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>> I'M ERIK FORD FOR MADE HERE.

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WITH WHALES FROM MASSACHUSETTS

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INTRODUCES US TO CHARLIE HUNTER

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IN HIS FILM I KNOW IT WHEN I SEE

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IT.

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CHARLIE HUNTER, AN IRASCIBLE AND

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CHARISMATIC PAINTER, SHARES HIS

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MASTERY OF CARAFE AND HIS WISDOM

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BULLPEN THE LANDSCAPE OF HIS

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HOME STATE.

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I FOUND MYSELF INSTANDLY

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CAPTURED AND I'M SURE YOU WILL

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TOO.

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YOU CAN WATCH THIS AND MANY

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OTHER MAJOR STORIES STREAMING ON

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VERMONTPBS.ORG AND THROUGH THE

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PBS APP.

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THANKS FOR WATCHING

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>> I SUCK ADD RATINGS AND I SUCK

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AT MUSIC SO HERE I AM DOING WHAT

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I CAN DO.

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GLIE REMEMBER THE EXACT MOMENT I

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FELL IN LOVE WITH TRAINS.

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HALF A LEAGUE, HALF A LEAGUE,

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HALF A LEAGUE ONWARD.

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STORMED AT WITH SHOT AND SHELL,

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THE HORSE AND HERO FELL, THEY

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THAT HAD FOUGHT SO WELL, ALL

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THAT WAS LEFT, ALL THAT WAS LEFT

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OF 600.

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I WOULDN'T TAKE BRATTLEBORO IF

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YOU GAVE IT TOE IN ON A STICK.

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I LIKE IT JUST FINE BUT IT'S NOT

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MY CUP OF TEA.

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YOU HAVE TO LIVE SOMEWHERE.

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I WOULD RATHER LIVE HERE WITH A

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BUNCH OF OUTLIERS INSTEAD OF A

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MAINSTREAM PLACE WITH CRAPPY

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TRAFFIC.

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OH, I'M LOOKING AT THE CAMERA,

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AREN'T I?

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I CAN DO WHATEVER I WANT?

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OH.

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I KNOW.

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SUZANNE TAKES YOU TO A PLACE BY

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THE RIVER!

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BREAKFAST TIME.

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DELICIOUS.

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MMM.

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LOOK AT THAT!

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SMELLS LIKE BURNED TIRES.

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WHEN WE WAKE UP IN THE MORNING

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WE'RE IN A FOUL MOOD BUT THEN WE

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GET TO EAT DELICIOUS FOOD,

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DELICIOUS FOOD, DELICIOUS FOOFD,

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IT TASTES SO GOOD, IT TASTES SO

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GOOD.

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I JUST SING IT FOR AS LONG AS

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THE FOOD EATING RITUAL TAKES

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PLACE.

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EAT!

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EAT!

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NEW YORK HAS INVADED BY BEAVERS.

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THIS LOOKS LIKE DOG -- SOMETIMES

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IT'S LIKE CAT , SOMETIMES IT'S

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LIKE HORSE -- TODAY IT'S FOUL.

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I COME HERE EVERY MORNING.

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THE FOOD IS WONDERFUL.

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YOU GET TO BE SURROUNDED BY

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BEAUTY THAT YOU DON'T HAVE TO

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MAINTAIN.

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IT'S JUST -- IT'S JOYFUL.

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I MEAN, IT'S UNPRE-TEN CHUS.

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BYE!

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>> BYE, GUYS!

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THIS IS GRETA.

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GRETA ROCKS.

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THANKS.

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I THINK IT'S EMBLEMATIC OF

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BELLA'S FALLS.

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IT'S QUIRKY AND INDIVIDUALISTIC.

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BELLA'S FALLS WAS NOT AN ARTIST

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TOWN.

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EVERYBODY IS COVERED IN CAT

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HAIR.

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YOU GO UP TO MONTREAL THEY HAVE

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WORSE WEATHER THAN WE DO AND

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EVERYBODY LOOKS FABULOUS.

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YOU COME HERE, EVERYBODY LOOKS

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LIKE HELL.

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WE DO NOT LIKE HUGGING.

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WHEN I HUG IT'S KIND OF A

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MODIFIED HEIMLICH MANEUVER BUT I

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GREW UP IN NEW ENGLAND.

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I DON'T HAVE ANY OTHER

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PERSPECTIVE.

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I THINK THEY ARE MORE FRIENDLY.

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MORE FRIENDLY BUT ALSO MORE

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LIKELY TO KILL YOU.

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YOU'VE GOT A MIX OF PEOPLE WHO

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ARE LONG TIME FROM HERE, YOU'VE

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GOT A BUNCH OF INTERESTING

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PEOPLE THAT HAVE COME HERE.

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NO ONE IS THINKING WHAT USED TO

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BE HERE IS GOING TO COME BACK.

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DON'T PAY ANY ATTENTION TO THESE

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SONS -- NO ONE THINKS THAT THE

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PAPER MILLS ARE COMING BACK.

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BELLA'S FALLS IS OVER.

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THAT I REMEMBER WHEN I LIVED IN

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NORTHAMPTON THERE WAS A CARTOON

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THAT SAID, GREENWICH VILLAGE

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GONE RURAL, WITH A PICTURE OF A

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OVERALLS WEARING FARMER AND A

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BLACK WOMAN IN CAT'S EYEGLASSES.

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SHE SAYS, WANT TO GO TO THE

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TRACTOR PULL?

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HE SAYS, NO I THOUGHT I WOULD GO

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TO THE CINEMA AND CATCH DIVA

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AGAIN.

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>> THANK YOU!

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>> YES, WE'RE GOING TO GO TO THE

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STUDIO.

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WE'RE GOING TO -- THE WORDS OF

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MY FRIEND PATRICK LEE, OUR JOB

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AS ARTISTS IS TO LEARN TO

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ACCURATELY RENDER THINGS AND

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THEN -- IT UP.

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BLAH BLAH BLAH BLAH BLAH.

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>> YOU PEOPLE ARE BEAUTIFUL!

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JUST BEAUTIFUL!

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THE ANALOGY I HAVE USED OFTEN

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WHEN TEACHING IS TOWNS VAN ZANDT

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SONG PANCHO AND LEFTY.

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LIVING ON THE ROAD MY FRIEND IS

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GOING TO MAKE YOU FREE AND CLEAN

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BUT NOW YOU WEAR YOUR SKIN LIKE

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HIGHER THAN AND YOUR BREATH'S AS

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HARD AS KEROSENE WHAT.

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DOES THAT LITERALLY MEAN?

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HARD AS KEROSENE?

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YOU KNOW EXACTLY WHAT HE MEANS.

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THAT I WOULD ASPIRE TO PAINT.

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TO HAVE A PAINTING EVEN APPROACH

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THAT LEVEL OF STORY TRUTH.

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OH, GOD, THAT WAS ELOQUENT.

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I REMEMBERED IT SINCE I WAS NINE

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OR TEN, I'M NOT GOING TO FORGET

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IT IN THE NEXT TWO MINUTES!

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IT WAS LATE AFTERNOON AND THE

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SUN WAS GOLDEN HOUR, THE LITTLE

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FREIGHT TRAIN CAME BY.

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I READ THE SIDES OF THE BOXCARS

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AND SAID ONE THAT SAID NICKEL

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PLATE ROAD.

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THE LETTERING WAS JUST

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FANTASTIC.

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THE BEAUTY OF THE LIGHT ON THIS

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KIND OF FORGOTTEN OBJECT THAT

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WAS STILL IN MOTION, IT JUST WAS

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PROFOUND TO ME.

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I WAS HOOKED ON TRAINS.

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MY THEORY IS ALL RIGHT THINKING

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TWO-YEAR-OLDS LOVE TRAINS.

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AND THEN PEOPLE LOSE TOUCH WITH

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THEIR -- THEIR -- WHAT STEERED

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THEM RIGHT ABOUT CHILDHOOD.

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THEY FORGET.

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I JUST -- TRAINS ARE MY RIGHT

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OBJECT, YOU KNOW?

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PART OF WHY I LIKE TRAINS SO

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MUCH IS GRAPHICALLY THEY ROCK.

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NICE HORIZONTALS CUTTING THROUGH

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THE LAND.

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ALSO FASCINATION WITH PASSAGE OF

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TIME.

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IT'S IMPORTANT.

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>> WHY?

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>> BECAUSE IT'S JAMES THURBER

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WROTE, GETS US ALL IN THE END.

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WHAT'S MORE IMPORTANT HUMAN

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ENDEAVOR IS ABOUT ATTEMPTING TO

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LITERALLY MAKE ONE'S MARK IN THE

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TIME THAT ONE HAS.

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YEAH.

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YEAH.

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I THINK THAT'S THE MOST

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ENDEARING THING ABOUT HUMANS.

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WE'RE GOING TO FAIL.

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BUT YET WE TRY.

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>> THE ONE PARTICULAR SKILL SET

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I HAVE ALLOWS ME TO LOOK AT

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SOMETHING AND DO A DECENT

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GENERALLY DO A DECENT PAINTING

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OF IT IN A COUPLE OF HOURS.

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THAT IN AND OF ITSELF IS OF

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LIMITED INTEREST.

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IT'S LIKE A DOG BEING ABLE TO

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DANCE ON ITS HIND LEGS.

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IF ONE ACCEPTS THAT ART IS ABOUT

201
00:10:51,266 --> 00:10:54,833
TRYING TO BREAK THROUGH THE

202
00:10:54,833 --> 00:10:56,633
INHERENT LONELINESS OF EXISTENCE

203
00:10:56,633 --> 00:10:58,733
OF SHARING WHAT IT FEELS LIKE TO

204
00:10:58,733 --> 00:11:03,600
BE ALIVE, THEN HOW DO YOU MAKE

205
00:11:03,600 --> 00:11:07,500
AN IMAGE THAT TRANSCENDS THE

206
00:11:07,500 --> 00:11:08,666
LITERAL ASPECT OF IT?

207
00:11:08,666 --> 00:11:12,033
I THINK IT'S A WORTHWHILE THING

208
00:11:12,033 --> 00:11:13,466
TO BE THINKING ABOUT.

209
00:11:13,466 --> 00:11:16,200
RATHER THAN WORKING FROM A

210
00:11:16,200 --> 00:11:17,500
PRECONCEIVED IMAGE, I'M JUST

211
00:11:17,500 --> 00:11:21,233
MAKING THESE MARKS THAT I FIND

212
00:11:21,233 --> 00:11:22,700
GRAPHICALLY INTERESTING, AND

213
00:11:22,700 --> 00:11:25,666
THEN FROM THAT ONCE THIS DRIES I

214
00:11:25,666 --> 00:11:29,666
CAN USE IT HOPEFULLY AS AN ARM

215
00:11:29,666 --> 00:11:33,400
TOUR, AN ABSTRACT COLLECTION OF

216
00:11:33,400 --> 00:11:35,933
SHAPES, MAKING IT A TRUTH

217
00:11:35,933 --> 00:11:39,333
WEILAND SCAPE OR A SOMEWHAT

218
00:11:39,333 --> 00:11:41,566
TRUTHFUL SPACE.

219
00:11:41,566 --> 00:11:43,800
WHERE IS THAT GOING TO GO?

220
00:11:43,800 --> 00:11:48,966
GOING TO END UP -- OR IS IT -- I

221
00:11:48,966 --> 00:11:52,766
HAVE NO IDEA AT THIS POINT.

222
00:11:52,766 --> 00:11:52,966
WHAT?

223
00:11:52,966 --> 00:11:54,533
SOMEONE WOULD LIKE A LITTLE MORE

224
00:11:54,533 --> 00:11:55,100
LAP TIME.

225
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I'M SORRY

226
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MY TRUTH IS IF THERE'S A CERTAIN

227
00:12:20,833 --> 00:12:22,633
LEVEL OF DESTRUCTION, IF THERE'S

228
00:12:22,633 --> 00:12:25,700
A CERTAIN LEVEL OF -- A CERTAIN

229
00:12:25,700 --> 00:12:36,100
POINT OF NO RETURN, IT FEELS FOR

230
00:12:36,100 --> 00:12:40,933
ME DISRESPECTFUL TO DOCUMENT IT.

231
00:12:40,933 --> 00:12:43,833
ONCE A CAR IS REALLY SINKING

232
00:12:43,833 --> 00:12:48,233
INTO THE EARTH, IT'S LIKE LET IT

233
00:12:48,233 --> 00:12:50,800
RUST IN PEACE.

234
00:12:50,800 --> 00:12:55,000
LET IT HAVE ITS LAST TIME BY

235
00:12:55,000 --> 00:12:55,700
ITSELF.

236
00:12:55,700 --> 00:13:01,400
>> I GUESS WHAT I WANT TO KNOW

237
00:13:01,400 --> 00:13:04,533
IS BEING VANQUISHED.

238
00:13:04,533 --> 00:13:06,633
>> WHAT THE -- ARE YOU TALKING

239
00:13:06,633 --> 00:13:07,000
ABOUT?

240
00:13:07,000 --> 00:13:08,166
>> YOU'RE TALKING ABOUT THINGS

241
00:13:08,166 --> 00:13:12,300
THAT ARE COMPLETELY DESTROYED,

242
00:13:12,300 --> 00:13:14,900
ANNIHILATED AS OPPOSED TO APOP

243
00:13:14,900 --> 00:13:15,566
LIP TICK.

244
00:13:15,566 --> 00:13:19,833
>> I DON'T WANT TO PAINT THOSE.

245
00:13:19,833 --> 00:13:22,100
>> RATHER YOUR STORE, YOUR GAS

246
00:13:22,100 --> 00:13:24,000
STATION, THERE'S A CERTAIN LEVEL

247
00:13:24,000 --> 00:13:26,666
OF SPIRIT THAT ENDURES AND

248
00:13:26,666 --> 00:13:29,400
PREVAILS THAT'S UNVANQUISHED.

249
00:13:29,400 --> 00:13:30,866
>> YES, THE NOBILITY.

250
00:13:30,866 --> 00:13:32,866
HONOR THE LIGHT BRIGADE.

251
00:13:32,866 --> 00:13:37,100
HONOR THE CHARGE THEY MADE.

252
00:13:37,100 --> 00:13:37,500
YEAH.

253
00:13:37,500 --> 00:13:39,100
THAT'S ABOUT ALL I REMEMBER OF

254
00:13:39,100 --> 00:13:42,333
CHARGE OF THE LIGHT BRIGADE.

255
00:13:42,333 --> 00:13:44,666
HALF A LEAGUE, HALF A LEAGUE,

256
00:13:44,666 --> 00:13:48,800
HALF A LEAGUE STORMED THE HORSE

257
00:13:48,800 --> 00:13:50,966
AND HERO FELL, THEY THAT HAD

258
00:13:50,966 --> 00:13:52,000
FOUGHT SO WELL.

259
00:13:52,000 --> 00:13:57,600
ALL THAT WAS LEFT, LEFT OF 600.

260
00:13:57,600 --> 00:13:59,900
YEAH.

261
00:13:59,900 --> 00:14:05,133
I LIKE THINGS THAT HAVE A MOD I

262
00:14:05,133 --> 00:14:06,133
COME OF DIGNITY.

263
00:14:06,133 --> 00:14:08,300
I LIKE WHEN THEY SLIDE OFF YOUR

264
00:14:08,300 --> 00:14:15,900
LAP AND FALL ON THE FLOOR.

265
00:14:15,900 --> 00:14:19,833
I WOULD RATHER NOT BE GIMPY.

266
00:14:19,833 --> 00:14:21,966
I DIDN'T WAKE UP ONE MORNING AND

267
00:14:21,966 --> 00:14:23,866
SAY,, GO I WOULD LIKE THE

268
00:14:23,866 --> 00:14:27,200
ADDITIONAL CHALLENGE OF BEING --

269
00:14:27,200 --> 00:14:30,266
OF HAVING LIMITED MOVEMENT, BUT

270
00:14:30,266 --> 00:14:32,800
EVERYBODY I KNOW WHO IS 60 HAS

271
00:14:32,800 --> 00:14:34,933
SOME PROBLEM OR OTHER.

272
00:14:34,933 --> 00:14:36,700
IF I I'VE GOT THIS PROBLEM THAT

273
00:14:36,700 --> 00:14:39,233
I WALK FUNNY, CAN'T REALLY USE

274
00:14:39,233 --> 00:14:43,100
MY RIGHT HAND, WHAT I'M GOING

275
00:14:43,100 --> 00:14:45,633
THROUGH DOESN'T SEEM TO BE TO BE

276
00:14:45,633 --> 00:14:47,400
ANY DIFFERENT THAN WHAT ANYBODY

277
00:14:47,400 --> 00:14:48,300
ELSE GOES THROUGH.

278
00:14:48,300 --> 00:14:50,966
THERE'S NOTHING PROFOUND ABOUT

279
00:14:50,966 --> 00:14:51,200
IT.

280
00:14:51,200 --> 00:14:53,400
NOT ENOUGH TIME, WE'RE NOT GOING

281
00:14:53,400 --> 00:14:54,933
TO GET IT ALL DONE.

282
00:14:54,933 --> 00:14:56,000
HEY, BUDDY.

283
00:14:56,000 --> 00:14:56,266
YEAH.

284
00:14:56,266 --> 00:14:57,766
THAT'S PART OF THE GAME TOO.

285
00:14:57,766 --> 00:15:01,233
I'M STILL HOPING FOR

286
00:15:01,233 --> 00:15:02,466
IMMORTALITY, BUT CURRENTLY THE

287
00:15:02,466 --> 00:15:08,533
SIGNS ARE NOT LOOKING TERRIBLY

288
00:15:08,533 --> 00:15:08,833
POSITIVE.

289
00:15:08,833 --> 00:15:12,933
I WOULD PREFER TO BE ABLE TO

290
00:15:12,933 --> 00:15:14,600
HAVE AN UNLIMITED AMOUNT OF TIME

291
00:15:14,600 --> 00:15:18,966
TO BE REALLY GOOD AT BEING A

292
00:15:18,966 --> 00:15:21,700
HUMAN BEING, BUT WE GEL AS MUCH

293
00:15:21,700 --> 00:15:22,466
TIME AS WE GET.

294
00:15:22,466 --> 00:15:35,166
WE ALL DO PRETTY MUCH.

295
00:15:35,166 --> 00:15:36,866
WELL, WHO SAYS I'M RIGHT?

296
00:15:36,866 --> 00:15:48,900
I MAY BE JUST FULL OF !

297
00:15:48,900 --> 00:15:50,466
I DON'T LIKE WORKING FROM

298
00:15:50,466 --> 00:15:50,766
PHOTOGRAPHS.

299
00:15:50,766 --> 00:15:52,433
I WILL BUT I DON'T LIKE IT.

300
00:15:52,433 --> 00:15:55,500
I'M JUST MAKING THESE MARKS THAT

301
00:15:55,500 --> 00:15:58,600
I FIND GRAPHICALLY INTERESTING,

302
00:15:58,600 --> 00:16:01,533
THEN FROM THAT ONCE THIS DRIES I

303
00:16:01,533 --> 00:16:06,433
CAN USE IT HOPEFULLY AS ANAR

304
00:16:06,433 --> 00:16:06,766
MATURE.

305
00:16:06,766 --> 00:16:12,166
IF MY HANDSHAKES AT ALL, THEY

306
00:16:12,166 --> 00:16:17,033
VOLKS STRUCTURE BUT IT'S NOT A

307
00:16:17,033 --> 00:16:17,966
STRUCTURE AT THIS POINT.

308
00:16:17,966 --> 00:16:19,633
IT'S ALSO NOT REALLY A PAINTING

309
00:16:19,633 --> 00:16:20,900
AT THIS POINT BUT IT'S A

310
00:16:20,900 --> 00:16:21,166
SOMETHING.

311
00:16:21,166 --> 00:16:25,466
I'M NOT TRYING TO MAKE THIS

312
00:16:25,466 --> 00:16:28,900
PAINTING AT THIS POINT ABOUT

313
00:16:28,900 --> 00:16:30,433
LOLA'S IN STURGEON BAY,

314
00:16:30,433 --> 00:16:31,900
WISCONSIN, I'M TRYING TO MAKE IT

315
00:16:31,900 --> 00:16:33,366
ABOUT EVERYBODY WHO STOOD IN

316
00:16:33,366 --> 00:16:40,600
FRONT OF AN ENIGMATIC, GHOSTLY

317
00:16:40,600 --> 00:16:41,400
BUILDING.

318
00:16:41,400 --> 00:16:42,900
MACHINE TOOL INDUSTRY

319
00:16:42,900 --> 00:16:43,966
SPRINGFIELD, VERMONT, HAS MOVED

320
00:16:43,966 --> 00:16:46,133
ON SO HOW IS SPRINGFIELD, VERNLT

321
00:16:46,133 --> 00:16:48,800
GOING TO REINVENT ITSELF NOW?

322
00:16:48,800 --> 00:16:50,233
INTERNATIONAL PAPER WAS FOUNDED

323
00:16:50,233 --> 00:16:51,866
IN BELLA'S FALLS.

324
00:16:51,866 --> 00:16:53,833
IT'S LONG SINCE HEADED OUT.

325
00:16:53,833 --> 00:16:56,833
HOW ISABELLA'S FALLS GOING TO

326
00:16:56,833 --> 00:16:58,966
REINVENT ITSELF NOW?

327
00:16:58,966 --> 00:17:01,000
THAT IS WHAT THESE PAINTINGS DO

328
00:17:01,000 --> 00:17:06,733
TOUCH ON.

329
00:17:06,733 --> 00:17:08,100
NOW WHAT?

330
00:17:08,100 --> 00:17:09,933
NOW CAN WE GO RIDE TRAINS?

331
00:17:09,933 --> 00:17:17,466
PRETTY SOON.

332
00:17:17,466 --> 00:17:20,033
HERE'S BOB'S TRAIN ALL PUT

333
00:17:20,033 --> 00:17:21,000
TOGETHER READY FOR THE

334
00:17:21,000 --> 00:17:21,300
PASSENGERS.

335
00:17:21,300 --> 00:17:24,600
IN THE REAR IS THE OBSERVATION

336
00:17:24,600 --> 00:17:25,633
CAR.

337
00:17:25,633 --> 00:17:27,566
THE ASKED THE CONDUCTOR TO KEEP

338
00:17:27,566 --> 00:17:30,966
AN EYE ON BOB BECAUSE THIS IS

339
00:17:30,966 --> 00:17:32,700
HIS FIRST TRAIN TRIP ALONE.

340
00:17:32,700 --> 00:17:39,200
YOU'RE ON YOUR OWN NOW, HE SAYS.

341
00:17:39,200 --> 00:17:41,166
THE HUGE LOCOMOTIVE SETS THE

342
00:17:41,166 --> 00:18:02,166
TRAIN IN MOTION, SLOWLY AT FI

343
00:18:02,166 --> 00:19:05,533
FIRST.

344
00:19:05,533 --> 00:19:08,600
OH, LOOK OUT, HERE SHE COMES.

345
00:19:08,600 --> 00:19:09,533
THERE SHALL GOES.

346
00:19:09,533 --> 00:19:12,500
SHE'S GONE, STREELG STRAIGHT

347
00:19:12,500 --> 00:19:15,333
THROUGH TEXAS LIKE A BIG

348
00:19:15,333 --> 00:19:18,066
CYCLONE, BIG, RED AND SILVER.

349
00:19:18,066 --> 00:19:22,233
SHE'S A MAD DOG STREAMLINE COME

350
00:19:22,233 --> 00:19:25,200
TO SHOW THE FOLKS.

351
00:19:25,200 --> 00:19:29,166
I ADMIRE WRITING LIKE THAT LIKE

352
00:19:29,166 --> 00:19:34,033
TOWNS VAN ZANDT OR JOHN PRYNE.

353
00:19:34,033 --> 00:19:36,333
I READ ENOUGH THAT I HAVE AN

354
00:19:36,333 --> 00:19:36,866
IDEA OF IT.

355
00:19:36,866 --> 00:19:38,066
I DON'T REALLY WANT TO LEARN

356
00:19:38,066 --> 00:19:40,033
MORE ABOUT IT.

357
00:19:40,033 --> 00:19:43,766
I PREFER NOT -- WELL, LET THE

358
00:19:43,766 --> 00:19:44,700
MYSTERY BE.

359
00:19:44,700 --> 00:19:45,666
YOU KNOW?

360
00:19:45,666 --> 00:19:49,300
I CAN DO THAT MORE EASILY WITH

361
00:19:49,300 --> 00:19:53,333
MUSIC THAN I CAN WITH ART.

362
00:19:53,333 --> 00:19:59,666
I KNOW MORE OF THE TRICKS WITH

363
00:19:59,666 --> 00:20:33,700
ART

364
00:20:33,700 --> 00:20:36,166
>> PART OF PAINTING MEANS JUST

365
00:20:36,166 --> 00:20:37,700
PAINTING OUTSIDE.

366
00:20:37,700 --> 00:20:42,433
IT IS PART OF THE AMERICAN LOVE

367
00:20:42,433 --> 00:20:44,966
OF PUTTING FOREIGN NAMES ON

368
00:20:44,966 --> 00:20:48,700
THINGS THAT, YOU KNOW, IT'S

369
00:20:48,700 --> 00:20:54,400
AFRAID IT'S DECLASSE.

370
00:20:54,400 --> 00:20:58,466
IT'S HAD A REBIRTH IN THE LAST

371
00:20:58,466 --> 00:21:02,466
TEN YEARS IN THE U.S.

372
00:21:02,466 --> 00:21:04,400
THIS YEAR MANAGED TO FINALLY

373
00:21:04,400 --> 00:21:10,966
COMBINE MY TWO LOVES OF TRAINS

374
00:21:10,966 --> 00:21:14,166
-- OF TRAINS AND PAINTING AND WE

375
00:21:14,166 --> 00:21:18,800
DID A THING CALLED ON TRAIN-AIR.

376
00:21:18,800 --> 00:21:22,100
A PAINTER FRIEND OF MINE, LARRY

377
00:21:22,100 --> 00:21:23,566
MOORE, WANTED TO SEE IF IT WAS

378
00:21:23,566 --> 00:21:25,500
POSSIBLE TO TAKE A TRAIN, JUST

379
00:21:25,500 --> 00:21:27,666
GO ONE STOP DOWN THE LINE FOR

380
00:21:27,666 --> 00:21:29,933
LIKE A WEEK, EACH DAY MOVING ONE

381
00:21:29,933 --> 00:21:31,566
STOP FURTHER DOWN, PAINTING IN

382
00:21:31,566 --> 00:21:33,866
EACH ONE OF THOSE LITTLE TOWNS.

383
00:21:33,866 --> 00:21:36,400
CONCURRENTLY I WAS REALLY

384
00:21:36,400 --> 00:21:40,266
INVOLVED WITH EFFORTS TO SAVE

385
00:21:40,266 --> 00:21:41,433
ONE PARTICULAR AMERICAN TRAIN,

386
00:21:41,433 --> 00:21:43,100
THE SOUTHWEST CHIEF.

387
00:21:43,100 --> 00:21:46,533
SHE'S A DAILY AMTRAK TRAIN

388
00:21:46,533 --> 00:21:50,166
BETWEEN CHICAGO AND LOS ANGELES.

389
00:21:50,166 --> 00:21:59,266
SO IN APRIL OF THIS YEAR, ME AND

390
00:21:59,266 --> 00:22:03,000
FIVE OTHER PLEIN AIR PAINTERS

391
00:22:03,000 --> 00:22:04,533
BOARDED IN CHICAGO.

392
00:22:04,533 --> 00:22:07,166
WE PAINTED IN LA JUNTA FOR A

393
00:22:07,166 --> 00:22:07,533
DAY.

394
00:22:07,533 --> 00:22:09,300
WE WERE GREETED BY THE MAYOR.

395
00:22:09,300 --> 00:22:10,900
WORD OF OUR COMING HAD SPREAD.

396
00:22:10,900 --> 00:22:14,400
WE ALL GOT LITTLE PENS THAT SAID

397
00:22:14,400 --> 00:22:17,800
YOU'RE ON THE LEVEL IN LA JUNTA.

398
00:22:17,800 --> 00:22:20,000
TRINIDAD, COLORADO, IS AN OLD

399
00:22:20,000 --> 00:22:22,333
MINING TOWN THAT NOW SURVIVES ON

400
00:22:22,333 --> 00:22:22,900
MARIJUANA.

401
00:22:22,900 --> 00:22:25,666
WE WENT STOP DOWN THE LINE TO

402
00:22:25,666 --> 00:22:26,433
RATON, NEW MEXICO.

403
00:22:26,433 --> 00:22:28,400
THESE GUYS SAID, LOOK, WE WERE

404
00:22:28,400 --> 00:22:29,900
COAL MINERS.

405
00:22:29,900 --> 00:22:32,033
COAL MINES ARE NOT COMING BACK.

406
00:22:32,033 --> 00:22:33,766
WE KNOW THAT THE FUTURE OF THIS

407
00:22:33,766 --> 00:22:36,333
TOWN IS GOING TO BE THROUGH THE

408
00:22:36,333 --> 00:22:37,233
ARTS.

409
00:22:37,233 --> 00:22:39,966
AFTER TRINIDAD, RATON, TO LAS

410
00:22:39,966 --> 00:22:42,533
VEGAS, NEW MEXICO, GOT ON THE

411
00:22:42,533 --> 00:22:46,466
TRAIN, WENT ONE STOP DOWN TO

412
00:22:46,466 --> 00:22:48,266
LEIME, NEW MEXICO, THEN WE HAD A

413
00:22:48,266 --> 00:22:49,833
POP-UP SHOW, PAINTING FOR

414
00:22:49,833 --> 00:22:52,333
SOMETHING GREATER THAN ONESELF.

415
00:22:52,333 --> 00:22:55,500
IT'S NOT JUST USING THE PAINT

416
00:22:55,500 --> 00:22:58,400
BECAUSE IT'S FUN TO GO PAINTING.

417
00:22:58,400 --> 00:23:00,800
IT'S USING THE POWER OF THE ARTS

418
00:23:00,800 --> 00:23:03,066
AS AN ECONOMIC DRIVER.

419
00:23:03,066 --> 00:23:06,766
IT'S HELPING EFFORTS FOR REALLY

420
00:23:06,766 --> 00:23:10,766
ADVOCACY AND IT'S ALMOST

421
00:23:10,766 --> 00:23:11,100
AMBASSADORIAL.

422
00:23:11,100 --> 00:23:12,933
GETTING PARTS OF THE COUNTRY,

423
00:23:12,933 --> 00:23:15,966
THE CURRENT RED-BLUE DIVIDE,

424
00:23:15,966 --> 00:23:17,333
GETTING PARTS OF THE COUNTRY TO

425
00:23:17,333 --> 00:23:18,700
TALK TO ONE ANOTHER AGAIN.

426
00:23:18,700 --> 00:23:20,333
WHAT I NEED TO DO FOR A MINUTE

427
00:23:20,333 --> 00:23:24,866
IS STEP BACK AND GO, HMMM.

428
00:23:24,866 --> 00:23:27,000
I CAME WITH THOSE FOLKS BECAUSE

429
00:23:27,000 --> 00:23:29,900
I WAS REALLY INTERESTED IN

430
00:23:29,900 --> 00:23:33,166
HELPING MAKE ARTS COMMUNITY AS

431
00:23:33,166 --> 00:23:35,466
OPPOSED TO GETTING ACCEPTED BY A

432
00:23:35,466 --> 00:23:36,500
PREEXISTING ONE.

433
00:23:36,500 --> 00:23:37,633
DON'T FOLLOW THE CROWD.

434
00:23:37,633 --> 00:23:39,600
WHAT THE HELL'S THE POINTS OF

435
00:23:39,600 --> 00:23:39,800
THAT?

436
00:23:39,800 --> 00:23:41,033
BUILD YOUR OWN THING.

437
00:23:41,033 --> 00:23:44,733
IT'S A MUCH BETTER DEAL FOR YOU.

438
00:23:44,733 --> 00:23:47,133
IT'S A SELFISH THING, AND IT

439
00:23:47,133 --> 00:23:49,200
GIVES OTHER PEOPLE AN

440
00:23:49,200 --> 00:23:50,766
OPPORTUNITY AND IT'S AN EXAMPLE

441
00:23:50,766 --> 00:23:53,300
FOR OTHER PEOPLE THAT THEY TOO

442
00:23:53,300 --> 00:23:56,600
SHOULD CREATE THEIR OWN REALITY

443
00:23:56,600 --> 00:24:02,733
AS OPPOSED TO TRYING TO GET THE

444
00:24:02,733 --> 00:24:04,433
HIPSTERS TO BELIEVE IN YOU.

445
00:24:04,433 --> 00:24:06,633
LOOKING OKAY OVER THERE.

446
00:24:06,633 --> 00:24:07,966
LOOKING OKAY OVER THERE.

447
00:24:07,966 --> 00:24:10,833
THIS LOOKS SOPHOMOREIC.

448
00:24:10,833 --> 00:24:12,666
NOW THEY ARE STARTING TO

449
00:24:12,666 --> 00:24:13,033
WHISPER.

450
00:24:13,033 --> 00:24:15,300
HE'S NOT GETTING THAT RIGHT!

451
00:24:15,300 --> 00:24:17,600
THAT'S NOT VERY GOOD AT ALL!

452
00:24:17,600 --> 00:24:19,733
I'M STILL GOING TO -- UP THE

453
00:24:19,733 --> 00:24:24,766
RAILROAD TRACKS, TRUST ME.

454
00:24:24,766 --> 00:24:27,566
>> THAT DID NOT BRING ME JOY.

455
00:24:27,566 --> 00:24:29,966
WHAT REMAINS TO BE DONE IS TO

456
00:24:29,966 --> 00:24:34,900
LEARN HOW TO PROPERLY LOAD A

457
00:24:34,900 --> 00:24:38,233
SQUEEGEE, OBVIOUSLY.

458
00:24:38,233 --> 00:24:40,900
EVERYTHING MEANS, YOU KNOW, JUST

459
00:24:40,900 --> 00:24:43,433
GOING TO KEEP DOING WHAT YOU DO

460
00:24:43,433 --> 00:24:44,533
UNTIL YOU KEEL OVER.

461
00:24:44,533 --> 00:24:47,000
YOU'RE GOING TO BOOGIE UNTIL YOU

462
00:24:47,000 --> 00:24:48,333
CAN'T BOOGIE NO MORE.

463
00:24:48,333 --> 00:24:50,933
EVERYONE HAS THEIR RIGHT

464
00:24:50,933 --> 00:24:51,466
OBJECTS.

465
00:24:51,466 --> 00:24:55,433
JUST GETTING BETTER AT WHAT YOU

466
00:24:55,433 --> 00:24:55,600
DO.

467
00:24:55,600 --> 00:25:11,800
YOU KNOW.

468
00:25:11,800 --> 00:25:14,466
>> YOU'RE DONE ASKING QUESTIONS?

469
00:25:14,466 --> 00:25:16,633
OH, I'M NOT DONE PAINTING.

470
00:25:16,633 --> 00:25:17,533
ALL RIGHT?

471
00:25:17,533 --> 00:25:18,333
>> LET'S SEE HERE.

472
00:25:18,333 --> 00:25:19,833
>> SEE, THAT'S GETTING

473
00:25:19,833 --> 00:25:20,133
INTERESTING.

474
00:25:20,133 --> 00:25:25,766
>> I THINK IT IS.

475
00:25:25,766 --> 00:25:28,166
>> CATHOLIC CHURCH HIT IS A

476
00:25:28,166 --> 00:25:35,100
PHILISTINE, BUT THE CREW

477
00:25:35,100 --> 00:25:35,466
APPRECIATES.

478
00:25:35,466 --> 00:25:38,533
GUILDING THE LILY.

479
00:25:38,533 --> 00:25:47,000
BLAH BLAH BLAH BLAH BLAH!

480
00:25:47,000 --> 00:25:49,433
YOU PEOPLE ARE BEAUTIFUL!

481
00:25:49,433 --> 00:25:56,700
WHAT YOU'RE DOING IS BEAUTIFUL!

482
00:25:56,700 --> 00:26:11,533
A KIND OF TRUTH WEIY LANDSCAPE.

483
00:26:11,533 --> 00:26:13,166
ATTEMPTING TO LITERALLY MAKE

484
00:26:13,166 --> 00:26:19,333
ONE'S MARK IN THE TIME THAT ONE

485
00:26:19,333 --> 00:26:25,900
HAS.

486
00:26:25,900 --> 00:26:28,233
WE'RE GOING TO FAIL.

487
00:26:28,233 --> 00:27:47,533
BUT YET WE TRY.

488
00:27:47,533 --> 00:27:49,866
>> VERMONT PBS, PARTNERING WITH

489
00:27:49,866 --> 00:27:51,066
LOCAL FILM MAKERS BRING YOU

490
00:27:51,066 --> 00:27:53,266
STORIES MADE HERE.

491
00:27:53,266 --> 00:27:54,500
FOR MORE VISIT VERMONTPBS.ORG.