WEBVTT

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Man:Use the Force, Luke.

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I stick my neck out
for nobody.

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Well, darling, look out,
\'cause my hair is coming down.

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Always do the right thing.

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That\'s it?
That\'s it.

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I got it.
I\'m gone.

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Suber: There are certain films
that people keep going back to,

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over and over again.

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I\'m gonna make him
an offer he can\'t refuse.

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Films that were not
only popular in their day,

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but that continue
to be popular.

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You talking to me?

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And my question is why?

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It\'s not about what I want.

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It\'s about what\'s fair!

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They call me Mister Tibbs.

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I\'m in love with you.

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Snap out of it!

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Rosebud.

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I\'m Howard Suber.

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For over five decades,

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I\'ve taught thousands
of aspiring directors,

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producers, screenwriters,
and scholars

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the patterns and principles
I\'ve found

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in America\'s most memorable
popular films.

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Join me as we discover
the power of film.

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Who are you?
You.

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Who are you?

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What are you?

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These are the two
fundamental questions

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that determine how we act,

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how we relate
to the world we inhabit.

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We find the answers

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to those questions
we ask ourselves in stories.

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From his footprint,
he looks like a big fella.

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And stories are what we go
to movies to see.

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They pardoned
Frank Miller.

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We are a storytelling animal,

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and it may be one of the things
that defines us.

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We have desires, fears, hopes,

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but we feel the way
our long-distant ancestors felt

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about the experience
of life as a human being.

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\"The Godfather\" is 50 years old,

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and yet it seems like a film

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that could have come out
this year

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because the issues
\"The Godfather\" deals with

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haven\'t changed.

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Woman:
What are you doing here?

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You\'re not supposed
to be here now.

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I\'m Michael Corleone.
This is my father.

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My story...

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your story,

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all of our life stories...

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There\'s nobody here.
What happened to the guards?

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...revolve around feelings.

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I\'m sorry,
but you will have to leave.

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Lack of power, loss,
triumph, humiliation,

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insult, injury,
and ultimately death.

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Boy: [ Laughs ]

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If people still identify
with Michael Corleone,

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maybe it\'s because his world
feels like our world.

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So, who are you?
What are you?

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To a large extent, you are
a compilation of memories.

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Memory is the most powerful
thing in human existence.

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Sam: ♪ As time goes by... ♪

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Sam, I thought I told you
never to play.

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We choose what films
we want to remember.

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And we choose them because
there\'s something in those films

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that transcends the moment
it was released.

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There are principles
that cause people

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to keep them in their heads

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and be able to recall them
decades later.

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I\'m here to stop you,
One-Eyed Bart!
Oh!

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But popularity is not enough.

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Lots of films
make a lot of money

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in their initial release.

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They can make
over a billion dollars.

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But most of those films
nobody wants to talk about,

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let alone look at again
a year later.

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This whole series

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is based around memorable
popular American films.

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I\'m talking about films
for which, objectively,

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there\'s a cultural consensus.

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You read me, Hal?

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I\'m responding
to other people\'s responses.

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And so, if you tell me
you don\'t like \"The Godfather,\"

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my reaction is I don\'t care.

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It\'s on everybody\'s list.

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But if I\'m talking
about memorable films,

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I have to be talking
about the past.

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And history is biased.

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During most of the history
of American film,

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we have had few major characters
from non-white races,

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non-male heroes,
different sexual orientations.

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Oliver!

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...because they were
not allowed

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to be on films
as strong central characters.

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So, I\'m going to talk
about some films

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from the last decade or so,

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and hopefully they represent
changes long overdue

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in the American film industry.

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I love you, Margaret.
I love you, too.

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In the thousands of films
that I\'ve taught...

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I\'ll take this.

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...I keep seeing
certain elements

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appearing over and over again

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and seeing the relationships
of the parts to the whole.

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The patterns can be as simple

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as scenes of parents
tucking their children into bed,

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or the patterns
can be more complex.

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And as I often say,

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I\'m in the pattern
recognition business.

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So, let\'s go way back,
nearly 2,500 years,

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to the ancient Greeks,
what are generally considered

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the greatest dramas
in Western history.

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Ask yourself, \"What do
these works have in common?\"

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Even if you don\'t
know the works.

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\"Oedipus Rex,\" \"Antigone,\"
\"Medea.\"

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See any pattern?

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Let\'s jump ahead

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to the Elizabethan period\'s
Shakespeare.

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\"King Lear,\" \"Macbeth,\"
\"Hamlet.\"

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You see any patterns so far?

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Let\'s jump ahead
to what is often called

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the greatest American play,
\"Death of a Salesman.\"

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In contemporary times,

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what\'s the most popular
and memorable play?

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\"Hamilton.\"
See any pattern?

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Well, I\'m in the pattern
recognition business.

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The most memorable popular works
going back 2,500 years

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are the names of characters,

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and the works are essentially
character studies.

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[ Applause ]

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Now let\'s turn to movies.

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\"Citizen Kane.\"

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\"Godfather\" one
and \"Godfather II.\"

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\"Lawrence of Arabia,\"
\"The Graduate,\"

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\"Taxi Driver,\"
\"Forrest Gump,\" etc.

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Why do you have so many stories

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named after
the central character?

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Which is to say,
the single individual

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who bears the title of the work
is whose story it is.

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Why?

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Because my story
is the story of me.

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I\'m at the center of my story.

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I\'m the hero, if you will --

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sometimes the villain --
of my story.

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And when we see a story
in which a single character

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is what the story is about,

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we instantly understand.

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One of the crucial elements
in writing drama is empathy,

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being able to project yourself
into the other person.

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\"Psyche\" is the Greek
term for soul,

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and it\'s not so much
the psyche of the character

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that filmmakers focus on.

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It\'s the psyche of the audience.

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Okay, I\'ve thrown out
a bunch of titles

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that span 2,500 years.

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What else is a pattern?

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Nearly all of those works
deal with a family,

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and whether it\'s a biological
family or a surrogate family,

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that\'s the most important
social unit in human society.

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That\'s one of the things
that made

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\"The Godfather\" series
unique.

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Francis Coppola originally
declined to direct the film,

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even though he was
in dire straits financially,

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because he said, \"I don\'t want
to make a gangster film,

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especially one
about Italian gangsters.\"

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Well, \"The Godfather\" series
is certainly about gangsters.

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Aaah! Aaaah!

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It\'s also,
as the title suggests,

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it\'s about a family.

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But what are the psychological
elements that define a family?

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Loyalty, nurturing,
mutual protection and support.

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And they share memories,
both good and bad.

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But inevitably,
they also quarrel.

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It\'s all-out war.
We go to the mattresses.
Some of the other families
won\'t sit still for all-out war!

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Then they hand me Sollozzo!
Your father wouldn\'t
want to hear this!

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This is business,
not personal!

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Suber: ...and have differences

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that threaten
to destroy the family.

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You\'re my older brother,
and I love you.

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But don\'t ever take sides

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with anyone
against the family again.

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Ever.

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\"The Exorcist,\"

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another gigantically
popular film...

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[ Snarling, screeching ]

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...is a horror film.

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Can\'t deny that.

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Aaaah!
Let the enemy have
no power over her,

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and the son of iniquity
be powerless...

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...of one of the most powerful
horror films ever made,

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but it\'s equally about a mother
trying to rescue her child

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who has been kidnapped
by a demon.

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Amen.

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\"One Flew
Over the Cuckoo\'s Nest,\"

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which a lot of people think of
as being simply a film

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about the oppressed inmates
in a mental institution,

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but it\'s about
a surrogate family.

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On the one hand,
from the standpoint of biology,

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nobody\'s related to anybody,

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but they develop
that relationship,

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thanks to our hero
Jack Nicholson,

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in one of many roles like this.

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Jesus!

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I mean, you guys
do nothing but complain

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about how you can\'t stand it
in this place here,

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and then you haven\'t got
the guts just to walk out?

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What do you think you are,
for Christ\'s sake,

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crazy or something?

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Well, you\'re not.
You\'re not.

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You\'re no crazier
than the average asshole

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out walking around
on the streets.

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And that\'s it.

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He takes the inmates
out on a boat to go fishing.

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What are you laughing at,
Martini?

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You\'re not an idiot, huh?

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You\'re not a God damn
looney now, boy.

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You\'re a fisherman.
[ Laughs ]

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He frees them
from the prison they\'re in.

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He gives them faith
in their own potential --

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the greatest gift
one human being

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can give to another.

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They\'re gonna be
trolling this place

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for six months
looking for dead bodies.

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What else is a pattern?

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It isn\'t always on the surface
and declaring itself,

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but deeply embedded in virtually
all memorable stories,

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let alone films,
is the element of loss.

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In \"Star Wars,\"
Luke Skywalker returns home

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to encounter
his first great loss.

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Loss appears almost invariably
in memorable stories

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because it\'s one
of the principal experiences

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we all have.

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It\'s a fundamental aspect
of being a human being,

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and we don\'t talk
about it a lot,

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but we feel it.

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Loss is an important element

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of \"Eternal Sunshine
of the Spotless Mind.\"

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You hear me, Chiron?

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Loss is an
important part of \"Moonlight.\"

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I hear you, Mama.

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Loss is an important
part of \"Toy Story.\"

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Loss, in fact,
is an important part

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of virtually
all of the Pixar films.

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Nemo! Nemo!

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No! Please, no!

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Suber: In fact, loss is
an important part of Disney,

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which owns Pixar.

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It\'s one of the reasons

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that studio has been
so successful.

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\"Bambi\" --
what is it about,

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if not the loss
of Bambi\'s mother?

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We made it, Mother!

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Wait.

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Mother!

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Mother!

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That traumatized me
when I was 5 years old.

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The scar is still not healed.

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Mother, where are you?!

00:14:43.168 --> 00:14:48.602
Why is loss so omnipresent?
Mother!

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Because it\'s one of
the fundamental human feelings.

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We\'ve all experienced loss.

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We all keep on experiencing loss
until we are lost.

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Ricky!

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\"Boyz n the Hood\"
is about being trapped

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and how it can lead
to a terrible loss.

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The protagonist, Tre,
played by Cuba Gooding Jr.,

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helplessly watches
his best friend Ricky,

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who dreamed
of escaping the hood,

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die in his arms.

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Some losses are inevitable,

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but the most tragic
are those that weren\'t.

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[ Voice breaking ] Ricky.

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Help me! Help me!
Somebody help me!

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What makes us human
is how we feel.

00:15:53.368 --> 00:15:58.767
What makes us human
is how we then act

00:15:58.868 --> 00:16:03.067
in response
to the way we feel.

00:16:04.801 --> 00:16:09.868
Feeling is necessary to action.

00:16:11.134 --> 00:16:14.268
And behind feelings,

00:16:14.401 --> 00:16:18.601
what are memorable
popular films about?

00:16:19.567 --> 00:16:22.601
My answer is power.

00:16:27.535 --> 00:16:31.568
I don\'t necessarily mean
power over other people.

00:16:31.635 --> 00:16:35.401
I mean power in the way
it\'s used in physics.

00:16:35.468 --> 00:16:41.601
Power is the ability
to produce change or prevent it.

00:16:41.701 --> 00:16:45.868
To produce change or prevent it.

00:16:48.635 --> 00:16:51.767
Power is the fulcrum of drama.

00:16:51.868 --> 00:16:54.235
He was onto something.
Clever boy.

00:16:54.301 --> 00:16:55.834
Don\'t worry, that\'s mine.

00:16:55.934 --> 00:17:00.335
If you are somebody
who\'s unknown

00:17:00.468 --> 00:17:05.134
and you have aspirations
to become famous,

00:17:05.201 --> 00:17:08.168
such as Ally,
played by Lady Gaga

00:17:08.301 --> 00:17:11.767
in the fourth version
of \"A Star Is Born,\"

00:17:11.868 --> 00:17:14.134
at the moment you have

00:17:14.201 --> 00:17:17.268
the first inklings
of the desire,

00:17:17.368 --> 00:17:20.935
you don\'t have
the power to get it.

00:17:21.035 --> 00:17:23.734
There\'s a friend of mine who,
uh, came a long way to be here,

00:17:23.834 --> 00:17:25.134
and she wrote a great song,

00:17:25.201 --> 00:17:26.502
and I\'d just like
to hear her sing it.

00:17:26.635 --> 00:17:28.301
I think it\'s
pretty fucking good.

00:17:28.368 --> 00:17:31.033
Suber:
That\'s what life is about.

00:17:32.168 --> 00:17:36.701
\"I want...whatever it is.\"

00:17:38.535 --> 00:17:42.268
You have to apply what I call
the GOYA principle,

00:17:42.368 --> 00:17:45.033
which is get off your ass.

00:17:47.368 --> 00:17:51.334
You have to strive.
You have to work.

00:17:55.502 --> 00:17:59.434
♪ Tell me something, boy ♪

00:18:00.602 --> 00:18:05.235
♪ Aren\'t you tired
tryna fill that void? ♪

00:18:05.335 --> 00:18:07.868
It\'s not going to come to you

00:18:07.934 --> 00:18:11.168
and say,
\"I give you this power.\"

00:18:11.268 --> 00:18:13.568
It\'s not \"The Wizard of Oz\"

00:18:13.702 --> 00:18:17.534
with a fairy godmother
who anoints you.

00:18:17.601 --> 00:18:19.801
You have to work.

00:18:19.901 --> 00:18:23.734
Often, you may desire something,

00:18:23.868 --> 00:18:26.501
you may work to get it,

00:18:26.601 --> 00:18:28.167
and you don\'t.

00:18:29.701 --> 00:18:31.667
Why not?

00:18:31.767 --> 00:18:33.267
Inertia.

00:18:34.235 --> 00:18:39.400
Inertia prevents change.

00:18:41.034 --> 00:18:43.734
Well, as we will see
eventually...

00:18:43.868 --> 00:18:44.868
...for all I care!

00:18:44.934 --> 00:18:46.568
...in all stories,

00:18:46.702 --> 00:18:49.667
whether
it\'s a romantic comedy...

00:18:49.767 --> 00:18:51.901
What have I done?

00:18:52.034 --> 00:18:53.468
Ow!

00:18:53.568 --> 00:18:56.235
...whether it\'s a film
about a serial killer...

00:18:56.368 --> 00:19:00.267
I\'d like to speak
to my lawyer, please.

00:19:01.235 --> 00:19:02.201
God damn it!

00:19:02.301 --> 00:19:05.868
...the seeking of change

00:19:05.968 --> 00:19:09.667
and the preventing of change...

00:19:10.834 --> 00:19:14.801
...are what the story is about.

00:19:17.001 --> 00:19:23.201
We don\'t go to movies
just to see the world.

00:19:23.301 --> 00:19:27.268
We got to see a just world,

00:19:27.335 --> 00:19:30.301
a world in which
things work out

00:19:30.435 --> 00:19:34.667
the way we wished
or desire that they would.

00:19:36.568 --> 00:19:42.301
Most film stories begin
with the central character

00:19:42.401 --> 00:19:45.301
in a position of low power.

00:19:45.435 --> 00:19:49.701
And sometimes they end up
in a position of high power.

00:19:49.801 --> 00:19:52.101
[ Cheers and applause ]

00:19:52.168 --> 00:19:58.802
But Charles Foster Kane
in \"Citizen Kane\"

00:19:58.902 --> 00:20:03.301
and Michael Corleone
in \"The Godfather\" trilogy

00:20:03.401 --> 00:20:06.568
end up with a lot of power,

00:20:06.668 --> 00:20:09.435
but we don\'t value
the characters

00:20:09.502 --> 00:20:14.667
as much at the end
as we did at the beginning.

00:20:15.734 --> 00:20:19.034
Because in movies,

00:20:19.134 --> 00:20:24.201
we are not as oriented
towards power

00:20:24.301 --> 00:20:26.801
the way we are in real life.

00:20:27.968 --> 00:20:30.235
Everybody in the world

00:20:30.335 --> 00:20:35.201
knows what
the American value system is.

00:20:35.301 --> 00:20:39.568
What is it that,
whether consciously or not,

00:20:39.668 --> 00:20:43.567
Americans are trained
to value?

00:20:43.667 --> 00:20:44.767
Money,

00:20:44.834 --> 00:20:48.901
a big, plush, palatial home,

00:20:49.001 --> 00:20:51.101
an expensive car,

00:20:51.168 --> 00:20:54.134
and for some people,
a trophy spouse.

00:20:54.268 --> 00:20:55.767
I need them to want
to live like me.

00:20:55.834 --> 00:20:57.535
You get it?
To live like me.

00:20:57.635 --> 00:21:01.101
Although you may say
those are not your values,

00:21:01.201 --> 00:21:03.668
I\'m assuming you would agree

00:21:03.735 --> 00:21:07.702
that most of your fellow
Americans do.

00:21:07.835 --> 00:21:13.201
Greed, for lack of
a better word, is good.

00:21:13.335 --> 00:21:14.535
Greed is right.

00:21:14.668 --> 00:21:16.201
Suber: Many people think
\"Wall Street\"

00:21:16.335 --> 00:21:20.468
glorifies cutthroat competition
and greed.

00:21:20.568 --> 00:21:23.868
In fact, what \"Wall Street\"
is about

00:21:23.968 --> 00:21:27.368
is a young guy named Bud

00:21:27.502 --> 00:21:30.868
who starts out
wanting to be like Gordon Gekko,

00:21:31.001 --> 00:21:34.802
but comes to recognize
that family and loyalty

00:21:34.902 --> 00:21:37.368
are more important
than incredible riches,

00:21:37.468 --> 00:21:40.801
private jets,
and trophy spouses.

00:21:40.901 --> 00:21:43.535
Because young Bud\'s old man

00:21:43.668 --> 00:21:47.502
is head of
Airline Mechanics Association

00:21:47.568 --> 00:21:52.101
and working on behalf
of his fellow union members,

00:21:52.201 --> 00:21:56.268
and Gordon Gekko is going to
buy that aircraft company

00:21:56.368 --> 00:21:58.767
and then fire everybody.

00:21:58.901 --> 00:22:00.401
He\'s using you, kid.

00:22:00.468 --> 00:22:02.268
He\'s got your prick
in his back pocket,

00:22:02.401 --> 00:22:03.834
but you\'re too blind
to see it.

00:22:03.934 --> 00:22:06.602
No, what I see
is a jealous old machinist

00:22:06.702 --> 00:22:08.435
who can\'t stand the fact
that his son\'s become

00:22:08.535 --> 00:22:10.667
more successful
than he has.

00:22:10.767 --> 00:22:12.668
What you see is a guy

00:22:12.768 --> 00:22:14.435
who never measured
a man\'s success

00:22:14.568 --> 00:22:16.401
by the size of his wallet!

00:22:16.468 --> 00:22:19.602
And young Bud discovers
that the values

00:22:19.735 --> 00:22:24.201
of all the power
that Gordon Gekko has

00:22:24.301 --> 00:22:26.768
are not equal to the values

00:22:26.869 --> 00:22:30.068
of being devoted
to your fellow human being.

00:22:30.134 --> 00:22:31.868
You\'re under arrest,
Mr. Fox.

00:22:31.968 --> 00:22:33.368
I challenge you

00:22:33.468 --> 00:22:39.768
to name three memorable
popular American films

00:22:39.869 --> 00:22:44.168
that tell you that wealth
and material possessions

00:22:44.268 --> 00:22:47.702
are the most important
things in life.

00:22:47.802 --> 00:22:51.001
And we could talk about
a lot of other films

00:22:51.101 --> 00:22:56.068
in which somebody acquires
real-world power,

00:22:56.134 --> 00:22:59.468
becomes fabulously wealthy,

00:22:59.535 --> 00:23:03.601
and they do not come
to a good end.

00:23:05.168 --> 00:23:06.801
I\'m finished.

00:23:07.602 --> 00:23:10.934
This leads us back into
another one of those patterns.

00:23:11.034 --> 00:23:14.468
Many of the most popular
and memorable stories,

00:23:14.535 --> 00:23:16.502
going back to the Greeks,

00:23:16.635 --> 00:23:20.101
do not have a happy ending.

00:23:20.969 --> 00:23:26.467
Happy endings are obligatory
for musicals...

00:23:27.435 --> 00:23:29.835
...and for romantic comedies,

00:23:29.935 --> 00:23:33.168
which are not the same genre
as love stories.

00:23:33.301 --> 00:23:36.635
The world\'s great love stories
more often than not

00:23:36.702 --> 00:23:40.068
end in the separation
or death of the lovers.

00:23:40.168 --> 00:23:41.735
Think of \"Romeo and Juliet.\"

00:23:41.835 --> 00:23:44.400
Evelyn, put that gun away!
Let the police handle this.

00:23:44.501 --> 00:23:46.235
He owns the police.

00:23:46.335 --> 00:23:47.834
Suber: \"Chinatown.\"

00:23:47.934 --> 00:23:50.602
[ Gunshots ]

00:23:50.702 --> 00:23:55.868
The death of the woman
who\'s loved by the protagonist.

00:23:58.401 --> 00:24:00.835
But it\'s not just love stories.

00:24:00.935 --> 00:24:05.568
The world of film is filled
with unhappy endings.

00:24:05.702 --> 00:24:08.368
With \"All Quiet
on the Western Front,\"

00:24:08.435 --> 00:24:11.702
one of the earliest
blockbuster successes,

00:24:11.768 --> 00:24:15.068
our protagonist escapes
from the war,

00:24:15.168 --> 00:24:17.767
but only because he\'s dead.

00:24:19.034 --> 00:24:20.635
In \"Do the Right Thing,\"

00:24:20.735 --> 00:24:23.668
Mookie, played
by director Spike Lee,

00:24:23.768 --> 00:24:28.301
witnesses the callous murder
of his friend Radio Raheem

00:24:28.401 --> 00:24:30.701
by a white policeman.

00:24:31.502 --> 00:24:35.168
In response,
Mookie leads the neighborhood

00:24:35.268 --> 00:24:38.734
into burning down
his own employer\'s restaurant,

00:24:38.868 --> 00:24:40.901
which means
he\'s out of a job,

00:24:41.034 --> 00:24:44.133
so we can\'t say
the ending is a happy one.

00:24:45.101 --> 00:24:49.601
But they have taken
a stand against injustice.

00:24:52.401 --> 00:24:54.168
In \"The Godfather Part III,\"

00:24:54.268 --> 00:24:57.134
Michael Corleone\'s daughter
Mary is killed

00:24:57.268 --> 00:25:01.767
by an assassin\'s bullet
intended for him.

00:25:02.668 --> 00:25:05.901
Even though he won\'t die
for several more years,

00:25:06.001 --> 00:25:09.869
Michael\'s life
is essentially over.

00:25:09.969 --> 00:25:15.801
So many movies have
essentially unhappy endings.

00:25:46.768 --> 00:25:49.934
I hope I haven\'t depressed you
with all this.

00:25:50.735 --> 00:25:52.601
Because that\'s not
the only thing

00:25:52.667 --> 00:25:55.801
that drives us to movies.

00:25:56.634 --> 00:25:58.001
There\'s another.

00:25:58.068 --> 00:26:01.667
It\'s what makes
the world go round.

00:26:02.567 --> 00:26:05.034
It\'s the \"F\" word.

00:26:05.168 --> 00:26:06.501
Fun.

00:26:09.701 --> 00:26:11.535
We go to movies,

00:26:11.635 --> 00:26:16.133
certainly to American movies,
to have fun.

00:26:18.535 --> 00:26:21.535
Whatever the genre,
whatever the plot,

00:26:21.635 --> 00:26:27.535
whatever the time period,
we sell fun.

00:26:27.668 --> 00:26:31.201
Fun is part of the genius
of America.

00:26:31.335 --> 00:26:35.168
Since our beginning,
it\'s been one of the things

00:26:35.235 --> 00:26:40.101
that other cultures
have made fun of us for having,

00:26:40.201 --> 00:26:43.802
because we were not
a serious people.

00:26:43.902 --> 00:26:49.067
We told jokes in the most
inappropriate places.

00:26:51.734 --> 00:26:54.502
Harold, please.

00:26:54.568 --> 00:26:57.701
We have created
some of the best villains

00:26:57.801 --> 00:26:59.501
in world history.

00:26:59.601 --> 00:27:01.735
Now I\'m always smiling.

00:27:01.802 --> 00:27:05.368
But we do it with a smile.
We do it with a wisecrack.

00:27:05.468 --> 00:27:09.701
We do it with a gag,
which is an American term.

00:27:09.801 --> 00:27:12.535
Here\'s Johnny!
Aah! Aah!

00:27:12.635 --> 00:27:16.068
We have always combined humor

00:27:16.134 --> 00:27:19.501
with the most serious
of subjects.

00:27:20.301 --> 00:27:25.934
We get it so we\'re not
overcome by the tragedy.

00:27:26.068 --> 00:27:31.601
We\'re laughing,
and laughing blocks pain.

00:27:33.134 --> 00:27:36.934
All three of the great
silent comedians --

00:27:37.068 --> 00:27:39.101
Chaplin, Keaton, and Lloyd --

00:27:39.201 --> 00:27:43.768
demonstrate this over
and over and over again.

00:27:43.902 --> 00:27:47.768
And the audience could say,
\"Oh, my God. He broke his back.\"

00:27:47.869 --> 00:27:51.168
Well, if that happened,
it wouldn\'t be a gag.

00:27:51.268 --> 00:27:55.602
All comedy is based on pain
or potential pain.

00:27:55.702 --> 00:27:59.834
The greater the potential
for pain,

00:27:59.968 --> 00:28:04.667
the greater the opportunity
to be funny.

00:28:04.801 --> 00:28:06.335
In \"The 40 Year Old Virgin,\"

00:28:06.468 --> 00:28:11.168
Steve Carell\'s character
gets his hairy chest waxed.

00:28:11.301 --> 00:28:15.001
Ohhh! You fucker!

00:28:15.134 --> 00:28:18.834
Oh, I\'m sorry, I\'m sorry.
That\'s just your job.

00:28:18.934 --> 00:28:22.001
Suber:
No pain or potential pain,

00:28:22.101 --> 00:28:23.467
no laughter.

00:28:24.468 --> 00:28:26.235
There\'s something else
I want to mention

00:28:26.335 --> 00:28:28.134
that has to do with power.

00:28:28.201 --> 00:28:31.968
Not the power of characters,
but the power of film.

00:28:38.335 --> 00:28:40.435
Part of the power of film

00:28:40.535 --> 00:28:46.200
is its ability to use scale
for dramatic purposes.

00:28:48.201 --> 00:28:51.335
You walk in,
and there\'s an 80-foot screen --

00:28:51.435 --> 00:28:54.068
at least in the days
when everybody had to go

00:28:54.168 --> 00:28:56.968
to a movie theater
to see the film --

00:28:57.068 --> 00:28:59.834
and the camera gives us
a close-up

00:28:59.934 --> 00:29:03.467
of this part
of somebody\'s face.

00:29:04.268 --> 00:29:06.367
And it can be filled
with love...

00:29:06.434 --> 00:29:07.400
I love you.

00:29:07.501 --> 00:29:08.567
...or hate

00:29:08.667 --> 00:29:11.100
or any emotion
you want.

00:29:12.535 --> 00:29:14.734
Alright, Mr. DeMille,
I\'m ready for my close-up.

00:29:14.868 --> 00:29:16.801
Suber:
Great directors understand

00:29:16.901 --> 00:29:19.134
the power of the close-up.

00:29:24.435 --> 00:29:28.368
They understand that close-ups
are so powerful

00:29:28.435 --> 00:29:32.335
that you use them frugally.

00:29:32.435 --> 00:29:35.567
I\'m Angela.
Vickers.

00:29:35.667 --> 00:29:37.401
I saw you here
last spring.

00:29:37.502 --> 00:29:41.468
The director George Stevens
in \"A Place in the Sun\"

00:29:41.568 --> 00:29:44.869
had these enormous
tight close-ups

00:29:44.935 --> 00:29:47.735
of Elizabeth Taylor
and Montgomery Clift.

00:29:47.835 --> 00:29:49.901
That\'s the first time
anybody ever said that.

00:29:50.034 --> 00:29:51.735
You keep pretty much
to yourself, don\'t you?

00:29:51.869 --> 00:29:56.968
It\'s a love story that --
surprise -- doesn\'t end well,

00:29:57.068 --> 00:30:01.634
and in scenes where
he really wants the audience

00:30:01.734 --> 00:30:04.001
to empathize with the character

00:30:04.101 --> 00:30:08.501
and to really be involved
in their love,

00:30:08.601 --> 00:30:11.735
the camera moves in,

00:30:11.835 --> 00:30:16.902
and the lighting
is so carefully sculpted

00:30:17.002 --> 00:30:21.068
that those images could go
on a huge billboard,

00:30:21.201 --> 00:30:25.235
and people could see it
from a half mile away

00:30:25.368 --> 00:30:29.502
and instantly recognize
who those people were

00:30:29.602 --> 00:30:32.368
and say, \"I want to see that,\"

00:30:32.435 --> 00:30:35.735
because some human faces

00:30:35.869 --> 00:30:40.834
are really just fascinating
in themselves.

00:30:40.934 --> 00:30:44.401
This intimacy
with another human being

00:30:44.535 --> 00:30:46.802
replicates the intimacy

00:30:46.902 --> 00:30:50.901
of being an infant
at your mother\'s breast,

00:30:51.034 --> 00:30:55.767
and you\'re this far away,
and you lose that.

00:30:57.335 --> 00:31:00.034
You get it in sex later,

00:31:00.134 --> 00:31:02.901
if you keep your eyes open.

00:31:03.001 --> 00:31:08.134
But intimacy in love, sex,

00:31:08.235 --> 00:31:13.301
in violence
is very powerful and memorable.

00:31:13.435 --> 00:31:15.868
Lecter: You still wake up
sometimes, don\'t you?

00:31:15.968 --> 00:31:18.201
You wake up in the dark.

00:31:18.301 --> 00:31:20.235
You hear the screaming
of the lambs.

00:31:20.335 --> 00:31:24.301
Suber: Like this exchange
in \"The Silence of the Lambs.\"
Yes.

00:31:24.435 --> 00:31:27.235
And you think if you save
poor Catherine,

00:31:27.335 --> 00:31:28.734
you could make them stop,
don\'t you?

00:31:28.834 --> 00:31:31.034
You think
if Catherine lives,

00:31:31.134 --> 00:31:34.301
you won\'t wake up
in the dark ever again

00:31:34.435 --> 00:31:37.501
to that awful screaming
of the lambs.

00:31:38.667 --> 00:31:39.968
I don\'t know.

00:31:40.734 --> 00:31:42.300
I don\'t know.

00:31:43.667 --> 00:31:46.300
Thank you, Clarice.

00:31:46.434 --> 00:31:47.768
Thank you.

00:31:47.835 --> 00:31:50.968
One of the most important
and often seen

00:31:51.068 --> 00:31:54.601
kinds of power
is institutional power.

00:31:54.667 --> 00:31:56.201
[ Siren wailing ]

00:31:56.301 --> 00:32:00.268
If you\'re driving down
the street or highway,

00:32:00.368 --> 00:32:02.034
and you look
in your rear-view mirror

00:32:02.134 --> 00:32:05.301
and you see
the familiar red light,

00:32:05.401 --> 00:32:07.701
as in \"Thelma & Louise,\"

00:32:07.834 --> 00:32:10.134
and the cop comes up to you,

00:32:10.235 --> 00:32:13.535
and you notice he has a weapon,

00:32:13.635 --> 00:32:18.134
but you don\'t really expect,
at least if you\'re white,

00:32:18.235 --> 00:32:20.201
that he\'s going to use it
on you.

00:32:20.301 --> 00:32:23.201
You\'re more concerned
with his badge.

00:32:23.335 --> 00:32:26.168
Hello, Officer.
Is there a problem?

00:32:26.235 --> 00:32:31.034
That tin star is a symbol
of where his power comes from.

00:32:31.134 --> 00:32:32.869
You want to let me see
your license, please?

00:32:32.969 --> 00:32:37.335
He\'s got other cops and courts
and everything else behind him,

00:32:37.401 --> 00:32:41.034
and he can lock you up
and throw away the key

00:32:41.134 --> 00:32:42.701
for a long period of time.

00:32:42.834 --> 00:32:45.001
You want to get out
of the car?

00:32:45.068 --> 00:32:49.467
The institutional power
of a cop is really high.

00:32:49.567 --> 00:32:51.034
Come with me, please.

00:32:51.168 --> 00:32:59.235
But as powerful as institutions
are in real life,

00:32:59.301 --> 00:33:03.734
we compensate
for that power in movies,

00:33:03.801 --> 00:33:06.368
most often by making fun of it

00:33:06.468 --> 00:33:11.601
or by proving it
to be irrelevant.

00:33:13.968 --> 00:33:17.834
In the old days
of silent comedy,

00:33:17.934 --> 00:33:20.901
a lot of the fun
consists of making fun

00:33:20.968 --> 00:33:24.268
of the symbols of power.

00:33:24.401 --> 00:33:30.602
Stuffy guy in a top hat,
people who are nothing

00:33:30.735 --> 00:33:35.133
if you remove
their institutional affiliation.

00:33:36.201 --> 00:33:40.601
We don\'t really like
institutional power,

00:33:40.701 --> 00:33:43.767
especially if we don\'t have it.

00:33:43.868 --> 00:33:48.268
So, to see people
who are inflated

00:33:48.401 --> 00:33:51.368
with their own
institutional power

00:33:51.468 --> 00:33:56.200
get their comeuppance
is really satisfying.

00:33:59.134 --> 00:34:01.268
In \"The Shawshank Redemption\"...

00:34:01.368 --> 00:34:05.502
I believe in two things --
discipline and the Bible.

00:34:05.602 --> 00:34:09.101
...the warden clearly
has enormous power.

00:34:09.201 --> 00:34:11.834
Put your trust in the Lord.

00:34:11.968 --> 00:34:14.200
Your ass belongs to me.

00:34:15.801 --> 00:34:17.268
Welcome to Shawshank.

00:34:17.368 --> 00:34:21.001
But we know from the
opening scene at the lineup

00:34:21.134 --> 00:34:25.134
that this guy
may have the power now,

00:34:25.201 --> 00:34:28.267
but he won\'t
by the end of this film.

00:34:29.034 --> 00:34:30.701
Open the door.

00:34:33.134 --> 00:34:36.401
Heroes are victimized
all the time.

00:34:36.502 --> 00:34:39.834
That\'s the setup that leads
to the hero acting...

00:34:39.968 --> 00:34:41.001
Turn that off!

00:34:41.134 --> 00:34:43.501
...well, heroically.

00:34:43.634 --> 00:34:45.435
[ Knock on door ]

00:34:46.202 --> 00:34:49.502
The hero appears
to be trapped...
I am warning you, Dufresne.
Turn that off!

00:34:49.602 --> 00:34:54.001
...but he doesn\'t allow
his victimization to stop him.

00:34:58.034 --> 00:35:01.235
He defies that
which has bound him,

00:35:01.368 --> 00:35:05.068
and he summons
the greatest power of all --

00:35:05.168 --> 00:35:06.568
willpower,

00:35:06.668 --> 00:35:11.033
which is often the only power
he or she had.

00:35:14.435 --> 00:35:17.034
Saying no, being defiant,

00:35:17.101 --> 00:35:22.034
not allowing yourself
to be the victim

00:35:22.101 --> 00:35:27.033
or to be victimized
by what happens to you.

00:35:29.602 --> 00:35:33.235
The prisoner wishes
to say a word.

00:35:33.335 --> 00:35:35.567
[ Crowd shouting ]

00:35:37.701 --> 00:35:39.068
In \"Braveheart,\"

00:35:39.201 --> 00:35:41.734
Mel Gibson\'s character
William Wallace

00:35:41.834 --> 00:35:44.168
is tortured to death,

00:35:44.268 --> 00:35:49.235
but he has the willpower
to utter one last defiant word,

00:35:49.368 --> 00:35:52.968
one that will make him
a memorable hero to his people.

00:35:53.068 --> 00:36:01.767
Freedooooooom!

00:36:11.468 --> 00:36:14.034
Finally, in our list of powers,

00:36:14.134 --> 00:36:17.567
I think it necessary
to mention respect.

00:36:18.335 --> 00:36:19.935
But I saved this for last

00:36:20.002 --> 00:36:27.133
because respect is something
that other people bestow on you.

00:36:30.768 --> 00:36:33.735
Shortly before the ending
of \"Schindler\'s List,\"

00:36:33.835 --> 00:36:38.301
after the war ends,
Schindler says...

00:36:38.401 --> 00:36:40.801
I could have got more out.

00:36:43.235 --> 00:36:45.034
I could have got more.

00:36:45.134 --> 00:36:47.400
I don\'t know.
If I\'d just...

00:36:49.101 --> 00:36:50.768
I could have got more.

00:36:50.835 --> 00:36:53.934
Oskar, there are 1,100 people
who are alive because of you.

00:36:54.001 --> 00:36:55.568
Look at them.

00:36:55.668 --> 00:37:00.969
And he is rewarded by
Itzhak Stern with a gold ring

00:37:01.069 --> 00:37:07.968
that is a sign of the respect
of the inmates who faced death

00:37:08.068 --> 00:37:10.667
if it weren\'t for his effort.

00:37:12.335 --> 00:37:14.502
The film doesn\'t end there.

00:37:14.568 --> 00:37:17.468
We see a long line
of the descendants

00:37:17.568 --> 00:37:20.567
of the Jews
that Schindler saved.

00:37:21.401 --> 00:37:24.602
And we are at what we realize

00:37:24.702 --> 00:37:28.535
is Schindler\'s grave
in the real world.

00:37:28.668 --> 00:37:31.668
And they walk by,
and they each put a stone,

00:37:31.735 --> 00:37:37.301
because that is a ritual of Jews
when they visit the dead

00:37:37.401 --> 00:37:39.801
as a sign of respect.

00:37:41.535 --> 00:37:47.868
It is the greatest achievement
to be respected and remembered.

00:37:52.735 --> 00:37:57.101
Our greatest fear, I think,
is not death.

00:37:57.201 --> 00:37:58.934
It\'s impotence.

00:37:59.068 --> 00:38:02.634
It\'s powerlessness.

00:38:03.568 --> 00:38:08.268
It\'s discovering that we are --

00:38:08.401 --> 00:38:11.567
as we will discuss
in the next episode --

00:38:11.634 --> 00:38:13.001
trapped,

00:38:13.101 --> 00:38:18.901
that we don\'t have the power
to change our world,

00:38:18.968 --> 00:38:20.502
and it hurts.

00:38:20.602 --> 00:38:22.869
And one of the compensations

00:38:22.969 --> 00:38:28.268
that memorable popular films
give their audiences

00:38:28.401 --> 00:38:30.702
is a great gift,

00:38:30.802 --> 00:38:37.334
is the belief that
you don\'t have to be powerless.

00:38:38.134 --> 00:38:47.467
You can change your world
and your experience of life.