{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/9p2w37nj1r/manifest","type":"Manifest","label":{"en":["Interview with Jean Renoir [1/4-in. magnetic audiotape], February 1965"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","metadata":[{"label":{"en":["Description"]},"value":{"en":["1 sound tape reel : 3.75 ips; 5 in. 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Enough! Why not? But you may not want to be reported.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=20.94,25.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Gentlemen, I remind me the name of his film. Control and Juan. Excuse me. I want to add that up. Yeah. The. He started something very difficult, but he would succeed. He seems to be extremely energetic and stubborn. To make big deals outside of the industry. Is that easy?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=32.7,77.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=77.84,77.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, that's sort of. We've all been kind of. We found ourselves in the position of having to do that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=82.34,87.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e As of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=88.04,88.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The start of trying to start.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=88.61,90.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Did you see Goldstein? Did a picture of Goldstein.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=90.92,95.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I mean, Goldfinger or.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=96.56,97.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No. Goldstein.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=98.3,98.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The shark or something?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=99.83,100.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No. One hour and a half.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=101.42,102.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Or nothing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=103.76,103.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Made in Chicago? Absolutely. Outside of the industry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=104.81,109.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I heard about that. No, I haven't seen that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=110.39,112.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's very good. You know, which? There are many other ones, of course, but that didn't see them. Would Jeter with that DuPont? It's just Victor is the most important. I so I mean among the pictures which under the thumb connected would you just like. But I'm convinced that Victor is very good. The victor is a he's very poetic. It is a description of Chicago, truly. The sense, the stories of the character coming out of the lake. Always in order, in order to achieve the goal, to stay in. Is more or less the kind of a bridge between the two stories. A nun acting bridge. You know, just a bridge is not the he's not Mary Wolf of the comics. No, he's just there. Other. I found it if I had picked it, but I don't believe that that it is easy for them to find it, or at least know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=112.4,185.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Where did you see it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=185.78,186.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Here in the private projection room. Probably. The small projection which is in the beginning of the statement. Well, I'm sorry you didn't say it. It's quite. It's quite interesting. Chicago people on this seem to be very active about films in Chicago.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=187.07,218.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You remember who made it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=220.35,221.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes. Must ask you a few seconds to the mother, and then I will ask my wife. No. I look at the I notebook. The name of this young man is Vanessa, the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=222.29,261.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Mother of the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=262.0,262.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Minister. And more. And either a or e s d. And he. He didn't walk absolutely alone, but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=262.63,277.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=277.42,277.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e He was a passenger hitting the doctor to see what he did. He had his finger in the very back of the making of the picture. And. It was done with the little oven. It just didn't really matter with the little French éclair. Yeah, you know, it does sound dishonest. Exxon on the fish. I got the XO. It's made of exotics and it's made. You know, of course, I am prejudiced because it is a style which I loved particularly, which consists in not having to dialog forcibly according to the subject of the scene, to have the dialog. But I've used it as it comes on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=279.24,336.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But you mean the dialog that is natural to the scene, but not necessarily a part of it? Or are you using us? Using it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=336.27,345.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You know, for instance, you know, you came here to ask me if you. If you idea that you and if you heard about none us and without talking. But we understand that constant in the life right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=346.29,363.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I say so the the the the the meaning of the scene is not contained within the dialog.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=364.82,369.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=370.08,370.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is part of the this is part of the whole problem that I'm looking for. One of the reasons I wanted to talk to you was it seemed to be one of the current themes of life found in the films that I've seen. This whole idea of the mixture between reality and fiction. Like Anthony says at the end of ghost, that if you need it, they are to come and study. And it seemed to me that was part of the whole problem of working with the non-actor or working with people in front of the camera?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=371.78,411.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, it is true. But then unfortunately, few people take it into state. Are not actors. I mean that, you know, you you see a man in the street and you, you feed all these men. His wonderful is exactly like Bob. You should play the hero like Victor and says. And not a single act of good or good at present presence, disguised as. What is this man? And you ask him today? Well, you have many chances. The man overnight will become an actor and will happen. Yes. I would be worse than an actor. Now, if the man is gifted, what is one way it is to work with him? To make him an actor. As a matter of fact, you can make an actor very quickly if somebody is gifted, but at the moment when you use this van in front of your camera, you must be an actor. That's my opinion. You know, the the it was possible it would decide on big test, you know. Hey, I may be wrong, but I don't believe in dubbing. I believe that what is interesting and is great, it is to catch the eye of that personality of a human being. And device is perhaps the most important part of his personality. If you deprive a human being of his voice, when you deprive him from something which is intimately connected to is to do is in a person, then the gesture with the hands are to look up there where the hair is going, you know, if anything is important. But I believe that device is among the very important things helping a human being to express itself. And it's why I don't believe in dubbing and even don't believe in dubbing for objects. You know the what? Let's take a landscape. Cinderella scape is. You are shooting in color. You would like to have this landscape with a sunset effect. And you do it with lab work. I love it. I believe that we still remain a little bit. May I say, reality catches him that way. More or less, I mean, than what we were at my brother's. I still believe that we should give to that if we should. It would be a good thing to give the public the impression that we were hidden in the corner of the room unseen, and that the scene showing on the screen was taken without the actors knowing that you that you for the I think, the same. And of course, sometimes you catch a fantastic impression of truth with non-actors that happens, that you catch it by chance and it has to be shot. I believe that to build up it. Not that but you think glasses up and work which becomes the work of an actor. I don't pretend that this actor should come from a. I think school would have studied at the Conservatoire in Paris. This actor may be learn how to be an actor with you in one week baps. But when he is in front of the camera, you must be enough of an actor to forget about his own personality. If not the hams, you know, he's exactly like peasants who are not used to cameras. And you take a photograph of them. What does that mean? That you on the title. You say look. Stands stiff. Excuse me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=412.11,689.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes. Then you don't feel that you can take the pressure.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=692.09,695.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You know, I feel in this, I don't picture that very different because it is the question of the influence of the deck to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=695.78,701.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Play and bring.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=702.06,702.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Heat is. Excuse me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=703.02,705.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Get that connector. Yeah. Okay, then we can talk to it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=705.24,710.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Of course it is.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=711.12,711.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, I just want to say that in this and on film, you you had a very important element, which was the prestige, the unbelievable importance of the director. It is absolutely certain, then when De Sica made the basic The Thief, it was like a work of art. I didn't see it, but I'm convinced of that. And thus the man was forgetting about himself otherwise finding a new legend because he was just under the influence of divisive De Sica, who directed him exactly as in the silent picture, and then added the deformed vice un under Schutz. But that if you wanted it to record directly on the head, believing they got it. Which doesn't mean that Mr. Pieces were not done with not none. Would none? No. Do I going I don't mean that. I'm talking for me, myself. I'm too much interested in the human expression to cut it into small pieces. The little moment of the lips is going with it in a whisper, which is perhaps I'm conscience to me is more interesting than the long bit of dialog. No, to get the whisper under any to move the of the lips, you must have an actor who forgets that he is an actor who forgets everything but the situation in which is acting. And of course that happens that this state of grace happens. It's easier with a good proficient actor than with an amateur who was never in front of the camera? No, we just as I said, other side of the question. It is the fact that many actors, as many planters as many writers, are very bad. You know. There are more bad actors and good actors. Quality is something that I am. Great actors? Not many. It's perhaps why sometimes I do. I did it very often myself. I made a picture function named Dundee, almost oddly, with that matter, I guess. But on the I on the other. I love this picture. It was a very interesting work to do. You know, I love to should a big deal. And I love the picture as it is. But you know, there is no principle. There's no theory. But basically, I believe that it is easier to get something important out of a really good doctor than from an amateur.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=711.63,894.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e One of the things that I'm interested in, excuse me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=895.38,897.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I would like to finish, but so many actors are so bad, you know, that family. And finally they defend themself. Is it you? May I say they add up the part. They forget about themself to become a character, but not at all. After studying debate and with a fresh approach, but with just the idea of a cliche, it is why so often we say, oh no, go out there, I don't want to see them anymore. You know, they actually went crushing on. That's true for 90% of the actors. 90% of the actors work the following way. You are a father. Yes, I'm a father. You are a father. And yes, you're like my son, I love you. Immediately he says, my son, I love you. And he says it as a hundred thousand millions of other actors said, my son, I love you. It's a cliche, and the cliches are even more dangerous. You know that, because very often they're hidden behind the appearance of reality. You know, the naturalistic theater thought that I don't do and even thought that they were going to do find the truth under stage. But removing the makeups, having real growth instead of Other states go the agenda. Are you jus raised dust devils eyes, glasses. When the creases become different, that's all the decrease. Yeah. Amen. Decreasing. Because what is a cliche. He's not so much. The appearance is the same as the fact that this notebook is a notebook a a false one. What is a creation? It is what the actor carries inside himself. And it is why I understand very well this idea. No, more like this. Let's try with the number of people who would be more natural. Well, now I at the point where I say, of course, advertising. It's fascinating, it's more interesting, but it is very difficult. There are many chances that the amateur actor won't be natural at all and will act like him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=898.14,1046.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Is that a problem then of avoided it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1048.44,1050.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Often you don't find yourself cell in the river.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1051.14,1052.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I did it, yes. And in 2013, he.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1052.72,1056.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You know, I just received a letter from the dealer. God of the river.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1057.88,1060.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1060.79,1060.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What, you two going to school? But before she could act on, she went into Big Jim before she could act. And that was very much about the rights of my father. I didn't miss the garden, you know, the legal way to teach her certain things. You know, that very day in the big house where we were shooting while I was shooting of the. I remember ditching her out to say a few verses of Shakespeare. Learning. Learning Shakespeare. Learning. Learning analogy that Shakespeare used to do to bring her in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1061.33,1098.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But this this was had nothing to do with the film except nothing. What was the idea behind having her recite Shakespeare?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1099.79,1106.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The idea to help her. Do you know any art? Is one quality very necessary in India? It is modesty. You must forget yourself. You must forget that you exist. And it is even more important when we differ in the position of act of an actor. And if you learn how to be a little better, or Jessica. And to forget that you are a mess on the one, that's a big help. That's a big help. Then to a few minutes to set some of the lines for getting the job is done so that you are the girl. Now, of course, it is the mystery of the mixture of the personality of the actor and the personality of the. But that's all. That's a big marriage that does the explanation of genius, of talent that does the excuse of the profession of been active. But while you know the genius, I don't think did, the great result is when the actor is so strong that he believed that he forgot himself. He's no more Mr.. So I'm sorry. I'm there on the unseasonal E forget that he has a private life, that he has a wife. That is a myth, but his personalities are so strong that draw on them. His personality comes out of the result on the screen or on the stage is a kind of marriage between the personality of the actor and the personality of a male, seen by this actor. But of course, you know. So by the primary, by the actor, the author on the Gita. But, you know, to reach this point. This stands in marriage with a man or a woman who never like. It's possible, but it's very difficult.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1108.1,1237.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did you. What other problems did you have to front with this young girl in the in the river, after you had her learning Shakespeare to open her up? Then when she had to confront the part, the lines, the actions that you gave her. How did you work with her?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1238.17,1254.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Trying to do work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1259.2,1263.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Around.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1265.14,1265.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Underlines, around the situation, but not with the situation itself. And in any case, not with the props that I wasn't arrested with the props. I Ivy method, which is a new idea that was left on the subject of the teaching tried to do with you when I spent a few months at UCLA. Is this method in French? We call it Alitalia in the Italian way, and that was the method of the Italian comedians in the beginning. Was it started when they started to do abandoned liquor and to have written dialogs. And this method consists in writing the lines without any expression, to forbid yourself, to give any meaning to the words, to to write the lines as you would read the telephone directory and you stuff again and again and again. In this stage it's easier and in pictures almost impossible because the dialogs I very much got. But in the in the play it's very possible you put your actors how they did. But I'm Jerry. Jerry again Jerry they get on there is that sometimes is that can American all of a sudden one of the actors has something in device. So something which is no more the anonymous rating of the line, but which is an expression of his personality and not only of his personality, but of his personality in contact with the personality of the author of the lines the marriage is starting, the the flirting if you want just starting, and if the actors are good after reading result in expression of the line for well-timed, they have a chance all of a sudden to find something extremely personal. And I'm sometimes great. You know, the actor. Succeeded to do a few good things. We didn't act under not only understood beloved as well working. That was Michelle Seymour, you know about and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1266.79,1420.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Guru.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1420.66,1420.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And Buddha. Buddha is I asked that way without any expression or problem.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1421.26,1425.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1427.26,1427.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1427.95,1427.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And you found that this once this marriage took place, then how did you guide it from there to keep it from becoming calcified and acted?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1429.0,1439.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, what wouldn't the actor has the line as departed. May I say, it's very difficult for the first sins, but for the following sins, you know, it becomes much easier and the work becomes just a question of the why of action. You know what to do after. Sit down. If. This should be more emotional or less. You know, it's a question of degree of control.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1439.98,1469.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In applying this to the non-actors, you worked this way also in Tony.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1472.69,1475.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I walk this way. And. Tony.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1476.74,1477.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes. It seems that. Go ahead.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1478.18,1484.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You're going now? I must tell you something. Is that the non-actors you use very often, a little bit, you know, you know, redacted in the Sunday school. Some of them have a little experience, which sometimes is worse than nothing. If you don't mind, I like to quote my. Most important experience in this film. It is in the beginning. Let's end with Michelle Seymour and the. I had to do just the thought of the pimp, the young man who's living with the work of girls and older. The tryouts had on the best I made with actors were ridiculous. So it's nothing as conventional as the ideas of an actor, considering he'd been, you know, they immediately jump to conclusions and based on themself in a very decorous way, with scarves or gaps, you know, on the on the way of talking, believing that you have to talk yourself and slang, which is not the real slang. It's as I said. Well, finally, I knew a man who was very intelligent and a very nice man, and who was really living from the generosity of what two girls was a pimp. And but, you know, the type of bimbo doesn't admit that he's a pimp, you know, distinguish him and ask him to play the part. That with him eventually was the way to work was very. You felt that I had to leave him almost free, which is that I had to to proceed with the improvization. His language was so naturally so unexpected, unbelievable that after a few days gave up on the. I still practiced And I just gave him a kind of a frame. And he was fantastic. Extraordinary. And it never did anything since.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1485.2,1647.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1648.94,1648.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e They never had them to play a part in it. Big. That was bad weather, friend vibe.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1649.54,1654.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Don't you think that this experience could be somehow extended into other roles of films, finding people who somehow can bring this unexpectedness? Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1657.76,1669.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes. But the only thing. Excuse me, that just add it to me, is that the unexpectedness is not as big as people believe. You know, people are shy in front of 000000. They are too proud of vain Zyl in front of the camera are all of us Adams and taking full advice. False attitude as it became to become as much a cliche as the professional actor. It's a different kind of cliche, but it's also English.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1671.35,1708.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And of course, what you say is true that very often a non-actor thinking that he has to be an actor in this position will remember how he did it in Sunday school. Yes. And you'll get that? Yes. What I am hoping somehow to arrive at would be experiences that might lead to this kind of fusion between the performer, the performance of the non-actor, and his feeling that what he is, that he is actually existing and not play acting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1708.45,1735.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You see what you can get out of the system. It is what I didn't study. Mixing in actors. Unknown. Unknown. Actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1735.69,1745.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Correct. Was in that system. Excuse me. Is correct in that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1745.86,1748.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No guy does that in. No brevet is to play men, Bob. And then more with it was I like the you know you know did they want to finish this idea? The mixture can give something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1749.4,1769.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1769.75,1769.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e There's also another thing. The non-actor. It's a fantastic gift for him to do, to express something in front of the camera. Under the technical effort he has to give is so big that sometimes it stops him to show his personality on performance. Maybe a little cold. After. What we are asking from the screen is not so much. His story is not so much a landscape, a Situation. I said, I love to go to the movies, to see human beings, to see be. To have the feeling that all of a sudden there's a bridge between myself and the actor on the screen, under to register the bridge. The advantage of the frozen actor is that technically he can forget about many things and it's easier. But. I would, you know, I, I believe the ideal thing is not to give the very important parts to, to nonprofessional actors, but to surround professional actors, good ones with amateur actors and other. The mixture may give something, and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1771.07,1865.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e One of the things that follows from this and from some of the remarks that you've been making. Is it in a sense, you use the the good professional actor because he can get rid of his fear of the mechanics or the situation, but and finally arrive at the position where the non-actor must start.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1866.58,1886.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1887.75,1889.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But the curious thing is that finally, you're not. You don't seem to be looking for a performance in the theater. No, of of an exaggeration and timing and things, but rather of of arriving at an easy place as a human being himself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1889.88,1903.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes. Well, to me. To me, the the best, the most complete animal I saw on the screen. Oh, I liked it. A a man who really seems to be born for the movie. The man who never acts and still is acting more than even you. But yes, but you don't sit. I'm so natural that many people believe that what they see on the screen is the result of no work at all. That's good. But. I never work with would anybody as gifted for this kind has given. But given is typically a professional actor on if even he started with the school which gave the best actors because I don't believe so much in them. I think schools.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1904.1,1966.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Which was this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1967.33,1967.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, he did to fulfill a burlesque that was the right school for good actors, Charlie Chaplin, many of them came from in France. I mean, I know they get that, you know, they all come from the fun of it to old singers. Singing Neil Dirty to the songs. That's a wonderful school.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1968.98,1997.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What does what do you think that is inherent in this, in the vaudeville relationship to the public? That makes the man a better yet performer?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=1998.75,2009.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Probably. It's difficult to explain because the, the, the wood variant exaggerates the very thing. The vaudevillian is a ham still. I must admit that some of the best actors, I imagine, might have had started with the vaudeville.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2009.88,2029.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It seems to me that in your films, I can think of several examples where this idea of the bringing the professional actor out of his role as an actor and sort of somehow trying to provoke him into an experience of actually experiencing something in front of the camera. I felt that that was what you seem to be seeking. And maybe, for instance, in comes Don, when Anna magnani has this beautiful laughter in front of Mel Ferrara. Well, I had the feeling that this was a thing that had happened then. And you were caught that you see. And I think that probably there wasn't something improvizational about it. But this was a beautiful moment, and you seem to be seeking this through, out and in the continuity of your life.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2031.27,2075.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah. But you find such moments, you know, you find such moments. You guess the depth you would reach that a moment, you guess, you vaguely. You have a vague feeling before. But you, you you get it. Really? Do do do do shooting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2076.32,2094.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you feel that you when you sense that you might need this moment here? Is there a way you work at it. Could you indicate a way that you go about it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2095.34,2105.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, the only way is to convince the actors that the movement should be treated in a certain way, and to give them outside of the feeling of the inner feeling which would fit with the moment, to give them something as important as the feeling which is there in them. No, that's there. It comes from the feeling. But in such moments, which are important in big this, it becomes like a ballet. You, you, you must have the feeling that if a gesture of an actor first you know the gesture from another actor, and that all of a sudden you are no more acting, one act that you are acting, then actors in 1 or 2 actors are training for it. And once they. Abandoned more of the personality unbecoming of some of it. It's fascinating is what, to me, a disgusting thing. The. The justifies the the the profession of moviemaking.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2106.16,2176.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's the. I said this is probably a naive question to ask, but I was wondering if you could think of how you or might how or if you could mention some of the way that you communicate the, you know, feeling you you show them the you mentioned, you explain it to them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2178.42,2195.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I'm trying never to show, you know, because after all, is there is no reason why this actor should be physically on the morally and spiritually make up your mind. And I know that. There you go. And I know that by himself. He's himself. And I believe that you must limit himself to be interesting. It's why, if I show him how to express his signature.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2196.27,2225.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Or.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2226.37,2226.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e A situation in my own way, I'm going to let him do all the action, which is very false for him. He has to find it. He do. I believe in the directing without any expression. Yeah. Doing as you say it will find himself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2227.02,2245.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How do you affect then, the tempo of your scene to get this feeling, this ballet of gestures and rhythms?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2246.65,2251.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, you. I don't know you. I don't believe that. I tried when I started making movies in the seven days I did. As in, you sat on the actor to play music on this stage. But I abundances the stakes and the scenes. It's like, no, no, I don't know, I just. How do you do it? I have the feeling that if they understand this and it comes by itself, of course, you say to to fester. You know, it's another thing. Actors acting with me know very quickly that I'm terribly interested in in in nonmoving movements.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2252.83,2303.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You mean by immobile?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2305.89,2306.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes. And steady movement. You know, you know, for instance, a girl answers your only. She opens the door. She goes into a room where husband is kissing another girl. Well, what is important is to find without being a division, without being a cliche, without expanding. Oh, you must stop. But do do do come. Even without telling her to arrive at something. But where she will leave is at that moment motionless, as if feeling was frozen on her face. That may be very good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2307.69,2358.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And you say you do this without. Without explaining.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2360.3,2363.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, I'm trying to do it without explaining. But after you have to explain.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2364.97,2369.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I suppose this is the place to say it, because I wanted to hear you. So tell me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2371.07,2375.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e In other words, you know, I'm always trying to be not the the the mother of the child, the mother of the child, who is the actress. But to me, this is what I mean.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2375.9,2389.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I've been midway. The. You have a reputation among all of your fans and people who followed your films closely? I've never saying anything to an actor except compliments and and and by saying, this is fine. It was beautiful. And let us start again. Yes. And at that moment, suggesting some detail, I think it was from you that reported once that when you were directing, I, like you should, as you complimented the whole scene at one point and then asked the the woman to raise her legs slightly at one point, and that would just help kind of make it all the more beautiful. And would you say that this is somewhere in the line of the way you approach?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2389.85,2440.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, yes. Yes. I like to do to convince the actor that he should find a solution himself. Myself if I just. If it's very bad, it's ridiculous. You shouldn't do that to it. But the conclusion would be I have to show them how to do it. And I had it. I don't believe it's good to do it on. It's too much on purpose. After all, I'm not a judge. I'm not God the Father. But I'm the way they do it. It's good for them. It's no good for the picture.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2441.02,2476.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This also relates to the placement of the camera. One person when I first arrived in France said, you can never say how, you only allow uses the camera, but you can always tell it. It's his film. And this coupled with something else that someone told me that you usually said, well, put the camera over there someplace and and we'll see. Sure and sure. What do you think? What does this represent.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2480.94,2507.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2509.26,2509.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In your approach.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2509.77,2510.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I believe. Well. I'm talking about my way of working. I'm not trying to to to. I don't know too great a method, but but I, I believe that the whole scene depends on the way the scene is acted. You know your ass. Well, here is your soul. And whereas perhaps during our discussion, you will feel that will help you action together. To go to the window and to look at the landscape outside. Perhaps that will that would help you to express what you feel. I don't see why we shouldn't do it. Not if the camera is placed before, in such a way that you get to go to the window, you have to start again until said. Why not to decide on the center after we know what the sin will be. Now another thing. The cameraman looks at Darius and looks at the making of the sin, and he may bring in a very good suggestion. Anybody may bring you a very good suggestion, you know, by not starting with the camera, but starting with this scene, you open the door to many possibilities which are impossible if you if you start with the camera. To to me to start with the camera is is it that of this kind of of worshiping of technical questions which is so important in moviemaking today? I don't share I don't share this idea. I believe that the technique should be the servant of all fittings. Another fitting, the servant of the thick neck.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2511.06,2631.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And you feel it. The key, then, to the feelings is the performer.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2634.44,2638.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes. He is the one you see on the screen. He's the one who finally will, Babs. If you work closely together with Babs, transmit your own feelings to the public.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2639.09,2654.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you find that. That when you begin a production that. The that you have. Have you need a feeling of I should I say group? Group. Enthusiasm.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2661.32,2677.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Oh, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2680.28,2680.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It seems to go. The reason I ask you this is because your films do have a sense of. Awesome.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2681.57,2690.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Oh. You sure? You you you know, everybody must believe that you are at least attempting something enticing. If not. If not, it's unbearable. The work is unbounded.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2691.37,2702.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, and some of is one of evil that seems to transfer certain scenes. For instance, in the later the the whole. Quite a sequence where everyone looks absolutely like they, they never had such a good time in their life. I, I had the feeling that this, that I've seen other sequences of films where they've dealt with the similar types of subjects, which seemed cool. But here this was a this was had life in it itself. It was the same as almost a reportage of something and a huge event where people were really enjoying themselves. And I was wondering if you work deliberately in lines like this in directions to make sure that these people have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2703.34,2743.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Oh, absolutely. Yeah. You know, I, I don't see any. I don't believe that doing the shooting of a picture that be the job in the stars. Yeah. I just know that you take three shots like indicators. You get a shot with 5 or 6 people. You know, it's extra. Yeah. Big players. You know, they perhaps even if they don't talk, the salary is very low. But I consider them as important for the moment, for this moment as the star. That don't work differently. But other in batteries, of course. I don't know now since I didn't should since have a few years ago. But you know, we had we were all that consensus. I'd walk with them ten, 20 times and they knew me very well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2743.36,2794.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e For instance, the scene of the bucking out in the Disney studios is another one of these.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2795.75,2799.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, you want. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2800.01,2801.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I guess I'm trying to. Pull something out of you that perhaps you you really no one could comment on. But I was wondering if there was an A and any deliberate action on your part, other than the assuring everyone that everyone was a part of the group to create this mood of of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2805.37,2830.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, of course, that's the job of the actor to try to convince the actors that they should acted as if in the way it is. I didn't change what I did in this scene. No, you know, we were it was easy. Who outside center was present and they were amused by the situation. They did it gladly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2832.01,2852.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Somebody who wetlands worked with you said no one could come on the set and say that at least six years before.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2855.65,2861.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And after.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2862.09,2863.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Six beers. You know that someone on your set forgot to put them in the spirit of the things. It was. I wanted to check this out with you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2864.49,2873.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Excuse me, I didn't understand.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2874.6,2875.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Someone in France told you that had worked with you once or twice. That it's perfect experience. Yeah, and what I said was to start having a few drinks.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2876.43,2884.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2885.43,2885.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And then get into the mood. And that this was the. This was the procedure that he was, I think, making a joke. But he felt that this was this was almost essential to this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2885.64,2895.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What did I do. Well, sometimes I had things with very muddy sometimes. And I thought, I don't believe there was an error.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2895.93,2904.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, okay. That it always stuck with me. I, I because I began to realize in talking to several directors this, this necessity of, of forming a feeling of the group activity beforehand. For in order for a film to to, to succeed and in a least the directing of the film to succeed. People feel that they're not at each other's throat, and at least to somehow create an atmosphere on the very beginning.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2905.62,2936.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It is very difficult on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2937.23,2938.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Any you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2939.06,2941.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's even more difficult when you are not in location. To me, the only excuse for locations, it is the fact that the actors and everybody are far away from private life, and it's easier to put them together. You know, in Hollywood, you you feel even in this game you can see it. You see so well, you it's so clear that, you know, I mean, of a, of a film and she's caught in a, in a damaged or in a battle, you know, it's wide blood fire. You you you you you are so sure that this girl. After the end of the day, we find a swimming pool on the coveted Barbie and house in Beverly Hills. Is. Is you. What? You don't believe her anymore? No. Do you? That it doesn't. What do you want the problem to get the actress from the private life. And I must say, great actors do it. It's easier for them than for unexperienced actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=2942.09,3012.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e When you have a particular emotional scene that you're after, or a particular emotional quality tone that you're trying to find in the actor, whether you're a performer. How do you help him find it? Certain people, for instance, Will Ray will help them find an experience. And in their own childhood, you see, or in their own past, which will match the emotional aspect of that scene.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3015.97,3047.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And what I do very much with actors, with that very you director does it. It is to use examples. Yeah, mostly. I did my work very much in this. I know that if write something, but where the actor says the line, probably their eyes will come very easily to the gesture at the moment, I think. Perhaps the mother, that gesture of being found because of the help of the line, perhaps when the scene is good, when the actor lies, the line is bad and we go. Do not you know there was the land was just a springboard.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3049.13,3100.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And this fits into what you said earlier about you, like scenes in which the lines, the dialog didn't necessarily carry the meaning of the scene.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3104.56,3112.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3113.44,3113.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You start the dialog, then how do you arrive at a scene which is, you know, the expressway.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3114.34,3119.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You know, conversation's got many comparisons. Yeah, I use many comparisons. You know, you you. Cog. It's very clever, I know, under the very ordinary. But it helps sometimes you agree to that an actor you you I would you ask you you're a butcher for 1 pound of of beef. Tell me I'm the butcher. You asked me 1 pound of beef. Give me 1 pound of beef. Well, but that's the way you should see the Emperor. I'm very proud to be introduced to Your Majesty. You said the way you should tell the butcher that you want to involve meat. Baps. You know, with comparison of this sort. In convincing the axes that that must be simpler.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3121.09,3182.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3183.82,3183.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't know if.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3185.76,3186.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I understand. And in other emotional sequences, you. Do you have any other.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3187.08,3193.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, in the emotion sequences. I'm trying to convince the actors that. During moments of gut emotion, people in life don't make faces. And I'm trying to address emotional scenes which. Almost no outside expression from the actors. And if an outside expression comes out, it is because it is so strong, so real, so deep that it means something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3194.79,3235.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Now, would you subscribe, then, to what Bresson attempts to do by reducing all outside effects and having the line read in a certain almost what? The technical fashion? Hoping that something will come through this without that person in any way being. Directed be the character being used as a well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3241.1,3276.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It is a theory you series probably very good for certain things, but be very good for the female.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3276.57,3283.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So you finish the game? It does not yet. Not yet.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3284.46,3288.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Ugly. It is probably very bad from some of the films.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3291.03,3293.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So it's easy going here, just you bad and convenience.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3294.72,3298.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Again we were we were talking about breasts. Yes. Unaccented line through which things comes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3299.19,3306.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well I believe it's I can understand very well it's better for, for focusing on the achievement. If I got my home in Muncie it is something has died. It just let them sandwiches that be strong. It's not my style. I'm more submitted to the surrounding. You you you could explain. My way. Working in one world, I'm influenced by the surrounding. I'm asking the surrounding to nourish me. To give me the food.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3307.2,3345.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You consider part of the surrounding is the actor himself?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3346.81,3349.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3349.76,3349.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Good. There's just two short questions. One longer than the other. What is your opinion of the work of people like Zhang Rush in the cinema verité movement? This attempt to go directly to life itself, rather than and not using non-actors as actors, but using people as themselves.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3353.84,3378.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, Jean Roche, I showed you one picture shows.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353#t=3380.65,3383.96"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262353/transcript/76692/annotation/147","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/692/original/trint_Coll458_jb0047_Renoir_01_p1_transcript.vtt?1740614878","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/692/original/trint_Coll458_jb0047_Renoir_01_p1_transcript.vtt?1740614878"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351","type":"Canvas","label":{"en":["Media File 2 of 2 - Coll458_jb0047_Renoir_01_p2.mp3"]},"duration":512.36571,"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/141796/file/262351/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/351/original/Coll458_jb0047_Renoir_01_p2.mp3?1739226007","type":"Audio","format":"audio/mpeg","duration":512.36571,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0047_Renoir_01_p2.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I believe that George can work with non-actors because his non- actors are not submitted to all the reactions of a man belonging to our civilization. Would you explain that to us?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=4.68,24.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Which film was this that you see? Connington A.T., Pyramid of Man, Moir Noir. I don't remember the name.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=25.78,32.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's the one in, you know, the hunting of a hippopotam. Of a what? Of a hippopatam? Yes. And the initiation to the, well, when Little Boy becomes man. Yes, it's one of his aftertimes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=33.78,60.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Transpiration.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=62.91,62.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I saw it, I even saw it twice. I loved it. But I didn't see any other one. And, you know, when you work with people who are not used to sidewalks, stop lights, telephones, a conversation, and who belong to a culture, to a civilization so different from ours, you have perhaps a chance. To find among them wonderful actors, it is what I always did. Took your question as applied to people from our countries, from America, from France.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=63.95,110.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And some of the later, all his later films were made in France. I didn't see them. Takes people and asks them about their life, and in a sense we see the people in their own life, but generally they're talking about it. I was wondering because this is another attempt somehow to- But it is an interview. More often than not an interview or something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=114.47,142.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e With an interview you may succeed in having people very natural, you have it on TV constantly. You have beautiful interviews on TV, very often. In interview, where you sit down in a normal place where you don't wait, also, you know, it's not the same thing as to act in the scene of a film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=142.54,172.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There's the difference of the fact that no senior performing. One of the things I'd hope is somehow there might be a way to find the thing that will remove that sense of performing, you know, so that these people can somehow exist in front of the cameras.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=176.86,195.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, on May I said that the interviewer, if he's talented, plays the role of the director. But a director who is allowed to talk and to help, that makes a big difference.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=196.03,210.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Often, do you talk while you're shooting? While they're shooting. No. You don't say the same thing? No. I was wondering, some people do, I don't know. No. I have one other short question, and this is very short. Somebody asked me to ask you. When you shot LeFleuve, you poured blue dye into the Ganges.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=211.37,232.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I didn't, but I put Grain Dye on the lawn. Marvelous. Thank you very much. Yes. Well, you know, what I would like to add is that you know the Sartre theory about the existence of man. Which is very simple, man exists, the existence of man comes before his essence. The conclusion of Sartre is that since the existence came before the essence, that shows that there was no blueprint. If there was not blueprint, there was artist doing the blueprint. That means there is no guide. That's the conclusion of the Sartres. I don't agree with him because... As a pupil of the Jesuits, I would answer that since if you believe in God, you believe in eternity. And if you live in eternity, there is no after and no before. It doesn't matter if existence is before or after essence since there is not after and not before in eternity. Excuse me for Please do Need a walk around the corner, but in art I Believe that the proposition of thought is certainly very important. I believe that in art Existence comes before essence I'm even convinced that you understand the meaning of a picture when the picture is finished. How do you mean? I mean that you discover.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=236.87,365.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e While you are shooting it. Despite whatever planning you might have made before? Yes. So, in a sense, you're always reaching out to the surroundings.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=368.58,381.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I even believe that it is probably perhaps a condition for the work of art.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=384.56,391.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You said once at the Cinematheque that there was more of your father in a rose that he painted than in whatever else.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=394.25,402.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but he didn't intend to ban himself. You discover the meaning of the roses after a while. And even, very often, other people discover the meaning of your work, not yourself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=402.85,419.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And you would not say, as some people do, that you might have seen that in there, but I didn't put it in there therefore it's not in there. I know some directors have said to me, well, that's not there because I didn' put it there. You would say that it probably is there, though I didn't see it. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=421.01,441.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, I... It is what makes filmmaking so difficult. It is one of the reasons why it was always for me very difficult to work in Hollywood. You need a perfect blueprint and you have to follow it. And I don't believe in blueprints. I'm the first one to write in blueprint. I do, but I don' follow it. It's a little basis, it's convenient. It's the same thing as if you take a walk in London, in the States, you take an umbrella. Perhaps you won't use it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=444.7,485.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ha, ha, ha. I think probably, well, in that case. I think we've held you long enough, your wife. Well, thank you, that was very interesting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351#t=491.26,506.65"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141796/file/262351/transcript/79503/annotation/19","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/503/original/trint_Coll458_jb0047_Renoir_01_p2_transcript.vtt?1747070073","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/503/original/trint_Coll458_jb0047_Renoir_01_p2_transcript.vtt?1747070073"}]}]}]}