WEBVTT 00:01.101 --> 00:01.935 >> HOST: IN THIS EDITION 00:02.002 --> 00:03.070 OF ARTWORKS. 00:03.136 --> 00:04.371 AN IN DEPTH LOOK AT THE COMPLEX 00:04.438 --> 00:07.474 CHARACTERS OF "DOWNTON ABBEY." 00:07.541 --> 00:09.276 >> WE CAN SEE SHADES OF GRAY 00:09.343 --> 00:10.511 IN ALL OF THEM. 00:10.577 --> 00:11.912 >> HOST: AN ACTOR DISCOVERS 00:11.979 --> 00:14.114 THE CHALLENGE OF BEING CHAPLIN. 00:14.181 --> 00:14.748 >> AND THAT SHOULD BE HARD. 00:14.815 --> 00:15.582 SO IT IS. 00:15.649 --> 00:16.450 >> HOST: A PAINTER WHO LAYERS 00:16.517 --> 00:18.252 HIS MESSAGES. 00:18.318 --> 00:19.820 AND STUDENTS WHO APPLY CLASSROOM 00:19.887 --> 00:22.322 SKILLS FOR GLOBAL GOOD. 00:22.389 --> 00:23.657 >> WE USE DESIGN AS A TOOL 00:23.724 --> 00:26.260 TO HELP THESE ORGANIZATIONS. 00:26.326 --> 00:28.128 >> HOST: IT'S ALL AHEAD ON THIS 00:28.195 --> 00:29.396 EDITION OF ARTWORKS! 00:46.113 --> 00:46.980 >> ANNOUNCER: ARTWORKS IS MADE 00:47.047 --> 00:48.782 POSSIBLE IN PART BY: 00:48.849 --> 00:51.118 THE MPT NEW INITIATIVES FUND, 00:51.184 --> 00:51.885 FOUNDED BY 00:51.952 --> 00:54.121 IRENE AND EDWARD H. KAPLAN. 00:56.657 --> 00:57.324 >> HELLO, 00:57.391 --> 00:57.991 I'M RHEA FEIKIN 00:58.058 --> 00:59.159 AND THIS IS ARTWORKS, 00:59.226 --> 01:00.827 A SERIES FOR THE CREATIVELY 01:00.894 --> 01:01.662 CURIOUS. 01:01.728 --> 01:03.497 >> AND I'M KWAME KWEI-ARMAH. 01:03.564 --> 01:04.698 WELCOME BACK. 01:04.765 --> 01:05.999 >> RHEA: FANS OF THE HIT SERIES 01:06.066 --> 01:07.067 "DOWNTON ABBEY" 01:07.134 --> 01:08.802 MIGHT THINK THEY KNOW ALL 01:08.869 --> 01:09.870 OF THE CHARACTERS, 01:09.937 --> 01:11.572 BUT IN HER NEW OFFICIAL 01:11.638 --> 01:13.874 COMPANION BOOK TO THE SERIES, 01:13.941 --> 01:15.075 "THE CHRONICLES 01:15.142 --> 01:15.742 OF DOWNTON ABBEY," 01:15.809 --> 01:17.377 AUTHOR JESSICA FELLOWES GIVES 01:17.444 --> 01:20.314 VIEWERS AN INSIDER'S SCOOP. 01:20.380 --> 01:21.214 >> KWAME: FELLOWES HIGHLIGHTS 01:21.281 --> 01:22.749 THE BEHIND-THE-SCENES DRAMA 01:22.816 --> 01:24.985 DURING THE FILMING OF SEASON 3. 01:25.052 --> 01:26.486 AS THE CAST OF "DOWNTON ABBEY" 01:26.553 --> 01:29.356 ENTERS THE TUMULTUOUS 1920s. 01:29.423 --> 01:30.724 HERE'S A LOOK. 01:31.058 --> 01:31.525 >> JESSICA FELLOWES: THE 01:31.592 --> 01:32.492 "CHRONICLES OF DOWNTON ABBEY" 01:32.559 --> 01:35.095 IS THE OFFICIAL TIE-IN COMPANION 01:35.162 --> 01:37.297 BOOK FOR THE TELEVISION SERIES 01:37.364 --> 01:38.198 "DOWNTON ABBEY." 01:38.265 --> 01:39.866 AND IT'S THE SECOND BOOK 01:39.933 --> 01:42.002 THAT WE'VE DONE WITH THE SHOW. 01:42.069 --> 01:43.637 AND THIS ONE IS VERY CHARACTER 01:43.704 --> 01:45.772 LED SO EACH CHAPTER IS HEADED 01:45.839 --> 01:47.674 UP BY ONE OR TWO CHARACTERS. 01:47.741 --> 01:48.909 AND WE TOOK A TRIPLE-LED 01:48.976 --> 01:49.843 APPROACH TO IT, 01:49.910 --> 01:51.511 SO THERE'S A LOOK AT THE SHOW 01:51.578 --> 01:52.779 ITSELF, 01:52.846 --> 01:54.247 THE SERIES AS IF IT WERE A LIVE 01:54.314 --> 01:55.315 AND PRESENT THING, 01:55.382 --> 01:56.483 WHICH IS HOW IT FEELS WHEN 01:56.550 --> 01:58.619 IT COMES INTO OUR TVS ON SUNDAY 01:58.685 --> 01:59.353 NIGHTS. 01:59.419 --> 02:01.622 AND THEN WE LOOK AT HOW 02:01.688 --> 02:03.123 THE PRODUCTION BROUGHT ALL 02:03.190 --> 02:04.257 OF THAT TOGETHER, 02:04.324 --> 02:05.392 SO JULIAN'S SCRIPTS, 02:05.459 --> 02:07.661 THE ACTORS AND WHAT THEY THINK 02:07.728 --> 02:09.529 ABOUT THEIR OWN BACK STORIES, 02:09.596 --> 02:10.731 THE ART DEPARTMENT, 02:10.797 --> 02:11.765 THE HAIR AND COSTUMES 02:11.832 --> 02:12.933 AND ALL THE, YOU KNOW, 02:13.000 --> 02:13.934 PROPS AND ALL THE REST OF IT. 02:14.001 --> 02:15.836 AND THEN THE THIRD LAYER 02:15.902 --> 02:17.537 IS THE SOCIAL HISTORIES, 02:17.604 --> 02:18.739 THE CONTEXT IN WHICH THE THING 02:18.805 --> 02:20.173 IS SET, 02:20.240 --> 02:21.041 WHICH DEMONSTRATES 02:21.108 --> 02:22.509 THE AUTHENTICITY OF THE SHOW. 02:22.576 --> 02:23.944 WHAT IS QUITE INTERESTING IS, 02:24.011 --> 02:24.878 I THINK THERE'S A DIFFERENT 02:24.945 --> 02:27.414 ATMOSPHERE ON THE SETS. 02:27.481 --> 02:29.516 THE HIGHCLERE CASTLE, 02:29.583 --> 02:30.417 WHICH WAS THE SETTING 02:30.484 --> 02:31.485 FOR THE HOUSE AND ALL 02:31.551 --> 02:34.154 THE ABOVE-STARS SCENES. 02:34.221 --> 02:36.957 I MEAN IT IS A REAL, 02:37.024 --> 02:37.991 WORKING HOUSE, YOU KNOW. 02:38.058 --> 02:38.992 IT'S BEEN SITTING THERE 02:39.059 --> 02:40.527 LIKE THAT FOR THE LAST 400, 02:40.594 --> 02:41.561 500 YEARS OR WHATEVER. 02:41.628 --> 02:42.829 AND THERE'S THAT REAL SENSE 02:42.896 --> 02:44.364 OF ITS PRESENCE AS YOU ARRIVE. 02:44.431 --> 02:45.632 AND I THINK IT MAKES 02:45.699 --> 02:46.400 ALL THE ACTORS, 02:46.466 --> 02:47.934 I MEAN I CAN FEEL MYSELF 02:48.001 --> 02:48.935 SITTING UP STRAIGHTER JUST 02:49.002 --> 02:49.703 TALKING ABOUT IT. 02:49.770 --> 02:50.003 YOU KNOW, 02:50.070 --> 02:50.837 YOU KIND OF HAVE TO HAVE 02:50.904 --> 02:52.973 THAT PRESENCE IN A ROOM 02:53.040 --> 02:53.907 AND YOU TALK IN A DIFFERENT KIND 02:53.974 --> 02:56.543 OF WAY AND YOU HAVE TO HAVE 02:56.610 --> 02:57.010 RESPECT FOR THE HOUSE, 02:57.077 --> 02:58.178 IT'S A LOT OF VALUABLES THERE. 02:58.245 --> 02:58.779 I MEAN, 02:58.845 --> 03:00.213 THE ART DEPARTMENT DOESN'T PUT 03:00.280 --> 03:01.615 VERY MUCH IN THERE APART 03:01.682 --> 03:03.050 FROM A FEW POTTED PALMS. 03:03.116 --> 03:03.617 I MEAN, 03:03.684 --> 03:05.018 ALL THOSE THINGS LIKE COSTUMES, 03:05.085 --> 03:05.886 THEY REALLY HELP. 03:05.952 --> 03:06.720 AND THAT'S WHY, 03:06.787 --> 03:08.155 THAT'S PARTLY WHY IT'S SO 03:08.221 --> 03:09.022 IMPORTANT THAT EVERYTHING 03:09.089 --> 03:10.424 IS AUTHENTIC IN THE WAY 03:10.490 --> 03:11.291 THAT IT IS. 03:11.358 --> 03:12.993 NOT JUST THAT IT LOOKS RIGHT 03:13.060 --> 03:13.560 FOR US, 03:13.627 --> 03:15.529 BUT IT HELPS THE ACTORS TO SIT 03:15.595 --> 03:15.829 PROPERLY. 03:15.896 --> 03:16.396 I MEAN, 03:16.463 --> 03:16.963 THE STARCHED COLLARS 03:17.030 --> 03:18.098 PARTICULARLY FOR THE MEN, 03:18.165 --> 03:18.765 I GATHER, 03:18.832 --> 03:20.200 ARE PRETTY HORRIBLE, 03:20.267 --> 03:21.535 RUBBING THEIR NECKS QUITE RAW. 03:21.601 --> 03:23.904 THE WOMEN OBVIOUSLY HAVE 03:23.970 --> 03:24.805 THE CORSETS, 03:24.871 --> 03:26.473 HAVE BEGUN TO GET A LITTLE BIT 03:26.540 --> 03:28.308 EASIER NOW FOR THE THIRD SEASON, 03:28.375 --> 03:30.043 THEY'RE NOT QUITE AS 03:30.110 --> 03:31.411 CONSTRICTING AND SORT OF, 03:31.478 --> 03:32.512 THEY HAVE THIS SORT 03:32.579 --> 03:34.247 OF S-BEND SHAPE ALMOST 03:34.314 --> 03:35.282 IN THE FIRST SEASON. 03:35.348 --> 03:36.683 NOW IT'S MORE ABOUT FLATTENING 03:36.750 --> 03:37.851 THE FIGURE OUT. 03:37.918 --> 03:38.819 NEVERTHELESS, 03:38.885 --> 03:41.354 THEY ALL HAVE TO WEAR THEM 03:41.421 --> 03:43.256 AND LIVE WITH THAT. 03:43.323 --> 03:45.025 BUT THAT DOES MAKE THEM SIT 03:45.092 --> 03:46.793 IN THE RIGHT WAY AND WALK 03:46.860 --> 03:47.994 IN THE RIGHT WAY. 03:48.061 --> 03:49.763 AND I THINK ALSO THEY'VE PICKED 03:49.830 --> 03:51.231 IT UP AS THEY GO. 03:51.298 --> 03:51.832 ROB COLLIER, 03:51.898 --> 03:52.699 WHO PLAYS THOMAS, 03:52.766 --> 03:54.201 SAYS THAT HE DOESN'T REALLY 03:54.267 --> 03:55.068 LIKE WATCHING SCENES 03:55.135 --> 03:56.269 FROM THE FIRST SEASON 03:56.336 --> 03:57.137 BECAUSE HE THINKS 03:57.204 --> 03:58.905 HE WAS WALKING THE WRONG WAY, 03:58.972 --> 03:59.806 BECAUSE THEY LEARN 03:59.873 --> 04:01.274 YOU'RE NOT SUPPOSED TO PUT 04:01.341 --> 04:02.709 YOUR HANDS IN YOUR POCKETS 04:02.776 --> 04:03.577 AND HAVING TO SIT UP 04:03.643 --> 04:07.013 AND SIT DOWN AND STAND UP. 04:07.080 --> 04:07.547 YOU KNOW, 04:07.614 --> 04:08.648 THEY HAD TO RE-SHOOT A SCENE 04:08.715 --> 04:11.218 WHEN THE HISTORICAL ADVISER 04:11.284 --> 04:12.352 WAS AWAY THAT DAY 04:12.419 --> 04:13.120 AND MATTHEW CRAWLEY 04:13.186 --> 04:14.788 DIDN'T STAND UP WHEN THE DOWAGER 04:14.855 --> 04:16.356 COUNTESS CAME INTO THE ROOM. 04:16.423 --> 04:17.224 HE SAID THERE'S ABSOLUTELY 04:17.290 --> 04:17.924 NO WAY THAT COULD EVER HAVE 04:17.991 --> 04:18.592 HAPPENED. 04:18.658 --> 04:20.060 YOU COULDN'T POSSIBLY AIR 04:20.127 --> 04:20.961 A SCENE LIKE THAT. 04:21.027 --> 04:22.796 SO THEY HAD TO REDO IT. 04:22.863 --> 04:23.930 JULIAN SAID THAT HE ALWAYS 04:23.997 --> 04:25.165 BEGINS WITH THE FUNDAMENTAL 04:25.232 --> 04:26.833 BELIEF THAT EVERYBODY IS GOOD. 04:26.900 --> 04:27.901 THEY START GOOD 04:27.968 --> 04:29.736 AND THEN SOMETHING MAY TAKE 04:29.803 --> 04:31.271 THEM OFF THAT PATH ALONG 04:31.338 --> 04:31.872 THE WAY. 04:31.938 --> 04:33.406 AND I THINK THAT'S WHAT 04:33.473 --> 04:34.641 IS REALLY INTERESTING ABOUT 04:34.708 --> 04:35.876 THE CHARACTERS IS THAT 04:35.942 --> 04:37.410 THEY'RE NOT BLACK OR WHITE. 04:37.477 --> 04:38.945 THEY'RE NOT GOODIES OR BADDIES. 04:39.012 --> 04:40.781 WE CAN SEE SHADES OF GRAY 04:40.847 --> 04:42.015 IN ALL OF THEM. 04:42.082 --> 04:43.250 I MEAN, EVEN O'BRIEN, 04:43.316 --> 04:44.785 WHO'S PROBABLY THE MOST EVIL 04:44.851 --> 04:46.620 SCHEMER OF ALL AND EVEN JULIAN 04:46.686 --> 04:47.521 WILL ADMIT THAT, 04:47.587 --> 04:49.055 THERE ARE STILL TIMES WHEN 04:49.122 --> 04:50.924 YOU SEE HER AND YOU THINK, 04:50.991 --> 04:52.459 THERE ARE SOME SOFT SPOTS 04:52.526 --> 04:53.360 IN THAT HEART. 04:53.426 --> 04:54.895 NOW WE WOULD PROBABLY CALL 04:54.961 --> 04:56.129 HER DAMAGED AND SEND 04:56.196 --> 04:57.664 HER TO THERAPY AND THINGS. 04:57.731 --> 04:59.800 BUT THEN SHE JUST HAD TO LIVE 04:59.866 --> 05:01.034 HER WAY THROUGH IT. 05:01.101 --> 05:02.135 I ALWAYS GET ASKED WHAT'S 05:02.202 --> 05:03.203 MY FAVORITE CHARACTER 05:03.270 --> 05:05.071 AND IT'S SLIGHTLY LIKE SELECTING 05:05.138 --> 05:06.273 YOUR CHILDREN OUT. 05:06.339 --> 05:08.441 I'VE GOT TO KNOW THEM ALL 05:08.508 --> 05:09.209 SO WELL NOW, 05:09.276 --> 05:11.378 I FEEL LIKE I'VE SEEN THEM 05:11.444 --> 05:13.914 DEVELOP OVER THREE SEASONS 05:13.980 --> 05:15.348 AND TALK TO THE ACTORS AND TALK 05:15.415 --> 05:16.650 TO THE PRODUCTION AND, 05:16.716 --> 05:17.384 YOU KNOW, 05:17.450 --> 05:19.119 ALL THESE SORT OF DETAILS 05:19.186 --> 05:19.786 ABOUT THEM. 05:19.853 --> 05:21.855 I KIND OF LOVE THEM ALL 05:21.922 --> 05:23.356 IN THEIR OWN SPECIAL WAY. 05:26.393 --> 05:26.860 >> RHEA: YOU'LL FIND "THE 05:26.927 --> 05:28.061 CHRONICLES OF DOWNTON ABBEY" 05:28.128 --> 05:30.197 ON BOOKSHELVES NOW AND YOU CAN 05:30.263 --> 05:32.199 SEE SEASON THREE ONLINE AT: 05:32.265 --> 05:35.569 VIDEO.MPT.TV. 05:35.635 --> 05:36.770 ENJOY! 05:50.917 --> 05:51.384 >> KWAME: THE NAME 05:51.451 --> 05:52.152 "CHARLIE CHAPLIN" 05:52.219 --> 05:53.553 CONJURES IMAGES OF A BOWLER HAT 05:53.620 --> 05:55.288 AND MUSTACHE. 05:55.355 --> 05:56.656 BUT THE ACTOR'S CAREER WAS MUCH 05:56.723 --> 05:58.191 BIGGER THAN HIS OVERSIZED 05:58.258 --> 05:59.693 TROUSERS AS WE SEE IN THIS 05:59.759 --> 06:02.028 INTERVIEW WITH ROB MCCLURE, 06:02.095 --> 06:03.663 WHO PLAYS THE MUSTACHED MAN 06:03.730 --> 06:05.098 IN THE BROADWAY MUSICAL, 06:05.165 --> 06:06.199 "CHAPLIN." 06:47.474 --> 06:47.974 >> STEVE ADUBATO: THAT GUY'S 06:48.041 --> 06:48.275 GOOD. 06:48.341 --> 06:48.842 HE'S RIGHT HERE. 06:48.909 --> 06:49.910 HIS NAME'S ROB MCCLURE, 06:49.976 --> 06:51.845 HE'S STARRING IN "CHAPLIN," 06:51.912 --> 06:53.213 PLAYING AT THE ETHEL BARRYMORE 06:53.280 --> 06:53.914 THEATRE. 06:53.980 --> 06:55.181 HE'S AN ACTOR 06:55.248 --> 06:56.049 AND HE IS TERRIFIC. 06:56.116 --> 06:56.716 GOOD TO SEE YOU. 06:56.783 --> 06:57.384 >> ROB MCCLURE: THANKS, STEVE, 06:57.450 --> 06:58.018 THANKS FOR HAVING ME. 06:58.084 --> 06:59.185 >> STEVE: WHAT'S IT LIKE TO SEE 06:59.252 --> 07:00.787 YOURSELF STARRING IN "CHAPLIN" 07:00.854 --> 07:01.388 LIKE THAT. 07:01.454 --> 07:03.390 >> ROB: IT'S WILD, IT'S WILD. 07:03.456 --> 07:04.758 IT'S PROFOUNDLY MOVING EVERY 07:04.824 --> 07:05.091 NIGHT. 07:05.158 --> 07:05.759 YOU KNOW, 07:05.825 --> 07:07.427 PEOPLE COME TO THIS SHOW 07:07.494 --> 07:08.094 WITH EXPECTATIONS. 07:08.161 --> 07:09.462 THEY KNOW THAT SILHOUETTE. 07:09.529 --> 07:10.797 THEY KNOW THE HAT, 07:10.864 --> 07:12.465 THE CANE AND THE MOUSTACHE. 07:12.532 --> 07:13.833 AND FANS OR NOT, 07:13.900 --> 07:15.835 YOU OWE IT TO THAT MAN 07:15.902 --> 07:17.504 AND THAT LEGACY TO GET 07:17.570 --> 07:18.204 THAT RIGHT, 07:18.271 --> 07:19.873 AND IT'S REALLY AN HONOR 07:19.940 --> 07:20.540 TO TAKE A STAB AT IT EIGHT SHOWS 07:20.607 --> 07:21.942 A WEEK. 07:22.008 --> 07:22.842 >> STEVE: I WANT YOU TO SHARE 07:22.909 --> 07:24.144 WITH US A LITTLE BIT BY THE WAY, 07:24.210 --> 07:24.778 YOU'RE BORN AND RAISED 07:24.844 --> 07:25.378 IN NEW JERSEY. 07:25.445 --> 07:26.212 >> ROB: YEAH, THAT'S RIGHT, 07:26.279 --> 07:27.314 JUST OVER THE BRIDGE. 07:27.380 --> 07:28.048 >> STEVE: PROUD TO HAVE YOU, 07:28.114 --> 07:29.282 AS SOMEONE WHO WAS BORN 07:29.349 --> 07:30.116 AND RAISED IN JERSEY, 07:30.183 --> 07:30.917 TO SEE SOMEONE WHO MADE 07:30.984 --> 07:31.518 IT ON BROADWAY. 07:31.584 --> 07:32.152 >> ROB: YEAH, 07:32.218 --> 07:33.053 I GOT MY START OUT THERE 07:33.119 --> 07:33.887 AT THE PAPER MILL. 07:33.954 --> 07:34.521 >> STEVE: YEAH, 07:34.587 --> 07:35.288 THE PAPER MILL PLAYHOUSE 07:35.355 --> 07:36.122 IN MILLBURN. 07:36.189 --> 07:37.424 >> ROB: RIGHT, IN MILLBURN. 07:37.490 --> 07:38.825 >> STEVE: I CAN'T EVEN IMAGINE 07:38.892 --> 07:40.660 WHAT IT'S LIKE TO BE PERFORMING, 07:40.727 --> 07:42.262 TO GO FROM THE PAPER MILL 07:42.329 --> 07:43.063 PLAYHOUSE IN MILLBURN 07:43.129 --> 07:43.596 TO BROADWAY. 07:43.663 --> 07:45.198 BUT I'VE GOT TO ASK YOU, 07:45.265 --> 07:46.533 YOU WERE TELLING ME BEFORE 07:46.599 --> 07:48.401 YOU GOT ON THE AIR THE RESEARCH 07:48.468 --> 07:49.736 YOU DID TO UNDERSTAND CHAPLIN. 07:49.803 --> 07:51.071 BY THE WAY, CHAPLIN BOOTCAMP? 07:51.137 --> 07:51.871 >> ROB: YES. 07:51.938 --> 07:53.206 >> STEVE: BECAUSE HE'S SO 07:53.273 --> 07:53.473 PHYSICAL. 07:53.540 --> 07:54.074 YOU HAD TO LEARN 07:54.140 --> 07:54.674 TO ROLLER SKATE, 07:54.741 --> 07:55.475 PLAY THE VIOLIN AND DO THE LAST 07:55.542 --> 07:56.376 PART. 07:56.443 --> 07:57.344 >> ROB: AND TIGHT ROPE WALKING. 07:57.410 --> 07:58.345 >> STEVE: GET OUT OF HERE. 07:58.411 --> 07:59.179 >> ROB: YES, IT'S WILD. 07:59.245 --> 08:00.013 >> STEVE: YOU DIDN'T KNOW 08:00.080 --> 08:00.847 HOW TO TIGHT ROPE WALK? 08:00.914 --> 08:02.215 >> ROB: I DIDN'T KNOW HOW TO DO 08:02.282 --> 08:02.882 ANY OF THAT STUFF. 08:02.949 --> 08:03.717 AND BELIEVE IT OR NOT, 08:03.783 --> 08:04.551 PLAYING THE VIOLIN IS ULTIMATELY 08:04.617 --> 08:05.385 HARDER THAN EVEN THE TIGHTROPE. 08:05.452 --> 08:07.887 IT'S AN INSTRUMENT 08:07.954 --> 08:09.356 YOU CAN'T HIDE BEHIND, 08:09.422 --> 08:10.090 YOU'RE DEALING WITH HORSE HAIR, 08:10.156 --> 08:10.623 YOU KNOW. 08:10.690 --> 08:12.092 ANY LITTLE NERVE THEY CAN HEAR. 08:12.158 --> 08:13.326 BUT YOU KNOW, 08:13.393 --> 08:15.128 IF YOU'RE PLAYING ONE 08:15.195 --> 08:16.596 OF THE MOST FAMOUS FUNNY MANS 08:16.663 --> 08:17.297 OF ALL TIME, 08:17.364 --> 08:18.298 THAT SHOULD BE HARD. 08:18.365 --> 08:18.999 SO IT IS. 08:19.065 --> 08:20.467 >> STEVE: WELL, TALK ABOUT HARD. 08:20.533 --> 08:22.802 CHAPLIN GROWS UP IN A VERY POOR 08:22.869 --> 08:24.004 SECTION OF LONDON. 08:24.070 --> 08:24.704 >> ROB: SOUTH LONDON, YEAH. 08:24.771 --> 08:26.206 >> STEVE: AND YOU SAY 1913 08:26.272 --> 08:27.340 HE COMES TO HOLLYWOOD. 08:27.407 --> 08:28.508 AND SEVEN YEARS LATER? 08:28.575 --> 08:30.210 >> ROB: HE'S THE MOST FAMOUS 08:30.276 --> 08:31.344 MAN IN THE WORLD. 08:31.411 --> 08:32.212 >> STEVE: NOW, 08:32.278 --> 08:33.646 YOU SAID BEFORE WE WENT 08:33.713 --> 08:35.348 ON THE AIR THAT YOU REALLY 08:35.415 --> 08:36.216 WANTED TO UNDERSTAND 08:36.282 --> 08:37.350 THAT JOURNEY AND UNDERSTAND 08:37.417 --> 08:39.052 SO MUCH ABOUT WHO HE WAS, 08:39.119 --> 08:40.487 WHICH IMPACTED HOW HE PERFORMED. 08:40.553 --> 08:41.354 >> ROB: YEAH. 08:41.421 --> 08:42.956 >> STEVE: TELL FOLKS SOME 08:43.023 --> 08:44.491 OF THE THINGS YOU WERE TELLING 08:44.557 --> 08:45.692 ME THAT HAD TO DO WITH HIS 08:45.759 --> 08:46.860 PHYSICAL PERSONA, 08:46.926 --> 08:47.961 WHICH WAS MUCH DEEPER THAN 08:48.028 --> 08:48.962 WE WOULD HAVE THOUGHT. 08:49.029 --> 08:50.530 >> ROB: YEAH, 08:50.597 --> 08:52.499 THE LITTLE TRAMP CHARACTER 08:52.565 --> 08:53.666 I DESPERATELY WANTED TO KNOW 08:53.733 --> 08:55.001 WHAT WAS IT ABOUT THAT CHARACTER 08:55.068 --> 08:55.568 THAT WAS SO TRANSCENDENT 08:55.635 --> 08:56.970 THAT ALLOWED HIM TO BECOME 08:57.037 --> 08:57.504 SO FAMOUS SO QUICKLY 08:57.570 --> 08:59.039 AND SO UNIVERSALLY. 08:59.105 --> 08:59.472 I MEAN, 08:59.539 --> 09:00.073 FIRST OF ALL THEY WERE SILENT 09:00.140 --> 09:01.608 PICTURES SO THEY HAD A UNIVERSAL 09:01.674 --> 09:03.343 APPEAL THAT IS UNLIKE ANY MEDIUM 09:03.410 --> 09:05.211 TODAY. 09:05.278 --> 09:05.979 YOU KNOW, 09:06.046 --> 09:07.580 WE GET PEOPLE AT THE STAGE DOOR 09:07.647 --> 09:08.715 WHO ARE FROM EASTERN EUROPE 09:08.782 --> 09:10.283 AND FROM JAPAN AND FROM ALL OVER 09:10.350 --> 09:11.651 THE WORLD AND THEY SAY, LISTEN, 09:11.718 --> 09:13.253 YOU DON'T KNOW HOW MUCH HE MEANS 09:13.319 --> 09:14.621 TO US BECAUSE WHEN WE WERE 09:14.687 --> 09:15.288 CHILDREN GROWING UP, 09:15.355 --> 09:16.423 THOSE WERE THE ONLY AMERICAN 09:16.489 --> 09:17.557 MOVIES WE COULD WATCH BECAUSE 09:17.624 --> 09:18.458 OF THE LANGUAGE BARRIER. 09:18.525 --> 09:19.592 OH MY GOSH, OF COURSE. 09:19.659 --> 09:20.527 SO IT TRULY EXPLODED 09:20.593 --> 09:21.661 IN A UNIVERSAL WAY, THOUGH, 09:21.728 --> 09:23.029 THAT HAD NOT BEEN SEEN BEFORE 09:23.096 --> 09:23.696 IN THAT MEDIUM. 09:23.763 --> 09:24.831 AND WHAT WAS IT ABOUT 09:24.898 --> 09:26.066 THAT CHARACTER THAT MADE PEOPLE 09:26.132 --> 09:27.434 CARE SO MUCH? 09:27.500 --> 09:28.568 AND I THINK IT WAS WHAT 09:28.635 --> 09:30.036 WAS UNDERNEATH THE COMEDY. 09:30.103 --> 09:31.671 >> STEVE: SO THE BIG PANTS, 09:31.738 --> 09:32.205 ILL-FITTING CLOTHES. 09:32.272 --> 09:33.006 >> ROB: YEAH, 09:33.073 --> 09:34.641 THEY DIDN'T FIT NOT ONLY BECAUSE 09:34.707 --> 09:35.975 THEY MAKE A FUNNY SILHOUETTE 09:36.042 --> 09:37.343 BUT BECAUSE THEY'RE NOT HIS 09:37.410 --> 09:37.610 CLOTHES. 09:37.677 --> 09:38.945 HE'S A HOMELESS NOBODY LIVING 09:39.012 --> 09:39.746 ON THE STREET, 09:39.813 --> 09:40.847 HE PICKED THOSE CLOTHES 09:40.914 --> 09:42.182 OUT OF A TRASH CAN, 09:42.248 --> 09:43.550 THAT'S WHY THEY DON'T FIT. 09:43.616 --> 09:45.418 A LOT OF WHAT GOES ON UNDERNEATH 09:45.485 --> 09:47.053 THAT CHARACTER IS A VERY SWEET, 09:47.120 --> 09:49.155 MELANCHOLY EVERYMAN TRYING 09:49.222 --> 09:50.323 TO MAKE IT AND BE TAKEN 09:50.390 --> 09:50.590 SERIOUSLY. 09:50.657 --> 09:51.724 >> STEVE: TALK ABOUT THE HAT. 09:51.791 --> 09:52.325 >> ROB: YEAH, 09:52.392 --> 09:53.960 HE USED TO TIP HIS HAT AT PEOPLE 09:54.027 --> 09:54.761 AS THEY WALKED BY, 09:54.828 --> 09:55.762 WHETHER IT BE THE FRONT 09:55.829 --> 09:56.963 OF THE HAT OR THE BACK 09:57.030 --> 09:57.597 OF THE HAT, 09:57.664 --> 09:58.598 AND WE ASSOCIATE THAT WITH 09:58.665 --> 09:59.599 THE COMEDY OR THE QUIRK 09:59.666 --> 10:00.200 OF THAT CHARACTER, 10:00.266 --> 10:01.401 BUT REALLY THE MORE I WATCH 10:01.468 --> 10:02.235 THE MORE I REALIZE 10:02.302 --> 10:03.036 HE WAS DESPERATELY TRYING 10:03.103 --> 10:04.237 TO BE TAKEN SERIOUSLY BY PEOPLE. 10:04.304 --> 10:05.505 SO IF HE COULD FOOL THEM 10:05.572 --> 10:06.439 INTO THINKING HE WAS A DIGNITARY 10:06.506 --> 10:08.441 OR A WEALTHY PERSON, 10:08.508 --> 10:09.409 SOMEONE WOULD TAKE 10:09.476 --> 10:10.543 HIM SERIOUSLY. 10:10.610 --> 10:11.111 AND WHAT'S SO HEARTBREAKING 10:11.177 --> 10:12.779 IS THAT HE WAS FOOLING NOBODY 10:12.846 --> 10:13.880 BUT HIMSELF. 10:13.947 --> 10:15.315 SO YOU WOULD WATCH THIS SWEET 10:15.381 --> 10:16.683 NOBODY OF A MAN AND TRYING 10:16.749 --> 10:19.519 TO PUT ONE OVER ON PEOPLE 10:19.586 --> 10:21.087 INTO TAKING HIM SERIOUSLY. 10:21.154 --> 10:22.288 AND I THINK THAT'S WHAT REALLY 10:22.355 --> 10:23.990 DREW PEOPLE TO HIM. 10:24.057 --> 10:24.924 >> STEVE: TALK ABOUT DRAWING 10:24.991 --> 10:26.493 PEOPLE TO PERFORMERS, 10:26.559 --> 10:28.094 PEOPLE ARE DRAWN TO YOU. 10:28.161 --> 10:29.028 HAVE NOT SEEN IT, 10:29.095 --> 10:31.464 BUT EVERYTHING I'VE HEARD 10:31.531 --> 10:31.931 AND PAULA IS IN MY EAR 10:31.998 --> 10:32.699 RIGHT NOW SAYING, 10:32.765 --> 10:35.602 ASK ROB ABOUT HIS ABANDON 10:35.668 --> 10:36.836 WHEN HE IS PERFORMING. 10:36.903 --> 10:38.204 AND THAT'S WHAT I KEEP HEARING, 10:38.271 --> 10:40.273 THAT YOU JUST GO FOR IT. 10:40.340 --> 10:42.275 WHAT DOES THAT REALLY MEAN? 10:42.342 --> 10:42.909 >> ROB: I THINK THERE'S A SENSE 10:42.976 --> 10:44.777 OF PLAY WHEN IT COMES 10:44.844 --> 10:45.578 WITH THEATER, 10:45.645 --> 10:47.480 AND A SENSE OF MAKE BELIEVE. 10:47.547 --> 10:48.448 I MEAN, REALLY, 10:48.515 --> 10:50.283 WHAT I THINK WE'RE DOING 10:50.350 --> 10:51.217 IS PLAYING MAKE BELIEVE 10:51.284 --> 10:52.152 IN THE WAY YOU DID WHEN YOU WERE 10:52.218 --> 10:53.286 FOUR OR FIVE, 10:53.353 --> 10:54.254 YOU JUST GET GOOD ENOUGH 10:54.320 --> 10:54.954 AT IT THAT PEOPLE PAY TO WATCH 10:55.021 --> 10:56.389 YOU DO IT. 10:56.456 --> 10:57.757 THEY START BELIEVING YOU ARE WHO 10:57.824 --> 10:58.958 YOU'RE PRETENDING TO BE. 10:59.025 --> 10:59.759 >> STEVE: ARE YOU? 10:59.826 --> 11:01.995 >> ROB: I THINK FOR THOSE 11:02.061 --> 11:03.029 TWO-AND-A-HALF HOURS I THINK 11:03.096 --> 11:04.030 I AM. 11:04.097 --> 11:05.899 AND WHAT'S GREAT IS THAT 11:05.965 --> 11:07.300 IN THOSE MOMENTS IN THE SHOW 11:07.367 --> 11:08.401 WHEN THE MAGIC STARTS TO HAPPEN 11:08.468 --> 11:09.536 AND THE MOUSTACHE GOES ON, 11:09.602 --> 11:10.370 AND THE CANE GOES ON, 11:10.436 --> 11:11.604 AND THE HAT, 11:11.671 --> 11:12.639 I DO START TO FEEL THE AUDIENCE 11:12.705 --> 11:14.174 LEAN IN AND GIVE ME PERMISSION 11:14.240 --> 11:16.075 TO BE CHARLIE CHAPLIN FOR THOSE 11:16.142 --> 11:17.143 TWO HOURS. 11:17.210 --> 11:18.845 AND IT'S A HUGE GIFT AND I GET 11:18.912 --> 11:20.313 ALL OF THAT AFFECTION THEY HAVE 11:20.380 --> 11:22.215 FOR THAT MAN AND THAT CHARACTER 11:22.282 --> 11:23.449 PUT ON ME, 11:23.516 --> 11:24.984 WHICH IS SUCH A GREAT HONOR. 11:25.051 --> 11:26.085 >> STEVE: AND IT WAS NOT EASY 11:26.152 --> 11:26.953 GETTING THAT GIG. 11:27.020 --> 11:29.122 YOU HAD SIX CALL BACKS. 11:29.189 --> 11:31.191 YOU FOUGHT FOR THIS ROLE. 11:31.257 --> 11:31.724 WHY? 11:31.791 --> 11:33.560 >> ROB: I DID, I DID. 11:33.626 --> 11:34.160 I LOVED IT. 11:34.227 --> 11:35.094 I LOVED THE MAN, 11:35.161 --> 11:36.029 I LOVED HIS STORY, 11:36.095 --> 11:37.230 HE HAD A WILDLY COMPLICATED LIFE 11:37.297 --> 11:38.898 WITH UPS AND DOWNS. 11:38.965 --> 11:39.632 AND, YEAH, 11:39.699 --> 11:40.533 THE AUDITION PROCESS 11:40.600 --> 11:41.167 WAS INTENSE. 11:41.234 --> 11:42.535 I REMEMBER FOR THE FINAL 11:42.602 --> 11:44.537 CALL BACK, 11:44.604 --> 11:45.972 IT WAS 5 O'CLOCK ON A MONDAY 11:46.039 --> 11:47.207 AND THEY SAID TOMORROW TUESDAY 11:47.273 --> 11:48.975 AT 10 A.M. COME BACK AND HAVE 11:49.042 --> 11:51.878 TWO MINUTES OF A CHAPLIN-Y 11:51.945 --> 11:53.479 THING. 11:53.546 --> 11:54.314 >> STEVE: A CHAPLIN-Y THING. 11:54.380 --> 11:55.048 >> ROB: A CHAPLIN-Y THING. 11:55.114 --> 11:55.682 I SAID, 11:55.748 --> 11:56.149 I DON'T EVEN KNOW WHAT 11:56.216 --> 11:56.616 THAT MEANS. 11:56.683 --> 11:58.518 SO I RAN HOME AND I WAS TRYING 11:58.585 --> 11:59.819 TO COME UP WITH SOMETHING 11:59.886 --> 12:00.954 AND IT WAS 2:30 IN THE MORNING 12:01.020 --> 12:02.255 AND MY WIFE ROLLED OVER IN BED 12:02.322 --> 12:03.022 AND SAID, 12:03.089 --> 12:04.023 WELL WHY DON'T YOU BRING MUSIC 12:04.090 --> 12:05.024 SO YOU'RE NOT COMPLETELY 12:05.091 --> 12:05.625 HUNG OUT TO DRY 12:05.692 --> 12:06.960 WITH THE SILENCE OF THE ROOM 12:07.026 --> 12:07.961 AND I THOUGHT, 12:08.027 --> 12:08.328 OH THAT'S GOOD. 12:08.394 --> 12:08.895 SO I STARTED LOOKING THROUGH 12:08.962 --> 12:10.096 MY PHONE AND IN MY CLASSICAL 12:10.163 --> 12:11.397 MUSIC PLAYLIST AND I HAD 12:11.464 --> 12:12.865 FLIGHT OF THE BUMBLE BEE. 12:12.932 --> 12:14.834 AND I THOUGHT I'M GOING TO BRING 12:14.901 --> 12:17.003 THAT AND A FLY SWATTER. 12:17.070 --> 12:18.171 AND I'LL FIGHT AN INVISIBLE 12:18.238 --> 12:19.339 FLY AND LOSE. 12:19.405 --> 12:20.273 AND I THOUGHT, THAT'S IT, 12:20.340 --> 12:21.341 AND I FELL ASLEEP. 12:21.407 --> 12:22.041 AND THEN THE NEXT MORNING 12:22.108 --> 12:23.476 I WOKE UP AND I GOT ON 12:23.543 --> 12:24.677 THE AMTRAK TRAIN ON MY WAY 12:24.744 --> 12:25.712 TO NEW YORK FROM BOSTON, 12:25.778 --> 12:27.146 I WAS DOING A SHOW IN BOSTON, 12:27.213 --> 12:28.147 AND I HAD MY HEADPHONES 12:28.214 --> 12:29.582 AND A FLY SWATTER AND I'M SURE 12:29.649 --> 12:30.583 EVERYONE ON THE TRAIN THOUGHT 12:30.650 --> 12:31.818 I WAS OUT OF MY MIND, 12:31.884 --> 12:33.253 TRYING TO COME UP WITH THIS BIT. 12:33.319 --> 12:34.854 AND THE FIRST TIME I DID IT ON 12:34.921 --> 12:36.089 MY FEET WAS IN THE ROOM 12:36.155 --> 12:36.689 FOR THE TEAM, 12:36.756 --> 12:37.924 AND IT WENT WELL I GUESS. 12:37.991 --> 12:38.625 >> STEVE: WHEN YOU WERE DOING 12:38.691 --> 12:39.325 IT AND THEY HAD TO MAKE 12:39.392 --> 12:41.628 A DECISION, HOW NERVOUS? 12:41.694 --> 12:44.030 >> ROB: OH, I'M ALWAYS VERY, 12:44.097 --> 12:45.498 VERY NERVOUS. 12:45.565 --> 12:46.065 ALWAYS. 12:46.132 --> 12:46.733 AND, YOU KNOW, 12:46.799 --> 12:48.534 AUDITIONING DOESN'T GET EASIER. 12:48.601 --> 12:49.569 YOU KNOW, 12:49.636 --> 12:50.136 PEOPLE TALK ABOUT MAKING IT. 12:50.203 --> 12:50.937 YOU KNOW, 12:51.004 --> 12:51.904 WHEN I DID AVENUE Q 12:51.971 --> 12:53.673 I DID AVENUE Q FOR THREE YEARS, 12:53.740 --> 12:54.941 ONE OF THE GREATEST THRILLS 12:55.008 --> 12:56.209 THEY SAID, YOU MADE IT. 12:56.276 --> 12:57.477 WELL WHENEVER THAT JOB ENDS, 12:57.543 --> 12:59.012 YOU'VE GOT TO MAKE IT AGAIN. 12:59.078 --> 13:00.280 YOU KNOW WHAT I MEAN? 13:00.346 --> 13:01.781 YOU'VE GOT TO DO IT AGAIN. 13:01.848 --> 13:03.049 SO THERE IS THAT SENSE, 13:03.116 --> 13:04.050 EVERY AUDITION YOU'VE GOT 13:04.117 --> 13:05.018 TO GO IN AND GIVE IT 13:05.084 --> 13:07.153 AND HOPEFULLY YOU'RE THE RIGHT 13:07.220 --> 13:07.320 FIT. 13:07.387 --> 13:07.887 >> STEVE: IT'S NO DIFFERENT 13:07.954 --> 13:08.221 HERE. 13:08.288 --> 13:08.821 WE'RE MAKING IT. 13:08.888 --> 13:09.589 WE'RE HERE IN LINCOLN CENTER 13:09.656 --> 13:10.223 DOING THE SHOW. 13:10.290 --> 13:10.823 I'M LIKE, 13:10.890 --> 13:11.791 HEY I HOPE THIS SHOW KEEPS 13:11.858 --> 13:12.692 GOING. 13:12.759 --> 13:13.259 IT'S LIKE, 13:13.326 --> 13:13.826 WHATEVER IT IS. 13:13.893 --> 13:14.427 >> ROB: THAT'S IT, THAT'S IT, 13:14.494 --> 13:14.927 THAT'S THE WAY IT GOES. 13:14.994 --> 13:16.429 AND IT'S ONE OF THE THRILLING 13:16.496 --> 13:17.997 THINGS ABOUT THIS BUSINESS, 13:18.064 --> 13:19.165 IS THAT EVERY SHOW I DO, 13:19.232 --> 13:20.333 THERE'S A NEW BAG OF TRICKS. 13:20.400 --> 13:21.567 AND THIS ONE ESPECIALLY, 13:21.634 --> 13:23.536 YOU KEEP ADDING THINGS 13:23.603 --> 13:24.304 TO YOUR SPECIAL SKILLS SECTION 13:24.370 --> 13:25.271 OF YOUR RESUME AND LEARNING 13:25.338 --> 13:26.606 TO DO CRAZY PUPPETRY 13:26.673 --> 13:27.940 OR WALKING TIGHTROPE OR PLAYING 13:28.007 --> 13:29.175 THE VIOLIN AND IT ALLOWS 13:29.242 --> 13:30.977 YOU TO FLEX DIFFERENT MUSCLES. 13:31.044 --> 13:31.978 >> STEVE: I CAN'T LIKE I SAID, 13:32.045 --> 13:32.645 I CAN'T IMAGINE WHAT IT'S LIKE, 13:32.712 --> 13:33.446 TO ME, 13:33.513 --> 13:34.314 GROWING UP LOVING THE YANKEES, 13:34.380 --> 13:35.815 IT'S KIND OF LIKE PLAYING 13:35.882 --> 13:36.716 IN YANKEE STADIUM. 13:36.783 --> 13:38.217 I'M JUST HAPPY FOR YOU 13:38.284 --> 13:39.719 AND I WISH YOU NOTHING 13:39.786 --> 13:40.620 BUT THE BEST. 13:40.687 --> 13:41.220 ALL THE BEST. 13:41.287 --> 13:41.821 >> ROB: THANKS SO MUCH, STEVE, 13:41.888 --> 13:42.622 I APPRECIATE IT. 13:44.123 --> 13:45.224 >> KWAME: ROB MCCLURE ORIGINALLY 13:45.291 --> 13:46.359 CREATED HIS ROLE 13:46.426 --> 13:47.360 OF CHARLIE CHAPLIN 13:47.427 --> 13:48.861 IN CALIFORNIA'S LA JOLLA 13:48.928 --> 13:51.564 PLAYHOUSE IN 2010. 14:04.077 --> 14:05.745 >> RHEA: GREGORY EUCLIDE IS NOT 14:05.812 --> 14:08.414 YOUR AVERAGE LANDSCAPE ARTIST. 14:08.481 --> 14:10.083 WITH INTUITIVE LAYERING 14:10.149 --> 14:11.684 OF SPATULA APPLIED PAINT 14:11.751 --> 14:13.486 AND FOUND MATERIALS, 14:13.553 --> 14:15.688 EUCLID'S PROCESS IS ALMOST 14:15.755 --> 14:17.223 AS BREATHTAKING AS THE FINISHED 14:17.290 --> 14:18.291 PIECE. 14:18.358 --> 14:19.459 TAKE A LOOK. 14:24.497 --> 14:25.264 >> GREGORY EUCLIDE: WELL 14:25.331 --> 14:25.965 AS A YOUNG ARTIST, 14:26.032 --> 14:27.934 I STARTED JUST DRAWING MOSTLY 14:28.000 --> 14:30.570 BECAUSE THAT'S HOW YOU COULD 14:30.636 --> 14:31.437 GET ATTENTION AND, 14:31.504 --> 14:32.839 LIKE ANY PSYCHOLOGIST WILL 14:32.905 --> 14:33.539 TELL YOU, 14:33.606 --> 14:34.507 IF YOU CAN GET ATTENTION 14:34.574 --> 14:35.675 FROM DOING SOMETHING THEN 14:35.742 --> 14:36.642 YOU'LL CONTINUE TO DO IT. 14:36.709 --> 14:38.478 THIS IS WHERE I GET MY MATERIAL. 14:38.544 --> 14:40.413 EVERY TIME IT RAINS YOU CAN 14:40.480 --> 14:41.314 FIND, 14:41.381 --> 14:44.617 THIS IS SOME KIND OF STYROFOAM, 14:44.684 --> 14:46.386 YOU'LL FIND IT ALL OVER HERE. 14:46.452 --> 15:00.633 * 15:00.700 --> 15:02.001 IF SOMEONE HASN'T SEEN MY WORK 15:02.068 --> 15:03.202 BEFORE, 15:03.269 --> 15:04.570 I TEND TO DESCRIBE IT 15:04.637 --> 15:06.239 AS LANDSCAPE PAINTING, 15:06.305 --> 15:07.507 MAYBE CONTEMPORARY LANDSCAPE 15:07.573 --> 15:08.975 PAINTING. 15:09.041 --> 15:10.109 SO WHAT I'LL DO IS PICK IT ALL 15:10.176 --> 15:11.177 UP AND PUT IT IN MY POCKET 15:11.244 --> 15:13.813 AND BRING IT ALL BACK. 15:13.880 --> 15:14.847 WHENEVER I TRY TO EXPLAIN 15:14.914 --> 15:16.082 IT TO SOMEONE IT ENDS UP 15:16.149 --> 15:18.017 GETTING VERY LONG WINDED 15:18.084 --> 15:20.420 AND VERY CONFUSING AND I USUALLY 15:20.486 --> 15:22.889 JUST END UP SAYING 15:22.955 --> 15:27.226 IT'S LANDSCAPE PAINTING. 15:27.293 --> 15:28.795 I GOT TO KEEP RAINING OTHERWISE 15:28.861 --> 15:30.930 I'LL RUN OUT OF SUPPLIES. 15:30.997 --> 15:32.331 WELL I USE THE STYROFOAM IN MY 15:32.398 --> 15:33.566 WORK TO KIND OF SYMBOLIZE 15:33.633 --> 15:35.001 THIS THING THAT'S MAN-MADE. 15:35.067 --> 15:35.802 BUT OMNIPRESENT 15:35.868 --> 15:38.404 IN THE LANDSCAPE, 15:38.471 --> 15:39.405 SO IT'S NOT VERY DIFFICULT 15:39.472 --> 15:40.907 TO FIND THIS STUFF EVERYWHERE 15:40.973 --> 15:42.642 YOU GO. 15:42.708 --> 15:45.578 SO SOMETIMES I'LL USE A SPATULA 15:45.645 --> 15:47.880 TO SCRAPE THE PAINT ACROSS 15:47.947 --> 15:50.783 THE SURFACE AND LET THE PAINT 15:50.850 --> 15:53.586 KIND OF ACT AS PAINT AND NOT 15:53.653 --> 15:56.756 APPEAR SO REPRESENTATIONAL. 15:56.823 --> 15:57.723 I ALSO LIKE THE WAY 15:57.790 --> 16:00.526 THAT IT KIND OF STUMBLES ALONG 16:00.593 --> 16:01.694 THE SURFACE. 16:01.761 --> 16:21.614 * 16:21.681 --> 16:22.815 SO THERE'S LAND HERE 16:22.882 --> 16:25.351 AND IN THE CENTER OF THIS SCENE 16:25.418 --> 16:27.553 I'M GOING TO CREATE SOME TYPE 16:27.620 --> 16:29.021 OF INDUSTRY THAT MOVES 16:29.088 --> 16:30.823 IN AND KIND OF STARTS, 16:30.890 --> 16:32.658 IS BUILT UPON THAT LAND. 16:32.725 --> 16:33.559 THE STUFF THAT'S AROUND 16:33.626 --> 16:34.627 THIS IS GOING TO BE MORE 16:34.694 --> 16:36.462 DELIBERATE AND ORGANIZED BECAUSE 16:36.529 --> 16:37.463 IT'S A CITY, 16:37.530 --> 16:38.831 SO CITY PLANNING IS MUCH 16:38.898 --> 16:40.800 DIFFERENT THAN, YOU KNOW, 16:40.867 --> 16:46.172 A NATURAL PRAIRIE OR A FOREST. 16:46.239 --> 16:47.173 I THINK OF IT AS AN EXPERIENCE 16:47.240 --> 16:49.108 IN MEMORY SO WHEN I GO OUT 16:49.175 --> 16:50.142 INTO A FOREST I WALK THROUGH 16:50.209 --> 16:51.811 THE FOREST AND I'M EXPERIENCING 16:51.878 --> 16:53.813 THESE VIGNETTES, 16:53.880 --> 16:54.881 MOMENT BY MOMENT. 16:54.947 --> 16:56.115 AND BY VIGNETTES I MEAN, 16:56.182 --> 16:57.750 MAYBE YOU WALK DOWN A HILL 16:57.817 --> 16:58.918 AND YOU REMEMBER THAT MOMENT 16:58.985 --> 17:00.186 OF WALKING DOWN THE HILL 17:00.253 --> 17:01.654 OR YOU COME ACROSS A POND 17:01.721 --> 17:03.055 AND THEN YOU REMEMBER SEEING 17:03.122 --> 17:04.524 THAT OR SPENDING TIME THERE 17:04.590 --> 17:05.858 AND THEN YOU MOVE ON TO A NEW 17:05.925 --> 17:06.592 PLACE. 17:06.659 --> 17:07.727 YOU START TO THINK ABOUT 17:07.793 --> 17:08.594 THE ECOSYSTEMS AND IN GENERAL 17:08.661 --> 17:11.197 IT'S JUST OVERWHELMING. 17:11.264 --> 17:12.765 IT'S IMPOSSIBLE FOR ONE PERSON 17:12.832 --> 17:13.599 TO UNDERSTAND WHAT'S EVEN 17:13.666 --> 17:15.101 GOING ON IN ONE FOOT OF SPACE 17:15.167 --> 17:17.236 IN THE FOREST. 17:17.303 --> 17:17.937 AND THAT COMPLEXITY AND THAT 17:18.004 --> 17:19.038 DENSITY HAS ALWAYS BEEN A PART 17:19.105 --> 17:28.314 OF MY WORK. 17:28.381 --> 17:29.282 IT'S LIKE YOU THINK THAT'S JUST 17:29.348 --> 17:30.283 A CITY? 17:30.349 --> 17:31.784 WELL, NO IT'S A, 17:31.851 --> 17:33.052 THERE USED TO BE OAK SAVANNAH 17:33.119 --> 17:34.253 THERE AND BEFORE 17:34.320 --> 17:35.555 THE OAK SAVANNAH IT USED 17:35.621 --> 17:36.856 TO BE HUNTED BY, YOU KNOW, 17:36.923 --> 17:38.090 DAKOTA AND SUE, 17:38.157 --> 17:39.959 AND BEFORE THAT IT'S LIKE. 17:40.026 --> 17:43.029 THE HISTORY OF SPACE IS, 17:43.095 --> 17:44.430 WE OFTEN FORGET ABOUT. 17:44.497 --> 17:48.100 THIS IS NATURE, 17:48.167 --> 17:49.735 LIKE DEAD NATURE AND THEN 17:49.802 --> 17:51.304 CULTURE. 17:51.370 --> 17:52.905 SO YOU'VE GOT COFFEE CUPS, 17:52.972 --> 17:55.041 STYROFOAM, 17:55.107 --> 17:57.043 IT'S LIKE THIS IS THE PERFECT 17:57.109 --> 17:58.744 BLENDING POT RIGHT HERE. 17:58.811 --> 18:00.580 THIS IS LIKE REALITY OF WHAT 18:00.646 --> 18:02.014 EXISTS. 18:02.081 --> 18:04.150 I'VE GOT THIS FRAMEWORK 18:04.216 --> 18:05.251 ESTABLISHED HERE, 18:05.318 --> 18:06.419 AND THE WATER WORKS GREAT 18:06.485 --> 18:07.453 BECAUSE I CAN GO AND ERASE 18:07.520 --> 18:08.821 THINGS. 18:08.888 --> 18:11.390 LIKE THIS AREA RIGHT HERE, 18:11.457 --> 18:12.792 IF I SPRAY THAT UP CLOSE 18:12.858 --> 18:14.093 YOU CAN SEE THAT LIKE ANY PAINT 18:14.160 --> 18:15.595 THAT WAS STILL WET WILL START 18:15.661 --> 18:17.263 TO FALL AWAY. 18:17.330 --> 18:20.900 AND YOU GET THIS PATTERN 18:20.967 --> 18:22.234 OF DECAY AND THEN HAVING 18:22.301 --> 18:23.469 THAT ACTUALLY HAPPEN ON 18:23.536 --> 18:24.604 THE SURFACE OF THE PAINTING 18:24.670 --> 18:26.739 ALWAYS SEEMED INTERESTING. 18:38.084 --> 18:39.885 IN ORDER TO HOLD THEM, 18:39.952 --> 18:45.625 THEY NEED TO DRY LIKE THAT. 18:45.691 --> 18:48.294 I THINK ABOUT WHAT'S 18:48.361 --> 18:50.963 REPRESENTED TWO-DIMENSIONALLY 18:51.030 --> 18:52.198 AND SOMETIMES TRY TO CREATE 18:52.264 --> 18:55.468 A COMPLEMENT TO IT 18:55.534 --> 18:59.472 THREE-DIMENSIONALLY. 18:59.538 --> 19:01.007 THIS ALL STARTED BY, 19:01.073 --> 19:02.842 I MADE SOME PAINTINGS THAT 19:02.908 --> 19:04.243 HAD TWO OR THREE SHEETS 19:04.310 --> 19:04.977 OF PAPER ON IT. 19:05.044 --> 19:05.678 AND I WOULD GO THROUGH 19:05.745 --> 19:06.946 AND I WOULD RIP THROUGH THEM 19:07.013 --> 19:08.014 AND THEN I'D START PAINTING 19:08.080 --> 19:09.515 THE NEXT SCENE ON TO THAT 19:09.582 --> 19:10.716 AS THOUGH IT'S LIKE A MOMENT 19:10.783 --> 19:11.784 IN TIME. 19:11.851 --> 19:12.818 AND THEN YOU PASS THROUGH 19:12.885 --> 19:14.020 THE THRESHOLD OF THAT MOMENT 19:14.086 --> 19:15.621 INTO THE NEXT STAGE. 19:15.688 --> 19:16.922 THE PAINT THAT DRIPS DOWN 19:16.989 --> 19:19.258 WOULD POOL UP INSIDE OF THESE, 19:19.325 --> 19:20.726 LIKE, RELIEF AREAS. 19:20.793 --> 19:21.894 I THOUGHT OKAY WELL THAT RELIEF 19:21.961 --> 19:23.095 AREA THEN BECOMES A LAKE. 19:23.162 --> 19:24.230 WHAT'S GOING TO HAPPEN 19:24.296 --> 19:25.164 AROUND A LAKE? 19:25.231 --> 19:26.399 YOU'RE GONNA GET, 19:26.465 --> 19:27.299 THERE'S WATER THERE 19:27.366 --> 19:28.167 SO YOU'RE GONNA HAVE GROWTH 19:28.234 --> 19:29.001 UP AROUND THE LAKE, 19:29.068 --> 19:30.770 SO IT SEEMED LIKE A RICH PLACE 19:30.836 --> 19:32.038 TO KIND OF START PUTTING 19:32.104 --> 19:33.172 THE RELIEF ELEMENTS IN. 19:33.239 --> 19:35.074 JUST HAVING THEM STAND THERE 19:35.141 --> 19:36.208 LIKE THAT BECAUSE THEY CAN 19:36.275 --> 19:38.544 BECAUSE THE PAPER COMES OUT 19:38.611 --> 19:39.445 IN RELIEF, 19:39.512 --> 19:40.913 THEN THE OBJECTS CAN USE 19:40.980 --> 19:43.916 THAT AS A FOOTHOLD TO START, 19:43.983 --> 19:44.884 IT'S LIKE ON THE SIDE 19:44.950 --> 19:45.584 OF A CLIFF. 19:45.651 --> 19:46.919 ANY ROCK THAT COMES OUT, 19:46.986 --> 19:47.787 THERE'S GOING TO BE SOMETHING 19:47.853 --> 19:48.788 THAT'S GROWING ON THERE, 19:48.854 --> 19:49.655 WHERE AS THE CLIFF FACE 19:49.722 --> 19:53.292 IT'S MUCH MORE RARE. 20:00.900 --> 20:02.601 WHEN I BRING SCULPTURAL ELEMENTS 20:02.668 --> 20:04.437 IN OR LIKE PIECES FROM THE LAND, 20:04.503 --> 20:07.406 I HAVE A TENDENCY TO THINK ABOUT 20:07.473 --> 20:09.041 MODES OF REPRESENTATION. 20:09.108 --> 20:10.443 DO YOU HAVE AN ILLUSIONISTIC 20:10.509 --> 20:11.510 SPACE THAT IS PAINTED 20:11.577 --> 20:12.545 WHERE PEOPLE CAN GO 20:12.611 --> 20:14.180 AND WITH THEIR MIND YOU HAVE 20:14.246 --> 20:15.614 A SPACE THAT ACTUALLY COMES OUT 20:15.681 --> 20:16.849 THAT PEOPLE CAN MOVE AROUND 20:16.916 --> 20:18.150 WITH THEIR BODY AND THEN 20:18.217 --> 20:20.686 YOU HAVE THESE LIKE FAKE KIND 20:20.753 --> 20:25.524 OF MODEL TYPE MATERIALS THAT 20:25.591 --> 20:27.326 ARE PRODUCED ON THERE. 20:27.393 --> 20:29.261 TREES THAT I MAKE FROM SEDUM 20:29.328 --> 20:30.763 OR LIKE THE TEXTURAL TYPE 20:30.830 --> 20:31.564 OF THINGS. 20:31.630 --> 20:32.765 SO I STARTED FOOLING AROUND 20:32.832 --> 20:35.000 WITH VARIOUS PLASTIC BAGS. 20:35.067 --> 20:36.602 THE IDEA THAT YOU CAN TAKE 20:36.669 --> 20:39.004 AND MAKE A FORM THAT LOOKS 20:39.071 --> 20:41.073 LIKE SOMETHING NATURAL OUT 20:41.140 --> 20:42.575 OF SOMETHING THAT'S YOU KNOW, 20:42.641 --> 20:43.709 PETROLEUM BASED AND COMPLETELY 20:43.776 --> 20:45.845 DESTRUCTIVE AND HAVE THAT 20:45.911 --> 20:47.880 IN THIS LANDSCAPE THAT'S KIND 20:47.947 --> 20:48.981 OF IMPORTANT BECAUSE 20:49.048 --> 20:50.149 THE LANDSCAPE ITSELF SEEMS 20:50.216 --> 20:51.851 VERY PICTURESQUE. 20:51.917 --> 20:52.785 BUT, YOU KNOW, 20:52.852 --> 20:54.053 THESE ARE THE THINGS WE USE 20:54.120 --> 20:55.521 ON A DAILY BASIS THAT ARE 20:55.588 --> 20:57.189 THE ANTITHESIS TO THIS KIND 20:57.256 --> 20:59.125 OF IDEA. 20:59.191 --> 21:00.292 ALL OF THESE DIFFERENT MODES 21:00.359 --> 21:01.227 OF REPRESENTATION 21:01.293 --> 21:02.428 GET INTRODUCED INTO 21:02.495 --> 21:03.896 THE SCULPTURAL MIX AND IT'S 21:03.963 --> 21:05.397 KIND OF LEFT TO THE VIEWER 21:05.464 --> 21:07.199 TO NEGOTIATE HOW THOSE THINGS 21:07.266 --> 21:11.570 BLEND TOGETHER. 21:11.637 --> 21:12.705 IF I JUST MADE BEAUTIFUL 21:12.772 --> 21:14.273 PAINTINGS, 21:14.340 --> 21:15.741 WHAT I'M TRYING TO GET 21:15.808 --> 21:16.809 AT WITHIN THE WORK WOULD BE 21:16.876 --> 21:18.144 LOST, YOU KNOW. 21:18.210 --> 21:19.545 SO IF I COULD INTRODUCE AS MUCH 21:19.612 --> 21:20.980 GARBAGE AS POSSIBLE 21:21.046 --> 21:23.249 FROM THE LAND INTO THE WORK, 21:23.315 --> 21:24.483 THAT KIND OF REFLECTS ON 21:24.550 --> 21:27.620 THE STATE OF LAND TODAY 21:27.686 --> 21:29.288 AS WELL AS MAKING THE PAINTING 21:29.355 --> 21:33.859 A LITTLE MORE REALISTIC TO ME. 21:33.926 --> 21:35.161 I WANT IT TO FEEL LIKE 21:35.227 --> 21:36.629 I'M PRESENT IN THE LAND 21:36.695 --> 21:37.530 IN GENERAL, YOU KNOW, 21:37.596 --> 21:38.531 AND IT CONTAINS ALL 21:38.597 --> 21:40.399 OF THE THOUGHTS THAT I HAVE. 21:40.466 --> 21:42.701 I THINK THAT'S HOW I WANT 21:42.768 --> 21:44.170 TO JUST KEEP MAKING IT MORE 21:44.236 --> 21:46.772 AND MORE REALISTIC IN THAT 21:46.839 --> 21:47.907 SENSE. 21:47.973 --> 21:49.041 WHEN I LOOK AT A LANDSCAPE 21:49.108 --> 21:49.809 PAINTING I THINK WELL 21:49.875 --> 21:50.843 THAT'S LIKE ONE-TWELFTH 21:50.910 --> 21:52.678 OF THE STORY. 21:57.917 --> 21:58.818 >> RHEA: GREGORY EUCLIDE 21:58.884 --> 22:00.019 RECENTLY WRAPPED SHOWS 22:00.085 --> 22:01.420 IN MINNEAPOLIS, MIAMI, 22:01.487 --> 22:02.354 AND NEW YORK. 22:02.421 --> 22:03.856 HIS ART IS ALSO FEATURED 22:03.923 --> 22:05.825 ON THE COVERS OF SEVERAL 22:05.891 --> 22:07.593 BON IVER ALBUMS. 22:07.660 --> 22:08.460 TO FIND OUT MORE, 22:08.527 --> 22:09.161 VISIT 22:09.228 --> 22:11.797 GREGORYEUCLIDE.COM. 22:11.864 --> 22:12.331 NEXT, 22:12.398 --> 22:13.599 WE VISIT PRATT INSTITUTE 22:13.666 --> 22:15.367 IN BROOKLYN, NEW YORK. 22:15.434 --> 22:16.535 PRATT IS ONE OF THE WORLD'S 22:16.602 --> 22:18.537 MOST PRESTIGIOUS COLLEGES 22:18.604 --> 22:19.772 OF ART, DESIGN, 22:19.839 --> 22:21.340 AND ARCHITECTURE. 22:21.407 --> 22:23.475 ITS ALUMNI AND FACULTY HAVE 22:23.542 --> 22:24.743 PRODUCED WORKS THAT HAVE CHANGED 22:24.810 --> 22:26.045 THE WORLD. 22:26.111 --> 22:29.415 NOW CELEBRATING ITS 125TH YEAR, 22:29.481 --> 22:30.783 PRATT INSTITUTE IS HELPING 22:30.850 --> 22:32.852 DESIGN STUDENTS MAKE 22:32.918 --> 22:35.020 A MEANINGFUL IMPACT ON THE WORLD 22:35.087 --> 22:37.756 WITH ITS "DESIGN INCUBATOR." 22:37.823 --> 22:39.391 STUDENTS USE THEIR SKILLS 22:39.458 --> 22:41.527 TO CREATE SUSTAINABLE PRODUCTS 22:41.594 --> 22:42.862 AND SOCIALLY RESPONSIBLE 22:42.928 --> 22:44.129 COMPANIES. 22:44.196 --> 22:45.497 HERE'S A LOOK. 22:45.631 --> 22:46.165 >> DEBERA JOHNSON: THE "DESIGN 22:46.232 --> 22:47.766 INCUBATOR" IS REALLY FOCUSING 22:47.833 --> 22:50.035 ON TRANSITIONING DESIGNERS 22:50.102 --> 22:52.171 INTO DESIGN ENTREPRENEURS. 22:52.238 --> 22:52.738 THESE CREATIVE, 22:52.805 --> 22:54.073 TALENTED PEOPLE 22:54.139 --> 22:55.207 STARTING ENTERPRISES, 22:55.274 --> 22:57.443 BEING ENTREPRENEURS AND THIS 22:57.509 --> 22:58.744 IS A PLACE WHERE THEY CAN COME 22:58.811 --> 23:00.012 IN AND THEY CAN FIGURE OUT 23:00.079 --> 23:01.614 HOW TO DO THIS. 23:01.680 --> 23:02.681 WE WANT TO DO THINGS THAT 23:02.748 --> 23:04.516 ARE ENVIRONMENTALLY BETTER, 23:04.583 --> 23:07.486 SOCIALLY BETTER AND SO IT'S 23:07.553 --> 23:09.154 THOSE VALUES THAT CONNECT 23:09.221 --> 23:09.955 US ALL. 23:10.022 --> 23:11.423 >> SAMUEL COCHRAN: YOU KNOW, 23:11.490 --> 23:12.491 WHEN WE STARTED, 23:12.558 --> 23:13.659 WE DIDN'T KNOW A LOT ABOUT 23:13.726 --> 23:15.427 HOW TO START A BUSINESS 23:15.494 --> 23:17.062 AND THE INCUBATOR 23:17.129 --> 23:19.431 AND ITS RESOURCES HAS ALLOWED 23:19.498 --> 23:21.567 FOR US TO GAIN THAT EDUCATION 23:21.634 --> 23:22.468 IN A SAFE ENVIRONMENT. 23:22.534 --> 23:23.035 WE'RE LOOKING AT ONE OF OUR 23:23.102 --> 23:23.836 FIRST PROTOTYPES OF SOLAR IVY 23:23.903 --> 23:25.638 AND SOLAR IVY IS A SYSTEM 23:25.704 --> 23:28.507 OF SOLAR PANELS OR PHOTOVOLTAICS 23:28.574 --> 23:30.309 THAT INTERACT WITH OUR BUILT 23:30.376 --> 23:31.477 ENVIRONMENT SUCH THAT THEY 23:31.543 --> 23:34.580 CAN BE TUNED TO BE OPTIMIZED 23:34.647 --> 23:36.382 FOR CAPTURING ENERGY 23:36.448 --> 23:37.950 AND PRODUCING ELECTRICITY 23:38.017 --> 23:39.351 WHILE LOOKING LIKE IVY ON 23:39.418 --> 23:41.186 THE SIDE OF A BUILDING. 23:41.253 --> 23:42.087 >> ASHLEY THORFINNSON: DESIGNING 23:42.154 --> 23:43.055 HOPE IS AN INTERDISCIPLINARY 23:43.122 --> 23:44.056 DESIGN FIRM THAT WORKS 23:44.123 --> 23:45.357 WITH NON-PROFITS AND SOCIAL 23:45.424 --> 23:46.892 VENTURES AND WE USE DESIGN 23:46.959 --> 23:48.894 AS A TOOL TO HELP THESE 23:48.961 --> 23:50.429 ORGANIZATIONS MAKE A POSITIVE 23:50.496 --> 23:51.697 IMPACT. 23:51.764 --> 23:52.898 WE HAVE BEEN WORKING 23:52.965 --> 23:53.699 WITH TILONIA, 23:53.766 --> 23:54.700 THEY ARE A NOT PROFIT ARTISAN 23:54.767 --> 23:56.335 GROUP BASED OUT OF INDIA. 23:56.402 --> 23:57.303 AND WE'VE BEEN WORKING 23:57.369 --> 23:58.404 WITH THEIR DESIGNERS 23:58.470 --> 24:00.673 IN A COLLABORATIVE WAY TO HELP 24:00.739 --> 24:02.908 BRING A LEVEL OF SOPHISTICATION 24:02.975 --> 24:04.209 TO THEIR ALREADY EXISTING 24:04.276 --> 24:05.711 CRAFT WORK WHICH GIVES THEM 24:05.778 --> 24:08.314 MARKET ACCESS IN NORTH AMERICA. 24:08.380 --> 24:09.381 >> DEBERA: IN THE 24:09.448 --> 24:12.251 "DESIGN INCUBATOR" WE'RE REALLY 24:12.318 --> 24:13.786 QUITE PRACTICAL. 24:13.852 --> 24:14.920 AND I THINK THAT WAS ONE 24:14.987 --> 24:16.922 OF CHARLES PRATT'S IDEAS 24:16.989 --> 24:18.991 WAS THIS IDEA OF BEING ABLE 24:19.058 --> 24:20.059 TO TRAIN PEOPLE TO GO OUT 24:20.125 --> 24:21.560 AND DO THINGS IN A PRACTICAL 24:21.627 --> 24:22.428 WAY. 24:23.529 --> 24:24.863 >> RHEA: AS PART OF ITS 24:24.930 --> 24:27.232 125TH ANNIVERSARY CELEBRATION, 24:27.299 --> 24:28.467 PRATT INSTITUTE IS HOSTING 24:28.534 --> 24:30.602 AN EXHIBITION AT ITS NEW YORK 24:30.669 --> 24:33.505 CAMPUS OF ICONIC WORKS CREATED 24:33.572 --> 24:36.342 BY PRATT ALUMNI AND FACULTY. 24:36.408 --> 24:38.444 THESE RANGE FROM THE SCRABBLE 24:38.510 --> 24:40.579 BOARD GAME TO THE CHRYSLER 24:40.646 --> 24:42.581 BUILDING TO OX-OH GOOD GRIPS 24:42.648 --> 24:45.484 KITCHEN UTENSILS. 24:45.551 --> 24:46.251 AND NOW, 24:46.318 --> 24:47.086 HERE'S A LOOK AT SOME 24:47.152 --> 24:48.354 OF THE ARTS EVENTS HAPPENING 24:48.420 --> 24:50.322 THIS WEEK IN OUR TOWN. 25:17.182 --> 25:18.117 >> KWAME: THAT WRAPS IT UP 25:18.183 --> 25:19.718 FOR THIS EDITION OF ARTWORKS. 25:19.785 --> 25:21.420 I'M KWAME KWEI-ARMAH. 25:21.487 --> 25:22.254 >> RHEA: FOR MORE ARTS 25:22.321 --> 25:22.988 AND CULTURE, 25:23.055 --> 25:25.824 VISIT MPT.ORG/ARTWORKS. 25:25.891 --> 25:26.992 I'M RHEA FEIKIN, 25:27.059 --> 25:28.160 THANKS FOR WATCHING. 25:28.227 --> 25:28.560 AND, 25:28.627 --> 25:30.496 I WOULD LIKE TO SAY 25:30.562 --> 25:32.464 CONGRATULATIONS TO YOU ON 25:32.531 --> 25:34.133 YOUR INDUCTION TO THE ORDER 25:34.199 --> 25:35.501 OF THE BRITISH EMPIRE. 25:35.567 --> 25:36.502 WE ARE VERY PROUD TO HAVE YOU 25:36.568 --> 25:37.703 ON ARTWORKS. 25:37.770 --> 25:39.505 >> KWAME: THANK YOU SO MUCH. 25:39.571 --> 25:40.172 AND PLEASE, 25:40.239 --> 25:43.308 DO TUNE IN NEXT WEEK AND SUPPORT 25:43.375 --> 25:43.942 THE ARTS. 25:45.444 --> 25:46.345 >> ANNOUNCER: ARTWORKS IS MADE 25:46.412 --> 25:47.146 POSSIBLE IN PART BY: 25:47.212 --> 25:50.115 THE MPT NEW INITIATIVES FUND, 25:50.182 --> 25:51.016 FOUNDED BY 25:51.083 --> 25:55.083 IRENE AND EDWARD H. KAPLAN.