1 00:00:18,786 --> 00:00:22,889 300 YEARS OF ART IN SAN ANTONIO. >> SOME OF THE ARTISTS HAVE 2 00:00:22,891 --> 00:00:26,726 REALLY STEPPED OUTSIDE OF THEIR COMFORT ZONE AND TRIED NEW 3 00:00:26,728 --> 00:00:34,701 MEDIUMS. THE ART OF THE MAGICIAN. 4 00:00:34,703 --> 00:00:36,336 >> WHEN YOU COMPOSE THE MAGIC SHOW, YOU NEED TO PRACTICE AND 5 00:00:36,338 --> 00:00:40,673 PRACTICE AND PRACTICE. 6 00:00:40,675 --> 00:01:24,884 >> HI, I'M APRIL ANCIRA, AND WELCOME TO TONIGHT'S EDITION OF 7 00:01:24,886 --> 00:01:27,520 "ARTS." IF YOU HAD TO INTERPRET A SINGLE 8 00:01:27,522 --> 00:01:33,493 YEAR IN SAN ANTONIO'S 300-YEAR HISTORY ARTISTICALLY, WHAT WOULD 9 00:01:33,495 --> 00:01:36,329 YOU CREATE? THAT'S THE QUESTION 300 ARTISTS 10 00:01:36,331 --> 00:01:38,264 ACROSS THE CITY HAVE BEEN PONDERING. 11 00:01:38,266 --> 00:01:46,639 LET'S CHECK OUT WHAT THEY'VE BEEN CREATING. 12 00:01:46,641 --> 00:01:49,742 >> I THINK WHAT EXCITES ME THE MOST IS THE COLLABORATION. 13 00:01:49,744 --> 00:01:55,415 THE IDEA AND THE ABILITY FOR SIX ORGANIZATIONS TO COLLABORATE ON 14 00:01:55,417 --> 00:01:58,351 ONE SHOW. >> A FIVE-MONTH SHOW CALLING FOR 15 00:01:58,353 --> 00:02:03,590 300 ARTISTS TO COVER EACH YEAR OF THE TRICENTENNIAL. 16 00:02:03,592 --> 00:02:07,660 ART THAT SIGNIFIES EVENTS AND CULTURE FROM 1718 THROUGH THE 17 00:02:07,662 --> 00:02:09,462 PRESENT DAY. >> WE HAVE FOR MONTHS BEEN 18 00:02:09,464 --> 00:02:12,165 PULLING TOGETHER TO MAKE THIS HAPPEN, GOING THROUGH TRIALS AND 19 00:02:12,167 --> 00:02:17,003 TRIBULATIONS WITH FUNDING AND SO FORTH AND WHERE ARE WE GOING TO 20 00:02:17,005 --> 00:02:21,174 GET 300 ARTISTS? >> TURNS OUT EACH OF THE SIX ART 21 00:02:21,176 --> 00:02:24,544 PARTNERS REACHED OUT TO TWO LOCAL ARTISTS. 22 00:02:24,546 --> 00:02:27,881 THOSE 12 INVITED TWO PEER ARTISTS. 23 00:02:27,883 --> 00:02:32,385 AND SOON THERE WERE 300 PAINTERS, SKECHERS, VISUAL 24 00:02:32,387 --> 00:02:35,421 ARTISTS, AND PHOTOGRAPHERS TO RESEARCH THEIR INDIVIDUAL YEAR 25 00:02:35,423 --> 00:02:37,457 AND CREATE A REPRESENTATIVE PIECE. 26 00:02:37,459 --> 00:02:39,659 >> ALL 300 ARTISTS ARE VERY DIFFERENT. 27 00:02:39,661 --> 00:02:43,630 ALL OF THE PIECES ARE VERY UNIQUE. 28 00:02:43,632 --> 00:02:49,836 SOME OF THE ARTISTS HAVE REALLY STEPPED OUTSIDE OF THEIR COMFORT 29 00:02:49,838 --> 00:02:59,846 ZONE AND TRIED NEW MEDIUMS. SO IT'S JUST REALLY EXCITING. 30 00:02:59,848 --> 00:03:07,754 >> AMALIA, PERFORMANCE ARTIST, WAS INVITED AS ONE OF THE 31 00:03:07,756 --> 00:03:09,856 ORIGINAL 300 BUT SAYS. >> I TURNED IT DOWN BECAUSE I 32 00:03:09,858 --> 00:03:13,226 WAS AFRAID. I DON'T KNOW, IF I GET THIS 33 00:03:13,228 --> 00:03:15,128 RANDOM YEAR, HOW I'M GOING TO RESEARCH THE ASSIGNMENT. 34 00:03:15,130 --> 00:03:18,831 IT'S DAUNTING. WHEN I WAS INVITED TO BECOME THE 35 00:03:18,833 --> 00:03:22,168 PERFORMANCE ARTIST IN RESIDENCE TO ART PACE AND ASKED TO RESPOND 36 00:03:22,170 --> 00:03:24,671 TO THE ENTIRE EXHIBIT, I FELT LIKE IT WAS THE UNIVERSE 37 00:03:24,673 --> 00:03:26,639 BRINGING ME BACK TO SOMETHING THAT I WAS AFRAID OF. 38 00:03:26,641 --> 00:03:30,210 IT'S BEEN HUMBLING. IT'S BEEN A TON OF RESEARCH. 39 00:03:30,212 --> 00:03:35,882 BUT IT'S BEEN A GREAT EXPERIENCE. 40 00:03:35,884 --> 00:03:41,754 >> THEY GAVE TWO PERFORMANCES BASED ON CEREMONIES AND RITUALS 41 00:03:41,756 --> 00:03:45,825 OF MISSION SAN JUAN, CELEBRATING THE INHABITANTS OF THE LAND. 42 00:03:45,827 --> 00:03:52,432 SHE INVOKED THOSE FIRST OFF. THAT SONG WAS NEVER WRITTEN 43 00:03:52,434 --> 00:03:54,834 DOWN, BUT IT WAS HANDED DOWN THROUGH THE GENERATIONS. 44 00:03:54,836 --> 00:03:58,538 STORIES NEED TO BE TOLD AND REMEMBERED TO CARRY IT FORWARD. 45 00:03:58,540 --> 00:04:03,309 ARTIST JOHN MEDINA PLACED A SOUND BOOTH IN THE MAIN SPACE 46 00:04:03,311 --> 00:04:06,546 GALLERY FOR ANY PASSER-BY TO DROP IN AND RECORD THEIR OWN 47 00:04:06,548 --> 00:04:11,718 STORY OF SAN ANTONIO. >> AND HE'S COLLECTING STORIES 48 00:04:11,720 --> 00:04:15,521 FROM SAN ANTONIOANS ABOUT SAN ANTONIO. 49 00:04:15,523 --> 00:04:21,828 AND ON MARCH 22nd, HE'S ACTUALLY GOING TO UNVEIL A VERY LARGE 50 00:04:21,830 --> 00:04:24,631 INSTALLATION MURAL, AND THEN THE STORIES THAT HE'S COLLECTED WILL 51 00:04:24,633 --> 00:04:29,302 BE ACTUALLY BROADCAST OUTSIDE ON THE SIDEWALK THROUGH OUR SPEAKER 52 00:04:29,304 --> 00:04:32,805 SYSTEMS IN THE TREES. AND SO PEOPLE WALKING BY WILL 53 00:04:32,807 --> 00:04:39,412 HEAR CONSTANT STORIES ABOUT SAN ANTONIO AND SEE THIS HUGE PIECE 54 00:04:39,414 --> 00:04:45,418 THAT JOHN HAS DONE ABOUT THE EVOLUTION AND THE SUNSET OF SAN 55 00:04:45,420 --> 00:04:47,687 ANTONIO. >> WITH SUCH A VARIETY OF ART 56 00:04:47,689 --> 00:04:52,458 MEDIA, THE STORY-TELLING WILL BE RICH IN TEXTURE. 57 00:04:52,460 --> 00:04:57,964 >> 20 DIFFERENT MEDIUMS BETWEEN THE 3D PIECES, THE SCULPTURES, 58 00:04:57,966 --> 00:05:04,237 THERE'S VIDEO PIECES, SOUND PIECES, PERFORMANCE ART, 59 00:05:04,239 --> 00:05:08,975 PHOTOGRAPHY, AND CLASSICAL PAINTING AND COLLAGE WORK. 60 00:05:08,977 --> 00:05:17,283 SO I REALLY FEEL LIKE THE ECLECTIC NATURE REALLY SPEAKS TO 61 00:05:17,285 --> 00:05:24,824 SAN ANTONIO AND THE 300 YEARS. SAN ANTONIO HAS AN ECLECTIC 62 00:05:24,826 --> 00:05:27,193 HISTORY, AND THIS SHOW REALLY KIND OF SPEAKS TO THAT AS WELL. 63 00:05:27,195 --> 00:05:31,731 >> SAN ANTONIO'S 300th BIRTHDAY, COMMON CURRENTS, THE CELEBRATION 64 00:05:31,733 --> 00:05:35,802 OF A COLLABORATION OF ART. TO TELL THE STORY OF OUR CITY. 65 00:05:35,804 --> 00:05:41,841 >> THIS IS A REALLY, REALLY SPECIAL TIME FOR OUR CITY. 66 00:05:41,843 --> 00:05:46,646 >> FOR MORE INFORMATION ABOUT THESE 300 ARTISTS OVER AT ART 67 00:05:46,648 --> 00:05:50,883 PACE, CHECK OUT THE WEBSITE. UP NEXT, AS A MASTER IN THE ARTS 68 00:05:50,885 --> 00:05:57,523 OF MAGIC AND HYPNOSIS, CESAR DOMICO'S SPELLBINDING SHOWS CAN 69 00:05:57,525 --> 00:05:59,058 BE SEEN IN HIS HOME STATE OF FLORIDA AS WELL AS THROUGHOUT 70 00:05:59,060 --> 00:06:00,960 THE AMERICAS. THIS NATIVE OF COLOMBIA TEACHES 71 00:06:00,962 --> 00:06:03,796 US THAT MAGIC IS MORE THAN JUST A BAG OF TRICKS. 72 00:06:03,798 --> 00:06:11,137 [MUSIC] >> I BECOME A MAGICIAN WHEN I 73 00:06:11,139 --> 00:06:13,373 WAS A LITTLE BOY. I WAS AMAZED FROM THE OTHER 74 00:06:13,375 --> 00:06:24,917 MAGICIANS. THE PARTIES, THE THEATER -- IT 75 00:06:24,919 --> 00:06:27,987 WAS JUST SOMETHING AMAZING. AND I WANT TO KNOW HOW THEY CAN 76 00:06:27,989 --> 00:06:37,764 DO IT. [MUSIC] 77 00:06:37,766 --> 00:06:44,437 LATER I REALIZED THAT THE TRICK IS PART OF THE MAGIC, BUT ACTING 78 00:06:44,439 --> 00:06:48,274 IS WHEN YOU COMPOSE THE REAL SHOW AND THE REAL MAGIC. 79 00:06:48,276 --> 00:06:52,111 YOU BRING THE REAL MAGIC TO THE AUDIENCE WHEN YOU COMBINE THE 80 00:06:52,113 --> 00:06:59,152 TRICK AND THE WAY THAT YOU DELIVER THAT TRICK. 81 00:06:59,154 --> 00:07:01,888 THE ONE GOAL RIGHT HERE IS THEY NEED TO ENJOY. 82 00:07:01,890 --> 00:07:04,657 NOW, HOW I'M GOING TO REACH THE GOAL? 83 00:07:04,659 --> 00:07:08,694 I NEED TO STUDY MY AUDIENCE BEFORE TO GO THERE. 84 00:07:08,696 --> 00:07:11,230 IT'S NOTHING LIKE, OKAY, LET'S DO IT. 85 00:07:11,232 --> 00:07:15,835 THE SAME TRICK FOR THE KIDS WORKS FOR THE ADULTS. 86 00:07:15,837 --> 00:07:21,607 LET'S TRY TO FIGURE OUT WHERE WE CAN FIND THE ACE. 87 00:07:21,609 --> 00:07:27,079 LET'S DO IT WITH MAGIC. AS A PROFESSIONAL, WE NEED TO 88 00:07:27,081 --> 00:07:32,885 TAKE CARE ABOUT EVERY POINT BEFORE TO PERFORM FOR 20, 30, 89 00:07:32,887 --> 00:07:39,292 OR ONE HOUR. RIGHT THERE, LIGHTS, SOUND, THE 90 00:07:39,294 --> 00:07:43,029 WAY YOU DRESS, THE TRICKS THAT YOU ARE GOING TO USE. 91 00:07:43,031 --> 00:07:46,499 THE AUDIENCE, WHAT THEY ARE THERE FOR. 92 00:07:46,501 --> 00:07:49,836 LAST CARD. [CLICKING TONGUE] 93 00:07:49,838 --> 00:07:52,772 RIGHT THERE. ACE OF DIAMONDS. 94 00:07:52,774 --> 00:07:55,675 RIGHT HERE. OKAY. 95 00:07:55,677 --> 00:08:00,346 LET'S TRY WITH THE SECOND ONE. LET'S DO IT AND CUT IT -- 96 00:08:00,348 --> 00:08:02,748 [CLICKS TONGUE] LIKE -- 97 00:08:02,750 --> 00:08:08,187 [ WHISTLES ] IT'S SPADES, RIGHT THERE. 98 00:08:08,189 --> 00:08:09,856 THE EXPRESSION FOR THAT TRICK IS BEAUTIFUL. 99 00:08:09,858 --> 00:08:15,928 IT'S A LONG PROCESS. THE FEEDBACK WITH THE APPLAUSE, 100 00:08:15,930 --> 00:08:20,967 LAUGHING, AND LIKE, WHOA, THAT'S MY GOAL EVERY SHOW. 101 00:08:20,969 --> 00:08:24,070 AND I NEED TO PREPARE EVERY DAY FOR THAT. 102 00:08:24,072 --> 00:08:27,540 COULD YOU PLEASE FOR ME, YOU WANT TO TAKE ANY CARD THAT YOU 103 00:08:27,542 --> 00:08:29,041 WANT, ANY CARD THAT YOU BELIEVE THAT YOU LIKE. 104 00:08:29,043 --> 00:08:30,843 NOT THAT ONE, THE OTHER ONE. NO, JUST KIDDING. 105 00:08:30,845 --> 00:08:35,248 [ LAUGHTER ] >> NO, ANY CARD, PLEASE, FOR ME. 106 00:08:35,250 --> 00:08:37,216 WHEN YOU COMPOSE THE MAGIC SHOW, YOU NEED TO PRACTICE AND 107 00:08:37,218 --> 00:08:44,123 PRACTICE AND PRACTICE. BASICALLY, IT'S LIKE HOW THE 108 00:08:44,125 --> 00:08:45,391 CARDS -- EVERY DAY BECAUSE YOU NEED TO BRING THE 109 00:08:45,393 --> 00:08:48,895 TECHNIQUE. AS SOON AS YOU KNOW ONE TRICK, 110 00:08:48,897 --> 00:08:49,896 YOU MOVE FORWARD WITH ANOTHER ONE. 111 00:08:49,898 --> 00:08:53,666 LOOK AT IT. I DON'T WANT TO SEE IT. 112 00:08:53,668 --> 00:08:56,068 SHOW IT TO EVERYBODY. OKAY. 113 00:08:56,070 --> 00:08:58,971 TURN A LITTLE BIT. JUST REMEMBER THAT CARD. 114 00:08:58,973 --> 00:09:01,507 WHATEVER YOU WANT. PLEASE SAY "STOP." 115 00:09:01,509 --> 00:09:03,442 >> STOP. >> PUT IT BACK THERE. 116 00:09:03,444 --> 00:09:06,145 OKAY. NOW -- 117 00:09:06,147 --> 00:09:12,418 [CLICKS TONGUE] JUST LET'S TRY TO FIGURE OUT -- 118 00:09:12,420 --> 00:09:14,554 UM, DO YOU WANT TO MIX THE CARDS A LITTLE BIT, PLEASE, FOR ME? 119 00:09:14,556 --> 00:09:19,892 DO YOU WANT TO DO IT JUST LIKE THAT? 120 00:09:19,894 --> 00:09:23,396 WELL, I WAS NOT EXPECTING THAT, BUT, OKAY, THAT'S FINE. 121 00:09:23,398 --> 00:09:27,833 DO YOU REMEMBER THE COLOR THAT YOU HAD RIGHT THERE? 122 00:09:27,835 --> 00:09:30,036 >> YEAH. >> ARE YOU SURE ABOUT THAT? 123 00:09:30,038 --> 00:09:34,307 >> I HOPE EVERYBODY REMEMBERS THE COLOR RIGHT THERE. 124 00:09:34,309 --> 00:09:36,976 NOW, LET'S TRY TO FIGURE OUT IF IT'S RED. 125 00:09:36,978 --> 00:09:40,479 IS IT RED? IS IT MAYBE THE HEARTS? 126 00:09:40,481 --> 00:09:44,750 >> YES. >> SO WE ARE CLOSE. 127 00:09:44,752 --> 00:09:48,754 NOW, LET'S TAKE THE ACE OF HEARTS AND MOVE ONE, TWO, THREE. 128 00:09:48,756 --> 00:09:50,723 [ CLICKS TONGUE ] AND IT'S COMING FOR THE FIVE OF 129 00:09:50,725 --> 00:09:52,692 HEARTS. S 130 00:09:52,694 --> 00:09:54,160 IS THAT THE CARD THAT YOU HAD RIGHT THERE? 131 00:09:54,162 --> 00:09:59,131 YEAH. [ LAUGHTER ] 132 00:09:59,133 --> 00:10:02,969 >> OKAY. WHEN I GO TO THE STAGE AFTER THE 133 00:10:02,971 --> 00:10:05,471 PREPARATION FOR YEARS AND YEARS AND YEARS, I BRING MY MAGIC, ME. 134 00:10:05,473 --> 00:10:09,742 IT'S A MAGICAL PERSON TO TRANSMIT THROUGH THE TRICKS AND 135 00:10:09,744 --> 00:10:14,180 THROUGH THE ACTING SOMETHING THAT I LOVE. 136 00:10:14,182 --> 00:10:18,284 WANT TO TURN ANY NUMBER THAT YOU WANT. 137 00:10:18,286 --> 00:10:22,989 >> 9. >> ARE YOU SURE? 138 00:10:22,991 --> 00:10:24,590 THAT'S TOUGH. THAT'S A LITTLE MORE DIFFICULT, 139 00:10:24,592 --> 00:10:25,925 YEAH? OKAY. 140 00:10:25,927 --> 00:10:28,294 NOW, LET'S TRY TO DO IT. [ CLICKS TONGUE ] 141 00:10:28,296 --> 00:10:34,033 ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT, AND YOU SAY 142 00:10:34,035 --> 00:10:35,501 NINE. >> UM-HUM. 143 00:10:35,503 --> 00:10:37,436 >> ARE YOU SURE? >> YEP. 144 00:10:37,438 --> 00:10:38,871 >> YOU DIDN'T SAY EIGHT. >> NINE. 145 00:10:38,873 --> 00:10:42,808 >> YOU SAID NINE. >> YES. 146 00:10:42,810 --> 00:10:43,909 >> ARE YOU SURE THAT IT'S NOT EIGHT? 147 00:10:43,911 --> 00:10:48,914 [LAUGHTER] WELL, I'M GLAD THAT YOU SAY NINE 148 00:10:48,916 --> 00:10:50,583 BECAUSE WE HAVE FIVE HEARTS RIGHT THERE, AND IT'S NOT THAT 149 00:10:50,585 --> 00:10:52,752 ONE, IT'S NOT THAT ONE, IT'S NOT THAT ONE, IT'S NOT THAT ONE. 150 00:10:52,754 --> 00:10:56,188 IT'S NOT THAT ONE EITHER. RIGHT THERE IS THE NUMBER 9 JUST 151 00:10:56,190 --> 00:10:59,659 RIGHT HERE. MAGIC IS BEAUTIFUL. 152 00:10:59,661 --> 00:11:04,897 MAGIC IS REAL. AND WHEN THE PEOPLE SAY, OH, BUT 153 00:11:04,899 --> 00:11:10,903 IT'S JUST A TRICK. YEAH, BUT WHEN YOU COMBINE THE 154 00:11:10,905 --> 00:11:14,774 TRICK WITH THE ACTING, WITH THE PREPARATION, AND IN MY CASE THAT 155 00:11:14,776 --> 00:11:21,013 I DO COMEDY MAGIC AND THE PEOPLE START LAUGHING, THAT'S MAGICAL. 156 00:11:21,015 --> 00:12:06,992 ¶ 157 00:12:06,994 --> 00:12:22,141 ¶ 158 00:12:22,143 --> 00:12:24,477 ¶ 159 00:12:24,479 --> 00:12:27,680 >> UP NEXT. GROWING UP IN GARDEN CITY, 160 00:12:27,682 --> 00:12:29,515 KANSAS, WAS NOT EASY FOR VI TRAN. 161 00:12:29,517 --> 00:12:32,351 HE AND HIS FAMILY WERE REFUGEES FROM VIETNAM. 162 00:12:32,353 --> 00:12:34,887 THEIR PERILOUS JOURNEY FROM SAIGON THROUGH SOUTHEAST 163 00:12:34,889 --> 00:12:38,357 ASIA TOOK TWO YEARS. AFTER TAKING MANY TWISTS AND 164 00:12:38,359 --> 00:12:41,761 TURNS TO FIND HIS WAY IN LIFE, VI TRAN COBBLED HIS EXPERIENCES 165 00:12:41,763 --> 00:12:44,764 INTO A UNIQUE SET OF ARTISTIC SKILLS THAT LED HIM TO A CAREER 166 00:12:44,766 --> 00:12:47,166 DOING WHAT HE LOVES. WE GO TO KANSAS CITY, MISSOURI, 167 00:12:47,168 --> 00:12:52,638 FOR THE STORY. >> WE SPENT $65.26 ON POSTERS 168 00:12:52,640 --> 00:13:00,880 AND SCRIPTS THIS TIME. I'M VERY AMBITIOUS AND ALWAYS 169 00:13:00,882 --> 00:13:02,148 HAVE BEEN, BUT I'M ALSO A REALIST. 170 00:13:02,150 --> 00:13:03,682 I MEAN, WHEN I WAS STUDYING THEATER IN COLLEGE, I 171 00:13:03,684 --> 00:13:05,151 LOOKED IN THE MIRROR. I DIDN'T HAVE ANY DELUSIONS OF 172 00:13:05,153 --> 00:13:09,321 GRANDEUR. I'M 5'4" AND VIETNAMESE. 173 00:13:09,323 --> 00:13:10,956 THE ODDS WERE AGAINST ME MAKING IT IN THIS PROFESSION AS A 174 00:13:10,958 --> 00:13:14,160 PERFORMER. THEY HAVEN'T LEARNED THIS. 175 00:13:14,162 --> 00:13:19,131 I WILL NEVER BE THEIRS. SO I KNEW I HAD TO BE ADAPTABLE 176 00:13:19,133 --> 00:13:22,434 AND MALLEABLE AND SHREWD IN ORDER TO CONTINUE TO WORK. 177 00:13:22,436 --> 00:13:24,970 WE WILL WAIT UNTIL THE BABY IS BIGGER. 178 00:13:24,972 --> 00:13:28,440 WHEN HE IS OLD ENOUGH TO TRAVEL, WE WILL GO TOGETHER. 179 00:13:28,442 --> 00:13:30,876 THAT TENACITY LED ME DOWN A LOT OF DIFFERENT PATHS. 180 00:13:30,878 --> 00:13:36,649 ¶ AS FAR AS BEING A PERFORMER, 181 00:13:36,651 --> 00:13:38,651 BEING AN EDUCATOR, THAT TAUGHT ME EMPATHY. 182 00:13:38,653 --> 00:13:42,521 WORKING LOTS AND LOTS OF TEMP JOBS, WAITING A LOT OF TABLES, 183 00:13:42,523 --> 00:13:53,499 SLINGING A LOT OF DRINKS, BUT LEARNING EVERY STEP OF THE WAY. 184 00:13:53,501 --> 00:13:57,269 >> SO A COUPLE OF YEARS AGO WHEN JOE ZWILLENBERG, THE FLEA 185 00:13:57,271 --> 00:13:59,104 MARKET'S OWNER, OFFERED VI THE OPPORTUNITY TO BOOK AND MANAGE 186 00:13:59,106 --> 00:14:01,507 THE EVENT SPACE AROUND BACK WHICH HAD PREVIOUSLY HOUSED AN 187 00:14:01,509 --> 00:14:02,641 IMPROV COMEDY GROUP, HE SAID "SURE." 188 00:14:02,643 --> 00:14:05,678 THEN HE STARTED TO WORRY. >> I HAD SEVERAL FRIENDS WHO 189 00:14:05,680 --> 00:14:08,314 ALSO RAN VENUES OR CLUBS OR THEATERS, AND I THOUGHT TO 190 00:14:08,316 --> 00:14:12,685 MYSELF, OH, MAN, YOU KNOW, WE'RE FRIENDS, BUT I WONDER HOW 191 00:14:12,687 --> 00:14:16,555 THEY'RE GONNA TAKE THIS. I WONDER IF THEY'RE GOING TO 192 00:14:16,557 --> 00:14:20,926 KIND OF CROSS THEIR EYES AT ME OR BE LIKE, OH, HERE'S MORE 193 00:14:20,928 --> 00:14:22,394 COMPETITION. BUT IT WAS THE EXACT OPPOSITE. 194 00:14:22,396 --> 00:14:25,297 THEY WERE THE FIRST ONES TO CALL AND SAY WHAT DO YOU NEED? 195 00:14:25,299 --> 00:14:28,834 DO YOU NEED CURTAINS? DO YOU NEED CHAIRS? 196 00:14:28,836 --> 00:14:32,905 YOU KNOW, HOW CAN WE HELP? >> WITH A NAME THAT NODS TO THE 197 00:14:32,907 --> 00:14:37,009 BURGERS THE SPACE UP FRONT IS KNOWN FOR AND AN EVEN SLYER NOD 198 00:14:37,011 --> 00:14:40,679 TO HIS GARDEN CITY MASCOT, THE BUFFALO ROOM HAS BEEN STEADILY 199 00:14:40,681 --> 00:14:44,116 ROLLING ALONG, SHOWCASING A LITTLE BIT OF EVERYTHING, 200 00:14:44,118 --> 00:14:50,256 CABARET AND COMEDY, FILM AND BURLESQUE, MUSICAL TRIBUTES, 201 00:14:50,258 --> 00:14:53,893 STAGED READINGS, AND ORIGINAL PLAYS OF ALL KINDS, INCLUDING 202 00:14:53,895 --> 00:14:56,829 FRINGE FESTIVAL PRODUCTIONS LIKE THIS ONE. 203 00:14:56,831 --> 00:14:59,865 >> YES. THAT IS THE ONE THING WE'RE 204 00:14:59,867 --> 00:15:04,970 DOING HERE! >> YOU JUST GOT IT. 205 00:15:04,972 --> 00:15:10,175 >> KEVIN AND KING COMPANY'S BANNER AUDITIONS RETURNED FOR AN 206 00:15:10,177 --> 00:15:13,479 ENCORE IN AUGUST, THE SAME TIME VI WAS IN CHICAGO DIRECTING A 207 00:15:13,481 --> 00:15:17,750 NEW MUSICAL THERE. >> MY MOTHER SAID THAT MY FATHER 208 00:15:17,752 --> 00:15:20,052 THAT I TOOK AFTER MY GRANDFATHER, WHO WAS AN 209 00:15:20,054 --> 00:15:24,390 ARCHITECT. HE WOULD DESIGN THESE RESORTS 210 00:15:24,392 --> 00:15:27,393 AND BUILD THEM AND GO ON TO THE NEXT THING AND BUILD THAT. 211 00:15:27,395 --> 00:15:30,529 IT CLICKED FOR ME LIKE I HAVE THAT SAME KIND OF SPIRIT. 212 00:15:30,531 --> 00:15:34,199 >> MY FATHER ESCAPED VIETNAM. >> I LIKE TO CONCEPTUALIZE 213 00:15:34,201 --> 00:15:36,101 THINGS. I LIKE TO DRAW A BLUEPRINT FOR 214 00:15:36,103 --> 00:15:39,238 IT, AND THEN I LIKE TO EXECUTE. AND THEN I LIKE TO MOVE ON TO 215 00:15:39,240 --> 00:15:44,376 THE NEXT THING. THIS IS MY OFFICE HOURS. 216 00:15:44,378 --> 00:15:46,745 THIS IS HOW I KEEP TRACK OF THAT. 217 00:15:46,747 --> 00:15:49,882 RED AND YELLOW HERE ARE CONFLICTS. 218 00:15:49,884 --> 00:15:52,818 BLUE IS MY MUSIC CALENDAR FOR MY BAND. 219 00:15:52,820 --> 00:15:57,790 >> SPREADSHEETS AND COLOR CODED GOOGLE CALENDARS LOOM LARGE IN 220 00:15:57,792 --> 00:15:59,491 VI'S QUEST FOR BETTER TIME MANAGEMENT. 221 00:15:59,493 --> 00:16:02,861 HE TAKES IT SERIOUSLY. >> KEEPING A GOOD CALENDAR KEEPS 222 00:16:02,863 --> 00:16:08,334 ME HONEST, AND IT REMINDS ME THAT NO ONE'S GOING TO ACCUSE 223 00:16:08,336 --> 00:16:11,370 YOU OF BEING LAZY. LOOK, YOU'VE LOGGED THESE HOURS. 224 00:16:11,372 --> 00:16:13,605 IT'S OKAY TO TURN IT OFF FOR THE DAY. 225 00:16:13,607 --> 00:16:15,507 IT'S OKAY TO DO A LEISURE ACTIVITY. 226 00:16:15,509 --> 00:16:19,845 IT'S OKAY TO ENJOY DINNER WITH YOUR WIFE. 227 00:16:19,847 --> 00:16:26,251 >> OF COURSE, AT ANY GIVEN TIME, HIS WIFE McKENZIE GOODWIN TRAN, 228 00:16:26,253 --> 00:16:29,221 MAY BE EQUALLY BUSY WITH A THEATER PROJECT OF HER OWN. 229 00:16:29,223 --> 00:16:33,092 IF NOT ONE OF THE STUFFED BUFFALO PRODUCTIONS THEY TACKLE 230 00:16:33,094 --> 00:16:35,594 IN TANDEM. >> IT'S ALWAYS, OF COURSE, IN 231 00:16:35,596 --> 00:16:38,931 YOUR IMAGINATION AS A THEATER ARTIST TO HAVE YOUR OWN SPACE. 232 00:16:38,933 --> 00:16:44,370 IT'S AN INCREDIBLE LUXURY AND A WONDERFUL THING TO HAVE AND TO 233 00:16:44,372 --> 00:16:49,208 KNOW ALL THESE AMAZING ARTISTS. >> IT HELPS THAT McKENZIE AND VI 234 00:16:49,210 --> 00:16:53,112 ARE GRADUATED OF THE KANSAS CITY THEATER PROGRAM WITH AN EMPHASIS 235 00:16:53,114 --> 00:16:56,148 ON LEARNING THE CRAFT. >> HAVING RESOURCES IN SOME WAYS 236 00:16:56,150 --> 00:16:58,884 OPENS UP YOUR CREATIVITY BECAUSE YOU HAVE TO FIND CREATIVE 237 00:16:58,886 --> 00:17:01,653 SOLUTIONS TO THINGS IN ORDER TO MAKE THINGS HAPPEN, AND OFTEN 238 00:17:01,655 --> 00:17:03,622 THE BEST IDEAS COME WHEN YOU HAVE LIMITATIONS. 239 00:17:03,624 --> 00:17:07,926 >> IF TWO HEADS ARE GOOD, THEN THREE MIGHT BE EVEN BETTER. 240 00:17:07,928 --> 00:17:12,664 ENTER KATIE GILCHRIST, THE WELL-KNOWN LOCAL ARTIST SINGS 241 00:17:12,666 --> 00:17:17,836 WITH THE VI TRAN BAND AND OFTEN CO-DIRECTS PRODUCTIONS HERE TOO. 242 00:17:17,838 --> 00:17:22,875 >> MY WIFE AND KATIE MET BEFORE MY WIFE AND I MET, AND THEY WERE 243 00:17:22,877 --> 00:17:26,779 AT A DIRECTOR'S TABLE TOGETHER. SO THEY HAVE THIS HIVE MIND. 244 00:17:26,781 --> 00:17:29,348 THEY HAVE THIS SHORTHAND OF COMMUNICATION WITH THE TWO OF 245 00:17:29,350 --> 00:17:33,485 THEM, AND SO WHEN IT COMES TO PRODUCING A SHOW TOGETHER, I'M A 246 00:17:33,487 --> 00:17:35,721 REDUNDANCY. SO I SAID, YOU KNOW WHAT, WHY 247 00:17:35,723 --> 00:17:39,158 DON'T YOU GUYS TAKE LEAD ON DIRECTING, AND IF YOU NEED A 248 00:17:39,160 --> 00:17:41,593 THIRD EYE, THEN I'LL GIVE MY INPUT. 249 00:17:41,595 --> 00:17:43,929 OTHERWISE, YOU KNOW, I'LL BE IN THE BACK OF THE ROOM ON THE 250 00:17:43,931 --> 00:17:48,634 LAPTOP THINKING ABOUT OUR PROMOTIONAL STRATEGY. 251 00:17:48,636 --> 00:17:53,205 SOMETIMES I FEEL LIKE FOR THE LAST TEN YEARS, I'VE EVOLVED 252 00:17:53,207 --> 00:17:56,708 MORE TOWARDS FOUR PART BUSINESS, ONE PART ART, BUT THAT'S SO THAT 253 00:17:56,710 --> 00:18:05,651 I COULD BUILD A FOUNDATION SO THAT NOW, HEY, I DO HAVE THAT 254 00:18:05,653 --> 00:18:07,953 SPARE TIME TO SIT DOWN WITH MY GUITAR AND BECOME A BETTER 255 00:18:07,955 --> 00:18:15,661 PLAYER. >> IF AS THEY SAY TIMING IS 256 00:18:15,663 --> 00:18:19,898 EVERYTHING, VI'S HAS BEEN IMPECCABLE. 257 00:18:19,900 --> 00:18:23,535 HE HIT TOWN IN 2005 JUST AS THE CROSSROADS WAS BOOMING, THE 258 00:18:23,537 --> 00:18:26,538 THEATER SCENE EXPANDING, AND WITH THE KAUFMAN AND SPRINT 259 00:18:26,540 --> 00:18:30,676 CENTER POISED TO JOIN THE S SKYLINE. 260 00:18:30,678 --> 00:18:33,579 IN SHORT, ALL THE BUILDING BLOCKS OF A CULTURAL RENAISSANCE 261 00:18:33,581 --> 00:18:36,715 THAT'S HELPING WHAT HE CALLS MIDDLE CLASS ARTISTS THAT CHOOSE 262 00:18:36,717 --> 00:18:39,218 TO LIVE HERE. >> WHEN YOU'RE ABLE TO WORK 263 00:18:39,220 --> 00:18:42,387 CONSISTENTLY OR YOU'RE ABLE TO CREATE YOUR OWN WORK, THEN 264 00:18:42,389 --> 00:18:50,929 YOU'RE MORE LIKELY TO STAY. IN THE AGE OF THE INTERNET WHERE 265 00:18:50,931 --> 00:18:53,465 THE INTERNET SURVIVES AN INTERNATIONAL TOWN SQUARE, MAYBE 266 00:18:53,467 --> 00:18:56,768 I GET TO CHOOSE WHERE I LIVE. BECAUSE IF I ESTABLISH MYSELF 267 00:18:56,770 --> 00:18:59,371 HERE, THERE'S NOTHING TO SAY THAT I CAN'T GO TO WORK IN 268 00:18:59,373 --> 00:19:06,812 CHICAGO OR GO TO WORK IN NEW YORK WHEN A PROJECT OR AN OFFER 269 00:19:06,814 --> 00:19:09,748 COMES OR WITH MY OWN PROJECT, BUT AT THE SAME TIME, WAKE UP IN 270 00:19:09,750 --> 00:19:16,088 MY OWN BED IN A COMMUNITY THAT I LOVE. 271 00:19:16,090 --> 00:19:24,363 >> FINALLY, A PASSER-BY MIGHT GET A SURPRISING EYEFUL ALONG 272 00:19:24,365 --> 00:19:29,701 THE RIVER IN COLUMBUS, OHIO. HERE NOT LOUNGING IN THE USUAL 273 00:19:29,703 --> 00:19:33,839 WAY, THEY'RE LOUNGING IN A HUMAN FASHION. 274 00:19:33,841 --> 00:19:54,159 ARTIST TERRY ALLEN MADE THIS WHIMSICAL ART ALONG THE STRETCH. 275 00:19:54,161 --> 00:19:59,865 >> INITIALLY, WHEN I CAME HERE, I'VE NEVER LOOKED AT COLUMBUS 276 00:19:59,867 --> 00:20:04,903 FROM THE POINT OF VIEW OF REALLY DOING SOMETHING OUT IN THE CITY. 277 00:20:04,905 --> 00:20:08,240 SO I WALKED AROUND THE CITY AND LOOKED AT DIFFERENT SIGHTS AND 278 00:20:08,242 --> 00:20:11,210 PROPOSED DIFFERENT KIND OF IDEAS IN MY MIND OF THINGS I CAN DO. 279 00:20:11,212 --> 00:20:22,020 BUT I HEARD SOMEONE SAY THAT SCIOTO RIVER HAD THE DEER. 280 00:20:22,022 --> 00:20:25,424 AND THAT KIND OF PIQUED MY INTEREST, AND I STARTED THINKING 281 00:20:25,426 --> 00:20:28,594 ABOUT DEER. IT WAS SUPPOSED TO BE IN THIS 282 00:20:28,596 --> 00:20:31,263 AREA WHERE PEOPLE KIND OF LOUNGED AROUND AND WALKED 283 00:20:31,265 --> 00:20:33,465 AROUND. I JUST STARTED THINKING ABOUT 284 00:20:33,467 --> 00:20:36,768 DEER INSTEAD OF PEOPLE DOING THE SAME THING, JUST KIND OF 285 00:20:36,770 --> 00:20:38,837 LOUNGING AROUND. AND THAT'S REALLY WHERE THE IDEA 286 00:20:38,839 --> 00:21:00,192 CAME FROM. WHEN I DO HAVE A PROJECT, THAT'S 287 00:21:00,194 --> 00:21:02,995 THE FIRST THING I DO IS THINKING AND MAKING NOTES AND JUST KIND 288 00:21:02,997 --> 00:21:06,398 OF GETTING IT OUT OF MY HEAD ONTO A SHEET OF PAPER. 289 00:21:06,400 --> 00:21:14,906 IT CAN GO ANY DIRECTION. SO THERE'S SEVERAL PROPOSALS 290 00:21:14,908 --> 00:21:18,510 THAT I MADE, NOT JUST THE DEER, I PROPOSED FOR SPRING AND LONG 291 00:21:18,512 --> 00:21:26,451 STREET, NEONS OF SPRINGING AND LONGING THAT WOULD BE ON THESE 292 00:21:26,453 --> 00:21:28,086 TUNNELS THAT PEOPLE GO IN AND OUT OF. 293 00:21:28,088 --> 00:21:31,823 THERE'S ONE CALLED THE COLUMBUS STUMP, WHICH IS A HUGE TREE 294 00:21:31,825 --> 00:21:34,926 STUMP WITH CARVINGS IN EVERY CONCEIVABLE LANGUAGE THAT SAYS 295 00:21:34,928 --> 00:21:39,898 WISH. SOME OF THEM ARE ABSOLUTELY 296 00:21:39,900 --> 00:21:41,933 IMPOSSIBLE. THAT'S WHERE THE POSSIBLE, 297 00:21:41,935 --> 00:21:43,535 IMPOSSIBLE. SOME OF THEM WERE MADE, OTHERS 298 00:21:43,537 --> 00:21:47,439 ARE JUST WISHFUL THINKING AND WHATEVER. 299 00:21:47,441 --> 00:21:51,443 SO IT'S REALLY MORE OF A THOUGHT PROCESS, I THINK, THAT HAPPENS 300 00:21:51,445 --> 00:22:04,790 ON PAPER. 301 00:22:04,792 --> 00:22:13,832 DID THE DRAWINGS AND HAD IDEAS OF WHAT THEY MIGHT LOOK LIKE. 302 00:22:13,834 --> 00:22:22,507 I GOT FORMS FROM A TAXIDERMIST IN LOUISIANA AND THEIR ACTUAL 303 00:22:22,509 --> 00:22:29,815 STYROFOAM FORMS THAT TAXIDERMY GUYS USE, AFTER THEY SKIN THE 304 00:22:29,817 --> 00:22:40,158 DEER, THEY PUT IT BACK ON. AND I USED THAT AS AN ARMATURE 305 00:22:40,160 --> 00:22:44,763 AND WORKED AT A FOUNDRY THAT I'VE WORKED AT FOR YEARS IN WALA 306 00:22:44,765 --> 00:22:50,035 WALA, WASHINGTON. SO WE SET UP THESE PIECES AND 307 00:22:50,037 --> 00:22:52,938 BUILT IT AND KIND OF CONSTRUCTED IT INTO THE FORMS THAT YOU SEE 308 00:22:52,940 --> 00:22:59,544 OUT THERE NOW AND COVERED WITH CLAY AND MODELED THE CLAY AND 309 00:22:59,546 --> 00:23:02,047 THEN MADE A MOLD OF THEM. IT'S HARD, WHEN YOU'RE TALKING 310 00:23:02,049 --> 00:23:05,717 ABOUT DEER, I THINK PEOPLE INSTANTLY HAVE AN IMAGE IN THEIR 311 00:23:05,719 --> 00:23:11,623 HEAD OF WHATEVER DEER THEY SEE AS A SCULPTURE IN THEIR MIND. 312 00:23:11,625 --> 00:23:14,593 THESE ARE REALLY YOU KIND OF HAVE TO BE THERE. 313 00:23:14,595 --> 00:23:17,562 YOU HAVE TO GO LOOK BECAUSE THEY'VE BEEN HUMANIZED IN THE 314 00:23:17,564 --> 00:23:24,302 SENSE THAT THEY STILL LOOK LIKE DEER, BUT THEY'RE ALSO HUMAN. 315 00:23:24,304 --> 00:23:27,005 AS FAR AS A LOT OF THEIR JOINTS, YOU WOULD NEVER SEE JOINTS LIKE 316 00:23:27,007 --> 00:23:32,677 THAT ON A REAL DEER, BUT I DID THAT TO KIND OF, I THINK, MAKE 317 00:23:32,679 --> 00:23:42,754 THEM ACCESSIBLE. I THINK THAT'S WHAT'S SO 318 00:23:42,756 --> 00:23:48,160 SEDUCTIVE TO ME ABOUT IT IS THAT IT BECOMES REALLY SOMETHING THAT 319 00:23:48,162 --> 00:23:57,669 PEOPLE WANT TO BE WITH AND WANT TO ACTUALLY TOUCH. 320 00:23:57,671 --> 00:24:02,407 NO MATTER HOW YOU THINK THROUGH SOMETHING, AS SOON AS IT'S 321 00:24:02,409 --> 00:24:05,277 THERE, IT'S REAL, AND IT BECOMES SOMETHING ELSE. 322 00:24:05,279 --> 00:24:10,282 IT BECOMES ITS OWN LIFE, YOU KNOW. 323 00:24:10,284 --> 00:24:13,585 AND THAT'S REALLY IMPORTANT, I THINK. 324 00:24:13,587 --> 00:24:19,324 THAT IT DOES SOMETHING. IT DOESN'T JUST SIT THERE AND 325 00:24:19,326 --> 00:24:21,927 SAY I'M A POLITICIAN. I'M A GENERAL OR WHATEVER. 326 00:24:21,929 --> 00:24:27,632 THIS ONE IS SITTING AS A DEER. IT'S NOT SAYING ANYTHING. 327 00:24:27,634 --> 00:24:31,736 IT'S JUST SITTING THERE. AND I LOVE IT WHEN SOMEBODY 328 00:24:31,738 --> 00:24:36,241 RESPONDS IN A WAY I NEVER ANTICIPATED. 329 00:24:36,243 --> 00:24:40,712 OR SAYS SOMETHING YOU NEVER ANTICIPATED. 330 00:24:40,714 --> 00:24:43,682 IT MAKES YOU THINK ABOUT IT IN A WAY YOU NEVER THOUGHT. 331 00:24:43,684 --> 00:24:46,485 BUT I THINK THAT'S WHAT HAPPENS WITH PUBLIC WORK. 332 00:24:46,487 --> 00:24:48,820 THAT'S WHY I THINK THEY'RE SO IMPORTANT. 333 00:24:48,822 --> 00:24:53,925 BECAUSE IT REALLY IS SOMETHING TH 334 00:24:53,927 --> 00:24:56,428 THAT, EVEN THOUGH IT'S PUBLIC, IT'S SO IMPORTANT TO EACH 335 00:24:56,430 --> 00:25:00,565 VIEWER, EACH PERSON THAT LOOKS AT IT. 336 00:25:00,567 --> 00:25:03,902 I THINK ITS RESISTANCE THAT PEOPLE WILL HAVE TO PUBLIC WORKS 337 00:25:03,904 --> 00:25:09,307 IS USUALLY BECAUSE THEY ENCOUNTER IT AND THEY ARE USED 338 00:25:09,309 --> 00:25:14,546 TO PASSING A PLACE DAY AFTER DAY AND SUDDENLY THERE IS SOMETHING 339 00:25:14,548 --> 00:25:16,982 DIFFERENT. IMMEDIATELY FOR SOME REASON, 340 00:25:16,984 --> 00:25:23,588 DIFFERENT MEANS WRONG, BAD. IT'S BLOCKING SOMETHING. 341 00:25:23,590 --> 00:25:32,797 BUT I THINK OVER TIME PEOPLE GET COMFORTABLE. 342 00:25:32,799 --> 00:25:51,483 >> AND THAT WRAPS IT UP FOR THIS EDITION OF "ARTS." 343 00:25:51,485 --> 00:25:57,188 FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS WHERE YOU CAN FIND 344 00:25:57,190 --> 00:26:00,392 FEATURES, BLOGS, AND INFORMATION ON UPCOMING ARTS EVENTS. 345 00:26:00,394 --> 00:26:03,428 I'M APRIL ANCIRA. I'LL SEE YOU WITH MORE "ARTS" 346 00:26:03,430 --> 00:26:04,963 NEXT WEEK.