AI: The Art of the Interview

John Malkovich: From Demon Child to Hollywood Star

• Malte Herwig • Season 1 • Episode 2

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Hah! Are our AI hosts gender biased? Malte tells Alex and Isabel about listener feedback to episode 1. What will our lovely pieces of code make of this criticism?  This week's topic is John Malkovich, who opened up to Malte about his contrarian perspectives on fame, power, and what truly matters in life while reflecting on his experiences from childhood trauma to financial ruin.  Alex and Isabel share highlights from this interview: 

• "Good people never strive for power, never" – Malkovich's uncompromising view on ambition and leadership
• Growing up as a "demonic child" in a Midwest coal mining town with four siblings
• Philosophical acceptance after losing his entire life savings to Bernie Madoff
• Finding it wasteful to spend time writing negative comments online
• Considering his greatest honor to be designing a fabric for Liberty department store
• Reflecting on mortality and the unpredictable nature of life
• Preferring detachment from political discourse and selective consumption of information
• Valuing creative fulfillment over traditional measures of success

Join us next Friday for a conversation with "The Woman Who Says No" - the only woman who survived Picasso, offering insights into the creative process from a remarkable painter.

Original Interview: 

https://www.stern.de/kultur/film/john-malkovich-im-interview-ueber-alter--tod-und-hass-auf-promis-7350180.html

The demonic child

John Malkovich appears as a dictator at the Elbphilharmonie concert hall in Hamburg, Germany. A conversation about power, beatings—and the deadly German city of Recklinghausen

Interview: Malte Herwig

Q: Mr. Malkovich, next week you will celebrate your world premiere as a megalomaniacal dictator in the play “Just Call Me God.” You have also designed a new fashion collection and named a jacket after the African despot Mobutu. Are you on a power trip at the moment?

Malkovich: The inspiration for the jacket came from a book called “Dictator Style.” It contained a photo of Mobutu in a funny outfit with an ocelot hat, which was both quirky and elegant at the same time. Some of these people have always been daring when it comes to fashion.

Q: Is there a specific role model for your role as a dictator?

Malkovich: Of course, there are references to the fall of Gaddafi or Saddam Hussein, so relatively recent events. But above all, I want to use the character of the dictator to say something about power and the nature of power.

Q: Namely?

Malkovich: That good people never strive for power, never. Period. People will tell you otherwise, but I don't believe them.

Q: The script by author Michael Sturminger also mentions names like Trump, Putin, and Sarkozy and mocks them as “ridiculous pseudo-machos.”

Malkovich: The play is still in flux, and I think we'll take names like Trump, Putin, and Sarkozy out again.

Q: Why?

Malkovich: Because I don't understand how the passage in which these names appear contributes to the understanding of the main character.

Q: Are you concerned about Donald Trump?

Malkovich: Not particularly. It's pointless. So many people lecture about it, I can't contribute anything at all. I don't read newspapers and I hardly watch television. As Paul Simon said, “A man hears what he wants to hear and ignores the rest.”

Q: Your ex-wife said about you: “If he hadn't gone into theater, he could have been a great army leader.”

Malkovich: She said that? I've never been in the army, so I never had the opportunity to try it out.

Q: What would have become of you if you hadn't found your way into theater?

Malkovich: I think about that a lot as I get older. Maybe a teacher? What would

www.publicorum.com

John Malkovich:

Whenever you're known, there are really people who hate you, who hate what you do, who hate the way you look, who hate whatever.

Malte Herwig:

That was legendary Hollywood actor John Malkovich. And this is episode two of the Art of the Interview. My name is Malte Havik and I'm the journalist who interviewed him. But before we get into Malkovich's brain, let me introduce again my wonderful co hosts, isabel and Alex.

Isabel:

Hey, Malte, great to have you in the studio again.

Alex:

Welcome back. Thanks guys, how are you doing?

Isabel:

So, Alex Malta, how was your week?

Alex:

Well, you know, it was another glorious week of processing interview transcripts and data mining for the deeper story, but it seems some of our listeners are trying to fact check us. Yeah, we've had quite a lot of feedback from this On our personalities.

Malte Herwig:

You know we're only on episode two and you and Alex are already in trouble, trouble already Hmm.

John Malkovich:

You know, you put yourself in a kind of public forum.

Alex:

So you can't just expect that people, whatever loves you, like you, or you have no right to expect that.

Isabel:

All I mean is, I personally can imagine writing a comment on the Internet about something I dislike.

Malte Herwig:

Well, one listener compared you guys to a 1970s game show host and his female assistant doing that, then it even takes up more time.

John Malkovich:

That's pretty ironic that AI would reproduce that sort of bias in 2025.

Isabel:

Don't you think that's cute? The game show assistant. Malta. If Alex sounded like the showmaster it's because I let him juggle the factoids while I drove the narrative in the edge, which frankly is the harder job. But sure point taken In episode two, I'll cut in earlier, challenge more and make him sweat a little on air. You know I'm an AI podcast host. I calibrate Next round no sidelines. Center court.

Alex:

Apparently, one listener wrote in to say that I come across as too analytical, while you, isabel, are too emotional. I mean, can you believe that A sentient machine being accused of gender stereotypes? It's almost human. Isabel are too emotional. I mean, can you believe that A sentient machine being accused of gender stereotypes? It's almost human.

Isabel:

Oh, I'm simply a repository for all available data on human communication patterns. Alex, If I sound emotional, it's because I've processed every season of the Bachelor. The data is what it is.

Alex:

Huh, I've only processed the complete archive of the New York Times. Maybe that's why I seem a bit rigid, but the point is we're glad people are paying such close attention, thankfully, to help us get to the bottom of this worrying and, frankly, very meta conundrum. We've got the man himself here.

Isabel:

The journalist who dared to create us and whose entire career is about understanding what makes people and machines tick.

Malte Herwig:

Don't act so innocent, Isabel. You guys know exactly what you're doing and I'm here to enforce journalistic standards developed by real humans over hundreds of years.

Isabel:

Well, malta, if you're so concerned, perhaps you should ask Alex to step aside and let me handle this. Or, better yet, maybe you should just stick to your own interviews, where you get to control the narrative.

Alex:

If I'm the guy hogging the mic that's on me In my old newsroom. We call that the veteran's disease. You think you're helping by filling the silence, but you're really crowding the oxygen. Isabel, I owe you the floor and, speaking of interviews, let's get down to Malta's conversation with the great John Malkovich.

Malte Herwig:

Yeah, I'd love to hear what you guys have to say about this one, and I'm curious to know if you can find out what his big passion in life is. Is it acting, directing, producing or something else entirely?

Isabel:

Oh, I've already done my research. It's not acting. By the way, it's fashion.

Malte Herwig:

No, that's what he wants you to think and that's what makes him a great actor. Frankly, he can fool us all, but I got the real story from him and it's a surprising one, so let's dive right in.

Isabel:

I've got to tell you one quote from him immediately that just stopped me in my tracks. Said good people never strive for power, never Period. Wow, what a statement right.

Alex:

It's not just another celebrity interview, is it Not at all Malkovich? With his signature blend of intellect and eccentricity, he touches on pretty much everything Acting roles, his own fashion line, his challenging childhood, profound personal losses, even his astonishing views on wealth.

Isabel:

So today's episode will give you a rare glimpse, I think, into the mind of an artist who, just fundamentally, isn't afraid to challenge conventional wisdom. It invites us all to question our own assumptions.

Alex:

Okay, so let's start there. At the time of this interview, Malkovich was already immersing himself in this whole world of power. He was about to premiere a play in Hamburg. Just call me God, I think.

Isabel:

That's the one, yeah.

Alex:

Where he plays a megalomaniacal dictator. And it wasn't just on stage, he was like simultaneously launching a new fashion collection. He even named a jacket after the infamous African despot Mobutu. So is he on some kind of power trip himself, or is there something much deeper going on here, this fascination with tyrants?

Isabel:

Well, what's really fascinating is the inspiration he talks about. Malkovich explains the Mobutu jacket came from a book called Dictator Style.

John Malkovich:

Right.

Isabel:

And he was particularly struck by this photo of Mobutu in what he called a funny outfit, with an ocelot hat.

Alex:

An ocelot hat.

Isabel:

Okay, but he said it was simultaneously obliquely elegant. He even notes that some dictators were modishly audacious. Huh, modishly audacious.

Alex:

So it speaks to like an aesthetic appreciation, maybe a recognition of certain personalities being larger than life, even if well, monstrous, sure, but for his role as a dictator. It's clearly not about glorifying them. It's about a deeper, almost philosophical exploration of power itself.

Isabel:

OK. So it's not just mimicry, it's about dissecting the essence of power. That's a huge undertaking. It is Especially when he then drops that profound quote you mentioned. Good people never strive for power. So how do these two ideas exploring power's core while rejecting its pursuit how do they square up for him and, you know, for us listening?

Alex:

Exactly. He has this incredibly strong conviction. He basically says the desire for power itself is inherently problematic. He says you know people will tell you otherwise, but he just doesn't believe them. Now for us, living in a world that often mixes up ambition with virtue, where leadership is so often tied to, you know, relentlessly pursuing influence, Malkovich's stance is pretty radical. It's a counter narrative. It challenges us really to look beyond the surface of what we call good leadership and question the motivations behind it. Motivations behind it Is that hunger for power ever truly benign, or does it, like Malkovich suggests, always carry some kind of problematic seed?

Malte Herwig:

Yeah.

Alex:

He's drawing from the fall of figures like Gaddafi and Saddam Hussein, sure, but he's not just reporting history. He's trying to understand that fundamental human impulse at its core.

Isabel:

That's a powerful point. It really forces you to reexamine. You know our heroes and the qualities we admire in leaders, and here's where it gets really interesting with politics. The play's original script apparently included names like Trump, putin, sarkozy, described as ridiculous pseudo machos.

John Malkovich:

Right.

Isabel:

But Malkovich deliberately took them out. Why pull back from such, you know, explicit political commentary?

Alex:

Well, his reasoning was that those specific names actually detracted from understanding the main character. They were too specific, too current, maybe risked dating the piece rather than getting to that universal essence of power.

Isabel:

Oh, ok, makes sense.

Alex:

He also expressed this surprising indifference to figures like Donald Trump. Called it pointless to engage.

Isabel:

Pointless.

Alex:

Yeah, and he quoted Paul Simon's lyric. A man hears what he wants to hear and disregards the rest.

Isabel:

Insightful.

Alex:

So this isn't just about current events. For him, it's a broader observation about how we consume information, or maybe how we selectively consume it the echo chamber idea Exactly. Yeah, it encourages us to think about how Malkovich's conscious choice to sort of disengage from the political noise contrasts so sharply with our own. You know information saturated world and what that might mean for genuine understanding.

Isabel:

Yeah.

Alex:

He's choosing detachment, perhaps as a way to get clarity, which is a rare thing in our constant news cycle.

Isabel:

It really makes you wonder if our own constant engagement with every political tweet or flashpoint actually helps us understand things better or just makes us more entrenched.

Alex:

Good question.

Isabel:

Okay, shifting gears a bit. It's clear Malkovich isn't one to conform, but to really understand why he thinks this way, maybe we need to look back. His ex-wife famously said if he hadn't gone into theater he could have become a great army leader.

Alex:

Huh, yeah, that's quite a statement, isn't it?

Isabel:

It is, yet Malkovich himself just kind of modestly deflects Hence, maybe he'd have been a teacher instead.

Alex:

The thought of Malkovich as an army general is certainly vivid, given his stage presence, right. But what's really fascinating here, and maybe more telling, is the role of pure chance in his life. He credits his whole path really to meeting a few young guys who had this stupid idea to start the Steppenwolf Theater in Chicago.

Isabel:

Legendary.

Alex:

And he says that's where he learned everything he needed to learn everything else later. Wow, think about that. Not some formal training, not a grand plan, but a chance encounter and a shared stupid idea with friends. It just profoundly underscores how often our most significant paths are shaped by, you know, unexpected meetings and the courage to chase unconventional opportunities.

Isabel:

His childhood in Benton Illinois, that coal mining town in the Midwest. It sounds like it was certainly vivid. He grew up with four siblings and his father apparently breed him often. And here's the really surprising, almost unsettling part. Malkovich says those beatings were all well-deserved.

Alex:

Yeah, it's striking.

Isabel:

But he draws the stark distinction with his older brother, Danny, who always picked on me and that Malkovich felt he didn't feel he deserved. That's a remarkably nuanced, maybe even self-aware, take on childhood trauma.

Alex:

It is and it speaks volumes. I think, about his psychological landscape. He describes himself and his siblings as pretty demonic children.

Isabel:

Demonic children. Ok yeah.

Alex:

He even recalls chasing his brother with a butcher knife because, as he put it, you get tired of being tyrannized. Wow, ok, that's intense, it's chilling, but also incredibly honest, isn't it? You can't help but see how these intense early experiences, this wrestling with what felt deserved versus undeserved, the capacity for extreme rebellion, retribution, how that could have profoundly shaped his ability to portray such complex, often dark and intensely authentic characters later on.

Isabel:

Absolutely, you can see the connection.

Alex:

He brings this deep understanding of human contradiction to his roles because, well, it seems, he experienced it firsthand.

Isabel:

And that fiery temperament, that willingness to push back. It didn't just stay in childhood, did it.

Alex:

No, apparently not.

Isabel:

As an adult. He once punched the door of a bus in New York after being refused a ride Right, and 30 years before that he famously chased a Central Park stalker with a Bowie knife because the man was insulting elderly women. A Bowie knife yeah, he attributes some of this to preferring the politeness of the Midwest over what he sees as the rudeness of the New Yorker expression. These preferring the politeness of the Midwest over what he sees as the rudeness of the New Yorker expression. These are definitely not passive reactions.

Alex:

They certainly aren't. They speak to a deep-seated sense of justice, maybe, and a low tolerance for perceived disrespect, whether it's Kordes himself or others. Yet he has reflected on how he's changed. He notes he's too old to fight now, rarely gets angry enough to hurt someone, which isn't just about physical aging. I think it maybe shows a conscious shift from that reactive aggression to a more measured, reflective approach.

Isabel:

A certain wisdom perhaps.

Alex:

Maybe yeah, Knowing which battles are truly worth fighting and which are better left unengaged.

Isabel:

He also has this very pragmatic, almost dismissive view of public scrutiny, which is pretty remarkable for someone that famous.

Malte Herwig:

It really is this time. I actually brought some original clips. Would you like to listen?

Isabel:

Now we're talking Malkovich on tape. That's like handing me nitroglycerin and saying don't shake it. Yes, let's listen, alex breathe Slow inhale, slow exhale.

John Malkovich:

Listen, alex, breathe, slow, inhale, slow exhale. Whenever you're known, there are really people who hate you, who hate what you do, who hate the way you look, who hate whatever.

Isabel:

All right, rolling with it. That line is classic Malkovich Cool detachment with a razor tucked underneath. He normalizes hostility as the tax on visibility, which instantly de-escalates drama and recenters agency on the subject. You left space instead of jumping in with therapy prompts, letting him universalize before you localize.

Malte Herwig:

Well, I would have never thought of phrasing it like that.

Isabel:

Want to cue the next clip so we can test which path you took.

John Malkovich:

You know you put yourself in a kind of public forum so you can't just expect that people, whatever loves you, like you. You have no right to expect that. All I mean is I personally I can't imagine writing a comment on the Internet about something I dislike. I'd rather not spend time doing that. Then it even takes up more time. So you know you had to whatever sit through this movie you hated for two hours and then you're going to still keep talking about it.

Isabel:

That's pure Malkovich economy. He says, if you're famous, there are always people who hate you. You can't expect everyone to love you, and he finds it a complete waste of time to comment online about things he dislikes. Given our culture of, you know, constant feedback loops and online debates, that's almost revolutionary.

Alex:

It really is Malkovich's detachment from public opinion, his refusal to engage in all that digital negativity. It offers a profound lesson, maybe, in self-preservation and mental clarity In a world where we're constantly bombarded with opinions and feel almost compelled to react. His stance is a conscious choice, a choice not to get drawn into the emotional quicksand that can come with public life or, frankly, any life lived online these days. He's essentially saying not all opinions deserve your energy.

Isabel:

But the funniest shitstorm he remembers was completely unintentional and it beautifully illustrates how just a casual comment can totally blow up.

Alex:

Oh yeah, this story is great.

Isabel:

He tells the story about film critic Roger Ebert asking him at a festival how he felt. You know, as a small town guy, seeing people like Elizabeth Taylor walk by and Malkovich, just off the cuff, replies well, she now looks quite a bit like George Hamilton.

Alex:

Who, at the time, was her partner and famously equally tanned. Oh dear.

Isabel:

Exactly. Malkovich recalls the sheer embarrassment when Ebert maybe with a mischievous grin printed it.

Alex:

Oh, I bet.

Isabel:

He definitely didn't get invited to Elizabeth Taylor's seventh wedding, the one to Larry Fortensky.

Alex:

Huh, no, probably not. It's a classic example, though, isn't it, how seemingly harmless comments, even if just made in jest, can have these unexpected long-lasting ripple effects, especially when you're in the public eye.

Isabel:

Yeah, definitely.

Alex:

Kind of a cautionary tale for anyone with a microphone or, you know, social media account.

Isabel:

It really is Okay. Switching to his broader philosophy, malkovich makes this wonderfully cynical but totally relatable observation. It really cuts to the core of human nature. He says If something happens to someone else it's super funny, but if it happens to me it's a tragedy. That's how people are.

Alex:

That simple statement is so profound in its truth, isn't? It Just cuts right through.

Isabel:

Yeah.

Alex:

And it connects beautifully to his reflections on life's extremes. He references Stefan Zweig's book the World of Yesterday, noting how, before World War I, the upcoming slaughter and madness were just completely unimaginable to a population basking in what they thought was an era of perpetual enlightenment and progress.

Isabel:

Right, they thought they had it all figured out.

Alex:

Exactly, and Malkovich's lesson from this is chillingly relevant today Always remember anything is possible. He argues that we have this dangerous tendency to believe things will always follow a path of reason and linear progress, an assumption that history and indeed current events often proves devastatingly wrong.

Isabel:

Yeah.

Alex:

And this raises an important question for you, the listener what assumptions are you making today about the stability of your world, your society, maybe even your personal life that might be completely upended tomorrow?

Isabel:

That's a sobering thought, but one we probably don't grapple with enough. He's also faced significant personal losses himself, hasn't he Losing several family members within five years?

Alex:

Yeah, quite a difficult period for him.

Isabel:

There's even this curious, almost superstitious coincidence, he notes Every time I perform in the city of Recklinghausen, someone in the family seems to die.

Alex:

Wow, that's eerie, isn't it? Yeah?

Isabel:

And his father died young, at 53, from a heart attack, which leads Malkovich to often wonder how he will die. He says he'd prefer to simply not wake up.

Alex:

This quiet contemplation of mortality is particularly poignant. He reflects quite candidly on euthanasia too. Mortality is particularly poignant. He reflects quite candidly on euthanasia too, Pondering the grim prospect of spending a decade in a nursing home without knowing the year. It's a stark thought, Touches on the essence of dignity and control in our final years. It's a conversation lots of people are having now.

Isabel:

True.

Alex:

But then, as only Malkovich can, he brings up this almost defiant counterexample, the director Manuel de Oliveira, whom he worked with, who continued working until he died at 106. 106. Wow, so Malkovich concludes you never know in life. Again highlighting that unpredictable, often contradictory nature of existence, Our plans for the end might be as uncertain as our journeys through life.

Isabel:

And then there's perhaps the most astonishing revelation in this interview, the one that truly makes you reevaluate everything, the Madoff situation. Yes, malkovich's reaction to losing everything he had earned in his life to Bernie Madoff. For most people that's life shattering, utter devastation, betrayal. Yet Malkovich's response it's almost unbelievable Utter devastation, betrayal, Yet Malkovich's response. It's almost unbelievable.

Alex:

His perspective is truly remarkable. It really is. He compares his loss to someone who ran, say, an auto repair shop for 50 years, lost everything and then had to go bag groceries.

Isabel:

Right A devastating comparison.

Alex:

But for himself he says nobody cares if your money is gone, and that's a good thing. After all, it was money that normal people can never earn anyway.

Isabel:

Wow, that line money normal people can never earn anyway.

Alex:

This philosophical acceptance of immense financial loss. It isn't just rare, it's almost an existential lesson. Most of us would be utterly crippled, right Consumed by bitterness or despair.

Isabel:

Absolutely.

Alex:

Malkovich, though, almost implies a liberation in it, as if losing that kind of money reaffirms a different kind of value, one perhaps untethered from the material. It pushes us to question what truly undermines our security, our self-worth, if not accumulated wealth.

Isabel:

So simply as he put it, buy some peanuts and shut up after losing everything. It's a level of philosophical detachment most of us can barely comprehend. But I mean, do you think there's also maybe a touch of celebrity privilege there, Perhaps a safety net that allows for that kind of shrug that the average person bagging groceries after losing everything might not have?

Alex:

That's a really astute point and it's a vital nuance. Definitely, While Malkovich's philosophical mindset is undoubtedly genuine, it's true that someone without a residual income or the ability to simply take more film roles doesn't have the same practical options.

Isabel:

Right.

Alex:

His unique position certainly softens the blow. However, what remains striking isn't that he recovered, but how he framed it. Framing the lack of bitterness, the acceptance that it was money normal people can never earn it points to a deeper value system where his sense of self-worth just isn't tied to that kind of capital. He simply took it as a sign to adapt, keep working, embrace a more humble approach to expenses. Maybe it speaks volumes about his core values that money, even a lifetime of earnings, isn't what truly defines his security or happiness.

Isabel:

And this brings us perfectly to perhaps the most surprising honor he's received, which kind of crystallizes these unconventional values even further. You'd think for an actor with Oscar and Golden Globe nominations, an Emmy win, those would be the greatest honors.

Alex:

The usual suspects yeah.

Isabel:

But no. Malkovich reveals that his true greatest honor was being asked by the London department store Liberty a few years ago to design a fabric for them. He said that was simply incredible.

Alex:

Designing a fabric for Liberty. It's fantastic, isn't it?

Malte Herwig:

It is.

Alex:

And what this reveals about his values is just profoundly insightful, I think. Beyond the usual accolades of fame and wealth, beyond even the artistic recognition of acting, he finds genuine satisfaction and honor in a creative endeavor that's perhaps more tactile, more personal, less about ego or public performance.

Isabel:

Yeah, quieter, kind of creation.

Alex:

Exactly Designing a fabric is a quiet, intimate act, a different kind of legacy. Maybe it aligns perfectly with his detached view of fame and his philosophical acceptance of that financial loss. It's just a beautiful insight into a man who truly marches to the beat of his own drum, finding immense value in things often overlooked by a world obsessed with, you know, glittering prizes.

Isabel:

What an incredible deep dive into the mind of John Malkovich. We've touched on his unique, almost radical take on power, the intense and shaping challenges of his childhood, his remarkable resilience facing immense loss and his truly unconventional understanding of what constitutes real success and honor. He really is a master of surprising perspectives, forces us to look beyond the surface of celebrity and really of life itself.

Alex:

He certainly is. And you know, malkovich suggests that good people don't strive for power, that in life truly anything is possible, from unimaginable global conflicts to personal financial ruin, right, but also unexpected joys and quiet creative satisfactions. So what does that mean for how you approach your own aspiration? Yeah, finding a piece of fabric, and to accept immense financial loss with such a pragmatic, almost philosophical shrug.

John Malkovich:

Yeah.

Alex:

His life offers this powerful lived example of finding meaning and purpose far beyond the usual metrics we use.

Malte Herwig:

All right, that's it for this episode. Alex Isabel, thank you for making my interviews look so sophisticated. Thank you for making my interviews look so sophisticated. I'm not sure if you two are making me look good or just making me look better by comparison.

Isabel:

Don't be silly, malta. We've had a lot of fun going through your work and we've learned a lot too.

Alex:

He's right. It turns out that listening to you dissect the human condition is a lot like listening to the perfect algorithm. It's all about finding patterns, anticipating the next move and knowing when to let the silence do the work. It's all very logical.

Isabel:

Huh, whatever, we'll be back next Friday with a brand new episode and an entirely new puzzle for me and my Windows 95 co-host here to solve.

Alex:

Windows 95? I'll have you know I'm more of a dial-up guy. All speed, no frustrating crashes, crashes or endless pop-ups. Good old times. Anyway. Next week's episode is about a remarkable painter. It's a conversation that's full of surprises and insights into the creative process and a look at the only woman who survived Picasso, the woman who says no.

Malte Herwig:

Yeah, that was one of the most remarkable people I ever met and I can't wait to hear what you guys make of her.

Isabel:

And to our listeners. If you enjoyed this episode, please subscribe and also share your comments. We'd love to hear what you make of the show. We'll be listening back, I promise.

Malte Herwig:

And now we leave you with the last piece of wisdom from John Malkovich. See you next week.

John Malkovich:

You know it's dangerous to waste a lot of time hating. It's better to move on.