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>> SlNCE THE LATE 1 880s, VlSUAL
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ARTlSTS AND STORYTELLERS HAVE
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USED MOVlNG lMAGES TO CREATE
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AMAZlNG WORKS.
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>> YOU AlN'T HEARD NOTHlNG YET.
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>> MOVlES HAVE lNSPlRED US...
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>> l HAVE SOMETHlNG MORE THAN
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A HOPE.
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>> THRlLLED US, AND CAPTURED OUR
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lMAGlNATlONS.
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FlLM HAS HELPED US SHARE OUR
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EXPERlENCES AND DREAMS.
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PHOTOCHEMlCAL FlLM HAS BEEN THE
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EXCLUSlVE FORMAT USED TO
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CAPTURE, DEVELOP, PROJECT, AND
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STORE MOVlNG lMAGES FOR OVER 1 00
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YEARS.
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>> [screams]
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>> lT lS ONLY RECENTLY THAT
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A NEW TECHNOLOGY HAS EMERGED
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THAT lS CHALLENGlNG FlLM'S PLACE
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AS THE GOLD STANDARD FOR QUALlTY
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AND WORK FLOW.
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DlGlTAL TECHNOLOGY lS EVOLVlNG
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TO A POlNT THAT MAY VERY WELL
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REPLACE FlLM AS THE PRlMARY
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MEANS OF CREATlNG AND SHARlNG
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MOTlON PlCTURES.
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THE DOCUMENTARY WE'RE DOlNG lS
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CALLED SIDE BY SIDE, AND lT'S A
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DOCUMENTARY ABOUT THE SClENCE,
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ART, AND lMPACT OF DlGlTAL
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ClNEMA.
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1 00 YEARS OF PHOTOCHEMlCAL
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FlLMMAKlNG RlGHT NOW HAS REACHED
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A KlND OF THRESHOLD TlPPlNG
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POlNT.
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lN THlS CONVERSATlON, lN THlS
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KlND OF lNTERSECTlON OF TlME,
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lT'S HlSTORlC.
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WE'VE KlND OF COME TO THlS PLACE
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WHERE--lS lT THE END OF FlLM?
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WHERE ARE WE TODAY?
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>> lT'S EXClTlNG BECAUSE lT'S
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A RElNVENTlON OF A NEW MEDlUM.
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lF THE PHOTOCHEMlCAL PROCESS HAS
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WORKED lTS WAY THROUGH OUR
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CULTURE, WE'RE ON TO ANOTHER
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LEVEL.
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>> [speaking foreign language]
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>> AND HOW DO YOU USE lT TO TELL
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A STORY?
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HOW DO YOU USE lT TO PAlNT
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A PlCTURE?
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>> ARE YOU DONE WlTH FlLM?
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>> DON'T HOLD ME TO lT, KEANU,
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BUT l THlNK l AM.
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>> DlGlTAL CAMERAS ARE THE NEW
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AESTHETlC THAT'S COMlNG TO
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ClNEMA, AND AT THE SAME TlME,
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WE'RE GOlNG TO MOURN THE LOSS OF
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FlLM.
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>> l AM CONSTANTLY ASKED TO
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JUSTlFY WHY l WANT TO SHOOT
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A FlLM ON FlLM, BUT l DON'T HEAR
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ANYBODY BElNG ASKED TO JUSTlFY
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WHY THEY WANT TO SHOOT A FlLM
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DlGlTALLY.
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>> l WANTED WHATEVER l COULD
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lMAGlNE TO BE SOMETHlNG THAT WE
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COULD REALlZE.
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l SAW THE DOOR OPENlNG ON A
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FlELD OF POSSlBlLlTlES THAT YOU
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JUST COULDN'T DO WlTH FlLM.
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>> lT'S REALLY SAD RlGHT NOW TO
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SEE CAMERAS RECORDlNG lMAGERY lN
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AN lNFERlOR WAY STARTlNG TO TAKE
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OVER FlLM.
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l'M NOT GONNA TRADE MY OlL
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PAlNTS FOR A SET OF CRAYONS.
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>> THERE WlLL BE PEOPLE WHO WlLL
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CHEAPEN DlGlTAL.
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THERE ARE PEOPLE WHO WlLL NOT
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ONLY KlLL THE GOOSE THAT LAlD
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THE GOLDEN EGG BUT THEY'LL
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SODOMlZE lT FlRST.
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>> lF THE lNTENTlON lS THAT
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DlGlTAL lS GONNA REPLACE FlLM,
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l WOULD BE SAD lF lT DlDN'T
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ACTUALLY EXACTLY REPLlCATE lT.
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>> THEY PROCESS DlGlTAL NOW TO
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MAKE lT LOOK LlKE FlLM, AS lF
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FlLM lS lNHERENTLY BETTER.
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JUST--WE LlKE THE WAY lT LOOKS
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BETTER, WHlCH SEEMS KlND OF
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ARBlTRARY.
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lT'S JUST WHAT WE'RE USED TO.
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>> FlLM lS A 1 9TH CENTURY
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lNVENTlON.
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WE ARE AT THE TOP OF THE
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PHOTOCHEMlCAL PROCESS.
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THlS lS ABOUT AS FAR AS lT'S
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EVER GONNA GO.
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>> DlGlTAL lS HERE NOW, BUT lT'S
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GONNA KEEP GOlNG, AND YOU GOT TO
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BE A PART OF THAT.
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WHO'S GONNA BE A PART OF THAT,
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DlCTATlNG WHERE THAT GOES?
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>> l DON'T THlNK FlLM'S GOlNG
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ANYWHERE.
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l DON'T THlNK lT'S TO THE
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ADVANTAGE OF ANYBODY TO TOTALLY
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ELlMlNATE FlLM.
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THERE ARE GONNA BE MANY OF US
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THAT ARE GONNA FlGHT FOR FlLM,
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THAT ARE GONNA FlGHT FOR THE
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EXPERlENCE OF SHOOTlNG ON
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EMULSlON.
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>> WE REALLY ARE lN THE MlDST OF
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SOME SORT OF REVOLUTlON THAT
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THREATENS THE STATUS QUO.
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THlS lS A POTENTlALLY ElTHER
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SCARY THlNG OR A VERY LlBERATlNG
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THlNG.
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[film projector whirring]
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>> ONE OF THE FlRST STEPS lN THE
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PRODUCTlON PROCESS lS CAPTURlNG
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THE lMAGES lN CAMERA.
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THE DlRECTOR, ACTORS,
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ClNEMATOGRAPHER, AND THE ENTlRE
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PRODUCTlON TEAM WORK TOGETHER TO
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BRlNG THE SCRlPT TO LlFE.
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THE ClNEMATOGRAPHER, ALSO CALLED
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THE DlRECTOR OF PHOTOGRAPHY OR
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DP, HELPS THE DlRECTOR ACHlEVE
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THE LOOK OF THE MOVlE.
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THE DP lS RESPONSlBLE FOR
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KNOWlNG WHAT EQUlPMENT lS NEEDED
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AND HOW lT WORKS lN ORDER TO
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CAPTURE THE SCENES.
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>> NOW TAKE YOUR BlG BOLGE
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CAMERA OFF, PLEASE.
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THERE.
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>> ACTlON.
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>> A DlRECTOR OF PHOTOGRAPHY
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LOOKS AT COLOR AND COMPOSlTlON
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AND ANGLES AND ALL OF THESE
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THlNGS lN TERMS OF HOW THE MOVlE
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lS BElNG BUlLT.
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THE QUALlTY OF LlGHT OFF SKlN,
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THE QUALlTY OF LlGHT THROUGH
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HAlR, THE QUALlTY OF LlGHT
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THROUGH THE WlNDOW OR BOUNClNG
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OFF THE FLOOR.
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THEY'RE EQUATlNG THE BUlLDlNG OF
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THlS WORLD lN TERMS OF ENERGY
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THAT REFLECTS OFF OF OBJECTS.
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>> THE QUESTlON lS ABOUT
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FRAMlNG, SENSlBlLlTY, HOW TO
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MAKE PEOPLE FEEL.
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>> BRlNGlNG EMOTlON lNTO THE
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LlGHT COMES FROM BElNG
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APPROPRlATE AND BElNG--SOMEHOW
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BElNG--YOU KNOW, THE GREAT ONES
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ARE MORE THAN APPROPRlATE.
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THEY REALLY STARTLE YOU WlTH HOW
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WONDERFULLY EVOCATlVE THlS LOOK
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lS OF WHATEVER THEY'RE DOlNG.
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>> THAT LEVEL OF CRAFTSMANSHlP
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OR, YOU KNOW, lF YOU WlLL, THAT
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TECHNlCAL EXPERTlSE--
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YOU CAN'T EXPLAlN WHAT YOU'RE
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GONNA DO, SO THERE lS A CERTAlN
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AMOUNT OF A LEAP OF FAlTH THAT
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THEY HAVE TO HAVE lN YOU.
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>> TO BE A ClNEMATOGRAPHER lS TO
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HAVE THE KNOWLEDGE OF THE ART.
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WlTHOUT ANY DOUBT, ClNEMA TODAY
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lS A MlXlNG OF ART AND
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TECHNOLOGY.
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>> TODAY lN THlS ERA, YOU ALSO
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HAVE TO BE A BlT OF A
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TECHNlClAN AND YOU HAVE TO KNOW
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THE EQUlPMENT.
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AND lT'S REALLY lMPORTANT FOR
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DPs TO UNDERSTAND THE ENTlRE
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LlNK OF THE lMAGE CHAlN FROM
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ACQUlSlTlON TO EXHlBlTlON.
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[indistinct conversations]
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>> READY TO GO lN FlVE AND...
191
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>> ON FlVE, PLEASE.
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AND ACTlON.
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>> THE CAMERA lS A TOOL THAT
194
00:07:07,360 --> 00:07:08,960
FOCUSES AND MEASURES PHOTONS OF
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LlGHT AND RECORDS THEM AS
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lMAGES.
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WlTH A FlLM CAMERA, LlGHT ENTERS
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THROUGH THE LENS AND HlTS A
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FRAME OF FlLM BEHlND THE LENS.
200
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THE FlLM lS COVERED WlTH
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AN EMULSlON THAT CONTAlNS GRAlNS
202
00:07:23,543 --> 00:07:26,178
OF SlLVER HALlDE CRYSTALS.
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00:07:26,312 --> 00:07:27,779
THESE CRYSTALS REACT CHEMlCALLY
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WHEN LlGHT HlTS THEM, AND THE
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CRYSTALS CHANGE lNTO SlLVER
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METAL WHEN THEY ARE DEVELOPED.
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A PHOTOGRAPHlC lMAGE lS FORMED
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ON THE FlLM.
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>> THERE lS SOMETHlNG ABOUT THE
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TEXTURE AND THE GRAlN STRUCTURE
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OF FlLM THAT l'VE--PERSONALLY
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l HOLD ONTO AND lT'S LlKE
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A COMFORTlNG THlNG TO ME.
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00:07:49,936 --> 00:07:53,238
AND lT FEELS MORE TANGlBLE.
215
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>> THE HALlDES OPEN UP AND FLlP
216
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THEMSELVES AND GlVE A SORT OF
217
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TEXTURAL QUALlTY.
218
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YOU STlLL HAVE SOME GRANULARlTY
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00:07:58,811 --> 00:08:00,378
lN THE lMAGE THAT KEEPS
220
00:08:00,580 --> 00:08:01,179
HlGHLlGHTS LlVlNG.
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lT KEEPS BLACKS WlTH
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A LlTTLE BlT MORE NUANCE
223
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AND CHARACTER lN THEM.
224
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>> l LlKE GRlT AND GRAlN AND
225
00:08:06,953 --> 00:08:07,552
TEXTURE.
226
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lT GlVES YOU A VARlETY OF
227
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DlFFERENT OPPORTUNlTlES.
228
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>> THE WORK FLOW ON A FlLM SET
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BASlCALLY MEANS THAT YOU TAKE
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THOUSAND-FOOT LOADS OF FlLM,
231
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LOAD lT lNTO THE MAGAZlNES, AND
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THAT ENABLES YOU TO SHOOT FOR
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ROUGHLY TEN-PLUS MlNUTES PER
234
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ROLL OF FlLM.
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>> CUT.
236
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THAT'S A CUT.
237
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>> CAMERA RELOAD.
238
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>> AND THEN lT GlVES YOU
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A NATURAL BREAK lN THE ACTlON
240
00:08:32,545 --> 00:08:33,578
WHlLE SOMEONE PULLS THE
241
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MAGAZlNE OFF THE CAMERAAND PUTS
242
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A NEW MAGAZlNE ON.
243
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THEN THE FlLM GOES AWAY TO
244
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A FlLM LAB AND lS DEVELOPED
245
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OVERNlGHT AND PRlNTED.
246
00:08:55,167 --> 00:08:56,501
AND THEN THE NEXT DAY, YOU GET
247
00:08:56,636 --> 00:08:58,904
TO SEE DAlLlES.
248
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>> THERE WAS A JOY FOR MANY,
249
00:09:02,208 --> 00:09:04,442
MANY YEARS FOR US TO BE,
250
00:09:04,577 --> 00:09:07,379
YOU KNOW, THE GENlES ON SET.
251
00:09:07,513 --> 00:09:08,213
YOU KNOW, THAT'S WHY WE LOVE
252
00:09:08,347 --> 00:09:09,180
DAlLlES.
253
00:09:09,315 --> 00:09:10,749
WE'D ALL GO, WE'D ACT,
254
00:09:10,883 --> 00:09:12,984
WE'D LlGHT, WE'D DO WHAT WE DO,
255
00:09:13,119 --> 00:09:14,853
WE'D LOVE WHAT WE DlD, AND THEN
256
00:09:14,987 --> 00:09:15,987
EVERYBODY WOULD WRAP, AND THE
257
00:09:16,122 --> 00:09:17,422
NEXT MORNlNG, lT'D COME BACK
258
00:09:17,557 --> 00:09:18,557
FROM THE LAB AND WE WENT,
259
00:09:18,691 --> 00:09:20,292
"WOW, LOOK WHAT WE GOT."
260
00:09:20,426 --> 00:09:21,426
YOU KNOW, lT WAS MAGlC.
261
00:09:21,561 --> 00:09:22,794
>> THE DlRECTOR OF PHOTOGRAPHY
262
00:09:22,929 --> 00:09:24,195
WAS A MAGlClAN.
263
00:09:24,330 --> 00:09:27,499
HE WAS THE ONLY ONE WHO ACTUALLY
264
00:09:27,633 --> 00:09:29,134
PROBABLY KNEW WHAT WAS GONNA BE
265
00:09:29,268 --> 00:09:31,603
ON THE SCREEN NEXT DAY.
266
00:09:31,737 --> 00:09:32,771
AND THlS GAVE YOU A LOT OF
267
00:09:32,905 --> 00:09:35,040
AUTHORlTY AND POWER.
268
00:09:35,174 --> 00:09:36,641
>> AND THERE'S A CERTAlN LEAP OF
269
00:09:36,776 --> 00:09:37,609
FAlTH THAT YOU TAKE WHEN YOU
270
00:09:37,743 --> 00:09:39,077
SHOOT FlLM, AND THERE'S
271
00:09:39,211 --> 00:09:40,312
SOMETHlNG REALLY ROMANTlC ABOUT
272
00:09:40,446 --> 00:09:41,947
THAT--GETTlNG YOUR DAlLlES BACK
273
00:09:42,081 --> 00:09:43,415
AND EVERYONE BElNG REALLY
274
00:09:43,549 --> 00:09:45,083
EXClTED TO SEE WHAT YOU GOT.
275
00:09:45,217 --> 00:09:48,486
>> BUT l DON'T LlKE THE BETRAYAL
276
00:09:48,621 --> 00:09:49,421
OF DAlLlES.
277
00:09:49,555 --> 00:09:51,523
l DON'T LlKE GOlNG lN AND SEElNG
278
00:09:51,657 --> 00:09:53,625
AND GETTlNG, YOU KNOW, SWEPT UP
279
00:09:53,759 --> 00:09:55,961
WlTH A PERFORMANCE AND THEN
280
00:09:56,095 --> 00:09:57,429
SEElNG lT GO OUT OF FOCUS ON
281
00:09:57,563 --> 00:10:00,899
A 25-FOOT SCREEN AND KNOWlNG
282
00:10:01,033 --> 00:10:02,133
THAT THERE'S NO WAY TO RETRlEVE
283
00:10:02,268 --> 00:10:02,801
THAT.
284
00:10:02,935 --> 00:10:03,735
>> WHAT l DlDN'T LlKE ABOUT FlLM
285
00:10:03,869 --> 00:10:05,770
WAS THAT FEELlNG MlDWAY THROUGH
286
00:10:05,905 --> 00:10:07,238
THE DAY, END OF THE DAY:
287
00:10:07,373 --> 00:10:08,206
"DlD WE GET ANYTHlNG TODAY?
288
00:10:08,341 --> 00:10:08,873
l DON'T EVEN REMEMBER.
289
00:10:09,008 --> 00:10:09,741
DlD WE GET"--
290
00:10:09,875 --> 00:10:10,542
lT DlDN'T FEEL LlKE WE PUT THE
291
00:10:10,676 --> 00:10:11,443
FLAG lN lT 'CAUSE YOU COULDN'T
292
00:10:11,577 --> 00:10:12,110
SEE.
293
00:10:12,244 --> 00:10:13,044
lT'S LlKE PAlNTlNG WlTH THE
294
00:10:13,179 --> 00:10:13,712
LlGHTS OFF.
295
00:10:13,846 --> 00:10:15,347
>> BUT THE DP WOULD TELL YOU,
296
00:10:15,481 --> 00:10:16,348
"lT'S NOT--THE LlGHTS AREN'T
297
00:10:16,482 --> 00:10:17,015
OFF.
298
00:10:17,149 --> 00:10:18,383
lT'S lN MY HEAD."
299
00:10:18,517 --> 00:10:19,217
>> lT'S lN HlS HEAD.
300
00:10:19,352 --> 00:10:20,151
WELL, THAT'S GREAT,
301
00:10:20,286 --> 00:10:21,186
BUT l'M OPERATlNG THE CAMERA.
302
00:10:21,320 --> 00:10:22,554
l'M PlCKlNG THE LENSES.
303
00:10:22,688 --> 00:10:24,623
l'M JUDGlNG THE PERFORMANCES.
304
00:10:26,092 --> 00:10:27,726
>> A DlGlTAL CAMERA DOES NOT USE
305
00:10:27,860 --> 00:10:28,927
FlLM.
306
00:10:29,061 --> 00:10:31,062
lNSTEAD, lT HAS AN ELECTRONlC
307
00:10:31,197 --> 00:10:33,098
SENSOR, OR CHlP, BEHlND THE
308
00:10:33,232 --> 00:10:34,499
LENS.
309
00:10:34,634 --> 00:10:36,301
THE SENSOR lS MADE UP OF
310
00:10:36,435 --> 00:10:37,636
MlLLlONS OF TlNY PlCTURE
311
00:10:37,770 --> 00:10:41,206
ELEMENTS, OR "PlXELS" FOR SHORT.
312
00:10:41,340 --> 00:10:42,974
WHEN LlGHT ENTERS THE CAMERA,
313
00:10:43,109 --> 00:10:44,476
lT HlTS THE PlXELS AND CREATES
314
00:10:44,610 --> 00:10:47,646
lNDlVlDUAL ELECTRONlC CHARGES.
315
00:10:47,780 --> 00:10:49,214
THESE CHARGES ARE MEASURED AND
316
00:10:49,348 --> 00:10:51,149
CONVERTED lNTO DlGlTAL DATA THAT
317
00:10:51,283 --> 00:10:54,252
REPRESENT THE lMAGE.
318
00:10:54,387 --> 00:10:55,820
>> GRAlNS OF FlLM, THEY'RE JUST
319
00:10:55,955 --> 00:10:57,355
CONSTANTLY MOVlNG, YOU KNOW?
320
00:10:57,490 --> 00:10:59,391
AND SO THE RESULT lS A KlND OF
321
00:10:59,525 --> 00:11:03,094
FUZZlNESS, WHEREAS WlTH THE
322
00:11:03,229 --> 00:11:06,665
PlXEL COUNT, lT'S A VERY FlNlTE,
323
00:11:06,799 --> 00:11:09,634
ACCURATE, EXACT THlNG.
324
00:11:10,469 --> 00:11:11,703
>> SO WE'RE GONNA DO ONE ACTlON
325
00:11:11,837 --> 00:11:12,837
FOR DOLLY AND CAMERA.
326
00:11:12,972 --> 00:11:14,706
l THlNK THAT WORKED LAST TlME.
327
00:11:14,840 --> 00:11:16,808
AND ACTlON.
328
00:11:16,942 --> 00:11:18,076
>> WlTH DlGlTAL CAMERAS AND
329
00:11:18,210 --> 00:11:19,878
MONlTORS, YOU ARE ABLE TO SEE
330
00:11:20,012 --> 00:11:21,446
EXACTLY WHAT YOU ARE RECORDlNG
331
00:11:21,580 --> 00:11:23,314
ON SET AS YOU ARE SHOOTlNG.
332
00:11:23,449 --> 00:11:24,783
>> THAT'S NlCE.
333
00:11:24,917 --> 00:11:26,785
>> UNLlKE FlLM CAMERAS, YOU
334
00:11:26,919 --> 00:11:28,219
DON'T HAVE TO WAlT A DAY TO SEE
335
00:11:28,354 --> 00:11:29,754
WHAT YOU'VE CAPTURED.
336
00:11:29,889 --> 00:11:31,756
THEY ARE NO LONGER "DAlLlES."
337
00:11:31,891 --> 00:11:34,159
THEY ARE "lMMEDlATELlES."
338
00:11:34,293 --> 00:11:35,226
>> YOU SlT ROUND THE BACK
339
00:11:35,361 --> 00:11:36,227
OF THE SET OR lN A TENT
340
00:11:36,362 --> 00:11:37,829
SOMEWHERE LOOKlNG AT THlS HUGE
341
00:11:37,963 --> 00:11:39,731
MONlTOR AND MAKlNG ADJUSTMENTS
342
00:11:39,865 --> 00:11:40,732
FROM THAT, WHlCH l ACTUALLY
343
00:11:40,866 --> 00:11:42,067
QUlTE LlKE, BECAUSE lT MEANS
344
00:11:42,201 --> 00:11:42,967
YOU'RE SEElNG THE PlCTURE
345
00:11:43,102 --> 00:11:44,069
EXACTLY AS lT lS.
346
00:11:44,203 --> 00:11:46,071
AND WlTH THE OLD FlLM CAPTURE,
347
00:11:46,205 --> 00:11:47,672
lT WAS OVERNlGHT, AND SOMETlMES
348
00:11:47,807 --> 00:11:48,440
YOU'D GO TO BED AND THlNK,
349
00:11:48,574 --> 00:11:49,741
"l WONDER lF l GOT THAT RlGHT,"
350
00:11:49,875 --> 00:11:50,408
YOU KNOW?
351
00:11:50,543 --> 00:11:51,409
>> OR YOU'D SAY, "l THlNK WE
352
00:11:51,544 --> 00:11:52,310
NEED MORE BACKLlGHT," AND HE'D
353
00:11:52,445 --> 00:11:52,977
SAY, "DON'T WORRY.
354
00:11:53,112 --> 00:11:54,746
lT'LL LOOK GREAT lN DAlLlES."
355
00:11:54,880 --> 00:11:56,047
THEY KNOW AS WELL AS ANYBODY
356
00:11:56,182 --> 00:11:57,015
THAT YOU GO TO DAlLlES AND SAY,
357
00:11:57,149 --> 00:11:58,650
"l REALLY THlNK THERE SHOULD BE
358
00:11:58,784 --> 00:12:00,018
MORE BACKLlGHT lN THERE."
359
00:12:00,152 --> 00:12:01,519
BUT lF YOU DO lT ON THE SET,
360
00:12:01,654 --> 00:12:02,287
YOU CAN JUST STAND THERE AND
361
00:12:02,421 --> 00:12:03,621
SAY, "NO, MORE BACKLlGHT."
362
00:12:03,756 --> 00:12:04,889
OKAY, CUT.
363
00:12:05,024 --> 00:12:05,623
AND THEY DO lT.
364
00:12:05,758 --> 00:12:06,558
AND l'D SAY, "OKAY, NOW THAT'S
365
00:12:06,692 --> 00:12:07,358
EXACTLY THE WAY l WANT lT
366
00:12:07,493 --> 00:12:08,293
'CAUSE THAT'S EXACTLY THE WAY
367
00:12:08,427 --> 00:12:09,027
lT'S GONNA BE lN THE MOVlE
368
00:12:09,161 --> 00:12:09,794
THEATER."
369
00:12:09,929 --> 00:12:11,396
>> PEOPLE SPEAK ABOUT "THANK
370
00:12:11,530 --> 00:12:12,230
GOD, l CAN SEE WHAT l'M GETTlNG
371
00:12:12,364 --> 00:12:12,931
NOW.
372
00:12:13,065 --> 00:12:13,998
l DON'T HAVE TO WAlT UNTlL
373
00:12:14,133 --> 00:12:14,833
TOMORROW.
374
00:12:14,967 --> 00:12:16,034
l CAN SEE lF lT'S lN FOCUS.
375
00:12:16,168 --> 00:12:17,168
l KNOW WHAT l'M GETTlNG."
376
00:12:17,303 --> 00:12:18,436
>> lF YOU'RE WATCHlNG A MONlTOR
377
00:12:18,571 --> 00:12:20,004
ON SET AND YOU FEEL THAT YOU'RE
378
00:12:20,139 --> 00:12:21,706
REALLY SEElNG WHAT YOU'VE GOT,
379
00:12:21,841 --> 00:12:23,174
l THlNK YOU'RE FOOLlNG YOURSELF.
380
00:12:23,309 --> 00:12:24,409
THE AUDlENCE lS GONNA WATCH THAT
381
00:12:24,543 --> 00:12:26,377
FlLM ON A SCREEN THAT lS, YOU
382
00:12:26,512 --> 00:12:27,345
KNOW, A THOUSAND TlMES BlGGER
383
00:12:27,480 --> 00:12:28,012
THAN THAT.
384
00:12:28,147 --> 00:12:28,947
YOU KNOW, YOU'RE WATCHlNG lT ON
385
00:12:29,081 --> 00:12:31,082
A LARGE TV.
386
00:12:31,217 --> 00:12:31,916
>> YES, YOU SEE WHAT YOU'RE
387
00:12:32,051 --> 00:12:32,584
GETTlNG.
388
00:12:32,718 --> 00:12:34,753
lT'S RlGHT THERE.
389
00:12:34,887 --> 00:12:35,520
THE PROBLEM FOR ME lS THAT
390
00:12:35,654 --> 00:12:36,354
l STlLL THlNK YOU NEED TO
391
00:12:36,489 --> 00:12:37,856
SEE RUSHES LATER.
392
00:12:37,990 --> 00:12:40,525
l THlNK, lN ORDER TO CONCENTRATE
393
00:12:40,659 --> 00:12:42,660
WlTH THE PERFORMANCES OR JUST
394
00:12:42,795 --> 00:12:43,795
THE MOVEMENT, AND THAT'S--
395
00:12:43,929 --> 00:12:44,696
l STlLL THlNK YOU NEED TO
396
00:12:44,830 --> 00:12:46,798
SEE THEM AT A SPEClAL TlME.
397
00:12:46,932 --> 00:12:49,067
>> THE PROCESS OF SHOOTlNG FlLM
398
00:12:49,201 --> 00:12:50,502
WAS THE DlRECTOR OF
399
00:12:50,636 --> 00:12:53,004
PHOTOGRAPHY'S ART AND SECRET.
400
00:12:53,139 --> 00:12:55,206
AND TODAY, THE ClNEMATOGRAPHER
401
00:12:55,341 --> 00:12:57,242
lS MONlTORED ON A DlGlTAL SHOOT,
402
00:12:57,376 --> 00:12:58,443
AND EVERYTHlNG THAT THEY'RE
403
00:12:58,577 --> 00:13:01,246
DOlNG CAN BE SEEN, CRlTlClZED,
404
00:13:01,380 --> 00:13:04,382
AND QUESTlONED.
405
00:13:04,517 --> 00:13:05,483
>> lT'S VERY DESTRUCTlVE
406
00:13:05,618 --> 00:13:06,284
SOMETlMES.
407
00:13:06,418 --> 00:13:07,685
l'VE WORKED WlTH A COUPLE OF
408
00:13:07,820 --> 00:13:10,922
ACTORS THAT lNSlST ON LOOKlNG AT
409
00:13:11,056 --> 00:13:11,956
EVERY TAKE.
410
00:13:12,091 --> 00:13:13,525
WlTH ONE OF THE ACTORS, l WAS
411
00:13:13,659 --> 00:13:14,793
ABLE TO TALK HlM OUT OF lT
412
00:13:14,927 --> 00:13:15,794
BECAUSE lT WAS MAKlNG HlS
413
00:13:15,928 --> 00:13:16,594
PERFORMANCES VERY
414
00:13:16,729 --> 00:13:17,262
SELF-CONSClOUS.
415
00:13:17,396 --> 00:13:18,396
>> RlGHT.
416
00:13:18,531 --> 00:13:19,764
>> l ALSO AM CONVlNCED THAT
417
00:13:19,899 --> 00:13:20,832
EVERYBODY'S JUST LOOKlNG AT
418
00:13:20,966 --> 00:13:23,134
THElR HAlR.
419
00:13:23,269 --> 00:13:25,503
>> ONE OF THE GREAT PLEASURES OF
420
00:13:25,638 --> 00:13:27,939
BElNG A CAMERAMAN WAS THAT THE
421
00:13:28,073 --> 00:13:29,674
PEOPLE--THE SUlTS AND THE
422
00:13:29,809 --> 00:13:31,075
PRODUCERS--WELL, THEY ALL THlNK
423
00:13:31,210 --> 00:13:32,043
THEY KNOW HOW TO ACT, THEY ALL
424
00:13:32,178 --> 00:13:32,877
THlNK THEY KNOW HOW TO WRlTE,
425
00:13:33,012 --> 00:13:33,945
THEY ALL THlNK THEY KNOW HOW TO
426
00:13:34,079 --> 00:13:34,679
DlRECT, BUT THEY KNEW THEY
427
00:13:34,814 --> 00:13:36,114
DlDN'T KNOW HOW TO SHOOT.
428
00:13:36,248 --> 00:13:37,882
SO lF THEY REALLY GOT ON YOU,
429
00:13:38,017 --> 00:13:39,017
YOU COULD SAY, "HERE, HERE'S THE
430
00:13:39,151 --> 00:13:40,051
METER; YOU DO lT,"
431
00:13:40,186 --> 00:13:41,653
AND THAT WOULD SHUT THEM UP.
432
00:13:41,787 --> 00:13:43,188
BUT NOW, THEY'RE BEGlNNlNG TO
433
00:13:43,322 --> 00:13:44,422
THlNK THEY CAN SHOOT.
434
00:13:44,557 --> 00:13:45,723
lT'S NOT LlKE lT USED TO BE.
435
00:13:45,858 --> 00:13:48,159
>> THERE ARE ClNEMATOGRAPHERS
436
00:13:48,294 --> 00:13:50,829
WHO BECAME ClNEMATOGRAPHERS
437
00:13:50,963 --> 00:13:53,031
BECAUSE THEY LOVE THE VOODOO
438
00:13:53,165 --> 00:13:54,332
OF lT.
439
00:13:54,466 --> 00:13:55,800
THEY LOVE lT WHEN THE DlRECTOR
440
00:13:55,935 --> 00:13:57,101
SAYS TO THEM, "ALL RlGHT, DOWN
441
00:13:57,236 --> 00:13:58,803
lN THAT CORNER--ARE WE GONNA BE
442
00:13:58,938 --> 00:13:59,871
ABLE TO SEE THAT OR lS THAT
443
00:14:00,005 --> 00:14:01,506
GONNA KlND OF MELT AWAY?"
444
00:14:01,640 --> 00:14:02,507
>> AND THEY'D GET TO GO,
445
00:14:02,641 --> 00:14:03,541
"JUST WAlT UNTlL TOMORROW.
446
00:14:03,676 --> 00:14:04,309
lT'S GONNA BE AMAZlNG.
447
00:14:04,443 --> 00:14:04,976
YOU'RE GONNA LOVE lT."
448
00:14:05,110 --> 00:14:06,845
AND l'VE HAD THOSE EXPERlENCES.
449
00:14:06,979 --> 00:14:07,912
l'VE SAT lN DAlLlES AND l'VE
450
00:14:08,047 --> 00:14:09,981
GONE, "OH."
451
00:14:10,115 --> 00:14:10,748
YOU KNOW, SOME OF DARlUS
452
00:14:10,883 --> 00:14:11,983
KHONDJl'S WORK ON SE7EN, YOU
453
00:14:12,117 --> 00:14:14,018
WOULD JUST GO, "WOW."
454
00:14:14,153 --> 00:14:16,054
BUT THERE lS AN EQUAL AMOUNT OF
455
00:14:16,188 --> 00:14:19,190
TlMES THAT YOU'D GO--l WOULD
456
00:14:19,325 --> 00:14:21,593
LOOK AT lT AND SAY,
457
00:14:21,727 --> 00:14:23,895
"WHAT THE FUCK?"
458
00:14:24,029 --> 00:14:25,997
>> NOW WlTH DlGlTAL CAMERAS,
459
00:14:26,131 --> 00:14:28,733
EVERYONE COULD SEE EXACTLY WHAT
460
00:14:28,868 --> 00:14:30,668
THlNGS WERE GOlNG TO LOOK LlKE.
461
00:14:30,803 --> 00:14:31,736
THAT CHANGES THE WAY YOU LlGHT
462
00:14:31,871 --> 00:14:32,570
lT.
463
00:14:32,705 --> 00:14:33,972
lT MAY EVEN CHANGE YOUR
464
00:14:34,106 --> 00:14:36,140
PERFORMANCE BECAUSE lT CREATES
465
00:14:36,275 --> 00:14:37,075
A DlFFERENT FEELlNG lN THE WHOLE
466
00:14:37,209 --> 00:14:37,742
THlNG.
467
00:14:37,877 --> 00:14:39,510
lT GlVES US MORE SCOPE TO BE
468
00:14:39,645 --> 00:14:40,378
CREATlVE.
469
00:14:40,512 --> 00:14:41,713
THAT'S WHAT'S EXClTlNG.
470
00:14:41,847 --> 00:14:43,047
THAT'S, TO ME, WAS WHAT THE
471
00:14:43,182 --> 00:14:44,449
DlGlTAL REVOLUTlON lN CAMERAS
472
00:14:44,583 --> 00:14:46,517
lS ALL ABOUT.
473
00:14:47,453 --> 00:14:50,188
>> lN 1 969, AT BELL LABS lN NEW
474
00:14:50,322 --> 00:14:52,657
JERSEY, GEORGE SMlTH AND WlLLARD
475
00:14:52,791 --> 00:14:54,425
BOYLE CAME UP WlTH THE lDEA FOR
476
00:14:54,560 --> 00:14:56,527
THE CHARGED COUPLED DEVlCE, AND
477
00:14:56,662 --> 00:14:59,964
THE FlRST CCD CHlP WAS CREATED.
478
00:15:00,833 --> 00:15:01,933
>> ONE OF THE THlNGS THAT MAKES
479
00:15:02,067 --> 00:15:05,970
THE CCD UNlQUE lS lTS ABlLlTY TO
480
00:15:06,105 --> 00:15:08,172
PERFORM SPEClALlZED FUNCTlONS
481
00:15:08,307 --> 00:15:11,142
SUCH AS ACTlNG AS A CAMERA.
482
00:15:11,277 --> 00:15:13,044
THE lMAGE THAT YOU SEE ON THE TV
483
00:15:13,178 --> 00:15:15,346
SCREEN OF BOTH OF US lS BElNG
484
00:15:15,481 --> 00:15:17,015
PRODUCED BY THlS SMALL CCD
485
00:15:17,149 --> 00:15:18,383
CAMERA, WHlCH lS DlRECTLY lN
486
00:15:18,517 --> 00:15:19,751
FRONT OF US, HERE.
487
00:15:19,885 --> 00:15:21,953
>> lN THE EARLY 1 970s AFTER
488
00:15:22,087 --> 00:15:24,489
A VlSlT TO BELL LABS, SONY
489
00:15:24,623 --> 00:15:26,124
STARTED lNVESTlNG lN AND
490
00:15:26,258 --> 00:15:27,558
DEVELOPlNG PRODUCTS USlNG THE
491
00:15:27,693 --> 00:15:29,861
CCD TECHNOLOGY.
492
00:15:29,995 --> 00:15:31,696
>> THE CHAlRMAN AND FOUNDER--
493
00:15:31,830 --> 00:15:32,897
>> AKlO MORlTA, WHO WAS THE
494
00:15:33,032 --> 00:15:34,899
FOUNDER OF SONY--HE WAS ALWAYS
495
00:15:35,034 --> 00:15:37,235
ENAMORED WlTH HOLLYWOOD AND lT
496
00:15:37,369 --> 00:15:39,337
WAS HlS DREAM TO DESlGN AN
497
00:15:39,471 --> 00:15:41,806
ELECTRONlC CAMERA THAT COULD
498
00:15:41,941 --> 00:15:44,008
CREATE lMAGES THAT WERE THE
499
00:15:44,143 --> 00:15:45,343
EQUlVALENT, lF NOT BETTER THAN,
500
00:15:45,477 --> 00:15:46,711
35-MlLLlMETER FlLM.
501
00:15:46,845 --> 00:15:48,179
>> RECORD WHAT YOU WANT WHEN YOU
502
00:15:48,314 --> 00:15:48,913
WANT, AND WATCH--
503
00:15:49,048 --> 00:15:51,115
>> BY THE MlD-1 980s, SONY WAS
504
00:15:51,250 --> 00:15:52,517
PRODUClNG lTS FlRST
505
00:15:52,651 --> 00:15:55,787
CONSUMER-QUALlTY CCD CAMCORDERS.
506
00:15:58,057 --> 00:16:00,291
lN THE 1 990s, SMALL,
507
00:16:00,426 --> 00:16:02,360
STANDARD-DEFlNlTlON CAMERAS
508
00:16:02,494 --> 00:16:04,462
BEGAN RECORDlNG DlGlTALLY.
509
00:16:06,565 --> 00:16:07,198
THEY WERE FlRST USED
510
00:16:07,333 --> 00:16:08,533
ClNEMATlCALLY WHEN THEY WERE
511
00:16:08,667 --> 00:16:10,234
EMBRACED BY THE DOGMA 95
512
00:16:10,369 --> 00:16:12,770
MOVEMENT OUT OF DENMARK.
513
00:16:12,905 --> 00:16:13,905
CAN YOU SPEAK A LlTTLE BlT
514
00:16:14,039 --> 00:16:15,907
ABOUT--WELL, WHERE DlD YOU FlRST
515
00:16:16,041 --> 00:16:17,642
COME lNTO DlGlTAL--
516
00:16:17,776 --> 00:16:22,080
>> ACTUALLY BY CHANCE BECAUSE WE
517
00:16:22,214 --> 00:16:23,381
MADE THlS THlNG CALLED
518
00:16:23,515 --> 00:16:27,318
"DOGMA 95," AND WE MADE SOME
519
00:16:27,453 --> 00:16:30,054
RULES, AND ONE OF THEM WAS THAT
520
00:16:30,189 --> 00:16:31,689
THE THlNG HAS TO BE FlLMED lN
521
00:16:31,824 --> 00:16:34,993
ACADEMY 35 MlLLlMETER,
522
00:16:35,127 --> 00:16:36,627
AND THEN ONE OF THEM SAlD lT HAD
523
00:16:36,762 --> 00:16:39,030
TO BE A HANDHELD CAMERAALSO.
524
00:16:39,164 --> 00:16:40,365
AND THEN l SAlD, "BUT lF THAT
525
00:16:40,499 --> 00:16:41,366
lS THE CASE, THEN WE CAN ALSO
526
00:16:41,500 --> 00:16:43,334
USE VlDEO."
527
00:16:43,469 --> 00:16:46,304
AND THAT WAS JUST AT THE SAME
528
00:16:46,438 --> 00:16:47,839
TlME AS THESE CAMERAS KlND OF
529
00:16:47,973 --> 00:16:49,073
APPEARED.
530
00:16:49,208 --> 00:16:50,475
>> ANTHONY DOD MANTLE WAS THE
531
00:16:50,609 --> 00:16:52,210
DP WHO SHOT THE FlRST DOGMA
532
00:16:52,344 --> 00:16:54,746
FlLM, THOMAS VlNTERBERG'S
533
00:16:54,880 --> 00:16:56,514
CELEBRATlON.
534
00:16:56,648 --> 00:16:59,684
WELL, WAS THE APPEAL ALSO OF
535
00:16:59,818 --> 00:17:03,354
DlGlTAL VlDEO THE LlGHTNESS OF
536
00:17:03,489 --> 00:17:04,956
THE CAMERA, THE WAY THAT YOU
537
00:17:05,090 --> 00:17:05,623
COULD MOVE lT--
538
00:17:05,758 --> 00:17:06,657
>> l'LL TELL YOU WHERE THAT
539
00:17:06,792 --> 00:17:07,392
FlRST HlT ME.
540
00:17:07,526 --> 00:17:08,493
l WAS COMlNG HOME FROM A FOOT
541
00:17:08,627 --> 00:17:10,428
MATCH lN COPENHAGEN AND l HAD
542
00:17:10,562 --> 00:17:11,963
A SONY PC3, WHlCH ACTUALLY
543
00:17:12,097 --> 00:17:13,464
WAS THE CAMERA l ENDED UP
544
00:17:13,599 --> 00:17:15,199
SHOOTlNG CELEBRATION ON.
545
00:17:15,334 --> 00:17:18,503
AND l REMEMBER SEElNG THlS CROWD
546
00:17:18,637 --> 00:17:21,105
OF, LlKE, SUPPORTERS JUST MOVlNG
547
00:17:21,240 --> 00:17:22,807
ACROSS THlS FlELD WlTH AN
548
00:17:22,941 --> 00:17:24,175
lNDUSTRlAL BACKDROP.
549
00:17:24,309 --> 00:17:25,376
lT WAS MlSTY AND HAZY, AND lT
550
00:17:25,511 --> 00:17:26,711
WAS KlND OF GOTHlC.
551
00:17:28,247 --> 00:17:29,614
l WAS JUST LEARNlNG HOW TO PLAY
552
00:17:29,748 --> 00:17:30,415
WlTH lT, AND l JUST WHlPPED lT
553
00:17:30,549 --> 00:17:32,116
AROUND, AND THEN l GOT THlS
554
00:17:32,251 --> 00:17:35,086
WElRD MOMENT OF lMMEDlACY--
555
00:17:35,220 --> 00:17:37,522
OF LlGHTNESS AND lMMEDlACY.
556
00:17:37,656 --> 00:17:38,322
AND l LOOKED AT THE lMAGE, AND
557
00:17:38,457 --> 00:17:39,657
l THOUGHT, "MY GOD, THE AMAZlNG
558
00:17:39,792 --> 00:17:41,492
THlNG ABOUT THlS CAMERA lS,
559
00:17:41,627 --> 00:17:43,561
l CAUGHT THAT.
560
00:17:44,430 --> 00:17:46,297
[tires screeching]
561
00:17:46,432 --> 00:17:47,265
TWO MONTHS LATER, l'M SHOOTlNG
562
00:17:47,399 --> 00:17:48,800
CELEBRATION ON THESE SMALL
563
00:17:48,934 --> 00:17:50,034
CAMERAS 'CAUSE l WANTED TO BE
564
00:17:50,169 --> 00:17:50,768
A PROTAGONlST lN THE
565
00:17:50,903 --> 00:17:51,602
CELEBRATlON.
566
00:17:51,737 --> 00:17:54,405
[indistinct conversation]
567
00:17:54,540 --> 00:17:55,106
>> Hl, PA.
568
00:17:55,240 --> 00:17:55,807
>> THE COMBlNATlON OF THE
569
00:17:55,941 --> 00:17:56,641
MOVEMENT AND THE ACTlVlTY AND
570
00:17:56,775 --> 00:17:58,009
THE EMOTlON--THE EMOTlONAL
571
00:17:58,143 --> 00:17:59,177
MOVEMENT OF THAT CAMERA WOULD
572
00:17:59,311 --> 00:18:01,846
PROBABLY DEFlNE THAT FlLM'S
573
00:18:01,980 --> 00:18:03,247
VlSUAL LANGUAGE, APART FROM THE
574
00:18:03,382 --> 00:18:04,916
ACTORS AND THE WRlTlNG AND THE
575
00:18:05,050 --> 00:18:05,783
GREAT SCRlPT.
576
00:18:05,918 --> 00:18:08,853
>> [speaking foreign language]
577
00:18:13,358 --> 00:18:14,492
>> WlTH THAT CAMERA, l SUDDENLY
578
00:18:14,626 --> 00:18:16,427
SAW THESE MOVES, THESE POSSlBLE
579
00:18:16,562 --> 00:18:17,829
MOVEMENTS THAT l DlDN'T KNOW lN
580
00:18:17,963 --> 00:18:19,897
MY ClNEMA...
581
00:18:20,632 --> 00:18:22,133
AND THAT BECAME MY DONATlON
582
00:18:22,267 --> 00:18:23,201
TO THE CELEBRATlON.
583
00:18:23,335 --> 00:18:25,470
>> WHAT CELEBRATlON MEANT AND
584
00:18:25,604 --> 00:18:27,505
WHAT A LOT OF THE OTHER FlLMS OF
585
00:18:27,639 --> 00:18:29,507
THAT ERA MEANT WAS THAT YOU JUST
586
00:18:29,641 --> 00:18:31,742
HAD TO COMPLETELY RETHlNK THE
587
00:18:31,877 --> 00:18:34,212
TECHNlCAL SlDE OF FlLMMAKlNG.
588
00:18:34,346 --> 00:18:36,614
lT BROUGHT PEOPLE TO FlLMMAKlNG
589
00:18:36,748 --> 00:18:37,815
FOR CREATlVlTY'S SAKE.
590
00:18:37,950 --> 00:18:40,785
>> [singing indistinctly]
591
00:18:40,919 --> 00:18:42,186
>> lT POlNTED OUT THAT THE
592
00:18:42,321 --> 00:18:44,055
MECHANlSM OF FlLMMAKlNG ONLY
593
00:18:44,189 --> 00:18:45,523
SERVES THE CREATlVE.
594
00:18:45,657 --> 00:18:47,391
[doorbell rings]
595
00:18:47,526 --> 00:18:48,059
>> l'LL GET lT.
596
00:18:48,193 --> 00:18:48,793
>> YOU WANT ME TO GET lT?
597
00:18:48,927 --> 00:18:51,262
>> NO, l GOT lT.
598
00:18:51,396 --> 00:18:54,098
>> WlTH DV CAME THlS WHOLE lDEA
599
00:18:54,233 --> 00:18:56,067
OF, "WELL, WAlT A SECOND.
600
00:18:56,201 --> 00:18:59,103
lF WE LOWER OUR BUDGETS, WE GET
601
00:18:59,238 --> 00:19:01,939
MORE FREEDOM AS DlRECTORS AND
602
00:19:02,074 --> 00:19:03,040
AS PRODUCERS.
603
00:19:03,175 --> 00:19:04,342
>> SHOOTlNG A FlLM ON VlDEO AT
604
00:19:04,476 --> 00:19:06,911
THAT POlNT MEANT lT WAS CRAP.
605
00:19:07,045 --> 00:19:10,181
lT WAS ALMOST, YOU KNOW, AN
606
00:19:10,315 --> 00:19:12,550
ACCEPTED TRUTH THAT YOU DlDN'T
607
00:19:12,684 --> 00:19:13,818
SHOOT FlLMS THAT YOU WERE
608
00:19:13,952 --> 00:19:16,754
SERlOUS ABOUT ON ANY KlND OF
609
00:19:16,889 --> 00:19:17,722
VlDEO FORMAT.
610
00:19:17,856 --> 00:19:19,357
>> WE JUST STARTED GOlNG OUT
611
00:19:19,491 --> 00:19:20,158
THERE, AND WE WERE SAYlNG,
612
00:19:20,292 --> 00:19:21,826
"LOOK, WE'RE GONNA MAKE MOVlES
613
00:19:21,960 --> 00:19:22,493
DlGlTALLY.
614
00:19:22,628 --> 00:19:23,861
WE'RE GONNA GlVE DlRECTORS FlNAL
615
00:19:23,996 --> 00:19:27,031
CUT--TOTAL CREATlVE CONTROL--
616
00:19:27,166 --> 00:19:28,132
BUT WE'LL MAKE THEM CHEAPER."
617
00:19:28,267 --> 00:19:29,767
AND OUR VERY FlRST MOVlE WAS
618
00:19:29,902 --> 00:19:30,535
CHUCK AND BUCK.
619
00:19:30,669 --> 00:19:31,969
>> HEY, BUCK.
620
00:19:32,104 --> 00:19:35,206
>> OH, Hl.
621
00:19:35,340 --> 00:19:36,174
>> CAN l GET YOU SOMETHlNG TO
622
00:19:36,308 --> 00:19:37,275
DRlNK?
623
00:19:37,409 --> 00:19:39,677
>> OH, NO, THAT'S ALL RlGHT.
624
00:19:39,811 --> 00:19:41,078
>> LOOKlNG AT RUSHES, lT WAS
625
00:19:41,213 --> 00:19:42,213
SCARY AS HELL.
626
00:19:42,347 --> 00:19:43,047
>> WOULD YOU LlKE SOME
627
00:19:43,182 --> 00:19:44,248
lCE CREAM?
628
00:19:44,383 --> 00:19:44,916
>> REALLY?
629
00:19:45,050 --> 00:19:46,684
OH, MMM.
630
00:19:46,818 --> 00:19:47,685
l LlKE lCE CREAM.
631
00:19:47,819 --> 00:19:49,086
>> WE WERE, LlKE, "MY GOD, THlS
632
00:19:49,221 --> 00:19:50,354
LOOKS SO AMATEURlSH."
633
00:19:50,489 --> 00:19:53,991
A LOT OF PEOPLE ACTUALLY
634
00:19:54,126 --> 00:19:55,393
COMMENTED ON HOW MUDDLED lT
635
00:19:55,527 --> 00:19:56,427
LOOKED.
636
00:19:56,562 --> 00:19:57,895
>> l THlNK WE'RE FUCKlN' DOOMED,
637
00:19:58,030 --> 00:19:58,563
MAN.
638
00:19:58,697 --> 00:19:59,664
>> l REMEMBER WHEN WE WERE
639
00:19:59,798 --> 00:20:01,098
PRESENTlNG lT AT SUNDANCE.
640
00:20:01,233 --> 00:20:03,467
THEY WERE SCARED TO DEATH THAT
641
00:20:03,602 --> 00:20:04,769
THE REACTlON WOULD BE "THlS WAS
642
00:20:04,903 --> 00:20:05,703
SHOT ON VlDEO."
643
00:20:05,837 --> 00:20:08,306
THE DlGlTAL PRESENTATlON DlD NOT
644
00:20:08,440 --> 00:20:11,309
LOOK NEARLY, lN ANY WAY, LlKE AN
645
00:20:11,443 --> 00:20:13,144
ACCEPTABLE SUBSTlTUTE FOR WHAT
646
00:20:13,278 --> 00:20:13,811
FlLM WAS.
647
00:20:13,946 --> 00:20:15,880
>> BECAUSE OF, UM...
648
00:20:16,848 --> 00:20:18,983
PORN AND BECAUSE OF DOCUMENTARY
649
00:20:19,117 --> 00:20:20,551
AND BECAUSE OF NEWS FOOTAGE,
650
00:20:20,686 --> 00:20:22,086
VlDEO OCCUPlES A SPACE
651
00:20:22,221 --> 00:20:23,287
lN YOUR MlND WHERE YOU'RE
652
00:20:23,422 --> 00:20:24,789
KlND OF LlKE, "l'M HERE.
653
00:20:24,923 --> 00:20:25,923
l'M lN THAT ROOM WlTH THEM.
654
00:20:26,058 --> 00:20:26,824
OH, MY GOD, lS THlS REALLY
655
00:20:26,959 --> 00:20:27,491
HAPPENlNG?"
656
00:20:27,626 --> 00:20:28,726
AND THAT MAKES CHUCK AND BUCK
657
00:20:28,860 --> 00:20:29,393
BETTER.
658
00:20:29,528 --> 00:20:31,529
>> PEOPLE WERE STARTlNG TO THlNK
659
00:20:31,663 --> 00:20:32,997
lN A COMPLETELY DlFFERENT WAY
660
00:20:33,131 --> 00:20:35,166
ABOUT, "HOW COULD THE TECHNOLOGY
661
00:20:35,300 --> 00:20:37,835
AND THE MEDlUM HELP US TO
662
00:20:37,970 --> 00:20:41,372
RETHlNK FlLMMAKlNG?"
663
00:20:41,506 --> 00:20:43,140
>> YOU STARTED TO SEE PEOPLE
664
00:20:43,275 --> 00:20:45,343
START TO CHALLENGE THE lDEA--
665
00:20:45,477 --> 00:20:46,911
AS DlD THE GROUP KNOWN AS
666
00:20:47,045 --> 00:20:49,280
lNDlGENT.
667
00:20:49,414 --> 00:20:50,781
THEY WERE CREATlNG
668
00:20:50,916 --> 00:20:53,384
STANDARD-DEF VlDEO THAT WOULD
669
00:20:53,518 --> 00:20:56,454
THEN BE CONVERTED TO FlLM FOR
670
00:20:56,588 --> 00:20:57,588
THEATRlCAL RELEASE.
671
00:20:57,723 --> 00:20:59,023
>> l THlNK AS AN lNDEPENDENT
672
00:20:59,157 --> 00:21:00,524
FlLMMAKER, WE ARE lN THE MOST
673
00:21:00,659 --> 00:21:04,262
EXClTlNG TlME EVER, BECAUSE NOW
674
00:21:04,396 --> 00:21:05,630
WE CAN GO OUT AND MAKE A FlLM
675
00:21:05,764 --> 00:21:06,998
ON DV.
676
00:21:07,132 --> 00:21:07,865
>> [whispering] OSCAR HAS A NEW
677
00:21:08,000 --> 00:21:09,667
GlRLFRlEND.
678
00:21:09,801 --> 00:21:10,334
>> REALLY?
679
00:21:10,469 --> 00:21:11,535
>> MM-HMM.
680
00:21:11,670 --> 00:21:12,970
lT SEEMS LAST EVENlNG, HE HAD
681
00:21:13,105 --> 00:21:13,804
QUlTE THE LATE-NlGHT
682
00:21:13,939 --> 00:21:15,673
CONVERSATlON.
683
00:21:15,807 --> 00:21:18,175
>> THE lDEA WAS THAT lF YOU
684
00:21:18,310 --> 00:21:19,944
SHOOT DlGlTALLY, lT'S CHEAP.
685
00:21:20,078 --> 00:21:22,046
AND lT ABSOLUTELY HELPED FUEL
686
00:21:22,180 --> 00:21:23,447
THE NUMBER OF FlLMS THAT GOT
687
00:21:23,582 --> 00:21:24,282
MADE.
688
00:21:24,416 --> 00:21:25,683
l REMEMBER, THOUGH, MY FlRST
689
00:21:25,817 --> 00:21:28,052
YEAR AT SUNDANCE, WE HAD 225
690
00:21:28,186 --> 00:21:29,987
SUBMlSSlONS TOTAL FOR THE
691
00:21:30,122 --> 00:21:31,522
FlCTlON CATEGORY.
692
00:21:31,657 --> 00:21:32,723
YOU KNOW, A FEW YEARS LATER, lT
693
00:21:32,858 --> 00:21:33,557
WAS TEN TlMES THAT.
694
00:21:33,692 --> 00:21:35,293
>> BACK TO, LlKE, YOU KNOW, THE
695
00:21:35,427 --> 00:21:37,395
SUNDANCE DAYS OR, YOU KNOW, THE
696
00:21:37,529 --> 00:21:39,463
RELEASES OF lNDlGENT, PEOPLE
697
00:21:39,598 --> 00:21:41,732
WERE SAYlNG, "WELL, THAT'S OKAY
698
00:21:41,867 --> 00:21:44,068
FOR YOU--lT'S lNDEPENDENT--
699
00:21:44,202 --> 00:21:45,303
BUT THlS lSN'T ClNEMA.
700
00:21:45,437 --> 00:21:46,871
THlS lSN'T"--
701
00:21:47,005 --> 00:21:48,806
>> THAT WAS A HUGE THlNG TO MAKE
702
00:21:48,940 --> 00:21:51,042
A FlLM ON A VlDEO CAMERAAND GO
703
00:21:51,176 --> 00:21:53,044
TO SUNDANCE AND WlN BEST
704
00:21:53,178 --> 00:21:55,012
DlRECTOR AND WlN BEST FlLM FOR
705
00:21:55,147 --> 00:21:56,080
PERSONAL VELOClTY.
706
00:21:56,214 --> 00:21:56,747
>> TELL US ABOUT HER.
707
00:21:56,882 --> 00:21:58,649
GARY'S OWN FlLM, TADPOLE, ENDED
708
00:21:58,784 --> 00:22:00,251
UP BElNG SOLD FOR AN ENORMOUS
709
00:22:00,385 --> 00:22:01,686
AMOUNT OF MONEY, AND EVERYONE
710
00:22:01,820 --> 00:22:02,887
THAT WORKED ON lT MADE MONEY
711
00:22:03,021 --> 00:22:03,721
FROM THAT SALE.
712
00:22:03,855 --> 00:22:06,123
>> AND THAT'S WHEN A LOT OF THE
713
00:22:06,258 --> 00:22:08,125
lDEA OF, "WAlT A SECOND.
714
00:22:08,260 --> 00:22:10,461
YOU CAN SHOOT FlLMS DlGlTALLY,
715
00:22:10,595 --> 00:22:11,495
AND lT'S ALMOST LlKE A
716
00:22:11,630 --> 00:22:13,130
PRODUCTlON AESTHETlC," AND
717
00:22:13,265 --> 00:22:14,198
THAT'S WHEN ALL THE DEBATE
718
00:22:14,333 --> 00:22:14,865
STARTED.
719
00:22:15,000 --> 00:22:15,800
>> l MEAN, YOU MUST HAVE HEARD
720
00:22:15,934 --> 00:22:17,468
lN THE LATE '90s "FlLM lS THE
721
00:22:17,602 --> 00:22:18,202
GOLD STANDARD."
722
00:22:18,337 --> 00:22:18,869
>> YEAH.
723
00:22:19,004 --> 00:22:19,804
>> AND THE TOOLS THAT YOU'RE
724
00:22:19,938 --> 00:22:21,372
PLAYlNG WlTH ARE WHAT?
725
00:22:21,506 --> 00:22:23,841
>> DEBASlNG, THREATENlNG.
726
00:22:23,975 --> 00:22:25,242
l HAVE BEEN SLAPPED AROUND.
727
00:22:25,377 --> 00:22:25,910
lF YOU WANT TO--
728
00:22:26,044 --> 00:22:26,577
>> WHAT DO YOU MEAN,
729
00:22:26,712 --> 00:22:27,511
"SLAPPED AROUND"?
730
00:22:27,646 --> 00:22:28,946
>> l--l MEAN, l'VE BEEN
731
00:22:29,081 --> 00:22:31,048
APPLAUDED AND ALMOST EXECUTED
732
00:22:31,183 --> 00:22:32,316
FOR THE SAME SENTENCE.
733
00:22:32,451 --> 00:22:34,285
>> lT WAS QUlTE OBVlOUS FOR ME
734
00:22:34,419 --> 00:22:37,288
TO GO TO DlGlTAL, BECAUSE OF,
735
00:22:37,422 --> 00:22:39,290
YOU KNOW, THE MATERlAL YOU COULD
736
00:22:39,424 --> 00:22:40,057
HAVE lN THE CAMERA.
737
00:22:40,192 --> 00:22:41,425
THE AMOUNT OF MATERlAL YOU COULD
738
00:22:41,560 --> 00:22:43,294
HAVE lN THE CAMERA WAS OBVlOUS.
739
00:22:43,428 --> 00:22:44,428
>> [speaking foreign language]
740
00:22:44,563 --> 00:22:46,797
>> SlNCE l WAS TRYlNG TO CREATE
741
00:22:46,932 --> 00:22:48,299
ANOTHER WAY OF WORKlNG WlTH
742
00:22:48,433 --> 00:22:50,901
ACTORS, AND THAT WAS ESSENTlAL.
743
00:22:51,036 --> 00:22:52,069
>> l lMAGlNE THERE WAS, LlKE,
744
00:22:52,204 --> 00:22:54,038
A LlBERATlON FOR YOU, THEN,
745
00:22:54,172 --> 00:22:55,139
lN TERMS OF THE RELATlONSHlP
746
00:22:55,273 --> 00:22:57,708
WlTH YOUR ACTORS, LONGER TAKES--
747
00:22:57,843 --> 00:22:58,743
>> AS YOU KNOW, KEANU,
748
00:22:58,877 --> 00:23:01,479
TEN MlNUTES WAS MAXlMUM.
749
00:23:01,613 --> 00:23:02,546
lT WASN'T EVEN REALLY TEN.
750
00:23:02,681 --> 00:23:04,815
lT WAS NlNE-SOMETHlNG, YOU KNOW.
751
00:23:04,950 --> 00:23:05,950
AND WHEN THAT THlNG STARTS
752
00:23:06,084 --> 00:23:08,919
ROLLlNG, THERE'S A KlND OF
753
00:23:09,054 --> 00:23:10,221
UNDERLYlNG FEELlNG THAT lT'S
754
00:23:10,355 --> 00:23:12,022
PREClOUS STUFF ROLLlNG THROUGH
755
00:23:12,157 --> 00:23:14,525
THERE, AND lT PUTS A KlND OF
756
00:23:14,659 --> 00:23:16,861
A TENSlON ON THlNGS.
757
00:23:16,995 --> 00:23:18,362
>> l COULD SHOOT AS MUCH AS
758
00:23:18,497 --> 00:23:18,996
l WANTED.
759
00:23:19,131 --> 00:23:19,964
l COULD GET THE BEST
760
00:23:20,098 --> 00:23:20,731
PERFORMANCES.
761
00:23:20,866 --> 00:23:22,299
l DlDN'T HAVE TO WORRY ABOUT
762
00:23:22,434 --> 00:23:23,234
SHOOTlNG THESE LlTTLE BURSTS OF
763
00:23:23,368 --> 00:23:23,901
FlLM.
764
00:23:24,035 --> 00:23:24,869
YOU KNOW, THAT WAS RlDlCULOUS,
765
00:23:25,003 --> 00:23:26,203
BUT THAT'S WHAT l HAD TO DO.
766
00:23:26,338 --> 00:23:27,938
THAT'S HOW EXPENSlVE lT WAS
767
00:23:28,073 --> 00:23:29,840
COMPARATlVELY.
768
00:23:29,975 --> 00:23:32,943
>> DlGlTAL--A LlTTLE GlZMO--
769
00:23:33,078 --> 00:23:36,547
40 MlNUTES, AND YOU CAN BE
770
00:23:36,681 --> 00:23:39,383
RUNNlNG THlS CAMERAAND TALKlNG
771
00:23:39,518 --> 00:23:40,718
TO THE ACTOR,
772
00:23:40,852 --> 00:23:42,353
STARTlNG OVER AGAlN.
773
00:23:42,487 --> 00:23:44,021
REVEAL.
774
00:23:44,156 --> 00:23:45,823
AND NOW YOU GO AROUND AND
775
00:23:45,957 --> 00:23:49,193
LOOK UP.
776
00:23:49,327 --> 00:23:51,362
AND THEY GET DOWN lN THERE AND
777
00:23:51,496 --> 00:23:52,763
THEY CATCH A THlNG THAT
778
00:23:52,898 --> 00:23:54,965
NEVER WOULD GET CAUGHT lF YOU
779
00:23:55,100 --> 00:23:57,301
HAD THAT GlANT THlNG THERE.
780
00:23:57,436 --> 00:23:59,236
>> l LOVE TO RUN THE CAMERA,
781
00:23:59,371 --> 00:24:00,938
ESPEClALLY WHEN WE'RE lN AN
782
00:24:01,072 --> 00:24:02,740
EMOTlONAL PLACE AND MAGlC lS
783
00:24:02,874 --> 00:24:03,441
HAPPENlNG.
784
00:24:03,575 --> 00:24:05,242
WHEN YOU GO "CUT," THEN ALL OF
785
00:24:05,377 --> 00:24:06,343
A SUDDEN, EVERYBODY GETS lN
786
00:24:06,478 --> 00:24:08,813
THERE, AND YOU WERE AT A PLACE
787
00:24:08,947 --> 00:24:11,982
WHERE lT WAS JUST THERE, AND
788
00:24:12,117 --> 00:24:13,050
THEN EVERYTHlNG STOPS.
789
00:24:13,185 --> 00:24:14,018
AND lT'S LlKE, "OKAY, NOW GO
790
00:24:14,152 --> 00:24:14,885
BACK TO THAT."
791
00:24:15,020 --> 00:24:15,753
NOW lT'S LlKE, "NO, JUST RUN
792
00:24:15,887 --> 00:24:17,321
THE CAMERA, BACK TO ONE."
793
00:24:17,456 --> 00:24:18,989
>> OKAY, GUYS, STAND BY.
794
00:24:19,124 --> 00:24:20,491
>> lN FlVE.
795
00:24:20,625 --> 00:24:22,793
>> AS FAST AS YOU CAN GET BACK
796
00:24:22,928 --> 00:24:25,596
TO YOUR POSlTlON, YOU CAN GO
797
00:24:25,730 --> 00:24:26,330
AGAlN.
798
00:24:26,465 --> 00:24:27,932
AND l'VE JUST ALWAYS FELT
799
00:24:28,066 --> 00:24:29,133
THERE WAS JUST WAY TOO MUCH
800
00:24:29,267 --> 00:24:31,402
WAlTlNG, BECAUSE MOVlES FOR ME,
801
00:24:31,536 --> 00:24:33,137
THERE'S ALWAYS THAT MOMENTUM
802
00:24:33,271 --> 00:24:35,172
PROBLEM, YOU KNOW,
803
00:24:35,307 --> 00:24:36,140
'CAUSE l GREW UP lN
804
00:24:36,274 --> 00:24:37,942
THE THEATER, AND THAT'S HOW
805
00:24:38,076 --> 00:24:38,876
l WAS TRAlNED,
806
00:24:39,010 --> 00:24:40,811
AND A LOT OF TlMES lN MOVlES,
807
00:24:40,946 --> 00:24:44,448
l FEEL LlKE, "CAN WE GO?"
808
00:24:45,283 --> 00:24:46,150
>> lT'S VERY TOUGH FOR ME TO SAY
809
00:24:46,284 --> 00:24:47,651
THAT l NEED TO BE ABLE TO SHOOT
810
00:24:47,786 --> 00:24:49,053
A 45-MlNUTE TAKE OR SOMETHlNG
811
00:24:49,187 --> 00:24:50,120
AND NOT RELOAD THE CAMERAS,
812
00:24:50,255 --> 00:24:52,289
BECAUSE THE TRUTH lS, THE ENTlRE
813
00:24:52,424 --> 00:24:53,624
CREW CAN ONLY CONCENTRATE, THE
814
00:24:53,758 --> 00:24:54,892
ACTORS CAN ONLY CONCENTRATE FOR
815
00:24:55,026 --> 00:24:56,060
SO LONG, AND THEN YOU NEED A
816
00:24:56,194 --> 00:24:57,194
TWO-MlNUTE BREAK, A THREE-MlNUTE
817
00:24:57,329 --> 00:24:58,395
BREAK, DURlNG WHlCH TlME
818
00:24:58,530 --> 00:24:59,063
YOU RELOAD.
819
00:24:59,197 --> 00:25:00,197
>> WHEN YOU'RE RUNNlNG A FlLM
820
00:25:00,332 --> 00:25:01,899
CAMERA ON SET, EVERYONE SEEMS TO
821
00:25:02,033 --> 00:25:03,334
TAKE THlNGS A LlTTLE BlT MORE
822
00:25:03,468 --> 00:25:05,069
SERlOUSLY.
823
00:25:05,203 --> 00:25:06,070
WHEN THEY HEAR THE FlLM
824
00:25:06,204 --> 00:25:07,037
RUNNlNG--WHEN THEY HEAR THE
825
00:25:07,172 --> 00:25:07,938
MONEY RUNNlNG THROUGH THE
826
00:25:08,073 --> 00:25:09,740
CAMERA, BASlCALLY--EVERYBODY
827
00:25:09,875 --> 00:25:11,308
BRlNGS THElR "A" GAME.
828
00:25:11,443 --> 00:25:11,976
>> ACTlON.
829
00:25:12,110 --> 00:25:14,578
>> THEN PUTS lT TOGETHER AGAlN,
830
00:25:14,713 --> 00:25:15,246
HOW lT CARRlES YOU TO--
831
00:25:15,380 --> 00:25:17,281
>> THE FlRST TlME l'D EVER HEARD
832
00:25:17,415 --> 00:25:20,718
THE WHlR OF FlLM GOlNG THROUGH
833
00:25:20,852 --> 00:25:24,154
A CAMERA, lT WAS THRlLLlNG.
834
00:25:24,289 --> 00:25:25,856
ALSO MADE ME VERY NERVOUS
835
00:25:25,991 --> 00:25:28,092
BECAUSE ALL OF THE SUDDEN, EACH
836
00:25:28,226 --> 00:25:30,227
TAKE COUNTED lN A WAY THAT l HAD
837
00:25:30,362 --> 00:25:33,831
NEVER REALLY EXPERlENCED BEFORE.
838
00:25:33,965 --> 00:25:35,032
>> WHAT ABOUT THAT MOMENT AFTER
839
00:25:35,166 --> 00:25:36,000
YOU SAY "ACTlON"?
840
00:25:36,134 --> 00:25:37,568
LlKE, FOR ME, WHEN THAT CAMERA'S
841
00:25:37,702 --> 00:25:38,802
ROLLlNG, l GUESS MAYBE lT'S
842
00:25:38,937 --> 00:25:40,371
CONNECTED TO THE MONEY, BUT THE
843
00:25:40,505 --> 00:25:42,139
TEN-MlNUTE REEL lS SO FlNlTE.
844
00:25:42,274 --> 00:25:43,140
>> lT'S ALMOST AN ATHLETlC
845
00:25:43,275 --> 00:25:46,877
THlNG, LlKE, "FOCUS, FOCUS.
846
00:25:47,012 --> 00:25:47,645
UH."
847
00:25:47,779 --> 00:25:49,547
YOU KNOW, LlKE, THAT'S GOOD FOR
848
00:25:49,681 --> 00:25:50,981
THE--
849
00:25:51,116 --> 00:25:52,917
THAT'S JUST ATMOSPHERE, THOUGH,
850
00:25:53,051 --> 00:25:53,584
YOU KNOW?
851
00:25:53,718 --> 00:25:54,785
l MEAN, lF YOU WANT THAT, YOU
852
00:25:54,920 --> 00:25:55,986
CAN CREATE THAT, RlGHT?
853
00:25:56,121 --> 00:25:56,687
>> l THOUGHT lT WOULD MAKE
854
00:25:56,821 --> 00:25:57,721
A DlFFERENCE TO ACTORS.
855
00:25:57,856 --> 00:25:58,522
l DON'T THlNK lT DOES
856
00:25:58,657 --> 00:25:59,723
PARTlCULARLY TO ACTORS.
857
00:25:59,858 --> 00:26:01,792
l THlNK ACTORS JUST lNFlNlTELY
858
00:26:01,927 --> 00:26:02,993
ADJUST TO WHATEVER THEY--
859
00:26:03,128 --> 00:26:04,028
WHATEVER WAY THEY HAVE TO TELL
860
00:26:04,162 --> 00:26:05,062
lT, THEY'LL TELL lT.
861
00:26:05,196 --> 00:26:06,230
>> THEY DlDN'T ASK FOR A BREAK?
862
00:26:06,364 --> 00:26:07,364
THEY DlDN'T SAY, "HEY, CAN WE
863
00:26:07,499 --> 00:26:08,132
STOP?"
864
00:26:08,266 --> 00:26:08,799
>> [laughs]
865
00:26:08,934 --> 00:26:10,100
YOU'RE ON DlGlTAL NOW.
866
00:26:10,235 --> 00:26:12,202
>> YEAH, BUT MY FlRST EXPERlENCE
867
00:26:12,337 --> 00:26:13,737
WlTH THAT WAS JUST, YOU KNOW,
868
00:26:13,872 --> 00:26:15,539
THERE WAS NO "CUT."
869
00:26:15,674 --> 00:26:16,507
YOU KNOW, l WORKED WlTH RlCHARD
870
00:26:16,641 --> 00:26:17,608
LlNKLATER ON A FlLM CALLED
871
00:26:17,742 --> 00:26:18,275
A SCANNER DARKLY...
872
00:26:18,410 --> 00:26:18,943
>> OH, YEAH, YEAH, YEAH.
873
00:26:19,077 --> 00:26:19,944
>> AND lT WAS JUST LlKE--
874
00:26:20,078 --> 00:26:20,678
>> YOU COULD JUST GO ON.
875
00:26:20,812 --> 00:26:21,478
>> YEAH, l WAS JUST, LlKE,
876
00:26:21,613 --> 00:26:23,314
"CAN WE PLEASE STOP?"
877
00:26:23,448 --> 00:26:24,281
>> [laughing]
878
00:26:24,416 --> 00:26:26,383
>> "STOP."
879
00:26:26,518 --> 00:26:27,484
>> NO, WE DON'T HAVE TO.
880
00:26:27,619 --> 00:26:29,553
>> BUT--BUT l WANTED TO.
881
00:26:29,688 --> 00:26:30,821
>> CAMERA RlGHT OR LEFT?
882
00:26:30,956 --> 00:26:31,722
>> ROBERT DOWNEY ACTUALLY CAME
883
00:26:31,856 --> 00:26:34,625
UP TO ME, AND HE SAlD,
884
00:26:34,759 --> 00:26:35,993
"l CAN'T WORK LlKE THlS.
885
00:26:36,127 --> 00:26:37,328
l NEVER GET TO GO TO MY TRAlLER.
886
00:26:37,462 --> 00:26:38,862
l NEVER GET MY SHlT TOGETHER.
887
00:26:38,997 --> 00:26:40,531
l'M ON MY FEET 1 4 HOURS A DAY.
888
00:26:40,665 --> 00:26:42,066
l'M SHOOTlNG ALL THE TlME."
889
00:26:42,200 --> 00:26:45,135
HE ACTUALLY LEFT MASON JARS OF
890
00:26:45,270 --> 00:26:48,072
URlNE ON THE SET, JUST, LlKE,
891
00:26:48,206 --> 00:26:49,006
OVER lN THE CORNER AND STUFF.
892
00:26:49,140 --> 00:26:49,773
JUST--HE WOULD GO OFF AND HE
893
00:26:49,908 --> 00:26:50,608
WOULD PEE, AND THEN HE'D BRlNG
894
00:26:50,742 --> 00:26:51,275
lT BACK.
895
00:26:51,409 --> 00:26:52,176
AND THAT WAS HlS, LlKE,
896
00:26:52,310 --> 00:26:54,178
FORM OF PROTEST.
897
00:26:54,312 --> 00:26:55,646
>> l'D PREVlOUSLY WORKED ON
898
00:26:55,780 --> 00:26:58,082
CELLULOlD ONLY, REALLY, AND BEEN
899
00:26:58,216 --> 00:27:00,284
THRlLLED, YOU KNOW, TO ARRlVE AT
900
00:27:00,418 --> 00:27:01,685
THE HOLY GRAlL OF CELLULOlD.
901
00:27:01,820 --> 00:27:02,553
lT WAS, LlKE, AMAZlNG.
902
00:27:02,687 --> 00:27:03,754
SO l MADE THE FlRST FEW FlLMS ON
903
00:27:03,888 --> 00:27:04,622
CELLULOlD.
904
00:27:04,756 --> 00:27:06,023
l MADE A VERY BlG HOLLYWOOD
905
00:27:06,157 --> 00:27:08,592
FlLM, THE BEACH, WlTH LEONARDO
906
00:27:08,727 --> 00:27:11,195
DlCAPRlO AND A BlG CREW, AND lT
907
00:27:11,329 --> 00:27:12,663
DlDN'T SUlT ME AT ALL.
908
00:27:12,797 --> 00:27:14,565
l FELT lT WAS TOO MUCH AWAY FROM
909
00:27:14,699 --> 00:27:16,033
ME, REALLY, SOMEHOW.
910
00:27:16,167 --> 00:27:19,903
AND SO l THEN SAW CELEBRATION.
911
00:27:21,172 --> 00:27:22,640
>> [speaking foreign language]
912
00:27:22,774 --> 00:27:24,241
>> lT WASN'T SO MUCH THE FlLM.
913
00:27:24,376 --> 00:27:26,410
lT WASN'T EVEN THE LOOK.
914
00:27:26,544 --> 00:27:27,778
lT WAS THE CAMERA OPERATlNG,
915
00:27:27,912 --> 00:27:31,782
THAT MOVEMENT OF THE CAMERA.
916
00:27:31,916 --> 00:27:33,183
AND SO l GOT lN TOUCH WlTH THE
917
00:27:33,318 --> 00:27:34,418
GUY WHO SHOT lT, ANTHONY DOD
918
00:27:34,552 --> 00:27:36,487
MANTLE, AND l SAlD, "WELL,
919
00:27:36,621 --> 00:27:38,222
l FEEL LlKE l'M NOT DOlNG THE
920
00:27:38,356 --> 00:27:39,990
RlGHT THlNG ANYMORE.
921
00:27:40,125 --> 00:27:42,026
CAN WE DO SOMETHlNG TOGETHER
922
00:27:42,160 --> 00:27:42,693
DlGlTALLY?"
923
00:27:42,827 --> 00:27:43,494
WHlCH--l DlDN'T REALLY KNOW
924
00:27:43,628 --> 00:27:44,161
WHAT l WAS SAYlNG BY
925
00:27:44,295 --> 00:27:44,828
SAYlNG THAT.
926
00:27:44,963 --> 00:27:45,863
lT WAS KlND OF LlKE A NEW WORD,
927
00:27:45,997 --> 00:27:46,530
lN A WAY.
928
00:27:46,665 --> 00:27:48,032
THEN WE CAME UP WlTH THE SCRlPT,
929
00:27:48,166 --> 00:27:50,534
28 DAYS LATER, AND WE SHOT lT
930
00:27:50,669 --> 00:27:53,137
ON CONSUMER CAMERAS.
931
00:27:53,271 --> 00:27:54,238
BUT l REMEMBER ANTHONY SAYlNG TO
932
00:27:54,372 --> 00:27:56,774
ME, "lT'S ALL VERY WELL WORKlNG
933
00:27:56,908 --> 00:27:57,675
lN THlS FORMAT, YOU KNOW,"
934
00:27:57,809 --> 00:27:58,542
BUT HE SAlD, "l'LL NEVER GET
935
00:27:58,677 --> 00:27:59,209
AN OSCAR."
936
00:27:59,344 --> 00:28:02,012
[laughs]
937
00:28:02,147 --> 00:28:03,047
THERE WAS A SEQUENCE lN lT AT
938
00:28:03,181 --> 00:28:04,048
THE BEGlNNlNG WHERE THE
939
00:28:04,182 --> 00:28:04,915
CHARACTER, ClLLlAN MURPHY,
940
00:28:05,050 --> 00:28:07,284
WANDERS ROUND A DESERTED LONDON.
941
00:28:07,419 --> 00:28:09,720
>> HELLO!
942
00:28:09,854 --> 00:28:10,688
>> AND WE WOULD NOT HAVE BEEN
943
00:28:10,822 --> 00:28:11,422
ABLE TO ACHlEVE THE FlLM
944
00:28:11,556 --> 00:28:13,724
ON FlLM, BECAUSE WE HAD TO
945
00:28:13,858 --> 00:28:14,425
STOP TRAFFlC.
946
00:28:14,559 --> 00:28:15,192
WE DlDN'T HAVE THE MONEY TO DO
947
00:28:15,326 --> 00:28:16,427
lT, SO WHAT WE WOULD DO lS, WE'D
948
00:28:16,561 --> 00:28:18,862
JUST HOLD THE TRAFFlC BRlEFLY,
949
00:28:18,997 --> 00:28:19,697
BUT BECAUSE WE WERE ON THESE
950
00:28:19,831 --> 00:28:21,465
CAMERAS, WE COULD USE TEN OF
951
00:28:21,599 --> 00:28:24,301
THEM 'CAUSE THEY'RE SO CHEAP,
952
00:28:24,436 --> 00:28:25,703
AND HE COULD WALK THROUGH
953
00:28:25,837 --> 00:28:27,604
CENTRAL LONDON--AN AREA OF lT--
954
00:28:27,739 --> 00:28:28,739
AND WE HAD TEN CAMERAS ON lT.
955
00:28:28,873 --> 00:28:30,140
SO YOU'D ONLY HAVE TO STOP THE
956
00:28:30,275 --> 00:28:31,141
TRAFFlC FOR A FEW MlNUTES, AND
957
00:28:31,276 --> 00:28:32,710
THEN YOU WOULD ACTUALLY HAVE
958
00:28:32,844 --> 00:28:33,477
TEN SHOTS.
959
00:28:33,611 --> 00:28:35,879
THAT WAS AN ENORMOUS ADVANTAGE.
960
00:28:36,014 --> 00:28:36,747
>> WELL, l PLACED CAMERAS
961
00:28:36,881 --> 00:28:39,116
AROUND--NOT COlNClDENTALLY AND
962
00:28:39,250 --> 00:28:40,150
NOT BADLY AND NOT LOOSELY.
963
00:28:40,285 --> 00:28:41,485
l TRY TO CONTROL EVERY ANGLE,
964
00:28:41,619 --> 00:28:42,486
AND l KNOW ROUGHLY WHERE lT'S
965
00:28:42,620 --> 00:28:44,688
BEST, WHEN lT'S GONNA BE USED.
966
00:28:44,823 --> 00:28:45,789
BUT THAT SAlD, YOU CAN LET lT
967
00:28:45,924 --> 00:28:46,857
RUN A BlT, AND BECAUSE lT'S
968
00:28:46,991 --> 00:28:49,126
DlGlTAL, YOU GET SOMETHlNG.
969
00:28:49,260 --> 00:28:50,761
>> lF YOU WERE lN A WlDE SHOT
970
00:28:50,895 --> 00:28:52,296
WlTH A SMALL FlGURE lN lT, THEY
971
00:28:52,430 --> 00:28:53,664
WERE JUST, LlKE, TWO OR THREE
972
00:28:53,798 --> 00:28:54,331
PlXELS.
973
00:28:54,466 --> 00:28:55,265
l MEAN, THERE WAS NOTHlNG THERE.
974
00:28:55,400 --> 00:28:56,567
THERE WAS JUST THE COLOR.
975
00:28:56,701 --> 00:28:58,001
QUALlTY-WlSE, lF YOU PUT lT UP
976
00:28:58,136 --> 00:28:59,403
AGAlNST AN EXACT COPY OF lT ON
977
00:28:59,537 --> 00:29:00,738
FlLM, THE FlLM WOULD BE
978
00:29:00,872 --> 00:29:02,272
lMMEASURABLY SUPERlOR,
979
00:29:02,407 --> 00:29:04,074
BUT YOU COULD SHOOT lLLEGALLY
980
00:29:04,209 --> 00:29:05,609
AND SURREPTlTlOUSLY WlTHOUT
981
00:29:05,744 --> 00:29:06,810
PEOPLE KNOWlNG.
982
00:29:06,945 --> 00:29:07,911
YOU COULD DO UNCONVENTlONAL
983
00:29:08,046 --> 00:29:08,812
THlNGS.
984
00:29:08,947 --> 00:29:10,380
AND THE RHYTHM OF FlLM, WHlCH
985
00:29:10,515 --> 00:29:11,648
HAS BEEN PASSED ON SlNCE lT
986
00:29:11,783 --> 00:29:13,751
BEGAN AND CREWS HAVE LEARNED--
987
00:29:13,885 --> 00:29:14,752
YOU lNTERRUPTED THAT.
988
00:29:14,886 --> 00:29:16,987
l LOVED THAT FREEDOM, AND l GOT
989
00:29:17,122 --> 00:29:17,988
THE TASTE FOR lT THEN.
990
00:29:18,123 --> 00:29:19,289
AND l KNEW ONCE WE'D SHOT THAT
991
00:29:19,424 --> 00:29:21,558
SEQUENCE, THAT l WAS GONNA WORK
992
00:29:21,693 --> 00:29:22,226
ON lT NOW.
993
00:29:22,360 --> 00:29:23,093
THAT WAS WHAT l WANTED TO
994
00:29:23,228 --> 00:29:25,162
WORK ON.
995
00:29:25,964 --> 00:29:27,231
lT MAKES THE EDlTOR'S JOB
996
00:29:27,365 --> 00:29:28,232
EXTRAORDlNARY 'CAUSE THEY'RE
997
00:29:28,366 --> 00:29:30,667
OFTEN PLOWlNG THROUGH MASSES AND
998
00:29:30,802 --> 00:29:32,736
MASSES AND MASSES OF MATERlAL.
999
00:29:34,072 --> 00:29:36,039
>> lN THE 1 970s and '80s,
1000
00:29:36,174 --> 00:29:37,708
ELECTRONlCS COMPANlES BEGAN
1001
00:29:37,842 --> 00:29:39,510
WORKlNG ON SOLUTlONS TO REPLACE
1002
00:29:39,644 --> 00:29:41,812
FlLM EDlTlNG.
1003
00:29:41,946 --> 00:29:43,747
FOR OVER 1 00 YEARS, EDlTlNG
1004
00:29:43,882 --> 00:29:45,282
MEANT PHYSlCALLY CUTTlNG AND
1005
00:29:45,416 --> 00:29:47,484
CONNECTlNG PlECES OF FlLM.
1006
00:29:47,619 --> 00:29:48,418
>> WHEN YOU USED TO GO TO AN
1007
00:29:48,553 --> 00:29:49,920
EDlTlNG ROOM, THEY BROUGHT lN
1008
00:29:50,054 --> 00:29:52,022
THE TRlM BASKET, THEY TOOK THE
1009
00:29:52,157 --> 00:29:54,558
FlLM OUT, THEY LOOKED AT lT
1010
00:29:54,692 --> 00:29:55,793
THROUGH THE MOVlOLA, AND THEN
1011
00:29:55,927 --> 00:29:56,860
YOU SLAPPED lT TOGETHER LlKE
1012
00:29:56,995 --> 00:29:58,128
THlS--YOU REMEMBER, THE WHlTE
1013
00:29:58,263 --> 00:29:59,229
GLOVES--AND THEY WERE lNCREDlBLY
1014
00:29:59,364 --> 00:29:59,897
FAST AT lT.
1015
00:30:00,031 --> 00:30:01,565
>> l'D FlND THE FRAME, l'D--YOU
1016
00:30:01,699 --> 00:30:03,634
KNOW, SOMETlMES SPLlClNG TO THE
1017
00:30:03,768 --> 00:30:05,402
POlNT OF, YOU KNOW, GETTlNG YOUR
1018
00:30:05,537 --> 00:30:07,037
FlNGERTlPS BLOODlED, YOU KNOW,
1019
00:30:07,172 --> 00:30:08,038
AND THAT WAS REALLY THE BLOOD lN
1020
00:30:08,173 --> 00:30:08,705
THE FlLM.
1021
00:30:08,840 --> 00:30:09,907
SO, l MEAN, YOU REALLY HAD lT,
1022
00:30:10,041 --> 00:30:11,542
AND NOW lT'S, YOU KNOW,
1023
00:30:11,676 --> 00:30:12,609
PRESSlNG LlTTLE BUTTONS.
1024
00:30:12,744 --> 00:30:13,710
>> NOW THlS lS THE FLOPPY DlSK
1025
00:30:13,845 --> 00:30:14,711
THAT WE'RE ALL FAMlLlAR WlTH.
1026
00:30:14,846 --> 00:30:16,446
>> EARLY EDlTlNG SYSTEMS USED
1027
00:30:16,581 --> 00:30:18,482
MULTlPLE MAGNETlC DlSKS, TAPE
1028
00:30:18,616 --> 00:30:20,551
MACHlNES, AND LASER DlSKS TO
1029
00:30:20,685 --> 00:30:23,053
STORE AND READ DlGlTlZED FlLM.
1030
00:30:23,188 --> 00:30:24,288
MOST OF THESE SYSTEMS WERE
1031
00:30:24,422 --> 00:30:26,323
ENORMOUS AND VERY COSTLY.
1032
00:30:26,457 --> 00:30:27,157
>> THE FlRST THlNG THAT
1033
00:30:27,292 --> 00:30:28,058
HAPPENED, REALLY, THAT CHANGED
1034
00:30:28,193 --> 00:30:29,359
EVERYTHlNG, l THlNK, WAS THE
1035
00:30:29,494 --> 00:30:31,328
DlGlTAL EDlTlNG MACHlNE, WHlCH
1036
00:30:31,462 --> 00:30:32,529
MEANT OUR DAlLlES HAD TO BE
1037
00:30:32,664 --> 00:30:35,332
CONVERTED FROM FlLM lNTO TAPE.
1038
00:30:35,466 --> 00:30:36,466
SO THAT STARTED A WHOLE THlNG
1039
00:30:36,601 --> 00:30:38,735
GOlNG.
1040
00:30:38,870 --> 00:30:39,903
>> WE STARTED A PlCTURE EDlTlNG
1041
00:30:40,038 --> 00:30:42,439
SYSTEM THAT WAS ALL DlGlTAL.
1042
00:30:42,574 --> 00:30:44,575
WE HAD THE FlRST EDlT DROlD
1043
00:30:44,709 --> 00:30:46,610
WORKlNG lN 1 980,
1044
00:30:46,744 --> 00:30:48,378
AND EVENTUALLY, WE SOLD THE
1045
00:30:48,513 --> 00:30:50,347
SYSTEM TO AVlD.
1046
00:30:50,481 --> 00:30:52,683
>> BY THE LATE 1 980s, AVlD HAD
1047
00:30:52,817 --> 00:30:54,318
DEVELOPED DlGlTAL EDlTlNG lNTO
1048
00:30:54,452 --> 00:30:56,153
A COMPACT, COST-EFFECTlVE,
1049
00:30:56,287 --> 00:30:58,322
COMPUTER-BASED SYSTEM.
1050
00:30:58,456 --> 00:31:01,124
>> WHEN l FlRST SAW THE AVlD AS
1051
00:31:01,259 --> 00:31:04,194
A DEMO, THE lMAGE QUALlTY WAS
1052
00:31:04,329 --> 00:31:06,897
BLOCKY AND TlNY, AND l SAlD,
1053
00:31:07,031 --> 00:31:08,532
"THlS lS GONNA BE REALLY GOOD
1054
00:31:08,666 --> 00:31:09,967
WHEN THEY GET THE lMAGE QUALlTY
1055
00:31:10,101 --> 00:31:11,201
RlGHT lN ABOUT FlVE YEARS' TlME.
1056
00:31:11,336 --> 00:31:12,936
>> WHY NOT TRY lT ON THE AVlD?
1057
00:31:13,071 --> 00:31:14,571
AND, YOU KNOW, l'M ALSO ONE OF
1058
00:31:14,706 --> 00:31:16,006
THOSE EARLY ADOPTER PEOPLE.
1059
00:31:16,140 --> 00:31:20,844
l LlKE TO LEAP lNTO THE UNKNOWN.
1060
00:31:20,979 --> 00:31:22,646
l REMEMBER ON THE ENGLISH
1061
00:31:22,780 --> 00:31:25,182
PATIENT, l SUDDENLY REALLY
1062
00:31:25,316 --> 00:31:26,750
LOOKED AT THE lMAGE AND SAlD,
1063
00:31:26,885 --> 00:31:27,718
"OH, NO."
1064
00:31:27,852 --> 00:31:28,852
[chuckles]
1065
00:31:28,987 --> 00:31:29,753
"HOW AM l GONNA BE ABLE TO DO
1066
00:31:29,888 --> 00:31:30,420
THlS?"
1067
00:31:30,555 --> 00:31:32,756
>> WHEN l'D WORK WlTH OLDER
1068
00:31:32,891 --> 00:31:34,892
EDlTORS, THEY'LL OFTEN TALK
1069
00:31:35,026 --> 00:31:36,426
ABOUT THE TlME WHEN COMPUTERS
1070
00:31:36,561 --> 00:31:38,295
WERE STARTlNG TO COME lN
1071
00:31:38,429 --> 00:31:39,596
AND SAY, YOU KNOW, THEY WERE
1072
00:31:39,731 --> 00:31:41,064
VERY RESlSTANT TO lT BECAUSE
1073
00:31:41,199 --> 00:31:41,999
THEY WEREN'T FAMlLlAR WlTH
1074
00:31:42,133 --> 00:31:42,699
COMPUTERS.
1075
00:31:42,834 --> 00:31:45,168
THEY WERE JUST SCARED THAT THEY
1076
00:31:45,303 --> 00:31:46,570
DlDN'T KNOW ENOUGH ABOUT lT.
1077
00:31:46,704 --> 00:31:48,405
lF YOU PUSHED THlS BUTTON OR lF
1078
00:31:48,539 --> 00:31:49,940
YOU ACClDENTALLY TURNED lT OFF
1079
00:31:50,074 --> 00:31:51,375
WRONG OR TURNED lT ON WRONG,
1080
00:31:51,509 --> 00:31:52,776
THAT EVERYTHlNG WOULD BE GONE,
1081
00:31:52,911 --> 00:31:54,177
WHEREAS THAT COULD NEVER HAPPEN
1082
00:31:54,312 --> 00:31:55,812
lF YOU ACTUALLY PHYSlCALLY HAD
1083
00:31:55,947 --> 00:31:56,747
THE FlLM lN YOUR HAND.
1084
00:31:56,881 --> 00:31:57,547
>> THEY THOUGHT, "THAT'S NOT
1085
00:31:57,682 --> 00:31:58,215
EDlTlNG.
1086
00:31:58,349 --> 00:32:00,450
EDlTlNG lS..."
1087
00:32:00,585 --> 00:32:02,319
SO WHEN YOU'RE EDlTlNG A MOVlE
1088
00:32:02,453 --> 00:32:04,121
ON FlLM, THAT'S JUST THE
1089
00:32:04,255 --> 00:32:04,788
TECHNOLOGY.
1090
00:32:04,923 --> 00:32:07,190
THE ART FORM lS THE MANlPULATlON
1091
00:32:07,325 --> 00:32:08,825
OF lMAGES TO TELL A STORY.
1092
00:32:08,960 --> 00:32:10,527
>> lT WAS EXTREMELY DlFFlCULT
1093
00:32:10,662 --> 00:32:13,764
FOR ME TO LEARN BECAUSE l HADN'T
1094
00:32:13,898 --> 00:32:15,299
USED A COMPUTER.
1095
00:32:15,433 --> 00:32:16,600
l THOUGHT A MOUSE WAS SOMETHlNG
1096
00:32:16,734 --> 00:32:17,901
THAT RAN ACROSS THE FLOOR.
1097
00:32:18,036 --> 00:32:19,369
l MEAN, l WAS THAT lGNORANT.
1098
00:32:19,504 --> 00:32:20,737
[chuckles]
1099
00:32:20,872 --> 00:32:23,307
BUT l LEARNED, AND l KlCKED
1100
00:32:23,441 --> 00:32:24,908
THE MACHlNE QUlTE A BlT, BUT
1101
00:32:25,043 --> 00:32:26,576
ONCE l'D GOT GOlNG ON lT, l WAS
1102
00:32:26,711 --> 00:32:27,978
OKAY, AND l LlKED lT.
1103
00:32:28,112 --> 00:32:29,046
>> THERE'S NO FlLM lN THE
1104
00:32:29,180 --> 00:32:30,380
EDlTlNG BAY.
1105
00:32:30,515 --> 00:32:31,915
lT'S ALL A KlND OF--
1106
00:32:32,050 --> 00:32:34,952
>> lT'S DRlVES, AND lT'S QUlET.
1107
00:32:35,086 --> 00:32:35,786
YOU KNOW, l DON'T HEAR--l USED
1108
00:32:35,920 --> 00:32:36,453
TO HEAR...
1109
00:32:36,587 --> 00:32:37,254
[imitates whirring sound]
1110
00:32:37,388 --> 00:32:38,255
YOU KNOW, THE REELS ON THE
1111
00:32:38,389 --> 00:32:38,922
BENCHES.
1112
00:32:39,057 --> 00:32:39,957
[reel whirring]
1113
00:32:40,091 --> 00:32:41,558
lT WAS A VERY NOlSY, KlND OF
1114
00:32:41,693 --> 00:32:43,994
BUSTLlNG ATMOSPHERE, AND NOW
1115
00:32:44,128 --> 00:32:46,029
lT'S VERY QUlET.
1116
00:32:46,164 --> 00:32:47,164
lT'S ALMOST LlKE, YOU KNOW,
1117
00:32:47,298 --> 00:32:48,799
l CAN BURN lNCENSE...
1118
00:32:48,933 --> 00:32:49,633
[laughs]
1119
00:32:49,767 --> 00:32:51,702
AND LlGHT CANDLES.
1120
00:32:53,404 --> 00:32:55,505
>> DlGlTAL BRlNGS YOU SPEED, AND
1121
00:32:55,640 --> 00:32:58,875
lT ALMOST CHALLENGES YOU lN THE
1122
00:32:59,010 --> 00:33:00,811
SENSE OF, "CAN l THlNK THAT
1123
00:33:00,945 --> 00:33:02,279
FAST?
1124
00:33:02,413 --> 00:33:04,247
DO l NEED TlME TO BREATHE?"
1125
00:33:04,382 --> 00:33:05,782
>> SOMETlMES THESE YOUNG
1126
00:33:05,917 --> 00:33:06,850
EDlTORS, WHO WERE VERY
1127
00:33:06,985 --> 00:33:08,352
lNTERESTlNG AND DOlNG EXTREMELY
1128
00:33:08,486 --> 00:33:10,354
lNTERESTlNG WORK--BUT THEY DON'T
1129
00:33:10,488 --> 00:33:12,889
ALWAYS HAVE THE TlME TO SlT,
1130
00:33:13,024 --> 00:33:14,524
JUST SlT BACK AND THlNK ABOUT
1131
00:33:14,659 --> 00:33:16,226
WHAT THEY'RE DOlNG.
1132
00:33:16,361 --> 00:33:17,327
AND l THlNK THAT lF THEY WORK ON
1133
00:33:17,462 --> 00:33:20,197
FlLM, THEY HAVE PROBABLY TRAlNED
1134
00:33:20,331 --> 00:33:21,631
THElR MlNDS TO DO THAT A LlTTLE
1135
00:33:21,766 --> 00:33:23,367
BlT MORE.
1136
00:33:23,501 --> 00:33:24,468
AND SO lT'S A DlFFERENT WAY OF
1137
00:33:24,602 --> 00:33:25,502
THlNKlNG, REALLY.
1138
00:33:25,636 --> 00:33:28,405
>> FlLM TAUGHT YOU A DlSClPLlNE
1139
00:33:28,539 --> 00:33:30,907
THAT lS GONE A LlTTLE BlT FROM
1140
00:33:31,042 --> 00:33:33,043
THE COMPUTER BECAUSE ONCE YOU
1141
00:33:33,177 --> 00:33:35,345
PUT THE SClSSORS lN, YOU'VE THEN
1142
00:33:35,480 --> 00:33:36,413
GOT TO JOlN lT BACK TOGETHER
1143
00:33:36,547 --> 00:33:38,415
WlTH STlCKY TAPE, AND lT BUMPS
1144
00:33:38,549 --> 00:33:40,150
THROUGH THE MACHlNE, SO YOU WERE
1145
00:33:40,284 --> 00:33:42,886
MUCH MORE DEClSlVE ABOUT lT.
1146
00:33:43,021 --> 00:33:44,721
>> HAS EDlTlNG GOTTEN BETTER
1147
00:33:44,856 --> 00:33:45,856
BECAUSE THERE'S lNFlNlTE CHOlCE?
1148
00:33:45,990 --> 00:33:47,357
l'M NOT SO SURE.
1149
00:33:47,492 --> 00:33:48,658
lN FACT, l'M PRETTY SURE THERE'S
1150
00:33:48,793 --> 00:33:49,860
A LOT OF MOVlES THAT HAVE GOTTEN
1151
00:33:49,994 --> 00:33:54,164
WORSE BECAUSE YOU MANlPULATE lT
1152
00:33:54,298 --> 00:33:55,532
TO DEATH.
1153
00:33:55,666 --> 00:33:57,067
WE MAY HAVE LOST SOMETHlNG.
1154
00:33:57,201 --> 00:33:59,202
>> THE CUT lN LAWRENCE OF
1155
00:33:59,337 --> 00:34:01,371
ARABIA WHERE HE BLOWS THE MATCH
1156
00:34:01,506 --> 00:34:02,172
OUT...
1157
00:34:02,306 --> 00:34:04,207
>> lT lS RECOGNlZED THAT YOU
1158
00:34:04,342 --> 00:34:06,176
HAVE A FUNNY SENSE OF FUN.
1159
00:34:06,310 --> 00:34:07,277
>> WELL, THAT WAS A DlSSOLVE lN
1160
00:34:07,412 --> 00:34:08,445
THE SCRlPT.
1161
00:34:08,579 --> 00:34:10,347
AND lF YOU'D BEEN ON A DlGlTAL
1162
00:34:10,481 --> 00:34:12,015
AS WE ARE TODAY, WE WOULD HAVE
1163
00:34:12,150 --> 00:34:13,450
ONLY EVER SEEN lT AS
1164
00:34:13,584 --> 00:34:14,684
A DlSSOLVE.
1165
00:34:14,819 --> 00:34:16,253
lN THOSE DAYS, THE FlLM WAS
1166
00:34:16,387 --> 00:34:17,954
BUTTED TOGETHER LlKE THAT, JUST
1167
00:34:18,089 --> 00:34:20,390
WlTH A DlRECT CUT, AND SO, WHEN
1168
00:34:20,525 --> 00:34:21,358
WE SAW lT, WE THOUGHT,
1169
00:34:21,492 --> 00:34:23,527
"WOW, THAT'S FANTASTlC."
1170
00:34:23,661 --> 00:34:24,528
lT JUST WORKED.
1171
00:34:24,662 --> 00:34:25,629
lT JUST WAS MAGlC, YOU KNOW,
1172
00:34:25,763 --> 00:34:29,166
WHEN YOU FEEL THAT FEELlNG.
1173
00:34:29,300 --> 00:34:31,768
>> DlGlTAL lS THlS UNBELlEVABLY
1174
00:34:31,903 --> 00:34:34,805
MALLEABLE PLASTlC OF lMAGERY AND
1175
00:34:34,939 --> 00:34:37,307
SOUND, AND THAT'S SEDUCTlVE,
1176
00:34:37,442 --> 00:34:38,075
BECAUSE THAT'S WHAT WE DO,
1177
00:34:38,209 --> 00:34:38,742
YOU KNOW?
1178
00:34:38,876 --> 00:34:42,079
WE ARE SCULPTORS OF lMAGES AND
1179
00:34:42,213 --> 00:34:42,813
SOUND.
1180
00:34:42,947 --> 00:34:43,814
lT'S NOT THAT YOU CAN'T DO lT
1181
00:34:43,948 --> 00:34:44,915
WlTH FlLM.
1182
00:34:45,049 --> 00:34:48,118
lT'S JUST THAT lT'S HARDER TO DO
1183
00:34:48,252 --> 00:34:50,687
THAT AND MAKE lT LOOK GOOD.
1184
00:34:52,557 --> 00:34:53,824
>> AS DlGlTAL TECHNOLOGY
1185
00:34:53,958 --> 00:34:55,225
CONTlNUED TO GROW,
1186
00:34:55,359 --> 00:34:57,260
COMPUTER-GENERATED lMAGES,
1187
00:34:57,395 --> 00:34:59,830
OR CGl, WERE APPEARlNG MORE
1188
00:34:59,964 --> 00:35:04,201
AND MORE lN MOVlES.
1189
00:35:04,335 --> 00:35:07,370
VlSUAL EFFECTS, OR VFX, HAVE
1190
00:35:07,505 --> 00:35:08,972
BEEN PART OF FlLMMAKlNG SlNCE
1191
00:35:09,107 --> 00:35:11,174
THE EARLlEST YEARS.
1192
00:35:11,309 --> 00:35:12,609
CAMERA TRlCKS, LlGHTlNG
1193
00:35:12,743 --> 00:35:14,611
TECHNlQUES, ELABORATE MODELS,
1194
00:35:14,745 --> 00:35:17,047
AND LAB PROCESSES HAVE ALL BEEN
1195
00:35:17,181 --> 00:35:18,648
USED TO ALTER REALlTY AND
1196
00:35:18,783 --> 00:35:19,950
ENHANCE THE MOVlEGOlNG
1197
00:35:20,084 --> 00:35:21,685
EXPERlENCE.
1198
00:35:21,819 --> 00:35:22,552
>> ON MANY FlLMS, THERE ARE
1199
00:35:22,687 --> 00:35:23,386
A NUMBER OF THlNGS THAT ARE
1200
00:35:23,521 --> 00:35:24,621
DEPlCTED THAT YOU CAN'T JUST GO
1201
00:35:24,755 --> 00:35:26,857
OUT AND SHOOT, SO THE lMAGES YOU
1202
00:35:26,991 --> 00:35:27,824
NEED TO SEE NEED TO BE
1203
00:35:27,959 --> 00:35:31,128
MANUFACTURED lN SOME WAY.
1204
00:35:31,262 --> 00:35:31,895
>> BElNG A VlSUAL EFFECTS
1205
00:35:32,029 --> 00:35:33,330
SUPERVlSOR CALLS ON YOU TO
1206
00:35:33,464 --> 00:35:35,632
UNDERSTAND A HUGE VARlETY OF
1207
00:35:35,766 --> 00:35:37,434
DlFFERENT ASPECTS OF THE WORLD
1208
00:35:37,568 --> 00:35:39,069
AROUND US AT ANY ONE TlME.
1209
00:35:39,203 --> 00:35:40,203
YOU'VE ALSO GOT TO UNDERSTAND
1210
00:35:40,338 --> 00:35:42,672
THE PHYSlCS OF THE WAY LlGHT
1211
00:35:42,807 --> 00:35:44,441
REACTS TO DlFFERENT SURFACES.
1212
00:35:44,575 --> 00:35:45,575
YOU'VE GOT TO UNDERSTAND
1213
00:35:45,710 --> 00:35:46,243
ANlMATlON.
1214
00:35:46,377 --> 00:35:47,244
YOU'VE GOT TO UNDERSTAND THE WAY
1215
00:35:47,378 --> 00:35:50,080
PEOPLE MOVE, CREATURES MOVE.
1216
00:35:50,214 --> 00:35:51,381
YOU HAVE TO BE AN ARTlST AND
1217
00:35:51,516 --> 00:35:53,416
A TECHNlClAN AT THE SAME TlME,
1218
00:35:53,551 --> 00:35:54,551
YOU KNOW, AND THAT'S AN
1219
00:35:54,685 --> 00:35:55,819
lNTERESTlNG COMBlNATlON.
1220
00:35:55,953 --> 00:35:57,387
>> ORlGlNALLY, WHEN EFFECTS WERE
1221
00:35:57,522 --> 00:35:58,722
DONE, OR FOR THE FlRST 1 00 YEARS
1222
00:35:58,856 --> 00:36:00,157
THAT EFFECTS WERE DONE,
1223
00:36:00,291 --> 00:36:02,692
THEY WERE DONE, YOU KNOW, WlTH
1224
00:36:02,827 --> 00:36:05,562
MODELS AND WlTH FlLM CAMERAS,
1225
00:36:05,696 --> 00:36:06,630
AND THEY WERE VERY SORT OF
1226
00:36:06,764 --> 00:36:08,632
LlMlTED, WHAT THEY CAN DO.
1227
00:36:08,766 --> 00:36:10,700
BUT A LOT OF TlME AND ENERGY--
1228
00:36:10,835 --> 00:36:12,169
AND PEOPLE PUT A LOT OF WORK
1229
00:36:12,303 --> 00:36:13,570
lNTO BElNG ABLE TO MAKE THE
1230
00:36:13,704 --> 00:36:15,639
STAR WARS FlLMS.
1231
00:36:20,311 --> 00:36:21,311
>> WHEN l STARTED DOlNG THlS
1232
00:36:21,445 --> 00:36:24,047
ABOUT 22 YEARS AGO, THE
1233
00:36:24,182 --> 00:36:25,348
ENVlRONMENT l LEARNED lN WAS
1234
00:36:25,483 --> 00:36:26,016
A PHYSlCAL ONE.
1235
00:36:26,150 --> 00:36:28,218
lT WAS A STAGE, MlNlATURES,
1236
00:36:28,352 --> 00:36:31,555
CAMERAS, LlGHTS, EVERYTHlNG.
1237
00:36:31,689 --> 00:36:33,123
THE GREAT THlNG ABOUT MAKlNG
1238
00:36:33,257 --> 00:36:35,525
REAL STUFF lS, YOU GET TO USE
1239
00:36:35,660 --> 00:36:36,927
ALL OF YOUR SENSES AND YOUR
1240
00:36:37,061 --> 00:36:38,128
PHYSlCAL PERCEPTlONS.
1241
00:36:38,262 --> 00:36:39,496
AND TO STAND THERE WlTH THREE
1242
00:36:39,630 --> 00:36:40,730
OTHER PEOPLE AND CRlTlQUE
1243
00:36:40,865 --> 00:36:42,232
A MODEL OR TALK ABOUT HOW COOL
1244
00:36:42,366 --> 00:36:43,166
SOMETHlNG LOOKS UNDER REAL
1245
00:36:43,301 --> 00:36:46,836
LlGHTlNG lS PRETTY SATlSFYlNG.
1246
00:36:46,971 --> 00:36:48,138
AND ALL OF THlS PHOTOGRAPHY
1247
00:36:48,272 --> 00:36:49,172
WOULD END UP lN AN OPTlCAL
1248
00:36:49,307 --> 00:36:51,875
PRlNTER lN THE END.
1249
00:36:52,009 --> 00:36:53,677
THAT'S A LARGE DEVlCE THAT
1250
00:36:53,811 --> 00:36:55,212
ACTUALLY COMPRESSES LAYERS OF
1251
00:36:55,346 --> 00:36:57,280
FlLM TOGETHER AND CREATES NEW
1252
00:36:57,415 --> 00:36:58,515
EXPOSURES OF FlLM SO THAT YOU
1253
00:36:58,649 --> 00:37:00,083
CAN COMBlNE LAYERS OF lMAGES
1254
00:37:00,218 --> 00:37:01,418
lNTO THE FlNAL ONE THAT YOU SEE
1255
00:37:01,552 --> 00:37:04,554
lN THE MOVlE.
1256
00:37:04,689 --> 00:37:06,156
>> THE VlSUAL EFFECTS DEPARTMENT
1257
00:37:06,290 --> 00:37:08,758
WAS LlTERALLY SANDWlCHlNG ONE
1258
00:37:08,893 --> 00:37:10,961
PlECE OF FlLM NEXT TO ANOTHER
1259
00:37:11,095 --> 00:37:13,296
PlECE OF FlLM, AND THAT REALLY
1260
00:37:13,431 --> 00:37:14,764
lNTRODUCES A HUGE AMOUNT OF
1261
00:37:14,899 --> 00:37:17,267
DEGRADATlON.
1262
00:37:17,401 --> 00:37:20,470
>> lN 1 978, WE HAD JUST FlNlSHED
1263
00:37:20,605 --> 00:37:23,506
STAR WARS, WE'D DONE SOME
1264
00:37:23,641 --> 00:37:25,242
DlGlTAL SHOTS lN THERE WHlCH
1265
00:37:25,376 --> 00:37:27,377
WERE VERY, VERY CRUDE.
1266
00:37:27,511 --> 00:37:28,245
YOU KNOW, THE DlAGRAM OF THE
1267
00:37:28,379 --> 00:37:28,979
DEATH STAR AND THAT KlND OF
1268
00:37:29,113 --> 00:37:29,646
STUFF.
1269
00:37:29,780 --> 00:37:31,047
BUT l KNEW A LOT OF GUYS THAT
1270
00:37:31,182 --> 00:37:32,182
WERE WORKlNG lN THE DlGlTAL
1271
00:37:32,316 --> 00:37:34,084
FlELD, SO l STARTED A COMPUTER
1272
00:37:34,218 --> 00:37:37,120
DlVlSlON, AND WE DEVELOPED THE
1273
00:37:37,255 --> 00:37:39,756
PlXAR COMPUTER FOR l.L.M.
1274
00:37:39,890 --> 00:37:40,957
>> l'M RlGHT NOW lN ONE OF OUR
1275
00:37:41,092 --> 00:37:42,292
THREE COMPUTER ROOMS THAT WE
1276
00:37:42,426 --> 00:37:44,127
HAVE HERE AT l.L.M., AND WHAT WE
1277
00:37:44,262 --> 00:37:45,829
HAVE HERE ARE THOUSANDS AND
1278
00:37:45,963 --> 00:37:47,731
MlLLlONS OF CYCLES OF COMPUTlNG
1279
00:37:47,865 --> 00:37:48,732
POWER GOlNG BY EVERY SlNGLE
1280
00:37:48,866 --> 00:37:49,399
SECOND.
1281
00:37:49,533 --> 00:37:50,767
SO l KlND OF PUSHED THE STUFF--
1282
00:37:50,901 --> 00:37:51,635
AT LEAST AS MUCH AS l COULD--
1283
00:37:51,769 --> 00:37:54,237
HERE AT l.L.M. WlTH THlS
1284
00:37:54,372 --> 00:37:56,306
GRAPHlCS GROUP THAT WE HAD.
1285
00:37:58,909 --> 00:37:59,809
>> THE EXClTlNG THlNG ABOUT lT
1286
00:37:59,944 --> 00:38:01,111
WAS, lT DlDN'T FEEL LlKE THERE
1287
00:38:01,245 --> 00:38:02,545
WERE A LOT OF RULES.
1288
00:38:02,680 --> 00:38:03,747
lT REALLY DlD SEEM LlKE, KlND
1289
00:38:03,881 --> 00:38:04,714
OF, THE WlLD WEST.
1290
00:38:04,849 --> 00:38:06,316
>> lT STARTED TO BECOME POSSlBLE
1291
00:38:06,450 --> 00:38:09,519
TO SCAN lN FlLM AND BRlNG THE
1292
00:38:09,654 --> 00:38:12,522
FlLM lNTO THE COMPUTER AND MAKE
1293
00:38:12,657 --> 00:38:14,791
CHANGES TO THAT.
1294
00:38:16,127 --> 00:38:17,661
>> THE MASSlVE ADVANTAGE TO
1295
00:38:17,795 --> 00:38:20,897
DlGlTlZlNG YOUR FlLM WAS THAT
1296
00:38:21,032 --> 00:38:22,499
YOU WOULDN'T GET ANY
1297
00:38:22,633 --> 00:38:23,800
DEGRADATlON.
1298
00:38:23,934 --> 00:38:25,835
ONCE lT'S DlGlTAL, THOSE ARE
1299
00:38:25,970 --> 00:38:27,170
ONES AND ZEROS, AND THEY JUST
1300
00:38:27,305 --> 00:38:28,672
STAY AS ONES AND ZEROS ALL THE
1301
00:38:28,806 --> 00:38:30,807
WAY DOWN THE PlPE.
1302
00:38:30,941 --> 00:38:31,941
>> DlGlTAL BECAME lMPORTANT FROM
1303
00:38:32,076 --> 00:38:33,543
AN EFFECTS POlNT OF VlEW.
1304
00:38:33,678 --> 00:38:35,879
THE FlRST PATH THROUGH THE
1305
00:38:36,013 --> 00:38:37,981
SYSTEM WAS lN THE EFFECTS ARENA,
1306
00:38:38,115 --> 00:38:38,715
OKAY?
1307
00:38:38,849 --> 00:38:42,018
lT WAS USlNG DlGlTAL TECHNOLOGY
1308
00:38:42,153 --> 00:38:44,354
TO REALlZE VlSlONS.
1309
00:38:44,488 --> 00:38:45,522
>> OKAY, lF YOU CAN TAKE A PlECE
1310
00:38:45,656 --> 00:38:46,589
OF FlLM AND YOU CAN TURN lT lNTO
1311
00:38:46,724 --> 00:38:47,824
NUMBERS, YOU CAN MANlPULATE
1312
00:38:47,958 --> 00:38:48,758
THOSE NUMBERS AND THEN PUT lT
1313
00:38:48,893 --> 00:38:50,660
BACK ONTO THE FlLM, BOY, THERE--
1314
00:38:50,795 --> 00:38:52,295
THERE'S NO LlMlT TO WHAT YOU
1315
00:38:52,430 --> 00:38:53,563
COULD DO.
1316
00:38:53,698 --> 00:38:56,499
THE ENTlRE WORLD lS WlDE OPEN.
1317
00:38:56,634 --> 00:38:58,968
>> THE FlRST REAL lMAGE THAT WE
1318
00:38:59,103 --> 00:39:01,071
DlD THAT WAS COMPLETELY DlGlTAL
1319
00:39:01,205 --> 00:39:04,274
WAS IN YOUNG SHERLOCK HOLMES.
1320
00:39:04,408 --> 00:39:06,443
>> WE HAD A CHARACTER MADE OUT
1321
00:39:06,577 --> 00:39:07,844
OF STAlNED GLASS, BUT THE GLASS
1322
00:39:07,978 --> 00:39:09,079
ACTUALLY HAD TO LOOK LlKE lT WAS
1323
00:39:09,213 --> 00:39:10,980
REAL, NOT LlKE A GRAPHlC OF ANY
1324
00:39:11,115 --> 00:39:12,148
SORT.
1325
00:39:12,283 --> 00:39:13,516
AND lT TOOK US SlX MONTHS TO DO
1326
00:39:13,651 --> 00:39:15,452
SEVEN SHOTS, WHlCH WAS PRETTY
1327
00:39:15,586 --> 00:39:17,487
COMPLlCATED BUT AMAZlNG THAT WE
1328
00:39:17,621 --> 00:39:18,254
GOT lT DONE lN THAT AMOUNT OF
1329
00:39:18,389 --> 00:39:18,922
TlME.
1330
00:39:19,056 --> 00:39:20,023
>> GEORGE WAS ALWAYS VERY
1331
00:39:20,157 --> 00:39:22,325
PROGRESSlVE ABOUT DlGlTAL, AND
1332
00:39:22,460 --> 00:39:23,493
lT WAS JUST SOMETHlNG ABOUT
1333
00:39:23,627 --> 00:39:24,794
THAT--THE EFFECTS COMMUNlTY
1334
00:39:24,929 --> 00:39:26,529
JUST GOT COMFORTABLE WlTH lT
1335
00:39:26,664 --> 00:39:28,598
REALLY EARLY ON.
1336
00:39:34,038 --> 00:39:34,904
[dinosaur roaring]
1337
00:39:35,039 --> 00:39:36,673
>> GET RlD OF THE FLARE!
1338
00:39:36,807 --> 00:39:37,874
>> l WAS JUST TRYlNG TO BE
1339
00:39:38,008 --> 00:39:38,675
A SHEEPDOG.
1340
00:39:38,809 --> 00:39:39,409
>> HA!
1341
00:39:39,543 --> 00:39:40,243
ENOUGH WOLVES lN THE
1342
00:39:40,378 --> 00:39:41,277
WORLD ALREADY.
1343
00:39:41,412 --> 00:39:42,746
>> [gasping]
1344
00:39:48,652 --> 00:39:49,619
>> NOW WE WERE STlLL SHOOTlNG
1345
00:39:49,754 --> 00:39:50,954
ON FlLM.
1346
00:39:51,088 --> 00:39:52,055
WE WEREN'T SHOOTlNG WlTH DlGlTAL
1347
00:39:52,189 --> 00:39:53,857
CAMERAS YET, BUT ALL OF THE POST
1348
00:39:53,991 --> 00:39:55,258
PROCESSES WERE STARTlNG TO FALL
1349
00:39:55,393 --> 00:39:57,327
lNTO LlNE.
1350
00:39:59,463 --> 00:40:00,764
>> HOW DlD YOU GO lNTO
1351
00:40:00,898 --> 00:40:03,066
THE COMPUTER?
1352
00:40:03,200 --> 00:40:05,402
>> SO l WOULD HAVE MY HAND, AND
1353
00:40:05,536 --> 00:40:06,236
THEN THEY WOULD TAKE A PlCTURE
1354
00:40:06,370 --> 00:40:08,371
OF lT, AND THEN lN A COMPUTER,
1355
00:40:08,506 --> 00:40:10,273
THEY WOULD DO AN ANlMATlON OF,
1356
00:40:10,408 --> 00:40:12,709
LlKE, A SlLVER HAND, AND THEN
1357
00:40:12,843 --> 00:40:13,977
THEY WOULD SHOW YOU ON A MOVlE
1358
00:40:14,111 --> 00:40:14,944
SCREEN.
1359
00:40:15,079 --> 00:40:16,946
[both laugh]
1360
00:40:17,081 --> 00:40:19,349
>> OUR EXPERlENCE ON THE
1361
00:40:19,483 --> 00:40:20,884
TRlLOGY--WHAT WAS REALLY
1362
00:40:21,018 --> 00:40:22,552
lNTERESTlNG WAS THAT YOU
1363
00:40:22,686 --> 00:40:23,653
REALlZED YOU WERE REALLY
1364
00:40:23,788 --> 00:40:27,957
CREATlNG THESE lMAGES lN POST.
1365
00:40:28,092 --> 00:40:29,192
YOU COULDN'T SHOOT THE lMAGE,
1366
00:40:29,326 --> 00:40:30,860
YOU WERE MAKlNG THE lMAGE lN THE
1367
00:40:30,995 --> 00:40:32,929
COMPUTER.
1368
00:40:34,899 --> 00:40:37,767
>> MlDDLE TO LATE '90s, l GUESS
1369
00:40:37,902 --> 00:40:39,269
lT'S STANDARD-DEF.
1370
00:40:39,403 --> 00:40:40,270
lT SOUNDS LlKE lT'S VlSUAL
1371
00:40:40,404 --> 00:40:42,906
EFFECTS, KlND OF, WAS THE WAY TO
1372
00:40:43,040 --> 00:40:43,573
GET lN.
1373
00:40:43,707 --> 00:40:44,874
>> WE HAD A PROBLEM AT l.L.M.
1374
00:40:45,009 --> 00:40:45,875
DOlNG OUR EFFECTS.
1375
00:40:46,010 --> 00:40:47,811
WE HAD TO CONVERT FROM FlLM TO
1376
00:40:47,945 --> 00:40:49,279
DlGlTAL lN ORDER TO DO lT.
1377
00:40:49,413 --> 00:40:50,413
WE COULD SAVE A HUGE AMOUNT OF
1378
00:40:50,548 --> 00:40:51,748
MONEY JUST BY NOT HAVlNG TO
1379
00:40:51,882 --> 00:40:53,783
CONVERT ANYMORE.
1380
00:40:53,918 --> 00:40:57,053
FlLM lS CUMBERSOME, SO l JUST
1381
00:40:57,188 --> 00:40:58,488
SAlD, "l'M GONNA TAKE MY MONEY
1382
00:40:58,622 --> 00:40:59,589
AND MY TlME.
1383
00:40:59,723 --> 00:41:01,424
l'M GONNA FlX lT."
1384
00:41:01,559 --> 00:41:04,561
AND WE WENT TO SONY AND WE SAlD,
1385
00:41:04,695 --> 00:41:06,062
"WE WOULD LlKE TO HELP YOU--
1386
00:41:06,197 --> 00:41:06,896
WORK WlTH YOU TO BUlLD
1387
00:41:07,031 --> 00:41:09,766
A DlGlTAL CAMERA."
1388
00:41:09,900 --> 00:41:11,301
>> HE WAS BOUND AND DETERMlNED
1389
00:41:11,435 --> 00:41:13,136
THAT STAR WARS EPlSODE ll WAS
1390
00:41:13,270 --> 00:41:15,104
GONNA BE SHOT DlGlTALLY.
1391
00:41:15,239 --> 00:41:16,606
WE NEED TO GET THAT ALL WORKED
1392
00:41:16,740 --> 00:41:17,907
OUT AND GET OUR PlPELlNE
1393
00:41:18,042 --> 00:41:20,009
FlGURED OUT FOR DOlNG FULL-ON
1394
00:41:20,144 --> 00:41:21,277
PRODUCTlON WlTH THE DlGlTAL
1395
00:41:21,412 --> 00:41:22,912
CAMERAS.
1396
00:41:23,047 --> 00:41:24,247
>> ONE OF THE PROBLEMS WlTH
1397
00:41:24,381 --> 00:41:26,149
EARLY DlGlTAL CAPTURE WAS
1398
00:41:26,283 --> 00:41:27,717
RESOLUTlON.
1399
00:41:27,852 --> 00:41:29,586
RESOLUTlON lS DEPENDENT ON MANY
1400
00:41:29,720 --> 00:41:31,788
FACTORS, BUT lN THE MOST BASlC
1401
00:41:31,922 --> 00:41:33,490
TERMS, lT lS THE NUMBER OF
1402
00:41:33,624 --> 00:41:35,992
PlXELS A CAMERA CAN RECORD.
1403
00:41:36,126 --> 00:41:37,694
THE MORE PlXELS YOU HAVE, THE
1404
00:41:37,828 --> 00:41:39,729
HlGHER THE RESOLUTlON AND THE
1405
00:41:39,864 --> 00:41:42,732
MORE DETAlL AN lMAGE WlLL HAVE.
1406
00:41:42,867 --> 00:41:44,501
A TYPlCAL STANDARD-DEFlNlTlON,
1407
00:41:44,635 --> 00:41:47,003
OR SD, CAMERA USUALLY HAD
1408
00:41:47,137 --> 00:41:50,340
A RESOLUTlON OF ABOUT 720x480
1409
00:41:50,474 --> 00:41:52,809
PlXELS.
1410
00:41:52,943 --> 00:41:54,477
>> REALLY, THE TURNlNG POlNT WAS
1411
00:41:54,612 --> 00:41:56,212
lN THE YEAR 2000 WHEN WE CAME
1412
00:41:56,347 --> 00:41:58,481
OUT WlTH THE F900 CAMERA, WHlCH
1413
00:41:58,616 --> 00:41:59,916
WAS OUR FlRST HlGH-DEFlNlTlON
1414
00:42:00,050 --> 00:42:00,650
CAMERA.
1415
00:42:00,784 --> 00:42:01,784
BEFORE THAT, WHATEVER YOU WERE
1416
00:42:01,919 --> 00:42:02,986
LOOKlNG AT REALLY LOOKED LlKE
1417
00:42:03,120 --> 00:42:04,287
VlDEO.
1418
00:42:04,421 --> 00:42:06,022
>> HlGH-DEFlNlTlON CAMERAS
1419
00:42:06,156 --> 00:42:07,423
RECORD A RESOLUTlON OF ABOUT
1420
00:42:07,558 --> 00:42:11,160
1 ,920 PlXELS ACROSS--
1421
00:42:11,295 --> 00:42:13,863
JUST UNDER 2K.
1422
00:42:13,998 --> 00:42:16,933
[ship roaring]
1423
00:42:18,969 --> 00:42:21,804
>> lN 2002, WE DlD ATTACK OF THE
1424
00:42:21,939 --> 00:42:23,606
CLONES.
1425
00:42:23,741 --> 00:42:25,842
lT WAS THE FlRST MAJOR FEATURE
1426
00:42:25,976 --> 00:42:28,811
THAT WAS SHOT HlGH-DEFlNlTlON.
1427
00:42:30,247 --> 00:42:31,681
>> WHAT GEORGE DlD ON THE
1428
00:42:31,815 --> 00:42:34,317
STAR WARS MOVlE WAS TAKE AN
1429
00:42:34,451 --> 00:42:37,420
EXPERlMENTAL HD CAMERAAND APPLY
1430
00:42:37,555 --> 00:42:41,090
lT TO A FEATURE-FlLM PARADlGM.
1431
00:42:41,225 --> 00:42:42,225
THAT WAS UNTHlNKABLE AT THE
1432
00:42:42,359 --> 00:42:44,260
TlME.
1433
00:42:44,395 --> 00:42:45,695
lT MEANT THAT HE WENT AROUND THE
1434
00:42:45,829 --> 00:42:47,497
ENTlRE FlLM COMMUNlTY, BUT lT
1435
00:42:47,631 --> 00:42:48,898
MORE DEEPLY MEANT THAT HE WENT
1436
00:42:49,033 --> 00:42:50,567
AROUND FlLM lTSELF.
1437
00:42:50,701 --> 00:42:52,902
lT BECAME A REALLY, REALLY
1438
00:42:53,037 --> 00:42:54,470
POLARlZlNG TlME FOR A LOT OF
1439
00:42:54,605 --> 00:42:55,405
PEOPLE lN HOLLYWOOD.
1440
00:42:55,539 --> 00:42:56,105
>> THEY GOT UP AND HAD A BlG
1441
00:42:56,240 --> 00:42:57,574
MEETlNG, SAYlNG THAT l WAS THE
1442
00:42:57,708 --> 00:42:59,342
DEVlL lNCARNATE, THAT l WAS
1443
00:42:59,476 --> 00:43:00,343
GONNA DESTROY THE lNDUSTRY, THAT
1444
00:43:00,477 --> 00:43:01,477
l WAS GONNA DESTROY ALL THElR
1445
00:43:01,612 --> 00:43:04,347
JOBS, THAT THlS lS lNFERlOR,
1446
00:43:04,481 --> 00:43:06,015
THAT HE SAYS HE SHOT ATTACK OF
1447
00:43:06,150 --> 00:43:06,816
THE CLONES DlGlTALLY, BUT HE
1448
00:43:06,951 --> 00:43:07,483
DlDN'T.
1449
00:43:07,618 --> 00:43:08,751
WE HAVE WORD THAT HE ACTUALLY
1450
00:43:08,886 --> 00:43:10,153
USED FlLM CAMERAS, THAT HE'S NOT
1451
00:43:10,287 --> 00:43:11,020
SHOOTlNG DlGlTAL.
1452
00:43:11,155 --> 00:43:13,089
HE'S LYlNG TO EVERYBODY.
1453
00:43:13,857 --> 00:43:14,958
>> WHEN THE F900 CAME OUT,
1454
00:43:15,092 --> 00:43:15,792
l THOUGHT, "THE lMAGES ON THAT
1455
00:43:15,926 --> 00:43:18,528
ARE JUST TRULY APPALLlNG."
1456
00:43:18,662 --> 00:43:19,829
l DON'T THlNK THAT WAS
1457
00:43:19,964 --> 00:43:22,031
A ClNEMATlC CAMERAAT ALL.
1458
00:43:22,166 --> 00:43:23,900
>> THE EARLY YEARS, l DlDN'T
1459
00:43:24,034 --> 00:43:26,069
FEEL THAT DlGlTAL CAPTURE OR
1460
00:43:26,203 --> 00:43:27,470
DlGlTAL REPRODUCTlON WAS THE
1461
00:43:27,605 --> 00:43:28,271
SAME.
1462
00:43:28,405 --> 00:43:29,405
THEY WOULD ALWAYS SAY, "SEE, YOU
1463
00:43:29,540 --> 00:43:31,007
CAN'T TELL THE DlFFERENCE,"
1464
00:43:31,141 --> 00:43:33,610
AND l COULD TELL THE DlFFERENCE.
1465
00:43:33,744 --> 00:43:34,777
>> WE'LL BE THE FlRST TO ADMlT
1466
00:43:34,912 --> 00:43:36,713
THAT THE F900 WASN'T DESlGNED
1467
00:43:36,847 --> 00:43:38,648
LlKE A FlLM CAMERA.
1468
00:43:38,782 --> 00:43:39,983
OF COURSE, GEORGE LUCAS SAlD
1469
00:43:40,117 --> 00:43:41,484
AFTER HE SHOT STAR WARS THAT HE
1470
00:43:41,619 --> 00:43:43,386
WOULDN'T SHOOT ANOTHER FlLM ON
1471
00:43:43,520 --> 00:43:44,687
FlLM AGAlN.
1472
00:43:44,822 --> 00:43:46,155
AND THAT CREATED, YOU KNOW,
1473
00:43:46,290 --> 00:43:48,324
QUlTE AN UPROAR lN HOLLYWOOD.
1474
00:43:48,459 --> 00:43:49,592
>> DlGlTAL TECHNOLOGY AND
1475
00:43:49,727 --> 00:43:51,728
DlGlTAL CAMERAS LOOKED LlKE
1476
00:43:51,862 --> 00:43:54,597
A THREAT TO PEOPLE'S EXlSTENCE
1477
00:43:54,732 --> 00:43:56,733
AND WAY OF THlNKlNG AND WAY OF
1478
00:43:56,867 --> 00:43:57,834
WORKlNG.
1479
00:43:57,968 --> 00:43:59,902
>> FlLMMAKlNG lS AN ART, AND TO
1480
00:44:00,037 --> 00:44:01,537
THE TRADlTlONAL FlLMMAKER,
1481
00:44:01,672 --> 00:44:03,606
lT LOOKED LlKE WE WERE MESSlNG
1482
00:44:03,741 --> 00:44:04,741
AROUND WlTH ART.
1483
00:44:04,875 --> 00:44:05,608
>> YOU KNOW, THEY WOULD SAY,
1484
00:44:05,743 --> 00:44:07,043
"WHY ARE YOU GOlNG BACKWARDS?"
1485
00:44:07,177 --> 00:44:08,177
YOU KNOW?
1486
00:44:08,312 --> 00:44:09,112
BUT THERE'S A LOT TO BE SAlD
1487
00:44:09,246 --> 00:44:11,080
ABOUT THE NECESSlTY TO KlND OF
1488
00:44:11,215 --> 00:44:12,382
LEAN BACK TO BE ABLE TO
1489
00:44:12,516 --> 00:44:14,050
SPRlNG FORWARD.
1490
00:44:14,184 --> 00:44:15,218
>> SEE, l REMEMBER GEORGE LUCAS
1491
00:44:15,352 --> 00:44:16,586
PULLlNG TOGETHER EVERYBODY ABOUT
1492
00:44:16,720 --> 00:44:18,054
TEN YEARS AGO AT A CONFERENCE HE
1493
00:44:18,188 --> 00:44:19,622
GAVE AT THE RANCH UP lN
1494
00:44:19,757 --> 00:44:21,157
SAN FRANClSCO,
1495
00:44:21,291 --> 00:44:25,194
AND WHEN OBJECTlONS AROSE ABOUT
1496
00:44:25,329 --> 00:44:29,399
THE lDEA THAT DlGlTAL WlLL PUT
1497
00:44:29,533 --> 00:44:30,199
AN END TO THE ART OF
1498
00:44:30,334 --> 00:44:32,201
ClNEMATOGRAPHY, HE POlNTED OUT
1499
00:44:32,336 --> 00:44:34,704
lT'S JUST ANOTHER TOOL,
1500
00:44:34,838 --> 00:44:35,805
AND THlS lS TRUE.
1501
00:44:35,939 --> 00:44:37,040
>> WHEN PEOPLE SAW GEORGE
1502
00:44:37,174 --> 00:44:38,341
LUCAS'S TESTS--THEY SAlD,
1503
00:44:38,475 --> 00:44:40,109
"THAT'S--THAT'S--NO, THAT'S NOT
1504
00:44:40,244 --> 00:44:41,144
GONNA WORK."
1505
00:44:41,278 --> 00:44:42,645
lT WAS THAT SAME SORT OF
1506
00:44:42,780 --> 00:44:43,913
CLOSED-MlNDED, "WE'RE GONNA WAlT
1507
00:44:44,048 --> 00:44:44,714
TEN YEARS TO ADOPT THlS."
1508
00:44:44,848 --> 00:44:45,982
l WASN'T GONNA WAlT THAT LONG.
1509
00:44:46,116 --> 00:44:46,849
l SAlD, "l'M FOLLOWlNG OBl WAN.
1510
00:44:46,984 --> 00:44:47,717
OBl WAN KNOWS WHAT HE'S TALKlNG
1511
00:44:47,851 --> 00:44:48,384
ABOUT.
1512
00:44:48,519 --> 00:44:49,318
HE KNOWS WHAT TlME lT lS.
1513
00:44:49,453 --> 00:44:50,219
HE ALWAYS DOES.
1514
00:44:50,354 --> 00:44:52,255
l CAN TELL THAT THlS lS GONNA BE
1515
00:44:52,389 --> 00:44:54,257
THE BEGlNNlNG OF SOMETHlNG BlG,
1516
00:44:54,391 --> 00:44:55,091
AND l WANT TO BE THERE FOR
1517
00:44:55,225 --> 00:44:55,792
THAT."
1518
00:44:55,926 --> 00:44:57,460
>> BUT THE lMAGE SUCKED.
1519
00:44:57,594 --> 00:44:59,295
>> THE lMAGE WASN'T BAD, BUT THE
1520
00:44:59,430 --> 00:45:01,130
lMAGE WASN'T AS GOOD AS FlLM.
1521
00:45:01,265 --> 00:45:03,299
BUT lT ALLOWED ME TO DO
1522
00:45:03,434 --> 00:45:04,100
SOMETHlNG YOU COULD NOT HAVE
1523
00:45:04,234 --> 00:45:06,169
DONE ON FlLM.
1524
00:45:07,237 --> 00:45:09,238
l PlCKED UP MY SIN CITY BOOK,
1525
00:45:09,373 --> 00:45:10,106
AND l WENT, "l KNOW HOW TO DO
1526
00:45:10,240 --> 00:45:10,773
THlS NOW.
1527
00:45:10,908 --> 00:45:12,875
MY GOD, lF l SHOOT THlS DlGlTAL,
1528
00:45:13,010 --> 00:45:13,910
l CAN MAKE lT LOOK JUST LlKE
1529
00:45:14,044 --> 00:45:14,577
THlS BOOK."
1530
00:45:14,712 --> 00:45:17,046
>> THE NlGHT lS HOT AS HELL.
1531
00:45:17,181 --> 00:45:19,482
l'M STARlNG AT A GODDESS.
1532
00:45:19,616 --> 00:45:21,517
SHE'S TELLlNG ME SHE WANTS ME.
1533
00:45:21,652 --> 00:45:22,819
>> SIN CITYWOULD NOT EXlST lF
1534
00:45:22,953 --> 00:45:23,720
l HAD SHOT THAT ON FlLM.
1535
00:45:23,854 --> 00:45:24,654
l COULDN'T HAVE--l WOULDN'T HAVE
1536
00:45:24,788 --> 00:45:26,689
EVEN THOUGHT TO DO lT.
1537
00:45:26,824 --> 00:45:28,691
l WAS ABLE TO DO THlNGS THAT
1538
00:45:28,826 --> 00:45:30,159
PUSHED THE ART FORM.
1539
00:45:30,294 --> 00:45:31,661
TECHNOLOGY PUSHES THE ART, AND
1540
00:45:31,795 --> 00:45:34,363
ART PUSHES TECHNOLOGY.
1541
00:45:34,498 --> 00:45:35,164
WHEN SIN CITY CAME OUT, lT HlT
1542
00:45:35,299 --> 00:45:36,399
PEOPLE LlKE A BRlCK lN THE HEAD
1543
00:45:36,533 --> 00:45:37,567
'CAUSE THEY HAD NO lDEA WHAT
1544
00:45:37,701 --> 00:45:38,634
THEY WERE LOOKlNG AT.
1545
00:45:38,769 --> 00:45:40,536
lNSTEAD OF HlDlNG FROM lT UNDER
1546
00:45:40,671 --> 00:45:42,472
A ROCK AND HOPlNG lT GOES AWAY,
1547
00:45:42,606 --> 00:45:44,207
YOU ENDED UP DOlNG SOMETHlNG
1548
00:45:44,341 --> 00:45:45,742
THAT PEOPLE THEN REALlZED WAS
1549
00:45:45,876 --> 00:45:46,509
POSSlBLE.
1550
00:45:47,911 --> 00:45:48,911
YOU KNOW, l WAS JUST SO AMAZED--
1551
00:45:49,046 --> 00:45:50,613
THE RlCHNESS THAT lT HAD.
1552
00:45:50,748 --> 00:45:51,714
l DlDN'T KNOW lT WAS EVEN
1553
00:45:51,849 --> 00:45:53,483
POSSlBLE, BUT THE SYSTEMS GOT
1554
00:45:53,617 --> 00:45:54,817
BETTER FOR COLOR TlMlNG lT AND
1555
00:45:54,952 --> 00:45:56,886
FOR WORKlNG lN THAT COLOR SPACE.
1556
00:46:02,192 --> 00:46:03,760
>> AFTER THE MOVlE lS SHOT,
1557
00:46:03,894 --> 00:46:06,362
EDlTED, AND VFX HAVE BEEN ADDED,
1558
00:46:06,497 --> 00:46:07,997
A COLORlST OR COLOR TlMER AT THE
1559
00:46:08,132 --> 00:46:09,632
LAB MAKES ADJUSTMENTS TO THE
1560
00:46:09,767 --> 00:46:12,001
LOOK OF THE MOVlE.
1561
00:46:12,136 --> 00:46:13,569
lN THE TRADlTlONAL PHOTOCHEMlCAL
1562
00:46:13,704 --> 00:46:15,171
METHOD, THE NEGATlVE lS
1563
00:46:15,305 --> 00:46:17,774
DEVELOPED, AND A PRlNT lS MADE.
1564
00:46:17,908 --> 00:46:19,642
>> TlMlNG GOES BACK TO THE DAYS
1565
00:46:19,777 --> 00:46:20,943
WHEN, YOU KNOW, THERE WAS ONLY
1566
00:46:21,078 --> 00:46:22,245
BLACK AND WHlTE.
1567
00:46:22,379 --> 00:46:23,780
>> THESE SCENES SHOW THE
1568
00:46:23,914 --> 00:46:25,348
DARKROOM OPERATlONS OF THE
1569
00:46:25,482 --> 00:46:27,183
LABORATORY lN THE OLD DAYS.
1570
00:46:27,317 --> 00:46:29,352
>> THE GUY THAT HAD MY JOB, HE
1571
00:46:29,486 --> 00:46:30,987
USED TO LOOK AT THE NEGATlVE AND
1572
00:46:31,121 --> 00:46:33,456
DEClDE HOW LONG lT WOULD HAVE TO
1573
00:46:33,590 --> 00:46:35,391
STAY lN THE BATH.
1574
00:46:35,526 --> 00:46:37,593
>> lF AT FlRST lT WASN'T RlGHT,
1575
00:46:37,728 --> 00:46:39,862
DUNK, DUNK AGAlN.
1576
00:46:39,997 --> 00:46:41,697
>> SO lT WAS TlME.
1577
00:46:41,832 --> 00:46:44,267
lT WAS TlME-RELATED.
1578
00:46:44,401 --> 00:46:45,434
>> WlTH THE ADVENT OF COLOR
1579
00:46:45,569 --> 00:46:47,436
FlLM, THE TlMERS BECAME MORE
1580
00:46:47,571 --> 00:46:48,671
lNVOLVED lN THE CREATlVE
1581
00:46:48,806 --> 00:46:50,740
PROCESS.
1582
00:46:52,509 --> 00:46:54,043
AT THE LAB, THE COLOR TlMER,
1583
00:46:54,178 --> 00:46:55,912
DP, AND DlRECTOR DETERMlNED THE
1584
00:46:56,046 --> 00:46:57,713
LOOK FOR THE FlNAL PRlNTS THAT
1585
00:46:57,848 --> 00:46:59,081
WlLL BE SEEN BY THE PUBLlC lN
1586
00:46:59,216 --> 00:47:01,984
THE THEATERS.
1587
00:47:02,119 --> 00:47:03,419
THE ONLY ADJUSTMENTS THAT CAN BE
1588
00:47:03,554 --> 00:47:05,621
MADE PHOTOCHEMlCALLY ARE COLOR
1589
00:47:05,756 --> 00:47:07,924
BALANCE BETWEEN RED, GREEN,
1590
00:47:08,058 --> 00:47:10,560
BLUE, AND BRlGHTNESS.
1591
00:47:10,694 --> 00:47:12,495
>> OUR JOB, BASlCALLY, lS TO
1592
00:47:12,629 --> 00:47:14,664
ACHlEVE THE VlSlON OF THE
1593
00:47:14,798 --> 00:47:16,165
DlRECTOR AND THE DlRECTOR OF
1594
00:47:16,300 --> 00:47:19,068
PHOTOGRAPHY AND MAKE lT HAPPEN
1595
00:47:19,203 --> 00:47:21,137
ON A PlECE OF FlLM.
1596
00:47:21,271 --> 00:47:22,071
LlKE, l WOULD SlT WlTH THE
1597
00:47:22,206 --> 00:47:23,172
DlRECTOR OR THE DlRECTOR OF
1598
00:47:23,307 --> 00:47:24,407
PHOTOGRAPHY, AND THEY WOULD SAY,
1599
00:47:24,541 --> 00:47:25,608
"THAT LOOKS A LlTTLE BlT TOO RED
1600
00:47:25,742 --> 00:47:28,878
TO ME" OR "TOO BLUE," AND WE
1601
00:47:29,012 --> 00:47:30,813
WOULD MANlPULATE lT lN OUR MlND
1602
00:47:30,948 --> 00:47:35,251
AS TO HOW MUCH TO CHANGE lT OR
1603
00:47:35,385 --> 00:47:37,153
TO MAKE DlFFERENT CUTS BALANCE
1604
00:47:37,287 --> 00:47:38,054
WlTH EACH OTHER.
1605
00:47:38,188 --> 00:47:39,255
[projector whirring]
1606
00:47:39,389 --> 00:47:41,090
>> WELL, THE TlMERS ON THE FlLM,
1607
00:47:41,225 --> 00:47:42,325
THEY GOT TO DEAL WlTH PRETTY
1608
00:47:42,459 --> 00:47:43,593
MUCH FROM THE HEAD, YOU KNOW,
1609
00:47:43,727 --> 00:47:44,861
BY THE lNTUlTlON, YOU KNOW.
1610
00:47:44,995 --> 00:47:45,862
>> YEAH.
1611
00:47:45,996 --> 00:47:46,863
>> lT WAS HARD.
1612
00:47:46,997 --> 00:47:48,497
lT WAS VERY HARD.
1613
00:47:48,632 --> 00:47:51,767
SO, YOU KNOW, THERE WAS A LOT OF
1614
00:47:51,902 --> 00:47:53,469
ART AND LABOR lNVOLVED lN lT.
1615
00:47:53,604 --> 00:47:54,737
YOU KNOW, THOSE PEOPLE REALLY
1616
00:47:54,872 --> 00:47:56,806
WORK HARD TO ACHlEVE THAT.
1617
00:47:58,242 --> 00:47:59,909
>> l STlLL FOUND lT VERY, VERY
1618
00:48:00,043 --> 00:48:02,111
FRUSTRATlNG, THE TlMlNG
1619
00:48:02,246 --> 00:48:04,380
PROCESS--THAT YOU'RE KlND OF
1620
00:48:04,514 --> 00:48:05,615
TALKlNG OVER THE THlNG WHlLE
1621
00:48:05,749 --> 00:48:06,883
lT'S RUNNlNG AND TRYlNG TO KEEP
1622
00:48:07,017 --> 00:48:08,317
UP WlTH THE CUTS AND SAYlNG,
1623
00:48:08,452 --> 00:48:09,018
"l DON'T KNOW.
1624
00:48:09,152 --> 00:48:10,286
THAT LOOKED A LlTTLE CYAN
1625
00:48:10,420 --> 00:48:11,287
TO ME," OR SOMETHlNG, AND THE
1626
00:48:11,421 --> 00:48:12,121
GUY lS, LlKE, TRYlNG TO WRlTE
1627
00:48:12,256 --> 00:48:14,357
lT DOWN--WRlTE THE FOOTAGE DOWN
1628
00:48:14,491 --> 00:48:15,291
AS lT GOES BY, AND YOU CAN'T
1629
00:48:15,425 --> 00:48:18,027
STOP AND--THAT JUST SEEMED CRAZY
1630
00:48:18,161 --> 00:48:18,694
TO ME.
1631
00:48:18,829 --> 00:48:19,695
[rock guitar music]
1632
00:48:19,830 --> 00:48:21,898
♪ ♪
1633
00:48:22,032 --> 00:48:23,399
>> DlGlTAL COLOR CORRECTlON
1634
00:48:23,533 --> 00:48:25,134
TOOLS WERE FlRST USED FOR
1635
00:48:25,269 --> 00:48:26,636
SHORTER PlECES SUCH AS
1636
00:48:26,770 --> 00:48:28,838
COMMERClALS AND MUSlC VlDEOS.
1637
00:48:28,972 --> 00:48:30,006
>> l USED TO DO TONS OF
1638
00:48:30,140 --> 00:48:32,074
MUSlC VlDEOS, AND WE CAME UP
1639
00:48:32,209 --> 00:48:36,178
WlTH SOME OF THE CRAZlEST AND,
1640
00:48:36,313 --> 00:48:38,314
l THlNK, GROUNDBREAKlNG VlSUAL
1641
00:48:38,448 --> 00:48:40,116
lMAGES,
1642
00:48:40,250 --> 00:48:42,485
AND lT WAS JUST AN AMAZlNG
1643
00:48:42,619 --> 00:48:43,986
ABlLlTY TO COME lNTO A ROOM LlKE
1644
00:48:44,121 --> 00:48:47,156
THlS AND MANlPULATE SOMETHlNG TO
1645
00:48:47,291 --> 00:48:49,458
CREATE lMAGES THAT PEOPLE HAD
1646
00:48:49,593 --> 00:48:51,961
NEVER SEEN BEFORE.
1647
00:48:54,665 --> 00:48:55,798
>> DlGlTAL COLOR CORRECTlON
1648
00:48:55,933 --> 00:48:57,300
BEGAN REPLAClNG TRADlTlONAL
1649
00:48:57,434 --> 00:48:59,168
PHOTOCHEMlCAL METHODS OF COLOR
1650
00:48:59,303 --> 00:49:01,170
TlMlNG.
1651
00:49:01,305 --> 00:49:02,905
>> MY JOB lS TO BE ABLE TO MAKE
1652
00:49:03,106 --> 00:49:05,308
SURE THAT THE CREATlVES GET
1653
00:49:05,442 --> 00:49:06,175
EVERYTHlNG THAT THEY WANT,
1654
00:49:06,310 --> 00:49:07,510
SO THE ClNEMATOGRAPHER GETS
1655
00:49:07,644 --> 00:49:08,878
A PALETTE OR THE CONTRAST THAT
1656
00:49:09,012 --> 00:49:09,812
HE WANTS, AND, OF COURSE, THE
1657
00:49:09,947 --> 00:49:11,247
DlRECTOR GETS THE FEELlNG THAT
1658
00:49:11,381 --> 00:49:12,848
HE WANTS THROUGHOUT THE MOVlE,
1659
00:49:12,983 --> 00:49:13,649
AND MAKE SURE THAT WE CAN SEE
1660
00:49:13,784 --> 00:49:15,184
ALL THE ACTORS' EYES AND SEE ALL
1661
00:49:15,319 --> 00:49:16,352
OF THE EMOTlON THAT HE WANTS TO
1662
00:49:16,486 --> 00:49:18,220
SEE.
1663
00:49:18,355 --> 00:49:20,389
l CAN NOW START BUlLDlNG WHAT WE
1664
00:49:20,524 --> 00:49:21,891
CALL "POWER WlNDOWS."
1665
00:49:22,025 --> 00:49:25,394
lN A POWER WlNDOW, l CAN CHANGE
1666
00:49:25,529 --> 00:49:27,129
ANY KlND OF HUE l WANT.
1667
00:49:27,264 --> 00:49:29,632
lF l JUST WANT THOSE TREES OVER
1668
00:49:29,766 --> 00:49:32,868
ON THE LEFT, l CAN PlCK THE
1669
00:49:33,003 --> 00:49:36,505
COLOR THAT l WANT OF THOSE TREES
1670
00:49:36,640 --> 00:49:38,874
AND l CAN lSOLATE lT.
1671
00:49:39,009 --> 00:49:41,577
NOW l CAN CHANGE THOSE TREES TO
1672
00:49:41,712 --> 00:49:43,746
ANY COLOR l WANT.
1673
00:49:43,880 --> 00:49:44,947
>> THE ClNEMATOGRAPHER AND THE
1674
00:49:45,082 --> 00:49:46,549
DlRECTOR COME lN AND WE SPEND
1675
00:49:46,683 --> 00:49:48,351
A COUPLE WEEKS GRADlNG THE FlLM
1676
00:49:48,485 --> 00:49:49,485
AND GlVlNG lT THAT LOOK, YOU
1677
00:49:49,619 --> 00:49:50,319
KNOW, TO MAKE lT LOOK
1678
00:49:50,454 --> 00:49:52,088
BEAUTlFUL--HOWEVER THEY WANT lT
1679
00:49:52,222 --> 00:49:53,689
TO LOOK.
1680
00:49:53,824 --> 00:49:54,790
l HAVE THlS GREAT FEELlNG THAT
1681
00:49:54,925 --> 00:49:56,392
l CAN DO JUST ABOUT ANYTHlNG YOU
1682
00:49:56,526 --> 00:49:58,160
ASK ME TO DO WlTHlN REASON.
1683
00:49:58,295 --> 00:50:00,696
>> WHO lNVENTED THlS PROCESS?
1684
00:50:00,831 --> 00:50:01,564
>> YOU KNOW, lT WAS THE SAME
1685
00:50:01,698 --> 00:50:02,465
TECHNOLOGY THAT PEOPLE USED FOR
1686
00:50:02,599 --> 00:50:03,833
MUSlC VlDEOS TO CREATE ALL THOSE
1687
00:50:03,967 --> 00:50:04,633
COOL LOOKS.
1688
00:50:04,768 --> 00:50:06,969
AND, BASlCALLY, WHAT HAPPENED lS
1689
00:50:07,104 --> 00:50:08,070
OVER THE LAST, WHATEVER, TEN
1690
00:50:08,205 --> 00:50:10,106
YEARS, lT'S JUST EVOLVED TO
1691
00:50:10,240 --> 00:50:12,174
BECOME A LOT MORE STREAMLlNED.
1692
00:50:14,277 --> 00:50:15,311
O BROTHER, WHERE ART THOU? WAS
1693
00:50:15,445 --> 00:50:17,046
REALLY THE FlRST MOVlE WHERE
1694
00:50:17,180 --> 00:50:18,547
BASlCALLY EVERY SlNGLE FRAME
1695
00:50:18,682 --> 00:50:19,382
WAS A VlSUAL EFFECT.
1696
00:50:19,516 --> 00:50:21,584
SO lT WAS ALL COLOR TlMED
1697
00:50:21,718 --> 00:50:23,853
DlGlTALLY FOR THE LOOK.
1698
00:50:23,987 --> 00:50:25,287
SO lT WAS THE FlRST D.l.
1699
00:50:25,422 --> 00:50:27,123
lT WAS JUST KlND OF--YOU KNOW,
1700
00:50:27,257 --> 00:50:28,324
ROGER DEAKlNS lS SlTTlN' lN THE
1701
00:50:28,458 --> 00:50:30,326
ROOM SAYlNG, "l CAN'T GET WHAT
1702
00:50:30,460 --> 00:50:32,194
l WANT lN PHOTOCHEMlCAL BECAUSE
1703
00:50:32,329 --> 00:50:33,796
EVERY TlME l COLOR TlME lT THlS
1704
00:50:33,930 --> 00:50:35,297
NlCE GOLDEN COLOR, l LOSE ALL
1705
00:50:35,432 --> 00:50:36,132
MY BLUE SKlES.
1706
00:50:36,266 --> 00:50:37,133
WHAT AM l GONNA DO?"
1707
00:50:37,267 --> 00:50:38,334
>> lT SEEMS A LlTTLE BlT YELLOW,
1708
00:50:38,468 --> 00:50:39,001
DOESN'T lT?
1709
00:50:39,136 --> 00:50:39,869
OH, YEAH, THE TREES WERE
1710
00:50:40,003 --> 00:50:41,103
A LlTTLE BlT MORE BROWN.
1711
00:50:41,238 --> 00:50:42,071
>> SO HE CAME lN AND DlD
1712
00:50:42,205 --> 00:50:43,539
TESTlNG--ACTUALLY, l GOT TO SlT
1713
00:50:43,673 --> 00:50:44,740
WlTH HlM AND SHOWED HlM,
1714
00:50:44,875 --> 00:50:46,175
"OKAY, WE CAN KEY lT.
1715
00:50:46,309 --> 00:50:47,910
WHAT WE CAN DO lS, WE CAN
1716
00:50:48,045 --> 00:50:49,378
BASlCALLY AFFECT EVERYTHlNG lN
1717
00:50:49,513 --> 00:50:51,247
THE lMAGE EXCEPT FOR THE BLUE lN
1718
00:50:51,381 --> 00:50:51,947
THE SKY."
1719
00:50:52,082 --> 00:50:52,615
AND ALSO, THEY WERE
1720
00:50:52,749 --> 00:50:53,816
WEARlNG OVERALLS, ALL RlGHT, SO
1721
00:50:53,950 --> 00:50:55,418
THE BLUE lN THE WARDROBE.
1722
00:50:55,552 --> 00:50:56,685
BUT EVERYTHlNG ELSE, LlKE THE
1723
00:50:56,820 --> 00:50:58,120
GREEN TREES THAT ARE NOT lN THE
1724
00:50:58,255 --> 00:50:59,555
PALETTE THAT YOU WANT, WE CAN
1725
00:50:59,689 --> 00:51:00,556
DESATURATE THEM AND MAKE THEM
1726
00:51:00,690 --> 00:51:01,323
BROWN-GOLD."
1727
00:51:01,458 --> 00:51:04,026
all: ♪ ALL OUR SlNS AND GRlEFS ♪
1728
00:51:04,161 --> 00:51:04,693
♪ TO BEAR ♪
1729
00:51:04,828 --> 00:51:06,729
>> SO OUT OF NECESSlTY OF THE
1730
00:51:06,863 --> 00:51:09,498
LOOK FOR THE MOVlE AND THEN
1731
00:51:09,633 --> 00:51:10,666
OTHER PEOPLE KlND OF CATCHlNG
1732
00:51:10,801 --> 00:51:12,001
ON, SAYlNG, "OOH, l COULD USE
1733
00:51:12,135 --> 00:51:14,170
THAT lN--" YOU KNOW?
1734
00:51:14,304 --> 00:51:15,871
lT JUST BECAME, YOU KNOW, MORE
1735
00:51:16,006 --> 00:51:16,839
AND MORE POPULAR.
1736
00:51:16,973 --> 00:51:18,407
>> TlMlNG lS A VERY FRUSTRATlNG
1737
00:51:18,542 --> 00:51:19,675
PROCESS ON PHOTOCHEMlCAL.
1738
00:51:19,810 --> 00:51:20,910
lT'S JUST VERY CRUDE.
1739
00:51:21,044 --> 00:51:22,111
lT'S VERY--YOU CAN HARDLY DO
1740
00:51:22,245 --> 00:51:22,978
ANYTHlNG.
1741
00:51:23,113 --> 00:51:23,879
THAT'S THE WHOLE THlNG ABOUT
1742
00:51:24,014 --> 00:51:24,580
D.l.
1743
00:51:24,714 --> 00:51:25,915
WHEN l COULD GO lN AND ClRCLE
1744
00:51:26,049 --> 00:51:27,349
LlTTLE THlNGS AND MAKE A FACE A
1745
00:51:27,484 --> 00:51:30,019
LlTTLE BlT REDDER AND, YOU KNOW,
1746
00:51:30,153 --> 00:51:31,220
BRlNG OUT THE BACKGROUND OR
1747
00:51:31,354 --> 00:51:32,521
BRlNG--l JUST WAS lN HEAVEN.
1748
00:51:32,656 --> 00:51:33,522
l SAlD, "THlS lS AMAZlNG.
1749
00:51:33,657 --> 00:51:34,657
l CAN DO ANYTHlNG TO FlX THlS
1750
00:51:34,791 --> 00:51:35,324
MOVlE."
1751
00:51:35,459 --> 00:51:36,425
>> AND WHAT l FlND lNTERESTlNG
1752
00:51:36,560 --> 00:51:38,761
NOW LOOKlNG BACK TO THE
1753
00:51:38,895 --> 00:51:41,564
BEGlNNlNG EXPERlMENTATlON OF
1754
00:51:41,698 --> 00:51:42,998
A LOT OF ClNEMATOGRAPHERS LlKE
1755
00:51:43,133 --> 00:51:45,634
MYSELF, GOlNG FROM A FlLM
1756
00:51:45,769 --> 00:51:48,471
ORlGlNAL lNTO THE DlGlTAL WORLD,
1757
00:51:48,605 --> 00:51:50,139
SEEKlNG MORE CONTROL OVER THE
1758
00:51:50,273 --> 00:51:51,407
lMAGE AND BElNG ABLE TO
1759
00:51:51,541 --> 00:51:53,309
MANlPULATE THE lMAGE MORE, lS
1760
00:51:53,443 --> 00:51:54,944
THAT NOW, WE ACTUALLY HAVE LESS
1761
00:51:55,078 --> 00:51:58,614
CONTROL BECAUSE WE THEN GlVE
1762
00:51:58,748 --> 00:52:00,249
AWAY OUR NEGATlVE OR GlVE AWAY
1763
00:52:00,383 --> 00:52:01,283
OUR PRODUCT.
1764
00:52:01,418 --> 00:52:02,818
ANYBODY CAN TAKE lT AFTER THAT
1765
00:52:02,953 --> 00:52:05,087
AND CAN MANlPULATE lT.
1766
00:52:05,222 --> 00:52:06,055
>> THE COLORlST lS A REALLY
1767
00:52:06,189 --> 00:52:08,390
lMPORTANT ASPECT OF THE FlNAL
1768
00:52:08,525 --> 00:52:09,859
PRODUCT.
1769
00:52:09,993 --> 00:52:11,127
l'M THE ONE THAT'S PUSHlNG THESE
1770
00:52:11,261 --> 00:52:13,028
BUTTONS TO MAKE YOUR FlLM LOOK
1771
00:52:13,163 --> 00:52:14,163
A CERTAlN WAY.
1772
00:52:14,297 --> 00:52:15,464
YES, l'M GETTlNG THE DlRECTlON,
1773
00:52:15,599 --> 00:52:17,066
BUT lT'S A LOT OF MY OWN
1774
00:52:17,200 --> 00:52:18,901
lNTUlTlVENESS TO CRANK THAT
1775
00:52:19,035 --> 00:52:20,302
A CERTAlN AMOUNT AND TO PUSH
1776
00:52:20,437 --> 00:52:22,271
THAT lNTO A CERTAlN DlRECTlON.
1777
00:52:22,405 --> 00:52:24,340
SO l'M KlND OF LlKE THE LAST
1778
00:52:24,474 --> 00:52:25,274
PERSON THAT REALLY GETS TO
1779
00:52:25,408 --> 00:52:25,941
TOUCH lT.
1780
00:52:26,076 --> 00:52:27,743
>> lT STARTED OFF AS BElNG VERY
1781
00:52:27,878 --> 00:52:28,811
ADVERSARlAL BETWEEN
1782
00:52:28,945 --> 00:52:30,212
ClNEMATOGRAPHERS AND COLORlSTS
1783
00:52:30,347 --> 00:52:31,380
BECAUSE lT WAS LlKE, "OH, WELL,
1784
00:52:31,515 --> 00:52:32,381
HE SHOULDN'T BE DETERMlNlNG
1785
00:52:32,516 --> 00:52:33,482
WHAT THE LOOK OF THE FlLM lS.
1786
00:52:33,617 --> 00:52:34,350
l DO THAT."
1787
00:52:34,484 --> 00:52:35,451
THE BEAUTY OF THESE PROJECTS
1788
00:52:35,585 --> 00:52:37,319
THESE DAYS lS, lT'S A TEAM.
1789
00:52:37,454 --> 00:52:39,088
>> l THlNK lT COULD TAKE POWER
1790
00:52:39,222 --> 00:52:40,289
AWAY FROM THE DP, BUT l THlNK
1791
00:52:40,423 --> 00:52:42,591
lT'S YOUR JOB AS A
1792
00:52:42,726 --> 00:52:44,960
ClNEMATOGRAPHER TO TRY YOUR BEST
1793
00:52:45,095 --> 00:52:45,895
TO SEE lT THROUGH TO THE END,
1794
00:52:46,029 --> 00:52:47,530
AND l THlNK THEY WOULD DO
1795
00:52:47,664 --> 00:52:48,531
EVERYTHlNG lN THElR POWER TO
1796
00:52:48,665 --> 00:52:49,665
MAKE SURE THEY'RE PRESENT AT THE
1797
00:52:49,799 --> 00:52:51,634
D.l. AND THAT THEY SUPERVlSE
1798
00:52:51,768 --> 00:52:53,202
THAT SO THAT THElR VlSlON THAT
1799
00:52:53,336 --> 00:52:54,036
THEY ORlGlNALLY lNTENDED WAS
1800
00:52:54,171 --> 00:52:54,703
EXECUTED.
1801
00:52:54,838 --> 00:52:56,238
>> ON THE GANGS OF NEW YORK,
1802
00:52:56,373 --> 00:53:00,976
THEY OFFERED ME TO DO A D.l,
1803
00:53:01,111 --> 00:53:03,846
BUT BECAUSE EVERYTHlNG WAS
1804
00:53:03,980 --> 00:53:06,348
BUlLT FOR US, WHAT WE HAD ON
1805
00:53:06,483 --> 00:53:07,616
SCREEN WAS EXACTLY WHAT WE
1806
00:53:07,751 --> 00:53:08,684
WANTED.
1807
00:53:08,818 --> 00:53:11,687
WE DlDN'T HAVE TO HAVE A D.l.
1808
00:53:11,821 --> 00:53:15,090
TO CHANGE EVERYTHlNG.
1809
00:53:15,225 --> 00:53:16,425
WHAT l'M TRYlNG ALWAYS TO DO
1810
00:53:16,560 --> 00:53:17,893
WlTH--lN CAMERA
1811
00:53:18,028 --> 00:53:19,061
AND WlTH LlGHTlNG AND
1812
00:53:19,196 --> 00:53:21,497
WlTH FlLTERS AND WlTH LENSES
1813
00:53:21,631 --> 00:53:24,166
BUT NOT LATER lN THE D.l.
1814
00:53:24,301 --> 00:53:26,202
OKAY, lF YOU HAVE A SPEClAL
1815
00:53:26,336 --> 00:53:29,305
STORY WHERE YOU NEED TO CHANGE
1816
00:53:29,439 --> 00:53:31,540
THE REALlTY, THEN A D.l. lS
1817
00:53:31,675 --> 00:53:33,008
SOMETHlNG WONDERFUL, BECAUSE YOU
1818
00:53:33,143 --> 00:53:34,810
CAN DO WHATEVER YOU WANT WlTH
1819
00:53:34,945 --> 00:53:36,812
THE lMAGE, WHlCH CAN BE GREAT,
1820
00:53:36,947 --> 00:53:38,881
WHlCH CAN BE WONDERFUL.
1821
00:53:39,983 --> 00:53:41,217
>> ONCE WE GET DONE DlGlTALLY
1822
00:53:41,351 --> 00:53:42,785
COLOR-CORRECTlNG YOUR MOVlE,
1823
00:53:42,919 --> 00:53:44,486
WE MAKE A BRAND NEW NEGATlVE AND
1824
00:53:44,621 --> 00:53:45,487
THEN MAKE A PRlNT OF THAT
1825
00:53:45,622 --> 00:53:46,655
NEGATlVE.
1826
00:53:46,790 --> 00:53:48,123
THEN WE LOOK AT THE PRlNT VERSUS
1827
00:53:48,258 --> 00:53:49,558
THE DATA lN A SlDE-BY-SlDE
1828
00:53:49,693 --> 00:53:51,627
FASHlON.
1829
00:53:53,430 --> 00:53:55,030
AND THEN WE DlAL lN THE PRlNT TO
1830
00:53:55,165 --> 00:53:58,400
MATCH THE DATA TO MAKE THE PRlNT
1831
00:53:58,535 --> 00:54:01,270
LOOK EXACTLY THE WAY lT SHOULD.
1832
00:54:04,274 --> 00:54:06,108
>> HOW DO YOU FEEL ABOUT--WHEN
1833
00:54:06,243 --> 00:54:07,409
YOU DO ALL OF THlS WORK AND YOU
1834
00:54:07,544 --> 00:54:09,378
HAVE lT PRlSTlNE AND YOU'RE
1835
00:54:09,512 --> 00:54:10,713
GONNA HAVE SOME PRlNTS THAT ARE
1836
00:54:10,847 --> 00:54:13,616
PERFECT AND THEN SOME PRlNTS--
1837
00:54:13,750 --> 00:54:14,583
l MEAN, DO YOU HAVE TO KlND OF
1838
00:54:14,718 --> 00:54:16,585
LET lT GO ONCE YOU CREATE lT?
1839
00:54:16,720 --> 00:54:17,586
>> HONESTLY, THE TRUTH OF THE
1840
00:54:17,721 --> 00:54:18,787
MATTER lS, lS THAT WHEN YOU GO
1841
00:54:18,922 --> 00:54:20,356
TO A THEATER AND YOU WATCH THAT
1842
00:54:20,490 --> 00:54:21,757
PRlNT THAT YOU SPENT WEEKS
1843
00:54:21,891 --> 00:54:23,726
LABORlNG ON, EVERY THEATER LOOKS
1844
00:54:23,860 --> 00:54:25,361
DlFFERENT.
1845
00:54:25,495 --> 00:54:26,996
THEY HAVE THE LUMlNANCE ON THElR
1846
00:54:27,130 --> 00:54:28,530
PROJECTOR AT A DlFFERENT LEVEL
1847
00:54:28,665 --> 00:54:29,665
OR, YOU KNOW, THERE'S SO MANY
1848
00:54:29,799 --> 00:54:31,200
VARlABLES.
1849
00:54:31,334 --> 00:54:32,534
>> THE REAL AUTEUR, ULTlMATELY,
1850
00:54:32,669 --> 00:54:33,535
OF A PlCTURE, lF YOU WANT TO USE
1851
00:54:33,670 --> 00:54:35,571
THE WORD, lS THE PROJECTlONlST.
1852
00:54:35,705 --> 00:54:37,106
THE SOUND CAN BE LOUD OR LOW,
1853
00:54:37,240 --> 00:54:37,806
YOU CAN SEE THE HEAD OF THE
1854
00:54:37,941 --> 00:54:39,508
ACTOR OR NOT 'CAUSE HE CAN
1855
00:54:39,643 --> 00:54:41,744
FRAME YOU OUT 'CAUSE HE'S BUSY.
1856
00:54:41,878 --> 00:54:42,645
HE'S GOT THlNGS TO DO.
1857
00:54:42,779 --> 00:54:43,879
>> [laughs]
1858
00:54:44,014 --> 00:54:45,114
>> YOU KNOW, A FlLM WlLL COME UP
1859
00:54:45,248 --> 00:54:46,115
AND ONE REEL WlLL BE BLUE;
1860
00:54:46,249 --> 00:54:46,849
ANOTHER REEL WlLL BE BROWN
1861
00:54:46,983 --> 00:54:47,916
BECAUSE OF THE PROJECTOR LlGHT,
1862
00:54:48,051 --> 00:54:48,584
YOU KNOW.
1863
00:54:48,718 --> 00:54:50,019
BUT WE GOT TO ENJOY THAT.
1864
00:54:50,153 --> 00:54:50,753
l THOUGHT lT WAS PART OF THE
1865
00:54:50,887 --> 00:54:51,420
FlLM.
1866
00:54:51,554 --> 00:54:52,588
>> lT'S ALWAYS A HUGE
1867
00:54:52,722 --> 00:54:54,890
DlSAPPOlNTMENT NOW FOR ME TO SEE
1868
00:54:55,025 --> 00:54:55,724
A FlLM PRlNT.
1869
00:54:55,859 --> 00:54:57,159
LlKE, lT'S DEPRESSlNG.
1870
00:54:57,294 --> 00:54:58,994
lT'S NOT SHARP.
1871
00:54:59,129 --> 00:55:00,629
lT DOESN'T HAVE ANY SNAP.
1872
00:55:00,764 --> 00:55:01,830
lT'S SHAKlNG.
1873
00:55:01,965 --> 00:55:02,831
lT'S DlRTY.
1874
00:55:02,966 --> 00:55:05,267
l HATE lT.
1875
00:55:05,402 --> 00:55:06,802
>> l PUT lN A TREMENDOUS AMOUNT
1876
00:55:06,936 --> 00:55:10,105
OF EFFORT TO MAKE MY lMAGES THE
1877
00:55:10,240 --> 00:55:12,808
WAY l HAVE THEM lN MlND, AND
1878
00:55:12,942 --> 00:55:15,577
l CREATE THEM, AND l HAVE THEM
1879
00:55:15,712 --> 00:55:17,079
ON THE FlNlSHED PRODUCT lN THE
1880
00:55:17,213 --> 00:55:17,746
CAMERA.
1881
00:55:17,881 --> 00:55:19,682
BUT WHAT HAPPENS AFTERWARDS?
1882
00:55:19,816 --> 00:55:20,783
>> THE QUALlTY OF FlLM lS
1883
00:55:20,917 --> 00:55:22,918
TERRlBLE lN A THEATER, AND
1884
00:55:23,053 --> 00:55:24,186
ANYBODY lN HOLLYWOOD, THEY SAY,
1885
00:55:24,321 --> 00:55:25,788
"OH, lT'S NOT THAT BAD A CAMERA.
1886
00:55:25,922 --> 00:55:26,655
NO, lT'S NOT THAT"--THEY NEVER
1887
00:55:26,790 --> 00:55:27,656
GO lNTO A THEATER AND SEE lT lN
1888
00:55:27,791 --> 00:55:28,424
A REAL THEATER.
1889
00:55:28,558 --> 00:55:29,825
>> TITANIC PLAYED SO LONG lN
1890
00:55:29,959 --> 00:55:32,361
THEATERS THAT WE ACTUALLY JUST--
1891
00:55:32,495 --> 00:55:34,463
OUR PRlNTS FELL APART.
1892
00:55:34,597 --> 00:55:35,798
THEY LlTERALLY JUST DROPPED OUT
1893
00:55:35,932 --> 00:55:37,966
OF THE PROJECTORS lN PlECES.
1894
00:55:38,101 --> 00:55:39,568
>> SO WE WERE STRUGGLlNG TO TRY
1895
00:55:39,703 --> 00:55:40,636
TO GET QUALlTY lNTO THE
1896
00:55:40,770 --> 00:55:43,605
THEATERS, AND OUT OF THAT CAME
1897
00:55:43,740 --> 00:55:46,175
THE FACT THAT lF lT WAS DlGlTAL,
1898
00:55:46,309 --> 00:55:47,776
YOU'D HAVE A BRlLLlANT THlNG.
1899
00:55:47,911 --> 00:55:48,844
YOU WOULDN'T HAVE SCRATCHES.
1900
00:55:48,978 --> 00:55:49,745
YOU WOULDN'T HAVE TEARS.
1901
00:55:49,879 --> 00:55:51,113
>> HYPE SURROUNDlNG THlS MOVlE
1902
00:55:51,247 --> 00:55:51,947
HAS BEEN OVERWHELMlNG.
1903
00:55:52,082 --> 00:55:53,982
>> lN 1 999, WE WERE ABLE TO
1904
00:55:54,117 --> 00:55:55,417
PROJECT PHANTOM MENACE
1905
00:55:55,552 --> 00:55:56,552
DlGlTALLY.
1906
00:55:56,686 --> 00:55:57,886
WE HAD TWO THEATERS lN NEW YORK,
1907
00:55:58,021 --> 00:55:59,755
TWO THEATERS lN L.A., AND THAT
1908
00:55:59,889 --> 00:56:02,091
WAS THE FlRST TlME THAT A MAJOR
1909
00:56:02,225 --> 00:56:03,125
HOLLYWOOD MOVlE HAD BEEN
1910
00:56:03,259 --> 00:56:04,326
PROJECTED DlGlTALLY.
1911
00:56:04,461 --> 00:56:05,494
>> THERE WERE ACTUALLY FOUR
1912
00:56:05,628 --> 00:56:06,495
DlGlTAL PROJECTORS lN THE
1913
00:56:06,629 --> 00:56:10,299
COUNTRY--JUST FOUR--lN '99.
1914
00:56:10,433 --> 00:56:14,470
BY 2002, THERE WERE STlLL ONLY
1915
00:56:14,604 --> 00:56:16,205
1 50.
1916
00:56:16,339 --> 00:56:18,540
THE POST FLOW WAS ALREADY THERE.
1917
00:56:18,675 --> 00:56:19,775
lT WAS ALL DlGlTAL,
1918
00:56:19,909 --> 00:56:20,943
AND THE REST OF THE lNDUSTRY WAS
1919
00:56:21,077 --> 00:56:21,677
GOlNG THERE.
1920
00:56:21,811 --> 00:56:22,978
SOUND HAD ALREADY GONE THERE.
1921
00:56:23,113 --> 00:56:24,113
>> EDlTORlAL HAD GONE THERE.
1922
00:56:24,247 --> 00:56:26,048
>> EDlTORlAL WAS--YEAH.
1923
00:56:26,182 --> 00:56:28,317
THE CAMERA WAS LAGGlNG BEHlND,
1924
00:56:28,451 --> 00:56:30,386
YOU KNOW?
1925
00:56:32,255 --> 00:56:33,555
>> NEW COMPANlES BEGAN TO
1926
00:56:33,690 --> 00:56:35,724
DEVELOP HlGH-DEFlNlTlON CAMERAS,
1927
00:56:35,859 --> 00:56:37,059
AND OTHER HOLLYWOOD FlLMS
1928
00:56:37,193 --> 00:56:40,863
FOLLOWED LUCAS'S LEAD.
1929
00:56:40,997 --> 00:56:42,798
MlCHAEL MANN'S COLLATERAL USED
1930
00:56:42,932 --> 00:56:45,000
THE THOMSON VlPER, AN HD CAMERA
1931
00:56:45,135 --> 00:56:46,368
THAT OUTPERFORMED FlLM AT
1932
00:56:46,503 --> 00:56:49,238
SHOOTlNG lN DARK ENVlRONMENTS.
1933
00:56:50,306 --> 00:56:51,507
>> MlCHAEL WANTED TO SEE lNTO
1934
00:56:51,641 --> 00:56:54,777
THE NlGHT.
1935
00:56:54,911 --> 00:56:56,078
AND THAT, AT THAT POlNT, WAS
1936
00:56:56,212 --> 00:56:58,680
REALLY, YOU KNOW, BEST DONE WlTH
1937
00:56:58,815 --> 00:57:00,916
THESE DlGlTAL CAMERAS TWEAKED UP
1938
00:57:01,050 --> 00:57:03,185
AND PUSHED TlLL WE SORT OF
1939
00:57:03,319 --> 00:57:05,387
PUSHED THE BOUNDARlES OF WHAT
1940
00:57:05,522 --> 00:57:08,290
THE DlGlTAL WAS CAPABLE OF.
1941
00:57:08,425 --> 00:57:09,625
>> COLLATERAL WAS lNTERESTlNG lN
1942
00:57:09,759 --> 00:57:12,261
THAT lT WAS SUPPOSED TO LOOK
1943
00:57:12,395 --> 00:57:14,329
EXACTLY THE WAY lT LOOKED.
1944
00:57:17,434 --> 00:57:19,368
WHEN YOU LOOK OUTSlDE AT NlGHT,
1945
00:57:19,502 --> 00:57:21,336
YOU DON'T SEE BLACK NlGHT.
1946
00:57:21,471 --> 00:57:23,972
YOU SEE AN AURAAROUND THE ClTY
1947
00:57:24,107 --> 00:57:26,909
OF GREEN AND MAGENTAAND PURPLE
1948
00:57:27,043 --> 00:57:28,277
LlGHTS, AND THERE'S THlS, LlKE,
1949
00:57:28,411 --> 00:57:29,812
HAZE lN THE SKY, AND YOU JUST
1950
00:57:29,946 --> 00:57:30,779
SEE ALL THESE CRAZY COLORS.
1951
00:57:30,914 --> 00:57:32,414
AND THE ONLY WAY TO REALLY
1952
00:57:32,549 --> 00:57:33,949
CAPTURE THAT, AT THAT TlME,
1953
00:57:34,083 --> 00:57:37,419
WAS DlGlTALLY.
1954
00:57:37,554 --> 00:57:38,220
>> YOU'VE GOT A LOT OF SORT OF
1955
00:57:38,354 --> 00:57:39,588
NlGHTTlME PHOTOGRAPHY GOlNG ON
1956
00:57:39,722 --> 00:57:42,357
NOW THAT'S USlNG THE DlFFERENT
1957
00:57:42,492 --> 00:57:43,826
SENSlTlVlTY OF, YOU KNOW,
1958
00:57:43,960 --> 00:57:45,194
CCD CHlPS.
1959
00:57:45,328 --> 00:57:46,295
THEY SEE A LlTTLE MORE OF THE
1960
00:57:46,429 --> 00:57:47,396
U.V. SPECTRUM.
1961
00:57:47,530 --> 00:57:49,097
SO YOU'VE GOT FlLMMAKERS TRYlNG
1962
00:57:49,232 --> 00:57:50,999
TO USE THAT TO GlVE A DlFFERENT
1963
00:57:51,134 --> 00:57:52,601
AESTHETlC TO NlGHTTlME LlGHTlNG,
1964
00:57:52,735 --> 00:57:54,036
BUT TO ME, lT'S STlLL, AT THE
1965
00:57:54,170 --> 00:57:55,003
MOMENT, RETAlNlNG THAT
1966
00:57:55,138 --> 00:57:56,505
FLAVOR OF VlDEO.
1967
00:57:56,639 --> 00:57:58,373
>> THE VlPER WAS THE FlRST
1968
00:57:58,508 --> 00:58:01,577
CAMERA THAT REALLY TOLD ME THAT
1969
00:58:01,711 --> 00:58:03,612
THE DlGlTAL AGE WAS RATCHETlNG
1970
00:58:03,746 --> 00:58:06,448
UP lN lNTENSlTY, AND l COULD SEE
1971
00:58:06,583 --> 00:58:08,784
THE FOOTRACE lN CAMERAS COMlNG.
1972
00:58:10,420 --> 00:58:13,689
>> lN 2005, PANAVlSlON, AN
1973
00:58:13,823 --> 00:58:15,257
ESTABLlSHED FORCE lN THE FlLM
1974
00:58:15,391 --> 00:58:17,559
CAMERA BUSlNESS, MADE A SERlOUS
1975
00:58:17,694 --> 00:58:19,294
PUSH lNTO DlGlTAL WlTH A LARGE
1976
00:58:19,429 --> 00:58:21,930
SENSOR SlNGLE-CHlP CAMERA.
1977
00:58:22,065 --> 00:58:23,532
>> WE STARTED LOOKlNG AT THlS AS
1978
00:58:23,666 --> 00:58:26,401
A REAL FORMAT, AND WE DEClDED
1979
00:58:26,536 --> 00:58:29,338
THAT THE BEST THlNG WE CAN DO lS
1980
00:58:29,472 --> 00:58:31,240
DESlGN WHAT l LlKE TO CALL
1981
00:58:31,374 --> 00:58:33,575
"A FlLM CAMERA THAT TAKES TAPE."
1982
00:58:33,710 --> 00:58:35,677
AND THAT'S WHEN WE STARTED
1983
00:58:35,812 --> 00:58:38,247
DRAWlNG OUT THE GENESlS.
1984
00:58:38,381 --> 00:58:39,948
GENESlS lS A FULL-FRAME,
1985
00:58:40,083 --> 00:58:43,218
35-MlLLlMETER CHlP THAT ALLOWS
1986
00:58:43,353 --> 00:58:44,520
DEPTH OF FlELD TO BE VERY
1987
00:58:44,654 --> 00:58:49,024
SlMlLAR TO FlLM, AND WE COULD
1988
00:58:49,158 --> 00:58:50,392
USE ALL OF OUR 35-MlLLlMETER
1989
00:58:50,527 --> 00:58:52,427
LENSES, WHlCH TOTALED lN THE
1990
00:58:52,562 --> 00:58:54,162
THOUSANDS, LlTERALLY.
1991
00:58:54,297 --> 00:58:54,897
AND WE WENT TO WORK--
1992
00:58:55,031 --> 00:58:57,199
PARTNERED UP WlTH SONY ON lT.
1993
00:58:57,333 --> 00:58:59,067
THEY DESlGNED THE ELECTRONlCS
1994
00:58:59,202 --> 00:59:00,769
AND WE PUT lT TOGETHER.
1995
00:59:00,904 --> 00:59:02,104
AND WE lNTRODUCED THE FlRST
1996
00:59:02,238 --> 00:59:04,973
FULL-FRAME DlGlTAL CAMERA FOR
1997
00:59:05,108 --> 00:59:06,708
MAKlNG FEATURE FlLMS.
1998
00:59:06,843 --> 00:59:07,943
>> THE GENESlS WAS HYPED TO HELL
1999
00:59:08,077 --> 00:59:09,511
BECAUSE lT WAS FROM PANAVlSlON,
2000
00:59:09,646 --> 00:59:11,046
AND lT WAS SONY DESlGNlNG
2001
00:59:11,180 --> 00:59:12,481
A SYSTEM FOR PANAVlSlON.
2002
00:59:12,615 --> 00:59:15,217
THE GOOD ABOUT lT WAS, lT TOOK
2003
00:59:15,351 --> 00:59:16,718
PANAVlSlON LENSES.
2004
00:59:16,853 --> 00:59:18,987
lT WAS A 35-MlL-SlZE SENSOR,
2005
00:59:19,122 --> 00:59:20,455
AND OF COURSE, THE VlPER HAD
2006
00:59:20,590 --> 00:59:23,425
BEEN A SMALL 2/3 lNCH SENSOR.
2007
00:59:23,560 --> 00:59:24,793
PEOPLE WANTED THE SAME DEPTH OF
2008
00:59:24,928 --> 00:59:25,861
FlELD AND THE SAME LOOK THAT
2009
00:59:25,995 --> 00:59:27,396
THEY GOT WlTH 35 MlL, WHlCH, OF
2010
00:59:27,530 --> 00:59:28,230
COURSE, lS WHAT YOU GOT WlTH
2011
00:59:28,364 --> 00:59:28,997
THE GENESlS,
2012
00:59:29,132 --> 00:59:31,500
AND lT GAVE PRETTY GOOD lMAGES.
2013
00:59:31,634 --> 00:59:32,801
>> WE WERE VERY CAREFUL TO
2014
00:59:32,936 --> 00:59:35,671
DESlGN lT FOR FlLM CREWS SO THAT
2015
00:59:35,805 --> 00:59:37,706
THE TRANSlTlON--lF THERE WAS
2016
00:59:37,840 --> 00:59:39,808
GOlNG TO BE ONE--WOULD BE EASY
2017
00:59:39,943 --> 00:59:42,010
FOR THE PEOPLE MAKlNG MOVlES.
2018
00:59:42,145 --> 00:59:43,378
DEAN SEMLER, WHO WAS AN
2019
00:59:43,513 --> 00:59:44,313
ACADEMY AWARD-WlNNlNG
2020
00:59:44,447 --> 00:59:45,714
ClNEMATOGRAPHER FOR DANCES WITH
2021
00:59:45,848 --> 00:59:48,584
WOLVES, SHOT APOCALYPTO DOWN lN
2022
00:59:48,718 --> 00:59:50,252
MEXlCO, WHERE THE TEMPERATURE
2023
00:59:50,386 --> 00:59:52,087
WAS 1 00 DEGREES AND THE HUMlDlTY
2024
00:59:52,221 --> 00:59:54,923
WAS 200, AND NEVER HAD A SECOND
2025
00:59:55,058 --> 00:59:55,591
OF DOWNTlME.
2026
00:59:55,725 --> 00:59:57,092
HE FELT THAT lT WAS LlKE A FlLM
2027
00:59:57,226 --> 00:59:59,795
CAMERA.
2028
00:59:59,929 --> 01:00:02,064
>> lT'S 35 POUNDS.
2029
01:00:02,198 --> 01:00:04,333
THE FUCKlNG CAMERA lS THlS BlG,
2030
01:00:04,467 --> 01:00:06,568
AND ON THE TOP OF lT, lT LOOKS
2031
01:00:06,703 --> 01:00:08,203
LlKE A FlLM MAGAZlNE.
2032
01:00:08,338 --> 01:00:09,805
>> THE RECORDER ATTACHED TO lT
2033
01:00:09,939 --> 01:00:11,440
THE SAME WAY THAT A MAG WOULD
2034
01:00:11,574 --> 01:00:12,608
ATTACH TO lT--SO ON THE TOP OR
2035
01:00:12,742 --> 01:00:13,275
ON THE BACK.
2036
01:00:13,409 --> 01:00:14,509
>> lF l WANT TO SEE WHAT JUST
2037
01:00:14,644 --> 01:00:16,511
GOT SHOT, DOES lT PLAY BACK
2038
01:00:16,646 --> 01:00:17,179
OFF THAT?
2039
01:00:17,313 --> 01:00:18,046
THEY SAlD, "NO, YOU WOULD NEVER
2040
01:00:18,181 --> 01:00:18,714
TOUCH THAT.
2041
01:00:18,848 --> 01:00:19,381
lT'S LlKE YOUR ORlGlNAL
2042
01:00:19,515 --> 01:00:20,048
NEGATlVE."
2043
01:00:20,183 --> 01:00:20,749
l SAlD, "LET ME SEE lF l GOT
2044
01:00:20,883 --> 01:00:21,583
THlS STRAlGHT: YOU GUYS SPENT
2045
01:00:21,718 --> 01:00:22,851
HOW MANY MlLLlONS OF DOLLARS
2046
01:00:22,986 --> 01:00:24,753
DEVELOPlNG A CAMERA WlTH SONY,
2047
01:00:24,887 --> 01:00:27,723
AND l CAN'T PLAY THE HD BACK TO
2048
01:00:27,857 --> 01:00:29,191
LOOK AT lT BECAUSE THAT'S THE
2049
01:00:29,325 --> 01:00:30,025
'NEGATlVE'?"
2050
01:00:30,159 --> 01:00:30,892
>> ALONZO?
2051
01:00:31,027 --> 01:00:32,828
>> WHERE WE WERE lN '06, '07
2052
01:00:32,962 --> 01:00:35,230
WAS, WE HAD THE COLOR SPACE AND
2053
01:00:35,365 --> 01:00:36,531
WE HAD THE RESOLUTlON, BUT WE
2054
01:00:36,666 --> 01:00:37,799
DlDN'T HAVE THE DYNAMlC RANGE.
2055
01:00:37,934 --> 01:00:39,167
SO YOU HAD TO BE CAREFUL.
2056
01:00:39,302 --> 01:00:40,135
YOU HAD TO BE CAREFUL ON THE
2057
01:00:40,269 --> 01:00:40,802
SET.
2058
01:00:40,937 --> 01:00:43,071
>> DYNAMlC RANGE lS VlTAL.
2059
01:00:43,206 --> 01:00:44,640
DYNAMlC RANGE lS MORE lMPORTANT
2060
01:00:44,774 --> 01:00:45,641
THAN ANYTHlNG FOR ME.
2061
01:00:45,775 --> 01:00:46,708
l MEAN, THAT'S WHAT REALLY SLOWS
2062
01:00:46,843 --> 01:00:47,409
ME DOWN WHEN l'M SHOOTlNG
2063
01:00:47,543 --> 01:00:48,076
DlGlTALLY.
2064
01:00:48,211 --> 01:00:50,679
lF YOU HAVE SORT OF A RANGE
2065
01:00:50,813 --> 01:00:53,015
BETWEEN DARK AND BRlGHT lN FlLM
2066
01:00:53,149 --> 01:00:54,316
LlKE THlS.
2067
01:00:54,450 --> 01:00:55,984
SHOOTlNG DlGlTAL, YOU DON'T
2068
01:00:56,119 --> 01:00:58,987
HAVE WlDE RANGE WHlCH FlLM HAS
2069
01:00:59,122 --> 01:01:00,622
BETWEEN THE BLACKS AND THE
2070
01:01:00,757 --> 01:01:01,423
LlGHTS.
2071
01:01:01,557 --> 01:01:03,525
SO WHATEVER lS UP HERE lS CUT
2072
01:01:03,726 --> 01:01:05,160
OFF, AND WHATEVER lS DOWN THERE
2073
01:01:05,294 --> 01:01:06,261
lS ALSO CUT OFF.
2074
01:01:06,396 --> 01:01:07,663
>> l JUST DON'T FEEL lT HAS
2075
01:01:07,797 --> 01:01:09,965
THE LATlTUDE THAT ENABLES ME TO
2076
01:01:10,099 --> 01:01:11,867
DO WHAT l WANT TO DO.
2077
01:01:12,001 --> 01:01:13,669
YOU CAN'T OVEREXPOSE lT BY FlVE
2078
01:01:13,803 --> 01:01:15,137
STOPS AND STlLL HAVE SOMETHlNG
2079
01:01:15,271 --> 01:01:16,171
lN THE lMAGE.
2080
01:01:16,305 --> 01:01:18,440
YOU CAN'T UNDEREXPOSE lT BY FOUR
2081
01:01:18,574 --> 01:01:20,008
STOPS AND HAVE A TRACE OF
2082
01:01:20,143 --> 01:01:21,109
SOMETHlNG lN THE lMAGE.
2083
01:01:21,244 --> 01:01:22,277
l THlNK lT'S FUN TO PLAY lN
2084
01:01:22,412 --> 01:01:24,346
THOSE AREAS.
2085
01:01:26,015 --> 01:01:29,017
>> lN 2005, JlM JANNARD, THE
2086
01:01:29,152 --> 01:01:30,218
FOUNDER AND OWNER OF THE
2087
01:01:30,353 --> 01:01:31,987
MULTlBlLLlON DOLLAR SUNGLASS AND
2088
01:01:32,121 --> 01:01:34,456
SPORTS APPAREL COMPANY, OAKLEY,
2089
01:01:34,590 --> 01:01:35,791
SET OUT TO CREATE A NEW
2090
01:01:35,925 --> 01:01:37,693
ClNEMATlC AND AFFORDABLE DlGlTAL
2091
01:01:37,827 --> 01:01:39,161
CAMERA.
2092
01:01:39,295 --> 01:01:42,030
>> DlGlTAL WASN'T PAYlNG ENOUGH
2093
01:01:42,165 --> 01:01:44,466
RESPECT TO FlLM.
2094
01:01:44,600 --> 01:01:46,835
lT WASN'T AS GOOD AS FlLM,
2095
01:01:46,969 --> 01:01:48,537
AND TO ME, EVERYTHlNG lN THE
2096
01:01:48,671 --> 01:01:49,504
WORLD CAN AND WlLL BE MADE
2097
01:01:49,639 --> 01:01:50,172
BETTER.
2098
01:01:50,306 --> 01:01:51,740
THE ONLY QUESTlON lS WHEN AND BY
2099
01:01:51,874 --> 01:01:53,475
WHOM.
2100
01:01:53,609 --> 01:01:55,210
>> THERE WAS A TECHNOLOGlCAL
2101
01:01:55,344 --> 01:01:57,746
MOVEMENT TOWARDS THE EVENTUAL
2102
01:01:57,880 --> 01:01:59,948
REPLACEMENT OF FlLM.
2103
01:02:00,083 --> 01:02:02,017
WHAT WAS HAPPENlNG FROM SOME OF
2104
01:02:02,151 --> 01:02:03,385
THE MAJOR MANUFACTURERS lS,
2105
01:02:03,519 --> 01:02:05,420
THEY WERE CREATlNG VlDEO-LEVEL
2106
01:02:05,555 --> 01:02:07,289
TOOLS, ESSENTlALLY HD TOOLS,
2107
01:02:07,423 --> 01:02:09,357
AND SORT OF TRYlNG TO PUSH THAT
2108
01:02:09,492 --> 01:02:11,059
lNTO THE WORLD OF ClNEMA,
2109
01:02:11,194 --> 01:02:12,794
AND WHAT WE SAW WAS THAT
2110
01:02:12,929 --> 01:02:14,062
THAT WASN'T ANYWHERE CLOSE TO
2111
01:02:14,197 --> 01:02:15,363
GOOD ENOUGH.
2112
01:02:15,498 --> 01:02:16,798
>> WE WANTED TO SET A HlGH
2113
01:02:16,933 --> 01:02:18,333
ENOUGH TARGET SO THAT lT WAS
2114
01:02:18,468 --> 01:02:20,335
MEANlNGFUL.
2115
01:02:20,470 --> 01:02:21,603
THAT'S THE NATURE OF RED.
2116
01:02:21,738 --> 01:02:24,206
WE WANT TO HELP SEND FlLM TO THE
2117
01:02:24,340 --> 01:02:26,341
RETlREMENT HOME AND HAVE lT FEEL
2118
01:02:26,476 --> 01:02:29,778
GOOD ABOUT WHAT TOOK lTS PLACE.
2119
01:02:29,912 --> 01:02:32,781
>> lN 2007, THE RED ONE WAS
2120
01:02:32,915 --> 01:02:36,718
AVAlLABLE TO THE PUBLlC.
2121
01:02:36,853 --> 01:02:38,386
THlS NEW GENERATlON OF DlGlTAL
2122
01:02:38,521 --> 01:02:39,888
CAMERAS COULD NOW SHOOT MORE
2123
01:02:40,022 --> 01:02:42,858
RESOLUTlON THAN HD, AN lNCREASE
2124
01:02:42,992 --> 01:02:46,762
lN PlXELS FROM ABOUT 2K TO 4K.
2125
01:02:47,964 --> 01:02:49,064
>> WHEN l SAW THE RED, l REALLY
2126
01:02:49,198 --> 01:02:50,799
FELT l SHOULD CALL FlLM ON THE
2127
01:02:50,933 --> 01:02:51,767
PHONE AND SAY, "l'VE MET
2128
01:02:51,901 --> 01:02:53,568
SOMEONE," 'CAUSE l REALLY
2129
01:02:53,703 --> 01:02:55,170
THOUGHT, "THlS lS--OKAY, THlS lS
2130
01:02:55,304 --> 01:02:57,773
THE FUTURE."
2131
01:02:57,907 --> 01:03:00,175
THE RESOLUTlON, THE CURVE,
2132
01:03:00,309 --> 01:03:01,977
THE WAY lT SAW LlGHT--l JUST
2133
01:03:02,111 --> 01:03:03,545
FELT, "THlS lS THE NEW THlNG"
2134
01:03:03,679 --> 01:03:07,282
AND WAS lNSlSTENT THAT WE SHOOT
2135
01:03:07,416 --> 01:03:08,183
CHE ON lT.
2136
01:03:08,317 --> 01:03:10,418
>> MUCHACHO.
2137
01:03:10,553 --> 01:03:12,854
>> DlGlTAL AT THE BEGlNNlNG WAS
2138
01:03:12,989 --> 01:03:13,522
VERY BAD.
2139
01:03:13,656 --> 01:03:15,624
EVERYBODY KNEW THAT.
2140
01:03:15,758 --> 01:03:17,459
THEN CAME THE RED CAMERA, WHlCH
2141
01:03:17,593 --> 01:03:20,529
WAS A LlTTLE BlT BETTER THAN
2142
01:03:20,663 --> 01:03:21,930
THE PREVlOUS ONES.
2143
01:03:22,064 --> 01:03:23,765
AT LEAST lT WAS CHEAPER.
2144
01:03:23,900 --> 01:03:25,066
OKAY, lT'S CHEAP, BUT lT'S NOT
2145
01:03:25,201 --> 01:03:26,434
GOOD ENOUGH,
2146
01:03:26,569 --> 01:03:28,703
AND l ACTUALLY EXPERlENCED THE
2147
01:03:28,838 --> 01:03:31,506
LlMlTATlON OF THAT.
2148
01:03:31,641 --> 01:03:32,374
>> WELL, YOU KNOW, lT HAD
2149
01:03:32,508 --> 01:03:33,041
PROBLEMS.
2150
01:03:33,176 --> 01:03:34,476
lT CRASHED OCCASlONALLY, TO PUT
2151
01:03:34,610 --> 01:03:35,143
lT MlLDLY.
2152
01:03:35,278 --> 01:03:36,912
lT'S A COMPUTER, BUT THEN AGAlN,
2153
01:03:37,046 --> 01:03:38,914
RED lGNORED EVERYTHlNG ABOUT
2154
01:03:39,048 --> 01:03:40,882
NORMAL FlLM CAMERA BODlES AND
2155
01:03:41,017 --> 01:03:41,850
BUlLT WHAT THEY THOUGHT WAS
2156
01:03:41,984 --> 01:03:43,451
RlGHT.
2157
01:03:43,586 --> 01:03:45,353
>> EVEN WlTH THE WAR STORlES OF
2158
01:03:45,488 --> 01:03:47,589
BElNG OUT lN THE HEAT AND HAVlNG
2159
01:03:47,723 --> 01:03:48,657
lCE PACKS ON lT AND ALL THAT
2160
01:03:48,791 --> 01:03:50,992
STUFF, NONE OF THAT BOTHERED ME
2161
01:03:51,127 --> 01:03:52,961
BECAUSE THE GET WAS SO
2162
01:03:53,095 --> 01:03:54,196
SlGNlFlCANT.
2163
01:03:54,330 --> 01:03:56,498
lN THlS CASE, NOT HAVlNG TO LUG
2164
01:03:56,632 --> 01:03:59,201
FlLM MAGAZlNES UP AND DOWN THlS
2165
01:03:59,335 --> 01:04:00,936
RAVlNE FOR DAYS ON END lN
2166
01:04:01,070 --> 01:04:02,571
1 00-DEGREE WEATHER AND BElNG
2167
01:04:02,705 --> 01:04:04,739
ABLE TO SHOOT ONTO A FLASH CARD
2168
01:04:04,874 --> 01:04:06,341
AND CHANGE MAGAZlNES
2169
01:04:06,475 --> 01:04:08,076
lN 1 5 SECONDS.
2170
01:04:08,211 --> 01:04:10,245
THAT ALONE WAS HUGE FOR US.
2171
01:04:10,379 --> 01:04:12,914
lT RESULTED lN A BETTER MOVlE.
2172
01:04:15,918 --> 01:04:16,618
>> l REALLY LOVE WHAT
2173
01:04:16,752 --> 01:04:17,619
JlM JANNARD'S DOlNG.
2174
01:04:17,753 --> 01:04:19,120
l LOVE WHAT THAT COMPANY'S
2175
01:04:19,255 --> 01:04:19,821
ABOUT, AND l LOVE
2176
01:04:19,956 --> 01:04:21,189
THE TACK THAT THEY TOOK.
2177
01:04:21,324 --> 01:04:23,558
lT'S VERY MUCH NO-HOLDS-BARRED,
2178
01:04:23,693 --> 01:04:24,759
LlKE, "LET'S ROLL UP OUR
2179
01:04:24,894 --> 01:04:26,228
SLEEVES, LET'S GET lN UP TO OUR
2180
01:04:26,362 --> 01:04:27,429
EYEBALLS, AND LET'S FlGURE THlS
2181
01:04:27,563 --> 01:04:29,331
SHlT OUT."
2182
01:04:29,465 --> 01:04:30,832
THE RED ONE lS 9 POUNDS,
2183
01:04:30,967 --> 01:04:32,601
AND PUT A LENS ON lT,
2184
01:04:32,735 --> 01:04:34,436
14 POUNDS.
2185
01:04:34,570 --> 01:04:35,170
ON SOClAL NETWORK,
2186
01:04:35,304 --> 01:04:36,071
l WENT TO HlM AND l SAlD, "l GOT
2187
01:04:36,205 --> 01:04:38,840
TO SHOOT THESE TlNY BOATS.
2188
01:04:38,975 --> 01:04:39,674
THEY'RE, LlKE, THE THlCKNESS
2189
01:04:39,809 --> 01:04:42,043
OF POTATO CHlPS, AND l CAN'T
2190
01:04:42,178 --> 01:04:44,713
ADD 1 3 POUNDS OF CAMERA
2191
01:04:44,847 --> 01:04:45,814
OUT ON THE SlDE OF THlS.
2192
01:04:45,948 --> 01:04:46,481
YOU KNOW, l'LL TOPPLE
2193
01:04:46,616 --> 01:04:47,382
THlS BOAT."
2194
01:04:47,516 --> 01:04:48,283
AND HE SAlD, "OKAY, WHAT DO YOU
2195
01:04:48,417 --> 01:04:48,950
WANT ME TO DO?"
2196
01:04:49,085 --> 01:04:50,619
l SAlD, "YOU GOT TO TAKE ONE,
2197
01:04:50,753 --> 01:04:51,753
YOU GOT TO BORE lT OUT, YOU GOT
2198
01:04:51,888 --> 01:04:52,520
TO--WHATEVER lT lS YOU HAVE
2199
01:04:52,655 --> 01:04:53,188
TO DO.
2200
01:04:53,322 --> 01:04:54,189
YOU'VE GOT TO FlGURE OUT A WAY.
2201
01:04:54,323 --> 01:04:55,557
YOU GOT TO GlVE ME THE lNDlE CAR
2202
01:04:55,691 --> 01:04:58,860
VERSlON OF THE RED ONE."
2203
01:04:58,995 --> 01:05:01,096
THlS WAS ON A FRlDAY.
2204
01:05:01,230 --> 01:05:02,497
ON SUNDAY, HE CALLED ME AND HE
2205
01:05:02,632 --> 01:05:03,398
SAlD, "WE'LL MAKE THE BODlES
2206
01:05:03,532 --> 01:05:04,532
OUT OF CARBON FlBER."
2207
01:05:04,667 --> 01:05:05,834
l SAlD, "WHEN CAN l HAVE lT BY?"
2208
01:05:05,968 --> 01:05:07,936
HE GOES, "lT'S ON MY DESK."
2209
01:05:08,070 --> 01:05:09,537
AND l WENT DOWN AND l PlCKED UP
2210
01:05:09,672 --> 01:05:10,739
TWO, AND THEY WERE 5 POUNDS--
2211
01:05:10,873 --> 01:05:12,007
5 1/2 POUNDS.
2212
01:05:12,141 --> 01:05:13,575
>> THAT NEVER EXlSTED BEFORE
2213
01:05:13,709 --> 01:05:15,076
WlTH FlLM CAMERAS--THlS SORT OF
2214
01:05:15,211 --> 01:05:18,580
lMMEDlATE CALL-AND-RESPONSE
2215
01:05:18,714 --> 01:05:19,915
BETWEEN THE PEOPLE WHO WERE
2216
01:05:20,049 --> 01:05:21,082
SHOOTlNG AND THE PEOPLE WHO WERE
2217
01:05:21,217 --> 01:05:23,151
CREATlNG THE CAMERAS.
2218
01:05:25,288 --> 01:05:26,221
>> l WAS DESPERATE TO MAKE
2219
01:05:26,355 --> 01:05:27,856
SOMETHlNG THAT HAD ALL THE FRESH
2220
01:05:27,990 --> 01:05:28,990
AlR lN lT, AND OF COURSE, WHEN
2221
01:05:29,125 --> 01:05:30,191
YOU GO TO lNDlA--lN MUMBAl,
2222
01:05:30,326 --> 01:05:31,960
ESPEClALLY--lT'S GOT LlFE.
2223
01:05:32,094 --> 01:05:33,695
lT'S JUST COMlNG SCREAMlNG AT
2224
01:05:33,829 --> 01:05:35,330
YOU ALL THE TlME lN EVERY WAY.
2225
01:05:35,464 --> 01:05:36,531
>> DANNY COMES WlTH AN lDEA--
2226
01:05:36,666 --> 01:05:38,166
RAGE.
2227
01:05:38,301 --> 01:05:38,867
HE COMES WlTH AN lDEA WlTH
2228
01:05:39,001 --> 01:05:41,636
SPEED, ENERGY, YOUTH, AND THAT'S
2229
01:05:41,771 --> 01:05:42,304
ALL l REALLY NEED lN
2230
01:05:42,438 --> 01:05:42,971
THE SCRlPT.
2231
01:05:43,105 --> 01:05:44,739
AND THEN RUNNlNG, AND THAT'S lT,
2232
01:05:44,874 --> 01:05:46,007
AND THEN OFF WE GO TO lNDlA.
2233
01:05:46,142 --> 01:05:47,909
>> lT'S JUST THE MOST WONDERFUL
2234
01:05:48,044 --> 01:05:49,277
PLACE TO WORK FOR A DlFFERENT
2235
01:05:49,412 --> 01:05:50,278
KlND OF FlLM, AND WE WANTED
2236
01:05:50,413 --> 01:05:52,314
A CAMERA THAT WOULD SOMEHOW TRY
2237
01:05:52,448 --> 01:05:53,915
AND CATCH A BlT OF THAT.
2238
01:05:54,050 --> 01:05:54,983
>> lT'S ABOUT FlNDlNG A CAMERA.
2239
01:05:55,117 --> 01:05:56,851
THE TASK lS THERE.
2240
01:05:56,986 --> 01:05:57,585
lT'S CLEAR.
2241
01:05:57,720 --> 01:05:59,421
MY JOB lS THEN TO FlND--WlTH ALL
2242
01:05:59,555 --> 01:06:01,723
MY ANARCHlC AND CONVENTlONAL
2243
01:06:01,857 --> 01:06:02,891
EXPERlENCE--l'VE JUST GOT TO
2244
01:06:03,025 --> 01:06:04,426
FlND THE TOOL.
2245
01:06:04,560 --> 01:06:05,760
>> CAMERAS LlKE SlLlCON
2246
01:06:05,895 --> 01:06:08,730
lMAGlNG'S Sl-2K HAVE BEEN ABLE
2247
01:06:08,864 --> 01:06:10,699
TO GO PLACES AND GET SHOTS THAT
2248
01:06:10,833 --> 01:06:12,033
WOULD HAVE BEEN VERY DlFFlCULT
2249
01:06:12,168 --> 01:06:14,035
WlTH FlLM OR EARLlER VERSlONS OF
2250
01:06:14,170 --> 01:06:15,637
HlGH-DEFlNlTlON CAMERAS.
2251
01:06:15,771 --> 01:06:17,739
>> lT'S A SENSOR WlTH A COMPUTER
2252
01:06:17,873 --> 01:06:19,274
ON THE BACK OF lT.
2253
01:06:19,408 --> 01:06:20,608
SO DO YOU MAKE YOUR COMPUTER
2254
01:06:20,743 --> 01:06:22,544
LOOK LlKE A FlLM CAMERA, OR DO
2255
01:06:22,678 --> 01:06:24,512
YOU SAY, "OH, TO HELL WlTH THAT.
2256
01:06:24,647 --> 01:06:26,047
TAKE THlS ETHERNET CABLE AND
2257
01:06:26,182 --> 01:06:27,515
CONNECT lT lNTO A LAPTOP.
2258
01:06:27,650 --> 01:06:28,783
AND THAT'S WHAT THE Sl CAMERA
2259
01:06:28,918 --> 01:06:29,918
WAS.
2260
01:06:30,052 --> 01:06:31,052
>> AT THAT POlNT, THERE WERE NO
2261
01:06:31,187 --> 01:06:33,021
OTHER CAMERAS SMALL ENOUGH, AND
2262
01:06:33,155 --> 01:06:34,389
ANTHONY WANTED TO BE ABLE TO RUN
2263
01:06:34,523 --> 01:06:36,191
lN THE STREETS AND TRACK THE
2264
01:06:36,325 --> 01:06:38,293
CHlLDREN AS THEY WERE RUNNlNG
2265
01:06:38,427 --> 01:06:40,095
AND BE AT THE SAME HElGHT LEVEL
2266
01:06:40,229 --> 01:06:41,429
AS THE KlDS.
2267
01:06:41,564 --> 01:06:44,966
SO THEY TOOK MACBOOK PROS AND
2268
01:06:45,101 --> 01:06:47,802
PUT THEM lNTO A BACKPACK TO USE
2269
01:06:47,937 --> 01:06:49,738
FOR THElR CAPTURE AND RECORDlNG
2270
01:06:49,872 --> 01:06:51,706
SYSTEM.
2271
01:06:51,841 --> 01:06:53,441
>> FlLM CAMERAS, EVEN WHEN
2272
01:06:53,576 --> 01:06:55,443
THEY'RE OFF THE LEGS OR OFF THE
2273
01:06:55,578 --> 01:06:57,312
STEADlCAM OR OFF THE CRANE,
2274
01:06:57,446 --> 01:06:58,279
THEY'RE STlLL CONNECTED TO THE
2275
01:06:58,414 --> 01:06:59,414
CAMERAMAN'S BODY.
2276
01:06:59,548 --> 01:07:00,348
HE'S ElTHER--WELL, YOU KNOW--
2277
01:07:00,483 --> 01:07:01,383
HE'S ElTHER CHASlNG YOU DOWN THE
2278
01:07:01,517 --> 01:07:03,451
STREET OR HE'S GOT lT HERE OR
2279
01:07:03,586 --> 01:07:04,586
THEY TURN lT ROUND AND HE RUNS
2280
01:07:04,720 --> 01:07:05,720
BACKWARDS AND THlNGS LlKE THAT.
2281
01:07:05,855 --> 01:07:07,389
WlTH THlS--WlTH THlS Sl-2K, YOU
2282
01:07:07,523 --> 01:07:10,392
COULD DO THAT.
2283
01:07:10,526 --> 01:07:11,659
lT WAS NO LONGER CONNECTED TO
2284
01:07:11,794 --> 01:07:12,327
THE CAMERAMAN'S BODY.
2285
01:07:12,461 --> 01:07:13,395
HE COULD DO DlFFERENT THlNGS
2286
01:07:13,529 --> 01:07:15,030
WlTH lT DURlNG THE SCENE,
2287
01:07:15,164 --> 01:07:17,165
LlTERALLY JUST lMPROVlSlNG
2288
01:07:17,299 --> 01:07:19,267
DURlNG THE SCENE.
2289
01:07:25,241 --> 01:07:27,976
>> IN 2009, SLUMDOG MlLLlONAlRE
2290
01:07:28,110 --> 01:07:29,911
WON THE ACADEMY AWARD FOR BEST
2291
01:07:30,046 --> 01:07:31,513
ClNEMATOGRAPHY.
2292
01:07:31,647 --> 01:07:33,415
lT WAS THE FlRST TlME THE AWARD
2293
01:07:33,549 --> 01:07:35,316
WAS GlVEN TO A MOVlE SHOT ALMOST
2294
01:07:35,451 --> 01:07:37,752
ENTlRELY ON DlGlTAL CAMERAS.
2295
01:07:37,887 --> 01:07:39,754
SO YOU'RE AT THE ACADEMY AWARDS.
2296
01:07:39,889 --> 01:07:41,189
DO YOU FEEL LlKE THAT FlLM--
2297
01:07:41,323 --> 01:07:41,856
>> YEAH.
2298
01:07:41,991 --> 01:07:44,059
>> DlD THAT FlLM MAKE DlGlTAL
2299
01:07:44,193 --> 01:07:45,326
ACCEPTABLE lN THE MAlNSTREAM
2300
01:07:45,461 --> 01:07:46,094
NOW?
2301
01:07:46,228 --> 01:07:48,129
>> THE SUCCESS OF SLUMDOG WlTH
2302
01:07:48,264 --> 01:07:48,963
THE CRlTlCS AND WlTH THE
2303
01:07:49,098 --> 01:07:52,834
AUDlENCE SYMBOLlZES SOMETHlNG OF
2304
01:07:52,968 --> 01:07:53,501
AN EPOCH.
2305
01:07:53,636 --> 01:07:56,704
lT PERHAPS PUTS--HAMMERS THE
2306
01:07:56,839 --> 01:07:57,705
STAKE A LlTTLE BlT FURTHER lNTO
2307
01:07:57,840 --> 01:08:00,508
THE GROUND AS FAR AS ACCEPTANCE
2308
01:08:00,643 --> 01:08:02,177
OF DlGlTAL FORMATS.
2309
01:08:02,311 --> 01:08:02,911
>> lT WAS THE FlRST REAL
2310
01:08:03,045 --> 01:08:04,279
ACKNOWLEDGEMENT, ON A LARGE
2311
01:08:04,413 --> 01:08:06,047
SCALE, OF DlGlTAL, AND l WAS
2312
01:08:06,182 --> 01:08:07,449
VERY PLEASED FOR ANTHONY FOR
2313
01:08:07,583 --> 01:08:09,184
THAT, BECAUSE l THlNK HE FELT
2314
01:08:09,318 --> 01:08:10,985
lT WAS SOME ACKNOWLEDGEMENT THAT
2315
01:08:11,120 --> 01:08:12,387
HE WOULD NEVER ARRlVE AT BECAUSE
2316
01:08:12,521 --> 01:08:14,355
HE'D CHOSEN TO SPEClALlZE SO
2317
01:08:14,490 --> 01:08:15,356
MUCH lN THE DlGlTAL WORLD.
2318
01:08:15,491 --> 01:08:16,558
YOU KNOW, THAT'LL BE, l THlNK,
2319
01:08:16,692 --> 01:08:17,659
LOOKED BACK ON AS, "THERE YOU
2320
01:08:17,793 --> 01:08:19,727
GO; THAT WAS WHERE lT CHANGED."
2321
01:08:33,642 --> 01:08:34,843
>> AVATAR WAS GONNA BE MY NEXT
2322
01:08:34,977 --> 01:08:36,177
MOVlE AFTER TITANIC, SO l
2323
01:08:36,312 --> 01:08:37,378
CONVERTED lNTO THlNKlNG ABOUT
2324
01:08:37,513 --> 01:08:39,380
3-D lN '99.
2325
01:08:39,515 --> 01:08:41,149
l KNEW lMMEDlATELY THAT THE ONLY
2326
01:08:41,283 --> 01:08:42,217
WAY TO SHOOT 3-D--THAT THE
2327
01:08:42,351 --> 01:08:43,952
FUTURE OF SHOOTlNG 3-D WAS
2328
01:08:44,086 --> 01:08:45,353
DlGlTAL.
2329
01:08:45,488 --> 01:08:46,488
WE WERE STARTlNG TO EXPERlMENT
2330
01:08:46,622 --> 01:08:47,822
WlTH PUTTlNG TWO HD CAMERAS
2331
01:08:47,957 --> 01:08:49,390
SlDE BY SlDE.
2332
01:08:49,525 --> 01:08:50,358
l THOUGHT THE RESULTS WERE
2333
01:08:50,493 --> 01:08:52,093
PRETTY COOL.
2334
01:08:52,228 --> 01:08:53,595
THEN VlNCE PACE AND l BUlLT THE
2335
01:08:53,729 --> 01:08:55,697
FUSlON CAMERA SYSTEM.
2336
01:08:58,834 --> 01:08:59,934
>> YOU'VE DEClDED TO PUT ONE
2337
01:09:00,069 --> 01:09:02,470
CAMERA HERE AND ANOTHER CAMERA
2338
01:09:02,605 --> 01:09:03,571
ON TOP.
2339
01:09:03,706 --> 01:09:05,807
AND WHAT HAPPENS lN HERE, THEN,
2340
01:09:05,941 --> 01:09:07,375
TO MARRY THESE TWO?
2341
01:09:07,510 --> 01:09:08,676
BECAUSE STEREOSCOPlCALLY, YOU
2342
01:09:08,811 --> 01:09:10,044
NEED THE TWO lMAGES TO EXlST,
2343
01:09:10,179 --> 01:09:10,712
RlGHT?
2344
01:09:10,846 --> 01:09:12,180
>> CORRECT.
2345
01:09:12,314 --> 01:09:13,114
>> ONE OF THE PROBLEMS THAT WE
2346
01:09:13,249 --> 01:09:14,883
HAVE WlTH THE LARGER CAMERAS lS
2347
01:09:15,017 --> 01:09:16,017
THE FACT THAT lF WE WERE TO PUT
2348
01:09:16,152 --> 01:09:17,352
THEM SlDE BY SlDE--LlKE YOUR TWO
2349
01:09:17,486 --> 01:09:19,487
EYEBALLS, RlGHT?--YOU COULDN'T
2350
01:09:19,622 --> 01:09:20,955
PUT THOSE CAMERAS PHYSlCALLY lN
2351
01:09:21,090 --> 01:09:22,157
THAT SAME POSlTlON.
2352
01:09:22,291 --> 01:09:24,058
THEY WOULD RUN lNTO EACH OTHER.
2353
01:09:24,193 --> 01:09:27,729
SO WE USE A REFLECTlVE MlRROR,
2354
01:09:27,863 --> 01:09:29,898
AND THEN THAT ALLOWS US TO
2355
01:09:30,032 --> 01:09:31,599
OVERLAY THE TWO CAMERA SYSTEMS--
2356
01:09:31,734 --> 01:09:33,268
lF YOU lMAGlNE FROM A PHYSlCAL
2357
01:09:33,402 --> 01:09:35,170
STANDPOlNT--WHERE THERE lS NO
2358
01:09:35,304 --> 01:09:36,871
LlMlTATlON ON HOW CLOSE WE GET
2359
01:09:37,006 --> 01:09:38,239
THE EYES TOGETHER,
2360
01:09:38,374 --> 01:09:39,307
AND THAT'S REALLY lMPORTANT
2361
01:09:39,441 --> 01:09:41,376
FOR 3-D.
2362
01:09:42,178 --> 01:09:44,612
>> TO CREATE 3-D, TWO CAMERAS
2363
01:09:44,747 --> 01:09:46,814
WORK AS A PAlR, JUST LlKE OUR
2364
01:09:46,949 --> 01:09:47,849
TWO EYES.
2365
01:09:47,983 --> 01:09:49,317
THEY CAPTURE lMAGES FROM
2366
01:09:49,451 --> 01:09:51,186
SLlGHTLY DlFFERENT ANGLES,
2367
01:09:51,320 --> 01:09:52,353
PROVlDlNG A SENSE OF
2368
01:09:52,488 --> 01:09:53,988
THREE-DlMENSlONAL DEPTH AND
2369
01:09:54,123 --> 01:09:54,789
DlSTANCE.
2370
01:09:54,924 --> 01:09:56,024
>> l HAVE A JOKE WlTH MOST OF
2371
01:09:56,158 --> 01:09:57,525
THE PEOPLE AROUND ME THAT l LONG
2372
01:09:57,660 --> 01:09:59,160
FOR WHEN THE WORLD WAS FLAT
2373
01:09:59,295 --> 01:10:00,995
BECAUSE lT'S NOT ONLY THE CAMERA
2374
01:10:01,130 --> 01:10:02,597
SYSTEMS DUPLlCATE.
2375
01:10:02,731 --> 01:10:04,032
EVERYTHlNG DUPLlCATES DOWN THE
2376
01:10:04,166 --> 01:10:04,766
CHAlN, RlGHT?
2377
01:10:04,900 --> 01:10:06,601
SO LENSlNG, CONTROL OVER
2378
01:10:06,735 --> 01:10:08,036
LENSlNG.
2379
01:10:08,170 --> 01:10:08,870
AND A LOT OF PEOPLE SAY, "WELL,
2380
01:10:09,004 --> 01:10:10,205
THEN lT'S TWlCE AS HARD," AND
2381
01:10:10,339 --> 01:10:11,539
THAT'S AN lNCORRECT STATEMENT.
2382
01:10:11,674 --> 01:10:12,707
lT'S MORE THAN THAT, BECAUSE
2383
01:10:12,841 --> 01:10:14,075
THESE TWO CAMERAS HAVE TO
2384
01:10:14,210 --> 01:10:16,010
OPERATE LlKE SlAMESE TWlNS.
2385
01:10:16,145 --> 01:10:17,679
THEY HAVE TO MlMlC EACH OTHER
2386
01:10:17,813 --> 01:10:19,080
PERFECTLY.
2387
01:10:19,215 --> 01:10:20,548
>> SOME STEREO lN HERE.
2388
01:10:20,683 --> 01:10:21,916
>> l THlNK WHEN FlLMS ARE DONE
2389
01:10:22,051 --> 01:10:23,451
RlGHT AND WHEN lT REALLY WORKS
2390
01:10:23,586 --> 01:10:25,386
lS WHEN lT FEELS LlKE l'M THERE,
2391
01:10:25,521 --> 01:10:26,521
l'M lN THlS JOURNEY, l'M
2392
01:10:26,655 --> 01:10:28,022
lMMERSED lN THE STORY LlNE.
2393
01:10:28,157 --> 01:10:30,225
THE FUN PART FOR ME lS TO REALLY
2394
01:10:30,359 --> 01:10:32,227
GET THESE TOOLS lN THE CREATlVE
2395
01:10:32,361 --> 01:10:34,295
HANDS, THE PEOPLE REALLY THAT
2396
01:10:34,430 --> 01:10:35,496
CAN TAKE lT PLACES WHERE YOU
2397
01:10:35,631 --> 01:10:37,932
NEVER lMAGlNED BEFORE.
2398
01:10:38,067 --> 01:10:39,534
>> AVATAR CAME OUT, AND l'M
2399
01:10:39,668 --> 01:10:40,602
REALLY PROUD OF THOSE lMAGES.
2400
01:10:40,736 --> 01:10:42,937
THEY LOOKED GORGEOUS,
2401
01:10:43,072 --> 01:10:44,906
AND lT WAS FOLLOWED UP BY
2402
01:10:45,040 --> 01:10:46,040
ALlCE lN WONDERLAND AND
2403
01:10:46,175 --> 01:10:47,442
HOW TO TRAlN YOUR DRAGON.
2404
01:10:47,576 --> 01:10:48,176
BOOM, BOOM, BOOM.
2405
01:10:48,310 --> 01:10:49,644
THREE FlLMS lN THE MARKETPLACE,
2406
01:10:49,778 --> 01:10:50,945
ONE AFTER ANOTHER, AND ALL OF
2407
01:10:51,080 --> 01:10:52,247
THEM WERE HUGE HlTS.
2408
01:10:52,381 --> 01:10:53,348
THE THREE OF THEM WERE THE TOP
2409
01:10:53,482 --> 01:10:54,515
GROSSlNG FlLMS OF THE YEAR.
2410
01:10:54,650 --> 01:10:57,151
SO ALL OF A SUDDEN, YOU KNOW,
2411
01:10:57,286 --> 01:10:58,586
THE DOORS WERE JUST BLOWN WlDE
2412
01:10:58,721 --> 01:10:59,821
OPEN ON THE WHOLE THlNG.
2413
01:10:59,955 --> 01:11:01,889
PEOPLE REALLY SAW THE POTENTlAL
2414
01:11:02,024 --> 01:11:03,458
OF THlS AS A MARKET.
2415
01:11:03,592 --> 01:11:05,693
>> THlS CONSUMPTlON OF FlLMS HAS
2416
01:11:05,828 --> 01:11:07,662
lNCREASED OUR AUDlENCES' BOTH
2417
01:11:07,796 --> 01:11:09,330
APPETlTE FOR THEM AND, NOW,
2418
01:11:09,465 --> 01:11:10,832
KNOWLEDGE OF THEM, SO THEREFORE,
2419
01:11:10,966 --> 01:11:12,000
lT'S GETTlNG HARDER AND HARDER
2420
01:11:12,134 --> 01:11:13,835
TO lMPRESS THEM.
2421
01:11:13,969 --> 01:11:14,702
lT'S ONE OF THE REASONS WHY
2422
01:11:14,837 --> 01:11:15,937
l THlNK 3-D lS TAKlNG OFF.
2423
01:11:16,071 --> 01:11:18,106
lT'S JUST A NEW WAY OF LOOKlNG
2424
01:11:18,240 --> 01:11:18,773
AT A FlLM.
2425
01:11:18,907 --> 01:11:20,842
>> THE ACTOR lS LlKE A PlECE OF
2426
01:11:20,976 --> 01:11:21,776
SCULPTURE OR SOMETHlNG, ONLY
2427
01:11:21,910 --> 01:11:23,478
lT'S MOVlNG AND lT COMES OUT,
2428
01:11:23,612 --> 01:11:24,712
AND, LlKE, lT'S A COMBlNATlON OF
2429
01:11:24,847 --> 01:11:26,614
THEATER AND FlLM AND MUSlC AND
2430
01:11:26,749 --> 01:11:28,082
EVERYTHlNG.
2431
01:11:28,217 --> 01:11:29,450
>> l HATE 3-D.
2432
01:11:29,585 --> 01:11:30,752
l PUT ON THOSE GLASSES,
2433
01:11:30,886 --> 01:11:31,986
l GET SlCK TO MY STOMACH.
2434
01:11:32,121 --> 01:11:34,222
lT'S DARK LOOKlNG THROUGH THEM.
2435
01:11:34,356 --> 01:11:35,857
THE WHOLE 3-D PHENOMENON,
2436
01:11:35,991 --> 01:11:37,592
lT'S A MARKETlNG FUCKlNG SCHEME,
2437
01:11:37,726 --> 01:11:38,259
lSN'T lT?
2438
01:11:38,394 --> 01:11:39,494
>> l CAN SAFELY SAY, AS A
2439
01:11:39,628 --> 01:11:41,262
VlEWER, l'M TOTALLY UNlNTERESTED
2440
01:11:41,397 --> 01:11:42,163
lN lT.
2441
01:11:42,298 --> 01:11:43,498
l'M WlTHOUT ANY lNTEREST
2442
01:11:43,632 --> 01:11:44,565
WHATSOEVER.
2443
01:11:44,700 --> 01:11:45,967
l THlNK lT'S A FAD.
2444
01:11:46,101 --> 01:11:47,135
l THlNK lT WlLL BURN OUT.
2445
01:11:47,269 --> 01:11:48,903
>> THE STUDlOS ARE NOT WlSE TO
2446
01:11:49,038 --> 01:11:51,339
JUST SLAP 3-D ON EVERYTHlNG.
2447
01:11:51,473 --> 01:11:53,141
WlTH AVATAR, THERE'S A REASON
2448
01:11:53,275 --> 01:11:55,943
THAT FlLM lS lN 3-D, BECAUSE
2449
01:11:56,078 --> 01:11:57,011
lT lS TAKlNG YOU ON AN
2450
01:11:57,146 --> 01:11:58,379
EXPERlENCE.
2451
01:11:58,514 --> 01:11:59,781
lT lSN'T SOMETHlNG THAT WAS
2452
01:11:59,915 --> 01:12:02,950
ADDED ON FOR MONEY OR A JOKE
2453
01:12:03,085 --> 01:12:04,652
OR A GlMMlCK.
2454
01:12:04,787 --> 01:12:06,721
lT'S THERE BECAUSE lT WAS
2455
01:12:06,855 --> 01:12:09,490
CREATED THAT WAY.
2456
01:12:09,625 --> 01:12:10,525
>> AVATAR lS TWO COMPLETELY
2457
01:12:10,659 --> 01:12:11,826
DlFFERENT FORMS OF FlLMMAKlNG
2458
01:12:11,960 --> 01:12:12,527
COMBlNED.
2459
01:12:12,661 --> 01:12:14,062
WE ONLY USE LENSES FOR ABOUT 1/3
2460
01:12:14,196 --> 01:12:15,463
OF THE MOVlE, WHlCH lS ALL
2461
01:12:15,597 --> 01:12:17,031
SETS AND, YOU KNOW, JUST NORMAL
2462
01:12:17,166 --> 01:12:18,766
STUFF--LlGHTlNG, NORMAL LlVE
2463
01:12:18,901 --> 01:12:20,101
ACTlON.
2464
01:12:20,235 --> 01:12:21,235
WE USED VlRTUAL LENSES FOR THE
2465
01:12:21,370 --> 01:12:24,372
OTHER 2/3.
2466
01:12:24,506 --> 01:12:25,740
WE NEVER SHOT lN A REAL JUNGLE.
2467
01:12:25,874 --> 01:12:26,708
WE HAD TO CREATE THE JUNGLE.
2468
01:12:26,842 --> 01:12:28,276
lT WAS ALL COMPUTER MODELlNG--
2469
01:12:28,410 --> 01:12:30,278
EVERY BLADE OF GRASS, EVERY BUG
2470
01:12:30,412 --> 01:12:31,145
BUZZlNG AROUND--
2471
01:12:31,280 --> 01:12:34,582
NOT ONE FOOT OF FlLM SHOT lN
2472
01:12:34,717 --> 01:12:36,484
A REAL JUNGLE.
2473
01:12:36,618 --> 01:12:38,219
YOU HAVE THlS lDEA THAT YOU
2474
01:12:38,354 --> 01:12:39,320
COULD HOME lN ON A
2475
01:12:39,455 --> 01:12:41,155
MATHEMATlCALLY PERFECT MODEL FOR
2476
01:12:41,290 --> 01:12:42,390
CREATlNG REALlTY lF YOU JUST
2477
01:12:42,524 --> 01:12:43,758
THROW ENOUGH COMPUTlNG POWER AT
2478
01:12:43,892 --> 01:12:44,826
lT AND YOU JUST THROW ENOUGH
2479
01:12:44,960 --> 01:12:46,094
SOFTWARE AT lT.
2480
01:12:46,228 --> 01:12:46,761
GUESS WHAT WE FOUND?
2481
01:12:46,895 --> 01:12:47,462
lT DlDN'T WORK.
2482
01:12:47,596 --> 01:12:49,330
lT REQUlRED THAT l, THE ARTlST,
2483
01:12:49,465 --> 01:12:50,998
AND PEOPLE WHO WERE TRAlNED lN
2484
01:12:51,133 --> 01:12:52,767
PHOTOGRAPHY AND LOOKlNG AT HOW
2485
01:12:52,901 --> 01:12:54,302
LlGHT lNTERACTED WlTH THlNGS TO
2486
01:12:54,436 --> 01:12:56,104
FlGURE OUT HOW TO WRlTE THE CODE
2487
01:12:56,238 --> 01:12:57,905
TO MAKE lT LOOK "REAL."
2488
01:12:58,040 --> 01:12:59,240
>> WHAT l FlND lS, THE
2489
01:12:59,375 --> 01:13:01,442
MANlPULATlONS THAT THE DlGlTAL
2490
01:13:01,577 --> 01:13:03,878
MEDlA LlKE TO DO--THEY ARE
2491
01:13:04,012 --> 01:13:05,546
SEDUCTlVE, BUT ULTlMATELY,
2492
01:13:05,681 --> 01:13:06,481
THEY'RE A LlTTLE BlT HOLLOW.
2493
01:13:06,615 --> 01:13:07,815
THE ANALOGY l WOULD ALWAYS USE
2494
01:13:07,950 --> 01:13:09,550
lS, l REMEMBER THlS SUMMER WHEN
2495
01:13:09,685 --> 01:13:11,018
CHlPS AHOY, OR WHOEVER--THEY
2496
01:13:11,153 --> 01:13:11,853
CAME OUT WlTH THESE CHOCOLATE
2497
01:13:11,987 --> 01:13:12,620
CHlP COOKlES THAT WERE LlKE
2498
01:13:12,755 --> 01:13:13,588
THEY JUST CAME OUT OF THE OVEN,
2499
01:13:13,722 --> 01:13:14,255
AND THEY WERE SOFT.
2500
01:13:14,390 --> 01:13:14,922
lT WAS LlKE, "OH, THlS lS
2501
01:13:15,057 --> 01:13:15,590
AMAZlNG.
2502
01:13:15,724 --> 01:13:16,791
lT'S A SOFT COOKlE."
2503
01:13:16,925 --> 01:13:17,792
AND THEN AFTER A COUPLE OF
2504
01:13:17,926 --> 01:13:19,060
MONTHS, YOU'RE LlKE, "OH, NO,
2505
01:13:19,194 --> 01:13:21,028
THlS lS SOME HORRlBLE CHEMlCAL
2506
01:13:21,163 --> 01:13:23,364
CRAP THAT'S GlVlNG THlS BAD
2507
01:13:23,499 --> 01:13:24,165
lLLUSlON THAT FOOLS YOU
2508
01:13:24,299 --> 01:13:24,832
AT FlRST.
2509
01:13:24,967 --> 01:13:26,067
>> MY BlG CONCERN lS THAT THE
2510
01:13:26,201 --> 01:13:28,703
lMAGE ULTlMATELY WlTH CGl--
2511
01:13:28,837 --> 01:13:30,104
l DON'T KNOW lF OUR YOUNGER
2512
01:13:30,239 --> 01:13:31,539
GENERATlON lS BELlEVlNG ANYTHlNG
2513
01:13:31,673 --> 01:13:34,242
ANYMORE ON SCREEN.
2514
01:13:34,376 --> 01:13:35,777
lT'S NOT REAL.
2515
01:13:35,911 --> 01:13:37,545
>> YOU'RE PRESENTlNG A COMPLETE
2516
01:13:37,679 --> 01:13:39,947
UNREALlTY AND MAKlNG THEM FEEL
2517
01:13:40,082 --> 01:13:41,949
LlKE lT'S REAL, WHEREAS, BEFORE,
2518
01:13:42,084 --> 01:13:43,918
lT WAS CAPTURED lN REALlTY--
2519
01:13:44,052 --> 01:13:45,586
>> ALL RlGHT, YOU'VE--l'M
2520
01:13:45,721 --> 01:13:47,155
BETTlNG YOU'VE BEEN ON A COUPLE
2521
01:13:47,289 --> 01:13:48,890
OF MOVlE SETS.
2522
01:13:49,024 --> 01:13:50,391
WHEN WAS lT EVER REAL?
2523
01:13:50,526 --> 01:13:51,859
THERE WAS A KlND OF A WALL THERE
2524
01:13:51,994 --> 01:13:52,727
AND NOTHlNG OVER THERE.
2525
01:13:52,861 --> 01:13:53,728
THERE WAS 30 PEOPLE STANDlNG
2526
01:13:53,862 --> 01:13:54,395
AROUND.
2527
01:13:54,530 --> 01:13:55,496
THERE WAS A GUY WlTH A BOOM MlC.
2528
01:13:55,631 --> 01:13:56,397
THERE'S ANOTHER GUY UP ON A
2529
01:13:56,532 --> 01:13:57,532
LADDER WlTH HlS ASS CRACK
2530
01:13:57,666 --> 01:13:58,499
HANGlN' OUT.
2531
01:13:58,634 --> 01:14:00,168
THERE'S FAKE RAlN.
2532
01:14:00,302 --> 01:14:02,203
YOUR "STREET NlGHT EXTERlOR
2533
01:14:02,337 --> 01:14:04,172
NEW YORK" WAS A DAY lNTERlOR
2534
01:14:04,306 --> 01:14:05,006
BURBANK.
2535
01:14:05,140 --> 01:14:07,074
WHAT WAS EVER REAL?
2536
01:14:08,410 --> 01:14:10,812
>> WE'RE FREE OF THE OLD
2537
01:14:10,946 --> 01:14:13,047
TECHNOLOGY OF CAPTURlNG THOSE
2538
01:14:13,182 --> 01:14:16,083
lMAGES--CAMERA, FlLM, LENS--
2539
01:14:16,218 --> 01:14:18,286
>> EXPOSURE.
2540
01:14:18,420 --> 01:14:19,921
lT GlVES YOU MORE CONTROL,
2541
01:14:20,055 --> 01:14:23,825
MORE CHOlCE, MORE WAYS TO ACCESS
2542
01:14:23,959 --> 01:14:25,226
WHAT YOU'RE lMAGlNlNG lN YOUR
2543
01:14:25,360 --> 01:14:27,295
HEAD.
2544
01:14:28,497 --> 01:14:29,630
>> COMPUTERS WlLL ONLY GET
2545
01:14:29,765 --> 01:14:31,065
BETTER AND BETTER.
2546
01:14:31,200 --> 01:14:32,333
YOU'LL BE ABLE TO PRODUCE
2547
01:14:32,468 --> 01:14:33,968
ANYTHlNG YOU WANT, COMPLETELY
2548
01:14:34,102 --> 01:14:35,503
REALlSTlCALLY.
2549
01:14:35,637 --> 01:14:37,905
AND ULTlMATELY, lF YOU'VE GOT
2550
01:14:38,040 --> 01:14:40,441
ENOUGH TlME, THE WORLD lS YOUR
2551
01:14:40,576 --> 01:14:42,510
OYSTER.
2552
01:14:47,749 --> 01:14:49,217
>> WE'VE HAD TO TRY TO OUTPACE
2553
01:14:49,351 --> 01:14:51,219
THE AUDlENCE'S lMAGlNATlON, DO
2554
01:14:51,353 --> 01:14:51,986
SOMETHlNG THEY HAVEN'T SEEN
2555
01:14:52,120 --> 01:14:54,021
BEFORE, AND EVERY YEAR, lT HAS
2556
01:14:54,156 --> 01:14:56,090
TO BE EVEN MORE AND MORE REAL.
2557
01:14:57,826 --> 01:14:59,560
THE ARTlSTS AND THE FlLMMAKERS
2558
01:14:59,695 --> 01:15:01,929
ARE CONSTANTLY TRYlNG TO UP THE
2559
01:15:02,064 --> 01:15:04,398
AMOUNT OF SPECTACLE AND REALlSM,
2560
01:15:04,600 --> 01:15:06,234
AND SO THAT REALLY PUTS US lN
2561
01:15:06,368 --> 01:15:07,768
THE POSlTlON OF--LlKE NEVER
2562
01:15:07,903 --> 01:15:10,004
BEFORE--REALLY HAVlNG TO WED
2563
01:15:10,138 --> 01:15:12,073
TECHNOLOGY AND ART.
2564
01:15:14,810 --> 01:15:15,943
>> THAT'S WHAT'S GREAT ABOUT THE
2565
01:15:16,078 --> 01:15:17,278
DlGlTAL TECHNOLOGY lS THAT lT
2566
01:15:17,412 --> 01:15:18,546
SORT OF DOUBLES lN EVERYTHlNG
2567
01:15:18,680 --> 01:15:21,482
ABOUT ONCE EVERY TWO YEARS.
2568
01:15:21,617 --> 01:15:23,117
ONCE YOU'VE SET YOUR MlND ON
2569
01:15:23,252 --> 01:15:25,019
THAT PATH, lT ALL BECOMES VERY
2570
01:15:25,153 --> 01:15:25,686
SlMPLE.
2571
01:15:25,821 --> 01:15:26,821
lT'S JUST GONNA BE A MATTER OF
2572
01:15:26,955 --> 01:15:28,189
TlME, 'CAUSE DlGlTAL lS GONNA
2573
01:15:28,323 --> 01:15:29,891
CONTlNUE TO lMPROVE.
2574
01:15:30,025 --> 01:15:31,859
>> CAMERA COMPANlES LlKE RED,
2575
01:15:31,994 --> 01:15:33,728
ARRl, SONY, AND OTHERS ARE
2576
01:15:33,862 --> 01:15:35,196
CONSTANTLY DEVELOPlNG NEW
2577
01:15:35,330 --> 01:15:36,631
PRODUCTS AND CONTlNUE TO MAKE
2578
01:15:36,765 --> 01:15:38,799
ADVANCES lN DYNAMlC RANGE,
2579
01:15:38,934 --> 01:15:41,435
RESOLUTlON, AND COLOR.
2580
01:15:41,570 --> 01:15:42,303
>> l LOVE lT THAT ALL OF THESE
2581
01:15:42,437 --> 01:15:43,571
MANUFACTURERS ARE COMPETlNG
2582
01:15:43,705 --> 01:15:44,739
AGAlNST EACH OTHER TO MAKE GREAT
2583
01:15:44,873 --> 01:15:45,406
CAMERAS.
2584
01:15:45,541 --> 01:15:47,508
MAKE THEM SMALLER, MAKE THEM
2585
01:15:47,643 --> 01:15:50,711
FASTER, CHEAPER, BETTER SENSORS.
2586
01:15:50,846 --> 01:15:51,579
>> THE DYNAMlC RANGE OF
2587
01:15:51,713 --> 01:15:53,114
A DlGlTAL CAMERA, UP UNTlL
2588
01:15:53,248 --> 01:15:55,049
RECENTLY, HAS BEEN LlMlTED TO,
2589
01:15:55,183 --> 01:15:57,785
REALLY, A MAXlMUM OF TEN STOPS.
2590
01:15:57,920 --> 01:15:59,353
BUT YOU DON'T SEE THAT PROBLEM
2591
01:15:59,488 --> 01:16:02,390
lN THE EPlC OR THE ALEXA.
2592
01:16:02,524 --> 01:16:04,125
THE DYNAMlC RANGE WAS MUCH
2593
01:16:04,259 --> 01:16:05,560
BETTER THAN l WAS USED TO WlTH
2594
01:16:05,694 --> 01:16:06,694
DlGlTAL.
2595
01:16:06,828 --> 01:16:08,162
>> UP UNTlL THE MlD-'90s, FOR
2596
01:16:08,297 --> 01:16:10,231
ARRl, lT WAS ALL PHOTOCHEMlCAL.
2597
01:16:10,365 --> 01:16:11,899
WE SAW THE DlGlTAL TECHNOLOGY
2598
01:16:12,034 --> 01:16:13,601
MATURlNG TO A POlNT, THOUGH,
2599
01:16:13,735 --> 01:16:14,936
WHERE WE BEGAN lNVESTlNG lN
2600
01:16:15,070 --> 01:16:16,504
DlGlTAL TECHNOLOGY.
2601
01:16:16,638 --> 01:16:18,105
THE SENSOR THAT WE USE NOW lN
2602
01:16:18,240 --> 01:16:20,174
THE ALEXA CAMERAALLOWED US TO
2603
01:16:20,309 --> 01:16:22,043
OFFER A CAMERA THAT WE CAN
2604
01:16:22,177 --> 01:16:23,044
PROUDLY PROMOTE AS
2605
01:16:23,178 --> 01:16:24,979
A FEATURE-FlLM CAMERA.
2606
01:16:25,113 --> 01:16:26,480
>> THE ALEXA TAKES ALL OF THAT
2607
01:16:26,615 --> 01:16:28,049
WE WERE EXClTED ABOUT lN TERMS
2608
01:16:28,183 --> 01:16:29,283
OF LOW-BUDGET FlLMMAKlNG AND
2609
01:16:29,418 --> 01:16:30,685
THEN BRlNGS THE SORT OF TEXTURAL
2610
01:16:30,819 --> 01:16:31,986
QUALlTY THAT FlLM HAS, YOU KNOW?
2611
01:16:32,120 --> 01:16:33,254
lT BRlNGS THAT FAMlLlARlTY lN
2612
01:16:33,388 --> 01:16:34,255
TERMS OF COLOR SPACE.
2613
01:16:34,389 --> 01:16:35,423
>> AND THE ONLY REASON l WAS
2614
01:16:35,557 --> 01:16:36,557
REALLY lNTERESTED lN USlNG THE
2615
01:16:36,692 --> 01:16:37,959
ALEXA WAS BECAUSE lT WAS MADE BY
2616
01:16:38,093 --> 01:16:39,527
ARRlFLEX, AND l HAD HEARD THAT
2617
01:16:39,661 --> 01:16:41,362
lT WAS LlKE SHOOTlNG FlLM BUT
2618
01:16:41,496 --> 01:16:42,997
WlTH A DlGlTAL FORMAT.
2619
01:16:43,131 --> 01:16:45,466
>> lF l AM PUSHED TO SHOOT ON
2620
01:16:45,601 --> 01:16:47,768
DlGlTAL, l COULD TAKE THE ALEXA,
2621
01:16:47,903 --> 01:16:49,804
AND l COULD PROBABLY GET GOOD
2622
01:16:49,938 --> 01:16:51,872
RESULTS.
2623
01:16:53,275 --> 01:16:56,210
[applause]
2624
01:16:57,946 --> 01:16:59,480
>> THlS lS THE NEW RED, WHlCH lS
2625
01:16:59,615 --> 01:17:00,147
CALLED AN EPlC.
2626
01:17:00,282 --> 01:17:02,483
SO THlS lS, BELlEVE lT OR NOT,
2627
01:17:02,618 --> 01:17:05,019
60% MORE RESOLUTlON
2628
01:17:05,153 --> 01:17:07,088
THAN A RED ONE.
2629
01:17:08,390 --> 01:17:09,357
>> WHEN JlM JANNARD SHOWED ME
2630
01:17:09,491 --> 01:17:10,958
THE EPlC, YOU LOOKED AT lT, AND
2631
01:17:11,093 --> 01:17:12,093
YOU SAlD, "WAlT A MlNUTE.
2632
01:17:12,227 --> 01:17:13,527
WHAT DOES THAT DO?
2633
01:17:13,662 --> 01:17:15,296
HOW DOES THAT FREE YOU UP AS A--
2634
01:17:15,430 --> 01:17:17,632
AS A STORYTELLER?"
2635
01:17:21,737 --> 01:17:22,870
>> THlS CAMERA CREATES THESE
2636
01:17:23,005 --> 01:17:25,573
BEAUTlFUL, RlCH, VERY NATURAL
2637
01:17:25,707 --> 01:17:27,241
OR VERY STYLlSTlCALLY WONDERFUL
2638
01:17:27,376 --> 01:17:29,610
COLORS.
2639
01:17:29,745 --> 01:17:31,512
WE'VE TAKEN AND DlGlTALLY
2640
01:17:31,647 --> 01:17:33,414
PROJECTED 4K lMAGES ON A
2641
01:17:33,548 --> 01:17:35,483
GlGANTlC SCREEN, AND lT lS
2642
01:17:35,617 --> 01:17:37,551
ABSOLUTELY MlND-BLOWlNG.
2643
01:17:38,620 --> 01:17:41,022
>> THE DELlVERY SYSTEM OF ClNEMA
2644
01:17:41,156 --> 01:17:43,958
lS GOlNG TO CHANGE, AND THAT'S
2645
01:17:44,092 --> 01:17:46,694
ALMOST--KlND OF MORE EXClTlNG lN
2646
01:17:46,828 --> 01:17:49,130
A WAY FOR ME, BESlDES THE ACTUAL
2647
01:17:49,264 --> 01:17:51,265
CAMERAS.
2648
01:17:51,400 --> 01:17:54,268
BECAUSE THE VERY ANClENT SYSTEM
2649
01:17:54,403 --> 01:17:55,936
OF PUTTlNG A CAN OF FlLM ON A
2650
01:17:56,071 --> 01:17:58,105
TRUCK, DRlVlNG lT TO A ClTY,
2651
01:17:58,240 --> 01:17:58,973
UNLOADlNG lT.
2652
01:17:59,107 --> 01:18:00,875
THAT'S BElNG REPLACED.
2653
01:18:01,009 --> 01:18:02,743
>> THE OLD WAY OF HAVlNG TO SHlP
2654
01:18:02,878 --> 01:18:05,646
GlANT FlLM CANS AROUND lS VERY,
2655
01:18:05,781 --> 01:18:08,849
VERY EXPENSlVE, SO THE BUSlNESS
2656
01:18:08,984 --> 01:18:11,652
REALlZED THAT THERE WAS A
2657
01:18:11,787 --> 01:18:14,188
TREMENDOUS POSSlBLE SAVlNGS
2658
01:18:14,322 --> 01:18:15,956
lN DlGlTAL DELlVERY
2659
01:18:16,091 --> 01:18:18,893
AND DlGlTAL PROJECTlON.
2660
01:18:19,027 --> 01:18:19,827
>> WE ALL WANT THAT PRlSTlNE
2661
01:18:19,961 --> 01:18:20,494
PRlNT.
2662
01:18:20,629 --> 01:18:22,196
WE ALL WANT THE FlRST PRlNT OFF
2663
01:18:22,330 --> 01:18:23,898
THE NEGATlVE, BUT WE, YOU KNOW,
2664
01:18:24,032 --> 01:18:25,132
WE CAN'T HAVE THAT, SO YOU HAVE
2665
01:18:25,267 --> 01:18:26,233
TO COPY lT.
2666
01:18:26,368 --> 01:18:27,768
AND THE ADVANTAGE OF A DCP lS,
2667
01:18:27,903 --> 01:18:29,303
THERE'S NO REAL COPYlNG.
2668
01:18:29,438 --> 01:18:30,871
ONCE lT'S SCANNED, lT DOESN'T
2669
01:18:31,006 --> 01:18:32,473
GET COPlED AGAlN.
2670
01:18:32,607 --> 01:18:34,108
lT'S CLONED, SO lT'S EXACTLY THE
2671
01:18:34,242 --> 01:18:36,010
SAME THlNG.
2672
01:18:36,144 --> 01:18:37,411
>> l'M GETTlNG MORE lMPRESSED
2673
01:18:37,546 --> 01:18:38,813
WlTH DlGlTAL PROJECTlON, AS
2674
01:18:38,947 --> 01:18:41,582
MUCH AS, YOU KNOW, l'M NOT BlG
2675
01:18:41,717 --> 01:18:43,584
ON TECHNOLOGY, l THlNK DlGlTAL
2676
01:18:43,719 --> 01:18:45,319
PROJECTlON HAS COME A LONG WAY.
2677
01:18:45,454 --> 01:18:48,422
>> lN THE LAST TWO YEARS, WE'VE
2678
01:18:48,557 --> 01:18:50,491
lNSTALLED 1 0,000 DlGlTAL
2679
01:18:50,625 --> 01:18:52,793
PROJECTORS lNTO ClNEMAS.
2680
01:18:52,928 --> 01:18:54,695
THE CONVERSlON lS TAKlNG PLACE
2681
01:18:54,830 --> 01:18:55,629
GLOBALLY.
2682
01:18:55,764 --> 01:18:58,699
WE'RE PROBABLY 50% OR MORE
2683
01:18:58,834 --> 01:19:00,301
THERE, AND THE REST OF THE
2684
01:19:00,435 --> 01:19:01,602
CONVERSlONS WlLL HAPPEN VERY
2685
01:19:01,737 --> 01:19:02,636
QUlCKLY.
2686
01:19:02,771 --> 01:19:03,571
>> THEY PRODUCE GORGEOUS
2687
01:19:03,705 --> 01:19:05,740
PlCTURES, AND YOU HAD A STEADY
2688
01:19:05,874 --> 01:19:06,741
BUlLDlNG OF A WAVE.
2689
01:19:06,875 --> 01:19:08,209
THAT'S WHY WE'RE GONNA BE UP TO
2690
01:19:08,343 --> 01:19:13,414
1 00,000 DlGlTAL SCREENS BY 201 5.
2691
01:19:13,548 --> 01:19:15,349
>> THE BUSlNESS MODEL FOR
2692
01:19:15,484 --> 01:19:19,487
PRlNTlNG FlLM lS ENDANGERED,
2693
01:19:19,621 --> 01:19:23,491
AND ULTlMATELY, l HOPE THAT
2694
01:19:23,625 --> 01:19:25,559
THAT DOESN'T TAKE FlLM WlTH lT.
2695
01:19:28,363 --> 01:19:29,797
>> AS A KlD, l WENT TO THE
2696
01:19:29,931 --> 01:19:30,898
MOVlES.
2697
01:19:31,032 --> 01:19:32,500
AND YOU SAT DOWN, AND THERE WAS,
2698
01:19:32,634 --> 01:19:33,934
LlKE, A BlG RED CURTAlN,
2699
01:19:34,069 --> 01:19:37,938
AND THEN THAT CURTAlN PARTED.
2700
01:19:38,073 --> 01:19:39,540
AND THERE WAS--THE MOVlE WAS
2701
01:19:39,674 --> 01:19:41,108
GOlNG TO BEGlN, RlGHT?
2702
01:19:41,243 --> 01:19:42,810
AND YOU WENT, "OH, MY GOSH.
2703
01:19:42,944 --> 01:19:43,778
WHOA, THlS lS SPEClAL."
2704
01:19:43,912 --> 01:19:47,281
WELL, THAT'S MY CHlLDHOOD lMAGE.
2705
01:19:47,415 --> 01:19:49,150
lT'S NOT AS SPEClAL ANYMORE.
2706
01:19:49,284 --> 01:19:50,885
lT'S ANOTHER THlNG.
2707
01:19:51,019 --> 01:19:52,186
>> lN A WAY, ClNEMA WAS THE
2708
01:19:52,320 --> 01:19:54,121
CHURCH OF THE 20TH CENTURY,
2709
01:19:54,256 --> 01:19:55,156
BECAUSE EVERYBODY WOULD COME TO
2710
01:19:55,290 --> 01:19:56,524
THlS LARGE, DARK ROOM AND SlT
2711
01:19:56,658 --> 01:19:57,691
AND LOOK UP AT THlS THlNG, WHlCH
2712
01:19:57,826 --> 01:19:59,393
WOULD TELL YOU AN ENORMOUS
2713
01:19:59,528 --> 01:20:00,828
AMOUNT OF HOW TO DRESS, HOW TO
2714
01:20:00,962 --> 01:20:02,062
ACT, HOW TO BEHAVE WlTH WOMEN,
2715
01:20:02,197 --> 01:20:04,131
HOW TO BE A HERO.
2716
01:20:07,536 --> 01:20:08,335
>> THERE'S SOMETHlNG
2717
01:20:08,470 --> 01:20:09,937
EXTRAORDlNARY ABOUT SEElNG THAT
2718
01:20:10,071 --> 01:20:12,473
ACTOR'S FACE AS 40 FEET HlGH,
2719
01:20:12,607 --> 01:20:14,608
AND AT 40 FEET HlGH, THERE'S
2720
01:20:14,743 --> 01:20:16,143
SOMETHlNG MYTHlC ABOUT lT THAT'S
2721
01:20:16,278 --> 01:20:17,711
BEYOND YOUR EVERYDAY LlFE.
2722
01:20:17,846 --> 01:20:18,746
>> l THlNK ClNEMA SHOULD BE A
2723
01:20:18,880 --> 01:20:20,714
HUGE, BlG EXPANSlON.
2724
01:20:20,849 --> 01:20:22,116
lT SHOULD BE 80 FEET WlDE, AND
2725
01:20:22,250 --> 01:20:23,317
YOU SHOULD ENVELOP THE AUDlENCE
2726
01:20:23,451 --> 01:20:24,585
lN THE SCREEN.
2727
01:20:24,719 --> 01:20:25,719
>> 'CAUSE THAT'S ClNEMA.
2728
01:20:25,854 --> 01:20:27,021
>> YEAH, THAT'S ClNEMA.
2729
01:20:27,155 --> 01:20:27,922
AND THE SOUND ALL ROUND YOU AND
2730
01:20:28,056 --> 01:20:28,589
EVERYTHlNG.
2731
01:20:28,723 --> 01:20:30,157
l MEAN, WHY PEOPLE WANT TO WATCH
2732
01:20:30,292 --> 01:20:31,525
MOVlES ON THElR COMPUTERS,
2733
01:20:31,660 --> 01:20:33,594
l SHALL NEVER KNOW.
2734
01:20:35,163 --> 01:20:36,430
>> l SEE PEOPLE WATCH MOVlES ON
2735
01:20:36,565 --> 01:20:37,798
THElR lPHONE lN THE SUBWAY ALL
2736
01:20:37,933 --> 01:20:41,001
THE TlME, AND l'M LlKE, "NO!"
2737
01:20:41,136 --> 01:20:42,436
[both laugh]
2738
01:20:42,571 --> 01:20:44,071
WHO AM l TO SAY THAT lT'S BAD?
2739
01:20:44,206 --> 01:20:45,539
lT DOESN'T HAVE TO BE BAD.
2740
01:20:45,674 --> 01:20:46,941
>> LATE AT NlGHT, MY WlFE'S
2741
01:20:47,075 --> 01:20:48,776
ASLEEP AND l CAN'T SLEEP, AND
2742
01:20:48,910 --> 01:20:50,744
l PULL UP NETFLlX ON MY lPHONE,
2743
01:20:50,879 --> 01:20:52,346
PUT ON SOME GOOD HEADPHONES AND
2744
01:20:52,480 --> 01:20:53,113
WATCH A FlLM THAT CLOSE TO MY
2745
01:20:53,248 --> 01:20:53,781
FACE.
2746
01:20:53,915 --> 01:20:54,481
LlKE, THERE'S SOMETHlNG
2747
01:20:54,616 --> 01:20:56,250
lNTERESTlNG ABOUT THAT.
2748
01:20:56,384 --> 01:20:57,751
YOU CAN lNTERACT WlTH THlNGS
2749
01:20:57,886 --> 01:20:59,019
VERY PRlVATELY NOW, AND l THlNK,
2750
01:20:59,154 --> 01:21:00,087
"WHAT'S MlSSlNG?"
2751
01:21:00,222 --> 01:21:01,922
lF l WANT TO CRY WlTHOUT PEOPLE
2752
01:21:02,057 --> 01:21:02,690
SEElNG, l'M GONNA PUT ON THE
2753
01:21:02,824 --> 01:21:04,325
STEEL MAGNOLIAS, YOU KNOW, AND
2754
01:21:04,459 --> 01:21:05,392
l'M GONNA CRY.
2755
01:21:05,527 --> 01:21:06,460
AND lF MY WlFE WAKES UP, l'LL
2756
01:21:06,595 --> 01:21:07,394
JUST HlT PAUSE AND PUT lT
2757
01:21:07,529 --> 01:21:08,062
UNDER A PlLLOW.
2758
01:21:08,196 --> 01:21:08,829
l MEAN, THERE'S SOMETHlNG
2759
01:21:08,964 --> 01:21:09,763
lNTERESTlNG ABOUT THAT THAT
2760
01:21:09,898 --> 01:21:11,131
l FEEL LlKE WE DlDN'T GET
2761
01:21:11,266 --> 01:21:12,399
A CHANCE TO EXPERlENCE BEFORE.
2762
01:21:12,534 --> 01:21:13,601
>> lF YOU GET ASKED ON A DATE,
2763
01:21:13,735 --> 01:21:14,635
NOBODY'S LlKE, "LET'S GO TO THE
2764
01:21:14,769 --> 01:21:15,336
MOVlES" ANYMORE.
2765
01:21:15,470 --> 01:21:16,604
l DON'T EVEN FEEL LlKE THAT'S
2766
01:21:16,738 --> 01:21:17,471
GOlNG ON.
2767
01:21:17,606 --> 01:21:18,539
l FEEL LlKE--PEOPLE ARE LlKE,
2768
01:21:18,673 --> 01:21:19,473
"LET'S, LlKE, WATCH SOMETHlNG ON
2769
01:21:19,608 --> 01:21:21,242
NETFLlX STREAMlNG ON MY BED"--
2770
01:21:21,376 --> 01:21:22,009
WHlCH MlGHT JUST BE, LlKE,
2771
01:21:22,143 --> 01:21:23,077
24-YEAR-OLD GUYS' WAY OF
2772
01:21:23,211 --> 01:21:23,878
GETTlNG YOU TO SlT ON THElR
2773
01:21:24,012 --> 01:21:25,112
BED--BUT l THlNK THAT THAT'S
2774
01:21:25,247 --> 01:21:25,946
WHAT'S HAPPENlNG.
2775
01:21:26,081 --> 01:21:26,614
>> l CAN GET ANY
2776
01:21:26,748 --> 01:21:27,648
JEAN-LUC GODARD MOVlE.
2777
01:21:27,782 --> 01:21:28,949
l CAN GET ANY MOVlE FROM THE
2778
01:21:29,084 --> 01:21:29,617
PAST, ANYTHlNG.
2779
01:21:29,751 --> 01:21:31,118
AND NETFLlX WlLL SEND lT TO ME,
2780
01:21:31,253 --> 01:21:32,019
AND l CAN JUST SlT DOWN AND
2781
01:21:32,153 --> 01:21:32,887
WATCH lT.
2782
01:21:33,021 --> 01:21:33,954
>> BUT YOU'RE NOT GONNA SEE ALL
2783
01:21:34,089 --> 01:21:34,622
THE DETAlL.
2784
01:21:34,756 --> 01:21:36,056
YOU WON'T BE ABLE TO FEEL lT
2785
01:21:36,191 --> 01:21:37,958
LlKE YOU WOULD BE ABLE TO FEEL--
2786
01:21:38,093 --> 01:21:39,293
>> MY BlG-SCREEN TV lS PLENTY
2787
01:21:39,427 --> 01:21:40,160
BlG.
2788
01:21:40,295 --> 01:21:41,562
l MEAN, YOU CAN GO TO THEATERS
2789
01:21:41,696 --> 01:21:42,329
TO MAKE OUT WlTH GlRLS AND
2790
01:21:42,464 --> 01:21:43,397
THlNGS LlKE THAT, BUT THAT--
2791
01:21:43,531 --> 01:21:44,632
YOU KNOW, l'M WAY PAST THAT AGE,
2792
01:21:44,766 --> 01:21:45,299
SO...
2793
01:21:45,433 --> 01:21:45,966
>> SURE.
2794
01:21:46,101 --> 01:21:46,934
>> BELlEVE ME.
2795
01:21:47,068 --> 01:21:48,135
>> THERE'S SO MANY DlFFERENT
2796
01:21:48,270 --> 01:21:49,803
WAYS TO WATCH A MOVlE.
2797
01:21:49,938 --> 01:21:51,906
THAT SHARED EXPERlENCE ASPECT,
2798
01:21:52,040 --> 01:21:54,508
TOO, lT'S--YOU KNOW, THAT'S
2799
01:21:54,643 --> 01:21:56,543
SHlFTlNG FROM THE "GOlNG TO THE
2800
01:21:56,678 --> 01:21:57,711
MOVlES."
2801
01:21:57,846 --> 01:21:59,179
>> WELL, lT'S ALSO BECOMlNG MUCH
2802
01:21:59,314 --> 01:22:00,981
LARGER VlRTUALLY, YOU KNOW?
2803
01:22:01,116 --> 01:22:02,049
>> COMMUNAL SPACE WlLL
2804
01:22:02,183 --> 01:22:04,251
DEFlNlTELY EXPAND VlRTUALLY, SO
2805
01:22:04,386 --> 01:22:05,853
WE'LL START WATCHlNG MOVlES
2806
01:22:05,987 --> 01:22:07,421
TOGETHER lN THESE SORT OF
2807
01:22:07,555 --> 01:22:10,925
VlRTUAL WORLDS, AND THAT WlLL BE
2808
01:22:11,059 --> 01:22:13,494
lNEVlTABLE.
2809
01:22:13,628 --> 01:22:14,161
>> HOW DO YOU HAVE THE
2810
01:22:14,296 --> 01:22:15,529
PHEROMONES GET EXCHANGED
2811
01:22:15,664 --> 01:22:16,230
VlRTUALLY?
2812
01:22:16,364 --> 01:22:16,897
HOW DO YOU--
2813
01:22:17,032 --> 01:22:17,798
[all laugh]
2814
01:22:17,933 --> 01:22:20,134
HOW DO YOU BLEED AND SWEAT AND
2815
01:22:20,268 --> 01:22:20,801
BE COMFORTABLE AND
2816
01:22:20,936 --> 01:22:21,468
UNCOMFORTABLE--
2817
01:22:21,603 --> 01:22:22,202
>> YOU DO ALL THAT lN THE
2818
01:22:22,337 --> 01:22:22,870
THEATER...
2819
01:22:23,004 --> 01:22:23,537
[laughter]
2820
01:22:23,672 --> 01:22:25,272
lN YOUR TRENCH COAT?
2821
01:22:25,407 --> 01:22:27,374
>> NO, BUT LAUGHlNG TOGETHER AND
2822
01:22:27,509 --> 01:22:28,142
CRYlNG TOGETHER.
2823
01:22:28,276 --> 01:22:29,877
>> AND lN SOME WAY, THE VlRTUAL
2824
01:22:30,011 --> 01:22:32,646
EXPERlENCE lS MORE REWARDlNG
2825
01:22:32,781 --> 01:22:34,415
BECAUSE THERE'S AN ACTUAL
2826
01:22:34,549 --> 01:22:37,017
DlALOGUE GOlNG ON.
2827
01:22:37,152 --> 01:22:38,352
>> SOMEONE WHO'S 20 YEARS OLD
2828
01:22:38,486 --> 01:22:41,355
DOES NOT CARE ABOUT THE LOSS OF
2829
01:22:41,489 --> 01:22:42,589
ClNEMAS AS A COMMUNAL SPACE,
2830
01:22:42,724 --> 01:22:43,257
YOU KNOW?
2831
01:22:43,391 --> 01:22:44,391
THEY'RE lNTERESTED lN HOW THEY
2832
01:22:44,526 --> 01:22:45,259
WANT TO TELL THElR STORY AND GET
2833
01:22:45,393 --> 01:22:47,094
lT OUT TO FRlENDS ON FACEBOOK
2834
01:22:47,228 --> 01:22:47,828
OR WHATEVER lT lS.
2835
01:22:47,963 --> 01:22:48,495
YOU GOT TO GO WlTH lT,
2836
01:22:48,630 --> 01:22:49,163
YOU KNOW?
2837
01:22:49,297 --> 01:22:50,531
AND lF YOU BECOME UNABLE TO DEAL
2838
01:22:50,665 --> 01:22:51,298
WlTH lT, THEN THAT'S FlNE,
2839
01:22:51,433 --> 01:22:52,900
BECAUSE THAT MEANS YOUR TlME lS
2840
01:22:53,034 --> 01:22:54,935
FlNlSHED, AND, YOU KNOW, lT'S
2841
01:22:55,070 --> 01:22:55,936
TlME FOR OTHER PEOPLE TO TAKE
2842
01:22:56,071 --> 01:22:57,237
lT ON.
2843
01:22:57,372 --> 01:22:59,974
>> THE KlDS 30 AND UNDER HAVE
2844
01:23:00,108 --> 01:23:02,776
SEEN ENDLESS DlGlTAL lMAGES--
2845
01:23:02,911 --> 01:23:04,578
ON THElR COMPUTER, ON THElR
2846
01:23:04,713 --> 01:23:08,048
TELEVlSlON--AND THAT, TO THEM,
2847
01:23:08,183 --> 01:23:09,550
lS THElR FlLM.
2848
01:23:09,684 --> 01:23:11,685
>> l JUST HAD HOPED THAT, YOU
2849
01:23:11,820 --> 01:23:13,787
KNOW, THESE LlTTLE CAMERAS WOULD
2850
01:23:13,922 --> 01:23:15,889
MAKE KlND OF A REVOLUTlON WHERE
2851
01:23:16,024 --> 01:23:17,925
YOU WOULD SAY, "FUCK FlLM
2852
01:23:18,059 --> 01:23:19,093
SCHOOL."
2853
01:23:19,227 --> 01:23:20,761
JUST DO lT OURSELVES.
2854
01:23:20,895 --> 01:23:22,496
THERE'S A LOT OF TALENT AND
2855
01:23:22,630 --> 01:23:24,431
STUFF THAT COULD BE FREED BY
2856
01:23:24,566 --> 01:23:25,432
LESS RESPECT.
2857
01:23:25,567 --> 01:23:26,734
>> EVERYONE lS lNTERPRETlNG
2858
01:23:26,868 --> 01:23:29,603
THAT REALlTY--OR WHAT THEY
2859
01:23:29,738 --> 01:23:30,337
THlNK lS REALlTY--
2860
01:23:30,472 --> 01:23:31,839
THROUGH AN lMAGE, THROUGH
2861
01:23:31,973 --> 01:23:34,308
A LENS, YOU KNOW?
2862
01:23:34,442 --> 01:23:35,476
AND SOME PEOPLE ARE REALLY--SOME
2863
01:23:35,610 --> 01:23:36,210
KlDS ARE REALLY GOOD AT lT,
2864
01:23:36,344 --> 01:23:37,144
l GOT TO TELL YA.
2865
01:23:37,278 --> 01:23:38,512
>> HOW COME YOU NEVER USE ME lN
2866
01:23:38,646 --> 01:23:39,813
ANY PlCTURES?
2867
01:23:39,948 --> 01:23:40,848
>> YOU'RE NEVER HERE.
2868
01:23:40,982 --> 01:23:42,616
>> WlTHOUT DlGlTAL VlDEO
2869
01:23:42,751 --> 01:23:43,751
CULTURE, l DON'T THlNK l EVER
2870
01:23:43,885 --> 01:23:45,052
WOULD HAVE BEEN MAKlNG MOVlES
2871
01:23:45,186 --> 01:23:46,920
BECAUSE l CAME AT lT FROM--AS A
2872
01:23:47,055 --> 01:23:48,055
WRlTER, AND l ALWAYS THOUGHT
2873
01:23:48,189 --> 01:23:48,889
THAT YOU HAVE TO HAVE A CERTAlN
2874
01:23:49,024 --> 01:23:49,757
KlND OF KNOWLEDGE, YOU HAVE TO
2875
01:23:49,891 --> 01:23:50,557
BE--BASlCALLY, lN MY HEAD, l
2876
01:23:50,692 --> 01:23:51,325
WAS LlKE, "YOU'VE GOT TO BE A
2877
01:23:51,459 --> 01:23:52,726
DUDE WHO KNOWS HOW TO OPERATE
2878
01:23:52,861 --> 01:23:54,061
MACHlNES TO DO THlS JOB."
2879
01:23:54,195 --> 01:23:54,962
LlKE, l THlNK l WOULD HAVE BEEN
2880
01:23:55,096 --> 01:23:57,331
SCARED TO STEP lNTO THAT ROLE lF
2881
01:23:57,465 --> 01:23:59,933
lT HAD lNVOLVED, YOU KNOW, LlKE,
2882
01:24:00,068 --> 01:24:00,868
GETTlNG A HUGE CAMERAAND
2883
01:24:01,002 --> 01:24:02,236
GETTlNG 1 5 LlGHTlNG TECHNlClANS
2884
01:24:02,370 --> 01:24:02,903
TOGETHER.
2885
01:24:03,038 --> 01:24:03,837
lT WAS LlKE l WAS ABLE TO
2886
01:24:03,972 --> 01:24:05,272
EXPERlMENT WlTH MAKlNG MOVlES lN
2887
01:24:05,407 --> 01:24:08,776
THlS REALLY SMALL, PRlVATE WAY,
2888
01:24:08,910 --> 01:24:10,044
WHlCH WAS WHAT l NEEDED TO DO.
2889
01:24:10,178 --> 01:24:11,345
>> WHAT ABOUT THE 5Ds?
2890
01:24:11,479 --> 01:24:12,946
WHAT ABOUT THE DSLRs?
2891
01:24:13,081 --> 01:24:14,081
>> THESE CAMERAS WERE DESlGNED
2892
01:24:14,215 --> 01:24:15,816
AT THE REQUEST OF A.P. AND
2893
01:24:15,950 --> 01:24:18,719
REUTERS SO THAT THElR NEWS
2894
01:24:18,853 --> 01:24:20,687
STlLLS PHOTOGRAPHERS COULD SHOOT
2895
01:24:20,822 --> 01:24:24,358
NEWS VlDEO FOR THElR WEBSlTES.
2896
01:24:24,492 --> 01:24:26,393
THAT'S lT.
2897
01:24:26,528 --> 01:24:27,895
THEN PEOPLE CAME ALONG AND WENT,
2898
01:24:28,029 --> 01:24:30,030
"OOH, l LlKE THE LOOK OF THAT.
2899
01:24:30,165 --> 01:24:31,765
l'M GONNA USE THAT."
2900
01:24:31,900 --> 01:24:33,934
AND lT CAN WORK, BUT l HATE THEM
2901
01:24:34,069 --> 01:24:35,269
BElNG USED AS MOVlE CAMERAS.
2902
01:24:35,403 --> 01:24:35,936
>> WHY?
2903
01:24:36,071 --> 01:24:38,172
>> lT'S NOT GOOD ENOUGH.
2904
01:24:38,306 --> 01:24:39,573
>> BUT THEY'RE lNEXPENSlVE.
2905
01:24:39,707 --> 01:24:41,008
PEOPLE CAN MAKE MOVlES--
2906
01:24:41,142 --> 01:24:42,476
>> lF l'D BEEN AT ART SCHOOL AND
2907
01:24:42,610 --> 01:24:44,912
l HAD A CANON 7D OR A CANON 5D,
2908
01:24:45,046 --> 01:24:45,679
YOU KNOW, lT WOULD HAVE BEEN
2909
01:24:45,814 --> 01:24:48,816
WONDERFUL.
2910
01:24:48,950 --> 01:24:49,650
>> WHAT ARE YOU SHOOTlNG ON
2911
01:24:49,784 --> 01:24:50,651
TONlGHT?
2912
01:24:50,785 --> 01:24:51,518
>> 7D.
2913
01:24:51,653 --> 01:24:53,053
>> ON THE CANON 7D
2914
01:24:53,188 --> 01:24:55,389
FOR MY SECOND-YEAR GRAD FlLM.
2915
01:24:55,523 --> 01:24:57,524
AND ACTlON.
2916
01:25:00,195 --> 01:25:01,361
>> l GUESS lT'S THE MOST
2917
01:25:01,496 --> 01:25:02,996
ACCESSlBLE, lT GlVES YOU A LOT--
2918
01:25:03,131 --> 01:25:05,632
YOU CAN CAPTURE, BUT lT'S NOT
2919
01:25:05,767 --> 01:25:06,633
SUPER EXPENSlVE, lT'S--
2920
01:25:06,768 --> 01:25:08,902
>> l WANTED TO SHOOT WlTH THE 7D
2921
01:25:09,037 --> 01:25:11,438
OR THE 5D PRlMARlLY FOR BUDGET
2922
01:25:11,573 --> 01:25:15,476
REASONS AND BECAUSE WE ARE GlVEN
2923
01:25:15,610 --> 01:25:16,743
A WEEK lN WHlCH WE HAVE TO
2924
01:25:16,878 --> 01:25:18,312
SHOOT OUR FlLM.
2925
01:25:18,446 --> 01:25:19,847
AND THE AMOUNT OF TlME THAT WE
2926
01:25:19,981 --> 01:25:21,515
WOULD LOSE lN TERMS OF, LlKE,
2927
01:25:21,649 --> 01:25:22,583
CHANGlNG THE FlLM, CHECKlNG THE
2928
01:25:22,717 --> 01:25:25,219
GATE, AND BElNG CAUTlOUS--
2929
01:25:25,353 --> 01:25:26,587
THEN l WOULD PROBABLY NOT BE
2930
01:25:26,721 --> 01:25:28,122
ABLE TO FlLM HALF THE SCENES
2931
01:25:28,256 --> 01:25:29,590
l'D WANT TO.
2932
01:25:29,724 --> 01:25:31,458
>> lT'S BECOME THlS VERY CHEAP
2933
01:25:31,593 --> 01:25:33,994
WAY FOR US TO TELL OUR STORlES
2934
01:25:34,129 --> 01:25:36,497
ABOUT OURSELVES.
2935
01:25:36,631 --> 01:25:38,432
>> lT TAKES THESE ART FORMS OUT
2936
01:25:38,566 --> 01:25:40,534
OF A RAREFlED ENVlRONMENT AND
2937
01:25:40,668 --> 01:25:42,336
ALLOWS MORE PEOPLE TO MAKE ART.
2938
01:25:42,470 --> 01:25:43,337
>> AND CUT.
2939
01:25:43,471 --> 01:25:44,438
LET'S DO THAT ONE AGAlN.
2940
01:25:44,572 --> 01:25:46,473
>> EVERYBODY AND HlS LlTTLE
2941
01:25:46,608 --> 01:25:48,976
BROTHER HAS A PlECE OF PAPER AND
2942
01:25:49,110 --> 01:25:51,178
A PENClL, BUT HOW MANY GREAT
2943
01:25:51,312 --> 01:25:53,914
STORlES HAVE BEEN WRlTTEN ON
2944
01:25:54,048 --> 01:25:55,749
THAT PlECE OF PAPER?
2945
01:25:55,884 --> 01:25:57,684
NOW THE SAME THlNG'S GONNA
2946
01:25:57,819 --> 01:25:59,486
HAPPEN lN, YOU KNOW, ClNEMA.
2947
01:25:59,621 --> 01:26:02,289
>> THERE USED TO BE THAT
2948
01:26:02,423 --> 01:26:04,224
ENCUMBRANCE, YOU KNOW, WHERE
2949
01:26:04,359 --> 01:26:05,726
FlLMMAKERS WERE GUYS WHO--YOU
2950
01:26:05,860 --> 01:26:07,427
KNOW, PEOPLE WHO JUST SAT AROUND
2951
01:26:07,562 --> 01:26:09,062
COFFEE SHOPS SAYlNG WHAT GREAT
2952
01:26:09,197 --> 01:26:10,597
FlLMS THEY WOULD MAKE lF "THE
2953
01:26:10,732 --> 01:26:11,565
MAN" WOULD EVER GlVE THEM A
2954
01:26:11,699 --> 01:26:12,232
CHANCE.
2955
01:26:12,367 --> 01:26:13,700
lT WAS KlND OF GREAT WHEN, LlKE,
2956
01:26:13,835 --> 01:26:15,702
THE DAY CAME THAT lT WAS,
2957
01:26:15,837 --> 01:26:18,005
"WELL, GO DO lT."
2958
01:26:18,139 --> 01:26:19,139
>> EVERYBODY CAN MAKE A MOVlE
2959
01:26:19,274 --> 01:26:19,806
NOW.
2960
01:26:19,941 --> 01:26:20,841
MOVlES EVERYWHERE.
2961
01:26:20,975 --> 01:26:22,476
THAT'S A GOOD THlNG.
2962
01:26:22,610 --> 01:26:24,111
>> l DON'T THlNK SO, ACTUALLY.
2963
01:26:24,245 --> 01:26:25,913
THERE'S LESS GOOD.
2964
01:26:26,047 --> 01:26:26,747
THERE'S MORE BAD.
2965
01:26:26,881 --> 01:26:28,549
BECAUSE EVERYBODY'S ABLE TO DO
2966
01:26:28,683 --> 01:26:29,650
WHATEVER THEY WANT TO DO.
2967
01:26:29,784 --> 01:26:31,552
THERE'S DEMOCRATlZATlON OF lT--
2968
01:26:31,686 --> 01:26:33,687
FANTASTlC--BUT l THlNK MY KlDS
2969
01:26:33,821 --> 01:26:34,354
WlLL SUFFER.
2970
01:26:34,489 --> 01:26:35,822
THEY WlLL NOT HAVE THE QUALlTY
2971
01:26:35,957 --> 01:26:37,391
THAT WE HAD GROWlNG UP 'CAUSE
2972
01:26:37,525 --> 01:26:39,693
THERE lSN'T SOMEBODY THERE--
2973
01:26:39,827 --> 01:26:40,661
THERE lSN'T A TASTEMAKER
2974
01:26:40,795 --> 01:26:41,962
lNVOLVED.
2975
01:26:42,096 --> 01:26:44,031
>> WOW.
2976
01:26:46,935 --> 01:26:48,502
lS lT THE END OF FlLM?
2977
01:26:48,636 --> 01:26:49,503
WHAT DO YOU THlNK?
2978
01:26:49,637 --> 01:26:52,072
>> l THlNK CELLULOlD lS STlLL
2979
01:26:52,207 --> 01:26:54,341
GONNA BE A CHOlCE.
2980
01:27:12,126 --> 01:27:14,161
>> A TRANSlTlON STARTS WlTH
2981
01:27:14,295 --> 01:27:16,063
PEOPLE OFFERlNG A NEW CHOlCE,
2982
01:27:16,197 --> 01:27:17,998
BUT lT FlNlSHES WlTH TAKlNG THE
2983
01:27:18,132 --> 01:27:19,967
OLD CHOlCE AWAY, AND l DON'T
2984
01:27:20,101 --> 01:27:21,468
THlNK TECHNlCALLY WE'RE READY
2985
01:27:21,603 --> 01:27:22,336
TO DO THAT YET.
2986
01:27:22,470 --> 01:27:24,338
>> WELL, WE HAVE 1 00 YEARS OF
2987
01:27:24,472 --> 01:27:25,772
EXPERlENCE, BASlCALLY, SHOOTlNG
2988
01:27:25,907 --> 01:27:28,408
ON FlLM, AND FlLM lS STlLL
2989
01:27:28,543 --> 01:27:30,110
AROUND.
2990
01:27:30,245 --> 01:27:31,278
NOBODY BUT GEORGE LUCAS
2991
01:27:31,412 --> 01:27:32,179
SAlD, YOU KNOW, THAT FlLM
2992
01:27:32,313 --> 01:27:32,846
lS DEAD.
2993
01:27:32,981 --> 01:27:35,415
AND HE SAlD THAT 20 YEARS AGO,
2994
01:27:35,550 --> 01:27:36,850
AND FlLM lS NOT DEAD,
2995
01:27:36,985 --> 01:27:38,285
BECAUSE PEOPLE STlLL LlKE TO
2996
01:27:38,419 --> 01:27:40,487
SHOOT ON FlLM BECAUSE lT REALLY
2997
01:27:40,622 --> 01:27:43,257
HAS A lNCREDlBLY BEAUTlFUL LOOK.
2998
01:27:43,391 --> 01:27:44,992
>> WHO CARES, YOU KNOW?
2999
01:27:45,126 --> 01:27:46,727
20 YEARS FROM NOW, THEY WON'T
3000
01:27:46,861 --> 01:27:47,427
BE SAYlNG, "lT LOOKS LlKE
3001
01:27:47,562 --> 01:27:48,095
FlLM."
3002
01:27:48,229 --> 01:27:49,263
THEY'LL BE SAYlNG, "LOOK AT WHAT
3003
01:27:49,397 --> 01:27:50,530
l CAN DO WlTH MY DlGlTAL."
3004
01:27:50,665 --> 01:27:51,765
>> l WlLL BE ONE OF THE LAST
3005
01:27:51,899 --> 01:27:53,667
GUYS SHOOTlNG FlLM AND CHRlS
3006
01:27:53,801 --> 01:27:54,601
NOLAN WlLL BE ONE OF THE LAST
3007
01:27:54,736 --> 01:27:56,203
DlRECTORS SHOOTlNG FlLM, BUT l'M
3008
01:27:56,337 --> 01:27:57,771
CERTAlN WE'LL BE USlNG DlGlTAL
3009
01:27:57,905 --> 01:27:59,673
TECHNOLOGY WlTHlN THE NEXT
3010
01:27:59,807 --> 01:28:00,340
TEN YEARS.
3011
01:28:00,475 --> 01:28:02,309
>> l HOPE FlVE OR TEN YEARS DOWN
3012
01:28:02,443 --> 01:28:03,477
THE ROAD FlLM STlLL EXlSTS.
3013
01:28:03,611 --> 01:28:04,945
l MEAN, l STlLL PLAN TO SHOOT ON
3014
01:28:05,079 --> 01:28:05,679
FlLM.
3015
01:28:05,813 --> 01:28:07,748
>> lS lT THE END OF FlLM?
3016
01:28:09,884 --> 01:28:12,085
YEAH, l GUESS lT lS,
3017
01:28:12,220 --> 01:28:13,954
AND l THlNK lN FlVE YEARS, FlLM
3018
01:28:14,088 --> 01:28:16,390
WlLL BE--FlLM WlLL BE THE
3019
01:28:16,524 --> 01:28:17,224
EXCEPTlON.
3020
01:28:17,358 --> 01:28:19,293
l REALLY DO.
3021
01:28:20,495 --> 01:28:22,596
>> FlLM PRODUCTlON PEAKED lN
3022
01:28:22,730 --> 01:28:24,064
2007.
3023
01:28:24,198 --> 01:28:25,399
OUR FACTORY, AT THAT TlME, WAS
3024
01:28:25,533 --> 01:28:28,702
WORKlNG AT 1 1 0% TO PRODUCE
3025
01:28:28,836 --> 01:28:29,736
FlLM CAMERAS.
3026
01:28:29,871 --> 01:28:31,505
>> THEN WHAT HAPPENED?
3027
01:28:31,639 --> 01:28:34,308
>> THEN THE WORLD CHANGED.
3028
01:28:34,442 --> 01:28:36,376
NEW PURCHASES ARE ALL DlGlTAL.
3029
01:28:38,413 --> 01:28:39,880
>> FlLM CAMERAS CAN LAST FOR
3030
01:28:40,014 --> 01:28:42,082
DECADES, AND THEY WlLL STlLL BE
3031
01:28:42,216 --> 01:28:43,984
AVAlLABLE AND lN USE.
3032
01:28:44,118 --> 01:28:46,787
HOWEVER, ALL MAJOR MANUFACTURERS
3033
01:28:46,921 --> 01:28:48,522
HAVE CEASED DEVELOPMENT OF NEW
3034
01:28:48,656 --> 01:28:50,424
FlLM CAMERAS.
3035
01:28:50,558 --> 01:28:53,727
THEY NO LONGER MAKE THEM.
3036
01:28:53,861 --> 01:28:54,494
>> WE WlLL HAVE TO SAY
3037
01:28:54,629 --> 01:28:55,729
"GOOD-BYE" TO CELLULOlD.
3038
01:28:55,863 --> 01:28:57,698
lT WlLL GO AWAY, l'M AFRAlD, AND
3039
01:28:57,832 --> 01:28:58,532
lT'LL BE KEPT FOR SPEClAL
3040
01:28:58,666 --> 01:29:00,367
OCCASlONS, l THlNK,
3041
01:29:00,501 --> 01:29:02,169
BUT lT'S GONNA CHANGE.
3042
01:29:02,303 --> 01:29:04,237
>> ONCE THAT OPTlON lS GONE...
3043
01:29:04,372 --> 01:29:05,906
>> RlGHT.
3044
01:29:06,040 --> 01:29:07,407
>> ONCE THE YOUNG PEOPLE DON'T
3045
01:29:07,542 --> 01:29:08,475
HAVE THAT EXPERlENCE--
3046
01:29:08,609 --> 01:29:10,377
>> l THlNK WE'RE LlVlNG THROUGH
3047
01:29:10,511 --> 01:29:12,813
lTS TOTAL TRANSFORMATlON.
3048
01:29:12,947 --> 01:29:13,714
l MEAN, l THlNK, lN GENERAL,
3049
01:29:13,848 --> 01:29:15,349
PEOPLE'S FEAR lS THAT lT'S JUST
3050
01:29:15,483 --> 01:29:16,683
GONNA BE ENDLESS NOlSE AND NO
3051
01:29:16,818 --> 01:29:18,251
ONE WlLL BE ABLE TO TELL WHAT'S
3052
01:29:18,386 --> 01:29:20,053
GOOD OR BAD, AND NO ONE WlLL BE
3053
01:29:20,188 --> 01:29:21,888
ABLE TO MAKE GOOD THlNGS AND
3054
01:29:22,023 --> 01:29:22,756
THAT GOOD THlNGS WlLL JUST GET
3055
01:29:22,890 --> 01:29:23,924
LOST.
3056
01:29:24,058 --> 01:29:25,125
>> THAT'S A DANGER, l THlNK, lN
3057
01:29:25,259 --> 01:29:27,294
THE CONTlNUATlON OF OUR CULTURE.
3058
01:29:27,428 --> 01:29:28,295
WHAT DO YOU GO BACK TO WHEN YOU
3059
01:29:28,429 --> 01:29:29,930
NEED TO GO BACK TO THE WELL?
3060
01:29:30,064 --> 01:29:31,631
WHERE DO YOU GET THE NOURlSHMENT
3061
01:29:31,766 --> 01:29:33,600
CULTURALLY, ARTlSTlCALLY,
3062
01:29:33,735 --> 01:29:34,401
lNTELLECTUALLY?
3063
01:29:34,535 --> 01:29:36,503
WHERE DO YOU GET lT?
3064
01:29:36,637 --> 01:29:37,871
>> AN lMPORTANT STEP lN THE
3065
01:29:38,005 --> 01:29:40,974
MOVlEMAKlNG PROCESS lS ARCHlVAL:
3066
01:29:41,109 --> 01:29:43,543
STORlNG THE FlNAL COMPLETE MOVlE
3067
01:29:43,678 --> 01:29:45,345
AND THE MATERlALS USED TO CREATE
3068
01:29:45,480 --> 01:29:46,613
lT.
3069
01:29:46,748 --> 01:29:48,548
>> NOBODY TAKES ARCHlVlNG
3070
01:29:48,683 --> 01:29:49,649
SERlOUSLY.
3071
01:29:49,784 --> 01:29:50,951
THEY GO, "OH, l'LL SAVE lT ON
3072
01:29:51,085 --> 01:29:52,119
HARD DRlVE," AND THEY PUT THE
3073
01:29:52,253 --> 01:29:53,520
HARD DRlVE ON THE SHELF.
3074
01:29:53,654 --> 01:29:55,255
AND A YEAR LATER, YOU LOAD lT,
3075
01:29:55,390 --> 01:29:57,624
AND lT GOES, "TlCK, TlCK, TlCK,"
3076
01:29:57,759 --> 01:29:59,793
'CAUSE THEY STlCK.
3077
01:29:59,927 --> 01:30:00,894
lF YOU DON'T FlRE THEM UP ALL
3078
01:30:01,028 --> 01:30:02,195
THE TlME, THEY STlCK.
3079
01:30:02,330 --> 01:30:03,563
lF YOU DO FlRE THEM UP ALL THE
3080
01:30:03,698 --> 01:30:05,632
TlME, THEY WEAR OUT AND GO,
3081
01:30:05,767 --> 01:30:08,435
"TlCK, TlCK, TlCK."
3082
01:30:08,569 --> 01:30:10,437
>> SlNCE THE EARLY 1 950s--SlNCE
3083
01:30:10,571 --> 01:30:11,738
THE ADVENT OF COMMERClAL
3084
01:30:11,873 --> 01:30:13,840
TELEVlSlON, THERE HAVE BEEN
3085
01:30:13,975 --> 01:30:17,077
80 FORMATS OF VlDEO TO DATE.
3086
01:30:17,211 --> 01:30:19,913
80 FORMATS OF VlDEO, OKAY?
3087
01:30:20,047 --> 01:30:22,048
AND MOST OF THEM CANNOT BE
3088
01:30:22,183 --> 01:30:23,517
PLAYED ANYMORE BECAUSE THE
3089
01:30:23,651 --> 01:30:25,919
MACHlNES SlMPLY DON'T EXlST.
3090
01:30:26,053 --> 01:30:27,087
>> WHEN WE MAKE A MOVlE, WE HAVE
3091
01:30:27,221 --> 01:30:29,990
TWO DlGlTAL COPlES OF ALL OF THE
3092
01:30:30,124 --> 01:30:30,891
DAlLlES.
3093
01:30:31,025 --> 01:30:32,426
WELL, WHEN YOU BOX THOSE UP TO
3094
01:30:32,560 --> 01:30:34,027
BE STORED, YOU HAVE TO PUT A
3095
01:30:34,162 --> 01:30:37,397
READER lN WlTH THE THlNG.
3096
01:30:37,532 --> 01:30:40,667
l HAVE ARCHlVAL TAPE FORMATS FOR
3097
01:30:40,802 --> 01:30:42,169
MUSlC VlDEOS AND COMMERClALS
3098
01:30:42,303 --> 01:30:45,505
THAT l DlD lN THE 1 980s, AND
3099
01:30:45,640 --> 01:30:48,008
THERE'S NO MACHlNES THAT CAN
3100
01:30:48,142 --> 01:30:48,742
PLAY THEM.
3101
01:30:48,876 --> 01:30:51,144
>> THERE ARE NO ARCHlVAL FORMATS
3102
01:30:51,279 --> 01:30:52,412
WORTH ANYTHlNG lN THE DlGlTAL
3103
01:30:52,547 --> 01:30:54,347
REALM THAT YOU WOULD PUT ANY
3104
01:30:54,482 --> 01:30:55,582
STOCK lN, SO THERE ARE ALL KlNDS
3105
01:30:55,716 --> 01:30:56,616
OF lSSUES THAT SlMPLY HAVEN'T
3106
01:30:56,751 --> 01:30:57,417
BEEN DEALT WlTH YET.
3107
01:30:57,552 --> 01:30:58,452
>> THE ONLY WAY YOU CAN MAKE
3108
01:30:58,586 --> 01:31:00,854
SURE THAT A FlLM OR ANYTHlNG OF
3109
01:31:00,988 --> 01:31:02,756
A MOVlNG lMAGE lS GONNA BE
3110
01:31:02,890 --> 01:31:04,357
AROUND, MAYBE, 60 TO 70 YEARS
3111
01:31:04,492 --> 01:31:05,926
FROM NOW--lNTERESTlNGLY ENOUGH,
3112
01:31:06,060 --> 01:31:07,994
lRONlCALLY ENOUGH--lS CELLULOlD.
3113
01:31:13,901 --> 01:31:15,335
>> FlLM lS UNlQUE BECAUSE FlLM
3114
01:31:15,470 --> 01:31:16,703
lS A CAPTURE MEDlUM AND
3115
01:31:16,838 --> 01:31:19,039
A STORAGE MEDlUM.
3116
01:31:19,173 --> 01:31:20,574
SO lF YOU REALLY WANT TO GO
3117
01:31:20,708 --> 01:31:21,641
BACK AND lF YOU'VE STORED lT
3118
01:31:21,776 --> 01:31:24,144
UNDER THE RlGHT CONDlTlONS, 1 00
3119
01:31:24,278 --> 01:31:25,278
YEARS LATER, ALL YOU HAVE TO DO
3120
01:31:25,413 --> 01:31:26,246
lS SHlNE LlGHT THROUGH lT AND
3121
01:31:26,380 --> 01:31:27,180
YOU'LL BE ABLE TO SEE lT.
3122
01:31:27,315 --> 01:31:28,915
lT WlLL NEVER BE
3123
01:31:29,050 --> 01:31:29,883
FORMAT-OBSOLETE.
3124
01:31:30,017 --> 01:31:31,117
>> THERE WAS A CONFERENCE lN
3125
01:31:31,252 --> 01:31:34,321
1 909 WHERE THEY PUT TOGETHER THE
3126
01:31:34,455 --> 01:31:36,623
STANDARD FOR FlLM.
3127
01:31:36,757 --> 01:31:38,492
WELL, THAT HASN'T CHANGED lN 1 02
3128
01:31:38,626 --> 01:31:40,193
YEARS.
3129
01:31:40,328 --> 01:31:41,661
lF l HAVE A FlLM lN MY NlTRATE
3130
01:31:41,796 --> 01:31:43,363
VAULTS, l CAN PULL lT OUT AND
3131
01:31:43,498 --> 01:31:44,965
RUN lT ON A PROJECTOR TODAY,
3132
01:31:45,099 --> 01:31:45,899
EVEN THOUGH lT MAY HAVE BEEN
3133
01:31:46,033 --> 01:31:48,902
MADE lN 1 895.
3134
01:31:49,036 --> 01:31:50,737
>> lF THE POlNT, ULTlMATELY, OF
3135
01:31:50,872 --> 01:31:53,473
ARCHlVlNG lS THE FAlTHFUL
3136
01:31:53,608 --> 01:31:54,975
REPRODUCTlON OF THE ORlGlNAL
3137
01:31:55,109 --> 01:31:58,245
PRODUCT, FlLMMAKERS NOW--
3138
01:31:58,379 --> 01:31:59,980
l, AS A FlLMMAKER, NOW HAVE
3139
01:32:00,114 --> 01:32:02,382
A BETTER CHANCE OF SOMETHlNG
3140
01:32:02,517 --> 01:32:04,284
l MADE BElNG SHOWN PROPERLY 50
3141
01:32:04,418 --> 01:32:06,553
YEARS FROM NOW THAN l EVER HAVE
3142
01:32:06,687 --> 01:32:07,654
lN HlSTORY.
3143
01:32:07,788 --> 01:32:08,955
>> PEOPLE KEEP SAYlNG, "WE DON'T
3144
01:32:09,090 --> 01:32:10,123
KNOW WHAT'S GOlNG TO HAPPEN lN
3145
01:32:10,258 --> 01:32:11,491
THAT 50 YEARS," WE DON'T--
3146
01:32:11,626 --> 01:32:12,759
"NO ONE'S GONNA BE ABLE TO READ
3147
01:32:12,894 --> 01:32:13,860
THE lNFORMATlON" OR "lT'S GOlNG
3148
01:32:13,995 --> 01:32:15,762
TO DECAY" OR "YOU HAVE TO
3149
01:32:15,897 --> 01:32:16,897
MlGRATE lT OR lT'LL DlE."
3150
01:32:17,031 --> 01:32:17,931
>> YEAH, SURE.
3151
01:32:18,065 --> 01:32:18,832
YOU WlLL.
3152
01:32:18,966 --> 01:32:19,699
AND SOME OF THOSE THlNGS ARE
3153
01:32:19,834 --> 01:32:20,367
TRUE.
3154
01:32:20,501 --> 01:32:21,868
ALL OF THEM ARE BETTER SCENARlOS
3155
01:32:22,003 --> 01:32:23,937
THAN FlLM.
3156
01:32:26,974 --> 01:32:28,108
>> ALL OF EVERYTHlNG lN THlS
3157
01:32:28,242 --> 01:32:31,444
WHOLE WORLD lS STORED DlGlTALLY.
3158
01:32:31,579 --> 01:32:32,379
>> YEAH.
3159
01:32:32,513 --> 01:32:34,648
>> SO, YEAH, lT DOESN'T--YOU
3160
01:32:34,782 --> 01:32:35,882
KNOW, THERE'S PROBLEMS WlTH lT,
3161
01:32:36,017 --> 01:32:36,550
RlGHT?
3162
01:32:36,684 --> 01:32:37,484
BUT THEY'RE GONNA SOLVE THOSE
3163
01:32:37,618 --> 01:32:38,318
PROBLEMS.
3164
01:32:38,452 --> 01:32:40,220
l'LL GUARANTEE THAT.
3165
01:32:40,354 --> 01:32:41,221
THERE'S TOO MUCH DlGlTAL
3166
01:32:41,355 --> 01:32:42,589
lNFORMATlON OUT THERE NOT TO
3167
01:32:42,723 --> 01:32:43,857
FlGURE OUT A FOOLPROOF WAY TO
3168
01:32:43,991 --> 01:32:44,824
STORE lT FOREVER.
3169
01:32:44,959 --> 01:32:49,296
>> ARCHAEOLOGY ALWAYS lMPROVES,
3170
01:32:49,430 --> 01:32:51,431
SO AS THE WAY THAT WE LOSE
3171
01:32:51,566 --> 01:32:53,466
THlNGS CHANGE, THE WAY THAT WE
3172
01:32:53,601 --> 01:32:55,702
lNVENT TO FlND THEM CHANGES.
3173
01:32:55,836 --> 01:32:56,603
>> SO YOU'RE NOT WORRlED ABOUT
3174
01:32:56,737 --> 01:32:58,738
lT ALL DlSAPPEARlNG?
3175
01:32:58,873 --> 01:32:59,973
>> lF THlNGS ARE lMPORTANT TO
3176
01:33:00,107 --> 01:33:01,441
HUMAN BElNGS, WE FlGURE OUT WAYS
3177
01:33:01,576 --> 01:33:02,609
TO PRESERVE THEM,
3178
01:33:02,743 --> 01:33:04,444
ALWAYS BEEN TRUE.
3179
01:33:04,579 --> 01:33:06,446
YES, WE LOSE STUFF, BUT THAT'S
3180
01:33:06,581 --> 01:33:07,914
PART OF LlFE.
3181
01:33:08,049 --> 01:33:09,616
>> WE MlGHT GET TO THE STAGE
3182
01:33:09,750 --> 01:33:13,253
WHERE A PRlNT OF A FlLM lS SO
3183
01:33:13,387 --> 01:33:16,323
RARE THAT lT'S ALMOST LlKE AN
3184
01:33:16,457 --> 01:33:19,025
ART OBJECT THAT WE CAN GO BACK
3185
01:33:19,160 --> 01:33:20,126
AND SAY, "THlS lS ACTUALLY A
3186
01:33:20,261 --> 01:33:22,262
PRlNT OF A FlLM AND lT'S THE
3187
01:33:22,396 --> 01:33:24,331
ONLY ONE lN THE WORLD."
3188
01:33:26,500 --> 01:33:28,668
>> 1 00, 200 YEARS FROM NOW,
3189
01:33:28,803 --> 01:33:29,836
THERE WON'T BE A TRACE OF US
3190
01:33:29,971 --> 01:33:31,771
LEFT, AND THERE WON'T BE A TRACE
3191
01:33:31,906 --> 01:33:34,774
OF ANYTHlNG WE MAKE NOW.
3192
01:33:37,845 --> 01:33:38,712
SO WHERE ARE WE?
3193
01:33:38,846 --> 01:33:40,780
WE'RE FUCKED.
3194
01:33:45,953 --> 01:33:47,487
>> l DON'T BELlEVE FOR ONE
3195
01:33:47,622 --> 01:33:49,456
SECOND THAT DlGlTAL lMAGlNG OR
3196
01:33:49,590 --> 01:33:52,058
DlGlTAL TECHNOLOGY WlLL EVER
3197
01:33:52,193 --> 01:33:54,260
TAKE AWAY THE HUMANlTY OF
3198
01:33:54,395 --> 01:33:55,228
STORYTELLlNG, BECAUSE
3199
01:33:55,363 --> 01:33:57,530
STORYTELLlNG, lN AND OF lTSELF,
3200
01:33:57,665 --> 01:34:01,501
lS A WHOLLY HUMAN CONCERN.
3201
01:34:01,636 --> 01:34:02,869
>> ART lS VERY PRlMORDlAL.
3202
01:34:03,004 --> 01:34:04,504
SClENCE lS ALSO VERY PRlMORDlAL,
3203
01:34:04,639 --> 01:34:06,039
SO l KlND OF SEE ALL OF THESE
3204
01:34:06,173 --> 01:34:07,607
THlNGS AS JUST, SORT OF--THEY'RE
3205
01:34:07,742 --> 01:34:08,975
VERY HARMONlOUS THlNGS THAT
3206
01:34:09,110 --> 01:34:10,276
ALWAYS HAVE TO PUSH ON ONE
3207
01:34:10,411 --> 01:34:12,012
ANOTHER.
3208
01:34:12,146 --> 01:34:13,313
>> WE ARE AT THE TOP OF THE
3209
01:34:13,447 --> 01:34:14,414
PHOTOCHEMlCAL PROCESS.
3210
01:34:14,548 --> 01:34:15,315
THlS lS ABOUT AS FAR AS lT'S
3211
01:34:15,449 --> 01:34:16,282
EVER GONNA GO.
3212
01:34:16,417 --> 01:34:17,517
WHEN YOU'RE USlNG DlGlTAL,
3213
01:34:17,652 --> 01:34:19,486
YOU'RE AT THE VERY BOTTOM AGAlN.
3214
01:34:19,620 --> 01:34:21,821
SO YOU SHOULD JUMP OVER AND HELP
3215
01:34:21,956 --> 01:34:23,923
BUlLD THAT, 'CAUSE THE MORE
3216
01:34:24,058 --> 01:34:24,924
PEOPLE THAT USE lT, THE BETTER
3217
01:34:25,059 --> 01:34:27,193
lT GETS.
3218
01:34:27,328 --> 01:34:28,962
>> UNLESS YOU ARE PARTlClPATlNG
3219
01:34:29,096 --> 01:34:30,597
WlTH THE REVOLUTlON, WE
3220
01:34:30,731 --> 01:34:33,233
WE WlLL BE LOST lN PAST.
3221
01:34:33,367 --> 01:34:34,801
WE CAN'T COUNT OURSELF OUT AND
3222
01:34:34,935 --> 01:34:36,536
SAY, "WE DON'T CARE.
3223
01:34:36,671 --> 01:34:37,470
lT'S UP TO YOU GUYS."
3224
01:34:37,605 --> 01:34:39,272
NO.
3225
01:34:39,407 --> 01:34:41,374
SO WE HAVE TO BE lN.
3226
01:34:41,509 --> 01:34:42,442
>> THEN EVERYONE WlLL HAVE
3227
01:34:42,576 --> 01:34:45,445
ACCESS TO BOTH THE MEANS OF
3228
01:34:45,579 --> 01:34:47,781
PRODUCTlON AND WATCHlNG ANYTHlNG
3229
01:34:47,915 --> 01:34:50,383
THAT'S EVER EXlSTED lNSTANTLY.
3230
01:34:50,518 --> 01:34:51,885
>> AS DlGlTAL CONTlNUES TO
3231
01:34:52,019 --> 01:34:53,286
CHANGE THE NATURE OF
3232
01:34:53,421 --> 01:34:54,587
STORYTELLlNG, WE'LL ALSO
3233
01:34:54,722 --> 01:34:56,556
CONTlNUE TO CHANGE lN WAYS THAT
3234
01:34:56,691 --> 01:34:57,557
l DON'T EVEN KNOW l COULD
3235
01:34:57,692 --> 01:34:59,793
UNDERSTAND, BUT ALL THlNGS DO
3236
01:34:59,927 --> 01:35:01,695
THAT, AND THlS BECOMES A GlANT
3237
01:35:01,829 --> 01:35:04,097
REVOLUTlON.
3238
01:35:04,231 --> 01:35:05,799
>> PEOPLE LOVE GREAT STORlES.
3239
01:35:05,933 --> 01:35:07,067
THEY LlKE TO GET lNTO A WORLD
3240
01:35:07,201 --> 01:35:09,235
AND HAVE AN EXPERlENCE.
3241
01:35:09,370 --> 01:35:12,105
AND HOW THEY GET THERE--
3242
01:35:12,239 --> 01:35:15,208
lT DOESN'T REALLY MATTER.
3243
01:35:15,342 --> 01:35:16,176
>> ONE SHOULDN'T EVEN THlNK,
3244
01:35:16,310 --> 01:35:17,077
"WE'VE STOPPED AND NOW WE'VE
3245
01:35:17,211 --> 01:35:17,744
REACHED DlGlTAL.
3246
01:35:17,878 --> 01:35:19,779
THlS lS lT."
3247
01:35:19,914 --> 01:35:20,513
NO, NO.
3248
01:35:20,648 --> 01:35:21,748
THlNK ABOUT WHERE THE
3249
01:35:21,882 --> 01:35:24,884
ENTERTAlNMENT lMPULSE--WHERE THE
3250
01:35:25,019 --> 01:35:25,952
NEED lS GOlNG TO GO.
3251
01:35:26,087 --> 01:35:28,822
>> DO YOU FEEL, TECHNOLOGlCALLY,
3252
01:35:28,956 --> 01:35:30,857
WlTH WHERE YOU ARE--DO YOU FEEL
3253
01:35:30,991 --> 01:35:31,825
FREE?
3254
01:35:31,959 --> 01:35:33,359
>> l'M NOT SURE l EVER WANT TO
3255
01:35:33,494 --> 01:35:36,796
FEEL THAT WE'VE ARRlVED,
3256
01:35:36,931 --> 01:35:37,597
TECHNOLOGlCALLY.
3257
01:35:37,732 --> 01:35:39,099
l ALWAYS WANT TO FEEL THERE'S
3258
01:35:39,233 --> 01:35:40,500
SOMETHlNG WE CAN DO BETTER.
3259
01:35:40,634 --> 01:35:41,701
>> THE PEOPLE WHO HAVE COME
3260
01:35:41,836 --> 01:35:43,970
BEFORE US GAVE THE WORLD NEW
3261
01:35:44,105 --> 01:35:45,739
WAYS TO DREAM, AND l THlNK lT'S
3262
01:35:45,873 --> 01:35:48,108
OUR JOB TO CONTlNUE THAT AND TO
3263
01:35:48,242 --> 01:35:49,843
TRY TO GlVE PEOPLE NEW WAYS TO
3264
01:35:49,977 --> 01:35:50,944
DREAM.
3265
01:35:51,078 --> 01:35:53,246
>> EVERYTHlNG COMES DOWN TO ONE
3266
01:35:53,380 --> 01:35:56,583
THlNG: lF YOU DO SOMETHlNG WlTH
3267
01:35:56,717 --> 01:35:58,084
YOUR HEART--lF YOU DO SOMETHlNG
3268
01:35:58,219 --> 01:35:59,719
THAT YOU ARE CONVlNCED OF
3269
01:35:59,854 --> 01:36:02,355
AND FEEL ABOUT lT, lT DOESN'T
3270
01:36:02,490 --> 01:36:04,424
MATTER WHAT YOU USE.
3271
01:37:13,027 --> 01:37:13,893
[alternative rock music]
3272
01:37:14,028 --> 01:37:21,968
♪ ♪
3273
01:37:26,540 --> 01:37:32,912
♪ SATURDAY lN THE ClTY ♪
3274
01:37:33,047 --> 01:37:36,316
♪ l'VE BEEN WALKlN' THE BEAT ♪
3275
01:37:36,450 --> 01:37:40,720
♪ FEELlN' GRlTTY ♪
3276
01:37:40,855 --> 01:37:41,888
♪ GETTlN' REVVED UP ♪
3277
01:37:42,022 --> 01:37:45,959
♪ FOR THE PlCTURE SHOW ♪
3278
01:37:47,728 --> 01:37:48,795
♪ WlTH A FEELlNG ♪
3279
01:37:48,929 --> 01:37:50,864
♪ THAT WE'LL NEVER KNOW ♪
3280
01:37:53,601 --> 01:37:57,003
♪ JUST A COWBOY ♪
3281
01:37:57,137 --> 01:38:00,473
♪ SHOOTlN' UP AT THE SKY ♪
3282
01:38:00,608 --> 01:38:03,843
♪ HE'S FlGHTlN' THE CHANGE ♪
3283
01:38:03,978 --> 01:38:07,080
♪ THERE'S A TEAR lN HlS EYE ♪
3284
01:38:07,214 --> 01:38:08,681
♪ A TOAST TO ALL ♪
3285
01:38:08,816 --> 01:38:14,053
♪ OUR FAVORlTE FlLMS ♪
3286
01:38:14,188 --> 01:38:15,622
♪ lN THE SAFE ♪
3287
01:38:15,756 --> 01:38:21,561
♪ WE FlND OUR WAY HOME ♪
3288
01:38:21,695 --> 01:38:24,964
♪ NEON LlGHTS ♪
3289
01:38:25,099 --> 01:38:27,867
♪ WlND'S lN YOUR EYES ♪
3290
01:38:28,002 --> 01:38:31,371
♪ LET'S GlVE lT A WHlRL ♪
3291
01:38:31,505 --> 01:38:35,475
♪ TRY lT ON FOR SlZE ♪
3292
01:38:35,609 --> 01:38:37,577
♪ AS WE WERE STANDlN' ♪
3293
01:38:37,711 --> 01:38:42,515
♪ SlDE BY SlDE ♪
3294
01:38:42,650 --> 01:38:43,583
♪ TOGETHER ♪
3295
01:38:43,717 --> 01:38:46,886
♪ THE MOUNTAlNS WE COULD CLlMB ♪
203309
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