1
00:00:01,400 --> 00:00:02,733
Announcer: This program 
was made possible by

2
00:00:02,733 --> 00:00:04,400
contributions to 
your PBS station

3
00:00:04,400 --> 00:00:06,533
from viewers like you. 
Thank you.

4
00:00:08,333 --> 00:00:08,866
Sternum up.

5
00:00:08,866 --> 00:00:09,533
Yeah.

6
00:00:09,533 --> 00:00:10,066
Breathe deep.

7
00:00:10,066 --> 00:00:10,500
Mm-hmm.

8
00:00:11,100 --> 00:00:12,266
Shoulders back.

9
00:00:13,166 --> 00:00:14,033
Now we stride. 
We don't...

10
00:00:15,333 --> 00:00:15,733
Man, voice-over: 
A lesson from Twyla Tharp

11
00:00:16,866 --> 00:00:18,900
in allowing our bodies 
to take up space,

12
00:00:19,633 --> 00:00:20,866
even as we grow older,

13
00:00:21,733 --> 00:00:23,500
what she refers to as amplitude.

14
00:00:24,233 --> 00:00:25,366
Amplitude, moving out,

15
00:00:26,466 --> 00:00:27,833
constantly feeling that 
you can move out.

16
00:00:28,700 --> 00:00:30,533
As age becomes reality, I think

17
00:00:31,400 --> 00:00:32,666
we start to retreat, we retract,

18
00:00:33,866 --> 00:00:36,166
we become protective, 
we become secluded,

19
00:00:36,933 --> 00:00:38,233
and we begin to ossify.

20
00:00:39,433 --> 00:00:40,533
But that's the body 
becoming smaller.

21
00:00:41,733 --> 00:00:42,600
In a way, it is 
becoming smaller.

22
00:00:43,500 --> 00:00:43,800
Well, that's its problem.

23
00:00:45,033 --> 00:00:45,866
Let's just get on 
with it, shall we?

24
00:00:46,400 --> 00:00:50,800
♪♪

25
00:00:53,033 --> 00:00:55,566
Amna Nawaz: Hi, everyone. 
This is "Beyond the Canvas"

26
00:00:56,333 --> 00:00:57,133
from the "PBS Newshour."

27
00:00:57,766 --> 00:00:58,833
I'm Amna Nawaz.

28
00:01:00,133 --> 00:01:01,200
Tonight, we meet artists 
who have been recognized

29
00:01:02,333 --> 00:01:03,766
at the highest level 
in their field.

30
00:01:04,500 --> 00:01:05,566
We call them the greats.

31
00:01:06,700 --> 00:01:07,566
You'll hear from 
renowned conductors

32
00:01:08,733 --> 00:01:10,366
Michael Tilson Thomas 
and Gustavo Dudamel,

33
00:01:11,233 --> 00:01:12,400
photojournalist Lynsey Addario,

34
00:01:13,500 --> 00:01:14,533
filmmaker Sir David 
Attenborough,

35
00:01:15,833 --> 00:01:18,600
and just now, dancer 
and choreographer Twyla Tharp.

36
00:01:19,766 --> 00:01:20,266
Through these conversations, 
you'll see

37
00:01:21,700 --> 00:01:23,766
how passion is the engine 
that drives their work.

38
00:01:24,633 --> 00:01:25,066
The people you're about to meet

39
00:01:26,233 --> 00:01:27,200
were first featured 
on the "PBS Newshour"

40
00:01:27,933 --> 00:01:28,700
before the pandemic,

41
00:01:29,566 --> 00:01:30,033
but tonight, you'll meet them

42
00:01:30,900 --> 00:01:32,166
on a new canvas, and maybe

43
00:01:32,900 --> 00:01:33,566
see them and their work

44
00:01:34,433 --> 00:01:34,766
through a different lens,

45
00:01:35,866 --> 00:01:37,466
right here on 
"Beyond the Canvas."

46
00:01:38,333 --> 00:01:39,400
Now back to this profile on

47
00:01:40,766 --> 00:01:43,133
one of the great choreographers 
of our age--Twyla Tharp.

48
00:01:44,600 --> 00:01:46,600
"Newshour's" chief correspondent 
for arts, culture, and society

49
00:01:47,500 --> 00:01:48,233
Jeffrey Brown spoke to her

50
00:01:49,366 --> 00:01:51,066
at the American Ballet Theatre 
in 2019.

51
00:01:52,233 --> 00:01:54,033
Then 78, Tharp had 
just released her book

52
00:01:55,466 --> 00:01:58,766
called "Keep it Moving: Lessons 
for the Rest of Your Life."

53
00:01:59,533 --> 00:02:01,900
Tharp: I wrote this to

54
00:02:03,033 --> 00:02:05,166
help others believe 
that constantly

55
00:02:05,900 --> 00:02:06,866
you can be evolving,

56
00:02:07,933 --> 00:02:09,366
that you don't 
accept the rumor that

57
00:02:10,533 --> 00:02:12,166
as the body ages, 
it becomes less.

58
00:02:13,266 --> 00:02:15,133
It becomes different. 
Hopefully more.

59
00:02:16,266 --> 00:02:17,433
So, do you think of this 
as a self-help book?

60
00:02:18,533 --> 00:02:20,700
I look at it as 
a self-survival book.

61
00:02:21,833 --> 00:02:22,233
Brown, voice-over: 
As a girl, Tharp took

62
00:02:23,266 --> 00:02:25,133
dance and music lessons 
of all kinds.

63
00:02:26,533 --> 00:02:28,233
In the 1960s, she was 
dancing and choreographing

64
00:02:29,433 --> 00:02:30,533
as part of 
an important experimental

65
00:02:31,266 --> 00:02:32,600
modern dance scene.

66
00:02:33,700 --> 00:02:34,633
And by the seventies, 
she was creating

67
00:02:35,800 --> 00:02:36,766
groundbreaking works 
like "Deuce Coupe"

68
00:02:37,500 --> 00:02:38,800
for the Joffrey Ballet.

69
00:02:39,666 --> 00:02:41,000
Set to music by the Beach Boys,

70
00:02:42,133 --> 00:02:42,733
it brought together 
elements of both

71
00:02:43,466 --> 00:02:44,600
ballet and modern dance.

72
00:02:46,133 --> 00:02:47,866
She made "Push Comes to Shove"

73
00:02:48,633 --> 00:02:49,666
for Mikhail Baryshnikov,

74
00:02:50,566 --> 00:02:51,566
part of an acclaimed partnership

75
00:02:52,800 --> 00:02:54,000
that included 
the award-winning PBS special

76
00:02:54,900 --> 00:02:57,000
"Baryshnikov by Tharp" in 1984.

77
00:02:57,633 --> 00:02:59,333
[Applause]

78
00:03:00,266 --> 00:03:01,500
Dance after dance, combining

79
00:03:02,366 --> 00:03:03,633
rigor and boundless energy.

80
00:03:05,900 --> 00:03:07,566
She also choreographed films,

81
00:03:08,500 --> 00:03:09,766
including "Hair" 
and "Amadeus"...

82
00:03:10,500 --> 00:03:13,000
[Opera music playing]

83
00:03:13,866 --> 00:03:14,333
and conceived and directed

84
00:03:15,200 --> 00:03:16,433
the Broadway hit "Movin' Out"

85
00:03:17,300 --> 00:03:18,166
to the music of Billy Joel.

86
00:03:18,900 --> 00:03:21,700
[Rock music playing]

87
00:03:23,033 --> 00:03:25,000
In her new book, she provides 
a series of exercises

88
00:03:25,866 --> 00:03:27,433
and says age is not the enemy,

89
00:03:28,166 --> 00:03:29,266
stagnation is the enemy.

90
00:03:30,233 --> 00:03:31,233
Tharp: We all have that 
laid on us

91
00:03:31,833 --> 00:03:32,800
by our culture.

92
00:03:33,700 --> 00:03:35,266
Being squirmy 
is not really--

93
00:03:36,466 --> 00:03:37,700
you can't do this 
at dinner parties,

94
00:03:38,866 --> 00:03:40,200
but this is how you 
keep your system,

95
00:03:41,366 --> 00:03:43,533
your metabolic system, 
rolling, by doing--

96
00:03:44,366 --> 00:03:44,766
you don't do it 
like this.

97
00:03:45,666 --> 00:03:46,033
Yeah. I mean, 
you can't--

98
00:03:47,166 --> 00:03:47,966
[indistinct]-- 
you can't do this

99
00:03:48,866 --> 00:03:49,533
even in the way 
we're talking,

100
00:03:50,666 --> 00:03:51,500
but you want me to. 
You want us to.

101
00:03:52,633 --> 00:03:53,933
Yeah, because if you 
keep doing this,

102
00:03:55,033 --> 00:03:56,266
chances are your body 
is going to be

103
00:03:57,200 --> 00:03:57,766
more productive 
in the moment

104
00:03:59,166 --> 00:04:00,266
and you'll have something 
left in the evening,

105
00:04:01,333 --> 00:04:02,333
particularly as you 
become older

106
00:04:03,200 --> 00:04:05,200
and you buy into 
this reality

107
00:04:06,066 --> 00:04:07,200
that older folks 
can do less.

108
00:04:07,933 --> 00:04:09,766
Uh, OK, prove it.

109
00:04:11,166 --> 00:04:12,333
Brown, voice-over: Her own 
physical regime is legendary.

110
00:04:13,300 --> 00:04:14,233
We watched 
an early-morning workout

111
00:04:14,966 --> 00:04:16,133
at her home studio.

112
00:04:17,300 --> 00:04:19,633
Breathing and stretching, 
cycling,

113
00:04:20,500 --> 00:04:21,333
and various kinds of strength

114
00:04:22,200 --> 00:04:23,200
and resistance exercises.

115
00:04:24,400 --> 00:04:26,000
Tharp: I could bench 
my body weight for 3

116
00:04:27,133 --> 00:04:29,733
and I deadlifted 
227 pounds to waist,

117
00:04:30,866 --> 00:04:32,400
which was twice 
my body weight, OK?

118
00:04:33,533 --> 00:04:35,866
So--but I developed 
a core strength

119
00:04:37,033 --> 00:04:38,966
that the classical 
dancer doesn't have.

120
00:04:40,000 --> 00:04:41,533
Now in making a piece 
of this sort

121
00:04:42,666 --> 00:04:44,133
for a classical 
dancer, I can bring

122
00:04:45,300 --> 00:04:47,366
that kind of physical 
intelligence to them

123
00:04:48,400 --> 00:04:48,966
and say, 
"Try it this way."

124
00:04:50,033 --> 00:04:50,766
You've had, of course, 
great success,

125
00:04:51,900 --> 00:04:52,500
but you've also 
experienced failure.

126
00:04:52,966 --> 00:04:53,500
Really?

127
00:04:53,500 --> 00:04:53,733
Yes, I--

128
00:04:54,333 --> 00:04:55,133
Are you kidding?

129
00:04:55,133 --> 00:04:55,866
I'm sorry to tell you.

130
00:04:57,000 --> 00:04:57,633
But you advise us 
in the book, you know,

131
00:04:59,033 --> 00:04:59,933
to accept those failures, 
right, to take risks.

132
00:05:00,733 --> 00:05:01,400
They're not failures.

133
00:05:02,000 --> 00:05:02,800
What are they?

134
00:05:02,800 --> 00:05:03,600
They're adventures

135
00:05:03,600 --> 00:05:04,000
of a different sort.

136
00:05:04,733 --> 00:05:05,100
You may not have gotten

137
00:05:05,833 --> 00:05:07,233
what you set out to get,

138
00:05:08,666 --> 00:05:10,633
but there is something to 
be learned from everything.

139
00:05:11,766 --> 00:05:13,233
There was a profile 
in the "Times."

140
00:05:13,966 --> 00:05:14,766
It says--I'm quoting--

141
00:05:15,966 --> 00:05:16,900
"Ms. Tharp remains 
among the very few

142
00:05:18,133 --> 00:05:18,833
female choreographers..." 
Oh, please.

143
00:05:20,000 --> 00:05:20,500
Give me a [beep] break. 
"To have had a lasting

144
00:05:21,233 --> 00:05:22,066
influence on ballet."

145
00:05:23,200 --> 00:05:23,533
Why don't they say 
one of the few

146
00:05:24,400 --> 00:05:25,433
short choreographers to have

147
00:05:26,300 --> 00:05:27,166
an influence on the ballet?

148
00:05:28,266 --> 00:05:30,566
The female nomenclature 
is highly abusive,

149
00:05:31,300 --> 00:05:32,633
it's ghettoizing, uh,

150
00:05:33,800 --> 00:05:34,966
and it's irrelevant 
to what I've done.

151
00:05:36,133 --> 00:05:36,533
You don't want to 
hear it at all.

152
00:05:37,266 --> 00:05:37,800
I'm not interested.

153
00:05:37,800 --> 00:05:38,333
Yeah.

154
00:05:39,266 --> 00:05:40,600
I'm a worker. 
I'm an artist.

155
00:05:41,533 --> 00:05:42,466
I make dances. 
End of story.

156
00:05:43,200 --> 00:05:43,833
Judge me with the best.

157
00:05:44,933 --> 00:05:45,833
Don't judge me 
with the best women.

158
00:05:47,133 --> 00:05:47,733
In the meantime, 
the final piece of advice

159
00:05:48,733 --> 00:05:49,133
that you give all of us 
in this book

160
00:05:49,866 --> 00:05:50,233
is "shut up and dance."

161
00:05:51,066 --> 00:05:51,500
That's right. 
Shut up

162
00:05:52,600 --> 00:05:53,300
and do what you love 
and, you know,

163
00:05:54,400 --> 00:05:54,966
be grateful 
and keep doing it

164
00:05:55,966 --> 00:05:56,600
and stop 
second-guessing it.

165
00:05:57,200 --> 00:05:58,133
OK. Very good.

166
00:05:59,233 --> 00:06:00,300
"I'm getting old. 
I can't do what I love."

167
00:06:01,033 --> 00:06:04,000
[Beep], in a word.

168
00:06:05,133 --> 00:06:06,700
[Chuckles] 
It's gonna change, that's all.

169
00:06:07,566 --> 00:06:07,733
It's not gonna be the same.

170
00:06:08,466 --> 00:06:09,066
It's gonna be different.

171
00:06:10,466 --> 00:06:12,833
Just like Tharp, 
Michael Tilson Thomas

172
00:06:13,700 --> 00:06:14,500
has spent his entire life

173
00:06:15,233 --> 00:06:16,033
doing what he loves.

174
00:06:16,966 --> 00:06:17,933
Tilson Thomas is 
one of the great

175
00:06:18,800 --> 00:06:19,833
musicians of his generation.

176
00:06:21,033 --> 00:06:22,733
In 2020, at the height 
of the COVID pandemic,

177
00:06:23,900 --> 00:06:24,733
he stepped down 
as music director

178
00:06:26,000 --> 00:06:27,700
and conductor of 
the San Francisco Symphony.

179
00:06:28,433 --> 00:06:29,266
Jeffrey Brown is back

180
00:06:30,133 --> 00:06:31,300
with this profile of a maestro

181
00:06:32,166 --> 00:06:33,366
forced to find another mission.

182
00:06:34,233 --> 00:06:35,533
[Classical music playing]

183
00:06:37,033 --> 00:06:39,033
Brown, voice-over: In March, 
Tilson Thomas was ending

184
00:06:39,633 --> 00:06:40,733
a 25-year run

185
00:06:41,600 --> 00:06:42,533
as conductor and music director

186
00:06:43,400 --> 00:06:44,333
of the San Francisco Symphony

187
00:06:45,566 --> 00:06:47,033
when the COVID shutdown began. 
[Record scratch]

188
00:06:48,433 --> 00:06:49,000
Tilson Thomas: It was a shock. 
Kind of numbing at first.

189
00:06:50,133 --> 00:06:50,666
Right in the middle 
of a rehearsal,

190
00:06:51,533 --> 00:06:52,600
day before we would start to

191
00:06:53,633 --> 00:06:54,966
tour to Carnegie Hall 
and Europe,

192
00:06:55,700 --> 00:06:56,433
say, "Well, guess what?

193
00:06:57,766 --> 00:06:59,133
It's not happening" or 
"Some of it's not happening,"

194
00:07:00,300 --> 00:07:01,266
and then gradually, 
more and more

195
00:07:02,133 --> 00:07:02,666
of the tour wasn't happening,

196
00:07:03,966 --> 00:07:05,133
and then the end of the year 
wasn't happening.

197
00:07:06,566 --> 00:07:07,633
Brown, voice-over: The planned 
celebration of his tenure--

198
00:07:08,600 --> 00:07:10,366
cancelled. 
Life and art interrupted

199
00:07:11,566 --> 00:07:13,166
by the reality of 
a deadly disease.

200
00:07:14,266 --> 00:07:15,433
So, we came to the 
strange situation where

201
00:07:16,600 --> 00:07:18,333
metabolic beings, 
as we musicians are,

202
00:07:19,433 --> 00:07:20,000
it wasn't that "get up 
in the morning,

203
00:07:21,166 --> 00:07:22,133
"go to rehearsal, 
practice, get home,

204
00:07:22,866 --> 00:07:23,333
"get a rest, and then

205
00:07:24,500 --> 00:07:25,200
"go out and rev 
your metabolism up

206
00:07:26,333 --> 00:07:27,200
"to its highest at 
around 10:30 at night,

207
00:07:28,333 --> 00:07:29,033
"then go home and put 
yourself to sleep

208
00:07:29,966 --> 00:07:30,266
and then do it 
the next day."

209
00:07:31,433 --> 00:07:33,033
That's the way we 
live, and suddenly,

210
00:07:33,766 --> 00:07:34,333
that was all gone.

211
00:07:35,066 --> 00:07:37,600
[Playing upbeat tune]

212
00:07:38,933 --> 00:07:40,166
Brown, voice-over: Instead, 
MTT, as he's known,

213
00:07:41,300 --> 00:07:43,366
is using his time 
to lean into his craft

214
00:07:44,400 --> 00:07:47,066
as musician, composer, 
and mentor.

215
00:07:48,133 --> 00:07:49,266
Tilson Thomas was born 
in Los Angeles

216
00:07:50,000 --> 00:07:51,400
into an artistic family.

217
00:07:52,600 --> 00:07:54,100
His grandparents were 
Yiddish theater stars.

218
00:07:55,533 --> 00:07:57,166
His father and mother both 
worked in the film industry.

219
00:07:57,900 --> 00:07:59,700
[Playing slow tune]

220
00:08:00,633 --> 00:08:01,700
By 19, he was working with

221
00:08:02,433 --> 00:08:03,400
and conducting premieres

222
00:08:04,133 --> 00:08:04,900
by great composers like

223
00:08:05,633 --> 00:08:06,966
Stravinsky and Copland.

224
00:08:08,100 --> 00:08:09,733
His big break came with 
the Boston Symphony,

225
00:08:10,666 --> 00:08:12,766
then London, and finally 
in 1995,

226
00:08:13,366 --> 00:08:14,066
San Francisco.

227
00:08:14,933 --> 00:08:16,233
[Classical music playing]

228
00:08:18,300 --> 00:08:20,733
In 1987, he founded Miami's

229
00:08:21,466 --> 00:08:22,800
New World Symphony.

230
00:08:23,800 --> 00:08:25,200
The goal-- 
an orchestral academy,

231
00:08:26,066 --> 00:08:26,766
to prepare young musicians

232
00:08:27,633 --> 00:08:28,933
for professional careers,

233
00:08:30,033 --> 00:08:31,533
a bridge between 
conservatory training

234
00:08:32,666 --> 00:08:33,766
and a player's first 
orchestral gig.

235
00:08:34,366 --> 00:08:35,933
[Violin playing]

236
00:08:38,500 --> 00:08:40,033
These days, he works remotely

237
00:08:40,766 --> 00:08:41,466
with symphony musicians

238
00:08:42,600 --> 00:08:44,033
like Georgia native 
Chelsea Sharpe.

239
00:08:45,133 --> 00:08:46,766
Wow. You sound in 
absolutely great shape.

240
00:08:47,600 --> 00:08:48,100
What have you 
seen in

241
00:08:49,200 --> 00:08:49,600
the young musicians 
you work with?

242
00:08:50,333 --> 00:08:51,166
How are they coping?

243
00:08:52,300 --> 00:08:53,233
How are they dealing 
with this year?

244
00:08:54,166 --> 00:08:54,500
All the plans 
that they had,

245
00:08:55,700 --> 00:08:56,733
the auditions they 
were set to take,

246
00:08:57,900 --> 00:08:58,866
the new positions they 
were about to begin.

247
00:08:59,933 --> 00:09:01,233
The most creative time 
of their lives

248
00:09:02,666 --> 00:09:04,066
had to stop, so they had 
to look around and think,

249
00:09:04,933 --> 00:09:05,600
"How can I reinvent myself?

250
00:09:06,700 --> 00:09:07,166
"What else is there 
for me to do?

251
00:09:08,266 --> 00:09:10,433
"How can I come out 
of this period

252
00:09:11,633 --> 00:09:13,033
being the best that I 
can be to go forward?"

253
00:09:14,200 --> 00:09:15,400
Here you are, wanting to 
be in front of people,

254
00:09:16,500 --> 00:09:17,400
trying to get your-- 
start a career

255
00:09:18,300 --> 00:09:19,266
and make a life 
as a musician.

256
00:09:20,000 --> 00:09:20,266
How hard has it been

257
00:09:21,166 --> 00:09:21,666
and how have you 
coped with it?

258
00:09:22,833 --> 00:09:23,600
We finally had time 
to sort of reflect

259
00:09:25,000 --> 00:09:26,866
and personally speaking, 
I was grateful for that time

260
00:09:27,933 --> 00:09:28,366
to just sit 
with the instrument

261
00:09:29,500 --> 00:09:30,800
and, you know, 
maybe think about

262
00:09:31,666 --> 00:09:33,400
some things 
technically that

263
00:09:34,500 --> 00:09:35,066
I hadn't had 
the luxury of time

264
00:09:36,100 --> 00:09:36,966
to kind of 
think about before.

265
00:09:38,333 --> 00:09:39,100
Brown, voice-over: A luxury 
Tilson Thomas believes

266
00:09:39,700 --> 00:09:40,533
they all need.

267
00:09:41,700 --> 00:09:43,200
Normally, musicians 
are worried about

268
00:09:44,333 --> 00:09:45,066
what is going to 
happen this weekend?

269
00:09:46,466 --> 00:09:47,800
The next concert, and the next 
and the next and the next.

270
00:09:48,966 --> 00:09:50,066
And now we're in 
this period where

271
00:09:51,233 --> 00:09:52,233
we need to turn our 
attention just to

272
00:09:53,300 --> 00:09:56,000
how are we slowly 
developing

273
00:09:57,266 --> 00:10:00,166
as musicians, as artists, 
and as people?

274
00:10:01,366 --> 00:10:02,233
♪ Bom, ba-beem, ♪ 
ba-bom, da-da-dum ♪

275
00:10:03,666 --> 00:10:04,366
Brown, voice-over: That's 
just what Los Angeles native

276
00:10:05,233 --> 00:10:06,466
Corbin Castro has managed,

277
00:10:07,333 --> 00:10:09,100
creating an online music academy

278
00:10:09,966 --> 00:10:11,400
for children age 8 to 12...

279
00:10:12,733 --> 00:10:13,600
Castro: This is not necessarily 
the kind of French horn

280
00:10:14,733 --> 00:10:16,633
that we're associating 
with Tchaikovsky.

281
00:10:18,033 --> 00:10:18,533
Brown, voice-over: Developed 
without prior connection

282
00:10:19,400 --> 00:10:20,866
to any youth music programs,

283
00:10:21,600 --> 00:10:22,433
and it's all virtual.

284
00:10:23,300 --> 00:10:25,300
It became very apparent to us

285
00:10:26,466 --> 00:10:27,633
the possibility 
that this program

286
00:10:28,633 --> 00:10:30,433
had to reach 
underresourced students

287
00:10:31,300 --> 00:10:32,133
and provide technical training

288
00:10:33,133 --> 00:10:35,000
and super-personalized 
mentorship

289
00:10:36,200 --> 00:10:38,866
in order to show them 
how classical music

290
00:10:39,766 --> 00:10:40,566
can have a positive influence

291
00:10:41,333 --> 00:10:42,066
not just on their lives

292
00:10:43,400 --> 00:10:44,833
but also the lives of 
the people in their communities.

293
00:10:46,066 --> 00:10:46,433
Brown: Is this all 
pandemic-related,

294
00:10:47,500 --> 00:10:47,933
to start thinking 
this way

295
00:10:48,700 --> 00:10:49,333
in different terms about

296
00:10:50,100 --> 00:10:50,566
yourself as a musician

297
00:10:51,466 --> 00:10:52,566
and part of the community?

298
00:10:53,700 --> 00:10:54,966
Yeah, exactly. 
It kind of combined

299
00:10:56,100 --> 00:10:59,200
all the best parts 
of what music can offer

300
00:11:00,433 --> 00:11:01,633
and how music 
can enrich lives.

301
00:11:03,066 --> 00:11:04,333
Brown, voice-over: Violist 
Stephanie Block agrees.

302
00:11:05,500 --> 00:11:07,333
It's the courage to 
take on something that

303
00:11:08,233 --> 00:11:09,400
challenges you 
as a player.

304
00:11:10,466 --> 00:11:12,033
And then it's 
the courage to kind of

305
00:11:13,200 --> 00:11:15,433
bare your soul again 
and give yourself

306
00:11:16,166 --> 00:11:17,633
to whoever needs it.

307
00:11:18,800 --> 00:11:20,300
What future do you see 
for classical music,

308
00:11:21,233 --> 00:11:21,400
especially given 
the young people

309
00:11:22,266 --> 00:11:22,800
that you're working with?

310
00:11:23,933 --> 00:11:24,300
Well, all the young 
people I'm working with

311
00:11:25,200 --> 00:11:26,266
have a real 
commitment to

312
00:11:27,400 --> 00:11:28,233
sharing their music 
and their vision

313
00:11:29,333 --> 00:11:30,766
with people younger 
than they are,

314
00:11:31,666 --> 00:11:34,100
and as a real 
life commitment,

315
00:11:35,200 --> 00:11:35,866
have taken on 
the role as teacher

316
00:11:36,600 --> 00:11:37,466
in a very expanded way,

317
00:11:38,566 --> 00:11:39,800
not just in 
a studio, but over

318
00:11:40,733 --> 00:11:42,300
the internet, 
in communities.

319
00:11:43,400 --> 00:11:44,433
They're much 
more dedicated to it

320
00:11:45,600 --> 00:11:48,433
and I think the new 
ways that they're going

321
00:11:49,600 --> 00:11:51,200
about this will bring 
great new things.

322
00:11:51,966 --> 00:11:53,366
[Upbeat tune playing]

323
00:11:55,400 --> 00:11:58,466
For Gustavo Dudamel, 
a moment of revelation came

324
00:11:59,666 --> 00:12:00,600
when he decided 
to devote his life

325
00:12:01,966 --> 00:12:04,133
to changing the image of 
orchestras in today's culture.

326
00:12:05,433 --> 00:12:06,766
Dudamel is one of 
the world's most celebrated

327
00:12:07,966 --> 00:12:08,966
classical musicians, 
and as the conductor

328
00:12:10,100 --> 00:12:10,633
of the Los Angeles 
Philharmonic,

329
00:12:12,000 --> 00:12:14,366
he's worked tirelessly to make 
music accessible to all,

330
00:12:15,666 --> 00:12:17,500
including students 
in underserved communities.

331
00:12:18,800 --> 00:12:20,333
Jeffrey Brown learned why 
Dudamel sees art

332
00:12:21,066 --> 00:12:22,866
as access to beauty.

333
00:12:24,166 --> 00:12:26,566
Brown: At the Camino Nuevo 
Charter Academy,

334
00:12:27,766 --> 00:12:30,000
a public school in Los Angeles' 
MacArthur Park,

335
00:12:31,433 --> 00:12:34,033
the star of the show recently 
was L.A. Philharmonic conductor

336
00:12:34,633 --> 00:12:35,666
Gustavo Dudamel.

337
00:12:36,866 --> 00:12:38,600
He was there to open 
a new site for YOLA,

338
00:12:39,666 --> 00:12:40,800
the Youth Orchestra 
Los Angeles,

339
00:12:42,233 --> 00:12:44,300
a program to offer free, 
high-quality music lessons

340
00:12:45,700 --> 00:12:48,333
and support to students 
in underserved communities.

341
00:12:49,800 --> 00:12:52,700
Dudamel: When I see them, 
I'm one of them. I go back--

342
00:12:53,466 --> 00:12:54,166
You feel that still?

343
00:12:54,800 --> 00:12:55,600
Completely.

344
00:12:56,500 --> 00:12:57,600
[Serene classical music playing]

345
00:12:58,600 --> 00:12:59,600
Brown: By now, Dudamel's 
own story

346
00:13:01,133 --> 00:13:02,766
is the stuff of legend... 
[Rousing orchestral music]

347
00:13:04,166 --> 00:13:06,366
coming up through Venezuela's 
famed El Sistema program,

348
00:13:07,466 --> 00:13:10,466
created in 1975 
by José Antonio Abreu,

349
00:13:11,766 --> 00:13:13,766
which has brought music lessons 
and orchestra training

350
00:13:14,766 --> 00:13:15,633
to hundreds of thousands 
of children,

351
00:13:16,500 --> 00:13:17,900
many from poor backgrounds.

352
00:13:18,933 --> 00:13:20,966
As a teenager, 
Dudamel became conductor

353
00:13:22,200 --> 00:13:24,433
of the program's 
Simón Bolívar Youth Orchestra,

354
00:13:25,600 --> 00:13:27,533
and today, he's one 
of the most celebrated

355
00:13:28,633 --> 00:13:30,133
classical musicians 
in the world.

356
00:13:31,000 --> 00:13:32,900
[Light classical music playing]

357
00:13:34,233 --> 00:13:36,666
Ten years into his time 
as conductor in a city of stars,

358
00:13:37,400 --> 00:13:38,666
his image is everywhere,

359
00:13:39,400 --> 00:13:40,666
and he remains committed

360
00:13:42,033 --> 00:13:43,666
to changing the image of 
orchestras in today's culture.

361
00:13:44,766 --> 00:13:45,833
Dudamel: I think it's 
a representation

362
00:13:46,966 --> 00:13:48,100
of the community, 
the orchestra.

363
00:13:49,533 --> 00:13:51,000
We have to avoid that-- 
I don't know how to call,

364
00:13:51,933 --> 00:13:54,433
but eltist way 
as we see art.

365
00:13:54,933 --> 00:13:55,766
Elitist.

366
00:13:55,766 --> 00:13:56,433
We are--elitist, yes.

367
00:13:57,633 --> 00:13:58,433
You know that--that-- 
you know, we are in

368
00:13:59,866 --> 00:14:01,200
a mountain here, and the 
rest of the people is there.

369
00:14:01,933 --> 00:14:02,700
It's not about art.

370
00:14:03,900 --> 00:14:04,700
But a lot of people 
do see it that way,

371
00:14:05,533 --> 00:14:06,200
especially 
classical music.

372
00:14:07,266 --> 00:14:07,833
But we are 
transforming that.

373
00:14:08,566 --> 00:14:09,833
When the people see

374
00:14:10,700 --> 00:14:11,700
that they are represented

375
00:14:12,866 --> 00:14:14,200
by the best art, by 
the best culture,

376
00:14:15,633 --> 00:14:17,300
it's the best, and that is 
what we want to create.

377
00:14:18,566 --> 00:14:19,966
Brown: Music, Dudamel says 
over and over,

378
00:14:20,833 --> 00:14:22,300
is a fundamental 
human right.

379
00:14:23,400 --> 00:14:24,566
Dudamel: It's a big idea 
about it's simple

380
00:14:25,600 --> 00:14:27,900
and it's very objective 
because art is

381
00:14:29,100 --> 00:14:31,566
creativity, art--art 
is access to beauty.

382
00:14:32,300 --> 00:14:33,600
And what our children,

383
00:14:34,733 --> 00:14:35,700
in our times, 
they're not having

384
00:14:36,533 --> 00:14:37,200
access to that, 
you know.

385
00:14:38,333 --> 00:14:39,866
We live a very 
pragmatical world,

386
00:14:41,000 --> 00:14:41,866
where, you know, 
you have to produce,

387
00:14:43,300 --> 00:14:44,033
you have to do this, you 
have to learn in that way.

388
00:14:45,333 --> 00:14:47,533
But where is the space 
to contemplation, to creativity,

389
00:14:48,833 --> 00:14:50,366
to work as a team, 
you know, to create beauty?

390
00:14:51,500 --> 00:14:53,166
[Orchestra playing 
festive tune]

391
00:14:54,600 --> 00:14:57,166
Brown: We visited 
YOLA at HOLA,

392
00:14:58,533 --> 00:15:00,700
an afterschool program 
where children 6 and up have

393
00:15:02,000 --> 00:15:04,733
access to instruments, lessons, 
and orchestra practice

394
00:15:05,633 --> 00:15:07,733
[Playing 
haltingly]

395
00:15:08,900 --> 00:15:09,733
Brown: Occasionally, 
the mentoring here

396
00:15:10,333 --> 00:15:11,366
is peer-to-peer.

397
00:15:12,800 --> 00:15:14,633
Girl: You're also pressing 
your, um, bow too hard.

398
00:15:15,600 --> 00:15:16,633
Brown: 
Two young cellists--

399
00:15:17,500 --> 00:15:19,133
16-year-old 
Zenaida Aparicio

400
00:15:20,266 --> 00:15:21,800
and 14-year-old 
Mary Ellie Flores--

401
00:15:22,533 --> 00:15:23,733
attend nearby schools.

402
00:15:25,133 --> 00:15:25,800
Did you have the opportunity 
to play music in school?

403
00:15:26,266 --> 00:15:26,800
No.

404
00:15:26,800 --> 00:15:27,766
Yeah.

405
00:15:28,900 --> 00:15:29,533
The only opportunity 
I had was here.

406
00:15:30,633 --> 00:15:31,700
Brown: Did you get 
to meet Gustavo Dudamel?

407
00:15:32,666 --> 00:15:33,200
Flores: 
It's pretty exciting,

408
00:15:34,100 --> 00:15:35,466
so many feelings 
just at once.

409
00:15:36,566 --> 00:15:37,866
He's a big person 
in our life.

410
00:15:39,266 --> 00:15:41,366
Brown: As Dudamel is moving 
forward in Los Angeles,

411
00:15:42,733 --> 00:15:44,366
his homeland of Venezuela 
is another story...

412
00:15:44,966 --> 00:15:45,633
Venezuela!

413
00:15:46,766 --> 00:15:47,633
Brown: after years 
of political,

414
00:15:48,600 --> 00:15:50,100
economic, 
and humanitarian crisis.

415
00:15:50,566 --> 00:15:51,400
[Pop]

416
00:15:52,633 --> 00:15:54,400
El Sistema is 
a government-funded program,

417
00:15:55,400 --> 00:15:56,400
and the Simón Bolívar 
Orchestra

418
00:15:57,500 --> 00:15:59,233
regularly performs 
at government functions.

419
00:15:59,966 --> 00:16:00,766
After Dudamel did write

420
00:16:01,933 --> 00:16:02,800
a "New York Times" 
op-ed last year

421
00:16:04,066 --> 00:16:05,666
critical of the government, 
Maduro responded

422
00:16:07,066 --> 00:16:09,000
by canceling two tours 
of the Bolívar Orchestra.

423
00:16:09,866 --> 00:16:11,633
Dudamel: You have to understand

424
00:16:12,800 --> 00:16:14,966
your position and your 
role in the society,

425
00:16:16,400 --> 00:16:18,566
and I really believe that 
you can create bridges.

426
00:16:19,566 --> 00:16:21,066
For me, 
music have to unite.

427
00:16:22,533 --> 00:16:24,066
If you get from one side to 
the other, then you destroy

428
00:16:24,800 --> 00:16:25,333
that possibility...

429
00:16:25,333 --> 00:16:26,600
Mm-hmm.

430
00:16:27,733 --> 00:16:28,966
to build, you know, 
a communication.

431
00:16:29,833 --> 00:16:30,966
[Orchestra playing softly]

432
00:16:32,266 --> 00:16:32,966
Brown: Here in Los Angeles 
in the meantime,

433
00:16:34,066 --> 00:16:35,966
the focus is on playing 
beautiful music...

434
00:16:36,833 --> 00:16:39,466
[Woman singing in Spanish]

435
00:16:40,633 --> 00:16:42,166
Brown: and reaching 
more young people.

436
00:16:43,100 --> 00:16:44,333
Dudamel: 
Every child have access

437
00:16:45,066 --> 00:16:46,333
to music and to art.

438
00:16:47,066 --> 00:16:47,600
That is the dream.

439
00:16:47,600 --> 00:16:48,666
Yeah.

440
00:16:49,533 --> 00:16:50,666
That is my dream, you know,

441
00:16:51,700 --> 00:16:53,166
to embrace the world 
with art,

442
00:16:53,900 --> 00:16:54,633
and it's not naive.

443
00:16:55,666 --> 00:16:57,633
That's it. 
It's simple, but...

444
00:16:58,500 --> 00:16:59,633
[Children's orchestra playing]

445
00:17:00,633 --> 00:17:02,166
that is the most 
beautiful thing.

446
00:17:06,000 --> 00:17:09,666
For Lynsey Addario, beauty comes 
from being present

447
00:17:11,000 --> 00:17:12,800
during life's most intimate 
and intense moments.

448
00:17:13,533 --> 00:17:14,366
As a photojournalist,

449
00:17:15,700 --> 00:17:17,200
Addario's covered conflict 
around the globe,

450
00:17:18,533 --> 00:17:20,466
and her work has won her 
a Pulitzer Prize, an Emmy Award,

451
00:17:21,500 --> 00:17:23,133
and a MacArthur Genius 
Fellowship.

452
00:17:24,566 --> 00:17:27,600
In 2016, she offered this 
"Brief but Spectacular" take

453
00:17:29,000 --> 00:17:32,533
on all the risk involved in 
documenting beauty and conflict.

454
00:17:33,700 --> 00:17:33,833
"If your pictures 
aren't good enough,

455
00:17:34,700 --> 00:17:35,033
you're not close enough."

456
00:17:36,200 --> 00:17:37,200
That's a classic 
Robert Capa quote.

457
00:17:38,366 --> 00:17:38,633
He was a very famous 
war photographer.

458
00:17:39,366 --> 00:17:40,300
And it's the truth.

459
00:17:41,433 --> 00:17:42,666
We cannot do our jobs 
from further back.

460
00:17:43,400 --> 00:17:44,266
And I have to care.

461
00:17:45,400 --> 00:17:46,733
I have to bring myself 
emotionally closer

462
00:17:47,333 --> 00:17:48,400
to the subject.

463
00:17:49,800 --> 00:17:50,566
I believe in these stories. 
I believe they have to be told.

464
00:17:51,766 --> 00:17:53,266
And so I force myself 
to go to these places.

465
00:17:54,700 --> 00:17:56,266
It's not an adrenaline rush, 
and it's not an addiction.

466
00:17:57,466 --> 00:18:00,533
I have been kidnapped twice-- 
once in Garma,

467
00:18:02,000 --> 00:18:03,700
which is a village outside of 
Fallujah, by Sunni insurgents,

468
00:18:04,433 --> 00:18:05,166
and once in Libya.

469
00:18:06,033 --> 00:18:07,000
I was sure we were about to die.

470
00:18:08,033 --> 00:18:09,700
And all I can 
think about is, "Really?

471
00:18:11,100 --> 00:18:11,800
Is this where I'm going 
to see the end of my life?"

472
00:18:13,366 --> 00:18:14,600
"What am I doing here?

473
00:18:15,766 --> 00:18:17,366
Why is it so important 
for me to be here?"

474
00:18:18,833 --> 00:18:19,900
And I have to ask myself those 
questions, because a big part

475
00:18:21,333 --> 00:18:25,000
of this job is knowing that we 
might die at any given time.

476
00:18:26,633 --> 00:18:27,766
People always ask, like,

477
00:18:28,966 --> 00:18:29,466
"Are you stoic when you're 
shooting?"

478
00:18:30,333 --> 00:18:31,800
And I am anything but stoic.

479
00:18:32,900 --> 00:18:33,866
When I'm watching someone die, 
I become

480
00:18:35,300 --> 00:18:37,500
very overwhelmed with emotion, 
and I'm crying as I'm shooting.

481
00:18:38,800 --> 00:18:40,166
I think it would be 
really strange if I didn't cry

482
00:18:41,400 --> 00:18:43,266
when I saw the things I see, 
because I see

483
00:18:44,133 --> 00:18:44,966
some of the most horrific things

484
00:18:46,133 --> 00:18:47,166
and some of the most 
beautiful things.

485
00:18:50,133 --> 00:18:53,033
Being a war photographer 
comes with great sacrifice.

486
00:18:54,200 --> 00:18:55,300
It's almost impossible 
to have a personal life.

487
00:18:56,700 --> 00:18:58,333
The amount of psychological 
and physical trauma that

488
00:18:59,600 --> 00:19:01,400
each one of us carries with us 
from covering war

489
00:19:02,433 --> 00:19:05,000
over many, many years is 
extraordinary.

490
00:19:06,200 --> 00:19:06,833
When I first started doing 
this job,

491
00:19:08,266 --> 00:19:10,033
I had a really hard time 
reconciling the fact that

492
00:19:11,233 --> 00:19:12,566
life went on outside 
of these war zones,

493
00:19:13,600 --> 00:19:14,166
and I would come back 
to New York,

494
00:19:15,633 --> 00:19:17,033
and everyone was at a bar and 
getting drunk and having fun.

495
00:19:17,766 --> 00:19:19,700
And I was so confused.

496
00:19:20,866 --> 00:19:21,366
I don't understand 
why no one cares

497
00:19:22,633 --> 00:19:23,566
and people aren't 
out on the street protesting.

498
00:19:24,766 --> 00:19:26,666
I had to make a decision 
at some point that if I

499
00:19:27,533 --> 00:19:28,333
was going to lead this life,

500
00:19:29,733 --> 00:19:32,166
I had to not leave behind 
the things I've seen,

501
00:19:32,766 --> 00:19:34,166
but be present.

502
00:19:35,266 --> 00:19:36,200
When I go home to be 
with my family

503
00:19:37,633 --> 00:19:40,900
and my husband and my son, 
I have to be there for them.

504
00:19:42,200 --> 00:19:45,100
I was so frustrated 
by people being so dismissive

505
00:19:46,466 --> 00:19:48,966
of the deeper reasons 
why anyone would cover war.

506
00:19:50,200 --> 00:19:51,233
It's about educating people, 
policy-makers,

507
00:19:52,333 --> 00:19:53,600
talking about 
human rights abuses.

508
00:19:54,933 --> 00:19:56,233
Once a photographer 
starts seeing the impact of

509
00:19:57,466 --> 00:19:59,033
his or her work, 
it's impossible to turn away.

510
00:20:00,133 --> 00:20:01,333
I mean, it's impossible 
to stop doing it.

511
00:20:03,066 --> 00:20:05,733
My name is Lynsey Addario, 
and this is

512
00:20:07,166 --> 00:20:10,733
my "Brief but Spectacular" take 
on life as a photojournalist.

513
00:20:11,866 --> 00:20:13,100
Another genius 
behind the lens is

514
00:20:14,066 --> 00:20:15,366
filmmaker 
Sir David Attenborough.

515
00:20:16,700 --> 00:20:19,066
Like Addario, he prides himself 
on how close he can get,

516
00:20:20,133 --> 00:20:21,466
in this case, 
to the natural world.

517
00:20:22,633 --> 00:20:23,900
My "NewsHour" colleague 
William Brangham spoke

518
00:20:25,133 --> 00:20:26,966
to this great about documenting 
the current crisis

519
00:20:27,566 --> 00:20:29,066
facing humanity.

520
00:20:33,800 --> 00:20:35,866
Sir David Attenborough: 
The living world is

521
00:20:36,766 --> 00:20:39,033
a unique and spectacular marvel.

522
00:20:40,466 --> 00:20:41,366
William Brangham: No one 
has given us a more intimate

523
00:20:42,833 --> 00:20:45,666
or stunning look at our planet 
than Sir David Attenborough.

524
00:20:46,833 --> 00:20:48,666
But now, 
after a near 70-year career,

525
00:20:50,100 --> 00:20:53,200
he says we are running the 
planet headlong into disaster.

526
00:20:54,533 --> 00:20:56,500
In his new Netflix documentary 
and companion book,

527
00:20:57,533 --> 00:20:59,066
both titled 
"A Life on Our Planet,"

528
00:21:00,333 --> 00:21:02,100
the famed filmmaker 
wants us to recognize

529
00:21:03,533 --> 00:21:05,800
what's happening, and to 
act before it's too late.

530
00:21:06,833 --> 00:21:08,500
As you say in 
the film and in the book

531
00:21:09,633 --> 00:21:10,600
that when you were 
a young man, going to

532
00:21:11,333 --> 00:21:12,233
all these exotic places,

533
00:21:13,333 --> 00:21:14,233
you had the sense 
at the time

534
00:21:15,400 --> 00:21:16,900
that man's imprint 
was not being felt.

535
00:21:18,066 --> 00:21:18,833
Attenborough: I mean, 
you can go to a glacier

536
00:21:20,200 --> 00:21:21,733
that you were there 
maybe five, 10 years ago,

537
00:21:23,133 --> 00:21:23,800
and it has retreated, 
but you think, "Oh, well.

538
00:21:24,666 --> 00:21:25,033
"That's just this glacier.

539
00:21:26,200 --> 00:21:27,233
Maybe there's another 
one that's increasing."

540
00:21:28,600 --> 00:21:29,500
But there are some things 
that are irrevocable

541
00:21:30,566 --> 00:21:32,366
and so dramatic 
and distressing that you

542
00:21:33,100 --> 00:21:33,933
can't brush them away.

543
00:21:35,300 --> 00:21:38,300
The one, I suppose, 
was the tipping point was

544
00:21:39,400 --> 00:21:40,000
when I dived 
on the coral reef,

545
00:21:41,200 --> 00:21:41,833
which I have known 
perfectly well--

546
00:21:43,266 --> 00:21:45,666
on the Great Barrier Reef in 
Australia--and suddenly

547
00:21:46,966 --> 00:21:48,633
saw a cemetery, 
and, suddenly, it was dead.

548
00:21:49,833 --> 00:21:51,633
And these corals, 
this extraordinary,

549
00:21:53,066 --> 00:21:56,566
wonderful construction 
of corals was dead--white.

550
00:21:57,333 --> 00:21:58,966
And that was a shock.

551
00:22:00,166 --> 00:22:01,000
In the past, you 
would often talk about

552
00:22:01,900 --> 00:22:02,766
man's impact 
on the world,

553
00:22:03,866 --> 00:22:04,833
but would move on, 
in a sense.

554
00:22:06,000 --> 00:22:06,900
This film, you really 
clearly seem to say:

555
00:22:07,633 --> 00:22:08,766
"We are not moving on.

556
00:22:09,933 --> 00:22:11,800
I cannot stress this 
point strong enough."

557
00:22:13,266 --> 00:22:15,233
Well, you put it very well. 
That is exactly what I feel.

558
00:22:16,666 --> 00:22:19,166
And all I know is that, if you 
see these things and realize

559
00:22:20,600 --> 00:22:22,966
what they mean, you simply 
can't sit back and say,

560
00:22:24,100 --> 00:22:25,100
"Well, I'm not 
going to bother."

561
00:22:26,266 --> 00:22:27,166
Brangham, voice-over: 
Attenborough argues

562
00:22:28,333 --> 00:22:29,800
for a rapid shift 
to renewable energy

563
00:22:30,666 --> 00:22:31,800
to sustainable agriculture,

564
00:22:33,233 --> 00:22:36,200
for a slowing of population 
growth, and for what he calls

565
00:22:37,233 --> 00:22:39,366
a rewilding of the land 
and the oceans

566
00:22:40,466 --> 00:22:41,500
to give them time 
to rebound.

567
00:22:42,666 --> 00:22:43,566
Brangham: How confident 
are you that we will,

568
00:22:44,666 --> 00:22:46,866
in fact, move from 
these isolated examples

569
00:22:47,733 --> 00:22:49,566
to a true moment 
for change?

570
00:22:50,766 --> 00:22:52,633
I'm not in the least 
confident that we

571
00:22:53,400 --> 00:22:55,766
will do so in time.

572
00:22:57,166 --> 00:22:58,300
And I certainly feel, although 
the situation is worse,

573
00:22:59,700 --> 00:23:00,900
I believe that the world is 
becoming more aware of

574
00:23:01,633 --> 00:23:02,900
what needs to be done

575
00:23:04,100 --> 00:23:05,733
to a much greater 
extent than only,

576
00:23:06,466 --> 00:23:07,433
say, five, 10 years ago.

577
00:23:08,533 --> 00:23:12,533
It does seem to me 
a worldwide realization

578
00:23:13,633 --> 00:23:15,466
of the crisis 
which we are facing.

579
00:23:16,900 --> 00:23:19,733
And it's been spearheaded, 
of course, by young people,

580
00:23:20,466 --> 00:23:21,833
and quite rightly, too.

581
00:23:22,566 --> 00:23:23,533
It's their future.

582
00:23:24,933 --> 00:23:26,900
The kids of today are-- 
that's their life, you know?

583
00:23:28,066 --> 00:23:31,400
And we owe it to them 
to do everything we can

584
00:23:32,566 --> 00:23:35,000
to make sure that 
disaster's averted.

585
00:23:36,066 --> 00:23:36,333
Brangham: 
When we talk about

586
00:23:37,500 --> 00:23:39,266
sixth extinction or 
global climate change,

587
00:23:40,433 --> 00:23:41,200
it's still very easy 
for so many people

588
00:23:42,366 --> 00:23:44,500
to put this view 
out of their minds

589
00:23:45,233 --> 00:23:46,933
and just keep on.

590
00:23:47,833 --> 00:23:48,800
But, actually, 
in your country,

591
00:23:50,200 --> 00:23:51,833
it's more unlikely for that 
to happen than in mine.

592
00:23:53,000 --> 00:23:55,633
I mean, you have faced 
disaster after disaster.

593
00:23:56,766 --> 00:23:57,633
You have got 
rising sea levels.

594
00:23:59,000 --> 00:24:00,800
You had cyclones, 
hurricanes moving through

595
00:24:02,233 --> 00:24:04,666
with greater ferocity and 
frequency than ever before.

596
00:24:05,633 --> 00:24:06,566
We see on 
our television newsreel

597
00:24:08,033 --> 00:24:09,966
coverage of appalling things 
that happen in your country

598
00:24:11,400 --> 00:24:15,066
because of climate change, 
seem to me overwhelming.

599
00:24:16,200 --> 00:24:18,166
And it's nice to say, 
"Oh, it's nothing.

600
00:24:19,033 --> 00:24:19,833
It's just a passing phase."

601
00:24:20,433 --> 00:24:21,266
It isn't,

602
00:24:22,400 --> 00:24:23,200
and the statistics 
show it isn't.

603
00:24:24,333 --> 00:24:25,533
It is a major movement 
that's happening.

604
00:24:26,433 --> 00:24:27,666
And your country 
and my country

605
00:24:29,133 --> 00:24:30,166
and the rest of the world have 
got to do something about it.

606
00:24:31,166 --> 00:24:32,266
And we can. 
And we know what to do.

607
00:24:33,366 --> 00:24:33,766
Sir David Attenborough, 
thank you so much

608
00:24:34,500 --> 00:24:35,066
for talking with us,

609
00:24:36,166 --> 00:24:37,300
and thank you for 
your remarkable career.

610
00:24:38,033 --> 00:24:39,166
Thank you so much.

611
00:24:40,566 --> 00:24:42,666
Attenborough, along with the 
others featured in this episode,

612
00:24:43,400 --> 00:24:44,533
are truly remarkable.

613
00:24:45,400 --> 00:24:47,233
Their vision, passion, and drive

614
00:24:48,333 --> 00:24:49,066
have propelled them 
to excellence.

615
00:24:49,933 --> 00:24:51,300
And for that, we are grateful.

616
00:24:52,400 --> 00:24:53,633
Join the conversation 
on our website.

617
00:24:54,500 --> 00:24:57,000
That's PBS.org/Newshour/Canvas

618
00:24:58,433 --> 00:25:00,833
and find more "Canvas" arts 
stories on the "PBS Newshour."

619
00:25:01,433 --> 00:25:02,866
I'm Amna Nawaz.

620
00:25:03,933 --> 00:25:04,900
For all of us 
at the "PBS NewsHour,"

621
00:25:06,200 --> 00:25:06,700
thanks for joining me here on 
"Beyond the Canvas."

622
00:25:07,433 --> 00:25:08,366
We'll see you soon.

623
00:25:10,800 --> 00:25:12,800
Nawaz: Next time 
on "Beyond the Canvas,"

624
00:25:12,800 --> 00:25:14,433
singer and songwriter 
Dolly Parton.

625
00:25:15,533 --> 00:25:16,833
I think I take 
myself more serious

626
00:25:17,966 --> 00:25:18,833
as a songwriter 
than anything else.

627
00:25:20,300 --> 00:25:21,633
That's just been the thing 
that I've seemed to enjoy

628
00:25:22,966 --> 00:25:24,500
the most because it's 
my therapy, it's my pleasure,

629
00:25:25,366 --> 00:25:26,166
it's my job, it's my joy.

630
00:25:27,500 --> 00:25:28,366
Nawaz: One of the extraordinary 
women we focus on next.

631
00:25:31,066 --> 00:25:36,066
♪♪

632
00:26:00,900 --> 00:26:02,800
Announcer: This program was made 
possible by

633
00:26:02,800 --> 00:26:04,766
contributions to your PBS 
station from viewers like you.

634
00:26:05,366 --> 00:26:06,100
Thank you.