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[FOOTSTEPS]
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[INDISTINCT CHATTER]
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[CHEERING]
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[SCRAPING]
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[DIGITAL BEEPING]
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[MUSIC PLAYING]
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[DRAMATIC MUSIC]
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JAMES CAMERON: There's a
moment when you're just a fan.
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And there's a moment
when you're a filmmaker.
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And the one moment can follow
the other by about 1 minute.
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Because all you have to
do is pick up a camera
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and start shooting something
with the intention of making
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a film, and you're a filmmaker.
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[DRAMATIC MUSIC]
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[GLASS SHATTERS]
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[SCREECHING]
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JAMES CAMERON: There's a
moment where there's no idea.
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And then there's the moment
where there's the idea.
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And I think of it almost the
way we assemble images and bits
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of narrative in our dreams.
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Maybe it's in another time.
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Maybe it's in another place.
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Maybe it's an entirely
different world.
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It's up to the filmmaker
to create that little bit
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of an alternate reality.
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And then we get to
feel kind of alive
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through a completely
different set of eyes.
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That's an amazing thing.
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[DRAMATIC MUSIC]
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I'm James Cameron.
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And this is my MasterClass.
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[DRAMATIC MUSIC]
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NARRATOR: Whatever you have
imagined in your wildest dreams
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now becomes a visual reality.
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JAMES CAMERON: I
had loved films.
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I always loved films.
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Like, I remember particularly
when I was in the third grade,
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I saw "Mysterious Island,"
a Ray Harryhausen film.
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And it had lots of wonderful
sort of little boy fantasy
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adventure stuff in it.
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I came back, and I started
drawing comics, comics
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about "Mysterious Island."
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But it wasn't the same story.
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I made up my own creatures.
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And I made up my own scenarios.
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And I started to
think in a frame.
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And I started to think--
well, I didn't realize it--
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but I was doing wide shots.
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And I was doing close-ups. And
I was doing reverse angles.
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And I was doing all the
things that a filmmaker does.
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So I was doing all those
things, graphically, on paper.
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But it didn't translate
to I want to make movies.
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So cut to years later, I'm very
excited to see this new film
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that's just come out--
this is in 1968--
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called "2001-- a Space Odyssey."
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Because I love space.
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I love science fiction.
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I'm an avid reader
of science fiction.
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And it looked from the
images like it was really
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a quantum leap in terms of
the type of space imagery
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that I was going to experience.
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So I went and saw that film.
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And it had such a visceral
impact on me that by the end,
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I was probably almost
alone in the movie
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theater for some reason.
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It was a matinee during the day.
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I stumbled out of the theater,
I sat down on the curb,
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and I threw up.
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Not because I didn't
like the film,
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but because when the
stargate sequence began,
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I felt like I was falling down
an infinite corridor of light.
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And I got airsick.
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I was so subjectively
present for that film.
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And when I see
the film now, it's
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a very hard film to be
subjectively present for.
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It's a very cold and
intellectual film.
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But I loved it visually.
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And it was the first
time I really--
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at the age of 14--
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made the connection that a
movie can be a piece of art
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and can be an experience.
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And it was the first time
I noticed film music.
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Because obviously,
images and music
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went hand in glove in
that film in a really kind
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of almost unprecedented way.
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So I started getting really
enthusiastic about how
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did they do that.
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And it just so
happened that that
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was one of the first films
that had a book, a companion
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book, that was published
and widely available,
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"The Making of 2001."
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And I remember it was written
by a guy named Jerome Agel.
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And I got the book.
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And I read it cover to cover.
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And I understood
about a quarter of it.
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So I read it again.
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And I started making notes.
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And I started thinking about,
well, how could I do that.
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So I got my dad's
Super 8 camera.
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And I'd take a sheet of glass,
and I mount a model on it.
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I'd buy a kit model of one of
the spacecraft from the film.
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And I put it together.
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And I'd glue it onto the glass.
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And I'd put a piece of
black velvet behind it.
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And I'd put a light on it.
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And it looked terrible,
because the model
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reflected in the glass.
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Then I thought, well,
what if I take the model
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and put it behind the glass
and glue it on from this side
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and then put, like, one
little tiny piece of detail
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over where that glue spot
is, and then light it.
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And I won't see the reflection.
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Now, all of a sudden, I'm
with my Super 8 camera,
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I'm making a spaceship
fly through space.
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Well, I don't think I ever
looked back from that point.
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I always think of it
as the door is going
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to open for a split second.
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Whether you choose to
jump through it or not,
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it's not going to be
there for very long.
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Another door will come
along sooner or later,
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if you stay at it.
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When you jump through that
door, and you say, I'm here.
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I'm ready to do this.
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You have to have prepared for
that moment for literally years
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by being a sponge,
by being curious,
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by absorbing everything that
you can to prepare yourself
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for that moment.
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I think every filmmaker
stands essentially
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on the shoulders of the
filmmakers that went before.
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We see what they've done.
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We react to it.
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It's like, that was interesting.
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And then we start to
create our own aesthetic.
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And every individual
will take what's
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been done by other
filmmakers and filter it
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through their own lens, their
own subjective experience,
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their own opinions
about the world.
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And it'll come back
in a different form.
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And so it's endlessly renewing
and endlessly invigorating.
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And I think it's the
duty of filmmakers
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that have been
down the road ways
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to turn around and
say, all right, there's
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a landmine over here.
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There's a landmine over here.
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Don't step on it.
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You know, if I can't do that
after 40 years in the business,
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then I'm not giving back enough.
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So why not share that?
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So in this class, I'm going to
talk about what I've learned.
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And one of the
things I've learned
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is that you never
learn everything.
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And it's a constant
process of learning.
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So you're constantly
humble before the craft.
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And you're constantly learning
from other filmmakers.
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If I had known when I started
out what I know now, of course,
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I would have done a lot
of things differently.
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But I think my films
would have been slightly
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different, but not that much.
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What I would have
done differently
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is I would have respected all
the crafts people around me
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more.
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I would have learned the
leadership lessons earlier.
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And I think that that's
something hopefully
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that I can impart
in this class--
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the importance of the
role of leader of a group.
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It's not dictator.
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And it's a very
collaborative medium.
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And your film will benefit
from that collaboration.
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[DRAMATIC MUSIC]
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I think the important
thing to remember
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is you can make a great
film without a huge budget.
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[LASERS BLASTING]
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I've done low-budget films.
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[EXPLOSIONS]
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I've also done very
high-budget films.
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[ROBOTIC MOVEMENT]
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I've been lucky enough
to be able to do that.
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[WINGS FLUTTERING]
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But you can definitely
optimize your budget.
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And there are ways to do that.
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And I'll share with you
what I know about some
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of the tricks of the trade.
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And I wanted to share
what's been learned.
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Because we had to
learn it the hard way.
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And there's no
reason why I can't
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share what's been learned in
a way that can benefit you,
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as an up and coming filmmaker.
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And hopefully then you'll go
ahead, and you'll innovate,
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and you'll do things.
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And I'll follow your work,
see what you've done,
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and maybe learn from you.
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[DRAMATIC MUSIC]
14755
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