{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/0v89g5j15x/manifest","type":"Manifest","label":{"en":["Interview with Terence Macartney-Filgate, #2 [1/4-in. magnetic audiotape], February 9, 1965"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","metadata":[{"label":{"en":["Description"]},"value":{"en":["1 sound tape reel : 1.875 ips; 3 in. 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I was on the stage at the big meeting, and so at least the one that managed was that the walking shot where we can do a follow up. Yeah, back from the back.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=8.4,20.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Know, and go up the stairways onto.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=21.57,22.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Us, right onto the stage and it cuts to close up and zooms back.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=23.25,26.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I was on the stage with this wretched arc. Same suit.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=27.84,31.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So I shot that little jacket off on the stage. And then I was thinking. What? We were talking. Jackie's glass. I shot it, and apparently Ricky shot you doing some thinking back, saying, actually. And I shot all around there where he twisting our hands behind, but I think we both shot him. He was active of somebody else at that time. How was he shot? The interview. But Miguel didn't shoot the. Oh, no, I shot the interview in the streets. Which actually means was with doing. I got him to shoot, but he wasn't very good on camera. I thought it was better to get him to do the interviewing, because I was working with the 300 millimeter lens 16 arrow and shooting through the door of the hotel through a glass door in front of his house to show some of the street stuff, telephone.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=32.34,77.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Things, people bobbing up and down. He did a lot of that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=78.44,82.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e One thing which disappointed me then Pennebaker was some different personalities, a tremendous man and long lenses. He did a film in Moscow is yet to be screwed up. You ever see it? You know, he turned the money at.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=84.95,98.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The first American exhibition at the only American exhibition. The 58 went to Moscow with an.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=98.36,104.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Arrow and shot thousands of feet of color. Fabulous stuff, and insisted on cutting it together himself. It was just the sheer aftermath.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=104.33,112.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The film aftermath. But it was a beautiful shooting. Wonderful.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=114.35,118.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But he just. They did a film in a balloon other balloon thing, you know. But again, they were all after dark and some pacifiers trying to shoot handheld Oregon and think it's a waste of time. And those interviews were on track.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=119.21,130.789"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e But you had theories that you shut everything. I saw that maybe we can to Hemingway.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=131.34,137.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Kind of a primary I know for that was that then I went back and did probably the X-15, which I did X-15, which I shot. I've never seen the film, and I eventually got the support group for them to do it, to find out what was still time and, and but yeah, because of sound problems.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=141.14,160.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The way they were operating was just a poem, like an amateur fireworks.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=161.24,164.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it was a great, you know, the usual mess, I think was the first time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=166.28,169.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I ever went on vacation. What was she, what he was doing, remember. And and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=170.18,178.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, that shot as much as I could manage. This came out and one of the shootings happened in and is and I left them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=178.52,185.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e After that thing. I just gave it two years ago.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=186.07,189.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Last time was final in that group and he set up the he came in, set up that sound system. I brought him into the system and got you set up the sound system. The transfer would be a sound man before him. The word inspired. It was originally. Yes. And then he went to Africa.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=190.24,204.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And ended up that that was meant to Cuba was having him do all of his brother. So that was his film that the QC for the Cuban part of it. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=205.4,215.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. The Cuban not.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=216.04,216.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Where the rest of it is just happened.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=216.91,217.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I don't know what they did. I know last complete time to turn off the budget. Right. Because I disagree with just just reporting and recording and trying to shoot everything except for sheer waste of time. I know, shooting same credit.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=219.58,234.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e It's a ball. And that shooting picture. And somebody else shoots the same thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=235.27,241.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm not sure.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=241.83,242.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Sometimes I had to. Don't you think there's some value by of getting this? But at the same time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=243.28,249.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e If it's possible now, you know, with the equipment. But if they were tied to Sydney, both hurricanes that participated in the church, they lost that picture. And that's the sound. You know, and there was such a you can only do the art of the possible. I don't think so. No, I think of the balloons going up and the guys saying, let it go, Joe. You just have one track down, you know. You know what they say. Yeah. That sort of thing. I know where you're going to shoot those things, except for those specific people. You see it in the party, so you have to be selective. That you would just get a general ambient noise by shooting a proxy for someone shooting, saying that you want to paint a picture, you know, because with the camera. But I'm talking at the time, you know, there's no from any theory on my part. I just want the best visual image, the most exciting image. If I can get it was sound, all the better. But if I can't, I want to try it by having you, at any rate. And I shall not send.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=250.59,306.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e This summer to the garden, you know. But I had one the film with two cameras.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=306.3,309.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So that was that. So they going back to 58. They had seen that said it was showing the filmmakers the films I know that were shot. So Sandy Van Dike and Ricky would set the scene.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=314.37,325.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Because he shared that thing, you know, and shared it. So maybe they created it themselves. I don't know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=325.74,332.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I doubt it very much. It's too much of a coincidence. Relative to frame. I took Mans was out of one job as a camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=332.31,339.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The first film was never completed. The hang ups as a camera or.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=339.68,347.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e With the development of. Just like the functions of the car. And look what happened with it. I think is true. It's a very valid criticism. He doesn't know what's going on. He's not sensitive to situation and mood. You know, it's too late to start to start anew. He went through a lot of stuff, and the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=348.33,366.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Producer was sitting on my neck when I was getting all the blame for this. You don't think that showmanship is a certain amount of sensitivity in this situation? And so.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=366.47,374.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Not particularly. I think it's a it's a situation which is ready made that you can't miss.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=374.99,379.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The, the brilliant outgoing people, the communists, you know, fanatical preachers.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=380.63,384.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Actresses, lights of fire, you know, people like. But then you're on anybody, you know, one that can make a better film than another. I don't think it's been a pretty good film of its type, actually. As a profile.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=385.61,399.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e It's a profile study. But ask me what I do think of your profile back into the limelight.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=399.56,405.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's an easy subject, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=406.88,408.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You you feel that he didn't he still.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=412.34,414.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Did not reveal enough.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=414.98,415.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Or with not reveal. I think it's very bad. He shot the camera. Looks very good. Levine is not a very prepossessing personality. The best, I don't think, is a very good selection for a film like them. To start, if you want to show this type of man, I should think Sam's big name, Sam Bronstein, very sharp, would have been much better subject. So I mean, if I'd got to that, I would have thought. But the best man for this type of subject.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=416.77,443.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You know, the tycoon guy going up that town.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=444.28,447.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't ever tell. I thought visually, you're very down and down with I, I always bring.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=451.61,455.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Things to light, you know that. I mean, you sharpen eight millimeter appropriate, you know, as Tony Perkins said, she's in the news and she's got to chart a small course. Yeah. What do you think? Essentially that except outside of the line of Back to wanting always to shoot thing. Would you quarrel with the record label?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=456.13,479.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, I think basically that they say they just observe, you know, if they do it, they.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=479.8,484.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Don't do anything. But I would never pretended just to say there was much to go deeper about the person directly, sometimes within the context of what they were making into something else. You know, to know what they were going to say. I mean, it doesn't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=484.6,503.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Matter if it's weapon in blood, for I knew the man had lost his voice, and purpose was a punishment from God. He did speak it up. He was quite upset about that. I knew there would be a pending continue to preach, for a penitent would probably get one. And I asked him to try to get somebody out there. For the sake of the Salvation Army in the film. Quite legitimate that just to for the cameras in. But that was the second run.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=503.68,526.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e We did it in another place and nothing happened because of the cameras. It was only somebody coming out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=526.3,531.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The back breaking me? Are you always talking to the boys from behind the counter?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=534.7,538.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I didn't have no bias when talking. Dixie said they were too Italian to do when I was too tired. But I've always took, you know, asked to do the two things. You were what you were. You slept on the Robert Frost film? Oh, yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=539.34,557.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Clarke. Shirley. Clarke. Well, Hughes. What was your relationship with them? Well, there you go. Apparently, Clarke had cut this project. Somebody else, and they shot the Sarah Lawrence Meeting Union with two cameras. And they shot at and first on the air and no one else. Yeah. One other guy had shot a sequence on the aircraft carrier Bill Jersey and then the sequence in the air carrier. That was that was all. You know, there's nothing more. Hughes came into the picture then and asked me to go out for a month. Clarke was there And they wanted to have a 3D setup conversation with with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=558.93,599.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I can't remember the people involved.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=600.3,603.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Which I'm dedicates because he never works. Everybody's works for them for anything else. So I shot sent some sync and characters on one camera and lost a lot of material.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=604.05,614.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I just didn't know about the process. And I had a little printout, had a Mitchell.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=615.1,622.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it never said nothing was going well. So I got my.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=623.7,628.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Larry and it was one morning she was not there at all. I went in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=629.2,633.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And shot all the business up and inside the house.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=634.41,636.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I mean, where he's pouring himself milk and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=637.95,640.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Lighting the stove and the dogs, and he's sitting. I shot that all handheld. I just went in with the assistant. Can I come in with your hands? And there's nobody else there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=642.06,652.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e At all, separate. So there's no doubt.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=652.92,655.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And went on and out the shirt in about half an hour and a half. Did you ask him to do this? Yes. I tracked him all the time and said, you know what you want to do and I want to make coffee. You see him talking? If you look at the film, he's talking to me. It would be great if I could add some tape like this. It's impossible because he's chatting. But we got on quite well, and I'm saying. All right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=656.84,680.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Would you stare at the coffee and hold it a minute? I'm going to read. No. And you're going to come through there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=680.66,685.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That we climb up the stairs and they ask the dogs to come on. I always track them like that within the context of what they would do naturally. Otherwise. You usually shoot in the back of their ears, you know, off the back of their heads, you know. And he turned the light off.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=685.59,699.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And then asked him to turn it on and remember at one point and attach it on again.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=699.59,703.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And when he went to his chair and sat down. So I did that. And then there was various things went on in the film. The next thing I had to share, the character claimed that she had shot it because apparently it rushes Frances. Probably, she said, oh no, he doesn't like being shot intimately connected with the truth. But it said that, you know, how on earth did you do it there? I tried it myself, but when I heard this, I just couldn't believe it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=705.41,728.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I went down in flaming rage. Davidson, who was the producer from WGBH.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=729.19,732.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And Jim Towns, and this was some sort of doing the sound services.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=734.98,739.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And also acting in an audio production casting. But Hughes and I was just livid because, you know, I would not.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=739.58,745.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Her idea and or physically present, which is just to say another bit of the New York film scene, because when primary came out, there were no credits, you had no credit on the phone or credits, he told. But somebody did tell me eventually.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=745.55,759.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That they went on to the French version. But then you bring up credit, which was.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=760.18,765.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm great man. To get in their credits. I did all the interviews in the Roosevelt series serious running now FDR. What? Who did the sextant? Sextant? I did about three quarters.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=768.79,779.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Of all the interview stations. Anyway.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=779.44,782.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So that went on. Then I went back for another shooting session. This is second class. The production. What was the cause? Well, I couldn't stand the sight of. Basically, I think she just wanted to get the crew in and used it as a vehicle. I think that's, you know, that's not my business. Now, I but we're faced with the problem and went out for another trip. I think we did one of two trips to Vermont, and I shot all that apple throwing and all the subjective stuff. She'd done nothing like that. Like the little town of Repton. Oh, the worst stuff when she was there. That I did do with some of the interview stuff. Of, you know, people talking about us. Now there is a part in there, which is we will well, not in the man. I got to go up and be interviewed. Says no. Never heard of it. So what do you think of Robert Cross's? Never heard of him. Never heard of it? Yeah, that's well known for some patchy videos.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=786.49,845.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I think it was my idea. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=845.78,847.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I shot that in the 300 millimeter lens. You know, so I didn't have a blimp on the air. That shoot from miles away. Bob Hughes, without plus asking the questions. As far as I remember, his chair, he was goofing off, but I think she was still around at that time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=847.98,861.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, how do you justify using a setting that putting this person in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=862.74,867.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Having never heard? Well, there are obviously lots people who never had the frost, but didn't just happen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=869.16,873.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To have one lying around throughout the little point of contrast. I see, so.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=873.63,877.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I know you get lots of people running, you know, so I don't feel bad about you. I mean, you could go and shoot 50 people looking for somebody who hadn't heard of them. And then you find a guy. If you know, I that's quite legitimate. You know, measles for the measles.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=879.45,894.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Indicated to me that he didn't care for the health problem, and he thought that was not interesting, at least from that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=896.03,902.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Way in that one, he and that if it was impossible to follow this man around and sort of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=902.69,908.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e See how he looked rather than. I'm just taking his lectures.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=908.6,913.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e For this, I thoroughly agree. I think I couldn't agree more. I think he's quite right. But two things. It wasn't possible to follow him and it was shot in 35. This is the fatal mistake to choose that problem. And when Shirley shot the lecture, there were no cutaways. There was about one cutaway. And I went back nearly a year later with Bob Hughes, and we played press tape hockey. But I know he was just. Yes, he must have been just before, just after we played this tape and we got a gang of girls and it's Sarah Lawrence and I don't know, by dint of sweat and shooting and shooting with a long lens and talking to them they'd never heard of. They'd never been happier that I had all those girls laughing and chewing the nails and looking worried and giggling and good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=914.45,958.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But what made them look good? Giggle.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=958.97,961.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Because we played the tape and I also talked to them as well. You know, I would tell it while the tape was going on because you had the tape at length of the lecture because it's a bit boring. You know, the tape, I would say, don't look at me or I just put your hand up again in that position. Just hold it, you know? All right. Now look down. You like that? If you just look up what he's talking, you know, and sometimes they'd laugh. I do this, I always talk behind the camera all the time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=962.39,987.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e They were laughing. Not necessarily at the tape, but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=987.74,989.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The effort hit me. The tape sometimes crossed, but other times that me, you know, I'm looking more at the solemn things. You know, it's crazy to do it. Or some of them crying. What was that? No, she wasn't the crying. No, just the one girl. That's that. No, I can't remember. It's just they did, you know, they laugh to some of the things with France, but a lot of the other moods, you know, when they're looking intense. It's because I was sort of sweating blood because they weren't interested terribly in what was going on, and I hadn't really seen the film. I only had a clip, and I relate it completely differently because we didn't have the same set lighting. It's extract lighting. And I shot, you know, very fast fashion magazines. And then I had to do the same thing. She'd had no cutaways at Amherst, where the boys are sitting on the floor. And that was much worse because we didn't have the tape to play, and they were absolutely cold. And I had to put Bob Hughes in position to get him just to talk to them. So they would listen in and I'd say, look, you know, not your head, you know, your own type of thing because we had, you know, they weren't interested and I'd had to reset relight in the same place. And I was shooting just to be and go myself. And shooting 35 and be shooting think we frost with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=989.99,1064.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e One girl and myself and a soundman which was pretty hard going. 35.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1064.77,1068.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And then I shot also the time I shot all the things where he looks out of the door. I made him come to the door and look out. And then I did the slow pans across the country later. And when he comes out, when he packs up for his last time in the house, which is actually the last time when he leaves that house is last time he was epithet and and drives away. I had wanted this in the commentary very much because I thought it added that little case. This is this is great dictionary. He carried on his life and he packs that. He left it. And I shot all that on a second trip out there in the house. And he's looking at it and he looks across directly behind me, and he looks at where he should look and how you should know. You've told me that. You told? Yeah, exactly what you know. Come on. Just he had to I can't maybe I didn't. I'm in the door and he looks out at the countryside because I wanted it to match a particular pattern I had in my room. He was is very tractable, and when he packs up, it's the same. He's packing his books. And I would ask him to stop. And actually, when I'm on a reload, I can't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1071.21,1137.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I only have a five minute run on a handheld 35 foot magazine.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1137.96,1142.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I want him to stop, and I can't remember that. I've got too many repeats at all. Probably I got repeats in action. Usually I get that overlaps. Put the book back, you pick it up again. You do this with people. You don't make it state. You're talking to them all the time. I ask you, but you could just just pick put it, come down, repeat, come down for this I was saying before, pick it up and play with it. Put it on the things there. It's exactly the same. You see like that. You see, this is the difference between, you know, mess with me. Probably won't do that, I will. I have to copy. I have lost it. I second thing I want a big close up.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1144.65,1180.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e With your hands. Could have figured that. Yes. It's not even come in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1180.32,1185.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You don't mind doing it? If we have a good relationship. You don't feel you're acting out or anything. I probably did, man, for it to come down again. You know, we're talking about a scene and ask you to pick it up. And I still talk to you, you know, and it's quite natural, it seems that it is a little elusive.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1186.02,1202.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And it retains its its believability because it somehow is integrated into.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1203.2,1210.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Something you do naturally. And I observed you doing it, and I want it frosted. Look out of his door. I don't happen to be there with my camera when he's looking out of his door. So I asked him to look out across the countryside. But I want the best image the apple throwing for. And he picked up and threw an apple. So I immediately asked him to throw apples, and I danced around him with the camera while he's trying that I asked him to throw apples at me. Then when you see the cutaways of apples, I shot that. Later. I'm throwing the bloody apples. I got Bob cuz you must be throwing them in the right place. So I've got a camera and I'm tossing apples. And then I hit the wall. All the cutaway shots. It's, you know, I think they're essential to make up the sequence when he's loading all that shit up and winning it down by telling him to shovel it. All right, we've got enough. Now. We need to. Now, hold it a second. When I get into the into the bushes and shock when he walks up the hill and I pump and one camera shooting him virtually from three angles going up. So I'm having to tell him to wait a little bit and running like a bastard is going to drive up the hill and the battery and my girl with her two spare mags and then asking him to come on. And he walks right. I lie on the ground. So you find.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1210.61,1277.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That this kind of approach is is permissible when you're shooting dialog. You've been asked and restate.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1278.25,1284.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I do it in interviews often.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1284.88,1286.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I go back and stuff things I want for people. You find that the dialog changes or that there's.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1286.89,1291.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No no, not if I have my own good relationship with the people now. I would never ask it if I couldn't get it. I never ask for that contact you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1291.51,1299.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What would make you feel that you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1299.97,1301.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Couldn't get it? I just know, I mean, I know and not get it. I'm not working with the person I usually establish a very good rapport with the people that I'm shooting with. Any problem with the producers, with him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1301.26,1312.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To let him know what tends to tell you that you have a good relation. How do you go about setting?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1313.5,1318.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I feel that they like me because I'm interested in people and therefore whether I talk a lot privately, I am prepared professionally to listen, but also not to sort of slavishly. That's narrative. Do you make up provocative remarks? And I would not just made the film for us film that way myself. I would have made it in 16, in a much more fluid style, and I wouldn't have done lectures in it. I don't think that's interesting. And you do how you would do a film, so no matter. But it was the way we were presented with the problem. An enormous mass of footage which didn't say anything, was actually boil down to two lectures in a trip to an aircraft carrier. And that was it, you know, what are you going to do with that? And so to make this money is running out, and for us to make the damn lectures work, I had to go and fill the whole of those categories. And I think there's two shots originally shot, which are long shots, all the close up cutaways and showing 2 or 3 girls I shot a year later.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1318.69,1373.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Everyone had to match.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1374.96,1376.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do I swear I do that? I hate doing it because nobody know. You know, you're sort of do a tour de force. Nobody knows it except another filmmaker, and it's a waste of time, you know? I mean, they're just doing something that doing invisible mending. You know, it's very skilled, invisible mending.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1379.07,1395.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e But it's not as good as embroidery now. Oh. Well, how.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1395.69,1403.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Would you feel that this this is wrong. Who shot those closeups in that way? Of the of the people listening?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1403.31,1408.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, I had to do it. It's often people in the sun.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1409.22,1411.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e In the scene as it is, and that there's tends to give a certain falseness to the scene.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1412.4,1418.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, I know I think it's with me don't see the audience.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1418.85,1421.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And force together in the set.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1421.79,1422.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And then all of a sudden you're to when it works, it's the only way the scene could work. There's no other way of putting it. And the reactions are generally surprisingly good. And I should say I spent a good one. Very unhappy because I was so furious with the film by this time, because you had to go through so little to frost himself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1423.23,1445.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Into this and. You know, some people defend the film by saying that this was false.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1445.82,1452.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He is a very chatty man. But I mean, you know, the money, we could have shot much more of the direct, close interview when he's talking to Bob Hughes. I would throw questions in that nest alone with him, and I wish I had shooting, I can't remember. I think I had a Mitchell at that and celebrating a Mitchell with one girl, as I remember, and I had staples sheets on the ceiling fans that, you know, we could have got a lot of good stuff if we'd had 16 bit period. Some of it was shot in 60. And the Washington offices where he is in Washington. The new Yakima in Washington, 16.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1453.68,1488.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You mentioned once that very often you have to wait for things to happen. Don't you think that the same thing. Does justify an approach of of the oblique compromises school, which is to, to, to remain in the background in order to surprise things, to have things that you would never.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1490.75,1516.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Have thought of directing yourself. Oh, no, this is quite legitimate. This is fine, but I they make a theory that you always wait. I say that the. There's no theory. It's just you got to do it the best way you can make it to come into the foreground. It is the director just looking out of his door because he may never have looked out of this door. We just seen the back of his head. See, he enjoyed it. And therefore, by enjoying it, you've got a very natural thing. You know. You use something of himself can. I'm not afraid. Otherwise, you just probably wouldn't say anything. Okay. Still subject.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1516.61,1549.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Lecoq said once in. Well, I think it was in the chair. The secretary comes in and says something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1551.16,1556.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To the lawyer and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1556.65,1558.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But he he wanted to get it, but wouldn't. And so he had the girl do it again. But when the girl did it, it all came out so funny that they all broke out laughing and, and and this for week was pretty much a proof.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1562.23,1575.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That you could not get someone to do something again with the same.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1576.12,1580.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Naturalness.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1581.67,1581.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I just can't think link out so you don't see. And so I just don't think you can do that. And that's the difference between being a cameraman, you know, and having an observant eye structure and being a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1583.02,1594.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Director saying what would've been what do you think would be the necessary approach to get this girl.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1594.09,1599.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e If you would, if you were to do it, posing herself a particular problem. What would you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1600.45,1604.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Think to do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1605.31,1605.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To have her? What did she say? Okay.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1607.26,1609.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e All she did was come in. But she was on the phone to speak.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1610.89,1613.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But when I would just buy, I don't know, I sort of by Svengali, just by it, you know, just giving it the confidence. I would work the hypnosis. You said you were going to say that. It was almost hypnotic, you know, making people believe in me. And on that, I usually don't have any trouble on that sort of thing if. Unless I have to do it. I mean, if I don't think she will do it, I won't try it, you know? But it doesn't prove that it can't be done because this particular secretary, I think, gets the direct, you know, I mean, goes down and goes in, in the hospital. If it had been up to that school that it had no cutaways, no sequence, but it had to work to make a film. To bring Frost out into the porch, he had to come out of I want to have a shot at the countries. Have any reason for the damage to the countryside? You know, things like that. I was not in any freedom. I was just trying to make things work. Well, then.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1614.28,1668.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, one of the other criticisms would be that in a sense, you have a moral problem here because you are passing something off for having happened that actually did not happen, really. And you're presenting under the guise of a documentary of documentary, something which is actually fiction. When you restage, even.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1668.87,1688.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Though you've seen it happen, things like this. How do you handle that problem? I was not the problem is not tomorrow. I don't think film is true. I mean, I'm not I'm not a documentary, man.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1688.43,1699.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That is to say that the film is not presenting an objective truth.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1700.19,1703.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Project of truth. But I promised many times I saw and I really, I will often say to a person, perhaps you didn't. You play with your problem. I don't have to catch you playing with your come to get you playing with it. No, I know you play with your come. I feel I can shoot you any time thinking you'll come. I don't have to. I can do it at another time. It's more convenient time. I'm not going to suddenly. Thing I know for us to destroy. I've seen him several times. Standing, looking. I just didn't happen to have the camera or things. So I said to him, you know, mind if I photograph you standing at the door? And if if it's false, you don't use it and it'll show up. False. You know this. If it doesn't sort of have an inner reaction to. I'm being a bit. Vague here.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1704.42,1749.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Impressionistic. London calls for improvement in expressionistic film forms. Music. Film music forms. As far as the wordless and sunless passages are concerned, it would not be advisable, in view of the diversity of the sound film form, for the music to be confined to pure illustration. It should be kept more strictly than before to self chosen or self-created forms. It should avoid boundless description. Descriptive passages of the old silent film variety, and should assume an expressionistic rather than an impressionistic character. It has little time in which to develop, and therefore each single bar must have its logical justification. And one last thing I was talking about orchestrations. Well, this is just a passing laugh, so to speak. He was writing in a day when sound recording techniques for film were really stingo, and he designed an orchestra with his own particular instruments, which was supposed to do away with the classical symphony or symphony orchestra as we know it, the classical orchestral sense. And he. He gave for it a logical reason. He said, we have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319#t=1750.73,1836.38"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262319/transcript/76674/annotation/135","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/674/original/trint_Coll458_jb0034_MacartneyFilgate_01_transcript.vtt?1740614482","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/674/original/trint_Coll458_jb0034_MacartneyFilgate_01_transcript.vtt?1740614482"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318","type":"Canvas","label":{"en":["Media File 2 of 2 - Coll458_jb0034_MacartneyFilgate_02.mp3"]},"duration":1838.39347,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/318/original/Coll458_jb0034_MacartneyFilgate_02.mp3?1739224908","type":"Audio","format":"audio/mpeg","duration":1838.39347,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0034_MacartneyFilgate_02.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And so forth. He came up with a lot of really weirdo instruments and if anyone's interested they are aptly illustrated in this book. But the orchestra that he put together for those days was pretty good considering the technique, but nowadays film or recording as such has button. To such a degree of perfection that we don't have to consider a shift in the orchestration anymore. And that's about as far as I want to go.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=4.86,34.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Can you make any concluding remarks, drawing upon this, what you feel foam music is?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=35.1,42.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's a little hard to say. I think the whole trend of this was trying to aim at that. I can only repeat what I've already said in answering that. There was one exception I wanted to make to, I think, the impression that I've given And that is that... At all cases, the musician is not called in until the final cut is ready to be scored. Well, of course, this is true for most films, but I was thinking of one specific case between Eisenstein and Prokofiev.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=45.35,81.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Just to get you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=85.96,86.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You say, in a reality, it must have, how do you hope to, you somehow have to control it At the time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=87.24,94.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e At the time, I'm not even thinking of what I'm doing then. You know, I am working so fast, especially with somebody like Frost. You know he doesn't have much time and he was an old man. You know you couldn't hang around all day. It just came to me, I've got to do something with him in the film. I've gotta see him, I gotta catch something off him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=93.87,111.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And so you're looking for anything that you can...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=113.58,115.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, you know, making the coffee. I just went up and said, I'll shoot whatever he's doing. I often do that with people. He said, you go ahead, do what you're going to do. You do it your way and I'll shot it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=116.44,124.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Don't you find that this kind of ties things up, the guy suddenly says, what the hell is my wife?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=125.14,129.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't think so. He didn't trust it. He seemed to make his coffee quite right. He picks the bottle up and he half puts it down and he turns on the wrong tap on the stove. This is very much for us. Just went ahead and making his coffee. Damn young fellow with a camera there, you know. Just like that. Can't pretend I'm not there observing him with a great 35 camera grinding off. I don't have long enough film. In 16 I might be able to grind off enough, you know, not to have to ask him to repeat. In 35, you don't enough. You've got to get enough cutting angles. I was an editor after a long time. I come from a different school. I mean, we never... Pure reality, whatever it is. You know, the film board is much more film-minded in making a good film. In other words, that we're not social recorders. I'm not very... I'm interested in people immensely, but I'm not sociologically minded, I'm interested in what makes people tick, but i'm not interested necessarily in recording what makes the people tick. Like a documentary, I sort of feel I probably run through to the end of it now, I don't think I have anything really to add. I would like to move on to fiction films.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=130.759,205.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What do you think that your documentary experience will bring to your fiction films?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=208.0,213.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e If I ever made a fiction film, which I doubt, that I can make it look real, and I mean really real, not only the lighting, I mean I light it, but that, I don't know, people, the real life, the ambient situation will be real, you know, the sets, or if it's an apartment, you know, this business of everybody's always in a press suit, or it's a dirty suit, the make-up department's made it dirty, and the things that people do do, you don't see people in films fiddling with comings. They don't sit like you're sitting now when they're talking. You know, they always sit in another way, in an actress' way. It's that sort of thing, that close observance of how people do things. The mess on the desk, you know, which I've always tried for. I often redress things on a set. I mean, on a house, a frost place, I probably move things. If I didn't fall over them, I did fall over his friend. I probably pulled his chair out to a better lighting position. I shot a whole sequence we never used of inanimate objects in his house after he died, his house in Boston. Quite a sad little piece.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=213.52,283.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In a fiction film, you are not, why then are you so obsessed with bringing reality to a fiction film in a sense, observations where the fiction film perhaps...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=285.54,295.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But let me say the type of fiction film I would be interested in. Reality is being a style. Reality is a style, you're quite right, because I love fantasy. I'd love to have made The Wizard of Oz, for instance, a thing like that, which has nothing to do with reality. I just adore, I saw a wonderful Czech film with Baron Munchausen, down from Stealing Cravings and Nine Actors, and Traveling Mad, all the way, and I just love those sort of fantasies. The Five Thousand Fingers of Dr. T., which has never been revived. Film of about 51. So, I mean, it's not because of any, you know, I really enjoyed that, but as I'm never likely to move off into the realm of fantasy, you know, in the foreseeable, how the film industry sat off, that if I did a story, let's say, you, you know, be it a love story or crime or whatever it might be, a story of some developmental thing, the environment and the people, I want people to feel these are, this is real, this is the way it is. In other words, it shouldn't look or I feel like a Hollywood film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=297.23,355.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e All right, this goes much farther, does it not, than just set dressing or details?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=355.72,360.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Oh, the very style of acting and approach, I mean, I like, Lennarty says, highly stylized, but when at the party that's the way parties are, you know, in a stylized fashion. You know, I recognize that's not a set as such. It may have been a set, but it doesn't give me the feeling of a set and the feeling of a lot of extras milling around, like a Hollywood party, in what way did it go or something, you just, it's never real, you never have the feeling.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=361.27,389.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What do you think this really signifies the style of reality, because your experience in documentary will evidently have taught you what reality looks like, not as reality, but what it looks like through a frame. Right. And what do you thing characterizes that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=389.78,410.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I honestly don't know, I would have to think about that, you know. I don't want to sort of take up tape, you, know, just groping around. But I think it's a, it's, a pictorial. You understand there is a very definite. I know what you're getting at. This is, I cannot talk in acting styles.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=413.25,429.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But in everything that a thing feels like, I mean, the way a camera works...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=431.04,434.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's the whole texture of the frame, the photographic texture, the acting style, it's everything comes together. If I bring in the 16-arrow and we shoot you now, you have enough light and sync, there's a sort of feeling of reality, I don't know, the mess on the table, the way you are slightly nervous sometimes, holding your hands, or that type of person, you know, you're a fiddler. All this. But when in other films you know people don't fiddle except when they're in a great strain you know I think and the guys just done the murder I was going to DA but everybody fiddles normally","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=434.46,471.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Don't you think that there's, I don't mean to put words in your mouth, but I would like to hear your expression, that it has something to do with the way you frame things, as opposed to the way frame on a set.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=472.06,484.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Oh, very much so, I think. It's very much the type of lenses and angles. I think feature movies, they work much closer in than I would tend to work in on certain things. I work very close in or far away. I'm very rarely in the middle. Extremely rarely.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=484.66,501.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Don't you find that part of the flavor makes a field documentary? Some of the acting alone, let alone the acting, comes from the feeling of the lighting and the feeling of the composition.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=501.4,518.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Let me take a film that I feel is a real documentary film, Il Posto. I saw that at the Montreal Film Festival in 1962, and it wasn't shown in the States for a long time after, and I came out absolutely delighted with that film. I thought it was the best thing they showed there, The Army. It had a documentary feel, and yet the acting was great, and yet he had them always, if they were talking, they were in streets and looking in the windows, real windows, not studio windows. I don't care if it was done on a set, if you could get that feeling.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=518.95,550.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It was, as far as I understand, done in real location. Yes, it was. It had that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=551.78,556.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, it was. It had that feeling, and it's a film I'm going to show to the class, because this is One Young Love. This is my ideal. That's the sort of film I would love to have made. I think it's just great. I've only seen it once and it stuck in my mind. I came back raving, and nobody in the States had heard of it at that time. Now this has a documentary feel. It's not documenting something as such, but the visual texture, the set, everything has a feeling of reality. This is a real apartment, a real hall where the work's dance is gonna take place. This type of thing. I suppose it's the style, you know, once we get on a set with a set dresser and a set designer and the type of lighting cameraman and the way the everything is rehearsed and worked out, it sort of has a smooth, pablamized quality. And when, say, Hollywood goes for reality, like in HUD or The Hustler, it still doesn't work. It's not really real. They can't leave it alone. Somehow the Italians and the French can leave it The scene, say, in a very stylized film, Clio's Saint Cassette, which I don't like as a film, I think it's a sort of lesbian's film, I'm sure it was, I don' t know if Margaret is a lesbian or not, but it sort of struck me that way. But the scene, which is stylized where they're playing the piano in the girl's studio, you know, she's sort of thing, but I feel that's a real pad, I have that feeling, in the hat shop. I know this is right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=554.81,641.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Despite the fact that this that it is a highly stylish","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=641.3,643.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's a stylish thing, you know, highly stylized and the whole scene is styled, but somehow that has a feeling of reality. I've seen paths like that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=644.3,653.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You know, I don't know what that came from, this feeling.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=653.92,656.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't know. It's perhaps the camera work. I'm sure it is, because it's Kuto, I think, isn't it? I don' know whether...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=657.04,662.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know whether Kutar did that one or not. Well, anyway...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=662.12,664.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, at any rate, the feeling in the hat shot and the walking around, French camera work always manages nearly to give you this feeling of reality. I don't know why, but it does. They just have it. It's the speed they work at, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=663.47,675.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e And yet there's an esthetic quantity in the image, the quality of the lights. Oh, the lights break after some time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=675.76,682.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, I'd say it's not, but it's somehow, you've got a pad like that, and you could shoot fluid documentary. In the walking shots in the Belmondo film, you know, the first one. Breathless? Breathless. You know, in the studio there, there's actually tracking shot around. I don't know if it's a studio shot or not. I think it's in a wheelchair. Well, it's wheelchair shot, but you know there's a documentary quality there, and yet it's very nice feeling. You know it's beautifully lit and all the rest of it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=683.07,709.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And in a sense what you're saying is that there are keys in the composition and in the lighting which we tend to associate with reality, though they may be highly stylized and composed, but they are part of the materials that the audience tends to associate I think so. What reality looks like on the screen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=711.54,731.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I think so. I mean, commercials are never lit. With any form of reality, you very rarely see a commercial that ever looks like real life. This is the Hollywood style. The TV commercial. The TV commercials, no. And the public accept it, but I don't. The whole convention of Hollywood lighting, I mean if you want to look at bad Hollywood lighting you look at English films. You know, the average English film. It's terrible. But that whole convention of Hollywood lighting, backlights, side lights, you know, kookaluruses, Venetian blinds, the sun casting shadows on Venetians blinds you've never seen in real life. There's a whole artificial world, you now, everybody's suit is neatly pressed. Or if it's not pressed, it's so obviously unpressed. It's that sort of thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=731.73,780.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You have the feeling that there is another level going on, that what you're looking at is composed to signify something rather than to be the thing it's...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=780.62,791.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't really think this is a real place, and this could be a good film. I say I like films of fantasy very much, and The Wizard of Oz is one of my favorite films. It doesn't work, for instance, The Wizard Of Oz doesn't work when it's meant to be Kansas. It's all shot in a studio, the Hollywood Convention and everything was inside, but I presume they tried to make Kansas as real as possible, you know, to get, but It just doesn't, you know, it looks so funny then.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=791.45,819.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Thanks for watching!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=820.27,820.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's fine when it goes off into fantasy.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=820.78,822.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In a sense, when it pretends to be real, its devices are not... Well now, the end of the film is over.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=822.69,828.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The end of the film is awful, you know, that's the most disappointing thing when she comes back. And she's lying, I've seen the film so many times. But that's one of the best examples of commercial fantasy. That, and I think 5000 Fingers of Dr. T, which is a failure, if you ever saw it. I haven't seen that. But it might not stand up now, I saw it at home 14 years ago.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=827.28,853.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, this is part of what I've been worried about. One of the things I was telling the class last year was the idea of the open and closed frame. And I...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=853.65,861.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The fluidity of camera, let me just also think in reality, sometimes it can be just open, but the French, and I must revert, because they affect me more than anybody else. I'm a sort of misplaced French cineast in many ways, what I'm interested in and what excites me. José Jim, highly stylized film, fantastically so, and yet wonderful feelings of reality They're up in the Swiss cottage, or was it in the Rhine? You know when the camera revolves and they're making you know it's a crap dolly shot or an auto tracking circular shot and they were laughing with the kid you know and it's so stylized and yet there's a real real feeling to it of mood i don't know what you know","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=862.31,905.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Now, one also gets a tremendously real feeling from the same sort of a shot in Buddy Go by Hitchcock, and yet one is never, for the moment, feeling that this is real, real.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=906.18,915.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, Hitchcock, well I don't know, his lighting is so elaborate in Hitchock. Every Hitchco... I don... Hitchclock misses me. I know the French are hung up on him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=915.04,923.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Proof of a special.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=923.689,924.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That's why I made the relationship. It's completely hung up. For me, Hitchcock is just the sort of ultimate in gloss. Also I find sadism distasteful, but that's beside the point. I don't know. Hitchock films, except for some very early ones, have no effect. But the French do. I would say these are the films I really like. And I like Italian things. Even when they're not particularly, do you see the Fittoria orgasma, the easy life? He's the guy who drives the car. Well, it's all location shooting, real restaurant shooting. And it has a feel, you know. I mean, there you are, Italian streets. This is a guy's apartment. This is Italian's.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=924.98,964.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Now let's take another film. You lack the fluidity in the French film, and you feel that that doesn't just get tracked from...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=965.92,973.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's like a handheld camera. Although it isn't jerky though. It isn't, no. But I don't like jerky. I love a handheld jerky camera. A handheld camera looking like if you had a sort of the ultimate in all movable dollies and cranes. I always when I shoot cheap try and go for everything in smoothness in a shot. I hold my breath I have a way I turn round Correcting my balance if I'm going to turn round","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=974.68,999.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yet a good deal of help, for instance, was shot in real locale.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1000.31,1004.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But they light everything. Everything outside is lit or affected.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1004.87,1008.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And Leacock complains, for instance, about the greasiness of the camera move.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1009.04,1012.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e For us to get ahead of that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1014.1,1015.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And that everything seems to turn out so right on the button and everything. Would you contrast this to the freedom in true post film? Yeah, but I think the camera...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1015.82,1027.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah, but I think the camera work is tremendously smooth in true post-films. I've got 400 Blows, and Jose Jim, you know, is a tremendous, much more smoothness than Hollywood ever would get, but he doesn't have a gloss. I mean, Glick Ops Right is a greasy feeling, but then I think it's from the lighting. They light everything in a certain way. You cannot get a guy outside who hasn't got an arc on him, and they put a sort of hot arc in ways. The Italians use arcs, as you know all the time, but they use a diffuser. They pull it off, you know, you can't, you're not conscious of a light striking a man. The last scene in La Natta is all lit by arcs, you know, and they're tracking with those arcs when they walk down, Masjidani, but you're no conscious. I know because I'm a filmmaker and you know because i look for this. I'm always when I watch a film searching the frame, and you know I know a film's really worked when I'm absolutely taken up in it the first time, like She'll say, Jim, I came out raving, and I don't often do that. I was just enchanted with it, the music track, because Jean Moreau was enchanted with her as an actress, not as a person.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1026.79,1095.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But back to this whole thing, the only way I was trying to explain it, the open and closed, was that closed frame, everything seemed to be composed for only that which was within the frame, whereas...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1098.389,1109.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Or that's Japanese for us.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1110.17,1111.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, we'll order John F-","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1112.26,1113.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1113.78,1113.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Where you, in a sense, there's a kind of an absoluteness about it, but words in Truffaut and much of the young French and as in documentary, you have a sense and also in Rossolini, you have this sense that somehow, if the camera turned around, there'd be more to see constantly and that somehow the camera is choosing these things to show you rather than showing all there is to see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1116.0,1143.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's a very good, you know, you've put something into words that I feel on this very much. Truffaut is my favorite French director, I think, by far. My favorite director anywhere. You know, as I said, I like, Ohm, he gave me that feeling, you know, this young guy that was much more going on elsewhere, that was a much more personal film. I haven't seen his second film, if you ask me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1143.33,1171.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But it seems to me that these, all those we're talking about intangibles, in a sense it can boil down to very concrete things that make you feel this, and part of it is not having a structure that is so complete in itself, that the story line is so inevitable it works itself out and it's a lot of fuel.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1174.17,1192.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, there's a feeling that, you know, it could, at any time, perhaps go off in another direction. This is where the French and the Italians, easy life, you know, Vittorio Gassman is a rich guy and he picks up the student and induces him to go off for a day's drive. You know, and the student sort of thaws out and he's absolutely admires Gassman, who's a real no-good playboy. And because there's a ghastly car crash and the students killed, not Gassaman. But it's a, you have a feeling it could go anywhere, and I have a feeling with so many French films, they could go anywhere, you know. That it is nearer to like that, even though they're highly stylized in the situations. The Hollywood film, it's inevitable, you know, it sort of reaction, it action and reaction to action, and it goes on like that. And it's the way it's shot and directed and the script and everything.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1192.49,1240.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You feel that there is a tendency now to avoid the old cause-and-effect relationships. I think so.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1240.98,1247.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I think so, but they're limping along the American film, it's got hung up partly by summer cinema verite, but we don't have the sort of visual in now of the French of going for top quality. They just don't, they don't understand it. They don't have the cameraman here. It's one of the things, because I don't want to go off in a long talk as to why, but it's the way they're recruited and the opportunities open things, what people want. So it's who knocked out of the young guy, you know, he becomes a director or something else.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1247.21,1277.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you feel that the Union is in some way still behind?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1278.16,1281.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Oh, absolutely, I think. You know, that's a stotifying thing here, the whole setup of the union and the people involved. That's it, all the way down. It's an industry. It still is a business in France, but work in a French set. The atmosphere is completely different. The way people help each other. Look at all these old middle-aged men on a lot here in Hollywood. That describes it. And even the breakaway movements in the East, you know, the more interesting experiments, and I'm not going to name films, are sort of crude and amateurish in many ways. I don't know. The French always managed to look professional. Even Truffaut's first little half-hour film about the boys on the bicycle and the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1281.05,1324.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The initiative makers.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1324.13,1326.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, the mischief-makers have a professional quality of some sort. It seems to be lacking on things here. I suppose people in the States have reverted against professionalism, because Hollywood represents ultimate technical professionalism. There's a tendency to revolt against that and assume that being unprofessional then is sort of somehow being good and free. I don't think that's true. The French show it and the Italians. But why are things so rough? They are only rough because they have to let them be rough to get what they want.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1326.47,1358.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There was, however, of course, the use of a rough image as an esthetic...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1360.07,1368.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That's perfectly all right, if it is an esthetic, but not... That's in the neorealist. But they're so much smoother than anything turned out here. I saw the connections. See, well, there's a wonderful example of how not to make reality. You know, taking... Everybody here takes a stage play, practically, and tries to turn it into a film. This is a big thing. The French write original scripts, which are written for the cinema. Is absolutely unknown in England or the States. Think how many original stories there have been, screen stories. Jules Lijim, however, was taken from a book. From a book, a long time ago, that's true, but that doesn't disprove that the French normally take original scripts, and we're true, first, if you don't... Or at least they're rewritten, you'd think. So far, you know, because Jules-Lijim is very un-novelettish, you know, in its structure, and you know it would be hard, you would never think it was taken form a book... But there's a tendency here just to lift the connection, lift a strange play or a book and try to turn it into stuff. A good example is the Lord of the Flies, Peter Brooks. Lifted from the book, and it doesn't really work, I think. I really think it's a rather poor film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1370.74,1447.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You know, Troy, of course, was very unsatisfied with her connection because it retains so much of the greasiness that we've been talking about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1449.04,1458.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, that she knew what she was doing, you know, and that's the way she wanted it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1458.35,1462.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, she couldn't. She said she couldn t beat the Union on the Union cameraman. And so she made the Cool World non-union and got into all sorts of problems in distribution. But in doing the Cool War, she got rid of all the lighting, she finally went overboard.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1462.74,1480.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I haven't seen Cool World, you know, she doesn't interest me as a director per se. I was thinking more David and Lisa, I don't really, you know, they sort of, only because they're different from Hollywood films do I think people go overboard. Some of them go overboard in Europe, like The Connection, because this is their myth image of America, it only suits them to think that people are ramming. You know, the French, if The Connections was made in French, you could be wild, all that, it's all crap in English, and I bet it sounded even better in French.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1481.35,1515.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, it wasn't. I don't think, I don' think. I know, can I just send him?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1516.01,1518.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I know a guy at the cinema thought it was awful, he blackballed it. But I don't want to get into discussion individually on that. But I think visual style is immensely important, because it's a visual medium. And the Italians and the French understand visual style. All you have a director with such strong control like Bergman, though he's rather very prosaic lighting and things. But somehow whatever he's doing is tremendous control of the actors, you know, who know exactly in the feedback of the director that comes over despite it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1517.73,1555.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What do you think, what are you talking about when you say visual style? I really mean photographic style. Something is of a piece that somehow there is a constant approach in using close-ups.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1557.56,1569.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, I think the very style, that it may look like a 1930 wedding photograph, it may look like newsreel, it might look like great glossy magazine ad, it may have a documentary quality, things like that. It's as simple as that, it's a nuts and bolts business when you look at it, because you can say that, that looks like a newsreal. And then, of course, the style is also the camera work. I don't mean the lighting, but the very way the camera is used, its movements, the lenses, and of course then the actors and the final bit.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1570.5,1606.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e A cameraman once told me that he had to shoot some stuff for Roosh, some pick-up stuff for, I think, Chronicle, not Chronicle but Pyramid You Men, and that he was rather unhappy and said, I had to make bad photography in order to make it fit in. I didn't know exactly what he meant, but I think he was no longer framing according to studio style. And you said that Roosh did have a particular style that in...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1608.16,1643.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't, well, I don t honestly know. See, Roush came and showed some stuff at the film board when he first came back from Africa. That's where he met Bro, which is, you know, he'd shot himself, I think, with a bell and howl on his first films. And then Bro shot for him. So I don s think he was particularly conscious of style. You know, Rousch, Willie Williams, he s not an anthropologist, I s think, he's an engineer originally. Yes, but then he got interested in this sort of anthropological approach, so I don't think probably in the beginning visual style was, it's just not important, you know, so perhaps when the guy said that, perhaps some of Roush's stuff was so bad, I mean, photographically, that he, to make it work within it, you'd have to shoot in a sort of very, you in a rather loose manner.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1643.88,1692.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In a sense, then, if you're... There is some sort of...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1695.82,1701.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Let's take a film which reeks with style is the last Orson Welles Hollywood film, Touch of Eagle, and that reeks with style. His use of lenses, lighting, camera angles, everything. You know, there's a style. That's not the Hollywood style that Orson Welles is. He got it out, apparently, in O-Line Cameraman as well. Greg Tolan? No, no. Tolan's dead. Don't I know? You know. But it's there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1701.82,1729.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This is, he tends, I mean, there's a much, there is quite a lot of relationship between Kefka, the trial that he did of Kef and the touch of evil. The shots look very much alike.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1731.729,1741.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But this is Orson Welles' style he likes to work in, you know, you see even in monstrously bad films like Mr. Arcadian, you'll see bits of it in there. But I mean, there is a visual style, you now, the director comes from the director More often than not, I think, it comes from cameraman because I don't think enough directors know what can be done, you what they want visually. I think in France they don't everybody seems to think in a certain way in France The Zimmerman said to me, if you say to a French cameraman style, he knows what you mean. When you talk to an American cameraman, he says, what sort of style? Tell me what style you want. So you're working on two different wavelengths then. You're working with a technician, and you're really working with the man who's a technician and an artist.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1741.56,1786.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What do you think if you can't just say style to someone and have him give you what you want?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1788.21,1793.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, but from the nature of the story and the way you describe it, I'm sure when Truffaut talked about Jose Jim and the characters and the period and the movement and old World War I footage, you know, and the cinemascope, and he used dynamic frame as well, that the cameraman sort of understood. He didn't have to sort of spell it out and say, well, we have a frame to hear. You know, the ideas would start to flow backwards and forwards between the director and the cameraman. I may be wrong, but I have that feeling. I mean, what looked at French sets, I am sure that's right. Sort of intimate discussion. Here the guy is a technician, he's a photographer. He's going to light it for you. If you want to light another way, well tell me the way you want it lit.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318#t=1793.46,1832.89"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141783/file/262318/transcript/79509/annotation/89","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/509/original/trint_Coll458_jb0034_MacartneyFilgate_02_transcript.vtt?1747070107","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/509/original/trint_Coll458_jb0034_MacartneyFilgate_02_transcript.vtt?1747070107"}]}]}]}