WEBVTT 00:01.168 --> 00:03.270 >> HOST: COMING UP ON ARTWORKS: 00:03.337 --> 00:04.805 AN ANIMATOR AT THE FAMOUS PIXAR 00:04.872 --> 00:07.875 STUDIOS. 00:07.941 --> 00:09.009 SONGWRITERS TALK ABOUT THEIR 00:09.076 --> 00:12.112 INSPIRATION. 00:12.179 --> 00:13.780 FABERGE'S JEWELLED MYSTERIES 00:13.847 --> 00:16.717 WORTH MILLIONS. 00:16.783 --> 00:18.519 AND AN ARTIST'S SPONTANEOUS 00:18.585 --> 00:20.020 RACE TO PAINT. 00:20.087 --> 00:21.989 IT'S ALL AHEAD ON ARTWORKS! 00:22.890 --> 00:23.957 CLOSED CAPTIONING HAS BEEN MADE 00:24.024 --> 00:25.659 POSSIBLE BY MARYLAND RELAY, 00:25.726 --> 00:27.227 EMPOWERING THOSE WHO ARE DEAF, 00:27.294 --> 00:28.729 HARD OF HEARING OR SPEECH 00:28.795 --> 00:30.631 DISABLED TO STAY CONNECTED BY 00:30.697 --> 00:32.032 PHONE. 00:39.373 --> 00:40.240 >> ANNOUNCER: ARTWORKS IS MADE 00:40.307 --> 00:41.942 POSSIBLE IN PART BY 00:42.009 --> 00:43.944 THE CITIZENS OF BALTIMORE. 00:48.649 --> 00:49.249 >> HELLO, 00:49.316 --> 00:50.183 I'M RHEA FEIKIN 00:50.250 --> 00:51.652 AND THIS IS ARTWORKS, 00:51.718 --> 00:53.754 MPT'S WEEKLY ARTS SHOW. 00:53.820 --> 00:54.655 I'D LIKE YOU TO MEET OUR 00:54.721 --> 00:57.124 GUEST CO-HOST, IAN GALLANAR, 00:57.190 --> 00:58.625 FOUNDING ARTISTIC DIRECTOR 00:58.692 --> 00:59.793 FOR THE CHESAPEAKE SHAKESPEARE 00:59.860 --> 01:00.627 COMPANY. 01:00.694 --> 01:01.461 WELCOME, IAN! 01:01.528 --> 01:02.062 >> IAN: I'M GLAD TO BE HERE, 01:02.129 --> 01:02.996 RHEA. 01:03.063 --> 01:04.131 >> RHEA: AND I'D LIKE YOU TO 01:04.197 --> 01:05.899 PLEASE TELL US ABOUT 01:05.966 --> 01:06.733 THE CHESAPEAKE SHAKESPEARE 01:06.800 --> 01:07.467 COMPANY AND I'M GOING PLAY 01:07.534 --> 01:08.802 DEVIL'S ADVOCATE. 01:08.869 --> 01:09.369 SO, 01:09.436 --> 01:11.271 WHY IN THE WORLD DO WE NEED 01:11.338 --> 01:13.273 SHAKESPEARE IN THIS DAY AND AGE 01:13.340 --> 01:15.342 OF SMART PHONES AND ITUNES? 01:15.409 --> 01:16.310 >> IAN: WELL, 01:16.376 --> 01:16.944 YOU KNOW IN THIS DAY AND AGE 01:17.010 --> 01:18.278 WHERE WE PARK OURSELVES IN ONE 01:18.345 --> 01:19.846 CORNER OF THE INTERNET, 01:19.913 --> 01:21.415 AND SPEAK WITH LIKE MINDED 01:21.481 --> 01:22.249 PEOPLE. 01:22.316 --> 01:23.483 IT IS IMPORTANT TO SEE WHAT 01:23.550 --> 01:24.651 WE HAVE IN COMMON, 01:24.718 --> 01:25.485 AND SHAKESPEARE DOES THAT. 01:25.552 --> 01:26.720 HE SHOWS US WHAT WE HAVE 01:26.787 --> 01:28.255 IN COMMON. OUR HUMANITY. 01:28.322 --> 01:28.889 >> RHEA: AND THEN, 01:28.956 --> 01:30.424 THERE'S THIS SHEER POETRY. 01:30.490 --> 01:31.458 >> IAN: YEAH, SHAKESPEARE IS ONE 01:31.525 --> 01:32.359 OF THE INVENTOR'S 01:32.426 --> 01:33.193 OF THE ENGLISH LANGUAGE. 01:33.260 --> 01:34.061 >> RHEA: WELL, 01:34.127 --> 01:37.464 "WELCOME FAIR YOUTH" AND THAT'S 01:37.531 --> 01:38.665 ABOUT AS FAR AS I'LL GO TRYING 01:38.732 --> 01:40.834 TO SPEAK "SHAKESPEAR-ESE." 01:40.901 --> 01:42.102 [THEY LAUGH] 01:42.169 --> 01:43.003 >> RHEA: TURNING TO OUR FIRST 01:43.070 --> 01:44.071 ARTIST, 01:44.137 --> 01:46.707 SANJAY PATEL IS AN ANIMATOR 01:46.773 --> 01:48.575 AT PIXAR FILMS. 01:48.642 --> 01:49.409 >> IAN: PATEL HAS WORKED ON 01:49.476 --> 01:50.143 MOVIES SUCH AS 01:50.210 --> 01:51.211 "THE INCREDIBLES," 01:51.278 --> 01:52.279 "RATATOUILLE," 01:52.346 --> 01:54.147 AND "TOY STORY 3." 01:54.214 --> 01:54.781 >> RHEA: BUT THERE'S ANOTHER 01:54.848 --> 01:55.849 SIDE TO HIM TOO, 01:55.916 --> 01:58.652 MYTHICAL & SPIRITUAL. 01:58.719 --> 01:59.386 HERE'S HIS STORY. 02:06.660 --> 02:07.227 >>SANJAY PATEL: WE'RE WORKING 02:07.294 --> 02:09.363 ON A SERIES OF SHORTS BASED 02:09.429 --> 02:10.864 ON MATER'S CHARACTER CALLED 02:10.931 --> 02:12.265 "CARSTOONS", 02:12.332 --> 02:14.334 IN THIS PARTICULAR SHORT THEY 02:14.401 --> 02:16.236 ACTUALLY ARE BIG MONSTER TRUCKS 02:16.303 --> 02:19.206 AND THEY END UP SORT OF IN THIS 02:19.272 --> 02:20.307 BIG WRESTLING MATCH. 02:20.374 --> 02:21.808 >> NARRATOR: PIXAR STUDIOS 02:21.875 --> 02:23.276 IN EMERYVILLE IS KNOWN 02:23.343 --> 02:24.378 FOR BRINGING INNOVATION 02:24.444 --> 02:26.246 AND EMOTION TO THE WORLD 02:26.313 --> 02:27.748 OF COMPUTER ANIMATED FILMS. 02:27.814 --> 02:29.583 POPULAR FILMS LIKE "TOY STORY", 02:29.650 --> 02:30.317 "FINDING NEMO", 02:30.384 --> 02:31.084 "THE INCREDIBLES", 02:31.151 --> 02:32.552 AND "RATATOUILLE" HAS GARNERED 02:32.619 --> 02:34.421 THE STUDIO 22 ACADEMY AWARDS. 02:34.488 --> 02:36.623 NOW A LEAD ANIMATOR AT PIXAR, 02:36.690 --> 02:38.859 SANJAY PATEL WAS STILL A STUDENT 02:38.925 --> 02:40.694 WHEN HE WAS RECRUITED BY 02:40.761 --> 02:42.195 THE FLEDGING COMPANY ALMOST 02:42.262 --> 02:43.296 14 YEARS AGO. 02:43.363 --> 02:45.532 HE WAS STUDYING IN THE ANIMATION 02:45.599 --> 02:47.000 PROGRAM AT CAL ARTS 02:47.067 --> 02:48.135 IN LOS ANGELES. 02:48.201 --> 02:49.603 >> SANJAY: THAT PROGRAM 02:49.670 --> 02:51.471 WAS STARTED BY WALT DISNEY 02:51.538 --> 02:53.306 HIMSELF TO TRAIN HIS ANIMATORS. 02:53.373 --> 02:55.175 SO I STARTED MAKING 2-D 02:55.242 --> 02:55.609 ANIMATIONS. 02:55.676 --> 02:56.743 "TOY STORY" HAD BEEN RELEASED 02:56.810 --> 02:57.711 AND THEY HAD BROUGHT IT TO 02:57.778 --> 02:58.612 CAL ARTS AND AS STUDENTS AS WE 02:58.679 --> 02:59.613 SAW IT I WAS BLOWN AWAY 02:59.680 --> 03:02.049 WITH SOPHISTICATION OF IT 03:02.115 --> 03:03.116 AND THE SOPHISTICATION 03:03.183 --> 03:04.384 OF THE STORY TELLING. 03:04.451 --> 03:05.452 AND SO, 03:05.519 --> 03:06.586 I PUT DOWN MY PENCIL. 03:06.653 --> 03:07.688 I NO LONGER DRAW AT PIXAR, 03:07.754 --> 03:09.456 I HAVE TO USE MY MOUSE AND I USE 03:09.523 --> 03:11.758 3-D ANIMATION SOFTWARE. 03:11.825 --> 03:13.226 ESSENTIALLY WE HAVE THIS CAR 03:13.293 --> 03:15.462 THAT'S BEEN BUILT BY 03:15.529 --> 03:16.997 THE MODELERS AND THESE MODELS 03:17.064 --> 03:19.366 ARE VERY ELABORATE PUPPETS 03:19.433 --> 03:21.868 AND WE HAVE CONTROLS TO MOVE 03:21.935 --> 03:23.437 THE PUPPET AROUND AND CREATE 03:23.503 --> 03:24.504 DIFFERENT POSITIONS AND MAKE 03:24.571 --> 03:25.939 DIFFERENT EXPRESSIONS. 03:26.006 --> 03:26.807 I COULD JUST SORT OF, 03:26.873 --> 03:28.141 MOVE THIS CONTROL AND HE COULD 03:28.208 --> 03:31.845 MOVE HIS TIRE AND HIT MCQUEEN. 03:31.912 --> 03:33.647 MOVE THE UPPER LIP, UP, DOWN, 03:33.714 --> 03:34.481 EVEN THEIR EYELIDS. 03:34.548 --> 03:36.149 WHEN I PICKED UP THE SCENE 03:36.216 --> 03:37.517 I ACTUALLY HAD THEM LOOKING 03:37.584 --> 03:39.486 A LITTLE BIT SORT OF TOO ANGRY, 03:39.553 --> 03:40.854 AND THE DIRECTOR ACTUALLY PULLED 03:40.921 --> 03:42.522 ME BACK AND HE WAS THINKING 03:42.589 --> 03:43.924 THAT YOU KNOW WHAT THESE 03:43.990 --> 03:45.025 CHARACTERS ARE BEST FRIENDS 03:45.092 --> 03:47.227 AND THEY ARE ACTUALLY HAVING FUN 03:47.294 --> 03:48.328 JUST PLAYING TAG. 03:48.395 --> 03:50.530 I ENDED UP HAVING TO CHANGE 03:50.597 --> 03:52.365 THE EXPRESSION TO REFLECT THAT. 03:52.432 --> 03:54.935 AND THAT'S THE END WHAT I DO 03:55.001 --> 03:56.369 IN TERMS OF ANIMATION, 03:56.436 --> 03:58.638 AND THEN IT GETS HANDED OFF 03:58.705 --> 04:00.140 TO LIGHTING AND RENDERING 04:00.207 --> 04:02.375 AND HERE'S HOW THE SCENE LOOKS 04:02.442 --> 04:03.877 WITH SHADOWS AND COLORS. 04:03.944 --> 04:05.545 PIXAR IS INCREDIBLY SUPPORTIVE 04:05.612 --> 04:08.048 OF PEOPLE DOING OUTSIDE WORK. 04:08.115 --> 04:09.149 THERE'S ALL KIND OF CLASSES THAT 04:09.216 --> 04:10.317 PEOPLE CAN TAKE HERE AT PIXAR, 04:10.383 --> 04:11.251 THERE'S PAINTING CLASSES, 04:11.318 --> 04:12.052 AND DRAWING CLASSES, 04:12.119 --> 04:13.587 THERE'S SCULPTURE CLASSES, 04:13.653 --> 04:14.488 AND I THINK THEY REALLY 04:14.554 --> 04:15.989 ENCOURAGE THAT YOU REALLY NEED 04:16.056 --> 04:16.890 TO RENEW YOURSELF AS AN ARTIST 04:16.957 --> 04:18.225 TO BE ABLE TO COME BACK 04:18.291 --> 04:19.960 AND SORT OF WORK UNDER SUCH 04:20.026 --> 04:21.762 PRESSURE AND INTENSITY ON THESE 04:21.828 --> 04:24.030 FILMS. 04:24.097 --> 04:25.198 IF THERE IS ANYTHING THAT PIXAR 04:25.265 --> 04:27.634 ESPOUSES IT'S JUST ABSOLUTELY 04:27.701 --> 04:29.569 LIKE THE CHURCH OF STORYTELLING. 04:29.636 --> 04:30.504 IT REALLY DOES FORCE YOU TO 04:30.570 --> 04:31.938 THINK IN A VERY DIFFERENT WAY. 04:32.005 --> 04:32.773 BECAUSE OF THAT, 04:32.839 --> 04:33.740 I HAVE BEEN ABLE TO PURSUE MY 04:33.807 --> 04:36.376 OWN STORIES THAT I WANT TO TELL. 04:36.443 --> 04:37.878 >> NARRATOR: SINCE 2006, 04:37.944 --> 04:39.012 PATEL HAS PUBLISHED HIS OWN 04:39.079 --> 04:39.813 WORK; 04:39.880 --> 04:40.947 LAVISHLY ILLUSTRATED 04:41.014 --> 04:42.883 INTERPRETATIONS OF ANCIENT HINDU 04:42.949 --> 04:46.887 MYTHOLOGY. 04:46.953 --> 04:48.121 HIS LATEST BOOK IS CALLED 04:48.188 --> 04:50.824 "RAMAYANA; DIVINE LOOPHOLE". 04:50.891 --> 04:51.591 THE RAMAYANA IS ONE 04:51.658 --> 04:52.859 OF THE FOUNDATIONAL MYTHS 04:52.926 --> 04:54.027 OF HINDUISM, 04:54.094 --> 04:54.995 AND TELLS THE EPIC STORY 04:55.061 --> 04:56.229 OF RAMA, 04:56.296 --> 04:57.430 HIS BROTHER LAKSHMAN, 04:57.497 --> 04:59.132 AND HIS WIFE, SITA. 04:59.199 --> 05:01.301 >> SANJAY: THE RAMAYANA IS SUCH 05:01.368 --> 05:03.470 A NEAT STORY BECAUSE IT'S ALL 05:03.537 --> 05:04.938 ADVENTURE, PLOT, AND ACTION. 05:05.005 --> 05:06.373 THERE'S MAGIC, THERE'S FIGHTING, 05:06.439 --> 05:07.841 AND ANIMALS, AND GODS, 05:07.908 --> 05:10.010 AND DEMONS, AND I JUST THOUGHT, 05:10.076 --> 05:12.546 I REALLY WANT TO TELL THIS STORY 05:12.612 --> 05:14.714 IN THE MOST MODERN AND GRAPHIC 05:14.781 --> 05:15.816 WAY AS POSSIBLE. 05:15.882 --> 05:16.483 >> NARRATOR: AS PATEL 05:16.550 --> 05:17.918 UNDERTOOK THE TASK OF BRINGING 05:17.984 --> 05:19.252 TO LIFE DOZENS OF SCENES 05:19.319 --> 05:21.021 FROM THIS ANCIENT STORY, 05:21.087 --> 05:22.055 HE FOUND HIMSELF USING 05:22.122 --> 05:23.223 THE SKILLS HE GAINED FROM HIS 05:23.290 --> 05:25.559 ANIMATION WORK AT PIXAR. 05:25.625 --> 05:26.827 >> SANJAY: ANIMATING AT PIXAR 05:26.893 --> 05:28.094 MAKES ME THINK ABOUT WELL, 05:28.161 --> 05:29.329 WHAT'S THE ACTING AND WHAT'S 05:29.396 --> 05:30.864 SORT OF THE NARRATIVE ARC THAT 05:30.931 --> 05:32.365 I COULD USE FOR THIS LITTLE 05:32.432 --> 05:33.633 PANEL AND THAT I'M TRYING 05:33.700 --> 05:34.134 TO DRAW. 05:34.201 --> 05:35.402 AND IT REALLY REMINDS THAT 05:35.468 --> 05:36.403 CHARACTER MOMENTS ARE SO 05:36.469 --> 05:37.437 IMPORTANT IN THIS GREAT 05:37.504 --> 05:38.939 MYTHOLOGY THAT I WANT TO TELL. 05:39.005 --> 05:39.940 AND SO I DO FEEL LIKE THE TWO 05:40.006 --> 05:42.642 FEED OFF OF EACH OTHER. 05:42.709 --> 05:43.476 THIS TYPE OF ARTWORK WOULD 05:43.543 --> 05:44.845 DEFINITELY BE HANGING AROUND 05:44.911 --> 05:46.012 IN MY PARENTS' HOUSEHOLD, 05:46.079 --> 05:47.414 AND THIS WAS DEFINITELY MY 05:47.480 --> 05:49.583 INDOCTRINATION AND INTRODUCTION 05:49.649 --> 05:50.383 TO HINDUISM. 05:50.450 --> 05:51.585 I'D SEE STUFF LIKE THIS AND JUST 05:51.651 --> 05:56.356 HAVE NO CLUE WHAT THIS MEANT. 05:56.423 --> 05:57.057 I WAS RAISED IN SOUTHERN 05:57.123 --> 05:58.458 CALIFORNIA. 05:58.525 --> 06:00.393 MY PARENTS OWNED A MOTEL 06:00.460 --> 06:03.430 IN SAN BERNARDINO, CALIFORNIA. 06:03.496 --> 06:05.131 MY PARENTS ARE FROM INDIA, 06:05.198 --> 06:07.500 FROM A STATE CALLED GUJARAT. 06:07.567 --> 06:08.368 I COULD SPEAK ENGLISH 06:08.435 --> 06:09.135 REALLY WELL, 06:09.202 --> 06:10.337 SO I HAD STAY HOME AND HELP RUN 06:10.403 --> 06:12.572 THE MOTEL. 06:12.639 --> 06:16.409 I BECAME A TV BRAT AND I REALLY 06:16.476 --> 06:17.711 IN MANY WAYS JUST GREW UP 06:17.777 --> 06:19.079 IN AMERICAN CULTURE. 06:19.145 --> 06:20.113 AMERICAN CULTURE WAS DEFINITELY 06:20.180 --> 06:20.847 FED TO ME THROUGH 06:20.914 --> 06:21.882 THE TELEVISION, 06:21.948 --> 06:23.717 MAINLY THROUGH CARTOONS. 06:23.783 --> 06:25.418 I COULD JUST REALLY ESCAPE 06:25.485 --> 06:27.754 MY REALITY AND I BECAME OBSESSED 06:27.821 --> 06:28.989 WITH WATCHING CARTOONS, 06:29.055 --> 06:29.956 DRAWING CARTOONS, 06:30.023 --> 06:31.391 COLLECTING COMIC BOOKS, 06:31.458 --> 06:32.492 AND THEN I WOULD SIT THERE 06:32.559 --> 06:33.093 AND DRAW FOR HOURS AND HOURS 06:33.159 --> 06:35.095 FROM THESE COMICS. 06:35.161 --> 06:35.862 >> NARRATOR: ALTHOUGH PATEL 06:35.929 --> 06:37.297 REVERED THE COMIC BOOK HEROES 06:37.364 --> 06:39.332 OF AMERICAN POPULAR CULTURE, 06:39.399 --> 06:40.767 HIS RELATIONSHIP WITH THE ICONS 06:40.834 --> 06:42.636 OF HIS PARENTS' HINDU FAITH 06:42.702 --> 06:44.504 WAS MORE COMPLICATED. 06:44.571 --> 06:45.605 >> SANJAY: INDIAN CULTURE 06:45.672 --> 06:46.806 IN MY LIFE, I DON'T KNOW, 06:46.873 --> 06:49.976 GROWING UP, I HATED IT. 06:50.043 --> 06:50.677 I HATED IT. 06:50.744 --> 06:51.478 I HATED IT. 06:51.544 --> 06:52.445 MY PARENTS WERE RAISING ME 06:52.512 --> 06:53.980 IN A SORT OF BUBBLE OF THEIR OWN 06:54.047 --> 06:56.049 CULTURE INSIDE SOUTHERN 06:56.116 --> 06:57.751 CALIFORNIA. 06:57.817 --> 07:00.387 I WASN'T EXPOSED TO THE STORIES 07:00.453 --> 07:01.955 OF THE HINDU MYTHOLOGY OR HINDU 07:02.022 --> 07:03.757 FAITH AT ALL. 07:03.823 --> 07:05.292 WHAT I WAS EXPOSED TO WAS 07:05.358 --> 07:09.329 THE ICONOGRAPHY AND IMAGERY. 07:09.396 --> 07:09.863 >> NARRATOR: BUT IT'S HIS 07:09.930 --> 07:11.464 PERSPECTIVE AS AN OUTSIDER THAT 07:11.531 --> 07:12.866 ALLOWS PATEL TO RECLAIM 07:12.933 --> 07:14.401 THE ICONOGRAPHY OF HIS PARENTS' 07:14.467 --> 07:15.435 CULTURE, 07:15.502 --> 07:16.436 AND RE-IMAGINE IT 07:16.503 --> 07:17.737 FOR A CONTEMPORARY AUDIENCE. 07:17.804 --> 07:19.372 PATEL IS IN THE MIDST 07:19.439 --> 07:21.341 OF CREATING A NEW BOOK BASED 07:21.408 --> 07:23.310 ON THE STORY OF THE HINDU 07:23.376 --> 07:23.977 DEITY "GANESHA." 07:24.044 --> 07:25.946 IN PATEL'S VERSION OF THE TALE, 07:26.012 --> 07:26.813 HE PLAYS OFF 07:26.880 --> 07:27.981 OF THE ELEPHANT GOD "GANESHA'S" 07:28.048 --> 07:30.550 FAMOUS LOVE OF SWEETS. 07:30.617 --> 07:31.184 >> SANJAY: THIS IS A KIND 07:31.251 --> 07:33.019 OF A FUN LITTLE MOMENT ACTUALLY. 07:33.086 --> 07:35.789 THIS IS AFTER "GANESHA," 07:35.855 --> 07:36.823 HE ACTUALLY TRIES BITING DOWN ON 07:36.890 --> 07:39.559 THE JUMBO JAW BREAKER. 07:39.626 --> 07:41.227 AND SURE ENOUGH HE BREAKS 07:41.294 --> 07:42.495 HIS TUSK. 07:42.562 --> 07:43.363 SO I'M TRYING TO FIGURE OUT 07:43.430 --> 07:45.131 WHAT WOULD BE THE MOST FUN WAY 07:45.198 --> 07:45.932 TO LIKE FIGURE OUT HOW 07:45.999 --> 07:47.701 "GANESHA" MIGHT REACT, 07:47.767 --> 07:49.736 LIKE OH NO!! 07:49.803 --> 07:51.004 SO I WAS THINKING MAYBE HE WOULD 07:51.071 --> 07:55.141 BE CRYING OVER HERE. 07:55.208 --> 07:56.109 >> SANJAY: GROWING UP I ALWAYS 07:56.176 --> 07:58.945 FELT DISCONNECTED FROM MY 07:59.012 --> 08:00.480 AMERICAN FRIENDS SIMPLY BECAUSE 08:00.547 --> 08:03.550 I WAS INDIAN, MY SKIN WAS BROWN. 08:03.616 --> 08:05.485 FROM MY INDIAN FRIENDS I FELT 08:05.552 --> 08:06.586 DISCONNECTED IN DIFFERENT WAYS 08:06.653 --> 08:08.321 BECAUSE I WAS AN ARTIST. 08:08.388 --> 08:10.757 I FELT OUTSIDE IN ALL THESE 08:10.824 --> 08:11.624 WAYS. 08:11.691 --> 08:12.859 AND FINALLY I FOUND THE THING 08:12.926 --> 08:14.794 THAT ACTUALLY BROUGHT EVERYTHING 08:14.861 --> 08:17.597 THAT I LIKED TOGETHER. 08:17.664 --> 08:18.365 WHAT I'D LIKE TO THINK 08:18.431 --> 08:19.299 IS ACTUALLY THAT I FOUND 08:19.366 --> 08:20.900 MY VOICE AND THIS VOICE 08:20.967 --> 08:22.802 IS SOMETHING THAT FEELS REALLY 08:22.869 --> 08:24.304 RELEVANT TO ME AND REALLY 08:24.371 --> 08:25.872 IMPORTANT AND REALLY GOOD. 08:25.939 --> 08:26.940 I JUST KNOW SO CLEARLY THAT 08:27.007 --> 08:27.907 I AM GOING TO BE DOING THIS 08:27.974 --> 08:29.042 TILL THE DAY I DIE. 08:31.077 --> 08:31.745 >> RHEA: WANT TO KNOW MORE 08:31.811 --> 08:33.313 ABOUT SANJAY PATEL? 08:33.380 --> 08:34.881 VISIT HIS WEBSITE AT 08:34.948 --> 08:36.583 GHEEHAPPY.COM. 08:44.391 --> 08:45.225 >> RHEA: ONE OF THE EXCLUSIVE 08:45.291 --> 08:47.060 SHOWS MPT'S PRODUCES 08:47.127 --> 08:49.129 IS A "CONCERT FOR THE BAY," 08:49.195 --> 08:49.763 WHICH IS PART 08:49.829 --> 08:50.897 OF "CHESAPEAKE BAY WEEK" 08:50.964 --> 08:51.931 EVERY SPRING. 08:51.998 --> 08:53.333 THIS SPRING, 08:53.400 --> 08:54.467 ONE OF THE BANDS WAS 08:54.534 --> 08:56.536 "JUKEBOX THE GHOST." 08:56.603 --> 08:58.071 AND THEY'RE FAST BECOMING 08:58.138 --> 08:59.406 NATIONAL STARS. 08:59.472 --> 09:00.073 >> IAN: SO, 09:00.140 --> 09:01.674 IS "JUKEBOX THE GHOST" LOCAL? 09:01.741 --> 09:02.542 >> RHEA: WELL, 09:02.609 --> 09:04.010 THERE IS A LOCAL CONNECTION. 09:04.077 --> 09:05.512 THEY WERE FORMED WHILE 09:05.578 --> 09:07.147 AT GEORGE WASHINGTON UNIVERSITY 09:07.213 --> 09:08.081 IN D.C.. 09:08.148 --> 09:09.582 HERE'S WHAT THE BAND'S 09:09.649 --> 09:11.484 SONGWRITERS' HAVE TO SAY ABOUT 09:11.551 --> 09:12.585 THE ART AND CRAFT 09:12.652 --> 09:14.154 OF SONGWRITING AND I THINK IT'S 09:14.220 --> 09:15.688 REALLY THOUGHTFUL. 09:28.068 --> 09:28.635 >> BEN THORNEWILL: WE WENT FROM 09:28.701 --> 09:29.536 BEING A COLLEGE PARTY BAND, 09:29.602 --> 09:30.103 AS IT WERE, 09:30.170 --> 09:31.504 TO A BAND SORT OF AS WE 09:31.571 --> 09:31.905 GRADUATED COLLEGE. 09:31.971 --> 09:33.273 AND RIGHT AT THE END OF IT 09:33.339 --> 09:34.274 WE RECORDED OUR FIRST RECORD. 09:34.340 --> 09:35.842 WE'RE STARTING TO PLAY SHOWS, 09:35.909 --> 09:36.643 AND ALL OF A SUDDEN PEOPLE WHO 09:36.709 --> 09:37.544 WEREN'T OUR FRIENDS WERE COMING 09:37.610 --> 09:38.344 TO THESE SHOWS. 09:38.411 --> 09:39.546 AND THAT SORT OF GAVE US 09:39.612 --> 09:40.647 THE HOPE AND INSPIRATION THAT 09:40.713 --> 09:41.481 WE COULD DO THIS BEYOND JUST 09:41.548 --> 09:43.483 AROUND D.C.. 09:45.552 --> 09:47.620 * I GO OUTSIDE. 09:47.687 --> 09:49.756 ASK THE AIR IF YOU'D LIKE 09:49.823 --> 09:52.258 TO HIDE. * 09:52.325 --> 09:56.496 * TAKE A DEEP BREATH. 09:56.563 --> 09:59.532 WALK INSIDE MY PRIZE. * 10:00.567 --> 10:01.267 >> TOMMY SIEGEL: THE 10:01.334 --> 10:02.202 TRANSFORMATION WAS A LITTLE 10:02.268 --> 10:03.837 HAPHAZARD. 10:03.903 --> 10:05.538 WHEN WE FIRST STARTED, 10:05.605 --> 10:06.473 WE HAD DOZENS OF SONGS. 10:06.539 --> 10:07.407 IT JUST NEVER OCCURRED TO US 10:07.474 --> 10:08.541 TO RECORD THEM. 10:08.608 --> 10:09.509 SO THERE'S JUST ALL THESE SONGS 10:09.576 --> 10:10.443 FROM COLLEGE THAT NEVER 10:10.510 --> 10:11.211 RECORDED, 10:11.277 --> 10:11.845 AND I'M ACTUALLY VERY THANKFUL 10:11.911 --> 10:12.178 FOR THAT. 10:12.245 --> 10:12.345 BUT, 10:12.412 --> 10:13.346 AT SOME POINT OUR FRIEND SETH 10:13.413 --> 10:14.380 WAS LIKE YOU GUYS SHOULD RECORD 10:14.447 --> 10:15.548 AN ALBUM AND I WANT TO MANAGE 10:15.615 --> 10:16.716 YOU GUYS. 10:16.783 --> 10:17.383 AND WE WERE LIKE OK. 10:17.450 --> 10:18.918 AND SO WE RECORDED OUR FIRST 10:18.985 --> 10:20.520 ALBUM WHEN WE WERE IN COLLEGE. 10:20.587 --> 10:22.122 AND IT WAS ONLY AFTER PEOPLE 10:22.188 --> 10:23.490 STARTED COMING TO SHOWS. 10:23.556 --> 10:25.225 AND THAT ALBUM TOOK OFF 10:25.291 --> 10:26.359 AND WE WERE LIKE OH, 10:26.426 --> 10:27.460 THIS IS A REAL THING. 10:27.527 --> 10:28.428 YOU KNOW, WE CAN DO THIS. 10:30.663 --> 10:31.297 * ...BEING GROWN 10:31.364 --> 10:32.532 FOR THE REST OF YOUR LIFE. * 10:32.599 --> 10:35.034 * FROM ADULTHOOD, 10:35.101 --> 10:40.373 NO ONE SURVIVES... * 10:40.440 --> 10:41.341 * TEN BILLION FEET... 10:42.609 --> 10:43.676 >> BEN: TOMMY AND I BOTH WRITE 10:43.743 --> 10:44.410 INDIVIDUALLY. 10:44.477 --> 10:45.245 I FEEL THAT WRITING IS A VERY 10:45.311 --> 10:45.979 PERSONAL PROCESS. 10:46.045 --> 10:46.813 I DON'T SEE HOW BANDS SIT IN 10:46.880 --> 10:47.747 A ROOM AND WRITE A SONG 10:47.814 --> 10:48.381 ALL TOGETHER. 10:48.448 --> 10:49.282 SO WE WILL WRITE INDIVIDUALLY 10:49.349 --> 10:50.450 AND THEN BRING THOSE SONGS 10:50.517 --> 10:51.451 TO THE TABLE, 10:51.518 --> 10:53.153 AND THEN AS A BAND PICK 10:53.219 --> 10:54.320 AND CHOOSE, SLICE IT, 10:54.387 --> 10:55.155 SORT OF ITS LIKE SCULPTURE 10:55.221 --> 10:56.055 ALMOST. 10:56.122 --> 10:57.891 WORK IT DOWN TO ITS CORE 10:57.957 --> 10:59.292 AND MAKE IT A SONG THAT 10:59.359 --> 11:02.128 THE WHOLE BAND CAN STAND BY. 11:02.195 --> 11:02.929 THERE'S NO FORMULA FOR 11:02.996 --> 11:03.897 SONGWRITING THAT I HAVE FOUND 11:03.963 --> 11:04.597 ANYWAY. 11:04.664 --> 11:06.065 EVERY SONG OCCUPIES ITS OWN 11:06.132 --> 11:07.066 SPACE, 11:07.133 --> 11:08.868 IT'S ITS OWN CREATIVE PROCESS. 11:08.935 --> 11:10.103 SOMETIMES IT IS A LYRIC, 11:10.170 --> 11:11.671 SOMETIMES IT'S A MUSICAL IDEA, 11:11.738 --> 11:13.306 SOMETIMES IT'S A FEELING. 11:13.373 --> 11:14.007 >> TOMMY: I WISH THERE WAS 11:14.073 --> 11:14.641 A FORMULA THAT WOULD MAKE IT 11:14.707 --> 11:15.308 A LOT EASIER. 11:15.375 --> 11:16.476 I FEEL LIKE WE YOU KNOW AS 11:16.543 --> 11:17.510 SONGWRITERS SPEND A LOT OF TIME 11:17.577 --> 11:18.378 SITTING AROUND, 11:18.444 --> 11:20.346 WAITING AND HOPING THAT 11:20.413 --> 11:21.147 INSPIRATION'S GOING TO HAPPEN. 11:21.214 --> 11:22.248 >> BEN: YEAH, 11:22.315 --> 11:23.449 IF I KNEW HOW TO WRITE A SONG, 11:23.516 --> 11:24.551 THAT WOULD BE GOOD. 11:24.617 --> 11:25.318 >> TOMMY: AND SOMETIMES EVEN 11:25.385 --> 11:26.319 WHEN YOU GET INSPIRATION YOU 11:26.386 --> 11:27.554 DON'T KNOW THAT IT EVEN HAPPENED 11:27.620 --> 11:29.022 UNTIL LATER AND YOU'RE THINKING 11:29.088 --> 11:30.790 ABOUT IT AGAIN AND YOU'RE LIKE 11:30.857 --> 11:31.991 OH, I LIKE THAT. 11:32.058 --> 11:33.459 >> BEN: INSPIRATION COMES FROM 11:33.526 --> 11:34.060 ANYWHERE, LIFE, 11:34.127 --> 11:35.828 MOSTLY LIFE AND WHAT YOU DO 11:35.895 --> 11:37.597 WITH IT AND WHAT YOU SEE. 11:37.664 --> 11:38.198 IT'S OBSERVATIONS, 11:38.264 --> 11:39.065 IT'S PERSONAL EXPERIENCES, 11:39.132 --> 11:39.966 IT'S MUSICAL INSPIRATION. 11:40.033 --> 11:41.734 >> TOMMY: I DO FEEL LIKE 11:41.801 --> 11:42.635 THE BEST SONGS, 11:42.702 --> 11:44.103 OR MY FAVORITE SONGS THAT 11:44.170 --> 11:45.872 I'VE WRITTEN HAVE BEEN THE ONES 11:45.939 --> 11:47.941 THAT I DON'T FEEL LIKE I WROTE 11:48.007 --> 11:48.241 THEM. 11:48.308 --> 11:48.541 LIKE, 11:48.608 --> 11:50.310 I DON'T KNOW WHERE THEY CAME 11:50.376 --> 11:50.610 FROM. 11:50.677 --> 11:52.679 THE ONES THAT WILL JUST LIKE POP 11:52.745 --> 11:53.379 OUT AND I'LL BE LIKE I FEEL LIKE 11:53.446 --> 11:54.581 I'VE HEARD THAT SOMEWHERE 11:54.647 --> 11:55.748 BUT I'M... 11:55.815 --> 11:57.951 I THINK I JUST WROTE THAT. 11:58.952 --> 12:01.354 * FROM ADULTHOOD, 12:01.421 --> 12:03.957 NO ONE SURVIVES. * 12:09.429 --> 12:10.063 >> BEN: I THINK THE LIFE 12:10.129 --> 12:10.763 OF A SONG IS... 12:10.830 --> 12:11.631 I WAS THINKING ABOUT THIS LAST 12:11.698 --> 12:12.765 WEEK WHEN WE WERE PLAYING UP 12:12.832 --> 12:13.166 IN PHILADELPHIA. 12:13.233 --> 12:14.100 AND HAD 1,100 PEOPLE THERE. 12:14.167 --> 12:15.068 AND WE WERE PLAYING SONGS 12:15.134 --> 12:16.002 THAT WE HAD PLAYED IN 12:16.069 --> 12:17.170 PHILADELPHIA YEARS AGO, 12:17.237 --> 12:18.304 IN FRONT OF 10 PEOPLE AT THIS 12:18.371 --> 12:19.739 CRAPPY LITTLE DIVE BAR. 12:19.806 --> 12:20.540 AND IT'S THE SAME SONGS WE'RE 12:20.607 --> 12:21.241 PLAYING THEN AS WE'RE PLAYING 12:21.307 --> 12:22.008 NOW. 12:22.075 --> 12:23.076 AND THE LIFE OF A SONG 12:23.142 --> 12:24.310 IS COMPLETELY UNPREDICTABLE. 12:24.377 --> 12:25.178 YOU DON'T KNOW WHAT'S GOING 12:25.245 --> 12:25.612 TO STICK, 12:25.678 --> 12:26.412 WHAT'S GOING TO RESONATE, 12:26.479 --> 12:27.280 HOW LONG IT TAKES. 12:28.214 --> 12:28.915 * I DON'T WANT ANY 12:28.982 --> 12:31.351 MORE DOORS, * 12:31.417 --> 12:32.752 * 'CAUSE I'M WALKING ON 12:32.819 --> 12:34.354 A STRING. * 12:35.488 --> 12:36.055 >> TOMMY: WHEN PEOPLE RESPOND 12:36.122 --> 12:36.789 TO A SONG, 12:36.856 --> 12:37.857 THAT'S DEFINITELY THE REWARD 12:37.924 --> 12:38.758 FOR US. 12:38.825 --> 12:39.826 WE'VE ALWAYS BEEN A HEAVILY 12:39.892 --> 12:41.327 TOURING OPERATION, 12:41.394 --> 12:44.030 AND SO SEEING DIRECTLY 12:44.097 --> 12:44.998 THE GRATIFICATION PEOPLE ARE 12:45.064 --> 12:45.698 GETTING OUT OF A SONG 12:45.765 --> 12:47.166 IS EVERYTHING. 12:47.233 --> 12:47.967 >> BEN: IT'S A SURREAL 12:48.034 --> 12:50.136 EXPERIENCE SEEING PEOPLE SING 12:50.203 --> 12:50.803 YOUR SONG. 12:50.870 --> 12:52.005 IT'S SIMULTANEOUSLY WHAT YOU 12:52.071 --> 12:53.406 WROTE THE SONG. 12:53.473 --> 12:54.307 LIKE WHEN YOU WRITE A SONG 12:54.374 --> 12:55.308 YOU HOPE THAT THAT HAPPENS. 12:55.375 --> 12:56.376 SOMEWHERE IN YOUR BRAIN, 12:56.442 --> 12:57.577 YOU WANT PEOPLE TO SING ALONG, 12:57.644 --> 12:58.478 IT'S WHY YOU WRITE A SONG, 12:58.544 --> 12:59.679 BUT AT THE SAME TIME, 12:59.746 --> 13:00.780 IT'S ALWAYS A SURPRISE. 13:00.847 --> 13:02.448 >> TOMMY: I THINK IF YOU WROTE 13:02.515 --> 13:03.816 WITH THAT IN MIND, 13:03.883 --> 13:04.751 YOU PROBABLY WOULDN'T END UP 13:04.817 --> 13:06.486 WRITING VERY HEARTFELT OR GOOD 13:06.552 --> 13:07.220 SONGS. 13:07.287 --> 13:08.388 THEY WOULD JUST BE REALLY, 13:08.454 --> 13:09.289 SONGS THAT PEOPLE CAN SING 13:09.355 --> 13:10.556 ALONG TO. 13:10.623 --> 13:12.725 SO IT KIND OF FEELS LUCKY EVERY 13:12.792 --> 13:13.426 TIME IT HAPPENS. 13:13.493 --> 13:14.360 BECAUSE I DON'T THINK EITHER 13:14.427 --> 13:15.361 OF US WRITE WITH THE INTENTION 13:15.428 --> 13:17.830 OF I WANT THE CROWD TO CLAP, 13:17.897 --> 13:18.698 OR I WANT THE CROWD TO SING 13:18.765 --> 13:19.465 ALONG TO THIS SONG. 13:19.532 --> 13:20.967 IT JUST HAPPENS AND THAT MAKES 13:21.034 --> 13:22.935 IT EVEN MORE SPECIAL. 13:23.169 --> 13:24.003 * I NEED IT, 13:24.070 --> 13:24.971 I WANT IT, * 13:25.038 --> 13:27.106 * I WANT SOMEBODY, BABY. 13:27.173 --> 13:30.710 NOW THIS IS MY TURN. * 13:31.544 --> 13:32.412 >> BEN: REALIZING THAT WE COULD 13:32.478 --> 13:34.714 DO THIS AND REALLY GIVE IT A GO 13:34.781 --> 13:36.182 IS A SLOW PROCESS. 13:36.249 --> 13:38.217 IT'S THESE LITTLE ACHIEVEMENTS 13:38.284 --> 13:39.352 THAT ALL OF A SUDDEN SORT 13:39.419 --> 13:40.153 OF SIGNAL THAT THERE COULD BE 13:40.219 --> 13:41.287 MORE HERE, 13:41.354 --> 13:42.689 WE COULD DO SOMETHING, 13:42.755 --> 13:43.923 AND AS THE YEARS HAVE GONE ON, 13:43.990 --> 13:45.825 THAT'S JUST CONTINUED TO HAPPEN. 13:45.892 --> 13:46.893 THERE'S BEEN EVERY NOW AND AGAIN 13:46.959 --> 13:49.295 A STEP OR A MOMENT WHERE WE ALL 13:49.362 --> 13:51.931 SORT OF SILENTLY AGREE YEAH, 13:51.998 --> 13:52.832 WE'RE GOING TO KEEP DOING THIS, 13:52.899 --> 13:53.599 LET'S KEEP SEEING HOW FAR WE CAN 13:53.666 --> 13:55.234 TAKE THIS. 13:56.269 --> 13:59.706 * "OOH, OH." 14:06.479 --> 14:07.113 >> IAN: TO FIND OUT 14:07.180 --> 14:08.548 "JUKEBOX THE GHOST'S" TOURING 14:08.614 --> 14:09.449 SCHEDULE, 14:09.515 --> 14:11.884 VISIT JUKEBOXTHEGHOST.COM. 14:18.391 --> 14:19.692 >> RHEA: THE STORY OF FABERGE 14:19.759 --> 14:21.861 IS LIKE A RUSSIAN FAIRY TALE 14:21.928 --> 14:23.029 AND NOW THERE'S 14:23.096 --> 14:23.996 AN EXHIBIT CALLED 14:24.063 --> 14:26.232 "FABERGE A BRILLIANT VISION" 14:26.299 --> 14:27.567 AND IT'S AT THE HOUSTON MUSEUM 14:27.633 --> 14:29.402 OF NATURAL SCIENCE. 14:29.469 --> 14:30.036 >> IAN: I WAS INTRIGUED 14:30.103 --> 14:31.037 THAT NO ONE'S BEEN ABLE TO 14:31.104 --> 14:32.772 REPLICATE THEIR SECRET ENAMELING 14:32.839 --> 14:33.639 PROCESS. 14:33.706 --> 14:34.140 >> RHEA: I KNOW YOUR ARE 14:34.207 --> 14:34.941 ABSOLUTELY RIGHT. 14:35.007 --> 14:36.242 SO IF YOU'VE GOT, OH, 14:36.309 --> 14:37.477 TWENTY-FIVE MILLION DOLLARS 14:37.543 --> 14:40.113 OR SO YOU CAN GET AN IMPERIAL 14:40.179 --> 14:41.147 "FABERGE" OF YOUR VERY OWN. 14:41.214 --> 14:43.416 TAKE A LOOK. 14:54.794 --> 14:55.361 >> JIM ADAMS: "FABERGE'S" 14:55.428 --> 14:56.329 ENAMELING TECHNIQUES WERE 14:56.396 --> 14:57.563 COVETED BY ALL JEWELERS 14:57.630 --> 14:58.331 IN THE WORLD, 14:58.398 --> 15:00.466 EVEN CARTIER LOUIE CARTIER, 15:00.533 --> 15:02.869 IN PARIS SAID WHAT YOU DO 15:02.935 --> 15:04.103 IN SAINT PETERSBURG IN ENAMEL, 15:04.170 --> 15:05.238 WE CAN'T EVEN COME CLOSE TO HERE 15:05.304 --> 15:06.272 IN PARIS; 15:06.339 --> 15:08.241 ENAMEL IS BASICALLY POWERED 15:08.307 --> 15:10.610 GLASS MIXED WITH METAL OXIDES 15:10.676 --> 15:11.744 TO CHANGE THE COLOR, 15:11.811 --> 15:14.147 AND THEN FIRED AT 1300 DEGREES 15:14.213 --> 15:15.782 FAHRENHEIT TO CREATE THIS 15:15.848 --> 15:17.016 BEAUTIFUL GLASSY CERVIX, 15:17.083 --> 15:18.718 WHICH YOU SEE ON THESE OBJECTS. 15:18.785 --> 15:19.786 HE WOULD OFTEN ENGRAVE 15:19.852 --> 15:21.254 THE GROUND UNDERNEATH WITH 15:21.320 --> 15:22.588 A BEAUTIFUL PATTERN, 15:22.655 --> 15:24.023 AND THEN PUT TRANSLUCENT ENAMEL 15:24.090 --> 15:25.558 OVER THAT SO THAT YOU WOULD SEE 15:25.625 --> 15:27.326 THROUGH THE ENAMEL TO THIS 15:27.393 --> 15:29.729 INCREDIBLE PATTERN UNDERNEATH. 15:29.796 --> 15:31.130 IT'S CALLED "GUILLOCHE WORK" 15:31.197 --> 15:33.599 AND HE WAS A MASTER OF THAT. 15:33.666 --> 15:35.368 WELL THE ROYAL FAMILY ROMANOFF'S 15:35.435 --> 15:37.136 GOT INVOLVED WITH CARL FABERGE 15:37.203 --> 15:38.171 UNDER ALEXANDER III. 15:38.237 --> 15:39.939 HE DECIDED ONE EASTER THAT 15:40.006 --> 15:42.408 HE WANTED TO HAVE AN EASTER EGG 15:42.475 --> 15:43.810 GIVEN TO HIS WIFE, 15:43.876 --> 15:45.578 AND YOU CAN'T JUST CARVE 15:45.645 --> 15:47.680 A WOODEN EASTER EGG IF YOU'RE 15:47.747 --> 15:48.047 TSAR, 15:48.114 --> 15:50.149 LIKE MOST PEOPLE IN RUSSIA DID 15:50.216 --> 15:51.217 AT EASTER TIME; 15:51.284 --> 15:52.351 HE WANTED SOMETHING SPECIAL. 15:52.418 --> 15:54.086 >> TATIANA FABERGE: HE SAID THAT 15:54.153 --> 15:55.521 HE WANTED TO HAVE SOMETHING 15:55.588 --> 15:57.223 THAT WOULD PLEASE HIM THAT WOULD 15:57.290 --> 15:59.225 NOT BE A REPEATED AND NOT MADE 15:59.292 --> 16:02.895 FOR OTHER PEOPLE. 16:02.962 --> 16:03.996 SO, 16:04.063 --> 16:05.598 FABERGE CAME WITH THE IDEA 16:05.665 --> 16:07.567 OF A SIMPLE EGG, 16:07.633 --> 16:11.704 IT WAS WHITE ENAMEL. 16:11.771 --> 16:13.806 IT LOOKED LIKE A REAL HEN EGG 16:13.873 --> 16:14.874 AND WHEN YOU OPENED IT, 16:14.941 --> 16:16.976 THERE WERE SURPRISES INSIDE. 16:17.043 --> 16:19.245 AND THE EMPRESS WAS ABSOLUTELY 16:19.312 --> 16:21.247 PLEASED WITH IT. 16:21.314 --> 16:22.348 SO, 16:22.415 --> 16:24.083 HE GOT A CARTE BLANCHE 16:24.150 --> 16:25.985 FOR THE NEXT YEAR TO MAKE 16:26.052 --> 16:28.988 ANOTHER EGG AND THAT'S HOW 16:29.055 --> 16:32.191 IT SORT OF STARTED. 16:32.258 --> 16:32.959 >> JIM: THE IMPERIAL DIAMOND 16:33.025 --> 16:33.893 TRELLIS EGG WAS GIVEN BY 16:33.960 --> 16:36.195 ALEXANDER III TO HIS WIFE 16:36.262 --> 16:37.730 MARIA FYODOROVNA, 16:37.797 --> 16:39.932 AND IT WAS MADE OF BOLONITE 16:39.999 --> 16:41.467 AND IT HAS DIAMOND AND PLATINUM 16:41.534 --> 16:43.436 TRELLIS ALL OVER IT. 16:43.503 --> 16:44.337 ORIGINALLY, 16:44.403 --> 16:45.271 WE KNOW FROM ARCHIVAL 16:45.338 --> 16:46.873 PHOTOGRAPHS THAT IT HAD A STAND 16:46.939 --> 16:48.174 WITH THREE CUPIDS ON IT HOLDING 16:48.241 --> 16:49.175 IT UP, 16:49.242 --> 16:51.077 AND ON THE INSIDE THE SURPRISE. 16:51.143 --> 16:52.778 CAUSE EVERY EGG HAD A SURPRISE, 16:52.845 --> 16:54.180 WAS A LITTLE ELEPHANT WITH 16:54.247 --> 16:55.314 A MAN ON TOP AND YOU WOULD 16:55.381 --> 16:56.315 WIND IT UP AND THE ELEPHANT 16:56.382 --> 16:58.718 WALKED ACROSS THE TABLE. 16:58.784 --> 17:00.052 ZARINA WAS SO THRILLED WITH IT 17:00.119 --> 17:02.088 THAT HE ORDERED ONE EVERY YEAR 17:02.154 --> 17:04.390 FROM FABERGE. 17:04.457 --> 17:05.324 >> TATIANA: IT CONTINUED UNTIL 17:05.391 --> 17:06.392 THE REVOLUTION. 17:06.459 --> 17:07.059 SO, 17:07.126 --> 17:10.263 THEN ALEXANDER III DIED AND WAS 17:10.329 --> 17:12.832 REPLACED BY NICHOLAS II 17:12.899 --> 17:14.667 AND THEN SO FABERGE MADE 17:14.734 --> 17:16.035 TWO EGGS EVERY YEA 17:16.102 --> 17:19.505 ONE FOR THE MOTHER AND ONE 17:19.572 --> 17:22.742 FOR THE NEW EMPRESS. 17:22.808 --> 17:24.143 >> JIM: HE HAD SEVERAL CLIENTS 17:24.210 --> 17:25.745 THAT WERE VERY VERY WEALTHY 17:25.811 --> 17:28.381 LIKE NOBEL AND KELCH WHO HAD 17:28.447 --> 17:29.582 LOTS OF MONEY AND WANTED 17:29.649 --> 17:31.717 IMPERIAL QUALITY EASTER EGGS 17:31.784 --> 17:33.352 TO GIVE TO THEIR WIVES BECAUSE 17:33.419 --> 17:34.353 THEY COULD AFFORD IT. 17:34.420 --> 17:35.821 SO, WITH A NOBEL EGG, 17:35.888 --> 17:37.557 WE HAVE THIS PLATINUM EGG 17:37.623 --> 17:38.925 THAT HAS SEVERAL LAYERS 17:38.991 --> 17:40.960 OF ENAMEL ON IT THAT IS ENGRAVED 17:41.027 --> 17:43.296 AND ETCHED WITH SNOWFLAKE 17:43.362 --> 17:44.196 PATTERNS. 17:44.263 --> 17:44.931 IT'S EXQUISITE. 17:44.997 --> 17:46.732 WHEN YOU OPEN IT UP, 17:46.799 --> 17:48.568 YOU HAVE THIS WATCH ACTUALLY 17:48.634 --> 17:51.470 IN A FORM OF A PIECE OF ICE 17:51.537 --> 17:53.306 WITH ICE CRYSTALS ON IT 17:53.372 --> 17:54.740 WITH PLATINUM AND DIAMOND. 17:54.807 --> 17:56.576 ALEXANDER KELCH WAS A MINING 17:56.642 --> 17:58.144 MAGNET IN RUSSIA. 17:58.210 --> 17:59.378 THE KELCH EGG THAT WE HAVE HERE 17:59.445 --> 18:01.881 IS CALLED THE "ROCAILLE EGG." 18:01.948 --> 18:03.583 THE "ROCAILLE EGG" HAS THIS 18:03.649 --> 18:05.318 WONDERFUL LOUIE THE 15TH STYLE 18:05.384 --> 18:07.353 ROCOCO DECORATION ON IT, 18:07.420 --> 18:08.788 WITH TWO PALM TREES SYMBOLIZING 18:08.854 --> 18:11.057 "PALM SUNDAY" 18:11.123 --> 18:12.692 AND IT'S IN A DEEP GREEN 18:12.758 --> 18:13.859 GUILLOCHE ENAMEL SO YOU CAN SEE 18:13.926 --> 18:15.828 THE PATTERN UNDERNEATH THE GREEN 18:15.895 --> 18:16.495 ENAMEL, 18:16.562 --> 18:17.530 THAT OVER THAT YOU HAVE THIS 18:17.597 --> 18:19.799 ROCOCO CAGE WORK WITH PLATINUM 18:19.865 --> 18:21.000 AND DIAMONDS. 18:21.067 --> 18:22.268 IT'S AN EXQUISITE PIECE. 18:22.335 --> 18:23.803 THE TURN OF THE CENTURY YOU HAVE 18:23.869 --> 18:25.638 THE INVENTION OF PHOTOGRAPHY. 18:25.705 --> 18:26.772 SO, 18:26.839 --> 18:28.307 WE FIND THAT HE'S CATERING TO 18:28.374 --> 18:30.309 THIS NEW PASSION FOR PHOTOGRAPHY 18:30.376 --> 18:32.812 BY CREATING PICTURE FRAMES. 18:32.878 --> 18:34.413 WOOD FRAMES, ENAMELED FRAMES, 18:34.480 --> 18:36.515 GILDED FRAMES FROM VERY SIMPLE 18:36.582 --> 18:39.051 TO VERY ELABORATE FOR THIS 18:39.118 --> 18:40.586 NEW VICTORIAN PASSION 18:40.653 --> 18:41.587 FOR PHOTOGRAPHY. 18:41.654 --> 18:43.089 WE HAVE BELL PUSHES BECAUSE 18:43.155 --> 18:44.657 OF THE INVENTION ELECTRICITY 18:44.724 --> 18:46.058 WE NO LONGER HAVE A BELL POLE 18:46.125 --> 18:47.360 FOR A SERVANT, BUT, 18:47.426 --> 18:48.728 YOU PUSH A BUTTON AND IT RINGS 18:48.794 --> 18:49.662 A BUZZER IN THE BASEMENT 18:49.729 --> 18:51.731 FOR THE SERVANT. 18:51.797 --> 18:52.932 CIGARETTE SMOKING CAME ABOUT 18:52.999 --> 18:53.866 AFTER THE CRIMEAN WAR 18:53.933 --> 18:55.401 IN THE LATE 1800'S. 18:55.468 --> 18:56.268 IT BECAME VERY POPULAR 18:56.335 --> 18:57.503 WITH BOTH MEN AND WOMEN. 18:57.570 --> 18:58.204 SO, 18:58.270 --> 18:59.138 THIS WAS A WHOLE NEW MARKET 18:59.205 --> 19:01.007 FOR FABERGE TO CATER TO THEM 19:01.073 --> 19:01.941 WITH THESE BEAUTIFUL CIGARETTE 19:02.008 --> 19:08.948 CASES. 19:09.015 --> 19:09.682 THE STORY OF NICHOLAS 19:09.749 --> 19:10.583 AND ALEXANDER AND THEIR FIVE 19:10.650 --> 19:11.917 CHILDREN IS VERY ROMANTIC. 19:11.984 --> 19:13.619 IT WAS A WONDERFUL STORY, 19:13.686 --> 19:14.153 BUT, 19:14.220 --> 19:14.887 UNFORTUNATELY THEY HAD A TRAGIC 19:14.954 --> 19:15.488 END. 19:15.554 --> 19:16.355 THEY WERE ALL MURDERED BY 19:16.422 --> 19:18.624 THE BOLSHEVIK'S IN 1918. 19:18.691 --> 19:20.993 AND CARL FABERGE WAS GIVEN 19:21.060 --> 19:22.194 15 MINUTES TO GET OUT OF HIS 19:22.261 --> 19:23.095 PLACE, 19:23.162 --> 19:24.597 JUST TO GET HIS HAT AND HIS COAT 19:24.664 --> 19:25.731 AND TO LEAVE HIS PREMISES DURING 19:25.798 --> 19:27.133 THE REVOLUTION. 19:27.199 --> 19:28.901 THE BRITISH EMBASSY HAD TO GET 19:28.968 --> 19:30.136 HIM OUT DISGUISED 19:30.202 --> 19:31.904 AS A BRITISH COURTIER AND HE 19:31.971 --> 19:32.872 ENDED UP LIVING IN SWITZERLAND 19:32.938 --> 19:38.778 AND DYING IN 1920. 19:38.844 --> 19:40.613 IF A FABERGE IMPERIAL EASTER EGG 19:40.680 --> 19:41.847 CAME ON THE MARKET TODAY, 19:41.914 --> 19:42.848 IT WOULD GO ANYWHERE FROM 19:42.915 --> 19:44.717 25-30 MILLION DOLLARS MOST 19:44.784 --> 19:46.952 LIKELY. 19:52.692 --> 19:53.993 >> RHEA: A FEW YEARS AGO WE HAD 19:54.060 --> 19:56.062 AN EXHIBIT OF "FABERGE EGGS" 19:56.128 --> 19:58.364 AT THE WALTER'S ART MUSEUM. 19:58.431 --> 19:59.398 AS FAR AS THESE ARE CONCERN, 19:59.465 --> 20:00.499 I THINK MY FAVORITE WAS 20:00.566 --> 20:01.701 THE FROSTED EGG WITH 20:01.767 --> 20:03.369 THE SURPRISE ICE CRYSTAL 20:03.436 --> 20:05.738 WATCH STUDDED WITH DIAMONDS. 20:05.805 --> 20:07.239 >> IAN: I WAS STRUCK BY HOW 20:07.306 --> 20:08.574 MODERN ADVANCES WERE REFLECTED 20:08.641 --> 20:10.376 IN THE DESIGNS. 20:10.443 --> 20:11.877 AND I GUESS DIAMONDS 20:11.944 --> 20:13.612 ARE RHEA'S BEST FRIEND! 20:13.679 --> 20:15.581 >> RHEA: WELL INDEED, 20:15.648 --> 20:17.650 OUR LAST ARTIST'S WORK COULDN'T 20:17.717 --> 20:19.085 BE MORE OPPOSITE THAN 20:19.151 --> 20:21.053 FABERGE'S DELICATE DESIGNS. 20:21.120 --> 20:23.022 THIS ARTIST REALLY LAYS IT ON 20:23.089 --> 20:24.290 THICK. 20:24.356 --> 20:25.825 IN PAINTS, I MEAN. 20:25.891 --> 20:26.792 >> IAN: LITERALLY, 20:26.859 --> 20:27.893 JIAN WANG BUYS TUBES OF PAINT 20:27.960 --> 20:29.495 IN BULK. 20:29.562 --> 20:30.996 NEXT TO HIS SWIRLING LANDSCAPES, 20:31.063 --> 20:33.432 VAN GOGH LOOKS POSITIVELY TAME. 20:33.499 --> 20:34.333 CHECK IT OUT. 20:36.469 --> 20:36.969 >> ROB STEWART: NORTHERN 20:37.036 --> 20:39.138 CALIFORNIA IS RICH WITH CULTURAL 20:39.205 --> 20:39.972 DIVERSITY AND TALENT. 20:40.039 --> 20:41.574 ONE OF THIS AREA'S BRIGHTEST 20:41.640 --> 20:44.243 GEMS IS HARD AT WORK BEHIND ME 20:44.310 --> 20:45.144 RIGHT NOW. 20:45.211 --> 20:46.045 JIAN WANG, 20:46.112 --> 20:46.479 CONTEMPORARY ARTIST, 20:46.545 --> 20:47.179 GOOD TO SEE YOU. 20:47.246 --> 20:48.514 >> JIAN WANG: GOOD TO SEE YOU, 20:48.581 --> 20:48.681 ROB. 20:48.748 --> 20:50.015 >> ROB: THANK YOU FOR HAVING US 20:50.082 --> 20:50.950 AT YOUR CARMICHAEL HOME HERE. 20:51.016 --> 20:51.717 YOU'RE PAINTING THESE BEAUTIFUL 20:51.784 --> 20:52.284 OAK TREES HERE. 20:52.351 --> 20:53.419 >> JIAN: YES, IT'S MY PLEASURE. 20:53.486 --> 20:54.286 >> ROB: IT'S AMAZING TO SEE HOW 20:54.353 --> 20:55.721 QUICKLY YOU WORK. 20:55.788 --> 20:57.356 I'M IN AWE OF HOW FAST THIS IS. 20:57.423 --> 20:59.658 >> JIAN: I CONSIDER MYSELF 20:59.725 --> 21:02.728 LIKE A 100-METER DASHER RATHER 21:02.795 --> 21:04.430 THAN A MARATHON RUNNER. 21:04.497 --> 21:07.600 BUT AFTER THE INITIAL PAINTING 21:07.666 --> 21:09.135 COVERS UP THE CANVAS, 21:09.201 --> 21:11.470 I WORK VERY CAREFULLY TO FIX 21:11.537 --> 21:13.405 UP ALL THE DETAILS. 21:13.472 --> 21:14.206 >> ROB: THE TOUCH UPS. 21:14.273 --> 21:15.541 >> JIAN: THE TOUCH UPS WHICH 21:15.608 --> 21:17.943 THE VIEWER MAY NOT SEE 21:18.010 --> 21:19.545 THE CORRECTIONS THAT I HAVE MADE 21:19.612 --> 21:23.883 SO THAT IT WOULD HAVE HARMONY 21:23.949 --> 21:25.518 TO THE WHOLE CANVASES. 21:25.584 --> 21:26.285 >> ROB: WHERE DO YOU FIND 21:26.352 --> 21:27.086 YOUR INSPIRATION? 21:27.153 --> 21:27.787 TODAY, 21:27.853 --> 21:28.621 YOU'RE PAINTING THESE TREES, 21:28.687 --> 21:29.555 BUT YOU ALSO LOVE THE AMERICAN 21:29.622 --> 21:30.489 RIVER. 21:30.556 --> 21:31.123 >> JIAN: ABSOLUTELY, 21:31.190 --> 21:32.424 I THINK THAT I'VE PAINTED 21:32.491 --> 21:33.659 THE AMERICAN RIVER NO LESS THAN 21:33.726 --> 21:35.594 HUNDREDS OF TIMES. 21:35.661 --> 21:36.762 >> ROB: THEY'RE JUST BEAUTIFUL. 21:36.829 --> 21:39.799 AND YOUR SKIES ARE SO PRETTY. 21:39.865 --> 21:40.766 >> JIAN: THIS IS FROM 21:40.833 --> 21:42.401 THE AMERICAN RIVER SKY. 21:42.468 --> 21:43.569 I CARRIED IT ON ALL 21:43.636 --> 21:44.737 THE DIFFERENT PAINTINGS EVEN 21:44.804 --> 21:47.006 THOUGH THIS IS SAN DIEGO. 21:47.072 --> 21:48.007 >> ROB: DO YOU PREFER PAINTING 21:48.073 --> 21:49.608 NATURE. 21:49.675 --> 21:51.143 >> JIAN: FOR ME, 21:51.210 --> 21:52.711 I THINK ANY VISUAL ELEMENTS 21:52.778 --> 21:54.413 THAT IS INTERESTING TO ME 21:54.480 --> 21:55.748 AND NATURE, 21:55.815 --> 21:56.982 IF YOU CONSIDER IT A SET UP 21:57.049 --> 21:59.618 STILL LIFE, AND UH, 21:59.685 --> 22:03.823 OR THE WONDER OF A HUMAN FACE. 22:03.889 --> 22:05.591 AND TO ME ALL VERY 22:05.658 --> 22:06.492 INSPIRATIONAL. 22:06.559 --> 22:07.393 >> ROB: NOW YOU CAME TO 22:07.459 --> 22:09.061 THE STATES IN 1986 FROM CHINA. 22:09.128 --> 22:10.429 DESCRIBE THE TYPE OF PAINTING 22:10.496 --> 22:11.263 THAT YOU DO. 22:11.330 --> 22:12.097 IT IS CONTEMPORARY, 22:12.164 --> 22:13.766 BUT HOW WOULD YOU DESCRIBE 22:13.833 --> 22:15.100 IT TO SOMEONE. 22:15.167 --> 22:17.770 >> JIAN: I THINK A MORE 22:17.837 --> 22:19.905 EXPRESSIONISTIC WAY OF HANDLING 22:19.972 --> 22:21.540 THE PAINTING SURFACE. 22:21.607 --> 22:24.910 WHICH MEANS THAT YOU ARE NOT 22:24.977 --> 22:28.080 MIMICKING THE NATURE, 22:28.147 --> 22:30.549 BUT TO EXPRESS IN YOUR OWN 22:30.616 --> 22:32.818 INDIVIDUAL WAY OF WHAT NATURE 22:32.885 --> 22:35.988 IS IN YOUR ARTISTIC SENSE, 22:36.055 --> 22:38.591 RATHER THAN A PICTORIAL SENSE? 22:38.657 --> 22:41.660 MOST ARTISTS THAT ARE WORKING 22:41.727 --> 22:45.297 ARE PREMIX THE COLOR ON PALLETS, 22:45.364 --> 22:48.000 BUT WHAT I DID FOR MY PAINTING 22:48.067 --> 22:49.969 IS THAT MOST OF THE COLORS 22:50.035 --> 22:51.871 WERE MIXED RIGHT ON THE CANVAS 22:51.937 --> 22:53.105 WHILE I WAS WORKING ON 22:53.172 --> 22:55.407 THE CANVAS. 22:55.474 --> 22:59.511 SO WHICH HAS THE ADVANTAGE 22:59.578 --> 23:02.248 OF EACH COLOR, 23:02.314 --> 23:05.150 EACH BRUSHSTROKE CARRIED REALLY 23:05.217 --> 23:06.285 MULTIPLE COLORS. 23:06.352 --> 23:07.119 >> ROB: SO I SEE THAT YOUR PAINT 23:07.186 --> 23:08.487 IS VERY THICK. 23:08.554 --> 23:09.388 HOW LONG DOES IT TAKE FOR THESE 23:09.455 --> 23:10.556 TO DRY? 23:10.623 --> 23:11.624 >> JIAN: IT TAKES ABOUT A HALF 23:11.690 --> 23:12.958 A YEAR TO COMPLETELY DRY. 23:13.025 --> 23:13.959 >> ROB: A HALF A YEAR? 23:14.026 --> 23:14.927 >> JIAN: RIGHT, 23:14.994 --> 23:15.961 BUT THE SURFACE DRIES 23:16.028 --> 23:17.296 IN A COUPLE OF WEEKS. 23:17.363 --> 23:19.498 AND THERE'S NO AIR COMING INTO 23:19.565 --> 23:20.599 IT BECAUSE THE BACK 23:20.666 --> 23:22.735 OF THE CANVAS IS A SEAL. 23:22.801 --> 23:24.536 AND SO THE PAINT IS ACTUALLY 23:24.603 --> 23:25.304 NOT DRY. 23:25.371 --> 23:26.572 IT'S JUST SET. 23:26.639 --> 23:27.606 >> ROB: YOU MUST GO THROUGH 23:27.673 --> 23:28.874 SO MUCH PAINT. 23:28.941 --> 23:29.875 >> JIAN: ABSOLUTELY. 23:29.942 --> 23:33.913 AND I USED UP MAYBE 600 TUBES, 23:33.979 --> 23:36.515 260 A YEAR. 23:36.582 --> 23:38.183 WHEN THEY DELIVER IT AND THEY 23:38.250 --> 23:39.551 COME WITH A LIFTER, 23:39.618 --> 23:40.886 THEY HAVE A PALLET. 23:40.953 --> 23:41.487 >> ROB: A PALLET. 23:41.553 --> 23:42.388 >> JIAN: ABSOLUTELY. 23:42.454 --> 23:43.756 MAYBE A PALLET TO PAINT 23:43.822 --> 23:48.894 AND 2 PALLET CANVASES. 23:48.961 --> 23:51.597 EACH BRUSHSTROKE IS ALIVE. 23:51.664 --> 23:53.265 AND WHEN PEOPLE ONCE SAID, 23:53.332 --> 23:54.600 JIAN'S PAINTINGS ARE NEVER 23:54.667 --> 23:55.301 COMPLETE, 23:55.367 --> 23:57.503 IT'S ALWAYS GIVES YOU A SENSE 23:57.569 --> 24:01.573 OF LIVELINESS AND IT'S LIKE 24:01.640 --> 24:03.575 HE'S STILL WORKING ON IT. 24:03.642 --> 24:06.378 >> ROB: DO YOU EVER GET SAD 24:06.445 --> 24:08.380 TO SEE YOUR PAINTINGS GO? 24:08.447 --> 24:09.982 >> JIAN: NOT QUITE, 24:10.049 --> 24:11.984 BECAUSE I'M AN ARTIST THAT 24:12.051 --> 24:14.787 I HAVE TO LIVE ON AND SECONDLY, 24:14.853 --> 24:17.456 THAT I ALWAYS FANTASIZE THAT 24:17.523 --> 24:19.024 THE UNFINISHED PAINTING 24:19.091 --> 24:22.227 OR THE NEXT PAINTING WILL BE 24:22.294 --> 24:23.829 A BETTER ONE. 24:23.896 --> 24:25.931 NORTHERN CALIFORNIA HAS SUCH 24:25.998 --> 24:28.600 A RICH SEASON THAT'S CHANGING. 24:28.667 --> 24:29.134 VISUALLY, 24:29.201 --> 24:30.936 IT STIMULATES ARTISTS TO MAKE 24:31.003 --> 24:32.771 A GREAT PAINTING. 24:32.838 --> 24:35.841 AND THAT FOR MY OPINION EXPLAINS 24:35.908 --> 24:37.876 IT WHY NORTHERN CALIFORNIA 24:37.943 --> 24:39.411 HAS VERY DISTINGUISHED 24:39.478 --> 24:39.912 PAINTINGS. 24:39.979 --> 24:42.948 AND EVEN THOUGH I BRING MY 24:43.015 --> 24:44.984 PAINTING TO NEW YORK, 24:45.050 --> 24:46.518 MEMPHIS, OR ATLANTA, 24:46.585 --> 24:49.054 I STILL BELIEVE THE QUALITY 24:49.121 --> 24:50.589 IN NORTHERN CALIFORNIA 24:50.656 --> 24:51.590 IS SUPERB. 24:51.657 --> 24:54.660 >> ROB: HOW DOES YOUR ART 24:54.727 --> 24:55.661 INSPIRE YOU? 24:55.728 --> 24:57.329 >> JIAN: ACTUALLY, 24:57.396 --> 24:59.198 IT WAS VERY MUCH LATER ON 24:59.264 --> 25:01.033 WHEN THE PAINTING IS COMPLETED 25:01.100 --> 25:03.268 THAT I AM ABLE TO ENJOY THEM. 25:03.335 --> 25:04.770 BUT WHILE I WAS WORKING ON 25:04.837 --> 25:06.505 A PAINTING, 25:06.572 --> 25:08.474 I RARELY HAVE SATISFACTION 25:08.540 --> 25:09.475 OF IT. 25:09.541 --> 25:10.943 >> ROB: REALLY? 25:11.010 --> 25:13.412 >> JIAN: BECAUSE I'M ALWAYS 25:13.479 --> 25:15.881 FRUSTRATED WITH THE BETTER MIND 25:15.948 --> 25:19.351 THAN WHAT IT SHOWS ON THE CANVAS 25:19.418 --> 25:20.819 WHAT I DID. 25:20.886 --> 25:24.289 AND SO VERY OFTEN WHEN I WAS 25:24.356 --> 25:25.491 LOOKING BACK AT THE PAINTING 25:25.557 --> 25:27.026 A FEW DAYS LATER, 25:27.092 --> 25:27.793 I SAY, WOW, 25:27.860 --> 25:28.894 THAT WAS NOT THAT BAD. 25:28.961 --> 25:30.262 I WAS SO UPSET WITH MYSELF 25:30.329 --> 25:31.597 WHILE I WAS WORKING ON IT. 25:31.663 --> 25:32.264 >> ROB: WELL, 25:32.331 --> 25:32.931 WHATEVER YOU'RE DOING, 25:32.998 --> 25:34.033 YOU'RE DOING RIGHT AND WE 25:34.099 --> 25:34.933 CERTAINLY DO ENJOY YOUR 25:35.000 --> 25:36.035 PAINTINGS AND WE LOVE WATCHING 25:36.101 --> 25:37.836 YOU AT WORK SO I WOULD LOVE TO 25:37.903 --> 25:39.171 WATCH YOU DO SOME MORE PAINTING. 25:39.238 --> 25:40.506 >> JIAN: THANK YOU SO MUCH. 25:40.572 --> 25:41.273 >> ROB: THANK YOU FOR HAVING US 25:41.340 --> 25:42.474 HERE AT YOUR CARMICHAEL HOME 25:42.541 --> 25:43.342 AND STUDIO. 25:47.046 --> 25:47.980 >> RHEA: FOR MORE INFORMATION, 25:48.047 --> 25:48.614 VISIT 25:48.680 --> 25:50.749 GINWANGART.COM. 26:01.226 --> 26:01.860 >> RHEA: THAT'S ALL WE HAVE TIME 26:01.927 --> 26:02.828 FOR TONIGHT, 26:02.895 --> 26:04.463 BUT THERE ARE DOZENS OF PREVIOUS 26:04.530 --> 26:05.731 EPISODES AT 26:05.798 --> 26:08.467 MPT.ORG/ARTWORKS. 26:08.534 --> 26:09.601 I'M RHEA FEIKIN. 26:09.668 --> 26:10.736 >> IAN: AND I'M IAN GALLANAR, 26:10.803 --> 26:11.937 WITH THE CHESAPEAKE SHAKESPEARE 26:12.037 --> 26:12.805 MPANY. 26:12.871 --> 26:13.572 >> RHEA: WE'LL SEE YOU NEXT 26:13.639 --> 26:13.772 WEEK. 26:13.839 --> 26:14.706 THANKS FOR WATCHING. 26:15.641 --> 26:16.375 >> ANNOUNCER: ARTWORKS IS 26:16.442 --> 26:18.343 MADE POSSIBLE IN PART BY 26:18.410 --> 26:19.878 THE CITIZENS OF BALTIMORE. 26:24.616 --> 26:25.617 CLOSED CAPTIONING HAS BEEN 26:25.684 --> 26:27.119 MADE POSSIBLE BY 26:27.186 --> 26:28.153 MARYLAND RELAY, 26:28.220 --> 26:29.655 EMPOWERING THOSE WITH 26:29.721 --> 26:31.023 HEARING AND SPEECH LOSS 26:31.090 --> 26:32.424 TO STAY CONNECTED.