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Downloaded from
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Official YIFY movies site:
YTS.MX
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[men grunting]
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My name is Nicolas Winding Refn,
and I'm the creator of Copenhagen Cowboy.
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Bang! Bang! Bang! Bang! Bang!
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[in Danish, crying] I can't…
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[in English] This is not a making of…
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but more of an insight
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on how the Cowboy fell asleep
and woke up in Copenhagen.
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[man, in Danish] Three, two, one… Go!
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[both grunting]
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I would describe Copenhagen Cowboy
as fantasy, horror and adventurous.
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The name already tells something.
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It's a… [chuckles]
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You cannot find words to make sense
of Copenhagen Cowboy. What is it?
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You know, Copenhagen, modern city.
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And cowboy from old western style.
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How do you combine
those two things together?
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It's already amazing there.
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I think it's very colorful, very potent,
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and very raw at the same time.
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And we definitely, kind of, have
horror elements and fairy tale elements.
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[dreamy electronic music playing]
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The original pitch was,
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I'm going to do an extension
of the Pusher trilogy.
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And everyone said,
"Great, let's go do it."
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But there was going to be a spaceship.
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I would say
the story of Copenhagen Cowboy,
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on paper, was about a young woman
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who transforms through a series
to become a superhero.
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It's like this, well, fairy tale-like
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underworld of Copenhagen or Denmark.
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It's certainly not the Denmark we know.
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-[Algren] No.
-It's a world that transcends realism.
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[Algren] This is Miu's world.
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So you are brought along and down deep
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into the underworld of Denmark
through Miu's journey.
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[Refn, in Danish]
Sit up there. And the table…
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We'll get a small chair for you.
Didn't you have a similar one?
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[in English] I thought it could be fun,
if I had come back to Denmark,
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I would create,
like, a fairy tale narrative.
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So I hired a great group
of female writers.
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I think the reason
why we looked at fairy tales,
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and Greek mythology,
and Shakespearean dramas
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might be because
they all have this concept of fate,
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because we wanted with Miu
to also have this feeling of…
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there is an element of fate.
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-Mm.
-That she was born to do something.
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-Mm.
-Um, if she was even born.
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[woman, in Danish] Where do you come from?
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[in Danish] That's a long story.
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[in English]
I started with first, the title.
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I said "Cowboy,"
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and then "Copenhagen."
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And those became "CC."
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It was like two contrasting
components together,
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but they flowed very well on the tongue,
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and it became enigmatic
of what it actually was,
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which was exciting to me.
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What would I make that
my kids would find interesting?
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And that became Miu.
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I wanted to resurrect the kind of
alter ego that I had created with,
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you know, Mads Mikkelsen and Ryan Gosling,
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and retire on my previous films
to create a show,
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a character that
was an extension of myself.
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But as a young woman would reflect more
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of a role model for my children.
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And I knew that
the protagonist of the show
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had to start off as a young woman.
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And there's definitely a need
for these female heroes.
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And we had
an ongoing discussion about that.
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Um, and it's like when you
create this kind of character,
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um, who's mysterious and very driven,
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and might use violence
to attain his or her goals.
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If it's a man,
I guess we easily accept that,
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and don't ask that many questions.
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But when it's a female, we're like,
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oh, what's, like,
the psychological explanation?
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What traumas did she go through
to become like that?
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And we kind of wanted
to challenge these limitations
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of the female hero,
and what she could be like.
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[Algren] That was also Jang's,
kind of, concept of a cowboy.
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He was very much challenging,
also, our views on a female character
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having a backstory and everything,
and he was like,
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"This is a cowboy just entering the scene,
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arriving at a new town
and doing his thing."
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-And that was super cool…
-Yeah.
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…to explore with her.
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Miu is sort of…
She's just a very physical person.
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It's very much a state to be in, in Miu.
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You have to stay in that state.
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It's almost like you're sleeping,
and it's like she doesn't speak so much.
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She stands.
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She observes a lot, and then she moves.
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And so, it fits a lot to be
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in sort of that between state.
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I'm very there,
but I'm also in another place.
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Well, I'm a very superstitious person.
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And I have contacts
with extraterrestrials through my work,
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that I regularly speak with.
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So it was very natural for me
to bring that into the process.
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I always knew that the Miu character
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and her so-called sister, Rakel,
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would essentially come
from another dimension.
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I just had to figure out
how I interpreted it into the story.
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I really like and I really respect
Jang's choice to do a lot of,
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what would you call it,
maybe like street casting,
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or just to take people in who are
pure and natural in some sense,
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because they're just who they are.
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They're not actors.
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The way I would cast it was,
one of the few elements that I took
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from my Pusher trilogy,
where I would cast,
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you know, reality,
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or seek outwards to find more.
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What I found interesting,
most of the time, they were untouched.
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They were pure. They were original.
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People who are really
from the different environments, you know,
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standing actually
in front of the real deal.
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You have the real…
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uh, like, the people who know
the real environments,
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but it's also a fairy tale
where they're a little bit twisted,
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and I think that makes it
even more interesting
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than if it had just been one to one.
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[in Danish] Bang! That's the first one.
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Here.
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Bang!
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And then again. Without you knowing it.
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But you have got used to it.
So it doesn't matter.
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-The last one is just…
-[man] Are you ready?
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Yes, that's good.
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[in English] I was street casted
for Pusher 3.
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And then I begin to act,
and there was more of it.
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And I feel like, you know,
I found something that I love to do.
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The way that he made it,
that he street casted people,
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he got something original.
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If you play a role that is near
to the personality that you have,
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then, of course,
it's easier for you to play it.
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But he was very good at, uh…
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As in when we started,
he was really, you know, like,
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"Hey, Dan, you know,
you don't have to show me
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all these TV things
you have learned, you know.
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I want you to be yourself,
cool and relaxed."
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And then after that, I was,
yeah, you know, I feel good.
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And I found my character.
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He told me that…
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He said, "Hey, Dan,
you are good at this shit."
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I think, Jang,
he was opening up my eyes,
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and I was like, "Hey, man, maybe I am.
Maybe he's right. Maybe I'm good at this."
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So he was changing my life, yeah.
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Since I was a child, I was fighting
for my life, you know, by myself.
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Every day I came from school,
I have a lot of bruises in my face.
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My pants was destroyed.
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But I didn't want to tell my mom,
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so she thought
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I was maybe too wild, you know.
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When I'm 14 years,
I was living on the street.
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In the school break,
I didn't want to go out,
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because I knew outside there was
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a queue of people
that wanted to fight me.
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I saw a Bruce Lee movie.
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From that day,
I knew what I'm going to do.
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I do all this kicking
because I saw this on the movie,
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I exercised every day, you know.
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I never think I'm going
to be a big movie star.
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It's like…
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It was a dream, you know. It feels good.
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Now I can be my own Bruce Lee.
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[whirring, buzzing]
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When I met Jason,
the only thing I thought,
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"My God, he was built
for cinema with that face."
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He was like a beautiful version
of Quasimodo.
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And he had these techniques
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of fighting and brutality like a panther.
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And yet, he was gentle
and kind, like a butterfly.
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And that combination already
kind of, you can say,
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he created the character
of Mr. Chiang right in front of me.
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And I just followed along the way.
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I just looked back
and then played myself when I was young.
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I've always had an open mindset
on putting all my chips on something new.
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So, yeah, it's not the first time
that I just went out and did something mad
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that I didn't know anything about,
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but I just wanted to go 100% on it.
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I got the opportunity to try out
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playing as an actor with my role, Nicklas.
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And at that time,
I really did not enjoy where I was.
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So I decided to say "Fuck it,"
and just go.
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Within two weeks or something like that,
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I've gotten the job and started filming.
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So, it was a quick decision
of just saying yes and just trying it out.
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[in Danish] All the girls…
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The nice girls in the bar,
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they want you,
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and they want to be eaten
by fucking Nicklas.
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[in English] He had that incredible face,
so it was automatically him.
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There was an enormous amount
of locked up emotions
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that I think could be channeled
in a very effective and inspiring way
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through creativity,
which is certainly what acting is.
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It's a creative process.
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It's been absolutely incredible.
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It's been a very fun experience,
so it's been giving me a lot of good times
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that I will remember
for the rest of my life.
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[in Danish] Here, a cut to this,
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where she is kicking him away,
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and then kicks him over.
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[Jørgensen] Thank you, all,
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for this great experience and cooperation.
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[in English] We did have some meetings
in the writers' room,
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with some of these actors
who had the real life experiences,
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who could also correct
certain scenes or dialogues
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where they would use different words.
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[in Danish] Bang, bang, bang!
And then you turn around.
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From there you can…
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[in English] I have
no acting experience whatsoever.
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It was the second casting,
and she was like, "Yeah, don't hold back."
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And I was like, "Are you sure?"
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And she was like, "Yeah,
just give me all you got." [chuckles]
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And I was like, "All right."
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And then she started…
She asked me something.
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And I was like, "Yeah!"
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Bah bah bah bah bah bah bah!
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And I was really shouting my lungs out.
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And after… I looked at her,
and she was so calm, she was like,
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"You did good." [chuckles]
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[gunshots firing]
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[exclaiming]
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When I read the script,
I think I am Mother Hulda.
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I just got the feeling.
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I have to practice because I was
not educated like an actor.
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I don't have the education in this branch.
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I am also a single mum to a son.
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So I got that feeling,
"Okay, if my son was taken away,
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how do I feel?"
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So the tears just came out.
So I got the feeling that I can play her.
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I think I understand her.
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[sniffles]
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I met Nicolas the first time
in the summer of '95.
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It was the casting for Pusher.
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We start to talk very openly,
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stuff like the street life,
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the dope experience,
and immigrants, milieu.
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So, this moment when I met Nicolas,
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it was important for me in my life.
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[Refn, in Danish] Zlatko knows that.
He's very experienced.
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[in English] We have a past,
me and Zlatko.
245
00:15:39,920 --> 00:15:40,840
All right.
246
00:15:40,920 --> 00:15:42,800
[in Danish] But you're a lucky coin.
247
00:15:45,520 --> 00:15:48,280
[in English] I don't thrive on taking
a chance on people,
248
00:15:48,360 --> 00:15:53,480
but I know that if you can
come in a situation
249
00:15:53,560 --> 00:15:58,600
where performers that have not
a lot of experience with them,
250
00:15:58,680 --> 00:16:02,520
to let their guards down
and be 100% themselves,
251
00:16:02,600 --> 00:16:04,400
you mostly touch magic.
252
00:16:08,760 --> 00:16:10,200
My dad is a weird dude.
253
00:16:10,280 --> 00:16:12,360
He thinks in film.
254
00:16:12,440 --> 00:16:15,200
He has his work and he has his family.
255
00:16:15,280 --> 00:16:16,920
We are a team, in a way.
256
00:16:17,000 --> 00:16:20,680
He was very much dependent on me,
because otherwise, he couldn't go away
257
00:16:20,760 --> 00:16:23,520
and work for ten months and do Drive, or…
258
00:16:24,600 --> 00:16:27,280
So it's been like
a collaboration, in a way.
259
00:16:27,360 --> 00:16:28,920
Like, how do we do this?
260
00:16:29,000 --> 00:16:30,840
Like, for instance,
with Only God Forgives,
261
00:16:30,920 --> 00:16:35,600
we moved to Bangkok for six months,
and Lola went to school there and like…
262
00:16:35,680 --> 00:16:37,840
He's a very family-oriented guy.
263
00:16:37,920 --> 00:16:40,560
But, you know, Liv has just
been reading the scripts,
264
00:16:40,640 --> 00:16:44,160
and me and my sister have been
kind of not really involved
265
00:16:44,240 --> 00:16:46,560
with what his work has been up to.
266
00:16:46,640 --> 00:16:48,920
So I think he's always used
to looking outwards
267
00:16:49,000 --> 00:16:51,320
and finding people outside of his family,
268
00:16:51,400 --> 00:16:54,400
compared to this time,
where he kind of looked inward
269
00:16:54,480 --> 00:16:56,560
and saw what the family could do.
270
00:16:57,080 --> 00:16:59,080
You know, even my sister
is participating in the show.
271
00:16:59,160 --> 00:17:02,000
So I think that's also kind of
a fun little family trip.
272
00:17:02,080 --> 00:17:05,640
[Liv] I just feel like I'm always
a part of his work, in a way,
273
00:17:05,720 --> 00:17:07,360
even though I'm not always
274
00:17:08,280 --> 00:17:09,520
on the set every day.
275
00:17:09,599 --> 00:17:13,400
Then the whole developing
of the scripts he talked to me about,
276
00:17:13,480 --> 00:17:16,920
like, maybe a character,
or I read the scripts.
277
00:17:17,000 --> 00:17:19,760
I mean, it's always nice to film
with someone that you're close to
278
00:17:19,839 --> 00:17:22,000
and have a good relationship with.
279
00:17:22,079 --> 00:17:25,160
But sometimes I'm like, "I got this.
280
00:17:25,240 --> 00:17:26,800
I can do this on my own, you know.
281
00:17:26,880 --> 00:17:29,400
You don't need to be
screaming in my ear."
282
00:17:29,960 --> 00:17:32,119
But you know, it helps
with her anger coming out.
283
00:17:32,200 --> 00:17:34,000
So I guess it works both ways.
284
00:17:34,760 --> 00:17:37,200
[in Danish] More!
285
00:17:40,440 --> 00:17:41,560
[grunts]
286
00:17:44,520 --> 00:17:49,920
And… Scream!
287
00:17:50,920 --> 00:17:53,240
[imperceptible]
288
00:17:56,360 --> 00:17:58,320
That was really good, honey.
289
00:17:58,400 --> 00:18:01,560
That was good.
We'll take it one more time, angry again.
290
00:18:01,640 --> 00:18:03,520
[in English] I never thought
it was going to be her.
291
00:18:03,600 --> 00:18:06,680
It wasn't so much on my radar.
292
00:18:08,480 --> 00:18:13,080
But as I had the idea for the character
very late in the process,
293
00:18:13,160 --> 00:18:15,160
we were almost near the end of shooting…
294
00:18:16,880 --> 00:18:22,200
And there had been a coffin on set
in Nicklas's estate,
295
00:18:22,880 --> 00:18:25,880
that I thought was a really cool prop,
and I kept on bringing it back
296
00:18:25,960 --> 00:18:28,560
every time we were shooting there,
until one day I was like,
297
00:18:29,480 --> 00:18:31,080
"Maybe we should
put somebody in the coffin."
298
00:18:31,160 --> 00:18:33,960
"What if he has a sister?"
299
00:18:34,640 --> 00:18:36,960
No, it should be a stepsister,
because then we can have
300
00:18:37,040 --> 00:18:41,760
more interpretation, because
she's actually part of the Miu world.
301
00:18:42,320 --> 00:18:44,680
And that got the ball rolling.
302
00:18:44,760 --> 00:18:49,040
And so, we were casting,
and I wasn't necessarily
303
00:18:49,120 --> 00:18:51,480
getting what I was looking for outwards,
304
00:18:52,400 --> 00:18:55,680
until I think Liv said,
"Well, maybe it's because
305
00:18:55,760 --> 00:18:58,200
it's right in front of you,
if you really think about it."
306
00:18:59,000 --> 00:19:04,520
And obviously casting your
family members is an intimate process.
307
00:19:04,600 --> 00:19:05,880
What if it doesn't work?
308
00:19:07,040 --> 00:19:10,600
So I tricked her by casting her
without her knowing it,
309
00:19:10,680 --> 00:19:12,520
while she was doing homework,
310
00:19:12,600 --> 00:19:15,360
because she was
in her finals in high school.
311
00:19:15,440 --> 00:19:16,880
And he came in one day,
312
00:19:16,960 --> 00:19:19,480
and since my mom
had been helping on the show,
313
00:19:19,560 --> 00:19:23,080
I just thought he wanted my help
to see an outside view of someone
314
00:19:23,160 --> 00:19:25,440
who does… have no idea what's going on.
315
00:19:25,520 --> 00:19:26,760
I went out to the kitchen.
316
00:19:26,840 --> 00:19:28,960
I said, "Can you please say these lines?"
317
00:19:29,040 --> 00:19:30,040
And she's like, "Why?"
318
00:19:30,120 --> 00:19:32,440
I say, "Can you say the goddamn lines?"
319
00:19:32,520 --> 00:19:35,280
She's like, "Why?"
I said, "Just say the lines."
320
00:19:35,360 --> 00:19:37,200
And she's like,
"Fine, I'll say the lines."
321
00:19:37,280 --> 00:19:41,160
And I acted out a couple of lines,
which was Rakel's lines.
322
00:19:41,240 --> 00:19:44,800
And he was like, "Great, thanks."
And I was like, "You're welcome."
323
00:19:44,880 --> 00:19:50,200
And she said it with such conviction,
and clarity, and natural… that I was like,
324
00:19:51,280 --> 00:19:55,840
maybe, in a way, I had already created
Rakel as a kind of rebellious version
325
00:19:55,920 --> 00:19:59,720
of what I had at home,
which was a 19-year-old daughter.
326
00:19:59,800 --> 00:20:01,000
And the next day he was like,
327
00:20:01,080 --> 00:20:03,640
"Well, you know,
I really liked you for the part."
328
00:20:03,720 --> 00:20:04,920
"Would you want to play her?"
329
00:20:05,000 --> 00:20:08,120
And I was like, "Sure, why not?"
330
00:20:08,680 --> 00:20:09,680
"See what happens."
331
00:20:10,160 --> 00:20:12,400
[mysterious music playing]
332
00:20:18,760 --> 00:20:20,800
I'm a fetish personality.
333
00:20:20,880 --> 00:20:21,880
I like fetish.
334
00:20:22,440 --> 00:20:25,240
I like detail. I like attention to detail.
335
00:20:26,080 --> 00:20:28,480
And fashion is part of that.
336
00:20:28,960 --> 00:20:33,840
Fashion is also… You know,
revolutionary fashion is an extension.
337
00:20:33,920 --> 00:20:37,520
Fashion is a mirror into who you are.
338
00:20:37,600 --> 00:20:43,520
Yeah, Miu is very much
wearing a sort of a suit,
339
00:20:44,440 --> 00:20:49,000
sort of an armor for her.
340
00:20:49,680 --> 00:20:53,200
Nicolas was very clear from the beginning
that he wanted a tracksuit.
341
00:20:53,280 --> 00:20:55,480
It's something everyone is familiar with.
342
00:20:55,560 --> 00:20:59,160
It's armor, in a way.
It's a piece of utility clothing.
343
00:20:59,240 --> 00:21:05,440
It's built to last, built to be durable,
um, built to withstand the elements.
344
00:21:06,240 --> 00:21:09,960
But mainly the protective aspect of it,
I thought was very interesting.
345
00:21:10,040 --> 00:21:13,320
I think I took a few more risks,
or a lot more risks this time,
346
00:21:13,400 --> 00:21:14,320
because it's very diverse.
347
00:21:14,400 --> 00:21:17,400
Generally, just researching
women throughout history
348
00:21:17,480 --> 00:21:23,560
who have in some ways been fighting
349
00:21:23,640 --> 00:21:25,360
on the path of right, if you like.
350
00:21:26,200 --> 00:21:29,560
Almost like, it's a kind of quest.
351
00:21:29,640 --> 00:21:33,680
So I found looking
at Joan of Arc quite helpful,
352
00:21:33,760 --> 00:21:37,360
in how she looked with the short hair
and the armor that she wore.
353
00:21:38,280 --> 00:21:42,160
And tried to adapt that into sportswear
354
00:21:42,240 --> 00:21:44,760
or something that could also be perceived
355
00:21:44,840 --> 00:21:48,840
in a contemporary situation,
like a coat, or a puffer vest,
356
00:21:48,920 --> 00:21:50,880
or a track suit.
357
00:21:51,840 --> 00:21:53,840
[mellow music playing]
358
00:22:02,720 --> 00:22:05,000
[indistinct chatter]
359
00:22:07,480 --> 00:22:13,120
Normally, we didn't plan very much.
It was very much working as a process.
360
00:22:13,200 --> 00:22:17,160
Developing as the script
would develop and change, we would adjust.
361
00:22:17,240 --> 00:22:19,800
We ended up doing a big flower makeup
362
00:22:20,680 --> 00:22:24,120
for a dream sequence that Miu had.
363
00:22:24,200 --> 00:22:26,280
We've been shooting in this mansion house,
364
00:22:26,360 --> 00:22:29,760
and there was all these beautiful flowers
that we used on set.
365
00:22:31,040 --> 00:22:34,480
And the set designer was taking them away
366
00:22:34,560 --> 00:22:36,120
and they were standing outside,
367
00:22:36,200 --> 00:22:39,920
and I just thought, "Do you mind
if I grab some of these flowers?
368
00:22:40,000 --> 00:22:42,320
I'd like to… I don't know
what I'm going to use them for,
369
00:22:42,400 --> 00:22:46,040
but I'm just going to put them
in my William Blake book."
370
00:22:46,120 --> 00:22:48,400
Then one day, Nicolas asked me,
371
00:22:49,400 --> 00:22:52,640
"Can you make Miu
into some sort of demon?
372
00:22:52,720 --> 00:22:55,720
She's having this dream sequence,
373
00:22:55,800 --> 00:22:59,240
and she's standing up
against this wallpaper with flowers.
374
00:22:59,320 --> 00:23:01,120
Maybe you can be inspired by that."
375
00:23:19,960 --> 00:23:21,720
Everyone knows he's obsessed with movies.
376
00:23:21,800 --> 00:23:24,640
I don't think that's a secret,
and his brain just never stops.
377
00:23:24,720 --> 00:23:27,640
So when we're in the car,
and even on set, he plays music.
378
00:23:28,480 --> 00:23:30,320
And he plays different music
to get different feelings
379
00:23:30,400 --> 00:23:32,080
out of the different characters,
380
00:23:32,160 --> 00:23:35,320
and I think music is a big part
of him relaxing and being able to think.
381
00:23:35,400 --> 00:23:39,920
Music is, you know, heals and it inspires.
382
00:23:40,000 --> 00:23:44,800
By choosing a piece of music
for a specific day or a scene,
383
00:23:44,880 --> 00:23:48,200
not just helps the actors,
but it helps the crew.
384
00:23:48,280 --> 00:23:50,240
It helps the cameraman.
385
00:23:50,320 --> 00:23:52,600
It helps the designers.
386
00:23:52,680 --> 00:23:54,120
It helps the make-up.
387
00:23:54,200 --> 00:23:55,600
It helps everyone.
388
00:23:57,400 --> 00:24:01,720
I could also sense that
sometimes if I would lose it,
389
00:24:01,800 --> 00:24:05,280
then Jang would just know
that he has to play a song
390
00:24:06,800 --> 00:24:10,080
to remind those senses.
391
00:24:10,920 --> 00:24:14,200
He quickly found out
that I am very fond of classical music.
392
00:24:14,280 --> 00:24:17,800
So we've been listening to quite a lot
of classical music to set me in the mood.
393
00:24:18,360 --> 00:24:20,960
And I react quite a lot to music.
394
00:24:21,040 --> 00:24:26,240
And so that's been very helpful
to set me in a very grim mood.
395
00:24:26,320 --> 00:24:27,880
[imperceptible]
396
00:24:27,960 --> 00:24:29,840
Since it's my first acting job,
397
00:24:29,920 --> 00:24:32,720
it was fairly new to me,
but I actually really like it.
398
00:24:32,800 --> 00:24:34,400
Now, I don't think I can do without it.
399
00:24:35,000 --> 00:24:37,240
Because it kind of…
I mean, it depends what you play,
400
00:24:37,320 --> 00:24:40,800
but it, you know, kind of,
gets different feelings out in you.
401
00:24:41,360 --> 00:24:44,800
So we would play a lot of music,
and it would either be kind of
402
00:24:44,880 --> 00:24:49,640
horror-themed music,
or if it was like a sad scene,
403
00:24:49,720 --> 00:24:52,400
or something else to kind of ease you
404
00:24:52,480 --> 00:24:56,320
to get in the mood,
to make your feelings move a little bit.
405
00:24:58,520 --> 00:25:00,520
[in Danish] You've been a naughty boy.
406
00:25:08,080 --> 00:25:12,720
[in English] Nicolas is good at painting
you a picture before you start the music.
407
00:25:12,800 --> 00:25:16,920
And sometimes, he'll have two things
that are at odds with each other,
408
00:25:17,000 --> 00:25:18,400
and that's exciting,
409
00:25:18,480 --> 00:25:20,400
because something happens there.
410
00:25:20,480 --> 00:25:23,920
He can mention a group
and then a movie,
411
00:25:24,000 --> 00:25:27,360
and these two things
have nothing to do with each other.
412
00:25:27,440 --> 00:25:30,680
You get something
that's never heard before.
413
00:25:31,200 --> 00:25:34,200
We don't score characters.
414
00:25:34,280 --> 00:25:36,600
We do it by shapes and colors.
415
00:25:36,680 --> 00:25:39,320
You score the darkness
and you score the light.
416
00:25:39,400 --> 00:25:42,600
And sometimes, you score
a little light in the darkness.
417
00:25:42,680 --> 00:25:45,320
[dramatic music playing]
418
00:25:58,800 --> 00:26:03,040
Whenever I'm done with something,
I exorcise it from my existence.
419
00:26:04,560 --> 00:26:09,000
And it kind of no longer
really exists anymore.
420
00:26:10,000 --> 00:26:14,280
It's now in the hands of billions
of people on the Internet to…
421
00:26:16,120 --> 00:26:17,120
react to.
422
00:26:25,440 --> 00:26:27,480
[mellow music playing]