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This is Richard Linklater in 1987.
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So what about this time machine?
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What do you mean?
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How does it work?
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You good to go?
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Yeah.
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Hang on.
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Okay.
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Hi Richard, I'm just here with
Koganada from "Sight and Sound".
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Oh, great.
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I'm recording the phone conversation,
I just want to make sure you know that.
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- You're cool with that?
- Yeah, yeah. - Okay.
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All is now being recorded.
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It's a big element, isn't it, of our medium?
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Kind of the manipulation of time,
the perception of time, the control of time.
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Kind of the building blocks of cinema.
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Time is a really powerful factor,
but it is in all of our lives.
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You know, you look at a picture of
yourself when you were 10 years old,
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and stare at that for a second,
and look at yourself in the mirror,
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that's a powerful connection,
you to that person, and we all have that.
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Antoine Doinel, Antoine Doinel, Antoine Doinel,
Antoine Doinel, Antoine Doinel, Antoine Doinel.
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I think it's more a perception.
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You know, it's like how your brain
perceives and unfolds through a day,
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or just a perception of an event.
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It's so human, whether you're
in a waking or a dream state.
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I always have this strange feeling that I'm this
very old woman laying down about to die.
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I've just traveled all the way from the future.
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I was just with your 82-year-old self.
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You know that my life is just memories of something.
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Like I'm looking back on my life.
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Like my waking life is her memories.
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But you're not real anyway, right?
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You're just characters in that old lady's dream.
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She's on a death bed, fantasizing about her youth.
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Life?
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Yes.
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Life is a long...
chain of dreams...
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Drifting one into the other.
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Cinema had existed for hundreds of thousands
of years already, you know, in the dream state.
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And people knew immediately how to watch films.
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They've been doing it every night, forever.
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Technological advances met
consciousness in a new art form.
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And so time is actually just this constant
saying "no" to God's invitation.
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I mean, that's what time is.
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That, you know, behind the phenomenal
difference, there is but one story.
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And that's the story of moving from the "no" to the "yes".
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All of life is like:
"No thank you, no thank you, no thank you..."
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And ultimately it's:
"Yes, I give in", "Yes, I accept",
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"Yes, I embrace".
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I mean, that's the journey.
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And if like film can let us see that,
can just frame it so that we see like:
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"Ah, this moment", you know, holy.
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And it's like holy, holy, holy, moment by moment.
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But like, who can live that way, you know?
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All he could think about was that he was looking
at something that was going to die someday.
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He just couldn't get it out of his head.
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And I think that's so true.
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You know, everything is so finite.
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But don't you think that's what... makes our
time and specific moments so important?
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I mean, this is it. This is actually happening. What do
you think is interesting? What do you think is funny?
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What do you think is important?
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You know, every day is our last.
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Like, is this really my life?
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Like, is it happening right now?
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... means the linear construct.
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They're not you can...
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They're these written parallel worlds
saying something about different phases
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of life or the times we're living in
or just what it's like to be a person.
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How you physically change,
how you mentally change, you know,
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how you're still the same person, but kind of not.
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Can you believe it was nine years ago
that we were walking around Vienna?
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-Nine years? No, that's impossible.
- No, it was.
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I know, it feels like two months ago to me,
but it was summer of 94.
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Do I look any different?
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We've met before.
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Summer of 94.
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- You're mistaking me for someone else.
- No.
78
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- We even fell in love.
- Really?
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I vaguely remember someone sweet and romantic.
80
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Jump ahead 10, 20 years, okay?
And you're married.
81
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Only your marriage doesn't have
that same energy that it used to.
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You know, you start to blame your husband.
83
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If we're meeting for the first time today on a train,
would you find me attractive?
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Think of this as time travel, from then to now.
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Of course.
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No, but really, right now, as I am.
Would you start talking to me?
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Would you ask me to get off the train with you?
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Let me get my bag.
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I love the way that people seem to be
dissolving into the background.
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It's like the environments, you know,
are stronger than the people.
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These human figures are always so transitory.
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So transitory?
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Transitory.
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Sunrise, sunset, anything so ephemeral.
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Just like our life.
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We appear and we disappear.
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And we are so important to some.
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But we are just passing through.
99
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Let me see if you stay together
or if you dissolve into molecules.
100
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How am I doing?
101
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I think once I grasp the notion of how long people
live and how long the earth has been here,
102
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the universe has been here,
and then our little part in that...
103
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It's a beautiful, poetic thing and kind
of a haunting thing at the same time.
104
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I have this recording of Dylan Thomas
reading a W. H. Auden poem.
105
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He's got a great voice.
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He just... It's like...
107
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All the clocks in the city began to whir and chime.
108
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Oh, let not time deceive you.
109
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You cannot conquer time.
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In headaches and in worry, vaguely life leaks away.
111
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And time will have his fancy tomorrow or today.
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Something like that.
113
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It's good.
114
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So what about this time machine?
115
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I have a time machine up in my room and I've
come to save you just like I said I would.
116
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Save me from what?
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Save you from being blinded
by all the little bullshit of life.
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It's not bullshit.
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I assure you, that guy you vaguely remember, the
sweet romantic one that you met in a dream...
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That is me.
121
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You know that my life is just...
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Memories of something.
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Oh, let not time deceive you.
124
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You cannot conquer time.
125
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In the burrows of the nightmare where justice naked is,
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time watches from the shadow
and coughs when you would kiss.
127
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In headaches and in worry, vaguely life leaks away.
128
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And time will have his fancy tomorrow or today.10196
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