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The Guardian
7 hours ago
- Entertainment
- The Guardian
‘I can't believe people like my work!' Brad Dourif on the road from One Flew Over the Cuckoo's Nest to Chucky
Brad Dourif knew it was time to retire from acting when he stopped feeling … well, anything about the parts he was being offered. 'I got to a place where if somebody offered me something, all I felt was an empty: oh.' It had started in 2013, after a production of Tennessee Williams's The Two-Character Play. That had been an extraordinary experience, with his co-star Amanda Plummer 'by far the best actor I've ever worked with', but left him wondering if there was anything he still wanted to do professionally. Acting no longer got him excited; it just left him tired. 'It became clear to me after a while that I just really didn't want to work any more.' We speak over video call from his home in upstate New York, where he lives with Claudia, his girlfriend of 30-plus years, a poet and songwriter, and his tabby cats Honey Mustard and Snapdragon. Instead of working, he is building and decorating a swimming pool-sized enclosure for them, so that they can be outdoors safely at night. 'You might call it a catio but we call it kitty city!' he says. 'My friend who helped me build this thing gave it a once-over and he went: 'Expensive cats!'' Dourif, 75, is enjoying retirement so much that it takes a nudge from his agent to pull him away from the fantasy novel he is immersed in to alert him to the fact that he is 20 minutes late for our call. Dourif is worth the wait: he is a wonderful raconteur, with countless tales from his prolific, eclectic career as a character actor. Though his breakthrough role was as the vulnerable Billy Bibbit in One Flew Over the Cuckoo's Nest, and he was nominated for an Emmy as the honourable Doc Cochran in the HBO television series Deadwood, he is probably best known for playing villains (the treacherous Gríma Wormtongue in Lord of the Rings, the psychotic Gemini Killer in Exorcist III) and creeps (the astoundingly weird Piter de Vries in David Lynch's Dune). And then there's Chucky, the serial killer trapped in a child's doll, voiced by Dourif for more than 30 years. It's his signature role, and pretty much the only thing he would come out of retirement for – that and working with his family. He has been married twice, and one of his daughters is an actor. He also has a stepdaughter who writes and directs. 'It's been a life of a lot of pressure,' says Dourif. 'And the pressure adds up, even when things are really working well.' First, there's the money. Though he says he's now fine financially, that hasn't always been the case. 'I'm a character guy; I didn't make money hand over fist. I mean, I did OK and I could support myself and my family, but it wasn't always right there.' And then there was the mental toll his roles took on him, as he found himself forced to take on too many personalities that he would despise in real life. Eventually he told his agent: 'If it's a bad guy, I'm not interested. I've done too many, and I don't like the way I feel afterwards.' 'You find meaning in things – that's the whole struggle,' Dourif says. 'And you just live with them for a while. For most of my life, I could pop right out [of character]. But eventually what happened is my 'shock absorbers' were gone and stuff would linger. It wasn't that I was crazy – it was just that the emotional things couldn't get out of me and some of the horribleness couldn't … I mean, I played a lot of killers and things, really dark shit, and it was much more difficult for me to get out of – Chucky being the exception.' The first time Dourif struggled to shake off a role was Alan Parker's 1988 movie Mississippi Burning, in which he plays a racist police officer who beats his wife, played by Frances McDormand. One day, on set, 'she was in the makeup eating lunch after what I had done to her, and I suddenly felt like: 'Is this who I am? Is this what my life is? This kind of person is who I sort of identified myself with or allowed to be my world.' And I got really depressed for about two, three years.' Watching Wim Wenders' film Wings of Desire pulled him out of the funk. 'There was a speech about what it was like to be alive, to be in the world. And that really changed me. It snapped me out of it. I just went: no, this is just my way of being alive.' Dourif was born in 1950, in Huntington, West Virginia, where he enjoyed a comfortable childhood. 'West Virginia's really beautiful and, you know, my family had money, so it was easy and nice.' That's not to say it was without challenges. Dourif struggled to concentrate and had issues with short-term memory. 'I was just not designed for school,' he says. 'I struggled a lot, frankly. Everybody in my family was really smart, but I was ADD [attention deficit disorder]' – though he didn't know at the time – 'and I flunked the third grade. Life was much more difficult for me than I would have liked it to have been.' His father, an art collector, died when Dourif was very young, and his mother married William C Campbell, who ran an insurance company and was also a championship golfer. Dourif describes him as 'difficult', not least because of the approach he took to his stepson's learning difficulties. 'He was trying to school out brain chemistry, which can't be done. So that was a stressful relationship.' His mother was more patient. 'She taught me how to read. It wasn't fun. It was just hard on her and on me. But I really looked up to her. I adored her.' Joan Dourif, who died recently, was an actor at a community theatre. Dourif was already aware of her talent from the way she told stories to him and his five siblings but then he saw her perform a scene about a butterfly – 'I could see the butterfly. I wondered, how the hell could she do that?' It inspired him to try to make it as an actor too, although there was a brief spell when he thought he might be a flower arranger. 'My feeling was there was nothing else really I could do. I had to make that work.' In the early 1970s, after a brief spell at Marshall University in Huntington, Dourif moved to New York City and became a member of the Circle Repertory Company. It was here that the film director Miloš Forman spotted him in Mark Medoff's play When You Comin' Back, Red Ryder? and cast him as the delicate, tormented Billy Bibbit in One Flew Over the Cuckoo's Nest (1975). Bibbit is a tragic figure with a severe stutter and a debilitating mother complex that keeps him in a psychiatric hospital. To prepare for the role, Dourif borrowed a textbook from a speech therapist friend. 'I kind of reverse-engineered it,' he says. 'I started doing stutter exercises in public places where people were in a hurry and there were lines and people didn't have time for you, so it was a kind of stress situation.' His tender, agonising performance earned Dourif a Golden Globe award, a Bafta and an Academy Award nomination for best supporting actor. He was just 24. 'I think the most extraordinary experience as an actor that I've had in film was Cuckoo's Nest,' Dourif says now. 'When things get magical, there's no comparison.' At 30, he took the lead role in John Huston's black comedy Wise Blood (1979) – and demonstrated his considerable range. Frenetic, intense, a man of conviction, the eccentric preacher Hazel Motes, founder of the Church of Truth Without Christ, is everything Billy Bibbit is not. Despite another acclaimed performance, the roles Dourif was offered showed there were limits to how high he could expect to rise. 'It became pretty evident I was a character actor, and I certainly wasn't going to be a star,' says Dourif. 'But, you know, I was going to have a career.' After another Forman film, Ragtime (1981), he took a job as an acting teacher at Columbia University. There, he taught directors how to work with actors, which in turn helped his own acting. 'I was quite passionate about it,' he says. 'I began to realise there are certain things that directors absolutely need from an actor. And to fight them is just destructive. So I learned a lot more about what my job is.' Though he loved teaching, he gave it up after five years to concentrate on acting. David Lynch, who had enjoyed Dourif's performance in Wise Blood, cast him in two supporting roles, first in Dune (1984), then in Blue Velvet (1986). 'He was a mad genius and one of the most delightful people you could ever be around,' says Dourif. 'I was inspired by the way he saw things. He directed actors like a painter's strokes. He had a kind of innocence and extraordinarily detailed vision, like nobody I ever worked with.' When Dourif first met Lynch on the Dune set, he was confronted with a question. 'He just looked at me and said: 'Brad, how do you feel about actors having surgery?' I said: 'I'm fine with it – as long as it's not on me.'' Lynch, it turned out, was trying to convince the German actor Jürgen Prochnow to have a tube put through his cheek for a scene that involved biting down on a tooth to release a green gas. 'Lynch is like a schoolkid sitting next to [producer] Raffaella De Laurentiis, and he goes: 'Why not? Why not?' And she goes: 'No, no, it's not gonna happen – forget it.' He had a childlike enthusiasm and this genius mind.' It was in 1988 that Dourif became the voice of Chucky, in the slasher movie Child's Play. The franchise has since spawned seven sequels, a TV show and all manner of other media, and in 2013 it became a family business, with his actor daughter Fiona taking a starring role. Dourif has voiced Chucky throughout, bar a 2019 reboot voiced by Mark Hamill. 'At first I kind of worked on a Chicago accent,' he remembers, 'and then I thought: 'You know what? This is camp shit. Don't make this too real.' So I just kind of let it go and let it happen. Chucky's just this homicidal maniac who loves his job. That's who he is. And he has a serious fear of oblivion, but beyond that there's nothing serious about him.' Does Dourif share that same fear? 'I have been at times in my life very, very frightened about it, but at this point I'm not so much. As it gets closer!' After Chucky, Dourif became something of a staple in the horror genre, often brought in to add a touch of sinister. Standout moments include his nightmarish monologue to camera as the Gemini Killer in the Exorcist III (1990) and his all but kissing a xenomorph in Alien Resurrection (1997). He didn't particularly choose to become embroiled in horror – he simply hit a groove and was grateful for the work. Especially after Kristina, the first of his two daughters, was born (Dourif has one daughter with each of his two ex-wives). 'I just looked at her and something deep inside me said: 'OK, I get it.' It was now about selling myself on the marketplace, because my job was raising my kid.' So money was all that mattered? 'Look,' he says. 'When I have a part, I do the absolute very best I can. There's no holding back, but let's just say that the impetus was always: I need a job.' In the 90s, there were years when Dourif would have seven movie credits. 'It really was a pretty low bar that would keep me from doing a movie. But I always put my heart in it. I would somehow convince myself that we were going to make it good and, you know, I was always wrong! 'To this day, I can't believe that people like my work,' he says. 'It just astounds me. It's just ridiculous to me. I look at it and I just see all kinds of faults and none of it looks good.' Not that his career didn't have some highs, like his time on The Lord of the Rings movies. 'Everywhere you turned, there was never anything that wasn't incredible,' he says. He recalls standing in costume by a wooden fortress in New Zealand, looking out over snowcapped peaks and deep valleys, while actors with capes and swords flitted around thatched huts. 'I was standing by Ian McKellen and we were looking out, and there was this marsh that went on for ever … And he said: 'This is why we're lucky we're actors.' All I can tell you is that it was far more beautiful in real life than it was on film.' So, despite all his anxieties, the stress and the pressure, was his career a fulfilling one? 'Absolutely!' he says. 'I've been very, very lucky.' And he's certainly not going to worry about his legacy. 'No, it's silly. Really, the point of a movie is you go and you sit and you watch a story. It's not about Brad's career – or somebody else's.'
Auto Blog
11 hours ago
- Automotive
- Auto Blog
The Most Important Book About Cars is a Children's Book
This book inspired my love of cars. Perhaps it did the same for you. It's a story about a family of pigs, but its impact on my life has been profound Richard Scarry's Cars and Trucks and Things That Go was my favorite book when I was little, and I believe that it is one of the most important works of automotive literature. Not because the story is so good. But because it was the gateway to a love of cars for many of us. 50th Anniversary Edition of Richard Scarry's Cars and Trucks and Things That Go The storyline follows the Pig family on a round trip to the beach. Along the way, they pass scenes that range from a cityscape to a snowy mountain pass, and work sites like a lumber camp and a military installation manned by happy critters. Typical kid book fare. The magic was the illustrated cars. I was sucked in, thinking of the adventures that each driver certainly enjoyed and I daydreamed about the adventures I would have in those cars. My relationship with car auction sites like Bring a Trailer today isn't much different. Yes, Cars and Trucks and Things that Go put me on the path to being an utterly hopeless car nerd. Perhaps it did the same for you. I just couldn't put it down. I probably learned to read because of it. Is that Goldbug driving a Citroen? — Source: Penguin Random House I'm sure that other kids loved the imaginary cars. The ones shaped like an alligator, rhinoceros, pickle, or even Lowly Worm's apple car. To me, growing up in upstate New York among the worst of the malaise era automobiles, my interest lay in the realistic looking cars. The VW Beetle, the Citroen 2CV, the sports cars, open-wheel racers, and dragsters introduced me to engaging design and made me dream of a life like I saw in movies. I wanted to drive those cars and to be free, so it shouldn't come as any surprise that Dingo Dog filled my childhood daydreams. Autoblog Newsletter Autoblog brings you car news; expert reviews and exciting pictures and video. Research and compare vehicles, too. Sign up or sign in with Google Facebook Microsoft Apple By signing up I agree to the Terms of Use and acknowledge that I have read the Privacy Policy . You may unsubscribe from email communication at anytime. In the opening pages, Dingo is labeled a terrible driver for running over a sidewalk full of parking meters. Officer Flossy yells for Dingo to stop, but he flees. The chase is on. Officer Flossy is on her bicycle, and Dingo is in a red sports car that looks somewhat like a 1950s Ferrari. And the car is scared. Yes, Dingo behaves like the 5-year-old we all desire to be during our most spirited drives. He's carefree, reckless, and terrorizes all who are in his path. We shouldn't like Dingo, but we long to be like Dingo. Dingo Dog is a terrible driver. — Source: Penguin Random House His Ferrari is the tool that makes this happen, even if it appears to be an unwilling participant. Dingo drives it to its limit, Officer Flossy in pursuit, until the little red car can go no further and collapses, wheezing, 'Whew! I'm tired!' Isn't that the goal? Dingo, you're still my hero. This book overloaded my young senses in much the same way that I feel when I spend too much time on social media today. And, as you'd expect, my social media is about 90% car pictures and 10% family and friends, preferably in their cars. I'm not sure if the book was ever out of print, but we somehow didn't buy it for my kids when they were young. We read Busy Town, instead. Cars and Trucks turned 50 last year, and Golden Books reissued it as a 50th anniversary edition that includes a letter to readers from Huck Scarry, Richard's son. Huck's letter introduces us to Richard Scarry and describes the genesis of this book. Happy Pig family in a happy car. What makes the book so special? Well, Huck writes that his dad was a car guy who drove an MG TC in the early 1950s. Later, the family had a VW Beetle convertible, just like the one the Pig Family drove. Richard Scarry was one of us. You know what else? Every car in the book is colorful. Excluding the Scarry family's personal MG, a truck, and an ambulance, there's not a single car painted in black, white, or grey. It's a world I'd love to live in, where cars are colorful and full of personality. A mouse tow truck? As of now, the only copy of this book that my extended family owns is the one that I bought after remembering its effect on me. But you can bet that it will be my new go-to gift for family and friends with young kids. After all, doesn't the world need more people who are passionate about cars? Goldbug says thanks for reading! — Source: Penguin Random House About the Author Jason Meshnick View Profile
News.com.au
22-05-2025
- News.com.au
Dad killed his pregnant wife after learning their unborn baby's gender
A US dad fatally stabbed his pregnant wife and then tried to kill his two young daughters because he was angry he wasn't going to have a son, it has been claimed. Drew Garnier, 33, admitted to repeatedly stabbing his five-months-pregnant wife, Samantha Garnier, 29, and their children, Izzie, 6, and Adelina, 9, in the bloodbath at the family's home in upstate New York on September 4 last year. His wife and their unborn child both died in the attack, which was just weeks before the mum turned 30. While the young girls are recovering from 'significant injuries,' the New York Post reports. Now Samantha's grieving father, Gregory Vernagallo has claimed Garnier killed in anger as he was furious that his wife was pregnant again with a girl. 'He wanted a boy,' Mr Vernagallo told the court during a victim impact statement at sentencing. Garnier pleaded guilty last month to first-degree manslaughter and two counts of first-degree assault — both class B violent felonies. He was sentenced last week to 30 years in prison — with 15 years of post-release supervision — as part of the plea deal aimed at protecting the surviving daughters from the trauma of a trial. 'We were able to secure this conviction without forcing two young children to testify about the horrific things they witnessed,' District Attorney Shawn Smith said of the sentence being lighter than he wanted. The killer dad has also been forbidden from seeing his daughters until 2056 — the maximum allowed — which only the girls can overrule if they eventually want contact. 'You took a life and injured your children. They had a right to expect protection from you,' Judge John Hubbard told the dad of the decades-long no-contact order. Samantha Garnier was due to give birth in February. Her daughters are still recovering from their injuries — and have been adopted by their maternal grandfather. 'I am their father now,' Mr Vernagallo said at sentencing. 'I will protect them.'
Yahoo
12-05-2025
- Business
- Yahoo
Can Small Sustainable Fashion Brands Survive Trump 2.0?
Mara Hoffman is glad she got out when she did. 'I remember, the day after the election, being like, 'Oh my God, thank you that I don't have to sell a dress or a bikini today,'' the fashion designer said from her home in upstate New York, where she has been meditating on her next steps since the seismic closure of her eponymous brand nearly a year ago. Hoffman doesn't regret the decision, which many bemoaned as the beginning of the end for independent, sustainable fashion. Spending time with her family and her new puppy, a dachshund named Keanu, she's more reassured than ever that she did the right thing. More from Sourcing Journal Tariffs Tank China's US Exports, but Southeast Asia and India Cash In Deda Stealth CEO Explains Why Tariffs Made This Year the Right Time for U.S. Expansion Maersk Cuts 2025 Container Outlook: China Capacity 'Not Available Elsewhere' Hoffman still gets a lot of questions about why she ended something that was such a central part of her life for 24 years. The simple answer, she said, is that it was time for that iteration of herself to end. The more nuanced one is that she had grown out of some of the themes of that life, including what she calls the 'scarcity story.' 'The money—it was hard,' she said. 'It's hard for independent brands, and then to have to put the sustainability piece on top of all of this. You get to a point where you're like, 'Is this my theme song?' We don't have enough money. How am I going to do this? Should I take out a loan? Do we get investors? And I felt what that was doing to my system. And I was like, 'God, I've been singing this song for a long time. This can't be who I am.'' Hoffman's song has become a symphony. With their limited capital flows, challenges with customer acquisition and head-on collision with ultra-fast fashion competitors (and sometimes copycats), smaller, ethically focused brands were struggling long before Donald Trump entered the White House for the second time. Now, the market volatility wrought by the current administration, despite the 'America First' promise behind the so-called 'reciprocal' tariffs, threatens to do them in. That is true even of businesses that manufacture in the United States. 'It's interesting because 90 percent of our collections are made here in the U.S., and I don't think people realize that that we're also affected by the tariffs,' said Shobha Philips, founder of Proclaim, an 'earth conscious' Los Angeles-based intimates brand that uses a local cut-and-sew facility and textile mill. The problem, she said, is that the Tencel and spandex fibers that go into her bras, undies and slip dresses hail from abroad—Asia, specifically—which could result in a significant jump in her fabric costs if Trump's country-specific 'Liberation Day' duties push through in July, when the 90-day pause ends. Philips said it's difficult to prepare because she doesn't know what she has to prepare for. 'It's about time to restock right now, and I'm not pulling the trigger on it,' she said. 'Essentially, as a brand, I'm caught in a holding pattern where I'm just waiting to see what happens, and it's affecting our future planning. This isn't a time to innovate or invest in R&D. We're just trying to survive. We're not able to kind of grow and innovate in the way that I thought we were going to.' Hoffman was around for Trump 1.0's first round of Chinese tariffs. Some of her best partners were in China, she said, and the stigma that products from the country are either inferior in quality or otherwise lacking is a misguided one. The factories Mara Hoffman worked with cared about their 'waste systems, their dyes, their employees, all the parts to this,' she said. 'And I remember that hitting and being like, 'Oh, your price points are going up, and then you're competing with companies that are able to keep their prices lower because they're not making those commitments.'' Manufacturing in the United States, in the areas where expertise still exists, is also expensive. Is it possible to reshore? Hoffman asked. Yes, it is. Will it be most costly? Absolutely. Are customers willing to pony up? That's debatable. It's going to be a few years of upheaval for everybody, she added. 'People just don't want to pay for it,' said Marci Zaroff, founder and CEO of sustainable clothing and home lifestyle brands such as Yes And, Farm to Home and Seed to Style. At one point, she oversaw a 40,000-square-foot factory in Virginia that was the world's only producer of turnkey-finished Cradle to Cradle-certified garments. Plenty of big-box retailers came to visit. Few bit. 'A the end of the day, the consumer has been so trained on pricing that to all of a sudden double their prices is just not going to happen,' said Zaroff, who now contracts most of her production to Bangladesh, India and Sri Lanka, which are looking at 37 percent, 26 percent and 44 percent tariff rates, respectively, if deals aren't mustered in time. For now, the 10 percent 'universal' tariff is still O.K. 'I think a little creeping up of price based on the tariffs overseas is probably a little more manageable,' she said. 'But things are changing so fast. And I think the biggest challenge that we have as an industry is the uncertainty, because it makes it very hard to plan and to be strategic. Sustainability is still seen as a little more of a nice-to-have than a must-have as it relates to economic priorities.' On Jan. 6, Kristen Fanarakis, founder of the made-in-L.A. brand Senzo Tempo, sent an email she hadn't expected to. 'There's a saying in financial markets, where I spent my career prior to launching Senza Tempo, that you can't fight the Fed,' she wrote. 'It means you can't fight forces that are much bigger than you as an individual investor. No matter how great, planned, and executed your idea—the market is bigger than any individual investor. The same can be said for running a small business.' Fanarakis said she was tired of waiting for a breakthrough—or for customers. It was time to call it quits. She quoted Winston Churchill: 'Success is going from failure to failure without a loss of enthusiasm.' 'I do think pricing is part of it,' she said. 'Everybody thinks that the $48 American Giant T-shirt is expensive. But I worked at Gap in high school. And if you adjust the $19.50 pocket tee that was made in the U.S. for inflation, that T-shirt would be $48 today.' Fanarakis said that the problem with Trump's tariffs is that they haven't been paired with specific incentives to boost American manufacturing. Elon Musk's Department of Government of Efficiency, in fact, has defunded some Manufacturing Extension Partnership centers, which provide support to small and mid-sized manufacturers in every state, on the basis that their work no longer aligns with government priorities. 'U.S.-based factories and brands will need government assistance in some form: tax credits, grants, etc., in order to spark a revival,' she said. 'We have all been operating at a distinct disadvantage, generally on shoestring budgets, simply trying to survive. The idea that a tariff alone could help turn the tide in U.S. manufacturing—especially for the small and medium-sized firms that dominate the apparel industry—is naive at best.' Another question is who is going to man these production lines that Trump sees humming away. Even the most automated state-of-the-art facilities will not be able to fully replace the human touch that garment production is reliant on. 'I just don't see, especially with immigration getting cracked down on too, the labor force being available for our industry at a minimum wage,' Zaroff said. 'Parents are trying to get their kids beyond just working in factories. And I think that's why a lot of manufacturing went offshore. For high-road businesses, it's almost impossible—not without changing the business model.' In December, Joshua Katcher closed Brave GentleMan, an ethical and vegan men's wear brand that he founded in 2010. He wasn't able to attract the interest of major retailers, which he said was humbling. But he also sees a larger problem with what consumers value. 'We're seeing an intersection of really difficult conditions where supply chain costs have gone way up, whether it's materials or labor, and we're seeing consumer behavior going the opposite, like going down,' he said. 'That's a really dangerous combination for brands that already pay a premium for sustainable, ethical, next-gen, circular, fair labor and wages. For brands that make that part of their bottom line, there isn't much wiggle room. There isn't much built in to withstand those kinds of disturbances or fluctuations.' Katcher was shocked when he heard about Mara Hoffman shuttering. So was everyone else he spoke with. 'It sent shock waves,' he said. 'And everybody was like, 'Wow, if she can't do it, then who can?' For a brand like ours, the department stores are in trouble. They're not buying from companies.' His current gig at the forestry nonprofit Canopy, which helps companies scale deforestation-free innovations, has been instructive, even though there isn't much overlap between sustainable viscose and the bovine leather alternatives that Brave GentleMan touted. 'I do see the larger conversation around circularity and sustainability and fashion in general as something that has needed serious analysis—economic analysis, supply chain analysis,' Katcher added. ' There's been a lot of misunderstanding from the investor side about what these companies need. I think that's something that's been overlooked—and a missed opportunity for a lot of the bigger companies—as we are seeing all of these smaller companies go under, and it's a shame to lose them.' Trump's policies could cause further shakeups, said Zaroff. With the closure of the de minimis exemption to goods from China, cost-sensitive consumers could turn more to the thrifting and swapping economy. Her advice to small sustainable brands: cut costs everywhere you can just to make it through. This is not the time to be aggressive. 'This is a time to be extremely conservative and anything that's a nice-to-have right now should just be put on hold,' she said. 'I think this is a time to find collaborations and partnerships, because one of the things I've always said is one plus one equals 11. We're collectively and exponentially stronger together than we are apart. So we need to figure out how we can leverage each other's strengths to keep things moving forward.' Hoffman also sees fashion as a collaborative effort, but one that requires greater buy-in to overhaul so brands aren't constantly at the whims of a broken system that is vulnerable to the slightest deviation from the status quo. 'I think it all sort of translates back to the disease we're in,' she said. 'We're suffering as a species. We can't be fed enough. The system was built from the very beginning on oppression, on this idea of growth and profit. And that's why I'm saying, in order to do this right, you have to build a whole new system.' Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
