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...