Original subtitles

Just remember that this has

to be 12 to nothing either way.

That's the law.

OK, are we ready?

All those voting guilty, please raise your hands.

One, two, three, four, five, six,

seven, eight, nine, 10, 11.

OK, that's 11 guilty.

Who's voting not guilty?

One.

Right.

11 guilty, one not guilty.

Well, now we know where we are.

Boy, oh boy.

There's always one.

So what do we do now?

I guess we talk.

Boy, oh boy.

You really think he's innocent?

I don't know.

On this one day just outside of Calcutta,

as the train was pulling out of the station...

And they were those British kinds of cars with the center

aisle, entrance on either side, but also

individual compartments opening up with their own doors...

And I was looking out the window.

And there was this little girl, I guess she was about 12,

standing on the platform, and in the car behind me, a GI,

I don't know who, reached out and swept her off a platform

and pulled her into the compartment

that he was riding in.

And I was so shocked.

I couldn't believe it.

And then wrestled with it for a moment

then got up and started making my way to the car behind me

and pulled that door open.

And there was a guy, like that, blocking him.

And there were a bunch of Gis fucking her,

just passing her from one to the other in the compartment

and paying for it.

And the guy he said, you want some?

It'll cost you whatever.

And I said, no, and then the whole wrestle with

do I do anything about this?

I'm not directing the moral message.

I'm directing that piece and those people.

And if I do it well, the moral message will come through.

This is car 2118.

Call Greenpoint Hospital and tell them

we're bringing in a wounded cop.

All right, 10-4.

Thanks a lot.

Eighth Precinct.

Yeah.

Jesus Christ.

Guess who got shot.

Serpico.

You think a cop did it?

I know six cops said they'd like to.

I wouldn't deny that morality in my movies for anything.

I know it's there.

The difference between what we're talking about

is you think it's a conscious choice

and I say it's an unconscious choice.

I don't pay any attention to it.

I had no hint whatsoever that I wanted to do movies.

I've got a very happy disposition,

that as long as I'm at work, I'm perfectly content.

I would have been completely happy to spend the rest

of my life in television.

I'm glad it went in another direction

because I had a much better and bigger canvas to work on,

but it wasn't a necessity at all.

If you talk to anybody who's had any sort of career in,

I don't know what other professions,

but in our profession, the biggest

single word you'll hear repeated over and over again is luck.

You did a wonderful job, wonderful.

On one of the shows that I was doing,

a show called "Danger," which was a good melodrama, Tuesday

night's, 10:00 to 10:30, we had found a very good writer

by name of Reginald Rose.

Reggie wrote "12 Angry Men."

It was done on, I believe it was Philco on NBC

and had been a successful television show.

When he had the offer to make it a movie, he jumped at it.

The offer came from Henry Fonda, who

was producing at that time, wanted to start

producing his own movies.

And here again, luck came into it.

I had been working with Reggie on live television stuff.

We liked each other enormously and he said to Hank, listen,

you know who I'd love to have direct this, mentioned me.

Before I had gotten into television,

I was running a workshop down in the Village.

It was called the Actor's Workshop.

Two of the people in the workshop... there were about 40

of us... were in "Mister Roberts," in which Henry

Fonda was starring in New York.

And so they asked him to come down and see this play.

They both had parts in it and he came.

So when Reggie came to him with my name, he said, oh yeah,

I saw something Off-Broadway of his.

It was good.

It was damn good.

Fine, take him.

That simple.

I didn't have to audition.

I didn't have to have a discussion with anybody.

United Artists, which put up the money,

they were totally courageous about giving directors

their first movie, and off we went.

I didn't even have to meet and say what my vision was

of the... I'm laughing at that because that's,

of course, the great cliche.

What's your vision of this movie?

399 BC, The Death of Socrates.

You are there.

Walter Cronkite reporting.

399 BC in Athens, Greece, the Hellenistic world

is waiting the climax of the trial and condemnation

of the philosopher, Socrates.

Before the sun goes down today, Socrates

must, according to Athenian law, perform his own execution

and drink the poison hemlock.

We take you now to Athens outside the prison

where Socrates is being held.

All things are as they were then except you are there.

This is Harry Marble.

We are watching the sinking sun here and counting the minutes

in the waning light.

Just behind that wall is the cell in which.

Socrates is awaiting then end.

I had moved into television in the early '50s,

and that was so exhilarating, the thrill

of, number one, a place to work, and a place to work steadily.

Citizen Aristophanes, one moment.

Do you think there is any chance that Socrates

might yet be saved?

I hope that he will.

I think that he will not.

But valuing what is most precious to me,

my greatest concern at the moment is to protect myself.

I mean I was doing at one

point 60 or 70 shows a year.

Now even if you take a small average of let's say six actors

a show... but the casts certainly on "You Are There"

were more than that... so let's see, six times 70

is 420 actors, different actors to work with in a year's time.

God knows how many different writers, production people,

video engineers, audio men.

The exposure was brilliant.

Citizens!

I must be heard!

I vote a hearing.

That is Meletus speaking now.

He was the main accuser at the trial.

In the marketplace, there are people

who are howling for my life, the same people who

urged me to accuse Socrates.

Oh, is this justice?

Is this reason?

I did not want Socrates to be condemned to death.

I thought he would be fined as I would have

been and gladly paid it had the jury

found my accusations false.

Where are you now, those of you who voted against Socrates?

Why don't you defend me?

I did my duty as a citizen.

I spoke for Athens, for democracy.

I don't understand you people.

I mean, all these picky little points you keep bringing up,

they don't mean nothing.

You saw this kid just like I did.

You're not going to tell me you believe that phony story

about losing the knife and that business

about being at the movies.

Look, you know how these people lie.

It's born in them.

I mean, what the heck?

I don't have to tell you.

They don't know what the truth is.

And let me tell you, they don't need any real big reason

to kill someone either, no sir.

They get drunk.

Oh, they're real big drinkers, all of them.

You know that.

And bang, someone's lying in the gutter.

Well nobody's blaming them for it.

That's the way they are by nature, you know what I mean?

Violent.

Where are you going?

Human life don't mean as much to them as it does to us.

Look.

They're lushing it up and fighting all the time

and if somebody gets killed, so somebody gets killed.

They don't care.

Oh sure, there are some good things about them too.

Look, I'm the first one to say that.

I've known a couple who were OK, but that's the exception,

you know what I mean?

Most of them, it's like they have no feelings.

They can do anything.

What's going on here?

I'm trying to tell you.

You're making a big mistake, you people.

This kid is a liar.

I know it.

I know all about them.

Listen to me.

They're no good.

There's not a one of them who is any good.

I mean, what... what's happening in here?

I'm speaking my piece and you... listen to me.

We're... we're... this kid on trial here, his type,

well don't you know about them?

There's a... there's a danger here.

These people are dangerous.

They're... why?

Listen to me.

Listen to me.

I have.

Now sit down and don't open your mouth again.

I was only trying to tell you.

If you asked me specifically,

when you did "12 Angry Men," were you

interested in justice system?

Absolutely not.

I was interested in doing my first movie,

and I was very impressed that Henry Fonda wanted

me to direct it because he had seen something

I had done Off-Broadway.

It was the most obvious motives.

"12 Angry Men," I think it changed the law in England.

Great.

That isn't why I did it.

I wasn't out to change the law in England.

Oh, this is Miss Lovelace, Miss Eva Lovelace.

She's come all the way from Vermont to see you.

How do you do, Miss Lovelace?

Would you have a part for me, Mr. Easton?

I would like to start my career under your management

because I reverence the things you've done in the theater.

When you brought the Old Vic over,

I wanted to give up "Death of a Salesman"

to come here and see them, but then we couldn't find

a replacement, so I couldn't.

Well where'd you do "Salesmen?"

In Ordway, Vermont.

Oh.

All I was ever interested in was the next job,

you know, and when I got it, that was heaven.

Final call for the Silver.

So glad you could make it, doll.

So glad you could make it.

All aboard!

Come on, Kelly.

She wouldn't let me go!

I don't think there's really

any conflict between being really dirt poor

and having a good time.

Hep, hep Blacky.

Five, six, seven.

Come on out, Blacky.

Hep, hep, Blacky.

One, two, three.

Hep, hep Puddinghead.

Come on out, Puddinghead.

I got you.

You're behind the barrel.

Hep, hep, KO 1,2, 3.

Come here, KO.

You don't know that you're

dirt poor at the time.

That's just the norm.

Having a quarter pound of boiled meat

shredded into two pounds of potatoes to feed the family,

is... that's the way you ate meat.

Everybody around me lived the same way,

so again, that was the norm.

So you're going along and living your life

and then all of a sudden this other exciting thing

comes in, which is work and creativity.

That kid ought to drop that junk of his.

It was all about feeding a family.

During the Depression, my sister and I shared a bed

I think until I was about 11.

You buy clothes that are too big for you

so you can grow into them.

You did have a toilet.

You did not have a bath tub.

You bathed in the kitchen.

There would be the sink and the wash basin,

and that's what you used as a bath tub.

And this was every poor kid's life.

When the problem is that desperate,

everything else is a luxury... Morals, to hell with unfair.

You know that great line of Brecht's from the "Threepenny."

"Opera," first feed the face, then tell me right from wrong,

that says it.

They're gonna get you.

Do you hear?

They're gonna tear you down.

How do you like that, old stinkpot?

My father read me "Hamlet" in Yiddish

before I ever heard it in English.

He was a wonderful actor.

During the Depression, my father was doing a Jewish soap opera...

We had a radio station, WEVD... Which stood for, by the way,

Eugene V Debs because so much in Jewish life

was involved with socialism then... and 15 minutes, five

days a week, and he wrote it, whatever directing

there was to do with it.

My mother was in it.

I was in it.

I was five.

He played two parts.

$35 a week and that got us through the Depression.

That fed us.

I'm glad to have it.

And the show was a tremendous hit.

And having a big hit then, my father

started, as so many other Jewish actors did,

would rent a theater for two weeks

before Passover and through the Passover week

and wrote a dramatization of the characters in the radio show,

in the soap opera.

It was called the "Brownsville a Zayde,"

which means the grandfather from Brownsville.

There were 12 Jewish theaters on 40 week seasons.

That's extraordinary.

And I'm talking about big theaters.

I mean, the theaters I acted in as a kid,

they sat 1,800 people.

It was a remarkable life, it in itself and my being in it.

When I was in it, it was already on the downhill side,

past its glorious days.

And its glorious days happened, really,

because of the enormous Jewish population in New York.

If you weren't my son, there's not

a manager in the business who would give you a part,

your reputation stinks so.

As it is, I have to humble my pride and beg for you,

say you've turned over a new leaf,

although I know it's a lie.

I never wanted to be an actor.

You forced me on a stage.

That's a lie.

You left it to me to get you a job

and I have no influence except in the theater.

When the Jewish theater was coming to an end, my father

already, his mind was racing.

He was a survivor.

And oh I know what.

Maybe if... Sidney's talented.

Maybe if I bring him up to Broadway,

there'll be something there.

I was considered one of the two best kid actors on Broadway,

so I worked all the time.

Between "Dead End" and when I enlisted in the army,

I did 14 Broadway plays.

That's a lot.

It also shows that they were mostly flops.

But I worked all the time and worked

in radio, where the checks were really terrific.

I wasn't a star, it was just work that I loved,

that I adored.

It kept me off the streets.

People always worry about kid actors.

There's nothing wrong with being exposed to creativity

as soon as possible.

My father, he taught me about work... you work...

And the discipline of work and the lack

of self-indulgence in work, also the preparation for trouble

in show business.

Yes, maybe life overdid the lesson for me.

I made the dollar worth too much and that mistake ruined

my career as a fine actor.

I've never admitted this to anyone before, lad,

but tonight I'm so heartsick, I feel at the end of everything,

and what's the use of fake pride and pretense?

That goddamn play, I bought for a song

and made such a great success in,

a great money success, it ruined me with its promise

of an easy fortune.

The sight of my father in the instances

where he had rented the theater himself... which took a money

upfront deposit, non-returnable...

And would look out, and if the house wasn't good, to now have

to go through the show knowing that he wouldn't even make

the rent back, much less the salaries for the other actors

who were performing.

It had a sense of catastrophe about it, really.

"Long Day's Journey into Night" is the story

of a family, four people.

The father is a steady, steady drinker,

but at least has worked in his lifetime.

And the father has a wonderful, wonderful,

sad, heartbreaking problem.

By the time I woke up to the fact

that I'd become a slave to the damn thing

and did try other plays, it was too late.

They'd identified me with that one part

and didn't want me in anything else.

They were right, too.

I'd lost the great talent I once had several years

of easy repetition, never learning a new part, never

really working hard.

$35,000 to $40,000 net profit a season,

like snapping your fingers.

Yet before I bought the damn thing,

I was considered one of the three or four young actors

with the greatest artistic promise in America.

At that time, one of the big metro stars was a wonderful kid

actor by the name of Freddie Bartholomew, English,

did a lot of good movies.

They were having trouble with him because his contract was up

and they were in the midst of a difficult negotiation.

I was appearing in a play and had gotten wonderful reviews

and I was summoned.

Mr. Mayer wanted to meet me.

He was in New York.

And I went up and met the great man.

How do you do?

How do you do?

Sidney, I saw you in the play last

and you were marvelous, on and on.

And they offered me a contract, the point

of the contract being to keep a threat to Freddie Bartholomew.

The contract was crazy.

Over the seven year period, you got graduated raises until you

were earning $750 a week.

My father kept upping it.

Whenever they offered a new contract, he'd agree,

and then just before signing, he would say,

no, I want some more.

Finally, Freddy Bartholomew signed and of course

we were dropped the next day.

A year later, we walked into the Cafe Royal,

was it, on 12th Street and 2nd Avenue, the great hangout

for Yiddish actors who are all very old now

and all equally unsuccessful.

My father always had very stormy relationships

with other Yiddish actors.

He was not the calmest of men, nor the gentlest.

A bunch of his enemies were seated at another table.

Remarks started up and back and finally he got very angry,

and he got up, walked to the other table.

From his pocket... now mind you, this negotiation

had been dead for a year now, this was a year later... pulled.

Metro's last offer from his pocket and said,

listen, you bastards, we've got this.

I can go to Hollywood any time with my son so.

You know, this deal was over.

It was, by now, a sheer figment of his imagination.

I don't know whether he imagined that it was still on.

He couldn't have, because that would have been insane,

but the humiliation that I felt for him

and having to do that was...

I play chess with the other inmates.

We put the... we make our boards and our chessmen out of paper

and then we shout the moves.

I always... see, I always thought chess was a waste of time,

and it is. It's a terrible waste of time.

Time, it's valuable.

Now you can put innocent... you can

put innocent people to jail, but you can't put their minds

in jail, understand?

What's wrong? I burn you?

Look here, it didn't fall.

The ash is still here, you see?

Don't worry.

I wouldn't hurt my boy.

They are the ones with the minds in jail,

but you can't put innocent people to death in this country

because it can't be done.

You'll see.

Public opinion will get behind us.

You'll see, my handsome boy.

I taught you.

I taught you.

We cannot break rank.

A unit is only as good as its weakest link.

We're a unit.

I taught you all of this.

Don't you remember that?

She hated it when I barbecued.

I'm sorry I wasn't able to be what you wanted me to be.

I've never been very good at talking about feelings

or showing you that kind of affection or support.

Well.

I'm sorry I wasn't able to be the father you wanted,

but I guess I wanted you to be better than me and I thought

that if I pushed you... it may not mean anything to you,

but I want you to know that I really do

love you and I'm... I'm sorry.

I'm just so sorry.

I'm sorry I wasn't able to be the son you wanted.

One of the automatic things about drama is family.

You're not going to get more father-son than "Oedipus Rex,"

and you're not going to get more father-son than "Hamlet."

These are the perennial sources of drama...

Father-son, father-mother, mother-son, mother-daughter.

The stage has degenerated,.

What giant oaks there were in the past.

Now we see only stumps.

There are certainly fewer exceptional talents nowadays,

but on average, I think the standard is

much higher than it used to be.

I got to agree with you.

However, it's a matter of taste.

Debauchery.

My dear boy, when do we start?

In a moment.

Have a little patience.

"O Hamlet, speak no more."

Thou turn'st mine eyes into my very soul,

and there I see such black and grained spots

"as will not leave their tinct."

Let me ring thy heart, for so I shall if it

be made of penetrable stuff.

One of the reasons I resist it being a special characteristic

of my work or anybody else's work

is precisely because these are the automatic dramatic sources

of stimulation and have been right from the beginning.

You haven't asked me what I found out this afternoon.

Don't you care a damn?

Don't say that.

You'll hurt me, dear.

What I've got is serious, mama.

- Doc Hardy knows for sure now. - Oh!

That lying old quack.

I warned you he'd invent.

He called in a specialist to examine me...

- Don't tell me about Dr. Hardy. - So he'd be absolutely sure.

If you'd heard what the doctor at the sanatorium,

who really knows something, said about how he treated me,

he said it was a wonder I hadn't gone mad.

I told him I had once, that time I ran down in my nightdress

to throw myself off the dock.

You remember that, don't you?

And you want me to pay attention to what Dr. Hardy says?

Oh, no.

Listen, mama!

I'm going to tell you whether you want to hear it or not.

I've got to go away to a sanatorium.

No!

What can I say?

I would have loved to have been around for the shot of Oedipus

when he pulls his eyes out.

Talk about desperate.

I would love to have been there when Hamlet says,

"a hit, a very palpable hit," knowing

that he's going to die from what seems like a mere flick.

That's drama, and I do not shy away from it.

I think the past may have contributed to it by giving me

that operatic sense, by Herman Yablokoff

singing the last act of "Madame Butterfly" in Yiddish.

That taste is both my strength and my weakness.

I see through you, lady.

I see through you.

What do you see?

You'd like me to tell you?

I'd love for you to.

I see a not so young, not so satisfied

woman who hires a guy in off the highway

to do double-duty without even giving him overtime for it.

Being a store clerk by day and by night,

you know, whatever you want to call it.

You cheap.

Hmm?

Who you calling cheap?

Who you calling cheap?

Why'd you come back?

Why?

To put back the money I took so you wouldn't remember me as not

being honest or grateful.

Don't!

Don't go!

I need you to live, to go on living.

I'm not afraid, in fact,

almost seek out confined physical areas to work in.

I don't know where it comes from.

I don't know Whether it's because I'm a city rat,

and in a city that's even as wide open as New York,

it's basically a confined area.

I wouldn't know what to do with a Western.

I wouldn't know where to begin.

I never bought into the idea that a face

is more interesting against a mountaintop

than against the wall.

It never seemed to me to be so.

The face was what was interesting.

The mountain was going to be pretty much unchanged.

It probably comes from a limited visual palette

in terms of the way I grew up, which

were small rooms, tight areas.

I remember when we moved out to Eastern Parkway in Brooklyn.

Well I'd never seen anything like that... cars instead

of trucks, an island where you could

sit under the trees, a four lane street, another island,

another single street.

That width, I've never seen it before,

and that was to me and to other Jews who moved there,

it was are equivalent in the '30s of moving to suburbia,

of the great outdoors.

Well folks, what can I tell you?

You're all so smug in your certainty.

Well let's see.

We got over the Depression.

We got over Hitler!

New York as a setting is capable of whatever

mood or dramatic statement you want to make... architecturally,

in its light.

Boy, talk about winter light, as Mr. Bergman did.

New York's winter light is ravishing.

I'm not comfortable any place but New York.

When I leave New York for any other place

in the United States, my nose starts to bleed.

An announcement from the great and powerful Oz.

I thought it over and green is dead.

Till I change my mind, the color is red.

We had a scene where Dorothy and the Scarecrow

and the Tin Man and the Cowardly Lion and Toto arrive in Oz,

and I could think of no location in New York

that I found more fantastic and that I

thought would be worthy of being Oz than the World Trade Center.

When the World Trade Center first opened,

it was attacked mercilessly architecturally.

The critics were... oh, just these two big piles

of concrete, et cetera.

I found them beautiful, so we decided to do Oz down there.

We had to add certain things for the dancers...

This enormous platform which would change color

because, interestingly enough, photographically, green

is a lousy color.

And we wanted to get to red or gold.

We worked there I think for four days and nights.

When 9/11 happened and I saw the second building come down,

it really broke my heart because I

had had a working relationship and I

felt that that was my space.

Hello Dorothy.

Please, is there a way for me to get home?

Well Dorothy, you were wise and good enough

to help your friends find what was inside them all the time.

That's true for you also.

Home inside me?

I don't understand.

I don't know for most people what the idea of there's

no place like home means.

I think if you've had a terrible home that it's not

particularly wonderful thing.

I think one can find a home in many different places.

I think that Baum meant it quite literally because he

came from a simpler background.

He came from my more bucolic background.

And Dorothy herself was in a bucolic setting.

To try to apply it to urban living

is dangerous because in urban living,

I don't know that the literal idea of there's

no place like home really works.

For me, the whole question of what was home, what is home,

always has the same answer... Wherever I'm working.

Hello.

I'm Sidney Lumet.

I'm the director of this production of "The Dybbuk"

that you're about to see.

It's a play that's very close to me.

My father appeared in it in I think it was 1927.

It's the first play that I ever saw in the Yiddish theater.

One of the reasons I rehearse and one of the reasons I shoot

so fast is because of my training,

because I came from the theater, because I

came from live television.

In both of those, you have to make your dramatic selection

in advance.

When you're doing a play, a point comes,

you may go into rehearsal this way

or it may happen at the end of the first week,

the second week, but at some point,

the director or somebody has to say this

is what this play is about.

And now we channel everything into that one river.

Very often it has to be done in advance by the director

because by then you've committed to sets.

You committed to a color scheme.

You committed to costumes.

And all of those are part of what is this play about

or what is this movie about.

So I automatically do that when I'm doing a movie.

I don't mean what is it about in a plot sense,

because that becomes... That's self-evident.

But what is it about emotionally?

Can you survive... can

one survive total destruction, where you are already dead?

That's a story of a man coming back to life,

and the only way he can start back to life is through pain.

The reason the Holocaust is unique

is not that it was the first time

that a population was killed.

That's happened throughout history.

But I think it was the first time that your next door

neighbor killed you, that six million neighbors

killed six million people.

There is a scene in the movie where he goes onto a subway car

and the faces in the subway car are bringing him

back to his trip in the train in the car on the way

to Auschwitz.

And I just started to think of how my own memory works when

I don't want to face something and that there's a flash of it

and a flash of it.

And if it's strong enough, the flashes get longer and longer

and finally it will take over.

We just translated that literally into movie terms.

This whole approach was predicated on the fact

that he did not want to remember that he

has spent all of these years blocking these memories out.

Needless to say, like all good things,

it immediately became the property of Madison Avenue

and for the next four years you could see nothing

but... they even had a phrase for it, subliminal advertising.

Now funnily enough, on "Long Day's Journey into Night,"

I never did try to define it, the reason

being that every once in a while... it's not

going to happen often in your career...

You have a text that is so great that if you try to say it's

about this, if you try to define it as one thing,

you're going to limit it.

The words are for the world.

The best thing you can do with that

is just investigate it to such a point

where you feel free to let whatever happens happen.

But that's on a great text.

If you try to do that on a very good text or a good text,

you'll just have anarchy.

You can't leave it to define itself because it won't.

So in selecting that definition and limitation,

you are not only determining where

you want to go emotionally, but how you're going to get there.

In other words, it defines the style in which

you're going to make the movie.

Yeah?

What are you doing in there?

Who's this?

This is Detective Sergeant

Eugene Moretti, asshole.

We got you completely by the balls.

You don't believe me.

I'm looking you right in the eye.

Right now I can see you.

Who is it?

Cops.

On "Dog Day Afternoon," here is a real life

incident and the actors all portraying real people

to whom this actually happened.

The picture was about, hey, we're

not these outrageous characters, like Pacino's character.

These people are not the freaks We think they are.

We have much more in common with the freaks

than we'd like to admit about ourselves.

Now that immediately defined the Way the movie was going

to be done because in order for that

to be clear, the first obligation became, hey folks,

this really happened.

That means that nothing about it could feel like a movie,

look like a movie.

It had to look as close to a live television

transmission of action that was taking

place right at that moment...

Which in the terms of the real incident actually happened.

Channel 5 had it on for four hours.

So it defines not only the inner life of the movie

and what we're going to work on... actors

and myself... but camera, clothes,

the entire visual approach, in other words,

the style of the movie.

It's a movie that I did not realistically,

but naturalistically.

I very often make up a color palette for a movie,

and in certain cases like, "Dog Day," no palette.

Let it all be accidental.

Nobody had a costume made for that.

I asked all the actors to wear their own clothes.

Needless to say, on the outside with 300 extras and 500

neighborhood people just hanging around and watching,

there was no control of the color.

But I didn't want it.

I wanted it all accidental.

The thing that I think makes "Dog Day"

what it is Pacino's performance, because it

could very easily have degenerated

into a sensationalist piece.

That was the thing I was most afraid of.

It is really not my job to try to estimate what an audience is

going to think of.

All I can do is do the piece as best I can and hope

that they come along with it.

I talked to the actors about that

the first day of rehearsal.

I said to the cast, this is the only time.

I've got to talk about what's going to happen with this movie

on a Saturday night at the Loew's Pitkin, which

was a fancy movie house in the Brownsville section

of Brooklyn.

I don't want a voice coming from the balcony, hey you fags.

If that happens, we've done a lousy movie.

And we've got to reach, on a fundamental level,

into anybody watching this movie to make

them aware of the humanity of these two men.

And I couldn't have had a better person

to unearth that feeling than Pacino because he's

like an open wound up there.

Being of sound mind and body, you know, and all that.

To my darling wife, Leon, whom I love more than any man

has loved another man in all eternity.

I leave $2,700 from my $10,000 life insurance policy

to be used for your sex change operation.

If there is any money left over, I

want it to go to you at my first...

At the first anniversary of my death at my grave.

To my Wife, to my sweet wife, Angela,

$5,000 from the same policy.

You are the only woman that I ever loved.

I do feel very good about what I can get other people to do,

and it's never through manipulation.

By the way, there is no right or wrong in this.

Kazan, who was, god knows, a great director

was very exploitative of the actors in the sense

that he would quickly discern where the neurosis lay

and then play on that as part of getting the performance...

With some actors, not all.

But I've seen him do it.

I could never do something like that.

I'd rather let the performance go.

OK, so we didn't... I get it by knowledge

of their craft and empathy to them as human beings.

My dad.

Oh god.

It's not fair!

It's not fair!

All my life I've been afraid of becoming like him, all my life,

all my life with you and it's not fair.

He can't just say he's sorry and make it all go away.

It's too late.

It's not that easy.

It's not fair!

It's not fucking fair!

No, Dad.

Oh god.

He can't do that.

All good work is self-revelatory.

The good actors, you know everything

there is to know about them.

If I'm directing you, you're going to know everything

there is to know about me.

I mean, my casts at the end of the rehearsal period know me.

I was a member of the Actor's Studio,

the original group that Bobby Lewis and Kazan began.

And I was thrilled, of course, because like every actor,

you want a place to work.

Americans were the best realistic actors

in the world at that time, in movies and in the theater.

And I said, look, realism, realistic acting

is only one style.

It's got no superiority about it.

There are a million other styles that we need to know about.

I mean, how do you do restoration comedy?

How do you do the Shakespearean comedies?

How do you do Oscar Wilde?

And I got thrown out of the studio, and it was a big shock.

It was a very, very god awful feeling.

And the only Way to handle it was to form my own workshop.

The actors said, Sidney, as we work on scenes,

it would be terrific if one of us could direct the scene.

So why don't we start with you directing them?

And that's literally how I fell into directing.

I was a very good friend, at that time,

with Yul Brynner, who was a marvelous

guy and a director at CBS.

Television had barely begun, live... drama.

And what most people don't know about Yul

is that he was a terrific director.

I was also flat broke and Yul said, Sidney, they don't know

what the fuck they're doing.

Come on in.

It's fun.

The Alcoa Hour, brought to you

live from New York by Aluminum Company of America.

And now for the best in Sunday evening drama...

"Tragedy in a Temporary Town," yeah.

"Tragedy in a Temporary Town" was about one

of those communities that had been put up

around a construction project in which

the houses were trailer homes and about

the insecurity of life there.

Now I got half a plan here.

I want to tell it to you.

Me and the boys have been talking

outside there, right men?

That's right.

All right, number one, we put guards around the whole area.

Nobody get in or out until we're finished.

Number two We get a list of every man's name in the place

over 15 years old and we get up committee and we

question each guy.

That committee will be you, Fisher, her and two others.

We find this guy in a couple hours.

And then we got some plans too.

I'm going to dig my hooks into him.

All right, that's enough.

How about it?

Well I don't know if we can just go on out.

Yeah, well we're going to stop him.

Look, I tell you, Duran, you ought to call the police.

You can't run things like this.

Who can't?

You can't.

I mean, this kind of stuff is dangerous, taking over the law.

This was a live show.

The climax took place in this outdoor field.

It's at night, which we did so that We could light it by just

putting up simulated automobile headlights

with him in the middle.

See him better.

And Lloyd Bridges, who was playing the lead,

flipped out on air.

Huh?

What are you going to do?

I don't know!

I don't know!

He got so involved, so intense about it,

he started, you sons of bitches, you... with tears

coursing down his face.

And it was terrific acting, but it

was disastrous live television because

of the language he was using.

I never saw what went out onto the air.

I was in the control room.

Come on and get me, pigs.

Come on!

The first one up gets it across his face.

Go on, you pigs.

You pigs!

You pigs!

You pigs!

Just look at yourselves.

Don't it make you creep with shame?

You mob of dirty, thick-skulled pigs, and all of a sudden,

you're the law.

Well let me tell you something.

Every time that pigs like you mob together

to become your own law, you crawl

one step closer to the cliff.

That's what you did to him.

Someone will do to you and it'll be your fault, you hear?

It'll be your fault because you started it rolling.

And here's the beauty part.

When some other pigs come for you sometime,

it might not be because you did something wrong.

It might be for no reason at all.

Blacklisting was creeping in, and as we know

from our recent past, we are capable of a very strong

right wing in this country, and it

was pervasive, all pervasive.

Television had it tougher even than movies.

They were tough on CBS because their real objective

was to break the CBS news department,

which under Fred Friendly and Ed Murrow,

they considered left wing.

And Paley, to his everlasting credit, said you cannot

touch the news department.

I don't care if you bring the network down.

Because a report on Senator McCarthy is, by definition,

controversial, we want to say exactly what we mean to say.

And I request your permission to read

from script whatever remarks Murrow and Friendly may make.

We, on "You Are There,"

found out that Murrow was going to do his McCarthy show.

And out of deep respect for Murrow,

but also out of our own personal convictions,

We thought, well, We cannot leave him alone in this.

So we decided to join the fray in the only way we could.

A ferment of hysteria and fear has

been seething in the little Massachusetts

colony village of Salem.

Since spring, several villagers there have

faced trial for witchcraft.

The accusations have all been made by a group of girls

ranging in age from nine to 20, who claimed to be tormented

and tempted by certain people and they cry out

on them as witches or wizards.

Every single word was actual transcript of the trials.

People like to think Murrow's show mattered.

I don't think it did.

I don't think any art has ever made a raindrop's difference

in a bucket of water.

Remove the prisoner.

But I am innocent!

Fear is... it's accurate but inadequate.

It was terror.

There were spies.

There were people getting up left and right...

I saw him at a Communist Party meeting.

That happened to me and it was a total lie.

My sponsor came to us and said, we're

having a lot of trouble Sidney.

You have been named in the "American."

"Legion" magazine as having attended

a Communist Party meeting.

And there's a big campaign for us to fire you

and we're not going to.

And about a month later, he said, look,

we can't fight the campaign anymore.

Would you be good enough to meet with them?

And I didn't know, of course, know who them would be.

You seem to be studied in the language

of divine philosophy, sir.

I studied two years for the ministry.

Before studying for the bar?

I never studied law.

Nor I, nor any of us.

But gentleman...

We were appointed for our discretion and fidelity

by Governor Fipps of this colony,

of which I have the honor of being deputy governor.

I see.

And I remember walking up there, kind

of nice pleasant evening, and literally

not knowing what I would do.

I didn't know whether I'd crawl.

I didn't know whether I'd behave well.

I literally didn't know because the whole careers on the line.

If this meeting doesn't go well, I'm out of work

and out of work everywhere.

I remember feeling... and this is why I've always

had some sympathy for Kazan... I was hoping desperately

that a truck would round the corner quickly and solve

the problem for me because the dilemma was so intense,

and the fear on both sides.

If I behaved badly, the fear of having behaved badly because I

knew what the process would be.

The process would be that if I said, OK, that was me, then

they'd say OK, and who else?

Because it never stopped.

They kept after you.

It was a sign of your good faith or not if you named names.

Finally, I arrived somewhere on Park Avenue and the doors

open into the apartment and I behaved well.

I was so filled with feeling by then as I was crossing the room

into Mel's apart, I was, you son of a bitch, what you...

And cursing and yelling at these two guys sitting there,

whom I'd never seen before.

And one of them said, relax, relax, don't

get your balls in an uproar.

You're not the one.

The fascists are taking Europe, the world is dying,

and you're playing Trotskyist politics.

There would be no Hitler today if not for Stalin, true or not?

That is simplistic.

Where was Stalin when a united front in Germany

could have kept Hitler from seizing power?

Now you're all big anti-fascists.

We're prepared to grant you your righteousness.

What then?

Remember how you broke up our meeting?

Your people threw chairs, I remember.

Yesterday we were social fascists.

Today, we're your comrades.

You're a simplistic sectarian.

No I'm not. I'm Jewish.

Then maybe you'll explain to the Jews

in Nazi concentration camps the fine points of your dialectic.

What about Spain?

What about the Trotskyites in Spain?

It was always called the Soviet Union...

It was not called Russia... So as to distinguish

it from czarist Russia.

This generation of people, including my mother,

remember Cossack raids in which Jews were killed.

Among Jews, it was always called the Soviet.

Union, with great respect because it

was the hope of the future.

Anything about Stalin's crime was denied.

It was capitalist propaganda.

The fact that it turned out to be true

was deeply upsetting to a great many people.

There was a tremendous sense of responsibility of taking care

of each other, and that mutual protection

created a knowledge of dependency, which is,

to me, a very moving idea.

I am not alone.

I owe something to other people.

And that communal sense explains a great deal

about Jewish life in New York.

It's why it became very left wing.

Out of the social behavior emerged a political behavior.

It formed a basic reaction to injustice

that's still part of me today.

Cossack!

Look out!

Cossack!

Cossack!

The Rosenbergs, the actual case

was quite confusing because there were other left wing

radicals who were being brought up

on various espionage charges.

The two of them seemed like your average left winger,

New York left winger.

There was nothing... it didn't seem to be anything

exceptional in their lives.

I was shocked when the execution came, as everyone

was because this had never happened

in the history of the country.

No one had ever been put to death

for espionage in peacetime.

"The Book of Daniel," which is possibly, in my view,

a great book, and the movie of "Daniel," which

is, despite its failure critically and commercially,

I still think one of the best pieces of work I've ever done.

Please, get the children up there.

Daniel!

Let them by.

The plot was about Julius and Ethel Rosenberg

and their two children, about the consequences

of their devotion to a political cause

and the consequences upon both children,

with the sister dying and the boy

in an endless pursuit of looking for a reason

that the sister died.

Here are the children!

It's a movie about what cost

does the passion of the parents create

in the rest of the family.

So when that failed and the script of "Running on Empty"

came along, I was delighted because I liked

the script, but the main reason that it

was the exact same theme.

Who pays for the passions of the parents?

It was about two '60s radicals who

blew up a lab that was making napalm and in the process

killed a nightwatchman who wasn't even supposed

to be there and had now been on the run from the FBI

for umpteen years with their two children.

Maybe now we would get this theme out because the story

was much simpler.

The story was much more sentimental.

It was about a boy who wanted to be a pianist.

As you know, that failed also.

Looking back and saying, boy, you really

must have been on some sort of internal concern

about what happened with your own kids

in relation to you working so much.

You've never talked to them about it.

I never have.

I've never asked them, did you feel deprived of me?

Did you miss me?

Was I there for you?

Even if I was physically there, which was an easy concession

to make, was I there?

Was I there in attention and in heart and soul?

I've never asked them that, but I obviously sure

have wondered about it.

What's the matter with dad?

He's just had a lot to drink.

Born in Plattsburgh, New York July 16, 1944.

US citizen!

I'm a...

The Judd Hirsch character

comes from '30s radicals and has '30s radicals values.

So he has imposed that culture on his family,

and it's one of the sources of tension in the family.

I want to stay.

Stay?

When he says we cannot break up the unit,

we cannot break up the family, he means more than just father,

mother, son, younger son.

He means we cannot break up this cultural family,

this cultural unity, this cultural giving,

handing down of one value from one generation to the next...

The value of radicalization as opposed to the value of art.

Radicals always have something to offer.

I'm not talking about fundamentalists.

I'm talking about radicals.

They're different words meaning different things.

And that is lost to our society and that's

why nobody says anything.

I want you to get up now.

I want all of you to get up out of your chairs.

I want you to get up right now and go to the window.

Open it and stick your head out and yell, I'm as mad as hell

and I'm not going to take this anymore!

I'm mad as hell and I'm not going to take it anymore!

I'm mad as hell.

I'm not going to take it anymore!

I'm mad as hell and I'm not going to take it anymore!

I'm not going to take it anymore!

I'm mad as hell!

I'm mad as hell!

I'm mad as hell and I'm not going to take this anymore.

I don't think "Network" represented a change

in attitude for me from the way I

felt in the '60s to what I was not perceiving

in the '70s, '80s, et cetera.

I think that we grow up.

Being poor draws me to radical material.

I've been lucky.

I've been able to do movies about that kind of life

rather than living that kind of life.

I did not do what a great many movie

people did in the late '60s and early '70s.

I did not go down to Selma.

I did not go down to visit Martin Luther King in prison.

My activization stopped really with May Day

marches, in which I would walk with Actors'

Equity Association.

I for me did it in a more, to me,

more satisfying way, which is to take it as subject matter.

I love "Network" for the obvious reasons.

First of all, it's a hell of a good picture.

I'm going to blow

my brains out right on this program, a week from today.

10 seconds to commercial.

So tune in next Tuesday.

That should give the public relations people

a week to promote the show.

You ought to get a hell of a rating out

of that, about 50 share, easy.

I knew that I would have a tough time

in the studio system.

On the one hand, I was very, very headstrong...

I still am... but I didn't have final cut in those days.

And I know what would have happened, which was I would get

into arguments and maybe even fights of some sort

and they could always take their revenge

out in re-cutting the picture.

And that is about as painful thing I think for a director

as anything that can happen.

The business of management is management.

I didn't have an adversarial relationship

with Hollywood.

Look, if you know anything about movies,

you know there's 100 glorious years of rather wonderful work

that's come out of there.

The department thing is what really bothered me.

I went to a production meeting with 26

people sitting around a table.

Now of those 26 people, 20 of them

were heads of departments who would never have

anything to do with my picture.

They were never going to be on location.

They wouldn't come along.

They'd never leave Hollywood.

And they would have an awful lot to say about it,

including one man who was the head of the animal department

and who was going to ship me... We needed about 200 horses... he

was going to ship me 200 horses from Hollywood

to Virginia, the greatest horse breeding state in the union.

- I - don't believe this.

I don't believe the top brass of a national television network

is sitting around their Caesar salads...

The top brass of a bankrupt national television

network with projected losses...

"Network" was about nothing

but the men in suits, really.

Nobody in that movie is creative.

The most creative person in there is a lunatic.

Affiliates will kiss your ass if you

can hand them a hit show.

I don't think it was part of Paddy Chayefsky's

intent and it certainly wasn't part

of mine to needle the networks.

I think we were after bigger game, if I may say that.

For me, it was a question of corruption

in the American spirit.

Good morning, Mr. Beale.

They tell me you're a madman.

How are you now?

I'm as mad as a hatter.

Who isn't?

I'm going to take you into our conference room.

Seems more seemly a setting for what I have to say to you.

I started as a salesman, Mr. Beale.

I sold sewing machines and automobile parts, hairbrushes,

and electronic equipment.

They say I can sell anything.

Clearly, "Network" is not just about television.

"Network" is a metaphor for America.

Valhalla, Mr. Beale.

Please, sit down.

One of the things that

was so blinding when I read that script was Paddy's prescience.

That is a scene where Ned Beatty reads the Riot Act to Howard.

He says, what's the matter with you, you idiot?

There is no city, country.

There's only one giant corporation.

Isn't that more true today than almost any other single factor?

Do you have any doubt?

I mean, the insanity.

We are in a war.

Men are dying.

Halliburton is cooking their meals?

And our children will live, Mr. Beale,

to see that perfect world in which there's no war or famine,

oppression or brutality, one vast and ecumenical holding

company for whom all men will work to serve a common profit,

in which all men will hold a share of stock...

The power is never in conflict or in doubt.

Gentlemen, this is the President of the United States.

Whatever orders I give to American personnel

are to be considered direct orders

from the Commander in Chief.

They are to be obeyed fully, without reservation,

and at once.

We must do everything we can to prevent our planes

from attacking Moscow.

The Soviet Premier has behaved as I believe I

would under similar conditions.

He has delayed retaliation.

I think he believes this is an accident.

I therefore order every American to cooperate

fully with Soviet officers in shooting

down our invading planes.

Gentlemen, I expect you to conduct yourselves as patriots.

Roberts.

Sir.

Your commanding officer gave you an order.

He ordered you to fight, so you don't just there.

Is that right?

Sir.

Is that all you got to say?

Sir, it's all I want to say.

See that hill?

I noticed it as I came in.

We built it special.

A few tons of sand and rock and a lot of labor and sweat.

The prisoners built it.

Well that's marvelous, sir.

That's a great construction feat.

Something tells me you're going to get to know him well.

I don't want any special privileges.

"The Hill" is about

a very heroic, well-seasoned fighting sergeant,

British sergeant, who refuses to obey an order in a combat

situation and gets court-martialed and sentenced

to two years at this British stockade, which

is a very rough place, indeed.

By early December of '42, I was in the army.

And as miserable as it was, and it was miserable,

the culture shock for somebody like me, who,

despite my rough life, had never seen this kind of roughness,

it was in many ways as painful a time as I've ever had,

and yet it was a time that I wanted.

Because of my eyes, I was what's called limited service,

but I desperately wanted to get overseas.

I very much resented the theater people

that I knew who were spending the war

at the Russian Tea Room.

They would get themselves assigned

to various army entertainment projects

and never leave New York.

The terrible part was army life, where the main object is

to reduce you to a common denominator

so that you react... all of you react... in the exact same way.

It took me so long to figure out Why when you had toilets,

they couldn't put up stalls.

I'm not even talking about doors.

Just put up walls so that one toilet

is separated from the other.

Uh-uh, they don't.

You take your dump next to another person taking

their dump and that is to destroy any sense of you're

an individual.

Order a first strike, General.

Put an end to it once and for all.

You have the power.

You can do it.

Colonel, you are talking treason.

Stop it now or I'll have you put under arrest.

General.

Bogan, this is Marshal Nevsky.

Yes, Marshal?

Will you please give us

position of the three planes?

We can fly fighters at various altitudes.

Can do.

Gentlemen, I am taking over command of this post.

By the direct authority of the president,

I now command you to take all orders from...

Colonel, we got orders, Colonel.

You make a fuss, they'll kill you.

The mob mentality is precisely

what the Army works on.

Me first.

"The Hill," it's about the hopelessness

of fighting authority for anything

other than your own conscience.

Not guilty.

I consider that fight for your individuality,

for me, it's the essence of what a life should be about, what

a good life should be about.

I think not just the Army, everything conspires

to crush your individuality.

- Hello Frank. - Hey Frank.

Frankie.

All right, look, We all know what this is about, right?

So without any bullshit, Frank, what the hell was happening

between you and Don Rubello?

Simple I... I didn't take any money.

I don't take money.

Rubello said if I changed my mind, he'd hold my share.

He'd give it back to me.

I didn't change my mind.

Conniving bastard.

All right.

That was my money he was stealing.

Look, I'll handle Rubello.

I'll get back the money he took, but this

ain't going to happen again.

From now on, no more three bagmen.

Starting today, every one of you fucks

makes his own collections.

No stops.

No bread, OK?

OK.

Right, you got it.

What about you, Frank?

I'll make up what Don took from you.

Why should I stop now?

Everybody'd feel a lot better about you, Frank.

You can always give it to charity, Frank.

Look, Frankie, what do you say $100 a month,

just for expenses?

For my secretary and my business lunches,

entertainment?

All right.

We split Frank's share from now on.

You're a schmuck, Frank.

Question authority.

Whoever the schmuck was who said, listen, let's take down

the wall and bring that horse in,

that's the idiot who should have been questioned

before he took one brick down.

Why didn't you tell him about Delaney and Kellogg?

Frank, this was a grand jury about police officers

actively engaged in corruption.

You don't implicate people without sufficient evidence.

Now that's crap and you know it,

because even a dumb cop like me knows

a prosecutor can take a grand jury anywhere

it wants to take it.

Now you never led me anywhere near the real problems, nothing

about the bosses, the brass, how corruption like this

could exist without anybody knowing about it.

Now a few flunky cops in the Bronx, that's it.

None of the shit in Queens, Brooklyn, Manhattan.

While you're at it, why don't you mention Kansas City?

Well the biggest thing since Harry.

Gross, that's what you said.

All right.

Look, Frank, you've got guts, integrity.

There's going to be a detective's

gold shield in this for you.

Well that's terrific.

Now that's good.

Maybe this is what it's all about.

Maybe I should take my gold shield and forget it.

I know you've been through an ordeal, Frank.

I'm a marked man in this department for what?

I've already arranged the transfer for you.

To where?

China?

I love characters who are rebels because not accepting

the status quo, not accepting the way it's always been done,

not accepting that this is the way it has to be

is the fundamental area of human progress and drama, god knows.

Did you ever hear the story of the wise king?

Nope, but I got the feeling I'm going to hear it.

Well there was this... this king and he ruled over his kingdom.

Yeah?

Right in the middle of the kingdom,

there was a well and that's where everybody drank.

And one night this witch came along

and she poisoned the well.

Ah.

And the next day, everybody drank from it except the king

and they all went crazy.

And they got together in the street and they said,

We got to get rid of the king because the king is mad.

Uh oh.

I'm not denying for a minute

that I'm attracted to the radical.

I'm attracted to the questioner.

I don't know if life is possible without it.

Serpico was certainly a radical.

One of the most interesting things about Serpico

as a character to me is that he would have been

the same pain in the ass no matter what

his profession had been.

He was geared for overthrowing whoever was immediately

over him, and the fact that he was a cop

just made it exceedingly difficult and very dangerous.

With my generation of kids, you develop

this sense of resistance.

You never went to them for help.

Any contact with the police, unless it

was a murderous situation, was considered being a rat.

Just get me wired and sit back.

It'll happen.

Now remember, the antenna has to hang loose.

The battery back, the transmitter,

they're always problems.

They're bulky.

If you frisk, they're hard to hide.

"Prince of the City"...

I did not know how I felt about Bob Leuci,

the leading character in it.

In my bringing up, a rat is a rat.

Ben Gazzara and I used to talk about this

in live television days.

He was doing a show for me once, a live show,

on Salvatore Giuliano, you know, the Sicilian bandit.

And at rehearsal, he told us about how he was walking, how

he was in the street talking... he was eight...

And a cop came over and asked him something.

And he answered the cop and he went

upstairs, entered his apartment and his father went...

Spia, spy.

I accuse that one.

This rat!

Don't you call him that!

What are you scared of?

He is a rat.

He belongs in a sewer.

And I was brought up that way.

So the fact that he ratted right away separated us, yet

it's the first script that I co-wrote with the wonderful Jay.

Presson Allen.

And I picked the name... we had to give him another name...

And I picked the name Ciello, which in Italian means sky.

So this ambivalence existed from the very beginning,

and I did not know... I promise you this is the truth... I did

not know how I felt about him until I saw the first cut

and I ran it after it had been all edited.

What did you say your name was?

Ciello.

Are you the Detective Ciello?

I'm Detective Ciello.

I don't think I have anything to learn from you.

Oh, I made him a hero.

The weak.

The weak have got to have something to fight for.

Ain't that the truth?

Want another drink?

Yeah.

Jimmy!

Yeah?

See, that's why the court exists.

The court doesn't exist to give them justice.

The court exists to give them a chance at justice.

Are they going to get it?

They might.

They might.

See, the jury wants to believe... I

mean the jury wants to believe.

It is something to see.

I got to go down there tomorrow and pick out 12 of them.

All of them, all their lives, think, it's a sham.

It's rigged.

You can't fight city hall.

But when they step into that jury box,

I know you just barely see it in your eyes, maybe, maybe...

Maybe what?

Maybe I can do something right.

I am an attorney on trial before the bar,

representing my client, my client.

You open your mouth, you're losing my case for me.

Now listen to me, fella.

No, you listen to me.

All I want out of this trial was a fair share.

Push me into court five days early, I lose my star witness,

and I can't get a continuance and I don't care.

I'm going up there.

I'm going to try it.

I'm going to let the jury decide.

They told me about you, said you're a hard ass,

you're a defendant's judge.

Well I don't care.

I said to hell with it, to hell with it!

In "The Verdict," Paul Newman

plays a lawyer who's become an ambulance chaser.

He's a boozer, a bit of a Womanizer,

but doesn't even have much passion for that anymore,

who gets involved in a case about a woman injured

in an accident.

Somehow or other, this woman becomes more than the case

and becomes a human being to him.

Because it's a human contact, it opens him up

to a salvation of his own self, a case

to care about, a client to care about,

and in which he wants to win no longer for the money,

but in which he wants to win for his own salvation.

In his summation to the jury, he doesn't tell them that in fact,

but he tells them that in spirit.

You know, so much of the time, we're just lost.

We say, please, God, tell us what is right,

tell us what is true.

Only there is no justice.

The rich win.

The poor are powerless.

We become tired of hearing people lie and after a time,

we become dead, a little dead.

We think of ourselves as victims and we become victims.

We become... we become weak.

We doubt ourselves.

We doubt our beliefs.

We doubt our institutions.

And we doubt the law.

But today, you are the law.

You are the law, not some book, not

the lawyers, not a marble statue,

or the trappings of the court.

See, those are just symbols of our desire to be just.

All that they are, they are, in fact, a prayer, a fervent

and a frightened prayer.

In my religion, they say, act as if you had faith,

faith will be given to you.

If... if we are to have faith in justice,

we need only to believe in ourselves and act with justice.

I believe there is justice in our hearts.

Well what about it?

You're the only one.

I have a proposition to make to all of you.

I'm going to call for another vote.

I want you 11 men to vote by secret, written ballot.

I'll abstain.

If there are 11 votes for guilty, I won't stand alone.

We'll take in a guilty verdict to the judge right now.

But if anyone votes not guilty, we stay here and talk it out.

That's it.

If you want to try it, I'm ready.

All right, let's do it the hard way.

Yeah, that's it.

That sounds fair.

Everyone agree?

Anyone doesn't agree?

Fine, let's go.

Here, pass these along.

Is that the right?

I don't think I have ever dealt with a situation

of that brutality that that incident

with the little girl on the train.

I knew that people could behave badly,

but I didn't know that people could behave that badly.

It was the kind of thing that I could have only envisioned

in a book, but never could have envisioned actually

happening because it was a descent

into a kind of bestiality.

And I'll bet you, 10 to one... these weren't beasts,

that when they went home on leave,

there was the sweet girl next door and every other cliche.

I said, no, and then the whole wrestle with

do I do anything about this?

And of course I didn't.

It's a kind of self-loathing that comes when you've done

terrible things in your life.

I guess that's probably as bad as anything I've ever done.

And I went back into my compartment and sat down.

And then when we got to the camp,

the same compartment opened and this hand came out

and he put her down onto the station platform, very gently.

He didn't throw her or anything, but that was it.

And you know it's clearly a situation that

has stayed with me all my life.

I think that kind of heroic belongs in "High Noon."

I think that's a romantic movie version of life.

When you are standing there and there are eight men around,

or nine men, all of whom are in one stage or another

of sexual anticipation or sexual depletion,

and if you think you're going to make a dent in that

without getting thrown off the train moving,

you have to be ready to give up your life at a moment like that

and I wasn't going to do that.

Through my appearance here today,

I hope that police officers in the future

will not experience the same frustration and anxiety that I

was subjected to for the past five years

at the hands of my superiors because of my attempt

to report corruption.

I was made to feel that I had burdened

them with an unwanted task.

The problem is that the atmosphere does not yet

exist in which an honest police officer can act without fear

of ridicule or reprisal.

I was constantly being attacked for not having

a thematic line in the work and doing

many different kinds of movies.

It's nonsense.

There is always a bedrock concern about is it fair?

In order to ensure this, an independent, permanent

investigative body dealing with police

corruption like this commission is essential.

So these complications, when enough of them

exist over a long enough period of time,

you look up one day, like I do, and my god, I'm 83.

Look how I spent my time.

I spent my time on a pendulum.

And because nature is kind, the painful moments

are not that painful, and the joyful moments

are not that joyful.

For me, it all flattens out a little.

And you know what?

That's perfectly all right.

I did the other.

I did the peaks and the valleys and you know what?

You get used to that too.

It's a bore.

What I have found out for myself, I'm not unique at all.

I'm lucky to have work that I care about

and the opportunity to do it.