Touch Of Evil (1958) Filming Locations - Orson Welles Film Noir Then & Now Spots / Charlton Heston
Touch Of Evil Filming Locations in Venice California
Transcript
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welcome everyone adam the woo here
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today's adventure begins shortly after 5
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00 a.m
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i am standing at this cross street the
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entrance to
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venice beach california
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touch of evil i have some
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screen grabs i have been researching
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watching continuously the 1958
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classic film noir orson welles directed
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starred janet lee charlton heston
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it it's one of my favorites
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if you're not familiar with it i highly
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recommend
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quite groundbreaking when it comes to
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filmmaking
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as any orson welles movie is
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and it took place right behind me
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quite a bit of it down that street now a
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lot has changed
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since the late 50s
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and there's not much that looks as if it
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would match up
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but oh do not be confused
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i have a plethora of
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of proof here i'm inviting you to join
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me it's early i want to get down here
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before
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for the congregations of folks the
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crowds the music
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the hootenannies and hullabaloo i'm
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inviting you to join me
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shall you a really great mural here
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painted by the artist never shows what
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this
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this area looked like back then take a
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look at this
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it just so happens that this building
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was seen in the film itself
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i recommend if you're going to watch it
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watch the reconstructed version
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which was based on wells 58 page memo
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there are three versions of the film
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the one i would watch is based on what
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he really wanted
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just my just my opinion one of the most
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impressive beginnings
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and opening sequence in film history
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up to that point took place right here
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on this very road
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begins with a guy winding up the timer
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places
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the item right here in the back of a
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trunk of this vehicle
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of the car which kind of begins the
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entire sequence the car
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turns that way and heads over onto that
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road
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there it was a very complex series of
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events a lot going on it was
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you know three or four minutes long no
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edits just all
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one take a crane that
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not only started from the upper level
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well started from the ground level
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then went up high and you can see most
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of the pillars have been removed there's
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only a very select handful
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of the original pillars that stretch
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down this little thoroughfare here that
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still exists
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right here on windward in fact
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there was a big hotel that used to sit
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right here that was used very
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prominently they turned this corner now
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it's kind of confusing
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but they did not turn or turn the corner
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up there onto what is referred to as the
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speedway
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which is the next little little street
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up
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they turn this very corner and there
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were automobiles driving
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very busy through here which is now just
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used basically as
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a walkway but it was right here that
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there was an officer directing traffic
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the car
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in question returned here and followed
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charles hessed and janet lee right down
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here to cross over
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the fictional border which was right up
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there this is an example of what i'm
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referring to
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here as they turn right around there
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you want to walk down now
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you get just a few steps to about here
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was where kind of a herd of goats were
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and hessen kind of pointed and laughed
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that there was
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some some animals here in the road
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that would happen right about in this
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section
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and they carried all still one take
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straight this way
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there was a checkpoint here kind of like
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a little guard station
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i think this building was not here in 58
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as much as it looks like it would have
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been
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it's kind of confusing because this
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building was not here in the late 50s
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just about in this section is when they
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approach here
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to this gentleman now as stated the
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building behind them
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is not the same it is now this one
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which has those pill distinct pillars
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and the explosion happens and you would
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think it was this
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building behind charlton
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but technically the one with the pillars
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was here where this cafe
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and bar is i'll show you what i mean
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as they run over to see what what
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happened with the car
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the explosion they are
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kind of running at a quick very very
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quick pace along
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here now it does the building has been
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demolished and a new one in its place
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or has been repurposed but the thing i'm
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really noticing
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is the pole behind and at the top of the
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pole
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there is a faint street sign can barely
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make it out but it says
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horizon yeah right there h-o-r-i-z-o-n
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where they were running which is that
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very sign obviously the sign
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has been replaced but the same cross
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streets
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horizon putting the burning car
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right along this sidewalk it's been
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repaved
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over time but somewhere in here would
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have been where that fountain was
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and the car that was on on fire
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right in this section even the the angle
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of the sidewalk kind of is
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similar standing in this precise spot
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here now it is a little misleading
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because you would assume that that was
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it
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but i also counted the number of pillars
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and there are two
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to three more on this one
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versus the one that was here
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on a side note a little later in the
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film when he is in a hurry
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heston turns his corner in his car and
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kind of runs into a guy when he's
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panicking looking for his wife
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back over to windward now where a lot of
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the action most of the
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so everything took place that we can
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recall
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kind of etched in our minds from that
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classic
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and right here was the hotel they filmed
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most of the interiors there were very
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few sets only one or two sets were used
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even the exteriors
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and the rooms and stuff inside of those
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exteriors were used
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including what is now well the
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the metal gates are down but these are
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these stores here
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was the hotel looks virtually nothing
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like it did
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this would be the same looking the same
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way
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there that it did back then right now
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that archway behind them
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that still remains but these pillars are
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now replaced with
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with palm trees where they are where
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they're walking
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and the giveaway that really helps us
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match everything up
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is going to be this fire hydrant here
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which i will show
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quite a few times over the course of
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this when he has the acid
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thrown at him notice the building
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behind him there now that if
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i can assume is that building
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kind of the notches on the top this in
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the center of the screen it had a very
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unique
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vibe well it still kind of has a very
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unique vibe but
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and i am i'm also at ground level so i
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can't get up he was kind of more
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like that looking down here as he
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crossed over the street
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notice the four archways and five poles
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there
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that would be
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what we're looking at from this angle is
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having a tough time focusing under the
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shroud of nightfall
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sun should be rising soon which is very
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interesting because
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that's when that's when they filmed that
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opening scene
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which would have been through here using
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not only this fire hydrant as
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reference but there's also a hydrant
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over there
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as well and that will help us
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look at this where orson welles himself
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okay see there's the other hydrant that
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i just pointed out
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right over there it's the little things
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you got to look for
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figure things like this out now this
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window
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that you see right there the center of
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the screen
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is where the guy was looking out spying
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on
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janely's character which was right up
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here
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it took place in a window as she was
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looking out she noticed why is that guy
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shining a flashlight out that window at
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me
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she removed the light bulb from her room
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and threw it
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across into his window
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same window he's gotten a new paint job
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maybe some stucco
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just to kind of fix it up but that's it
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right there little film history take a
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look at the way the
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the kind of jolts in there the
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indentation
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the brickwork and the size of the window
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itself
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after all these years been kind of
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redesigned
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some new tile work but still the same
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got the low angle camber down on the
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ground there's that hydrant on the
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on the bottom corner match this up
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notice how here on this end this
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building's gone
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there's that window there camber down
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low something
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just about like this from this
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perspective
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more or less pretty cool
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keep that reference point in mind the
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the hydrant there because the building
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yeah the building has been completely
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demolished
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but there's that hydrant so get the
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camera down low kind of how it was
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there it is a really clear one of orson
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himself
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there in the corner and i like this
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because
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in this frame you have where the liquor
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store was on that window
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and those pillars there
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as it kind of fades out pretty neat
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orson welles himself the greatest
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directors
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walking across there no longer an active
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road at least
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the spot i'm at but once again there's
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the hydrant
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and there's the window and those other
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pillars this is just basically a walkway
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now but this is where they did the the
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u-turn
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in the car after walking out of that
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hotel where a fantastic elevator scene
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took place where the
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three guys got on and
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it was one long take up the elevator
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just kind of have to watch it to know
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what i'm talking about but that took
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place
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right inside the building that was there
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it's just about 6am
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really getting the the feeling is this
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is if i'm in the movie even though most
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of it took place at an evening
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that very extensive opening scene
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they did it a few times and the very
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last take is the one they used
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and if you look closely you can kind of
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see that nightfall was ending and
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the sun was kind of peaking up not not
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quite but kind of
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kind of similar to how it is at this
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very moment and that fictional border
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crossing was
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right there
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right in the middle just to see if they
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kept any kind of correlation to
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the real spots the club which would have
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been that building there
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let's see what around the the back side
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looks like
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also when vargas is chasing the guy that
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tried to harm him
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you can kind of see this perspective as
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well over here where some
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some carts and whatnot that they were
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kind of running through
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and he wasn't able to catch him but down
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is where orson walked out of
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and i just want to see if this could be
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the place
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if it still looks the same or if it was
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somewhere else
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has changed quite a bit but what i'm
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focusing on
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are these two very elongated windows and
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the small window and
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that power pole my guess is the cabaret
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club sign was there
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the guys would have walked out of what
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has these
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repurposed doors and new brickwork
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but there are those lengthy windows
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the two of them followed by
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the small window and power pole
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now i'm not i have no proof of this
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but dang that that could very well be
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i could very well be it right there
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i'm gonna say yes the amount of fog
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through here really also adds to the
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ambiance
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this is also a remaining facade well
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exterior i get excited you know about
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this kind of stuff
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think of it 1958 something that
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really has importance in movie history
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parts of it still exists boy it's very
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foggy what i want to point out with this
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is a little balcony here on this end and
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the number of arches
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now these pillars really are the only
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ones left
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in this little section through here all
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been changed
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into the road there's that balcony
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and the proper amount of windows and
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and pillars she had the little
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conversation there
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still exists at least a portion of it
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for now
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another reason i wanted to document this
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because you never know when
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some of these are going to be torn down
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and all of it's gone forever
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gonna head from here and by the way the
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beach
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is just right there can faintly
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hear the waves crashing very very
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faintly i'm gonna pass by this landmark
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that has been utilized
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in helping and that window up there
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and go over one block down this alley
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to market street just one road over
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to the ritz hotel which stood
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right in this very spot oh yes look
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there are markings from where the
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pillars were look
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yes the pillar markings are still
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here and there is a tricycle
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chained up
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wow oh look at this
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this tie work and bricks
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still the same all this time later wow
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when vargas is driving through you can
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see him kind of screaming and yelling
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there in his car
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but there's the pillars and look at the
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tile work here
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there's those markings
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that's incredible still there modern day
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look at it
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still some remnants that's a tile
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it really gets me here's a far away
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angle
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see the sign stating ritz hotel
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i'm really liking this fog it really
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does add to the experience
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the darkness the sun just just slowly
16:30
rising and the
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fog there was also a cross kind of
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dangling there from the side of this one
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so the the ritz was over here
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you see him kind of speeding through
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also this building also still remains
16:44
with the
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tile work and the little
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the little bracket where that cross was
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hanging
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seems to still be up there like they're
16:54
in the middle of the screen
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see that little rusted out bracket
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that's so good
17:00
now looking back the other way and
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there's where the ritz was but there's
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also that very distinct
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you know pattern on the the brickwork
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see more or less from from this way
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another car pulled out in front of
17:19
vargas there from
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what was i believe was a parking lot
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that has
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been filled in but that's where
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that's where that happened up on the
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balcony or up on the ledge
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she was yelling for her husband and
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kind of in that just kind of above where
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the the light was
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you could really kind of see she had
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she had quite a few folks down here
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wondering what she was doing but there's
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that brickwork
17:50
over there and the pillars that these
17:53
people are looking out of were on the
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other side of the road
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those have been removed there are no
17:58
markings on that sidewalk
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but there are still some here
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which kind of blows my mind a little bit
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just think about all this happened right
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there she was right about there
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was in danger here it is
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one of the pillars and that brickwork
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meaning the pillar would have been right
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here and that brickwork
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right there looking down this very foggy
18:29
had a photograph taken over she turned
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around to look at the
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look at the cute little baby there's
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kind of where that would have happened
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more or less
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i'm totally nerding out here also use
18:46
this as
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interiors as shown here now the brick
18:50
would have been gone there would have
18:51
been a glass window
18:52
they were filming out of it looking
18:54
across the way all right here
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walked a couple blocks well
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kind of throwing that walk scenario we
19:02
have because there's a bunch of shoes up
19:04
the corner of
19:13
inis place and once again horizon have
19:13
and this is where the officer was
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driving along here
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that building still remains there and
19:25
turned this corner here
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and pulled in to a spot there
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and this building here has a lot of
19:37
significance even though it has been
19:40
kind of repurposed repainted
19:43
maybe the exterior touched up just a bit
19:46
the balconies remain
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this is a very important piece of touch
19:49
of evil orson welles heston get out of
19:52
this car
19:54
now you see that they have built this
19:57
little
19:57
little wall but that those windows
20:00
balcony
20:01
and the apartment in question well not
20:04
in question the
20:06
uncertainty was right there that they
20:09
entered and
20:11
had a lot of discussions on even the
20:13
store across the way
20:15
it's been kind of painted but that's it
20:17
over there still there
20:20
almost looks like the bottom of the
20:22
balconies are still
20:25
still in the same fashion so
20:28
you know he would have come out of the
20:30
door there
20:32
look at the bottom here look at the just
20:35
the way they're
20:36
they're worked now they did use a sound
20:38
stage
20:40
for the inside but there are a couple of
20:43
occasions when the actor and director
20:45
were standing right there next to those
20:46
mailboxes
20:47
example being this as he's going in
20:50
there's those mailboxes
20:52
behind him and for a moment can get a
20:54
peek into
20:56
the room itself not the sound stage it's
20:58
apartment number one
21:01
when that door was open there
21:08
and there's a couple of a couple of
21:08
frames where
21:10
those windows are open and they're
21:12
looking out into
21:14
the road there's a store owned by owned
21:16
by a blind woman
21:18
that was right here where this is as
21:20
seen from this perspective as they
21:22
walked out of the door
21:24
they're kind of on the porch area more
21:27
or less
21:28
looking over into the road one of those
21:32
moments out of the interior
21:33
those windows would be this one
21:37
and you could see them
21:40
right here there was like a little oil
21:43
spill
21:44
from the cars
21:51
that store would have been right about
21:51
oh this is good as well look at the
21:54
staircase over there
21:56
and the formation of that
22:00
building which is right there still
22:03
remains
22:05
just down the way about two addresses
22:09
this just proves how much things really
22:12
change
22:13
over many many decades
22:20
hello bird it's a seagull flying by in
22:20
the fog
22:21
another use of a practical interior
22:24
looking out at the exteriors
22:26
he's on the phone and there's a little
22:28
bit of a an argument
22:30
happening trying to get him to go inside
22:43
i don't know why i get so excited about
22:43
this stuff but it's really fascinating
22:45
to me
22:46
there's a garbage truck in the distance
22:53
sometimes i wonder if the people that
22:53
live
22:54
in these places have any idea of the
22:57
movie history
22:59
or any history that they reside in
23:02
some probably don't sunlight is well oh
23:05
my gosh there's a flock of birds look at
23:08
oh what the hitchcock would be not only
23:11
proud but also
23:13
used this film for yeah there's a
23:16
there's a hotel scene
23:18
with janet lee you do the math it's been
23:21
documented
23:22
hitchcock would be proud which i should
23:24
also throw in will not be going to where
23:26
the
23:27
the motel was a couple hours from here
23:29
in the middle of the desert
23:30
and it's completely gone it's now a
23:32
residential
23:34
cul-de-sac
23:40
i'm not gonna head into my car and take
23:42
a cruise down the speedway
23:44
to another spot where the very
23:48
first time that not using a backdrop
23:52
the first time ever on film that actors
23:55
were driving in a car
23:58
with nothing but you know nothing
24:00
nothing fake behind them
24:02
pretty interesting and also orson welles
24:05
originally was not going to direct
24:06
the movie until heston talked it over at
24:09
the studio and said
24:10
he's a pretty good director you're going
24:11
to have him play the villain
24:14
why do i have him directed and the rest
24:16
is history
24:17
both the actors in the vehicle they
24:19
removed
24:20
the windshield camera mounted on the
24:22
front of the car
24:23
sound equipment in the trunk and they
24:26
sped through here very quickly
24:28
through this alley known as the speedway
24:33
they're moving fast pretty neat pretty
24:35
neat
24:36
how they do it a couple of landmarks
24:38
through this section that can match up
24:41
including oh it looks like someone
24:45
is utilizing the speedway well this i'm
24:48
on the speedway but they're passing the
24:50
speedway a very speedy
24:52
ratio these two still look identical
24:57
and they obviously blocked if you look
24:59
closely you can see they blocked off
25:01
the streets they didn't want any
25:02
pedestrians or cars you know smashing
25:04
into them while they did because they
25:05
were moving very quickly
25:07
starting down that way and
25:13
it really turned out really good the way
25:13
it looks a groundbreaking first in the
25:15
world of cinema
25:22
save the very puppy
25:22
right over here to this side you can see
25:24
this as well looking back the other
25:26
direction
25:26
notice how all this matches up as well
25:30
as they're just kind of cruising right
25:32
through
25:33
right through that angle that's the the
25:35
building they passed
25:37
nice heading a couple miles away now to
25:39
where the
25:40
climactic ending took place wait is
25:43
still really foggy
25:45
but first on a walk down privateer or
25:49
privateer street
25:53
you use the word street
25:57
loosely because it's more just like a
25:59
walkway
26:05
i saw an interview about 12 15 years ago
26:05
it was recorded
26:07
there was a guy through here stating
26:10
that this bungalow at the time there was
26:13
oil fields through here
26:15
but even since since that time frame
26:19
it has been removed it used to sit right
26:22
next to this place with the the
26:24
fireplace that's the way i match that up
26:26
the fireplace there from that interview
26:29
15 years ago
26:31
and this was shown but now it is gone
26:34
this is only
26:35
a couple blocks from the bridge from the
26:37
insane which means that vargas would
26:39
have been
26:40
up there getting a bird's eye
26:41
perspective on one of the oil rigs
26:43
looking down
26:45
which leads me to an assumption that
26:47
right here on
26:49
quarter deck which would have been
26:53
a guess this is my best educated guess
26:56
where marlene dietrich her place would
27:01
possibly just guessing because if you
27:03
look very closely you'll see the address
27:05
of 21
27:07
you zoom in on that little little piece
27:10
of wood holding up the porch
27:13
neither one of these spots still remain
27:17
but the address
27:20
still says 21 and if you watch that
27:23
scene
27:25
kind of goes over this way and you can
27:27
see a car going by there is a road over
27:30
which means marlene's
27:33
spot could have been right there that
27:36
says look he's looking across from
27:37
number 21
27:39
and those oil rigs all around the beach
27:42
right there there were oil rigs all down
27:43
the beach
27:43
as well the waters right there there it
27:46
is still exists
27:49
the bridge where quinlan met his demise
27:53
vargas wading around in the water below
27:56
trying to get him to confess tape
28:00
recorder yes and traversing around in
28:03
that
28:04
dirty murky water
28:07
looks like the only major difference
28:10
is the top railing portion you know it
28:12
looks like it's all made of concrete
28:21
so just where the walkway like the hand
28:21
railing has been replaced
28:30
but yeah other than that this is it
28:30
still still here so good where most the
28:34
action took place
28:36
it was on this side of the bridge as
28:39
opposed to the other
28:41
and the way i'm figuring that is because
28:44
the road is so close here
28:47
as opposed to down on that end where
28:50
it's another
28:52
maybe 20 30 40 yards where
28:56
shown here the car's pulling i'll see
28:58
the roads there
28:59
which is a really good way just like
29:02
pretty good chunk of area
29:04
as opposed to this side where it's just
29:07
right here off the road
29:10
that means a lot of stuff to happen
29:13
right down there
29:15
can't help but think about that moment
29:16
with joseph khalia's character
29:20
here a little altercation
29:24
and he was kind of leaning over leaning
29:27
over the railing
29:30
see if i can find that angle with a very
29:33
confused
29:35
orson down there playing his role
29:39
which would have been just about there
29:59
this is the spot by focusing on the
29:59
brickwork you can really
30:01
line everything up now this this metal
30:03
beam is gone
30:05
and the railing has stated changed but
30:08
those
30:08
bricks yeah
30:11
those bricks and the decaying of the
30:15
cracks
30:17
kind of prove the prove the spot there
30:20
was almost like a
30:21
decorative concrete piece above it
30:26
at the top which also has been removed
30:33
but right there on that little ledge is
30:33
where that
30:34
kind of decorative piece was but see the
30:36
brickwork's still here
30:38
kind of rummaging around there with the
30:40
with the recording device
30:51
right down there this little hidden area
30:51
over time appears as if they tried to
30:53
repair the current bridge where there's
30:56
there's hessian down there in the water
30:58
the two actors up top
31:00
walking across but you could see the
31:01
decay
31:03
still to this day it is still
31:06
decaying over here and you see they
31:09
patched up
31:10
from what was there in 58 but it still
31:12
continues to decompose
31:15
and break up it's it's interesting
31:17
because it looks the same
31:19
you know when you watch even though
31:24
even though it has been kind of
31:24
attempted to be fixed
31:26
oh i just heard a bird fly by oh a flock
31:30
there's a couple more going by
31:47
oh yeah here's a good one he's reaching
31:47
out
31:48
he's hested
31:56
i just think that's so
31:56
so neat
32:00
and the final moments of quinlan
32:03
as he sat right here we're standing this
32:07
incline and the angle upward
32:11
this friend laying up there his partner
32:16
and then he stood up stumbled
32:22
into the water here fell back into the
32:22
shallow water
32:24
kind of floated right there
32:29
and up at the top marlene dietrich was
32:34
going across the bridge and delivered
32:36
the final line
32:37
of the film on the corner of pacific ave
32:41
and
32:41
lighthouse street
32:52
where the former oil rigs
32:52
were you see the road
32:55
you can even see a newer sidewalk over
32:58
and that's the angle
33:02
dang that's awesome that's going to do
33:05
it for today
33:06
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33:14
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33:18
this is a lot of fun i want to do this
33:19
for a while and i finally did
33:22
the vlog is over