Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:03.594 --> 00:00:08.197
Black: THIS WILL BE A 3½ HOUR
SORT OF TUTORIAL ON MY PROCESS.
2
00:00:11.461 --> 00:00:13.659
THAT'S WHERE I START --
TAKING AN IDEA,
3
00:00:13.659 --> 00:00:15.659
WHETHER IT'S FICTION
OR NONFICTION
4
00:00:15.659 --> 00:00:19.329
AND FIGURING OUT WHY --
NOT JUST WHAT YOU'RE GONNA TELL,
5
00:00:19.329 --> 00:00:22.165
NOT THAT IT'S ENTERTAINING
OR INTERESTING,
6
00:00:22.165 --> 00:00:23.693
BUT WHY ARE YOU TELLING
THAT STORY?
7
00:00:23.693 --> 00:00:25.429
WHAT IS THE PURPOSE
OF THAT STORY?
8
00:00:25.429 --> 00:00:29.693
FOR ME, IT'S ALWAYS
HOW DO I MOVE THE NEEDLE?
9
00:00:29.693 --> 00:00:32.693
HOW DO I CHANGE THE CULTURE NOW?
10
00:00:32.693 --> 00:00:35.429
ALL RIGHT,
THIS IS THE CLOSET IN MY OFFICE
11
00:00:35.429 --> 00:00:37.395
WHERE I KEEP ALL OF THE RESEARCH
12
00:00:37.395 --> 00:00:40.659
FOR THE DIFFERENT PROJECTS
I'M WORKING ON.
13
00:00:40.659 --> 00:00:43.198
I SPEND USUALLY AT LEAST A YEAR,
14
00:00:43.198 --> 00:00:45.330
IF NOT LONGER,
RESEARCHING THE PROJECT.
15
00:00:45.330 --> 00:00:48.131
I THINK IT'S VERY, VERY
IMPORTANT TO GET TO THE TRUTH,
16
00:00:48.131 --> 00:00:49.626
AND THAT MEANS
FIRSTHAND INTERVIEWS.
17
00:00:49.626 --> 00:00:51.626
THAT MEANS MEETING
THE REAL PEOPLE.
18
00:00:51.626 --> 00:00:55.066
I MEAN, IT BECOMES
JUST VOLUMES OF MATERIAL.
19
00:00:55.066 --> 00:00:58.659
THE BOXES ARE JUST, LIKE,
FILLED WITH CRAP, REALLY.
20
00:00:58.659 --> 00:01:01.198
SOME OF IT I USED,
SOME IF IT DIDN'T.
21
00:01:01.198 --> 00:01:04.032
SOME OF IT IS JUST RESEARCH
ON MORMON AMERICA
22
00:01:04.032 --> 00:01:05.560
BY THE PEW RESEARCH CENTER.
23
00:01:05.560 --> 00:01:08.429
THAT WAS A NEW SORT OF STUDY.
24
00:01:08.429 --> 00:01:11.263
PICTURES, ARTICLES, DRAFTS.
25
00:01:11.263 --> 00:01:15.000
I THINK THERE'S WAYS
YOU GO ABOUT
26
00:01:15.000 --> 00:01:18.231
TRYING TO MAKE SURE
THAT YOUR STUFF IS UNIQUE,
27
00:01:18.231 --> 00:01:20.725
AND TO ME
THAT JUST MEANS SPECIFIC.
28
00:01:20.725 --> 00:01:22.626
YOU KNOW,
THERE'S A TERRIBLE STUDIO NOTE,
29
00:01:22.626 --> 00:01:24.693
WHICH IS LIKE, "WELL,
JUST MAKE THEM RELATABLE."
30
00:01:24.693 --> 00:01:26.429
AND I'M LIKE,
"YOU KNOW WHAT? NO.
31
00:01:26.429 --> 00:01:29.330
MAKE THEM REALLY THEM
AND REALLY SPECIFICALLY THEM,"
32
00:01:29.330 --> 00:01:34.495
AND IT BECOMES VERY UNIVERSAL,
AND THAT COMES FROM RESEARCH.
33
00:01:34.495 --> 00:01:39.362
WHAT I DO IS START TO TAKE
THAT MATERIAL,
34
00:01:39.362 --> 00:01:41.066
WHATEVER IT IS, AND TO BOIL DOWN
35
00:01:41.066 --> 00:01:43.165
THE MOMENTS
THAT I THINK ARE CINEMATIC,
36
00:01:43.165 --> 00:01:45.495
THE MOMENTS THAT ARE NECESSARY
FOR THIS STORY,
37
00:01:45.495 --> 00:01:48.098
AND I START TO PUT THEM
ONTO NOTE CARDS.
38
00:01:48.098 --> 00:01:49.495
EACH NOTE CARD SHOULD BE
39
00:01:49.495 --> 00:01:51.759
AS PURE AND SINGULAR AN IDEA
AS POSSIBLE,
40
00:01:51.759 --> 00:01:54.759
BECAUSE I WANT TO BE ABLE TO
MOVE ALL THE PIECES AROUND
41
00:01:54.759 --> 00:01:57.396
AND TO CREATE A FILM.
42
00:01:57.396 --> 00:01:59.330
AND A FILM IS NOT WHAT HAPPENED.
43
00:01:59.330 --> 00:02:02.165
A FILM IS AN IMPRESSION
OF WHAT HAPPENED.
44
00:02:02.165 --> 00:02:04.527
THIS IS WHAT A SCENE
ENDS UP BEING.
45
00:02:04.527 --> 00:02:06.759
EACH ONE OF THESE CARDS
HAS A COLOR.
46
00:02:06.759 --> 00:02:09.132
IT HAS A --
WHICH MEANS SOMETHING.
47
00:02:09.132 --> 00:02:12.098
LIKE, THE COLOR MEANS
WHICH CHARACTER IT'S FOLLOWING.
48
00:02:12.098 --> 00:02:13.494
IF IT'S HANDWRITTEN,
49
00:02:13.494 --> 00:02:16.330
MOST LIKELY IT WAS AN INTERVIEW
THAT I DID.
50
00:02:16.330 --> 00:02:20.231
IF IT'S PRINTED, IT'S PROBABLY
RIGHT OUT OF SOME PERIODICAL.
51
00:02:20.231 --> 00:02:22.231
BUT THEN YOU CAN FIND
STUFF LIKE THIS.
52
00:02:22.231 --> 00:02:23.725
THIS PROBABLY USED TO BE
A TOP CARD.
53
00:02:23.725 --> 00:02:25.231
I HAD AN IDEA
OF WHAT THE SCENE WOULD BE,
54
00:02:25.231 --> 00:02:26.725
TO DO ALL OF THIS VISUALLY,
55
00:02:26.725 --> 00:02:29.692
OR, YOU KNOW, EVENTUALLY,
THIS WAS NO LONGER THE TOP CARD.
56
00:02:29.692 --> 00:02:31.725
EVENTUALLY IT BECAME
ALL THESE CARDS.
57
00:02:31.725 --> 00:02:35.429
AND THEN IT WAS DISTILLED
INTO THIS DESCRIPTION OF A SCENE
58
00:02:35.429 --> 00:02:38.330
THAT TAKES PLACE
ON WHAT THEY CALL THE FARM.
59
00:02:38.330 --> 00:02:41.231
YOU KNOW, IT'S ABOUT THEN
TAKING THESE CARDS
60
00:02:41.231 --> 00:02:45.527
AND, FOR ME, OVER THE COURSE
OF WEEKS TO MONTHS,
61
00:02:45.527 --> 00:02:47.429
LAYING THEM OUT AND DISTILLING
62
00:02:47.429 --> 00:02:49.692
WHAT'S NECESSARY
TO TELL THE STORY.
63
00:02:49.692 --> 00:02:52.494
ACT I -- I START WAY UP HERE
IN THE CORNER.
64
00:02:52.494 --> 00:02:56.132
AND IF I CAN'T GET TO THE END
OF THE MOVIE BY THAT CORNER,
65
00:02:56.132 --> 00:02:58.395
IT'S TIME TO TIME
TO START CUTTING.
66
00:02:58.395 --> 00:03:01.098
ONCE IT'S LAID OUT,
WHICH WILL TAKE WEEKS,
67
00:03:01.098 --> 00:03:03.395
I START TO HAVE
TO WHITTLE IT DOWN.
68
00:03:03.395 --> 00:03:05.561
YOU KNOW, THERE'S NO REASON
TO WRITE ALL THAT STUFF
69
00:03:05.561 --> 00:03:07.264
AND THEN HAVE TO CUT IT LATER.
70
00:03:07.264 --> 00:03:09.098
I MAY AS WELL CUT IT
BEFORE I HAVE TO WRITE IT.
71
00:03:09.098 --> 00:03:10.692
IT'S PAINFUL,
BECAUSE YOU'VE DONE SO MUCH WORK
72
00:03:10.692 --> 00:03:14.527
TO GATHER ALL OF THESE
INTERVIEWS AND THIS INFORMATION,
73
00:03:14.527 --> 00:03:16.527
AND 90% OF IT IS GONE.
74
00:03:16.527 --> 00:03:18.264
90% OF IT YOU'LL NEVER USE.
75
00:03:18.264 --> 00:03:20.429
THESE ARE THE LAND
OF LOST SCENES.
76
00:03:20.429 --> 00:03:24.065
THESE ARE MY PRECIOUS LITTLE
CHILDREN THAT I'VE HAD TO KILL.
77
00:03:24.065 --> 00:03:26.197
AND I COME BACK OVER HERE
ALL THE TIME,
78
00:03:26.197 --> 00:03:29.033
USUALLY AT THE END OF THE DAY,
AND GO, "OH, MY GOSH.
79
00:03:29.033 --> 00:03:31.264
"HOW CAN I NOT HAVE,
YOU KNOW, THIS SCENE?
80
00:03:31.264 --> 00:03:33.065
"HOW CAN I NOT HAVE THAT?
81
00:03:33.065 --> 00:03:35.725
"WHERE RON MARRIES
19-YEAR-OLD REBECCA?
82
00:03:35.725 --> 00:03:38.593
"THAT WOULD BE SO CHILLING
AND HORRIFIC
83
00:03:38.593 --> 00:03:41.164
AND TELLING
ABOUT HIS CHARACTER,"
84
00:03:41.164 --> 00:03:43.197
BUT I JUST HAVE TO SAY,
"THERE'S NOT ROOM.
85
00:03:43.197 --> 00:03:45.264
I DON'T HAVE ANY MORE ROOM
ON THAT TABLE."
86
00:03:45.264 --> 00:03:49.000
SO, LITERALLY, YOU CAN JUST SEE
HUNDREDS AND HUNDREDS OF THINGS
87
00:03:49.000 --> 00:03:50.593
I LOVE THAT I'VE HAD TO KILL.
88
00:03:50.593 --> 00:03:53.494
I GUESS, FOR ME,
IT'S JUST DOING SOMETHING NEW.
89
00:03:53.494 --> 00:03:56.593
THAT'S A BIG PART OF WHAT IT IS
FOR ME TO BE CREATIVE.
90
00:03:56.593 --> 00:03:59.660
I THINK IT'S NOT JUST CREATING
SOMETHING NEW AND ORIGINAL.
91
00:03:59.660 --> 00:04:01.626
IT'S, LIKE,
ACTUALLY FINDING A WAY
92
00:04:01.626 --> 00:04:04.197
TO DO SOMETHING NEW AND ORIGINAL
THAT WORKS.
93
00:04:04.197 --> 00:04:07.132
I THINK SOMETIMES ARTISTS THINK,
"WELL, IT'S ALL BEEN DONE,"
94
00:04:07.132 --> 00:04:08.330
AND I HEAR THAT ALL THE TIME.
95
00:04:08.330 --> 00:04:09.593
LIKE, "EVERY STORY HAS BEEN TOLD
96
00:04:09.593 --> 00:04:11.626
AND EVERY CHARACTER
HAS BEEN DRAWN."
97
00:04:11.626 --> 00:04:13.494
AND IT'S LIKE,
WELL, THAT'S BULL.
98
00:04:13.494 --> 00:04:14.494
IT'S NOT TRUE.
99
00:04:14.494 --> 00:04:18.000
THE SPECIFICITY WITH WHICH
AN AUTHOR OR A FILMMAKER
100
00:04:18.000 --> 00:04:21.131
PAINTS THOSE CHARACTERS
AND PAINTS THOSE STORIES
101
00:04:21.131 --> 00:04:24.329
AND THE DETAILS THAT ARE PUT
INTO THEM, YOU KNOW,
102
00:04:24.329 --> 00:04:27.660
THAT SHOULD BE ABLE TO BE
ORIGINAL FOREVER.
103
00:04:27.660 --> 00:04:29.759
ONCE I GET THE CARDS IN A PLACE
104
00:04:29.759 --> 00:04:32.296
WHERE, YOU KNOW,
THE SCENES ARE LAID OUT
105
00:04:32.296 --> 00:04:34.759
IN SOME ORDER
THAT STARTS TO MAKE SENSE,
106
00:04:34.759 --> 00:04:37.494
I JUST WAKE UP IN THE MORNING,
WALK INTO THE KITCHEN,
107
00:04:37.494 --> 00:04:39.000
AND WATCH MY MOVIE.
108
00:04:39.000 --> 00:04:41.032
AND THAT MEANS
JUST READING EVERY CARD
109
00:04:41.032 --> 00:04:42.329
AND VISUALIZING EACH SCENE,
110
00:04:42.329 --> 00:04:45.329
AND IF I GET BORED
OR IF I GET STUCK
111
00:04:45.329 --> 00:04:48.032
OR IF I FIND SOMETHING
THAT'S NOT LOGICAL
112
00:04:48.032 --> 00:04:50.428
OR IS REPETITIVE,
I STOP AND I FIX IT.
113
00:04:50.428 --> 00:04:52.197
AND THEN I START OVER AGAIN.
114
00:04:52.197 --> 00:04:55.462
I JUST KEEP DOING THAT
DAY AFTER DAY, WEEK AFTER WEEK,
115
00:04:55.462 --> 00:04:57.329
UNTIL I LITERALLY CAN GET
THROUGH THE MOVIE A FEW TIMES,
116
00:04:57.329 --> 00:04:58.660
I'M NOT BORED,
117
00:04:58.660 --> 00:05:01.593
AND AT THAT POINT,
I CALL IT AN OUTLINE.
118
00:05:01.593 --> 00:05:04.000
NOW I SAY, "OKAY, THIS IS DONE."
119
00:05:04.000 --> 00:05:06.395
I READ IT.
IT FEELS LIKE A MOVIE.
120
00:05:06.395 --> 00:05:08.759
AND I'M GONNA PUT IT
IN THE BOX.
121
00:05:08.759 --> 00:05:11.428
AND I'M GONNA PUT IT IN THE BOX
IN THIS ORDER,
122
00:05:11.428 --> 00:05:14.165
AND THIS IS THE ORDER
THAT I'M GONNA WRITE IT IN
123
00:05:14.165 --> 00:05:15.230
IN MY FIRST DRAFT.
124
00:05:16.395 --> 00:05:19.561
OVER THE NEXT NUMBER OF WEEKS,
I START WRITING.
125
00:05:19.561 --> 00:05:21.494
WHAT I'VE BEEN DOING,
I'VE BEEN SEEING THE SCENES
126
00:05:21.494 --> 00:05:23.066
IN MY HEAD FOR SO LONG
AT THIS POINT
127
00:05:23.066 --> 00:05:25.032
THAT IT'S ALMOST LIKE
JUST REGURGITATION.
128
00:05:25.032 --> 00:05:27.264
LIKE, I'M JUST GETTING OUT.
129
00:05:27.264 --> 00:05:29.627
AND I CALL IT MY VOMIT DRAFT.
130
00:05:29.627 --> 00:05:32.197
I WRITE THE FIRST 10 PAGES
IN A WAY THAT'S VERY READABLE
131
00:05:32.197 --> 00:05:35.692
AND SOMETHING THAT I WOULDN'T BE
TOO ASHAMED OF SOMEONE READING,
132
00:05:35.692 --> 00:05:39.428
AND THEN THE NEXT 90 TO 120,
WHATEVER IT MIGHT BE,
133
00:05:39.428 --> 00:05:41.692
I JUST SPILL IT ALL OUT,
134
00:05:41.692 --> 00:05:43.692
AND I ALLOW MYSELF
TO MAKE MISTAKES
135
00:05:43.692 --> 00:05:45.692
AND TO IMPROV AND TO PLAY.
136
00:05:45.692 --> 00:05:48.296
I KNOW THERE'S THE WRITERS
LIKE KURT VONNEGUT WHO SAID,
137
00:05:48.296 --> 00:05:50.462
YOU KNOW, HE JUST GOT IT RIGHT
THE FIRST TIME
138
00:05:50.462 --> 00:05:51.494
AND THEN HE WAS DONE.
139
00:05:51.494 --> 00:05:53.098
I'M NOT THAT GUY.
140
00:05:53.098 --> 00:05:56.561
I SORT OF LIKE --
I SORT OF, LIKE, SPIT OUT
141
00:05:56.561 --> 00:05:59.494
THIS GIANT PIECE OF CLAY
AND THEN I START TO SHAPE.
142
00:05:59.494 --> 00:06:04.165
I GET UP AT, YOU KNOW, 8:00.
143
00:06:04.165 --> 00:06:07.098
I AM IN HERE WRITING
BY 8:30 OR 9:00.
144
00:06:07.098 --> 00:06:08.462
I TAKE MAYBE A BREAK FOR LUNCH,
145
00:06:08.462 --> 00:06:10.726
A BREAK TO GO, YOU KNOW,
SWEAT IT OUT AT THE GYM,
146
00:06:10.726 --> 00:06:13.428
AND THEN I'M IN HERE
UNTIL ABOUT 1:00 IN THE MORNING,
147
00:06:13.428 --> 00:06:17.329
AND THAT'S SIX TO SEVEN DAYS
A WEEK.
148
00:06:17.329 --> 00:06:19.329
I LOVE AND HATE WHAT I DO.
149
00:06:19.329 --> 00:06:21.197
IT'S LIKE AN ADDICTION.
150
00:06:21.197 --> 00:06:23.528
I WANT TO SOLVE THE PROBLEMS.
151
00:06:23.528 --> 00:06:25.428
I WANT TO MAKE IT WORK.
152
00:06:25.428 --> 00:06:29.230
IF SOMEONE BELIEVES
THAT THE WORLD IS GOOD AS IS,
153
00:06:29.230 --> 00:06:30.660
THAT THIS IS IT,
154
00:06:30.660 --> 00:06:33.098
WE'VE REACHED THE PINNACLE
OF HUMAN EXISTENCE,
155
00:06:33.098 --> 00:06:34.660
THEN YOU KNOW WHAT?
DON'T WRITE.
156
00:06:34.660 --> 00:06:36.561
GET OUT OF THE BUSINESS.
157
00:06:36.561 --> 00:06:38.230
GO LOUNGE SOMEWHERE.
158
00:06:38.230 --> 00:06:41.329
I WRITE BECAUSE
I DON'T THINK WE'RE DONE,
159
00:06:41.329 --> 00:06:44.528
AND I THINK
THAT WE MAKE PROGRESS
160
00:06:44.528 --> 00:06:46.759
BY TELLING OUR PERSONAL STORIES.
161
00:06:46.759 --> 00:06:50.462
YOU KNOW, THE PERSONAL STORY
CAN CHANGE THE WORLD.
12732
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.