WEBVTT 00:01.400 --> 00:02.733 align:left position:20% line:83% size:70% Announcer: This program was made possible by 00:02.733 --> 00:04.400 align:left position:30% line:83% size:60% contributions to your PBS station 00:04.400 --> 00:06.533 align:left position:20% line:83% size:70% from viewers like you. Thank you. 00:08.333 --> 00:08.866 align:left position:30% line:89% size:60% Sternum up. 00:08.866 --> 00:09.533 align:left position:40% line:89% size:50% Yeah. 00:09.533 --> 00:10.066 align:left position:30% line:89% size:60% Breathe deep. 00:10.066 --> 00:10.500 align:left position:40% line:89% size:50% Mm-hmm. 00:11.100 --> 00:12.266 align:left position:30% line:89% size:60% Shoulders back. 00:13.166 --> 00:14.033 align:left position:30% line:83% size:60% Now we stride. We don't... 00:15.333 --> 00:15.733 align:left position:10% line:83% size:80% Man, voice-over: A lesson from Twyla Tharp 00:16.866 --> 00:18.900 align:left position:20% line:83% size:70% in allowing our bodies to take up space, 00:19.633 --> 00:20.866 align:left position:20% line:89% size:70% even as we grow older, 00:21.733 --> 00:23.500 align:left position:10% line:89% size:80% what she refers to as amplitude. 00:24.233 --> 00:25.366 align:left position:20% line:89% size:70% Amplitude, moving out, 00:26.466 --> 00:27.833 align:left position:20% line:83% size:70% constantly feeling that you can move out. 00:28.700 --> 00:30.533 align:left position:10% line:89% size:80% As age becomes reality, I think 00:31.400 --> 00:32.666 align:left position:10% line:89% size:80% we start to retreat, we retract, 00:33.866 --> 00:36.166 align:left position:20% line:83% size:70% we become protective, we become secluded, 00:36.933 --> 00:38.233 align:left position:20% line:89% size:70% and we begin to ossify. 00:39.433 --> 00:40.533 align:left position:20% line:83% size:70% But that's the body becoming smaller. 00:41.733 --> 00:42.600 align:left position:20% line:83% size:70% In a way, it is becoming smaller. 00:43.500 --> 00:43.800 align:left position:10% line:89% size:80% Well, that's its problem. 00:45.033 --> 00:45.866 align:left position:20% line:83% size:70% Let's just get on with it, shall we? 00:46.400 --> 00:50.800 align:left position:40% line:89% size:50% ♪♪ 00:53.033 --> 00:55.566 align:left position:10% line:83% size:80% Amna Nawaz: Hi, everyone. This is "Beyond the Canvas" 00:56.333 --> 00:57.133 align:left position:20% line:89% size:70% from the "PBS Newshour." 00:57.766 --> 00:58.833 align:left position:30% line:89% size:60% I'm Amna Nawaz. 01:00.133 --> 01:01.200 align:left position:20% line:83% size:70% Tonight, we meet artists who have been recognized 01:02.333 --> 01:03.766 align:left position:20% line:83% size:70% at the highest level in their field. 01:04.500 --> 01:05.566 align:left position:20% line:89% size:70% We call them the greats. 01:06.700 --> 01:07.566 align:left position:20% line:83% size:70% You'll hear from renowned conductors 01:08.733 --> 01:10.366 align:left position:20% line:83% size:70% Michael Tilson Thomas and Gustavo Dudamel, 01:11.233 --> 01:12.400 align:left position:10% line:89% size:80% photojournalist Lynsey Addario, 01:13.500 --> 01:14.533 align:left position:20% line:83% size:70% filmmaker Sir David Attenborough, 01:15.833 --> 01:18.600 align:left position:10% line:83% size:80% and just now, dancer and choreographer Twyla Tharp. 01:19.766 --> 01:20.266 align:left position:10% line:83% size:80% Through these conversations, you'll see 01:21.700 --> 01:23.766 align:left position:10% line:83% size:80% how passion is the engine that drives their work. 01:24.633 --> 01:25.066 align:left position:10% line:89% size:80% The people you're about to meet 01:26.233 --> 01:27.200 align:left position:20% line:83% size:70% were first featured on the "PBS Newshour" 01:27.933 --> 01:28.700 align:left position:20% line:89% size:70% before the pandemic, 01:29.566 --> 01:30.033 align:left position:10% line:89% size:80% but tonight, you'll meet them 01:30.900 --> 01:32.166 align:left position:10% line:89% size:80% on a new canvas, and maybe 01:32.900 --> 01:33.566 align:left position:20% line:89% size:70% see them and their work 01:34.433 --> 01:34.766 align:left position:10% line:89% size:80% through a different lens, 01:35.866 --> 01:37.466 align:left position:20% line:83% size:70% right here on "Beyond the Canvas." 01:38.333 --> 01:39.400 align:left position:10% line:89% size:80% Now back to this profile on 01:40.766 --> 01:43.133 align:left position:10% line:83% size:80% one of the great choreographers of our age--Twyla Tharp. 01:44.600 --> 01:46.600 align:left position:10% line:83% size:80% "Newshour's" chief correspondent for arts, culture, and society 01:47.500 --> 01:48.233 align:left position:10% line:89% size:80% Jeffrey Brown spoke to her 01:49.366 --> 01:51.066 align:left position:10% line:83% size:80% at the American Ballet Theatre in 2019. 01:52.233 --> 01:54.033 align:left position:20% line:83% size:70% Then 78, Tharp had just released her book 01:55.466 --> 01:58.766 align:left position:10% line:83% size:80% called "Keep it Moving: Lessons for the Rest of Your Life." 01:59.533 --> 02:01.900 align:left position:20% line:89% size:70% Tharp: I wrote this to 02:03.033 --> 02:05.166 align:left position:20% line:83% size:70% help others believe that constantly 02:05.900 --> 02:06.866 align:left position:20% line:89% size:70% you can be evolving, 02:07.933 --> 02:09.366 align:left position:20% line:83% size:70% that you don't accept the rumor that 02:10.533 --> 02:12.166 align:left position:20% line:83% size:70% as the body ages, it becomes less. 02:13.266 --> 02:15.133 align:left position:20% line:83% size:70% It becomes different. Hopefully more. 02:16.266 --> 02:17.433 align:left position:20% line:83% size:70% So, do you think of this as a self-help book? 02:18.533 --> 02:20.700 align:left position:20% line:83% size:70% I look at it as a self-survival book. 02:21.833 --> 02:22.233 align:left position:20% line:83% size:70% Brown, voice-over: As a girl, Tharp took 02:23.266 --> 02:25.133 align:left position:20% line:83% size:70% dance and music lessons of all kinds. 02:26.533 --> 02:28.233 align:left position:10% line:83% size:80% In the 1960s, she was dancing and choreographing 02:29.433 --> 02:30.533 align:left position:10% line:83% size:80% as part of an important experimental 02:31.266 --> 02:32.600 align:left position:20% line:89% size:70% modern dance scene. 02:33.700 --> 02:34.633 align:left position:20% line:83% size:70% And by the seventies, she was creating 02:35.800 --> 02:36.766 align:left position:20% line:83% size:70% groundbreaking works like "Deuce Coupe" 02:37.500 --> 02:38.800 align:left position:20% line:89% size:70% for the Joffrey Ballet. 02:39.666 --> 02:41.000 align:left position:10% line:89% size:80% Set to music by the Beach Boys, 02:42.133 --> 02:42.733 align:left position:20% line:83% size:70% it brought together elements of both 02:43.466 --> 02:44.600 align:left position:20% line:89% size:70% ballet and modern dance. 02:46.133 --> 02:47.866 align:left position:10% line:89% size:80% She made "Push Comes to Shove" 02:48.633 --> 02:49.666 align:left position:20% line:89% size:70% for Mikhail Baryshnikov, 02:50.566 --> 02:51.566 align:left position:10% line:89% size:80% part of an acclaimed partnership 02:52.800 --> 02:54.000 align:left position:10% line:83% size:80% that included the award-winning PBS special 02:54.900 --> 02:57.000 align:left position:10% line:89% size:80% "Baryshnikov by Tharp" in 1984. 02:57.633 --> 02:59.333 align:left position:30% line:89% size:60% [Applause] 03:00.266 --> 03:01.500 align:left position:10% line:89% size:80% Dance after dance, combining 03:02.366 --> 03:03.633 align:left position:10% line:89% size:80% rigor and boundless energy. 03:05.900 --> 03:07.566 align:left position:10% line:89% size:80% She also choreographed films, 03:08.500 --> 03:09.766 align:left position:30% line:83% size:60% including "Hair" and "Amadeus"... 03:10.500 --> 03:13.000 align:left position:20% line:89% size:70% [Opera music playing] 03:13.866 --> 03:14.333 align:left position:10% line:89% size:80% and conceived and directed 03:15.200 --> 03:16.433 align:left position:10% line:89% size:80% the Broadway hit "Movin' Out" 03:17.300 --> 03:18.166 align:left position:10% line:89% size:80% to the music of Billy Joel. 03:18.900 --> 03:21.700 align:left position:20% line:89% size:70% [Rock music playing] 03:23.033 --> 03:25.000 align:left position:10% line:83% size:80% In her new book, she provides a series of exercises 03:25.866 --> 03:27.433 align:left position:10% line:89% size:80% and says age is not the enemy, 03:28.166 --> 03:29.266 align:left position:20% line:89% size:70% stagnation is the enemy. 03:30.233 --> 03:31.233 align:left position:20% line:83% size:70% Tharp: We all have that laid on us 03:31.833 --> 03:32.800 align:left position:30% line:89% size:60% by our culture. 03:33.700 --> 03:35.266 align:left position:30% line:83% size:60% Being squirmy is not really-- 03:36.466 --> 03:37.700 align:left position:20% line:83% size:70% you can't do this at dinner parties, 03:38.866 --> 03:40.200 align:left position:20% line:83% size:70% but this is how you keep your system, 03:41.366 --> 03:43.533 align:left position:20% line:83% size:70% your metabolic system, rolling, by doing-- 03:44.366 --> 03:44.766 align:left position:30% line:83% size:60% you don't do it like this. 03:45.666 --> 03:46.033 align:left position:30% line:83% size:60% Yeah. I mean, you can't-- 03:47.166 --> 03:47.966 align:left position:20% line:83% size:70% [indistinct]-- you can't do this 03:48.866 --> 03:49.533 align:left position:30% line:83% size:60% even in the way we're talking, 03:50.666 --> 03:51.500 align:left position:20% line:83% size:70% but you want me to. You want us to. 03:52.633 --> 03:53.933 align:left position:20% line:83% size:70% Yeah, because if you keep doing this, 03:55.033 --> 03:56.266 align:left position:20% line:83% size:70% chances are your body is going to be 03:57.200 --> 03:57.766 align:left position:30% line:83% size:60% more productive in the moment 03:59.166 --> 04:00.266 align:left position:10% line:83% size:80% and you'll have something left in the evening, 04:01.333 --> 04:02.333 align:left position:20% line:83% size:70% particularly as you become older 04:03.200 --> 04:05.200 align:left position:30% line:83% size:60% and you buy into this reality 04:06.066 --> 04:07.200 align:left position:30% line:83% size:60% that older folks can do less. 04:07.933 --> 04:09.766 align:left position:20% line:89% size:70% Uh, OK, prove it. 04:11.166 --> 04:12.333 align:left position:10% line:83% size:80% Brown, voice-over: Her own physical regime is legendary. 04:13.300 --> 04:14.233 align:left position:20% line:83% size:70% We watched an early-morning workout 04:14.966 --> 04:16.133 align:left position:20% line:89% size:70% at her home studio. 04:17.300 --> 04:19.633 align:left position:10% line:83% size:80% Breathing and stretching, cycling, 04:20.500 --> 04:21.333 align:left position:10% line:89% size:80% and various kinds of strength 04:22.200 --> 04:23.200 align:left position:10% line:89% size:80% and resistance exercises. 04:24.400 --> 04:26.000 align:left position:20% line:83% size:70% Tharp: I could bench my body weight for 3 04:27.133 --> 04:29.733 align:left position:20% line:83% size:70% and I deadlifted 227 pounds to waist, 04:30.866 --> 04:32.400 align:left position:20% line:83% size:70% which was twice my body weight, OK? 04:33.533 --> 04:35.866 align:left position:20% line:83% size:70% So--but I developed a core strength 04:37.033 --> 04:38.966 align:left position:20% line:83% size:70% that the classical dancer doesn't have. 04:40.000 --> 04:41.533 align:left position:20% line:83% size:70% Now in making a piece of this sort 04:42.666 --> 04:44.133 align:left position:20% line:83% size:70% for a classical dancer, I can bring 04:45.300 --> 04:47.366 align:left position:20% line:83% size:70% that kind of physical intelligence to them 04:48.400 --> 04:48.966 align:left position:20% line:83% size:70% and say, "Try it this way." 04:50.033 --> 04:50.766 align:left position:20% line:83% size:70% You've had, of course, great success, 04:51.900 --> 04:52.500 align:left position:20% line:83% size:70% but you've also experienced failure. 04:52.966 --> 04:53.500 align:left position:40% line:89% size:50% Really? 04:53.500 --> 04:53.733 align:left position:40% line:89% size:50% Yes, I-- 04:54.333 --> 04:55.133 align:left position:30% line:89% size:60% Are you kidding? 04:55.133 --> 04:55.866 align:left position:20% line:89% size:70% I'm sorry to tell you. 04:57.000 --> 04:57.633 align:left position:20% line:83% size:70% But you advise us in the book, you know, 04:59.033 --> 04:59.933 align:left position:10% line:83% size:80% to accept those failures, right, to take risks. 05:00.733 --> 05:01.400 align:left position:20% line:89% size:70% They're not failures. 05:02.000 --> 05:02.800 align:left position:30% line:89% size:60% What are they? 05:02.800 --> 05:03.600 align:left position:20% line:89% size:70% They're adventures 05:03.600 --> 05:04.000 align:left position:20% line:89% size:70% of a different sort. 05:04.733 --> 05:05.100 align:left position:20% line:89% size:70% You may not have gotten 05:05.833 --> 05:07.233 align:left position:20% line:89% size:70% what you set out to get, 05:08.666 --> 05:10.633 align:left position:10% line:83% size:80% but there is something to be learned from everything. 05:11.766 --> 05:13.233 align:left position:20% line:83% size:70% There was a profile in the "Times." 05:13.966 --> 05:14.766 align:left position:20% line:89% size:70% It says--I'm quoting-- 05:15.966 --> 05:16.900 align:left position:20% line:83% size:70% "Ms. Tharp remains among the very few 05:18.133 --> 05:18.833 align:left position:10% line:83% size:80% female choreographers..." Oh, please. 05:20.000 --> 05:20.500 align:left position:20% line:83% size:70% Give me a [beep] break. "To have had a lasting 05:21.233 --> 05:22.066 align:left position:20% line:89% size:70% influence on ballet." 05:23.200 --> 05:23.533 align:left position:20% line:83% size:70% Why don't they say one of the few 05:24.400 --> 05:25.433 align:left position:10% line:89% size:80% short choreographers to have 05:26.300 --> 05:27.166 align:left position:10% line:89% size:80% an influence on the ballet? 05:28.266 --> 05:30.566 align:left position:20% line:83% size:70% The female nomenclature is highly abusive, 05:31.300 --> 05:32.633 align:left position:20% line:89% size:70% it's ghettoizing, uh, 05:33.800 --> 05:34.966 align:left position:20% line:83% size:70% and it's irrelevant to what I've done. 05:36.133 --> 05:36.533 align:left position:20% line:83% size:70% You don't want to hear it at all. 05:37.266 --> 05:37.800 align:left position:20% line:89% size:70% I'm not interested. 05:37.800 --> 05:38.333 align:left position:40% line:89% size:50% Yeah. 05:39.266 --> 05:40.600 align:left position:30% line:83% size:60% I'm a worker. I'm an artist. 05:41.533 --> 05:42.466 align:left position:30% line:83% size:60% I make dances. End of story. 05:43.200 --> 05:43.833 align:left position:20% line:89% size:70% Judge me with the best. 05:44.933 --> 05:45.833 align:left position:20% line:83% size:70% Don't judge me with the best women. 05:47.133 --> 05:47.733 align:left position:10% line:83% size:80% In the meantime, the final piece of advice 05:48.733 --> 05:49.133 align:left position:20% line:83% size:70% that you give all of us in this book 05:49.866 --> 05:50.233 align:left position:20% line:89% size:70% is "shut up and dance." 05:51.066 --> 05:51.500 align:left position:30% line:83% size:60% That's right. Shut up 05:52.600 --> 05:53.300 align:left position:20% line:83% size:70% and do what you love and, you know, 05:54.400 --> 05:54.966 align:left position:20% line:83% size:70% be grateful and keep doing it 05:55.966 --> 05:56.600 align:left position:20% line:83% size:70% and stop second-guessing it. 05:57.200 --> 05:58.133 align:left position:30% line:89% size:60% OK. Very good. 05:59.233 --> 06:00.300 align:left position:20% line:83% size:70% "I'm getting old. I can't do what I love." 06:01.033 --> 06:04.000 align:left position:20% line:89% size:70% [Beep], in a word. 06:05.133 --> 06:06.700 align:left position:10% line:83% size:80% [Chuckles] It's gonna change, that's all. 06:07.566 --> 06:07.733 align:left position:10% line:89% size:80% It's not gonna be the same. 06:08.466 --> 06:09.066 align:left position:20% line:89% size:70% It's gonna be different. 06:10.466 --> 06:12.833 align:left position:20% line:83% size:70% Just like Tharp, Michael Tilson Thomas 06:13.700 --> 06:14.500 align:left position:10% line:89% size:80% has spent his entire life 06:15.233 --> 06:16.033 align:left position:20% line:89% size:70% doing what he loves. 06:16.966 --> 06:17.933 align:left position:30% line:83% size:60% Tilson Thomas is one of the great 06:18.800 --> 06:19.833 align:left position:10% line:89% size:80% musicians of his generation. 06:21.033 --> 06:22.733 align:left position:20% line:83% size:70% In 2020, at the height of the COVID pandemic, 06:23.900 --> 06:24.733 align:left position:20% line:83% size:70% he stepped down as music director 06:26.000 --> 06:27.700 align:left position:10% line:83% size:80% and conductor of the San Francisco Symphony. 06:28.433 --> 06:29.266 align:left position:20% line:89% size:70% Jeffrey Brown is back 06:30.133 --> 06:31.300 align:left position:10% line:89% size:80% with this profile of a maestro 06:32.166 --> 06:33.366 align:left position:10% line:89% size:80% forced to find another mission. 06:34.233 --> 06:35.533 align:left position:10% line:89% size:80% [Classical music playing] 06:37.033 --> 06:39.033 align:left position:10% line:83% size:80% Brown, voice-over: In March, Tilson Thomas was ending 06:39.633 --> 06:40.733 align:left position:30% line:89% size:60% a 25-year run 06:41.600 --> 06:42.533 align:left position:10% line:89% size:80% as conductor and music director 06:43.400 --> 06:44.333 align:left position:10% line:89% size:80% of the San Francisco Symphony 06:45.566 --> 06:47.033 align:left position:10% line:83% size:80% when the COVID shutdown began. [Record scratch] 06:48.433 --> 06:49.000 align:left position:10% line:83% size:80% Tilson Thomas: It was a shock. Kind of numbing at first. 06:50.133 --> 06:50.666 align:left position:20% line:83% size:70% Right in the middle of a rehearsal, 06:51.533 --> 06:52.600 align:left position:10% line:89% size:80% day before we would start to 06:53.633 --> 06:54.966 align:left position:20% line:83% size:70% tour to Carnegie Hall and Europe, 06:55.700 --> 06:56.433 align:left position:20% line:89% size:70% say, "Well, guess what? 06:57.766 --> 06:59.133 align:left position:10% line:83% size:80% It's not happening" or "Some of it's not happening," 07:00.300 --> 07:01.266 align:left position:20% line:83% size:70% and then gradually, more and more 07:02.133 --> 07:02.666 align:left position:10% line:89% size:80% of the tour wasn't happening, 07:03.966 --> 07:05.133 align:left position:10% line:83% size:80% and then the end of the year wasn't happening. 07:06.566 --> 07:07.633 align:left position:10% line:83% size:80% Brown, voice-over: The planned celebration of his tenure-- 07:08.600 --> 07:10.366 align:left position:20% line:83% size:70% cancelled. Life and art interrupted 07:11.566 --> 07:13.166 align:left position:20% line:83% size:70% by the reality of a deadly disease. 07:14.266 --> 07:15.433 align:left position:20% line:83% size:70% So, we came to the strange situation where 07:16.600 --> 07:18.333 align:left position:20% line:83% size:70% metabolic beings, as we musicians are, 07:19.433 --> 07:20.000 align:left position:20% line:83% size:70% it wasn't that "get up in the morning, 07:21.166 --> 07:22.133 align:left position:20% line:83% size:70% "go to rehearsal, practice, get home, 07:22.866 --> 07:23.333 align:left position:20% line:89% size:70% "get a rest, and then 07:24.500 --> 07:25.200 align:left position:20% line:83% size:70% "go out and rev your metabolism up 07:26.333 --> 07:27.200 align:left position:20% line:83% size:70% "to its highest at around 10:30 at night, 07:28.333 --> 07:29.033 align:left position:20% line:83% size:70% "then go home and put yourself to sleep 07:29.966 --> 07:30.266 align:left position:30% line:83% size:60% and then do it the next day." 07:31.433 --> 07:33.033 align:left position:20% line:83% size:70% That's the way we live, and suddenly, 07:33.766 --> 07:34.333 align:left position:20% line:89% size:70% that was all gone. 07:35.066 --> 07:37.600 align:left position:20% line:89% size:70% [Playing upbeat tune] 07:38.933 --> 07:40.166 align:left position:10% line:83% size:80% Brown, voice-over: Instead, MTT, as he's known, 07:41.300 --> 07:43.366 align:left position:20% line:83% size:70% is using his time to lean into his craft 07:44.400 --> 07:47.066 align:left position:20% line:83% size:70% as musician, composer, and mentor. 07:48.133 --> 07:49.266 align:left position:20% line:83% size:70% Tilson Thomas was born in Los Angeles 07:50.000 --> 07:51.400 align:left position:20% line:89% size:70% into an artistic family. 07:52.600 --> 07:54.100 align:left position:20% line:83% size:70% His grandparents were Yiddish theater stars. 07:55.533 --> 07:57.166 align:left position:10% line:83% size:80% His father and mother both worked in the film industry. 07:57.900 --> 07:59.700 align:left position:20% line:89% size:70% [Playing slow tune] 08:00.633 --> 08:01.700 align:left position:10% line:89% size:80% By 19, he was working with 08:02.433 --> 08:03.400 align:left position:20% line:89% size:70% and conducting premieres 08:04.133 --> 08:04.900 align:left position:20% line:89% size:70% by great composers like 08:05.633 --> 08:06.966 align:left position:20% line:89% size:70% Stravinsky and Copland. 08:08.100 --> 08:09.733 align:left position:20% line:83% size:70% His big break came with the Boston Symphony, 08:10.666 --> 08:12.766 align:left position:20% line:83% size:70% then London, and finally in 1995, 08:13.366 --> 08:14.066 align:left position:30% line:89% size:60% San Francisco. 08:14.933 --> 08:16.233 align:left position:10% line:89% size:80% [Classical music playing] 08:18.300 --> 08:20.733 align:left position:10% line:89% size:80% In 1987, he founded Miami's 08:21.466 --> 08:22.800 align:left position:20% line:89% size:70% New World Symphony. 08:23.800 --> 08:25.200 align:left position:20% line:83% size:70% The goal-- an orchestral academy, 08:26.066 --> 08:26.766 align:left position:10% line:89% size:80% to prepare young musicians 08:27.633 --> 08:28.933 align:left position:10% line:89% size:80% for professional careers, 08:30.033 --> 08:31.533 align:left position:20% line:83% size:70% a bridge between conservatory training 08:32.666 --> 08:33.766 align:left position:20% line:83% size:70% and a player's first orchestral gig. 08:34.366 --> 08:35.933 align:left position:30% line:89% size:60% [Violin playing] 08:38.500 --> 08:40.033 align:left position:10% line:89% size:80% These days, he works remotely 08:40.766 --> 08:41.466 align:left position:20% line:89% size:70% with symphony musicians 08:42.600 --> 08:44.033 align:left position:20% line:83% size:70% like Georgia native Chelsea Sharpe. 08:45.133 --> 08:46.766 align:left position:20% line:83% size:70% Wow. You sound in absolutely great shape. 08:47.600 --> 08:48.100 align:left position:30% line:83% size:60% What have you seen in 08:49.200 --> 08:49.600 align:left position:20% line:83% size:70% the young musicians you work with? 08:50.333 --> 08:51.166 align:left position:20% line:89% size:70% How are they coping? 08:52.300 --> 08:53.233 align:left position:20% line:83% size:70% How are they dealing with this year? 08:54.166 --> 08:54.500 align:left position:30% line:83% size:60% All the plans that they had, 08:55.700 --> 08:56.733 align:left position:20% line:83% size:70% the auditions they were set to take, 08:57.900 --> 08:58.866 align:left position:20% line:83% size:70% the new positions they were about to begin. 08:59.933 --> 09:01.233 align:left position:20% line:83% size:70% The most creative time of their lives 09:02.666 --> 09:04.066 align:left position:10% line:83% size:80% had to stop, so they had to look around and think, 09:04.933 --> 09:05.600 align:left position:10% line:89% size:80% "How can I reinvent myself? 09:06.700 --> 09:07.166 align:left position:20% line:83% size:70% "What else is there for me to do? 09:08.266 --> 09:10.433 align:left position:20% line:83% size:70% "How can I come out of this period 09:11.633 --> 09:13.033 align:left position:20% line:83% size:70% being the best that I can be to go forward?" 09:14.200 --> 09:15.400 align:left position:20% line:83% size:70% Here you are, wanting to be in front of people, 09:16.500 --> 09:17.400 align:left position:20% line:83% size:70% trying to get your-- start a career 09:18.300 --> 09:19.266 align:left position:30% line:83% size:60% and make a life as a musician. 09:20.000 --> 09:20.266 align:left position:20% line:89% size:70% How hard has it been 09:21.166 --> 09:21.666 align:left position:30% line:83% size:60% and how have you coped with it? 09:22.833 --> 09:23.600 align:left position:20% line:83% size:70% We finally had time to sort of reflect 09:25.000 --> 09:26.866 align:left position:10% line:83% size:80% and personally speaking, I was grateful for that time 09:27.933 --> 09:28.366 align:left position:20% line:83% size:70% to just sit with the instrument 09:29.500 --> 09:30.800 align:left position:20% line:83% size:70% and, you know, maybe think about 09:31.666 --> 09:33.400 align:left position:30% line:83% size:60% some things technically that 09:34.500 --> 09:35.066 align:left position:20% line:83% size:70% I hadn't had the luxury of time 09:36.100 --> 09:36.966 align:left position:20% line:83% size:70% to kind of think about before. 09:38.333 --> 09:39.100 align:left position:10% line:83% size:80% Brown, voice-over: A luxury Tilson Thomas believes 09:39.700 --> 09:40.533 align:left position:30% line:89% size:60% they all need. 09:41.700 --> 09:43.200 align:left position:20% line:83% size:70% Normally, musicians are worried about 09:44.333 --> 09:45.066 align:left position:20% line:83% size:70% what is going to happen this weekend? 09:46.466 --> 09:47.800 align:left position:10% line:83% size:80% The next concert, and the next and the next and the next. 09:48.966 --> 09:50.066 align:left position:20% line:83% size:70% And now we're in this period where 09:51.233 --> 09:52.233 align:left position:20% line:83% size:70% we need to turn our attention just to 09:53.300 --> 09:56.000 align:left position:20% line:83% size:70% how are we slowly developing 09:57.266 --> 10:00.166 align:left position:10% line:83% size:80% as musicians, as artists, and as people? 10:01.366 --> 10:02.233 align:left position:20% line:83% size:70% ♪ Bom, ba-beem, ♪ ba-bom, da-da-dum ♪ 10:03.666 --> 10:04.366 align:left position:10% line:83% size:80% Brown, voice-over: That's just what Los Angeles native 10:05.233 --> 10:06.466 align:left position:10% line:89% size:80% Corbin Castro has managed, 10:07.333 --> 10:09.100 align:left position:10% line:89% size:80% creating an online music academy 10:09.966 --> 10:11.400 align:left position:10% line:89% size:80% for children age 8 to 12... 10:12.733 --> 10:13.600 align:left position:10% line:83% size:80% Castro: This is not necessarily the kind of French horn 10:14.733 --> 10:16.633 align:left position:20% line:83% size:70% that we're associating with Tchaikovsky. 10:18.033 --> 10:18.533 align:left position:10% line:83% size:80% Brown, voice-over: Developed without prior connection 10:19.400 --> 10:20.866 align:left position:10% line:89% size:80% to any youth music programs, 10:21.600 --> 10:22.433 align:left position:20% line:89% size:70% and it's all virtual. 10:23.300 --> 10:25.300 align:left position:10% line:89% size:80% It became very apparent to us 10:26.466 --> 10:27.633 align:left position:20% line:83% size:70% the possibility that this program 10:28.633 --> 10:30.433 align:left position:20% line:83% size:70% had to reach underresourced students 10:31.300 --> 10:32.133 align:left position:10% line:89% size:80% and provide technical training 10:33.133 --> 10:35.000 align:left position:20% line:83% size:70% and super-personalized mentorship 10:36.200 --> 10:38.866 align:left position:20% line:83% size:70% in order to show them how classical music 10:39.766 --> 10:40.566 align:left position:10% line:89% size:80% can have a positive influence 10:41.333 --> 10:42.066 align:left position:20% line:89% size:70% not just on their lives 10:43.400 --> 10:44.833 align:left position:10% line:83% size:80% but also the lives of the people in their communities. 10:46.066 --> 10:46.433 align:left position:20% line:83% size:70% Brown: Is this all pandemic-related, 10:47.500 --> 10:47.933 align:left position:20% line:83% size:70% to start thinking this way 10:48.700 --> 10:49.333 align:left position:20% line:89% size:70% in different terms about 10:50.100 --> 10:50.566 align:left position:20% line:89% size:70% yourself as a musician 10:51.466 --> 10:52.566 align:left position:10% line:89% size:80% and part of the community? 10:53.700 --> 10:54.966 align:left position:20% line:83% size:70% Yeah, exactly. It kind of combined 10:56.100 --> 10:59.200 align:left position:20% line:83% size:70% all the best parts of what music can offer 11:00.433 --> 11:01.633 align:left position:20% line:83% size:70% and how music can enrich lives. 11:03.066 --> 11:04.333 align:left position:10% line:83% size:80% Brown, voice-over: Violist Stephanie Block agrees. 11:05.500 --> 11:07.333 align:left position:20% line:83% size:70% It's the courage to take on something that 11:08.233 --> 11:09.400 align:left position:30% line:83% size:60% challenges you as a player. 11:10.466 --> 11:12.033 align:left position:20% line:83% size:70% And then it's the courage to kind of 11:13.200 --> 11:15.433 align:left position:20% line:83% size:70% bare your soul again and give yourself 11:16.166 --> 11:17.633 align:left position:20% line:89% size:70% to whoever needs it. 11:18.800 --> 11:20.300 align:left position:20% line:83% size:70% What future do you see for classical music, 11:21.233 --> 11:21.400 align:left position:30% line:83% size:60% especially given the young people 11:22.266 --> 11:22.800 align:left position:10% line:89% size:80% that you're working with? 11:23.933 --> 11:24.300 align:left position:20% line:83% size:70% Well, all the young people I'm working with 11:25.200 --> 11:26.266 align:left position:30% line:83% size:60% have a real commitment to 11:27.400 --> 11:28.233 align:left position:20% line:83% size:70% sharing their music and their vision 11:29.333 --> 11:30.766 align:left position:20% line:83% size:70% with people younger than they are, 11:31.666 --> 11:34.100 align:left position:30% line:83% size:60% and as a real life commitment, 11:35.200 --> 11:35.866 align:left position:20% line:83% size:70% have taken on the role as teacher 11:36.600 --> 11:37.466 align:left position:20% line:89% size:70% in a very expanded way, 11:38.566 --> 11:39.800 align:left position:20% line:83% size:70% not just in a studio, but over 11:40.733 --> 11:42.300 align:left position:30% line:83% size:60% the internet, in communities. 11:43.400 --> 11:44.433 align:left position:20% line:83% size:70% They're much more dedicated to it 11:45.600 --> 11:48.433 align:left position:20% line:83% size:70% and I think the new ways that they're going 11:49.600 --> 11:51.200 align:left position:20% line:83% size:70% about this will bring great new things. 11:51.966 --> 11:53.366 align:left position:20% line:89% size:70% [Upbeat tune playing] 11:55.400 --> 11:58.466 align:left position:10% line:83% size:80% For Gustavo Dudamel, a moment of revelation came 11:59.666 --> 12:00.600 align:left position:20% line:83% size:70% when he decided to devote his life 12:01.966 --> 12:04.133 align:left position:10% line:83% size:80% to changing the image of orchestras in today's culture. 12:05.433 --> 12:06.766 align:left position:10% line:83% size:80% Dudamel is one of the world's most celebrated 12:07.966 --> 12:08.966 align:left position:20% line:83% size:70% classical musicians, and as the conductor 12:10.100 --> 12:10.633 align:left position:20% line:83% size:70% of the Los Angeles Philharmonic, 12:12.000 --> 12:14.366 align:left position:10% line:83% size:80% he's worked tirelessly to make music accessible to all, 12:15.666 --> 12:17.500 align:left position:10% line:83% size:80% including students in underserved communities. 12:18.800 --> 12:20.333 align:left position:10% line:83% size:80% Jeffrey Brown learned why Dudamel sees art 12:21.066 --> 12:22.866 align:left position:20% line:89% size:70% as access to beauty. 12:24.166 --> 12:26.566 align:left position:10% line:83% size:80% Brown: At the Camino Nuevo Charter Academy, 12:27.766 --> 12:30.000 align:left position:10% line:83% size:80% a public school in Los Angeles' MacArthur Park, 12:31.433 --> 12:34.033 align:left position:10% line:83% size:80% the star of the show recently was L.A. Philharmonic conductor 12:34.633 --> 12:35.666 align:left position:30% line:89% size:60% Gustavo Dudamel. 12:36.866 --> 12:38.600 align:left position:20% line:83% size:70% He was there to open a new site for YOLA, 12:39.666 --> 12:40.800 align:left position:20% line:83% size:70% the Youth Orchestra Los Angeles, 12:42.233 --> 12:44.300 align:left position:10% line:83% size:80% a program to offer free, high-quality music lessons 12:45.700 --> 12:48.333 align:left position:10% line:83% size:80% and support to students in underserved communities. 12:49.800 --> 12:52.700 align:left position:10% line:83% size:80% Dudamel: When I see them, I'm one of them. I go back-- 12:53.466 --> 12:54.166 align:left position:20% line:89% size:70% You feel that still? 12:54.800 --> 12:55.600 align:left position:30% line:89% size:60% Completely. 12:56.500 --> 12:57.600 align:left position:10% line:89% size:80% [Serene classical music playing] 12:58.600 --> 12:59.600 align:left position:20% line:83% size:70% Brown: By now, Dudamel's own story 13:01.133 --> 13:02.766 align:left position:10% line:83% size:80% is the stuff of legend... [Rousing orchestral music] 13:04.166 --> 13:06.366 align:left position:10% line:83% size:80% coming up through Venezuela's famed El Sistema program, 13:07.466 --> 13:10.466 align:left position:20% line:83% size:70% created in 1975 by José Antonio Abreu, 13:11.766 --> 13:13.766 align:left position:10% line:83% size:80% which has brought music lessons and orchestra training 13:14.766 --> 13:15.633 align:left position:20% line:83% size:70% to hundreds of thousands of children, 13:16.500 --> 13:17.900 align:left position:10% line:89% size:80% many from poor backgrounds. 13:18.933 --> 13:20.966 align:left position:20% line:83% size:70% As a teenager, Dudamel became conductor 13:22.200 --> 13:24.433 align:left position:10% line:83% size:80% of the program's Simón Bolívar Youth Orchestra, 13:25.600 --> 13:27.533 align:left position:20% line:83% size:70% and today, he's one of the most celebrated 13:28.633 --> 13:30.133 align:left position:20% line:83% size:70% classical musicians in the world. 13:31.000 --> 13:32.900 align:left position:10% line:89% size:80% [Light classical music playing] 13:34.233 --> 13:36.666 align:left position:10% line:83% size:80% Ten years into his time as conductor in a city of stars, 13:37.400 --> 13:38.666 align:left position:20% line:89% size:70% his image is everywhere, 13:39.400 --> 13:40.666 align:left position:20% line:89% size:70% and he remains committed 13:42.033 --> 13:43.666 align:left position:10% line:83% size:80% to changing the image of orchestras in today's culture. 13:44.766 --> 13:45.833 align:left position:20% line:83% size:70% Dudamel: I think it's a representation 13:46.966 --> 13:48.100 align:left position:20% line:83% size:70% of the community, the orchestra. 13:49.533 --> 13:51.000 align:left position:10% line:83% size:80% We have to avoid that-- I don't know how to call, 13:51.933 --> 13:54.433 align:left position:30% line:83% size:60% but eltist way as we see art. 13:54.933 --> 13:55.766 align:left position:40% line:89% size:50% Elitist. 13:55.766 --> 13:56.433 align:left position:20% line:89% size:70% We are--elitist, yes. 13:57.633 --> 13:58.433 align:left position:20% line:83% size:70% You know that--that-- you know, we are in 13:59.866 --> 14:01.200 align:left position:10% line:83% size:80% a mountain here, and the rest of the people is there. 14:01.933 --> 14:02.700 align:left position:20% line:89% size:70% It's not about art. 14:03.900 --> 14:04.700 align:left position:20% line:83% size:70% But a lot of people do see it that way, 14:05.533 --> 14:06.200 align:left position:30% line:83% size:60% especially classical music. 14:07.266 --> 14:07.833 align:left position:20% line:83% size:70% But we are transforming that. 14:08.566 --> 14:09.833 align:left position:20% line:89% size:70% When the people see 14:10.700 --> 14:11.700 align:left position:10% line:89% size:80% that they are represented 14:12.866 --> 14:14.200 align:left position:20% line:83% size:70% by the best art, by the best culture, 14:15.633 --> 14:17.300 align:left position:10% line:83% size:80% it's the best, and that is what we want to create. 14:18.566 --> 14:19.966 align:left position:10% line:83% size:80% Brown: Music, Dudamel says over and over, 14:20.833 --> 14:22.300 align:left position:30% line:83% size:60% is a fundamental human right. 14:23.400 --> 14:24.566 align:left position:20% line:83% size:70% Dudamel: It's a big idea about it's simple 14:25.600 --> 14:27.900 align:left position:20% line:83% size:70% and it's very objective because art is 14:29.100 --> 14:31.566 align:left position:20% line:83% size:70% creativity, art--art is access to beauty. 14:32.300 --> 14:33.600 align:left position:20% line:89% size:70% And what our children, 14:34.733 --> 14:35.700 align:left position:20% line:83% size:70% in our times, they're not having 14:36.533 --> 14:37.200 align:left position:30% line:83% size:60% access to that, you know. 14:38.333 --> 14:39.866 align:left position:20% line:83% size:70% We live a very pragmatical world, 14:41.000 --> 14:41.866 align:left position:20% line:83% size:70% where, you know, you have to produce, 14:43.300 --> 14:44.033 align:left position:10% line:83% size:80% you have to do this, you have to learn in that way. 14:45.333 --> 14:47.533 align:left position:10% line:83% size:80% But where is the space to contemplation, to creativity, 14:48.833 --> 14:50.366 align:left position:10% line:83% size:80% to work as a team, you know, to create beauty? 14:51.500 --> 14:53.166 align:left position:20% line:83% size:70% [Orchestra playing festive tune] 14:54.600 --> 14:57.166 align:left position:20% line:83% size:70% Brown: We visited YOLA at HOLA, 14:58.533 --> 15:00.700 align:left position:10% line:83% size:80% an afterschool program where children 6 and up have 15:02.000 --> 15:04.733 align:left position:10% line:83% size:80% access to instruments, lessons, and orchestra practice 15:05.633 --> 15:07.733 align:left position:30% line:83% size:60% [Playing haltingly] 15:08.900 --> 15:09.733 align:left position:20% line:83% size:70% Brown: Occasionally, the mentoring here 15:10.333 --> 15:11.366 align:left position:30% line:89% size:60% is peer-to-peer. 15:12.800 --> 15:14.633 align:left position:10% line:83% size:80% Girl: You're also pressing your, um, bow too hard. 15:15.600 --> 15:16.633 align:left position:20% line:83% size:70% Brown: Two young cellists-- 15:17.500 --> 15:19.133 align:left position:30% line:83% size:60% 16-year-old Zenaida Aparicio 15:20.266 --> 15:21.800 align:left position:20% line:83% size:70% and 14-year-old Mary Ellie Flores-- 15:22.533 --> 15:23.733 align:left position:20% line:89% size:70% attend nearby schools. 15:25.133 --> 15:25.800 align:left position:10% line:83% size:80% Did you have the opportunity to play music in school? 15:26.266 --> 15:26.800 align:left position:40% line:89% size:50% No. 15:26.800 --> 15:27.766 align:left position:40% line:89% size:50% Yeah. 15:28.900 --> 15:29.533 align:left position:20% line:83% size:70% The only opportunity I had was here. 15:30.633 --> 15:31.700 align:left position:20% line:83% size:70% Brown: Did you get to meet Gustavo Dudamel? 15:32.666 --> 15:33.200 align:left position:20% line:83% size:70% Flores: It's pretty exciting, 15:34.100 --> 15:35.466 align:left position:30% line:83% size:60% so many feelings just at once. 15:36.566 --> 15:37.866 align:left position:20% line:83% size:70% He's a big person in our life. 15:39.266 --> 15:41.366 align:left position:10% line:83% size:80% Brown: As Dudamel is moving forward in Los Angeles, 15:42.733 --> 15:44.366 align:left position:10% line:83% size:80% his homeland of Venezuela is another story... 15:44.966 --> 15:45.633 align:left position:30% line:89% size:60% Venezuela! 15:46.766 --> 15:47.633 align:left position:20% line:83% size:70% Brown: after years of political, 15:48.600 --> 15:50.100 align:left position:20% line:83% size:70% economic, and humanitarian crisis. 15:50.566 --> 15:51.400 align:left position:40% line:89% size:50% [Pop] 15:52.633 --> 15:54.400 align:left position:10% line:83% size:80% El Sistema is a government-funded program, 15:55.400 --> 15:56.400 align:left position:20% line:83% size:70% and the Simón Bolívar Orchestra 15:57.500 --> 15:59.233 align:left position:20% line:83% size:70% regularly performs at government functions. 15:59.966 --> 16:00.766 align:left position:20% line:89% size:70% After Dudamel did write 16:01.933 --> 16:02.800 align:left position:20% line:83% size:70% a "New York Times" op-ed last year 16:04.066 --> 16:05.666 align:left position:10% line:83% size:80% critical of the government, Maduro responded 16:07.066 --> 16:09.000 align:left position:10% line:83% size:80% by canceling two tours of the Bolívar Orchestra. 16:09.866 --> 16:11.633 align:left position:10% line:89% size:80% Dudamel: You have to understand 16:12.800 --> 16:14.966 align:left position:20% line:83% size:70% your position and your role in the society, 16:16.400 --> 16:18.566 align:left position:10% line:83% size:80% and I really believe that you can create bridges. 16:19.566 --> 16:21.066 align:left position:20% line:83% size:70% For me, music have to unite. 16:22.533 --> 16:24.066 align:left position:10% line:83% size:80% If you get from one side to the other, then you destroy 16:24.800 --> 16:25.333 align:left position:20% line:89% size:70% that possibility... 16:25.333 --> 16:26.600 align:left position:40% line:89% size:50% Mm-hmm. 16:27.733 --> 16:28.966 align:left position:20% line:83% size:70% to build, you know, a communication. 16:29.833 --> 16:30.966 align:left position:10% line:89% size:80% [Orchestra playing softly] 16:32.266 --> 16:32.966 align:left position:10% line:83% size:80% Brown: Here in Los Angeles in the meantime, 16:34.066 --> 16:35.966 align:left position:20% line:83% size:70% the focus is on playing beautiful music... 16:36.833 --> 16:39.466 align:left position:10% line:89% size:80% [Woman singing in Spanish] 16:40.633 --> 16:42.166 align:left position:20% line:83% size:70% Brown: and reaching more young people. 16:43.100 --> 16:44.333 align:left position:20% line:83% size:70% Dudamel: Every child have access 16:45.066 --> 16:46.333 align:left position:20% line:89% size:70% to music and to art. 16:47.066 --> 16:47.600 align:left position:20% line:89% size:70% That is the dream. 16:47.600 --> 16:48.666 align:left position:40% line:89% size:50% Yeah. 16:49.533 --> 16:50.666 align:left position:10% line:89% size:80% That is my dream, you know, 16:51.700 --> 16:53.166 align:left position:20% line:83% size:70% to embrace the world with art, 16:53.900 --> 16:54.633 align:left position:20% line:89% size:70% and it's not naive. 16:55.666 --> 16:57.633 align:left position:20% line:83% size:70% That's it. It's simple, but... 16:58.500 --> 16:59.633 align:left position:10% line:89% size:80% [Children's orchestra playing] 17:00.633 --> 17:02.166 align:left position:30% line:83% size:60% that is the most beautiful thing. 17:06.000 --> 17:09.666 align:left position:10% line:83% size:80% For Lynsey Addario, beauty comes from being present 17:11.000 --> 17:12.800 align:left position:10% line:83% size:80% during life's most intimate and intense moments. 17:13.533 --> 17:14.366 align:left position:20% line:89% size:70% As a photojournalist, 17:15.700 --> 17:17.200 align:left position:10% line:83% size:80% Addario's covered conflict around the globe, 17:18.533 --> 17:20.466 align:left position:10% line:83% size:80% and her work has won her a Pulitzer Prize, an Emmy Award, 17:21.500 --> 17:23.133 align:left position:20% line:83% size:70% and a MacArthur Genius Fellowship. 17:24.566 --> 17:27.600 align:left position:10% line:83% size:80% In 2016, she offered this "Brief but Spectacular" take 17:29.000 --> 17:32.533 align:left position:10% line:83% size:80% on all the risk involved in documenting beauty and conflict. 17:33.700 --> 17:33.833 align:left position:20% line:83% size:70% "If your pictures aren't good enough, 17:34.700 --> 17:35.033 align:left position:10% line:89% size:80% you're not close enough." 17:36.200 --> 17:37.200 align:left position:20% line:83% size:70% That's a classic Robert Capa quote. 17:38.366 --> 17:38.633 align:left position:20% line:83% size:70% He was a very famous war photographer. 17:39.366 --> 17:40.300 align:left position:20% line:89% size:70% And it's the truth. 17:41.433 --> 17:42.666 align:left position:20% line:83% size:70% We cannot do our jobs from further back. 17:43.400 --> 17:44.266 align:left position:20% line:89% size:70% And I have to care. 17:45.400 --> 17:46.733 align:left position:20% line:83% size:70% I have to bring myself emotionally closer 17:47.333 --> 17:48.400 align:left position:30% line:89% size:60% to the subject. 17:49.800 --> 17:50.566 align:left position:10% line:83% size:80% I believe in these stories. I believe they have to be told. 17:51.766 --> 17:53.266 align:left position:20% line:83% size:70% And so I force myself to go to these places. 17:54.700 --> 17:56.266 align:left position:10% line:83% size:80% It's not an adrenaline rush, and it's not an addiction. 17:57.466 --> 18:00.533 align:left position:10% line:83% size:80% I have been kidnapped twice-- once in Garma, 18:02.000 --> 18:03.700 align:left position:10% line:83% size:80% which is a village outside of Fallujah, by Sunni insurgents, 18:04.433 --> 18:05.166 align:left position:20% line:89% size:70% and once in Libya. 18:06.033 --> 18:07.000 align:left position:10% line:89% size:80% I was sure we were about to die. 18:08.033 --> 18:09.700 align:left position:20% line:83% size:70% And all I can think about is, "Really? 18:11.100 --> 18:11.800 align:left position:10% line:83% size:80% Is this where I'm going to see the end of my life?" 18:13.366 --> 18:14.600 align:left position:20% line:89% size:70% "What am I doing here? 18:15.766 --> 18:17.366 align:left position:20% line:83% size:70% Why is it so important for me to be here?" 18:18.833 --> 18:19.900 align:left position:10% line:83% size:80% And I have to ask myself those questions, because a big part 18:21.333 --> 18:25.000 align:left position:10% line:83% size:80% of this job is knowing that we might die at any given time. 18:26.633 --> 18:27.766 align:left position:20% line:89% size:70% People always ask, like, 18:28.966 --> 18:29.466 align:left position:10% line:83% size:80% "Are you stoic when you're shooting?" 18:30.333 --> 18:31.800 align:left position:10% line:89% size:80% And I am anything but stoic. 18:32.900 --> 18:33.866 align:left position:10% line:83% size:80% When I'm watching someone die, I become 18:35.300 --> 18:37.500 align:left position:10% line:83% size:80% very overwhelmed with emotion, and I'm crying as I'm shooting. 18:38.800 --> 18:40.166 align:left position:10% line:83% size:80% I think it would be really strange if I didn't cry 18:41.400 --> 18:43.266 align:left position:10% line:83% size:80% when I saw the things I see, because I see 18:44.133 --> 18:44.966 align:left position:10% line:89% size:80% some of the most horrific things 18:46.133 --> 18:47.166 align:left position:20% line:83% size:70% and some of the most beautiful things. 18:50.133 --> 18:53.033 align:left position:10% line:83% size:80% Being a war photographer comes with great sacrifice. 18:54.200 --> 18:55.300 align:left position:20% line:83% size:70% It's almost impossible to have a personal life. 18:56.700 --> 18:58.333 align:left position:10% line:83% size:80% The amount of psychological and physical trauma that 18:59.600 --> 19:01.400 align:left position:10% line:83% size:80% each one of us carries with us from covering war 19:02.433 --> 19:05.000 align:left position:20% line:83% size:70% over many, many years is extraordinary. 19:06.200 --> 19:06.833 align:left position:10% line:83% size:80% When I first started doing this job, 19:08.266 --> 19:10.033 align:left position:10% line:83% size:80% I had a really hard time reconciling the fact that 19:11.233 --> 19:12.566 align:left position:20% line:83% size:70% life went on outside of these war zones, 19:13.600 --> 19:14.166 align:left position:20% line:83% size:70% and I would come back to New York, 19:15.633 --> 19:17.033 align:left position:10% line:83% size:80% and everyone was at a bar and getting drunk and having fun. 19:17.766 --> 19:19.700 align:left position:20% line:89% size:70% And I was so confused. 19:20.866 --> 19:21.366 align:left position:20% line:83% size:70% I don't understand why no one cares 19:22.633 --> 19:23.566 align:left position:10% line:83% size:80% and people aren't out on the street protesting. 19:24.766 --> 19:26.666 align:left position:20% line:83% size:70% I had to make a decision at some point that if I 19:27.533 --> 19:28.333 align:left position:10% line:89% size:80% was going to lead this life, 19:29.733 --> 19:32.166 align:left position:10% line:83% size:80% I had to not leave behind the things I've seen, 19:32.766 --> 19:34.166 align:left position:30% line:89% size:60% but be present. 19:35.266 --> 19:36.200 align:left position:20% line:83% size:70% When I go home to be with my family 19:37.633 --> 19:40.900 align:left position:10% line:83% size:80% and my husband and my son, I have to be there for them. 19:42.200 --> 19:45.100 align:left position:10% line:83% size:80% I was so frustrated by people being so dismissive 19:46.466 --> 19:48.966 align:left position:10% line:83% size:80% of the deeper reasons why anyone would cover war. 19:50.200 --> 19:51.233 align:left position:10% line:83% size:80% It's about educating people, policy-makers, 19:52.333 --> 19:53.600 align:left position:20% line:83% size:70% talking about human rights abuses. 19:54.933 --> 19:56.233 align:left position:10% line:83% size:80% Once a photographer starts seeing the impact of 19:57.466 --> 19:59.033 align:left position:10% line:83% size:80% his or her work, it's impossible to turn away. 20:00.133 --> 20:01.333 align:left position:20% line:83% size:70% I mean, it's impossible to stop doing it. 20:03.066 --> 20:05.733 align:left position:10% line:83% size:80% My name is Lynsey Addario, and this is 20:07.166 --> 20:10.733 align:left position:10% line:83% size:80% my "Brief but Spectacular" take on life as a photojournalist. 20:11.866 --> 20:13.100 align:left position:20% line:83% size:70% Another genius behind the lens is 20:14.066 --> 20:15.366 align:left position:20% line:83% size:70% filmmaker Sir David Attenborough. 20:16.700 --> 20:19.066 align:left position:10% line:83% size:80% Like Addario, he prides himself on how close he can get, 20:20.133 --> 20:21.466 align:left position:20% line:83% size:70% in this case, to the natural world. 20:22.633 --> 20:23.900 align:left position:20% line:83% size:70% My "NewsHour" colleague William Brangham spoke 20:25.133 --> 20:26.966 align:left position:10% line:83% size:80% to this great about documenting the current crisis 20:27.566 --> 20:29.066 align:left position:30% line:89% size:60% facing humanity. 20:33.800 --> 20:35.866 align:left position:20% line:83% size:70% Sir David Attenborough: The living world is 20:36.766 --> 20:39.033 align:left position:10% line:89% size:80% a unique and spectacular marvel. 20:40.466 --> 20:41.366 align:left position:10% line:83% size:80% William Brangham: No one has given us a more intimate 20:42.833 --> 20:45.666 align:left position:10% line:83% size:80% or stunning look at our planet than Sir David Attenborough. 20:46.833 --> 20:48.666 align:left position:10% line:83% size:80% But now, after a near 70-year career, 20:50.100 --> 20:53.200 align:left position:10% line:83% size:80% he says we are running the planet headlong into disaster. 20:54.533 --> 20:56.500 align:left position:10% line:83% size:80% In his new Netflix documentary and companion book, 20:57.533 --> 20:59.066 align:left position:20% line:83% size:70% both titled "A Life on Our Planet," 21:00.333 --> 21:02.100 align:left position:20% line:83% size:70% the famed filmmaker wants us to recognize 21:03.533 --> 21:05.800 align:left position:10% line:83% size:80% what's happening, and to act before it's too late. 21:06.833 --> 21:08.500 align:left position:20% line:83% size:70% As you say in the film and in the book 21:09.633 --> 21:10.600 align:left position:20% line:83% size:70% that when you were a young man, going to 21:11.333 --> 21:12.233 align:left position:20% line:89% size:70% all these exotic places, 21:13.333 --> 21:14.233 align:left position:20% line:83% size:70% you had the sense at the time 21:15.400 --> 21:16.900 align:left position:20% line:83% size:70% that man's imprint was not being felt. 21:18.066 --> 21:18.833 align:left position:20% line:83% size:70% Attenborough: I mean, you can go to a glacier 21:20.200 --> 21:21.733 align:left position:10% line:83% size:80% that you were there maybe five, 10 years ago, 21:23.133 --> 21:23.800 align:left position:10% line:83% size:80% and it has retreated, but you think, "Oh, well. 21:24.666 --> 21:25.033 align:left position:10% line:89% size:80% "That's just this glacier. 21:26.200 --> 21:27.233 align:left position:20% line:83% size:70% Maybe there's another one that's increasing." 21:28.600 --> 21:29.500 align:left position:10% line:83% size:80% But there are some things that are irrevocable 21:30.566 --> 21:32.366 align:left position:20% line:83% size:70% and so dramatic and distressing that you 21:33.100 --> 21:33.933 align:left position:20% line:89% size:70% can't brush them away. 21:35.300 --> 21:38.300 align:left position:10% line:83% size:80% The one, I suppose, was the tipping point was 21:39.400 --> 21:40.000 align:left position:20% line:83% size:70% when I dived on the coral reef, 21:41.200 --> 21:41.833 align:left position:20% line:83% size:70% which I have known perfectly well-- 21:43.266 --> 21:45.666 align:left position:10% line:83% size:80% on the Great Barrier Reef in Australia--and suddenly 21:46.966 --> 21:48.633 align:left position:10% line:83% size:80% saw a cemetery, and, suddenly, it was dead. 21:49.833 --> 21:51.633 align:left position:20% line:83% size:70% And these corals, this extraordinary, 21:53.066 --> 21:56.566 align:left position:10% line:83% size:80% wonderful construction of corals was dead--white. 21:57.333 --> 21:58.966 align:left position:20% line:89% size:70% And that was a shock. 22:00.166 --> 22:01.000 align:left position:20% line:83% size:70% In the past, you would often talk about 22:01.900 --> 22:02.766 align:left position:30% line:83% size:60% man's impact on the world, 22:03.866 --> 22:04.833 align:left position:20% line:83% size:70% but would move on, in a sense. 22:06.000 --> 22:06.900 align:left position:20% line:83% size:70% This film, you really clearly seem to say: 22:07.633 --> 22:08.766 align:left position:20% line:89% size:70% "We are not moving on. 22:09.933 --> 22:11.800 align:left position:20% line:83% size:70% I cannot stress this point strong enough." 22:13.266 --> 22:15.233 align:left position:10% line:83% size:80% Well, you put it very well. That is exactly what I feel. 22:16.666 --> 22:19.166 align:left position:10% line:83% size:80% And all I know is that, if you see these things and realize 22:20.600 --> 22:22.966 align:left position:10% line:83% size:80% what they mean, you simply can't sit back and say, 22:24.100 --> 22:25.100 align:left position:20% line:83% size:70% "Well, I'm not going to bother." 22:26.266 --> 22:27.166 align:left position:20% line:83% size:70% Brangham, voice-over: Attenborough argues 22:28.333 --> 22:29.800 align:left position:20% line:83% size:70% for a rapid shift to renewable energy 22:30.666 --> 22:31.800 align:left position:10% line:89% size:80% to sustainable agriculture, 22:33.233 --> 22:36.200 align:left position:10% line:83% size:80% for a slowing of population growth, and for what he calls 22:37.233 --> 22:39.366 align:left position:20% line:83% size:70% a rewilding of the land and the oceans 22:40.466 --> 22:41.500 align:left position:20% line:83% size:70% to give them time to rebound. 22:42.666 --> 22:43.566 align:left position:20% line:83% size:70% Brangham: How confident are you that we will, 22:44.666 --> 22:46.866 align:left position:20% line:83% size:70% in fact, move from these isolated examples 22:47.733 --> 22:49.566 align:left position:30% line:83% size:60% to a true moment for change? 22:50.766 --> 22:52.633 align:left position:20% line:83% size:70% I'm not in the least confident that we 22:53.400 --> 22:55.766 align:left position:20% line:89% size:70% will do so in time. 22:57.166 --> 22:58.300 align:left position:10% line:83% size:80% And I certainly feel, although the situation is worse, 22:59.700 --> 23:00.900 align:left position:10% line:83% size:80% I believe that the world is becoming more aware of 23:01.633 --> 23:02.900 align:left position:20% line:89% size:70% what needs to be done 23:04.100 --> 23:05.733 align:left position:20% line:83% size:70% to a much greater extent than only, 23:06.466 --> 23:07.433 align:left position:20% line:89% size:70% say, five, 10 years ago. 23:08.533 --> 23:12.533 align:left position:20% line:83% size:70% It does seem to me a worldwide realization 23:13.633 --> 23:15.466 align:left position:20% line:83% size:70% of the crisis which we are facing. 23:16.900 --> 23:19.733 align:left position:10% line:83% size:80% And it's been spearheaded, of course, by young people, 23:20.466 --> 23:21.833 align:left position:20% line:89% size:70% and quite rightly, too. 23:22.566 --> 23:23.533 align:left position:20% line:89% size:70% It's their future. 23:24.933 --> 23:26.900 align:left position:10% line:83% size:80% The kids of today are-- that's their life, you know? 23:28.066 --> 23:31.400 align:left position:20% line:83% size:70% And we owe it to them to do everything we can 23:32.566 --> 23:35.000 align:left position:20% line:83% size:70% to make sure that disaster's averted. 23:36.066 --> 23:36.333 align:left position:20% line:83% size:70% Brangham: When we talk about 23:37.500 --> 23:39.266 align:left position:20% line:83% size:70% sixth extinction or global climate change, 23:40.433 --> 23:41.200 align:left position:20% line:83% size:70% it's still very easy for so many people 23:42.366 --> 23:44.500 align:left position:20% line:83% size:70% to put this view out of their minds 23:45.233 --> 23:46.933 align:left position:20% line:89% size:70% and just keep on. 23:47.833 --> 23:48.800 align:left position:30% line:83% size:60% But, actually, in your country, 23:50.200 --> 23:51.833 align:left position:10% line:83% size:80% it's more unlikely for that to happen than in mine. 23:53.000 --> 23:55.633 align:left position:20% line:83% size:70% I mean, you have faced disaster after disaster. 23:56.766 --> 23:57.633 align:left position:20% line:83% size:70% You have got rising sea levels. 23:59.000 --> 24:00.800 align:left position:10% line:83% size:80% You had cyclones, hurricanes moving through 24:02.233 --> 24:04.666 align:left position:10% line:83% size:80% with greater ferocity and frequency than ever before. 24:05.633 --> 24:06.566 align:left position:20% line:83% size:70% We see on our television newsreel 24:08.033 --> 24:09.966 align:left position:10% line:83% size:80% coverage of appalling things that happen in your country 24:11.400 --> 24:15.066 align:left position:10% line:83% size:80% because of climate change, seem to me overwhelming. 24:16.200 --> 24:18.166 align:left position:20% line:83% size:70% And it's nice to say, "Oh, it's nothing. 24:19.033 --> 24:19.833 align:left position:10% line:89% size:80% It's just a passing phase." 24:20.433 --> 24:21.266 align:left position:30% line:89% size:60% It isn't, 24:22.400 --> 24:23.200 align:left position:20% line:83% size:70% and the statistics show it isn't. 24:24.333 --> 24:25.533 align:left position:20% line:83% size:70% It is a major movement that's happening. 24:26.433 --> 24:27.666 align:left position:30% line:83% size:60% And your country and my country 24:29.133 --> 24:30.166 align:left position:10% line:83% size:80% and the rest of the world have got to do something about it. 24:31.166 --> 24:32.266 align:left position:20% line:83% size:70% And we can. And we know what to do. 24:33.366 --> 24:33.766 align:left position:20% line:83% size:70% Sir David Attenborough, thank you so much 24:34.500 --> 24:35.066 align:left position:20% line:89% size:70% for talking with us, 24:36.166 --> 24:37.300 align:left position:20% line:83% size:70% and thank you for your remarkable career. 24:38.033 --> 24:39.166 align:left position:20% line:89% size:70% Thank you so much. 24:40.566 --> 24:42.666 align:left position:10% line:83% size:80% Attenborough, along with the others featured in this episode, 24:43.400 --> 24:44.533 align:left position:20% line:89% size:70% are truly remarkable. 24:45.400 --> 24:47.233 align:left position:10% line:89% size:80% Their vision, passion, and drive 24:48.333 --> 24:49.066 align:left position:20% line:83% size:70% have propelled them to excellence. 24:49.933 --> 24:51.300 align:left position:10% line:89% size:80% And for that, we are grateful. 24:52.400 --> 24:53.633 align:left position:20% line:83% size:70% Join the conversation on our website. 24:54.500 --> 24:57.000 align:left position:10% line:89% size:80% That's PBS.org/Newshour/Canvas 24:58.433 --> 25:00.833 align:left position:10% line:83% size:80% and find more "Canvas" arts stories on the "PBS Newshour." 25:01.433 --> 25:02.866 align:left position:30% line:89% size:60% I'm Amna Nawaz. 25:03.933 --> 25:04.900 align:left position:20% line:83% size:70% For all of us at the "PBS NewsHour," 25:06.200 --> 25:06.700 align:left position:10% line:83% size:80% thanks for joining me here on "Beyond the Canvas." 25:07.433 --> 25:08.366 align:left position:20% line:89% size:70% We'll see you soon. 25:10.800 --> 25:12.800 align:left position:20% line:83% size:70% Nawaz: Next time on "Beyond the Canvas," 25:12.800 --> 25:14.433 align:left position:20% line:83% size:70% singer and songwriter Dolly Parton. 25:15.533 --> 25:16.833 align:left position:20% line:83% size:70% I think I take myself more serious 25:17.966 --> 25:18.833 align:left position:20% line:83% size:70% as a songwriter than anything else. 25:20.300 --> 25:21.633 align:left position:10% line:83% size:80% That's just been the thing that I've seemed to enjoy 25:22.966 --> 25:24.500 align:left position:10% line:83% size:80% the most because it's my therapy, it's my pleasure, 25:25.366 --> 25:26.166 align:left position:10% line:89% size:80% it's my job, it's my joy. 25:27.500 --> 25:28.366 align:left position:10% line:83% size:80% Nawaz: One of the extraordinary women we focus on next. 25:31.066 --> 25:36.066 align:left position:40% line:89% size:50% ♪♪ 26:00.900 --> 26:02.800 align:left position:10% line:83% size:80% Announcer: This program was made possible by 26:02.800 --> 26:04.766 align:left position:10% line:83% size:80% contributions to your PBS station from viewers like you. 26:05.366 --> 26:06.100 align:left position:30% line:89% size:60% Thank you.