WEBVTT

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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
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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We don\'t go to movies
just to see the world,

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we go to see a just world

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where things work out the way
we wished they would.

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Oh!

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They are projections
of our desires,

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often our most deep-seated

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and perhaps even
private desires.

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If only the world we lived in
ended with as much justice

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as most memorable popular films,

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we wouldn\'t have
to go to movies.

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Movies are a compensation
for what we don\'t get

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in the real world.

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People who disdain American film

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frequently say,
\"Eh, it\'s nothing but escapism.\"

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Yes, it\'s a form of escapism.

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That wasn\'t so bad,
was it?!

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[ All screaming ]

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It\'s a form
of compensation.

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But people are not
escaping from.

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They are escaping to.

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They are escaping
from the lives

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they experience
on a day-to-day basis,

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to a world where people don\'t
just stand up to the villain...

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[ Gunshot ]
...they standforsomething.

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The principal character...

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Get down.
...in the vast majority

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of memorable films
is a principled human being.

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They standforsomething.

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Let\'s turn to villains.

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The word \"villain\" originally
came from the same root

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as \"village\" or \"a villager,\"
and it was the term aristocrats

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applied to the peasants
who lived on the land,

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and it revealed
the social biases

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of the aristocrats
versus the farmers,

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a tension that continues
in our own time

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between people
who live in a city

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and people who live
in the country,

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and each finds ways
to demean the other.

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And you be careful
out among the English.

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Now, everybody knows
there\'s a lot of violence

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in popular films.

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Everybody knows that villains
have a tendency to kill people.

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[ Muffled shouting ]

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Well, so do heroes.

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So if they both kill people,

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what\'s the difference between
the hero and the villain?

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Well, the villain kills
for his own personal pleasure,

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his own self-aggrandizement,

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because killing gives him power
over other people,

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maybe the power
of the person he killed.

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The hero kills people
on behalf of society.

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The hero may kill people, but in
the role of an executioner.

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It\'s not the personal
self-satisfaction

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that leads the hero
to kill somebody.

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A hero doesn\'t get anything
except the satisfaction

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of knowing he did something
for a higher purpose

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than just killing people
for your own benefit.

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I\'ve heard about you.

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In the classic Western
\"Shane\"...

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What have you heard,
Shane?

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...our hero
kills the villain

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not for something
he gets out of it...

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I\'ve heard that you\'re
a lowdown Yankee liar.

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...but because it helps young
Joey and his family survive.

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[ Doorbell rings ]

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Uma Thurman,
the bride in \"Kill Bill,\"

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extracts carnage
over a lot of people in revenge

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for the fact that she lost
her baby at her own wedding.

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[ Dramatic music plays ]

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Quentin Tarantino seems
really attracted to revenge

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as opposed to justice,

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because besides \"Kill Bill,\"
he made \"Inglorious Basterds\"...

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We\'re gonna be doing
one thing and one thing only.

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Killing Nazis.

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Suber: ...and he made
\"Django Unchained\"...

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Django!

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You uppity son of a --

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...in all of which revenge
is the center of the story.

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It\'s what Tarantino
obviously thinks is fun.

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In real life, we\'re not
supposed to seek revenge.

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The court systems and the laws

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of the vast majority
of countries prohibit revenge.

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Somebody does something
to your wife or children,

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you are not allowed to pick up
a gun and go shoot them dead.

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Somebody else does that.

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I\'ll see you in hell,
William Munny.

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[ Gun cocks ]

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As banned as revenge is
in modern life,

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boy, it\'s alive
and well in movies.

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Most people know the terms
\"protagonist\" and \"antagonist,\"

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and they equate them very often
with \"hero\" and \"villain.\"

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But the word \"protagonist\"
does not mean somebody

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who is for something.

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A protagonist in Greek drama
was simply the first actor.

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The antagonist, who many people
think is the villain,

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comes from the Greek word
\"agon,\"

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which simply means \"game.\"

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[ Crowd cheering ]
Snow: Happy Hunger Games!

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Suber:
It\'s a game we\'re playing.

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The idea that the hero
should be proactive,

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to use
a currently popular term,

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is not borne out
by memorable popular films.

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What we see in memorable popular
films are reluctant heroes.

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Scottie, I need a friend,
someone I can trust.

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I\'m in a panic about this.

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I\'m supposed to be retired.

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I don\'t want to get mixed up
in this darn thing.

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Jimmy Stewart in \"Vertigo\"
is asked by his old buddy

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to follow his wife

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because she\'s gone
kind of strange.

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And so we get a character
whose initial response is,

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\"I don\'t want to
play this game.

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I don\'t want to get involved
in this \'agon.\'\"

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As has probably occurred to you.

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\"agon\" is the root
behind \"agony,\"

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and it refers to the struggle.

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And who wants that?

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We got enough struggle.
We got enough agony.

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Why would you volunteer
for more?

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So the hero
has to be seduced

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into being a hero,
and that takes time.

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As I discussed earlier,
a lot of heroes are reluctant.

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Chief Brody in \"Jaws.\"

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Lieutenant Daniel Kaffee --
Tom Cruise --

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in \"A Few Good Men.\"

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Logan -- Hugh Jackman.

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Hey, I got you here.
That\'s all I signed up for.

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Neo...

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No, wait.
This is crazy.

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...Keanu Reeves\'s character

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who becomes the chosen one
in \"The Matrix.\"

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It\'s a game we\'re playing.
An \"agon.\"

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And part of the game is,
the hero is genuinely reluctant.

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Anybody who volunteers
to be a hero

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needs to have
their head examined,

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because, by definition,
a hero suffers and sacrifices

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and gets nothing commensurate
with the suffering

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and sacrifice at the end

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that leads you to say,
\"That looks cool.

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I guess I\'ll try that.\"

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I want you out of here
right quick!

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Heroes are defined
by sacrifice.

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No sane person volunteers
to be a hero.

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But...

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Most important word
in storytelling.

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But...

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[ Indistinct shouting ]

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...if there\'s
a house on fire

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and there\'s a woman screaming,
\"Help! Help! Save my baby!\"...

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Where are you going?!

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...and you\'re
one of those people

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who rushes
into the burning building

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and pulls the baby out,

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you\'re going to be
on television that night,

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and they\'re going
to call you a hero.

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[ Crying ]

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That\'s a circumstantial hero --

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somebody who doesn\'t think
about the danger

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of that fire and rushes in.

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It\'s probable they will never
perform another heroic act.

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A circumstantial hero
can be contrasted

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to what I would call
a professional hero.

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They\'re professionals.
Their job is to rescue people.

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Their job is to be a savior.
And they don\'t hang around.

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They fly away before
the press can get to them

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so they don\'t have to say,
\"I was just doing my job,\"

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but they are just
doing their job.

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They are professional heroes.
That\'s their work life.

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I\'ve been kind of busy
for a while.

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And they have the same
trouble everybody else has

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in balancing work
and a love life,

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and that\'s one of the reasons
it\'s difficult to name

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the son or daughter
of a professional hero.

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Hey!
They don\'t have time for that.

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They\'re out rescuing people.

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Listen, there\'s something
I have to do.

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I\'ll see you later.

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Many of us are obsessed
with finding heroes.

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So, in politics
we look for heroic figures

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to become our governors,
presidents, senators, et cetera.

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and then we crucify them
once they\'re in office

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and turn to look
for another hero.

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Similar to the process
that goes on

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in \"The Dark Knight.\"

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Batman has been Gotham\'s hero
forever, it appears,

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but now
they turn against him.

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The Batman is an outlaw.

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But that\'s not why we\'re
demanding he turn himself in.

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We\'re doing it
because we\'re scared.

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But it\'s clear
that Batman now,

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because he\'s
a professional hero,

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has to act on behalf of what
the people of Gotham want

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and become the scapegoat
for their anger

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and for their rejection.

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The hero is a scapegoat.

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A scapegoat
was literally a goat --

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it\'s in the Old Testament --

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and is cast out into the desert,
presumably to die.

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And they magically
carry the sins

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of human beings
on their backs.

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The community is sacrificing
its most valuable member.

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So again I ask the question,
what does the hero get?

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What the hero often does get
is redemption.

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Stop it!

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Bill Murray,
throughout most of the film

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\"Groundhog Day,\"
is a not-very-nice narcissist,

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but he redeems himself
when he comes back

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for the umpteenth time
on Groundhog Day

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because he\'s learned
how to be a decent human being.

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I don\'t know what to say.

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I do.

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No matter
what happens tomorrow

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or for the rest of my life,
I\'m happy now.

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Because I love you.

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I think I\'m happy too.

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And that gives
the audience hope

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that, \"Whatever it is I\'ve done,

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I can redeem myself
in some way.\"

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If you say one word to Mother,
I won\'t eat a bite.

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The racism
in \"Gone with the Wind\"

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makes it difficult
to talk about today,

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but it was the most
commercially successful film

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in American history
when we adjust for inflation.

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Keep your shawl on.

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But how does it end?

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Gable is at the doorway
of the mansion he\'s built,

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telling his wife.

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I\'m going to Charleston,
back where I belong.

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And Scarlett, turning on

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all her seductive vulnerability,
says...

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[ Crying ] Where shall I go?
What shall I do?

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And one of
the most famous lines...

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Frankly, my dear,
I don\'t give a damn.

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Ahh.
Some love affair.

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[ Sobbing ]

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Suber:
When people tell the truth,

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it\'s often the most
memorable line of the film.

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[ Indistinct conversations,
piano music playing ]

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Fasten your seat belts.

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It\'s going to be
a bumpy night.

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Villains often
are truth tellers.

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John Huston\'s character,
Noah Cross,

00:15:04.368 --> 00:15:06.635
the villain in \"Chinatown,\"

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has lunch with
Jack Nicholson\'s character,

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Jake Gittes, and he says...

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You got a nasty reputation,
Mr. Gittes.

00:15:15.601 --> 00:15:17.235
I like that.

00:15:17.301 --> 00:15:18.735
Thanks.

00:15:18.802 --> 00:15:25.267
The audience, I think,
smiles at this truth.

00:15:27.668 --> 00:15:29.767
While we\'re talking
about Chinatown,

00:15:29.868 --> 00:15:33.068
let\'s talk about wounds.

00:15:33.134 --> 00:15:39.268
A wound is often a badge.
A badge of courage.

00:15:39.368 --> 00:15:43.435
Jack Nicholson with
that bandage looks absurd,

00:15:43.535 --> 00:15:45.101
but that\'s part of the point.

00:15:45.201 --> 00:15:47.335
In \"Grapes of Wrath,\"

00:15:47.335 --> 00:15:49.701
Tom Joad becomes friends
with Casy...

00:15:49.767 --> 00:15:50.868
Casy.

00:15:51.001 --> 00:15:53.335
Well, if it ain\'t Tom Joad.
Hiya, boy.

00:15:53.401 --> 00:15:57.568
...who\'s a kind of self-ordained
minister or pastor.

00:15:57.702 --> 00:16:00.201
Casy is with
a number of people

00:16:00.268 --> 00:16:04.635
who\'ve been evicted
from their homes under a bridge.

00:16:04.735 --> 00:16:08.468
And the cops are looking
for people

00:16:08.568 --> 00:16:11.468
who have been evicted
but refuse to go.

00:16:11.568 --> 00:16:13.567
Listen, you fellas! You don\'t
know what you\'re doing!

00:16:13.701 --> 00:16:15.034
You\'re helping
to starve kids!

00:16:15.101 --> 00:16:17.567
Ah, shut up,
you dirty --
Casy!

00:16:18.668 --> 00:16:21.868
You\'ve killed him!
Serves him right, too.

00:16:22.001 --> 00:16:23.368
Look out!

00:16:23.502 --> 00:16:27.635
In the act
of trying to save Casy,

00:16:27.735 --> 00:16:30.868
Tom gets a terrible gash
on his head.

00:16:30.934 --> 00:16:35.834
That gash remains
on Henry Fonda\'s face

00:16:35.901 --> 00:16:37.502
for the rest of the film.

00:16:37.568 --> 00:16:41.401
His wound is a mark
of his heroism.

00:16:41.535 --> 00:16:44.501
Like a lot of heroes.

00:16:50.135 --> 00:16:56.201
We have in our time a pretty
sophisticated sense of heroism.

00:16:56.301 --> 00:17:02.701
We have a very simplistic
sense of villains.

00:17:02.801 --> 00:17:06.134
Villains are people
who do bad.

00:17:06.268 --> 00:17:07.701
Is it safe?

00:17:07.801 --> 00:17:09.701
Please...

00:17:09.801 --> 00:17:12.101
[ Inhales sharply ]
Please stop.

00:17:12.168 --> 00:17:19.468
And yet some of the most
interesting characters in films

00:17:19.602 --> 00:17:23.102
have been not the heroes,
but the villains.

00:17:23.169 --> 00:17:30.567
Heroes can be boring because
they have to act like heroes.

00:17:30.634 --> 00:17:32.968
A hero is predictable.

00:17:33.101 --> 00:17:36.968
If he is passing
by a burning house,

00:17:37.101 --> 00:17:42.601
he has to go in
and save the people within.

00:17:42.734 --> 00:17:44.034
Not the villain.

00:17:44.134 --> 00:17:46.368
The villain is the one

00:17:46.502 --> 00:17:51.435
who can constantly
surprise us, like the Joker,

00:17:51.535 --> 00:17:56.001
constantly do outrageous things
that the hero can\'t do.

00:17:56.134 --> 00:17:58.567
Would you hold still,
please?

00:18:01.868 --> 00:18:05.134
The hero is the one
who brings order,

00:18:05.201 --> 00:18:07.435
because that\'s
what heroes do.

00:18:07.535 --> 00:18:12.133
And the villain brings chaos
because that\'s what villains do.

00:18:14.368 --> 00:18:17.869
People tend to think that
the protagonist --

00:18:18.002 --> 00:18:22.001
since they think it comes
from beingforsomething --

00:18:22.068 --> 00:18:26.400
the protagonist
is trying to exert his power.

00:18:28.468 --> 00:18:30.034
Can we get a minute,
people, please?

00:18:30.168 --> 00:18:33.034
That is usually wrong.

00:18:33.168 --> 00:18:34.335
Him again.

00:18:34.468 --> 00:18:36.034
It is the villain

00:18:36.168 --> 00:18:39.502
who wants
to produce change.

00:18:39.568 --> 00:18:42.468
In \"The Dark Knight,\"
Michael Caine\'s character,

00:18:42.535 --> 00:18:45.702
Alfred the butler,
is talking about motivation,

00:18:45.835 --> 00:18:48.568
specifically about
the Joker\'s motivation.

00:18:48.635 --> 00:18:51.567
Some men aren\'t looking
for anything logical,

00:18:51.634 --> 00:18:53.001
like money.

00:18:53.101 --> 00:18:55.534
They can\'t be bought, bullied,
reasoned,

00:18:55.601 --> 00:18:57.502
or negotiated with.

00:18:57.602 --> 00:19:00.869
Some men just want
to watch the world burn.

00:19:00.869 --> 00:19:05.201
It is the villain who will
change the nature of society.

00:19:05.301 --> 00:19:08.235
This town deserves
a better class of criminal

00:19:08.368 --> 00:19:10.335
and I\'m gonna
give it to them.

00:19:10.435 --> 00:19:14.567
This goes way back
to the granddaddy of all drama,

00:19:14.701 --> 00:19:16.335
\"Oedipus Rex.\"

00:19:16.401 --> 00:19:20.568
There is a plague upon the land.
The crops are dying.

00:19:20.702 --> 00:19:23.034
The women have stopped
bearing children.

00:19:23.134 --> 00:19:25.102
What does that mean?

00:19:25.202 --> 00:19:33.768
It means our tribe, our society,
our social existence will die.

00:19:33.869 --> 00:19:37.502
Woman:Diego Ricardo, the
youngest person on the planet,

00:19:37.602 --> 00:19:41.034
was 18 years, 4 months...

00:19:41.134 --> 00:19:43.368
A concept that
could be applied

00:19:43.468 --> 00:19:47.935
to an enormous number
of dramatic works.

00:19:48.035 --> 00:19:51.667
The plague can manifest itself
in many different ways.

00:19:51.767 --> 00:19:53.701
It can be a serial killer.

00:19:55.802 --> 00:19:58.734
We have several films
about a disease

00:19:58.868 --> 00:20:01.235
that threatens
to wipe out humanity.

00:20:01.368 --> 00:20:02.668
[ Screaming ]

00:20:02.735 --> 00:20:05.502
It can be anything
that you call \"it.\"

00:20:05.602 --> 00:20:08.001
Well, there\'s even
one called \"It.\"

00:20:08.068 --> 00:20:12.335
In horror films,
the outside force

00:20:12.401 --> 00:20:17.001
comes into our peaceful
and cooperative community,

00:20:17.101 --> 00:20:19.535
where people are nice
to each other

00:20:19.635 --> 00:20:23.067
and threatens
to destroy the community.

00:20:25.301 --> 00:20:28.701
Death always lurks someplace,

00:20:28.801 --> 00:20:31.735
and the hero has the job --

00:20:31.869 --> 00:20:36.101
from \"Oedipus Rex\"
onward to our own day...

00:20:36.201 --> 00:20:39.502
I take back every bit
of energy I gave you.

00:20:39.602 --> 00:20:44.767
...of blocking and removing
this thing

00:20:44.868 --> 00:20:47.567
that threatens
to change the society.

00:20:47.634 --> 00:20:50.767
[ Tense music playing ]

00:20:50.868 --> 00:20:56.735
Aaaaaah!

00:20:56.802 --> 00:21:00.068
Let\'s talk about the kinds
of villains there are.

00:21:00.134 --> 00:21:03.602
The first one that pops
into my head

00:21:03.702 --> 00:21:10.502
is the easiest to write,
dramatize, act,

00:21:10.602 --> 00:21:15.235
and for the audience
to respond to -- the psychopath.

00:21:15.335 --> 00:21:17.068
The laughing
and the tears.

00:21:17.168 --> 00:21:20.901
In \"Psycho,\" Anthony Perkins\'
Norman Bates

00:21:21.001 --> 00:21:22.802
is a real wacko.

00:21:22.935 --> 00:21:27.734
Of course, we don\'t know that
for a long, long time,

00:21:27.834 --> 00:21:28.834
But it works.

00:21:28.934 --> 00:21:31.268
And once we realize that,

00:21:31.368 --> 00:21:35.634
we understand who killed
poor Janet Leigh in that shower.

00:21:35.767 --> 00:21:38.301
And in \"A Clockwork Orange,\"

00:21:38.435 --> 00:21:40.735
Malcolm McDowell\'s Alex

00:21:40.835 --> 00:21:45.635
is the subject
of psychiatric experimentation

00:21:45.768 --> 00:21:50.001
to cure him
of his crazy obsessions.

00:21:50.101 --> 00:21:52.468
He will be
your true Christian...

00:21:52.568 --> 00:21:56.468
Perhaps one of the reasons
psychopaths fascinate us

00:21:56.568 --> 00:21:59.034
is that
they are intermediaries,

00:21:59.168 --> 00:22:03.335
able to go between the rational
world into that strange

00:22:03.435 --> 00:22:07.634
and often inexplicable world
of the irrational.

00:22:07.701 --> 00:22:08.968
Good morning.

00:22:09.068 --> 00:22:11.401
Dr. Lecter,
my name is Clarice Starling.

00:22:11.502 --> 00:22:12.502
May I speak with you?

00:22:12.602 --> 00:22:14.502
In \"The Silence
of the Lambs,\"

00:22:14.602 --> 00:22:17.635
Anthony Hopkins\' character,
Hannibal Lecter,

00:22:17.702 --> 00:22:23.134
he\'s a go-between because
he understands Buffalo Bill,

00:22:23.235 --> 00:22:27.367
the serial killer that
Jodie Foster\'s character Clarice

00:22:27.501 --> 00:22:29.235
is searching for.

00:22:29.335 --> 00:22:34.235
He understands this maniac
because he is one.

00:22:34.335 --> 00:22:36.401
[ Classical music playing,
man grunting ]

00:22:36.502 --> 00:22:41.367
Let\'s turn to one of the most
popular kinds of villain.

00:22:46.735 --> 00:22:52.301
I think it\'s obvious the number
of films featuring women

00:22:52.401 --> 00:22:57.201
who are scheming,
backstabbing, conniving,

00:22:57.301 --> 00:23:01.368
vicious characters

00:23:01.435 --> 00:23:03.702
are a reflection
not of women,

00:23:03.768 --> 00:23:09.101
but of the men who wrote
and directed the stories.

00:23:09.235 --> 00:23:12.767
But we should notice
those are all interesting

00:23:12.901 --> 00:23:14.901
and memorable characters.

00:23:17.502 --> 00:23:20.735
Like tragedy,
comedy requires villains.

00:23:20.835 --> 00:23:22.467
You know, you\'re one of
the great cat burglars

00:23:22.567 --> 00:23:24.068
of the world, Marv.

00:23:24.168 --> 00:23:27.201
But the villains in comedy
tend to be over the top,

00:23:27.268 --> 00:23:29.034
often ridiculous.

00:23:29.134 --> 00:23:33.268
In \"Home Alone,\" Harry Lyme,
played by Joe Pesci,

00:23:33.401 --> 00:23:35.368
and Marv Merchants,
played by Daniel Stern,

00:23:35.468 --> 00:23:40.368
are funny,
but they\'re villains.

00:23:40.435 --> 00:23:42.435
But in \"Dr. Strangelove,\"

00:23:42.568 --> 00:23:47.435
featuring a number of people
who are villains,

00:23:47.502 --> 00:23:52.101
what tells us, if nothing else
does, that this is a comedy

00:23:52.168 --> 00:23:56.767
are characters whose names
are Bat Guano,

00:23:56.868 --> 00:23:58.101
Buck Turgidson...

00:23:58.201 --> 00:23:59.134
Five.

00:23:59.235 --> 00:24:00.968
...and my favorite,

00:24:01.068 --> 00:24:03.168
Jack D. Ripper.

00:24:03.301 --> 00:24:06.001
And of course
any of the three characters

00:24:06.134 --> 00:24:08.301
played by Peter Sellers,

00:24:08.401 --> 00:24:12.767
including the title character,
\"Dr. Strangelove.\"

00:24:12.834 --> 00:24:14.367
[ Groans ]

00:24:16.068 --> 00:24:19.067
So they\'re villains,
but come on.

00:24:24.168 --> 00:24:25.101
Aah!

00:24:25.201 --> 00:24:27.101
One of the reasons that villains

00:24:27.168 --> 00:24:30.834
so often
are memorable characters

00:24:30.968 --> 00:24:34.101
is because we feel
empathy towards them.

00:24:34.168 --> 00:24:35.201
[ Screaming ]

00:24:35.301 --> 00:24:38.367
King Kong.
Is he a monster?

00:24:38.467 --> 00:24:40.502
[ Roaring ]

00:24:40.635 --> 00:24:43.668
Always been
referred to that way.

00:24:43.802 --> 00:24:47.367
He certainly
is not guilty of anything.

00:24:47.467 --> 00:24:49.034
Ah!

00:24:49.134 --> 00:24:51.335
Kong is a force of nature.

00:24:51.401 --> 00:24:52.901
We fear he might hurt
Fay Wray,

00:24:53.034 --> 00:24:58.335
but that doesn\'t mean we want
Kong to die.

00:24:58.435 --> 00:25:01.502
Whether a character
is the hero or the villain,

00:25:01.568 --> 00:25:06.001
in the most interesting stories,
both are trapped.

00:25:06.068 --> 00:25:09.834
He is imprisoned
and put on display.

00:25:09.901 --> 00:25:14.235
Kong, the eighth wonder
of the world.

00:25:14.368 --> 00:25:18.201
Suber: And like any God-fearing,
red-blooded American,

00:25:18.301 --> 00:25:23.735
he says, \"No!
I will not submit to bondage.\"

00:25:23.869 --> 00:25:27.734
And of course, he gets shot off
the Empire State Building.

00:25:31.068 --> 00:25:32.934
But he\'s not evil.

00:25:36.602 --> 00:25:39.001
That\'s why the ending
is so poignant.

00:25:39.101 --> 00:25:41.034
We like him.

00:25:41.134 --> 00:25:43.502
Some of
the more interesting films

00:25:43.568 --> 00:25:48.834
are those in which both the hero
and the villain are trapped.

00:25:48.934 --> 00:25:50.568
In \"The Dark Knight,\"

00:25:50.635 --> 00:25:53.501
both Batman and the Joker
are trapped.

00:25:53.601 --> 00:25:55.134
In \"The Graduate,\"

00:25:55.268 --> 00:25:59.168
\"Mrs. Robinson\" and Benjamin
are trapped.

00:25:59.268 --> 00:26:01.401
In \"One Flew
Over the Cuckoo\'s Nest,\"

00:26:01.468 --> 00:26:06.101
Nurse Ratched and R.P. McMurphy
are trapped.

00:26:06.201 --> 00:26:08.301
In \"The Exorcist,\"

00:26:08.435 --> 00:26:13.068
a demon who has possessed Regan,
played by Linda Blair,

00:26:13.134 --> 00:26:17.468
well, she\'s certainly
trapped by this demon,

00:26:17.602 --> 00:26:23.002
but so too is Father Karras,
who is going to rescue her.

00:26:23.102 --> 00:26:28.168
And it\'s only his sacrifice
of himself when he says,

00:26:28.268 --> 00:26:30.502
\"Take me! God damn you!\"

00:26:30.602 --> 00:26:33.834
That\'s not a curse.
It\'s a literal statement.

00:26:33.934 --> 00:26:37.501
\"God damn you!
Take me!\"

00:26:37.601 --> 00:26:39.068
Take me!

00:26:39.134 --> 00:26:43.134
And the demon
inside of Regan

00:26:43.268 --> 00:26:46.634
goes inside Father Karras.

00:26:46.734 --> 00:26:48.667
[ Regan sobbing ]

00:26:51.334 --> 00:26:52.534
No!

00:26:52.667 --> 00:26:54.834
And he throws himself

00:26:54.934 --> 00:26:57.168
out the window
to his death.

00:26:57.268 --> 00:27:02.001
If both characters are trapped,

00:27:02.101 --> 00:27:04.735
the only way out of the trap

00:27:04.835 --> 00:27:09.168
is the sacrifice of one
or the other of them.

00:27:09.268 --> 00:27:11.033
[ Regan groans ]

00:27:12.502 --> 00:27:16.568
Those who have sacrificed

00:27:16.668 --> 00:27:21.168
are better than you and I
who haven\'t.

00:27:21.268 --> 00:27:26.235
In order to become sacred,
you must sacrifice.

00:27:26.335 --> 00:27:28.567
Brother!
Help me.

00:27:28.667 --> 00:27:30.534
[ Dramatic music playing ]

00:27:33.168 --> 00:27:38.835
Suber: In \"The Lion King,\"
Simba loses his father.

00:27:38.935 --> 00:27:44.301
There\'s a truism
hidden behind this long chain

00:27:44.401 --> 00:27:46.568
of really popular stories,

00:27:46.668 --> 00:27:48.535
largely in the world
of animation

00:27:48.602 --> 00:27:51.068
but certainly not exclusively.

00:27:51.168 --> 00:27:53.367
Dad?

00:27:53.434 --> 00:27:55.968
Dad, come on.

00:27:56.068 --> 00:28:00.134
There\'s something to be said
about that act

00:28:00.235 --> 00:28:03.067
of a child losing a parent.

00:28:04.501 --> 00:28:09.535
[ Echoing ] Help!

00:28:09.902 --> 00:28:15.368
Somebody!
Suber: Separation is always sad,
but it\'s always necessary

00:28:15.435 --> 00:28:18.701
if you are to seize control
of your own destiny

00:28:18.767 --> 00:28:20.701
and become your own person.

00:28:20.767 --> 00:28:22.535
In \"Black Panther,\"

00:28:22.635 --> 00:28:25.968
the two central characters
lose their father.

00:28:26.068 --> 00:28:27.634
They become orphans.

00:28:27.734 --> 00:28:32.534
Heroes are always orphans.

00:28:32.634 --> 00:28:34.535
Maybe not literally,

00:28:34.635 --> 00:28:39.869
but they are not dependent
on their parents.

00:28:39.935 --> 00:28:46.335
This is a necessary stage in
the development of all heroes,

00:28:46.468 --> 00:28:48.467
of all human beings.

00:28:48.567 --> 00:28:50.601
We have to separate.

00:28:50.701 --> 00:28:52.535
Why is that?

00:28:52.635 --> 00:28:56.301
What Carl Jung
called individuation.

00:28:56.401 --> 00:29:01.435
Individuation is the process
of becoming your own person.

00:29:01.535 --> 00:29:06.601
You have fate that\'s given you
all of these things,

00:29:06.701 --> 00:29:09.368
largely through your parents,

00:29:09.468 --> 00:29:12.101
but you have a destiny
to fulfill.

00:29:14.168 --> 00:29:15.768
In \"Wonder Woman,\"

00:29:15.835 --> 00:29:18.435
The really important woman
in Wonder Woman\'s life

00:29:18.535 --> 00:29:22.634
is her mentor, her aunt,
the Robin Wright character.

00:29:24.634 --> 00:29:26.467
No!

00:29:26.567 --> 00:29:27.602
No!

00:29:27.668 --> 00:29:30.268
She\'s separated from the woman

00:29:30.368 --> 00:29:33.268
who is the most powerful person
in her life.

00:29:33.368 --> 00:29:34.368
[ Weakly ] Diana, go.

00:29:34.468 --> 00:29:36.701
Go where?
Go where?

00:29:36.801 --> 00:29:37.701
Go.

00:29:37.801 --> 00:29:39.301
No.
Please, no.

00:29:39.401 --> 00:29:42.268
The major difference
between heroes and villains

00:29:42.368 --> 00:29:46.934
is that heroes are committed
to ethical acts,

00:29:47.034 --> 00:29:48.534
and villains aren\'t.

00:29:48.634 --> 00:29:49.767
Okay.

00:29:49.834 --> 00:29:51.268
Suber: \"Casablanca.\"

00:29:51.335 --> 00:29:55.101
Rick Blaine,
who three times says...

00:29:55.168 --> 00:29:56.934
I stick my neck out
for nobody.

00:29:57.034 --> 00:29:58.602
And then we get a scene

00:29:58.702 --> 00:30:03.101
where the Nazis
are in Rick\'s saloon

00:30:03.168 --> 00:30:06.534
and start singing
a Nazi anthem

00:30:08.134 --> 00:30:10.801
[ Singing in German ]

00:30:15.168 --> 00:30:19.968
And Victor Laszlo comes
to the orchestra and says...

00:30:20.068 --> 00:30:21.668
Play \"La Marseillaise.\"

00:30:21.802 --> 00:30:25.535
The band leader
looks over at Rick

00:30:25.668 --> 00:30:28.301
and the band starts
playing \"La Marseillaise,\"

00:30:28.368 --> 00:30:32.102
and now many of
the minor characters stand

00:30:32.169 --> 00:30:38.134
and sing a very patriotic
rendition of \"La Marseillaise.\"

00:30:38.201 --> 00:30:42.802
Rick\'s little nod
is a total contradiction

00:30:42.869 --> 00:30:46.502
of what he\'s been saying
up until that point,

00:30:46.568 --> 00:30:49.034
when he said, \"I stick
my neck out for nobody.\"

00:30:49.101 --> 00:30:50.601
He sticks his neck out.

00:30:50.734 --> 00:30:53.535
[ Singing in French ]

00:30:53.635 --> 00:30:56.001
Suber:
That\'s an ethical decision.

00:30:56.068 --> 00:31:00.034
What is an ethical decision
concerned with?

00:31:00.101 --> 00:31:03.034
Well, it\'s not,
what\'s in it for me?

00:31:03.101 --> 00:31:06.767
It\'s, what\'s the right thing
to do?

00:31:06.901 --> 00:31:08.368
Vive la France!

00:31:08.435 --> 00:31:12.368
Suber: Which means
I have to make a decision.

00:31:12.468 --> 00:31:15.034
The word \"decision\"

00:31:15.134 --> 00:31:20.335
comes from the same root
as the word \"scissors.\"

00:31:20.401 --> 00:31:22.768
When you make a decision,

00:31:22.902 --> 00:31:28.601
you cut yourself off of
going in the other direction.

00:31:28.734 --> 00:31:30.835
Aaaah!

00:31:30.902 --> 00:31:35.901
In \"The Empire Strikes Back,\"
Darth Vader, Luke\'s father,

00:31:36.034 --> 00:31:40.368
has cut his arm off
and he says, \"Join me.\"

00:31:40.468 --> 00:31:42.868
With our combined strength,

00:31:42.968 --> 00:31:45.934
we can end
this destructive conflict

00:31:46.001 --> 00:31:48.001
and bring order
to the galaxy.

00:31:48.134 --> 00:31:50.101
Well, that\'s a mighty
tempting offer

00:31:50.201 --> 00:31:54.767
for any young man to get,
but Luke makes a decision.

00:31:54.868 --> 00:31:56.568
I\'ll never join you!

00:31:56.635 --> 00:32:00.767
Decisions are hard to make
because they\'re costly.

00:32:04.802 --> 00:32:10.802
This is why you and I
have trouble making decisions.

00:32:10.935 --> 00:32:14.268
Because we know that
once we make a decision,

00:32:14.335 --> 00:32:20.168
we\'re cutting ourself off
from a possible escape route.

00:32:20.301 --> 00:32:24.968
And now
we are deciding values --

00:32:25.101 --> 00:32:27.502
not just which road to take,

00:32:27.635 --> 00:32:30.435
but what values to embrace.

00:32:30.502 --> 00:32:35.568
In \"High Noon,\" you have
an old-fashioned hero

00:32:35.635 --> 00:32:39.101
who is ethical
all the way through.

00:32:39.201 --> 00:32:41.767
I don\'t remember anything
Will Kane does

00:32:41.834 --> 00:32:45.235
that has any shadow.

00:32:45.301 --> 00:32:48.235
But his wife, Amy, does.

00:32:48.368 --> 00:32:50.335
Amy is a Quaker,

00:32:50.401 --> 00:32:53.835
and her marriage to Will Kane
is going to have to mean

00:32:53.902 --> 00:32:56.968
he\'s going to have to give up
this killing business.

00:32:57.034 --> 00:32:59.901
Even if it\'s on behalf
of the community,

00:33:00.034 --> 00:33:02.667
killing is not a Quaker tenet.

00:33:02.767 --> 00:33:05.201
Amy is this pacifist,

00:33:05.335 --> 00:33:08.535
but she gets
in the middle of the action.

00:33:08.668 --> 00:33:10.735
She goes
into a small building

00:33:10.869 --> 00:33:18.201
where one of Kane\'s adversaries
has been firing his gun at Kane.

00:33:18.335 --> 00:33:21.367
And he stops to reload,
and there\'s a big...

00:33:21.501 --> 00:33:23.002
[ Gunshot ]

00:33:23.069 --> 00:33:27.635
And we see Amy at the window
with a gun in her hand.

00:33:27.702 --> 00:33:29.735
Amy has made
an ethical decision

00:33:29.869 --> 00:33:35.368
that violates the basic
principle of her religion

00:33:35.502 --> 00:33:37.902
in order to save her man.

00:33:38.035 --> 00:33:41.635
Totally unexpected, because
you wouldn\'t expect a person

00:33:41.702 --> 00:33:45.301
with strong religious beliefs
to betray those.

00:33:45.368 --> 00:33:49.100
It was an ethical decision.

00:33:50.134 --> 00:33:54.568
Heroes in films are altruists.

00:33:54.668 --> 00:34:01.035
People do what they do for what
we might call a sacred cause.

00:34:01.102 --> 00:34:07.467
It could be God, for the family,
for someone you love.

00:34:08.268 --> 00:34:12.235
Whereas the villain
does what he or she does

00:34:12.301 --> 00:34:17.701
for his
or her own increase in power.

00:34:17.767 --> 00:34:19.902
Who do I trust?!
Me!

00:34:20.002 --> 00:34:24.468
Most gangster films,
altruism is totally absent.

00:34:24.602 --> 00:34:28.101
The gangster is out
for himself.

00:34:28.235 --> 00:34:30.767
But watch what happens
in this scene

00:34:30.901 --> 00:34:33.802
in \"Once Upon a Time
in America.\"

00:34:33.935 --> 00:34:37.734
These kids are forming
a social unit, a gang.

00:34:37.834 --> 00:34:39.901
They gather for a ritual

00:34:39.968 --> 00:34:44.035
we often see in heroic tales --
the pledge.

00:34:44.102 --> 00:34:47.101
From here on, we establish
the shared funds of the gang.

00:34:47.168 --> 00:34:48.435
They belong
to all of us together

00:34:48.502 --> 00:34:50.268
and to none of us alone.

00:34:50.335 --> 00:34:54.667
And we solemnly swear to put in
50% of everything we make.

00:34:54.801 --> 00:34:55.868
Agreed?

00:34:56.001 --> 00:34:57.168
Agreed.

00:34:57.301 --> 00:34:59.468
Agreed.
Agreed.

00:34:59.535 --> 00:35:02.134
Suber:
But then, in a flash,

00:35:02.235 --> 00:35:06.801
we go from profound joy
to total despair.

00:35:06.901 --> 00:35:08.334
Dominic: Bugsy\'s coming!
Run!

00:35:12.168 --> 00:35:14.667
Suber:
The main musical theme kicks in.

00:35:14.801 --> 00:35:16.868
Bugsy chases the gang

00:35:17.001 --> 00:35:21.400
and intentionally shoots
the youngest kid.

00:35:24.834 --> 00:35:29.734
Fate once again
has intervened.

00:35:31.068 --> 00:35:34.635
Altruistically
risking his own life,

00:35:34.702 --> 00:35:39.167
our young hero seeks justice
for the boy\'s death.

00:35:40.868 --> 00:35:42.334
[ Shouts indistinctly ]

00:35:42.467 --> 00:35:45.168
He kills Bugsy

00:35:45.668 --> 00:35:49.267
and then kills a cop
who tries to club him.

00:35:51.768 --> 00:35:55.702
In the old days,
they used to say about heroes,

00:35:55.802 --> 00:35:59.068
\"A man\'s got to do
what a man\'s got to do.\"

00:35:59.201 --> 00:36:03.535
But often, what a man
or a woman\'s got to do

00:36:03.602 --> 00:36:10.869
is an act of altruism
which leads to his or her doom.

00:36:10.935 --> 00:36:16.734
Sometimes people
can\'t fulfill their destiny.

00:36:19.069 --> 00:36:24.602
As we\'ve seen, the hero seldom
gets an increase in power

00:36:24.735 --> 00:36:29.335
within the terms
of the film itself.

00:36:29.401 --> 00:36:33.002
But if they make
a film about you,

00:36:33.069 --> 00:36:38.702
and the film they made about you
lives in people\'s memory,

00:36:38.802 --> 00:36:43.367
you have acquired
the greatest power of all.