まさかの展開に驚かされる映画、ミリオンダラーベイビー(Million dollar baby)

Short plot
Margaret Fitzgerald (Hilary Swank), a waitress from a Missouri town in the Ozarks, shows up in the Hit Pit, a run-down（荒廃した） Los Angeles gym owned and operated by Frankie Dunn (Clint Eastwood), a brilliant but only marginally （辛うじて）successful boxing trainer. Maggie asks Dunn to train her, but he angrily responds that he "doesn't train girls."
Maggie attempts to win Frankie over by working out tirelessly each day in his gym, even when others discourage her. Frankie's friend and employee, ex-boxer Eddie "Scrap Iron" Dupris (Morgan Freeman), encourages and helps her all he can. "Scrap" also narrates the story.
Frankie's prize prospect, "Big" Willie Little, reluctantly signs with successful manager Mickey Mack after becoming impatient with Dunn turning down offers for a championship bout.
With prodding (促される）from Scrap and impressed with her persistence, Frankie reluctantly agrees to train Maggie. He warns her that he will teach her only the basics and then find her another trainer. His most important advice is to protect herself in the ring at all times.
Before her first fight, Frankie leaves her with another manager, much to her dismay, but rejoins her in the middle of the bout, and coaches her to victory. Maggie makes him promise not to abandon her again. Maggie turns out to be a natural. She fights her way up in the women's welterweight （ウエルター級）boxing division, winning many of her bouts with first-round knockouts. Estranged （遠ざけられる）from his own daughter, who returns his letters unopened, Frankie comes to establish an almost paternal bond with Maggie...

Reviews
"Million Dollar Baby" transforms from a boxing movie into one of the most heart-wrenching（胸が締め付けられる）, character-driven dramas （性格劇）the silver screen has ever seen before.

It's easy to see why this film swept the Academy Awards. Swank and Freeman give the performances of their careers. (It was a real shame that Eastwood was snubbed（冷遇される） in the Best Actor category...he truly deserved to win.)

I don't want to give away any additional details about the movie, but the plot is full of surprises, and the ending is one that you won't expect and might have a hard time dealing with. "Million Dollar Baby" isn't the kind of movie I'll want to watch again and again...it takes too much of an emotional toll (精神的ダメージ）on you to watch it more than once. However, it is definitely one of the most amazing movies I've seen in recent years, and quite possibly one of the most powerful films in movie history.
Another Eastwood's masterpiece. Hillary Swan, Clint Eastwood and Morgan Freeman are superb in this movie: their characters are superb, sometimes emotional, troubled, anxious, almost real. The music and the photography make this move unforgetable.
A twist in the plot occurs when Swank's character is severely injured during a fight, which dramatically alters both her life and the life of her manager. The conclusion of the film is intense and highly impactful, and it will leave you thinking about what you would do in the same situation.

女性版ロッキーかと思いきや、前半と後半でこれだけ激変する映画とは．．．
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イラン映画をまた観てしまった！オフサイドガールズ（offside）

Trailer:



Views:
Unlike most Iranian films, which are known for their strong visuals, Offside is filmed in a realist style with no artifice(技巧）. In fact, the film was made during the actual qualifying match against Bahrain that took place on June 5, 2005. The "plot" in many ways was determined by the result on the pitch. If Iran won the match, they would qualify. If they lost, they would not. Since the World Cup has come and gone, I don't think it is a spoiler（ネタバレ） to say that Iran won the match. The scenes of celebration at the end of the film were real and spontaneous, which gave the film a real authenticity. Seeing how much this meant to the people of Iran was deeply touching.

As well, one of the young women makes reference at the end of the film to seven fans who died during the Iran-Japan match on March 25, just a few weeks before. They were trampled（踏みつけられる） to death after police began to spray the crowd with water to move them in a certain direction. Knowing that this was a real-life tragedy added another level of poignancy （辛辣さ）to the celebrations.

I don't want to go off on a long political tangent（脱線）, but this film gave me real hope that there are those in Iran who are hoping for change and working at it. Iran is a nation of young people, and it is only a matter of time before they take the place of their elders in the political sphere. Films like this one show the proud spirit of the Iranian people in spite of their present difficulties, and it's my sincere hope that there is a brighter future for them.
This film is being described as a comedy, but it wasn't a comedy at all. Like any Panahi film, it was a very realistic drama depicting the common thread of social inequity and hypocrisy（偽善）. But it was very funny; much lighter than the director's dark and serious The Circle (my favourite Iranian film). The resourcefulness of the girls and the banter between them and the soldiers was both completely believable (as if it were a documentary) and completely hilarious.
The performances from all the non-professional actors – soldiers and girls – were very credible（説得力がある）. It was very moving to see the passion, disappointment and excitement of these girls. Anyone in this country who thinks Muslim girls wearing a chador are any different to their own daughters should go see this film – it will be a real eye-opener.

To me, the soldiers represented the current paradigm（模範、実例、パラダイム）. They started out with stock-standard official policy responses to all the pleas of the girls. As the film progressed, they found it more and more difficult to maintain this stance. When what seems like all of Teheran breaks out into wild celebration, everyone is caught up in it, and the ridiculousness of the current policies is obvious to one and all.

It was a very moving and unexpected ending, and gave the film a really nice blend of emotions, frivolity（軽薄さ）, drama and social commentary. Though it's adult cinema, I think mature-minded children from about seven onwards would really appreciate this film (as long as they can read subtitles).

It is remarkable that a repressive country like Iran is able to produce films of such quality by the likes of Panahi and Kiarostami. Perhaps the constraints there force directors to be extremely resourceful. Australian (and other) film makers could take a leaf out of their book（行動を見習う）.
n Iran, women are not admitted to soccer games. Officially it's because they are to be spared（傷つけない） from the vulgar language and behavior of the male audience. But of course it is about sexism. Women are lower forms of human beings.

Some brave girls oppose this and try to get into the stadium by using different tricks. They are caught by soldiers and hold in a kind of cage, until the police will come and pick them up.

Despite the insane situation, this is a film with lots of humor. It's also encouraging to see how people always find different ways of fighting oppression. You'll get touched at the same time as you have lots of laughs. Good job by director Jafar Panahi. This is in many ways a heroic comedy.

実際のワールドカップの出場権がかかったゲームで撮影されたこと自体が驚きだ。少女達と兵士達の駆け引きをユーモラスかつ辛辣に描いている。

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映画、第3の男(the third man)ラストシーンとその会話を聴き取る！

Last scene transcript

CALLOWAY
Two thirty, I'll have to step on it, if you're
going to catch that plane.

MARTINS
Calloway, can't you do something
about Anna?

CALLOWAY
I'll do what I can, if she'll let me.






MARTINS
Wait a minute - let me out.

CALLOWAY
Well, there's not much time.

MARTINS
One can't just leave - please.




CALLOWAY
Be sensible, Martins.

MARTINS
I haven't got a sensible name,
Calloway.


CLOSE SHOT - CALLOWAY


LONG SHOT - MARTINS

Anna in the middle of the road, coming downstage
toward camera. She passes Martins without a glance, and
continues on, looking straight ahead of her and out of
picture CR - Martins takes out a cigarette and lights it.

FADE OUT

Very short plot
Holly Martins, a down-on-his-luck（運のない） writer, shows up in post-war Vienna looking for his old friend, Harry Lime. But he's told Lime died in an accident, the military tell him to go home, and he's attracted to a mysterious woman he sees at Lime's grave. He sticks around, gets different stories about Lime, but finally understands Lime was an unscrupulous(悪徳） black marketeer, dealing in adulterated（混ぜ物をした） drugs among other things. And he realizes that Lime is alive.

Last scene
She leaves the cemetery and makes her way down a long dreary road. Holly Martins (Joseph Cotten) passes her in a jeep driven by Major Calloway. Martins persuades Calloway to drop him off, and then he walks back to meet Anna. When she reaches him he tries to find the right word to say, but she ignores him and walks straight past.

一言も発せず歩み去る彼女の姿だが、あまりにも多くのことを表現している気がするのは私だけでしょうか？

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サンセット大通り(Sunset Boulevard)に観る女優魂！？

Sunset Boulevard (also known as Sunset Blvd.) is a 1950 American film noir directed and co-written by Billy Wilder, and produced and co-written by Charles Brackett. It was named after the boulevard that runs through Los Angeles and Beverly Hills, California.
The film stars William Holden as an unsuccessful screenwriter, Gloria Swanson as a faded(消えた、過去の栄光にすがる） silent movie star who draws him into her fantasy world, in which she dreams of making a triumphant return to the screen and Erich von Stroheim as her butler. Nancy Olson, Fred Clark, Lloyd Gough and Jack Webb play supporting roles. Director Cecil B. DeMille and gossip columnist Hedda Hopper play themselves, and the film includes cameo appearances（カメオ出演、特別［友情］出演） by leading silent film actors Buster Keaton, H. B. Warner and Anna Q. Nilsson.
Praised by many critics when first released, Sunset Boulevard was nominated for eleven Academy Awards and won three. It is widely accepted as a classic, often cited as one of the most noteworthy films of American cinema. Deemed "culturally, historically, or aesthetically significant" by the U.S. Library of Congress in 1989, Sunset Boulevard was included in the first group of films selected for preservation in the National Film Registry. In 1998, it was ranked number twelve on the American Film Institute's list of the 100 best American films of the 20th century, and in 2007 it was 16th on their 10th Anniversary list.

Plot：
The story follows the life of struggling young Hollywood screenwriter Joseph C. Gillis (Holden) as he is ensnared（巻き込まれる） by long-forgotten silent-film star Norma Desmond (Swanson) into being her kept man. The film begins with a scene of Joe's dead body floating in the swimming pool of Norma's palatial（宮殿のような） mansion on Sunset Boulevard in Hollywood before flashing back to the beginning of the story's events. Joe narrates the film even though he is no longer alive.
The first few scenes describe Joe's unsuccessful efforts to borrow money from his friends after failing to persuade Paramount Pictures producer Sheldrake (Clark) to buy his most recent script, which Sheldrake's assistant Betty Shaefer (Olson) dislikes. Joe's meeting with Norma and her stoic German butler Max (von Stroheim) is occasioned by a car chase in which he flees from repossession（回収、差し押さえ） men, having fallen behind on his loan payments. When one of his car's tires blows out in front of Norma's mansion, he hides the car in her garage, and when he tells her he is a writer, she asks him to help her write a script for a film that she hopes will revive her faded acting career.
With no other options except a low-paying newspaper job in Ohio, Joe agrees to help Norma. He objects when she has Max move his belongings from his apartment to her mansion, but she has paid his overdue rent, so he accepts the situation and begins living at the mansion, first in a room over the garage, then in the mansion itself. As he works on Norma's script, he becomes financially dependent upon her. She lavishes attention on him and buys him expensive clothing, including a tailcoat for a private New Year's Eve party attended only by the two of them. Horrified to learn that she has fallen in love with him, he escapes to a party at a friend's house, where he meets Betty Schaefer again. While still unimpressed with most of his work, she believes one scene in one of his scripts has potential. However, Joe leaves the party and returns to the mansion when he discovers that Norma has attempted suicide.
When Norma considers her script to be complete, she sends it to Cecil B. DeMille at Paramount and waits for his answer. Coincidentally, Gordon Cole, of Paramount's Props Department, begins calling. Thinking he is one of DeMille's underlings（下っ端）, she refuses to speak to him. Eventually, she has Max drive her and Joe to the studio in her Isotta-Fraschini, a rare vintage luxury car. While DeMille entertains Norma, Joe and Max learn that Cole had called because the studio wants to rent her car and has no interest in her script. Max insists that they hide these facts from her, as he hides the fact that he has faked her recent fan mail.

Review:
I like movies about Hollywood. "Sunset Boulevard" puts new movies to shame. The acting and writing back then were so different. This film was written so perfectly and beautifully.
"The body of a young man was found floating in the pool of her mansion [on Sunset Blvd.]..."

This is how this bizarre movie begins, a movie that contains elements of drama, horror, and black comedy. The title is named after the famous boulevard that runs through Los Angeles and Beverly Hills. Also, the full title of this movie is "Sunset Boulevard: A Hollywood Story."
"Sunset Boulevard" was nominated for several Academy Awards in 1951 including Best Picture. Unfortunately "Sunset Boulevard" lost the Best Picture nomination to "All About Eve"! Both movies were great, but I definitely felt after seeing both movies that "Sunset Boulevard" should have won the Academy Award for Best Picture instead!
"Sunset Boulevard" draws you in from the very start of the movie. "Sunset Boulevard" really starts with the end of the movie if you will, because the lead character & movie narrator, Joe Gillis (played by William Holden), is found dead floating face down in a swimming pool.Generally, Hollywood on Hollywood movies are pretty bad, but Sunset Boulevard is one of the few exceptions. This movie is really as close to perfect as movies can get! In fact, it's even difficult to pinpoint the elements that make it so good, but a few of the highlights include the dark sets, appropriate music, very clever direction by Billy Wilder, and the brilliant performances of Gloria Swanson and William Holden.

I usually stay away from "black and white" movies, considering they are not from my generation という人も多いが、人物描写を深く掘り下げている作品も少なくないと思う。

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アランドロンの太陽がいっぱい、クライマックスが強烈！what a surprising ending in the movie purple noon!

Short plot:
Tom Ripley (Delon) has been sent to Italy to persuade his wealthy friend, Philippe Greenleaf (Maurice Ronet), to return to the United States and take over his father's business. Philippe intends to do no such thing, however, and the impoverished(貧しい) Tom enjoys living a life of luxury, so the two men essentially spend money all day and carouse(大酒盛り) all night. Tom is fixated(凝視、注意を引く) on Philippe and his girlfriend Marge (Marie Laforêt), and covets(欲しがる) the other man's life. The spoiled(わがまま、甘やかされた）, arrogant(傲慢な） Philippe eventually grows bored with his friend's fawning(へつらう) and becomes cruel and abusive(罵倒、虐待) to him. The final straw(きっかけとなる出来事) is when, during a yachting trip, Philippe strands（取り残す） Tom in the dinghy(ボート、ヨット) and leaves him to lie in the sun for hours.

This is one of the most suspenseful thrillers ever made, and women will find themselves drawn to the bad guy and men will wish they could get away with anything like Alain Delon and look like him too. He's terrific in this, and not only was he devilishly(恐ろしいほど)handsome in his prime(最盛期), but was also a good actor and screen presence. The scenery is breathtaking and Nino Rota wrote a beautiful score for this film that should not be missed. Even after knowing the ending (which is one of the all-time greatest !), it stands up to many viewings...in fact, it improves, as one realizes how seamless this plot is, showing no implausible (信じがたい、説明できない）holes(矛盾点）
Delon was and remains one of the most exciting, beautiful actors ever to come out of Europe. The U.S. has never produced an actor to match him for sheer beauty, grace and charisma. Those eyes make you want to know what is going on behind them. The intrigue(魅了されるもの）is always there and you cannot take your eyes off him.
Delon has a son who works very hard to follow in his father's playboy footsteps, but he lacks the class, pure beauty and grace of his father. I hope that once you've seen "Purple Noon", you will move on to his even better films, i.e. "Mr. Klein" or "Le Samourai" and others. Not many are available as yet, but hopefully time will correct this oversight(見過ごし、監視).

この映画のエンディングは忘れられません。
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Iran movie,Children of heaven(運動靴と赤い金魚） is a Wonderfully heartwarming film！！

Reviews:
It's quite impressive to see how little kids pay respect to their seniors, what moral values they have, and their tender care for their parents' economic status and daily struggle is particularly moving. More than anything, it is their own sibling (兄弟、姉妹)relationship which tugs at the heartstrings. Majidi's portrayal of the neighbourhood, the school where the kids study, and their own home, is most lifelike and authentic（本当). Without a doubt, the script is the film's main winner, but the casting is one of the film's biggest strengths. Amir Farrokh Hashemian and Bahare Seddiqi are astonishing in their roles - charming, convincing, heartbreaking and totally relatable. You really feel for these kids and really want to settle their problems so that they can move on. This film is a true example of superb acting by child artists, and it shows how far they can go in their ability to explore the innocent spirit of childhood. Bacheha-Ye Aseman is a wonderful cinematic experience, which must not be missed by anyone. Just go and grab your seat, I assure it will keep you at the edge of it for one hour and a half and will be engraved in your heart long afterwards.My most favorite scene for this movie is the marathon scene. The fact that Ali had to beg and cried to get a place in the running team was heart wrenching, and when the camera focused on Ali running.
The film industry in Iran is very different from the industry in America. In this film, you will not find any special effects, marketing tactics, or expensive sets. The movie is told in a very simple real fashion using camera work, acting, and real life streets and scenery, giving the film a realistic documentary feel. This characteristic of Iranian film draws us in to the story and gives us the ability to relate closely with the children in a way American films does not. The approach gives the film an honest character and believable reality. This subtitled film humanizes Iran for the American viewer. You realize that people are people no mater where they live, all have the same feelings and emotions. Ali The story is told through the children and their experiences. Children of Heaven takes you into the hearts and lives of a young boy, Ali (played by Amir Farrokh Hashemian), and his sister, Zhara (played by Bahare Sediqi), capturing the life of a family living in poverty in Iran. After watching this movie, seeing a story where a pair of lost shoes can be so important, you realize that we are very lucky to live in a time and country where most people never go without such basic items as shoes. This film shows us a place where people may not have much, but they have what they need most of all, each other. The family bond is strong, that can often be lost in the fast paced and transient society that America tends to be. The surface theme of Children of Heaven is about Ali losing his younger sister, Zahra's, shoes and trying to make things right without the help of his parents. The family is extremely poor and Ali knows that his father is not in any position to buy another pair of shoes for Zahra. When looking further into this theme, I am amazed at the cultural differences in Middle Eastern and American lifestyles. I have no doubt that there are families in America facing extreme economic hardships that experience some of the sacrifices shown in this film. However, the United States is overall very materialistic and it is not often that we are exposed to families, especially children that are willing to make the sacrifices that the characters of this film made. Ali wanted to take direct responsibility for his sister and felt genuine remorse(自責の念) for the loss of her shoes. In most American films, the audience would be turned off by the main character, especially a boy, crying so often throughout the movie. In this case, Ali's love for his family is prevalent throughout the film and his strong emotions come across very heartfelt and sincere.Commenting this movie is total useless.
Because it holds so much beauty in it's simplicity.
The plot is simple, the actings, the casts, the musics, the cinematography, the arts.And yet it hold us dearly. Bring us to the daunting passion of love and pain, laugh and tears.
As the movie ends, we left with a simple thought in our minds, a simple teaching of love. Simple love and simply love.One of the best family movie for every occasion.Both child actors put on amazing performances, and the story comes to life through their strife. This touching narrative displays some ups and downs, but the fire within Ali drives everything. I watched and hoped for the best, and the ending is simply beautiful. Get into Iranian cinema and give this foreign piece of work a shot.

貧しい中でも一生懸命に生きている姿、心が動かされました。良い映画に出会えた！！
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ugetsu(雨月物語) is a milestone film!

Despite some disturbing scenes and issues, this is a beautiful movie. It tells the story of how the search for money and glory can destroy true happiness. What makes the story work is a lot of different things. First of all, the acting is very good.The scenery and costumes were pretty good as well. The directing was what was the most outstanding. I confess that I have a problem with most modern movies in that they show a heavy dependance on modern technology and declining moral standards.
If you love Japanese movies, this is a must-have film. Mizoguchi was one of the world's best directors. The homecoming scene near the end of Ugetsu is one of the great moments in cinema. Note the way that scene was shot. The cinematography by Kazuo Miyagawa is without equal. This movie has more memorable scenes than just about any other film I've watched.
The basic plot of Ugetsu involves two peasants who go off to seek fame and fortune. Their adventures end up having disastrous consequences for their wives. Mizoguchi's films often focus on the plight of women who are victimized by greedy and selfish men. Another theme is how a woman's love can save a man from his follies. This film, vastly underrated and overlooked, is quite simply one of the best films ever made. With scenes that alternate between horror and beauty, hallucination(幻覚） and crushing reality, the supernatural and the real, and with an exceptional cinematographer (someone who worked for Kurosawa in the years to come) this film has it all: a love story, a moral fable(寓話), an insight into the nature of the human condition. One of the great masterworks of Japanese cinema, "Ugetsu" is part ghost story, part wartime drama, and the two mix beautifully under Mizoguchi's cogent(説得力のある) direction. In some ways, he links the suffering of women--murder, rape, destitution--to the selfish acts and desires of men, an unambiguously progressive theme in postwar Japan's reevaluation of tradition. "Ugetsu" benefits enormously from the presence of Kyo as a sensual(官能的な)apparition(亡霊), as well as Kazuo Miyagawa's gliding camerawork. Film lovers will embrace this entrancing(夢中にさせる)story of human longing(切望).

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映画ガス燈（gas light)でのイングリッドバーグマン（Ingrid Bergman）、シャルルボワイエ（Charles Boyet）の熱演を観た！

Movie reviews

Ingrid Bergman and Charles Boyet were amazing. Bergman portrays her character's emotions to

the point that you feel the same way she does. And Boyet is pure evil in this one. Many times

watching this, I was thinking, "He is so terrible to her!" It was so psychological, how everything

eveloped. The best scene in the whole movie took place at the reception, when Gregory tells Paula

he lost his watch, and then finds it in her purse. Then she bursts into tears, and it was so

absolutely amazing how the scene was pulled off(成功する). In fact, it was so subtle it was scary.

You wouldn't expect a missing watch found in her purse to be such a big deal, but it is such a

strong scene.

The one thing I didn't like about this otherwise nearly flawless movie was the climax. It was just

too dull to me, and the only part I really liked was Paula's wicked sarcasm （人を苦しめる嘲り）

towards Gregory while they're in the attic. She truly did deserve the Best Actress Oscar for her

acting, but nothing could mask the fact that the climax was just too weak. If it had a bit of a

touchup（修正、変更), this movie would be perfect.

Bergman begins to lose things, misplace things, and develop a case of kleptomania（盗癖), or at

least that's her husband's explanation. Boyer convinces his wife that she is going insane, that she

is sick, and she becomes little more than a shut-in（ひきこもる）. She becomes paranoid, especially

at her maids (the younger of which is played by Angela Lansbury in her first film role). Meanwhile,

Joseph Cotten, a detective, gets an inkling（うすうす感じる） that something is up in that household,

and that it might be related to the aunt's murder. Gaslight is a very atmospheric film. The black and

white cinematography（撮影術） is full of shadows, and there are interesting things going on in the

focus. The music is also quite excellent, and very original. Classical music is also used to great

effect. The plot is great, although maybe a tiny bit predictable (it didn't harm my enjoyment of the

film whatsoever). The performances are top-notch, although Cotten doesn't add much to the

picture. I mean, he's good, but his role perhaps isn't the one the original playwright or the

screenwriters were most interested in. Anyone probably could have done just as well. Bergman's

performances is to be counted amongst her best. Charles Boyer, an actor with whom I am

unfamiliar, is so wicked in the film. You hate him, but you've got to admit it's an effective

performance! And I can't finish without praising Angela Lansbury. Dame May Whitty also has a nice

supporting role, although the role - the comic relief - is sometimes used at a bad time. I don't

think, for instance, she should have come back in during the final sequence. Anyway, little flaws（欠

点） don't detract much from this masterpiece.


This film doesn't really deserve to be called "a classic", because it really shows its age: it may be

technically excellent, but the obvious script and Boyer's overacting (he seems to have "I am BAD"

written all over his face ) are unforgivable by today's standards. "Gaslight" has a few effective

moments, but, as a whole, it doesn't quite click(自分に合う、分かる）.


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アンジェリーナ・ジョリー（Angelina Jolie） がサラエボの映画祭で特別賞、涙のスピーチを聴く！！

Angelina Jolie drops in for a surprise visit to Sarajevo with her partner Brad Pitt to receive an honorary award at the city's film festival.
Angelina Jolie and Brad Pitt attended the Sarajevo Film Festival on Saturday in Bosnia. Jolie, 36, received the Honorary Heart of Sarajevo award at the closing ceremonies.

Jolie's directorial debut -- The Land of Blood and Honey --- is a film about the war in Bosnia. One of the film's lead actresses, Zana Marjanovic, introduced Jolie to the crowd by saying she had a friend there to help her present an award.Jolie, clad in an Elie Saab gown, was moved "almost to tears" by the crowd's nonstop applause. The festival director, Mirsad Purivatra praised her not only her cinematic achievements but also for her global humanitarian efforts.The film sparked considerable controversy because it focuses on the love between a Muslim woman and a Serb who are in a relationship at the beginning of the Bosnian war in the '90s, and then shows what happens to their relationship throughout the war.On the red carpet, Jolie and Pitt, 47, stopped to "pat a baby," according to a source. "I love this country," Jolie said. "I was honored to have a chance to meet everybody. This movie was a chance to bring attention to the situation that happened so long ago, and I hope that it brings attention and more dialogue to remind people what everybody here went through."

The above Speech transcript:
I told Brad in the car I was afraid I was going to cry,
really tried not to. I’m so happy to be in this remarkable city in this beautiful country and I’ve spent the last year lucky enough to experience not just the warmth and the hospitality of the local people but also your extraordinary talent.In my career, I have never worked with such disciplined and talented artists as I was able to this last year.

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