tonight, one-on-one with actor and american icon, tom hanks on president trump and his attacks on the media. >> you are entitle d the to you opinion, but you are not entitled to your own facts. they're throwing dirt and oil b into a bucket of water so it all becomes undrinkable. >> the sexual harassment scandals working hollywood. >> am i surprised at some of the personality, not hardly. >> and the most memorable roles of his legendary career. >> every poll i look at says tom hanks is the most trusted. the most beloved and popular actor. so -- >> right, guys, give me a big -- >> welcome to the axe files. >> tom hanks, great to be with

you. what's interesting to me is how do you become tom hanks? how does tom hanks become tom hanks because i did a little reading about your life. people look at you. you're warm. you're gary louse. kind of an american icon. they say well he must have grown up with jim cleaver. he must be like wally and the beaver. your childhood wasn't like that. >> no, my parents, the joke is they pioneered the marriage disillusion laws for the state of california. my dad, janet and zsa zsa gabor all had a lot of divorces between them. but i can't, i have three siblings. i'm the third kid of four. and we all have different takes on you know, the environment that we grew up in. and mine was, is that other than it being confusing sometimes,

and otherwise it being having a you know, parents who weren't anxious to tell us what was going on in the world, i didn't, i kind of thought it was an adventure. i had ten different homes by the time i was 10 years old. >> that's confusing. >> u but i thought it was kind of cool. i had a bunch of step siblings. we lived in apartments. we lived almost like on quauzsy farms. on the outskirts on towns. in the middle of towns. >> different schools? >> yeah, i was able to size up what was going on pretty quick and some degree of a good sense of humor and some degree of confidence and a great amount of adopted independence, i think. if i was going to say there's a problem there, i traveled emotionally light. me meaning i didn't take the burdens of that confusion with me.

lived in one house until i was 14, so 10 to 14 and that was the longest i had lived anywhere. four years in one place, then started moving again every year. >> i read somewhere you described yourself in school as a nerd, a spaz, mainfully shy. >> i was at combat with the reality of the home environment. outside for two and a half years where we sort of lived alone, i was not necessarily anxious to get home because there was an unspokesmanen tension in the house. it was something that was not being said like how long we're going to live there or how good you know, dad and his are getting along. so i think the combat i had was a livelyness and a distraction that was built on hanging out with other people and staying busy and sort of like being in

the entertainment business without realizing i was in the entertainment business. >> when did you realize you wanted to entertain? when did the acting bug -- >> i was always a guy who shouted out wisecracks during the slide show. you know, at school. but when i was in high school and had that well what are you going to do? what do you take in high school? biology. government. world history. i ran the track team for a while. with absolutely no enthusiasm whatsoev whatsoever. then when a friend of mine was in the school play and i saw him do this. i just said, what's this racket? you're telling me that we can come and do this here? i thought it was only for parks department stuff. and the church group might put on skits and stuff like that. when i realed it was a, when i found out, there was a classroom that had a stage in it. and you could take more than one

class and it wasn't baby sitting. >> what about it particular? what about acting? seems to me, i admire you, you're the best of the best, but anyone who can inhabit a character and become someone else. >> i don't, i was just doing purely on instinct, but it was to throw myself into it totally. when i was in a play or when i was performing, it took up every moment of my day and every brain cell, i think there are people who are actors and people who are not, never will be. i just am one of those. it was not, was not self-conscious about it. was really sort of like chomping at the bit in order to go be a part of something. >> what about the reaction to it, to you must, there must have been some thrill associated with entertaining people. >> there was, there was just the

excitement of knowing that anybody had shown up specifically to watch what you are in. but i also had the same exact thrill of when i was a stage manager of the shows because we were a part of this magic thing that was hidden from them but you could hear them, feel the heat of an audience. you could actually feel the focus of their eyeballs on you. if they started refaacting in a way to something you're doing, david, that's crack-cocaine. it's crack-cocaine. >> you must have found a community with people who you were acting with, working with, crews. >> i found the tribe of that i think every person needs to belong to. that every person needs to seek out. there were people at church that were great. people populated the individual classes. there were people i that got along with. but i felt as though i had you know, a secret tattoo or you know, the shared same dna with

the people that were in the drama department. >> i want to ask you about another passion that you developed in your childhood. you just released a book, a great book, of short stories called uncommon type. there's a story in that book called the past is important to us. it's a great, great book about time travel. but it struck me just thinking about t your career and your story that the past is important to you. that you are very focused on history and you obviously you're very focused on the history of world war ii and the history of the '60s. what attracted you to that and when did you start down that road? >> when i started reading for pleasure, i don't know if it's proper to say this, but i had a very vivid imagination in all other respects of school pursuit. i was, in the theatre, i was quote unquote an actor. that is a lot of making things

up that have to be rooted somehow in a concrete reality. so i read nonfiction because it really happened. i read a lot of biographies and autobiographies because that was better than anything that you could possibly make up. i lived in a make up, in a make believe world. and so i was not profoundly moved by an awful lot of novels unless they were set in some brand of concrete reality. that's always been my interest in reading. because i believe and i have seen over and over again is that vanity and vanity, all is vanity, nothing new is under the sun. human behavior has demonstrated itself in a cyclical manner in the form of history and when you're not involved in the nostalgia of a period, but in the human behavior of a period,

it all falls right into what you and i are going through today. >> let's talk about that. first of all, what about the world war ii experience generation, you know, i remember we're about the same age. i remember when john f. kennedy came to a little housing development where i grew up in new york to campaign in 1960. i was a little boy. and thinking back at it, this was a housing development for returning war veterans and everyone there had just experienced this. everyone coming together to repel fascism, defend democracy and there was a sense that anything was possible. that you could overcome any obstacle and i assume that's part of what attracts you to that generation. >> there was a paradox that i was aware of from a very early age. there were two versions of the war. one with was the movie war. the tv war, that ongoing mythic, celebration of what the myth was

with the right kind of music and the right kind of triumph and maps and stuff like that. but then there was the other one that was displayed by every single care giver, every adult that was in my world. which was they talked about the war in very personal terms. when they talked about the life before the war, their lives were simple. their lives were also dangerous because they could get, you died of pneumonia before world war ii. you could have a tooth abscess that could kill you. when they say that was before the war because during the war was this huge cranial shift of their vision of the world, how big it was, how tight it was and forces that were out there that effectively altered their daily lives and then after the war of course it was like we're here and we share that burden with so many other people. there's no reason to talk about

it too much because everybody speaks the same common language. >> yet it did create a sense of community in that was one common element that brought everybody from all parts of the country together. >> my dad had skills he never would have had because of the war. he became a machinist so he learned hydraulics and stuff like that. but he also had that grander world vision of places. that where he go and sights that he had seen. >> your work, not just your acting work, but your documentary work, some of stories in this book sort of capture, it's almost, inse seep area tones, that generation that how does it compare to where we are today? you said earlier, there are lessons that you can draw from history. >> well, we are, there were times i think when we have a national consciousness of perm

nae innocence. and other times of great trans yens, where we feel as though hey, times are going good and all f our institutions are working according to the contract that we have with them and our population culture is reflecting back to us a conte contentment and sense of accomplishment. certainly in the early 1960s, that was a lot of what was on tv. it was in the movies and the nature of what we heard. in all of popular culture. and right now, i think the consensus is that those social contracts have all been broken. that we are often lied to. that we are often kept from knowledge. and then there is, there's a reason to be outraged and there is a reason to be afraid. and there's a reason to look at outsiders as an upsetting of a status quo that really wasn't working for us in the first

place. and a lot of that is comes from si signals that are sent to us by you know, i think organizations or institutions with an agenda. i think we are in a period where that brand of transient is scary. like springsteen says, there's a darkness on the town. at the same time, you want to have an understanding of we take care of our own. but there is a, there's a, there's a type of, i think we're more afraid right now. i'm not sure that we know what we're afraid of. >> coming up next on the axe files. >> we are not the united states of america without the first amendment. it's monkeying around with our constitution. at t-mobile, when you holiday together,

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one of the institutions that people relied on when we were kids and for some time was the news media. and to deliver those facts. >> the fourth is state. from a guy who is a you know, lay historian who doesn't -- moynihan had this great saying, which was you are entitled the t.o. yo to your own opinion, but not your own facts. and that's not true anymore. everybody has their own facts. and they cling to them. sometimes they're insane conspiracy theorys, but other times there are interpretations of people's motives and other times it's like two times two equals four. there's not an accountant in the world that doesn't understand two times two does equal four,

that's a fact. but as soon as you apply that to a measure of ozone in the air or loss of ice in the polar ice, suddenly, those facts two times two doesn't equal four anymore. it means there's something else. you can question literally the math. >> you just completed a film that's going to be released later this month called the post. about "the washington post." and particularly episode in its storied history that went to the publication of the pentagon papers. secret papers that revealed what was going on inside the government and in many cases, things that were hidden from the american people about judgments that were made. it was very, very controversial. >> steven spielberg directed it and it's really the story of how kay graham came to be. "washington post" as well as news week and television stations and it all just happened to occur in the same

week. and in order to be not just the figure head but also the owner and the publisher and the person who made the decisions, catherine graham had the decide whether or not to print stories about the pentagon papers. >> perhaps on the threat of imprisonment. >> "the new york times," who had run these huge stories on it was shut down in fact, they were enjoy iing from publishing anymore, by the government government, the justice department, they were shut down by agents of the president of the united states. so the assault on the first amendment was pretty basic. and you had a president of the united states who was trying to shut down literally trying to keep from publishing -- >> richard nixon. >> richard nixon was. that's what tyrants do. that's what crappy communist dictators do. you know in on the smaller countries on the other side, that's what banana republic

dictators do. they shut down the knenewspaper. they keep them from printing whatever stories there is. i think it's interesting, david, it's all about fake news. this movie, what is your hope, what is steven spielberg's hope? >> i can't speak for steven, he's the boss. >> i'll take yours. >> the point that it takes is is this. is that we are not the united states of america without the first amendment. >> so it is a current issue as you know. >> oh well -- >> the president has targeted news organizations that have printed things that he finds -- >> i believe -- i believe he calls cnn fake news. >> he did, indeed, and "the washington post." >> and "the washington post." >> and other news organizations as well. how much does that concern you? >> well, as an american, it concerns me because it's

monkeying around with our constitution. it's relatively obvious i think as what is trying to go forward. when you tear down these institutions to a level and say you can't believe anything that is in any of them, that raises the stock of those agenda filled other institutions what not so that if you can't believe them, well that means you get to believe some of the other stuff that is in these and so what is happening is that dilution of the great, they're throwing dirt and oil into a bucket of water. so it all becomes undrinkable after a while. when conspiracy theorists ends up having the same amount of purchase of 27 reporters trying to get to the bottom of some records somewhere, trying to get thom bottom of what was said about vietnam in 1946 and 1947 and 1963, then you're monkeying

around with i think what the united states of america has been based upon, which is the great freedom to say what you want. assemble with who you want to and read and be informed by those people that you want to turn to. >> i think what the current administration is doing -- i don't know that they're saying we have to shut them down so they don't publish anymore. what is happening is is something that is more subtle and more insidious and i think has more fingerprints from other total -- other governments in the past who have said look, we can't shut them down because that will cause outrage. but we can denigrate them. we can, we can, we can call them names. we can tell, we can tell people that those are not the facts. that's what he's saying. >> you were criticized some back at the beginning of the administration. i think i shared your view when you said i'm not rooting for the

president to fail. >> yeah. >> and i you know, i thought back to the beginning of the obama administration when i was in the administration, rush limbaugh said i'm rooting for the president to fail and i thought particularly at a time of national emergency, that was a terrible thing to say and so i felt you owe the next president that same presumption. we're now ten months in. where do you think, how would you evaluate him? >> well, when we were at, back in the golden months of last october, you know, before the election, you know, the people stick microphones in your face. you think donald trump's going to get collecte lected? i said no way. you don't elect a guy like that president of the united states. and i thought that all the way up and i said something glib or flip, if that's going to happen, well you know what, then aliens are going to land on my front lawn u and dinosaurs are going to wear capes.

it was a silly answer for something that was impossible. >> did you check your lawn? >> if i had said instead, if that happens, we're going to, neonazis are going to hold torch light parades in charlottesville and pocahontas jokes will be said in front of the code talkers. >> we have a represent in congress who they say was here a long time ago. they call her pocahontas. >> that would have been just as hellacious in imagination as what we have. >> it's ironic because if not for the apprentice and that vehicle he had, he likely wouldn't be president of the united states today and yet he also benefits from the d disaggravation of the media, the entertainment industry, hollywood. i batched the emmys. it was a real beatdown on trump. my thought was this probably helps him with his support. >> it does i think so because at

the end of the day, it's dog piling. it's a degree of cheap shots. i think we have to admit this though. something, something profound came out of that election. and that is the rules were smashed. the rules no longer applied. you could, a man, a candidate could say outrageous things and not be penalized by when it came down to the voting booth and you can look at, as though some aspect, there was a national referendum that had had enough of this ongoing political continuum that was always say the right things. always feed your base. always say just glittering generalities about whoever, anybody because you don't want to offend and that is translated i think to you don't want to tell the truth about what your opinions are. he was a guy that you can't stop telling his opinion. >> i wish he'd speak his mind.

>> what could come out of that? well, what good is on whatever other side of the political divide, you'll start hearing people speak their minds. and unfortunately, seems as though the people who have done that so far are folks who know a lot of running for office. you know. >> you've talked about yourself as lay historian here because there is a sense of unsettlement, of unease about where we are. we've crossed some arurubicon a can't get back. >> in all of the history that i've read and the various things that i have tried to turn into nonfiction entertainment, you do come back to this other thing. which is the power of our immediate foundation. john, some of this began because when i was doing philadelphia, in philadelphia and so i'm walking around trying to get skinny because you know, we're playing somebody who was

suffering from the pandemic of our age. we visited the family, we visited independence hall. which was a good place to be. you go, liberty bell, there it is. and the park ranger, guy literal ly the green uniform t smoky bear hat, aened on that spot there, the physical spot, john adams was sworn in as the second president of the united states and for the first time in recorded human history, rule of a nation changed hands without bloodshed or death. and my head exploded because i hadn't put it together that way. the great thing about our democracy is not us putting people into power. it's taking people out of power. but in america, we've done it again and again and again and again. >> which i think we take for

granted. >> we do because even right now, it's like, oh, there's an impeachment thing that's going around there. >> what do you think? >> we have something better in store. than that. we have an election comeing up n less than a year now. 2018 is going to send a message that is going to reverberate much more than any senate hearings or congress congressional stuff. that election in 2018 is going to prove one of two things. we will continue along and we will have the government we deserve. or a lot of people are are going to sew up and be motivated to vote in order to send out the waves and say we are not satisfied with the way things are going right now. so if there is a turnout that says we're not satisfied with this, hey, baby, that's even better than going through the machinations. >> impeachment is a fool that

should be used very carefully because if it becomes common place to say i dislike who's in office so we're just going to impeach them and i understand there are provocation, through there's a system in place of people investigating thipgs, but if it becomes a casual tool, it's bad. it's bad for the country in the long run and it's one more institution that will be abused. >> if crimes have been committed, i get it. we don't have to, there's a -- it's marathon. there's longer faith that we can have. and everything goes spurts, you know, stops and starts. sometimes you take one step forward, two steps back. but other team. you just keep move iing forward. >> next. >> i hope the victims are come out and tell all sorts of stories. of everything.

tell the truth about what goes on and that the reprecussions land exactly as they should. is this a phone?

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click, call or visit today. i have to ask you that the about investigative reporting because it's also shining a bright light in the corners of other corridors of power and hollywood has come under that scrutiny. you've seen some real giants of your industry, harvey weinstein, kevin spacey and others, who have been, who have been i guess exposed is the wrong word, but who have been identified as sexual harassers, sexual abusers or at least there are allegat n allegatio allegations. predators. predators. how pervasive is that in the

industry itself and how come police it is everyone who has been around all these years and not said everythianything? >> well that's a good question. the, anybody who had like, very specific knowledge of what was going on, they'll have to answer questionsply sit were they. >> you saw a lot of star, people you've acted with, but they came forward after these very brave women who were not prominent and powerful, told them to "new york times" and ronan far row arow a "the new yorker." >> there are, i think there are a number of reasons people go into this line of work that i'm in. essentially, trying to come up with stories that people will pay to see. one is because it's less ridiculous amounts of fun. two is if you can make it stick, it can be a pretty good living,

you know, and you get to travel the world and see interesting things. some people do it for power. they just want to have a degree of power. because that's the thing that gives them credence. something, you know, on one hand, it's a parking space with your name on it. and you take it to another extreme, it's the ability to beat up on understood legs and say things like you want to job, you want to keep your job? then you're going to have to fulfill these other demands that are of a sexual nature. it's to the degree of assault. there are people like that without a doubt in hollywood. i don't think it is as, it's not common core, but without a doubt, it's widespread. because human nature comes down to a lot of times, those people in power have it for that very, that table, that access in order

to in order to be a sexual predator. >> we've seen it in politics. >> well, it's everywhere. you know, part of it also is because look, in a lot of ways, all of us are, we all left town and joined the circus and circus is glamorous in a lot of ways and there is, there is comradery and there is you know, there's sex and there's attraction and there's boyfriends and girlfriends and there's flirting and that's always been part of there's onset affairs. there's no law against that. >> but this goes -- >> this goes much farther beyond that because it ends up being a swaying of influence and it becomes part of the marketplace. it becomes when it is in inherent into the workforce that you join, that you have to have a degree of sexual harassment to keep your job, the only thing you can say is number one, i hope the victims are come out and tell all sorts of stories, everything, tell the truth about what goes on.

and that the repercussions land exactly as they should. >> were you surprised by some of these revelations? >> i'm surprised by the overtness of it, yeah, sure. yes, absolutely. am i surprised at some of the personalities involved. not harvey. he had a, he had a, he had a way of doing business and you know, zero sum game, negotiation stuff that would not make you surprised to have him being one of those kind of guys that does that in the workplace. others are just like well, you know, there's a time and place for decorum and ethics and you blew it. there's that as well. >> do you think that they'll be scripts written about this? about these women who lived in terror, or will hollywood protect itself from that? >> i think there's going to be quite a bit that comes out about it. here's what's going to be an

interesting test is that going to be selation? titillating? shocking? outrageous in order to draw viewers or is it going to be human and realistic and authentic in its details. in some ways, you can already see you know, the i'm sure there's already stories in development that are going to be based on the harvey weinstein or whatever and is that going to as what's the word i'm looking for, is that going to be as pure an examination of the theme as somebody else taking along and saying well, let's fictionalize it and turn it into something so that we're not necessarily dealing with the specifications of any one person, but can get down to the specifics of what it really did to the human beings. >> do you think films like that or let's talk about philadelphia, which was a brave film in 1993. do you think they have the power

to change things? do you think philadelphia hastened an understanding of aids? >> i think it did both in what ilt accomplished and what it failed to accomplish. the big, the throwing deep in the end zone on philadelphia was that it was going to compete in the open marketplace. you can make a small movie for $400,000 and play at every film festival in the world and only 62,000 people will see it. it will be a profoundly good movie to them. but when you're going to compete in your local marketplace for a broad audience to come in and deal with something that is kind of ripped right out of today's headlines, you have to, you have to do it in a matter that it's going to be somehow so approachable, authentic and glamorous in order to attract an audience who simply wants to be entertained. if they become enlightened at the same time, good for you. but there's throughout all of american history, which i have said, gentlemen's agreement with gregory peck in 1952 was about

antisemitism. the best years of our lives was about the empness a generation faced when they came back from the war. the grapes of wrath. even though the ending was absolutely nothing like john steinbeck wrote, it ended up being entering into the national consciousness and changing that consciousness because you could not argue with the theme that it was examining. and hollywood will do that all the time. it won't always land on it. it won't always make it happen. it might cop out, but there's always going to be something coming down the pipe that is meant to do it. the difference now is that it might be on you know, you might be on a streaming service as opposed to playing in your local cinema because the you know u, the super heroes are filling up all the cinemas. >> coming up next. >> could you play this president of the united states? >> yeah.

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you've probably seen the stuff u written and said about what why don't we run tom hanks for president. would you like to play that role? >> i don't even want to play the president of the united states. much less be the president of the united states! could y! could you play this president of the united states? >> yeah. >> how would you play him? >> i would probably play him as a very incurious man. and i'd do it interpretation more so and curious and unimaginative guy who doesn't seem much beyond the next 48 hours.

here, let's come this way. can you get a shot of this? do you know what this is? >> it looks to be a television set. >> not just any television set. this is is a communist television set. this was on the set of bridge of spies. never make a movie with steven spielberg, look at this tv. that looks like it's a lot of fun. next thing you know, it's being delivered to your house. so this was you know, you can make your own records. on tape. >> wow. >> and you could have you know, look at this old microphone. no, this was a big deal. i didn't even know this was in here. i'm discovering it right now. >> shall we put this on? >> maybe we should. it could be -- >> you mentioned bridge of spies. you've done so many of these sort of historical pieces.

biopics. are you drawn to those? >> only when they're mysterious and create something brand-new. and when there is a, when there's a dynamic to the character that i think speaks greater to the nostalgia for the period. >> ben bradley, these people are known, i mean ben bradley hasn't been gone that long. a lot of people know him. a lot of people worked for him, with him, he was an icon in washington. pillar of washington. does it make it harder when people know these people? does it put more pressure on you? >> it is a pressure. but we set out in order to obey a couple of rules. like i played richard phillips, who was kidnapped by smoly pry pats and sully sullenberger and charlie wilson, the congressman when he was alive and you have a meeting with them and you have to say look, in this movie, i'm going to say things you never

said and do things you never did and i'm going to be places you never were. dispite those handicaps, i wanted to be as realistic as possible. if you're aiming out in order to not alter the motivations of anybody or the to a ridiculous degree for the sake of dramatic purposes, the order of events, well then you can live up to i think the truth of if you're making a movie about something that really happened, for good, for bad, it becomes a document. a version of events that people will turn to. as being the source of this moment in it's an authoritative source of history. you can't play loose and fast, have to adhere to the facts. >> it's not the first typewriter you get that's important. it's the second typewriter that determines if you're a collector. if you buy a typewriter you ever don't need because you already

have a typewriter, what does that say about you? >> how many do you have now? >> come on, i'll show you. these are all various stages of they kind of work, they don't work, they need servicing, they're too big, whatever. these have all been edited. i have gone through the whole collection, i pulled out every one, i made sure they worked, they're all in working order. >> and do you use them? >> yeah, i rotate them into use. and i can tell them by the cases. there are some smith coronas, this will be a select-o-matic. >> you already asserted that it is some reflection of insanity, but what is it about these that cause you to collect them? >> this machine tells the truth, and it also tells lies. it can change the world for good or the better.

here that report? the only thing can you do on this is record your thoughts. that's the only thing that it's good for. it's the only thing that it's meant for. but if you're going to say i love you to somebody, it's as permanent as if it's going to be carved in stone. >> so many of your products sort of this sepia-tone memories of another time. you have a fondness for an era, do you have a fondness for a time? >> i think i have a fondness for a limited technology that was close ended. you know, a clock was meant to do only one thing, tell you the time. a camera did one thing, took a photo of you. i am as much enmeshed from my iphone but of late, i've gotten

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i will say in a polling has gotten a bad rap. so i tell you this advisedly but, you know, every poll i look

at says tom hanks is the most trusted, tom hanks is the most beloved and popular actor. >> right, guys? give me a big hazah. >> you've made that connection for a very long time. that's an enormous accomplishment. >> i don't discount that. i don't -- actually, that says something that -- this is the way i take it, is that, um, my countenance, if i should be so bold, matches my choices. i think that when you get to this point where you realize you're a bit of a commodity and i realize i am from the business perspective and the people who want me to do business with them, i understand i'm bringing into it the sum of everything i've ever done, everything i've ever said, any reaction any

audience has ever had. >> don't screw it up now. >> one, don't screw it up now but at the same time you need to provide some other brand of nourishment and healthiness. so if those kind of very flattering polls, they say what better thing can you hear about yourself other than, hey, i trust you. that's about the highest praise you can get from anybody. and i got to tell you, there's times i've lied through my teeth sometimes in promoting movies that even i knew weren't any good. but you can still get into understanding and sometimes you take a shot and sometimes you don't. countenance matching up with the quality of choices you make, outside of longevity, that's the only standard you can hold yourself to. >> tom hanks, it's a pleasure to be with you. >> i'm exhausted, david. have i pontificated enough?

>> we're going to give you a rest. it's so good to be with you. >> thank you. i enjoyed talking to you. >> to hear more of my conversation with tom hanks, go to itunes.com/axe files. top of the hour, you are live in the cnn newsroom. i'm ana cabrera in new york. thanks for staying with us. breaking news, the political world trying to figure out in the president admitted to a crime today. his lawyer said, no, he was paraphrasing. if the words he tweeted today are true, analysts say it's a very, very serious development. read them with me, from the president.