WEBVTT 00:18.786 --> 00:22.889 300 YEARS OF ART IN SAN ANTONIO. >> SOME OF THE ARTISTS HAVE 00:22.891 --> 00:26.726 REALLY STEPPED OUTSIDE OF THEIR COMFORT ZONE AND TRIED NEW 00:26.728 --> 00:34.701 MEDIUMS. THE ART OF THE MAGICIAN. 00:34.703 --> 00:36.336 >> WHEN YOU COMPOSE THE MAGIC SHOW, YOU NEED TO PRACTICE AND 00:36.338 --> 00:40.673 PRACTICE AND PRACTICE. 00:40.675 --> 01:24.884 >> HI, I'M APRIL ANCIRA, AND WELCOME TO TONIGHT'S EDITION OF 01:24.886 --> 01:27.520 "ARTS." IF YOU HAD TO INTERPRET A SINGLE 01:27.522 --> 01:33.493 YEAR IN SAN ANTONIO'S 300-YEAR HISTORY ARTISTICALLY, WHAT WOULD 01:33.495 --> 01:36.329 YOU CREATE? THAT'S THE QUESTION 300 ARTISTS 01:36.331 --> 01:38.264 ACROSS THE CITY HAVE BEEN PONDERING. 01:38.266 --> 01:46.639 LET'S CHECK OUT WHAT THEY'VE BEEN CREATING. 01:46.641 --> 01:49.742 >> I THINK WHAT EXCITES ME THE MOST IS THE COLLABORATION. 01:49.744 --> 01:55.415 THE IDEA AND THE ABILITY FOR SIX ORGANIZATIONS TO COLLABORATE ON 01:55.417 --> 01:58.351 ONE SHOW. >> A FIVE-MONTH SHOW CALLING FOR 01:58.353 --> 02:03.590 300 ARTISTS TO COVER EACH YEAR OF THE TRICENTENNIAL. 02:03.592 --> 02:07.660 ART THAT SIGNIFIES EVENTS AND CULTURE FROM 1718 THROUGH THE 02:07.662 --> 02:09.462 PRESENT DAY. >> WE HAVE FOR MONTHS BEEN 02:09.464 --> 02:12.165 PULLING TOGETHER TO MAKE THIS HAPPEN, GOING THROUGH TRIALS AND 02:12.167 --> 02:17.003 TRIBULATIONS WITH FUNDING AND SO FORTH AND WHERE ARE WE GOING TO 02:17.005 --> 02:21.174 GET 300 ARTISTS? >> TURNS OUT EACH OF THE SIX ART 02:21.176 --> 02:24.544 PARTNERS REACHED OUT TO TWO LOCAL ARTISTS. 02:24.546 --> 02:27.881 THOSE 12 INVITED TWO PEER ARTISTS. 02:27.883 --> 02:32.385 AND SOON THERE WERE 300 PAINTERS, SKECHERS, VISUAL 02:32.387 --> 02:35.421 ARTISTS, AND PHOTOGRAPHERS TO RESEARCH THEIR INDIVIDUAL YEAR 02:35.423 --> 02:37.457 AND CREATE A REPRESENTATIVE PIECE. 02:37.459 --> 02:39.659 >> ALL 300 ARTISTS ARE VERY DIFFERENT. 02:39.661 --> 02:43.630 ALL OF THE PIECES ARE VERY UNIQUE. 02:43.632 --> 02:49.836 SOME OF THE ARTISTS HAVE REALLY STEPPED OUTSIDE OF THEIR COMFORT 02:49.838 --> 02:59.846 ZONE AND TRIED NEW MEDIUMS. SO IT'S JUST REALLY EXCITING. 02:59.848 --> 03:07.754 >> AMALIA, PERFORMANCE ARTIST, WAS INVITED AS ONE OF THE 03:07.756 --> 03:09.856 ORIGINAL 300 BUT SAYS. >> I TURNED IT DOWN BECAUSE I 03:09.858 --> 03:13.226 WAS AFRAID. I DON'T KNOW, IF I GET THIS 03:13.228 --> 03:15.128 RANDOM YEAR, HOW I'M GOING TO RESEARCH THE ASSIGNMENT. 03:15.130 --> 03:18.831 IT'S DAUNTING. WHEN I WAS INVITED TO BECOME THE 03:18.833 --> 03:22.168 PERFORMANCE ARTIST IN RESIDENCE TO ART PACE AND ASKED TO RESPOND 03:22.170 --> 03:24.671 TO THE ENTIRE EXHIBIT, I FELT LIKE IT WAS THE UNIVERSE 03:24.673 --> 03:26.639 BRINGING ME BACK TO SOMETHING THAT I WAS AFRAID OF. 03:26.641 --> 03:30.210 IT'S BEEN HUMBLING. IT'S BEEN A TON OF RESEARCH. 03:30.212 --> 03:35.882 BUT IT'S BEEN A GREAT EXPERIENCE. 03:35.884 --> 03:41.754 >> THEY GAVE TWO PERFORMANCES BASED ON CEREMONIES AND RITUALS 03:41.756 --> 03:45.825 OF MISSION SAN JUAN, CELEBRATING THE INHABITANTS OF THE LAND. 03:45.827 --> 03:52.432 SHE INVOKED THOSE FIRST OFF. THAT SONG WAS NEVER WRITTEN 03:52.434 --> 03:54.834 DOWN, BUT IT WAS HANDED DOWN THROUGH THE GENERATIONS. 03:54.836 --> 03:58.538 STORIES NEED TO BE TOLD AND REMEMBERED TO CARRY IT FORWARD. 03:58.540 --> 04:03.309 ARTIST JOHN MEDINA PLACED A SOUND BOOTH IN THE MAIN SPACE 04:03.311 --> 04:06.546 GALLERY FOR ANY PASSER-BY TO DROP IN AND RECORD THEIR OWN 04:06.548 --> 04:11.718 STORY OF SAN ANTONIO. >> AND HE'S COLLECTING STORIES 04:11.720 --> 04:15.521 FROM SAN ANTONIOANS ABOUT SAN ANTONIO. 04:15.523 --> 04:21.828 AND ON MARCH 22nd, HE'S ACTUALLY GOING TO UNVEIL A VERY LARGE 04:21.830 --> 04:24.631 INSTALLATION MURAL, AND THEN THE STORIES THAT HE'S COLLECTED WILL 04:24.633 --> 04:29.302 BE ACTUALLY BROADCAST OUTSIDE ON THE SIDEWALK THROUGH OUR SPEAKER 04:29.304 --> 04:32.805 SYSTEMS IN THE TREES. AND SO PEOPLE WALKING BY WILL 04:32.807 --> 04:39.412 HEAR CONSTANT STORIES ABOUT SAN ANTONIO AND SEE THIS HUGE PIECE 04:39.414 --> 04:45.418 THAT JOHN HAS DONE ABOUT THE EVOLUTION AND THE SUNSET OF SAN 04:45.420 --> 04:47.687 ANTONIO. >> WITH SUCH A VARIETY OF ART 04:47.689 --> 04:52.458 MEDIA, THE STORY-TELLING WILL BE RICH IN TEXTURE. 04:52.460 --> 04:57.964 >> 20 DIFFERENT MEDIUMS BETWEEN THE 3D PIECES, THE SCULPTURES, 04:57.966 --> 05:04.237 THERE'S VIDEO PIECES, SOUND PIECES, PERFORMANCE ART, 05:04.239 --> 05:08.975 PHOTOGRAPHY, AND CLASSICAL PAINTING AND COLLAGE WORK. 05:08.977 --> 05:17.283 SO I REALLY FEEL LIKE THE ECLECTIC NATURE REALLY SPEAKS TO 05:17.285 --> 05:24.824 SAN ANTONIO AND THE 300 YEARS. SAN ANTONIO HAS AN ECLECTIC 05:24.826 --> 05:27.193 HISTORY, AND THIS SHOW REALLY KIND OF SPEAKS TO THAT AS WELL. 05:27.195 --> 05:31.731 >> SAN ANTONIO'S 300th BIRTHDAY, COMMON CURRENTS, THE CELEBRATION 05:31.733 --> 05:35.802 OF A COLLABORATION OF ART. TO TELL THE STORY OF OUR CITY. 05:35.804 --> 05:41.841 >> THIS IS A REALLY, REALLY SPECIAL TIME FOR OUR CITY. 05:41.843 --> 05:46.646 >> FOR MORE INFORMATION ABOUT THESE 300 ARTISTS OVER AT ART 05:46.648 --> 05:50.883 PACE, CHECK OUT THE WEBSITE. UP NEXT, AS A MASTER IN THE ARTS 05:50.885 --> 05:57.523 OF MAGIC AND HYPNOSIS, CESAR DOMICO'S SPELLBINDING SHOWS CAN 05:57.525 --> 05:59.058 BE SEEN IN HIS HOME STATE OF FLORIDA AS WELL AS THROUGHOUT 05:59.060 --> 06:00.960 THE AMERICAS. THIS NATIVE OF COLOMBIA TEACHES 06:00.962 --> 06:03.796 US THAT MAGIC IS MORE THAN JUST A BAG OF TRICKS. 06:03.798 --> 06:11.137 [MUSIC] >> I BECOME A MAGICIAN WHEN I 06:11.139 --> 06:13.373 WAS A LITTLE BOY. I WAS AMAZED FROM THE OTHER 06:13.375 --> 06:24.917 MAGICIANS. THE PARTIES, THE THEATER -- IT 06:24.919 --> 06:27.987 WAS JUST SOMETHING AMAZING. AND I WANT TO KNOW HOW THEY CAN 06:27.989 --> 06:37.764 DO IT. [MUSIC] 06:37.766 --> 06:44.437 LATER I REALIZED THAT THE TRICK IS PART OF THE MAGIC, BUT ACTING 06:44.439 --> 06:48.274 IS WHEN YOU COMPOSE THE REAL SHOW AND THE REAL MAGIC. 06:48.276 --> 06:52.111 YOU BRING THE REAL MAGIC TO THE AUDIENCE WHEN YOU COMBINE THE 06:52.113 --> 06:59.152 TRICK AND THE WAY THAT YOU DELIVER THAT TRICK. 06:59.154 --> 07:01.888 THE ONE GOAL RIGHT HERE IS THEY NEED TO ENJOY. 07:01.890 --> 07:04.657 NOW, HOW I'M GOING TO REACH THE GOAL? 07:04.659 --> 07:08.694 I NEED TO STUDY MY AUDIENCE BEFORE TO GO THERE. 07:08.696 --> 07:11.230 IT'S NOTHING LIKE, OKAY, LET'S DO IT. 07:11.232 --> 07:15.835 THE SAME TRICK FOR THE KIDS WORKS FOR THE ADULTS. 07:15.837 --> 07:21.607 LET'S TRY TO FIGURE OUT WHERE WE CAN FIND THE ACE. 07:21.609 --> 07:27.079 LET'S DO IT WITH MAGIC. AS A PROFESSIONAL, WE NEED TO 07:27.081 --> 07:32.885 TAKE CARE ABOUT EVERY POINT BEFORE TO PERFORM FOR 20, 30, 07:32.887 --> 07:39.292 OR ONE HOUR. RIGHT THERE, LIGHTS, SOUND, THE 07:39.294 --> 07:43.029 WAY YOU DRESS, THE TRICKS THAT YOU ARE GOING TO USE. 07:43.031 --> 07:46.499 THE AUDIENCE, WHAT THEY ARE THERE FOR. 07:46.501 --> 07:49.836 LAST CARD. [CLICKING TONGUE] 07:49.838 --> 07:52.772 RIGHT THERE. ACE OF DIAMONDS. 07:52.774 --> 07:55.675 RIGHT HERE. OKAY. 07:55.677 --> 08:00.346 LET'S TRY WITH THE SECOND ONE. LET'S DO IT AND CUT IT -- 08:00.348 --> 08:02.748 [CLICKS TONGUE] LIKE -- 08:02.750 --> 08:08.187 [ WHISTLES ] IT'S SPADES, RIGHT THERE. 08:08.189 --> 08:09.856 THE EXPRESSION FOR THAT TRICK IS BEAUTIFUL. 08:09.858 --> 08:15.928 IT'S A LONG PROCESS. THE FEEDBACK WITH THE APPLAUSE, 08:15.930 --> 08:20.967 LAUGHING, AND LIKE, WHOA, THAT'S MY GOAL EVERY SHOW. 08:20.969 --> 08:24.070 AND I NEED TO PREPARE EVERY DAY FOR THAT. 08:24.072 --> 08:27.540 COULD YOU PLEASE FOR ME, YOU WANT TO TAKE ANY CARD THAT YOU 08:27.542 --> 08:29.041 WANT, ANY CARD THAT YOU BELIEVE THAT YOU LIKE. 08:29.043 --> 08:30.843 NOT THAT ONE, THE OTHER ONE. NO, JUST KIDDING. 08:30.845 --> 08:35.248 [ LAUGHTER ] >> NO, ANY CARD, PLEASE, FOR ME. 08:35.250 --> 08:37.216 WHEN YOU COMPOSE THE MAGIC SHOW, YOU NEED TO PRACTICE AND 08:37.218 --> 08:44.123 PRACTICE AND PRACTICE. BASICALLY, IT'S LIKE HOW THE 08:44.125 --> 08:45.391 CARDS -- EVERY DAY BECAUSE YOU NEED TO BRING THE 08:45.393 --> 08:48.895 TECHNIQUE. AS SOON AS YOU KNOW ONE TRICK, 08:48.897 --> 08:49.896 YOU MOVE FORWARD WITH ANOTHER ONE. 08:49.898 --> 08:53.666 LOOK AT IT. I DON'T WANT TO SEE IT. 08:53.668 --> 08:56.068 SHOW IT TO EVERYBODY. OKAY. 08:56.070 --> 08:58.971 TURN A LITTLE BIT. JUST REMEMBER THAT CARD. 08:58.973 --> 09:01.507 WHATEVER YOU WANT. PLEASE SAY "STOP." 09:01.509 --> 09:03.442 >> STOP. >> PUT IT BACK THERE. 09:03.444 --> 09:06.145 OKAY. NOW -- 09:06.147 --> 09:12.418 [CLICKS TONGUE] JUST LET'S TRY TO FIGURE OUT -- 09:12.420 --> 09:14.554 UM, DO YOU WANT TO MIX THE CARDS A LITTLE BIT, PLEASE, FOR ME? 09:14.556 --> 09:19.892 DO YOU WANT TO DO IT JUST LIKE THAT? 09:19.894 --> 09:23.396 WELL, I WAS NOT EXPECTING THAT, BUT, OKAY, THAT'S FINE. 09:23.398 --> 09:27.833 DO YOU REMEMBER THE COLOR THAT YOU HAD RIGHT THERE? 09:27.835 --> 09:30.036 >> YEAH. >> ARE YOU SURE ABOUT THAT? 09:30.038 --> 09:34.307 >> I HOPE EVERYBODY REMEMBERS THE COLOR RIGHT THERE. 09:34.309 --> 09:36.976 NOW, LET'S TRY TO FIGURE OUT IF IT'S RED. 09:36.978 --> 09:40.479 IS IT RED? IS IT MAYBE THE HEARTS? 09:40.481 --> 09:44.750 >> YES. >> SO WE ARE CLOSE. 09:44.752 --> 09:48.754 NOW, LET'S TAKE THE ACE OF HEARTS AND MOVE ONE, TWO, THREE. 09:48.756 --> 09:50.723 [ CLICKS TONGUE ] AND IT'S COMING FOR THE FIVE OF 09:50.725 --> 09:52.692 HEARTS. S 09:52.694 --> 09:54.160 IS THAT THE CARD THAT YOU HAD RIGHT THERE? 09:54.162 --> 09:59.131 YEAH. [ LAUGHTER ] 09:59.133 --> 10:02.969 >> OKAY. WHEN I GO TO THE STAGE AFTER THE 10:02.971 --> 10:05.471 PREPARATION FOR YEARS AND YEARS AND YEARS, I BRING MY MAGIC, ME. 10:05.473 --> 10:09.742 IT'S A MAGICAL PERSON TO TRANSMIT THROUGH THE TRICKS AND 10:09.744 --> 10:14.180 THROUGH THE ACTING SOMETHING THAT I LOVE. 10:14.182 --> 10:18.284 WANT TO TURN ANY NUMBER THAT YOU WANT. 10:18.286 --> 10:22.989 >> 9. >> ARE YOU SURE? 10:22.991 --> 10:24.590 THAT'S TOUGH. THAT'S A LITTLE MORE DIFFICULT, 10:24.592 --> 10:25.925 YEAH? OKAY. 10:25.927 --> 10:28.294 NOW, LET'S TRY TO DO IT. [ CLICKS TONGUE ] 10:28.296 --> 10:34.033 ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT, AND YOU SAY 10:34.035 --> 10:35.501 NINE. >> UM-HUM. 10:35.503 --> 10:37.436 >> ARE YOU SURE? >> YEP. 10:37.438 --> 10:38.871 >> YOU DIDN'T SAY EIGHT. >> NINE. 10:38.873 --> 10:42.808 >> YOU SAID NINE. >> YES. 10:42.810 --> 10:43.909 >> ARE YOU SURE THAT IT'S NOT EIGHT? 10:43.911 --> 10:48.914 [LAUGHTER] WELL, I'M GLAD THAT YOU SAY NINE 10:48.916 --> 10:50.583 BECAUSE WE HAVE FIVE HEARTS RIGHT THERE, AND IT'S NOT THAT 10:50.585 --> 10:52.752 ONE, IT'S NOT THAT ONE, IT'S NOT THAT ONE, IT'S NOT THAT ONE. 10:52.754 --> 10:56.188 IT'S NOT THAT ONE EITHER. RIGHT THERE IS THE NUMBER 9 JUST 10:56.190 --> 10:59.659 RIGHT HERE. MAGIC IS BEAUTIFUL. 10:59.661 --> 11:04.897 MAGIC IS REAL. AND WHEN THE PEOPLE SAY, OH, BUT 11:04.899 --> 11:10.903 IT'S JUST A TRICK. YEAH, BUT WHEN YOU COMBINE THE 11:10.905 --> 11:14.774 TRICK WITH THE ACTING, WITH THE PREPARATION, AND IN MY CASE THAT 11:14.776 --> 11:21.013 I DO COMEDY MAGIC AND THE PEOPLE START LAUGHING, THAT'S MAGICAL. 11:21.015 --> 12:06.992 ¶ 12:06.994 --> 12:22.141 ¶ 12:22.143 --> 12:24.477 ¶ 12:24.479 --> 12:27.680 >> UP NEXT. GROWING UP IN GARDEN CITY, 12:27.682 --> 12:29.515 KANSAS, WAS NOT EASY FOR VI TRAN. 12:29.517 --> 12:32.351 HE AND HIS FAMILY WERE REFUGEES FROM VIETNAM. 12:32.353 --> 12:34.887 THEIR PERILOUS JOURNEY FROM SAIGON THROUGH SOUTHEAST 12:34.889 --> 12:38.357 ASIA TOOK TWO YEARS. AFTER TAKING MANY TWISTS AND 12:38.359 --> 12:41.761 TURNS TO FIND HIS WAY IN LIFE, VI TRAN COBBLED HIS EXPERIENCES 12:41.763 --> 12:44.764 INTO A UNIQUE SET OF ARTISTIC SKILLS THAT LED HIM TO A CAREER 12:44.766 --> 12:47.166 DOING WHAT HE LOVES. WE GO TO KANSAS CITY, MISSOURI, 12:47.168 --> 12:52.638 FOR THE STORY. >> WE SPENT $65.26 ON POSTERS 12:52.640 --> 13:00.880 AND SCRIPTS THIS TIME. I'M VERY AMBITIOUS AND ALWAYS 13:00.882 --> 13:02.148 HAVE BEEN, BUT I'M ALSO A REALIST. 13:02.150 --> 13:03.682 I MEAN, WHEN I WAS STUDYING THEATER IN COLLEGE, I 13:03.684 --> 13:05.151 LOOKED IN THE MIRROR. I DIDN'T HAVE ANY DELUSIONS OF 13:05.153 --> 13:09.321 GRANDEUR. I'M 5'4" AND VIETNAMESE. 13:09.323 --> 13:10.956 THE ODDS WERE AGAINST ME MAKING IT IN THIS PROFESSION AS A 13:10.958 --> 13:14.160 PERFORMER. THEY HAVEN'T LEARNED THIS. 13:14.162 --> 13:19.131 I WILL NEVER BE THEIRS. SO I KNEW I HAD TO BE ADAPTABLE 13:19.133 --> 13:22.434 AND MALLEABLE AND SHREWD IN ORDER TO CONTINUE TO WORK. 13:22.436 --> 13:24.970 WE WILL WAIT UNTIL THE BABY IS BIGGER. 13:24.972 --> 13:28.440 WHEN HE IS OLD ENOUGH TO TRAVEL, WE WILL GO TOGETHER. 13:28.442 --> 13:30.876 THAT TENACITY LED ME DOWN A LOT OF DIFFERENT PATHS. 13:30.878 --> 13:36.649 ¶ AS FAR AS BEING A PERFORMER, 13:36.651 --> 13:38.651 BEING AN EDUCATOR, THAT TAUGHT ME EMPATHY. 13:38.653 --> 13:42.521 WORKING LOTS AND LOTS OF TEMP JOBS, WAITING A LOT OF TABLES, 13:42.523 --> 13:53.499 SLINGING A LOT OF DRINKS, BUT LEARNING EVERY STEP OF THE WAY. 13:53.501 --> 13:57.269 >> SO A COUPLE OF YEARS AGO WHEN JOE ZWILLENBERG, THE FLEA 13:57.271 --> 13:59.104 MARKET'S OWNER, OFFERED VI THE OPPORTUNITY TO BOOK AND MANAGE 13:59.106 --> 14:01.507 THE EVENT SPACE AROUND BACK WHICH HAD PREVIOUSLY HOUSED AN 14:01.509 --> 14:02.641 IMPROV COMEDY GROUP, HE SAID "SURE." 14:02.643 --> 14:05.678 THEN HE STARTED TO WORRY. >> I HAD SEVERAL FRIENDS WHO 14:05.680 --> 14:08.314 ALSO RAN VENUES OR CLUBS OR THEATERS, AND I THOUGHT TO 14:08.316 --> 14:12.685 MYSELF, OH, MAN, YOU KNOW, WE'RE FRIENDS, BUT I WONDER HOW 14:12.687 --> 14:16.555 THEY'RE GONNA TAKE THIS. I WONDER IF THEY'RE GOING TO 14:16.557 --> 14:20.926 KIND OF CROSS THEIR EYES AT ME OR BE LIKE, OH, HERE'S MORE 14:20.928 --> 14:22.394 COMPETITION. BUT IT WAS THE EXACT OPPOSITE. 14:22.396 --> 14:25.297 THEY WERE THE FIRST ONES TO CALL AND SAY WHAT DO YOU NEED? 14:25.299 --> 14:28.834 DO YOU NEED CURTAINS? DO YOU NEED CHAIRS? 14:28.836 --> 14:32.905 YOU KNOW, HOW CAN WE HELP? >> WITH A NAME THAT NODS TO THE 14:32.907 --> 14:37.009 BURGERS THE SPACE UP FRONT IS KNOWN FOR AND AN EVEN SLYER NOD 14:37.011 --> 14:40.679 TO HIS GARDEN CITY MASCOT, THE BUFFALO ROOM HAS BEEN STEADILY 14:40.681 --> 14:44.116 ROLLING ALONG, SHOWCASING A LITTLE BIT OF EVERYTHING, 14:44.118 --> 14:50.256 CABARET AND COMEDY, FILM AND BURLESQUE, MUSICAL TRIBUTES, 14:50.258 --> 14:53.893 STAGED READINGS, AND ORIGINAL PLAYS OF ALL KINDS, INCLUDING 14:53.895 --> 14:56.829 FRINGE FESTIVAL PRODUCTIONS LIKE THIS ONE. 14:56.831 --> 14:59.865 >> YES. THAT IS THE ONE THING WE'RE 14:59.867 --> 15:04.970 DOING HERE! >> YOU JUST GOT IT. 15:04.972 --> 15:10.175 >> KEVIN AND KING COMPANY'S BANNER AUDITIONS RETURNED FOR AN 15:10.177 --> 15:13.479 ENCORE IN AUGUST, THE SAME TIME VI WAS IN CHICAGO DIRECTING A 15:13.481 --> 15:17.750 NEW MUSICAL THERE. >> MY MOTHER SAID THAT MY FATHER 15:17.752 --> 15:20.052 THAT I TOOK AFTER MY GRANDFATHER, WHO WAS AN 15:20.054 --> 15:24.390 ARCHITECT. HE WOULD DESIGN THESE RESORTS 15:24.392 --> 15:27.393 AND BUILD THEM AND GO ON TO THE NEXT THING AND BUILD THAT. 15:27.395 --> 15:30.529 IT CLICKED FOR ME LIKE I HAVE THAT SAME KIND OF SPIRIT. 15:30.531 --> 15:34.199 >> MY FATHER ESCAPED VIETNAM. >> I LIKE TO CONCEPTUALIZE 15:34.201 --> 15:36.101 THINGS. I LIKE TO DRAW A BLUEPRINT FOR 15:36.103 --> 15:39.238 IT, AND THEN I LIKE TO EXECUTE. AND THEN I LIKE TO MOVE ON TO 15:39.240 --> 15:44.376 THE NEXT THING. THIS IS MY OFFICE HOURS. 15:44.378 --> 15:46.745 THIS IS HOW I KEEP TRACK OF THAT. 15:46.747 --> 15:49.882 RED AND YELLOW HERE ARE CONFLICTS. 15:49.884 --> 15:52.818 BLUE IS MY MUSIC CALENDAR FOR MY BAND. 15:52.820 --> 15:57.790 >> SPREADSHEETS AND COLOR CODED GOOGLE CALENDARS LOOM LARGE IN 15:57.792 --> 15:59.491 VI'S QUEST FOR BETTER TIME MANAGEMENT. 15:59.493 --> 16:02.861 HE TAKES IT SERIOUSLY. >> KEEPING A GOOD CALENDAR KEEPS 16:02.863 --> 16:08.334 ME HONEST, AND IT REMINDS ME THAT NO ONE'S GOING TO ACCUSE 16:08.336 --> 16:11.370 YOU OF BEING LAZY. LOOK, YOU'VE LOGGED THESE HOURS. 16:11.372 --> 16:13.605 IT'S OKAY TO TURN IT OFF FOR THE DAY. 16:13.607 --> 16:15.507 IT'S OKAY TO DO A LEISURE ACTIVITY. 16:15.509 --> 16:19.845 IT'S OKAY TO ENJOY DINNER WITH YOUR WIFE. 16:19.847 --> 16:26.251 >> OF COURSE, AT ANY GIVEN TIME, HIS WIFE McKENZIE GOODWIN TRAN, 16:26.253 --> 16:29.221 MAY BE EQUALLY BUSY WITH A THEATER PROJECT OF HER OWN. 16:29.223 --> 16:33.092 IF NOT ONE OF THE STUFFED BUFFALO PRODUCTIONS THEY TACKLE 16:33.094 --> 16:35.594 IN TANDEM. >> IT'S ALWAYS, OF COURSE, IN 16:35.596 --> 16:38.931 YOUR IMAGINATION AS A THEATER ARTIST TO HAVE YOUR OWN SPACE. 16:38.933 --> 16:44.370 IT'S AN INCREDIBLE LUXURY AND A WONDERFUL THING TO HAVE AND TO 16:44.372 --> 16:49.208 KNOW ALL THESE AMAZING ARTISTS. >> IT HELPS THAT McKENZIE AND VI 16:49.210 --> 16:53.112 ARE GRADUATED OF THE KANSAS CITY THEATER PROGRAM WITH AN EMPHASIS 16:53.114 --> 16:56.148 ON LEARNING THE CRAFT. >> HAVING RESOURCES IN SOME WAYS 16:56.150 --> 16:58.884 OPENS UP YOUR CREATIVITY BECAUSE YOU HAVE TO FIND CREATIVE 16:58.886 --> 17:01.653 SOLUTIONS TO THINGS IN ORDER TO MAKE THINGS HAPPEN, AND OFTEN 17:01.655 --> 17:03.622 THE BEST IDEAS COME WHEN YOU HAVE LIMITATIONS. 17:03.624 --> 17:07.926 >> IF TWO HEADS ARE GOOD, THEN THREE MIGHT BE EVEN BETTER. 17:07.928 --> 17:12.664 ENTER KATIE GILCHRIST, THE WELL-KNOWN LOCAL ARTIST SINGS 17:12.666 --> 17:17.836 WITH THE VI TRAN BAND AND OFTEN CO-DIRECTS PRODUCTIONS HERE TOO. 17:17.838 --> 17:22.875 >> MY WIFE AND KATIE MET BEFORE MY WIFE AND I MET, AND THEY WERE 17:22.877 --> 17:26.779 AT A DIRECTOR'S TABLE TOGETHER. SO THEY HAVE THIS HIVE MIND. 17:26.781 --> 17:29.348 THEY HAVE THIS SHORTHAND OF COMMUNICATION WITH THE TWO OF 17:29.350 --> 17:33.485 THEM, AND SO WHEN IT COMES TO PRODUCING A SHOW TOGETHER, I'M A 17:33.487 --> 17:35.721 REDUNDANCY. SO I SAID, YOU KNOW WHAT, WHY 17:35.723 --> 17:39.158 DON'T YOU GUYS TAKE LEAD ON DIRECTING, AND IF YOU NEED A 17:39.160 --> 17:41.593 THIRD EYE, THEN I'LL GIVE MY INPUT. 17:41.595 --> 17:43.929 OTHERWISE, YOU KNOW, I'LL BE IN THE BACK OF THE ROOM ON THE 17:43.931 --> 17:48.634 LAPTOP THINKING ABOUT OUR PROMOTIONAL STRATEGY. 17:48.636 --> 17:53.205 SOMETIMES I FEEL LIKE FOR THE LAST TEN YEARS, I'VE EVOLVED 17:53.207 --> 17:56.708 MORE TOWARDS FOUR PART BUSINESS, ONE PART ART, BUT THAT'S SO THAT 17:56.710 --> 18:05.651 I COULD BUILD A FOUNDATION SO THAT NOW, HEY, I DO HAVE THAT 18:05.653 --> 18:07.953 SPARE TIME TO SIT DOWN WITH MY GUITAR AND BECOME A BETTER 18:07.955 --> 18:15.661 PLAYER. >> IF AS THEY SAY TIMING IS 18:15.663 --> 18:19.898 EVERYTHING, VI'S HAS BEEN IMPECCABLE. 18:19.900 --> 18:23.535 HE HIT TOWN IN 2005 JUST AS THE CROSSROADS WAS BOOMING, THE 18:23.537 --> 18:26.538 THEATER SCENE EXPANDING, AND WITH THE KAUFMAN AND SPRINT 18:26.540 --> 18:30.676 CENTER POISED TO JOIN THE S SKYLINE. 18:30.678 --> 18:33.579 IN SHORT, ALL THE BUILDING BLOCKS OF A CULTURAL RENAISSANCE 18:33.581 --> 18:36.715 THAT'S HELPING WHAT HE CALLS MIDDLE CLASS ARTISTS THAT CHOOSE 18:36.717 --> 18:39.218 TO LIVE HERE. >> WHEN YOU'RE ABLE TO WORK 18:39.220 --> 18:42.387 CONSISTENTLY OR YOU'RE ABLE TO CREATE YOUR OWN WORK, THEN 18:42.389 --> 18:50.929 YOU'RE MORE LIKELY TO STAY. IN THE AGE OF THE INTERNET WHERE 18:50.931 --> 18:53.465 THE INTERNET SURVIVES AN INTERNATIONAL TOWN SQUARE, MAYBE 18:53.467 --> 18:56.768 I GET TO CHOOSE WHERE I LIVE. BECAUSE IF I ESTABLISH MYSELF 18:56.770 --> 18:59.371 HERE, THERE'S NOTHING TO SAY THAT I CAN'T GO TO WORK IN 18:59.373 --> 19:06.812 CHICAGO OR GO TO WORK IN NEW YORK WHEN A PROJECT OR AN OFFER 19:06.814 --> 19:09.748 COMES OR WITH MY OWN PROJECT, BUT AT THE SAME TIME, WAKE UP IN 19:09.750 --> 19:16.088 MY OWN BED IN A COMMUNITY THAT I LOVE. 19:16.090 --> 19:24.363 >> FINALLY, A PASSER-BY MIGHT GET A SURPRISING EYEFUL ALONG 19:24.365 --> 19:29.701 THE RIVER IN COLUMBUS, OHIO. HERE NOT LOUNGING IN THE USUAL 19:29.703 --> 19:33.839 WAY, THEY'RE LOUNGING IN A HUMAN FASHION. 19:33.841 --> 19:54.159 ARTIST TERRY ALLEN MADE THIS WHIMSICAL ART ALONG THE STRETCH. 19:54.161 --> 19:59.865 >> INITIALLY, WHEN I CAME HERE, I'VE NEVER LOOKED AT COLUMBUS 19:59.867 --> 20:04.903 FROM THE POINT OF VIEW OF REALLY DOING SOMETHING OUT IN THE CITY. 20:04.905 --> 20:08.240 SO I WALKED AROUND THE CITY AND LOOKED AT DIFFERENT SIGHTS AND 20:08.242 --> 20:11.210 PROPOSED DIFFERENT KIND OF IDEAS IN MY MIND OF THINGS I CAN DO. 20:11.212 --> 20:22.020 BUT I HEARD SOMEONE SAY THAT SCIOTO RIVER HAD THE DEER. 20:22.022 --> 20:25.424 AND THAT KIND OF PIQUED MY INTEREST, AND I STARTED THINKING 20:25.426 --> 20:28.594 ABOUT DEER. IT WAS SUPPOSED TO BE IN THIS 20:28.596 --> 20:31.263 AREA WHERE PEOPLE KIND OF LOUNGED AROUND AND WALKED 20:31.265 --> 20:33.465 AROUND. I JUST STARTED THINKING ABOUT 20:33.467 --> 20:36.768 DEER INSTEAD OF PEOPLE DOING THE SAME THING, JUST KIND OF 20:36.770 --> 20:38.837 LOUNGING AROUND. AND THAT'S REALLY WHERE THE IDEA 20:38.839 --> 21:00.192 CAME FROM. WHEN I DO HAVE A PROJECT, THAT'S 21:00.194 --> 21:02.995 THE FIRST THING I DO IS THINKING AND MAKING NOTES AND JUST KIND 21:02.997 --> 21:06.398 OF GETTING IT OUT OF MY HEAD ONTO A SHEET OF PAPER. 21:06.400 --> 21:14.906 IT CAN GO ANY DIRECTION. SO THERE'S SEVERAL PROPOSALS 21:14.908 --> 21:18.510 THAT I MADE, NOT JUST THE DEER, I PROPOSED FOR SPRING AND LONG 21:18.512 --> 21:26.451 STREET, NEONS OF SPRINGING AND LONGING THAT WOULD BE ON THESE 21:26.453 --> 21:28.086 TUNNELS THAT PEOPLE GO IN AND OUT OF. 21:28.088 --> 21:31.823 THERE'S ONE CALLED THE COLUMBUS STUMP, WHICH IS A HUGE TREE 21:31.825 --> 21:34.926 STUMP WITH CARVINGS IN EVERY CONCEIVABLE LANGUAGE THAT SAYS 21:34.928 --> 21:39.898 WISH. SOME OF THEM ARE ABSOLUTELY 21:39.900 --> 21:41.933 IMPOSSIBLE. THAT'S WHERE THE POSSIBLE, 21:41.935 --> 21:43.535 IMPOSSIBLE. SOME OF THEM WERE MADE, OTHERS 21:43.537 --> 21:47.439 ARE JUST WISHFUL THINKING AND WHATEVER. 21:47.441 --> 21:51.443 SO IT'S REALLY MORE OF A THOUGHT PROCESS, I THINK, THAT HAPPENS 21:51.445 --> 22:04.790 ON PAPER. 22:04.792 --> 22:13.832 DID THE DRAWINGS AND HAD IDEAS OF WHAT THEY MIGHT LOOK LIKE. 22:13.834 --> 22:22.507 I GOT FORMS FROM A TAXIDERMIST IN LOUISIANA AND THEIR ACTUAL 22:22.509 --> 22:29.815 STYROFOAM FORMS THAT TAXIDERMY GUYS USE, AFTER THEY SKIN THE 22:29.817 --> 22:40.158 DEER, THEY PUT IT BACK ON. AND I USED THAT AS AN ARMATURE 22:40.160 --> 22:44.763 AND WORKED AT A FOUNDRY THAT I'VE WORKED AT FOR YEARS IN WALA 22:44.765 --> 22:50.035 WALA, WASHINGTON. SO WE SET UP THESE PIECES AND 22:50.037 --> 22:52.938 BUILT IT AND KIND OF CONSTRUCTED IT INTO THE FORMS THAT YOU SEE 22:52.940 --> 22:59.544 OUT THERE NOW AND COVERED WITH CLAY AND MODELED THE CLAY AND 22:59.546 --> 23:02.047 THEN MADE A MOLD OF THEM. IT'S HARD, WHEN YOU'RE TALKING 23:02.049 --> 23:05.717 ABOUT DEER, I THINK PEOPLE INSTANTLY HAVE AN IMAGE IN THEIR 23:05.719 --> 23:11.623 HEAD OF WHATEVER DEER THEY SEE AS A SCULPTURE IN THEIR MIND. 23:11.625 --> 23:14.593 THESE ARE REALLY YOU KIND OF HAVE TO BE THERE. 23:14.595 --> 23:17.562 YOU HAVE TO GO LOOK BECAUSE THEY'VE BEEN HUMANIZED IN THE 23:17.564 --> 23:24.302 SENSE THAT THEY STILL LOOK LIKE DEER, BUT THEY'RE ALSO HUMAN. 23:24.304 --> 23:27.005 AS FAR AS A LOT OF THEIR JOINTS, YOU WOULD NEVER SEE JOINTS LIKE 23:27.007 --> 23:32.677 THAT ON A REAL DEER, BUT I DID THAT TO KIND OF, I THINK, MAKE 23:32.679 --> 23:42.754 THEM ACCESSIBLE. I THINK THAT'S WHAT'S SO 23:42.756 --> 23:48.160 SEDUCTIVE TO ME ABOUT IT IS THAT IT BECOMES REALLY SOMETHING THAT 23:48.162 --> 23:57.669 PEOPLE WANT TO BE WITH AND WANT TO ACTUALLY TOUCH. 23:57.671 --> 24:02.407 NO MATTER HOW YOU THINK THROUGH SOMETHING, AS SOON AS IT'S 24:02.409 --> 24:05.277 THERE, IT'S REAL, AND IT BECOMES SOMETHING ELSE. 24:05.279 --> 24:10.282 IT BECOMES ITS OWN LIFE, YOU KNOW. 24:10.284 --> 24:13.585 AND THAT'S REALLY IMPORTANT, I THINK. 24:13.587 --> 24:19.324 THAT IT DOES SOMETHING. IT DOESN'T JUST SIT THERE AND 24:19.326 --> 24:21.927 SAY I'M A POLITICIAN. I'M A GENERAL OR WHATEVER. 24:21.929 --> 24:27.632 THIS ONE IS SITTING AS A DEER. IT'S NOT SAYING ANYTHING. 24:27.634 --> 24:31.736 IT'S JUST SITTING THERE. AND I LOVE IT WHEN SOMEBODY 24:31.738 --> 24:36.241 RESPONDS IN A WAY I NEVER ANTICIPATED. 24:36.243 --> 24:40.712 OR SAYS SOMETHING YOU NEVER ANTICIPATED. 24:40.714 --> 24:43.682 IT MAKES YOU THINK ABOUT IT IN A WAY YOU NEVER THOUGHT. 24:43.684 --> 24:46.485 BUT I THINK THAT'S WHAT HAPPENS WITH PUBLIC WORK. 24:46.487 --> 24:48.820 THAT'S WHY I THINK THEY'RE SO IMPORTANT. 24:48.822 --> 24:53.925 BECAUSE IT REALLY IS SOMETHING TH 24:53.927 --> 24:56.428 THAT, EVEN THOUGH IT'S PUBLIC, IT'S SO IMPORTANT TO EACH 24:56.430 --> 25:00.565 VIEWER, EACH PERSON THAT LOOKS AT IT. 25:00.567 --> 25:03.902 I THINK ITS RESISTANCE THAT PEOPLE WILL HAVE TO PUBLIC WORKS 25:03.904 --> 25:09.307 IS USUALLY BECAUSE THEY ENCOUNTER IT AND THEY ARE USED 25:09.309 --> 25:14.546 TO PASSING A PLACE DAY AFTER DAY AND SUDDENLY THERE IS SOMETHING 25:14.548 --> 25:16.982 DIFFERENT. IMMEDIATELY FOR SOME REASON, 25:16.984 --> 25:23.588 DIFFERENT MEANS WRONG, BAD. IT'S BLOCKING SOMETHING. 25:23.590 --> 25:32.797 BUT I THINK OVER TIME PEOPLE GET COMFORTABLE. 25:32.799 --> 25:51.483 >> AND THAT WRAPS IT UP FOR THIS EDITION OF "ARTS." 25:51.485 --> 25:57.188 FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS WHERE YOU CAN FIND 25:57.190 --> 26:00.392 FEATURES, BLOGS, AND INFORMATION ON UPCOMING ARTS EVENTS. 26:00.394 --> 26:03.428 I'M APRIL ANCIRA. I'LL SEE YOU WITH MORE "ARTS" 26:03.430 --> 26:04.963 NEXT WEEK.