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These are the user uploaded subtitles that are being translated: 1 00:00:31,496 --> 00:00:32,531 There is nothing like 2 00:00:32,597 --> 00:00:35,476 going to a theater, a communal 3 00:00:35,533 --> 00:00:37,410 atmosphere, watching something 4 00:00:37,468 --> 00:00:40,005 that is bigger than life. 5 00:00:40,071 --> 00:00:41,550 It's dark... 6 00:00:41,606 --> 00:00:45,110 You don't look at anybody... 7 00:00:45,176 --> 00:00:46,246 And then the movie 8 00:00:46,311 --> 00:00:48,222 started and it was really, 9 00:00:48,279 --> 00:00:49,986 really magical. 10 00:00:53,484 --> 00:00:54,588 I went to a movie at 11 00:00:54,652 --> 00:00:56,290 10 in the morning, which to me 12 00:00:56,354 --> 00:00:57,731 was so odd, right? 13 00:00:57,789 --> 00:00:58,927 Who goes to a movie at 10? 14 00:00:58,990 --> 00:01:00,992 But there was light, there was 15 00:01:01,092 --> 00:01:03,368 drama, there was narrative and I 16 00:01:03,394 --> 00:01:05,670 think what I most loved was the 17 00:01:05,730 --> 00:01:07,573 way the filmmaker was present, 18 00:01:07,632 --> 00:01:09,009 saying "Here, take a look at" 19 00:01:09,067 --> 00:01:11,069 this, think about that." 20 00:01:11,135 --> 00:01:11,943 We were all an 21 00:01:12,003 --> 00:01:13,003 eight-year-old boy. 22 00:01:13,004 --> 00:01:14,813 We were all a 10-year-old girl. 23 00:01:14,872 --> 00:01:16,852 We were all sitting there in 24 00:01:16,908 --> 00:01:18,478 that audience watching whatever 25 00:01:18,543 --> 00:01:20,489 that movie was. 26 00:01:20,545 --> 00:01:21,683 It became a 27 00:01:21,746 --> 00:01:23,020 magical experience. 28 00:01:23,081 --> 00:01:24,617 You go into the dark and you 29 00:01:24,682 --> 00:01:25,962 learn something new and you come 30 00:01:26,017 --> 00:01:27,894 out and it's almost like a 31 00:01:27,952 --> 00:01:30,626 religious experience. 32 00:01:30,688 --> 00:01:32,224 If you want a window into 33 00:01:32,290 --> 00:01:34,668 what was going on in humankind 34 00:01:34,726 --> 00:01:36,000 at a given point in time, you 35 00:01:36,060 --> 00:01:37,061 look at movies. 36 00:01:40,965 --> 00:01:43,343 It gave me the sense that I 37 00:01:43,401 --> 00:01:46,780 was more than just this little 38 00:01:46,838 --> 00:01:49,216 boy, and there was a lot of 39 00:01:49,274 --> 00:01:50,582 other things out there 40 00:01:50,642 --> 00:01:51,643 that I could do. 41 00:01:51,709 --> 00:01:53,586 And if I just kept going in the 42 00:01:53,645 --> 00:01:55,556 right direction, maybe the right 43 00:01:55,613 --> 00:01:56,648 thing would happen. 44 00:01:56,714 --> 00:01:57,920 Because that's what happened 45 00:01:57,982 --> 00:01:59,052 in the movies. 46 00:02:16,601 --> 00:02:17,807 It's heavy. 47 00:02:17,869 --> 00:02:20,008 What is it? 48 00:02:23,875 --> 00:02:25,912 The, uh... 49 00:02:25,977 --> 00:02:28,014 Stuff that dreams are made of. 50 00:02:28,079 --> 00:02:29,752 Huh? 51 00:02:31,559 --> 00:02:32,559 Media giant 52 00:02:32,583 --> 00:02:33,926 Ted Turner has upset a lot of 53 00:02:33,985 --> 00:02:35,464 people because of what he's 54 00:02:35,520 --> 00:02:36,931 doing to some of Hollywood's 55 00:02:36,988 --> 00:02:38,797 greatest old films. 56 00:02:38,856 --> 00:02:40,028 Turner recently bought the. 57 00:02:40,091 --> 00:02:42,093 M.G.M. film library. 58 00:02:42,160 --> 00:02:44,071 Now, he's adding color to the 59 00:02:44,128 --> 00:02:45,436 black and white ones. 60 00:02:48,866 --> 00:02:50,004 To colorize or not 61 00:02:50,068 --> 00:02:52,275 to colorize, Ted Turner has said 62 00:02:52,337 --> 00:02:53,475 is his choice. 63 00:02:53,538 --> 00:02:54,482 Well, last time I checked, 64 00:02:54,539 --> 00:02:55,711 they were my films. 65 00:02:55,773 --> 00:02:56,877 You know, I'm working 66 00:02:56,941 --> 00:02:58,011 on my films. 67 00:03:04,482 --> 00:03:05,688 Let us just say that a very 68 00:03:05,750 --> 00:03:07,127 rich man has purchased all the 69 00:03:07,185 --> 00:03:08,755 films ever made in Hollywood. 70 00:03:08,820 --> 00:03:10,561 He calls together his staff and 71 00:03:10,621 --> 00:03:11,964 says, "take all the black and" 72 00:03:12,023 --> 00:03:13,229 white ones and turn them into 73 00:03:13,291 --> 00:03:15,271 "color, using our new computer." 74 00:03:15,326 --> 00:03:16,304 It was kind of an artists' 75 00:03:16,361 --> 00:03:18,034 rights issue involving material 76 00:03:18,096 --> 00:03:19,336 alteration of film, such as 77 00:03:19,397 --> 00:03:20,740 colorization, panning and 78 00:03:20,798 --> 00:03:22,175 scanning, that sort of thing. 79 00:03:22,233 --> 00:03:23,405 It was a big controversy between 80 00:03:23,468 --> 00:03:24,469 directors who don't like to see 81 00:03:24,535 --> 00:03:26,446 their films changed and studios 82 00:03:26,504 --> 00:03:27,949 who were looking to take, say, 83 00:03:28,005 --> 00:03:28,881 black and white films and 84 00:03:28,940 --> 00:03:29,782 introduce them to a new 85 00:03:29,841 --> 00:03:31,184 generation by, they thought, 86 00:03:31,242 --> 00:03:32,312 colorizing them would make them 87 00:03:32,377 --> 00:03:33,788 more appealing. 88 00:03:33,845 --> 00:03:35,825 Colorization really was the 89 00:03:35,880 --> 00:03:37,826 combustible issue because 90 00:03:37,882 --> 00:03:39,793 a lot of film critics, as well 91 00:03:39,851 --> 00:03:41,125 as the directors and the 92 00:03:41,185 --> 00:03:42,858 cinematographers and the actors 93 00:03:42,920 --> 00:03:44,957 were all so incensed at these 94 00:03:45,022 --> 00:03:46,695 changes, especially the 95 00:03:46,758 --> 00:03:48,965 possibility of changes to, 96 00:03:49,026 --> 00:03:50,596 you know, classic films. 97 00:03:50,661 --> 00:03:52,004 Because the films are a 98 00:03:52,063 --> 00:03:53,940 part of our cultural history, 99 00:03:53,998 --> 00:03:55,477 and like all accurate 100 00:03:55,533 --> 00:03:57,444 representations of who and what 101 00:03:57,502 --> 00:03:59,482 we were, I think they deserve 102 00:03:59,570 --> 00:04:00,878 preservation in their 103 00:04:00,905 --> 00:04:03,181 authentic form. 104 00:04:03,241 --> 00:04:04,241 The committee rooms were 105 00:04:04,275 --> 00:04:05,754 packed and when you get 106 00:04:05,810 --> 00:04:07,653 Jimmy Stewart coming, 107 00:04:07,712 --> 00:04:09,157 you know, Mr. Smith literally 108 00:04:09,213 --> 00:04:10,749 coming to Washington, you know, 109 00:04:10,815 --> 00:04:12,015 I was just sitting there, sort 110 00:04:12,016 --> 00:04:13,893 of admiring the whole scene. 111 00:04:13,951 --> 00:04:15,396 I feel that they're 112 00:04:15,453 --> 00:04:19,492 being tampered with and I... I 113 00:04:19,557 --> 00:04:24,302 want to speak out against this. 114 00:04:24,362 --> 00:04:25,773 The Librarian of Congress got 115 00:04:25,830 --> 00:04:28,834 the idea that if film was 116 00:04:28,900 --> 00:04:32,712 honored in some way by the 117 00:04:32,770 --> 00:04:34,647 national government, that it 118 00:04:34,705 --> 00:04:37,208 would be recognized as having 119 00:04:37,275 --> 00:04:39,653 cultural and artistic value. 120 00:04:39,710 --> 00:04:41,815 Today, the congress is taking 121 00:04:41,879 --> 00:04:44,120 up a bill called the National. 122 00:04:44,182 --> 00:04:45,786 Film Preservation Act. 123 00:04:45,850 --> 00:04:46,954 Congress finally 124 00:04:47,018 --> 00:04:48,258 stepped in and we were kind of 125 00:04:48,319 --> 00:04:49,764 the person brought in to referee 126 00:04:49,821 --> 00:04:50,822 it if we could. 127 00:04:50,888 --> 00:04:52,333 And that was essentially 128 00:04:52,390 --> 00:04:53,698 the creation of the National. 129 00:04:53,758 --> 00:04:55,396 Film Registry. 130 00:04:58,606 --> 00:04:59,606 The National Film. 131 00:04:59,630 --> 00:05:02,304 Registry is a list of films of 132 00:05:02,333 --> 00:05:04,779 enduring cultural, historical 133 00:05:04,836 --> 00:05:06,042 and aesthetic importance, 134 00:05:06,103 --> 00:05:07,810 recommended to the Librarian 135 00:05:07,872 --> 00:05:09,215 of Congress by a very 136 00:05:09,273 --> 00:05:10,684 distinguished board. 137 00:05:10,741 --> 00:05:13,722 25 films are announced each year 138 00:05:13,778 --> 00:05:16,258 as being added to that registry. 139 00:05:16,314 --> 00:05:18,794 1989, the first year 140 00:05:18,850 --> 00:05:22,195 of the board meeting, was very 141 00:05:22,253 --> 00:05:24,392 much focused on the artists' 142 00:05:24,455 --> 00:05:25,798 rights issues. 143 00:05:25,857 --> 00:05:27,859 And then after that, it seemed 144 00:05:27,925 --> 00:05:29,632 very quickly to fade. 145 00:05:29,694 --> 00:05:32,436 The issue became preservation, 146 00:05:32,497 --> 00:05:35,034 and which films should be 147 00:05:35,099 --> 00:05:38,706 awarded the seal of the national 148 00:05:38,769 --> 00:05:40,749 film preservation board. 149 00:05:40,805 --> 00:05:41,875 This process serves 150 00:05:41,939 --> 00:05:43,179 as an invaluable means to 151 00:05:43,241 --> 00:05:44,948 advance public awareness of the 152 00:05:45,009 --> 00:05:46,488 richness and variety of the 153 00:05:46,544 --> 00:05:48,615 American film heritage. 154 00:05:48,679 --> 00:05:50,454 This is not simply just another 155 00:05:50,515 --> 00:05:51,858 list of great films. 156 00:05:51,916 --> 00:05:53,918 It is saying to America 157 00:05:53,985 --> 00:05:55,191 and to the world, 158 00:05:55,253 --> 00:05:56,357 "These films matter." 159 00:05:56,420 --> 00:05:57,091 What the film registry 160 00:05:57,154 --> 00:05:58,154 says is "Here are great" 161 00:05:58,189 --> 00:05:58,860 works of art." 162 00:05:58,923 --> 00:05:59,923 They were created in a 163 00:05:59,957 --> 00:06:01,157 commercial context but we need 164 00:06:01,158 --> 00:06:02,432 to preserve them the way 165 00:06:02,493 --> 00:06:03,836 the metropolitan museum 166 00:06:03,895 --> 00:06:06,239 preserves Leonardo da Vinci's. 167 00:06:09,400 --> 00:06:10,674 One of the nice things about 168 00:06:10,735 --> 00:06:12,373 the National Film Registry is 169 00:06:12,436 --> 00:06:13,847 that it's not only preserving 170 00:06:13,905 --> 00:06:15,714 our films, but it's also, to a 171 00:06:15,773 --> 00:06:16,894 large extent, preserving our 172 00:06:16,941 --> 00:06:18,648 cultural heritage, and all the 173 00:06:18,709 --> 00:06:20,211 things that film capture. 174 00:06:27,485 --> 00:06:28,862 If you look at the advent 175 00:06:28,920 --> 00:06:30,194 of movies from the 1890s 176 00:06:30,254 --> 00:06:32,700 forward, they were in many ways 177 00:06:32,757 --> 00:06:34,202 the most important force for 178 00:06:34,258 --> 00:06:35,669 shaping a common sense of 179 00:06:35,726 --> 00:06:37,000 American culture. 180 00:06:37,061 --> 00:06:38,096 There was a time when people 181 00:06:38,162 --> 00:06:39,163 in Southern California didn't 182 00:06:39,230 --> 00:06:40,072 have much in common with 183 00:06:40,131 --> 00:06:41,235 the people in Maine and the 184 00:06:41,299 --> 00:06:42,744 people in Florida had virtually 185 00:06:42,800 --> 00:06:43,778 nothing in common with the 186 00:06:43,834 --> 00:06:45,745 people in the Pacific Northwest, 187 00:06:45,803 --> 00:06:47,373 and it's movies that came along 188 00:06:47,438 --> 00:06:48,439 that began to create the sense 189 00:06:48,506 --> 00:06:49,814 of nationhood. 190 00:06:52,443 --> 00:06:53,649 The American film was a 191 00:06:53,711 --> 00:06:55,315 particular way in which a young 192 00:06:55,379 --> 00:06:57,484 nation learned to express 193 00:06:57,548 --> 00:06:59,585 itself, express its exuberance, 194 00:06:59,684 --> 00:07:01,459 expose its problems, 195 00:07:01,485 --> 00:07:03,192 reflect its hopes. 196 00:07:03,254 --> 00:07:05,495 It was living history, 197 00:07:05,556 --> 00:07:06,660 audio-visual history 198 00:07:06,724 --> 00:07:07,862 of the 20th century. 199 00:07:07,925 --> 00:07:10,565 Movies have been the document 200 00:07:10,628 --> 00:07:11,971 of our history and culture. 201 00:07:12,029 --> 00:07:13,007 They tell us what we looked 202 00:07:13,064 --> 00:07:15,271 like, what we wore, what we 203 00:07:15,333 --> 00:07:17,313 aspired to, our dreams, the lies 204 00:07:17,368 --> 00:07:18,972 we told to one another... 205 00:07:19,036 --> 00:07:20,344 Because in those 206 00:07:20,404 --> 00:07:21,781 movies are those little gestures 207 00:07:21,839 --> 00:07:23,546 and those little images and 208 00:07:23,608 --> 00:07:25,645 the styles and the ways of 209 00:07:25,710 --> 00:07:26,882 speaking to each other, the way 210 00:07:26,944 --> 00:07:28,423 men spoke to women and women to 211 00:07:28,479 --> 00:07:29,981 women and men to men, and the 212 00:07:30,047 --> 00:07:31,458 way they projected their own 213 00:07:31,515 --> 00:07:32,994 dreams and desires into 214 00:07:33,050 --> 00:07:34,324 narratives and fantasies. 215 00:07:34,385 --> 00:07:36,092 That is what the movies does, 216 00:07:36,153 --> 00:07:37,359 and it does it better than 217 00:07:37,421 --> 00:07:39,162 anything else. 218 00:07:42,493 --> 00:07:44,769 American film really tells us 219 00:07:44,829 --> 00:07:46,331 so much about this country. 220 00:07:51,035 --> 00:07:53,481 When it starts with 221 00:07:53,537 --> 00:07:55,881 storytelling about individuals, 222 00:07:55,940 --> 00:07:59,888 underdogs, immigrants, people 223 00:07:59,977 --> 00:08:04,949 who don't have something. 224 00:08:04,982 --> 00:08:05,892 I saw that film 225 00:08:05,950 --> 00:08:07,395 when I was still in Hong Kong 226 00:08:07,451 --> 00:08:10,728 when I was a teenager. 227 00:08:10,788 --> 00:08:12,233 I think it gave me 228 00:08:12,289 --> 00:08:14,826 a sense of America. 229 00:08:14,892 --> 00:08:16,462 Life can be bright 230 00:08:16,527 --> 00:08:17,972 in America 231 00:08:18,029 --> 00:08:18,803 if you can fight 232 00:08:18,863 --> 00:08:20,274 in America. 233 00:08:20,331 --> 00:08:21,139 Life is all right 234 00:08:21,198 --> 00:08:22,609 in America 235 00:08:22,667 --> 00:08:23,441 if you're all white 236 00:08:23,501 --> 00:08:24,912 in America... 237 00:08:24,969 --> 00:08:25,970 The lyrics to that 238 00:08:26,037 --> 00:08:27,175 song, they're really quite 239 00:08:27,238 --> 00:08:29,013 sarcastic about being an 240 00:08:29,073 --> 00:08:30,518 immigrant in America. 241 00:08:30,574 --> 00:08:32,952 That movie was a huge influence 242 00:08:33,010 --> 00:08:34,683 on me when I was a teenager. 243 00:08:34,745 --> 00:08:36,349 I mean, I probably saw it five 244 00:08:36,414 --> 00:08:38,485 or six times in a row. 245 00:08:38,549 --> 00:08:39,892 I was also in love with 246 00:08:39,950 --> 00:08:40,553 Natalie Wood. 247 00:08:40,618 --> 00:08:42,757 That helped. 248 00:08:42,820 --> 00:08:45,198 You never really understand a 249 00:08:45,256 --> 00:08:46,963 person until you consider things 250 00:08:47,024 --> 00:08:49,163 from his point of view. 251 00:08:49,226 --> 00:08:50,899 Sir? 252 00:08:50,961 --> 00:08:52,099 Till you climb inside of his 253 00:08:52,163 --> 00:08:54,905 skin and walk around in it. 254 00:08:54,965 --> 00:08:58,242 Gregory Peck was kind of what 255 00:08:58,302 --> 00:09:00,179 I thought America was in many 256 00:09:00,271 --> 00:09:01,648 kind of respects. 257 00:09:01,672 --> 00:09:05,415 In this country, our courts 258 00:09:05,476 --> 00:09:07,922 are the great levelers. 259 00:09:07,978 --> 00:09:10,151 In our courts... 260 00:09:10,214 --> 00:09:15,527 All men are created equal. 261 00:09:15,586 --> 00:09:16,894 That's the America that my 262 00:09:16,954 --> 00:09:20,458 father respected most... in that 263 00:09:20,524 --> 00:09:22,401 kind of man that Gregory Peck 264 00:09:22,460 --> 00:09:25,703 was always meant to play. 265 00:09:25,763 --> 00:09:27,868 We identified so strongly with 266 00:09:27,932 --> 00:09:29,468 those kids somehow. 267 00:09:29,533 --> 00:09:30,443 Oh, it's just, like, 268 00:09:30,501 --> 00:09:31,501 instant tears. 269 00:09:31,535 --> 00:09:32,536 It still gets me, 270 00:09:32,603 --> 00:09:34,913 still makes me cry now. 271 00:09:34,972 --> 00:09:35,972 He really portrayed 272 00:09:36,006 --> 00:09:37,542 a father who was just 273 00:09:37,608 --> 00:09:39,178 so understanding and had 274 00:09:39,243 --> 00:09:40,278 such a close relationship 275 00:09:40,344 --> 00:09:42,449 with his kids. 276 00:09:42,513 --> 00:09:44,322 A lot of people would love 277 00:09:44,381 --> 00:09:45,325 to have a father like that. 278 00:09:45,382 --> 00:09:46,382 I mean, who wouldn't? 279 00:09:46,383 --> 00:09:47,555 I would love to have a father 280 00:09:47,618 --> 00:09:49,029 like that. 281 00:09:49,086 --> 00:09:51,032 Many of the characteristics 282 00:09:51,088 --> 00:09:52,158 that my dad portrayed in that 283 00:09:52,223 --> 00:09:54,703 film are really him. 284 00:09:54,759 --> 00:09:56,329 Of all the films that he did, 285 00:09:56,393 --> 00:09:57,770 it was a film that was 286 00:09:57,828 --> 00:10:00,240 closest to his true character, 287 00:10:00,297 --> 00:10:01,867 certainly the character he, 288 00:10:01,932 --> 00:10:02,967 he would want to be. 289 00:10:07,037 --> 00:10:08,072 It's a different form 290 00:10:08,139 --> 00:10:09,379 of honor than getting 291 00:10:09,440 --> 00:10:10,680 an academy award. 292 00:10:10,741 --> 00:10:11,913 It's a more cumulative or 293 00:10:11,976 --> 00:10:14,354 retrospective kind of honor. 294 00:10:14,411 --> 00:10:15,651 It's saying your film has stood 295 00:10:15,679 --> 00:10:16,783 the test of time. 296 00:10:16,847 --> 00:10:17,847 There's never been 297 00:10:17,848 --> 00:10:19,987 a day so sunny 298 00:10:20,050 --> 00:10:23,156 it could not happen twice... 299 00:10:23,220 --> 00:10:25,097 The Academy Awards preserve 300 00:10:25,156 --> 00:10:27,727 the consensus within the 301 00:10:27,792 --> 00:10:29,965 industry at the time. 302 00:10:30,027 --> 00:10:32,701 Sometimes history proves them 303 00:10:32,763 --> 00:10:34,436 right, but very often, history 304 00:10:34,498 --> 00:10:36,171 proves them wrong. 305 00:10:36,233 --> 00:10:37,177 ["Also sprach Zarathustra" 306 00:10:40,604 --> 00:10:42,982 Most lists exist nowadays for 307 00:10:43,040 --> 00:10:44,542 pop culture reasons. 308 00:10:44,608 --> 00:10:46,019 It's an excuse for a TV special. 309 00:10:46,076 --> 00:10:48,215 It's to sell magazines. 310 00:10:48,279 --> 00:10:49,280 It's to get people arguing, 311 00:10:49,346 --> 00:10:50,723 and that's what lists do. 312 00:10:50,781 --> 00:10:51,657 The congressional language 313 00:10:51,715 --> 00:10:54,321 setting up the registry was done 314 00:10:54,385 --> 00:10:55,585 by congressional staff back in 315 00:10:55,586 --> 00:10:57,657 1988 and they used "culturally", 316 00:10:57,721 --> 00:10:58,791 historically or aesthetically 317 00:10:58,856 --> 00:11:00,597 "significant," which, we love 318 00:11:00,691 --> 00:11:01,795 that phrase because it basically 319 00:11:01,826 --> 00:11:02,930 means almost anything. 320 00:11:02,993 --> 00:11:03,993 Whoever came up with it, 321 00:11:04,028 --> 00:11:05,166 I forget the person's name, 322 00:11:05,229 --> 00:11:06,708 the staffer, but I'm forever 323 00:11:06,764 --> 00:11:08,038 thankful because it does allow 324 00:11:08,098 --> 00:11:09,702 a lot of leverage in terms 325 00:11:09,767 --> 00:11:11,144 of the sort of films we're able 326 00:11:11,202 --> 00:11:12,545 to pick and put onto the 327 00:11:12,603 --> 00:11:13,673 registry and preserve. 328 00:11:16,473 --> 00:11:18,510 Because of the 10-year rule, 329 00:11:18,576 --> 00:11:20,556 we look at only films that are 330 00:11:20,611 --> 00:11:24,218 10 years old, and that gives us 331 00:11:24,281 --> 00:11:26,557 some space and some time. 332 00:11:26,617 --> 00:11:27,652 And I tell ya what. 333 00:11:27,718 --> 00:11:29,561 From his footprint, he looks 334 00:11:29,620 --> 00:11:34,126 like a big fella. 335 00:11:34,191 --> 00:11:35,431 You see something 336 00:11:35,492 --> 00:11:36,903 down there, chief? 337 00:11:36,961 --> 00:11:38,963 No, I just think 338 00:11:39,029 --> 00:11:40,167 I'm gonna barf. 339 00:11:40,231 --> 00:11:41,335 Why the 10 years? 340 00:11:41,398 --> 00:11:42,398 Why not 50? 341 00:11:42,399 --> 00:11:43,309 Why not five? 342 00:11:43,367 --> 00:11:44,675 Why not one that just opened? 343 00:11:44,735 --> 00:11:46,009 But I suppose it's to have 344 00:11:46,070 --> 00:11:47,048 a little bit of a distance, 345 00:11:47,104 --> 00:11:48,412 which is proper. 346 00:11:48,472 --> 00:11:49,280 Does the film have 347 00:11:49,340 --> 00:11:51,115 a lasting benefit? 348 00:11:51,175 --> 00:11:52,654 Does it stand to history? 349 00:11:52,710 --> 00:11:54,314 The idea is that here is 350 00:11:54,378 --> 00:11:55,982 an arm of the U.S. government 351 00:11:56,046 --> 00:11:57,889 saying that, hey, some films 352 00:11:57,948 --> 00:11:59,018 are important. 353 00:11:59,083 --> 00:12:00,221 They're part of the picture. 354 00:12:00,317 --> 00:12:01,625 So you immediately confer 355 00:12:01,652 --> 00:12:03,256 upon them a certain status 356 00:12:03,320 --> 00:12:04,663 and dignity. 357 00:12:04,722 --> 00:12:05,722 Each year we do try to 358 00:12:05,723 --> 00:12:07,031 fashion an eclectic list, 359 00:12:07,091 --> 00:12:08,798 one that is also stand-alone 360 00:12:08,859 --> 00:12:10,031 on its own merits. 361 00:12:10,094 --> 00:12:11,630 If we pick 25 famous films 362 00:12:11,695 --> 00:12:13,572 one year or 25 films no one 363 00:12:13,631 --> 00:12:14,871 had ever heard of each year, 364 00:12:14,932 --> 00:12:16,138 then the list, to us, would be 365 00:12:16,200 --> 00:12:17,200 a lot less useful. 366 00:12:18,269 --> 00:12:19,407 The way we pick the national 367 00:12:19,470 --> 00:12:20,591 film registry each year is a 368 00:12:20,638 --> 00:12:21,912 multi-stage process. 369 00:12:21,972 --> 00:12:23,042 We start off by soliciting 370 00:12:23,107 --> 00:12:25,417 public balloting. 371 00:12:25,476 --> 00:12:26,978 So we take very seriously 372 00:12:27,044 --> 00:12:28,546 what the public recommends. 373 00:12:28,612 --> 00:12:29,590 They often recommend things that 374 00:12:29,647 --> 00:12:31,320 nobody's even heard of. 375 00:12:31,382 --> 00:12:33,362 We tabulate those results and 376 00:12:33,417 --> 00:12:34,521 send them to the members of the 377 00:12:34,585 --> 00:12:35,962 film preservation board. 378 00:12:36,020 --> 00:12:37,863 Each year a group of 379 00:12:37,922 --> 00:12:39,526 people, representing all areas 380 00:12:39,590 --> 00:12:41,467 of the industry and education 381 00:12:41,525 --> 00:12:43,266 come together and recommend 382 00:12:43,327 --> 00:12:45,034 to the Librarian of Congress 383 00:12:45,095 --> 00:12:47,041 the films of enduring 384 00:12:47,097 --> 00:12:48,701 cultural, historical, 385 00:12:48,766 --> 00:12:50,109 aesthetic importance. 386 00:12:50,167 --> 00:12:51,578 People have their personal 387 00:12:51,635 --> 00:12:54,411 campaigns, their pet films, 388 00:12:54,471 --> 00:12:56,348 their pet causes, and that's 389 00:12:56,407 --> 00:12:58,114 as it should be. 390 00:12:58,175 --> 00:12:59,711 Having gone through the 391 00:12:59,810 --> 00:13:02,484 obvious choices "Citizen Kane", 392 00:13:02,513 --> 00:13:04,550 citizen Kane, citizen Kane... 393 00:13:06,450 --> 00:13:12,059 Rosebud. 394 00:13:12,122 --> 00:13:13,396 Then the less obvious films 395 00:13:13,457 --> 00:13:14,902 come up for discussion, 396 00:13:14,959 --> 00:13:16,239 and that's where the discussions 397 00:13:16,293 --> 00:13:17,328 get interesting. 398 00:13:19,163 --> 00:13:20,163 This was really a good 399 00:13:20,197 --> 00:13:21,904 meeting, and I've been on this 400 00:13:21,966 --> 00:13:24,071 board since its inception. 401 00:13:24,134 --> 00:13:25,442 In the early years, you knew 402 00:13:25,502 --> 00:13:26,640 there were certain kinds of 403 00:13:26,704 --> 00:13:28,149 movies that were the 404 00:13:28,205 --> 00:13:29,650 sprocket-worn classics, the 405 00:13:29,707 --> 00:13:31,414 great films, they would be on 406 00:13:31,475 --> 00:13:33,113 the list, and then you'd put in 407 00:13:33,177 --> 00:13:35,384 a couple more that you hoped 408 00:13:35,446 --> 00:13:36,516 you would expand people's 409 00:13:36,580 --> 00:13:38,526 consciousness about. 410 00:13:38,582 --> 00:13:39,822 It's great to be on the board 411 00:13:39,883 --> 00:13:41,487 because there are so many people 412 00:13:41,552 --> 00:13:43,225 from different aspects of film 413 00:13:43,287 --> 00:13:44,595 and scholarship and everything 414 00:13:44,655 --> 00:13:46,134 related to film, and they bring 415 00:13:46,190 --> 00:13:48,898 up films, you know, that... 416 00:13:48,959 --> 00:13:49,903 I always write them down because 417 00:13:49,960 --> 00:13:51,098 I go, "Oh, I haven't seen this." 418 00:13:51,161 --> 00:13:53,368 I'll have to go see it." 419 00:13:53,430 --> 00:13:54,807 I'm a fairly new 420 00:13:54,865 --> 00:13:56,105 board member. 421 00:13:56,166 --> 00:13:57,474 In the beginning, 422 00:13:57,534 --> 00:13:58,877 it is overwhelming. 423 00:13:58,936 --> 00:14:00,381 There are hundreds of films 424 00:14:00,471 --> 00:14:01,916 that are talked about. 425 00:14:01,939 --> 00:14:03,213 The discussions can range 426 00:14:03,273 --> 00:14:04,809 from being very lighthearted 427 00:14:04,875 --> 00:14:05,751 to very serious. 428 00:14:05,809 --> 00:14:06,981 They have people talking 429 00:14:07,044 --> 00:14:08,921 about home movies, people 430 00:14:08,979 --> 00:14:10,390 talking about newsreels, 431 00:14:10,447 --> 00:14:12,620 people talking about short 432 00:14:12,683 --> 00:14:14,390 films of various kinds. 433 00:14:14,451 --> 00:14:15,657 And it's always one of the 434 00:14:15,719 --> 00:14:17,721 most interesting moments to see 435 00:14:17,788 --> 00:14:20,234 what has been chosen. 436 00:14:20,290 --> 00:14:21,268 And as you go through, you 437 00:14:21,325 --> 00:14:22,861 think, "Well, of course that." 438 00:14:22,926 --> 00:14:23,927 I can't believe it wasn't 439 00:14:23,994 --> 00:14:25,064 "chosen before." 440 00:14:25,129 --> 00:14:26,005 And then you'll come to 441 00:14:26,063 --> 00:14:28,441 something and say, "What?" 442 00:14:28,499 --> 00:14:29,603 'cause this is 443 00:14:29,666 --> 00:14:31,475 thriller 444 00:14:31,535 --> 00:14:33,014 thriller night, 445 00:14:33,070 --> 00:14:34,913 and no one's gonna save you... 446 00:14:34,972 --> 00:14:35,972 Now it really is 447 00:14:35,973 --> 00:14:36,644 American history. 448 00:14:36,707 --> 00:14:39,278 Michael Jackson's iconic video 449 00:14:39,343 --> 00:14:41,448 thriller was named today to the. 450 00:14:41,512 --> 00:14:43,185 National Film Registry at the. 451 00:14:43,247 --> 00:14:44,419 Library of Congress, 452 00:14:44,481 --> 00:14:46,483 the first music video ever 453 00:14:46,550 --> 00:14:48,552 to receive that honor. 454 00:14:48,619 --> 00:14:50,030 Thriller, 455 00:14:50,087 --> 00:14:51,623 thriller... 456 00:14:51,688 --> 00:14:52,689 The nice thing about the list 457 00:14:52,756 --> 00:14:54,099 is it's all over the place. 458 00:14:54,158 --> 00:14:55,398 It's democratic. 459 00:14:55,459 --> 00:14:58,099 You're tearing me apart! 460 00:14:58,162 --> 00:14:59,402 I vote for films that I think 461 00:14:59,496 --> 00:15:00,770 are culturally significant, and 462 00:15:00,798 --> 00:15:02,573 sometimes I vote for films that 463 00:15:02,633 --> 00:15:05,944 I think... even films that I 464 00:15:06,003 --> 00:15:08,313 don't particularly like, I will 465 00:15:08,372 --> 00:15:09,646 vote for it because I think 466 00:15:09,706 --> 00:15:11,344 they have a special place 467 00:15:11,408 --> 00:15:12,546 in film history. 468 00:15:12,609 --> 00:15:13,917 I certainly felt, 469 00:15:13,977 --> 00:15:16,014 as a cultural historian myself, 470 00:15:16,080 --> 00:15:19,152 that this was an important part 471 00:15:19,216 --> 00:15:20,854 of American culture and that it 472 00:15:20,918 --> 00:15:22,693 had to be preserved not simply 473 00:15:22,753 --> 00:15:24,289 so that our grandkids could 474 00:15:24,354 --> 00:15:25,594 enjoy the same films that 475 00:15:25,656 --> 00:15:27,135 we did, but also so that 476 00:15:27,191 --> 00:15:28,465 they could understand 477 00:15:28,525 --> 00:15:29,936 what America was like 478 00:15:29,993 --> 00:15:31,734 at an earlier stage. 479 00:15:34,408 --> 00:15:35,408 Dr. Billington, the. 480 00:15:35,432 --> 00:15:36,638 Librarian, said something very 481 00:15:36,700 --> 00:15:38,145 profound a little while ago. 482 00:15:38,202 --> 00:15:39,943 He said that stories 483 00:15:40,003 --> 00:15:41,004 unite people. 484 00:15:41,071 --> 00:15:42,641 Theories divide them. 485 00:15:42,706 --> 00:15:44,151 So that in itself is a wonderful 486 00:15:44,208 --> 00:15:46,347 reason to preserve stories. 487 00:15:48,278 --> 00:15:49,621 Stories are profoundly important 488 00:15:49,680 --> 00:15:52,559 to human beings. 489 00:15:52,616 --> 00:15:55,392 500 years from now, people 490 00:15:55,452 --> 00:15:58,433 will look back and they'll say, 491 00:15:58,489 --> 00:16:00,059 "This was the beginning." 492 00:16:00,157 --> 00:16:01,761 This was the first 100 years. 493 00:16:01,792 --> 00:16:03,999 These were the origins. 494 00:16:04,061 --> 00:16:05,870 Why didn't they take better 495 00:16:05,929 --> 00:16:06,805 "care of them?" 496 00:16:06,864 --> 00:16:07,467 And the "they" they're 497 00:16:07,531 --> 00:16:10,512 talking about is us. 498 00:16:10,567 --> 00:16:11,841 Film is the art form 499 00:16:11,902 --> 00:16:14,041 of the 20th century, and we 500 00:16:14,104 --> 00:16:15,583 have let it go. 501 00:16:15,639 --> 00:16:18,017 The studios stored the films 502 00:16:18,075 --> 00:16:19,952 badly and they deteriorated, 503 00:16:20,010 --> 00:16:20,613 they burned. 504 00:16:20,677 --> 00:16:21,849 They didn't think of them 505 00:16:21,912 --> 00:16:23,186 as an art form. 506 00:16:23,247 --> 00:16:25,853 Half of the movies 507 00:16:25,916 --> 00:16:28,897 made before 1950 no longer exist 508 00:16:28,952 --> 00:16:30,522 in any form whatsoever. 509 00:16:30,587 --> 00:16:33,227 Maybe 80% or so of the 510 00:16:33,290 --> 00:16:35,736 silent era is gone. 511 00:16:35,792 --> 00:16:36,998 So much of film 512 00:16:37,060 --> 00:16:38,698 history has already been lost, 513 00:16:38,762 --> 00:16:39,797 but there's still a very great 514 00:16:39,863 --> 00:16:41,240 deal which can be saved if we're 515 00:16:41,298 --> 00:16:42,675 willing to do it. 516 00:17:09,293 --> 00:17:11,136 It's really amazing to pick 517 00:17:11,195 --> 00:17:13,141 up a roll of film and just to 518 00:17:13,197 --> 00:17:15,199 see this and realize the age of 519 00:17:15,265 --> 00:17:17,245 this film and all the people who 520 00:17:17,301 --> 00:17:19,440 went into making it and just to 521 00:17:19,503 --> 00:17:21,278 look at the images on it. 522 00:17:21,338 --> 00:17:22,214 All these people who worked 523 00:17:22,272 --> 00:17:23,580 on these things who are all 524 00:17:23,640 --> 00:17:24,680 gone now, but they've left 525 00:17:24,708 --> 00:17:26,278 behind these amazing shadows 526 00:17:26,343 --> 00:17:28,755 for us to enjoy. 527 00:17:33,984 --> 00:17:36,692 I always keep a little memento 528 00:17:36,753 --> 00:17:39,563 of my beginning here at my desk. 529 00:17:39,623 --> 00:17:44,231 This is a Castle Films headline 530 00:17:44,294 --> 00:17:46,399 edition, California bound. 531 00:17:46,463 --> 00:17:47,464 It's actually a three-minute 532 00:17:47,531 --> 00:17:49,238 clip from the W.C. Fields film, 533 00:17:49,299 --> 00:17:51,040 it's a gift, where they go to 534 00:17:51,101 --> 00:17:52,341 this rich man's estate and the 535 00:17:52,402 --> 00:17:53,682 family basically has a picnic on 536 00:17:53,704 --> 00:17:54,682 the lawn and makes a mess. 537 00:17:54,738 --> 00:17:55,443 Look out where 538 00:17:55,505 --> 00:17:57,143 you're going! 539 00:17:57,207 --> 00:17:59,084 Oh! Look what you've done! 540 00:17:59,142 --> 00:18:00,142 She ran right in front 541 00:18:00,210 --> 00:18:01,280 of the car! 542 00:18:01,311 --> 00:18:03,382 When I first saw W.C. Fields 543 00:18:03,447 --> 00:18:06,394 in this film, his humor, his 544 00:18:06,450 --> 00:18:08,987 sort of laconic behavior 545 00:18:09,052 --> 00:18:11,589 and kind of slovenliness, 546 00:18:11,655 --> 00:18:12,793 it spoke to me as a man 547 00:18:12,856 --> 00:18:14,529 and as a human being. 548 00:18:15,592 --> 00:18:16,592 Stop it! 549 00:18:16,593 --> 00:18:18,038 Oh, you idiot. 550 00:18:18,095 --> 00:18:19,904 Those were my mother's feathers. 551 00:18:20,831 --> 00:18:22,708 Stop it. 552 00:18:22,766 --> 00:18:23,506 Never knew your mother 553 00:18:23,567 --> 00:18:24,807 had feathers. 554 00:18:24,868 --> 00:18:26,040 Probably the most amazing and 555 00:18:26,103 --> 00:18:27,878 unique thing about the Packard 556 00:18:27,938 --> 00:18:30,043 campus is that it is part of the. 557 00:18:30,107 --> 00:18:31,279 Library of Congress. 558 00:18:31,341 --> 00:18:34,083 We are fortunate in that we get 559 00:18:34,144 --> 00:18:37,421 a part of a budget from Congress 560 00:18:37,481 --> 00:18:39,085 every year and part of that 561 00:18:39,149 --> 00:18:40,184 budget, and a fairly good-sized 562 00:18:40,250 --> 00:18:42,526 chunk, goes to preservation. 563 00:18:42,586 --> 00:18:43,929 In the late 1890s, 564 00:18:43,987 --> 00:18:46,228 the nitrocellulose film 565 00:18:46,290 --> 00:18:47,860 was developed. 566 00:18:47,924 --> 00:18:49,926 The... sort of uniqueness 567 00:18:49,993 --> 00:18:52,599 of the nitrate film is why they 568 00:18:52,663 --> 00:18:54,802 actually have a manager for just 569 00:18:54,865 --> 00:18:56,469 the nitrate film collection. 570 00:18:56,533 --> 00:18:57,739 So much of the nitrate film 571 00:18:57,801 --> 00:18:59,803 collection is unknown, so we are 572 00:18:59,903 --> 00:19:00,938 constantly working on the 573 00:19:00,971 --> 00:19:02,644 collection to try and identify 574 00:19:02,706 --> 00:19:04,481 those little bits of film that 575 00:19:04,541 --> 00:19:05,349 might be something really 576 00:19:05,409 --> 00:19:06,410 important, but we have no idea 577 00:19:06,476 --> 00:19:07,546 what they are. 578 00:19:07,611 --> 00:19:08,954 The major problem with nitrate 579 00:19:09,012 --> 00:19:10,889 is that it is very flammable. 580 00:19:10,947 --> 00:19:12,085 And when I say "very flammable", 581 00:19:12,149 --> 00:19:13,924 I mean it is very flammable. 582 00:19:13,984 --> 00:19:15,554 It is like setting a fuse on a 583 00:19:15,619 --> 00:19:16,619 piece of dynamite. 584 00:19:20,324 --> 00:19:22,065 We continued using nitrate up 585 00:19:22,125 --> 00:19:23,900 until the 1950s, when the 586 00:19:23,960 --> 00:19:25,303 triacetate safety came out 587 00:19:25,362 --> 00:19:26,773 and was deemed just or almost 588 00:19:26,830 --> 00:19:28,400 as good as the nitrate film 589 00:19:28,465 --> 00:19:29,465 that preceded it. 590 00:19:31,812 --> 00:19:32,812 Well, this is my little 591 00:19:32,836 --> 00:19:33,439 world here. 592 00:19:33,503 --> 00:19:34,914 We call this "nitrate land." 593 00:19:34,971 --> 00:19:36,541 These are the nitrate vaults of 594 00:19:36,606 --> 00:19:37,983 the Library of Congress. 595 00:19:38,041 --> 00:19:40,021 We have 124 climate-controlled 596 00:19:40,077 --> 00:19:40,714 vaults. 597 00:19:40,777 --> 00:19:41,448 They're maintained at about 598 00:19:41,511 --> 00:19:43,548 39 degrees fahrenheit, about 599 00:19:43,613 --> 00:19:45,251 30% relative humidity. 600 00:19:45,315 --> 00:19:47,124 Within these vaults, we have 601 00:19:47,184 --> 00:19:49,494 130,000, approximately, rolls of 602 00:19:49,553 --> 00:19:50,725 nitrate motion picture film 603 00:19:50,787 --> 00:19:53,063 dating from about 1894 604 00:19:53,123 --> 00:19:54,693 to about 1952. 605 00:19:54,758 --> 00:19:56,567 It is a truly amazing collection 606 00:19:56,626 --> 00:19:58,105 and one of a kind. 607 00:19:58,161 --> 00:20:00,937 See what else we got here. 608 00:20:03,166 --> 00:20:05,578 Nah... 609 00:20:05,635 --> 00:20:07,012 P-eww! 610 00:20:07,070 --> 00:20:09,141 This is our triage area of 611 00:20:09,206 --> 00:20:11,413 films that the other staff find 612 00:20:11,475 --> 00:20:13,921 that are questionable, and 613 00:20:13,977 --> 00:20:15,183 they're brought to me to do 614 00:20:15,245 --> 00:20:16,053 inspection on. 615 00:20:16,113 --> 00:20:17,558 This is a can of 616 00:20:17,614 --> 00:20:18,888 small fragments. 617 00:20:18,949 --> 00:20:21,429 Normally, with a film you should 618 00:20:21,485 --> 00:20:23,362 be able to, like, it should 619 00:20:23,420 --> 00:20:25,058 give somewhat and be somewhat 620 00:20:25,122 --> 00:20:26,294 loosely wound. 621 00:20:26,356 --> 00:20:28,495 This one is solid as a rock. 622 00:20:28,558 --> 00:20:29,935 This is what we refer to 623 00:20:29,993 --> 00:20:32,405 as a hockey puck. 624 00:20:32,462 --> 00:20:34,703 It has been wet. 625 00:20:34,765 --> 00:20:36,403 It is probably very stuck 626 00:20:36,466 --> 00:20:39,504 together, so I'm going to see if 627 00:20:39,569 --> 00:20:40,775 I can at least peel something 628 00:20:40,837 --> 00:20:48,187 off to tell what it was... ah! 629 00:20:48,245 --> 00:20:51,055 Oh... darn. 630 00:20:51,114 --> 00:20:53,526 Look at that... wow. 631 00:20:53,583 --> 00:20:54,789 Through a variety of reasons, 632 00:20:54,851 --> 00:20:58,958 through basic neglect or 633 00:20:59,022 --> 00:21:00,365 deterioration especially, 634 00:21:00,457 --> 00:21:02,494 many of our early films, and 635 00:21:02,526 --> 00:21:03,300 actually some more recent ones, 636 00:21:03,360 --> 00:21:04,168 are lost forever. 637 00:21:04,227 --> 00:21:05,729 I mean, there's nothing left. 638 00:21:07,097 --> 00:21:08,132 I know of one Academy Award- 639 00:21:08,198 --> 00:21:10,200 winning film called The Patriot 640 00:21:10,267 --> 00:21:11,575 and all that survives on it are 641 00:21:11,635 --> 00:21:14,047 a few trailers and stills. 642 00:21:15,572 --> 00:21:17,051 The other reason a lot of them 643 00:21:17,107 --> 00:21:18,415 don't survive, of course, is 644 00:21:18,475 --> 00:21:19,954 just because the studios didn't 645 00:21:20,010 --> 00:21:21,318 really care about 'em. 646 00:21:21,378 --> 00:21:22,823 They were just product, and once 647 00:21:22,879 --> 00:21:23,880 they were done and made their 648 00:21:23,947 --> 00:21:25,483 money, they went on the shelf. 649 00:21:25,549 --> 00:21:26,653 One studio destroyed all their 650 00:21:26,716 --> 00:21:27,694 silent negatives in the '40s 651 00:21:27,751 --> 00:21:28,751 because they didn't think 652 00:21:28,785 --> 00:21:29,593 anyone was ever going to 653 00:21:29,653 --> 00:21:30,825 want to see them again. 654 00:21:38,995 --> 00:21:40,030 I got involved in film 655 00:21:40,096 --> 00:21:41,200 archiving 'cause I saw Gone with 656 00:21:41,264 --> 00:21:43,403 the Wind when I was 12. 657 00:21:43,467 --> 00:21:44,844 And to think that I might have a 658 00:21:44,901 --> 00:21:46,812 part in somebody, some other 659 00:21:46,870 --> 00:21:48,372 12-year-old girl seeing a 660 00:21:48,438 --> 00:21:51,419 movie that changes their life is 661 00:21:51,475 --> 00:21:53,011 really exciting to me. 662 00:21:56,213 --> 00:21:57,715 I volunteered at the library 663 00:21:57,781 --> 00:22:00,785 for a month before I applied 664 00:22:00,884 --> 00:22:03,160 for a job and while I was 665 00:22:03,186 --> 00:22:04,665 volunteering, Warner Brothers 666 00:22:04,721 --> 00:22:05,961 was doing a restoration of Gone 667 00:22:05,989 --> 00:22:07,491 with the Wind, and sure enough, 668 00:22:07,557 --> 00:22:09,366 I walked into one of the back 669 00:22:09,426 --> 00:22:10,803 rooms one day to find a stack of 670 00:22:10,861 --> 00:22:11,965 negatives and I got really 671 00:22:12,028 --> 00:22:13,063 excited and I remember running 672 00:22:13,129 --> 00:22:14,437 into a couple people's offices, 673 00:22:14,498 --> 00:22:15,499 I mean, like, "Look at this!" 674 00:22:15,565 --> 00:22:16,908 "Look at this!" And they knew 675 00:22:16,967 --> 00:22:18,173 exactly why I was excited 'cause 676 00:22:18,235 --> 00:22:19,179 they'd found their favorite 677 00:22:19,236 --> 00:22:21,512 movies and had the same feeling. 678 00:22:21,571 --> 00:22:23,744 My favorite part of the job is 679 00:22:23,807 --> 00:22:25,445 spending a whole day saving a 680 00:22:25,509 --> 00:22:27,079 film, you know, a film that 681 00:22:27,143 --> 00:22:29,054 comes in that's torn and no one 682 00:22:29,112 --> 00:22:31,058 can watch and it's up to me to 683 00:22:31,114 --> 00:22:33,151 make sure that it gets to a 684 00:22:33,216 --> 00:22:35,822 point where it can be rescued. 685 00:22:35,886 --> 00:22:37,422 It's kind of like a lost 686 00:22:37,487 --> 00:22:38,795 puppy... That needs 687 00:22:38,855 --> 00:22:41,267 to be taken care of. 688 00:22:41,324 --> 00:22:42,997 Ah, nice. 689 00:22:43,059 --> 00:22:45,164 Nice splice job... oh... 690 00:22:45,228 --> 00:22:46,764 Is it a piece of...? 691 00:22:46,830 --> 00:22:48,104 Oh, that's great. 692 00:22:48,164 --> 00:22:49,302 So we have a piece of scotch 693 00:22:49,366 --> 00:22:51,039 tape that someone just stuck on 694 00:22:51,101 --> 00:22:52,842 the film to repair a rip. 695 00:22:52,903 --> 00:22:53,904 That's my job and to know 696 00:22:53,970 --> 00:22:55,745 that because of me spending 697 00:22:55,805 --> 00:22:58,479 hours staring at tiny frames and 698 00:22:58,542 --> 00:22:59,577 working with, you know, small 699 00:22:59,676 --> 00:23:01,917 pieces of tape, that future 700 00:23:01,945 --> 00:23:03,219 generations are gonna see it, 701 00:23:03,280 --> 00:23:04,350 is very exciting. 702 00:23:04,414 --> 00:23:05,449 A friend of mine had a 703 00:23:05,515 --> 00:23:06,926 16-millimeter print. 704 00:23:06,983 --> 00:23:08,428 He said, "you have to" 705 00:23:08,485 --> 00:23:09,327 see this film. 706 00:23:09,386 --> 00:23:10,507 I want you to see this film. 707 00:23:10,554 --> 00:23:12,090 "It's, like, this amazing film." 708 00:23:12,155 --> 00:23:13,930 There were no DVDs in those 709 00:23:13,990 --> 00:23:15,936 days, no videotapes, nothing. 710 00:23:15,992 --> 00:23:17,164 I had a Bell & Howell 711 00:23:17,227 --> 00:23:18,934 projector, I put the film on, 712 00:23:18,995 --> 00:23:19,995 I watched it and I went. 713 00:23:20,030 --> 00:23:22,067 "Oh, my God!" 714 00:23:22,132 --> 00:23:23,132 Yay! 715 00:23:23,133 --> 00:23:25,113 Hello, Bedford Falls! 716 00:23:27,737 --> 00:23:29,478 Merry Christmas! 717 00:23:29,539 --> 00:23:30,176 Merry Christmas! 718 00:23:30,240 --> 00:23:31,446 Merry Christmas, George! 719 00:23:31,508 --> 00:23:32,350 Merry Christmas, 720 00:23:32,409 --> 00:23:33,251 George! 721 00:23:33,310 --> 00:23:34,414 What struck me more than 722 00:23:34,477 --> 00:23:35,717 anything was the emotion of it. 723 00:23:35,779 --> 00:23:37,486 I cried. 724 00:23:37,547 --> 00:23:38,548 Is this the ear 725 00:23:38,615 --> 00:23:40,390 you can't hear on? 726 00:23:40,450 --> 00:23:41,929 George Bailey, I'll 727 00:23:41,985 --> 00:23:44,158 love you till the day I die. 728 00:23:44,220 --> 00:23:45,324 I'm going out exploring 729 00:23:45,388 --> 00:23:47,061 someday... you watch. 730 00:23:47,123 --> 00:23:49,069 I cried when Jimmy Stewart 731 00:23:49,125 --> 00:23:50,433 grabbed her and they were 732 00:23:50,493 --> 00:23:51,369 listening to the phone together 733 00:23:51,428 --> 00:23:52,702 and he grabbed her and it was 734 00:23:52,762 --> 00:23:53,762 one take. 735 00:23:53,797 --> 00:23:55,299 No cutaways, one take, 736 00:23:55,365 --> 00:23:56,241 and said... 737 00:23:56,299 --> 00:23:57,642 Now, you listen to me. 738 00:23:57,701 --> 00:23:59,237 I don't want any plastics and I 739 00:23:59,336 --> 00:24:00,713 don't want any ground floors and 740 00:24:00,737 --> 00:24:02,182 I don't want to get married ever 741 00:24:02,238 --> 00:24:03,808 to anyone... you understand that? 742 00:24:04,808 --> 00:24:06,310 I wanna do what I wanna do, 743 00:24:06,376 --> 00:24:08,754 and you're... and you're... 744 00:24:10,113 --> 00:24:11,558 Oh, Mary... Mary... 745 00:24:11,615 --> 00:24:13,219 George, George, George... 746 00:24:13,283 --> 00:24:15,285 It is my favorite film 747 00:24:15,352 --> 00:24:17,332 because it's a film that 748 00:24:17,387 --> 00:24:20,891 celebrates the value of life, 749 00:24:20,957 --> 00:24:22,994 and there is nothing greater 750 00:24:23,059 --> 00:24:24,402 than us all appreciating 751 00:24:24,461 --> 00:24:25,496 the value of our lives 752 00:24:25,562 --> 00:24:26,472 and other lives. 753 00:24:26,529 --> 00:24:28,907 Auld Lang Syne. 754 00:24:28,965 --> 00:24:31,809 We'll drink a cup 755 00:24:31,868 --> 00:24:34,644 of kindness yet 756 00:24:34,704 --> 00:24:40,347 for Auld Lang Syne. 757 00:24:44,648 --> 00:24:47,925 Film should be an experience. 758 00:24:47,984 --> 00:24:49,588 Reality outside the frame is 759 00:24:49,653 --> 00:24:52,259 your everyday life. 760 00:24:52,322 --> 00:24:53,960 The reality inside the frame 761 00:24:54,024 --> 00:24:55,435 is whatever you want to create 762 00:24:55,492 --> 00:24:58,029 it to be. 763 00:25:06,503 --> 00:25:07,641 Some films definitely give 764 00:25:07,704 --> 00:25:10,014 you access to a dream world. 765 00:25:10,073 --> 00:25:11,245 I think musicals probably do 766 00:25:11,307 --> 00:25:13,048 that better than most. 767 00:25:13,109 --> 00:25:14,747 Follow the yellow brick road. 768 00:25:14,811 --> 00:25:16,449 Follow the yellow brick road. 769 00:25:16,513 --> 00:25:17,253 Follow the 770 00:25:17,313 --> 00:25:18,519 yellow brick road, 771 00:25:18,581 --> 00:25:20,219 follow the yellow brick road 772 00:25:20,283 --> 00:25:21,091 follow, follow... 773 00:25:21,151 --> 00:25:21,993 It immediately 774 00:25:22,052 --> 00:25:24,123 takes you out of reality. 775 00:25:24,187 --> 00:25:25,996 It's something that could only 776 00:25:26,056 --> 00:25:28,297 happen in your dreams, but that 777 00:25:28,358 --> 00:25:30,360 doesn't make it less worthwhile. 778 00:25:30,427 --> 00:25:31,462 In fact, for me it frequently 779 00:25:31,528 --> 00:25:33,030 makes it more worthwhile. 780 00:25:34,097 --> 00:25:35,218 It's not a place you can get 781 00:25:35,265 --> 00:25:39,111 to by a boat or a train. 782 00:25:39,169 --> 00:25:42,048 It's far, far away. 783 00:25:42,105 --> 00:25:43,550 I would watch Wizard of Oz 784 00:25:43,606 --> 00:25:45,483 every day when I was two. 785 00:25:45,542 --> 00:25:46,987 I had a really hard time 786 00:25:47,043 --> 00:25:49,182 understanding that I couldn't 787 00:25:49,245 --> 00:25:51,384 go into the film, 'cause it felt 788 00:25:51,448 --> 00:25:52,950 so real to me. 789 00:25:53,016 --> 00:25:55,826 Somewhere 790 00:25:55,885 --> 00:25:58,058 over the rainbow... 791 00:25:58,121 --> 00:25:58,929 It's a wonderful 792 00:25:58,988 --> 00:25:59,864 universal story. 793 00:25:59,900 --> 00:26:00,900 I mean, if you look at 794 00:26:00,924 --> 00:26:02,130 the Wizard of Oz, it takes a 795 00:26:02,192 --> 00:26:03,603 reality which is the beginning 796 00:26:03,660 --> 00:26:05,162 of the movie and it turns it 797 00:26:05,228 --> 00:26:06,673 into a mythology. 798 00:26:06,730 --> 00:26:09,006 Dreams that you dare 799 00:26:09,065 --> 00:26:13,343 to dream really do come true. 800 00:26:13,403 --> 00:26:14,279 You know, all great 801 00:26:14,337 --> 00:26:16,180 storytelling is a form of myth. 802 00:26:16,239 --> 00:26:17,513 Tap your heels together 803 00:26:17,574 --> 00:26:20,783 three times... 804 00:26:20,844 --> 00:26:23,222 And think to yourself, 805 00:26:23,279 --> 00:26:26,089 "“There's no place like home." 806 00:26:26,149 --> 00:26:27,219 The Wizard of Oz is still 807 00:26:27,283 --> 00:26:28,443 my all-time favorite movie... 808 00:26:28,451 --> 00:26:29,361 probably for the wrong reasons. 809 00:26:29,419 --> 00:26:30,489 I never got why Dorothy 810 00:26:30,553 --> 00:26:31,861 wanted to go home. 811 00:26:31,921 --> 00:26:33,081 Why would she want to go home 812 00:26:33,123 --> 00:26:34,363 when she could live with winged 813 00:26:34,390 --> 00:26:35,960 monkeys and witches and... 814 00:26:36,025 --> 00:26:37,197 I don't know, I never understood 815 00:26:37,260 --> 00:26:38,739 it... I was sobbing when she went 816 00:26:38,795 --> 00:26:40,672 home to that dreary farm. 817 00:26:40,730 --> 00:26:41,572 This was a real, 818 00:26:41,631 --> 00:26:43,235 truly live place. 819 00:26:43,299 --> 00:26:45,176 And I remember that some of it 820 00:26:45,235 --> 00:26:47,374 wasn't very nice, but most of it 821 00:26:47,437 --> 00:26:48,848 was beautiful. 822 00:26:48,905 --> 00:26:50,384 I've always been an 823 00:26:50,440 --> 00:26:52,545 aficionado of science fiction, 824 00:26:52,609 --> 00:26:54,316 fantasy and horror. 825 00:26:54,377 --> 00:26:55,515 The truth is, speculative 826 00:26:55,578 --> 00:26:57,785 fiction has always informed us 827 00:26:57,847 --> 00:27:00,020 about who we are. 828 00:27:00,116 --> 00:27:02,153 If you go back to Invasion of 829 00:27:02,185 --> 00:27:03,789 the Body Snatchers, it was 830 00:27:03,853 --> 00:27:06,629 a parable about McCarthyism 831 00:27:06,689 --> 00:27:07,793 and the Red Scare. 832 00:27:09,159 --> 00:27:10,159 They have to be 833 00:27:10,160 --> 00:27:11,639 destroyed... all of them! 834 00:27:11,694 --> 00:27:12,694 They will be, 835 00:27:12,729 --> 00:27:13,571 every one of them. 836 00:27:13,630 --> 00:27:14,631 Listen, we're gonna have to 837 00:27:14,697 --> 00:27:15,471 search every building, 838 00:27:15,532 --> 00:27:16,636 every house in town. 839 00:27:16,699 --> 00:27:17,507 Men, women and children are 840 00:27:17,567 --> 00:27:18,409 gonna have to be examined. 841 00:27:18,468 --> 00:27:19,640 We've got some phoning to do. 842 00:27:19,702 --> 00:27:20,737 Filmmakers were able to 843 00:27:20,804 --> 00:27:22,841 make that film and send a 844 00:27:22,906 --> 00:27:24,351 message without having it be 845 00:27:24,407 --> 00:27:25,579 a message movie. 846 00:27:25,642 --> 00:27:26,643 It's a malignant disease 847 00:27:26,709 --> 00:27:27,346 spreading through the 848 00:27:27,410 --> 00:27:28,514 whole country. 849 00:27:28,578 --> 00:27:29,955 Initially those films 850 00:27:30,013 --> 00:27:31,959 were relegated to B-movies 851 00:27:32,015 --> 00:27:33,153 or even Z-movies. 852 00:27:33,216 --> 00:27:34,627 They weren't given any kind 853 00:27:34,684 --> 00:27:36,095 of critical acclaim. 854 00:27:36,152 --> 00:27:37,392 They generally weren't big 855 00:27:37,453 --> 00:27:39,160 commercial successes. 856 00:27:40,834 --> 00:27:41,834 Are you crazy?! 857 00:27:41,858 --> 00:27:42,858 Ya big idiot! 858 00:27:42,892 --> 00:27:45,133 They're here already! 859 00:27:45,195 --> 00:27:46,538 You're next! 860 00:27:46,596 --> 00:27:48,473 I think I'm not so much 861 00:27:48,531 --> 00:27:50,977 a fan of science fiction per se 862 00:27:51,034 --> 00:27:53,412 as I am a fan of cinema 863 00:27:53,469 --> 00:27:54,743 that creates worlds, that 864 00:27:54,804 --> 00:27:57,216 creates an entire alternate 865 00:27:57,273 --> 00:27:58,394 universe that you can escape 866 00:27:58,408 --> 00:28:01,082 into for a couple of hours. 867 00:28:11,287 --> 00:28:12,288 The first time that I. 868 00:28:12,355 --> 00:28:14,733 A Space Odyssey, 869 00:28:14,791 --> 00:28:17,829 I was completely blown away. 870 00:28:34,477 --> 00:28:37,321 It made me think about mankind, 871 00:28:37,380 --> 00:28:39,792 the future of mankind... 872 00:28:39,849 --> 00:28:41,123 Where we came 873 00:28:41,184 --> 00:28:42,424 from, where are we going? 874 00:28:42,485 --> 00:28:43,725 And the special effects were 875 00:28:43,786 --> 00:28:44,821 absolutely magnificent, and it 876 00:28:44,888 --> 00:28:47,027 was a film to take seriously, 877 00:28:47,090 --> 00:28:50,537 not a film that was disposable. 878 00:28:50,593 --> 00:28:53,972 Open the pod bay doors, Hal. 879 00:28:54,030 --> 00:28:55,668 I'm sorry, Dave. 880 00:28:55,732 --> 00:28:58,440 I'm afraid I can't do that. 881 00:28:58,501 --> 00:28:59,377 You could truly lose yourself 882 00:28:59,469 --> 00:29:01,380 in that cinematic experience, 883 00:29:01,404 --> 00:29:02,712 really opening up a way 884 00:29:02,772 --> 00:29:04,774 of looking at reality 885 00:29:04,841 --> 00:29:06,514 completely differently. 886 00:29:08,478 --> 00:29:09,616 I've always enjoyed films 887 00:29:09,679 --> 00:29:11,420 that reward multiple viewings, 888 00:29:11,481 --> 00:29:14,155 films that if you chose to come 889 00:29:14,217 --> 00:29:15,355 back and look at them again, 890 00:29:15,418 --> 00:29:16,726 you might see something else 891 00:29:16,786 --> 00:29:17,786 in them. 892 00:29:23,559 --> 00:29:25,163 It does transport you 893 00:29:25,228 --> 00:29:26,832 to an entirely different 894 00:29:26,896 --> 00:29:29,137 time and space, and to me, 895 00:29:29,198 --> 00:29:30,404 it does it so well that I 896 00:29:30,466 --> 00:29:31,877 lose myself entirely. 897 00:29:31,935 --> 00:29:33,095 I'm in a dream world when I'm 898 00:29:33,102 --> 00:29:34,274 watching Blade Runner. 899 00:29:35,872 --> 00:29:37,078 Each frame, each shot 900 00:29:37,140 --> 00:29:38,414 is full of the most 901 00:29:38,474 --> 00:29:39,043 extraordinary detail. 902 00:29:39,108 --> 00:29:41,145 It's really too much to take in 903 00:29:41,210 --> 00:29:43,053 on a first viewing, and it 904 00:29:43,112 --> 00:29:45,058 requires subsequent viewings to 905 00:29:45,114 --> 00:29:46,525 sort of orient yourself in the 906 00:29:46,582 --> 00:29:48,528 world of that film and see all 907 00:29:48,584 --> 00:29:49,585 of the different layers that 908 00:29:49,652 --> 00:29:50,960 went into the fulfillment of 909 00:29:51,020 --> 00:29:52,761 that grand design. 910 00:30:00,196 --> 00:30:02,301 I think for my generation, 911 00:30:02,365 --> 00:30:03,776 there isn't a filmmaker... 912 00:30:03,833 --> 00:30:05,176 working in Hollywood, 913 00:30:05,234 --> 00:30:07,646 certainly... who can deny 914 00:30:07,704 --> 00:30:08,546 the influence of the. 915 00:30:08,604 --> 00:30:09,604 Star Wars films. 916 00:30:09,605 --> 00:30:10,879 The first experience that I 917 00:30:10,940 --> 00:30:12,351 had with Star Wars was the 918 00:30:12,408 --> 00:30:13,682 summer that it came out. 919 00:30:13,743 --> 00:30:15,222 We went to the Coronet theater 920 00:30:15,278 --> 00:30:16,478 in San Francisco and there was 921 00:30:16,479 --> 00:30:17,958 a line... the biggest line I'd 922 00:30:18,014 --> 00:30:19,014 ever seen as a kid... 923 00:30:19,048 --> 00:30:20,391 around the block. 924 00:30:20,450 --> 00:30:21,724 The lights go down and I 925 00:30:21,784 --> 00:30:22,660 didn't really know what to 926 00:30:22,719 --> 00:30:24,096 expect whatsoever. 927 00:30:26,422 --> 00:30:28,925 Huge musical hit and the Star. 928 00:30:28,992 --> 00:30:30,938 Wars logo goes back and then 929 00:30:30,994 --> 00:30:32,496 the scrolling of the text 930 00:30:32,562 --> 00:30:35,509 happens and... and I began to 931 00:30:35,565 --> 00:30:36,805 sort of just become mesmerized. 932 00:30:41,904 --> 00:30:44,111 And then the moment that Star. 933 00:30:44,173 --> 00:30:45,516 Destroyer comes overhead, 934 00:30:45,575 --> 00:30:46,815 that just seemed like 935 00:30:46,876 --> 00:30:48,116 a forever moment. 936 00:30:48,177 --> 00:30:49,349 I just kept watching and 937 00:30:49,412 --> 00:30:50,516 watching and watching, thinking, 938 00:30:50,580 --> 00:30:52,150 “this is the biggest spaceship. 939 00:30:52,215 --> 00:30:54,991 "I've ever seen." 940 00:30:55,051 --> 00:30:57,725 To top it all off, by the time. 941 00:30:57,787 --> 00:30:59,095 Darth Vader makes his 942 00:30:59,155 --> 00:31:00,315 appearance, people started to 943 00:31:00,323 --> 00:31:01,927 boo and started to hiss at Darth. 944 00:31:01,958 --> 00:31:03,562 Vader, and I just thought, "This" 945 00:31:03,626 --> 00:31:05,503 is... what is going on here?" 946 00:31:05,561 --> 00:31:06,733 There's something more 947 00:31:06,796 --> 00:31:07,956 that this movie in particular 948 00:31:07,997 --> 00:31:09,806 has to offer. 949 00:31:11,434 --> 00:31:13,141 It simply opened up 950 00:31:13,202 --> 00:31:14,203 a feeling of reality 951 00:31:14,270 --> 00:31:15,476 in science fiction. 952 00:31:18,908 --> 00:31:20,945 The feeling of a completely 953 00:31:21,010 --> 00:31:22,990 thought-through world that 954 00:31:23,046 --> 00:31:26,050 existed outside the frame. 955 00:31:26,115 --> 00:31:27,287 I think when you look at the 956 00:31:27,350 --> 00:31:28,420 history of movies, I don't 957 00:31:28,484 --> 00:31:31,226 believe there's been as dominant 958 00:31:31,287 --> 00:31:33,733 a cultural milestone in cinema 959 00:31:33,790 --> 00:31:35,463 as that first Star Wars film. 960 00:31:41,631 --> 00:31:43,872 Now, as opposed to being 961 00:31:43,933 --> 00:31:46,072 on the outside watching, 962 00:31:46,135 --> 00:31:47,614 now I sort of feel like I'm 963 00:31:47,670 --> 00:31:49,115 part of that now. 964 00:31:49,172 --> 00:31:51,277 Remember, 965 00:31:51,340 --> 00:31:53,047 the Force will be with you... 966 00:31:53,109 --> 00:31:54,144 Always. 967 00:31:55,711 --> 00:31:56,711 The world that he 968 00:31:56,746 --> 00:31:57,867 created is something you had 969 00:31:57,914 --> 00:31:59,393 never seen before and you just 970 00:31:59,482 --> 00:32:00,517 wanted to be with those 971 00:32:00,550 --> 00:32:01,824 characters in that world. 972 00:32:01,884 --> 00:32:03,830 I was so blown away, but I 973 00:32:03,886 --> 00:32:05,695 always felt like, I wanna do 974 00:32:05,755 --> 00:32:07,200 that in animation. 975 00:32:07,256 --> 00:32:08,291 Halt, who goes there? 976 00:32:08,357 --> 00:32:09,734 Don't shoot! It's O.K. 977 00:32:09,792 --> 00:32:10,792 Friends. 978 00:32:10,827 --> 00:32:12,101 Do you know these life forms? 979 00:32:12,161 --> 00:32:12,798 Yes! 980 00:32:12,862 --> 00:32:14,500 They're Andy's toys. 981 00:32:14,564 --> 00:32:15,474 All right, everyone. 982 00:32:15,531 --> 00:32:16,566 You're clear to come up. 983 00:32:16,632 --> 00:32:18,168 I am Buzz Lightyear. 984 00:32:18,234 --> 00:32:19,770 I come in peace. 985 00:32:19,836 --> 00:32:21,645 Oh, I'm so glad you're not 986 00:32:21,704 --> 00:32:23,240 a dinosaur! 987 00:32:23,306 --> 00:32:24,512 It's all I ever wanted 988 00:32:24,574 --> 00:32:25,574 to do, you know? 989 00:32:25,575 --> 00:32:27,350 My true love was cartoons, even 990 00:32:27,410 --> 00:32:28,912 when it was uncool, right? 991 00:32:28,978 --> 00:32:29,979 When you're supposed to be into 992 00:32:30,046 --> 00:32:33,050 girls or cars or sports or 993 00:32:33,116 --> 00:32:34,322 things like that, I would run 994 00:32:34,383 --> 00:32:35,487 home after school to watch. 995 00:32:35,551 --> 00:32:37,758 Bugs Bunny cartoons and always 996 00:32:37,820 --> 00:32:38,821 pray that it would be a 997 00:32:38,888 --> 00:32:40,526 Chuck Jones cartoon. 998 00:32:40,590 --> 00:32:43,400 Kill the wabbit? 999 00:32:43,459 --> 00:32:44,699 The films that have been the 1000 00:32:44,760 --> 00:32:46,569 most influential on my career 1001 00:32:46,629 --> 00:32:48,802 are the films of Walt Disney... 1002 00:32:50,166 --> 00:32:52,646 Snow White... 1003 00:32:52,702 --> 00:32:53,908 Pinocchio... 1004 00:32:53,970 --> 00:32:55,881 I can walk! 1005 00:32:58,641 --> 00:33:01,520 Fantasia... 1006 00:33:01,555 --> 00:33:02,555 ["Waltz of the Flowers" 1007 00:33:04,580 --> 00:33:05,684 I think that Fantasia 1008 00:33:05,748 --> 00:33:08,228 does represent sort of 1009 00:33:08,284 --> 00:33:10,059 the pinnacle of animation 1010 00:33:10,119 --> 00:33:11,393 of its time. 1011 00:33:11,454 --> 00:33:12,455 ["Night on Bald Mountain" 1012 00:33:18,494 --> 00:33:19,268 And I was actually just 1013 00:33:19,328 --> 00:33:20,773 looking at "Night on Bald". 1014 00:33:20,830 --> 00:33:22,275 "Mountain" the other day because 1015 00:33:22,331 --> 00:33:23,810 there's beautiful, beautiful 1016 00:33:23,866 --> 00:33:25,106 fire animation. 1017 00:33:25,168 --> 00:33:28,012 Animating fire is not easy, and 1018 00:33:28,070 --> 00:33:29,413 I don't even know how the 1019 00:33:29,472 --> 00:33:30,610 animators did it. 1020 00:33:40,850 --> 00:33:42,022 So, yeah, in animation, you 1021 00:33:42,084 --> 00:33:45,759 can do anything... and then the 1022 00:33:45,821 --> 00:33:47,164 first time you see something 1023 00:33:47,223 --> 00:33:49,294 that you drew come to life, 1024 00:33:49,358 --> 00:33:51,770 you are addicted because 1025 00:33:51,827 --> 00:33:53,238 it's like magic. 1026 00:33:53,296 --> 00:33:54,707 When you see something 1027 00:33:54,764 --> 00:33:57,210 that you drew move, that is a 1028 00:33:57,266 --> 00:33:58,677 mind-blowing experience. 1029 00:33:58,734 --> 00:34:01,237 I remember when I was 12 or 13, 1030 00:34:01,337 --> 00:34:02,975 and I saw my first super-8 1031 00:34:03,005 --> 00:34:04,507 animation move and it was like... 1032 00:34:04,574 --> 00:34:05,854 I wanna say it's better than sex 1033 00:34:05,875 --> 00:34:07,115 but I'd never had sex when I 1034 00:34:07,176 --> 00:34:08,052 was 12, right? 1035 00:34:08,110 --> 00:34:09,384 But it was just incredible. 1036 00:34:09,445 --> 00:34:10,583 We knew we were 1037 00:34:10,646 --> 00:34:11,420 making the first 1038 00:34:11,480 --> 00:34:13,357 computer-animated feature film, 1039 00:34:13,416 --> 00:34:15,225 but the main focus was the story 1040 00:34:15,284 --> 00:34:16,957 and the characters. 1041 00:34:20,389 --> 00:34:21,959 Walt Disney always said for 1042 00:34:22,024 --> 00:34:23,128 every laugh, there should be a 1043 00:34:23,192 --> 00:34:24,967 tear, and it's something that 1044 00:34:25,027 --> 00:34:27,371 is so important to me in my 1045 00:34:27,430 --> 00:34:29,068 filmmaking, is that heart, 1046 00:34:29,131 --> 00:34:30,131 'cause I believe that's 1047 00:34:30,132 --> 00:34:32,078 something that stays with an 1048 00:34:32,134 --> 00:34:34,239 audience much longer than the 1049 00:34:34,303 --> 00:34:36,305 jokes have gotten old, but that 1050 00:34:36,372 --> 00:34:37,532 heart will always stay there. 1051 00:34:37,540 --> 00:34:39,713 You know how you feel when you 1052 00:34:39,775 --> 00:34:41,914 first watched these movies and 1053 00:34:41,978 --> 00:34:44,686 it brings a tear to your eye. 1054 00:34:44,747 --> 00:34:46,192 Absolutely, animation 1055 00:34:46,249 --> 00:34:49,059 belongs on any list of 1056 00:34:49,118 --> 00:34:51,792 culturally significant works. 1057 00:34:51,854 --> 00:34:55,529 Animation... is art. 1058 00:34:55,591 --> 00:34:56,569 When one looks through the 1059 00:34:56,626 --> 00:34:57,900 list of films that have been 1060 00:34:57,960 --> 00:34:59,564 selected over time, what one is 1061 00:34:59,662 --> 00:35:01,733 struck by most of all is the 1062 00:35:01,764 --> 00:35:03,402 extraordinary diversity of the 1063 00:35:03,466 --> 00:35:04,274 kinds of movies. 1064 00:35:04,333 --> 00:35:05,209 It isn't just 1065 00:35:05,268 --> 00:35:06,178 Hollywood films. 1066 00:35:06,235 --> 00:35:08,715 It's films that document. 1067 00:35:08,771 --> 00:35:10,341 America's life and. 1068 00:35:10,406 --> 00:35:11,407 America's heritage. 1069 00:35:13,709 --> 00:35:14,869 There's a wonderful film that 1070 00:35:14,910 --> 00:35:15,911 was named to the Registry 1071 00:35:15,978 --> 00:35:16,888 a few years ago. 1072 00:35:16,946 --> 00:35:18,016 It's a piece of amateur 1073 00:35:18,080 --> 00:35:20,321 filmmaking made by the wife 1074 00:35:20,383 --> 00:35:22,158 of a doctor in a sort of 1075 00:35:22,218 --> 00:35:25,165 agricultural town in Minnesota 1076 00:35:25,221 --> 00:35:26,791 in the '30s, and she went 1077 00:35:26,856 --> 00:35:28,164 around photographing what the 1078 00:35:28,224 --> 00:35:29,669 place looked like. 1079 00:35:33,629 --> 00:35:34,629 Well, this is wonderful. 1080 00:35:34,664 --> 00:35:35,836 It's like watching a bunch of 1081 00:35:35,898 --> 00:35:37,844 live Edward Hopper and Charles. 1082 00:35:37,900 --> 00:35:39,277 Sheeler canvases come 1083 00:35:39,335 --> 00:35:40,575 to life, you know? 1084 00:35:40,636 --> 00:35:41,512 Who knew? 1085 00:35:41,570 --> 00:35:43,277 So there's a film that very 1086 00:35:43,339 --> 00:35:44,750 specifically preserves a niche 1087 00:35:44,807 --> 00:35:46,343 in a corner of American life. 1088 00:35:53,115 --> 00:35:55,220 There is some sense of 1089 00:35:55,284 --> 00:35:58,197 sadness and poignancy. 1090 00:35:58,254 --> 00:35:59,460 It's part of our history, it's 1091 00:35:59,555 --> 00:36:01,091 part of our family history. 1092 00:36:01,123 --> 00:36:02,602 It's the history of a people, 1093 00:36:02,658 --> 00:36:05,002 history of our country. 1094 00:36:05,061 --> 00:36:08,508 One of the most tragic, yet 1095 00:36:08,564 --> 00:36:10,669 fascinating moments in our 1096 00:36:10,733 --> 00:36:12,440 country's history was the mass 1097 00:36:12,501 --> 00:36:15,072 internment of 120,000 1098 00:36:15,137 --> 00:36:17,640 Japanese-Americans. 1099 00:36:17,707 --> 00:36:20,153 Overnight, American citizens 1100 00:36:20,209 --> 00:36:22,348 of Japanese ancestry were looked 1101 00:36:22,411 --> 00:36:24,288 at with fear and suspicion, 1102 00:36:24,347 --> 00:36:26,122 simply because we looked like 1103 00:36:26,182 --> 00:36:27,182 the people who bombed. 1104 00:36:27,183 --> 00:36:28,457 Pearl Harbor. 1105 00:36:28,517 --> 00:36:30,758 Mass hysteria took over the 1106 00:36:30,820 --> 00:36:33,733 country, and President Roosevelt 1107 00:36:33,789 --> 00:36:36,269 ordered 120,000 people taken 1108 00:36:36,325 --> 00:36:38,931 from their homes, moved within 1109 00:36:38,994 --> 00:36:41,600 three days and put in internment 1110 00:36:41,664 --> 00:36:43,701 camps throughout the country. 1111 00:36:43,766 --> 00:36:45,143 I still remember that day 1112 00:36:45,201 --> 00:36:48,148 when two American soldiers with 1113 00:36:48,204 --> 00:36:49,808 bayonets on their rifles came 1114 00:36:49,872 --> 00:36:52,113 stomping up to the front door of 1115 00:36:52,174 --> 00:36:53,619 that house and ordered 1116 00:36:53,676 --> 00:36:55,451 our family out. 1117 00:36:55,511 --> 00:36:57,787 And I remember my mother had 1118 00:36:57,847 --> 00:36:59,884 tears streaming down her cheek 1119 00:36:59,982 --> 00:37:02,155 as we moved out. 1120 00:37:04,286 --> 00:37:06,391 It became normal for me to 1121 00:37:06,455 --> 00:37:08,526 begin the school day in a black 1122 00:37:08,591 --> 00:37:11,128 tar paper barrack with a Pledge 1123 00:37:11,193 --> 00:37:12,536 of Allegiance to the flag. 1124 00:37:12,595 --> 00:37:13,938 I could see the barbed wire 1125 00:37:13,996 --> 00:37:15,475 fence and the sentry towers 1126 00:37:15,531 --> 00:37:17,408 right outside my schoolhouse 1127 00:37:17,466 --> 00:37:19,343 window as I recited the words 1128 00:37:19,402 --> 00:37:21,211 "with liberty and justice 1129 00:37:21,270 --> 00:37:22,578 for all." 1130 00:37:26,075 --> 00:37:27,179 I have a nine-year-old 1131 00:37:27,243 --> 00:37:29,849 daughter and I want her to be 1132 00:37:29,912 --> 00:37:32,620 able to experience and see what 1133 00:37:32,681 --> 00:37:35,662 these camps looked like. 1134 00:37:35,718 --> 00:37:36,856 I think when you talk about the 1135 00:37:36,919 --> 00:37:38,830 history of an experience, you 1136 00:37:38,888 --> 00:37:41,368 can't really feel it unless you 1137 00:37:41,424 --> 00:37:44,598 can see it and visualize it. 1138 00:37:44,660 --> 00:37:45,263 My father is 1139 00:37:45,327 --> 00:37:48,240 Dave Masaharu Tatsuno and he 1140 00:37:48,297 --> 00:37:51,039 was responsible for the 1141 00:37:51,100 --> 00:37:53,740 film Topaz, which documents 1142 00:37:53,803 --> 00:37:55,476 life in an internment camp 1143 00:37:55,538 --> 00:37:56,642 during World War II. 1144 00:37:58,340 --> 00:38:00,320 That's my mother holding me 1145 00:38:00,409 --> 00:38:02,320 in the desert. 1146 00:38:02,344 --> 00:38:03,652 It wasn't meant to be 1147 00:38:03,712 --> 00:38:05,385 a documentary. 1148 00:38:05,448 --> 00:38:07,325 He was just trying to do 1149 00:38:07,383 --> 00:38:10,023 a family film for us. 1150 00:38:10,085 --> 00:38:12,793 What has come to be 1151 00:38:12,855 --> 00:38:16,325 known as his film was really 1152 00:38:16,392 --> 00:38:19,930 just a portrayal of life in the 1153 00:38:19,995 --> 00:38:22,475 camps, of the daily struggles 1154 00:38:22,531 --> 00:38:24,477 that people experienced and 1155 00:38:24,533 --> 00:38:27,980 it captured for all time 1156 00:38:28,037 --> 00:38:30,813 something that America didn't 1157 00:38:30,873 --> 00:38:32,409 want anyone to see. 1158 00:38:32,475 --> 00:38:35,251 Home movies are so important. 1159 00:38:35,311 --> 00:38:36,619 They show our history... of our 1160 00:38:36,679 --> 00:38:38,283 family, of our community, 1161 00:38:38,347 --> 00:38:40,054 of our country. 1162 00:38:40,115 --> 00:38:41,423 That's important, 1163 00:38:41,484 --> 00:38:42,929 that's very important. 1164 00:38:47,790 --> 00:38:50,031 The addition of the Zapruder 1165 00:38:50,092 --> 00:38:52,971 film, the home movie that 1166 00:38:53,028 --> 00:38:54,336 captured the assassination of 1167 00:38:54,396 --> 00:38:56,603 John Kennedy, demonstrates, I 1168 00:38:56,665 --> 00:38:58,542 think, at its farthest extent 1169 00:38:58,601 --> 00:39:01,445 that America's film heritage, 1170 00:39:01,537 --> 00:39:03,346 its movie heritage embraces 1171 00:39:03,372 --> 00:39:04,510 much, much more than just a 1172 00:39:04,573 --> 00:39:06,849 Hollywood feature film. 1173 00:39:06,909 --> 00:39:08,582 I think, "This film is real" 1174 00:39:08,644 --> 00:39:10,214 and it happened during 1175 00:39:10,279 --> 00:39:11,553 "my lifetime." 1176 00:39:11,614 --> 00:39:13,719 I saw it, it's ugly, it's 1177 00:39:13,782 --> 00:39:16,160 sudden, it's shocking and it's 1178 00:39:16,218 --> 00:39:18,095 inexplicable, and the only way 1179 00:39:18,153 --> 00:39:20,599 that you can recreate the 1180 00:39:20,656 --> 00:39:22,260 experience of it is showing it. 1181 00:39:36,138 --> 00:39:37,549 Hey you, come on 1182 00:39:37,606 --> 00:39:39,279 out of there. 1183 00:39:39,341 --> 00:39:43,517 Come on! 1184 00:39:43,579 --> 00:39:46,219 Well, I'm a... too many of you 1185 00:39:46,282 --> 00:39:47,322 dames gettin' away with it 1186 00:39:47,349 --> 00:39:48,191 these days. 1187 00:39:48,250 --> 00:39:49,058 The cops in the yards'll 1188 00:39:49,118 --> 00:39:49,789 take care of you! 1189 00:39:49,852 --> 00:39:51,058 Oh, wait a minute. 1190 00:39:51,120 --> 00:39:52,428 You wouldn't throw us off 1191 00:39:52,488 --> 00:39:53,523 the train, would you? 1192 00:39:53,589 --> 00:39:54,363 Yeah, and you're gonna get 1193 00:39:54,423 --> 00:39:55,424 30 days for it. 1194 00:39:55,491 --> 00:39:56,367 In jail? 1195 00:39:56,425 --> 00:39:57,529 Yes, in jail! 1196 00:39:58,994 --> 00:40:01,668 Now why don't we sit down 1197 00:40:01,730 --> 00:40:03,437 and talk this thing over? 1198 00:40:06,669 --> 00:40:09,309 Almost always, the things 1199 00:40:09,371 --> 00:40:11,112 that people wanted to cut out of 1200 00:40:11,173 --> 00:40:14,313 movies were ideas. 1201 00:40:14,376 --> 00:40:16,253 And so you have ideas being cut 1202 00:40:16,312 --> 00:40:17,916 out of the original Baby Face by 1203 00:40:17,980 --> 00:40:20,824 the New York censors. 1204 00:40:20,883 --> 00:40:22,157 That man 1205 00:40:22,217 --> 00:40:23,321 of mine... 1206 00:40:24,263 --> 00:40:25,263 Baby face was really 1207 00:40:25,287 --> 00:40:26,129 interesting 'cause I'd known the 1208 00:40:26,188 --> 00:40:27,223 film for a long time and 1209 00:40:27,289 --> 00:40:28,495 actually, I had a copy of it 1210 00:40:28,557 --> 00:40:30,059 on laserdisc... for those who 1211 00:40:30,125 --> 00:40:31,325 remember what laserdiscs were. 1212 00:40:31,360 --> 00:40:34,273 They asked me to go and check 1213 00:40:34,330 --> 00:40:36,003 the negative to see what 1214 00:40:36,065 --> 00:40:37,408 condition it was in, and that's 1215 00:40:37,466 --> 00:40:38,536 when I noticed that we actually 1216 00:40:38,601 --> 00:40:40,274 had two negatives. 1217 00:40:40,336 --> 00:40:41,872 So I get 'em out, and I start 1218 00:40:41,937 --> 00:40:43,712 looking at the two reel ones and 1219 00:40:43,772 --> 00:40:45,479 I notice that there's something 1220 00:40:45,541 --> 00:40:46,884 strange about them, so I 1221 00:40:46,942 --> 00:40:48,250 put the two reel ones down on a 1222 00:40:48,310 --> 00:40:50,051 table and set one of top of the 1223 00:40:50,112 --> 00:40:51,250 other one and that's when I 1224 00:40:51,313 --> 00:40:53,315 noticed that, you know, like the 1225 00:40:53,382 --> 00:40:54,861 one reel one was this big... 1226 00:40:54,917 --> 00:40:56,089 And the other reel one was like 1227 00:40:56,151 --> 00:40:57,789 this big, and I'm like, “There's 1228 00:40:57,853 --> 00:40:59,526 "something going on here." 1229 00:40:59,622 --> 00:41:01,033 Say, I like it here. 1230 00:41:01,056 --> 00:41:02,160 How about a job? 1231 00:41:02,224 --> 00:41:02,827 Oh, we don't... 1232 00:41:02,891 --> 00:41:04,051 Oh, now don't tell me in this 1233 00:41:04,059 --> 00:41:05,094 great big building there ain't 1234 00:41:05,160 --> 00:41:08,471 some place for me. 1235 00:41:08,530 --> 00:41:11,909 Have you had any experience? 1236 00:41:11,967 --> 00:41:12,967 Plenty. 1237 00:41:12,968 --> 00:41:13,605 And I started going 1238 00:41:13,669 --> 00:41:14,409 through the two negatives 1239 00:41:14,470 --> 00:41:15,470 and also listening to the 1240 00:41:15,471 --> 00:41:17,144 soundtracks and began finding 1241 00:41:17,206 --> 00:41:19,049 these differences, these 1242 00:41:19,108 --> 00:41:19,916 great differences between 1243 00:41:19,975 --> 00:41:21,249 the two films. 1244 00:41:21,310 --> 00:41:22,983 And then he has the Eureka 1245 00:41:23,045 --> 00:41:24,854 moment and he realizes that what 1246 00:41:24,913 --> 00:41:26,950 he has is the film before 1247 00:41:27,016 --> 00:41:29,257 it was edited! 1248 00:41:29,318 --> 00:41:30,388 That the five minutes with 1249 00:41:30,452 --> 00:41:31,692 Barbara Stanwyck going to the 1250 00:41:31,754 --> 00:41:33,631 city to use what she has, 1251 00:41:33,689 --> 00:41:35,691 you know, to get what she 1252 00:41:35,758 --> 00:41:37,999 wants is in there, and they 1253 00:41:38,060 --> 00:41:41,735 thought it was lost. 1254 00:41:41,797 --> 00:41:42,798 The boss won't be back 1255 00:41:42,865 --> 00:41:44,538 for an hour. 1256 00:41:44,600 --> 00:41:46,011 Well then, why don't we go in 1257 00:41:46,068 --> 00:41:50,039 and talk this over? 1258 00:42:11,971 --> 00:42:12,971 The original 1259 00:42:12,995 --> 00:42:13,837 negative was cut to the 1260 00:42:13,896 --> 00:42:15,102 censorship version. 1261 00:42:15,164 --> 00:42:16,905 The duplicate negative was the 1262 00:42:16,965 --> 00:42:18,876 original pre-censored version 1263 00:42:18,934 --> 00:42:20,641 that had all the naughty bits 1264 00:42:20,703 --> 00:42:22,842 still in it, and that was 1265 00:42:22,905 --> 00:42:24,026 just... I mean that was just 1266 00:42:24,073 --> 00:42:25,347 the find of a lifetime. 1267 00:42:25,407 --> 00:42:27,478 Look, here. 1268 00:42:27,543 --> 00:42:29,523 Nietzsche says "All life", 1269 00:42:29,578 --> 00:42:31,888 no matter how we idealize it, 1270 00:42:31,947 --> 00:42:33,426 is nothing more nor less 1271 00:42:33,482 --> 00:42:36,088 "than exploitation." 1272 00:42:36,151 --> 00:42:38,153 That's what I'm telling you. 1273 00:42:38,220 --> 00:42:40,131 Exploit yourself! 1274 00:42:40,189 --> 00:42:41,827 Go to some big city where you 1275 00:42:41,890 --> 00:42:43,597 will find opportunities. 1276 00:42:43,659 --> 00:42:44,933 Use men! 1277 00:42:44,993 --> 00:42:47,735 Be strong! Defiant! 1278 00:42:47,796 --> 00:42:50,743 Use men to get the things 1279 00:42:50,799 --> 00:42:52,437 you want! 1280 00:42:52,501 --> 00:42:54,481 The version that was 1281 00:42:54,536 --> 00:42:56,379 discovered puts some of the 1282 00:42:56,438 --> 00:42:58,418 sex back, but it puts a lot 1283 00:42:58,474 --> 00:43:00,351 of the philosophy back. 1284 00:43:00,442 --> 00:43:01,944 Yeah. 1285 00:43:01,977 --> 00:43:03,081 The New York censors 1286 00:43:03,145 --> 00:43:04,522 altered the sharpness of the 1287 00:43:04,580 --> 00:43:06,184 philosophical thrust for the 1288 00:43:06,248 --> 00:43:07,454 release version because they 1289 00:43:07,516 --> 00:43:08,516 were afraid that it would 1290 00:43:08,517 --> 00:43:09,723 offend people. 1291 00:43:09,785 --> 00:43:11,423 What chance has a woman got? 1292 00:43:11,487 --> 00:43:13,967 More chance than men. 1293 00:43:14,022 --> 00:43:16,059 A woman... young, beautiful like 1294 00:43:16,125 --> 00:43:17,035 you are... could get anything 1295 00:43:17,092 --> 00:43:18,537 she wants in the world... 1296 00:43:18,594 --> 00:43:19,594 But there is a right 1297 00:43:19,595 --> 00:43:20,835 and a wrong way. 1298 00:43:20,896 --> 00:43:22,500 Remember the price of the wrong 1299 00:43:22,564 --> 00:43:23,804 way is too great. 1300 00:43:23,866 --> 00:43:26,142 Go to some big city where you 1301 00:43:26,201 --> 00:43:27,737 will find opportunities. 1302 00:43:27,803 --> 00:43:29,441 Don't let people mislead you. 1303 00:43:29,505 --> 00:43:30,677 You must be a master, 1304 00:43:30,739 --> 00:43:32,377 not a slave. 1305 00:43:32,441 --> 00:43:35,752 Be clean, be strong, defiant. 1306 00:43:35,811 --> 00:43:42,057 And you will be a success. 1307 00:43:42,117 --> 00:43:43,152 You always hear 1308 00:43:43,218 --> 00:43:44,788 about these things but they 1309 00:43:44,853 --> 00:43:46,332 never survive. 1310 00:43:46,388 --> 00:43:47,526 Yeah. 1311 00:43:47,589 --> 00:43:48,589 And to this day, I don't 1312 00:43:48,590 --> 00:43:49,432 think we've found out exactly 1313 00:43:49,491 --> 00:43:53,029 why this negative survives and 1314 00:43:53,095 --> 00:43:54,597 why on this particular film, 1315 00:43:54,663 --> 00:43:56,040 they actually made this 1316 00:43:56,098 --> 00:43:57,668 duplicate negative before 1317 00:43:57,733 --> 00:44:00,907 they cut the film. 1318 00:44:01,003 --> 00:44:01,845 You can make a movie, 1319 00:44:01,870 --> 00:44:03,474 by the way, that endorses 1320 00:44:03,539 --> 00:44:04,540 conventional morality, 1321 00:44:04,606 --> 00:44:06,051 that's not the problem. 1322 00:44:06,108 --> 00:44:07,086 The problem is that it was 1323 00:44:07,142 --> 00:44:08,746 not sincere, it's not real. 1324 00:44:08,811 --> 00:44:10,518 And in the case of Baby Face, 1325 00:44:10,579 --> 00:44:11,660 when it really said what it 1326 00:44:11,713 --> 00:44:12,714 wanted to say, of course, 1327 00:44:12,781 --> 00:44:14,260 it's better. 1328 00:44:15,717 --> 00:44:17,458 That is why censorship 1329 00:44:17,519 --> 00:44:19,192 is so horrible. 1330 00:44:19,254 --> 00:44:22,292 Because censorship blocks the 1331 00:44:22,357 --> 00:44:24,394 free expression of an era 1332 00:44:24,459 --> 00:44:26,132 talking to another era. 1333 00:44:27,196 --> 00:44:29,005 For the most part, most films 1334 00:44:29,064 --> 00:44:30,737 that are made are entertainment 1335 00:44:30,799 --> 00:44:32,335 and that's all they're meant to 1336 00:44:32,401 --> 00:44:35,007 be and I think there's a, an 1337 00:44:35,070 --> 00:44:36,777 unfortunate sense people have 1338 00:44:36,839 --> 00:44:39,513 that all films are just films. 1339 00:44:39,575 --> 00:44:41,555 Well, I think the shining 1340 00:44:41,610 --> 00:44:44,591 example of something that is 1341 00:44:44,646 --> 00:44:46,353 a folk fantasy and commercial 1342 00:44:46,415 --> 00:44:48,622 and art is probably Godfather. 1343 00:44:53,455 --> 00:44:54,455 I used to live in. 1344 00:44:54,456 --> 00:44:55,867 Bayside, Queens, and there's a 1345 00:44:55,924 --> 00:44:57,232 local theater there, R.K.O. 1346 00:44:57,292 --> 00:44:59,465 Keith's, which was an old, kind 1347 00:44:59,561 --> 00:45:01,563 of ornate theater that had the 1348 00:45:01,597 --> 00:45:03,076 skylights and the stars and had 1349 00:45:03,131 --> 00:45:04,576 the balcony and that's where I 1350 00:45:04,633 --> 00:45:05,873 had first seen The Godfather 1351 00:45:05,934 --> 00:45:06,934 played in that theater. 1352 00:45:06,969 --> 00:45:08,539 And it played great, it sounded 1353 00:45:08,604 --> 00:45:09,275 great, it looked great. 1354 00:45:09,338 --> 00:45:12,182 Eh... now you come to me and 1355 00:45:12,241 --> 00:45:14,278 you say, "Don Corleone", 1356 00:45:14,343 --> 00:45:17,347 give me justice." 1357 00:45:17,412 --> 00:45:20,484 But you don't ask with respect. 1358 00:45:20,549 --> 00:45:23,189 You don't offer friendship. 1359 00:45:23,252 --> 00:45:23,992 You don't even think 1360 00:45:24,052 --> 00:45:25,190 to call me Godfather. 1361 00:45:25,254 --> 00:45:26,254 Somehow, with the 1362 00:45:26,255 --> 00:45:27,563 performances of all the actors, 1363 00:45:27,623 --> 00:45:29,398 especially Brando, hit that 1364 00:45:29,458 --> 00:45:30,835 neural cord that we all have and 1365 00:45:30,893 --> 00:45:31,963 there was a visceral reaction 1366 00:45:32,027 --> 00:45:33,404 from almost anyone who saw it. 1367 00:45:33,462 --> 00:45:34,839 The cinematographer on The. 1368 00:45:34,897 --> 00:45:36,097 Godfather, Gordon Willis... one 1369 00:45:36,098 --> 00:45:37,941 of the great cinematographers of 1370 00:45:38,000 --> 00:45:41,072 our time... did a very, very 1371 00:45:41,136 --> 00:45:42,479 daring thing when he 1372 00:45:42,537 --> 00:45:43,658 photographed those pictures. 1373 00:45:43,705 --> 00:45:46,686 Gordon decided that he didn't 1374 00:45:46,742 --> 00:45:48,483 want people messing about with 1375 00:45:48,543 --> 00:45:50,352 his image and he shot it in a 1376 00:45:50,412 --> 00:45:51,982 way that you couldn't print it 1377 00:45:52,047 --> 00:45:54,755 in any other way than the way 1378 00:45:54,816 --> 00:45:55,988 that he shot it. 1379 00:45:56,051 --> 00:45:57,462 You can get the color wrong, 1380 00:45:57,519 --> 00:45:58,554 you can make skin green 1381 00:45:58,620 --> 00:46:00,224 if you want to, but it's 1382 00:46:00,322 --> 00:46:03,326 gotta be printed dark. 1383 00:46:06,228 --> 00:46:08,208 I'm glad you came, Mike. 1384 00:46:08,263 --> 00:46:09,264 I hope we can straighten 1385 00:46:09,331 --> 00:46:09,866 everything out. 1386 00:46:09,932 --> 00:46:11,036 The original 1387 00:46:11,099 --> 00:46:13,340 negatives of Godfather I and. 1388 00:46:13,402 --> 00:46:14,904 Godfather II were not in good 1389 00:46:14,970 --> 00:46:16,745 condition, were not capable of 1390 00:46:16,805 --> 00:46:18,478 making new copies, and they 1391 00:46:18,540 --> 00:46:20,520 really needed a restoration. 1392 00:46:20,575 --> 00:46:21,610 The negative of that film 1393 00:46:21,677 --> 00:46:22,519 was in tatters. 1394 00:46:22,577 --> 00:46:23,817 And this is The Godfather, this 1395 00:46:23,879 --> 00:46:25,187 is... this is The Godfather. 1396 00:46:26,081 --> 00:46:27,185 This is a film, you know, I 1397 00:46:27,249 --> 00:46:28,023 think people consider... if not 1398 00:46:28,083 --> 00:46:29,824 maybe the greatest film of 1399 00:46:29,885 --> 00:46:31,364 all time, one of them. 1400 00:46:31,420 --> 00:46:32,524 A lot of prints were made 1401 00:46:32,587 --> 00:46:33,827 from that original negative, 1402 00:46:33,889 --> 00:46:35,197 more so than probably should 1403 00:46:35,257 --> 00:46:35,860 have been made. 1404 00:46:35,924 --> 00:46:36,834 The negative sustained some 1405 00:46:36,892 --> 00:46:38,303 injury, as any negative that 1406 00:46:38,360 --> 00:46:39,737 gets overused will. 1407 00:46:39,795 --> 00:46:41,138 The more popular the film, 1408 00:46:41,196 --> 00:46:42,300 the worse condition the original 1409 00:46:42,364 --> 00:46:44,275 negative is going to be in. 1410 00:46:44,333 --> 00:46:45,744 It's been loved to death. 1411 00:46:45,801 --> 00:46:47,678 It's not until the past 1412 00:46:47,736 --> 00:46:50,216 15, maybe as far as 20 years, 1413 00:46:50,272 --> 00:46:51,649 that the studios have realized 1414 00:46:51,707 --> 00:46:52,947 what they have stacked away 1415 00:46:53,008 --> 00:46:54,180 in their vaults. 1416 00:46:54,242 --> 00:46:55,380 They really didn't realize that 1417 00:46:55,444 --> 00:46:56,752 these golden treasures that they 1418 00:46:56,812 --> 00:46:58,257 had in their vaults and hence, 1419 00:46:58,313 --> 00:46:59,553 they weren't looked after 1420 00:46:59,648 --> 00:47:00,854 very well. 1421 00:47:04,386 --> 00:47:05,592 The beauty of this job is that 1422 00:47:05,654 --> 00:47:06,724 once you start working on these 1423 00:47:06,788 --> 00:47:07,994 films and you start getting to 1424 00:47:08,056 --> 00:47:09,626 explore them scene by scene, 1425 00:47:09,691 --> 00:47:11,295 shot by shot, frame by frame, 1426 00:47:11,360 --> 00:47:13,601 you get to see little things, 1427 00:47:13,662 --> 00:47:15,699 little nuances, little pieces 1428 00:47:15,764 --> 00:47:17,072 of the puzzle... and your 1429 00:47:17,132 --> 00:47:18,509 appreciation for the film 1430 00:47:18,567 --> 00:47:20,410 just explodes. 1431 00:47:20,469 --> 00:47:21,072 We're not 1432 00:47:21,136 --> 00:47:22,809 creating anything. 1433 00:47:22,871 --> 00:47:24,509 What we're doing is to try 1434 00:47:24,573 --> 00:47:25,881 and take what people made 1435 00:47:25,941 --> 00:47:28,820 and just preserve it and make 1436 00:47:28,877 --> 00:47:30,049 it look like what it was 1437 00:47:30,112 --> 00:47:31,216 supposed to look like. 1438 00:47:31,279 --> 00:47:33,623 The trick is not to change it. 1439 00:47:38,787 --> 00:47:40,289 Don Corleone. 1440 00:47:40,355 --> 00:47:41,026 The thing about 1441 00:47:41,089 --> 00:47:43,592 movies, it's about storytelling. 1442 00:47:43,658 --> 00:47:46,264 And the story that it tells 1443 00:47:46,328 --> 00:47:47,602 still today stands up 1444 00:47:47,662 --> 00:47:50,973 very strong. 1445 00:47:52,234 --> 00:47:53,838 At first, you think, 1446 00:47:53,902 --> 00:47:55,006 "Oh, God, this is gonna be the" 1447 00:47:55,070 --> 00:47:56,242 same 20 movies. 1448 00:47:56,304 --> 00:47:57,304 We're gonna have on here 1449 00:47:57,339 --> 00:47:58,079 Casablanca, we're gonna 1450 00:47:58,140 --> 00:47:59,915 "have the obvious ones, right'?" 1451 00:48:00,008 --> 00:48:01,578 You do have them. 1452 00:48:01,610 --> 00:48:02,384 But then you have some 1453 00:48:02,444 --> 00:48:03,444 that are surprising. 1454 00:48:03,445 --> 00:48:05,982 I said... 1455 00:48:06,048 --> 00:48:08,528 "Relax and don't say anything," 1456 00:48:08,583 --> 00:48:10,256 I just want to talk about a film 1457 00:48:10,318 --> 00:48:12,355 which I'm sure has never been 1458 00:48:12,421 --> 00:48:13,461 "brought up at the board." 1459 00:48:14,956 --> 00:48:17,061 How do you do-ah? 1460 00:48:17,125 --> 00:48:19,435 See you've met my 1461 00:48:19,494 --> 00:48:22,407 faithful handyman... 1462 00:48:22,464 --> 00:48:23,272 People are gonna say, 1463 00:48:23,331 --> 00:48:24,742 "You must be, you must be crazy." 1464 00:48:24,800 --> 00:48:26,575 The film's lacking in taste, 1465 00:48:26,635 --> 00:48:27,943 "it's this, it's that." 1466 00:48:28,003 --> 00:48:29,209 But at the same time, here's a 1467 00:48:29,271 --> 00:48:30,471 film that's played at midnight 1468 00:48:30,472 --> 00:48:32,577 in theaters across the country 1469 00:48:32,641 --> 00:48:33,984 for 30 years. 1470 00:48:34,042 --> 00:48:35,385 There's a reason why The Rocky. 1471 00:48:35,444 --> 00:48:37,890 Horror Show is a popular film. 1472 00:48:37,946 --> 00:48:39,289 Well, if it's that popular, 1473 00:48:39,347 --> 00:48:41,691 it must be speaking somehow 1474 00:48:41,750 --> 00:48:42,353 to this country. 1475 00:48:42,417 --> 00:48:44,488 There must be something woven 1476 00:48:44,553 --> 00:48:46,999 into what makes that film work. 1477 00:48:47,055 --> 00:48:50,161 One hell of a lover 1478 00:48:50,225 --> 00:48:54,731 I'm just a sweet transvestite 1479 00:48:54,796 --> 00:48:55,796 from... 1480 00:48:55,797 --> 00:48:56,605 And I have to 1481 00:48:56,665 --> 00:48:57,700 sympathize with Dr. Billington 1482 00:48:57,766 --> 00:49:00,144 because he has to go to the 1483 00:49:00,235 --> 00:49:02,875 halls of Congress and tell 1484 00:49:02,904 --> 00:49:05,407 everyone one of the 25 films 1485 00:49:05,474 --> 00:49:06,851 is The Rocky Horror Show. 1486 00:49:06,908 --> 00:49:07,978 "It's this great film!" 1487 00:49:08,043 --> 00:49:09,181 It's about transvestites 1488 00:49:09,244 --> 00:49:10,814 and men from Mars and 1489 00:49:10,879 --> 00:49:12,256 "dancing hunchbacks." 1490 00:49:12,314 --> 00:49:14,658 I don't know how he does it. 1491 00:49:14,716 --> 00:49:16,855 Well, it, it, it... 1492 00:49:16,918 --> 00:49:18,192 Certainly widened my horizon. 1493 00:49:18,253 --> 00:49:19,163 With your hands 1494 00:49:19,221 --> 00:49:21,201 on your hips. 1495 00:49:21,256 --> 00:49:22,030 Bring your knees 1496 00:49:22,090 --> 00:49:23,569 in tight... 1497 00:49:23,625 --> 00:49:24,626 Honestly, 1498 00:49:24,693 --> 00:49:25,693 when you're dealing with 1499 00:49:25,727 --> 00:49:27,035 a wide variety, you have to 1500 00:49:27,095 --> 00:49:29,905 be open to a wide variety. 1501 00:49:29,965 --> 00:49:30,965 Rocky Horror Picture. 1502 00:49:30,966 --> 00:49:32,468 Show is the, the most 1503 00:49:32,534 --> 00:49:33,911 successful midnight movie ever, 1504 00:49:33,969 --> 00:49:34,947 way more than Pink Flamingos 1505 00:49:35,003 --> 00:49:35,811 ever was. 1506 00:49:35,871 --> 00:49:38,374 Let's do the time warp 1507 00:49:38,440 --> 00:49:40,477 again. 1508 00:49:44,346 --> 00:49:45,346 I'll tell you a story 1509 00:49:45,347 --> 00:49:46,223 about it. 1510 00:49:46,281 --> 00:49:48,761 A woman came up to me and she 1511 00:49:48,817 --> 00:49:50,017 said, "I saw you sitting here", 1512 00:49:50,018 --> 00:49:51,861 and I just had to tell you that. 1513 00:49:51,920 --> 00:49:55,595 "Spinal Tap... saved my life." 1514 00:49:55,657 --> 00:49:57,898 Coming live, direct from 1515 00:49:57,959 --> 00:49:59,996 hell, Spinal Tap! 1516 00:50:00,739 --> 00:50:01,739 You're hot, 1517 00:50:01,763 --> 00:50:03,071 you take all we've got. 1518 00:50:03,131 --> 00:50:04,166 Not a dry seat 1519 00:50:04,232 --> 00:50:06,109 in the house... 1520 00:50:06,168 --> 00:50:07,203 No, I'm not gonna tell 1521 00:50:07,269 --> 00:50:08,145 that story. 1522 00:50:08,203 --> 00:50:09,363 No, it was The Princess Bride 1523 00:50:09,371 --> 00:50:10,111 that saved her life, 1524 00:50:10,172 --> 00:50:11,378 so Spinal Tap didn't save 1525 00:50:11,439 --> 00:50:12,782 her life at all. 1526 00:50:12,841 --> 00:50:14,013 It was Princess Bride that 1527 00:50:14,075 --> 00:50:15,383 saved her life... and I don't 1528 00:50:15,443 --> 00:50:16,353 think that's on the registry, 1529 00:50:16,411 --> 00:50:17,151 but it should be. 1530 00:50:17,212 --> 00:50:18,212 On our way, but tonight 1531 00:50:18,213 --> 00:50:18,987 we're gonna rock ya. 1532 00:50:19,047 --> 00:50:20,151 Tonight I'm gonna rock ya. 1533 00:50:20,215 --> 00:50:21,023 Yeah, tonight we're gonna 1534 00:50:21,082 --> 00:50:21,787 rock ya... 1535 00:50:21,850 --> 00:50:22,971 When we first showed it in a 1536 00:50:23,018 --> 00:50:24,656 preview in Dallas, the people 1537 00:50:24,719 --> 00:50:25,879 came up to me and said, "Why" 1538 00:50:25,887 --> 00:50:27,127 would you make a movie about a 1539 00:50:27,189 --> 00:50:29,430 band that nobody's heard of and 1540 00:50:29,491 --> 00:50:31,334 a band that's so bad? 1541 00:50:31,393 --> 00:50:32,497 Why don't you make a movie about 1542 00:50:32,561 --> 00:50:35,804 "the Rolling Stones?" 1543 00:50:38,166 --> 00:50:39,446 So it took a while for people to 1544 00:50:39,501 --> 00:50:40,661 catch up to it, but once they 1545 00:50:40,702 --> 00:50:43,512 did, it became this kind of 1546 00:50:43,572 --> 00:50:47,247 iconic representation of the 1547 00:50:47,309 --> 00:50:48,515 world of rock and roll. 1548 00:50:48,577 --> 00:50:50,716 What we do is if we need that 1549 00:50:50,779 --> 00:50:52,656 extra push over the cliff, 1550 00:50:52,714 --> 00:50:53,624 you know what we do? 1551 00:50:53,682 --> 00:50:54,683 Put it up to 11. 1552 00:50:54,749 --> 00:50:55,887 11, exactly. 1553 00:50:55,951 --> 00:50:56,759 I love This Is. 1554 00:50:56,818 --> 00:50:57,558 Spinal Tap. 1555 00:50:57,619 --> 00:51:00,566 It takes the things that are 1556 00:51:00,655 --> 00:51:02,692 naturally humorous about that 1557 00:51:02,724 --> 00:51:04,362 lifestyle and exaggerates them. 1558 00:51:04,426 --> 00:51:05,302 One louder. 1559 00:51:05,360 --> 00:51:06,202 Why don't you just make 1560 00:51:06,261 --> 00:51:07,467 10 louder, and make 10 be 1561 00:51:07,529 --> 00:51:09,338 the top... number and make that 1562 00:51:09,397 --> 00:51:13,402 a little louder? 1563 00:51:13,468 --> 00:51:14,742 These go to 11. 1564 00:51:14,803 --> 00:51:16,544 Oh, Ma. 1565 00:51:22,955 --> 00:51:23,955 Oh... 1566 00:51:23,979 --> 00:51:25,083 I never would have heard of 1567 00:51:25,146 --> 00:51:28,150 this... a very early sound film 1568 00:51:28,216 --> 00:51:30,594 demonstration which is a 1569 00:51:30,652 --> 00:51:32,325 quacking duck. 1570 00:51:34,422 --> 00:51:35,696 Oh, Ma! 1571 00:51:35,757 --> 00:51:36,827 One can look at Gus. 1572 00:51:36,891 --> 00:51:37,995 Visser and you can think, "Hmm", 1573 00:51:38,059 --> 00:51:39,180 what is the aesthetic value? 1574 00:51:39,227 --> 00:51:40,507 "That might be hard to justify." 1575 00:51:40,562 --> 00:51:42,235 It's there because it 1576 00:51:42,297 --> 00:51:44,106 demonstrates an important 1577 00:51:44,165 --> 00:51:45,166 breakthrough in the 1578 00:51:45,233 --> 00:51:46,735 technology of the history 1579 00:51:46,801 --> 00:51:48,144 of motion pictures. 1580 00:51:48,203 --> 00:51:49,307 It was brought to our 1581 00:51:49,371 --> 00:51:50,611 attention and we watched it and 1582 00:51:50,672 --> 00:51:51,912 said, "We have to have this", 1583 00:51:51,973 --> 00:51:53,316 it's a sound film demonstration. 1584 00:51:53,375 --> 00:51:54,683 "And it's hysterical." 1585 00:51:54,743 --> 00:51:56,848 It's a film you can't really 1586 00:51:56,911 --> 00:51:57,911 describe... 1587 00:51:57,946 --> 00:52:00,187 How he makes the duck quack. 1588 00:52:02,751 --> 00:52:04,890 He's kissing me. 1589 00:52:06,288 --> 00:52:07,392 I will say that when I was 1590 00:52:07,455 --> 00:52:08,490 looking at the movies that are 1591 00:52:08,556 --> 00:52:09,534 on the National Film Registry, 1592 00:52:09,591 --> 00:52:11,832 I was pleasantly surprised that. 1593 00:52:11,893 --> 00:52:13,236 Blazing Saddles was on there. 1594 00:52:15,297 --> 00:52:16,298 Blazing Saddles was basically 1595 00:52:16,364 --> 00:52:18,071 nominated by a reporter who has 1596 00:52:18,133 --> 00:52:19,612 done a lot of articles on the. 1597 00:52:19,668 --> 00:52:22,774 Registry and preservation. 1598 00:52:22,837 --> 00:52:24,544 Blazing Saddles has a 1599 00:52:24,606 --> 00:52:25,949 special place in my heart. 1600 00:52:26,007 --> 00:52:27,850 I love the myth of the 1601 00:52:27,909 --> 00:52:28,717 American West. 1602 00:52:28,777 --> 00:52:29,937 I like cowboys, I like cowboy 1603 00:52:29,978 --> 00:52:31,787 stories, I like cowboy poetry. 1604 00:52:31,846 --> 00:52:33,621 I like Roy Rogers, I like dances 1605 00:52:33,682 --> 00:52:34,285 with wolves. 1606 00:52:34,349 --> 00:52:36,295 Two... 1607 00:52:36,351 --> 00:52:37,351 Three! 1608 00:52:41,667 --> 00:52:42,667 That myth of 1609 00:52:42,691 --> 00:52:43,761 the American West is the 1610 00:52:43,825 --> 00:52:44,929 myth of America. 1611 00:52:44,993 --> 00:52:46,802 But Blazing Saddles takes that 1612 00:52:46,861 --> 00:52:48,363 myth and twists it and turns it 1613 00:52:48,430 --> 00:52:49,238 on its head. 1614 00:52:49,297 --> 00:52:50,674 It also takes the moviemaking 1615 00:52:50,732 --> 00:52:52,268 myth and twists it and turns it 1616 00:52:52,334 --> 00:52:53,642 on its head. 1617 00:52:53,702 --> 00:52:54,702 Raisinets! 1618 00:52:56,237 --> 00:52:58,080 And finally, the Board said, 1619 00:52:58,139 --> 00:52:59,812 "Well, he may have a point." 1620 00:52:59,908 --> 00:53:02,047 And the rest is history. 1621 00:53:06,181 --> 00:53:07,990 To see Blazing Saddles on 1622 00:53:08,049 --> 00:53:09,892 there was a little bit of 1623 00:53:09,951 --> 00:53:11,897 vindication for me, that I 1624 00:53:11,953 --> 00:53:12,795 didn't waste my time in 1625 00:53:12,854 --> 00:53:13,958 college watching that movie 1626 00:53:14,022 --> 00:53:15,092 so many times. 1627 00:53:16,624 --> 00:53:18,103 I wasn't wasting my time. 1628 00:53:18,159 --> 00:53:20,730 I was enriching myself with film 1629 00:53:20,795 --> 00:53:24,971 history. 1630 00:53:27,035 --> 00:53:28,639 Why don't you let him go by? 1631 00:53:28,703 --> 00:53:29,579 Well, he wants the 1632 00:53:29,637 --> 00:53:30,172 whole road. 1633 00:53:30,238 --> 00:53:31,410 Now, look, all I'm trying to say 1634 00:53:31,473 --> 00:53:32,611 is there are lots of things that 1635 00:53:32,674 --> 00:53:34,176 a man can do and in society's 1636 00:53:34,242 --> 00:53:35,880 eyes it's all hunky dory. 1637 00:53:35,944 --> 00:53:37,548 A woman does the same thing... 1638 00:53:37,612 --> 00:53:39,023 the same, mind you... and she's 1639 00:53:39,080 --> 00:53:39,956 an outcast. 1640 00:53:40,014 --> 00:53:41,014 Finished? 1641 00:53:41,015 --> 00:53:42,187 No. 1642 00:53:42,250 --> 00:53:44,230 One of the most important 1643 00:53:44,285 --> 00:53:46,822 things that I can do with my 1644 00:53:46,888 --> 00:53:49,425 role on the Board is to keep the 1645 00:53:49,491 --> 00:53:51,767 contribution of women to film 1646 00:53:51,826 --> 00:53:54,102 history in the center of our 1647 00:53:54,162 --> 00:53:55,266 discussions. 1648 00:53:55,330 --> 00:53:56,172 We had to write reports 1649 00:53:56,231 --> 00:53:58,233 on what we wanted to be and 1650 00:53:58,299 --> 00:53:59,539 the boy next to me wrote a 1651 00:53:59,634 --> 00:54:00,908 composition on how he was gonna 1652 00:54:00,935 --> 00:54:02,676 be a movie director. 1653 00:54:02,737 --> 00:54:04,683 And I got so angry at him, 1654 00:54:04,739 --> 00:54:06,946 because movies seemed too good 1655 00:54:07,008 --> 00:54:08,851 for us, like they came from 1656 00:54:08,910 --> 00:54:10,548 magical people in Hollywood and 1657 00:54:10,612 --> 00:54:11,989 here he was, the guy that 1658 00:54:12,046 --> 00:54:13,047 cheated off of me during 1659 00:54:13,114 --> 00:54:14,821 the tests and how could he 1660 00:54:14,883 --> 00:54:16,760 be a movie director? 1661 00:54:16,818 --> 00:54:17,853 And then I thought, 1662 00:54:17,919 --> 00:54:19,421 "Well, I must be this angry" 1663 00:54:19,487 --> 00:54:20,488 because that's what really, 1664 00:54:20,555 --> 00:54:21,829 "what I want to do." 1665 00:54:21,890 --> 00:54:23,801 Awesome! 1666 00:54:23,858 --> 00:54:25,428 Totally awesome! 1667 00:54:25,493 --> 00:54:26,301 Fast Times at Ridgemont. 1668 00:54:26,361 --> 00:54:27,271 High is one of my 1669 00:54:27,328 --> 00:54:27,965 favorite films. 1670 00:54:28,029 --> 00:54:29,269 Not the favorite, you know, but 1671 00:54:29,297 --> 00:54:30,776 when Sean Penn ordered the pizza 1672 00:54:30,832 --> 00:54:31,832 into the classroom... 1673 00:54:31,866 --> 00:54:32,810 Who ordered the double cheese 1674 00:54:32,867 --> 00:54:33,777 and sausage? 1675 00:54:33,835 --> 00:54:36,145 Right here, dude. 1676 00:54:36,204 --> 00:54:37,080 I thought, "This is the" 1677 00:54:37,138 --> 00:54:38,617 best moment in American film 1678 00:54:38,673 --> 00:54:41,210 "history," actually. 1679 00:54:44,746 --> 00:54:45,952 Very few people know 1680 00:54:46,014 --> 00:54:48,426 about the extent of the 1681 00:54:48,483 --> 00:54:49,518 involvement of women 1682 00:54:49,584 --> 00:54:50,756 in early film culture 1683 00:54:50,819 --> 00:54:51,854 in the United States. 1684 00:54:51,920 --> 00:54:53,900 Half of all films in the silent 1685 00:54:53,955 --> 00:54:55,229 era were written by women. 1686 00:54:55,290 --> 00:54:56,860 All of the top screenwriters 1687 00:54:56,925 --> 00:54:57,801 were women. 1688 00:54:57,859 --> 00:54:59,065 The highest paid screenwriters 1689 00:54:59,127 --> 00:55:00,231 were all women. 1690 00:55:00,328 --> 00:55:02,103 And many of the top directors 1691 00:55:02,130 --> 00:55:03,370 were women. 1692 00:55:03,431 --> 00:55:05,104 It was a growing industry. 1693 00:55:05,166 --> 00:55:06,907 It was the popular mass medium. 1694 00:55:06,968 --> 00:55:07,946 People were going to the film 1695 00:55:08,002 --> 00:55:09,345 every single day. 1696 00:55:09,404 --> 00:55:10,439 So, there were incredible 1697 00:55:10,505 --> 00:55:11,505 opportunities for women 1698 00:55:11,539 --> 00:55:12,539 in Hollywood. 1699 00:55:16,511 --> 00:55:18,320 Lois Weber is an extraordinary 1700 00:55:18,379 --> 00:55:20,450 figure in American film history 1701 00:55:20,515 --> 00:55:22,688 and she's somebody who very few 1702 00:55:22,750 --> 00:55:23,854 people know about. 1703 00:55:23,918 --> 00:55:25,397 Everybody's heard of D.W. 1704 00:55:25,453 --> 00:55:26,693 Griffith, everybody's heard of 1705 00:55:26,754 --> 00:55:28,495 Cecil B. Demille and in the 1706 00:55:28,556 --> 00:55:32,265 1910s, Weber was often mentioned 1707 00:55:32,327 --> 00:55:33,806 alongside Griffith and Demille 1708 00:55:33,862 --> 00:55:35,432 as the three great minds of 1709 00:55:35,497 --> 00:55:36,567 filmmaking. 1710 00:55:36,631 --> 00:55:38,110 She was Universal's top 1711 00:55:38,166 --> 00:55:39,338 director. 1712 00:55:39,400 --> 00:55:40,879 And she was a top director who 1713 00:55:40,935 --> 00:55:44,109 made socially engaged films 1714 00:55:44,172 --> 00:55:45,583 about the key problems 1715 00:55:45,640 --> 00:55:46,640 of the day. 1716 00:55:49,177 --> 00:55:50,815 The film that's in the film 1717 00:55:50,879 --> 00:55:52,381 registry, Where Are My. 1718 00:55:52,447 --> 00:55:54,017 Children?, is a film about 1719 00:55:54,082 --> 00:55:55,254 birth control and abortion 1720 00:55:55,316 --> 00:55:56,386 and it was Universal's 1721 00:55:56,451 --> 00:55:58,829 top moneymaker of 1916. 1722 00:55:58,887 --> 00:55:59,627 It traveled all around 1723 00:55:59,721 --> 00:56:01,530 the world. 1724 00:56:01,556 --> 00:56:02,694 Not only did she make these 1725 00:56:02,757 --> 00:56:06,330 films about really difficult... 1726 00:56:06,394 --> 00:56:07,134 issues that we're still 1727 00:56:07,195 --> 00:56:08,833 grappling with as a culture, 1728 00:56:08,897 --> 00:56:10,740 she made popular, box office 1729 00:56:10,798 --> 00:56:12,436 successes. 1730 00:56:16,204 --> 00:56:18,411 When you start looking at the 1731 00:56:18,473 --> 00:56:20,316 studio era, the '30s and '40s 1732 00:56:20,375 --> 00:56:21,945 and beyond, then you really do 1733 00:56:22,010 --> 00:56:23,284 see gender bias. 1734 00:56:23,344 --> 00:56:24,914 Then it really becomes nearly 1735 00:56:24,979 --> 00:56:27,391 impossible for women to direct. 1736 00:56:27,448 --> 00:56:29,052 When I was in 1737 00:56:29,117 --> 00:56:30,926 graduate school at U.S.C. 1738 00:56:30,985 --> 00:56:32,896 Cinema, a group of us organized 1739 00:56:32,954 --> 00:56:35,798 a small screening series called. 1740 00:56:35,857 --> 00:56:37,666 Films by Great Women Directors 1741 00:56:37,725 --> 00:56:39,534 and somebody wrote across the 1742 00:56:39,594 --> 00:56:41,039 sign "There are none." 1743 00:56:41,095 --> 00:56:42,199 Often when you're working 1744 00:56:42,263 --> 00:56:43,936 with the studios, they'll give 1745 00:56:43,998 --> 00:56:45,204 you a list of pre-approved 1746 00:56:45,266 --> 00:56:46,244 directors and you'll find that 1747 00:56:46,301 --> 00:56:48,508 there are very few, if, in many 1748 00:56:48,570 --> 00:56:50,072 cases, no women directors 1749 00:56:50,138 --> 00:56:51,138 on the list. 1750 00:56:55,076 --> 00:56:56,646 Dorothy Arzner is 1751 00:56:56,711 --> 00:56:59,089 the only woman to work as a 1752 00:56:59,147 --> 00:57:00,854 director in the studio era 1753 00:57:00,949 --> 00:57:01,984 in the '30s and '40s. 1754 00:57:02,016 --> 00:57:03,120 That's an extraordinary 1755 00:57:03,184 --> 00:57:04,527 accomplishment. 1756 00:57:04,586 --> 00:57:05,586 She would also joke that 1757 00:57:05,620 --> 00:57:06,963 she was one of the guys. 1758 00:57:07,021 --> 00:57:08,500 She used to dress like a man, 1759 00:57:08,556 --> 00:57:09,796 she used to hang about with the 1760 00:57:09,857 --> 00:57:11,234 guys, she used to behave like 1761 00:57:11,292 --> 00:57:12,293 the guys, and she always said, 1762 00:57:12,360 --> 00:57:13,532 "that's how I got on in the" 1763 00:57:13,595 --> 00:57:14,573 industry, 'cause I was just 1764 00:57:14,629 --> 00:57:15,505 one of the guys. 1765 00:57:15,563 --> 00:57:16,564 They didn't think about me as 1766 00:57:16,631 --> 00:57:18,167 being a woman, I was just a guy 1767 00:57:18,232 --> 00:57:20,508 "directing films." 1768 00:57:20,568 --> 00:57:22,172 Dance, Girl, Dance is 1769 00:57:22,236 --> 00:57:24,716 a film that takes on, in an 1770 00:57:24,772 --> 00:57:26,683 allegorical way, Hollywood's 1771 00:57:26,741 --> 00:57:28,152 representation of women. 1772 00:57:28,209 --> 00:57:31,156 It's about a dancer who aspires 1773 00:57:31,212 --> 00:57:35,058 to be a serious ballet dancer. 1774 00:57:35,116 --> 00:57:37,062 She's sort of stuck as the comic 1775 00:57:37,118 --> 00:57:39,928 act amidst all this sexual 1776 00:57:39,988 --> 00:57:40,762 exploitation of women. 1777 00:57:40,822 --> 00:57:42,495 And the climax of the film 1778 00:57:42,557 --> 00:57:44,537 occurs when she stops in the 1779 00:57:44,592 --> 00:57:45,935 middle of her performance... 1780 00:57:53,868 --> 00:57:55,108 and looks straight at the 1781 00:57:55,169 --> 00:57:56,273 audience, which means she looks 1782 00:57:56,337 --> 00:57:57,338 straight at the camera 1783 00:57:57,405 --> 00:57:58,405 and she says... 1784 00:57:58,406 --> 00:57:59,680 I know you want me to tear my 1785 00:57:59,774 --> 00:58:00,752 clothes off so you can look 1786 00:58:00,775 --> 00:58:02,049 your 50 cents' worth. 1787 00:58:02,110 --> 00:58:03,418 50 cents for the privilege 1788 00:58:03,478 --> 00:58:04,599 of staring at a girl the way 1789 00:58:04,646 --> 00:58:06,683 your wives won't let you. 1790 00:58:06,748 --> 00:58:08,455 I'm sure they see through you 1791 00:58:08,516 --> 00:58:09,893 just like we do. 1792 00:58:09,951 --> 00:58:11,191 It's an extraordinary moment, 1793 00:58:11,252 --> 00:58:13,095 in which we, as the audience, 1794 00:58:13,154 --> 00:58:15,828 are confronted and asked to 1795 00:58:15,890 --> 00:58:18,029 think about what we routinely 1796 00:58:18,092 --> 00:58:19,537 see in movies, which is the 1797 00:58:19,594 --> 00:58:21,232 sexual objectification of women. 1798 00:58:23,665 --> 00:58:25,372 Weber and Arzner were 1799 00:58:25,433 --> 00:58:26,912 very different women who made 1800 00:58:26,968 --> 00:58:28,538 very different kinds of films in 1801 00:58:28,603 --> 00:58:30,310 very different contexts, but if 1802 00:58:30,371 --> 00:58:31,611 I think about it, what maybe 1803 00:58:31,673 --> 00:58:34,586 unites them is that they had a 1804 00:58:34,642 --> 00:58:36,519 unique and singular vision of 1805 00:58:36,577 --> 00:58:37,817 what they could do that just 1806 00:58:37,879 --> 00:58:40,758 allowed them to persevere. 1807 00:58:40,815 --> 00:58:42,226 It's really important to have 1808 00:58:42,283 --> 00:58:44,422 female filmmakers because women 1809 00:58:44,485 --> 00:58:46,294 have a different perspective 1810 00:58:46,354 --> 00:58:48,163 on the world, on our culture, 1811 00:58:48,222 --> 00:58:49,599 on life. 1812 00:58:49,657 --> 00:58:51,227 Women filmmakers, we have 1813 00:58:51,292 --> 00:58:53,135 an awful lot to bring 1814 00:58:53,194 --> 00:58:55,333 to the screen. 1815 00:58:55,396 --> 00:58:56,739 There are not a whole lot of us 1816 00:58:56,798 --> 00:58:59,210 and we have this nurturing 1817 00:58:59,300 --> 00:59:01,541 quality and we have often a 1818 00:59:01,569 --> 00:59:02,980 different point of view, a way 1819 00:59:03,037 --> 00:59:04,243 of seeing the world, a different 1820 00:59:04,305 --> 00:59:05,750 way of placing characters 1821 00:59:05,807 --> 00:59:07,252 or placing the camera, 1822 00:59:07,308 --> 00:59:09,185 so let's play around with that, 1823 00:59:09,243 --> 00:59:10,722 let's experiment and that's... 1824 00:59:10,778 --> 00:59:11,756 And I did that with Daughters 1825 00:59:11,813 --> 00:59:12,621 of the Dust. 1826 00:59:12,680 --> 00:59:13,784 And for a lot of people, it 1827 00:59:13,848 --> 00:59:14,986 worked and for a lot of people, 1828 00:59:15,049 --> 00:59:17,359 they said, "Whoa, what is this?" 1829 00:59:18,063 --> 00:59:19,063 "What are you doing?" 1830 00:59:19,087 --> 00:59:20,464 And it was like, "I'm exploring" 1831 00:59:20,521 --> 00:59:24,594 and I'm telling a story my way." 1832 00:59:38,506 --> 00:59:39,507 I was involved 1833 00:59:39,574 --> 00:59:40,552 in getting Back to the Future 1834 00:59:40,608 --> 00:59:42,519 put on the Film Registry. 1835 00:59:42,577 --> 00:59:44,147 What did I tell you'?! 1836 00:59:44,212 --> 00:59:48,058 88 Miles per hour! 1837 00:59:48,116 --> 00:59:49,857 I went to the fans. 1838 00:59:49,917 --> 00:59:51,055 Back to the future is one of 1839 00:59:51,119 --> 00:59:52,291 my favorite movies. 1840 00:59:52,353 --> 00:59:53,730 I had used a wonderful website, 1841 00:59:53,788 --> 00:59:57,167 BTTF.com, that was hosted by a 1842 00:59:57,225 --> 00:59:59,136 man named Stephen Clark and I 1843 00:59:59,193 --> 01:00:00,866 wrote to him and said, "Look", 1844 01:00:00,928 --> 01:00:03,067 fan response is an incredible 1845 01:00:03,131 --> 01:00:04,735 factor in getting something on 1846 01:00:04,799 --> 01:00:07,143 the Registry and make your fans 1847 01:00:07,201 --> 01:00:08,236 "write in." 1848 01:00:08,302 --> 01:00:10,179 And the response was amazing. 1849 01:00:10,238 --> 01:00:11,478 Steve Leggett, who works with 1850 01:00:11,539 --> 01:00:12,609 the Film Registry, said that he 1851 01:00:12,673 --> 01:00:14,448 had so many e-mails every day, 1852 01:00:14,509 --> 01:00:15,817 hundreds of e-mails coming in, 1853 01:00:15,877 --> 01:00:17,322 and it was the first time 1854 01:00:17,378 --> 01:00:18,482 that there had been such an 1855 01:00:18,546 --> 01:00:20,685 overwhelming response to getting 1856 01:00:20,748 --> 01:00:22,728 one film on from people outside 1857 01:00:22,784 --> 01:00:24,695 of the Library of Congress. 1858 01:00:24,752 --> 01:00:26,197 It's found its way into the 1859 01:00:26,254 --> 01:00:27,756 popular culture so much, and the 1860 01:00:27,822 --> 01:00:29,102 fact that you can now buy a flux 1861 01:00:29,157 --> 01:00:31,194 capacitor online... and people 1862 01:00:31,259 --> 01:00:32,602 will buy them... is saying 1863 01:00:32,660 --> 01:00:33,638 something about the impact of 1864 01:00:33,694 --> 01:00:34,866 the movie. 1865 01:00:38,143 --> 01:00:39,143 My moment of 1866 01:00:39,167 --> 01:00:40,544 triumph as far as the National. 1867 01:00:40,601 --> 01:00:41,944 Film Registry is concerned... 1868 01:00:42,003 --> 01:00:43,676 I had a couple of different ones 1869 01:00:43,738 --> 01:00:44,614 that I put on there. 1870 01:00:44,672 --> 01:00:45,946 The one film that I actually 1871 01:00:46,007 --> 01:00:48,510 got chosen is a little 1872 01:00:48,576 --> 01:00:49,111 film called... 1873 01:00:49,177 --> 01:00:50,177 Let's all go 1874 01:00:50,178 --> 01:00:51,987 to the lobby, 1875 01:00:52,046 --> 01:00:54,788 let's all go to the lobby 1876 01:00:54,849 --> 01:00:57,295 let's all go to the lobby 1877 01:00:57,351 --> 01:00:58,557 to get ourselves a treat... 1878 01:00:58,619 --> 01:00:59,825 A little film made by the. 1879 01:00:59,921 --> 01:01:01,958 Filmack company up in Chicago. 1880 01:01:01,989 --> 01:01:03,866 And it's a bumper that goes 1881 01:01:03,925 --> 01:01:05,666 in between the movies to get you 1882 01:01:05,726 --> 01:01:07,637 to go to the candy counter. 1883 01:01:08,396 --> 01:01:09,602 The sparkling drinks 1884 01:01:09,664 --> 01:01:11,268 are just dandy. 1885 01:01:11,332 --> 01:01:12,436 The chocolate bars 1886 01:01:12,500 --> 01:01:13,945 and the candy. 1887 01:01:14,001 --> 01:01:15,639 So let's all go to the... 1888 01:01:15,703 --> 01:01:16,579 lobby, 1889 01:01:16,637 --> 01:01:17,911 duh, duh, duddiluh, duh, duh. 1890 01:01:17,972 --> 01:01:19,918 But I looked at it and was like, 1891 01:01:19,974 --> 01:01:20,918 "This is such an important 1892 01:01:20,975 --> 01:01:21,851 little piece of film." 1893 01:01:21,909 --> 01:01:22,909 Everybody knows it, 1894 01:01:22,944 --> 01:01:24,446 everybody's seen it. 1895 01:01:24,512 --> 01:01:26,287 It's the perfect example of this 1896 01:01:26,347 --> 01:01:28,122 kind of cinematic advertising 1897 01:01:28,182 --> 01:01:29,889 that they were doing. 1898 01:01:29,951 --> 01:01:31,225 And it's fun. 1899 01:01:31,285 --> 01:01:33,094 So I put it in and sure enough, 1900 01:01:33,154 --> 01:01:34,326 it got chosen that year. 1901 01:01:34,388 --> 01:01:35,662 I was totally blown away. 1902 01:01:35,723 --> 01:01:39,432 Let's all go to the lobby 1903 01:01:39,493 --> 01:01:41,166 to get ourselves a treat... 1904 01:01:41,996 --> 01:01:42,996 Thank you, thank you. 1905 01:01:44,999 --> 01:01:46,171 When I was younger, I was 1906 01:01:46,234 --> 01:01:47,941 interested in films about power. 1907 01:01:53,507 --> 01:01:55,612 People with invincible skills. 1908 01:01:55,676 --> 01:01:57,678 They could shoot a gun out of 1909 01:01:57,745 --> 01:01:59,725 someone's hand, they could snap 1910 01:01:59,814 --> 01:02:01,623 a bullwhip around your neck. 1911 01:02:03,284 --> 01:02:04,592 This will remind you that 1912 01:02:04,652 --> 01:02:05,653 I have been here once 1913 01:02:05,720 --> 01:02:06,630 and can return. 1914 01:02:06,687 --> 01:02:10,134 And so from around six to 10, 1915 01:02:10,191 --> 01:02:11,761 those were the staple of my 1916 01:02:11,826 --> 01:02:13,499 imagination and you'd leave the 1917 01:02:13,561 --> 01:02:15,302 movie and you'd be acting out 1918 01:02:15,363 --> 01:02:17,138 all the parts with your friends. 1919 01:02:26,007 --> 01:02:27,350 And as a matter of fact, on the 1920 01:02:27,408 --> 01:02:29,354 first Western I ever did, I 1921 01:02:29,410 --> 01:02:31,048 ruined my first take on 1922 01:02:31,112 --> 01:02:32,455 horseback where I'm shooting 1923 01:02:32,513 --> 01:02:34,686 somebody with my pistol because 1924 01:02:34,749 --> 01:02:36,023 on the finished film, you can 1925 01:02:36,083 --> 01:02:37,619 see me looking at the guy 1926 01:02:37,685 --> 01:02:38,823 steely-eyed and pulling the 1927 01:02:38,886 --> 01:02:39,886 trigger and going... 1928 01:02:43,557 --> 01:02:45,230 Really stupid. 1929 01:02:45,293 --> 01:02:47,000 But, you know, it shows you 1930 01:02:47,061 --> 01:02:48,165 the grip that these things 1931 01:02:48,229 --> 01:02:49,229 have on you. 1932 01:02:55,136 --> 01:02:56,136 When I was young, 1933 01:02:56,137 --> 01:02:57,241 when I was little, that was all 1934 01:02:57,305 --> 01:02:58,079 I used to think about... 1935 01:02:58,139 --> 01:02:59,174 the N.B.A. 1936 01:02:59,240 --> 01:02:59,945 There's nothing more 1937 01:03:00,007 --> 01:03:02,146 powerful than a true story, 1938 01:03:02,209 --> 01:03:04,450 because it makes you feel 1939 01:03:04,512 --> 01:03:07,288 like you don't have that escape 1940 01:03:07,348 --> 01:03:09,089 valve that I have when I 1941 01:03:09,150 --> 01:03:10,322 watch fiction. 1942 01:03:10,384 --> 01:03:12,660 When it gets too tough or too 1943 01:03:12,720 --> 01:03:15,098 close or too emotional, I can 1944 01:03:15,156 --> 01:03:16,601 always kind of back out of it 1945 01:03:16,657 --> 01:03:18,068 just a little bit by saying, 1946 01:03:18,125 --> 01:03:20,105 "Eh, this isn't true." 1947 01:03:20,161 --> 01:03:21,265 And when you're seeing a 1948 01:03:21,329 --> 01:03:23,275 powerful documentary, and you 1949 01:03:23,331 --> 01:03:24,639 believe what you're seeing, 1950 01:03:24,699 --> 01:03:25,837 you don't have that and 1951 01:03:25,900 --> 01:03:26,900 that's a good thing. 1952 01:03:26,901 --> 01:03:28,471 My mother, she's 1953 01:03:28,536 --> 01:03:31,312 like mother and father to me. 1954 01:03:31,372 --> 01:03:33,318 She don't want me really hanging 1955 01:03:33,374 --> 01:03:35,411 around over here that much, 1956 01:03:35,476 --> 01:03:38,423 'cause of the gangs. 1957 01:03:38,479 --> 01:03:40,049 I always wanted to make 1958 01:03:40,114 --> 01:03:41,114 stories. 1959 01:03:41,148 --> 01:03:42,354 This was a chance, an 1960 01:03:42,416 --> 01:03:44,521 opportunity, to hopefully tell a 1961 01:03:44,585 --> 01:03:46,428 great story, but a story that 1962 01:03:46,487 --> 01:03:49,798 was true and a story that, in 1963 01:03:49,857 --> 01:03:51,336 focusing on these two kids and 1964 01:03:51,392 --> 01:03:52,894 their families, what their lives 1965 01:03:52,960 --> 01:03:55,270 had to say about the American 1966 01:03:55,329 --> 01:03:58,833 dream, about race in America, 1967 01:03:58,899 --> 01:04:01,675 about poverty in America. 1968 01:04:01,769 --> 01:04:03,112 It's something I think that 1969 01:04:03,137 --> 01:04:04,309 needed to be said, and 1970 01:04:04,372 --> 01:04:05,373 needs to always be said, 1971 01:04:05,439 --> 01:04:06,816 and unfortunately continues 1972 01:04:06,874 --> 01:04:08,285 to need to be said. 1973 01:04:08,342 --> 01:04:10,379 Arthur agee. 1974 01:04:11,812 --> 01:04:13,416 I would say an influence 1975 01:04:13,481 --> 01:04:15,620 for me early on was Barbara. 1976 01:04:15,683 --> 01:04:17,458 Kopple's work, in particular, 1977 01:04:17,518 --> 01:04:19,429 Harlan County. 1978 01:04:19,487 --> 01:04:20,487 Come, 1979 01:04:20,488 --> 01:04:23,594 all you young fellers, 1980 01:04:23,657 --> 01:04:28,834 so brave and so fine... 1981 01:04:28,896 --> 01:04:31,638 Seek not your fortune 1982 01:04:31,699 --> 01:04:35,909 way down in the mine... 1983 01:04:35,970 --> 01:04:37,040 The beauty of 1984 01:04:37,104 --> 01:04:38,515 documentaries is that it 1985 01:04:38,572 --> 01:04:40,108 only happens once. 1986 01:04:40,174 --> 01:04:42,381 It can't happen another time. 1987 01:04:42,443 --> 01:04:45,151 I remember when I was with the 1988 01:04:45,212 --> 01:04:46,953 widows from the Farmington Mine 1989 01:04:47,014 --> 01:04:49,995 disaster in Harlan County. 1990 01:04:50,051 --> 01:04:52,497 They had never gotten together 1991 01:04:52,553 --> 01:04:55,500 to speak about what it meant 1992 01:04:55,556 --> 01:04:57,558 to lose their husbands. 1993 01:04:57,625 --> 01:04:59,536 This was the first time and they 1994 01:04:59,627 --> 01:05:01,538 sat in a circle and they talked 1995 01:05:01,562 --> 01:05:04,270 about the most intimate details 1996 01:05:04,331 --> 01:05:05,867 of their husbands, of their 1997 01:05:05,933 --> 01:05:07,708 lives, of what it meant to be 1998 01:05:07,768 --> 01:05:09,179 a coal miner, what it meant 1999 01:05:09,236 --> 01:05:10,681 to work in one of the most 2000 01:05:10,738 --> 01:05:12,149 dangerous industries 2001 01:05:12,206 --> 01:05:13,549 in this country. 2002 01:05:13,607 --> 01:05:15,848 And one or two of them just 2003 01:05:15,910 --> 01:05:17,412 burst into tears. 2004 01:05:17,478 --> 01:05:20,186 Another one got really angry. 2005 01:05:20,247 --> 01:05:22,090 I live right almost on the 2006 01:05:22,149 --> 01:05:23,787 seat of the main explosion, 2007 01:05:23,851 --> 01:05:25,421 right there, and they said, 2008 01:05:25,486 --> 01:05:27,227 "You get out of your house!" 2009 01:05:27,288 --> 01:05:28,288 And the police told me 2010 01:05:28,322 --> 01:05:29,096 to get out. 2011 01:05:29,156 --> 01:05:30,156 Do you know why? 2012 01:05:30,191 --> 01:05:31,101 Because they didn't want me 2013 01:05:31,158 --> 01:05:32,296 to see what was going on up 2014 01:05:32,359 --> 01:05:33,770 that damn, dirty, filthy mines! 2015 01:05:33,828 --> 01:05:34,533 It's about 2016 01:05:34,595 --> 01:05:35,630 communication. 2017 01:05:35,696 --> 01:05:37,266 It's about connection. 2018 01:05:37,331 --> 01:05:39,402 It's about stepping in to 2019 01:05:39,467 --> 01:05:41,276 somebody's world that you would 2020 01:05:41,335 --> 01:05:43,372 never be privy to... 2021 01:05:43,437 --> 01:05:46,850 And being able to be there and 2022 01:05:46,907 --> 01:05:48,944 understand what's going on with 2023 01:05:49,009 --> 01:05:50,818 them and who they are and what 2024 01:05:50,878 --> 01:05:52,289 they're about. 2025 01:05:52,346 --> 01:05:54,223 I mean, nothing could be finer 2026 01:05:54,281 --> 01:05:55,282 than that. 2027 01:05:55,349 --> 01:05:57,693 And nothing else will do that. 2028 01:06:02,923 --> 01:06:05,460 And if we don't save those films 2029 01:06:05,526 --> 01:06:07,267 and preserve those films, 2030 01:06:07,328 --> 01:06:09,604 we won't have a history. 2031 01:06:13,367 --> 01:06:15,074 Film reconnects us 2032 01:06:15,136 --> 01:06:16,581 to the world and to our 2033 01:06:16,637 --> 01:06:19,618 experience of our lives in this 2034 01:06:19,673 --> 01:06:21,311 space, in this time. 2035 01:06:27,314 --> 01:06:29,692 1929's H20. 2036 01:06:29,750 --> 01:06:33,789 It is a short film about water, 2037 01:06:33,854 --> 01:06:35,959 where the filmmaker starts from 2038 01:06:36,023 --> 01:06:38,970 a distance and looks at water. 2039 01:06:39,026 --> 01:06:40,562 Little trickles of water, 2040 01:06:40,628 --> 01:06:42,266 little waterfalls, 2041 01:06:42,329 --> 01:06:45,572 streams with the rocks visible. 2042 01:06:45,633 --> 01:06:47,772 And he moves ever closer to the 2043 01:06:47,835 --> 01:06:50,179 water and the light playing on 2044 01:06:50,237 --> 01:06:52,478 water to the degree that you no 2045 01:06:52,540 --> 01:06:55,749 longer recognize it as water. 2046 01:06:55,809 --> 01:06:57,220 Then I guarantee, once you see 2047 01:06:57,278 --> 01:06:58,814 this film, you never look 2048 01:06:58,879 --> 01:07:01,587 at water the same way again. 2049 01:07:01,682 --> 01:07:04,060 It's not meant to make sense. 2050 01:07:04,084 --> 01:07:06,621 It's not meant to tell a story. 2051 01:07:06,687 --> 01:07:08,098 But in many ways, it's meant 2052 01:07:08,155 --> 01:07:10,897 to touch us the way poetry does. 2053 01:07:13,827 --> 01:07:16,671 It is not always easy to engage 2054 01:07:16,730 --> 01:07:18,209 the experimental film. 2055 01:07:22,503 --> 01:07:24,915 And one has to simply open one's 2056 01:07:24,972 --> 01:07:27,418 self to the language of film. 2057 01:07:33,614 --> 01:07:35,389 That's where the beauty lies. 2058 01:07:35,449 --> 01:07:36,985 We, through the medium, 2059 01:07:37,051 --> 01:07:41,261 we see the world anew. 2060 01:07:41,322 --> 01:07:43,632 You know, the great thing 2061 01:07:43,691 --> 01:07:44,999 about the Registry is that it's 2062 01:07:45,059 --> 01:07:46,629 grown to be pretty diverse. 2063 01:07:46,694 --> 01:07:47,695 It's gotten a lot more 2064 01:07:47,761 --> 01:07:48,761 inclusive, you know. 2065 01:07:48,796 --> 01:07:50,503 There's a lot of experimental, 2066 01:07:50,564 --> 01:07:51,804 avant-garde and independent 2067 01:07:51,865 --> 01:07:52,434 films. 2068 01:07:52,499 --> 01:07:53,375 There's lots of 2069 01:07:53,434 --> 01:07:54,208 documentary films. 2070 01:07:54,268 --> 01:07:54,939 There's home movies. 2071 01:07:55,002 --> 01:07:56,948 There even are a few industrial 2072 01:07:57,004 --> 01:07:58,483 and educational films. 2073 01:07:58,539 --> 01:07:59,984 There was a turtle 2074 01:08:00,074 --> 01:08:02,020 by the name of Bert. 2075 01:08:02,042 --> 01:08:03,248 And Bert the turtle 2076 01:08:03,310 --> 01:08:05,221 was very alert. 2077 01:08:05,279 --> 01:08:06,883 When danger threatened him 2078 01:08:06,947 --> 01:08:08,585 he never got hurt. 2079 01:08:08,649 --> 01:08:10,890 He knew just what to do. 2080 01:08:11,785 --> 01:08:13,093 He'd duck 2081 01:08:13,153 --> 01:08:14,427 and cover... 2082 01:08:14,488 --> 01:08:15,967 This country has always been 2083 01:08:16,023 --> 01:08:17,229 about persuasion. 2084 01:08:17,291 --> 01:08:18,793 Really most societies are. 2085 01:08:18,859 --> 01:08:20,304 And these films really 2086 01:08:20,361 --> 01:08:21,601 illuminate that, kind of the 2087 01:08:21,662 --> 01:08:22,834 changing history of what 2088 01:08:22,896 --> 01:08:24,136 we were told. 2089 01:08:24,198 --> 01:08:25,302 We must be ready 2090 01:08:25,366 --> 01:08:27,642 every day, all the time, to do 2091 01:08:27,701 --> 01:08:29,476 the right thing if the atomic 2092 01:08:29,536 --> 01:08:31,277 bomb explodes. 2093 01:08:31,338 --> 01:08:33,579 Duck and cover! 2094 01:08:33,641 --> 01:08:35,552 This family knows what to do, 2095 01:08:35,609 --> 01:08:37,953 just as your own family should. 2096 01:08:40,814 --> 01:08:42,259 The House in the Middle is a 2097 01:08:42,316 --> 01:08:43,989 goofy and rather marvelous film 2098 01:08:44,051 --> 01:08:47,055 made in about 1953, '54 by... 2099 01:08:47,121 --> 01:08:48,395 let me see if I can get it 2100 01:08:48,455 --> 01:08:50,298 right... the National Clean Up- 2101 01:08:50,357 --> 01:08:52,359 Paint Up-Fix Up Committee, in 2102 01:08:52,426 --> 01:08:53,632 association with the Federal. 2103 01:08:53,694 --> 01:08:55,264 CML Defense Administration. 2104 01:08:55,329 --> 01:08:56,831 And it puts forth a really, 2105 01:08:56,897 --> 01:08:59,241 really odd message. 2106 01:08:59,333 --> 01:09:00,333 Three identical 2107 01:09:00,334 --> 01:09:01,836 miniature frame houses. 2108 01:09:01,902 --> 01:09:02,937 The house on the right, 2109 01:09:03,003 --> 01:09:04,414 an eyesore. 2110 01:09:04,471 --> 01:09:05,711 But you've seen these same 2111 01:09:05,773 --> 01:09:08,845 conditions in your own hometown. 2112 01:09:08,909 --> 01:09:09,944 This house is the product 2113 01:09:10,010 --> 01:09:11,387 of years of neglect. 2114 01:09:11,445 --> 01:09:12,515 It has not been painted 2115 01:09:12,579 --> 01:09:14,957 regularly. 2116 01:09:15,015 --> 01:09:16,050 The house in the middle, 2117 01:09:16,116 --> 01:09:17,754 in good condition, with a clean, 2118 01:09:17,818 --> 01:09:19,297 unlittered yard. 2119 01:09:19,353 --> 01:09:20,923 If your 2120 01:09:20,988 --> 01:09:22,729 house is freshly painted and 2121 01:09:22,790 --> 01:09:24,360 clean and doesn't have a lot 2122 01:09:24,425 --> 01:09:25,768 of crap sitting around in 2123 01:09:25,826 --> 01:09:27,396 the front yard, you're a lot 2124 01:09:27,461 --> 01:09:28,769 more likely to survive 2125 01:09:28,829 --> 01:09:30,001 a nuclear attack. 2126 01:09:39,206 --> 01:09:40,366 So it really makes kind of 2127 01:09:40,407 --> 01:09:42,353 a moral argument, a behavioral 2128 01:09:42,409 --> 01:09:43,979 argument for surviving 2129 01:09:44,044 --> 01:09:45,580 nuclear attack. 2130 01:09:45,646 --> 01:09:46,750 Two houses are 2131 01:09:46,814 --> 01:09:48,293 a total loss, but the well-kept 2132 01:09:48,349 --> 01:09:49,349 and the painted house 2133 01:09:49,383 --> 01:09:51,329 in the middle still stands. 2134 01:09:51,385 --> 01:09:52,385 Of course it's funded by 2135 01:09:52,386 --> 01:09:53,831 the paint industry, so they're 2136 01:09:53,887 --> 01:09:55,662 trying to sell house paint and 2137 01:09:55,723 --> 01:09:56,758 saying, "Hey, it's gonna help" 2138 01:09:56,824 --> 01:09:58,531 you survive nuclear attack." 2139 01:09:58,592 --> 01:10:00,128 I mean, this is, you know... 2140 01:10:00,194 --> 01:10:02,834 This is a little weird. 2141 01:10:02,896 --> 01:10:05,206 The dingy house on the left, 2142 01:10:05,265 --> 01:10:06,676 the dirty and littered house 2143 01:10:06,734 --> 01:10:08,873 on the right, or the clean white 2144 01:10:08,936 --> 01:10:10,381 house in the middle. 2145 01:10:10,437 --> 01:10:12,439 It is your choice. 2146 01:10:12,506 --> 01:10:15,612 The reward may be survival. 2147 01:10:17,511 --> 01:10:19,422 Every movie that is popular, 2148 01:10:19,480 --> 01:10:22,017 every movie that is popular 2149 01:10:22,082 --> 01:10:25,791 captures something of the ideas 2150 01:10:25,853 --> 01:10:28,197 that were alive at the time. 2151 01:10:28,255 --> 01:10:30,235 And very often, the ideas that 2152 01:10:30,290 --> 01:10:32,861 they capture and that make them 2153 01:10:32,926 --> 01:10:35,372 so acceptable to the public 2154 01:10:35,429 --> 01:10:36,840 are lies. 2155 01:10:40,601 --> 01:10:42,877 This is D.W. Griffith's film. 2156 01:10:42,936 --> 01:10:45,212 Essentially, Griffith, right 2157 01:10:45,272 --> 01:10:46,751 then and there, invented a lot 2158 01:10:46,807 --> 01:10:48,377 of the grammar of film. 2159 01:10:48,442 --> 01:10:51,013 Its aesthetic and historical 2160 01:10:51,078 --> 01:10:52,148 significance from the point of 2161 01:10:52,212 --> 01:10:54,692 view of film is beyond debate. 2162 01:10:54,748 --> 01:10:56,625 Its value as a portrayal 2163 01:10:56,683 --> 01:10:58,128 of American history is not 2164 01:10:58,185 --> 01:10:59,562 at all beyond debate. 2165 01:10:59,653 --> 01:11:02,190 It is basically a pro Ku Klux. 2166 01:11:02,222 --> 01:11:04,168 Klan view of what happened 2167 01:11:04,224 --> 01:11:05,224 in the South. 2168 01:11:14,701 --> 01:11:16,146 I think The Birth of a Nation 2169 01:11:16,203 --> 01:11:18,444 really legitimized the motion 2170 01:11:18,505 --> 01:11:19,142 picture industry. 2171 01:11:19,206 --> 01:11:20,344 It was the first film to be 2172 01:11:20,407 --> 01:11:22,011 shown at legitimate Broadway 2173 01:11:22,075 --> 01:11:23,075 theaters. 2174 01:11:23,076 --> 01:11:24,054 I think for the first time, 2175 01:11:24,111 --> 01:11:25,784 people realized almost not only 2176 01:11:25,846 --> 01:11:27,154 the power of the motion picture, 2177 01:11:27,214 --> 01:11:28,318 but also almost the danger 2178 01:11:28,382 --> 01:11:29,452 of the motion picture. 2179 01:11:29,516 --> 01:11:31,518 What it could accomplish. 2180 01:11:31,585 --> 01:11:34,156 Unfortunately, all these 2181 01:11:34,221 --> 01:11:36,462 innovative ideas were used 2182 01:11:36,523 --> 01:11:38,730 to advance the notion of 2183 01:11:38,792 --> 01:11:40,931 segregation, Jim Crow, racism, 2184 01:11:40,994 --> 01:11:42,940 racial bias. 2185 01:11:42,996 --> 01:11:45,169 It was a dangerous film and it 2186 01:11:45,232 --> 01:11:48,702 caused a lot of personal harm 2187 01:11:48,769 --> 01:11:50,646 to people after it came out 2188 01:11:50,704 --> 01:11:51,944 during that time. 2189 01:11:52,005 --> 01:11:53,109 Birth of a Nation was 2190 01:11:53,173 --> 01:11:54,294 propaganda, you know, and it 2191 01:11:54,341 --> 01:11:55,513 was slander, but it's important 2192 01:11:55,576 --> 01:11:56,111 to recognize. 2193 01:11:56,176 --> 01:11:57,297 I think by ignoring it or by 2194 01:11:57,344 --> 01:11:58,789 denying, you know, the existence 2195 01:11:58,846 --> 01:11:59,967 of Birth of a Nation, you're 2196 01:11:59,980 --> 01:12:00,981 almost losing a piece 2197 01:12:01,014 --> 01:12:04,120 of cinema history. 2198 01:12:04,184 --> 01:12:05,390 So we'll find them 2199 01:12:05,452 --> 01:12:07,454 in the end, I promise you, 2200 01:12:07,521 --> 01:12:09,694 we'll find them. 2201 01:12:09,756 --> 01:12:11,997 Just as sure as the turning 2202 01:12:12,059 --> 01:12:13,436 of the earth. 2203 01:12:13,494 --> 01:12:14,996 I know the generation of 2204 01:12:15,062 --> 01:12:18,407 people that saw The Searchers 2205 01:12:18,465 --> 01:12:20,638 when they were young will never 2206 01:12:20,701 --> 01:12:22,044 forget it. 2207 01:12:22,102 --> 01:12:24,981 It was essentially about a man, 2208 01:12:25,038 --> 01:12:26,949 played by John Wayne, who comes 2209 01:12:27,007 --> 01:12:30,352 to save a little girl 2210 01:12:30,410 --> 01:12:32,913 who has been kidnapped 2211 01:12:32,980 --> 01:12:39,488 by an Indian tribe. 2212 01:12:39,553 --> 01:12:40,759 It's always the menacing 2213 01:12:40,821 --> 01:12:44,496 music, the menacing war paint 2214 01:12:44,558 --> 01:12:46,162 that was assigned 2215 01:12:46,226 --> 01:12:49,036 to these characters. 2216 01:12:49,096 --> 01:12:49,574 [Shouting in 2217 01:12:53,634 --> 01:12:54,669 Growing up, if you look back 2218 01:12:54,735 --> 01:12:55,713 at all the cowboy and Indian 2219 01:12:55,769 --> 01:12:56,975 stuff I watched as a kid, 2220 01:12:57,037 --> 01:12:59,074 why were we the heroes? 2221 01:12:59,139 --> 01:13:00,345 I didn't quite get that. 2222 01:13:00,440 --> 01:13:01,640 Took me a long time to realize 2223 01:13:01,642 --> 01:13:02,682 that, even when you played 2224 01:13:02,743 --> 01:13:03,483 cowboys and Indians 2225 01:13:03,544 --> 01:13:04,113 with your friends. 2226 01:13:04,177 --> 01:13:05,019 Today, I'd want to be 2227 01:13:05,078 --> 01:13:06,148 the Indian, they're the rebels. 2228 01:13:06,213 --> 01:13:07,715 And I would be for the Indians 2229 01:13:07,781 --> 01:13:09,021 against the cowboys. 2230 01:13:10,183 --> 01:13:12,527 I saw The Searchers with 2231 01:13:12,586 --> 01:13:14,463 an American Indian and I was 2232 01:13:14,521 --> 01:13:16,000 unaware of the racism in the 2233 01:13:16,056 --> 01:13:17,399 film until I was sitting next 2234 01:13:17,457 --> 01:13:18,868 to her and she just stormed out 2235 01:13:18,926 --> 01:13:20,701 at a certain scene in the movie. 2236 01:13:20,761 --> 01:13:21,921 And I went out to follow her, 2237 01:13:21,962 --> 01:13:22,906 I said, "What's going on'?" 2238 01:13:22,963 --> 01:13:23,737 She said, "Did you see" 2239 01:13:23,797 --> 01:13:24,797 the movie'?" 2240 01:13:24,798 --> 01:13:25,798 I said, "Yeah, I saw it." 2241 01:13:25,799 --> 01:13:26,436 "Well, did you see 2242 01:13:26,500 --> 01:13:27,308 what happened?" 2243 01:13:27,367 --> 01:13:29,176 These are my people... 2244 01:13:30,637 --> 01:13:31,877 Go! 2245 01:13:31,939 --> 01:13:34,749 Go, Martin, please! 2246 01:13:34,808 --> 01:13:36,719 Stand aside, Martin. 2247 01:13:36,777 --> 01:13:38,120 So he was searching for her 2248 01:13:38,178 --> 01:13:40,658 so he could kill her, so she 2249 01:13:40,714 --> 01:13:42,523 wouldn't have to live with them. 2250 01:13:42,583 --> 01:13:44,085 Because she was living a fate 2251 01:13:44,151 --> 01:13:45,858 worse than death. 2252 01:13:48,388 --> 01:13:49,992 It was very disturbing. 2253 01:13:50,057 --> 01:13:53,834 Ethan, no, you don't! 2254 01:13:53,894 --> 01:13:55,669 Stand aside. 2255 01:13:55,729 --> 01:13:57,265 I thought that was really 2256 01:13:57,331 --> 01:13:59,140 something that I really wouldn't 2257 01:13:59,199 --> 01:14:01,008 want my daughter to look at. 2258 01:14:02,936 --> 01:14:05,678 It really helped create 2259 01:14:05,739 --> 01:14:09,243 a persona about Indian people 2260 01:14:09,309 --> 01:14:16,659 that continues to this day. 2261 01:14:16,717 --> 01:14:19,220 The exiles was made about. 2262 01:14:19,286 --> 01:14:21,288 Native Americans living in 2263 01:14:21,355 --> 01:14:23,494 Los Angeles in the 1950s, 2264 01:14:23,557 --> 01:14:25,059 in other words, Native Americans 2265 01:14:25,125 --> 01:14:26,604 not out in the desert or 2266 01:14:26,660 --> 01:14:28,367 in the mountains, in the kind 2267 01:14:28,428 --> 01:14:30,430 of environment that most people 2268 01:14:30,497 --> 01:14:32,499 in cliched terms think of, 2269 01:14:32,566 --> 01:14:35,342 but trying to survive in 2270 01:14:35,402 --> 01:14:37,177 a brutal urban environment. 2271 01:14:39,106 --> 01:14:40,847 The Exiles really put kind 2272 01:14:40,907 --> 01:14:43,945 of a face on Indian people 2273 01:14:44,011 --> 01:14:45,513 at the time. 2274 01:14:45,579 --> 01:14:47,024 During that time period, it was 2275 01:14:47,080 --> 01:14:48,616 either relocation or maybe 2276 01:14:48,682 --> 01:14:52,323 serving in the armed services. 2277 01:14:52,386 --> 01:14:54,263 A lot of Indian people left the 2278 01:14:54,321 --> 01:14:57,632 reservations and came to cities 2279 01:14:57,691 --> 01:15:00,638 and met other Indian people. 2280 01:15:00,727 --> 01:15:02,434 It showed kind of the truth 2281 01:15:02,462 --> 01:15:05,068 of living in an urban area 2282 01:15:05,132 --> 01:15:07,772 as far as the isolation, 2283 01:15:07,834 --> 01:15:09,541 depicted in the young woman. 2284 01:15:09,603 --> 01:15:12,174 She's always seen to be alone 2285 01:15:12,239 --> 01:15:15,186 and longing for a better life. 2286 01:15:15,242 --> 01:15:18,121 Film very much is important 2287 01:15:18,178 --> 01:15:20,954 in depiction of a people. 2288 01:15:21,014 --> 01:15:21,788 Yo, what's your problem, man? 2289 01:15:21,848 --> 01:15:22,656 Y'all are brothers, you ain't 2290 01:15:22,716 --> 01:15:23,387 supposed to be fighting 2291 01:15:23,450 --> 01:15:24,450 each other. 2292 01:15:24,451 --> 01:15:25,589 Little punk. 2293 01:15:25,652 --> 01:15:28,394 Get off my porch, mama's boy. 2294 01:15:28,455 --> 01:15:29,957 When Boyz in the Hood as 2295 01:15:30,023 --> 01:15:31,627 a document of its time, it's 2296 01:15:31,692 --> 01:15:33,000 a document of what was going on 2297 01:15:33,060 --> 01:15:34,539 in that time period. 2298 01:15:34,594 --> 01:15:35,834 You have to think, young 2299 01:15:35,896 --> 01:15:37,534 brother, about your future. 2300 01:15:37,597 --> 01:15:38,597 It gave a voice 2301 01:15:38,598 --> 01:15:40,509 to the voiceless. 2302 01:15:40,567 --> 01:15:41,567 Listen, I want to do 2303 01:15:41,601 --> 01:15:42,306 something with my life, 2304 01:15:42,369 --> 01:15:43,109 all right? 2305 01:15:43,170 --> 01:15:44,342 I want to be somebody. 2306 01:15:44,404 --> 01:15:45,075 The film, for me, 2307 01:15:45,138 --> 01:15:47,175 it's like my diary. 2308 01:15:47,240 --> 01:15:49,379 Ricky! 2309 01:15:49,443 --> 01:15:50,564 It was a cathartic thing for 2310 01:15:50,610 --> 01:15:53,147 me to show where I was from and 2311 01:15:53,213 --> 01:15:54,851 what I'd gone through. 2312 01:15:56,850 --> 01:15:58,352 Film is a reflection of the 2313 01:15:58,418 --> 01:16:00,364 times of which we live in, 2314 01:16:00,454 --> 01:16:02,400 good or bad. 2315 01:16:06,593 --> 01:16:09,005 I was responsible for pushing 2316 01:16:09,062 --> 01:16:10,735 forward Birth of a Nation into 2317 01:16:10,797 --> 01:16:12,538 the Film Preservation Board. 2318 01:16:12,599 --> 01:16:14,579 That movie led to the deaths of 2319 01:16:14,634 --> 01:16:16,170 many, many black people through 2320 01:16:16,236 --> 01:16:18,375 lynching, through enacting laws, 2321 01:16:18,438 --> 01:16:20,349 segregation, through Jim Crow 2322 01:16:20,407 --> 01:16:21,442 and everything. 2323 01:16:21,508 --> 01:16:23,181 But it really shows the power 2324 01:16:23,243 --> 01:16:25,280 of film for evil as well 2325 01:16:25,345 --> 01:16:26,345 as good. 2326 01:16:31,351 --> 01:16:32,694 When you watch a movie 2327 01:16:32,753 --> 01:16:34,061 from the past, you're involved 2328 01:16:34,121 --> 01:16:35,429 in a dialogue. 2329 01:16:35,489 --> 01:16:36,763 A dialogue between past 2330 01:16:36,823 --> 01:16:38,530 and present. 2331 01:16:38,592 --> 01:16:39,832 There's what's up on the screen 2332 01:16:39,860 --> 01:16:40,941 and then there's the person 2333 01:16:40,961 --> 01:16:42,269 looking at it and every person 2334 01:16:42,329 --> 01:16:43,672 who looks at it brings their own 2335 01:16:43,730 --> 01:16:44,936 history and finds their own 2336 01:16:44,998 --> 01:16:46,136 value in it. 2337 01:16:57,577 --> 01:16:58,647 You look at every war that 2338 01:16:58,712 --> 01:17:00,020 we've been through and whether 2339 01:17:00,113 --> 01:17:01,956 it's a war that we won, like the 2340 01:17:01,982 --> 01:17:04,428 good war, World War II, or a war 2341 01:17:04,484 --> 01:17:06,964 we lost, like Vietnam, a war 2342 01:17:07,020 --> 01:17:09,091 like what's going on now in Iraq 2343 01:17:09,156 --> 01:17:10,356 and Afghanistan where we don't 2344 01:17:10,357 --> 01:17:11,665 know what the result is going 2345 01:17:11,725 --> 01:17:14,171 to be, the result is the same 2346 01:17:14,227 --> 01:17:15,604 on the people who fought it. 2347 01:17:15,662 --> 01:17:17,699 And I think that's important 2348 01:17:17,764 --> 01:17:18,764 for people to understand. 2349 01:17:23,370 --> 01:17:24,370 The best years of our 2350 01:17:24,371 --> 01:17:26,977 lives is about three G.L.S 2351 01:17:27,040 --> 01:17:28,576 returning from service to their 2352 01:17:28,642 --> 01:17:31,714 hometown. 2353 01:17:31,778 --> 01:17:33,018 I enlisted in the Army Air. 2354 01:17:33,079 --> 01:17:34,615 Corps, I was a bombardier 2355 01:17:34,681 --> 01:17:36,251 in a B-17. 2356 01:17:36,316 --> 01:17:37,920 I was no hero, but I was there, 2357 01:17:37,984 --> 01:17:39,258 I did the job. 2358 01:17:39,319 --> 01:17:40,491 Naturally, it hit me 2359 01:17:40,554 --> 01:17:42,033 particularly hard when Dana 2360 01:17:42,088 --> 01:17:43,590 Andrews playing the bombardier 2361 01:17:43,657 --> 01:17:45,568 goes out to a field where 2362 01:17:45,625 --> 01:17:47,798 they're cocooning old b-17 2363 01:17:47,861 --> 01:17:51,570 bombers, and he approaches one 2364 01:17:51,631 --> 01:17:53,736 and climbs back up into it. 2365 01:17:57,737 --> 01:17:59,717 And the sound comes up and 2366 01:17:59,806 --> 01:18:03,117 the filmmaking makes him 2367 01:18:03,143 --> 01:18:05,953 experience a bombing raid. 2368 01:18:06,012 --> 01:18:07,753 And the sound is extraordinary. 2369 01:18:16,223 --> 01:18:19,067 That had a particular meaning 2370 01:18:19,125 --> 01:18:21,571 for anybody who was in a bomber. 2371 01:18:23,730 --> 01:18:26,734 Hey, you! 2372 01:18:26,800 --> 01:18:27,801 What're you doing 2373 01:18:27,868 --> 01:18:29,040 in that airplane? 2374 01:18:29,102 --> 01:18:33,676 It had a great effect on me. 2375 01:18:33,740 --> 01:18:35,742 The movies create order out of 2376 01:18:35,809 --> 01:18:37,652 the chaos of our lives and 2377 01:18:37,711 --> 01:18:39,156 that's what this was. 2378 01:18:49,222 --> 01:18:50,724 I was the last person that 2379 01:18:50,790 --> 01:18:52,167 I ever would have thought would 2380 01:18:52,225 --> 01:18:54,262 have gone to war. 2381 01:18:54,327 --> 01:18:55,829 War scared me when I was young. 2382 01:18:58,565 --> 01:19:01,375 After I came back from Vietnam, 2383 01:19:01,468 --> 01:19:04,312 I gave away my uniforms, 2384 01:19:04,337 --> 01:19:05,509 I really put the whole thing 2385 01:19:05,572 --> 01:19:06,346 behind me. 2386 01:19:06,406 --> 01:19:07,578 I just thought I could shut the 2387 01:19:07,641 --> 01:19:09,484 door and move on with my life. 2388 01:19:09,542 --> 01:19:10,953 I don't guess I spoke with 2389 01:19:11,011 --> 01:19:12,115 another veteran or about 2390 01:19:12,178 --> 01:19:14,488 my experience for eight 2391 01:19:14,547 --> 01:19:15,651 or nine years. 2392 01:19:15,715 --> 01:19:18,855 By chance I was put in touch 2393 01:19:18,919 --> 01:19:21,900 with a guy who worked with 2394 01:19:21,955 --> 01:19:23,730 veterans and he invited me to 2395 01:19:23,790 --> 01:19:25,098 a screening of The Deer Hunter. 2396 01:19:25,158 --> 01:19:27,160 [Chopin nocturne playing 2397 01:19:35,368 --> 01:19:36,779 Really discovered that the 2398 01:19:36,836 --> 01:19:37,996 issues that they were dealing 2399 01:19:38,004 --> 01:19:40,109 with in that film, how 2400 01:19:40,173 --> 01:19:41,413 frightened those guys were once 2401 01:19:41,441 --> 01:19:42,441 they got over there. 2402 01:19:42,442 --> 01:19:43,642 They went over there with such 2403 01:19:43,677 --> 01:19:45,156 enthusiasm and such honest, 2404 01:19:45,211 --> 01:19:46,781 just sincere patriotism and 2405 01:19:46,846 --> 01:19:48,257 discovered themselves just 2406 01:19:48,315 --> 01:19:51,125 in this chaotic world. 2407 01:19:51,184 --> 01:19:55,758 [Explosions, machine gun fire, 2408 01:20:02,162 --> 01:20:04,733 It really, to me, emotionally 2409 01:20:04,798 --> 01:20:05,798 hit home. 2410 01:20:05,832 --> 01:20:07,402 How that stays with you. 2411 01:20:07,467 --> 01:20:08,673 Once you've been through that. 2412 01:20:08,735 --> 01:20:10,942 Mike? 2413 01:20:11,004 --> 01:20:13,041 It's... it's like something 2414 01:20:13,106 --> 01:20:16,349 that, um... 2415 01:20:16,409 --> 01:20:17,888 A human shouldn't 2416 01:20:17,944 --> 01:20:19,617 have to experience. 2417 01:20:19,679 --> 01:20:23,252 That... that loss of control. 2418 01:20:23,316 --> 01:20:25,455 That having, really having to 2419 01:20:25,518 --> 01:20:27,930 give up on life, because you 2420 01:20:27,988 --> 01:20:29,558 don't know that you're gonna be 2421 01:20:29,622 --> 01:20:34,401 alive in an hour... in a day... 2422 01:20:34,461 --> 01:20:36,839 And that's, it's just something 2423 01:20:36,896 --> 01:20:38,398 that doesn't... 2424 01:20:38,465 --> 01:20:41,139 That doesn't go away. 2425 01:20:41,201 --> 01:20:42,703 It's a good thing that films 2426 01:20:42,769 --> 01:20:45,375 like Deer Hunter were made, 2427 01:20:45,438 --> 01:20:46,746 because it's an honest 2428 01:20:46,806 --> 01:20:48,945 representation of the emotion 2429 01:20:49,009 --> 01:20:51,546 of war, and I think people need 2430 01:20:51,611 --> 01:20:53,056 to know that. 2431 01:20:53,113 --> 01:20:55,889 We should not go to war easily 2432 01:20:55,949 --> 01:21:00,227 because the impact on people's 2433 01:21:00,320 --> 01:21:01,856 lives is permanent. 2434 01:21:07,927 --> 01:21:09,531 Film captured me, 2435 01:21:09,596 --> 01:21:11,075 as it does so many people, 2436 01:21:11,131 --> 01:21:12,439 when I was a kid. 2437 01:21:16,202 --> 01:21:18,341 As a child, there were no good 2438 01:21:18,405 --> 01:21:19,281 movies or bad movies. 2439 01:21:19,339 --> 01:21:20,340 There were just movies. 2440 01:21:28,148 --> 01:21:29,354 I grew up in a very poor 2441 01:21:29,416 --> 01:21:31,225 family and I think going to the 2442 01:21:31,284 --> 01:21:33,628 movie theater, the old walk-in 2443 01:21:33,686 --> 01:21:34,994 theater that cost maybe 2444 01:21:35,055 --> 01:21:37,331 20 cents... 2445 01:21:37,390 --> 01:21:39,131 It was the window to the world. 2446 01:21:39,192 --> 01:21:40,569 It largely took me, I think, 2447 01:21:40,627 --> 01:21:43,938 took me out of my own life. 2448 01:21:43,997 --> 01:21:45,101 So for a dime, I could 2449 01:21:45,165 --> 01:21:47,167 go and stay there all day and 2450 01:21:47,233 --> 01:21:49,713 watch three pictures and Pathé. 2451 01:21:49,769 --> 01:21:52,375 News and Mickey Mouse. 2452 01:21:52,439 --> 01:21:54,214 So my outlook was to watch film, 2453 01:21:54,274 --> 01:21:56,982 any film, and I did. 2454 01:21:57,043 --> 01:21:58,283 I loved them all 2455 01:21:58,344 --> 01:22:00,381 and I still do today. 2456 01:22:00,480 --> 01:22:02,289 I just loved the glamour of 2457 01:22:02,315 --> 01:22:05,023 life in film from the '30s and 2458 01:22:05,085 --> 01:22:07,531 '40s, like I wanted to have all 2459 01:22:07,587 --> 01:22:09,498 those glittering costumes and 2460 01:22:09,556 --> 01:22:11,467 I wanted Cary Grant to take me 2461 01:22:11,524 --> 01:22:13,765 out to dinner, but the closest 2462 01:22:13,827 --> 01:22:17,240 thing I have is film. 2463 01:22:17,297 --> 01:22:18,640 This is an art. 2464 01:22:18,698 --> 01:22:19,870 It's not just how to make money, 2465 01:22:19,933 --> 01:22:21,537 it's not just what we can sell 2466 01:22:21,601 --> 01:22:23,274 it as, but it's something 2467 01:22:23,336 --> 01:22:25,942 valuable that we should save. 2468 01:22:26,005 --> 01:22:27,177 This is part of who we are 2469 01:22:27,240 --> 01:22:28,617 as a culture and we need 2470 01:22:28,675 --> 01:22:29,312 to preserve it. 2471 01:22:29,375 --> 01:22:31,252 It's not a matter of, like, 2472 01:22:31,311 --> 01:22:32,221 "Should we?" 2473 01:22:32,278 --> 01:22:35,088 It's "How are we going to?" 2474 01:22:35,148 --> 01:22:36,923 We've got a job to preserve 2475 01:22:36,983 --> 01:22:38,656 the aspirations and the images 2476 01:22:38,718 --> 01:22:39,958 and the ideals and dreams of 2477 01:22:40,019 --> 01:22:41,692 millions and millions of people. 2478 01:22:41,754 --> 01:22:43,028 I think one thing we can say 2479 01:22:43,089 --> 01:22:44,568 is that 500 or a thousand years 2480 01:22:44,624 --> 01:22:45,830 from now, when people want to 2481 01:22:45,892 --> 01:22:47,098 know what life was like, 2482 01:22:47,160 --> 01:22:48,366 they will go to movies. 2483 01:22:48,428 --> 01:22:49,634 They will go to the moving image 2484 01:22:49,696 --> 01:22:51,141 materials that we created first, 2485 01:22:51,197 --> 01:22:52,335 because those are the time 2486 01:22:52,398 --> 01:22:54,537 capsules of our era. 2487 01:22:54,601 --> 01:22:56,171 They are now being preserved 2488 01:22:56,236 --> 01:22:58,011 and restored so that when we're 2489 01:22:58,071 --> 01:22:59,607 all long gone, as long as 2490 01:22:59,706 --> 01:23:00,912 there's something to watch films 2491 01:23:00,940 --> 01:23:02,078 with, they'll be able to see 2492 01:23:02,142 --> 01:23:03,587 these things. 2493 01:23:03,643 --> 01:23:04,849 The beauty of film is that 2494 01:23:04,911 --> 01:23:06,117 it's everybody's. 2495 01:23:06,179 --> 01:23:07,886 It's not just the socially 2496 01:23:07,947 --> 01:23:10,325 elite, it's everybody's. 2497 01:23:14,187 --> 01:23:15,188 Somebody says, "Why would you" 2498 01:23:15,255 --> 01:23:17,360 save movies?" 2499 01:23:17,423 --> 01:23:19,425 Well, I'd ask those people back, 2500 01:23:19,492 --> 01:23:20,300 "Why do you save 2501 01:23:20,360 --> 01:23:21,498 your family pictures?" 2502 01:23:27,000 --> 01:23:29,105 As a society, we want to do 2503 01:23:29,169 --> 01:23:30,169 the same thing. 2504 01:23:30,203 --> 01:23:32,410 We want to say who were we, 2505 01:23:32,472 --> 01:23:34,577 where are we now and what do we 2506 01:23:34,641 --> 01:23:35,915 want people in the future 2507 01:23:35,975 --> 01:23:37,716 to think about us? 2508 01:23:37,777 --> 01:23:39,450 It's our family album. 2509 01:24:14,414 --> 01:24:15,916 It is absolutely 2510 01:24:15,982 --> 01:24:18,428 imperative that we save the art 2511 01:24:18,484 --> 01:24:21,693 form of the 20th century. 2512 01:24:21,754 --> 01:24:23,563 I mean, how can we not? 2513 01:24:33,166 --> 01:24:36,739 Here's looking at you, kid. 2514 01:24:36,803 --> 01:24:38,510 Elaine! 2515 01:27:40,797 --> 01:27:41,797 Let's all go 2516 01:27:41,821 --> 01:27:43,630 to the lobby, 2517 01:27:43,689 --> 01:27:46,397 let's all go to the lobby. 2518 01:27:46,459 --> 01:27:49,201 Let's all go to the lobby 2519 01:27:49,262 --> 01:27:52,004 to get ourselves a treat. 2520 01:27:52,064 --> 01:27:53,168 Delicious things 2521 01:27:53,232 --> 01:27:54,836 to eat. 2522 01:27:54,901 --> 01:27:56,005 The popcorn can't 2523 01:27:56,068 --> 01:27:57,604 be beat. 2524 01:27:57,670 --> 01:27:58,478 The sparkling 2525 01:27:58,538 --> 01:28:00,643 drinks are just dandy. 2526 01:28:00,740 --> 01:28:01,844 The chocolate bars 2527 01:28:01,874 --> 01:28:03,114 and the candy. 2528 01:28:03,176 --> 01:28:06,385 So, let's all go to the lobby 2529 01:28:06,446 --> 01:28:09,427 to get ourselves a treat. 2530 01:28:09,482 --> 01:28:13,487 Let's all go to the lobby 2531 01:28:13,553 --> 01:28:17,023 to get ourselves a treat... 154029

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