1 00:00:01,101 --> 00:00:01,935 >> HOST: IN THIS EDITION 2 00:00:02,002 --> 00:00:03,070 OF ARTWORKS. 3 00:00:03,136 --> 00:00:04,371 AN IN DEPTH LOOK AT THE COMPLEX 4 00:00:04,438 --> 00:00:07,474 CHARACTERS OF "DOWNTON ABBEY." 5 00:00:07,541 --> 00:00:09,276 >> WE CAN SEE SHADES OF GRAY 6 00:00:09,343 --> 00:00:10,511 IN ALL OF THEM. 7 00:00:10,577 --> 00:00:11,912 >> HOST: AN ACTOR DISCOVERS 8 00:00:11,979 --> 00:00:14,114 THE CHALLENGE OF BEING CHAPLIN. 9 00:00:14,181 --> 00:00:14,748 >> AND THAT SHOULD BE HARD. 10 00:00:14,815 --> 00:00:15,582 SO IT IS. 11 00:00:15,649 --> 00:00:16,450 >> HOST: A PAINTER WHO LAYERS 12 00:00:16,517 --> 00:00:18,252 HIS MESSAGES. 13 00:00:18,318 --> 00:00:19,820 AND STUDENTS WHO APPLY CLASSROOM 14 00:00:19,887 --> 00:00:22,322 SKILLS FOR GLOBAL GOOD. 15 00:00:22,389 --> 00:00:23,657 >> WE USE DESIGN AS A TOOL 16 00:00:23,724 --> 00:00:26,260 TO HELP THESE ORGANIZATIONS. 17 00:00:26,326 --> 00:00:28,128 >> HOST: IT'S ALL AHEAD ON THIS 18 00:00:28,195 --> 00:00:29,396 EDITION OF ARTWORKS! 19 00:00:46,113 --> 00:00:46,980 >> ANNOUNCER: ARTWORKS IS MADE 20 00:00:47,047 --> 00:00:48,782 POSSIBLE IN PART BY: 21 00:00:48,849 --> 00:00:51,118 THE MPT NEW INITIATIVES FUND, 22 00:00:51,184 --> 00:00:51,885 FOUNDED BY 23 00:00:51,952 --> 00:00:54,121 IRENE AND EDWARD H. KAPLAN. 24 00:00:56,657 --> 00:00:57,324 >> HELLO, 25 00:00:57,391 --> 00:00:57,991 I'M RHEA FEIKIN 26 00:00:58,058 --> 00:00:59,159 AND THIS IS ARTWORKS, 27 00:00:59,226 --> 00:01:00,827 A SERIES FOR THE CREATIVELY 28 00:01:00,894 --> 00:01:01,662 CURIOUS. 29 00:01:01,728 --> 00:01:03,497 >> AND I'M KWAME KWEI-ARMAH. 30 00:01:03,564 --> 00:01:04,698 WELCOME BACK. 31 00:01:04,765 --> 00:01:05,999 >> RHEA: FANS OF THE HIT SERIES 32 00:01:06,066 --> 00:01:07,067 "DOWNTON ABBEY" 33 00:01:07,134 --> 00:01:08,802 MIGHT THINK THEY KNOW ALL 34 00:01:08,869 --> 00:01:09,870 OF THE CHARACTERS, 35 00:01:09,937 --> 00:01:11,572 BUT IN HER NEW OFFICIAL 36 00:01:11,638 --> 00:01:13,874 COMPANION BOOK TO THE SERIES, 37 00:01:13,941 --> 00:01:15,075 "THE CHRONICLES 38 00:01:15,142 --> 00:01:15,742 OF DOWNTON ABBEY," 39 00:01:15,809 --> 00:01:17,377 AUTHOR JESSICA FELLOWES GIVES 40 00:01:17,444 --> 00:01:20,314 VIEWERS AN INSIDER'S SCOOP. 41 00:01:20,380 --> 00:01:21,214 >> KWAME: FELLOWES HIGHLIGHTS 42 00:01:21,281 --> 00:01:22,749 THE BEHIND-THE-SCENES DRAMA 43 00:01:22,816 --> 00:01:24,985 DURING THE FILMING OF SEASON 3. 44 00:01:25,052 --> 00:01:26,486 AS THE CAST OF "DOWNTON ABBEY" 45 00:01:26,553 --> 00:01:29,356 ENTERS THE TUMULTUOUS 1920s. 46 00:01:29,423 --> 00:01:30,724 HERE'S A LOOK. 47 00:01:31,058 --> 00:01:31,525 >> JESSICA FELLOWES: THE 48 00:01:31,592 --> 00:01:32,492 "CHRONICLES OF DOWNTON ABBEY" 49 00:01:32,559 --> 00:01:35,095 IS THE OFFICIAL TIE-IN COMPANION 50 00:01:35,162 --> 00:01:37,297 BOOK FOR THE TELEVISION SERIES 51 00:01:37,364 --> 00:01:38,198 "DOWNTON ABBEY." 52 00:01:38,265 --> 00:01:39,866 AND IT'S THE SECOND BOOK 53 00:01:39,933 --> 00:01:42,002 THAT WE'VE DONE WITH THE SHOW. 54 00:01:42,069 --> 00:01:43,637 AND THIS ONE IS VERY CHARACTER 55 00:01:43,704 --> 00:01:45,772 LED SO EACH CHAPTER IS HEADED 56 00:01:45,839 --> 00:01:47,674 UP BY ONE OR TWO CHARACTERS. 57 00:01:47,741 --> 00:01:48,909 AND WE TOOK A TRIPLE-LED 58 00:01:48,976 --> 00:01:49,843 APPROACH TO IT, 59 00:01:49,910 --> 00:01:51,511 SO THERE'S A LOOK AT THE SHOW 60 00:01:51,578 --> 00:01:52,779 ITSELF, 61 00:01:52,846 --> 00:01:54,247 THE SERIES AS IF IT WERE A LIVE 62 00:01:54,314 --> 00:01:55,315 AND PRESENT THING, 63 00:01:55,382 --> 00:01:56,483 WHICH IS HOW IT FEELS WHEN 64 00:01:56,550 --> 00:01:58,619 IT COMES INTO OUR TVS ON SUNDAY 65 00:01:58,685 --> 00:01:59,353 NIGHTS. 66 00:01:59,419 --> 00:02:01,622 AND THEN WE LOOK AT HOW 67 00:02:01,688 --> 00:02:03,123 THE PRODUCTION BROUGHT ALL 68 00:02:03,190 --> 00:02:04,257 OF THAT TOGETHER, 69 00:02:04,324 --> 00:02:05,392 SO JULIAN'S SCRIPTS, 70 00:02:05,459 --> 00:02:07,661 THE ACTORS AND WHAT THEY THINK 71 00:02:07,728 --> 00:02:09,529 ABOUT THEIR OWN BACK STORIES, 72 00:02:09,596 --> 00:02:10,731 THE ART DEPARTMENT, 73 00:02:10,797 --> 00:02:11,765 THE HAIR AND COSTUMES 74 00:02:11,832 --> 00:02:12,933 AND ALL THE, YOU KNOW, 75 00:02:13,000 --> 00:02:13,934 PROPS AND ALL THE REST OF IT. 76 00:02:14,001 --> 00:02:15,836 AND THEN THE THIRD LAYER 77 00:02:15,902 --> 00:02:17,537 IS THE SOCIAL HISTORIES, 78 00:02:17,604 --> 00:02:18,739 THE CONTEXT IN WHICH THE THING 79 00:02:18,805 --> 00:02:20,173 IS SET, 80 00:02:20,240 --> 00:02:21,041 WHICH DEMONSTRATES 81 00:02:21,108 --> 00:02:22,509 THE AUTHENTICITY OF THE SHOW. 82 00:02:22,576 --> 00:02:23,944 WHAT IS QUITE INTERESTING IS, 83 00:02:24,011 --> 00:02:24,878 I THINK THERE'S A DIFFERENT 84 00:02:24,945 --> 00:02:27,414 ATMOSPHERE ON THE SETS. 85 00:02:27,481 --> 00:02:29,516 THE HIGHCLERE CASTLE, 86 00:02:29,583 --> 00:02:30,417 WHICH WAS THE SETTING 87 00:02:30,484 --> 00:02:31,485 FOR THE HOUSE AND ALL 88 00:02:31,551 --> 00:02:34,154 THE ABOVE-STARS SCENES. 89 00:02:34,221 --> 00:02:36,957 I MEAN IT IS A REAL, 90 00:02:37,024 --> 00:02:37,991 WORKING HOUSE, YOU KNOW. 91 00:02:38,058 --> 00:02:38,992 IT'S BEEN SITTING THERE 92 00:02:39,059 --> 00:02:40,527 LIKE THAT FOR THE LAST 400, 93 00:02:40,594 --> 00:02:41,561 500 YEARS OR WHATEVER. 94 00:02:41,628 --> 00:02:42,829 AND THERE'S THAT REAL SENSE 95 00:02:42,896 --> 00:02:44,364 OF ITS PRESENCE AS YOU ARRIVE. 96 00:02:44,431 --> 00:02:45,632 AND I THINK IT MAKES 97 00:02:45,699 --> 00:02:46,400 ALL THE ACTORS, 98 00:02:46,466 --> 00:02:47,934 I MEAN I CAN FEEL MYSELF 99 00:02:48,001 --> 00:02:48,935 SITTING UP STRAIGHTER JUST 100 00:02:49,002 --> 00:02:49,703 TALKING ABOUT IT. 101 00:02:49,770 --> 00:02:50,003 YOU KNOW, 102 00:02:50,070 --> 00:02:50,837 YOU KIND OF HAVE TO HAVE 103 00:02:50,904 --> 00:02:52,973 THAT PRESENCE IN A ROOM 104 00:02:53,040 --> 00:02:53,907 AND YOU TALK IN A DIFFERENT KIND 105 00:02:53,974 --> 00:02:56,543 OF WAY AND YOU HAVE TO HAVE 106 00:02:56,610 --> 00:02:57,010 RESPECT FOR THE HOUSE, 107 00:02:57,077 --> 00:02:58,178 IT'S A LOT OF VALUABLES THERE. 108 00:02:58,245 --> 00:02:58,779 I MEAN, 109 00:02:58,845 --> 00:03:00,213 THE ART DEPARTMENT DOESN'T PUT 110 00:03:00,280 --> 00:03:01,615 VERY MUCH IN THERE APART 111 00:03:01,682 --> 00:03:03,050 FROM A FEW POTTED PALMS. 112 00:03:03,116 --> 00:03:03,617 I MEAN, 113 00:03:03,684 --> 00:03:05,018 ALL THOSE THINGS LIKE COSTUMES, 114 00:03:05,085 --> 00:03:05,886 THEY REALLY HELP. 115 00:03:05,952 --> 00:03:06,720 AND THAT'S WHY, 116 00:03:06,787 --> 00:03:08,155 THAT'S PARTLY WHY IT'S SO 117 00:03:08,221 --> 00:03:09,022 IMPORTANT THAT EVERYTHING 118 00:03:09,089 --> 00:03:10,424 IS AUTHENTIC IN THE WAY 119 00:03:10,490 --> 00:03:11,291 THAT IT IS. 120 00:03:11,358 --> 00:03:12,993 NOT JUST THAT IT LOOKS RIGHT 121 00:03:13,060 --> 00:03:13,560 FOR US, 122 00:03:13,627 --> 00:03:15,529 BUT IT HELPS THE ACTORS TO SIT 123 00:03:15,595 --> 00:03:15,829 PROPERLY. 124 00:03:15,896 --> 00:03:16,396 I MEAN, 125 00:03:16,463 --> 00:03:16,963 THE STARCHED COLLARS 126 00:03:17,030 --> 00:03:18,098 PARTICULARLY FOR THE MEN, 127 00:03:18,165 --> 00:03:18,765 I GATHER, 128 00:03:18,832 --> 00:03:20,200 ARE PRETTY HORRIBLE, 129 00:03:20,267 --> 00:03:21,535 RUBBING THEIR NECKS QUITE RAW. 130 00:03:21,601 --> 00:03:23,904 THE WOMEN OBVIOUSLY HAVE 131 00:03:23,970 --> 00:03:24,805 THE CORSETS, 132 00:03:24,871 --> 00:03:26,473 HAVE BEGUN TO GET A LITTLE BIT 133 00:03:26,540 --> 00:03:28,308 EASIER NOW FOR THE THIRD SEASON, 134 00:03:28,375 --> 00:03:30,043 THEY'RE NOT QUITE AS 135 00:03:30,110 --> 00:03:31,411 CONSTRICTING AND SORT OF, 136 00:03:31,478 --> 00:03:32,512 THEY HAVE THIS SORT 137 00:03:32,579 --> 00:03:34,247 OF S-BEND SHAPE ALMOST 138 00:03:34,314 --> 00:03:35,282 IN THE FIRST SEASON. 139 00:03:35,348 --> 00:03:36,683 NOW IT'S MORE ABOUT FLATTENING 140 00:03:36,750 --> 00:03:37,851 THE FIGURE OUT. 141 00:03:37,918 --> 00:03:38,819 NEVERTHELESS, 142 00:03:38,885 --> 00:03:41,354 THEY ALL HAVE TO WEAR THEM 143 00:03:41,421 --> 00:03:43,256 AND LIVE WITH THAT. 144 00:03:43,323 --> 00:03:45,025 BUT THAT DOES MAKE THEM SIT 145 00:03:45,092 --> 00:03:46,793 IN THE RIGHT WAY AND WALK 146 00:03:46,860 --> 00:03:47,994 IN THE RIGHT WAY. 147 00:03:48,061 --> 00:03:49,763 AND I THINK ALSO THEY'VE PICKED 148 00:03:49,830 --> 00:03:51,231 IT UP AS THEY GO. 149 00:03:51,298 --> 00:03:51,832 ROB COLLIER, 150 00:03:51,898 --> 00:03:52,699 WHO PLAYS THOMAS, 151 00:03:52,766 --> 00:03:54,201 SAYS THAT HE DOESN'T REALLY 152 00:03:54,267 --> 00:03:55,068 LIKE WATCHING SCENES 153 00:03:55,135 --> 00:03:56,269 FROM THE FIRST SEASON 154 00:03:56,336 --> 00:03:57,137 BECAUSE HE THINKS 155 00:03:57,204 --> 00:03:58,905 HE WAS WALKING THE WRONG WAY, 156 00:03:58,972 --> 00:03:59,806 BECAUSE THEY LEARN 157 00:03:59,873 --> 00:04:01,274 YOU'RE NOT SUPPOSED TO PUT 158 00:04:01,341 --> 00:04:02,709 YOUR HANDS IN YOUR POCKETS 159 00:04:02,776 --> 00:04:03,577 AND HAVING TO SIT UP 160 00:04:03,643 --> 00:04:07,013 AND SIT DOWN AND STAND UP. 161 00:04:07,080 --> 00:04:07,547 YOU KNOW, 162 00:04:07,614 --> 00:04:08,648 THEY HAD TO RE-SHOOT A SCENE 163 00:04:08,715 --> 00:04:11,218 WHEN THE HISTORICAL ADVISER 164 00:04:11,284 --> 00:04:12,352 WAS AWAY THAT DAY 165 00:04:12,419 --> 00:04:13,120 AND MATTHEW CRAWLEY 166 00:04:13,186 --> 00:04:14,788 DIDN'T STAND UP WHEN THE DOWAGER 167 00:04:14,855 --> 00:04:16,356 COUNTESS CAME INTO THE ROOM. 168 00:04:16,423 --> 00:04:17,224 HE SAID THERE'S ABSOLUTELY 169 00:04:17,290 --> 00:04:17,924 NO WAY THAT COULD EVER HAVE 170 00:04:17,991 --> 00:04:18,592 HAPPENED. 171 00:04:18,658 --> 00:04:20,060 YOU COULDN'T POSSIBLY AIR 172 00:04:20,127 --> 00:04:20,961 A SCENE LIKE THAT. 173 00:04:21,027 --> 00:04:22,796 SO THEY HAD TO REDO IT. 174 00:04:22,863 --> 00:04:23,930 JULIAN SAID THAT HE ALWAYS 175 00:04:23,997 --> 00:04:25,165 BEGINS WITH THE FUNDAMENTAL 176 00:04:25,232 --> 00:04:26,833 BELIEF THAT EVERYBODY IS GOOD. 177 00:04:26,900 --> 00:04:27,901 THEY START GOOD 178 00:04:27,968 --> 00:04:29,736 AND THEN SOMETHING MAY TAKE 179 00:04:29,803 --> 00:04:31,271 THEM OFF THAT PATH ALONG 180 00:04:31,338 --> 00:04:31,872 THE WAY. 181 00:04:31,938 --> 00:04:33,406 AND I THINK THAT'S WHAT 182 00:04:33,473 --> 00:04:34,641 IS REALLY INTERESTING ABOUT 183 00:04:34,708 --> 00:04:35,876 THE CHARACTERS IS THAT 184 00:04:35,942 --> 00:04:37,410 THEY'RE NOT BLACK OR WHITE. 185 00:04:37,477 --> 00:04:38,945 THEY'RE NOT GOODIES OR BADDIES. 186 00:04:39,012 --> 00:04:40,781 WE CAN SEE SHADES OF GRAY 187 00:04:40,847 --> 00:04:42,015 IN ALL OF THEM. 188 00:04:42,082 --> 00:04:43,250 I MEAN, EVEN O'BRIEN, 189 00:04:43,316 --> 00:04:44,785 WHO'S PROBABLY THE MOST EVIL 190 00:04:44,851 --> 00:04:46,620 SCHEMER OF ALL AND EVEN JULIAN 191 00:04:46,686 --> 00:04:47,521 WILL ADMIT THAT, 192 00:04:47,587 --> 00:04:49,055 THERE ARE STILL TIMES WHEN 193 00:04:49,122 --> 00:04:50,924 YOU SEE HER AND YOU THINK, 194 00:04:50,991 --> 00:04:52,459 THERE ARE SOME SOFT SPOTS 195 00:04:52,526 --> 00:04:53,360 IN THAT HEART. 196 00:04:53,426 --> 00:04:54,895 NOW WE WOULD PROBABLY CALL 197 00:04:54,961 --> 00:04:56,129 HER DAMAGED AND SEND 198 00:04:56,196 --> 00:04:57,664 HER TO THERAPY AND THINGS. 199 00:04:57,731 --> 00:04:59,800 BUT THEN SHE JUST HAD TO LIVE 200 00:04:59,866 --> 00:05:01,034 HER WAY THROUGH IT. 201 00:05:01,101 --> 00:05:02,135 I ALWAYS GET ASKED WHAT'S 202 00:05:02,202 --> 00:05:03,203 MY FAVORITE CHARACTER 203 00:05:03,270 --> 00:05:05,071 AND IT'S SLIGHTLY LIKE SELECTING 204 00:05:05,138 --> 00:05:06,273 YOUR CHILDREN OUT. 205 00:05:06,339 --> 00:05:08,441 I'VE GOT TO KNOW THEM ALL 206 00:05:08,508 --> 00:05:09,209 SO WELL NOW, 207 00:05:09,276 --> 00:05:11,378 I FEEL LIKE I'VE SEEN THEM 208 00:05:11,444 --> 00:05:13,914 DEVELOP OVER THREE SEASONS 209 00:05:13,980 --> 00:05:15,348 AND TALK TO THE ACTORS AND TALK 210 00:05:15,415 --> 00:05:16,650 TO THE PRODUCTION AND, 211 00:05:16,716 --> 00:05:17,384 YOU KNOW, 212 00:05:17,450 --> 00:05:19,119 ALL THESE SORT OF DETAILS 213 00:05:19,186 --> 00:05:19,786 ABOUT THEM. 214 00:05:19,853 --> 00:05:21,855 I KIND OF LOVE THEM ALL 215 00:05:21,922 --> 00:05:23,356 IN THEIR OWN SPECIAL WAY. 216 00:05:26,393 --> 00:05:26,860 >> RHEA: YOU'LL FIND "THE 217 00:05:26,927 --> 00:05:28,061 CHRONICLES OF DOWNTON ABBEY" 218 00:05:28,128 --> 00:05:30,197 ON BOOKSHELVES NOW AND YOU CAN 219 00:05:30,263 --> 00:05:32,199 SEE SEASON THREE ONLINE AT: 220 00:05:32,265 --> 00:05:35,569 VIDEO.MPT.TV. 221 00:05:35,635 --> 00:05:36,770 ENJOY! 222 00:05:50,917 --> 00:05:51,384 >> KWAME: THE NAME 223 00:05:51,451 --> 00:05:52,152 "CHARLIE CHAPLIN" 224 00:05:52,219 --> 00:05:53,553 CONJURES IMAGES OF A BOWLER HAT 225 00:05:53,620 --> 00:05:55,288 AND MUSTACHE. 226 00:05:55,355 --> 00:05:56,656 BUT THE ACTOR'S CAREER WAS MUCH 227 00:05:56,723 --> 00:05:58,191 BIGGER THAN HIS OVERSIZED 228 00:05:58,258 --> 00:05:59,693 TROUSERS AS WE SEE IN THIS 229 00:05:59,759 --> 00:06:02,028 INTERVIEW WITH ROB MCCLURE, 230 00:06:02,095 --> 00:06:03,663 WHO PLAYS THE MUSTACHED MAN 231 00:06:03,730 --> 00:06:05,098 IN THE BROADWAY MUSICAL, 232 00:06:05,165 --> 00:06:06,199 "CHAPLIN." 233 00:06:47,474 --> 00:06:47,974 >> STEVE ADUBATO: THAT GUY'S 234 00:06:48,041 --> 00:06:48,275 GOOD. 235 00:06:48,341 --> 00:06:48,842 HE'S RIGHT HERE. 236 00:06:48,909 --> 00:06:49,910 HIS NAME'S ROB MCCLURE, 237 00:06:49,976 --> 00:06:51,845 HE'S STARRING IN "CHAPLIN," 238 00:06:51,912 --> 00:06:53,213 PLAYING AT THE ETHEL BARRYMORE 239 00:06:53,280 --> 00:06:53,914 THEATRE. 240 00:06:53,980 --> 00:06:55,181 HE'S AN ACTOR 241 00:06:55,248 --> 00:06:56,049 AND HE IS TERRIFIC. 242 00:06:56,116 --> 00:06:56,716 GOOD TO SEE YOU. 243 00:06:56,783 --> 00:06:57,384 >> ROB MCCLURE: THANKS, STEVE, 244 00:06:57,450 --> 00:06:58,018 THANKS FOR HAVING ME. 245 00:06:58,084 --> 00:06:59,185 >> STEVE: WHAT'S IT LIKE TO SEE 246 00:06:59,252 --> 00:07:00,787 YOURSELF STARRING IN "CHAPLIN" 247 00:07:00,854 --> 00:07:01,388 LIKE THAT. 248 00:07:01,454 --> 00:07:03,390 >> ROB: IT'S WILD, IT'S WILD. 249 00:07:03,456 --> 00:07:04,758 IT'S PROFOUNDLY MOVING EVERY 250 00:07:04,824 --> 00:07:05,091 NIGHT. 251 00:07:05,158 --> 00:07:05,759 YOU KNOW, 252 00:07:05,825 --> 00:07:07,427 PEOPLE COME TO THIS SHOW 253 00:07:07,494 --> 00:07:08,094 WITH EXPECTATIONS. 254 00:07:08,161 --> 00:07:09,462 THEY KNOW THAT SILHOUETTE. 255 00:07:09,529 --> 00:07:10,797 THEY KNOW THE HAT, 256 00:07:10,864 --> 00:07:12,465 THE CANE AND THE MOUSTACHE. 257 00:07:12,532 --> 00:07:13,833 AND FANS OR NOT, 258 00:07:13,900 --> 00:07:15,835 YOU OWE IT TO THAT MAN 259 00:07:15,902 --> 00:07:17,504 AND THAT LEGACY TO GET 260 00:07:17,570 --> 00:07:18,204 THAT RIGHT, 261 00:07:18,271 --> 00:07:19,873 AND IT'S REALLY AN HONOR 262 00:07:19,940 --> 00:07:20,540 TO TAKE A STAB AT IT EIGHT SHOWS 263 00:07:20,607 --> 00:07:21,942 A WEEK. 264 00:07:22,008 --> 00:07:22,842 >> STEVE: I WANT YOU TO SHARE 265 00:07:22,909 --> 00:07:24,144 WITH US A LITTLE BIT BY THE WAY, 266 00:07:24,210 --> 00:07:24,778 YOU'RE BORN AND RAISED 267 00:07:24,844 --> 00:07:25,378 IN NEW JERSEY. 268 00:07:25,445 --> 00:07:26,212 >> ROB: YEAH, THAT'S RIGHT, 269 00:07:26,279 --> 00:07:27,314 JUST OVER THE BRIDGE. 270 00:07:27,380 --> 00:07:28,048 >> STEVE: PROUD TO HAVE YOU, 271 00:07:28,114 --> 00:07:29,282 AS SOMEONE WHO WAS BORN 272 00:07:29,349 --> 00:07:30,116 AND RAISED IN JERSEY, 273 00:07:30,183 --> 00:07:30,917 TO SEE SOMEONE WHO MADE 274 00:07:30,984 --> 00:07:31,518 IT ON BROADWAY. 275 00:07:31,584 --> 00:07:32,152 >> ROB: YEAH, 276 00:07:32,218 --> 00:07:33,053 I GOT MY START OUT THERE 277 00:07:33,119 --> 00:07:33,887 AT THE PAPER MILL. 278 00:07:33,954 --> 00:07:34,521 >> STEVE: YEAH, 279 00:07:34,587 --> 00:07:35,288 THE PAPER MILL PLAYHOUSE 280 00:07:35,355 --> 00:07:36,122 IN MILLBURN. 281 00:07:36,189 --> 00:07:37,424 >> ROB: RIGHT, IN MILLBURN. 282 00:07:37,490 --> 00:07:38,825 >> STEVE: I CAN'T EVEN IMAGINE 283 00:07:38,892 --> 00:07:40,660 WHAT IT'S LIKE TO BE PERFORMING, 284 00:07:40,727 --> 00:07:42,262 TO GO FROM THE PAPER MILL 285 00:07:42,329 --> 00:07:43,063 PLAYHOUSE IN MILLBURN 286 00:07:43,129 --> 00:07:43,596 TO BROADWAY. 287 00:07:43,663 --> 00:07:45,198 BUT I'VE GOT TO ASK YOU, 288 00:07:45,265 --> 00:07:46,533 YOU WERE TELLING ME BEFORE 289 00:07:46,599 --> 00:07:48,401 YOU GOT ON THE AIR THE RESEARCH 290 00:07:48,468 --> 00:07:49,736 YOU DID TO UNDERSTAND CHAPLIN. 291 00:07:49,803 --> 00:07:51,071 BY THE WAY, CHAPLIN BOOTCAMP? 292 00:07:51,137 --> 00:07:51,871 >> ROB: YES. 293 00:07:51,938 --> 00:07:53,206 >> STEVE: BECAUSE HE'S SO 294 00:07:53,273 --> 00:07:53,473 PHYSICAL. 295 00:07:53,540 --> 00:07:54,074 YOU HAD TO LEARN 296 00:07:54,140 --> 00:07:54,674 TO ROLLER SKATE, 297 00:07:54,741 --> 00:07:55,475 PLAY THE VIOLIN AND DO THE LAST 298 00:07:55,542 --> 00:07:56,376 PART. 299 00:07:56,443 --> 00:07:57,344 >> ROB: AND TIGHT ROPE WALKING. 300 00:07:57,410 --> 00:07:58,345 >> STEVE: GET OUT OF HERE. 301 00:07:58,411 --> 00:07:59,179 >> ROB: YES, IT'S WILD. 302 00:07:59,245 --> 00:08:00,013 >> STEVE: YOU DIDN'T KNOW 303 00:08:00,080 --> 00:08:00,847 HOW TO TIGHT ROPE WALK? 304 00:08:00,914 --> 00:08:02,215 >> ROB: I DIDN'T KNOW HOW TO DO 305 00:08:02,282 --> 00:08:02,882 ANY OF THAT STUFF. 306 00:08:02,949 --> 00:08:03,717 AND BELIEVE IT OR NOT, 307 00:08:03,783 --> 00:08:04,551 PLAYING THE VIOLIN IS ULTIMATELY 308 00:08:04,617 --> 00:08:05,385 HARDER THAN EVEN THE TIGHTROPE. 309 00:08:05,452 --> 00:08:07,887 IT'S AN INSTRUMENT 310 00:08:07,954 --> 00:08:09,356 YOU CAN'T HIDE BEHIND, 311 00:08:09,422 --> 00:08:10,090 YOU'RE DEALING WITH HORSE HAIR, 312 00:08:10,156 --> 00:08:10,623 YOU KNOW. 313 00:08:10,690 --> 00:08:12,092 ANY LITTLE NERVE THEY CAN HEAR. 314 00:08:12,158 --> 00:08:13,326 BUT YOU KNOW, 315 00:08:13,393 --> 00:08:15,128 IF YOU'RE PLAYING ONE 316 00:08:15,195 --> 00:08:16,596 OF THE MOST FAMOUS FUNNY MANS 317 00:08:16,663 --> 00:08:17,297 OF ALL TIME, 318 00:08:17,364 --> 00:08:18,298 THAT SHOULD BE HARD. 319 00:08:18,365 --> 00:08:18,999 SO IT IS. 320 00:08:19,065 --> 00:08:20,467 >> STEVE: WELL, TALK ABOUT HARD. 321 00:08:20,533 --> 00:08:22,802 CHAPLIN GROWS UP IN A VERY POOR 322 00:08:22,869 --> 00:08:24,004 SECTION OF LONDON. 323 00:08:24,070 --> 00:08:24,704 >> ROB: SOUTH LONDON, YEAH. 324 00:08:24,771 --> 00:08:26,206 >> STEVE: AND YOU SAY 1913 325 00:08:26,272 --> 00:08:27,340 HE COMES TO HOLLYWOOD. 326 00:08:27,407 --> 00:08:28,508 AND SEVEN YEARS LATER? 327 00:08:28,575 --> 00:08:30,210 >> ROB: HE'S THE MOST FAMOUS 328 00:08:30,276 --> 00:08:31,344 MAN IN THE WORLD. 329 00:08:31,411 --> 00:08:32,212 >> STEVE: NOW, 330 00:08:32,278 --> 00:08:33,646 YOU SAID BEFORE WE WENT 331 00:08:33,713 --> 00:08:35,348 ON THE AIR THAT YOU REALLY 332 00:08:35,415 --> 00:08:36,216 WANTED TO UNDERSTAND 333 00:08:36,282 --> 00:08:37,350 THAT JOURNEY AND UNDERSTAND 334 00:08:37,417 --> 00:08:39,052 SO MUCH ABOUT WHO HE WAS, 335 00:08:39,119 --> 00:08:40,487 WHICH IMPACTED HOW HE PERFORMED. 336 00:08:40,553 --> 00:08:41,354 >> ROB: YEAH. 337 00:08:41,421 --> 00:08:42,956 >> STEVE: TELL FOLKS SOME 338 00:08:43,023 --> 00:08:44,491 OF THE THINGS YOU WERE TELLING 339 00:08:44,557 --> 00:08:45,692 ME THAT HAD TO DO WITH HIS 340 00:08:45,759 --> 00:08:46,860 PHYSICAL PERSONA, 341 00:08:46,926 --> 00:08:47,961 WHICH WAS MUCH DEEPER THAN 342 00:08:48,028 --> 00:08:48,962 WE WOULD HAVE THOUGHT. 343 00:08:49,029 --> 00:08:50,530 >> ROB: YEAH, 344 00:08:50,597 --> 00:08:52,499 THE LITTLE TRAMP CHARACTER 345 00:08:52,565 --> 00:08:53,666 I DESPERATELY WANTED TO KNOW 346 00:08:53,733 --> 00:08:55,001 WHAT WAS IT ABOUT THAT CHARACTER 347 00:08:55,068 --> 00:08:55,568 THAT WAS SO TRANSCENDENT 348 00:08:55,635 --> 00:08:56,970 THAT ALLOWED HIM TO BECOME 349 00:08:57,037 --> 00:08:57,504 SO FAMOUS SO QUICKLY 350 00:08:57,570 --> 00:08:59,039 AND SO UNIVERSALLY. 351 00:08:59,105 --> 00:08:59,472 I MEAN, 352 00:08:59,539 --> 00:09:00,073 FIRST OF ALL THEY WERE SILENT 353 00:09:00,140 --> 00:09:01,608 PICTURES SO THEY HAD A UNIVERSAL 354 00:09:01,674 --> 00:09:03,343 APPEAL THAT IS UNLIKE ANY MEDIUM 355 00:09:03,410 --> 00:09:05,211 TODAY. 356 00:09:05,278 --> 00:09:05,979 YOU KNOW, 357 00:09:06,046 --> 00:09:07,580 WE GET PEOPLE AT THE STAGE DOOR 358 00:09:07,647 --> 00:09:08,715 WHO ARE FROM EASTERN EUROPE 359 00:09:08,782 --> 00:09:10,283 AND FROM JAPAN AND FROM ALL OVER 360 00:09:10,350 --> 00:09:11,651 THE WORLD AND THEY SAY, LISTEN, 361 00:09:11,718 --> 00:09:13,253 YOU DON'T KNOW HOW MUCH HE MEANS 362 00:09:13,319 --> 00:09:14,621 TO US BECAUSE WHEN WE WERE 363 00:09:14,687 --> 00:09:15,288 CHILDREN GROWING UP, 364 00:09:15,355 --> 00:09:16,423 THOSE WERE THE ONLY AMERICAN 365 00:09:16,489 --> 00:09:17,557 MOVIES WE COULD WATCH BECAUSE 366 00:09:17,624 --> 00:09:18,458 OF THE LANGUAGE BARRIER. 367 00:09:18,525 --> 00:09:19,592 OH MY GOSH, OF COURSE. 368 00:09:19,659 --> 00:09:20,527 SO IT TRULY EXPLODED 369 00:09:20,593 --> 00:09:21,661 IN A UNIVERSAL WAY, THOUGH, 370 00:09:21,728 --> 00:09:23,029 THAT HAD NOT BEEN SEEN BEFORE 371 00:09:23,096 --> 00:09:23,696 IN THAT MEDIUM. 372 00:09:23,763 --> 00:09:24,831 AND WHAT WAS IT ABOUT 373 00:09:24,898 --> 00:09:26,066 THAT CHARACTER THAT MADE PEOPLE 374 00:09:26,132 --> 00:09:27,434 CARE SO MUCH? 375 00:09:27,500 --> 00:09:28,568 AND I THINK IT WAS WHAT 376 00:09:28,635 --> 00:09:30,036 WAS UNDERNEATH THE COMEDY. 377 00:09:30,103 --> 00:09:31,671 >> STEVE: SO THE BIG PANTS, 378 00:09:31,738 --> 00:09:32,205 ILL-FITTING CLOTHES. 379 00:09:32,272 --> 00:09:33,006 >> ROB: YEAH, 380 00:09:33,073 --> 00:09:34,641 THEY DIDN'T FIT NOT ONLY BECAUSE 381 00:09:34,707 --> 00:09:35,975 THEY MAKE A FUNNY SILHOUETTE 382 00:09:36,042 --> 00:09:37,343 BUT BECAUSE THEY'RE NOT HIS 383 00:09:37,410 --> 00:09:37,610 CLOTHES. 384 00:09:37,677 --> 00:09:38,945 HE'S A HOMELESS NOBODY LIVING 385 00:09:39,012 --> 00:09:39,746 ON THE STREET, 386 00:09:39,813 --> 00:09:40,847 HE PICKED THOSE CLOTHES 387 00:09:40,914 --> 00:09:42,182 OUT OF A TRASH CAN, 388 00:09:42,248 --> 00:09:43,550 THAT'S WHY THEY DON'T FIT. 389 00:09:43,616 --> 00:09:45,418 A LOT OF WHAT GOES ON UNDERNEATH 390 00:09:45,485 --> 00:09:47,053 THAT CHARACTER IS A VERY SWEET, 391 00:09:47,120 --> 00:09:49,155 MELANCHOLY EVERYMAN TRYING 392 00:09:49,222 --> 00:09:50,323 TO MAKE IT AND BE TAKEN 393 00:09:50,390 --> 00:09:50,590 SERIOUSLY. 394 00:09:50,657 --> 00:09:51,724 >> STEVE: TALK ABOUT THE HAT. 395 00:09:51,791 --> 00:09:52,325 >> ROB: YEAH, 396 00:09:52,392 --> 00:09:53,960 HE USED TO TIP HIS HAT AT PEOPLE 397 00:09:54,027 --> 00:09:54,761 AS THEY WALKED BY, 398 00:09:54,828 --> 00:09:55,762 WHETHER IT BE THE FRONT 399 00:09:55,829 --> 00:09:56,963 OF THE HAT OR THE BACK 400 00:09:57,030 --> 00:09:57,597 OF THE HAT, 401 00:09:57,664 --> 00:09:58,598 AND WE ASSOCIATE THAT WITH 402 00:09:58,665 --> 00:09:59,599 THE COMEDY OR THE QUIRK 403 00:09:59,666 --> 00:10:00,200 OF THAT CHARACTER, 404 00:10:00,266 --> 00:10:01,401 BUT REALLY THE MORE I WATCH 405 00:10:01,468 --> 00:10:02,235 THE MORE I REALIZE 406 00:10:02,302 --> 00:10:03,036 HE WAS DESPERATELY TRYING 407 00:10:03,103 --> 00:10:04,237 TO BE TAKEN SERIOUSLY BY PEOPLE. 408 00:10:04,304 --> 00:10:05,505 SO IF HE COULD FOOL THEM 409 00:10:05,572 --> 00:10:06,439 INTO THINKING HE WAS A DIGNITARY 410 00:10:06,506 --> 00:10:08,441 OR A WEALTHY PERSON, 411 00:10:08,508 --> 00:10:09,409 SOMEONE WOULD TAKE 412 00:10:09,476 --> 00:10:10,543 HIM SERIOUSLY. 413 00:10:10,610 --> 00:10:11,111 AND WHAT'S SO HEARTBREAKING 414 00:10:11,177 --> 00:10:12,779 IS THAT HE WAS FOOLING NOBODY 415 00:10:12,846 --> 00:10:13,880 BUT HIMSELF. 416 00:10:13,947 --> 00:10:15,315 SO YOU WOULD WATCH THIS SWEET 417 00:10:15,381 --> 00:10:16,683 NOBODY OF A MAN AND TRYING 418 00:10:16,749 --> 00:10:19,519 TO PUT ONE OVER ON PEOPLE 419 00:10:19,586 --> 00:10:21,087 INTO TAKING HIM SERIOUSLY. 420 00:10:21,154 --> 00:10:22,288 AND I THINK THAT'S WHAT REALLY 421 00:10:22,355 --> 00:10:23,990 DREW PEOPLE TO HIM. 422 00:10:24,057 --> 00:10:24,924 >> STEVE: TALK ABOUT DRAWING 423 00:10:24,991 --> 00:10:26,493 PEOPLE TO PERFORMERS, 424 00:10:26,559 --> 00:10:28,094 PEOPLE ARE DRAWN TO YOU. 425 00:10:28,161 --> 00:10:29,028 HAVE NOT SEEN IT, 426 00:10:29,095 --> 00:10:31,464 BUT EVERYTHING I'VE HEARD 427 00:10:31,531 --> 00:10:31,931 AND PAULA IS IN MY EAR 428 00:10:31,998 --> 00:10:32,699 RIGHT NOW SAYING, 429 00:10:32,765 --> 00:10:35,602 ASK ROB ABOUT HIS ABANDON 430 00:10:35,668 --> 00:10:36,836 WHEN HE IS PERFORMING. 431 00:10:36,903 --> 00:10:38,204 AND THAT'S WHAT I KEEP HEARING, 432 00:10:38,271 --> 00:10:40,273 THAT YOU JUST GO FOR IT. 433 00:10:40,340 --> 00:10:42,275 WHAT DOES THAT REALLY MEAN? 434 00:10:42,342 --> 00:10:42,909 >> ROB: I THINK THERE'S A SENSE 435 00:10:42,976 --> 00:10:44,777 OF PLAY WHEN IT COMES 436 00:10:44,844 --> 00:10:45,578 WITH THEATER, 437 00:10:45,645 --> 00:10:47,480 AND A SENSE OF MAKE BELIEVE. 438 00:10:47,547 --> 00:10:48,448 I MEAN, REALLY, 439 00:10:48,515 --> 00:10:50,283 WHAT I THINK WE'RE DOING 440 00:10:50,350 --> 00:10:51,217 IS PLAYING MAKE BELIEVE 441 00:10:51,284 --> 00:10:52,152 IN THE WAY YOU DID WHEN YOU WERE 442 00:10:52,218 --> 00:10:53,286 FOUR OR FIVE, 443 00:10:53,353 --> 00:10:54,254 YOU JUST GET GOOD ENOUGH 444 00:10:54,320 --> 00:10:54,954 AT IT THAT PEOPLE PAY TO WATCH 445 00:10:55,021 --> 00:10:56,389 YOU DO IT. 446 00:10:56,456 --> 00:10:57,757 THEY START BELIEVING YOU ARE WHO 447 00:10:57,824 --> 00:10:58,958 YOU'RE PRETENDING TO BE. 448 00:10:59,025 --> 00:10:59,759 >> STEVE: ARE YOU? 449 00:10:59,826 --> 00:11:01,995 >> ROB: I THINK FOR THOSE 450 00:11:02,061 --> 00:11:03,029 TWO-AND-A-HALF HOURS I THINK 451 00:11:03,096 --> 00:11:04,030 I AM. 452 00:11:04,097 --> 00:11:05,899 AND WHAT'S GREAT IS THAT 453 00:11:05,965 --> 00:11:07,300 IN THOSE MOMENTS IN THE SHOW 454 00:11:07,367 --> 00:11:08,401 WHEN THE MAGIC STARTS TO HAPPEN 455 00:11:08,468 --> 00:11:09,536 AND THE MOUSTACHE GOES ON, 456 00:11:09,602 --> 00:11:10,370 AND THE CANE GOES ON, 457 00:11:10,436 --> 00:11:11,604 AND THE HAT, 458 00:11:11,671 --> 00:11:12,639 I DO START TO FEEL THE AUDIENCE 459 00:11:12,705 --> 00:11:14,174 LEAN IN AND GIVE ME PERMISSION 460 00:11:14,240 --> 00:11:16,075 TO BE CHARLIE CHAPLIN FOR THOSE 461 00:11:16,142 --> 00:11:17,143 TWO HOURS. 462 00:11:17,210 --> 00:11:18,845 AND IT'S A HUGE GIFT AND I GET 463 00:11:18,912 --> 00:11:20,313 ALL OF THAT AFFECTION THEY HAVE 464 00:11:20,380 --> 00:11:22,215 FOR THAT MAN AND THAT CHARACTER 465 00:11:22,282 --> 00:11:23,449 PUT ON ME, 466 00:11:23,516 --> 00:11:24,984 WHICH IS SUCH A GREAT HONOR. 467 00:11:25,051 --> 00:11:26,085 >> STEVE: AND IT WAS NOT EASY 468 00:11:26,152 --> 00:11:26,953 GETTING THAT GIG. 469 00:11:27,020 --> 00:11:29,122 YOU HAD SIX CALL BACKS. 470 00:11:29,189 --> 00:11:31,191 YOU FOUGHT FOR THIS ROLE. 471 00:11:31,257 --> 00:11:31,724 WHY? 472 00:11:31,791 --> 00:11:33,560 >> ROB: I DID, I DID. 473 00:11:33,626 --> 00:11:34,160 I LOVED IT. 474 00:11:34,227 --> 00:11:35,094 I LOVED THE MAN, 475 00:11:35,161 --> 00:11:36,029 I LOVED HIS STORY, 476 00:11:36,095 --> 00:11:37,230 HE HAD A WILDLY COMPLICATED LIFE 477 00:11:37,297 --> 00:11:38,898 WITH UPS AND DOWNS. 478 00:11:38,965 --> 00:11:39,632 AND, YEAH, 479 00:11:39,699 --> 00:11:40,533 THE AUDITION PROCESS 480 00:11:40,600 --> 00:11:41,167 WAS INTENSE. 481 00:11:41,234 --> 00:11:42,535 I REMEMBER FOR THE FINAL 482 00:11:42,602 --> 00:11:44,537 CALL BACK, 483 00:11:44,604 --> 00:11:45,972 IT WAS 5 O'CLOCK ON A MONDAY 484 00:11:46,039 --> 00:11:47,207 AND THEY SAID TOMORROW TUESDAY 485 00:11:47,273 --> 00:11:48,975 AT 10 A.M. COME BACK AND HAVE 486 00:11:49,042 --> 00:11:51,878 TWO MINUTES OF A CHAPLIN-Y 487 00:11:51,945 --> 00:11:53,479 THING. 488 00:11:53,546 --> 00:11:54,314 >> STEVE: A CHAPLIN-Y THING. 489 00:11:54,380 --> 00:11:55,048 >> ROB: A CHAPLIN-Y THING. 490 00:11:55,114 --> 00:11:55,682 I SAID, 491 00:11:55,748 --> 00:11:56,149 I DON'T EVEN KNOW WHAT 492 00:11:56,216 --> 00:11:56,616 THAT MEANS. 493 00:11:56,683 --> 00:11:58,518 SO I RAN HOME AND I WAS TRYING 494 00:11:58,585 --> 00:11:59,819 TO COME UP WITH SOMETHING 495 00:11:59,886 --> 00:12:00,954 AND IT WAS 2:30 IN THE MORNING 496 00:12:01,020 --> 00:12:02,255 AND MY WIFE ROLLED OVER IN BED 497 00:12:02,322 --> 00:12:03,022 AND SAID, 498 00:12:03,089 --> 00:12:04,023 WELL WHY DON'T YOU BRING MUSIC 499 00:12:04,090 --> 00:12:05,024 SO YOU'RE NOT COMPLETELY 500 00:12:05,091 --> 00:12:05,625 HUNG OUT TO DRY 501 00:12:05,692 --> 00:12:06,960 WITH THE SILENCE OF THE ROOM 502 00:12:07,026 --> 00:12:07,961 AND I THOUGHT, 503 00:12:08,027 --> 00:12:08,328 OH THAT'S GOOD. 504 00:12:08,394 --> 00:12:08,895 SO I STARTED LOOKING THROUGH 505 00:12:08,962 --> 00:12:10,096 MY PHONE AND IN MY CLASSICAL 506 00:12:10,163 --> 00:12:11,397 MUSIC PLAYLIST AND I HAD 507 00:12:11,464 --> 00:12:12,865 FLIGHT OF THE BUMBLE BEE. 508 00:12:12,932 --> 00:12:14,834 AND I THOUGHT I'M GOING TO BRING 509 00:12:14,901 --> 00:12:17,003 THAT AND A FLY SWATTER. 510 00:12:17,070 --> 00:12:18,171 AND I'LL FIGHT AN INVISIBLE 511 00:12:18,238 --> 00:12:19,339 FLY AND LOSE. 512 00:12:19,405 --> 00:12:20,273 AND I THOUGHT, THAT'S IT, 513 00:12:20,340 --> 00:12:21,341 AND I FELL ASLEEP. 514 00:12:21,407 --> 00:12:22,041 AND THEN THE NEXT MORNING 515 00:12:22,108 --> 00:12:23,476 I WOKE UP AND I GOT ON 516 00:12:23,543 --> 00:12:24,677 THE AMTRAK TRAIN ON MY WAY 517 00:12:24,744 --> 00:12:25,712 TO NEW YORK FROM BOSTON, 518 00:12:25,778 --> 00:12:27,146 I WAS DOING A SHOW IN BOSTON, 519 00:12:27,213 --> 00:12:28,147 AND I HAD MY HEADPHONES 520 00:12:28,214 --> 00:12:29,582 AND A FLY SWATTER AND I'M SURE 521 00:12:29,649 --> 00:12:30,583 EVERYONE ON THE TRAIN THOUGHT 522 00:12:30,650 --> 00:12:31,818 I WAS OUT OF MY MIND, 523 00:12:31,884 --> 00:12:33,253 TRYING TO COME UP WITH THIS BIT. 524 00:12:33,319 --> 00:12:34,854 AND THE FIRST TIME I DID IT ON 525 00:12:34,921 --> 00:12:36,089 MY FEET WAS IN THE ROOM 526 00:12:36,155 --> 00:12:36,689 FOR THE TEAM, 527 00:12:36,756 --> 00:12:37,924 AND IT WENT WELL I GUESS. 528 00:12:37,991 --> 00:12:38,625 >> STEVE: WHEN YOU WERE DOING 529 00:12:38,691 --> 00:12:39,325 IT AND THEY HAD TO MAKE 530 00:12:39,392 --> 00:12:41,628 A DECISION, HOW NERVOUS? 531 00:12:41,694 --> 00:12:44,030 >> ROB: OH, I'M ALWAYS VERY, 532 00:12:44,097 --> 00:12:45,498 VERY NERVOUS. 533 00:12:45,565 --> 00:12:46,065 ALWAYS. 534 00:12:46,132 --> 00:12:46,733 AND, YOU KNOW, 535 00:12:46,799 --> 00:12:48,534 AUDITIONING DOESN'T GET EASIER. 536 00:12:48,601 --> 00:12:49,569 YOU KNOW, 537 00:12:49,636 --> 00:12:50,136 PEOPLE TALK ABOUT MAKING IT. 538 00:12:50,203 --> 00:12:50,937 YOU KNOW, 539 00:12:51,004 --> 00:12:51,904 WHEN I DID AVENUE Q 540 00:12:51,971 --> 00:12:53,673 I DID AVENUE Q FOR THREE YEARS, 541 00:12:53,740 --> 00:12:54,941 ONE OF THE GREATEST THRILLS 542 00:12:55,008 --> 00:12:56,209 THEY SAID, YOU MADE IT. 543 00:12:56,276 --> 00:12:57,477 WELL WHENEVER THAT JOB ENDS, 544 00:12:57,543 --> 00:12:59,012 YOU'VE GOT TO MAKE IT AGAIN. 545 00:12:59,078 --> 00:13:00,280 YOU KNOW WHAT I MEAN? 546 00:13:00,346 --> 00:13:01,781 YOU'VE GOT TO DO IT AGAIN. 547 00:13:01,848 --> 00:13:03,049 SO THERE IS THAT SENSE, 548 00:13:03,116 --> 00:13:04,050 EVERY AUDITION YOU'VE GOT 549 00:13:04,117 --> 00:13:05,018 TO GO IN AND GIVE IT 550 00:13:05,084 --> 00:13:07,153 AND HOPEFULLY YOU'RE THE RIGHT 551 00:13:07,220 --> 00:13:07,320 FIT. 552 00:13:07,387 --> 00:13:07,887 >> STEVE: IT'S NO DIFFERENT 553 00:13:07,954 --> 00:13:08,221 HERE. 554 00:13:08,288 --> 00:13:08,821 WE'RE MAKING IT. 555 00:13:08,888 --> 00:13:09,589 WE'RE HERE IN LINCOLN CENTER 556 00:13:09,656 --> 00:13:10,223 DOING THE SHOW. 557 00:13:10,290 --> 00:13:10,823 I'M LIKE, 558 00:13:10,890 --> 00:13:11,791 HEY I HOPE THIS SHOW KEEPS 559 00:13:11,858 --> 00:13:12,692 GOING. 560 00:13:12,759 --> 00:13:13,259 IT'S LIKE, 561 00:13:13,326 --> 00:13:13,826 WHATEVER IT IS. 562 00:13:13,893 --> 00:13:14,427 >> ROB: THAT'S IT, THAT'S IT, 563 00:13:14,494 --> 00:13:14,927 THAT'S THE WAY IT GOES. 564 00:13:14,994 --> 00:13:16,429 AND IT'S ONE OF THE THRILLING 565 00:13:16,496 --> 00:13:17,997 THINGS ABOUT THIS BUSINESS, 566 00:13:18,064 --> 00:13:19,165 IS THAT EVERY SHOW I DO, 567 00:13:19,232 --> 00:13:20,333 THERE'S A NEW BAG OF TRICKS. 568 00:13:20,400 --> 00:13:21,567 AND THIS ONE ESPECIALLY, 569 00:13:21,634 --> 00:13:23,536 YOU KEEP ADDING THINGS 570 00:13:23,603 --> 00:13:24,304 TO YOUR SPECIAL SKILLS SECTION 571 00:13:24,370 --> 00:13:25,271 OF YOUR RESUME AND LEARNING 572 00:13:25,338 --> 00:13:26,606 TO DO CRAZY PUPPETRY 573 00:13:26,673 --> 00:13:27,940 OR WALKING TIGHTROPE OR PLAYING 574 00:13:28,007 --> 00:13:29,175 THE VIOLIN AND IT ALLOWS 575 00:13:29,242 --> 00:13:30,977 YOU TO FLEX DIFFERENT MUSCLES. 576 00:13:31,044 --> 00:13:31,978 >> STEVE: I CAN'T LIKE I SAID, 577 00:13:32,045 --> 00:13:32,645 I CAN'T IMAGINE WHAT IT'S LIKE, 578 00:13:32,712 --> 00:13:33,446 TO ME, 579 00:13:33,513 --> 00:13:34,314 GROWING UP LOVING THE YANKEES, 580 00:13:34,380 --> 00:13:35,815 IT'S KIND OF LIKE PLAYING 581 00:13:35,882 --> 00:13:36,716 IN YANKEE STADIUM. 582 00:13:36,783 --> 00:13:38,217 I'M JUST HAPPY FOR YOU 583 00:13:38,284 --> 00:13:39,719 AND I WISH YOU NOTHING 584 00:13:39,786 --> 00:13:40,620 BUT THE BEST. 585 00:13:40,687 --> 00:13:41,220 ALL THE BEST. 586 00:13:41,287 --> 00:13:41,821 >> ROB: THANKS SO MUCH, STEVE, 587 00:13:41,888 --> 00:13:42,622 I APPRECIATE IT. 588 00:13:44,123 --> 00:13:45,224 >> KWAME: ROB MCCLURE ORIGINALLY 589 00:13:45,291 --> 00:13:46,359 CREATED HIS ROLE 590 00:13:46,426 --> 00:13:47,360 OF CHARLIE CHAPLIN 591 00:13:47,427 --> 00:13:48,861 IN CALIFORNIA'S LA JOLLA 592 00:13:48,928 --> 00:13:51,564 PLAYHOUSE IN 2010. 593 00:14:04,077 --> 00:14:05,745 >> RHEA: GREGORY EUCLIDE IS NOT 594 00:14:05,812 --> 00:14:08,414 YOUR AVERAGE LANDSCAPE ARTIST. 595 00:14:08,481 --> 00:14:10,083 WITH INTUITIVE LAYERING 596 00:14:10,149 --> 00:14:11,684 OF SPATULA APPLIED PAINT 597 00:14:11,751 --> 00:14:13,486 AND FOUND MATERIALS, 598 00:14:13,553 --> 00:14:15,688 EUCLID'S PROCESS IS ALMOST 599 00:14:15,755 --> 00:14:17,223 AS BREATHTAKING AS THE FINISHED 600 00:14:17,290 --> 00:14:18,291 PIECE. 601 00:14:18,358 --> 00:14:19,459 TAKE A LOOK. 602 00:14:24,497 --> 00:14:25,264 >> GREGORY EUCLIDE: WELL 603 00:14:25,331 --> 00:14:25,965 AS A YOUNG ARTIST, 604 00:14:26,032 --> 00:14:27,934 I STARTED JUST DRAWING MOSTLY 605 00:14:28,000 --> 00:14:30,570 BECAUSE THAT'S HOW YOU COULD 606 00:14:30,636 --> 00:14:31,437 GET ATTENTION AND, 607 00:14:31,504 --> 00:14:32,839 LIKE ANY PSYCHOLOGIST WILL 608 00:14:32,905 --> 00:14:33,539 TELL YOU, 609 00:14:33,606 --> 00:14:34,507 IF YOU CAN GET ATTENTION 610 00:14:34,574 --> 00:14:35,675 FROM DOING SOMETHING THEN 611 00:14:35,742 --> 00:14:36,642 YOU'LL CONTINUE TO DO IT. 612 00:14:36,709 --> 00:14:38,478 THIS IS WHERE I GET MY MATERIAL. 613 00:14:38,544 --> 00:14:40,413 EVERY TIME IT RAINS YOU CAN 614 00:14:40,480 --> 00:14:41,314 FIND, 615 00:14:41,381 --> 00:14:44,617 THIS IS SOME KIND OF STYROFOAM, 616 00:14:44,684 --> 00:14:46,386 YOU'LL FIND IT ALL OVER HERE. 617 00:14:46,452 --> 00:15:00,633 * 618 00:15:00,700 --> 00:15:02,001 IF SOMEONE HASN'T SEEN MY WORK 619 00:15:02,068 --> 00:15:03,202 BEFORE, 620 00:15:03,269 --> 00:15:04,570 I TEND TO DESCRIBE IT 621 00:15:04,637 --> 00:15:06,239 AS LANDSCAPE PAINTING, 622 00:15:06,305 --> 00:15:07,507 MAYBE CONTEMPORARY LANDSCAPE 623 00:15:07,573 --> 00:15:08,975 PAINTING. 624 00:15:09,041 --> 00:15:10,109 SO WHAT I'LL DO IS PICK IT ALL 625 00:15:10,176 --> 00:15:11,177 UP AND PUT IT IN MY POCKET 626 00:15:11,244 --> 00:15:13,813 AND BRING IT ALL BACK. 627 00:15:13,880 --> 00:15:14,847 WHENEVER I TRY TO EXPLAIN 628 00:15:14,914 --> 00:15:16,082 IT TO SOMEONE IT ENDS UP 629 00:15:16,149 --> 00:15:18,017 GETTING VERY LONG WINDED 630 00:15:18,084 --> 00:15:20,420 AND VERY CONFUSING AND I USUALLY 631 00:15:20,486 --> 00:15:22,889 JUST END UP SAYING 632 00:15:22,955 --> 00:15:27,226 IT'S LANDSCAPE PAINTING. 633 00:15:27,293 --> 00:15:28,795 I GOT TO KEEP RAINING OTHERWISE 634 00:15:28,861 --> 00:15:30,930 I'LL RUN OUT OF SUPPLIES. 635 00:15:30,997 --> 00:15:32,331 WELL I USE THE STYROFOAM IN MY 636 00:15:32,398 --> 00:15:33,566 WORK TO KIND OF SYMBOLIZE 637 00:15:33,633 --> 00:15:35,001 THIS THING THAT'S MAN-MADE. 638 00:15:35,067 --> 00:15:35,802 BUT OMNIPRESENT 639 00:15:35,868 --> 00:15:38,404 IN THE LANDSCAPE, 640 00:15:38,471 --> 00:15:39,405 SO IT'S NOT VERY DIFFICULT 641 00:15:39,472 --> 00:15:40,907 TO FIND THIS STUFF EVERYWHERE 642 00:15:40,973 --> 00:15:42,642 YOU GO. 643 00:15:42,708 --> 00:15:45,578 SO SOMETIMES I'LL USE A SPATULA 644 00:15:45,645 --> 00:15:47,880 TO SCRAPE THE PAINT ACROSS 645 00:15:47,947 --> 00:15:50,783 THE SURFACE AND LET THE PAINT 646 00:15:50,850 --> 00:15:53,586 KIND OF ACT AS PAINT AND NOT 647 00:15:53,653 --> 00:15:56,756 APPEAR SO REPRESENTATIONAL. 648 00:15:56,823 --> 00:15:57,723 I ALSO LIKE THE WAY 649 00:15:57,790 --> 00:16:00,526 THAT IT KIND OF STUMBLES ALONG 650 00:16:00,593 --> 00:16:01,694 THE SURFACE. 651 00:16:01,761 --> 00:16:21,614 * 652 00:16:21,681 --> 00:16:22,815 SO THERE'S LAND HERE 653 00:16:22,882 --> 00:16:25,351 AND IN THE CENTER OF THIS SCENE 654 00:16:25,418 --> 00:16:27,553 I'M GOING TO CREATE SOME TYPE 655 00:16:27,620 --> 00:16:29,021 OF INDUSTRY THAT MOVES 656 00:16:29,088 --> 00:16:30,823 IN AND KIND OF STARTS, 657 00:16:30,890 --> 00:16:32,658 IS BUILT UPON THAT LAND. 658 00:16:32,725 --> 00:16:33,559 THE STUFF THAT'S AROUND 659 00:16:33,626 --> 00:16:34,627 THIS IS GOING TO BE MORE 660 00:16:34,694 --> 00:16:36,462 DELIBERATE AND ORGANIZED BECAUSE 661 00:16:36,529 --> 00:16:37,463 IT'S A CITY, 662 00:16:37,530 --> 00:16:38,831 SO CITY PLANNING IS MUCH 663 00:16:38,898 --> 00:16:40,800 DIFFERENT THAN, YOU KNOW, 664 00:16:40,867 --> 00:16:46,172 A NATURAL PRAIRIE OR A FOREST. 665 00:16:46,239 --> 00:16:47,173 I THINK OF IT AS AN EXPERIENCE 666 00:16:47,240 --> 00:16:49,108 IN MEMORY SO WHEN I GO OUT 667 00:16:49,175 --> 00:16:50,142 INTO A FOREST I WALK THROUGH 668 00:16:50,209 --> 00:16:51,811 THE FOREST AND I'M EXPERIENCING 669 00:16:51,878 --> 00:16:53,813 THESE VIGNETTES, 670 00:16:53,880 --> 00:16:54,881 MOMENT BY MOMENT. 671 00:16:54,947 --> 00:16:56,115 AND BY VIGNETTES I MEAN, 672 00:16:56,182 --> 00:16:57,750 MAYBE YOU WALK DOWN A HILL 673 00:16:57,817 --> 00:16:58,918 AND YOU REMEMBER THAT MOMENT 674 00:16:58,985 --> 00:17:00,186 OF WALKING DOWN THE HILL 675 00:17:00,253 --> 00:17:01,654 OR YOU COME ACROSS A POND 676 00:17:01,721 --> 00:17:03,055 AND THEN YOU REMEMBER SEEING 677 00:17:03,122 --> 00:17:04,524 THAT OR SPENDING TIME THERE 678 00:17:04,590 --> 00:17:05,858 AND THEN YOU MOVE ON TO A NEW 679 00:17:05,925 --> 00:17:06,592 PLACE. 680 00:17:06,659 --> 00:17:07,727 YOU START TO THINK ABOUT 681 00:17:07,793 --> 00:17:08,594 THE ECOSYSTEMS AND IN GENERAL 682 00:17:08,661 --> 00:17:11,197 IT'S JUST OVERWHELMING. 683 00:17:11,264 --> 00:17:12,765 IT'S IMPOSSIBLE FOR ONE PERSON 684 00:17:12,832 --> 00:17:13,599 TO UNDERSTAND WHAT'S EVEN 685 00:17:13,666 --> 00:17:15,101 GOING ON IN ONE FOOT OF SPACE 686 00:17:15,167 --> 00:17:17,236 IN THE FOREST. 687 00:17:17,303 --> 00:17:17,937 AND THAT COMPLEXITY AND THAT 688 00:17:18,004 --> 00:17:19,038 DENSITY HAS ALWAYS BEEN A PART 689 00:17:19,105 --> 00:17:28,314 OF MY WORK. 690 00:17:28,381 --> 00:17:29,282 IT'S LIKE YOU THINK THAT'S JUST 691 00:17:29,348 --> 00:17:30,283 A CITY? 692 00:17:30,349 --> 00:17:31,784 WELL, NO IT'S A, 693 00:17:31,851 --> 00:17:33,052 THERE USED TO BE OAK SAVANNAH 694 00:17:33,119 --> 00:17:34,253 THERE AND BEFORE 695 00:17:34,320 --> 00:17:35,555 THE OAK SAVANNAH IT USED 696 00:17:35,621 --> 00:17:36,856 TO BE HUNTED BY, YOU KNOW, 697 00:17:36,923 --> 00:17:38,090 DAKOTA AND SUE, 698 00:17:38,157 --> 00:17:39,959 AND BEFORE THAT IT'S LIKE. 699 00:17:40,026 --> 00:17:43,029 THE HISTORY OF SPACE IS, 700 00:17:43,095 --> 00:17:44,430 WE OFTEN FORGET ABOUT. 701 00:17:44,497 --> 00:17:48,100 THIS IS NATURE, 702 00:17:48,167 --> 00:17:49,735 LIKE DEAD NATURE AND THEN 703 00:17:49,802 --> 00:17:51,304 CULTURE. 704 00:17:51,370 --> 00:17:52,905 SO YOU'VE GOT COFFEE CUPS, 705 00:17:52,972 --> 00:17:55,041 STYROFOAM, 706 00:17:55,107 --> 00:17:57,043 IT'S LIKE THIS IS THE PERFECT 707 00:17:57,109 --> 00:17:58,744 BLENDING POT RIGHT HERE. 708 00:17:58,811 --> 00:18:00,580 THIS IS LIKE REALITY OF WHAT 709 00:18:00,646 --> 00:18:02,014 EXISTS. 710 00:18:02,081 --> 00:18:04,150 I'VE GOT THIS FRAMEWORK 711 00:18:04,216 --> 00:18:05,251 ESTABLISHED HERE, 712 00:18:05,318 --> 00:18:06,419 AND THE WATER WORKS GREAT 713 00:18:06,485 --> 00:18:07,453 BECAUSE I CAN GO AND ERASE 714 00:18:07,520 --> 00:18:08,821 THINGS. 715 00:18:08,888 --> 00:18:11,390 LIKE THIS AREA RIGHT HERE, 716 00:18:11,457 --> 00:18:12,792 IF I SPRAY THAT UP CLOSE 717 00:18:12,858 --> 00:18:14,093 YOU CAN SEE THAT LIKE ANY PAINT 718 00:18:14,160 --> 00:18:15,595 THAT WAS STILL WET WILL START 719 00:18:15,661 --> 00:18:17,263 TO FALL AWAY. 720 00:18:17,330 --> 00:18:20,900 AND YOU GET THIS PATTERN 721 00:18:20,967 --> 00:18:22,234 OF DECAY AND THEN HAVING 722 00:18:22,301 --> 00:18:23,469 THAT ACTUALLY HAPPEN ON 723 00:18:23,536 --> 00:18:24,604 THE SURFACE OF THE PAINTING 724 00:18:24,670 --> 00:18:26,739 ALWAYS SEEMED INTERESTING. 725 00:18:38,084 --> 00:18:39,885 IN ORDER TO HOLD THEM, 726 00:18:39,952 --> 00:18:45,625 THEY NEED TO DRY LIKE THAT. 727 00:18:45,691 --> 00:18:48,294 I THINK ABOUT WHAT'S 728 00:18:48,361 --> 00:18:50,963 REPRESENTED TWO-DIMENSIONALLY 729 00:18:51,030 --> 00:18:52,198 AND SOMETIMES TRY TO CREATE 730 00:18:52,264 --> 00:18:55,468 A COMPLEMENT TO IT 731 00:18:55,534 --> 00:18:59,472 THREE-DIMENSIONALLY. 732 00:18:59,538 --> 00:19:01,007 THIS ALL STARTED BY, 733 00:19:01,073 --> 00:19:02,842 I MADE SOME PAINTINGS THAT 734 00:19:02,908 --> 00:19:04,243 HAD TWO OR THREE SHEETS 735 00:19:04,310 --> 00:19:04,977 OF PAPER ON IT. 736 00:19:05,044 --> 00:19:05,678 AND I WOULD GO THROUGH 737 00:19:05,745 --> 00:19:06,946 AND I WOULD RIP THROUGH THEM 738 00:19:07,013 --> 00:19:08,014 AND THEN I'D START PAINTING 739 00:19:08,080 --> 00:19:09,515 THE NEXT SCENE ON TO THAT 740 00:19:09,582 --> 00:19:10,716 AS THOUGH IT'S LIKE A MOMENT 741 00:19:10,783 --> 00:19:11,784 IN TIME. 742 00:19:11,851 --> 00:19:12,818 AND THEN YOU PASS THROUGH 743 00:19:12,885 --> 00:19:14,020 THE THRESHOLD OF THAT MOMENT 744 00:19:14,086 --> 00:19:15,621 INTO THE NEXT STAGE. 745 00:19:15,688 --> 00:19:16,922 THE PAINT THAT DRIPS DOWN 746 00:19:16,989 --> 00:19:19,258 WOULD POOL UP INSIDE OF THESE, 747 00:19:19,325 --> 00:19:20,726 LIKE, RELIEF AREAS. 748 00:19:20,793 --> 00:19:21,894 I THOUGHT OKAY WELL THAT RELIEF 749 00:19:21,961 --> 00:19:23,095 AREA THEN BECOMES A LAKE. 750 00:19:23,162 --> 00:19:24,230 WHAT'S GOING TO HAPPEN 751 00:19:24,296 --> 00:19:25,164 AROUND A LAKE? 752 00:19:25,231 --> 00:19:26,399 YOU'RE GONNA GET, 753 00:19:26,465 --> 00:19:27,299 THERE'S WATER THERE 754 00:19:27,366 --> 00:19:28,167 SO YOU'RE GONNA HAVE GROWTH 755 00:19:28,234 --> 00:19:29,001 UP AROUND THE LAKE, 756 00:19:29,068 --> 00:19:30,770 SO IT SEEMED LIKE A RICH PLACE 757 00:19:30,836 --> 00:19:32,038 TO KIND OF START PUTTING 758 00:19:32,104 --> 00:19:33,172 THE RELIEF ELEMENTS IN. 759 00:19:33,239 --> 00:19:35,074 JUST HAVING THEM STAND THERE 760 00:19:35,141 --> 00:19:36,208 LIKE THAT BECAUSE THEY CAN 761 00:19:36,275 --> 00:19:38,544 BECAUSE THE PAPER COMES OUT 762 00:19:38,611 --> 00:19:39,445 IN RELIEF, 763 00:19:39,512 --> 00:19:40,913 THEN THE OBJECTS CAN USE 764 00:19:40,980 --> 00:19:43,916 THAT AS A FOOTHOLD TO START, 765 00:19:43,983 --> 00:19:44,884 IT'S LIKE ON THE SIDE 766 00:19:44,950 --> 00:19:45,584 OF A CLIFF. 767 00:19:45,651 --> 00:19:46,919 ANY ROCK THAT COMES OUT, 768 00:19:46,986 --> 00:19:47,787 THERE'S GOING TO BE SOMETHING 769 00:19:47,853 --> 00:19:48,788 THAT'S GROWING ON THERE, 770 00:19:48,854 --> 00:19:49,655 WHERE AS THE CLIFF FACE 771 00:19:49,722 --> 00:19:53,292 IT'S MUCH MORE RARE. 772 00:20:00,900 --> 00:20:02,601 WHEN I BRING SCULPTURAL ELEMENTS 773 00:20:02,668 --> 00:20:04,437 IN OR LIKE PIECES FROM THE LAND, 774 00:20:04,503 --> 00:20:07,406 I HAVE A TENDENCY TO THINK ABOUT 775 00:20:07,473 --> 00:20:09,041 MODES OF REPRESENTATION. 776 00:20:09,108 --> 00:20:10,443 DO YOU HAVE AN ILLUSIONISTIC 777 00:20:10,509 --> 00:20:11,510 SPACE THAT IS PAINTED 778 00:20:11,577 --> 00:20:12,545 WHERE PEOPLE CAN GO 779 00:20:12,611 --> 00:20:14,180 AND WITH THEIR MIND YOU HAVE 780 00:20:14,246 --> 00:20:15,614 A SPACE THAT ACTUALLY COMES OUT 781 00:20:15,681 --> 00:20:16,849 THAT PEOPLE CAN MOVE AROUND 782 00:20:16,916 --> 00:20:18,150 WITH THEIR BODY AND THEN 783 00:20:18,217 --> 00:20:20,686 YOU HAVE THESE LIKE FAKE KIND 784 00:20:20,753 --> 00:20:25,524 OF MODEL TYPE MATERIALS THAT 785 00:20:25,591 --> 00:20:27,326 ARE PRODUCED ON THERE. 786 00:20:27,393 --> 00:20:29,261 TREES THAT I MAKE FROM SEDUM 787 00:20:29,328 --> 00:20:30,763 OR LIKE THE TEXTURAL TYPE 788 00:20:30,830 --> 00:20:31,564 OF THINGS. 789 00:20:31,630 --> 00:20:32,765 SO I STARTED FOOLING AROUND 790 00:20:32,832 --> 00:20:35,000 WITH VARIOUS PLASTIC BAGS. 791 00:20:35,067 --> 00:20:36,602 THE IDEA THAT YOU CAN TAKE 792 00:20:36,669 --> 00:20:39,004 AND MAKE A FORM THAT LOOKS 793 00:20:39,071 --> 00:20:41,073 LIKE SOMETHING NATURAL OUT 794 00:20:41,140 --> 00:20:42,575 OF SOMETHING THAT'S YOU KNOW, 795 00:20:42,641 --> 00:20:43,709 PETROLEUM BASED AND COMPLETELY 796 00:20:43,776 --> 00:20:45,845 DESTRUCTIVE AND HAVE THAT 797 00:20:45,911 --> 00:20:47,880 IN THIS LANDSCAPE THAT'S KIND 798 00:20:47,947 --> 00:20:48,981 OF IMPORTANT BECAUSE 799 00:20:49,048 --> 00:20:50,149 THE LANDSCAPE ITSELF SEEMS 800 00:20:50,216 --> 00:20:51,851 VERY PICTURESQUE. 801 00:20:51,917 --> 00:20:52,785 BUT, YOU KNOW, 802 00:20:52,852 --> 00:20:54,053 THESE ARE THE THINGS WE USE 803 00:20:54,120 --> 00:20:55,521 ON A DAILY BASIS THAT ARE 804 00:20:55,588 --> 00:20:57,189 THE ANTITHESIS TO THIS KIND 805 00:20:57,256 --> 00:20:59,125 OF IDEA. 806 00:20:59,191 --> 00:21:00,292 ALL OF THESE DIFFERENT MODES 807 00:21:00,359 --> 00:21:01,227 OF REPRESENTATION 808 00:21:01,293 --> 00:21:02,428 GET INTRODUCED INTO 809 00:21:02,495 --> 00:21:03,896 THE SCULPTURAL MIX AND IT'S 810 00:21:03,963 --> 00:21:05,397 KIND OF LEFT TO THE VIEWER 811 00:21:05,464 --> 00:21:07,199 TO NEGOTIATE HOW THOSE THINGS 812 00:21:07,266 --> 00:21:11,570 BLEND TOGETHER. 813 00:21:11,637 --> 00:21:12,705 IF I JUST MADE BEAUTIFUL 814 00:21:12,772 --> 00:21:14,273 PAINTINGS, 815 00:21:14,340 --> 00:21:15,741 WHAT I'M TRYING TO GET 816 00:21:15,808 --> 00:21:16,809 AT WITHIN THE WORK WOULD BE 817 00:21:16,876 --> 00:21:18,144 LOST, YOU KNOW. 818 00:21:18,210 --> 00:21:19,545 SO IF I COULD INTRODUCE AS MUCH 819 00:21:19,612 --> 00:21:20,980 GARBAGE AS POSSIBLE 820 00:21:21,046 --> 00:21:23,249 FROM THE LAND INTO THE WORK, 821 00:21:23,315 --> 00:21:24,483 THAT KIND OF REFLECTS ON 822 00:21:24,550 --> 00:21:27,620 THE STATE OF LAND TODAY 823 00:21:27,686 --> 00:21:29,288 AS WELL AS MAKING THE PAINTING 824 00:21:29,355 --> 00:21:33,859 A LITTLE MORE REALISTIC TO ME. 825 00:21:33,926 --> 00:21:35,161 I WANT IT TO FEEL LIKE 826 00:21:35,227 --> 00:21:36,629 I'M PRESENT IN THE LAND 827 00:21:36,695 --> 00:21:37,530 IN GENERAL, YOU KNOW, 828 00:21:37,596 --> 00:21:38,531 AND IT CONTAINS ALL 829 00:21:38,597 --> 00:21:40,399 OF THE THOUGHTS THAT I HAVE. 830 00:21:40,466 --> 00:21:42,701 I THINK THAT'S HOW I WANT 831 00:21:42,768 --> 00:21:44,170 TO JUST KEEP MAKING IT MORE 832 00:21:44,236 --> 00:21:46,772 AND MORE REALISTIC IN THAT 833 00:21:46,839 --> 00:21:47,907 SENSE. 834 00:21:47,973 --> 00:21:49,041 WHEN I LOOK AT A LANDSCAPE 835 00:21:49,108 --> 00:21:49,809 PAINTING I THINK WELL 836 00:21:49,875 --> 00:21:50,843 THAT'S LIKE ONE-TWELFTH 837 00:21:50,910 --> 00:21:52,678 OF THE STORY. 838 00:21:57,917 --> 00:21:58,818 >> RHEA: GREGORY EUCLIDE 839 00:21:58,884 --> 00:22:00,019 RECENTLY WRAPPED SHOWS 840 00:22:00,085 --> 00:22:01,420 IN MINNEAPOLIS, MIAMI, 841 00:22:01,487 --> 00:22:02,354 AND NEW YORK. 842 00:22:02,421 --> 00:22:03,856 HIS ART IS ALSO FEATURED 843 00:22:03,923 --> 00:22:05,825 ON THE COVERS OF SEVERAL 844 00:22:05,891 --> 00:22:07,593 BON IVER ALBUMS. 845 00:22:07,660 --> 00:22:08,460 TO FIND OUT MORE, 846 00:22:08,527 --> 00:22:09,161 VISIT 847 00:22:09,228 --> 00:22:11,797 GREGORYEUCLIDE.COM. 848 00:22:11,864 --> 00:22:12,331 NEXT, 849 00:22:12,398 --> 00:22:13,599 WE VISIT PRATT INSTITUTE 850 00:22:13,666 --> 00:22:15,367 IN BROOKLYN, NEW YORK. 851 00:22:15,434 --> 00:22:16,535 PRATT IS ONE OF THE WORLD'S 852 00:22:16,602 --> 00:22:18,537 MOST PRESTIGIOUS COLLEGES 853 00:22:18,604 --> 00:22:19,772 OF ART, DESIGN, 854 00:22:19,839 --> 00:22:21,340 AND ARCHITECTURE. 855 00:22:21,407 --> 00:22:23,475 ITS ALUMNI AND FACULTY HAVE 856 00:22:23,542 --> 00:22:24,743 PRODUCED WORKS THAT HAVE CHANGED 857 00:22:24,810 --> 00:22:26,045 THE WORLD. 858 00:22:26,111 --> 00:22:29,415 NOW CELEBRATING ITS 125TH YEAR, 859 00:22:29,481 --> 00:22:30,783 PRATT INSTITUTE IS HELPING 860 00:22:30,850 --> 00:22:32,852 DESIGN STUDENTS MAKE 861 00:22:32,918 --> 00:22:35,020 A MEANINGFUL IMPACT ON THE WORLD 862 00:22:35,087 --> 00:22:37,756 WITH ITS "DESIGN INCUBATOR." 863 00:22:37,823 --> 00:22:39,391 STUDENTS USE THEIR SKILLS 864 00:22:39,458 --> 00:22:41,527 TO CREATE SUSTAINABLE PRODUCTS 865 00:22:41,594 --> 00:22:42,862 AND SOCIALLY RESPONSIBLE 866 00:22:42,928 --> 00:22:44,129 COMPANIES. 867 00:22:44,196 --> 00:22:45,497 HERE'S A LOOK. 868 00:22:45,631 --> 00:22:46,165 >> DEBERA JOHNSON: THE "DESIGN 869 00:22:46,232 --> 00:22:47,766 INCUBATOR" IS REALLY FOCUSING 870 00:22:47,833 --> 00:22:50,035 ON TRANSITIONING DESIGNERS 871 00:22:50,102 --> 00:22:52,171 INTO DESIGN ENTREPRENEURS. 872 00:22:52,238 --> 00:22:52,738 THESE CREATIVE, 873 00:22:52,805 --> 00:22:54,073 TALENTED PEOPLE 874 00:22:54,139 --> 00:22:55,207 STARTING ENTERPRISES, 875 00:22:55,274 --> 00:22:57,443 BEING ENTREPRENEURS AND THIS 876 00:22:57,509 --> 00:22:58,744 IS A PLACE WHERE THEY CAN COME 877 00:22:58,811 --> 00:23:00,012 IN AND THEY CAN FIGURE OUT 878 00:23:00,079 --> 00:23:01,614 HOW TO DO THIS. 879 00:23:01,680 --> 00:23:02,681 WE WANT TO DO THINGS THAT 880 00:23:02,748 --> 00:23:04,516 ARE ENVIRONMENTALLY BETTER, 881 00:23:04,583 --> 00:23:07,486 SOCIALLY BETTER AND SO IT'S 882 00:23:07,553 --> 00:23:09,154 THOSE VALUES THAT CONNECT 883 00:23:09,221 --> 00:23:09,955 US ALL. 884 00:23:10,022 --> 00:23:11,423 >> SAMUEL COCHRAN: YOU KNOW, 885 00:23:11,490 --> 00:23:12,491 WHEN WE STARTED, 886 00:23:12,558 --> 00:23:13,659 WE DIDN'T KNOW A LOT ABOUT 887 00:23:13,726 --> 00:23:15,427 HOW TO START A BUSINESS 888 00:23:15,494 --> 00:23:17,062 AND THE INCUBATOR 889 00:23:17,129 --> 00:23:19,431 AND ITS RESOURCES HAS ALLOWED 890 00:23:19,498 --> 00:23:21,567 FOR US TO GAIN THAT EDUCATION 891 00:23:21,634 --> 00:23:22,468 IN A SAFE ENVIRONMENT. 892 00:23:22,534 --> 00:23:23,035 WE'RE LOOKING AT ONE OF OUR 893 00:23:23,102 --> 00:23:23,836 FIRST PROTOTYPES OF SOLAR IVY 894 00:23:23,903 --> 00:23:25,638 AND SOLAR IVY IS A SYSTEM 895 00:23:25,704 --> 00:23:28,507 OF SOLAR PANELS OR PHOTOVOLTAICS 896 00:23:28,574 --> 00:23:30,309 THAT INTERACT WITH OUR BUILT 897 00:23:30,376 --> 00:23:31,477 ENVIRONMENT SUCH THAT THEY 898 00:23:31,543 --> 00:23:34,580 CAN BE TUNED TO BE OPTIMIZED 899 00:23:34,647 --> 00:23:36,382 FOR CAPTURING ENERGY 900 00:23:36,448 --> 00:23:37,950 AND PRODUCING ELECTRICITY 901 00:23:38,017 --> 00:23:39,351 WHILE LOOKING LIKE IVY ON 902 00:23:39,418 --> 00:23:41,186 THE SIDE OF A BUILDING. 903 00:23:41,253 --> 00:23:42,087 >> ASHLEY THORFINNSON: DESIGNING 904 00:23:42,154 --> 00:23:43,055 HOPE IS AN INTERDISCIPLINARY 905 00:23:43,122 --> 00:23:44,056 DESIGN FIRM THAT WORKS 906 00:23:44,123 --> 00:23:45,357 WITH NON-PROFITS AND SOCIAL 907 00:23:45,424 --> 00:23:46,892 VENTURES AND WE USE DESIGN 908 00:23:46,959 --> 00:23:48,894 AS A TOOL TO HELP THESE 909 00:23:48,961 --> 00:23:50,429 ORGANIZATIONS MAKE A POSITIVE 910 00:23:50,496 --> 00:23:51,697 IMPACT. 911 00:23:51,764 --> 00:23:52,898 WE HAVE BEEN WORKING 912 00:23:52,965 --> 00:23:53,699 WITH TILONIA, 913 00:23:53,766 --> 00:23:54,700 THEY ARE A NOT PROFIT ARTISAN 914 00:23:54,767 --> 00:23:56,335 GROUP BASED OUT OF INDIA. 915 00:23:56,402 --> 00:23:57,303 AND WE'VE BEEN WORKING 916 00:23:57,369 --> 00:23:58,404 WITH THEIR DESIGNERS 917 00:23:58,470 --> 00:24:00,673 IN A COLLABORATIVE WAY TO HELP 918 00:24:00,739 --> 00:24:02,908 BRING A LEVEL OF SOPHISTICATION 919 00:24:02,975 --> 00:24:04,209 TO THEIR ALREADY EXISTING 920 00:24:04,276 --> 00:24:05,711 CRAFT WORK WHICH GIVES THEM 921 00:24:05,778 --> 00:24:08,314 MARKET ACCESS IN NORTH AMERICA. 922 00:24:08,380 --> 00:24:09,381 >> DEBERA: IN THE 923 00:24:09,448 --> 00:24:12,251 "DESIGN INCUBATOR" WE'RE REALLY 924 00:24:12,318 --> 00:24:13,786 QUITE PRACTICAL. 925 00:24:13,852 --> 00:24:14,920 AND I THINK THAT WAS ONE 926 00:24:14,987 --> 00:24:16,922 OF CHARLES PRATT'S IDEAS 927 00:24:16,989 --> 00:24:18,991 WAS THIS IDEA OF BEING ABLE 928 00:24:19,058 --> 00:24:20,059 TO TRAIN PEOPLE TO GO OUT 929 00:24:20,125 --> 00:24:21,560 AND DO THINGS IN A PRACTICAL 930 00:24:21,627 --> 00:24:22,428 WAY. 931 00:24:23,529 --> 00:24:24,863 >> RHEA: AS PART OF ITS 932 00:24:24,930 --> 00:24:27,232 125TH ANNIVERSARY CELEBRATION, 933 00:24:27,299 --> 00:24:28,467 PRATT INSTITUTE IS HOSTING 934 00:24:28,534 --> 00:24:30,602 AN EXHIBITION AT ITS NEW YORK 935 00:24:30,669 --> 00:24:33,505 CAMPUS OF ICONIC WORKS CREATED 936 00:24:33,572 --> 00:24:36,342 BY PRATT ALUMNI AND FACULTY. 937 00:24:36,408 --> 00:24:38,444 THESE RANGE FROM THE SCRABBLE 938 00:24:38,510 --> 00:24:40,579 BOARD GAME TO THE CHRYSLER 939 00:24:40,646 --> 00:24:42,581 BUILDING TO OX-OH GOOD GRIPS 940 00:24:42,648 --> 00:24:45,484 KITCHEN UTENSILS. 941 00:24:45,551 --> 00:24:46,251 AND NOW, 942 00:24:46,318 --> 00:24:47,086 HERE'S A LOOK AT SOME 943 00:24:47,152 --> 00:24:48,354 OF THE ARTS EVENTS HAPPENING 944 00:24:48,420 --> 00:24:50,322 THIS WEEK IN OUR TOWN. 945 00:25:17,182 --> 00:25:18,117 >> KWAME: THAT WRAPS IT UP 946 00:25:18,183 --> 00:25:19,718 FOR THIS EDITION OF ARTWORKS. 947 00:25:19,785 --> 00:25:21,420 I'M KWAME KWEI-ARMAH. 948 00:25:21,487 --> 00:25:22,254 >> RHEA: FOR MORE ARTS 949 00:25:22,321 --> 00:25:22,988 AND CULTURE, 950 00:25:23,055 --> 00:25:25,824 VISIT MPT.ORG/ARTWORKS. 951 00:25:25,891 --> 00:25:26,992 I'M RHEA FEIKIN, 952 00:25:27,059 --> 00:25:28,160 THANKS FOR WATCHING. 953 00:25:28,227 --> 00:25:28,560 AND, 954 00:25:28,627 --> 00:25:30,496 I WOULD LIKE TO SAY 955 00:25:30,562 --> 00:25:32,464 CONGRATULATIONS TO YOU ON 956 00:25:32,531 --> 00:25:34,133 YOUR INDUCTION TO THE ORDER 957 00:25:34,199 --> 00:25:35,501 OF THE BRITISH EMPIRE. 958 00:25:35,567 --> 00:25:36,502 WE ARE VERY PROUD TO HAVE YOU 959 00:25:36,568 --> 00:25:37,703 ON ARTWORKS. 960 00:25:37,770 --> 00:25:39,505 >> KWAME: THANK YOU SO MUCH. 961 00:25:39,571 --> 00:25:40,172 AND PLEASE, 962 00:25:40,239 --> 00:25:43,308 DO TUNE IN NEXT WEEK AND SUPPORT 963 00:25:43,375 --> 00:25:43,942 THE ARTS. 964 00:25:45,444 --> 00:25:46,345 >> ANNOUNCER: ARTWORKS IS MADE 965 00:25:46,412 --> 00:25:47,146 POSSIBLE IN PART BY: 966 00:25:47,212 --> 00:25:50,115 THE MPT NEW INITIATIVES FUND, 967 00:25:50,182 --> 00:25:51,016 FOUNDED BY 968 00:25:51,083 --> 00:25:55,083 IRENE AND EDWARD H. KAPLAN.