All language subtitles for Exit Through the Gift Shop-PHOBOS.ENGLISH

♪ Do you know why ♪

♪ You got feelings in your heart? ♪

♪ Don't let fear of me then fool you ♪

♪ What you see sets you apart ♪

♪ And there's nothing here to bind you ♪

♪ It's no way for life to start ♪

♪ Do you know that tonight
the streets are ours? ♪

♪ Tonight the streets are ours ♪

♪ These lights in our hearts ♪

♪ They tell no lies ♪

♪ Those people ♪

♪ They got nothing in their souls ♪

♪ And they make our TVs blind us ♪

♪ From our vision and our goals ♪

♪ Oh, the trigger of time ♪

♪ It tricks you so you have no way to grow ♪

♪ But do you know that tonight
the streets are ours? ♪

♪ These lights in our street are ours ♪

♪ Tonight the streets are ours ♪

♪ These lights in our hearts ♪

♪ They tell no lies ♪

Okay.

Sound check, please.

One, two.
One, two.

Okay.

One, two.

- Comfortable?
- Yep.

So, um, I guess I'll start off
by asking you about the film.

What is the film?

Uh, well, the film is the story

of what happened when this guy

tried to make a documentary about me,

but he was actually a lot more
interesting than I am,

so now the film is kind of about him.

I mean, it's not Gone with the Wind,

but there's probably a moral in there somewhere.

So who is this guy?

"This guy" was Thierry Guetta,

a Frenchman who had been living in Los Angeles

since emigrating to the United States

in the early 1980s.

A regular family man,

Thierry owned a vintage clothing store

in the city's most bohemian shopping district,

and he made a good living selling his wares

to L.A.'s more fashion-conscious
citizens.

At that time,

I used to buy old Adidas and old things

and, you know, things you couldn't find here:

shoes, bags.

And I had a warehouse
with big bales of these clothes,

and we used to buy these for $50.

I used to take things that,

when the sewing was different,

I call it designer,

and I'd put the price that is $400.

So from $50,

sometimes I could make $5,000.

But there was
one very unusual thing

about Thierry.

He never went anywhere without a video camera.

I don't know how the video camera

came into my hand,

but I know the moment it came inside my hand,

I couldn't let it down, ever.

It was like more than any drugs to anybody.

It was obsession.

When I picked up the camera,

I couldn't do anything without capturing it.

I'd keep filming, keep filming, keep filming.

I was filming and filming myself filming me.

It didn't stop.

It just didn't stop.

Ooh...

In my own house, when the kids grow up,

I had cameras set up everywhere.

I was completely maxed with camera.

Even taking pictures, he would do it like...

you know, like, he was using
even the picture camera

like he would use the video camera.

He was pretty much obsessed.

He filmed constantly—

tapes and tapes and tapes.

Aaaagh!

As time passed,
those who knew Thierry

stopped even noticing
his ever-present camera,

while everyone else soon learned
how determined he could be.

Can I take one picture before I go?

You know what?
We're working right now.

One picture, yeah.

All right, go ahead.

- Oh, no, no, no.
- Thanks.

Thanks.

C'est Shaq.

Hey, how you doing?

What you doin', bud?

Ça va?

Say hello to the French people.

Hello, French people.

That's enough.
Stop recording.

That's good.
That's good.

When you gonna film someone else?

Yeah, man, I do.

- Eh?
- I do.

Why don't you go and do it now?

Because it's not every day that I see you.

thud!

Thierry seemed
happy enough selling clothes

and pointing his camera at anything that moved

until in 1999, on a family holiday to France,

a chance discovery sent Thierry's life

in a dramatic new direction.

My cousin, at that time, he was an artistic—

you know, he was putting mosaics together

and trying to do the game of Space Invaders,

re-creating the character,
kind of way.

So I film him.

So this is what you're doing?

I need to put some white ones here...

Yeah, yeah, that'll be crazy.

It was kind of fun,

because he was, like,
doing some tile, very small,

and putting it on top of couple building,

and I thought it was really nice,

to put some stuff that you love,

something that you want to express yourself,

and put it outside

and people can see it.

It's not straight! Up a bit.

A bit more on the other side now.

There you go. That's good.

Thierry's cousin
was Space Invader,

a major player in an explosive new movement

that would become known as street art.

This hybrid form of graffiti
was driven by a new generation

using stickers, stencils,
posters, and sculptures

to make their mark by any means necessary.

With the arrival of the internet,

these once-temporary works

could be shared by an audience of millions.

Street art was poised

to become the biggest countercultural movement

since punk,

and Thierry had landed
right in the middle of it.

When I was with Thierry,

Thierry was with his camera,

and he was filming me all the time,

but when people were asking me
what this guy's doing,

I was saying, "It's okay;
it's my cousin."

And generally, people were thinking,

"Oh, this guy is cool."

Like, "Let him film."

- Is this your job or what?
- It's my passion.

So what do you do for a living?

This and that.

But right now,

I'm having a break.

Through my cousin, I met André.

André has this character

that is a smiling face that's blinking an eye

and, you know, with, like, long legs

and walking everywhere, you know,

like kind of a cartoon character.

When I met Zeus,

he was, like, painting, like,
shadows on the streets

of different things.

I liked to capture those people

because I thought it was nice,
what they were doing,

and they really believe it.

You know, they really loved it.

I started to really see, like,
a gallery outside.

Don't walk all over the paint.

I'm trying not to.

I just loved it, you know,

filming at night and street,

because it was, like, a mix of fears

and getting something that nobody sees,

and somewhere you and—illegal,

and you can get caught, you know?

So it was, like, that feeling
that it was, like, a danger,

and I like that.

You know, I like the danger.

You know, it made me feel good.

Thierry had
accidentally found a focus.

The man who would film anything

had stumbled into
an intriguing underground world,

and now that he had found it,
he wasn't about to let it go.

I guess Thierry was in the right place

at the right time, really.

I mean, the thing is that most all art

is built to last, like, hundreds of years.

It's cast in bronze, or it's oil on canvas,

but street art has a short lifespan,

so it needed documenting.

You know, we all needed someone
who knew how to use a camera.

Fuck.

A few months later,

Invader visited Los Angeles for the first time,

giving Thierry the chance
to pursue his new passion

on home turf.

- Uh-oh.
Quickly, quickly, it's the cops!

You can't do that here.

It's to take pictures.

Right.
Not here.

Not that, no.
That's graffiti.

That's not graffiti.

No, no, but that's not.
That's not graffiti.

Then remove it, because you guys got to go.

That's an art.
That's an art.

You guys need to go.

But this is, like, Space Invader.

You know Space Invader?

I know Space Invader.
Not here, no.

You don't know Space Invader?

Go!

I was filming Space Invader, but I wanted more.

You know?

So I mean, it's like,

I could get him all the time,

so I wanted somebody that I couldn't get.

Thierry's opportunity
to meet someone

who could keep him in steady thrills

came a few days later
when Invader arranged to meet up

with another West Coast street artist.

His name was Shepard Fairey.

One day, Shepard would be famous

for transforming the face of an unknown senator

into a universally recognized icon.

But even back in 2000,

Shepard was the world's
most prolific street artist.

Shepard's experiment
with the power of repetition

went back to 1989

and an image based on cult '70s wrestler

Andre the Giant.

Combining Andre's face with a command to obey,

Shepard had already clocked up
over a million hits

around the world.

And although he didn't know it yet,

his world was about
to collide head-on

with Thierry's.

Shepard Fairey was at Kinko's on Vine,

and Space Invader had something,
a trouble with something,

and he couldn't make it that moment.

But me, I wanted to meet the guy,

so what I did, I went and meet him.

- Invader.
- No, Thierry.

I didn't ask him;
I just filmed.

That was my thing.

I didn't ask him anything.

When I came, I came with a camera,

and I start filming.

So why did you do him?

You don't know?

- Uh...
- Oh, you knew the guy.

- He's funny-looking.
No.

Oh, you didn't know him?

- No, I didn't know him.
- Do you think he's dead, or...

Oh, he's dead, yeah.

Yeah?

So you have a partner works with you, eh?

Yeah.
This is Amanda.

Amanda, how are you doing?

- Hi. Nice to meet you.
- Nice to meet you too.

So how long you been doing this?

10 1/2 years.

Oh, yeah?
That's a lot of paper.

- Yeah.

What do you do?

I film.

That night when
Shepard did meet Space Invader,

he took him on a tour of the city.

Thierry was there

filming everything that Space Invader was doing

and then, of course,
once I was with Space Invader,

everything I was doing.

You should probably put an invader

up on Hollywood Boulevard.

What do you think, Thierry?
Yeah.

And when Invader
returned to France,

Thierry simply carried on,

tagging along at Shepard's side

whenever the artist went out in the streets.

2:00—if he's gonna be out
past 2:00,

he needs to call at 2:00.

Okay.
I'll make him.

Otherwise, he gets beat,
and he sleeps on the couch.

Amanda always thought that he was weird,

but I said it's great

that we're getting a lot of this stuff on tape.

And for me to have someone there
as a lookout was always good.

Keep your eye out for the cops.

I finally did train him to not turn the light on

while I was on a billboard or a rooftop,

where he was gonna blow my cover.

No, no, no, don't use that.

Yeah.

After ten months
of Thierry's constant presence,

the question inevitably arose:

What exactly was Thierry filming for?

It's cool, though, right?

And that was the moment

Thierry came up with a big idea

that would dictate the path of his life

for the next eight years.

In the beginning, you're, like, thinking,

like, "The guy's gonna film me
one time, two times,

three times, five times,
ten times, twelve times,"

but after a while, he's like,

"What you gonna do?"

Because usually people film
a day, two days, three days,

and they make something out of it.

But I kept filming,

so he's like,
"What you gonna do?"

And I said, "I'm gonna make
a street art documentary,"

you know?

Take two.

In his new role
as documentary filmmaker,

Thierry now started traveling
the world with Shepard,

recording every detail of the artist's life.

I knew that couldn't be far away.

Even though the Andre the Giant sticker

was just an inside joke

and I was just having fun,

I liked the idea of the more
stickers that are out there,

the more important it seems;

the more important it seems,

the more people want to know what it is,

the more they ask each other,

and it gains real power from perceived power.

Can I talk to you for a second?

Police officer.
I'm not gonna arrest you.

I'm not gonna arrest you.

I just want to talk to you, dude.

Don't film from that side.

Film from this side over here.

You understand why, right?

Because you're gonna attract attention.

Oop! Whoa!

It was like a big adventure every night.

We were going on top of buildings

and going on top of something

that was not just illegal;

it was dangerous.

But I would do it

because I wanted to show that I could do it.

You know, it was not like,

I'm downstairs

and you are upstairs doing your thing

and I'm filming.

No.

I would go upstairs,

and I would go even up, up more
to have the shot that is great.

He just wanted to go whenever I was going,

and he was always—

he was always very diligent about climbing,

about helping move the buckets, the ladder.

He was not only a filmer,

but in ways, he was an accomplice,

and I don't know whether
it's just that he's passionate

or whether it's that he's passionate

and he's kinda crazy.

But I respect passion.

But it wasn't just Shepard

who caught Thierry's eye.

As he ventured further afield,

Thierry was constantly meeting street artists.

And in my head,

I wanted to make a movie about street art,

so I wanted to get as much people as possible.

Even people who tell me,
"No, I don't want to be filmed,"

I find a way of making the no as a yes.

Oh, cool.

I love the design of it.

So you draw.
You know how to draw?

It's a painting.

Yeah.

And I start to know one,

and one make me meet another one.

Very important when you put the poster

to see where you're gonna put it.

Usually, I just...

I choose a wall 'cause I like it,

I like what it feels like, you know?

The texture.

When I go with the artist,
I'm just living them life.

You know?

I'm a ghost when I'm with them.

I'm kind of a ghost.

Don't you wish to be taller sometimes?

Shut the fuck up.

So what name you are using?

Borf.

It was the name of my best friend

who killed himself when we were 16...

And I just do it to— I don't know—

commemorate his life.

You gonna hit that?

We're gonna do both.

- Are you gonna do both?
- Yeah.

But, like, I think it'd be cool
if you came up with us.

Excuse me, sir?

Can I have a quick word with you, sir, please?

Excuse me?

Could I just have a quick word with you, please?

If I can ask you to stop
any recording that you're doing.

- It's not recording.
- That's fine.

Do you understand English?
- Yes.

That's fine, sir.

I'm sure you can appreciate
graffiti's a criminal offense.

Right?

Thierry's documentary
was shaping up to be

the authentic inside story
of the birth of a movement

starring the biggest figures
in the street art world...

with one exception.

Now Tate Britain in Pimlico

refused to discuss security arrangements today

after a graffiti artist known as Banksy

was able to leave one of his own paintings

in the gallery's landscape room.

I hear about this Banksy.

"Who's Banksy?
Banksy?

Banksy this."

And I said,
"I really like that guy."

You know?

And it's like,

"I want—I want—I want
to interview this guy."

Thierry
wasn't the only one intrigued.

By now, word about this mystery provocateur

and his increasingly ambitious adventures

was radiating far beyond
the world of street art.

Banksy had started out
as a provincial graffiti artist,

but before long, his stencils
were appearing all over Britain.

Through a series of DIY art shows,

Banksy was now taking vandalism
in an entirely new direction.

So I ask Space Invader.

I ask everybody that I knew.

"How can I get this guy?"

They said, "It's impossible.

It's impossible."

But my focus in my head, it was like,

"How am I gonna make it?
How am I gonna make it?

It's impossible,
but how am I gonna make it?"

While Thierry schemes
to find a way

to the one missing star of his film,

his other subjects carried on,

letting Thierry capture every moment

of their creative process.

What none of them suspected

was that Thierry's street art documentary

didn't actually exist.

All the tape that I film, even if it was good,

it was going nowhere.

It was going in a box somewhere.

Sometime I don't even write anything.

Sometime I write the year.

Sometime I write nothing.

But I would never watch it.

Never, never, never.

When it was filmed,

for me, it was done.

It wasn't important, how it was made.

It was important what it was.

It was the capturation.

Thierry's
extraordinary habit

of filming everything

and locking the unwatched tapes away in boxes

had its roots in his childhood in France.

I lost my mother when I was 11 years old,

and the day that I find out about my mother,

I was at school.

I remember I was in the playground,

and somebody come up,

and he says, "Oh, you're laughing, eh?

You're laughing, eh?
You're laughing, eh?"

Like, behind the gate.

"Your mother is dead."
Like this.

And after, I was like...

I didn't know, in reality,
and after I went back to class,

and I was crying, and I didn't know.

And from that things,

they took me away.

I never went home again.

I went to a cousin or something
outside of what happened,

not to see anything.

You know, they just took me away
from everything happened.

The youngest
in a large family,

his mother's illness had been kept from Thierry,

and after her death,

the sense that he had missed
such an important event

stayed with him.

Later, as an adult raising his own family,

Thierry became increasingly compelled

by the need to record the people
and events around him.

You know, I felt like I should
capture everything on film,

because I felt like everything

that I would capture at these moments,

any time in my life

would be the last time that
I would see it the same way.

It was like a need to be captured.

I would make them live forever,

those moments, you know, forever and ever.

Making a documentary,

it was like having the key
of getting all these people.

That's why I kept following them,

following them, following them.

And because I never made a movie before

and I don't know how to stop—

and I don't know how to stop—

I kept going.

As Thierry persevered

with his quest to capture
the world of street art

in its entirety,

the profile of the one artist who eluded him

was about to become bigger than ever.

He faced Israeli army fire
to pull off his latest stunt.

Subversive graffiti artist Banksy, whose work...

By targeting
the world's most notorious wall,

Banksy turned a spot
of hit-and-run vandalism

into an international news event.

Now it seemed everyone

wanted to know the answer to one question:

Who was Banksy?

His work seemed to be everywhere,

but the artist himself
remained as elusive as ever.

He was, like, the only one that I don't have,

and people that used to be in street art,

they all tell you,
"Yeah, he doesn't have a phone,"

or they— even if they do have it,

they wouldn't give it to me, you know?

I didn't know what way that
I'm gonna get this person,

you know,

what angel was gonna bring me to that person.

With no leads to go on,

Thierry was forced to accept
that he may never find a way

to the mysterious Englishman.

And then, miraculously...

So I went to Los Angeles at about spring 2006,

and when I got there,

the guy that was supposed to be helping me

got turned back at immigration,

so I rang the only person I knew in Los Angeles

and asked them if they could help me,

and they said, "Well, there's this French guy

"who's a cousin of Space Invader,

"and he knows where
all the best walls are in L.A.

He can help you out."

I was in downtown Los Angeles one day.

My phone rings.

"Hello?"

"Hello, this is Shepard Fairey.

How are you doing, Thierry?"

"Uh, yeah."
"Yeah, yeah, yeah."

"Yeah, do you have any walls?

Because I have Banksy here, and I would like"—

And I said, "What?
You have who?"

I'm like, "Uh..."

"Yeah, yeah, there is Banksy here, and"—

I'm like, "Where... are... you?"

Red light.
I stay.

I vrrr— I go through red light.

I was driving like crazy.

I mean, I'm lucky I didn't get caught that day.

So this guy shows up

looking like something out of the 1860s,

with these, like, huge sideburns, sweating,

telling me he could do anything;

he could take me anywhere;

he could get me whatever I wanted;

he could fix it all up.

"Yeah, yeah, yeah, like, what do you want?

"Anything you want.

What do you want?"

He said,
"Have you got a phone?"

And I said no,

so he went to a phone shop over the road

and bought me a phone,

and he bought $100 worth of credit

and punched his number in and said,

"Right, this is my number.

You call me.
I have everything you need."

"I drive you if you need to go anywhere.

"I'll take care of you, whatever, whatever.

"I'll be your driver.

"I'm not doing anything.
"I'm not doing anything.

I'm not doing anything
at any time."

So on the understanding

that he would just help me make some paintings,

we went out that evening.

Circumstances had conspired

to bring Thierry face-to-face

with the notoriously secretive artist,

and fate remained on Thierry's side

when he got his camera out.

Well, I'd never let anybody
film anything before,

but I said he could film me,

but only my hands, from behind,

and on condition that I could
check the tapes afterwards.

It was magic that this person
let me film, you know?

I felt like I had the piece
that will finish the puzzle.

It was like getting something in the daylight

that what you see in the night light.

He was even more than I expected.

I mean, he was, like, just incredible.

He was cool.

He was— he was human.

He was—he was— he was—

he was—he is the—

you know, he's really like what he represent.

You know, he's really, like—

I think he's really, like—

I really liked him.

For the rest
of Banksy's stay,

Thierry made himself indispensable,

leading the artist to some
of the best painting spots

in the city.

I mean, Thierry was the perfect host

if you're a graffiti rat
and you're miles from home.

He had no fear.

He wanted to keep going all night long,

and he had a massive larder.

click!

A few weeks after
their chance encounter in L.A.,

Banksy invited Thierry to England.

I always avoided cameras,

'cause what I do is
in a bit of a legal gray area,

but I brought Thierry over to London

because it seemed like a good idea:

start videoing the work.

I mean, we had to, 'cause, you know,

a lot of it was starting
to disappear the next day.

But Banksy's
close-knit team

of trusted friends

was horrified by the sudden appearance

of this camera-happy Frenchman.

The first time that Thierry was filming Banksy,

I was like,
"What the fuck is going on?"

I thought, you know, that nobody
was allowed to do this.

I thought it was a big breach of security.

Being the man of mystery

and being filmed at the same time

is a slight oxymoron, I think.

It's a very dangerous thing.

All the people who was working with him,

they didn't understand.

They look at me like, "Who is this?

Who is this guy?"

You know,
"What is he gonna do to us?"

You know?

And he didn't care whatsoever.

Two, three.

I guess Thierry showed up at a time

when I realized that the reaction to this stuff

was, you know, one of the most
interesting things about it,

because for me, it's
an important part of the job

to run away as soon as we've done it,

but at least with Thierry,

we had someone hanging round afterwards

who could capture some of it.

This is when I saw that he was, like, a legend.

He was like kind of a Robin Hood or something.

- You know Banksy?
- Yeah.

- You know Banksy?
- I don't know.

I mean, I heard about him.

He does very, very good graffiti.

Looks a bit like Banksy,

but I know he's doing a bit more
installations at the moment.

I like it.
I like it.

What do you think of it?

Someone is annoyed with BT telephones.

Yeah, we were, you know, laughing like trains

at all this stuff he got out of it.

So yeah, he proved his worth on that project,

brought something to it

that we would never have had otherwise.

Over the rest
of his time in London,

Banksy took Thierry everywhere,

even allowing him to film inside his studio

as he prepared for his first big American show.

He opened his door to me,

and it was magic kind of way.

You ask the question,
"Why me?" in the end.

"Why?"

I think maybe Thierry

was like a bit of a release for me, you know?

Having spent years

of trying to keep everything
completely under wraps,

maybe I needed to trust somebody.

I mean, I guess part of the power of Thierry

is this unlikely—

the unlikeliness of it.

Yeah, you know?

I guess he became my friend.

Oh.

It's all money.

Oh, my God.
Oh, my God.

It is real?

It's Lady Di instead of the queen.

It's so cool.

I made £1 million worth,

and I was gonna throw it
off a building, just like...

But I took some out,

and I handed some out first of all,

and people spent them,

and people were like, "Oh, yeah.

Two beers.
A couple beers."

Nobody noticed,

because when you got them like this,

you can actually spend them.

And they won't know.

And when that happened, it was like, "Holy shit.

We just—we just forged
a million quid."

And obviously, for that,
you go to jail for ten years.

So I have them up here,

but I don't know what to do with them.

You find it here?

I made it.

Wow, you made this?

For fuck's sake, I printed it.

Oh, my God.

Back in L.A.,

Thierry struggled to keep himself entertained

after the high of his scoop with Banksy.

- ♪ If I don't get
my i-i-i-ice cream ♪

I'm like a bird.

I always thought of that.

I'm like a bird.

I never want to be locked down anywhere.

I like to fly from one artist to another.

You know, that's the way that I live,

one life to another.

You know, I like to be free.

You know, my wife was worried

because, you know, bill to pays,

and me, the only thing I wanted to do

was, like, buy some tape
and go somewhere, you know?

I wasn't worried, but I'm sure my wife

had a little problem of sleeping sometime.

He was following the artists,

and he goes to here, he goes there,

and I worry.

I worry for my kids.

I worry for everybody, actually,

but he doesn't care.

He just goes and does.

And he forgets he comes with a family.

You know, just— we need him.

Bye, Gigi!
Bye, Jackie!

Bye!

I love you!

For five years,

Thierry's family had learned to cope

with his endless trips away,

but now there was a new development

taking up his time.

The way it started,

I took picture of me holding a camera,

and I asked somebody to illustrate it,

and I liked it, so I made a small sticker.

And I made it transparent, you know,

because I never solid, transparent.

A transparent looked
like a little stencil in a way.

And I liked it, so I went to Kinko's,

because I learned from "Obey"
and things like this,

and I started making that photocopy—

I don't know—30 feet by 40 feet high, you know?

And I went at 10:00 at night

until 8:00 in the morning,

and I made, like, this image giant

of me with the camera.

That big image, I thought it was kind of cool.

And I start doing it

kind of the same story of "Obey,"

following the movement of street art.

I start to make copies, make it bigger,

and starting to put it all around the city.

The enjoyment of taking the glue

and making the thing and going,

I was, like, addict.

It was like a spiral, and I just fall in it.

I just fall in the spiral.
"Aaaah!"

I fall, like, making the art.

A few months after
Thierry had seen him in London,

Banksy returned to Los Angeles.

He had arrived with his crew

to transform
a large run-down warehouse

into the venue for
his first major U.S. exhibition,

"Barely Legal."

Oh, my God.

It's really big.

It is giant.

Trippy.

It's the biggest elephant I ever saw in my life.

Look at this.
It's really big.

But Banksy
had more on his mind

than getting the show's surprise guest

ready for her big moment.

We were right in the middle
of putting the show together,

and I had this idea

to make a piece about Guantánamo Bay

and the detention of all these terror suspects,

so I took Thierry with me,

and we didn't tell anyone else about it,

and we just shot off, like,
the morning before the show.

I came, picked him up.

Just me and him.

You know, I'm kind of excited
I'm going to Disneyland.

In just a few moments, we will begin our trip...

It was around the anniversary
of September the 11th,

so it was a pretty
high-temper moment.

Can I get two adults
just for Disneyland, please?

$2 is your change,
and your two Disneyland tickets.

Is Mickey Mouse gonna be there today?

Yes, Mickey Mouse will be there.

You go to Toontown,
and he's waiting for you guys.

Okay?

So we've been wandering around
the park for a while,

and then there's this sign
with a picture of a camera on it

saying, "This will be a great place

to take your souvenir photo."

So that obviously seemed
like the best place to put him.

He's like, "This is
where I'm gonna do it."

And I'm like, "Okay."

He goes in the corner

and starting to blow up, through a pump, a doll.

Tssh, tssh, tssh, tssh.

And he goes, and he start—put it in.

And he put it.

He attached it to the metal bars,

and he takes time,

and it was kind of suspense,

because, you know, it's Disneyland.

There is— people comes.

And then I walked off one way

and left Thierry there filming it.

And me, I'm filming, taking pictures...

Because it's like, you know—

it's, like, the moment that I'm here for.

In one moment, they stopped the train.

Sorry for the holdup, folks.

Ladies and gentlemen,

may I have your attention, please?

All of our trains are stopped.

We start to see some people coming in,

security and people like this,

but not dressed like security,
but look like, you know,

like people who's not at Disneyland

to have fun, you know?

So I'm starting to feel scared.

I'm walking to leave.

One guy is behind me;
two guys behind me;

three guys behind me;
four guys behind me.

And one moment,

pom, pom, pom, pom, pom,

from every corner, they were on me.

I went in the toilet to change my hat.

I changed my shirt.

Then I went out,

and I went on the, like, Indiana Jones ride,

and then when I came off that,

I tried calling Thierry, didn't get any answer,

so then I went on Pirates of the Caribbean.

While Banksy
went on the rides,

Thierry was being introduced

to a very different side of the Magic Kingdom.

So they put me in a seat.

There is a guy here, a guy there...

and they said, "You are
in big, big, big trouble."

So they actually started
shutting down parts of the park.

There was, like, walkie-talkies
crackling everywhere,

and all of sudden,

it seemed to be a very,
very serious thing indeed.

Held in an interrogation room,

Thierry was questioned
by Disney's security people

and one man who claimed he was from the FBI.

I'm like, "I don't know what you have on me.

"I was there.

"You're, like, telling me

"that I have something to do with this person.

"I don't have anything to do with this person.

"I don't have anything to do with it.

"I mean, it's— I was there at the wrong time

"at the wrong moment, you know.

I was taking pictures," and things like this.

And he says, "Did you take
a lot of pictures?"

I said, "No, I took one picture,"

and things like this,

"but I even delete it
when you guys came to me."

No—the camera is on the table.

It's full of pictures,

and I'm telling that to the guy.

So I'm lying completely.

The only thing he has to do
is to turn on that camera.

So I tried Thierry again,
and this time he answered,

and I said, "Where are you?"

And he said, "Hello, my chéri,"

and, "How are you,
my darling?"

and, "How are the children?"

And I thought, "Yeah."

At that point, I thought
I'd better leave the park.

He's like, "Okay,
show me the pictures."

I take the camera— I take him—

I said, "Look."

I put it on, I go— I go on Menu right away,

I go on Delete,
and I go, "Pffft!"

And the thing goes,
"Vvvvt!"

And I go, "Pom!"

I put it down, and I said,

"I don't have any picture on him,

"and I don't have any proof on you.

"I don't have nothing with you guys,

"and I don't have nothing with this guy,

because I don't know
who it is."

Like this, I don't— you know, I'm clear.

After four hours
of questioning,

with no evidence to hold him,

Thierry was released.

So after Thierry withstood interrogation

from the entire Mickey Mouse security team—

didn't fold, didn't buckle;

he did a really good job of
stashing the tape in his sock—

I guess I trusted Thierry with everything.

He was my guy after that.

Hey, man.
How are you?

Good.
How are you doing?

Yeah, yeah.

The day after
his close shave with Disneyland,

Thierry, along with half of Hollywood.

was at the opening party for Banksy's show.

It was an even bigger star, however,

who provoked the real sensation.

Banksy had camouflaged his rented elephant

with 12 liters of children's face paint

in an apparent statement about how easy it is

to ignore the things right in front of us.

But the American news media could only see

what was right in front of them

and came flocking to report
on the elephant in the room.

I'm Angie Crouch.

Coming up at 5:30,

animal rights activists are outraged

over an art exhibit involving
a live painted elephant.

"There's an elephant in the room,

a problem that we never talk about,"

says this small white card given to visitors...

What's the matter?

Just say when.

Um, you already got your interview,

so can you...

The magical combination

of controversy, celebrity,
and the painted elephant

turned the show into an event.

We had the sort of attendance
that you get for a decent show

at the Museum of Modern Art or something,

only over three days and in skid row.

So I think a lot of the people in the art world

were a little bit confused as to
how that would happen, you know?

As were we, to be honest.

"Barely Legal"

marked the point at which street art

was forced into the spotlight,

attracting sudden interest
from the art establishment.

In the months that followed,

prices for work by
leading street artists rocketed,

with collectors rushing to get in

on this exciting new market.

Lot number 33A, Banksy,

the vandalized phone box.

And I'll start the bid at $100,000.

$110,000, $120,000,

$130,000, $140,000...

Street art had become
a white-hot commodity.

Now no serious contemporary art collection

would be complete without a Banksy.

For $550,000.

Those little bunnies are Warhols.

That's a Lichtenstein.

And then that's Keith Haring,
who I'm not a fan of.

The Andy Warhol "Mao" is
the first thing I ever bought.

I was, like, 20 years old,
and I put it on layaway,

and it's, you know,
the smaller "Mao."

And it's beautiful.

I mean, it's beautiful, but it's in the closet.

Oh, yeah, here's the Ba— here's a big Banksy.

That one's
from the show in L.A.

I saw Banksy, and I thought he was a genius,

and every person I told
about him bought something,

like people who have Picassos
and, you know, Mondrians

and Paul Klee and—

God, I don't even know who else.

They have— I mean, serious collections.

So then these famous auction houses,

all of a sudden, they were selling street art,

and everything was getting a bit crazier,

and suddenly, it had all become about the money,

but it never was about the money.

So I said to Thierry,

"Right, you have the footage.

"You can tell the real story
of what this art is about.

"It's not about the hype.

"It's not about the money.

"Now is the time.

You need to get your film out."

Banksy had put Thierry
well and truly on the spot.

He now had to devise a way

to transform thousands of hours
of unwatched tapes

into the epic documentary

he had been promising everyone for so long.

So we start working in the back of my house,

doing some editing.

it was, like, kind of a vision that I saw.

And the way that I made it,

I really did it kind of the way,

you know, like, when you have a bucket

and you have a lot of numbers

and you said—

you look in one, and you open,

and you said,
"This is the number 12."

This is the way that I made it, kind of way.

I used to—couple tape here, couple tape here,

couple tape here, couple tape here,

take a little piece over here,

a little piece of that, a little piece of that,

and this is the way that I made it.

Okay, now let's go back a little bit

and do a review, because...

Like, what I say:

I'm playing chess.

I don't know how to play chess,

but life is a chess game for me.

The following spring,
Thierry returned to England.

I'm gonna do a flip.

All his years of filming

and thousands of hours of material

had been crafted
into a 90-minute film

with the intriguing title
Life Remote Control.

He called up, and he came to London

because he said he'd nearly finished the film,

and he came round my house and put the DVD on,

and he said, "This is it.

It's nearly finished."

Um... you know,

it was at that point that I realized

that maybe Thierry wasn't actually a filmmaker

and he was maybe just someone
with mental problems

who happened to have a camera.

It just seemed to go on and on.

It was an hour and a half

of unwatchable nightmare trailers,

essentially like somebody
with a short attention span

with a remote control

flicking through a cable box of 900 channels.

Peace to the whole world.

You have to keep an eye on the big picture.

I told him I'd never seen anything like it,

and I wasn't lying about that.

Yeah, I was faced with that terrible thing

when somebody shows you their work

and everything about it is shit

so you don't really know where to start.

He's like, "It's good," you know?

"It's good," you know?
"It's good."

I mean, the thing is

that Thierry had all this amazing footage

of all this stuff that, you know,

in this tiny world of street art,

was kind of important,

and it was never gonna happen again.

So it felt right to at least make something

that you could actually watch about it.

So I thought, you know, maybe I could have a go.

I mean, I don't know how to make a film,

but obviously, that hadn't stopped Thierry,

but I needed him out of the way

in order to do it, so I said,

"Why don't you go and put up
some more of your posters

"and make some art,
you know, have a little show,

invite a few people,
get some bottles of wine?"

And off he went back to Los Angeles,

and he left me with the tapes.

Thierry returned home
to Los Angeles

full of enthusiasm for
his unexpected new assignment.

Banksy had just given him

what he considered to be a direct order:

to put down his camera

and become a street artist himself.

I think he put me into street art

because I like what he did.

Me, as respecting him, you know,

having him to push you to do street art,

I just went and, like— it was not even a push.

It was, like, an enjoyment
to get pushed, you know.

So now, using the
formula he had seen work so well

for the world's biggest street artists,

Thierry set about creating his own alter ego

and iconic visual style.

I came up with the idea
that the whole movement of art

is all about brainwashing.

"Obey" is about brainwashing.

Banksy's about brainwashing.

So I use MBW,

and I am Mr. Brainwash.

But Mr. Brainwash
had some catching up to do.

Many of the biggest names
in the street art world

had moved on to gallery shows,

so Thierry now started

to plan the next phase of his artistic career.

Fuck!

Film! Film!
Come closer.

Look at the pink.

When Banksy
had suggested to Thierry

that he make some art,

he could never have imagined
just how far things would go.

We have a mountain of—

Thierry had now
remortgaged his business

and sold off whatever he could

to invest in a huge studio,
screen-printing equipment,

and a full-time staff
capable of producing MBW pieces

on a commercial scale.

Just wait one second.
Okay.

No.

Yes.
Yes.

When you have Damien Hirst,

one of the most expensive
artists in our generation today,

and having 100 people working for him,

do you think that he's gonna
come and cut little papers

and start to glue?

No.

I'm not gonna make it.

I'm just gonna come with the idea and say,

"This is what I want,
and I want this like that."

Thierry's creative process, I guess,

he's inspired by other things.

I guess who isn't inspired by other things?

We have, like— look at this.

Like, he goes, and he, like—

four different-color Post-its
in here.

That means—no, five, I think.

So he went through this book four or five times

and, like, selected different pictures,

wrote notes,

and they're all in, like, fairly bad English.

Thierry goes through the books.

He finds the paintings that he likes,

and he comes up with the ideas
on what to change them,

and we scan the image,

and then we Photoshop.

This one is Elvis.

It's, like, a piece that I made.

It's, like, I changed Elvis.

He had a guitar,

and I put in a toy
from Fisher-Price.

You know, a toy
from Fisher-Price,

and this piece called
"Don't Be Cruel."

And this is what I create.

It's, like, to trying to do some lines

that, when you're close to it,

when you're really close to it,

you just see lines.

Any kind of people,

they come to the market, and what they see?

Bar code.

They come to the thing,

so they leave with it.

They brainwash.

That's why I call myself
Mr. Brainwash.

It's because everything that I do

somewhere brainwash your face.

This is one piece that I really like,

kind of way,

an it says, "Bat Papi, 1893."

It's before Batman.

It's Bat Papi.

You know, the papi, it's the father of—

the grandfather of Batman.

You know?

That's who started, you know?

While most artists

work their way up from small beginnings,

Thierry was determined
that Mr. Brainwash

would arrive with a bang.

The former CBS studio complex
covering 15,000 square feet

in the heart of old Hollywood

had lain empty for almost a year

until Thierry decided
it would make the perfect venue

for his debut show,
"Life is Beautiful."

I didn't want to disappoint Banksy.

I wanted to try to do something big.

In the end, it's gonna become, like, a big space

with pictures all around.

I want to make it more like a show.

Like, there is a park amusement;

I'm making it an art amusement.

You know, I change "park"
to "art."

Thierry's plan was
to emulate Banksy's L.A. show

by transforming the cavernous space

into a street art spectacular
filled not just with paintings

but sculptures and installations too.

And if he didn't know how to do
any of these things himself,

he could always employ people who did.

I answered a nondescript ad

looking for sculptors or artists
who could work in papier-mâché.

He said he just needed some things built

and he wanted to know if I could build him

an eight-foot-tall
spray paint can,

and I said, "Absolutely."

And he said, "Can you build me
a monster out of TVs?"

and I said, "Sure."

And then he actually got us into the space

and had us working on a day rate

so that he could kind of
keep coming up with projects

and change 'em around.

With a growing workforce

and Thierry adding new projects by the hour,

the scale of his production

was now running far ahead

of the little show Banksy had suggested.

I was so much focused on it
that I put all my money in it.

Everything that I owned, I put it in it.

I was refinancing the house.

I was putting my life on—

on the border of losing everything that I own.

And just
when it seemed that the pressure

couldn't get any more intense,

and with his grand opening

now set for just three weeks away,

disaster struck.

♪ Go! ♪

So basically, this is the—called—

this bone's called your metatarsal,

and this is the fifth one.

It's all the way on the side of your foot.

And you fractured it right through here,

and this piece has been
pulled back a little bit.

You see that?
- Yeah.

Needing an operation,

Thierry was ordered to slow things down,

and now, under the influence
of pain-numbing drugs,

he at last glimpsed the enormity

of the enterprise he had embarked upon.

It's just so much work to do, prices, and...

it's like being an artist overnight.

You know, that's what's happening to me.

You know?

I'm nobody.

I never did an exposition in a gallery, really.

I never show any work anywhere,

and I'm doing this big show,

and it's all—it's all
a make-up kind of way, you know?

I mean, it was all starting
to sound a little bit crazy.

These reports are coming back

saying that Thierry
had found this huge warehouse

and then he'd broken his leg

and it was all kind of going a little bit wrong.

You know, it sounded like
he needed a little bit of help,

so I rung a few people

that I thought might be able to help him out.

Like, this room looks cool.

This room looks interesting.

This room looks almost done.

if this room stayed like this,
that's cool, but...

But that's one out of four, five, six.

That makes the rest of the rooms look bad.

Myself and my girlfriend, Sonja,
went down there,

and we figured out what he needed

along with a few of the show's other producers.

We made lists of what needed to happen.

What's the capacity of this place?

I don't know.

Capacity's approximately
gonna be, like, 750 to 800.

Got it.

What about getting...

I was very curious how the hell

he was actually gonna finish it and pull it off

and realized he didn't have a clue

of a lot of the final logistics
that needed to happen.

Like I saw in Banksy's show,

mostly, the people came and came back.

He'd seen people do big art shows.

He'd been to them around the world.

He figured, "I want
to do something just as great."

And the insurance?

The insurance, we're taking care of.

With Roger and the team

now taking care of the practical arrangements,

Thierry was free to spend time

selecting which of his many pieces to include

in the show.

Valet parking, or they just go?

But instead,
Thierry busied himself

with a different concern altogether...

hype.

He asked me to promote the show for him,

to give him a quote for a press release,

to send it to my mailing list,
to post it on my website,

and really, to validate what he was doing.

And I was uncomfortable with that,

but I said that I would do it.

So then I got a phone call from Thierry,

or Mr. Brainwash,
as he was now calling himself,

asking if I would give him
a quote to promote his show.

And I didn't think there was any harm in it,

so I wrote him a sentence, and I emailed it off.

But Banksy
could never have guessed

what Thierry had in mind
for his modest contribution.

So this is gonna be like a jail.

It's gonna have bars here.

I'm gonna put some more cans all the way...

The endorsements

were immediately picked up by the media,

and within days, Thierry was being interviewed

by the editor of the city's
biggest listings magazine,

L.A. Weekly.

The only thing
I want to do in L.A.

is to show that Los Angeles
can have great shows.

You know, it's like a revolution kind of way.

A few days later,
Los Angeles awoke

to discover there was a new star in town.

MBW was front-page news.

- Okay.
- "Life is Beautiful."

The L.A. Weekly
also reported

Thierry's promotional brain wave:

the first 200 people to turn up

would be given a free,
one-of-a-kind screen print.

Do you think that people is gonna wait and wait

for the 200 free posters or no?

So now Thierry
had to come up with a way

of turning 200 identical screen prints

into unique, collectible MBW originals.

With a crew of 20 people

working around the clock,

the building was at last

beginning to resemble an art gallery.

But the walls remained bare

because Thierry still hadn't decided

which paintings to frame and hang.

So how did you like
L.A. Weekly?

Following
all the press coverage,

private collectors had begun to inquire

about snapping up
MBW pieces ahead of the opening,

giving Thierry his first insight
into the value of his work.

- The Campbell's Soup
with multi-ply colors.

Yeah, it's very nice, this one.

I would say $24,000.

"Scarface," is it a big one?

Okay, cela $30,000.

Prepare me some canned olive paint.

Just listen to me.

I mean, make them work to do something.

There is nothing to do there?

There is nothing to do?

It's like gold, you know?

'Cause you spray,
and, "How much is it?"

"$18,000.

$12,000."

With his big day now upon him,

Mr. Brainwash
still had plenty to do,

because it was only now,

just eight hours before the doors opened,

that Thierry's paintings finally arrived,

framed and ready to hang,

almost 200 pieces
in a riot of themes and styles.

I have never seen someone
with so much goddamn art

in one art show in my entire life.

I haven't seen group shows
with that much artwork.

Whatever elves Thierry had making that stuff

did a good job.

Outside,
the first eager art fans

were already starting to arrive.

We're here to see
Mr. Brainwash, bro.

He's holed in L.A.
right now, bro.

He's up on every corner.

Come on, guys!

Let's make the show go on!

Fuck!

But inside,

the pressure was starting to show.

Okay, okay, there is one thing,

one thing, one thing.

We're gonna have a meeting.
One thing.

Starting with— starting now, this second,

I'm running the show.

You're not giving order to anybody right now.

I'm running the show.

You listen to me.

Okay?

Anybody's listening to me now.

Okay?
Okay?

So now you follow me.

You're coming with me.

This oil painting,
do you know where is the two...

the two-tone metal spray
over there?

- Yes.
- Yeah.

You take off the two.
You hang down.

The right.
Right.

Right. This wall.
- This wall?

This wall.

Okay, you show me,

and I'll tell you a pile—

a pile good or a pile not good.

You too.

This one, good.

This one, I'm not sure.

This one, good.

By mid-afternoon,

a crowd of almost 2,000 people had amassed

for what was now widely tipped to be

the hottest art event of the year.

How'd you guys find out about this event?

L.A. Weekly.

Do you guys think you still have a shot

at getting a print?

Yes.

I'm expecting to see a mixture

of street art and pop art together.

Really interesting stuff.

Very modern.

No one's really done it the way he's done it.

You know, it's one of those kind of things, man.

I'm not quite sure what I'm in for,

but I'm excited about it.

But Thierry
was still finding distractions

from the task in hand.

Who are you, and what do you do?

I'm Mr. Brainwash.

I was a filmmaker.

I mean, I am still a filmmaker, and...

and I start filming, I felt,

like, because I love art.

Sometimes in life, you have to go—to go—

- I'm so sorry.
- That's okay.

Wait.

No, you've got to come right now.

Or things will turn bad.

You have to make some decisions.

The whole big room is empty.

Okay, can they unroll all the canvas?

I've done it.

Now it's those other big walls opposite...

Okay, I need you to just to take oil painting

and put them in the small room.

Yes, but I've done it.

Put them in any order in the room.

That's done.
It's the other big space.

Just put them all like that.

And I'll come and decide.

- In the big space?
- Put them all out.

And get the canvases rolled out
flat, and I'll come in a bit.

Okay.

It's okay.
I can do another three minutes.

It's okay.

Eventually,
with only three hours left

to get everything ready,

the crew started

putting the paintings
up on the walls themselves.

I brought in three of my staff members

that have been here
since 3:30 or 4:00 working,

hanging stuff, moving stuff, carrying stuff,

you know, working just as hard
as the guys Thierry brought in,

realizing that, frankly,
he's just kind of retarded.

Almost certain

this is probably my last
MBW show I'll be working.

Finally, the doors opened

to a public eager to feast their eyes

on the grand debut
of Mr. Brainwash.

What do you think of the "American Gothic"?

It's gothic.

It's a triumph.

It will go down in history.

I'm glad my friends turned me on to this.

There should be more stuff
like this in Los Angeles.

They say that art is dead,

but, sweetie, it's all around us.

Great.
Bravo.

- It looks like
it's sort of a one-trick pony,

but I think if you look at it particularly

in context as an entire body of work,

I think it's exploring

some interesting notions around celebrity.

I never met the cat till tonight,

but this fool's down for this, dog.

With over 4,000 people
flowing through the venue,

Thierry's entrée into the art world

was nothing less than a sensation.

Amazing.
Thank you so much.

Fantastic.

Right on.
- Yes.

L.A.'s art fans
watched, spellbound,

as a major new star
was born before their very eyes.

So desperate were they

not to miss out on this cultural phenomenon,

those left outside

felt compelled to break through the gates.

- Thank you.
- You're welcome.

It's beautiful.
Keep on doing it.

Most artists spend years perfecting their craft,

finding their style,

and Thierry seemed to miss out
on all those bits.

I mean, there's no one
quite like Thierry, really,

even if his art does look quite
a lot like everyone else's.

I see this particular one

reoccurring in so many different mediums.

Why does that one reoccur so many times?

Because I think it's
part of the popular culture.

Andy Warhol passed away, and I'm here.

Can you guys form a straight
line to the right, please?

But the ultimate validation

was measured in dollars and cents.

By the end of his opening week,

Thierry would sell nearly
$1 million worth of art.

Mr. Brainwash had arrived.

One, two, three.

- Whoo-hoo.
- Yeah.

It was beyond my expectation, like they say.

I would never have thought
that it would be so many people.

And it's not that it was so many people;

they were so happy.

They were so pleased with what they see.

They were so—you know?

They were so touched.

Like, they caught me as Banksy.

Like, they said that I'm
as good as that, you know?

So I love it, you know?

Somewhere it's great, but from the people,

I think I got accepted, you know?

It comes to a point that I got accepted.

Originally booked
to run for just five days,

"Life is Beautiful" stayed open
for a further two months,

and as word about MBW spread,

his pieces appeared in galleries
and shows around the world,

from Miami and New York

to London, Paris, and even Beijing.

He's kind of the rightful heir
to Andy Warhol, in a way.

Andy Warhol made a statement
by repeating famous icons

until they became meaningless,

but he was extremely iconic
in the way that he did it.

But then Thierry really made them meaningless.

How do I feel about being partially responsible

for creating Mr. Brainwash?

I feel like, um...

I had the best intentions.

I think even when you have the best intentions,

sometimes things can go awry.

To put a huge body of work together

and sort of try to, you know, come out

as if he is a fully formed
artist ready for the world stage

I think was a little premature.

I feel good.

I feel good as an artist
to have a reputation now.

You know, an artist is not a guy
that you see in one show

and you can decide who it is

or if he copies Banksy

or if he copies Shepard Fairey,

if he copies—

it's about time.

You'll see in time who I will be,

because with time, you'll see my creativity.

You'll see if I'm a real artist or not.

I do think that the whole phenomenon

of Thierry's obsession with street art,

becoming a street artist,

a lot of suckers buying into his show

and him selling a lot
of expensive art very quickly,

it's—anthropologically, sociologically,

it's a fascinating thing to observe,

and maybe there's some things
to be learned from it.

I don't know what it means,

Thierry's huge success
and arrival in the art world.

I mean, maybe Thierry was a genius all along.

Maybe he got a bit lucky.

Maybe it means art is a bit of a joke.

If Thierry can pull it off, then amazing,

but, you know, it's kind of— I think...

I think the joke is on—

I don't know who the joke's on, really.

I don't even know if there is a joke.

I don't think Thierry played by the rules,

in some ways,

but then, there aren't supposed to be any rules,

so I don't really know what the moral is.

I mean, I always used to
encourage everyone I met

to make art.

I used to think everyone should do it.

I don't really do that so much anymore.

Some people, you know,
might think that I'm a rabbit

because I'm running around,

and they think that I'm not organized.

But I said, "Wait till the end of life,

and you'll see if I'm a rabbit
or a turtle."

♪ Do you know why ♪

♪ You got feelings
in your heart? ♪

♪ Don't let fear of me then fool you ♪

♪ What you see sets you apart ♪

♪ And there's nothing here to bind you ♪

♪ It's no way for life to start ♪

♪ Do you know that tonight
the streets are ours? ♪

♪ Tonight the streets are ours ♪

♪ These lights in our hearts ♪

♪ They tell no lies ♪

♪ Those people ♪

♪ They got nothing in their souls ♪

♪ And they make our TVs blind us ♪

♪ From our vision and our goals ♪

♪ Oh, the trigger of time ♪

♪ It tricks you so you have no way to grow ♪

♪ But do you know that tonight
the streets are ours? ♪

♪ Tonight the streets are ours ♪

♪ These lights in our hearts ♪

♪ They tell no lies ♪

♪ And no one else can haunt me
the way that you can haunt me ♪

♪ I need to know you want me ♪

♪ I couldn't be without you ♪

♪ And the light that shines around you ♪

♪ No, nothing ever mattered
more than my darling ♪

♪ But tonight the streets are ours ♪

♪ Tonight the streets are ours ♪

♪ These lights in our street are ours ♪

♪ Tonight the streets are ours ♪

♪ These lights in our hearts ♪

♪ They tell no lies ♪