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[DRAMATIC MUSIC]
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JAMES CAMERON: The first
moments of a character
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should somehow resonate with
the entire rest of the film.
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[DRAMATIC MUSIC]
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So we talked about
character introductions
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and a few different ones.
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I love stylistically interesting
cinematic introductions
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of main characters
or main adversaries.
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So here's one that
I'll use as an example.
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This is in "Titanic."
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And let's say we'll
start with this shot.
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It was a big crowd getting
ready to board the ship
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and say goodbye
to the people that
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are already boarding the ship.
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And so a thousand extras,
and the camera's coming down,
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and we're coming on to
a small group of people.
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And then we see
this little girl.
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And meanwhile, we
hear a horn honking.
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And she turns and looks.
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And here comes this beautiful,
glittering, otherworldly car.
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And then the doors open,
and we see a figure.
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A hand comes out, and
then a foot comes out,
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and then a hat comes out.
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And then the hat wipe reveals
Kate Winslet's face as Rose.
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And then we hear her
first line of dialogue.
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KATE WINSLET (AS ROSE): I don't
see what all the fuss is about.
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It doesn't look any bigger
than the Mauretania.
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Which is very sort
of blase and diva-like.
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(STUFFY ACCENT) "It
doesn't look that big."
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You know?
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Kind of dismissive.
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And she sort of
immediately sort of
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declares herself as a bit
sort of posh and above it all.
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But we also get to see her
entire ensemble, which is
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beautifully pulled together--
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Edwardian day coat
and her gorgeous hat.
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So she's kind of defined
very, very, very quickly.
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But the cinematically
interesting thing
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is the first thing we
see of Rose is her car.
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And we see it from
the perspective
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of a little girl who's a
steerage class passenger.
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And to her, it's like a fantasy.
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What she sees is the fantasy.
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She sees the princess.
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I've gone from the wide shot
with literally, I don't know,
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it might have been 1,200,
it might be 1,500 extras
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that were on call that day.
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And we built this huge set.
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And we come down with the
crane, across the entire crowd.
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Everybody's waving.
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And then we introduce
little Cora.
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Daddy, it's a ship.
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And just a relatively
inconsequential line from her.
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It's not important.
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But she creates a
subjective point of view.
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And then here comes the car.
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The car honks.
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It's clearing a path.
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And now we see it from
Cora's perspective,
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the beautiful, golden
glittering chariot.
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And not just one car, but a
fleet of cars that show up.
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And this is a very
long lens shot.
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This is probably a 150
millimeter lens shot.
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And it's designed
to stack the frame.
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Now a lot of this sequence
was shot with long lenses.
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And it's hard to
imagine "Titanic"
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as being a low-budget movie.
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But if you looked 10
degrees over that way,
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or 10 degrees over that way,
it was Baja, California.
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We were down in Rosarito Beach.
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So we had a piece
of backing that
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was supposed to look like
the city of Southampton
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at the Southampton docks.
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And if I moved off
that backing, I
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was looking at scrub
brush and hills.
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So not exactly a
low-budget film,
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but every film has
its limitations.
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Now we're creating
an anticipation.
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Somebody's coming.
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Who is it?
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Somebody-- the
door is being open.
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We see a hand come out.
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So Rose's introduction is her
hand, her calfskin glove hand.
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And her foot delicately comes
out, and her little parasol,
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and her hat.
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Right now, she's a hat,
you know, in the same way
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that [INAUDIBLE] you know,
the [INAUDIBLE] principle
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that the character is
reduced to an object that
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represents that character.
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It's a highly fashionable hat.
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It's a rich girl hat.
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It was a very expensive hat.
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It was probably a unique
hat from a couture designer
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in London.
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[DRAMATIC MUSIC]
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And then we meet her.
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[DRAMATIC MUSIC]
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And she's absolutely gorgeous.
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And I think for the
average audience member,
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this is a moment that says,
okay, she's the character.
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She's the one I'm
going to follow.
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We also have a foreknowledge.
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We've seen this character.
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We've seen her at the
age of 103 in sort
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of the prologue of the film.
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And we've been taken back in
time through her narrative.
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She's the storyteller.
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So what did she look
like when she was 19?
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You know.
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We've seen her as the old lady.
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Now we're going to go back
and see her at this age.
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And so there's actually
a few layers playing
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at this exact moment,
even before the hat
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reveal takes place.
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And there's just something quite
elegant about that hat reveal.
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And, of course, it was
a fair number of takes
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to get the crane move just right
and landing at the right time,
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and Kate's timing,
and what she looked
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at with kind of interest, and
how she kind of hit that pose.
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And so, to me, maybe it's
a little too classic.
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Or maybe it's just
classic enough
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to set a tone for
this film, which
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plays by very classic
rules of cinematography.
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It's not an iconoclastic
film in that way.
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It's not trying to play by
some very stylized rule set.
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It's trying to use classic
cinematic technique
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to tell the story.
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We cut away to something else.
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We cut away to two of the shots.
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We introduced Cal,
that's important.
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He is, in a way, the
adversary, or one
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of the adversaries of the film.
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And then we come back.
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We come back to
Rose, and she speaks.
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It doesn't look any
bigger than the Mauretania.
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JAMES CAMERON: And she's
a spoiled little brat.
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In a way, almost off-putting.
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She's not very nice.
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(STUFFY ACCENT) "It's
not that much, is it?"
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You know, she's above it all.
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Yeah, okay.
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She's a spoiled
little rich girl.
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I get it.
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I know who the character is.
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She's not the character
I've already met.
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She's not that
103-year-old lady.
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All those years that have
intervened have changed her.
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And she speaks with
kind of a spirituality
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and a deep wisdom in the
scenes that we've already met.
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That's not the girl that
we're meeting right here.
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So, to me, in just
a few shots, we've
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learned a tremendous
amount about the character.
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But we also haven't learned the
most important thing about her.
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She's that desperately
unhappy, depressed woman
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that looks at herself in the
mirror and says to herself--
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you can see it in her eyes.
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Kate doesn't say it out loud--
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what the hell?
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I'm in hell.
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And then the next
time we see her,
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she's running down the deck,
getting ready to climb over
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the railing.
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She's impetuous.
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She's impulsive.
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These are things
that are revealed.
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So obviously a lot of
time in the writing,
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a lot of time in the casting,
and the rehearsal, then
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the production design,
the design of the hat.
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A lot of things go into the
creating of a character.
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But I do think there's
something sacred and important
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about the way you
introduce a character.
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You could be blase
about some things, Rose,
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but not about Titanic.
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[DRAMATIC MUSIC]
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