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{\an8}♪♪
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Man: Use the Force, Luke.
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I stick my neck out
for nobody.
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Well, darling, look out,
'cause my hair is coming down.
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Always do the right thing.
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That’s it?
That’s it.
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I got it.
I’m gone.
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{\an8}Suber: There are certain films
that people keep going back to,
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{\an8}over and over again.
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I'm gonna make him
an offer he can’t refuse.
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Films that were not
only popular in their day,
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but that continue
to be popular.
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You talking to me?
14
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And my question is why?
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It’s not about what I want.
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It’s about what’s fair!
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They call me Mister Tibbs.
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I’m in love with you.
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Snap out of it!
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Rosebud.
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I’m Howard Suber.
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For over five decades,
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I’ve taught thousands
of aspiring directors,
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producers, screenwriters,
and scholars
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the patterns and principles
I’ve found
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in America’s most memorable
popular films.
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Join me as we discover
the power of film.
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{\an8}♪♪
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Who are you?
You.
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Who are you?
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What are you?
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{\an8}These are the two
fundamental questions
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{\an8}that determine how we act,
34
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{\an8}how we relate
to the world we inhabit.
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{\an8}We find the answers
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{\an8}to those questions
we ask ourselves in stories.
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From his footprint,
he looks like a big fella.
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{\an8}And stories are what we go
to movies to see.
39
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{\an8}They pardoned
Frank Miller.
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We are a storytelling animal,
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and it may be one of the things
that defines us.
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We have desires, fears, hopes,
43
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but we feel the way
our long-distant ancestors felt
44
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about the experience
of life as a human being.
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{\an8}"The Godfather" is 50 years old,
46
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{\an8}and yet it seems like a film
47
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that could have come out
this year
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because the issues
"The Godfather" deals with
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haven’t changed.
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Woman:
What are you doing here?
51
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You’re not supposed
to be here now.
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I’m Michael Corleone.
This is my father.
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My story...
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your story,
55
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all of our life stories...
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There’s nobody here.
What happened to the guards?
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...revolve around feelings.
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I’m sorry,
but you will have to leave.
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Lack of power, loss,
triumph, humiliation,
60
00:03:01,655 --> 00:03:06,996
insult, injury,
and ultimately death.
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Boy: [ Laughs ]
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If people still identify
with Michael Corleone,
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maybe it’s because his world
feels like our world.
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So, who are you?
What are you?
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To a large extent, you are
a compilation of memories.
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Memory is the most powerful
thing in human existence.
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{\an8}Sam: ♪ As time goes by... ♪
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{\an8}Sam, I thought I told you
never to play.
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{\an8}♪♪
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We choose what films
we want to remember.
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{\an8}And we choose them because
there’s something in those films
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{\an8}that transcends the moment
it was released.
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{\an8}There are principles
that cause people
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{\an8}to keep them in their heads
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00:04:09,423 --> 00:04:14,097
{\an8}and be able to recall them
decades later.
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{\an8}I’m here to stop you,
One-Eyed Bart! Oh!
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{\an8}But popularity is not enough.
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Lots of films
make a lot of money
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in their initial release.
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They can make
over a billion dollars.
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But most of those films
nobody wants to talk about,
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{\an8}let alone look at again
a year later.
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{\an8}This whole series
84
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{\an8}is based around memorable
popular American films.
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{\an8}I’m talking about films
for which, objectively,
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{\an8}there’s a cultural consensus.
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{\an8}You read me, Hal?
88
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{\an8}I’m responding
to other people’s responses.
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{\an8}And so, if you tell me
you don’t like "The Godfather,"
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00:04:58,206 --> 00:04:59,742
{\an8}my reaction is I don’t care.
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{\an8}It’s on everybody’s list.
92
00:05:02,943 --> 00:05:05,448
{\an8}But if I’m talking
about memorable films,
93
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{\an8}I have to be talking
about the past.
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00:05:09,050 --> 00:05:11,921
{\an8}And history is biased.
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00:05:13,120 --> 00:05:16,492
{\an8}During most of the history
of American film,
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00:05:16,552 --> 00:05:21,064
{\an8}we have had few major characters
from non-white races,
97
00:05:21,128 --> 00:05:25,301
{\an8}non-male heroes,
different sexual orientations.
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{\an8}Oliver!
99
00:05:26,667 --> 00:05:28,104
{\an8}...because they were
not allowed
100
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{\an8}to be on films
as strong central characters.
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{\an8}So, I’m going to talk
about some films
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{\an8}from the last decade or so,
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{\an8}and hopefully they represent
changes long overdue
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{\an8}in the American film industry.
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{\an8}I love you, Margaret.
I love you, too.
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In the thousands of films
that I’ve taught...
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I’ll take this.
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{\an8}...I keep seeing
certain elements
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{\an8}appearing over and over again
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{\an8}and seeing the relationships
of the parts to the whole.
111
00:06:04,739 --> 00:06:06,542
{\an8}The patterns can be as simple
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00:06:06,607 --> 00:06:10,646
{\an8}as scenes of parents
tucking their children into bed,
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00:06:10,711 --> 00:06:13,950
{\an8}or the patterns
can be more complex.
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{\an8}And as I often say,
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I’m in the pattern
recognition business.
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So, let’s go way back,
nearly 2,500 years,
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to the ancient Greeks,
what are generally considered
118
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the greatest dramas
in Western history.
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Ask yourself, "What do
these works have in common?"
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Even if you don’t
know the works.
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"Oedipus Rex," "Antigone,"
"Medea."
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See any pattern?
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Let’s jump ahead
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to the Elizabethan period’s
Shakespeare.
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"King Lear," "Macbeth,"
"Hamlet."
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You see any patterns so far?
127
00:06:59,493 --> 00:07:01,230
Let’s jump ahead
to what is often called
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00:07:01,296 --> 00:07:05,468
the greatest American play,
"Death of a Salesman."
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00:07:05,533 --> 00:07:07,270
In contemporary times,
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what’s the most popular
and memorable play?
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"Hamilton."
See any pattern?
132
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Well, I’m in the pattern
recognition business.
133
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The most memorable popular works
going back 2,500 years
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are the names of characters,
135
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and the works are essentially
character studies.
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[ Applause ]
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Now let’s turn to movies.
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"Citizen Kane."
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"Godfather" one
and "Godfather II."
140
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"Lawrence of Arabia,"
"The Graduate,"
141
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"Taxi Driver,"
"Forrest Gump," etc.
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Why do you have so many stories
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named after
the central character?
144
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{\an8}Which is to say,
the single individual
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who bears the title of the work
is whose story it is.
146
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Why?
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Because my story
is the story of me.
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I’m at the center of my story.
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I’m the hero, if you will --
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sometimes the villain --
of my story.
151
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{\an8}And when we see a story
in which a single character
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{\an8}is what the story is about,
153
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{\an8}we instantly understand.
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{\an8}One of the crucial elements
in writing drama is empathy,
155
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{\an8}being able to project yourself
into the other person.
156
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{\an8}"Psyche" is the Greek
term for soul,
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and it’s not so much
the psyche of the character
158
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that filmmakers focus on.
159
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It’s the psyche of the audience.
160
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Okay, I’ve thrown out
a bunch of titles
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that span 2,500 years.
162
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{\an8}What else is a pattern?
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{\an8}Nearly all of those works
deal with a family,
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and whether it’s a biological
family or a surrogate family,
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that’s the most important
social unit in human society.
166
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That’s one of the things
that made
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"The Godfather" series
unique.
168
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Francis Coppola originally
declined to direct the film,
169
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{\an8}even though he was
in dire straits financially,
170
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{\an8}because he said, "I don’t want
to make a gangster film,
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especially one
about Italian gangsters."
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Well, "The Godfather" series
is certainly about gangsters.
173
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Aaah! Aaaah!
174
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It’s also,
as the title suggests,
175
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it’s about a family.
176
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But what are the psychological
elements that define a family?
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Loyalty, nurturing,
mutual protection and support.
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And they share memories,
both good and bad.
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But inevitably,
they also quarrel.
180
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It’s all-out war. We go to the mattresses.
Some of the other families won’t sit still for all-out war!
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Then they hand me Sollozzo!
Your father wouldn’t want to hear this!
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This is business,
not personal!
183
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Suber: ...and have differences
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that threaten
to destroy the family.
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You're my older brother,
and I love you.
186
00:10:38,980 --> 00:10:40,316
But don’t ever take sides
187
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with anyone
against the family again.
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Ever.
189
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"The Exorcist,"
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another gigantically
popular film...
191
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{\an8}[ Snarling, screeching ]
192
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...is a horror film.
193
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Can’t deny that.
194
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Aaaah!
Let the enemy have no power over her,
195
00:11:02,904 --> 00:11:04,440
and the son of iniquity
be powerless...
196
00:11:04,505 --> 00:11:08,978
...of one of the most powerful
horror films ever made,
197
00:11:09,037 --> 00:11:14,783
but it’s equally about a mother
trying to rescue her child
198
00:11:14,848 --> 00:11:18,754
who has been kidnapped
by a demon.
199
00:11:19,521 --> 00:11:20,889
Amen.
200
00:11:22,090 --> 00:11:24,093
"One Flew
Over the Cuckoo’s Nest,"
201
00:11:24,157 --> 00:11:27,163
{\an8}which a lot of people think of
as being simply a film
202
00:11:27,228 --> 00:11:30,967
{\an8}about the oppressed inmates
in a mental institution,
203
00:11:31,032 --> 00:11:33,302
{\an8}but it’s about
a surrogate family.
204
00:11:33,367 --> 00:11:36,700
On the one hand,
from the standpoint of biology,
205
00:11:36,772 --> 00:11:39,075
nobody’s related to anybody,
206
00:11:39,140 --> 00:11:42,111
but they develop
that relationship,
207
00:11:42,176 --> 00:11:45,548
thanks to our hero
Jack Nicholson,
208
00:11:45,613 --> 00:11:47,683
in one of many roles like this.
209
00:11:47,749 --> 00:11:49,118
Jesus!
210
00:11:49,183 --> 00:11:50,886
I mean, you guys
do nothing but complain
211
00:11:50,951 --> 00:11:52,588
about how you can’t stand it
in this place here,
212
00:11:52,653 --> 00:11:55,391
and then you haven’t got
the guts just to walk out?
213
00:11:55,456 --> 00:11:57,426
What do you think you are,
for Christ’s sake,
214
00:11:57,491 --> 00:11:59,095
crazy or something?
215
00:12:00,822 --> 00:12:03,199
Well, you’re not.
You’re not.
216
00:12:03,264 --> 00:12:05,068
You’re no crazier
than the average asshole
217
00:12:05,132 --> 00:12:06,702
out walking around
on the streets.
218
00:12:06,768 --> 00:12:08,237
And that’s it.
219
00:12:09,537 --> 00:12:13,542
He takes the inmates
out on a boat to go fishing.
220
00:12:13,608 --> 00:12:15,378
What are you laughing at,
Martini?
221
00:12:15,437 --> 00:12:17,080
You’re not an idiot, huh?
222
00:12:17,145 --> 00:12:19,015
You’re not a God damn
looney now, boy.
223
00:12:19,080 --> 00:12:20,583
You’re a fisherman.
[ Laughs ]
224
00:12:20,648 --> 00:12:24,620
He frees them
from the prison they’re in.
225
00:12:24,685 --> 00:12:28,891
He gives them faith
in their own potential --
226
00:12:28,956 --> 00:12:31,827
the greatest gift
one human being
227
00:12:31,893 --> 00:12:33,296
can give to another.
228
00:12:33,361 --> 00:12:35,198
They’re gonna be
trolling this place
229
00:12:35,263 --> 00:12:38,134
for six months
looking for dead bodies.
230
00:12:40,635 --> 00:12:43,206
What else is a pattern?
231
00:12:43,271 --> 00:12:48,211
It isn’t always on the surface
and declaring itself,
232
00:12:48,276 --> 00:12:54,083
but deeply embedded in virtually
all memorable stories,
233
00:12:54,149 --> 00:12:59,288
let alone films,
is the element of loss.
234
00:13:02,857 --> 00:13:06,729
In "Star Wars,"
Luke Skywalker returns home
235
00:13:06,794 --> 00:13:10,833
to encounter
his first great loss.
236
00:13:10,898 --> 00:13:15,638
{\an8}♪♪
237
00:13:15,703 --> 00:13:23,112
Loss appears almost invariably
in memorable stories
238
00:13:23,177 --> 00:13:27,250
because it’s one
of the principal experiences
239
00:13:27,315 --> 00:13:29,018
we all have.
240
00:13:29,083 --> 00:13:33,856
It’s a fundamental aspect
of being a human being,
241
00:13:33,922 --> 00:13:37,460
{\an8}and we don’t talk
about it a lot,
242
00:13:37,526 --> 00:13:39,595
{\an8}but we feel it.
243
00:13:39,661 --> 00:13:41,397
Loss is an important element
244
00:13:41,462 --> 00:13:45,034
of "Eternal Sunshine
of the Spotless Mind."
245
00:13:46,100 --> 00:13:47,570
{\an8}You hear me, Chiron?
246
00:13:47,635 --> 00:13:50,739
{\an8}Loss is an
important part of "Moonlight."
247
00:13:50,805 --> 00:13:52,341
{\an8}I hear you, Mama.
248
00:13:52,406 --> 00:13:57,180
{\an8}Loss is an important
part of "Toy Story."
249
00:13:57,245 --> 00:13:59,115
{\an8}Loss, in fact,
is an important part
250
00:13:59,180 --> 00:14:01,817
{\an8}of virtually
all of the Pixar films.
251
00:14:01,883 --> 00:14:04,287
{\an8}Nemo! Nemo!
252
00:14:04,352 --> 00:14:05,654
{\an8}No! Please, no!
253
00:14:05,719 --> 00:14:09,525
{\an8}Suber: In fact, loss is
an important part of Disney,
254
00:14:09,591 --> 00:14:11,227
{\an8}which owns Pixar.
255
00:14:11,292 --> 00:14:12,856
It’s one of the reasons
256
00:14:12,927 --> 00:14:17,000
that studio has been
so successful.
257
00:14:20,735 --> 00:14:22,805
"Bambi" --
what is it about,
258
00:14:22,864 --> 00:14:26,075
if not the loss
of Bambi’s mother?
259
00:14:26,141 --> 00:14:28,077
We made it, Mother!
260
00:14:28,843 --> 00:14:30,246
Wait.
261
00:14:31,245 --> 00:14:32,949
Mother!
262
00:14:36,518 --> 00:14:38,287
Mother!
263
00:14:39,053 --> 00:14:43,426
That traumatized me
when I was 5 years old.
264
00:14:44,192 --> 00:14:47,130
The scar is still not healed.
265
00:14:47,194 --> 00:14:50,299
Mother, where are you?!
266
00:14:50,365 --> 00:14:55,804
Why is loss so omnipresent?
Mother!
267
00:14:55,869 --> 00:15:00,376
Because it’s one of
the fundamental human feelings.
268
00:15:01,242 --> 00:15:04,713
We’ve all experienced loss.
269
00:15:04,778 --> 00:15:11,916
We all keep on experiencing loss
until we are lost.
270
00:15:15,624 --> 00:15:17,560
{\an8}Ricky!
271
00:15:17,625 --> 00:15:20,396
{\an8}"Boyz n the Hood"
is about being trapped
272
00:15:20,461 --> 00:15:23,967
and how it can lead
to a terrible loss.
273
00:15:25,799 --> 00:15:30,339
The protagonist, Tre,
played by Cuba Gooding Jr.,
274
00:15:30,404 --> 00:15:33,542
helplessly watches
his best friend Ricky,
275
00:15:33,607 --> 00:15:36,345
who dreamed
of escaping the hood,
276
00:15:36,406 --> 00:15:38,581
die in his arms.
277
00:15:41,082 --> 00:15:43,452
Some losses are inevitable,
278
00:15:43,518 --> 00:15:47,123
but the most tragic
are those that weren’t.
279
00:15:47,889 --> 00:15:49,592
[ Voice breaking ] Ricky.
280
00:15:51,392 --> 00:15:55,364
Help me! Help me!
Somebody help me!
281
00:15:56,164 --> 00:16:00,469
What makes us human
is how we feel.
282
00:16:00,535 --> 00:16:05,909
What makes us human
is how we then act
283
00:16:05,974 --> 00:16:10,179
in response
to the way we feel.
284
00:16:11,913 --> 00:16:16,981
{\an8}Feeling is necessary to action.
285
00:16:18,286 --> 00:16:21,457
And behind feelings,
286
00:16:21,522 --> 00:16:25,728
what are memorable
popular films about?
287
00:16:26,695 --> 00:16:29,798
My answer is power.
288
00:16:29,864 --> 00:16:34,603
{\an8}♪♪
289
00:16:34,669 --> 00:16:38,741
{\an8}I don’t necessarily mean
power over other people.
290
00:16:38,806 --> 00:16:42,578
I mean power in the way
it’s used in physics.
291
00:16:42,643 --> 00:16:48,784
Power is the ability
to produce change or prevent it.
292
00:16:48,850 --> 00:16:53,017
To produce change or prevent it.
293
00:16:55,791 --> 00:16:58,962
Power is the fulcrum of drama.
294
00:16:59,026 --> 00:17:01,430
He was onto something.
Clever boy.
295
00:17:01,495 --> 00:17:03,027
Don’t worry, that’s mine.
296
00:17:03,098 --> 00:17:07,503
If you are somebody
who’s unknown
297
00:17:07,568 --> 00:17:12,275
and you have aspirations
to become famous,
298
00:17:12,340 --> 00:17:15,344
{\an8}such as Ally,
played by Lady Gaga
299
00:17:15,409 --> 00:17:18,915
{\an8}in the fourth version
of "A Star Is Born,"
300
00:17:18,980 --> 00:17:21,284
at the moment you have
301
00:17:21,349 --> 00:17:24,420
the first inklings
of the desire,
302
00:17:24,485 --> 00:17:28,091
you don’t have
the power to get it.
303
00:17:28,155 --> 00:17:30,893
There’s a friend of mine who,
uh, came a long way to be here,
304
00:17:30,959 --> 00:17:32,295
and she wrote a great song,
305
00:17:32,360 --> 00:17:33,696
and I'd just like
to hear her sing it.
306
00:17:33,761 --> 00:17:35,464
I think it’s
pretty fucking good.
307
00:17:35,530 --> 00:17:38,167
Suber:
That’s what life is about.
308
00:17:39,300 --> 00:17:43,839
"I want...whatever it is."
309
00:17:45,672 --> 00:17:49,445
You have to apply what I call
the GOYA principle,
310
00:17:49,510 --> 00:17:52,181
which is get off your ass.
311
00:17:54,515 --> 00:17:58,487
You have to strive.
You have to work.
312
00:18:02,656 --> 00:18:06,529
♪ Tell me something, boy ♪
313
00:18:07,728 --> 00:18:12,368
♪ Aren’t you tired
tryna fill that void? ♪
314
00:18:12,433 --> 00:18:15,004
It’s not going to come to you
315
00:18:15,069 --> 00:18:18,307
and say,
"I give you this power."
316
00:18:18,372 --> 00:18:20,743
{\an8}It’s not "The Wizard of Oz"
317
00:18:20,808 --> 00:18:24,680
{\an8}with a fairy godmother
who anoints you.
318
00:18:24,746 --> 00:18:26,950
You have to work.
319
00:18:27,015 --> 00:18:30,920
Often, you may desire something,
320
00:18:30,985 --> 00:18:33,656
you may work to get it,
321
00:18:33,722 --> 00:18:35,291
{\an8}and you don’t.
322
00:18:36,824 --> 00:18:38,827
{\an8}Why not?
323
00:18:38,894 --> 00:18:40,396
{\an8}Inertia.
324
00:18:41,362 --> 00:18:46,535
Inertia prevents change.
325
00:18:48,164 --> 00:18:50,940
Well, as we will see
eventually...
326
00:18:51,005 --> 00:18:52,041
...for all I care!
327
00:18:52,106 --> 00:18:53,776
{\an8}...in all stories,
328
00:18:53,841 --> 00:18:56,845
{\an8}whether
it’s a romantic comedy...
329
00:18:56,911 --> 00:18:59,115
What have I done?
330
00:18:59,181 --> 00:19:00,649
Ow!
331
00:19:00,714 --> 00:19:03,452
...whether it’s a film
about a serial killer...
332
00:19:03,518 --> 00:19:07,356
{\an8}I’d like to speak
to my lawyer, please.
333
00:19:08,322 --> 00:19:09,325
God damn it!
334
00:19:09,390 --> 00:19:12,996
...the seeking of change
335
00:19:13,061 --> 00:19:16,765
and the preventing of change...
336
00:19:17,960 --> 00:19:21,905
...are what the story is about.
337
00:19:24,137 --> 00:19:30,346
We don’t go to movies
just to see the world.
338
00:19:30,411 --> 00:19:34,417
We got to see a just world,
339
00:19:34,481 --> 00:19:37,486
a world in which
things work out
340
00:19:37,552 --> 00:19:41,824
the way we wished
or desire that they would.
341
00:19:43,691 --> 00:19:49,465
{\an8}Most film stories begin
with the central character
342
00:19:49,530 --> 00:19:52,501
in a position of low power.
343
00:19:52,566 --> 00:19:56,872
And sometimes they end up
in a position of high power.
344
00:19:56,938 --> 00:19:59,275
[ Cheers and applause ]
345
00:19:59,340 --> 00:20:05,982
{\an8}But Charles Foster Kane
in "Citizen Kane"
346
00:20:06,046 --> 00:20:10,486
{\an8}and Michael Corleone
in "The Godfather" trilogy
347
00:20:10,551 --> 00:20:13,756
{\an8}end up with a lot of power,
348
00:20:13,821 --> 00:20:16,625
but we don’t value
the characters
349
00:20:16,690 --> 00:20:21,830
as much at the end
as we did at the beginning.
350
00:20:22,898 --> 00:20:26,230
Because in movies,
351
00:20:26,300 --> 00:20:31,407
we are not as oriented
towards power
352
00:20:31,472 --> 00:20:33,977
the way we are in real life.
353
00:20:35,142 --> 00:20:37,446
{\an8}Everybody in the world
354
00:20:37,511 --> 00:20:42,418
{\an8}knows what
the American value system is.
355
00:20:42,483 --> 00:20:46,789
What is it that,
whether consciously or not,
356
00:20:46,855 --> 00:20:50,793
Americans are trained
to value?
357
00:20:50,859 --> 00:20:51,995
Money,
358
00:20:52,060 --> 00:20:56,132
a big, plush, palatial home,
359
00:20:56,197 --> 00:20:58,334
an expensive car,
360
00:20:58,399 --> 00:21:01,404
and for some people,
a trophy spouse.
361
00:21:01,468 --> 00:21:03,006
I need them to want
to live like me.
362
00:21:03,065 --> 00:21:04,707
You get it?
To live like me.
363
00:21:04,772 --> 00:21:08,272
Although you may say
those are not your values,
364
00:21:08,342 --> 00:21:10,846
I’m assuming you would agree
365
00:21:10,912 --> 00:21:14,918
that most of your fellow
Americans do.
366
00:21:14,983 --> 00:21:20,423
{\an8}Greed, for lack of
a better word, is good.
367
00:21:20,489 --> 00:21:21,757
{\an8}Greed is right.
368
00:21:21,822 --> 00:21:23,426
Suber: Many people think
"Wall Street"
369
00:21:23,491 --> 00:21:27,663
glorifies cutthroat competition
and greed.
370
00:21:27,728 --> 00:21:31,067
In fact, what "Wall Street"
is about
371
00:21:31,132 --> 00:21:34,603
is a young guy named Bud
372
00:21:34,668 --> 00:21:38,107
who starts out
wanting to be like Gordon Gekko,
373
00:21:38,172 --> 00:21:42,011
but comes to recognize
that family and loyalty
374
00:21:42,077 --> 00:21:44,580
are more important
than incredible riches,
375
00:21:44,645 --> 00:21:48,017
private jets,
and trophy spouses.
376
00:21:48,083 --> 00:21:50,786
Because young Bud's old man
377
00:21:50,851 --> 00:21:54,723
is head of
Airline Mechanics Association
378
00:21:54,789 --> 00:21:59,323
and working on behalf
of his fellow union members,
379
00:21:59,393 --> 00:22:03,499
and Gordon Gekko is going to
buy that aircraft company
380
00:22:03,565 --> 00:22:05,969
and then fire everybody.
381
00:22:06,034 --> 00:22:07,570
He’s using you, kid.
382
00:22:07,635 --> 00:22:09,472
He’s got your prick
in his back pocket,
383
00:22:09,536 --> 00:22:11,007
but you’re too blind
to see it.
384
00:22:11,072 --> 00:22:13,776
No, what I see
is a jealous old machinist
385
00:22:13,841 --> 00:22:15,611
who can’t stand the fact
that his son’s become
386
00:22:15,676 --> 00:22:17,846
more successful
than he has.
387
00:22:17,907 --> 00:22:19,848
What you see is a guy
388
00:22:19,914 --> 00:22:21,650
who never measured
a man’s success
389
00:22:21,717 --> 00:22:23,586
by the size of his wallet!
390
00:22:23,651 --> 00:22:26,822
And young Bud discovers
that the values
391
00:22:26,888 --> 00:22:31,394
of all the power
that Gordon Gekko has
392
00:22:31,459 --> 00:22:33,963
are not equal to the values
393
00:22:34,028 --> 00:22:37,266
of being devoted
to your fellow human being.
394
00:22:37,331 --> 00:22:39,068
You’re under arrest,
Mr. Fox.
395
00:22:39,133 --> 00:22:40,569
I challenge you
396
00:22:40,634 --> 00:22:46,976
to name three memorable
popular American films
397
00:22:47,040 --> 00:22:51,375
that tell you that wealth
and material possessions
398
00:22:51,445 --> 00:22:54,918
are the most important
things in life.
399
00:22:54,983 --> 00:22:58,221
And we could talk about
a lot of other films
400
00:22:58,286 --> 00:23:03,292
{\an8}in which somebody acquires
real-world power,
401
00:23:03,358 --> 00:23:06,629
{\an8}becomes fabulously wealthy,
402
00:23:06,694 --> 00:23:10,733
and they do not come
to a good end.
403
00:23:12,299 --> 00:23:13,970
I'm finished.
404
00:23:14,735 --> 00:23:18,107
This leads us back into
another one of those patterns.
405
00:23:18,172 --> 00:23:21,644
Many of the most popular
and memorable stories,
406
00:23:21,709 --> 00:23:23,712
going back to the Greeks,
407
00:23:23,779 --> 00:23:27,283
do not have a happy ending.
408
00:23:28,116 --> 00:23:33,622
{\an8}Happy endings are obligatory
for musicals...
409
00:23:34,589 --> 00:23:37,026
{\an8}...and for romantic comedies,
410
00:23:37,091 --> 00:23:40,396
{\an8}which are not the same genre
as love stories.
411
00:23:40,461 --> 00:23:43,832
{\an8}The world’s great love stories
more often than not
412
00:23:43,897 --> 00:23:47,270
{\an8}end in the separation
or death of the lovers.
413
00:23:47,335 --> 00:23:48,938
{\an8}Think of "Romeo and Juliet."
414
00:23:49,002 --> 00:23:51,607
{\an8}Evelyn, put that gun away!
Let the police handle this.
415
00:23:51,673 --> 00:23:53,437
{\an8}He owns the police.
416
00:23:53,508 --> 00:23:55,044
{\an8}Suber: "Chinatown."
417
00:23:55,109 --> 00:23:57,813
[ Gunshots ]
418
00:23:57,878 --> 00:24:03,086
The death of the woman
who’s loved by the protagonist.
419
00:24:05,519 --> 00:24:07,991
But it’s not just love stories.
420
00:24:08,055 --> 00:24:12,761
{\an8}The world of film is filled
with unhappy endings.
421
00:24:12,826 --> 00:24:15,531
With "All Quiet
on the Western Front,"
422
00:24:15,596 --> 00:24:18,867
one of the earliest
blockbuster successes,
423
00:24:18,933 --> 00:24:22,238
our protagonist escapes
from the war,
424
00:24:22,303 --> 00:24:24,908
but only because he’s dead.
425
00:24:26,174 --> 00:24:27,810
{\an8}In "Do the Right Thing,"
426
00:24:27,874 --> 00:24:30,846
{\an8}Mookie, played
by director Spike Lee,
427
00:24:30,911 --> 00:24:35,479
witnesses the callous murder
of his friend Radio Raheem
428
00:24:35,551 --> 00:24:37,886
by a white policeman.
429
00:24:38,652 --> 00:24:42,358
In response,
Mookie leads the neighborhood
430
00:24:42,423 --> 00:24:45,962
into burning down
his own employer’s restaurant,
431
00:24:46,027 --> 00:24:48,131
which means
he’s out of a job,
432
00:24:48,195 --> 00:24:51,334
so we can’t say
the ending is a happy one.
433
00:24:52,266 --> 00:24:56,805
But they have taken
a stand against injustice.
434
00:24:59,573 --> 00:25:01,377
{\an8}In "The Godfather Part III,"
435
00:25:01,442 --> 00:25:04,313
{\an8}Michael Corleone’s daughter
Mary is killed
436
00:25:04,378 --> 00:25:08,918
{\an8}by an assassin’s bullet
intended for him.
437
00:25:09,817 --> 00:25:13,056
Even though he won’t die
for several more years,
438
00:25:13,121 --> 00:25:17,026
Michael’s life
is essentially over.
439
00:25:17,090 --> 00:25:22,966
{\an8}So many movies have
essentially unhappy endings.
440
00:25:23,030 --> 00:25:30,606
{\an8}♪♪
441
00:25:30,672 --> 00:25:38,414
{\an8}♪♪
442
00:25:38,480 --> 00:25:46,255
{\an8}♪♪
443
00:25:46,321 --> 00:25:53,862
{\an8}♪♪
444
00:25:53,928 --> 00:25:57,133
I hope I haven’t depressed you
with all this.
445
00:25:57,898 --> 00:25:59,802
Because that’s not
the only thing
446
00:25:59,867 --> 00:26:02,972
that drives us to movies.
447
00:26:03,738 --> 00:26:05,141
There’s another.
448
00:26:05,206 --> 00:26:08,777
It’s what makes
the world go round.
449
00:26:09,678 --> 00:26:12,215
It’s the "F" word.
450
00:26:12,281 --> 00:26:13,616
Fun.
451
00:26:16,818 --> 00:26:18,687
We go to movies,
452
00:26:18,752 --> 00:26:23,259
{\an8}certainly to American movies,
to have fun.
453
00:26:25,659 --> 00:26:28,697
{\an8}Whatever the genre,
whatever the plot,
454
00:26:28,763 --> 00:26:34,737
{\an8}whatever the time period,
we sell fun.
455
00:26:34,802 --> 00:26:38,407
{\an8}Fun is part of the genius
of America.
456
00:26:38,472 --> 00:26:42,345
Since our beginning,
it’s been one of the things
457
00:26:42,409 --> 00:26:47,283
that other cultures
have made fun of us for having,
458
00:26:47,348 --> 00:26:50,987
{\an8}because we were not
a serious people.
459
00:26:51,051 --> 00:26:56,225
We told jokes in the most
inappropriate places.
460
00:26:58,893 --> 00:27:01,697
Harold, please.
461
00:27:01,762 --> 00:27:04,833
We have created
some of the best villains
462
00:27:04,899 --> 00:27:06,630
{\an8}in world history.
463
00:27:06,701 --> 00:27:08,871
{\an8}Now I’m always smiling.
464
00:27:08,936 --> 00:27:12,508
{\an8}But we do it with a smile.
We do it with a wisecrack.
465
00:27:12,573 --> 00:27:16,845
{\an8}We do it with a gag,
which is an American term.
466
00:27:16,912 --> 00:27:19,682
Here’s Johnny!
Aah! Aah!
467
00:27:19,748 --> 00:27:23,219
{\an8}We have always combined humor
468
00:27:23,284 --> 00:27:26,650
{\an8}with the most serious
of subjects.
469
00:27:27,421 --> 00:27:33,129
We get it so we’re not
overcome by the tragedy.
470
00:27:33,194 --> 00:27:38,734
We’re laughing,
and laughing blocks pain.
471
00:27:40,268 --> 00:27:44,140
{\an8}All three of the great
silent comedians --
472
00:27:44,205 --> 00:27:46,275
{\an8}Chaplin, Keaton, and Lloyd --
473
00:27:46,340 --> 00:27:50,980
{\an8}demonstrate this over
and over and over again.
474
00:27:51,045 --> 00:27:54,951
{\an8}And the audience could say,
"Oh, my God. He broke his back."
475
00:27:55,015 --> 00:27:58,354
Well, if that happened,
it wouldn’t be a gag.
476
00:27:58,419 --> 00:28:02,791
All comedy is based on pain
or potential pain.
477
00:28:02,856 --> 00:28:06,996
The greater the potential
for pain,
478
00:28:07,061 --> 00:28:11,834
{\an8}the greater the opportunity
to be funny.
479
00:28:11,900 --> 00:28:13,502
{\an8}In "The 40 Year Old Virgin,"
480
00:28:13,567 --> 00:28:18,341
{\an8}Steve Carell’s character
gets his hairy chest waxed.
481
00:28:18,406 --> 00:28:22,178
Ohhh! You fucker!
482
00:28:22,242 --> 00:28:25,982
Oh, I’m sorry, I’m sorry.
That’s just your job.
483
00:28:26,047 --> 00:28:29,152
Suber:
No pain or potential pain,
484
00:28:29,217 --> 00:28:30,586
no laughter.
485
00:28:31,586 --> 00:28:33,389
There’s something else
I want to mention
486
00:28:33,454 --> 00:28:35,291
that has to do with power.
487
00:28:35,356 --> 00:28:39,128
Not the power of characters,
but the power of film.
488
00:28:39,193 --> 00:28:45,401
{\an8}♪♪
489
00:28:45,466 --> 00:28:47,603
{\an8}Part of the power of film
490
00:28:47,668 --> 00:28:53,342
{\an8}is its ability to use scale
for dramatic purposes.
491
00:28:55,342 --> 00:28:58,514
You walk in,
and there’s an 80-foot screen --
492
00:28:58,579 --> 00:29:01,250
at least in the days
when everybody had to go
493
00:29:01,315 --> 00:29:04,087
to a movie theater
to see the film --
494
00:29:04,151 --> 00:29:06,956
and the camera gives us
a close-up
495
00:29:07,021 --> 00:29:10,593
{\an8}of this part
of somebody’s face.
496
00:29:11,392 --> 00:29:13,496
{\an8}And it can be filled
with love...
497
00:29:13,561 --> 00:29:14,530
{\an8}I love you.
498
00:29:14,596 --> 00:29:15,698
{\an8}...or hate
499
00:29:15,763 --> 00:29:18,234
{\an8}or any emotion
you want.
500
00:29:19,634 --> 00:29:21,905
Alright, Mr. DeMille,
I’m ready for my close-up.
501
00:29:21,970 --> 00:29:23,940
{\an8}Suber:
Great directors understand
502
00:29:24,005 --> 00:29:26,275
{\an8}the power of the close-up.
503
00:29:26,341 --> 00:29:31,480
{\an8}♪♪
504
00:29:31,545 --> 00:29:35,518
They understand that close-ups
are so powerful
505
00:29:35,583 --> 00:29:39,488
that you use them frugally.
506
00:29:39,554 --> 00:29:42,725
{\an8}I’m Angela.
Vickers.
507
00:29:42,791 --> 00:29:44,560
{\an8}I saw you here
last spring.
508
00:29:44,625 --> 00:29:48,631
The director George Stevens
in "A Place in the Sun"
509
00:29:48,690 --> 00:29:52,035
had these enormous
tight close-ups
510
00:29:52,099 --> 00:29:54,904
of Elizabeth Taylor
and Montgomery Clift.
511
00:29:54,963 --> 00:29:57,106
That’s the first time
anybody ever said that.
512
00:29:57,171 --> 00:29:58,942
You keep pretty much
to yourself, don’t you?
513
00:29:59,006 --> 00:30:04,147
It’s a love story that --
surprise -- doesn’t end well,
514
00:30:04,211 --> 00:30:08,812
and in scenes where
he really wants the audience
515
00:30:08,884 --> 00:30:11,187
to empathize with the character
516
00:30:11,252 --> 00:30:15,691
and to really be involved
in their love,
517
00:30:15,757 --> 00:30:18,928
the camera moves in,
518
00:30:18,994 --> 00:30:24,100
and the lighting
is so carefully sculpted
519
00:30:24,165 --> 00:30:28,304
that those images could go
on a huge billboard,
520
00:30:28,369 --> 00:30:32,475
and people could see it
from a half mile away
521
00:30:32,539 --> 00:30:36,712
and instantly recognize
who those people were
522
00:30:36,778 --> 00:30:39,582
and say, "I want to see that,"
523
00:30:39,647 --> 00:30:42,986
because some human faces
524
00:30:43,050 --> 00:30:48,057
are really just fascinating
in themselves.
525
00:30:48,122 --> 00:30:51,660
This intimacy
with another human being
526
00:30:51,726 --> 00:30:54,030
replicates the intimacy
527
00:30:54,095 --> 00:30:58,167
of being an infant
at your mother’s breast,
528
00:30:58,232 --> 00:31:02,972
and you’re this far away,
and you lose that.
529
00:31:04,472 --> 00:31:07,210
You get it in sex later,
530
00:31:07,275 --> 00:31:10,079
if you keep your eyes open.
531
00:31:10,144 --> 00:31:15,318
But intimacy in love, sex,
532
00:31:15,383 --> 00:31:20,523
in violence
is very powerful and memorable.
533
00:31:20,588 --> 00:31:23,059
Lecter: You still wake up
sometimes, don’t you?
534
00:31:23,124 --> 00:31:25,394
You wake up in the dark.
535
00:31:25,459 --> 00:31:27,430
You hear the screaming
of the lambs.
536
00:31:27,495 --> 00:31:31,534
{\an8}Suber: Like this exchange
in "The Silence of the Lambs." Yes.
537
00:31:31,599 --> 00:31:34,437
And you think if you save
poor Catherine,
538
00:31:34,502 --> 00:31:35,939
you could make them stop,
don’t you?
539
00:31:36,003 --> 00:31:38,241
You think
if Catherine lives,
540
00:31:38,306 --> 00:31:41,544
you won’t wake up
in the dark ever again
541
00:31:41,609 --> 00:31:44,680
to that awful screaming
of the lambs.
542
00:31:45,880 --> 00:31:47,150
I don’t know.
543
00:31:47,916 --> 00:31:49,485
I don’t know.
544
00:31:50,885 --> 00:31:53,556
Thank you, Clarice.
545
00:31:53,622 --> 00:31:54,991
Thank you.
546
00:31:55,056 --> 00:31:58,194
One of the most important
and often seen
547
00:31:58,259 --> 00:32:01,830
kinds of power
is institutional power.
548
00:32:01,896 --> 00:32:03,432
[ Siren wailing ]
549
00:32:03,498 --> 00:32:07,436
If you’re driving down
the street or highway,
550
00:32:07,502 --> 00:32:09,205
and you look
in your rear-view mirror
551
00:32:09,270 --> 00:32:12,475
and you see
the familiar red light,
552
00:32:12,535 --> 00:32:14,911
{\an8}as in "Thelma & Louise,"
553
00:32:14,976 --> 00:32:17,313
{\an8}and the cop comes up to you,
554
00:32:17,378 --> 00:32:20,716
{\an8}and you notice he has a weapon,
555
00:32:20,781 --> 00:32:25,321
but you don’t really expect,
at least if you’re white,
556
00:32:25,386 --> 00:32:27,390
that he’s going to use it
on you.
557
00:32:27,455 --> 00:32:30,426
You’re more concerned
with his badge.
558
00:32:30,491 --> 00:32:33,362
Hello, Officer.
Is there a problem?
559
00:32:33,428 --> 00:32:38,234
That tin star is a symbol
of where his power comes from.
560
00:32:38,299 --> 00:32:40,069
You want to let me see
your license, please?
561
00:32:40,133 --> 00:32:44,540
He’s got other cops and courts
and everything else behind him,
562
00:32:44,605 --> 00:32:48,244
and he can lock you up
and throw away the key
563
00:32:48,309 --> 00:32:49,946
for a long period of time.
564
00:32:50,011 --> 00:32:52,215
You want to get out
of the car?
565
00:32:52,280 --> 00:32:56,685
The institutional power
of a cop is really high.
566
00:32:56,752 --> 00:32:58,287
Come with me, please.
567
00:32:58,352 --> 00:33:06,395
But as powerful as institutions
are in real life,
568
00:33:06,460 --> 00:33:10,899
we compensate
for that power in movies,
569
00:33:10,965 --> 00:33:13,536
most often by making fun of it
570
00:33:13,600 --> 00:33:18,741
or by proving it
to be irrelevant.
571
00:33:21,109 --> 00:33:25,009
{\an8}In the old days
of silent comedy,
572
00:33:25,079 --> 00:33:28,084
{\an8}a lot of the fun
consists of making fun
573
00:33:28,149 --> 00:33:31,487
{\an8}of the symbols of power.
574
00:33:31,552 --> 00:33:37,826
Stuffy guy in a top hat,
people who are nothing
575
00:33:37,891 --> 00:33:42,331
if you remove
their institutional affiliation.
576
00:33:43,364 --> 00:33:47,803
We don’t really like
institutional power,
577
00:33:47,869 --> 00:33:50,974
especially if we don’t have it.
578
00:33:51,038 --> 00:33:55,511
{\an8}So, to see people
who are inflated
579
00:33:55,576 --> 00:33:58,581
{\an8}with their own
institutional power
580
00:33:58,646 --> 00:34:03,319
get their comeuppance
is really satisfying.
581
00:34:06,253 --> 00:34:08,424
In "The Shawshank Redemption"...
582
00:34:08,489 --> 00:34:12,661
{\an8}I believe in two things --
discipline and the Bible.
583
00:34:12,726 --> 00:34:16,265
{\an8}...the warden clearly
has enormous power.
584
00:34:16,330 --> 00:34:19,035
Put your trust in the Lord.
585
00:34:19,100 --> 00:34:21,370
Your ass belongs to me.
586
00:34:22,938 --> 00:34:24,440
Welcome to Shawshank.
587
00:34:24,505 --> 00:34:28,211
But we know from the
opening scene at the lineup
588
00:34:28,276 --> 00:34:32,315
that this guy
may have the power now,
589
00:34:32,380 --> 00:34:35,418
but he won’t
by the end of this film.
590
00:34:36,184 --> 00:34:37,853
Open the door.
591
00:34:40,288 --> 00:34:43,592
Heroes are victimized
all the time.
592
00:34:43,657 --> 00:34:47,063
That’s the setup that leads
to the hero acting...
593
00:34:47,128 --> 00:34:48,231
Turn that off!
594
00:34:48,295 --> 00:34:50,733
...well, heroically.
595
00:34:50,799 --> 00:34:52,635
[ Knock on door ]
596
00:34:53,400 --> 00:34:56,705
The hero appears to be trapped...
I am warning you, Dufresne. Turn that off!
597
00:34:56,770 --> 00:35:01,177
...but he doesn’t allow
his victimization to stop him.
598
00:35:05,141 --> 00:35:08,417
He defies that
which has bound him,
599
00:35:08,482 --> 00:35:12,221
and he summons
the greatest power of all --
600
00:35:12,287 --> 00:35:13,722
willpower,
601
00:35:13,788 --> 00:35:18,161
which is often the only power
he or she had.
602
00:35:21,562 --> 00:35:24,200
Saying no, being defiant,
603
00:35:24,265 --> 00:35:29,205
not allowing yourself
to be the victim
604
00:35:29,270 --> 00:35:34,177
or to be victimized
by what happens to you.
605
00:35:36,777 --> 00:35:40,416
{\an8}The prisoner wishes
to say a word.
606
00:35:40,482 --> 00:35:42,718
{\an8}[ Crowd shouting ]
607
00:35:44,853 --> 00:35:46,289
In "Braveheart,"
608
00:35:46,354 --> 00:35:48,925
Mel Gibson’s character
William Wallace
609
00:35:48,990 --> 00:35:51,360
is tortured to death,
610
00:35:51,425 --> 00:35:56,465
but he has the willpower
to utter one last defiant word,
611
00:35:56,531 --> 00:36:00,164
one that will make him
a memorable hero to his people.
612
00:36:00,234 --> 00:36:08,912
Freedooooooom!
613
00:36:08,976 --> 00:36:18,521
{\an8}♪♪
614
00:36:18,586 --> 00:36:21,185
Finally, in our list of powers,
615
00:36:21,250 --> 00:36:24,693
I think it necessary
to mention respect.
616
00:36:25,459 --> 00:36:27,096
But I saved this for last
617
00:36:27,161 --> 00:36:34,270
because respect is something
that other people bestow on you.
618
00:36:37,905 --> 00:36:40,910
{\an8}Shortly before the ending
of "Schindler’s List,"
619
00:36:40,976 --> 00:36:45,481
{\an8}after the war ends,
Schindler says...
620
00:36:45,547 --> 00:36:47,951
I could have got more out.
621
00:36:50,385 --> 00:36:52,216
I could have got more.
622
00:36:52,287 --> 00:36:54,557
I don't know.
If I'd just...
623
00:36:56,257 --> 00:36:57,961
I could have got more.
624
00:36:58,024 --> 00:37:01,130
Oskar, there are 1,100 people
who are alive because of you.
625
00:37:01,195 --> 00:37:02,765
Look at them.
626
00:37:02,830 --> 00:37:08,104
And he is rewarded by
Itzhak Stern with a gold ring
627
00:37:08,168 --> 00:37:15,111
that is a sign of the respect
of the inmates who faced death
628
00:37:15,176 --> 00:37:17,780
if it weren’t for his effort.
629
00:37:19,447 --> 00:37:21,650
The film doesn’t end there.
630
00:37:21,715 --> 00:37:24,620
{\an8}We see a long line
of the descendants
631
00:37:24,685 --> 00:37:27,723
{\an8}of the Jews
that Schindler saved.
632
00:37:28,556 --> 00:37:31,760
{\an8}And we are at what we realize
633
00:37:31,826 --> 00:37:35,731
{\an8}is Schindler’s grave
in the real world.
634
00:37:35,796 --> 00:37:38,834
{\an8}And they walk by,
and they each put a stone,
635
00:37:38,899 --> 00:37:44,473
because that is a ritual of Jews
when they visit the dead
636
00:37:44,540 --> 00:37:46,943
as a sign of respect.
637
00:37:48,676 --> 00:37:55,051
It is the greatest achievement
to be respected and remembered.
638
00:37:55,116 --> 00:37:59,855
{\an8}♪♪
639
00:37:59,920 --> 00:38:04,227
Our greatest fear, I think,
is not death.
640
00:38:04,292 --> 00:38:06,095
It’s impotence.
641
00:38:06,160 --> 00:38:09,732
It’s powerlessness.
642
00:38:10,664 --> 00:38:15,438
It’s discovering that we are --
643
00:38:15,503 --> 00:38:18,707
as we will discuss
in the next episode --
644
00:38:18,774 --> 00:38:20,143
trapped,
645
00:38:20,208 --> 00:38:26,049
that we don’t have the power
to change our world,
646
00:38:26,113 --> 00:38:27,650
and it hurts.
647
00:38:27,716 --> 00:38:30,019
And one of the compensations
648
00:38:30,083 --> 00:38:35,458
that memorable popular films
give their audiences
649
00:38:35,524 --> 00:38:37,860
is a great gift,
650
00:38:37,925 --> 00:38:44,500
is the belief that
you don’t have to be powerless.
651
00:38:45,266 --> 00:38:54,643
You can change your world
and your experience of life.
652
00:38:55,477 --> 00:39:04,887
{\an8}♪♪
653
00:39:04,952 --> 00:39:14,163
{\an8}♪♪
654
00:39:14,228 --> 00:39:23,439
{\an8}♪♪
655
00:39:23,505 --> 00:39:32,949
{\an8}♪♪
656
00:39:33,014 --> 00:39:42,225
{\an8}♪♪
657
00:39:42,289 --> 00:39:51,500
{\an8}♪♪
658
00:39:51,566 --> 00:40:00,977
{\an8}♪♪
659
00:40:01,042 --> 00:40:10,553
{\an8}♪♪
47716
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