{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/fq9q23sm4f/manifest","type":"Manifest","label":{"en":["Interview with Guy Cote and Others [1/4-in. magnetic audiotape], August 1964"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","metadata":[{"label":{"en":["Description"]},"value":{"en":["1 sound tape reel : 1 7/8, 15/16 ips; 3 in. 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And although it looks so good. Eddie.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=8.1,10.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In the. In the Fender Miyama au sujet.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=11.19,15.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Which is in no pack on the organization of a chemical person, that it did definitely set them up right here in the reflection she said, don't you give a signal that here that this is the team that worked on this? He. The rejoinder was, I can't believe that he didn't. Long run. If you ask what they they they they show Ziggy how they did. He blew it. Don't continue. Well I've been. Out he don't fact camp project was a Croat. I don't want to believe there's an enemy is a partnership, but I said I'm just an f the the the the the what. If you want a model that should be in the drawer, the like, say, a recreation. If that was one of my bad busca, I consider it. You can actually have that in society, you know. And then this one is another one is about next to recreation. That's okay. In the caption is advanced increase.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=17.64,102.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e G rising kitchen. A la.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=104.78,110.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e La cinema. Come to resources I'll I'll leave the initiative and then. For me as to, if possible, to communicate and to be both extra. Visitors and Nikki somehow the exterior of the actual system, so lucky for us, issued a key so that you don't have to accomplish all that like C and aggression in what? Why do we see? I don't know, Madonna leave him A if you don't know if he's going to keep it. You don't you don't assume if you don't. And if I thank you for your time, we just say, okay, this way. Okay. Keep hearing what you know. The White Plains was important. To us in certain major competitions, you for the year or keep soccer for fever. You have the individual independent little fashion editor to be able to operate. In a nutshell, proves to be found in it. With the new Q. Is it a pound? Mr. silky decided to interpret it a little bit. Rather look, as you will have a setup. Just the fact it shows it is still, with the respect of Turkey, the original six millimeter I could chew now. They don't. The client can somewhat physically stick. A the the Banksy's t a key in Jackie Mason give everything That's great. Annaliese. Come on. Here's your chance to be him. You. Tell him you don't. And there's a musky. And you just sweat beneath the. Licinius. Moment. Priest Ali. And they'll never be brought back again. If you have any issues that go over it is about. The society and the d'Ivoire just are getting ready to tell. Festival is going in a sweat.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=112.1,278.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's going to be consecrated, said oncology.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=279.48,281.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Competition. No, no, he's not going to join the competition. This is for some. Seek the fish and no feedback in the newspaper. With unity and in education. It gives you essential as a basket, as an application transition from turning point solutions to conversions, or maybe even solution like that to our major Neo locations, in addition to the solution that talk to them on the system that shows that specific spiritual decision permit that the method of introducing, you know, positive message to see the process has here to Denny co-creator I sweat you develop on the slide any area you want to show up differently for the notification of the contribution. It is that a lot of we don't do some of those income and efficiency in giving popular responsibility this way. It's good to just go through this system monolithic In the following example, Danny de la Parra is a substitute. Catalyst. Could you tell me trash can Iraq? But on Twitter are you going to tell me the truth? In the committee. Central coordination Committee. Members LLC reportedly. Marketing citizens in a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=284.16,380.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah. Who could jump to the cinema. You see it in two filthy public illegals capital. Can it? Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=382.16,388.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In the film. Then you can India who you know much about particular capital Canada. Yes. American Eagle capital Canada. Mr.. Yes. In case you want to bet because some question percent present economic stability demand today Trouvé on the cover. Thank you. I don't have to. I'm going to contribute. So that you could make it in an environment to survive in the competition. So if a computer shows me your song, I want him to come to the music playing and catch you later. The creativity, the way you contributed to to succeed. I don't know if you don't see him, but I think for him to return to Jacksonville a and she she's there, I'm gonna spend my time because you want to see the extra points. But it is the fair celebration on campus in the arts. Do I want to go is you just make up for it. It didn't have to be me, you know? He returned to the national park, then stranded on the trash. He never played the game. The contradiction. Come on. I mean the Justice Department. This is your party to the realization. So. I think you could do some gallery. You know, he walked in for Richard Walker, saying there was a new direction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=391.01,504.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There was a witness. Right. Sorry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=505.93,508.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And hit the. Delete that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=510.04,511.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He returns an ultrasound. Loki's tutorial on the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=513.58,516.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e City.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=517.21,517.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Database, and especially something that I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=517.6,519.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Wish I could come up with, would be a name on my mind. Mainly the reason is that the spa today and the component ready to go on international demand. But when you take on the world industry. The film buffs could select Apache Integrale. Did I kill National Key El? The short but the two let me offer ya part the the nasty comment that I could. You spoke to the money and express your intentions. Which I mean to me this is said to be extended. It could under the cinema Lita dual. They look pretty careful to let you know he. But it will affect the festival. That's because that's what compatibility have it the the necessity. The one dirty large music industry the You know, the regimental detachments, you know, yet have yet to talk to. Yes, ma'am. Little Inez is a little less. Relieved to see it through the interpreter, through the inspector general, to make you deliver a deeper definition for the journey. They made me pretty. Tell me when we sailed. Good lord. By popular name, I mean music. But on food.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=520.0,627.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Memorable, I don't care. Sensible. Whom the Lord ships in the program.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=628.67,634.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e As they.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=635.33,635.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Refer to the guests. But I want us to be paid. Just not expected to be. We don't want us Must be cool to have this hidden.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=637.49,651.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Key all the time. And there is a place in most of the gallery. You know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=653.12,665.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e In the 90s.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=668.69,668.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Through introspective. This one in a defensive in that regard, I say as a personal defense, small.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=670.82,680.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Personal.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=681.65,681.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Political career. I'm put in this key name somewhat into this name somewhere. What happened? To the remote result. Like, I want to proceed with about the third person. And the path of the singular shows that there is something to sway a lot in area Borough Commander Lee as he shows it his. Wah wah wah. Commander Danny Automation, Mikey Fairfield and there are lots of sensitive. Productivity here. I pledge allegiance. Look at this man. Look. Look at the pipes, Guruji. ET cetera. ET la fabric. I think you hit him religiously three times before. This unicorn is a gnome group. Now, to do something about it. There is a critical of him when he is. Is the sister is that he have bypassed the Sigma Hill Legion leadership sequel. The trick is to sell a hill divided up in some.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=683.39,760.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Room was at the end of the walk him the key.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=761.41,765.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Bob Brought to justice system is a Woman Monday school performance in recognition of his work to treat cancer at the Latin date, referring.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=767.29,778.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To a book with the recipient.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=780.58,781.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Gibson added we may not how well we may in. So I thought that Spanish was the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=782.59,789.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Kids go to the campus in a way always. A supposedly trail marker.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=790.81,797.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Is only.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=797.74,798.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Men.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=799.15,799.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Who is a review? And it was one damn thing class and it ought to senior citizens received a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=802.69,809.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Government minded affair in I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=811.27,814.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Misspelled the sentence.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=814.45,814.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It was in super thick in 17 romantic. Completely short. There's optimism. You got to dismiss it just to get it here. Strike again. I see that you have compromised. Yeah, I saw I Levy like you did, but the materiality that shows. Did you have a sense of who you are? My theory. That machine is dot dot dot dot. You pay the price. Is that there? Well, do you know what that. Is? That does.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=817.63,866.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It. Do it. Good boy. I think they got you to go sell.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=867.67,870.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It on the field. Not if the federal troops operation is still a huge impact. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=871.2,883.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it's not just. As you would in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=883.8,886.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Fact, the the direction enabled this ingredient for a lot of still.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=889.67,893.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Is new to school.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=894.71,895.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And that circumstance.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=896.6,896.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Gives the result of the. Conflict with a team of the. Come on that. But you don't like the technique. You know the ball. You know it was a quick strike contributed. You know because I want to show the world you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=897.92,918.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't I don't want to make me suffer enormous amount of issues about some.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=919.19,924.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Pharmaceuticals task.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=924.98,925.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So I did three years. You know, the temple almost in Istanbul were proficient in denominated books in English. So if you want to play veritable professional human like, it shows that you know, one other professional. The laughter to keep you apart. La la la la la. Continue. Did you do that? Démarche? I did. We need Bay area. Yeah. They produce a tasty mocktail. The process here, here. The therapy? Yeah, just the therapist. Then the pastor. Get me for this spa treatment. Hello.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=926.78,973.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Put it on me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=975.8,977.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Or would you? Do you want the money you told me? Or were you going to see from here? You know, I mean, you carry a lot of you who you can see for us. You do all.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=982.49,1003.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To bet on it? There's a lot to learn and more conducive. For such an attack. But you never know. Not this new, modest, dramatic pressure from the near when you measure past receipts. You need to know password manually when you should do it longer. The most important person in this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1004.05,1030.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1030.93,1030.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Is that supposed to happen? In your decision tree.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1031.89,1036.839"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And the damage you get is at the end? Yeah. This is what is to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1037.109,1042.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Be thought of as you could never should've seen my VR series.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1043.53,1047.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He was unnecessarily Q0 man.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1047.91,1050.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That's a one man. So as to control.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1052.17,1054.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The well, the issues.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1055.86,1056.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The fitness you a lot. You might be very deep water. It is something good. Let me ask Michelle about a complicated model.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1057.69,1072.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you intend to continue for someone starting them? Do you see? My reality is that was now. And you very few comparison spirited meditations on both. I have just seen that. No regrets at all. You have? Never mind if it is a mood, but you still cinematographic. But it is just easier. The liberation, the long division mechanism. Easier to exist with privileges, tenure and material immobility.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1072.38,1116.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1117.8,1117.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e If you are a human, you can learn me. You're a fool. It will wait.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1118.36,1124.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Wait. It could see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1124.68,1125.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What's the point, actually?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1126.05,1126.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e See anything? To remove Martha stick in his house? No, I mean, did is actually not so far.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1127.64,1134.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e From the president. Absolutely. I'm only believe it for you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1134.92,1139.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, no no no no no no no no no no no no. The I think before I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1140.19,1150.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Do. Work with the jury. Catch up with the humidity. Tell him to do the cool the moment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1153.11,1164.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No know. Becky. Whenever you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1165.06,1169.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What to do about. Well, Steve.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1169.88,1171.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I know for years and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1172.01,1172.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Years and years. Virtually every time I see the video. You know. Prosecutors demand much any discussion for the policy of. In 42. On impulse. Who is going to be like somebody you need to donate like exhume quite dead in the direction of a quote unquote. Anyway, if you know Elmo, I've been on a boat to remind me that Pahokee. This may be meant know if you know what.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1173.03,1210.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Will be the position. Effect of the on manok on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1211.15,1217.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e A wish to do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1217.72,1218.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e For.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1218.77,1218.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e 2 or 2. They probably even developed. Along through Mexico.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1219.28,1225.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Dungeon. Although because you just published this event. But nonetheless we don't we don't see the symposium which is available in the city to make way. Which I received about your alma mater. Comedian endorsing, I suppose. We had a discussion we may have to make Spencer in my new venture, going to be using people like IBM so that I will profit generator and to make them to see you have a designed data point like this. We have them and I'll keep them alive if I go back to them. Hitler. He was in my class to assure me the President Trump did it, I was identical. Did I say most? It was a while ago.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1227.26,1285.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Testing one. Testing 123456789. A b c d e f g h I j k l m n o p q r s t u v w x y z.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253#t=1309.66,1320.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262253/transcript/76685/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Testing 123456789. 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Tom Daly, have you seen him? Well, he's an older, slightly older hand. I came here in about 42. What? Norman McLaren came in 41, and Tom Davy, I think, in 40 or 39, so that's practically year one. Well, you'd better just add fire away. Inconvenient. Inconvient, yes. Yes, practically. What kind of thing do you want? I came to the film board with a background of biology and the theater. As more or less unskilled filmmaker, I had huddled around with abstract films a bit, making them in my bedroom. And I was employed to break down soundtracks from McLaren when I first came. Of course, it was wartime and the film board was turning out a lot of material of one kind and another. It didn't really have enough help. And so all kinds of people got thrust into jobs, whether they were ready for it or not. It was the kind of, you know, you got tossed in and you learned to swim by saving your life. Uh, soon after that I made a film here given permission by practically nobody and made a small abstract film called Marching the Colors, which Rearson, who didn't know me, saw. And I got grabbed out of that into making wartime news clips, you know, to advertise victory bonds and victory diets and all that kind of thing. Things about 40 seconds or a minute that got put into the theater as long as the newsreel. And I started really doing it. That's how I got into conventional filmmaking, and about a year later I was producing and writing compilation films. For theater release. You understand that we always have to distinguish here between theater and non-theatrical, because right from the beginning we've had a quite big side of our release devoted to schools, colleges, all kinds of non-Theatrical.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=16.89,217.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=221.97,221.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Do you find yourself getting wrapped up in the social purposes of, let's say, your career?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=223.1,229.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I didn't have to, but I already had that in a way, I think most intellectuals who came to some kind of maturity in the thirties had that, it was a kind of general thing, it was in the air pretty much. I had been raised on the west coast of Canada. I'd gone from the university there, and then I got after that, got interested in theater, and I went to England. I don't know where I was, and I was in as an actor in television at that time which was pretty early because the BBC had a regular television service from 1937 to 1939. And I got to know my first taste of television or studio television and indeed filming for television at that time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=230.5,304.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How would you, do you feel that the development has been linear? I mean, there's always been, the National Film Board has followed one guiding philosophy, or has there been an experimenting, a developing out? At first, I understand the philosophy was to show Canada's space to Canadians and to the world, but it seems that the film board has become more and more an experimental, or has pushed into other fields.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=307.07,333.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I think there's always been the stated aims of the Film Act, you know, which was to show Canada to Canadians and Canada to the world and to make films in the national interest, which was the other interesting part of the film act and which could mean practically anything, short of pornography, I suppose. And It is quite, right from the beginning, I think there had been a tendency to try a bit of experimentation. Although I don't think that kind of formalistic experimentation took place until well after the war, when the film board came much more into the hands of Canadians who had been trained by the British, who really... Set the thing going. Not only Grierson, but, you know, Megan Spotswood, and Stanley Hawes, the British trained Canadian woman, Evelyn Cherry, and that crowd, I mean, they made the place tick. They educated the Canadians in film as best they could. They all came pretty much from the British documentary of the 30s, which was a social kind of film. And so our beginnings pretty much coincided with theirs, I mean, our tastes were... Well, certainly the younger Canadians, myself, were a bit molded by them. I was older when I started, so I wasn't quite so, perhaps, quite so open to influence. Anyway, after the war, when the British retired, gradually the Canadians started to find their own way, I think. And it wasn't really until... I would say in the early 50s that what I would see was a kind of recognizable film board style, Canadian style, began to be seen. And, you know, a film like Corral, Things That We Know, and Penny, I think were the first signs of that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=336.43,483.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e How would you describe that as a film where you saw someone who played it in about five or six years, when he made that? A quarter, when you made Corral?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=485.33,496.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, of course you didn't make around. I'm just cleaning his eyes. How long had he been here before he made it? Yeah, he may have, because he had a very funny beginning. He came as a can carrier and splicer. He learned about films from splicing films. He had a hobby of still photography and a bit of amateur cartooning and then gradually got drawn into cartoon, first into cartoon films, and then when, um... Lowell and himself wanted to make a film that was a non-cartoon film. They got together and it was a great difficulty. They wanted to go out and photograph it themselves. They didn't want to go through the camera department. That was a great problem. Great alarm, great difficulty to let a piece of apparatus out of the usual channels. So all that film, especially Corral, uh... The other one, Gold and the City of Gold, really kind of established a new trend. As I say, it was more than just a filmmaking thing, it almost an organizational breakthrough too. That could not only, it could act, but it could bring it into a production.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=497.37,598.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Corral, Donald Trump, Goode, Sweet Car, Rail Cleaner, and so they seem to be the early films of the beginnings of experimental research, as well as...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=601.17,613.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, in the non-animation field.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=614.03,616.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e But they really received the stuff that you need.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=617.44,620.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, Corral, I think, had a, what I would call a nice reception. Paul Tomkiewicz was a bit quiet and restrained, even though it is that. What was the other one you mentioned? There was Tom Lewis, the switchman, the crossing sweeper and corral, and there was gold and the city of gold. Gold being a kind of by-product of the city-of-gold shooting. And they certainly did set a kind of new trend, which wasn't... But you see, they just happened in 1953, and in 1953 a television service started, which kind of pulled the rug out from under everybody. And we suddenly found ourselves with what appeared to be the requirement to produce stuff by the yard instead of by the frame. And so there was a whole period of disorganization while the place adjusted technically to kind of volume demand. And then when they kind of got their breath, there was come back with the Candid Eye series. Um, with, you know, films like Backbreaking Leaf and, uh, Poing, uh Finally, that kind of thing. That kind of represents a second wind of, certainly, the English-speaking side here. What did burst into the French group? Well, the French Group, um...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=622.73,747.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Have you been headed that way?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=748.71,750.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, from about 1956, I had previous, quite a lot of previous contact with the French-speaking group, and then in 1956 it was reorganized a lot more strongly, and I was the producer for a couple of years, and really, more or less got together the... The people who are now supervising in that section. Although their more daring stuff has been done much more recently, after my departure, but they undertook an awful lot of work and went to a training went on, which has made their more recent stuff possible, I think that would be safe to say. To go along with the idea of actually forming it. Oh yes, indeed, yes. I had nothing to do with the decision to separate the French section from the English section. That came only one this year. But I always believed that there should be a strong French production unit or units. In the board.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=750.88,836.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What sort of a position of esthetical influence or reformation of the philosophy then did the film racketeers in? The racketeer. I understand that this was one of the, at the beginning of the scene, a very thick, and it created quite a bit of problem. And that you and Mr. Batey were more or less responsible for the thing being said.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=837.39,866.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, it was a film that they went out and shot this footage for this little film. It was new for the French section to have done that. This came after Pennington's presence. Oh yes, and it came after a lot of other things that had been made in the... Candidate. We didn't really mark anything new, if you take the overall board picture, but it was new to the French Section. And it had a kind of personal touch of the two people that worked on it. And I thought it was fine, but there was some problem. I thought that it was a kind of snooty, a kind of condescending view by intellectuals of much of the common folk. And a thing which Boyd had done before in some films, not the French section. And also, it was... It wasn't very fully shot, I mean they used practically every shot they had, it could have been, and anyway the director of production on the one hand thought it wasn't particularly good, he couldn't see a picture in it, and the commissioner didn't like it because he thought it was unkind. To dumb animals, and between the two of them, it might have not got made if Daly and myself hadn't. He said, well, I think we should try it, but he thought there was a film in it. So in that sense, he may have had some important idea. Who cut it off his own, I don't know. I don't know, he wasn't compelled to, I don' think. But I really think all the stories that there is in that, there were one or two shots that they didn't use, which they could have used.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=867.54,1009.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Film, and certainly a success from the use of the candid technique for the kind of global picture rather than forming one person. You, when was this made?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1011.08,1025.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, it must have been certainly about 58, I think, or 57, I guess it must've been about that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1029.03,1038.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e What do you think of the way the cruelest dog comes this way and the way he's involved in other things?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1039.579,1049.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I don't know. I haven't seen Bruce's feature-length film. He's got a wonderfully... I think he's got very sensitive eye. And I think, he's a very sensitive person, too. I think in a way he's... Undisciplined and gets carried away by detail effects. I thought there were... Poor work in Miami, in the moment it is, on Florida. And they get carried away, a key, along with the French section in general, get carried away in terms of gimmicks, which sometimes are quite good in themselves, but they allow them to intrude, or they seem to be applied onto the subject, they don't grow out of the subject. Their use of stop frame, for instance, is often rather poor, and you only have to see a film in which it's used, but it will. See, to realize how poor it is used in some of the other films, and they get bored with their material, I think, far too easily. Um, but... This is not to suggest that I think we're lacking in talent because I think they're marvelously talented and they've brought something really quite fresh.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1051.46,1165.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What sort of approach do you feel is Christ that is there, that characterizes them, that distinguishes them from the English group?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1169.23,1177.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, they don't take themselves seriously at all. They have, um... They're more not, in some ways they have a better background in film appreciation. They've seen more film than the British. There's been a tremendous lot of that activity in the province of Quebec, assisting from other parts of Canada. I think they're very stylish and funny, and they've been quick to make use of stuff coming from the outside, as much of it as they could use. I mean, the nouvelle vague, they snapped it up like a flash and used it not. Sometimes all was too well. But the British are much more, the English-speaking people, much more conservative, generally speaking, and the friendship is much more willing to experiment. I don't think all of them have been successful experiments, but an experiment doesn't have to be successful. I think that they will come along well from now on, and they've already done very good things. But I must say I find sometimes their facetiousness a little bit irritating, but that's just because I'm English-speaking, so one day...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1181.2,1278.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How would you characterize your own position here? What kind of work, what sort of work?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1280.98,1288.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I have been up until this year a producer with programs of films to supervise. I've had to work with creative people, directors and cutters and musicians and whatnot and try to... Work with them in a team on the production of films. My particular end of it has not been at all interesting from the point of view of experiment. It's just been getting jobs done. Although I've been a very great advocate of the experiment, I went in for it in councils. I now, in my new position, which has a name, but the content of it is no one knows, program supervisor, I have experimented with one of the things that I'm supposed to have a watching brief for, and just what I'll be able to do in that relationship, I don't know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1288.91,1362.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you think that the board will permit more free experiment in the future because of the success of what's going on?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1363.85,1373.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I think it's going to have to. I mean, I don't think it has to support experiment because what went on in the past, I thing it's either experiment or perish. I don t think any sort of art can get along without experiment. I think the lifeblood of it, and especially the life of a place like this. I would hope would be more or no less. And I think they are gradually beginning to learn that lesson. You see, when you see a film by Arthur Lipset... And you show that to a member of parliament, he doesn't kind of get it, and he doesn't see any reason why the taxpayer should be paying for it, and that's one of the greatest, that's been kind of a difficulty here. The film board's had one kind of tame genius, McLaren, and that he's been over there, and nobody really has ever questioned him. I'll say that for the Canadian public, they'd let him alone. But we won't say, well, there's McLaren, shouldn't press things too far and get another one or two. But I think we'd be awfully happy if we could find one or more now. Of course we won't, but, you know, we might.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1375.55,1477.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What are the plans of the board in the future? Do you see any possibility of moving toward a long future?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1479.97,1486.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So, oh yes, there's definitely a possibility of it. I mean, we're dabbling with the notion of features. Now, what is going to happen if the government, oh, if the Government gets into support for a feature-filled industry here, a small one? Now, that will affect us. I'm not quite sure whether we would be more inclined or less inclined to do it. I mean there's that whole kind of money problem, I mean an industry may not welcome money-making films from a government agency. Certainly none of the shorts has ever made it. And that was one of our strong points. We could always assure everybody that we were making nothing but, you know, losing thousands. And they were content to let us go on doing it. But, you know, you always practically make a mistake and make some money with a feature. And if we got into the business of making money, or even made one money-making feature, I think there'd be trouble. Do I understand that? No, I don't think so. No. You know, I wouldn't care if it did. No. We will, I think, probably produce a few features that we can find a way, a financial way of doing it. And it certainly won't be easy. We can't do it really well on our present budget.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1487.04,1595.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It seems that the function of film board is fulfilled in the way of art is to and one of the few governments in the world that took chances and did do your experimental things or things that have a direction of that nature. It would seem that if there was a question of feature films that the role of the film board would be to make the feature film that no commercial enterprise would make.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1596.79,1623.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, we might, we could do that. I'm sure there are a lot of them. I don't know, though, what just that should be. Should be at the moment. My own personal views about the long film is that no one really knows what way it should go. I think it's in a very ambiguous position at the moment and I think this is the time perhaps for some experiment in a longer narrative form. Because as far as I'm concerned most films that I see are some kind of filmed theater.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1623.24,1670.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I think the film was a bit as socially appropriate as it could have been.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1673.22,1679.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1680.04,1680.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Thanks for watching!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1680.73,1681.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't think it has. Oh, well, I mean, I don't think it's been as socially probing as anyone could be. We've probably been almost probing, as we could be, within the terms of reference of a government agency. It's a lot easier to make an exasperating... Attacking film if you don't have to worry about any sponsor or anybody at all, you know of course that's difficult to do, even for an independent person, you still find the cash, you've still got to get it released, no I think no, I don't want to paint us as being as socially responsible as we could have been, probably not quite. We see that there hasn't been a housing problem or something like that. Well, yes, oh yes, there have been all kinds of problems. No, I don't mean by that code sake, something that... Oh, I think that we could have made housing problems, I don't think that they... Yes, I think we could've made that. But I find that the younger filmmakers, in any case, haven't got that kind of social conscience, in the case. What do you... I don't know what... Well, they're all working from a kind of interior thing and trying to do it all, you know, look... They're trying to it without... All their own work. No, Carnegie is a different matter. He has a kind of, you know, a European kind of thing still with him. And he's not typical. When I say younger ones I mean really younger, much younger than Colin Lowe and that crowd. I'm talking people like about Lipset and really the very young French and all that sort of thing. Their notions are different, it seems to me. This is not to say they have no social conscience, but the way they go about it is rather differently from the more politically conscious people of the 30s and the 40s, less internationally minded, I mean without prompting their less, that they don't naturally think that way. Have left their own devices. They're more cynical, I think, and in some ways tougher, less sentimental.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1681.57,1874.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e How, uh, how briefly do the films get worked up, so to speak? How do you mean? The idea is, uh... Well, we have a thing called a...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1880.28,1891.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Or we have a thing called a program planning committee. Is this your, are you on it? I'm on that along with quite a few others. Now it's a big committee. And ideas come into that from the staff. We hope, when we're lucky, they're from the staff. They come in from some other places, too. They've gone over very carefully from the point of view of film making potential and point of views of content, ideas, whether they fit in to the kind of thing that we are hoping to do or would like to see done. They get shifted, if they pass through that, they get shifted on to another committee, which is a production committee, which discusses creative personnel to go with the idea, you know, the writer, or if it's the person who suggested the idea wants to write it himself, just how that fits in with his schedule, that kind of thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1890.82,1956.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did, for instance, Garceau come up with the idea for Lumière?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1957.54,1961.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I don't know. It certainly didn't come to mind when he got now. Well, that was made several years ago anyway, and you see We worked slightly differently before but his idea must have been submitted to the French section and it was incorporated into the overall program. The ideas do come from directors. Oh yes, for the most part I think. I think for the best films they come from, directors. But they don't all come. I mean, the idea for what I think is a very good film... Or a pretty good film, that thing about the war graves. Have you seen that? Is that big enough? No, no, no. It's a film about Canadian war graves in Europe and was commissioned by the Canadian War Graves Commission. You know, there could be nothing more deadly than that subject as an idea on a piece of paper. You know, look, but you're going to make a film on the War Graves Commission. If you give that to the average filmmaker, he just throws up his hand, dies. Well, Filmmaker took that and made, uh, Don Britton, and made an extremely... Androids It was a conventional film, but it was so skillful and well done that it kind of took the curse off the subject. And, um, it showed that, it demonstrated that sometimes an idea coming from the outside can be treated with a certain professional touch by, um...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=1963.45,2081.179"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I just wondered briefly how serious the accusation of being red and how many examples were at the time the boy was just getting started on his own and without a rear seat.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2086.02,2103.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, they were very serious. Don't ever think otherwise. They were seriously made and seriously received, and they were serious to our fortunes at the time. They were politically inspired. There was very little real reason for them, any more than there's a reason, any kind of... Sensible reason to call Eisenhower a conscious communist. I mean, it's that type of thing, you know. People in the film board have certainly voted socialist, you know, because there is a respectable party in this country called the New Democratic Party, one's called the CCF. It's not bad. There's also a communist party, but I would have doubt very much of anybody in the film whatever did vote bad. But no, it was the old kind of 30s, New Deal, um... Kind of Rooseveltian liberalism or which was rampant and which made people see red and as far as I'm concerned I don't think you could find many film or any film or product. In which communist or Marxism is very clearly delineated or plays an important part. I mean, we made a film, Grant McLean, the present director of production, made a film in China for UNRWA, you know, after the war, and he got into communist-controlled territory. This was before the Civil War, and got shots of Mao Zedong, and we made a film called The People Between. Which was, you know, we were saying, you know, the war is going on back and forth in Japan, but there are the people struggling. The film was never released publicly because of protest, diplomatic protest, by the Chinese official government. And there is one case of political interference where a foreign power, a friendly foreign power felt that the film board film was somehow against its interests, and the film was only, has begun recently, I remember I showed it about 10 years after it was made, at some kind of conference for music and film, I got permission to do it, just because the way the score was used and what not, it doesn't get the scene of it, it never did get any release. It was quite a good kind of film of its type, a kind of piece of very superior journalism, edited by Daly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2103.63,2323.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2327.29,2328.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I've seen two movies, one of which I've been in charge of the team, I don't know what, but I've also seen Sonder. You've seen Sander? Yes, yes, yes. Those are the two movies.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2331.3,2343.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e The white heads were cut in 16 mm.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2343.97,2350.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, yes, yes. I saw a color copy machine. That's it. The colors are really good, I think. Ah, yes...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2351.34,2356.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e It was blown in 35 and I still like the colors in 35. You liked it in 35? But we worked a lot. Do you know the cows? I've never made a film about cows.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2356.22,2369.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Non, mais j'imagine que ça c'est assez...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2370.23,2371.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e No, no, they don't follow at all. If we move somewhere and the cows are heading towards us, they stop, they look at us.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2373.05,2383.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e In the other direction. And so it's very complicated, you have to know exactly, if you want it to pass next to you, you have know exactly where to place yourself, you really have to be in the frame to place And so, it's quite complicated, we were always filming with the 300 mm.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2384.03,2398.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Yes, it gave me a sense of style, you see, I was very sensitive to that. I really like a staging where the image and the camera contribute to a certain tonality of the ensemble. And it seemed to me that these long plans were made to pass the poetry of the countryside. It was really scary between people, etc. Very nice. I was wondering why you chose a female voice. I am interested in your answer because I found that it was well found, but why?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2398.8,2441.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e I think, unconsciously, it's because it's a film that...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2447.33,2453.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e At the camp, if you want. The birth, life and death of cows, the rhythm of the seasons, and also something, for example, branding, when you mark with red iron, it's a bit like the Polynesian rites of the Tatoo, isn't it? Yes, of Flaherty. And in all of this, there was something... At the same time, they were getting closer to the blood of animals, because it's cruel. And at the same, they had a certain tenderness, because these are the most elementary things. I had babies, I had very primitive children. We have a relationship with them, like the cow has a relationship. So there was almost an element of tenderness in my occupation. And I don't know, for me it was... C'était normal de demander à une femme de lire le commentaire, et comme ça s'est adonné, la femme elle aussi était enceinte.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2455.82,2530.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Bye-bye. Yes, what strikes me is that at the same time as I was changing your painting, I made a transition in my head and it destroyed the image. And it seems to me that you made the same effort with the sound track that you did with the objective. It was to compress, to reduce, to erase, so that there would be a kind of flow.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2533.98,2561.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e We'll be, we, we'll be.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2562.43,2563.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e And at the same time, this wood is what cuts the most with what we see in branding. Taking a real universe of a man, cutting it with a wood of a woman seems to me to be an idea that gives relief, that makes the whole thing the proper aspect. So, going from there, it seems to be... A characteristic of the French team here, these researches of this genre that go in the direction of a sense of poetry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2564.04,2599.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Yes. You know, this film and the Metro Center have not been produced in the French team. Ah yes? During the very long years, I worked in the team of Tom Daley. I was, for example, associated with the editing of Paul Inca. I was the one who did the editing. Okay.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2600.08,2617.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Good, good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2617.74,2617.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e I did the editing of the film. I didn't do the editing, but I worked with Wolf Koenig, I think, who is the first creator of the movie. And it was with him that I worked for several months on the editing. So I was in the team of Tom Daley, and these films were produced under the direction of Tom.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2618.05,2635.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Ah, bonjour. Ah, bah tu me donnas ça. Bon bah, à la porte.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2636.939,2639.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e And so I did them in an English team, but since I have the French expression, I chose the commentator of my choice, and I chose a French-speaking commentator to write the The comment is not mine, I asked Jacques Godbout to write it. And then we finished the films in French and in English at the same time, and then it's not from the French team. Now I'm part of the French Team and I've just shot my first film within the French crew. A film that I just shot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2643.89,2676.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e How would you describe the differences between these two teams, the English, the Spanish and the French research?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2677.01,2686.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e There are not really two teams. That is to say that there is, in English production, a wide range of preoccupations. The cinema in Canada, in Anglo-Saxon mediums, found its first justification during the war, and immediately after the war the cinema of education, the cinema utilitarian. And so he formed teams of people who were either journalists, or sociologists, educators, I don't know, and whose primary concern was not film research, but they knew much more, for example, of what John Gersen had left behind him. So he tried to form production teams, several production teams in the English sector, which had different trends. For example, the Nick Balla team, all these things, today there are no more teams like this. But until last year, there were some. Nick Bala's team took care of a lot more editing, stock shots, films for cinemas. The Time Delay team was the so-called cinematographic team, where we finished the films, we always made the budgets, we never respected the schedules, we had a lot of difficulties. And we were told to finish the films immediately, with very little money, and that was the end. Colindo has been doing our universe for seven years. Thank you. No, thank you, I'm not filming. And there was a team that took care of a lot of films for children, educational films, information films. So there was quite a wide variety, and then later there was the TV team. Whereas on the French side, because there was cohesion, we are in Montreal now, and there is a real cohesion because all the people are from Montreal, they all know each other. We are very connected with the artistic medium too. There was only one team. Administratively, maybe two or three, but there was only one group of people, and we all knew each other. And we were all from, almost all the people were from the same preoccupation. There are few educators, for example, among the French teams. So there was the French team, which was a minority team, a team that had a certain difficulty to be put on foot. And there were only half a dozen directors at the start. Which, like an agreement, were launched in a certain direction or in another. And what characterized the French team was a certain cinematographic research, but not so much a formal research. That is to say, it was the desire, even formulated in an explicit way, not to cling to rules. Orthodox de l'ancien cinéma et à l'anonymat du concept du public servant. The French filmmakers were authors. They all wanted to be authors. There were no cameramen, there were no editors. They were all authors. Everyone wanted to become directors. And if you didn't become a director, it was a tragedy. They didn't have the idea, for example, of a guy who would be an excellent cameraman. And that's all. If he became an excellent director, he wanted to immediately become a filmmaker. He wanted to make his own film. Because in English, there are excellent editors. Tom Devay, for example, is a great filmmaker who never made a film. He never wanted to do it either. He understood that he could work like that. These are very marked differences that reflect the cultural differences of the medium.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2688.69,2908.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e We have noticed that in the English, there is an effort on the background to grow, an effort of basic structure, while the film takes a fairly simple form, which develops to a certain extent. In the team where the films are made by the French, there's much more attention given. At the surface of the film, the games of juxtaposition, games with the cinema side of the movie, this is often noticed in the films I have seen, and in others too, fashion I think, efforts to push in the direction of juctaposition which may be used for free in reality, who tries to form a dialectic, a certain impression. I was wondering after this year...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2908.17,2968.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e It's because when you don't have 25 years of tradition behind you, when it's a group of people who are young, when the cinema is not a serious vocation in the sense that it has social justification, but is a serious job in the way that it is a personal commitment. Because all these things exist, and we don't have a film script, we have nothing, we don´t have a producer, we read the cinema´s pages. We invent things, and when we find something, we use it until we make the last move, like the freeze frame for example. What I'm saying is that it wasn't a magic trick. No, no, no. The psychological element was that it was almost a toy. We were having fun. And there was me. The concern of saying something that is intelligible and necessary. There are many films that don't say much. We look at them and say, yes, that's it, but it doesn't strike. The film about fashion, Les Bûcherons, has something to say. He has something. It's a compromise. It's hard. Well, he was more severe, the teachers are exploited. They are exploited by the company, they are exploited by the English, they're exploited by everyone, they're exploitation by ignorance. And in his comment, he used to say, the priest comes to see them once a year, we give them fresh fruit that day, we give him the blessing, and the priest eats with the patrons.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=2970.419,3087.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e That brings us to the question of commitment. We noticed what you said there, that there is rather a personal research that is up to them. That's it. And not really a need to say anything. But we also noticed that a lot of young people, the very last ones, at least, they want to talk to him. Engage. Make more engaged films. Look at the French people. Ah yes, but here...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3090.38,3122.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Ah, yes, but now we're in a political context, aren't we? Canada, the French Canada, to a certain extent, has been considered colonized. And not only by the people who are extremists in the province of Quebec, but by quite a few people and even by the outside observers. That is to say that we recognize someone who is colonized in the sense that he has less chance, for example. D'accéder à telle ou telle situation, à telles et telles statues, n'est-ce pas? Il a plus à faire, vraiment, avant d'en arriver au même résultat que le colonisateur. Alors, il y a eu une poussée nationaliste très forte depuis dix ans. This push, in these most healthy demonstrations, tends to... Crystallized a cultural expression, an economic expression, a particular dynamism, etc. It is an expression more politically engaged, aiming towards complete separatism. And in the political context of Canada, the federal government naturally would like to preserve its political unity in Canada. His economic unit, and finally see how the Canadian-French dynamism is oriented, in a way that contributes to the strength of the country. And he is not at all inclined to allow people to make films that would politically be anti-federalist, anti-Canadian and pro- a political independence of the country, isn't it? And that's what worries young people a lot. The nationalist movement has made a lot of progress for young people, and the separatist movement has also made a great deal of progress. And so there are filmmakers who are going to see things and we tell them you are documentaries, look around you. And they look around them and say it's terrible, isn't it? We go to our province and we introduce ourselves to a store and they refuse to talk to us in French. We go here and we see people who happen in Cadillac and then there are very poor people there who can only work in factories because they have not had education. And even if they had one, they speak English, and then they think in English, then they color one or two. We are decolonized. And if you want, the documentary truth is unreachable by the organization called the National Office of the Film. So there is... It's the frustration of some young filmmakers who can't approach themes that they consider very important and which have a political connotation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3121.47,3313.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e This is perhaps at the basis of the accusations we read later in the French writers against the Office of Film, who say that the Office is the creative link of the French Canadian cinema. Do you see a solution?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3314.97,3335.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e I think that suffocating a creative element and simply putting a certain boundary to political expression is two different things. If there are filmmakers in Canada, it's because there was the film officer. If filmmakers today have the opportunity to express themselves freely, at least in a certain number of directions. And this number is considerable. It's because of the film's frustration. If the filmmakers don't have to worry too much about finding viewers because the state... Finance the film without asking them to find spectators. It's an euphoric occasion, an extraordinary situation. It's because of the National Film Office. If we could accuse the Office of the Film of suffocating something, it would be because they would embrace it too strongly, wouldn't they? Because if the filmmaker never has to worry about joining the public. Eventually, his work dies. Because my personal opinion is that cinema lives only to the extent that it is understood, that it joins its audience, right? And if our films don't have that obligation, they will become a bit like the films by Willard Mass and Stan Brakhage. Some great geniuses. I love Stan Brakel But a half of Steinbracket is nothing. It's zero. Zero, zero, zero. He could never become something in this line. He could also never throw away the basics to become something else. While having actually confronted the public... It's the basis to become a lot of things, depending on your personal possibilities. And if you want to make a complaint, it's because you don't demand... You suffocate by hugging, by being too nice. You don't ask us to join.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3338.31,3481.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Are you the president of the association? Yes, yes. So tell us about it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3482.96,3489.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e The problem is that I don't know what to say. Oh, well, there's no problem.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3491.549,3494.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Well, there is no problem in the association's reports.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3494.08,3495.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e There is no problem with that, and those who see problems are very hard to see, I think, in all communities.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3497.9,3509.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e The artistic community, whether it's in New York, in Montreal, in Paris, or in Brussels, the people, the small people, all together.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3512.7,3521.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e They like to argue over the ephemeral prestige, and they like to play with each other's movements, institutions or organizations that work for cinema.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3521.03,3540.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e So when we say that the professional association of the filmmakers has a problem with the professional associations of the film, these things come from people who don't really understand...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3541.98,3553.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Neither the scale of the film nor the scale the professional association of the cinema.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3554.02,3558.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e And they do as they do in all the capitals of the world, where there is cinema and so on. There is no problem because the Association Progéno des Cinéastes is...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3558.97,3568.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e A group of hands that crystallize in a rather obvious way now. The place, the role that the creator of cinema plays in the art of cinema and in the industry","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3570.04,3593.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Cinema, and at the office and outside, etc. And in time, to the cinematographic creator, to the one who contributes to the creation of the film, in time to give him the place in the scale of things that come back to him. There are only the rights that come back to the authors of the films, the rights of the authors, it's something. For example, The association has become a member of the International Federation of Filmmakers, for example. And we put a lot of effort into it. I wonder if we could... It's not my office, that... Yes, it's your office. It's an organism that has only positive things to do, and it's not even a union. That is to say that its goals are the goals of a certain idealism. They play a moral role, let's say. L'Office du Film, par ailleurs, est un producteur gouvernemental. Who employs filmmakers like Radio-Canada, who employs filmmakers like a certain number of people. But the role that the film's director plays is also a moral role, because she knows how to give a certain mission, isn't it? A generous mission. And so there is no problem since the two organisms continues, to a certain extent, the goals. But with different means, and not only that, but it seems to me that as the filmmakers themselves see what preoccupies them more particularly, in this measure, they make the filmmakers in charge of the film. To do what he has to do at the end of the film. And to dialog as adults and as it should be done in a production house where there is a normal relationship between the producers and the signers. There is no problem, and I think that the official relations between the film and the association are excellent.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256#t=3593.61,3767.56"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141755/file/262256/transcript/79526/annotation/80","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/526/original/trint_Coll458_jb0009_Cote_02_transcript.vtt?1747070356","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/526/original/trint_Coll458_jb0009_Cote_02_transcript.vtt?1747070356"}]}]}]}