{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/g73707zh4t/manifest","type":"Manifest","label":{"en":["Interview with Peter Watkins and Philip Donellan, Part II [1/4-in. magnetic audiotape], June 1965"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","metadata":[{"label":{"en":["Description"]},"value":{"en":["1 sound tape reel : 1.875 ips; 5 in. 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This is.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=7.62,8.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e This is. 1st of June, I guess it's Wednesday.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=9.48,15.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e London notes. Patrick has it. The trouble with television is America. In contrast magazine, The Television Quarterly, Summer 1963, page two, 62 Patrick Hazard. The increasingly false assumptions inhibiting the maturing of our country and its institutions, including television, seem to me to center in three interrelated areas one the cult of American superiority to the mythology of free enterprise, and three the doctrine of popular infallibility.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=16.23,50.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e What I am arguing today is that our institutions. Would more nearly serve our needs.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=52.77,59.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Present and anticipated. Where are we to purge ourselves of these superficially comforting, but actually self-defeating illusions? One the cult of American superiority. Perhaps the most blatant expression of the cult of American superiority was Charles Brewer's Bureau u w r convention of a few years ago, that America is the all time number one on humanity's hit parade, unquote. He meant by this remark to give our businessmen a heart during the 1958 recession. But its basic concept is one that all of us have felt to some degree. Now tribalism is centrism. Ethnocentrism is a universal phenomenon. And what local piety and reverence we call patriotism is a positive value, quite different from the innocent conviction that the outsider is the barbarian, the cult of American superiority, however, is something less and less valuable virtue of patriotism, and quite a bit more than the mere tribalism centrism. The convention that, because America is different, has a unique meaning for all mankind, goes back as far as the Puritan divines who regarded their settlement in the wilderness as a city on a hill, a special concern of Providence, which became a special lesson.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=60.61,138.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To the world.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=138.76,138.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The conviction that because America is different, it has a unique meaning for all mankind goes back as far as the Puritan divines who were going out to work in more secular and more secular form, we find the same spirit in the worker's description in the 18th century of this new man, the American, in quote, Emerson expressed the same idea in referring to the American Adam starting history again.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=145.06,169.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e In a new world Eden.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=170.14,170.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Down to intellectual history, from Jefferson to Lincoln to the 20th century, presidents with their New Nationalism, New Freedom, New Deal, and New Frontier. America has been the land of fresh starts, of continuing rebirth to wider purposes and horizons. The trouble starts, yet all the trouble starts when we begin to assume, by our actions and statements, that this American ideal is already reality. We laugh at the cult of superiority when we see it in another half grown up modern state, Soviet Russia. Their inane claims to have invented everything, including baseball, leave us limp with laughter. Yet our fascination with being biggest first, the most springs from the same kind of adolescence. We're certainly the richest. But are we the happiest? Yeah, we surely had the most freedom. But can we honestly say we made the most of it? We are the luckiest nation in history. But had we been the wisest in protecting and conserving our good fortune? No one had remembered how we plundered virgin timber and soil. The legacy of millennia. Can I answer that question affirmatively? No. To the rotting slums, gates, scapes of our city centers. A test to a higher level of individual responsibility on the part of respectable but fleeing suburbanites. It becomes clear to most of us that material possessions are no guarantee or even minimal happiness. They seem to be a necessary but not sufficient condition of well-being. Indeed, we begin to see that a society of abundance generates its own diseases. And on this we know already there is no correlation between gross national product and greater national purpose. Nor do we much doubt which GNP we need most today to put it. The trouble with the cult of American superiority began, it seems to me, when we began to assume that the quantitative revolution of more chickens and every pot and longer tail fins in every two car garage was what the American Dream was all about. On the other hand, addressing ourselves to the unfinished business of letting the other two thirds of the world in on the underdog, two thirds of the world in on the decencies of abundance could justify the continuing superiority of American civilization. Frankly, I don't think enough of us are touched by that vision of extending maximum opportunity to the rest of man. We have become bemused by a trivial trinity Las Vegas, Disneyland, and Miami Beach when we should have been reading John Winthrop, Tom Paine, Abraham Lincoln, and Woodrow Wilson. We've been watching lives. And who is it today? Eliot Ness and cookie. Our fascination as a people with such nonentities has kept us for long, for longer than television's existence, from repaying history for our unique opportunity. We've been the unquestionably lucky heirs of a once in a lifetime, once in a race, lifetime kind of convergence. The outpouring of the excess economic and intellectual energies of Europe, and the incredible potential of the North American continent, and to whom so much has been given, surely a great deal must be expected.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=176.39,369.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Page 267. The second part the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=373.63,377.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Mythology of free enterprise. We need a seemingly impossible task to energize us of that center. The kind of idealism that moves peace men and the urban and Quakers to donate 1% of their income to the UN is what would help us undertake a qualitative revolution at home. It will, in turn, make us willing to support the quantitative revolution abroad. A qualitative revolution at home, quantitative abroad. What we begin to expect of ourselves as individuals. The high performance that justifies fully free men. We can turn to our institutions and purchase those illusions about them. Then we shall lay the ghost of Adam's men. The cliches we swap about competition, progress and freedom.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=377.47,422.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e From government initiative simply no longer square with the corporate America we are living in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=422.42,427.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The foxes of the 20s. The business of America is business. What we need is more business in government and less government and business are not only useless as guides to action, but to dangerously try to keep imposing rural politics on an industrial culture. A complex, interdependent.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=429.02,446.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Technical and technological society needs a strong, active government at all levels.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=446.87,450.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The very vitality of the private sector of our economy has developed imbalances in the public sector that only an energetic government can handle. Let us not forget that the FCC was first founded in the 1920s, because business needed an umpire to quiet down the squealing and howling of unregulated wavelengths. Extension of government concern to the character and program promises of applicants for wavelengths was a perfectly legitimate safeguard that we would not squander a scarce public resource the way we wasted our physical resources in the pre depression period. The real domestic government is that which governs least was true when one wanted to throw off the arbitrary rule of the despotic kings, when the wide open spaces separated one man from his neighbors. Even Jefferson, however, started federal aid education in 1787 by setting aside land for the support of schools in the northwest. Already, ordinance, I think we should update political theory to say that the best government is that which attracts the least in confidence in public officials. If we could begin to attract the very best men into public service. The debilitating idea that politics is prissy, corrupt and inefficient would soon disappear. The fact is that today there are many sources of power which limit our freedom. Big corporations, big agriculture. Big labor. Big trade associations. To continue to assume that government is the only potentially despotic power is innocent beyond imagination. Take the issue of censorship. So companies and cigarette manufacturers have exercised a virtual censorship over prime time. Broadcast. Out of all proportion to their contribution to the gross national product for years, these high volume, low unit cost firms find fun and games more conducive to their marketing needs than controversy and significance. If the FCC can propose rules of competition that would insulate primetime schedules from the excessive power of such advertisers, I think such rules should be tried, and the complaint about federal interference per se makes the fact that powerful economic forces in the private sector are not always in the public interest. Regulations of the three networks could have prevented ABC from having to press the level of nighttime programing. Then I'm willing to entertain schemes for raising a floor of higher standards under it or network competition. Which brings up another metaphor a myth about our business system competition. I don't really believe that 3500 radio stations have served this better than 1000. Unless you consider the substitution of chubby checkers for a balanced schedule of news and public affairs and improvement, and the pension networks have for counterpart pension networks, have for counterprogramming documentaries and specials, or overlapping an opponent and opponent's schedule is competition that doesn't always redound to the viewer's advantage. I have no easy solution to these problems of competition in broadcasting or in other sectors of American life for that matter. I am sure that ritual incantation of phases of phrases like individual initiative, progress, and competition are no substitute for the steady and continuing examination of changing economic and social realities in America. After ten years of struggle, the educational broadcasters have successfully sought relief at the public treasury for tax money to accelerate the growth of a crucial part of the public sector. If this pump priming works, perhaps we should find further ways of helping the chronically undernourished educational broadcasters to fulfill their potential. I no longer believe the myth that the private sector is the only wealth producing part of the economy. Public health, public education and other non private institutions have contributed just as much to our abundance as has entrepreneurial leadership. Damn good. Three.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=452.6,691.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Page 270. The doctrine of popular infallibility.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=692.09,697.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You yell out if I'm disturbing you? I don't want anything. All right. You don't hear me very much, do you? I mean, like murmuring. Yeah. Good. Testing. Perhaps the most deeply rooted delusion. Keeping America and its television from maturing rapidly enough to meet its agenda is the idea that if the public wants something in a democracy, it's perfectly okay to provide it. No questions asked. Giving the public what it wants is a business shibboleth. Advising the public where it is wanting is regarded as cozy to totalitarianism. Some history, we took a deeper look at the dangers of ruled by the numbers. Whatever. John Q Once John Q gets, goes the refrain. But does he always really supposing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=706.8,771.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That he really wants what he really wants is a satisfying work?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=771.63,775.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Is a satisfying work. Well, and that in the action adventure programs, he superficially works out the tension and boredom of his job.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=776.67,783.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e More satisfying work is what he really wants.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=786.48,788.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm suppose, when he watches the sleek antics of convertible private eyes, he really wants a satisfying marriage and family life. And when she watches, when she watches the can compassion of Queen for a day, she really wants to exist in a community where mutual concern is an everyday reality. Or when she and her husband watch Jack Paar and Dorothy cook gallons. But they really want to share in significant controversy about the great issues of our day. What I'm driving at. Is that the ordinary American may maybe accepting shiny substitutes for the basic satisfactions a humane industrial society could provide him the possibility that what we call band television obscures basic needs. Is why I am unsatisfied with television criticism, which doesn't look for causes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=789.27,841.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e But merely wants to do away with symptoms symptoms. Another insufficiently discussed problem.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=842.02,847.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e About cultural democracy is that it always carries the risk of failure. Majority can choose poorly, even to the point of self-destruction, giving a public what it thoughtlessly feels at once may actually be greasing the skids, raising the skids into oblivion. The enshrinement of the entertainment of the entertainer as hero in America is surely an instance of the public choosing poorly, and it will take much painful readjustment to dethrone Liz and Fabian and Mickey Mantle and put in their place exemplars worthy of Freeman. If it is hard to dramatize the real heroes of the American experiment, and that is simply another example of how tough it is to be free successfully. For conclusion, page 273.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=847.63,897.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e What I've been arguing then, is that American television can ultimately be no better than our understanding of our own history, our institutions.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=900.41,908.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And ourselves. Whitman once said that great art requires great audiences and similarly, similarly great television demands in America, aspiring to real greatness, not merely a fanciful sense of superiority. And to paraphrase another great America, another great American, don't ask what this new medium can do for you, but ask what you can do in your home and community to help broadcasting achieve greatness. This does not mean, however, that we should let television get off easily by losing its responsibility in a labyrinth of multiple causation. As my demands on America are high because she has benefited so much from history, so my demands on the television medium are great because of its unusual potential, and our own great need for the understanding that leads to wise action to which much is given is as true of a medium of communication as it is of a culture. I think it is prevent providential that when America so needs a spark to galvanize it into broader action, so eloquent and vivid, the medium lies ready for businessman, educator and citizen alike to use in ways that will enable this and truly superior performances. Television's invention in the decade of the Cold War is a lucky break for us. It may well be our last big one. I hope that the ECB American Council for Better Broadcasts will play its part in fulfilling the medium's potential by at least occasionally wondering whether at least part.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=909.53,992.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Of the trouble with television is in America, but also reminding us that some of the troubles we have in America come.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=992.61,998.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e From a still maturing television medium.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=998.4,1000.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e The movie April 1963.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1006.29,1007.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Number eight. Holy shit. Or a large part of the issue devoted to cinema very today. Well, on page 13. Know. Article by Mark Shiva. Yes. Mark. Shivas. New approach. Yeah, yeah. You can now film actuality without arranging anything. What? Your film and record may be the true situation in quotation mark, but a montage of the true raw material. You can do any number of things through differently edited sequences of the true material may produce utterly different results. And both results may appear to be true among some of the technicians at Leon. A blinkered approach to the new possibilities was evident. The result of an inadequate appraisal of their medium because they could now record actual events and sounds. They believe in anything else, including any sort of a rehearsal of synchronization with a model, and unworthy of a showing at a conference on cinema. Every day at the material was not spontaneous time. How could it be true? The statement of Chris Mark are quoted by John Bruce, but the whole question of perspective is very poor, and they probably may put it out approximately two. It is not the ultimate achievement, but perhaps it is the way I think. In the light of this admirable quotation from a, it seemed to be no more than a blanket phrase which covers a number of film makers using techniques which can record actuality with me is for my purpose. It covers a number of men who have escaped the tyranny of the heavy camera, and the elaborate technical fair was done.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1008.45,1116.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And won an interview with the late Andre. But I saw it in the cinema. At present, the camera has become a sort of God. You have a camera fixed on a.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1116.95,1123.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Tripod, a crane, which is just like a heap, an altar. I bought it, a high priest, the director, cameraman, assistants who bring victims before the camera like burnt offerings and cast them into the flames. And the camera is there, immobile. Almost so. And when it does move, it follows patterns ordained by the high priest. But for. Now I am trying to extend my old ideas and to establish that the camera frame is one right? Only there's only one right. That recording what happens. After all, I don't want the movements of the actors to be determined by the camera. But the movements of the camera. To be determined by the actor. This means working harder like a newsreel cameraman. A newsreel cameraman films a race, for instance. He doesn't ask the runners to start from the exact spot that suits him. He has to manage things so that he can film the race wherever it happens. Or take an.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1124.01,1186.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Accident or fire. It is a cameraman's duty to make it possible for us to see a spectacle, rather than the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1186.52,1192.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Duty of the spectacle, to take place for the benefit of the camera. Having escaped the tyranny of your camera, the use you can make of your freedom is without limit. This is no longer a quote. The last words. Richard Leacock and Bob drew make reportage films.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1192.13,1208.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e They work in the way Renoir mentions in the interview bleeding of the camera from. He is only one that of recording what happens.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1209.62,1214.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e They have to find the events. They don't ask anyone to do anything or to say anything. So when they are working, they have to make immediate decisions on what they must avail this person, or that does not make sure that should be. Should the camera be pointing there waiting for something to happen? I can only prophesy and plan, but once the action begins. That may all be changed. Bob Drew said in an interview, there is a tremendous effort that goes into being in the right place at the right time to get it to happen. Being ready and sensitive enough to get it at the time of happening. Filmmaker's personality is much more effective in this form of reporting on what's being shown and how. That's the less obvious effect on the happening itself. He was his objectivity is in recording, not in directing this thing. In movie again, number eight, April 63rd on page 20, and an interview with William Klein talking about his work with The Passion. Thing for a single and other. Online. Speaking of Leacock is actually they'd be furious with the way I did the film because I even put words in the mouths of these people. Usually you do an interview like I'm doing right now. I'm talking about it for about an hour, and you're going to cut off five minutes. Question. They wouldn't approve of your use of the wide angle lens to get a character when a man gestures his hand. Klein I realize that in many cases, we would be spending a whole morning to get some 30s of usable material. So what I did was really was really to rehearse what people would say. And of course, it's not exactly what they would say to caricature. I don't pretend that it was stolen material. I don't pretend that we surprised them in the process of revealing themselves. I think it's one way of working. I don't pretend that it's objective, but I think it's a pretty good portrait, since a lot of these American fashion men were supposed to be speaking in French. I had the experience the day before of spending the whole day with somebody who tried to explain something in French, and he kept saying one word for another and nobody understood what he was saying. I decided eventually to rehearse it and tell them what we wanted to do it. I had to say, I'll boil down 30s of what I think he is and so on. That's about the time of this program is very limited and wants to get it, and wants to get a piece down to the necessary minute that we shot a woman's movement 14 times so that she said everything she had to say within the appropriate time and movement. This is the opposite of reportage, but I think useful. But the end of the film was complete reportage, so I thought using the two techniques was perhaps valid in the context of question. Did you rehearse anybody in the Spanish film? Answer this isn't really a film for me, it's more a reportage. We didn't really have much time for the fashion film, but at least we had two weeks. The Spanish girl in the shot and edited in six days.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1216.43,1394.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Too little to do anything coherent. Nobody was rehearsed.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1395.73,1398.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It was simply classic filming on the spot and the people talking and so on. But it was rehearsed in a certain way. For example, at the beginning I did a series of family portraits, so I did pose them, which is something I often do, and still pictures.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1399.88,1410.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Because I think that people reveal themselves in a certain way when they're posing, when they know they're posing, and to pretend that they're not posing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1411.37,1418.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e When they are. Seems more dishonest than trying to pretend that you always obtain this unique document. So I prefer very often when it's a fake situation, to let the spectator in on the fact that it is a fake situation. I like family portraits. People find themselves in the family portrait groupings for marriages, for dads and so on. And this was the case. And this was the case, I guess. There was death all over. Question. In particular, you used family portraits, the beginning of the electors film, too. That's not a film either. It's a survey. The interview technique is one they use habitually on TV, Which was amused by this procedure in the Chronicle over the summer. Its opening scene is as good. I was amused by it, and you can find it. You found the use it out of context because they're not doing a survey and they're not working for TV.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1419.29,1469.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I thought it was amusing to use it in context and to show how funny the whole thing is. The TV people didn't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1470.39,1479.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Think it was so amusing because the program was banned. They didn't like the political implications, and they didn't like the idea that I think just a survey is very dangerous. And the fallacious technique question. You would only disagree with the truly cock up attitude that comments from the person doing it are wrong. No, I think as far as they're concerned, this is the way they work. Everybody has the right to work the way they work. I disagree that they can pretend to be objective because one is never objective. As soon as you choose a subject, you're no longer objective. And as soon as you frame something, you're choosing one bit of the object you're filming better than another. There's choice continuously up to the final editing. So anybody who pretends to be objective isn't realistic about what are you going to do anything else for Saint Colin? Question and answer. No, no, I'm really not very much interested in the way one is obliged to work for a television.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1479.99,1535.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Program that comes out once a month. It means that you have to do everything in two weeks, and you have to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1536.13,1540.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Finish it at the last minute. Editing a film is like painting an apartment instead of one coat and then another. You need a day or so to decide or reflect what you never have. When you do a complete editing and mixing in three days. Thanks to Saint Cullen, I now have a possibility of doing some films for the movies, so I'm very, very glad I worked for the program. My kind of movies are actually the Marx Brothers and so on. This is what I like to do. I'd like to do things that you can get in photography, sometimes grotesque humor of life, and I'd like to do it on film. I think very often you can capture it much better if you prepare and write it. If you compose it. That's all I do fashion photography and abstract photography and reportage. And I don't think there's only one kind of photography, and I don't think there's only one kind of film. This is obvious, but the listen to people who do it seems they don't feel that way. All right. Now I interview the same article interview with Jerusalem on page 22. Question. Would you say that your present films are more important for what happens to the people in them as a result of making them, or that the film themselves are more important? Well, that's the last evolution. I did another film two years later after. Limit food. Okay. The great American film. I'll start that paragraph over. Well, that's the last evolution.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1541.05,1623.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I did another film about two years later.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1625.35,1628.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Two years later, which was one wire about a stevedore, on the average on a harbor on the Ivory Coast. And I asked a very simple young man to tell his own story, the wrong people. The film was silent, and I showed it to this man to record a commentary, which is done without any script. Just when he saw the film for the first time on the screen. This gave me the idea that there was something more in film that people could be involved in filmmaking. Tell you later, I started a new experiment with some students at the Abidjan College. It was the film la here many men. When I asked the students, both African and European girls and boys, to play a kind of psychodrama about racial relationships, the question, how much further do you think you can push this sort of psychodrama? Chronicle of the Summer. It was done in collaboration with sociology, with the sociologist Edgar Mora. He was responsible for the field work for the persons involved in the film, and I was the filmmaker. It's the first time that I made a film in Paris and my own country with French people. I saw that it was very difficult to make films like that with people who were not African. The African people are really very direct when you're filming them. They have absolutely no trouble in front of a camera. And at the beginning of Chronicle of the Summer, I was afraid because the people were paralyzed in front of the camera and they couldn't say anything very quickly. I discovered that the camera was something else. It was not a break. Oh, yeah. But let's say to use an automobile term, an accelerator, you push these people to confess themselves. And it seemed to us without any limit. Some of the public who saw the film said the film was a film of the exhibitionist. I don't think so. It's not exactly exhibitionism. It's a very strange kind of confession. In front of the camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1629.28,1734.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Or the camera is, let's say, a mirror and also a window open to the outside. Maybe the only way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1734.78,1740.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Out of these persons who have some who have some trouble to open. This went on to say to the other people that what their troubles are. The spectator reaches the spectator reaches the characters at a second stage, then passed the reactions to the Camp Rouge. Yes, but it's really very difficult to say because Chronicle of the Summer was the first film done in this way. Later, Mario Rispoli did two other films, but one was among poor people who were very close in in their behavior to the Africans and the other about people in a psychiatric hospital. I think that the last most interesting experiment is that of Chris Marker usually made, or he did the same thing as we did, but during a small period of time where he manipulated his film as he was making it with Moran, we were just so enthusiastic about this process that we were filming all the time. We stopped in October, but there was no reason to stop then. No reason to stop, ever. The film could have been without any end. I think that the experiment of Chris Marker is one of the most interesting in this way. Question. One of us in movies said that he thought the perfect form for Chronicle of the summit would have been the complete rushes unedited, and that as soon as you try to condense it into a commercial length film, you lose something. Rush. Yes. That's true. And I agree exactly with that. There were 21 hours of rushes and they're absolutely fantastic, but it's impossible to see a film of 21 hours. When we were working on the film, we saw the rushes maybe 3 or 4 times in full, and we were astonished by the results. But we knew that when we started to cut, we change everything in the film and do something else. It was impossible to say before which part would be better after editing, which was worse. And it's exactly the same in LA Tunisia, which were just a feature film with the same system. The rushes were also fantastic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1740.81,1849.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e There are a girl and three others an African, a student and an engineer.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1851.76,1855.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In the rushes. The student was absolutely wonderful and the engineer was ridiculous. When the film was edited, the student was ridiculous and the engineer was wonderful. But I don't know the rule. I don't know the way to do things like that. I'll get first to make more and more films of this kind. I don't know where we are going to, but we are going somewhere. We call this cinema verité. But of course, it's impossible to translate that in English to cinema or something like that. It's very near what you call in your country. Free cinema, of course. I think my methods have been similar to those of free cinema, where rights are, Anderson, and that where their rights are. Anderson. And that I had carte blanche from my producers to use a certain sum of money how I liked I was able to do this for my own African films, which did not cost a great deal. And in Chronicle of the Summer, it's impossible to make films of the sort of the producer. It doesn't give you a completely free hand. At the time, I was making up pyramids, man. I was particularly impressed by the discussion scenes and we were the limit boy. They stimulated me to try going further in this direction. Well, put it this question apart from reportage of the Drew Leacock variety, there seem to be two directions in which some are very taken. Development. One is for the development of the interview technique class form, in which it was used by Mario Rispoli, and I guess I fully. Maybe further in the direction of the psychodrama, like the last section of Chronicle of the Summer, where people discussed what they had seen. So the other direction is towards an improvization within a fixed story of the committee of the party, like Tunisian or Michel Brozovic Resort. Which direction you're taking? Neither Michel Bro made his film in collaboration with some students, so he was not the complete master of his subject. But he used the same method as I do. I think the fold appeared in Michel Bros. Films despite its authenticity, so that it is visually too beautiful. In this case, the esthetic of the beautiful shot takes away from this subject. This is something I've always believed. The beautiful shot is the worst trap one can fall into it. In the cinema, Lecoq believes that a bad and lovely shot is a is a guarantee of them. This. It's direct cinema. One follows one reports an event. The esthetic quality of the visuals is secondary, of little importance. My method would be somewhere between the two. We are really on the eve of a complete revolution to be achieved by the cinema. I sincerely believe that it is impossible to describe it as African or American Indian or Polynesian ceremony in which several things are happening at once without a film camera. In ten years time, one will no longer be able to describe a ceremony as in a book or as in a book on anthropology. By writing that the priest comes in from the right. He's dressed in blue. He is carrying a red bass in his arms. He puts it down on the ground. The whole of that would correspond to one second on a film. Hence the economy of filming the action. If one can film it with a synchronized sound, there's no better way of conveying the atmosphere. With the arrival of lightweight, direct sound equipment, which has not been finely formally developed yet. Everything will be changed. Absolutely everything. The study of African music as well as the behavior patterns. I'm almost sure that in say, 50 years time, there won't be a single anthropological book being written to describe behavior.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=1856.35,2051.469"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e It will all be done with films. But there is another sort of film which interests me a lot. The anthropological cinema applied to other things. I think we are moving towards a sort of film that would be.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=2052.429,2062.659"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Constructed more at the moment of shooting. This is what I was saying at Leon, when Ricky Leacock and Bob drew admitted the temporary figure they had with their film on Nauru. In that film, there was no real subject because there was no contact. And suddenly contact was established with a question put by Leacock to the Prime Minister. It is at that moment of shooting that the subject of the film was established, and then a certain number of films I am making now. I think perhaps the solution is to be my own cameraman.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=2063.17,2090.469"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e One can control one's film at the moment of shooting. One knows what one is going, and one shoots one's own.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=2091.28,2096.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e One's film accordingly. There's the other solution, which is to leave the rushes untouched, alone evident as complete documents in their own right, museum exhibits or something, but quite irreplaceable anyway. The television interview method is completely useless, except perhaps as a starting point for something else. I see two ways open to me. First, the choice of a subject limited in time so that the rushes would not last more than, say, a day.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=2096.5,2120.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I limited le PCR in order not to have too much material. Second, there is a film in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=2122.01,2126.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Which the author is conscious of what he is filming at every instant, and only presses the camera button to film something which fits exactly into the film he wants to make. Rather, it is a way of approaching a subject, which is a dialog between the director and later filming. I'm not doing this sort of thing at the moment, but I shall be trying it in the future. Same article on The one. It confirms that you only had movies, records, you know. Page 23. I'm talking about Edu Philippine. I wanted to include an idea Philippine, something which I had regretted not having in blue jeans spontaneously recorded dialog, improvising it with the collaboration of the actors. And in order to do this, I was obliged to find an actor whose language would evoke a whole world. This explains why I chose someone off the street. In fact, he was a bank clerk. I made my final choice after a long search in which we photographed about 100 boys in all kinds of places, swimming pools and small factory exits. Then we sorted out the photographs, did screen tests in the film The Boy as a way of talking, which is exactly that of what is called the TT values. Yet the sort of guy you'll find on a Sunday on the plus in Italy. So we brought with him his own way of speaking. Not that I left it all in the dialog. This is how we worked. I said to him, you say this. And I explained to him how I wanted it sent. Then he would say it in his way, and after a few takes, it came out really well. That was when we were shooting. Afterwards, we dubbed it all. During the dubbing, I wanted to keep the spontaneity, so I use an exact transcription of the dialog with all the others and I's and unfinished sentences, sudden changes of tens of sense, a sudden changes of sense. And when we had this text in front of us, I said to myself that we would never be able to reproduce that in an auditorium. But on the contrary, the system produced the exact intonations required. Since the text was authentic, it followed that the intonation was also authentic. Yeah. Not boring. How much did you shoot for the Philippines? We shot 40,000m for a film, which actually lasts an hour and 45 minutes. I hadn't much experience in calculating length and the first rough cut around about two hours, 20 minutes. Because of my method of improvising, I was obliged to shoot a lot of film. I went off shooting the way people go fishing. I had, of course, to cut a lot, and if I considered the amount of film that was necessary or what was actually what you actually see on the screen, there was not much. But in view of all the rest I shot. It was a lot. Film for a director, it's just like paper on for a writer. One couldn't shoot any my sort of subject any other way. And on top of that, I sometimes use several cameras on television. It was a film that owed much to the method of television, and three cameras use up more film than one. You said that in BlueJeans you had a rather unusual method of cutting for the first and last sequence. My idea for the last sequence of BlueJeans was that it should be a unity. Rhythmically. I didn't want a series of shots from the front side and behind an angle shot, so I wanted everything simple with the characters walking past a constant background. I mean, I could use some sort of myself. I'll do everything from the same angle with the same ones. Secondly, I wanted it to be edited rhythmically and accord with the music. So naturally I looked for points of synchronization, and having found them, the question of cutting it rose. And I arranged it so that the cuts happened on a strong beat, or when a car passed in front of the camera. In some places, I found that an effect could be obtained by a jump cut, but at that time I wasn't doing enough. One doesn't always know how far one can go, so I did it by arranging that the cuts always coincided with the music, in particular with loud notes. I was quite satisfied with it. Page 25. How did you choose the two worlds? Radio Philippines in the beginning? I wanted to choose them in the same way I chose the boy. At first I wanted a couple of typical girls, but I didn't follow this idea because I met Evelyn Syrie and she had exactly the face that I needed for one of the girls. I wanted a girl who looked like a Renoir picture. When I met her in the Angeles early in spring, she had a very Auguste Renoir look about her. Or for that matter, is online. Why I look? I was impressed and asked her to come up to my office to be photographed. The second girl I chose was also French, but she was overrun by the camera and couldn't act naturally. She became self-conscious, and the result was an imitation of Brigitte Bardot. I like Brigitte Bardot, but not imitation. So after a few screen tests, I decided not to use her. This was only a few days before shooting began. As it was holiday time, all the girls we tried to contact in Paris had gone away. We had no time left to go looking for a girl in the streets. Carlo Ponti, the Italian co-producer of the film who was in Paris at that time, said to me, you must come to Rome. I've got some girls in a contract. And I thought, I'm going to be landed with a girl I don't want. But no girl had been picked. I saw 2 or 3 girls who were charming. But they did not fit the role. One afternoon, as I was flicking through Alberto Atwater's casting register, I found a photo of the funniest Sabatini. I telephoned her and she came within a half an hour. And I realized that she didn't speak a word of French, but she fitted the part exactly. She was wearing a dress with great big flowers on it. I said to myself, she's perfect for the part. I'll take her. She didn't speak a word of French, and Ponti said, how are you going to manage? I said, I don't know, I'll find a way somehow. How much did it cost to make you a Filipino? 70 million old francs, including publicity. This is an interview with Tony Richardson in the Journal of the Society of Film and Television Arts, number six, autumn 1961. And the Whole Thing devoted acting for theater, film and television. Published by the Society of Film and Television Arts, three So Square, London West one. 20 Richardson says. In the theater, on the other hand, you work out everything from the very beginning. You're not working in terms of the immediate result. You're preparing the play and preparing it as a whole, slowly developing and working out in a good production. You do an enormous amount of preparation on the text, on the characters, within the historical background and so on. Your aim is to make the actors so totally secure by the time you finished with them, that they have a bedrock to rely on when they go on to the stage. There's a much greater element of Improvization in this summer. Indeed, I think Improvization is essential there, whereas after the initial preparatory stages, the work where you're experimenting, it uses its uses are very limited. In theater and the theater, there must always be a control and inspiration. Inspiration may come at a particular performance, but you've got to be prepared for all those performances when it doesn't come. I feel that in the summer, if you don't get inspiration, you have nothing to worry about. For this reason, I don't like to rehearse too much in films. There are certain responses which an actor can't make too often without becoming set in them. For this reason, no actor would agree with this. But I'm sure it's true. Actors were much better on location because they were forced into a new physical situation, to which they're responding all the time. Acting for the cinema is much more internal in the cinema. Just the thought that matters. If people look right and the thought is all right and the performance is right, the theater thought has to have a greater architecture, greater shape. The actor needs to have a technique, a technique of external expressiveness. Then the audience provides an extra element in the theater. The relationship with the audience does not exist in the cinema, where the actor has nothing to do with concentrate. You have just what the actor in the theater has to externalize, and he has to adapt the performance so that it's interesting to a particular audience on a particular night. The presence of the audience constantly affects the performance. I've seen Luther be terribly affected by a bad audience, just as a good audience can quite transform it. All the same, I don't think actors ever feel so free in the cinemas, in the theater. The technical considerations are so much more demanding in the movies, in the theater, an actor knows that once he gets into performance, he's in command. I think it's something to do with this that very few actors go on being good in movies. Don't misunderstand me. It's not that I prefer the theater to the cinema, not by any means. It's just that I think for the actor, the theater is much more satisfying. Of course, for the director, the theater is more satisfying buying in terms of working with actors. If you try to sum up the satisfaction to me as I see them, I would say that the reward for the director in the theater is to make the actors good, to feel that you've given them the full life that they have in them. In the cinema, where the actors are are too much to a much bigger extent, the director's raw material, the satisfaction is of creating something of your own.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412#t=2126.84,2674.4"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262412/transcript/76722/annotation/56","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/722/original/trint_Coll458_jb0066_Watkins_Donellan_01_p1_transcript.vtt?1740615539","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/722/original/trint_Coll458_jb0066_Watkins_Donellan_01_p1_transcript.vtt?1740615539"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408","type":"Canvas","label":{"en":["Media File 2 of 10 - Coll458_jb0066_Watkins_Donellan_01_p2.mp3"]},"duration":1250.37714,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/408/original/Coll458_jb0066_Watkins_Donellan_01_p2.mp3?1739227883","type":"Audio","format":"audio/mpeg","duration":1250.37714,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0066_Watkins_Donellan_01_p2.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is the second episode of The Newcomer, John Borman.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=9.75,12.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I have a theory, this is part two, I have a theory that every director, for his early films, picks people who look like himself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=28.62,34.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The Bristol, like Rome, is built on seven hills. The Georgian terraces of Clifton cover one of them. And here, Alison and Anthony Smith have their attic flat with a view. It comprises a bedroom, a small kitchen, use of the landlady's bathroom downstairs, and this living room, which also serves as a place of work for Anthony, who is a freelance journalist and writer. In two months' time, they're expecting their first child. A year ago, they were unmarried and uninvolved. A job on a newspaper, both intended to move on. They met by chance, got married, and are now, despite themselves, deeply involved in Bristol. Their child will be born here, and sooner or later, they've got to find somewhere more substantial to live.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=40.21,87.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Which means tricking around the state agents' offices and throwing small ads in the papers and mortgages and banks and heaven knows what else.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=93.89,101.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e You know, the way we're talking about moving and looking for a house, I really am thinking of moving out of Chester into another. Pulling inside myself, to eat on my own hands and having a house with good gardens, to hear from my family, and it, you know, I don't want to sit down like that. I can't believe I'm sorry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=103.83,163.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e During all of this, we've been trucking through in a car. Had only two introductory shots of the person that's involved.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=168.88,176.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e I know the thing is Anthony and I are thinking of, um, by the hand that's just been doing this, and mother wanted to do the same sort of thing that you've done to your hand in freedom of place. But everyone we talked to, you know, is very off-putting about it. What's your advice?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=185.81,200.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e We don't need those, we don't have to request them now. 500? Yes, that's all I've got. You don't have that in the open house, do you? It's easier said than done, mate. Getting this all the more you've got an open bed.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=201.84,212.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Yes, I know, but we do want to stay...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=213.9,215.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Well the local letters, the local dignitaries of the corporation get a tiny bit shy by coming across with anything on one of these very old buildings, you know. DIFFICULT! The places were built to last, you know, next Friday and the other day. This one right here has been down for about 50 years. It hadn't affected it much yet. Hi, how's it going?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=219.59,260.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e What was the name of that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=261.31,262.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e You wouldn't get a cheap visit if I got this place a 250 freehold, in fact. And when I bought this place, I moved in with my good friend. If it's going to be free of you, then you'll need more than one mattress, that's all, but you can still do it. You've got to be frightfully careful though, you can't, you know, you cannot rush. Terrible accident. You see, the point is there are three sides. There's what the, um, the landlord will tell you about the place, which is that it's all beaming and marvelous and singularly lovely and a rare, visually picturesque in residence. And there's what, so there, will tell about the the place because the poor basket has got to cover himself, you now. So he'll usually shoot a lot about... If you touch this, it's gonna fall down, you know, stay on the front door or the back wall will fall off. They don't go to such wild extremes, and they don't even go to the next at all. The surveyor will sort of pull his nose, you know, and come weeping towards you and say, Oh, I discovered the most terrible rot in that being, and this roof is not going to last.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=264.07,328.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Actual taste of the building societies. Remorselessly, the lure of the 90% mortgage sucks out the vitality from city centers and spreads it thinly over suburban acres. The classical façade of Clifton, with their echoes of 18th century... Can't make up his mind whether it's...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=349.97,366.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Can't make up its mind whether it's going to be straight to the documentary or whether it is going to do the opposite of what's going on. And probably part of that problem is the fact that he has to start, establish that at the beginning, but it starts out with this long music bit in the narration.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=365.71,383.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e I feel every single shot is there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=386.31,388.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 9:\u003c/strong\u003e That's nice. Yeah. Well, I guess you've run into this a lot with this one.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=390.36,394.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That presses the very interesting scene there where he was...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=394.74,397.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e This tape, and my reckoning surely makes sense. Show me, will you challenge me? Should I not come against you? No, no, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=397.86,407.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Now, again, instead of...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=409.55,411.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Many of our friends in Bristol are in some way connected with the University, especially the drama department, because I studied French and drama. For instance, Anthony knew my tutor Jules Brandt before I knew Anthony. And a lot of our friend now, if they're not actually in the department anymore, have moved on to the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=413.62,437.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We really aren't getting led. He isn't allowing us to be involved, really. You know, we're constantly set aside.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=437.97,444.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Come in on again, please.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=446.06,446.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e That's definitely part of his process, mind you. His process is to do this, almost certainly at the bottom. But it doesn't work as well as it does on top of his mind.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=447.87,456.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 9:\u003c/strong\u003e Oh, because we haven't got enough time happening, have we? No, we're too, it's more busy.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=455.3,461.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Just the party, that was a housewarming.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=469.68,471.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 9:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=472.18,472.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is the first time we've contacted the people. Yes, absolutely.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=482.42,488.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 10:\u003c/strong\u003e New celebration these days.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=494.67,496.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He is a little bit afraid to let it happen, isn't he? Yeah. We're not being allowed to be told by what's going on. That's just in the text. There's this kind of estrangement we have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=500.53,514.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 10:\u003c/strong\u003e You hope that they'll mix together. The one factor that they all know you. So you wait for a kind of chemistry. You hope that as many people as possible are piss out material and that they'll all release their pent up, tense atomic energy at roughly the same time then they'll feel explosive and good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=515.01,539.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e I mean, the two people are pretentious, fundamentally, you know. I haven't really seen them. I know what the girl looks like, what the guy looks like.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=545.43,554.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e I'm really, you know, I'm a little bit different than I did when I was a little boy. She looks like the girl in the theater art. You know what you're saying? Somebody who was in the theater art situation. Yes, that's right. In any kind of university theater art? Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=568.26,583.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Tail and inspiring to be somebody. That's the thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=584.329,589.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e I think it's the, um, the only thing that's not good. No, it's not a Christian thing. We're not talking very much Christian about this. We're getting away from it. You're a Christian!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=589.39,598.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e It's visual, but it gets exactly, because he creates emotions by camera movement, and in English films you get everyone saying everything to each other about someone else. I tried to sign along the dole as a painter, as an artist, and there wasn't such a thing. You know, the great thing is to switch off the sound and still understand the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=599.31,615.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Now he's got in close-up and he's making little letters, words come out, dilemma, see what? Conflict, dilemma society. Relationship. But he hasn't got a style for this. He needs a lot more shishi style to bring this up, huh?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=632.27,652.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Exactly, I think so. I like it, it's an idea, but it doesn't work for the rest of the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=651.51,656.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Schizophrenia. It's kind of, it's a satirical idea. It would be something that, uh, Marker or William Coyne, Goddard would use.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=658.39,666.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 10:\u003c/strong\u003e Learn! You know, learn to study! But this is radio! We want vision!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=666.71,671.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Which was this what films were these these were some films on modern art and this was one just simply a starting film on oh yeah two young artists in London one abstract and one sort of representation","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=677.34,688.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, Arthur Barron told me that this was true when he did with Hubert Humphrey and James Baldwin. Yes. He recorded four or five hours of interview. Yes. And then rather than using the interview itself, he worked it through and condensed it and picked it up and poeticized it in a way. Because he, by sharpening the best parts of it, you know. Then he got them to do it again. Then he get them to read it. Yes. And then he saved from the interview. Those parts of emotional breakdown or real emotional emotion which fit and he used them intermingled them with the other.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=689.68,726.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Change.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=727.73,727.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, sorry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=728.82,729.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Robert Kidd. I've only seen one film of his. They did a whole series of 12 or 13 portraits of ordinary Americans. They took a team of two directors and a producer and they leapfrogged the camera crew across America, picking people, nobody of distinct, you know, no famous people. A butcher in a small town and a local newspaper owner and what not. And then. None of these, they come out, they're half hours, and they follow my two, and he did about four of those, but the only film of his I've seen was about a painter in Glasgow, which was very good, I thought, and now he's done this on about a poet, which we would have seen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=734.28,773.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But, um... Actually, you know, the documentary is pretty lively. It just doesn't draw attention to itself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=776.48,782.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e I think we'd, I think really actually television eats up an enormous amount. I mean there's almost, and of course the trouble is really, as Stephen was saying about that man who spent two years making a film, what I'm sure used to be true of documentary directors is that they did take a long time to make them, and in television you never take very long. I think your average editing is two weeks for a half hour, three weeks for fifty minutes. Of course it does. It kills the finesse.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=783.76,814.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I mean, but Kaladan must have been put together in longer than four weeks.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=817.56,821.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e I don't think it was much longer honestly. I don... He said he shot it in three, didn't I? This seems to be...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=821.46,826.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I know. I can see shooting it through, but putting it together would take longer. You know, just the indexing problem is...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=825.84,834.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Mm, enormous.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=834.97,835.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it took me four months to do the march.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=837.41,839.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Yes, but that you had you had an enormous amount of stuff. I have 90,000. Yes, yes That's a lot of it","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=840.21,846.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But just, you know, just feeling at ease to bring things down and then syncing up sounds and actually building a soundtrack out of wild sounds and things like that. You know, having a, I think, what, we had a 10-track mix, you now, things like that. 20-Yard mix. But, I mean, that's fun, yeah, and it's only a 30-minute picture. Yeah, it's nice to be able to have that. It's nice, yeah. It's kind of luxurious. Ha ha ha. Actually, I think I'd like to do some television documentary work, but... I'm sort of kind of still very old school in the sense that I like to take time...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=848.35,891.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e You ought to sell some ideas over here, except that the trouble is the money we'd pay you would be peanuts by American standards.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=893.55,898.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, it doesn't really matter, you know. That's not the point at the present time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=898.66,902.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e They're very open here, not so much for people as for ideas, I mean if you have ideas, the man incidentally is the chap we had lunch with, Stephen if you hope, because he's now the executive producer for all the arts programs, which covers, any built documentary really comes under him as opposed to the political or straightforward sort.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=907.7,932.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well he'll be interested in seeing a documentary we did in California on these teenage kids for Goldwater.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=933.62,941.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e I think I should have thought he would be very interested in it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=943.03,946.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I wish I had a copy of it. I didn't shoot it myself, but I supervised it by two of the students. It's really excellent. It's a swingin' thing. I mean, you know, it doesn't quit. And it follows these kids up through their bitter disappointment at the election. After they've gone out really, you now, saying all sorts of things, saying things like, everyone knows that if Johnson's elected, there'll be a communist takeover in six months. You know? Yes. And, uh... Uh... Better brinkmanship than chickenship uh... Uh... You know and they're out there and it's wild, it's sort of a skeeving stuff do you see any colors?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=945.67,983.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Do you see any, do you use any commentary on that? No commentary at all.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=983.2,986.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Strictly, I mean it all comes through the picture, it doesn't need anything else, it's a kind of a put down by the people of this kind of youth need for an idealistic crusade, you know, whether it's left or right, it just happens to be the right, you know. And I mean, it starts out with this girl saying... I'm 17 years old and my name is Sonny Dawson and I go to so-and-so high school and I'm for Barry Goldwater. You know? He smiles, he's got pigtails and everything, you know, and then there's like a little boy, a little kid and he's 14 years old, and he says he'd gone down to the Goldwater headquarters to get some things and they'd asked him if he wouldn't join up in the Goldwater at GoGo group, you see. And so I thought it over and went home and asked my parents and I came back and I did and he said, gee, it's the greatest thing that's ever happened to Yeah","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=988.33,1042.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e You","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=1043.609,1043.609"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And then they go back to this other girl again and she says, again? And you hear the guy say, yeah, go ahead, say it again. And I say, all right, my name is Sonny Doss and I'm 70 years old. I go to such and such high school and I am for Barry Goldwater. And then, they cut to a striptease of one of these girls in a big Goldwater or a go-go sweatshirt, you know, going down.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=1046.76,1066.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e 16 year old","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=1068.69,1069.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e With the strip music being played on the record, it was Goldwater-A-Go-Go, you know? It's really a swinging picture. It runs about 15 minutes. I think that'd go well here. I don't think we have releases on it for the United States, but you could get away with it here. Oh no, it belongs to the University of California. It's really good, you know, and then they have a debate. They debate what they call the wishy washy, lily-livered liberals, and so they have a couple of liberals up there to debate with, and the liberals get up and make arguments against prejudice and against this and that, against Proposition 14, which was an act in California to, it was to just to keep. Oh yeah, it was to do away forever with the zoning problem so that no one could ever sell a house to a Negro, you know, in a white zone. And it was a real discriminating thing. And so the liberals attacked that. And then, uh, there you go. Right-wing guy got up, the leader, and he got up. And rather than coming back to the argument and everything, he just came back with a recitation of the Battle Hymn of the Republic, you know, all glory and flag waving, you now, and the kids got these shots of these kids with their eyes just beaming, you, know, and some of them looked terribly fascist, you got wild looks, you know. And then they'd go wild and screaming and yelling and a sort of sickly Smiles and things like that are wild, you know. And then from there you move to the day of the election and they're out passing out things and making a party of it, you know. And then they're all there on the TV set, Johnson's wins, and they go to what was to be their victory dance at the evening and they are sort of milling around and they are trying to pick up their spirits again by cheering We Want Barry. And it's all kind of chaos and they sitting around. And then some LBJ people. Break into the party. Some Johnson people break into the party and they come running through yelling yay yay all the way with the LBJ and all this and one of them says get those goddamn communists out of here. You know and then and then they they dies down and the camera just moves on and you find a tilt up with a girl a little teenage girl wearing big sign I'd rather be right than president you know yeah and up to her and she has Nick","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408#t=1071.209,1230.86"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262408/transcript/79590/annotation/66","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/590/original/trint_Coll458_jb0066_Watkins_Donellan_01_p2_transcript.vtt?1747152714","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/590/original/trint_Coll458_jb0066_Watkins_Donellan_01_p2_transcript.vtt?1747152714"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413","type":"Canvas","label":{"en":["Media File 3 of 10 - Coll458_jb0066_Watkins_Donellan_01_p3.mp3"]},"duration":3247.8302,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/413/original/Coll458_jb0066_Watkins_Donellan_01_p3.mp3?1739227913","type":"Audio","format":"audio/mpeg","duration":3247.8302,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0066_Watkins_Donellan_01_p3.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is a review of Paul Roth's The Silent Raid in a monthly film bulletin published by the British Film Institute. This is December 1963, number 359, volume 30, page 169. It's called in Dutch, De Overval, D-E-O-V-E R-E A-L, two words. Produced in Netherlands, 1962. In Friesland 1944, as it reprises against the activities of resistance workers, the Gestapo sentenced six Dutch prisoners to death, sparing the life of a seventh police inspector, Becker, in order to interrogate him about Piet Kraan, the local resistance leader. Becker refuses to speak, and the six men are shot. Becker is tortured and persuades a sympathetic prison doctor to tell Epi Bootsma, a baker Hang on a pitch, lieutenants. But under further torture, he, Becker, may break. Epi and Piet work out a plan to raid the Gestapo prison and free Becker and 50 others. Epi and Piet work out a plan to raid the Gestapo prison and free backer and 50 other political prisoners despite several setbacks, including the unexpected arrival of a Gestapo torturer at the prison gate during the raid. They can try to do this in the schedule of three quarters of an hour without firing a single shot. The comment is this, the following. Paul Ruther's film is technically a model of the way in which such a subject based on an actual incident, presumably shot on a very low budget, can be effectively handled without recourse to any kind of violence. We do not, for instance, see the sentenced prisoners being shot and torture is indicated only by subsequent close-ups of the victim's bandaged hands. Yet there is no feeling that an adult understanding of the situation has been compromised. The film earns its U-certificate well. The situation, it felt, is, of course, too simple, not to say time-honored, to elicit any very strong reactions from cinematographers in the sixties. Tension there certainly is, but not enough to overcome the feeling of having seen it all before. Both commendably eschews tired war-found cliches, stiff upper lips, flashy heroics, even comic relief, but it provides no invigorating substitute. The characters, in spite of sincere performances by the Dutch actors, rather unsatisfactorily dubbed into broken English, are victims of circumstance rather than people. Still, the photography has a fine documentary flavor, and the settings are evocatively used so that one remembers the film for little things like a girl cycling along the country roads between the various members of the resistance group. Production as a whole is not unworthily dedicated to all those who depart in the resistance movement in Europe. In the 7th art, winter 1963, American magazine, this is volume 2, number 1, page 9 is a series of interviews, a compilation of interviews with actors called The Film Actor, a series On page 11, Rod Sire says, in talking about preparing himself for the scene problems, he says... Uh, if I have a, uh... If I'm doing a scene that has any kind of emotional challenge, then I stay by myself quite a bit beforehand. Where on the other hand, if I have a scene I don't want to become too involved with, I don' want to be so heavy I louse up the scene or something, then I will deliberately get into conversation with anybody. In answer to her question, whether post-synchronization bothered her, Jean Siebert talks about her experience with Godard. She says, no, it doesn't. In fact, I love it. I'm so annoyed when I'm acting to be troubled by sound. All of Breslau's was post-sanct. There wasn't even a guide track. There wasn' even a sound man within a hundred mile radius. We had a script girl there who just wrote down everything we said as we were saying it. We went in and matched our lips in the syncing room. It can be terrible, it can be awful. The big danger is that you lose the spontaneity. There is an indubitability, a quality in the voice, a quality of truth, which is very hard to achieve again. But for example, in Lilith, I'd have given anything to post-sync the whole thing, because we were shooting in a stacking area between LaGuardia and Idlewild and we lost, I bet we lost 45 minutes some days just waiting for airplanes to circle over. The actors come with all their juices running and ready to do a scene with lots of ideas. Three takes in a row are interrupted. And then you get one, and it's not very good, and you want to do it again. So you start over, and once again, a plane comes. Finally, you sometimes have the feeling. But the only thing that matters is to get one take where you don't hear the plane, which is not necessarily by any means the best take. That's kind of upsetting. About actor-director relationships. Page 12. What is the director's obligation to the actor? And conversely, what is the actor's obligation to the director? Anthony Newley replies, What is so sad about actors is that an actor transmits everything onto that director the minute he walks onto the floor. That is, this is his father, his mother, his wife, his lover. He'd die for this man if this man treats him right. Mechanical directors, directors who come up via influence or through one or two television shows, don't understand this. But real show business like Carol Reed, businessmen like Carol Reid or David Lean, understand this transmutation of affections and cuss at actors carefully and treat them right and don't embarrass them and don' hurt them because they're not going to get what they want any other way. I've seen actors leave the set in tears because this man has been brutal and unkind. I can't mean this more strongly. A director to an actor is a god in the right circumstances, a god. If an actor feels he can trust this He'll do anything, he'll do things he can't imagine doing. They make a fool of himself, but he must trust this man. Otherwise, he falls back on all those foolish tricks and falseness. Because he is alone, an actor is naked when he is working. Absolutely naked. Gene Seberg. The problem is that very few people, sometimes even directors, don't see the difference when a scene is really working and when it's just almost good. That's the real difference in the direction of actors. It's not what is going to make the film, but it makes the difference in quality of the work. Actors being immature in a sense, and infantile in a since, respond like flowers. You know, it's exactly what happens if a man tells a beautiful woman, or better yet, an ugly woman, how lovely she looks. I'll kill to do better then. And I think most actors will. Some actors work out of hostility, but not very many. Most of them, most of them really need to feel. I know this is to me anyway. That the director understands what they're trying to do. Then an actor will fly everywhere again. It's a delicate thing, it's very hard, because the director inevitably gets involved in all the technical hangups, has to. Has to make all the different kind of decisions. But finally, that's what it's all about. It's just four eyes up on the screen and what's going on between them, hopefully saying something which is meaningful at least to one person, but preferably the director. Rod Steingers says, The director is the father of a large family. The family has undertaken a journey and he has to make sure that they get there in the best possible way, the journey being the play. In my estimation, the director molds the discovery of the actor so that they fit the requirements of the given piece. He tries to get from the actor the highest revelation according relatively to the particular moment of peace. I think the director is the man responsible for the adding up of the column of figures. The actor is responsible for putting those figures down as fully, lifelike, and revealingly as possible. Robert Preston talking in here said today he feels that things are the people who work with the actors but he says it's not it's it's so it's like the old days of working with someone like Cecil B. DeMille who didn't direct except on a great scale and there were lots of crowd scenes. I did a scene with DeMill that took about two weeks to finish. It was an interior with just three of us in it and we never knew that he was on the set because he never bothered to direct us. He used to get... What he considered good people, and set it up and let it go. A man like Sam Wood did the same thing. But I'm glad the change has happened. In a question, what are the differences in working with foreign and American directors? Gene Seabird replies. Now she talks about foreigners, religious dedication. And then she said, you have a feeling almost of fraternity. The French word is camaraderie. A feeling that everyone's of equal importance and you're all doing your part. It's quite a wonderful feeling. Whereas occasionally here it's just become a kind of job. The creative excitement, I think, has gone out of it for many people. Generally American directors discuss motivation much more and discuss much more on the so-called Stanislavski line than Europeans do. Godard never explains a thing to anybody. If he picks you, it's already because you're physically right or because you have the quality he wants. Right now, he's doing a picture with Bardo and Jack Palance, and Palance is driving Godard crazy, and vice versa. Palance keeps saying, you want me to walk over there? Why do I walk over here? Tell me why. Godard just doesn't work that way, and he won't. And if you decide to work with him, you have to accept the premise. If you admire what he's done, you just have to do what he says to do and have faith in what he says and that's exactly what he wants. Question. Many European directors prefer using non-professional actors. What do you think the non- professional can give that the professional actor can't and vice versa? Rod Steiger. There's a certain kind of type of film, like a realistic, realistic, realistic film. There's certain kind performance that when photographed correctly can be passed off as being very real. What non-professionals do not give, which to me is the whole essence of acting, is their personal exploration of that particular piece of life that they are asked to portray. Because they have no means of exploring it. But the actor, a sensitive, talented person who is trained to be an actor can bring illumination. It's like a form of education. They can teach you a little bit about life. Furthermore, in foreign films, a director will get a face and figure that is marvelous for the part, and the performance is done later in the dubbing and editing room. And this frightens me, because it seems that it could destroy real acting down to its marrow. It's clever filmmaking, but it's not acting. It's direction. Gene Seberg. On a film where there is an enormous crew, particularly a New York East Coast crew, They are reputed to be very tough, and you're impressed by that. You have to win their esteem and win their respect. It creates, at least it did for me, for the first few weeks of shooting, special problems which I hadn't had to face in Europe. Antonio said, as I see it, an actor need not necessarily understand everything he's doing. In doing so, he tends to become his own director. In every respect, it's better for them to use their instinct. How necessary do you think it is for the actor to understand his role, and what part does instinct play? Rod Steiger. Well, I think it's necessary for an actor to understand his role, like I think it's necessarily for a chief, or a chef to understand his recipe. People always ask me about technique. To me, technique, if I'm doing a scene and it's going well by itself, I don't ask any questions, anybody, anybody any questions. If for some reason my background or something fits in this scene and I understand it instinctively, I don' have to use my intellect. Intellect in me is a tool to examine life when something's wrong. Acting and life are very close together. If I do a scene and it goes well, I leave it alone, but for some reason or another instinct comes in and gives me a warning in the form of I feel uncomfortable, I feel tense. Then I stop and go through all the technique I have, but you can't fool nature. Now that's why you feel uncomfortable. I must be violating some law of nature. Sometimes it's a very simple thing, like I find out after I made a big problem out of it that I wasn't listening to the other actor very well. My whole point is that when I'm in trouble, thank God I've got some training. I will also say this, I'm a great admirer of Antonioni, but I think the attitude of the Italian director comes out of the condition of the entire theater. They don't have many actors in Italy, therefore the director's not used to having the actor ask questions. Naturally, that reflects on the actors who go into films. Question, do you feel that improvisation is a performance technique? Patricia Neal, absolutely not. An actor knows or hopes that his performance will be seen just as an author believes that his book will be read. But the writer, the painter, the composer, the dancer, and the actor did not want anyone watching his preparations, his labor pains. At the time of creation, we worked for ourselves, our co-actors, and our director. Then, when an audience arrives, our major effort is to hold on to the concentration and lack of inhibition we had when we weren't being observed. Question, do you find an improvisatory technique more exciting than working with a script? Gene Seberg. Yes, I do think it's more exciting, I think it requires on the director's part and the editor's part much more skill and much more discipline, because actors can really lead you down the garden path and it can become extremely boring. It can become for them an intensely personal, exciting experience. Suddenly something happens and it's the most thrilling thing in the world. It's a little like jazz, you know, if it's working. It's like two saxophonists who are weaving around each other and then once in a while they come together and they go away again. It's terribly exciting. I think if you're given a very definite framework in which to work, it can be very exciting. But that depends on the depth and breadth and personality of the actors involved. It can be be very, very dull. One of the reasons we used it a lot in Breathless, at least in my case, was first because they had a rather limited vocabulary in French. And there were things that Godard wanted me to say that he knew I couldn't say in French. I had to find my own way of saying things. I had find my way of my own of saying them, and from that stemmed already a certain kind of freedom. Well, Godard also was feeling his way as he went along. Robert Preston, talking about the studio system, mentions how much he felt at home with the fact that he used to work with a studio. While you were making a good salary and becoming world famous, you were working at Metro Paramount at Warner Brothers, mostly in a stock company. There were always wonderful Akim Tamirov and J. Carroll Nash. These were the standbys. In the smaller pictures, I would be the leading man. In the bigger pictures, I would the villain or the hero's friend. The big advantage was that you were at home the minute you came to do your job. I noted in the years I haven't been under contract, and I now have a chore of getting, have the chore of, getting to know the crew. This is cinema 59 59 number 35 of real Enquete You wussy On page 5, the actor has an apprenticeship, a long patience and a lot of luck, over 10,000 euros, and he has an investigation. On page 8, we hear people say that the need of acting corresponds to getting something that's really themselves out. The most serious attempt is to find the reasons that correspond to the time frame. The intellectuals respond... I need to externalize something that I feel in myself without being able to define it. Comedy is for me a way to discover myself and express myself. In other words, comedy allows me to communicate with people, to establish a link between them and me, to create their awareness. The most lucid insists, in general, without defining it with precision, on the psychoanalytic aspect of the theater. And evoke with caution the catharsis. Playing a role allows us to realize everything that we would not dare to do in life. On stage, it is no longer me who acts, it's my character. It has analog motifs that obey those who recognize without seeking to give themselves good reasons. I only really feel myself on stage. In life, I am left- Sur la scène, je ne suis plus le même. Une infime minorité reconnaît, honnêtement, qu'en dernière analyze, s'ils ont choisi le métier des comédiens, c'est essentiellement par ambition, parfois même par paresse. Et certains ne craignent pas d'avouer sans vergogne que s'il veulent être acteurs, c' est parce qu'ils espèrent accéder à la réussite sociale plus vite et plus facilement que tout autre voie. In Cinema 59, page 29 of the April edition of L'Acteur, Un Métier, Simon Signay, page quote on page 31, she talks about Federer watching it. C'est Federer qui m'a tout appris, et je pense qu'il n'y a rien d'injuste ni de désagréable pour Yves Allagrey à dire cela, avec Federer, qui supervisait Macadam, réalisé public stand. J'ai eu l'impression d'être devant un grand acteur, un grand, non, d'etre devant un grand, un patron. Il avait des façons de s'adresser aux acteurs très différentes pour chacun d'eux, et je m'aperçus un jour avec surprise qu'il nous regardait d'abord et intensément vivre extérieurement au film, puis nous faisant refaire les choses, les gestes que nous faisions, que nous faisions dans la vie. J'avais dans une scène à mettre une jaquette de tailleur avant de sortir. What I did with application at the first repetition when I was still quite crazy. The requirements of the director, my text. Federer interrupts me, passing the hand under the shoulder of his jacket and adjusting the setting of the clothes. So, and this gesture, every day you do it by dressing to leave, for why? Why leave now with the same nature? Obviously, those who have a lot of jobs may find these familiar gestures directly, but it is he who gives back to the actors the veritable. Is a great director. Never did Federer give an intonation, but he indicated the game and then shouted, be careful, I am bad, do it again. And to add with humor, I could have made a superb actor with the physique I have. Uh... Question on the direction of actors of Jacques Piquet Signoré Pendant le tournage d'un film, je crois que l'acteur a besoin de se sentir constamment encouragé. We can feel it better than with Jacques, whose delicate attentions continue as far as the end of the film. The best of what we could take for granted, Jacques took it with his own temperament. He has a similar kindness in the direction of the actor, even in dissatisfaction. He starts again with gentleness and patience, giving confidence. Cascadeur has been really turned into an ideal climate in both directions of the term. Because the day was splendidly sunny, and just as much the human climate.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=4.22,1219.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There's an article by George Freedman, F-R-I-E-D-M-A-N-N, and Edgar Morin called Sociologie du Cinéma, dans la Revue Internationale de Filmologie, avril-juin, 1952, directeur Gilbert Coincéa. Praxe Universitaire de France, Saint-Louis, Boulevard Saint-Germain, Paris, page 95. The cinema, produced from a long lab work in order to create a device that can analyze and grasp the movement, is constitutionally a technique. This has developed and is developing by constantly perfecting these devices. This technique itself is already a form of civilization, in the sense that Marcel Mauss used this term. Made of a technical and machinist civilization, made, at the same time, of a civilization in motion and obsessed by the problem of motion. It is not a coincidence if, synchronously, the technique, the arts, the scientific theories, the philosophies, try to apprehend each in their own way the movement of things. There is more. The film industry, commerce and shows are born from the cinematographic technique. A legislation has come to act and control these industries, these commerce and these shows. The enormous mass audience on the planet has formed and has undergone the influence of films. To all these titles, the cinematography technique has produced an institution, cinema. But it is not enough to see in the cinematographic institution only a rye, a structure at the same time important and revelatory of contemporary society. The cinema is beyond a reflection of this society. A true eye of the recorder not only captures objects and men in their visible reality, but also through the stories it invents, the imaginary situations it dreams of. It corresponds to subjective, psychological and honorific realities of collective character. All film, even the most unreal. Is, in a sense, a documentary, a social document. Cinema, therefore, as a technical institution reflected in the human universe, is a fact of total civilization. It is a kind of microcosm through which we can find, certainly distorted, stylized, or given, the image of a civilization, the same as it is produced. Par là, il relève de la sociologie.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=1225.73,1414.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=1415.91,1415.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Moran discusses about how the individual idea, and because of the capitalistic aspect of the cinema, the individual ideal is standardized, but as soon as, but it tends to standardize. The standardization and individualization are linked together dialectically to the conditions, the industrial conditions of film. This dialectic, on all levels, provides the actor with a supplement of individuality while depersonalizing it to make it a myth. It captures the original literary talent but locks it in the mold of standard cinema. It also allows us to understand why there are small, routine producers who are concerned about the success of the standardization and large producers, sometimes audacious, who focus on individualization. In other words, cinema tends to standardize what is individualized, but it also tends to individualize what's standardized. That's why... In the first case, we witness an incredible waste of talent, of artistic or human possibilities. The machine that makes films rejects everything that can be folded to its molds. But that is also why, in the second case, innumerable films offer an interest, an originality within the production in series. The dialectic of individualization and standardization allows us to understand understand that it does not exist on the one hand the cinematographic art and on the other hand the cinematographic industry, but that the objective conditions of this mass industry contain in them all the virtualities of vulgarity and refinement, innovation and plenitude, esthetics and anti-esthetics that express themselves, confront themselves and only us inside the film. This dialectic leads to one of the sources of the power of the film, because the standardization opens to the film the audience of the masses, and the individualization brings to it the strength of persuasion and honor. Standardization always makes the influence of cinema deeper by repetition. Repetition of type situations, type conducts, characters. At the same time, individualization brings, within this obstinate repetition, the unique presence of such and such event, face, landscape, and the attraction of a novel imagination of a borderline always unexpected around the same canva. It is in this sense, perhaps, that the power of cinema resembles not only the dream or the myth. That both can be the same archetypal situations, the same monotone conduct, the same content of the time, and at the same time always remain diverse in the infinite richness of their imaginary superstructures. Page 101. Si le cinéma est l'air le plus réaliste qu'il soit, dans le sens où il photographie tous les éléments de la réalité, qu'ils vont projeter sans en en mettre à un seul, il transmute par ailleurs ces éléments en spectacle, en représentation. Nous découvrons là une des sources de sa puissance qui frappant avant tout l'affectivité, from D.J. Eisenstein. First wants to provoke feelings through images so that these become ideas. But here again, the force of the film resides in the mix of imagination and reality in the real character of this imaginary, in the imaginary character of its reality. The imaginary refers to the aspirations and the values that exist in the public. The reality is transmitted by these aspirations and values That is to say that we are at the heart of sociological problems. Page 103. The standard film strives not only not to hurt its collective representation but to adapt to it. He corresponds to them. He addresses them in a language that they understand as well as they can with their faithfulness. This is the public will of the producers. Also the film, in a measure that they should evaluate with caution, He integrates values, attitudes and prejudices to his own public. And it is through the symbols, passing through, which constitute the stereotypes of the film's universe. These stereotypes, in the eyes of the sociologist, are the essence of filmic language. They concern the characters, the situations, the conduct, the social roles, the decor, the clothes. Depuis la femme, la femme du monde, au coulombe. L'homme d'affaires cyniques, le professeur timide, le poète graveur, l'Italien voluble, l'onglet phlegmatique, en passant par les types sympathiques que signale les traits, l expression du visage, les détails vestimentaires, les gestes, jusqu'au décor de romance, provenant d'embarques ou aux claves lunes, décor le plaisir, Viennese, French, Parisian, and stereotypes of all kinds. There are so many symbols through which the public gets to know the action and the meaning of the film. Also, at the same time as the visuality of values, prejudices and opinions have a kind of well-done sound in everyday life, stereotypes correspond to knowledge. Through these symbols, one could almost put the premises of a social psychology At what level of knowledge are standard films maintained? It is under this plan of a new tariff that the studies of Lester Aschheim are located. She shows us... Something called From Book to Film, Simplification, in Hollywood Quarterly, Volume 5, Number 3, 4, 5, and 6. Well, it shows us, from a sampling of 24 American films, average, drawn from 24 classic novels, the miserable Atom Sawyer, by the way, by the others of Hurlevant. That these films transform, simplify both the intrigue and the characters to be at a level of knowledge and experience that the author estimates corresponds to the mental age of 14. The book is reformed according to the low level of knowledge and possible tensions. This level is related to the Homo Cinematograficus. Homo cinematografficus, marginal, semi, has judged the values to which the standard film stands. In what measure this Homo cinematogreficus is more real than the HOMO economicus, of the old treaties of political economy. We can only explain this capital problem here. Is the homo cinematograficus only the man of a certain public, of a social social intermedia that Bella Balazs characterizes as little bourgeoisie and that we could symbolize caricatureally by the millinette? Or does it really offer a common, elementary human denominator which allows the most heterogeneous public to find themselves united. And I'm in sounds obscure Nous croyons en la vérité de l'un et l'autre point de vue. Le film correspond particulièrement à une idéologie de classe moyenne, mais reflète aussi un psychologie collective moyenne. Son public, qui déborde de la classe moyennes, semble emporter témoignage. Si millinette il y a, le film touche en chacun la millinete qui se met. Le film touchent en chacun la millinnette qui se meet. He does not just reflect statically social data. He tells a story in which conflict of action dynamically poses conflicts of value and triggers ideal conduct which translates into collective idiots. Among the conflicts that reveal the film, there are some that precisely question the legal morality. Zorro and Robin des Bois. All the good people in the distance punish the bad people, protect the men. Of course, such actions take place in revolting periods. In the fabulous Middle Ages, Robin des bois, the end of the Cessatian war, Zorro. In this sense, the legal moral... Is not directly attained. And it is not less indirectly targeted. If the film resists class conflicts, it resists, in all its forms, the conflict that opposes the individual and society. The struggle for duty and love is posed in the film of espionage, for example, in a pure and simple manner. The hero is solicited at the same time by the appeal of the country and his passion for the beautiful enemy spy. It is at the occasion of such a conflict that the ideal conducts that indicate the outcome are manifested. Sometimes the film insists on the insoluble character of the conflict. Where is justice? After the last images of justice are made, it remains to be found. Where is freedom? Simon suffocates the hero of Give Us This Day. Where is happiness? In the phantasmagorical world of Juliet and the Key of Dreams. At this limit, the solution is death. Most often, on the contrary, the film puts in relief the ideal behavior, the moral pattern proposed by the social authority, and which discovers the exemplary solution. The Soviet film, A Real Man. Ilustre, sur un exemple réel, les possibilités sont limites de l'énergie patriotique grâce à quoi un aviateur russe abattu dans les lignes ennemies, blessé, réussi à revenir parmi les siens et amputé des deux jambes, apprendre par la force de la volonté à se servir de ses membres artificiels et conduire un avion à nouveau. Dans bien d'autres films soviétiques, type réel et type épique, The real man and the ideal man are confused. The exemplary solution can even be imposed on the scene of the death. Morning Departure, an English film produced in 1950, tells the story of a submarine by the sea who, hit by a mine, flows. Through this tragic adventure, it is the ideal type of British man, such that education, life and English institutions want to model him, who draws with nobility. Au cours de l'épreuve commune, à l'intérieur de ce sous-marin, qui au fond de la mer attend en vain d'être sauvé, on assiste aux transformations psychologiques des différents protagonistes. Ceux-ci sont peu à peu saisis dans une ambiance, une véritable conscience collective, au sens diokamien du terme, à ce point qu'un jeune rebelle mourra réformé, integrated in the framework of the values and honor of His Majesty's Navy. Thus, at the same time as problems or conflicts exist in society, the film presents leads and ideas, in good or in evil, in relation to these problems or conflict. This plan of analysis, like the previous ones, reflects social realities. And as much for what he reveals, and as for what he reveals as for that which he decimates.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=1419.54,2234.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I thought I thought.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2235.23,2235.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Aloo The film has only a determined content, more or less strictly, by the moment when it was produced.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2237.71,2245.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/7","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/141815/file/262413#t=2246.58,2247.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I mean, this is called, this page one of section B, Continue Historic. En outre, le film recèle un contenu déterminé, plus ou moins étroitement, vers le moment où il a été produit. À une limite, les contenus hystériques et les contenu sociaux se confondent dans la mesure où ceux-ci ne peuvent être dissociés d'une phase de l'histoire sociale et où ceux-là ne peuvent absterrer des problèmes sociaux. Par exemple, le problème social de l'adultère, abondamment traité dans le théâtre, le a state of crisis in the history of the modern family. At the other end, the historical content presents a unique character situated and dated. Thus, the war films made during a war are products of an exact historical moment, national and global. The difficulties of analysis begin when the content of the film is detached from the actuality, or seems totally ignored. In the first case, the example of war films is instructive. As the chronological distance between a war and the films that reflect it, the characters of the enemy party progressively diminish, while the war is inhumanized. The story continues to transcend. Morning Departure, produced five years after the war, neglects all the easy, pitiful combat. He is turned towards the ladies. For the souls, for the anonymous sacrifice of the marine men of the Royal Navy, for the salvation of England. It is a retrospective homage of England to its dead. It has a more noble character, more humble than it had been in 1942, where the same traits had seemed defeated. If we take a look at the period from 1918 to 1939, the films dedicated to the First World War, we realize that the content changes. A famous film by Abel Gance will even launch at the same time a pacifist request and a riotous cry against the new war that is coming. The death of Verdun stands up to demand the call.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2248.61,2405.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I remember having that moment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2406.84,2407.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The death of Verdun stands up to demand peace. The content of spy films also evolves. After the retrospective spy films, where the tragic and patriotic sequels of a war are observed, then the persistence of the public interest in these mysterious sub-concepts, the perspective spy films appear, like double crime on the Maginot Line, where the conditions of a new international tension are flattened. A term of retrospective espionage like that of the film Martin Richard in the 35s has a prospective meaning. The new threat will be current. Even in the case where the film seems to ignore the news, it can actually transmute the data of it. Literature and theater at the same time offer many examples of these transmutations. Till later this year.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2409.65,2470.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I'm here now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2471.2,2471.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We could, as far as the film goes, proceed to a kind of social psychoanalysis. A kind of social psychoanalysis that tries to hide the latent contents. That tries to hid the latent content under the envelope of manifest contents. It would show that some films, apparently detached from a precise historical reference, may have an allegorical content, much richer, sociologically and historically, than a realistic film limited by the taboos of the censure or production. In this sense, it is particularly revealing films of the deep cries of a society. We know the analysis made by Sigmund Kokkara of Dr. Mabuse's testimony from Fritz Lang. This film is apparently detached from any social contact and real hysteria. A mad doctor leads a criminal gang in Berlin, organizing the looting, destruction, and fire. But it coincides historically with the date of its realization with the months that precede the coming of Hitler to power. The film can bear testimony not only to an economic or institutional crisis but also to these collective crises of consciousness that arouse the wars of the nerves or the wars that flood. Some American films with semi-psychological content Le fond commun d'angoisse, comme Give Us These Days, 14 Hours, La Corde ou La Chose de Notre Monde, ne sont-ils pas plus révélateurs de la guerre froide que les films de la série anti-rouge, parce qu'ils suent non d'un appareil de propagande mais d'une sourde inquiétude collective. If, at the same time, we refer to the films of Carnet Prévert, which preceded the War of 1939, the tragic deserter of Quai des Brumes, a carnivore in Cabain, does not betray the desire to flee a reality more and more suffocating, and at the very same time the certainty that this desertion is doomed to failure. At the port of the sea, at dawn, always Cabain dies. All of this may not be advanced as an assumption. A mechanical vision is to be rejected. May the crisis favor at the same time the fine types and opposing contents. From the economic crisis of 29.35 born the super-productions of Hollywood as gold-seekers and also our daily bread, the King Vidor. In our day-to-day bread of King Reader, where the problem of chauvinism is at the brink of collapse. From the crisis can be seen the film that expresses the latent anguish of the spirit as the film that chases it by calling for entertainment. As the film that chasers it by the call for entertainment, the more realistic film as the fantastic film. The film of evasion implies the deafened reality that we escape from. Plus le censure est contraignante, plus le film ne pouvant aborder les problèmes dans les données concrètes, ça réfugie dans le fantastique et le mystique, à condition encore qu'il les autorise. Ainsi, sous le régime de Vichy, les mêmes carnets prévaires de Quai des Brimes donnent les visiteurs du soir. If the delegate for the analysis to venture into the field of films with legendary or mythical characters, he is, on the other hand, easier to analyze the historical and social content of situational films, in quotation marks, with clear and precise symbols. This is the island of Frida, the Mongolian island, where an aircraft carrier from the RAF brings back to his country a young German woman, who he has evaded. The reactions of the provincial environment towards this young girl are characteristic from the lack of resistance from the sea to the aggressive hostility of the tent, through the sympathetic attitudes. And mediator, intermediary of the pastor and school director. Moralism, puritanism, and british liberalism are expressed in various ways through each of the characters. In the end, the young girl tries to kill herself and it is precisely the aggressive attempt which, after a significant hesitation, gives the alarm and saves her. This last line is important to evaluate a global psychological attitude towards the German problem. Frida has already proved that she is of the human kind and not of the German kind, according to Jean-Paul's formula, by saving the aviator. But we are waiting for a proof of ultimate sincerity before the entire population can adopt her without reserve. This proof is suicide. So the last preventions of the cruelly skeptical tent fall. Much more, it is she who teaches that reconciliation is possible. Necessaire The proof of the suicide is even more obvious when the brother of Freida, the SS-torsionner camouflaged in the Polish and German army, appears. Freida becomes, thus, the symbol of the good Germany, unfortunately allied by blood, with a monster, the SS brother. We find exactly this theme in a Roman-French, a German lover, George Auclair, where the young Angelika symbolizes, atrociously linked to a concentration camp, are made. Even the children of Germany and Rossellini, in these three cases, we demand from the good Germany a sacrifice, or they risk dying, to purify themselves completely. Opposite to the films situated and dated, there are some that seem to escape any hysterical influence. The same as the fad romans of amour, traverses, inchangé, paix, crise et guerre, the same romance, tazan, tazon, and especially western, are repeated for decades, decades, according to the same scheme, without this one being profoundly modified. These films and others, sometimes in the foreground, seem to defy the strict historical analysis, and sometimes even sociological analysis. Certainly, the Tarzan, for example, remains closely linked to the myth of a machinist society on the state of nature. The Westerns express the aspirations of this same society to a free life of horse riding and adventure. But he also calls it a third plan of analysis, that of psychological or anthropological content.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2472.08,2923.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Also anthropological content. Only this plan of analysis can account for the universality of the duration of the film. Psychological content, or anthropological places, are common words to all men. They allow us to understand that the homo cinematograficus n'est pas seulement une abstraction des box-office but a basic reality. The same western, or the same Tarzan, finds its audience in Europe, or Japan, in black Africa. Its form is universal, that is to say simplified to the extreme. Its contents, above all, are universal. They express the profound feeling of unfronted familiarity, or the archaic, in the case of animals. Le cheval fidèle, le chien rintintin, les singes, les éléphants, tous anthropomorphisés. Les participations brutes de l'homme au sein de la nature, les thèmes élémentaires de l agression et de la défense, ceux non moins élémentaire de la lutte des deux principes du bien et du mal. Other films have a superior anthropological character, like when they illustrate, in a way, the human adventure itself. Thus, the Nanook of Flaherty and the Man of Arran of the same author, where we see the man, his wife, and his children, his beasts, his weapons, alone, in struggle with the impoverished nature. Let us note that anthropological content is present in all the films we have spoken about. Morning departure, where the themes of the adventure at sea, of the struggle of men against death, are enough to make the film...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=2931.0,3051.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Living in thousands of topometric, sociological places.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=3051.98,3056.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Or psychological, of the United Kingdom, the spying films of the court, where the anthropological theme of the struggle between man and woman, between good and evil, Freida, where appears the universal theme of foreign countries, always welcomed and loved. Every film can be analyzed from a sociological, psychological, anthropological point of view. A triple dialectic reads these three contents. It is obvious that a great film, like The Westerner of New York, has an abundance of historical, sociological and anthropological contents. It is no less that some films have a polarity. Either hysterical, sociological, or anthropological, more pushed, without being attached to other determinations. They touch human areas, but more or less strongly, the United States or Europe. When the film changes audience, the importance of the content also changes. When the movie changes audience the importance also changes the content. The triplicity of the historical, socio-anthropological content allows the film to adapt to the new audiences who become more sensitive to each other. The films of the Famiardy family, which, representing a type of American family, conquered the United States in plu or déplu, as a film of adventurous youth in France. Miracle in Milan and recognized by some as an anthropological film in praise of goodness, as a social film by others, others, in their hearts, see a hysterical and political symbol in the column of Toto and Bueno. It is clear to us that this film is at the same time social, hysterical, anthropological, and that in this polyvalence resides the rich. Les films exagèrent les caractères nationaux du pays dont ils sont issus ou les caracters propres à un moment historique donné risquent de perdre le contact psychologique avec les audiences universels. I'll repeat that. Les films, exagère les carcters nationaux, du pays, dont ils, sont, issus, ou les, caracters propres, à un, moment historiques donné. The films exaggerating the national characters of the country where they came from or the proper characters at a given historical moment, risk losing the psychological contact with the universal audiences. A film typically Hindu, American, Soviet, can, at this point, outside of the territory where it was conceived, be lost. So is boredom or laughter, where it is called... Where he was called to the fervent emotion of the patety.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413#t=3057.26,3240.22"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262413/transcript/79610/annotation/16","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/610/original/trint_Coll458_jb0066_Watkins_Donellan_01_p3_transcript.vtt?1747153044","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/610/original/trint_Coll458_jb0066_Watkins_Donellan_01_p3_transcript.vtt?1747153044"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406","type":"Canvas","label":{"en":["Media File 4 of 10 - Coll458_jb0066_Watkins_Donellan_01_p5.mp3"]},"duration":488.22857,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/content/4/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/406/original/Coll458_jb0066_Watkins_Donellan_01_p5.mp3?1739227850","type":"Audio","format":"audio/mpeg","duration":488.22857,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0066_Watkins_Donellan_01_p5.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Hooray! Woohoo! And no more buttercum! And no mo'er!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=204.62,211.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Bye, God bless you all.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=213.6,214.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Lovely. Get that? What do you want for school? I don't have a... I'll record it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=214.7,219.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Very important, man, very important. I'll clear it up. Well, then see if they have us on. Sure, I'll have to. Lady Kuhn and Lady Elmer, two famous...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=221.48,232.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In the wrong time? What key do you play that for the Aileen Cotton? I don't play it. That's why I asked you, what do you...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=240.07,249.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Call it. I don't know it. But I played Lady Elm with the same key you played in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=249.97,255.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We're, we're, there's beads, that's our, uh, even the high ones. We've got a record of that together. That's anyway. You got any meter of this? Who's that for?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=257.06,266.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't know how to do that sort of flighting, you know, with Indian music. Do you remember that first night we went to the Fox, and the thing about, what do they call them, Indian, it's a particular sort of playing, that you have a sitar player and then you have a tabla player, the little drums. And then they flight each other the the sitar starts off quite slowly and he may he may move along perfectly ordinary paths for 10 minutes 15 minutes and a certain point the tabla comes in the drums start the drum player starts And they then both try and flight each other. The sitar tries to weave rhythmic patterns which will throw the tabla player, and the tablar player in turn tries to keep up and exceed the other man. And you get a fantastic and a tremendously fast playing which resolves itself at a certain point. You know, they come together and the thing ends. And when you get two marvelous players like Rabishankar and Ali Akbar Khan, they're absolutely marvellos, the most exciting thing. They get faster and faster and more complicated. And the tabla is weaving its own pattern underneath. Is there any way, I mean, the night when you and James played at the Fox, in a way it was a sort of, you know, you were trying to play faster and faster, or so it seemed to the audience anyway.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=267.3,368.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's not just their own heart going into the thing. Yeah, that's right. There's no such thing as competition in it, really.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=370.98,379.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's a matter of virtuosity, that's all. It's not a matter of competition really.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=387.83,391.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Don't we stick to the tune?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=392.48,393.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Because all Indian music of this sort is traditional, you know, it's not written music, it is formed, apparently, so I believe on absolute traditional lines, patterns, but if you're playing for the evening, I've forgotten the name of these damn things, they're terribly familiar, If you're playing for the evening... You play a different style of tune for the morning or the midday. They're based on the sort of liturgical musical patterns, you know. Very fascinating. Give us the tune, James. What about...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=395.8,437.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You have a spare in your face. Don't do them there in the case. And the other step, what little way? The rest of the way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=439.99,449.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Or give us a blow down that hollow shaft.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=451.15,453.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I just didn't know what you were going to say, I'm sorry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=456.02,457.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e We've had a couple already. I'll be back in a moment, Peter.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=462.17,470.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no, I think that would be better.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=473.53,479.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I think over there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406#t=481.31,481.89"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262406/transcript/79587/annotation/19","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/587/original/trint_Coll458_jb0066_Watkins_Donellan_01_p5_transcript.vtt?1747152597","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/587/original/trint_Coll458_jb0066_Watkins_Donellan_01_p5_transcript.vtt?1747152597"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411","type":"Canvas","label":{"en":["Media File 5 of 10 - Coll458_jb0066_Watkins_Donellan_01_p6.mp3"]},"duration":2347.88571,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/content/5/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/411/original/Coll458_jb0066_Watkins_Donellan_01_p6.mp3?1739227907","type":"Audio","format":"audio/mpeg","duration":2347.88571,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0066_Watkins_Donellan_01_p6.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I look a day over 94 there. Covering your name, I appreciate it. I have, yes, thank you. You're not better. I'm much better.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=4.32,14.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Are you alright?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=18.07,18.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And the radio's on. I thought you might say that, don't you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=22.17,25.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I was going to sit on it, I was gonna move it, but I didn't move it and missed you a bit. No, no, no. I'm pissed. Yeah, I'll come that side. And use the table.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=35.69,45.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/5","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/141815/file/262411#t=46.86,47.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You told me you weren't taking me on, can't you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=52.11,53.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, I mean, you know, one always tells lies in this business. You object to this. I don't object to that as long as you don't. It's your face. No one's going to accuse me of having that face. Of having that face. Nah, that's alright, Jim.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=55.3,67.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e This is the day to say that they've unchanged their hiding. Oh Lord, they've changed, didn't they? Haven't changed much since yesterday.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=71.07,76.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=77.03,77.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e How do you know? How do know?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=77.67,79.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, uh, I don't know if he has- SOMEBODY!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=80.039,81.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Somebody shaved in 1900 years ago? Somebody shaved, so why didn't he?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=81.77,86.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e According to the picture. He always had beer, hadn't he?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=88.94,93.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, but he always also had a romantic expression that I don't think he had.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=94.619,98.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Oh, no. No, I'm not sure. So anyway, if a man draws a beard, somebody just come and have him, let's say. So why are you drawing him drawing a beard?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=100.31,109.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e What are you going to do with it? I don't know. Well, I'll never say it. Is this an Irish one? So we get... Never say it anyway. Was it part of the Irish?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=108.39,124.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e It wasn't part of a Jewish belief or anything, I'm sure. It's better than that Scotch stuff we had when we were in Ireland, isn't it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=125.25,135.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e I think that's all we've got for this in-lose for me. That's a lot more practice. Good in-loose. You're lucky all the time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=140.35,145.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Thanks for watching. No, a bit closer. We're not, we're not doing anything, just, you know, shouting across the room is very unsatisfactory. Do you mind doing that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=148.13,162.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Over there, yeah, you can see that one.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=162.92,164.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e And I'm, I'm... I've come over here to say that we all made it here. Hello, how are you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=165.05,171.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Oh, gosh, that's nice.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=172.98,174.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e That's what I'll have to say. Until and until 14. This is known as a whole thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=176.41,184.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Mr Martin Burns. Hello? Martin Burns? That's right. Is that true? That's correct. How do you do, Mr Burns? I'm glad to meet you. Nice meeting you, Mr. Burns. I've heard quite a lot about you. Have you? Did you take a taxi along with you? No, somebody else did. I don't usually take my pipes along with me. But I understand my pipes are on these penises. However, apart from pipes, what part of the country do you pertain to, Mr. Burgess? What country do we mean, Mr? The Irish country. The island of Ireland. I come from the friendliest part of Ireland, How? Ah, ah, ah... Come to Galway. I have, I would have thought counting means was the finest part of it. For beef and grass. But not for music. Oh, I see. Music in terms of music. Music, yes. Well if you think in terms music, play us some music. Yes, some global music.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=190.39,265.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e I made I tell you, that was really early on for you tonight, but you didn't know the name of it. Which I don't know. Here we are. I would like to hear that again.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=266.08,278.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Thanks for watching! Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=329.19,382.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's right. Pretty good, Martin.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=455.05,456.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e That is really a chance to do it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=458.12,459.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm very delighted I collected you. You are worth collecting. This is what I was like doing. Many of the other prisoners...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=462.75,475.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Come on, Chambers, end your bread. Give us a tune now. Either to get it off the white console.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=475.96,481.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I haven't been ready with my breath yet. Oh come on, come on. Come on now. The pipes ocean. Again with the pipes. The pipes are not going to be at Biasco anyway. I will.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=482.93,496.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e If he asks for any. I'll play them all right. Well, you know, one's interested, sort of academically, I've never seen the Aeolian fights being played, I'm interested. You win. Just have patience. Okay, it's too far. We have had more than a minute or two. Well, give us a blow on the whistle, then. What's the self-plugger? As many as gold, gold. I never remember those comments. Seamus seizes the empty bottle and hits me on the head. That's OK to tell everyone.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=494.52,537.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e They sing a song for pleasure, and they also sing a song when forced. It's an old saying in Gaelic. They sing a song for pleasure and they sing a song when forced, when obliged to. There are two different songs I can tell you that multi.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=544.52,576.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e You don't expect me to rise to that one, do you? There's nobody in a big shop here, correct? Well, go on, talk the dog. Well, we're in a bit of a disappointed status, really, that's that. We're all waiting for the pipes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=587.69,597.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e We came, we came for the camera now to show you how we're doing it. I know, I know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=598.58,602.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I don't English, but I don- I could only- I don' have to film, I don't like it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=601.02,604.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, well that's easy for you to follow whether you feel like it or not, but it's not easy to play music whether you like it. Is that right?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=606.06,612.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Thank you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=614.66,615.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Is if you're forced to play music, it's not music.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=618.719,620.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e What if you're forced, well, non-musicians are forced into playing go to get to it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=622.09,625.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But you see, I happen to be in a bit short of breath at the moment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=626.94,629.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e But you know, you know... If you play the right, 0 to 5. So you require breath to change.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=629.79,635.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I have been asked to play a tune on the whistle, my dear fellow, and I have to use my breath for that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=635.37,641.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e He has to help the house out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=645.05,646.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Thank you very much. Thank you. How long does it take for a couple of jars to get into the system?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=652.25,662.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Well, all of a sudden it's yours, doesn't it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=665.5,667.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The system of a man who hasn't had a drink from last Sunday midday.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=667.54,672.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e And you'll miss him, you'll annoy him since last time. I'll put her up for your room for the rest of the day.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=676.04,682.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I was laying in bed and feeding myself, by myself, and trying to get rid of a cough. And I have nearly succeeded. You have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=683.33,697.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e I mean, we're never going to be that confident day in the bed, are we? No, quite right. But I wasn't this day in...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=700.11,704.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It wasn't the same in the bed, I'll tell you. I was up at Dermot's room with the host cooking for him. And eating raw onions and the tears were all in Dermott's face. For the one to cook for him! No one could reach him. And I'd say it was this. And all the friends I have around the place, and one of them came and saw me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=703.99,724.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e I'll put some of this in there, and then play it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=724.96,726.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I know, I know what the other friends were doing. They'd come in at 25 past 1 at night and they'd give a shout, goodnight Shamsun, off again, you see, that kind of thing. And you'd be lying there and you'd dearly love company. And they'd just come in below. And they're going out again. Good night, Sheamus. That's all. They don't even bother coming up the stairs to say hello, how are you? They're probably embarrassed. Decent, decent way to speak that to them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=727.33,757.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e On what alert do you want to have anybody say goodnight to you at 12 o'clock or 1 o' clock in the morning?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=759.979,764.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e They said goodnight, but they might come up and say hello, and they might tell me they're going to harm me in bed at this hour tonight. Then I could have had a shave in time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=764.4,773.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Absolutely. No, I won't repeat that sentence. It's about like a virgin of the bean.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=776.27,783.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e At the next day, 9 o'clock at night, come on, get out. Get out of your sick bed, come one. Over the border, slaskey. We're filming there. All right, wait a minute, I'll be with you. And they don't stare at the door. Come on, hurry up. Are you nearly ready? All this kind of thing. They won't give a full chance even to splash his face, wash his hands, comb his hair, tie his shoelace. Thank you very much, I appreciate it. They certainly didn't. Anyway, I didn't care much about that. Oh, then. I'd like to give the face a rest, too. Because it is not always a metaphor.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=794.03,834.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ha ha ha ha!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=834.9,835.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I might be on a better film than this, you see, and I want to face better men. That's right. That's what he had to do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=836.37,840.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e I like a raw beer like yours, James. You should have helped me with your beer. I think your beer is simply shameless.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=842.05,847.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't. They're extremely rotten, in sanitary things. You don't like me? No, not at all. Imagine all the eggs and everything else you get humiliated with, do you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=849.05,860.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yeah, but in the event of a nuclear explosion, you store an enormous amount of food in the bay.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=860.98,866.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e What are you doing by the eggs? What are your different things about to be in? Dibs of eggs the other day.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=866.44,870.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You see them? That's all right. Thank you. No, all right, I'm quite happy about it. Yes, sir. These bearded fellas.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=871.47,876.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Rocky, do come and sit down. I feel uncomfortable with you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=879.74,882.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Have a minute now. Um, yeah, right. We'll soon be on the ball.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=883.86,886.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This, of course, is nothing for use in evidence at all.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=891.32,893.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, no, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=894.1,894.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Alright.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=894.96,894.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Martin, Martin, can I, can we have a wee bit of a talk? Can I, do you mind if I switch on and er, turn over there? How is it that Irishmen are, in fact, so musical compared to the Englishmen? Why is this so? Where do they get it from? Is it traditional? Is it in the family? Where do you get your music from?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=896.449,919.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e This is my family, it's obvious. It's in the family. I mean, English people, they have no music in them, have they? Very few of them, yes. They're very, very, they're very scared. I'm a judge, and you're very stupid. Now you can do a pub, you play in a pub. You play anywhere. You play Irish music. Well, everybody is butchered. As they say, next question nowadays, you're butchers. I don't know, it wasn't in...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=919.92,955.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, but tell me about the sort of home environment that produces music in Ireland. Where do you make music when you're in Ireland and where did you get it from? Did your father play? My father, I don't know. How did this happen? Tell me about it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=955.81,968.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Well, I think of what I learned in music class now. When I was eight years of age, I got started to play. My older brother, who I only wanted, he got a signal from my uncle, Willy Gilmer. And I snatched it from him down again, which he didn't want to, and I settled from there. Trying to play, the teacher in the school was a teacher, he had a class. He had a group of boys. So I started on my own for them. How do you go from there?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=969.25,1015.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But what did you play? Did you play the tunes that you heard around you, or did you play tunes from memory, or from what you heard, or what? And where did you get the tunes from, Martin?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1017.48,1032.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e From records, especially magical ones. I have to buy his records, and he can loan. These were American... Right, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1034.3,1045.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Layers to make commercial recordings.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1046.03,1047.589"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do you think this sort of musical thing makes Irishmen different to Englishmen?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1051.23,1059.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Some of them, yes. More of them they don't know, but I'll tell you about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1061.43,1066.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's a beautiful thing, Martin, to meet the odd Englishman, who will go crazy about this music. I have. You'll keep following it up, have you? Yes, yes. So will I.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1066.78,1074.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e I am the best Englishman in the world, of course, which we have in this country. Step-dancers, a lot of them, not musicians more, but dancers, but right-handers. That's right. And I have heard people bread and buttered, shall we say, in this country, to pay a fine, actually. Not really, many of them now, I think, really. So the baths were down around Yorkshire somewhere.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1075.54,1118.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But answer me this thing about the English and the Irish, let's get to the point, do you think the Irish are different to the English, and what is it that makes them different to the Irish?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1122.64,1133.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e What kind of effect are we needing music out there?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1133.22,1135.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e In any way, what do you think distinguishes the Irish from the English?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1135.25,1139.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Well, I'll tell you why they're better breeding for a set-up. If I may say so, I don't know if English people might listen to this statement, but, um... There is better breeding in the Irish people. The dreadnoughts, they're not afraid to travel anywhere. And they're not afraid to work, hard work, the Englishman doesn't want to leave home, he was just hanging out with his mother's side from the other side, wasn't he? They are independent. As long as I can travel, I can go anywhere, anywhere in the world.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1141.73,1184.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But what about the Englishmen who built, you know, the British Empire, were these Englishmen? They weren't afraid to hang on to their mother, they didn't hang on their mother's apron strings. What about the people today, I mean, this isn't true, this is a myth, this a myth. You may like to believe this because you like to feel the Irish are superior to the English because politically and historically...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1187.41,1208.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Because politically and historically they have. They are superior to any nationality in the world, Philip. Let you know, anybody knows that, everybody knows it, really. They are, they are superior, to any nation. They never back down, never have to. They were shut down years ago, which everybody knows. Powerize, tightly powerize but they'll never back down. And you are all over the world. I've been asking anybody. They know, everybody knows, that the Irish are superior, nationality, Chinese nationality and the like.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1207.0,1247.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e This is a terribly dangerous theory, isn't it? Isn't this the master race theory? Yeah. You know? Yes. Well, they're not a master race. The great quality about the Irish, surely, is that they are in fact, you know, human beings. Their great quality is their humanity. They're not master race, they don't feel superior to everybody else.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1248.38,1268.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e They don't feel what they are, they don't think that way, but people think that they are not human, but they are human. People think they're not human but they aren't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1270.69,1282.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, I do feel they're human. I feel they are very, very human. This is why I reject the idea that the Irish really feel that they're a master race, because this is what you're...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1285.59,1292.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e They have proved it. They have proven it. Down the earth. I mean, you're not, um, ruin down the earth with a little bit of a fight outside a public house the night after Claudentine, you get that with anybody. They have that name from down the hill, I don't know why, it's just what we know we have. We, I say we, and I say the Irish. That's a little bit of a fight, nothing wrong with that, everybody has a fight down to here.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1292.37,1327.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Why do they fight?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1330.19,1330.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e That's a question. Why does anybody fight? I mean, you've got to fight outside an English pub as much as you would outside an Irish pub, don't you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1336.22,1345.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But when they're trying to prove something, they fight, don't they?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1345.76,1347.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Not necessarily. Oh dear, dear. That was a few things down them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1348.44,1354.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I'm not","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1356.0,1356.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e They have a go and they don't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1356.51,1357.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, they're in a foreign land, aren't they? Aren't they in a farmland and trying to prove something?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1357.83,1362.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e No, that's the end of 68. Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1363.51,1365.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Surely what?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1369.29,1369.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e They just put the clap in, and they're gonna change films, they're in a hard film. But he continues the conversation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1370.84,1376.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e A flag flying somewhere, and so he throws himself about a bit. Isn't this true? Don't you think that's true? Don't think that is true, Vincent?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1379.71,1385.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Well, I think we should just copy this high spiritist one to have a few things. Because I don't think it's an alien thing to do, you know. They're holding a grudge after the fight, a music game, and they have a drink together. That's it, yes. See, they're not holding a Grudge, it's something just... They're also fighting... They have a round... You think that's a round name? They have round names, I don' t forget them all.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1386.06,1406.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But they feel suddenly terribly isolated, you know, you do feel lonely, don't you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1408.06,1412.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, some of them do feel like that, I'm sure, the feel they... I can probably see that they're...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1412.91,1419.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Have to find their way in. He'd be good for us.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1425.97,1429.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Because I'm personally convinced that the astonishing thing about the West Indian position in this country is there isn't more violence amongst West Indians. I think it's incredible. Incredibly generous. You know, I mean, really, if I was a West Indian, I'd be breaking bloody windows everywhere. I really would, you know. Everywhere. I really would, you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1433.129,1454.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Well, after what they've been through over there in Jamaica, you know, as a race for years and years, the impression by the, this is probably the worst...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1454.18,1461.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And then you come over here with tremendous feelings, I know they do, it's not just a... They come over feeling that this here is the center of their world, England, they've been brought up in their schools and everywhere to believe that England is the center of their world. They still think they can do it. They come here and they do. And they come over, I remember I've talked to many Westerners, and they've said, I couldn't believe when I came over here, the first time I saw a white man scrubbing a floor, sweeping a pavement, I stopped. Ha ha ha! And look! I couldn't believe, I'd never been given to believe that the English actually ever did this sort of job. Now given this sort situation, given this feeling about the country, and then the bitter reversals of feeling that they have when they come here, I'm astonished there isn't more violence, and I think this is why the Irish are not so disciplined a nation. I think the West Indians have been used to discipline for many, many years, and the Irish aren't a disciplined nation, so when they came over here and feel this sort... This feeling of loneliness and apartness and so on. I think they break up. But I mean, here am I talking, you know, you're Irish people, it's useless, mine.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1461.29,1527.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e You know, it's very strange because I've only been in England for three weeks now, you know. And I was in a couple of pubs up in West Hampstead, you now. And there was a couple fights. And I said immediately, that's the Irish. And even in America, you say, he got my Irish up.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1527.78,1553.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh really?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1554.47,1554.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e They always say, he got my Irish up, and that means he got me mad. Yeah. It's very strange.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1556.19,1561.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The immediate reaction of anyone starts to like to say things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1563.4,1565.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Keep the words out the mouth, my friend.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1569.41,1570.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e My grandfather, McConnell, he'd always say, oh, he says, that one there, he got my Irish up. And then they got mad at him, you know? And righteously, indignant at something. And he'd get mad. I remember since I was ten years old, you know? That kind of thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1575.65,1598.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Okay.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1598.75,1598.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e Yeah, I wish we'd known for that. It's like an obsession.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1601.0,1610.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Or you can.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1617.23,1617.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e We are off to caged lungs.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1622.31,1624.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ha, ha, ha. Ha, cool.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1627.25,1629.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Corner. Where are we?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1631.44,1634.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm out of film. You know runs like that working on and that when he would get a few pints, that was his regular. First he was in a strange land and he would bet inferior, but as soon as he got the few pines he had the courage to assert himself. You remember that? Where did the man at the country fair in Ireland need the courage, to assert themselves, or to hide or show off one or the other, Isn't superiority complex? Down through the centuries, what about the faction fights? When they went to the fair, just for the fun of a fight, with sticks. And they beat the... Largo to be done.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1636.44,1696.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e With steaks.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1696.8,1697.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think there are people who'd like to show main strength one against the other if they belong to opposite camps.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1707.97,1716.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e I'm allergic and that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1718.56,1719.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e They're not shooting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1720.67,1721.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Just go ahead and go for physical strength.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1726.97,1728.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is an ability, an ability to do a tougher day's work than the Englishman. That is the Irishman's pride today, that he can do a tougher day. He can shovel more dirt. Yes, he can. And there are plenty of Englishmen shoveling it too. But the Irishman can shovel more of it and earn more pay than the Englishman.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1730.56,1755.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I wonder if this is true, because in fact, I thought before, Seamus, we've talked about the general peaceable quality of Irishmen in Ireland, and how this contrasts, you know, when one comes out of the Brighton in Camden Town at 11 o'clock, or whenever it is, on a Friday night or a Saturday night. And you remember we walked along with two chaps singing a song, singing loud and aggressively. Yes. And your comment at that time was that they wouldn't sing like this in Ireland. Because they feel the need here to assert themselves, to say, I am Irish and I'm, you know, I'm proud of it or whatever you like to say.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1759.56,1806.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There's a certain amount of that in it. In centuries gone by, there used to be factions in Ireland. Down in County Waterford, there were two factions. One was the Caravats, and the other was the Chanevets. The Caravats were the ones with the collars and tees, and the Chanevests were the one with the waistcoats, with them to call them tees. There were two different factions, and they used to go over each other. As a matter of fact, there are people who are called Caravaths still, and Chanevs still there. After a fair, have a few drinks. If they had any business to do, they'd do it, but they'd have the steak. And one of them of the caravats, that's the color and time in all he had to do was this start off this verse as soon as everybody had enough to drink I'm going to sing a song for you. D'ol in cartas c'n'ar gude din t'ar n'y gude i'a l'ye Na feim se g'raime ar hane beisht se bata ch'oom ar brise plaisht Há tirís n'es c'ac a l'uim se'n caradáte i'ar gu'n s'ué Now that meant, I am a bifund from Nell, I came to this town last night, I would I think it's done. Or a nagging in the tavern and pay it. But if I could catch a Shannivest, I have a stick here that will split his skull. Harrah! Through the bushes with you know, it is the collar and tie-man that'll make the day. Well all he had to do was sing that verse, and the fight was on. And it seems to be of a fool.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1809.28,1945.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Does this tie up with the Irish being good soldiers? I mean, the British Army has always been, what, 60% Irish. Is this part of it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1951.95,1962.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Men who are not afraid to go anywhere and fight anywhere, anyhow. That is the poem, isn't it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1964.06,1972.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Given a world in which, however much some people disapprove of it, fighting has become an anachronism, you know. What we need now is cooperation and not fighting, perhaps. Isn't the Irishman a bit of an anacronism? Shouldn't one, you now, do away with the Irishmen, perhaps? No, the Irish man...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1974.69,1995.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e When, in collusion with the gang and they want to have a goal, have a right goal, well they'll have a right goal. But the Irishman at home, in his own village and at his own fireside, is one of the kindest most hospitable people you'll ever meet. He's a bit of a lad. He's out for a play of form and a bit of a fight thrown in through the night. It's for nothing, actually.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=1999.06,2034.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e The wrong cable, the wrong cable didn't... They don't come back here. They do have some, I think they do have, thank you. No, I see that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2036.32,2048.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Have you got the board?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2049.53,2050.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e It's alright, it's alright.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2051.389,2052.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Is it the right number on it? 69 69 take one back board","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2054.61,2061.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I admit that there is some dirt. There's also some clean fighting, but there is some dirt, like, uh, it depends on the bull terror that was killed with him and the rest of it. Look, you...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2068.83,2082.449"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You see, surely all one sort of knowledge, social, psychological, such as it is, historical, proves that men only fight. In order to get somewhere, or against something that they feel or dislike, I don't mean politically, I mean socially, in here. For instance, men don't take to boxing. You never find middle class boys becoming professional boxers. You always find working class boys from worse circumstances, and they're fighting, they go into boxing, they fight their way up, because they are fighting against something. Now I believe if men fight, they fight against something, whether it's conscious or unconscious. Now what are Irishmen fighting against? You know, this really is the... And I believe they're fighting against an imposed sense of inferiority, that's all. I don't think it's the sense they have themselves. But I think it is something that history has imposed on them. They've been in an occupied country longer than any other country in the world.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2082.07,2146.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e An inherent sense of oppression. They have to rise out and do something about it. But the point is that when they get a few drinks, then, as everybody knows, well, a man has no inhibitions. He just lets himself out. And if an Englishman dares say boo to them, the poor Englishman has had it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2147.88,2171.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e They don't look like occurred walls. What I'd like to do now is to have a duet. Not quite nose-to-nose but sort of playing nose- to-nosed, either sitting or standing, and I would like Mike to be able to pan between you, to hold the fiddle for a moment, come over to the flute, the whiffle, go back to the fiddle and so on. And you know, you judge the timings Mike, you would. And let us make it, the sort of duet that you played so marvelously, I thought, at the Fox. Something that's really going to demand something from you. Do you know? Could we do that? That would be wonderful. Mike, you tell us where we put... What name did you put? Well, if we put Martin... You remember when we played upstairs?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2173.78,2229.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e He's moved the chair up closer in front of me so that he'll be in tighter contact whether they're going to do it for him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2231.73,2238.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e So that you'll want him on that side, and that way, and the chance here, both of them in profile, so that you're panning backwards and forwards.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2239.16,2246.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e As good as any is where they are.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2247.7,2248.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, they're a bit close though, at the end of the day. Well, it's a bit of a shame. A little bit further apart. The only thing that worries me is, could we, could we mask the wall up a bit, so that we've got down the lift? We've put a bit of cardboard or something up there. That oughta raise that we can, we can take a bit of emphasis off that wall. Sorry. Is that possible? With our limited abilities.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2250.41,2274.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Thanks for watching!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2275.42,2276.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e We'll just have a wind-up or something if you want to. This is a serious take, you know, I want some good music here.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2277.42,2284.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I'm not blind, I'm fed up, yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2294.299,2295.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e They're masking down the light off the back wall now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2296.11,2298.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Thank you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2300.96,2302.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 8:\u003c/strong\u003e They used cardboard to mask off the light, some cardboard to mask off light. Just got up there. Just a piece of an old light box that they used. Tore off and then put it up there on the light. And now Philip is indicating that it's going to be pretty tight to the cameraman. He wants it tight. Now he's, now Philip is indicating to Seamus, that he should move back a little bit and face him. Spacing them, he feels that now that he can separate the people and do anything he wants to with them. The rest of this will be continued on the last half of the second side of the Paul Rother tape.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411#t=2302.84,2342.67"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262411/transcript/79602/annotation/152","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/602/original/trint_Coll458_jb0066_Watkins_Donellan_01_p6_transcript.vtt?1747152916","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/602/original/trint_Coll458_jb0066_Watkins_Donellan_01_p6_transcript.vtt?1747152916"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262403","type":"Canvas","label":{"en":["Media File 6 of 10 - 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And one has an integrity involved in it, you know?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=5.439,15.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know, I'm having a feeling that I am moving away from surface realism, what I call surface, I mean, not disparagingly, but the point of trying to use the authentic documentary effect, you know, feeling.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=17.25,31.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, spiritual is really a way to surface realism, too. I mean, halogenism is surface realism. I mean...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=31.05,36.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I'm telling you, he's doing what I would refer to as surface reality, though I'm not using that in a sense of trivia or anything like that, you know, but where the surface is as authentic as possible, you","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=37.89,47.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e This is very important, I mean what I said about facts, documented facts, I know you I think this is all funny, but there is a bit of...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=49.93,59.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I was trying to put you in a position that I've been put into. That is a very inherent... Because your argument sounds too familiar to me. Of my own, you know. Go ahead.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=59.62,69.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's very, this is very necessary. I mean, you've got to have some personal integrity or something on the line, otherwise, I mean this thing that Jean-Luc Godard, whoever said about this thing of effect, is very true. And I mean Antonioni, I can't stand this guy for a moment. Antonioni. Yes, he does this in the Red Desert. I just saw this, I actually hadn't got my glasses last night, so it was even more... What are you saying that he does? You mean he's using the... Well, no, he uses a technique. I mean, he has a lot of out-of-focus things, and he shoots things through. The trouble is, he's getting squashed, this sort of effect of filming. I mean I'm talking about a technical effect now. And the use of long lenses is one way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=70.21,109.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And he only uses long lizards for an esthetic effect, he uses it for...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=111.59,115.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, I'm not sure... Yeah, well, anyway... But, uh...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=115.83,118.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He cuts them in brutally, you know, rather than the creative thing. I sort of tore up the bread. It's the best thing to do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=119.91,126.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But you know, I mean, why don't more people make, why does he always, how many of his films can, you know. I mean how many films can Mr and Mrs Blog sit through and say they've understood and felt more humor, compassion, understanding or something, or something or something about people. Why does this guy feel he has to be tuned in on an intellectual wavelength of 0.5% of the population of the country in whom the film is being shown? This is selfishness, or greediness, or indulgence, or something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=127.36,158.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e What do you know, I haven't seen it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=160.89,161.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Probably something, but he started out in a realist school, you know. Well, he started out in the realist school. I don't want to, don't put me in a box of defending Antonioni, I don't agree with No, you know, but that...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=161.96,175.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, you know, but then when you go over Fellini, I mean, you know, I really don't know what I can make a film about Nexus Fellini. Let me spend millions of leery doing this. So he does eight and a half. His next film will probably be called eight and three quarters. And then he'll make nine and a quarter.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=174.77,190.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Don't you make nine in the quarter. I know it. Have you seen Evie De Loney? Have you see Cabrera? Have you've seen Mastrata? Mr and Mrs Brown of Second Street. What are you doing?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=192.2,204.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And they are not realistic. They shouldn't go out of it. These were made some time ago. I'm talking about the situation in the last five or six, seven years, which is the situation now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=206.079,215.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Cabrera was made in 59. 58.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=216.03,218.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, but it was before the present. It was before this, I'm talking about this present setting, which is in the last five to seven years. Where things have become, uh... I mean, you see it with Truffaut. I don't care what anybody says. Well, I could say... Mrs. Darn would like the produce. Didn't you like using him, honestly, Peter? You didn't. Well, it doesn't matter what I like in this night, because it's only a very... But you didn't like it. Why? Because it was... No, I'm going to see it again. I'll probably marvel at it this time. It's just, I fell over backwards when I saw The 400 Blows. I think this is a terribly important film, just as I think it'll cost you. It's a very important film. And you didn't like 400 Blows so much? No, yes I did, both of them. And I thought, oh, I was so rung out when I'd seen that film. I don't usually react this way. I admire all the things that I'm sure I'll never be able to do. But it was this sort of, the fact that you felt some tremendous concern with real people and the problems of real people. Well, not always did I always have to take problems, but just real people, and that these people... You knew they were actors, but then you didn't feel they were. You felt that everything was clicking so well. Tremendous sympathy with people. You don't feel that in Jules and Jo? Well, it's a different sort of film. No, I don't. So then he slopes off and does, don't shoot the pianist, and then he does something else and he does something else, and he's never, I didn't know, he's ever hit back onto it somehow. He's fallen into this new set of doing... Superficial slightly bourgeois things I know about eroticism or about it's true about a good 80% of these films well-dressed people got good cars I mean fill in his film design Rossi doesn't I haven't seen any of his films I only say this I haven't seen this, and I haven' seen Hands Over the City, but this guy is great, the other Rossi, or Rosie, I think who made Bandits of All the Sorrow. It's a very long film. No, it's De Sita. De Sica, I beg your pardon. De sita, I beg your pardon, yes. I always get muddled with these three. Yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=219.3,358.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What did you what did you think about that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=360.25,361.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Oh, well I liked it. Very long film, but I liked, I felt it was very...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=362.73,367.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e FAMILISTIC UNREAL","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=367.4,368.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, yes, but then this rather goes into what Kevin is talking about. This didn't, this didn't deny somehow the fact that this is a, this was a real shepherd. What do you think about Bresson?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=369.93,380.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This one's very close to breast time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=381.42,382.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I haven't seen all these films. I like films I've seen with his very much. I saw, what did I see, the prison one, I like very much, just as I like Le Trou very much. Did you see that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=384.36,398.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's one of my favorites.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=399.7,400.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But this is what I'm talking about, somehow. It had a guts and a grip.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=400.8,404.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but it has nothing to do with realism in the sense of documentary reality.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=406.38,412.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't think you can just shake your head and say no completely, I don' think it has. I don think you're right completely.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=413.76,420.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But anyway, all, yeah, well, anyway. Be careful, be careful in the quote. It was very, he was minute in his careful attention. Well, I'm sorry, I am sufficiently.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=421.84,433.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, I'm sorry, I am sufficiently limited in my thought, I realize I am limited in my thought but I am only really worried about things as they happen in Britain. This is either provided nationalism or limited, I couldn't care less about it, but the situation remains as I am making films in Britain, the audience are British, so that this concerns me primarily and most of what is interesting, nearly all of what you're saying isn't about British films. Well, no, that's right, because I know a bit of school. Well, this is what I'm talking about, and I don't think one can disassociate television from this completely. So you have Tony Richardson or somebody, who again goes Truffaut's way. He does a, you know, and then goes off.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=431.88,471.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Tony Richardson, for me, you see, demonstrates the kind of milde siècle of England at the present time in cinema, which is that we're looking for something, you know? We're looking something, the whole thing becomes now, how can I be a great director? Well, chichi. And so he digests badly the French wave, the new wave, but he says, he says this will get me approval, you know, and so...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=470.29,499.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e This is not just him, this is John Schlesinger as well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=502.6,506.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Back down to the bottom of the valley. Have you ever seen a peaches? Have you seen my film of peaches.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=509.98,514.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Did you do that? Oh, well that's different all together. That was a very nice film, I remember that. Oh, you didn't like it because he really was in it. Yes, I know, but then I mean... Either you meant it to be, or the point was there, but I mean, no, I like it, I saw that, I don't remember it, but it was on trial, was it, or? I think it's very good Italian food to do in the bag. Oh, yes, that's right, yes. No, I liked it very much. Lee Kraft said, I hate...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=516.12,550.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Reality techniques, the techniques of cinema very good. Being new...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=553.37,557.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e For fictitious ends. Ah yes, well this is just his opinion. This is just he's own personal dislike. This is what I'm saying to you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=558.79,565.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This is what I'm saying to you tomorrow. I'm questioning you, simply, to find, if I, what do you, what do you think? You feel there's no basis for this? What do you gain then, by using, by applying a reality technique or a documented technique? I personally don't agree with what you talk, but I don't want to...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=564.26,582.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't want to... All I can say is the day will come, within five or six years, when I have sufficient money to make a film for the cinema, because I think cinema has got much more involvement in television. I think that cinema is still basically the physical process whereby a film is more absorbed than on the television box. And the day would come when I either do a film... Pardon me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=583.03,607.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Good job.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=609.35,609.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Okay, and if it if it's on a battle say I shall film that as though it's happening","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=613.44,618.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e as Kubrick did in Strangelove, the battle. Yes, yes. It was a complete Brecon style.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=619.55,625.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, it was completely. Well, it wasn't completely, because he did the same inside the plane, didn't he? No, but he had these sort of citations in him. But I shall do that as though it's happening, and I hope that it will be far more realistic and genuine. This is where Leacock is talking out of the back of his head, behind. Because if Leacocke likes to say that a battle, say, filmed as a battle is filmed in, say a classic film like Zulu, or take any other big war film you like. And then you take a battle like that, and if he likes to say that is a more valid presentation of a battle, then a realistic, and when I say realistic, I mean one in which the audience believe that it is happening, even if they know down well it isn't, somehow they believe it, somehow they feel more, either the brutality of it, or sometimes the heroism, whatever, whatever you like to think comes in or out of a Battle. Then Leacock is totally rubbish, if he says that shouldn't be done. And it never applies to all sorts of other things as well. You can't draw the line and say you can only do a battle using the Oscar. But what Leacock would say is that if you were in a fiction cinema... You have to make it completely... No, that's nonsense. No, no, that is nonsense. You have make it complete clear before you start. What you are now going to see is either reconstruction or this or this. It depends on the subject matter. But this is what I am saying in my film all the time on this new one. So that people don't get... That it is reconstruction. Having said that, I hope they'll then forget it, but I've made the point.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=625.64,714.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think it's been...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=716.71,717.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But you can't say, that's nonsense to say, utter nonsense. He's just sort of, this is just sort of, this is slight sort of possessiveness on his part, I'd say more than anything else. In other words, he wants to keep the real. No, I'm not saying that, but he can't say that, I mean, he does one sort of film, other people do other sorts, and you... Oh my god. You're the only one. You know?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=718.65,743.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I never thought you'd admit it. This is what is known as indirective direction, you know? But I think that's very important with a non-actor, as well as directing interviews with directors. Very good. I've really enjoyed talking to you. I hope that maybe in the next couple of weeks we might get together again if you're not... Are you shooting?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=746.97,771.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e When are you going back?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=772.39,772.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I'm going over to France, I want to turn these into a series of articles, and then pop it from it, also from this book on the non-actor, Reality and the Son and the Non-Actor.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=773.29,786.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It would be very interesting if you could meet the people in France that you should be able to meet.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=787.82,791.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Who should he meet over here, Peter? That's Irish.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=791.55,794.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I've had a long talk with your friend John Borman. Well, he's not a theoretician at all, and he's a very easily-met person. He has no evangelical aspects about him, he is not reflecting on things as you have either.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=795.7,811.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What about, um, Dennis Mitchell? I'd like to meet him, I haven't been able to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=813.47,818.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I have been able to...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=817.42,818.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The best thing is to get in touch with Grenada Television and they'll put you right on him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=821.35,826.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Ken Russell","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=827.26,827.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Otherwise, one can only think of isolated good films. I mean, someone who consistently turns out films, either on television or cinema, that's of interest, it's not easy, really. I mean if you're not interested in people like Richardson or Schlesinger, they'd probably be too bigaded to see you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=834.81,849.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I'm going to try to see them, but the Richard is not here, so I'm gonna try to...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=848.98,852.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think I'd like to send him to a new town. I'd love to see the film because he's down. Well, I don't know. But also, he's a very easy and approachable child.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=853.06,862.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Let me ask you one last question, what is your attitude toward the free-singling, because in essence, their basic hope and goal and interior driving spirit was to do just what you say, you say. They were setting out to do this. What maybe have you learned from their effort and rejected? They wanted to get back to things, they wanted to down to things. They wanted it to say something with the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=863.09,890.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Everything you say is in the past tense.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=891.73,893.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, because I think free cinema is true.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=894.19,895.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=896.33,896.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And it did, but I don't want to tell you, I wanted to know what you felt was the attitude.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=897.09,902.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I don't know, I mean, I just, I have seen, I've seen, you've got to go somewhere.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=903.11,906.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We have begun masking, but it only takes us two minutes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=907.2,910.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, the reason I say it is because, in effect, it's pre-cinema is over, but because of economics.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=911.33,916.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I haven't been affected by this in any way at all. It's as simple as that. I haven' seen any of these films. I haven't seen any Lindsay Anderson's films. I've seen... I can't think why I haven. I suppose I've been too wrapped up in the usual selfish business and wrapped up in my own work. But I don't think I've ever seen them. I haven's seen Carol Rice's films before he turned professional. I've never seen... I've see one of Lindsay Anderson's films which I didn't like very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=917.449,938.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is Jeff Peter.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=938.62,939.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Wakefield Express. That's about it, but I also haven't been affected in either way by them. What they were setting up to do seems to be a marvelous thing, but it's a pity it hasn't survived.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=940.479,953.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The problem was the equipment at the time, also, and, uh...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=953.33,957.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And our problem also was... The system has ground them down. You see, it's the system in the country that's ground them down. There's no collective pool or source or center for spirit of film or anything in this country at all. That you've got to understand above all things. Everyone in this country, rather like me or Kevin, a lot of selfish little people all chasing our own ends, nobody ever meets and thrashes out and says to you, I think your films are jerks. Rubbish and so you say why and then you get a good earful of maybe why you're going wrong in your films or it's a good thing to get objective criticism you don't nobody does that in this country you see so we'll chase our own selfish Atlanta we'll rush around thinking we're all god and geniuses and all this rubbish and nobody ever sort of there's nothing cohesive in this countries no there's no moving spirit of film and I'm not saying saying a documentive documentary evangelical thing to tell people I just mean film nothing at all and the government are not interested, nobody's interested. You've got to understand that and then understand the struggle it is for the lone filmmaker to get money to make a film or to make film or have it shown. That's very important I think to understand about Britain at least.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=958.02,1023.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, we share your problem. We don't. It's absolutely impossible. You know what I got? I just got one. I was one of 12 filmmakers in the United States. We got a Ford Foundation grant that gave us $10,000. Well, you got that. Well, in America, that's not enough to sneeze on. Well, and you don't even get that in this country. So what I'm doing, I'm on this project.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1026.5,1050.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Let me just say this to you, the difference between Britain and America is you're here, I wouldn't be in America. That's the difference. And nobody else is in my position. Or anybody else's position. That's a difference.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1051.29,1061.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you feel there is a ray of hope shining over there? Yeah, I think there's a ray.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1062.24,1065.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think there's a main hope in terms of, there is more money, actually, for benevolent purposes than there was a long time ago, wouldn't there? Benevolent purposes supporting our...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1064.88,1073.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I was given the grant with the basic stipulation that it not be used for any kind of commercial enterprise.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1073.26,1079.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but I do think, if we want to say something else too, that I don't think any American network would have let you make it up.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1081.26,1087.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, you would have never got a...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1087.89,1089.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh no, no, that's very true, and particularly would never have made the war game.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1090.43,1094.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, yes, I agree with you","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1095.12,1096.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So the division, within the crippling factor, the stockade is very close around you, within the stockades, the children are allowed to have freedom.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1097.02,1105.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e If there's a broader attitude finally within certain limits, then there is an effect. Yeah, that's absolutely right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1107.71,1112.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm sure that...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1113.06,1114.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e For instance, Leacock just finished shooting a film for the Ku Klux Klan, I mean, on the Ku Klux klan. He shot it for CBS. It's the first time that CBS, or one of the major networks, has asked anyone dealing in this documentary type thing to do anything. They insist that he hand over all the footage and that they would edit it themselves. And he's sick, they're turning it in, they are turning it just to a diatribe, you know. Rather than to try to make the kind of thing he wanted, which is just kind of let them hang themselves type of thing. Yes, I know. Very perceptive type of cutting, rather than coming in slap bang with a narration and the whole bet, you now. And they will not admit it. They won't accept it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1114.3,1161.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The processing there, the technical qualities are so high, aren't they, that the level of the processing that goes on is simply fantastic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1162.33,1170.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah, but on the standpoint of technical things, this is a stigma terribly over there, because people, most of the producers, are still working under the concept of what was a good 1950 film, you know? Yeah, yeah. And they will not, I mean, half of the shots seem collided and they would've sneezed That's right, they wouldn't have used it. If they'd seen it in the rush. You know? Oh, we can't use that, the camera shots. Yes, absolutely. You get that too. This Ken Ross is from a house in Bayswater.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1170.7,1208.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e One little milk up somebody else might say I wonder if I could have an extra pint today and so again you have to go up. Of course there's quite a few people pass through this house in the time that I've been here but at the moment we've got really quite a nice crowd in. For instance this young chap in here is quite a","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1209.73,1228.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e And Jeff Davis-Hurd is the top of that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1229.17,1231.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e The only time that I do see him really, apart from when he pays his rent, is if he wants to buy any props from me for his photography.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1231.55,1238.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Was in Budapest. I was greatly moved by this. It was probably the most interesting thing I've had to photograph. It seems a terrible thing to say, you know, with people fighting it. It is an interesting thing to photograph, but I did feel that this was something worthwhile. I felt that the picture was taken there, was seen by millions of people in magazines. Get those toes, get those toes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409#t=1240.06,1270.9"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262409/transcript/79596/annotation/90","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/596/original/trint_Coll458_jb0066_Watkins_Donellan_02_p2_transcript.vtt?1747152794","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/596/original/trint_Coll458_jb0066_Watkins_Donellan_02_p2_transcript.vtt?1747152794"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405","type":"Canvas","label":{"en":["Media File 8 of 10 - Coll458_jb0066_Watkins_Donellan_02_p3.mp3"]},"duration":72.43755,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/content/8/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/405/original/Coll458_jb0066_Watkins_Donellan_02_p3.mp3?1739227828","type":"Audio","format":"audio/mpeg","duration":72.43755,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/transcript/79583","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0066_Watkins_Donellan_02_p3.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/transcript/79583/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And we had some girls living upstairs and one got married. Anyway, in the car...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405#t=18.27,22.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/transcript/79583/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Married. Anyway, McCarthy was asked, I didn't know McCarthy because he could play the piano accordion where they went to church and had the wedding and that was all right, they had a reception from Wales. Anyway they came on through our place, perhaps about seven o'clock, I don't know the time, and they handed me over very long before I was vomiting, vomiting, vomiting, vomiting down the basement. Somebody went smacking against my door, opened the door, check was up in his head. Anyway we all ran up the stairs, the bride and the bride, and not the bridegroom, he He was a sensible one.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405#t=20.75,51.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/transcript/79583/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And only one for now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405#t=51.6,52.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/transcript/79583/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And there's McCarthy punching Meg, punching everybody in the window up, you know. I went up and I got my punch, which I wasn't going to stand for there. Next thing I heard, ooh, McCarthy's been in front just being out the window.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405#t=53.14,64.34"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/transcript/79583","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262405/transcript/79583/annotation/5","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/583/original/trint_Coll458_jb0066_Watkins_Donellan_02_p3_transcript.vtt?1747152536","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/583/original/trint_Coll458_jb0066_Watkins_Donellan_02_p3_transcript.vtt?1747152536"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410","type":"Canvas","label":{"en":["Media File 9 of 10 - Coll458_jb0066_Watkins_Donellan_02_p4.mp3"]},"duration":1457.4498,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/content/9/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/410/original/Coll458_jb0066_Watkins_Donellan_02_p4.mp3?1739227888","type":"Audio","format":"audio/mpeg","duration":1457.4498,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0066_Watkins_Donellan_02_p4.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Is it on? Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=4.51,5.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Down the street the dogs are barkin' and the day is gettin' dark And the night comes in a fallin', and the dogs lose their bark Well the silent night is shattered by the sounds inside my mind And there's just one too many mornings and a thousand miles behind From the crossroads of my doorstep, my eyes begin to fade And I look back to the room where my love and I have laid And I gaze back to road, the sidewalk and the sign There's just one too many mornings and a thousand miles behind It's a hungry restless feeling that's inside my mind","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=13.94,77.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, you say","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=78.97,80.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And everything I say, you can say You're on your side and you're right for mine Just one too many mornings and a thousand miles behind","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=81.49,95.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Down the street the dogs are barking And the day is getting dark The night has come to the falling, and the dogs they lose their bark The silent night is shattered by the sounds inside my mind There's just one too many mornings and a thousand miles behind From the crossroads of my doorstep, my eyes begin to fade And I gaze back to the room where my love and I have laid Then I look out to the street, the sidewalk and the sand There's just one too many mornings and a thousand miles behind It's a hungry, restless feeling that makes no one look good And everything I said, you could say it just as good You're right from your side and I'm right from mine There's just one too many mornings and a thousand miles behind What did we do? What about now? Let's see, I'm going to rock it with a mic. What was the other one I did? Trying to turn down. Thank you. What are the chords? Their love.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=116.52,222.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e On the rooftop of my door, niggin' and I had a time dream","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=222.49,228.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And no one has come","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=238.36,240.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e for to put up her band. Oh","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=241.98,247.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e They say at the courthouse she'll never go free","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=254.3,260.579"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Never go free","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=264.12,266.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e For she stole a diamond, a beautiful diamond to give to you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=270.08,280.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e You're a gift to me Somewhere...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=280.04,289.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e My heart lies in Allentown jail I'll dance with you sister, I'll sing you a song More than that sister would surely be wrong. But more than that sister would surely be wrong Or can't you see? My lungs stole a diamond, a beautiful diamond to give, to give to me. Somewhere in Allentown jail My heart lies in Allentown Jail My heart lives in Allantown Jaiiillll What was that about doing the other night? Graveyard blues, yeah. I like that. Let's do that one. Goin' down the graveyard There's a low down, dirty place You're going to tell me the graveyard is a low down dirty place. Gonna take my baby to the graveyard Gonna pack dirt in her face Gonna follow that long black carriage down to the graveyard Gonna pack dirt in my baby's face Follow that long black carriage down to the graveyard Gonna pack dirt in my baby's face I said grieve your digger, while you want to take my baby away I wave bye bye to my baby As they lower her down into her grave I said buh-bye-bye bye, baby As they lure her into her grave I bring you flowers, baby, on every decoration day. Well Up on me Up on me Everything I had in the world has dung on past the wing Thank you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=297.4,594.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Let's do it this way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=596.43,596.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Dum-dum-a-dimmy-dummer-dumb, dum-dummy-dimm-dumber-dump He the turbaned Turk who scorns the world May strut about with his whiskers curled To keep a hundred wives under lock and key And nobody else but himself to see But long may he pray with his Alcoran Before he can love like an Irishman Long may he may pray with an Irish man Before he could love like a Irishman Dum-Dum-A-Dimmy Dumber-Dumb, Dum- Dummy-Dimm-Dumber- Dumb Now the gay Montsouris slave no more, The solemn Don and the soft Signor, The Dutchman here so full of pride, The Russian Prussian sweet beside, They all may do whatever they can, But they'll never ever love like an Irish man. They all they do whatever the can, but they'll never ever like an irish man. Dum dumma dimmy dumma dum, Dum dumba dimmy Dumma dum. Now the London folks themselves beguile, And think they please in a capital style. Let them ask as they cross the street Of any young girl that they happen to meet I know she'll say from behind her fan Nobody loves like an Irishman I know what she'll from behind fan Nobody likes like an irishman Dum dum dee dee dum de dum Dum dum ee de de dum de Now I want you to know just how much I care, and the rest of my life with you I'd share. I love your face, your hair, your smile, it's just as sure as I come from the Emerald Isle. It must be clear to your lovely eye, no boy will love you better than I. It must clear to you lovely eye.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=609.79,704.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Dum dum dee dee da da dum Dum dum ee de dee dum da dum","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=710.18,713.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Thank you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=719.97,719.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Now the world hopes seven wonders","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=733.72,735.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Said the travelers always tell some gardens and some towers","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=736.03,740.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I guess you know them well, but now...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=741.94,744.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Now the greatest wonder is in Uncle Sam's Fairland. It's the big Columbia River.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=744.79,750.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And the big green He heads up to Canadian Rockies, where the rippling waters fly, comes roaring down the canyon, for to meet that starry tide, in the big Pacific Ocean, where sun sinks in the west, in the Big Grand Coulee country, and the land I love to death, in a misty circle glitter of","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=752.0,777.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e the wild and wind would stray. When it fought the pound of water, the man of water regained. She tore their boats to centers, but she gave men drink to drink. Of the day the coolie dam would cross that-","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=777.73,792.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e while I'm with this tree. Count Quistam took up the challenge in the year of 33, both the farmer and the factory, and all of you and me. You can roll along Columbia, you can roll down to the sea. But river, while you're rambling, you can do some work for me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=792.97,815.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e A secret salt mirror of the wild and with the spray With a far too pounding water and many watery grains","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=817.96,826.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e She saw there both the splintered books, the game and dreams, the dreams of the day the coolly damp wood crossed that wild away stream. Now from Washington to Oregon, you can hear the factories hum, making chrome and making manganese in fine aluminum. Their boys are flying fortresses for to fight for Uncle Sam. How long will he find Columbia by the big green kool-aid ant? In the misty crystal glitter of the wild and windward spray, men have fought to pound them waters. And made a watery grave she taught their boats to spinters but she gave men dreams to dream of a day the coolly damn wood crossed that wild and wasted street now the world holds heaven wonders that the travelers always tell some gardens and some towers i guess you know them well but now the greatest wonder it's the big columbia river and the big green poolie","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=827.26,901.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e If you don't change something, it's going to be a little bit worse, don't you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=909.31,912.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e There is ants in New Orleans They call the rising sun And it's been the ruin of many, poor boy, God, I know I've won. My mother was Taylor She sold my new blue jeans. My father was a gambling man Down in New Orleans Now the only thing a gambler is There's a suitcase and a trunk And the only time that he is satisfied. Is when he's all drunk Now mother, tell your children Not to do what I have done To spend their lives in sin and misery In the house of the rising sun. There's one foot on the platform The other foot's on the train I'm going back to New Orleans To wear that ball and chain There is a house in New Orleans They call the rising sun And it's been the ruin of many a poor boy Oh God, I know I'm one, I'm One Oh God I know, I am one","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=930.5,1099.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/29","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/141815/file/262410#t=1099.93,1099.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e it's fair enough.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1106.96,1107.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Useless.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1108.87,1108.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e More than just","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1111.03,1111.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e words.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1112.03,1112.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Stay away from me Cause I'm in my sin Stay away from me everybody, cause I'm in my sin. If it's John is reading, somebody give me my gin.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1131.79,1154.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/35","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/141815/file/262410#t=1155.04,1155.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Don't try me nobody Cause you will never win Don't try me nobody, cause you will never win. I fight the army and navy, somebody give me my gin. When I'm feeling high Ain't got nothin' to do Nothin' to do when I'm feelin' high And I ain't got nothing to do Just get me a bottle of gin, and I'll be nice to you. Don't want no clothes. Don't even want no bed Too late my head Don't want no clothes Don't even want no bed To lay my head Don't want no fancy things Just give me gin instead Oh, stay away from me Cause I'm in my sin Stay away from me everybody, cause I'm in my sin. I fight the army and navy, somebody give me my gin. Oh, if his joy is rated, somebody give me my gin. Somebody give me my gin Somebody give me my gin Somebody give me my gin Let's do that when you get that clubbing going, Jim. Okay, clap. One, two, three, four. Keep going like that, alright? Yeah, I'll do it. Clap, clap. That's what you've been doing, clap!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1158.03,1335.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's better.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1335.97,1336.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Breaking rocks out here on the G-Gang, breaking rocks and serving my time. Breaking rocks down here on G-gang, cause I've been convicted of crime, hold it steady right there while I hit it. There I reckon that ought to get it, I'm working, I been working, but I still got so terribly far to go. I'm convicted of crime of needing, crime of being hungry and poor. Left the groceries storm and breathing, when he caught me robbing his store. Hold it steady right there while I hit it. There I reckon that ought to get it. I'm working, I've been working, but I still got so terribly far to go. Gonna see my sweet lovin' baby Gonna lay my soul on the rock Gonna lay down somewhere shady Gonna take these chains off the rock Hold it steady right there while I hit it There I reckon that oughta get it I'm workin', I've been workin' But I still got so terribly far to go I've be workin'. I've been working, but I've still got so terribly, terribly far to...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410#t=1348.9,1443.29"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262410/transcript/79593/annotation/39","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/593/original/trint_Coll458_jb0066_Watkins_Donellan_02_p4_transcript.vtt?1747152774","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/593/original/trint_Coll458_jb0066_Watkins_Donellan_02_p4_transcript.vtt?1747152774"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407","type":"Canvas","label":{"en":["Media File 10 of 10 - Coll458_jb0066_Watkins_Donellan_02_p5.mp3"]},"duration":643.16082,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/content/10/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/407/original/Coll458_jb0066_Watkins_Donellan_02_p5.mp3?1739227858","type":"Audio","format":"audio/mpeg","duration":643.16082,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0066_Watkins_Donellan_02_p5.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So I'll come in and get ready up for the day again.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407#t=12.83,15.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But ooh, you know, for about two hours of the evening, this fucking woman, Mrs. Owen, was hanging around along the hallway, you, know, trying to listen. I can hear her right there, not saying things like this, brother.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407#t=20.04,31.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Hmm, yes, very well dear. I'll have a word with my manager and see if we can put you on a contract. He's spinning all this fucking shit, you know, to keep it happy. Well, go keep it up for half an hour.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407#t=32.94,45.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I put on it. So, no, fucks sake, I'm getting annoyed, so I turn my fucking records up and I push them away. She's had countries. That radio I've got, you know, I've a radio and a battery. It's a fucking dead flat one. Really dead flat. And I put it on like an arty bloody area in a room, you now, and it's carpeted. And it was on the bed, actually, which absorbed more sand. The wall next to it is the bathroom. It touches no one's room. And then Where was I? Oh yeah, fucking about one o'clock in the morning this was, you know, bloody not on the door, I thought, shit, what's this? So, open the door.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407#t=45.96,89.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Good morning Mr. Reims!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407#t=90.68,91.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I'm wondering if there's anything else I can do. Your radio, it's a bit loud you see love, only Mr. Rowan suffers from asthma and he can't sleep too well and he swears blood is blue that it's you that's keeping him up. Yeah alright love so I'll turn the bloody thing off here for a bit of peace.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407#t=93.28,115.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That is Penny Point design! That is English eggshell bong china! Watch! I'm going to give you a little idea in how cheaply we sell and first of all let me introduce myself. There is my name, look. As seen on the BBC, television and the press. Voted the champion of Europe. Showed to the continental people that English eggs shell bong China is the palace. Now I don't want you to spend a penny. I would like you to pay attention, as an act of courtesy just close up the half yard. I don't need to spend any cash, thank you very, very much. Now watch, what I'm going to place on this train now is what they call, ladies and gentlemen, a beautiful fruit set. You can buy them in the shops, they're not scarce, the only difference is this. You can pay a lot of money for them, you can pay them back for 35 shillings. Look, there's a large fruit boat. There's the disses to match it. The first hand can take it away. Cheap in a pound. 15 bar. 12 and six. 10 bar. Nine bar. Eight and six pence. And I could smash it and get both of the pieces. Eight bar. Seven and six mence. Oh, what a bad lot. Six bar. Five shillings. Half a crown. Hillbuff! One and six! Shoot it! Nine-pence! Yeah, I'll tell you what I'll do, pinch it and I'll turn me back. Go on, pinch and I will turn me. Yeah, yeah, I will tell you. I asked you five bucks for that gentleman at the back. Yeah, gentleman at back with. Look, watch this! Watch that, all samples. Stronger name, isn't it, little dick? If you don't know Stone, then you don' t know Pettigott Lane, you don t know England. What? We supply the trade. You can buy a cup and sauce in some of your stores for four and six. Here is a brief little tea set. Eighteen piece, what would I do with it? The first hand can take it away. That is in the autumn leaves and red roses. The reason why I use the means of the big white meat plate is to prove to you that we don't sell any chips. We don't sale seconds. We don't sell muck and rubbish, whatever you buy off me if you're dissatisfied, money back. Watch. There it is, look. A lip-shaped cup. You see, when you people drink your tea, your lips automatically fix the cup. Your nose don't drop inside it. Watch this. I'll give you a snippet of bargain. Just close up and let the car pass. You don't have to buy. You're going to have to spend a penny. You always got free entertainment the other Sunday. The man that was seen in the press and the television. Watch this. I'll give you a snip. I will give you bargain. And ladies and gentlemen, if you don't know what I'm talking about, I am the only auctioneer in the British House that can speak a thousand languages. If you come from abroad or a foreign country, I will always converse with you. Prove it to you. What part do you come form? India. It's one language I can't speak. Watch! I'll give you a sniff of the bargain! Watch! Well, I'll tell you one thing, sir. You come from India, and he was born there. I bet you don't know how to tell me how to stop an elephant. Do you know how stop an elephants? You walk right in front of the elephant like this. Look, and you put your two hands up and go, and go on. Tarzan does it on the films and he stops every time, doesn't he? Watch! Anybody who wants to watch it, that one's for a present. Watch! Look at the fan! Half a dozen bread and butter plates. I'm the king in China. Nobody can touch me. Don't confuse yourself with these young kids, what you see about them. They come up and get tuition lessons off me. Half a thousand bread and better plates. Look at this one. Watch this. Pretty full set. I'll give you a sniff. I'll get you a ball here. 18 piece. Never mind two pounds 16, ladies and gentlemen. Cheaper two pounds. Cheaper, 37 and sixpence, 30 shillings, 25 shillains, a gilly, a pound a set, anybody do without one costs £2.16, yeah, how many have you got? Two sets. Yeah, I'll give you a cheap one, oh sir, just a minute madam, put your pound away. Two people raise your heads, 15 shillaints, you've got one, and who else would like one? You've got the other one, now what's what I'm going to do, and I haven't started I ain't gas. Want me to clear it up? Still all your cash! What are you doing? You're going bloody mad. Twelve and six, folks. Who wants it? And you don't pay me the price for all my cups and sores. Who wants that diesel? Oh, you've got one, sir. I was just about to see a combination today. Yeah, give us it up. I'll give this a six-year test in a second. Something that you've never seen down in your life before. And I'll pay one thousand pounds to any charity if this could be manufactured. I'm going to place on that tray a fifteen pound dinner service. Watch every piece. £1,000, if you can buy one in a pretty good way, that is all stipple gold, smell of flowers government. Ah, it's simple gold. Red roses, autumn leaves. There's a six-year test in a second. Scrape it. You can scratch it. You can do that, ladies and gentlemen, from now until twelve o'clock tonight. That decoration will never come out. Do you know why? That is burnt in with fire and oil by the hands of man. That decoration is wazed and glazed upon the surface of the soul, sir. And burnt in with fire and armor, the hands of man. That is all a strip of gold. That is red roses and autumn leaves, and I will give it a six-year test. In front of your eyes in one second. Now watch, there it is, number one. Now to match it, look at the surface at the cup. Every piece is gold-edged. Even the handle, burnished gold, look, a beautiful set. A half a dozen cups. Watch this. A snippet of argon now to match it there's a half a dozen putting plates putting plates he says just imagine the old man's done a hard day's work he sits down to the table and he he puts his uh putting on that what are they bread and butter plates you silly bugger watch bread and butter plates half a does and watch this i'll give you a snip Look at this one, it's slipping them all in, look at this look, half of us, watch fair play Ah, that's not being on the television or anything, is it? No. That's alright then, because I only came out of prison yesterday. Ha ha ha ha! Now, and to match! Here's a half a dozen fish plates! A fish! Or pews on! Poison! Not poison, that is a French word! Ha ha! Stip a goal! You must excuse my little friend, he used to be a salesman for Watercrest. Watch this, half a thousand fish plates. Look at this one, really cool. And to match!! At the size of the dinner plates. They are 11 inch. They are no thicker than a six penny piece. They are a stipple of gold, red roses, autumn leaves, runt and stump, the finest you'll ever buy. Half a dozen, watch this. I'll give you a sniff of the bargain. To match, once again, here are the soup, fruits, or sweet dishes. Now, ladies and gentlemen, look what I've placed on the tray. A dinner set, a tea set, fruit set, soup set, full combination. In other words, quite simple, six people can sit down to a six-course meal in comfort without using the same requisite twice. But when you've got guests coming to the house for the very first time... You don't say go on up yourself. They sit down to the table. They start off with soup, then they have hot dogs, then they are fish, then they have meats, then they have sandwiches, then they have pastries, then they have tea.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407#t=117.62,635.5"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141815/file/262407/transcript/79589/annotation/8","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/589/original/trint_Coll458_jb0066_Watkins_Donellan_02_p5_transcript.vtt?1747152624","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/589/original/trint_Coll458_jb0066_Watkins_Donellan_02_p5_transcript.vtt?1747152624"}]}]}]}