{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/bc3st7gp8j/manifest","type":"Manifest","label":{"en":["Interview with Francesco Rosi Part I [1/4-in. magnetic audiotape], September 6, 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 3/4, 1 7/8 ips; 5 in. 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Interview with Francesco Rosi. Monday, the 20th of September 1965, at his home in Rome. We just we said to do well to the to say party the the made popular Paul Bloom Commodore said who are you. Who do you think you are? Do you feel me? You did that problem. That's good. J.D., Bachelor of West Village. Jimmy, Jimmy and Naomi. Ma'am. For you too, John. Duck pond is actor dialogic pal. These actors who form a back alley soon boasted foundation for those he does indeed. He moved on the Antipodes only with female vacuums because of the roof area. See? Oh, do the film TV. Poor Danny. Good point, because Spencer doesn't. It could. Good. Well, then he met Danson. Because you had me a key young lady. You see, on a day man who's just steamed. Because there should. Oh, yeah, a pool, a positive guest, your own pool ballet that you were a a kiddy pool. Organisée sitters, personal issues. So you don't tell em to leave. Don't push it. Personal, sir. Yes or no? Relieve Louis, ma'am. Just see, I see. May is Keegan subpoenaed? Mosque's leading edge upon one article. Don't worry, acupuncture, I spy the MIT are simply Pluto can at least earn a cleaver.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=5.25,120.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Maybe a lot of females. 40 oh, Florence. Pablo.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=121.24,126.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, no, no, no. City of Annie's.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=127.36,128.979"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Activities. London. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=129.55,133.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The march when so the tribulation we read you say you see AP city Montreal on its bone festival of Bilbao. Who's your question document there? I mean a powerhouse in your. But you have on stage of an auto theme key. Salty key I think. Put onto a cannon sweats won't do. Thank you deeply. It's a supply. Let's alleviate logistics purchases this year largely.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=135.25,166.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, is it, is it is it a film document I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=167.62,170.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Look document I almost was on golf.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=170.8,175.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And the During normal we we we we haven't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=175.7,179.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Closed may set an is a threat to the problem alguna Liverpool Toledo community bond on like yeah. But for me then and also Daytona all due to the Kansas City person seemingly died. There's maybe Kimberly puto who who the controlling the lethargy to do they do could do it. And we we will be on the I he had the elevate dancer system colonialist coup early musical monkey on the team.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=180.48,214.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Is sell the directions by FEMA is Sasol Sasol yan she was a developer assimilated where liability. Dangote elaborated a lot of good team and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=216.41,228.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You some new female employees are in you know far side the trade button critique me so do and take care of France by like the embattled La Gauche pasta machine and key con Danny.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=228.75,241.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah, you can use a dash. If it shows comfort. I'm feeling bad. Excitement. Film mendacity. Levels.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=242.62,250.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Nausea, puppets, Jimmy Salty, a New York pauper movie.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=251.74,254.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Making me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=255.46,256.029"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. So me as if it me made it to the hostages.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=256.48,259.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Earlier this month. I'll say I. Take it here. I'm making Francine right. That was a good membership level. And bad example is she'd wear the, you know, linear objective down to a goddamn point of view. Objective. Objective. Decent. Historic. See me. She sees you. You see, I have wide open streak. The problem, the lack of deep in the load media to tell Cranky Church, he shares the views are the key in this particular year. It would classify then that you need to get to the test list to get a significant impact on people necessary down down than the limited and entry particularly the three key don't re importance risks Wilma or continue did that don't fit in with Pam because we will continue la will continue to la la la.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=260.74,334.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e La la.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=335.01,335.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e La la la. So brisk my geologic diesel.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=336.21,342.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=343.02,343.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Now. And for his answer on to the rest. To the rest key. And there is Cfra p Donnie. Not a possibility. Did Boogie Boogie six bring me perfect excuse wants it on 16, but Selma put them on three inches particular. My poor, poor, petite poor. He speaks 1st May muse, but then she does you does seduce did the the the the the clarification that didn't. I have a simple PDA. It's when I'm presumed dead that the reality key then looks at me. Evil person actions sometimes show me. The speaker shows the moment the then local level frappe pathetically back clear of room. Wait but exemption issues. Key key. Key. Marry. Memoir. Country phase lavatory Giuliano and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=344.2,418.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We we know sassy well as well as good Salvatore Giuliano. Well it do I mean, if you may know. You know, it was just a more Masonic birthday context problem was Russia nonsense.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=418.62,434.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Etc..","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=435.09,435.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I fell on him on a few matters. Well, on a theme he allows you to say some problem if he doesn't pass quickly in dialectic the don't run.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=435.69,445.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't need the possibility or pictorial or public then a consequence press cleaning the issues confuse and decay subservient to somebody you don't you need a party can get the issues surveyed covered dashie the rap today shows Dan angler, swan angler, the duke he was up Partying. Momentum. Sassy. Sassy. La la la la la la la la la. Processes. Come on, come on, come on, come on. PD that she did the fancy feet back unit. You know very ticky can make me pertinent to the University of M in the right to read the la reality. You know Yang in reality study comedian Verity. You mean it artistic. Read the set. The set reality me? Such as if he say. Did he see you? The stubbly in jelly Dick and Ramona living in Ill expect to do 2D action. The sampling sequence is sparse, but the one hour sample select the possibility. The then you don't need to reason. You many historic don't in reason logic me it's only fair. And to the computer manually resume some pics play me good moi or dare gp la possibilité predicted delay compounded the Boulez's public lectures key k this you did the difficult you present can one membership accompany make some logic bullets until you see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=446.16,588.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The what's the another source were really good. Good. Le Monde exterior. Exterior of. Ma'am. Hometown. Complicity of a good sort. But you do. But complete more responsibility.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=589.63,604.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Continue to feed back to the fed and responsibility to come to New York City. Jesse, is your sweet responsibility. Open to view ideologically. Mon. Point of view. Point of view. But I see kebo again. Solicitation particulier. Claire May. Pooh. Pooh Burnham pushing the possibility that these are bombarded by toute la la verité reality. Complete Indifference in. Reality, no. So that idea in reality, historically is silly. So, Lester, you said you should in reality take two more connect mainly at the very dead and set reality. Yet the very tricky part. I view a pamona.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=605.85,673.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=674.47,674.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Voter maybe day. Oh, we want to vote verity, but concede the reality. But concede but a moment. One point you don't hear. A term trend do it I believe the for me the construire universitaire moi. You said reality issued a complete de la verity desert. Make sure I'm feeling compare example and Giuliani because it. I'm sure Sure. I'm not so sure. NumPy Kyiv fits you. The issues are, you know, reality. Once you delete fuzzy. Yellow, you demand a set complicity. Don't. Parcel mouse pick that there may I bundled the demand was picked that they usually demand. I'll let historic Saturday. See jump lower than some film a comment. The FEMA juleanna. But exactly. Lesbian giant victims were. Badly men made Yankees from Nick Donnelly released where she produced. The marine daily minimum is on. She is a fan plus and use the rec recreation union reality strike key. Yeah. Can some k l l l when can you mama? Then I can reproduce, miss usually reproduce. I make disaster, you know. When I said men, reality is tricky. He said producer Elia Kazan. But it must read Mandy casually in Ed the junkie Madonna room. This one person keep recreate the situation Ambiental historic kisses on pussy. Yellow men retake moi. Delete the settings to edit the movies to work later. Continue. Vilma Blast me and modify bat lessons as per Lily. Lily. Lily is patient because you're worse you than last year. These oncology shows you lack few good hygiene kanji proposed. KKK sin is mandatory. See lesson at university. You mean profundo or a lapa as you speak, for example. It may just be incomplete. Good. We got all these in the street to explain these packets.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=675.28,856.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No no no no no. It was at the venue avec des. You do a rule. The reason a rule in league test. If I take control, say John le pouvoir. Si vamos a Sony. Right. She said we well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=858.16,873.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We well out my puzzlement. Some may pass up a good society these. You know Selma. You need method to like me and please. You ready? Good society. Quick shows. The trickery made us feel good. That moment. Because you to remain in sin now. Not because you took the nation decision with the solicitation, the chemo blessing. Ala DCM reprisal. And let them take a Shanghai passageway. View quelque chose them and done the andalasia good. Madonna. La la la la la. Posibilidad de pere. Fix your knee. Did MidPen fix you? New point? You men no point with the union perform their entourage until la la la la la vie pre la David de Yeah. Yeah. Says Yankee. Viva la mama! You really take your story, right?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=874.06,953.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't have to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=954.64,955.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Go that example. Bad example. Tony La Salle canceled the portal. La de la genius to see to the ceremony on the page, aren't you? Dude, you put me in May.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=955.9,971.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Where the Union Communist la see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=971.68,974.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Union Communist is sitting in Rio de la fetch you today. Hear me say person money communist. You say communist. Socialist. Democrat. Chretien Nick come and l'époque pura in a situation the situation on these particular political moment la communist prefer.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=975.43,1003.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1004.05,1004.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And then the key to Dante's ambition to set the city simultaneously. In the second element, 10% of the original tailor made particle niche. But at least you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1004.55,1020.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1020.84,1020.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That because you live in. Ullapool. Reproduce, Sophie.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1021.5,1031.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So if you still.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1032.329,1033.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Sit down for study Queen, that's okay. Giuliano and Giuliano. La la la la la. La la la. Would you agree? La la. Obscured you. Some may say Sucre sur la band, KTV, shoot band, KTV. One is you, kid. You got my own set but little reason. Lyricism. Be on play listen to. Have a nice day. I know, I know, today make up. Oh, Uncle Larry, Larry led the historic this on consecrate Paris to the shows company on sick days set fact LRB deep down Kitty array. Renee. Kitty. Renee I keep saying fat compared to MIM. Dunk. Good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1034.04,1089.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Boss.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1089.95,1089.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Okay, you can celebration the home politics in the color column. Campbell concert on a tediously level NFL day moral issues. Hello, Jerry Lee problem. The two shit you care insulting question was your issue. You just shift Shane. Come on, come on. Come. Would be two names. Would be the magnate. Did the circular plane do the loop when the vocalizations used? Nasi lemak. Le fait le fishery. Land and sea. Selma and Fay 17. Cecil mand you do. Gigi, picture the spectacular Kiki. Kiki pay you pay tribute. Me? I'm Tom. Mimi. Kiki. You touch power. The whole point of view, you mean. Hello. Je zero and Voyager and Voyager. And what you did on sets in. Usually done. Tom Cipriani. My my my my. What you actually done in Montana? You have a person as you land. And then there's some of the. Yeah yeah person does it. Did I said to go to the canyon. Oh come on, it's a canyon under the moon or not.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1090.25,1180.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Maybe so. Still illumine.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1180.36,1181.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Linear memory. If it truly feels William appear Bush was your country. Yellow vision, infatuation and country unpleasant. And to the hereafter come the topic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1183.01,1200.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No no no no. La la la la la la la.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1201.11,1206.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Sesame comme la land. La la la la la. The rings a tree accident like a little one. Monte avec la presque dans la Pierre, Montana McLean. The turning on that star I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1206.23,1224.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Think will only be a darker.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1224.47,1226.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yellow vegetation. The design kit bees aren't poo poo poo when they see the way you know you need d e The 60% yellow in Mandya and the muddy main salon. Boo boo kwa. Sassy. Bessie. L'époque bazooka. Juliano. City. Bam! I want to blend of you. The Sicilian shit. The Citibank criminal and criminal viewed gay. Pesci's identifié avec le Figaro and MIM Danny National MIM down tempo mom company L'Oréal. Madison, Ma. In my Répondu IL Yahweh l'époque movement movement. The party was heavily party politic. Garvey movement party implicate dance I'm a deep such a Hello. Welcome.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1228.76,1300.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well done. Welcome back.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1301.19,1301.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Hello. You might remember these say Olympic movement, party movement. Party politics is having some two judges compete. Good. Good. You may tell there isn't. Last year down in Mali. The difference this opinion. Politique de la politique. Yellow. G runway. Uncle. Just you. Duncan. So we probably say la manifestation. You permit me to write a specific. Little normal man. Dun dun dun. That's down to one. Javi. Javi, you maintained maintain that you had more. Documentation. Medical center procedures. You don't need. You need a three genuinely great three clays. Exact citrus, exact 3% my exact me and Italian indie. Genuine. It's a deep breath. Fresh. Automatically assume la la la la la la la la la la la. Dimension. The set this to fame company la dimension. Did you mean we bazooka people for for Fauci does our song will I don't say to these is your if you look look, look man does answer these are Eric. Okay SSR because you really prefer. Yellow. Jersey. State. Patronage as she starts it as a reunion I mentioned. In fact, compared to Del Mar, some pictures.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1302.8,1439.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know it was super sunny.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1439.49,1440.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No pesky Japan. Six city pew pew pew pew pew. Political news. We run out. No city Barry just yet. We see these Yankees, city, even L.A. they pulled the delegates into the reunion. The the the tri company. Aqui en la la la la la Sedona la possibilité that ransom. Fit on a kill the almost man magic. Sure shooters as you land the company on a mini lately, Lagos on a mini Lagos are bound to layer. You on them in de la mise en la la land. The van then painted a wonky lady on the line. Today, in fact, compared to deja, Kimberley or point of view, Dijon politique ideological. The reason time good la la la. Party and the old to New York. Make your point of view absurd. Democrat. Democratic and company. Maps from sample Como toute la issues. Captain or BS. Outram or Eugene. Kwan. Paddy the the the the issue of structure, political or ideology. You see position may speak beings he letters.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1441.8,1532.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So if you speak.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1533.17,1533.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e With its hand You need dialog, amp and party politique. Trumpism until a year since Selma. They should change you, Santa by la la la la. La produced the that and make your mom dad dance until I am in town. La posibilidad de compounder. Could Sammy urine remain dry while you in coincidence? Avec la la la. Gonna your mom the deuce sassy little Sookie. Javi Santi Santi in in conscience parcel. Man, that does it for an individual. May in conscience de la dance. Do you do you force direct the premium. These aren't the Nikolic we just didn't you conscience quality you priest did the the conscience the problem. Oh point view passage mind Bidwell me collected. It says it is important for me for loop. At least for the little movements on the mesa. There's. I'm going to use the mesa.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1534.01,1621.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In sourced the community.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1622.55,1623.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, Jimmy. No no no no no Mike these are these are V for example, de la France de la America. News on time as I went back in sounds the the the reunion the community sounds the the the democracy. Citra difficile. Speaking. May forget commencent for being comprendre completely suave. The typical attention to the history because it time the company may miss out. Pop culture press part 219 was anti-collision. Some of you need some. Did to do the reunion did. Oh point with the community or point of view did the problem communal point did you do the sake of material puzzlement economy then be met la conscience don't be a and Italy uncle man's on coma. See a facade again Gary Gray Passat. The band only learn a really element under the fascism you know force reunion than is aspiration may come laser speed assuming that they force it to fall from the variant. The MSL mandate the bot behind the industry. This uniform the Zeigler they say glam period little men everyday middle America you have your young company. You have a band problem bright shoe Katyusha I like I like conscience I was Esposito's ambition was as some key. Keep two and present study done and the problem three samples a study travaillé put a Mary moi para Mary la vid Memphis exam. You from Patty did they did the consideration. Or design? Yellow. I do not even know. Let's say complete to size you less. But you have a standard. The source has chunky Murky energy. Complicated. Let's use la la la la la. La. Point of view. Just a la organization. The money city drum set. Simplicity. Yeah. Me da de la de la casita. It's just brutal. Did did did didn't you? You're not grace young, Kevin. Kevin de la dang pesca on a song, on a v person on a TV. They battled the Demetriades. The meter used the dam. They're the meter here at the plaza to tackle the loot. Okay. And it. And then the moment. Legos avec Lily avec la mer. Pasquale Peretti on time. The damn thunder lady school. Confess it avec la la Lily. Lily, Beth Lizzie only shows I don't. She plans to be around around Selma. Sam a rundown some pitted Johnny Possibility, the Nichols tree and climber. I'm in yellow River and it will be. Then mama. Because if it derail, they liquidate Demetrius. Then the long term cerebral dream. Javi. Javi. Natural. Ma. Javi. Cruz three. Maybe move Mandela in which I repeat Jerry for two. Means Pam donate laundry. The theory company.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1623.99,1886.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1887.1,1887.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do everybody not know should These bees aren't really the person we should be, I think. Megaphone when we go home. Did you say. Midnight. Until Papa and I moved to Asia, repeated toothless. It. Nick repeated. The repeated songs. Listen. Kick shows uncle double security rain. We mean yellow can't go on the land. The election denied the land and that same company pull up from year for season on a new liquor delivery. La miter years. La Brea de. La Do you want a new library? Yeah. Who? Love affair decree. If edition is, it will give you that. Dun dun dun dun. If you. Good decision. Je veux de la gestion de trois trois. But please do not wait one. Please do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1887.76,1969.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do it. What? Camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1971.13,1971.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Wait. The decision is paradisiacal chose qui. Qui. Good and de de la sin. Because they are the company. Because of one pursuit. Probably. Pesky. They figured on the issues. We believe that you sin. I make time to move my community and collective empathy. We have whirly lame monkey cerebral. We ebbiin milk man. You mean dificil? You mean tan this good. La banda, Tunisia. Have you in Pham in Vietnam to tan where key? Shake shack, Syfy's Gitmo and Lepak.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=1972.09,2026.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e China's a loyal.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2027.88,2030.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e City, reportedly except Mo city. Crane shut down set farm in la they produce Syfy's l'époque. And TV new travel dimension pesca as I said, you know to should travel to the beach on the beach from. We need to lie down a bullet and say the same yellow except except the onion and shook political el shipshape dance session shall be the figurine. Kitty, Kiki, Javi and Street. Prove to me police t mama c is said to be a dumb and shared dumb dumb Pernille. If you're cranky, geeky, geeky, physically, say fish.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2031.99,2081.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I'll come back to you. Topics about the surgical bomb being the tunnels. We pussies at CERN. Are you too damn cool to use a toy camera?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2084.48,2095.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, please. Yeah. Yeah. Please. Please. No, we mean setting. Send keys in the roll. Credit, man. Right. Electricity makes us home. Please. Yeah, please. The view. Is there a point of view? And is it planned to be as simple as introducing you? Yeah. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2096.33,2117.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Year we may is ready of a fairly liquid, diffuse, inclusive way. I could tie up loose your file with some of mine. Well, and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2117.96,2126.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well. If it did to have worked for me. May in the bleak good to to Eddie. I left something we got done. Like figured young man can live his best. Good. I figured you make your life is where you just cuz I've been. Preview. Dan Dan moto. E se Dan say you mean qui se produit equity way men. Palmetto film is it was really la shows qui se produces a sedan climax general Sydney legend great drama. Great demand. They did. They could meet our sister. They just show up as a parade. They're getting in gear. Hello. Dan Savage compression delays says Selma Union president. Why would Villa Le retrieve your fate? Is your fate. But demand keys accrual the monofilament membership level. If a press column you study is team jerrycans three in party atmosphere, and that equally visually wrinkled story that shouldn't have done does does unreasonable. 333333 moment local traffic review issues. You pull the nabla camomile their issue. It presents a variant in the basket on its entry. The rebutted says sympathy for me. Can Calkins do tape as a good little material the construction it d I'm not very I'm not the material religion you seen in my company, right? Yeah. I can handle a cinema. Are you alive? I leave a mass Kashi complete mount on the mic. Crowley says this is a Batman. GV empty and lie, then. La la la la la la la la back mass acrylic. Yeah, they it is map of one city nine. And also la la la la la la la. What you prove a Pepsi la possibility the ama NE day if you you know I'm Noah and story buffet democracy in more land me advocate land me can delivery person Alexis Hasan largely but you can look for a security I mean I'm pretty sure that everybody signed it The repeated bending moment means heavy. Jerry Jerry Jerry Blassie uses camera. Now in point of view. Try different. Pull. Pull to me. Shoot it. Cool. My son. So sorry. The word is when the market the the the the down the street issues. But good measure. The test is 80 days. Jiffy. Crude and literally smaller than Larry. It's from Severin. I noticed something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2126.94,2341.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Figure on which.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2341.38,2342.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So if you grant LA prosecution permit ABC junkie, you get it? Basically, unless you shoot the act. Could be you. Believe me, I could be dangerous. You trust your key. And they may permit the federal And then she signed as every yellow uno mandalit del mar that you know usually favicon organization. Just be a sack. Come. Come on. Peace. Yeah. Last line. Bank company come in. As you move this you get the the fare and so do you did did the packaging bankable company. Yeah. I'm good. I'm bored. We deleted it. 000, mama can't do it directly. Donny. Lord Pascual, they claim to. And one moment I make a unit in deference to the the fraction second company. But so good. Correlate to the summary. The neat rhyme is you should be in the fair. Crowley I'm sorry. A lot more swell entry area, but a lot more fair last at least a year. Six years could donate the day to day memory and to pay for the fuzzy. We saved the day to Norman Mackenzie. Danny Lauder Ian Ackerman ceases to smile as a girl. Hello. Let's say for me, that bus ticket left you, Pamela, full like real Ilya Deja, Gary Vee, the junkie keep you company is a great sugar. Jamaica. Pompey. I intend to watch some low end. Oh. Telephone radio. Telephone. Yellow dance in its memory. Pump on impressions. I didn't dare tell mom, but Charity gave it to me. May blah. General, these are cinema. I don't have a clue if you get on the clay camera listed, your company may be right. Produce shows giggy as you tell us. Send in some and climate and clean ma'am could be beneficial will prevail. Create an organization you can't can't County says you to the plant Janeiro these on loop way. Yeah regulate issues regular if you grant can study shows that. I'm about and but the market is so crucial probably available the possibility that water junkie sir Yankees female key key wooden shows and climate generalities.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2342.28,2528.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Of AQ Lafayette that were Tony supplies in a double pool a first subsidies but demotion memo for York you could did Uncle Sam was who's the sweet Donny lately? Peu premium son. Quite late lately.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2529.51,2547.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We sure must have some idea, but that's okay, considering the exigencies. Setting armoire buttons completely missing some I.D.. Concord's visiting this year to tell her I. I tried and she she under my there and I literally. And you never you never emotion. Yeah. I'm climber and climber. You mean Vibram Kim Donia. Oh, shoes. Kalki shoes. Good. Celtic flower cinemas. Hey, dificil se dificil Andoni.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2547.43,2592.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, hello. Poor Tony. La la la la I send the Listen. Conservatory. Julianne. Okay. Excuse me. Fin decoupage. Preloved. So? So the executor, Michael Plunkett, is on the kill. Only with elemental camera to die. We have a few I to camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2593.51,2615.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e None of this is anxiety previewed to me. We miss.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2618.4,2621.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You. Yeah, mama. You both exploded like the Leslie souffles in Philadelphia. Plant. Does it. Does it say gas? Widowed. Lamont dying, leaving fat sitting coyote. But it's exciting to see Johnson go back there. Did it when you did. When people flat panel make kitten's lot more accurate.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2622.66,2644.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Two tone when.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2645.16,2645.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The seashore should know twice. You will blow.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2646.09,2649.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Up your library. Thank you. Smokey.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2649.45,2651.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Come. You finish the panel. Since you booked a release.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2651.94,2655.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Seriously? Yes, I am blown away. These are consumer conspiracy parallels. You know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2659.3,2668.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e As I was reminded, they may race.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2668.63,2670.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e They sorta know society and online services will depend on la la la la preparation panel tries to deal. So that's one of the issues. Keeps up and down. We buy a LA tablet and decide among la la la la la la usually makes a trash walk past. Moi je suis capable digitally comes our way back. So that's when they should give you a review.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2670.58,2701.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Lead the way we bow, they show us.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2701.93,2704.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Come, sir. No, we cause you this one. Mr. Reid. To settle the issue, you need to review it and want to use your. This is what I'm wondering. My feet. Yeah, a lot of those are the proceeded the the mature assumed about the maturation and not only premature.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2704.63,2727.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This woman was really mature.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2728.36,2731.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Come on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2732.1,2732.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Will you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2732.37,2732.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Come here. We mature and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2733.15,2735.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We will play.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2735.97,2737.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well I mean in to say try learn from one study in large part you need motioned. You need approach commands. Articulate. Seated. Done. Assumed the descended into the last two or cinematography narrative.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2738.8,2760.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No one's supposed to go down a shallow and I suppose the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2761.35,2764.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Most unique ratios of a you not some refracted shortness of a you need a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354#t=2764.98,2771.61"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262354/transcript/76702/annotation/91","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/702/original/trint_Coll458_jb0048_Rosi_01_transcript.vtt?1740615018","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/702/original/trint_Coll458_jb0048_Rosi_01_transcript.vtt?1740615018"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355","type":"Canvas","label":{"en":["Media File 2 of 2 - Coll458_jb0048_Rosi_02.mp3"]},"duration":5062.1649,"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/141797/file/262355/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/355/original/Coll458_jb0048_Rosi_02.mp3?1739226140","type":"Audio","format":"audio/mpeg","duration":5062.1649,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0048_Rosi_02.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It is very important that he has won prizes, that he is a great artist. The professional critic, if he goes to the cinema, he goes with the spirit of destruction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=6.87,19.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Hmm","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=20.01,20.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That is, if he can destroy an idol, it's the ideal for a critic. Yes, unless... For a psychological point of view, I say, for a kind of sadism, repressed, and even a spirit of vengeance, because he...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=20.53,33.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e If he can't kill him, then he has to make a hero out of it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=33.8,36.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, and there are two possibilities.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=37.51,39.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e They made a hero It's interesting It's a kind of separation","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=41.25,50.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Have you seen Bergman's film about the old lady? The last film in color? No, I haven't seen it. You should see it because it's not a failed film. But it's still very interesting because there is all the spirit of vengeance of the creators towards critics. It's a film that systematically destroys a film critic. From all possible sides. From all possible aspects.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=54.0,83.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Are you going to explain the scenario? Yes, the scenario.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=83.36,86.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no, the scenario and even the way he did the staging, it's a film against criticism, against the criticism. The atmosphere is not cinema, it is music. But there is the criticism, which is quite the official criticism, which even has music to play and which tries to place his music. It's better to return non-actors to our basic argument.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=86.89,120.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, what I wanted to know is what struck you in all this discussion we had during the three periods and what are the differences in approach, as well as similarities, with your own work and... And then the precision of how you design the job, how you bring the actor, and what you do. I would like to end with precise work problems.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=120.96,157.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I was very interested in all these meetings and I think that all the material that we have collected is valuable, interesting and I believe that it provides reflection. I was interested in the exhibition of Kesic because I could make a kind of course on the direction of non-actors. But at the same time, it was very interesting what I heard from Forman, from Olmi, etc. Although I had already seen Olmi work, he was very faithful to his method and very just in his exposition. Personally, I make experiences. I have been living among the actors for 20 years. It's my daily job to work with actors, to train actors, even to find young actors at the beginning of their careers and make them move forward, train them, etc. I believe that the most interesting thing is... The fundamental question, that is, why do we use cinema and in some experiences, even in the theater, for example the Living Theater in New York, which I know well, we have received two times in Turin the Living and I have followed their work. There are also experiences in the theater with non-actors, for instance, the Living does not use...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=159.18,272.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah, yeah, yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=273.9,274.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The Judith Malina and Julian Beck. But you have to ask yourself why non-actors? What does that mean?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=275.67,286.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e A quoi? A quel besoin?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=287.94,289.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, that's the big question. Because the fact that we employ actors or non-actors is a fact of relative importance in itself because the result, at some point of view, is always the same. That is to say, we try to rediscover reality, we try, even when we work with actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=290.21,318.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I'm trying to find a feeling that matches something interesting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=320.94,323.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So why do we feel the need, apart from the specific Italian problem where we had a crisis of the actors and we tried to change things in this spirit? I think that maybe the more serious answer can be found in certain experiences, in the experience of Visconti in the trembling earth. Perhaps also in the films of Forman. It is a need to go further in the search, that is, to find again the source of life and to bring into the world of artistic expression the environments that are excluded by tradition. In general, we observe that the majority of non-actors are proletarians, peasants, workers, people of the people. And this is due to the fact that the people have been excluded for many as protagonists of the artistic life. If we think about the past, we see that the big problems were the problems of the great characters, the princes, the kings, the nobles, the bourgeois, as it came to be that all this came out of anonymity and entered into social life. With the entry of proletariat into modern life, Le besoin de retrouver This world has provoked the problems of the actors, because if we make a film on the peasants of Sicily, or on the bandits of Salvatore Giuliano, or about the workers of the Czechoslovakia, or the workers from the factory of the film Forma, we see that it starts to be very difficult. To follow this path only through the actors. La recherche du non-acteur to get closer to reality, closer to the original source of life. I think it is in this direction that there is indeed a need for a non-actor.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=324.27,495.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e To make a small parenthesis, even though it's not to contradict you, because I think it's a big part of what happened, there were still some movies that weren't about princes or other bourgeoisie, and that were aimed at the proletariat or the bourgeois classes, the pop, and that... I still panic the actors. I'm talking about French cinema, the kind of black gold, the dog, etc. And American cinema, such as the Ford of the reason for the color, and the promotion of American comedies which was...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=496.54,547.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but when I talk about princes or kings, I'm talking about the historical perspective, not the cinema in particular. I'm thinking about the whole story of the show, starting from the Renaissance, even from the ancient theater. In this sense, I say that cinema has caused new problems, and in cinema, we begin to solve them. But I still believe that as long as there are actors who are capable of giving a real life to the people, the solution is legitimate, despite everything. I don't believe, for example, that the great films of Ford are in fact fake films because there are some actors. I don't know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=548.79,607.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e We can also say that there was a difference between the two.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=607.92,612.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, of course. It changes the form. I believe that the reporting side, the desire to be closer to reality... It's not only the will to bring the people into the cinema that provoked the thing, but it's also a way of looking at the relationship with reality. A way to understand the world, the reality, and it is in this sense that the problem is very interesting. All the problems, in addition, we must say that for example, the cinema-truth has made experiences among non-actors, even at the level of teachers, even in the level of political sounds, that is to say, it has opened up even more the possibilities. This is really a deeper choice, it is the refusal of the story, the refusal You're all mine. Which has a global evolution of expressive forms. Today, the novel is in crisis, it is a form, in part, less necessary, less fundamental than once. And I believe that even in cinema, we go, at the same time, towards the transformation of cinema from a pure fiction cinema to a cinema of apprehension of the real, more closely. And it is in this direction that the non-actor and become more important in the cinema. Only I believe that as we do an artistic creation work, as it is always a film at a certain level, the use of non-actors forces an effort to make this non-actor become an actor. Even at a simpler level. When you choose A type that corresponds exactly, as Olmö said, as Forma also said, to the character he thinks. It is an effort of creation that pushes to choose someone rather than another. If we choose, in the film of Forma, the old man to be the father, there is an artistic idea that can have this choice. And it is in the desire to go further that we choose this gentleman. Instead of an actor who doesn't exist, so close to the ideal ghost that she puts a scene of her character. That is to say, the problem of the non-actor, of the moment when we do art or we try to do art, that is to speak of creation, at that moment is posed in a way very close to the professional actor. What we ask of a non-professional actor when we make efforts to put him in his place, when we make efforts to give him... Spontaneity. At this moment, what do we do at the end? We make an effort to build an actor.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=613.86,820.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But what is the difference? How do you distinguish the actor from the non-actor? Once again, what are the differences? Apart from the fact that the non actor has no profession, why then continue to choose a non-actress in a role, if we are going to reveal her as an actor? We're in a game of syntax, or semantics, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=821.46,850.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but I believe that when we talk about Fellini's experience, when we speak of Fellini, for example, we see that at some point he does the same work with the actor as the non-actor. Only that there is a reversal. That is to say, the actor must be pushed towards the discovery of the man who is in himself. Whereas with non-actors, you have to keep, you need to save the man who exists. I don't know if that's... It's a bit schematic as always when we talk in general, but when you say... When Olme said that with Roche Tyger he tried to find the non-actor side... He tries to destroy the professional side and replace it with a real, human side. Although the professional aspect serves him to give an opening, a power, etc. To the presence.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=850.67,923.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e We are saying, by implication, that everything that is part of the profession of an actor is necessarily false. Because by removing the actor's side, we give him a true side.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=923.82,943.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't think that it's so radical, that is to say, when we try to destroy the outer side of the actor, we try again to find the man behind it. But you don't lose the strength of talent and the strength in a certain profession that exists. Okay, I'm in the same time When you take a non-professional, you still make efforts to look at him as he is, but at least within the limits of his interpretation in the film, to find actor resonances from him. When you...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=946.03,990.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What do you mean by that? The way the resonance acts. A way to experience it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=990.75,996.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In this sense, yes, it's quite simple, not complicated. For example, the little peasant from Salvatore Giuliano is very good in the film, but he couldn't make another film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=996.75,1008.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, it's simply...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1010.59,1012.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But in this moment, yes, but in this very moment, we still make it external, and it joins a bit the side of interpretation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1012.63,1020.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Avec l'acteur qui aurait pu trouver ça. Croyez-vous...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1024.7,1028.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The main difference is that the actor should have composed, whereas here the character already exists. So very often there are advantages to employ non-actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1028.609,1043.569"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Because when we talk about composition, the composition, despite its originality, would you say that this composition always remains on certain received ideas, certain general ideas of a situation?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1045.069,1057.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Not necessarily, but in the big mass, yes, for example, if you take the example of Salvatore Giuliano, there are actors mixed with non-actors, but you can't recognize them at some point in the ensemble. It's not very easy to recognize them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1057.37,1079.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't know why.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1080.76,1081.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Because I don't think we could have done Salvatore Giuliano only with some actors. Because there wouldn't be so many actors better than these people. Whereas when you have a majority of non-actors trying to become actors, the presence of a few actors in the middle helps the result and at the same time helps the actors. And it's the experience that I made myself with my film. My film was studied for a very long time with Tulio Kejic, who was the artistic producer of the film and who followed all the preparation, the script, etc. And we decided to help the effort of the realism of the movie, the cinematographic realism, and Milan actors and non-actors, but of all kinds. In the film, there are some roles played by actors, some corresponding roles, even in the same scene, played by non-acting actors, and the non-enactors were at the same time intellectuals, workers, employees, of the women of the family, the women in the household, and in the different social settings.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1082.78,1171.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, you did that to take advantage of a certain profession by the actors, but to root them in a life that could inspire them more originally.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1173.6,1191.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e For example, there are two great scenes in my film, which are, from an ideological point of view, the fundamental scenes. These are two big discussions from the National Liberation Committee, where there were all the parties represented. So, the representative of the Communist Party was an actor from the French theater, Josécargouillot, who played the role of the communist. And the role of the socialist was played by an actor also from the theater, and the role of the representative of the party of action also by an actor coming from the theater, actors who were very good at talking, who had a certain preparation for politics, who knew a little bit about politics, the parties, things like that. But the three other representatives, two for a liberal representative and a representative were intellectuals who lived political life in a serious way. And so when they were talking about the camera, there were three of them who were almost professionals in politics, who knew very well what they were saying and who gave a real fire, a real warmth inside themselves to this problem and who even participated in the resistance. And so the actors were completely conditioned by this presence and forced to take this discussion seriously in a terrible way. They would always talk outside of the film, before and after the shooting, etc. But at the same time, the non-actors found the presence of the three actors very useful, because they found an economy of gestures, an economy for expressions, which was for them a kind of guide for interpretation. And on the other side, the actors had to find a guide. Because they understood that it was the warmth and the true meaning of a political discussion.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1192.03,1317.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e How did you manage this scene, to be able to make the most out of what you felt was happening, of this psychological conditioning? How did it take you to make as much of the best out of this encounter between the actor and the professional?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1318.88,1344.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I tried to make them live together for the whole filming period, to work with me. I talked to everyone about different characters, and not one in particular. I never talked in particular, everyone was together, and I talked, first of all, about my experiences of political discussions in the film industry. After I explained that the TVs are different. Attitude of the party, I tried to make them discuss a lot, and then in addition, for example, the Christian Democrat was not a Christian Democrat, he was the one who played the role, he was a radical socialist himself, the liberal was a communist, and so there was this dialectic within the non-actors who had to play the role and so we discussed a lot Au-delà de la situation we would make references to the current reality, I would discuss things today, I would ask questions today all the time to make these people discuss. On the other hand, the non-actors, the professional actors who were in principle people who didn't care much about politics, were trained to discuss all the time, and then the discussion side, which is an essential form of human relations, took them and they started to discuss Tulta, da la preparación. And since there is always time between one scene and the other when we shoot, I took much more care than the lighting or the technical problems, to make them talk all the time and to stay with them, to put the problems, so that when we were shooting, people were heated.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1345.04,1452.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do they have a text to say? Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1453.78,1455.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no, he's having text. He's having the time and text.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1456.46,1460.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Did you find that they were able to say this text? Yes, absolutely. Without it being a bit rough, because the non-actor who has a text says that he forgets all the heating we did.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1461.3,1475.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But that's why I warmed up before on the same theme and then the people arrived very well to do the thing. In addition, we didn't have to shoot a live shot, so we then doubled and we were able to arrange small ...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1475.7,1495.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Maybe I like the director","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1495.22,1496.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, the three professors, the non-actors, I thought about it for a moment, all three of them. I did an attempt to take one of these guys, but after I started I saw that it was wasting too much time and the result was uncertain. Because even there, in this case... And I would shoot with other characters, I did the opposite, I took the non-actors who dubbed. But in that scene, the most important thing was the ideological discussion. At that time, it had to be very clear and very anonymous in the voice, because if there was too much interpretation or too much personal warmth, the audience would have been confused, and instead of paying attention to all the ideas... We would have started to think, but listen, what is he going to say, this one, etc. So I preferred to dub this scene with actors of my trust, of my theater, whom I was sure of the result, of the people who had worked a lot with me, whom I had been sure of a certain result in the political debate. On the contrary, for the characters, for non-actors who participated in other scenes, scenes of action, where there was no real discussion, there were small sentences to say like that, I have always followed the scenario because it is a film that we follow in a very precise way, but the replicas were so easy that either in the shooting, either in the recording or in the dubbing. There was no problem with the non-actors, who were popular characters and who spoke in the microphone with the same spirit, with the very same taste. Most of the non actors were all from the film Dormi. One was the protagonist of Il tempo si fermato, the other the protagonist in Fiancé. And the other two were still making films. So the other 2 were playing for the first time, but the problem was not different. And so there, I even found in the work of these scenes that there were no big problems. That is to say, I did not give the text before. I gave it on the spot, even for the replicas. What time was it? 3.25. I have always given the replicas on the spot because there was not a very long dialog and even there I found that the non-actors gave a lot of help to the actors. And it must be said that in this film there are at least one or two professional actors who have been extraordinary in the result to the point that we thought they were non-professional actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1498.83,1690.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, what's the problem?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1692.05,1692.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It has a total decline in the rediscovery of the human character that these actors carry in themselves with the help of non-actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1693.18,1705.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, how did you work to have an actor who could take on the role, who could rediscover himself? Did you do a precise operation to get him? Did you fight to get it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1705.71,1723.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, I didn't fight because I don't think that the fight is used in the artistic expression. Especially at this level, it can be used for very difficult roles of composition. I don' know, to play Roy Allier or Eddie, maybe you have to fight like crazy to find a truth in Shakespeare's glass anyway. Et cetera, you have all the difficult transpositions. The problem of breath, the problem of movement, etc. Whereas here, when you do something that is very close to the truth, that you have to deal with, the problem is very simple. You have to choose even actors who are very close with the character. Obviously. And yes, and yes, there were several. And then, watch with love, with attention all the time, I think that one of the fundamental things about the camera is not to do anything. Even the non-actor does not have to express anything. And even the actor, perhaps even more, does not need to express. He only has to feel the situation inside and live it in a true way. It is the camera with its eye that has grown a thousand times. The real, which goes further away from the human eye, in my opinion. And it is in this sense that we need a progressive reduction of expressions.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1724.77,1826.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So how do you work to have this real life with people that you still have a scene that...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1826.78,1833.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I can say that this is an even more messy life than life. There are some actions that in real life are very good and very natural that if you place them in front of a camera they will blow everything up. I don't know if you noticed that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1834.19,1851.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Uh, well, yes, but I don't know what you're talking about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1853.05,1855.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It will even cause a derisive comic side sometimes. The experience of the Candid Eye, of the cinema male, the Candidae, in particular the television show, it's something very comical. Because from the moment a camera discovers the real reality and no one notices it,","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1856.11,1883.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That's your face.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1883.11,1883.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, if you hide a camera there and we don't know it, we do similar things. When you look at the camera, you don't see the reality. You see, it is a completely grotesque reality.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1884.23,1900.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So why, why is that? Because in the end, I'm trying to... So if we listen to this band again, we'll have a fight, we'll say to each other, shit, we talk all the time and we say very little. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1900.97,1913.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, for example. How many times have we said, yes, we are stupid, etc, etc.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1914.11,1920.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So you don't think it's the truth, and you think it is a bad representation of what happened?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1920.12,1928.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, because there is no context, we no longer have the context in which we have lived this experience. That is to say, there is not this light anymore, there are no more glances between us, this attention that justifies even a fault of language, etc. So you listen to it alone, coldly, and you find that... Listen to what nonsense we said, etc. There is no atmosphere, there is no such atmosphere. It changes immediately, doesn't it? Even when you hear the plane leaving, etc., it makes a funny effect. It is very amusing. And it is already another moment. We relive all this in a new degree, in a different perspective.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1929.59,1983.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, we can say that by taking the claims of the raw reality or the phenomena without organization, we don't represent at all what is happening. So, you will be in this consideration against live cinema.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=1984.68,2006.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, no, against the principle of direct cinema, that is to say, for me, when I read the declarations of cinema-truth, of direct film, I am against, for the declaration, not for the fact. That is to speak, if we make direct cinema it is very good, it may be very interesting, but it has nothing to do with the truth. It is another truth, it is the truth of this reprise. It comes from the corner where the camera is, for example. It's already an interpretation. It would be necessary for the camera to absorb reality outside a particular angle of view. But if you put, for example, the camera there... This part of you, of your figure, is different from this one, the left and the right. And there is already a choice, even if it is a random choice, but it no longer corresponds. When there is a frame, even the simplest, even less planned, it no more corresponds. There is always an organization at that moment. So, pretending, in my opinion, to make a movie that... Is more true than ours, it is a utopia. No matter what reproduction, as faithful as it may be, is an interpretation. And then if you manage to employ, and this outside of the editing, because then when you do an editing, no matter what, then you give a profound alteration to reality. And you do works of creation. From the moment you show, for example, a shot, a half shot, and then a first shot, you force the reality, the public, to accept an interpretation. I believe that there is no possibility of expression which is not subjective, because any expression is subjective. There is always an interpretation, I suppose I can say that even for the actors... The actors and non-actors are at different degrees of the actors. At different degrees with very interesting experiences. I am for the use of the non-actor because it gives perspectives, possibilities, etc. But I still believe that it can be very different in a film made by the actors and by the non actors. All that is true. But at some point, we can get results like in the films of form, or, at a certain moment, I just... I didn't understand if they were actors or non-actors, because if you manage to master them in an extraordinary way with a non-actor, you join the actor at an even more interesting level. Because it's very difficult for professionals to be so sincere, but then it's an actor's fault. When you take children, children are all non- actors, but sometimes we have had experiences where children are great actors, even though they are not professionals. Shusha The result of these children is extraordinary. They are all better actors than professional actors. But at this moment I believe that and this is due to the fact that in fact from the philosophical point of view, from the esthetic point of views, the problem is placed very close to each other. Study The experience, the results, the last results of Féline and Don Raison, in my opinion, are the conclusion of this research, of this point of view. And then the results of Forma on the other side are extraordinary too, because we see a film made with non-actors where they are very good, they are great. It seems to be one of the best troupe of actors. In a movie? Well, it's really an actor movie, in the sense that all the roles can be played by actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2008.47,2261.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Let's go back a little to our onions of how you proceeded. You said that you wanted a real life, but that it was even less than life, for a reduction of life. So, how did you work your scenes to get these results?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2264.77,2288.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It depends, isn't it, because when I say the simple examples of the National Liberation Committee in discussion, I have worked on them, especially in terms of ideas. And then, of course, in the shooting, I didn't take care of the ideas at all, but I only took care of people's expressions. Déjà. Alors j'étais très attentif que ça ne donnait pas un côté théâtre, un côté... Move the theater that takes you crazy.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2290.47,2322.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Just get your video by movie theater.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2323.13,2324.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The grimace, the imposing attitude, the rhetorical side and even the search for the effect which is done at the same time either by the actors or by the non-actors, especially when we take cultivated people. This teacher was terrible, for example. Of interpretation. They always tried to interpret much more than the actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2325.22,2358.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2359.09,2359.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e They tried to gesticulate, to take an assurance, to give a performance side, as if they were having a meeting or a lesson at school, or they wanted to have a nice conference.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2360.08,2377.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Alors comment tu t'as pris pour le corriger?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2379.02,2380.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Before filming, I tried to do one or two repetitions. I stayed with the camera, didn't I? And I tried seeing things in the lens. That is, thinking and seeing with the lens And so I tried to... To rediscover the natural cinematographic dimension, not the abstract natural dimension, because if I had, perhaps, I would have let myself be deceived if I hadn't looked through the lens. The real dimension, the natural dimension. A dimension where there was a deep contact between what he said and the figure of the type. But an inner contact, not an expressed contact in an accentuated way. No accentuation. Reduce, reduce, reduce to a minimum.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2386.49,2459.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, what did you tell him? And how did you do it? To keep... To reach a... Age! A natural age, without damaging the personality of the person.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2460.03,2472.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I laughed a lot, I said, my old man, you are worse than Gazman, what are you going to do? But that's not it, you're much better when you're with Tagel, Tagel is so good, you're listening to me, you didn't do it, and you have to do it like that, because you're good. So the guy said, oh yes, you have a point, they were very well arranged, they loved me a lot. They love me a lot. Every time I see this professor, they hug me, they watch the film everywhere to see each other on the screen. It's all a pathetic story.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2472.52,2513.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do you want to talk during the take or just before the engine?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2513.49,2517.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, during the shoot, no, because since they had to talk and be very attentive, there were always scenes, I always talk about scenes of discussion, there was always someone who spoke and the others who listened. So during the shots, it was generally necessary that they listen to the action. So I turned or if something didn't work, I stopped. I immediately stopped, I said no, it's ok, I made a small mistake, I didn't even say what it was. There was an accident, non-stop, it didn't work, I shot him, then I went. You don't have to do that Grimaz, if you are careful, you don't do that. And since they were all very aware and very convinced of what they were saying, there was no problem explaining things. A little more with the actors, but then I had prepared them beforehand, trained them. At diner in the evening or in the morning during the make-up to explain what it meant exactly. But I had never had any problems from that point of view. I only had the problem of a great simplicity from everyone.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2518.14,2591.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e With the actors, at that moment, didn't you have problems with too many games or too few?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2593.57,2601.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Also, yes. There is always the danger of too many games in general. Too many games, but in a more subtle way than others, right? It was even more difficult to notice sometimes. Because it was a little more agile the way he was doing things. But at the end, it must be said that from that point on The three best were the communist, who was a French actor, the Christian democrat and the liberal, who were not professionals. So you see, they are mixed. There is one actor out of three who completely convinced me at the end of the story, and two non-professionals who convinced me completely. So there is one of these three non-professionals who, despite everything, despite my efforts, are a little out of the ordinary, in my opinion. And two actors, one a little dull, and the other a little theatrical, in the sense of accentuated. Still on a very good level in the ensemble, because everyone thought it was good, but personally I have a slightly harder judgment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2601.63,2680.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, how do you explain this difference between the non-actors, the one who is more outside? What would you have been able to do, you think, to be able to... We don't have the animals, I don't know... So, uh, I... Because, in the end, the subject here is... Try to invite yourself and others to put on stage, to go back in the past, to reexamine the way of working, to see how we could get to this state of natural life.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2682.33,2723.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I think that for this non-actor, I should have found someone better. I don't think we could have done much better than what I did, maybe a little better. But overall, there is something about him that was not superable. There was a side of him, even in life. He's a very outgoing guy in life, and maybe he's less outgoing than an editor. He's less outspoken in his actions, in his film, than in his life. Only that in life he holds an absolutely true dimension. Whereas in the film, personally, I'm a bit embarrassed by his embarrassment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2724.94,2774.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, what do you want to say from the outside, in your own way? I like it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2775.9,2782.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Digest with Digest.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2781.82,2782.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e He does great things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2782.9,2784.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Which he also does in life, only that the dimension of cinema is a dimension where the balance and the interior of an expression is given.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2784.56,2800.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So the work with the non-actor, as well as the actor, begins with the choice. So how do you choose your non-professional interpreters?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2800.91,2810.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I have made hundreds of tests. First of all, in Venice, in Padua, in Vincennes, in Milan, in Turin, I met a lot of people who had either the physical or the mentality of the characters, and I tried to make them talk to me first of all to see if they agreed, etc. I said, I have to take these people from the political point of view. I said we are going to make a film, a balance of resistance, 20 years later. It is a very interesting work. I think that you who have lived the resistance, who have made experiences, who are still engaged in the political life, you are interested in the thing. Oh yes, I agree, I'm okay, I am ill-groomed, etc. So I said maybe you can help, can you come? We did a little test, we came in a room, in a hotel or in a studio or in the theater where we were. And there was the camera, the operator, etc. So I talked to him. I continued the discussion, I talked about things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2815.57,2888.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't think I'm out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2889.45,2890.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In front of the camera, I said, well, so now... And then I noticed at that moment if he could relax in front of a camera. If he had an attitude to relax and at the same time that he was after his face, his gesture, his physique in front a camera But we talked a lot and since I had to choose to discuss, to talk it was exactly what had to be done.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2890.13,2917.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I found that there were people who were very good in the free discussion, but as soon as he had a text to say, he had difficulties.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2917.79,2926.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I didn't have this experience. I imagined that the text didn't exist. And in fact, the text never existed because I gave it to these people in advance so that they could have assimilated it before shooting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2928.91,2950.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do you know what I see here, I don't know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2952.04,2953.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, yes, yes. All of that scene, yes but much earlier. I didn't mean to take it by heart, but study it, think about it. Because it was people who were eager to do that, who would never have been able to understand the scene if they hadn't read it. To give that it was a real discussion, a kind of... Bascon delle Procède, Nürnberg, de... Ehhhh... There were discussions, speeches, at that time, for this part. For the others, for the action characters, it was only the attitude towards the camera, outside of every text. I did tests by giving small things to do, I don't know, setting up a radio station, reading a book, or Ferran Colli. Small concrete actions, very simple, material, to see what the result was on the screen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=2953.49,3027.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e He tried to determine the choice. He had never given a text to say. So you didn't know if you would have problems with text with them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3029.79,3041.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e With no one, not even with the teacher, but I thought that if I had been a teacher of people who spoke in public they wouldn't have had a hard time learning the text, and they would have been beaten up. It's not because they were beaten up, we shot 5% so there wasn't much. And then, with the presence of a certain number of actors, the problem of learning the texts wouldn't be of any importance. So they helped the non-actors to get into their actions when they had to speak. That is to say, it was not huge. But I have to say that I did not have any difficulties with this system. I walked very, very...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3042.72,3084.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e In what way does this approach differ from your approach to theater?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3087.28,3095.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's completely different. Maybe I'll even try to find a technique of work that's very different from that of the theater. It also depends on the genre of the theater, because there are things in the theater... According to the genre, the approach is in a different way. There are pieces where the text is fundamental. For example, it's not a tragedy in a glass.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3099.59,3136.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Vers les pièces françaises.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3135.79,3136.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but then you have to start from the reading of the text, from the verbal exam, even. There are pieces of art comedy where the text is nothing, the action and everything, where you have first of all to invent a game before the word. I say the opposite case. But even in theater, the main thing is the choice of actors, the choice for the actors. Sometimes we also employ non-actors, when we need children, or when we want people to dance well, or certain types. I sometimes employ machinists from my troops, I need workers who play small roles in an extraordinary way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3137.85,3187.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do you use, to start studying a play with the actors, do you use what we call the Italian method, to read the actors in white wood? Non, avec tout le monde autour d'une table. Oui, au savoir blanc.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3192.14,3209.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But in general, I read the text myself for the first time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3210.61,3215.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Are we playing or are we just playing?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3216.57,3217.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, by playing it, by giving an interpretation. Because I noticed that the first contact with a text is not a fundamental spark for the result. That is to say, if I read a text in a convincing way, the different roles, etc. After that we did half of the work. That is to say, people have learned a lot of things from what I have learned. After, we forget all that and we start the individual work, the work. Reading in blank text, I do it a few times if there are difficulties, misunderstandings. It's good for... To have time, if we have time to discuss things. I would do it with, for example, a rolling start. Because ruzante is a lost language that people don't speak anymore. So here we have to start all over again, that is to say, make people speak a language that no longer exists. So you have to learn a language. So here you absolutely have to... I always do a personal reading, interpreted to give the idea that it is a beautiful thing, Amisante, forte, plein de couleurs. Once we have captured the trust of people, we start a little school of Berlitz. We start word by word, the accents, and we explain the meaning, we explain all the feelings, etc. This is useful sometimes even for the texts that we understand. That is, a reading, a few readings of true explanation, of ideas, of conceptions. What does it mean, the rhythmical relationship, to get into the... It's a kind of solfège, which is useful in the first days to... But I don't think you have to stop too much on that moment. You have to start making character tests as soon as possible, try to find as soon a relationship between... The text is the man who has to interpret it and, in fact, to live it, to revive it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3218.93,3373.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You don't think that reading in white voice allows the individual to enter the text?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3373.83,3384.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We're here, ehhh...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3385.17,3385.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e By reading a blank sheet without putting any intentions, that it starts to create something in any way. That's what Renoir said.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3386.51,3394.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, yes. No, but it helps at the beginning, even to avoid a dispassion, to avoid nervousness. It gives you the possibility to get inside, little by little, and to understand. You need a real, subtle explanation. But you shouldn't waste too much time, in my opinion, in that, because at a certain moment it can cause an obsession. Of this research that becomes, for example, too intellectual or that can even cause misunderstandings between the actor and the director. For example, very often the actor is looking for something in the character that is interesting for himself outside the character and he tries to find contact through false paths for personal and psychological reasons. And then when you go on stage, you realize that you have to change everything. It was not fair that the relationship was only here and not total.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3394.88,3467.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know if yes or no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3467.84,3468.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Or else, you know, in the play you can find anything. But you have to see if it corresponds to an action. And theater is action, first of all. I don't think it's so much pure speech. Because then the book is enough as pure speech, the word pure. But it's first of, action. So that's why we had to go on stage to check it out. This is where we have to discuss a lot and even read in white voice, before finding the intonation and making it progress. But in any case, the way we approach the actor... Is different especially from the fact that the relationship between the theater and the director is the eye of the public and the actor who is the master of the theatrical space. Whereas in cinema, the relationship is through a very demanding eye. Is very complex according to the lens, the eye of the camera, which is a means between the dancer and the actor. The actor does not move a meter from a space, but it is a relation to a space and to objects in a much more conditioned way. And that's why I find it easier to direct actors in the cinema than in the theater. I have less difficulty in the work of the cinema than I have every day in the theater. Once the choice is good, once there is less difficulty in the play of the actor. The problems of cinema are not so, in my opinion, in the direction of the actors. Maybe because it is a environment where I am more confident. These are artistic problems of general character, of creation, of invention, etc. The place of the actor is a much more subordinated place to put on stage, to the space, to objects, to nature, even to the facts, even the events, than to the theater, where the fundamental expression always remains the actor.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3469.56,3649.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, this style of life, but structured anyway, which is not the random life that you are looking for in the actor and in your staging, how... What were your considerations when you made frames, when you established plans to keep an impression of life, in relation to, let's say, a spectacular frame, a Rossellini frame doesn't look like a Côte-de-Faville frame. Did that bring you to reflection too?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3651.029,3694.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I've always tried a framing, you haven't seen the film, but it's a very detailed film from a framing point of view.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3695.22,3703.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I saw in the photos that you had a style of framing that was close to Rosy's gender. Yes, maybe, yes. A rather spectacular research, but instead of telling you what I think, I want to know what you think. Yes, yes, no, but...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3702.94,3719.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To put myself at the level of the situation, at the levels of events, and at the people who lived this situation. What do you mean by at the... To get inside, that is, not to try to frame from the outside. I didn't want to make my presence known. I wanted to hide as much as possible on the frame.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3722.66,3750.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So what does it mean in terms of composition?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3750.39,3753.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In terms of composition, it means, for example, that I have always tried not to look for extraordinary framing, I don't know, empty discussion of the ring, or of the movement of the camera outside the movement. Of the characters, of the movements.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3754.84,3786.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What does it do from the point of view of the composition of the frame itself? For example, we can see everything from the same level without doing spectacular angles. But a composition can give everything a different meaning. It can be a very plastic composition or very graphic like in Japanese films or things like that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3788.12,3812.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, uh...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3813.73,3814.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e In French, how should your voice be?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3814.12,3817.279"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I didn't try a theory of framing, I tried a very deep contact with what was my intellectual vision. I don't know, for example, there is a framing of a very important scene, I'll give you an example. That's fine. There was... The engineer, the protagonist, hid in a small room above Venice's roofs. Down there, there was a canal, and near the canal, fascists were passing by, and they wanted to kill someone. And then there was a whole fight because we didn't find anyone who had shot at the police chief. And there was an awful fight. Everyone scattered everywhere, etc. I placed three cameras. I often did, I rebuilt the events. I made the event come as if it were true. By working a lot, even all day. And I placed the cameras in different positions. I went through the whole thing a couple of times and after editing, I tried to find the story. The three positions that I chose for the cameras were the three positions from the point of view of the characters. That is, I had a camera in the room above you. I had one camera down there where the fascists were. Et enfin une caméra dans le peuple where there was even Olmiar that day, who held this camera, in the people. So, the whole first part is a montage in alternance between the... Between us down there. In a kind of counterpoint of two actions, seen from the point of view of the engineer and seen from below. And only at the end, when everything exploded, I mounted the third camera, which gave importance to the people who fled and the fascists who entered. So there was, at the point of view, a... As a perspective, there were very interesting perspectives because the Venetian roof in our house was very spectacular. But it was quite rigid. I didn't change it. I could go around the roof to make more interesting shots, looking for an esthetic. So I refused to do that. I always tried to see the point of view of the character.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=3817.96,4017.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Is it, once this style was, this style of refusal of the seeing style, was rethought, was found, is it that sometimes a proposition of angle taken by a cameraman was clashed, or was taken out of style, and you had to refuse it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4018.6,4041.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Sometimes, yes, sometimes I even accepted to shoot the thing, except that after, in the editing, we saw that it didn't work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4042.72,4050.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So when you started editing, what was the difference?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4051.47,4054.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, but there were very few because there was a great discipline in the work, that is to say, we were all very good together, we didn't have any disputes or discussions. We had a very good time. In the photos that I saw in the book that you gave me... The photos are not the photos of the film, they are the photos from the photographer. Ah yes, it doesn't match... Yes and no, partly yes, but... It doesn't exactly give the idea, because there is a choice of light, very precise in the film, a grayish light.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4056.15,4092.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e There are more colors in the photos, in different ways.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4095.19,4099.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In the photos, more than in the film. More than in films. The effects? Yes, a little, because the photographer is always doing his job. It wasn't all perfectly in the... Is that...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4100.39,4116.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do you like, for example, Rossolini's quadras in the first place?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4121.319,4124.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, indeed, there is an inspiration, especially from Paisa. If there is a certain relationship, there's a certain connection with Paisas. Even you don't look for it. I don't like to do research, to find the style of Pais, because it's impossible to find it. But I tried to create a frame that would give back that atmosphere, and even a light in that sense.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4125.43,4164.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e This search or this attempt by you to find this ambiance, did it lead you to the wide shots or to the tight shots? It depends. How did you arrange the characters according to this concept?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4165.34,4182.939"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The film has two big blocks, the discussion blocks on the inside and the action scenes on the outside. In the action scene on the exterior, I used wide shots. Inside, of course, especially in the discussions, I had to approach myself. Because otherwise, although there are sometimes important plans, ensembles, also with circular movements around the table where we were discussing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4185.17,4216.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What are the problems posed to you, the wide plans, and then the plans that are a little closer, depending on this desire that you had to keep an ambiance of existence?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4217.79,4233.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So the problem was put on YouTube by the close-up, because in the close up I chose to turn everything to Venice in a very comfortable city, because it is a city that has not been rebuilt. So I found the whole atmosphere of 1943 exactly the same. And at the same time even the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4234.44,4259.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That's the plan of the decor that existed.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4259.46,4261.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, and even the colors, because I was shooting in winter, in the middle of winter, where it was cold, humid, foggy, and then I had a very big possibility. So I found everything as it was. So in the closest shot, there were bigger difficulties so as not to have effects. Photography and to have it in great simplicity.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4261.65,4290.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e How did you solve these problems? I think you were pushing yourself to solve these problems. The costume, the placement of the characters, and how you passed them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4293.309,4304.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I put them in a way that has more to do with the discussion and with the rooms, the ambience where we were.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4305.32,4320.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You would sometimes find that your compositions or a character's disposition could... Well, here I go again. I have often noticed that a framing, a character placement in a framing can give a fictional side, only by the way these people are placed and seen. Did you notice that? How did you disguise these people?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4322.1,4357.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I always tried to find a frame that didn't give any effects and at the same time move people in a very natural way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4357.92,4365.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, a frame that didn't give any effect, what did you want in terms of character placement? Did it mean to say something good?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4366.46,4376.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That is to say, due to the action, that is to speak with a pencil and have some paper in front of it, it is a relationship with him that the frame should be placed. If someone, in a moment of nervousness, got up and went to the window, he had to be followed, he had depend on his action.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4377.559,4404.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do you sometimes bother the camera on purpose to make more characters exist in relation to the camera?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4406.34,4423.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, sometimes I had difficulties moving the camera. There were even barriers. Sometimes we found bodies, heads in the middle, because there was someone on the other side talking. So there were some movements, but I tried to make the camera move in a very simple way, that is, by looking for the rest of the dialog. That is, a movement to discover someone who was talking. But I had studied the lessons of discussion deeply and I had solved most of the problems in advance.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4423.68,4468.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What do you think, what do you have in Rossellini's frames that hit you, that served you as a lesson in directing in cinema for this ambiance that you were looking for?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4473.4,4487.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The frame in full air, above all. A film that interested me a lot and that I studied a bit before shooting the scenes inside was, on the contrary, a film by Sidney Lumet, with Henry Fonda, this story of Jury.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4487.29,4505.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do some","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4505.61,4506.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I studied it a lot because it seemed like a good example of a discussion.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4507.89,4512.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So you tried to follow the idea of the camera that was looking for it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4515.26,4520.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Inside a discussion and in a very simple way. I find this film interesting from a shooting point of view. It's a film that... I even studied Kramer's film on the Nuremberg process, but there were also very complicated effects of the camera turning... Yes, so double... So it was difficult, I didn't have the means to get to things like that. So maybe it was even beyond the spirit of the thing, because a clandestine reunion is less spectacular than a trial. It's closer to a secret meeting of a jury. That's why I thought of the Lumet jury. Because it was more secret and there was a parallel atmosphere. To come back a little bit.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4522.059,4578.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Did you try to influence the rhythm of the play? Because if I understand correctly, your staging is designed by long moments rather than small shots. You were trying to make something exist. So how did you work on it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4581.89,4604.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I worked on the scene before shooting to find the right rhythm. I did some rhythm research. I'm used to the theater. I tried different rhythm research with the camera. But still, I did the rhythm research before.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4604.58,4624.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Can you characterize this kind of rhythm that you are looking for, which is a rhythm of reality rather than a theatrical rhythm?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4629.67,4638.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, and I tried to give the general psychological situation, that is, at the beginning the discussion is always... There was a beginning where we didn't discuss before starting the discussion, we chatted. And there, the camera went a little by itself, I went on the details, on the newspapers, on table, and we even talked outside of the camp. I think I don't go man see Everyone went to sit down, and the rhythm was slower, because everyone was looking for what they should have said. The different representatives of the parties thought a lot before speaking, so the rhythm became slower. As the discussion became hot and there were contrasts, the rhythm had moments that were very tense. At some point, I made a coffee arrive, brought by an assistant, so there was a new relaxation. Everyone moved, the camera too, we went to different places. I did a great traveling, following the people drinking coffee, searching for the speech in the different groups, with out of the frame voices, which came back later when the camera went to look for them. After that, there was a return to the discussion, very hard and definitive, and there the rhythm was... Less fast than in the big discussion of the moment to warm up, but still more determined. To finish, I detached myself from the discussion both at the end, when we were doing the final verbal, and I placed myself a bit in the distance, in a long camp, in a large field, to have the danceable vision and to give a kind of Reconstitution of the spirit of a clandestine parliament.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4640.04,4755.889"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, yes, and this rhythm, you worked mainly on the performance of the performers, rather than on the editing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4758.29,4767.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, for time reasons, because we had obligations for time. So I tried more, because for the editing, from time to time even with the editing. But I had to solve several scenes with a single song. So at that moment, when I had scenes with only one song, I obviously had to work a lot more in the rhythm of the game than in the editing rhythm.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4768.49,4796.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, how did you manage to make the game pass, as you worked a lot with non-actors? What did you tell them?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4796.96,4807.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I tried to put them in the bath, that is to say to warm them up and in the discussion they arrived squarely, they were well chosen for that because they went even faster than what was necessary. I always had to ...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4808.67,4823.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/152","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Can you speak a bit more slowly? Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4825.94,4828.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/153","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, speak more slowly. It doesn't make sense that you are so fast that you even eat the word, etc. It became a bit unnatural because at that moment they were going rather by heart than by thinking. So I tried.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4828.139,4845.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/154","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Did you have any problems with the scene where there were transitions of emotions and subtle emotions and how did you work with the people to get them?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4847.4,4858.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/155","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There were first plans, for example, where we did actions like that, transformations, big plans, yes, first piano, first... And then there, I, then there I, especially on the listening, I spoke too, I influenced them a little like Olmi, by speaking, trying to get feelings back. I will direct the suggestions.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4859.4,4888.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/156","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I'd like to give you an example of...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4890.02,4891.639"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/157","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, for example, the reflection of the Christian Democrat regarding an attack on the Church, very pushed, and that he had to let it fall to make a balanced proposal in the interest of his party. So, at that moment, I tried to show him his emotion vis-à-vis de ces phrases qu'il aurait voulu... Counter-attack and his effort to reflect on the reflection and then to smile. So my proposal is very simple.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4892.639,4935.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/158","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So there was a nuanced transition that still needed a play. So how did you get that from this character?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4936.77,4949.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/159","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In short, we suggested it with a whole series of subtle proposals.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4951.09,4954.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/160","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't know what you just said to him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4957.0,4958.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/161","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, about what we were saying to him in the... I was telling him, yes, but I had a non-actor who understood all of this very well. Because he had done political life, he understood very well, so I told him, don't say anything, just listen. Listen to what I'm telling you. And I was saying these things to him and... I told him, I spoke to him against the Church, I said to him, now you are very offended, but it's terrible what we say, but it is terrible, listen, but that's impossible, we can't stand that, no, no but still you have to strengthen yourself, the goal is more important, you don't have to be subjective, you have...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=4960.78,5004.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/162","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I'm going to go on tour now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5005.15,5005.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/163","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I can turn it on grow plan","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5006.34,5007.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/164","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So, should he speak?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5009.25,5010.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/165","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He had to listen to me and his eyes only had to show his reaction and control himself a lot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5011.95,5018.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/166","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So you inflated on him, the plant of what he felt in him. And you inflate this method in other scenes of his life? Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5020.42,5031.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/167","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, in general, yes. But also with the actors. Well, I believe that... I believe we can finish. For now, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5031.35,5043.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/168","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Killing the doctor, George, is it a cease, huh?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5047.87,5049.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/169","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Let's see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5049.639,5050.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/170","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Bon, le 6 septembre 65, Jean-Franco de Bosio","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355#t=5050.51,5056.19"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141797/file/262355/transcript/79535/annotation/171","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/535/original/trint_Coll458_jb0048_Rosi_02_transcript.vtt?1747070759","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/535/original/trint_Coll458_jb0048_Rosi_02_transcript.vtt?1747070759"}]}]}]}