WEBVTT

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Obi-Wan Kenobi:
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

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that people keep going
back to 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\'re 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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One of the great mysteries
of human behavior,

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of living in a society,
is motivation.

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A word that comes
from the same root as \"motor\".

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What drives people?
What\'s the source of power?

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[ Shouts ]
[ Grunts ]

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Think of when people started
talking about your motivation.

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This may be one
of your earliest memories.

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Somebody,
often your father,

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your mother
or some pivotal figure

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said, \"Why did you do that?\"

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Or, \"Why did you do that?\"
\"Why didyoudo that?\"

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Kevin, get upstairs
right now.

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Why?

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It can be inflected
any way you want,

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but you learned
at a very young age

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that a question
about your motivation

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is not a search
for information.

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It\'s an accusation.

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Why did you
do that?!

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Why did you
do that?!

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Why did you
do this?

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But you don\'t have to ask
about motivation

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if you approve
of what somebody is doing.

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But we go
through our lives,

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we read about
serial killers,

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saying, \"Why did that
person do that?\"

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We don\'t know why,

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but motivation
is at the center of power

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when it comes
to human being,

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and yet who knows
what motivates human beings?

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All I want to do
is go the distance.

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Just once I want
to do something right!

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I want to live.

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Willard:
I wanted a mission,

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and for my sins,
they gave me one.

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What do you want?

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Motivation
reveals something

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that I think
is really crucial

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both to film
and characterization,

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but also to each of our lives
as we live it.

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The constant tension
between fate and destiny.

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If you look
in a dictionary,

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they will define fate
and use the word \"destiny\".

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And if you look
under destiny,

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you\'ll find they
define it as fate.

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So it\'s no help at all.

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We have to look to how people
actually live their lives

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and how they use
the language.

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Fate is how
tall you are,

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the color of your eyes,
the color of your skin,

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the gender you
identify with or are.

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You may not even be aware of it,
but you didn\'t choose it.

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In \"No Country
for Old Men,\"

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we see Javier Bardem\'s character
driving through a neighborhood

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unaware of what will happen
at the next intersection.

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If he died...

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we\'d say he was
in a fatal accident.

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\"Fatal.\"

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Well, must be
connected to fate.

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In American history,

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one of the
ideological things

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that caught hold
of American politicians

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and the American public

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was something called
\"manifest destiny\".

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\"Manifest\" simply means
\"self-evident\".

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It isn\'t \"manifest fate\".
It\'s \"manifest destiny\".

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Destiny is a choice.

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Destiny is a goal,

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and you have
to reach out and seize it.

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First, you\'ve got
to get mad!

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You\'ve got to say, \"I\'m a human
being, God damn it.\"

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\"My life has value.\"

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What we want
is demonstrated

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by the scene
in the middle of \"Network.\"

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I want you
to get up now.

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I want all of you
to get up out of your chairs.

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I want you to get up right now
and go to the window,

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open it and stick your head out
and yell, \"I\'m as mad as hell,

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\"and I\'m not going
to take this anymore!\"

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That\'s destiny.

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That\'s seizing control
of your destiny.

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That\'s refusing to continue
to be victimized.

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Just get up from
your chairs right now.

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Go to the window.
Woman: Where
are you going?

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I want to see
if anybody\'s yelling.

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I\'m mad as hell, and I\'m not
gonna take it anymore!

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I\'m mad as hell!
I\'m not gonna take it anymore!

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I\'m mad as hell,
and I\'m not...

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Suber: Boy, does that resonate
with all of us.

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We\'re mad as hell,

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and we wished
we could say,

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\"I\'m not going
to take it anymore.\"

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[ People shouting indistinctly ]

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[ Thunder cracking ]

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But that\'s the kind of thing
we go to movies to see --

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somebody reaching out

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and changing the world
they live in.

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Where the hell
have you been?

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I\'m talking
about all of us

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who face what fate
has given us.

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To the bathroom, sir.

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The bathroom?

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But who refused to
passively accept their fate.

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For 40 minutes
a day?

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What are you
doing there?

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Destiny is something
that requires you to act...

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There\'s no bathroom
for me here.

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...often in ways that are
unpleasant for other people.

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What do you mean there\'s no
bathroom for you here?

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There is no bathroom.

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There are no colored bathrooms
in this building

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or any building outside
the west campus,

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which is half
a mile away.

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Did you know that?

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I have to walk to Timbuktu
just to relieve myself.

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Skirt below my knees, my heels,
and a simple string of pearls.

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Well, I don\'t
own pearls.

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Lord knows you don\'t
pay coloreds enough

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to afford pearls.

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And I work like a dog
day and night,

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living off of coffee from a pot
none of you want to touch!

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I\'m not suggesting

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you can only be a hero
if you change the world

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in some way where
an entire society changes.

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When I talk about
changing the world,

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I really mean changing
your relationship to the world.

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There are films,
what I call costume dramas

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with comic book
characters,

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and they do
change the world.

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Hell, Superman
can move planet Earth

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to revolve
in the other direction.

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He\'s really
changing the world.

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I\'m not talking about
that kind of character.

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I\'m talking about people
who reach out

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and change their relationship
to the world.

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I want to do something big
and something important.

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George Bailey in
\"It\'s a Wonderful Life.\"

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I don\'t want one
for one night.

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I want something
for 1,001 nights,

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with plenty of room here for
labels from Italy and Baghdad,

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Samarkand...

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It begins
with George saying,

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\"I want to get out
of this burg.

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\"I want to be somebody.

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I want to be an architect
or an engineer.

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I want to build things,
I want to fly,

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et cetera, et cetera.

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But he stays in this little burg
that he wanted to get out of.

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George! George!

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[ Group exclaiming ]

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And it ends with perhaps
one of the most moving examples

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of the power
of community.

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Here you are, George.
Merry Christmas.

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But it\'s a small
community,

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and George has done
small things.

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He hasn\'t saved
the world,

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but he has saved the poor people
of his little town.

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And it\'s a major feat.

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So the scale of the change
is important to understand.

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W-A-T-E-R, water.

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It has a name.

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W-A-T...

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[ Glass breaks ]

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For example, Helen Keller
in \"The Miracle Worker\"

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is blind and deaf.

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[ Straining ]
W-Wa...

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The most powerful moment
in the film

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is when Anne Bancroft,

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whose character
is Anne Sullivan,

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traces on her palm
the word \"water\".

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Yes.

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[ Breathing heavily ]

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That\'s one of
the biggest triumphs

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that I remember
from all the films I\'ve seen.

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It\'s a little thing,

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and it doesn\'t go
outside of Helen Keller

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and her relationship
to Anne Sullivan,

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but it\'s truly lasting
and memorable.

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\"Lawrence of Arabia\"
is one of the few films

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in which the tension
between fate and destiny

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is out there
on the surface.

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It\'s referred to constantly
throughout the film.

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You are mad.

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To come to Aqaba
by land,

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we should have to cross
the Nefud Desert.

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That\'s right.

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The Nefud
cannot be crossed.

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I\'ll cross it
if you will.

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Lawrence is accused
of blasphemy

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because it is written
no man can go across the Nefud.

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The Nefud is the worst place
God created.

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I can\'t answer
for the place,

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only for myself.

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But he does it.

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And on the way,

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they notice that
Gasim is missing.

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We must go back.

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What for?
To die with Gasim?

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And he\'s told
it was written

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that Gasim would perish
out there in the desert.

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Gasim\'s time has come,
Lawrence.

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It is written.

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Lawrence:
Nothing is written.

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Go back, then!

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What did you
bring us here for,

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with your
blasphemous conceit?!

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Hey, English
blasphemer?

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Again, he is accused
of blasphemy because it\'s clear

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that the Arab culture
being depicted in the film

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is heavily
on the side of fate.

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But you will not
be at Aqaba!

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I shall be at Aqaba.

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That is written...

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in here.

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Where is it written?

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Somebody else
in a memorable popular film

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says that about an hour
into \"The Godfather,\"

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Michael Corleone is in a meeting
with his brother Sonny.

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Sonny, being the hothead,
wants to go after the tribe,

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and Michael
makes a proposal.

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You\'re going to search me
when I first meet them, right?

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He...

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Well, I can\'t have
a weapon on me, then.

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...should kill Sollozzo

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and McCluskey,
the crooked cop.

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But if Clemenza
can figure a way

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to have a weapon
planted there for me...

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then I\'ll kill \'em both.

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And Sonny pinches his cheek
and says, \"College boy,

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\"you think you\'re so big,
a big shot.

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\"You cannot kill a cop.\"

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And Michael\'s
sitting there and says...

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Where does it say
that you can\'t kill a cop?

00:12:46.734 --> 00:12:47.934
...\"where is it written?\"

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Come on, Mikey.
Tom, wait a minute.

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I\'m talking about a cop
that\'s mixed up in drugs.

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I\'m talking about
a -- a dishonest cop,

00:12:55.935 --> 00:12:57.901
a crooked cop who got
mixed up in the rackets

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and got what
was coming to him.

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That\'s a
terrific story.

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The hero has
certain requirements.

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The first one,
of course, is courage.

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They might like
a story like that.

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They might,
they just might.

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Michael has exhibited the
second requirement of the hero,

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which is defiance.

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Because anybody who says that
is being defiant of the rules,

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the laws, what people think
people have to do,

00:13:32.968 --> 00:13:36.101
and those people
who challenge

00:13:36.201 --> 00:13:38.934
what people tell them
they have to do...

00:13:39.001 --> 00:13:40.834
Madeleine:
Have you left?

00:13:40.968 --> 00:13:43.635
...are well on their way
to becoming heroes.

00:13:43.768 --> 00:13:49.134
No, um, I\'m not
going to make it.

00:13:49.268 --> 00:13:52.901
We see this clearly
when Daniel Craig\'s character

00:13:53.034 --> 00:13:56.567
at the end of the 25th
James Bond film

00:13:56.701 --> 00:13:58.201
\"No Time to Die,\"

00:13:58.335 --> 00:14:02.034
tells Léa Seydoux\'s
character, Madeleine,

00:14:02.168 --> 00:14:04.368
who is the mother
of his child,

00:14:04.502 --> 00:14:06.901
that he will not
leave the island

00:14:07.034 --> 00:14:09.501
that is about
to be bombed.

00:14:10.435 --> 00:14:13.502
I\'ve often wondered
why, in real life,

00:14:13.568 --> 00:14:19.735
people don\'t imitate movie
heroes more often than they do.

00:14:19.869 --> 00:14:24.367
And I think it\'s because
the hero is a scapegoat.

00:14:26.002 --> 00:14:33.001
The hero exists and becomes
a hero on behalf of society.

00:14:33.101 --> 00:14:38.001
But that\'s generally
paradoxical.

00:14:38.101 --> 00:14:40.033
Think of the ending
of \"High Noon.\"

00:14:42.502 --> 00:14:46.901
Gary Cooper, Will Kane,
has tried to get the support

00:14:47.034 --> 00:14:50.834
of a community
that betrays him.

00:14:50.934 --> 00:14:55.401
And so at exactly
high noon,

00:14:55.468 --> 00:14:59.467
he is forced to confront
Frank Miller and his gang

00:14:59.601 --> 00:15:01.235
all alone.

00:15:01.335 --> 00:15:05.368
Couldn\'t be a better example of
individualism in American film.

00:15:05.435 --> 00:15:10.101
This single individual
against these four bad dudes.

00:15:10.235 --> 00:15:14.301
But the conversation throughout
the film is about community.

00:15:14.435 --> 00:15:18.802
And what kind of community
is this going to be?

00:15:18.935 --> 00:15:23.235
And so Will Cain,
our sheriff, saves the town

00:15:23.301 --> 00:15:26.667
by plugging
these four guys dead.

00:15:31.767 --> 00:15:34.602
And then
what does he do?

00:15:34.735 --> 00:15:38.267
It\'s one of the most famous
endings in American film.

00:15:39.134 --> 00:15:43.068
The townspeople,
having been saved by Will Kane,

00:15:43.134 --> 00:15:46.368
now come out from
their hiding places --

00:15:46.435 --> 00:15:48.268
because they were
watching the gunfight,

00:15:48.401 --> 00:15:50.268
they just weren\'t
participating --

00:15:50.401 --> 00:15:55.001
and Will Kane takes
his badge off his chest

00:15:55.134 --> 00:15:57.767
and throws it
in the dirt

00:15:57.834 --> 00:16:00.768
and drives off
with his Quaker wife.

00:16:00.835 --> 00:16:05.968
Man: [ Singing ] ♪ Do not
forsake me, oh, my darling ♪

00:16:06.034 --> 00:16:07.868
[ Thunder rumbles ]

00:16:09.534 --> 00:16:11.701
Suber: \"Apocalypse Now.\"

00:16:13.168 --> 00:16:16.934
Willard, our main character,
played by Martin Sheen,

00:16:17.001 --> 00:16:19.368
fulfills his mission,

00:16:19.502 --> 00:16:22.968
which is to terminate --
with extreme prejudice --

00:16:23.068 --> 00:16:27.701
to kill Marlon Brando\'s
character, Kurtz.

00:16:39.734 --> 00:16:42.067
[ Whispering ]
The horror.

00:16:45.667 --> 00:16:47.300
The horror.

00:16:48.702 --> 00:16:50.802
Suber: After Willard
kills Kurtz,

00:16:50.869 --> 00:16:55.034
he comes out of the compound
in the jungle

00:16:55.134 --> 00:16:58.368
with the native people
gathered around,

00:16:58.468 --> 00:17:02.201
and he\'s got the machete
he\'s used to kill Kurtz

00:17:02.268 --> 00:17:03.300
in his hand.

00:17:06.802 --> 00:17:11.835
And it\'s clear by the way
the people bow down to him

00:17:11.902 --> 00:17:14.934
that this is a familiar
dramatic situation

00:17:15.068 --> 00:17:16.401
that Shakespeare used

00:17:16.535 --> 00:17:19.400
of \"the king is dead,
long live the king.\"

00:17:20.869 --> 00:17:27.034
And it\'s a wonderfully subtle
gesture which some people miss.

00:17:27.101 --> 00:17:32.367
Willard has that bloody
machete in his hand,

00:17:32.467 --> 00:17:34.834
and he drops it.

00:17:34.901 --> 00:17:36.934
[ Machete clinks ]

00:17:37.068 --> 00:17:40.435
And then Willard
goes through the crowd.

00:17:40.568 --> 00:17:46.801
The crowd parts to show
how powerful Willard is.

00:17:48.568 --> 00:17:52.368
And then we hear the metallic
clatter of the natives

00:17:52.468 --> 00:17:54.934
dropping their weapons,

00:17:55.034 --> 00:17:57.767
following his example.

00:17:57.868 --> 00:18:00.667
He came
in the name of war,

00:18:00.801 --> 00:18:05.468
and now he has
renounced the war.

00:18:05.602 --> 00:18:08.602
And he gets back on his boat
and he says...

00:18:08.668 --> 00:18:12.401
Willard: They were going
to make me a major for this,

00:18:12.468 --> 00:18:15.501
and I wasn\'t even in their
fucking army anymore.

00:18:18.868 --> 00:18:22.268
One more example --
\"Dirty Harry.\"

00:18:22.368 --> 00:18:26.268
Harry Callahan is a cop
in San Francisco

00:18:26.368 --> 00:18:31.101
who insists on pursuing
the Scorpio serial killer,

00:18:31.168 --> 00:18:33.301
even though the mayor,

00:18:33.435 --> 00:18:37.168
and therefore, the police chief
have ordered him not to.

00:18:37.301 --> 00:18:39.001
When are you people
going to stop messing around

00:18:39.134 --> 00:18:40.301
with this guy?

00:18:40.435 --> 00:18:41.767
He\'s got to be
stopped now.

00:18:41.834 --> 00:18:42.968
He\'s got
a busload of kids,

00:18:43.101 --> 00:18:45.301
and I can\'t take
that chance.

00:18:45.435 --> 00:18:48.235
I gave my word of honor on it,
and he will not be molested.

00:18:48.301 --> 00:18:50.467
And that\'s a direct order,
Callahan!

00:18:52.301 --> 00:18:55.335
Well, you can just get
yourself another delivery boy.

00:18:55.401 --> 00:19:00.367
Once again, heroic behavior
requires defiance.

00:19:02.534 --> 00:19:05.200
He corners the killer...

00:19:06.834 --> 00:19:07.834
kills him, of course...

00:19:07.934 --> 00:19:09.367
[ Chuckles ]

00:19:15.901 --> 00:19:18.401
...and once again,

00:19:18.535 --> 00:19:24.368
he takes his badge
and throws it into the water.

00:19:24.502 --> 00:19:28.468
And it\'s the same ending
as \"High Noon.\"

00:19:28.535 --> 00:19:31.901
When Harry Callahan,
Captain Willard,

00:19:32.034 --> 00:19:35.835
and Will Kane
leave the community,

00:19:35.902 --> 00:19:40.400
it\'s because what happens
is what usually happens

00:19:40.534 --> 00:19:42.635
in heroic tales --

00:19:42.702 --> 00:19:46.834
you get to be a hero
by being a killer.

00:19:46.934 --> 00:19:50.502
Once you have gotten rid
of the person

00:19:50.568 --> 00:19:53.368
the community wants you
to get rid of,

00:19:53.502 --> 00:19:56.535
maybe you\'ll kill
other people,

00:19:56.668 --> 00:20:02.834
and therefore, the story ends
with the exile of the hero.

00:20:02.934 --> 00:20:07.335
It served
society\'s needs

00:20:07.401 --> 00:20:12.835
to have you be the killer
and the scapegoat.

00:20:12.935 --> 00:20:18.267
But it also serves society\'s
needs that you leave.

00:20:21.268 --> 00:20:23.502
So I asked
the question,

00:20:23.568 --> 00:20:27.502
what does the hero get
for all this sacrifice

00:20:27.568 --> 00:20:33.335
and suffering
and angst and action?

00:20:33.401 --> 00:20:37.701
We will remember him
forever.

00:20:37.834 --> 00:20:39.434
[ Sighs happily ]

00:20:40.702 --> 00:20:45.068
In \"E.T.\", a story about
a boy and his pet alien,

00:20:45.201 --> 00:20:47.300
it\'s a love story...

00:20:47.367 --> 00:20:48.802
Ouch.

00:20:48.869 --> 00:20:53.934
...between this cute little
alien and this cute little boy,

00:20:54.068 --> 00:20:55.634
Elliot.

00:20:55.767 --> 00:20:56.634
Ouch.

00:21:05.668 --> 00:21:10.368
And so they\'re coming
to take him home.

00:21:10.435 --> 00:21:14.535
And you have this scene
with this alien

00:21:14.602 --> 00:21:18.068
who\'s learned to speak
perfect English really fast.

00:21:18.168 --> 00:21:22.535
It\'s one of a million
separation scenes

00:21:22.602 --> 00:21:25.435
that marks memorable
storytelling.

00:21:25.568 --> 00:21:30.934
And E.T. extends
his long finger

00:21:31.068 --> 00:21:32.267
and says...

00:21:33.968 --> 00:21:40.068
I\'ll be right here.

00:21:40.134 --> 00:21:42.801
What\'s here?

00:21:42.934 --> 00:21:44.567
Memory.

00:21:46.268 --> 00:21:51.401
To live in the memory
of your community

00:21:51.502 --> 00:21:56.502
is one of the greatest powers
a human being can have.

00:21:56.635 --> 00:21:59.468
And if the community
within the film

00:21:59.568 --> 00:22:03.168
is not likely to remember
the central characters,

00:22:03.301 --> 00:22:08.400
then the audience is not likely
to remember the film.

00:22:09.801 --> 00:22:13.668
The reason we don\'t
emulate heroes

00:22:13.802 --> 00:22:16.767
is because they don\'t
get anything that we see.

00:22:16.834 --> 00:22:18.668
[ Sobs quietly ]
Go...

00:22:18.802 --> 00:22:21.968
You\'re a hero
if you don\'t get something.

00:22:22.068 --> 00:22:23.869
Take your friends
and run.

00:22:24.002 --> 00:22:28.368
You\'re a hero if you sacrifice
for other people.

00:22:28.502 --> 00:22:31.502
Listen, you don\'t have
to fight anymore.

00:22:31.635 --> 00:22:37.802
The word \"sacrifice\" comes
from the same root as \"sacred.\"

00:22:37.869 --> 00:22:42.734
Sacrifice is often what
causes people to remember you.

00:22:45.368 --> 00:22:51.467
That is a destiny worthy
of being remembered.

00:22:55.968 --> 00:22:58.502
[ Shouting ]
Who are you?!

00:22:58.568 --> 00:23:04.702
\"Who are you?\" is what
a lot of films are about.

00:23:04.768 --> 00:23:11.368
\"Who are you?\"
is based upon this tension

00:23:11.468 --> 00:23:14.902
between fate and destiny.

00:23:15.035 --> 00:23:20.268
In \"Citizen Kane,\" you have
that long newsreel sequence

00:23:20.401 --> 00:23:23.735
that basically recapitulates
the whole plot

00:23:23.869 --> 00:23:27.201
we\'re about to see,
and the editor says...

00:23:27.268 --> 00:23:28.535
Man: All we saw
on that screen

00:23:28.602 --> 00:23:30.435
was that Charles
Foster Kane is dead.

00:23:30.568 --> 00:23:34.868
Who is Charles Foster Kane?
You got to find out who he is.

00:23:34.968 --> 00:23:37.034
It isn\'t enough
to tell us what a man did.

00:23:37.101 --> 00:23:38.868
You\'ve got to tell us
who he was.

00:23:38.934 --> 00:23:40.368
Man #2:
Needs that angle.

00:23:40.468 --> 00:23:43.368
Wait a minute --
what were Kane\'s last words?

00:23:43.435 --> 00:23:44.734
Do you
remember, boys?

00:23:44.868 --> 00:23:46.068
Huh? Yes.

00:23:46.201 --> 00:23:48.034
What were the last words
he said on Earth?

00:23:48.101 --> 00:23:49.868
Maybe he told us all
about himself on his deathbed.

00:23:49.968 --> 00:23:51.602
Yeah, and maybe he didn\'t.
Maybe it was --

00:23:51.735 --> 00:23:52.834
All we saw on that screen
was a big American.

00:23:52.968 --> 00:23:54.268
Man: One of the biggest.

00:23:54.335 --> 00:23:55.668
But how is he any
different from Ford,

00:23:55.802 --> 00:23:56.834
or Hearst, for that matter,
or John Doe?

00:23:56.968 --> 00:23:58.435
Yeah, sure.

00:23:58.502 --> 00:24:00.001
I tell you, Thompson,
a man\'s dying words --

00:24:00.134 --> 00:24:01.834
But where is he?
You don\'t read
the papers.

00:24:01.968 --> 00:24:03.101
Charles Foster Kane died.

00:24:03.201 --> 00:24:05.235
He said just one word --
\"rosebud.\"

00:24:05.301 --> 00:24:07.401
The search for the meaning
of \"rosebud\"

00:24:07.468 --> 00:24:10.335
is an attempt
to answer the question,

00:24:10.468 --> 00:24:13.435
who is Charles
Foster Kane?

00:24:13.535 --> 00:24:16.667
Who is this character?

00:24:18.301 --> 00:24:20.101
Charles Foster Kane
inherited

00:24:20.168 --> 00:24:23.101
one of the greatest
fortunes of all.

00:24:23.168 --> 00:24:25.300
That\'s his fate.

00:24:25.434 --> 00:24:27.101
But who was he?

00:24:27.201 --> 00:24:30.767
What\'s the relationship
to their fate

00:24:30.868 --> 00:24:35.168
and what they\'ve made
of their life?

00:24:35.301 --> 00:24:37.502
Well, that\'s what
that film is about.

00:24:37.635 --> 00:24:40.667
That\'s what \"Lawrence
of Arabia\" is about.

00:24:42.001 --> 00:24:43.301
What\'s up, man?

00:24:43.435 --> 00:24:46.168
That\'s what
\"Moonlight\" is about.

00:24:46.301 --> 00:24:49.401
You have one character
who has three names.

00:24:49.468 --> 00:24:54.001
Each name reflects a stage
in his development,

00:24:54.068 --> 00:24:56.401
so he begins as Little,

00:24:56.535 --> 00:24:58.667
and then
he becomes Chiron,

00:24:58.767 --> 00:25:01.235
and then he ends up
as Black.

00:25:01.368 --> 00:25:04.068
Those changes
in what he calls himself

00:25:04.201 --> 00:25:09.534
are manifestations
of the changes of his own power.

00:25:11.201 --> 00:25:15.201
Chiron and Kevin have a sexual
encounter on the beach,

00:25:15.335 --> 00:25:19.635
but then Chiron
is picked on by bullies,

00:25:19.702 --> 00:25:23.534
and they force Kevin
to beat Chiron up.

00:25:23.667 --> 00:25:25.001
Yo, Kev.

00:25:28.701 --> 00:25:30.901
Hit that nigga.

00:25:31.034 --> 00:25:32.335
Hit that nigga, Kev.

00:25:32.401 --> 00:25:34.367
Boy: Yeah,
hit his faggot ass.

00:25:35.368 --> 00:25:37.001
Fuck you waiting on?

00:25:37.068 --> 00:25:38.501
Do it.
Boy #2: Come on.

00:25:40.235 --> 00:25:41.834
Let\'s go.

00:25:45.368 --> 00:25:46.969
[ Kids exclaiming ]

00:25:47.035 --> 00:25:51.301
Suber: Chiron is really in pain,
not because of the beating,

00:25:51.368 --> 00:25:53.934
but just because
of the betrayal.

00:25:54.068 --> 00:25:57.201
But the next day,
he comes into school,

00:25:57.268 --> 00:26:00.067
and there\'s the bully.

00:26:12.101 --> 00:26:14.501
And he\'s arrested.

00:26:15.768 --> 00:26:20.068
He had seized control
of his situation.

00:26:20.168 --> 00:26:25.101
He had not turned in his lover
for beating him up,

00:26:25.235 --> 00:26:30.568
but he had whacked the guy
who put his lover up to it.

00:26:30.635 --> 00:26:34.034
What it got him
was his fate,

00:26:34.101 --> 00:26:36.635
which was to be
incarcerated

00:26:36.768 --> 00:26:40.568
and to move into the third phase
of his own evolution...

00:26:40.668 --> 00:26:42.568
[ Man shouting indistinctly ]
[ Panting ]

00:26:42.668 --> 00:26:46.901
Suber: ...where he ends up being
the character called Black.

00:26:46.968 --> 00:26:51.801
And his faith is now set
until it\'s not.

00:26:51.934 --> 00:26:55.768
Years later,
he comes to revisit Kevin,

00:26:55.835 --> 00:26:59.134
who\'s a much older person,
has gone on with his life,

00:26:59.201 --> 00:27:02.502
but he\'s never stopped
loving Kevin.

00:27:02.635 --> 00:27:06.134
Woman: ♪ It seems like
a mighty long time ♪

00:27:06.235 --> 00:27:10.168
The character who\'s called
Black has seized control

00:27:10.301 --> 00:27:13.634
of a part
of his own life --

00:27:13.701 --> 00:27:15.268
the person he loves

00:27:15.335 --> 00:27:19.667
and the kind of love
that he chooses to express.

00:27:21.201 --> 00:27:27.033
But it\'s been a long, tortuous
passage that he\'s gone through.

00:27:29.969 --> 00:27:37.301
Anyone caught between their fate
and their potential destiny

00:27:37.368 --> 00:27:39.667
is trapped.

00:27:40.701 --> 00:27:42.167
We\'re all trapped.

00:27:46.301 --> 00:27:52.001
We\'re trapped by bad jobs.
We\'re trapped in our schools.

00:27:52.134 --> 00:27:57.502
We\'re trapped, many of us,
in bad relationships.

00:27:57.568 --> 00:27:59.735
We\'re trapped
in our friendships,

00:27:59.869 --> 00:28:03.268
which often are accidents
of our lives,

00:28:03.401 --> 00:28:05.535
and as they go on,
we say,

00:28:05.635 --> 00:28:09.734
\"You know, I really can\'t stand
this person who\'s my friend.\"

00:28:11.702 --> 00:28:14.201
It\'s not just the hero
who\'s trapped.

00:28:14.301 --> 00:28:16.869
The villain is trapped.

00:28:16.935 --> 00:28:24.034
The Joker in \"The Dark Knight\"
is as trapped as Batman is.

00:28:24.101 --> 00:28:28.368
Norman Bates
in \"Psycho\" says...

00:28:28.435 --> 00:28:30.400
You know
what I think?

00:28:30.534 --> 00:28:34.034
I think that...

00:28:34.101 --> 00:28:39.335
we\'re all in our private traps,
clamped in them,

00:28:39.401 --> 00:28:41.702
and none of us
can ever get out.

00:28:41.802 --> 00:28:47.267
\"Trapped\" could be the title
of nearly all memorable films.

00:29:23.702 --> 00:29:25.768
Dave: Hello, HAL,
do you read me?

00:29:25.869 --> 00:29:29.634
Since we all know the feeling
of being trapped...

00:29:29.767 --> 00:29:30.634
Hello, HAL,
do you read me?

00:29:30.767 --> 00:29:31.934
...it resonates.

00:29:32.034 --> 00:29:34.468
HAL: Affirmative, Dave.
I read you.

00:29:34.602 --> 00:29:36.567
It can be in a minor
or a major scale,

00:29:36.634 --> 00:29:37.934
but it\'s not fun.

00:29:38.034 --> 00:29:40.167
Open the pod
bay doors, HAL.

00:29:41.134 --> 00:29:45.001
I\'m sorry, Dave.
I\'m afraid I can\'t do that.

00:29:46.934 --> 00:29:48.268
What\'s the problem?

00:29:48.368 --> 00:29:50.835
That\'s why, over and over
and over again,

00:29:50.969 --> 00:29:54.934
you could title the memorable
popular films \"Trapped\".

00:29:55.034 --> 00:29:58.101
But that\'s not
why people go.

00:29:58.201 --> 00:30:04.235
They know how universal
traps are in human existence.

00:30:04.301 --> 00:30:10.268
What they want to know is,
\"how do I get out of it?\"

00:30:10.368 --> 00:30:11.935
Ripley: [ Panting ]

00:30:12.002 --> 00:30:15.834
If ever there was a character
who clearly was trapped,

00:30:15.968 --> 00:30:18.101
it\'s Ripley in \"Alien.\"

00:30:18.201 --> 00:30:20.768
As we close in
on the ending of the film,

00:30:20.869 --> 00:30:24.133
it looks like Ripley
has killed the monster.

00:30:25.635 --> 00:30:29.502
And so she\'s able
to go into the pod,

00:30:29.635 --> 00:30:33.401
leaving the mothership
to be extinguished.

00:30:33.468 --> 00:30:36.300
And surprise, surprise...

00:30:36.434 --> 00:30:37.501
[ Screams ]

00:30:37.634 --> 00:30:39.834
...the monster reappears.

00:30:39.968 --> 00:30:41.934
She gets into
the spacesuit

00:30:42.034 --> 00:30:46.101
and she takes a
harpoon-like instrument.

00:30:46.201 --> 00:30:48.601
What is she going to do
with the harpoon?

00:30:48.667 --> 00:30:50.501
[ Breathing heavily ]

00:30:51.535 --> 00:30:54.601
So the monster
gets closer and closer.

00:30:55.567 --> 00:30:57.668
Boogie, boogie, boogie.

00:30:57.735 --> 00:31:02.300
And she opens
the pod bay door...

00:31:02.367 --> 00:31:04.033
[ Screams ]

00:31:07.201 --> 00:31:11.767
...takes the harpoon and
blasts it into the monster...

00:31:13.834 --> 00:31:16.401
who gets sucked
out of the ship.

00:31:16.535 --> 00:31:19.901
Without her seizing
the initiative,

00:31:20.034 --> 00:31:23.234
she was just going to be
yet another victim.

00:31:26.602 --> 00:31:29.169
Her seizing control
of her destiny

00:31:29.236 --> 00:31:33.834
is coming up with a bright idea,
literally standing on her feet,

00:31:33.934 --> 00:31:36.901
reacting to the crisis
of the moment.

00:31:40.602 --> 00:31:42.601
\"The Shawshank Redemption.\"

00:31:45.235 --> 00:31:48.901
And again, we don\'t come
just to see somebody trapped.

00:31:50.035 --> 00:31:54.834
We come to see somebody
find a way out of their trap.

00:31:57.101 --> 00:32:00.068
Whereas in real life,
not a lot of people

00:32:00.168 --> 00:32:02.234
manage to break
out of prison.

00:32:07.401 --> 00:32:08.702
But this is the film

00:32:08.768 --> 00:32:12.602
that totally depends
on our protagonist

00:32:12.735 --> 00:32:16.934
after 20-some years
getting freed.

00:32:17.068 --> 00:32:20.101
Red: Andy crawled to freedom
through 500 yards

00:32:20.235 --> 00:32:23.134
of shit-smelling foulness
I can\'t even imagine.

00:32:23.268 --> 00:32:24.968
Andy: [ Retches ]

00:32:25.101 --> 00:32:26.969
Or maybe
I just don\'t want to.

00:32:27.102 --> 00:32:31.434
Suber: He crawls to the outside
of the prison grounds...

00:32:31.567 --> 00:32:33.368
Red: 500 yards.

00:32:33.435 --> 00:32:35.634
Suber: ...and Andy gets out
and it\'s raining,

00:32:35.767 --> 00:32:37.734
and he goes like this.

00:32:41.235 --> 00:32:44.401
And takes in
this fresh water

00:32:44.468 --> 00:32:48.201
that\'s going to clean
all the filth out of his life.

00:32:48.268 --> 00:32:51.968
He has seized control
of his destiny.

00:32:52.101 --> 00:32:57.801
Lots of human beings
don\'t have that luxury.

00:32:57.901 --> 00:33:00.702
They can\'t
seize anything,

00:33:00.835 --> 00:33:04.668
because they are trapped
in their ethnicity,

00:33:04.802 --> 00:33:09.301
their economic station,
where they live.

00:33:09.368 --> 00:33:13.667
They\'re trapped by all kinds
of things outside themselves,

00:33:13.801 --> 00:33:16.134
but they can\'t move
beyond that.

00:33:16.201 --> 00:33:20.634
They have no opportunity
to seize control,

00:33:20.701 --> 00:33:24.635
to even imagine
a destiny,

00:33:24.702 --> 00:33:26.835
and that\'s always
been true.

00:33:26.969 --> 00:33:32.667
It\'s -- it\'s true today for
millions and millions of people

00:33:32.801 --> 00:33:34.834
who live on our planet.

00:33:34.968 --> 00:33:39.468
One of the reasons
American movies appeal

00:33:39.535 --> 00:33:41.968
to people
around the world

00:33:42.068 --> 00:33:49.968
is because we say over
and over and over again,

00:33:50.068 --> 00:33:54.502
\"Youcanseize control
of your destiny.

00:33:54.568 --> 00:33:57.701
\"You can fulfill
your dreams.

00:33:57.801 --> 00:34:00.868
\"What you have
to do is act.\"

00:34:00.968 --> 00:34:02.734
Let\'s go home.

00:34:02.868 --> 00:34:05.934
Fate, I imagine
as being a force

00:34:06.068 --> 00:34:09.201
that pushes you
from behind.

00:34:09.268 --> 00:34:13.401
You can\'t see it,
but you sure can feel it.

00:34:13.535 --> 00:34:17.201
And you can\'t resist it
because it\'s in back of you.

00:34:17.301 --> 00:34:23.035
Destiny is something
that requires you to act.

00:34:23.135 --> 00:34:27.768
The ending of the film tells us
whether this has been a story

00:34:27.902 --> 00:34:31.767
about the power of fate
or the power of destiny.

00:34:38.368 --> 00:34:41.934
Let\'s take \"Butch Cassidy
and the Sundance Kid,\"

00:34:42.068 --> 00:34:45.701
one of the most popular teams
in film history.

00:34:45.801 --> 00:34:47.235
But how does it end?

00:34:47.368 --> 00:34:49.868
Well, from early
in the film,

00:34:49.968 --> 00:34:52.235
after they commit
a bank robbery,

00:34:52.368 --> 00:34:55.401
they\'re being chased
by a posse.

00:34:55.468 --> 00:34:56.767
We get to the end.

00:34:56.868 --> 00:34:59.235
They\'ve hightailed it
out to Bolivia.

00:34:59.301 --> 00:35:00.934
They think
they\'ve escaped.

00:35:01.034 --> 00:35:02.934
When we get
outside...

00:35:03.034 --> 00:35:05.934
And then they\'re caught
inside this building,

00:35:06.034 --> 00:35:09.735
surrounded by
the Bolivian military,

00:35:09.802 --> 00:35:12.467
with guns aimed
in their direction.

00:35:12.601 --> 00:35:14.934
[ Both panting ]

00:35:15.034 --> 00:35:18.100
So they come out
with their guns blazing...

00:35:21.034 --> 00:35:24.435
there\'s a hail
of gunfire,

00:35:24.535 --> 00:35:29.834
and the film turns
to sepia color to distance us,

00:35:29.968 --> 00:35:33.434
to say, this is now
a snapshot.

00:35:33.534 --> 00:35:35.667
A moment in time.

00:35:35.801 --> 00:35:37.501
A memory.

00:35:42.634 --> 00:35:44.801
We all die.

00:35:44.934 --> 00:35:46.968
We all know that.

00:35:47.101 --> 00:35:50.134
Death in itself
is a natural part of life.

00:35:50.268 --> 00:35:52.502
We all know that,
at least intellectually,

00:35:52.635 --> 00:35:57.367
however much we may struggle
to reconcile that.

00:35:58.502 --> 00:36:02.635
But people
can transcend death

00:36:02.702 --> 00:36:08.667
if their death is,
first of all, a choice.

00:36:11.901 --> 00:36:15.168
And secondly
if it is a choice

00:36:15.268 --> 00:36:21.201
made on behalf
of something higher.

00:36:21.335 --> 00:36:23.168
I\'m not going
to hurt you, okay?

00:36:23.235 --> 00:36:25.068
I just want to kiss you,
all right?

00:36:25.201 --> 00:36:27.901
No, no.Come on.
Come on.

00:36:28.034 --> 00:36:29.368
Throughout
\"Thelma & Louise,\"

00:36:29.502 --> 00:36:31.835
you have all these
despicable males

00:36:31.935 --> 00:36:37.234
who somehow Thelma and/or
Louise manage to overpower.

00:36:37.367 --> 00:36:38.535
God damn!

00:36:38.668 --> 00:36:40.667
I don\'t think
he\'s going to apologize.

00:36:40.734 --> 00:36:41.834
Nah, I don\'t think so.

00:36:41.901 --> 00:36:43.868
These are strong women.

00:36:44.001 --> 00:36:45.567
[ Screams ]

00:36:47.502 --> 00:36:50.134
When it comes
to the climactic scene,

00:36:50.201 --> 00:36:54.602
and they\'re surrounded
by all these police cars,

00:36:54.735 --> 00:36:58.501
and they all converge
at the edge of the Grand Canyon.

00:37:00.834 --> 00:37:04.068
So what do they do?

00:37:04.134 --> 00:37:05.735
They grab
each other\'s hands

00:37:05.802 --> 00:37:11.034
and they smile
as they plunge off the cliff.

00:37:11.101 --> 00:37:14.501
And you have
this freeze frame...

00:37:17.101 --> 00:37:19.802
locking the full
realization

00:37:19.935 --> 00:37:24.100
that, of course, they\'re going
to be squashed way down there.

00:37:27.601 --> 00:37:29.435
Are they free?

00:37:29.568 --> 00:37:31.701
Well, of course
they\'re free.

00:37:31.767 --> 00:37:37.468
They chose
their destiny.

00:37:37.602 --> 00:37:42.901
It\'s the only choice they have
under the circumstances

00:37:43.001 --> 00:37:45.934
because they don\'t want
to go to prison.

00:37:46.068 --> 00:37:48.034
They don\'t want
to continue to be

00:37:48.101 --> 00:37:54.268
under the thumb
of these bastards.

00:37:54.335 --> 00:38:00.134
And the only way to escape
is to free yourself,

00:38:00.235 --> 00:38:02.501
even if you happen
to die.

00:38:04.502 --> 00:38:08.301
You might call those endings
bittersweet,

00:38:08.401 --> 00:38:10.535
which is to say,
they\'re not tragic.

00:38:10.668 --> 00:38:14.968
\"Bittersweet\"
is a paradoxical word.

00:38:15.034 --> 00:38:17.534
For the films that stick
in your mind...

00:38:17.667 --> 00:38:18.667
Hey!

00:38:18.801 --> 00:38:22.435
...ask yourself...

00:38:22.502 --> 00:38:26.168
is this a happy ending
for the hero,

00:38:26.301 --> 00:38:28.468
or is this
a Pyrrhic victory?

00:38:28.568 --> 00:38:36.034
Or is this actually a case
of winning a battle

00:38:36.168 --> 00:38:38.434
but losing a war?

00:38:46.168 --> 00:38:48.468
As we will see
as we go along,

00:38:48.568 --> 00:38:53.168
one of the powers
of so many memorable films

00:38:53.235 --> 00:38:56.235
is their built-in
paradox.

00:38:56.368 --> 00:38:58.367
I think I have
to talk to you.

00:38:58.434 --> 00:38:59.535
Ah.

00:38:59.602 --> 00:39:01.702
I saved my first drink
to have with you.

00:39:01.768 --> 00:39:06.268
We\'re not able to resolve
the paradoxes,

00:39:06.401 --> 00:39:09.834
and therefore, the films
just keep churning around

00:39:09.901 --> 00:39:11.201
in our mind.

00:39:11.268 --> 00:39:13.667
If it\'s churning around
in our mind,

00:39:13.734 --> 00:39:17.168
we\'re remembering
the film.

00:39:17.235 --> 00:39:18.902
I heard
a story once.

00:39:19.035 --> 00:39:20.934
As a matter of fact, I\'ve heard
a lot of stories in my time.

00:39:21.068 --> 00:39:22.835
And so it\'s not
a coincidence

00:39:22.902 --> 00:39:28.368
that the memorable films
themselves invoke memories,

00:39:28.435 --> 00:39:31.735
memories that
are never quite clear.

00:39:31.869 --> 00:39:33.767
Richard, Victor thinks
I\'m leaving with him.

00:39:33.901 --> 00:39:35.368
Haven\'t you
told him?
No, not yet.

00:39:35.468 --> 00:39:36.734
But it\'s all right,
isn\'t it?

00:39:36.868 --> 00:39:38.702
You were able
to arrange everything.

00:39:38.768 --> 00:39:40.401
Everything is quite all right.
We\'ll tell him at the airport.

00:39:40.535 --> 00:39:41.868
The less time to think,
the easier for all of us.

00:39:41.968 --> 00:39:43.701
Please trust me.

00:39:43.767 --> 00:39:45.868
So you\'re never
quite sure...

00:39:45.968 --> 00:39:47.335
Yes, I will.

00:39:47.401 --> 00:39:51.201
...is the ending of \"Casablanca\"
a happy ending?

00:39:51.301 --> 00:39:55.201
It\'s clear that
the only thing in life

00:39:55.268 --> 00:40:00.168
that Rick Blaine
has ever loved is Ilsa Lund.

00:40:00.235 --> 00:40:02.702
And this is
a romantic triangle

00:40:02.768 --> 00:40:06.768
in which Ilsa is married
to Victor Laszlo,

00:40:06.902 --> 00:40:12.434
but we know, and she knows,
that she really loves Rick.

00:40:13.468 --> 00:40:17.401
In the end, we think,
and Ilsa thinks,

00:40:17.535 --> 00:40:21.101
that Rick and Ilsa
are going to get on that plane

00:40:21.235 --> 00:40:23.535
bound for Lisbon
and freedom.

00:40:23.635 --> 00:40:26.902
But at the airport,
Rick insists

00:40:27.035 --> 00:40:29.835
that the letters of transit
should be written out...

00:40:29.902 --> 00:40:33.068
...in the names of
Mr. and Mrs. Victor Laszlo.

00:40:33.201 --> 00:40:36.568
And she\'s surprised
as we are.

00:40:36.702 --> 00:40:38.935
Inside of us, we both know
you belong with Victor.

00:40:39.069 --> 00:40:41.401
You\'re part of his work,
the thing that keeps him going.

00:40:41.535 --> 00:40:43.767
If that plane leaves the ground
and you\'re not with him,

00:40:43.901 --> 00:40:45.201
you\'ll regret it.

00:40:45.301 --> 00:40:47.034
Maybe not today,
maybe not tomorrow, but soon

00:40:47.101 --> 00:40:49.168
and for the rest
of your life.

00:40:49.235 --> 00:40:51.268
But what about us?

00:40:51.401 --> 00:40:52.869
We\'ll always
have Paris.

00:40:52.935 --> 00:40:59.134
Rick sacrifices the thing
he loves most in life,

00:40:59.268 --> 00:41:03.101
and he sends her off
with the other guy.

00:41:03.168 --> 00:41:05.501
Here\'s looking
at you, kid.

00:41:07.801 --> 00:41:11.200
And we call that
a great love story.

00:41:12.668 --> 00:41:17.802
But if Rick and Ilsa
go off together in the fog,

00:41:17.935 --> 00:41:20.268
I don\'t think it would be
a memorable film.

00:41:20.368 --> 00:41:24.435
The fact they don\'t go off is a
master stroke of screenwriting

00:41:24.535 --> 00:41:28.435
because it\'s not the way
we thought it was going to end,

00:41:28.535 --> 00:41:30.467
and yet it makes sense.

00:41:32.969 --> 00:41:36.634
Let\'s take another great
love story, \"The Graduate.\"

00:41:36.767 --> 00:41:39.301
Again, it has
a famous ending.

00:41:39.435 --> 00:41:42.401
Benjamin Braddock,
Dustin Hoffman,

00:41:42.468 --> 00:41:45.134
races frantically
to the church

00:41:45.268 --> 00:41:49.634
to rescue Elaine,
his great love.

00:41:50.968 --> 00:41:53.702
Don\'t ask me what
Elaine sees in Benjamin,

00:41:53.835 --> 00:41:56.901
but you take that as the premise
of the love story.

00:41:57.034 --> 00:41:58.534
[ Shouting ] Elaine!

00:41:59.868 --> 00:42:02.034
Elaine!

00:42:02.168 --> 00:42:03.502
Elaine!

00:42:03.568 --> 00:42:04.968
Man: Who is that guy?
What is he doing?

00:42:05.034 --> 00:42:06.301
Elaine!

00:42:06.368 --> 00:42:08.502
He pounds on the window
of the church

00:42:08.568 --> 00:42:12.434
and repeats Elaine\'s name,
I don\'t know, 32 times.

00:42:13.735 --> 00:42:17.868
They escape
and they jump on a bus.

00:42:18.001 --> 00:42:19.635
Oh, what a happy ending.

00:42:19.702 --> 00:42:25.334
Two lovers have reunited and are
going off into the brave future.

00:42:27.335 --> 00:42:33.068
But after the excitement
of rescuing Elaine

00:42:33.201 --> 00:42:34.901
from a fate worse
than death,

00:42:35.034 --> 00:42:38.535
Benjamin and Elaine
sit in the back of the bus

00:42:38.668 --> 00:42:43.168
and they look at each other
once and smile.

00:42:43.235 --> 00:42:45.734
And then they look
straight ahead.

00:42:49.102 --> 00:42:53.435
Simon & Garfunkel: ♪ Hello,
darkness, my old friend ♪

00:42:53.568 --> 00:42:56.535
♪ I\'ve come to talk
with you again ♪

00:42:56.602 --> 00:43:00.201
Suber: And over the soundtrack,
we hear Simon & Garfunkel

00:43:00.268 --> 00:43:05.235
reprising a tune that we heard
at the beginning of the movie.

00:43:05.301 --> 00:43:07.602
If this is a great
love story,

00:43:07.735 --> 00:43:13.401
why are Simon & Garfunkel
talking about darkness?

00:43:13.502 --> 00:43:15.568
Simon & Garfunkel:
♪ ...still remains ♪

00:43:15.668 --> 00:43:18.201
Suber: Mike Nichols
was asked in an interview

00:43:18.268 --> 00:43:20.301
shortly after
the film came out,

00:43:20.435 --> 00:43:23.435
what happens
to Ben and Elaine?

00:43:23.568 --> 00:43:26.767
He said, \"They become
like their parents.\"

00:43:30.268 --> 00:43:32.401
One can look upon this

00:43:32.468 --> 00:43:36.701
as that bus taking them
to their destiny

00:43:36.767 --> 00:43:39.400
or as a fulfillment
of fate.

00:43:41.934 --> 00:43:45.234
The choice is left
to the audience.