{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/8s4jm2572r/manifest","type":"Manifest","label":{"en":["Interview with Jan Nemec in Houston [1/4-in. magnetic audiotape], unknown"]},"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 : 3.75 ips; 5 in. 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No, she's not yet.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=6.24,8.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e In the marsh. Maybe you might have noticed.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=9.54,12.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Beep beep beep world.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=15.15,16.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. It's all right. One. Two. Three. Four. Five. Six. Yes. Right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=16.59,20.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's okay. Yeah, I think I got it on the right thing. I. I went through one interview once, and I had all the buttons wrong, and I had nothing on it. I didn't dare to get it again because I wasn't very. Good. Yeah. Yes. Keep me. Were you sincere that you really liked my film? Yeah, I think so. It's so nice. Yeah, I think so, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=20.7,47.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Is it? Yeah. It was pleasant. Yeah. That's a good. To to for this team as well. It's it's full of fantasy and poetry and speech. And citizens and beget nations like all the judges in the letter. Beside what is for what this film was done is icing is a piece of art. And it's I think it's very difficult to collaborate. Please, when I combine, combine this, I don't know, teachings and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=48.09,81.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Didactic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=82.37,82.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And I think this is a culture. Right. Thank you very.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=83.0,86.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Much. I was really you know, you didn't have to say it. So yeah. He said it. He didn't know. No who made it. And that's what it is, the vanilla diamond. You like it by the way? Very much. Oh that's interesting. Well, I leave you alone as you believe that we have a great see. Right. What are we going to do? You know, in Prague? I'd like to know that you went through a film school. That was very interesting the way the your steps to to how you discovered, you know. But interested in you film. I mean, what how did you discover these things? Well, part of it was Faulkner's. I would like to know the kind of courses you took in film school, you know, helped you learn something about film. Let's take a loaf of bread, for instance. This was before make. Before you had discovered the the thing, the new student. That it was.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=87.14,143.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The moment I was. I started thinking about it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=143.59,146.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And you started thinking about about it because of the other films you had seen, or because of something that happened in a loaf of bread?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=147.55,155.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I explain it too.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=156.91,157.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But now we are.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=158.32,158.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We are taping it. Yeah, right. One thing is that, you know, I said it at a school was a freedom, but a school was is very academic. It's like, oh, it's time University for the art or the music full of lessons, full of history and additions, and only available with the contact visitors and with life and the modern contemporary films. And that means that although but also at this time the Czech film production was the same. It was a very commercial film, also with some local conditions, local trades. That practically was nothing in the cinema, in the Czech production. And it is a school and it means that its atmosphere. I want to try to learn how to make films, and I have an idea that it would be most important to discover the personality and about what? I have to start thinking.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=159.43,218.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I must go to the person on your own.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=219.66,221.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Person on it. Yes, yes, that is it. Nowadays this is very nice to meet very primitive thing, but very basic. But then nobody of my teachers is considered that its important personality now to know how to do manga films, but to be told to be some old to some like an adventure. It's, you know, you writing the the bulk of the outer and that of the title of his career.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=221.76,245.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No one thought you had. You were the films were your personal. Yeah. You didn't say it. No, no, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=245.96,252.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah. I'm detached. And his story was important is very much is just comedy and how to make and how to cut it and and you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=252.62,259.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What could they tell you? How did they tell you to cut a film or to make a film? I mean, what do they they have rules. Yeah. Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=259.43,266.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And a lot of books and the territories of the cutting and the directing and no sense, of course. Nonsense. And then when I was preparing my diploma bags, it means that it and this and it's very important that result of this diploma that it's very important for the employment school. I start saying, I mean, it's a for me will be very important to make some personal film and something that will be another, very different methods. But was the tradition that the school and the Czech film, and I was thinking about some serious team and the individual at this time, but now exists in a contemporary to I think it's 12 year now, ten year ago, and it was a poster of unfreedom in the church and political life and unfreedom.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=267.33,318.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You mean lack of freedom? There was an atmosphere of atmosphere.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=319.36,321.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It was a strange time of of of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=322.18,323.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The no freedom, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=324.25,325.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Freedom, no freedom. It was impossible to read newspapers, new books. I think it was only some kind of propaganda. And for that reason I selected this story from the war that you do know. Every single person from the history I was always is history only, I don't know, ten years old, that that it was possible to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=325.36,346.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Work with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=347.62,348.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This team. A lot of my faith and I tried to to make this loaf of bread. My ambition was to do other things in school that made it like a small professional film. For that reason, I made this film how it was made.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=348.43,365.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And the school wanted a small professional home. That was what they were. Yes, they wanted to. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=367.02,372.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And and at this moment when I was preparing this film, I had the biggest influence I had for me at this time, just French director Robert Bresson. I mean, they did. And I have this film. Oh, I was tied to the condemned escaping of. Condemned to this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=373.5,398.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Andiamo. Yeah. This is one I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=399.69,401.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Had seen, I don't know, a time of ten times. And then also I had in the, in, in the cutting table and I, I wrote I first three scenes I wrote the scenario.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=401.28,412.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You took the vaccine, I the cutting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=413.21,415.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Edge back from the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=416.09,417.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You just looked at the film and measured it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=418.13,419.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, yes, yes. And how it's wrong and so on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=419.93,422.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What did you learn from that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=423.08,423.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That by Gita. This was when you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=425.4,427.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Were doing for the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=427.61,428.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Bread? Yes. This is a time. I mean, I was writing scenarios, loaf of bread. I also was making a series of this art that I film, but I made it for reasons that I. Was I enjoyed it the same and very vulnerable. So I was very full of impression after this film. I've been haven't I seen him do that? When he has been, I have seen it. I was full of feelings and very impressed and, and I liked very much. And for this reason I said our movie very fine to know it. How is the technology from from what this how it how it is this film, how it is this film is made you know that me mate. Sometimes also with some from some theme. We have it added in the cutting table and it was our school lessons to make it analysis of this film system. For instance, for instance, I know some champagne and also each.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=428.3,484.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Day in advance we would take a cutting table. Yes, but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=484.84,488.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Many, many times the result was the films as a part of the film, which was not in there, or me, I am not. It was interesting so much about this film or this part. This means it was only academic, like at the school.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=489.1,504.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, they would give you and a half or another. Yes yes yes yes. Yes. And he was making a splices wrong and they were all breaking in the mix when they were mixing. You know, splices were all breaking and he'd been scraping the support side and not enough. The important. Thing. Oh, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=505.96,531.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes I can, I could, I could finish it. It's that, that, that I seen that is important that in my case was to my analyze is not some something you didn't care what you had but something that was very. Who held you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=532.2,547.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. Yes. And what did you discover in your analysis.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=547.86,550.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Helped you into that? Was this this principle, what we are speaking and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=552.09,556.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Condon ammo situation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=556.47,557.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. This is it is also it is same principle. Neutrality is principle. One shot, second shot saved shot for and did everything with this the the reality of the situation. It's came for this collections of these lonely shots. And then the camera is out and in the in the style of my son. It's I think it's it's it's very personal. It's it the shots are not interesting alone for the photographer point of view. Some are not. Some studies I do not not style. I start inside, not at assumptions like for documentary films. But this is the principle of one second set to something. We can say an item is very important in his work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=557.7,607.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How did you find out what? What section did you analyze in in condemned manuscripts especially.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=608.27,613.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And it was especially the latest part of the scene of escaping. Which part? It was that that is or.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=615.11,625.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't know. What was it when he's working with a spoon or.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=626.78,629.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no, no. After when they are going out from the prison.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=630.41,633.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The two. Yeah. To us. And what about the rhythm? What did you do when.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=633.89,640.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You seeing that. What what did that do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=641.06,642.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah, I read it I think that is for our vision is very important and sometimes you can say it is too long and and the end result algorithm and maybe.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=643.14,653.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Just a paradigm shift cuz I don't know what. Happened.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=655.3,664.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Stephen and Jed. It's that especially I think the best one is not so much interesting with the rhythm how it's how it's used. No, I'm, I, I can say so.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=664.63,679.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Sorry. I mean, I just wondered if you, if you happen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=679.75,682.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To have some time invited to come over to see these rooms to tonight. Yeah. Today we invited about 2 or 3 places, but give me the leave the address with the hand. You know the address? Yeah. You know, we might drop over anyway. Okay. Wow.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=682.36,698.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And a Z of the form difficult to explain it, but it is. So personal and so strong in his own opinion, based on everything, especially the rhythms. And sometimes if he sings, it's necessary. It's more than one little second. It's in the film and and everybody can be in and whistle and so on. But it isn't all his own law.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=701.23,726.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's his own law or law.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=726.81,727.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And he discovered that he's using.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=728.28,729.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e If.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=730.44,730.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's successful or not, if the people like it or not, and it's and it is strong working for the top of his own it the example that I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=731.76,742.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Discovered it's it's working for the for his idea of his own.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=742.89,746.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Idea that I also discovered it when I make the analysis of this very minute that this example was, for me, very, very important. You know that if I am speaking about this, his point of view of of, I don't know, school of the lesson, I think that it's and it was my personal experience, not at school. I think that is very difficult to do. To know what to say, to teach online. Anybody with some commonality you can give to some some facts which are good. Is that right? Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=746.28,777.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You can't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=777.98,778.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah. But I think it's important to speak about the example with the stars, with the personalities. And you know that the people can learn not to copy. It's a style of disinformation, different, but people can copy energy from on or on style or the. You know that you can learn. Example of of going to own way. Not only copy to you. You know just how it how it how it how I kind of say more clean. You know it many times. I think it's a big one of the biggest problems of the people which are starting in the cinema. And they are it's mostly out of any place on a face, or that you can say, all of this is a copy or imitation of this or this or this or this man and it that is also, I think it depends on the principle of worshipers and most of our disciplines. And so people have to have a how is doing this, this genius and this genius, this genius. And of course the people sometimes are copying, you know, but I think to make analysis of this principle and said, now you how it's rising and decided sometime now, if you know this experience as an artist, you have to forget everything what you want, and only maybe that you can remember this that is necessary to have all the way and all the laws and discovered it. And then this example, I think it's only important.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=778.46,878.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's true. No. But having analyzed the other people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=879.07,882.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I think it is very important to learn.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=883.71,885.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What the material is. The material? You mean the. You know, the bristle? Yeah. Uses faces? Yeah. And a rhythm like this. And it shows details. Yeah. Philosophy uses body. Yeah. Movement. Yeah. And he stands back and looks at. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=886.2,903.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah. Yeah. Yes. And I just I think it's important to note this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=903.99,907.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And then you see how the fact that Russell really is distant. Yeah. Corresponds to the feeling, you know. Yeah. That's that's the important thing, I think. Yeah. Affecting the families? Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=907.5,920.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Yeah. Yeah. All right. They're working on the. You know what? A kind of a private dinner. You don't mind, but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=921.33,930.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah, this was about about the bison. And also I think the the, if I can say about personal info. And maybe the best one is my biggest. Yeah. Bingo. Big influence. Yes. Special. Also with this question about who you are speaking with using an unprofessional actress. Also, he's using not in the style like in our artistic cinema. Like they stink. And so there's a paper stacking five movies just same, this generic personality like in their own right. But best sign is using this paper the same principle I see that not same. I am using the paper the same basic life lesson that I'm using people from another profession.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=933.15,973.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What would you say that that principle of writing you in impress them using what is the principle?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=974.45,979.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Principle of using the principle. One thing that I also agree with him when he said that it's terrible to make a copy of the reality in the cinema, and he said what it is that it's some story which can be written in the C at A or, I don't know, in, in television. And that is one that is danger for the cinema. Some common style in action. What can happen like that? I am comics second. But he says that he's that he's enemy of lying. Enemy of lying. Right. And he for the reason he's enemy of the theater, professional actors in the cinema. He said it's for professional profession of actor is to be everyday somebody and as a as it means a relief to any everyday guy. That is his profession. He said, alright for the theater, but how I can use the lies in the cinema when I die to to make it new to, to to reality. Other fact, he said that he refused it for this principle point of view and also that. It's, you know, it's a certain the profession of acting is some kind of forcing. Yes. And, and and if you have given, say, comedians, the folk of comedians and so on. A little bit unserious. Yes. And, you know, it's only the people change the mustache and the on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=980.27,1062.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The mustache.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1062.48,1062.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And on the personality of this principle. They sound like fools. Yes it is. So he said, of course I am also phasing. I am making some new, but I have. I found it is necessary to pass from which.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1064.22,1077.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To start from. Yes, from something real. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1078.59,1081.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah. I don't know how.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1082.19,1084.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To arrive at the artificial. You have to start from the real material. Yes, yes yes, yes. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1084.56,1088.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And I principally agree, agree with it. And for that reason also I and I have the same method of, of the work in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1089.54,1097.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In my films. But you. Yeah. Then.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1098.0,1100.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e We're talking to you agreed with the president here. Yeah. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1103.07,1107.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But you but you don't don't agree with him, do you, about what he says about actors. I mean, you would you would you as an actor if you need it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1108.17,1115.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. Yes it is means that I am. I think that everything depends of time of the film of this star. If my solution, which it can be, that means that also I can use any like in the painting. It's, it's lot of, of of techno technically technology of art. I think the same in the cinema. And it's only important if the style it's together or, or or right with the team and that's I think it's alright. It can be this technology and this and the US can be good in every and in every in this type of work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1116.05,1156.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Tell me, yeah, you've made the analysis of the Bresson film at the time you were making a loaf of bread.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1157.27,1163.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Or writing writings down of the writing scenario. That's why it, you know, it was for me the, the style of the work and I was clueless. Another line here. It's beginning to be brought out. The first moment, the camera all on the camera and the hands and said that immediately investigate. Yeah, of course we made the short film, but it was some school lesson and we try to copy the copied copy to professional cinema. Yes. It was the style of our school.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1163.74,1197.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What was it? What was your first lesson you tried to copy?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1198.03,1200.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Who's first? I remember it was that we had team morning as a state.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1202.24,1207.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And made morning in the studio.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1208.35,1209.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And made a three minute documentary of it. Yes. And it was a vintage shot. The same like in the newsreel and from our documentary films. But no no no no no no no, I made it. I'm not ready to leave. Not really.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1209.97,1226.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. But you. The first lesson was go out and shoot morning in the street.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1227.19,1231.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But no go up but make a stream in its documentary film. Morning at the stage. That means the fair which can be professional scheme. You know, I just this is big difference. Not nonsense. Which can discovered your own self, you know, so that try to be professional at this category that was that this actor is a senior film and so on. This was a principal.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1231.63,1256.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The as I was called. And what did I want to speak in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1257.01,1261.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We were talking about a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1262.85,1265.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Loaf of bread and. Yes, yes. And, and you know and and I have the and listen or not. Oh gosh. Due to school to finish my school with some good film and I was not able to edit myself, of course, that I was without this experience of item by the grade of now that is possible. This is the best way to write in myself of collaborate. It is ultimately somebody and I adapted literary novel to divorce from Alex. Interesting. And it for me and I try to make a good film and not in the style how it was in contemporary Czech cinema as it was, I don't know, like German films 30 years ago is it doesn't it doesn't exist this time any more than film check. And that means that I was practically without express. I don't know how, for instance, making adaptation or, you know, were not for this kind of commercial of old fashioned film, but it's something which I and I made somebody based ID and, and I will think about the style, but in this moment helped me very much analysis of this show, of this part of this Bresson film that I set up, maybe to this method I can use for this, for this, my very good adaptation of this. And for that reason, it was improvising that the film isn't any copy of Bresson's still to something. Maybe this is common or not, I know I I'm but but. For instance at back with the results of these dialogs and sounds as they are many times I just film absolutely is an important and his novels full of dialog and dialogs that I. I learned from this film and in Brazil from Besson. When he sings many principles, thinks that it's possible what is the way out was possible.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1265.25,1380.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But what punishment?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1381.87,1382.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So I don't know what it is. This is that that is back with the dialog, especially the one thing is this a sound that he is he has very he's a very sensitive a for sound and for small details, a sound that he refused have grammatical music to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1382.7,1396.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Be used.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1397.02,1397.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Here is that he is only without music or some, for instance, classical music, like a tema again motif that is Mozart in the in this film about the prison and. And a lot of things. You know what I am speaking now. It's it's it is, I don't know, ten years ago. And after comes a new wave and cinema verite and and so and so I'm really gonna settle. But at this time. But no, no exist. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1397.78,1423.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e At that time, Renny didn't exist. No. Well, I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1424.04,1426.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Don't know the first film or any and but that was practically the same. Yeah. When I was finishing my school, it was the same moment. It it just finished. Some French film makers came out with some new style and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1426.71,1441.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e A new new film language. But at that time, the most important cinema in Europe or in the world was French.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1442.16,1447.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e French, yes. And also for for me. Sometime people ask me if the influence of the French New Wave, and for me it was important. One thing, not only not something special from the film that but I saw them. It was my experience with economic school that the good passing of films can make only old, established genius, and that only are able to do it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1448.01,1477.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Only the established genius able to make. And now I was very.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1478.39,1481.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Very surprised that 2527 year old the director is making very personal, fascinating cinema, you know, noted there. I respect that it's possible. Yeah. And it's that that means that this example example of it's jihadist is that I this moment I also see this movie possible. Maybe I was only can make a good present that film also before age of 40 or 50.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1482.17,1511.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And this was before you made the film. Yes. Before you made love. Yeah. Yeah, yeah. Well, I, you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1512.71,1517.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You don't have to. And that knowledge is film. It's icing. I can say nothing if it go to important. But for instance in in our cinema and in the school. It was absolutely new is never this. This is some of it is some tang of the new of the modern film speech. But for this moment was not only in the school but also in, not in the Czech professional cinema.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1517.99,1540.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e One was Bresson scene in Czechoslovakia, the films of wrestling, or did you see them simply through the archives?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1541.05,1545.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It it was in cinema. It was a is it was he was keen but but I think after the I have seen it in, in a in a faculty in cinema the student came running or later.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1546.76,1555.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e At the school. Yeah I saw that, yeah. What was it about your film that made it so different from the Czech? Yeah. Other Czech films at the time. What was different about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1555.66,1567.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The character first the, the that it's, it was the adaptations and there were some a sharp feature film that I used and professional actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1569.07,1577.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did you. It was first time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1578.88,1579.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1580.41,1580.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Played first time anyone and and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1580.86,1582.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Much exposure kinds of film and action film you in, you know, not in documentary.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1582.5,1586.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, yeah. First of all, you know, all right, is your metal.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1587.03,1589.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Pneumatic film van. And second, it's this. This foreman hadn't done anything. I mean, we made the film after. Yeah. And, yes, I was I was at the school two years before for one and and and I was, I was I had my year and studying. I was absolutely. And you know any friends now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1590.03,1612.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I noticed that Menzel's name is on the. Yes. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1613.09,1616.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He was assistant on directing us. Kirk.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1616.95,1619.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He was, he was. It was younger than you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1620.33,1624.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. He's on the rising seas. And also some one name is, I don't know is is a film and and and cameraman chauffeur who made a close relative.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1624.26,1638.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Who was a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1639.05,1639.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Chauffeur.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1639.47,1639.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you spell.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1640.55,1640.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e It's. O f. So so so s s o f r s o f.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1641.03,1649.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He's. He was assistant of camera with this film about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1650.47,1653.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He's the cameraman for a closely watched. Right. So you made it a better match. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1654.28,1659.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And and what was this the. And second that it's a you've recognized everything. If you were to have seen some chick film from this time. That was a film. All of it. It's dialogs, long short cries, traveling cinema and television plays.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1661.3,1676.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, that's fiction. A little bit like House on Main Street. Shockingly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1677.08,1679.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. Yes, a little bit. Yeah. Yeah. That is a that's a good example. Yeah. It's good example of this style. And yes, that means that this, this style which, which was not in a revolution of course, but in some sync was everything in between. And for that reason, also nobody was interesting about this film film was I received good notes. Note at the school and. But nobody had. But when the film. When the student film festival in Amsterdam and I receive the prize in the professional competition in other house and this was funny the situation it was a ten professional Czech film and this like an example student films. And only one prize was this chicken like national selection. One is my student films. Everybody was surprised and fun. Who is who is name it. And I wrote in the newspaper not not good, not correctly. My name is that nobody that I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1680.53,1736.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Think that I do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1736.74,1738.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Not forget what it is. Who produced who liked it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1738.81,1741.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's no good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1741.69,1742.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. At this time I was assistant to directing love of my profession of films. To do is.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1742.95,1748.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The quality of a loaf of bread does not have the detail, the selection of detail as you have in Martyrs of Love. It is much more in general. Yes. You know, in my shop. Yes, yes. And and and Lycra some. It has the kind of silence.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1749.31,1766.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1767.54,1768.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e A silent rest always has a sense of something even when he speaks. Yeah. No, but I'm thinking a characteristic of love. Yeah. There's that one shop where you're following the people, but from the back. Yeah. Walking along the trams here, it's just moving like that, you know? Is this, was this something new, this kind of this use of silence and using sound as a leitmotif. So rather than I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1768.71,1794.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Absolutely knew that the before the work with the sound was absolutely in dialog, dialogs, dialogs, the audience music. But you know, let's see if I win. I want to save of the question of justice. It's it was in the Fisher Fisher cinema. In some animated film, for instance, it's easy to visually think about how do you say to drink easy. You know the first name?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1794.21,1819.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1819.73,1820.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e She was the judge.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1820.57,1821.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, yes. You know Branca.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1821.5,1823.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He and I play I as a cartoon film makers boss at this time, in this discipline, lacking the music. And to some it's not the modern point, but I'm by the view. But in the end, I think I just say it features Peter Fisher. I was that was absolutely unusual. Yeah. Well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1824.26,1847.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did any of your training at the Czech Film School of your academic training help you in this film?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1848.83,1857.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No. Absolutely nothing. Absolutely nothing to to. No. Only you know that I was it explains it. I before made I don't know 3 or 4 short films. I never finished them since I did. I had very I was nine and then I had poor design. No, no, no is hardly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1859.87,1880.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e As is.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1880.74,1880.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The time as I think. And I was late and forgot. And I change it many times. It means that I never finished any family for. And every year I was very nearly to be thrown out. So when I went to school badly, so that maybe sometimes I made it. But there was this experience with this firm in our hands, not only for our films, but it was good. And it's a kind of speak for.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1881.64,1907.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Women and for film. I mean, the experience of making a film, if you didn't get it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1907.32,1910.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And I didn't finish it. And also this what I personally can see in the cinema, when he had seen this film from the film archive and the discussion with the fans. But what what I listen in the school and then that was absolutely an impact.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1910.35,1926.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What about then it teach you something about the camera and they use camera lighting, anything like that? No. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1926.91,1933.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I know that I and that I will be director and cameraman. That is another as a category and not at this time. Nobody was thinking that maybe its director will be going on camera, so that I was not interested, answered some some technical questions.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1934.32,1949.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/152","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But you didn't pay attention to the mood of the lighting manager?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1950.42,1953.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/153","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Not for the technical point of view. That means that I explain, for instance, the style of photography of the loaf of bread that is contrast in black and white sound, sharp and without effects and and. Okay. Wow. I kind of say very documentary. And so that also was not usual. And you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1954.26,1973.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/154","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You said yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1974.24,1974.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/155","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I, yes I and every time I'm fine is very important this style. Yeah of this but I am not too interesting how to do it about impromptu about this technique of about the process, how it's done. It's by that I am very in the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1975.08,1990.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/156","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Technical point of view you. So you asked your cameraman to make it. Yeah. And you left it to him? Yeah. What about framing the shot? What? What are your thoughts? Yes. I'm framing a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=1990.56,2001.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/157","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Practical in every shot I frame personally without.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2001.44,2004.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/158","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Looking. What the. How do you prefer to frame? Do you notice in your in your own self a way, a framing, the kind of lens you use?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2005.13,2012.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/159","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I have I have some feelings. Are I what I, I know what I will very happy if it will be the result, you know. But I never, for instance, painted before or made a composition. I was also never thinking I was thinking about it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2013.32,2030.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/160","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But it's curious that in Loaf of bread your work feels a little bit like Bresson. But. But he does not have the same image as Bresson. Russell uses almost the 50 millimeter. Yeah. You know. Yeah. Almost all. Yeah, yeah. And whereas you were using an up to me 28. Yeah. 35. 40. Yeah. And and in diamonds in the night. You're using quite a way every.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2031.44,2061.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/161","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e 18 to 150. Right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2062.929,2065.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/162","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And so there, there doesn't seem to be a sense on your part of, of of of a unity of proportion. Yeah. In the image, you know, it doesn't seem that that doesn't seem to concern you so much anyway.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2066.26,2078.949"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/163","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But, you know, even this point of view, I'm not looking tactically at the moment of shooting. I say change of. Let's change that with cheaper processor. Yes, that is very good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2083.09,2092.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/164","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm just wondering what though. If you look back at your films, you can see however a certain image you say. Manas of love is even more of a composed kind of quiet.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2092.96,2108.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/165","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, yes. And some kind of magnetism. I think I can.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2109.37,2112.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/166","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Say kind of what.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2112.84,2113.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/167","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Maria ism. I don't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2113.8,2114.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/168","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Know if it's modernism.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2114.76,2115.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/169","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The money ism. Mannerism I know is name. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2115.99,2118.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/170","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, a little mannerism, but it's just but that's a, that's a bad word. And yeah, I think it's a good I think in you in this case it's good. There's a, it's a kind of the French we call it electric.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2118.93,2132.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/171","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. Very. Yeah. Yes yes yes yes. Oh yeah. Oh yes. Well yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2133.15,2138.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/172","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. The Japanese. No. Yeah. Yeah. The Japanese that. No. Yes. But I mean you sense that and you can see it slightly in loaf of bread starting, you know just a little bit, you know underneath the, the railroad car. Yeah. Underneath the wagon. Yes. And things like that. But you yourself don't you have. No you do you that you really don't think about what the image is going to look like.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2139.18,2167.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/173","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. No. And then I am not very educated in the first and foremost history of painting of and I. I cannot be nothing. I have certainly found I can have paid pairs in a dark, so I absolutely nobody can. I will try to do it, not recognize what it is. And but it's when the moment of the shooting and the fact that is a command of papers like and for that is a name sometimes and there is some discussion with a cameraman that I cannot explain it. And he's tried to do something and he said, no bad, no bad, no. And he's kind. Explain me. And I said, I cannot, and I am moving the camera and, and changing the composition and, and then and is but this is what I like the feedback just so it is in, in the process, in the development.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2167.26,2214.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/174","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I then maybe you are looking for that one moment which is the image shows one thing. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2216.1,2222.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/175","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's just a digital. And for that reason I cannot prepare it before you know that it's a dense fog density for this part of you don't like so much. Is in Staines latest for the Taliban or something executed permits to to paint it before it's and it's, it's it's wonderful but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2222.87,2240.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/176","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's called.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2241.4,2241.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/177","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You know academic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2242.0,2242.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/178","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So you would say then that you got nothing out of school other than your the chance to see films and then the chance to analyze this one film. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2246.02,2255.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/179","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And I also have a time for a discussion and to have the possibility to read some, some articles. But for me about the impact of not that ethical articles about some esthetics, but personal speeches of the filmmakers, which I interview. Yeah. Interviews it with, with breast with Fellini is a Bergman and that I read it many times, many times, many times. And this was very important for me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2257.06,2282.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/180","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e About how they went about it. Yeah. Yeah. Yeah. What did you take from Fellini and I? What? Pitch you from the money?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2283.1,2292.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/181","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know, I haven't I don't know what I was not thinking about it, but I like him very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2294.73,2299.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/182","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And the girl in the second episode of Masters of Love. Looks like she walked right out of Fellini film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2300.04,2304.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/183","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e With a hat. You know, the black hat on the white looks very Fellini, I think it is, but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2305.77,2312.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/184","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I, I know, I think one thing maybe that here's a full of other some something full of some poses and esthetics and so on. Pauses.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2312.85,2322.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/185","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Moments, pauses, poses.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2324.79,2326.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/186","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah. And but does it? He is the man that his films are full of life and every moments. Yeah. I'm not not have a say about this Eisenstein. Is that not cool? Yeah. And it is kind of speed. Yes. Connection. This. Some estheticism. Yes, and sense for the life and humor and some breaking things and changing, some breaking. Breaking a bit. Everything gets a little bit unserious. Yeah. Joking. And everything's firm. Yeah. And and yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2326.83,2361.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/187","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's right. Yes yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2361.83,2362.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/188","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes yes. And vitality of this fight I think that that is what I like very much. And maybe that the, this kind of was it, this was influenced.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2363.42,2372.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/189","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But Fellini's work I mean the camera moves a lot. Yes. Yes. It's, it's this doesn't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2373.71,2378.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/190","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So this is very far of my, of my day. So my feet. Yeah. But also maybe that it's I was a very I read the stories when he was shooting and some small sentences are scandalous and joking and so on. And, and that his adventures with the actors and so on and this atmosphere of a little bit like a circus and it's every third indifference, I said that I care that I said that this is contact. Contact and control. Oh. Excuse me. You know the contract, for instance, of Anthony on it? Yeah. Yeah, that was it. I have a formulation from. No, not Ivan Duran, not for this rated films. But everything is. Also is a process of the like. And is the results of Anthony on a farm. It's without live and. Yeah. Off to a beautiful to clever to intelligent to everything that of it's dead.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2378.78,2439.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/191","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's beautiful. Yeah. Yeah. Are you getting time? No, no, no, I'm much more to go. All right. All right. We could probably find some more stash someplace. I hope you don't mind me digging into your training yesterday, because I think that's a very interesting start. You see? I would. I mean, you had said that you went into the movies because the school. Because it was the best job. Yeah. And it was a free job. Yeah. No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2441.95,2472.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/192","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Better paid. Yes. No, no, no, I mean, I was happy that that was the best job. Very. You can feel most independent. Yeah. Sentence.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2473.11,2482.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/193","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no. But you had no idea before of wanting to be a filmmaker. You know, a a musician. Yeah. You played saxophone.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2483.67,2491.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/194","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Saxophone and clarinet and tried to cope in by the the Franco attorneys came to him and good man very unsatisfactory. So I was very lazy too. And technique and you know it's and I liked it especially the it was the time of the pop music disposition for the boss of the improvization. Yes. And but you know, if you want to president, you have to know perfectly. It's a technique of the instrument. And I was without technique and I tried to have five minutes. Six minutes improvization like, put it in front of audience. It's just terrible. People are very sad and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2492.43,2528.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/195","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I know that they were. But did you persist at all? Did you continue? You know, of course, of course I will.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2528.81,2537.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/196","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Sing is I'm a genius and the people are stupid and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2537.81,2541.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/197","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But then, Bozo, at one point, then you came to the conclusion that you were not a genius and you gave it up and went to school, or you just felt it was not a good profession. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2544.9,2553.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/198","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, that was you did was some I like it, but I was thinking to make sure I get profession, go to the music school and learn it so that I realized I thought that at this moment I lost this feeling of enjoying of it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2553.39,2568.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/199","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So that you felt that going to school cinema would not make you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2570.12,2574.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/200","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Would not make you lose the enjoyment of it. Yeah, it's it's true And you know what it is nobody to. It was a good idea since it was a state school. Yeah, I know that is a good atmosphere, but the filmmakers which came out of the school, it was the same filmmakers like these people that I was not so much interesting was the result and was a work. But, you know, I was 18 and I said, what I can do with this score, which profession I can be in the most independent, and then the time with the studying will be fine. And it was the film academy.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2576.06,2614.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/201","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. Now, did they give you lessons in scenario writing?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2615.2,2620.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/202","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2621.89,2621.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/203","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And what what happened? What did they teach you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2622.37,2626.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/204","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah. No, it's in your film Institute in Los Angeles. It'll be. Teacher of the year, I think. Number one, Mr.. Daniel.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2626.93,2636.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/205","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Mr..","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2638.0,2638.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/206","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Daniel. His name is Daniel. Do you know how many books?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2638.62,2641.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/207","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How do you spell it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2642.1,2642.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/208","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Daniel d d a and I e Daniel and Harry. He wrote many books, a lot of books and lots of pages. How do I scenario. And he wrote about, I don't know, 10 or 15 said I was about a very bad but know he's he's fine intelligent man about it but he's picking is some like. Like a dictionary is he can say you all this and what is this?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2643.58,2671.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/209","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But what were you supposed to do in a when you wrote this scenario? What did he. What did he tell you to do and how do you what you do different from that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2672.64,2679.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/210","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no it's it was a. Really I absolutely do run this I don't I forget everything I don't know, I don't know the, the just listen I have a feeling that it's unimportant and, and I was thinking about thing, But you know what? It was just academically just found out. And we see the letter in other and I'm sorry they received a letter. You know, where I don't know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2680.26,2704.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/211","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What was the first lesson you get a novel, a literary not love it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2704.85,2709.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/212","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And when we have to in three months, which I know the scenario from the same time in the lab. Yes. And then we were discussed of this scenario and the teacher and then the school and and it but it was the point of view of this old academic cinema.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2709.17,2725.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/213","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And what was that? I mean, but what was the point of it? Could you could you characterize.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2726.75,2730.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/214","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Could you get back to analyze the the past, the scenes? I like stay in the dialog not too long, not too short. Very typical for this personality. Main, main. The main point of this poem and this is in this, in this scene from the beginning to the end. And like it's all the drama, this 4 or 5 part team Qatar is the thoughts come to us, and so and so and so on and so and so and do these things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2731.04,2763.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/215","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e These these no longer play a part in your.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2765.41,2767.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/216","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Absolutely absolutely not, absolutely not. Absolutely. You know, that first edition I was picking up on that for instance, at the same moment when I this is a simple solution. Listen this lessons I started as fast translation of Hemingway and Faulkner for instance. And now I have said, oh what index it means this writing and not to then understand what I'm saying.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2767.72,2795.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/217","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You since you have begun knowing Faulkner and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2795.77,2799.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/218","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Hemingway was that was. Yes. And it wasn't. I think that that was also the pressure to which, as a person, I see the after me biggest influence it was. That there was not translated since I have don't know, since the 56 or 55. It was never. Translation. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2799.43,2817.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/219","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Hemingway. Forbes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2818.02,2818.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/220","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e If I was to find a translation of Hemingway, one of Before the War and second from the year 46, but this books was expelled from the library, it was forbidden to read it. Yes. You know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2819.19,2831.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/221","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Hemingway, of course, and Faulkner also.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2831.91,2833.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/222","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Or Faulkner ourselves. We learned it from the translation for some Soviet book that he is a typical racist, right? The enemy of the black people and and so on. That means that but at this point it talks about the ice in 56. That was the first translation. And it was I know it was a Scott Fitzgerald, Faulkner, Hemingway come there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2834.28,2855.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/223","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And what was it in 56? I mean, after the Stalinist period.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2856.57,2859.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/224","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, yes, yes, it was the first translation translating of this American American.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2859.27,2864.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/225","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Understanding and yes, Faulkner living way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2865.42,2867.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/226","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Oh, God. Well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340#t=2868.27,2868.9"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262340/transcript/76690/annotation/227","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/690/original/trint_Coll458_jb0042_Nemec_01_transcript.vtt?1740614839","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/690/original/trint_Coll458_jb0042_Nemec_01_transcript.vtt?1740614839"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338","type":"Canvas","label":{"en":["Media File 2 of 4 - Coll458_jb0042_Nemec_02_p1.mp3"]},"duration":2279.81061,"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/141791/file/262338/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/338/original/Coll458_jb0042_Nemec_02_p1.mp3?1739225445","type":"Audio","format":"audio/mpeg","duration":2279.81061,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0042_Nemec_02_p1.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, I'll say it, Scott Fitzgerald and Sherwood Anderson and who else, this and, and uh, and in essence it has influence of me, of the, I will explain, to make me free for this tradition of contemporary of Czech literature, the Czech theater, you know that was... To make you free from all that. Yes, free. So now that I know, I discovered it is something that I very like, which is very fine, which is very good, which very free, and which I understand it and that... Help me with my own feelings, be independent of this tradition, which was, what do you know, that maybe in Czechoslovakia there is a better tradition with films than in the literature. If I can say films or filmmakers, the Czech history of cinema I can't say about something, but in literature. Was some kind of chap, he was well known, well known out of the world, but he's some kind of very literary, theoretical, out of life, Vanchura, but his... Vanchurra. Vanchoura is a strange name. He was never translated, but here's his soul, his soul's special language that is impossible to translate in here, but he lost his energy of this special language, yes, but... That is complicated discussion about what that now I am thinking about the three categories things So, you know, I think that for every culture is important to have a period of this absolutely realistic literature like it was this American literature of the 20th century. I think it's very important and then you can change American literature, what the 30s you mean? 20S and 30s And then you can forget it and write it in another style and out of this logical and so But it's important. This no exists in Czech literature. Which doesn't? This period of this realistic literature which reflects the problem of the life, of Steinbeck also. It doesn't exist.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=7.02,138.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It doesn't exist? I thought... You know that... Well, when my film, The Olive Trees of Justice, was shown in Cannes, I went to Denner and there was one of the head men of the Czech film school, and he says, Mr. Blo, it's a very good picture. Very good picture, he says. But it's the wrong idea.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=137.68,161.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How do you spell it? Broser? Broser. B-R-O-U-S-I-R S-I R He's looking like a diplomat.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=165.76,175.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, this is a very wrong idea, and he says, ìThe gentleman, your hero, your main protagonist, did not have the proper idea of socialÖî and he said, it was an interesting picture, but he did not had the proper understanding. This must be the typical Marxist thing, that the hero didn't condemn his past.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=175.65,212.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And you know, I speak about this film that when I was, you know that it's maybe that everybody can do many profession and me, now I personally like more if I can be, for instance, I don't know, businessman or salesman or producer than film director. Do you like to be a salesman, or a producer? No, no, not here of course, but in my country that I think that in the society are something more important that films and especially in our country there is a lot of culture but","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=214.51,243.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But there is no realist tradition. It strikes me funny, because you see, I thought that there was a, that in fact, we saw some films at EDEC in Paris, we saw films of the Czech Cinema for film school, and they were sort of what the guy was saying, social realism, but this is not the same thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=245.14,262.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Of course, socialism is lying, it has nothing in common with the truth, but that's why I'm speaking about this period of American literature that I think is a typical example of literature which is trying to speak the truth about society, life, and so on, this very concrete point of view. That is not full of Romantism, full of Samadhalism, not full philosophy, but reflects reality how it is. Basically, of course, I am a Faulknerist, but some parts of this book also explain something concrete about the life. And this period not exist in the Czech literature and that's why I was speaking that I Now if maybe like happy if I can change my profession said When I was in the school and started as soon as you know, it was boring It was no it is no foreign films so it films or in cinemas stupid check films Yeah, and that but when I was at the school a little bit change the condition. I Tried to make a good films and I tried to learn it how to do it. Yes that if I said it's now my profession I'm I try to be good at this profession not not bad enough in the middle. And everything was against. The school was fine and there was more freedom than in other schools, but it was very academic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=263.03,352.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Why do you say everything was against? Why? Why do say everything is against?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=353.36,357.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You're being good, is it? No, no, no. I think I said some nonsense. Not in the... What do you know? This side. Another school. It was more three months ago. But... And what I remember was important for me, try to weigh how to be free and independent of this influence of the bad cinema, bad literature, and that was very difficult. This moment was beginning of the cinema, beginning of The New Wave, and that was not for me some example of support. There was no support in Czechoslovakia? Yes, But also in something...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=358.1,403.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, I see. I'm sorry. I didn't misunderstood. When the new wave began, this was a support for your idea. Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=403.71,411.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes. For instance, the formant was more similar to when he started his film. It was cinema, verite, and it was absolutely grown up and everyone know it and so and he at his beginning of the work, he only used this method and it means that he can start more, but you know, oh, I like this method, and use it. Of course, he made it personally. He made it his own, but there were other examples. When you began, there were no examples. For me, it was very difficult to find my own way. I only know what I don't like in the cinema. Yes, and I said, I know it's impossible to make a film like a Bresson. To learn how to do it, it's only an example of what was speaking. Although I said the knowledge of this literature was for me very important That I was to recognize that is literature, which I like but that is impossible to cinema Made adaptation of the literature and so on. You know that it's I know it's impossible","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=410.36,478.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Are you sure? I don't know","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=478.54,479.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, it's impossible. No, no, yes What did you say as an impossible but not to that it's not a Best way to make a good films make adaptation of literature, but do you use the idea? Yeah Yes, and you know that I am speaking and maybe that that will be important of our speech that also the example of How it's some condition which are fire it's never can repeat what is the main problem of it, to find, we are speaking the own way, yes? And for that reason, maybe to go too complicated and not too clear, I am speaking about these small things, about this way, how to find... How you find your own way. It means that, for instance, your students here are basically in the same situation, of course, in another condition, in other problems, but the basic is... I think that maybe this is the main problem of when somebody is starting his work in art.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=479.01,543.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You're faced with all of this stuff and you don't know what to do and you come in and you think some of the students here think ah there is just one way to make a film I have to learn it I have read books and learn how to do it you know and I'm trying very carefully to try to tell them that there is no one way, but yet I want them to see how other people have discovered principles. Yes, yes, yes. Their own principles, how they use them, you know, and that there IS a Bressonian way of making a picture, and there's an Orson Well way of doing it, you have to find your own. But I'm very interested in how you discovered yours. You said something very, very, very interesting to the class the other day, yesterday, about how you discover your ideas on the structure of a scene or a film. Would you repeat that again? How you conceived a building, a film, You mentioned, you know, setting up an idea and things like that, but where did this come from? Did you at one time, let me ask it this way, did you at once time feel that you didn't know? How to keep the audience's attention from the beginning of a picture to an end, at the end? You never felt it? No, I never felt one second thinking about audience. Did you ever feel like you didn't know how to make it last? Let me ask you another way. I looked at my own film and I said, my God, that's boring, it's not working. Yes, it is the same experience. Why? Why does it bore you with that? It's a beautiful idea, why does it bore you? Why is it dull? And so you're interested then, what do you do here to make it exciting over here? That's","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=545.31,680.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, yes. But I have it, of course, after, when I've seen the film, but not before and then. Well, how did you begin to work? You know, I think the one thing is that it is a mixture of my work and maybe of my personality. It's something I try to be very clear, open, very similar, very simple. And maybe very naive, very primitive of the main idea or main style of something and that I need at the beginning of the work, for instance, Diamonds of the Night, it's some kind of running from dark to dark, you know, but excuse me, maybe just...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=680.97,730.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes sir? Yeah, we're just, we have an interview. Did you need to work in here or what? Oh no, no sir. Perfect voice.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=730.89,740.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And do you know that it's something very, very simple theme or I don't know, something I need like a slogan to start with, yes, for when I start slogan.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=743.219,756.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In mother and son, what was your slogan to start with?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=756.17,761.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So then, yes, I have to say something. I mean, maybe you didn't have... Yes, you know that means not that I need the words, yes? But something... An idea. Yeah, but the first sentence in Mother and Son is the mixture of atmosphere of home and cruelty. Yes, and that was a home, a sweet home, sweet sentimental home, and cured in profession. In profession. In profession, yes. And that it's a, and I know that was Diamonds of Night, I said it was from dark to dark. Fantastic. And this I need to, with this simple thing, I hope very clearly. And then I'm starting the story and the scenes and so on and so forth, and then I am full of doubt of everything.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=763.939,820.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e How do you, you start out with your slogan and your idea, but then when you have that idea, do you already have a subject, a concrete? No, no, no. How did you find the subject?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=821.62,835.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Sometimes it's a book, sometimes it's story, sometimes some moment, some movement, I don't know. For instance, I do not know if I made this film, which I am now finishing the scenario, but it's the theme of this film. We were speaking theoretically with my friend Czech theater writer Havel. How do you spell that? Havel H AV EL? EL. And we said it was one year ago that we will try to make a film, some kind of gangster film by some kind political allegory that it's the most useful style of leading the world. It's not diplomacy, but gangster method.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=841.03,885.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The most useful style of leading the world is not diplomacy, but a gangster.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=888.05,893.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And we started about this theme, first was that there was some organization for the assassination, organization which for the money made the assassination. Yes, of course. And that was some strange details that we... We were 14 days working about this theme, and he said, and the first idea of this film is that this organization needs to... Make some, we can say, big show to the world and in one moment in every country important made one with this murder and so on and we have this idea that in Paris burned Mona Lisa, in Moscow destroyed the Muslim enemy's body of Lenin","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=895.47,954.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In Moscow destroyed the... Mausoleum. The mausoleums.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=955.59,959.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In England, the hippies will rape English queens.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=961.61,964.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e HAHAHAHAHAHA","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=965.25,965.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And we said, in States, of course, should president. And we, I know it was April also, and he said, of course we will be president, Bob Kennedy. And we wrote a scene that he will be should in the day of inauguration. And after four days, Kennedy, Bob was should. And we stopped for three months the work of this team. But really, we was shocked of it. That is, maybe it's not good to make jokes about some serious things or the people which we can agree with and so on and so forth. Mona Lisa and the body of Lenin and the English Queen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=967.62,1012.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It doesn't matter, it doesn't mess here.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1013.44,1015.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And then we change, after half an year we change the steamer that will be not so concrete but it will be some kind of allegory of... With one land political system when one Where is man number one in the state and is man? Number two is a state and men number two want to be men number of one for the reason he has Some own spy which is spying the men number one and collecting things again these men but When this space now feels like agent of the FBI on its own, the man who has the most information now in his own hands about this man of course about a second now, he said why I can't be agent and he said start be number one and he killed this number one, and number two, yeah. And it was a second variation. And I have ideas for this film, to make this film in the whole world, in the Czechoslovakia states, and in the European... All over the world. Yeah, so that's like to show this one planet. Yeah. And the problems maybe are the same. And I came to Houston, and I was picking these ideas, the car, with the glazer, and with Dr. Grady, and... A friend of Grazer is Dr. Hershbeck, he is Ben Serger, and a friend of Dr. Cooley, and I was in the hospital. And I was visiting, preparing for heart transplantation and we were speaking with the car with O'Grady and he said that there are a lot of people here in Houston waiting for some accidents with the heart, that's why they will be very happy if some people die, that they can save their life. And in the car we said, oh, but maybe that can be the theme for the film. And now we changed. That we just said. How could that be the theme? This is where it's directed by the gangsters. It was the first version. That was the theme. The main theme only started one year ago. This was the furthest organization. The second was that it's a story of one state. Yes, with some agent or... A rivalry between the agents. Yes, yes, yes. And now I have... Thumbs up I know the set and the latest final version of it that exists, where organization for the secret hair transplantation, that every prime ministers and pop singers and I don't know, Pope and Kosigin and Pilots and well-recognized have every hair, every half a year of every new hair of some young people are full of energy or full of feelings or that they have some special massages of the heart, which is possibly only one day out of his body, and that this, that this organization which... Which is preparing this action. Of course they need some heart, they need some dead people. That means that they organized accidents, students' riots, wars. They organized the accidents. War, for example, is a team of 100 people, or the whole parliament is with Germany and want to be changed. That means the majority get the house. Yes, that means the 100. Why is it so that if the parliament of Germany all want to get the houses?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1020.079,1227.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e One thing so that if the, you know, it's part of the Germany of all want to get their hearts changed, they gotta go organize a student riot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1224.33,1230.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And that is in some secret place in the, not far of the Nevada underground, atomic, and of course this organization is the most powerful organization in the world. That's why it's important people to say many thanks to you, you saved me, my life, my feelings, everything, and that this organization, is the God who is leading the destiny of So you're back to your And the story that is a life story like a little bit in the standard books of one young talented doctor which started in a small town in Czechoslovakia, then he came to Houston and then to this organization and his participation of this gangsterism so strong, so strong. Of course, he knows too much and he is killed by this organization, but it's big. World funeral where are the president and everybody was all where he's post been a funeral of him and at this moment when is a It's a graveyard Start a struggle between people who are for him and against him and students and police after ten seconds when he's In down in the land. Yeah, it is kind of battle of people and the history is going on And I was picking this story, like an example, how some idea changes and so on. At that time it was only by chance that now...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1233.37,1326.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's fabulous but that's a very good example now how how does this fit how does the idea fit on you're setting up a situation it's boiling","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1327.649,1336.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Alex has been on the other side","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1337.46,1338.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e the other idea you know the idea you've got from you see we're talking about for instances very often when you structured yeah yeah you like to start from the standard what it is not yes it's like you arrived yeah what it is yes it is that it's a how would you tell me how this idea came to you and aha I don't know you mentioned something about Faulkner","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1338.17,1363.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, yes. You know that it's a... At the beginning of my work, I was very unsatisfied with some shots or scenes that it seemed to me... Working diamonds on a knife? Yes, also at the time of the shooting. Especially because I said, oh, it's very primitive, simple. It's nothing. It's boring to me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1364.24,1393.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Like me, you look at it and it doesn't work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1394.96,1396.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I was thinking, what to do, is it how to, and this moment helped me with the knowledge of William Faulkner's book. Who? William Faulkner.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1397.7,1409.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I'm very unfunny at that moment. Help me. Oh, you knew, you had already known the book.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1408.71,1416.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, and...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1416.35,1417.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Did you go back and read it at that time?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1417.89,1420.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That was at the time I was reading this book, also Joyce Ulysses, Ulyssa is the title, James Joyce, Ulysse also. And I said, oh, but in the literature that it's this sort of book interesting, this style of... Of speech and literature interesting to me and it's possible to do something similar in a film. I made a question to me, and although it was not only a literature book, but one One thing is that, for instance, the Fork.net book was translated by... One of our very good literary author which like Faulkner very well and he wrote many very good introduction and notices to his work and that was this one time I read that was his not my own discovering that I mode Possibility to express this discovering but he wrote in the sentence and I agree with it Mr. Skowrecki who is a translator of this book that for instance Faulkne when he won To say it was some, I will repeat the example that I said in your class. That the rose was red and we try to express what color, what kind of red color. He said it was red but not like a blood, not like the sun in the evening, not like wine. Maybe he stopped to explain what's not, that's why he has no word for this red color, but after the sun, before the darkness, and the blood, and wine, you can have some taste of feeling of this red, of the kind of red. And then I said, oh, that is some kind of principle of negation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1420.32,1544.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The principle of negation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1546.41,1547.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Negation which is bring the result what can maybe it be?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1547.03,1552.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Could you give me an example of how you translated this idea of structure?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1553.21,1557.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Into a scene your concrete. It's a diamond. It is an I'm on the night when the when the old people from some National Guard of the end of the war are hunting the two boys that it's a Fast that was necessary to the simple that The old man will be with the guns and the forest and the hill and they will shoot. That's the thing. That is normal. But one...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1557.76,1589.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But that won't work that way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1590.11,1591.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I want to change it or make it more interesting or with another background or paradox. I made this scene a little bit like a celebration that was, for instance, a costume for this film. It was the idea of my costume designer and latest scenario writer. And for some time also my wife Esther Krumbachowa. How do you spell that? Esther. Esther? Esther R. Esther. E-S-T-H-E-R. Yes. And krum ba hva k-r-u-m-b-a-c-h-a That's what I'll do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1593.67,1646.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e O-H-O-V-E-R V-E R V-R","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1646.85,1651.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it was the idea that he said that it would be fine to dress these people like they were going to Sunday to the church. That is the nonsense, of course, that other people for the hunting will not go with their best dress. That means it was one moment hunting, second, celebration, and the third, that the men were very old, some gay, some children.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1653.92,1677.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I don't understand that. Okay, the first of is celebration, hunting, these things level.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1678.52,1683.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, that is hunting, one, celebration, two, and the third some kind of game. It was a game. You know that like young boys are like soldiers or playing soldiers, and that is some kind of naivety or... I don't know the expression in English. Not cruelty, not serious, with laughing and so on. And for instance for me, the mixing of these three points of view of the scene, but the voice was very realistically... Running out and afraid and it was the real noise of the shooting and the real details of the projectiles yes yes and everything this together it it gives me i don't know if it's a film but gives me the philosophical satisfaction what can be what can means and what can participate then there's a scene where some People try to kill other people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1683.9,1751.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, alright, what the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1752.419,1753.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know that it's a very simple way. Irony. Irony, yes. And paradoxes. Paradoxes. You know it's simple. It's that somebody is a murderer, it's necessary to catch him. Or somebody is not in just, somebody is with power in law, and some cruel people which are not in to try to kill him. Yes, but this mixture is...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1754.1,1779.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Paradox of the sentimental old people who everybody loves, who are out there shooting, and yet they're not evil or being evil. Yes, the paradox is fantastic scene. I love that scene.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1780.88,1794.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I think the best for me, personal expression of these ideas in the film which I really like, is Bonnie and Clyde, for instance, there is this paradox, who is Bonnie or Clyde or the justice, the sheriff or the so on, everybody is shooting full of blood, full of cruelty and so on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1795.18,1814.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And yet they're nice people too. Of course. Fine. Now would you say that how in your relationship, to return to the example of Faulkner of negation, how does that apply to the scene of the old man? The fact that they were, I mean it would be, that they are everything. That they are not cruel and they are NOT being serious and they ARE NOT being menacing. All of those things make it more clear that you are talking about cruelty, menace and fear. Fear!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1815.32,1862.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. Is that correct? Yes, that's correct. And also I think that in every moment of the life and also film, it's not only the story, not only a simple moment. Everything has a background and a complication. Every scene. Every scene and every moment in your life, yes, that is not only in film and of course it's important to have someone main direction and I need to show for instance where is the justice and with whom I am. With whom your sympathy. Yes, yes. Yes, for me it's very important to show it but also to show together with it that it's... That there are many other things. Also at this moment, there are some many, many, many, other things and and it is theoretically but you know that it's a I like a film that it's a possibility to wear this style, this point of view, and to discover the paradoxes of the life, and maybe that sometimes, or after some years, or many years, it will be interesting in the cinema, not the story, the film. People will love the story and people will like only this moment or these details which are out of the main story. And then maybe this discovering of many portrait of peoples and of the action of the situation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1863.03,1955.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Could you say that, you know, I'm not quite sure I followed you. At one point, you think that maybe we will no longer pay attention to the story. To the story, yeah. And that we will go to the film to see... To see what?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1956.28,1967.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e These moments, or these small facts, or this background, or the second set for the dimensions.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1967.62,1977.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Would you say then that paradox, the paradox and the dimensions are the things that you are looking for now?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1979.22,1985.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, that is very interesting, thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1985.61,1988.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e How would you speak of martyrs of love in this context? Would you say that there are many paradoxes?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1988.51,1994.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In this? Yes, I think the film, the whole film, many people said that this film is nonsense, maybe it's true. And I think that is really a paradox. Could you give me an example of one paradox in Martyrs of Love? Yes, it is a middle story, the scene of the wedding, preparing wedding of the Anastasia, the name of the girl. She met this officer of some strange army, we don't know for which army, for which century or which years it is, and he is very gentle to her and it's romantic and immediately she is dressed to the wedding costume and is preparing the wedding. But the wedding is more than a wedding, it's an execution. There are the men with the gun, and they want to shoot the luggage of the nursing girl, which is only one of her own property, and maybe that means their personality. And that is, I think, a very open, typical example. What is a wedding? Maybe the wedding was a little bit of a funeral start, or maybe the wedding was a bit of an execution? Maybe the celebration needs some cruelty, maybe the celebration needs what? Cruelty, or some shooting, you know, there's also many celebrations, shooting with cannons, yes, it's nonsense, yes? And that is perfect! And with only one man who is crazy, who is only laughing, without sense, I think that he expressed also beside somebody who can cry. And here's, you know, I think now I discovered one thing that interests me. This way, and now one, maybe main theme I would share, interests me, this way or this paradox that at one moment you can laugh to one scene and you can cry at the same time. And I think this interested me very much and it must come together constantly, like at the end.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=1995.03,2126.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e They must come together constantly, like at the end of The Models of Love, the last episode where he's lost, there's a sense of horror that comes over you at the ending.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2123.58,2133.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That means I hope I can express very concretely that if somebody will laugh, and we're two people, you know, that is the theme of the film now, one man who will laugh. And second man who will play as a violin very sad music. They will be discussed between us and cry and beat and at the end... I'm sorry, no, right. The first man laughs, the second man... Two men, maybe in the island. In an island. One is only laughing and the second is playing sad melodies and so on. People are crying together, beat them, and at the end the man who played the sad melodies the violin will laugh and the man who was laughing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2136.03,2175.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Now, what happened in between, I didn't understand, in between the one and the other, fight, fight. To full of blood and it's all that, blood and everything, so there's a switch. Now, the same idea as in Diamonds of the Night, the race for escape leads to death, the race to life leads to that. Yeah. And at the moment...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2177.58,2203.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's when they see like yes, of course and don't and the people which are mad They are speaker this ugly old people. That means it can be result of their own life after 50 years","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2203.97,2213.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's the only, that's the life to risk.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2219.31,2220.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And this paradox, if it's that reason to save a life, to be... At the end of this struggle and work and everything, to be like this old man, yes, that's what That's what it's all about. So better die and live with a friend. It's beautiful, it's beautiful. And at your end, I'll finish it, but at least at this moment, what interests me, it's not good expression, dreams, but fantasy, yes? That I think one thing maybe what I like and what I needed to use, that every of things a paradox are speaking like it is present some fantasy or some something, some craziness or...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2222.79,2263.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That's fantastic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2265.03,2265.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There are two other items I want to talk about, Hiroshima and then your use of the non-actors, just the technical way you work with them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338#t=2267.71,2274.75"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262338/transcript/79510/annotation/72","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/510/original/trint_Coll458_jb0042_Nemec_02_p1_transcript.vtt?1747070121","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/510/original/trint_Coll458_jb0042_Nemec_02_p1_transcript.vtt?1747070121"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335","type":"Canvas","label":{"en":["Media File 3 of 4 - Coll458_jb0042_Nemec_02_p2.mp3"]},"duration":1030.94857,"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/141791/file/262335/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/335/original/Coll458_jb0042_Nemec_02_p2.mp3?1739225390","type":"Audio","format":"audio/mpeg","duration":1030.94857,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0042_Nemec_02_p2.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Put it on the floor, speak now. Hiroshima is perhaps the first motion picture to use paradox, so extraordinary. Extraordinary, yes. Nightingale fog, Nakate nebu and Hiroshima. Did this have an influence on your thinking in terms of the structure, the flashback, the use of time, but also in terms of your use of paradox?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=5.5,36.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I like this film both, but what I discovered, what I know, it was this technical point of view that is immediately cutting the future. Or to the past. Yes, yes, yes. But this... In... In... In... In... In... In... With this concentration camp now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=38.19,71.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Now, after Neville, it was the contrast between the... Yes, yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=71.7,75.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but in a very simple way, not paradox, but emotion, yes, die, and death, and life. And in Hiroshima Monomu, this is especially Costa Rica for the people. We are a little bit, you know, it was a German here, a German army, and really, and this is the same now it was with the Russians. It's some... A Czech girl was in love with some German soldier, everybody hates them. Everybody hates them, yes. Her too. And you know that we were full of admiration of the style of this film, Hiram Hoshienanbu, but a little bit, we thought that maybe this does not exist the best example to I don't know, atomic weapon. The strength of Hiroshima, and it's about some cruelty in the world, or the war, Hiroshima-Munamuru. And for us, was a little bit not the best example. One cruelty, destroying Hiroshima with atomic weapons, and cruelty to the French people, to the girl which was in love with the German officer. You know that I understand, I agree with this idea, and with this philosophy, what Alain Rene wants to show, but it seems to me, for my taste, it's too primitive, you know? Point two. Primitive is not good word, too shocking is not a good word. Maybe that is the moment about what I am speaking, that is some provocation or paradox or so on, but I think that... You know, that is a complicated question now, what I'm speaking, but I can say that I was full of admiration for the style of this film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=73.79,206.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Bothered, disturbed by the girl's love for the German, you didn't go for that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=207.28,215.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, I didn't go, you know, I can say yes, it can happen, it may be the story of the film, with love and war and so on, but to use it like an example, like the bomb, it seems to me a little bit out of proportion. Yes, perfect, I mean, out of the proportion. It's for the technical point of view, the structure of it. And he's always perfectly using his firm speech of his flashbacks and so on. So there is a sovereignty full of authority.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=215.49,257.529"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Now, all right, let's talk about the use of the non-actor, and then we'll finish the tape on that. Yeah. You've given us the basic theory of why you believe with Bresso and so forth. I'd like to know, in fact, how you work with the non actor, how do you choose him, and what you do to get a performance from him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=260.209,285.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The first is that I think that no exists any law for this, and when the law will exist and you will use it, everything will be. It's... And maybe that is one reason for not using the professional actors, that they know it's necessary to form them at the right time through their producer, ask if they are free in the cinema, bring them in the time to the shootings, finish the work at the time despite that they have work in Tv or in the theater, and it's like in the factory. And with non-professional actors, and it's everything but not this, you know, it's it's it's also like in some joking or a game the first the first moment it's if i have some theme or scene i i'm thinking who is who can be the best expression best expressed and sometimes i remember for some face or some movement maybe some is a flower in in suit of body. Yes, or some something what is the fire in the lapel? Yes, something some detail. Yes some details is something not concrete, not direct, this man kind of, but some moment or some accent in his speech or some evening for instance, there was some party, there were some people and I had feelings with this party atmosphere and I said, oh, which people are there, was here, and maybe it is I can use these people. Of this scene or maybe with this people, also this personal influence, that sometimes for me it is not important the faces of the people, but that I know that with these people I will be in the mood, I will be able to make this scene what I want. You know, that is for me personally very important, to personal touch with these people, and in which feelings and which... How I prepared for the work with these people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=287.08,415.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Now, how do you prepare with them? How do you prepared with them, what do you... Give me an example. Yes, yes, yes. Let's take... With which film? Well, there are two interesting ones. One is the... Well, mostly in Martyrs of Love. I think your more difficult problems were Martyr of Love, but they're not. The scene of the small party in the first episode, when they come home from the dance, you know? And the boy is pouring the drinks, and so forth, and then after that he tries to make love to her and she goes to sleep. This requires a little bit of performance, there's a sense of timing and a sense being at ease, but then in the second episode there's the scene we talked about yesterday, the girl with her skirt, this was required performance. And then, something that's rather typical in your stuff is the third episode, which Very probably it was directed, something like you directed The Old Man and The Party in Diamonds of the Night, where there is so much exuberance and gagging and up and playful. These are three different styles of performance that I'd like to know about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=415.41,494.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, I will explain. This scene of the third episode of Martyrs of Love, where it is Villa, this scene is a little bit like, for me like, or I try to a little to be citate or compete with the brothers of Marx, yes. The Marx brothers. The Marx Brothers. That means that I said, oh, which man can be here? Well, I immediately remembered that it's one taxi driver which is the whole time smoking the cigars and crying to the people and making comedy when he's working, when he is driving his car. I said this man had to be here. And then I remember. Of my second film, What Party and Guests, that these two men was one in some one of the main roles and the second only with some episode, but that these 2 boys, the whole time of filming, destroyed the serious atmosphere. So they find violin and crying. They were troublemaking men in the time of film. And I said, oh for this scene, this atmosphere will be fine. Nonsense and crying and And that was the idea of selection of these people. And then I come to the atelier, I said to them, now you know these old films, the old grotesque, and Marx Brothers, and say, yes. Yes, and I said, you can do everything what you want. Only now you have to run. Now you have say these three words of dialogs. Now you've to open a bottle of champagne. But important, it's to be in the mood. You say nonsense. No, no, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=494.4,591.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And that was enough. And how do you get them to read dialog, to say the lines that you want? Do you just tell them what to say?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=592.15,597.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I have said, but before immediately, 10 seconds or 20 seconds before the camera move and say please, you can say this sentence, yes or no. So the thing is to make it so it isn't too important. Yes, yes. How do you...? Go ahead. Go ahead, go ahead. That was asking about the scene of this Nastinka Anastasia, second novel, with the soldiers. That was also very simple. I said, this soldier, this officer, will actually have to be with some man, with some woman, and she don't like it, how it's termed in English. With some men is coming to women and touch them and she don't like it and I said that there haven't happened to her but that we have to be against it but with a charm and not be evil. That was all information and I was also waiting how it happened. Yes you know that is fine as is that you never can know before how it can happen, nobody can know it, and it's practically no rehearsals before, and that means sometimes it happens... No rehearsal. Only for technical reasons, but not go out, totally out of focus, and so on. And that sometimes can happen, that it's really something new at this moment, small moment, that people are very like actors, that they are in the contact with the partner, also expecting what happen and full of like, like of the first performance.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=596.85,698.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So it's like a first performance, but the person has never had a rehearsal or anything else, you just simply said no. How do you know, how do you choose that person there? Or how did you choose her? Did you know that she could perform a little bit?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=699.689,712.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, this person, this girl, this I haven't seen, Vera Chytilová, director, which was preparing the film Daisies, he met this girl at the street and she makes some film rehearsals at the studio and I have seen these rehearsals and I said, oh, maybe this girl can be, but she was not used in Daisy. I see. You saw the film test. Yes, yes. I see, but Chytila met her at the Street. Normally do you make a film test? Yes, it's a duty, it is a duty with every people who take a part in the main role to the chief of the studio have to have seen it. So you have to make a yes, but you can you can shoot everything what you want. Somebody's dancing or singing or it's only Formality, yeah, do you? Do you ask about this first episode first? Yes seen it That is man with his bottle is I used to said his profession that he is a waiter And for the reason I started seeing he is a waiter and I was in the mountains in the in some hotel and he was a waiter, and he with his leg he was Dancing and singing and make a performance for the people in the hotel in the mountain He was? Was he a performer? No, no, no. It's time of the work. You know, a little bit... Oh, I see. Oh, he had a little flair. Yes, yes, yes. And I said, Oh, this boy can be very good. And for this scene, I remember of his profession, and I said maybe it's a really good beginning of the picnic. It's a good professionality. That for me is a background that nobody can imagine, but it can mean that his training of the moment when some guys will come to the flat and then he will know everything how to do it very perfectly. That means the start is very important. Maybe he can start it that way. And at the scene of the, you can say striptease, the guy on the bed, that I know, it was old classic Czech music, Janadismas Zelenka, some old symphony from, I don't know, 18th century. And when I was writing the scenario, I was listening, at many times I am listening the music when I am preparing the film, and only for my enjoyment. And I said, oh, this scene, this is very... Very, how to say, full of honesty and very beautiful music and I said, oh, maybe it will be very good to use it for the striptease. And when we were shooting the scene, I played the record, this music, and for that reason it's very quiet and serious and, you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=713.73,881.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e How did... The use of this serious, funeral music... Yeah, it's the time of the shooting. Uh-huh, you played it while you were shooting? Yes, yes. Does this help... Is that how you got the idea for her to pull up... Yes,yes, yes, yes... Blanket? Had you written that down?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=882.04,899.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no, no. It was written she's making very children's striptease, I heard, with not sexy, but with... That was written in the... Children's... Yes, yes. Stripteases. Yes. You know, not really sexual, but like people, small children will play.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=899.33,921.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Children playing at it, yeah. And so where did the idea of the blanket come from?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=922.74,929.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know. I think that she's very thin and she says, oh, why not? If I'm a sexy girl, I can show what I am, but I'm very thin. Maybe it would be better if nobody can see me. I'm married then. Is that what she said? And so this movement came? No, no, that is the time I listen every notice of the papers, but immediately I am changing it to the style of this little bit non-realistic or poetic point of view. And so you just, yeah, I changed it to performance.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=930.27,967.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What do you do when you have a nervous people when you the people you've chosen are nervous in front of the camera?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=968.2,973.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no, no. This is one objection to select the people which would follow the same, the camera or not. Especially the people who are not professional. Many times the actors are very nervous, but these people, I never was in this situation. They have another profession, another interest, another camera or not, it's not important. Do you know that they have no, we can say, they are not afraid of the result. Not afraid of result, because they don't care. They don't hear about it. That's very good. Now, do you...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=974.17,1009.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=1010.52,1010.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Often.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=1011.03,1011.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Rehearsal? No, no, no. And it's important to be concentrated for everybody. That means I come and I speak with the cameraman and I am a little bit not acting before, but...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335#t=1012.77,1025.25"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262335/transcript/79499/annotation/24","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/499/original/trint_Coll458_jb0042_Nemec_02_p2_transcript.vtt?1747070073","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/499/original/trint_Coll458_jb0042_Nemec_02_p2_transcript.vtt?1747070073"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332","type":"Canvas","label":{"en":["Media File 4 of 4 - Coll458_jb0042_Nemec_02_p3.mp3"]},"duration":346.01796,"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/141791/file/262332/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/content/4/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/332/original/Coll458_jb0042_Nemec_02_p3.mp3?1739225339","type":"Audio","format":"audio/mpeg","duration":346.01796,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0042_Nemec_02_p3.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't know, I don' t know What's that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=4.17,6.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Of the place, yes, of what of the place to be, yeah, the place is not here, stage is","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=6.93,11.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e not be out of the... And not move too much or too quickly or not the place...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=12.43,18.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Out of the camera. Have you told them anything?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=19.94,22.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no, no. I'm all in. We're all in there speaking. That you will see here. Maybe someone remembers that the camera is here. And if you just say to the world, nobody can recognize you. That will be very funny if you can do it. But do they really know about...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=22.91,37.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But how do they know what the scene is, I mean, how do you explain the scene to them?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=36.09,42.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Not that you read the scenario, but you are speaking the story of this and the place in which you tell them the story. Of course, of course, especially in the beginning, what is the sense of this? And if it's funny, or tragedy, or quickly, or slowly, or right, or wrong. You know that I'm always speaking not just the direct information, but especially about the atmosphere. Or about something that is very far. This concrete scene and I said and you know this but it is a case case that sometimes is to say to Give family concrete information that it's now is necessary Very carefully take this pen and very slowly write this and that is very important you tell them that That is not absolutely important another thing and there are concentrated to write it and maybe that I like it is funny position of the body and","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=42.59,95.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e playing solitaire, you would tell him, the way he opens the desk, very carefully, you would tell them to concentrate on playing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=104.61,112.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I said it is very serious, important that he is alone and that he has to take care of himself, take care for himself. But you know, I think there are many things written about directing and what it is, but I think that one of the most important things at the time of realization is the strategy. Sometimes be direct, sometimes be absolutely non-direct, sometimes cry, or not cry, shout, sometimes smile, sometimes these people drink and make them quiet, sometimes make them very nervous, destroy that quiet, you know, but it's from the situation to situation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=112.86,157.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Depending on the situation. Do you... You only set people replacing and then you get all the lighting and the camera, the technical work. Are your actors there at all? Your non-actors on stage at all. Sound time is...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=157.76,172.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Sometimes not, how are they, are they like, and this is, this professional act is difficult. They say, oh, now we have to do the false blind and so on and are nervous. But these people...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=173.03,185.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I see. Is there anything in the way you use a non-actor that differs from the way that Milos Florman and Pasa use it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=189.13,211.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What is the difference? I think the main difference is that they are using the people and they are... Using them... And the duty is to be in the films very stony, very similar personality like they are in life. Old men, old, unhappy, unhappy and full of jokes, but stupid is the term I'm using. But you know it's it's the use the same character of the people from and tries to get","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=212.27,253.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e the character that they are in life into his film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=254.25,256.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Maybe this is a bit changey, but it's basically on character and temperament, especially. And me, I'm using absolutely anti-against it, what they are. Constantly against it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=257.74,270.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We're good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=271.26,271.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you know the name? I want to use his personal taste, or his personality, but to...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=272.34,280.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You know, not express themselves, but express part of film which is for me important.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=283.23,289.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And most, it's very far of the real character, of their real position in life. For instance, in The Pirate Guest, Rudolf, maybe we can say the fascist, same man like the officer, second nowhere in The Puppets of Love, he's a music composer, very, he has a soft man, very quiet, very friendly, and here I use him like a fascist. Cracking and shouting and so on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=294.83,320.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Why is it that you use simply the looks that they have done?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=320.74,323.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no, no. I think it's really some abstract freedom, or some special light on the terms of ideas, you know, there is no expression for it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=323.86,338.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Good, that's fine.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=339.59,339.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Ah","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332#t=340.96,340.96"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141791/file/262332/transcript/79500/annotation/24","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/500/original/trint_Coll458_jb0042_Nemec_02_p3_transcript.vtt?1747070073","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/500/original/trint_Coll458_jb0042_Nemec_02_p3_transcript.vtt?1747070073"}]}]}]}