Ink & Linda
- Description
- Reviews
- Citation
- Cataloging
- Transcript
INK & LINDA is a feature-length documentary chronicling the unexpected friendship and collaboration between Inksap, a Vietnamese American urban artist in his 20s, and Linda, an elder stateswoman of the modern dance scene in her 70s–as they team up to form LA’s most unlikely street art duo. Crossing the boundaries between generations and cultures, their story defies the conventions of art and society, exploring what it means to be an artist in today’s world. It is the story of a young man finding his identity; a woman in the last chapter of her life starting a new one; and of finding family where you least expect it.
Film Threat | Alan Ng
"Incredibly fascinating."
LA Dance Chronicle | Alice Alyse
"This picture is a positive influence of encouragement in life, motivation, and freedom. A performance street graffiti experience that makes a distinctive statement for all of us to see, understand, learn, and enjoy."
KPFK Film Club
"The kind of film that both delights and inspires."
Orcasound
"A celebration of diversity and differences."
LA Weekly | Shana Nys Dambrot
"The unconventional duo of Inksap and Linda Lack, PhD hail from radically divergent backgrounds, cross-pollinating to create art that neither one would have created alone."
Citation
Main credits
Paul, Stuart (film director)
Paul, Stuart (screenwriter)
Paul, Stuart (film producer)
Paul, Stuart (director of photography)
Mathews, Heather (screenwriter)
Mathews, Heather (film producer)
Lack, Linda (on-screen participant)
Sap, Ink (on-screen participant)
Other credits
Editor, Heather Mathews; music, Mandy Hoffman; cinematographer, Stuart C. Paul.
Distributor subjects
Street Art; Dance; Creativity; Collaboration; Immigration; Vietnamese Americans; Aging; FamilyKeywords
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(uptempo instrumental music)
00:00:09.902 --> 00:00:11.235
- Are you ready?
00:00:24.244 --> 00:00:27.244
(woman harmonizing)
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- Ready?
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- Yeah.
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(singing in foreign language)
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- In this chapter of my life,
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I am a movement educator,
movement therapist,
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movement ritualist.
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My degrees are in
performance and choreography,
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Master's Degree in
Performance and Choreography,
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and then I have a PhD in
Movement Education and Healing.
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So that is a seriously powerful unifying,
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part of that that we call a person.
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Upper arm comes in, you lengthen the arm
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till it's right in front of your shoulder.
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- Ah!
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- Ah's right, and then everything
stabilizes, you open it,
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you're the navigator, only as
far as it feels good to do.
00:02:18.810 --> 00:02:19.980
- Yeah.
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- That's so clean, Josh.
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Los Angeles has always been my city,
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I always knew that I was
put on this earth to dance
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and to move,
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I am now in my 70s, and I have moved
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in many, various, various kinds of ways
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throughout a lifetime.
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My aunt was in Martha
Graham's first company,
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and when Martha was too old
to do her solos on stage,
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she gave them to my aunt.
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And in those days,
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you didn't put children on
planes and send them whatever,
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but I bugged my family, to
please send me to New York,
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please send me to New
York to visit my aunt.
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So, maybe I was seven,
eight, something like that,
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I don't know,
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and they did, they put me on a plane,
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there I was in New York
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and I went to the first
rehearsal with Martha.
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And my aunt explained
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that I was gonna have to
sit there very quietly
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and it could go on for a very long time.
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Rehearsal with Martha could
be two hours, three hours,
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four hours, nobody knew.
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I sat down in the front
of the studio cross-legged
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and watched all these people warm up,
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waiting for Martha to come.
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Everybody was warming up
and they were doing things
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with their body that I
had never seen anybody do,
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it was wonderful.
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I understood from that
moment that art was work
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and I was going to work.
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There was the expectation that
I would be a Graham dancer,
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I didn't relate so much
to Graham technique
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'cause it had too much
angst going on in it.
00:04:08.370 --> 00:04:12.540
So, I wound up studying
with Merce Cunningham,
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I wound up playing with a bunch of people,
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including Twyla Tharp,
Yvonne Rainer, and John cage.
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Everybody was so injured, all
of the time as young people
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that I looked at this and
there was a dilemma there,
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I thought, you know, if
this is what it means
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at 20 years old to be a dancer,
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is that people are having
to have knee replacements
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and hip replacements and
they're in pain and whatever,
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there was a crisis there for me.
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And out of that crisis
was born, I really think,
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the technique that I have
developed now over 50 years.
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(upbeat music)
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- I have to get up right there.
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All right.
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(dramatic music)
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That's fuck off, no way.
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That's cool.
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Now that is what I call, the heaven spot.
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- I was in a chapter recently when,
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I really was having a very hard time
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and there was a void,
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a kind of avoid in terms
of making art, et cetera.
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A drunk driver was going
North on La Cienega,
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made a left hand turn into the driveway
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and did not step on the brakes,
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must have stepped on the gas or something
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and went all the way through
the side of the building
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and ensued a year and a
half with insurance company
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and the City of Los Angeles,
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who was so obstructionist.
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I said to myself, I really sat down
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and thought on it and meditated on,
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I said, well, maybe this is a sign that,
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you're in your 70s, that this is it,
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on and on and on.
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Well, this was months, I
was just beside myself,
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we were almost done,
almost done rebuilding it,
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front had to be redesigned,
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now there was a big plate glass
window right on the street.
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One Monday morning, I came here,
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(Linda chuckles)
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still waiting for the window,
I open the gate, I walk in,
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go through the passageway,
open the gate in front,
00:08:13.260 --> 00:08:14.910
and I look outside, I am stunned,
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absolutely stunned.
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I am looking at the board up
for the plate glass window
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and somebody has come and put up,
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beautiful, beautiful,
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okay, I would call it
art, beautiful graffiti.
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The board up was bigger
than the window, of course,
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and there's this gigantic
art all over the place,
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and I look at it, and
it's absolutely beautiful.
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And it's either at that moment,
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I thought a Vietnamese
or an Indonesian, mother,
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and she has this bamboo
pole over her shoulder
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and she has her two little
children in baskets in front.
00:09:07.860 --> 00:09:09.900
And you can tell that she's leaving home,
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they all have gas masks on,
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they all have gas masks,
the babies and her.
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And the other thing she has, behind her,
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in another little basket
is, a live bonsai tree.
00:09:21.870 --> 00:09:24.060
And it's obvious that she's
taken it from her home,
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when they're leaving their village.
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I call my office, and I
say, listen, it's happened,
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it's happened, we have graffiti all over.
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We're absolutely gonna keep it,
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we're gonna take it into the studio
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and we're gonna put it
on a wall in the studio.
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That happened, on a Sunday
night, just like the crash,
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in some ways kind of eerily,
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only, this morning I found art out there.
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Well, all it says there is
Inksap on it, but it says that,
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and we start looking, doing research,
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we can find that Inksap has
a website and what have you.
00:10:03.435 --> 00:10:08.435
And I start writing and I say,
listen, thank you very much,
00:10:09.120 --> 00:10:12.030
so would you please just
get in touch with me
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and tell me who you are,
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and let's say hello and
what have you, nothing.
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Absolutely nothing.
00:10:21.540 --> 00:10:23.760
- I was on Instagram and
someone had took a photo
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of the street art piece actually cut out,
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they actually cut it out of the wall.
00:10:30.607 --> 00:10:33.210
So I was thinking, well, fuck, that's it,
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it's cut out of the wall, that's it.
00:10:37.110 --> 00:10:40.113
- And then, I realized that,
00:10:42.600 --> 00:10:44.283
this kind of art is illegal,
00:10:45.870 --> 00:10:50.070
so of course, he thinks I'm gonna turn him
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into the authorities or
he thinks I'm portraying,
00:10:53.700 --> 00:10:54.870
that I like it a lot,
00:10:54.870 --> 00:10:56.910
and just as soon as I
get ahold of who he is,
00:10:56.910 --> 00:10:58.470
I'm gonna make trouble.
00:10:58.470 --> 00:11:01.350
- I got a couple direct messages
00:11:01.350 --> 00:11:04.710
and some emails of people
saying, hey, we have your art,
00:11:04.710 --> 00:11:05.610
we really like it.
00:11:05.610 --> 00:11:08.370
And usually this happened
to me so many times,
00:11:08.370 --> 00:11:10.050
most of the time, when
I get emails from email,
00:11:10.050 --> 00:11:11.490
from people about street art,
00:11:11.490 --> 00:11:15.060
it's typically negative
and sometimes positive.
00:11:15.060 --> 00:11:17.100
But this one was like decently positive,
00:11:17.100 --> 00:11:20.223
so I was kind of open to reading it.
00:11:20.223 --> 00:11:23.343
- Then I started to get emails from him,
00:11:25.110 --> 00:11:27.030
I don't remember exactly,
00:11:27.030 --> 00:11:29.490
but one day he called himself Bradley,
00:11:29.490 --> 00:11:31.470
another day, he called himself Brandon,
00:11:31.470 --> 00:11:33.180
another day he called himself, whatever.
00:11:33.180 --> 00:11:35.220
So, he wasn't gonna give me a name
00:11:35.220 --> 00:11:36.990
and he wasn't gonna give me an address,
00:11:36.990 --> 00:11:38.400
where I could send a check.
00:11:38.400 --> 00:11:41.719
- She started talking to
me about like, who are you?
00:11:41.719 --> 00:11:42.930
Blah, blah, blah.
00:11:42.930 --> 00:11:45.840
And so, I gave her fake
names and different things,
00:11:45.840 --> 00:11:48.213
and then eventually I realized,
00:11:50.280 --> 00:11:53.340
he's trying to help me out here.
00:11:53.340 --> 00:11:57.540
- He comes in the back door
with a friend behind him,
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I see that he's a young man in his 20s
00:12:01.590 --> 00:12:03.900
and his friend behind him is in his 20s.
00:12:03.900 --> 00:12:08.815
If I had made him up in my imagination,
00:12:08.815 --> 00:12:10.830
created him in my imagination,
00:12:10.830 --> 00:12:15.330
given everything from the
visuals he makes, it was perfect.
00:12:15.330 --> 00:12:18.663
They stayed for five and
a half hours that day,
00:12:20.430 --> 00:12:23.999
we couldn't extricate
ourselves from one another.
00:12:23.999 --> 00:12:24.929
(croaking)
00:12:24.929 --> 00:12:25.762
Doesn't it sound like a croak?
00:12:28.189 --> 00:12:29.749
- Awesome.
00:12:29.749 --> 00:12:30.849
- Also, hit it.
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- hit it?
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- Make music with it.
00:12:35.470 --> 00:12:36.303
- Oh!
00:12:36.303 --> 00:12:38.470
(tapping)
00:12:40.009 --> 00:12:42.759
(Linda chuckles)
00:12:44.100 --> 00:12:46.860
- Wow, this is wonderful.
00:12:46.860 --> 00:12:49.203
- And this is actually image of a,
00:12:50.218 --> 00:12:55.218
there's a soldier marching
somewhere into battle.
00:12:57.600 --> 00:13:01.770
It was a woman's soldier
and I really like the zest
00:13:01.770 --> 00:13:04.320
that she had on her march.
00:13:04.320 --> 00:13:06.480
- And I can just look straight
at you and I can tell,
00:13:06.480 --> 00:13:08.584
this is what you were meant to do.
00:13:08.584 --> 00:13:09.724
- Thank you.
00:13:09.724 --> 00:13:11.550
- Really, from the heart.
00:13:11.550 --> 00:13:13.773
You must keep doing it, somehow.
00:13:15.417 --> 00:13:18.000
(bowl humming)
00:13:25.149 --> 00:13:25.982
That's it.
00:13:47.795 --> 00:13:52.795
(bell chimes)
(phone vibrates)
00:14:12.900 --> 00:14:17.900
- I grew up in Orange County,
suburbs, all white kids,
00:14:18.634 --> 00:14:22.890
maybe I had a Chinese
friend around the corner.
00:14:22.890 --> 00:14:25.470
I definitely did feel really
separated from my culture,
00:14:25.470 --> 00:14:27.840
growing up, growing up
in a household where,
00:14:27.840 --> 00:14:29.370
yeah, we did speak Vietnamese
00:14:29.370 --> 00:14:31.110
and yeah, we ate a lot of Vietnamese food.
00:14:31.110 --> 00:14:34.440
But the disconnect was
when I go to school,
00:14:34.440 --> 00:14:37.890
I would see all the kids
interact in English,
00:14:37.890 --> 00:14:41.460
and when you're Asian and
that's your first language,
00:14:41.460 --> 00:14:43.230
people don't always understand you.
00:14:43.230 --> 00:14:46.410
And they always have their perceived ideas
00:14:46.410 --> 00:14:50.130
of what an Asian person might be,
00:14:50.130 --> 00:14:55.130
so, it wasn't always easy blending in,
00:14:55.170 --> 00:15:00.170
so, I had to change my identity.
00:15:00.390 --> 00:15:02.460
When you're growing up around folks,
00:15:02.460 --> 00:15:07.230
who aren't the same skin
color as you, or same,
00:15:07.230 --> 00:15:09.033
you don't identify with them.
00:15:10.740 --> 00:15:14.400
Shame, 'cause you think,
well, if I wasn't this person,
00:15:14.400 --> 00:15:17.670
if I wasn't this, if I
didn't grow up like this,
00:15:17.670 --> 00:15:20.190
or if I wasn't from this family,
00:15:20.190 --> 00:15:25.080
then I could be more normal,
I could be more accepted.
00:15:25.080 --> 00:15:27.933
I look back, be happy that
I had it the way it was.
00:15:28.860 --> 00:15:31.200
- What do my family thinks
of being a street artist?
00:15:31.200 --> 00:15:33.030
Well, they don't know.
00:15:33.030 --> 00:15:36.420
You have one world that says, get a job,
00:15:36.420 --> 00:15:41.420
get a house, be stable and be safe.
00:15:42.780 --> 00:15:45.240
And this is coming from people who have,
00:15:45.240 --> 00:15:49.863
given up their lives to
find hope in a new world,
00:15:50.970 --> 00:15:54.960
and then you have me, my brother
and people who are my age,
00:15:54.960 --> 00:15:58.680
hey, we didn't have that experience.
00:15:58.680 --> 00:16:00.900
Because of that misunderstanding,
00:16:00.900 --> 00:16:02.730
it makes me wanna work harder,
00:16:02.730 --> 00:16:06.360
so then I could show them
that, I really want this,
00:16:06.360 --> 00:16:09.450
not just for myself, but also
for the story that we have.
00:16:09.450 --> 00:16:13.890
And that there's more to this
life than just to be safe,
00:16:13.890 --> 00:16:17.430
I mean, my folks don't
understand everything I do,
00:16:17.430 --> 00:16:20.610
and as much as I can explain to them,
00:16:20.610 --> 00:16:23.460
it's still something that's
hard for 'em to grasp because,
00:16:23.460 --> 00:16:26.220
they don't see it as something as viable
00:16:26.220 --> 00:16:27.603
as a means of living.
00:16:28.950 --> 00:16:32.951
But at the same time, it's
like, well, what is it to live?
00:16:32.951 --> 00:16:37.200
Is it living to do something
that gets you through
00:16:37.200 --> 00:16:40.080
or is it living something
to do that gets you through,
00:16:40.080 --> 00:16:43.233
but also fills your soul?
00:16:44.160 --> 00:16:45.990
You curate your own happiness
00:16:45.990 --> 00:16:48.210
and your happiness comes from within,
00:16:48.210 --> 00:16:51.090
and if there's someone or
something or external factors
00:16:51.090 --> 00:16:52.890
that are preventing that happiness,
00:16:52.890 --> 00:16:55.050
then that tells you something already.
00:16:55.050 --> 00:16:57.600
That piece back there (indistinct)
00:16:57.600 --> 00:17:00.420
that is the representation
of my two sisters.
00:17:00.420 --> 00:17:03.003
And that piece, that's my third piece,
00:17:04.703 --> 00:17:06.123
it almost reminds me of,
00:17:07.223 --> 00:17:09.800
the possibilities of
living here in America...
00:17:10.925 --> 00:17:12.882
Just seeing that piece reminds me of them
00:17:12.882 --> 00:17:17.070
and what it is to be
free, fuck, I don't know,
00:17:17.070 --> 00:17:18.470
red, white and blue bitches.
00:17:19.322 --> 00:17:23.130
Having sisters and having
siblings that young,
00:17:23.130 --> 00:17:26.880
always reminds me of how
lucky we are to be here,
00:17:26.880 --> 00:17:29.053
how luck I am, how lucky my family is.
00:17:30.146 --> 00:17:33.699
My family made it over to America safely,
00:17:33.699 --> 00:17:36.866
no one got hurt, no one got fucked up,
00:17:38.497 --> 00:17:40.290
everyone made it, luckily.
00:17:40.290 --> 00:17:41.554
There's so many stories of people,
00:17:41.554 --> 00:17:43.170
who didn't make it over here,
00:17:43.170 --> 00:17:45.123
so when I see that piece,
00:17:45.990 --> 00:17:50.615
I think that piece symbolizes
what symbolizes, luck,
00:17:50.615 --> 00:17:54.282
it symbolizes, yeah, I'd say, luck.
00:17:55.770 --> 00:17:57.670
- So we started talking late at night,
00:18:00.000 --> 00:18:04.830
we found we had a lot
to say to each other.
00:18:04.830 --> 00:18:08.310
And then there was a moment
when I said to myself,
00:18:08.310 --> 00:18:11.550
Linda, you should be making art with ink,
00:18:11.550 --> 00:18:15.990
one night when we're
talking late, he says to me,
00:18:15.990 --> 00:18:17.640
we should be making art together.
00:18:18.660 --> 00:18:21.150
- I think it should be some sort of pose
00:18:21.150 --> 00:18:24.180
that ties between you and me.
00:18:24.180 --> 00:18:26.640
I just told her, look, I need to come,
00:18:26.640 --> 00:18:27.870
let me see what you do
00:18:27.870 --> 00:18:30.616
'cause I don't know what
you do, I know you move.
00:18:30.616 --> 00:18:31.617
I never went to one of your classes,
00:18:31.617 --> 00:18:34.290
but I wanna see what you do
when you are in your zone.
00:18:34.290 --> 00:18:35.700
The way she moves her body,
00:18:35.700 --> 00:18:40.309
is something almost supernatural.
00:18:40.309 --> 00:18:43.059
(birds chirping)
00:19:24.150 --> 00:19:26.610
- This is when I took the lizard,
00:19:26.610 --> 00:19:28.293
little different costuming,
00:19:29.250 --> 00:19:33.630
into another stream bed on
Georgia O'Keeffe's Ghost Ranch.
00:19:33.630 --> 00:19:38.070
This is spirit wolf,
00:19:38.070 --> 00:19:41.310
it's probably the most iconic dance,
00:19:41.310 --> 00:19:43.230
and the one I'm most known for.
00:19:43.230 --> 00:19:44.670
For each of these masks,
00:19:44.670 --> 00:19:46.860
I had to learn how to deal with them.
00:19:46.860 --> 00:19:48.870
And this one sat on top of the head,
00:19:48.870 --> 00:19:50.970
so I had to learn to tilt my head,
00:19:50.970 --> 00:19:53.730
so the eyes of the wolf were down.
00:19:53.730 --> 00:19:57.300
We ran a big TV set in
front of the audience
00:19:57.300 --> 00:19:58.920
that had Fox News on it,
00:19:58.920 --> 00:20:02.010
he comes on with his briefcase, et cetera.
00:20:02.010 --> 00:20:04.080
And ultimately it deteriorates,
00:20:04.080 --> 00:20:05.820
he gets rid of the briefcase,
00:20:05.820 --> 00:20:08.730
it has tons of money inside of it.
00:20:08.730 --> 00:20:11.733
And it's a demon, it's the devil,
00:20:12.581 --> 00:20:14.250
and the devil has, you couldn't see it
00:20:14.250 --> 00:20:18.243
under the trench coat,
a 25 foot long tail.
00:20:19.320 --> 00:20:21.573
To experience doing a dance,
00:20:24.330 --> 00:20:28.320
with no audience, except
the God's above and whatever
00:20:28.320 --> 00:20:29.463
in a stream bed,
00:20:30.450 --> 00:20:32.190
it was really interesting.
00:20:32.190 --> 00:20:33.960
When I removed the mask,
00:20:33.960 --> 00:20:36.390
I realized that a small
group of mule deer,
00:20:36.390 --> 00:20:38.733
had been watching, watching,
00:20:39.600 --> 00:20:43.830
only the deer, and I, share
the spirit and sweet memory
00:20:43.830 --> 00:20:45.870
of that performance.
00:20:45.870 --> 00:20:50.250
My dances never got planned
and then you put a mask on,
00:20:50.250 --> 00:20:54.420
it's not how any of these
happen, it's different,
00:20:54.420 --> 00:20:58.053
you put the mask on, you
go out onto the floor,
00:20:59.040 --> 00:21:03.990
And you wait until the being,
00:21:03.990 --> 00:21:07.110
the mask, the whatever,
00:21:07.110 --> 00:21:10.380
tells you what kinda body
movement it's supposed to have,
00:21:10.380 --> 00:21:12.780
it basically comes through.
00:21:12.780 --> 00:21:14.310
- That's the thing I liked
about climbing buildings
00:21:14.310 --> 00:21:17.707
'cause when you get up
there, there's no one there,
00:21:17.707 --> 00:21:19.800
just you, you own the city,
00:21:19.800 --> 00:21:21.360
you can look around.
00:21:21.360 --> 00:21:23.290
No one's gonna care and
ask you what you're doing,
00:21:23.290 --> 00:21:25.163
you're just up there in
your own little world.
00:21:26.310 --> 00:21:29.260
That's the only free time that
you can get around the city.
00:21:31.620 --> 00:21:32.733
There's a car there.
00:21:35.258 --> 00:21:36.308
I'll park right here.
00:22:11.199 --> 00:22:14.116
I'm just gonna be as fast as I can.
00:23:04.969 --> 00:23:06.386
We gotta get off.
00:23:16.248 --> 00:23:17.134
- [Steve] Fuck.
00:23:17.134 --> 00:23:17.967
- What?
00:23:19.340 --> 00:23:20.786
- [Steve] I'm a little bit
worried about getting down.
00:23:20.786 --> 00:23:22.453
- So I don't know...
00:23:22.453 --> 00:23:25.870
We're leaving, sorry, we're getting down.
00:23:50.146 --> 00:23:51.813
Could've been worse.
00:23:57.696 --> 00:23:58.980
(Inksap chuckles)
00:23:58.980 --> 00:24:01.080
You're gonna film more than you succeed,
00:24:01.080 --> 00:24:03.543
so, I give respect to them, they're cool.
00:24:05.190 --> 00:24:07.950
We tried, we got the I
up, that's what matters?
00:24:07.950 --> 00:24:09.063
We got the I up.
00:24:17.776 --> 00:24:20.412
- [Steve] That got my adrenaline
pumping, I'll tell you.
00:24:20.412 --> 00:24:21.245
- Yeah?
00:24:21.245 --> 00:24:23.193
That's the original
feel, I'm chasing, Steve.
00:24:48.185 --> 00:24:50.190
(bell chimes)
00:24:50.190 --> 00:24:54.450
Linda, how's it going?
00:24:54.450 --> 00:24:55.447
So good to see you.
00:24:56.328 --> 00:24:58.140
- Back at you.
00:24:58.140 --> 00:24:59.730
The first time we got together
00:24:59.730 --> 00:25:02.700
to try to see what would happen,
00:25:02.700 --> 00:25:07.700
we were here for over four
hours, I moved, he drew,
00:25:07.860 --> 00:25:10.110
he took photographs.
00:25:10.110 --> 00:25:15.030
It is very hard on a two
dimensional piece of paper
00:25:15.030 --> 00:25:20.030
to capture movement,
energetically and dynamically,
00:25:20.580 --> 00:25:21.453
and he does.
00:25:26.130 --> 00:25:30.600
- We started talking more about
how these different poses,
00:25:30.600 --> 00:25:32.040
talk about our story.
00:25:32.040 --> 00:25:34.410
- You get arrested for making art,
00:25:34.410 --> 00:25:37.920
I was arrested years ago
for demonstrating in this
00:25:37.920 --> 00:25:39.000
and the other thing.
00:25:39.000 --> 00:25:40.133
- Right.
00:25:40.133 --> 00:25:44.373
- Anyway, so I'm having a problem
with the way this country,
00:25:46.189 --> 00:25:48.210
is treating immigrants
00:25:48.210 --> 00:25:50.310
and taking children away from families.
00:25:50.310 --> 00:25:53.580
So, and the minute I
walked out that passageway,
00:25:53.580 --> 00:25:58.580
there was this passageway,
and I saw your thing up there.
00:25:59.460 --> 00:26:03.210
It was like, the gods have
sent me this piece of art,
00:26:03.210 --> 00:26:07.620
and it's, what's gonna make
meaning and sense out of,
00:26:07.620 --> 00:26:10.983
the way my heart's feeling
about what's not happening.
00:26:24.180 --> 00:26:26.640
- These are the sketches,
they're still drying.
00:26:26.640 --> 00:26:28.740
- It's very exciting.
00:26:28.740 --> 00:26:32.010
- I spent so much time on the
actual drawings (indistinct)
00:26:32.010 --> 00:26:33.333
This is fire.
00:26:34.590 --> 00:26:37.920
This is fire, there's four
different variants of it.
00:26:37.920 --> 00:26:40.680
You're so used to the body
moving in different ways,
00:26:40.680 --> 00:26:43.650
the body doesn't have to
always be on the ground,
00:26:43.650 --> 00:26:47.730
it can be any way, so when you
did that, that made me think,
00:26:47.730 --> 00:26:48.870
if you turn it in a way,
00:26:48.870 --> 00:26:50.970
it could look like it's moving in the air.
00:26:50.970 --> 00:26:52.220
- And then the thing is,
00:26:52.220 --> 00:26:54.873
is that you kind of dispense with gravity,
00:26:56.040 --> 00:26:57.858
it's wild and wonderful.
00:26:57.858 --> 00:26:58.691
(Linda chuckles)
00:26:58.691 --> 00:27:02.400
I'm so deeply moved, and it's beautiful,
00:27:02.400 --> 00:27:05.070
and the intersection, as you say,
00:27:05.070 --> 00:27:09.480
every now and then in the process of,
00:27:09.480 --> 00:27:12.300
my dropping into you and
you dropping into me,
00:27:12.300 --> 00:27:14.853
is so different for me,
is it different for you?
00:27:15.960 --> 00:27:19.563
And it's very ecstatic for
me, it's very wonderful.
00:27:21.598 --> 00:27:23.253
- I would say,
00:27:27.360 --> 00:27:28.740
I don't think it is different for me,
00:27:28.740 --> 00:27:31.353
I think I just go with it.
00:27:32.880 --> 00:27:35.250
That's why, when I saw you...
00:27:35.250 --> 00:27:37.803
So, when I saw how moved
you were by this it's,
00:27:39.623 --> 00:27:43.323
I wish I was able to feel that too,
00:27:44.940 --> 00:27:49.770
that's why it's so easy for
me to give these pieces away.
00:27:49.770 --> 00:27:50.990
I mean, it's...
00:28:05.010 --> 00:28:08.343
- I'm careful walking
away with them because,
00:28:09.630 --> 00:28:14.630
for me, you're not giving
me a piece, as you say,
00:28:16.650 --> 00:28:19.973
you're giving me a huge hunk of yourself.
00:28:24.780 --> 00:28:27.360
- And I think a lot of it has to do with
00:28:27.360 --> 00:28:29.610
my past and my upbringing,
00:28:29.610 --> 00:28:33.453
because it's so difficult
for me being the artist,
00:28:35.730 --> 00:28:37.855
I know you've been doing
it for so long yourself,
00:28:37.855 --> 00:28:41.460
you've lived through
many different art lines
00:28:41.460 --> 00:28:43.743
and I'm just here starting on mine.
00:28:44.966 --> 00:28:49.740
It's very challenging
having to face reality
00:28:49.740 --> 00:28:52.590
and expectation, especially
when it comes to your family,
00:28:57.210 --> 00:28:59.241
I think that's why for me,
00:28:59.241 --> 00:29:00.996
it's not much of an
emotional thing because,
00:29:00.996 --> 00:29:05.996
I always think of it as, well,
how can I sustain myself?
00:29:06.810 --> 00:29:08.070
But I also need to-
00:29:08.070 --> 00:29:09.540
- Which is a very pragmatic thing.
00:29:09.540 --> 00:29:10.373
- Which is very pragmatic.
00:29:10.373 --> 00:29:13.710
- And part of what you're
saying maybe, check it out,
00:29:13.710 --> 00:29:16.020
you can't allow it to
become an emotional thing
00:29:16.020 --> 00:29:17.011
at this point.
00:29:17.011 --> 00:29:17.844
- Mhm.
00:29:17.844 --> 00:29:21.210
- You can't be, I so hear you.
00:29:21.210 --> 00:29:22.560
- But I'm learning, as they-
00:29:22.560 --> 00:29:25.958
- But then you have me tripping
into your life going...
00:29:25.958 --> 00:29:27.390
(Linda chuckles)
00:29:27.390 --> 00:29:30.210
- And it's so hard for
me to say that because,
00:29:30.210 --> 00:29:33.690
that's always something
that I've held down
00:29:33.690 --> 00:29:35.780
and something that...
00:29:36.838 --> 00:29:40.650
It's just, as a man,
00:29:40.650 --> 00:29:43.620
it's so hard to show yourself
00:29:43.620 --> 00:29:46.860
or put yourself in a way
that seems vulnerable,
00:29:46.860 --> 00:29:48.480
but I shouldn't think of that,
00:29:48.480 --> 00:29:50.940
when I'm with people that I value,
00:29:50.940 --> 00:29:54.633
I should be myself and learn
to express myself in a way
00:29:54.633 --> 00:29:56.730
that I don't think that.
00:29:56.730 --> 00:30:01.360
So, I think this whole process
00:30:02.672 --> 00:30:03.690
to where we are now,
00:30:03.690 --> 00:30:04.770
especially with these drawings,
00:30:04.770 --> 00:30:08.100
has made me think a lot
about myself and you
00:30:08.100 --> 00:30:11.487
and what it is to be artists.
00:30:11.487 --> 00:30:16.487
♪ Peace is a flower ♪
00:30:19.571 --> 00:30:23.321
♪ That grows in the sunshine ♪
00:30:25.010 --> 00:30:30.010
- In the 60s, there were a
bunch of doctors in Los Angeles
00:30:30.240 --> 00:30:35.100
that got together and
they got a old naval ship,
00:30:35.100 --> 00:30:38.640
out of dry dock from the government.
00:30:38.640 --> 00:30:41.460
And they outfitted it
with medical equipment,
00:30:41.460 --> 00:30:45.990
and they asked doctors if they
would serve on these ships
00:30:45.990 --> 00:30:48.750
for two and three months, they
couldn't pay them, et cetera.
00:30:48.750 --> 00:30:53.040
And my dad, who was a doc, agreed to go,
00:30:53.040 --> 00:30:54.900
and he wound up going to,
00:30:54.900 --> 00:30:57.300
I think the first place
that the Hope Ship went to,
00:30:57.300 --> 00:30:58.473
which was Vietnam.
00:30:59.760 --> 00:31:03.030
And he worked on the ship and traveled,
00:31:03.030 --> 00:31:07.170
and then, the next thing
we know is that the ship,
00:31:07.170 --> 00:31:10.470
got a message from the
United States government
00:31:10.470 --> 00:31:13.173
that they needed to get the
hell out of there because,
00:31:14.220 --> 00:31:16.383
United States was at war with Vietnam.
00:31:18.780 --> 00:31:20.640
- [Reporter] People, lorries and cars,
00:31:20.640 --> 00:31:24.210
all chasing one American
evacuation come by after the other.
00:31:24.210 --> 00:31:25.950
But the embassy gates were closed,
00:31:25.950 --> 00:31:28.980
we had to fight and claw our way up,
00:31:28.980 --> 00:31:31.920
one by one, they came in
landing on an improvised pad
00:31:31.920 --> 00:31:33.990
in the car park, as the lucky people,
00:31:33.990 --> 00:31:37.500
ran 30 at a time to their
transport to safety.
00:31:37.500 --> 00:31:39.660
In the first six hours of Tuesday,
00:31:39.660 --> 00:31:43.980
over 1,500 people were
airlifted out this way,
00:31:43.980 --> 00:31:46.590
almost as many more were
still waiting their turn.
00:31:46.590 --> 00:31:50.640
- My family were refugees
from Vietnam war,
00:31:50.640 --> 00:31:55.640
my mom's family lived on
an island called Fukuoka.
00:31:55.980 --> 00:31:59.610
When the Fall of Saigon happened,
they all pulled together,
00:31:59.610 --> 00:32:00.870
hopped on the neighbor's boat,
00:32:00.870 --> 00:32:04.710
and they went out in the night to,
00:32:04.710 --> 00:32:06.120
I think it was an aircraft carrier.
00:32:06.120 --> 00:32:09.480
My grandma had sewn a pocket
in each one of their pants
00:32:09.480 --> 00:32:12.540
with enough money to get them through.
00:32:12.540 --> 00:32:14.040
So in case they got lost,
00:32:14.040 --> 00:32:16.330
they would have to pull the money out,
00:32:16.330 --> 00:32:19.320
food, whatever it is.
00:32:19.320 --> 00:32:22.380
So, in the middle of
the night, they escaped,
00:32:22.380 --> 00:32:25.800
my dad was there with my uncle,
00:32:25.800 --> 00:32:27.840
and my dad had hopped over the wall.
00:32:27.840 --> 00:32:29.850
My uncle couldn't jump over in time,
00:32:29.850 --> 00:32:33.090
when they stopped the flow
of people jumping over,
00:32:33.090 --> 00:32:34.950
and then, he luckily got on a helicopter,
00:32:34.950 --> 00:32:38.823
and he landed on the aircraft
carrier, came to Pennsylvania.
00:32:39.930 --> 00:32:42.150
Lot of people that are
Vietnamese and are my age,
00:32:42.150 --> 00:32:43.860
we don't think about that,
00:32:43.860 --> 00:32:47.130
but again, we don't wanna
think about that because,
00:32:47.130 --> 00:32:50.203
now that we have this opportunity,
00:32:50.203 --> 00:32:53.559
to do what we want and
choose a life that we want.
00:32:53.559 --> 00:32:55.470
It's kinda hard to look back,
00:32:55.470 --> 00:32:58.620
when sometimes it's good to look back,
00:32:58.620 --> 00:33:00.090
to see where you've come from
00:33:00.090 --> 00:33:02.960
and have that respect for your roots.
00:33:03.882 --> 00:33:06.465
(upbeat music)
00:33:09.202 --> 00:33:13.119
(speaking in foreign language)
00:33:19.542 --> 00:33:21.682
- So this goes for what?
00:33:21.682 --> 00:33:24.099
(indistinct)
00:33:25.662 --> 00:33:26.495
- Yeah.
00:33:26.495 --> 00:33:28.852
- Yeah (speaking in foreign language)
00:33:28.852 --> 00:33:31.435
(upbeat music)
00:34:04.112 --> 00:34:07.140
- [Linda] Is there a moment
that's been remarkable
00:34:07.140 --> 00:34:09.030
that you think about?
00:34:09.030 --> 00:34:12.120
- Monday, I went to a Vietnam war museum
00:34:12.120 --> 00:34:14.997
and I've been to many museums in the U.S,
00:34:14.997 --> 00:34:18.120
but this one in particular
at Ho Chi Minh City,
00:34:18.120 --> 00:34:19.260
it was very intense,
00:34:19.260 --> 00:34:23.070
it had images of people who
have, not only lost their life,
00:34:23.070 --> 00:34:25.773
but how their life have
been affected by the war.
00:34:27.122 --> 00:34:27.955
And this whole time,
00:34:27.955 --> 00:34:32.250
I've always wanted to make
art that honors that war.
00:34:32.250 --> 00:34:33.423
I started to realize,
00:34:34.350 --> 00:34:37.860
maybe I don't wanna
document the war as much
00:34:37.860 --> 00:34:40.350
as the culture, I've
been eating like a local,
00:34:40.350 --> 00:34:43.080
I've been going to local shops
00:34:43.080 --> 00:34:46.440
and seeing how beautiful
this country is now.
00:34:46.440 --> 00:34:50.220
I think that story is much
more worth telling than the war
00:34:50.220 --> 00:34:52.290
that had brought me over to the states.
00:34:52.290 --> 00:34:54.330
I think getting that
perspective of coming here
00:34:54.330 --> 00:34:57.503
and seeing that, mostly youth
here want to focus on the now
00:34:57.503 --> 00:34:58.710
and not the past,
00:34:58.710 --> 00:35:02.174
that really made me open
my eyes in a different way
00:35:02.174 --> 00:35:03.557
than before.
00:35:03.557 --> 00:35:05.220
It's a really interesting place,
00:35:05.220 --> 00:35:09.720
it's so interesting to see,
a life I could have had here,
00:35:09.720 --> 00:35:11.551
if things had turned a different way.
00:35:11.551 --> 00:35:12.741
(cars honking)
00:35:12.741 --> 00:35:15.324
(upbeat music)
00:35:46.901 --> 00:35:50.340
So a lot of times when I work,
for some reason, so messy,
00:35:50.340 --> 00:35:52.990
but everything else is
organized, I don't understand,
00:35:54.191 --> 00:35:56.858
I do not understand that at all.
00:36:01.211 --> 00:36:03.628
(soft music)
00:36:06.683 --> 00:36:08.073
This is is water.
00:36:09.240 --> 00:36:11.283
And I like earth better 'cause,
00:36:12.431 --> 00:36:14.880
it was so strong to step pose,
00:36:14.880 --> 00:36:19.233
it almost looked like immortal.
00:36:28.607 --> 00:36:30.690
I don't think I decided
to be a street artist,
00:36:30.690 --> 00:36:32.133
I think it happened.
00:36:34.815 --> 00:36:37.890
I never wanted to go out and put up art
00:36:37.890 --> 00:36:40.910
'cause I always feel like there's...
00:36:48.833 --> 00:36:51.150
I don't know, to be honest, I don't know,
00:36:51.150 --> 00:36:52.420
I don't know why I do it.
00:36:53.460 --> 00:36:56.743
I really never had done this with anyone,
00:36:56.743 --> 00:37:00.543
I never had let them in the
process this way, I mean,
00:37:01.590 --> 00:37:05.103
it's nice, it's something that
makes you think differently,
00:37:06.363 --> 00:37:10.500
and also at the same time
you have this ability to,
00:37:10.500 --> 00:37:13.833
use the image that you'd
never think you'd use.
00:37:15.300 --> 00:37:20.010
I always thought I'd be
using images of war, people,
00:37:20.010 --> 00:37:21.390
refugees, stuff like that,
00:37:21.390 --> 00:37:24.873
but there's something new about this,
00:37:25.933 --> 00:37:27.083
something fresh I like.
00:37:29.683 --> 00:37:31.124
I don't wanna be sad all the time.
00:37:31.124 --> 00:37:32.389
(Inksap chuckles)
00:37:32.389 --> 00:37:34.806
(rock music)
00:37:37.345 --> 00:37:39.012
This are old school.
00:37:42.053 --> 00:37:46.423
♪ Everyones talking i cant hear a thing ♪
00:37:46.423 --> 00:37:51.256
♪ I'm on the moon why
is the sky so green ♪
00:37:59.282 --> 00:38:01.513
♪ I think I'm walking up the stairs ♪
00:38:01.513 --> 00:38:03.733
♪ While I'm sitting
right down in my chair ♪
00:38:03.733 --> 00:38:06.133
♪ I feel so light but I'm not ♪
00:38:06.133 --> 00:38:08.213
♪ Everything's turning cold but it's hot ♪
00:38:08.213 --> 00:38:09.046
♪ Or am I ♪
00:38:09.046 --> 00:38:10.943
♪ Freakin' out Freakin' out Freakin' out ♪
00:38:10.943 --> 00:38:13.103
♪ Freakin' out Freakin' out Freakin' out ♪
00:38:13.103 --> 00:38:15.433
♪ Freakin' out Freakin' out Freakin' out ♪
00:38:15.433 --> 00:38:20.350
♪ Freakin' out Freakin'''
out Freakin' out ♪
00:38:35.743 --> 00:38:36.576
♪ Or am I ♪
00:38:36.576 --> 00:38:38.503
♪ Freakin' out Freakin' out Freakin' out ♪
00:38:38.503 --> 00:38:40.623
♪ Freakin' out Freakin' out Freakin' out ♪
00:38:40.623 --> 00:38:42.983
♪ Freakin' out Freakin' out Freakin' out ♪
00:38:42.983 --> 00:38:46.650
♪ Freakin' out Freakin' out ♪
00:38:48.260 --> 00:38:51.540
- So the lowest would be a
tag and there's throw ups,
00:38:51.540 --> 00:38:55.140
which is the bubble letters
and then pieces and murals,
00:38:55.140 --> 00:38:58.680
and mine, something like a
street art piece like this,
00:38:58.680 --> 00:39:02.190
would sit in between somewhere of a,
00:39:02.190 --> 00:39:05.760
below a mural, of course and
between a piece and a throw up.
00:39:05.760 --> 00:39:09.420
At the end of the day, the real goal is,
00:39:09.420 --> 00:39:10.647
get up and you stay up
00:39:10.647 --> 00:39:12.093
and that's what we're gonna do,
00:39:12.093 --> 00:39:12.990
we're gonna get up and stay up.
00:39:12.990 --> 00:39:15.240
And if someone takes us down,
00:39:15.240 --> 00:39:18.120
then we go back out and we stay up.
00:39:18.120 --> 00:39:19.513
All right, you ready to pull some screens?
00:39:19.513 --> 00:39:20.560
- I am.
00:39:20.560 --> 00:39:21.393
- Let's do it.
00:39:21.393 --> 00:39:22.470
I'm gonna do the first pull.
00:39:22.470 --> 00:39:24.390
- Okay.
- So you can watch me,
00:39:24.390 --> 00:39:27.303
but you wanna do just one easy pull,
00:39:31.952 --> 00:39:32.785
and that's it.
00:39:34.560 --> 00:39:38.469
So, you could go ahead and
pull, it doesn't fight,
00:39:38.469 --> 00:39:39.302
it just...
00:39:39.302 --> 00:39:40.135
- I know, but look how
even you made it, okay.
00:39:45.153 --> 00:39:46.019
- Perfect.
00:39:46.019 --> 00:39:46.951
- It's not perfect,
00:39:46.951 --> 00:39:47.784
(Linda chuckles)
00:39:47.784 --> 00:39:48.960
that is just wavy.
00:39:48.960 --> 00:39:50.610
- No, no, no, that's perfect.
00:39:50.610 --> 00:39:51.443
- Okay.
00:39:54.000 --> 00:39:57.300
- Perfect, that's it, that's it, Linda,
00:39:57.300 --> 00:39:58.350
that's awesome.
00:39:58.350 --> 00:40:00.123
Now, I'm gonna pull this last part.
00:40:04.500 --> 00:40:05.760
There we go.
00:40:05.760 --> 00:40:06.593
- Wow.
00:40:06.593 --> 00:40:07.426
- That's it.
00:40:11.190 --> 00:40:12.063
- Magic.
00:40:14.940 --> 00:40:15.903
- That's so cool.
00:40:17.730 --> 00:40:19.623
Right here, is perfect.
00:40:25.393 --> 00:40:27.450
That's it, that's it, look at that.
00:40:27.450 --> 00:40:28.283
- Wow.
00:40:28.283 --> 00:40:31.460
- I've been so worried about these images
00:40:31.460 --> 00:40:32.297
and making them-
00:40:32.297 --> 00:40:33.130
- Why?
00:40:33.130 --> 00:40:36.030
- 'Cause I want them to
be representation of you,
00:40:36.030 --> 00:40:41.030
and now I see them,
here, printed in living,
00:40:41.105 --> 00:40:42.480
I see you in them.
00:40:42.480 --> 00:40:45.090
But I've just been so worried
these past couple days,
00:40:45.090 --> 00:40:48.570
leading up to this, to us,
coming together and pulling it.
00:40:48.570 --> 00:40:50.130
- Don't worry.
00:40:50.130 --> 00:40:52.401
- This is the most
amazing thing I've done.
00:40:52.401 --> 00:40:54.984
(upbeat music)
00:40:59.277 --> 00:41:01.020
And I never draw self portraits,
00:41:01.020 --> 00:41:03.210
but I don't know what
I was doing this day.
00:41:03.210 --> 00:41:08.013
- I wish we had more of
you and Linda together.
00:41:09.060 --> 00:41:10.350
- I wish too, but-
00:41:10.350 --> 00:41:11.280
- We will.
00:41:11.280 --> 00:41:12.582
- Exactly, exactly.
00:41:12.582 --> 00:41:15.165
(upbeat music)
00:41:20.190 --> 00:41:21.023
All right.
00:41:27.180 --> 00:41:29.550
How do we dominate the streets?
00:41:29.550 --> 00:41:34.550
This, by putting big,
excuse me, fuck off posters.
00:41:36.840 --> 00:41:41.700
- It's so interesting,
because, help me out,
00:41:41.700 --> 00:41:44.070
what's fuck off about this?
00:41:44.070 --> 00:41:49.070
- It's so big, and it's so much
energy, so much good energy,
00:41:49.440 --> 00:41:52.320
it's so in your face that you have to...
00:41:52.320 --> 00:41:54.360
You won't ignore it.
00:41:54.360 --> 00:41:57.210
So, Linda, I will show you my space again,
00:41:57.210 --> 00:41:59.220
I didn't even show you my singing bowl,
00:41:59.220 --> 00:42:00.360
- No, you didn't.
00:42:00.360 --> 00:42:02.613
- So, I guess we'll both hop in,
00:42:04.723 --> 00:42:05.556
no, I don't need to.
00:42:05.556 --> 00:42:10.169
- I don't know if I can hop
in from there, but we'll see,
00:42:10.169 --> 00:42:13.336
Linda, doesn't know if she can hop in.
00:42:16.184 --> 00:42:18.684
(bowl chimes)
00:42:34.747 --> 00:42:36.723
- I love this little thing.
00:42:40.830 --> 00:42:44.253
Thank you, Linda, for
everything that you've given me,
00:42:45.300 --> 00:42:49.770
your time and your energy,
especially your energy,
00:42:49.770 --> 00:42:54.000
'cause there's not enough
of that in my life.
00:42:54.000 --> 00:42:55.980
- You say you're not emotional
00:42:55.980 --> 00:42:58.533
'cause you weren't allowed to be.
00:42:59.430 --> 00:43:01.180
And I'm very emotional, around you,
00:43:02.460 --> 00:43:06.720
especially like I said
earlier, I'm not sad,
00:43:06.720 --> 00:43:08.433
my tears aren't about sad.
00:43:11.250 --> 00:43:13.579
It's because I'm so deeply moved.
00:43:13.579 --> 00:43:16.162
(somber music)
00:43:17.670 --> 00:43:18.930
You, us.
00:43:18.930 --> 00:43:21.000
- Us, yes.
00:43:21.000 --> 00:43:22.531
- So back at you.
00:43:22.531 --> 00:43:25.114
(somber music)
00:43:28.388 --> 00:43:30.150
(Linda chuckles)
00:43:30.150 --> 00:43:32.500
For me to think of myself
as a fuck off poster-
00:43:34.671 --> 00:43:35.504
- Yeah.
00:43:35.504 --> 00:43:36.337
- It's just wonderful.
00:43:36.337 --> 00:43:37.557
- Yeah, you're a fuck off poster now.
00:43:37.557 --> 00:43:40.020
(Linda chuckles)
00:43:40.020 --> 00:43:43.893
So, this is our pail, obviously,
00:43:44.880 --> 00:43:46.140
this is where the glue would go in,
00:43:46.140 --> 00:43:49.530
the glues in the bucket outside
or in the back of my truck.
00:43:49.530 --> 00:43:50.823
We just pour in-
00:43:50.823 --> 00:43:52.410
- Into the back of the truck.
00:43:52.410 --> 00:43:54.210
- Yeah, it's in the Home Depot bucket,
00:43:54.210 --> 00:43:56.643
so we just pour in as much as we need.
00:43:57.690 --> 00:43:59.100
So there's that.
00:43:59.100 --> 00:44:01.683
- If I do my bare hands,
will the glue come off?
00:44:03.030 --> 00:44:03.863
- The glue will come off.
00:44:03.863 --> 00:44:04.770
- 'Cause I have to touch
people tomorrow in the studio
00:44:04.770 --> 00:44:06.063
as I help them.
00:44:06.063 --> 00:44:09.717
- Yes, even like these pants,
I wear every time I go out
00:44:09.717 --> 00:44:11.629
and the glue comes off every time.
00:44:11.629 --> 00:44:12.462
- Mhm.
00:44:13.355 --> 00:44:15.690
- This is (beeping)
00:44:15.690 --> 00:44:16.980
- Got it.
00:44:16.980 --> 00:44:19.950
- You have to cut that out
because, that's a secret,
00:44:19.950 --> 00:44:21.000
that's a secret,
00:44:21.000 --> 00:44:24.450
The secret is, we're using Elmer's glue.
00:44:24.450 --> 00:44:25.890
So you can see our spot,
00:44:25.890 --> 00:44:27.960
it's right there on that white wall.
00:44:27.960 --> 00:44:30.960
But we are here today to
give it some new energy,
00:44:30.960 --> 00:44:33.990
some good vibes.
00:44:33.990 --> 00:44:35.053
All right, that's it.
00:44:36.037 --> 00:44:37.620
- Does this one need a pole?
00:44:37.620 --> 00:44:38.453
Yes.
00:44:38.453 --> 00:44:39.286
- Yes, we do.
00:44:42.939 --> 00:44:45.772
(dramatic music)
00:44:52.650 --> 00:44:54.510
- Okay, and how much it's the first time?
00:44:54.510 --> 00:44:55.442
- That's it.
00:44:55.442 --> 00:44:56.275
- You should just leave it sloppy?
00:44:56.275 --> 00:44:57.990
- Yeah, yeah, leave it sloppy, the better.
00:44:57.990 --> 00:44:59.070
- Okay, yes?
00:44:59.070 --> 00:44:59.943
- Yep, perfect.
00:45:04.560 --> 00:45:06.960
- Do we do this fast or meticulously?
00:45:06.960 --> 00:45:08.433
- Meticulous and fast.
00:45:12.510 --> 00:45:13.620
Go.
00:45:13.620 --> 00:45:15.749
- Wait, you told me that
I wanna tuck this in.
00:45:15.749 --> 00:45:16.582
- Yeah.
- First.
00:45:16.582 --> 00:45:17.415
- Let's tuck it in.
00:45:17.415 --> 00:45:19.171
- I remember, right?
- Yep.
00:45:19.171 --> 00:45:20.004
- Okay.
00:45:21.349 --> 00:45:22.182
- Let me get it.
00:45:22.182 --> 00:45:23.015
- Okay.
00:45:33.639 --> 00:45:35.599
- That's it, it is on.
00:45:35.599 --> 00:45:36.498
- You think it is?
00:45:36.498 --> 00:45:37.709
- Yeah, that's perfect.
00:45:37.709 --> 00:45:38.849
- I will make sure it stays on.
00:45:38.849 --> 00:45:40.919
- Stays on, yes.
00:45:40.919 --> 00:45:42.509
All right, I'm gonna get
the other one set up.
00:45:42.509 --> 00:45:44.070
- Okay.
00:45:44.070 --> 00:45:46.053
- Linda, this is perfect.
00:45:47.539 --> 00:45:48.900
- Okay.
00:45:48.900 --> 00:45:50.850
Wow, that one's a double image.
00:45:50.850 --> 00:45:51.870
- That is.
00:45:51.870 --> 00:45:53.043
- That's beautiful.
00:45:55.110 --> 00:45:55.943
- All right.
00:46:00.509 --> 00:46:01.890
- Hey, guys.
00:46:01.890 --> 00:46:02.723
- Yeah.
00:46:02.723 --> 00:46:04.710
- That megaphone here
coming up is the cops.
00:46:04.710 --> 00:46:05.543
- Yeah.
00:46:05.543 --> 00:46:06.780
- Yeah, we're getting outta here.
00:46:06.780 --> 00:46:07.613
- Yeah, it's all good.
00:46:07.613 --> 00:46:08.612
- Thank you.
00:46:08.612 --> 00:46:09.445
- Have a good one, have a good night.
00:46:09.445 --> 00:46:11.310
- Grab your things, I really mean it.
00:46:11.310 --> 00:46:12.339
Thanks a lot.
00:46:12.339 --> 00:46:13.530
- Sure.
00:46:13.530 --> 00:46:14.363
- Boy.
00:46:16.729 --> 00:46:17.653
Let's go.
00:46:17.653 --> 00:46:19.620
- How do you feel?
00:46:19.620 --> 00:46:20.453
- Terrific.
00:46:20.453 --> 00:46:21.286
- Yeah?
00:46:21.286 --> 00:46:22.319
- Yeah, I'm good at this.
00:46:22.319 --> 00:46:24.069
(Linda chuckles)
00:46:24.069 --> 00:46:25.832
- 'Cause there's change a lot hung, Linda.
00:46:25.832 --> 00:46:26.665
- Mhm.
00:46:32.460 --> 00:46:34.470
Do you know that, once upon
a time, a long time ago,
00:46:34.470 --> 00:46:35.490
there was a kiddie park.
00:46:35.490 --> 00:46:36.960
- That was a kiddie park?
00:46:36.960 --> 00:46:39.150
- On the corner, with little ponies
00:46:39.150 --> 00:46:40.560
that you could ride around in a circle.
00:46:40.560 --> 00:46:41.700
- Really?
00:46:41.700 --> 00:46:42.533
- Yes, indeed.
00:46:42.533 --> 00:46:44.400
- Well, that must explains that
circular shape right there.
00:46:44.400 --> 00:46:45.663
- I know, maybe.
00:46:48.000 --> 00:46:49.704
- a kiddie park, wow!
00:46:49.704 --> 00:46:51.514
- Yeah, with a little tiny ferris wheel.
00:46:51.514 --> 00:46:52.450
- Wow.
00:46:52.450 --> 00:46:54.060
- Yeah.
- That's amazing.
00:46:54.060 --> 00:46:55.740
- Okay, now I see the remnants.
00:46:55.740 --> 00:46:56.573
- Yep.
00:46:58.050 --> 00:46:59.550
Yep, my old poster.
00:46:59.550 --> 00:47:01.230
- Take it, the whole thing.
00:47:01.230 --> 00:47:04.290
- Oh, oh, okay.
00:47:04.290 --> 00:47:06.140
All right, I like where you're going.
00:47:07.349 --> 00:47:08.220
Wow!
00:47:08.220 --> 00:47:09.053
- It's history.
00:47:09.053 --> 00:47:10.689
- Are you serious?
00:47:10.689 --> 00:47:12.963
Man, that's super good.
00:47:20.040 --> 00:47:22.710
- Now, this one is very
strategically placed.
00:47:22.710 --> 00:47:24.541
- It is, this is us.
00:47:24.541 --> 00:47:27.261
(Linda chuckles)
00:47:27.261 --> 00:47:28.678
This is exciting.
00:47:43.691 --> 00:47:46.322
- Okay, okay.
00:47:46.322 --> 00:47:49.072
(dramatic music)
00:47:55.151 --> 00:47:56.068
This thing.
00:47:57.541 --> 00:47:59.571
- I'll be right here, I'll catch you.
00:47:59.571 --> 00:48:02.404
(dramatic music)
00:48:15.071 --> 00:48:18.154
Crap, we went the wrong freaking way.
00:48:24.116 --> 00:48:24.949
- You all right?
00:48:24.949 --> 00:48:25.782
- Yeah.
00:48:25.782 --> 00:48:26.615
- Don't care about me.
00:48:26.615 --> 00:48:28.198
- I won't, I won't.
00:48:37.819 --> 00:48:38.652
- You want my hand?
00:48:38.652 --> 00:48:40.569
- No, I should be good.
00:48:43.180 --> 00:48:44.530
- That's the police.
00:48:44.530 --> 00:48:45.370
- Yep.
00:48:45.370 --> 00:48:47.140
- Careful of the barbed wire, Ink.
00:48:47.140 --> 00:48:47.973
- Yeah.
00:48:47.973 --> 00:48:50.253
- You don't need it on
your pants and face.
00:48:52.350 --> 00:48:54.660
- That's what I call, owning the streets.
00:48:54.660 --> 00:48:56.670
The thing about street art
that's different from graffiti,
00:48:56.670 --> 00:48:59.460
is that there is usually
a thought behind it
00:48:59.460 --> 00:49:00.810
or a process behind it.
00:49:00.810 --> 00:49:02.730
And then it's not that graffiti
doesn't have a process,
00:49:02.730 --> 00:49:06.600
but I mean, graffiti is more
about taking over territory
00:49:06.600 --> 00:49:08.010
and putting your name out there.
00:49:08.010 --> 00:49:09.090
And that's the same as street art,
00:49:09.090 --> 00:49:12.810
but there's also that witty,
thoughtful aspect to it
00:49:12.810 --> 00:49:15.243
that separates it from graffiti.
00:49:19.440 --> 00:49:20.890
Sometimes I get so good where,
00:49:20.890 --> 00:49:24.060
I know the sound of a
police car sounds like,
00:49:24.060 --> 00:49:27.273
and you can tell this area
is so friendly around here
00:49:27.273 --> 00:49:28.710
that they don't mind.
00:49:28.710 --> 00:49:30.900
- Comparatively, absolutely.
00:49:30.900 --> 00:49:31.733
You ready?
00:49:31.733 --> 00:49:32.566
- Yeah.
00:49:34.500 --> 00:49:35.550
We'll switch, I'm gonna switch with you.
00:49:35.550 --> 00:49:36.383
- All right.
00:49:48.570 --> 00:49:50.700
Uh-oh, Ink, we're in trouble.
00:49:50.700 --> 00:49:51.623
- That's okay.
00:49:51.623 --> 00:49:52.456
- Okay.
00:49:52.456 --> 00:49:53.289
- [Police] How's it going?
00:49:53.289 --> 00:49:54.122
- Yeah, how's it going?
00:49:54.122 --> 00:49:55.560
- [Police] You can't be
doing wheatpasting here.
00:49:55.560 --> 00:49:56.393
- No?
00:49:56.393 --> 00:49:57.226
- [Police] It's considered vandalism here.
00:49:57.226 --> 00:49:58.313
- But all the other people
put it on the building,
00:49:59.353 --> 00:50:01.553
we see all the other
people put on the building,
00:50:01.553 --> 00:50:02.386
all the time.
00:50:02.386 --> 00:50:04.488
- [Police] Yeah, that's
exactly why we painted over.
00:50:04.488 --> 00:50:05.321
- Man.
00:50:05.321 --> 00:50:06.481
- It was you who painted over?
00:50:06.481 --> 00:50:07.980
- [Police] Yeah, clean
team paints over it.
00:50:07.980 --> 00:50:08.813
- Man.
00:50:08.813 --> 00:50:09.646
- [Police] Yeah, sorry about that.
00:50:09.646 --> 00:50:10.479
- So we can't finish this up?
00:50:10.479 --> 00:50:11.540
- [Police] No, man, you gotta stop.
00:50:11.540 --> 00:50:14.207
- All right, we will stop.
- Man.
00:50:16.614 --> 00:50:19.140
(Linda chuckles)
00:50:19.140 --> 00:50:21.510
- They're contractors so that they're not-
00:50:21.510 --> 00:50:23.070
- I deal with them all the time.
00:50:23.070 --> 00:50:23.987
- Do you?
00:50:23.987 --> 00:50:24.820
- Yeah.
00:50:24.820 --> 00:50:25.653
- All right.
00:50:25.653 --> 00:50:28.500
So, the next question
is, what do you wanna do?
00:50:28.500 --> 00:50:29.910
- We keep going, that's what we do.
00:50:29.910 --> 00:50:30.743
- Okay.
00:50:30.743 --> 00:50:32.350
- We'll just kinda avoid this area.
00:50:34.620 --> 00:50:35.460
- Are they following us?
00:50:35.460 --> 00:50:36.330
- Yeah, but we'll park right here.
00:50:36.330 --> 00:50:37.350
- They are?
00:50:37.350 --> 00:50:38.183
- We'll park right here.
00:50:38.183 --> 00:50:39.340
- But I wouldn't park, keep going.
00:50:39.340 --> 00:50:40.173
- No?
00:50:40.173 --> 00:50:41.006
- No, if they're following you.
00:50:41.006 --> 00:50:41.880
- Well-
00:50:41.880 --> 00:50:44.670
- Yeah, they wanna huddle
you out of the district,
00:50:44.670 --> 00:50:46.290
they are right behind us, right?
00:50:46.290 --> 00:50:47.123
- Yeah.
00:50:47.123 --> 00:50:48.281
- Yes they are.
00:50:48.281 --> 00:50:49.770
Okay, we have to have a strategy.
00:50:49.770 --> 00:50:51.270
This is a little like the movies,
00:50:51.270 --> 00:50:52.846
you've gotta lose them, Ink.
00:50:52.846 --> 00:50:56.070
- Yeah.
(Linda chuckles)
00:50:56.070 --> 00:50:57.420
- Ink, you gotta lose them.
00:50:58.380 --> 00:51:00.289
Let's see if there are really tailing us,
00:51:00.289 --> 00:51:01.122
pretend like it's a fueling turn.
00:51:02.649 --> 00:51:05.220
- They know what the truck looks like.
00:51:05.220 --> 00:51:06.750
- He could have turned left.
00:51:06.750 --> 00:51:07.890
- Yeah.
- Many times,
00:51:07.890 --> 00:51:09.360
he's just waiting.
00:51:09.360 --> 00:51:11.610
Well, he's just not making a move.
00:51:11.610 --> 00:51:12.900
- Nope.
00:51:12.900 --> 00:51:14.752
- Do you suppose they have binoculars too?
00:51:14.752 --> 00:51:16.141
(Linda chuckles)
00:51:16.141 --> 00:51:20.130
What is it called, when
people are hunting?
00:51:20.130 --> 00:51:21.300
I'm a good decoy.
00:51:21.300 --> 00:51:22.440
- You're a good decoy, yes,
00:51:22.440 --> 00:51:23.579
you're a great decoy.
00:51:23.579 --> 00:51:26.412
(dramatic music)
00:51:33.073 --> 00:51:36.430
- You said you renovated and then-
00:51:36.430 --> 00:51:38.228
- Let's go there, let's go there.
00:51:38.228 --> 00:51:39.061
- Okay.
00:51:39.061 --> 00:51:39.894
- I'll tell you when.
00:51:41.460 --> 00:51:42.600
Are you ready, Linda?
00:51:42.600 --> 00:51:43.433
- Ready.
00:51:43.433 --> 00:51:44.523
- 3, 2, 1.
00:51:46.350 --> 00:51:47.183
- Ready?
00:51:47.183 --> 00:51:48.016
- Yeah.
00:51:48.016 --> 00:51:49.020
- Did you count?
00:51:49.020 --> 00:51:52.214
You already dropped it,
I couldn't hear you.
00:51:52.214 --> 00:51:55.047
(dramatic music)
00:52:02.224 --> 00:52:04.380
- You know, just this
little section alone,
00:52:04.380 --> 00:52:05.213
is really interesting.
00:52:05.213 --> 00:52:06.207
- Yeah, it really is.
00:52:08.253 --> 00:52:09.190
- So cool.
00:52:09.190 --> 00:52:10.023
(dramatic music)
00:52:10.023 --> 00:52:11.639
That's us, Linda.
00:52:11.639 --> 00:52:12.578
- Us.
00:52:12.578 --> 00:52:13.411
- That's us.
00:52:13.411 --> 00:52:15.141
(Linda chuckles)
That's us.
00:52:15.141 --> 00:52:17.474
- The last one of the night.
00:52:23.416 --> 00:52:26.140
Okay, this is the one that...
00:52:26.140 --> 00:52:27.807
Take it 'cause of...
00:52:30.218 --> 00:52:31.140
You're gonna do your shoes?
00:52:31.140 --> 00:52:32.130
Say, yes.
00:52:32.130 --> 00:52:34.424
- Yeah, yes, yes, yes.
00:52:34.424 --> 00:52:37.304
(sirens wailing)
00:52:37.304 --> 00:52:39.104
We got out in the nick of time, wow.
00:52:40.110 --> 00:52:42.347
We really did get out in the nick of time.
00:52:42.347 --> 00:52:45.097
(sirens wailing)
00:52:46.230 --> 00:52:47.400
It's quite real.
00:52:47.400 --> 00:52:48.600
- Yes, it is quite real.
00:52:50.514 --> 00:52:54.450
I'll take a peep in the window
00:52:54.450 --> 00:52:55.300
- Oh my.
- Jeez.
00:52:58.140 --> 00:52:59.700
- Some sort of fire.
- Yeah.
00:52:59.700 --> 00:53:00.810
- But that's why I want my own place
00:53:00.810 --> 00:53:02.580
'cause I wanted a place where I can-
00:53:02.580 --> 00:53:03.540
- Make messes.
00:53:03.540 --> 00:53:06.180
- I can make a mess, chuck on the floor.
00:53:06.180 --> 00:53:07.440
- Keep going.
00:53:07.440 --> 00:53:08.273
- Yeah.
00:53:08.273 --> 00:53:09.993
Yell at my stuff.
00:53:09.993 --> 00:53:10.826
(Linda chuckles)
00:53:10.826 --> 00:53:11.940
Be angry.
- Yell at your stuff?
00:53:11.940 --> 00:53:16.110
- Yeah, yell at the gear,
cuss it out, go home, sleep,
00:53:16.110 --> 00:53:19.482
come back and then apologize
and make love to the art.
00:53:19.482 --> 00:53:20.315
(Linda chuckles)
00:53:20.315 --> 00:53:21.870
- Apologize to your own art?
00:53:21.870 --> 00:53:23.194
- And make love to it again.
00:53:23.194 --> 00:53:25.014
(Linda chuckles)
00:53:25.014 --> 00:53:26.514
- Dude, I love it.
00:53:28.530 --> 00:53:33.060
It's totally surreal being on
top of commercial buildings
00:53:33.060 --> 00:53:36.360
that have big billboards on them,
00:53:36.360 --> 00:53:39.960
that you and I see, from our car
00:53:39.960 --> 00:53:41.400
and are made to see from the car.
00:53:41.400 --> 00:53:44.700
All of a sudden, it's like
"Alice in Wonderland",
00:53:44.700 --> 00:53:46.200
and I said to him, you know,
00:53:46.200 --> 00:53:48.960
what you do is actually performance art,
00:53:48.960 --> 00:53:53.820
it has actually choreographic,
techniques attached to it,
00:53:53.820 --> 00:53:55.290
pathways.
00:53:55.290 --> 00:53:58.680
There is body movement attached to it,
00:53:58.680 --> 00:54:03.120
it is improvisational, you have audiences.
00:54:03.120 --> 00:54:07.800
It reminds me of, in the
1960s, when I was in New York,
00:54:07.800 --> 00:54:10.650
I was in Twyla Tharp's pickup company.
00:54:10.650 --> 00:54:14.370
We learned the choreography
inside the studio,
00:54:14.370 --> 00:54:15.570
and then, we went out,
00:54:15.570 --> 00:54:19.500
she took us, everybody out
into Central Park, on the lawn
00:54:19.500 --> 00:54:22.110
and placed something like 25 dancers,
00:54:22.110 --> 00:54:24.480
just in the middle of Central Park,
00:54:24.480 --> 00:54:25.860
to do what they were gonna do.
00:54:25.860 --> 00:54:27.510
And there was no beginning to end,
00:54:27.510 --> 00:54:31.050
and you just started, it was fascinating.
00:54:31.050 --> 00:54:32.700
Some of the people in Central Park,
00:54:32.700 --> 00:54:36.210
the audience would walk
right through the dance,
00:54:36.210 --> 00:54:39.750
other people, frankly
just didn't give a damn,
00:54:39.750 --> 00:54:41.220
they kept going.
00:54:41.220 --> 00:54:45.750
The thing that's very similar
to dance and movement,
00:54:45.750 --> 00:54:48.180
and to what Ink does on the streets,
00:54:48.180 --> 00:54:50.223
is that both are really ephemeral.
00:54:51.150 --> 00:54:54.450
I'm interested because, this is about art,
00:54:54.450 --> 00:54:57.930
that is egalitarian.
00:54:57.930 --> 00:54:59.940
It's art that is not in a museum,
00:54:59.940 --> 00:55:01.230
where you have to pay a fee,
00:55:01.230 --> 00:55:05.040
it is art that is out there for everybody,
00:55:05.040 --> 00:55:07.740
and that everybody is
gonna pay attention to it
00:55:07.740 --> 00:55:10.683
in the way that they pay attention to it.
00:55:11.580 --> 00:55:14.550
- Ho, ho, ho, ho, ho,
I'm going the wrong way,
00:55:14.550 --> 00:55:16.353
I just passed Beverly, fuck.
00:55:18.280 --> 00:55:21.584
Yeah, I see those,
there's people in there,
00:55:21.584 --> 00:55:24.390
it's probably like the
same dudes, but again,
00:55:24.390 --> 00:55:25.590
yeah, and the I's there.
00:55:26.850 --> 00:55:29.730
See, we can enter from the far side,
00:55:29.730 --> 00:55:30.933
which is in the dark.
00:55:32.580 --> 00:55:33.903
It's okay, we'll get this.
00:55:39.390 --> 00:55:41.140
Don't I really know my gut feeling?
00:55:42.810 --> 00:55:44.613
My gut feeling says, wait an hour.
00:55:45.600 --> 00:55:48.914
It's a good one, it's tricky,
but it's a tricky one,
00:55:48.914 --> 00:55:50.064
it's a really good one.
00:55:52.650 --> 00:55:53.850
Yeah, it's super tricky.
00:55:55.534 --> 00:55:58.367
(dramatic music)
00:56:00.570 --> 00:56:03.363
I know, I'm thinking the
same too, but what the fuck?
00:56:05.430 --> 00:56:07.330
I mean, look, this is the other thing,
00:56:08.760 --> 00:56:10.857
I'm gonna need a little more
and I'm gonna go in the back
00:56:10.857 --> 00:56:13.410
and check to see if their cars have left
00:56:13.410 --> 00:56:16.445
and maybe they just fucking
leave the lights on.
00:56:16.445 --> 00:56:19.278
(dramatic music)
00:56:27.041 --> 00:56:31.244
So, I think, let's get it.
00:56:31.244 --> 00:56:33.994
(dramatic music)
00:57:07.041 --> 00:57:08.708
Okay, just go there.
00:57:10.411 --> 00:57:13.010
Three, two, go.
00:57:13.010 --> 00:57:15.760
(dramatic music)
00:57:26.817 --> 00:57:28.484
Careful not to slip.
00:57:29.369 --> 00:57:32.202
(dramatic music)
00:58:11.781 --> 00:58:15.728
That is crazy, that looks great,
00:58:15.728 --> 00:58:18.478
you can't do that during the day.
00:58:24.980 --> 00:58:27.480
(indistinct)
00:58:41.170 --> 00:58:43.040
- This will be great if I
take my shirt off right now.
00:58:43.040 --> 00:58:43.873
- Go for it.
(Inksap chuckles)
00:58:43.873 --> 00:58:44.706
- No, just...
00:58:44.706 --> 00:58:49.706
- Look, the wind has found
us a (indistinct) here.
00:58:51.162 --> 00:58:53.995
(dramatic music)
00:59:17.414 --> 00:59:18.581
Wait a second.
00:59:23.407 --> 00:59:28.324
Don't look at me, you don't
wanna to have food or anything?
00:59:29.959 --> 00:59:30.792
Thank you.
00:59:33.549 --> 00:59:37.601
- We are going to Budapest, pes, pesh,
00:59:37.601 --> 00:59:39.579
I swear I have a hard
time pronouncing that.
00:59:39.579 --> 00:59:41.569
- We are, we are going.
00:59:41.569 --> 00:59:43.710
we're about ready to land.
00:59:43.710 --> 00:59:46.740
We are artists and residents.
00:59:46.740 --> 00:59:47.683
- Yep.
00:59:47.683 --> 00:59:51.270
- Off the streets, and into a gallery,
00:59:51.270 --> 00:59:53.400
where the art has been accepted.
00:59:53.400 --> 00:59:55.080
- I've never been to Europe before.
00:59:55.080 --> 00:59:59.070
I always spent a few days
gauging, what I'm gonna do,
00:59:59.070 --> 01:00:02.610
and just kind of like,
okay, this area is cool,
01:00:02.610 --> 01:00:04.170
this area is not art friendly.
01:00:04.170 --> 01:00:05.880
This area has a lot of street art,
01:00:05.880 --> 01:00:10.113
this area has lot graffiti,
this area is not the right area,
01:00:10.980 --> 01:00:14.070
so, there's a level of seeing what's right
01:00:14.070 --> 01:00:16.590
and making a good judgment.
01:00:16.590 --> 01:00:17.970
When we were young,
01:00:17.970 --> 01:00:22.970
my dad would always make
a cardboard box suitcase,
01:00:23.160 --> 01:00:27.510
I just distinctively remember,
that when you make the box,
01:00:27.510 --> 01:00:28.980
someone would hold their hand up here,
01:00:28.980 --> 01:00:32.228
so then they would put
the tape as a handle.
01:00:32.228 --> 01:00:35.284
So I'd go like that and
then you could carry it.
01:00:35.284 --> 01:00:37.951
(upbeat music)
01:00:58.434 --> 01:01:01.590
It was definitely the first
music I was exposed to,
01:01:01.590 --> 01:01:02.953
my dad listened to it,
01:01:06.124 --> 01:01:08.147
always wanted me to be a violin player,
01:01:09.514 --> 01:01:12.813
but, nope.
01:01:30.324 --> 01:01:31.830
I've been waiting for this,
01:01:31.830 --> 01:01:34.003
you guys ready to have some fun?
01:01:34.003 --> 01:01:36.868
(upbeat music)
Let's do this.
01:01:36.868 --> 01:01:39.451
(upbeat music)
01:02:25.112 --> 01:02:28.052
(speaking in foreign language)
01:02:28.052 --> 01:02:29.432
- Not bad, but I know it's good.
01:02:29.432 --> 01:02:30.515
- Okay, good.
01:02:48.166 --> 01:02:50.634
(speaking in foreign language)
01:02:50.634 --> 01:02:51.467
- Is that, cheers?
01:02:51.467 --> 01:02:52.300
- Yeah.
01:02:52.300 --> 01:02:53.133
- One more time.
01:02:53.133 --> 01:02:57.050
(speaking in foreign language)
01:03:34.802 --> 01:03:35.635
(audience applauding)
01:03:35.635 --> 01:03:36.748
- Like I never grew up and thought,
01:03:36.748 --> 01:03:37.581
well, I'm gonna be artist.
01:03:37.581 --> 01:03:39.330
Like when I was growing
up, I always thought, well,
01:03:39.330 --> 01:03:43.360
I'm gonna be someone who works in medical
01:03:44.250 --> 01:03:49.250
or someone who works a regular job,
01:03:49.860 --> 01:03:52.530
like I never had the
dream to be an artist.
01:03:52.530 --> 01:03:56.460
I think it wasn't until that I made art
01:03:56.460 --> 01:03:59.100
and realized where I was going,
was when I realized that,
01:03:59.100 --> 01:04:00.810
I could be an artist.
01:04:00.810 --> 01:04:03.657
Like I'm not a street
artist, I'm a fucking artist,
01:04:03.657 --> 01:04:06.690
and I get to do what I want
and I could be anywhere I want
01:04:06.690 --> 01:04:08.820
and I could put up art,
whether it's in the streets,
01:04:08.820 --> 01:04:09.750
whether it's in the gallery,
01:04:09.750 --> 01:04:13.023
whether it's on the side of this stone.
01:04:15.450 --> 01:04:18.840
I realize that I can be an
artist and I can make it,
01:04:18.840 --> 01:04:20.643
and I just can't give up.
01:04:29.880 --> 01:04:31.860
- What does it feel like being out there?
01:04:31.860 --> 01:04:36.840
He said, I walked down the
middle of the street alone
01:04:38.880 --> 01:04:40.800
and I own the street.
01:04:40.800 --> 01:04:42.960
I could tell that he was also saying,
01:04:42.960 --> 01:04:47.870
that's where I am most
connected, to myself,
01:04:50.220 --> 01:04:52.170
and said, to my art.
01:04:52.170 --> 01:04:56.910
And I flashed on, what I do in the desert,
01:04:56.910 --> 01:04:57.930
I do it, the same thing,
01:04:57.930 --> 01:05:00.090
I walk out into the middle
of the desert alone,
01:05:00.090 --> 01:05:02.340
all I can see is the horizon,
01:05:02.340 --> 01:05:04.560
there is nothing else around.
01:05:04.560 --> 01:05:07.437
And that's where I am
most connected to myself
01:05:07.437 --> 01:05:10.710
and my art and my own humanity,
01:05:10.710 --> 01:05:12.150
where he's most connected to his,
01:05:12.150 --> 01:05:13.200
is in the middle of the street.
01:05:13.200 --> 01:05:15.600
And again, it's diametric
opposites and you know what?
01:05:15.600 --> 01:05:16.453
It's the same.
01:05:16.453 --> 01:05:18.630
- I never thought I'd be
collaborating with someone
01:05:18.630 --> 01:05:19.800
with street art,
01:05:19.800 --> 01:05:22.443
I didn't think that I would
find the right person,
01:05:23.400 --> 01:05:26.190
but with, Linda, she's
the right kinda person,
01:05:26.190 --> 01:05:27.750
she learns fast.
01:05:27.750 --> 01:05:29.700
She puts some art first too,
01:05:29.700 --> 01:05:34.650
and she's willing to go out the extra step
01:05:34.650 --> 01:05:38.220
to be able to get the art
out and the message out.
01:05:38.220 --> 01:05:43.220
- My young friend is a true,
authentic, and real artist,
01:05:45.000 --> 01:05:47.670
he lets very little get in the way.
01:05:47.670 --> 01:05:51.030
He gets that artist work
is really hard work,
01:05:51.030 --> 01:05:53.460
and he is really hard working at it,
01:05:53.460 --> 01:05:56.790
which means that he will
make it happen in his life.
01:05:56.790 --> 01:05:57.663
I believe in him.
01:05:59.520 --> 01:06:04.520
It's about having the courage
with yourself to become,
01:06:05.550 --> 01:06:07.683
and live out who you really are,
01:06:08.790 --> 01:06:10.783
and that takes courage.
01:06:10.783 --> 01:06:15.480
- I have two different families,
I have my biological family
01:06:15.480 --> 01:06:17.730
and I have my art family.
01:06:17.730 --> 01:06:20.040
What really draws me
towards my art family,
01:06:20.040 --> 01:06:23.100
and particularly Linda,
we have these things in us
01:06:23.100 --> 01:06:24.303
that we have to let out.
01:06:25.140 --> 01:06:28.860
Whether it is through movement, painting,
01:06:28.860 --> 01:06:33.522
going in the streets or
being in front of people.
01:06:33.522 --> 01:06:38.522
- His family in a way that is significant
01:06:39.270 --> 01:06:41.333
and maybe authentic in ways
01:06:41.333 --> 01:06:44.400
that sometimes real family is not,
01:06:44.400 --> 01:06:46.233
he just emerged.
01:06:47.400 --> 01:06:52.050
Him into my life, me into
his life, and we knew that,
01:06:52.050 --> 01:06:54.750
we knew something, from
the very beginning,
01:06:54.750 --> 01:06:58.020
what it is, I'm not even
sure I can articulate,
01:06:58.020 --> 01:07:00.810
but it keeps elevating
itself and deepening itself.
01:07:00.810 --> 01:07:04.590
And that's the definition
of any good relationship.
01:07:04.590 --> 01:07:06.245
What is love, really?
01:07:06.245 --> 01:07:10.323
It's seeing who another
human being really is,
01:07:11.700 --> 01:07:16.530
it's understanding who that person is.
01:07:16.530 --> 01:07:21.530
It's supporting who that person is.
01:07:21.750 --> 01:07:26.750
It's being there when you
don't totally understand,
01:07:26.850 --> 01:07:30.480
and that makes him family.
01:07:30.480 --> 01:07:33.480
- You do things because
it was destiny to be done,
01:07:33.480 --> 01:07:36.600
you do things because you know it's right,
01:07:36.600 --> 01:07:38.010
it just happened that I
was in the right place
01:07:38.010 --> 01:07:38.910
at the right time.
01:07:39.900 --> 01:07:42.847
And it was destiny for me to meet her.
01:07:44.700 --> 01:07:47.160
- [Man] Is there anything
you would like to say
01:07:47.160 --> 01:07:49.593
to the driver that hit your building?
01:07:52.020 --> 01:07:53.073
- Thank you.
01:07:53.073 --> 01:07:55.906
(Linda chuckles)
01:08:14.893 --> 01:08:16.961
♪ One, two, three, four ♪
01:08:16.961 --> 01:08:20.044
(instrumental music)
01:08:35.503 --> 01:08:39.553
♪ And then the past recedes ♪
01:08:39.553 --> 01:08:43.953
♪ And I won't be involved ♪
01:08:43.953 --> 01:08:48.083
♪ The effort to be free ♪
01:08:48.083 --> 01:08:51.833
♪ Seems pointless from above ♪
01:09:11.553 --> 01:09:16.103
♪ Ooh ♪
01:09:16.103 --> 01:09:21.103
♪ I'm disguised as a reaching hand ♪
01:09:22.750 --> 01:09:25.013
♪ I'm a working man ♪
01:09:25.013 --> 01:09:29.663
♪ I don't understand why clock out ♪
01:09:29.663 --> 01:09:34.083
♪ Come so slow every time ♪
01:09:34.083 --> 01:09:39.083
♪ That's one line I stay right behind ♪
01:09:42.830 --> 01:09:47.830
♪ That's one line I stay right behind ♪
01:09:54.394 --> 01:09:56.394
♪ Yeah ♪