Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:24,109 --> 00:00:25,777
Nobody has ever seen a
2
00:00:25,986 --> 00:00:28,279
bald-headed Indian...
3
00:01:27,088 --> 00:01:28,339
I think often that the most
4
00:01:28,548 --> 00:01:29,788
interesting view out a train is
5
00:01:29,966 --> 00:01:30,966
the back window.
6
00:01:31,051 --> 00:01:32,510
You go to the very back car
7
00:01:32,719 --> 00:01:34,095
'cause you can see a full
8
00:01:34,304 --> 00:01:37,849
180 view out the back.
9
00:01:38,058 --> 00:01:39,338
It's something kind of poetic as
10
00:01:39,476 --> 00:01:40,060
you leave.
11
00:01:40,268 --> 00:01:41,770
You can't really see out the
12
00:01:41,978 --> 00:01:43,104
front of the train.
13
00:01:43,313 --> 00:01:44,898
That's not really possible,
14
00:01:45,106 --> 00:01:46,399
'cause it's the engines and
15
00:01:46,608 --> 00:01:47,776
conductors and all that.
16
00:01:47,984 --> 00:01:49,069
But the back is yours, and
17
00:01:49,277 --> 00:01:50,528
that's interesting, 'cause it's
18
00:01:50,737 --> 00:01:53,573
what's behind you now.
19
00:01:56,284 --> 00:02:00,663
All of life is just memory.
20
00:02:00,872 --> 00:02:02,707
The present, if you have a
21
00:02:02,916 --> 00:02:04,918
timeline, and you look at the
22
00:02:05,126 --> 00:02:06,419
present, it's a point.
23
00:02:06,628 --> 00:02:08,338
And everything on this side of
24
00:02:08,546 --> 00:02:10,048
it is the future, and that
25
00:02:10,256 --> 00:02:11,800
side's the past.
26
00:02:12,008 --> 00:02:13,051
And a point does not have
27
00:02:13,259 --> 00:02:14,803
dimension.
28
00:02:15,011 --> 00:02:16,888
So, the present doesn't have any
29
00:02:17,097 --> 00:02:19,599
time.
30
00:02:47,752 --> 00:02:50,839
I was thinking about why I make
31
00:02:51,047 --> 00:02:52,924
films, and I thought, "well, it"
32
00:02:53,133 --> 00:02:55,677
started when I was very young."
33
00:03:11,693 --> 00:03:12,861
Mommy, mommy, mommy!
34
00:03:13,069 --> 00:03:15,280
I grew up in Milwaukee in the
35
00:03:15,488 --> 00:03:17,031
'50s, and it was a time when
36
00:03:17,240 --> 00:03:19,033
parents didn't worry about their
37
00:03:19,242 --> 00:03:21,661
kids being outside, and you
38
00:03:21,870 --> 00:03:24,414
could just go, and as long as
39
00:03:24,622 --> 00:03:26,541
you didn't get into trouble, you
40
00:03:26,749 --> 00:03:29,127
could keep going.
41
00:03:29,335 --> 00:03:31,004
And it was always about
42
00:03:31,212 --> 00:03:33,006
adventure and about having an
43
00:03:33,214 --> 00:03:35,008
experience that would kind of
44
00:03:35,216 --> 00:03:37,218
make my neighborhood get bigger.
45
00:03:37,427 --> 00:03:39,012
And I didn't think of that as a
46
00:03:39,220 --> 00:03:40,763
kid, but now I think it's what
47
00:03:40,972 --> 00:03:43,766
I've been doing my whole life.
48
00:03:54,402 --> 00:03:55,528
I have a lot of sympathy for
49
00:03:55,737 --> 00:03:56,857
people in their 20s, who are
50
00:03:56,988 --> 00:03:58,228
sort of wanting to do something
51
00:03:58,323 --> 00:03:59,824
different or discover what
52
00:04:00,033 --> 00:04:01,826
they're most passionate about or
53
00:04:02,035 --> 00:04:04,412
live a life of purpose.
54
00:04:04,621 --> 00:04:06,706
Cinema was the thing that saved
55
00:04:06,915 --> 00:04:07,957
me.
56
00:04:08,166 --> 00:04:09,042
I just would spend all my time
57
00:04:09,250 --> 00:04:11,044
reading about film or watching
58
00:04:11,252 --> 00:04:11,711
movies.
59
00:04:11,920 --> 00:04:13,463
It was probably that necessary
60
00:04:13,671 --> 00:04:14,547
period where you have to sort of
61
00:04:14,756 --> 00:04:15,882
separate yourself from
62
00:04:16,090 --> 00:04:17,884
everything you knew before, or
63
00:04:18,092 --> 00:04:19,594
as you sort of define yourself
64
00:04:19,802 --> 00:04:22,555
as an adult.
65
00:04:33,358 --> 00:04:35,068
I often joke, when people ask
66
00:04:35,276 --> 00:04:36,736
if I went to film school... I
67
00:04:36,945 --> 00:04:38,154
says, "oh, I went to the"
68
00:04:38,363 --> 00:04:39,523
Stanley Kubrick film school,"
69
00:04:39,656 --> 00:04:40,696
which means you just buy a
70
00:04:40,823 --> 00:04:42,533
camera, and you learn how to use
71
00:04:42,742 --> 00:04:44,022
it, and you start making movies.
72
00:04:44,160 --> 00:04:46,037
The uncertainties of the
73
00:04:46,246 --> 00:04:46,829
'60s...
74
00:04:47,038 --> 00:04:48,164
Find that one line.
75
00:04:48,373 --> 00:04:49,373
You remember that line
76
00:04:49,415 --> 00:04:49,791
perfectly.
77
00:04:49,999 --> 00:04:50,458
Okay.
78
00:04:50,667 --> 00:04:51,667
You reread it ten times
79
00:04:51,834 --> 00:04:52,874
'cause it was just like it
80
00:04:53,044 --> 00:04:53,419
nailed it.
81
00:04:53,628 --> 00:04:54,504
It's hard to say what's going
82
00:04:54,712 --> 00:04:57,048
on.
83
00:04:57,257 --> 00:04:58,257
Okay.
84
00:04:58,424 --> 00:04:59,217
And watch his hair.
85
00:04:59,425 --> 00:05:00,176
It's always this side.
86
00:05:00,385 --> 00:05:01,052
Whatever's in the camera,
87
00:05:01,261 --> 00:05:03,054
sometimes, it... you feel it
88
00:05:03,263 --> 00:05:05,807
falling in your face, just very
89
00:05:06,015 --> 00:05:07,267
subtly kind of...
90
00:05:07,475 --> 00:05:09,769
I'll try.
91
00:05:14,691 --> 00:05:15,733
No. No!
92
00:05:15,942 --> 00:05:17,318
Of course not.
93
00:05:17,527 --> 00:05:19,821
Us?
94
00:05:20,029 --> 00:05:21,029
Okay.
95
00:05:21,072 --> 00:05:21,823
How could you even suggest
96
00:05:22,031 --> 00:05:22,699
that?
97
00:05:22,907 --> 00:05:25,994
Let's go!
98
00:06:30,433 --> 00:06:32,226
Hey, morning.
99
00:06:32,435 --> 00:06:33,436
Morning, man.
100
00:06:33,644 --> 00:06:34,437
How goes it?
101
00:06:34,645 --> 00:06:37,440
Good, good.
102
00:06:40,234 --> 00:06:42,528
Let me dump this off.
103
00:06:42,737 --> 00:06:43,737
It's over here, huh?
104
00:06:43,863 --> 00:06:45,448
Yeah, around the corner.
105
00:07:03,216 --> 00:07:04,216
I love the Polish poster.
106
00:07:04,258 --> 00:07:04,884
You can't really tell.
107
00:07:05,093 --> 00:07:05,885
Like, "what movie's that?"
108
00:07:06,094 --> 00:07:07,136
What would be that?
109
00:07:07,345 --> 00:07:08,471
I really want to go see.
110
00:07:08,679 --> 00:07:09,097
Takes a while.
111
00:07:09,305 --> 00:07:10,098
You put all the names together.
112
00:07:10,306 --> 00:07:11,391
Ah!
113
00:07:12,809 --> 00:07:14,602
It's a wonderful opportunity,
114
00:07:14,811 --> 00:07:16,020
and we're so pleased if you'd
115
00:07:16,229 --> 00:07:17,230
come and join us for the
116
00:07:17,438 --> 00:07:19,440
weekend and see films and do
117
00:07:19,649 --> 00:07:20,649
some films.
118
00:07:20,733 --> 00:07:22,026
So, it's my great pleasure to
119
00:07:22,235 --> 00:07:23,653
introduce Richard Linklater, the
120
00:07:23,861 --> 00:07:24,612
artistic director of the
121
00:07:24,821 --> 00:07:26,155
Austin film society, who will
122
00:07:26,364 --> 00:07:29,492
be introducing...
123
00:07:34,163 --> 00:07:35,163
Well, thanks, guys, for
124
00:07:35,331 --> 00:07:35,748
coming out.
125
00:07:35,957 --> 00:07:36,958
I just want to encourage you to
126
00:07:37,166 --> 00:07:38,209
see all the films this weekend.
127
00:07:38,418 --> 00:07:40,711
It's just a great opportunity to
128
00:07:40,920 --> 00:07:42,839
see some work of one of the
129
00:07:43,047 --> 00:07:45,133
world's great visual artists.
130
00:07:45,341 --> 00:07:48,428
You know, 25 years ago, in 1988,
131
00:07:48,636 --> 00:07:49,929
the film society had our first.
132
00:07:50,138 --> 00:07:51,472
Grant money ever from the city
133
00:07:51,681 --> 00:07:53,057
and the state, and it had always
134
00:07:53,266 --> 00:07:54,600
been an ambition to be able to
135
00:07:54,809 --> 00:07:55,809
bring in filmmakers.
136
00:07:55,893 --> 00:07:57,854
So, the very first filmmaker I
137
00:07:58,062 --> 00:08:00,064
wanted to bring in, whose work
138
00:08:00,273 --> 00:08:01,983
intrigued me the most, was
139
00:08:02,191 --> 00:08:04,986
James Benning.
140
00:10:48,357 --> 00:10:49,817
I'm always amazed at your
141
00:10:50,026 --> 00:10:50,443
movies.
142
00:10:50,651 --> 00:10:52,111
I love just the experience of
143
00:10:52,320 --> 00:10:52,987
watching them.
144
00:10:53,195 --> 00:10:54,697
You realize we're all watching
145
00:10:54,905 --> 00:10:56,407
the exact same images, but I'm
146
00:10:56,616 --> 00:10:57,656
sure we're all having very
147
00:10:57,700 --> 00:10:58,820
different experiences in our
148
00:10:59,493 --> 00:11:00,870
that's so rare in the modern
149
00:11:01,078 --> 00:11:02,455
world, where you really get
150
00:11:02,663 --> 00:11:04,248
10 minutes to just study nature.
151
00:11:04,457 --> 00:11:05,333
And I think that's more of a
152
00:11:05,541 --> 00:11:06,876
challenge all the time, 'cause
153
00:11:07,084 --> 00:11:08,377
if you really think about it,
154
00:11:08,586 --> 00:11:09,754
how many of us have sat for
155
00:11:09,962 --> 00:11:11,339
10 minutes and just studied the
156
00:11:11,547 --> 00:11:13,883
way light moves, the ripple of a
157
00:11:14,091 --> 00:11:16,052
wave, all the things in the
158
00:11:16,260 --> 00:11:17,260
natural world?
159
00:11:17,386 --> 00:11:19,472
Your films remind me how
160
00:11:19,680 --> 00:11:20,848
beautiful...
161
00:11:21,057 --> 00:11:23,893
So, I mean, I'm happy to
162
00:11:24,101 --> 00:11:27,146
present this film, because it
163
00:11:27,355 --> 00:11:29,690
confronts you with a reality
164
00:11:29,899 --> 00:11:32,068
that's actually always there,
165
00:11:32,276 --> 00:11:33,436
but we're getting further and
166
00:11:33,611 --> 00:11:34,862
further away from.
167
00:11:35,071 --> 00:11:36,530
After I made these films in the
168
00:11:36,739 --> 00:11:38,199
'90s that were dealing with
169
00:11:38,407 --> 00:11:41,243
text and image and with lots of
170
00:11:41,452 --> 00:11:43,871
information, I became very
171
00:11:44,080 --> 00:11:47,375
interested in early, very early
172
00:11:47,583 --> 00:11:49,669
cinema, before narrative was
173
00:11:49,877 --> 00:11:51,879
introduced in these kind of
174
00:11:52,088 --> 00:11:53,839
observational films that I
175
00:11:54,048 --> 00:11:56,050
thought were really amazing, and
176
00:11:56,258 --> 00:11:58,678
I thought this is where, really,
177
00:11:58,886 --> 00:12:00,888
film had a great strength and
178
00:12:01,097 --> 00:12:03,224
that by the introduction of
179
00:12:03,432 --> 00:12:05,267
narrative and especially
180
00:12:05,476 --> 00:12:07,728
narrative language, it took us
181
00:12:07,937 --> 00:12:10,356
away from what I was seeing as a
182
00:12:10,564 --> 00:12:12,983
really strong point for film.
183
00:12:13,192 --> 00:12:15,528
In the last 10 or 12 years, I've
184
00:12:15,736 --> 00:12:17,947
been investigating that, kind of
185
00:12:18,155 --> 00:12:20,116
going back to the beginning of
186
00:12:20,324 --> 00:12:20,866
cinema.
187
00:12:21,075 --> 00:12:22,315
I knew the first shot was gonna
188
00:12:22,410 --> 00:12:23,610
be the sunrise, and I knew the
189
00:12:23,703 --> 00:12:25,871
last shot was gonna be these
190
00:12:26,080 --> 00:12:28,207
relentless waves coming into
191
00:12:28,416 --> 00:12:33,337
somewhat suggest infinity, that
192
00:12:33,546 --> 00:12:35,381
these lakes... we're killing
193
00:12:35,589 --> 00:12:37,133
these lakes, but in the end,
194
00:12:37,341 --> 00:12:38,718
they're gonna outlast us,
195
00:12:38,926 --> 00:12:43,931
because we'll be shook off the
196
00:12:44,140 --> 00:12:45,349
earth like fleas.
197
00:12:46,684 --> 00:12:48,769
And the lakes will then clean
198
00:12:48,978 --> 00:12:50,062
themselves up.
199
00:12:50,271 --> 00:12:52,231
In a sense, that's the feeling I
200
00:12:52,440 --> 00:12:54,066
got from visiting all these
201
00:12:54,275 --> 00:12:54,775
places.
202
00:12:54,984 --> 00:12:56,986
That's the kind of larger thing
203
00:12:57,194 --> 00:12:58,946
I think I learned from this
204
00:12:59,155 --> 00:13:01,824
film.
205
00:13:05,202 --> 00:13:07,455
So, the offices for the
206
00:13:07,663 --> 00:13:10,458
film society are back in there
207
00:13:10,666 --> 00:13:11,250
now, huh?
208
00:13:11,459 --> 00:13:13,335
Yeah, yeah, we've kind of...
209
00:13:13,544 --> 00:13:16,255
This is my triple-wide, which is
210
00:13:16,464 --> 00:13:17,715
technically owned by the kind
211
00:13:17,923 --> 00:13:19,800
of... I'm working off the rent.
212
00:13:20,009 --> 00:13:22,344
I bought it, but everything out
213
00:13:22,553 --> 00:13:24,805
here's owned by the city, so I
214
00:13:25,014 --> 00:13:27,391
kind of rent it from the studio.
215
00:13:27,600 --> 00:13:29,185
And this is your production
216
00:13:29,393 --> 00:13:30,393
offices, and then...
217
00:13:30,436 --> 00:13:31,020
This is the stage.
218
00:13:31,228 --> 00:13:32,308
That used to be an airplane
219
00:13:32,646 --> 00:13:33,647
that was an old office.
220
00:13:33,856 --> 00:13:35,024
So, we were able to get all
221
00:13:35,232 --> 00:13:36,692
these buildings and use them for
222
00:13:36,901 --> 00:13:38,527
the industry, 'cause, you know,
223
00:13:38,736 --> 00:13:40,362
back then, if you were shooting
224
00:13:40,571 --> 00:13:41,489
a bigger production, you'd park
225
00:13:41,697 --> 00:13:42,323
your truck somewhere.
226
00:13:42,531 --> 00:13:43,731
The art department would be in
227
00:13:43,908 --> 00:13:44,408
south Austin.
228
00:13:44,617 --> 00:13:45,618
It was all dispersed.
229
00:13:45,826 --> 00:13:47,161
So, now you can just shoot a
230
00:13:47,369 --> 00:13:47,953
bigger film.
231
00:13:48,162 --> 00:13:49,580
You can have your construction
232
00:13:49,789 --> 00:13:51,165
crew in the hangar over there,
233
00:13:51,373 --> 00:13:53,167
your office there, build some
234
00:13:53,375 --> 00:13:54,375
sets there.
235
00:13:54,460 --> 00:13:55,169
This would have been the
236
00:13:55,377 --> 00:13:56,921
airport that I came in on
237
00:13:57,129 --> 00:13:59,048
25 years ago to meet you for the
238
00:13:59,256 --> 00:14:00,256
first time.
239
00:14:00,591 --> 00:14:01,425
Back then, I was at the gate.
240
00:14:01,634 --> 00:14:02,794
You could go to the gate, and
241
00:14:02,968 --> 00:14:03,968
you'd come off the plane.
242
00:14:04,053 --> 00:14:06,138
You had the film in one hand,
243
00:14:06,347 --> 00:14:08,140
16-millimeter box, with a
244
00:14:08,349 --> 00:14:10,351
handle, and, like, a grocery
245
00:14:10,559 --> 00:14:13,354
bag, not even full, like, wound
246
00:14:13,562 --> 00:14:14,188
down.
247
00:14:14,396 --> 00:14:15,689
A toothbrush and a pair of
248
00:14:15,898 --> 00:14:16,357
underwear.
249
00:14:16,565 --> 00:14:17,107
You were that.
250
00:14:17,316 --> 00:14:18,556
I said, "do you have any other"
251
00:14:18,901 --> 00:14:19,360
like, "no."
252
00:14:19,568 --> 00:14:20,648
And you were here for a few
253
00:14:20,945 --> 00:14:21,362
yeah, yeah.
254
00:14:21,570 --> 00:14:22,238
I was really impressed.
255
00:14:22,446 --> 00:14:23,766
I was like, "okay, I really like"
256
00:14:23,823 --> 00:14:24,198
this guy."
257
00:14:24,406 --> 00:14:25,491
I still travel...
258
00:14:25,699 --> 00:14:26,283
I know!
259
00:14:26,492 --> 00:14:27,952
I think that's what you had...
260
00:14:29,954 --> 00:14:31,080
And I think you were wearing
261
00:14:31,288 --> 00:14:32,288
that same thing, too.
262
00:14:32,373 --> 00:14:34,333
Probably.
263
00:15:00,901 --> 00:15:04,446
Often, I will edit on note
264
00:15:04,655 --> 00:15:05,781
cards.
265
00:15:05,990 --> 00:15:07,867
I'll make 10 note cards for
266
00:15:08,075 --> 00:15:10,119
each, and then I will put some
267
00:15:10,327 --> 00:15:12,830
vector on it to show me which
268
00:15:13,038 --> 00:15:14,278
way the clouds might be moving.
269
00:15:14,456 --> 00:15:17,126
And I might put another symbol
270
00:15:17,334 --> 00:15:20,045
on it, to how quick it's moving
271
00:15:20,254 --> 00:15:23,549
or how colorful it is.
272
00:15:23,757 --> 00:15:26,010
So, I can look at these 10 cards
273
00:15:26,218 --> 00:15:28,304
with maybe 5 different symbols
274
00:15:28,512 --> 00:15:29,179
on them.
275
00:15:29,388 --> 00:15:32,057
And it's like taking 10 cards
276
00:15:32,266 --> 00:15:35,102
that are clubs, hearts, spades,
277
00:15:35,311 --> 00:15:38,105
and diamonds and arranging them
278
00:15:38,314 --> 00:15:40,900
so they're not all together.
279
00:15:41,108 --> 00:15:42,568
Does that make sense?
280
00:15:42,776 --> 00:15:44,737
I make symbols that represent
281
00:15:44,945 --> 00:15:48,616
movement, color, direction,
282
00:15:48,824 --> 00:15:51,535
sound, value, and then I put
283
00:15:51,744 --> 00:15:53,662
them in order so that they all
284
00:15:53,871 --> 00:15:55,748
the clubs aren't together, all
285
00:15:55,956 --> 00:15:58,042
the diamonds aren't together.
286
00:15:58,250 --> 00:16:00,669
And then I do a cut that way, in
287
00:16:00,878 --> 00:16:03,297
this case on a flatbed, and then
288
00:16:03,505 --> 00:16:05,758
I look it and say, "oh, that's"
289
00:16:05,966 --> 00:16:07,343
pretty good, but that one isn't
290
00:16:07,551 --> 00:16:08,886
"in the right place," and I might
291
00:16:09,094 --> 00:16:10,554
move it somewhere else.
292
00:16:10,763 --> 00:16:14,141
It seems like a simple job to
293
00:16:14,350 --> 00:16:16,894
order 13 shots or 10 shots, but
294
00:16:17,102 --> 00:16:19,897
13 factorial is somewhere in the
295
00:16:20,105 --> 00:16:21,105
millions.
296
00:16:22,524 --> 00:16:24,151
So, I'm sure I don't have the
297
00:16:24,360 --> 00:16:26,070
best order, 'cause there's so
298
00:16:26,278 --> 00:16:28,822
many possibilities.
299
00:16:29,031 --> 00:16:30,991
We were... I was finishing
300
00:16:31,200 --> 00:16:32,493
editing "slacker."
301
00:16:32,701 --> 00:16:33,327
You were in town.
302
00:16:33,535 --> 00:16:34,535
It was that time we were
303
00:16:35,079 --> 00:16:36,319
"sweet smell of success" or one
304
00:16:36,455 --> 00:16:37,122
of the movies.
305
00:16:37,331 --> 00:16:38,791
We were in the room, and we were
306
00:16:38,999 --> 00:16:40,084
into the last, you know,
307
00:16:40,292 --> 00:16:41,794
probably the last ten minutes of
308
00:16:42,002 --> 00:16:42,461
the movie.
309
00:16:42,670 --> 00:16:43,879
And you made a joke, like,
310
00:16:44,088 --> 00:16:45,589
someone enters the room, and you
311
00:16:45,798 --> 00:16:47,132
just said kind of casually,
312
00:16:47,341 --> 00:16:48,092
"and then we just go off with
313
00:16:48,300 --> 00:16:49,385
"those two people," and the
314
00:16:49,593 --> 00:16:50,803
movie goes right at the climax
315
00:16:51,011 --> 00:16:52,251
of the movie, and I kind of got
316
00:16:52,680 --> 00:16:53,347
I was like, "oh, man."
317
00:16:53,555 --> 00:16:54,755
I just did a whole movie about
318
00:16:55,099 --> 00:16:56,339
like, we just go off with those
319
00:16:56,850 --> 00:16:58,050
I just thought that was pretty
320
00:16:58,644 --> 00:16:59,436
kind of for a second, I was sort
321
00:16:59,645 --> 00:17:00,104
of stunned.
322
00:17:00,312 --> 00:17:01,105
I was like, "oh, no."
323
00:17:01,313 --> 00:17:02,313
Is that a bad idea?"
324
00:17:02,398 --> 00:17:03,558
Actually surprised I've never
325
00:17:04,149 --> 00:17:05,269
yeah, as much as you've been
326
00:17:05,317 --> 00:17:06,360
in Austin, the infamous
327
00:17:06,568 --> 00:17:07,568
Mount Bonnell.
328
00:17:07,695 --> 00:17:09,738
And you filmed "slacker"...
329
00:17:09,947 --> 00:17:11,615
The end of it was done in, what
330
00:17:11,824 --> 00:17:12,908
would that have been...
331
00:17:13,158 --> 00:17:15,411
'89, summer of '89.
332
00:17:15,619 --> 00:17:16,619
We were shooting.
333
00:17:16,745 --> 00:17:18,205
I remember being at outdoor
334
00:17:18,414 --> 00:17:21,000
parties and tying a camera to
335
00:17:21,208 --> 00:17:22,710
the end of a fishing pole, and,
336
00:17:22,918 --> 00:17:23,919
like, casting it out.
337
00:17:24,128 --> 00:17:25,421
And it'd get stuck in a tree.
338
00:17:25,629 --> 00:17:26,629
And the camera would be
339
00:17:27,006 --> 00:17:27,840
so, I had all this old footage,
340
00:17:28,048 --> 00:17:28,799
and I actually used some of
341
00:17:29,008 --> 00:17:30,926
that, 'cause we had the footage.
342
00:17:31,135 --> 00:17:32,295
When we threw the cameras off
343
00:17:32,386 --> 00:17:33,626
mount Bonnell, we went down and
344
00:17:34,138 --> 00:17:35,139
we processed that footage, but
345
00:17:35,347 --> 00:17:36,390
it was kind of blurry, you know.
346
00:17:36,598 --> 00:17:39,435
We probably had four cameras
347
00:17:39,643 --> 00:17:41,562
going and then had that super-8
348
00:17:42,271 --> 00:17:44,273
and I had met this girl that
349
00:17:44,481 --> 00:17:46,316
summer who actually had a
350
00:17:46,525 --> 00:17:47,818
JK optical printer.
351
00:17:48,027 --> 00:17:48,402
Uh-huh.
352
00:17:48,610 --> 00:17:50,029
So, it took it from super-8,
353
00:17:50,237 --> 00:17:50,696
the reversal...
354
00:17:50,904 --> 00:17:51,613
And then you blew it up.
355
00:17:51,822 --> 00:17:52,865
Yeah, blew it up to
356
00:17:53,073 --> 00:17:54,533
16 negative.
357
00:17:54,742 --> 00:17:57,077
And then kind of on a Bolex.
358
00:17:57,286 --> 00:17:58,620
That was really wonderful.
359
00:17:58,829 --> 00:18:00,289
And then ended up blowing that
360
00:18:00,497 --> 00:18:01,540
up to 35, eventually.
361
00:18:01,749 --> 00:18:04,543
So, that film had covered a lot
362
00:18:04,752 --> 00:18:05,461
of formats.
363
00:18:05,669 --> 00:18:07,087
We even had Pixelvision.
364
00:18:07,296 --> 00:18:08,005
We had video.
365
00:18:08,213 --> 00:18:09,631
Hey, Kelly, nice shoes.
366
00:18:09,840 --> 00:18:10,840
Hey, what is that?
367
00:18:10,924 --> 00:18:11,924
Oh, it's my Pixelvision
368
00:18:12,342 --> 00:18:13,427
it's for a project that I'm
369
00:18:13,635 --> 00:18:14,261
putting together.
370
00:18:14,470 --> 00:18:15,345
Hey, um, I'll tell you what.
371
00:18:15,554 --> 00:18:16,305
Why don't want one of you take
372
00:18:16,513 --> 00:18:19,224
it and shoot whatever you want?
373
00:18:19,433 --> 00:18:20,593
Pass it around, and we'll see
374
00:18:20,642 --> 00:18:21,842
what we come up with later on,
375
00:18:21,894 --> 00:18:25,147
okay?
376
00:18:25,355 --> 00:18:26,440
But I want my camera back,
377
00:18:26,648 --> 00:18:29,276
all right?
378
00:18:38,786 --> 00:18:41,038
I had many students over the
379
00:18:41,246 --> 00:18:43,499
last 25 years that were actually
380
00:18:43,707 --> 00:18:45,751
inspired to become filmmakers
381
00:18:45,959 --> 00:18:47,961
from seeing a film that talked
382
00:18:48,170 --> 00:18:49,379
to them directly.
383
00:18:49,588 --> 00:18:50,130
It was like...
384
00:18:50,339 --> 00:18:51,423
It feels like a film they
385
00:18:51,632 --> 00:18:52,966
could make, in a way.
386
00:18:53,175 --> 00:18:54,718
That's what inspired me.
387
00:18:54,927 --> 00:18:56,345
You see a film, and you go,
388
00:18:56,553 --> 00:18:57,012
"ahh."
389
00:18:57,221 --> 00:18:59,264
I talk with my students today
390
00:18:59,473 --> 00:19:01,517
about I'm not interested in them
391
00:19:01,725 --> 00:19:03,185
making another good film because
392
00:19:03,393 --> 00:19:04,812
there's a lot of good films, but
393
00:19:05,020 --> 00:19:07,064
I'm interested in students
394
00:19:07,272 --> 00:19:09,525
finding a new language, a new
395
00:19:09,733 --> 00:19:13,403
way of working, pushing to make
396
00:19:13,612 --> 00:19:15,155
the film culture grow, in a
397
00:19:15,364 --> 00:19:15,781
sense.
398
00:19:15,989 --> 00:19:17,324
Yeah.
399
00:19:17,533 --> 00:19:18,826
I mean, I don't know if you
400
00:19:19,034 --> 00:19:20,369
set out to do that, but I think
401
00:19:20,577 --> 00:19:22,037
"slacker" was a beginning to
402
00:19:22,246 --> 00:19:24,206
open up a new language, a new...
403
00:19:24,414 --> 00:19:25,414
Yeah, I think in the
404
00:19:25,582 --> 00:19:26,208
narrative realm.
405
00:19:26,416 --> 00:19:27,626
I was very conscious of a new
406
00:19:27,835 --> 00:19:30,254
way to tell a story or to push
407
00:19:30,462 --> 00:19:32,714
the storytelling boundaries,
408
00:19:32,923 --> 00:19:35,259
'cause, like you, I've always
409
00:19:35,467 --> 00:19:37,761
felt kind of oppressed by the
410
00:19:37,970 --> 00:19:39,596
three-acts story structure of
411
00:19:39,805 --> 00:19:41,557
the narrative history of cinema.
412
00:19:41,765 --> 00:19:43,100
A well-told story has its place,
413
00:19:43,308 --> 00:19:44,726
but, you know, I'm always trying
414
00:19:44,935 --> 00:19:47,980
to yeah, push that a little bit.
415
00:19:48,188 --> 00:19:49,565
Over lunch we can argue about
416
00:19:50,232 --> 00:19:51,232
yeah, yeah.
417
00:19:52,025 --> 00:19:54,695
Good.
418
00:20:11,628 --> 00:20:15,841
Come on. Backhand.
419
00:20:16,049 --> 00:20:18,385
Get in shape.
420
00:20:31,648 --> 00:20:34,026
Topspin.
421
00:20:37,946 --> 00:20:38,946
Oh, that's off.
422
00:20:43,535 --> 00:20:44,620
Oh.
423
00:20:44,828 --> 00:20:48,624
Way off.
424
00:20:48,832 --> 00:20:50,500
Yeah, anyone can shoot when...
425
00:20:50,709 --> 00:20:51,418
Okay, let's do it.
426
00:20:51,627 --> 00:20:52,627
Could do a 3-pointer.
427
00:20:52,753 --> 00:20:53,913
You got to really get warm to
428
00:20:54,087 --> 00:20:55,087
get the...
429
00:20:57,174 --> 00:20:58,414
I slowly... you have to kind of
430
00:20:58,508 --> 00:21:00,510
warm up and get to them.
431
00:21:00,719 --> 00:21:02,930
I'm working my way back.
432
00:21:03,138 --> 00:21:04,556
I have to work way, way
433
00:21:04,765 --> 00:21:06,058
back... 30 years or so.
434
00:21:06,266 --> 00:21:06,767
Yeah, yeah.
435
00:21:06,975 --> 00:21:08,135
Back to when they didn't even
436
00:21:08,310 --> 00:21:09,853
have a 3-pointer.
437
00:21:10,062 --> 00:21:12,564
You were at u.T. And played,
438
00:21:12,773 --> 00:21:13,773
too, right?
439
00:21:13,815 --> 00:21:15,192
No, I played at Sam Houston.
440
00:21:15,400 --> 00:21:15,901
Okay.
441
00:21:16,109 --> 00:21:17,861
Yeah, I went to school on a
442
00:21:18,070 --> 00:21:18,820
scholarship.
443
00:21:19,071 --> 00:21:20,072
At that point, that was such a
444
00:21:20,280 --> 00:21:21,114
focus of my life, you know?
445
00:21:21,323 --> 00:21:22,407
Yeah.
446
00:21:22,616 --> 00:21:25,661
I was just gonna go play
447
00:21:25,869 --> 00:21:27,579
college ball wherever I felt I
448
00:21:27,788 --> 00:21:28,914
could play soon est.
449
00:21:29,122 --> 00:21:30,666
I thought I'd play as a freshman
450
00:21:30,874 --> 00:21:32,459
somewhere.
451
00:21:32,668 --> 00:21:34,253
Well, I always brag I had a
452
00:21:34,461 --> 00:21:35,963
college scholarship, too, but
453
00:21:36,171 --> 00:21:38,006
tuition was only $90.
454
00:21:38,215 --> 00:21:38,632
Yeah.
455
00:21:38,840 --> 00:21:40,384
I think it was pretty cheap when
456
00:21:40,592 --> 00:21:42,094
I was there, too.
457
00:21:42,302 --> 00:21:43,053
I think now it actually means
458
00:21:43,262 --> 00:21:45,889
something.
459
00:21:46,098 --> 00:21:47,933
But I quit after two years,
460
00:21:48,141 --> 00:21:50,102
and I think you quit because you
461
00:21:50,310 --> 00:21:51,812
had some heart problems at one
462
00:21:52,562 --> 00:21:56,108
yeah, it's like it quit me.
463
00:21:56,316 --> 00:21:58,360
Yeah, I played... I really only
464
00:21:58,568 --> 00:21:59,653
played one year.
465
00:21:59,861 --> 00:22:01,154
It was on the Eve of my
466
00:22:01,363 --> 00:22:02,363
sophomore year.
467
00:22:02,406 --> 00:22:03,740
I remember I was playing
468
00:22:03,949 --> 00:22:05,701
left field, batting third in the
469
00:22:05,909 --> 00:22:07,411
lineup, playing as good as I
470
00:22:07,619 --> 00:22:08,287
ever played.
471
00:22:08,495 --> 00:22:11,623
And then...
472
00:22:11,832 --> 00:22:13,250
Just had this heart-rhythm
473
00:22:13,458 --> 00:22:14,876
thing.
474
00:22:15,085 --> 00:22:17,337
Couldn't run.
475
00:22:17,546 --> 00:22:18,880
It was almost like a
476
00:22:19,089 --> 00:22:25,345
career-ending injury, you know?
477
00:22:25,554 --> 00:22:27,014
When did you admit to
478
00:22:27,222 --> 00:22:29,099
yourself you weren't gonna make
479
00:22:29,308 --> 00:22:30,309
the big leagues?
480
00:22:30,517 --> 00:22:32,352
I think it was about when I was
481
00:22:34,563 --> 00:22:35,897
I don't think I still have.
482
00:22:36,106 --> 00:22:37,106
I still kind of think...
483
00:22:37,232 --> 00:22:38,525
[laughing 1 you still have a
484
00:22:39,234 --> 00:22:41,987
I had a dream, like, about...
485
00:22:42,195 --> 00:22:43,655
It was a few years ago.
486
00:22:43,864 --> 00:22:45,824
It was almost like a bad movie.
487
00:22:46,033 --> 00:22:47,659
You get one at bat in the
488
00:22:47,868 --> 00:22:49,619
major leagues or something.
489
00:22:49,828 --> 00:22:52,122
I don't know.
490
00:22:52,331 --> 00:22:54,249
Yeah, delusion... I don't know.
491
00:22:54,458 --> 00:22:56,460
I think it's important in sports
492
00:22:56,668 --> 00:22:58,003
and in arts, in a way.
493
00:22:58,211 --> 00:23:00,047
You have to think you're... no
494
00:23:00,255 --> 00:23:01,631
matter how good you are, you
495
00:23:01,840 --> 00:23:03,258
have to think you're a little
496
00:23:03,467 --> 00:23:04,467
better than you are.
497
00:23:04,551 --> 00:23:06,219
And how many films have you
498
00:23:06,428 --> 00:23:08,055
made that deal with baseball?
499
00:23:08,263 --> 00:23:09,848
I know you made a film with
500
00:23:10,057 --> 00:23:11,516
coach or about the coach.
501
00:23:11,725 --> 00:23:13,143
I did a documentary.
502
00:23:13,352 --> 00:23:14,936
In "dazed and confused," my
503
00:23:15,145 --> 00:23:16,772
young character... there's a
504
00:23:16,980 --> 00:23:18,899
brief baseball scene, where he's
505
00:23:19,107 --> 00:23:22,694
pitching, like, little league.
506
00:23:33,121 --> 00:23:34,539
Strike three!
507
00:23:34,748 --> 00:23:35,791
And I find now, like,
508
00:23:35,999 --> 00:23:37,209
directing a movie with a big
509
00:23:37,417 --> 00:23:38,835
crew and a lot of cast and a lot
510
00:23:39,044 --> 00:23:40,253
of people, I'm a lot like my
511
00:23:40,462 --> 00:23:41,463
coaches.
512
00:23:41,671 --> 00:23:42,923
Like a good coach, treats every
513
00:23:43,131 --> 00:23:44,257
player a little... kind of
514
00:23:44,466 --> 00:23:45,506
gives them what they need.
515
00:23:45,926 --> 00:23:46,676
Different players need
516
00:23:46,885 --> 00:23:48,345
different levels of coddling,
517
00:23:48,553 --> 00:23:50,097
instruction, reassurance, tough
518
00:23:50,305 --> 00:23:51,305
love.
519
00:23:51,348 --> 00:23:53,100
A good coach intuits that.
520
00:23:53,308 --> 00:23:54,101
That way, if it hops either
521
00:23:54,309 --> 00:23:55,394
way...
522
00:23:55,602 --> 00:23:57,521
See? Use your legs.
523
00:23:57,729 --> 00:24:00,857
All right?
524
00:24:01,108 --> 00:24:02,567
Run this way.
525
00:24:02,776 --> 00:24:03,819
Catch the ball like that.
526
00:24:04,027 --> 00:24:05,070
Oh!
527
00:24:09,950 --> 00:24:11,868
Ahmad Abdul Rahim.
528
00:24:12,077 --> 00:24:13,077
Here.
529
00:24:13,203 --> 00:24:14,287
Yo, bro, what up?
530
00:24:14,496 --> 00:24:15,080
Nothing much.
531
00:24:15,288 --> 00:24:16,081
Just ready to play some
532
00:24:16,289 --> 00:24:16,665
baseball.
533
00:24:16,873 --> 00:24:20,043
25, huh? Ken Griffey, right?
534
00:24:20,252 --> 00:24:20,669
No.
535
00:24:20,877 --> 00:24:21,962
Satchel Paige?
536
00:24:22,170 --> 00:24:22,712
No.
537
00:24:22,921 --> 00:24:24,339
No. Willie Mays?
538
00:24:24,548 --> 00:24:26,341
No. It's mark McGwire.
539
00:24:26,550 --> 00:24:28,218
Mark McGwire?
540
00:24:28,427 --> 00:24:29,427
But he's a white.
541
00:24:29,511 --> 00:24:30,929
Yes, he's from Claremont.
542
00:24:31,138 --> 00:24:33,181
He's my favorite player.
543
00:24:33,390 --> 00:24:34,390
Huh.
544
00:24:34,474 --> 00:24:36,268
Well, the Indianapolis clowns
545
00:24:36,476 --> 00:24:37,477
was in the negro
546
00:24:37,686 --> 00:24:39,604
American league, and it was back
547
00:24:39,813 --> 00:24:41,314
in the days, just in case people
548
00:24:41,523 --> 00:24:42,941
don't remember, it was back in
549
00:24:43,150 --> 00:24:44,430
the days what negro ballplayers,
550
00:24:44,609 --> 00:24:45,360
black ballplayers, called the
551
00:24:45,569 --> 00:24:46,569
major leagues.
552
00:24:46,611 --> 00:24:47,851
We considered it major leagues.
553
00:24:47,988 --> 00:24:49,188
In fact, I've always said that
554
00:24:49,322 --> 00:24:50,362
if you could play with the
555
00:24:50,407 --> 00:24:51,567
Indianapolis clowns or any of
556
00:24:51,658 --> 00:24:52,325
those teams in the
557
00:24:52,534 --> 00:24:53,734
negro American league that you
558
00:24:53,869 --> 00:24:55,109
were essentially playing in the
559
00:24:55,203 --> 00:24:55,871
big leagues.
560
00:24:56,079 --> 00:24:57,622
We played as many as three games
561
00:24:58,373 --> 00:24:59,124
I remember playing a
562
00:24:59,332 --> 00:25:00,612
doubleheader in Washington, then
563
00:25:00,750 --> 00:25:01,918
playing a night game in
564
00:25:02,127 --> 00:25:02,627
Baltimore.
565
00:25:02,836 --> 00:25:04,004
So, that's three games.
566
00:25:04,212 --> 00:25:05,212
And we would travel.
567
00:25:05,380 --> 00:25:06,756
We would stay in a hotel only
568
00:25:06,965 --> 00:25:08,592
once a week, and that would be
569
00:25:08,800 --> 00:25:09,800
on a Saturday.
570
00:25:09,843 --> 00:25:11,470
The rest of the time we'd be
571
00:25:11,678 --> 00:25:12,804
traveling on a bus.
572
00:25:13,013 --> 00:25:14,053
We would get $2-a-day meal
573
00:25:14,097 --> 00:25:15,097
money.
574
00:25:15,140 --> 00:25:18,018
And some days, I can remember
575
00:25:18,226 --> 00:25:20,812
getting a dollar worth of
576
00:25:21,021 --> 00:25:23,440
baloney sausage and...
577
00:25:28,778 --> 00:25:31,323
Come on! Throw it by him!
578
00:25:31,531 --> 00:25:33,825
Throw it by him!
579
00:25:34,034 --> 00:25:35,535
He can't hit.
580
00:25:35,744 --> 00:25:37,996
Coming to you, James.
581
00:25:53,011 --> 00:25:54,304
I wanted to make that
582
00:25:54,513 --> 00:25:55,513
Willie Mays grab.
583
00:26:06,107 --> 00:26:08,026
What a snag, man. He did it.
584
00:26:18,912 --> 00:26:20,121
Oh!
585
00:26:32,509 --> 00:26:33,969
We approach films in much
586
00:26:34,177 --> 00:26:35,679
different ways, yet we have a
587
00:26:35,887 --> 00:26:37,097
lot of things in common.
588
00:26:37,305 --> 00:26:39,224
I never really liked films.
589
00:26:39,432 --> 00:26:41,601
I was never a big fan of films.
590
00:26:41,810 --> 00:26:44,187
I was never a cinephile.
591
00:26:44,396 --> 00:26:46,690
And I know you became a
592
00:26:46,898 --> 00:26:48,984
filmmaker by really becoming
593
00:26:49,192 --> 00:26:51,278
interested in films like the
594
00:26:51,486 --> 00:26:53,697
French new wave, who looked at
595
00:26:53,905 --> 00:26:56,283
many films and was very inspired
596
00:26:56,491 --> 00:26:59,369
by filmmaking before them.
597
00:26:59,578 --> 00:27:01,913
And I think you still carry a
598
00:27:02,122 --> 00:27:04,499
lot of that with you but maybe
599
00:27:04,708 --> 00:27:07,210
not with the same zest as to
600
00:27:07,419 --> 00:27:08,503
begin with.
601
00:27:08,712 --> 00:27:10,338
I'm curious about that, anyway.
602
00:27:10,547 --> 00:27:11,423
Well, you kind of came at it
603
00:27:11,631 --> 00:27:13,091
from... you're sort of in, like,
604
00:27:13,300 --> 00:27:14,551
just visual art in general,
605
00:27:15,260 --> 00:27:18,597
yeah, I think so.
606
00:27:18,805 --> 00:27:21,808
I mean, I made films because I
607
00:27:22,017 --> 00:27:24,311
saw a Maya Deren film on TV, and
608
00:27:24,519 --> 00:27:26,438
then, eight years later, I
609
00:27:26,646 --> 00:27:27,856
bought a camera.
610
00:27:28,064 --> 00:27:29,482
So, you can see that I had an
611
00:27:29,691 --> 00:27:31,276
engagement, but it didn't really
612
00:27:31,484 --> 00:27:32,152
move me much.
613
00:27:32,360 --> 00:27:33,820
It took me eight years, but it
614
00:27:34,029 --> 00:27:35,530
must have been pretty strong if
615
00:27:35,739 --> 00:27:37,157
I was still thinking about it
616
00:27:37,365 --> 00:27:38,950
eight years later.
617
00:27:39,159 --> 00:27:41,661
But in that 8-year interim,
618
00:27:41,870 --> 00:27:43,371
were you studying, like, when
619
00:27:43,580 --> 00:27:45,248
you would go to a gallery or see
620
00:27:45,457 --> 00:27:46,708
painting, did you think
621
00:27:46,916 --> 00:27:48,543
something was forming in your
622
00:27:48,752 --> 00:27:50,420
head about the real-time nature
623
00:27:50,629 --> 00:27:52,380
of film and how you might use it
624
00:27:52,589 --> 00:27:53,131
someday?
625
00:27:53,340 --> 00:27:54,674
I came to all this very late
626
00:27:55,425 --> 00:27:56,676
I didn't buy a camera until I
627
00:27:56,885 --> 00:27:59,512
was in my mid-20s or more, and I
628
00:27:59,721 --> 00:28:01,514
really didn't feel...
629
00:28:01,723 --> 00:28:03,725
Mid-20s late in life?
630
00:28:03,933 --> 00:28:05,226
Well, for kids today, of
631
00:28:05,435 --> 00:28:05,810
course.
632
00:28:06,019 --> 00:28:07,520
Oh, well, yeah, they start at
633
00:28:08,146 --> 00:28:10,190
but I really didn't know what
634
00:28:10,398 --> 00:28:12,275
art was.
635
00:28:12,484 --> 00:28:13,735
I thought art was paint and
636
00:28:13,943 --> 00:28:15,278
making a nice sailboat with a
637
00:28:15,487 --> 00:28:15,987
watercolor.
638
00:28:16,196 --> 00:28:18,281
And I still admire that.
639
00:28:18,490 --> 00:28:21,117
But I didn't know that there is
640
00:28:21,326 --> 00:28:23,870
an art practice out there that
641
00:28:24,079 --> 00:28:25,372
has a philosophy in it.
642
00:28:25,580 --> 00:28:27,207
It has dialogue that's
643
00:28:27,415 --> 00:28:29,000
continually going on, and one
644
00:28:29,209 --> 00:28:30,251
can engage in that.
645
00:28:30,460 --> 00:28:32,337
I didn't figure that out until
646
00:28:32,545 --> 00:28:34,339
I was in graduate school, in
647
00:28:34,547 --> 00:28:36,007
film, and I was 30 years old.
648
00:28:36,216 --> 00:28:37,634
I think you're blessed by
649
00:28:37,842 --> 00:28:38,842
that, though.
650
00:28:38,968 --> 00:28:40,470
In a way, because I was very
651
00:28:40,679 --> 00:28:42,055
involved politically, doing
652
00:28:42,263 --> 00:28:43,807
political organizing and things
653
00:28:44,015 --> 00:28:46,518
like that that kept me from
654
00:28:46,726 --> 00:28:49,354
looking at things that you saw
655
00:28:49,562 --> 00:28:51,314
and brought you into filmmaking.
656
00:28:51,523 --> 00:28:53,024
But I was a little bit later,
657
00:28:53,233 --> 00:28:54,359
too, certainly by modern
658
00:28:54,567 --> 00:28:55,068
standards.
659
00:28:55,276 --> 00:28:56,611
When you grow up in Huntsville,
660
00:28:56,820 --> 00:28:57,987
Texas, it doesn't cross your
661
00:28:58,196 --> 00:28:59,447
mind, "oh, I can make a film."
662
00:28:59,656 --> 00:29:01,533
I thought at best I wanted to be
663
00:29:01,741 --> 00:29:02,325
a novelist.
664
00:29:02,534 --> 00:29:04,244
And then, somewhere in college,
665
00:29:04,452 --> 00:29:05,912
that shifted to potentially
666
00:29:06,121 --> 00:29:06,746
playwright.
667
00:29:06,955 --> 00:29:08,915
I remember I was playing college
668
00:29:09,124 --> 00:29:10,959
baseball, and then, you know,
669
00:29:11,167 --> 00:29:13,128
that was over, and I was working
670
00:29:13,336 --> 00:29:13,878
offshore.
671
00:29:14,087 --> 00:29:15,839
And I think there was a certain
672
00:29:16,047 --> 00:29:17,549
void in my life, and I just
673
00:29:17,757 --> 00:29:19,217
found myself wandering into
674
00:29:19,426 --> 00:29:21,010
movie theaters, going to four
675
00:29:21,219 --> 00:29:21,928
films a day.
676
00:29:22,137 --> 00:29:23,596
I just got really fascinated in
677
00:29:23,805 --> 00:29:24,931
the history of film, the
678
00:29:25,140 --> 00:29:25,807
storytelling.
679
00:29:26,015 --> 00:29:26,975
I was just kind of falling in
680
00:29:27,183 --> 00:29:29,269
love with cinema, you know?
681
00:29:29,477 --> 00:29:31,855
Then, I realized you could rent
682
00:29:32,063 --> 00:29:33,940
a movie for 100 bucks or
683
00:29:34,149 --> 00:29:35,150
something, and it was like, "oh",
684
00:29:35,358 --> 00:29:36,109
well, let's get people to help
685
00:29:36,317 --> 00:29:37,317
"us pay for this."
686
00:29:37,485 --> 00:29:39,070
And my roommates at the time,
687
00:29:39,279 --> 00:29:41,656
Lee Daniel, Brecht Andersch, and
688
00:29:41,865 --> 00:29:43,908
other people around town who
689
00:29:44,117 --> 00:29:46,286
were kind of the film freaks.
690
00:29:46,494 --> 00:29:48,455
We just started showing films at
691
00:29:48,663 --> 00:29:49,663
various venues.
692
00:29:49,831 --> 00:29:51,416
And then, I think that was...
693
00:29:51,624 --> 00:29:53,334
Again, it was kind of coming out
694
00:29:53,543 --> 00:29:54,794
of a void.
695
00:29:55,003 --> 00:29:55,962
Cassavetes talks about film as a
696
00:29:56,171 --> 00:29:57,839
parallel universe for people who
697
00:29:58,047 --> 00:29:58,840
don't like the real world.
698
00:29:59,048 --> 00:30:00,049
Mm-hmm.
699
00:30:00,258 --> 00:30:02,302
Who don't know how to dress
700
00:30:02,510 --> 00:30:04,429
or be normal or be official.
701
00:30:04,637 --> 00:30:05,930
And I think I agree.
702
00:30:06,139 --> 00:30:07,932
The film world was just this
703
00:30:08,141 --> 00:30:10,143
other world that encompassed the
704
00:30:10,351 --> 00:30:12,604
world, but I preferred it.
705
00:30:12,854 --> 00:30:14,105
A couple friends of mine and I,
706
00:30:14,314 --> 00:30:15,774
we started a film society we
707
00:30:15,982 --> 00:30:17,692
still run here in Austin.
708
00:30:17,901 --> 00:30:18,901
The Austin film society.
709
00:30:18,985 --> 00:30:20,105
Yeah, that's been going nine
710
00:30:20,528 --> 00:30:21,648
there's a lot of independent
711
00:30:21,821 --> 00:30:22,821
filmmakers in town.
712
00:30:22,989 --> 00:30:24,149
Yeah, we just had a screening
713
00:30:24,324 --> 00:30:25,404
today, in fact, I just came
714
00:30:25,825 --> 00:30:26,618
I'm as proud of the
715
00:30:26,826 --> 00:30:27,869
film society as anything.
716
00:30:28,077 --> 00:30:30,538
Doing "Oshima" and Godard
717
00:30:30,747 --> 00:30:32,415
retrospectives and stuff like
718
00:30:33,166 --> 00:30:34,959
my whole life was just cinema.
719
00:30:35,168 --> 00:30:36,711
Well, Rick, you seem to have
720
00:30:36,920 --> 00:30:38,087
survived your Hollywood
721
00:30:38,296 --> 00:30:38,880
experience.
722
00:30:39,088 --> 00:30:40,632
"Dazed and confused" did well,
723
00:30:40,840 --> 00:30:41,966
got good reviews.
724
00:30:42,175 --> 00:30:44,177
Circulated around, became a cult
725
00:30:44,385 --> 00:30:44,761
film.
726
00:30:44,969 --> 00:30:46,179
And evidently you're able to
727
00:30:46,387 --> 00:30:47,180
make another film,
728
00:30:47,388 --> 00:30:48,139
"before sunrise."
729
00:30:48,348 --> 00:30:49,557
What's the concept of it?
730
00:30:49,766 --> 00:30:50,892
It has elements that
731
00:30:51,100 --> 00:30:52,393
"slacker" and "dazed" don't
732
00:30:53,102 --> 00:30:54,521
I think it's a little bit more
733
00:30:54,729 --> 00:30:55,814
of a story, and it's a
734
00:30:56,022 --> 00:30:57,148
male/female story, too.
735
00:30:57,357 --> 00:30:58,691
So, it's kind of a romance, my
736
00:30:58,900 --> 00:31:00,109
own version of a romance, I
737
00:31:00,318 --> 00:31:01,318
guess.
738
00:31:01,402 --> 00:31:02,612
I think people who make
739
00:31:02,821 --> 00:31:04,155
movies daydream about movies.
740
00:31:04,364 --> 00:31:05,573
That's the way I think, you
741
00:31:05,782 --> 00:31:06,782
know?
742
00:31:06,866 --> 00:31:08,618
I think of things in
743
00:31:08,827 --> 00:31:10,995
storytelling fashion.
744
00:31:11,246 --> 00:31:15,166
That's why I like acting, too.
745
00:31:15,375 --> 00:31:16,835
Fill the void, or I think it
746
00:31:17,043 --> 00:31:18,253
attracts a certain kind of
747
00:31:18,461 --> 00:31:19,921
personality that doesn't want a
748
00:31:20,129 --> 00:31:23,341
life in the real world and that
749
00:31:23,550 --> 00:31:25,176
movies kind of become your life
750
00:31:25,385 --> 00:31:26,845
and become your history and
751
00:31:27,053 --> 00:31:28,763
become your thoughts and the way
752
00:31:28,972 --> 00:31:30,723
you see the world.
753
00:31:30,932 --> 00:31:33,852
I didn't think I wanted to be a
754
00:31:34,060 --> 00:31:36,479
real member of the world.
755
00:31:36,688 --> 00:31:39,148
Movies were a universe that I
756
00:31:39,357 --> 00:31:40,650
could count on.
757
00:31:40,859 --> 00:31:42,235
Wouldn't let me down.
758
00:31:42,443 --> 00:31:45,238
I could go back and see
759
00:31:45,446 --> 00:31:48,783
"touch of evil" or "the crowd,"
760
00:31:48,992 --> 00:31:50,326
"docks of New York,"
761
00:31:50,535 --> 00:31:52,120
"citizen Kane" or something.
762
00:31:52,328 --> 00:31:53,955
Your latest film, we were
763
00:31:54,163 --> 00:31:55,748
talking about at dinner last
764
00:31:55,957 --> 00:31:57,292
night with the crew.
765
00:31:57,500 --> 00:31:59,460
They were arguing if there were
766
00:31:59,669 --> 00:32:01,421
12 shots in it or 10 shots.
767
00:32:01,629 --> 00:32:03,548
But nevertheless, it was about
768
00:32:03,756 --> 00:32:05,717
how few shots are in this
769
00:32:05,925 --> 00:32:07,594
narrative film, which
770
00:32:07,802 --> 00:32:09,762
immediately my ears lit up
771
00:32:09,971 --> 00:32:11,264
because I thought, "oh, good",
772
00:32:11,472 --> 00:32:12,807
we're stripping ourselves of
773
00:32:13,016 --> 00:32:15,184
this kind of manipulative
774
00:32:15,393 --> 00:32:17,437
narrative language and letting
775
00:32:17,645 --> 00:32:20,982
"duration play out meaning."
776
00:32:21,190 --> 00:32:23,401
It has maybe 12 scenes or
777
00:32:23,610 --> 00:32:26,070
less, but within a few of those,
778
00:32:26,279 --> 00:32:27,822
there are... but there are some
779
00:32:28,031 --> 00:32:29,282
that are just really, really
780
00:32:29,490 --> 00:32:30,074
long shots.
781
00:32:30,283 --> 00:32:31,534
But I would go one more step.
782
00:32:31,743 --> 00:32:32,994
I don't think it's not
783
00:32:33,202 --> 00:32:33,953
manipulative.
784
00:32:34,162 --> 00:32:36,581
I think it's a... It's a huge
785
00:32:36,789 --> 00:32:37,790
construct.
786
00:32:37,999 --> 00:32:39,000
There's a crew.
787
00:32:39,208 --> 00:32:39,918
So, everything's
788
00:32:40,126 --> 00:32:40,627
manipulation.
789
00:32:40,835 --> 00:32:41,835
Yeah, I think it's all a
790
00:32:42,003 --> 00:32:42,462
manipulation.
791
00:32:42,670 --> 00:32:43,922
I think it might respect their
792
00:32:44,130 --> 00:32:45,465
intelligence, perhaps, a little
793
00:32:45,673 --> 00:32:48,092
more than a cross-cutting action
794
00:32:48,301 --> 00:32:50,803
thing, but, at the same time, I
795
00:32:51,012 --> 00:32:53,056
just think it's all a construct.
796
00:32:53,264 --> 00:32:55,850
So, it's just disguised better,
797
00:32:56,059 --> 00:32:58,061
perhaps, but I don't have any
798
00:32:58,269 --> 00:32:59,979
delusions that it's real.
799
00:33:00,188 --> 00:33:00,605
Uh-huh.
800
00:33:00,813 --> 00:33:02,190
Too much effort goes into it.
801
00:33:02,398 --> 00:33:03,733
But you are very aware that
802
00:33:03,942 --> 00:33:05,276
the language that you're using
803
00:33:05,485 --> 00:33:06,485
is...
804
00:33:06,569 --> 00:33:08,112
Definitely not Hollywood
805
00:33:08,321 --> 00:33:09,113
traditional.
806
00:33:09,322 --> 00:33:10,031
Yeah.
807
00:33:10,239 --> 00:33:12,951
And yet it's not so obscure
808
00:33:13,159 --> 00:33:16,788
that... with the nontraditional
809
00:33:16,996 --> 00:33:20,208
formal qualities, I do have,
810
00:33:20,416 --> 00:33:22,502
parallel to that, traditional
811
00:33:22,710 --> 00:33:24,253
story qualities, even though
812
00:33:24,462 --> 00:33:26,089
they're not wildly entertaining.
813
00:33:26,297 --> 00:33:28,049
But what a couple goes through
814
00:33:28,257 --> 00:33:29,550
in a particular day or
815
00:33:29,759 --> 00:33:31,302
particular life, you know?
816
00:33:31,511 --> 00:33:32,428
I would say all your films have
817
00:33:32,637 --> 00:33:34,097
this double thing of
818
00:33:34,305 --> 00:33:36,432
nontraditional story... formal
819
00:33:36,641 --> 00:33:38,351
qualities, obviously, and then,
820
00:33:38,559 --> 00:33:40,186
also, nontraditional stories.
821
00:33:40,395 --> 00:33:41,729
Like, what you're trying to
822
00:33:41,938 --> 00:33:43,481
communicate doesn't fit into a
823
00:33:43,690 --> 00:33:44,482
narrative format.
824
00:33:44,691 --> 00:33:46,275
Well, I know as I get older,
825
00:33:46,484 --> 00:33:49,612
I have kind of... my life is
826
00:33:49,821 --> 00:33:53,157
pretty much being consumed now
827
00:33:53,366 --> 00:33:54,534
by my work itself.
828
00:33:54,742 --> 00:33:56,619
I've also decided that I don't
829
00:33:56,828 --> 00:33:58,830
want to be around people most of
830
00:33:59,038 --> 00:33:59,664
the time.
831
00:33:59,872 --> 00:34:01,457
So, I have a place in the
832
00:34:01,666 --> 00:34:03,084
mountains, and I hide.
833
00:34:03,292 --> 00:34:04,877
I think because of the way I
834
00:34:05,086 --> 00:34:08,506
feel really good by myself, I'm
835
00:34:08,715 --> 00:34:09,716
making films now that are very
836
00:34:09,924 --> 00:34:13,261
observational.
837
00:34:13,469 --> 00:34:16,097
In 2001, I bought some property
838
00:34:16,305 --> 00:34:18,850
in the Sierra Nevada mountains
839
00:34:19,058 --> 00:34:21,269
that had a nice house on it.
840
00:34:21,477 --> 00:34:23,688
And I started to remodel the
841
00:34:23,896 --> 00:34:24,272
house.
842
00:34:24,480 --> 00:34:26,232
And then, when I was finished, I
843
00:34:26,441 --> 00:34:27,817
thought, "well, now I'm done."
844
00:34:28,026 --> 00:34:30,069
"What do I do up here?" Because I
845
00:34:30,278 --> 00:34:31,278
like to work.
846
00:34:31,404 --> 00:34:33,573
And so I started to do paintings
847
00:34:33,781 --> 00:34:36,075
just to kind of calm down and
848
00:34:36,284 --> 00:34:38,286
copy paintings of outsider
849
00:34:38,494 --> 00:34:39,704
artists.
850
00:34:39,912 --> 00:34:41,205
And after about six months of
851
00:34:41,414 --> 00:34:42,832
doing that, I decided I wanted
852
00:34:43,041 --> 00:34:44,500
to do some construction again,
853
00:34:44,709 --> 00:34:46,544
and I began to build a copy of.
854
00:34:46,753 --> 00:34:48,254
Thoreau's cabin.
855
00:34:48,463 --> 00:34:51,007
It wasn't an exact replica of
856
00:34:51,215 --> 00:34:53,051
his cabin because nobody really
857
00:34:53,259 --> 00:34:54,385
knows what his cabin looked
858
00:34:54,594 --> 00:34:55,136
like.
859
00:34:55,344 --> 00:34:56,596
It's fairly well-described in
860
00:34:56,804 --> 00:34:57,221
"Walden."
861
00:34:57,430 --> 00:34:59,265
Then, I kept on painting, and,
862
00:34:59,474 --> 00:35:01,350
all the sudden, it occurred to
863
00:35:01,559 --> 00:35:03,311
me that I was maybe making an
864
00:35:03,519 --> 00:35:04,604
art project here.
865
00:35:04,812 --> 00:35:06,689
But it didn't have any edge to
866
00:35:07,356 --> 00:35:09,609
and I thought back to my film in
867
00:35:09,817 --> 00:35:11,069
the mid-'80s that I made,
868
00:35:11,277 --> 00:35:13,404
"American dreams," which used
869
00:35:13,613 --> 00:35:15,907
baseball cards and Henry Aaron.
870
00:35:16,115 --> 00:35:19,118
And it used speeches from 1954
871
00:35:19,327 --> 00:35:23,164
to 1976 and also popular songs
872
00:35:23,372 --> 00:35:24,499
from those years.
873
00:35:24,707 --> 00:35:26,709
And at that point, I introduced
874
00:35:26,918 --> 00:35:28,878
the diary of Arthur Bremer, who
875
00:35:29,087 --> 00:35:31,339
was the person from Milwaukee,
876
00:35:31,547 --> 00:35:32,882
where I grew up, that went on to
877
00:35:33,091 --> 00:35:34,801
shoot George Wallace.
878
00:35:35,009 --> 00:35:36,552
And so, I thought, "well, that's"
879
00:35:36,761 --> 00:35:38,179
the same thing that my cabin's
880
00:35:38,387 --> 00:35:39,097
project needs.
881
00:35:39,305 --> 00:35:41,641
It needs another cabin that will
882
00:35:41,849 --> 00:35:43,267
"be a counterpoint."
883
00:35:43,476 --> 00:35:46,813
So, I decided to construct the
884
00:35:47,021 --> 00:35:50,024
cabin of Ted Kaczynski, the
885
00:35:50,233 --> 00:35:52,485
"unabomber," the one that was
886
00:35:52,693 --> 00:35:56,739
built in Montana, as a companion
887
00:35:56,948 --> 00:35:59,408
to the Thoreau cabin.
888
00:36:10,294 --> 00:36:11,838
Here, I'm going to confess
889
00:36:12,046 --> 00:36:14,590
to, or to be more accurate, brag
890
00:36:14,799 --> 00:36:16,759
about, some of the misdeeds I've
891
00:36:16,968 --> 00:36:17,968
committed in the last few
892
00:36:18,094 --> 00:36:19,095
years.
893
00:36:19,345 --> 00:36:20,721
There was a small, functioning
894
00:36:20,930 --> 00:36:23,182
mine... I'll call it mine "x"
895
00:36:23,391 --> 00:36:25,810
for future reference... a few
896
00:36:26,018 --> 00:36:27,770
miles from my cabin, on the
897
00:36:27,979 --> 00:36:29,188
south side of the Ridge that
898
00:36:29,397 --> 00:36:31,023
runs east from here.
899
00:36:31,232 --> 00:36:33,025
They had a large diesel engine
900
00:36:33,234 --> 00:36:34,861
mounted on the back of an old
901
00:36:35,069 --> 00:36:37,113
truck, apparently for running a
902
00:36:37,321 --> 00:36:39,323
large drill for boring holes in
903
00:36:39,532 --> 00:36:40,199
rock.
904
00:36:40,408 --> 00:36:42,076
I put a small quantity of sugar
905
00:36:42,285 --> 00:36:43,953
in the fuel tank of the diesel
906
00:36:44,162 --> 00:36:45,830
engine and also in the gas tank
907
00:36:46,038 --> 00:36:47,038
of the truck.
908
00:36:47,123 --> 00:36:49,041
Sugar in the gas is supposed to
909
00:36:49,250 --> 00:36:51,043
severely damage the cylinders
910
00:36:51,252 --> 00:36:56,090
and act as an abrasive.
911
00:36:56,299 --> 00:36:58,676
So, I think we also want to
912
00:36:58,885 --> 00:37:00,887
try to push cinema in different
913
00:37:01,095 --> 00:37:03,306
ways, and you're doing a very
914
00:37:03,514 --> 00:37:05,850
radical project now of making a
915
00:37:06,058 --> 00:37:07,643
film over a ten-year period,
916
00:37:07,852 --> 00:37:09,353
which I think is absolutely
917
00:37:09,562 --> 00:37:11,522
extraordinary, which I want to
918
00:37:11,731 --> 00:37:12,815
see parts of and perhaps
919
00:37:13,024 --> 00:37:14,317
tomorrow I'm gonna get to see
920
00:37:14,525 --> 00:37:15,234
some of that.
921
00:37:15,443 --> 00:37:18,696
But that's an amazing... again,
922
00:37:18,905 --> 00:37:22,074
and here, now, it's a narrative
923
00:37:22,283 --> 00:37:24,619
that happens across ten years,
924
00:37:24,827 --> 00:37:27,246
but it also is about how people
925
00:37:27,455 --> 00:37:29,874
actually age in that time span.
926
00:37:30,082 --> 00:37:31,876
So, it's real aging.
927
00:37:32,084 --> 00:37:33,836
Yes, not cinema.
928
00:37:34,045 --> 00:37:36,714
You change in ten years, in
929
00:37:36,923 --> 00:37:38,466
respect to that.
930
00:37:38,674 --> 00:37:40,760
So, all of that is in the film,
931
00:37:40,968 --> 00:37:42,470
if you like it or not.
932
00:37:42,678 --> 00:37:44,805
It's about how you change, how
933
00:37:45,014 --> 00:37:47,183
they change, and I really think
934
00:37:47,391 --> 00:37:48,184
it's...
935
00:37:48,392 --> 00:37:49,560
Or as Ethan Hawke... I've
936
00:37:49,769 --> 00:37:50,895
shown him it over the years,
937
00:37:51,103 --> 00:37:52,355
like, the assembly of where we
938
00:37:52,563 --> 00:37:53,563
are, and he made the
939
00:37:53,648 --> 00:37:54,148
observation.
940
00:37:54,357 --> 00:37:55,483
It's like, "oh, the kids"...
941
00:37:55,691 --> 00:37:56,971
'cause it's really a brother and
942
00:37:57,151 --> 00:37:57,860
sister.
943
00:37:58,069 --> 00:37:59,946
He goes, over these 12 years,
944
00:38:00,154 --> 00:38:01,572
"they're growing up."
945
00:38:01,781 --> 00:38:03,366
And he looks at himself.
946
00:38:03,574 --> 00:38:04,784
"And we're aging."
947
00:38:06,035 --> 00:38:07,578
I've been...
948
00:38:07,787 --> 00:38:09,538
I've been thinking about this.
949
00:38:09,747 --> 00:38:11,624
Well, I always kind of wanted to
950
00:38:11,832 --> 00:38:14,543
write a book that all took place
951
00:38:14,752 --> 00:38:16,170
within the space of a pop song.
952
00:38:16,420 --> 00:38:17,546
You know, like three or four
953
00:38:17,755 --> 00:38:18,955
minutes long, the whole thing.
954
00:38:19,131 --> 00:38:21,384
The story, the idea, is that
955
00:38:21,592 --> 00:38:23,511
there's this guy, right?
956
00:38:23,719 --> 00:38:25,888
And he's totally depressed.
957
00:38:26,097 --> 00:38:28,266
His great dream was to be a
958
00:38:28,474 --> 00:38:30,726
lover, an adventurer, riding
959
00:38:30,935 --> 00:38:32,561
motorcycles through
960
00:38:32,770 --> 00:38:33,312
south America.
961
00:38:33,521 --> 00:38:34,681
And instead he's sitting at a
962
00:38:34,814 --> 00:38:35,974
marble table, eating lobster,
963
00:38:36,148 --> 00:38:37,308
and he's got a good job and a
964
00:38:37,483 --> 00:38:39,360
beautiful wife, right?
965
00:38:39,568 --> 00:38:40,688
You know, everything that he
966
00:38:41,320 --> 00:38:43,281
but it doesn't matter, 'cause
967
00:38:43,489 --> 00:38:45,449
what he wants is to fight for
968
00:38:45,658 --> 00:38:46,742
meaning.
969
00:38:46,951 --> 00:38:48,369
Happiness isn't in the doing,
970
00:38:48,577 --> 00:38:49,577
right?
971
00:38:49,662 --> 00:38:51,372
Not in the getting what you
972
00:38:51,580 --> 00:38:51,956
want.
973
00:38:52,164 --> 00:38:54,125
So, he's sitting there, and just
974
00:38:54,333 --> 00:38:56,168
that second, his little
975
00:38:56,377 --> 00:38:58,796
5-year-old daughter hops up on
976
00:38:59,005 --> 00:39:00,506
the table, and he knows that she
977
00:39:00,715 --> 00:39:02,049
should get down, 'cause she
978
00:39:02,258 --> 00:39:03,009
could get hurt.
979
00:39:03,217 --> 00:39:05,845
But she's dancing to this pop
980
00:39:06,053 --> 00:39:08,306
song in a summer dress.
981
00:39:08,514 --> 00:39:11,392
And he looks down, and, all the
982
00:39:11,600 --> 00:39:14,186
sudden, he's 16.
983
00:39:14,395 --> 00:39:17,148
And his high school sweetheart
984
00:39:17,356 --> 00:39:20,151
is dropping him off at home, and
985
00:39:20,359 --> 00:39:21,944
they just lost their virginity,
986
00:39:22,153 --> 00:39:23,153
and she loves him.
987
00:39:23,279 --> 00:39:26,240
And the same song is playing on
988
00:39:26,449 --> 00:39:27,908
the car radio.
989
00:39:28,117 --> 00:39:29,243
And she climbs up and starts
990
00:39:29,452 --> 00:39:30,703
dancing on the roof of the car.
991
00:39:30,911 --> 00:39:32,288
And now, now he's worried about
992
00:39:32,913 --> 00:39:34,874
and she's beautiful, with a...A
993
00:39:35,082 --> 00:39:36,500
facial expression just like his
994
00:39:36,709 --> 00:39:37,251
daughter's.
995
00:39:37,460 --> 00:39:38,711
In fact, you know, maybe that's
996
00:39:38,919 --> 00:39:39,919
why he even likes her.
997
00:39:40,046 --> 00:39:41,380
You see, he knows he's not
998
00:39:41,589 --> 00:39:42,840
remembering this dance.
999
00:39:43,049 --> 00:39:43,716
He's there.
1000
00:39:43,924 --> 00:39:45,343
He's there in both moments
1001
00:39:45,551 --> 00:39:46,218
simultaneously.
1002
00:39:46,427 --> 00:39:47,636
And just like for an instant
1003
00:39:47,845 --> 00:39:48,845
, all his
1004
00:39:48,929 --> 00:39:49,722
life is just folding in on
1005
00:39:49,930 --> 00:39:50,890
itself, and it's obvious to him
1006
00:39:51,098 --> 00:39:54,894
that time is a lie.
1007
00:39:55,102 --> 00:39:57,271
Uh... That it's all happening
1008
00:39:57,480 --> 00:39:58,731
all the time, and inside every
1009
00:39:58,939 --> 00:40:00,441
moment is another moment,
1010
00:40:00,649 --> 00:40:02,443
all... You know, happening
1011
00:40:02,651 --> 00:40:03,986
simultaneously.
1012
00:40:04,195 --> 00:40:05,112
And, anyway, that's... that's
1013
00:40:05,321 --> 00:40:06,989
kind of the idea... Anyway.
1014
00:40:07,198 --> 00:40:08,741
The 18 years that's elapsed
1015
00:40:08,949 --> 00:40:10,451
in the three "before" movies,
1016
00:40:10,659 --> 00:40:12,453
that was kind of accidental.
1017
00:40:12,661 --> 00:40:14,538
It just sort of happened that
1018
00:40:15,289 --> 00:40:16,916
we liked working together, and
1019
00:40:17,124 --> 00:40:18,667
we brought them back.
1020
00:40:18,876 --> 00:40:19,996
It's not that conscious of a
1021
00:40:20,044 --> 00:40:23,130
process, where I think your
1022
00:40:23,339 --> 00:40:25,216
films are all about time.
1023
00:40:25,424 --> 00:40:27,510
You're consciously sculpting
1024
00:40:27,718 --> 00:40:31,013
these sections of time within
1025
00:40:31,222 --> 00:40:31,972
this kind of a bleak narrative
1026
00:40:32,181 --> 00:40:33,891
structures you're creating.
1027
00:40:34,100 --> 00:40:35,643
Yeah, in '77, I made
1028
00:40:35,851 --> 00:40:37,686
"one-way boogie woogie," and
1029
00:40:37,895 --> 00:40:39,271
then I always thought, "oh, I"
1030
00:40:39,480 --> 00:40:42,316
want to do this film again,"
1031
00:40:42,525 --> 00:40:45,653
because I made the film because
1032
00:40:45,861 --> 00:40:46,861
it was in this industrial
1033
00:40:46,946 --> 00:40:48,572
valley, and it was gonna become
1034
00:40:48,781 --> 00:40:50,491
gentrified, and it didn't become
1035
00:40:50,699 --> 00:40:51,867
gentrified right away.
1036
00:40:52,076 --> 00:40:54,912
But, finally, 27 years later, it
1037
00:40:55,121 --> 00:40:57,498
was beginning to change, and I
1038
00:40:57,706 --> 00:40:59,208
thought, "okay, I can redo it"
1039
00:40:59,917 --> 00:41:01,836
and then I decided, because I
1040
00:41:02,044 --> 00:41:03,963
had a number of people on the
1041
00:41:04,171 --> 00:41:06,048
first film, I'd get the same
1042
00:41:06,257 --> 00:41:08,843
people if they were still alive
1043
00:41:09,051 --> 00:41:10,219
to act in it.
1044
00:41:10,428 --> 00:41:13,013
And I had not thought about how
1045
00:41:13,222 --> 00:41:14,974
this would really talk about
1046
00:41:15,182 --> 00:41:16,767
aging, because everybody's
1047
00:41:16,976 --> 00:41:18,227
27 years older now.
1048
00:41:18,436 --> 00:41:20,312
That's a pretty big jump in
1049
00:41:20,980 --> 00:41:21,522
for everybody.
1050
00:41:21,730 --> 00:41:24,316
And in one place, there's a
1051
00:41:24,525 --> 00:41:27,278
young woman carrying a baby, and
1052
00:41:27,486 --> 00:41:28,946
now she's walking through with
1053
00:41:29,155 --> 00:41:30,948
her 27-year-old child next to
1054
00:41:31,157 --> 00:41:33,033
her, and she's an older woman.
1055
00:41:33,242 --> 00:41:35,619
So, and then it really made me
1056
00:41:35,828 --> 00:41:38,956
think about the whole experience
1057
00:41:39,165 --> 00:41:40,416
of making the first film and
1058
00:41:40,624 --> 00:41:41,959
then the experience of making
1059
00:41:42,168 --> 00:41:44,211
the second film, which was so
1060
00:41:44,420 --> 00:41:46,547
different because I was older.
1061
00:41:46,755 --> 00:41:48,591
So, not only... I didn't realize
1062
00:41:48,799 --> 00:41:50,676
I wouldn't be making only a film
1063
00:41:50,885 --> 00:41:52,720
about the neighborhood changing,
1064
00:41:52,928 --> 00:41:55,139
but it would be about my friends
1065
00:41:55,347 --> 00:41:56,891
aging and myself being
1066
00:41:57,099 --> 00:41:57,892
different.
1067
00:41:58,100 --> 00:41:59,643
That's the one relationship
1068
00:41:59,852 --> 00:42:01,729
we all have that endures to the
1069
00:42:01,937 --> 00:42:03,814
end is our own relation with our
1070
00:42:04,023 --> 00:42:06,150
past selves, you know, and the
1071
00:42:06,358 --> 00:42:08,360
stories we create to connect
1072
00:42:08,569 --> 00:42:09,653
ourselves to who we were.
1073
00:42:09,862 --> 00:42:11,280
I've always been fascinated with
1074
00:42:11,489 --> 00:42:13,574
that.
1075
00:42:13,782 --> 00:42:15,659
Just talking about narrative and
1076
00:42:15,868 --> 00:42:16,994
storytelling and the
1077
00:42:17,203 --> 00:42:19,038
artificiality or the contrivance
1078
00:42:19,246 --> 00:42:19,663
of it.
1079
00:42:19,872 --> 00:42:21,707
But is there something innate in
1080
00:42:22,416 --> 00:42:23,709
like, we all either... we're
1081
00:42:23,918 --> 00:42:25,336
kind of creating these stories
1082
00:42:25,544 --> 00:42:26,795
in our heads just about
1083
00:42:27,004 --> 00:42:29,298
ourselves and our lives and
1084
00:42:29,507 --> 00:42:30,341
trying to make them make sense
1085
00:42:30,549 --> 00:42:31,759
somehow, even though it might
1086
00:42:31,967 --> 00:42:32,468
not.
1087
00:42:32,676 --> 00:42:34,428
Well, like I was saying at my
1088
00:42:34,637 --> 00:42:36,222
screening the other day about
1089
00:42:36,430 --> 00:42:38,015
I'm really interested in this
1090
00:42:38,224 --> 00:42:40,017
idea of time itself, in that
1091
00:42:40,226 --> 00:42:41,810
there's a future and there's a
1092
00:42:42,019 --> 00:42:43,646
past, and we're always at that
1093
00:42:43,854 --> 00:42:45,397
point that's present but that
1094
00:42:45,606 --> 00:42:46,398
has no dimension.
1095
00:42:46,607 --> 00:42:49,610
So, nothing can be understood in
1096
00:42:49,818 --> 00:42:51,445
something that has no dimension.
1097
00:42:51,654 --> 00:42:52,738
So, everything that we
1098
00:42:52,947 --> 00:42:54,281
understand is only through
1099
00:42:54,490 --> 00:42:56,534
memory, that my sentence, you
1100
00:42:56,742 --> 00:42:58,077
cannot understand.
1101
00:42:58,285 --> 00:43:00,579
You only remember it.
1102
00:43:00,788 --> 00:43:02,665
You can't move on the timeline.
1103
00:43:02,873 --> 00:43:04,667
You can't go into the future.
1104
00:43:04,875 --> 00:43:08,212
You can only remember the past,
1105
00:43:08,420 --> 00:43:10,965
but it's this machine that you
1106
00:43:11,173 --> 00:43:12,841
either reinforce prejudice with,
1107
00:43:13,050 --> 00:43:15,427
or you learn.
1108
00:43:15,636 --> 00:43:17,304
But it's fun.
1109
00:43:17,513 --> 00:43:20,224
Like, everybody who loves art
1110
00:43:20,432 --> 00:43:22,059
can tell you that moment where
1111
00:43:22,268 --> 00:43:23,519
they were confronted by
1112
00:43:23,727 --> 00:43:25,271
something that they didn't
1113
00:43:25,479 --> 00:43:27,273
understand, that literally blew
1114
00:43:27,481 --> 00:43:28,649
their mind, that they just
1115
00:43:28,857 --> 00:43:30,359
totally reoriented, recalibrated
1116
00:43:30,568 --> 00:43:32,152
their mind of what a certain
1117
00:43:32,361 --> 00:43:33,988
medium or what life could be,
1118
00:43:34,196 --> 00:43:35,196
what anything could be.
1119
00:43:35,281 --> 00:43:36,441
You know, so many categories.
1120
00:43:36,615 --> 00:43:37,615
Yeah.
1121
00:43:37,700 --> 00:43:39,410
I'll tell you my moment when
1122
00:43:39,618 --> 00:43:40,618
that happened.
1123
00:43:40,703 --> 00:43:42,413
I was in graduate school, in
1124
00:43:42,621 --> 00:43:44,540
mathematics, and, like I said, I
1125
00:43:44,748 --> 00:43:46,625
knew nothing about art until
1126
00:43:46,834 --> 00:43:47,418
later in life.
1127
00:43:47,626 --> 00:43:48,866
So, I knew nothing about art at
1128
00:43:48,961 --> 00:43:49,962
this time.
1129
00:43:50,170 --> 00:43:52,006
And I was going to an evening
1130
00:43:52,214 --> 00:43:53,882
math class, and a bunch of
1131
00:43:54,091 --> 00:43:55,759
people were going into the
1132
00:43:55,968 --> 00:43:57,928
student union in Milwaukee, and
1133
00:43:58,137 --> 00:43:59,722
somehow there was such an
1134
00:43:59,930 --> 00:44:01,307
energy, I thought, "oh, I'm not"
1135
00:44:01,515 --> 00:44:02,515
gonna go to my class.
1136
00:44:02,683 --> 00:44:03,976
I'm gonna go to see what this
1137
00:44:04,602 --> 00:44:07,271
and a guy came out, and he read
1138
00:44:07,479 --> 00:44:09,231
an abridged thing of
1139
00:44:09,440 --> 00:44:12,026
James Joyce, "finnegans wake,"
1140
00:44:12,234 --> 00:44:13,569
where he took James Joyce and
1141
00:44:13,777 --> 00:44:15,070
wrote down this, and then he
1142
00:44:15,279 --> 00:44:16,488
found the first words that
1143
00:44:16,697 --> 00:44:18,032
started with a "j" but not an
1144
00:44:18,240 --> 00:44:20,618
"a," and then he could add some
1145
00:44:20,826 --> 00:44:21,869
words.
1146
00:44:22,077 --> 00:44:23,537
So, he would pick just words out
1147
00:44:23,746 --> 00:44:25,164
of the whole book, and then he
1148
00:44:25,372 --> 00:44:26,832
read it, and it took him an hour
1149
00:44:27,041 --> 00:44:28,167
and a half to read this.
1150
00:44:28,375 --> 00:44:30,085
And "finnegans wake," the
1151
00:44:30,294 --> 00:44:32,046
language is so difficult,
1152
00:44:32,254 --> 00:44:34,423
anyway, but when it's chopped up
1153
00:44:34,632 --> 00:44:36,759
and abstracted, it becomes just
1154
00:44:36,967 --> 00:44:37,967
music.
1155
00:44:38,427 --> 00:44:40,054
And by the end, I was totally
1156
00:44:40,262 --> 00:44:41,055
engrossed in it.
1157
00:44:41,263 --> 00:44:42,348
The audience clapped.
1158
00:44:42,556 --> 00:44:44,141
He set down his book, and he put
1159
00:44:44,350 --> 00:44:46,477
this big John cage smile on his
1160
00:44:46,685 --> 00:44:48,896
face and looked at the audience.
1161
00:44:49,104 --> 00:44:50,981
And I had no idea who John cage
1162
00:44:51,190 --> 00:44:52,190
was, you know.
1163
00:44:52,316 --> 00:44:53,316
Yeah.
1164
00:44:53,359 --> 00:44:56,153
"Oh, this is so marvelous."
1165
00:44:56,362 --> 00:44:58,489
I heard language as music, and I
1166
00:44:58,697 --> 00:45:00,658
saw somebody perform something
1167
00:45:00,866 --> 00:45:02,660
that was so unusual that I
1168
00:45:02,868 --> 00:45:04,995
couldn't understand how anybody
1169
00:45:05,204 --> 00:45:06,914
even could begin to think of
1170
00:45:07,122 --> 00:45:08,122
doing that.
1171
00:45:08,165 --> 00:45:10,209
And when I was done watching it,
1172
00:45:10,417 --> 00:45:11,752
I was walking back to my car.
1173
00:45:11,960 --> 00:45:13,295
I thought, "that's what I want"
1174
00:45:14,004 --> 00:45:15,422
I want to do something that
1175
00:45:15,631 --> 00:45:17,966
"makes me smile like that."
1176
00:45:18,175 --> 00:45:21,387
It was absolutely incredible...
1177
00:45:21,595 --> 00:45:24,056
Incredible experience.
1178
00:46:27,828 --> 00:46:30,247
There's always these fortuitous
1179
00:46:30,456 --> 00:46:32,833
events, where a dragonfly flies
1180
00:46:33,041 --> 00:46:34,460
right in front of your camera,
1181
00:46:34,668 --> 00:46:36,420
and it appears this big, and you
1182
00:46:36,628 --> 00:46:38,297
either like that, or you don't.
1183
00:46:38,505 --> 00:46:40,174
And then you keep those kinds of
1184
00:46:40,382 --> 00:46:41,133
things in.
1185
00:46:41,341 --> 00:46:43,427
But yes, I thought of each shot
1186
00:46:43,635 --> 00:46:45,179
as some kind of an event, either
1187
00:46:45,387 --> 00:46:46,847
event in the way light would
1188
00:46:47,055 --> 00:46:49,683
change or the way the depth cue
1189
00:46:49,892 --> 00:46:51,185
would change by a car moving
1190
00:46:51,393 --> 00:46:52,853
through it, or the way the sound
1191
00:46:53,061 --> 00:46:54,563
would disappear as a car would
1192
00:46:54,772 --> 00:46:57,065
go deep into the frame, and your
1193
00:46:57,274 --> 00:46:59,359
eye can't stop looking at it,
1194
00:46:59,568 --> 00:47:02,154
and they still see it.
1195
00:47:02,362 --> 00:47:03,989
These kind of games happen.
1196
00:47:04,198 --> 00:47:05,783
So, it's kind of a playful
1197
00:47:05,991 --> 00:47:06,617
movie.
1198
00:47:06,825 --> 00:47:08,035
Where's the penitentiary?
1199
00:47:08,243 --> 00:47:09,745
That's in central valley in
1200
00:47:09,953 --> 00:47:10,953
California.
1201
00:47:11,079 --> 00:47:13,207
They have 11 penitentiaries.
1202
00:47:13,415 --> 00:47:15,083
Seven of them are privatized.
1203
00:47:15,292 --> 00:47:16,210
They didn't come and stop you
1204
00:47:16,418 --> 00:47:18,879
from parking out there?
1205
00:47:19,087 --> 00:47:20,798
I shoot very quickly.
1206
00:47:22,841 --> 00:47:24,510
I was worried because I shot the
1207
00:47:24,718 --> 00:47:26,678
prison at Corcoran for another
1208
00:47:26,887 --> 00:47:28,889
film, and I ended up with a gun
1209
00:47:29,097 --> 00:47:32,184
at my head and being accused of
1210
00:47:32,392 --> 00:47:35,145
a double felony of criminal
1211
00:47:35,354 --> 00:47:37,981
trespassing and criminal
1212
00:47:38,190 --> 00:47:39,190
surveillance.
1213
00:47:39,358 --> 00:47:42,277
And I had known that two months
1214
00:47:42,486 --> 00:47:44,112
earlier that Corcoran guards
1215
00:47:44,321 --> 00:47:46,114
beat the shit out of a bunch of
1216
00:47:46,323 --> 00:47:48,033
bad boys that were brought to
1217
00:47:48,242 --> 00:47:50,202
that prison to be treated that
1218
00:47:50,410 --> 00:47:50,786
way.
1219
00:47:50,994 --> 00:47:53,038
And somehow it was all captured
1220
00:47:53,247 --> 00:47:55,999
on some kind of video machine.
1221
00:47:56,208 --> 00:47:58,961
And then, all those guards had
1222
00:47:59,169 --> 00:48:00,170
just been arrested.
1223
00:48:00,379 --> 00:48:01,922
So, I showed up a month later
1224
00:48:02,130 --> 00:48:03,340
with my camera, and they, of
1225
00:48:03,549 --> 00:48:04,883
course, thought I was gonna do
1226
00:48:05,092 --> 00:48:07,678
something about the prison and
1227
00:48:07,886 --> 00:48:09,429
how ugly it was.
1228
00:48:09,638 --> 00:48:12,140
And I just wanted to show it
1229
00:48:12,349 --> 00:48:14,184
because it's a maximum-security
1230
00:48:14,393 --> 00:48:16,436
prison in the valley, and
1231
00:48:16,645 --> 00:48:19,022
there's many of them, and it's
1232
00:48:19,231 --> 00:48:21,316
more lucrative to grow criminals
1233
00:48:21,525 --> 00:48:23,110
now than to grow cotton.
1234
00:48:23,318 --> 00:48:25,612
Technology has allowed me to
1235
00:48:25,821 --> 00:48:28,156
become completely autonomous in
1236
00:48:28,365 --> 00:48:30,701
my work, that I don't need labs
1237
00:48:30,909 --> 00:48:32,828
anymore, and I can do... once I
1238
00:48:33,036 --> 00:48:34,913
buy my equipment, and I know it
1239
00:48:35,122 --> 00:48:37,040
doesn't last as long as a Bolex
1240
00:48:37,249 --> 00:48:38,792
lasted, but it might last
1241
00:48:39,001 --> 00:48:40,210
seven or eight years.
1242
00:48:40,419 --> 00:48:42,087
I can work almost for free for
1243
00:48:42,296 --> 00:48:43,547
the next seven or eight years.
1244
00:48:43,755 --> 00:48:45,591
I just need the cost of a little
1245
00:48:45,799 --> 00:48:47,426
gasoline and a sandwich, and
1246
00:48:47,634 --> 00:48:49,136
then all the rest I can do
1247
00:48:49,344 --> 00:48:50,344
myself.
1248
00:48:50,429 --> 00:48:53,557
So, in one sense, the technology
1249
00:48:53,765 --> 00:48:56,560
has made me completely
1250
00:48:56,768 --> 00:48:57,477
autonomous.
1251
00:48:57,686 --> 00:48:59,646
And then, in another sense, I
1252
00:48:59,855 --> 00:49:01,315
think it's completely
1253
00:49:01,523 --> 00:49:03,317
suffocating and keeps you from
1254
00:49:03,525 --> 00:49:04,943
really the maybe more important
1255
00:49:05,152 --> 00:49:07,863
things in life that are closer
1256
00:49:08,071 --> 00:49:10,073
to life itself, like, growing
1257
00:49:10,282 --> 00:49:12,451
your own food and building your
1258
00:49:12,659 --> 00:49:18,957
house and caring for things.
1259
00:49:19,166 --> 00:49:21,710
And now it's... I have a
1260
00:49:21,919 --> 00:49:23,045
Facebook.
1261
00:49:23,253 --> 00:49:25,339
Come be my friend if you like.
1262
00:49:28,634 --> 00:49:31,303
It's a funny business.
1263
00:52:11,379 --> 00:52:12,419
I want to tell you about a
1264
00:52:12,589 --> 00:52:14,049
dream I once had.
1265
00:52:14,257 --> 00:52:15,175
I know when someone says that,
1266
00:52:15,383 --> 00:52:16,676
that's usually you're in for a
1267
00:52:16,885 --> 00:52:18,136
very boring next few minutes,
1268
00:52:18,345 --> 00:52:19,345
and you might be.
1269
00:52:19,387 --> 00:52:20,180
I got to tell you about this
1270
00:52:20,388 --> 00:52:21,014
dream I had last night.
1271
00:52:21,223 --> 00:52:21,973
Oh, yeah? What's that?
1272
00:52:22,182 --> 00:52:23,342
Do you ever have those dreams
1273
00:52:23,433 --> 00:52:24,392
that are just completely real?
1274
00:52:24,601 --> 00:52:26,186
Okay, there I am, and I'm
1275
00:52:26,394 --> 00:52:27,394
getting it on...
1276
00:52:28,396 --> 00:52:30,065
with this perfect female
1277
00:52:30,816 --> 00:52:32,234
uh-huh.
1278
00:52:32,442 --> 00:52:33,944
But...
1279
00:52:34,945 --> 00:52:35,945
What? What? What?
1280
00:52:35,987 --> 00:52:37,239
Come on, a perfect female body.
1281
00:52:37,447 --> 00:52:39,199
It's not a bad start.
1282
00:52:39,407 --> 00:52:40,158
But the head of
1283
00:52:40,367 --> 00:52:41,618
Abraham Lincoln.
1284
00:52:41,827 --> 00:52:43,537
I was just traveling around,
1285
00:52:43,745 --> 00:52:45,025
staring out the windows of buses
1286
00:52:45,205 --> 00:52:45,997
and trains, reading.
1287
00:52:46,206 --> 00:52:47,406
I mean, how many dreams do you
1288
00:52:47,582 --> 00:52:48,822
have where you read in a dream?
1289
00:52:49,000 --> 00:52:50,000
I read this essay by
1290
00:52:50,085 --> 00:52:50,669
Philip k. Dick.
1291
00:52:50,877 --> 00:52:51,962
What, you read it in your
1292
00:52:52,170 --> 00:52:53,797
dream?
1293
00:52:54,005 --> 00:52:55,799
Man, there was this book I
1294
00:52:56,007 --> 00:52:57,300
just read on the bu...
1295
00:52:57,509 --> 00:52:59,719
What are you reading?
1296
00:52:59,928 --> 00:53:01,972
Oh, yeah.
1297
00:53:02,180 --> 00:53:03,682
How about you?
1298
00:53:03,890 --> 00:53:05,392
Um...
1299
00:53:05,600 --> 00:53:06,600
Oh.
1300
00:53:07,227 --> 00:53:08,227
Hmm.
1301
00:53:08,311 --> 00:53:09,479
Man, it was bizarre.
1302
00:53:09,688 --> 00:53:11,106
It was, like, the premise for
1303
00:53:11,314 --> 00:53:13,108
this whole book was that every
1304
00:53:13,316 --> 00:53:15,235
thought you have creates its own
1305
00:53:15,443 --> 00:53:15,819
reality.
1306
00:53:16,027 --> 00:53:17,404
Another example would be like
1307
00:53:17,612 --> 00:53:18,989
back there at the bus station.
1308
00:53:19,197 --> 00:53:20,323
As I got off the bus, the
1309
00:53:20,532 --> 00:53:21,825
thought crossed my mind, just
1310
00:53:22,033 --> 00:53:23,326
for a second, about not taking a
1311
00:53:23,535 --> 00:53:23,910
cab at all.
1312
00:53:24,119 --> 00:53:25,996
I mean, at this very second, I'm
1313
00:53:26,204 --> 00:53:27,873
back at the bus station, just
1314
00:53:28,081 --> 00:53:29,875
hanging out, probably thumbing
1315
00:53:30,083 --> 00:53:31,960
through a paper, probably going
1316
00:53:32,169 --> 00:53:35,172
up to a pay phone.
1317
00:53:35,380 --> 00:53:36,131
Say this beautiful woman just
1318
00:53:36,339 --> 00:53:37,924
comes up to me, just starts
1319
00:53:38,133 --> 00:53:39,551
talking to me, you know?
1320
00:53:39,759 --> 00:53:41,428
She ends up offering me a ride.
1321
00:53:41,636 --> 00:53:42,762
We're hitting it off.
1322
00:53:42,971 --> 00:53:45,432
Go play a little pinball.
1323
00:53:45,640 --> 00:53:47,851
Merde!
1324
00:53:50,145 --> 00:53:52,272
Well, um...
1325
00:53:52,480 --> 00:53:53,899
We haven't talked about this
1326
00:53:54,107 --> 00:53:57,110
yet, but are you dating anyone?
1327
00:53:57,319 --> 00:53:58,153
If we were meeting for the
1328
00:53:58,361 --> 00:53:59,154
first time today on a train,
1329
00:53:59,362 --> 00:54:01,072
would you find me attractive?
1330
00:54:01,281 --> 00:54:02,281
Of course.
1331
00:54:02,324 --> 00:54:04,159
No, but, really, right now,
1332
00:54:04,367 --> 00:54:06,161
as I am, would you start talking
1333
00:54:06,828 --> 00:54:07,704
would you ask me to get off the
1334
00:54:07,913 --> 00:54:09,706
train with you?
1335
00:54:11,458 --> 00:54:12,667
Well, I mean, you're asking a
1336
00:54:12,876 --> 00:54:13,668
theoretical question.
1337
00:54:13,877 --> 00:54:14,917
I mean, what would my life
1338
00:54:15,086 --> 00:54:15,503
situation be?
1339
00:54:15,712 --> 00:54:16,755
I mean, technically, wouldn't I
1340
00:54:16,963 --> 00:54:17,589
be cheating on you?
1341
00:54:17,797 --> 00:54:18,917
Okay, why can't you just say
1342
00:54:19,341 --> 00:54:20,133
I did. I said, "of course."
1343
00:54:20,342 --> 00:54:21,422
No, no, no, I wanted you to
1344
00:54:21,593 --> 00:54:22,302
say something romantic.
1345
00:54:22,510 --> 00:54:23,220
Say I have a dream some
1346
00:54:23,428 --> 00:54:24,095
night, that I'm with some
1347
00:54:24,304 --> 00:54:26,681
strange woman I've never met, or
1348
00:54:26,890 --> 00:54:27,724
I'm living at some place I've
1349
00:54:27,933 --> 00:54:28,433
never seen before.
1350
00:54:28,642 --> 00:54:29,476
See, that's just a momentary
1351
00:54:29,684 --> 00:54:30,924
glimpse into this other reality
1352
00:54:31,102 --> 00:54:32,354
that was all created back there
1353
00:54:32,562 --> 00:54:34,731
at the bus station, you know?
1354
00:54:34,940 --> 00:54:37,442
And then, I could have a dream
1355
00:54:37,651 --> 00:54:39,236
from that reality into this one,
1356
00:54:39,444 --> 00:54:40,862
that, like, this is my dream
1357
00:54:41,071 --> 00:54:41,863
from that reality.
1358
00:54:42,072 --> 00:54:43,365
Of course, that's kind of like
1359
00:54:43,573 --> 00:54:44,783
that dream I just had on the
1360
00:54:44,991 --> 00:54:46,743
bus, the whole cycle type of
1361
00:54:46,952 --> 00:54:48,245
thing.
1362
00:54:48,453 --> 00:54:49,996
Man, shit, I should have stayed
1363
00:54:50,205 --> 00:54:53,416
at the bus station.
1364
00:54:53,625 --> 00:54:55,126
Good morning.
1365
00:54:55,335 --> 00:54:57,963
Hey.
1366
00:54:58,672 --> 00:54:59,672
Good morning.
1367
00:55:00,340 --> 00:55:00,882
How are you?
1368
00:55:01,091 --> 00:55:03,134
Good.
1369
00:55:03,343 --> 00:55:05,553
So...
1370
00:55:05,762 --> 00:55:06,429
I'm excited.
1371
00:55:06,638 --> 00:55:07,931
You're excited?
1372
00:55:08,139 --> 00:55:09,139
We've talked about this
1373
00:55:09,182 --> 00:55:10,934
project on and off for ten
1374
00:55:11,142 --> 00:55:11,643
years.
1375
00:55:11,851 --> 00:55:12,894
So...
1376
00:55:13,103 --> 00:55:15,146
Ten or eleven.
1377
00:55:15,355 --> 00:55:17,107
And your daughter has a part
1378
00:55:17,315 --> 00:55:17,941
in this?
1379
00:55:18,149 --> 00:55:18,608
Yeah.
1380
00:55:18,817 --> 00:55:20,360
It was a tough thing casting.
1381
00:55:20,568 --> 00:55:22,112
I got such a long-term thing.
1382
00:55:22,320 --> 00:55:23,738
And she was excited to be in
1383
00:55:23,947 --> 00:55:24,489
the film...
1384
00:55:24,698 --> 00:55:26,533
Initially, and as the years
1385
00:55:26,741 --> 00:55:28,702
went by, she was like, "hey, can"
1386
00:55:28,910 --> 00:55:31,329
you... can my character, like,
1387
00:55:31,538 --> 00:55:32,538
"die?"
1388
00:55:34,374 --> 00:55:37,419
And I'm like, "no, sorry."
1389
00:55:37,627 --> 00:55:39,170
Go off to college.
1390
00:55:39,379 --> 00:55:40,755
And every year... yeah.
1391
00:55:40,964 --> 00:55:43,174
Every year... she's a painter,
1392
00:55:43,383 --> 00:55:44,509
visual artist.
1393
00:55:44,718 --> 00:55:45,927
She doesn't like acting.
1394
00:55:46,136 --> 00:55:47,336
She's the kind of kid, like, I
1395
00:55:47,512 --> 00:55:48,752
think most teenage girls... you
1396
00:55:48,930 --> 00:55:50,090
take a picture, they get your
1397
00:55:50,265 --> 00:55:52,767
phone and erase it immediately.
1398
00:55:52,976 --> 00:55:54,519
So self-conscious.
1399
00:55:54,728 --> 00:55:56,646
But she's actually very
1400
00:55:56,855 --> 00:55:58,189
effective in the movie.
1401
00:55:58,398 --> 00:55:59,941
It's working with a lot of
1402
00:56:00,150 --> 00:56:00,775
nonactors.
1403
00:56:00,984 --> 00:56:02,104
And it's weird to be working
1404
00:56:02,152 --> 00:56:03,192
with Patricia Arquette and
1405
00:56:03,278 --> 00:56:04,904
Ethan Hawke as the parents...
1406
00:56:05,113 --> 00:56:06,906
Consummate professionals.
1407
00:56:07,115 --> 00:56:08,033
And then, on another level, a
1408
00:56:08,241 --> 00:56:09,200
lot of the kids, their friends,
1409
00:56:09,409 --> 00:56:10,368
will be people we just sort of
1410
00:56:10,577 --> 00:56:13,705
pick up and try to meld into the
1411
00:56:13,913 --> 00:56:14,539
whole project.
1412
00:56:14,748 --> 00:56:15,498
This narrative structure came
1413
00:56:15,707 --> 00:56:17,500
about... we were talking about
1414
00:56:17,709 --> 00:56:19,461
problem solving the other day.
1415
00:56:19,669 --> 00:56:21,504
The problem I had was I wanted
1416
00:56:21,713 --> 00:56:23,840
to do a film about childhood,
1417
00:56:24,049 --> 00:56:25,175
but I couldn't really... I
1418
00:56:25,383 --> 00:56:26,718
didn't think I had anything big
1419
00:56:26,926 --> 00:56:28,178
to say about any one moment of
1420
00:56:28,386 --> 00:56:29,429
childhood.
1421
00:56:29,637 --> 00:56:32,098
I had feelings about it, but...
1422
00:56:32,307 --> 00:56:33,099
And I was actually sitting down.
1423
00:56:33,308 --> 00:56:34,893
I was thinking I was gonna write
1424
00:56:35,101 --> 00:56:36,644
a novel, something I never did.
1425
00:56:36,853 --> 00:56:38,063
But I aspired to many, many
1426
00:56:38,271 --> 00:56:39,271
years ago.
1427
00:56:39,314 --> 00:56:42,692
And it was that idea about what
1428
00:56:42,901 --> 00:56:45,320
place in childhood do you drop
1429
00:56:45,528 --> 00:56:45,945
in?
1430
00:56:46,154 --> 00:56:47,405
This idea popped in my head.
1431
00:56:47,614 --> 00:56:48,907
It's like, "well, why couldn't"
1432
00:56:49,115 --> 00:56:50,533
you just film a little bit every
1433
00:56:50,742 --> 00:56:52,160
"year and touch on these things?"
1434
00:56:52,369 --> 00:56:54,954
But that was kind of the big
1435
00:56:55,163 --> 00:56:56,539
idea.
1436
00:56:56,748 --> 00:56:58,041
And just kind of put these
1437
00:56:58,249 --> 00:56:59,876
episodes, these years, together
1438
00:57:00,085 --> 00:57:00,835
and have it flow as one.
1439
00:57:01,044 --> 00:57:01,878
And that would make a much
1440
00:57:02,087 --> 00:57:04,672
bigger statement about time and
1441
00:57:04,881 --> 00:57:07,467
maturity and how we change, how
1442
00:57:07,675 --> 00:57:08,218
we stay the same.
1443
00:57:08,426 --> 00:57:09,135
You know, those are the bigger
1444
00:57:09,344 --> 00:57:10,504
themes I think I was reaching
1445
00:57:10,720 --> 00:57:11,346
I just couldn't find the
1446
00:57:11,554 --> 00:57:12,931
narrative format for that in
1447
00:57:13,598 --> 00:57:15,683
could we look at how you... I
1448
00:57:15,892 --> 00:57:17,644
don't know if you have good
1449
00:57:17,852 --> 00:57:19,687
examples of it yet, but how you
1450
00:57:19,896 --> 00:57:22,190
get from one year to the next,
1451
00:57:22,399 --> 00:57:24,275
what the articulation is?
1452
00:57:24,984 --> 00:57:25,693
Some are real subtle.
1453
00:57:25,902 --> 00:57:26,902
Some are less subtle than
1454
00:57:26,986 --> 00:57:27,487
others.
1455
00:57:27,695 --> 00:57:29,364
I think the biggest one... year
1456
00:57:29,572 --> 00:57:31,324
one, I think I was, if anything,
1457
00:57:31,533 --> 00:57:32,909
too blunt about it.
1458
00:57:33,118 --> 00:57:35,370
I got more subtle, I think.
1459
00:57:35,578 --> 00:57:36,704
This is year one to two.
1460
00:57:36,913 --> 00:57:37,913
Yeah, this was what I was
1461
00:57:38,039 --> 00:57:38,498
describing.
1462
00:57:38,706 --> 00:57:40,208
New apartment.
1463
00:57:40,417 --> 00:57:42,419
They've moved in, or they've
1464
00:57:42,627 --> 00:57:46,005
just arrived, tired.
1465
00:57:46,214 --> 00:57:47,340
Well, what do you think?
1466
00:57:47,549 --> 00:57:48,258
I like it.
1467
00:57:48,466 --> 00:57:49,551
Oh, can I see my room?
1468
00:57:49,759 --> 00:57:55,515
Yeah, let's see your rooms.
1469
00:57:55,723 --> 00:57:56,766
Bus will be here in ten
1470
00:57:56,975 --> 00:57:59,477
minutes.
1471
00:58:00,186 --> 00:58:01,312
Yeah, that works.
1472
00:58:01,521 --> 00:58:02,814
So, we follow him out.
1473
00:58:03,022 --> 00:58:04,774
I didn't realize, when you
1474
00:58:04,983 --> 00:58:06,818
described this, how interesting
1475
00:58:07,026 --> 00:58:08,653
those ellips... missing time
1476
00:58:08,862 --> 00:58:09,946
would be.
1477
00:58:10,155 --> 00:58:11,990
Okay, here's years two to
1478
00:58:12,198 --> 00:58:12,657
three.
1479
00:58:12,866 --> 00:58:14,868
He's just met a professor.
1480
00:58:15,076 --> 00:58:16,911
He was home from school.
1481
00:58:17,120 --> 00:58:18,496
Went with his mom to class.
1482
00:58:18,705 --> 00:58:20,248
She's getting her degree, and
1483
00:58:20,457 --> 00:58:21,457
he's walking away.
1484
00:58:21,624 --> 00:58:23,042
You can get near the end of
1485
00:58:23,251 --> 00:58:23,918
this.
1486
00:58:24,127 --> 00:58:26,045
She's...
1487
00:58:26,254 --> 00:58:27,755
Thanks.
1488
00:58:27,964 --> 00:58:28,631
So, do you think...
1489
00:58:28,840 --> 00:58:29,920
So, he kind of realizes his
1490
00:58:29,966 --> 00:58:30,884
mom's sort of dating this guy,
1491
00:58:31,092 --> 00:58:33,344
or there's something else going
1492
00:58:33,553 --> 00:58:33,970
on.
1493
00:58:34,179 --> 00:58:35,219
♪ ...said to the sand man,
1494
00:58:35,346 --> 00:58:36,639
♪ "wake up" ♪
1495
00:58:36,848 --> 00:58:38,641
♪ one, two, three, four,
1496
00:58:38,850 --> 00:58:39,392
five... ♪
1497
00:58:39,601 --> 00:58:40,852
And then, there he is, on the
1498
00:58:41,060 --> 00:58:43,104
trampoline.
1499
00:58:43,313 --> 00:58:45,064
Changed pretty abruptly.
1500
00:58:45,273 --> 00:58:47,609
Samantha's got braces, his older
1501
00:58:47,817 --> 00:58:48,817
sister.
1502
00:58:48,902 --> 00:58:49,736
And there's these other two kids
1503
00:58:49,944 --> 00:58:51,196
around.
1504
00:58:51,404 --> 00:58:53,114
And we come back to realize the
1505
00:58:53,323 --> 00:58:54,991
parents have just come back from
1506
00:58:55,200 --> 00:58:55,783
their honeymoon.
1507
00:58:55,992 --> 00:58:57,035
So, they're in a different
1508
00:58:57,243 --> 00:58:59,871
family situation.
1509
00:59:09,005 --> 00:59:10,965
I know, right?
1510
00:59:11,174 --> 00:59:13,384
Look at those.
1511
00:59:13,593 --> 00:59:14,260
Ooh, look at those.
1512
00:59:14,469 --> 00:59:15,261
There's a 10-year payoff here
1513
00:59:15,470 --> 00:59:16,679
somewhere.
1514
00:59:24,270 --> 00:59:25,270
So, I'm kind of getting
1515
00:59:25,438 --> 00:59:26,731
scenes from boyhood I actually
1516
00:59:26,940 --> 00:59:27,565
remember.
1517
00:59:27,774 --> 00:59:29,484
Like, here he is, like, a bird
1518
00:59:29,692 --> 00:59:30,235
has died.
1519
00:59:30,443 --> 00:59:32,070
He buried it, and he's dug it
1520
00:59:32,278 --> 00:59:33,780
back up just to see what it
1521
00:59:33,988 --> 00:59:34,364
looks like.
1522
00:59:34,572 --> 00:59:35,573
You know, that kind of...
1523
00:59:35,782 --> 00:59:37,200
Over the ten years, is this
1524
00:59:37,408 --> 00:59:38,408
all shot on film?
1525
00:59:38,451 --> 00:59:39,827
Mm-hmm. 35 neg.
1526
00:59:40,036 --> 00:59:42,330
Really, the goal was to have a
1527
00:59:42,539 --> 00:59:44,874
very uniform look to everything
1528
00:59:45,083 --> 00:59:46,918
about it, which was, given the
1529
00:59:47,126 --> 00:59:49,045
limitations of each year's shoot
1530
00:59:49,254 --> 00:59:50,672
and our budget and everything,
1531
00:59:50,880 --> 00:59:54,175
but I did want... I figured,
1532
00:59:54,384 --> 00:59:56,511
looking back, like, "okay",
1533
00:59:56,719 --> 00:59:59,180
twelve years from now, I think
1534
00:59:59,389 --> 01:00:00,389
film will still be here.
1535
01:00:00,557 --> 01:00:01,724
At least it'll be available,
1536
01:00:02,350 --> 01:00:03,643
I know there will be cameras.
1537
01:00:03,851 --> 01:00:05,051
There will probably be one lab
1538
01:00:05,478 --> 01:00:07,105
and it looks like we're getting
1539
01:00:07,313 --> 01:00:08,773
to the finish line in a year
1540
01:00:08,982 --> 01:00:10,275
where it really is sort of at
1541
01:00:10,483 --> 01:00:11,276
the end for film.
1542
01:00:11,484 --> 01:00:12,777
Yeah, that's interesting.
1543
01:00:12,986 --> 01:00:14,862
I don't feel a need to stock
1544
01:00:15,613 --> 01:00:16,733
if you would have started on
1545
01:00:16,823 --> 01:00:18,408
digital... digital changed so
1546
01:00:19,158 --> 01:00:20,158
we'd be on our fifth
1547
01:00:20,326 --> 01:00:20,952
different look.
1548
01:00:21,160 --> 01:00:21,744
Yeah, exactly.
1549
01:00:21,953 --> 01:00:23,830
And I didn't want it to feel
1550
01:00:24,038 --> 01:00:24,497
like that.
1551
01:00:24,706 --> 01:00:27,041
I didn't want that to be the
1552
01:00:27,250 --> 01:00:30,128
thing that demarcated the years.
1553
01:00:30,336 --> 01:00:31,754
You two have been working
1554
01:00:31,963 --> 01:00:33,548
together for many years, right?
1555
01:00:33,756 --> 01:00:36,426
I heard about Rick making a
1556
01:00:36,634 --> 01:00:38,428
film with universal, and I wrote
1557
01:00:38,636 --> 01:00:39,345
him a letter.
1558
01:00:39,554 --> 01:00:40,138
Uh-huh.
1559
01:00:40,346 --> 01:00:41,889
Just wrote him a longhand
1560
01:00:42,098 --> 01:00:43,683
letter and said, "I'm new to"
1561
01:00:43,891 --> 01:00:45,560
town, but I have experience in
1562
01:00:45,768 --> 01:00:47,048
the editing room, and I'd really
1563
01:00:47,228 --> 01:00:47,937
"like to meet you."
1564
01:00:48,146 --> 01:00:49,480
And I just mailed it to the
1565
01:00:49,689 --> 01:00:50,982
address of your production
1566
01:00:51,190 --> 01:00:53,151
office, and they called about
1567
01:00:53,359 --> 01:00:55,570
three weeks later and...
1568
01:00:55,778 --> 01:00:57,155
'cause I was very skeptical.
1569
01:00:57,363 --> 01:00:58,603
I had always edited everything,
1570
01:00:58,740 --> 01:00:59,980
and the idea of working with an
1571
01:01:00,116 --> 01:01:01,116
editor really scared me.
1572
01:01:01,242 --> 01:01:02,493
It's like, "oh, is that where"
1573
01:01:02,702 --> 01:01:03,995
you lose control of your film?
1574
01:01:04,203 --> 01:01:04,871
"Is that where..."
1575
01:01:05,079 --> 01:01:06,289
You hear these horror stories.
1576
01:01:06,497 --> 01:01:07,577
I was very paranoid at that
1577
01:01:07,624 --> 01:01:08,664
moment just working with a
1578
01:01:08,750 --> 01:01:10,668
studio in general.
1579
01:01:10,877 --> 01:01:12,462
And I think it came down to one
1580
01:01:12,670 --> 01:01:14,088
of my producers out there...
1581
01:01:14,297 --> 01:01:15,548
"yeah, a buddy of mine, he cut"
1582
01:01:15,757 --> 01:01:16,966
the 'police academy' movies.
1583
01:01:17,175 --> 01:01:18,301
I think he'd be good to cut
1584
01:01:18,968 --> 01:01:19,761
I was like, "aah!"
1585
01:01:19,969 --> 01:01:21,179
The older I get, the less.
1586
01:01:21,387 --> 01:01:22,555
Patience I have to be in an
1587
01:01:22,764 --> 01:01:23,348
editing room all day.
1588
01:01:23,556 --> 01:01:24,307
I think that first film, I was
1589
01:01:24,515 --> 01:01:25,715
like right over your shoulder,
1590
01:01:25,808 --> 01:01:28,478
just like with the thing, like,
1591
01:01:28,686 --> 01:01:30,897
"don't screw up my movie."
1592
01:01:32,440 --> 01:01:33,733
Then, I quickly realized Sandra
1593
01:01:33,941 --> 01:01:35,234
had actually a lot to offer.
1594
01:01:35,443 --> 01:01:36,027
Mm-hmm.
1595
01:01:36,235 --> 01:01:37,820
You probably weren't here yet,
1596
01:01:38,029 --> 01:01:39,614
when the film society was just
1597
01:01:39,822 --> 01:01:40,406
beginning.
1598
01:01:40,615 --> 01:01:43,159
Those were wonderful times.
1599
01:01:43,368 --> 01:01:43,951
I was staying at
1600
01:01:44,160 --> 01:01:45,160
d. Montgomery's house.
1601
01:01:45,203 --> 01:01:46,996
She gave me a house to stay in,
1602
01:01:47,205 --> 01:01:48,998
and Rick drove me to her house.
1603
01:01:49,207 --> 01:01:51,292
And we're dreaming, and we stop
1604
01:01:51,501 --> 01:01:53,544
at a stop sign, and there's a
1605
01:01:53,753 --> 01:01:54,753
bump we hear.
1606
01:01:54,879 --> 01:01:56,297
And there was a guy that had
1607
01:01:56,506 --> 01:01:58,007
been drunk and crawled in the
1608
01:01:58,216 --> 01:01:59,884
backseat and was sleeping.
1609
01:02:00,093 --> 01:02:01,678
And he fell and woke up.
1610
01:02:03,096 --> 01:02:04,722
And Rick's like this wasn't
1611
01:02:04,931 --> 01:02:05,932
abnormal at all.
1612
01:02:06,140 --> 01:02:07,975
He said, "what are you doing?"
1613
01:02:08,184 --> 01:02:09,384
He said, "I was just sleeping"
1614
01:02:09,602 --> 01:02:10,978
Rick said, "well, go back to"
1615
01:02:11,729 --> 01:02:13,231
I'll take you back after I drop
1616
01:02:13,439 --> 01:02:14,439
"him off."
1617
01:02:15,274 --> 01:02:16,651
And I thought, "welcome to"
1618
01:02:16,859 --> 01:02:17,318
Austin."
1619
01:02:17,527 --> 01:02:18,736
Yeah.
1620
01:02:18,945 --> 01:02:20,025
Yeah, you would fit in just
1621
01:02:20,113 --> 01:02:21,698
fine, just fine in Austin.
1622
01:02:21,906 --> 01:02:23,866
But I liked that you didn't
1623
01:02:24,075 --> 01:02:26,077
lose a beat on that, like, "no
1624
01:02:26,285 --> 01:02:29,706
big deal."
1625
01:02:29,914 --> 01:02:32,625
And how did you meet d.?
1626
01:02:32,875 --> 01:02:34,752
I had seen her around.
1627
01:02:34,961 --> 01:02:36,462
She was friends with
1628
01:02:36,671 --> 01:02:38,965
Teresa Taylor, who's the drummer
1629
01:02:39,173 --> 01:02:40,341
for the butthole surfers, and
1630
01:02:40,550 --> 01:02:41,634
she would be at parties.
1631
01:02:41,843 --> 01:02:43,177
And I asked her actually to be
1632
01:02:43,386 --> 01:02:44,137
in my first film.
1633
01:02:44,345 --> 01:02:45,680
I think of d. Every day, and I
1634
01:02:45,888 --> 01:02:47,056
still have dreams sometimes
1635
01:02:47,265 --> 01:02:48,265
that we're sitting there
1636
01:02:48,433 --> 01:02:49,433
talking, and she'll have
1637
01:02:49,559 --> 01:02:50,559
these...
1638
01:02:50,601 --> 01:02:51,681
That's how vibrant she was.
1639
01:02:51,811 --> 01:02:52,937
Yeah, yeah.
1640
01:02:53,146 --> 01:02:53,980
And she'll be telling me about a
1641
01:02:54,188 --> 01:02:54,856
project she's working on.
1642
01:02:55,064 --> 01:02:55,857
"And then I'm gonna do"... you
1643
01:02:56,065 --> 01:02:57,525
know, something kind of really
1644
01:02:57,734 --> 01:02:59,152
conceptual, and I'll be really
1645
01:02:59,360 --> 01:02:59,736
into it.
1646
01:02:59,944 --> 01:03:00,570
You're making me cry.
1647
01:03:00,778 --> 01:03:02,029
And then I kind of get lucid,
1648
01:03:02,238 --> 01:03:03,740
and I'm like, "oh, that sounds"
1649
01:03:03,948 --> 01:03:04,532
great, d.
1650
01:03:04,741 --> 01:03:06,033
You know you're not alive
1651
01:03:06,242 --> 01:03:07,702
"anymore, right?"
1652
01:03:07,910 --> 01:03:09,162
Then, I'll have to inform her,
1653
01:03:09,370 --> 01:03:10,570
and she's like... that kind of
1654
01:03:10,705 --> 01:03:11,080
kills the...
1655
01:03:11,289 --> 01:03:12,415
"I am, too!"
1656
01:03:12,623 --> 01:03:14,000
Yeah, she's like, "I am, in"
1657
01:03:14,208 --> 01:03:15,460
your mind, at least."
1658
01:03:15,668 --> 01:03:18,921
But it is a cool idea, but I'm
1659
01:03:19,130 --> 01:03:20,089
kind of like, "oh, yeah, damn."
1660
01:03:20,298 --> 01:03:20,798
This isn't real."
1661
01:03:21,007 --> 01:03:22,467
So, yeah.
1662
01:03:22,717 --> 01:03:26,971
She's been gone 16, 15 1/2 years
1663
01:03:27,180 --> 01:03:28,347
now, so...
1664
01:03:28,556 --> 01:03:31,100
Long time.
1665
01:03:34,854 --> 01:03:38,024
And then, I could pick you up
1666
01:03:38,232 --> 01:03:41,652
and take you to our house for...
1667
01:03:41,861 --> 01:03:42,862
Okay.
1668
01:03:43,070 --> 01:03:43,696
For dinner.
1669
01:03:43,905 --> 01:03:44,614
That would be great.
1670
01:03:44,822 --> 01:03:45,698
Then, we'll go up to the big
1671
01:03:45,907 --> 01:03:46,949
"m."
1672
01:03:47,158 --> 01:03:48,117
You know what's that from, don't
1673
01:03:48,326 --> 01:03:49,326
you?
1674
01:03:49,452 --> 01:03:50,077
The "m"?
1675
01:03:50,286 --> 01:03:51,454
Yeah, we'll go up to the big
1676
01:03:51,662 --> 01:03:52,662
"m."
1677
01:03:52,705 --> 01:03:53,705
In Montana.
1678
01:03:53,873 --> 01:03:54,873
Yeah.
1679
01:03:55,917 --> 01:03:56,584
Is that in Missoula?
1680
01:03:56,793 --> 01:03:58,920
Missoula.
1681
01:04:40,962 --> 01:04:42,255
I like that trip up there in
1682
01:04:42,463 --> 01:04:43,714
your film, though, because it's
1683
01:04:43,923 --> 01:04:44,923
kind of matter-of-fact.
1684
01:04:45,049 --> 01:04:45,591
"What should we do?"
1685
01:04:45,800 --> 01:04:47,260
"Oh, let's go up to the big"
1686
01:04:47,969 --> 01:04:49,136
yeah, we can walk up to the
1687
01:04:52,765 --> 01:04:54,934
the ultimate hanging-out...
1688
01:04:55,184 --> 01:04:56,184
So, well, cool.
1689
01:04:56,227 --> 01:04:57,645
So, I'll just come get you.
1690
01:04:57,854 --> 01:04:59,272
I'll be waiting for you.
1691
01:04:59,480 --> 01:05:00,480
I'll call you.
1692
01:05:00,606 --> 01:05:02,108
I'll call you sometime after
1693
01:05:02,316 --> 01:05:03,484
4:00, I believe.
1694
01:05:03,693 --> 01:05:05,278
Around 4:30, cool.
1695
01:05:05,486 --> 01:05:05,945
Yeah.
1696
01:05:06,153 --> 01:05:07,153
All right. Take it easy.
1697
01:05:07,238 --> 01:05:09,699
Okay. See you soon.
1698
01:05:17,081 --> 01:05:18,833
Cut it!
1699
01:06:54,679 --> 01:06:56,514
[Bird squawking 1
1700
01:08:24,268 --> 01:08:26,145
I found the end of
1701
01:08:26,353 --> 01:08:27,646
"school of rock" to be extremely
1702
01:08:27,855 --> 01:08:31,150
radical, to put on this addition
1703
01:08:31,358 --> 01:08:34,153
at the end of them jamming.
1704
01:08:34,361 --> 01:08:35,946
We improvised that.
1705
01:08:36,155 --> 01:08:36,739
Yes.
1706
01:08:36,947 --> 01:08:38,199
I kind of like credit
1707
01:08:38,407 --> 01:08:39,992
sequences that keep you in the
1708
01:08:40,201 --> 01:08:41,494
theater, for some reason.
1709
01:08:41,702 --> 01:08:43,120
There is an addendum to the
1710
01:08:43,829 --> 01:08:45,247
and that, we had spent so much
1711
01:08:45,456 --> 01:08:46,791
time in the studio, recording
1712
01:08:46,999 --> 01:08:48,250
all the music, and they were
1713
01:08:48,459 --> 01:08:49,459
sort of jamming.
1714
01:08:49,502 --> 01:08:50,961
Jack and the kids were doing
1715
01:08:51,170 --> 01:08:53,589
these jams to ac/dc songs.
1716
01:08:53,798 --> 01:08:54,548
And I could see what fun they
1717
01:08:54,757 --> 01:08:55,132
were having.
1718
01:08:55,341 --> 01:08:56,175
It just popped in my head,
1719
01:08:56,383 --> 01:08:57,301
'cause we didn't really have
1720
01:08:57,510 --> 01:08:58,510
much of an ending.
1721
01:08:58,677 --> 01:09:00,096
We were sort of defying the
1722
01:09:00,304 --> 01:09:04,350
Hollywood... oh, the new rules
1723
01:09:04,558 --> 01:09:05,643
of endings that you have to
1724
01:09:05,851 --> 01:09:07,131
have, like, six endings to every
1725
01:09:07,728 --> 01:09:08,888
we really had a pretty simple
1726
01:09:09,522 --> 01:09:11,398
they lost, and then, they got
1727
01:09:11,607 --> 01:09:13,275
called out for an encore.
1728
01:09:13,484 --> 01:09:14,985
So, we had a half an ending,
1729
01:09:15,194 --> 01:09:16,904
which I'm always in... that hurt
1730
01:09:17,113 --> 01:09:18,697
"dazed and confused" a lot way
1731
01:09:19,365 --> 01:09:20,199
like, it wasn't seen that we had
1732
01:09:20,407 --> 01:09:21,075
an ending, and I was like,
1733
01:09:21,283 --> 01:09:22,034
"yeah, there isn't an ending.
1734
01:09:22,243 --> 01:09:22,743
Isn't that cool?"
1735
01:09:22,952 --> 01:09:24,152
And they're like, "no, that's"
1736
01:09:24,453 --> 01:09:25,162
you need a good ending."
1737
01:09:25,371 --> 01:09:26,080
"Well, I don't have one."
1738
01:09:26,288 --> 01:09:27,081
They're driving off to get
1739
01:09:27,289 --> 01:09:29,083
"Aerosmith tickets."
112514
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.