1 00:00:01,168 --> 00:00:03,270 >> HOST: COMING UP ON ARTWORKS: 2 00:00:03,337 --> 00:00:04,805 AN ANIMATOR AT THE FAMOUS PIXAR 3 00:00:04,872 --> 00:00:07,875 STUDIOS. 4 00:00:07,941 --> 00:00:09,009 SONGWRITERS TALK ABOUT THEIR 5 00:00:09,076 --> 00:00:12,112 INSPIRATION. 6 00:00:12,179 --> 00:00:13,780 FABERGE'S JEWELLED MYSTERIES 7 00:00:13,847 --> 00:00:16,717 WORTH MILLIONS. 8 00:00:16,783 --> 00:00:18,519 AND AN ARTIST'S SPONTANEOUS 9 00:00:18,585 --> 00:00:20,020 RACE TO PAINT. 10 00:00:20,087 --> 00:00:21,989 IT'S ALL AHEAD ON ARTWORKS! 11 00:00:22,890 --> 00:00:23,957 CLOSED CAPTIONING HAS BEEN MADE 12 00:00:24,024 --> 00:00:25,659 POSSIBLE BY MARYLAND RELAY, 13 00:00:25,726 --> 00:00:27,227 EMPOWERING THOSE WHO ARE DEAF, 14 00:00:27,294 --> 00:00:28,729 HARD OF HEARING OR SPEECH 15 00:00:28,795 --> 00:00:30,631 DISABLED TO STAY CONNECTED BY 16 00:00:30,697 --> 00:00:32,032 PHONE. 17 00:00:39,373 --> 00:00:40,240 >> ANNOUNCER: ARTWORKS IS MADE 18 00:00:40,307 --> 00:00:41,942 POSSIBLE IN PART BY 19 00:00:42,009 --> 00:00:43,944 THE CITIZENS OF BALTIMORE. 20 00:00:48,649 --> 00:00:49,249 >> HELLO, 21 00:00:49,316 --> 00:00:50,183 I'M RHEA FEIKIN 22 00:00:50,250 --> 00:00:51,652 AND THIS IS ARTWORKS, 23 00:00:51,718 --> 00:00:53,754 MPT'S WEEKLY ARTS SHOW. 24 00:00:53,820 --> 00:00:54,655 I'D LIKE YOU TO MEET OUR 25 00:00:54,721 --> 00:00:57,124 GUEST CO-HOST, IAN GALLANAR, 26 00:00:57,190 --> 00:00:58,625 FOUNDING ARTISTIC DIRECTOR 27 00:00:58,692 --> 00:00:59,793 FOR THE CHESAPEAKE SHAKESPEARE 28 00:00:59,860 --> 00:01:00,627 COMPANY. 29 00:01:00,694 --> 00:01:01,461 WELCOME, IAN! 30 00:01:01,528 --> 00:01:02,062 >> IAN: I'M GLAD TO BE HERE, 31 00:01:02,129 --> 00:01:02,996 RHEA. 32 00:01:03,063 --> 00:01:04,131 >> RHEA: AND I'D LIKE YOU TO 33 00:01:04,197 --> 00:01:05,899 PLEASE TELL US ABOUT 34 00:01:05,966 --> 00:01:06,733 THE CHESAPEAKE SHAKESPEARE 35 00:01:06,800 --> 00:01:07,467 COMPANY AND I'M GOING PLAY 36 00:01:07,534 --> 00:01:08,802 DEVIL'S ADVOCATE. 37 00:01:08,869 --> 00:01:09,369 SO, 38 00:01:09,436 --> 00:01:11,271 WHY IN THE WORLD DO WE NEED 39 00:01:11,338 --> 00:01:13,273 SHAKESPEARE IN THIS DAY AND AGE 40 00:01:13,340 --> 00:01:15,342 OF SMART PHONES AND ITUNES? 41 00:01:15,409 --> 00:01:16,310 >> IAN: WELL, 42 00:01:16,376 --> 00:01:16,944 YOU KNOW IN THIS DAY AND AGE 43 00:01:17,010 --> 00:01:18,278 WHERE WE PARK OURSELVES IN ONE 44 00:01:18,345 --> 00:01:19,846 CORNER OF THE INTERNET, 45 00:01:19,913 --> 00:01:21,415 AND SPEAK WITH LIKE MINDED 46 00:01:21,481 --> 00:01:22,249 PEOPLE. 47 00:01:22,316 --> 00:01:23,483 IT IS IMPORTANT TO SEE WHAT 48 00:01:23,550 --> 00:01:24,651 WE HAVE IN COMMON, 49 00:01:24,718 --> 00:01:25,485 AND SHAKESPEARE DOES THAT. 50 00:01:25,552 --> 00:01:26,720 HE SHOWS US WHAT WE HAVE 51 00:01:26,787 --> 00:01:28,255 IN COMMON. OUR HUMANITY. 52 00:01:28,322 --> 00:01:28,889 >> RHEA: AND THEN, 53 00:01:28,956 --> 00:01:30,424 THERE'S THIS SHEER POETRY. 54 00:01:30,490 --> 00:01:31,458 >> IAN: YEAH, SHAKESPEARE IS ONE 55 00:01:31,525 --> 00:01:32,359 OF THE INVENTOR'S 56 00:01:32,426 --> 00:01:33,193 OF THE ENGLISH LANGUAGE. 57 00:01:33,260 --> 00:01:34,061 >> RHEA: WELL, 58 00:01:34,127 --> 00:01:37,464 "WELCOME FAIR YOUTH" AND THAT'S 59 00:01:37,531 --> 00:01:38,665 ABOUT AS FAR AS I'LL GO TRYING 60 00:01:38,732 --> 00:01:40,834 TO SPEAK "SHAKESPEAR-ESE." 61 00:01:40,901 --> 00:01:42,102 [THEY LAUGH] 62 00:01:42,169 --> 00:01:43,003 >> RHEA: TURNING TO OUR FIRST 63 00:01:43,070 --> 00:01:44,071 ARTIST, 64 00:01:44,137 --> 00:01:46,707 SANJAY PATEL IS AN ANIMATOR 65 00:01:46,773 --> 00:01:48,575 AT PIXAR FILMS. 66 00:01:48,642 --> 00:01:49,409 >> IAN: PATEL HAS WORKED ON 67 00:01:49,476 --> 00:01:50,143 MOVIES SUCH AS 68 00:01:50,210 --> 00:01:51,211 "THE INCREDIBLES," 69 00:01:51,278 --> 00:01:52,279 "RATATOUILLE," 70 00:01:52,346 --> 00:01:54,147 AND "TOY STORY 3." 71 00:01:54,214 --> 00:01:54,781 >> RHEA: BUT THERE'S ANOTHER 72 00:01:54,848 --> 00:01:55,849 SIDE TO HIM TOO, 73 00:01:55,916 --> 00:01:58,652 MYTHICAL & SPIRITUAL. 74 00:01:58,719 --> 00:01:59,386 HERE'S HIS STORY. 75 00:02:06,660 --> 00:02:07,227 >>SANJAY PATEL: WE'RE WORKING 76 00:02:07,294 --> 00:02:09,363 ON A SERIES OF SHORTS BASED 77 00:02:09,429 --> 00:02:10,864 ON MATER'S CHARACTER CALLED 78 00:02:10,931 --> 00:02:12,265 "CARSTOONS", 79 00:02:12,332 --> 00:02:14,334 IN THIS PARTICULAR SHORT THEY 80 00:02:14,401 --> 00:02:16,236 ACTUALLY ARE BIG MONSTER TRUCKS 81 00:02:16,303 --> 00:02:19,206 AND THEY END UP SORT OF IN THIS 82 00:02:19,272 --> 00:02:20,307 BIG WRESTLING MATCH. 83 00:02:20,374 --> 00:02:21,808 >> NARRATOR: PIXAR STUDIOS 84 00:02:21,875 --> 00:02:23,276 IN EMERYVILLE IS KNOWN 85 00:02:23,343 --> 00:02:24,378 FOR BRINGING INNOVATION 86 00:02:24,444 --> 00:02:26,246 AND EMOTION TO THE WORLD 87 00:02:26,313 --> 00:02:27,748 OF COMPUTER ANIMATED FILMS. 88 00:02:27,814 --> 00:02:29,583 POPULAR FILMS LIKE "TOY STORY", 89 00:02:29,650 --> 00:02:30,317 "FINDING NEMO", 90 00:02:30,384 --> 00:02:31,084 "THE INCREDIBLES", 91 00:02:31,151 --> 00:02:32,552 AND "RATATOUILLE" HAS GARNERED 92 00:02:32,619 --> 00:02:34,421 THE STUDIO 22 ACADEMY AWARDS. 93 00:02:34,488 --> 00:02:36,623 NOW A LEAD ANIMATOR AT PIXAR, 94 00:02:36,690 --> 00:02:38,859 SANJAY PATEL WAS STILL A STUDENT 95 00:02:38,925 --> 00:02:40,694 WHEN HE WAS RECRUITED BY 96 00:02:40,761 --> 00:02:42,195 THE FLEDGING COMPANY ALMOST 97 00:02:42,262 --> 00:02:43,296 14 YEARS AGO. 98 00:02:43,363 --> 00:02:45,532 HE WAS STUDYING IN THE ANIMATION 99 00:02:45,599 --> 00:02:47,000 PROGRAM AT CAL ARTS 100 00:02:47,067 --> 00:02:48,135 IN LOS ANGELES. 101 00:02:48,201 --> 00:02:49,603 >> SANJAY: THAT PROGRAM 102 00:02:49,670 --> 00:02:51,471 WAS STARTED BY WALT DISNEY 103 00:02:51,538 --> 00:02:53,306 HIMSELF TO TRAIN HIS ANIMATORS. 104 00:02:53,373 --> 00:02:55,175 SO I STARTED MAKING 2-D 105 00:02:55,242 --> 00:02:55,609 ANIMATIONS. 106 00:02:55,676 --> 00:02:56,743 "TOY STORY" HAD BEEN RELEASED 107 00:02:56,810 --> 00:02:57,711 AND THEY HAD BROUGHT IT TO 108 00:02:57,778 --> 00:02:58,612 CAL ARTS AND AS STUDENTS AS WE 109 00:02:58,679 --> 00:02:59,613 SAW IT I WAS BLOWN AWAY 110 00:02:59,680 --> 00:03:02,049 WITH SOPHISTICATION OF IT 111 00:03:02,115 --> 00:03:03,116 AND THE SOPHISTICATION 112 00:03:03,183 --> 00:03:04,384 OF THE STORY TELLING. 113 00:03:04,451 --> 00:03:05,452 AND SO, 114 00:03:05,519 --> 00:03:06,586 I PUT DOWN MY PENCIL. 115 00:03:06,653 --> 00:03:07,688 I NO LONGER DRAW AT PIXAR, 116 00:03:07,754 --> 00:03:09,456 I HAVE TO USE MY MOUSE AND I USE 117 00:03:09,523 --> 00:03:11,758 3-D ANIMATION SOFTWARE. 118 00:03:11,825 --> 00:03:13,226 ESSENTIALLY WE HAVE THIS CAR 119 00:03:13,293 --> 00:03:15,462 THAT'S BEEN BUILT BY 120 00:03:15,529 --> 00:03:16,997 THE MODELERS AND THESE MODELS 121 00:03:17,064 --> 00:03:19,366 ARE VERY ELABORATE PUPPETS 122 00:03:19,433 --> 00:03:21,868 AND WE HAVE CONTROLS TO MOVE 123 00:03:21,935 --> 00:03:23,437 THE PUPPET AROUND AND CREATE 124 00:03:23,503 --> 00:03:24,504 DIFFERENT POSITIONS AND MAKE 125 00:03:24,571 --> 00:03:25,939 DIFFERENT EXPRESSIONS. 126 00:03:26,006 --> 00:03:26,807 I COULD JUST SORT OF, 127 00:03:26,873 --> 00:03:28,141 MOVE THIS CONTROL AND HE COULD 128 00:03:28,208 --> 00:03:31,845 MOVE HIS TIRE AND HIT MCQUEEN. 129 00:03:31,912 --> 00:03:33,647 MOVE THE UPPER LIP, UP, DOWN, 130 00:03:33,714 --> 00:03:34,481 EVEN THEIR EYELIDS. 131 00:03:34,548 --> 00:03:36,149 WHEN I PICKED UP THE SCENE 132 00:03:36,216 --> 00:03:37,517 I ACTUALLY HAD THEM LOOKING 133 00:03:37,584 --> 00:03:39,486 A LITTLE BIT SORT OF TOO ANGRY, 134 00:03:39,553 --> 00:03:40,854 AND THE DIRECTOR ACTUALLY PULLED 135 00:03:40,921 --> 00:03:42,522 ME BACK AND HE WAS THINKING 136 00:03:42,589 --> 00:03:43,924 THAT YOU KNOW WHAT THESE 137 00:03:43,990 --> 00:03:45,025 CHARACTERS ARE BEST FRIENDS 138 00:03:45,092 --> 00:03:47,227 AND THEY ARE ACTUALLY HAVING FUN 139 00:03:47,294 --> 00:03:48,328 JUST PLAYING TAG. 140 00:03:48,395 --> 00:03:50,530 I ENDED UP HAVING TO CHANGE 141 00:03:50,597 --> 00:03:52,365 THE EXPRESSION TO REFLECT THAT. 142 00:03:52,432 --> 00:03:54,935 AND THAT'S THE END WHAT I DO 143 00:03:55,001 --> 00:03:56,369 IN TERMS OF ANIMATION, 144 00:03:56,436 --> 00:03:58,638 AND THEN IT GETS HANDED OFF 145 00:03:58,705 --> 00:04:00,140 TO LIGHTING AND RENDERING 146 00:04:00,207 --> 00:04:02,375 AND HERE'S HOW THE SCENE LOOKS 147 00:04:02,442 --> 00:04:03,877 WITH SHADOWS AND COLORS. 148 00:04:03,944 --> 00:04:05,545 PIXAR IS INCREDIBLY SUPPORTIVE 149 00:04:05,612 --> 00:04:08,048 OF PEOPLE DOING OUTSIDE WORK. 150 00:04:08,115 --> 00:04:09,149 THERE'S ALL KIND OF CLASSES THAT 151 00:04:09,216 --> 00:04:10,317 PEOPLE CAN TAKE HERE AT PIXAR, 152 00:04:10,383 --> 00:04:11,251 THERE'S PAINTING CLASSES, 153 00:04:11,318 --> 00:04:12,052 AND DRAWING CLASSES, 154 00:04:12,119 --> 00:04:13,587 THERE'S SCULPTURE CLASSES, 155 00:04:13,653 --> 00:04:14,488 AND I THINK THEY REALLY 156 00:04:14,554 --> 00:04:15,989 ENCOURAGE THAT YOU REALLY NEED 157 00:04:16,056 --> 00:04:16,890 TO RENEW YOURSELF AS AN ARTIST 158 00:04:16,957 --> 00:04:18,225 TO BE ABLE TO COME BACK 159 00:04:18,291 --> 00:04:19,960 AND SORT OF WORK UNDER SUCH 160 00:04:20,026 --> 00:04:21,762 PRESSURE AND INTENSITY ON THESE 161 00:04:21,828 --> 00:04:24,030 FILMS. 162 00:04:24,097 --> 00:04:25,198 IF THERE IS ANYTHING THAT PIXAR 163 00:04:25,265 --> 00:04:27,634 ESPOUSES IT'S JUST ABSOLUTELY 164 00:04:27,701 --> 00:04:29,569 LIKE THE CHURCH OF STORYTELLING. 165 00:04:29,636 --> 00:04:30,504 IT REALLY DOES FORCE YOU TO 166 00:04:30,570 --> 00:04:31,938 THINK IN A VERY DIFFERENT WAY. 167 00:04:32,005 --> 00:04:32,773 BECAUSE OF THAT, 168 00:04:32,839 --> 00:04:33,740 I HAVE BEEN ABLE TO PURSUE MY 169 00:04:33,807 --> 00:04:36,376 OWN STORIES THAT I WANT TO TELL. 170 00:04:36,443 --> 00:04:37,878 >> NARRATOR: SINCE 2006, 171 00:04:37,944 --> 00:04:39,012 PATEL HAS PUBLISHED HIS OWN 172 00:04:39,079 --> 00:04:39,813 WORK; 173 00:04:39,880 --> 00:04:40,947 LAVISHLY ILLUSTRATED 174 00:04:41,014 --> 00:04:42,883 INTERPRETATIONS OF ANCIENT HINDU 175 00:04:42,949 --> 00:04:46,887 MYTHOLOGY. 176 00:04:46,953 --> 00:04:48,121 HIS LATEST BOOK IS CALLED 177 00:04:48,188 --> 00:04:50,824 "RAMAYANA; DIVINE LOOPHOLE". 178 00:04:50,891 --> 00:04:51,591 THE RAMAYANA IS ONE 179 00:04:51,658 --> 00:04:52,859 OF THE FOUNDATIONAL MYTHS 180 00:04:52,926 --> 00:04:54,027 OF HINDUISM, 181 00:04:54,094 --> 00:04:54,995 AND TELLS THE EPIC STORY 182 00:04:55,061 --> 00:04:56,229 OF RAMA, 183 00:04:56,296 --> 00:04:57,430 HIS BROTHER LAKSHMAN, 184 00:04:57,497 --> 00:04:59,132 AND HIS WIFE, SITA. 185 00:04:59,199 --> 00:05:01,301 >> SANJAY: THE RAMAYANA IS SUCH 186 00:05:01,368 --> 00:05:03,470 A NEAT STORY BECAUSE IT'S ALL 187 00:05:03,537 --> 00:05:04,938 ADVENTURE, PLOT, AND ACTION. 188 00:05:05,005 --> 00:05:06,373 THERE'S MAGIC, THERE'S FIGHTING, 189 00:05:06,439 --> 00:05:07,841 AND ANIMALS, AND GODS, 190 00:05:07,908 --> 00:05:10,010 AND DEMONS, AND I JUST THOUGHT, 191 00:05:10,076 --> 00:05:12,546 I REALLY WANT TO TELL THIS STORY 192 00:05:12,612 --> 00:05:14,714 IN THE MOST MODERN AND GRAPHIC 193 00:05:14,781 --> 00:05:15,816 WAY AS POSSIBLE. 194 00:05:15,882 --> 00:05:16,483 >> NARRATOR: AS PATEL 195 00:05:16,550 --> 00:05:17,918 UNDERTOOK THE TASK OF BRINGING 196 00:05:17,984 --> 00:05:19,252 TO LIFE DOZENS OF SCENES 197 00:05:19,319 --> 00:05:21,021 FROM THIS ANCIENT STORY, 198 00:05:21,087 --> 00:05:22,055 HE FOUND HIMSELF USING 199 00:05:22,122 --> 00:05:23,223 THE SKILLS HE GAINED FROM HIS 200 00:05:23,290 --> 00:05:25,559 ANIMATION WORK AT PIXAR. 201 00:05:25,625 --> 00:05:26,827 >> SANJAY: ANIMATING AT PIXAR 202 00:05:26,893 --> 00:05:28,094 MAKES ME THINK ABOUT WELL, 203 00:05:28,161 --> 00:05:29,329 WHAT'S THE ACTING AND WHAT'S 204 00:05:29,396 --> 00:05:30,864 SORT OF THE NARRATIVE ARC THAT 205 00:05:30,931 --> 00:05:32,365 I COULD USE FOR THIS LITTLE 206 00:05:32,432 --> 00:05:33,633 PANEL AND THAT I'M TRYING 207 00:05:33,700 --> 00:05:34,134 TO DRAW. 208 00:05:34,201 --> 00:05:35,402 AND IT REALLY REMINDS THAT 209 00:05:35,468 --> 00:05:36,403 CHARACTER MOMENTS ARE SO 210 00:05:36,469 --> 00:05:37,437 IMPORTANT IN THIS GREAT 211 00:05:37,504 --> 00:05:38,939 MYTHOLOGY THAT I WANT TO TELL. 212 00:05:39,005 --> 00:05:39,940 AND SO I DO FEEL LIKE THE TWO 213 00:05:40,006 --> 00:05:42,642 FEED OFF OF EACH OTHER. 214 00:05:42,709 --> 00:05:43,476 THIS TYPE OF ARTWORK WOULD 215 00:05:43,543 --> 00:05:44,845 DEFINITELY BE HANGING AROUND 216 00:05:44,911 --> 00:05:46,012 IN MY PARENTS' HOUSEHOLD, 217 00:05:46,079 --> 00:05:47,414 AND THIS WAS DEFINITELY MY 218 00:05:47,480 --> 00:05:49,583 INDOCTRINATION AND INTRODUCTION 219 00:05:49,649 --> 00:05:50,383 TO HINDUISM. 220 00:05:50,450 --> 00:05:51,585 I'D SEE STUFF LIKE THIS AND JUST 221 00:05:51,651 --> 00:05:56,356 HAVE NO CLUE WHAT THIS MEANT. 222 00:05:56,423 --> 00:05:57,057 I WAS RAISED IN SOUTHERN 223 00:05:57,123 --> 00:05:58,458 CALIFORNIA. 224 00:05:58,525 --> 00:06:00,393 MY PARENTS OWNED A MOTEL 225 00:06:00,460 --> 00:06:03,430 IN SAN BERNARDINO, CALIFORNIA. 226 00:06:03,496 --> 00:06:05,131 MY PARENTS ARE FROM INDIA, 227 00:06:05,198 --> 00:06:07,500 FROM A STATE CALLED GUJARAT. 228 00:06:07,567 --> 00:06:08,368 I COULD SPEAK ENGLISH 229 00:06:08,435 --> 00:06:09,135 REALLY WELL, 230 00:06:09,202 --> 00:06:10,337 SO I HAD STAY HOME AND HELP RUN 231 00:06:10,403 --> 00:06:12,572 THE MOTEL. 232 00:06:12,639 --> 00:06:16,409 I BECAME A TV BRAT AND I REALLY 233 00:06:16,476 --> 00:06:17,711 IN MANY WAYS JUST GREW UP 234 00:06:17,777 --> 00:06:19,079 IN AMERICAN CULTURE. 235 00:06:19,145 --> 00:06:20,113 AMERICAN CULTURE WAS DEFINITELY 236 00:06:20,180 --> 00:06:20,847 FED TO ME THROUGH 237 00:06:20,914 --> 00:06:21,882 THE TELEVISION, 238 00:06:21,948 --> 00:06:23,717 MAINLY THROUGH CARTOONS. 239 00:06:23,783 --> 00:06:25,418 I COULD JUST REALLY ESCAPE 240 00:06:25,485 --> 00:06:27,754 MY REALITY AND I BECAME OBSESSED 241 00:06:27,821 --> 00:06:28,989 WITH WATCHING CARTOONS, 242 00:06:29,055 --> 00:06:29,956 DRAWING CARTOONS, 243 00:06:30,023 --> 00:06:31,391 COLLECTING COMIC BOOKS, 244 00:06:31,458 --> 00:06:32,492 AND THEN I WOULD SIT THERE 245 00:06:32,559 --> 00:06:33,093 AND DRAW FOR HOURS AND HOURS 246 00:06:33,159 --> 00:06:35,095 FROM THESE COMICS. 247 00:06:35,161 --> 00:06:35,862 >> NARRATOR: ALTHOUGH PATEL 248 00:06:35,929 --> 00:06:37,297 REVERED THE COMIC BOOK HEROES 249 00:06:37,364 --> 00:06:39,332 OF AMERICAN POPULAR CULTURE, 250 00:06:39,399 --> 00:06:40,767 HIS RELATIONSHIP WITH THE ICONS 251 00:06:40,834 --> 00:06:42,636 OF HIS PARENTS' HINDU FAITH 252 00:06:42,702 --> 00:06:44,504 WAS MORE COMPLICATED. 253 00:06:44,571 --> 00:06:45,605 >> SANJAY: INDIAN CULTURE 254 00:06:45,672 --> 00:06:46,806 IN MY LIFE, I DON'T KNOW, 255 00:06:46,873 --> 00:06:49,976 GROWING UP, I HATED IT. 256 00:06:50,043 --> 00:06:50,677 I HATED IT. 257 00:06:50,744 --> 00:06:51,478 I HATED IT. 258 00:06:51,544 --> 00:06:52,445 MY PARENTS WERE RAISING ME 259 00:06:52,512 --> 00:06:53,980 IN A SORT OF BUBBLE OF THEIR OWN 260 00:06:54,047 --> 00:06:56,049 CULTURE INSIDE SOUTHERN 261 00:06:56,116 --> 00:06:57,751 CALIFORNIA. 262 00:06:57,817 --> 00:07:00,387 I WASN'T EXPOSED TO THE STORIES 263 00:07:00,453 --> 00:07:01,955 OF THE HINDU MYTHOLOGY OR HINDU 264 00:07:02,022 --> 00:07:03,757 FAITH AT ALL. 265 00:07:03,823 --> 00:07:05,292 WHAT I WAS EXPOSED TO WAS 266 00:07:05,358 --> 00:07:09,329 THE ICONOGRAPHY AND IMAGERY. 267 00:07:09,396 --> 00:07:09,863 >> NARRATOR: BUT IT'S HIS 268 00:07:09,930 --> 00:07:11,464 PERSPECTIVE AS AN OUTSIDER THAT 269 00:07:11,531 --> 00:07:12,866 ALLOWS PATEL TO RECLAIM 270 00:07:12,933 --> 00:07:14,401 THE ICONOGRAPHY OF HIS PARENTS' 271 00:07:14,467 --> 00:07:15,435 CULTURE, 272 00:07:15,502 --> 00:07:16,436 AND RE-IMAGINE IT 273 00:07:16,503 --> 00:07:17,737 FOR A CONTEMPORARY AUDIENCE. 274 00:07:17,804 --> 00:07:19,372 PATEL IS IN THE MIDST 275 00:07:19,439 --> 00:07:21,341 OF CREATING A NEW BOOK BASED 276 00:07:21,408 --> 00:07:23,310 ON THE STORY OF THE HINDU 277 00:07:23,376 --> 00:07:23,977 DEITY "GANESHA." 278 00:07:24,044 --> 00:07:25,946 IN PATEL'S VERSION OF THE TALE, 279 00:07:26,012 --> 00:07:26,813 HE PLAYS OFF 280 00:07:26,880 --> 00:07:27,981 OF THE ELEPHANT GOD "GANESHA'S" 281 00:07:28,048 --> 00:07:30,550 FAMOUS LOVE OF SWEETS. 282 00:07:30,617 --> 00:07:31,184 >> SANJAY: THIS IS A KIND 283 00:07:31,251 --> 00:07:33,019 OF A FUN LITTLE MOMENT ACTUALLY. 284 00:07:33,086 --> 00:07:35,789 THIS IS AFTER "GANESHA," 285 00:07:35,855 --> 00:07:36,823 HE ACTUALLY TRIES BITING DOWN ON 286 00:07:36,890 --> 00:07:39,559 THE JUMBO JAW BREAKER. 287 00:07:39,626 --> 00:07:41,227 AND SURE ENOUGH HE BREAKS 288 00:07:41,294 --> 00:07:42,495 HIS TUSK. 289 00:07:42,562 --> 00:07:43,363 SO I'M TRYING TO FIGURE OUT 290 00:07:43,430 --> 00:07:45,131 WHAT WOULD BE THE MOST FUN WAY 291 00:07:45,198 --> 00:07:45,932 TO LIKE FIGURE OUT HOW 292 00:07:45,999 --> 00:07:47,701 "GANESHA" MIGHT REACT, 293 00:07:47,767 --> 00:07:49,736 LIKE OH NO!! 294 00:07:49,803 --> 00:07:51,004 SO I WAS THINKING MAYBE HE WOULD 295 00:07:51,071 --> 00:07:55,141 BE CRYING OVER HERE. 296 00:07:55,208 --> 00:07:56,109 >> SANJAY: GROWING UP I ALWAYS 297 00:07:56,176 --> 00:07:58,945 FELT DISCONNECTED FROM MY 298 00:07:59,012 --> 00:08:00,480 AMERICAN FRIENDS SIMPLY BECAUSE 299 00:08:00,547 --> 00:08:03,550 I WAS INDIAN, MY SKIN WAS BROWN. 300 00:08:03,616 --> 00:08:05,485 FROM MY INDIAN FRIENDS I FELT 301 00:08:05,552 --> 00:08:06,586 DISCONNECTED IN DIFFERENT WAYS 302 00:08:06,653 --> 00:08:08,321 BECAUSE I WAS AN ARTIST. 303 00:08:08,388 --> 00:08:10,757 I FELT OUTSIDE IN ALL THESE 304 00:08:10,824 --> 00:08:11,624 WAYS. 305 00:08:11,691 --> 00:08:12,859 AND FINALLY I FOUND THE THING 306 00:08:12,926 --> 00:08:14,794 THAT ACTUALLY BROUGHT EVERYTHING 307 00:08:14,861 --> 00:08:17,597 THAT I LIKED TOGETHER. 308 00:08:17,664 --> 00:08:18,365 WHAT I'D LIKE TO THINK 309 00:08:18,431 --> 00:08:19,299 IS ACTUALLY THAT I FOUND 310 00:08:19,366 --> 00:08:20,900 MY VOICE AND THIS VOICE 311 00:08:20,967 --> 00:08:22,802 IS SOMETHING THAT FEELS REALLY 312 00:08:22,869 --> 00:08:24,304 RELEVANT TO ME AND REALLY 313 00:08:24,371 --> 00:08:25,872 IMPORTANT AND REALLY GOOD. 314 00:08:25,939 --> 00:08:26,940 I JUST KNOW SO CLEARLY THAT 315 00:08:27,007 --> 00:08:27,907 I AM GOING TO BE DOING THIS 316 00:08:27,974 --> 00:08:29,042 TILL THE DAY I DIE. 317 00:08:31,077 --> 00:08:31,745 >> RHEA: WANT TO KNOW MORE 318 00:08:31,811 --> 00:08:33,313 ABOUT SANJAY PATEL? 319 00:08:33,380 --> 00:08:34,881 VISIT HIS WEBSITE AT 320 00:08:34,948 --> 00:08:36,583 GHEEHAPPY.COM. 321 00:08:44,391 --> 00:08:45,225 >> RHEA: ONE OF THE EXCLUSIVE 322 00:08:45,291 --> 00:08:47,060 SHOWS MPT'S PRODUCES 323 00:08:47,127 --> 00:08:49,129 IS A "CONCERT FOR THE BAY," 324 00:08:49,195 --> 00:08:49,763 WHICH IS PART 325 00:08:49,829 --> 00:08:50,897 OF "CHESAPEAKE BAY WEEK" 326 00:08:50,964 --> 00:08:51,931 EVERY SPRING. 327 00:08:51,998 --> 00:08:53,333 THIS SPRING, 328 00:08:53,400 --> 00:08:54,467 ONE OF THE BANDS WAS 329 00:08:54,534 --> 00:08:56,536 "JUKEBOX THE GHOST." 330 00:08:56,603 --> 00:08:58,071 AND THEY'RE FAST BECOMING 331 00:08:58,138 --> 00:08:59,406 NATIONAL STARS. 332 00:08:59,472 --> 00:09:00,073 >> IAN: SO, 333 00:09:00,140 --> 00:09:01,674 IS "JUKEBOX THE GHOST" LOCAL? 334 00:09:01,741 --> 00:09:02,542 >> RHEA: WELL, 335 00:09:02,609 --> 00:09:04,010 THERE IS A LOCAL CONNECTION. 336 00:09:04,077 --> 00:09:05,512 THEY WERE FORMED WHILE 337 00:09:05,578 --> 00:09:07,147 AT GEORGE WASHINGTON UNIVERSITY 338 00:09:07,213 --> 00:09:08,081 IN D.C.. 339 00:09:08,148 --> 00:09:09,582 HERE'S WHAT THE BAND'S 340 00:09:09,649 --> 00:09:11,484 SONGWRITERS' HAVE TO SAY ABOUT 341 00:09:11,551 --> 00:09:12,585 THE ART AND CRAFT 342 00:09:12,652 --> 00:09:14,154 OF SONGWRITING AND I THINK IT'S 343 00:09:14,220 --> 00:09:15,688 REALLY THOUGHTFUL. 344 00:09:28,068 --> 00:09:28,635 >> BEN THORNEWILL: WE WENT FROM 345 00:09:28,701 --> 00:09:29,536 BEING A COLLEGE PARTY BAND, 346 00:09:29,602 --> 00:09:30,103 AS IT WERE, 347 00:09:30,170 --> 00:09:31,504 TO A BAND SORT OF AS WE 348 00:09:31,571 --> 00:09:31,905 GRADUATED COLLEGE. 349 00:09:31,971 --> 00:09:33,273 AND RIGHT AT THE END OF IT 350 00:09:33,339 --> 00:09:34,274 WE RECORDED OUR FIRST RECORD. 351 00:09:34,340 --> 00:09:35,842 WE'RE STARTING TO PLAY SHOWS, 352 00:09:35,909 --> 00:09:36,643 AND ALL OF A SUDDEN PEOPLE WHO 353 00:09:36,709 --> 00:09:37,544 WEREN'T OUR FRIENDS WERE COMING 354 00:09:37,610 --> 00:09:38,344 TO THESE SHOWS. 355 00:09:38,411 --> 00:09:39,546 AND THAT SORT OF GAVE US 356 00:09:39,612 --> 00:09:40,647 THE HOPE AND INSPIRATION THAT 357 00:09:40,713 --> 00:09:41,481 WE COULD DO THIS BEYOND JUST 358 00:09:41,548 --> 00:09:43,483 AROUND D.C.. 359 00:09:45,552 --> 00:09:47,620 * I GO OUTSIDE. 360 00:09:47,687 --> 00:09:49,756 ASK THE AIR IF YOU'D LIKE 361 00:09:49,823 --> 00:09:52,258 TO HIDE. * 362 00:09:52,325 --> 00:09:56,496 * TAKE A DEEP BREATH. 363 00:09:56,563 --> 00:09:59,532 WALK INSIDE MY PRIZE. * 364 00:10:00,567 --> 00:10:01,267 >> TOMMY SIEGEL: THE 365 00:10:01,334 --> 00:10:02,202 TRANSFORMATION WAS A LITTLE 366 00:10:02,268 --> 00:10:03,837 HAPHAZARD. 367 00:10:03,903 --> 00:10:05,538 WHEN WE FIRST STARTED, 368 00:10:05,605 --> 00:10:06,473 WE HAD DOZENS OF SONGS. 369 00:10:06,539 --> 00:10:07,407 IT JUST NEVER OCCURRED TO US 370 00:10:07,474 --> 00:10:08,541 TO RECORD THEM. 371 00:10:08,608 --> 00:10:09,509 SO THERE'S JUST ALL THESE SONGS 372 00:10:09,576 --> 00:10:10,443 FROM COLLEGE THAT NEVER 373 00:10:10,510 --> 00:10:11,211 RECORDED, 374 00:10:11,277 --> 00:10:11,845 AND I'M ACTUALLY VERY THANKFUL 375 00:10:11,911 --> 00:10:12,178 FOR THAT. 376 00:10:12,245 --> 00:10:12,345 BUT, 377 00:10:12,412 --> 00:10:13,346 AT SOME POINT OUR FRIEND SETH 378 00:10:13,413 --> 00:10:14,380 WAS LIKE YOU GUYS SHOULD RECORD 379 00:10:14,447 --> 00:10:15,548 AN ALBUM AND I WANT TO MANAGE 380 00:10:15,615 --> 00:10:16,716 YOU GUYS. 381 00:10:16,783 --> 00:10:17,383 AND WE WERE LIKE OK. 382 00:10:17,450 --> 00:10:18,918 AND SO WE RECORDED OUR FIRST 383 00:10:18,985 --> 00:10:20,520 ALBUM WHEN WE WERE IN COLLEGE. 384 00:10:20,587 --> 00:10:22,122 AND IT WAS ONLY AFTER PEOPLE 385 00:10:22,188 --> 00:10:23,490 STARTED COMING TO SHOWS. 386 00:10:23,556 --> 00:10:25,225 AND THAT ALBUM TOOK OFF 387 00:10:25,291 --> 00:10:26,359 AND WE WERE LIKE OH, 388 00:10:26,426 --> 00:10:27,460 THIS IS A REAL THING. 389 00:10:27,527 --> 00:10:28,428 YOU KNOW, WE CAN DO THIS. 390 00:10:30,663 --> 00:10:31,297 * ...BEING GROWN 391 00:10:31,364 --> 00:10:32,532 FOR THE REST OF YOUR LIFE. * 392 00:10:32,599 --> 00:10:35,034 * FROM ADULTHOOD, 393 00:10:35,101 --> 00:10:40,373 NO ONE SURVIVES... * 394 00:10:40,440 --> 00:10:41,341 * TEN BILLION FEET... 395 00:10:42,609 --> 00:10:43,676 >> BEN: TOMMY AND I BOTH WRITE 396 00:10:43,743 --> 00:10:44,410 INDIVIDUALLY. 397 00:10:44,477 --> 00:10:45,245 I FEEL THAT WRITING IS A VERY 398 00:10:45,311 --> 00:10:45,979 PERSONAL PROCESS. 399 00:10:46,045 --> 00:10:46,813 I DON'T SEE HOW BANDS SIT IN 400 00:10:46,880 --> 00:10:47,747 A ROOM AND WRITE A SONG 401 00:10:47,814 --> 00:10:48,381 ALL TOGETHER. 402 00:10:48,448 --> 00:10:49,282 SO WE WILL WRITE INDIVIDUALLY 403 00:10:49,349 --> 00:10:50,450 AND THEN BRING THOSE SONGS 404 00:10:50,517 --> 00:10:51,451 TO THE TABLE, 405 00:10:51,518 --> 00:10:53,153 AND THEN AS A BAND PICK 406 00:10:53,219 --> 00:10:54,320 AND CHOOSE, SLICE IT, 407 00:10:54,387 --> 00:10:55,155 SORT OF ITS LIKE SCULPTURE 408 00:10:55,221 --> 00:10:56,055 ALMOST. 409 00:10:56,122 --> 00:10:57,891 WORK IT DOWN TO ITS CORE 410 00:10:57,957 --> 00:10:59,292 AND MAKE IT A SONG THAT 411 00:10:59,359 --> 00:11:02,128 THE WHOLE BAND CAN STAND BY. 412 00:11:02,195 --> 00:11:02,929 THERE'S NO FORMULA FOR 413 00:11:02,996 --> 00:11:03,897 SONGWRITING THAT I HAVE FOUND 414 00:11:03,963 --> 00:11:04,597 ANYWAY. 415 00:11:04,664 --> 00:11:06,065 EVERY SONG OCCUPIES ITS OWN 416 00:11:06,132 --> 00:11:07,066 SPACE, 417 00:11:07,133 --> 00:11:08,868 IT'S ITS OWN CREATIVE PROCESS. 418 00:11:08,935 --> 00:11:10,103 SOMETIMES IT IS A LYRIC, 419 00:11:10,170 --> 00:11:11,671 SOMETIMES IT'S A MUSICAL IDEA, 420 00:11:11,738 --> 00:11:13,306 SOMETIMES IT'S A FEELING. 421 00:11:13,373 --> 00:11:14,007 >> TOMMY: I WISH THERE WAS 422 00:11:14,073 --> 00:11:14,641 A FORMULA THAT WOULD MAKE IT 423 00:11:14,707 --> 00:11:15,308 A LOT EASIER. 424 00:11:15,375 --> 00:11:16,476 I FEEL LIKE WE YOU KNOW AS 425 00:11:16,543 --> 00:11:17,510 SONGWRITERS SPEND A LOT OF TIME 426 00:11:17,577 --> 00:11:18,378 SITTING AROUND, 427 00:11:18,444 --> 00:11:20,346 WAITING AND HOPING THAT 428 00:11:20,413 --> 00:11:21,147 INSPIRATION'S GOING TO HAPPEN. 429 00:11:21,214 --> 00:11:22,248 >> BEN: YEAH, 430 00:11:22,315 --> 00:11:23,449 IF I KNEW HOW TO WRITE A SONG, 431 00:11:23,516 --> 00:11:24,551 THAT WOULD BE GOOD. 432 00:11:24,617 --> 00:11:25,318 >> TOMMY: AND SOMETIMES EVEN 433 00:11:25,385 --> 00:11:26,319 WHEN YOU GET INSPIRATION YOU 434 00:11:26,386 --> 00:11:27,554 DON'T KNOW THAT IT EVEN HAPPENED 435 00:11:27,620 --> 00:11:29,022 UNTIL LATER AND YOU'RE THINKING 436 00:11:29,088 --> 00:11:30,790 ABOUT IT AGAIN AND YOU'RE LIKE 437 00:11:30,857 --> 00:11:31,991 OH, I LIKE THAT. 438 00:11:32,058 --> 00:11:33,459 >> BEN: INSPIRATION COMES FROM 439 00:11:33,526 --> 00:11:34,060 ANYWHERE, LIFE, 440 00:11:34,127 --> 00:11:35,828 MOSTLY LIFE AND WHAT YOU DO 441 00:11:35,895 --> 00:11:37,597 WITH IT AND WHAT YOU SEE. 442 00:11:37,664 --> 00:11:38,198 IT'S OBSERVATIONS, 443 00:11:38,264 --> 00:11:39,065 IT'S PERSONAL EXPERIENCES, 444 00:11:39,132 --> 00:11:39,966 IT'S MUSICAL INSPIRATION. 445 00:11:40,033 --> 00:11:41,734 >> TOMMY: I DO FEEL LIKE 446 00:11:41,801 --> 00:11:42,635 THE BEST SONGS, 447 00:11:42,702 --> 00:11:44,103 OR MY FAVORITE SONGS THAT 448 00:11:44,170 --> 00:11:45,872 I'VE WRITTEN HAVE BEEN THE ONES 449 00:11:45,939 --> 00:11:47,941 THAT I DON'T FEEL LIKE I WROTE 450 00:11:48,007 --> 00:11:48,241 THEM. 451 00:11:48,308 --> 00:11:48,541 LIKE, 452 00:11:48,608 --> 00:11:50,310 I DON'T KNOW WHERE THEY CAME 453 00:11:50,376 --> 00:11:50,610 FROM. 454 00:11:50,677 --> 00:11:52,679 THE ONES THAT WILL JUST LIKE POP 455 00:11:52,745 --> 00:11:53,379 OUT AND I'LL BE LIKE I FEEL LIKE 456 00:11:53,446 --> 00:11:54,581 I'VE HEARD THAT SOMEWHERE 457 00:11:54,647 --> 00:11:55,748 BUT I'M... 458 00:11:55,815 --> 00:11:57,951 I THINK I JUST WROTE THAT. 459 00:11:58,952 --> 00:12:01,354 * FROM ADULTHOOD, 460 00:12:01,421 --> 00:12:03,957 NO ONE SURVIVES. * 461 00:12:09,429 --> 00:12:10,063 >> BEN: I THINK THE LIFE 462 00:12:10,129 --> 00:12:10,763 OF A SONG IS... 463 00:12:10,830 --> 00:12:11,631 I WAS THINKING ABOUT THIS LAST 464 00:12:11,698 --> 00:12:12,765 WEEK WHEN WE WERE PLAYING UP 465 00:12:12,832 --> 00:12:13,166 IN PHILADELPHIA. 466 00:12:13,233 --> 00:12:14,100 AND HAD 1,100 PEOPLE THERE. 467 00:12:14,167 --> 00:12:15,068 AND WE WERE PLAYING SONGS 468 00:12:15,134 --> 00:12:16,002 THAT WE HAD PLAYED IN 469 00:12:16,069 --> 00:12:17,170 PHILADELPHIA YEARS AGO, 470 00:12:17,237 --> 00:12:18,304 IN FRONT OF 10 PEOPLE AT THIS 471 00:12:18,371 --> 00:12:19,739 CRAPPY LITTLE DIVE BAR. 472 00:12:19,806 --> 00:12:20,540 AND IT'S THE SAME SONGS WE'RE 473 00:12:20,607 --> 00:12:21,241 PLAYING THEN AS WE'RE PLAYING 474 00:12:21,307 --> 00:12:22,008 NOW. 475 00:12:22,075 --> 00:12:23,076 AND THE LIFE OF A SONG 476 00:12:23,142 --> 00:12:24,310 IS COMPLETELY UNPREDICTABLE. 477 00:12:24,377 --> 00:12:25,178 YOU DON'T KNOW WHAT'S GOING 478 00:12:25,245 --> 00:12:25,612 TO STICK, 479 00:12:25,678 --> 00:12:26,412 WHAT'S GOING TO RESONATE, 480 00:12:26,479 --> 00:12:27,280 HOW LONG IT TAKES. 481 00:12:28,214 --> 00:12:28,915 * I DON'T WANT ANY 482 00:12:28,982 --> 00:12:31,351 MORE DOORS, * 483 00:12:31,417 --> 00:12:32,752 * 'CAUSE I'M WALKING ON 484 00:12:32,819 --> 00:12:34,354 A STRING. * 485 00:12:35,488 --> 00:12:36,055 >> TOMMY: WHEN PEOPLE RESPOND 486 00:12:36,122 --> 00:12:36,789 TO A SONG, 487 00:12:36,856 --> 00:12:37,857 THAT'S DEFINITELY THE REWARD 488 00:12:37,924 --> 00:12:38,758 FOR US. 489 00:12:38,825 --> 00:12:39,826 WE'VE ALWAYS BEEN A HEAVILY 490 00:12:39,892 --> 00:12:41,327 TOURING OPERATION, 491 00:12:41,394 --> 00:12:44,030 AND SO SEEING DIRECTLY 492 00:12:44,097 --> 00:12:44,998 THE GRATIFICATION PEOPLE ARE 493 00:12:45,064 --> 00:12:45,698 GETTING OUT OF A SONG 494 00:12:45,765 --> 00:12:47,166 IS EVERYTHING. 495 00:12:47,233 --> 00:12:47,967 >> BEN: IT'S A SURREAL 496 00:12:48,034 --> 00:12:50,136 EXPERIENCE SEEING PEOPLE SING 497 00:12:50,203 --> 00:12:50,803 YOUR SONG. 498 00:12:50,870 --> 00:12:52,005 IT'S SIMULTANEOUSLY WHAT YOU 499 00:12:52,071 --> 00:12:53,406 WROTE THE SONG. 500 00:12:53,473 --> 00:12:54,307 LIKE WHEN YOU WRITE A SONG 501 00:12:54,374 --> 00:12:55,308 YOU HOPE THAT THAT HAPPENS. 502 00:12:55,375 --> 00:12:56,376 SOMEWHERE IN YOUR BRAIN, 503 00:12:56,442 --> 00:12:57,577 YOU WANT PEOPLE TO SING ALONG, 504 00:12:57,644 --> 00:12:58,478 IT'S WHY YOU WRITE A SONG, 505 00:12:58,544 --> 00:12:59,679 BUT AT THE SAME TIME, 506 00:12:59,746 --> 00:13:00,780 IT'S ALWAYS A SURPRISE. 507 00:13:00,847 --> 00:13:02,448 >> TOMMY: I THINK IF YOU WROTE 508 00:13:02,515 --> 00:13:03,816 WITH THAT IN MIND, 509 00:13:03,883 --> 00:13:04,751 YOU PROBABLY WOULDN'T END UP 510 00:13:04,817 --> 00:13:06,486 WRITING VERY HEARTFELT OR GOOD 511 00:13:06,552 --> 00:13:07,220 SONGS. 512 00:13:07,287 --> 00:13:08,388 THEY WOULD JUST BE REALLY, 513 00:13:08,454 --> 00:13:09,289 SONGS THAT PEOPLE CAN SING 514 00:13:09,355 --> 00:13:10,556 ALONG TO. 515 00:13:10,623 --> 00:13:12,725 SO IT KIND OF FEELS LUCKY EVERY 516 00:13:12,792 --> 00:13:13,426 TIME IT HAPPENS. 517 00:13:13,493 --> 00:13:14,360 BECAUSE I DON'T THINK EITHER 518 00:13:14,427 --> 00:13:15,361 OF US WRITE WITH THE INTENTION 519 00:13:15,428 --> 00:13:17,830 OF I WANT THE CROWD TO CLAP, 520 00:13:17,897 --> 00:13:18,698 OR I WANT THE CROWD TO SING 521 00:13:18,765 --> 00:13:19,465 ALONG TO THIS SONG. 522 00:13:19,532 --> 00:13:20,967 IT JUST HAPPENS AND THAT MAKES 523 00:13:21,034 --> 00:13:22,935 IT EVEN MORE SPECIAL. 524 00:13:23,169 --> 00:13:24,003 * I NEED IT, 525 00:13:24,070 --> 00:13:24,971 I WANT IT, * 526 00:13:25,038 --> 00:13:27,106 * I WANT SOMEBODY, BABY. 527 00:13:27,173 --> 00:13:30,710 NOW THIS IS MY TURN. * 528 00:13:31,544 --> 00:13:32,412 >> BEN: REALIZING THAT WE COULD 529 00:13:32,478 --> 00:13:34,714 DO THIS AND REALLY GIVE IT A GO 530 00:13:34,781 --> 00:13:36,182 IS A SLOW PROCESS. 531 00:13:36,249 --> 00:13:38,217 IT'S THESE LITTLE ACHIEVEMENTS 532 00:13:38,284 --> 00:13:39,352 THAT ALL OF A SUDDEN SORT 533 00:13:39,419 --> 00:13:40,153 OF SIGNAL THAT THERE COULD BE 534 00:13:40,219 --> 00:13:41,287 MORE HERE, 535 00:13:41,354 --> 00:13:42,689 WE COULD DO SOMETHING, 536 00:13:42,755 --> 00:13:43,923 AND AS THE YEARS HAVE GONE ON, 537 00:13:43,990 --> 00:13:45,825 THAT'S JUST CONTINUED TO HAPPEN. 538 00:13:45,892 --> 00:13:46,893 THERE'S BEEN EVERY NOW AND AGAIN 539 00:13:46,959 --> 00:13:49,295 A STEP OR A MOMENT WHERE WE ALL 540 00:13:49,362 --> 00:13:51,931 SORT OF SILENTLY AGREE YEAH, 541 00:13:51,998 --> 00:13:52,832 WE'RE GOING TO KEEP DOING THIS, 542 00:13:52,899 --> 00:13:53,599 LET'S KEEP SEEING HOW FAR WE CAN 543 00:13:53,666 --> 00:13:55,234 TAKE THIS. 544 00:13:56,269 --> 00:13:59,706 * "OOH, OH." 545 00:14:06,479 --> 00:14:07,113 >> IAN: TO FIND OUT 546 00:14:07,180 --> 00:14:08,548 "JUKEBOX THE GHOST'S" TOURING 547 00:14:08,614 --> 00:14:09,449 SCHEDULE, 548 00:14:09,515 --> 00:14:11,884 VISIT JUKEBOXTHEGHOST.COM. 549 00:14:18,391 --> 00:14:19,692 >> RHEA: THE STORY OF FABERGE 550 00:14:19,759 --> 00:14:21,861 IS LIKE A RUSSIAN FAIRY TALE 551 00:14:21,928 --> 00:14:23,029 AND NOW THERE'S 552 00:14:23,096 --> 00:14:23,996 AN EXHIBIT CALLED 553 00:14:24,063 --> 00:14:26,232 "FABERGE A BRILLIANT VISION" 554 00:14:26,299 --> 00:14:27,567 AND IT'S AT THE HOUSTON MUSEUM 555 00:14:27,633 --> 00:14:29,402 OF NATURAL SCIENCE. 556 00:14:29,469 --> 00:14:30,036 >> IAN: I WAS INTRIGUED 557 00:14:30,103 --> 00:14:31,037 THAT NO ONE'S BEEN ABLE TO 558 00:14:31,104 --> 00:14:32,772 REPLICATE THEIR SECRET ENAMELING 559 00:14:32,839 --> 00:14:33,639 PROCESS. 560 00:14:33,706 --> 00:14:34,140 >> RHEA: I KNOW YOUR ARE 561 00:14:34,207 --> 00:14:34,941 ABSOLUTELY RIGHT. 562 00:14:35,007 --> 00:14:36,242 SO IF YOU'VE GOT, OH, 563 00:14:36,309 --> 00:14:37,477 TWENTY-FIVE MILLION DOLLARS 564 00:14:37,543 --> 00:14:40,113 OR SO YOU CAN GET AN IMPERIAL 565 00:14:40,179 --> 00:14:41,147 "FABERGE" OF YOUR VERY OWN. 566 00:14:41,214 --> 00:14:43,416 TAKE A LOOK. 567 00:14:54,794 --> 00:14:55,361 >> JIM ADAMS: "FABERGE'S" 568 00:14:55,428 --> 00:14:56,329 ENAMELING TECHNIQUES WERE 569 00:14:56,396 --> 00:14:57,563 COVETED BY ALL JEWELERS 570 00:14:57,630 --> 00:14:58,331 IN THE WORLD, 571 00:14:58,398 --> 00:15:00,466 EVEN CARTIER LOUIE CARTIER, 572 00:15:00,533 --> 00:15:02,869 IN PARIS SAID WHAT YOU DO 573 00:15:02,935 --> 00:15:04,103 IN SAINT PETERSBURG IN ENAMEL, 574 00:15:04,170 --> 00:15:05,238 WE CAN'T EVEN COME CLOSE TO HERE 575 00:15:05,304 --> 00:15:06,272 IN PARIS; 576 00:15:06,339 --> 00:15:08,241 ENAMEL IS BASICALLY POWERED 577 00:15:08,307 --> 00:15:10,610 GLASS MIXED WITH METAL OXIDES 578 00:15:10,676 --> 00:15:11,744 TO CHANGE THE COLOR, 579 00:15:11,811 --> 00:15:14,147 AND THEN FIRED AT 1300 DEGREES 580 00:15:14,213 --> 00:15:15,782 FAHRENHEIT TO CREATE THIS 581 00:15:15,848 --> 00:15:17,016 BEAUTIFUL GLASSY CERVIX, 582 00:15:17,083 --> 00:15:18,718 WHICH YOU SEE ON THESE OBJECTS. 583 00:15:18,785 --> 00:15:19,786 HE WOULD OFTEN ENGRAVE 584 00:15:19,852 --> 00:15:21,254 THE GROUND UNDERNEATH WITH 585 00:15:21,320 --> 00:15:22,588 A BEAUTIFUL PATTERN, 586 00:15:22,655 --> 00:15:24,023 AND THEN PUT TRANSLUCENT ENAMEL 587 00:15:24,090 --> 00:15:25,558 OVER THAT SO THAT YOU WOULD SEE 588 00:15:25,625 --> 00:15:27,326 THROUGH THE ENAMEL TO THIS 589 00:15:27,393 --> 00:15:29,729 INCREDIBLE PATTERN UNDERNEATH. 590 00:15:29,796 --> 00:15:31,130 IT'S CALLED "GUILLOCHE WORK" 591 00:15:31,197 --> 00:15:33,599 AND HE WAS A MASTER OF THAT. 592 00:15:33,666 --> 00:15:35,368 WELL THE ROYAL FAMILY ROMANOFF'S 593 00:15:35,435 --> 00:15:37,136 GOT INVOLVED WITH CARL FABERGE 594 00:15:37,203 --> 00:15:38,171 UNDER ALEXANDER III. 595 00:15:38,237 --> 00:15:39,939 HE DECIDED ONE EASTER THAT 596 00:15:40,006 --> 00:15:42,408 HE WANTED TO HAVE AN EASTER EGG 597 00:15:42,475 --> 00:15:43,810 GIVEN TO HIS WIFE, 598 00:15:43,876 --> 00:15:45,578 AND YOU CAN'T JUST CARVE 599 00:15:45,645 --> 00:15:47,680 A WOODEN EASTER EGG IF YOU'RE 600 00:15:47,747 --> 00:15:48,047 TSAR, 601 00:15:48,114 --> 00:15:50,149 LIKE MOST PEOPLE IN RUSSIA DID 602 00:15:50,216 --> 00:15:51,217 AT EASTER TIME; 603 00:15:51,284 --> 00:15:52,351 HE WANTED SOMETHING SPECIAL. 604 00:15:52,418 --> 00:15:54,086 >> TATIANA FABERGE: HE SAID THAT 605 00:15:54,153 --> 00:15:55,521 HE WANTED TO HAVE SOMETHING 606 00:15:55,588 --> 00:15:57,223 THAT WOULD PLEASE HIM THAT WOULD 607 00:15:57,290 --> 00:15:59,225 NOT BE A REPEATED AND NOT MADE 608 00:15:59,292 --> 00:16:02,895 FOR OTHER PEOPLE. 609 00:16:02,962 --> 00:16:03,996 SO, 610 00:16:04,063 --> 00:16:05,598 FABERGE CAME WITH THE IDEA 611 00:16:05,665 --> 00:16:07,567 OF A SIMPLE EGG, 612 00:16:07,633 --> 00:16:11,704 IT WAS WHITE ENAMEL. 613 00:16:11,771 --> 00:16:13,806 IT LOOKED LIKE A REAL HEN EGG 614 00:16:13,873 --> 00:16:14,874 AND WHEN YOU OPENED IT, 615 00:16:14,941 --> 00:16:16,976 THERE WERE SURPRISES INSIDE. 616 00:16:17,043 --> 00:16:19,245 AND THE EMPRESS WAS ABSOLUTELY 617 00:16:19,312 --> 00:16:21,247 PLEASED WITH IT. 618 00:16:21,314 --> 00:16:22,348 SO, 619 00:16:22,415 --> 00:16:24,083 HE GOT A CARTE BLANCHE 620 00:16:24,150 --> 00:16:25,985 FOR THE NEXT YEAR TO MAKE 621 00:16:26,052 --> 00:16:28,988 ANOTHER EGG AND THAT'S HOW 622 00:16:29,055 --> 00:16:32,191 IT SORT OF STARTED. 623 00:16:32,258 --> 00:16:32,959 >> JIM: THE IMPERIAL DIAMOND 624 00:16:33,025 --> 00:16:33,893 TRELLIS EGG WAS GIVEN BY 625 00:16:33,960 --> 00:16:36,195 ALEXANDER III TO HIS WIFE 626 00:16:36,262 --> 00:16:37,730 MARIA FYODOROVNA, 627 00:16:37,797 --> 00:16:39,932 AND IT WAS MADE OF BOLONITE 628 00:16:39,999 --> 00:16:41,467 AND IT HAS DIAMOND AND PLATINUM 629 00:16:41,534 --> 00:16:43,436 TRELLIS ALL OVER IT. 630 00:16:43,503 --> 00:16:44,337 ORIGINALLY, 631 00:16:44,403 --> 00:16:45,271 WE KNOW FROM ARCHIVAL 632 00:16:45,338 --> 00:16:46,873 PHOTOGRAPHS THAT IT HAD A STAND 633 00:16:46,939 --> 00:16:48,174 WITH THREE CUPIDS ON IT HOLDING 634 00:16:48,241 --> 00:16:49,175 IT UP, 635 00:16:49,242 --> 00:16:51,077 AND ON THE INSIDE THE SURPRISE. 636 00:16:51,143 --> 00:16:52,778 CAUSE EVERY EGG HAD A SURPRISE, 637 00:16:52,845 --> 00:16:54,180 WAS A LITTLE ELEPHANT WITH 638 00:16:54,247 --> 00:16:55,314 A MAN ON TOP AND YOU WOULD 639 00:16:55,381 --> 00:16:56,315 WIND IT UP AND THE ELEPHANT 640 00:16:56,382 --> 00:16:58,718 WALKED ACROSS THE TABLE. 641 00:16:58,784 --> 00:17:00,052 ZARINA WAS SO THRILLED WITH IT 642 00:17:00,119 --> 00:17:02,088 THAT HE ORDERED ONE EVERY YEAR 643 00:17:02,154 --> 00:17:04,390 FROM FABERGE. 644 00:17:04,457 --> 00:17:05,324 >> TATIANA: IT CONTINUED UNTIL 645 00:17:05,391 --> 00:17:06,392 THE REVOLUTION. 646 00:17:06,459 --> 00:17:07,059 SO, 647 00:17:07,126 --> 00:17:10,263 THEN ALEXANDER III DIED AND WAS 648 00:17:10,329 --> 00:17:12,832 REPLACED BY NICHOLAS II 649 00:17:12,899 --> 00:17:14,667 AND THEN SO FABERGE MADE 650 00:17:14,734 --> 00:17:16,035 TWO EGGS EVERY YEA 651 00:17:16,102 --> 00:17:19,505 ONE FOR THE MOTHER AND ONE 652 00:17:19,572 --> 00:17:22,742 FOR THE NEW EMPRESS. 653 00:17:22,808 --> 00:17:24,143 >> JIM: HE HAD SEVERAL CLIENTS 654 00:17:24,210 --> 00:17:25,745 THAT WERE VERY VERY WEALTHY 655 00:17:25,811 --> 00:17:28,381 LIKE NOBEL AND KELCH WHO HAD 656 00:17:28,447 --> 00:17:29,582 LOTS OF MONEY AND WANTED 657 00:17:29,649 --> 00:17:31,717 IMPERIAL QUALITY EASTER EGGS 658 00:17:31,784 --> 00:17:33,352 TO GIVE TO THEIR WIVES BECAUSE 659 00:17:33,419 --> 00:17:34,353 THEY COULD AFFORD IT. 660 00:17:34,420 --> 00:17:35,821 SO, WITH A NOBEL EGG, 661 00:17:35,888 --> 00:17:37,557 WE HAVE THIS PLATINUM EGG 662 00:17:37,623 --> 00:17:38,925 THAT HAS SEVERAL LAYERS 663 00:17:38,991 --> 00:17:40,960 OF ENAMEL ON IT THAT IS ENGRAVED 664 00:17:41,027 --> 00:17:43,296 AND ETCHED WITH SNOWFLAKE 665 00:17:43,362 --> 00:17:44,196 PATTERNS. 666 00:17:44,263 --> 00:17:44,931 IT'S EXQUISITE. 667 00:17:44,997 --> 00:17:46,732 WHEN YOU OPEN IT UP, 668 00:17:46,799 --> 00:17:48,568 YOU HAVE THIS WATCH ACTUALLY 669 00:17:48,634 --> 00:17:51,470 IN A FORM OF A PIECE OF ICE 670 00:17:51,537 --> 00:17:53,306 WITH ICE CRYSTALS ON IT 671 00:17:53,372 --> 00:17:54,740 WITH PLATINUM AND DIAMOND. 672 00:17:54,807 --> 00:17:56,576 ALEXANDER KELCH WAS A MINING 673 00:17:56,642 --> 00:17:58,144 MAGNET IN RUSSIA. 674 00:17:58,210 --> 00:17:59,378 THE KELCH EGG THAT WE HAVE HERE 675 00:17:59,445 --> 00:18:01,881 IS CALLED THE "ROCAILLE EGG." 676 00:18:01,948 --> 00:18:03,583 THE "ROCAILLE EGG" HAS THIS 677 00:18:03,649 --> 00:18:05,318 WONDERFUL LOUIE THE 15TH STYLE 678 00:18:05,384 --> 00:18:07,353 ROCOCO DECORATION ON IT, 679 00:18:07,420 --> 00:18:08,788 WITH TWO PALM TREES SYMBOLIZING 680 00:18:08,854 --> 00:18:11,057 "PALM SUNDAY" 681 00:18:11,123 --> 00:18:12,692 AND IT'S IN A DEEP GREEN 682 00:18:12,758 --> 00:18:13,859 GUILLOCHE ENAMEL SO YOU CAN SEE 683 00:18:13,926 --> 00:18:15,828 THE PATTERN UNDERNEATH THE GREEN 684 00:18:15,895 --> 00:18:16,495 ENAMEL, 685 00:18:16,562 --> 00:18:17,530 THAT OVER THAT YOU HAVE THIS 686 00:18:17,597 --> 00:18:19,799 ROCOCO CAGE WORK WITH PLATINUM 687 00:18:19,865 --> 00:18:21,000 AND DIAMONDS. 688 00:18:21,067 --> 00:18:22,268 IT'S AN EXQUISITE PIECE. 689 00:18:22,335 --> 00:18:23,803 THE TURN OF THE CENTURY YOU HAVE 690 00:18:23,869 --> 00:18:25,638 THE INVENTION OF PHOTOGRAPHY. 691 00:18:25,705 --> 00:18:26,772 SO, 692 00:18:26,839 --> 00:18:28,307 WE FIND THAT HE'S CATERING TO 693 00:18:28,374 --> 00:18:30,309 THIS NEW PASSION FOR PHOTOGRAPHY 694 00:18:30,376 --> 00:18:32,812 BY CREATING PICTURE FRAMES. 695 00:18:32,878 --> 00:18:34,413 WOOD FRAMES, ENAMELED FRAMES, 696 00:18:34,480 --> 00:18:36,515 GILDED FRAMES FROM VERY SIMPLE 697 00:18:36,582 --> 00:18:39,051 TO VERY ELABORATE FOR THIS 698 00:18:39,118 --> 00:18:40,586 NEW VICTORIAN PASSION 699 00:18:40,653 --> 00:18:41,587 FOR PHOTOGRAPHY. 700 00:18:41,654 --> 00:18:43,089 WE HAVE BELL PUSHES BECAUSE 701 00:18:43,155 --> 00:18:44,657 OF THE INVENTION ELECTRICITY 702 00:18:44,724 --> 00:18:46,058 WE NO LONGER HAVE A BELL POLE 703 00:18:46,125 --> 00:18:47,360 FOR A SERVANT, BUT, 704 00:18:47,426 --> 00:18:48,728 YOU PUSH A BUTTON AND IT RINGS 705 00:18:48,794 --> 00:18:49,662 A BUZZER IN THE BASEMENT 706 00:18:49,729 --> 00:18:51,731 FOR THE SERVANT. 707 00:18:51,797 --> 00:18:52,932 CIGARETTE SMOKING CAME ABOUT 708 00:18:52,999 --> 00:18:53,866 AFTER THE CRIMEAN WAR 709 00:18:53,933 --> 00:18:55,401 IN THE LATE 1800'S. 710 00:18:55,468 --> 00:18:56,268 IT BECAME VERY POPULAR 711 00:18:56,335 --> 00:18:57,503 WITH BOTH MEN AND WOMEN. 712 00:18:57,570 --> 00:18:58,204 SO, 713 00:18:58,270 --> 00:18:59,138 THIS WAS A WHOLE NEW MARKET 714 00:18:59,205 --> 00:19:01,007 FOR FABERGE TO CATER TO THEM 715 00:19:01,073 --> 00:19:01,941 WITH THESE BEAUTIFUL CIGARETTE 716 00:19:02,008 --> 00:19:08,948 CASES. 717 00:19:09,015 --> 00:19:09,682 THE STORY OF NICHOLAS 718 00:19:09,749 --> 00:19:10,583 AND ALEXANDER AND THEIR FIVE 719 00:19:10,650 --> 00:19:11,917 CHILDREN IS VERY ROMANTIC. 720 00:19:11,984 --> 00:19:13,619 IT WAS A WONDERFUL STORY, 721 00:19:13,686 --> 00:19:14,153 BUT, 722 00:19:14,220 --> 00:19:14,887 UNFORTUNATELY THEY HAD A TRAGIC 723 00:19:14,954 --> 00:19:15,488 END. 724 00:19:15,554 --> 00:19:16,355 THEY WERE ALL MURDERED BY 725 00:19:16,422 --> 00:19:18,624 THE BOLSHEVIK'S IN 1918. 726 00:19:18,691 --> 00:19:20,993 AND CARL FABERGE WAS GIVEN 727 00:19:21,060 --> 00:19:22,194 15 MINUTES TO GET OUT OF HIS 728 00:19:22,261 --> 00:19:23,095 PLACE, 729 00:19:23,162 --> 00:19:24,597 JUST TO GET HIS HAT AND HIS COAT 730 00:19:24,664 --> 00:19:25,731 AND TO LEAVE HIS PREMISES DURING 731 00:19:25,798 --> 00:19:27,133 THE REVOLUTION. 732 00:19:27,199 --> 00:19:28,901 THE BRITISH EMBASSY HAD TO GET 733 00:19:28,968 --> 00:19:30,136 HIM OUT DISGUISED 734 00:19:30,202 --> 00:19:31,904 AS A BRITISH COURTIER AND HE 735 00:19:31,971 --> 00:19:32,872 ENDED UP LIVING IN SWITZERLAND 736 00:19:32,938 --> 00:19:38,778 AND DYING IN 1920. 737 00:19:38,844 --> 00:19:40,613 IF A FABERGE IMPERIAL EASTER EGG 738 00:19:40,680 --> 00:19:41,847 CAME ON THE MARKET TODAY, 739 00:19:41,914 --> 00:19:42,848 IT WOULD GO ANYWHERE FROM 740 00:19:42,915 --> 00:19:44,717 25-30 MILLION DOLLARS MOST 741 00:19:44,784 --> 00:19:46,952 LIKELY. 742 00:19:52,692 --> 00:19:53,993 >> RHEA: A FEW YEARS AGO WE HAD 743 00:19:54,060 --> 00:19:56,062 AN EXHIBIT OF "FABERGE EGGS" 744 00:19:56,128 --> 00:19:58,364 AT THE WALTER'S ART MUSEUM. 745 00:19:58,431 --> 00:19:59,398 AS FAR AS THESE ARE CONCERN, 746 00:19:59,465 --> 00:20:00,499 I THINK MY FAVORITE WAS 747 00:20:00,566 --> 00:20:01,701 THE FROSTED EGG WITH 748 00:20:01,767 --> 00:20:03,369 THE SURPRISE ICE CRYSTAL 749 00:20:03,436 --> 00:20:05,738 WATCH STUDDED WITH DIAMONDS. 750 00:20:05,805 --> 00:20:07,239 >> IAN: I WAS STRUCK BY HOW 751 00:20:07,306 --> 00:20:08,574 MODERN ADVANCES WERE REFLECTED 752 00:20:08,641 --> 00:20:10,376 IN THE DESIGNS. 753 00:20:10,443 --> 00:20:11,877 AND I GUESS DIAMONDS 754 00:20:11,944 --> 00:20:13,612 ARE RHEA'S BEST FRIEND! 755 00:20:13,679 --> 00:20:15,581 >> RHEA: WELL INDEED, 756 00:20:15,648 --> 00:20:17,650 OUR LAST ARTIST'S WORK COULDN'T 757 00:20:17,717 --> 00:20:19,085 BE MORE OPPOSITE THAN 758 00:20:19,151 --> 00:20:21,053 FABERGE'S DELICATE DESIGNS. 759 00:20:21,120 --> 00:20:23,022 THIS ARTIST REALLY LAYS IT ON 760 00:20:23,089 --> 00:20:24,290 THICK. 761 00:20:24,356 --> 00:20:25,825 IN PAINTS, I MEAN. 762 00:20:25,891 --> 00:20:26,792 >> IAN: LITERALLY, 763 00:20:26,859 --> 00:20:27,893 JIAN WANG BUYS TUBES OF PAINT 764 00:20:27,960 --> 00:20:29,495 IN BULK. 765 00:20:29,562 --> 00:20:30,996 NEXT TO HIS SWIRLING LANDSCAPES, 766 00:20:31,063 --> 00:20:33,432 VAN GOGH LOOKS POSITIVELY TAME. 767 00:20:33,499 --> 00:20:34,333 CHECK IT OUT. 768 00:20:36,469 --> 00:20:36,969 >> ROB STEWART: NORTHERN 769 00:20:37,036 --> 00:20:39,138 CALIFORNIA IS RICH WITH CULTURAL 770 00:20:39,205 --> 00:20:39,972 DIVERSITY AND TALENT. 771 00:20:40,039 --> 00:20:41,574 ONE OF THIS AREA'S BRIGHTEST 772 00:20:41,640 --> 00:20:44,243 GEMS IS HARD AT WORK BEHIND ME 773 00:20:44,310 --> 00:20:45,144 RIGHT NOW. 774 00:20:45,211 --> 00:20:46,045 JIAN WANG, 775 00:20:46,112 --> 00:20:46,479 CONTEMPORARY ARTIST, 776 00:20:46,545 --> 00:20:47,179 GOOD TO SEE YOU. 777 00:20:47,246 --> 00:20:48,514 >> JIAN WANG: GOOD TO SEE YOU, 778 00:20:48,581 --> 00:20:48,681 ROB. 779 00:20:48,748 --> 00:20:50,015 >> ROB: THANK YOU FOR HAVING US 780 00:20:50,082 --> 00:20:50,950 AT YOUR CARMICHAEL HOME HERE. 781 00:20:51,016 --> 00:20:51,717 YOU'RE PAINTING THESE BEAUTIFUL 782 00:20:51,784 --> 00:20:52,284 OAK TREES HERE. 783 00:20:52,351 --> 00:20:53,419 >> JIAN: YES, IT'S MY PLEASURE. 784 00:20:53,486 --> 00:20:54,286 >> ROB: IT'S AMAZING TO SEE HOW 785 00:20:54,353 --> 00:20:55,721 QUICKLY YOU WORK. 786 00:20:55,788 --> 00:20:57,356 I'M IN AWE OF HOW FAST THIS IS. 787 00:20:57,423 --> 00:20:59,658 >> JIAN: I CONSIDER MYSELF 788 00:20:59,725 --> 00:21:02,728 LIKE A 100-METER DASHER RATHER 789 00:21:02,795 --> 00:21:04,430 THAN A MARATHON RUNNER. 790 00:21:04,497 --> 00:21:07,600 BUT AFTER THE INITIAL PAINTING 791 00:21:07,666 --> 00:21:09,135 COVERS UP THE CANVAS, 792 00:21:09,201 --> 00:21:11,470 I WORK VERY CAREFULLY TO FIX 793 00:21:11,537 --> 00:21:13,405 UP ALL THE DETAILS. 794 00:21:13,472 --> 00:21:14,206 >> ROB: THE TOUCH UPS. 795 00:21:14,273 --> 00:21:15,541 >> JIAN: THE TOUCH UPS WHICH 796 00:21:15,608 --> 00:21:17,943 THE VIEWER MAY NOT SEE 797 00:21:18,010 --> 00:21:19,545 THE CORRECTIONS THAT I HAVE MADE 798 00:21:19,612 --> 00:21:23,883 SO THAT IT WOULD HAVE HARMONY 799 00:21:23,949 --> 00:21:25,518 TO THE WHOLE CANVASES. 800 00:21:25,584 --> 00:21:26,285 >> ROB: WHERE DO YOU FIND 801 00:21:26,352 --> 00:21:27,086 YOUR INSPIRATION? 802 00:21:27,153 --> 00:21:27,787 TODAY, 803 00:21:27,853 --> 00:21:28,621 YOU'RE PAINTING THESE TREES, 804 00:21:28,687 --> 00:21:29,555 BUT YOU ALSO LOVE THE AMERICAN 805 00:21:29,622 --> 00:21:30,489 RIVER. 806 00:21:30,556 --> 00:21:31,123 >> JIAN: ABSOLUTELY, 807 00:21:31,190 --> 00:21:32,424 I THINK THAT I'VE PAINTED 808 00:21:32,491 --> 00:21:33,659 THE AMERICAN RIVER NO LESS THAN 809 00:21:33,726 --> 00:21:35,594 HUNDREDS OF TIMES. 810 00:21:35,661 --> 00:21:36,762 >> ROB: THEY'RE JUST BEAUTIFUL. 811 00:21:36,829 --> 00:21:39,799 AND YOUR SKIES ARE SO PRETTY. 812 00:21:39,865 --> 00:21:40,766 >> JIAN: THIS IS FROM 813 00:21:40,833 --> 00:21:42,401 THE AMERICAN RIVER SKY. 814 00:21:42,468 --> 00:21:43,569 I CARRIED IT ON ALL 815 00:21:43,636 --> 00:21:44,737 THE DIFFERENT PAINTINGS EVEN 816 00:21:44,804 --> 00:21:47,006 THOUGH THIS IS SAN DIEGO. 817 00:21:47,072 --> 00:21:48,007 >> ROB: DO YOU PREFER PAINTING 818 00:21:48,073 --> 00:21:49,608 NATURE. 819 00:21:49,675 --> 00:21:51,143 >> JIAN: FOR ME, 820 00:21:51,210 --> 00:21:52,711 I THINK ANY VISUAL ELEMENTS 821 00:21:52,778 --> 00:21:54,413 THAT IS INTERESTING TO ME 822 00:21:54,480 --> 00:21:55,748 AND NATURE, 823 00:21:55,815 --> 00:21:56,982 IF YOU CONSIDER IT A SET UP 824 00:21:57,049 --> 00:21:59,618 STILL LIFE, AND UH, 825 00:21:59,685 --> 00:22:03,823 OR THE WONDER OF A HUMAN FACE. 826 00:22:03,889 --> 00:22:05,591 AND TO ME ALL VERY 827 00:22:05,658 --> 00:22:06,492 INSPIRATIONAL. 828 00:22:06,559 --> 00:22:07,393 >> ROB: NOW YOU CAME TO 829 00:22:07,459 --> 00:22:09,061 THE STATES IN 1986 FROM CHINA. 830 00:22:09,128 --> 00:22:10,429 DESCRIBE THE TYPE OF PAINTING 831 00:22:10,496 --> 00:22:11,263 THAT YOU DO. 832 00:22:11,330 --> 00:22:12,097 IT IS CONTEMPORARY, 833 00:22:12,164 --> 00:22:13,766 BUT HOW WOULD YOU DESCRIBE 834 00:22:13,833 --> 00:22:15,100 IT TO SOMEONE. 835 00:22:15,167 --> 00:22:17,770 >> JIAN: I THINK A MORE 836 00:22:17,837 --> 00:22:19,905 EXPRESSIONISTIC WAY OF HANDLING 837 00:22:19,972 --> 00:22:21,540 THE PAINTING SURFACE. 838 00:22:21,607 --> 00:22:24,910 WHICH MEANS THAT YOU ARE NOT 839 00:22:24,977 --> 00:22:28,080 MIMICKING THE NATURE, 840 00:22:28,147 --> 00:22:30,549 BUT TO EXPRESS IN YOUR OWN 841 00:22:30,616 --> 00:22:32,818 INDIVIDUAL WAY OF WHAT NATURE 842 00:22:32,885 --> 00:22:35,988 IS IN YOUR ARTISTIC SENSE, 843 00:22:36,055 --> 00:22:38,591 RATHER THAN A PICTORIAL SENSE? 844 00:22:38,657 --> 00:22:41,660 MOST ARTISTS THAT ARE WORKING 845 00:22:41,727 --> 00:22:45,297 ARE PREMIX THE COLOR ON PALLETS, 846 00:22:45,364 --> 00:22:48,000 BUT WHAT I DID FOR MY PAINTING 847 00:22:48,067 --> 00:22:49,969 IS THAT MOST OF THE COLORS 848 00:22:50,035 --> 00:22:51,871 WERE MIXED RIGHT ON THE CANVAS 849 00:22:51,937 --> 00:22:53,105 WHILE I WAS WORKING ON 850 00:22:53,172 --> 00:22:55,407 THE CANVAS. 851 00:22:55,474 --> 00:22:59,511 SO WHICH HAS THE ADVANTAGE 852 00:22:59,578 --> 00:23:02,248 OF EACH COLOR, 853 00:23:02,314 --> 00:23:05,150 EACH BRUSHSTROKE CARRIED REALLY 854 00:23:05,217 --> 00:23:06,285 MULTIPLE COLORS. 855 00:23:06,352 --> 00:23:07,119 >> ROB: SO I SEE THAT YOUR PAINT 856 00:23:07,186 --> 00:23:08,487 IS VERY THICK. 857 00:23:08,554 --> 00:23:09,388 HOW LONG DOES IT TAKE FOR THESE 858 00:23:09,455 --> 00:23:10,556 TO DRY? 859 00:23:10,623 --> 00:23:11,624 >> JIAN: IT TAKES ABOUT A HALF 860 00:23:11,690 --> 00:23:12,958 A YEAR TO COMPLETELY DRY. 861 00:23:13,025 --> 00:23:13,959 >> ROB: A HALF A YEAR? 862 00:23:14,026 --> 00:23:14,927 >> JIAN: RIGHT, 863 00:23:14,994 --> 00:23:15,961 BUT THE SURFACE DRIES 864 00:23:16,028 --> 00:23:17,296 IN A COUPLE OF WEEKS. 865 00:23:17,363 --> 00:23:19,498 AND THERE'S NO AIR COMING INTO 866 00:23:19,565 --> 00:23:20,599 IT BECAUSE THE BACK 867 00:23:20,666 --> 00:23:22,735 OF THE CANVAS IS A SEAL. 868 00:23:22,801 --> 00:23:24,536 AND SO THE PAINT IS ACTUALLY 869 00:23:24,603 --> 00:23:25,304 NOT DRY. 870 00:23:25,371 --> 00:23:26,572 IT'S JUST SET. 871 00:23:26,639 --> 00:23:27,606 >> ROB: YOU MUST GO THROUGH 872 00:23:27,673 --> 00:23:28,874 SO MUCH PAINT. 873 00:23:28,941 --> 00:23:29,875 >> JIAN: ABSOLUTELY. 874 00:23:29,942 --> 00:23:33,913 AND I USED UP MAYBE 600 TUBES, 875 00:23:33,979 --> 00:23:36,515 260 A YEAR. 876 00:23:36,582 --> 00:23:38,183 WHEN THEY DELIVER IT AND THEY 877 00:23:38,250 --> 00:23:39,551 COME WITH A LIFTER, 878 00:23:39,618 --> 00:23:40,886 THEY HAVE A PALLET. 879 00:23:40,953 --> 00:23:41,487 >> ROB: A PALLET. 880 00:23:41,553 --> 00:23:42,388 >> JIAN: ABSOLUTELY. 881 00:23:42,454 --> 00:23:43,756 MAYBE A PALLET TO PAINT 882 00:23:43,822 --> 00:23:48,894 AND 2 PALLET CANVASES. 883 00:23:48,961 --> 00:23:51,597 EACH BRUSHSTROKE IS ALIVE. 884 00:23:51,664 --> 00:23:53,265 AND WHEN PEOPLE ONCE SAID, 885 00:23:53,332 --> 00:23:54,600 JIAN'S PAINTINGS ARE NEVER 886 00:23:54,667 --> 00:23:55,301 COMPLETE, 887 00:23:55,367 --> 00:23:57,503 IT'S ALWAYS GIVES YOU A SENSE 888 00:23:57,569 --> 00:24:01,573 OF LIVELINESS AND IT'S LIKE 889 00:24:01,640 --> 00:24:03,575 HE'S STILL WORKING ON IT. 890 00:24:03,642 --> 00:24:06,378 >> ROB: DO YOU EVER GET SAD 891 00:24:06,445 --> 00:24:08,380 TO SEE YOUR PAINTINGS GO? 892 00:24:08,447 --> 00:24:09,982 >> JIAN: NOT QUITE, 893 00:24:10,049 --> 00:24:11,984 BECAUSE I'M AN ARTIST THAT 894 00:24:12,051 --> 00:24:14,787 I HAVE TO LIVE ON AND SECONDLY, 895 00:24:14,853 --> 00:24:17,456 THAT I ALWAYS FANTASIZE THAT 896 00:24:17,523 --> 00:24:19,024 THE UNFINISHED PAINTING 897 00:24:19,091 --> 00:24:22,227 OR THE NEXT PAINTING WILL BE 898 00:24:22,294 --> 00:24:23,829 A BETTER ONE. 899 00:24:23,896 --> 00:24:25,931 NORTHERN CALIFORNIA HAS SUCH 900 00:24:25,998 --> 00:24:28,600 A RICH SEASON THAT'S CHANGING. 901 00:24:28,667 --> 00:24:29,134 VISUALLY, 902 00:24:29,201 --> 00:24:30,936 IT STIMULATES ARTISTS TO MAKE 903 00:24:31,003 --> 00:24:32,771 A GREAT PAINTING. 904 00:24:32,838 --> 00:24:35,841 AND THAT FOR MY OPINION EXPLAINS 905 00:24:35,908 --> 00:24:37,876 IT WHY NORTHERN CALIFORNIA 906 00:24:37,943 --> 00:24:39,411 HAS VERY DISTINGUISHED 907 00:24:39,478 --> 00:24:39,912 PAINTINGS. 908 00:24:39,979 --> 00:24:42,948 AND EVEN THOUGH I BRING MY 909 00:24:43,015 --> 00:24:44,984 PAINTING TO NEW YORK, 910 00:24:45,050 --> 00:24:46,518 MEMPHIS, OR ATLANTA, 911 00:24:46,585 --> 00:24:49,054 I STILL BELIEVE THE QUALITY 912 00:24:49,121 --> 00:24:50,589 IN NORTHERN CALIFORNIA 913 00:24:50,656 --> 00:24:51,590 IS SUPERB. 914 00:24:51,657 --> 00:24:54,660 >> ROB: HOW DOES YOUR ART 915 00:24:54,727 --> 00:24:55,661 INSPIRE YOU? 916 00:24:55,728 --> 00:24:57,329 >> JIAN: ACTUALLY, 917 00:24:57,396 --> 00:24:59,198 IT WAS VERY MUCH LATER ON 918 00:24:59,264 --> 00:25:01,033 WHEN THE PAINTING IS COMPLETED 919 00:25:01,100 --> 00:25:03,268 THAT I AM ABLE TO ENJOY THEM. 920 00:25:03,335 --> 00:25:04,770 BUT WHILE I WAS WORKING ON 921 00:25:04,837 --> 00:25:06,505 A PAINTING, 922 00:25:06,572 --> 00:25:08,474 I RARELY HAVE SATISFACTION 923 00:25:08,540 --> 00:25:09,475 OF IT. 924 00:25:09,541 --> 00:25:10,943 >> ROB: REALLY? 925 00:25:11,010 --> 00:25:13,412 >> JIAN: BECAUSE I'M ALWAYS 926 00:25:13,479 --> 00:25:15,881 FRUSTRATED WITH THE BETTER MIND 927 00:25:15,948 --> 00:25:19,351 THAN WHAT IT SHOWS ON THE CANVAS 928 00:25:19,418 --> 00:25:20,819 WHAT I DID. 929 00:25:20,886 --> 00:25:24,289 AND SO VERY OFTEN WHEN I WAS 930 00:25:24,356 --> 00:25:25,491 LOOKING BACK AT THE PAINTING 931 00:25:25,557 --> 00:25:27,026 A FEW DAYS LATER, 932 00:25:27,092 --> 00:25:27,793 I SAY, WOW, 933 00:25:27,860 --> 00:25:28,894 THAT WAS NOT THAT BAD. 934 00:25:28,961 --> 00:25:30,262 I WAS SO UPSET WITH MYSELF 935 00:25:30,329 --> 00:25:31,597 WHILE I WAS WORKING ON IT. 936 00:25:31,663 --> 00:25:32,264 >> ROB: WELL, 937 00:25:32,331 --> 00:25:32,931 WHATEVER YOU'RE DOING, 938 00:25:32,998 --> 00:25:34,033 YOU'RE DOING RIGHT AND WE 939 00:25:34,099 --> 00:25:34,933 CERTAINLY DO ENJOY YOUR 940 00:25:35,000 --> 00:25:36,035 PAINTINGS AND WE LOVE WATCHING 941 00:25:36,101 --> 00:25:37,836 YOU AT WORK SO I WOULD LOVE TO 942 00:25:37,903 --> 00:25:39,171 WATCH YOU DO SOME MORE PAINTING. 943 00:25:39,238 --> 00:25:40,506 >> JIAN: THANK YOU SO MUCH. 944 00:25:40,572 --> 00:25:41,273 >> ROB: THANK YOU FOR HAVING US 945 00:25:41,340 --> 00:25:42,474 HERE AT YOUR CARMICHAEL HOME 946 00:25:42,541 --> 00:25:43,342 AND STUDIO. 947 00:25:47,046 --> 00:25:47,980 >> RHEA: FOR MORE INFORMATION, 948 00:25:48,047 --> 00:25:48,614 VISIT 949 00:25:48,680 --> 00:25:50,749 GINWANGART.COM. 950 00:26:01,226 --> 00:26:01,860 >> RHEA: THAT'S ALL WE HAVE TIME 951 00:26:01,927 --> 00:26:02,828 FOR TONIGHT, 952 00:26:02,895 --> 00:26:04,463 BUT THERE ARE DOZENS OF PREVIOUS 953 00:26:04,530 --> 00:26:05,731 EPISODES AT 954 00:26:05,798 --> 00:26:08,467 MPT.ORG/ARTWORKS. 955 00:26:08,534 --> 00:26:09,601 I'M RHEA FEIKIN. 956 00:26:09,668 --> 00:26:10,736 >> IAN: AND I'M IAN GALLANAR, 957 00:26:10,803 --> 00:26:11,937 WITH THE CHESAPEAKE SHAKESPEARE 958 00:26:12,037 --> 00:26:12,805 MPANY. 959 00:26:12,871 --> 00:26:13,572 >> RHEA: WE'LL SEE YOU NEXT 960 00:26:13,639 --> 00:26:13,772 WEEK. 961 00:26:13,839 --> 00:26:14,706 THANKS FOR WATCHING. 962 00:26:15,641 --> 00:26:16,375 >> ANNOUNCER: ARTWORKS IS 963 00:26:16,442 --> 00:26:18,343 MADE POSSIBLE IN PART BY 964 00:26:18,410 --> 00:26:19,878 THE CITIZENS OF BALTIMORE. 965 00:26:24,616 --> 00:26:25,617 CLOSED CAPTIONING HAS BEEN 966 00:26:25,684 --> 00:26:27,119 MADE POSSIBLE BY 967 00:26:27,186 --> 00:26:28,153 MARYLAND RELAY, 968 00:26:28,220 --> 00:26:29,655 EMPOWERING THOSE WITH 969 00:26:29,721 --> 00:26:31,023 HEARING AND SPEECH LOSS 970 00:26:31,090 --> 00:26:32,424 TO STAY CONNECTED.