Matapang at palaban hindi lang sa paglikha ng mga sikat na kuwentong napapanood natin sa TV kundi pati na rin sa tunay na buhay. 'Yan si Suzette Doctolero, kilalang headwriter ng mga 'di malilimutang serye sa GMA 7 gaya ng Maria Clara at Ibarra, Encantadia, Amaya at ngayon ay Pulang Araw.
Chika ni Suzette kay Nelson Canlas – lagi siyang naba-bash pero dedma lang!
Panoorin ang pinakabagong chikahan dito lang sa #UpdatedWithNelsonCanlas.
Chika ni Suzette kay Nelson Canlas – lagi siyang naba-bash pero dedma lang!
Panoorin ang pinakabagong chikahan dito lang sa #UpdatedWithNelsonCanlas.
Category
🗞
NewsTranscript
00:00If you have a favorite, do you have a least favorite that you can say is the last one?
00:06I have one!
00:08You need to know that it's the last one!
00:10Last one!
00:11I'm going to be a bish again.
00:15Hello updaters and welcome to Updated with Nelson Canlas.
00:19If there's a mother of dragons,
00:21she is considered the mother of sangres
00:25because she is the one who lived the story of one of the most popular telepantasy in the country,
00:31the Encantadia.
00:33And just like sangres,
00:35she is also known as a female fighter and no one can beat her.
00:41Let's welcome to my podcast,
00:44seasoned writer,
00:46my idol,
00:49Ms. Suzette Doctolero.
00:51Ms. Suzette!
00:53Thank you. Thank you very much.
00:55Thank you for inviting me to your podcast.
00:59Okay.
01:00You know, I'm still at awe
01:03on how you can create
01:05ground-breaking and impactful stories.
01:11Where do you start?
01:13For example, Pulang Araw.
01:15I already did the concept of Pulang Araw right after Amaya.
01:19Wait, what year is this, Ms. Suzette?
01:222012.
01:24So, it was only in 2012 that you did Pulang Araw.
01:29Yes, 12 years.
01:32I did the concept,
01:34I did it with GMA,
01:36and because Encantadia and Amaya were rated,
01:41they approved the concept of Pulang Araw way back in 2012.
01:47The title was really Pulang Araw
01:49because of the Japanese flag.
01:54So, they approved it right away.
01:57It's just that they didn't do it right away
01:59because it was too costly.
02:01At that time, our CGI wasn't that good.
02:06Do you feel like it's the right time now?
02:10I mean, the series is already running.
02:15Yes, because
02:18what with the China tension
02:26and then,
02:27so yes, it has patterns
02:30just like the Japanese invasion, right?
02:33You can feel it.
02:35So, it's a bit realistic
02:37and it's still on time
02:39even though the war in Japan happened a long time ago
02:44here in the Philippines.
02:47So, it's still relevant to what's happening now.
02:52So, yes.
02:53But this has an element of history.
02:56How hard is it for you
02:58to have historical facts?
03:04You know, that's why I enjoy writing historical fiction
03:09because as a writer,
03:11aside from exercising my writing skills,
03:16especially if I'm challenging myself,
03:19at the same time,
03:20I'm learning something
03:21because I read books.
03:23I do research first.
03:25Even though we have a historical consultant,
03:29a history consultant,
03:31I'm ashamed to ask questions to them
03:34because when a writer writes,
03:38he's in front of the computer
03:40and he's not next to the history consultant.
03:43He has no expectations but only himself.
03:47That's why me and my writers
03:50require each other to read,
03:53to read,
03:54especially if, for example,
03:55this is the Spanish period,
03:57then I require the books to be read.
04:00Then with Pulang Araw,
04:03we were given required readings
04:06by the writers,
04:07which I also read.
04:08He has a lot of infact books.
04:10The problem with that is
04:12it's an information overload.
04:14That's true.
04:15Yes, right?
04:16That's a lot.
04:18Even though the invasions in the Philippines
04:21only lasted for three years
04:23and the Japanese were always here,
04:28there's a lot of data
04:30and a lot of historical references
04:33and books that were written about it.
04:35So, it's a matter of
04:36choosing what to include in the story
04:42depending on our theme.
04:45That's how it was for me as a writer.
04:49Right?
04:50At the same time,
04:51you're able to write,
04:52you're able to impart something,
04:54and at the same time,
04:55you're being paid.
04:56That's nice, right?
04:58You're being paid
04:59and at the same time,
05:00you're working,
05:01you're learning.
05:02I didn't want that.
05:04So, I always liked that challenge.
05:07As a head writer,
05:08like here in Pulang Araw,
05:10how much freedom
05:12was given to you to write this?
05:14That's what's good about GMA7
05:18because they give enough
05:22creative freedom to the writers.
05:26Especially when you're promoted
05:28as a head writer or consultant
05:30to create,
05:32to write.
05:34No one really dictates.
05:37Maybe it helped
05:40because of my long experience
05:41in writing.
05:42That's why I kind of know
05:46what I want to write.
05:47So, when it's written and read
05:49by a consultant,
05:51or a director,
05:52or consultants,
05:55it's hard for them to revise.
06:00Because as a head writer,
06:04I know what I want to see
06:06in the story.
06:07And that's what I require
06:09from the writers under me.
06:11When you created the concept
06:14of Pulang Araw,
06:15of course, Alden wasn't there yet.
06:17Barbie wasn't there yet.
06:19Who were the people in your mind
06:22that would play these roles?
06:25You know what Marian did?
06:28Amaya.
06:29We were talking.
06:31I think it was Amaya's Christmas party.
06:34I told her about it
06:36and she really wanted
06:38to do Pulang Araw.
06:39At that time,
06:40she was 12 years old.
06:42But it didn't happen at the time
06:44because it was too costly.
06:46And of course,
06:48she got married and everything.
06:51Marian was one of the first people
06:54I thought of.
06:56Who was she?
06:57Was it Adelina or Teresita?
06:59Yes, it was Adelina.
07:02Oh, it was Adelina.
07:04The first concept I did
07:06for Pulang Araw,
07:07it was a story about a woman
07:09and a Japanese man.
07:11There were only two main characters.
07:13We made four.
07:16It became a story of friendship.
07:20It was a story of war.
07:25The love story was also there.
07:28The first story I did
07:30was a story of a friendship
07:32between two races
07:33that was destroyed by war.
07:35It is now part of the story
07:37of Adeshi,
07:38Adelina,
07:39and Hiroshi.
07:40Were you there
07:42in the process of choosing
07:44who would play
07:46these important roles?
07:49Well, as head writer
07:51and also as consultant
07:53of the GMA,
07:54the head writer is also
07:57a part of the group
07:59of the voters.
08:00It includes the executive producer,
08:04the ABV,
08:05our executives,
08:07the bosses,
08:08and then the director.
08:10Yes, it's a part of the voters
08:14who fit in there.
08:16Especially this one,
08:18because I included Baudeville
08:20in the story.
08:22We included Baudeville
08:24in the story.
08:25It's also important
08:27that they are performers.
08:29They know how to sing
08:31and Sanya is a singer.
08:33Adelina is good at comedy
08:36and dancing.
08:39So, I mean,
08:40I see you on set all the time
08:42and I visit you.
08:44Why do you have to be
08:45in the set?
08:47You know,
08:48in Maria Clara T. Baray,
08:50I only went to the set once.
08:53Here in Pulang Araw,
08:54I go to the set
08:55because I have four
08:58big artists, right?
09:00So, I want to go to the set
09:02and I tell each of them
09:04about the journey
09:07of their characters.
09:09At the same time,
09:10their supporting characters
09:11also have their own stories.
09:14Plus,
09:15because they know I'm a foodie,
09:17they always tell me
09:19that in Sariaya,
09:21the food they serve
09:23is okay.
09:30Plus, when I went to Sariaya,
09:32it was the first time
09:34I saw Alden face-to-face
09:37because he had a shooting
09:39in Pulang Araw.
09:40So, I was there
09:42to welcome him
09:45and also to tell him
09:48about his story.
09:51Are these the four
09:52we're talking about for you
09:54when you watch them?
09:56For you,
09:57your writer's heart is full.
10:01Yes.
10:03Yes.
10:04All of them are atmak
10:06for their roles
10:07and all of them are talented.
10:09David was really surprised
10:12because he really improved a lot.
10:15He wasn't the last of the three.
10:17He really knows
10:18that these three will do well.
10:20These three will do well.
10:21Wait a minute,
10:22I'm going to study.
10:24Yes, he did his assignment.
10:26Yes.
10:27And he proved himself.
10:32And then there's Dennis Trillio
10:34who's my favorite artist.
10:36Almost all of my songs
10:38are with him.
10:40So, it's really nice
10:42to go to the set
10:44and talk to him
10:46and see these brilliant people
10:49who are doing their roles
10:52that I've been waiting for
10:55to produce, right?
10:57Ms. Suzette,
10:58we're entering the era
11:00of comfort women
11:02here in Pulang Araw.
11:04I know it's going to be controversial.
11:06As a writer and as a woman,
11:08what was your inspiration
11:12knowing that this part
11:14is scary?
11:16Yes.
11:17It's not just scary,
11:19it's horrifying.
11:23It's not just a woman,
11:25but women who are tortured
11:27and imprisoned in a house
11:29to be used by the Japanese.
11:32It's painful.
11:34And in fact,
11:36some of the grandmothers
11:38who experienced that
11:39are still alive today.
11:41And they were interviewed
11:43by the writers of Pulang Araw
11:46and by the artists
11:48of the comfort women.
11:51And their story is so painful.
11:53And even though they're still hurt
11:55because they're still crying,
11:57right?
11:58So, it's traumatizing.
12:01Now,
12:02it's hard
12:04because I'm looking at myself
12:07as a writer
12:08who wants his women to be empowered.
12:12From Encantaja,
12:14to Sangre,
12:15to Amaya,
12:17even with Lalis,
12:19my husband's lover,
12:20she also empowered herself.
12:22And she went far
12:23in her love of two women,
12:25right?
12:27Up to Maria Clara and Ibarra,
12:30strong women.
12:31Then, suddenly,
12:32these women
12:36were fired.
12:37And it was done
12:39within many years,
12:41three years,
12:42since their invasion.
12:45They were immediately taken by the women.
12:47They were really put there, right?
12:49We want to show
12:50that part of history.
12:52But as a writer
12:55who believes in the empowerment
12:57of women,
12:58I don't want to leave it just like that.
13:00I want a woman to stand up
13:03for Teresita
13:05and say,
13:06we can't be victims,
13:08we'll fight.
13:10That way,
13:11that way,
13:12their oppressive,
13:14their oppression,
13:16will be fought
13:18if they say,
13:20because Teresita
13:22is from Bodaville,
13:24she's the one who gives hope
13:27to these comfort women.
13:29At the same time,
13:30she's the one who says
13:31that we can't be defeated.
13:33They'll just laugh at
13:36what they'll get,
13:38but not our spirit.
13:40We'll fight.
13:41So, I like that.
13:43I like that because
13:45she didn't just become a victim,
13:48but she removed being a victim,
13:50she freed herself because of that.
13:53And I like that arc.
13:55Because it doesn't become heavy
13:57when it comes to that point,
14:00when women are empowered.
14:03I'll just share,
14:04Ms. Rosetta,
14:05like I mentioned earlier,
14:07Sania and I went to Ashley's
14:09at a home.
14:11What I can't forget is
14:14there was a grandmother
14:15who wrote a book
14:17about what happened to her.
14:19And the book
14:21was just like a diary every day.
14:24And there was a drawing.
14:25I wasn't able to finish that book
14:27because I just couldn't.
14:30It was like that.
14:32There's so much pain in that book.
14:35There's so much horror in that book.
14:40Is it hard to put
14:42the story of these people
14:44knowing that
14:45there's so much pain,
14:47so much horror
14:49that they experienced,
14:50to be put in one segment
14:53or, you know,
14:54the chapters of the story?
14:58Yes, it's painful.
15:00When we're writing
15:02and reading the scenes,
15:05it's painful,
15:06especially when it's being taken
15:08and portrayed by artists.
15:10It's really heavy.
15:12It's hard because
15:14it can't be heavy all throughout.
15:18I want to show women
15:21that despite what happened to them,
15:24they fought.
15:26So that,
15:29even through a fictional story,
15:33the women fought.
15:38They held guns
15:39and fought.
15:41They defended their country
15:43and themselves,
15:45their country.
15:47That way,
15:49I might be able to remove
15:51that pain
15:53from the show.
15:56Because I,
15:58I can't not punish
16:00these characters who were saved.
16:03They should be punished
16:05and they should be judged.
16:11They should be judged
16:13by the women themselves
16:15who became victims.
16:17This is a set of 100 episodes.
16:20Yes.
16:21Aren't you nervous?
16:24Not really.
16:25It's not because
16:27I've been writing for so long.
16:29We've been writing for so long.
16:31So,
16:33I can handle it.
16:34I'm looking forward to
16:36finishing the 100 episodes
16:38so I can take a vacation.
16:42Do you self-criticize
16:45when you write?
16:46Because me,
16:47I'm just a news writer.
16:49But I've passed,
16:50I've been checked,
16:51I'm okay with them.
16:52I'll correct it sometimes.
16:53No, wait,
16:54I'll change that.
16:55Do you have that?
16:57Yes.
16:58I think writers are
17:00the most insecure people
17:03in the industry.
17:05Thank you for pointing that out.
17:07Yes.
17:08We're crazy about ourselves.
17:11Sometimes, when we write,
17:13we can't sleep
17:15because we feel like
17:17we're doing something wrong.
17:19But then,
17:20you'll correct it.
17:21You'll revise it
17:22because you feel like
17:23you should've done it this way.
17:25Or, for example,
17:26when I watch it,
17:29when I watch it,
17:32the audience doesn't notice it
17:34but I say,
17:35oh my God,
17:36I should've done it this way.
17:37Right?
17:38There's this scene
17:39that I inserted here.
17:41I should've done this
17:42in that scene.
17:43So,
17:44it is always
17:45like you're always learning.
17:49You're always learning.
17:50But for me,
17:51it's true
17:52because
17:53writers are always insecure.
17:55They always hide their deep deep.
17:57Especially when
17:58they're about to be on TV.
18:00Especially in our lives
18:01where it's about ratings
18:03or reviews.
18:05Especially now
18:07where everyone
18:08has the freedom to speak.
18:09Everyone is just a critic.
18:11Yes.
18:12Everyone is just a critic.
18:13Right?
18:14So,
18:15I have this paranoia
18:17and I have this thing.
18:18So,
18:19when I'm always nervous,
18:21the first thing I do
18:23is to check
18:24after watching people
18:26on Netflix
18:27or on TV
18:28or on YouTube.
18:30I look at them.
18:31I look at
18:32their reactions.
18:35If their reactions are good,
18:36if what they're saying is good
18:38or if they're saying something bad.
18:40It's important
18:41because it's like
18:42they're learning.
18:43At the same time,
18:44if what they're saying is good,
18:46then it's fun.
18:49It's like they're
18:50hitting you in the back.
18:51You're doing a good job.
18:54If there's something
18:55that's bad,
18:56it's like you're being
18:57hit in the back.
18:58You just need to be
18:59mature about it
19:00and look
19:01if it has a point.
19:02Maybe it's just a troll.
19:05So,
19:07it's also important.
19:09I think that's what's important
19:12for a writer like me.
19:14Be open
19:16to all kinds of criticism.
19:18Whether it's good
19:19or bad.
19:21And then,
19:22look at it
19:23and learn from there.
19:25When I was promoted
19:26many, many years ago,
19:29the first thing
19:30I asked myself
19:31now that I'm a head writer,
19:33will my voice be heard?
19:34Yes.
19:35Will it be heard?
19:37But I asked myself,
19:39what will I find?
19:40What is my voice as a writer?
19:42That's important.
19:44And I was happy
19:45that I asked myself that
19:47many years ago.
19:50Because
19:52I became conscious
19:53of what I wanted to do.
19:57In fact,
19:58the first job I did
19:59as a head writer
20:01that I created a story for
20:03was
20:04Encantadiana Agad.
20:07So, Encantadiana
20:08is really you?
20:10Yes.
20:11Wow.
20:12Yes, it's really me.
20:13Because
20:14I've been training
20:15traditional soap for a long time.
20:16I really learned
20:17the soap opera.
20:19Why is it watched by the audience?
20:22Why does the audience
20:23have a hook on it?
20:25Then,
20:27I started young
20:28in writing.
20:29So, at 19,
20:30I started writing.
20:32I was still in college.
20:33Then,
20:35it came to the point
20:36that
20:37when I became a head writer,
20:39I asked myself
20:40what my brand was.
20:41Because
20:42is this what I wanted to write?
20:44I already knew it.
20:45I was already familiar
20:46with the traditional soaps.
20:48Like Desi Chete.
20:50Yes, something like that.
20:51Desi Chete.
20:53And also,
20:57Tanya
20:58and Ding Dong
20:59before.
21:00After that,
21:02RJ Nuevas
21:04was my head writer.
21:06Also, Bibet Orteza
21:07when it came to the taping
21:09of Kerara.
21:11Things like that.
21:12So,
21:14the traditional soaps
21:15were okay
21:16for my training.
21:18Because I saw
21:19why it was watched.
21:20I saw
21:21why the audience
21:22has a hook on it.
21:24But when it came to
21:25becoming a head writer,
21:27would I still do
21:29what I do as a writer
21:31or my voice
21:33is what I want to hear.
21:34And I decided
21:35that I want to hear my voice.
21:37I want to create my voice.
21:40And maybe,
21:42maybe someone will listen.
21:44Maybe someone will watch.
21:45Maybe I can create
21:46my own voice in the industry.
21:48That became my guiding.
21:50My guiding light, I think.
21:52That's why
21:53I became conscious
21:54that
21:55the first thing I will do
21:56as a head writer
21:57officially
21:58for Channel 7,
22:01JMA7
22:02is
22:03something
22:04that I want to do.
22:06This is what I did,
22:07Inkantadja Story.
22:09Yeah.
22:10That's it.
22:11So, that's it.
22:12After that,
22:14I became conscious
22:15of what I want to do.
22:17After Inkantadja,
22:19I made action series
22:21with,
22:23of course,
22:24Carlo Capparas,
22:25Totoy Bato,
22:26Joaquin Bordado,
22:27Lupin.
22:29We adapted them.
22:30Then, I made Injo.
22:31I made Injo
22:32with Senator Bong.
22:35I think,
22:36Spanish,
22:37fantasy,
22:38historical fiction.
22:40Let's talk about you
22:43working with artistas.
22:45Okay.
22:46You mentioned earlier
22:47that you have a favorite,
22:48Dennis Trillo.
22:50Who are your other favorites?
22:55There are a lot, actually.
22:56I love Rian.
22:58I worked with him in Injo.
23:02He's good at creating characters.
23:07Barbie, of course,
23:08and Sania.
23:09Sania is beautiful.
23:12She's Filipino.
23:13She looks like a morena.
23:15Her face is beautiful.
23:17She's charming.
23:18She's also good at acting.
23:20With Barbie,
23:21she can make you cry.
23:22She can make you laugh.
23:24She's a complete package.
23:28Alden,
23:29he's a sensitive actor.
23:33Of course, David.
23:36He's a nice artist.
23:38He's your new favorite now.
23:42He knows his assignments.
23:44He does his assignments.
23:46I thought he wouldn't.
23:48Sometimes,
23:50he's just cool.
23:52He does his assignments.
23:54So, welcome.
23:55He's a surprise for me.
23:57Because the scenes follow
23:59the episodes
24:01that require him to act.
24:05He gives the pain
24:07of calmness.
24:08He doesn't shout.
24:10But you can really feel it.
24:12He's very sincere in his acting.
24:14You can read his emotions, right?
24:16There's something in his eyes.
24:18There's something there.
24:20You can read it.
24:21Even if there's no dialogue,
24:22he can do it.
24:24Of course, Adelina.
24:26It's easy for Barbie.
24:28And Dennis Trillo.
24:30He hasn't done anything yet
24:32but he's already scared.
24:34Those are the artists
24:36who have a great job.
24:38Because the writer,
24:40maybe,
24:41if it's a circle,
24:42we're only one-fourth of the share,
24:44right?
24:45The artist is another one-fourth.
24:47The production is like this.
24:49And then the execution,
24:50and the camera,
24:51and the director.
24:52So that the circle is complete.
24:54To create something beautiful.
24:58A show that has a sign.
25:00Or a story with a sign.
25:02And a production that's beautiful.
25:04Something beautiful in the eyes.
25:06He's trying to be quality, right?
25:09He's happy with the feeling.
25:13With that.
25:14Because even me,
25:15I'm watching.
25:17And as if,
25:19we didn't write it
25:20because I'm still surprised
25:21when I watch it.
25:22Because,
25:23their execution of this scene
25:25is beautiful.
25:26There are surprises like that.
25:28If you have a favorite,
25:30do you have a least favorite?
25:32Like you said,
25:33this is the last one.
25:34This is the last one.
25:35I don't want to answer that.
25:36Yes, I have.
25:37But,
25:38I don't want to say it.
25:40Maybe,
25:43I'll get bashed again.
25:47Oh,
25:48that's bad.
25:49But it's not in the GMA.
25:51It's not in the GMA anymore.
25:52It's not in the GMA anymore.
25:53It's not in the GMA anymore.
25:54Why?
25:56Spill the tea.
25:58When I say it to you,
26:01I don't want to.
26:03It's like,
26:04I can't think of someone
26:05that you don't like.
26:06Yes,
26:07there is.
26:09I don't want an artist
26:14who dictates.
26:17He dictates to everyone
26:19what he wants.
26:21Right?
26:22Because for me,
26:23do your job.
26:24I'll do my job.
26:25Right?
26:26Unless you're really good
26:27that you'll get bashed.
26:28Yes.
26:29Yes.
26:30Unless,
26:31who is the best artist
26:32in Hollywood?
26:33Meryl Streep.
26:35Oh, my God.
26:36Even if you watch me,
26:37you won't notice me.
26:38You won't write anything,
26:39Madam.
26:40Anything you want.
26:41Yes, Tina.
26:42Here's the ballpoint pen.
26:43Write it.
26:44Anything you want,
26:45Madam.
26:46Anything you want,
26:47I'll write it.
26:48Even if you're in the Philippines,
26:49even if you're in the Philippines,
26:50if you invite me,
26:51that's fine, right?
26:52Ms. Suzette,
26:53you're vocal.
26:55Of course,
26:56as a writer,
26:57you let your brain
26:58relax.
26:59You have to say
27:00what you have to say
27:02and social media
27:03is no exception.
27:05When you write,
27:06I won't be offended.
27:08You're very vocal.
27:09Yes,
27:10I'm leveling up,
27:11right?
27:13I'm not afraid
27:14of being canceled.
27:15I'll say
27:16what I have to say.
27:17Yes,
27:18I'm not afraid
27:19of being canceled.
27:20I'm not afraid
27:21of being bashed.
27:22I'll say
27:23what I have to say.
27:24Why?
27:25Why do they care?
27:28Because
27:30in the age of
27:31cancel culture,
27:34many of us
27:36don't care.
27:38But you,
27:39why do you
27:40still choose
27:42to fight this fight?
27:44Yes,
27:45because I don't want
27:47them to have
27:48power over me.
27:51I don't want
27:53to be afraid
27:55of being canceled
27:56or being bashed.
27:57I don't want that.
27:58I don't want
27:59that feeling.
28:01You can't sleep.
28:03I can't sleep.
28:04Why?
28:05Why am I afraid?
28:07There's only one thing
28:08I should be afraid of,
28:09God.
28:10That's all.
28:12So,
28:13I'll say
28:14on my page
28:15what are
28:16my views
28:17and opinions.
28:18Whether
28:19they like
28:20other people
28:21or not.
28:22Whether I'll be bashed
28:23or not.
28:24And many times
28:25I'll be bashed.
28:26Right?
28:27But,
28:29but even if
28:30they bash me,
28:31I can sleep
28:32peacefully at night
28:33because what's more
28:34important to me
28:35is that I feel
28:36that I'm not
28:37getting rid of
28:38freedom.
28:39Especially
28:40freedom of expression.
28:41Right?
28:42I'm not
28:43afraid of
28:44being
28:45bashed.
28:46I'm not
28:47afraid of
28:48being
28:49bashed.
28:50I'm not
28:51afraid of
28:52being
28:53bashed.
28:54I'm not
28:55afraid of
28:56being
28:57bashed.
28:58I'm not
28:59afraid of
29:00being
29:01bashed.
29:02I'm not
29:03afraid of
29:04being
29:05bashed.
29:06I'm not
29:07afraid of
29:08being
29:09bashed.
29:10I'm not
29:11afraid of
29:12being
29:13bashed.
29:14I'm not
29:15afraid of
29:16being
29:17bashed.
29:18I'm not
29:19afraid of
29:20being
29:21bashed.
29:22I'm not
29:23afraid of
29:24being
29:25bashed.
29:26I'm not
29:27afraid of
29:28being
29:29bashed.
29:30I'm not
29:31afraid of
29:32being
29:33bashed.
29:34I'm not
29:35afraid of
29:36being
29:37bashed.
29:38I'm not
29:39afraid of
29:40being
29:41bashed.
29:42I'm not
29:43afraid of
29:44being
29:45bashed.
29:46I'm
29:47not
29:48afraid of
29:49being
29:50bashed.
29:51I'm not
29:52afraid of
29:53being
29:54bashed.
29:55I'm not
29:56afraid of
29:57being
29:58bashed.
29:59I'm not
30:00afraid of
30:01being
30:02bashed.
30:03I'm not
30:04afraid of
30:05being
30:06bashed.
30:07I'm not
30:08afraid of
30:09being
30:10bashed.
30:11I'm
30:12not
30:13afraid of
30:14being
30:15bashed.
30:16I'm
30:17not
30:18afraid of
30:19being
30:20bashed.
30:21I'm
30:22not
30:23afraid of
30:24being
30:25bashed.
30:26I'm
30:27not
30:28afraid of
30:29being
30:30bashed.
30:31I'm
30:32not
30:33afraid of
30:34being
30:35bashed.
30:36I'm
30:37not
30:38afraid of
30:39being
30:40bashed.
30:41I'm
30:42not
30:43afraid of
30:44being
30:45bashed.
30:46I'm
30:47not
30:48afraid of
30:49being
30:50bashed.
30:51I'm
30:52not
30:53afraid of
30:54being
30:55bashed.
30:56I'm
30:57not
30:58afraid of
30:59being
31:00bashed.
31:01I'm
31:02not
31:03afraid of
31:04being
31:05bashed.
31:06I'm
31:07not
31:08afraid of
31:09being
31:10bashed.
31:11I'm
31:12not
31:13afraid of
31:14being
31:15bashed.
31:16I'm
31:17not
31:18afraid of
31:19being
31:20bashed.
31:21I'm
31:22not
31:23afraid of
31:24being
31:25bashed.
31:26I'm
31:27not
31:28afraid of
31:29being
31:30bashed.
31:31I'm
31:32not
31:33afraid of
31:34being
31:35bashed.
31:36I'm
31:37not
31:38afraid
31:39of
31:40being
31:41bashed.
31:42I'm
31:43not
31:44afraid of
31:45being
31:46bashed.
31:47I'm
31:48not
31:49afraid of
31:50being
31:51bashed.
31:52I'm
31:53not
31:54afraid of
31:55being
31:56bashed.
31:57I'm
31:58not
31:59afraid of
32:00being
32:01bashed.
32:02I'm
32:03not
32:04afraid of
32:05being
32:06bashed.
32:07I'm
32:08not
32:09afraid of
32:10being
32:11bashed.
32:12I'm
32:13not
32:14afraid of
32:15being
32:16bashed.
32:17I'm
32:18not
32:19afraid of
32:20being
32:21bashed.
32:22I'm
32:23not
32:24afraid of
32:25being
32:26bashed.
32:27I'm
32:28not
32:29afraid of
32:30being
32:31bashed.
32:32I'm
32:33not
32:34afraid of
32:35being
32:36bashed.
32:37I'm
32:38not
32:39afraid of
32:40being
32:41bashed.
32:42I'm
32:43not
32:44afraid of
32:45being
32:46bashed.
32:47I'm
32:48not
32:49afraid of
32:50being
32:51bashed.
32:52I'm
32:53not
32:54afraid of
32:55being
32:56bashed.
32:57I'm
32:58not
32:59afraid of
33:00being
33:01bashed.
33:02I'm
33:03not
33:04afraid of
33:05being
33:06bashed.
33:07I'm
33:08not
33:09afraid of
33:10being
33:11bashed.
33:12I'm
33:13not
33:14afraid of
33:15being
33:16bashed.
33:17I'm
33:18not
33:19afraid of
33:20being
33:21bashed.
33:22I'm
33:23not
33:24afraid of
33:25being
33:26bashed.
33:27I'm
33:28not
33:29afraid of
33:30being
33:31bashed.
33:32I'm
33:33not
33:35afraid of
33:36being
33:37bashed.
33:38I'm
33:39not
33:40afraid of
33:41being
33:42bashed.
33:43I'm
33:44not
33:45afraid of
33:46being
33:47bashed.
33:48I'm
33:49not
33:50afraid of
33:51being
33:52bashed.
33:53I'm
33:54not
33:55afraid of
33:56being
33:57bashed.
33:58I'm
33:59not
34:00afraid of
34:01being
34:02bashed.
34:03I'm
34:04not
34:05afraid of
34:06being
34:07bashed.
34:08I'm
34:09not
34:10afraid of
34:11being
34:12bashed.
34:13I'm
34:14not
34:15afraid of
34:16being
34:17bashed.
34:18I'm
34:19not
34:20afraid of
34:21being
34:22bashed.
34:23I'm
34:24not
34:25afraid of
34:26being
34:27bashed.
34:28I'm
34:29not
34:30afraid of
34:31being
34:32bashed.
34:33I'm
34:34not
34:35afraid of
34:36being
34:37bashed.
34:38I'm
34:39not
34:40afraid of
34:41being
34:42bashed.
34:43I'm
34:44not
34:45afraid of
34:46being
34:47bashed.
34:48I'm
34:49not
34:50afraid of
34:51being
34:52bashed.
34:53I'm
34:54not
34:55afraid of
34:56being
34:57bashed.
34:58I'm
34:59not
35:00afraid of
35:01being
35:02bashed.
35:03I'm
35:04not
35:05afraid of
35:06being
35:07bashed.
35:08I'm
35:09not
35:10afraid of
35:11being
35:12bashed.
35:13I'm
35:14not
35:15afraid of
35:16being
35:17bashed.
35:18I'm
35:19not
35:20afraid of
35:21being
35:22bashed.
35:23I'm
35:24not
35:25afraid of
35:26being
35:27bashed.
35:28I'm
35:29not
35:30afraid
35:31of
35:32being
35:33bashed.
35:34I'm
35:35not
35:36afraid of
35:37being
35:38bashed.
35:39I'm
35:40not
35:41afraid of
35:42being
35:43bashed.
35:44I'm
35:45not
35:46afraid of
35:47being
35:48bashed.
35:49I'm
35:50not
35:51afraid of
35:52being
35:53bashed.
35:54I'm
35:55not
35:56afraid of
35:57being
35:58bashed.
35:59I'm
36:00not
36:01afraid of
36:02being
36:03bashed.
36:04I'm
36:05not
36:06afraid of
36:07being
36:08bashed.
36:09I'm
36:10not
36:11afraid of
36:12being
36:13bashed.
36:14I'm
36:15not
36:16afraid of
36:17being
36:18bashed.
36:19I'm
36:20not
36:21afraid of
36:22being
36:23bashed.
36:24I'm
36:25not
36:26afraid of
36:27being
36:28bashed.
36:29I'm
36:30not
36:31afraid of
36:32being
36:33bashed.
36:34I'm
36:35not
36:36afraid of
36:37being
36:38bashed.
36:39I'm
36:40not
36:41afraid of
36:42being
36:43bashed.
36:44I'm
36:45not
36:46afraid of
36:47being
36:48bashed.
36:49I'm
36:50not
36:51afraid of
36:52being
36:53bashed.
36:54I'm
36:55not
36:56afraid of
36:57being
36:58bashed.
36:59I'm
37:00not
37:01afraid of
37:02being
37:03bashed.
37:04I'm
37:05not
37:06afraid of
37:07being
37:08bashed.
37:09I'm
37:10not
37:11afraid of
37:12being
37:13bashed.
37:14I'm
37:15not
37:16afraid of
37:17being
37:18bashed.
37:19I'm
37:20not
37:21afraid of
37:22being
37:23bashed.
37:24I'm
37:25not
37:26afraid
37:27of
37:28being
37:29bashed.
37:30I'm
37:31not
37:32afraid of
37:33being
37:34bashed.
37:35I'm
37:36not
37:37afraid of
37:38being
37:39bashed.
37:40I'm
37:41not
37:42afraid of
37:43being
37:44bashed.
37:45I'm
37:46not
37:47afraid of
37:48being
37:49bashed.
37:50I'm
37:51not
37:52afraid of
37:53being
37:54bashed.
37:55I'm
37:56not
37:57afraid of
37:58being
37:59bashed.
38:00I'm
38:01not
38:02afraid of
38:03being
38:04bashed.
38:05I'm
38:06not
38:07afraid of
38:08being
38:09bashed.
38:10I'm
38:11not
38:12afraid of
38:13being
38:14bashed.
38:15I'm
38:16not
38:17afraid of
38:18being
38:19bashed.
38:20I'm
38:21not
38:22afraid of
38:23being
38:24bashed.
38:25I'm
38:26not
38:27afraid of
38:28being
38:29bashed.
38:30I'm
38:31not
38:32afraid of
38:33being
38:34bashed.
38:35I'm
38:36not
38:37afraid of
38:38being
38:39bashed.
38:40I'm
38:41not
38:42afraid of
38:43being
38:44bashed.
38:45I'm
38:46not
38:47afraid of
38:48being
38:49bashed.
38:50I'm
38:51not
38:52afraid of
38:53being
38:54bashed.
38:55I'm
38:56not
38:57afraid of
38:58being
38:59bashed.
39:00I'm
39:01not
39:02afraid of
39:03being
39:04bashed.
39:05I'm
39:06not
39:07afraid of
39:08being
39:09bashed.
39:10I'm
39:11not
39:12afraid of
39:13being
39:14bashed.
39:15I'm
39:16not
39:17afraid of
39:18being
39:19bashed.
39:20I'm
39:21not
39:22afraid
39:23of
39:24being
39:25bashed.
39:26I'm
39:27not
39:28afraid of
39:29being
39:30bashed.
39:31I'm
39:32not
39:33afraid of
39:34being
39:35bashed.
39:36I'm
39:37not
39:38afraid of
39:39being
39:40bashed.
39:41I'm
39:42not
39:43afraid of
39:44being
39:45bashed.
39:46I'm
39:47not
39:48afraid of
39:49being
39:50bashed.
39:51I'm
39:52not
39:53afraid of
39:54being
39:55bashed.
39:56I'm
39:57not
39:58afraid of
39:59being
40:00bashed.
40:01I'm
40:02not
40:03afraid of
40:04being
40:05bashed.
40:06I'm
40:07not
40:08afraid of
40:09being
40:10bashed.
40:11I'm
40:12not
40:13afraid of
40:14being
40:15bashed.
40:16I'm
40:17not
40:18afraid of
40:19being
40:20bashed.
40:21I'm
40:22not
40:23afraid of
40:24being
40:25bashed.
40:26I'm
40:27not
40:28afraid of
40:29being
40:30bashed.
40:31I'm
40:32not
40:33afraid of
40:34being
40:35bashed.
40:36I'm
40:37not
40:38afraid of
40:39being
40:40bashed.
40:41I'm
40:42not
40:43afraid of
40:44being
40:45bashed.
40:46I'm
40:47not
40:48afraid of
40:49being
40:50bashed.
40:51I'm
40:52not
40:53afraid of
40:54being
40:55bashed.
40:56I'm
40:57not
40:58afraid of
40:59being
41:00bashed.
41:01I'm
41:02not
41:03afraid of
41:04being
41:05bashed.
41:06I'm
41:07not
41:08afraid of
41:09being
41:10bashed.
41:11I'm
41:12not
41:13afraid of
41:14being
41:15bashed.
41:16I'm
41:17not
41:18afraid
41:19of
41:20being
41:21bashed.
41:22I'm
41:23not
41:24afraid of
41:25being
41:26bashed.
41:27I'm
41:28not
41:29afraid of
41:30being
41:31bashed.
41:32I'm
41:33not
41:34afraid of
41:35being
41:36bashed.
41:37I'm
41:38not
41:39afraid of
41:40being
41:41bashed.
41:42I'm
41:43not
41:44afraid of
41:45being
41:46bashed.
41:47I'm
41:48not
41:49afraid of
41:50being
41:51bashed.
41:52I'm
41:53not
41:54afraid of
41:55being
41:56bashed.
41:57I'm
41:58not
41:59afraid of
42:00being
42:01bashed.
42:02I'm
42:03not
42:04afraid of
42:05being
42:06bashed.
42:07I'm
42:08not
42:09afraid of
42:10being
42:11bashed.
42:12I'm
42:13not
42:14afraid of
42:15being
42:16bashed.
42:17I'm
42:18not
42:19afraid of
42:20being
42:21bashed.
42:22I'm
42:23not
42:24afraid of
42:25being
42:26bashed.
42:27I'm
42:28not
42:29afraid of
42:30being
42:31bashed.
42:32I'm
42:33not
42:34afraid of
42:35being
42:36bashed.
42:37I'm
42:38not
42:39afraid of
42:40being
42:41bashed.
42:42I'm
42:43not
42:44afraid of
42:45being
42:46bashed.
42:47I'm
42:48not
42:49afraid of
42:50being
42:51bashed.
42:52I'm
42:53not
42:54afraid of
42:55being
42:56bashed.
42:57I'm
42:58not
42:59afraid of
43:00being
43:01bashed.
43:02I'm
43:03not
43:04afraid of
43:05being
43:06bashed.
43:07I'm
43:08not
43:09afraid of
43:10being
43:11bashed.
43:12I'm
43:13not
43:14afraid
43:15of
43:16being
43:17bashed.
43:18I'm
43:19not
43:20afraid of
43:21being
43:22bashed.
43:23I'm
43:24not
43:25afraid of
43:26being
43:27bashed.
43:28I'm
43:29not
43:30afraid of
43:31being
43:32bashed.
43:33I'm
43:34not
43:35afraid of
43:36being
43:37bashed.
43:38I'm
43:39not
43:40afraid of
43:41being
43:42bashed.
43:43I'm
43:44not
43:45afraid of
43:46being
43:47bashed.
43:48I'm
43:49not
43:50afraid of
43:51being
43:52bashed.
43:53I'm
43:54not
43:55afraid of
43:56being
43:57bashed.
43:58I'm
43:59not
44:00afraid of
44:01being
44:02bashed.
44:03I'm
44:04not
44:05afraid of
44:06being
44:07bashed.
44:08I'm
44:09not
44:10afraid of
44:11being
44:12bashed.
44:13I'm
44:14not
44:15afraid of
44:16being
44:17bashed.
44:18I'm
44:19not
44:20afraid of
44:21being
44:22bashed.
44:23I'm
44:24not
44:25afraid of
44:26being
44:27bashed.
44:28I'm
44:29not
44:30afraid of
44:31being
44:32bashed.
44:33I'm
44:34not
44:35afraid of
44:36being
44:37bashed.
44:38I'm
44:39not
44:40afraid of
44:41being
44:42bashed.
44:43I'm
44:44not
44:45afraid of
44:46being
44:47bashed.
44:48I'm
44:49not
44:50afraid of
44:51being
44:52bashed.
44:53I'm
44:54not
44:55afraid of
44:56being
44:57bashed.
44:58I'm
44:59not
45:00afraid of
45:01being
45:02bashed.
45:03I'm
45:04not
45:05afraid of
45:06being
45:07bashed.
45:08I'm
45:09not