{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/610vq2ts0w/manifest","type":"Manifest","label":{"en":["Interview with Terence Macartney-Filgate, Side II [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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Who have to deal with no not to invariably found. Still me after all. After the boy. You still thinking acting? Yeah, I think so. You know, because he's always.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=14.55,26.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e There in the. In the deep. In the heart. And.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=26.46,31.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He was given a he did exactly what, you know, so like orthodontic care or something. Which you are right. But you can't do it. You know about directing young actors. Directing young actors has nothing to do with directing actors per se of you have to trick them. I mean, an act, you can say, explain what's warranted and what the problems are and everything and not. You've got to sort of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=33.9,55.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You have to come at it in that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=56.1,57.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Inductively and say, look, imagine you know what it's like if you go to USA dance and the guy says, yes, we just think what it's like when it's really hurting you, you know, what you're after is sort of feelings of sorrow with those of the reader who wants to direct taxes this way, too. Yeah, but did we have to go that direction then for that? You know, I mean, he knows it without you going into that. And the biggest thing because of non-actors is to make you feel unselfconscious. Actually, that's not a problem with an actor's problem, is to tune them down the other way from coming on to strong music. But so really cut that. She cut many of her films.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=57.84,92.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And her blood. And then Wolf.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=94.6,98.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Mechanic did a film that popped up in the farm as well, Country Threshing, which I shot at. Shot about a third of it was not mine. I just shot a lot of the material which we made.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=98.62,109.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e In the weekend, and the form of an old fashioned thrashing, which is a sort of folksy piece he's hung up on. The country comes in the country.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=109.93,116.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And after that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=118.96,119.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I did the same pilgrimage. I would seem to have a prince with me when he told me about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=124.15,129.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, it's. You know, it's not. Not like the Methodists. No, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=129.94,133.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Catholic big Catherine. But with this, the woman. What made you become identify with religious.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=134.14,140.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Still not identify people in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=140.61,142.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The states that they see it. You know, because they've done blood in France. Sorry. I mean. Did anyone see him? Button for an.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=142.57,149.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Attack? No. People have us, you know that. But. I'd be nice to, you know, people read things into your films. I just I wanted to do a lot more on it. It's a question of time and money, and, you know, I would do it a different way now and cut it a different way when I sequence. The last sequence was shot. Multi-CAM was the first multi-cam set up ever used in the book? Shot with three cameras and sent out five rounds. Which is the prayer meeting. And when viewed at length. I've learned this over the years is tremendously powerful. Builds and builds and builds slowly. And it's a film in its own. But when you cut, during which the prayer sequence at the end of Blood and Prayer, but you know, when it was viewed a multicam running, you know, say.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=149.95,201.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I think you've done a projection.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=203.94,205.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no. In the cameras, we shot with three cameras in sync at the same time, but it was projected on two screens. Yeah, that's what I mean. Yeah. We didn't have three. Yeah. Tremendously powerful. The whole sort of build up and build up and build up and build up. And it was played at length at the end of the film. And it doesn't work. It's too long. It works in a big screen a bit better. You know, you get more of the atmosphere from television or 16 actors, you know, normally 65 screen I was quite funny, but it does builds and builds and builds and builds. And I've learned this with television that you cannot either. You've got to ride with the sequence at great length, the whole thing almost, or, or when you cut it, it's sort of just this blur, you know, you can't take the high point. So why why.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=206.12,253.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Would you think that the seeing multicam made it work better?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=254.63,260.149"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, well, I mean, we could have been cut at length. I mean, just seeing it multicam didn't make it work better. It's just an easier way of looking at it says, you know, you can cut in your mind, but if it had been cut at full length, you know, in other words, it's a whole film, a half an hour primitive. It would have been sort of like the island, you know, the Japanese film and they're carrying you're not had to stay with it, but it would be built and built as something. But at the length it is, it's too long, you know, it was cut down and it's still too long. It should have been cut down much more. And maybe the movie would have taken the presidency. And so were the guys with around the president. Yeah. Now this is it. When this is set up, it's a real prisoner. But you can't. This is before the days of portable equipment. And the person who did not know what the guy was going to ask him and agreed to do it. It has that sort of improvised. One of the impersonal qualities that comes from what we're going to do is for the campaign. Yeah. It has to be done, because now you might be able to be able to do these things for real, but this is done before post. Post tape was turned down with Oregon's and quite elaborate heavy sound equipment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=261.2,334.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And you know, there's a whole of those. And all those films were shot for we already had portable equipment set aside.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=336.36,343.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But we might have taken the person sequence out. We had some very nice things in the press. What do you think of the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=346.92,351.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e One thing in that film was sort of earthbound. It binds it for me is the interview with the guy at the head of the Salvation Army. It seems that the rest of the film depends on other principles.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=352.75,365.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is. Yes. Now, this is another thing. The guy who is interviewed at length again, this is the first of the sort of deep psychiatric. He's a man who had had religious doubts and had been a successful preacher and lost his voice. One day, just his voice went and thought, this is punishment from God. And that his whole life was ended, his usefulness. And then he was getting his voice back and they put him in this terrible, down to nuts hostel. You know, and this has been a great sort of spiritual crisis. And over an interview length of about 40 minutes, it came over very strongly. This is the first film where he was struggling with these problems. Again, cut down. You know, it doesn't carry the weight or the impact. We found this with much interview material that will carry at length because it builds and you start to see the man's personality. And I think when you get the embedded used within sort of interview type films, profile films, where you really stay with the man, it's sort of more television.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=366.18,424.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And film that this is true. Almost all versions of of the documentary, I think. So, yes. That one seems to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=425.5,433.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Have almost the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=434.11,434.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Same liberty that one has in life. And one of viewing these questions, and as soon as you start cutting the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=434.95,441.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Light seems to be out of it. You know, you go where the high points are not dramatic high points, they're all built points which have been built in other things, probably taking some time. And we have this problem in any number of films. The others didn't go in for interview material much. I used to, because I was playing with it at that time, and we also had the problem of length and proper carry on television interview stuff. We don't carry. Well All right. This is the big difference between film and film for television that you can get somebody's head on to camera. Where do you think it is? I think the size of the screen, because the early part is much more important in television innovation in film. So in film you can have mood sequences, you know, subtleties miss the whole bit. You know, there's always you can't just can't handle. But the or the picture's always bad in television and the sound relatively good and sound. And therefore you can stand some closeups. You get a sort of intimate quality that. Do you think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=441.76,504.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That this the fact that the interview works better on television has something to do also with the way the spectator relates to the screen?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=504.59,510.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think it's a kind of yes, I think he's in his living room, and this man's coming in from the outside and talking to him when he's in the movie theater. He doesn't want to be talked to, you know, from the man on the screen when he's with 5000 other people. It's like at a meeting. I think there is a sort of psychological thing. I also think there's a science probably on the screen in the corner.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=511.94,531.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Television is more illustrated radio. And when you get to that point. Interview material does not work for film. To me, I think it's a bore.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=532.55,540.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Cut it out. But you have to use it for television. Film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=541.31,544.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Television is often deadly because there's no no tonal subtleties. Well, the the I woke up and thought film is film as environment. And the screen being large enough where the person becomes affected as one is affected by the environment. So.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=544.67,565.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, very much so that your peripheral vision is taken up by the screen. And I would point I'd made, you know, back could the Netflix when you go to the movies, you pay your money, you're making a positive effort. It's like going to church. I mean, if you go to church, you're not sitting in a sense not praying that you made the effort to come in. But the television is passive. There's no concentration needed. The moment it's slightly boring, the channel can be switched to scratch, unable if it's unpleasant or embarrassing, but still frightening. You can turn your eyes away from the TV set. You come from the cinema screen, you're in the black, you know the theater, and there's a great big screen there, and you're much more magnetic and sucked into it. I think the big point is people can go to the movies and cry. How is that? Divorce. A marriage, Italian style, which has a very sort of hulk. Stop. You know. Have you seen it? It's a fire. And generally. Well, it's a sort of comedy tearjerker, you know, about half the movie has been sniveling, which is quite common. And I bet you run that in television there wouldn't be anybody, you know, nobody would cry. There's a tremendous difference in the impact between the two mediums, and this is going to be.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=565.88,641.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e A problem for everybody who works in film and in television film, you know, halfway in between the people who.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=641.58,647.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Appear in television film don't really understand cinema. And people like myself who work in both mediums are always being torn one way or the other.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=648.04,656.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You know, because the limitations when you work for television, what are some of the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=656.5,662.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Guides that or the pressures, the influences that tend to affect the way you shoot?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=664.27,668.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh well, just mechanically, I never shoot backlit shots. I never have pans. Very rarely have scenic pans, never any long shots, everything tight and close up and close in detail. As much sink as possible, usable sink and stay really close in one establishing shot and then keep in. Never tried for mood sequences to build slowly. You know the sort of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=669.58,698.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e In other words, you don't think that you you illuminate trying.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=698.44,700.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e For mood sequences rather than trying to Attempting to find where we would be able to create them in some other way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=701.14,708.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, let me put it this way. But because working for commercial TV, they they won't buy movement. You know, everything has to have a hook. The program has to start with a TV, as it's called. You know, you couldn't start with a very slow pan shot ending on an island and then another shot. And that's a little close. And another shot. It's a little close. And then the same with the boat and it's coming. And you spend 3 or 4 minutes establishing the sense of they they won't have it. It's got to be, you know, the guy's going to be on the screen. The girl in the bottom of the boat, metaphorically still, you know, the boat's going to grind to shore. We've got to have a big close up of him and he's going to chomp, chomp, chomp, chomp, chomp, chomp chomp. You know it. It's the teens. It's it's called that in business. The hook I used to call it. But these things he call it the tease to hold the audience so they won't switch to another channel. It doesn't matter the cinema. They spend their money, you know, and you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=709.11,761.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Can spend the money to come see what you've done and you can take your time. They don't like they won't work out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=761.8,767.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's the phenomenon.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=768.11,768.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Of a captive audience.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=769.13,769.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Whether they spend the money or not, because they're there, right? It's great to leave you old ways to work a work on. And more subtly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=770.75,777.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Exactly. It's the difference between listening to a casual speaker. Hyde Park, corner of Union Square. You just listen for a few seconds and drift away. Then we might have something very interesting to say in ten minutes. And actually going to political meeting where willy nilly, we've determined to go and hear the guy through, even if he's boring. And then you may say, what is boring? 40 minutes. But those last two minutes were great, that type of thing. And I think this is the basis. Television zero is what it's grasshopper. It appeals to the grasshopper mind and it has to hook people just. And I think it's different in in Europe I've never worked in European television. But looking ahead English television and documentaries will work slowly. They're very old fashioned. They're hung up on the anchor, man. What? The anchor man. You know, the light. Commentator. Some of the American television. But we were the first people at the board. I was the first to never make my own voice and have it cut out. The only time and place it ever appears is where it's at. It just had to be used because it's fallen over to the normally completely cut out and tend to use the commentate. Let's try that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=778.01,847.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e If you have a commentary to say and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=847.79,849.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know the James Blue filmmaker and you'll be interested in asking him this. And then you go into your own narration, which is cut for that. Then the commentator is a personality and not have a mumble. When I do this, I pride myself. I do good interviews, but I mumble and I'm very diffident with people and sort of almost apologetic, but I find people are much more willing to talk because they used to being pressured in interviews. I find this with prominent people saying, well, if you don't want to answer it, don't you know? And I really can't think of anything more to it. Secure. What would you like to talk about yourself? And I find this in interviews is to find what they want to talk about is the most important thing, not what you want to ask them. If you get much the best stuff. Because often they will answer your questions and yet they're not interested and therefore they don't have much conviction. But then at the end, I used to throw it open and say, well, is there anything you want to say? But often you get your best stuff. That is so to be warmed up. You, me for this doesn't mean I never do interviews.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=852.92,916.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Film the word, however intimate interviews you. I guess there were people they weren't in interviews in the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=916.92,924.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Back frequently.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=924.78,925.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Where they were. Yes they had.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=926.28,927.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So they had people that were talking.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=928.32,930.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. Well, this I did. I was shooting alone and having to operate the camera. I was having great trouble because it was single system camera magnetic. And I was getting, you know, you pick up your pick up head a few frames later and I wasn't very good terms with these guys. That could have shot sync if I'd had portable equipment, but for sync I was virtually tied to either enormous car batteries. You know, if I'd had a Nagra and what we have nowadays, and it was the only time I could get them ever to speak was in the evening, you know, because I couldn't shoot on the whole thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=930.6,964.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Was that one scene in the pay Officer and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=965.02,967.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, well, that was set that were not set up, but I could recreate it. No it wasn't. I created it in a sense. I was there and waited and waited and waited knowing this sort of thing would happen. And if you take infinite time, I found with network crews networks I was set for, I think a shot is going to come set my camera and sort of goof around it all day. If it set up, and sort of people could start to accept you as part of the scenery. And when you do shoot, they're not particularly interested if you take home the whole day to do it. But you had to be prepared to sort of, you know, like stalking something, wait and be seen. I mean, I will often wear the cameras and and switch it on and close the eyepiece if it's a sign in camera and then plug in the battery and have it run, you know, just at the right time, not look through it, switch it on and close off the eyepiece.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=967.9,1018.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But you find that this is also a technique that at least this idea of weeding is a technique.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1019.77,1025.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Perfectly valid now. Oh, very much so. I mean, it'd be so much easier to sit on a chair. And, you know, I often do that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1025.98,1035.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Just sit around and wait. I once waited for a suicide to come to a hospital for.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1035.64,1040.829"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Two days and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1040.98,1041.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Had to stage the film, you know, to get a real psychiatric state. But, yeah, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1041.64,1051.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Infinite patience. And this is something the networks don't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1051.3,1054.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Understand what is that breaking.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1055.03,1057.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The in terms of the progress and so can.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1058.39,1063.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You sort of 1930s. No nothing in 1930. No. No. Do you start at 939. Is that you know it is.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1065.53,1072.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, whatever we were doing was worked out by then. And the old camera set, the sink had been well worked out in country thrashing film called police. Salvation Army, the blood and crime that had come before. Yeah. Not breaking the last of them. And it was carried with portable sink to its ultimate, of course in Lonely Boy because they had the equipment and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1076.12,1103.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Clinics said that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1104.23,1104.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e He felt the lonely boy was the last of these and that really that they had pushed it as far as it need go.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1104.98,1111.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, would you do that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1111.85,1112.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And No, I don't agree. But this is strictly between us. And I don't want to be quoted on this book, but I was always know the Colonel would have good contact with people. I can sort of goof around, you know, in Puerto Rico, right? Yeah, totally. And I was just sort of came in there. I called, you know, a difficult personality, but I could always get the truck drivers or prisoners or, you know, intelligent talk and get friendly with. They always got hung up in their approaches, good people. This is one of our this is our big split. It all came over from the Glenn Gould on the On the Record, which I shot on. And I said, he's having you on, you know, he's camping this the whole bit. You know he's a performer. And the thing is not in playing records is what what does he really like to do in his spare time. This is the interesting thing, you know, what does he really think of himself? You know, go on. I mean, you could go off to God, but he'd sort of got the bit between his teeth. Who was, you know, been doing it camping it mildly. He comes over because he is a performer. But that isn't gold. Probably per se. You never really know anything about what he's like as a person. And I was always trying to sort of get into people, and I think they could carry it further. I'm not terribly interested in it. Feel like work through every technique.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1113.02,1198.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I mean, I literally mean technique in handheld camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1199.88,1202.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e 35, you know, over 16, simple, silent. And so no longer is it any great interest to me except the two.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1204.56,1212.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Why does it seem to you? It's interesting to like for you as a as well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1213.95,1220.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm a relation. I'm not going forwards any further with it. I relate it's interesting in in relation to what you can do in feature film storytelling for free. I mean, that's what interests me now. I haven't done anything along those lines, but the direction. I had a lot of talks and we got on so well, and he said, if I have a story from you, come and shoot for nothing. Just keep, you know, in the process. Because in my eyes, my camera work, not in my hands. We work in the same style at the same speed. And he has pushed it down further with the French Canadians with 55.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1221.0,1258.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What would you characterize as your style is a very.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1259.17,1262.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Very, rather complicated product, focuses fast camera movements and more often in the rushes. There are from that sort of going from your hand, your face, you know, focus bringing in this is Koenig's style also.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1263.67,1275.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Seems to be more of the style problem in the book.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1278.49,1280.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes. Well, we started it, you know, they picked it. The French bro got it from me because I had handheld, but nobody had sort of. Wild lens, which is why the camera is running.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1281.52,1292.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I don't think anybody had done that. Like this was really my own venture. I mean, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1293.02,1297.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Doubt somebody else in the world had done it, but nobody at the board and very, quite often do that. I had the camera running.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1297.87,1303.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e An Apple Lens, you know, you can use it as a cut sometimes and it's been used since. It usually matches. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1304.29,1310.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It matches. And I've learned to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1311.64,1312.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Cut down action within the camera. I do a lot of that for the Estonian likes like that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1312.84,1318.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, I cut it where like when the cigarette goes down, cut my hands, go back. So I get the smoke coming out. I don't having it in the gallery even using the zoom. I don't like the zoom. I never use the zoom.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1318.63,1329.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Handheld, ever. I hated that kind of horrible approach, which ultimately you try to focus. They don't try to complicate. You try to focus. You can't on the zoom. Why is that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1329.64,1341.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Because of that, you want it sort of more or less go out to the telephoto position to focus. Now, I always use conventional lenses. When I had, I used a ten on a 60 millimeter camera. I used to use a ten, 25 and 50. I don't use a 16, and on the 35 I use.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1341.55,1359.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Well, I have to put an 18 on. I can't put anything else up on the camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1360.52,1363.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I never use a zoom handheld for a number of reasons. Or a 400 foot magazine. Is it unbalances the camera's 100 foot rolls and conventional lenses? And if I can get screw in filters, I screw filters to take off the weight. Because I have very steady hands, that opportunity will be steadiest in the business. And because I like to switch mine. And I like absolutely accurate.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1365.59,1389.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Focus and tracking gaps, which I can't do in the studio. And I move a lot with the people, you know, on my knees jumping on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1390.07,1401.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Tabletops in the practices.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1401.95,1402.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e As well. Do nobody in the film board uses a zoom handheld except for sync.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1403.54,1408.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Because of this reason, you know, you kind of focus. It's having cameras.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1410.06,1414.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And you feel that. You feel that. The constant use of a wide angle zoom, which is the monster there is either at wide angle position or there a pull out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1416.0,1428.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, more or less. Do you feel with this limits? We're very much so. That's you probably. Yeah. With that sort of shooting is nearly always head on. You notice people are nearly always practically facing the camera. And I think this is part of, you know, this, that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1428.42,1445.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The way they do it like that, Maysles has the feeling that you that what you're shooting becomes much more authentic and it's real. And to feel the authenticity has an effect. If he is able to apprehend a scene in one take. You have any feeling?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1446.12,1463.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, I don't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1463.7,1464.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Absolutely not have no theories on this. What works, works or doesn't work work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1465.02,1470.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e As I was saying to the other day, I had no theory. Hand-holding annoys me intensely when I see it. If the camera jerks around. I can understand that. I don't think the audience must be aware. You know that there's nothing worse than seeing a jerky frame where there's no reason for a jerky frame. You know, you're sitting in your chair and the whole frames waving around. I find that very annoying. If I come into a room and I'm talking to you, I would never hand out. I'd always put it on a tripod because it's static, and I think it causes less trouble to the person. It's a fixed object in somebody's fucking neck, a Christmas tree, you know, sort of working her way around. This is the same. For instance, I would always shoot the same from the tripod, except in a mobile situation where people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1470.67,1514.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Are moving because it becomes as if the physical thing, this is coming onto television of what is more.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1515.24,1522.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Important, what the person is saying or doing or the camera. And this sort of graph point that the camera is more important and I will always be self-conscious. Then as a director, you have the problem of making them unselfconscious and sort of juggling them over the whole camera lights, business.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1523.1,1540.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You know, and knowledge of parents and you just watching this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1541.5,1545.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Absolutely not. I mean, except where there's a powerful scene. If I go to a church meeting, you know, I mean, I don't interfere in any way. Sometimes I might plant something to provoke something, but other I know I always exert whatever control I can to achieve what I want. I put in the lighting ahead of time. I'm not going to shoot in a black room. I'll check. The air conditioning is making a noise. I had it turned off and moved to another of the possible areas in the air conditioning. If the sun is going to shine in this room, I'm going to shoot in the other side so we won't have to change the window. I won't tell, you know, this sort of stuff. Always take normal precautions to get best quality.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1546.06,1584.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Always work the best quality without.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1584.79,1587.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Upsetting the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1589.83,1590.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Person. The distance on the wall. If you hold to this technique, you somehow also deny yourself certain things to take you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1590.49,1598.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Is there any way you can get them by grabbing them when you grab them? Then you do it, but you don't have a theory on it. I mean, if the only way I could do it by rushing in with the camera, you know, and shooting it in a dark hole and boiling the film to try and get an image, because that's the only way we'd ever get it. Where then we do that? But I don't I don't quote technical problems or like them as they are. There's nothing worse than worse sound. Bad sound, I find. Now, I invariably wire people lavalier mikes. I don't fish people around because I find it's much better once it's on them, after they forget about it. It's not somebody waving or is a radio. Mike and the movie came to regain one of them and leave it on all day.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1599.32,1642.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e This means that you have to do something to instigate the scene.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1644.2,1646.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I've seen control over the scene. I've always talked to the person beforehand, and whatever directing abilities I have is to hold them, make them like me, and to feel that they're at ease with me. You know that I can say, no, don't bother. We're going to have a reload and sort of change the conversation after something neutral so they're not hung up. That's why it's very important. The crew you have critical that the crew is sort of sympathetic and can take some of this burden off you. You know that even the sound man, when he's wiring you up, say it was going to be can be sort of, you know, you said you feel is like an operating team. You know, everybody's sympathetic to the subject, this one using this technique.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1647.84,1690.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Therefore, I mean, the crew are in a sense we creating and doing and or creating something that you feel is important for the film. You said for those of you. You were very non-committal. You said it last night. And was there any in any way a contradiction there?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1691.03,1711.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, it sounds like a cliché in a sense, committed to truth. When I'm in documentary, as I see it now, that may not be true for somebody else's. But I don't like anything phony. In other words, you mustn't look phony. It must be within the realms of possibility. So the audience, it's the. I mean, the distillation of truth. For instance, in Days Before Christmas. A good example of that is a man crosses a road and he's nearly run over. He's reading a newspaper, insisting that the minute I'd seen this happen, well, when we went to shoot him and it happened, and I suddenly saw film board editor for Martin DeFalco coming down the sidewalk, it mentioned in the upcoming show, Doc Martin, get your paper. Is the traffic and you walk into a car reading a paper. Jump back and don't do anything and go and reading it. And he does that immediately taking, you know, somebody to put me on to know that he came later than that. But under this necessarily created as many things. And I found this like that. You know, what do you think then, that you were thinking, well, this is the sort of the whole Christmas, but I'd seen a man actually do it. Now. If I'd shot it for real, we would have had it. It was an amusing abstract, and he didn't tear it down. It's like shooting a jaywalker. Well, you may not find the right Jane Walker, but if you can find somebody who can jaywalk in the same way, of course, link out, you know, says that he can't do this. It's impossible to recreate what he isn't a very I isn't a very good director, I think is his problem and therefore he is an observer up to a point, though I don't think he's strictly honest because he maintains he just observes the whole time he's poking and prying. What do you mean? In what way? With his camera, you know. I mean, so which is more than just observing. Observing would be behind a sort of one way mirror, like the room downstairs. But if you're poking with the zoom lens and then coming into extreme close ups that the person doesn't realize, you know, you're looking at the poisonous skin you are poking and praying and therefore the very, you know, if you're shooting them on a long shot or a wide angle, if I'm shooting you head on a sideways, you can make lucky people will look pleasant or unpleasant. And it's very easy to do this. And I've done it currency consciously. I mean, I did it and again, don't quote me. I'm on the Carol Bank, consciously shot it to be sort of obscene, which she was. And I mean, you know, sort of sexist, the obscene genre I shot because I like because I only shot her when she looked great. This is. Because I thought that's what I wanted. She does represent.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1713.06,1873.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e For me woman. And on the screen in their own right. What monsters is going to be able to open the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1873.78,1879.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Door when she sees me?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1879.87,1880.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Then in this problem cinema verité, we will be in world constantly, whether we like that or not. In problems of the person who shootings added absolutely, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1881.61,1893.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Completely, because that's why they're not the same. We go out to do a cinema verité film, you and I, and say, bro, and somebody else from another country, say, or another place recce. There'll be completely different films will come back, and yet there will be all real women. I mean, I could take a situation, say, like a parade. How to look at the parade. I'll show you this pilgrimage thing. Exactly how you shoot a parade. You can't shoot the whole thing. But we will shoot the parade differently. And yes, it will be the same bands, the same people, the same mix on the sidewalk, to be sure to the very close ups do. We shoot old people with watery eyes in the cutaway shots, the young kids who are smiling or sort of high face adults? This is all selection in the cartoon interior and shoot an immense amount of cat. Remember that means if you have a band playing a Sousa march happily down the street, and I can't find a roomy American Legionnaire standing there with round shoulders and pop bellies, you get one effect. And if we intercut that with five happy kids waving American flags, we have another three teenagers chewing gum. You see it in the Salvation Army film The Mix. When it's cut, they go chewing gum, you know, and I mean, that was put in obviously to show, you know, that they're preaching and most people don't listen. But there's one oh man, this thing. But we could have cut it for all the old man listening or all the old women chewing gum, you know, people just ignoring it. And therefore I think it's cinema verite. It's a technique is Read this a lot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1893.85,1992.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I'll go back in another time into the history. You know how it came about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1995.96,1999.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Within Canada, which pre-dates it in the States. But a few years since our first film was Dead Before Christmas, which was shot in December of 57.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=1999.8,2010.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And then the peacock was doing anything but. It was this was about three years after he made Toby, though.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2012.43,2019.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, but we never seen Toby. And that was made in 35 of Mitchell's.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2019.96,2022.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e We went, you know, guys, is a complete break away. What do you think prompted it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2024.85,2031.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, we saw the free cinema. We saw particularly Muhammad, down to the love and devotion to much the approach, but certainly going down to a real dancehall and not really restaging it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2031.99,2042.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I think that was the kick off point. I've never met any of the free cinema people in my life. I've never talked to them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2043.54,2049.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So mama, don't allow the film about Saturday.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2050.56,2054.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The first one. So it's not Thursday.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2054.969,2058.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So, you know, it's sort of Thursdays children as well. Okay. It's a wonderful film. Absolutely. One of the best documentaries.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2059.34,2064.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e On children I've ever seen. And movie.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2066.19,2067.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And then I saw a couple of terrible ones made about two deaf mute.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2070.54,2073.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You know, and they were getting off in London and just sort of half acted, my friend.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2074.44,2081.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And but you said it is. No, we don't allows the one suddenly going down to real life situation which was controlled as well, taking off the Rolls Royce on mute. You know, the rich swingers from that coming down. I was just that was the starting point to free up sounds from formal.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2082.54,2102.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Documentary and, you know, sort of standard, standard project.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2103.3,2107.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And was experimenting from there when there were other influences because the French New Wave hadn't started them. So I don't know if there's any feedback because bro went and worked, as you know, for Roche in Paris, and Rukia came over and Rouge came on. But a lot of shots that we used or some of the French used I've seen come up in feature films like that was currently on as well into the Police film, the driving Fast at night, a line through and the lights go out and focused on their floating balls on the screen. Now I shot that. But at the same time on the film, I had do phone each shot the same thing, but his was shot from a tripod. The moment handheld, we both see the same thing through the camera from police cars at night, and we used it in the film, and I've seen that come up in French feature films. I'd never seen it before. The shot, you know, and tremendous long telephoto lenses I really hadn't seen used before that, you know, consistent in sequences. I tend now to shoot most of my closeups in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2109.03,2170.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Moments, as I never see always in a studio or anywhere. I can't get unique cameramen to do that. I have to shoot them in 100mm, which is 1690 a hundred. Back off the cameras.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2170.78,2184.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's an interesting point. By no means. What do you do with this? Well, it gives a sort of way. When the person looks at the camera, they're not really looking at the camera. The camera's too far away. You know, they look through and out because the sort of dreamlike quality that remains is to have taken 35.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2186.65,2202.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You know that I haven't spent 35 film for about three years. Look, one way continues to be what I wanted.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2203.79,2214.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, you say yes, they say yes, ma'am to be on the phone. And you know, that always kills me. Yes, ma'am.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2214.95,2219.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Well, you know, the Americans had a low pitch. It's almost a fetish. You know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2220.31,2226.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Like the guy at the motorcycle plate that. Oh, God, that. You get that? Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2226.56,2230.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The guy who needs it. All right. Thank you very much, sir. You know, all of this. This has this big shield of everybody from stuff. And I was doing that too, you know. But I found that if I can forget about it, my voice comes out a lot better than when I'm, you know. But as soon as I start thinking about it, I get it all tied up. And so I never.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2230.64,2247.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Gotten a little excited from. Just one thing. But I was a tremendous interview hero to Jane Fonda.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2247.8,2258.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e She's talking, you know, she was shot by the group.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2262.14,2264.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2265.39,2265.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And. He he. She says I was, I was.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2266.82,2275.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I was just sick.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2276.12,2276.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Yeah. This is the film. The only one I saw the film and afterwards that I understood do that, I did what I didn't understand what was going on, what the experience.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2277.44,2288.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The film was truer than the experience itself. However, I, I just don't believe that one can make a film that is true. Leacock. And these people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2289.6,2300.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Are very intelligent, but I but I don't understand how they can say that they reproduce truth. Since out of what? Out of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2301.0,2309.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e 40 hours. Perhaps they choose.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2309.55,2310.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Just one hour and. And in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2311.26,2316.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That they have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2316.24,2316.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To cut. And nevertheless, they seem to have caught something. That's true. But my relationships with the play were my relationships with the play were false and ambiguous. So in a sense, the film itself was a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2316.87,2334.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e False thing about a false thing. And and that's what was true.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2334.15,2338.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/152","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e But I learned what.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2342.94,2343.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/153","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Much about being an actress from the film and seeing it afterwards. I saw that, but first I realized that the best way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2344.68,2352.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/154","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Of making something come across in film was to do nothing. So when it came to her.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2353.92,2361.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/155","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I she's writing so much, she says, because the critics in England started it, said she was she's not a very good actress. And that's the whole bit, you know, in the in the trying to show. I think the young actress and her relationship to the play was not. So a lot of people wanted to do like she's right when she says about you were talking about lead character for truth because what is this is what's your selective and the way you shoot. And you have to be in a very way to cut that which is not absolute truth. The absolute truth is only just here and now. Soon. As soon as it becomes history. It's open to interpretation. And that's why we can't write history. I mean, there's no two ways of looking at the American Revolution.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2367.81,2414.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/156","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The Russian Revolution and procedure.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2417.89,2419.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/157","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And yet one time you could pick the paper up and say, this is what's happening absolutely here and now. If you were, then, you know, and I think this comes to it, to say it's absolute truth isn't true. Unless you showed the full 40 years of, we'd have to be a dramatic unity. I think the time and place, we're probably a certain level in which you can say that is true. Well, it is not to say it's true that we see this man die before this. It's all true. It's made up of true, of true things. But the way we put it together may be another source of truth. Or it might be entirely false. It might be a propaganda film. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2420.58,2456.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/158","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But in, In in either a straightforward manner or in an abstract, rambling or digressive manner. It it it comes out in, in, in a richness but a a kind of. It will the digression, let's say, in this has a greater unity than the digression. And Thomas Wolfe, because the plot, for instance, is continually going from one point to another geographically. You're you're building in the mind, in a straight, in a straight manner. That is that is the character development here is more along the old lines where you're going from from A to B, and the revelation is more in the old fashioned kind. I call it old fashioned, where you go through a revelation and come to a conclusion, and it's filled with many of the trauma, the traditional symbols, like there's in the office in New York.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316#t=2457.28,2516.2"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262316/transcript/76680/annotation/159","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/680/original/trint_Coll458_jb0033_MacartneyFilgate_01_transcript.vtt?1740614690","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/680/original/trint_Coll458_jb0033_MacartneyFilgate_01_transcript.vtt?1740614690"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317","type":"Canvas","label":{"en":["Media File 2 of 2 - Coll458_jb0033_MacartneyFilgate_02.mp3"]},"duration":2536.38531,"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/141782/file/262317/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/317/original/Coll458_jb0033_MacartneyFilgate_02.mp3?1739224906","type":"Audio","format":"audio/mpeg","duration":2536.38531,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0033_MacartneyFilgate_02.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And, well, I don't know what I brought the Greek gas before, I, I... Yeah, I know why I brought it, because I wanted to read out loud what becomes in Spitzgerald's work a kind of symbol which is inherent to this author, which comes out of no tradition, and which you don't realize until you've read a few of these works. And it's not a metaphor in that you are given a particular tangible object to look at, but you're given a situation which becomes, again, Fitzgerald works on it, a metaphor or a symbol in his own cosmos.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=5.909,58.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And there's a famous shot where this guy just doubles over when he's shot and he falls forward, you've probably seen it. Well, that's a true shot. You can say he can drop from there. Somehow we saw a man die.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=59.71,72.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I mean, it's a true statement, but if we then had shot something of the man, and we'd said this is a poor man who had a grocery store, who was dragged off and shot, or that he was the chief of police who'd shot many other people, I mean we could do all sorts of things. We could have, even if he'd been the chief of police, we could have just selected out the scenes with his wife and family. After all, you could cut her. I always remember looking at footage that they'd found in Berchtesgaden after the war of Hitler and Eva Braun.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=73.38,100.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Mm-hmm.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=100.64,100.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Disporting themselves and Eva Braun bathing in Mountain streams nude one could have made and this was all truth. It wasn't shot for propaganda. It was private film one could made an idyllic Film of Hitler which would be quite true in it in a sense this was a facet of these character he did pack little children on the head and like flowers and like to look at nude blonde girls and Mountain waterfalls what this meant","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=101.8,127.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In terms of Hitler, it could be construed in several ways. It could be a dreadful irony, or it could as it was a triumph of the will, used to say what an idyllic man, what an ideal man.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=128.03,147.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, this is the problem, I think, in many of these reportage films that people are, it's not a cliché, a policeman wants to say, people are people, but people like Eichmann, no doubt, were good fathers. I mean, this normal, people look at it abnormal that somebody should kill two million people and be a good father, and yet this is a mix that makes humanity. Another guy is a great philanthropist, he's probably beaten all his sons to the old turn hard or something. You get There's no necessary mix to make up, and when we make a film we do select these things, we have a point of view, and that's why I think that just to say the truth, the one inevitably has a point to view, which in that goes, our go-go, is a point of view. It's true. That's what it is like, and it is a point of views.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=148.87,197.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's no more false than any other point of view. What's his name? Gill and I, Gerard Hinkle made a very good point, I got it on tape somewhere, where he says that, why condemn the fact that, why condemn this direct shooting technique from the fact of saying that it doesn't capture objectivity? Because the only way that we can relate to the world is through a point of you, at any rate. And therefore, this is presenting us, I point of view, uh, a bond. The material. It seems to me that nevertheless there is a distinction here that makes the cinema's very take things valid or valuable, is that nevertheless the material is...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=199.56,245.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Each piece or chunk of shatran within itself is true. How you assemble that together can give you another truth, it could give you the diametrically opposite thing, and still be, I mean, you could shoot a film on a guy and only ever pick out the bits where he picks his nose and farts or falls over drunk, which are all truth, this may be the pattern of his existence. And it's a question of what sort of mix. And this, I think, comes from your point of view, what sort of mix, what you're after. You're selective when you press the damn camera button. You're a lady. I mean, I had a case. I went to shoot Mrs. Roosevelt one time. For the Roosevelt series, they probably never used the shot, and I was on a 300 millimeter lens, and I wanted her, I was three quarters rear view, and knew she'd eventually looked to her right, within 35, looked at her right. I wanted a big close-up, see, because, you know, Americans usually on TV never shoot big close up, and she was picking her nose, it was quite embarrassing. But I knew eventually she'd stop and turn to her right, you know, but we could have, if I'd been in my film, one could just have cut the first portion, which is quite as valid as the second portion, but my point of view was that wasn't I wanted. I had to keep on running the camera so I'd get the turn, you, know, I'd have some, I don't know if they ever used the shot, but it was something I specifically wanted and I knew would happen. This is where I think disagree with Lee Carpenter, he says it's just truth. You know that as if the moment you press the button, the truth comes out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=252.309,347.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I think Leacock has probably changed a great deal, because in the interview I did with him, he did say that we are being selective constantly and therefore subjective, but we are subjective in the sense of a scientist who is trying to describe a phenomenon to the best of his comprehension.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=348.28,367.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Beyond the scientist is always with all physical phenomena. There are laws, you know, basically, I mean they know there's matter there's anti-matter I don't know enough about scientists and therefore that he's there's a back. There's a form behind his research I think when we go out to shoot there isn't the same sort of form because human behavior doesn't quite","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=368.23,386.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He kind of feels that he is after whatever structure there is of a certain thing that interests him. And he feels he can, in a situation, define and get at, or tries to get at this underlying structure of that event. For instance, he says that all other films that have been attributed to him are not his. After Toby. Everything else is kind of a mixture. He's been given credit for things that he didn't really want to have credit for. And up until Happy Mother's Day in which he went after the social structure, the dilemma. And he felt this was what was going on there. This was what was interesting about the event of these quintuplets being born and so forth. They were It's like that. And that the family did not want to be exploited, but had to give in to it in order to support the quintuplets. Would you agree with this kind of approach?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=388.66,452.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I think, you know, if that's the way, yes, I would, I haven't told you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=453.5,457.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, he felt he was being, in a sense, scientific or, you know...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=457.66,460.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But this is a definite point, but I think he must have known, if I'd gone out, that the family was going to, they would attempt to exploit them and they would have to give way, you know, if they're a poor family, it's inevitable.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=461.479,470.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He didn't know until he got there, he said, what his film would be about, he didn't think he had a film, but...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=471.92,476.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e When he saw what was happening. I would have guessed with four hands. I mean, personally, I mean that would be the thing. I immediately thought it's, you know, oh everybody but everybody's gonna be offering free baby food and college educations. So I mean I'm not in any disagreement there with him. I mean the main, it could easily turn out that the personalities were so weak that there's no film. I think four cinema verite, four, which is non-fiction, the biggest estimation you've got to be is will somebody come over? You can go to the most famous or most interesting person in the world in one sense and they photographically and filmically may be as dull as Ditchwater, Mr. Pauling. What do you think that is? I don't know why. This is your sixth sense as a filmmaker. I just follow my nose. You just suddenly, somebody's on and another person will never go on. And this is, I think, makes the difference between people and this technique between people who are successful or not. It's largely choosing the right situations to make your films about, and finding the right people in those situations. If you don't, you come up with nothing, you're just a mess. And you can go to people, and it often happens in interview material, I went to a man whom Mumford considered the second, the man after him, and if he's still alive, he's on of the city planning. Called Albert Meyer, and at length he was fascinating. His ideas were just fabulous on the structure of society. He used wonderful phrases like the loss and jellification of society, but he's a man who thought and groped for his words and then would come up. When we cut him down it was just awful. I'll show you one. I do have the film here. It was just nothing. And absolutely nothing, and yet at half an hour's length, this man was fascinating. He just wasn't filmic, he photographically was filmic to a point. But he just, within the context of what we can do and after, if we made a profile of him, it would work. But not just amongst some other material.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=477.04,602.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He felt that this was a man who did not reveal himself properly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=603.58,605.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Not in short periods, you couldn't boil down. There are people, and for a film, then you have to perhaps move to somebody else if I'd had choices, who is more punchy. You have to talk in these terms, because it doesn't matter how good he is, he's no good telling people, you should have seen the half-hour version of him. Now he's down to two minutes. There's nothing there. And there are people who speak, slow speakers. I mean, I think this is even important. People who speak very slowly are hard to handle, except at length. Frost, in its own terms, works. He's a slow speaker, and you can stay with him. But imagine boiling frost down among eight other poets trying to get something out. Very difficult. He just doesn't lend himself to boiling. And this is a filmmaker's property, and there's no way around this, probably. It's being selective in material. I think a lot of people have wasted a lot of footage in shooting totally unsuitable people or things, trying to get something out of it. I've described this technique right back. I think I used it about 58. And it's like two things. One is you've got to be like a hunter going into the jungle to shoot tigers. Somehow you've go to be, if you're going to be successful, have a sense where the tigers lie. When they jump out, you're ready for them. Just to pick any piece of jungle, you can go and beat it till you're blue in the face and nothing will happen. You've got to have a sort of sixth sense, like a tracker. It's like other people have taken the shotgun approach or the vacuum cleaner approach and just fired off film and shot into the sky. Well if you do it long enough and often enough, something will fall out of the sky But the odd plump bird that, you know, the scarcity sort of making films is just a random chance at the monkeys writing the books in the British Museum. And the rest of it is sixth sense. It's purely developed sixth sense...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=606.48,726.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you think that they're the way that you have developed to this extent?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=727.68,730.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, I don't think so. I've normally been lucky in my people. Somehow I can usually find the right people, and this is not through any technique or anything. I suddenly think that's it. I could tell who I could do things with and who I couldn't. I could do a profile on you, for instance, and I would have no worries. I might have real trouble. To a standard, it would have to be quite a different sort of profile, much more external.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=732.22,768.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e If he really escapes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=770.22,771.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e This is only a brief, you know, brief thing. I know you're a little better, but you know a lot better. But you just make these estimations immediately. I would say it would be very hard to do one on Christy. I would have, I could pursue her, but it would very limited where I could go.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=772.64,788.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Maisel told me, Albert said, one can make a better film about people one does not know than with someone one knows well, because when one does, when it comes fresh to a person, is. The salient aspects of him and stick out a little more. You are getting things that are, you're more interested in his various characteristics whereas once you know him after a long time, you begin to accept things saying to yourself well everybody knows that and in a sense they don't. And so in a way you are being blind to some of the characteristics of that person.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=790.01,830.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, I've never made a film in anybody I know well. My own feeling is the better I know them, the better the film is, the more better I can get to know them. But I've ever made a movie in anybody in the world. I would think not. I feel my powers of observation always keen enough, even on people I know, to know within film terms the things that the auditors of life see. It's like when people make features here. I always like seeing odd things in features. Of the Italian. And I went into this hot coffee shop. I mean, I'd love to do a sequence in there, it's so weird. There's always those things, instead of just having two people on a bench. I like people who do those things in features. I don't know, in some way, whatever they're doing, it throws it into a contrast. Like the early car shots when people used to talk. The French always had dialog scenes in real cars. When it first came out it was very exciting because you knew three years before Hollywood it would have always happened talking in the bus station, at the airport, you know, in the office. But suddenly the French all got in the cars and went traveling around. It's only a visual thing, but it was something new. And yet we all know that people drive around in cars, but they started to thinking of people talking. I think the interview with the cab driver in... Days before christmas is one of the first bits of sink actually shot in a car it may have been predated but it's the first time i can think of it because it was certainly before i saw any louis mal which was the first i can remember sink in a card i think you're talking about les amants yeah i know not les amants yes but i think also la censure de chafort but i mean well les amant was the 1st time i saw it and i just shot eddie the cab driver we actually shot half an hour of him and kept talking. It was the first time I can personally, I hadn't seen it before, it was a sort of idea to see if it could be done. I didn't know how to do it. I had a great big vast Orokin in the back and a 12 volt car battery and I was in the front. It was before the days of Lavallee mics in wide use, holding, I don't know, some sort of mic out of the lower camera. But it was, you know, those things excited me. This is 58, isn't it? 57. 57. It was sharp to send it to sound. No, somebody's undoubtedly shot sink in a car before that, there's nothing unique, it was just at that time that it excited me. And it still does assure me, excite me, always making the bat... I mean, I could have interviewed him anywhere, you know, sitting in his cab or... You know, to establish him as a cab driver, but it's just to do it on the move. You could do it... I don't think I've shot sink a car since then, actually. I've never had it caught a horse, too.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=831.38,1002.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What's rather unclear, I think, in the history of the whole modern documentary movement, which has sort of taken hold again since 55, or 54, is not clear just what position you had in all of this, and what you've done, what have been the influences of your work. I'd sort of like to get on that. Well, the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1003.65,1031.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, the inference would be that in 50, I should think it was either 56 or 57. I saw Momma Don't Allow it, a film board screening. That's from England? Yes, the free cinema, the last of the, I can't remember if it was Lindsay Anderson or... It was that free cinema movement, right? And I saw a couple of others, the Saturday morning film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1031.25,1055.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That we didn't talk about, those had some influence on you, because of the camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1057.2,1060.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, yes, but there's no before this is even before suddenly to break away from conventional very staged or poetic Documentary at that time you were a director at the phone. I was a director. I'm in Air Force training Cutting and writing terrible commenters of travel films and things so I was working in a very strict medium Sponsored training, which I wanted to break out for a long time and I couldn't get out of the unit I was on. I left my business that way. The first film I ever did, wrote and directed, was how to get a man out of a crashed T-33 jet aircraft, which I wrote, directed, and cut. So I was, you know, in that field. And this excited me a lot, and we had some talk, and I knew Roman and Wolf, and they had wanted to do a fantasy film in economics. I don't know, for some reason the film board in Spedermonts is hung up doing a film in economics. And one of us, or all of us or something, came up with a weird idea of we do it in science fiction and planets where there would be various economic things. And we kicked this idea around for time. This would be in... This would have been in 56, I suppose. And that all fell through naturally. It was a torque point. And then... The money for the days before Christmas, just to go and shoot a film on Christmas.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1060.08,1153.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This was the first film, would you say, of the... Absolutely.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1154.42,1157.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Absolutely, there was nothing predating that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1156.86,1159.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You were directing this, weren't you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1159.41,1161.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, Kearney directed and I directed. I suppose I did about two-thirds, perhaps. I would have to meet at the film. It was all split up. We didn't really know what we were doing. I took Bro and went with Bro and we just went out with Phil in the snow, in the streets, anywhere I could think of. You were not shooting? I was not shooting. Anywhere we could think. And we shot the tremendous nightclub sequence with hidden cameras. There's a little bit of it in the film, but most of it couldn't be used. There were guys blowing up safes at that, and big sex scenes. The film board was a bit puritanical at that time. Anyway, there was, for a very suspect, legal reasons. And we shot a lot in this nightclub, dufo and bro. And I'd set the whole thing up and got the cameras hidden behind curtains and then we brought them out later and I learnt a lot about shooting close up to people in certain situations then. I wasn't shooting. And um... We sort of just shot thousands of feet, and this was the great excitement, suddenly seeing real people on the screen, telephoto shots, you know, and Roe started, it was hand-holding. It wasn't moving at all. He wasn't doing hand-handholding? He wasn' moving then. You know, this comes later. Wolf did one walking shot from the hip. This was the bank? But otherwise, he didn't shoot much, he shot the brink sequence, but he went out That brings us to the end of the video. Yeah, Brinkstrap. He went out directing the choirs, I think. He did the choir and he did two guys in a drugstore, which was set up, of course. Now, the next film I did, I went off and did an Army, no, I did an Air Force film after that, which is terrible, with which is a dramatic film, really, it was beside the point, and then I wanted to do the film The Salvation Army. It was the money for the program, and we thought up the name Candid Eye, and I can't, the word candid was in my mind and I think we kept out, you know, candid look, candid eye, perspective focus, all these sort of terms, trying to think, and Candid-Eye came out of a sort of group think, as far as I remember, that it could be attributed to anybody. You know, it was one of the names that should come up and be discarded. As a serious title. He seemed to describe it, the candid eyes supposed to be fixed up. I did the Salvation Army film which Wolf shot and I started to shoot on that in the Tavern sequence. In fact, the very first shot I ever shot in the film is in there. You were directing the film? I was directing. It was my idea. I researched it, chose the sequences, you know, chose the camera angles, you know manipulated the whole thing, especially the religious thing at the end. Because I got on a good thing with the preacher. I was on good terms with him. And you began to shoot in that film? Yes. For the first time? Yes, in the Tavern sequence. Tavern? Yeah, where they're collecting money. And I also shot some of the outdoor prayer meeting. I shot some cutaways.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1161.33,1356.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Didn't you shoot the part of the conversion at the end? No, no, I...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1357.0,1360.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, no, I was on, we had three cameras then, set-ups, before the days of Zoom, and I was on, um, we have intercom between each camera, and, I sat with the intercom on, sort of controlling the operation, because I could see everything which was going on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1359.85,1377.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Who's shooting them?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1377.66,1378.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I can't remember. I think Wolf was operating a camera, Ronan was operating the camera. So I remember Wolf's parallax was off. That's why in the end we've lost this guy a lot. He was crying. You know, we'd had zooms in those days and the cameras was one that would have come into a big close-up. And I don't know, I think Dufour was somebody. Our bro didn't work on another film with me for some time. But what happened was that summer the French-Canadians wanted to do, it wasn't call cinema very day in those days, film and la parade, and the Saint-Jean-Baptiste parade, it's a great parade, this great feast day of Quebec. And just prior to that, I had started on a film on pilgrimage, a religious subject. And I had shot an enormous amount on pilgrimage myself. Hand holding? And hand holding and doing walking shots. And this was really the first, because I have studied and just discovered this lockstep bit myself. Lockstep, you mean? You know, walking in step with people and, you know, working with wide-angle lenses close in, all sorts. I had experimented wildly. Shot thousands and thousands of feet on this religious parade, which is the pilgrimage, the one big day of the pilgrimage. We did shoot some other days. But just concurrently with that, the French unit came to me and nobody in the English side were interested to see if I would shoot in that parade, so I was delighted to go out with color. And I did a great lot of walking shots then with bands and drum majorats and things, walking in on people in a way. And this excited the French very, very much and broad. And I think that's the take-off point with sort of walking shots as opposed to just a hand-holding thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1379.07,1483.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This was in...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1484.22,1484.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e 58Th. 58Th? That would have been June 58th, I was concurrently doing this religious pilgrimage of Elm. And then, the only other time Bro worked with me, I took him down to Toronto on a police film, and I had Dufault as well. Dufaut was usually the cameraman of these films. And I also shot a lot of a thing called Country Threshing, which Wolf directed. I just shot, which is a one-day, a two-day effort. I can usually pick out what I've shot, you know, and then the... And then Bro came on the police film, but he was sort of hung up on details. He wasn't very good working alone in those days. He needed a director. He was not selective. He didn't get enough shots, you know, the right things, peripheral things. Dufour, which was a real quickie job made out of nothing. And I think that was, then that winter made End of the Line, which I shot about half of. What was that? The end of the steam locomotive. Steam locomotive? Which Dufault shot, I shot, and I think Koenig has a camera credit. I think you have to read the credits if you did camera. But I had a camera on the pilgrimage. And the end of the line, and the police felt, I shuddered in large chunks, the police fell. Um... When things went on, then they did various other ones I didn't work on. I was making this film about cars by myself, which isn't a success, where I shot all the pixelation and I didn' t actually, I never obviously shot the interviews because I did all the interviews in these films. So it was always somebody else shooting and then various people. The car film was made in bits and pieces, you know, over, so they never really came together. That was made between other things. Sort of never had time or any help to sort of really button down to it when the money ran out. And I had a whole lot of anti-car people and I wanted to get all... I had all Detroit lined out to shoot them, but I never had money. No, anti. You know, so anti-Detroit. And I had Detroit, but it made very fascinating juxtapositions. But it just sort of had the balls cut off it when we could only get... You know, the money run out. I went through pixelation there. And the junkie sequences, things like that. I always chose the sequences and how they were to be shot, and I'd research the subject of this more film. And then... That got through 58, 59, it was a Glenn Gould film. I was sort of finishing off the steam film, still shooting, into May 59. It was made over the course of the winter, you know, various times. And Glenn Goud, this was the split up, this is really, I felt at that time... And I've always felt that, see, just a surface record is not interesting. In some way, you want to go into the personality and find what makes people take them why. I don't say I do it or it comes out in my films, but that's what I wanted all this to do. And I had a quarrel over Glenn Gould, and it was sort of in a lot of strain. We sort of split apart there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1485.65,1692.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This was a quote you have daily and","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1692.53,1694.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, Roman and Wolf, it was their film, because I felt Glengor could be investigated, probably, in interview material, in that they were letting him get away with just doing what he wanted to do. And I felt that if you let people get away what they want to do, they're camping it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1695.84,1713.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And you felt like Google was a showman.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1714.7,1717.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You sure remember the very interesting man underneath, you know, and you don't want to look at the surface, it's glossy, but you'll be fascinating stuff. This just came up in primary later, just to go outside, I felt that should have been on the nature of politics. You know, it was just a surface look. There was wonderful opportunities for sort of investigation and talking to JFK or any, all sorts of people, and they just didn't see it. They just wanted to have this record and make it into something. That was my main complaint about it. As to what it could have been. And, at any rate, on the gold thing, it sort of fell apart then. And I went off to make back-breaking leave on a hunch. I'd just gone down to look at the countryside beforehand, before the tobacco harvest, and knew nothing about it except what people had told me. And I'd wanted to make the story of one itinerant worker, but I could never find the right one. It's too tough, and we didn't have the mobile equipment. So the best I could find was one farm. Because people are very suspicious down there, and not very cooperative in the beginning. People are threatening to knife me, a Hungarian gang, because they're taking their photographs, this and that. Which I'd made alone, with one assistant, and I did the interview. So you initiated the subject yourself? Yes, all the subject, Backbreaking Leaf, the Romy film, the Salvation Army film, the religious pilgrimage film. The steam film, I think I just messed it, and these were all my subjects. Not Day Before Christmas? No. That sort of just came out, let's make a film about Christmas. You know, we're not really, no, I guess it's the beginning of sort of experiment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1718.24,1821.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Up to this point, how much influence on him does have the experiments of Roman critters and cunnigs been in chorale and in...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1822.04,1830.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I would think very little, Paul Tomkiewicz was shot in 35, took years to make, was shot very much to no feature standard with a very precise cameraman who's now left the board, who apparently Roman had dreadful quarrels with. Who was this? I can't remember, he's a very good cameraman, but sort of in a union style, you know, his photography's beautiful, and he eventually left the Board, and I don't know what's happened to him. I can't remember his name. And was shot, you know, just 35 equipment, absolutely directed, you know, selected. So I don't think that had any connection. Corral was 35, masses of footage that they had great trouble in putting together, I believe. They were great, great trouble, the daily cut together, he's that sort of editor, and made this miracle. But I don't think it had any effect, it would have affected Wolf's camera work. He was a brilliant documentary cameraman, and I think it's a great pity that he doesn't see himself as a cameraman, but sees himself either as a director or as the head of animation, which he is now. He's sort of shy. I mean, he could shoot brilliant features of sensitive, fast, fantastic cameraman. I'd say the four best cameramen I know on this continent would be Wolf Koenig. And this is up to feature standard, I would say, Le Brac, and Michel, Brault, and Dufour. I would that was four, anywhere, taking the states, and they're all from the one place. Wolf has done some brilliant stuff in lighting as well, but he's never sort of, I don't know, he's probably got problems. I don't think it affected, it didn't affect my thinking at all. I'm not a lyrical filmmaker. I do often do sunsets and bits of water and things, but I do it from a camera point of view because the whole technical problem of shooting this, I can do the image beautiful, but I'm not specifically interested in doing a lirical film as such.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1833.25,1957.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What are you going to say?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1958.71,1959.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, people, and funny enough, though I've done rural subjects, more people in action, but I've never had a big city film to do. I like jazz, you know, teenagers, twisting, dancing, high-speed cars, airplanes, I love shooting aircraft. These are really passions I've been able to indulge in. Though the last shot in the days before Christmas is naturally my idea of the control tower and everything. The aircraft going off. And once it was before the days of jets, unfortunately. But that was sort of private passion of mine. It's great. I'll tell you, not in the tape, I nearly got killed shooting aircraft once. I got so interested in this business. I would, you know, really like to make a sort of, that's why I like Italian films, they move.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=1960.06,2015.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Let's see, now how did you get down into the United States?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2017.12,2020.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, this came, we'd done the Candidae 58-59, two full years, and three of us had done everything, virtually. Had shot them, and directed them, worked in the cutting rooms. I'd worked more on during the shooting, because I was constantly out shooting. Roman worked in cutting rooms, and Wolf sort of halfway in between, half shooting, half there. But I was the sort of content. And, you know, sort of more or less on vacation most of the time. We fell apart over this disagreement, I mean, I received the blame, and they may be right, you now, of being the discordant element. What, in Bangu? Well, after all, I shot Ali Angud, and I'm quite aware of it, because I shot him quite a lot of it. But I just don't agree.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2021.5,2074.639"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What was the point of your dissension the recording you should be seeking something yes","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2075.84,2081.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, that was my point, you know, but I didn't couch it in very nice terms. It was an unusual film and quarrel over something nothing to do, some of the basic things. And I'm very impatient and do things instinctively, where Wolf and Roman and Tom must have a logical philosophical reason, and they would always talk about God and the truth and faith and things. And I once got up and said, I didn't think even God liked cinema, so fuck it. You know, and I said I can't, I can never explain why I do anything, I just have a hunch, and I go off on a hunch. I used to try to rationalize, I used to feel guilty about not having rational explanations as to why I do things, but I've given it up now. I just follow my hunches, and I just do it. I hope everybody will worry about it. And this was a diametrically sort of personality difference.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2081.04,2137.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e At the time, you mentioned you were objecting also to the way thumbs were cut.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2138.97,2143.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, no, this came later, after this, when many of the things we shot, or I shot, and when I say I shot I directed, sort of powerful things would go down the drain, because they didn't fit within the general context of the cutting style, which was a smooth structure, sort of logical. This is, and that's why we never broke away to, it was before the days of the undoubtedly if I'd seen... You know, I would have been fired up by it. I know I was all ready for it, but I'm not an originator. So I wasn't, you know. I hadn't seen Breathless, the cutting, because I would have just jumped on it, would have smashed open doors. You know, it was all sort of like the Virgin waiting for it but it was no good. Nobody came. And I'd left, you know, before I saw any of those films. And then Corsura-Presure had the effect on the French, you know, this is the French. But it never affected the English side, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2145.25,2203.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This is a Claymore Perl.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2203.72,2206.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah, but it's not Péron's film, I think, to be honest. It's Guy Bourman's shooting. It's very much his individual style and selection. The director can't shoot that style. And his walking shots. And then, I mean, Pére Poirier's cutting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2206.89,2221.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What's her first name?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2223.72,2224.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Anne Claire. Anne Claire, yeah. I think that's, I mean, you might probably check it out with somebody else, but I think honestly it's, as far as I know, so within the grapevine, it's like that. And I quite believe it. Will Mans is a very strong personality, and very drive, and I'm sure he just took the camera and just went wild in there, in the flat, and i'm sure it's Guy's film in many ways. Because they have not produced another film like that, with this sort of style. He's left, he's in Paris now, of course.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2224.83,2260.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There's been some talk that there was nothing in the United States going on at the time that was as far-developed as this. Leacock had made Toby in 1954, but he'd made this with Mitchell cameras. And we never heard of it. Was there any influence of the Canadian films on the New York School, which finally produced the New York cinema very soon?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2263.93,2288.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, I think there must have been. I took down in 59, I completed prints and showed them to Drew, who I know showed them to Leacock. Shirley Clarke had seen the films. The Maisels weren't even in the films... What films did you take down? I would have taken the days before Christmas, the Salvation Army film, the Pilgrimage film, The film on cars the film on steam, but probably the 70 90 pound weakling the Country Threshing film, everything except the Backbreaking Leaf and the Glenn Gould film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2288.01,2322.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You didn't take that on by freaking way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2322.54,2324.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, it wasn't made at that time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2324.01,2325.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It was made in 1959.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2325.74,2326.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, it was made after taking the stuff down.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2327.28,2331.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e When did you take them down?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2331.62,2332.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Would have been when the gold firm would have been about June of 59.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2333.03,2336.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e When you took all of these photos?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2337.84,2339.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e All these prints down, yes. Now some of them maybe were screened obviously beforehand, you know, was screened by film board screenings and these people go to these, but I mean I know Drew saw them and showed them to the others.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2338.89,2348.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This is when he was establishing the time, the time of the story.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2350.0,2353.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, they hadn't done any films as such. Ricky had shot one film in a B-52, I think, and a terribly abortive film in Hemingway in Spain, which was just...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2352.52,2363.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Each other's with portable equipment?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2364.12,2365.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, but it was so awful. They'd been on this hooked up that you shot everything in sync, every single thing in sync all the way. And that was their theory at that time. Whatever it was, you shot it in sync. Which, of course, was totally damn it. We were very selective in using sync. We were always after image, picture quality.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2365.65,2383.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The first film of the Drew group was primary, was it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2384.57,2387.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I worked in France.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2388.03,2388.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Have they gotten in contact with you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2389.01,2391.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I was in New York now. I'd just come back from Morocco. I did a film for the board, an abortive film, and I came straight back and went out to Minneapolis, Wisconsin and started shooting on that. And I shot. I think I was there for three weeks or a month. I can't remember which, how long it was. They'd been shooting a week beforehand when I arrived. I had to bring equipment out. And I shot, and then all this stuff. Was taken and processed locally. They were trying to prove you could make local films and mix them yourself. And we went to Minneapolis and they were cutting them on table viewers.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2391.13,2429.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Who worked on this film?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2430.96,2432.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, who actually shot on it, Leacock, myself, and Al Maisels, and I cannot remember if there was another guy, Ken something, he was a union camera man, I cannot remember, but he may have been on that one, Penny Baker didn't shoot anything on that. And when I saw how they were trying to cut, I was just too much, I was very tired and everything, I just went off that, said I had to see my parents and flew back, because they were sort of inventing the wheel. We felt that they didn't know how to cut it, right? Yeah, basically they took a long time and eventually brought it all back to New York. You know, it's very wasteful and they've been brought up in a more economical school of filmmaking.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2432.39,2485.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What did you, uh, shoot?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2487.12,2490.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You know, the primary. What have you been? Well, the Humphrey Walk, for instance, on the night of his defeat. At the end. At the end, I think it is. Quite a lot of stuff in the CBS studio on the victory night. Stuff in the Minneapolis newsroom where I shot, I think it's Humphry because it was in the papers the next day. I always work close in with the camera and always get in front of everybody and there was a big clipping saying... Old-time life photographers were crying, Christ, what are you trying to do, x-ray him? Because I was right in close. There's shots in the film, you know, of the 10 millimeter lens.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317#t=2490.46,2530.43"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141782/file/262317/transcript/79512/annotation/80","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/512/original/trint_Coll458_jb0033_MacartneyFilgate_02_transcript.vtt?1747070158","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/512/original/trint_Coll458_jb0033_MacartneyFilgate_02_transcript.vtt?1747070158"}]}]}]}