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[MUSIC PLAYING]
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JAMES CAMERON: One of
the biggest questions
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in creativity-- any
form of creativity
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is, when is an
idea that you have
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that pops up like a little
champagne bubble in your mind
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worth pursuing?
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The answer to that
is highly subjective.
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What appeals to you?
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What are-- are you interested
in as an artist or as someone
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aspiring to be an
artist in cinema?
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What compels you
to tell a story?
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Is it the visual aspects of it?
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Is it the world that you
want to immerse people in?
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Is it a particular character?
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Is it a particular
problem for a character
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that you want to explore maybe
based on how it resonates
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with something in your life?
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Or maybe it's a story
that you've read
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and say, I want to do
something like that,
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or it's a film that
you've seen and say, I
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want to do something like that.
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Maybe it's very
unformed at first.
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Okay, there's this--
this woman does this.
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I want to tell this
story, you know?
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Put some detail on it, you know?
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Who is she?
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What time-- what time
in the world is it?
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What's the setting?
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And how does that resonate?
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And maybe-- maybe you put
her in Cincinnati in 1962
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and all of a sudden, ah,
too limiting socially.
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Maybe it needs to be in some
dystopian future, you know?
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And so just let it swirl around.
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And don't lock in on
anything right away.
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I mean, I think that
one of the keys to this
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is to be open and
flexible and always--
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always keep an openness.
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So really, it's a question of
after that initial process,
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is the-- does the idea
stand the sort of sniff test
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for something that you want
to really devote your time to?
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And I think the answer to
that is it just won't go away,
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you know?
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The idea just won't go away.
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It starts to
resonate with things
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that are happening in
your life or in the news
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or in another film that--
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that you see and it starts
to get more detailed,
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it starts to come into focus.
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And then there'll would be a
certain point where you say,
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I've just got to sit
down and write this.
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The imagination never stops.
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It's always working.
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And I think ideas come
to any kind of artist
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from-- from different
sources, and the subconscious
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is one that certainly the
surrealist artists back
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around the turn of the
last century believed in.
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They believed in dream imagery.
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They believed that it was an
unmediated, unintellectualized
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version of their subconscious
creative force or imagination,
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and I believe that
to be true also.
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It's my zero-cost subscription
to a streaming service
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that's all my own.
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Every night I get all kinds
of entertaining stuff.
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I know I've-- I've woken
up having leafed through
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sketchbooks or-- or paintings
and thought to myself, man,
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I wish I could paint like
that, then realized I just did.
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And then scramble around
and try to draw it out,
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draw out the ideas
that I've seen.
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And every once in a while
something stands out.
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Whether it's a scene
in a narrative sense
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that might be-- it be
tragic, it might be joyful,
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or maybe it's just an image.
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To pick an example, "Terminator"
started as a dream image.
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The actual terminator
itself and the--
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the image of it as a
chrome metal skeleton
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emerging out of a fire
with the certain knowledge,
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in the same way that you have
a certain knowledge in dreams
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about something,
about what the thing
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you're seeing means or the
person that you're seeing,
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what they mean to
you in the dream,
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I knew that it once
had skin over it, which
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was burned off by the fire and
it was walking out of the fire.
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So I woke up and I said,
that's a pretty good idea,
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and I started drawing
what I had seen.
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And that was the nucleus
for "The Terminator."
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Then I had to
justify, where am I?
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Why is there a metal skeleton?
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Why was-- why did it
have skin over it?
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Well, obviously there
was a purpose to that.
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And we don't have that, so
that comes from the future.
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And hey, maybe I
could make a movie
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about that in the present
day if there was time travel.
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So boom, boom,
boom, all the pieces
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assembled around that
nucleus of a dream image.
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You have an idea,
what happens next?
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Well, there's this pesky little
thing called the written word.
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You've got to write a story.
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Somebody has got to write
a story at some point.
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Now maybe-- maybe it's
a five-page outline,
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maybe in my case it's
a 75-page outline,
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because that's how I work.
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I work at a very novelistic way.
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Because I have to build the
world around the characters
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as--
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as I'm generating it, and--
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because otherwise
it's too vague,
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it's-- it's too imprecise.
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So in my particular case, I
write a very long treatment.
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In fact, people used to
joke that it was more
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of a script than a treatment.
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We at first jokingly, and
then ultimately just adopted
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the term scriptment,
because it had all of the--
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had all of the scenes and
had a lot of the dialogue,
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it just wasn't in
proper script form
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because I held on to that kind
of novelistic way of writing
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prose and dialogue, because
it was freer, it was looser.
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I could say an argument happens.
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Or I could actually
write the argument out.
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So I tried to take the
formality out of the process.
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This was just-- I'm speaking
for my own development,
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and all writers develop
differently, all screenwriters
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develop differently.
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But I think anyone aspiring
to be a filmmaker, you know,
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the person sitting in this
chair still needs to understand
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the writing process,
even if you know that one
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of your limitations is you're
not great with dialogue
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or you-- you can't--
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you don't think structurally
like a writer does.
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Or mastering the
art of the scene
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because scene writing is--
is an art in and of it--
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in and of itself.
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Maybe that's not your thing
and you're more visual,
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and you just want
to grab a camera
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and go and let somebody else--
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somebody else write it.
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That's fine.
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But you still need to know
how to work with the writer
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to get the story to be
what you want it to be.
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I believe in the
three-act structure,
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I've just never
succeeded in doing one.
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"Terminator's" five
acts with a coda.
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"Aliens" is four acts.
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None of my stuff ever fits
the three-act structure.
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I think thinking an act
is good up to a point.
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It disciplines you
to know that you're
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coming up to a transition
point in the film.
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If you think in
terms of act breaks,
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you'll create transitions
that are interesting.
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They always say
that you want to end
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act one with some kind
of sense of-- of stating
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the main character's
main problem,
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and if there's an adversary
pitting the main character
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against the adversary,
there's certain things
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that need to be accomplished.
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Or the journey begins.
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You can follow different--
different schools of thought
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around that.
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You can-- you know, Shakespeare
worked in a five-act structure
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very often.
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So there are no
hard-- hard rules.
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Quentin Tarantino
takes the action
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and just moves them around into
different orders, you know?
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So there are no-- there
are no real rules,
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but I think it's good to
know the rules before you
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break them.
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When I'm standing on a
whiteboard in a writer's room
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with other writers,
it's very helpful
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to think in a
three-act structure,
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because everybody
gets that, you know?
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What's my first act act out?
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What is the big thing I want
to do to set up-- to really set
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the story in motion?
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All my kind of throat-clearing
and my establishing in my world
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building all has to
culminate to some point
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where we define
the conflict, we've
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set the character's
problem, and now
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the story's in motion at high
speed beyond-- beyond that.
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So that's helpful.
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And then what do I need to
accomplish in my second act?
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And then what's my--
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what's my kick-off
for my third act?
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And then-- because I often
find that third acts are kind
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of a story within the story.
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That third act reiterates
a lot of what's
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been-- been seen previously
and brings it all to a head
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and to a-- to either a final
conflict or a final culmination
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or some kind of
emotional catharsis,
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and then it resolves.
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Or in some cases
it doesn't resolve,
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and the not resolving is
part of the comment or part
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of the-- part of the message.
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So I think-- you
know, read the books,
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there are plenty of books on--
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on screenwriting.
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Read the books, know the rules,
and then just break them.
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All art has meaning, and
that meaning may be overt,
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it may be a lesson, it might
be a social object lesson
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for something that needs
to be understood and felt
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and requires an
empathetic response.
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And maybe it has a meaning
for you individually.
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Some kind of object lesson
about the value of duty
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or the value of friendship
or the value of love
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or the price of love, you know?
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I read an interesting thing--
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interesting quote-- grief
is the price of love.
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It was a mother--
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not-- not an artist,
not a writer.
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It was a mother who had lost
someone very close to them--
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I think a child.
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And it was just a
quote in a newspaper.
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You know.
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She was-- she was hurting,
she was in deep pain.
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She said, it's
the price of love.
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And I thought, that is profound.
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That is really profound.
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Of course, I mean, we all--
love is a good thing, right?
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Right up until it isn't,
when it-- it hurts.
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Hurts because you lose
someone close to you,
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you lose contact with them, or
they reject you or they die,
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whatever-- whatever
it is, you know?
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And there is a price to be paid.
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There's a price to be
paid for everything.
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And so maybe that's the
object lesson of the film.
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And maybe that allows
us to go on that journey
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without having to go
through the actual loss.
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So films are a way to
kind of experience things,
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like, you know, kind of a
training simulation before we
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actually get there.
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So it's up to the
filmmaker, I think,
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to be authentic about emotions.
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I mean, the actors, of
course, they-- they live,
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eat, and breathe authenticity.
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And it's all about
the research for them
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and-- and the truthful
moment and all that.
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And I think it's
up to the filmmaker
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to protect that and
nurture that, and make
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sure it's there-- that
the authenticity is there
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in the writing.
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I had a studio executive--
top, top studio executive
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say on "Avatar," we really like
this script, but is there a way
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that you can take out some
of the kind of hippie,
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tree-hugging kind
of-- kind of stuff?
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And I said, no,
because it's exactly
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the hippie tree-hugging
stuff is the reason I
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want to make the movie.
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So if that's important to you,
then we're kind of done here
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and I'll have to take
it somewhere else.
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Oh no, no, no!
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You know.
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So anyway, film
got made with all
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the hippie tree-hugging
stuff in it.
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But, you know, it
was a Rubicon moment.
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I could have been jeopardizing
the financing for a, you know,
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$100-plus million
movie, but, you know,
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I found that as I
developed my-- my stories,
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there are certain things
I never let go of.
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There are certain
fundamental principles
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that I never let go of.
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Maybe it's a redemption
story, and that never changes,
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you know?
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So then it's a fine equipoise
between being open and being
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fluid and being able to
take an idea-- maybe not
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your idea, but an idea
that fits and resonates
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and incorporate
that without losing
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the sight of that core thing
that you came there to do.
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All my films express
thematically my perspective
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on existence, and a
lot of those ideas
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were formed when I was
just kind of wide-eyed,
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looking around the world.
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JOHN F. KENNEDY:
Within the past week,
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unmistakable evidence
has established the fact
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that a series of
offensive missile sites
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is now in preparation on
that imprisoned island.
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JAMES CAMERON:
Remembering distinctly
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as a-- as a kid at
the age of eight,
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00:12:20,410 --> 00:12:24,040
seeing my dad going through
how to build a fallout
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00:12:24,040 --> 00:12:27,370
shelter in your basement at
the peak of the Cuban Missile
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Crisis.
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00:12:28,000 --> 00:12:30,810
[CHANTING]
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Seeing the rise of
environmentalism
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in the early '70s and seeing
the world potentially becoming
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a toxic wasteland.
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All those sorts of
dystopian anxieties.
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So for me, the-- the nuclear
holocaust of the future
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00:12:50,950 --> 00:12:55,000
in "Terminator" maps directly
thematically to the destruction
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00:12:55,000 --> 00:12:58,300
of "Titanic" where people
just kind of blithely sailed
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00:12:58,300 --> 00:13:02,620
on right into an iceberg, and
their world, the microcosm--
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00:13:02,620 --> 00:13:04,420
the world of that
movie, because you
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00:13:04,420 --> 00:13:07,720
see very little besides the
ship itself in that film,
290
00:13:07,720 --> 00:13:09,160
sinks out from underneath them.
291
00:13:09,160 --> 00:13:10,690
It's destroyed,
and it takes down
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00:13:10,690 --> 00:13:13,930
the rich with the
poor as well, which
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00:13:13,930 --> 00:13:17,450
obviously is a metaphor for our
world right now with climate
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change.
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00:13:17,950 --> 00:13:21,340
All the rich people that are--
that are propagating climate
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00:13:21,340 --> 00:13:24,093
change, all the big
corporations, and people
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00:13:24,093 --> 00:13:26,260
who think they're going to
be above the consequences
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00:13:26,260 --> 00:13:27,760
will not be, you know?
299
00:13:27,760 --> 00:13:30,400
We're all in one world and
we're all in it together.
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00:13:30,400 --> 00:13:32,170
So, you know, I think that the--
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but I think the films, I try to
keep them from being preachy.
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00:13:36,220 --> 00:13:39,880
I try to keep them from
being too on the nose.
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But the message is there if
you-- if you want to see it.
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And I think it's
consistent about the power
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00:13:46,240 --> 00:13:50,180
of the individual,
the strength of women.
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00:13:50,180 --> 00:13:52,610
You know, my-- my
kind of jaundiced view
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00:13:52,610 --> 00:13:56,390
of organizational
systems and authority.
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00:13:56,390 --> 00:13:58,160
You know, being a
child of the '60s,
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00:13:58,160 --> 00:14:00,380
I have an innate
dislike for authority.
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00:14:00,380 --> 00:14:02,500
[MUSIC PLAYING]
24982
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