[transcript]

10:34 I tried not tried, I produced panels or introduced careers to young adults that really didn't know that they existed or that we as people of color were in and we were crazy successful. Right? Like I did an interview with Paul Tiswell, who was literally that year when I interviewed him, he he was nominated for his his first Oscar for costume design, right, for West Side Story. And but his his catalog was ridiculous. And I was just super, super dope, excited because for me, I'm a I'm a I'm a because of of my age and hearing about Apollo stories, you always heard about the time I someone said all the time I you know, I was talking to James Brown, or I talked to Aretha Franklin, or I was talking to I talked to Aretha Franklin or I was talking to some some legend, some god.

[transcript]

11:09 So James Baldwin, yes, is an influence, but I think that, I have my art influences like Faith Rangel, God rest her soul. She just passed away, couple of days ago. Like William Pope L who was another artist who just passed away as well. Who's now an ancestor. So I definitely have like these artists that sit in a place of teaching me aesthetics and composition, and what that looks like. 10:35 Yeah. Well, I am definitely, inspired by James Baldwin. I think that, his writings are just so profound the way that he speaks about the Black community and being Black himself and the issues, the trials that we face, but also the victories that we can have as well is so profound to me. Right. And so I think he is one of the greatest scholars and in love of what he writes and how he talks about, the human condition.

[transcript]

01:45 Oh, man. Maurice James Junior is a communication like, you know, 00:33 His work focuses on portraying the splendor and the strength of black people while emphasizing the importance of black representation in mainstream pop culture. Please welcome Maurice James junior. Welcome to the podcast. 55:19 And there you have it, folks. I wanna again thank Maurice James Junior for again coming on The Truth in His Heart. And for Maurice, I'm Rob Lee saying that there's art, culture, and community in and around your neck of the woods. You've just got to look for it.

[transcript]

1:00:34 Because Lebron James was at the Cleveland Calves Celtics Game 1:00:44 red wine. Said Lebron James has coffee, a bottle of 1:00:53 Lebron James is in his late thirties and yeah, that

[transcript]

03:15 addict with Lebron James hair style.

[transcript]

50:57 dude has like Lebron James hair and fucking crawls around 51:01 on all fours and Lebron James' I mean, look like

[transcript]

00:41 Who's gonna try another three? Mister? Look on James to

[transcript]

07:32 Doing all this time listening to James Blake and crying

[transcript]

59:49 James, Yeah, listen, I'm not upset with it.

[transcript]

05:01 ahead and very straight and traditional. You're James Cleveland, You're 05:42 So that's really about James. So I'm like, you feel 07:14 own church, Saint James. I was playing my Baptist church.

[transcript]

06:50 James Carville, analysts, strategists, wear's a lot of. 05:44 brings me back to this court case. James Carvill. He's 05:49 a former Clinton strategist. James Carvill is a guy that

[transcript]

18:11 And he worked for of tissue James too right, and

[transcript]

24:45 General la Denisia James lawsuit against Trump as well as

[transcript]

24:11 back in February. No affiliation with the university either. James Carlton,

[transcript]

17:07 But I want you to hear what Democrat Cliburn, James

[transcript]

25:27 das ist doch hier so der James-Ram, was der gerade erzählt.

[transcript]

00:50 James first record? 42:32 and uh sweet Baby James. 42:20 you James Taylor record probably. Yeah. Well, I started on

[transcript]

26:26 good front man and stuff started when we got James 26:34 And James joined them, you know, twenty twenty something years ago,

[transcript]

18:35 Bob James record or you know whatever for sampling purposes. 18:51 so you would buy, like, say, to Bob James record. 18:54 You would buy the Bob James record because everybody you

[transcript]

59:50 and Rick James. 48:26 James, James was is my hero. You know, you're a drummer, 48:19 before about working with James Brown, and.

[transcript]

42:03 James When did they bow down and say you even

[transcript]

19:50 with Tom Brady, We seen it with Lebron James and

[transcript]

38:08 that were I think it was what James Carvell wrote

[transcript]

1:47:14 from James Carvill, who had some choice words for young

[transcript]

19:05 My name is James Lee.

[transcript]

08:34 James Langford, and Republicans are like, well, we never supported

[transcript]

23:26 presidential elections, or, as James Carvel had put it, you know,

[transcript]

23:31 story of Christie starts with a guy named James Christie. 25:12 And following his father's death in eighteen oh three, James 24:07 James Christine co. They handle a couple of prominent art auctions.

[transcript]

01:19 the James Joyce one.

[transcript]

32:08 she comes to this, you know, adventuring like female James Bond.

[transcript]

30:18 Historian James Beard observed in his in his book American

[transcript]

24:17 all of podcasting. Now you were talking about James K.

[transcript]

11:59 Two James at City Field M two and Philly Mets

[transcript]

10:43 Nuggets move on and Lebron James will now decide whether

[transcript]

14:15 spoke to a UK Politek's reporter James Wilcock about the 16:31 Was Benberg Radio's UK politics reporter James Woolcock. Now, where

[transcript]

00:33 All right, so let's get to it. James chalk Mak 01:38 you saw, James in the in the Alphabet story that 04:27 when you look at Alphabet James, and you look at

[transcript]

02:14 of the bank's biggest US rivals. Chief financial Officer James 02:45 Deutsche Bank CFO James von Molka added that he sees

[transcript]

21:38 I just I'm crazy. I loved files when James Gardner 29:31 James as well, These these English women writers, amazing writers.

[transcript]

38:39 I've said this before. James McBride wrote a memoir called

[transcript]

27:47 you know, James Dean meets the fawns, like you know, Yeah, it's.

[transcript]

17:51 Okay, edit, James, Yeah, it makes sense. 29:19 a song for a James Bond movie?

[transcript]

30:35 Her her season? What was the guy's name? Bet James? 30:45 Here's what I liked about Matt James. I remember the

[transcript]

04:32 Dick James Gregory, James James Gregory. I remember making fun

[transcript]

01:25 Will Page and Richard Kramer are Jonas Woost from Bumper and Podnews's editor James Cridland -

[transcript]

02:32 Into the Podverse has our editor, James Cridland - that's me! - as a guest today. Speaking about podcast

[transcript]

00:14 conversation with James Corden at The Podcast Show in London. It's the latest 02:17 BBC News head James Harding; the editor of Tortoise was speaking to UK

[transcript]

02:28 And the Podcast Gurus podcast this week has our editor James Cridland, why that's

[transcript]

01:21 space with Georgie and I must say I screamed." 00:01:23.080 --> 00:01:26.080 The Podnews Weekly Review this week has an

[transcript]

46:58 Do you like this? James Poiser was there. He obviously 01:42 it was worth it because it was James Godson, you know,

[transcript]

56:22 in the studio. We have this James, Yeah, yep, James 20:59 using film references. I said, it's like if James Bond

[transcript]

18:53 me sounded like listening to Eta James or like those

[transcript]

1:09:30 It's it's on a little steno pad, you know. Yay big. Some notes. And it's from James. Anyhow, so that wasn't too bad.

[transcript]

55:30 Susan was very involved in Bowling Green. I didn't realize to what degree, but as we became more involved, you know, it turned out her dad, James Knight, was the executive presbyter or I'm sorry, the synodic executive of Kentucky Senate.

[transcript]

25:29 Shout out to Shout out to Stefan James who plays

[transcript]

02:27 there's stories in there that come out of James Bond. 09:42 Biden shows up at a fundraiser at James Murdoch's house.

[transcript]

21:13 James All Got Data.

[transcript]

25:10 shows up at a fundraiser at James Murdoch's house. 17:56 stories in there that come out of James Bond. You're

[transcript]

14:03 James is a basketball Can you believe it? 14:10 there's a lot of Lebron James. But why why is 14:19 idea of Lebron James as an immortal figure, someone who

[transcript]

00:46 like a really big eyeball, maybe Hubble or James Webb

[transcript]

23:37 all the way back to like Maxwell James Clerk, Maxwell

[transcript]

43:24 James Webb's excellent and the Hubble Deep Field shows us

[transcript]

16:00 unified theory by James Clerk Maxwell of electromagnetism. How all

[transcript]

16:06 Yeah, considering Derwin James is healthy, he's probably safety one 37:21 Richie James on clearout routes. And they won a Super

[transcript]

33:05 Justin James Watt turned thirty five years old in March.

[transcript]

13:56 lot of options. I wonder if James Bradbury even makes 32:55 Hutchinson needs help. Maybe it's James Houston. They put a 1:05:38 fact that James Gladstone, the director of Scouting, and Less

[transcript]

1:18:19 Pennix junior our James Palmer, our guy. He reported they

[transcript]

1:00:50 James. I love when teams do that. 1:25:16 in the near future. James Palmer also who's been on 1:26:12 talk to everyone, like, treats everyone equal. And James Palmer,

[transcript]

02:05 be the Lebron James, the best curler of this generation

[transcript]

39:26 direkt zugezogen hat, und dann mit James Loughran, der nach einer Operation.

[transcript]

31:37 Arthur Gomperts. Our story consultant was James Foreman Jr. Special

[transcript]

29:48 Arthur Gomberts. Our story consultant was James Foreman Jr. Special

[transcript]

29:26 Arthur Gomberts. Our story consultant was James Foreman Jr. Special

[transcript]

1:09:40 good nice nice find james and this 1:07:55 next one comes from james who started asking a question and and then solved it by finding the

[transcript]

57:55 Michael in Robbins, James in Amity Harbor, Santiago in Palm City, 59:00 a $150 contribution from Brian in Glendora, and a $500 contribution from James in Pleasant Prairie. 17:10 said well you're two out of ten because listener james also wrote in and and uh even it.

[transcript]

1:16:53 Warren in Gloucester, James in Melbourne, Chris in Chorleywood, 1:16:47 Wagner and Alan, Gary in Babylon, Robert in Columbiana, James in San Antonio, 1:17:19 Neil in West Hartford. Right. Of course. Michael in Robbins. James in Amity Harbor.

[transcript]

00:00 It's time for Mac Geek Cab, and listener James brings us our quick tip of the week. 35:43 You know, this was a conversation in discord and James kind of dovetailed in and he says,

[transcript]

15:37 James 15:55 James 16:03 James

[transcript]

11:54 James 16:36 James

[transcript]

10:22 Sean Gunn, who is James Gunn's brother, who's in all 10:26 the Guardians of the Galaxy movies. James gun directed and

[transcript]

28:34 nervous about was James Lipton because of right, and he

[transcript]

01:21 incredible and his partner, James Wesley Jackson, who is producing

[transcript]

01:21 incredible and his partner, James Wesley Jackson, who is producing

[transcript]

01:21 incredible and his partner, James Wesley Jackson, who is producing

[transcript]

18:07 At the at the heart, they are big bunch of nerds. And then there's, Tessa and James. Tessa does, a lot of the administration. James is the marketing manager. Again, folks who like to play games. 18:20 James James is quite new to playing games, so he's he's experienced in a lot of the same sort of, like, oh, wow. That's amazing. We we Cool. Bring out Ticket to Ride Legacy, that kind of stuff. And then there's Paul, who does production, and does all the printing. 41:02 Just like we were so James is the marketing manager for the UK Games Expo, and we were looking at other countries', RPG schedules. The bit the only the only schedule we think in Europe that's bigger is Luca Comic Con.

[transcript]

03:53 Dave, do you wanna do you wanna give Jimmy's, James?

[transcript]

20:35 Yeah. I'm just having a little look at the, the preview on on drive thru. It doesn't actually tell you very much, but there is a when it comes to the weapons and the artwork for the weapons, it is very reminiscent of, the old Victory Gaming James Bond double 0 7 style. The other artwork, I guess it's probably similar to that as well. But I always loved the the nice little sort of line drawings of all the guns in the old James Bond one.

[transcript]

14:27 naja, hier der Macher von den Saw-Filmen, James Wan oder was,

[transcript]

32:39 James bond grace jones. 02:54 Hello, my name is James Björk. 22:08 Lincoln als James Bond. Ja, geil.

[transcript]

07:59 Ja, außerdem nächstes Mal reden wir über den Film James Bond, 29:32 war am Dienstag, weil wir Dienstags immer Filmabend machen, normalerweise James 29:35 Bond, aber die Wochen, wo wir keinen James Bond gucken, gucken wir was anderes.

[transcript]

17:12 der hat mal James Bond gespielt in so einem 10-minütigen Sketch. 08:29 Bringt uns ein neuer James Bond Und Neuigkeiten? Roger Moore hat leider noch 09:46 Der neunte James-Bond-Film, der zweite mit Roger Moore, beschert uns eine lustige

[transcript]

42:49 was kein James Bond ist und wir haben an unserem James Bond Abend Rebel Moon geguckt. 06:20 Genau. James Bond gucken wir nächste Woche wieder und besprechen wir den auch

[transcript]

12:22 Nein, natürlich nicht. James Bond ist ja auch hingeschickt worden, 11:14 Und James Bond wird daher einmal hingeschickt und soll mal rausfinden, 43:11 Ja. Wir werden zum nächsten Mal keinen James-Bond-Film gucken,

[transcript]

10:13 Das dürfte der achte James-Bond-Film sein. 29:58 Nächste Woche gucken wir James Bond, denk dran, Live and Let Die.

[transcript]

25:48 by James Connor. I think Benson is really good. I 41:19 other team's defense with some fresh legs. I know James

[transcript]

47:53 to the top two, Ty James Dude, and I think 48:29 crushing it and blowing up the numbers. Ty James, did 49:04 Absolutely agree and Ty James, I think has the talent

[transcript]

1:10:53 The other guy I wanted to shout out was James 1:10:55 Kromer from James Madison via Rutgers. He at Rutgers, he 1:11:09 on top of you. The thing last year at James

[transcript]

21:53 You know, Trey Benson is behind James Connor for this year,

[transcript]

02:34 that James Connor might be in trouble, Trey Benson. Do 02:37 not look in your rearview mirror, James Connor. Trey Benson 03:31 as next season. James Connor is probably gonna split work

[transcript]

45:48 know that Darth Vader himself, James Earl Jones was a stutter, yeah,

[transcript]

36:01 Did it all get James Cameron on it? 36:17 second ad break word James Cameron, which means we're now

[transcript]

02:52 James Blythe and he had a second home apparently in 07:54 that thing that say James Blyth Paul LeCour came up

[transcript]

16:38 James Cameron painted that and Escape from New York. He 17:39 to think about that old craft and James Cameron painting

[transcript]

10:12 James time.

[transcript]

1:09:37 YouTube channel andrasm and I'm here with James. 1:55:00 here with James Stout. He and I have both reported 2:11:28 right around the time you were there last, James, you know,

[transcript]

11:56 Geez, you have not earned that yet, James.

[transcript]

1:52:09 Nia Long with me is James Stout.

[transcript]

40:21 James Hi James, Hi Scheren. 41:02 But James take it. 38:20 as James with border kindness.

[transcript]

02:51 the reason why I have James here. James you you 14:38 I believe he's talking about you, James. 13:09 But do you know what isn't a scam? James?

[transcript]

19:12 About the the the the past cartoon, you know, you made that mention of, like, this is just, like, the the routine that they go through. I was actually thinking about this last time we were talking about climate change stuff and, like, you know, some like the early on kind of champions of the climate alarmist movement, like, whether it's, like, James Hansen or something. Like, I I wonder if James Hansen ever thought back in, like, the eighties or seventies whenever he kind of started that gig, if he would ever make it to 2025 and not have already been roasted alive by the sun, like, just the fact that he's, like, getting into, like, his older age, don't you feel like that should make him kind of, like, look back on his career and be like, maybe I overstated a couple

[transcript]

47:50 Can I just step in for a second, James? 1:06:43 I mean, this is very obvious from what James just explained to us that, you know, they have a belief system, and the belief system is very, very hard to, dispel. 1:08:29 Roman Hyder and Harold Valenski. They are members of the European Parliament. They're from Austria. And they said, James, we are having a hearing on a bill. There's a bill in the EU.

[transcript]

08:00 And but now we're going to be fooling with mother nature. Wasn't there a a a slogan for a was it for parquet in the 19 seventies? Don't fool with mother nature. And here we are thinking that we can actually control the weather like it's like, we're some kind of, I guess, benevolent James Bond villain or something that we can affect the weather. Linnea, this seems, this would affect your generation the most.

[transcript]

06:12 So they broke into Upper Midwest Law Center on the 3rd floor, poured gasoline on the floor there, lit it on fire, ran downstairs, poured a bunch of gasoline in the hallway of in between our office and take charge, and then they bolted out the side door. So, this was at, like, 2 AM on Sunday, January 31st or whatever that weekend was, whatever the the Sunday was. And, you know, I got a text from my friend, James, who works at the Upper Midwest Law Center, and he said the buildings the building got set on fire last night. And I just thought he was pulling my leg, basically trying to trying to get a rise out of me. And then we got an email from from the building saying, hey.

[transcript]

02:01 Lebron James. And speaking of Lebron James, he has not 02:12 Does Lebron James hurt his legacy if he keeps playing it?

[transcript]

01:24 the sad part about it. It's just that James Harden,

[transcript]

02:54 a superstar like Lebron James.

[transcript]

05:29 You cute James. It really was James from South Carolina. 06:25 James boys from trying or trying. 05:04 Shirt James from South Carolina is our next callers Russia

[transcript]

02:15 Joelen b Lebron, James Kawhi, Leonard, Jason Tatum, Drew Holliday,

[transcript]

52:18 watching Lebron James and he sees Lebron James has his projects. Look,

[transcript]

51:35 James and Jacob Latimore from the shot Charlamagne. 03:41 Well. Jacob Latimore and Luke James will be joining us 32:54 when we come back, Jacob Latimore and Luke James will

[transcript]

22:29 about Tish James, This is about Fannie Willis. This is

[transcript]

12:13 Yo, it's James Jersey. 06:03 Lebron James last game really with the Los Angeles Lakers. 06:10 By the way, if the Lakers drafted Bronnie James, that

[transcript]

1:01:58 Carolina for audible book that I did for James Hanahan

[transcript]

06:16 rebel without a cause, actor James, They said no to James, 06:58 of course. James Dean from Rebel without a Clause East

[transcript]

04:39 James Otis Junior better better than anyway. James Otis Junior 04:59 knowledge of James Otis Junior. 04:28 The book exactly all right. Uh, James Otis Junior, sure

[transcript]

06:03 four pages. Or James Madison added an extraneous S to 06:14 You know, James Madison was a smart guy, but you know, 08:44 when James Wilson brought up the idea of a single president,

[transcript]

04:12 bare arms like a panda, would James Madison have gone

[transcript]

06:08 John McCain aviator Pete Mitchell and James Gardner's cowboy hustler 06:41 films and James Corner's character Maverick exactly. Yeah. So this

[transcript]

22:42 more person because it was just me and James at 2:37:03 watching James the Chronicles from the beginning, and Yasha was 21:02 gonna say his name, because he's a cool motherfucker, James McDonald, Right,

[transcript]

03:18 Tisia James, the most important attorney general in the country, 13:46 Ain't see me in a minute, James, Jesus, this is 57:51 talk to Raheem and James on the corner and see

[transcript]

1:52:20 Michael Jackson, James Brown. And after this show is when 1:53:02 then goes whispers in James Brown's ear. And you know 1:53:40 Yeah, because what happens after that, James Brown says, and.

[transcript]

1:03:16 Lebron James. 56:49 Like like James Dolan's pitch was, come to me and 57:15 you got James Dolan, who don't have the greatest reputation.

[transcript]

2:22:17 to Sir James. 2:25:12 so you know. But that's about it. But oh James,

[transcript]

00:10 James 00:14 James 00:52 James

[transcript]

00:11 James 00:15 James 01:04 James

[transcript]

00:10 James 00:13 James 01:02 james

[transcript]

00:10 James 00:12 James 03:14 James

[transcript]

00:10 James 00:13 James 00:27 James

[transcript]

25:28 his James Bond style cover story was that he was

[transcript]

34:38 smoking James Bond. He swaggered around London City with tight

[transcript]

18:09 than spouting quotes from James Cameron movies. But don't let

[transcript]

33:42 were originally looking at Katie Holmes and James Vanderbeek as

[transcript]

06:45 The movie, which by the way, has like James Vader

[transcript]

05:47 the spirit. In general, they're very old old King James

[transcript]

28:35 she wants it with James James gets emotional because his 28:25 Then James brings Ali outside to watch the sunset. He 39:34 are still friends. He and James, I don't know where

[transcript]

14:10 like James and Ali this season, But do I really 37:40 Then Shorts, Sandoval's mom and James meet Santoval backstage. Sandoval

[transcript]

10:43 from James and Ali's that now, like with the cats,

[transcript]

25:13 Now we get Alli and James. 26:24 get into both James and Tom's head, yes, because at 26:44 But then we still get into James and Ali talking

[transcript]

46:20 James, Alli, Cadie and Arianna at Top Golf.

[transcript]

14:37 The wreckage of which was, of course, the sub's Final Destination. James Cameron himself could not have scripted a better character to be at the center of this deep sea tragedy. Also, Final Destination, too much? Okay? Too much?

[transcript]

11:51 Moving on to episode 3, James Mackenzie, sent us an email about Georgia and tomorrow's segment about how the infrastructure of social media does, like, mostly doesn't support, the process of grieving and mourning. And there's one thing that James said that I thought was really interesting that I would love to hear your reaction to Georgia. And he writes, the analogy I keep returning to is saying goodbye to a loved one at the airport getting on a plane. Pre 19 nineties, that was it. Now you can keep calling and texting that person up to and sometimes including the time they're on a plane. 12:49 they find themselves struggling, not just when separated from a loved one, but separated from communicating with them. What else is lost besides the connection? Which is an interesting thought of, like, you know, we're, like, out of practice, and, James goes on to say this, like, out of practice being away from people. Mhmm.

[transcript]

07:59 Yeah, James James Bond notoriously does not love, so there 03:31 Double O seven James. 03:45 list of films that James does.

[transcript]

07:43 Well James James Bond notoriously does not love, so there 05:52 Jeffrey, your James Bond title is Balls of Thunder? 03:29 James does. Since the nineteen sixties, there have been twenty

[transcript]

43:18 James? 46:26 James James, Yeah, I would love that. 37:53 come back and call James to do your second.

[transcript]

12:50 Hey Justine, come on, James. 14:57 Come on, James. Yeah that. 13:59 It's some flair on a James.

[transcript]

05:02 James squaring exactly how tall it was. Oh gosh, that

[transcript]

24:53 James MEAs is usually credited with introducing the first tomato

[transcript]

29:24 a medical student named James Tobin. It occurs to me

[transcript]

15:51 James Watt for some of these experiments. James Watt's son, Gregory, 13:37 people in Cornwall. One was Scottish inventor James Watt, who 14:27 and helped introduce him to other people. James Watt and

[transcript]

04:37 from New Orleans. Captain James cass Mason was at the

[transcript]

43:26 your limit is. Jim Roundell full name James, but went

[transcript]

06:59 our field, doctor James, White people like that. And so

[transcript]

41:13 Go train And isn't James Earl Jones and The Lion 41:17 James Earl Jones is in The Lion King also, and

[transcript]

24:26 very popular for a while, and James Madison was famous

[transcript]

30:58 an example of athletic pass You get like Lebron James

[transcript]

48:23 fan of atomic habits, James. Clear, Obviously you have to

[transcript]

45:37 Yeah, James, And the Bible says faith without works is dead,

[transcript]

03:46 festgestellt, das waren dann so Leute wie Martin Fowler, James Lewis,

[transcript]

2:36:23 Ja, genau, genau, Space Shuttle und James Bond halt.

[transcript]

1:23:55 The Upper Neil Governor James Odochowai has called for improvements. Mit der Worten.

[transcript]

04:54 James Bond films exist. 05:00 That sounds like the title for James Bond film Shot 05:20 would be most familiar with intelligence agencies through this James

[transcript]

16:01 guy named James Bamford. It's called Body of Secrets, an

[transcript]

02:42 also represented James Earl ray On, behalf of the King family.

[transcript]

21:04 is it, Little Saint James Island and it then this 48:47 States before and after they visited Little Saint James Island.

[transcript]

28:01 believe the first James Cameron movie to really use that

[transcript]

14:41 James

[transcript]

19:23 James 19:23 James

[transcript]

19:36 James 22:04 James 22:06 James

[transcript]

19:48 James

[transcript]

20:59 James

[transcript]

01:35 King James the First. James the First also known as 24:16 particularly for James, and James for me, emerges from this 32:26 James's son after James died.

[transcript]

56:42 That's good. It wasn't James Lipton, the one who coined

[transcript]

05:36 James and Tim Moody about what those integrations might look like now we have a couple of language

[transcript]

2:27:41 Der hatte Something is Killing theChildren ja gezeichnet von James Tynion.

[transcript]

37:24 aus Bullet Train mit dem Anzug, der auchim Gespräch stand, der nächste James

[transcript]

13:39 from the neuroscientist James Gross at Stanford. He does these

[transcript]

08:35 wirkendes James-Bond-Setting hineingeworfen, das ist schon sehr lustig. 02:42 Verfolgungsjagd stattfindet und alles das, was man in einem typischen James-Bond-Intro 02:20 Okay, der Film hat ja so ein James Bondiges Code Open, würde ich sagen,

[transcript]

2:34:40 Von James Mangold.

[transcript]

35:30 James XO mitgenommen weil ich da Lust drauf hab, nicht weil das irgendwas mit dem Film zu tun hat.

[transcript]

27:09 Wie bei James Bond im Absatz ja genau,

[transcript]

27:09 Wie bei James Bond im Absatz ja genau,

[transcript]

1:05:41 man who has a James Brown parent that he was

[transcript]

1:08:55 It's just that James Harden, Paul George, this is just

[transcript]

41:17 That was sweet? Right cute James, It really was James 42:15 James boys from JR. 41:59 bless y'all. Oh James, stop killing.

[transcript]

39:48 Here we go. This is from James in Memphis. James 39:54 Hey, Steve, this is James Man. I would just call 1:09:56 Okay, I'm very comfortable that I you think Lebron James

[transcript]

18:34 because Lebron James won a championship in Cleveland on meet,

[transcript]

36:54 Allein sagen wir mal so, die Anreise, das Ankommen, das Vorstellen des Planeten, das bisschen auf dem Planeten rummachen, dann geht es auf die andere Seite, das Raumschiff finden, bisschen rumprügeln, gefangen nehmen werden, James Bond Rede, das Befreien, das Zeug. 35:19 Also bei dem Konflikt kann man sich durchaus irgendwann mal vorstellen, weil egal was die Terraner machen, sie landen irgendwann wieder immer auf der Seite der Kosmokraten. Deswegen, das ist so diese James Bond Rede, die er da hält. Und Gucki zieht da ja auf.

[transcript]

1:00:00 so hier James Bond Szene am Ende, wir verwickeln den Bösewicht in ein Gespräch und er gibt seinen Plan frei oder seinen Plan preis und dann kommt von ihm, von Kmossem aus ideologischen Gründen, ich will Vergeltung üben, will mich beweisen, vor allem aber werde ich zeigen, dass ich ein besserer Quintarch wäre als Reginald Bull. Er ist keinesfalls geeignet, möglicherweise sogar ein Agent der Kosmokraten und auf lange Sicht vielleicht der Vernichter Fenrix.

[transcript]

00:25 rights of sex workers. Let's talk about Margo. Saint James

[transcript]

02:03 When she was twenty two years old, Fanny married James Eaton,

[transcript]

04:12 be heard in early James Bond films, though she went uncredited.

[transcript]

48:17 out on her own, Yes, the same way as James

[transcript]

1:05:09 you probably wouldn't like him on the show. But James

[transcript]

58:14 like the Lebron James of days, and all the women

[transcript]

53:51 James deserves a statue cover? 36:45 previous pictures, DJ Derwin James was wearing the green dot. 54:31 just sorry, dude. It's six years of Lebron James and

[transcript]

02:06 Derwin James what they're doing and explaining the defense. Joe, 1:04:13 Derwin James, Joey Bosa and Khalil Mack on the same

[transcript]

20:20 secretly my buddy James Co's favorite player in the NFL. 36:46 James co. They're great. This is a wide receiver draft. 44:29 You know, can't get him by James going at Eagles

[transcript]

1:02:35 Darwin James just falling down the draft board and looking 1:02:46 James at eighteen? Overall, Uh, those are just a couple.

[transcript]

34:25 DJ James, Jerry and Jones. The slot corner from Florida State.

[transcript]

06:19 James

[transcript]

10:03 sound groovy the first James Bond film, Doctor No, had 43:44 on this night side table, like a James Mischner or 44:17 make Gray books. But like James Mitcher does not do

[transcript]

32:27 or go read Dickens, or go read James Balden, whatever

[transcript]

06:03 by James Wyle, the monster, prodigiously eloquent, learned and persuasive 26:47 James Whale film, in which Karlov wore green face paint

[transcript]

27:16 press conference when a man named James Bedford was frozen

[transcript]

20:16 Und jetzt sind natürlich mit dem James Webb Space Telescope die ersten Ergebnisse 21:14 war das so, dass man mit den derzeitigen Mitteln und ich glaube auch mit James

[transcript]

25:39 Teleskopen nicht, auch mit James Webb nicht. 33:32 Und zwar mit dem James-Webb-Weltraumteleskop. 25:52 als dass auch James Webb das überhaupt beobachten könnte derzeit.

[transcript]

31:20 Jetzt haben wir irgendwie noch James Webb

[transcript]

04:22 drop in on the set of James Cameron's Titanic in 05:37 or since it's the night the crew of James Cameron's 05:58 even future Oscar winner James Cameron. As the chaos ensued

[transcript]

02:18 time on the set of James Cameron's Titanic the night

[transcript]

21:01 it down and Neil Diamond and Carly Simon and James

[transcript]

03:04 James 03:21 James

[transcript]

14:05 James 14:11 James 14:19 James

[transcript]

19:53 James

[transcript]

08:15 James 08:17 James

[transcript]

01:38 James

[transcript]

03:13 Saint James Theater that next year. It must have been

[transcript]

11:35 James Comm Daniel d Lewis de Niro, Kilmer, Russell Crowe,

[transcript]

39:56 James Whitley once said, the dark Age of Greece is

[transcript]

17:21 ways around the around that rule. And Sharon James wrote

[transcript]

00:05 the Thing from iHeart Radio. James Naughton is known for 01:22 This is James Naughton with all I care about, from 15:57 You know, actor and director James Naughton. If you enjoy

[transcript]

14:13 of the producers, and she and James Lucine was the 26:54 Yeah, I have to. James Lepine asked me to do

[transcript]

28:26 production is James Foster, and our supervising producer is Nikia Swinton.

[transcript]

30:36 our EP of Post Production is James Foster, and our

[transcript]

01:36 How does James Bond go to sleep? He tucks himself

[transcript]

38:57 Frank and Adele and James Blake.

[transcript]

10:56 LCD sound System, and then obviously James and Nancy Wang

[transcript]

39:38 Arthur Gomberts. Our story consultant was James Foreman Jr. Special

[transcript]

39:51 Arthur Gomberts. Our story consultant was James Foreman. Jr. Special

[transcript]

00:52 Rob Reiner and civil rights hero Reverend James Lawson about

[transcript]

33:59 of like James Dean, you know, just asked me for

[transcript]

30:21 So we had some James Bond tapes. So I watched 30:25 some James Bond you know romance scenes, pull out some

[transcript]

09:09 is always done. You know, James Comey, who worked with 39:20 that it was James Polk's wife who came up with

[transcript]

09:10 James Tobin and one, I believe he won the Nobel 02:16 from Yale, and your thesis advisor is Nobel Laureate James Tobin.

[transcript]

1:12:30 you use a simple textbook, And that was James Quack

[transcript]

41:35 So yeah. Because we we talked about that with, James Lewis Right. On a previous podcast. I think it was, like, entropy rules the world or something like that is the title of that podcast.

[transcript]

01:57 So you just plug your debugger right into your PCB. Got the idea from James Lewis who was working on his, Apple Mega 2 project, and he eventually basically just made it so his test equipment we'll get to this too, like, test equipment would just plug right into his his prototype, and so he would

[transcript]

06:59 I don't know if that device is actually real, but that's what the batarang is. The batarang is one of those except it's really sharp and can, like, cut people's heads off, like, in James Bond, the the dude with the hat.

[transcript]

35:33 You can use an external tool to manage it though because they don't wanna change those workflows specifically. That's why when you see these new KiCad releases, it's always new features. Right? Like push pull routing and there's a whole bunch from KiCad 8 that, actually James Lewis has a video on, like, his favorite 8 things in KiCad 8. Go Go check out that video.

[transcript]

33:46 an aging chain smoking James Bond. He swaggered around London

[transcript]

24:13 James played by Bryce Wilson, who is an ex con. 24:29 all of the customers think James is so hot, but 28:32 and then James and Lynn dance and they also start

[transcript]

35:40 this movie. And so that's that brings us James Barbie

[transcript]

24:17 James Earl Jones was introducing.

[transcript]

12:13 wrote James and the Giant Peach for Disney in nineteen

[transcript]

22:48 dann habe ich natürlich manchmal so eine gewisse James Bond oder Alan Duhong Wirkung 23:47 Wenn der aussieht wie James Bond himself und dann rennt der auch noch weg, dann habe ich

[transcript]

27:41 used for many years, and more recently ThatStory.show. The host, James Kennison, now speaks the .show

[transcript]

04:00 Okay, das hört sich an wie so eine Supervillain-Insel von James Bond oder so.

[transcript]

45:30 von James Cridland und ich hab halt, ichwar dann so, okay, lass uns doch ein ganz

[transcript]

39:37 Arthur Gomberts. Our story consultant was James Foreman Jr. Special

[transcript]

39:37 Arthur Gomberts. Our story consultant was James Foreman Jr. Special

[transcript]

39:19 Arthur Gomberts. Our story consultant was James Foreman Jr. Special

[transcript]

11:04 the Stars. The Castle's actually dressed James Bond in the

[transcript]

00:52 James 00:56 James 08:52 James

[transcript]

15:00 James 15:30 james 16:48 James

[transcript]

12:55 of James Princes, keep it real. Sure, if he dreamed

[transcript]

27:42 visit the postmaster at that time Martin James Martin. A

[transcript]

23:58 you felt it in your stomach, and I remember James 25:34 from James and Aiden and Owen being over there. We're 28:52 weren't close for I was close friends with James, so

[transcript]

21:21 with James Seer.

[transcript]

02:09 My name is Sergeant James Simmons. I'm currently employed at

[transcript]

02:53 James

[transcript]

33:58 James

[transcript]

07:16 Avec le team Harold James,

[transcript]

47:18 So the James Gunns were using these giant mobile suit sized shovels to, like, dig lanes or trenches or something. 15:30 I actually have a couple more. Okay. When Romero is talking to Gomez, when they first arrive, and Gomez is like, listen, my job is just to get those victories out of here. I'm just here to transport the mobile suits. Romero then says, and yet you've only managed to transport two of them. What Romero actually says is, but even so, you only have to Usoki. Usoki specifically is a transport plane. Hes not saying youve only managed to transport two victory gundams. But even though your job is to transport our mobile suits, you still only have two transport planes, which then makes Gomezs next line that, oh, the others had to go and collect the James guns that got left behind because of you people. Make more sense because outline doesn't make much sense at all if he's talking about mobile suits, but if he's talking about planes, well, yeah, then it fits perfectly. 01:42 This week we are covering victory episode eleven, schrakutai no Boheki or the Shrike team bulwark. The episode was written by Oka Akira, storyboarded by Kase Mitsuko, the original chief director of 0083, Stardust Memory, and directed by Egami Kiyoshi. The animation director was Osaka Hiroshi, Victorys character designer. And now the recap. Battered but unbroken, the Camion convoy and its shrike team escorts completes the journey to the DD rendezvous point. Shakti seems preoccupied, thinking about everything they left behind at the goat, the chickens. She wants to go back. Uso is determined to stick with the league militaire. Shakti accuses him of only caring about getting to see Miss Katagina again. For a moment, Uso's face betrayed. Praise him, but he assumes an innocent countenance and denies the charge. He just wants to learn more about his parents. Maybe the league militaire people know something. Didi turns out to be an old airfield at Bohenia, some 50 miles due south of Uig, guarded by James guns, federation forces, mobile suits. The gathering is less impressive than they might have hoped. Besides the James guns, there are only a couple of transport planes with their crews and three complete victory gundams. Until now, the Camion team has believed the plan was to consolidate resistance forces here at DD before launching an all out attack on the yellowjacket. Base at Largaine, expelling the invaders and securing Europe. To their dismay, the Federation transport pilot, Lieutenant Gomez, says that his orders are to retrieve the victory units and transport them to Ireland, where they will be loaded onto a federation ship and sent into space. After all, this civilian level resistance is no match for the professional Bespa forces. It is obvious enough that Gomez doesnt want to be here, and as Romero stalks away in a foul temper, the Federation pilot snarls that this is all the fault of that fool hungerg Eben. If he had just stuck to his duties. Ouco whirls around. Excuse me, excuse me. He tugs on Gomezs vest. How do you know that name? But Gomez just shakes him off, leaving Uso to wonder how it is that a Federation soldier would know his fathers name. The tension between Marbet and Oliver hasnt dissipated yet, and its obvious that the source of the trouble is his commitment to the shrike team. The shrikes themselves are amused by the tiff, but they are quick to get to work loading the three victory gundams onto the waiting transport planes, all the while rebuffing unwelcome flirtation from the planes crew. Uso wanders the hangar looking more childish than ever, asking every Federation crewman he can find if they know the name of Hunger Geben. One after another, they brush him off just like Gomez did. Cant he see how busy they are harassing these beautiful and stylish women? Odello interrupts the haphazard interrogation and drags Uso outside for a private conversation. Hes worried about Warren and Susie. If Uso is going to go looking for his parents, he should at least have the good grace to do it when the young orphans arent watching. Besides, its embarrassing seeing him suck up to those federation scumbags. Uso only seems to hear the second part. Im not sucking up to them. Theres just something I want to ask them. But when he tries to walk away, Odello tackles him. The sound of the boys fighting attracts first the shrikes, who place bets on which boy will win, and then Shakti, flanked by Haro and Flanders, who looks with horror and disgust on this violent creature who used to be the sweet boy next door called Uso. Elsewhere, a team of yellowjackets from Pipinidens unit is hunting for the league military convoy, the scars from Dupres final battle point south, and when a loose lipped local in a sleepy bar confirms that he saw a truck carrying mobile suits headed in that direction just half a day ago, the scouts realize the league must have been headed for the old airfield at Bohenia. Lupe puts out the call for reinforcements before casually executing everyone in the bar. Back at the airfield, Leonid chats with Uso as he tends the scrapes and bruises from his scuffle with Odello. It turns out that he and the other old men also knew hangar Geben, but never suspected he had left a son behind in an out of the way place. Like Kasarelia, Leonid remembers him as a careful man who used his connections with the Federation to help establish the league militaire. But no one knows where he's gone now, if he's even alive or dead. A man like him, Sanskar wouldn't hesitate to use the guillotine if they caught him. And they know nothing about Uso's mother, Mira Miguel. The conversation leaves Uso stewing as he wanders around the woods, idly kicking trees. He runs into Odello again. The older boy scowls at him, and at first it seems like hes come to finish their fight away from prying eyes and interfering girls. But then his expression softens. Your dad worked for the public transport corporation, didnt he? At RD Gibraltar? Thats the headquarters for the whole eurozone. I think its worth checking out. USO accepts the olive branch and they are friends again, just in time, because the forest shakes with sudden violence and the sound of not too distant explosions alert everyone to the arrival of Bespa forces. The Katarl team is first to arrive, their light battle bikes now augmented by an enormous galaxy mobile armor. Lupe's thomliots are not far behind. The shrikes race for their gun easy mobile suits, determined to protect the transport plane until it can get away with the three intact victory units. This was their original mission, after all, and no one can muster much confidence in the James guns defending the airfield. Lieutenant Gomez wants to take off immediately. His orders are to get the victories out of there, and he refuses to stick around to fight. Basakti, Flanders, Haro and the baby Karlman are all missing. Without a second thought, Uso hops on his waapa and goes looking for them, followed moments later by Odello and company. Over the ineffectual protests of Romero and Oliver, the agile battle bikes cut the sluggish James guns to pieces, but they are in turn decimated by the shrikes, who seem to be everywhere at once on the battlefield. Odello catches up to Uso and manages to convince the latter to get back to his gundam and join the battle raging all around them. Odello and the others will find Shakti, but none of them are going to escape alive. Unless USO and the other fighters can hold off the yellowjackets, Shakti is deep in the woods, planting fireweed seeds and watering them with tears. Heedless of Carlmans sobbing harrows, entreaties, and flanders insistent, tugging on her sweater. Suzy hears the baby crying, but no amount of pleading or cajoling by the other kids can get Shaktis attention. Theyre nearly caught in a burst of gunfire from a passing Thomleyat, but even that has no effect on her. In the end, Suzy and Warren have to manhandle the distraught girl onto their Waapa Uso, shielding them with the body of his mobile suit, while shrike team officer Junco keeps the enemy at bay. They race back to the airfield just in time to see one of the shrikes, Helen, crushed inside her cockpit by a Thomliat's fist. But Helens sacrifice gives the rest of them Camion crew, Gundam pilots, largaine orphans and shrikes alike, the chance to get away. But they will not be going to Ireland with the planes damaged and more mobile suits on board than they had planned. They will be going south west toward the Alps, then the Pyrenees and beyond Gibraltar. The battle has left its scars on all of them. Oliver tries to comfort Junco, telling her not to cry as tears stream down his face. In the planes cockpit, Romero lays a comforting hand on Lieutenant Gomez's trembling arm. We're fighting a state that rules through terror. That's all there is to it.

[transcript]

16:30 James 17:30 James 23:00 james

[transcript]

14:59 James

[transcript]

03:54 James

[transcript]

1:30:27 Deswegen, ich will sagen Twin Pieks, aber Twin Pieks ist ja die das war der mit hier ähm James Bond ähm äh Pierce Brosnan, genau.

[transcript]

11:59 this was in a James Bond movie. Sweet.

[transcript]

03:15 James Cameron. 03:23 Wir sind ein Filmpodcast und auch James Cameron hat nicht nur Spielfilme mit 22:27 Das war das, was James Cameron dann hochgetragen hat in seiner Challenger-Experiment.

[transcript]

16:32 at all. But James Jamison then started playing around with 15:55 I'd been very inspired by James Jamieson, the Motown bass player,

[transcript]

00:52 me and my friend Ian James, we were at a

[transcript]

56:27 hast du dann sozusagen so ein James-Bond-mäßiges Piep-Piep-Device und wirst

[transcript]

30:47 US S Enterprise. Uh and Captain James Kirk Captain James Cook. 02:36 Captain James Cook. And if you are interested in pre 04:24 He was bad guy, Captain James Cook. You know, I

[transcript]

19:16 right back with our friend James and Shortsmith's Hot.

[transcript]

39:14 say we if you're a Laker fan, think Lebron James math.

[transcript]

00:04 Schon damals war die Rede von James Cooks Reisen und seiner Besessenheit, den "Antarktischen Kreis" zu überqueren, obwohl nicht klar war, wer hinter seiner Finanzierung stand oder warum diese Besessenheit. Da ich nicht sehr tief in das Thema eingetaucht war, hatte mich der Vortrag nicht genug gefesselt. Ich schenkte ihm keine große Aufmerksamkeit und die Jungen erzählten weiter.

[transcript]

21:50 da fällt einem sofort James Bond ein unter schießende Kugelschreiber, 24:57 Aber die waren nicht ganz so cool wie bei James Bond. Sie hatten nur ein eingebautes Messer.

[transcript]

07:14 Und zwar "Die wahren Memoiren eines internationalen Killers". Kevin James spielt 07:41 dass Kevin James, also wir kennen den als Doug von "King of Queens", 07:06 Und ich habe seit Ewigkeit mal wieder einen guten Film mit Kevin James gesehen.

[transcript]

06:49 Ja, ja. Super. Es geht um James Masters. Das ist der wasserstoffblonde Vampir

[transcript]

06:49 Ja, ja. Super. Es geht um James Masters. Das ist der wasserstoffblonde Vampir

[transcript]

09:49 Und der dritte wäre James Arthur, You Are Nobody Till Somebody Loves You, 07:35 Es geht um den Schauspieler Aaron Taylor-Johnson. Er soll der neue James Bond werden.

[transcript]

05:26 if you know who Maynard James Keenan is, the lead the lead leader of Tool,

[transcript]

1:35:09 And then, uh, James will share that on Tuesdays as well. 1:34:46 Email there There is a crank and drink Instagram handle that James, 1:34:49 James is working on now, you know, so if you, if you do follow crank and drink

[transcript]

28:50 Okay, right, So Samsung gets Lebron James to do there's

[transcript]

29:07 Party by James Charles that has one point seven billion views.

[transcript]

51:43 Auf jeden Fall E.L. James hat dann dasselbe auch gemacht und ihr erstes Buch

[transcript]

39:20 Kate Horsman: completely intrinsic and fascinating. You know, even thinking about the it's a first thing, breath, first thing you do when you come into the world. Well, probably like there's a few other things happening too. But like you take a breath. And it's the last thing you meet when you leave the world. It is connected to you through all of that. And so yeah, again, I think some of the emphasis on breath is healing is so powerful right now, whether we're talking about breath exercises, or events. Again, someone like James Nestor has a wealth of information on like the science of breathing like yours Starting to actually trust that there's something extremely valuable about this set of lungs, right? And not just this set of lungs, you're settling this yourself, you know, there is, yeah, a wisdom and a power there than meets us. Each time we take a breath, right. And I think if we were to look at it through, you know, a meditation standpoint, you know, that's always been the thing is like with each in breath, and with each out breath, we have a chance to begin again. And in this state, we're like, we're ramping it up exponentially. 45:45 Kate Horsman: right? That's right. And this is contrary to some of what we will hear about healthy breathing. When we're breathing healthfully during the day, obviously, we want to use predominantly our nose, right, leaving through our mouth isn't a long term healthy move. But in these moments, it it actually is right and James Messer, as well talks about this, because people question like, why would you do this, if you're supposed to be breathing, you know, through your nose? So So yes, there is this way that I'm sort of accompanying you on a journey, you know, your your body and your sensations and your emotions aren't going to guide us. And then wherever need be, if there's assistance, then, you know, there's, there's a hand there ready to like, you know, catch you catch whatever material is there. And yeah, the the music is a part of it, it's can be evocative to the emotions allows us to drop in, you know, to something that, you know, could could feel touched, right, we have these layers where our hearts have not been opened. And so we start to breathe, essentially, it's a heart opening experience. And we're even breathing through that heart center, right? If we're talking about this from a chakra place, you know, in the belly, and then yeah, in the heart, opening this up, and there's gonna, there's gonna be some stuff. So having having things like music or connection, or Yeah, and any supportive dialogue can sometimes just facilitate us where we're going.

[transcript]

22:22 00:00,010 --> 00:05,410 What makes it work is that the scene is not about the information. 2 00:05,810 --> 00:07,310 It's about the relationship. 3 00:17,410 --> 00:18,370 Hi, I'm Chas Fisher. 4 00:18,570 --> 00:19,670 And I'm Stu Willis. 5 00:19,830 --> 00:23,750 And welcome to DraftZero, a podcast where two Aussie filmmakers try to work 6 00:23,750 --> 00:25,590 out what makes great screenplays work. 7 00:25,590 --> 00:30,430 And in this episode, we are going to be talking about the emotional event. 8 00:30,690 --> 00:34,910 We are joined by Judith Weston, a teacher of directors, actors, 9 00:34,990 --> 00:37,370 and writers, and she has been teaching since 1985. 10 00:37,930 --> 00:42,310 Her students include Taika Waititi, Alejandro Gonzalez Inarratu, 11 00:42,590 --> 00:47,370 Ava DuVernay, Boots Riley, and Alma Harrell. Her books, Directing Actors and 12 00:47,370 --> 00:51,010 The Film Director's Intuition, are absolute classics. 13 00:51,290 --> 00:55,630 They are books that I read very early on in my career and I still reread. 14 00:55,710 --> 00:59,710 And not only have they influenced my career, I would say they've influenced 15 00:59,710 --> 01:01,150 just the way I live my life. 16 01:01,270 --> 01:04,930 So welcome to the show, Judith. We are so very excited to have you here. 17 01:05,150 --> 01:06,930 Thank you so much for inviting me. 18 01:07,210 --> 01:12,230 So good. So the kind of overall thing that we're going to be talking about is 19 01:12,230 --> 01:16,450 the emotional event, which is an idea that in the 25th anniversary edition of 20 01:16,450 --> 01:19,750 directing actors, you kind of brought a little bit more to the forefront. 21 01:19,930 --> 01:23,590 It's been there in your work. And we're going to be talking about scenes from 22 01:23,590 --> 01:26,970 Oppenheimer, Casino Royale, and past lives. 23 01:27,450 --> 01:31,890 So the idea of the emotional event is something that struck me as a director, 24 01:31,970 --> 01:36,010 but I think it absolutely applies to screenwriters as well. 25 01:36,430 --> 01:40,850 And look, it's very common for people to talk about like a scene scene needing 26 01:40,850 --> 01:43,370 to have a plot event, that the scene needs to turn, 27 01:43,630 --> 01:47,190 and the idea of looking at your scene, and not looking at it from a plot perspective, 28 01:47,270 --> 01:51,310 but looking at it from an emotional perspective, what is an emotional event, 29 01:51,470 --> 01:56,650 is a really useful one for screenwriters, I think, but actors and directors as well. 30 01:56,790 --> 02:00,990 So, can you kind of give us a little bit of an introduction into what you think 31 02:00,990 --> 02:02,390 of as an emotional event? 32 02:03,250 --> 02:08,290 Okay, I will try. The thing is, what actually really excited me about doing 33 02:08,290 --> 02:14,030 this podcast with you is that the best way to describe it is through examples. 34 02:14,510 --> 02:17,730 People find it abstract somehow or hard to grasp. 35 02:17,870 --> 02:22,950 And in fact, that's why I wrote this 25th anniversary edition of Directing Actors, 36 02:23,010 --> 02:26,450 because in the original Directing Actors, I referred to emotional events. 37 02:26,690 --> 02:31,830 But all that time After that, I was teaching. I've been teaching for 35 years. 38 02:32,350 --> 02:36,830 And as I taught, and after the book came out, I would require it. 39 02:36,870 --> 02:40,490 People had to read it before they took the workshop, Acting for Directors, 40 02:40,570 --> 02:43,410 which was my flagship workshop for a long time. 41 02:43,790 --> 02:47,650 And when I would ask them what they were hoping to learn, they would say, 42 02:47,750 --> 02:50,030 you know, I'm a little bit confused about emotional event. 43 02:50,290 --> 02:53,290 And everybody said that. They said it over and over. over. 44 02:53,750 --> 02:58,150 And I also taught classes that had directors and actors in them, 45 02:58,190 --> 03:01,830 and that sometimes they would rehearse outside of class and bring in the scene. 46 03:02,190 --> 03:07,630 And then at the end, I would ask people, you know, how the rehearsal went and what they worked on. 47 03:07,730 --> 03:11,050 And then I would say to the directors, so what's the emotional event? 48 03:11,370 --> 03:16,050 They would all sort of hit their heads and go, oh, I knew she was going to ask 49 03:16,050 --> 03:19,330 me that, but they hadn't been able to figure it out. 50 03:19,530 --> 03:24,050 And so I just always knew that I had to make this clearer somehow. 51 03:24,390 --> 03:28,650 So I really tried to do that in this 25th anniversary edition. 52 03:28,910 --> 03:34,190 And then also my other book, Film Director's Intuition, just this past fall, 53 03:34,290 --> 03:36,710 I was asked to do an audiobook version. 54 03:37,170 --> 03:41,870 And that's coming out April 30th. That's going to drop on April 30th. 55 03:41,910 --> 03:45,510 But I did a lot of rewriting on the Film Director's Intuition because that was 56 03:45,510 --> 03:46,990 was already 20 years old too. 57 03:47,390 --> 03:50,990 And, you know, like really, really trying to delve into this, 58 03:51,050 --> 03:56,810 because I do believe that an understanding of emotional event is the thing that 59 03:56,810 --> 04:01,530 makes a person a director instead of just a person who points a camera at something. 60 04:01,950 --> 04:06,130 And certainly Mike Nichols talks about it all the time. 61 04:06,170 --> 04:10,150 And Sidney Lumet, you know, all the great directors who were also Also teachers 62 04:10,150 --> 04:14,390 who also had an interest in mentoring younger directors. 63 04:14,610 --> 04:18,690 They always talked. Another way of thinking of it is what the scene is about. 64 04:19,190 --> 04:22,150 I think what's interesting, because we have talked about the idea of scenes 65 04:22,150 --> 04:25,510 having a thematic question, which is what is the scene about? 66 04:25,610 --> 04:29,290 But on a thematic level, and I think what is the emotional event is another 67 04:29,290 --> 04:31,950 is like, what is the scene about emotionally? 68 04:32,190 --> 04:35,770 And that is different from a scene being thematic, which can be a little bit 69 04:35,770 --> 04:40,270 more intellectual. You know, what strikes me about your work and the way you 70 04:40,270 --> 04:43,410 think about directing actors is it puts so much emphasis on relationships. 71 04:44,570 --> 04:49,030 And I think that is such a powerful tool for writers to go, because it's very 72 04:49,030 --> 04:51,910 easy to get caught up in thinking of your characters as individuals, 73 04:52,090 --> 04:55,410 as opposed to people within kind of a web of relationships. 74 04:55,650 --> 04:59,410 And I think what's really useful of the emotional event is, from my understanding 75 04:59,410 --> 05:05,490 of it, I always think of it as, what is the relationship change between these two or more characters? 76 05:05,830 --> 05:10,670 Exactly. How is the relationship different at the end of the scene than it was at the beginning? 77 05:10,830 --> 05:13,570 That's the simplest way to put it. you know 78 05:13,570 --> 05:16,670 what changes in the emotional temperature and it 79 05:16,670 --> 05:19,570 could be a very small change and it could 80 05:19,570 --> 05:22,430 be a change in power change in power status and 81 05:22,430 --> 05:26,150 it could be a change in intimacy i mean 82 05:26,150 --> 05:30,110 those are two usual changes either it's a change in intimacy they become more 83 05:30,110 --> 05:35,890 intimate or they become more estranged or a change of power relationship those 84 05:35,890 --> 05:41,150 are kind of the usual ways and every scene has to to have one if it doesn't 85 05:41,150 --> 05:43,950 have it it's got to go yeah. 86 05:43,950 --> 05:46,910 And that's where it's it's going to be hugely 87 05:46,910 --> 05:51,250 valuable for writers and not just directors and actors like sue and i have done 88 05:51,250 --> 05:56,950 100 odd episodes now and we have looked in at discrete character tools like 89 05:56,950 --> 06:01,290 what's the character question of a scene usually looking at the protagonist 90 06:01,290 --> 06:06,750 of the scene how to best dramatize character character motivations from a writing perspective. 91 06:06,990 --> 06:13,270 And we've done what we call status transactions and tactics and all those things 92 06:13,270 --> 06:19,170 were different, I guess, dials or aspects that I was reading in your book, 93 06:19,350 --> 06:21,750 especially the chapter on the emotional event. 94 06:21,950 --> 06:26,850 But I don't think we've ever just taken this big step back and gone, 95 06:26,970 --> 06:32,830 all right, in a scene, how does the relationship between these these characters change? 96 06:33,270 --> 06:37,290 You know, having read your book, I'm now like, that's a really obvious question to ask. 97 06:37,370 --> 06:43,450 But I was not asking it really beforehand, unless Stu, who had read your book, was forcing me to. 98 06:45,150 --> 06:48,590 I mean, I think your comment about every scene should have it. 99 06:48,630 --> 06:52,230 This will help transition a little bit towards talking about Oppenheimer. 100 06:52,370 --> 06:56,530 Right. Because I think what you're talking about, like, what struck me, 101 06:56,550 --> 06:59,950 and I've used an excerpt in one of my, I occasionally teach, 102 07:00,170 --> 07:03,990 and in my class in exposition, I actually play a little clip of you talking 103 07:03,990 --> 07:05,950 about every scene needs an emotional event. 104 07:06,770 --> 07:10,370 I don't think you use the word especially, but the emphasis I'm putting on it 105 07:10,370 --> 07:13,110 is especially scenes that you think is expository. 106 07:13,110 --> 07:17,690 If you think the scene is just there to give the audience information, 107 07:17,930 --> 07:22,510 then you need to look into it further and find out what the emotional event is. 108 07:22,650 --> 07:26,650 And what struck me in prepping for this when we decided to do Oppenheimer is 109 07:26,650 --> 07:29,230 it's a film that it's got so much information. 110 07:29,490 --> 07:31,850 So much information. 111 07:31,850 --> 07:37,030 And makes it emotional. Like it was more successful for me in that regard than, than Chaz. 112 07:37,250 --> 07:40,870 I mean, we, he still liked it. I just really liked it. And part of it was like, 113 07:40,990 --> 07:44,450 yeah, it takes so much information and makes it emotional. 114 07:44,810 --> 07:48,470 And I think that's why it somehow resonated with a lot of people because of 115 07:48,470 --> 07:52,870 the emotional quality, not because we're listening to a lecture from Oppenheimer 116 07:52,870 --> 07:57,470 about physics, but the fact that somehow there's this emotional subtext to what 117 07:57,470 --> 07:58,430 he's saying about physics. 118 07:59,490 --> 08:04,790 We polled our patrons in selecting the films, but when we came to actually selecting the the scenes. 119 08:05,550 --> 08:08,730 You were part of those initial emails back and forth, Judith, 120 08:08,870 --> 08:12,630 where we were going, do we do three scenes from each film, five scenes from each film? 121 08:12,710 --> 08:16,030 And finally, reason prevailed and we picked one scene from each film. 122 08:16,370 --> 08:21,910 This is a perfect one. This is just fantastic. I'm so glad you chose this one. I love it. 123 08:22,390 --> 08:27,090 I had so much fun preparing for this. I really did. I read it over and over 124 08:27,090 --> 08:28,090 and I watched the the movie again. 125 08:28,450 --> 08:34,570 I should say, I come to Oppenheimer with some baggage because I had watched, 126 08:34,770 --> 08:40,310 there was a TV series back 10 more years ago called Manhattan. 127 08:40,950 --> 08:45,690 So I came to that feeling like that was the real Los Alamos. 128 08:46,130 --> 08:51,870 And the first time I watched Oppenheimer on the big screen, I was a little bit 129 08:51,870 --> 08:54,610 distracted because when I got to Los Alamos, I was thinking, 130 08:54,610 --> 08:55,770 That's not the way it was. 131 08:56,330 --> 08:59,730 You're describing an experience that Chaz and I call, that's not how time travel works. 132 09:00,010 --> 09:05,590 Because you're so used to the rules of another film that you can't help and bring that baggage. 133 09:05,810 --> 09:07,310 That's not what happened at Los Alamos. 134 09:07,630 --> 09:13,970 Yeah, yeah. So we're going to, at your request, we're going to be reading the parts of the script. 135 09:14,430 --> 09:15,350 Let me put it my way. 136 09:15,570 --> 09:16,270 Yeah, yeah, yeah. 137 09:16,390 --> 09:19,910 I asked them if they would mind reading the script aloud. loud. 138 09:20,030 --> 09:22,410 And then I asked them not to prepare. 139 09:22,730 --> 09:25,490 I asked them to decide among themselves who's going to read which, 140 09:25,590 --> 09:30,590 but not to read it in a monotone, you know, not to read it, you know, with deliberately, 141 09:31,230 --> 09:35,750 uninflected, but to read it like they're two men talking, not like it's a colonel 142 09:35,750 --> 09:40,790 and a physicist talking, but a little bit slower than usual conversation. 143 09:41,710 --> 09:46,250 And I just find that very useful to go a little bit lower at first, 144 09:46,430 --> 09:48,610 because you can let the words hit you a little bit. 145 09:49,150 --> 09:53,090 Yeah. I mean, I'm just going to discuss this a little bit before we dive into it. 146 09:53,130 --> 09:53,690 Yes. Okay. 147 09:53,870 --> 09:59,290 Because Chas and I had a script reading for one of our projects on Monday. 148 09:59,490 --> 10:01,650 One of my friends is doing their master's. 149 10:01,890 --> 10:06,910 And I was like, oh, a bunch of film students might be excited to do a feature read-through. 150 10:06,910 --> 10:09,630 and we sent them the script and with some 151 10:09,630 --> 10:12,630 notes but said look we don't expect you to prepare it's really just 152 10:12,630 --> 10:15,870 there if you're feeling anxious 153 10:15,870 --> 10:19,250 and want to prepare but we'd prefer you didn't because 154 10:19,250 --> 10:24,630 we just basically wanted them to be in the experience in real time as the characters 155 10:24,630 --> 10:28,190 because it's really about us sitting back and listening to it and going oh that 156 10:28,190 --> 10:32,950 lands that doesn't land and if they're prepared they might be overselling something 157 10:32,950 --> 10:38,390 or underselling something link or playing a moment as informed by a moment in the future, 158 10:38,430 --> 10:41,350 if that makes sense. So it's not emotionally true to the moment. 159 10:41,570 --> 10:45,070 But I was curious about your reasons for doing it because we found it very valuable 160 10:45,070 --> 10:49,830 and it was interesting that basically at the same time, you had said something similar about us. 161 10:50,010 --> 10:54,330 So what is the kind of the thinking, you know, is it just to let the words hit you? 162 10:54,430 --> 10:58,390 What are some of those usefulness if people are doing their own reading? 163 10:58,970 --> 11:04,170 Well, when I'm doing it in a class, I say, you know, just let the words live in the air. 164 11:04,890 --> 11:09,530 That's the only way that I think of it, you know, because I don't want to intellectualize 165 11:09,530 --> 11:11,590 it. And OK, I'll be honest. 166 11:11,810 --> 11:15,630 It's to get away from thinking about result, you know, to think about whether 167 11:15,630 --> 11:17,190 you're doing a good job of performing. 168 11:17,530 --> 11:18,010 Yeah, great. 169 11:18,190 --> 11:19,130 Amazing. Thank you. 170 11:19,270 --> 11:22,770 And also, you know, it's for the audience here so they can hear it. 171 11:22,870 --> 11:26,110 I'm assuming some people listen to your podcast in their cars, right? 172 11:26,110 --> 11:29,310 Some crazy people listen to it at three times speed. 173 11:30,290 --> 11:30,970 Oh, okay. 174 11:31,230 --> 11:34,130 We had one listener going, I finished this in the episode. And we're like, 175 11:34,150 --> 11:38,090 it came out half an hour ago. And he's like, yeah, listen to it at three times speed. 176 11:38,470 --> 11:44,590 All right. Well, then they will defeat me with my little plan here. 177 11:44,690 --> 11:48,430 But yeah, they won't have the script in front of them. So in order for me to 178 11:48,430 --> 11:49,890 talk about it and to hear it out loud. 179 11:50,550 --> 11:54,870 All right. So just before we go to the reading, you've also asked us for Oppenheimer 180 11:54,870 --> 11:59,850 and Past Lives to not read the big print or stage directions, 181 11:59,870 --> 12:01,370 as you call them, or action lines. 182 12:01,810 --> 12:04,770 We're just going to be focusing on the dialogue in terms of the read. 183 12:04,930 --> 12:09,030 If I see a stage direction that I think needs to be read, I will read it. 184 12:09,130 --> 12:09,490 Oh, great. 185 12:09,690 --> 12:10,890 But most of them don't. 186 12:11,290 --> 12:13,550 All right. So Oppenheimer? Oppenheimer? 187 12:27,930 --> 12:29,150 The Nazis have a bomb. 188 12:32,470 --> 12:36,550 They have a 12-month head start. 18. How could you possibly know that? 189 12:38,050 --> 12:44,530 We've got one hope. All America's industrial might and scientific innovation connected here. 190 12:45,730 --> 12:46,690 Secret laboratory. 191 12:48,410 --> 12:50,490 Keep everyone there until it's done. 192 12:53,710 --> 12:56,970 I mean, it's obviously the best picture winner and a lot of people saw it, 193 12:56,970 --> 13:01,650 But this is the story of Oppenheimer's role in the development of the atomic bomb in World War II. 194 13:01,890 --> 13:07,590 And specifically, we're looking at a scene where the US Army Colonel Leslie 195 13:07,590 --> 13:12,770 Groves, who's played by Matt Damon, effectively is recruiting Oppenheimer to 196 13:12,770 --> 13:14,830 be the director of the Los Alamos Laboratory. 197 13:15,210 --> 13:18,850 So this is the scene where they meet for the first time. and 198 13:18,850 --> 13:23,350 maybe this is a little bit too early to say this but when it struck me reading 199 13:23,350 --> 13:27,110 it was that mike nichols line about you know every scene's like a seduction 200 13:27,110 --> 13:31,530 or an interrogation and i felt like this scene was a little bit like a seduction 201 13:31,530 --> 13:38,430 but that's the that's kind of the scene is is groves coming in and talking to um oppenheimer all. 202 13:38,430 --> 13:39,570 Right fire away steve. 203 13:39,570 --> 13:46,630 Dr oppenheimer i'm I'm Colonel Groves. This is Lieutenant Colonel Nichols. Get that dry cleaned. 204 13:47,190 --> 13:51,630 If that's how you treat a lieutenant colonel, I'd hate to see how you treat a humble physicist. 205 13:52,110 --> 13:54,050 If I ever meet one, I'll let you know. 206 13:54,370 --> 13:54,810 Ouch. 207 13:55,230 --> 13:58,650 Heaters of combat all over the world, but I have to stay in Washington. 208 13:59,070 --> 13:59,430 Why? 209 13:59,730 --> 14:03,550 I built the Pentagon. The brass likes it so much they made me take over the 210 14:03,550 --> 14:05,070 Manhattan Engineer District. 211 14:05,470 --> 14:06,090 Which is? 212 14:06,790 --> 14:11,330 Don't be a smartass. You know damn well what it is. You and half of every physics 213 14:11,330 --> 14:14,190 department across America. That's problem number one. 214 14:14,370 --> 14:17,910 I thought problem number one would be securing enough uranium ore. 215 14:18,050 --> 14:21,270 1,200 tons. Bought the day I took charge. 216 14:21,870 --> 14:22,450 Processing? 217 14:22,470 --> 14:27,290 Just broke ground at Oak Ridge, Tennessee. Now I'm looking for a project director. 218 14:27,650 --> 14:28,850 And my name came up. 219 14:29,350 --> 14:34,490 Nope. Even though you brought quantum physics to America, that made me curious. 220 14:34,910 --> 14:36,110 What have you found out? 221 14:36,110 --> 14:39,630 You're a Dylan Dante, womaniser, suspected communist. 222 14:40,030 --> 14:41,410 I'm a New Deal Democrat. 223 14:41,950 --> 14:47,150 I said suspected. Unstable, theatrical, egotistical, neurotic. 224 14:47,350 --> 14:50,750 Nothing good. Not even he's brilliant, but... 225 14:51,700 --> 14:54,780 Brilliance is taken for granted in your circles, so no. 226 14:55,220 --> 14:58,240 Only one person said anything good, Richard Tolman. 227 14:58,480 --> 15:03,440 He thinks you've got integrity, but Tolman strikes me as someone who knows science better than people. 228 15:03,820 --> 15:07,000 Yet here you are. You don't take much on trust. 229 15:07,400 --> 15:10,980 I don't take anything on trust. Why don't you have a Nobel Prize? 230 15:11,440 --> 15:12,780 Why aren't you a general? 231 15:13,080 --> 15:14,400 They're making me one for this. 232 15:14,880 --> 15:16,460 Maybe I'll have the same luck. 233 15:16,740 --> 15:18,540 A Nobel Prize for making a bomb. 234 15:19,080 --> 15:21,200 Alfred Nobel invented dynamite. 235 15:21,700 --> 15:22,960 So how would you proceed? 236 15:23,980 --> 15:29,000 You're talking about turning theory into a practical weapons system faster than the Nazis. 237 15:29,400 --> 15:31,400 Who have had a 12-month head start? 238 15:31,920 --> 15:32,220 18. 239 15:32,680 --> 15:34,360 How could you possibly know that? 240 15:34,660 --> 15:39,240 Our fast neutron research took six months. The man they've undoubtedly put in 241 15:39,240 --> 15:41,000 charge will have made that leap instantly. 242 15:41,440 --> 15:42,980 Who do you think they put in charge? 243 15:43,400 --> 15:49,060 Werner Heisenberg. He has the most intuitive understanding of atomic structure I have ever seen. 244 15:49,620 --> 15:50,440 You know his work? 245 15:50,440 --> 15:55,680 I know him. Just like I know Walter Both, von Beisacker, Diebner. 246 15:56,000 --> 15:59,780 In a straight race, the Germans win. We've got one hope. 247 16:00,040 --> 16:00,780 Which is? 248 16:01,740 --> 16:02,260 Antisemitism. 249 16:02,600 --> 16:03,040 What? 250 16:03,040 --> 16:08,720 Hitler called quantum physics Jewish science. Said it right to Einstein's face. 251 16:09,260 --> 16:13,980 Our one hope is that Hitler's so blinded by hate he's denied Heisenberg proper resources. 252 16:14,920 --> 16:19,720 Because it will take vast resources. Our nation's best scientists working together. 253 16:20,020 --> 16:21,440 Right now they're scattered. 254 16:21,700 --> 16:23,620 Which gives us compartmentalisation. 255 16:24,040 --> 16:27,140 All minds have to see the whole task to contribute efficiently. 256 16:27,540 --> 16:31,720 Poor security may cost us the race. Inefficiency will. will. 257 16:31,800 --> 16:33,840 The Germans know more than us anyway. 258 16:34,160 --> 16:35,340 The Russians don't. 259 16:35,740 --> 16:37,660 Remind me, who are we at war with? 260 16:38,160 --> 16:42,120 Someone with your past doesn't want to be seen downplaying the importance of 261 16:42,120 --> 16:43,820 security from our communist allies. 262 16:44,620 --> 16:46,500 Point taken. But no. 263 16:47,020 --> 16:48,680 You don't get to say no to me. 264 16:48,920 --> 16:51,640 It's my job to say no to you when you're wrong. 265 16:52,040 --> 16:53,460 You've got the job now? 266 16:54,480 --> 16:55,400 I'm considering it. 267 16:55,720 --> 16:59,240 I'm starting to see how you got your reputation. My favorite response, 268 16:59,840 --> 17:01,540 Oppenheimer couldn't run a hamburger stand. 269 17:01,880 --> 17:04,880 I couldn't, but I can run the Manhattan Project. 270 17:05,460 --> 17:10,180 Such a long scene. Let's stop for a second. The one thing that I try to do first 271 17:10,180 --> 17:12,600 is break it into beats, okay? 272 17:13,040 --> 17:15,620 You know, when I'm trying to understand a scene, it helps me, 273 17:15,660 --> 17:17,340 you know, start to get a handle on it. 274 17:17,440 --> 17:24,120 And I think what you've just said is, oh, it's the end of the first sub beat of the third beat. 275 17:24,480 --> 17:27,560 So let's go back again and read the first beat. 276 17:27,640 --> 17:34,160 I'm going to say that I think that the first beat goes until Oppenheimer's line, 277 17:34,320 --> 17:37,540 Alfred Nobel invented dynamite. Okay. 278 17:38,120 --> 17:42,560 And I'm going to say that's the first beat of the scene. You know, 279 17:42,580 --> 17:47,380 I'm glad you brought up Mike Nichols' suggestion that the emotional advantage 280 17:47,380 --> 17:51,820 of a scene is either a seduction, a negotiation, or a fight. 281 17:52,100 --> 17:57,680 You could see this as a seduction, but I sort of see it as a chess match. 282 17:57,940 --> 18:03,240 I see them both making points. I certainly think Oppenheimer wants the job. 283 18:03,300 --> 18:08,500 And his line when he says, oh, what's the Manhattan Engineer District? 284 18:08,840 --> 18:11,140 You know, of course, he knows very well what it is. 285 18:11,800 --> 18:18,300 And so certainly he wants the job, but, you know, there's something about this 286 18:18,300 --> 18:21,880 first beat where they, they spar with each other. 287 18:21,960 --> 18:26,320 It's more like banter or sparring, or I thought of it as chess match. 288 18:26,540 --> 18:30,320 And then when I went back and looked at the scene again, I saw, 289 18:30,520 --> 18:36,260 you know, Groves comes in the room and sits down and Oppenheimer pulls up a 290 18:36,260 --> 18:39,420 chair across from him. It's about five feet. 291 18:40,000 --> 18:42,180 It's big enough for a chess table in between them. 292 18:42,920 --> 18:43,840 It is. 293 18:44,040 --> 18:49,260 So it's not getting too close. It's not invading somebody's personal space, 294 18:49,440 --> 18:53,740 but it's face-to-face on the same level. 295 18:54,000 --> 18:57,140 It's what in fencing we would call being in wide measure. 296 18:57,260 --> 19:02,900 So it's far enough just to be able to touch the person, but not too close that 297 19:02,900 --> 19:04,760 you're really putting yourself too much at risk. 298 19:04,980 --> 19:10,320 Okay. Okay. Great. But they each get wins. They win back and forth. 299 19:10,740 --> 19:13,920 And Oppenheimer lets him win sometimes. 300 19:14,800 --> 19:19,860 So let's read this first beat again and just see how that goes. 301 19:20,240 --> 19:24,780 And I will read the stage direction about tossing his uniform jacket to the... 302 19:24,780 --> 19:28,200 That does matter, so I'll read that. 303 19:29,280 --> 19:33,360 Dr. Oppenheimer, I'm Colonel Groves. This is Lieutenant Colonel Nichols. 304 19:33,540 --> 19:36,740 He pulls off his uniform jacket and tosses it to Nichols. 305 19:36,960 --> 19:38,160 Get that dry cleaned. 306 19:38,400 --> 19:39,060 Nichols leave. 307 19:39,320 --> 19:42,880 If that's how you treat a lieutenant colonel, I'd hate to see how you treat a humble physicist. 308 19:43,300 --> 19:45,320 If I ever meet one, I'll let you know. 309 19:45,820 --> 19:46,260 Ouch. 310 19:46,680 --> 19:51,920 Okay. Win for Groves, and Oppenheimer lets him have the win. Ouch. 311 19:53,400 --> 19:59,000 But Groves gets the win. Oppenheimer jumps right in. I'm going to be equal to you. 312 19:59,280 --> 20:02,240 I'm going to call you on how you treat people. 313 20:03,000 --> 20:09,460 And then Rose calls him on that no physicists are humble. And also, 314 20:09,520 --> 20:10,760 that's a mysterious line. 315 20:10,900 --> 20:13,080 If I ever meet one, I'll let you know. 316 20:13,320 --> 20:18,940 I think it suggests, I think it's a clue to the fact that he's been meeting a lot of physicists. 317 20:20,080 --> 20:24,440 He's been meeting a lot of people who have been pitching themselves for this job. 318 20:24,680 --> 20:29,300 Okay? And he doesn't like a single one of them. He hates physicists. 319 20:30,080 --> 20:33,900 Okay. And I think that's something that he brings in here, you know, 320 20:33,920 --> 20:38,340 eat another jackass who's going to try to pitch himself. And anyway. 321 20:39,120 --> 20:44,420 Yeah. Ouch. Theaters of combat all over the world, but I have to stay in Washington. 322 20:44,820 --> 20:45,300 Why? 323 20:46,020 --> 20:50,020 I built the Pentagon. The brass likes it so much they made me take over the 324 20:50,020 --> 20:52,020 Manhattan Engineer District. 325 20:52,660 --> 20:53,320 Which is? 326 20:53,580 --> 20:57,860 Oh, don't be a smartass. You know damn well what it is. You and half of every 327 20:57,860 --> 21:01,240 physics department across America. That's problem number one. 328 21:01,480 --> 21:05,020 Yeah, just another thing. Problem number one. Problem number one is I have to 329 21:05,020 --> 21:07,060 spend time with all these jackasses. 330 21:09,180 --> 21:09,640 Yeah. 331 21:09,800 --> 21:10,260 Okay. 332 21:10,520 --> 21:13,580 It'd be so much easier to run the Manhattan Project without physicists. 333 21:13,940 --> 21:17,080 Well, it'd be so much easier for him to be in combat. 334 21:17,900 --> 21:20,580 Yes. Yeah, theaters of combat all over the world, yeah. 335 21:20,800 --> 21:23,500 That's what he's saying. Theaters of combat all over the world. 336 21:23,500 --> 21:26,520 I'd much rather be in the Philippines. 337 21:26,680 --> 21:30,360 I'd much rather be in Guam. I'd much rather be in- Europe. 338 21:30,480 --> 21:30,640 Yeah. 339 21:30,940 --> 21:34,940 Preferably Europe, okay? So that's where he wants to be. 340 21:35,080 --> 21:39,000 He doesn't want to be doing any of this Washington stuff at all, 341 21:39,040 --> 21:42,180 and he definitely doesn't want to be meeting with jackasses, 342 21:42,380 --> 21:44,780 all trying to tell him how smart they are. 343 21:45,380 --> 21:48,880 Which is Oppenheimer's almost telling him how smart he is with the, 344 21:49,020 --> 21:53,080 I thought problem Problem number one would be securing enough uranium ore. 345 21:53,320 --> 21:58,500 And I love just from a writing perspective that it's kind of done what we've 346 21:58,500 --> 22:02,200 called hook and eye, which is basically Grove says problem number one. 347 22:02,200 --> 22:06,500 And then Oppenheimer's dialogue starts with using the same words. 348 22:06,580 --> 22:10,700 It kind of connects it. So he's picking up on the problem number one and saying, 349 22:10,780 --> 22:13,740 actually, are you sure it's not uranium ore? 350 22:14,080 --> 22:17,800 Well, Oppenheimer takes his first win. And, you know, in terms of emotional 351 22:17,800 --> 22:21,040 event, that's how I'm seeing it. Oppenheimer takes his first win. 352 22:21,220 --> 22:22,860 He's saying, you know what? 353 22:23,300 --> 22:27,300 Our personalities are not the problem. The problem is beating the Germans. 354 22:28,530 --> 22:31,750 And then Groves has to respond to that with, well, actually, 355 22:31,910 --> 22:34,550 I've got it sorted. We've already got 1,200 tons. 356 22:34,850 --> 22:39,510 Bought the day I took charge. I love the use of the I there because it's him 357 22:39,510 --> 22:42,830 establishing his bona fides in front of Oppenheimer. 358 22:43,290 --> 22:47,950 It's not that they have 1,200 tons. It's that he got them to do it the very 359 22:47,950 --> 22:50,970 first thing. Him saying to Oppenheimer, I'm not an idiot. 360 22:51,250 --> 22:54,790 So now Groves is starting to approve his bona fides. 361 22:55,950 --> 22:56,390 Okay? 362 22:56,390 --> 22:59,830 Okay. Oppenheimer has put him in the position of proving his bona fides. 363 23:00,130 --> 23:02,370 That's why I say it's a win for Oppenheimer. 364 23:02,610 --> 23:07,170 Yeah. Here's an interesting question, and I'd have to rewatch the scene. 365 23:07,510 --> 23:11,790 Do you think Groves is coming in here going, I think Oppenheimer is the best, 366 23:11,830 --> 23:13,850 but I need to see if he's someone I can work with? 367 23:14,590 --> 23:18,390 Or it's him actually assessing whether or not he's capable of the job? 368 23:18,790 --> 23:19,750 Wait, what do you think? 369 23:20,590 --> 23:24,070 I mean, I phrased it as a question, but as I'm reading through this, 370 23:24,170 --> 23:30,350 I'm like, feels like Groves has basically almost said that he's met a whole bunch of physicists. 371 23:30,650 --> 23:34,770 He knows all of them are probably quite capable of doing the science, 372 23:34,830 --> 23:37,950 but he needs someone that's more than that. 373 23:38,090 --> 23:42,130 He needs someone who's actually going to solve the bigger project. 374 23:42,510 --> 23:46,550 I think he is testing the waters to see if Oppenheimer is that person, 375 23:46,630 --> 23:48,570 but he also needs Oppenheimer to approve him. 376 23:48,830 --> 23:52,610 I thought that's what was interesting about the 1,200 tons bought the day I 377 23:52,610 --> 23:56,770 took charge, is it's much about making Oppenheimer impressed by him. 378 23:56,870 --> 23:58,070 He needs Oppenheimer's approval. 379 23:58,310 --> 24:01,530 Because if Oppenheimer is the right person, if he goes in there knowing that, 380 24:01,610 --> 24:05,650 it's like, I actually need Oppenheimer to feel like we can be equals and work on this project. 381 24:05,970 --> 24:10,830 I think he needs to find out if Oppenheimer is someone he could stand to be around. 382 24:11,910 --> 24:15,990 Whoever this person is, they're going to be spending a lot of time together. 383 24:16,980 --> 24:22,300 And that's what I think the emotional event is, is that they discover they can work together. 384 24:22,480 --> 24:26,380 They discover they can tolerate each other or even like each other. 385 24:26,740 --> 24:29,520 Okay. That's why I say it's emotional. 386 24:31,140 --> 24:35,980 But they take all the steps along the way, you know, in this little fencing 387 24:35,980 --> 24:40,840 match, chess match, where they're getting little hits on each other. And they like that. 388 24:41,020 --> 24:43,320 They like to have a good sparring partner. 389 24:43,320 --> 24:50,700 I really like in Judith, you identified the Nobel Prize being the first major beat in the scene. 390 24:50,860 --> 24:54,820 I feel like there's a minor sub beat in the next line that we're about to talk 391 24:54,820 --> 24:58,500 about where Grove says just broke ground at Oak Ridge, Tennessee, full stop. 392 24:58,660 --> 25:03,000 Now I'm looking for a project director. They both knew coming into the scene 393 25:03,000 --> 25:05,520 that that's what this is. they. 394 25:05,520 --> 25:08,360 Both know that he knows that that's what this is about. 395 25:08,360 --> 25:11,540 But finally it's been said out loud that that's 396 25:11,540 --> 25:14,300 what this is so the to me the initial section of 397 25:14,300 --> 25:17,660 the scene is like you say the sparring this back and forth establishing of bona 398 25:17,660 --> 25:21,600 fides and now they're actually going to talk it comes out of subtext into text 399 25:21,600 --> 25:25,960 we're now going to talk about why we're here but i agree with you fully that 400 25:25,960 --> 25:30,420 that there's a beat next because i feel like oppenheimer doesn't change his 401 25:30,420 --> 25:31,880 approach to the interaction, 402 25:32,080 --> 25:36,480 to the relationship until that Alfred Noble line, because it's interesting, 403 25:36,620 --> 25:39,620 a lot of his lines, you can just see it visually on the page. 404 25:40,100 --> 25:44,960 Groves has got lots of chunks of text, multiple sentences, you know, 405 25:44,960 --> 25:48,620 statements, and Oppenheimer has lots of very short questions. 406 25:48,780 --> 25:51,020 Why? Which is processing. 407 25:51,440 --> 25:54,620 And my name came up. What have you found out? Like he's just, 408 25:54,620 --> 25:58,620 Just, you know, to Stu's point, is he trying to get information? 409 25:58,940 --> 26:03,760 Is he trying to, to your point, Judith, like surrender a little bit of power? 410 26:04,100 --> 26:09,440 There is definitely back and forth, but I feel like he's still not pushing as 411 26:09,440 --> 26:14,600 hard as he can yet, that he pushes a lot harder after that Alfred Noble. 412 26:15,670 --> 26:16,470 dynamite line? 413 26:16,730 --> 26:20,230 Well, here's the way I put it. And that doesn't mean that it's right. 414 26:20,510 --> 26:24,170 You know, the way that I talk about things, I don't mean that this is the only 415 26:24,170 --> 26:27,650 way to talk about them, the only way to think about them, the only way to do them. 416 26:27,730 --> 26:31,730 And I definitely don't mean that if Christopher Nolan didn't think of them this 417 26:31,730 --> 26:34,690 way, he should have. I definitely don't mean anything like that. 418 26:35,270 --> 26:40,150 But to me, I thought this whole, this whole beat, you know, it's a It's a getting-to-know-you 419 26:40,150 --> 26:44,730 beat, but with very high-powered people that want to do things fast. 420 26:45,130 --> 26:46,970 And so they're going to test each 421 26:46,970 --> 26:50,450 other. They're testing each other to see what the other guy is made of. 422 26:50,610 --> 26:55,230 And why I think the first beat ends with Alfred Nobel invented dynamite, 423 26:55,250 --> 26:59,150 because that is a definitive win for Oppenheimer. That's his definitive win. 424 26:59,330 --> 27:01,790 And at that moment, he has the job. 425 27:02,090 --> 27:03,970 He's not trying to get the job anymore. 426 27:04,310 --> 27:09,750 At that moment, he has the job. That's the way I see it. And then the next bead, 427 27:09,950 --> 27:12,130 Groves says, so how would you proceed? 428 27:12,670 --> 27:18,330 And so the next bead, I think, is strategizing. You already have a job. 429 27:18,670 --> 27:20,210 They're strategizing together. 430 27:20,550 --> 27:23,550 I think it's actually the first time Groves asks a question. 431 27:23,890 --> 27:27,270 Oppenheimer is not trying to prove anything at all anymore. He's saying, 432 27:27,410 --> 27:31,570 okay, let's get to work. They're 18 months ahead of us. 433 27:31,710 --> 27:35,530 And you're right. It is the first time Groves is asked a question. 434 27:35,530 --> 27:41,550 In a way, it's not every line, but there's a lot in that first beat of Oppenheimer 435 27:41,550 --> 27:42,990 asking questions, right? 436 27:43,070 --> 27:46,650 He's pulling information out of Groves, right? 437 27:46,750 --> 27:48,590 Nothing good, not even he's a brilliant but. 438 27:48,890 --> 27:52,070 I mean, sometimes he's choosing to make statements, you know, 439 27:52,070 --> 27:55,690 and my name came up. I love that that is a statement and not a question. 440 27:55,870 --> 27:59,090 Oppenheimer's like, well, of course my name came up. And so Groves says. 441 27:59,310 --> 27:59,570 No. 442 28:01,090 --> 28:04,710 It's like a nice little bit of win for Groves. But it is largely Oppenheimer 443 28:04,710 --> 28:06,110 pulling information from Groves. 444 28:06,190 --> 28:10,570 And as you say, part of that shift is after that definitive read from Oppenheimer, 445 28:10,690 --> 28:14,070 Alfred Noble invented dynamite is, so how would you proceed? 446 28:14,430 --> 28:18,450 Part of the reason we know it's a job is because Groves is actually interested 447 28:18,450 --> 28:20,130 in what Oppenheimer has to say. 448 28:20,210 --> 28:20,730 Right? 449 28:20,830 --> 28:24,290 And that is an emotion. That is a change in relationship. Even just going from 450 28:24,290 --> 28:28,110 making statements to someone to asking them questions is a bit of an emotional event. 451 28:28,370 --> 28:31,350 How would you proceed is really interesting for that reason. 452 28:31,350 --> 28:35,650 They're strategizing, but it's Groves interested in what Oppenheimer has to say here. 453 28:35,850 --> 28:38,430 The other thing is when I went back and watched the scene again, 454 28:38,510 --> 28:42,570 I roughed out where I thought the beats were, you know, just from the page. 455 28:42,730 --> 28:44,730 Then I went back and watched the scene again. 456 28:44,930 --> 28:47,810 And at this point, when Groves says, how would you proceed? 457 28:48,720 --> 28:57,760 Oppenheimer stands up. And that's a very smart directorial way to mark a beat change with blocking. 458 28:58,000 --> 29:03,440 It's physicalized, face-to-face at wide measure, and they're testing each other. 459 29:03,560 --> 29:07,100 I think they're both testing each other. I think, you know, Oppenheimer wants 460 29:07,100 --> 29:12,840 the job, but he knows that Groves wants somebody who will test him. They want the friction. 461 29:13,060 --> 29:16,260 They like the friction. They both work best with friction. 462 29:17,220 --> 29:20,680 I mean, poor Nichols, you know, he takes the coat and walks, 463 29:20,780 --> 29:22,340 takes it to the dry cleaner. 464 29:22,540 --> 29:27,160 Groves has no respect for Nichols. He wants somebody who's, that he can learn from. 465 29:27,300 --> 29:30,400 They both want to be around somebody that they can learn from, 466 29:30,500 --> 29:35,340 that they can sharpen their knives against. And that's what they find in that first beat. 467 29:35,540 --> 29:38,720 And they get to work. Now they are working. 468 29:38,960 --> 29:42,140 So let's just read that beat again. So how would you proceed? 469 29:42,460 --> 29:46,480 And just remember, in the movie, now Ebenheimer is standing up. 470 29:46,620 --> 29:52,160 And he's not exactly pacing, but he's got a sense of activity and movement to his body. 471 29:52,420 --> 29:53,680 So how would you proceed? 472 29:54,160 --> 29:58,900 You're talking about turning theory into a practical weapon system faster than the Nazis. 473 29:59,400 --> 30:00,900 You have a 12-month head start. 474 30:01,240 --> 30:01,580 18. 475 30:02,180 --> 30:03,800 How could you possibly know that? 476 30:04,060 --> 30:07,960 Our fast neutron research took six months. The man they've undoubtedly put in 477 30:07,960 --> 30:09,520 charge will have made that leap instantly. 478 30:10,040 --> 30:11,740 Who do you think they put in charge? 479 30:12,140 --> 30:16,520 Werner Heisenberg. He has the most intuitive understanding of atomic structure I've ever seen. 480 30:16,720 --> 30:17,580 You know his work? 481 30:17,920 --> 30:21,540 I know him. Just like I know Walter Boeck, von Weissacher, Diebner. 482 30:21,700 --> 30:25,340 In a straight race, the Germans win. We've got one hope. 483 30:26,360 --> 30:26,980 Which is? 484 30:27,360 --> 30:28,340 Anti-Semitism. 485 30:28,920 --> 30:29,440 What? 486 30:30,280 --> 30:34,880 Hitler called quantum physics Jewish science, said it right to Einstein's face. 487 30:35,340 --> 30:40,400 Our one hope is that Hitler's so blinded by hate, he's denied Heisenberg proper resources. 488 30:41,040 --> 30:43,620 Because it will take vast resources. 489 30:44,240 --> 30:48,720 Okay, right now I think it switches to the third beat. That can happen mid-speech, by the way. 490 30:48,980 --> 30:50,180 Oh, really? Yeah. 491 30:50,260 --> 30:56,140 So, because it'll take vast resources. Okay, new beat. This is B3. 492 30:56,420 --> 31:00,980 Our nation's best scientists working together. Right now, they're scattered. 493 31:01,400 --> 31:05,580 So I'm going to say B3 is his pitch for Los Alamos. 494 31:06,060 --> 31:10,280 I just love the arrogance of a guy to pitch his ranch as well. 495 31:10,680 --> 31:13,680 Yes. The Manhattan Project shouldn't face itself. 496 31:13,820 --> 31:16,940 Exactly. I happen to know a place that would be perfect. 497 31:17,920 --> 31:21,980 So right now, he's the best minds. He's talking about the Jewish brain drain 498 31:21,980 --> 31:25,720 from Europe. because of the persecution and the Holocaust. 499 31:26,100 --> 31:31,840 And he says, we have got them, but they're scattered, and we've got to put them in one place. 500 31:32,160 --> 31:35,420 And then Groves brings up this compartmentalization. 501 31:36,740 --> 31:41,660 So let's start reading that. Our nation's best scientists working together. Just start from there. 502 31:41,860 --> 31:45,340 Our nation's best scientists working together. Right now they're scattered. 503 31:45,580 --> 31:47,560 Which gives us compartmentalization. 504 31:48,020 --> 31:51,500 All minds have to see the whole task to contribute efficiently. 505 31:51,500 --> 31:55,680 Poor security may cost us the race, inefficiency will. 506 31:56,060 --> 31:58,400 The Germans know more than us anyway. 507 31:58,720 --> 31:59,760 The Russians don't. 508 31:59,820 --> 32:01,880 Remind me, who are we at war with? 509 32:02,220 --> 32:06,080 Someone with your past doesn't want to be seen downplaying the importance of 510 32:06,080 --> 32:07,900 security from our communist allies. 511 32:08,640 --> 32:10,740 Point taken. But no. 512 32:11,600 --> 32:12,960 You don't get to say no to me. 513 32:13,400 --> 32:15,740 It's my job to say no to you when you're wrong. 514 32:15,980 --> 32:17,100 You've got the job now? 515 32:17,340 --> 32:18,240 I'm considering it. 516 32:18,500 --> 32:21,880 I'm starting to see how you got your reputation. My favorite response? 517 32:22,500 --> 32:24,480 Oppenheimer couldn't run a hamburger stand. 518 32:25,060 --> 32:28,020 I couldn't, but I can run the Manhattan Project. 519 32:28,420 --> 32:33,520 Okay, now there's a shift. Now, this line, I'm starting to see how you got your reputation. 520 32:34,100 --> 32:38,240 Another mysterious line. I mean, it looks like he's a little bit of a put-down 521 32:38,240 --> 32:41,420 of Oppenheimer, but no, he likes that about him. 522 32:41,600 --> 32:47,900 Because he's talking about both the reputations, because Groves has a reputation for arrogance, too. 523 32:48,980 --> 32:55,020 And we've seen it in the scene when he throws the jacket at a lieutenant colonel, 524 32:55,020 --> 32:57,860 that he has a reputation for arrogance. 525 32:57,900 --> 33:02,180 He comes in there, he loosens his tie, he puts his arm up on a bookshelf or 526 33:02,180 --> 33:07,120 another chair, saying, you have a reputation for arrogance, just like me. 527 33:07,320 --> 33:08,700 That's a bonding moment. 528 33:09,300 --> 33:12,780 I actually think what's really interesting is about the you don't get to say 529 33:12,780 --> 33:15,880 no to me in a way to use colloquial terminology. 530 33:16,460 --> 33:21,520 It's kind of a bit of a shit test from Groves. He actually likes that Oppenheimer 531 33:21,520 --> 33:26,700 is able to speak his mind, but it's actually a bit of a test to see if Oppenheimer 532 33:26,700 --> 33:27,960 is going to wither a little bit. 533 33:28,600 --> 33:31,800 like in in my interpretation grows need 534 33:31,800 --> 33:34,620 someone who's going to speak his mind and because they need 535 33:34,620 --> 33:37,400 the win like they're fighting a war and trying to beat the 536 33:37,400 --> 33:40,500 nazis they don't need someone who's going to necessarily follow the 537 33:40,500 --> 33:43,200 party line in in a way so him saying you don't get to say 538 33:43,200 --> 33:49,160 no to me and i would say yes i do um he's actually a win grow saying so you've 539 33:49,160 --> 33:52,380 got the job now question mark it's actually you've definitely got the job now 540 33:52,380 --> 34:00,120 yeah right like it's like that's the The emotional event there is that acceptance 541 34:00,120 --> 34:01,220 of like, that's a good thing. 542 34:02,520 --> 34:07,640 And then the third part of the third beat is when he goes to the blackboard. 543 34:07,720 --> 34:10,840 That's the stage direction here. He goes to the blackboard, and that's how it's 544 34:10,840 --> 34:12,880 staged. He goes to the blackboard. 545 34:13,380 --> 34:15,300 There's a way to balance these things. 546 34:15,880 --> 34:19,140 So that's where we stopped when we did the big read-through, 547 34:19,260 --> 34:23,380 because you said that this is kind of moving into the last part of the… Yeah. 548 34:23,380 --> 34:26,220 This is like, I was thinking beat 3C. 549 34:27,020 --> 34:30,800 But in terms of the is there any more emotional event 550 34:30,800 --> 34:33,820 in this third part or is the 551 34:33,820 --> 34:36,860 reason we instinctively stopped because we actually had reached 552 34:36,860 --> 34:43,940 the emotional event you know they they started out sparring and then groves 553 34:43,940 --> 34:50,360 opens a window like opens a door for oppenheimer to pitch and then this third 554 34:50,360 --> 34:54,980 bit is them going like actually still sparring but agreeing essentially essentially, 555 34:55,000 --> 34:57,660 that he's got the job, that they're going to work together. 556 34:58,100 --> 35:02,720 I'm just looking for what happens. The first beat, they're sparring. 557 35:02,900 --> 35:06,300 They're fighting. They like to spar with each other. In the second beat, 558 35:06,360 --> 35:08,160 they're strategizing. That's different. 559 35:08,380 --> 35:13,360 They're strategizing. I do. It was great that you noticed that I hadn't noticed 560 35:13,360 --> 35:18,160 this, that in the first beat, Oppenheimer is asking the questions and the second beat, Groves is. 561 35:18,380 --> 35:22,160 I mean, because Oppenheimer knows physics and Groves doesn't, right? 562 35:22,820 --> 35:25,800 But Groves knows strategy. they're actually starting 563 35:25,800 --> 35:28,560 to work and so groves is asking him 564 35:28,560 --> 35:32,020 questions and oppenheimer is not saying look at what he's not saying he's not 565 35:32,020 --> 35:36,880 saying well i'll tell you that if you give me the job he's not saying that he's 566 35:36,880 --> 35:40,500 getting to work but then the third thing which has been on his mind from the 567 35:40,500 --> 35:46,020 beginning is he wants to get all these scientists and he wants to bring them to los alamos yeah. 568 35:46,020 --> 35:51,400 And my interpretation chas of your point about the is this the end of of the 569 35:51,400 --> 35:52,300 emotional event in the scene. 570 35:52,360 --> 35:58,360 No, I mean, I just see that the next section is actually ending from a page, 571 35:58,460 --> 36:01,200 a scene numbering count at the top of scene 67. 572 36:02,940 --> 36:06,620 As he pitches the idea, we start seeing it being built, right? 573 36:06,740 --> 36:11,200 And then it ends with Oppenheimer saying, welcome to Los Alamos. 574 36:11,560 --> 36:16,640 And they're there. So the emotional, like the end of that kind of beat is the 575 36:16,640 --> 36:18,240 success. Like the pitch worked. 576 36:18,680 --> 36:22,020 The change in relationship is they built it, right? 577 36:22,660 --> 36:26,740 For me, the scene doesn't actually end until where, you know, 578 36:26,760 --> 36:27,840 we physically move space. 579 36:28,160 --> 36:32,100 But it's the way it's written is it's like it's a continuation of the dialogue. 580 36:32,100 --> 36:35,920 And as he talks and pitches the idea, we kind of see it being built. 581 36:36,040 --> 36:39,720 And so we're beginning to see what he's talking about as actually happening. 582 36:39,840 --> 36:42,160 And then we see the success of it. 583 36:43,000 --> 36:47,340 Judith, I just wanted to know, you said that line about Oppenheimer couldn't 584 36:47,340 --> 36:50,220 run a hamburger stand wasn't a put down. 585 36:50,380 --> 36:55,420 And I agree. And it's that line that gives me the feeling that you said about 586 36:55,420 --> 36:59,760 what is Groves coming into the scene trying to achieve? 587 36:59,760 --> 37:04,240 Steve, because if he had heard from someone Oppenheimer couldn't run a hamburger 588 37:04,240 --> 37:07,940 stand and believed it, he wouldn't be in that room. 589 37:08,680 --> 37:13,820 Well, the roast doesn't like people who try to get a job by saying negative 590 37:13,820 --> 37:15,140 things about their competition. 591 37:16,060 --> 37:18,360 He doesn't like that kind of man at all. 592 37:19,720 --> 37:25,700 So those guys that say, oh, you know, he asked him about Oppenheimer and say, 593 37:25,780 --> 37:27,280 oh, he couldn't run a hamburger stand. 594 37:27,480 --> 37:29,520 That guy's out of the running. all. 595 37:29,520 --> 37:32,920 It's telling him is that obviously up and high if everyone is putting down oppenheimer 596 37:32,920 --> 37:35,240 then he is obviously the best one it's like. 597 37:35,240 --> 37:40,560 Yeah that's it if everyone is saying he's neurotic he's a womanizer he's a jerk 598 37:40,560 --> 37:42,940 that then that means he's the 599 37:42,940 --> 37:48,980 guy that they all have to beat so that's the guy i really have to see i'd. 600 37:48,980 --> 37:54,920 Just like to note that in this scene we're talking all about the the relationship 601 37:54,920 --> 38:00,860 between the characters and how riveting it is and how much it's actually moving. 602 38:00,940 --> 38:04,760 Like the scene is only three pages long, but it moves, 603 38:05,720 --> 38:10,160 back and forth so quickly and there's real shifts, but the amount of backstory 604 38:10,160 --> 38:14,780 and exposition that they've worked in there is huge. 605 38:15,040 --> 38:18,880 We've worked out that they've told us that Groves built the Pentagon. 606 38:19,240 --> 38:25,680 They've told us that the biggest problem engineering-wise is how much uranium ore they need to get. 607 38:25,860 --> 38:27,720 The issues around compartmentalization. 608 38:28,700 --> 38:31,720 Security, that they're concerned as much about Russia. 609 38:31,860 --> 38:35,980 We've got the scientific, scientific, even though they don't really go into 610 38:35,980 --> 38:37,800 the science, because none of us would understand it. 611 38:37,900 --> 38:43,200 Let's read this last bit, which is really lots of exposition, too. 612 38:43,720 --> 38:46,140 And I actually do, I'm going to 613 38:46,140 --> 38:49,400 bore you, Chas, but I do actually want to read to the bottom of page 50. 614 38:49,520 --> 38:49,860 Yeah, sure. 615 38:49,980 --> 38:52,220 Because it does a really interesting, because I think part of it, 616 38:52,260 --> 38:55,400 that the emotional event stuff that you're talking about and keeping us interested 617 38:55,400 --> 39:01,600 is the change in the rhythms of the dialogue that reflect the kind of the changing 618 39:01,600 --> 39:03,280 in the relationships between these two men. 619 39:03,500 --> 39:08,520 Please believe me, I'm not bored. I was just interested why we instinctively stopped at that point. 620 39:09,200 --> 39:13,060 I think it's a big bit. I think at this point Oppenheimer probably has won, 621 39:13,300 --> 39:17,200 but there is a difference between just winning the point and getting the job 622 39:17,200 --> 39:20,180 and actually seeing what we're about to see. All right. 623 39:20,320 --> 39:25,260 Now he's at the blackboard. And again, you know, I watched the scene again a 624 39:25,260 --> 39:30,020 few times and then in Grove's moves, he comes closer to the blackboard. 625 39:30,020 --> 39:35,320 He takes a chair, turns it around, and sits it in front of the blackboard like a student. 626 39:35,740 --> 39:41,840 I mean, this is brilliantly, brilliantly blocked and brilliantly written scene. 627 39:42,140 --> 39:46,680 Anyway, so let's read the rest. There's a way to balance these things. Starts there. 628 39:47,040 --> 39:52,060 There's a way to balance these things. Leave the rad lab here at Berkeley under 629 39:52,060 --> 39:54,920 Lawrence. Met lab in Chicago under Sillard. 630 39:55,300 --> 39:57,960 Large-scale refining, where did you say? Tennessee. to see? 631 39:58,260 --> 40:03,520 All America's industrial might and scientific innovation connected by rail focused 632 40:03,520 --> 40:09,000 on one goal, one point in space and time coming together here. 633 40:09,380 --> 40:13,840 Now, here's what I have to tell you. I think this conversation all took place in that room. 634 40:14,580 --> 40:20,880 Nolan made a very smart, I think, cinematic choice to show us what they're talking about. 635 40:21,260 --> 40:25,980 But in fact, this is all taking place in that room a. 636 40:25,980 --> 40:29,700 Secret laboratory in the middle of nowhere self-sufficient 637 40:29,700 --> 40:36,840 secure equipment housing the works we keep everyone there till it's done it'll 638 40:36,840 --> 40:43,020 need a school stores a church why if we don't let scientists bring their families 639 40:43,020 --> 40:48,620 we'll never get the best you want security build a town and build it fast where, 640 40:49,980 --> 40:54,960 Welcome to Los Alamos. There's a boys' school we'll have to commandeer and the 641 40:54,960 --> 40:57,200 local Indians come up here for burial rites. 642 40:57,340 --> 41:00,960 Other than that, nothing for 40 miles in any direction. 643 41:01,180 --> 41:05,980 And southeast, hundreds of miles of desert, enough to find the perfect spot. 644 41:06,840 --> 41:07,320 For? 645 41:08,060 --> 41:08,540 Success. 646 41:09,360 --> 41:12,980 It's funny that he says success. It's for, you know, pissing bombs. 647 41:13,040 --> 41:17,640 Blowing up. And I didn't think we would be getting into this section, 648 41:17,720 --> 41:21,360 so I didn't put the next page in our writing, but the next page is the button 649 41:21,360 --> 41:25,500 on the scene, which is Grove saying to Nichols, build this man a town. 650 41:26,700 --> 41:32,980 Success also works as a button in its own interesting way, you know? It's like... 651 41:32,980 --> 41:34,500 Well, they're not going to use 652 41:34,500 --> 41:39,040 the word bomb. They're using euphemisms for the word bomb all the time. 653 41:39,440 --> 41:44,420 They call it the gadget, they don't call it... Anyway, that's a lot of exposition, right? 654 41:44,960 --> 41:51,180 But what What makes it work is that the scene is not about the information, 655 41:51,280 --> 41:53,040 it's about the relationship. 656 41:53,580 --> 41:58,980 It's about two men discovering that they love working with each other. 657 41:59,520 --> 42:06,140 And actually, this relationship takes us all the way through Act 2 of the whole movie. 658 42:06,960 --> 42:12,280 This relationship is the centering string that takes us through all of Act Two, 659 42:12,340 --> 42:13,900 which is a lot of exposition. 660 42:14,100 --> 42:19,540 But the reason that it works is because it's about one central relationship, 661 42:19,780 --> 42:21,900 which is Oppenheimer and Groves. 662 42:22,340 --> 42:27,580 I'll just throw in my theories about Act One and Act Three, that Act Three is 663 42:27,580 --> 42:30,720 the relationship of Oppenheimer and Strauss. 664 42:30,980 --> 42:35,620 And then I have this kind of crazy theory. We should move on to the next thing. 665 42:35,620 --> 42:41,240 But I have this kind of crazy theory about Act One, which is it's kind of competing 666 42:41,240 --> 42:44,500 strands, two competing groups. 667 42:44,780 --> 42:51,060 They're the great men of science who he idolizes and also sometimes resents or fears. 668 42:51,320 --> 42:53,380 There's a group of them and he meets them all. 669 42:53,860 --> 42:56,740 So that's one group. And then women. 670 42:56,740 --> 43:04,260 and his compulsion, his inability to collect women notches in his belt and to 671 43:04,260 --> 43:08,100 pick the most difficult ones he can, you know, rainy, disturbed, 672 43:08,540 --> 43:11,660 unloving women, one after another. 673 43:12,060 --> 43:17,780 And both of those sort of as a group, women as a group, great men of science 674 43:17,780 --> 43:22,000 as a group, those are the relationships of the first act. 675 43:22,300 --> 43:26,400 And here's where I get all Freudian, that mother and his father. 676 43:26,740 --> 43:26,980 Yeah. 677 43:27,140 --> 43:30,800 Even though we never meet them and they're never spoken of, they are implied. 678 43:31,280 --> 43:34,380 Yeah. I was going to say, you get a sense that they're somewhere in there. 679 43:34,720 --> 43:40,780 Well, he was sent away to school. So, you know, it's the absence of them that, 680 43:40,840 --> 43:43,360 you know, drives that first act. 681 43:43,940 --> 43:46,880 Just a few quick straight observations for me. 682 43:47,280 --> 43:50,360 The connecting on that, I think that's actually as much as we were looking at 683 43:50,360 --> 43:55,540 the emotional event as on a scene level, right? The idea of looking at an act, 684 43:55,640 --> 43:59,700 looking at a sequence and going, what is the core relationship here? 685 44:00,620 --> 44:06,200 How does that change? I actually think it's a really useful tool for screenwriters. 686 44:06,520 --> 44:09,940 It's an important delivery system for plot. 687 44:10,340 --> 44:14,720 Yeah, but it will help connect emotion. And as we've talked about with stakes, 688 44:14,920 --> 44:18,920 Chas and I, we did an episode on stakes and we started realizing that stakes 689 44:18,920 --> 44:22,240 are about what people value and what people value is their relationship to things. 690 44:22,420 --> 44:25,600 So it's going to be connected to your stakes as well. All right. 691 44:25,760 --> 44:26,480 All right. 692 44:27,000 --> 44:32,400 Speaking of relationships that not only drive a whole act, but as Chas was pitching 693 44:32,400 --> 44:35,360 before, I'm stealing your thunder here, Chas. 694 44:36,420 --> 44:40,560 It's about time. I keep stealing your observations that you make off mic, so go for it, G. 695 44:41,580 --> 44:47,140 Well, you're just saying that the relationship in Casino Royale between Bond 696 44:47,140 --> 44:53,340 and Vespa absolutely drives the Daniel Craig Bond films for most of them, 697 44:53,340 --> 44:56,200 if not the whole series. What happens in this first film? 698 44:56,280 --> 45:00,800 And they realized the strength of that relationship was enough to kind of keep 699 45:00,800 --> 45:05,280 a character that was largely an unemotional, for lack of a better word, 700 45:05,380 --> 45:09,580 character in previous films had no attachments and were able to realize the 701 45:09,580 --> 45:11,600 power of using it to drive a whole film. 702 45:21,430 --> 45:28,530 How did he die? Your contact? Not well. You needn't worry. The second is... 703 45:29,770 --> 45:30,330 Yes. 704 45:32,510 --> 45:33,070 Considerably. 705 45:37,250 --> 45:40,810 The man was Le Chiffre, private banker to the world's terrorists, 706 45:41,210 --> 45:45,790 which would explain how he could set up a high-stakes poker game at Casino Royale in Montenegro. 707 45:45,790 --> 45:51,770 if he loses this game he'll have nowhere to run you're the best player in the service, 708 45:52,690 --> 45:58,950 the treasury has agreed to stake you in the game but if you lose our government 709 45:58,950 --> 46:04,010 will have directly financed terrorism i will be keeping my eye on our government's 710 46:04,010 --> 46:08,870 money and off your perfectly formed house you noticed. 711 46:08,870 --> 46:12,250 So casino royale 712 46:12,250 --> 46:15,810 is the the first daniel craig bond film the 713 46:15,810 --> 46:20,650 writer writing credits uh i was amused to see now this is we've got a script 714 46:20,650 --> 46:23,810 that was available online that has i'm not going to say the person but it does 715 46:23,810 --> 46:28,650 have a watermark on it so it is very clear who got this script out but the the 716 46:28,650 --> 46:33,190 credits on this version are a screenplay by neil purvis and and Robert Wade, 717 46:33,390 --> 46:37,730 and then second set of revisions by Paul Haggis in 2005. 718 46:38,150 --> 46:43,490 And the- I lobbied quite hard for these scenes to be in part of the homework 719 46:43,490 --> 46:47,450 because these two scenes, they're the two scenes- Bond and Vesper have just 720 46:47,450 --> 46:49,410 been engaged in a pretty brutal fistfight, 721 46:49,570 --> 46:53,570 which has ended with Bond killing a man by strangling him, in which Vesper was involved. 722 46:53,750 --> 47:00,990 And Vesper is an accountant, she was not a character of violence until this point in the movie. 723 47:01,640 --> 47:06,420 And then I just remember so strongly, and I still remember these two scenes 724 47:06,420 --> 47:09,040 in the bathroom after that fistfight. 725 47:09,200 --> 47:14,080 And we were looking for, Judith, just so you know, when we try to pick our homework, 726 47:14,140 --> 47:19,080 we try to pick a range of films, genres, stories, so that we can try and see 727 47:19,080 --> 47:22,240 the same tool working in different contexts. 728 47:22,660 --> 47:28,900 And it was so clear to me that these two scenes were there for emotional purposes. 729 47:29,040 --> 47:33,640 I couldn't enunciate better than that why. why and hopefully you can tell me i. 730 47:33,640 --> 47:36,300 Didn't watch the whole movie again i mean i saw it when 731 47:36,300 --> 47:39,660 i came out but i thought well maybe it's on youtube and 732 47:39,660 --> 47:44,200 you know i put casino royale and that's just the first thing that comes up oh 733 47:44,200 --> 47:49,920 really yeah oh wow yeah so it's a real emotional center to the movie anyway 734 47:49,920 --> 47:54,980 i i'm going to read some of the stage directions and you know you've just mentioned 735 47:54,980 --> 47:59,260 the writers and i don't mean to brag on them but i don't care for them very much, 736 48:00,760 --> 48:05,460 and i don't think that the actors followed them okay and that's the point that 737 48:05,460 --> 48:07,780 i want to make with this one i. 738 48:07,780 --> 48:08,720 Love a bit of controversy. 739 48:08,720 --> 48:14,400 But i gotta say i loved the character vesper i loved how she was written you 740 48:14,400 --> 48:18,620 know their first scene where they when they meet i thought oh gosh finally a 741 48:18,620 --> 48:23,500 bond girl who's really smart and really is his match you know so so i think 742 48:23,500 --> 48:27,380 they did a a great job writing Vesper for the most part. 743 48:28,080 --> 48:34,240 But, well, I'll say it right away. This is an example of a scene that's written from the male gaze. 744 48:34,660 --> 48:35,140 Definitely. 745 48:35,600 --> 48:40,840 But not performed that way. So, I don't know, you know, whether it was the director 746 48:40,840 --> 48:46,040 or the actors, but those actors were so strong and they were so connected to 747 48:46,040 --> 48:50,240 each other that I suspect that they got together and figured some things out together. 748 48:50,640 --> 48:54,100 Because some of the lines are left out. So anyway, uh, 749 48:55,200 --> 48:58,480 Bond lets himself in on doing his tie to reveal a creased shirt. 750 48:58,880 --> 49:03,260 Shadow bus, he sees Vesper's gown on the floor, empty wine bottle on the table. 751 49:03,340 --> 49:04,300 Here's her shower running. 752 49:05,120 --> 49:08,180 Tired and jaded, he doesn't think too much of it, pulls off his shirt. 753 49:08,300 --> 49:09,720 Yes, he has been sweating. 754 49:10,000 --> 49:13,780 He glances back at Vesper's suite, listens to the shower running, 755 49:13,960 --> 49:15,180 senses something's wrong. 756 49:16,140 --> 49:19,120 Vesper's bathroom, he enters, can't see her, now is becoming concerned. 757 49:19,200 --> 49:20,960 He sees a leg protruding from the shower. 758 49:21,060 --> 49:24,040 He turns the corner and finds her sitting in bra and panties. 759 49:24,040 --> 49:27,140 That's the male gaze. I'm sorry. She's wearing a dress in the movie. 760 49:28,480 --> 49:33,080 She's sitting there in a cocktail dress, and it's much stronger. 761 49:33,500 --> 49:36,840 Yeah. It's a stronger indication that she's in shock. 762 49:37,260 --> 49:41,100 Yeah. Clutching one knee to her chest, oblivious to the pelting water, 763 49:41,520 --> 49:44,740 James drops to the floor of the shower, throws his arm around her, 764 49:44,820 --> 49:48,520 and pulls her to him, letting the water run over both of them. 765 49:48,940 --> 49:53,680 Bond, shh. Vesper, you're all wet. Shh. That was all cut. But Vesper, 766 49:53,880 --> 49:55,400 I couldn't get the blood off. 767 49:55,520 --> 50:01,800 It's still under my nails. That line was changed to, there's blood on my hands. I can't get it off. 768 50:02,100 --> 50:05,800 Bond looks at his fingers, not a trace of blood. He puts each finger in his 769 50:05,800 --> 50:09,180 mouth and turn, not sexually, but as if to clean them. 770 50:09,320 --> 50:12,900 And of course, the non-sexual aspect of it is incredibly sexy. 771 50:13,100 --> 50:14,880 Okay, that's what I'm talking about, the male gaze. 772 50:15,980 --> 50:20,080 When done, Bond says, better. Vesper says, thanks. 773 50:20,240 --> 50:23,460 In the movie, she doesn't say thanks. she just gets 774 50:23,460 --> 50:26,780 closer to him bond you cold and 775 50:26,780 --> 50:29,500 then he turns the hot water on and then 776 50:29,500 --> 50:32,460 she appreciates the unusual and charming choice that he 777 50:32,460 --> 50:36,420 fails to acknowledge anything odd about her behavior she 778 50:36,420 --> 50:40,160 rests her head on his shoulder to sit there in the warm rain not saying a word 779 50:40,160 --> 50:48,160 anyway so they the actors played it not about sex but about love the emotional 780 50:48,160 --> 50:53,140 event is that these two are falling more deeply in love. 781 50:53,420 --> 50:57,000 So that's what I would call the emotional event. But putting it a different 782 50:57,000 --> 51:02,180 way to say what it's about, some of the writing makes it feel like it's about sex. 783 51:02,240 --> 51:04,240 And it's not about sex. It's about love. 784 51:04,840 --> 51:09,820 Yeah. I mean, even like she appreciates the unusual and charming choice. 785 51:10,060 --> 51:11,940 It's like this character is charming. 786 51:12,360 --> 51:15,420 But I think that is interesting, the love thing, because I also, 787 51:15,560 --> 51:19,800 for me, the emotional emotional event is about shared vulnerability, 788 51:20,260 --> 51:22,700 you know, she is feeling vulnerable and he, 789 51:23,720 --> 51:27,800 He's being vulnerable with her, you know, and I think shared vulnerability is 790 51:27,800 --> 51:29,680 a key part of being in love, I guess. 791 51:30,740 --> 51:31,220 Yeah. 792 51:31,380 --> 51:36,920 I think also I agree with you. It's about love. But to me, like the how does 793 51:36,920 --> 51:38,180 the character relationship change? 794 51:38,320 --> 51:42,900 They obviously do grow closer as a result of the scene. And that's kind of the 795 51:42,900 --> 51:44,640 importance of the scene existing. 796 51:44,760 --> 51:47,980 And to Stu's point, it's definitely about shared vulnerability. 797 51:48,120 --> 51:52,840 But it's the first time Bond has shown like a non-romantic form of love. 798 51:52,840 --> 51:57,600 Like an asexual form of love, a love that is about caring and nurturing. 799 51:57,980 --> 52:03,680 And that's why the big print probably feels such a smack, like such a contrast 800 52:03,680 --> 52:08,040 to the final film, is in the film you're saying it's asexual love, 801 52:08,360 --> 52:11,640 it's tenderness, where in this they can't keep on pointing out, 802 52:11,980 --> 52:16,140 oh, it's non-sexual, but that's actually what makes it really sexy. 803 52:16,340 --> 52:17,840 That makes it sexier than ever. 804 52:18,000 --> 52:19,280 Oh well. 805 52:19,280 --> 52:23,560 Well, and it's funny, I have to mention, you know, when I saw him put his fingers 806 52:23,560 --> 52:30,840 in his mouth, I hadn't heard a line about there's blood on my hands because the audio wasn't good. 807 52:31,040 --> 52:36,300 But the gesture reminded me of when I was a child and I grew up in a cold environment 808 52:36,300 --> 52:38,520 in New England, back east in the U.S. 809 52:39,160 --> 52:42,440 And, you know, in the winter, little kids' hands would get cold. 810 52:43,640 --> 52:48,940 Sometimes my mother would, if my hands were cold, she would take them and put them under her arms. 811 52:49,280 --> 52:54,000 you know to warm them and that's that's what it made me think of that that he 812 52:54,000 --> 52:59,500 was warming her there is a you know protective you know i'm going to take care 813 52:59,500 --> 53:05,420 of you even if you feel like a child and there is something like that but rather 814 53:05,420 --> 53:08,400 than saying it's not sexual mind up what it is. 815 53:09,640 --> 53:13,780 Yeah, imagine if it said, not sexually, but in a nurturing way. 816 53:14,020 --> 53:16,620 As soon as you're saying it's non-sexual, you're drawing people's attention 817 53:16,620 --> 53:19,400 to the ways in which, which is possibly why they've done it. 818 53:19,760 --> 53:21,980 I've had producers' notes about making stuff. 819 53:22,420 --> 53:26,280 Oh, this moment could be sexier. Can you make this moment sexier? And you're like, ugh. 820 53:27,660 --> 53:31,720 But I think, to your point, and in your books, you've talked about the magic 821 53:31,720 --> 53:34,280 of the as-if and how that's useful for direction. 822 53:34,440 --> 53:38,040 We've read, obviously, over 100 episodes, We've read a lot of different people's 823 53:38,040 --> 53:40,200 scripts and we've looked at so-called unfilmables. 824 53:40,300 --> 53:43,900 And sometimes lines like, he, 825 53:44,060 --> 53:48,080 you know, warms a hand, like he's a parent comforting a child is actually really 826 53:48,080 --> 53:51,180 effective in a screenplay as well, because you're giving the, 827 53:51,240 --> 53:55,520 you're engaging the imagination of the actor rather than just simply describing 828 53:55,520 --> 53:57,720 what you see. You're giving them something to play with. 829 53:57,860 --> 54:00,680 And I think that can be a really powerful tool. 830 54:00,980 --> 54:03,660 Again, I mean, this is me just plugging your book, but it's like, 831 54:03,680 --> 54:06,540 that's one of the reasons I think the book is really useful for actors because 832 54:06,540 --> 54:12,180 you sit there and go, in a way, the script is the first director of the actors. 833 54:12,420 --> 54:16,440 Sometimes actors will read a screenplay before they even have a chance to talk to the director. 834 54:16,560 --> 54:21,740 So the words the writer is using are going to inform how an actor is potentially 835 54:21,740 --> 54:22,920 going to approach the role. 836 54:23,160 --> 54:27,320 And so using some of these things that you've talked about as words on the page 837 54:27,320 --> 54:28,700 can be really quite powerful. 838 54:28,700 --> 54:34,140 I do know that the line, she appreciates the unusual and charming choice in 839 54:34,140 --> 54:38,180 that he fails to acknowledge anything odd about her behavior, if they just- 840 54:38,950 --> 54:41,130 the charming bit out. 841 54:41,370 --> 54:44,110 Just take that line out, but just take the whole sentence out. 842 54:44,290 --> 54:47,150 I was, I was going to say like to Sue's point, like you don't need it. 843 54:47,190 --> 54:50,250 You know, you could just have her leaning on his shoulder and that says everything 844 54:50,250 --> 54:52,110 about the emotional event. 845 54:52,210 --> 54:57,050 They have come closer, but I do think what it is that Bond has actually offered 846 54:57,050 --> 55:03,250 her that allows her to be closer to him is his complete absence of judgment 847 55:03,250 --> 55:06,370 of her, of she's wearing a dress in the shower. 848 55:06,770 --> 55:10,710 Well, but let's see, He got her into this. He got her into this. 849 55:10,750 --> 55:12,510 She didn't sign up to be an assassin. 850 55:12,810 --> 55:16,770 He signed up to be an assassin. She didn't. He got her into this. 851 55:16,870 --> 55:19,110 Okay? That's the basic fact. 852 55:19,430 --> 55:22,190 And he's obligated to take care of her. 853 55:23,010 --> 55:28,570 She's getting the emotional fallout. And he has to take some of that on for her. 854 55:28,850 --> 55:32,690 I mean, I certainly read that into the symbolism of him taking her fingers into 855 55:32,690 --> 55:36,350 his mouth is to me him kind of being, 856 55:36,450 --> 55:39,690 for lack of a better word, like a bit of a sin eater i mean except it's his 857 55:39,690 --> 55:44,730 sins but it's like this isn't the blood on your hands this is this is blood 858 55:44,730 --> 55:47,370 that i put there that that is something that i i read into it. 859 55:47,370 --> 55:50,350 There you go okay at the sin eater but yeah oh wow. 860 55:50,350 --> 55:54,690 But i think that's why it's such a powerful gesture because it's got a degree 861 55:54,690 --> 55:59,550 of like there's a physical intimacy to it so you can kind of read it just on 862 55:59,550 --> 56:04,550 a level of of physical intimacy between two people but you can read the gesture 863 56:04,550 --> 56:06,930 as having kind of a symbolic meaning beyond that, 864 56:07,030 --> 56:09,830 but it doesn't try to dictate it to it. 865 56:09,870 --> 56:12,750 So I actually think it makes it powerful because people can fill that gap. 866 56:13,760 --> 56:18,040 Could we possibly throw the writer's a bone here and say that the emotional 867 56:18,040 --> 56:23,140 event that they have put in this scene through the dramatization, 868 56:23,240 --> 56:29,080 through what the actors are actually doing, has survived the possible producer pass of make this sexy? 869 56:31,040 --> 56:32,420 Well, sure. Sure. 870 56:35,540 --> 56:41,620 Well, anyway, I think that Daniel Craig and Ava Greene had a lot to do with 871 56:41,620 --> 56:45,860 saying it's going to be stronger if she's just gotten into the shower without 872 56:45,860 --> 56:47,360 taking off her cocktail dress. 873 56:47,600 --> 56:51,020 I mean, it makes more emotional sense anyway. 874 56:51,340 --> 56:56,140 She walks into a room, she tries to pour a glass of wine. And the thing is that 875 56:56,140 --> 56:58,000 it's not an empty wine bottle. 876 56:58,120 --> 57:01,020 There's a glass of wine that's broken. broken so to 877 57:01,020 --> 57:05,500 me she's tried to pour a glass of wine and but her hand is shaking and the glass 878 57:05,500 --> 57:10,200 breaks and then she just stumbles into the bathroom and gets under the water 879 57:10,200 --> 57:13,880 and she gets under cold water because she feels she deserves to be punished 880 57:13,880 --> 57:18,600 so i'm going how did this scene come about and. 881 57:18,600 --> 57:22,020 That's a really powerful example i think if you using 882 57:22,020 --> 57:26,640 what i would call given circumstances uh you'd probably think you'd kind of 883 57:26,640 --> 57:30,380 call it the big fat facts or you know you just looked at what's written in the 884 57:30,380 --> 57:33,320 scene and going this is that she's used cold water and you've kind of built 885 57:33,320 --> 57:38,940 the emotional understanding of that based on the very simple facts of the scene. 886 57:38,940 --> 57:45,440 Yeah but i also imagine how would a real person get it how would this happen to a real person real. 887 57:45,440 --> 57:49,240 Person yeah shall we move on to past lives. 888 57:49,240 --> 57:52,980 Okay okay there's. 889 57:52,980 --> 58:00,240 A word in korean Korean, inyeon, it means providence or fate. 890 58:01,180 --> 58:06,160 Do you believe in that? That's just something Koreans say to seduce someone. 891 58:21,230 --> 58:24,850 childhood sweethearts who reconnect 20 years later and realize they were meant 892 58:24,850 --> 58:30,770 for each other in the story i would be the evil white american husband standing in the way of destiny, 893 58:31,390 --> 58:34,310 shut up he's just this kid in my 894 58:34,310 --> 58:42,150 head for such a long time i think he just missed him did he miss you all. 895 58:42,150 --> 58:48,210 Right this is very clearly in three sections right uh the first section the 896 58:48,210 --> 58:49,370 three of them are talking. 897 58:49,650 --> 58:52,190 The second section, Nora and 898 58:52,190 --> 58:57,290 Hyesung are talking together in Korean with Arthur still sitting there. 899 58:57,450 --> 59:03,750 The third section, Nora has gone to the bathroom and Hyesung and Arthur speak 900 59:03,750 --> 59:06,150 to each other. So we'll stop after each. 901 59:06,430 --> 59:11,170 I mostly want to talk about some amazing interviews that I read with Celine 902 59:11,170 --> 59:16,610 Fong that I think are very useful, but shall we read it Would that be fun? 903 59:16,750 --> 59:20,590 Yeah. I'll just, for the sake of the record, give a little bit of introduction 904 59:20,590 --> 59:22,850 for those who haven't seen it, though you should. 905 59:22,910 --> 59:27,290 It's a fantastically beautifully directed, beautifully written film. Yeah. 906 59:27,490 --> 59:29,830 It's a written, directed by Celine Song. 907 59:30,130 --> 59:35,170 And it follows, on one level, it follows two childhood friends over the course of 24 years. 908 59:35,650 --> 59:40,370 But really, it's about Nora. She emigrates to America when she's 12, 909 59:40,470 --> 59:45,170 and she kind of leaves a boy behind in Korea. And then we follow her as an adult, 910 59:45,410 --> 59:50,090 and she ends up marrying an American called Arthur. 911 59:50,610 --> 59:54,690 And then Haesung, her kind of, I'm going to use the word crush, 912 59:55,010 --> 59:57,250 but there's, you know, he's important to her. 913 59:57,510 --> 01:00:01,350 And I think it is more than a crush, but he comes to visit her in America.

[transcript]

54:31 Wer das gerne mal ganz anschaulich sehen will, James Bond, Skyfall, da erklärt M.

[transcript]

03:44 of implicated James Street in that. 01:09 James, you could hear the clanking of the chains he 03:28 Talking about James exactly right, that it all grew out

[transcript]

02:30 Alles eigentlich äh viel Jazz, aber auch James Brown, Bossa Nova quer durch die Bank irgendwie alles gute Musik meistens. So ein bisschen hört man's raus. Du bist Rheinländer, oder? Richtig. Volltreffer, ich komme aus Düsseldorf. Mhm. Ja. 03:49 Ja in den Achtzigern gab's ja also einmal die Musik meines Vaters. Da lief wie gesagt viel Soul, Funksachen, die ich immer sehr toll fand, James Brown hat mich schon bevor ich ein Instrument gespielt habe, irgendwie fasziniert und

[transcript]

17:58 Salem's Lot. So good. You want to include James and

[transcript]

15:32 Gerade mit James Webb können wir die

[transcript]

53:31 playing himself as well, if you guys know James guys, 18:27 but the fact that the James guys keeping the elseworlds stuff. 15:33 And I'll certainly like, yeah, I talked to James about this or

[transcript]

33:21 James Gunn, call me. 30:53 this is the thing that got James Gunn this and Suicide Squad got James Gunn 36:21 But we have something like Superman coming up and James God

[transcript]

05:39 James 06:04 James

[transcript]

16:08 Yeah, that's what I'm talking about. James Spader, Yes, Spader,