald.

He moved the ship from one
river system to another one,

across an isthmus,

and he disassembled the ship
into hundreds of parts."

And all of a sudden,
I said, "I have a film,

but it has to be a steamboat
over a mountain

pulled with
stone age technology,

and it has to have
the music of Caruso."

I even thought about somebody
who looked like a peasant,

like a real gruff peasant,
Warren Oates.

Never materialized.

Jack Nicholson
was interested in it,

he wanted to work with me.

So, it never materialized, but
he was in a way a candidate.

There was one
difficulty after the other.

Lack of money.

Technical problems.

We had two place crashes.

It went completely bananas.

I shouldn't make movies anymore.

Should go to
a lunatic asylum right away.

Yes.

Wilbur, that's it.

Mick Jagger was
a very important part.

He was a comrade and
sidekick of Fitzcarraldo.

Hey!

Ho, ho! We want
the opera in Iquitos!

We want the opera!

We need opera here! Don't you
want music in your soul?

Nobody had really discovered
what a great actor he was,

and would have been.

He has some sort of a strange,
mad intensity.

And he has a fire within.

And then Jason Robards became
ill and we flew him out,

and he would never return,
his doctors wouldn't allow him.

For me, writing was
always my last resort,

my last anchor
on which I could hold on.

My only consolation.

So, this here,
this here has great value

because it anchored me.

I worry about the size of my
handwriting, that's alarming.

Why is it that it becomes
microscopic?

I have no explanation.

I can only
decipher it with flip glasses,

sometimes even larger ones,
and I need a lot of light.

Yeah, I have
to read it like this

and then
I have to be very close.

And almost an entire year
was so terrifying

that I can't deal
with it until today.

If I abandon this project,
I would be a man without dreams,

and I don't
want to live like that.

I live my life, or I end
my life, with this project.

Okay!

Hold it! Hold it!

All right, get off the boat.

We couldn't move
the ship by a single inch.

It was monstrous,
a huge steamboat.

You see it in the film,

and it was over 300 tons,
I believe, and that's big.

All right, there!

They got it!

I knew I could
do it technically,

and I could do it with
the intensity of vision.

What's the story
behind these stones?

There's no story.

They are very round,

but I've found really,
really totally round ones,

and that's what
I remember of this place.

And they are much deeper
embedded in my memory

than anything else here.

So it's very strange.

You see they are
very, very well rounded.

This is stone from the volcano.

It's all volcanic and sea
makes them roll up the beach,

and they do it for 10,000 years
and then they're round.

When you kick her, you see,
you kick her like this.

And then you fall back and
then you have to get up.

Hold it up. Okay.

Cobra Verde was
particularly difficult

because Kinski was
completely out of control,

all the way to becoming violent.

Violent, not just
destroying a set or so,

which he frequently would do,

but attacking people,
including me, with a rock.

There's not so much difference

between the documentaries
and feature films.

I said I'm not going to make
a documentary about Kuwait

and the invasion of the Iraqi
troops under Saddam Hussein.

And I presented some
sort of a cosmic event

where there is a crime
against creation itself.

It was at the Berlin Halle,

the audience
was extremely hostile.

There was a shout of disgust.

One single roar of...

of boos and screaming at me.

"Aestheticizing the horror,"
and I...

And people... some people
spat at me.

And I said, "You are all wrong.
Time is on my side."

And you should have heard
the uproar against me.

And it didn't matter at all.

I stood my ground and
faced what was coming.

He lied, who he was.
He said he was a stuntman.

And I thought,
"What terrible luck I have.

That just figures, that I would
fall in love with a man

who is going to be
constantly at risk."

We fell for each other
right away.

I just rushed back home,
put my house in order,

and came back and gave away

pretty much
everything that I owned.

I only owned a toothbrush,

which I hid in my jacket,
in my pocket,

and that got me
in trouble at customs

because I came without luggage.

Nothing,
not even an attaché case.

What could he be doing
there? It seems uncanny.

It has rejuvenated
his own productivity,

his own career,

and perhaps the love affair
with America

also created a love affair

that America now has
with Werner Herzog.

America got him,
and he certainly gets America.

I like to be in a place
where you feel

that things are wildly,
wildly in gestation

and in the making.

And here, people
just don't talk about it,

they actually do it.

So...

Okay we're in a...
What is this place?

The Museum of
Jurassic Technology,

one of the very, very few
places I really love here.

It's a wonderful, wonderful
man who created this.

Let's go inside here.

So this is the Iguazu Falls.

I'm on the Brazilian side.

On the other side, where
the camera is, is Argentina.

And this is the Sonnabend
Collection, Sonnabend Hall.

It's about this man,
Geoffrey Sonnabend,

inventor and
engineer who actually built

a bridge truss
from Argentina to Brazil.

A rainstorm swept it away and...

But in that evening,
there was an opera singer,

this woman here,
who had a wonderful voice.

He immediately fell in love.

To verify things we see,

and things
that she wore that night...

And the beauty of it, it's the
story's completely invented.

There is no borderline between
reality and fiction anymore.

That's what I love
about David Wilson.

In the 19th Century,

people understood,
felt, acknowledged

that we were this close
to knowing everything.

Over the last 100 or 150 years,

that's kind of proven
not to be true,

so it's very interesting how

what is considered truth
evolves.

Nobody can define
really what truth is.

We know it's a movement,
it's an approximation into it.

We move towards some vague goal
and that alone is worth it.

These penguins are all heading

to the open water to the right.

But one of them caught our eye,
the one in the center.

He would neither go towards
the feeding grounds

at the edge of the ice,
nor return to the colony.

Shortly afterwards,
we saw him heading

straight towards the mountains
some 70 kilometers away.

Doctor Ainley explained
that even if he caught him

and brought him
back to the colony,

he would immediately head
right back for the mountains.

That doesn't feel
like he's misleading us,

that means
that that's him showing us

a layer of reality
that's always there

that we might not see otherwise.

And here he's heading off

into the interior
of the vast continent.

With 5,000 kilometers
ahead of him,

he's heading
towards certain death.

Truth is something
we do not know what it is,

but we sense there's something
that is beyond facts,

and how can
we articulate it in poetry

or in film or in other media?

My favorite example of this
is Bells from the Deep.

There's these monks who
genuflect across the ice

in Lake Baikal or
something in Siberia,

this huge, frozen lake.

And while they're praying
to the spirit in the lake,

he's placed,
and this isn't false,

but he's placed figure skaters

and had them skate among them.

And a whole world
of spirit and absurdity

and magic opens up.

I start to invent,
I start to stylize,

but in such a way that
it is not lying at you,

it gives you an almost ecstasy,
a different position,

a different perspective,
an illumination.

Oh, hi, Grinch. Hi.

And she has kind of
an aggressive attitude.

Hi.

If I turn around too much,
she'll bite me.

It's okay. Hi, how are you?

How are you?

That crazy documentary
about the man with the bears.

Who would even consider making
a documentary about this?

Don't you do that!

Back off!

Grizzly Man is special

because it's built around
an archive of material.

Don't do it. It's okay.

I love you, I love you,
I love you, I love you.

Timothy Treadwell
basically standing

in front of the indifferent
wilderness of Alaska

with these carnivorous, hungry,

indifferent to him,
at least, bears,

and presenting them as if they
were like the stuffed puppets

on a children's show like
The Muppets or Sesame Street.

Love you, Rowdy.

Give it to me, baby.

That's what I'm talking about,
that's what I'm talking about.

That's what I'm talking about.

And becoming
increasingly desperate

for a kind of glory
and fame that is...

That this wilderness
reveals right behind him,

reveals to be of no consequence.

And to see him fall apart
on his own camera.

Timothy Treadwell and
Amie Huguenard's remains

came in this large metal can.

Inside this metal can
was a plastic bag,

one for Timothy
and one for Amie.

This is Timothy's camera.

During the fatal attack,

there was no time
to remove the lens cap.

Jules Palevac allowed me
to listen to the audio.

I hear rain and I hear Amie,

"Get away, get away, go away."

Jules, you must
never listen to this.

I know, Werner.
I'm never going to.

Grizzly Man for sure

established a certain Werner

in the popular imagination
of Americans.

I see it as a turning point.

We are honored to have
with us today Werner Herzog,

who is still garnering
well-deserved praise

for his 2005 documentary,
Grizzly Man,

which recently
was released on DVD,

and whose body of work will
continue to be lauded by fans

for generations to come.

Werner, it's truly an honor
to have you on our show.

Thank you.

Last year,
Grizzly Man was released,

it did well financially,
it was very well reviewed,

and there's a lot
of press that came out

wondering why it was not
nominated for an Academy Award.

It is as it is,
and what could I ask more

than having lots of
enthusiastic audiences...

- Right.
- The film doing well,

being very well
accepted by critics?

So it couldn't get better.

Right here
together, just to your right.

Even as
the biggest Hollywood actors,

they are afraid, some of them,
others may be very content,

but some of them are afraid
of stagnation and convention.

And when
they watch Werner's films,

they go, "Wow, this person
is going to put me through

something that is going to strip
away all of my conventions,

and he's not afraid to
put me through that."

Uh... Uh...

I bet they think about you when
you were a little girl.

Wonder how
it all happened, yeah?

Nicholas Cage became
the architect of his figure.

But sometime, it was very funny,
after the third day or so,

he said "Why is
the bad lieutenant so bad?"

And I said to him,
"Nicholas, you know,

there's such a thing
like the bliss of evil,

so go for it."

And he said, "I got it."

What're you doin'?

What?

There's just a kind of wildness

that very, very few
directors can generate,

but that he also seems
to attract to himself.

There's absolutely no one
like Herzog at all.

The idea of being part
of his cinematic world

and his storytelling,

and just being,
as I say, in Werner World

was incredibly appealing

'cause I'm an actor who
seeks auteurs to work with,

but I'm also happy to go
anywhere if they're worth it.

He's worth it.

My kiss...

My kiss shall liberate you.

Oh, wonderful.

Gerte, will you please
not marry me?

Absolutely.

You watch all
these Herzog movies

and expect this absolutely
chaotic atmosphere,

and it was one of
the most classical movies

I've ever worked on,

and kind of very calm,
like very elegantly shot.

And nothing particularly
crazy happened at all.

Having a real ant's nest
stuck on my head

and hung upside down,

we were spinning
so wildly that...

And then
we hadn't figured out a word

to say "enough was enough."

So I'm in the film going,
"Stop, stop,"

because I feel like my eyeballs
are gonna pop out my head

and they think
I'm just really into it

and they keep
spinning me more and more.

And I swear, to this day,

I can't really go on
roller coasters and stuff

the same way as I used to.

I think
it permanently damaged me.

I couldn't stand up for
like an hour afterwards,

until eventually they realized
I was shouting, "Werner!"

Sometimes I speak to people

and they kind of talk
a little bit about him

like he's a man with
his hair on fire all the time,

or like everything's
big and at top level.

And I think there's a bit
of a crossover with Kinski

maybe with that, you know,

and the performances
in some of his films

and everything like that.

But I also do think
that Werner is

one of the most lovely
and gentle people

that I've ever come across.

Tiny and helpless, the baby
penguins are frozen with fear.

They know if
they fall from this cliff,

they will surely die.

Gunther, give them a shove.

He's a genius to be able
to maintain that purity

in some of his work

and yet, still be
part of the pop culture,

and that is true weapon.

I think very few people
can find that balance.

Life is heartless and brutal,

and the cosmos
is indifferent to us all.

I'd say goodbye
but what's the point?

Werner is a form of Darth Vader.

And I say that because of power.

Werner... Darth Vader
never had to yell.

His voice, if he raised his
voice it was go up an octave,

but it wouldn't be screaming.

Werner doesn't have to do that.

Nobody else
that I've ever worked with,

and I've worked a lot of people

in front of and
behind the camera,

nobody like Werner, nobody.

Look outside.

Is the world more peaceful
since the revolution?

I see nothing
but death and chaos.

I would like to see the baby.

Ah, it is asleep.

When I saw The Mandalorian
on the screen in the theater,

large theater in Hollywood,

and when my name came up
there was a shout of joy.

Come on, Werner, we love you!

- Come on, Werner!
- Werner!

And they meant me.

And it has not
happened to me in my life.

In Germany, there is not
so much an understanding

of the range that, you know,

sometimes I have
a feeling that they think

that after Fitzcarraldo,
Werner shot nothing.

The same in America.

There's an American hubris
because they think

that Werner never made
anything, you know, before.

But Werner doesn't really
care what anybody thinks,

he just keeps going.

I made three films
in a single year.

And in last year,
which was COVID,

and you couldn't move much out,

I still made a long feature
film, and I wrote two books.

And I'm also proud, of course,

I want to show that I did that.

And it's only within
the calendar year, so here I am.

Each individual
shapes its own movie.

We live partially
in a world of fantasy

that we have created.

How does memory relate to that?

Where is the source of that?

Does it shoot out from bedrock?
You never know.

I never knew.

And you didn't see where

it comes out?
- No. Because...

And I never... I don't want to
know where it comes from.

I agree.

And until today, today it
would be easy to find out

where is
the origin of the waterfall.

And until today, I do not know.

And I do not want to know.

♪ I was a wing ♪

♪ In Heaven blue ♪

♪ Out on the ocean ♪

♪ Soared in the rain ♪

♪ And I was free ♪

♪ I needed nobody ♪

♪ It was beautiful ♪

♪ It was beautiful ♪

♪ And if this one thing ♪

♪ Could do for you ♪

♪ You'd be a wing ♪

♪ In Heaven blue ♪

And now what else should I do?

This is really good.
It really was.

Should I...

- This is good.
- Should I eliminate

some of my stuff?

I think only Thomas can do that.

Ignore what I...
ignore what I did, what I said.

Oh yeah, yeah,
I said it and it's caught

on tape, it's caught.

It's online already.

Microsoft already called here.
- Yes.

Yes, too late indeed.
- Too late, yeah.