WEBVTT 00:00.000 --> 03:28.833 ♫♫ 03:28.833 --> 03:29.166 >> ANNOUNCER: PRODUCTION OF 03:29.166 --> 03:29.700 "BROAD & HIGH" IS FUNDED IN PART 03:29.700 --> 03:30.100 BY THE GREATER COLUMBUS ARTS 03:30.100 --> 03:32.766 COUNCIL, SUPPORTING ARTS, 03:32.766 --> 03:33.533 ADVANCING CULTURE AND CONNECTING 03:33.533 --> 03:34.433 THE COMMUNITY TO CULTURAL 03:34.433 --> 03:35.300 EVENTS, ARTISTS AND CLASSES AT 03:35.300 --> 03:39.900 COLUMBUSMAKESART.COM. 03:39.900 --> 03:40.300 AND BY THE OHIO ARTS COUNCIL, A 03:40.300 --> 03:40.766 STATE AGENCY THAT FUNDS AND 03:40.766 --> 03:42.133 SUPPORTS QUALITY ARTS 03:42.133 --> 03:47.066 EXPERIENCES. 03:47.066 --> 03:47.900 >>> THIS TIME ON "BROAD & 03:47.900 --> 03:49.733 HIGH" -- 03:49.733 --> 03:50.266 WE'LL CHECK OUT THE SCENE IN 03:50.266 --> 03:52.266 DOWNTOWN MANSFIELD. 03:52.266 --> 03:53.100 >> WHEN WE GET TOURISTS IN HERE, 03:53.100 --> 03:53.966 THEY'RE LIKE "WOW, WE NEVER 03:53.966 --> 03:55.000 WOULD HAVE KNOWN THAT YOU GUYS 03:55.000 --> 03:56.166 GOT STUFF REALLY GOING DOWN 03:56.166 --> 03:58.900 HERE." 03:58.900 --> 03:59.733 >> A CHOREOGRAPHER WHO USES 03:59.733 --> 04:01.466 WATER TO TELL STORIES. 04:01.466 --> 04:05.566 AND FILMMAKER DAVID LYNCH. 04:05.566 --> 04:06.400 THIS AND MORE, RIGHT NOW, ON 04:06.400 --> 04:09.233 "BROAD & HIGH." 04:09.233 --> 04:23.200 ♫♫ 04:23.200 --> 04:23.766 >>> WELCOME BACK TO "BROAD & 04:23.766 --> 04:24.700 HIGH." 04:24.700 --> 04:27.466 I'M YOUR HOST KATE MANECKE. 04:27.466 --> 04:28.066 FOR OUR FIRST SEGMENT WE TRAVEL 04:28.066 --> 04:29.466 UP TO MANSFIELD, OHIO FOR A 04:29.466 --> 04:30.866 STORY ABOUT REVITALIZATION OF 04:30.866 --> 04:32.400 THE ARTS COMMUNITY THERE. 04:32.400 --> 04:34.200 MANSFIELD WAS A TYPICAL 04:34.200 --> 04:35.733 MANUFACTURING CITY THAT GREW 04:35.733 --> 04:36.800 WITH THE RAILROAD AND BURST AT 04:36.800 --> 04:38.400 THE SEAMS TRYING TO SUPPLY THE 04:38.400 --> 04:40.733 DEMAND FOR THINGS LIKE 04:40.733 --> 04:42.433 SUSPENDERS, PAPER BOXES AND 04:42.433 --> 04:43.533 BELIEVE IT OR NOT, CIGARS. 04:43.533 --> 04:46.166 IT'S A FAMILIAR STORY OF BLIGHT 04:46.166 --> 04:47.266 AS WELL WHEN THE FACTORIES 04:47.266 --> 04:48.100 CLOSED AND PEOPLE LOST THEIR 04:48.100 --> 04:49.566 JOBS. 04:49.566 --> 04:51.166 BUT THINGS ARE CHANGING, THANKS 04:51.166 --> 04:52.133 TO A COMMUNITY OF DEDICATED 04:52.133 --> 04:54.033 INDIVIDUALS WHO ARE DETERMINED 04:54.033 --> 04:55.800 TO BRING CULTURAL VIBRANCY BACK 04:55.800 --> 05:02.266 TO DOWNTOWN MANSFIELD. 05:02.266 --> 05:03.300 ♫♫ 05:03.300 --> 05:04.600 >> I LEFT AFTER HIGH SCHOOL FOR 05:04.600 --> 05:05.933 COLLEGE AT OU. 05:05.933 --> 05:07.533 AND THEN I WENT OUT EAST, AND I 05:07.533 --> 05:08.666 SPENT A COUPLE OF YEARS IN D.C. 05:08.666 --> 05:10.566 FIVE IN BOSTON. 05:10.566 --> 05:11.900 AND I GUESS YOU WOULD SAY A NEW 05:11.900 --> 05:13.733 YORK MINUTE IN NEW YORK. 05:13.733 --> 05:14.700 SO, OUR GENERATION GOT HIT 05:14.700 --> 05:15.500 PRETTY HARD WITH THE ECONOMIC 05:15.500 --> 05:17.600 SLUMP. 05:17.600 --> 05:18.833 I DID AND MOVED HOME. 05:18.833 --> 05:20.666 AND AT THE TIME IT SEEMED LIKE A 05:20.666 --> 05:22.666 HORRIBLE FAILURE. 05:22.666 --> 05:24.666 I DIDN'T EXPECT THERE TO BE 05:24.666 --> 05:27.566 ANYTHING MUCH FOR ME HERE. 05:27.566 --> 05:28.933 I WAS CERTAIN THERE WOULDN'T BE 05:28.933 --> 05:30.933 MUCH FOR ME HERE. 05:30.933 --> 05:33.833 WHEN I MOVED HOME THERE WAS THIS 05:33.833 --> 05:38.033 FAMILY WAITING FOR ME. 05:38.033 --> 05:40.433 I MEAN, THERE WAS MY ACTUAL 05:40.433 --> 05:41.900 FAMILY, BUT THEN THERE WAS A 05:41.900 --> 05:43.100 COMMUNITY THAT I WAS APART OF. 05:43.100 --> 05:44.266 AND WHEN I STARTED WORKING AT 05:44.266 --> 05:45.200 THE BOOKSTORE, I WAS REALLY A 05:45.200 --> 05:46.733 PART OF IT. 05:46.733 --> 05:50.933 ♫♫ 05:50.933 --> 05:53.066 THIS IS MAIN STREET BOOKS. 05:53.066 --> 05:54.566 I AM THE MANAGER, PUBLICIST AND 05:54.566 --> 05:57.866 MARKETER AND JANITOR. 05:57.866 --> 05:59.633 EVERYTHING ELSE. 05:59.633 --> 06:02.300 MY HUSBAND AND I RUN THE STORE. 06:02.300 --> 06:02.900 IT'S A SMALL INDEPENDENT 06:02.900 --> 06:04.166 BOOKSTORE. 06:04.166 --> 06:06.700 OUR PHILOSOPHY IS BASICALLY THAT 06:06.700 --> 06:09.233 WE CAN'T COMPETE WITH THE BIG 06:09.233 --> 06:11.200 GUYS, SO WE DON'T TRY. 06:11.200 --> 06:12.300 WE GET THE SMALL PRESSES, THE 06:12.300 --> 06:13.300 NEW AUTHORS, WE CURATE OUR 06:13.300 --> 06:18.900 SELECTION VERY CAREFULLY. 06:18.900 --> 06:19.633 ♫♫ 06:19.633 --> 06:20.266 SO THERE'S A WHOLE BUNCH OF US 06:20.266 --> 06:21.966 THAT MOVED HOME FROM FAR AWAY. 06:21.966 --> 06:24.500 AND WE ALL KIND OF BROUGHT WHAT 06:24.500 --> 06:28.466 WE WANTED, WHAT WE EXPECTED IN A 06:28.466 --> 06:32.966 COMMUNITY AND WE BROUGHT THAT 06:32.966 --> 06:35.833 HOME. 06:35.833 --> 06:36.566 AND WHAT I WANTED WAS READINGS 06:36.566 --> 06:36.966 AND WRITING GROUPS AND AUTHOR 06:36.966 --> 06:37.500 VISITS AND POETRY READINGS AND 06:37.500 --> 06:38.766 OPEN MIKES. 06:38.766 --> 06:40.000 SO I JUST SCHEDULED IT AND TOLD 06:40.000 --> 06:41.600 PEOPLE TO COME. 06:41.600 --> 06:42.666 AND THEY DID. 06:42.666 --> 06:43.733 [ LAUGHTER ] 06:43.733 --> 06:45.433 IT WAS GREAT. 06:45.433 --> 06:46.933 ♫♫ 06:46.933 --> 06:48.266 >> I MOVED FROM WASHINGTON, 06:48.266 --> 06:50.033 HERE, TO MANSFIELD BECAUSE OF 06:50.033 --> 06:51.500 CHEEP HOUSES. 06:51.500 --> 06:53.000 I LIKE SMALLER TOWNS. 06:53.000 --> 06:55.100 AND I FELT THAT THIS WAS, ONCE I 06:55.100 --> 06:56.500 CAME HERE, THERE WAS A LOT OF 06:56.500 --> 06:58.666 OPPORTUNITIES. 06:58.666 --> 07:00.566 AND THEN, OF COURSE BY ACCIDENT, 07:00.566 --> 07:02.133 THEN FOUND THE MUSEUM 18 YEARS 07:02.133 --> 07:03.766 AGO. 07:03.766 --> 07:08.633 AND THAT CHANGED EVERYTHING. 07:08.633 --> 07:10.866 MANSFIELD, IN MY CHILDHOOD, HAD 07:10.866 --> 07:12.466 SO MANY COOL STILL DOWNTOWN. 07:12.466 --> 07:14.033 THEN AS I GOT INTO COLLEGE IT 07:14.033 --> 07:16.333 REALLY GOT RAN DOWN, AND IT WAS 07:16.333 --> 07:18.133 PRETTY DEPRESSING DOWN HERE. 07:18.133 --> 07:20.333 SO I MOVED AWAY FOR AWHILE, BUT 07:20.333 --> 07:23.766 YEAH, THIS IS HOME. 07:23.766 --> 07:29.600 ♫♫ 07:29.600 --> 07:30.700 >> YOU CAN HEAR THE MUSIC 07:30.700 --> 07:31.366 EVERYWHERE. 07:31.366 --> 07:32.566 YOU JUST FOLLOW IT. 07:32.566 --> 07:36.700 THAT CAROUSEL OPENED UP IN '92, 07:36.700 --> 07:37.233 I BELIEVE. 07:37.233 --> 07:37.633 AND EVERYONE THOUGHT THEY WERE 07:37.633 --> 07:38.966 CRAZY. 07:38.966 --> 07:39.533 >> THAT WHOLE AREA WHERE THE 07:39.533 --> 07:40.133 CAROUSEL IS REALLY WENT IN TO A 07:40.133 --> 07:42.866 BAD DOWNTURN. 07:42.866 --> 07:44.033 AND SO THE CITY STARTED ACTUALLY 07:44.033 --> 07:46.566 TEARING DOWN LARGE SECTIONS. 07:46.566 --> 07:48.033 AND THEY WANTED SOMETHING TO 07:48.033 --> 07:49.000 ACTUALLY BRING IN PEOPLE INTO 07:49.000 --> 07:52.266 MANSFIELD. 07:52.266 --> 07:54.066 ALL THOSE THINGS WERE CARVED 07:54.066 --> 07:55.066 HERE. 07:55.066 --> 07:56.500 >> THE DOWNTOWN CAROUSEL 07:56.500 --> 07:59.766 DISTRICT, ONCE EVERYBODY 07:59.766 --> 08:00.766 REALIZED THE EXCITEMENT FOR IT, 08:00.766 --> 08:01.533 THERE'S A LOT OF OTHER 08:01.533 --> 08:02.533 BUSINESSES AROUND US. 08:02.533 --> 08:03.433 AND THERE'S MORE, HOPEFULLY, 08:03.433 --> 08:04.500 COMING IN. 08:04.500 --> 08:05.633 THINGS ARE STARTING TO HAPPEN 08:05.633 --> 08:06.866 DOWNTOWN FOR US, SO WE'RE 08:06.866 --> 08:07.466 EXCITED ABOUT THAT. 08:07.466 --> 08:08.333 WE'RE HAPPY TO BE A PART OF 08:08.333 --> 08:10.566 THAT. 08:10.566 --> 08:11.733 ♫♫ 08:11.733 --> 08:12.900 >> WHEN WE GET TOURISTS IN HERE, 08:12.900 --> 08:13.733 THEY'RE LIKE "WOW, WE NEVER 08:13.733 --> 08:15.500 WOULD HAVE KNOWN THAT YOU GUYS 08:15.500 --> 08:16.800 GOT STUFF REALLY GOING DOWN 08:16.800 --> 08:18.033 HERE." 08:18.033 --> 08:19.333 ♫♫ 08:19.333 --> 08:20.400 A LOT OF PEOPLE THAT LIVE HERE, 08:20.400 --> 08:22.866 THOUGH, DON'T KNOW YET THAT 08:22.866 --> 08:24.233 THERE'S THIS MUCH FUN STUFF 08:24.233 --> 08:25.333 GOING ON. 08:25.333 --> 08:25.966 >> THIS IS NOTHING AGAINST 08:25.966 --> 08:27.533 MANSFIELD, BUT I ALWAYS SAY AT 08:27.533 --> 08:29.000 8:00 THEY ROLL UP THE SIDEWALKS 08:29.000 --> 08:31.000 SO -- 08:31.000 --> 08:32.300 >> WELL I WOULD HAVE AGREED WITH 08:32.300 --> 08:33.266 THAT STATEMENT A COUPLE OF YEARS 08:33.266 --> 08:35.266 AGO, BUT THERE ARE CROWDS THAT 08:35.266 --> 08:36.600 HANG OUT DOWN HERE UNTIL PRETTY 08:36.600 --> 08:38.166 LATE AT NIGHT. 08:38.166 --> 08:39.733 >> THE FIRST FRIDAY SHOP HOP, 08:39.733 --> 08:40.733 ALL OF THE SHOPS STAY OPEN LATE, 08:40.733 --> 08:41.933 AND A LOT OF US HAVE SOME KIND 08:41.933 --> 08:44.100 OF ENTERTAINMENT. 08:44.100 --> 08:45.366 I OFTEN HAVE AUTHORS COME VISIT. 08:45.366 --> 08:46.866 NEXT DOOR, AT THE ART GALLERY, 08:46.866 --> 08:49.366 SHE HAS ARTISTS COME IN. 08:49.366 --> 08:51.200 IT'S VERY COOL. 08:51.200 --> 08:52.333 EVERYBODY'S GOT A LITTLE 08:52.333 --> 08:59.866 SOMETHING. 08:59.866 --> 09:00.833 >> THIS PLACE BECAME A MORTUARY 09:00.833 --> 09:02.466 IN 1914. 09:02.466 --> 09:03.866 THE REASON THAT THE MORTUARY 09:03.866 --> 09:06.900 SHUTDOWN IN THE '30S WAS BECAUSE 09:06.900 --> 09:08.333 THE SON OF THE OWNER COMMITTED 09:08.333 --> 09:09.933 SUICIDE IN THE PLACE. 09:09.933 --> 09:11.333 I KNEW THERE WAS SOMETHING IN 09:11.333 --> 09:13.933 MYTHOLOGY THAT ROSE UP OUT OF 09:13.933 --> 09:17.733 THE ASHES. 09:17.733 --> 09:20.400 SO IT WAS THE PHOENIX, AND WE 09:20.400 --> 09:23.000 WERE LIKE "OH, THAT'S GOT TO BE 09:23.000 --> 09:24.800 IT." 09:24.800 --> 09:26.066 ♫♫ 09:26.066 --> 09:26.800 BREWING IN MANSFIELD HAD GONE 09:26.800 --> 09:29.033 FOR AWHILE. 09:29.033 --> 09:30.400 WE HAD REALLY TWO BIG BREWERIES 09:30.400 --> 09:31.566 IN TOWN BEFORE PROHIBITION, AND 09:31.566 --> 09:32.333 THEY WERE RIGHT ACROSS THE 09:32.333 --> 09:34.166 STREET FROM HERE. 09:34.166 --> 09:35.866 KIND OF THE RESURRECTION OF 09:35.866 --> 09:37.733 BREWING AND MANSFIELD. 09:37.733 --> 09:39.000 IN FACT, OUR TAG LINE IS 09:39.000 --> 09:40.233 "RESURRECTING TRADITION ONE 09:40.233 --> 09:42.400 BATCH AT TIME." 09:42.400 --> 09:43.633 WE HAVE, BASICALLY, WHAT WE CALL 09:43.633 --> 09:44.866 SIX FLAGSHIP BEERS. 09:44.866 --> 09:45.866 AND I THINK EACH ONE OF THOSE IS 09:45.866 --> 09:48.800 SOLID FOR ITS STYLE. 09:48.800 --> 09:50.300 SOMETIMES IT'S A LITTLE 09:50.300 --> 09:51.700 OVERWHELMING THAT WE WERE ABLE 09:51.700 --> 09:55.066 TO DO THIS. 09:55.066 --> 09:57.000 IT'S HOME. 09:57.000 --> 10:01.833 I DON'T KNOW WHAT ELSE TO SAY. 10:01.833 --> 10:04.800 ♫♫ 10:04.800 --> 10:05.700 >> COME TO THE MANSFIELD 10:05.700 --> 10:06.800 MEMORIAM MUSEUM. 10:06.800 --> 10:09.433 ♫♫ 10:09.433 --> 10:10.466 THE CORNERSTONE WAS LAID 10:10.466 --> 10:13.466 IN 1887. 10:13.466 --> 10:15.200 WE ARE THE FIRST AND LAST 10:15.200 --> 10:18.000 STANDING THAT ACTUALLY STILL HAS 10:18.000 --> 10:19.366 VETERANS THAT MEET IN HERE. 10:19.366 --> 10:20.333 WE'RE THE OLDEST CONTINUOUSLY 10:20.333 --> 10:21.066 USED VETERAN'S HALL. 10:21.066 --> 10:21.700 AND OF COURSE THE MUSEUM ITSELF 10:21.700 --> 10:22.166 IS ONE OF THE OLDEST MUSEUMS IN 10:22.166 --> 10:23.033 OHIO. 10:23.033 --> 10:24.166 MANSFIELD, FOR THE -- IT'S 10:24.166 --> 10:26.100 INCREDIBLE, FOR THE SIZE OF ITS, 10:26.100 --> 10:28.466 FOR THE CITY ITSELF, WHAT IT 10:28.466 --> 10:30.500 CONTRIBUTED AND WHAT IT PRODUCED 10:30.500 --> 10:33.333 IS ABSOLUTELY INCREDIBLE. 10:33.333 --> 10:34.633 WHEN YOU LOOK AT THE SMALLER 10:34.633 --> 10:35.700 MUSEUMS AROUND THE COUNTRY, THEY 10:35.700 --> 10:37.033 ARE THE ONES THAT ARE ACTUALLY 10:37.033 --> 10:38.500 PRESERVING THE BULK OF THE 10:38.500 --> 10:41.133 COMMUNITY'S HISTORY. 10:41.133 --> 10:42.733 AND UNFORTUNATELY MORE AND MORE 10:42.733 --> 10:45.700 ARE GOING TO THE DUST. 10:45.700 --> 10:48.933 WE HAVE ONE GENTLEMEN WHO 10:48.933 --> 10:51.666 ACTUALLY GIVES ME, AND I CANNOT 10:51.666 --> 10:55.833 EXPRESS HOW GRATEFUL I AM, SOME 10:55.833 --> 10:58.200 FUNDS THAT I GET TO KEEP THE GAS 10:58.200 --> 11:03.033 ON. 11:03.033 --> 11:04.333 IN THE LAST EIGHT YEARS OF MY 11:04.333 --> 11:05.133 18, I HAVE NOT HAD A SALARY, BUT 11:05.133 --> 11:06.633 I'M HERE 40 HOURS A WEEK AND I 11:06.633 --> 11:08.000 DO OTHER JOBS TO MAKE SURE THIS 11:08.000 --> 11:10.766 IS MY LIFE. 11:10.766 --> 11:11.366 >> WE'RE KIND OF REDEFINING 11:11.366 --> 11:12.400 SUCCESS. 11:12.400 --> 11:13.666 AND TO US, SUCCESS IS HAVING 11:13.666 --> 11:14.733 THIS WEALTH OF FRIENDS AND ARTS 11:14.733 --> 11:17.533 AND CULTURE AND JUST HAVING A 11:17.533 --> 11:19.366 PLACE THAT MAKES YOU HAPPY AND 11:19.366 --> 11:21.433 THAT YOU CAN AFFORD TO LIVE IN. 11:21.433 --> 11:29.133 ♫♫ 11:29.133 --> 11:30.933 ♫♫ 11:30.933 --> 11:32.166 >> ON FRIDAY NOVEMBER 6TH, 11:32.166 --> 11:33.200 TOM BATIUK, THE CREATOR OF 11:33.200 --> 11:34.733 "FUNKY WINKERBEAN" AND 11:34.733 --> 11:36.066 "CRANKSHAFT", WILL BE AT MAIN 11:36.066 --> 11:37.333 STREET BOOKS IN DOWNTOWN 11:37.333 --> 11:40.400 MANSFIELD AS PART OF THE CITY'S 11:40.400 --> 11:41.333 FIRST FRIDAY SHOP HOP. 11:41.333 --> 11:42.833 AND VISIT MANSFIELDTOURISM.COM 11:42.833 --> 11:44.733 TO FIND OTHER COOL HAPPENINGS IN 11:44.733 --> 11:47.766 THE AREA. 11:47.766 --> 11:51.066 ♫♫ 11:51.066 --> 11:51.766 CHOREOGRAPHERS ARE STORYTELLERS. 11:51.766 --> 11:54.433 THEY INSTRUCT DANCERS TO CONVEY 11:54.433 --> 11:55.833 MEANING THROUGH MOVEMENT. 11:55.833 --> 11:58.733 CRYSTAL MICHELLE OF DAYTON 11:58.733 --> 11:59.833 RECENTLY EXPLORED THE POWER AND 11:59.833 --> 12:01.633 SIGNIFICANCE OF WATER IN A 12:01.633 --> 12:04.833 SITE-SPECIFIC PERFORMANCE SHE 12:04.833 --> 12:08.166 DEVELOPED ALONG THE SCIOTO RIVER 12:08.166 --> 12:11.733 IN DUBLIN EARLIER THIS YEAR. 12:11.733 --> 12:20.866 [ FAINT SINGING ] 12:20.866 --> 12:22.933 ♫♫ 12:22.933 --> 12:23.633 >> THE DECENT OF THIS WATER RAIN 12:23.633 --> 12:24.566 IS ACTUALLY THE DEFINITION OF 12:24.566 --> 12:25.666 RAIN. 12:25.666 --> 12:28.633 SO IF YOU LOOK AT RAIN, THE 12:28.633 --> 12:31.700 DECENT OF WATER, I JUST MADE 12:31.700 --> 12:33.333 SOME CONNECTIONS ABOUT 12:33.333 --> 12:35.166 DESCENDING ON A PLACE. 12:35.166 --> 12:36.200 ABOUT RAIN BEING PURE. 12:36.200 --> 12:37.766 OR BEING A PURIFYING ELEMENT, 12:37.766 --> 12:45.066 RATHER A CLEANSER. 12:45.066 --> 12:46.933 AND THINKING ABOUT EACH 12:46.933 --> 12:51.466 INDIVIDUAL PARTICIPANT, DANCER, 12:51.466 --> 12:55.800 VIEWER, AS DROPLETS OF RAIN. 12:55.800 --> 12:56.966 SO GATHERING INTO ONE BODY OF 12:56.966 --> 12:57.666 WATER. 12:57.666 --> 13:01.833 THE RIVER IN THIS INSTANCE. 13:01.833 --> 13:13.666 ♫♫ 13:13.666 --> 13:14.400 THE RIVER IS THIS THING, RIGHT, 13:14.400 --> 13:16.900 THAT PROVIDES RESOURCE AND 13:16.900 --> 13:19.966 CONNECTION NATURALLY. 13:19.966 --> 13:20.566 RIGHT? 13:20.566 --> 13:22.266 IF YOU LOOK AT OUR WATERSHEDS OR 13:22.266 --> 13:24.900 OUR RIVER, OUR OCEANS EVEN, 13:24.900 --> 13:26.166 LAKES -- THEY WAY THAT THEY 13:26.166 --> 13:27.833 CONNECT. 13:27.833 --> 13:30.600 SORT OF CONNECTING DOTS. 13:30.600 --> 13:31.733 SO BEING INTERESTED IN THE WAY 13:31.733 --> 13:34.733 WE CONNECT AND HOW WE USE IT. 13:34.733 --> 13:46.333 ♫♫ 13:46.333 --> 13:47.300 OHIO IS AN AMAZINGLY DIVERSE 13:47.300 --> 13:50.433 PLACE. 13:50.433 --> 13:51.433 SO NOT JUST FOR AFRICAN-AMERICAN 13:51.433 --> 13:52.600 PEOPLE, OR FOR NATIVE-AMERICAN 13:52.600 --> 13:53.900 POPULATIONS, BUT EVEN FOR WHITE 13:53.900 --> 13:55.300 POPULATIONS ARE NOT WHITE 13:55.300 --> 13:57.366 POPULATIONS, RIGHT. 13:57.366 --> 13:59.533 THEY'RE JUST -- GERMAN 13:59.533 --> 14:01.766 POPULATIONS AND ITALIAN 14:01.766 --> 14:03.266 POPULATIONS. 14:03.266 --> 14:05.500 AND ALL OF US WHO SORT OF FOUND 14:05.500 --> 14:07.200 THIS PLACE, THIS RIVER AREA. 14:07.200 --> 14:10.300 THE SCIOTO RIVER HAS AN 14:10.300 --> 14:11.366 INTERESTING HISTORY WITH THE 14:11.366 --> 14:13.500 UNDERGROUND RAILROAD POPULATION. 14:13.500 --> 14:16.300 SO I THOUGHT, IF I HAD THIS 14:16.300 --> 14:17.766 CONNECTION TO THE WATER AND TO 14:17.766 --> 14:19.866 THE EARTH, HERE IN THIS PLACE, 14:19.866 --> 14:21.566 IF I COULD DRAW THOSE LINES -- 14:21.566 --> 14:22.933 HOW COULD THE DANCERS DRAW THOS 14:22.933 --> 14:28.200 LINES AS WELL. 14:28.200 --> 14:30.000 AND WHAT WOULD IT MEAN TO START 14:30.000 --> 14:31.966 CONNECTING TO A PLACE AS GROUP 14:31.966 --> 14:35.433 OF PEOPLE. 14:35.433 --> 14:45.100 THE MUSIC ABSOLUTELY HELPS TELL 14:45.100 --> 14:47.100 THAT STORY. 14:47.100 --> 14:49.333 SO TO NOT JUST USE THINGS THAT I 14:49.333 --> 14:51.066 CONNECTED WITH, BUT TO USE MUSIC 14:51.066 --> 14:54.100 THAT COMES FROM THIS PLACE. 14:54.100 --> 14:55.533 TO USE BLUEGRASS MUSIC. 14:55.533 --> 14:59.300 TO USE RING-SHOUT MUSIC. 14:59.300 --> 15:00.966 TO USE THE HUMAN VOICE. 15:00.966 --> 15:04.633 OLD SPIRITUALS. 15:04.633 --> 15:06.233 SO THERE'S A PIECE OF MUSIC 15:06.233 --> 15:08.466 CALLED "BIG SCIOTY." 15:08.466 --> 15:10.666 IT'S A BLUEGRASS SONG THAT I USE 15:10.666 --> 15:11.900 TO KIND OF DO LIKE A PADDLE BOAT 15:11.900 --> 15:18.600 THING. 15:18.600 --> 15:19.666 A GROUP OF PEOPLE COMING ACROSS 15:19.666 --> 15:23.166 A SPACE. 15:23.166 --> 15:26.200 AND THEN I ALSO USED A VERY OLD 15:26.200 --> 15:28.566 RING-SHOUT KIND OF THING THAT 15:28.566 --> 15:29.533 FOLLOWS THAT, AND OVERLAID OVER 15:29.533 --> 15:30.233 IT ARE THE DANCERS VOICES 15:30.233 --> 15:31.200 TALKING ABOUT HOW THEY GO TO 15:31.200 --> 15:33.500 THIS PLACE ON THE POWER OF 15:33.500 --> 15:34.100 WATER. 15:34.100 --> 15:35.133 AND CREATED MOVEMENT TO GO IN 15:35.133 --> 15:38.100 THOSE THINGS. 15:38.100 --> 15:39.966 >> I KNOW MY ROOTS. 15:39.966 --> 15:41.633 >> IN ORDER TO DO THE 15:41.633 --> 15:46.266 CHOREOGRAPHY, YOU ALMOST HAVE TO 15:46.266 --> 15:49.266 LEAN BACK INTO THE HILL. 15:49.266 --> 15:51.633 IT'S SO -- I MEAN JUST WALKING 15:51.633 --> 15:52.866 UP AND DOWN IT IS PHYSICAL, 15:52.866 --> 15:56.666 RIGHT? 15:56.666 --> 15:57.700 AND SO WE WOULD HAVE THESE DAILY 15:57.700 --> 15:59.100 CONVERSATIONS DURING THE 15:59.100 --> 16:01.000 REHEARSAL THE WEEK LEADING UP TO 16:01.000 --> 16:01.800 IT -- THAT THAT'S WHAT MIGRATION 16:01.800 --> 16:05.800 FELT LIKE. 16:05.800 --> 16:06.633 YOU KNOW THEY LOVED THEIR THINGS 16:06.633 --> 16:09.900 ON THEIR BACK. 16:09.900 --> 16:10.666 THEY CLIMBED THESE HILLS. 16:10.666 --> 16:12.100 THEY WENT THROUGH THIS TERRAIN. 16:12.100 --> 16:13.300 AND I THINK THROUGH THE DANCE WE 16:13.300 --> 16:15.033 REALLY DID EXPERIENCE THAT. 16:15.033 --> 16:16.266 THERE WAS NO IGNORING THAT IT 16:16.266 --> 16:21.233 WAS A NATURAL SPACE. 16:21.233 --> 16:22.400 THE CHOREOGRAPHY STARTED TO 16:22.400 --> 16:23.733 ADJUST A LITTLE DAY BY DAY. 16:23.733 --> 16:24.933 THAT RUNNING UP THE HILL BECAME 16:24.933 --> 16:26.133 CRAWLING UP THE HILL. 16:26.133 --> 16:27.900 OR WALKING DOWN A HILL STRAIGHT 16:27.900 --> 16:29.966 BECAME SORT OF A SIDEWAYS JOG. 16:29.966 --> 16:31.166 EVERYTHING JUST GOT EXTREMELY 16:31.166 --> 16:32.666 PHYSICAL IN REACTION TO THE 16:32.666 --> 16:35.100 SPACE. 16:35.100 --> 16:36.566 BUT WHEN YOU'RE DOING 16:36.566 --> 16:39.733 SITE-SPECIFIC WORK YOU ALLOW 16:39.733 --> 16:43.500 THAT. 16:43.500 --> 16:44.700 ♫♫ 16:44.700 --> 16:45.866 ♫ SEEMED TO VANISH LIKE THE 16:45.866 --> 16:51.733 GAMBLER'S LUCKY STREAK ♫ 16:51.733 --> 16:53.033 ♫ WHEN WE'RE OUT TOGETHER 16:53.033 --> 16:58.633 DANCING CHEEK TO CHEEK ♫ 16:58.633 --> 17:10.633 ♫♫ 17:10.633 --> 17:11.466 >> STEVEN WALKER, A VIRGINIA 17:11.466 --> 17:12.333 NATIVE WHO NOW LIVES IN OHIO, 17:12.333 --> 17:14.300 SAYS THE BEST TIMES OF HIS LIFE 17:14.300 --> 17:16.833 WERE THE CHILDHOOD ROAD TRIPS HE 17:16.833 --> 17:17.800 TOOK WITH HIS FAMILY THROUGH THE 17:17.800 --> 17:18.733 COUNTRYSIDE, AND HIS LANDSCAPE 17:18.733 --> 17:19.666 PAINTINGS ARE REMINISCENT OF 17:19.666 --> 17:22.133 THESE TIMES. 17:22.133 --> 17:34.000 ♫♫ 17:34.000 --> 17:34.766 >> I DON'T KNOW HOW MANY YEARS 17:34.766 --> 17:36.000 AGO, BUT A FRIEND ASKED ME THIS 17:36.000 --> 17:36.833 WEIRD QUESTION. 17:36.833 --> 17:39.133 HE JUST SAID WHAT MAKES YOU 17:39.133 --> 17:40.833 HAPPY? 17:40.833 --> 17:41.933 AND IT THREW ME OFF BECAUSE I 17:41.933 --> 17:42.833 HADN'T GIVEN IT A SECOND 17:42.833 --> 17:44.033 THOUGHT. 17:44.033 --> 17:45.866 WHAT -- WHAT MAKES ME -- HUH? 17:45.866 --> 17:48.700 OH. 17:48.700 --> 17:49.766 AND SO I STARTED THINKING ABOUT 17:49.766 --> 17:51.633 IT, REALLY GAVE IT A LOT OF 17:51.633 --> 17:53.766 THOUGHT, AND I STARTED THINKING 17:53.766 --> 17:57.433 ABOUT THE BEST TIMES OF MY LIFE 17:57.433 --> 18:00.133 WERE ROAD TRIPS WHERE I'M JUST 18:00.133 --> 18:05.266 STARING OUT OF THE BACK SEAT AT 18:05.266 --> 18:06.066 RURAL COUNTRY. 18:06.066 --> 18:07.066 SEEING COWS PASS BY, FARMHOUSES. 18:07.066 --> 18:08.033 CAMPING IN BOY SCOUTS, TRAILS, 18:08.033 --> 18:11.900 JUST GETTING LOST SOMETIMES. 18:11.900 --> 18:14.433 THOSE REALLY TOOK ME TO A GOOD 18:14.433 --> 18:15.266 PLACE, AND IT ALWAYS HELPS TO 18:15.266 --> 18:20.133 KNOW YOUR SUBJECT. 18:20.133 --> 18:24.533 SO, I LOOK FOR A LOT OF CONTRAST 18:24.533 --> 18:26.766 AND A LOT OF TIMES I WON'T GO 18:26.766 --> 18:27.966 OUT SAY IN THE MIDDLE OF THE DAY 18:27.966 --> 18:29.633 BECAUSE EVERYTHING'S JUST WASHED 18:29.633 --> 18:30.900 OUT. 18:30.900 --> 18:32.266 TOWARDS THE END OF THE DAY, 18:32.266 --> 18:34.133 SUNSET, YOU GET THAT REALLY 18:34.133 --> 18:35.933 STRONG LIGHT. 18:35.933 --> 18:41.033 THAT GIVES US AT TIMES ORANGE 18:41.033 --> 18:42.600 GLOW ACROSS THE WHOLE LANDSCAPE 18:42.600 --> 18:44.400 AND THAT REALLY SPEAKS TO ME. 18:44.400 --> 18:47.300 AND TRYING TO KEEP IT NATURAL 18:47.300 --> 18:49.266 EVEN IF IT'S NOT YOUR TYPICAL 18:49.266 --> 18:51.833 BEAUTY. 18:51.833 --> 18:52.833 YOU KNOW, I'VE PAINTED THINGS 18:52.833 --> 18:53.533 WHERE THE TREES THAT ARE IN AN 18:53.533 --> 18:57.233 ALLEY WAY. 18:57.233 --> 18:58.066 AND YOU KNOW, WHO WOULD THINK TO 18:58.066 --> 19:00.133 EVEN DO THAT? 19:00.133 --> 19:02.166 BUT, IF THE LIGHTING'S HITTING 19:02.166 --> 19:03.566 EVERYTHING RIGHT, ANYTHING CAN 19:03.566 --> 19:07.500 BE BEAUTIFUL. 19:07.500 --> 19:11.333 ♫♫ 19:11.333 --> 19:12.033 YOU CAN'T WAIT FOR INSPIRATION 19:12.033 --> 19:13.266 TO COME, YOU GOT TO GO OUT AND 19:13.266 --> 19:14.300 GET IT. 19:14.300 --> 19:15.600 IF I WAITED FOR INSPIRATION, I 19:15.600 --> 19:17.633 COULDN'T -- I WOULDN'T HAVE MANY 19:17.633 --> 19:20.700 SHOWS. 19:20.700 --> 19:22.400 SO, THAT'S BEEN ONE KEY THING OR 19:22.400 --> 19:24.100 FEW KEY THINGS THAT REALLY 19:24.100 --> 19:25.633 HELPED ME WHEN STUDYING 19:25.633 --> 19:29.500 ILLUSTRATION. 19:29.500 --> 19:31.033 THEN THE KICKER WAS JUST FINDING 19:31.033 --> 19:34.633 MY OWN VOICE FOR FINE ART. 19:34.633 --> 19:42.533 ♫♫ 19:42.533 --> 19:47.400 SO MANY PEOPLE WANT TO JUST GET 19:47.400 --> 19:54.000 IT RIGHT FROM THE JUMP AND THEY 19:54.000 --> 19:54.566 DON'T WANT TO -- THEY DON'T WANT 19:54.566 --> 19:55.900 TO FAIL. 19:55.900 --> 19:56.900 THEY DON'T WANT TO SHOW ANYTHING 19:56.900 --> 19:57.966 THAT'S NOT MUSEUM WORTHY. 19:57.966 --> 19:58.766 YOU HAVE TO HAVE PATIENCE "WELL, 19:58.766 --> 20:00.000 OKAY I'M GOING TO DO THIS, IT'S 20:00.000 --> 20:00.866 NOT GONNA BE GREAT, BUT I'M 20:00.866 --> 20:02.233 GONNA LEARN FROM IT AND APPLY IT 20:02.233 --> 20:05.600 TO THE NEXT PIECE." 20:05.600 --> 20:06.433 AND, YOU KNOW, AS LONG AS YOU'RE 20:06.433 --> 20:07.700 STILL WORKING THE CRAFT AND 20:07.700 --> 20:08.566 HAVING THE PATIENCE TO KNOW THAT 20:08.566 --> 20:11.533 IT'S GONNA GET BETTER, YOU'LL BE 20:11.533 --> 20:15.166 JUST FINE. 20:15.166 --> 20:16.000 AND SOMETIMES, DOING A LITTLE 20:16.000 --> 20:17.266 BIT OF PAINTING SAYING "OKAY, I 20:17.266 --> 20:19.400 GOT TO WAIT. 20:19.400 --> 20:20.466 I GOT TO LOOK AT THIS FOR AWHILE 20:20.466 --> 20:22.766 TO SEE IF IT'S REALLY WORKING 20:22.766 --> 20:24.566 THE WAY I WANT IT TO." 20:24.566 --> 20:25.133 AS OPPOSED AS GIVING YOURSELF, 20:25.133 --> 20:26.533 "OKAY, WELL I GOT TO GET THIS 20:26.533 --> 20:27.933 FINISHED IN THIS AMOUNT OF 20:27.933 --> 20:31.033 TIME." 20:31.033 --> 20:33.400 IF IT DOESN'T, THEN IT DOESN'T. 20:33.400 --> 20:49.366 ♫♫ 20:49.366 --> 20:49.933 >> IF YOU'RE A "TWIN PEAKS" FAN, 20:49.933 --> 20:51.400 YOU'LL LOVE THIS SEGMENT. 20:51.400 --> 20:52.300 THE CRITICALLY ACCLAIMED 20:52.300 --> 20:53.500 1990S TV SERIES WILL RETURN TO 20:53.500 --> 20:55.066 SHOWTIME NEXT YEAR WITH ORIGINAL 20:55.066 --> 20:59.000 CREATOR AND DIRECTOR DAVID LYNCH 20:59.000 --> 20:59.833 AT THE HELM. 20:59.833 --> 21:00.766 BUT LONG BEFORE LYNCH BROUGHT US 21:00.766 --> 21:02.133 "TWIN PEAKS", "BLUE VELVET" AND 21:02.133 --> 21:03.400 "ERASERHEAD", HE WAS A STUDENT 21:03.400 --> 21:04.366 AT THE PENNSYLVANIA ACADEMY OF 21:04.366 --> 21:05.933 FINE ARTS WHERE HE DREAMED OF 21:05.933 --> 21:08.400 BECOMING A PAINTER. 21:08.400 --> 21:09.333 THE PAFA MUSEUM RECENTLY 21:09.333 --> 21:11.833 PRESENTED THE FIRST MAJOR U.S. 21:11.833 --> 21:13.133 EXHIBITION OF LYNCH'S WORK THAT 21:13.133 --> 21:14.900 UNITES ALL ASPECTS OF HIS 21:14.900 --> 21:17.966 CREATIVE LIFE, INCLUDING ONE OF 21:17.966 --> 21:25.100 THE FIRST FILMS HE EVER MADE. 21:25.100 --> 21:25.933 >> THE TRACES OF PHILADELPHIA IN 21:25.933 --> 21:27.133 HIS WORK ARE, YOU CAN'T UNWIND 21:27.133 --> 21:31.700 OR PULL ANYTHING APART WITHOUT 21:31.700 --> 21:36.900 PHILADELPHIA POKING UP. 21:36.900 --> 21:37.566 >> I HAVEN'T SEEN SOME OF THESE 21:37.566 --> 21:40.533 PAINTINGS THAT ARE IN THE SHOW 21:40.533 --> 21:44.100 SINCE THE 60S. 21:44.100 --> 21:44.933 WHEN I WENT AROUND LOOKING AT 21:44.933 --> 21:46.800 THE SHOW, I GOT MORE, I GOT 21:46.800 --> 21:50.800 IDEAS. 21:50.800 --> 21:53.433 SO, I THINK THAT IT'S GOOD TO 21:53.433 --> 21:55.766 LOOK BACK SOMETIMES. 21:55.766 --> 22:09.166 ♫♫ 22:09.166 --> 22:17.533 I ALWAYS SAY THAT PHILADELPHIA, 22:17.533 --> 22:18.666 PENNSYLVANIA IS MY BIGGEST 22:18.666 --> 22:21.366 INFLUENCE. THERE'S SOMETHING 22:21.366 --> 22:25.033 ABOUT THE MOOD HERE. 22:25.033 --> 22:26.966 THERE WAS DARK CARVED WOOD 22:26.966 --> 22:30.300 BANISTERS AND STAIRWAYS. 22:30.300 --> 22:31.366 THERE WAS A CERTAIN TYPE OF 22:31.366 --> 22:33.400 GREEN THAT THEY'D PAINT THE 22:33.400 --> 22:34.233 ROOMS, EITHER WHITE OR THIS 22:34.233 --> 22:37.300 STRANGE GREEN. 22:37.300 --> 22:41.066 THE ROOMS HAD NICE PROPORTIONS, 22:41.066 --> 22:42.133 SO THERE WAS A CERTAIN KIND OF 22:42.133 --> 22:44.966 PURITY. 22:44.966 --> 22:45.666 IT HADN'T BEEN DISTURBED EXCEPT 22:45.666 --> 22:46.566 BY THE SOOT. 22:46.566 --> 22:47.633 IT WASN'T ANY ONE PARTICULAR 22:47.633 --> 22:49.033 THING OR SCENE THAT YOU WITNESS 22:49.033 --> 22:50.266 HERE. 22:50.266 --> 22:51.666 IT'S THE MOOD AND WHAT SOME OF 22:51.666 --> 22:53.466 THE IMAGES DID ONCE THEY GOT 22:53.466 --> 22:55.166 DOWN INSIDE OF YOU. 22:55.166 --> 22:56.733 YEAH, PHILADELPHIA IS A 22:56.733 --> 23:01.366 PERCOLATING IN ME. 23:01.366 --> 23:04.666 >> THE UNIFIED FIELD IS THE 23:04.666 --> 23:07.266 FIRST MUSEUM EXHIBITION OF 23:07.266 --> 23:08.433 DAVID LYNCH'S PAINTINGS AND 23:08.433 --> 23:10.133 DRAWINGS EVER. 23:10.133 --> 23:12.566 IT IS THE LARGEST SURVEY THAT 23:12.566 --> 23:16.333 EVER BEEN ON VIEW IN AN AMERICAN 23:16.333 --> 23:18.666 MUSEUM AND IT'S THE FIRST. 23:18.666 --> 23:22.466 >> BACK IN 1965 AND I -- 23:22.466 --> 23:23.633 >> HE IS ALSO AN INTERNATIONALLY 23:23.633 --> 23:26.600 KNOWN FILM DIRECTOR AND WRITER. 23:26.600 --> 23:28.033 HE HAS BEEN NOMINATED FOR 23:28.033 --> 23:31.933 ACADEMY AWARDS. 23:31.933 --> 23:32.900 PRETTY MUCH A CELEBRITY. 23:32.900 --> 23:34.466 HE'S KNOWN THROUGHOUT THE ENTIRE 23:34.466 --> 23:37.200 WORLD AS A FILM DIRECTOR, BUT 23:37.200 --> 23:38.200 DAVID LYNCH IS AT HEART A 23:38.200 --> 23:40.333 PAINTER. 23:40.333 --> 23:40.966 >> I ONLY WANTED TO BE A 23:40.966 --> 23:41.566 PAINTER. 23:41.566 --> 23:44.700 I GOT INTO FILM BY ACCIDENT IN 23:44.700 --> 23:45.766 THIS VERY BUILDING IN ONE OF THE 23:45.766 --> 23:50.100 STUDIOS RIGHT OVER HERE. 23:50.100 --> 23:51.133 THE FIRST FILM I EVER MADE IS 23:51.133 --> 23:52.233 NOW BEING SHOWN HERE AS IT WAS 23:52.233 --> 23:56.200 WHEN I MADE IT. 23:56.200 --> 23:57.966 AND IT WAS PROJECTED IN THIS 23:57.966 --> 23:59.233 ROOM JUST TO THE RIGHT OF WHERE 23:59.233 --> 24:01.800 YOU ARE SITTING ON A 16 MM 24:01.800 --> 24:03.400 PROJECTOR AND I HAD A TAPE 24:03.400 --> 24:06.266 RECORDER WITH A LOOP OF SIRENS 24:06.266 --> 24:07.500 AND IT WAS PLAYED RIGHT HERE. 24:07.500 --> 24:14.900 [ SIREN ] 24:14.900 --> 24:22.366 >> ONE OF THE THINGS I'M MOST 24:22.366 --> 24:23.866 PROUD OF ABOUT THIS EXHIBITION 24:23.866 --> 24:25.566 IS THAT WE ARE PRESENTING "SIX 24:25.566 --> 24:28.166 MEN GETTING SICK" WHICH LYNCH 24:28.166 --> 24:29.666 DID IN 1967 FOR THE FIRST TIME 24:29.666 --> 24:33.166 SINCE 1967. 24:33.166 --> 24:35.666 WHERE DAVID LYNCH BEGINS TO ME 24:35.666 --> 24:39.866 AS SOMEBODY WHO IS MAKING WORK 24:39.866 --> 24:40.933 THAT IS UNIQUELY HIS OWN IS WITH 24:40.933 --> 24:45.133 "SIX MEN GETTING SICK." 24:45.133 --> 24:46.000 IT'S THAT PIECE THAT HE MADE AS 24:46.000 --> 24:47.400 HIS ENTRY INTO THE SECOND ANNUAL 24:47.400 --> 24:48.600 EXPERIMENTAL PAINTING AND 24:48.600 --> 24:49.966 SCULPTURE COMPETITION THAT WAS 24:49.966 --> 24:52.033 HELD AT PAFA. 24:52.033 --> 24:53.166 LYNCH WHO IS AN ADVANCED 24:53.166 --> 24:54.866 PAINTING STUDENT AT PAFA DIDN'T 24:54.866 --> 24:58.200 PRODUCE A PAINTING, BUT BASED ON 24:58.200 --> 25:01.533 AN EXPERIENCE HE HAD IN THE 25:01.533 --> 25:02.933 STUDIO ONE NIGHT HE'S PAINTING 25:02.933 --> 25:04.066 AN IMAGE OF GREEN GARDEN PLANTS 25:04.066 --> 25:05.800 AT NIGHT. 25:05.800 --> 25:07.100 IT WAS A NOCTURNAL SCENE. 25:07.100 --> 25:09.400 HE PAUSED AND THEN FROM THE 25:09.400 --> 25:11.133 PAINTING CAME A WIND THAT HE 25:11.133 --> 25:12.633 HEARD AND HE FELT. 25:12.633 --> 25:13.733 AND THEN HE SAW THE PLANTS START 25:13.733 --> 25:14.766 TO MOVE ON THE CANVAS, AND THEN 25:14.766 --> 25:16.233 HE THOUGHT, "OH! 25:16.233 --> 25:17.233 A MOVING PAINTING." 25:17.233 --> 25:18.800 AND HE STRESSES HE WASN'T ON 25:18.800 --> 25:20.266 DRUGS. 25:20.266 --> 25:21.466 YOU KNOW, THIS WAS THE 60S AND 25:21.466 --> 25:23.100 EVERYONE WANTS TO KNOW WAS 25:23.100 --> 25:24.566 DAVID LYNCH TAKING DRUGS, BUT 25:24.566 --> 25:26.866 ALL OF HIS FRIENDS AND HE SORT 25:26.866 --> 25:29.066 OF ASSERTS THAT HE WAS PRETTY 25:29.066 --> 25:30.933 MUCH STRAIGHT AS AN ARROW. 25:30.933 --> 25:33.733 NOT HAVING HAD ANY FILM TRAINING 25:33.733 --> 25:35.633 WHATSOEVER. 25:35.633 --> 25:44.233 THERE WAS NO FILM PROGRAM AT 25:44.233 --> 25:45.000 PAFA. 25:45.000 --> 25:45.366 THERE WASN'T EVEN A PHOTOGRAPHY 25:45.366 --> 25:45.633 CURRICULUM AT PAFA. 25:45.633 --> 25:45.900 HE AND HIS FRIEND 25:45.900 --> 25:46.266 BRUCE SAMUELSON -- WHO TEACHES 25:46.266 --> 25:46.633 HERE NOW, HAS BEEN TEACHING HERE 25:46.633 --> 25:47.000 SINCE THE EARLY 70S -- WAS A 25:47.000 --> 25:47.500 CLASSMATE OF LYNCH'S, TALKED 25:47.500 --> 25:48.300 ABOUT GETTING CAMERAS TOGETHER 25:48.300 --> 25:48.800 AND STARTING SOME KIND OF FILM 25:48.800 --> 25:50.033 EXPERIMENTS. 25:50.033 --> 25:50.733 WELL, LYNCH WENT AND BOUGHT A 25:50.733 --> 25:52.166 CAMERA. 25:52.166 --> 25:53.466 A WIND UP CAMERA. 25:53.466 --> 25:56.933 AND HE STARTED TO DO BASICALLY 25:56.933 --> 25:58.266 STOP MOTION ANIMATION OF A 25:58.266 --> 26:00.633 PAINTING HE WAS MAKING. 26:00.633 --> 26:05.966 "SIX MEN GETTING SICK" ISN'T THE 26:05.966 --> 26:06.400 MOMENT WHERE THERE IS A 26:06.400 --> 26:06.966 CROSSROADS AND DAVID LYNCH PICKS 26:06.966 --> 26:07.900 FILM OVER PAINTING OR DRAWING. 26:07.900 --> 26:09.500 IT IS THE FIRST MANIFESTATION OF 26:09.500 --> 26:11.866 WHAT WINDS UP BEING TOTAL, TOTAL 26:11.866 --> 26:15.033 SENSORY IMMERSION. 26:15.033 --> 26:15.800 WHEN YOU LOOK AT THE RESULT IS 26:15.800 --> 26:17.966 OF "SIX MEN GETTING SICK," IT IS 26:17.966 --> 26:19.400 A FILMED ANIMATION THAT GOES ON 26:19.400 --> 26:21.633 FOR 60 SECONDS, AND IT IS LOOPED 26:21.633 --> 26:24.366 AIMED AT A SCULPTED SCREEN THAT 26:24.366 --> 26:30.733 IS SIX BY EIGHT FEET. 26:30.733 --> 26:31.366 AND THE ANIMATION IS BASICALLY A 26:31.366 --> 26:32.700 PAINTING THAT HE IS MAKING, THAT 26:32.700 --> 26:34.166 HE GRADUALLY ADDS TO, SHOOTS TWO 26:34.166 --> 26:36.233 FRAMES, ADDS TO IT, SHOOTS TWO 26:36.233 --> 26:38.133 FRAMES, AND CONTINUES TO DO 26:38.133 --> 26:39.733 THAT. 26:39.733 --> 26:41.866 AND SO, HE IS NOT MAKING A 26:41.866 --> 26:42.766 LITTLE ANIMATED CELLS OR 26:42.766 --> 26:44.033 APPROACHING FILM IN THE WAY A 26:44.033 --> 26:53.200 FILMMAKER WOULD. 26:53.200 --> 26:53.933 LYNCH IS APPROACHING FILM IN THE 26:53.933 --> 26:55.233 WAY HE KNOWS HOW TO DO ANY KIND 26:55.233 --> 26:56.433 OF STUDIO WORK AND COME UP WITH 26:56.433 --> 27:00.833 A SOLUTION. 27:00.833 --> 27:02.200 HE IS ACTUALLY MAKING A PAINTING 27:02.200 --> 27:03.433 AND FILMING IT AS IT IS 27:03.433 --> 27:03.800 TRANSFORMING THROUGH HIS GRADUAL 27:03.800 --> 27:04.733 ADDITIVE PROCESS. 27:04.733 --> 27:05.200 >> I'VE BEEN PAINTING EVER 27:05.200 --> 27:06.466 SINCE. 27:06.466 --> 27:07.833 AND I GET SOMETHING FROM 27:07.833 --> 27:08.600 PAINTING THAT I DON'T GET FROM 27:08.600 --> 27:10.633 ANY OTHER MEDIUM FOR SURE. 27:10.633 --> 27:15.066 ♫♫ 27:15.066 --> 27:15.766 >> IF YOU DON'T KNOW WHAT IT IS, 27:15.766 --> 27:21.200 A SORE CAN BE VERY BEAUTIFUL. 27:21.200 --> 27:22.200 A SORE IN THE SKIN, AN 27:22.200 --> 27:27.300 INFECTION, A DEEP CUT WITH PUSS. 27:27.300 --> 27:29.066 BUT IF YOU TOOK A PICTURE OF IT, 27:29.066 --> 27:30.233 A CLOSE UP AND YOU DIDN'T KNOW 27:30.233 --> 27:32.633 EXACTLY WHAT IT WAS, IT COULD BE 27:32.633 --> 27:34.566 A GREAT BEAUTY OF ORGANIC 27:34.566 --> 27:39.200 PHENOMENON. 27:39.200 --> 27:39.833 >> HE'S CONSTANTLY TRYING TO 27:39.833 --> 27:40.733 THINK UP NEW WAYS OF REALIZING 27:40.733 --> 27:43.666 THAT IDEA, AND IT IS A VISION OF 27:43.666 --> 27:46.633 TOTAL SENSORY IMMERSION RATHER 27:46.633 --> 27:48.633 THAN, "I'M CHOOSING FILM OVER 27:48.633 --> 27:50.166 PAINTING." 27:50.166 --> 27:51.533 IT'S ALTOGETHER. 27:51.533 --> 27:52.300 >> I ONLY WANTED TO BE A 27:52.300 --> 27:53.966 PAINTER. 27:53.966 --> 27:56.333 PAINTING LED TO WANTING TO DO A 27:56.333 --> 27:59.866 MOVING PAINTING WITH SOUND. 27:59.866 --> 28:01.866 SO, CINEMA TO ME IS SOUND AND 28:01.866 --> 28:03.833 PICTURE MOVING TOGETHER IN TIME. 28:03.833 --> 28:05.166 AND FOR ME, IT WAS BORN OUT OF 28:05.166 --> 28:13.500 PAINTING. 28:13.500 --> 28:14.366 >> ERASERHEAD IS ALSO THIS 28:14.366 --> 28:15.800 INTUITIVE PROCESS -- 28:15.800 --> 28:17.000 THAT HE IS MAKING A FILM IN A 28:17.000 --> 28:19.466 MANNER THAT TAKES FOUR YEARS 28:19.466 --> 28:21.633 PARTLY BECAUSE OF FUNDING, BUT 28:21.633 --> 28:22.433 ALSO THE NATURE OF THE WAY HE IS 28:22.433 --> 28:25.766 CONSTRUCTING THE WORLD. 28:25.766 --> 28:27.366 CONSTRUCTED AND ADDED TO IN THE 28:27.366 --> 28:28.900 WAY THAT SOMEBODY WORKING IN A 28:28.900 --> 28:32.366 STUDIO DOING SOMETHING, PUTTING 28:32.366 --> 28:35.366 SOMETHING IN JUXTAPOSITION, 28:35.366 --> 28:37.500 ADDING SOMETHING TO IT, WOULD DO 28:37.500 --> 28:38.566 A FILM RATHER THAN SOMEBODY WHO 28:38.566 --> 28:40.566 IS SHOOTING A NARRATIVE THAT HAS 28:40.566 --> 28:42.733 A LINEAR SORT OF TRAJECTORY. 28:42.733 --> 28:47.333 ♫♫ 28:47.333 --> 28:48.000 HE WANTS TO CONSTANTLY REMIND 28:48.000 --> 28:50.500 PEOPLE THAT IT'S A MUSE. 28:50.500 --> 28:52.133 PHILADELPHIA HAS BEEN HIS MUSE, 28:52.133 --> 28:55.866 BASICALLY. 28:55.866 --> 29:01.833 ♫♫ 29:01.833 --> 29:02.866 >> THAT'S OUR SHOW. 29:02.866 --> 29:04.766 TO SEE ALL OF TODAY'S STORIES, 29:04.766 --> 29:05.900 VISIT WOSU.ORG. 29:05.900 --> 29:06.900 WE CAN ALSO FIND US ON FACEBOOK 29:06.900 --> 29:08.466 AND TWITTER. 29:08.466 --> 29:09.600 AND TRY OUT THE WOSU PUBLIC 29:09.600 --> 29:11.766 MEDIA MOBILE APP, WHERE YOU CAN 29:11.766 --> 29:12.866 WATCH OUR SEGMENTS ON YOUR 29:12.866 --> 29:14.333 SMARTPHONE OR TABLET. 29:14.333 --> 29:15.700 TODAY WE'RE TAKING YOU OUT WITH 29:15.700 --> 29:18.166 THE SOUNDS OF COMRADE QUESTION, 29:18.166 --> 29:19.300 A PSYCHEDELIC GARAGE BAND OUT OF 29:19.300 --> 29:21.100 COLUMBUS AND A TRACK OFF THEIR 29:21.100 --> 29:24.400 2014 ALBUM "PEPE POLO." 29:24.400 --> 29:25.433 THANKS FOR WATCHING. 29:25.433 --> 29:26.100 WE'LL SEE YOU NEXT WEEK ON 29:26.100 --> 29:28.366 "BROAD & HIGH." 29:28.366 --> 29:30.966 ♫ WHEN YOU'RE NOT LOOKIN THAT'S 29:30.966 --> 29:34.466 WHEN IT COMES ♫ 29:34.466 --> 29:37.666 ♫ THAT'S WHEN IT COMES IT'S 29:37.666 --> 29:41.233 COMIN TO GET YA ♫ 29:41.233 --> 29:43.066 ♫ THOUGHT LIVIN WAS EASY DON'T 29:43.066 --> 29:48.433 WORK TOO HARD ♫ 29:48.433 --> 29:51.433 ♫ PLAY YOUR BEST CARD ♫ 29:51.433 --> 29:53.066 >> ANNOUNCER: PRODUCTION OF 29:53.066 --> 29:53.800 "BROAD & HIGH" IS FUNDED IN PART 29:53.800 --> 29:58.166 BY THE GREATER COLUMBUS ARTS 29:58.166 --> 29:59.266 COUNCIL, SUPPORTING ARTS, 29:59.266 --> 30:00.033 ADVANCING CULTURE AND CONNECTING 30:00.033 --> 30:00.966 THE COMMUNITY TO ARTISTS EVENTS 30:00.966 --> 30:02.733 AND CLASSES AT 30:02.733 --> 30:03.966 COLUMBUSMAKESART.COM. 30:03.966 --> 30:05.566 AND BY THE OHIO ARTS COUNCIL, A 30:05.566 --> 30:06.833 STATE AGENCY THAT FUNDS AND 30:06.833 --> 30:08.666 SUPPORTS QUALITY ARTS 30:08.666 --> 30:12.666 EXPERIENCES.