WEBVTT - Dorothée Boissier, Interior Designer and Co-Founder of the Gilles & Boissier studio

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<v Speaker 1>Ruthie's Table four is now a book Paul McCartney, Michael Kay,

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<v Speaker 1>Kamala Harris, David Beckham, China fey Elton John and many more.

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<v Speaker 1>It's full of stories, beautifully designed, and a celebration of

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<v Speaker 1>the way food connects us all. It's available now wherever

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<v Speaker 1>you buy your books.

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<v Speaker 2>You were listening to Ruthie's Table four in partnership with Montclair.

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<v Speaker 2>Every time I come to Paris, I remember a beautiful

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<v Speaker 2>time in my life. In nineteen seventy one up to

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<v Speaker 2>nineteen seventy six, Richard, my husband, and I lived here

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<v Speaker 2>while he and Renzo Piano were building the Pompidou Center.

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<v Speaker 2>We were young and we worked together. I as a

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<v Speaker 2>graphic designer, he is an architect. Our lives and our

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<v Speaker 2>work were completely intertwined. Dorothy Boissier understands that world. Together

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<v Speaker 2>with her husband Patrick Shiels, she has spent the last

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<v Speaker 2>twenty years creating exquisite buildings across the world. They are

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<v Speaker 2>partners at home and partners at work. Today we're at

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<v Speaker 2>Bonclair's beautiful flagship store on the Chancelise, designed by Darsay

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<v Speaker 2>and Patrick. We will talk about Paris. We'll talk about partnership,

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<v Speaker 2>and of course we will talk about food and really

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<v Speaker 2>what it means to build something with someone you love.

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<v Speaker 2>Thank you, thank you here, thank you, thank you.

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<v Speaker 1>She grew up with your mother and father in Paris,

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<v Speaker 1>in Paris, in Paris, in Paris. So my father was

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<v Speaker 1>from Normand if we go to food.

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<v Speaker 2>Yes, I love butter, I'm fresh, I.

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<v Speaker 1>Love this, I love this. I love when it's really.

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<v Speaker 2>I do too. I supposed to because we cook Italian food. Yes,

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<v Speaker 2>you know, whenever you have chefs around the table and

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<v Speaker 2>we start talking about the food. We love French food.

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<v Speaker 2>And butter is.

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<v Speaker 1>Good when you see the butter in the pants. Starting

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<v Speaker 1>to sound exactly.

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<v Speaker 2>So tell me about your father. He came from Normandy

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<v Speaker 2>and came to get from.

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<v Speaker 1>Normandy and to Paris. So he was working a lot,

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<v Speaker 1>always working, working, walking, very hard. And I didn't see

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<v Speaker 1>a lot my father. I was with my two sister,

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<v Speaker 1>my mother. Dinner was more the children.

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<v Speaker 2>Tell me that, yeah, I love French French at that time.

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<v Speaker 1>At that time, the children were more eating before kitchen.

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<v Speaker 1>And you had a cook, ye, mother cook. I never

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<v Speaker 1>I think I never saw my mother cooking.

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<v Speaker 2>Good for her. Everybody always says to me. You know,

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<v Speaker 2>my mother cooked, She made him amazing food. My grandmother cooked,

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<v Speaker 2>And of course I'm a cook, and I expressed a

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<v Speaker 2>lot of my love for my children through cooking. But

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<v Speaker 2>I sometimes I really do respect women who somehow, you know,

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<v Speaker 2>just decided if they could many can't, they were not

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<v Speaker 2>going to cook. So that was your mother exactly.

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<v Speaker 1>So she wasn't cooking. My grandmother wasn't cooking.

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<v Speaker 2>And so you grew up in this life. You went

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<v Speaker 2>to school and went to Paris. Do you remember the

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<v Speaker 2>food that the cook would make for you? Was it

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<v Speaker 2>a very tradition? Ah Cevell, tell what cevella is?

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<v Speaker 1>How do you say in English? Rains for children?

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<v Speaker 2>At that time?

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<v Speaker 1>You had to eat negrette and things like that, And

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<v Speaker 1>did you mind that I didn't really like it? You

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<v Speaker 1>didn't like it?

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<v Speaker 2>And would you go to Normandy sometimes and have the food?

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<v Speaker 2>You remember the food from.

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<v Speaker 1>Their food, specially cheese. Butter is incredible there, the big

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<v Speaker 1>piece of butter.

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<v Speaker 2>And you just take it.

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<v Speaker 1>Once told my mother in law for her first meal,

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<v Speaker 1>she came to the Italian and she came to dinner

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<v Speaker 1>at our house, and I made a huge effort to

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<v Speaker 1>make her a really good dinner to impress her.

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<v Speaker 2>And when she left, she looked at me. She said,

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<v Speaker 2>that was a very very good dinner, Ruthie. But you

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<v Speaker 2>know anybody can cook with butter. Yeah. Thanks so, but

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<v Speaker 2>that's why you stopped.

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<v Speaker 1>Never, my mom told me, don't eat this, don't eat that.

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<v Speaker 2>Never.

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<v Speaker 1>I wasn't obsessed by food. I could eat cakes.

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<v Speaker 2>I could eat everything. So your father, you spent your

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<v Speaker 2>childhood with your father.

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<v Speaker 1>My father until eight years old. Yes, And after my

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<v Speaker 1>father father died and I grew up with my stepfather

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<v Speaker 1>that I loved.

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<v Speaker 2>And so do you know anything about their love story? Man?

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<v Speaker 1>I think my mother they met in an airport and

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<v Speaker 1>they talked to each other, and I think something happens.

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<v Speaker 1>But you know, he was the kind of man my

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<v Speaker 1>mother told me that when they were going to restaurants

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<v Speaker 1>going back, she could find lots of message from women

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<v Speaker 1>in his pockets. Just even leaving the restaurant, the women

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<v Speaker 1>were putting.

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<v Speaker 2>Did they have children? Your mother never?

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<v Speaker 1>No, Because she met him. I think she was thirty eight.

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<v Speaker 1>There were they had like twenty twenty five years of difference.

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<v Speaker 2>Oh, I see. And he was a very handsome man.

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<v Speaker 1>He had from his grandmother an incredible collection of art

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<v Speaker 1>period questionistist, and his father was an antiqure, so he

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<v Speaker 1>had this passion about the decor and also the art.

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<v Speaker 1>And he lost his mother very early.

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<v Speaker 2>He was.

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<v Speaker 1>He grew up with his grandmother. She was an incredible woman.

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<v Speaker 1>She was a friend of Bona, of all those artists Ofisolar,

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<v Speaker 1>who was a very important collector at that time. So

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<v Speaker 1>we were in the nineteen twenties and this man on

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<v Speaker 1>Gasola had like six thousand paintings of Picastle Sizan. He

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<v Speaker 1>was the man to really help all those painters. Yeah,

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<v Speaker 1>it wasn't easy for them, like go gn and he

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<v Speaker 1>died quite early, and he gave half of his collection

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<v Speaker 1>to this woman, the grandmother of my stepfather, and she

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<v Speaker 1>kept them and she kept she did at that time.

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<v Speaker 1>I heard that she didn't like them. Yeah, they were

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<v Speaker 1>like in the storage. And so she was also painted

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<v Speaker 1>by Renoirona. So even my stepfather, you can see the

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<v Speaker 1>big paintings, he's like small, like five years old, and

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<v Speaker 1>she's there with the mother, the grandmother. So it's really

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<v Speaker 1>a thread of culture. Yes, I was loving especially looking

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<v Speaker 1>at all the books, the auction art books and trying

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<v Speaker 1>to know which one is which ones? So art antiques

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<v Speaker 1>were always around me. I think it may be educated

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<v Speaker 1>a little bit my eye and I thought I could

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<v Speaker 1>do I could study art, and it's this way. I

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<v Speaker 1>arrived in a school called Peningens in Paris, Dragon and

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<v Speaker 1>for me it was a real discovery.

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<v Speaker 2>What did you discover?

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<v Speaker 1>What was that I discover? Drawing? I didn't know how

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<v Speaker 1>to draw. I had around me only young people who

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<v Speaker 1>were drawing. Since they were so little, they were all

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<v Speaker 1>genius about that, and I was so I had to

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<v Speaker 1>It was like a new language for me, starting from zero,

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<v Speaker 1>so little by little I had to understand. But as

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<v Speaker 1>I was used with my eye to look at arts design,

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<v Speaker 1>I was very curious. When you left home, you were

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<v Speaker 1>still in Paris, always in Paris, in Paris, yeah, I

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<v Speaker 1>can feel that, always in Paris, Paris. And then did

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<v Speaker 1>you live at home still when you went to art

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<v Speaker 1>school or did you have I was still living at

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<v Speaker 1>home and when I left the house, twas difficult for me.

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<v Speaker 1>Doesn't tell me about it.

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<v Speaker 2>Very difficult.

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<v Speaker 1>I was in love with a man that I met

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<v Speaker 1>at seventeen yea and he really really he wanted me

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<v Speaker 1>to live with him. I accept after five years. It

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<v Speaker 1>was difficult for me to live the house.

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<v Speaker 2>When you lived with your boyfriend an apartment, did you

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<v Speaker 2>become a bit more domestic would you? Yes? I did?

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<v Speaker 1>Yes, Yes, I did.

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<v Speaker 2>Did he as well?

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<v Speaker 1>I think he was more looking for a woman who

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<v Speaker 1>that Yes, So after that I took a quite different.

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<v Speaker 2>Type of man.

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<v Speaker 1>Yes, And what would you do? Would you have parties?

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<v Speaker 1>And yes, you're in Paris. Yes, but I was taking

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<v Speaker 1>the book of trying to do the perfect.

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<v Speaker 2>That's of butter, you know, lots of you always call

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<v Speaker 2>potatoes butter with potatoes exactly. Yeah, I know that's true

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<v Speaker 2>very well.

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<v Speaker 1>So I was trying to be intent, trying to be

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<v Speaker 1>the best house house Fife.

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<v Speaker 2>Yes, yeah, and maybe not No. And to Paris and

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<v Speaker 2>you went to art what was it? What were the

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<v Speaker 2>other students like in art school?

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<v Speaker 1>Art school, you go a lot to museums, you work

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<v Speaker 1>a lot, a lot, a lot at night always.

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<v Speaker 2>How did you segue from that to being a designer.

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<v Speaker 1>You have to decide after two years you want to

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<v Speaker 1>do graphic or into your design. So I took into

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<v Speaker 1>your design. I loved I think I loved the idea

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<v Speaker 1>of a scene a theater, dickal lighting, people moving into

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<v Speaker 1>a dickal I remember I was, I had, I was

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<v Speaker 1>going a lot to opera Abastia and I saw this opera,

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<v Speaker 1>Madame Butterfly by Bob Wilson. Oh, yes, and I had

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<v Speaker 1>I had a shock because you can see. I mean

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<v Speaker 1>it's almost all the arts were concentrate on the scene,

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<v Speaker 1>plus the music. But I love this idea of creating

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<v Speaker 1>a sort of sort of movie in a way, doing

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<v Speaker 1>design into your designers that because you really create the deco.

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<v Speaker 1>You have the light, but you have the people inside.

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<v Speaker 2>And did you go to the cinema lot? Cinema big

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<v Speaker 2>influence on you at the time. Yes, interesting films coming.

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<v Speaker 1>Especially Patrick, my husband, he was he's really an artist

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<v Speaker 1>and when I met him, he I was discovering a

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<v Speaker 1>new world of art, of movies. Of really he was

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<v Speaker 1>at Pompidou I think every week.

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<v Speaker 2>This was in the eighties or.

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<v Speaker 1>Yes, more or less, more or less nineties nineties. He

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<v Speaker 1>was coming from Marseilles. He was born in Paris. He

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<v Speaker 1>hated Paris.

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<v Speaker 2>It was very difficult for him, so.

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<v Speaker 1>He was every weekend at how did you meet? We

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<v Speaker 1>met after school at our first job. Christian Interi, a

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<v Speaker 1>designer and he arrived with his long hair, the belt,

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<v Speaker 1>with the bull and me I was like the perfect

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<v Speaker 1>Parisian and uh.

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<v Speaker 2>At first sight? Did you almost? Yes?

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<v Speaker 1>I remember he showed me his book, you know, on drawings,

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<v Speaker 1>and he was so talented. I was impressed and I

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<v Speaker 1>always thought I have to work one day with him,

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<v Speaker 1>and after I joined him and we worked together.

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<v Speaker 2>And did he love food? Did do you like he

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<v Speaker 2>loves food? He does from Marseille he had.

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<v Speaker 1>He has a mother who is cooking incredibly well. She

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<v Speaker 1>was born in Algeria, so she can cook everything Africa African,

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<v Speaker 1>but super French and with nothing.

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<v Speaker 2>Could you be with somebody, though, who didn't love to eat?

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<v Speaker 2>Because you love to eat?

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<v Speaker 1>You, I love to eat, but very little. I cannot

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<v Speaker 1>eat a lot.

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<v Speaker 2>Yeah, but that doesn't matter how much you care. It

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<v Speaker 2>could care about what she eats.

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<v Speaker 1>It's what I told Patrick, he needs to eat the

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<v Speaker 1>whole piece of chocolate. I told him just eat one piece,

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<v Speaker 1>you keep it in your mouth and that's it.

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<v Speaker 2>Yeah. I think that's that's a battle you might never

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<v Speaker 2>win as an older women, tell you your husband how

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<v Speaker 2>to eat a bar of chocolate? What about when you're

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<v Speaker 2>designing a restaurant, how do.

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<v Speaker 1>You What we love is that when we have the

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<v Speaker 1>chef with us to really build the project.

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<v Speaker 2>Do you feel that the chef is so important?

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<v Speaker 1>He really has his vision on how we see the people.

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<v Speaker 2>Into the room, the way he liked them.

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<v Speaker 1>To be seated close not close? Is the kitchen opened?

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<v Speaker 1>Do we want to see what he's doing? So it's

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<v Speaker 1>it's very important. It's also a lot of body language,

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<v Speaker 1>the way you see it. What also you touch if

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<v Speaker 1>you feel well not well, how do you look?

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<v Speaker 2>What is your view?

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<v Speaker 1>And in a restaurant, you're staying one hour and a half. Yeah,

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<v Speaker 1>it's not like in a shop where you would and

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<v Speaker 1>a very important time as well.

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<v Speaker 2>You might be sitting at a place to talk to

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<v Speaker 2>somebody very intimately, or having a meeting, or you might

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<v Speaker 2>be celebrated or you might be unhappy.

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<v Speaker 1>Yes, so this and when we started doing restaurants, it

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<v Speaker 1>was almost the first project we did was for the

0:14:31.400 --> 0:14:38.400
<v Speaker 1>Hakkasan restaurants. Yes, yes, And you know him and I

0:14:38.440 --> 0:14:41.280
<v Speaker 1>think he was the first one to understand that a

0:14:41.400 --> 0:14:46.440
<v Speaker 1>restaurant was something much more than a restaurant, that it's

0:14:46.440 --> 0:14:50.160
<v Speaker 1>it's really a moment where people do much more than

0:14:50.320 --> 0:14:55.560
<v Speaker 1>just eating. And he explaineds. Really, how important is when

0:14:55.600 --> 0:15:01.120
<v Speaker 1>you enter if the if the corridor it's narrow, not narrow?

0:15:01.200 --> 0:15:05.040
<v Speaker 1>Do you touch the people when you walk? What is

0:15:05.120 --> 0:15:08.239
<v Speaker 1>the feeling of your table? You see all those details,

0:15:08.720 --> 0:15:10.040
<v Speaker 1>the height of your seating.

0:15:10.160 --> 0:15:12.200
<v Speaker 2>Yeah, I know that's very important.

0:15:12.280 --> 0:15:14.800
<v Speaker 1>It's very important. It started with the harrys Bar.

0:15:15.160 --> 0:15:17.920
<v Speaker 2>I was going to say that exactly. It's just going

0:15:17.960 --> 0:15:20.640
<v Speaker 2>to say that. It was just we had exactly the

0:15:20.680 --> 0:15:23.560
<v Speaker 2>same thought because I you know, you go into Harry's

0:15:23.560 --> 0:15:26.800
<v Speaker 2>Bar in Venice, you wonder why is it so beautiful?

0:15:27.120 --> 0:15:29.560
<v Speaker 2>It's in a room with an ugly seil. It's a

0:15:29.640 --> 0:15:32.240
<v Speaker 2>room that has no windows, it has a room that

0:15:32.360 --> 0:15:34.880
<v Speaker 2>has you know, the walls don't look on to any

0:15:34.920 --> 0:15:37.520
<v Speaker 2>of you, and yet it's one of the most beautiful

0:15:37.520 --> 0:15:42.440
<v Speaker 2>places to sit. And my friend, we probably know Andre Bela, yes,

0:15:42.600 --> 0:15:45.320
<v Speaker 2>will tell you that it's the height of the table

0:15:45.360 --> 0:15:48.040
<v Speaker 2>shop that you and I mean I always used to

0:15:48.080 --> 0:15:50.320
<v Speaker 2>think that it also. I love the idea rather like

0:15:50.360 --> 0:15:53.080
<v Speaker 2>a bar, there's no entrance. You just go through the

0:15:53.240 --> 0:15:56.080
<v Speaker 2>sacking doors and you're there. Do you have a favorite

0:15:56.080 --> 0:15:57.800
<v Speaker 2>one that you've designed that you go back to.

0:15:58.120 --> 0:16:01.520
<v Speaker 1>We did one the two years go for an Sophie Peak.

0:16:03.440 --> 0:16:03.920
<v Speaker 2>Back O.

0:16:04.160 --> 0:16:07.960
<v Speaker 1>It's a back our restaurant in Hong Kong. It was

0:16:08.000 --> 0:16:11.880
<v Speaker 1>an interesting project because the space was very high level

0:16:11.920 --> 0:16:17.840
<v Speaker 1>in a tower, so quite low ceiling, not a big place,

0:16:18.960 --> 0:16:22.880
<v Speaker 1>so the space was not so interesting. But we we

0:16:22.960 --> 0:16:26.560
<v Speaker 1>had to create the show and and Sophie told us

0:16:26.960 --> 0:16:28.800
<v Speaker 1>the kitchen has to be the center.

0:16:29.120 --> 0:16:30.600
<v Speaker 2>So it's an open.

0:16:30.520 --> 0:16:33.480
<v Speaker 1>Completely open And it's easy to say that because we

0:16:33.520 --> 0:16:36.200
<v Speaker 1>all say it all most of the time, say that,

0:16:36.240 --> 0:16:41.800
<v Speaker 1>but really doing it, and when you are guest, being

0:16:41.880 --> 0:16:44.360
<v Speaker 1>a part of the kitchen is something different.

0:16:44.120 --> 0:16:49.240
<v Speaker 2>Our kitchen and no, never well, we have to pan tomorrow.

0:16:49.280 --> 0:16:52.320
<v Speaker 2>I think I'm taking a ten thirty two. Yes I'm coming.

0:16:52.360 --> 0:16:54.560
<v Speaker 2>I would really love you to come. Thank you. You need to.

0:16:54.760 --> 0:16:58.440
<v Speaker 2>You know, it's constantly in your mind how people are

0:16:58.440 --> 0:17:01.080
<v Speaker 2>going to feel in your restaurant. Restaurant is very open,

0:17:01.160 --> 0:17:03.600
<v Speaker 2>it's very way. I always call it very democratic that

0:17:03.680 --> 0:17:06.840
<v Speaker 2>it's just one large room, but they're where people choose

0:17:06.880 --> 0:17:08.919
<v Speaker 2>to sit, and people come over and over again, know

0:17:09.040 --> 0:17:11.040
<v Speaker 2>the kind of table they want, where they want to

0:17:11.400 --> 0:17:13.480
<v Speaker 2>and some people just walk in and say, you know,

0:17:14.000 --> 0:17:16.959
<v Speaker 2>where should we go and they don't care. My husband

0:17:17.040 --> 0:17:20.080
<v Speaker 2>could never sit in a restaurant facing a wall, so

0:17:20.119 --> 0:17:22.760
<v Speaker 2>we'd all pile into a restaurant, sit down. Then he'd

0:17:22.800 --> 0:17:24.360
<v Speaker 2>come in and we'd all have to get up and move.

0:17:24.640 --> 0:17:27.920
<v Speaker 2>So the idea of the open kitchen became very popular,

0:17:28.440 --> 0:17:30.240
<v Speaker 2>and people often say to me, you know, where did

0:17:30.240 --> 0:17:33.040
<v Speaker 2>you get the idea from an open kitchen? And of

0:17:33.080 --> 0:17:37.240
<v Speaker 2>course I look a lot towards California. Yeah, Alice Walters

0:17:37.359 --> 0:17:40.399
<v Speaker 2>and Wolfgang Puck did it. But it also became the

0:17:40.440 --> 0:17:43.600
<v Speaker 2>way I think contemporary architects in the probably in the

0:17:43.680 --> 0:17:48.640
<v Speaker 2>late sixties seventies started seeing spaces inside as being communal

0:17:48.720 --> 0:17:51.560
<v Speaker 2>that you didn't sell me like your mother would have

0:17:51.640 --> 0:17:54.199
<v Speaker 2>to go into another room and quick the meal and

0:17:54.240 --> 0:17:58.160
<v Speaker 2>then she wouldn't see her children until the performance at dinner. Instead,

0:17:58.200 --> 0:18:00.280
<v Speaker 2>there were kitchens that were open. They were part of

0:18:00.280 --> 0:18:04.000
<v Speaker 2>the living room. So if we're thinking about food and

0:18:04.160 --> 0:18:08.760
<v Speaker 2>recipes and designing kitchens, we also cook sometimes or we eat,

0:18:08.920 --> 0:18:12.680
<v Speaker 2>or we buy food that will make us feel calmer

0:18:13.080 --> 0:18:18.720
<v Speaker 2>or comfortable and in the end sustained by a feeling

0:18:18.800 --> 0:18:22.680
<v Speaker 2>of happiness. And so if you needed to think about

0:18:22.720 --> 0:18:25.119
<v Speaker 2>food in that way and you wanted comfort, is there

0:18:25.160 --> 0:18:28.000
<v Speaker 2>a food that you would you go for? Yes?

0:18:28.400 --> 0:18:32.280
<v Speaker 1>A hot chocolate, hot chocolate, but in a nice cup.

0:18:32.480 --> 0:18:38.240
<v Speaker 2>Okay, what would the cup look like? Not too big huh, almost.

0:18:37.880 --> 0:18:41.440
<v Speaker 1>Like a teacup, but a little bit bigger, quite thin

0:18:42.040 --> 0:18:45.520
<v Speaker 1>the port and I love when the chocolate is in

0:18:45.560 --> 0:18:46.360
<v Speaker 1>the special pot.

0:18:46.400 --> 0:18:48.600
<v Speaker 2>Also what's a special pot?

0:18:49.040 --> 0:18:53.160
<v Speaker 1>You know, the chocolaty. So it's a pot which has

0:18:53.480 --> 0:18:57.320
<v Speaker 1>a wooden stick, yes, that you can move steering set,

0:18:57.560 --> 0:19:02.160
<v Speaker 1>so the chocolate is not going to be solid, so.

0:19:02.080 --> 0:19:03.120
<v Speaker 2>It's just I leve.

0:19:03.119 --> 0:19:06.600
<v Speaker 1>Also what is around it? I mean a little bit

0:19:06.720 --> 0:19:12.440
<v Speaker 1>of cream. You can add some smaller chocolate balls, so

0:19:12.560 --> 0:19:13.760
<v Speaker 1>you can add things.

0:19:13.600 --> 0:19:17.399
<v Speaker 2>M and you do this quite often when you needs

0:19:17.560 --> 0:19:18.560
<v Speaker 2>this is what you would go for.

0:19:19.440 --> 0:19:20.240
<v Speaker 1>Maybe I don't need it.

0:19:24.240 --> 0:19:25.720
<v Speaker 2>I think you're just saying that so you can have

0:19:25.800 --> 0:19:28.800
<v Speaker 2>your hot chocolate exactly. I think it's really good.

0:19:28.800 --> 0:19:31.119
<v Speaker 1>I love when we lived in Paris, we used to

0:19:31.119 --> 0:19:35.280
<v Speaker 1>go to Angelina on the river and they had the

0:19:35.359 --> 0:19:38.320
<v Speaker 1>chocolate that was so thick that you couldn't pour it

0:19:38.440 --> 0:19:41.520
<v Speaker 1>from the from you literally would stand do it like

0:19:41.560 --> 0:19:45.080
<v Speaker 1>that and we come out and then you have the No,

0:19:45.160 --> 0:19:48.720
<v Speaker 1>it wasn't too it was good, but you have to

0:19:48.760 --> 0:19:49.639
<v Speaker 1>add a lot of queen.

0:19:50.040 --> 0:19:53.160
<v Speaker 2>Then you add the cramp fresh, and so we used

0:19:53.200 --> 0:19:56.640
<v Speaker 2>to go there and Carolography there having his and all

0:19:56.680 --> 0:19:59.320
<v Speaker 2>these characters and the address of it, I know the

0:19:59.320 --> 0:20:03.280
<v Speaker 2>addresses called two to six rivally that's weather person. And

0:20:03.320 --> 0:20:05.400
<v Speaker 2>we used to say we used to remember it by saying,

0:20:05.440 --> 0:20:09.480
<v Speaker 2>if you had too much, you'd be too too sick. Ay, yeah,

0:20:09.520 --> 0:20:13.160
<v Speaker 2>let's go too too sick. But it was what I think.

0:20:13.160 --> 0:20:16.840
<v Speaker 2>The hot chocolate is a beautiful choice of conflict. Thank you,

0:20:17.040 --> 0:20:23.040
<v Speaker 2>thank you so muchly, thank you, thank you. Ruthie's Table

0:20:23.080 --> 0:20:26.919
<v Speaker 2>four was produced by Robbie Hamilton, Zad Rogers and Ruthie Rodgers.

0:20:27.240 --> 0:20:29.800
<v Speaker 2>This has been an atomized production for I Heartmedia.