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00:00:18,541 --> 00:00:20,541
[waves crashing]
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00:00:25,625 --> 00:00:27,625
[♪ pensive music playing]
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00:00:53,125 --> 00:00:55,041
[host 1] Please join me in welcoming...
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00:00:55,125 --> 00:00:58,208
- [host 2] Mr. Hideo Kojima.
- [host 3] Hideo Kojima.
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00:00:58,291 --> 00:01:01,625
[host 3] One of the most creative talents
in the history of gaming.
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00:01:01,708 --> 00:01:02,708
[applause]
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00:01:02,791 --> 00:01:04,250
Fantastic.
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00:01:10,250 --> 00:01:12,250
[♪ pensive music playing]
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00:01:15,458 --> 00:01:17,583
In the space of gaming, he is the master.
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00:01:17,666 --> 00:01:19,500
- Absolutely love your work.
- Thank you.
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00:01:19,583 --> 00:01:21,083
[Del Toro] You can tell
it's a Hideo Kojima game
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00:01:21,166 --> 00:01:23,375
even if that credit wasn't there.
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00:01:23,833 --> 00:01:24,916
No way.
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[Keighley] Video games
are the biggest, most powerful form
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00:01:29,416 --> 00:01:31,583
of entertainment in the world
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00:01:31,666 --> 00:01:34,625
and the numbers clearly show that
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00:01:34,708 --> 00:01:38,708
more than three billion people
on the planet play video games.
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[crowd cheering]
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And Hideo really is probably
the most well-known game creator
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in the world.
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It's kind of like stepping
into Willy Wonka's chocolate factory
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00:01:50,250 --> 00:01:51,791
with Willy Wonka, you know?
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00:01:55,125 --> 00:01:56,750
[Reedus] You just kind of
go along for the ride.
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00:01:56,833 --> 00:01:59,333
[♪ pensive music playing]
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00:02:02,208 --> 00:02:04,958
[Refn] I think that
it's the obligation of any artist
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to push the boundaries of their canvas.
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[♪ tense music playing]
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[♪ tense music playing]
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- [indistinct chatter]
- [laughter]
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[Miller] I'm really interested
in how people think creatively,
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no matter what the discipline.
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00:02:36,333 --> 00:02:40,916
Any form of artistry,
the process is the same almost always.
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And that is an interplay
between the intellect and the intuition.
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[♪ uplifting music playing]
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[video game designer]
He's fighting all the time.
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I don't know with whom.
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00:03:01,583 --> 00:03:04,583
Maybe himself.
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00:03:08,625 --> 00:03:10,625
[♪ pensive music playing]
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00:03:35,375 --> 00:03:37,375
[♪ pensive music playing]
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[indistinct chatter]
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00:04:30,583 --> 00:04:32,208
[indistinct chatter]
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[laughter]
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The story from back in the day was that
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Hideo wanted to go and pitch a game
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00:04:44,083 --> 00:04:45,833
but he didn't want to tell anyone
what it was.
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He really wanted someone
to sign up for the game
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without hearing what the game was.
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And everyone in the Western world
was like, "You're crazy."
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We know you're Hideo Kojima
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00:04:54,250 --> 00:04:57,791
but we're not going to sign up your game
until we know what you're making.
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[Keighley] And Sony,
as far as I know, basically said,
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00:05:06,041 --> 00:05:09,625
"We're going to bet on you,
Hideo Kojima, as a creator."
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We don't even need to know
what the game is.
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We're just in.
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[♪ pensive music playing]
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[indistinct chatter]
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{\an8}[laughter]
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00:06:04,833 --> 00:06:08,583
[indistinct chatter]
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00:06:38,500 --> 00:06:40,916
[indistinct chatter]
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00:06:48,041 --> 00:06:50,250
[indistinct chatter]
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00:07:11,791 --> 00:07:14,000
[indistinct chatter]
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[chuckles]
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[♪ tense music playing]
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[people clamoring]
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[objects clatter]
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00:08:15,208 --> 00:08:17,666
[helicopter whirring]
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[♪ tense music playing]
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He is not someone
that just sort of rinses and repeats.
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He really tries to, to reinvent
how the game is played.
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00:08:58,791 --> 00:09:02,166
But overarching all that is this view
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00:09:02,250 --> 00:09:05,500
that he wants to communicate something
to the player.
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00:09:05,583 --> 00:09:08,666
He really has a message
that he wants to deliver in every game
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00:09:08,750 --> 00:09:11,000
that he hopes translates to the player.
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00:09:12,250 --> 00:09:16,416
[Keighley] Like every game he makes,
there's a reason behind making the game.
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00:09:48,041 --> 00:09:49,875
[Sam] Hello!
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00:09:49,958 --> 00:09:50,958
[echoing voice] Hey you!
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[Sam] I'm Sam.
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00:09:54,083 --> 00:09:55,916
[echoing voice] Hey, my name is Sam too!
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00:10:09,708 --> 00:10:11,916
- [chimes]
- [grunts]
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00:10:14,625 --> 00:10:16,125
[Sam] Thanks for the help.
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00:10:28,708 --> 00:10:31,333
The people she left behind
have been hard at work,
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00:10:31,416 --> 00:10:33,833
setting up Chiral network terminals.
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00:10:33,916 --> 00:10:37,083
But these terminals are still isolated.
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00:10:37,166 --> 00:10:39,583
[Die-Hardman]
We need you to bring them online.
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00:10:40,833 --> 00:10:43,666
[indistinct chatter]
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00:11:06,166 --> 00:11:08,166
[♪ ominous music playing]
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00:11:46,958 --> 00:11:48,958
[♪ tense music playing]
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00:12:55,583 --> 00:12:57,583
[♪ tense music playing]
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00:13:11,375 --> 00:13:14,000
[overlapping chatter]
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00:13:35,000 --> 00:13:37,083
[beeping]
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00:13:44,458 --> 00:13:45,458
{\an8}[laughs]
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00:13:54,791 --> 00:13:56,791
[♪ pensive music playing]
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00:14:05,750 --> 00:14:07,875
[laughter]
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00:14:24,625 --> 00:14:26,625
[keyboard clacking]
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00:14:54,583 --> 00:14:56,583
I don't know, like,
new franchises right now.
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00:14:56,666 --> 00:15:00,333
I think that it's both, it's really brave
and it's really hard.
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00:15:01,375 --> 00:15:03,750
[Grimes] They're mostly making, like,
weird remakes and stuff.
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00:15:03,833 --> 00:15:08,416
It's, like, really hard to get funding
for, like, new work in the modern era.
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00:15:44,541 --> 00:15:48,166
When you balance
the commerciality expectation
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00:15:48,250 --> 00:15:53,125
of hundreds of millions of dollars
in investment.
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00:15:53,208 --> 00:15:58,166
At the same time, wanting to stay true
not just to your vision,
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00:15:58,250 --> 00:16:02,125
but to your whole idea of what gaming is.
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00:16:03,458 --> 00:16:06,666
That's like playing Russian roulette
with six bullets.
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00:16:17,500 --> 00:16:19,500
{\an8}[indistinct chatter]
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00:16:38,666 --> 00:16:40,666
[background chatter]
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00:17:12,958 --> 00:17:14,916
[chuckles]
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00:17:23,208 --> 00:17:25,208
[♪ slow upbeat music playing]
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00:18:10,416 --> 00:18:12,416
[♪ slow upbeat music playing]
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00:18:24,541 --> 00:18:26,625
[laughter]
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00:19:12,208 --> 00:19:14,708
[indistinct chatter]
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00:19:24,458 --> 00:19:26,000
[overlapping chatter]
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00:19:32,791 --> 00:19:34,666
[trilling]
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00:19:35,125 --> 00:19:37,250
[indistinct chatter]
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00:19:55,250 --> 00:19:58,791
[Miller] In the collaborative
arts or virtually all arts,
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00:19:58,875 --> 00:20:02,041
there's usually one voice ultimately.
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00:20:02,125 --> 00:20:03,583
[indistinct chatter]
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00:20:03,666 --> 00:20:08,958
The person who is that driving force
has to do one very important thing
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00:20:09,041 --> 00:20:15,166
and that is create the strategies
with which everybody else can work.
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00:20:23,041 --> 00:20:25,250
[indistinct chatter]
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00:20:36,916 --> 00:20:40,958
There's a kind of a Darwinian
battle that goes on in your mind,
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00:20:41,041 --> 00:20:43,375
and the strongest ideas survive.
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00:20:43,458 --> 00:20:45,333
They keep coming back to you
they won't let you go
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00:20:45,416 --> 00:20:47,833
until you become
a little bit obsessed with them.
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00:20:49,625 --> 00:20:54,041
[Miller] And you go from a very divergent,
broad view of the work,
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00:20:54,125 --> 00:20:58,250
and you bounce down
into a very, very highly focused,
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00:20:58,333 --> 00:21:00,333
granular level of the work.
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00:21:00,416 --> 00:21:02,375
And it's bouncing between the two.
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00:21:18,291 --> 00:21:20,750
[Miller] The extent
that they can articulate that
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00:21:20,833 --> 00:21:24,708
and convey it to the others
and inspire others working with them.
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00:21:24,791 --> 00:21:28,375
Then the work
will be a comprehensive whole.
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00:21:29,041 --> 00:21:32,291
Being across every single aspect
is incredible to me,
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00:21:32,375 --> 00:21:35,791
like, that's, that takes something
that I don't have.
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00:21:35,875 --> 00:21:36,958
Very, very special.
134
00:21:37,041 --> 00:21:38,125
I don't know when he sleeps.
135
00:21:38,208 --> 00:21:40,791
I don't know if and when
Hideo ever sleeps.
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00:21:40,875 --> 00:21:41,875
[laughs]
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00:22:47,375 --> 00:22:49,375
[♪ light music playing]
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00:23:26,208 --> 00:23:27,375
{\an8}[chuckles]
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00:23:29,541 --> 00:23:32,833
[Del Toro] People may be
in charge of processing the call or engine
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00:23:32,916 --> 00:23:35,375
and character construction,
rigging, whatever.
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00:23:35,458 --> 00:23:39,000
But the only person
in charge of the orchestra
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00:23:39,083 --> 00:23:43,083
conducting for the emotion
and the result is the auteur.
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00:23:43,166 --> 00:23:45,166
[♪ thrilling music playing]
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00:24:45,791 --> 00:24:47,791
[♪ uplifting music playing]
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00:25:41,250 --> 00:25:43,250
[♪ uplifting music playing]
146
00:26:10,958 --> 00:26:12,541
[background chatter]
147
00:26:12,625 --> 00:26:17,250
So the part that we're doing
today is Sam reaches west.
148
00:26:17,333 --> 00:26:22,125
I first heard of Hideo
through Guillermo del Toro.
149
00:26:22,208 --> 00:26:26,791
So Guillermo called me and said,
"Hey, there's this guy.
150
00:26:26,875 --> 00:26:29,250
He's going to call you. Just say, 'Yes'."
151
00:26:29,333 --> 00:26:30,416
And I was like,
"What are you talking about?"
152
00:26:30,500 --> 00:26:32,583
And he's like,
"Just whatever he says, say 'Yes'."
153
00:26:32,666 --> 00:26:34,750
[indistinct chatter]
154
00:26:34,833 --> 00:26:36,416
[Baker] I knew that
we were going to be stepping
155
00:26:36,500 --> 00:26:38,791
into a big world with big characters.
156
00:26:38,875 --> 00:26:43,208
Giving us a package to say to them, like,
"Hey, this package is from Fragile."
157
00:26:43,291 --> 00:26:46,708
And so many times, I had to stop and go,
"Hold on a second, hold on a second."
158
00:26:46,791 --> 00:26:48,250
"So, what you're saying is..."
159
00:26:48,333 --> 00:26:51,458
and it would be whether
it's about the story, about the character,
160
00:26:51,541 --> 00:26:58,250
about the breadth
and immensity of the design, um...
161
00:26:58,333 --> 00:26:59,875
how it was going to relate to the player
162
00:26:59,958 --> 00:27:02,333
and how those players
were going to relate to each other.
163
00:27:03,458 --> 00:27:06,541
The story and the experiences just
kept getting bigger and bigger and bigger.
164
00:27:08,666 --> 00:27:12,791
[Reedus] There's so many moments that
I've had with him where I'm like, "What?
165
00:27:12,875 --> 00:27:15,208
Like, what are you talking about?"
166
00:27:16,666 --> 00:27:20,833
And then at some point, she's
kind of warped in front of you, okay?
167
00:27:20,916 --> 00:27:22,250
Like, being, like...
168
00:27:22,333 --> 00:27:23,833
[Baker] Makes sense now, man.
169
00:27:25,041 --> 00:27:26,708
[Reedus] Make so much sense.
170
00:27:27,750 --> 00:27:29,500
It was confusing for a lot of us
171
00:27:29,583 --> 00:27:33,750
because the story is so intricate
and it's so deep.
172
00:27:33,833 --> 00:27:39,750
It was very confusing
but what was done in such a great way is,
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00:27:39,833 --> 00:27:42,041
I was felt like I was sort of drip-fed,
174
00:27:42,125 --> 00:27:45,750
whatever my brain could handle
at that moment in time.
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00:27:46,833 --> 00:27:48,041
[Jenkins] Captain,
176
00:27:50,375 --> 00:27:53,666
I need you to hand him over.
177
00:27:53,750 --> 00:27:55,083
[actor] Shoot him, John.
178
00:27:59,041 --> 00:28:00,250
Let him go.
179
00:28:01,958 --> 00:28:03,083
Please.
180
00:28:04,125 --> 00:28:05,333
Shoot him!
181
00:28:06,458 --> 00:28:08,750
I gave you an order. Shoot him.
182
00:28:15,291 --> 00:28:17,125
- Guys on Monday...
- I wanna, bye.
183
00:28:19,541 --> 00:28:22,125
[Baker] Trust in this medium is key.
184
00:28:22,208 --> 00:28:26,125
It is the bedrock foundation
for many reasons.
185
00:28:26,208 --> 00:28:30,000
Number one,
everything is in an abstraction.
186
00:28:30,083 --> 00:28:31,750
Everything is vague.
187
00:28:31,833 --> 00:28:33,166
{\an8}- [director 1] Good, Mark. Take three.
- [Mark] All right.
188
00:28:33,250 --> 00:28:35,916
{\an8}[Baker] There's just four white walls
with a bunch of cameras.
189
00:28:36,000 --> 00:28:37,500
{\an8}Right, we're all set.
190
00:28:39,291 --> 00:28:41,083
Ready? Action.
191
00:28:43,958 --> 00:28:45,958
Oh, Sam Bridges.
192
00:28:46,041 --> 00:28:47,958
[Baker] So trust is at the root of it all.
193
00:28:48,041 --> 00:28:49,875
So...
194
00:28:49,958 --> 00:28:51,375
Fragile...
195
00:28:52,750 --> 00:28:55,208
[Higgs] Like the world
and everything in it.
196
00:28:56,500 --> 00:28:57,875
Me? I'm...
197
00:28:59,458 --> 00:29:00,958
I'm no exception.
198
00:29:03,666 --> 00:29:05,916
[Baker] Let's not forget little old you.
199
00:29:06,291 --> 00:29:09,500
[Reedus groaning]
200
00:29:10,083 --> 00:29:13,416
I know it ain't easy wearing a mask
all the time.
201
00:29:15,000 --> 00:29:17,291
[Higgs] But now the mask
can come off, right?
202
00:29:18,708 --> 00:29:20,708
[panting]
203
00:29:24,750 --> 00:29:27,208
[Reedus] The more he would tell me,
the more I would understand.
204
00:29:27,291 --> 00:29:29,708
And you have to understand,
I started making this game
205
00:29:29,791 --> 00:29:32,416
not knowing anything
about what anybody's talking about.
206
00:29:34,916 --> 00:29:38,291
So as the trust got deeper and stronger,
207
00:29:38,375 --> 00:29:41,958
the storyline got more revealed to me
in a way that I could understand it.
208
00:29:46,125 --> 00:29:50,625
And I knew we were doing something
really special. You know?
209
00:29:51,708 --> 00:29:53,583
We want the player, same flashback...
210
00:29:53,666 --> 00:29:56,416
[Mikkelsen] Every time we think
we have an idea of what this is about,
211
00:29:56,500 --> 00:29:58,291
it's just another layer and another layer.
212
00:29:58,375 --> 00:29:59,916
Except me. I see you, and I talk to you.
213
00:30:00,000 --> 00:30:02,625
And I tell you that you must...
214
00:30:02,708 --> 00:30:04,791
[Reedus] Just point me, just tell me...
215
00:30:04,875 --> 00:30:05,875
Yeah.
216
00:30:05,958 --> 00:30:07,416
- [laughter]
- And I'm like...
217
00:30:07,500 --> 00:30:09,583
When you throw that away
and lose your fear,
218
00:30:09,666 --> 00:30:12,083
all of a sudden, there's a certain freedom
in working like this.
219
00:30:12,166 --> 00:30:14,500
[♪ dramatic music playing]
220
00:30:17,375 --> 00:30:20,625
You can just look at him and look at what
he's creating over there in the corner.
221
00:30:20,708 --> 00:30:23,666
You say, "You know what?
I think I'm in good hands."
222
00:30:23,750 --> 00:30:25,125
Let's just do it.
223
00:30:25,208 --> 00:30:27,208
[♪ dramatic music playing]
224
00:30:36,333 --> 00:30:39,250
[indistinct chatter]
225
00:30:41,958 --> 00:30:43,250
Stay back.
226
00:30:52,708 --> 00:30:55,041
[♪ dramatic music playing]
227
00:31:10,208 --> 00:31:13,291
[interpreter translates in French]
228
00:31:13,416 --> 00:31:16,916
[Seydoux] It's, uh, complex and very deep.
229
00:31:21,041 --> 00:31:23,250
It's almost a political statement.
230
00:31:23,333 --> 00:31:24,666
Okay.
231
00:31:24,750 --> 00:31:26,125
Okay, rolling.
232
00:31:28,583 --> 00:31:29,958
[director 2] You ready, Fragile?
233
00:31:30,041 --> 00:31:31,375
[Seydoux] Ready.
234
00:31:31,458 --> 00:31:33,250
Sam.
235
00:31:33,333 --> 00:31:35,041
- I see him.
- Mm.
236
00:31:38,125 --> 00:31:39,666
[assistant 2] And just make that "Sam"
237
00:31:39,750 --> 00:31:41,250
a little quicker.
It's like, "There he is."
238
00:31:41,333 --> 00:31:42,541
[Seydoux] Okay.
239
00:31:42,625 --> 00:31:44,916
You love her, right?
240
00:31:46,166 --> 00:31:47,666
You love her.
241
00:31:50,291 --> 00:31:51,625
There it is.
242
00:31:51,708 --> 00:31:55,541
- [blasts]
- [panting]
243
00:32:15,625 --> 00:32:16,750
We're pulling out.
244
00:32:17,833 --> 00:32:19,416
We're pulling out.
245
00:32:25,541 --> 00:32:26,625
Secure the area.
246
00:32:28,208 --> 00:32:29,625
[director 3] Okay, cut there.
247
00:32:34,000 --> 00:32:36,916
Okay, back down
at that original volume for open fire.
248
00:32:37,000 --> 00:32:38,583
- Everybody ready?
- Got you. Yes.
249
00:32:38,666 --> 00:32:41,625
Okay, here we go.
Rolling when you are ready, sir.
250
00:32:43,375 --> 00:32:44,666
[Mikkelsen] Open fire.
251
00:32:46,083 --> 00:32:47,541
Open fire.
252
00:32:48,750 --> 00:32:50,041
Open fire.
253
00:32:50,916 --> 00:32:52,625
[Mikkelsen] It feels quite open.
254
00:32:52,708 --> 00:32:54,250
And he's very pleased, obviously,
255
00:32:54,333 --> 00:32:57,416
because whatever we do,
that's not the end result.
256
00:32:57,500 --> 00:32:59,958
He just, he needs us to do the base.
257
00:33:00,958 --> 00:33:02,208
[Mikkelsen] Disengage!
258
00:33:04,791 --> 00:33:06,541
Time to go, boys.
259
00:33:06,625 --> 00:33:10,500
[Mikkelsen] And the more we can give him
real emotions or whatever in that base,
260
00:33:10,583 --> 00:33:12,000
the happier he gets.
261
00:33:14,000 --> 00:33:15,750
Don't let me down, boys.
262
00:33:16,708 --> 00:33:19,750
[Mikkelsen] He's famous for being
a storyteller in his games.
263
00:33:21,625 --> 00:33:24,916
It's mayhem with the assassin's war.
264
00:33:25,000 --> 00:33:29,208
But there's a certain beauty,
a certain poetry to the entire image.
265
00:33:30,625 --> 00:33:34,833
And I think that's also one of the keys
to why his games are so incredibly popular
266
00:33:34,916 --> 00:33:37,208
because they have both sides of the coin.
267
00:33:37,291 --> 00:33:40,291
[breathing heavily]
268
00:33:42,375 --> 00:33:44,375
[♪ dramatic music playing]
269
00:33:45,666 --> 00:33:49,166
- [gunshots]
- [groaning]
270
00:33:55,416 --> 00:33:58,375
It was interesting
because it's a world that I didn't know,
271
00:33:58,458 --> 00:34:00,541
the world of video games.
272
00:34:00,625 --> 00:34:02,291
Okay, same kind of thing here, right?
273
00:34:02,375 --> 00:34:05,416
He brings you something you've always...
you've been waiting for.
274
00:34:07,250 --> 00:34:09,041
How did you get this?
275
00:34:09,125 --> 00:34:12,833
I don't know what to say, except thanks.
276
00:34:12,916 --> 00:34:18,291
[Seydoux] It's also a way video games...
it's a way of reaching people.
277
00:34:18,375 --> 00:34:20,083
Except thanks.
278
00:34:20,166 --> 00:34:22,250
- I was thinking playing before back.
- [assistant] Yeah.
279
00:34:22,333 --> 00:34:24,625
I think it should be...
it should be in a smile, no?
280
00:34:24,708 --> 00:34:26,958
[director 3]
Yeah, it should have a smile on it.
281
00:34:27,041 --> 00:34:28,625
And, "How did you get this?" is like,
282
00:34:28,708 --> 00:34:31,125
you've been trying for weeks
and weeks to get this
283
00:34:31,208 --> 00:34:36,333
and here he strolls up
and gives it to you, you know.
284
00:34:36,416 --> 00:34:37,416
[Seydoux] Okay.
285
00:34:39,791 --> 00:34:41,375
How did you get this?
286
00:34:43,083 --> 00:34:45,708
I don't know what to say, except thanks.
287
00:34:45,791 --> 00:34:47,041
Good, good. Good, good, good.
288
00:34:47,125 --> 00:34:48,125
[Seydoux] Thank you.
289
00:34:48,208 --> 00:34:49,750
[director 3] I think we got it, thumbs up.
290
00:34:50,458 --> 00:34:51,916
- Okay.
- Okay.
291
00:34:52,000 --> 00:34:53,500
- [director 3] Good.
- [applauding]
292
00:34:53,583 --> 00:34:55,875
[director 3] That's a wrap.
You can come on out.
293
00:34:56,625 --> 00:34:58,625
[♪ suspenseful music playing]
294
00:35:48,166 --> 00:35:50,166
[♪ suspenseful music playing]
295
00:35:54,000 --> 00:35:57,375
[Refn] Being original is hard.
296
00:35:57,458 --> 00:36:01,625
So most rely on an algorithm,
297
00:36:01,708 --> 00:36:04,750
which is the enemy of creativity.
298
00:36:04,833 --> 00:36:09,791
And I see Hideo
as the enemy of the algorithm.
299
00:36:09,875 --> 00:36:13,666
What I think is unique,
is his sense of pacing,
300
00:36:13,750 --> 00:36:16,041
his sense of drama.
301
00:36:16,125 --> 00:36:17,416
I admire it.
302
00:36:17,500 --> 00:36:19,916
It can go in detours
303
00:36:20,000 --> 00:36:24,083
that the Western discipline
of storytelling would not go to,
304
00:36:24,166 --> 00:36:27,208
and therefore, it makes it very impactful.
305
00:36:27,916 --> 00:36:29,500
[sloshing]
306
00:36:32,583 --> 00:36:35,333
[baby cooing]
307
00:36:36,250 --> 00:36:38,250
[sloshing]
308
00:36:44,000 --> 00:36:46,625
I think Hideo Kojima
is a very strange man.
309
00:36:46,708 --> 00:36:48,125
I think he likes,
310
00:36:49,916 --> 00:36:53,250
he likes to tell stories
in a way that is bizarre.
311
00:36:53,333 --> 00:36:55,208
That is not usual.
312
00:36:58,458 --> 00:37:02,916
[Grimes] It's in the uncanny valley
between, like, comedy
313
00:37:03,000 --> 00:37:05,958
and, like, extreme earnestness.
314
00:37:06,041 --> 00:37:09,000
Like, I just really can't tell
if it's a joke or not.
315
00:37:09,083 --> 00:37:11,500
I'm just like,
is he freaking serious right now?
316
00:37:11,583 --> 00:37:13,458
Like, is this real?
317
00:37:13,541 --> 00:37:18,666
And it's, like, profoundly funny,
but also, like, deeply sad.
318
00:37:19,333 --> 00:37:22,500
[background chatter]
319
00:37:23,708 --> 00:37:25,875
[Hulst] Before Hideo Kojima
made Metal Gear,
320
00:37:25,958 --> 00:37:28,833
everything was about engaging,
about combat.
321
00:37:28,916 --> 00:37:32,333
He turned it around
and it was now about avoiding combat.
322
00:37:32,416 --> 00:37:36,541
It was about hide and seek,
and stealth gameplay became a thing.
323
00:37:54,500 --> 00:37:56,500
[♪ ominous music playing]
324
00:38:21,583 --> 00:38:23,750
{\an8}[planes rumbling]
325
00:38:37,750 --> 00:38:41,291
It was a thoughtful
approach to playing games
326
00:38:41,375 --> 00:38:43,833
and that really burst, you know,
the stealth genre
327
00:38:43,916 --> 00:38:46,291
which today is still used
in so many games.
328
00:38:46,375 --> 00:38:48,375
[♪ mysterious music playing]
329
00:39:10,333 --> 00:39:12,541
[helicopter whirring]
330
00:39:20,666 --> 00:39:22,833
[waves crashing]
331
00:39:38,791 --> 00:39:41,000
[birds chirping]
332
00:39:51,791 --> 00:39:53,791
[♪ eerie music playing]
333
00:39:56,791 --> 00:39:59,708
[♪ eerie music playing]
334
00:40:21,625 --> 00:40:23,083
[zooming]
335
00:40:28,791 --> 00:40:30,791
[♪ epic music playing]
336
00:41:30,291 --> 00:41:33,208
[Woodkid] I think one
of the big qualities of his work
337
00:41:33,291 --> 00:41:37,125
is that it references other forms
of art constantly.
338
00:41:38,208 --> 00:41:41,291
It's not video games
that talk about video games.
339
00:42:06,875 --> 00:42:07,875
{\an8}[faint laughter]
340
00:42:07,958 --> 00:42:09,333
[laughs]
341
00:42:57,750 --> 00:42:59,750
[♪ tense music playing]
342
00:43:27,958 --> 00:43:29,958
[♪ light music playing]
343
00:43:57,375 --> 00:43:58,375
{\an8}[chuckles]
344
00:44:12,291 --> 00:44:13,958
[birds chirping]
345
00:44:15,416 --> 00:44:18,333
BOOKSTORE, HOUSEWIFE'S FRIEND
346
00:44:39,000 --> 00:44:40,166
[background chatter]
347
00:44:52,000 --> 00:44:54,166
[blasting]
348
00:44:54,250 --> 00:44:55,333
[growling]
349
00:45:11,250 --> 00:45:13,250
[♪ calm music playing]
350
00:46:32,583 --> 00:46:34,583
[♪ calm music playing]
351
00:47:58,125 --> 00:48:00,458
[applause]
352
00:48:20,750 --> 00:48:23,541
[applause]
353
00:48:56,666 --> 00:48:59,541
[Keighley] Welcome to
Countdown to Death Stranding.
354
00:48:59,625 --> 00:49:01,375
We are here in New York City.
355
00:49:01,458 --> 00:49:04,583
The World Strand Tour
has touched down here
356
00:49:04,666 --> 00:49:06,375
for an incredible experience
357
00:49:06,458 --> 00:49:09,375
and I'm honored to be joined
by Hideo Kojima
358
00:49:09,458 --> 00:49:12,875
on the day that Death Stranding
is launching around the world.
359
00:49:13,958 --> 00:49:15,500
[Keighley] I remember there
was a lot of tension when, you know,
360
00:49:15,583 --> 00:49:18,083
during the development of the game,
because everyone kept saying, well,
361
00:49:18,166 --> 00:49:20,208
"Where are the guns? Where's the fights?"
362
00:49:20,291 --> 00:49:22,166
And Hideo is like, "No.
It's about something different.
363
00:49:22,250 --> 00:49:26,083
It's about just walking
and experiencing this world."
364
00:49:26,166 --> 00:49:29,250
And that's such a challenging idea.
365
00:49:29,333 --> 00:49:31,500
[audience cheering]
366
00:49:33,416 --> 00:49:38,666
[Woodkid] You can't give the audience
what they want all the time.
367
00:49:38,750 --> 00:49:41,375
You also have to make them understand
368
00:49:41,458 --> 00:49:43,541
that sometimes they want something
they don't know.
369
00:49:47,750 --> 00:49:51,541
[audience cheering]
370
00:49:52,583 --> 00:49:55,416
[Miller] The risk is
that people just don't accept it.
371
00:49:55,500 --> 00:49:58,333
It's too radical in some way.
372
00:50:04,125 --> 00:50:07,958
But of course,
the upside is that you change,
373
00:50:08,041 --> 00:50:11,083
the medium that you're working in
and that's why
374
00:50:12,458 --> 00:50:14,916
his work is so important.
375
00:50:15,500 --> 00:50:18,375
[crowd cheering]
376
00:50:19,000 --> 00:50:20,500
Outside of AAA games,
377
00:50:20,583 --> 00:50:24,125
I think people often try and communicate
on a deeper level in gaming
378
00:50:24,208 --> 00:50:29,000
but that was the first time
I'd ever seen a game of that scale
379
00:50:29,083 --> 00:50:32,458
trying to go in a lot deeper
than what games would usually attempt.
380
00:50:51,166 --> 00:50:52,541
[Del Toro] When you play Death Stranding,
381
00:50:52,625 --> 00:50:56,958
the dynamics are exactly the opposite
of every other video game.
382
00:50:57,041 --> 00:51:01,583
You are taught virtues
that seem impossible in gaming.
383
00:51:01,666 --> 00:51:04,458
Patience, empathy, solidarity.
384
00:51:04,541 --> 00:51:08,791
It's the only game I've played
where I thought I was a better person
385
00:51:08,875 --> 00:51:10,958
at the end of the game ever.
386
00:51:11,041 --> 00:51:13,041
[♪ epic music playing]
387
00:51:16,416 --> 00:51:19,375
[Grimes] I just love when, like,
really complex things are really popular,
388
00:51:19,458 --> 00:51:21,583
because it makes me feel like,
389
00:51:21,666 --> 00:51:26,000
mainstream audiences are, like, open
to, like, weird experimental art.
390
00:51:26,083 --> 00:51:28,250
[birds squawking]
391
00:51:29,375 --> 00:51:31,083
And that's always, like,
392
00:51:31,166 --> 00:51:33,791
I don't know, a thing that can give you
faith in humanity, I suppose.
393
00:51:39,458 --> 00:51:41,458
[♪ slow upbeat music]
394
00:51:44,208 --> 00:51:48,250
[Del Toro] The function of art,
and philosophy, and humanity is
395
00:51:48,333 --> 00:51:52,833
if you want to call them something,
is to enhance the human spirit.
396
00:51:52,916 --> 00:51:54,250
That's the function.
397
00:51:56,541 --> 00:51:58,541
And video gaming is an art.
398
00:51:58,625 --> 00:52:01,208
At its best is an art.
399
00:52:03,208 --> 00:52:06,333
That's where art has its meaning.
400
00:52:06,416 --> 00:52:09,333
It's not meant to please you, necessarily.
401
00:52:09,416 --> 00:52:11,750
It's meant to inspire you.
402
00:52:11,833 --> 00:52:13,958
It's meant to provoke you.
403
00:52:14,041 --> 00:52:16,750
[Refn] It's meant to entertain you.
404
00:52:16,833 --> 00:52:19,250
Death Stranding
has all those components in it.
405
00:52:19,333 --> 00:52:22,541
It's all there, but it has so much more.
406
00:53:02,875 --> 00:53:04,416
[Baker] Tentacles just went out
407
00:53:04,500 --> 00:53:07,250
trying to find ways
to connect with people.
408
00:53:07,333 --> 00:53:10,916
And there was something
that games could do
409
00:53:11,000 --> 00:53:15,291
that no show, no movie could do.
410
00:53:15,375 --> 00:53:16,916
Not as effectively.
411
00:53:17,583 --> 00:53:19,416
It's one of the things
that I love about this art form,
412
00:53:19,500 --> 00:53:24,083
is that you and I could go in
and look at a painting together
413
00:53:24,166 --> 00:53:25,625
and we can have a conversation.
414
00:53:25,708 --> 00:53:29,166
But there's a difference between
you and I picking up a paintbrush together
415
00:53:29,250 --> 00:53:31,791
and painting something together.
416
00:53:31,875 --> 00:53:34,041
And that, to me, is what games
allow us to do.
417
00:53:34,125 --> 00:53:37,375
And that's especially what Death Stranding
at that time allowed us to do.
418
00:53:37,458 --> 00:53:40,541
When art is strong enough, it's prophetic.
419
00:53:41,708 --> 00:53:44,125
This was a COVID game before COVID.
420
00:53:44,791 --> 00:53:47,041
Uh, this was...
421
00:53:48,083 --> 00:53:52,666
a game that I think responded
to that shift
422
00:53:52,750 --> 00:53:55,416
that the pandemic brought
before it occurred.
423
00:54:17,291 --> 00:54:18,833
[laughs]
424
00:54:20,625 --> 00:54:23,166
[leaves rustling]
425
00:54:45,000 --> 00:54:46,166
Uh...
426
00:55:01,458 --> 00:55:05,333
[Miller] There's no
cultural evolution, unless it is renewed.
427
00:55:06,416 --> 00:55:08,083
That's the history of all creative.
428
00:55:08,166 --> 00:55:10,500
It constantly has to be refreshed.
429
00:55:10,583 --> 00:55:12,666
And that's where the creative courage
comes in.
430
00:55:13,416 --> 00:55:15,416
[♪ uplifting music playing]
431
00:55:19,958 --> 00:55:26,125
[Refn] If we lose that singular vision,
we lose part of our humanity.
432
00:55:27,875 --> 00:55:32,000
And if you are 100 percent true
to yourself as an artist,
433
00:55:32,083 --> 00:55:37,708
then your heart and soul
will always beat for the future.
434
00:55:42,125 --> 00:55:44,125
[♪ uplifting music playing]
435
00:55:45,916 --> 00:55:47,375
[Grimes] All games
are sort of, like, distilling
436
00:55:47,458 --> 00:55:49,250
the most interesting things around you
437
00:55:49,333 --> 00:55:52,625
into a narrative and that's basically
what storytelling is or movies are
438
00:55:52,708 --> 00:55:53,958
or books are.
439
00:55:56,541 --> 00:55:59,958
So it's interesting to see games
kind of, like,
440
00:56:00,041 --> 00:56:02,708
enter the pantheon of storytelling
in this way.
441
00:56:08,250 --> 00:56:10,000
[Miller] Games are stories.
442
00:56:11,291 --> 00:56:13,666
The purpose of stories
is to make meaning out of life.
443
00:56:13,750 --> 00:56:15,375
It's fundamental to us.
444
00:56:15,458 --> 00:56:19,125
It's the only way we can explain the world
and our existence.
445
00:56:19,208 --> 00:56:21,208
[♪ uplifting music playing]
446
00:57:01,500 --> 00:57:03,708
[♪ enigmatic music playing,
CHVRCHES "Death Stranding"]