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“88” movie soundtrack


Listen to one of the song from the “88” original soundtrack performed by the Canadian Peter Katz : “Where the light used to be“.

Peter Katz-Where the light used to be

“My good friend and super talent Karen Kosowski and I were recently commissioned to write a new song for a movie called ’88′. I’m thrilled with how this turned out. Karen also produced it, like a boss. It’s a different sound for me, you can listen to it on Youtube and if you like what you hear, then it’s also now available on iTunes worldwide. The movie itself is now available in the US and will be released in Canada in April. And it stars Christopher Lloyd.”

Peter Katz

“The movie “88” just came out in the USA and now the single I wrote and produced for it has been released by Peter Katz worldwide on iTunes. You can preview it on Youtube along with the movie trailer. “88” is a fast-paced thriller starring Christopher Lloyd (Back To The Future) and Katharine Isabelle (Hannibal). The movie will be released in Canada in April.”

Karen Kosowski

You can download the track on iTunes or Emusic !

April Mullen Interview for Horror Talk


April Mullen takes the time to chat with us about her new film 88. April is one half of WANGO Films, which she co-founded with Tim Doiron, who is also the writer of 88. 

April Mullen - Headshot 2012 (1)

Richelle Charkot: Tell us a little about 88, what creative influences were present when you directed this film?

April Mullen: The concept of the entire film came from an intrigue with how the mind can literally shut down and run on auto pilot (aka “Fugue State”) if it experiences a major traumatic experience. Tim Doiron (writer/producer) and I wanted to explore a revenge story where we were able to also include unique visual and auditory hallucinations creating two different worlds and personas. Tim and I love creating new worlds and unique characters when storytelling. We’re always hoping to create something never seen before. In terms of influences, I pull from everything and everywhere. I go day by day; absorbing photographs, people, films, advertisements, environments, relationships and stand out moments. I pay attention to/obsess over the sparks that stand out in life and literally pull from that all the time. In terms of other filmmakers, I adore film of all types, especially filmmakers who see projects from concept to screen and are constantly pushing their imaginations to bring something new to the audience; Wes Anderson, The Coen Brothers, Tim Burton, Woody Allen, PT Anderson, Neill Blomkamp, David Michod and Wong Kar-Waito to name a few.

RC: What themes in 88 are universally relatable, in spite of the fact that this movie depicts an extreme situation? What is it about this film that is going to make viewers emotionally involved?

AM: At the core of 88 is the universal theme of revenge, forgiveness and love. It’s simply about a human being struggling to deal with an extreme circumstance. As audience members go through the mystery and journey of revenge, it’s rooted in true love and forgiveness. Having the themes of the film stand on opposite side of the spectrum gives the audience room to feel a wide range of emotions for both our lead and villain. At times there will be surprises and unexpected twists which allow viewers to question what’s happening and who’s to blame or feel compassion for.

RC: Tell me about one of your favourite memories from working on the set of 88.

AM: Shooting is my favorite part of the creative process. After working on the script and on computers planning for over a year, it’s so exciting to come out of the gate and start running. Tim and I really love watching the world come together in front of our eyes. It’s exhilarating to be with the actors and crew, building the story and world hour by hour…it’s addictive. I have to say, on day one, I remember doing a happy dance after the first few hours purely at how quickly we could move because the last feature Tim and I did (Dead Before Dawn 3D) was in stereoscopic 3D and the shooting process was a lot slower. I forgot how much freedom and extra time we would have shooting in 2D. On day one I also got to see Gwen (Katharine Isabelle) and Aster’s (Kyle Schmid) chemistry, which a lot of the film hinges on, so that was a major weight lifted. Another great moment was watching Christopher Lloyd in the cabin climax scene. I sat back in awe at his unique choices and encouraged this whole new side to the legend. Even though 88 was our first non-comedic feature, the crew and team were young, passionate, talented and fun and there was a lot of laughs on set.

RC: How early in your life did you start to tell stories visually, and with what means?

AM: I started as soon as I could. At around the age of 6/7 I was directing the neighborhood kids in shows set in the courtyard for parents to see. I have three younger sisters and putting together shows and performances was literally happening on the regular. I fell in love with the pure freedom acting allowed me at around 9 years old…I felt exhilaration being able to express myself through completely different people, I was really quiet and shy personally, but on stage I felt at home and free. Acting in film/TV turned into a world of observation and learning while on set. I never left the director’s monitor and respected the entire process. I am continuously inspired and motivated by story telling, creating unique characters and worlds then bringing the entire puzzle pieces together.

RC: Is there any particular one movie that first inspired you want to get into the film industry?

AM: Not really one film or one moment…I got drawn to it from the beginning almost unconsciously, it sunk its teeth into me pretty early and it’s all I really know. I have been immersed in all aspects of the creative process my whole life, just streamlined it around 10 years ago by forming WANGO Films, our production company, so that we could produce and create our own material and stay true to our voices.

RC: Why do you think people enjoy horror films or thrillers? What do we learn about ourselves while watching these types of movies?

AM: Thrillers keep your heart rate up and audiences on the edge of their seats (that’s exciting entertainment), and with 88 it’s the whole mystery of trying to figure out what’s really happening and connecting the dots. Mind benders allow an audience to keep on guessing and to be continuously challenged – and surprises are fantastic when they are genuinely unexpected. Films that are full of new visuals and enticing characters really get the hearts and imaginations pumping…

RC: This month is Women in Horror Month, a celebration of all the women who contribute to the horror genre. Although there are so many wonderful women horror/thriller filmmakers, as well as females accounting for more than half of recorded ticket sales, it is still often mistaken as an exclusively male-geared genre. What advice do you have for women who are disparaged for liking gritty cinema? Have you ever been told anything as ridiculous?

AM: This is a tough question. I’ve always been a huge film lover, people/critics can be very harsh with judgement…I stay away from all “that” as much as possible and just keep trucking – too much work and creativity to be had. No matter what the size or genre of film, or whether a man or woman is behind the creation of it, a lot of energy, passion and risk taking goes into the process and I respect all filmmakers alike. I believe now more than ever that it’s imperative to keep creating unique stories as independent filmmakers. 88 is bold, new and full of never been seen before moments.

RC: What’s your favourite revenge flick and why?

AM: I have too many to mention, but to name a few: Oldboy, Run Lola Run, Memento, The Rover, Death Wish, Dead Man’s Shoes, True Romance, The Great Silence, The Raid, Kill Bill, The Outlaw Josey Wales, The Crow, Hanna, A History of Violence, Red Road, Django Unchained, The Princess Bride, V for Vendetta, City of God, and The Godfather. I love when a film stamps an impact in my mind and I cannot stop thinking about it, every aspect of it!

RC: What characteristics make for a good lead character in a revenge movie? What qualities does Katharine Isabelle possess that makes her performance work in this role?

AM: I believe the characteristics that make a good lead character in a revenge flick all start with the motive. Audiences have to feel compassion for the lead and need to relate to the pain that’s causing the revenge parade to begin. The lead needs to be vulnerable, determined, flawed and passionate about their plight. In the role of Gwen, Katharine displays great love and heartbreak, which propels her motive to seek revenge on her lover’s killers. Katharine plays two versions of the same character; Flamingo (her Fugue State alter ego) embodies confidence, strength, zero fear, and focus. Flamingo is compelling, impulsive and animalistic. The second version is Gwen (the victim), who allows the audience to see the pain, vulnerability, fear, longing, and confusion she’s experiencing. The contrast between these characters creates a whole that audiences can relate to as Gwen’s journey unravels. Katharine’s transitions between the two are simple at times and never over the top, which was essential for 88 because the worlds of “Fugue State/Flamingo” vs.”Present State/Gwen” do most of the work with visual aesthetics, hallucinations, and the interacting characters.

RC: What is next for you?

AM: I just finished a paranormal thriller, entitled Farhope Tower, and am currently in the middle of prep on a film shooting here in LA, entitled Badsville, which is a unique script full of very high stakes. With regards to WANGO Films, we are in development with a new big budget comedy that we are excited about. That will be filming in late 2015.

Source : Horror Talk – April Mullen Interview (08/02/2015)

April and Tim attending the Glasgow Film Festival


Glasgow Film Festival (GFF) has announced the next wave of guests set to attend its upcoming 11th edition, taking place Feb 18-March 1.

88 Poster (1)

The festival’s FrightFest guests include director April Mullen and writer Tom Doiron for 88, director Hans Herbot for The Treatment, director Russell Gomm for The Woods Movie and director Matt Winn for The Hoarder.

“88” movie review by The Final Cut


Check out this video movie review from “The Final Cut” !

Christopher Lloyd discusses his career and latest film “88”


Since he made his film debut as an asylum patient in 1975’s One Flew Over the Cuckoo’s Nest, Christopher Lloyd has played many of television and cinema’s most memorable eccentrics. Several of these roles include the spaced-out cabbie Jim Ignatowski on TV’s Taxi; the sinister cartoon, Judge Doom, in Who Framed Roger Rabbit; wacky Uncle Fester in The Addams Family movies; Clue’s Professor Plum; and the nefarious Kruge in Star Trek III: The Search for Spock. His most beloved role, however, is likely Doctor Emmett Brown—the inventor of time travel—in the Back to the Future trilogy. Since that breakthrough performance 30 years ago, Lloyd has had no shortage of work; he’s acted in more than 100 films and TV shows in the last three decades.

88-Niagara Falls Review by Mike Di Battista 10.10.2013 (7)

Lloyd recently teamed up again with filmmakers April Mullen and Tim Doiron for their new movie, 88. The fast-paced revenge film follows a young woman who wakes up in a diner with a gun and purse full of gumballs, with no memory of how she got there or what she’s done. Christopher Lloyd stars opposite actress Katharine Isabelle as the remorseless leader of an underground crime network.

The Hollywood legend spoke with us about his long career, his favorite type of role, and the making of his latest movie.

Austin Trunick [Under the Radar]: Jumping right to your latest film, 88—what drew you to this particular role when you received the script?

Christopher Lloyd: It was this kind of role… You know, I’m often stereotyped—I have no problem with it—for comic, kind of odd-type characters. It’s kind of a common theme. I always want to be able to do anything; I don’t want to be stereotyped. And this role afforded me that opportunity. I thought it was well-written. The character was different from anything I’d done on screen before. I really relished that, and was delighted to be a part of it.

You’ve played both heroes and villains over the years. I’m curious, is it more fun to play a villain?

There is something deliciously fun about it. You know, [this] character really has no moral conscience and justifies with himself that it’s okay to raise havoc and do the things he does without feeling guilty about it. He’s just, “That’s the way I am, this is the way I do things. To hell with the rest of you.” It’s kind of fun to just go with that.

This is your second movie with director April Mullen and Wango Films. [Lloyd also appeared in 2012’s Dead By Dawn 3D.] Judging by the kind of movies she makes and the roles she plays in them herself, I imagine she has to be fun to work with.

Yeah, I like working with both of them [Mullen and filmmaking partner Tim Doiron] very much. They work very well together, and they write very good scripts. She directs, he takes on the producing part of it. They’re just a joy to work with. They know what they’re doing, and they’re very professional. It’s great.

April also has an extended family. I’ve done both films in Niagara Falls, on the Canadian side. And they have an extended family: a father, mother, sisters, et cetera, who all participate in the production in one way or another. [Laughs] I just really, really enjoy working with them.

88-Niagara Falls Review by Mike Di Battista 10.10.2013 (9)

You stay very busy. You’re making several movies or TV shows each year, it seems. What’s been the key to longevity in your career?

Well, I love to work. I love doing what I do. And—knock on wood—I’m still healthy. I intend to continue as long as I can make my way to the makeup trailer. [Laughs]

I’m always, always eager to work. There’s nothing that delights me more than getting a call from my agent or manager that says they’re sending me a new script. I’m like a kid. I just can’t wait to open it up and read it. That’s always the way it’s been with me. I love that I can keep working.

You’ve played so many different types of characters across your career. Is there a type of role you haven’t been offered yet? Is there a particular kind of script you’d really love for your agent to send you?

Oh, golly, I just don’t know. I love when [a character] is different than anything I’ve done before … Actually, I can think of one. This is kind of a fantasy I think about. If somebody came to me and said, “How would you like to play Don Quixote?”—from Cervantes’ famous novel, Don Quixote de La Mancha—I would jump on that. I just think that’s an extraordinary role. I would love to have a crack at that. But otherwise: whatever comes in! [Laughs] I jump on it.

In the early part of your career you were exclusively a stage actor. Was transitioning into film and TV something you had always planned for, or did it just happen?

I grew up around New York, and so naturally I started out in theater. That’s something I really love doing, and I love going back to the theater now. But I did want to get into films; I loved watching films. But I didn’t seem to catch on. There were interviews and auditions that came up over the years in the 1960s, and I just didn’t seem to connect or make any impression whatsoever. I came to think that I was ultimately not going to be doing film work. Some actors don’t make that transition easily and perhaps that way my case.

But then they came to town—Saul Zaentz, Michael Douglas, and Milos Forman—to cast One Flew Over the Cuckoo’s Nest. It worked out, and opened doors for me in that area. I love doing film and TV, and getting back and doing theater—and so it all worked out.

Being a trained, theater actor—do you find you approach film roles in a way that’s different from an actor without that background?

Yeah. One thing, when you do a play, you study your role from beginning to end, from the first page to that last. There’s an arc there, in the way the character develops, page-by-page, as he goes through whatever happens. I work on film scripts like that. When I get a film script, I work through it that same way. I find that’s very helpful, because when you’re doing it, whatever the shoot schedule is—you know, sometimes they shoot the end at the very beginning of shooting, or they jump all around—I know where that character is at in that particular moment in time. Where he’s at emotionally and where his relationships stand with the other characters. And so, I’m ready. Theater is generally really great training for any work, I feel.

Across your entire career, do you have a favorite role you’ve played?

It may be One Flew Over the Cuckoo’s Nest, because it was my first role and it was an amazing cast. I was working with someone I idolized: Jack Nicholson. I’d seen everything he’d ever done, and I couldn’t believe I was on the same set with him. And Louise Fletcher, Danny DeVito—all the others—and Milos Forman directing; it was such a momentous experience for me. I had a great character. That, for me, was tops.

Source : Under the Radar Mag (22/01/2015)

World Premiere for ’88’ at the Glasgow Film Festival !


Next month, Film4 FrightFest is celebrating 10 years at Glasgow Film Festival with 3 world premieres, 2 European and 6 UK premieres !

Glasgow Film Festival

With a promise of showcasing new talent within the many sub genres, this year’s edition begins on Thursday, February 26 and runs until Saturday, Feb 28.

It all kicks off on Feb 26 with the UK premiere of medical horror ‘Eliza Graves’ starring Jim Sturgess, Ben Kingsley and Kate Beckinsale.

The following day, February 27, the terror­filled spectacular kicks into gear with the European premiere of Chris Sparling’s The Atticus Institute.

Next up is the world premiere of ‘The Hoarder’ with Misha Barton. The UK premiere of Australian zom­com Wyrmwood (Dir. Kiah Roach­Turner) follows.

The final two films of the day are ’88’ (Dir. April Mullen) and ‘The Asylum’ (Dir. Marcus Nispel). The former sees horror scream queen Katherine Isabelle take on the role of Gwen, who turns up worse for wear at a roadside diner with no idea who she is or how she got there. Split between two timelines, 88 is a violence­filled thrillride full of death and destruction.

To book tickets: +44 (0)141 332 6535 / boxoffice@glasgowfilm.org / www.glasgowfilm.org/festival

Please note that FrightFest passes go on sale Thurs 22 Jan from 10am. Price: £70. This covers all films on 27 & 28 Feb only.

Interview : April Mullen on bringing ’88’ to the screen


When it comes to making it in the entertainment industry, sometimes you have to take matters into your own hands and blaze a trail all your own. Such is the case with the multi-faceted, creative dynamo that is April Mullen. Skilled both in front and behind the camera, April is a maverick filmmaker whose been producing and directing for ten years and acting for over fifteen years.

Co-founder of WANGO Films, launched in 2005, she has produced and directed every one of the company’s feature films to date. The company’s first two feature films, ‘Rock, Paper, Scissors: The Way of the Tosser’ and ‘GravyTrain,’ both garnered theatrical releases in her native Canada and were picked up by Alliance Films for distribution. Her next feature, ‘Dead Before Dawn 3D,’ not only generated a buzz from genre fans but established her as the youngest person and first female to ever direct a live action stereoscopic 3D Feature Film. As a producer, she has participated in a number of major co-production markets and producer labs from around the world including: Cannes, Belinale, TIFF, Mip and Tokyo TIFFcom.

Her continued hard work and dedication to her craft, both in front and behind the camera, have begun to turn the heads of both critics and fans alike. Her latest film, ’88,’ is one of her most ambitious projects to date. Featuring Katharine Isabelle, Christopher Lloyd, and Michael Ironside, the fast paced thriller follows Gwen (Katharine Isabelle), a young woman who comes to in a road side diner with no idea where she is or how she got there. Split between two timelines, blurring reality and fiction, Gwen gets taken on a revenge-fueled journey as she seeks out the person responsible for her lover’s death. ’88’ is an immersive and satisfyingly mind bending cinematic ride, which is sure to leave the viewer spellbound. Jason Price of Icon Vs. Icon recently caught up with director April Mullen to discuss her blossoming career, the origin of the film’s storyline, the challenges of bringing it from script to screen and what the future holds for this creative powerhouse!

April Mullen & Christopher Lloyd by Richard Hutton -Niagara this Week 22.10.13

A career in the entertainment industry is not the easiest route for someone to pursue. How did you get started on your journey?

I started really, really young. If you were to ask my parents, they would tell you I was putting together neighborhood kids, cousins and other family members at a very young age to put on plays and productions. I was doing that when I was 7 years old, so it started way back when! [laughs] I started getting really serious about my career and acting when I graduated theater school. There was a huge strike with the SAG and I decided to start creating my own work. Writing and creating my own stuff had always been really important to me, so it sort of propelled things a little faster than I had initially envisioned.

Who were some of the people who impacted you as an artist?

That is a difficult question. I think, overall, I have always been heavily impacted by real life and the people I meet on a day-to-day basis. I am also heavily influenced by images I see each day. I sort of take note of moments that stand out to me and make an impact on me, no matter if they are big or small. I usually somehow embed them into the films in one way or another or they inspire a character trait, a story, a character I am portraying or something we are writing. I think I just pull a lot from what is around me and what excites me about life in general. In terms of directors, the list is so long! [laughs] Right now, I am right back on a Martin Scorsese train for some reason. I have been so amped up about everything he does! I love people who create entire worlds like him and Tim Burton. “Edward Scissorhands” is one of my favorite films!

Tell us a little bit about your latest film, “88,” and what made this the project you wanted to take on as your latest feature.

Tim Doiron and I have worked together for over 10 years now. We had done a lot of comedy and comedy-horror. That is where our strengths were. We had always wanted to do this fractured, fragmented story, a revenge story. We didn’t know what it was called but “88” was in our minds and bubbling in our imaginations for about three years. That was before we even did “Dead Before Dawn” that we had plans to do “88.” We were just waiting it out until our experience as filmmakers sorta met what we wanted to achieve. We are from Canada and that is where our funding source was. We were doing comedy, so that was a lot easier for us at the time for us to continue to do something we were known for. When the timing was right, we felt it was time after three comedies to attack “88.” That is how it happened!

What were you eager to accomplish as a writer/director from a storytelling standpoint or stylistically with this project?

Definitely. With “88,” because we are dealing with the fugue state, which is a state of amnesia, there was a lot of creative freedom in the way we edited and shot the film. With the two different timelines going back and forth, we sort of separate them with stepbacks. We wanted the viewer to feel that they were immersed in what a fugue state would feel like. By that I mean your mind would feel like it is pulling at different memories or moments or things that trigger an emotion. We were really trying to go for something new and frenetic, so the audience members could feel what people would go through when they are in the fugue state. We were hoping to achieve new things in our editing with the fast-paced flashbacks. When it comes to storytelling, the fugue state has a hyper-realistic look to it. We just wanted to use that to share with audience members what people in a fugue state really do go through. Some parts gave us a lot of leeway to explore and push the creative boundaries of what we were normally allowed to do. I think it is fun to be able to step outside your comfort zone and give audiences something they haven’t seen before. Whether they love it or hate it, it is something new! Because of the fugue state and the whole theme of the film, we were allowed to do that without having to overly explain anything. With the fugue state, there are auditory and visual hallucinations and that adds so much to the film!

88-Niagara Falls Review by Mike Di Battista 10.10.2013 (5)

As you mentioned, the idea for this film was percolating for a while. How did the film evolve from the script to the screen?

That is a great question. The original idea, when we started putting it to paper, we had the timeline of the present state and the fugue state on the office walls for a year-and-a-half. What we did at first was play it in sequence so it happened from present state all the way through and then fugue state all the way through. We just felt that would play out like a very run-of-the-mill thriller with the story unraveling itself along the way. Then we thought, as I mentioned before, it would be interesting to have the audience feel like they are thrust into Gwen’s world and try to capture what the feeling of broken memory is like. We were really excited about having the timeline go from one to the other and back and forth. It sort of came about organically. It was definitely a very well plotted and laid out map on which we meticulously pinpointed every single thing. The more you watch it, the more hidden gems you will find!

You have a terrific leading lady in Katharine Isabelle. What did she bring to the table for this project?

She was bold and unafraid! She was willing to take the risks of going too far and then pulling back. I think another really exciting thing she brought to the role was it wasn’t overly done. It could have been that the person in the fugue state, like Flamingo, would have been over the top and a totally different person and Gwen would be something totally different. I think she did it ever so slightly but because of the writing and the situations both women are thrust into, that helps to do some of the story writing on its own. She did a terrific job of making Gwen vulnerable and a lot more fragile but without overdoing it. I thought that was a really beautiful choice to have it not be over the top and in the audience’s face. It was very based in reality with the circumstances that are happening around whichever woman she was playing. I think that was really exciting!

You are an actress yourself. What type of advantage has that given to you as a director?

I literally don’t think I could be a director without having the backbone of my acting training that I have had for the past 25 years. I feel that my toolbox is what I know and my communication skills with the actors is my strength. That comes from practicing the art form in every different facet for the past 15 years. I think all of those things are a blessing and they really help me. Having communication with the actors, finding those moments, allowing the freedom and pushing them when they need it is such a very fine, fine line. I think because I understand the craft so well and I have lived and breathed it my whole life, it really makes me feel very comfortable. I feel like I am in a very comfortable space and can run on instincts and impulses when it comes to choices with actors and different personalities. I feel like because my tool belt is loaded with so many years of experience, it is very natural and almost second nature. It’s natural and not forced in any way. It is a blessing because I don’t have to think about it because it isn’t coming from my head, it’s coming from my gut instincts.

What do you consider your biggest evolution as a director in your career to date?

You know what? I don’t think I have even come close to where I want to go and where I want to be as a creative person, whether it be as a director, a writer or performer. I feel like it is a constant learning curve and every script that I read or film I see makes me so in awe of what is around me. I am constantly striving to do better and try new things. I am really striving for new and exciting things that audiences haven’t seen. I am really striving to one day make a film that one day has a large impact on people in general. I hope to create those magical moments of film that impact people with an everlasting image. I think it is an ongoing journey. I definitely feel very, very excited at this point in my life and I feel blessed to be able to create every day, hone my craft and try new things. I feel a lot more confident because I’m getting older and with age I am very excited to come into my voice. I feel with “88,” Tim and I were both able to showcase what we have going on in our imaginations, when five years ago I don’t think we would have been able to literally put it to paper, whereas now we can totally surpass that. I think “88” is very complicated in its structure with its broken timelines. After having done that and 3D in the past, I feel I am ready for a totally new challenge. I am certainly up for new challenges all the time!

Where do you see yourself headed for your next project?

Tim and I are going back to what is sort of a comedy. It is a paranormal comedy that is a big budget feature that we are developing. It is already written and we are really excited about it! I am also going to start shooting an action/drama in March called “Badville.” I am very excited about that as well!

88 Official Trailer 2015 (54)

It is very exciting to see someone like yourself out there creating their own work and forging your own path. What is your advice to young creatives looking to make their career in the entertainment industry in today’s climate?

That is a great question. I would say stay focused, take really big risks, never doubt yourself, work as hard as you possibly can and never stop being inspired by the little things! It’s the little things that will keep you going! Working in the industry is like walking through a tornado every day, especially if you are self-generated and building your own path. It can be as if you are a ship in the midst of tidal waves. I think you have to constantly remind yourself to stay grounded. You have to look at the little things like the sunsets! I know that sounds so cheesy! [laughs] But really, it is the little things that play a huge role in keeping you inspired on a daily basis so that you can continue to self-generate and create new things. Never give up!

Terrific advice, April! It has been terrific talking to you today! We can’t wait to spread the word on all you have going on!

Thank you, Jason! Thank you for your support!

Source : On the Cutting Edge (12/01/2015)

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