1 00:00:04,040 --> 00:00:06,840 Speaker 1: No, this is the operator. I have a collect phone 2 00:00:06,880 --> 00:00:10,080 Speaker 1: call from Jonathan Goldstein for doctor Jackie Cohen. Do you 3 00:00:10,119 --> 00:00:11,200 Speaker 1: accept the charges? 4 00:00:11,640 --> 00:00:14,880 Speaker 2: No, I don't accept the pay Jackie. That wasn't even 5 00:00:14,880 --> 00:00:17,959 Speaker 2: the operator. I know it wasn't the operator. That was 6 00:00:17,960 --> 00:00:19,160 Speaker 2: my assistant, Khalila. 7 00:00:19,400 --> 00:00:20,760 Speaker 3: Hi, Khalila, I remember you. 8 00:00:20,840 --> 00:00:21,360 Speaker 1: How are you? 9 00:00:21,600 --> 00:00:22,240 Speaker 2: Don't answer? 10 00:00:22,360 --> 00:00:24,200 Speaker 4: I'm fine, don't I'm in. 11 00:00:24,120 --> 00:00:26,239 Speaker 5: The middle of trying to get the kids do their homework. 12 00:00:26,280 --> 00:00:27,800 Speaker 5: I'm in the middle of dinner. 13 00:00:28,360 --> 00:00:30,920 Speaker 2: I play. This is just a test. What are you 14 00:00:30,920 --> 00:00:32,479 Speaker 2: going to do when I'm in trouble? Someday? In a 15 00:00:32,520 --> 00:00:33,440 Speaker 2: real operator call. 16 00:00:33,840 --> 00:00:35,519 Speaker 3: There are real operators anymore. 17 00:00:35,200 --> 00:00:38,160 Speaker 2: John, wouldn't you say that I'm a real operator? 18 00:00:38,520 --> 00:00:39,959 Speaker 5: Would you say you're a real operator. 19 00:00:41,080 --> 00:00:49,479 Speaker 2: I don't know. I think I'd like to think. I 20 00:00:49,600 --> 00:00:55,279 Speaker 2: don't know. Maybe not a big time operator, small time operator. 21 00:00:55,360 --> 00:00:56,200 Speaker 1: Okay, Can I go now? 22 00:00:56,800 --> 00:00:57,040 Speaker 6: Yeah? 23 00:00:57,120 --> 00:01:08,120 Speaker 2: You can go now? Can I go to Yeah? From 24 00:01:08,120 --> 00:01:13,960 Speaker 2: Gimblet Media, I'm Jonathan Goldstein and this is Heavyweight today's 25 00:01:14,000 --> 00:01:29,039 Speaker 2: episode Marshall. In the late nineties, I was working on 26 00:01:29,080 --> 00:01:33,319 Speaker 2: an experimental novella, an erotic coming of age story told 27 00:01:33,360 --> 00:01:37,720 Speaker 2: as a series of picuresque vignettes that so defied categorization 28 00:01:38,000 --> 00:01:42,080 Speaker 2: that even now, almost twenty years later, the best description 29 00:01:42,160 --> 00:01:44,840 Speaker 2: I can come up with for it is an erotic 30 00:01:44,840 --> 00:01:48,440 Speaker 2: coming of age story told as a series of picuresque vignettes. 31 00:01:49,640 --> 00:01:53,640 Speaker 2: To support myself during this prolonged parents nightmare, I got 32 00:01:53,640 --> 00:01:57,720 Speaker 2: a job reviewing movies for a local alternative weekly. It 33 00:01:57,760 --> 00:02:01,000 Speaker 2: didn't pay much, but after spending all day working on 34 00:02:01,040 --> 00:02:05,320 Speaker 2: my novella, hating my writing and myself, it felt good 35 00:02:05,320 --> 00:02:09,480 Speaker 2: to direct my critical gaze outward for a while. Because 36 00:02:09,480 --> 00:02:14,720 Speaker 2: for me, nothing was ever quite right food, music, clothing. 37 00:02:15,400 --> 00:02:17,839 Speaker 2: I'd made it into my late twenties only having ever 38 00:02:17,919 --> 00:02:21,960 Speaker 2: found one T shirt that met my strict sartorial standards. 39 00:02:22,000 --> 00:02:25,959 Speaker 2: Material was always too scratchy, neck holes always too tight. 40 00:02:26,680 --> 00:02:31,800 Speaker 2: Reviewing films gave my negativity a place to prance free. 41 00:02:31,840 --> 00:02:34,959 Speaker 2: Some of my headlines from the time include Ted Demi's 42 00:02:35,000 --> 00:02:45,080 Speaker 2: Blow Blows and American Beauty is No Beauty. Because I 43 00:02:45,120 --> 00:02:47,880 Speaker 2: was from Montreal, my editor put me in charge of 44 00:02:47,919 --> 00:02:51,720 Speaker 2: the foreign film reviews, and even though I understood zero French, 45 00:02:52,040 --> 00:02:54,800 Speaker 2: I still found a way to be critical, focusing on 46 00:02:54,880 --> 00:02:59,960 Speaker 2: less plot related criteria like runtime and lighting. Of Suleasaba, 47 00:03:00,400 --> 00:03:04,640 Speaker 2: I wrote nothing of Charlotte Rampling's intense performance. Instead, I 48 00:03:04,680 --> 00:03:08,320 Speaker 2: complained that the ninety two minute film was too bright. 49 00:03:09,720 --> 00:03:12,600 Speaker 2: It was around this time that I discovered the ninety 50 00:03:12,680 --> 00:03:19,239 Speaker 2: nine minute film Russian Arc. What drew me to this 51 00:03:19,360 --> 00:03:22,799 Speaker 2: Russian film was its willingness to experiment in the name 52 00:03:22,840 --> 00:03:27,840 Speaker 2: of art. Directed by Alexander Sokarov, Russian Arc takes place 53 00:03:27,960 --> 00:03:32,120 Speaker 2: in Saint Petersburg's Hermitage Museum, and it depicts three hundred 54 00:03:32,240 --> 00:03:36,839 Speaker 2: years of Russian history. But here's the thing. It does 55 00:03:36,880 --> 00:03:43,000 Speaker 2: so in one continuous, unedited, ninety minute long shot. This 56 00:03:43,160 --> 00:03:48,160 Speaker 2: means thirty three rooms, nearly two thousand actors, two different orchestras, 57 00:03:48,440 --> 00:03:53,960 Speaker 2: fifty makeup artists, sixty five costume designers, three centuries of 58 00:03:54,040 --> 00:04:04,680 Speaker 2: Russian history, all presented in a single seamless take. At 59 00:04:04,720 --> 00:04:07,960 Speaker 2: the time, directors competed with one another to create the 60 00:04:08,040 --> 00:04:12,400 Speaker 2: longest unedited shots they could. Paul Thomas Anderson clocked in 61 00:04:12,520 --> 00:04:15,160 Speaker 2: at two minutes and fifty four seconds with the opening 62 00:04:15,200 --> 00:04:19,120 Speaker 2: discothech scene in Boogie Nights, and Martin Scorsese tipped the 63 00:04:19,120 --> 00:04:23,040 Speaker 2: scales at just over three minutes with Rayliota's entrance into 64 00:04:23,040 --> 00:04:28,000 Speaker 2: the Kopa in Goodfellas and here came Sokarov, saying, I 65 00:04:28,120 --> 00:04:32,000 Speaker 2: see your measley little scenes and raise you one entire 66 00:04:32,279 --> 00:04:37,600 Speaker 2: movie only. He probably said it in Russian. If the 67 00:04:37,640 --> 00:04:41,400 Speaker 2: accomplishment of an uninterrupted shot that spans ninety minutes is 68 00:04:41,440 --> 00:04:44,000 Speaker 2: still lost on you, let me just say, as someone 69 00:04:44,000 --> 00:04:47,000 Speaker 2: who works in the recorded arts, it's really hard to 70 00:04:47,040 --> 00:04:54,720 Speaker 2: make anything good without editing. Without editing editing, I screw it, 71 00:04:55,120 --> 00:04:59,200 Speaker 2: my good looking editor, Jorge, we'll fix that in post. 72 00:05:01,680 --> 00:05:04,280 Speaker 2: Though they'd been planning the movie for over two years, 73 00:05:04,560 --> 00:05:07,400 Speaker 2: Sokarov and his crew had only one day to shoot 74 00:05:07,440 --> 00:05:10,800 Speaker 2: the entire film, the twenty third of December two thousand 75 00:05:10,839 --> 00:05:14,560 Speaker 2: and one, with only three hours of sunlight. It's one 76 00:05:14,560 --> 00:05:17,320 Speaker 2: of the shortest days of the Russian year, which gave 77 00:05:17,360 --> 00:05:19,840 Speaker 2: them just a few hours to pull off a perfect 78 00:05:19,920 --> 00:05:23,800 Speaker 2: work of art, and as I remember it, they succeeded 79 00:05:25,240 --> 00:05:32,760 Speaker 2: almost The film is structured as a series of vignettes. 80 00:05:33,160 --> 00:05:36,440 Speaker 2: The camera drifts from room to room, catching glimpses of 81 00:05:36,560 --> 00:05:46,080 Speaker 2: historic sceness. The Shaw's grandson apologizes to tar Nicholas the 82 00:05:46,120 --> 00:05:48,359 Speaker 2: First for an attack on the Russian embassy. 83 00:05:48,680 --> 00:05:52,119 Speaker 4: That's been better with them. 84 00:05:51,160 --> 00:05:56,200 Speaker 2: The camera lingers as Peter the Great reprimands a courtier. 85 00:06:00,400 --> 00:06:03,279 Speaker 2: The camera moves on, capturing a man as he builds 86 00:06:03,279 --> 00:06:12,200 Speaker 2: a coffin during the Siege of Leningrad. It catches Catherine 87 00:06:12,240 --> 00:06:23,440 Speaker 2: the Great watching a play, then follows her as she 88 00:06:23,520 --> 00:06:30,640 Speaker 2: runs off to find a bathroom. The movie is virtually 89 00:06:30,720 --> 00:06:34,200 Speaker 2: no storyline, so the central drama, the thing that keeps 90 00:06:34,240 --> 00:06:39,560 Speaker 2: you watching, is this simple question wheel the filmmakers actually 91 00:06:39,560 --> 00:06:44,080 Speaker 2: pull off their crazy stunt at any instant. An actor 92 00:06:44,120 --> 00:06:47,799 Speaker 2: could stumble a line, a dancer miss a que, a boom, 93 00:06:47,880 --> 00:06:52,279 Speaker 2: mic could fall, a piece of lighting crash, someone could cough. 94 00:06:53,839 --> 00:06:56,719 Speaker 2: At the twenty minute mark, you think this is doomed. 95 00:06:57,600 --> 00:07:01,919 Speaker 2: At thirty you grip the theater armress. At one hour, 96 00:07:02,040 --> 00:07:04,720 Speaker 2: you can't help but get on board, rooting at every 97 00:07:04,760 --> 00:07:08,039 Speaker 2: turn for the film's success. And when there's only ten 98 00:07:08,080 --> 00:07:12,120 Speaker 2: minutes to go, you realize that, against all odds, they 99 00:07:12,200 --> 00:07:20,360 Speaker 2: might actually pull it off. In the film's last remaining minutes, 100 00:07:20,720 --> 00:07:24,080 Speaker 2: the camera enters upon an elaborate recreation of the last 101 00:07:24,120 --> 00:07:28,480 Speaker 2: Grand Royal Ball before the Bolshevik Revolution. The room, in 102 00:07:28,560 --> 00:07:49,320 Speaker 2: this critics opinion is bright. The orchestra begins playing the Mazurka. 103 00:07:49,640 --> 00:07:53,280 Speaker 2: The camera swirls between white columns dozens of men in 104 00:07:53,360 --> 00:07:57,120 Speaker 2: formal military regalia mill about with women in freely white 105 00:07:57,240 --> 00:08:05,480 Speaker 2: dresses and feathers in their hair. And then it happens. 106 00:08:08,560 --> 00:08:12,400 Speaker 2: As the orchestra plays the final notes, one of the musicians, 107 00:08:12,800 --> 00:08:16,960 Speaker 2: a violinist, puts down his violin and, with the look 108 00:08:17,040 --> 00:08:21,200 Speaker 2: of a startled deer about to become roadkill, turns around 109 00:08:24,560 --> 00:08:33,120 Speaker 2: and stares directly into the camera. When you're watching a movie, 110 00:08:33,559 --> 00:08:37,480 Speaker 2: the real world disappears, but if an actor accidentally looks 111 00:08:37,520 --> 00:08:40,720 Speaker 2: into the camera and breaks the fourth wall, the whole 112 00:08:40,760 --> 00:08:44,840 Speaker 2: illusion is destroyed. It's a screw up so profound that 113 00:08:44,920 --> 00:08:49,800 Speaker 2: it actually has a name, spiking the camera, and because 114 00:08:49,880 --> 00:08:53,040 Speaker 2: Russian Arc was otherwise so perfect, the spike felt all 115 00:08:53,080 --> 00:08:56,960 Speaker 2: the more shocking. The film spell was broken, and I 116 00:08:57,160 --> 00:09:00,560 Speaker 2: was instantly plopped back into my crummy theater scene in 117 00:09:00,679 --> 00:09:05,480 Speaker 2: crummy reality, wearing a crummy malfitting T shirt, strangling me 118 00:09:05,559 --> 00:09:14,079 Speaker 2: at the neck hole. The same year Russian Arc was filmed, 119 00:09:14,320 --> 00:09:17,679 Speaker 2: I finally completed my novella. There was no book to her, 120 00:09:18,000 --> 00:09:21,800 Speaker 2: no advance, but none of that mattered. After a decade 121 00:09:21,840 --> 00:09:25,000 Speaker 2: of writing, my work had been published, and I was 122 00:09:25,040 --> 00:09:28,880 Speaker 2: on top of the world. For all of three weeks 123 00:09:29,480 --> 00:09:34,080 Speaker 2: at which point the first review appeared. The reviewer chose 124 00:09:34,120 --> 00:09:38,640 Speaker 2: not to focus on the unconventional structure, the scatological wordplay, 125 00:09:39,080 --> 00:09:41,400 Speaker 2: nor even the cover art, which was based on a 126 00:09:41,440 --> 00:09:46,000 Speaker 2: photograph I'd found in a pawnshop shoe box. Instead, she 127 00:09:46,120 --> 00:09:48,840 Speaker 2: directed her attention onto the one part of the book 128 00:09:48,920 --> 00:09:52,199 Speaker 2: that I'd barely put any thought into it, all three 129 00:09:52,240 --> 00:09:56,240 Speaker 2: short words printed at the center of the very first page, 130 00:09:57,040 --> 00:10:04,679 Speaker 2: the dedication for my sister. There's something offbeat, the reviewer 131 00:10:04,800 --> 00:10:08,240 Speaker 2: mused about dedicating the weird and lurid memories of a 132 00:10:08,280 --> 00:10:13,520 Speaker 2: sex obsessed Jewish teenage boy to one's sister. Here, I 133 00:10:13,600 --> 00:10:15,440 Speaker 2: was thinking I was all set to be the next 134 00:10:15,520 --> 00:10:19,040 Speaker 2: Luke Reinhardt, but instead I just outed myself as the 135 00:10:19,080 --> 00:10:22,880 Speaker 2: next Luke Skywalker in that first Star Wars movie, the 136 00:10:22,880 --> 00:10:26,240 Speaker 2: one where he totally wants to bang his sister Jedi style. 137 00:10:27,880 --> 00:10:31,079 Speaker 2: All of this to say, I understood the grand experiment 138 00:10:31,200 --> 00:10:34,640 Speaker 2: that ends in failure due to one small blemish. I 139 00:10:34,679 --> 00:10:38,560 Speaker 2: never wrote a novel again. In Alexander Soakroov, a man 140 00:10:38,600 --> 00:10:41,760 Speaker 2: who once said I want to screen real time, I 141 00:10:41,800 --> 00:10:44,760 Speaker 2: don't want to cut it or shrink it, never made 142 00:10:44,760 --> 00:10:48,720 Speaker 2: a single shot movie again. Was it all due to 143 00:10:48,760 --> 00:10:59,480 Speaker 2: the bungling violinist. When my novella was published in America, 144 00:10:59,679 --> 00:11:03,000 Speaker 2: I only got a chance to revisit the dedication. I 145 00:11:03,040 --> 00:11:06,679 Speaker 2: cut it out and moved on. But the filmmakers didn't 146 00:11:06,720 --> 00:11:10,040 Speaker 2: have the luxury of editing out their one mistake, and 147 00:11:10,080 --> 00:11:13,240 Speaker 2: they can't redo that day, can't shut down the second 148 00:11:13,360 --> 00:11:16,200 Speaker 2: largest art museum in the world for another try at 149 00:11:16,240 --> 00:11:21,160 Speaker 2: probably the biggest, most ambitious shoot of any of their careers. 150 00:11:21,800 --> 00:11:22,840 Speaker 2: But what if they could? 151 00:11:26,720 --> 00:11:27,320 Speaker 7: Good morning? 152 00:11:27,480 --> 00:11:29,559 Speaker 2: Hi? Is this Tilman Buttner? 153 00:11:30,600 --> 00:11:30,800 Speaker 7: Yeah? 154 00:11:31,360 --> 00:11:36,600 Speaker 2: Hello, Tilman Butner is Russian art cinematographer, the man behind 155 00:11:36,679 --> 00:11:40,400 Speaker 2: the camera that the heedless violinist had violently spiked into 156 00:11:40,440 --> 00:11:47,600 Speaker 2: the marble Mosaic museum floor that day. Butner only speaks German, 157 00:11:48,040 --> 00:11:51,319 Speaker 2: so he asked his son to translate our conversation. What 158 00:11:51,520 --> 00:11:54,160 Speaker 2: is your name, konste. 159 00:11:55,360 --> 00:11:56,120 Speaker 7: Constantine? 160 00:11:57,840 --> 00:11:59,959 Speaker 2: Okay, great, so Butner. 161 00:12:00,559 --> 00:12:07,360 Speaker 8: My name is not Buner. My name is Temple, Constant, Temple, Constantine. 162 00:12:08,080 --> 00:12:13,800 Speaker 2: Okay, Constantine Temple. The camera Buttner used for Russian Arc 163 00:12:14,080 --> 00:12:16,400 Speaker 2: was one of the first HD cameras in the world, 164 00:12:16,960 --> 00:12:20,080 Speaker 2: and it required one terabyte of disk space to save 165 00:12:20,200 --> 00:12:21,280 Speaker 2: all ninety minutes. 166 00:12:21,880 --> 00:12:25,040 Speaker 8: Back then, the disc was as big as a giant 167 00:12:25,280 --> 00:12:27,840 Speaker 8: bag for an astronaut that wants to go to the moon, 168 00:12:28,200 --> 00:12:30,959 Speaker 8: a giant recorded that a different person had to carry 169 00:12:31,320 --> 00:12:31,880 Speaker 8: next to him. 170 00:12:32,800 --> 00:12:36,520 Speaker 2: A half dozen technicians followed Buttner around, hauling cable and 171 00:12:36,679 --> 00:12:40,040 Speaker 2: silently shooing people out of the way. By the end 172 00:12:40,080 --> 00:12:43,240 Speaker 2: of the shoot, Butner was left limping. At the time, 173 00:12:43,559 --> 00:12:46,240 Speaker 2: there was only one other HD camera that was lighter, 174 00:12:46,920 --> 00:12:50,880 Speaker 2: but another indie art house director already had DIBs. 175 00:12:50,880 --> 00:12:54,640 Speaker 7: George Lucas. He didn't give the camera. Yeah, we give her. 176 00:12:54,760 --> 00:12:57,280 Speaker 7: They asked him for it, but he wanted to keep it. 177 00:12:58,280 --> 00:13:01,360 Speaker 2: Lucas wanted to keep it for Star Wars episode two, 178 00:13:01,679 --> 00:13:05,199 Speaker 2: Attack of the Clones. Although I've not seen it, I 179 00:13:05,360 --> 00:13:09,239 Speaker 2: assume it's about that same Randy Jedi traveling the Macroverse, 180 00:13:09,400 --> 00:13:13,319 Speaker 2: fighting the Evil Empire and the equally evil urged Abang 181 00:13:13,400 --> 00:13:19,160 Speaker 2: his sister Jedi style. If any Canadian theaters had screened 182 00:13:19,200 --> 00:13:22,839 Speaker 2: it in French rather than in its original Ewokees, my 183 00:13:22,960 --> 00:13:25,840 Speaker 2: headline might have read Attack of the Clones is an 184 00:13:25,840 --> 00:13:31,120 Speaker 2: attack on decent lighting. Constant Constantine explains his father's emotional 185 00:13:31,200 --> 00:13:33,520 Speaker 2: state around the time of Russian Arcs filming. 186 00:13:34,280 --> 00:13:37,400 Speaker 7: The night before he couldn't sleep. It was really focused 187 00:13:37,440 --> 00:13:41,000 Speaker 7: and really not nervous, but in a good way, you know. 188 00:13:41,520 --> 00:13:44,480 Speaker 8: Yeah, he knew that it was something really special, and 189 00:13:44,640 --> 00:13:47,079 Speaker 8: he was one hundred percent short that everything would work 190 00:13:47,120 --> 00:13:48,920 Speaker 8: out exactly the way they planned. 191 00:13:49,880 --> 00:13:54,200 Speaker 2: Except it didn't. I saw this movie when it first 192 00:13:54,280 --> 00:13:58,040 Speaker 2: came out, and there was one moment in it that 193 00:13:58,160 --> 00:14:01,360 Speaker 2: stands out to me. There's only a few minutes left. 194 00:14:01,400 --> 00:14:03,480 Speaker 2: I run him through the last few minutes of the film. 195 00:14:03,960 --> 00:14:09,079 Speaker 2: The orchestra, the mazurka, the feckless violinist, the incident looks 196 00:14:09,160 --> 00:14:15,480 Speaker 2: directly into the camera. I'm wondering if you remember that moment. 197 00:14:20,120 --> 00:14:22,520 Speaker 7: No, not this violinist that you were interested in. He 198 00:14:22,720 --> 00:14:24,400 Speaker 7: couldn't remember that this happened. 199 00:14:28,320 --> 00:14:31,600 Speaker 2: I can imagine the casual viewer, distracted by popcorn and 200 00:14:31,720 --> 00:14:36,040 Speaker 2: milk duds, not noticing the conspicuous violinist. But I was 201 00:14:36,080 --> 00:14:38,960 Speaker 2: surprised that one of the filmmakers had missed it. Maybe 202 00:14:39,040 --> 00:14:42,080 Speaker 2: Tillman Buttner was too encumbered by his giant camera to 203 00:14:42,160 --> 00:14:45,360 Speaker 2: see the mistake. So I decided to try another member 204 00:14:45,360 --> 00:14:47,840 Speaker 2: of the crew who was there that day, someone whose 205 00:14:47,960 --> 00:14:50,760 Speaker 2: job it was to keep track of every air in shadow. 206 00:14:51,640 --> 00:14:56,160 Speaker 2: I'm speaking, of course, of the film's lighting designer, Barn Fisher. 207 00:14:58,800 --> 00:15:02,080 Speaker 2: As my past film re viewing suggests, I've long held 208 00:15:02,120 --> 00:15:05,040 Speaker 2: a passion for man made light. As a boy, I'd 209 00:15:05,080 --> 00:15:07,760 Speaker 2: monkey with a dimmer knob until my fingers were raw, 210 00:15:08,760 --> 00:15:11,640 Speaker 2: sit down and eat your buttered Noodle's father would roar, 211 00:15:12,760 --> 00:15:16,760 Speaker 2: but alas too much dimness and melancholia would slowly descend 212 00:15:17,280 --> 00:15:21,720 Speaker 2: like a Sabbath elevator and a molasses factory. Too little dimness, 213 00:15:21,760 --> 00:15:24,760 Speaker 2: and I felt denuded, shivering like a vampire in the 214 00:15:24,800 --> 00:15:28,640 Speaker 2: frozen goods ayle. If only there was something with fewer 215 00:15:28,720 --> 00:15:32,680 Speaker 2: gradations than a knob, I'd lament some means by which 216 00:15:32,760 --> 00:15:39,320 Speaker 2: I could toggle between dimnesses emphatically, on off, on off, 217 00:15:40,640 --> 00:15:46,320 Speaker 2: some kind of light switch, if you will. I was 218 00:15:46,400 --> 00:15:55,040 Speaker 2: eager to speak with Fisher. Uh yes, Hello, is this baron? Yet? 219 00:15:55,200 --> 00:15:56,280 Speaker 7: Hi? Is this baron? 220 00:15:57,840 --> 00:16:01,240 Speaker 2: Once we corrected for the standard European two second time delay, 221 00:16:01,720 --> 00:16:06,080 Speaker 2: I properly introduced myself. Hello, sir, my name is Jonathan Goldstein. 222 00:16:06,880 --> 00:16:10,080 Speaker 2: I'm calling from the podcast in the United States. 223 00:16:11,760 --> 00:16:13,560 Speaker 1: That's the radio show What are you Doing? 224 00:16:13,680 --> 00:16:14,040 Speaker 3: What is that? 225 00:16:15,440 --> 00:16:19,280 Speaker 2: Or a texture? Fisher gets my work about as well 226 00:16:19,320 --> 00:16:22,160 Speaker 2: as I get his I ask him about the day 227 00:16:22,160 --> 00:16:22,680 Speaker 2: of the shoot. 228 00:16:23,280 --> 00:16:26,360 Speaker 3: The quantity of lights is just enormous because we have 229 00:16:26,440 --> 00:16:29,560 Speaker 3: to light I don't know, fifty rooms in a ballroom 230 00:16:29,720 --> 00:16:31,080 Speaker 3: and all at the same time. 231 00:16:31,280 --> 00:16:34,040 Speaker 2: So just aside from the sheer number of lights, there 232 00:16:34,160 --> 00:16:37,080 Speaker 2: was the setting. Most museums don't even let you take 233 00:16:37,160 --> 00:16:40,440 Speaker 2: flash photography, let alone make a movie that's bright enough 234 00:16:40,480 --> 00:16:43,240 Speaker 2: to win a coveted Lighty, the lighting award name for 235 00:16:43,320 --> 00:16:45,480 Speaker 2: Alfred J. Lightman that I've just invented. 236 00:16:46,200 --> 00:16:49,160 Speaker 3: So there was always someone standing next to us telling 237 00:16:49,240 --> 00:16:51,560 Speaker 3: us where to be able to put the light. Not 238 00:16:51,680 --> 00:16:54,600 Speaker 3: too close to the paintings, not too close to the wall. 239 00:16:55,120 --> 00:16:57,120 Speaker 3: They were scared that you would destroy things. 240 00:17:00,640 --> 00:17:03,760 Speaker 2: Fisher ended up using giant helium balloons to float his 241 00:17:03,920 --> 00:17:06,760 Speaker 2: lights just below the ceiling. And if the risk of 242 00:17:06,840 --> 00:17:10,800 Speaker 2: destroying priceless artwork during the shoot scared him, the possibility 243 00:17:10,960 --> 00:17:14,040 Speaker 2: of a slowly deflating balloon sinking into view of the 244 00:17:14,119 --> 00:17:16,360 Speaker 2: camera absolutely terrified him. 245 00:17:16,840 --> 00:17:20,320 Speaker 3: There was only one chance, so there was such a pressure. 246 00:17:20,840 --> 00:17:24,520 Speaker 3: Everyone's so concentrated and you know you're not supposed to fail. 247 00:17:25,240 --> 00:17:31,879 Speaker 3: So I know when the whole thing was done, everyone 248 00:17:32,040 --> 00:17:34,080 Speaker 3: was so happy. A lot of people were crying. 249 00:17:37,240 --> 00:17:40,159 Speaker 2: I didn't want to hear about tears of joy. I 250 00:17:40,320 --> 00:17:43,320 Speaker 2: wanted to hear about the sad kind, the bitter kind 251 00:17:43,640 --> 00:17:46,040 Speaker 2: that get caught in your throat like tiny clumps of 252 00:17:46,160 --> 00:17:50,520 Speaker 2: rye bread. So I brought up the bumbling violinists cameo, like, 253 00:17:50,960 --> 00:17:52,680 Speaker 2: do you know the moment I'm talking about? 254 00:17:54,280 --> 00:17:57,399 Speaker 3: You know what I actually did. I just put the 255 00:17:57,480 --> 00:18:01,320 Speaker 3: film on my computer because I it here and I'm 256 00:18:01,440 --> 00:18:05,280 Speaker 3: just watching the scene as we're walking through the. 257 00:18:05,720 --> 00:18:08,000 Speaker 2: Hell are you are you watching that moment right now? 258 00:18:08,800 --> 00:18:10,280 Speaker 3: Right now? I'm watching this moment. 259 00:18:10,400 --> 00:18:12,840 Speaker 2: How do you remember where it is? 260 00:18:14,280 --> 00:18:17,640 Speaker 3: Well, I'm believing I know this ninety minutes, very very well. 261 00:18:18,040 --> 00:18:21,120 Speaker 3: I was dreaming of this nineteen minutes, walking it over 262 00:18:21,200 --> 00:18:24,640 Speaker 3: and over again. But there was no way to change 263 00:18:24,680 --> 00:18:28,560 Speaker 3: it anyway, you know, because it was like a ship, 264 00:18:28,680 --> 00:18:32,760 Speaker 3: you know, like a tangship which cannot break. Once we started, 265 00:18:32,840 --> 00:18:35,720 Speaker 3: there was no way to stop it. I think that 266 00:18:35,880 --> 00:18:40,000 Speaker 3: we were just happy that it worked. Hey, it worked, unbelievable, 267 00:18:40,200 --> 00:18:41,040 Speaker 3: it worked. 268 00:18:42,000 --> 00:18:50,920 Speaker 2: Except it didn't. Throughout my life, I've justifiably been called 269 00:18:50,920 --> 00:18:55,359 Speaker 2: a fuss pot, fussy, gus, fuss budget and by one 270 00:18:55,440 --> 00:18:57,959 Speaker 2: high school physed instructor who I believe might have been 271 00:18:58,000 --> 00:19:01,920 Speaker 2: an anti semite, A little miss fussy pants had my 272 00:19:02,040 --> 00:19:07,520 Speaker 2: fussiness finally gone too far. That night I rewatched the movie, 273 00:19:12,680 --> 00:19:25,280 Speaker 2: and the moment I rewatch it a couple times, it's 274 00:19:25,320 --> 00:19:29,320 Speaker 2: even worse than I'd remembered. Seconds before the adult violinist 275 00:19:29,440 --> 00:19:31,800 Speaker 2: turns back to the camera, we see him in a 276 00:19:31,880 --> 00:19:36,959 Speaker 2: long shot, seated among his fellow violinists, swiveling his head around. 277 00:19:38,040 --> 00:19:40,640 Speaker 2: It's as if he's searching for the camera, like he's 278 00:19:40,640 --> 00:19:44,440 Speaker 2: scanning a restaurant looking for a tardy dinner companion, except 279 00:19:44,520 --> 00:19:48,119 Speaker 2: in this case, his dinner companion is an elephantine camera 280 00:19:48,280 --> 00:19:51,200 Speaker 2: being hauled around by a crew of six to eight people. 281 00:19:52,520 --> 00:19:55,840 Speaker 4: We would be allowed to take over the museum for 282 00:19:56,000 --> 00:19:56,560 Speaker 4: a whole day. 283 00:19:57,520 --> 00:20:01,280 Speaker 2: Yen's mirror is Russian arcs producer. Perhaps he can produce 284 00:20:01,400 --> 00:20:05,840 Speaker 2: some answers for me. He explains that, aside from holidays, 285 00:20:06,160 --> 00:20:09,440 Speaker 2: the Hermitage Museum has not been closed since the Second 286 00:20:09,520 --> 00:20:12,399 Speaker 2: World War, but in spite of that, they agreed to 287 00:20:12,440 --> 00:20:16,119 Speaker 2: give the films director Alexander Sokarov a day to shoot, 288 00:20:16,760 --> 00:20:19,520 Speaker 2: and once Sokorov explained the plan to film everything in 289 00:20:19,600 --> 00:20:22,680 Speaker 2: a single take, they offered an additional day. 290 00:20:22,920 --> 00:20:26,119 Speaker 4: But Sikorov said, no, it doesn't want that day. And 291 00:20:26,200 --> 00:20:28,480 Speaker 4: I looked at him and said, Sasha, you what you 292 00:20:28,520 --> 00:20:31,240 Speaker 4: don't want a day? He said, no, that would be 293 00:20:31,359 --> 00:20:34,399 Speaker 4: tempting Fate. It would be tempting God. It must be 294 00:20:34,520 --> 00:20:36,879 Speaker 4: done in the one shot, in the single day. And 295 00:20:36,960 --> 00:20:37,719 Speaker 4: that's what happened. 296 00:20:38,840 --> 00:20:43,120 Speaker 2: Well, yes, it did technically happen. MRR offers no accounting 297 00:20:43,200 --> 00:20:47,320 Speaker 2: for the twitchy violinist, but his beautiful accent intimidates me. 298 00:20:47,800 --> 00:20:52,440 Speaker 2: So like Barishnikov on an icy sidewalk, a tippy toe carefully, 299 00:20:53,600 --> 00:21:00,320 Speaker 2: and it's an incredible accomplishment. And yet, and I know 300 00:21:00,440 --> 00:21:04,080 Speaker 2: I'm going to sound sort of like nitpicky, but there's 301 00:21:04,160 --> 00:21:09,840 Speaker 2: this moment at the end where this violinist turns towards 302 00:21:09,920 --> 00:21:14,520 Speaker 2: the camera. And do you know the moment that I'm 303 00:21:14,560 --> 00:21:15,520 Speaker 2: talking about. 304 00:21:17,480 --> 00:21:17,600 Speaker 7: Now? 305 00:21:17,680 --> 00:21:22,040 Speaker 4: Of course, I mean you are nitpicking, but it's peculiar. 306 00:21:22,119 --> 00:21:23,840 Speaker 4: I mean, you look at this film that there's only 307 00:21:23,920 --> 00:21:27,080 Speaker 4: one such moment in the whole film. There isn't another 308 00:21:27,160 --> 00:21:29,840 Speaker 4: one that is peculiar. Why is there only one? 309 00:21:35,080 --> 00:21:38,760 Speaker 2: Mirror tells me that they explicitly instructed all the performers 310 00:21:39,040 --> 00:21:41,960 Speaker 2: not to look into the camera and only one person 311 00:21:42,040 --> 00:21:46,080 Speaker 2: paid the instructions. Absolutely, no mind. He just has a 312 00:21:46,240 --> 00:21:48,240 Speaker 2: very kind of hapless look about him. 313 00:21:49,720 --> 00:21:52,080 Speaker 4: Well, don't you imagine that at that moment he must 314 00:21:52,119 --> 00:21:55,359 Speaker 4: have caught himself thinking, Damn, that's the one thing I 315 00:21:55,480 --> 00:21:58,760 Speaker 4: swore to myself I wouldn't be doing look into the camera. 316 00:22:04,160 --> 00:22:07,280 Speaker 4: We talked about it back then because of course it's 317 00:22:07,280 --> 00:22:08,080 Speaker 4: an imperfection. 318 00:22:09,000 --> 00:22:11,720 Speaker 2: So the basic tone of it when Tuckerov would bring 319 00:22:11,800 --> 00:22:14,040 Speaker 2: it up, was it like something that was kind of 320 00:22:14,200 --> 00:22:15,000 Speaker 2: like joked about. 321 00:22:18,520 --> 00:22:23,000 Speaker 4: You've never met Alexander Takorov. Obviously there's never much joking. 322 00:22:23,359 --> 00:22:26,240 Speaker 2: He's not like a prankster on the set like George 323 00:22:26,280 --> 00:22:27,159 Speaker 2: Clooney or something. 324 00:22:29,600 --> 00:22:33,200 Speaker 4: No, Alexander worked on every single image of this film, 325 00:22:33,240 --> 00:22:36,399 Speaker 4: and so it's definitely nothing that would ever be joked about. 326 00:22:37,680 --> 00:22:40,640 Speaker 2: To the question of the redo, Mirror says he lives 327 00:22:40,680 --> 00:22:42,720 Speaker 2: with it. It's just one of those things you have 328 00:22:42,840 --> 00:22:47,400 Speaker 2: to accept. What about Soakarov, I wonder how could a serious, 329 00:22:47,640 --> 00:22:51,879 Speaker 2: non pranking, non clooney asque artists like him deal with imperfection? 330 00:22:52,800 --> 00:22:54,960 Speaker 2: And so do you think if I put the question 331 00:22:55,240 --> 00:22:59,000 Speaker 2: to him, you know, would you redo this movie if 332 00:22:59,040 --> 00:23:01,480 Speaker 2: you had a chance? He would do it. 333 00:23:02,240 --> 00:23:05,480 Speaker 4: Huh, that's an interesting thought. 334 00:23:05,600 --> 00:23:08,600 Speaker 2: Would he redo this film because he is such a perfectionist. 335 00:23:08,800 --> 00:23:13,119 Speaker 4: Yeah, I don't know, God knows, you know, maybe we 336 00:23:13,200 --> 00:23:14,119 Speaker 4: should reshoot it. 337 00:23:15,000 --> 00:23:20,600 Speaker 2: Pose that question, that question being with Sokarov. Re rent 338 00:23:20,640 --> 00:23:24,480 Speaker 2: the costumes, re rent the helium balloons, rehire the actors, 339 00:23:24,640 --> 00:23:27,639 Speaker 2: musicians and dancers by a brand new tub of garlic 340 00:23:27,720 --> 00:23:30,480 Speaker 2: homas for the craft's service table, all because of a 341 00:23:30,560 --> 00:23:34,160 Speaker 2: fuddled violinist had a wandering eye and a morbid curiosity 342 00:23:34,240 --> 00:23:37,920 Speaker 2: about the art of filmmaking. I ask Mirror if he 343 00:23:38,000 --> 00:23:39,399 Speaker 2: can connect me with Sokarov. 344 00:23:40,200 --> 00:23:42,119 Speaker 4: I could try and put you in touch. He is 345 00:23:42,640 --> 00:23:47,159 Speaker 4: not an easy person to arrange for. 346 00:23:51,280 --> 00:23:54,159 Speaker 2: I imagine a large Russian bear of a man, a 347 00:23:54,240 --> 00:23:57,280 Speaker 2: beard so pointy it could stab your flesh, and so 348 00:23:57,520 --> 00:24:00,639 Speaker 2: long that, once inside, you were to have a camera 349 00:24:00,800 --> 00:24:04,720 Speaker 2: mounted at its tip, could in one long, uninterrupted take 350 00:24:05,040 --> 00:24:07,840 Speaker 2: film all of your inner demons and then screen them 351 00:24:07,880 --> 00:24:11,720 Speaker 2: at the Berlin Film Festival and win an award. You 352 00:24:11,920 --> 00:24:13,840 Speaker 2: try to get a ticket and a plus one to 353 00:24:13,920 --> 00:24:16,040 Speaker 2: go see the movie about how gross you are on 354 00:24:16,119 --> 00:24:19,720 Speaker 2: the inside, because why not. But you'd never be able 355 00:24:19,760 --> 00:24:21,920 Speaker 2: to reach him, as he'd be filming a new project 356 00:24:22,040 --> 00:24:26,520 Speaker 2: at the North Pool. I wanted to sit opposite mister Sokarov, 357 00:24:26,880 --> 00:24:38,239 Speaker 2: artist to artist, experimental outeur to experimental outeur. I am 358 00:24:38,359 --> 00:24:42,080 Speaker 2: not flying you to Russia, says CEO and Gimblet Media 359 00:24:42,160 --> 00:24:46,200 Speaker 2: founder Alex Bloomberg. But Yen says it's hard to get 360 00:24:46,240 --> 00:24:50,520 Speaker 2: the great Alexander Sokarov on the phone. I say, who's Yen's, 361 00:24:50,600 --> 00:24:55,160 Speaker 2: demands Bloomberg, and who is the great Alexander Sokarov. He's 362 00:24:55,280 --> 00:24:58,439 Speaker 2: Russian and he gets me. I say, maybe it's our 363 00:24:58,480 --> 00:25:01,760 Speaker 2: shared Russian blood. Family lore has it that great great 364 00:25:01,840 --> 00:25:04,960 Speaker 2: Grandpa Goldstein had a beard so wispy and delicate it 365 00:25:05,080 --> 00:25:09,320 Speaker 2: was spun into dainties for the Tsar's wife. Alex says 366 00:25:09,359 --> 00:25:12,800 Speaker 2: that a good old fashioned telephone call will accomplish everything 367 00:25:12,880 --> 00:25:18,119 Speaker 2: I need, and so I email Sokarov asking if, like 368 00:25:18,240 --> 00:25:23,120 Speaker 2: children playing broken telephone like businessmen in a nineteen forties musical, 369 00:25:23,720 --> 00:25:26,600 Speaker 2: we can talk on the phone. And a few days 370 00:25:26,680 --> 00:25:32,679 Speaker 2: later Sokarov replies, of course, He writes, it is necessary 371 00:25:32,800 --> 00:25:38,760 Speaker 2: only to determine the day and the hour after the 372 00:25:38,840 --> 00:25:52,080 Speaker 2: break the day and the hour. Thank you for coming in. 373 00:25:52,720 --> 00:25:53,159 Speaker 3: Thank you. 374 00:25:55,160 --> 00:25:58,440 Speaker 2: Sokarov does not speak English, and I try as hard 375 00:25:58,480 --> 00:26:00,560 Speaker 2: as I may and yelling at as loud as I 376 00:26:00,680 --> 00:26:05,640 Speaker 2: can prove incapable of speaking Russian. We would need a translator, 377 00:26:06,080 --> 00:26:08,840 Speaker 2: and so I've hired Sasha, who has been translating in 378 00:26:08,960 --> 00:26:11,200 Speaker 2: one form or another since she was a kid. 379 00:26:11,680 --> 00:26:15,680 Speaker 1: Well, when I was younger, my uncle loved to go 380 00:26:15,800 --> 00:26:18,359 Speaker 1: shopping to the open market and get stuff when he 381 00:26:18,440 --> 00:26:20,480 Speaker 1: was super drunk, like to the point of like it's 382 00:26:20,480 --> 00:26:22,560 Speaker 1: hard to talk. So he had to take me with 383 00:26:22,720 --> 00:26:28,120 Speaker 1: him because this would be three kilograms of tomatoes, which 384 00:26:28,160 --> 00:26:31,480 Speaker 1: I could understand but nobody else could. So I was like, 385 00:26:31,760 --> 00:26:33,639 Speaker 1: I get you. I know what you're trying to do. 386 00:26:34,600 --> 00:26:37,200 Speaker 2: Once we get set up in the studio, Sasha tells 387 00:26:37,240 --> 00:26:40,879 Speaker 2: me she's excited to be translating for Alexander Sukarov, one 388 00:26:40,920 --> 00:26:49,600 Speaker 2: of the most well respected renowned Russian filmmakers in America. 389 00:26:50,000 --> 00:26:53,919 Speaker 2: Custom ring tone rings for phone owner in Russia, custom 390 00:26:54,040 --> 00:27:02,080 Speaker 2: ring tone rings for you that hello, mister sokarof Hello, 391 00:27:04,760 --> 00:27:07,840 Speaker 2: good day, I'm listening to you. To avoid confusion, I 392 00:27:07,960 --> 00:27:10,680 Speaker 2: begin with the basics. Do you have podcasts? 393 00:27:12,600 --> 00:27:12,719 Speaker 7: Yes? 394 00:27:17,680 --> 00:27:18,480 Speaker 1: What is a podcast? 395 00:27:18,520 --> 00:27:21,920 Speaker 2: I don't know, Rather than getting into how their sound 396 00:27:22,000 --> 00:27:25,800 Speaker 2: files owned by capitalist dogs like alex Bloomberg. I instead 397 00:27:25,840 --> 00:27:28,720 Speaker 2: proceed straight to the source of all of Sokarov's troubles, 398 00:27:29,280 --> 00:27:31,640 Speaker 2: his decision to shoot a movie in one long take. 399 00:27:32,320 --> 00:27:33,320 Speaker 2: Why do it that way? 400 00:27:38,160 --> 00:27:41,359 Speaker 1: Had a really important desire to remove editing. It was 401 00:27:41,440 --> 00:27:44,960 Speaker 1: very important for me. When you're shooting it with a 402 00:27:45,000 --> 00:27:52,920 Speaker 1: single shot, it's an honest work, and the viewer trusts us. Today, 403 00:27:53,160 --> 00:27:56,480 Speaker 1: editing is like a shot or a step of knife 404 00:27:56,640 --> 00:27:57,879 Speaker 1: into a person's body. 405 00:28:00,160 --> 00:28:04,440 Speaker 2: Were much because we're tricking our viewer. Of course, it's 406 00:28:04,480 --> 00:28:07,280 Speaker 2: a trick, a dirty, rotten trick. And when I go 407 00:28:07,440 --> 00:28:09,600 Speaker 2: home after a long day of stabbing you people with 408 00:28:09,680 --> 00:28:13,200 Speaker 2: a knife, I take a long, hot shower, feeling absolutely 409 00:28:13,359 --> 00:28:16,520 Speaker 2: sick about it. But consider what art would be like 410 00:28:16,640 --> 00:28:19,840 Speaker 2: without editing. Raiders of the Lost Arc would contain a 411 00:28:19,920 --> 00:28:22,960 Speaker 2: twenty five minute scene of Indiana Jones eating an egg 412 00:28:23,040 --> 00:28:26,360 Speaker 2: salad sandwich in the cafeteria at the Fairfield, New York 413 00:28:26,520 --> 00:28:30,960 Speaker 2: Archaeological Society, And this podcast would contain an additional two 414 00:28:31,040 --> 00:28:35,560 Speaker 2: minutes of my trying to pronounce the word archaeological. But 415 00:28:35,720 --> 00:28:38,640 Speaker 2: all of this was just semantics. What I really wanted 416 00:28:38,720 --> 00:28:42,760 Speaker 2: to talk about was the incident one of the violinists 417 00:28:43,080 --> 00:28:49,080 Speaker 2: watching turns around and looks directly into the camera. 418 00:28:52,520 --> 00:28:55,160 Speaker 1: Of course, I remember, of course I remember. 419 00:29:02,680 --> 00:29:07,280 Speaker 2: If you had the chance to redo the whole movie, 420 00:29:08,520 --> 00:29:15,920 Speaker 2: to undo that one moment, that one imperfection, would. 421 00:29:15,800 --> 00:29:25,080 Speaker 1: You I wouldn't have wanted to change anything. That's the 422 00:29:25,240 --> 00:29:29,200 Speaker 1: value of the film. That's the value of works of art, 423 00:29:29,280 --> 00:29:33,720 Speaker 1: because it is not repeatable in its advantages and disadvantages. 424 00:29:35,560 --> 00:29:39,200 Speaker 2: Well, I appreciate how philosophical sokkerovs being about the whole thing. 425 00:29:39,600 --> 00:29:43,440 Speaker 2: There's still that one disadvantage, that fiddling forth wall breaking 426 00:29:43,520 --> 00:29:46,880 Speaker 2: disadvantage that must haunt his dreams. As I knew it 427 00:29:46,920 --> 00:29:53,800 Speaker 2: would mine gingerly. I proceed. But in that moment when 428 00:29:53,880 --> 00:29:58,360 Speaker 2: when you were watching him turn around, did you want 429 00:29:58,360 --> 00:29:59,120 Speaker 2: to strangle him? 430 00:29:59,880 --> 00:30:02,840 Speaker 7: Was? No? 431 00:30:03,440 --> 00:30:05,440 Speaker 1: No, no, How can you say that? 432 00:30:05,520 --> 00:30:05,640 Speaker 4: Now? 433 00:30:07,240 --> 00:30:09,520 Speaker 1: I love them so much. I'm so grateful to him 434 00:30:09,560 --> 00:30:14,040 Speaker 1: for agreeing to take part in such a difficult undertaking. 435 00:30:17,240 --> 00:30:21,560 Speaker 1: If he stood on his head and stopped playing the violin, 436 00:30:24,160 --> 00:30:26,240 Speaker 1: I would have said, thank you, my friend, thank you, 437 00:30:28,000 --> 00:30:28,600 Speaker 1: thank you for that. 438 00:30:31,920 --> 00:30:42,520 Speaker 2: Accidents happen, It happens. Soccarov and I are really nothing alike. 439 00:30:43,080 --> 00:30:46,240 Speaker 2: He's talking about accidents happening like he's horsing around in 440 00:30:46,280 --> 00:30:49,800 Speaker 2: a commercial for Laundry Detergent, while I, on the other hand, 441 00:30:49,960 --> 00:30:53,640 Speaker 2: can't let anything go. Why I'm still kicking myself for 442 00:30:53,760 --> 00:30:56,520 Speaker 2: not investing in IBM when it went public in nineteen 443 00:30:56,600 --> 00:31:00,360 Speaker 2: eleven for new listeners, that was years before I was 444 00:31:00,400 --> 00:31:04,560 Speaker 2: even born. And the difference is, don't stop there. Do 445 00:31:04,680 --> 00:31:07,680 Speaker 2: you think you will ever make another movie that is 446 00:31:08,000 --> 00:31:08,960 Speaker 2: is done in one take? 447 00:31:15,240 --> 00:31:17,640 Speaker 1: I really want to make it happen, and I'm going 448 00:31:17,720 --> 00:31:20,320 Speaker 1: to be trying to make it happen, whereas I never 449 00:31:20,440 --> 00:31:22,960 Speaker 1: wrote and never will write another novella. 450 00:31:23,480 --> 00:31:27,040 Speaker 2: Sokarov wasn't going to let the stumbling violinists mistake keep 451 00:31:27,120 --> 00:31:30,520 Speaker 2: him from making another movie like Russian Arc. I asked 452 00:31:30,560 --> 00:31:32,240 Speaker 2: him what this new movie will be about. 453 00:31:34,200 --> 00:31:40,280 Speaker 1: It's a big secret. It's too early to talk about it. 454 00:31:42,160 --> 00:31:43,880 Speaker 2: Will will there be musicians in it? 455 00:31:47,480 --> 00:31:50,000 Speaker 1: It's too early to talk about it. It's too early. 456 00:31:50,240 --> 00:31:54,280 Speaker 2: If there were going to be musicians in it? Do 457 00:31:54,320 --> 00:31:56,040 Speaker 2: you know what My question? My next question is. 458 00:31:56,040 --> 00:31:57,600 Speaker 1: Going to be, I take a questions. 459 00:32:00,600 --> 00:32:02,880 Speaker 2: Better, not would you better? 460 00:32:03,840 --> 00:32:04,760 Speaker 3: I have to ask. 461 00:32:06,240 --> 00:32:09,240 Speaker 2: Would you would you invite this violinist to be in 462 00:32:09,320 --> 00:32:15,040 Speaker 2: the movie. It does. 463 00:32:16,720 --> 00:32:17,120 Speaker 3: Afford it. 464 00:32:17,440 --> 00:32:19,600 Speaker 1: You do not enter the same river twice. 465 00:32:22,200 --> 00:32:28,200 Speaker 2: That's a very nice way of putting it, mister Sakarov. 466 00:32:28,240 --> 00:32:30,080 Speaker 2: I want to thank you so much for talking to me. 467 00:32:33,520 --> 00:32:35,920 Speaker 2: Be well, goodbye, Oh, thank you, thank you very much, 468 00:32:38,240 --> 00:32:40,400 Speaker 2: thank you very much, thank you, thank you. 469 00:32:40,960 --> 00:32:45,200 Speaker 3: And yeah, he. 470 00:32:45,400 --> 00:32:48,560 Speaker 9: Didn't he didn't call me an idiot today, No, but 471 00:32:48,640 --> 00:32:50,240 Speaker 9: he asked, Okay, I was going to tell you, so 472 00:32:50,640 --> 00:32:51,000 Speaker 9: he asked me. 473 00:32:51,040 --> 00:32:53,040 Speaker 1: He's like, don't translate that, but what's up with this 474 00:32:53,120 --> 00:32:54,480 Speaker 1: obsession with one little thing? 475 00:32:55,240 --> 00:32:56,520 Speaker 2: Well, why wouldn't you say that to me? 476 00:32:57,120 --> 00:32:59,760 Speaker 1: Because yeah, I think he's never been asked so many 477 00:32:59,840 --> 00:33:02,200 Speaker 1: time about something, and you can see him being more 478 00:33:02,280 --> 00:33:05,520 Speaker 1: aggravated with it, but in a very polite way. Yeah, 479 00:33:06,680 --> 00:33:07,959 Speaker 1: he was trying to be polite. 480 00:33:09,600 --> 00:33:14,040 Speaker 2: Anton In Chekhov, a Russian, once said good breeding does 481 00:33:14,120 --> 00:33:17,080 Speaker 2: not mean you won't spill sauce on the tablecloth, but 482 00:33:17,200 --> 00:33:20,720 Speaker 2: that you won't notice when someone else does. And here 483 00:33:20,840 --> 00:33:24,320 Speaker 2: I am an impolite dinner guest pointing out a saucetain 484 00:33:24,440 --> 00:33:28,080 Speaker 2: on the ninety minute long single take tablecloth. Everyone so 485 00:33:28,240 --> 00:33:32,360 Speaker 2: proud of. In spite of calling myself an artist, I'm 486 00:33:32,440 --> 00:33:36,360 Speaker 2: no soker of. I'm not even a tilman. Butner I 487 00:33:36,520 --> 00:33:44,320 Speaker 2: am the violinist This is hardly the first time I've 488 00:33:44,320 --> 00:33:47,480 Speaker 2: been confronted with proof of who I am. There was 489 00:33:47,520 --> 00:33:50,600 Speaker 2: the moment I brought up the confused Violinist with Baron Fisher, 490 00:33:50,920 --> 00:33:51,840 Speaker 2: the lighting designer. 491 00:33:52,480 --> 00:33:54,880 Speaker 3: It seems like really bad as you have stories, but 492 00:33:55,040 --> 00:33:57,280 Speaker 3: that's I mean, what can I say? I mean, that's 493 00:33:57,360 --> 00:33:58,760 Speaker 3: not been the issue. 494 00:33:59,120 --> 00:34:01,840 Speaker 2: When I brought it up with Hilman Butner, the cinematographer 495 00:34:02,160 --> 00:34:07,880 Speaker 2: and his son Knstey Constantine Temple Butner, he is really interested. 496 00:34:08,400 --> 00:34:13,759 Speaker 8: Why you, Jonathan, are so interested in that one specific violinist. 497 00:34:13,719 --> 00:34:16,080 Speaker 2: And with Jen's Mirror, the producer. 498 00:34:16,120 --> 00:34:19,399 Speaker 4: You are more bothered by it than I am. I've 499 00:34:19,640 --> 00:34:23,320 Speaker 4: actually never heard a live audience notice it. 500 00:34:24,640 --> 00:34:27,600 Speaker 2: Not only was Mirror not bothered by it, he actually 501 00:34:27,680 --> 00:34:29,759 Speaker 2: empathized with the bedeviled violinist. 502 00:34:30,440 --> 00:34:33,120 Speaker 4: Imagine you're the only person in an ensemble of four 503 00:34:33,160 --> 00:34:36,720 Speaker 4: thousand people who fox up that moment. 504 00:34:37,440 --> 00:34:37,600 Speaker 7: You know. 505 00:34:37,680 --> 00:34:40,360 Speaker 4: I wonder the film has been shown very often in 506 00:34:40,440 --> 00:34:43,360 Speaker 4: the hermitage in Saint Petersburg. He must have seen himself. 507 00:34:43,440 --> 00:34:46,480 Speaker 4: Look at the camera. He's probably kicking himself, or he's 508 00:34:46,520 --> 00:34:49,719 Speaker 4: being teased by his colleagues, or maybe that's the person 509 00:34:49,800 --> 00:34:50,920 Speaker 4: you should track down. 510 00:34:52,600 --> 00:34:55,880 Speaker 2: In my life, I've ruined a lot of stuff, water fights, 511 00:34:55,960 --> 00:35:01,720 Speaker 2: flash mobs, sing alongs Abatchie dinner, Mongolian hot pot dinners, 512 00:35:02,200 --> 00:35:10,040 Speaker 2: Shabbat dinners, July's fourth, white shirts, white tablecloths, yards and 513 00:35:10,200 --> 00:35:14,600 Speaker 2: yards of tablecloths. And with each act of runation, I've 514 00:35:14,640 --> 00:35:19,239 Speaker 2: always felt absolutely terrible, which is why whenever a moment 515 00:35:19,320 --> 00:35:22,000 Speaker 2: of forgiveness did come, it felt like a ladle full 516 00:35:22,080 --> 00:35:25,919 Speaker 2: of soothing, warm cherry sauce, lovingly ladled over my head. 517 00:35:26,920 --> 00:35:30,600 Speaker 2: The beleaguered violinists never got that loving ladle, fool and 518 00:35:30,680 --> 00:35:33,840 Speaker 2: if he's anything like me, he must be feeling awful. 519 00:35:35,000 --> 00:35:38,280 Speaker 2: I needed to tell the luckless violinists that not only 520 00:35:38,440 --> 00:35:42,560 Speaker 2: is all forgiven, but that the great Alexander Nikolaievich Sakarov 521 00:35:43,160 --> 00:35:48,800 Speaker 2: even thanks him after the break a crown of cherry sauce. 522 00:35:57,040 --> 00:36:01,040 Speaker 2: Even though Russia was probably lousy, with violinists fiddling on 523 00:36:01,120 --> 00:36:03,960 Speaker 2: the roof of every major edifice in the country, it 524 00:36:03,960 --> 00:36:07,520 Speaker 2: would prove hard to find this particular one. While the 525 00:36:07,560 --> 00:36:10,640 Speaker 2: film's credits thank the orchestra, they do not single out 526 00:36:10,719 --> 00:36:14,160 Speaker 2: individual musicians, so all I know is that the orchestra 527 00:36:14,320 --> 00:36:17,640 Speaker 2: playing in the film's final scene is the Marinsky, one 528 00:36:17,680 --> 00:36:21,040 Speaker 2: of the oldest orchestras in Russia, dating back more than 529 00:36:21,040 --> 00:36:24,880 Speaker 2: two hundred years. Not knowing what else to do, I 530 00:36:25,000 --> 00:36:28,680 Speaker 2: freeze frame the moment the unfortunate violinist stares into the camera, 531 00:36:29,080 --> 00:36:32,400 Speaker 2: and I take a screenshot. I then crop the image 532 00:36:32,440 --> 00:36:35,680 Speaker 2: and blow it up so that the woeful violinist slack 533 00:36:35,760 --> 00:36:39,320 Speaker 2: jowed stare fills the frame. I then attach the grainy 534 00:36:39,360 --> 00:36:41,600 Speaker 2: image to an email that I then send to the 535 00:36:41,680 --> 00:36:45,600 Speaker 2: Marinsky Orchestra press office. I wondered if you might know 536 00:36:45,719 --> 00:36:48,960 Speaker 2: his name. My email reads, I'm not sure if he 537 00:36:49,080 --> 00:36:52,120 Speaker 2: even plays with the orchestra anymore, but any help you're 538 00:36:52,120 --> 00:36:56,080 Speaker 2: able to offer is much appreciated. A day later, I 539 00:36:56,200 --> 00:37:00,160 Speaker 2: receive a message. The violinist on the photo attached the 540 00:37:00,280 --> 00:37:06,600 Speaker 2: email reads is Marshall Besnard. At my request, the press 541 00:37:06,640 --> 00:37:09,680 Speaker 2: office sets up an interview. I don't tell them what 542 00:37:09,800 --> 00:37:17,960 Speaker 2: it's for. I've been planting the seeds for a voyage 543 00:37:18,040 --> 00:37:21,719 Speaker 2: to sweet Mother Russia for days now, reading Pinsky around 544 00:37:21,800 --> 00:37:26,000 Speaker 2: the office and referring to Alex as Alex Sandair. It 545 00:37:26,160 --> 00:37:30,280 Speaker 2: was getting me nowhere, and so I assumed my power stance, 546 00:37:30,880 --> 00:37:33,520 Speaker 2: hunched over and squeezing the chewing gum in the front 547 00:37:33,600 --> 00:37:37,480 Speaker 2: pockets of my American blue jeans. I confront Alex at 548 00:37:37,560 --> 00:37:41,120 Speaker 2: his desk. I must insist you sail me to Russia. 549 00:37:41,239 --> 00:37:44,920 Speaker 2: I say, I must insist you get out of my office, 550 00:37:45,000 --> 00:37:50,080 Speaker 2: Alex says, laughing. He extends his hand for a high five, which, 551 00:37:50,480 --> 00:37:56,320 Speaker 2: hating myself for afterwards, I dutifully spank, and so I 552 00:37:56,400 --> 00:37:59,320 Speaker 2: get Sasha back in the studio to translate my phone 553 00:37:59,360 --> 00:38:07,200 Speaker 2: call with the cursed violinist Marshall Besnard. Oh, hello is 554 00:38:07,239 --> 00:38:12,400 Speaker 2: this mister Beard. Hello, good day, and good day to you. 555 00:38:13,880 --> 00:38:17,280 Speaker 2: After exchanging pleasantries, we talk about the day of the shoot, 556 00:38:17,840 --> 00:38:20,120 Speaker 2: everything leading up to his moment on film. 557 00:38:21,640 --> 00:38:24,920 Speaker 1: It was a very ambitious project because the camera was 558 00:38:25,000 --> 00:38:30,719 Speaker 1: not shut off, and all people are supposed to be 559 00:38:31,120 --> 00:38:37,760 Speaker 1: extremely organized, extremely organized. I think I watched it twice, 560 00:38:40,080 --> 00:38:44,239 Speaker 1: and my mother called me and said, I saw you. 561 00:38:45,600 --> 00:38:47,239 Speaker 1: I saw you in the picture. I saw you in 562 00:38:47,320 --> 00:38:47,640 Speaker 1: a shot. 563 00:38:48,920 --> 00:38:51,920 Speaker 2: Aside from his mother's rave review, I wondered how his 564 00:38:52,000 --> 00:38:55,040 Speaker 2: friends and co workers had reacted, whether there had been 565 00:38:55,160 --> 00:38:59,759 Speaker 2: ribbing the painful kind. But I'd learned my lesson with Soccerov. 566 00:39:00,320 --> 00:39:04,719 Speaker 2: The Russians are polite people, and so I proceed cautiously. 567 00:39:05,360 --> 00:39:10,480 Speaker 2: Did anybody give give you feedback on your performance in 568 00:39:10,560 --> 00:39:13,200 Speaker 2: the movie Smooth. 569 00:39:12,880 --> 00:39:21,920 Speaker 9: As a silky pair of the Serena's dainties. No, it 570 00:39:22,120 --> 00:39:27,800 Speaker 9: wasn't really discussed. But the thing is, I'm not a 571 00:39:27,880 --> 00:39:34,160 Speaker 9: main character, thank god. I'm just one person that was 572 00:39:34,400 --> 00:39:37,080 Speaker 9: on the screen for just one second. Nothing special. 573 00:39:38,840 --> 00:39:43,840 Speaker 2: Well, here's the funny thing is that I saw the 574 00:39:43,920 --> 00:39:50,560 Speaker 2: movie many years ago when it came out, and to me, 575 00:39:52,120 --> 00:39:56,680 Speaker 2: you were the most special thing for a specific reason. 576 00:39:56,840 --> 00:40:03,000 Speaker 2: But watching specific you were the only person who actually 577 00:40:03,400 --> 00:40:18,080 Speaker 2: turned and looked directly into the camera. Really, yeah, did 578 00:40:18,160 --> 00:40:18,600 Speaker 2: you did you? 579 00:40:19,040 --> 00:40:25,759 Speaker 1: Did you not know that? No, honestly, I did not. 580 00:40:27,239 --> 00:40:28,440 Speaker 1: It's the first time that I'm hearing this. 581 00:40:34,600 --> 00:40:37,320 Speaker 2: You're not in front of a computer right now, or 582 00:40:37,360 --> 00:40:41,000 Speaker 2: it could could receive a screen shots from the movie 583 00:40:41,080 --> 00:40:41,799 Speaker 2: so you could see. 584 00:40:46,160 --> 00:40:48,120 Speaker 1: Yes, I can do that. I have a computer. I 585 00:40:48,200 --> 00:40:48,680 Speaker 1: can look. 586 00:40:49,920 --> 00:40:52,439 Speaker 2: It wasn't that I wanted to make Marshall feel bad. 587 00:40:52,960 --> 00:40:54,799 Speaker 2: It was just that I needed to make him feel 588 00:40:54,840 --> 00:40:57,759 Speaker 2: bad in order to make him feel good. If you 589 00:40:57,880 --> 00:41:01,400 Speaker 2: send me your email, I can send you. Marcelle and 590 00:41:01,440 --> 00:41:03,560 Speaker 2: I attempt to exchange emails. 591 00:41:06,360 --> 00:41:18,560 Speaker 1: At Valieri Internet ready sending. No it says undeliverable. 592 00:41:19,600 --> 00:41:22,480 Speaker 2: Don't look into the camera send me your email address. 593 00:41:22,960 --> 00:41:25,719 Speaker 2: All his life, this poor man has been hobbled by 594 00:41:25,760 --> 00:41:31,720 Speaker 2: an inability to follow simple instructions. But finally the email arrives. 595 00:41:33,880 --> 00:41:35,680 Speaker 1: Oh, yes, it's already during the bows. 596 00:41:36,719 --> 00:41:40,400 Speaker 2: So do you do you notice where everybody else is facing? 597 00:41:46,480 --> 00:41:49,640 Speaker 1: Yes, I'm not looking there, I'm looking into the camera. Really, 598 00:41:52,000 --> 00:41:56,800 Speaker 1: it was fifteen years ago. I was a young and 599 00:41:56,840 --> 00:42:02,600 Speaker 1: handsome man. Yes, very didn't look bad at all. 600 00:42:02,680 --> 00:42:02,799 Speaker 6: Uh. 601 00:42:05,680 --> 00:42:09,040 Speaker 2: I attempt to ease into the subject of Sokarov's forgiveness. 602 00:42:10,120 --> 00:42:15,040 Speaker 2: Do you think that Sokoro ever noticed you? Specifically? 603 00:42:22,520 --> 00:42:24,960 Speaker 1: I know that he didn't talk to me about this, 604 00:42:26,880 --> 00:42:31,320 Speaker 1: So there are two options. He either didn't notice, or 605 00:42:32,080 --> 00:42:34,320 Speaker 1: he liked it and thought let it be. 606 00:42:35,600 --> 00:42:38,520 Speaker 2: Yes, Sokarov had liked it, Yes, he thought let it be. 607 00:42:39,160 --> 00:42:42,359 Speaker 2: But the presumptuous violinist had no way of knowing any 608 00:42:42,440 --> 00:42:45,160 Speaker 2: of this. And why do you think that maybe he 609 00:42:45,200 --> 00:42:45,880 Speaker 2: would have liked it. 610 00:42:52,239 --> 00:42:55,720 Speaker 1: If he noticed, they would have had to redo it, God. 611 00:42:55,560 --> 00:42:58,719 Speaker 2: Forbid, But but he couldn't. I don't think he could 612 00:42:58,760 --> 00:43:02,760 Speaker 2: have redone it, and you can they only had one chance. 613 00:43:08,160 --> 00:43:10,799 Speaker 1: I think that in reality, the question is not whether 614 00:43:10,840 --> 00:43:16,800 Speaker 1: it looked into the camera. The question is the people 615 00:43:16,880 --> 00:43:20,120 Speaker 1: that later on edited it, why did they keep the moment? 616 00:43:22,640 --> 00:43:30,160 Speaker 2: They had no choice because because it's all one take, but. 617 00:43:30,200 --> 00:43:33,440 Speaker 1: You can always cut out a few scenes and put 618 00:43:33,480 --> 00:43:34,680 Speaker 1: it back together. Nobody would ever know. 619 00:43:35,160 --> 00:43:37,520 Speaker 2: No, no, no, The whole point of the movie is 620 00:43:37,600 --> 00:43:40,319 Speaker 2: that it's nines of one long. 621 00:43:46,960 --> 00:43:48,319 Speaker 1: I know it's part in this. I know. 622 00:43:49,960 --> 00:43:51,920 Speaker 2: More than being the kind of guy who'd stare into 623 00:43:52,000 --> 00:43:54,440 Speaker 2: a camera, Marshall was the kind of guy who might 624 00:43:54,600 --> 00:43:57,240 Speaker 2: very well stare into the sun during a solar eclipse. 625 00:43:58,080 --> 00:44:01,440 Speaker 2: This is to say that Marshall was completely oblivious. 626 00:44:05,760 --> 00:44:08,279 Speaker 1: I think it came to be beneficial for the film, 627 00:44:08,400 --> 00:44:10,480 Speaker 1: right as Anderson, thank god, I'm very happy. 628 00:44:13,480 --> 00:44:16,480 Speaker 2: Well, the great Alexander Sokarov might have found working with 629 00:44:16,600 --> 00:44:20,400 Speaker 2: Marshall a blessing. I personally wasn't finding it such a treat. 630 00:44:21,200 --> 00:44:23,960 Speaker 2: Clearly Marshall was not looking for or in need of 631 00:44:24,480 --> 00:44:28,799 Speaker 2: any forgiveness. Do you remember being told on that day 632 00:44:28,920 --> 00:44:30,120 Speaker 2: not to look into the camera. 633 00:44:38,840 --> 00:44:41,400 Speaker 1: It would have been very strange if you were making 634 00:44:41,480 --> 00:44:43,479 Speaker 1: a film and then people would be looking into the camera. 635 00:44:44,280 --> 00:44:47,480 Speaker 2: So then why why did you Why did you look 636 00:44:47,520 --> 00:44:52,040 Speaker 2: into the camera, and why did he. I proceed to 637 00:44:52,120 --> 00:44:56,279 Speaker 2: audition a series of theories. Maybe he's jumpy and when 638 00:44:56,320 --> 00:44:59,560 Speaker 2: the camera came by, he was caught unawares. Do you 639 00:44:59,719 --> 00:45:00,760 Speaker 2: starttle easily? 640 00:45:08,760 --> 00:45:08,800 Speaker 6: No? 641 00:45:08,920 --> 00:45:13,440 Speaker 1: You know, any person can be startled by anything. The 642 00:45:13,560 --> 00:45:18,280 Speaker 1: person can be startled from the fact that your close 643 00:45:18,320 --> 00:45:22,960 Speaker 1: relative is sick with some incurable disease, or a person 644 00:45:23,040 --> 00:45:24,560 Speaker 1: can be startled when driving. 645 00:45:27,280 --> 00:45:29,320 Speaker 2: And sometimes you could be startled by a camera, a 646 00:45:29,640 --> 00:45:30,320 Speaker 2: very big camera. 647 00:45:35,719 --> 00:45:36,880 Speaker 1: No, I'm not one of these people. 648 00:45:37,560 --> 00:45:41,360 Speaker 2: Maybe he's a bad listener or just forgetful. Are you married? 649 00:45:41,880 --> 00:45:42,360 Speaker 1: Is nothing? 650 00:45:43,880 --> 00:45:44,080 Speaker 7: Yes? 651 00:45:44,440 --> 00:45:44,920 Speaker 3: Of course. 652 00:45:45,440 --> 00:45:50,160 Speaker 2: Does your wife ever say, oh, Marshall, you're not listening 653 00:45:50,360 --> 00:45:51,360 Speaker 2: to my instructions. 654 00:45:55,880 --> 00:46:00,560 Speaker 1: She always says that, like any wife would, it's normal. 655 00:46:04,320 --> 00:46:09,520 Speaker 2: I offer more theories while eyes shifty disposition, restless leg syndrome, 656 00:46:10,280 --> 00:46:13,040 Speaker 2: and thanks to the miracle of editing, you find people 657 00:46:13,080 --> 00:46:15,880 Speaker 2: don't have to sit through any of it. In a 658 00:46:16,000 --> 00:46:18,279 Speaker 2: last ditch effort, I ask if he's just sort of 659 00:46:18,840 --> 00:46:21,400 Speaker 2: let's a fair the kind of guy who shows up 660 00:46:21,480 --> 00:46:24,759 Speaker 2: late to a surprise birthday party in Russia? Do you 661 00:46:24,920 --> 00:46:29,360 Speaker 2: have something called surprise parties? Surprise birthday parties? 662 00:46:36,480 --> 00:46:36,800 Speaker 4: How is that? 663 00:46:36,840 --> 00:46:38,440 Speaker 1: I'm sorry, I don't understand. 664 00:46:38,200 --> 00:46:40,480 Speaker 2: Where the person doesn't know they're going to be having 665 00:46:40,520 --> 00:46:46,600 Speaker 2: a surprise and all their friends show up in advance 666 00:46:46,680 --> 00:47:01,120 Speaker 2: of their arriving, and everyone yelse it's your birthday, would like. 667 00:47:03,680 --> 00:47:06,680 Speaker 1: No, because you know, Russia is a very conservative country. 668 00:47:06,760 --> 00:47:12,680 Speaker 2: Unfortunately, finally I just give up. I don't understand Marshall, 669 00:47:13,000 --> 00:47:17,080 Speaker 2: and I'm not even sure Marshall understands Marshall. Maybe something 670 00:47:17,200 --> 00:47:21,239 Speaker 2: was just being lost in the translation. Okay, well you 671 00:47:21,400 --> 00:47:24,240 Speaker 2: you have a good rest of the Then. 672 00:47:26,560 --> 00:47:27,200 Speaker 1: York, thank you. 673 00:47:27,280 --> 00:47:31,799 Speaker 2: How is New York new York's great great city? 674 00:47:37,520 --> 00:47:37,799 Speaker 3: Is there? 675 00:47:38,719 --> 00:47:41,200 Speaker 1: Does the movie theater on twenty first Streets still work? 676 00:47:41,800 --> 00:47:41,960 Speaker 8: Oh? 677 00:47:42,040 --> 00:47:42,719 Speaker 2: Yeah, yeah yeah. 678 00:47:42,920 --> 00:47:50,879 Speaker 1: In Chelsea, Chelsea, I went to see The term Year 679 00:47:51,040 --> 00:47:54,120 Speaker 1: of Terminator three. Oh it was incredible. 680 00:47:54,520 --> 00:47:58,320 Speaker 2: That's a good movie. Nobody looks in the camera. 681 00:48:03,160 --> 00:48:04,120 Speaker 1: Except for the Terminator. 682 00:48:05,280 --> 00:48:15,399 Speaker 2: Yes, yes, so you're like the Terminator In the movie 683 00:48:15,480 --> 00:48:18,959 Speaker 2: The Terminator, the titular Terminator is sent back in time 684 00:48:19,040 --> 00:48:22,080 Speaker 2: by Skynet to kill Sarah Connor before she can give 685 00:48:22,120 --> 00:48:24,680 Speaker 2: birth to her son, John, who grows up to be 686 00:48:24,760 --> 00:48:28,680 Speaker 2: a threat to Skynett. If Marshall was the Terminator, he 687 00:48:28,719 --> 00:48:32,799 Speaker 2: would go back in time, find Sarah Connor, and rather 688 00:48:32,920 --> 00:48:35,960 Speaker 2: than try to kill her, be all like give birth 689 00:48:35,960 --> 00:48:38,520 Speaker 2: to your son all over again, lady, because I think 690 00:48:38,600 --> 00:48:41,160 Speaker 2: he came to be very beneficial for the Terminator film 691 00:48:41,280 --> 00:48:46,520 Speaker 2: franchise right as I understand. Thank God, I'm very happy 692 00:48:48,160 --> 00:48:51,560 Speaker 2: Marshall isn't revisiting the past to fix an imperfect present. 693 00:48:52,200 --> 00:48:55,600 Speaker 2: He may have looked into the camera, but he's no Terminator. 694 00:49:03,440 --> 00:49:07,080 Speaker 2: Marshall had completely flow mixed me. I'd never met anyone 695 00:49:07,200 --> 00:49:11,480 Speaker 2: so unburdened by past mistakes. For me, the past is 696 00:49:11,520 --> 00:49:16,080 Speaker 2: a magical, spiritual place where regrets are born. For Marshall, 697 00:49:16,560 --> 00:49:18,960 Speaker 2: it's just a place where one is young and handsome. 698 00:49:20,200 --> 00:49:22,600 Speaker 2: The way I see it, there's only one person who 699 00:49:22,640 --> 00:49:25,600 Speaker 2: can both share in my frustration with Marshall and also 700 00:49:25,719 --> 00:49:29,480 Speaker 2: explain him to me. What makes Marshall the one person 701 00:49:29,840 --> 00:49:32,680 Speaker 2: out of thousands of performers there that day to have 702 00:49:32,760 --> 00:49:35,759 Speaker 2: looked into the camera, and what makes him so free 703 00:49:35,880 --> 00:49:39,759 Speaker 2: of remorse? And the person who can answer those questions 704 00:49:40,680 --> 00:49:48,640 Speaker 2: Marshall's wife after the break, rolling up my pant legs 705 00:49:48,800 --> 00:49:55,040 Speaker 2: and entering the same river. Thrice, Actually at this point 706 00:49:55,040 --> 00:49:58,600 Speaker 2: it's more than thrice, No four rice? Is that a 707 00:49:58,640 --> 00:49:59,920 Speaker 2: word that's not a word. 708 00:50:00,200 --> 00:50:00,320 Speaker 3: Is it? 709 00:50:00,880 --> 00:50:01,120 Speaker 2: Five? 710 00:50:01,200 --> 00:50:01,439 Speaker 5: Ice? 711 00:50:02,080 --> 00:50:14,040 Speaker 2: Vanilla ice iced tea? Put some ice on it? Hello? 712 00:50:14,800 --> 00:50:20,800 Speaker 2: Is is this a miss Ah? Miss Hammond? 713 00:50:22,280 --> 00:50:23,000 Speaker 3: What is she saying? 714 00:50:23,680 --> 00:50:24,480 Speaker 9: It's not Russia? 715 00:50:27,000 --> 00:50:28,879 Speaker 2: Maybe you have a bad connection. We could call back. 716 00:50:30,400 --> 00:50:32,879 Speaker 2: I'd ask Marshall to send me his wife's phone number. 717 00:50:33,520 --> 00:50:37,000 Speaker 2: Considering how poorly he follows instructions, I can't say I 718 00:50:37,120 --> 00:50:39,040 Speaker 2: was too surprised to find he might have gotten a 719 00:50:39,160 --> 00:50:40,200 Speaker 2: digit or too wrong. 720 00:50:47,400 --> 00:50:59,480 Speaker 6: Did you say, Solomon lam? Yeah, yeah, alakum salaam, All right, 721 00:50:59,520 --> 00:51:00,000 Speaker 6: let's hang out. 722 00:51:01,360 --> 00:51:14,400 Speaker 2: But finally Hello, Hello, yes ah? Is this missus Besnard? 723 00:51:17,520 --> 00:51:19,440 Speaker 1: Yes? Yes, okay, thank you. 724 00:51:19,960 --> 00:51:23,759 Speaker 2: Marshall's wife's name is Otilia. By way of introduction, I 725 00:51:23,880 --> 00:51:27,560 Speaker 2: explained that after seeing Russian ARC almost two decades ago 726 00:51:27,920 --> 00:51:31,560 Speaker 2: and becoming obsessed with her husband's three second performance, I 727 00:51:31,640 --> 00:51:34,640 Speaker 2: spent countless hours tracking him down to speak to him 728 00:51:34,640 --> 00:51:37,000 Speaker 2: about it, and now I wish to speak with her. 729 00:51:37,880 --> 00:51:40,400 Speaker 2: In response, she says she hasn't seen Russian ARC in 730 00:51:40,440 --> 00:51:42,799 Speaker 2: a long time, and so I ask if I can 731 00:51:42,880 --> 00:51:44,560 Speaker 2: send something to refresh her memory. 732 00:51:49,160 --> 00:51:51,600 Speaker 1: So you want to listend the moment when my spouse 733 00:51:51,719 --> 00:51:52,640 Speaker 1: turned into the camera. 734 00:51:53,120 --> 00:51:55,080 Speaker 2: Yes, you know about that? 735 00:51:59,440 --> 00:52:08,560 Speaker 1: Of course I remember that you do, yes, yes, yes, everyone. 736 00:52:08,680 --> 00:52:10,479 Speaker 1: He is just he cannot just sit still? 737 00:52:14,520 --> 00:52:17,680 Speaker 2: And why couldn't he sit still? Marshall had no answer 738 00:52:17,760 --> 00:52:20,080 Speaker 2: to that question, but Utilia does. 739 00:52:23,000 --> 00:52:26,480 Speaker 1: When he plays the violin, he doesn't notice anything around himself. 740 00:52:30,480 --> 00:52:34,280 Speaker 1: When you're playing the music that you like, your thoughts 741 00:52:34,360 --> 00:52:38,560 Speaker 1: and your soul go into the music. He wasn't even 742 00:52:38,680 --> 00:52:40,520 Speaker 1: thinking about what was happening around him. 743 00:52:41,080 --> 00:52:41,400 Speaker 9: Mmm. 744 00:52:42,360 --> 00:52:45,520 Speaker 2: Do you think Marshall gets so taken up in the 745 00:52:45,640 --> 00:52:51,879 Speaker 2: music music that he wouldn't even notice at ten people 746 00:52:52,080 --> 00:52:55,680 Speaker 2: carrying a huge camera coming by. 747 00:53:01,239 --> 00:53:04,560 Speaker 1: I think he just had a job music. I don't 748 00:53:04,560 --> 00:53:06,239 Speaker 1: think he was thinking about anything else. 749 00:53:08,800 --> 00:53:11,480 Speaker 2: Ottilia has known Marshall since they were seven years old. 750 00:53:12,040 --> 00:53:14,239 Speaker 2: She says music has always been the thing he's most 751 00:53:14,320 --> 00:53:17,640 Speaker 2: focused on. How when he's immersed in his music, everything 752 00:53:17,680 --> 00:53:18,560 Speaker 2: else falls away. 753 00:53:22,640 --> 00:53:26,240 Speaker 1: He differed from all the other boys because he already 754 00:53:26,280 --> 00:53:28,520 Speaker 1: had a goal, because he's been playing the violin since 755 00:53:28,520 --> 00:53:33,560 Speaker 1: he was five. Uh huh, Cardiginian official teachers, I agree 756 00:53:33,600 --> 00:53:35,760 Speaker 1: on the screen. So every day he played the violin 757 00:53:35,880 --> 00:53:41,399 Speaker 1: for three hours every day, sometimes even more football when 758 00:53:41,440 --> 00:53:47,479 Speaker 1: everybody else was playing soccer or hockey. He was practicing at. 759 00:53:47,400 --> 00:53:50,719 Speaker 2: Twelve years old, Marshall went away to study music. He 760 00:53:50,800 --> 00:53:53,800 Speaker 2: and Ottilia didn't see each other for another twenty five years. 761 00:53:54,719 --> 00:53:58,640 Speaker 2: During this time, Marshall attended the Rimsky Corsicov Saint Petersburg 762 00:53:58,719 --> 00:54:02,440 Speaker 2: State Conservatory and then got a position at the Marinsky Orchestra. 763 00:54:03,480 --> 00:54:05,320 Speaker 2: It was while he was back home for a vacation 764 00:54:05,840 --> 00:54:08,640 Speaker 2: that he reconnected with Ottilia and asked her out on 765 00:54:08,719 --> 00:54:09,040 Speaker 2: a date. 766 00:54:11,719 --> 00:54:16,640 Speaker 1: We walked almost until the morning. It was around midnight, 767 00:54:17,320 --> 00:54:20,520 Speaker 1: and we went to our school and we walked around 768 00:54:20,560 --> 00:54:26,400 Speaker 1: the school and we remembered, we remembered about our childhood. 769 00:54:33,719 --> 00:54:37,600 Speaker 2: After their first date, Otilia says they were inseparable for 770 00:54:37,680 --> 00:54:40,719 Speaker 2: two weeks straight. They talked every day, went for long 771 00:54:40,800 --> 00:54:44,319 Speaker 2: walks which lasted early into the morning. It was after 772 00:54:44,400 --> 00:54:47,560 Speaker 2: one of these long walks, after they'd said goodbye at 773 00:54:47,600 --> 00:54:51,040 Speaker 2: two in the morning, that Marshall phoned Otilia at her home. 774 00:54:53,120 --> 00:54:56,960 Speaker 1: If I come to you with a proposition. Well, you 775 00:54:57,080 --> 00:55:01,040 Speaker 1: listened to me and I said yes, of course. So 776 00:55:01,120 --> 00:55:06,239 Speaker 1: he came to my balcony and I looked out and 777 00:55:06,320 --> 00:55:13,120 Speaker 1: he asked me whether I would marry him, And from 778 00:55:13,200 --> 00:55:15,400 Speaker 1: the height of the second floor, I thought that he 779 00:55:15,560 --> 00:55:20,880 Speaker 1: was just joking. At two a m. And I asked him, 780 00:55:20,880 --> 00:55:25,400 Speaker 1: where are your flowers? So he came and picked a 781 00:55:25,560 --> 00:55:29,759 Speaker 1: flower out of the lawn, and I came to the 782 00:55:29,840 --> 00:55:35,319 Speaker 1: first floor and agreed to marry him. We were laughing 783 00:55:35,400 --> 00:55:39,959 Speaker 1: because at two a m. It was very unexpected, because 784 00:55:40,000 --> 00:55:43,319 Speaker 1: he dropped me off and then he went back home, 785 00:55:43,400 --> 00:55:46,040 Speaker 1: and in those few moments he decided to get married. 786 00:55:48,160 --> 00:55:48,960 Speaker 2: He turned back. 787 00:55:51,400 --> 00:55:51,839 Speaker 1: He came back. 788 00:55:51,880 --> 00:55:56,399 Speaker 2: Of course, he turned back, just like he turned back 789 00:55:56,480 --> 00:55:57,000 Speaker 2: in the movie. 790 00:55:57,120 --> 00:56:06,560 Speaker 1: You know, yes, yeah, yeah, That's what I'm telling you. 791 00:56:08,360 --> 00:56:10,760 Speaker 1: Because he has those unexpected moments. 792 00:56:17,239 --> 00:56:21,239 Speaker 2: Marshall only had one chance. Like Sokarov, he wouldn't have 793 00:56:21,320 --> 00:56:25,719 Speaker 2: wanted an extra day, so he turned back, not to contemplate, 794 00:56:26,080 --> 00:56:29,520 Speaker 2: edit or fix the past, but to throw himself with 795 00:56:29,719 --> 00:56:35,640 Speaker 2: passion into his future with Ottilia. I am not Marshall 796 00:56:36,040 --> 00:56:39,880 Speaker 2: and I am not Sokarov. Neither of them is interested 797 00:56:39,960 --> 00:56:45,960 Speaker 2: in redoing the past in art or in life. If 798 00:56:46,000 --> 00:56:48,719 Speaker 2: you've ever seen a Persian carpet, which I only did 799 00:56:48,800 --> 00:56:51,160 Speaker 2: once I was in my late thirties. Growing up, my 800 00:56:51,280 --> 00:56:53,800 Speaker 2: family was more of a wal to wall shag operation, 801 00:56:54,600 --> 00:56:58,160 Speaker 2: you'll know that it's some pretty impressive stuff. They say 802 00:56:58,200 --> 00:57:00,919 Speaker 2: that as they're being made, though the weavers make sure 803 00:57:01,040 --> 00:57:04,840 Speaker 2: to leave in one small mistake on purpose as a 804 00:57:04,920 --> 00:57:09,520 Speaker 2: gesture of humility, because they say only God is perfect 805 00:57:09,880 --> 00:57:13,680 Speaker 2: and has the right to create works of perfection. Humans 806 00:57:13,719 --> 00:57:17,000 Speaker 2: are imperfect, and we find other humans to love us 807 00:57:17,120 --> 00:57:22,240 Speaker 2: for our imperfections. It's a lot more rewarding than criticizing stuff. 808 00:57:24,160 --> 00:57:26,520 Speaker 2: The Canadian Weekly I used to write film reviews for 809 00:57:27,040 --> 00:57:30,200 Speaker 2: has since shuddered, so I can't reread my review of 810 00:57:30,280 --> 00:57:34,320 Speaker 2: Russian Arc, but I'm sure the headline read something like 811 00:57:35,000 --> 00:57:38,840 Speaker 2: Russian Arc sinks to the bottom of my memory because, 812 00:57:38,880 --> 00:57:42,480 Speaker 2: in truth, in spite of its scope and ambition and artistry, 813 00:57:43,080 --> 00:57:46,600 Speaker 2: other than Marshall's moment, I didn't remember much about it. 814 00:57:47,960 --> 00:57:51,360 Speaker 2: So in the end, Marshall's mistake brought value to the film, 815 00:57:55,000 --> 00:58:00,240 Speaker 2: right as I understand. Thank God, I'm very happy. 816 00:58:00,120 --> 00:58:38,280 Speaker 5: Be now that the fern ures returning to its goodwill home, 817 00:58:41,800 --> 00:58:45,880 Speaker 5: now that the last month's rent is scheming with. 818 00:58:46,080 --> 00:58:50,680 Speaker 2: The damage to possible, take this moment to dissolve. 819 00:58:52,720 --> 00:58:54,800 Speaker 7: If we meant it, if we tried. 820 00:58:56,480 --> 00:59:03,960 Speaker 2: We felt around for far too from the last accident leaves. 821 00:59:08,280 --> 00:59:11,120 Speaker 2: Heavyweight is hosted and produced by me Jonathan Goldstein along 822 00:59:11,160 --> 00:59:14,320 Speaker 2: with Stevie Lane. Peter Bresnan and Khalila Holt. The show 823 00:59:14,440 --> 00:59:17,840 Speaker 2: is edited by Jorge Just, with additional editing by Alex Bloomberg. 824 00:59:18,160 --> 00:59:21,640 Speaker 2: Special thanks to Emily Condon, Shruthy Pennaminini, Chris Neary, and 825 00:59:21,840 --> 00:59:25,000 Speaker 2: Jackie Cohen. Bobby Lord mixed the episode with music by 826 00:59:25,080 --> 00:59:29,120 Speaker 2: Christine Fellows, John K. Sampson, Michael Hurst, and he himself 827 00:59:29,840 --> 00:59:32,840 Speaker 2: Bop Up Up, Up, Up Up Up Bobby Lord. Additional 828 00:59:32,920 --> 00:59:35,680 Speaker 2: music credits can be found on our website Gimbletmedia dot 829 00:59:35,760 --> 00:59:38,880 Speaker 2: com slash Heavyweight. Our theme song is by the Weaker 830 00:59:38,920 --> 00:59:41,840 Speaker 2: Than's courtesy of Epitaph Records, and our ad music is 831 00:59:41,880 --> 00:59:45,080 Speaker 2: by Hailey Shaw. Follow us on Twitter at Heavyweight or 832 00:59:45,240 --> 00:59:49,200 Speaker 2: email us at Heavyweight at gimbletmedia dot com. Our very 833 00:59:49,280 --> 00:59:52,200 Speaker 2: special season finale is coming up next week