Matt Interviews Ghostface Stuntmen from Scream at Creature Feature Weekend Scranton

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perfect pairing what pairs with reach are on prime reaching for a sparkling punch delivered with pride you can enjoy your punch just like reach a entertainment meets fast delivery it's on prime hey everybody anybody a fan of the movie scream we've got two different people here that have played ghostface feel free to both introduce yourselves Lee Waddell Tony's sir Tony Caesar was a sub coordinator Tony's my boss right he's the reason I got on one and two actually and so Tony I go way way back we uh my first film only was my first film with Tony but was first film with Tony and West was Nightmare One was that 1984 yeah yeah so minute or two yes okay and on screen I was a stunt coordinator on it and the reason that I did ghostface was we had one guy that did ghostface for one day and he next day he had another big job he went off onto his other big job the footage was fog so we had to reshoot it over again a production wouldn't allow me to put a stunt guy on for the full length of the show so I had to stand on an Apple box and kill Kenny in that one particular shot and what was interesting about what happened on the show West and I would sit down at lunchtime and try to figure out how we were gonna kill people we couldn't slit everybody's throat because it got to looking the same that's when I was telling West that I said I remember a show when I was a kid where a mafia guy was sitting in a movie theater and he ended up taking his switchblade sticking on the seat and back and then kicking it through it and killing the guy in front of him West says well that's a good idea he said let me think about it so next day he came back and that's how I came up with the idea in a bathroom scene tapping on a bathroom in that oh wow that's awesome now Anthony I think I saw that you've set yourself on fire a couple times as well in films is that true I did one year I did 28 fireburns I started out with West on West Craven on Swamp Thing and Adrian Barbo was on that show and she knew was married to John Carpenter so she told John Carpenter about me and that's how I got the job on the thing and after the thing I got the stape off and goes on to various other fireburns the thing it is I can make it look like a realistic person on fire I could do a fireburn just two sets of clothing and on Nightmare on Elm Street I did a scarefall on fire which no one's ever done that before or since it's a weird thing to be known as like the go-to set on fire person how do you feel about that in the grand scheme I've actually got pictures out there where I'm with Madonna on that girl where she knocks me over a counter in a couple of Star Trek shows that I've done to prove people that I do stuff other than fire Lee has helped me set up to do a couple burns yeah we've done a bunch of fun which ones I don't remember they all run together after one I mean there's probably half does and obviously the the famous one is the stare the stare in the fireburn and nightmare one right because I'll remember that and so I said that one up and you said up guys really important right because actually I'm the one who's putting the fuel on them and all that stuff and that one got big fast and then it was years later I had Tony I mean Tony's always been my setup guy and we were doing a and no budget I can't remember what was the name of that one it was on on fire at night off the building in Hollywood I can't remember I think it was like internal combustion or something like that so anyways Tony paid me back after I got so crazy with him on the nightmare so he was maybe five years later I can't remember and he was my setup guy on that one and the fire was so radical that when I left the building I was four stories four five stories as I fall I'm about halfway down and the tail of fire just leaves the building yeah big old on fire londart and I look at the fittest later I'm like thanks Tony he's like well you know you know pay me back your safety is important because we don't all use the same sign for someone to put us out I never use a voice command for somebody to put me out because like in a show the soldier I'm actually crawling across the street on fire holler and holler and save me save me save me when so I always use hand signals to put someone out so I had one of my shows where I was called exterminator where two of us were on fire and we go running down an alley on fire and I go down and signal for my safeties to put me out and they didn't put me out they waited for the director to holler cut and that's the only show they ever worked with me for at least worked with me from then on yeah since early 80s yeah let's call you too it's not right so you've definitely done stunt stuff for all different types of projects I am curious what are like the big differences between coordinating stunts for you know a small low-budget film versus your your bigger budget does that affect the stunts I love the lower budget pictures because lower budget pictures you're allowed to come up with new ideas and think about it you do a big budget picture they say this stunts got to be done then and it's got to be finished by then where a lower budget show a good instant was on a lot of weses shows that started out as lower budget shows you could go to West and can and give him an idea and he was he were allowed to run with it and do it he would say in the script I would get this is a stunt coordinator you're usually about the six person to get the script and you read through it and you decide what's going to be a stunt and what you're gonna need doubles for and who you're gonna double then you go to the director and try to convince him who you're gonna use and what stunt is gonna be and with West when we did trying to think of the name of the show I want to say last house on the left or he'll have eyes it was there's one where the guy gets this guy the actor has this styrofoam rock that falls on even he falls to the ground I told West I said I think we should use a stunt guy for that was it no I'm gonna see his face I'd look for the let the actor do it I said okay he overrode me so the actor did it when the actor got hit by the rock he shut his eyes and fell on the ground and didn't see where he was going he got a black eye so for the rest of the show we had to do another scene with it when the actor gets off the bus he turns away from Cameron says oh the sun's kind of shining day I got some wear sunglasses so the rest of the show he wore sunglasses and after that West pretty when I said I think we need a stunt double here he would go along with it so one of the things that we're gonna probably tackle both in this panel and the panel after this we're doing Friday 13th part two with Jerry Wallace when people think about movies and specifically hard movies where there's a person in a costume I think the general thought is yeah there's just one guy that's in that costume the whole movie and what you know when you get a little bit deeper into it there could be seven or eight different people who are in that costume how many different people in components for a scream do you think made up ghost face when you factor in voice work and actor work and stunt work and all of that well I know for a fact on screen one and screen two there were seven different people playing ghost face and the reason they production wouldn't put anybody on contract for the whole show so I was left with getting people to do this when Lee got some of the good iconic parts with killing Drew killing Henry Winkler and then all of a sudden they'd say that's the end of the stunts for that day for that day so they might go off and get another job that would last for a week or something so then I'd have to bring in another guy but then there was the guy doing the voice that was another one and I don't know who did after West I only did the shows at West Craven was part of after that they were you know who did the other ones in the I don't know what number are they up for so the unofficial rule between all the ghost faces and I say that from an actor stunt guy if you put the mask on and you kill somebody your ghost face if you put the mask on and either drive by shut up Tony you know Tony you know Tony kill Kenny he's a he's a ghost face but yeah it's there's probably seven I think and not all the guys killed everybody but there's probably seven on screen one and I did half that the first half film and then a stunt double came in and then Scream 2 was kind of the same way that was really me an Allen for most of that but yeah and West was notorious just like that stunt that you did you had to go and stay on the apple box yeah if you recall that I was still I think I was traveling or I was on hold because I remember you like I just killed him like what are you talking about like I didn't just call me I was showed up because I was on hold I think I think that's how I went down or as I had just finished up the show I was traveling that day or something so yeah I mean out of the whole franchise out of seven films come February right I bet you there's probably there's probably at least three or four ghost faces per franchise per film yeah maybe wasn't Avery sung one of them and one of them did one Alan me you Dane Kurt Chris so Kurt Bryant yeah and what they do in a lot of the horror pictures of why they do that is good they can get you know a cane hotter was one he's he was used to doing all of the Jason's I think it's that what he was all the Jason's like that and you know he was such a big guy that a lot of times you couldn't get a guy to Dublin and what wide producers do that so they can put somebody else in the face if you start holding them up for more money or something like that there's not usually a name person behind it I mean with Nightmare on Elm Street with Robert it was a little different but a lot of people don't realize if you'll time it out I think that someone was telling Roberts only in the movie seven minutes but then if you take out the fire burn that I did you take out coming through the mirror and you take out getting hit going over the railing and you take out the part of going down the hallway with his hands stretched out Robert might have only been in a movie five minutes but I think I think that's what made the movie so so big too that he wasn't there all the time that in your mind you were seeing him and all the shots even though I wasn't there but scream was the same way too I mean some of the guys that did go face were right handed some more left handed it was the idea you couldn't tell who which which actor you were thinking which actor was in it we were trying to keep that was earlier stew right and technically we shot that in sequence right which never happened so that day one scene when take one was real nice that was that was like the beginning of the show and everybody was still piling in that steep and Matt hadn't got up there yet now here's an interesting one on that one I told Lee he had to he had to break this breakaway window in a car and I said Lee I got a pair of the police gloves that have powered lead in him so when you're you put him under your black gloves no one will ever see it in case the squib don't go off you still to have your hands protected at least now I'll do it when you know the squib didn't go off he hits a window wide open with nothing on his hand but his knuckles and he had to do it over a second time this time the swib went off in the window broke yeah that's a rough night that was one that was screaming to when we were doing all the car sequences right remember I kicked the textures I asked and break the window and all that stuff and jumped the car yeah never stepped on my balls yeah that's that's that's not that's not a night anything when you're doing the coordinating and you have like you said maybe six or seven different people were gonna put on that screen mask you don't plan on it that way you plan on one yeah even for every actor that you have a double you have a backup of idea if all of a sudden the double that was double and never whoever the actress was didn't couldn't make it had a bigger job if all of a sudden they got a job that lasted for two months in the Philippines they were gone you to get somebody else so you always try to have a couple backup names people that were the same size that you can make them look like the actress well you almost already answered the question I was gonna ask which was is their thought being put into like this person's really good for falling downstairs this one's really good for going through windows or suggest who's here today that can fit the costume well it's not always like the utility player essentially it's not always who's here because all of a sudden if you have high falls there's not that many guys out there can do high falls well he's one of them if you got driving to do maybe some of them were born and raised in New York and don't even have driver's license yeah right I want to also throw it to the audience if anyone has a question feel free to pop up a hand and we'll pause the conversation throw to you guys but is there anything that you think is a misunderstood thing tied just not work in the grand scheme of things oh yeah there were a lot of people think that we we try to take as much of the danger out of it as we can because they don't just pay you to do stunt work they pay also to be able to get up and do it a second time if something happens you got to do it a second the third time so when you see someone falling down a flight of stairs they're usually wearing elbow pads knee pads now when I did the show people under the stairs I think I had six airfalls in here I tried to make them all different one guy would go backwards one sideways the worst one was the girl should have fall down with no elbow pads or no knee pads women have it tough in the stunning industry because so often they can't hide their pads like the guys can what's the like what's considered like a lot of takes for a specific stun to one to a lot yeah there's a few that I didn't have number two any now on say Ghostbusters I had three takes on that the first take was they told me I didn't need to wear a fire suit inside state puff so I I said now I feel better wearing the first take on that the head split open in the inside of the head caught on fire so we had to do it over again the next day and the only three outfits the next day we did the fire burn after they looked at the footage the fire was too big it made state puff look small so we had to do it a third day where we brought the fire down to a smaller size so he would look that big on the screen and then Rambo first blood was another one I had to take some that they put me in this cane field on fire and they said we can't get the cane to burn so don't worry about it well the day before they were shooting an elephant grass and the Americans didn't know the difference between elephant grass and sugar cane so when they let me on fire the whole field took off and burn up and all I could hear is my safety scene we can't get to him we can't get to him well I had already planned if I had to I just rolled over and over until I got out of the field and they put me out so and I was spent another two weeks in Acapulco while they pull up all the burnt stubs and put other stubs in the ground to shoot it over again a second time the second time they watered the whole field down so we can catch on fire how are you feeling you got that third phone call they were gonna set you on fire again is stay puff I was honest that you know that's it just they looked at the footage and said you know the fire flames are too big you know but none of them were my fault so they had to pay me all three times to do it if I would have screwed up and say didn't climb the building right or whatever that would have been on me how they some people get paid is according to how difficult how dangerous the stun is a stunt coordinator you look at it and you say well this girl's got to fall down a fire escape so she would get more than a stunt guy that had to fall down a stairs that had carpeted all the way down them let's say someone in the audience is thinking I want to get into the stunt work what advice would either of you have for that stun bad stun as a get into computers yeah I programming I mean when we first started if you I tell everybody when we first started if you had a person climbing a waterfall you would use piano wires and try to hide him going up waterfall so in case he fell he had something he had a safety measure now a day she can put a big purple rope on him and just go on tell her computer afterwards take out all the purple and it's not there so makes a lot easier to hide safety stuff in the eyes a lot more practical yeah but still AI is they were shooting when I got out of this and starting to shoot stunt guys falling down a flight of stairs with 200 ping pong balls all over their body we found out later that's so a computer can go and take that person out and put any person they want to yeah that's the beginning of motion capture yeah yeah yeah I always think of the infamous Texas Chainsaw Massacre story in 1974 Gunnar Hansen said he was reading the script and he read that on the last page he falls in the chainsaw supposed to cut his leg off and he asked Toby how are we gonna do that and he said don't worry about it that's one of the last things we're gonna film and he says in the commentary track what I thought he meant was we had plenty of time to figure this out what he actually meant was if we accidentally cut your leg off I've shot the movie now I did Texas Chainsaw the one with Jessica Beale on it and that was that was an interesting one because all the chainsaws just had a rubber piece running around with all the smoke and stuff like that and I was the worst part is I had to watch all the Texas Chainsaws up to there before I before we did that one but Jessica Beale was doing the good girl on television she wanted to change her image so she signed to do Texas Chainsaw I don't know which one and she was nice very nice and pleasant to work with do we have any questions out in the crowd yeah so I came out of when I came out of high school which I studied to film right it was either military or make movies do stunts an act right and other and bottom line is the film business paid better than military business both were gonna give me adrenaline but I just chose film instead that was you Anthony I ended up moving to California to become an electrician in San Diego they were on a strike so I went to Los Angeles I knew you could always find work up there so I had a job tending bar and the guys that I knew that were tending bar with me were working at a she working out at a gym down in Santa Monica with a bunch of stunt people so I started working out at that gym with the stunt people and after learning how to do fights and falls and certain I got a break I was on Beretta for a while with Robert Blake old TV series and then I went out on my own and started doing stunts and starts just by a little bit of stunts here and there the problem you have in Hollywood is you're competing with a lot of sons and daughters of people that have been in the business for 20 years so it's hard to break into it in Hollywood and with me I looked at after a couple years of doing stunts I looked down and said all the actors that I wanted to double are tall and slim I can't double those so that's when I started to try to get into stunt coordinating which is like I say reading the script and breaking it down and trying to figure out who you're gonna bring in to do certain stunts I had no intentions I was not a great athlete in school matter of fact I was just barely getting through school yeah I saw a question over here so is there an impossible stunt that you still somehow pulled off no I did I mean we followed through with everything I think the one's done I was developing for a TV show for world's record was we're gonna recreate a tunnel of fire and a tunnel of fire stuff it chewed up a couple guys I mean legitimately burned these boys up and so Tony I says we had so much experience in fire and we knew thermal dynamics and the science of fire you know we figured out how to do that a lot safer so if I actually did this attempt I think we're gonna do like a hundred yards you know which sounds it's you know that's like a poke you're gonna be running right but then you gotta figure okay if I'm running you don't want to do that you can't hold your breath and run for hundreds good luck right so there's all these variables I think that's the one that we never got off the ground I really wanted to do how about you Anthony was there any impossible stunt that you either did or didn't figure out how to pull off it wasn't impossible but I'm sorry I took the job and when I took the job I was getting ready to bail out on the job because I was standing on top of a I don't know 40 story building down in Los Angeles they had me standing on the edge and they had cables that were just three feet long and I was supposed to jump off the edge and go down and I don't go down three feet and the cables would hold me well I don't like heights that much and I soundly think I'm thinking the cables are strong and all of that and just whenever they finally the insurance company came up said we're not gonna allow that stunt we don't want anyone standing on the edge of the building and I was glad that's the last time I ever took a hot job like that I had a question it just disappeared is there any other questions out there right over there all right so the questions have you ever worked with Tom Cruise yeah so I'm a big proponent of putting the actor in front of the camera instance as much as you can within reason right Tom gets away with it because he makes a better product right he also gets away with it because he's the producer of the film right if he was that's the only reason because he's the producer right otherwise he couldn't do that the insurance wouldn't sign off so I love putting actors and actors in front of camera with the in the construct of the stunt if you're gonna like there's no reason they need to roll a car there's no reason they need to get burned out there's none of that but a lot of I think good physical acting fighting and stuff like that yeah put that actor in there as much as you can and some of them you know back in the day I wanted to do their stunts right and Tony and I were good friends with Chuck Norris and his double Kenny Gibson and Chuck did his day ago yeah I did all my stuff like shot up yeah so I'm a big proponent of it within reason but you know what that reason is you know that's your call to and the call to director and producers and insurance and even the actor right most of the time the stunt person can make it look more realistic than the actor just like throwing punches in that the actors aren't trained to know how to throw punches from what angle the cameras at and something like that and the stunt guy knows if you turn him this way you throw this punch if you throw him that way you throw that punch and they can make it look a lot more realistic the a lot of actors have egos and don't want people to do it on you know a lot of them say like you can't double me I'm tall and skinny and I say well Dick Durock on Swamp Thing was 6-6 and nobody when I was on fire and who I wasn't 6-6 I tell him on terminator I said well back then Arnold and I were about the same size was because you look back at like through the history of film in the silent era those actors were I mean Buster Keaton did all of his own stuff still amazing to see stuff like that but you think if you were a producer and you were putting up all of your money on something how much would you let an actor do would you let him run across the street and almost get hit by a car or would you read because you're not seeing his face or would you rather have somebody else I mean he goes back to Wild Wild West when Robert Conrad did a swing on a chandelier across the bar the chandelier broke and came down and broke his ankle everybody there with no on contract stayed on contract till he got well and they had to go back and finish the shot so that's what can happen if you let an actor do too much so you know when you're doing some work you're taking on like we said projects big and small is there any film that maybe some people here have never heard of because it's a very small film that you have a stunt that you wish more people actually could see because it's maybe not the most mainstream of titles yeah what was that when you let me on fire and threw me off the roof I don't remember that somebody go on Google look up look up going Google and look up and turn with human combustion or internal combustion or something I think they made a change their name we were just talking about this the other day when Tony and I got together there's two or three films out there that we actually did with Clint right how or two right and I like and I remember one and there's another one that has this title change I can't remember what that was or what I did you're describing you're describing jumping off a roof on fire and if it's one of the how it was I'm almost wondering if it's like silent night deadly night part four where there's definitely a flaming body that goes flying off of a roof to the pavement that could be because we did work that show with him could be yeah could be I've got one where I did my head on fire and all I was told is two kids are fighting at a gas station when I'm pulls a pump off of it lights a lighter to it and sticks into the other kids face and catches his face on fire I've got stills of it but I have no idea what show that now I wish I knew because I want to see that any other questions on the crowd anyone else okay is there ever been a stunt that came out looking even better than you thought in the moment the dinosaur stunt the stuff in Jurassic to when I got eaten by the dinosaur looked pretty damn cool that was a good one yeah with me I think it was a stairfall in Elm Street I had no idea how well it filmed seeing me roll down sideways it's actually on YouTube if you go to the greatest on series real to it's got that stairfall of me coming down the stairs on fire which I thought was I didn't think it was gonna come out as well as it came out so big yeah you were talking about the science of fire when you were talking about the fire tunnel do you feel like there is a little bit of a little bit you feel like if you're doing stunt stuff especially the coordination is partly you need that science mind as well in there to know okay this is how this is this very unpredictable thing will probably act yeah absolutely I mean there's fire science but then there's also physics and you know and and doing stuff we've done over the decades you know we're flying guys hundreds of feet on three different axis of movement now you know we got no the weights and the time is that's all computer driven and so the science behind stunts is immense you know back in the day these guys would cowboy up and just jump stuff because it is new how to do it right you have that that sixth sense you jumped things enough where you're like okay I know I'm gonna hit this about 40 miles an hour I should land about there and they would go out and man you put a dollar bill down that's what the guys would do that all the time we put dollar bills down and bet on where they hit where the car was where the car was gonna land from the jump yeah all the time so yeah the science finds stunts is immense but it's just like fire one guy wanted me to change change the color of fire on some shows nice well you know you change the color on fire is also changing the temperature what the fire is so you know and I mix up my own fuel and make it an orange-ish color so it shows up better and I was another thing that I did doing my fire burns nobody else did we I briefly mentioned Buster Keaton earlier and there's the infamous house fall on him that I feel like to this day still boggles the minds of people has there ever been a stunt that you guys have seen where you're just like how the hell did they do that safely oh yeah those old silent movies because they just went for it I mean when you see someone jump off of a I think was a Talmich brothers they were acrobatics and one would jump off of a two-story building and he would land on his brother down below his brother knew how to break his fall I mean those were things were done back in the silent movies are just amazing those guys are incredible incredible athletes you know and there's there's stunts that are done but like I look at that film now and stunts like when I see some of that super incredible it's either backed up by CG with a bunch of wires so doesn't it doesn't I don't go oh that was nice unless it's a practical stunt and I'm like oh that hurt that was a good guy right you know or like that was a nice stunt he walked away which hopefully obviously did but yeah there's not too much that in today's modern film that grabs my intention the joy-making film is that you get to make films but when I go to a movie now and try to disconnect and not look technically at film really hard to do you know obviously there and we'll be out with a group of people like God that was a good camera move or make oh man look at that lens or look at that lighting and it just wrecks it are you see this old semi-comadension well that's when you're gonna wreck I think there's like an actual term for the phobia but for me I've watched enough movies where if two people are talking in a car I start to tense up because I'm like there's gonna be a car accident now something's gonna have it fair enough yeah you know so knowing how to make a movie then watching me was really it's unpleasant I don't it's it takes it takes such a special film now for me to disconnect right and just enjoy the film for what it is and not look at it technically you know like I went and saw F1 on iMac's right Jerry Brooke and I were big huge you know blah blah blah blah and it was a fun movie but I looked at a totally technical big awesome shots and they did some great stuff with some very specialized cameras you know big Frankenstein camera rigs super cool but I looked at it and I enjoyed the hell out of it technically I'm like I was a good camera but I just I believe a bunch of people are like shut up yeah I'm not I don't go to the movies with me it's not fun you know one thing that West used to say about movies he said when you're making a movie I like to say I did I've known West Graham for 20 years before he passed away used to say you're actually doing three movies he says you've got one script that you're trying to do then he says you've got the one that you're actually shooting because some things don't match the script then he said you got the one thing that you're editing he said all three of them are three different movies if you've seen Serpent's in a rainbow there's a guy making a coffin at the beginning of the movie well that was really shot for the end of the movie but by the time they edited they ended up putting it in the beginning of the movie I've definitely heard that saying from a few people that have filmed is written at least three times once by the writer once by the director once by the editor they screwed up I really check out before you start the fuck words sorry you know what can we say that that's a true thing I mean I learned a lot of weses I'm saying that with him in Tony over the years and that's one of the true ones is you know it's you know I mean how many rewrites did we see someone the original drafts from 95 and then probably three drafts later every time you get a rewrite it's in a different color different color with a white script and then next thing they send you blues so you got to go down and say oh this is page eight tear white page eight output blue page in then another couple weeks go by and the colors come in orange and then they come in red and that when we did one of us one of us one of it was one of the streams they did it in a colored one so that people couldn't copy it on the end of that so you can put it on the yeah with some color that you couldn't Xerox without it yeah yeah it looked like done it was a blown up by the time you're done with some of those strips so I've definitely heard the horror stories of actors like practicing their line showing up to film and getting the new color pages of totally different speech does that happen with the stunt stuff or for safety sake do they try to like not change up what you're supposed to do too much on you guys not the stunt but I actually had in the soldier some people are terrible to dialogue and I had some dialogue on the soldier and I had it memorized I was ready to go I did do a fire burn on the way out to the set the driver says did you get the changes I said no I didn't get into you said they changed your dialogue I saw you know and it changed the dialogue and it took me forever to get the shot done prior to me doing the fire burn but they don't usually change the stunt on you they might change the location on you or something like that but you know you try to make it as safe as you can yeah even the Tom Cruise stuff you see he believed me there was another guy that did it before he did it did take much it's much of the danger out of it as they could you know his crew is massive he's got some of the top dudes in the business that back him up to pull off that stuff that he does safely he's still hanging it out there don't get me wrong but he's got that thing measured every which way to Sunday but at the end of the day when you shoot a motorcycle off the cliff you know still riding a motorcycle off the cliff and then we got time for one more question from the crowd if anybody has one all right well then if you guys where can people go check out get autograph see any of you guys still doing work what you got in the backlog so why was your baby busy I were in that room come over and see us I'm gonna go over to float-offs right now and then Tony's there signed and I'll be back over at the table after that and then con wise what do we got coming up I think I'm gonna be at Galaxy con next month up in Columbus and then next year next year's 30th anniversary for Tony I and scream right 30 30 years cut getting frickin old and so for that year for the 26th season I'm gonna drag Tony as much as I can and the rest of the screen team but we're gonna try to do 30 shows for 30 years yeah that's a lot of work you know films and small stuff and in the movies is what I love doing right now yeah that's where my real house is I understand they're gonna do more on the thing I'm kind of curious to see how that's gonna come out all right yeah okay well thank you everybody let's give them all hand no no Canada is up to nil that is the most dangerous lead in soccer relax Mike see that Dan my left eye is switching that's my warning I it'll be too too by stop it's time it's never wrong early pay out from bet 365 I got paid the second they went up to goals so to me it's now the safest lead early pay out from bet 365 huh now my right eye is switching Dan bet 365 must be 19 or only please play response with you or someone you know has concerns about gambling is it next Ontario dot C a decency supply Rose and lasagna mean power 15 minutes like oh Joe time let's play feel the fun with play Ojo the online casino with all the latest slot and live casino games what you win is yours to keep with no wagering requirements instant payouts and no minimum withdrawals I just won honey forget about lasagna let's celebrate if you win a $3,000 a month payday for life what would 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