WEBVTT

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Obi-Wan:
Use the Force, Luke.

00:00:05.168 --> 00:00:07.068
I stick my neck out
for nobody.

00:00:07.068 --> 00:00:10.168
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 talking to me?

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And my question is why?

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It\'s not about what I want.
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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In almost every memorable film,
things are not what they seem.

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We\'re here.

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In \"Get Out\",
our protagonist, our hero,

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he thinks he\'s in love
with this white girl

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with the liberal parents,

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and he thinks she\'s bringing him
home to introduce him

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as a prelude
to their eventual marriage,

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but things are not
what they seem.

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If they were what they seemed,
why would you bother watching?

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If they were what they seemed,

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the chances are you
wouldn\'t remember them.

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My God.

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What the hell is that?

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It\'s when you watch something

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that didn\'t go the way
you thought it would,

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or this person
who the film is about

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isn\'t quite who you thought
he or she was,

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or they changed during
the course of the film,

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and you find you can\'t quite
reconcile these two different

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or three different aspects
of the character,

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that it sticks in your memory
and keeps rolling around,

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and it\'s precisely
because you can\'t resolve

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the apparent contradictions.

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A paradox is defined
in most dictionaries

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as an apparent contradiction,

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which means it isn\'t
really a contradiction.

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If I say,
\"You contradicted yourself,\"

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I mean,
\"You said one thing here...\"

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[ Jazz music playing ]

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We got Buddy Rich here.

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\"...and now
you said something

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that\'s the opposite
of what you said.\"

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[ Clattering ]

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You are a worthless,
friendless,

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faggot-lipped
little piece of shit

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whose mommy left daddy

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when she figured out
he wasn\'t Eugene O\'Neill,

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and who was now weeping and
slobbering all over my drum set.

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Which is it?

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Start practicing harder,
Neiman.

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All memorable films
are mysteries.

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The mystery story we know
is a film genre

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that refers to detectives
and police, some crime.

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The question is,
\"Who done it?\"

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Once you resolve that question

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and you\'ve identified
who done it

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and you do something
about it, the story\'s over.

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Like this scene at the end of
\"L.A. Confidential\",

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where Guy Pearce\'s character
names the guilty parties.

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The actual gunmen
were most likely

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Los Angeles Police
Department officers

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Michael Breuning
and William Carlisle

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and a third man,

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who may or may not have been
Captain Dudley Smith.

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There\'s another sense
of mystery.

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Mysteries belong to caves.

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Mysteries belong to dark places.

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[ Whistles ]

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In \"The Empire Strikes Back\",

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Yoda, a very wise but kind
of short dude,

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tells Luke
to go into a cave.

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Luke goes into this cave
and meets Darth Vader

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and cuts off his head.

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To his horror, Luke discovers
that inside the helmet,

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it\'s Luke himself,

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and that, understandably,
terrifies him,

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because that\'s where
he sees the Dark Side.

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Without mystery,
it\'s almost impossible

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to tell an interesting story.

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In Hollywood,
there used to be a term

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referring to the man of mystery.

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He invariably had a mustache.

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This.

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You still know
I\'m here behind my hand.

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You say, \"Get that hand
out of your face.

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I want to see
what you look like.

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I want to look into your eyes.
I don\'t want you obscuring.\"

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That\'s a basic principle
of filmmaking,

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of all storytelling.

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As you
go through the story,

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there are always things
you don\'t know

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that would resolve the story.

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But you have faith
in the filmmaker

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that ultimately,
they will remove the mask.

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Like the ending of \"Psycho\"...

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Norma: It\'s sad when a mother
has to speak the words

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that condemn her own son,

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but I couldn\'t allow them
to believe

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that I would commit murder.

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...once we understand who killed
poor Janet Leigh

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in that shower.

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Norma:
I hope they are watching.

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They\'ll see. They\'ll see
and they\'ll know,

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and they\'ll say, \"Why,
she wouldn\'t even harm a fly.\"

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In some societies, women have
something that also creates

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the aura of mystery --
the veil,

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Like the mustache,

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it also partially obscures
a clear view of the face.

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Women still wear veils
at what kind of occasions?

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Weddings and funerals.

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Love and death.

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The two great mysteries of life.

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Notice both of these
are also marking liminal stages,

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which comes from
the word architects

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used to describe a doorway,
the lintel.

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A liminal place,
is a doorway

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which marks two
different stages of existence.

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You go into that cave
and you come out

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like Luke does --
a different person.

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Do or do not.
There is no try.

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[ Sighs ]

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Mysteries are among
the most powerful forces

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in human experience.

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The powerful cloak themselves
in mystery.

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They live on a hill
that\'s gated,

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that has butlers,
even guards,

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intermediaries who prevent you
from having access.

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A true mystery, no matter
how much you may learn about it,

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always remains a mystery.

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As much as we know about
the biology of reproduction

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in our time,

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if you have a child, like this
in \"The Tree of Life\",

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that child is an endless
font of mystery.

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Why children grow up
the way they do

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and become whatever they do
is always a mystery,

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even to their parents.

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It explains why we don\'t
kill our offspring

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when they scream and yell,

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because we\'re really fascinated

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by not knowing what they\'re
going to do next,

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by not knowing they had
these abilities emerge

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and it\'s a miracle
kind of play.

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Things are not what they seem.

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We like that.

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We hunger for that.

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[ Taps staff ]

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It\'s the essence of magic.

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And why do we like magic?

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Because its foundation is
things are not what they seem.

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It is when things turn out
not to be what they seemed

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that it becomes interesting.

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In you go, son.

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I don\'t think what I\'ve
just said is a contradiction.

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I think it\'s a paradox.

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In paradox, there is power,

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however much paradox
may unsettle some people,

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especially those who want
to know \"Which is it,

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this or that?

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Is he guilty or is he innocent?\"

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If you kill him,

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he will win.

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If you say he\'s both guilty
and innocent...

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Oh, my God!

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Suber: ...some people are going
to be very frustrated,

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like Brad Pitt\'s character
in \"Seven\".

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But a lot of other people
will say, \"Tell me more.\"

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In this scene
in \"No Country for Old Men\",

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Josh Brolin\'s character

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comes upon a group of
murdered bodies in the desert.

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Now, both the character and
the audience want to know more

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and \"Tell me more\"
is what all creative writers,

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directors, actors,

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and so on want to hear
from their audience.

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What they don\'t want to hear
is \"Got it.\"

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Because that\'s the end
of the experience.

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\"Okay, I got it. Let\'s go.\"

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Whoo-hoo!

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In \"Eternal Sunshine
of the Spotless Mind\",

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Jim Carrey\'s character, Joel,

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and Kate Winslet\'s character,
Clementine,

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are about
as paradoxical characters

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as you\'re going to find.

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Joel:
Should I check the grill to see

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if there\'s children
or small animals?

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It\'s just a fucking dent,
Joel.

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God, you\'re like
an old lady or something.

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What are you like?

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[ Scoffs ]
A wino?

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Joel and Clementine erase
each other from their memories,

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only to discover they want
to start their relationship

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all over again.

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In paradox, there is power.

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The power stems from the fact

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that things are not
what they seem.

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I can\'t see anything
that I don\'t like about you.

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But you will.
Right now, I can\'t.

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But you will.

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You know, you will
think of things,

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and I\'ll get bored with you
and feel trapped

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because that\'s what
happens with me.

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I like paradoxes.
Okay.

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I like them because I think
they are close

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to the fundamental truths
about life.

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Things are not black and white.

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Okay.

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Paradox is built
into our very existence.

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It\'s built into who we are.

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All of us.

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And some of the most
memorable stories...

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You want
the portrait?

00:12:17.302 --> 00:12:20.568
...are about
two forces or elements

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that are at war
with each other,

00:12:22.402 --> 00:12:24.935
like the characters
in the film \"Laura\".

00:12:24.935 --> 00:12:27.268
Now, if you --
Get going.

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You better watch out,
McPherson,

00:12:28.801 --> 00:12:30.734
or you\'ll
end up in a psychiatric ward.

00:12:30.734 --> 00:12:32.901
It could be two people,

00:12:32.901 --> 00:12:36.068
or it could be
within the same person,

00:12:36.068 --> 00:12:41.634
such as in the 120 film
and television versions

00:12:41.634 --> 00:12:44.868
of \"Dr. Jekyll and Mr. Hyde\",

00:12:44.868 --> 00:12:48.301
this one starring Spencer Tracy.

00:12:48.301 --> 00:12:50.467
Can this be evil,
then?

00:12:50.467 --> 00:12:54.035
[ Laughs ]

00:12:54.035 --> 00:12:56.301
[ Knocking on door ]

00:12:56.301 --> 00:12:57.801
Man:
Dr. Jekyll?

00:12:57.801 --> 00:13:03.334
Like paradoxes, dualities
are not contradictions.

00:13:05.168 --> 00:13:12.468
They are two things
that coexist simultaneously.

00:13:12.468 --> 00:13:17.335
This image is meant to convey
the structure of a lot of films.

00:13:17.335 --> 00:13:19.368
There\'s the guy who wears
the white hat

00:13:19.368 --> 00:13:21.668
and the guy who wears
the dark hat,

00:13:21.668 --> 00:13:25.634
the hero and the villain.

00:13:25.634 --> 00:13:28.135
That structure has been found

00:13:28.135 --> 00:13:32.534
by gestalt psychologists
to be boring.

00:13:32.534 --> 00:13:34.801
There\'s nothing more to say.

00:13:34.801 --> 00:13:38.001
Then there is another figure
that we all know --

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the yin-yang symbol.

00:13:40.835 --> 00:13:46.435
What is the significance of
the curve and those two dots?

00:13:46.435 --> 00:13:53.035
It\'s meant to represent
the interpenetration of life

00:13:53.035 --> 00:13:56.534
and relationships
and experiences,

00:13:56.534 --> 00:14:00.434
that light leads into darkness.

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It\'s not separate from it.

00:14:04.602 --> 00:14:12.568
A duality is a coexistence
of two different things.

00:14:12.568 --> 00:14:16.201
In \"Schindler\'s List\",
our protagonist,

00:14:16.201 --> 00:14:20.402
our hero, is a Nazi.

00:14:20.402 --> 00:14:25.101
But -- the most important word
in storytelling --

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he becomes a decent human being

00:14:28.202 --> 00:14:31.202
who is willing
to sacrifice himself

00:14:31.202 --> 00:14:37.935
on behalf of the people
the Nazis are trying to destroy.

00:14:37.935 --> 00:14:44.268
An interesting character is not
somebody who\'s this or that

00:14:44.268 --> 00:14:48.135
and remains this
or that throughout the story.

00:14:48.135 --> 00:14:50.101
There\'s 400 gallons
of nitroglycerin!

00:14:50.101 --> 00:14:53.634
What\'s interesting
is Brad Pitt\'s character

00:14:53.634 --> 00:14:55.268
in \"Fight Club\".

00:14:55.268 --> 00:14:57.934
We don\'t want clear
protagonists.

00:14:57.934 --> 00:14:59.468
Gah!

00:14:59.468 --> 00:15:03.435
If they do what we thought
they were going to do,

00:15:03.435 --> 00:15:09.168
well, what\'s another word
for describing something

00:15:09.168 --> 00:15:13.268
that turns out exactly
the way you expect it?

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I think one answer is \"boring\",

00:15:17.602 --> 00:15:25.101
and boring is the cardinal crime
in the entertainment business.

00:15:25.101 --> 00:15:28.334
You can be weird.

00:15:28.334 --> 00:15:31.768
You can be violent.

00:15:31.768 --> 00:15:33.769
You can be sexual.

00:15:33.769 --> 00:15:37.601
You can use language that
some people don\'t approve of.

00:15:37.601 --> 00:15:40.101
English, motherfucker!
Do you speak it?!

00:15:40.101 --> 00:15:42.834
The one thing
you can\'t be is boring,

00:15:42.834 --> 00:15:46.368
which means
you cannot be predictable,

00:15:46.368 --> 00:15:52.334
which means things
cannot be entirely

00:15:52.334 --> 00:15:54.901
what we expect them to be.

00:15:54.901 --> 00:15:56.669
Kane:
...with one purpose only!

00:15:56.669 --> 00:16:00.668
Suber: Things change,
but they remain the same,

00:16:00.668 --> 00:16:04.001
and that\'s true for character.

00:16:04.001 --> 00:16:09.202
Charles Foster Kane essentially
does not change.

00:16:09.202 --> 00:16:11.168
Kane: ...now
in complete control!

00:16:11.168 --> 00:16:13.834
Suber:
He\'s a person who doesn\'t know

00:16:13.834 --> 00:16:17.668
how to love when
he\'s an eight-year-old child...

00:16:17.668 --> 00:16:19.501
I\'m not as frightening
as all that, am I?

00:16:19.501 --> 00:16:20.501
Now, what do you say?
Let\'s shake.

00:16:20.501 --> 00:16:21.901
Why, Charles!

00:16:21.901 --> 00:16:24.534
...who pushes Thatcher,
the banker, over,

00:16:24.534 --> 00:16:28.001
and he\'s really the same person

00:16:28.001 --> 00:16:30.868
when Emily threatens
to leave him.

00:16:30.868 --> 00:16:32.668
There\'s only one person
in the world

00:16:32.668 --> 00:16:34.669
to decide what I\'m going to do,
and that\'s me.

00:16:34.669 --> 00:16:39.668
Suber: He doesn\'t change,
but this is a tragedy.

00:16:39.668 --> 00:16:44.401
It\'s in tragedies
that people don\'t change,

00:16:44.401 --> 00:16:46.569
that they don\'t adapt,

00:16:46.569 --> 00:16:54.234
that they don\'t learn to respond
to the new circumstances.

00:16:54.234 --> 00:16:56.968
I had a friend once.

00:16:56.968 --> 00:17:00.402
The friend betrayed me.

00:17:00.402 --> 00:17:02.568
It was a professional
relationship.

00:17:02.568 --> 00:17:05.302
We had agreed
on what we would do,

00:17:05.302 --> 00:17:08.068
and then in
a very public meeting,

00:17:08.068 --> 00:17:13.402
he did exactly what we had
agreed we would not do.

00:17:13.402 --> 00:17:17.635
Betrayal is a key theme
in many dramatic films,

00:17:17.635 --> 00:17:21.068
and it\'s at the heart of
\"The Social Network\",

00:17:21.068 --> 00:17:25.101
and in this scene,
where the co-founder of Facebook

00:17:25.101 --> 00:17:28.401
confronts Mark Zuckerberg.

00:17:28.401 --> 00:17:29.901
Mark!

00:17:29.901 --> 00:17:33.601
And the feeling is like
my feeling for my friend

00:17:33.601 --> 00:17:36.068
who betrayed me.

00:17:36.068 --> 00:17:39.935
I went to his office
and I said, \"You betrayed me.\"

00:17:39.935 --> 00:17:42.868
And he said, \"Oh, come on,
Howard, I didn\'t betray you.\"

00:17:42.868 --> 00:17:45.635
You signed the papers.
You set me up.

00:17:45.635 --> 00:17:48.968
My hand was on the door
and my back was turned,

00:17:48.968 --> 00:17:52.968
and he said, \"Well, alright,
I betrayed you,

00:17:52.968 --> 00:17:55.335
but it was for a principle.\"

00:17:55.335 --> 00:17:58.302
And I turned around and I said,

00:17:58.302 --> 00:18:01.968
\"A man who betrays his friends
for a principle

00:18:01.968 --> 00:18:05.302
has no principles.\"

00:18:05.302 --> 00:18:09.968
Best exit line
I ever wrote in my life.

00:18:09.968 --> 00:18:15.035
That exchange has haunted me
in the several decades since.

00:18:15.035 --> 00:18:16.635
Everyday life

00:18:16.635 --> 00:18:20.801
and the ability to interact
with other people

00:18:20.801 --> 00:18:23.801
is based on loyalty.

00:18:23.801 --> 00:18:25.468
Conditions are gonna hold.
I think we should wait...

00:18:25.468 --> 00:18:29.335
This is especially true
among members of a team,

00:18:29.335 --> 00:18:32.368
as the film
\"Interstellar\" demonstrates.

00:18:32.368 --> 00:18:34.301
These squalls do usually
blow over.

00:18:34.301 --> 00:18:35.834
Okay, then.

00:18:35.834 --> 00:18:37.534
But you\'re going to
need a long range transmitter.

00:18:37.534 --> 00:18:38.634
Got it.

00:18:38.634 --> 00:18:40.301
Are you charged?
Yeah.

00:18:40.301 --> 00:18:41.968
Follow me.

00:18:41.968 --> 00:18:46.368
Social relationships are based
on the understanding

00:18:46.368 --> 00:18:50.035
that \"I won\'t betray you,
I won\'t stab you in the back.

00:18:50.035 --> 00:18:53.668
If I say I\'m going to do
something, I\'m going to do it.\"

00:18:57.568 --> 00:19:00.702
What are you --
Aah!

00:19:00.702 --> 00:19:07.402
If you betray somebody else,
you betray all possibility

00:19:07.402 --> 00:19:13.035
of a social relationship
such as you had before.

00:19:13.035 --> 00:19:20.701
This is why the worst wars
and the best stories about wars

00:19:20.701 --> 00:19:23.501
are about civil wars.

00:19:25.268 --> 00:19:29.268
Every civil war is about
two social groups

00:19:29.268 --> 00:19:37.101
who have almost everything else
in common except this one thing,

00:19:37.101 --> 00:19:44.535
and it\'s because each side feels
the other side betrayed them,

00:19:44.535 --> 00:19:50.202
that they can unleash
the most unrestrained brutality

00:19:50.202 --> 00:19:54.702
against each other,
as we did in the Civil War.

00:19:54.702 --> 00:20:01.402
People who have everything else
in common except this one thing

00:20:01.402 --> 00:20:08.035
can create terrible
experiences in real life.

00:20:08.035 --> 00:20:11.201
They can also
create great movies.

00:20:11.201 --> 00:20:13.768
[ Knock on door ]

00:20:13.768 --> 00:20:17.202
For example,
\"Kramer vs. Kramer\",

00:20:17.202 --> 00:20:22.535
where Meryl Streep and Dustin
Hoffman are husband and wife,

00:20:22.535 --> 00:20:28.368
and it\'s clear throughout that,
although they\'re divorcing,

00:20:28.368 --> 00:20:32.035
they still love each other
on some level.

00:20:32.035 --> 00:20:36.202
They get into that most
dreaded element of divorces,

00:20:36.202 --> 00:20:38.935
a child custody battle,

00:20:38.935 --> 00:20:41.935
and now each feels justified

00:20:41.935 --> 00:20:46.635
in unleashing terrible things
on the other,

00:20:46.635 --> 00:20:50.768
which ends up causing pain
and suffering to both.

00:20:50.768 --> 00:20:53.935
I want my son.
You can\'t have him.

00:20:53.935 --> 00:20:56.434
Now, don\'t get defensive.
Don\'t -- Don\'t try to bully me.

00:20:56.434 --> 00:20:58.468
I\'m not getting defensive.

00:20:58.468 --> 00:20:59.935
Who walked out of the house
15 months ago?

00:20:59.935 --> 00:21:02.434
I don\'t care.
I am still his mother.
Jo --

00:21:02.434 --> 00:21:03.968
Yes, from 3,000 miles away,

00:21:03.968 --> 00:21:05.935
and just because you sent
a few postcards,

00:21:05.935 --> 00:21:07.634
it gives you the right
to come back here?

00:21:07.634 --> 00:21:09.435
I never stopped
wanting him.

00:21:09.435 --> 00:21:11.502
What makes you so sure
he wants you?

00:21:11.502 --> 00:21:14.101
What makes you so sure
he doesn\'t want me?

00:21:14.101 --> 00:21:16.601
Okay. You can just do
what you have to do.

00:21:16.601 --> 00:21:18.267
[ Glass shatters ]

00:21:18.267 --> 00:21:20.602
Each side feels

00:21:20.602 --> 00:21:25.134
\"If you really loved me,
you wouldn\'t be doing this.\"

00:21:25.134 --> 00:21:30.335
So you feel rage

00:21:30.335 --> 00:21:34.268
that is often
really hard to control,

00:21:34.268 --> 00:21:38.001
that can become
really self-destructive,

00:21:38.001 --> 00:21:40.768
as most civil wars do.

00:21:40.768 --> 00:21:43.001
So, then you had to go
and fuck someone else?

00:21:43.001 --> 00:21:44.669
You shouldn\'t be upset
that I fucked her!

00:21:44.669 --> 00:21:47.168
You should be upset
that I had a laugh with her!

00:21:47.168 --> 00:21:50.868
Do you love her?
No, but she didn\'t hate me.

00:21:50.868 --> 00:21:52.235
Betrayal,

00:21:52.235 --> 00:21:56.668
however painful
it is in real life...

00:21:56.668 --> 00:21:59.402
[ Sobbing ]

00:21:59.402 --> 00:22:03.335
...is a wonderful
material to use

00:22:03.335 --> 00:22:05.901
for constructing
memorable stories.

00:22:05.901 --> 00:22:07.834
Isn\'t it true that your child
nearly lost an eye

00:22:07.834 --> 00:22:08.868
when he was in your care?

00:22:08.868 --> 00:22:10.001
[ Gavel bangs ]

00:22:10.001 --> 00:22:11.168
-Objection.
-Overruled.

00:22:11.168 --> 00:22:12.834
Answer the question,
Mr. Kramer.

00:22:12.834 --> 00:22:14.868
We were in the playground.
He was on the jungle gym --

00:22:14.868 --> 00:22:16.834
And fell
and then nearly lost an eye

00:22:16.834 --> 00:22:18.368
when he was in your care.

00:22:18.368 --> 00:22:20.335
[ Gavel bangs ]
Man: Objection.

00:22:20.335 --> 00:22:23.901
Suber:
\"If you loved me, you wouldn\'t
have done this to me.\"

00:22:23.901 --> 00:22:28.335
That\'s true for
individual members of a family.

00:22:28.335 --> 00:22:31.001
It was true
in the North and South

00:22:31.001 --> 00:22:32.868
in the American Civil War.

00:22:32.868 --> 00:22:34.835
It\'s true in all civil wars.

00:22:34.835 --> 00:22:40.568
Each side did not expect that
the people they were close to

00:22:40.568 --> 00:22:44.801
were going to
become their enemy.

00:22:44.801 --> 00:22:46.402
If we lived our lives

00:22:46.402 --> 00:22:49.401
expecting the people
we\'re closest to

00:22:49.401 --> 00:22:51.768
to become our enemies,

00:22:51.768 --> 00:22:55.068
that would be
a pretty miserable life.

00:22:55.068 --> 00:22:58.135
That\'s why we choose to trust.

00:22:58.135 --> 00:23:01.401
We choose to have
a feeling of loyalty

00:23:01.401 --> 00:23:04.101
towards people we\'re close to,

00:23:04.101 --> 00:23:09.934
until, surprise, surprise,
they\'re not loyal to us.

00:23:13.301 --> 00:23:14.968
[ Gasps ]

00:23:14.968 --> 00:23:20.235
Everybody remembers
the betrayal of Jesus by Judas.

00:23:20.235 --> 00:23:24.101
Everybody who\'s seen
\"The Godfather\" trilogy

00:23:24.101 --> 00:23:28.968
remembers the scene when Michael
confronts his brother Fredo

00:23:28.968 --> 00:23:32.634
and realizes he\'s the one
who was involved

00:23:32.634 --> 00:23:35.135
with the people
who tried to kill him,

00:23:35.135 --> 00:23:39.235
and recalling the scene of
Jesus and Judas,

00:23:39.235 --> 00:23:42.968
kisses his brother
on the mouth and says..

00:23:42.968 --> 00:23:45.302
I know it was you,
Fredo.

00:23:45.302 --> 00:23:50.201
You broke my heart.
You broke my heart.

00:23:53.168 --> 00:23:57.368
And it is Michael at the end
of that film,

00:23:57.368 --> 00:24:00.302
in his boathouse
on Lake Tahoe,

00:24:00.302 --> 00:24:07.302
waiting for his henchmen
to kill Fredo, his own brother.

00:24:07.302 --> 00:24:11.467
That demonstrates
the power of betrayal.

00:24:11.467 --> 00:24:13.367
[ Gunshot ]

00:24:18.135 --> 00:24:22.834
We\'ve been talking long enough
about gloomy, doomy things.

00:24:22.834 --> 00:24:24.634
Let\'s talk about comedy.

00:24:24.634 --> 00:24:26.501
You said it, man.

00:24:26.501 --> 00:24:30.135
Nobody fucks
with the Jesus.

00:24:30.135 --> 00:24:33.202
But I\'m not really
changing the subjects.

00:24:33.202 --> 00:24:36.801
I\'m going to the other side.
I\'ve been talking about duality.

00:24:36.801 --> 00:24:39.634
I\'ve been talking
about paradoxes.

00:24:39.634 --> 00:24:41.502
Good night,
sweet prince.

00:24:41.502 --> 00:24:45.035
Suber: Comedy is the other side
of tragedy,

00:24:45.035 --> 00:24:47.601
and you only understand
one of those

00:24:47.601 --> 00:24:50.267
if you understand the other one.

00:24:52.935 --> 00:24:57.368
I want to talk about desire,
deception, and discovery,

00:24:57.368 --> 00:25:00.602
and I\'m talking
about a progression.

00:25:00.602 --> 00:25:03.901
For example, in the beginning of
Charlie Chaplin\'s

00:25:03.901 --> 00:25:05.535
\"City Lights\",

00:25:05.535 --> 00:25:10.701
the Tramp character,
like so many comic protagonists,

00:25:10.701 --> 00:25:12.535
is an outsider.

00:25:12.535 --> 00:25:17.035
He\'s literally looking through
the window and he\'s outside.

00:25:17.035 --> 00:25:20.235
That\'s the beginning position
of a comic hero.

00:25:20.235 --> 00:25:26.734
He has desires and he doesn\'t
know how to fulfill them.

00:25:26.734 --> 00:25:31.268
What he finds is that the world
is a cruel place.

00:25:31.268 --> 00:25:32.434
If he goes up to the girl

00:25:32.434 --> 00:25:35.401
and says,
\"I like you,\"

00:25:35.401 --> 00:25:38.202
she\'s likely to...

00:25:38.202 --> 00:25:41.068
If you say what
it is you desire,

00:25:41.068 --> 00:25:43.635
the answer will be
\"No. Go away.\"

00:25:43.635 --> 00:25:48.001
So, in comedies, over and over
and over again,

00:25:48.001 --> 00:25:51.435
such as \"Tootsie,\"

00:25:51.435 --> 00:25:53.801
where Dustin Hoffman\'s
character,

00:25:53.801 --> 00:25:57.601
Michael Dorsey is
an out of work actor

00:25:57.601 --> 00:25:59.268
and his agent says...

00:25:59.268 --> 00:26:03.334
Michael, you\'re not going to
raise 25 cents.

00:26:03.334 --> 00:26:05.434
No one will hire you.

00:26:05.434 --> 00:26:08.267
And Hoffman says...

00:26:08.267 --> 00:26:09.967
Oh, yeah?

00:26:12.101 --> 00:26:14.834
And then he goes and he buys
some women\'s dresses

00:26:14.834 --> 00:26:16.935
and cosmetics
and a corset and so on,

00:26:16.935 --> 00:26:21.267
and he goes home and he emerges
as Dorothy Michaels.

00:26:27.834 --> 00:26:30.935
As a woman,
he gets a job,

00:26:30.935 --> 00:26:33.268
the thing he couldn\'t do
as a man.

00:26:33.268 --> 00:26:37.768
His deception,
like deception in general

00:26:37.768 --> 00:26:39.501
in storytelling,

00:26:39.501 --> 00:26:41.302
is successful.

00:26:41.302 --> 00:26:46.334
That\'s what fills up the middle
between the initial desire

00:26:46.334 --> 00:26:49.367
and the ultimate discovery,

00:26:49.367 --> 00:26:51.335
the third D.

00:26:51.335 --> 00:26:54.834
Hi.
H--
[ High-pitched voice ] Hi.

00:26:54.834 --> 00:26:56.335
Dorothy Michaels,

00:26:56.335 --> 00:26:59.834
the feminine persona
of Dustin Hoffman,

00:26:59.834 --> 00:27:03.168
falls in love
with Jessica Lange, Julie,

00:27:03.168 --> 00:27:05.035
but he\'s got a problem,

00:27:05.035 --> 00:27:10.669
and this is a typical problem
in comedy.

00:27:10.669 --> 00:27:14.001
But I hope you\'re with me.
It\'s in tragedy as well.

00:27:14.001 --> 00:27:17.168
He becomes successful
at being a deceiver,

00:27:17.168 --> 00:27:21.668
and now he\'s trapped
in the deception.

00:27:21.668 --> 00:27:23.534
How\'s he going
to get out of this trap?

00:27:23.534 --> 00:27:24.868
Dorothy?

00:27:24.868 --> 00:27:27.001
Oh, God!
Let me explain!

00:27:27.001 --> 00:27:28.502
No, don\'t.
Please don\'t say anything.

00:27:28.502 --> 00:27:30.901
But there\'s a reason.
I-I understand the reason.

00:27:30.901 --> 00:27:32.402
No, no, no, no,
that reason\'s not the reason.

00:27:32.402 --> 00:27:36.668
Well, he does it
in a very common way.

00:27:36.668 --> 00:27:39.868
For I am not
Emily Kimberly,

00:27:39.868 --> 00:27:46.568
the daughter of Dwayne
and Alma Kimberly.

00:27:46.568 --> 00:27:47.634
No, I\'m not.

00:27:47.634 --> 00:27:49.734
Suber:
He tells the truth.

00:27:49.734 --> 00:27:51.101
[ Deep voice ]
I\'m Edward Kimberly,

00:27:51.101 --> 00:27:52.901
the reckless brother
of my sister Anthea.

00:27:52.901 --> 00:27:54.067
[ Screams ]

00:27:54.067 --> 00:27:56.101
Holy Christ!

00:27:56.101 --> 00:27:59.068
Edward Kimberly,
who has finally vindicated

00:27:59.068 --> 00:28:00.568
his sister\'s good name.

00:28:00.568 --> 00:28:02.569
I\'m Edward Kimberly.

00:28:02.569 --> 00:28:07.267
Suber:
That act of truth telling
leads initially to rejection.

00:28:07.267 --> 00:28:08.301
Ooh!
Oof!

00:28:08.301 --> 00:28:09.401
[ All gasping ]

00:28:09.401 --> 00:28:10.401
[ Coughs ]

00:28:10.401 --> 00:28:12.068
And then ultimately,

00:28:12.068 --> 00:28:14.734
as we really know
is going to happen...

00:28:14.734 --> 00:28:19.235
But I was a better man
with you as a woman

00:28:19.235 --> 00:28:21.768
than I ever was
with a woman as a man.

00:28:21.768 --> 00:28:23.068
You know what I mean?

00:28:23.068 --> 00:28:24.635
...the truth
shall make you free,

00:28:24.635 --> 00:28:29.569
that biblical saying we see
in story after story.

00:28:29.569 --> 00:28:33.401
When somebody who has
succeeded in life

00:28:33.401 --> 00:28:36.234
on the basis of deception

00:28:36.234 --> 00:28:38.402
stops being a deceiver

00:28:38.402 --> 00:28:45.302
and now becomes a truth teller,
they deserve something.

00:28:45.302 --> 00:28:48.868
Desire, deception,
and discovery.

00:28:48.868 --> 00:28:52.868
Discovery has
a very old tradition

00:28:52.868 --> 00:28:54.701
in storytelling.

00:28:54.701 --> 00:28:57.135
In the Christian Bible,

00:28:57.135 --> 00:29:01.135
the most popular book
of them all

00:29:01.135 --> 00:29:03.302
is the Book of Revelations.

00:29:03.302 --> 00:29:08.135
In Greek, \"apocalypse\" --
what does this mean?

00:29:08.135 --> 00:29:12.135
Apocalypse means
the same thing as revelations.

00:29:12.135 --> 00:29:14.968
It means uncovering
or discovering,

00:29:14.968 --> 00:29:21.167
and every tragedy has a phase
that can be called discovery.

00:29:21.167 --> 00:29:23.834
Yes or no?
No!

00:29:23.834 --> 00:29:25.302
Who is she?

00:29:25.302 --> 00:29:26.834
And don\'t give me that crap
about your sister

00:29:26.834 --> 00:29:28.635
because you don\'t
have a sister.

00:29:28.635 --> 00:29:31.634
I\'ll tell you. [ Sighs ]
I\'ll tell you the truth.

00:29:31.634 --> 00:29:36.501
The truth sets
the protagonist or hero free,

00:29:36.501 --> 00:29:40.168
but that\'s often
what leads to

00:29:40.168 --> 00:29:44.201
the paradoxical
ending of the story.

00:29:44.201 --> 00:29:46.467
[ Sobs ]

00:29:46.467 --> 00:29:50.801
She\'s my sister
and my daughter.

00:29:50.801 --> 00:29:53.467
[ Sobbing ]

00:29:53.467 --> 00:29:55.801
Understand?

00:29:55.801 --> 00:29:58.668
Or is it too tough
for you?

00:29:58.668 --> 00:30:02.368
Suber: You move from that
initial stage

00:30:02.368 --> 00:30:05.135
where somebody\'s
outside and innocent

00:30:05.135 --> 00:30:06.801
to the stage of deception

00:30:06.801 --> 00:30:11.302
where they\'re now inside
the thing they had a hunger for.

00:30:11.302 --> 00:30:16.135
They\'ve succeeded in moving
from an outsider

00:30:16.135 --> 00:30:18.635
to at least being
an intermediary.

00:30:18.635 --> 00:30:23.635
The danger is it taps into one
of our most deep seated fears,

00:30:23.635 --> 00:30:27.035
which is that if \"I reveal to
you who I really am,

00:30:27.035 --> 00:30:28.134
you\'ll reject me.\"

00:30:28.134 --> 00:30:31.668
Josephine!

00:30:31.668 --> 00:30:36.335
Because once people know you
under one name,

00:30:36.335 --> 00:30:41.134
your revelation may be greeted
with a sock in the gut.

00:30:43.935 --> 00:30:46.367
We are told throughout
our lives,

00:30:46.367 --> 00:30:49.035
\"To thine own self be true.\"

00:30:49.035 --> 00:30:52.035
Well, name me
a memorable popular work

00:30:52.035 --> 00:30:56.035
whose theme is \"To thine
own self be false.\"

00:30:56.035 --> 00:30:58.202
Dad, you told me.
You said

00:30:58.202 --> 00:30:59.701
you want me
to tell the truth.

00:30:59.701 --> 00:31:01.401
Now, didn\'t you say that?

00:31:05.035 --> 00:31:06.935
You can\'t turn it off.

00:31:06.935 --> 00:31:08.202
Well,
he\'s not saying that.

00:31:08.202 --> 00:31:11.701
He\'s saying just
don\'t volunteer.

00:31:11.701 --> 00:31:13.402
Just tell
a little white lie.

00:31:13.402 --> 00:31:15.701
You\'ll learn when
you\'re older, Jim.

00:31:15.701 --> 00:31:21.202
The theme of every work
is be honest.

00:31:21.202 --> 00:31:25.701
Be truthful to yourself.
Don\'t engage in deception.

00:31:25.701 --> 00:31:28.401
Pinocchio,
why didn\'t you go to school?

00:31:28.401 --> 00:31:32.035
School? Well, I, um...

00:31:32.035 --> 00:31:33.568
Go ahead.
Tell her.

00:31:33.568 --> 00:31:36.701
I was going to school,
\'til I met somebody.

00:31:36.701 --> 00:31:38.368
Met somebody?
Yeah.

00:31:38.368 --> 00:31:43.335
Uh, two big monsters
with big green eyes.

00:31:43.335 --> 00:31:45.601
Suber: We\'ve been told
from the moment

00:31:45.601 --> 00:31:49.001
we became able
to understand language,

00:31:49.001 --> 00:31:50.768
\"Always tell the truth,\"

00:31:50.768 --> 00:31:54.834
and I think most people agree
with that injunction

00:31:54.834 --> 00:31:58.302
until they don\'t,
until they feel \"I\'m trapped.\"

00:31:58.302 --> 00:32:01.635
As in \"Pinocchio\", our fear is,

00:32:01.635 --> 00:32:05.434
\"The only way I\'m going to get
out of this trap is if I lie.\"

00:32:05.434 --> 00:32:07.935
A lie keeps growing
and growing

00:32:07.935 --> 00:32:10.168
until it\'s as plain as the nose
on your face.

00:32:10.168 --> 00:32:11.669
She\'s right,
Pinoke.

00:32:11.669 --> 00:32:15.968
The people who go through
the stage of deceiving

00:32:15.968 --> 00:32:18.302
those in their lives

00:32:18.302 --> 00:32:20.468
do so
not because they want to,

00:32:20.468 --> 00:32:24.001
but because they think
they have to.

00:32:24.001 --> 00:32:27.935
Arthur Koestler wrote
a nonfiction book

00:32:27.935 --> 00:32:30.335
called \"The Act of Creation\",

00:32:30.335 --> 00:32:34.935
and it was one of the books
that most influenced me.

00:32:34.935 --> 00:32:40.267
Koestler coins a terms
for where creation comes from

00:32:40.267 --> 00:32:42.501
or how it comes about,

00:32:42.501 --> 00:32:46.168
and the terms is bisociation.

00:32:46.168 --> 00:32:53.502
The human imagination is really
attracted to bisociation.

00:32:53.502 --> 00:32:56.068
Arthur Koestler may have
invented the word,

00:32:56.068 --> 00:33:00.168
but it\'s been around
since before recorded time.

00:33:00.168 --> 00:33:05.534
The Sphinx is the combination
of three different life forms

00:33:05.534 --> 00:33:08.535
that don\'t belong together.

00:33:08.535 --> 00:33:14.001
The body of a lion, the wings of
a bird, and the face of a woman,

00:33:14.001 --> 00:33:17.402
or the face of a real pharaoh.

00:33:17.402 --> 00:33:21.068
We have mermaids.
Part woman, part fish.

00:33:21.068 --> 00:33:24.035
The devil has the tail
of some animal,

00:33:24.035 --> 00:33:27.334
and his face is human like.

00:33:27.334 --> 00:33:29.901
What defines an angel?

00:33:29.901 --> 00:33:31.669
They look human,

00:33:31.669 --> 00:33:34.668
but they\'re also
some kind of flying creature.

00:33:34.668 --> 00:33:37.668
The devil is all bad,
the angel is all good,

00:33:37.668 --> 00:33:40.068
but they\'re both chimeras.

00:33:40.068 --> 00:33:43.068
A chimera is a perfect example

00:33:43.068 --> 00:33:45.735
of the principle
of bisociation.

00:33:45.735 --> 00:33:49.434
In film, you got the Wolf Man,
who obviously was part wolf,

00:33:49.434 --> 00:33:51.235
part man,

00:33:51.235 --> 00:33:52.801
and there is Frankenstein,

00:33:52.801 --> 00:33:55.302
made of various parts
of corpses.

00:33:55.302 --> 00:33:56.968
It\'s alive.
Oh, it\'s alive.

00:33:56.968 --> 00:33:59.568
It\'s alive,
it\'s alive.

00:33:59.568 --> 00:34:01.735
But you also got Dracula.

00:34:01.735 --> 00:34:06.935
He\'s clearly a human,
but he has one major thing.

00:34:06.935 --> 00:34:12.569
He is the undead.
He\'s a human who doesn\'t die.

00:34:12.569 --> 00:34:17.569
And as everybody in our time
knows, that\'s a curse,

00:34:17.569 --> 00:34:21.768
despite what some people who are
spending large amounts of money

00:34:21.768 --> 00:34:23.268
to live forever think.

00:34:23.268 --> 00:34:27.401
To die,
to be really dead,

00:34:27.401 --> 00:34:30.234
that must be glorious.

00:34:30.234 --> 00:34:31.901
Why, Count Dracula...

00:34:31.901 --> 00:34:36.435
Although we may take
this thing that engenders fear,

00:34:36.435 --> 00:34:40.569
combining it with the human
reduces our fear of it

00:34:40.569 --> 00:34:45.301
and makes it an acceptable part
of our imagination,

00:34:45.301 --> 00:34:47.135
if not the real world.

00:34:47.135 --> 00:34:52.001
I\'ll bet you went to bed
surrounded by teddy bears

00:34:52.001 --> 00:34:56.467
and all other kinds of animal
who were cute.

00:34:56.467 --> 00:34:58.668
[ Whistling ]

00:34:58.668 --> 00:35:02.368
Mickey Mouse is cute,
and Mickey Mouse is cute

00:35:02.368 --> 00:35:07.201
because he embodies
the neonatal, the newborn.

00:35:07.201 --> 00:35:10.335
He has huge eyes,

00:35:10.335 --> 00:35:13.468
And if you look
at the characters in Disney

00:35:13.468 --> 00:35:17.467
and you especially look
at the characters in Pixar,

00:35:17.467 --> 00:35:19.834
they all have cute eyes.

00:35:19.834 --> 00:35:25.968
They can be fishes or whatever,
but they\'re cute.

00:35:25.968 --> 00:35:30.468
Why are these big baby eyes
so attractive to us?

00:35:30.468 --> 00:35:34.202
Perhaps it\'s because
through exaggeration,

00:35:34.202 --> 00:35:36.635
we emphasize something.

00:35:36.635 --> 00:35:40.534
Or perhaps it\'s because
the eyes are often said

00:35:40.534 --> 00:35:44.668
to be the windows of the soul.

00:35:47.402 --> 00:35:50.901
Robots are a modern version
of chimeras.

00:35:50.901 --> 00:35:54.702
In Czechoslovakia,
a playwright named Karel Capek

00:35:54.702 --> 00:35:58.935
wrote a play called
\"Rossum\'s Universal Robots\",

00:35:58.935 --> 00:36:02.202
and the word spread
across the world.

00:36:02.202 --> 00:36:07.035
Fritz Lang, in \"Metropolis\",
created a woman who is a robot,

00:36:07.035 --> 00:36:11.267
and then,
in fairly quick succession,

00:36:11.267 --> 00:36:13.734
you move into our time.

00:36:13.734 --> 00:36:15.868
Oh, God!

00:36:15.868 --> 00:36:21.101
\"Alien\", the title creature,
who\'s got a machine mouth,

00:36:21.101 --> 00:36:28.267
but it drips saliva, and it has
these human-like teeth...

00:36:28.267 --> 00:36:29.935
[ Screams ]

00:36:29.935 --> 00:36:34.368
...and you have the immensely
successful character

00:36:34.368 --> 00:36:39.367
of the Terminator,
who is what?

00:36:39.367 --> 00:36:41.068
Get out.

00:36:41.068 --> 00:36:46.467
He\'s all machine, but he\'s
been given human-like skin,

00:36:46.467 --> 00:36:48.601
and we see that.

00:36:48.601 --> 00:36:50.601
He takes his eyeball

00:36:50.601 --> 00:36:54.268
and takes it out
like a part in a car.

00:36:54.268 --> 00:36:56.467
It\'s not supposed to happen.

00:36:58.602 --> 00:37:02.668
In each period of
the development of chimeras,

00:37:02.668 --> 00:37:04.268
what you have

00:37:04.268 --> 00:37:08.768
is the process of putting two or
more things together

00:37:08.768 --> 00:37:11.769
that haven\'t been
brought together,

00:37:11.769 --> 00:37:18.267
and that, in fact, shouldn\'t
have been brought together.

00:37:18.267 --> 00:37:21.601
That\'s fascinating.

00:37:21.601 --> 00:37:22.968
Do you like our owl?

00:37:22.968 --> 00:37:26.101
\"Blade Runner\" is
about replicants.

00:37:26.101 --> 00:37:29.935
It\'s artificial.
What are they replicating?

00:37:29.935 --> 00:37:34.302
Well, obviously human beings,
but they\'re not human beings.

00:37:34.302 --> 00:37:36.268
They look like,
they talk like,

00:37:36.268 --> 00:37:41.435
they act like the humans
in the film,

00:37:41.435 --> 00:37:45.168
like the replicant played
by Rutger Hauer.

00:37:45.168 --> 00:37:52.035
I\'ve seen things you people
wouldn\'t believe.

00:37:52.035 --> 00:37:53.569
Suber:
When we look closely...

00:37:53.569 --> 00:37:57.368
Attack ships on fire
off the shoulder of Orion.

00:37:57.368 --> 00:38:00.568
Suber: ...it\'s the machine
that has more emotion...

00:38:00.568 --> 00:38:04.068
I watched C-beams glitter
in the dark

00:38:04.068 --> 00:38:06.168
near the Tannhauser Gate.

00:38:06.168 --> 00:38:11.035
Suber: ...that feels more deeply
than the human being.

00:38:11.035 --> 00:38:15.534
All those moments will be lost

00:38:15.534 --> 00:38:18.134
in time...

00:38:20.334 --> 00:38:23.867
...like tears...

00:38:25.868 --> 00:38:27.568
...in rain.

00:38:31.534 --> 00:38:34.501
Time to die.

00:38:40.834 --> 00:38:44.402
What other popular film
can you think of

00:38:44.402 --> 00:38:47.135
where that statement
is also true,

00:38:47.135 --> 00:38:52.068
that the machines
have more emotions

00:38:52.068 --> 00:38:55.068
than the human beings?

00:38:55.068 --> 00:38:57.234
How about \"2001\"?

00:39:00.235 --> 00:39:02.634
HAL:
I\'m afraid, Dave.

00:39:04.268 --> 00:39:10.267
Suber: Dave, who technically is
the protagonist of the film,

00:39:10.267 --> 00:39:12.235
speaks in a monotone.

00:39:12.235 --> 00:39:14.402
HAL:
My mind is going.

00:39:14.402 --> 00:39:18.901
Suber:
Who\'s the character who keeps
talking about his feelings?

00:39:18.901 --> 00:39:20.235
HAL:
I can feel it.

00:39:20.235 --> 00:39:24.235
Suber: HAL,
the machine.

00:39:24.235 --> 00:39:28.235
Bisociation makes a lot of
people uncomfortable.

00:39:28.235 --> 00:39:30.734
The history of
art and science --

00:39:30.734 --> 00:39:34.402
what are they,
if not a history of people

00:39:34.402 --> 00:39:40.434
who faced somebody bringing two
or more elements together

00:39:40.434 --> 00:39:42.101
and other people saying,

00:39:42.101 --> 00:39:47.802
\"Egh! Those things
don\'t belong together\"?

00:39:47.802 --> 00:39:52.568
In \"The Terminator\", Kyle,
the human being, tries to rescue

00:39:52.568 --> 00:39:53.634
Sarah Connor,

00:39:53.634 --> 00:39:55.068
and she\'s being chased

00:39:55.068 --> 00:39:57.067
by Arnold Schwarzenegger\'s
Terminator.

00:39:57.067 --> 00:39:58.634
[ Gunshots ]

00:39:58.634 --> 00:40:02.601
[ Screaming ]

00:40:02.601 --> 00:40:04.801
And he tries to explain to her.

00:40:04.801 --> 00:40:06.601
How could that man
just get up after you --

00:40:06.601 --> 00:40:10.601
He\'s not a man. A machine.
A Terminator.

00:40:10.601 --> 00:40:13.568
Cyberdyne Systems
Model 101.

00:40:13.568 --> 00:40:16.435
Like a robot?
Not a robot.

00:40:16.435 --> 00:40:19.467
A cyborg.
A cybernetic organism.

00:40:19.467 --> 00:40:20.935
Right.

00:40:20.935 --> 00:40:23.302
She reacts by trying to get
out of the truck,

00:40:23.302 --> 00:40:26.734
and tells him a line that many
heroes get told --

00:40:26.734 --> 00:40:28.435
\"You\'re crazy.\"

00:40:28.435 --> 00:40:32.735
And then he explains to her
what makes this machine perfect.

00:40:32.735 --> 00:40:37.235
It can\'t be bargained with.
It can\'t be reasoned with.

00:40:37.235 --> 00:40:41.402
It doesn\'t feel pity
or remorse or fear,

00:40:41.402 --> 00:40:48.634
and it absolutely will not stop,
ever, until you are dead.

00:40:48.634 --> 00:40:52.168
He\'s a perfect machine.

00:40:52.168 --> 00:40:55.135
Well, if you think about it,
that is a perfect machine.

00:40:55.135 --> 00:40:59.334
It doesn\'t stop.
It runs day and night.

00:40:59.334 --> 00:41:01.468
A bad machine stops.

00:41:01.468 --> 00:41:03.801
In \"Jaws\",
Richard Dreyfuss\'s character,

00:41:03.801 --> 00:41:04.968
Hooper, the scientist...

00:41:04.968 --> 00:41:06.001
Mr. Vaughn...

00:41:06.001 --> 00:41:07.635
...tells the mayor...

00:41:07.635 --> 00:41:10.367
What we are dealing with here
is a perfect engine,

00:41:10.367 --> 00:41:13.001
uh, an eating machine.

00:41:13.001 --> 00:41:14.869
It\'s really a miracle
of evolution.

00:41:14.869 --> 00:41:19.801
All this machine does is swim
and eat and make little sharks,

00:41:19.801 --> 00:41:20.834
and that\'s all.

00:41:20.834 --> 00:41:22.335
Going back to \"Alien\"...

00:41:22.335 --> 00:41:23.868
Ripley: There\'s got to be
a way of killing it.

00:41:23.868 --> 00:41:26.668
How? How do we do it?

00:41:26.668 --> 00:41:28.801
You can\'t.

00:41:28.801 --> 00:41:30.468
That\'s bullshit.

00:41:30.468 --> 00:41:33.634
You don\'t understand what
you\'re dealing with, do you?

00:41:36.467 --> 00:41:38.468
The perfect organism.

00:41:38.468 --> 00:41:47.434
Again, this idea
of perfection as being scary.

00:41:47.434 --> 00:41:48.868
On a different level,

00:41:48.868 --> 00:41:50.868
\"Dr. Strangelove\",

00:41:50.868 --> 00:41:52.402
the doomsday machine

00:41:52.402 --> 00:41:56.435
that will automatically explode
nuclear bombs

00:41:56.435 --> 00:42:00.368
acts the way the machine
was programmed to act,

00:42:00.368 --> 00:42:04.568
and this is the end
of the human race.

00:42:04.568 --> 00:42:08.768
♪ ...some sunny day ♪

00:42:08.768 --> 00:42:12.035
As these bombs go off,

00:42:12.035 --> 00:42:14.435
what do we hear
on the soundtrack?

00:42:14.435 --> 00:42:19.401
An immensely popular sentimental
tune from World War II,

00:42:19.401 --> 00:42:21.368
sung by Vera Lynn.

00:42:21.368 --> 00:42:24.935
They married the extinction
of the human race

00:42:24.935 --> 00:42:29.534
to a song about meeting again,
about reunion.

00:42:29.534 --> 00:42:33.368
♪ So will you please say hello ♪

00:42:33.368 --> 00:42:36.201
♪ To the folks that I know? ♪

00:42:36.201 --> 00:42:38.035
Suber: One could say

00:42:38.035 --> 00:42:43.167
Kubrick wanted to end
with a note of hope.

00:42:43.167 --> 00:42:44.634
Give me a break.

00:42:44.634 --> 00:42:47.602
Kubrick is doing
what Kubrick often did.

00:42:47.602 --> 00:42:51.935
He\'s juxtaposing things
that don\'t belong together.

00:42:51.935 --> 00:42:56.101
He marries the old and the new.

00:42:56.101 --> 00:42:59.935
These things never belonged
together before,

00:42:59.935 --> 00:43:01.935
but they sure belong together
afterwards.

00:43:01.935 --> 00:43:04.668
♪ ...sunny day ♪