1 00:00:01,534 --> 00:00:04,471 (SOFT ACOUSTIC GUITAR MUSIC) 2 00:00:33,867 --> 00:00:36,269 - [MARIA] WE'RE GONNA PUT THE 3 00:00:33,867 --> 00:00:36,269 MIC AROUND YOU, KRZYSZTOF, 4 00:00:36,336 --> 00:00:36,936 AND HIDE IT. 5 00:00:38,104 --> 00:00:40,874 - [KRZYSZTOF] OH NO, DON'T HIDE 6 00:00:38,104 --> 00:00:40,874 THIS. I HATE HIDING. 7 00:00:40,940 --> 00:00:42,675 - [MARIA] HE NEVER 8 00:00:40,940 --> 00:00:42,675 WANTS TO HIDE IT. 9 00:00:43,943 --> 00:00:46,846 IT'S VICTORIAN 10 00:00:43,943 --> 00:00:46,846 HIDING TECHNOLOGY. 11 00:00:50,083 --> 00:00:52,719 MY NAME IS 12 00:00:50,083 --> 00:00:52,719 KRZYSZTOF WODICZKO. 13 00:00:59,092 --> 00:01:02,829 (ATMOSPHERIC MUSIC) 14 00:02:49,903 --> 00:02:52,805 (KRZYSZTOF MUTTERING) 15 00:02:55,575 --> 00:02:57,110 THEN YOU CAN DO MONTAGE. 16 00:02:58,912 --> 00:03:00,000 YOU CAN FIGURE OUT WHAT 17 00:02:58,912 --> 00:03:00,000 YOU NEED OR DON'T NEED. 18 00:03:00,000 --> 00:03:01,781 YOU CAN FIGURE OUT WHAT 19 00:03:00,000 --> 00:03:01,781 YOU NEED OR DON'T NEED. 20 00:03:02,949 --> 00:03:06,452 (SOFT INTRIGUING MUSIC) 21 00:03:12,892 --> 00:03:13,626 - MY FIRST ENCOUNTER 22 00:03:12,892 --> 00:03:13,626 WITH HIS WORK, 23 00:03:13,693 --> 00:03:14,527 I WAS JUST LIKE AS 24 00:03:13,693 --> 00:03:14,527 A YOUNG ARTIST 25 00:03:14,594 --> 00:03:17,063 LOOKING FOR OLDER 26 00:03:14,594 --> 00:03:17,063 ARTISTS WHO HAD DONE 27 00:03:17,130 --> 00:03:19,799 WHAT I WAS TRYIN' TO 28 00:03:17,130 --> 00:03:19,799 FIGURE OUT HOW TO DO. 29 00:03:19,866 --> 00:03:20,667 KRZYSZTOF IS RADICAL. 30 00:03:20,733 --> 00:03:22,769 HE'S BADASS. (CHUCKLES) 31 00:03:22,835 --> 00:03:25,972 (SOFT INTRIGUING MUSIC) 32 00:03:28,908 --> 00:03:30,000 IN THE MID 80S, WODICZKO 33 00:03:28,908 --> 00:03:30,000 HAD PROJECTED A SWASTIKA 34 00:03:30,000 --> 00:03:31,844 IN THE MID 80S, WODICZKO 35 00:03:30,000 --> 00:03:31,844 HAD PROJECTED A SWASTIKA 36 00:03:31,911 --> 00:03:34,847 ON THE SOUTH AFRICAN COUNCIL 37 00:03:31,911 --> 00:03:34,847 WHICH I THOUGHT WAS AMAZING. 38 00:03:35,848 --> 00:03:38,685 SOUTH AFRICA WAS 39 00:03:35,848 --> 00:03:38,685 A RACIST COUNTRY. 40 00:03:38,751 --> 00:03:40,853 THE ANTI-APARTHEID MOVEMENT 41 00:03:38,751 --> 00:03:40,853 WAS BIG IN THE WORLD ACTUALLY 42 00:03:40,920 --> 00:03:42,789 BUT PARTICULARLY ACROSS THE US. 43 00:03:42,855 --> 00:03:45,658 (SOFT INTRIGUING MUSIC) 44 00:03:46,759 --> 00:03:48,061 - [DREAD] MOST ARTISTS 45 00:03:46,759 --> 00:03:48,061 DIDN'T LEARN ABOUT ARTISTS 46 00:03:48,127 --> 00:03:50,597 WHO WERE DOING INTERVENTION 47 00:03:48,127 --> 00:03:50,597 IN PUBLIC SPACE. 48 00:03:52,932 --> 00:03:54,767 THE FACT THAT ART DIDN'T 49 00:03:52,932 --> 00:03:54,767 HAVE TO ASK PERMISSION, 50 00:03:54,834 --> 00:03:57,837 THAT IT DIDN'T HAVE TO 51 00:03:54,834 --> 00:03:57,837 BE IN A REFINED SPACE. 52 00:03:59,305 --> 00:04:00,173 THAT WAS PHENOMENAL 53 00:04:00,239 --> 00:04:02,775 THAT THE ORDINARY PUBLIC 54 00:04:00,239 --> 00:04:02,775 COULD JUST SEE IT. 55 00:04:02,842 --> 00:04:05,945 (SOFT INTRIGUING MUSIC) 56 00:04:07,647 --> 00:04:10,516 - AN INTERVENTION IS ART 57 00:04:07,647 --> 00:04:10,516 THAT INTERRUPTS THE EVERY DAY 58 00:04:10,583 --> 00:04:11,884 IN SUCH A WAY THAT 59 00:04:10,583 --> 00:04:11,884 IT MAKES PEOPLE 60 00:04:11,951 --> 00:04:14,587 HAVE TO RETHINK THEIR SITUATION. 61 00:04:14,654 --> 00:04:17,790 AND I THINK IT GOES BACK TO 62 00:04:14,654 --> 00:04:17,790 THIS CONCEPT OF THE AVANT-GARDE 63 00:04:17,857 --> 00:04:19,759 TO MERGE ART WITH LIFE. 64 00:04:19,826 --> 00:04:20,994 IN ORDER TO DO THAT, 65 00:04:21,060 --> 00:04:24,797 YOU HAVE TO TAKE ART OFF THE 66 00:04:21,060 --> 00:04:24,797 WALL AND PUT IT IN THE STREET. 67 00:04:24,864 --> 00:04:27,900 (SOFT INTRIGUING MUSIC) 68 00:04:50,857 --> 00:04:53,860 - ON A C-130 AIRCRAFT, 69 00:04:53,926 --> 00:04:57,764 THERE WERE TIMES THAT 70 00:04:53,926 --> 00:04:57,764 WE HAD TO MOVE BODY BAGS 71 00:04:57,830 --> 00:05:00,000 AND THE BODY BAGS WAS 72 00:04:57,830 --> 00:05:00,000 NOTHING BUT SHELLS OF THE GI. 73 00:05:00,000 --> 00:05:03,269 AND THE BODY BAGS WAS 74 00:05:00,000 --> 00:05:03,269 NOTHING BUT SHELLS OF THE GI. 75 00:05:03,336 --> 00:05:06,873 WHAT HAPPENS AT THE 76 00:05:03,336 --> 00:05:06,873 MAKESHIFT MORGUE 77 00:05:06,939 --> 00:05:10,777 IS THAT THE BODIES ARE SLICED 78 00:05:10,843 --> 00:05:16,916 ON THE BACK DOWN THROUGH 79 00:05:10,843 --> 00:05:16,916 THE WAIST, I WOULD SAY. 80 00:05:16,983 --> 00:05:19,819 THE ORGANS ARE REMOVED. 81 00:05:19,886 --> 00:05:21,921 ONCE ALL THE ORGANS 82 00:05:19,886 --> 00:05:21,921 ARE REMOVED, 83 00:05:21,988 --> 00:05:25,792 THE BODIES ARE SEWN BACK UP. 84 00:05:25,858 --> 00:05:28,795 IT'S NOT THAT I EVER SEEN 85 00:05:25,858 --> 00:05:28,795 IT, BUT I KNOW WHAT IT WAS. 86 00:05:28,861 --> 00:05:30,000 I KNOW THERE WERE AMERICAN 87 00:05:28,861 --> 00:05:30,000 GIS IN THOSE BAGS. 88 00:05:30,000 --> 00:05:31,931 I KNOW THERE WERE AMERICAN 89 00:05:30,000 --> 00:05:31,931 GIS IN THOSE BAGS. 90 00:05:31,998 --> 00:05:33,966 (DARK FOREBODING MUSIC) 91 00:05:41,274 --> 00:05:42,942 (CLAPPERBOARD SNAPPING) 92 00:05:44,944 --> 00:05:45,778 - ALL RIGHT. 93 00:05:45,845 --> 00:05:47,280 MY NAME IS NELSON LOWHIM. 94 00:05:47,947 --> 00:05:50,883 I AM A VETERAN 95 00:05:50,950 --> 00:05:54,620 HERE TO TALK ABOUT MY 96 00:05:50,950 --> 00:05:54,620 EXPERIENCE WITH THE ARMY 97 00:05:54,687 --> 00:05:56,823 AND WITH MY TIME IN IRAQ. 98 00:05:56,889 --> 00:05:58,825 I WENT IN WHEN I WAS AROUND 22. 99 00:05:58,891 --> 00:06:00,000 I WAS INITIALLY 100 00:05:58,891 --> 00:06:00,000 VERY ENTHUSIASTIC, 101 00:06:00,000 --> 00:06:01,094 I WAS INITIALLY 102 00:06:00,000 --> 00:06:01,094 VERY ENTHUSIASTIC, 103 00:06:01,160 --> 00:06:05,598 VERY BELIEVING, I GUESS, 104 00:06:01,160 --> 00:06:05,598 NAIVE TO GO INTO IT. 105 00:06:05,665 --> 00:06:07,600 I WENT IN WITH ALL 106 00:06:05,665 --> 00:06:07,600 THESE GREAT HOPES, 107 00:06:07,667 --> 00:06:09,068 YOU KNOW, THESE BELIEFS. 108 00:06:09,135 --> 00:06:11,938 THIS SLOWLY STARTED TO CHANGE. 109 00:06:12,004 --> 00:06:14,941 I SUPPOSE WHEN A WAR STARTS, 110 00:06:12,004 --> 00:06:14,941 THERE'S A CERTAIN DRUM BEAT 111 00:06:15,007 --> 00:06:18,911 WITHIN WHAT SOCIETY SAYS AND 112 00:06:15,007 --> 00:06:18,911 WHAT IT DOES TO GET YOU TO GO. 113 00:06:18,978 --> 00:06:19,746 AND SUDDENLY THAT DRUM BEAT 114 00:06:19,812 --> 00:06:22,782 JUST KINDA DIDN'T 115 00:06:19,812 --> 00:06:22,782 MAKE SENSE TO ME 116 00:06:22,849 --> 00:06:25,785 OR DIDN'T SOUND 117 00:06:22,849 --> 00:06:25,785 LIKE A BEAT ANYMORE. 118 00:06:25,852 --> 00:06:27,787 IT JUST SOUNDED LIKE NOISE. 119 00:06:27,854 --> 00:06:30,000 AND THAT'S WHEN I SUPPOSE I 120 00:06:27,854 --> 00:06:30,000 STARTED TO DOUBT THE REASONS. 121 00:06:30,000 --> 00:06:32,792 AND THAT'S WHEN I SUPPOSE I 122 00:06:30,000 --> 00:06:32,792 STARTED TO DOUBT THE REASONS. 123 00:06:32,859 --> 00:06:34,193 THE REASONS FOR THAT WAR. 124 00:06:39,866 --> 00:06:43,836 I WAS IN AN NYU VETERANS 125 00:06:39,866 --> 00:06:43,836 WRITING WORKSHOP. 126 00:06:43,903 --> 00:06:46,839 SO THEY PUT OUT AN EMAIL 127 00:06:43,903 --> 00:06:46,839 SAYING IF ANYONE'S INTERESTED 128 00:06:46,906 --> 00:06:49,809 YOU KNOW, THEY WANT SOME 129 00:06:46,906 --> 00:06:49,809 VETERANS TO TELL THEIR STORIES. 130 00:06:49,876 --> 00:06:51,711 - [MARIA] WHY DID YOU 131 00:06:49,876 --> 00:06:51,711 THINK WE WERE IN IRAQ? 132 00:06:51,778 --> 00:06:52,812 WHAT DID THEY TELL YOU? 133 00:06:52,879 --> 00:06:53,679 - WELL THE MAIN THING I HEARD 134 00:06:53,746 --> 00:06:55,882 WAS THE WEAPONS OF 135 00:06:53,746 --> 00:06:55,882 MASS DESTRUCTION, 136 00:06:55,948 --> 00:06:57,784 GETTING RID OF THIS 137 00:06:55,948 --> 00:06:57,784 SAD DICTATOR, RIGHT? 138 00:06:57,850 --> 00:07:00,000 - [REPORTER] THERE IS NO 139 00:06:57,850 --> 00:07:00,000 DOUBT THAT SADDAM HUSSEIN 140 00:07:00,000 --> 00:07:00,653 - [REPORTER] THERE IS NO 141 00:07:00,000 --> 00:07:00,653 DOUBT THAT SADDAM HUSSEIN 142 00:07:00,720 --> 00:07:02,922 NOW HAS WEAPONS OF 143 00:07:00,720 --> 00:07:02,922 MASS DESTRUCTION. 144 00:07:02,989 --> 00:07:05,825 - AMERICAN AND COALITION 145 00:07:02,989 --> 00:07:05,825 FORCES ARE IN THE EARLY STAGES 146 00:07:05,892 --> 00:07:08,828 OF MILITARY OPERATIONS 147 00:07:05,892 --> 00:07:08,828 TO DISARM IRAQ. 148 00:07:08,895 --> 00:07:10,797 - THIS IS WHAT YOU'RE ABSORBING 149 00:07:08,895 --> 00:07:10,797 FROM THE MEDIA AND ALL. 150 00:07:10,863 --> 00:07:11,998 I WAS VERY NAIVE. 151 00:07:12,064 --> 00:07:14,133 AND THEN YOU FIND OUT THAT 152 00:07:12,064 --> 00:07:14,133 IT'S OBVIOUSLY ABOUT THE OIL. 153 00:07:14,200 --> 00:07:15,968 (DARK FOREBODING MUSIC) 154 00:07:14,200 --> 00:07:15,968 (EXPLOSION BURSTING) 155 00:07:16,035 --> 00:07:18,871 - REPEATED THE SAME 156 00:07:16,035 --> 00:07:18,871 WITH STRONGER WORDS. 157 00:07:18,938 --> 00:07:19,939 YOU PUT MORE WORDS. 158 00:07:20,006 --> 00:07:22,341 AND MORE TIMES, WAR AND REASON. 159 00:07:25,511 --> 00:07:29,715 - SO BEFORE YOU SIGN UP, 160 00:07:25,511 --> 00:07:29,715 THINK ABOUT WHAT YOU'RE DOING, 161 00:07:29,782 --> 00:07:30,000 THINK ABOUT WHY 162 00:07:29,782 --> 00:07:30,000 YOU'RE GOIN' TO WAR, 163 00:07:30,000 --> 00:07:31,918 THINK ABOUT WHY 164 00:07:30,000 --> 00:07:31,918 YOU'RE GOIN' TO WAR, 165 00:07:31,984 --> 00:07:34,120 THINK ABOUT THE PEOPLE 166 00:07:31,984 --> 00:07:34,120 WHO ARE TELLING YOU 167 00:07:34,187 --> 00:07:38,724 THAT YOU NEED TO GO TO WAR FOR 168 00:07:34,187 --> 00:07:38,724 AND SEE WHAT THEY'RE DOING. 169 00:07:38,791 --> 00:07:41,994 (DARK FOREBODING MUSIC) 170 00:07:49,969 --> 00:07:50,837 - [LOADER] TAKE ONE. 171 00:07:50,903 --> 00:07:52,905 (CLAPPERBOARD SNAPPING) 172 00:07:52,972 --> 00:07:55,107 - IN 2006 173 00:07:55,174 --> 00:07:58,244 MY FAMILY LOST MY NEPHEW 174 00:07:58,311 --> 00:08:00,000 LANCE CORPORAL 175 00:07:58,311 --> 00:08:00,000 NICHOLAS WHYTE IN IRAQ. 176 00:08:00,000 --> 00:08:01,380 LANCE CORPORAL 177 00:08:00,000 --> 00:08:01,380 NICHOLAS WHYTE IN IRAQ. 178 00:08:01,447 --> 00:08:03,749 I WAS THE ONE THAT SPOKE TO HIM 179 00:08:03,816 --> 00:08:06,853 ABOUT NOT JOINING 180 00:08:03,816 --> 00:08:06,853 THE MARINE CORPS. 181 00:08:06,919 --> 00:08:08,287 I FELT THAT HE 182 00:08:06,919 --> 00:08:08,287 SHOULDN'T HAVE GONE. 183 00:08:08,354 --> 00:08:09,922 GO INTO THE MARINES. 184 00:08:09,989 --> 00:08:11,858 AS THE FIRST LINE OF ATTACK 185 00:08:11,924 --> 00:08:13,759 AND YOU'RE GOING TO 186 00:08:11,924 --> 00:08:13,759 DIE PRETTY MUCH. 187 00:08:13,826 --> 00:08:16,162 SO WE'RE SITTIN' IN THE 188 00:08:13,826 --> 00:08:16,162 KITCHEN AND WE'RE TALKING 189 00:08:16,229 --> 00:08:18,831 AND I'M LIKE, "OKAY, 190 00:08:16,229 --> 00:08:18,831 YOU'RE GOING TO DIE." 191 00:08:18,898 --> 00:08:19,732 AND HE JUST LOOKED AT ME 192 00:08:19,799 --> 00:08:21,167 AND GAVE ME A LOOK 193 00:08:19,799 --> 00:08:21,167 OF ANY TEENAGE KID. 194 00:08:21,234 --> 00:08:24,237 I MEAN 'CAUSE NICHOLAS 195 00:08:21,234 --> 00:08:24,237 WAS LIKE AROUND 18 1/2, 196 00:08:24,303 --> 00:08:25,838 SO WE GOT INTO A 197 00:08:24,303 --> 00:08:25,838 VERY INTENSE ARGUMENT. 198 00:08:25,905 --> 00:08:27,974 HE WAS LIKE, "WELL THEN 199 00:08:25,905 --> 00:08:27,974 WHY WOULD YOU TELL ME? 200 00:08:28,040 --> 00:08:29,909 I WOULD THINK THAT 201 00:08:28,040 --> 00:08:29,909 YOU WOULD UNDERSTAND 202 00:08:29,976 --> 00:08:30,000 WHY I'M JOININ' THE MARINE 203 00:08:29,976 --> 00:08:30,000 CORPS 'CAUSE YOU ARE MARINE." 204 00:08:30,000 --> 00:08:31,844 WHY I'M JOININ' THE MARINE 205 00:08:30,000 --> 00:08:31,844 CORPS 'CAUSE YOU ARE MARINE." 206 00:08:31,911 --> 00:08:32,745 AND I STOPPED FOR A MINUTE 207 00:08:32,812 --> 00:08:34,914 BECAUSE IT'S TRUE, 208 00:08:32,812 --> 00:08:34,914 I WAS IN THE MARINE. 209 00:08:34,981 --> 00:08:37,316 SO WHY AM I SITTING 210 00:08:34,981 --> 00:08:37,316 HERE TELLING HIM? 211 00:08:37,383 --> 00:08:39,452 I SAID, "BECAUSE WE'RE 212 00:08:37,383 --> 00:08:39,452 AT WAR, YOU IDIOT. 213 00:08:39,518 --> 00:08:41,854 YOU FREAKIN' IDIOT, 214 00:08:39,518 --> 00:08:41,854 WE'RE AT WAR RIGHT NOW. 215 00:08:41,921 --> 00:08:43,155 IF YOU GO, 216 00:08:41,921 --> 00:08:43,155 YOU'RE GOING TO DIE." 217 00:08:45,224 --> 00:08:47,994 HIS MOM CALLED ME TO TELL ME 218 00:08:48,060 --> 00:08:49,962 THAT SHE WANTED ME 219 00:08:48,060 --> 00:08:49,962 TO COME TO THE HOUSE. 220 00:08:50,029 --> 00:08:51,931 "GOD, PLEASE DO ME A FAVOR. 221 00:08:51,998 --> 00:08:54,934 AND JUST PLEASE, 222 00:08:51,998 --> 00:08:54,934 I'M BEGGIN' YOU. 223 00:08:55,001 --> 00:08:57,436 PLEASE LET IT BE ANYTHING 224 00:08:55,001 --> 00:08:57,436 ELSE BUT NICHOLAS." 225 00:08:57,503 --> 00:08:59,906 SHE'S SCREAMING AT 226 00:08:57,503 --> 00:08:59,906 THE TOP OF HER VOICE. 227 00:08:59,972 --> 00:09:00,000 "JUST COME, COME, 228 00:08:59,972 --> 00:09:00,000 COME, COME, COME!" 229 00:09:00,000 --> 00:09:01,841 "JUST COME, COME, 230 00:09:00,000 --> 00:09:01,841 COME, COME, COME!" 231 00:09:01,908 --> 00:09:02,842 SHE HUNG UP THE PHONE. 232 00:09:02,909 --> 00:09:05,177 AND OH MY GOD, I KNEW. 233 00:09:05,244 --> 00:09:06,779 I KNEW IT WAS NICHOLAS. 234 00:09:06,846 --> 00:09:09,882 (DARK FOREBODING MUSIC) 235 00:09:13,986 --> 00:09:18,925 - CULTURE OF WAR AND CULTURE 236 00:09:13,986 --> 00:09:18,925 IN GENERAL OF ANY NATION 237 00:09:18,991 --> 00:09:22,895 IS PERPETUATING CERTAIN 238 00:09:18,991 --> 00:09:22,895 NUMBER OF SHORTCUTS, 239 00:09:22,962 --> 00:09:26,966 CLICHES AND NARRATIVES THAT HELP 240 00:09:27,033 --> 00:09:29,035 PEOPLE TO JOIN THE WAR. 241 00:09:31,904 --> 00:09:32,805 - [MARIE] I JOINED THE MARINES 242 00:09:32,872 --> 00:09:34,941 BECAUSE I NEEDED THE 243 00:09:32,872 --> 00:09:34,941 MONEY TO GO TO COLLEGE 244 00:09:35,007 --> 00:09:36,809 AND I DIDN'T THINK ABOUT WAR. 245 00:09:37,910 --> 00:09:39,845 THERE'S A LOT OF SOLDIERS 246 00:09:37,910 --> 00:09:39,845 OUT THERE LIKE MYSELF 247 00:09:39,912 --> 00:09:41,247 WHO ACTUALLY JUST WENT OVER 248 00:09:41,314 --> 00:09:42,848 JUST BECAUSE THEY WERE 249 00:09:41,314 --> 00:09:42,848 TOLD TO GO OVER 250 00:09:42,915 --> 00:09:44,183 BECAUSE WE SIGNED 251 00:09:42,915 --> 00:09:44,183 A PIECE OF PAPER 252 00:09:44,250 --> 00:09:46,986 AND DIDN'T REALLY KNOW 253 00:09:44,250 --> 00:09:46,986 WHY WE WERE GOIN' TO WAR. 254 00:09:47,053 --> 00:09:50,856 (DARK INTRIGUING MUSIC) 255 00:09:57,930 --> 00:10:00,833 (SOFT INTRIGUING MUSIC) 256 00:10:00,900 --> 00:10:03,903 - [ROSALYN] THE VERY 257 00:10:00,900 --> 00:10:03,903 FACT A MONUMENT 258 00:10:03,970 --> 00:10:07,907 WHICH EMBODIES THIS 259 00:10:03,970 --> 00:10:07,907 NOTION OF HISTORY, MOVING. 260 00:10:07,974 --> 00:10:11,911 HE BOTH DISRUPTS THEM 261 00:10:07,974 --> 00:10:11,911 AND INTERVENES IN THEM 262 00:10:11,978 --> 00:10:13,412 BRINGING OUT THE UNCONSCIOUS 263 00:10:13,479 --> 00:10:16,148 WHICH MEANS THE 264 00:10:13,479 --> 00:10:16,148 UNCONSCIOUS OF THE SOCIETY. 265 00:10:17,650 --> 00:10:20,853 WHAT'S REPRESSED, 266 00:10:17,650 --> 00:10:20,853 MAKING THINGS VISIBLE, 267 00:10:20,920 --> 00:10:23,990 WHAT'S RENDERED 268 00:10:20,920 --> 00:10:23,990 INVISIBLE BY POWER. 269 00:10:27,994 --> 00:10:29,061 - WE NEED TO CHANGE 270 00:10:27,994 --> 00:10:29,061 THE CULTURE, RIGHT? 271 00:10:29,128 --> 00:10:30,000 WE NEED TO MOVE AWAY FROM 272 00:10:29,128 --> 00:10:30,000 THE GLORIFICATION OF WAR, 273 00:10:30,000 --> 00:10:32,565 WE NEED TO MOVE AWAY FROM 274 00:10:30,000 --> 00:10:32,565 THE GLORIFICATION OF WAR, 275 00:10:32,631 --> 00:10:34,900 THAT IDEA OF KILLING THE OTHER. 276 00:10:36,702 --> 00:10:39,572 - [KRZYSZTOF] WE ROMANTICIZE 277 00:10:36,702 --> 00:10:39,572 THE WAR, 278 00:10:39,638 --> 00:10:43,876 AND THOSE MONUMENTS ARE VERY 279 00:10:39,638 --> 00:10:43,876 MUCH PART OF THIS PROCESS 280 00:10:43,943 --> 00:10:48,180 OF TELLING US THE THINGS, 281 00:10:43,943 --> 00:10:48,180 THAT ROMANTIC VISION OF WAR, 282 00:10:48,247 --> 00:10:53,185 THE KIND OF SENSE OF MISSION 283 00:10:48,247 --> 00:10:53,185 AND LOFTY KIND OF SACRIFICE 284 00:10:53,252 --> 00:10:54,653 THAT THE WAR OFFERS. 285 00:10:54,720 --> 00:10:57,656 IT'S BEEN REPRODUCED, 286 00:10:54,720 --> 00:10:57,656 REPLICATED SILENTLY 287 00:10:57,723 --> 00:10:59,992 THROUGH THOSE WAR MEMORIALS. 288 00:11:00,059 --> 00:11:01,460 WHY THIS STATUE? 289 00:11:01,527 --> 00:11:02,661 WHY DO WE NEED THEM? 290 00:11:08,034 --> 00:11:11,037 (BUSTLING STREET NOISE) 291 00:11:16,208 --> 00:11:22,181 ARC DE TRIOMPHE, THE BIGGEST 292 00:11:16,208 --> 00:11:22,181 SYMBOLIC WAR MACHINE IN EUROPE. 293 00:11:22,248 --> 00:11:25,184 IT'S AMAZING HOW MANY 294 00:11:22,248 --> 00:11:25,184 PEOPLE ARE VISITING IT 295 00:11:25,251 --> 00:11:28,687 WITH CHILDREN AND FAMILIES 296 00:11:25,251 --> 00:11:28,687 FROM ALL OVER EUROPE, 297 00:11:28,754 --> 00:11:30,000 ALL OVER THE WORLD IN THE 298 00:11:28,754 --> 00:11:30,000 MIDDLE OF EUROPEAN UNION. 299 00:11:30,000 --> 00:11:33,692 ALL OVER THE WORLD IN THE 300 00:11:30,000 --> 00:11:33,692 MIDDLE OF EUROPEAN UNION. 301 00:11:33,759 --> 00:11:36,495 IT'S A KIND OF CONTRADICTION 302 00:11:33,759 --> 00:11:36,495 IN SOME WAYS. 303 00:11:36,562 --> 00:11:39,999 (ATMOSPHERIC MUSIC) 304 00:11:41,000 --> 00:11:42,668 THE WHOLE NARRATIVE 305 00:11:41,000 --> 00:11:42,668 OF THE MONUMENT 306 00:11:42,735 --> 00:11:46,172 IS ABOUT THAT PEACE CAN ONLY 307 00:11:42,735 --> 00:11:46,172 BE ACHIEVED THROUGH WAR. 308 00:11:46,238 --> 00:11:49,975 YOU KNOW, THERE'S A WHOLE 309 00:11:46,238 --> 00:11:49,975 SEQUENCE OF SCULPTURES 310 00:11:50,042 --> 00:11:52,945 THAT SHOW FROM 311 00:11:50,042 --> 00:11:52,945 DEPARTURE TO PEACE. 312 00:11:53,012 --> 00:11:55,648 BUT YOU KNOW, THAT 313 00:11:53,012 --> 00:11:55,648 PEACE WAS OBTAINED 314 00:11:55,714 --> 00:11:59,685 AT THE EXPENSE, INCREDIBLE 315 00:11:55,714 --> 00:11:59,685 AMOUNT OF DEAD PEOPLE. 316 00:11:59,752 --> 00:12:00,000 NAPOLEONIC WARS PROVIDED 317 00:11:59,752 --> 00:12:00,000 PRETTY MUCH THE MODEL 318 00:12:00,000 --> 00:12:03,355 NAPOLEONIC WARS PROVIDED 319 00:12:00,000 --> 00:12:03,355 PRETTY MUCH THE MODEL 320 00:12:03,422 --> 00:12:06,192 FOR OTHER WARS, 321 00:12:03,422 --> 00:12:06,192 EVEN MORE BLOODY. 322 00:12:09,728 --> 00:12:11,664 YOU SEE THIS MARSEILLAISE? 323 00:12:13,032 --> 00:12:14,967 IF ANYBODY BEHAVE LIKE THIS 324 00:12:15,034 --> 00:12:17,670 OR ACTED LIKE THIS 325 00:12:15,034 --> 00:12:17,670 IN A PEACETIME, 326 00:12:17,736 --> 00:12:21,674 WILL BE IN PRISON OR 327 00:12:17,736 --> 00:12:21,674 IN MENTAL HOSPITAL. 328 00:12:21,740 --> 00:12:24,677 BUT WAR ALLOWS THIS 329 00:12:21,740 --> 00:12:24,677 KIND OF BEHAVIORAL, 330 00:12:24,743 --> 00:12:28,013 THIS KIND OF STATE OF MIND 331 00:12:24,743 --> 00:12:28,013 TO BE TREATED AS NORMAL. 332 00:12:28,747 --> 00:12:31,650 THE MOST HONORABLE REWARDED 333 00:12:31,717 --> 00:12:36,021 WITH THE HIGHEST 334 00:12:31,717 --> 00:12:36,021 MEDALS AND RESPECT. 335 00:12:36,088 --> 00:12:39,158 AND ALSO YOU HAVE 336 00:12:36,088 --> 00:12:39,158 THIS YOUTH. 337 00:12:39,225 --> 00:12:42,695 OF COURSE, WE KNOW THAT THIS 338 00:12:39,225 --> 00:12:42,695 IS ALLEGORY, AND IT'S ART. 339 00:12:42,761 --> 00:12:44,196 BUT AT THE SAME TIME, 340 00:12:44,263 --> 00:12:48,200 WE KNOW THERE ARE ENORMOUS 341 00:12:44,263 --> 00:12:48,200 AMOUNT OF CHILD SOLDIERS 342 00:12:48,267 --> 00:12:50,469 THAT ARE SENT STRAIGHT TO THE 343 00:12:48,267 --> 00:12:50,469 BATTLE. 344 00:12:51,804 --> 00:12:56,208 AND MASOCHISM OF WAR IS 345 00:12:51,804 --> 00:12:56,208 BEING PERPETUATED HERE. 346 00:12:56,275 --> 00:13:00,000 THE PLEASURE OF DYING OR 347 00:12:56,275 --> 00:13:00,000 SUFFERING FOR THE LEADER 348 00:13:00,000 --> 00:13:00,012 THE PLEASURE OF DYING OR 349 00:13:00,000 --> 00:13:00,012 SUFFERING FOR THE LEADER 350 00:13:00,079 --> 00:13:02,781 AND FOR NATION AND WHATNOT. 351 00:13:04,750 --> 00:13:06,685 - [DREAD] THERE IS A 352 00:13:04,750 --> 00:13:06,685 LOGIC IN MEMORIALS 353 00:13:06,752 --> 00:13:08,687 THAT PERPETUATES WAR. 354 00:13:08,754 --> 00:13:10,523 THE ARC DE TRIOMPHE IS OLD, 355 00:13:10,589 --> 00:13:12,525 BUT IT'S BEING USED 356 00:13:10,589 --> 00:13:12,525 IN THE MODERN ERA 357 00:13:12,591 --> 00:13:14,293 TO RATIONALIZE THE WARS 358 00:13:12,591 --> 00:13:14,293 THAT ARE GONNA BE FOUGHT 359 00:13:14,360 --> 00:13:15,728 IN THE PRESENT AND FUTURE. 360 00:13:18,864 --> 00:13:20,499 - I SAID, "WHAT ARE 361 00:13:18,864 --> 00:13:20,499 YOU WORKING ON?" 362 00:13:20,566 --> 00:13:22,501 AND HE DESCRIBED THIS PROJECT, 363 00:13:22,568 --> 00:13:24,803 "TRANSFORMING OF THE 364 00:13:22,568 --> 00:13:24,803 MONUMENT TO WAR, 365 00:13:24,870 --> 00:13:28,374 THE ARC DE TRIOMPHE INTO 366 00:13:24,870 --> 00:13:28,374 ITS COMPLETE ANTITHESIS." 367 00:13:28,440 --> 00:13:30,000 BUT I'M THINKING 368 00:13:28,440 --> 00:13:30,000 THE FRENCH WILL NEVER... 369 00:13:30,000 --> 00:13:30,209 BUT I'M THINKING 370 00:13:30,000 --> 00:13:30,209 THE FRENCH WILL NEVER... 371 00:13:30,276 --> 00:13:32,211 NEVER GONNA LET HIM DO 372 00:13:30,276 --> 00:13:32,211 THAT, YOU KNOW? (LAUGHING) 373 00:13:32,278 --> 00:13:33,712 BUT THE MORE HE TALKED ABOUT IT, 374 00:13:33,779 --> 00:13:35,981 THE MORE IMPORTANT 375 00:13:33,779 --> 00:13:35,981 I THOUGHT IT WAS. 376 00:13:37,783 --> 00:13:40,486 - [KRZYSZTOF] SO THIS 377 00:13:37,783 --> 00:13:40,486 IS THE PROJECT. 378 00:13:40,553 --> 00:13:43,189 IT LOOKS PRETTY NASTY, 379 00:13:40,553 --> 00:13:43,189 I HAVE TO SAY. 380 00:13:43,255 --> 00:13:45,824 BECAUSE IT WANTS TO BE 381 00:13:43,255 --> 00:13:45,824 MORE OF AN INTERVENTION 382 00:13:45,891 --> 00:13:49,228 TO REALLY ADDRESS THE 383 00:13:45,891 --> 00:13:49,228 ISSUE IN A SHARP WAY. 384 00:13:49,295 --> 00:13:51,797 BUT I THINK IT SHOULD 385 00:13:49,295 --> 00:13:51,797 BE LIKE A SCAFFOLDING 386 00:13:51,864 --> 00:13:54,433 BUILT AROUND THIS MONUMENT 387 00:13:54,500 --> 00:13:57,703 WHICH WILL BE DECONSTRUCTIVE 388 00:13:54,500 --> 00:13:57,703 STRUCTURED INSTITUTION 389 00:13:57,770 --> 00:14:00,000 THAT WILL GIVE A CHANCE 390 00:13:57,770 --> 00:14:00,000 FOR PEOPLE, TOURISTS, 391 00:14:00,000 --> 00:14:00,673 THAT WILL GIVE A CHANCE 392 00:14:00,000 --> 00:14:00,673 FOR PEOPLE, TOURISTS, 393 00:14:00,739 --> 00:14:05,311 TO JOIN UN-WAR PROJECTS AND 394 00:14:00,739 --> 00:14:05,311 ANALYZING THE CULTURE OF WAR. 395 00:14:05,377 --> 00:14:08,781 (SOFT INTRIGUING MUSIC) 396 00:14:10,849 --> 00:14:13,686 - IT MAKES YOU START TO 397 00:14:10,849 --> 00:14:13,686 LIKE, QUESTION WHAT IS WAR? 398 00:14:13,752 --> 00:14:16,455 WHAT IS THE 399 00:14:13,752 --> 00:14:16,455 MECHANISMS BEHIND WAR? 400 00:14:16,522 --> 00:14:19,191 MONUMENTS TELL SUCH 401 00:14:16,522 --> 00:14:19,191 A DISTORTED HISTORY 402 00:14:19,258 --> 00:14:22,595 AND FOR HIM TO ALLOW 403 00:14:19,258 --> 00:14:22,595 FOR ALTERNATE HISTORIES 404 00:14:22,661 --> 00:14:24,730 TO COME THROUGH THAT 405 00:14:22,661 --> 00:14:24,730 IS SO IMPORTANT. 406 00:14:25,831 --> 00:14:29,702 - IT COULD EASILY BE CLASSIFIED 407 00:14:25,831 --> 00:14:29,702 AS VISIONARY ARCHITECTURE 408 00:14:29,768 --> 00:14:30,000 AND YET KRZYSZTOF SAYS THAT 409 00:14:29,768 --> 00:14:30,000 IT IS MEANT TO BE BUILT. 410 00:14:30,000 --> 00:14:34,206 AND YET KRZYSZTOF SAYS THAT 411 00:14:30,000 --> 00:14:34,206 IT IS MEANT TO BE BUILT. 412 00:14:34,273 --> 00:14:37,843 (SOFT INTRIGUING MUSIC) 413 00:14:38,777 --> 00:14:43,716 - [CAROL] THIS HYPOTHETICAL IDEA 414 00:14:38,777 --> 00:14:43,716 OF 415 00:14:38,777 --> 00:14:43,716 TRANSFORMING THE MONUMENT TO 416 00:14:38,777 --> 00:14:43,716 WAR, 417 00:14:43,782 --> 00:14:47,253 WHAT MOTIVATES SOMEONE 418 00:14:43,782 --> 00:14:47,253 TO WANT TO DO 419 00:14:47,319 --> 00:14:49,822 SUCH A WILD IDEA AS 420 00:14:47,319 --> 00:14:49,822 WRAP THE ARC DE TRIOMPHE 421 00:14:49,888 --> 00:14:52,825 IN A NEW STRUCTURE WHICH WOULD 422 00:14:49,888 --> 00:14:52,825 BE ABOUT THE ABOLITION OF WAR 423 00:14:52,891 --> 00:14:54,760 AND THE TRANSFORMATION 424 00:14:52,891 --> 00:14:54,760 OF CONSCIOUSNESS? 425 00:15:00,266 --> 00:15:03,636 WAR WAS VERY MUCH A 426 00:15:00,266 --> 00:15:03,636 PART OF KRZYSZTOF'S LIFE 427 00:15:03,702 --> 00:15:05,704 FROM THE VERY START. 428 00:15:05,771 --> 00:15:08,841 (SOFT SOLEMN MUSIC) 429 00:15:24,757 --> 00:15:28,460 - [KRZYSZTOF] I WAS BORN TWO 430 00:15:24,757 --> 00:15:28,460 DAYS BEFORE THE OUTBREAK 431 00:15:28,527 --> 00:15:31,730 OF GHETTO UPRISING IN WARSAW. 432 00:15:31,797 --> 00:15:34,233 MY FATHER WAS NOT JEWISH, 433 00:15:34,300 --> 00:15:38,637 BUT I WAS BORN OF JEWISH 434 00:15:34,300 --> 00:15:38,637 MOTHER OUTSIDE OF GHETTO. 435 00:15:40,773 --> 00:15:45,244 SHE TOLD ME THAT AFTER 436 00:15:40,773 --> 00:15:45,244 GIVING BIRTH TO ME, 437 00:15:45,311 --> 00:15:48,747 THROUGH THE WINDOWS 438 00:15:45,311 --> 00:15:48,747 SHE COULD SEE BURNING, 439 00:15:48,814 --> 00:15:52,818 DESTROYED GHETTO 440 00:15:48,814 --> 00:15:52,818 BEING A BATTLEGROUND. 441 00:15:52,885 --> 00:15:56,722 AND SHE SAID, "I LOOK 442 00:15:52,885 --> 00:15:56,722 AT YOU, NEWBORN BABY, 443 00:15:56,789 --> 00:15:58,791 AND I WAS HORRIFIED." 444 00:15:58,857 --> 00:16:00,000 SHE SAID, "YOU LOOKED LIKE THIS 445 00:15:58,857 --> 00:16:00,000 JEW IN ANTI-SEMITIC POSTERS." 446 00:16:00,000 --> 00:16:04,396 SHE SAID, "YOU LOOKED LIKE THIS 447 00:16:00,000 --> 00:16:04,396 JEW IN ANTI-SEMITIC POSTERS." 448 00:16:04,463 --> 00:16:06,799 AND SHE WAS AFRAID THAT 449 00:16:09,468 --> 00:16:10,869 WE WOULD DIE. 450 00:16:10,936 --> 00:16:11,770 OF COURSE, 451 00:16:13,872 --> 00:16:15,474 WE WERE HIDDEN. 452 00:16:15,541 --> 00:16:19,645 BUT HER FAMILY WAS 453 00:16:15,541 --> 00:16:19,645 IN WARSAW GHETTO. 454 00:16:21,847 --> 00:16:24,283 MY FATHER WAS SAVING JEWISH. 455 00:16:25,818 --> 00:16:29,655 HER PARENTS WERE ACTUALLY 456 00:16:25,818 --> 00:16:29,655 SMUGGLED BY MY FATHER 457 00:16:29,722 --> 00:16:32,725 TO HIDING IN SOME SMALL VILLAGE. 458 00:16:32,791 --> 00:16:35,461 BUT PROBABLY THOSE 459 00:16:32,791 --> 00:16:35,461 PARENTS WERE MURDERED. 460 00:16:39,865 --> 00:16:41,800 TOWARDS THE END OF THE 461 00:16:39,865 --> 00:16:41,800 WAR, THE DIFFERENCE 462 00:16:41,867 --> 00:16:46,572 BETWEEN SLAVIC PEOPLE AND 463 00:16:41,867 --> 00:16:46,572 JEWS WERE DIMINISHING. 464 00:16:46,638 --> 00:16:49,742 MY FATHER IN FACT WAS 465 00:16:46,638 --> 00:16:49,742 ROUNDED UP ON THE STREET, 466 00:16:49,808 --> 00:16:51,810 ENDED UP IN THE LABOR CAMP. 467 00:16:51,877 --> 00:16:54,947 (DARK MELANCHOLY MUSIC) 468 00:16:58,417 --> 00:17:00,753 AFTER THE WAR, MY FATHER 469 00:17:00,819 --> 00:17:05,023 BECAME DIRECTOR OF THE 470 00:17:00,819 --> 00:17:05,023 FIRST PHILHARMONIC ORCHESTRA 471 00:17:05,090 --> 00:17:06,859 BY THE BALTIC SEA, 472 00:17:07,926 --> 00:17:12,765 CREATING COMPLETELY NEW 473 00:17:07,926 --> 00:17:12,765 CULTURE OF MUSICIANSHIP. 474 00:17:12,831 --> 00:17:17,403 BUT DURING THE TIME, HE WAS 475 00:17:12,831 --> 00:17:17,403 ALSO EXPELLED FROM POLAND. 476 00:17:17,469 --> 00:17:21,807 HE HAD TO MOVE ABROAD 477 00:17:17,469 --> 00:17:21,807 AGAINST HIS WILL. 478 00:17:23,108 --> 00:17:26,345 (ATMOSPHERIC MUSIC) 479 00:17:36,889 --> 00:17:39,892 IN COMPARISON TO MY OWN 480 00:17:36,889 --> 00:17:39,892 HISTORY, THERE'S SOME OVERLAP 481 00:17:39,958 --> 00:17:43,662 BECAUSE THEY BASICALLY 482 00:17:39,958 --> 00:17:43,662 KICKED ME OUT FROM POLAND. 483 00:17:45,898 --> 00:17:48,367 ART CAN ACTUALLY PREVENT 484 00:17:48,434 --> 00:17:51,036 TO REPEAT PAST 485 00:17:48,434 --> 00:17:51,036 MISTAKES AND INJUSTICES. 486 00:17:51,103 --> 00:17:55,741 THIS IS PART OF THE TRADITION 487 00:17:51,103 --> 00:17:55,741 OF THE AVANT-GARDE ART. 488 00:17:55,808 --> 00:17:58,911 (SOFT INTRIGUING MUSIC) 489 00:18:01,914 --> 00:18:04,850 - KRZYSZTOF'S WORK 490 00:18:01,914 --> 00:18:04,850 IS QUITE UNIQUE 491 00:18:04,917 --> 00:18:09,855 IN THE WORLD OF ARTISTS WHO 492 00:18:04,917 --> 00:18:09,855 ARE POLITICALLY ENGAGED. 493 00:18:10,656 --> 00:18:14,393 (MYSTERIOUS INTRIGUING MUSIC) 494 00:18:15,794 --> 00:18:19,832 HIS WORK BEGINS IN 495 00:18:15,794 --> 00:18:19,832 POLAND IN THE '60S. 496 00:18:20,899 --> 00:18:24,770 POLAND DURING THE '60S WAS 497 00:18:20,899 --> 00:18:24,770 A VERY REPRESSIVE SITUATION. 498 00:18:26,171 --> 00:18:29,374 (MYSTERIOUS INTRIGUING MUSIC) 499 00:18:31,109 --> 00:18:34,580 - [KRZYSZTOF] WE WERE NOT 500 00:18:31,109 --> 00:18:34,580 ALLOWED TO SPEAK IN PUBLIC. 501 00:18:34,646 --> 00:18:35,681 WE COULD ONLY LISTEN. 502 00:18:36,882 --> 00:18:40,819 AND EVERYBODY READING 503 00:18:36,882 --> 00:18:40,819 UNDER AUTHORITARIAN CONTEXT 504 00:18:40,886 --> 00:18:45,757 MUST BE VERY PRECISE IN 505 00:18:40,886 --> 00:18:45,757 LISTENING 506 00:18:40,886 --> 00:18:45,757 TO WHAT'S NOT BEING SAID. 507 00:18:45,824 --> 00:18:45,891 MUST BE VERY PRECISE IN 508 00:18:45,824 --> 00:18:45,891 LISTENING 509 00:18:45,824 --> 00:18:45,891 TO WHAT'S NOT BEING SAID. 510 00:18:45,824 --> 00:18:45,891 (SOFT INTRIGUING MUSIC) 511 00:18:47,059 --> 00:18:50,062 (MYSTERIOUS INTRIGUING MUSIC) 512 00:18:53,165 --> 00:18:56,068 THERE ARE SOME 513 00:18:53,165 --> 00:18:56,068 EXPRESSIONS IN POLISH: 514 00:18:56,134 --> 00:18:59,838 "TO HEAR WHAT ONE 515 00:18:56,134 --> 00:18:59,838 CAN HEAR IN GRASS." 516 00:18:59,905 --> 00:19:00,000 SOMETHING THAT IS 517 00:18:59,905 --> 00:19:00,000 SUSPENDED IN THE AIR 518 00:19:00,000 --> 00:19:02,841 SOMETHING THAT IS 519 00:19:00,000 --> 00:19:02,841 SUSPENDED IN THE AIR 520 00:19:02,908 --> 00:19:07,513 AND CAN ONLY HEAR WHEN 521 00:19:02,908 --> 00:19:07,513 WE REALLY ARE VERY TUNED 522 00:19:07,579 --> 00:19:11,583 PRECISELY TO SILENCES, 523 00:19:11,650 --> 00:19:14,920 TO INFORMATION THAT 524 00:19:11,650 --> 00:19:14,920 IS CENSORED, RIGHT? 525 00:19:14,987 --> 00:19:16,822 TO THINGS THAT ARE OMITTED. 526 00:19:17,956 --> 00:19:22,895 WE WERE TRYING TO HEAR THE 527 00:19:17,956 --> 00:19:22,895 TRUTH BETWEEN THE LINES. 528 00:19:24,162 --> 00:19:27,833 THIS IS THE CONTEXT 529 00:19:24,162 --> 00:19:27,833 OF THIS INSTRUMENT. 530 00:19:27,900 --> 00:19:30,000 SINCE WE WERE NOT ALLOWED 531 00:19:27,900 --> 00:19:30,000 TO BE CREATIVE IN SPEAKING 532 00:19:30,000 --> 00:19:30,736 SINCE WE WERE NOT ALLOWED 533 00:19:30,000 --> 00:19:30,736 TO BE CREATIVE IN SPEAKING 534 00:19:30,802 --> 00:19:31,970 BUT ONLY IN LISTENING, 535 00:19:32,037 --> 00:19:37,709 WHY NOT DESIGN SPECIAL 536 00:19:32,037 --> 00:19:37,709 EQUIPMENT FOR CREATIVE 537 00:19:32,037 --> 00:19:37,709 LISTENING? 538 00:19:37,776 --> 00:19:39,778 THE OPERATION OF THOSE FILTERS 539 00:19:39,845 --> 00:19:43,115 WERE DONE THROUGH SENSORS 540 00:19:39,845 --> 00:19:43,115 ATTACHED TO HANDS. 541 00:19:43,181 --> 00:19:45,551 IF I CLOSE MY HANDS COMPLETELY, 542 00:19:45,617 --> 00:19:48,820 THERE WAS NO LIGHT 543 00:19:45,617 --> 00:19:48,820 COMING TO THE SENSORS. 544 00:19:48,887 --> 00:19:50,689 THERE WAS SILENCE. 545 00:19:50,756 --> 00:19:53,091 WHEN I OPEN IT TO 546 00:19:50,756 --> 00:19:53,091 MAXIMUM LIGHT, 547 00:19:53,158 --> 00:19:55,761 I COULD HEAR FULL FREQUENCY. 548 00:19:55,827 --> 00:19:58,430 IT WAS MOSTLY GLISSANDO EFFECT, 549 00:19:58,497 --> 00:20:00,766 BUT IT COULD ALSO BE INTERRUPTED 550 00:20:00,832 --> 00:20:04,770 BY KIND OF RUPTURES OF SOUND. 551 00:20:04,836 --> 00:20:05,704 THE IMPORTANT ASPECT OF IT, 552 00:20:05,771 --> 00:20:08,774 IT WAS HIGHLY VISIBLE 553 00:20:05,771 --> 00:20:08,774 WHAT I WAS DOING. 554 00:20:08,840 --> 00:20:11,877 IT'S JUST NOBODY COULD 555 00:20:08,840 --> 00:20:11,877 HEAR WHAT I HEARD. 556 00:20:11,944 --> 00:20:15,847 IT'S KINDA REVERSING WHOLE 557 00:20:11,944 --> 00:20:15,847 SITUATION OF THE CENSORSHIP. 558 00:20:15,914 --> 00:20:18,784 (STATIC CRACKLING) 559 00:20:21,787 --> 00:20:24,823 (SOFT INTRIGUING MUSIC) 560 00:20:26,758 --> 00:20:29,861 - KRZYSZTOF WODICZKO WAS 561 00:20:26,758 --> 00:20:29,861 ONE OF THE CRUCIAL ARTISTS 562 00:20:29,928 --> 00:20:31,830 DURING THE '70S IN POLAND. 563 00:20:31,897 --> 00:20:35,834 HE DIDN'T WANT TO LEAVE POLAND. 564 00:20:35,901 --> 00:20:38,804 BUT WHEN HE WAS IN TORONTO, 565 00:20:38,870 --> 00:20:40,606 THE POLISH EMBASSY, 566 00:20:40,672 --> 00:20:43,842 THEY WAS TOLD THAT HE 567 00:20:40,672 --> 00:20:43,842 SHOULD STAY IN THE WEST. 568 00:20:43,909 --> 00:20:47,879 IT WAS VERY COMMON PRACTICE 569 00:20:43,909 --> 00:20:47,879 BY COMMUNIST REGIME 570 00:20:47,946 --> 00:20:50,916 TO REDUCE THE INTELLECTUALS, 571 00:20:47,946 --> 00:20:50,916 THE ARTISTS 572 00:20:50,983 --> 00:20:53,785 BECAUSE THEY WERE INFLUENTIAL. 573 00:20:53,852 --> 00:20:56,855 (DARK INTRIGUING MUSIC) 574 00:21:11,770 --> 00:21:14,239 - [KRZYSZTOF] AT NIGHT, 575 00:21:11,770 --> 00:21:14,239 THE CITY BUILDINGS 576 00:21:14,306 --> 00:21:19,211 ARE WRESTLING WITH 577 00:21:14,306 --> 00:21:19,211 THEIR DAILY EXPERIENCES, 578 00:21:19,277 --> 00:21:21,680 AS IF THEY HAD NIGHTMARES 579 00:21:21,747 --> 00:21:23,849 ABOUT WHAT THEY DO 580 00:21:21,747 --> 00:21:23,849 DURING THE DAY. 581 00:21:24,983 --> 00:21:28,120 IT LOOKS LIKE THE BUILDINGS 582 00:21:24,983 --> 00:21:28,120 ARE HAVING REAL DREAMS 583 00:21:28,186 --> 00:21:29,855 OF THE DAILY ACTIVITIES. 584 00:21:31,356 --> 00:21:34,593 (DARK INTRIGUING MUSIC) 585 00:21:35,694 --> 00:21:40,766 I BEGUN PUBLIC PROJECTIONS 586 00:21:35,694 --> 00:21:40,766 IN TORONTO IN 1981. 587 00:21:40,832 --> 00:21:45,604 I PROJECTED ON THIS BUILDING 588 00:21:40,832 --> 00:21:45,604 JUST PARTS OF A HUMAN BODY 589 00:21:45,671 --> 00:21:48,840 TO TURN THEM INTO 590 00:21:45,671 --> 00:21:48,840 BODILY CREATURES. 591 00:21:49,675 --> 00:21:53,612 TAKING ADVANTAGE OF 592 00:21:49,675 --> 00:21:53,612 THIS BODILY METAPHOR 593 00:21:53,679 --> 00:21:55,814 THAT IS IN NEOCLASSIC 594 00:21:53,679 --> 00:21:55,814 ARCHITECTURE 595 00:21:55,881 --> 00:21:58,216 BUT ALSO IN MODERNIST 596 00:21:55,881 --> 00:21:58,216 BUILDINGS AS WELL. 597 00:21:59,084 --> 00:22:00,000 I SIMPLY HELP THOSE 598 00:21:59,084 --> 00:22:00,000 BUILDINGS TO BECOME BODIES. 599 00:22:00,000 --> 00:22:02,087 I SIMPLY HELP THOSE 600 00:22:00,000 --> 00:22:02,087 BUILDINGS TO BECOME BODIES. 601 00:22:03,288 --> 00:22:04,056 A LITTLE BIT TURNING THE CITY 602 00:22:04,122 --> 00:22:06,758 INTO BRECHTIAN THEATER, YOU 603 00:22:04,122 --> 00:22:06,758 KNOW? 604 00:22:10,395 --> 00:22:13,331 BUT IT WAS VERY CLEAR 605 00:22:10,395 --> 00:22:13,331 THAT THEY REALLY RESEMBLED 606 00:22:13,398 --> 00:22:16,768 IN MANY WAYS PEOPLE WHO 607 00:22:13,398 --> 00:22:16,768 WORK IN THOSE BUILDINGS. 608 00:22:21,006 --> 00:22:25,777 KEY TURNING POINT WAS 609 00:22:21,006 --> 00:22:25,777 WHEN I SAW GROUP OF PEOPLE 610 00:22:25,844 --> 00:22:28,046 WHO LOOK AT THIS AND 611 00:22:25,844 --> 00:22:28,046 STARTED TO LAUGH. 612 00:22:28,113 --> 00:22:30,000 THE LAUGHTER WAS A 613 00:22:28,113 --> 00:22:30,000 REVELATION TO ME 614 00:22:30,000 --> 00:22:31,650 THE LAUGHTER WAS A 615 00:22:30,000 --> 00:22:31,650 REVELATION TO ME 616 00:22:31,717 --> 00:22:34,252 BECAUSE IT'S CLEAR 617 00:22:31,717 --> 00:22:34,252 THAT THEY REALIZED 618 00:22:34,786 --> 00:22:36,722 THAT THERE'S SOMETHING 619 00:22:34,786 --> 00:22:36,722 IN THOSE BUILDINGS 620 00:22:36,788 --> 00:22:38,824 THAT IS INSIDE OF THEM. 621 00:22:38,890 --> 00:22:42,861 I PROJECT IT ON THE 622 00:22:38,890 --> 00:22:42,861 STUTTGART VICTORY COLUMN 623 00:22:42,928 --> 00:22:45,831 WHICH RESEMBLE A MISSILE. 624 00:22:45,897 --> 00:22:46,932 IT WAS VERY IMPORTANT 625 00:22:46,998 --> 00:22:50,602 BECAUSE IT THEN OPENED 626 00:22:46,998 --> 00:22:50,602 ANOTHER KIND OF POSSIBILITY 627 00:22:51,203 --> 00:22:54,940 OF ANIMATING MONUMENTS, 628 00:22:51,203 --> 00:22:54,940 ESPECIALLY WAR MEMORIALS 629 00:22:55,006 --> 00:22:58,844 REVEALING THEIR FUNCTION 630 00:22:55,006 --> 00:22:58,844 OF SYMBOLIC WAR MACHINES, 631 00:22:59,845 --> 00:23:01,880 MAJOR REPRODUCERS OF WAR. 632 00:23:01,947 --> 00:23:03,815 YOU KNOW, THAT PERPETUATE WAR. 633 00:23:03,882 --> 00:23:06,818 (DESOLATE INTRIGUING MUSIC) 634 00:23:11,423 --> 00:23:13,859 THAT REALLY REINFORCED MY... 635 00:23:15,026 --> 00:23:18,830 KIND OF INTEREST IN 636 00:23:15,026 --> 00:23:18,830 CONTINUATION OF THIS WORK, 637 00:23:18,897 --> 00:23:23,835 THIS PROJECTIONIST LIFE WHICH 638 00:23:18,897 --> 00:23:23,835 LASTS UNTIL TODAY, YOU KNOW. 639 00:23:25,036 --> 00:23:28,039 (INTRIGUING RHYTHMIC MUSIC) 640 00:23:45,223 --> 00:23:47,826 - [KRZYSZTOF] AFTER I RECEIVED 641 00:23:45,223 --> 00:23:47,826 HIROSHIMA ART PRIZE, 642 00:23:47,893 --> 00:23:52,164 WHICH IS PEACE PRIZE FOR 643 00:23:47,893 --> 00:23:52,164 ARTISTS, I VISITED HIROSHIMA. 644 00:23:52,998 --> 00:23:57,736 I RECOGNIZED HIROSHIMA 645 00:23:52,998 --> 00:23:57,736 AS IT RELATED TO WARSAW. 646 00:24:00,806 --> 00:24:05,877 SIMPLY BECAUSE VISUALLY, 647 00:24:00,806 --> 00:24:05,877 HIROSHIMA 648 00:24:00,806 --> 00:24:05,877 WAS FLATTENED COMPLETELY. 649 00:24:05,944 --> 00:24:09,915 (INTRIGUING RHYTHMIC MUSIC) 650 00:24:10,949 --> 00:24:14,886 OF COURSE TO THIS, YOU HAVE 651 00:24:10,949 --> 00:24:14,886 TO ADD THE RADIATION EFFECT. 652 00:24:26,531 --> 00:24:30,000 THIS PRIZE MOBILIZED ME TO 653 00:24:26,531 --> 00:24:30,000 PRODUCE HIROSHIMA PROJECTION 654 00:24:30,000 --> 00:24:31,837 THIS PRIZE MOBILIZED ME TO 655 00:24:30,000 --> 00:24:31,837 PRODUCE HIROSHIMA PROJECTION 656 00:24:31,903 --> 00:24:34,906 ABOUT NUCLEAR BOMBING. 657 00:24:34,973 --> 00:24:38,844 THIS PROJECTION ENGAGED THE 658 00:24:34,973 --> 00:24:38,844 BUILDING THAT SURVIVED BOMBING. 659 00:24:38,910 --> 00:24:41,947 THE MONUMENT, A-BOMB DOME. 660 00:24:44,482 --> 00:24:45,517 - THE HIROSHIMA PROJECT 661 00:24:45,584 --> 00:24:49,387 WAS THE FIRST MAJOR PROJECT 662 00:24:45,584 --> 00:24:49,387 ASSOCIATED WITH TRAUMA. 663 00:24:50,155 --> 00:24:51,923 IT'S THE FIRST PROJECT 664 00:24:51,990 --> 00:24:54,826 WHERE THE BUILDING 665 00:24:51,990 --> 00:24:54,826 BECAME A BODY. 666 00:24:57,028 --> 00:24:59,831 I GET CHILLS WHEN 667 00:24:57,028 --> 00:24:59,831 I REMEMBER THE STORY 668 00:24:59,898 --> 00:25:01,900 KRZYSZTOF'S PARTICIPANTS TOLD, 669 00:25:01,967 --> 00:25:04,903 HOW PEOPLE JUMPED IN 670 00:25:01,967 --> 00:25:04,903 THE RIVER FOR RELIEF. 671 00:26:04,229 --> 00:26:06,965 (WATER TRICKLING) 672 00:26:16,908 --> 00:26:19,911 (SOFT INTROSPECTIVE MUSIC) 673 00:26:24,449 --> 00:26:27,385 - TEN YEARS AGO, 674 00:26:24,449 --> 00:26:27,385 I WAS THINKING, YOU KNOW, 675 00:26:27,452 --> 00:26:30,000 THE WAR ABOLITION AND THE 676 00:26:27,452 --> 00:26:30,000 ARC DE TRIOMPHE PROJECT. 677 00:26:30,000 --> 00:26:30,355 THE WAR ABOLITION AND THE 678 00:26:30,000 --> 00:26:30,355 ARC DE TRIOMPHE PROJECT. 679 00:26:30,422 --> 00:26:32,157 IT IS IMPOSSIBLE. 680 00:26:32,223 --> 00:26:34,826 WE SHOULD NOT EVEN 681 00:26:32,223 --> 00:26:34,826 TALK ABOUT THIS. 682 00:26:34,893 --> 00:26:39,931 I THINK IT'S A WONDERFUL 683 00:26:34,893 --> 00:26:39,931 IDEA, BUT IT'S IMPOSSIBLE. 684 00:26:39,998 --> 00:26:44,936 BUT HE'S LIKE A TANK 685 00:26:39,998 --> 00:26:44,936 SLOWLY, SLOWLY MOVING. 686 00:26:45,003 --> 00:26:48,907 BUT HE IS DEFINITELY DOING 687 00:26:45,003 --> 00:26:48,907 SOMETHING ABOUT THIS. 688 00:26:48,974 --> 00:26:51,943 WRITING A BOOK, 689 00:26:48,974 --> 00:26:51,943 HIS PROJECT IS MOVING. 690 00:26:52,010 --> 00:26:56,948 HE DOESN'T GIVE UP AND HE 691 00:26:52,010 --> 00:26:56,948 WRITE THE HUGE, HUGE ARTICLES, 692 00:26:57,015 --> 00:26:57,949 HUGE TALKS. 693 00:26:58,016 --> 00:26:59,851 HE THINK CONSTANTLY. 694 00:26:59,918 --> 00:27:01,119 HE'S OBSESSED. 695 00:27:01,186 --> 00:27:04,990 - RIGHT NOW, ALL OF WHAT 696 00:27:01,186 --> 00:27:04,990 WE CALL NATIONAL CULTURE 697 00:27:05,056 --> 00:27:07,625 IS BY PRINCIPLE WAR CULTURE. 698 00:27:10,929 --> 00:27:13,932 WE HAVE TO QUESTION THE 699 00:27:10,929 --> 00:27:13,932 WHOLE DEMOCRATIC SYSTEM 700 00:27:13,999 --> 00:27:17,469 AND DEPLOY NEW RADICAL 701 00:27:13,999 --> 00:27:17,469 DEMOCRATIC METHODS 702 00:27:17,535 --> 00:27:19,938 TO WAKE UP THIS SYSTEM 703 00:27:20,005 --> 00:27:23,641 AND WILL HAVE TO ATTACK 704 00:27:20,005 --> 00:27:23,641 SO-CALLED DEMOCRACY. 705 00:27:23,708 --> 00:27:28,413 BECAUSE THE WAY THE 706 00:27:23,708 --> 00:27:28,413 POLITICAL-ECONOMICAL SYSTEM 707 00:27:23,708 --> 00:27:28,413 WORKS, 708 00:27:28,480 --> 00:27:30,000 IT DEPRIVES PEOPLE OF 709 00:27:28,480 --> 00:27:30,000 ACCESS TO THEIR RIGHTS. 710 00:27:30,000 --> 00:27:32,584 IT DEPRIVES PEOPLE OF 711 00:27:30,000 --> 00:27:32,584 ACCESS TO THEIR RIGHTS. 712 00:27:32,650 --> 00:27:35,887 - [VETERAN] WAR IS NOT JUST 713 00:27:32,650 --> 00:27:35,887 WE GO THERE, WE FLY THE FLAG, 714 00:27:35,954 --> 00:27:38,656 WE SHOOT A FEW THINGS 715 00:27:35,954 --> 00:27:38,656 AND WIN AND WALK AWAY 716 00:27:38,723 --> 00:27:42,660 WHICH HAS BEEN PROPAGANDA 717 00:27:38,723 --> 00:27:42,660 SINCE THE FIRST WORLD WAR, 718 00:27:42,727 --> 00:27:45,330 IF NOT BEFORE OR 719 00:27:42,727 --> 00:27:45,330 BEFORE OR BEFORE THAT. 720 00:27:45,397 --> 00:27:50,402 (GUN BLASTING) 721 00:28:03,081 --> 00:28:05,950 - I KNOW, I AM SURE EVEN, 722 00:28:06,017 --> 00:28:09,654 WE WILL HAVE LIKE THE 723 00:28:06,017 --> 00:28:09,654 ABOLITION OF SLAVERY. 724 00:28:09,721 --> 00:28:12,424 WE WILL HAVE ABOLITION OF WAR. 725 00:28:12,490 --> 00:28:15,927 (SOFT INTRIGUING MUSIC) 726 00:28:25,703 --> 00:28:27,539 - I THINK HE REALLY BELIEVES 727 00:28:27,605 --> 00:28:29,507 THAT HE'S GONNA HAVE 728 00:28:27,605 --> 00:28:29,507 THIS PROJECT COMPLETED. 729 00:28:30,275 --> 00:28:31,676 WHEN HE SHOWED IT TO ME 730 00:28:30,275 --> 00:28:31,676 IN HIS SO-CALLED OFFICE 731 00:28:31,743 --> 00:28:34,479 WHICH WAS THE COFFEE SHOP 732 00:28:31,743 --> 00:28:34,479 DOWN ON THE LOWER EAST SIDE, 733 00:28:34,546 --> 00:28:38,416 MY INITIAL RESPONSE WAS, "NO, 734 00:28:34,546 --> 00:28:38,416 THIS IS NEVER GONNA TAKE PLACE. 735 00:28:38,483 --> 00:28:40,952 BUT OH, I THINK IT 736 00:28:38,483 --> 00:28:40,952 IS POSSIBLE ACTUALLY." 737 00:28:43,555 --> 00:28:45,390 - [KRZYSZTOF] OKAY. WHAT 738 00:28:43,555 --> 00:28:45,390 ARE WE DOING, MARIA? 739 00:28:45,457 --> 00:28:46,458 TELL ME. 740 00:28:48,726 --> 00:28:49,727 - OKAY. 741 00:28:50,795 --> 00:28:54,999 (ESPRESSO MACHINE GETTING LOUD) 742 00:29:02,373 --> 00:29:06,678 LISTEN, THIS IS NOT A SIMPLE 743 00:29:02,373 --> 00:29:06,678 MATTER, WHAT I'M SAYING. 744 00:29:06,744 --> 00:29:10,148 I AM DISTURBED BY 745 00:29:06,744 --> 00:29:10,148 SOUNDS ALL MY LIFE. 746 00:29:14,285 --> 00:29:16,955 AND I KNOW LOTS OF 747 00:29:14,285 --> 00:29:16,955 PEOPLE LIKE ME. 748 00:29:17,822 --> 00:29:20,358 OF COURSE SOMEBODY 749 00:29:17,822 --> 00:29:20,358 COULD BLAME THE FACT 750 00:29:20,425 --> 00:29:22,760 THAT I WAS A BABY 751 00:29:20,425 --> 00:29:22,760 DURING THE WAR. 752 00:29:22,827 --> 00:29:25,697 I DON'T REMEMBER WAR AT ALL. 753 00:29:25,763 --> 00:29:30,000 BUT THE WAR IS INSIDE 754 00:29:25,763 --> 00:29:30,000 OF ME, REMEMBERS ME. 755 00:29:30,000 --> 00:29:30,034 BUT THE WAR IS INSIDE 756 00:29:30,000 --> 00:29:30,034 OF ME, REMEMBERS ME. 757 00:29:30,101 --> 00:29:33,771 I RESPOND 758 00:29:30,101 --> 00:29:33,771 TO THE SOUNDS. 759 00:29:33,838 --> 00:29:37,742 I'M OVERLY SENSITIVE 760 00:29:33,838 --> 00:29:37,742 TO CERTAIN THINGS. 761 00:29:37,809 --> 00:29:40,778 AS WAR VETERANS 762 00:29:37,809 --> 00:29:40,778 WITH WHOM I WORK, 763 00:29:40,845 --> 00:29:42,947 THEY HAVE VERY 764 00:29:40,845 --> 00:29:42,947 SIMILAR REACTION. 765 00:29:44,816 --> 00:29:47,685 AND I HAVE TO TELL THEM 766 00:29:47,752 --> 00:29:50,588 THIS IS DISTURBING ME TOO MUCH. 767 00:29:50,655 --> 00:29:51,589 I LIKE COFFEE SHOPS, 768 00:29:51,656 --> 00:29:55,660 BUT I DON'T LIKE WHEN 769 00:29:51,656 --> 00:29:55,660 PEOPLE SPEAK TOO LOUD. 770 00:29:55,727 --> 00:29:56,728 YEAH. 771 00:29:58,296 --> 00:29:59,697 OKAY. 772 00:29:59,764 --> 00:30:01,199 (PATRON CHATTERING) 773 00:30:01,266 --> 00:30:02,767 COULD YOU SPEAK LITTLE LOWER? 774 00:30:02,834 --> 00:30:06,037 BECAUSE WE HAVE 775 00:30:02,834 --> 00:30:06,037 INTERVIEW NOW. 776 00:30:06,104 --> 00:30:09,440 'CAUSE IT'S VERY 777 00:30:06,104 --> 00:30:09,440 ACOUSTIC, THIS PLACE. 778 00:30:09,507 --> 00:30:13,678 BUT ALSO ANOTHER THING IS 779 00:30:09,507 --> 00:30:13,678 THAT IN THE UNITED STATES, 780 00:30:15,780 --> 00:30:18,750 PEOPLE ARE ABUSING 781 00:30:15,780 --> 00:30:18,750 PUBLIC SPACE 782 00:30:18,816 --> 00:30:21,686 WITH THEIR SPEECH ALL THE TIME. 783 00:30:21,753 --> 00:30:25,590 THEY HAVE A VULGAR RELATION 784 00:30:21,753 --> 00:30:25,590 TO FIRST AMENDMENT. 785 00:30:25,657 --> 00:30:29,227 THEY THINK THAT BECAUSE 786 00:30:25,657 --> 00:30:29,227 IT'S A FREEDOM OF SPEECH, 787 00:30:29,294 --> 00:30:30,000 THEN THEY CAN SPEAK 788 00:30:29,294 --> 00:30:30,000 AS LOUD AS THEY WISH. 789 00:30:30,000 --> 00:30:33,698 THEN THEY CAN SPEAK 790 00:30:30,000 --> 00:30:33,698 AS LOUD AS THEY WISH. 791 00:30:33,765 --> 00:30:35,667 WITHOUT UNDERSTANDING 792 00:30:33,765 --> 00:30:35,667 THAT BY DOING THIS, 793 00:30:35,733 --> 00:30:38,703 THEY PREVENT OTHERS 794 00:30:35,733 --> 00:30:38,703 FROM THE SAME RIGHT. 795 00:30:40,872 --> 00:30:42,774 IT'S ALL ABOUT RIGHTS. 796 00:30:42,840 --> 00:30:44,776 IT'S NOTHING ABOUT OBLIGATIONS. 797 00:30:44,842 --> 00:30:48,846 (BEATING RHYTHM) 798 00:30:51,449 --> 00:30:53,818 (BIRDS CHIRPING) 799 00:31:17,742 --> 00:31:19,510 - [HOMELESS MAN] YOU 800 00:31:17,742 --> 00:31:19,510 HAVE A SIDE DOOR RIGHT HERE. 801 00:31:19,577 --> 00:31:20,712 - YES. 802 00:31:19,577 --> 00:31:20,712 - OKAY? 803 00:31:20,778 --> 00:31:21,446 - SO IT WILL OPEN THIS WAY. 804 00:31:21,512 --> 00:31:23,448 - IT WILL SWING OUT. 805 00:31:21,512 --> 00:31:23,448 - YEAH. 806 00:31:23,514 --> 00:31:24,716 - YOU HAVE A BASKET IN FRONT. 807 00:31:24,782 --> 00:31:25,717 - [KRZYSZTOF] RIGHT. 808 00:31:25,783 --> 00:31:27,418 - [HOMELESS MAN] SEE, 809 00:31:25,783 --> 00:31:27,418 THIS DOESN'T HAVE TO BE 810 00:31:27,485 --> 00:31:28,786 A COMPLICATED MATTER. 811 00:31:28,853 --> 00:31:29,854 - [KRZYSZTOF] WELL THAT'S 812 00:31:28,853 --> 00:31:29,854 WHY I WANT- 813 00:31:29,921 --> 00:31:30,000 - [HOMELESS MAN] YOU 814 00:31:29,921 --> 00:31:30,000 UNDERSTAND WHAT I'M SAYIN'? 815 00:31:30,000 --> 00:31:31,656 - [HOMELESS MAN] YOU 816 00:31:30,000 --> 00:31:31,656 UNDERSTAND WHAT I'M SAYIN'? 817 00:31:31,723 --> 00:31:35,760 BECAUSE IT COULD BE 818 00:31:31,723 --> 00:31:35,760 CHEAPLY MADE, OKAY? 819 00:31:35,827 --> 00:31:39,530 AND IT COULD BE OF 820 00:31:35,827 --> 00:31:39,530 A CONSUMER TYPE. 821 00:31:39,597 --> 00:31:42,700 - WHEN I ARRIVED TO 822 00:31:39,597 --> 00:31:42,700 UNITED STATES FROM CANADA, 823 00:31:42,767 --> 00:31:46,738 I WORKED ON MY HOMELESS 824 00:31:42,767 --> 00:31:46,738 VEHICLE PROJECT AT THE TIME 825 00:31:46,804 --> 00:31:50,608 WHEN THERE WAS 100,000 HOMELESS 826 00:31:46,804 --> 00:31:50,608 PEOPLE IN NEW YORK CITY. 827 00:31:50,675 --> 00:31:52,844 MANY HOMELESS PEOPLE 828 00:31:50,675 --> 00:31:52,844 WHO LIVE HERE 829 00:31:52,910 --> 00:31:55,847 WERE FORMER SOLDIERS 830 00:31:52,910 --> 00:31:55,847 FROM VIETNAM. 831 00:31:55,913 --> 00:31:59,817 SO THEY WERE IN FACT CONTINUING 832 00:31:55,913 --> 00:31:59,817 THEIR LIFE LIKE IN A JUNGLE. 833 00:31:59,884 --> 00:32:00,000 THEY CONTINUED THEIR 834 00:31:59,884 --> 00:32:00,000 WAR TO SURVIVE 835 00:32:00,000 --> 00:32:03,788 THEY CONTINUED THEIR 836 00:32:00,000 --> 00:32:03,788 WAR TO SURVIVE 837 00:32:03,855 --> 00:32:06,724 IN NEW YORK CITY 838 00:32:03,855 --> 00:32:06,724 RATHER THAN IN VIETNAM. 839 00:32:06,791 --> 00:32:09,460 - [HOMELESS MAN] LIKE THIS GUY 840 00:32:06,791 --> 00:32:09,460 HERE, HE'S NOT AN ACTOR, RIGHT? 841 00:32:10,395 --> 00:32:13,631 HE'S A REAL 842 00:32:10,395 --> 00:32:13,631 HOMELESS PERSON, RIGHT? 843 00:32:13,698 --> 00:32:15,733 SO YOU'RE USIN' A REAL 844 00:32:13,698 --> 00:32:15,733 HOMELESS PERSON IN YOUR FILM. 845 00:32:15,800 --> 00:32:17,201 - YO BUDDY, DO ME A FAVOR. 846 00:32:17,268 --> 00:32:18,536 JUST STEP OFF, ALL RIGHT? 847 00:32:18,603 --> 00:32:20,638 JUST BACK OFF AND MIND 848 00:32:18,603 --> 00:32:20,638 YOUR BUSINESS, ALL RIGHT? 849 00:32:20,705 --> 00:32:21,472 BACK OFF, ALL RIGHT? 850 00:32:21,539 --> 00:32:22,473 - [DREAD] IN NEW YORK 851 00:32:21,539 --> 00:32:22,473 AT THE TIME, 852 00:32:22,540 --> 00:32:24,242 GENTRIFICATION WAS 853 00:32:22,540 --> 00:32:24,242 GOING ON AND DISPLACEMENT 854 00:32:24,309 --> 00:32:25,643 AND SOME PEOPLE 855 00:32:24,309 --> 00:32:25,643 WERE DEMANDING 856 00:32:25,710 --> 00:32:27,245 THAT THESE HOMELESS 857 00:32:25,710 --> 00:32:27,245 BE REMOVED 858 00:32:27,312 --> 00:32:28,780 AND YET PEOPLE WERE 859 00:32:27,312 --> 00:32:28,780 BOTH SQUATTING 860 00:32:28,846 --> 00:32:30,000 IN PARTS OF THE EAST VILLAGE 861 00:32:28,846 --> 00:32:30,000 IN TOMPKINS SQUARE PARK. 862 00:32:30,000 --> 00:32:31,616 IN PARTS OF THE EAST VILLAGE 863 00:32:30,000 --> 00:32:31,616 IN TOMPKINS SQUARE PARK. 864 00:32:31,683 --> 00:32:33,251 AND SO KRZYSZTOF SAYS, "NO. 865 00:32:33,318 --> 00:32:34,819 AS ARTISTS, AS PEOPLE 866 00:32:33,318 --> 00:32:34,819 IN THE ARTS, 867 00:32:34,886 --> 00:32:36,254 WE HAVE A RESPONSIBILITY 868 00:32:36,321 --> 00:32:38,723 TO LOOK AT THAT AND 869 00:32:36,321 --> 00:32:38,723 PROPOSE SOLUTIONS. 870 00:32:38,790 --> 00:32:40,258 WOULD IT BE A MUCH 871 00:32:38,790 --> 00:32:40,258 BETTER SOCIETY 872 00:32:40,325 --> 00:32:43,628 IF THERE WERE SAY 20,000 873 00:32:40,325 --> 00:32:43,628 OR 50,000 HOMELESS VEHICLES 874 00:32:43,695 --> 00:32:44,729 OUT THERE OR WOULD IT BE BETTER 875 00:32:44,796 --> 00:32:47,732 TO ACTUALLY FIND 876 00:32:44,796 --> 00:32:47,732 HOMES FOR PEOPLE? 877 00:32:47,799 --> 00:32:49,801 - [GREG] KRZYSZTOF 878 00:32:47,799 --> 00:32:49,801 IDENTIFIES WITH THESE PEOPLE 879 00:32:49,867 --> 00:32:50,768 WHO HAVE NOTHING. 880 00:32:50,835 --> 00:32:53,204 THEY ARE LIVING IN THE 881 00:32:50,835 --> 00:32:53,204 STREET OR IN A PARK. 882 00:32:53,905 --> 00:32:55,807 HE PUTS THE WORD OUT 883 00:32:53,905 --> 00:32:55,807 THERE LIKE A CALLING CARD 884 00:32:55,873 --> 00:33:00,000 INVITING THEM TO BE PART OF HIS 885 00:32:55,873 --> 00:33:00,000 ART, PARTICIPATE IN HIS ART. 886 00:33:00,000 --> 00:33:00,778 INVITING THEM TO BE PART OF HIS 887 00:33:00,000 --> 00:33:00,778 ART, PARTICIPATE IN HIS ART. 888 00:33:00,845 --> 00:33:03,348 (SOFT INTRIGUING MUSIC) 889 00:33:00,845 --> 00:33:03,348 (DOG BARKING) 890 00:33:04,916 --> 00:33:08,486 - I LIVED ON 7TH STREET IN 891 00:33:04,916 --> 00:33:08,486 BROOKLYN, NEW YORK CITY. 892 00:33:08,553 --> 00:33:11,356 BETWEEN C&D, IT WAS 893 00:33:08,553 --> 00:33:11,356 THE CENTER OF CRACK. 894 00:33:12,957 --> 00:33:16,461 THE BUILDINGS WERE ON FIRE 895 00:33:12,957 --> 00:33:16,461 ALL THE TIME AROUND US 896 00:33:16,527 --> 00:33:19,263 AND I THINK THE LANDLORDS 897 00:33:16,527 --> 00:33:19,263 WERE SETTING THOSE FIRES. 898 00:33:21,632 --> 00:33:24,802 I GREW UP IN RUINS BY 899 00:33:21,632 --> 00:33:24,802 THE BALTIC SEA AS WELL, 900 00:33:25,903 --> 00:33:29,707 BUT WARSAW WAS THE REAL 901 00:33:25,903 --> 00:33:29,707 EXPERIENCE WITH RUINS. 902 00:33:29,774 --> 00:33:32,810 (SOFT INTRIGUING MUSIC) 903 00:33:43,788 --> 00:33:47,392 LOOKED EXACTLY THE SAME 904 00:33:43,788 --> 00:33:47,392 AS EAST VILLAGE. 905 00:33:51,863 --> 00:33:53,731 - KRZYSZTOF WODICZKO, 906 00:33:53,798 --> 00:33:57,735 SO THIS IS YOUR RESPONSE TO 907 00:33:53,798 --> 00:33:57,735 A SPECIFIC SOCIAL PROBLEM. 908 00:33:57,802 --> 00:33:59,737 ONE THAT I'M IMAGINING 909 00:33:57,802 --> 00:33:59,737 THAT AS SOMEBODY 910 00:33:59,804 --> 00:34:00,000 WHO GREW UP IN 911 00:33:59,804 --> 00:34:00,000 COMMUNIST POLAND, 912 00:34:00,000 --> 00:34:01,806 WHO GREW UP IN 913 00:34:00,000 --> 00:34:01,806 COMMUNIST POLAND, 914 00:34:01,873 --> 00:34:03,741 YOU WOULD NOT REALLY 915 00:34:01,873 --> 00:34:03,741 HAVE EXPERIENCED THAT 916 00:34:03,808 --> 00:34:05,843 UNTIL YOU CAME TO THE WEST. 917 00:34:05,910 --> 00:34:08,746 IS THIS A REFLECTION OF 918 00:34:05,910 --> 00:34:08,746 YOUR CULTURE SHOCK 919 00:34:08,813 --> 00:34:10,748 IN MAKING THAT JOURNEY AS WELL? 920 00:34:10,815 --> 00:34:15,753 - OF COURSE IT WAS A SHOCK, 921 00:34:10,815 --> 00:34:15,753 BUT ALSO IT WAS A POSSIBILITY 922 00:34:15,820 --> 00:34:20,825 TO REALLY FULLY ACT IN PUBLIC 923 00:34:15,820 --> 00:34:20,825 SPACE WITH FULL STRENGTH 924 00:34:20,892 --> 00:34:23,528 TO ACTUALLY EXPOSE ISSUES 925 00:34:23,594 --> 00:34:26,731 AND CREATE CONDITIONS FOR 926 00:34:23,594 --> 00:34:26,731 PEOPLE TO CONFRONT EACH OTHER, 927 00:34:26,798 --> 00:34:30,000 EXCHANGE POINTS OF VIEW 928 00:34:26,798 --> 00:34:30,000 THROUGH DESIGN AND ART. 929 00:34:30,000 --> 00:34:30,802 EXCHANGE POINTS OF VIEW 930 00:34:30,000 --> 00:34:30,802 THROUGH DESIGN AND ART. 931 00:34:30,868 --> 00:34:33,037 SOMETHING I COULD NOT IMAGINE 932 00:34:33,104 --> 00:34:36,607 HAVING IN MY OLD COUNTRY 933 00:34:33,104 --> 00:34:36,607 UNDER PREVIOUS REGIME. 934 00:34:37,074 --> 00:34:39,811 - ART WAS GENERALLY BEING USED 935 00:34:39,877 --> 00:34:43,815 TO CREATE A POSITIVE 936 00:34:39,877 --> 00:34:43,815 IMAGE FOR REDEVELOPMENT. 937 00:34:43,881 --> 00:34:45,850 WHEN I SAW 938 00:34:43,881 --> 00:34:45,850 WODICZKO'S HOMELESS VEHICLE, 939 00:34:45,917 --> 00:34:49,754 I SAW ART DOING SOMETHING 940 00:34:45,917 --> 00:34:49,754 ENTIRELY DIFFERENT. 941 00:34:49,821 --> 00:34:51,856 HOMELESS VEHICLE HAD A FEELING 942 00:34:51,923 --> 00:34:53,758 OF BEING A METAPHORICAL WEAPON 943 00:34:53,825 --> 00:34:57,895 AGAINST VIOLENCE THAT WAS BEING 944 00:34:53,825 --> 00:34:57,895 DONE TO PEOPLE IN THE CITY. 945 00:35:01,899 --> 00:35:02,767 - [DREAD] THOSE HOMELESS 946 00:35:01,899 --> 00:35:02,767 VEHICLES 947 00:35:02,834 --> 00:35:04,802 WERE BOTH PRACTICAL BUT ABSURD. 948 00:35:04,869 --> 00:35:06,838 IF YOU HAPPENED TO BE 949 00:35:04,869 --> 00:35:06,838 HOMELESS AND ACTUALLY GET ONE, 950 00:35:06,904 --> 00:35:08,773 IT WOULD'VE POTENTIALLY 951 00:35:06,904 --> 00:35:08,773 BEEN USEFUL. 952 00:35:08,840 --> 00:35:10,508 BUT IT WAS MORE 953 00:35:08,840 --> 00:35:10,508 POSING A QUESTION 954 00:35:10,575 --> 00:35:13,044 OF WHAT KINDA SOCIETY 955 00:35:10,575 --> 00:35:13,044 THAT HAS ALL THIS WEALTH 956 00:35:13,110 --> 00:35:15,546 THAT COULD ACTUALLY 957 00:35:13,110 --> 00:35:15,546 FEED, CLOTHE AND SHELTER 958 00:35:15,613 --> 00:35:19,016 EVERYBODY THAT LIVES HERE, LETS 959 00:35:15,613 --> 00:35:19,016 PEOPLE EXIST WITHOUT A HOME 960 00:35:19,083 --> 00:35:22,753 AND ATTACKS THEM WHEN THEY'RE 961 00:35:19,083 --> 00:35:22,753 TRYING TO PUT TENTS TOGETHER? 962 00:35:22,820 --> 00:35:25,823 (DARK INTRIGUING MUSIC) 963 00:35:44,909 --> 00:35:48,813 (BEATING RHYTHMIC MUSIC) 964 00:36:02,960 --> 00:36:04,695 - I WAS A STUDENT OF KRZYSZTOF'S 965 00:36:04,762 --> 00:36:07,832 AND THEN WAS LUCKY ENOUGH 966 00:36:04,762 --> 00:36:07,832 TO BECOME HIS COLLEAGUE. 967 00:36:07,899 --> 00:36:09,734 KRZYSZTOF'S WORK WAS 968 00:36:07,899 --> 00:36:09,734 SO INFLUENTIAL TO ME. 969 00:36:09,800 --> 00:36:11,769 THE FIRST TIME I SAW IT, 970 00:36:09,800 --> 00:36:11,769 IT BLEW ME AWAY. 971 00:36:11,836 --> 00:36:13,905 I DIDN'T KNOW THAT 972 00:36:11,836 --> 00:36:13,905 THIS COULD BE ART. 973 00:36:13,971 --> 00:36:15,172 ONE OF THE FIRST 974 00:36:13,971 --> 00:36:15,172 PIECES THAT I SAW 975 00:36:15,239 --> 00:36:17,775 THAT REALLY MOVED 976 00:36:15,239 --> 00:36:17,775 ME WAS DIS-ARMOR. 977 00:36:17,842 --> 00:36:20,745 IT WAS A JAPANESE STUDENT 978 00:36:17,842 --> 00:36:20,745 WHO WORE THIS DEVICE, 979 00:36:20,811 --> 00:36:22,847 COULD SPEAK THROUGH 980 00:36:20,811 --> 00:36:22,847 A PORTAL ON HER BACK, 981 00:36:22,914 --> 00:36:25,116 WERE THESE TWO SCREENS 982 00:36:22,914 --> 00:36:25,116 WHERE YOU JUST SEE HER EYES. 983 00:36:25,182 --> 00:36:27,852 AND THEN SHE TOLD THESE 984 00:36:25,182 --> 00:36:27,852 INCREDIBLY DIFFICULT STORIES 985 00:36:27,919 --> 00:36:30,000 ABOUT THE WAY SHE 986 00:36:27,919 --> 00:36:30,000 WAS BEING BULLIED, 987 00:36:30,000 --> 00:36:30,421 ABOUT THE WAY SHE 988 00:36:30,000 --> 00:36:30,421 WAS BEING BULLIED, 989 00:36:30,488 --> 00:36:32,790 HER RELATIONSHIP WITH HER 990 00:36:30,488 --> 00:36:32,790 PARENTS AND HER CULTURE. 991 00:36:58,849 --> 00:37:00,000 - [ANI] IT APPEARED TO 992 00:36:58,849 --> 00:37:00,000 BE VERY THERAPEUTIC 993 00:37:00,000 --> 00:37:00,685 - [ANI] IT APPEARED TO 994 00:37:00,000 --> 00:37:00,685 BE VERY THERAPEUTIC 995 00:37:00,751 --> 00:37:01,886 FOR THE PERSON WEARING IT. 996 00:37:01,953 --> 00:37:02,987 AND NOT ONLY THAT, 997 00:37:03,054 --> 00:37:05,923 IT WAS DEFINITELY THERAPEUTIC 998 00:37:03,054 --> 00:37:05,923 FOR ME WATCHING IT. 999 00:37:08,826 --> 00:37:10,828 AS A CHILD OF IMMIGRANTS, 1000 00:37:10,895 --> 00:37:13,064 AS SOMEONE WHO IS TAUGHT 1001 00:37:10,895 --> 00:37:13,064 CULTURALLY IN ONE WAY 1002 00:37:13,130 --> 00:37:16,867 NOT TO BE OVERLY EMOTIONAL, 1003 00:37:13,130 --> 00:37:16,867 IT REALLY FREED ME. 1004 00:37:32,917 --> 00:37:35,753 - I FIND THAT REALLY INTERESTING 1005 00:37:32,917 --> 00:37:35,753 WITH A LOT OF HIS WEARABLES 1006 00:37:35,820 --> 00:37:37,888 THAT THEY COULD BE 1007 00:37:35,820 --> 00:37:37,888 PERCEIVED AS WEAPONS 1008 00:37:37,955 --> 00:37:40,524 OR EVEN LIKE THEY HAVE THIS 1009 00:37:37,955 --> 00:37:40,524 KIND OF MILITARY AESTHETIC, 1010 00:37:40,591 --> 00:37:43,861 BUT THEY'RE MORE LIKE 1011 00:37:40,591 --> 00:37:43,861 CONDUCTORS OF PEACE. 1012 00:37:43,928 --> 00:37:46,697 I GUESS THAT'S WHY HE CALLED 1013 00:37:43,928 --> 00:37:46,697 IT "INTERROGATIVE DESIGN." 1014 00:37:48,666 --> 00:37:50,801 AROUND 2013, 2014, 1015 00:37:50,868 --> 00:37:53,571 A LOT OF WEARABLE 1016 00:37:50,868 --> 00:37:53,571 TECHNOLOGY BECAME SUPER HOT. 1017 00:37:53,638 --> 00:37:55,840 AND THEN SUDDENLY 1018 00:37:53,638 --> 00:37:55,840 I'M LIKE WOW, KRZYSZTOF 1019 00:37:55,906 --> 00:37:57,808 WHO'S BEEN MAKING 1020 00:37:55,906 --> 00:37:57,808 WEARABLE TECH ART 1021 00:37:57,875 --> 00:37:59,844 FOR LIKE DECADES BEFORE THIS, 1022 00:37:59,910 --> 00:38:00,000 BEFORE EVERYONE WAS LIKE 1023 00:37:59,910 --> 00:38:00,000 ALL ABOUT WEARABLE TECH. 1024 00:38:00,000 --> 00:38:02,813 BEFORE EVERYONE WAS LIKE 1025 00:38:00,000 --> 00:38:02,813 ALL ABOUT WEARABLE TECH. 1026 00:38:02,880 --> 00:38:05,883 (SOFT DRONING MUSIC) 1027 00:38:14,592 --> 00:38:17,795 NOT ONLY THAT, HIS WORK 1028 00:38:14,592 --> 00:38:17,795 WAS BOTH VERY CRITICAL 1029 00:38:17,862 --> 00:38:21,766 OF THE TECHNOLOGY BUT ALSO USED 1030 00:38:17,862 --> 00:38:21,766 IT TO BE INCREDIBLY POETIC. 1031 00:38:26,737 --> 00:38:29,774 (CITIZENS CHATTERING) 1032 00:38:33,878 --> 00:38:36,113 HE MADE TOTEMS DESIGNED 1033 00:38:33,878 --> 00:38:36,113 FOR IMMIGRANTS 1034 00:38:36,180 --> 00:38:39,617 TO BE ABLE TO COMMUNICATE THEIR 1035 00:38:36,180 --> 00:38:39,617 HISTORIES AND THEIR STORIES 1036 00:38:39,684 --> 00:38:40,851 OF WHO THEY ARE, 1037 00:38:39,684 --> 00:38:40,851 WHERE THEY CAME FROM, 1038 00:38:40,918 --> 00:38:43,788 TO BE EMPOWERED 1039 00:38:40,918 --> 00:38:43,788 AND NOT ASHAMED 1040 00:38:43,854 --> 00:38:45,890 OF THESE ASPECTS OF THEMSELVES. 1041 00:38:47,992 --> 00:38:50,795 IN THE CONTEXT OF XENOPHOBIA, 1042 00:38:50,861 --> 00:38:53,264 I FEEL LIKE IN ORDER 1043 00:38:50,861 --> 00:38:53,264 TO COMBAT XENOPHOBIA, 1044 00:38:53,330 --> 00:38:54,965 IT'S A LOT OF HIDING. 1045 00:38:56,834 --> 00:38:57,635 IT'S A LOT OF LIKE PRETENDING 1046 00:38:57,702 --> 00:38:59,804 THAT I'M JUST PART 1047 00:38:57,702 --> 00:38:59,804 OF THE BACKGROUND 1048 00:38:59,870 --> 00:39:00,000 OR THAT YOU KNOW, I'M 1049 00:38:59,870 --> 00:39:00,000 AS AMERICAN AS POSSIBLE. 1050 00:39:00,000 --> 00:39:02,773 OR THAT YOU KNOW, I'M 1051 00:39:00,000 --> 00:39:02,773 AS AMERICAN AS POSSIBLE. 1052 00:39:02,840 --> 00:39:04,875 BUT A TOOL IN WHICH 1053 00:39:02,840 --> 00:39:04,875 SOMEONE CAN UNDERSTAND 1054 00:39:04,942 --> 00:39:08,879 WHO YOU ACTUALLY ARE TO BUILD 1055 00:39:04,942 --> 00:39:08,879 THOSE BRIDGES OF EMPATHY, 1056 00:39:08,946 --> 00:39:10,614 TO SHARE THESE KIND OF STORIES, 1057 00:39:10,681 --> 00:39:13,718 YOU KNOW, SOME ASPECT 1058 00:39:10,681 --> 00:39:13,718 OF A UNIVERSAL HUMAN 1059 00:39:13,784 --> 00:39:17,822 I THOUGHT WAS VERY POWERFUL 1060 00:39:13,784 --> 00:39:17,822 AND PROFOUND AND CATHARTIC. 1061 00:39:17,888 --> 00:39:20,891 (SOFT MELANCHOLY MUSIC) 1062 00:39:22,927 --> 00:39:26,597 - [ROSALYN] THE HOMELESS 1063 00:39:22,927 --> 00:39:26,597 VEHICLE, 1064 00:39:22,927 --> 00:39:26,597 THE ARC DE TRIOMPHE PROJECT 1065 00:39:26,664 --> 00:39:27,965 AND PROJECTS THAT HE DID 1066 00:39:28,032 --> 00:39:30,000 UNDER THE AEGIS OF 1067 00:39:28,032 --> 00:39:30,000 INTERROGATIVE DESIGN 1068 00:39:30,000 --> 00:39:31,702 UNDER THE AEGIS OF 1069 00:39:30,000 --> 00:39:31,702 INTERROGATIVE DESIGN 1070 00:39:31,769 --> 00:39:36,807 ARE DESIGNED NOT ONLY TO HELP 1071 00:39:31,769 --> 00:39:36,807 THE PEOPLE THAT ARE HOMELESS 1072 00:39:36,874 --> 00:39:40,077 OR IMMIGRANTS, LIKE HIS 1073 00:39:36,874 --> 00:39:40,077 IMMIGRANT INSTRUMENTS, 1074 00:39:40,144 --> 00:39:43,914 BUT IN SOME WAY TO 1075 00:39:40,144 --> 00:39:43,914 HELP HEAL THE SOCIETY. 1076 00:39:43,981 --> 00:39:46,350 HE TAKES THE NOTION 1077 00:39:43,981 --> 00:39:46,350 OF HEALING SERIOUSLY, 1078 00:39:46,417 --> 00:39:48,853 WHAT MIGHT ACTUALLY HEAL. 1079 00:39:56,460 --> 00:39:59,897 - AND ARE YOU SURE THIS 1080 00:39:56,460 --> 00:39:59,897 IS THE RIGHT POSITION? 1081 00:39:59,964 --> 00:40:00,000 - [LOADER] YEAH, I THINK IT'S 1082 00:39:59,964 --> 00:40:00,000 RIGHT. 1083 00:40:00,000 --> 00:40:02,867 - [LOADER] YEAH, I THINK IT'S 1084 00:40:00,000 --> 00:40:02,867 RIGHT. 1085 00:40:03,768 --> 00:40:05,302 - LAMEES AND AMEEN TAKE THREE. 1086 00:40:05,369 --> 00:40:06,837 (CLAPPERBOARD SNAPPING) 1087 00:40:06,904 --> 00:40:07,838 - THANK YOU. 1088 00:40:07,905 --> 00:40:09,039 - YOU DID GOOD. 1089 00:40:11,876 --> 00:40:13,811 I THINK THE LEAST HEARD VOICES 1090 00:40:13,878 --> 00:40:15,880 ARE THE VOICES OF 1091 00:40:13,878 --> 00:40:15,880 WOMEN IN ANY WAR. 1092 00:40:15,946 --> 00:40:19,416 BEING FROM THE MIDDLE EAST 1093 00:40:15,946 --> 00:40:19,416 AND BEING FROM IRAQ ITSELF, 1094 00:40:19,483 --> 00:40:21,786 I THINK MORE SO 1095 00:40:19,483 --> 00:40:21,786 THAN ANYWHERE ELSE. 1096 00:40:21,852 --> 00:40:22,820 RIGHT AFTER THE WAR 1097 00:40:22,887 --> 00:40:27,158 WHEN THEY STARTED DIGGING 1098 00:40:22,887 --> 00:40:27,158 UP THE MASS GRAVES, 1099 00:40:27,224 --> 00:40:30,000 WOMEN WERE FLOCKING 1100 00:40:27,224 --> 00:40:30,000 TO THESE GRAVES 1101 00:40:30,000 --> 00:40:31,896 WOMEN WERE FLOCKING 1102 00:40:30,000 --> 00:40:31,896 TO THESE GRAVES 1103 00:40:31,962 --> 00:40:34,298 CARRYING A SMALL IDENTITY CARD. 1104 00:40:34,365 --> 00:40:37,835 BUT WHAT THEY FOUND WERE BONES 1105 00:40:34,365 --> 00:40:37,835 UPON BONES OF EXECUTED MEN, 1106 00:40:37,902 --> 00:40:41,872 OF FAMILIES THAT 1107 00:40:37,902 --> 00:40:41,872 WERE BURIED ALIVE. 1108 00:40:41,939 --> 00:40:45,109 AND I THINK THE ROLE THAT, THAT 1109 00:40:41,939 --> 00:40:45,109 CHANGED FOR WOMEN IN THE WAR 1110 00:40:45,176 --> 00:40:48,245 WAS YOU KNOW, WHERE YOU HAVE 1111 00:40:45,176 --> 00:40:48,245 THE HOMEMAKER IN GENERAL 1112 00:40:48,312 --> 00:40:51,448 WHERE SHE TAKES CARE OF THE 1113 00:40:48,312 --> 00:40:51,448 HOME, TAKES CARE OF THE KIDS. 1114 00:40:51,515 --> 00:40:53,884 IT MOVED, IT CHANGED 1115 00:40:53,951 --> 00:40:56,086 BECAUSE SHE HAD TO 1116 00:40:53,951 --> 00:40:56,086 BE THE ONE GOING OUT 1117 00:40:56,153 --> 00:40:57,454 AND LOOKING FOR THOSE BODIES 1118 00:40:57,521 --> 00:40:59,957 BECAUSE THE MEN IN 1119 00:40:57,521 --> 00:40:59,957 THE FAMILY WERE GONE. 1120 00:41:00,024 --> 00:41:01,826 I THINK THE FIRST 1121 00:41:00,024 --> 00:41:01,826 THING THAT YOU NOTICE 1122 00:41:01,892 --> 00:41:03,861 IN WAR IS THE MISSILES. 1123 00:41:05,529 --> 00:41:08,833 AT NIGHT WHEN THE 1124 00:41:05,529 --> 00:41:08,833 MISSILES WOULD START, 1125 00:41:08,899 --> 00:41:11,235 IT'S LIKE THEY 1126 00:41:08,899 --> 00:41:11,235 TEAR UP INSIDE OF YOU. 1127 00:41:11,302 --> 00:41:16,841 THEY'RE INSIDE OF YOU ALL 1128 00:41:11,302 --> 00:41:16,841 THE TIME, THAT SOUND. (CRYING) 1129 00:41:16,907 --> 00:41:18,242 IT'S SO DEEP NOBODY UNDERSTANDS 1130 00:41:18,309 --> 00:41:21,412 THE DEPTH OF WHERE 1131 00:41:18,309 --> 00:41:21,412 THAT GOES. (WEEPING) 1132 00:41:24,315 --> 00:41:26,884 AND I THINK I JUST 1133 00:41:24,315 --> 00:41:26,884 SURRENDER TO GOD THEN. 1134 00:41:28,819 --> 00:41:30,000 I THINK THE WAR 1135 00:41:28,819 --> 00:41:30,000 WITH WHATEVER IT DID, 1136 00:41:30,000 --> 00:41:31,121 I THINK THE WAR 1137 00:41:30,000 --> 00:41:31,121 WITH WHATEVER IT DID, 1138 00:41:31,188 --> 00:41:33,724 DESTRUCTION OR WHATEVER 1139 00:41:31,188 --> 00:41:33,724 LIVES IT TOOK. 1140 00:41:33,791 --> 00:41:35,926 I THINK WHAT THE MOST IT 1141 00:41:33,791 --> 00:41:35,926 TOOK FROM US AS IRAQIS 1142 00:41:35,993 --> 00:41:38,762 IS OUR SENSE OF BELONGING. 1143 00:41:38,829 --> 00:41:40,130 THAT SAFETY, THAT SENSE OF HOME, 1144 00:41:40,197 --> 00:41:42,833 THAT SENSE OF 1145 00:41:40,197 --> 00:41:42,833 BELONGING IS GONE, 1146 00:41:42,900 --> 00:41:44,902 BECAUSE YOU DON'T FEEL 1147 00:41:42,900 --> 00:41:44,902 YOU BELONG TO THIS. 1148 00:41:44,969 --> 00:41:47,938 YOU DON'T FEEL YOU BELONG TO 1149 00:41:44,969 --> 00:41:47,938 A COUNTRY THAT'S BEING RAPED. 1150 00:41:49,974 --> 00:41:52,776 AND I REMEMBER EVERY 1151 00:41:49,974 --> 00:41:52,776 NIGHT I'D GO TO SLEEP. 1152 00:41:52,843 --> 00:41:56,847 I'D GO TO SLEEP THINKING 1153 00:41:52,843 --> 00:41:56,847 THAT WE WERE GOING TO DIE, 1154 00:41:56,914 --> 00:41:57,848 ME AND MY HUSBAND 1155 00:41:57,915 --> 00:42:00,000 AND MY SON WOULD BE THE 1156 00:41:57,915 --> 00:42:00,000 ONLY ONE IN THE HOUSE. 1157 00:42:00,000 --> 00:42:00,284 AND MY SON WOULD BE THE 1158 00:42:00,000 --> 00:42:00,284 ONLY ONE IN THE HOUSE. 1159 00:42:00,351 --> 00:42:01,919 AND THERE WOULD BE NOBODY 1160 00:42:00,351 --> 00:42:01,919 THERE TO TAKE CARE OF HIM 1161 00:42:01,986 --> 00:42:05,256 AND HE WOULD DIE OF 1162 00:42:01,986 --> 00:42:05,256 HUNGER OR AN ANIMAL. 1163 00:42:06,957 --> 00:42:09,860 AND THAT FEAR STAYED WITH 1164 00:42:06,957 --> 00:42:09,860 ME EVEN AFTER I LEFT IRAQ. 1165 00:42:18,602 --> 00:42:22,539 - [KRZYSZTOF] OVERWHELMING 1166 00:42:18,602 --> 00:42:22,539 EXPERIENCES 1167 00:42:18,602 --> 00:42:22,539 OF WAR THAT ARE INSCRIBED 1168 00:42:22,606 --> 00:42:26,977 INTO THE SOUL OF PARENTS, 1169 00:42:22,606 --> 00:42:26,977 THEY ARE NOT AWARE OF IT. 1170 00:42:27,044 --> 00:42:29,113 AND CHILDREN ARE 1171 00:42:27,044 --> 00:42:29,113 ACTUALLY NOT AWARE 1172 00:42:29,179 --> 00:42:30,000 THAT THEY ACTUALLY 1173 00:42:29,179 --> 00:42:30,000 RECEIVING PART OF IT. 1174 00:42:30,000 --> 00:42:32,850 THAT THEY ACTUALLY 1175 00:42:30,000 --> 00:42:32,850 RECEIVING PART OF IT. 1176 00:42:32,917 --> 00:42:37,454 THE WAY MY MOTHER WAS 1177 00:42:32,917 --> 00:42:37,454 ACTING AND BEHAVING 1178 00:42:37,521 --> 00:42:39,456 WAS A MYSTERY TO ME. 1179 00:42:39,523 --> 00:42:42,826 SHE ACTED AS A RESULT 1180 00:42:39,523 --> 00:42:42,826 OF HER WAR EXPERIENCE, 1181 00:42:42,893 --> 00:42:44,828 SO SHE DIDN'T TALK 1182 00:42:42,893 --> 00:42:44,828 ABOUT THOSE THINGS. 1183 00:42:44,895 --> 00:42:47,898 SHE PREVENTED ME FROM 1184 00:42:44,895 --> 00:42:47,898 KNOWING ANY DETAILS. 1185 00:42:49,633 --> 00:42:51,936 NOW 'CAUSE I WORK WITH 1186 00:42:49,633 --> 00:42:51,936 TRAUMATIZED PEOPLE, 1187 00:42:52,002 --> 00:42:54,939 I TRY TO LEARN 1188 00:42:52,002 --> 00:42:54,939 SOMETHING ABOUT TRAUMA 1189 00:42:55,005 --> 00:42:58,976 AND I'M ALSO LEARNING SOMETHING 1190 00:42:55,005 --> 00:42:58,976 ABOUT MY OWN REACTIONS. 1191 00:42:59,043 --> 00:43:00,000 - WELL I THOUGHT THE PRINCIPAL 1192 00:42:59,043 --> 00:43:00,000 WHO WAS MADE UP IN MY DREAM 1193 00:43:00,000 --> 00:43:04,848 - WELL I THOUGHT THE PRINCIPAL 1194 00:43:00,000 --> 00:43:04,848 WHO WAS MADE UP IN MY DREAM 1195 00:43:04,915 --> 00:43:07,584 WAS KILLING EVERYONE, 1196 00:43:07,651 --> 00:43:09,586 AND EVERYONE WAS IN CAGES. 1197 00:43:09,653 --> 00:43:11,922 AND THEN MY DREAM ENDS 1198 00:43:11,989 --> 00:43:13,924 WHEN THE PRINCIPAL 1199 00:43:11,989 --> 00:43:13,924 IS ABOUT TO KILL ME. 1200 00:43:16,994 --> 00:43:18,996 AFTER THAT DREAM HAPPENED, 1201 00:43:19,930 --> 00:43:25,869 I HAD NIGHTMARES HAPPENING 1202 00:43:19,930 --> 00:43:25,869 ALMOST EVERY DAY. 1203 00:43:25,936 --> 00:43:29,873 AND...IT SEEMS 1204 00:43:25,936 --> 00:43:29,873 LIKE SOMETHING 1205 00:43:29,940 --> 00:43:30,000 WAS LEFT OVER FROM 1206 00:43:29,940 --> 00:43:30,000 THE WAR INSIDE ME. 1207 00:43:30,000 --> 00:43:33,944 WAS LEFT OVER FROM 1208 00:43:30,000 --> 00:43:33,944 THE WAR INSIDE ME. 1209 00:43:42,386 --> 00:43:44,855 - [KRZYSZTOF] SO WHAT ELSE 1210 00:43:42,386 --> 00:43:44,855 WOULD YOU LIKE TO SAY? 1211 00:43:44,922 --> 00:43:46,857 YOU ARE THE FUTURE 1212 00:43:44,922 --> 00:43:46,857 OF THIS COUNTRY. 1213 00:43:46,924 --> 00:43:48,859 THERE'S SOMETHING 1214 00:43:46,924 --> 00:43:48,859 THAT CAN BE DONE 1215 00:43:48,926 --> 00:43:52,463 SO CHILDREN WILL NO LONGER 1216 00:43:48,926 --> 00:43:52,463 HAVE THESE KIND OF NIGHTMARES. 1217 00:43:53,697 --> 00:43:55,866 - IF I COULD CHANGE 1218 00:43:53,697 --> 00:43:55,866 THINGS IN THE WORLD, 1219 00:43:55,933 --> 00:44:00,000 I WOULD MAKE IT SO THAT NOBODY 1220 00:43:55,933 --> 00:44:00,000 WOULD HAVE TO GO THROUGH, 1221 00:44:00,000 --> 00:44:00,938 I WOULD MAKE IT SO THAT NOBODY 1222 00:44:00,000 --> 00:44:00,938 WOULD HAVE TO GO THROUGH, 1223 00:44:01,005 --> 00:44:03,941 JUST, WAR ITSELF. 1224 00:44:04,008 --> 00:44:06,143 LIKE NO MORE WARS. 1225 00:44:06,210 --> 00:44:10,581 AND SO NOBODY HAS TO 1226 00:44:06,210 --> 00:44:10,581 YOU KNOW, LIVE IN FEAR 1227 00:44:10,647 --> 00:44:14,918 THAT THEY'RE GONNA GET 1228 00:44:10,647 --> 00:44:14,918 KILLED THE NEXT DAY 1229 00:44:14,985 --> 00:44:20,024 BECAUSE WARS ARE CHANGING 1230 00:44:14,985 --> 00:44:20,024 THE ENTIRE WORLD AND 1231 00:44:20,090 --> 00:44:24,995 IT'S DESTROYING 1232 00:44:20,090 --> 00:44:24,995 EVERYTHING, HUMANITY. 1233 00:44:25,062 --> 00:44:30,000 EVEN AFTER WARS, 1234 00:44:25,062 --> 00:44:30,000 EVERYTHING'S... 1235 00:44:30,000 --> 00:44:30,934 EVEN AFTER WARS, 1236 00:44:30,000 --> 00:44:30,934 EVERYTHING'S... 1237 00:44:31,001 --> 00:44:33,203 EVERYTHING'S JUST 1238 00:44:31,001 --> 00:44:33,203 NEVER THE SAME. 1239 00:44:33,270 --> 00:44:34,538 PEOPLE ARE... 1240 00:44:35,539 --> 00:44:37,941 (MELANCHOLY MUSIC BUILDS) 1241 00:44:39,209 --> 00:44:40,944 - [LAMEES] IT'S OKAY. 1242 00:44:41,011 --> 00:44:41,945 IT'S OKAY. 1243 00:44:43,047 --> 00:44:46,016 - [AMEEN] IF THERE WERE NO WARS, 1244 00:44:46,083 --> 00:44:47,251 ANYWHERE, 1245 00:44:47,317 --> 00:44:52,956 EVERYONE COULD JUST LIVE IN 1246 00:44:47,317 --> 00:44:52,956 PEACE WITHOUT ALL THESE DEATHS. 1247 00:44:53,023 --> 00:44:56,260 (SOFT MELANCHOLY MUSIC) 1248 00:45:01,365 --> 00:45:04,001 - I TOLD KRZYSZTOF, "THANK 1249 00:45:01,365 --> 00:45:04,001 YOU FOR THE LETTING ME SPEAK," 1250 00:45:04,068 --> 00:45:06,470 BECAUSE I SPENT THE LAST 1251 00:45:04,068 --> 00:45:06,470 SIX YEARS HERE IN CANADA 1252 00:45:06,537 --> 00:45:09,673 HAVING PEOPLE SAY, "OH, I THINK 1253 00:45:06,537 --> 00:45:09,673 YOU SHOULD SEE A COUNSELOR 1254 00:45:09,740 --> 00:45:12,476 IF YOU'RE THAT YOU 1255 00:45:09,740 --> 00:45:12,476 KNOW, TRAUMATIZED." 1256 00:45:12,543 --> 00:45:13,977 AND WHAT YOU NEED 1257 00:45:12,543 --> 00:45:13,977 IS A HUMAN BEING 1258 00:45:14,044 --> 00:45:15,145 WHO UNDERSTANDS YOU 1259 00:45:14,044 --> 00:45:15,145 AND KNOWS YOU 1260 00:45:15,212 --> 00:45:19,216 TO TALK ABOUT IT AND SAY, 1261 00:45:15,212 --> 00:45:19,216 "HEY, THIS IS WHAT HAPPENED. 1262 00:45:19,283 --> 00:45:21,018 IT'S OKAY 'CAUSE 1263 00:45:19,283 --> 00:45:21,018 I'M OKAY." 1264 00:45:31,028 --> 00:45:34,565 (DARK INTRIGUING MUSIC) 1265 00:45:44,041 --> 00:45:49,146 - [KRZYSZTOF] NOW WHEN WE 1266 00:45:44,041 --> 00:45:49,146 SEE MASSES OF REFUGEES, 1267 00:45:49,213 --> 00:45:52,182 THEY'RE FLEEING CIVIL 1268 00:45:49,213 --> 00:45:52,182 WARS IN THEIR COUNTRIES. 1269 00:45:52,249 --> 00:45:53,750 IT'S DEFINITELY TIME TO REALIZE 1270 00:45:53,817 --> 00:45:57,221 THE IMPACT OF WAR ON CIVILIANS. 1271 00:46:00,224 --> 00:46:03,660 WHEN I SEE THE SITUATION 1272 00:46:00,224 --> 00:46:03,660 OF REFUGEES TODAY, 1273 00:46:03,727 --> 00:46:06,630 IT'S EXTREMELY SAD. 1274 00:46:06,697 --> 00:46:09,666 OF COURSE WHAT CAN ART DO 1275 00:46:09,733 --> 00:46:13,737 TO HELP US TO OPEN UP 1276 00:46:09,733 --> 00:46:13,737 AND LISTEN TO THOSE 1277 00:46:13,804 --> 00:46:16,273 WHO ARE IN A WORSE POSITION? 1278 00:46:17,808 --> 00:46:21,712 WE SHOULD LOOK UP TO THEM 1279 00:46:17,808 --> 00:46:21,712 RATHER THAN DOWN AT THEM. 1280 00:46:21,778 --> 00:46:25,516 (DARK INTRIGUING MUSIC) 1281 00:48:17,828 --> 00:48:22,733 - WHEN YOU HEAR THE STORIES 1282 00:48:17,828 --> 00:48:22,733 THAT ARE TOLD BY THE MIGRANTS 1283 00:48:22,799 --> 00:48:24,768 AND THEY'RE TOLD 1284 00:48:22,799 --> 00:48:24,768 BY THE VETERANS, 1285 00:48:24,835 --> 00:48:27,237 YOU HAVE OFTEN THE SAME TRAUMAS. 1286 00:48:27,304 --> 00:48:30,000 BOTH VETERANS AND 1287 00:48:27,304 --> 00:48:30,000 MIGRANTS CAN BECOME PAWNS 1288 00:48:30,000 --> 00:48:30,807 BOTH VETERANS AND 1289 00:48:30,000 --> 00:48:30,807 MIGRANTS CAN BECOME PAWNS 1290 00:48:30,874 --> 00:48:34,711 IN A MUCH LARGER BATTLE 1291 00:48:34,778 --> 00:48:36,713 THAT HAS VERY LITTLE 1292 00:48:34,778 --> 00:48:36,713 TO DO WITH THEM 1293 00:48:36,780 --> 00:48:39,616 AND OFTEN HAS TO 1294 00:48:36,780 --> 00:48:39,616 DO WITH CAPITAL. 1295 00:48:39,683 --> 00:48:42,886 (SOFT STRIKING MUSIC) 1296 00:48:44,721 --> 00:48:48,725 GETTING TO THE POINT 1297 00:48:44,721 --> 00:48:48,725 OF UN-WARRING OURSELVES 1298 00:48:48,792 --> 00:48:50,794 IS PROBABLY GOING TO BE AN ART. 1299 00:48:50,861 --> 00:48:53,530 AND BECAUSE ART HAS 1300 00:48:50,861 --> 00:48:53,530 OFTEN THE POSSIBILITY 1301 00:48:53,597 --> 00:48:58,535 OF THINKING OUTSIDE THE 1302 00:48:53,597 --> 00:48:58,535 BOX OR THINKING CREATIVELY 1303 00:48:58,602 --> 00:49:00,000 ABOUT THINGS THAT 1304 00:48:58,602 --> 00:49:00,000 WE TAKE FOR GRANTED. 1305 00:49:00,000 --> 00:49:01,371 ABOUT THINGS THAT 1306 00:49:00,000 --> 00:49:01,371 WE TAKE FOR GRANTED. 1307 00:49:17,721 --> 00:49:19,790 - [ANI] THE IMPOSSIBLENESS OF IT 1308 00:49:19,856 --> 00:49:22,659 I THINK IS WHAT MAKES 1309 00:49:19,856 --> 00:49:22,659 IT SO IMPORTANT. 1310 00:49:22,726 --> 00:49:27,631 IT REQUIRES AN UNDOING OF 1311 00:49:22,726 --> 00:49:27,631 DEEP PSYCHOLOGICAL GROUNDWORK 1312 00:49:27,698 --> 00:49:30,000 THAT HAS BEEN LAID BY LIKE 1313 00:49:27,698 --> 00:49:30,000 GENERATIONS OF BEING HUMAN. 1314 00:49:30,000 --> 00:49:30,867 THAT HAS BEEN LAID BY LIKE 1315 00:49:30,000 --> 00:49:30,867 GENERATIONS OF BEING HUMAN. 1316 00:49:31,802 --> 00:49:33,737 AND SO HOW DO YOU UNDO THAT? 1317 00:49:33,804 --> 00:49:38,775 LIKE HOW DO YOU UN-PROGRAM IT 1318 00:49:33,804 --> 00:49:38,775 FROM ALMOST LIKE A DNA LEVEL? 1319 00:49:38,842 --> 00:49:39,676 I THINK HE'S TOTALLY RIGHT. 1320 00:49:39,743 --> 00:49:42,779 IT REQUIRES A COMPLETE 1321 00:49:39,743 --> 00:49:42,779 PARADIGM SHIFT. 1322 00:49:42,846 --> 00:49:46,316 (SOFT MELANCHOLY MUSIC) 1323 00:52:11,061 --> 00:52:14,364 (WHISTLING) 1324 00:52:24,841 --> 00:52:27,844 (DARK FOREBODING MUSIC) 1325 00:52:32,649 --> 00:52:34,384 - [REPORTER] FRENCH 1326 00:52:32,649 --> 00:52:34,384 PRESIDENT FRANçOIS HOLLANDE 1327 00:52:34,451 --> 00:52:36,419 HAS COME OUT AND 1328 00:52:34,451 --> 00:52:36,419 SAID THAT HIS COUNTRY 1329 00:52:36,486 --> 00:52:38,889 IS UNDER THE THREAT 1330 00:52:36,486 --> 00:52:38,889 OF ISLAMIC TERRORISM. 1331 00:52:38,955 --> 00:52:40,857 - [REPORTER] THE FRENCH 1332 00:52:38,955 --> 00:52:40,857 LAUNCHING AIRSTRIKES 1333 00:52:40,924 --> 00:52:43,894 AGAINST ISIS TARGETS IN 1334 00:52:40,924 --> 00:52:43,894 SYRIA OVER THE WEEKEND. 1335 00:52:43,960 --> 00:52:45,028 THIS OF COURSE IN RESPONSE 1336 00:52:45,095 --> 00:52:46,830 TO FRIDAY'S HORRIFIC 1337 00:52:45,095 --> 00:52:46,830 TERROR ATTACK. 1338 00:52:46,897 --> 00:52:47,797 - [REPORTER] TONIGHT, 1339 00:52:46,897 --> 00:52:47,797 VIOLENT PROTESTS 1340 00:52:47,864 --> 00:52:49,766 IN ONE OF THE WORLD'S 1341 00:52:47,864 --> 00:52:49,766 MOST FAMOUS CITIES. 1342 00:52:49,833 --> 00:52:53,036 POLICE CLASHING WITH 1343 00:52:49,833 --> 00:52:53,036 ANTI-GOVERNMENT 1344 00:52:49,833 --> 00:52:53,036 DEMONSTRATORS IN PARIS 1345 00:52:53,103 --> 00:52:54,738 FOR A THIRD STRAIGHT WEEKEND. 1346 00:52:54,804 --> 00:52:56,106 CARS THERE SET ON FIRE. 1347 00:52:56,172 --> 00:52:58,842 THE FAMED ARC DE TRIOMPHE 1348 00:52:56,172 --> 00:52:58,842 VANDALIZED. 1349 00:52:58,909 --> 00:53:00,000 - [REPORTER] PEOPLE 1350 00:52:58,909 --> 00:53:00,000 BROKE INTO THE MONUMENT, 1351 00:53:00,000 --> 00:53:01,111 - [REPORTER] PEOPLE 1352 00:53:00,000 --> 00:53:01,111 BROKE INTO THE MONUMENT, 1353 00:53:01,177 --> 00:53:03,680 LOOTING THE GIFT 1354 00:53:01,177 --> 00:53:03,680 SHOP, DAMAGING ARTWORK. 1355 00:53:03,747 --> 00:53:06,917 (DARK INTRIGUING MUSIC) 1356 00:53:11,254 --> 00:53:15,191 - [KRZYSZTOF] ALL OF THIS 1357 00:53:11,254 --> 00:53:15,191 TOGETHER 1358 00:53:11,254 --> 00:53:15,191 MAKES IT AT THIS POINT 1359 00:53:15,258 --> 00:53:17,527 PRACTICALLY UNREALISTIC 1360 00:53:17,594 --> 00:53:22,065 TO EVEN DISCUSS THIS PROJECT 1361 00:53:17,594 --> 00:53:22,065 SO EASILY BY ANYONE IN FRANCE. 1362 00:53:37,914 --> 00:53:42,786 I WILL NOT GIVE UP THE NEED TO 1363 00:53:37,914 --> 00:53:42,786 BE CLOSE TO THIS WAR MACHINE 1364 00:53:42,852 --> 00:53:45,855 AND LET PEOPLE UN-WAR THEMSELVES 1365 00:53:45,922 --> 00:53:48,091 'CAUSE EVERYONE IS 1366 00:53:45,922 --> 00:53:48,091 TALKING ABOUT PEACE. 1367 00:53:48,158 --> 00:53:51,828 BUT VERY, VERY FEW 1368 00:53:48,158 --> 00:53:51,828 PEOPLE REALLY ARE WILLING 1369 00:53:51,895 --> 00:53:56,066 TO GET INTO DEEP THINKING 1370 00:53:51,895 --> 00:53:56,066 OF WHY OUR 1371 00:53:57,267 --> 00:53:59,769 WAR MIND IS SO STRONG. 1372 00:53:59,836 --> 00:54:00,000 SO WE HAVE GET CLOSER TO 1373 00:53:59,836 --> 00:54:00,000 THOSE RELIEFS EYE TO EYE. 1374 00:54:00,000 --> 00:54:04,074 SO WE HAVE GET CLOSER TO 1375 00:54:00,000 --> 00:54:04,074 THOSE RELIEFS EYE TO EYE. 1376 00:54:15,952 --> 00:54:19,122 THIS PROJECT HAS NOT BEEN 1377 00:54:15,952 --> 00:54:19,122 REALIZED, BUT THE DAY WILL COME. 1378 00:54:19,189 --> 00:54:20,690 IT WILL HAPPEN. 1379 00:54:22,859 --> 00:54:24,761 PEOPLE WILL LEARN HOW ABSURD 1380 00:54:24,828 --> 00:54:28,465 RESOLVING OR DEALING WITH 1381 00:54:24,828 --> 00:54:28,465 HUMAN CONFLICT THROUGH WAR IS. 1382 00:54:29,165 --> 00:54:32,502 (PATRONS CHATTERING) 1383 00:54:47,851 --> 00:54:50,920 I HAVE TO SAY THAT 1384 00:54:47,851 --> 00:54:50,920 I'M NOT STOPPING. 1385 00:54:50,987 --> 00:54:56,693 I'M NOT EVEN SLOWING DOWN 1386 00:54:50,987 --> 00:54:56,693 WITH MY UN-WAR PROJECTS. 1387 00:54:56,760 --> 00:54:58,895 I DO WHAT I CAN AND I CONTINUE. 1388 00:54:58,962 --> 00:55:02,766 (SLOW PIANO TUNE) 1389 00:55:44,274 --> 00:55:46,910 - YOU TOLD ME THAT 1390 00:55:46,976 --> 00:55:49,879 I'M A MISOGYNIST, 1391 00:55:49,946 --> 00:55:52,782 THAT I'M A RACIST, 1392 00:55:49,946 --> 00:55:52,782 THAT I'M A HOMOPHOBE 1393 00:55:52,849 --> 00:55:54,784 WHEN MANY OF MY FRIENDS 1394 00:55:52,849 --> 00:55:54,784 FALL INTO THOSE CATEGORIES. 1395 00:55:54,851 --> 00:55:58,788 - YOU THINK THAT 1396 00:55:54,851 --> 00:55:58,788 ALL LIVES MATTER, 1397 00:55:58,855 --> 00:56:00,000 MEANWHILE WE'VE 1398 00:55:58,855 --> 00:56:00,000 ALL BEEN SAYING THIS. 1399 00:56:00,000 --> 00:56:02,892 MEANWHILE WE'VE 1400 00:56:00,000 --> 00:56:02,892 ALL BEEN SAYING THIS. 1401 00:56:02,959 --> 00:56:06,863 MY LIFE MATTERS AND I THINK 1402 00:56:02,959 --> 00:56:06,863 THAT YOUR LIFE MATTERS. 1403 00:56:06,930 --> 00:56:07,797 ALSO, 1404 00:56:07,864 --> 00:56:11,334 I GET TO HAVE A VOICE. 1405 00:56:11,401 --> 00:56:13,803 YOU THINK THAT, 1406 00:56:13,870 --> 00:56:15,905 BY ME SPEAKIN' UP, 1407 00:56:15,972 --> 00:56:19,809 THAT ME BEING PASSIONATE IS 1408 00:56:15,972 --> 00:56:19,809 ME BEING AN ANGRY BLACK MAN. 1409 00:56:19,876 --> 00:56:23,880 - I NEVER SAID THAT 1410 00:56:19,876 --> 00:56:23,880 I HATE GAY PEOPLE, 1411 00:56:23,947 --> 00:56:25,715 THAT I HATE BLACK PEOPLE 1412 00:56:25,782 --> 00:56:27,150 OR PEOPLE OF ANOTHER 1413 00:56:25,782 --> 00:56:27,150 RACE THAN MYSELF. 1414 00:56:27,217 --> 00:56:30,887 - YOU THINK THAT WHEN I TALK ABOUT ISSUES 1415 00:56:30,954 --> 00:56:34,624 CONCERNING INJUSTICE THAT 1416 00:56:34,691 --> 00:56:36,126 I'M ASKING FOR A HANDOUT. 1417 00:56:36,192 --> 00:56:40,797 YOU THINK THAT 1418 00:56:36,192 --> 00:56:40,797 WHERE I COME FROM IS... 1419 00:56:40,864 --> 00:56:42,132 NOTHING YOU BELIEVE 1420 00:56:40,864 --> 00:56:42,132 MAKES SENSE. 1421 00:56:42,198 --> 00:56:43,133 - HORRIBLE. 1422 00:56:43,199 --> 00:56:46,903 YOU HAVE NO ARGUMENT TO 1423 00:56:43,199 --> 00:56:46,903 SUPPORT THIS EMOTION. 1424 00:56:46,970 --> 00:56:48,738 I GET YOU'RE EMOTIONAL. 1425 00:56:48,805 --> 00:56:49,806 YOU KNOW, YOU'RE ENTITLED 1426 00:56:48,805 --> 00:56:49,806 TO YOUR OPINIONS. 1427 00:56:49,873 --> 00:56:50,874 - RACIST. 1428 00:56:50,940 --> 00:56:51,875 - SNOWFLAKE. 1429 00:56:51,941 --> 00:56:53,276 - RACIST. 1430 00:56:53,343 --> 00:56:54,811 - SNOWFLAKE. 1431 00:56:54,878 --> 00:56:57,881 (SOFT INTRIGUING MUSIC) 1432 00:57:02,986 --> 00:57:06,823 I DON'T THINK WE'RE TOO FAR 1433 00:57:02,986 --> 00:57:06,823 GONE THAT A CIVIL WAR IS COMING. 1434 00:57:06,890 --> 00:57:08,825 I WOULD SAY THAT 1435 00:57:06,890 --> 00:57:08,825 THERE'S A LITTLE BIT 1436 00:57:08,892 --> 00:57:10,827 OF A CIVIL WAR OF 1437 00:57:08,892 --> 00:57:10,827 WORDS GOING ON 1438 00:57:10,894 --> 00:57:14,898 IT FEELS LIKE, AS FAR AS 1439 00:57:10,894 --> 00:57:14,898 THE POLITICAL DIVIDE GOES. 1440 00:57:14,964 --> 00:57:17,100 BUT I CERTAINLY HOPE 1441 00:57:14,964 --> 00:57:17,100 AND DON'T BELIEVE 1442 00:57:17,167 --> 00:57:19,235 THAT WE ARE HEADED TO 1443 00:57:17,167 --> 00:57:19,235 AN ACTUAL CIVIL WAR. 1444 00:57:19,302 --> 00:57:22,438 I THINK THAT DIVIDE 1445 00:57:19,302 --> 00:57:22,438 IS CLEARLY ILLUSTRATED 1446 00:57:22,505 --> 00:57:24,974 WHEN YOU LOOK AT A VOTING MAP. 1447 00:57:31,181 --> 00:57:36,152 (PLATFORM CLACKING & SQUEAKING) 1448 00:57:37,420 --> 00:57:41,191 (SOMBRE PIANO MUSIC) 1449 00:57:49,866 --> 00:57:53,236 (INTROSPECTIVE RHYTHMIC MUSIC)