CharlieRose: Transcript: Interview with James Spader [Video]
// 5/10/2017

A conversation with Emmy Award-winning actor James Spader, currently starring in “The Blacklist,” known for his work in films such as “Pretty in Pink,” “Sex, Lies, and Videotape,” and “Crash,” and the television series, “The Practice” and “Boston Legal.”

Charlie Rose: James Spader is here. The Emmy Award winning actor is known for bringing life to dark and destructive characters. His films include “Pretty in Pink”, “Sex, Lies and Videotape” and “Crash.” He won three Emmys for his work on “The Practice” and “Boston Legal.” Here’s a look at just some of his work.

Steff Mckee: So we graduate in a month. Now, I want to know when it is you and I are gonna get together and do something.
Andie Walsh: Try never.
Steff Mckee: I’m talking about more than sex here.
Andie Walsh: No, you’re not.
Steff Mckee: You know, I’ve liked you for four years and you treat me like (bleep), you know? I don’t understand that. What’s your problem?
Andie Walsh: Can you get off of my car?
Graham Dalton: I used to express my feelings nonverbally. (MUSIC) And often scared people…who were close to me.
Ann Mullany: Are you still like that?
Graham Dalton: No.
Mr. Grey: Look at it. Do you see that?
Lee Holloway: What?
Mr. Grey: This letter has three typing errors in it, one of which is, I believe, a spelling error.
Lee Holloway: Oh, I’m — I’m sorry.
Mr. Grey: This isn’t the first time either. There have been others that I let go because it was in the first few weeks. This cannot go on.
Alan Shore: If mercy truly lives within these walls, within your hearts as justices, as people, you cannot cause this man to be injected with chemicals for the purpose of killing him for a crime it’s very possible he did not commit. He asked me to tell you that, that he did not commit it. He felt it was important you that you know that.
W.N. Bilbo: Congressmen come cheap, a few thousand bucks will buy you all you need.
Man: The president would be unhappy to hear you did that.
W.N. Bilbo: Well, will he be unhappy if we lose?
Man: The money I managed to raise for this endeavor is only for your fees, your food, and lodging.
W.N. Bilbo: If that squirrel-infested attic you’ve boarded us in is any measure, you ain’t raised much.
Man: Should we get to work? (CRACKING NUTS)

Ultron: This is the best I can do. This is exactly what I wanted, all of you against all of me. How can you possibly hope to stop me?

Charlie Rose: He currently stars as the concierge of crime on “The Black List.” The NBC hit series is now in its fourth season. I’m pleased to have James Spader back at this table. What do you say about those performances?

James Spader: Oh dear, I don’t have much to say about that. They have to speak for themselves. They seem almost disconnected for me when I see them like that. It was funny, almost all of those are, feel like, even more recent things feel like a distant memory. 02:50Charlie Rose: Really?

James Spader: Yes.

Charlie Rose: Why do you think that is? Because so many other interesting things have happened to your life that put those to the background?

James Spader: I think it’s partly that, but it also I think is a question of volume of material, probably more than anything else. I’m working on a television show now and there’s just such an enormous amount of material that one is working with.

Charlie Rose: You keep working as hard as you do for what reason?

James Spader: I wish that I could — I wish that I could come up with an answer that felt not as pragmatic as the truth. But the truth is, is that I work as hard as I do — it’s two-fold. I work as hard as I do because to pay for my life. And the economics of being an actor has changed dramatically in the last 20 years. And even more dramatically in the last ten years, in that, to make a living that I feel that I have to make to pay for my life, one, I have to work on television. The films that I would be interested in doing, the economic model for those films is unsustainable.

Charlie Rose: They don’t pay much.

James Spader: Yes, they are unsustainable and unfortunately I’ve built an expensive life.

Charlie Rose: What does that mean, an expensive life?

James Spader: Homes.

Charlie Rose: Does that mean a plane and a boat and homes and all that?

James Spader: No plane. A small wooden sailboat, but homes and —

Charlie Rose: Travel.

James Spader: — travel and family.

Charlie Rose: Yes.

James Spader: Extended family and so on. And so, one, I have found that television is able to finance many other things. For instance, I would not have been able to do “Lincoln” which I loved doing. I would not have been able to do that if I wasn’t working for a year as a guest on “The Office”, a television show.

Charlie Rose: Yes.

James Spader: Even “The Avengers” was a film that I had great fun doing and paid all right, but unless it becomes a franchise for one, where you’re doing one after another of those Marvel movies, it’s not a career. Nowadays, to a great degree and it’s probably the reason for the explosion on television, in terms of programming, is that writers and directors and actors have migrated, to a great degree, to television to be able to pay for the plays and the films that they might like to do.

Charlie Rose: But at the same time, you can do very good work on television now.

James Spader: Very. Here’s the thing —

Charlie Rose: They can tell stories on television they couldn’t tell.

James Spader: Yes. Here’s the second part of the answer to that question which is, one can work in television and not work particularly hard, but I just don’t know how to do it any other way. That’s just the way I know how to do it.

Charlie Rose: In other words, you have your own standards?

James Spader: I bury myself in the work. It’s why when I did films, when that’s all I did, I didn’t do many of them. I did as few of them as I possibly could because I just buried myself in it when I was doing it. And then, so when I stopped, I was relieved and glad to have stopped. Well, I do the same on the television show but a television show is a very different animal than a film. A television show swallows you whole, chews you up, and refuses to spit you out. So you’re in it for quite some time. And you’re paid well for that and that’s lovely. And you have — you build a relationship with your viewers that really becomes a partnership in an odd way. You must face that as well.

Charlie Rose: Of course.

James Spader: And it’s — there’s an understanding between yourself and your viewers and an expectation that one becomes beholden to, I think.

Charlie Rose: You do.

James Spader: Yes.

Charlie Rose: You really do.

James Spader: Yes.

Charlie Rose: I mean, you don’t want to do less than your best because they expect that.

James Spader: I think so, I think so.

Charlie Rose: You have been doing this for a long time though. You left home at 17?

James Spader: 17, yes.

Charlie Rose: You said, I’m going to be an actor.

James Spader: No, I think at first I thought it would be fun to be a private detective.

Charlie Rose: Oh, I see, but you left home.

James Spader: But I left home and moved to New York.

Charlie Rose: You said no college, no…

James Spader: I let it sort of sneak up on me more than anything. I said I’m gonna move to New York now and see what happens. I’m just gonna be there for a bit and we’ll see what happens. And next, one thing led to another and I worked in a string of odd jobs, different manual labor jobs and realized that was not going to be a career for me. And making believe and pretending was something I’d done since I was a kid and realized I could make a living at it, so I continued with it.

Charlie Rose: All without going to acting classes and all that.

James Spader: No, I did. There was a man named Blair Cutting who taught at a studio here in town called the Michael Chekhov Studio.

Charlie Rose: Yes.

James Spader: Beatrice Straight, the actress, had helped form the studio with this man, Blair Cutting. I studied with him on and off, really for the fun of it more than anything else. He was great fun. He was a clown. It was really great fun. I studied with him off and on until he died and then that was the end of my studying.

Charlie Rose: But you learned a lot.

James Spader: I learned to have fun and I learned to be fast on my feet. And we did a lot of improvisation in the class. I loved that. I learned how to just relax and just continue to play. What I have found is that it takes an enormous amount of work and practice and effort to remind yourself just to do the same thing you did when you were seven playing cops and robbers in the backyard. And you adopt a lot of baggage. You hold on to a lot of baggage as you grow up and get older, which is completely superfluous and should get rid of it and just go and make believe and play cops and robbers, that’s the best way.

Charlie Rose: How many — if you look at the offers that you get to do different things, what percentage of them, in a sense, are the kind of character you did in “Boston Legal” and you do today, the notion of the unsavory, but somehow compelling character? Is that 75 percent of what people want you to do because they see you doing that and they say, a-ha.

James Spader: I think it’s also a matter of searching things out or things that, you know, I don’t think I would be comfortable at all in just a straight dramatic role or a straight comedic role or just a — I like dichotomy in a character. I like irreverence. I look for dichotomy in characters and I look for a conflict. And I also have never been very good at — I like playing a provocateur in a film or a show of any kind. Whether it is — David Mamet offered me a play on Broadway. That was great fun and I played a provocateur in that as well.

Charlie Rose: What do you think that is? Simply, that’s the more interesting to you, get more —

James Spader: Probably.

Charlie Rose: — chance to sort of…

James Spader: I think I’ve spent also a long time — it’s evident from looking at the clips we looked at — I spent my career growing into myself physically and growing into the character actor that really I wanted to be right from the very beginning. I didn’t look like that particularly when I was young. So I played bad guys and I played this and that. But I think I eventually grew into what — “Lincoln” was a great example of that. I could have played that character in “Lincoln” for months and months and months and months. I really loved playing that character.

Charlie Rose: Why?

James Spader: I just liked his company a great deal.

Charlie Rose: Yes. Liked being in his skin?

James Spader: I did. He had a great lust for life and yet he was doing something very important that I think he felt was very, very important, and yet, he did it with utter irreverence. And I think I probably looked for that quality in this show that I’m on, as somebody —

Charlie Rose: In Red.

James Spader: Yes, in Raymond Reddington, I think I — you know, when one is committing to a television series, it’s a significant commitment. I lie to myself and tell myself that, oh, if I can’t bear it, I can escape somehow, but you can’t really. If it’s a hit, you’re in trouble.

Charlie Rose: Yes.

James Spader: But —

Charlie Rose: It’s been on how many years?

James Spader: This is the fourth season that’s on right now. But I think I was looking for that, looking for somebody who, no matter what his life may be, and as dire as things might be, that he always retain an irreverence or a sense of humor, and also, a great appreciation, which I found so strangely, again, dichotomous in him, is the fact that somebody who is dealing in the realm between life and death. That very narrow, narrow strip between life and death, that someone who lives so much of his life in that tiny little median strip, has such an enormous appreciation for life and has a true sense of the precious nature of life that all the world has to give.

Charlie Rose: When you play these characters, does each one build on the other? In other words, I assume, every interview I do should inform another interview that I do, you know. And they all have their own life, but they should inform it and you should learn something if you pay attention to what you’re doing. I would assume it’s the same way with characters.

James Spader: Yes —

Charlie Rose: Characters teach you about your range and your limits and how to go beyond them.

James Spader: And your interests and your curiosities. You know, a good percentage of the films that I’ve picked over the years have just been about something I was sort of curious about.

Charlie Rose: Yes.

James Spader: And in looking for — certainly looking for a character to play on television, it better be a character that I feel like I’m going to be curious about for a while and therefore, someone that you don’t — One of the great things about on “The Blacklist” and the pilot, and even, I think, probably for the first season, if not two seasons, and even today, is that the project was the story and the world and his life and this character was enigmatic enough where I felt like I could take a long period of time getting to know him.

Charlie Rose: Explain for people who have not yet seen “The Blacklist”, even though it’s been on four years, who he is.

James Spader: He’s a man who has led a criminal life for going on three decades now, 25 years or something. He has been wanted by the FBI, on their most wanted list for some time. He’s now made it to number one, I think, on the show, that’s where he is at. One day, four years ago, he surrendered himself to the FBI, to a specific person at the FBI that he knew. The assistant director, Harold Cooper, played by Harry Lennix. And he surrendered himself and said that he would make a deal with them where he could continue to live his life and be out and about and so on. But he would give them perpetrators that were on his list. But that he would only work through this one woman, young woman, that she would be his liaison to the —

Charlie Rose: A certain relationship there in terms of, almost, you know, certain respect for each other and a certain sense of —

James Spader: Yes.

Charlie Rose: Was it more than that in a sense?

James Spader: I think that’s what the show to a great degree about is, the nature of that. And the nature of Reddington’s relationships with all of the people in his sphere of influence. Because this relationship he has with the FBI wasn’t public knowledge. The FBI as a whole are in fact still hunting him and he is still on the most wanted list. As a matter of fact, during his time working with this secret task force, he actually moved up on the list to number one. So he’s still out there committing crimes and living an illicit life.

Charlie Rose: But he has made a bargain with the —

James Spader: But he has made a bargain. They’ve made a Faustian bargain with him.

Charlie Rose: And the person who encapsulates the character you do, they have to be smart too. And I think part of the attraction is that they are so smart that they can outwit lots of people and clearly bad guys.

James Spader: But there is something enormously compelling to all of us about gangsters.

Charlie Rose: Especially — your guy is pretty violent too.

James Spader: Yes, he is. He is, yes.

Charlie Rose: Is that good or bad in terms of your own sense of the fun of it all?

James Spader: I think he’s well aware — I know he’s well aware of the costs that comes with that. But he lives in a world that that exists in and it would be foolish of him to think that it doesn’t.

Charlie Rose: You know, I often ask athletes especially, why do you still do it, if they do it beyond a certain time? You know, boxers, say. I once asked this of Sugar Ray Leonard.

James Spader: Yes.

Charlie Rose: I said, why do you do this? And he had made a lot of money and had success. He had a group of advisers that — 19:03 James Spader: Right, they saved it.

Charlie Rose: Saved it for him, yes. And he said, Charlie, it’s what I do, it’s what I know.

James Spader: I just had a conversation with a great friend of mine today about that very thing because the show had wrapped for the season and I was talking about how I was so happy to just be able to walk in the park and take a nap. And we were talking about that very thing. Like, what does one go on and what drives one to go forward? I say to him and I perhaps was being glib but I said, well, I have to pay my bills. I’ll be working until the day I die just to pay my bills.

Charlie Rose: Because of the lifestyle I like.

James Spader: But at a certain point, one must fess up I suppose and face the fact that there is another reason why. It isn’t just to do that. That there is something else that — a need for that.

Charlie Rose: You like doing something you know you do well and people who you know know you do it well.

James Spader: Because Sugar Ray Leonard can pose the question right back at you, Charlie, as well.

Charlie Rose: And do you have time to read during the season?

James Spader: I can read nonfiction during the season. I have trouble reading fiction. Just because I’m consuming such an enormous volume of material, fictional material for the show.

Charlie Rose: Right.

James Spader: And therefore, I don’t tend to be looking for more fictional — so I tend to read nonfiction during the season. Then as soon as I get a break at Christmastime or during summer hiatus or any time I get a week off or something, I just read fiction.

Charlie Rose: Take a look at this. This is a clip in which Red, his character, goes to war with his nemesis, Mr. Kaplan. Here it is.

Red: Are you familiar with Master James of Saint George? Favored architect of Edward I? Do you know why? Concentric construction. He literally built castles within castles. Impossible to penetrate. You could breach the outer wall only to be faced with a heavily fortified gatehouse and Barbican and a high inner wall lined with archers. Pity the poor foot soldier who made it that far. The architecture of my organization has risen stone by stone over decades. You can’t get inside to hurt me, Kate.

Kate Kaplan: You forget I was by your side the whole time. I know what was required to amass your power, who you hurt, who you betrayed, who you killed. More importantly, as your cleaner, I know where the bodies are buried… were buried, deary. And I’m going to use them and the stories they tell to put you in the ground.

Red: You’ve been busy. (SONG) These boots are made for walking… And that’s just what they’ll do… One of these days these boots are gonna walk all over you…

Charlie Rose: So tell me about that scene.

James Spader: That’s a woman named Mr. Kaplan, who’s been an associate of his for a long, long time. And she was his cleaner. She would clean up his mess. Disposing of bodies and cleaning a crime scene. And has for years and years and years and years and years, since the beginning. And they had a terrible falling out, and so she has —

Charlie Rose: She knows all the secrets.

James Spader: She knows all the secrets and that’s an ice hockey rink that has the remains of 86 — there’s 86 bodies that she has gone around the country and dug up from different places where she disposed of them. And she has brought them to this ice hockey rink and they are all on ice. And she is about to turn those 86 bodies with all of the records that are associated with those different individuals, turn them over to the FBI.

Charlie Rose: The possibility of 86 new indictments.

James Spader: Yes.

Charlie Rose: Roll tape. This is where you see Red expressing his love for his bodyguard and confidante, Dembe. Here it is.

Red: Most of my associates are under the impression that once I’ve granted them a favor, they’re indebted to me for life, but it’s a false assumption. They’re indebted to me because I make them a lot of money. They’re loyal to me because I’ve earned it. It’s a good business. But at the end of the day, it’s just business. In service of what? Safety, security, health and well-being of the ones we love. Well, I really only have one friend. You’re my friend. And I misjudged you in a way that no apology can suffice. I am ashamed of that. I want you to keep that box and on the day you decide to leave–
Dembe: I’m not going to leave.
Red: But you can.

Charlie Rose: Does he want him to leave or not leave?

James Spader: No, he’s devoted to him.

Charlie Rose: Yes.

James Spader: He’s a really fantastic gentleman. Hisham Tawfig, who plays Dembe, retired just in the last year I guess, or two years, 20 years in the New York City Fire Department, he has been a fireman. First three seasons of our show, he was still working as a fireman up at the Harlem Hilton.

Charlie Rose: And a good actor.

James Spader: And a good actor. I can’t imagine doing the show without him. He’s just — everything — our relationship is very similar to the show. That feeling you get from him is just what he brings to our day. And he’s with me in every scene. I mean, we’re — I don’t think there is a day that I can remember where he and I are not working together. He’s always there.

Charlie Rose: I am also amazed about how many your director uses close-ups, it is almost like “60 Minutes.”

James Spader: Yes. That’s something came out of a discussion when we were shooting the pilot. There was a disagreement between the producers and the director of the pilot about the frame. And there was a scene where the character that I was playing was sitting in this box manacled to a chair. And they shot a sort of wide shot and it was a longish scene played with the character of Elizabeth Keen. And he sort of came in very slowly but didn’t go in any tighter than say waist or something like that. The director for the pilot felt that he wanted to stop there. He said, I think it plays great wide like that. I think it really plays fantastically. And the producers came over and said, you have to come in for a close shot. And they started to sort of argue back and forth. And I was standing right there. I said, why don’t you come into here? Almost uncomfortably close right inside your head. And that’s the show.

Charlie Rose: A pleasure to have you.

James Spader: Thank you.

Charlie Rose: Come back.

James Spader: I will.

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Thank you, everyone โ™กโ™คโ™ก

๐Ÿ‡ฆ๐Ÿ‡ซ๐Ÿ‡ฆ๐Ÿ‡ฝ๐Ÿ‡ฆ๐Ÿ‡ฑ๐Ÿ‡ฉ๐Ÿ‡ฟ๐Ÿ‡ฆ๐Ÿ‡ด๐Ÿ‡ฆ๐Ÿ‡ฎ๐Ÿ‡ฆ๐Ÿ‡ฌ๐Ÿ‡ฆ๐Ÿ‡ท๐Ÿ‡ฆ๐Ÿ‡ฒ๐Ÿ‡ฆ๐Ÿ‡ผ๐Ÿ‡ฆ๐Ÿ‡บ๐Ÿ‡ฆ๐Ÿ‡น๐Ÿ‡ฆ๐Ÿ‡ฟ๐Ÿ‡ง๐Ÿ‡ธ๐Ÿ‡ง๐Ÿ‡ญ ๐Ÿ‡ง๐Ÿ‡ฉ๐Ÿ‡ง๐Ÿ‡ง๐Ÿ‡ง๐Ÿ‡พ๐Ÿ‡ง๐Ÿ‡ช๐Ÿ‡ง๐Ÿ‡ฟ๐Ÿ‡ง๐Ÿ‡ฏ๐Ÿ‡ง๐Ÿ‡ฒ๐Ÿ‡ง๐Ÿ‡น๐Ÿ‡ง๐Ÿ‡ด๐Ÿ‡ง๐Ÿ‡ฆ๐Ÿ‡ง๐Ÿ‡ผ๐Ÿ‡ง๐Ÿ‡ท๐Ÿ‡ง๐Ÿ‡ณ๐Ÿ‡ฐ๐Ÿ‡ญ๐Ÿ‡จ๐Ÿ‡ฒ ๐Ÿ‡จ๐Ÿ‡ฆ๐Ÿ‡ง๐Ÿ‡ถ๐Ÿ‡ฐ๐Ÿ‡พ๐Ÿ‡จ๐Ÿ‡ฑ๐Ÿ‡จ๐Ÿ‡ณ๐Ÿ‡จ๐Ÿ‡ด๐Ÿ‡จ๐Ÿ‡ท๐Ÿ‡ญ๐Ÿ‡ท๐Ÿ‡จ๐Ÿ‡บ๐Ÿ‡จ๐Ÿ‡ผ๐Ÿ‡จ๐Ÿ‡พ๐Ÿ‡จ๐Ÿ‡ฟ๐Ÿ‡ฉ๐Ÿ‡ฐ๐Ÿ‡ฉ๐Ÿ‡ฏ๐Ÿ‡ฉ๐Ÿ‡ด ๐Ÿ‡ช๐Ÿ‡จ๐Ÿ‡ช๐Ÿ‡ฌ๐Ÿ‡ธ๐Ÿ‡ป๐Ÿ‡ช๐Ÿ‡ช๐Ÿ‡ช๐Ÿ‡น๐Ÿ‡ช๐Ÿ‡บ๐Ÿ‡ซ๐Ÿ‡ด๐Ÿ‡ซ๐Ÿ‡ฏ๐Ÿ‡ซ๐Ÿ‡ฎ๐Ÿ‡ซ๐Ÿ‡ท๐Ÿ‡ฌ๐Ÿ‡ซ๐Ÿ‡ต๐Ÿ‡ซ๐Ÿ‡ฌ๐Ÿ‡ช๐Ÿ‡ฉ๐Ÿ‡ช๐Ÿ‡ฌ๐Ÿ‡ญ ๐Ÿ‡ฌ๐Ÿ‡ฎ๐Ÿ‡ฌ๐Ÿ‡ท๐Ÿ‡ฌ๐Ÿ‡ฉ๐Ÿ‡ฌ๐Ÿ‡ต๐Ÿ‡ฌ๐Ÿ‡บ๐Ÿ‡ฌ๐Ÿ‡น๐Ÿ‡ฌ๐Ÿ‡พ๐Ÿ‡ญ๐Ÿ‡น๐Ÿ‡ญ๐Ÿ‡ณ๐Ÿ‡ญ๐Ÿ‡ฐ๐Ÿ‡ญ๐Ÿ‡บ๐Ÿ‡ฎ๐Ÿ‡ธ๐Ÿ‡ฎ๐Ÿ‡ณ๐Ÿ‡ฎ๐Ÿ‡ฉ๐Ÿ‡ฎ๐Ÿ‡ท ๐Ÿ‡ฎ๐Ÿ‡ถ๐Ÿ‡ฎ๐Ÿ‡ช๐Ÿ‡ฎ๐Ÿ‡ฒ๐Ÿ‡ฎ๐Ÿ‡ฑ๐Ÿ‡ฎ๐Ÿ‡น๐Ÿ‡ฏ๐Ÿ‡ฒ๐Ÿ‡ฏ๐Ÿ‡ต๐Ÿ‡ฏ๐Ÿ‡ช๐Ÿ‡ฏ๐Ÿ‡ด๐Ÿ‡ฐ๐Ÿ‡ฟ๐Ÿ‡ฐ๐Ÿ‡ช๐Ÿ‡ฐ๐Ÿ‡ผ๐Ÿ‡ฑ๐Ÿ‡ฆ๐Ÿ‡ฑ๐Ÿ‡ป๐Ÿ‡ฑ๐Ÿ‡ง ๐Ÿ‡ฑ๐Ÿ‡พ๐Ÿ‡ฑ๐Ÿ‡ฎ๐Ÿ‡ฑ๐Ÿ‡น๐Ÿ‡ฑ๐Ÿ‡บ๐Ÿ‡ฒ๐Ÿ‡ด๐Ÿ‡ฒ๐Ÿ‡ฐ๐Ÿ‡ฒ๐Ÿ‡ผ๐Ÿ‡ฒ๐Ÿ‡พ๐Ÿ‡ฒ๐Ÿ‡ป๐Ÿ‡ฒ๐Ÿ‡ฑ๐Ÿ‡ฒ๐Ÿ‡น๐Ÿ‡ฒ๐Ÿ‡ถ๐Ÿ‡ฒ๐Ÿ‡บ๐Ÿ‡ฒ๐Ÿ‡ฝ๐Ÿ‡ซ๐Ÿ‡ฒ ๐Ÿ‡ฒ๐Ÿ‡ฉ๐Ÿ‡ฒ๐Ÿ‡จ๐Ÿ‡ฒ๐Ÿ‡ณ๐Ÿ‡ฒ๐Ÿ‡ช๐Ÿ‡ฒ๐Ÿ‡ฆ๐Ÿ‡ฒ๐Ÿ‡ฟ๐Ÿ‡ณ๐Ÿ‡ฆ๐Ÿ‡ณ๐Ÿ‡ต๐Ÿ‡ณ๐Ÿ‡ฑ๐Ÿ‡ณ๐Ÿ‡จ๐Ÿ‡ณ๐Ÿ‡ฟ๐Ÿ‡ณ๐Ÿ‡ฎ๐Ÿ‡ณ๐Ÿ‡ฌ๐Ÿ‡ฒ๐Ÿ‡ต๐Ÿ‡ณ๐Ÿ‡ด ๐Ÿ‡ด๐Ÿ‡ฒ๐Ÿ‡ต๐Ÿ‡ฐ๐Ÿ‡ต๐Ÿ‡ธ๐Ÿ‡ต๐Ÿ‡ฆ๐Ÿ‡ต๐Ÿ‡ฌ๐Ÿ‡ต๐Ÿ‡พ๐Ÿ‡ต๐Ÿ‡ช๐Ÿ‡ต๐Ÿ‡ญ๐Ÿ‡ต๐Ÿ‡ฑ๐Ÿ‡ต๐Ÿ‡น๐Ÿ‡ต๐Ÿ‡ท๐Ÿ‡ถ๐Ÿ‡ฆ๐Ÿ‡ท๐Ÿ‡ช๐Ÿ‡ท๐Ÿ‡ด๐Ÿ‡ท๐Ÿ‡บ ๐Ÿ‡ท๐Ÿ‡ผ๐Ÿ‡ผ๐Ÿ‡ธ๐Ÿ‡ธ๐Ÿ‡ฆ๐Ÿ‡ธ๐Ÿ‡ณ๐Ÿ‡ท๐Ÿ‡ธ๐Ÿ‡ธ๐Ÿ‡จ๐Ÿ‡ธ๐Ÿ‡ฌ๐Ÿ‡ธ๐Ÿ‡ฝ๐Ÿ‡ธ๐Ÿ‡ฐ๐Ÿ‡ธ๐Ÿ‡ฎ๐Ÿ‡ธ๐Ÿ‡ด๐Ÿ‡ฟ๐Ÿ‡ฆ๐Ÿ‡ฐ๐Ÿ‡ท๐Ÿ‡ธ๐Ÿ‡ธ๐Ÿ‡ช๐Ÿ‡ธ ๐Ÿ‡ฑ๐Ÿ‡ฐ๐Ÿ‡ฐ๐Ÿ‡ณ๐Ÿ‡ฑ๐Ÿ‡จ๐Ÿ‡ป๐Ÿ‡จ๐Ÿ‡ธ๐Ÿ‡ฉ๐Ÿ‡ธ๐Ÿ‡ท๐Ÿ‡ธ๐Ÿ‡ช๐Ÿ‡จ๐Ÿ‡ญ๐Ÿ‡ธ๐Ÿ‡พ๐Ÿ‡น๐Ÿ‡ผ๐Ÿ‡น๐Ÿ‡ฟ๐Ÿ‡น๐Ÿ‡ญ๐Ÿ‡น๐Ÿ‡น๐Ÿ‡น๐Ÿ‡ณ๐Ÿ‡น๐Ÿ‡ท ๐Ÿ‡น๐Ÿ‡ฒ๐Ÿ‡ป๐Ÿ‡ฎ๐Ÿ‡บ๐Ÿ‡ฌ๐Ÿ‡ฆ๐Ÿ‡ช๐Ÿ‡บ๐Ÿ‡ฆ๐Ÿ‡ฌ๐Ÿ‡ง๐Ÿ‡บ๐Ÿ‡ธ๐Ÿ‡บ๐Ÿ‡พ๐Ÿ‡บ๐Ÿ‡ฟ๐Ÿ‡ป๐Ÿ‡ช๐Ÿ‡ป๐Ÿ‡ณ๐Ÿ‡พ๐Ÿ‡ช๐Ÿ‡ฟ๐Ÿ‡ฒ๐Ÿ‡ฟ๐Ÿ‡ผ

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