The Devil is in the Detail
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- Transcript
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A feature-length cinema vérité portrait of one of the world's greatest stage directors at work, filmed over the course of a year. From his first sketches in pencil until opening night, we witness Carsen's creative processes as he reinvents Leonard Bernstein's CANDIDE, which Bernstein and writer Lillian Hellman based on the classic 18th century book by Voltaire, in order to satirize Senator McCarthy and his anti-Communist witch-hunts. Carsen's name is not well known to the general public, but it's a household word among the heads of every theater, museum, and opera house in Europe and the US. While his primary focus is bringing an audacious, contemporary visual style to classical operas, his wide-ranging work includes “Karl For Ever”, a 2019 tribute to Karl Lagerfeld for the Grand Palais in Paris, and a cowboy show for Disneyland Paris which has been running for 25 years.
“Carsen’s production was given a rapturous reception.” —International Herald Tribune
Citation
Main credits
Carsen, Robert (on-screen participant)
Friedman, Peter (film director)
Friedman, Peter (film producer)
Friedman, Peter (director of photography)
Friedman, Peter (editor of moving image work)
Ross, Mon (film producer)
Rappaport, Douglas (film producer)
Distributor subjects
No distributor subjects provided.Keywords
WEBVTT
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(car horn blares in distant)
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(people chattering)
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(man speaks foreign language)
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(engines rumbling)
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♪ We\'ll build our house and chop our wood ♪
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♪ And make our garden grow ♪
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♪ And make our garden grow ♪
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♪ Let dreamers dream ♪
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♪ What worlds they please ♪
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♪ Those Edens can\'t be found ♪
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♪ The sweetest flowers, the fairest trees ♪
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♪ Are grown in solid ground ♪
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♪ We\'re neither wise nor good ♪
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♪ We\'ll do the best we know ♪
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♪ We\'ll build our house and chop our wood ♪
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♪ And make our garden grow ♪
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♪ We\'ll make our garden grow ♪
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(audience laughs)
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(triumphant music)
(audience applauding)
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(applauding continues)
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(Robert speaks in foreign language)
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We\'re not in the right cue, but anyway...
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Turn on the footlights to full.
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(audience continues applauding)
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(Robert speaks in foreign language)
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(audience continues applauding)
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(audience continues applauding)
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Everything one does as a director,
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I hope is at the service of getting a piece
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to communicate with the audience, everything,
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but you can kill it very easily I find.
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You know, if the makeup\'s wrong
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or the wig isn\'t quite right
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or the lipsticks not right, I mean,
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a lot of things can damage this perfect thing
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when we\'re all trying to work to make
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come off night after night.
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Any one little thing has to work within the context
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of the whole thing so directing is always,
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is a spontaneously at the very, very big picture
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and the very, very small detail.
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(static crackles)
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(glass clanks)
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(book thuds softly)
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it\'s disappeared.
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(Michael speaks in foreign language)
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I\'m gonna carry on, where were we?
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You take my nice chair.
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Well, I keep trying to cut to everything
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I\'ll move it all around,
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of the last act?
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(both chuckle)
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or is multiplied into four,
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we have to look at images of un-American activities
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how they,
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how they-
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in the same glasses and that\'s,
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at one point in time.
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then it starts going the un-American activities,
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I think should then turn into the American activities
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and so then we have everybody, it goes crazy because
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this drum majorettes and everything.
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Sort of a mixture of them,
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partly which (mumbles) and majorettes.
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to the people who are hit by the earthquake
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and we said about the red thing
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we\'re then that accused of being communist.
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You\'re trying out the idea against about,
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you know, if it\'s the right thing to do
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and sometimes instinctively and unconsciously
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I make those decisions but you\'re making them,
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you know, in parallel with the designer
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when you make design choices about
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how the piece is going to come towards you.
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Like with Michael, for example Mike Levine
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who\'s the designer I\'ve worked the most with in my life,
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there\'s something by particularly
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in the way it works with him and me.
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Kind of after the battle.
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it\'s more like a street fight really than a battle.
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This version, these are the only versions that are here.
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I\'m still at a very preliminary stage in the design
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so it\'s a sort of strange process what we do which is,
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you have this new piece, which you,
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which you live experience at the same time
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so you, you begin to understand it as you\'re doing it
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and what\'s difficult as a designer is you come
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at such an early stage in you kind of have to
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project an understanding of the piece into the future
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in order to accommodate the intellectual growth
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that will take place over the coming months.
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Robert was interested in a modern context for the piece.
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And we\'re sort of using a little bit of
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American iconographic imagery
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of the period that it was written in 1950 so,
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using that sort of the optimism of that time
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and filtering the ideas of candy
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through the optimism of America.
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or do you wanna...
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(Michael mumbles)
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if we maybe back that off a bit
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and then punch up the lips.
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do you want me to do anything to that-
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you know, they\'re not museums,
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you know, the very act of staging something
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is bringing it to life and I think that,
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you know, tradition, I think is often
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nothing other than a collection of a lot of bad habits
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that have accumulated around something.
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So great like,
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(Michael laughs)
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So which one do you, Sean if I wanna get to know her
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in the showgirl everything?
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(Michael mumbles)
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she will let you (mumbles)
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So I can (mumbles)
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we want like the yellow one.
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That is show girls.
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(woman chuckles)
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(Michael mumbles)
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I don\'t think you get the diva to do that.
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(woman laughs)
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Switch that around.
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when I started to really study Bernstein\'s music,
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I thought about how he\'s chosen to write a piece
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about how ridiculous optimism is and I knew
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we needed a visual metaphor to contain this crazy
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thing that never stopped.
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This television idea came very quickly.
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the idea of how we see the world
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and how we experience these big world catastrophes,
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we can go from in literally five seconds,
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be in Iraq and then in America and then in Israel
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and then in Europe and then, I mean
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and that\'s within \"Candide\" as well.
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It\'s almost like the piece is changing channels.
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very savage satire.
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I mean, Voltaire was angry at social injustice,
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angry political injustice, angry at sexual politics,
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all the things that made him angry
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and he wrote about it all in this piece
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along with a lot of other things because Voltaire
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didn\'t write this as a piece of theater,
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Bernstein and there\'s many, many collaborators did.
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Lillian Hellman suggesting to Leonard Bernstein
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as a result of the experiences with the House Commission,
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her being head up from the commission extremely unpleasant,
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a really horrible experience that she had,
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being asked to give the names of her friends,
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her communist friends, all of that
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and in the letter she wrote to Bernstein,
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she said, you know, that, it\'s like a witch hunt
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what\'s happened to us.
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Like when they killed those people in Candide
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for having holding them responsible for an earthquake,
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which they clearly have nothing to do with,
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why don\'t we make a musical of Candide?
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The next thing is the oil gusher.
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It comes up and then I\'ve got like a five minute song
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to deal with and that\'s great
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but could it be on a gauze?
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If it\'s a see-through thing,
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you could be able to have some people behind
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and do something a little bit dreamier about
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or even have dollar bills raining down
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and these dancers could do some amazing slow motion thing
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through the gusher sky.
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Let\'s find those gusher things,
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it\'s like when you see them in \"The Flintstones\",
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or you see it in the \"Beverly Hillbillies\",
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whenever it\'s just sort of goes up
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and then it sort of drips down,
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this is maybe too vortexy, you know,
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it\'s a little bit like a cycloneness.
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It\'s just that some of them go up
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and then there\'s this mess everywhere,
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everyone gets covered in black stuff.
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Are we good, that little thing.
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makes it look like the oil
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is actually spraying over your picture.
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just a black that\'s cut and then it has a leading edge
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that\'s, that happens to have drips on it.
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anything to do with the rest of the production.
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I mean, the design is,
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it\'s all about finding the right metaphor if you like.
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(static crackles)
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Yeah so this might change
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that we might not do all the people of Lisbon
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because of this idea of, you know,
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the famous American picture of the guy,
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American Gothic, with the guy with a pitchfork.
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I mean the whole point is that the thing about Candide
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is there isn\'t really logic,
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the idea was just to mix up Roman slaves with
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I mean, they\'re...
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(Buki laughs)
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One always wants to go for the iconic image
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but in a minute Buki will go through the entire thing,
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we\'ll put numbers, we\'ll do it all,
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I just wanted to see all this great research.
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These are the Texans, yes with cowboy, yes.
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when he strikes oil.
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with chaps and everything.
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Oh that\'s funny.
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Buffalo Bill, I know all about him
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\'cause I did this big wild west show in Disney you see.
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No what\'s fun is when they, what he suggested,
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when they open it
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he\'s gonna get them with the dancers,
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he\'s gonna get the dancers to really move.
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The coats could pull back and they have waist
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269
00:14:20.204 --> 00:14:22.013
270
00:14:22.013 --> 00:14:24.317
This is just some Voltaire stuff.
271
00:14:24.317 --> 00:14:29.234
Is here all the Voltaire pictures you see, the whole series
272
00:14:30.160 --> 00:14:32.343
and put, then he had this sort of weird robes and staff
273
00:14:32.343 --> 00:14:35.176
of makes the quick changes easier.
274
00:14:36.472 --> 00:14:38.837
275
00:14:38.837 --> 00:14:39.991
276
00:14:39.991 --> 00:14:42.408
of how we should do Voltaire.
277
00:14:43.940 --> 00:14:45.864
Lambert is much younger than Voltaire
278
00:14:45.864 --> 00:14:48.275
was when he wrote Candide but I mean,
279
00:14:48.275 --> 00:14:51.906
he was 63 when he wrote it already.
280
00:14:51.906 --> 00:14:54.450
No, I think we should do it the age with Lambert,
281
00:14:54.450 --> 00:14:57.159
there\'s no point trying to make Lambert 66
282
00:14:57.159 --> 00:14:59.401
but I mean, when you see that,
283
00:14:59.401 --> 00:15:00.234
284
00:15:00.234 --> 00:15:01.434
285
00:15:01.434 --> 00:15:02.267
bring that off.
286
00:15:02.267 --> 00:15:04.304
287
00:15:04.304 --> 00:15:05.209
288
00:15:05.209 --> 00:15:08.494
289
00:15:08.494 --> 00:15:10.858
290
00:15:10.858 --> 00:15:11.691
291
00:15:11.691 --> 00:15:14.522
292
00:15:14.522 --> 00:15:16.270
293
00:15:16.270 --> 00:15:18.527
He was in this film, they just brought up (mumbles)
294
00:15:18.527 --> 00:15:19.360
295
00:15:19.360 --> 00:15:20.193
296
00:15:20.193 --> 00:15:23.303 line:15%
297
00:15:23.303 --> 00:15:24.354 line:15%
298
00:15:24.354 --> 00:15:26.352 line:15%
299
00:15:26.352 --> 00:15:29.758
300
00:15:29.758 --> 00:15:32.692
Okay.
(photos rustling)
301
00:15:32.692 --> 00:15:34.233
You know what\'s quite amusing about this,
302
00:15:34.233 --> 00:15:36.139
is you\'ve got red, white and blue,
303
00:15:36.139 --> 00:15:36.999
304
00:15:36.999 --> 00:15:39.321
305
00:15:39.321 --> 00:15:40.154
306
00:15:40.154 --> 00:15:41.155
307
00:15:41.155 --> 00:15:44.161
that we make a sort of patriot, patriotic Voltaire
308
00:15:44.161 --> 00:15:47.114
with a sort of blue velvet and a red, you know,
309
00:15:47.114 --> 00:15:49.621
here we have this nice example and the wide Chabot
310
00:15:49.621 --> 00:15:51.980
and then we have the colors from the French flag.
311
00:15:51.980 --> 00:15:54.690
There it is and that\'s the full sleeve on there.
312
00:15:54.690 --> 00:15:55.523
313
00:15:55.523 --> 00:15:59.203
314
00:15:59.203 --> 00:16:01.874
I think we should try to go and look at the real paint.
315
00:16:01.874 --> 00:16:05.291
(upbeat classical music)
316
00:16:15.634 --> 00:16:19.884
(upbeat classical music continues)
317
00:16:27.645 --> 00:16:31.895 line:15%
(upbeat classical music continues)
318
00:16:42.745 --> 00:16:45.245
You see it\'s very interesting.
319
00:16:48.057 --> 00:16:51.020
(upbeat classical music continues)
320
00:16:51.020 --> 00:16:53.067 line:15%
321
00:16:53.067 --> 00:16:57.965 line:15%
to wear all this stuff, you know, the couldn\'t move.
322
00:16:57.965 --> 00:17:00.465 line:15%
No really, they couldn\'t move.
323
00:17:01.434 --> 00:17:05.684
(upbeat classical music continues)
324
00:17:09.720 --> 00:17:12.141 line:15%
He has such an intelligent face.
325
00:17:12.141 --> 00:17:13.474 line:15%
326
00:17:15.550 --> 00:17:19.198 line:15%
He\'s a sort of original subversive, in a way.
327
00:17:19.198 --> 00:17:23.531 line:15%
(upbeat classical music continues)
328
00:17:26.687 --> 00:17:30.432
Candide is unusual in that Voltaire is not
329
00:17:30.432 --> 00:17:33.723
aiming for a major emotional response
330
00:17:33.723 --> 00:17:36.599
from his reading audience in the way that you might
331
00:17:36.599 --> 00:17:39.977
from another form of novel, it\'s a satire
332
00:17:39.977 --> 00:17:43.394
and as such, there\'s a distancing effect.
333
00:17:44.423 --> 00:17:46.796
If the things going along like a locomotive like this,
334
00:17:46.796 --> 00:17:47.830
the story but on the other hand
335
00:17:47.830 --> 00:17:49.898
you\'re being told all the time don\'t get into this
336
00:17:49.898 --> 00:17:52.312
\'cause you\'re being put, a lessons being drawn
337
00:17:52.312 --> 00:17:54.797
as you go along all the time from it
338
00:17:54.797 --> 00:17:56.909
as the situation has made more and more ridiculous
339
00:17:56.909 --> 00:17:58.793
or more and more extreme.
340
00:17:58.793 --> 00:18:00.832
There\'s something crazy about Candide,
341
00:18:00.832 --> 00:18:02.210
I mean, you\'re changing all the time,
342
00:18:02.210 --> 00:18:03.861
you\'re changing musical styles,
343
00:18:03.861 --> 00:18:07.121
Bernstein set out to write in as many different forms,
344
00:18:07.121 --> 00:18:08.949 line:15%
musical forms as possible.
345
00:18:08.949 --> 00:18:12.359 line:15%
He wasn\'t quite apart from being an extraordinary humanist
346
00:18:12.359 --> 00:18:15.867 line:15%
and a man with an incredible sense of theater
347
00:18:15.867 --> 00:18:19.205
and a wonderful musician, he was also, when he wanted to be
348
00:18:19.205 --> 00:18:21.921
an extremely accomplished (mumbles)
349
00:18:21.921 --> 00:18:23.599
and he had no problem with that.
350
00:18:23.599 --> 00:18:26.050
That wasn\'t a dirty word for him to be able to do something
351
00:18:26.050 --> 00:18:29.287
in the style of something consciously.
352
00:18:29.287 --> 00:18:32.808
That\'s very brilliant thing to be able to do
353
00:18:32.808 --> 00:18:35.802
and Candide is in a very clearly
354
00:18:35.802 --> 00:18:37.781
the moments which make you think of Prokofiev,
355
00:18:37.781 --> 00:18:38.789
for moments which make you think
356
00:18:38.789 --> 00:18:40.352
of all sorts of different composers and
357
00:18:40.352 --> 00:18:41.657
he does it on purpose.
358
00:18:41.657 --> 00:18:43.169
(static crackles)
359
00:18:43.169 --> 00:18:47.419
(upbeat classical music continues)
360
00:19:00.226 --> 00:19:04.476
(upbeat classical music continues)
361
00:19:13.284 --> 00:19:15.256 line:15%
362
00:19:15.256 --> 00:19:19.182 line:15%
363
00:19:19.182 --> 00:19:20.646 line:15%
get it, the beginning of that too
364
00:19:20.646 --> 00:19:22.228 line:15%
because there isn\'t anything like it, you know,
365
00:19:22.228 --> 00:19:23.492
366
00:19:23.492 --> 00:19:25.600
there\'re no big numbers in act two so I think that\'s good.
367
00:19:25.600 --> 00:19:27.082
368
00:19:27.082 --> 00:19:28.616
For the first it just got so many, it\'s heavy.
369
00:19:28.616 --> 00:19:29.704
370
00:19:29.704 --> 00:19:31.521
Yeah, yeah, yeah, yeah, yeah.
371
00:19:31.521 --> 00:19:33.360
Once this thing starts we\'ve got the adults
372
00:19:33.360 --> 00:19:36.948
sort of goes tonight with this star class.
373
00:19:36.948 --> 00:19:38.345
The trap which opens in the floor,
374
00:19:38.345 --> 00:19:41.933
you can see that Titanic valve thing.
375
00:19:41.933 --> 00:19:43.551
376
00:19:43.551 --> 00:19:45.092
377
00:19:45.092 --> 00:19:48.573
378
00:19:48.573 --> 00:19:50.152
because it seems like that\'s a good entrance
379
00:19:50.152 --> 00:19:51.541
so that\'s where the first people will come to this,
380
00:19:51.541 --> 00:19:53.142
where our dancers will come.
381
00:19:53.142 --> 00:19:55.067
382
00:19:55.067 --> 00:19:55.907
(footsteps pattering)
383
00:19:55.907 --> 00:19:57.024
384
00:19:57.024 --> 00:19:59.644
385
00:19:59.644 --> 00:20:02.636
so if it opens behind, then we can dance right out of it
386
00:20:02.636 --> 00:20:03.919
or come right out of it.
387
00:20:03.919 --> 00:20:06.388
388
00:20:06.388 --> 00:20:08.123
\"I never learned a human language\",
389
00:20:08.123 --> 00:20:10.254
people could start coming out.
390
00:20:10.254 --> 00:20:11.116
Should we just do it again?
391
00:20:11.116 --> 00:20:12.428
392
00:20:12.428 --> 00:20:14.085
♪ I never allowed you in a ♪
393
00:20:14.085 --> 00:20:16.914
So I mean starting after this
394
00:20:16.914 --> 00:20:18.398
I think they could start going.
395
00:20:18.398 --> 00:20:22.710
♪ My father spoke of little folly ♪
396
00:20:22.710 --> 00:20:25.316
or it could wait till the end of this verse.
397
00:20:25.316 --> 00:20:28.233
♪ My dog it\'s body ♪
398
00:20:29.701 --> 00:20:32.126
(Robert sings in foreign language)
399
00:20:32.126 --> 00:20:33.385
Maybe now,
400
00:20:33.385 --> 00:20:34.945
♪ Maybe I\'m easily assimilated ♪
401
00:20:34.945 --> 00:20:36.343
they starting to come out
402
00:20:36.343 --> 00:20:40.093
♪ I am so easily assimilated ♪
403
00:20:41.455 --> 00:20:44.122
404
00:20:45.108 --> 00:20:45.941
405
00:20:45.941 --> 00:20:48.564
406
00:20:48.564 --> 00:20:50.564
with those two stewards?
407
00:20:52.434 --> 00:20:55.918
Like just start off rather than everyone just suddenly
408
00:20:55.918 --> 00:20:59.296
coming out rather than just suddenly lifting up the...
409
00:20:59.296 --> 00:21:00.761
410
00:21:00.761 --> 00:21:01.721
411
00:21:01.721 --> 00:21:02.554
412
00:21:02.554 --> 00:21:03.387
413
00:21:03.387 --> 00:21:04.467
it all pulls together
414
00:21:04.467 --> 00:21:05.300
415
00:21:05.300 --> 00:21:06.133
416
00:21:06.133 --> 00:21:06.966
417
00:21:06.966 --> 00:21:07.799
418
00:21:07.799 --> 00:21:08.632
419
00:21:08.632 --> 00:21:09.628
the lights are here,
420
00:21:09.628 --> 00:21:10.461
421
00:21:10.461 --> 00:21:11.804
422
00:21:11.804 --> 00:21:12.637
with the (mumbles)
423
00:21:12.637 --> 00:21:14.105
424
00:21:14.105 --> 00:21:15.157
In one little moment (snaps) it just...
425
00:21:15.157 --> 00:21:16.455
426
00:21:16.455 --> 00:21:17.288
427
00:21:17.288 --> 00:21:18.353
in a surreal light.
428
00:21:18.353 --> 00:21:19.422
429
00:21:19.422 --> 00:21:20.255
430
00:21:20.255 --> 00:21:21.754
431
00:21:21.754 --> 00:21:22.587
432
00:21:22.587 --> 00:21:23.572
433
00:21:23.572 --> 00:21:25.846
(Robert sings in foreign language)
434
00:21:25.846 --> 00:21:27.943
435
00:21:27.943 --> 00:21:28.776
436
00:21:28.776 --> 00:21:29.609
437
00:21:29.609 --> 00:21:31.650
438
00:21:31.650 --> 00:21:33.596
439
00:21:33.596 --> 00:21:36.033
you know, \'cause they shouldn\'t be too good
440
00:21:36.033 --> 00:21:37.478
or they\'re gonna (mumbles)
441
00:21:37.478 --> 00:21:39.433
442
00:21:39.433 --> 00:21:40.266
(Robert mumbles)
443
00:21:40.266 --> 00:21:41.099
trying to rush and that\'s funny.
444
00:21:41.099 --> 00:21:42.359
445
00:21:42.359 --> 00:21:43.192
446
00:21:43.192 --> 00:21:44.025
447
00:21:44.025 --> 00:21:46.893
Like in more drunken and kind of, you know, until...
448
00:21:46.893 --> 00:21:48.476
449
00:21:53.215 --> 00:21:56.279
lights and suddenly these seven dancers
450
00:21:56.279 --> 00:21:57.725
(mumbles)
451
00:21:57.725 --> 00:21:59.866
452
00:21:59.866 --> 00:22:00.699
453
00:22:00.699 --> 00:22:02.838
454
00:22:02.838 --> 00:22:04.990
So I think that\'s what it is until then.
455
00:22:04.990 --> 00:22:05.823
I think.
456
00:22:06.905 --> 00:22:08.112
457
00:22:08.112 --> 00:22:09.643
458
00:22:09.643 --> 00:22:10.601
459
00:22:10.601 --> 00:22:13.488
(upbeat music continues)
460
00:22:13.488 --> 00:22:17.466
461
00:22:17.466 --> 00:22:18.819
One, two.
462
00:22:18.819 --> 00:22:19.771
463
00:22:19.771 --> 00:22:21.998
464
00:22:21.998 --> 00:22:23.040
is it feels tangoing.
465
00:22:23.040 --> 00:22:23.873
466
00:22:23.873 --> 00:22:24.706
467
00:22:24.706 --> 00:22:26.074
468
00:22:26.074 --> 00:22:29.650
Let\'s go, let\'s go back to the, let\'s go back to the split.
469
00:22:29.650 --> 00:22:31.324
470
00:22:31.324 --> 00:22:33.083
so I came up here,
471
00:22:33.083 --> 00:22:35.692
(woman exclaims)
472
00:22:35.692 --> 00:22:38.525
(woman vocalizes)
473
00:22:39.435 --> 00:22:40.685
Yeah, like that
474
00:22:41.955 --> 00:22:43.372
and a one and two
475
00:22:44.962 --> 00:22:48.618
(woman vocalizes)
476
00:22:48.618 --> 00:22:49.451
(woman exclaims)
477
00:22:49.451 --> 00:22:50.284
almost, almost.
478
00:22:50.284 --> 00:22:51.117
479
00:22:51.117 --> 00:22:52.123
480
00:22:52.123 --> 00:22:52.956
I think-
481
00:22:52.956 --> 00:22:54.856
482
00:22:54.856 --> 00:22:55.689
483
00:22:55.689 --> 00:22:57.004
484
00:22:57.004 --> 00:22:59.377
485
00:22:59.377 --> 00:23:00.210
486
00:23:00.210 --> 00:23:01.700
487
00:23:01.700 --> 00:23:03.505
so that you\'re there by the end of the turn
488
00:23:03.505 --> 00:23:04.703
then she goes this way
489
00:23:04.703 --> 00:23:05.589
(both vocalize)
490
00:23:05.589 --> 00:23:06.422
and then you go.
491
00:23:06.422 --> 00:23:08.014
(both vocalize)
492
00:23:08.014 --> 00:23:10.255
(footsteps pattering)
493
00:23:10.255 --> 00:23:11.686
Yeah, yeah, yeah.
494
00:23:11.686 --> 00:23:13.926
(all laugh)
495
00:23:13.926 --> 00:23:16.509
(upbeat music)
496
00:23:24.624 --> 00:23:28.041
(upbeat music continues)
497
00:23:33.909 --> 00:23:36.083
(Robert chuckles)
498
00:23:36.083 --> 00:23:39.500
(upbeat music continues)
499
00:23:45.207 --> 00:23:48.624
(upbeat music continues)
500
00:23:55.805 --> 00:23:59.222
(upbeat music continues)
501
00:24:07.705 --> 00:24:11.205
(upbeat music continues)
502
00:24:20.535 --> 00:24:21.996
503
00:24:21.996 --> 00:24:22.829
504
00:24:22.829 --> 00:24:23.662
505
00:24:23.662 --> 00:24:24.495
506
00:24:24.495 --> 00:24:25.328
507
00:24:25.328 --> 00:24:26.161
508
00:24:26.161 --> 00:24:26.994
509
00:24:26.994 --> 00:24:27.827
510
00:24:27.827 --> 00:24:29.129
511
00:24:29.129 --> 00:24:31.425
you\'re with a whole lot of people you\'ve never met before.
512
00:24:31.425 --> 00:24:34.377
You usually don\'t know the, many of the performers,
513
00:24:34.377 --> 00:24:36.955
the singers, the chorus, the conductor.
514
00:24:36.955 --> 00:24:37.788
Go on.
515
00:24:37.788 --> 00:24:39.459
(upbeat music continues)
516
00:24:39.459 --> 00:24:40.836
So it\'s, I mean,
517
00:24:40.836 --> 00:24:42.808
that\'s a really weird one, isn\'t it?
518
00:24:42.808 --> 00:24:43.927
You know how that works?
519
00:24:43.927 --> 00:24:46.198 line:15%
I mean is it a better to actually drop the last bar
520
00:24:46.198 --> 00:24:48.853 line:15%
and to just join the two together?
521
00:24:48.853 --> 00:24:50.801 line:15%
522
00:24:50.801 --> 00:24:51.926
523
00:24:51.926 --> 00:24:54.526
(John vocalizes)
524
00:24:54.526 --> 00:24:56.778
525
00:24:56.778 --> 00:24:58.260
is there any value in that?
526
00:24:58.260 --> 00:24:59.785
527
00:24:59.785 --> 00:25:01.210
Lets try that.
528
00:25:01.210 --> 00:25:04.627
(upbeat music continues)
529
00:25:09.100 --> 00:25:10.073
I loved it.
530
00:25:10.073 --> 00:25:15.073
♪ Everything that is is good ♪
531
00:25:15.353 --> 00:25:20.228
♪ Everything that is is bad ♪
532
00:25:20.228 --> 00:25:23.722
♪ Is wisely planned ♪
533
00:25:23.722 --> 00:25:26.139
♪ Is wisely ♪
534
00:25:30.907 --> 00:25:32.072
535
00:25:32.072 --> 00:25:33.797
the challenge is to do the piece as written
536
00:25:33.797 --> 00:25:35.442
because if you want to kind of do your own piece
537
00:25:35.442 --> 00:25:37.465
then you should just go and write your own piece.
538
00:25:37.465 --> 00:25:39.912
\"Candide\" is different because \"Candide\"
539
00:25:39.912 --> 00:25:41.077
from the very beginning
540
00:25:41.077 --> 00:25:43.720
has been rewritten and reshuffled as I always say,
541
00:25:43.720 --> 00:25:45.722
I don\'t think there\'s been one production of \"Candide\",
542
00:25:45.722 --> 00:25:47.046
including all the many ones
543
00:25:47.046 --> 00:25:48.388
that then have been unsupervised,
544
00:25:48.388 --> 00:25:49.804
in which the numbers were in the same order
545
00:25:49.804 --> 00:25:52.219
or in fact all the same numbers were even in the piece.
546
00:25:52.219 --> 00:25:54.744
547
00:25:54.744 --> 00:25:57.358
after this drum roll or do you want the drum roll to stop?
548
00:25:57.358 --> 00:26:00.646
In other words, you could still have just (exclaims)
549
00:26:00.646 --> 00:26:01.671
quietly underneath.
550
00:26:01.671 --> 00:26:02.530
It can begin like this when it\'s on though,
551
00:26:02.530 --> 00:26:04.188
552
00:26:04.188 --> 00:26:05.371
553
00:26:05.371 --> 00:26:07.470
you just have, (exclaims)
554
00:26:07.470 --> 00:26:08.303
555
00:26:08.303 --> 00:26:09.717
556
00:26:09.717 --> 00:26:14.111
(John exclaims)
(man drums)
557
00:26:14.111 --> 00:26:15.637
558
00:26:15.637 --> 00:26:17.392
\"you Candide made a verbal request
559
00:26:17.392 --> 00:26:19.847
\"that they should be generous and smash in his skull
560
00:26:19.847 --> 00:26:21.694
\"but the king of Westphalia passing by chance
561
00:26:21.694 --> 00:26:23.999
\"granted him a sir pardon an act of clemency,
562
00:26:23.999 --> 00:26:25.761
\"unique in recorded history.\"
563
00:26:25.761 --> 00:26:26.594
564
00:26:26.594 --> 00:26:28.705
565
00:26:28.705 --> 00:26:30.773
this bit \'cause this is one of the most difficult bits
566
00:26:30.773 --> 00:26:32.352
\'cause having to change his costume
567
00:26:32.352 --> 00:26:33.661
while all this is going on.
568
00:26:33.661 --> 00:26:38.070
(John sings in foreign language)
569
00:26:38.070 --> 00:26:40.139
\"Young girls in their last agony
570
00:26:40.139 --> 00:26:42.112
\"disemboweled after having satisfied the match.\"
571
00:26:42.112 --> 00:26:45.844
(Robert sings in foreign language)
572
00:26:45.844 --> 00:26:46.677
I see.
573
00:26:46.677 --> 00:26:49.145
574
00:26:49.145 --> 00:26:50.304
575
00:26:50.304 --> 00:26:52.969
after what I\'m saying is he can also see all the texts,
576
00:26:52.969 --> 00:26:55.063
not over the limit to just to have him,
577
00:26:55.063 --> 00:26:56.857
it can also be very moving him, just staggering around
578
00:26:56.857 --> 00:26:57.699
579
00:26:57.699 --> 00:26:59.212
580
00:26:59.212 --> 00:27:01.034
581
00:27:01.034 --> 00:27:03.894
I agree with you in that situation
582
00:27:03.894 --> 00:27:05.864
but there\'s one other solution.
583
00:27:05.864 --> 00:27:08.178
Rather than it being on Dante,
584
00:27:08.178 --> 00:27:09.683
we could make it more a dash.
585
00:27:09.683 --> 00:27:10.818
586
00:27:10.818 --> 00:27:12.433
\'cause is that the speed you want him to sing it?
587
00:27:12.433 --> 00:27:14.074
588
00:27:14.074 --> 00:27:16.035
I\'d rather be a little bit held back.
589
00:27:16.035 --> 00:27:17.618
Let\'s try it again.
590
00:27:18.486 --> 00:27:20.465
(John vocalizes)
591
00:27:20.465 --> 00:27:23.215
We can even go slower and slower.
592
00:27:29.895 --> 00:27:31.640
It\'d be better like that with a little bit
593
00:27:31.640 --> 00:27:32.473
594
00:27:32.473 --> 00:27:33.984
595
00:27:33.984 --> 00:27:35.348
(Robert speaks in foreign language)
596
00:27:35.348 --> 00:27:36.414
597
00:27:36.414 --> 00:27:40.480
I\'m afraid it might be a little asymmetrical.
598
00:27:40.480 --> 00:27:41.809 line:15%
♪ What a day, what a treat ♪
599
00:27:41.809 --> 00:27:44.738 line:15%
♪ Did you save me a seat in the rear with a rack ♪
600
00:27:44.738 --> 00:27:46.007 line:15%
♪ But away from the heat ♪
601
00:27:46.007 --> 00:27:47.414 line:15%
♪ No you won\'t see the bones ♪
602
00:27:47.414 --> 00:27:48.770 line:15%
♪ We\'ll hear most of the groans ♪
603
00:27:48.770 --> 00:27:51.065 line:15%
♪ And we\'ll still get a thrill throwing stones ♪
604
00:27:51.065 --> 00:27:52.035 line:15%
(John vocalizes)
605
00:27:52.035 --> 00:27:53.380 line:15%
♪ Did you see, yes I saw ♪
606
00:27:53.380 --> 00:27:54.661 line:15%
♪ Oh they\'ve broken his jaw ♪
607
00:27:54.661 --> 00:27:57.664 line:15%
♪ Don\'t we know we should go it\'s your father-in-law ♪
608
00:27:57.664 --> 00:27:58.999 line:15%
♪ Will he burn, what\'s your guess ♪
609
00:27:58.999 --> 00:28:01.303 line:15%
♪ I suppose he\'ll confess what a bore ♪
610
00:28:01.303 --> 00:28:03.453 line:15%
♪ I adore your new dress ♪
611
00:28:03.453 --> 00:28:06.667 line:15%
♪ It\'s the usual bunch to cremate and to crunch ♪
612
00:28:06.667 --> 00:28:11.286 line:15%
♪ There\'s a dean and a queen and a nun with a hunch ♪
613
00:28:11.286 --> 00:28:12.637 line:15%
♪ See you (mumbles) dash ♪
614
00:28:12.637 --> 00:28:13.979 line:15%
♪ When they\'ve swept up the ash ♪
615
00:28:13.979 --> 00:28:16.336 line:15%
♪ We can meet down the street and have lunch ♪
616
00:28:16.336 --> 00:28:17.169 line:15%
(John vocalizes)
617
00:28:17.169 --> 00:28:19.254
♪ It\'s the usual bunch to cremate and to crunch ♪
618
00:28:19.254 --> 00:28:21.385
♪ There\'s a dean and a queen and a nun with a hunch ♪
619
00:28:21.385 --> 00:28:22.566
♪ See you soon, we must dash ♪
620
00:28:22.566 --> 00:28:23.939
♪ When they\'ve swept up the ash ♪
621
00:28:23.939 --> 00:28:26.346
♪ We can meet down the street and have lunch ♪
622
00:28:26.346 --> 00:28:28.274
Let\'s hear if we think if it\'s good as an on-tracked.
623
00:28:28.274 --> 00:28:29.441
624
00:28:30.405 --> 00:28:31.964
625
00:28:31.964 --> 00:28:33.399
as we all come back from the intermission
626
00:28:33.399 --> 00:28:35.104
in our gin and tonic and then we hear this.
627
00:28:35.104 --> 00:28:35.957
(woman laughs)
628
00:28:35.957 --> 00:28:39.040
(John vocalizes)
629
00:28:39.040 --> 00:28:41.707
(upbeat music)
630
00:28:54.364 --> 00:28:55.947
\"Everybody shut it.
631
00:28:58.552 --> 00:29:02.481
\"All stand for the governor of the new world.\"
632
00:29:02.481 --> 00:29:04.416
I\'m entrusted with the work to tell the story.
633
00:29:04.416 --> 00:29:07.152
In the case of Candide it was really very extreme because I,
634
00:29:07.152 --> 00:29:10.220
I\'ve ended up asking if I could restructure the story
635
00:29:10.220 --> 00:29:12.907
that I was asked to tell and help to tell it,
636
00:29:12.907 --> 00:29:16.324
what I hope would be in a better way and,
637
00:29:18.040 --> 00:29:21.509
you know using this and in this case actually
638
00:29:21.509 --> 00:29:25.597
adapting the original material, both Bernstein score,
639
00:29:25.597 --> 00:29:30.082
which I asked permission to rearrange and then of course,
640
00:29:30.082 --> 00:29:32.249
with Ian rewrote the book.
641
00:29:33.435 --> 00:29:35.345
\"And then so we pardon them or hang them?
642
00:29:35.345 --> 00:29:36.178
\"Hang them.
643
00:29:36.178 --> 00:29:37.800
\"Good night and good luck,
644
00:29:37.800 --> 00:29:40.273
\"the two comments choose a hang.\"
645
00:29:40.273 --> 00:29:43.739 line:15%
646
00:29:43.739 --> 00:29:44.903 line:15%
647
00:29:44.903 --> 00:29:46.404 line:15%
648
00:29:46.404 --> 00:29:47.237 line:15%
649
00:29:47.237 --> 00:29:48.217 line:15%
650
00:29:48.217 --> 00:29:51.431
651
00:29:51.431 --> 00:29:54.681
and should we call them homosexualists?
652
00:29:55.638 --> 00:29:57.124
I want radical Jews, homosexuals
653
00:29:57.124 --> 00:29:58.515
is another communist version of this perfect,
654
00:29:58.515 --> 00:30:00.745
lets just leave that alone
655
00:30:00.745 --> 00:30:05.745
but you have to get rid of the word subversive earlier now.
656
00:30:06.148 --> 00:30:10.572
Shall we burn this file transgressor, yes sir.
657
00:30:10.572 --> 00:30:12.493
658
00:30:12.493 --> 00:30:14.513
659
00:30:14.513 --> 00:30:17.499
should we hang them all forget them, get them.
660
00:30:17.499 --> 00:30:19.681
661
00:30:19.681 --> 00:30:21.806
Do we have Candide\'s thing about,
662
00:30:21.806 --> 00:30:23.696
if this is the best of all possible worlds
663
00:30:23.696 --> 00:30:25.856
then what must be the others be like?
664
00:30:25.856 --> 00:30:28.137
665
00:30:28.137 --> 00:30:29.621
what must the others be like?
666
00:30:29.621 --> 00:30:30.454
Does that make it even worse?
667
00:30:30.454 --> 00:30:31.287
(Ian chuckles)
668
00:30:31.287 --> 00:30:33.302
669
00:30:33.302 --> 00:30:35.808
670
00:30:35.808 --> 00:30:38.159
I think we have to write a kind of a version
671
00:30:38.159 --> 00:30:39.819
of what happened to her.
672
00:30:39.819 --> 00:30:41.678
Voltaire can tell us what happened.
673
00:30:41.678 --> 00:30:45.589
We have to completely write something new here
674
00:30:45.589 --> 00:30:49.578
and what, no surely Voltaire should send what of Cunégonde
675
00:30:49.578 --> 00:30:51.391
\'cause she\'s supposed to be dead, we saw her dead.
676
00:30:51.391 --> 00:30:52.881
We should start, I mean we\'ve been a long time
677
00:30:52.881 --> 00:30:56.881
since we\'ve talked about as Voltaire should say.
678
00:30:57.877 --> 00:31:00.973
679
00:31:00.973 --> 00:31:05.973
diamonds are a girl\'s best friend, Bruce staff somehow.
680
00:31:06.372 --> 00:31:08.839
681
00:31:08.839 --> 00:31:12.506
\"a beautiful Cunégonde, could not have died
682
00:31:13.912 --> 00:31:15.800
\"and in fact she hadn\'t.
683
00:31:15.800 --> 00:31:17.738
\"She realized that men would always desire her
684
00:31:17.738 --> 00:31:19.162
\"and she discovered a way to make them pay
685
00:31:19.162 --> 00:31:21.923
\"for their dreams and for hers.
686
00:31:21.923 --> 00:31:22.756
687
00:31:24.294 --> 00:31:26.860
688
00:31:26.860 --> 00:31:30.432
the compromise that comes through collaboration.
689
00:31:30.432 --> 00:31:32.946
So it doesn\'t become about forcing your view point
690
00:31:32.946 --> 00:31:36.448
on to everybody, it becomes about
691
00:31:36.448 --> 00:31:38.122
sharing that viewpoint and then turning it
692
00:31:38.122 --> 00:31:41.576
into something better and very often
693
00:31:41.576 --> 00:31:43.195
what ends up on the stage of the first night
694
00:31:43.195 --> 00:31:46.649
is very, very different than what one had in one\'s head
695
00:31:46.649 --> 00:31:49.311
and it should be otherwise I think it\'s a bit of a failure.
696
00:31:49.311 --> 00:31:52.376
If when you present a project a year before you actually
697
00:31:52.376 --> 00:31:55.279
start to rehearse it, which is sometimes the case in music,
698
00:31:55.279 --> 00:31:58.368
theater, opera world, if you end up with only that
699
00:31:58.368 --> 00:32:01.325
on the stage when it opens,
700
00:32:01.325 --> 00:32:03.127
something\'s gone wrong in the process.
701
00:32:03.127 --> 00:32:04.657
(static crackles)
702
00:32:04.657 --> 00:32:07.657 line:15%
(people chattering)
703
00:32:11.636 --> 00:32:15.886
(all speaking in foreign language)
704
00:32:23.183 --> 00:32:27.042 line:15%
And because they\'ve been so many different versions of it,
705
00:32:27.042 --> 00:32:28.901 line:15%
we need to adapt this a little bit.
706
00:32:28.901 --> 00:32:32.463
You understand that here and we arrange for the cutting,
707
00:32:32.463 --> 00:32:35.356
I have to move these in reverse order.
708
00:32:35.356 --> 00:32:37.528
This will do well number one, number two, number three,
709
00:32:37.528 --> 00:32:38.361
710
00:32:38.361 --> 00:32:39.319
711
00:32:39.319 --> 00:32:43.017
712
00:32:43.017 --> 00:32:45.790
I mean, so guys from because of (mumbles)
713
00:32:45.790 --> 00:32:49.354
Boozer will just be as a messenger.
714
00:32:49.354 --> 00:32:50.294
715
00:32:50.294 --> 00:32:51.283
716
00:32:51.283 --> 00:32:54.481
717
00:32:54.481 --> 00:32:55.920
if it\'s possible.
718
00:32:55.920 --> 00:32:57.847
Then we\'re still wanting to find out
719
00:32:57.847 --> 00:33:01.014
how we\'re getting on with Rob Ashford.
720
00:33:02.517 --> 00:33:04.295
721
00:33:04.295 --> 00:33:05.128
722
00:33:05.128 --> 00:33:06.321
723
00:33:06.321 --> 00:33:09.749
I said costume design, (stutters) I cannot do until I,
724
00:33:09.749 --> 00:33:10.582
725
00:33:10.582 --> 00:33:12.251
726
00:33:12.251 --> 00:33:13.084
727
00:33:13.084 --> 00:33:14.770
728
00:33:14.770 --> 00:33:15.936
I mean, when you\'re doing a musical.
729
00:33:15.936 --> 00:33:17.023
730
00:33:17.023 --> 00:33:18.264
a minor issue but we\'re close.
731
00:33:18.264 --> 00:33:21.145
732
00:33:21.145 --> 00:33:23.704
\'cause otherwise Buki can\'t finish her work.
733
00:33:23.704 --> 00:33:24.537 line:15%
Okay.
734
00:33:24.537 --> 00:33:26.216 line:15%
(Robert speaks in foreign language)
735
00:33:26.216 --> 00:33:30.110
The pole piece is an incredible satire on corruption,
736
00:33:30.110 --> 00:33:34.317
on abuse, on sexual abuse, on financial abuse,
737
00:33:34.317 --> 00:33:36.817
on natural events, on how man,
738
00:33:38.173 --> 00:33:40.437
how man makes and destroys his world.
739
00:33:40.437 --> 00:33:43.556
The Voltaire way of thinking anti-religious
740
00:33:43.556 --> 00:33:46.099
and it is the basis of the revolution as well
741
00:33:46.099 --> 00:33:48.363
that\'s the Voltaire\'s thinking.
742
00:33:48.363 --> 00:33:51.858
You know, from when Lillian Hellman suggested to Bernstein
743
00:33:51.858 --> 00:33:55.695
that they should write this in the \'50s,
744
00:33:55.695 --> 00:33:59.445
on the back of the McCarthy trials where she,
745
00:34:01.249 --> 00:34:02.758
what was happening in America
746
00:34:02.758 --> 00:34:07.126
and we are planning on having projecting in the overture
747
00:34:07.126 --> 00:34:10.263
a whole little film of optimism.
748
00:34:10.263 --> 00:34:12.158
So we see all sorts of fabulous images
749
00:34:12.158 --> 00:34:13.843
from the beginning of this period
750
00:34:13.843 --> 00:34:16.343
of everything being wonderful.
751
00:34:18.296 --> 00:34:21.963
So there is this very beautiful posing house
752
00:34:23.181 --> 00:34:26.328
in Westphalia and I\'m sure you all recognize it.
753
00:34:26.328 --> 00:34:28.342
This takes place in Westphalia which is,
754
00:34:28.342 --> 00:34:29.559
but there\'s two ways of spelling it,
755
00:34:29.559 --> 00:34:30.392
756
00:34:30.392 --> 00:34:32.344
757
00:34:32.344 --> 00:34:33.581
(all laugh)
758
00:34:33.581 --> 00:34:36.169
So, so this earthquake comes up,
759
00:34:36.169 --> 00:34:37.381
pins everybody to the ground,
760
00:34:37.381 --> 00:34:39.593
particularly the Candide actually.
761
00:34:39.593 --> 00:34:41.079
762
00:34:41.079 --> 00:34:43.669
some of the pieces would come all the way to the ground.
763
00:34:43.669 --> 00:34:45.629
764
00:34:45.629 --> 00:34:47.285
and what happens is that all these people
765
00:34:47.285 --> 00:34:49.549
who get pushed to the ground, they will start bleeding
766
00:34:49.549 --> 00:34:52.151
and they bleed with red cloths
767
00:34:52.151 --> 00:34:53.209
and of course our auto-da-fé
768
00:34:53.209 --> 00:34:54.861
turns into another kind of a witch hunt,
769
00:34:54.861 --> 00:34:56.638
which is of course the McCarthy thing
770
00:34:56.638 --> 00:34:57.980
and chasing the communist.
771
00:34:57.980 --> 00:35:00.174
So the red of the people, the blood,
772
00:35:00.174 --> 00:35:02.741
becomes the red of communism,
773
00:35:02.741 --> 00:35:05.098
that the first two get hung and the Ken Glass
774
00:35:05.098 --> 00:35:07.648
and then Candide are also hung.
775
00:35:07.648 --> 00:35:10.648
(Robert vocalizes)
776
00:35:16.434 --> 00:35:17.318
So we can have that rock in,
777
00:35:17.318 --> 00:35:20.648
at the very end it flies up to end the act
778
00:35:20.648 --> 00:35:23.639
and as it does we just have the parts of the name,
779
00:35:23.639 --> 00:35:26.686
it just wipes, it goes right up and just wipes so.
780
00:35:26.686 --> 00:35:28.022
(all laugh)
781
00:35:28.022 --> 00:35:31.536
Act two begins and we are now on the boat
782
00:35:31.536 --> 00:35:33.324
sailing to the new world.
783
00:35:33.324 --> 00:35:35.619
There\'s a trap door that opens in the middle of this floor
784
00:35:35.619 --> 00:35:38.166
and from underneath, pairs every single kind
785
00:35:38.166 --> 00:35:40.766
of nationalities you can imagine who\'d come out
786
00:35:40.766 --> 00:35:43.049
and all these different national costumes
787
00:35:43.049 --> 00:35:45.721
as all the people coming to the new world,
788
00:35:45.721 --> 00:35:49.277
coming to America in the spirit of optimism
789
00:35:49.277 --> 00:35:51.876
and they\'re all going to do this tango
790
00:35:51.876 --> 00:35:56.756
as this crazy on deck party with these colored lights
791
00:35:56.756 --> 00:35:59.173
and that takes us forward to,
792
00:36:01.260 --> 00:36:02.875
the passports and glitter and be gay
793
00:36:02.875 --> 00:36:05.936
and so of course we are using an iconic figure
794
00:36:05.936 --> 00:36:07.353
which is Marilyn.
795
00:36:09.017 --> 00:36:11.684
(person coughs)
796
00:36:13.610 --> 00:36:17.941
So what happens is that these curtains open up and become,
797
00:36:17.941 --> 00:36:21.300
the first one, there\'s a second one and the third one
798
00:36:21.300 --> 00:36:24.271
and it goes back in perspective until
799
00:36:24.271 --> 00:36:26.771
you have Marilyn\'s face there.
800
00:36:31.198 --> 00:36:35.031
That takes us into the final section which is,
801
00:36:35.913 --> 00:36:38.136
we have the entire company that gathers out here
802
00:36:38.136 --> 00:36:41.004
as they start singing, Make Our Garden Grow
803
00:36:41.004 --> 00:36:45.605
and as they do, we start, we have this other film
804
00:36:45.605 --> 00:36:48.348
and it\'s of course what\'s, where it was all optimistic,
805
00:36:48.348 --> 00:36:50.896
while this music becomes unbelievably overwhelming,
806
00:36:50.896 --> 00:36:54.007
we actually show the reality of what\'s happened
807
00:36:54.007 --> 00:36:55.976
in those 50 years so the television images
808
00:36:55.976 --> 00:36:58.788
which were up to date and what we\'ve,,
809
00:36:58.788 --> 00:37:00.473
what we\'ve done with our garden,
810
00:37:00.473 --> 00:37:02.387
not just America by the way but I mean,
811
00:37:02.387 --> 00:37:04.278
since this is written by American sweat
812
00:37:04.278 --> 00:37:06.924
and they all wanted to criticize what was happening
813
00:37:06.924 --> 00:37:08.167
that, we\'ve taken up on view.
814
00:37:08.167 --> 00:37:10.042
So we see what has become of
815
00:37:10.042 --> 00:37:12.254
how we have not made our garden grow.
816
00:37:12.254 --> 00:37:15.254
(audience applaud)
817
00:37:20.070 --> 00:37:22.110
818
00:37:22.110 --> 00:37:23.322
(people chattering)
819
00:37:23.322 --> 00:37:24.669
820
00:37:24.669 --> 00:37:25.809
821
00:37:25.809 --> 00:37:28.352
822
00:37:28.352 --> 00:37:30.352
823
00:37:30.352 --> 00:37:31.310
It\'s terrific.
824
00:37:31.310 --> 00:37:33.469
So we are impressed you see.
825
00:37:33.469 --> 00:37:35.315
(man speaks in foreign language)
826
00:37:35.315 --> 00:37:38.344
It\'s much more fun, it\'s candy pink.
827
00:37:38.344 --> 00:37:39.761
828
00:37:43.163 --> 00:37:46.334
829
00:37:46.334 --> 00:37:48.216
I\'m sure Bernstein was thinking of this
830
00:37:48.216 --> 00:37:50.023
because this waltz comes before
831
00:37:50.023 --> 00:37:53.680
diamonds are a girls best friend just like, (gasps)
832
00:37:53.680 --> 00:37:56.054
(upbeat music)
833
00:37:56.054 --> 00:37:57.387
The Paris waltz.
834
00:38:00.273 --> 00:38:01.106
835
00:38:01.106 --> 00:38:02.473
836
00:38:02.473 --> 00:38:04.651
oh, call on a tour here.
837
00:38:04.651 --> 00:38:07.119
(upbeat music continues)
838
00:38:07.119 --> 00:38:09.128
839
00:38:09.128 --> 00:38:09.961
840
00:38:09.961 --> 00:38:11.886
841
00:38:11.886 --> 00:38:12.719
842
00:38:12.719 --> 00:38:13.626
843
00:38:13.626 --> 00:38:14.676
844
00:38:14.676 --> 00:38:19.526
♪ No, no, no, no, no, no, no, no, no ♪
845
00:38:19.526 --> 00:38:22.252
(Buki laughs)
846
00:38:22.252 --> 00:38:23.417
847
00:38:23.417 --> 00:38:24.250
848
00:38:24.250 --> 00:38:25.083
849
00:38:25.083 --> 00:38:28.405
♪ But I won\'t be the rental on your humble flat ♪
850
00:38:28.405 --> 00:38:30.118
♪ Boy have you had the oral ♪
851
00:38:30.118 --> 00:38:31.324
(Michael chuckles)
852
00:38:31.324 --> 00:38:33.816
What I mean we could recreate the whole thing.
853
00:38:33.816 --> 00:38:37.899
I\'d like to talk to the choreographer about this.
854
00:38:39.254 --> 00:38:42.004
(machine whirls)
855
00:39:09.913 --> 00:39:12.580
(machine beeps)
856
00:39:19.927 --> 00:39:22.594
(paper rustles)
857
00:39:29.462 --> 00:39:31.515
(people chattering)
858
00:39:31.515 --> 00:39:32.782
So I asked him, yeah I asked him
859
00:39:32.782 --> 00:39:34.689
to hang the same surfaces together so we could
860
00:39:34.689 --> 00:39:36.969
see which we liked better as a proper comparison.
861
00:39:36.969 --> 00:39:38.604
What\'s difficult to know is do you think
862
00:39:38.604 --> 00:39:42.687 line:15%
(both speak in foreign language)
863
00:39:52.266 --> 00:39:54.529
But it just does seem to come up sort of quite different
864
00:39:54.529 --> 00:39:55.994
that\'s so much lighter than,
865
00:39:55.994 --> 00:39:57.897
I feel I just can\'t believe that.
866
00:39:57.897 --> 00:40:00.734
Look at the color of her nose I mean...
867
00:40:00.734 --> 00:40:01.686
868
00:40:01.686 --> 00:40:03.108
869
00:40:03.108 --> 00:40:06.027
because the color difference is too enormous.
870
00:40:06.027 --> 00:40:06.860
(Michael speaks in foreign language)
871
00:40:06.860 --> 00:40:07.740
872
00:40:07.740 --> 00:40:08.782
I mean it\'s so red.
873
00:40:08.782 --> 00:40:10.642
874
00:40:10.642 --> 00:40:13.160
875
00:40:13.160 --> 00:40:17.848
everything there is kind of smooshed together somehow.
876
00:40:17.848 --> 00:40:19.617
If you look from the top of her lip
877
00:40:19.617 --> 00:40:22.122
to the skin above the lip, it\'s all getting very close
878
00:40:22.122 --> 00:40:24.798
in tones whereas there\'s a much wider range
879
00:40:24.798 --> 00:40:26.873
in tones on that.
880
00:40:26.873 --> 00:40:28.410
This is a back lit possibility.
881
00:40:28.410 --> 00:40:32.493
(man speaks in foreign language)
882
00:40:33.480 --> 00:40:34.313 line:15%
883
00:40:34.313 --> 00:40:38.368 line:15%
(Robert speaks in foreign language)
884
00:40:38.368 --> 00:40:42.451 line:15%
(man speaks in foreign language)
885
00:40:47.267 --> 00:40:49.453 line:15%
886
00:40:49.453 --> 00:40:50.453 line:15%
Have a look.
887
00:40:52.192 --> 00:40:53.025
It\'s sort of gray.
888
00:40:53.025 --> 00:40:56.517 line:15%
(Robert speaks in foreign language)
889
00:40:56.517 --> 00:40:57.350
890
00:40:57.350 --> 00:40:58.183
891
00:40:58.183 --> 00:40:59.016
892
00:40:59.016 --> 00:41:01.683
(man laughs)
893
00:41:01.683 --> 00:41:02.664
894
00:41:02.664 --> 00:41:04.331
895
00:41:06.338 --> 00:41:08.882
I have to go and study all this now.
896
00:41:08.882 --> 00:41:11.882
(people chattering)
897
00:41:13.380 --> 00:41:15.850 line:15%
They weren\'t scared of brown in the 19th century.
898
00:41:15.850 --> 00:41:17.006 line:15%
(people chattering)
899
00:41:17.006 --> 00:41:19.839 line:15%
They loved brown and these ochres.
900
00:41:21.398 --> 00:41:22.898 line:15%
901
00:41:22.898 --> 00:41:27.418 line:15%
I love those little, special thing they have in the ceiling,
902
00:41:27.418 --> 00:41:32.029 line:15%
those little sort of dishes for those light bulbs.
903
00:41:32.029 --> 00:41:34.147 line:15%
904
00:41:34.147 --> 00:41:35.825 line:15%
things you put your birthday candles.
905
00:41:35.825 --> 00:41:38.575 line:15%
906
00:41:40.472 --> 00:41:44.267 line:15%
907
00:41:44.267 --> 00:41:46.373
(static crackles)
908
00:41:46.373 --> 00:41:49.123
(machine whirls)
909
00:42:08.398 --> 00:42:11.231
(static crackles)
910
00:42:24.461 --> 00:42:29.461
(people murmuring)
(tools clanking)
911
00:42:35.781 --> 00:42:38.198 line:15%
No but we want to put that...
912
00:42:40.301 --> 00:42:44.801 line:15%
(people speaking in foreign language)
913
00:42:48.625 --> 00:42:53.625 line:15%
(people continue speaking in foreign language)
914
00:43:17.859 --> 00:43:19.679
915
00:43:19.679 --> 00:43:21.803
I\'m afraid I\'ve sort of, I have to sort of,
916
00:43:21.803 --> 00:43:22.636
we\'ll have to figure that out.
917
00:43:22.636 --> 00:43:23.469
918
00:43:23.469 --> 00:43:24.814
to see where the numbers would go,
919
00:43:24.814 --> 00:43:26.321
hanging in the, in the play.
920
00:43:26.321 --> 00:43:28.668
921
00:43:28.668 --> 00:43:31.052
in three weeks, we had enough.
922
00:43:31.052 --> 00:43:32.585
923
00:43:32.585 --> 00:43:34.309
what hangs where on their plan
924
00:43:34.309 --> 00:43:36.480
just to make sure, I think it should be part
925
00:43:36.480 --> 00:43:38.506
of what you do in the next two days.
926
00:43:38.506 --> 00:43:39.339
Okay.
927
00:43:39.339 --> 00:43:43.422 line:15%
(both speak in foreign language)
928
00:43:50.287 --> 00:43:55.287 line:15%
(all continue speaking in foreign language)
929
00:44:11.625 --> 00:44:16.625 line:15%
(all continue speaking in foreign language)
930
00:44:19.592 --> 00:44:22.592
This is Maximilian, Purico, Candide.
931
00:44:25.179 --> 00:44:28.346
(footsteps pattering)
932
00:44:29.505 --> 00:44:30.961
(engine revs)
933
00:44:30.961 --> 00:44:33.575
934
00:44:33.575 --> 00:44:38.575
(engine revs)
(car horn blares in distant)
935
00:44:40.318 --> 00:44:44.606
Not yet the most, the most beautiful light time of day
936
00:44:44.606 --> 00:44:46.924
which is usually around 5:30, six o\'clock.
937
00:44:46.924 --> 00:44:48.952
It\'s almost there and the buildings
938
00:44:48.952 --> 00:44:52.494
all go kind of buttery warm color.
939
00:44:52.494 --> 00:44:53.641
(engine revs)
940
00:44:53.641 --> 00:44:57.141
You can see the (mumbles)
941
00:44:58.078 --> 00:45:01.995
It\'s already beginning to turn a buttery color.
942
00:45:04.461 --> 00:45:06.294
Luca, hi it\'s Michael.
943
00:45:07.976 --> 00:45:09.634
I\'m on my way to (mumbles)
944
00:45:09.634 --> 00:45:10.932
It\'s not like the model
945
00:45:10.932 --> 00:45:13.961
and it\'s not like the drawings at all.
946
00:45:13.961 --> 00:45:16.492
Yeah but it\'s very strange, go and have a look.
947
00:45:16.492 --> 00:45:17.825
Okay, thank you.
948
00:45:18.751 --> 00:45:19.584
Bye.
949
00:45:29.955 --> 00:45:31.573
(engine revs)
950
00:45:31.573 --> 00:45:33.990
(door thuds)
951
00:45:38.591 --> 00:45:41.841
(footsteps pattering)
952
00:45:46.130 --> 00:45:49.659
It\'s a lot of square white for me.
953
00:45:49.659 --> 00:45:53.742 line:15%
(both speak in foreign language)
954
00:46:14.143 --> 00:46:15.485
Yeah, that\'s good.
955
00:46:15.485 --> 00:46:17.478
\'cause that\'ll look much better here,
956
00:46:17.478 --> 00:46:19.805
it\'ll be much better here.
957
00:46:19.805 --> 00:46:22.555
(machine whirls)
958
00:46:35.147 --> 00:46:39.564 line:15%
(Michael speaks in foreign language)
959
00:46:49.265 --> 00:46:53.348 line:15%
(both speak in foreign language)
960
00:47:09.926 --> 00:47:11.513
961
00:47:11.513 --> 00:47:15.346
and being jet lagged and not having slept for,
962
00:47:16.386 --> 00:47:20.176
to explain the word twist and the geometry of this
963
00:47:20.176 --> 00:47:24.724
and what it does in here \'cause it isn\'t bulging.
964
00:47:24.724 --> 00:47:25.842
You know, I drew this,
965
00:47:25.842 --> 00:47:30.842
it\'s taken from television sets from real television sets.
966
00:47:31.238 --> 00:47:35.463
I know it\'s possible but it obviously wasn\'t done that way
967
00:47:35.463 --> 00:47:38.672
it\'s been figured out in another way
968
00:47:38.672 --> 00:47:41.251
and once again, I\'m being told that I have to live with it
969
00:47:41.251 --> 00:47:42.668
because it\'s done
970
00:47:46.087 --> 00:47:47.617
and I just don\'t think it\'s right.
971
00:47:47.617 --> 00:47:50.183
I\'m sorry, It\'s just not right.
972
00:47:50.183 --> 00:47:52.023
Yeah this is, you know, this is like the thing
973
00:47:52.023 --> 00:47:54.064
that we see everywhere.
974
00:47:54.064 --> 00:47:57.660
It\'s gonna be at Les Scala, in London.
975
00:47:57.660 --> 00:47:59.636
You know it\'s like, it\'s the one thing we have,
976
00:47:59.636 --> 00:48:02.969
the audience looks at it the whole time.
977
00:48:05.965 --> 00:48:10.048 line:15%
(both speak in foreign language)
978
00:48:24.766 --> 00:48:29.766 line:15%
(both continue speaking in foreign language)
979
00:48:48.430 --> 00:48:51.180
(machine whirls)
980
00:48:54.016 --> 00:48:56.433
(wood thuds)
981
00:49:10.838 --> 00:49:13.588
(machine whirls)
982
00:49:18.292 --> 00:49:19.719
(static crackles)
983
00:49:19.719 --> 00:49:24.136 line:15%
(Lambert speaks in foreign language)
984
00:49:32.823 --> 00:49:37.823 line:15%
(Lambert continues speaking in foreign language)
985
00:49:55.805 --> 00:49:58.028 line:15%
986
00:49:58.028 --> 00:50:01.195 line:15%
987
00:50:01.195 --> 00:50:03.147 line:15%
Mr. Vander Dander.
988
00:50:03.147 --> 00:50:05.002
989
00:50:05.002 --> 00:50:05.835
990
00:50:06.712 --> 00:50:07.980
When we works in a sugar mill
991
00:50:07.980 --> 00:50:10.362
and gets a finger caught in the machinery,
992
00:50:10.362 --> 00:50:13.875
they cuts off the hand but if he tries to run away,
993
00:50:13.875 --> 00:50:15.542
they cuts off a leg.
994
00:50:16.566 --> 00:50:20.233
It\'s the price we pay for the sugar you eat.
995
00:50:22.653 --> 00:50:24.216
You know, I was just wondering
996
00:50:24.216 --> 00:50:28.371
if it was a bit over the top the southern accent?
997
00:50:28.371 --> 00:50:30.214
998
00:50:30.214 --> 00:50:33.526
the Voltaire wrote in the whole, in the whole book
999
00:50:33.526 --> 00:50:36.493
is this line, \"It\'s the price we pay,
1000
00:50:36.493 --> 00:50:39.388
\"we pays for the sugar you eat.\"
1001
00:50:39.388 --> 00:50:41.394
This, that, we still have that,
1002
00:50:41.394 --> 00:50:43.573
that I mean that is still the case today
1003
00:50:43.573 --> 00:50:46.237
that there are people, you know, the sweatshop trades,
1004
00:50:46.237 --> 00:50:49.120
the whole thing, children being forced to work and stuff
1005
00:50:49.120 --> 00:50:51.568
and you know, 200 and whatever years ago
1006
00:50:51.568 --> 00:50:52.642
Voltaire\'s writing this
1007
00:50:52.642 --> 00:50:54.735
but maybe we should take the S off of that,
1008
00:50:54.735 --> 00:50:55.568
maybe it\'s better.
1009
00:50:55.568 --> 00:50:59.291
\"It\'s the price we pay for the sugar you eat\",
1010
00:50:59.291 --> 00:51:00.806
maybe better than the price we pays
1011
00:51:00.806 --> 00:51:02.837
for the sugar you eat.
1012
00:51:02.837 --> 00:51:04.295
Try that.
1013
00:51:04.295 --> 00:51:08.427
1014
00:51:08.427 --> 00:51:12.490
in your optimism in a world where things like this happen?
1015
00:51:12.490 --> 00:51:13.762
1016
00:51:13.762 --> 00:51:15.179
What is optimism?
1017
00:51:16.297 --> 00:51:18.922
1018
00:51:18.922 --> 00:51:21.700
guys, optimism, optimism, optimism,
1019
00:51:21.700 --> 00:51:25.028
it is that you should say to weird scary mad men
1020
00:51:25.028 --> 00:51:26.599
would use on the word because
1021
00:51:26.599 --> 00:51:28.019
that\'s what we\'ve been watching all night long
1022
00:51:28.019 --> 00:51:30.627
you know, when he says, what is optimism?
1023
00:51:30.627 --> 00:51:31.460
1024
00:51:31.460 --> 00:51:33.081
1025
00:51:33.081 --> 00:51:35.273
♪ Words, words, words, words ♪
1026
00:51:35.273 --> 00:51:37.599
♪ I have no words ♪
1027
00:51:37.599 --> 00:51:39.745
♪ To describe the vanity of life ♪
1028
00:51:39.745 --> 00:51:42.034
♪ The insane and inanity of life ♪
1029
00:51:42.034 --> 00:51:46.720
♪ I have no words but ♪
1030
00:51:46.720 --> 00:51:49.209
♪ Make rhyme and slime ♪
1031
00:51:49.209 --> 00:51:51.583
♪ Why waste our time ♪
1032
00:51:51.583 --> 00:51:53.713
♪ Sprouting some spanned notes upon a raft ♪
1033
00:51:53.713 --> 00:51:56.042
♪ Even one chokes Shakespeare every time ♪
1034
00:51:56.042 --> 00:51:58.260
♪ They make me laugh but ♪
1035
00:51:58.260 --> 00:52:00.624
♪ Wait it just occurred to me ♪
1036
00:52:00.624 --> 00:52:03.097
♪ A word that which is possibly ♪
1037
00:52:03.097 --> 00:52:05.468
♪ Applied to all of us ♪
1038
00:52:05.468 --> 00:52:07.970
♪ Trapped on this ball of dust ♪
1039
00:52:07.970 --> 00:52:10.219
♪ To tiny syllables ♪
1040
00:52:10.219 --> 00:52:12.321
♪ But spiky syllables ♪
1041
00:52:12.321 --> 00:52:16.830
♪ One single word, absurd ♪
1042
00:52:16.830 --> 00:52:19.322
♪ Absurd ♪
1043
00:52:19.322 --> 00:52:21.405
♪ Absurd ♪
1044
00:52:24.672 --> 00:52:27.035
(Lambert blows raspberry)
1045
00:52:27.035 --> 00:52:29.952
(Lambert exclaims)
1046
00:52:33.360 --> 00:52:34.193
1047
00:52:34.193 --> 00:52:35.410
1048
00:52:35.410 --> 00:52:38.327
(Lambert exclaims)
1049
00:52:40.323 --> 00:52:41.156
(all applaud)
1050
00:52:41.156 --> 00:52:43.698
1051
00:52:43.698 --> 00:52:44.531
(all applaud)
1052
00:52:44.531 --> 00:52:45.487
1053
00:52:45.487 --> 00:52:46.785
(all laugh)
1054
00:52:46.785 --> 00:52:48.458
1055
00:52:48.458 --> 00:52:51.470
1056
00:52:51.470 --> 00:52:52.477
and then-
1057
00:52:52.477 --> 00:52:55.002
1058
00:52:55.002 --> 00:52:56.245
1059
00:52:56.245 --> 00:52:57.078
1060
00:52:57.078 --> 00:52:57.911
1061
00:52:57.911 --> 00:53:01.078
(lighthearted music)
1062
00:53:10.568 --> 00:53:13.533
1063
00:53:13.533 --> 00:53:15.625
what must the others be like?
1064
00:53:15.625 --> 00:53:19.625
(lighthearted music continues)
1065
00:53:21.583 --> 00:53:23.435
1066
00:53:23.435 --> 00:53:28.435
♪ My master told me ♪
1067
00:53:29.970 --> 00:53:34.970
♪ That men are loving kind ♪
1068
00:53:35.455 --> 00:53:40.455
♪ Yet now behold me ♪
1069
00:53:40.469 --> 00:53:45.469
♪ You used and sad of mind ♪
1070
00:53:48.167 --> 00:53:52.750
♪ Men must have kindness I can not see ♪
1071
00:53:59.500 --> 00:54:03.784
♪ It must be me ♪
1072
00:54:03.784 --> 00:54:06.451
♪ It must be me ♪
1073
00:54:21.096 --> 00:54:22.770
1074
00:54:22.770 --> 00:54:26.202
1075
00:54:26.202 --> 00:54:28.312
Mr. Vander Dander.
1076
00:54:28.312 --> 00:54:29.815
1077
00:54:29.815 --> 00:54:30.648
1078
00:54:30.648 --> 00:54:34.866
1079
00:54:34.866 --> 00:54:35.699
(bag thuds)
1080
00:54:35.699 --> 00:54:36.989
He did this to you?
1081
00:54:36.989 --> 00:54:37.822
1082
00:54:37.822 --> 00:54:39.688
1083
00:54:39.688 --> 00:54:40.937
1084
00:54:40.937 --> 00:54:41.926
(bag thuds)
1085
00:54:41.926 --> 00:54:43.220
He did this to you?
1086
00:54:43.220 --> 00:54:44.053
1087
00:54:45.014 --> 00:54:47.134
When you works in his sugar mill
1088
00:54:47.134 --> 00:54:49.804
and you get your finger caught in the machinery,
1089
00:54:49.804 --> 00:54:51.238
they cut off your hands.
1090
00:54:51.238 --> 00:54:52.988
1091
00:54:52.988 --> 00:54:57.216
1092
00:54:57.216 --> 00:54:58.437
1093
00:54:58.437 --> 00:55:00.187
1094
00:55:01.286 --> 00:55:05.613
That\'s the price we pay for the sugar you eat.
1095
00:55:05.613 --> 00:55:07.613
1096
00:55:08.475 --> 00:55:11.626
I think you should put this down.
1097
00:55:11.626 --> 00:55:14.646
That\'s the price we pay for the sugar you eat.
1098
00:55:14.646 --> 00:55:15.987
1099
00:55:15.987 --> 00:55:17.820
How do I show the leg?
1100
00:55:19.818 --> 00:55:23.270
1101
00:55:23.270 --> 00:55:25.997
If when they, when they come, they cut off the,
1102
00:55:25.997 --> 00:55:27.700
they cut off the hand.
1103
00:55:27.700 --> 00:55:29.127
1104
00:55:29.127 --> 00:55:31.247
1105
00:55:31.247 --> 00:55:35.080
1106
00:55:36.138 --> 00:55:37.696
♪ It\'s nation guards this native land ♪
1107
00:55:37.696 --> 00:55:39.541
♪ With canon and with sentry ♪
1108
00:55:39.541 --> 00:55:42.174
♪ Inspectors look for contraband ♪
1109
00:55:42.174 --> 00:55:44.646
♪ At every point of entry ♪
1110
00:55:44.646 --> 00:55:46.418
♪ Yet nothing can prevent the spread of ♪
1111
00:55:46.418 --> 00:55:48.313
And it\'s nice when used to the contraband,
1112
00:55:48.313 --> 00:55:50.519
you used to snatch it out yourself (mumbles)
1113
00:55:50.519 --> 00:55:51.710
♪ It\'s nation guards, ♪
1114
00:55:51.710 --> 00:55:54.123
♪ It\'s native land with canon and with sentry ♪
1115
00:55:54.123 --> 00:55:54.956
1116
00:55:54.956 --> 00:55:55.789
1117
00:55:55.789 --> 00:55:57.145
♪ This native land was (mumbles) in a century ♪
1118
00:55:57.145 --> 00:55:57.978
What?
1119
00:55:57.978 --> 00:55:59.934
♪ Inspectors look for contraband ♪
1120
00:55:59.934 --> 00:56:00.767
(Robert exclaims)
1121
00:56:00.767 --> 00:56:02.902
As if they just find, look for contraband
1122
00:56:02.902 --> 00:56:03.735
(both mumble)
1123
00:56:03.735 --> 00:56:04.568
and price.
1124
00:56:04.568 --> 00:56:06.194
1125
00:56:06.194 --> 00:56:08.877
I was into in the left,
1126
00:56:08.877 --> 00:56:10.737
each national guard it\'s native land with canon
1127
00:56:10.737 --> 00:56:13.758
and with sentry. inspectors look for contraband.
1128
00:56:13.758 --> 00:56:14.591
1129
00:56:14.591 --> 00:56:17.025
♪ And every point of entries ♪
1130
00:56:17.025 --> 00:56:19.018
♪ Yet nothing can prevent ♪
1131
00:56:19.018 --> 00:56:20.223
♪ The spread of love divine disease ♪
1132
00:56:20.223 --> 00:56:22.421
1133
00:56:22.421 --> 00:56:23.398
♪ Yet nothing can ♪
1134
00:56:23.398 --> 00:56:27.141
♪ Yet nothing can prevent the spread of love\'s ♪
1135
00:56:27.141 --> 00:56:27.974
1136
00:56:27.974 --> 00:56:28.807
1137
00:56:28.807 --> 00:56:29.640
1138
00:56:29.640 --> 00:56:31.274
1139
00:56:31.274 --> 00:56:34.559
♪ Yet nothing can present, prevent the spread of love\'s ♪
1140
00:56:34.559 --> 00:56:35.392
What?
1141
00:56:35.392 --> 00:56:36.225
1142
00:56:36.225 --> 00:56:37.383
♪ Divine\'s disease ♪
1143
00:56:37.383 --> 00:56:40.496
1144
00:56:40.496 --> 00:56:41.329
1145
00:56:41.329 --> 00:56:42.162
1146
00:56:42.162 --> 00:56:42.995
1147
00:56:42.995 --> 00:56:45.412
♪ The decorations which I bear are no blurred ♪
1148
00:56:45.412 --> 00:56:47.314
♪ Than the Corrade Gere ♪
1149
00:56:47.314 --> 00:56:48.147
1150
00:56:48.147 --> 00:56:48.980
1151
00:56:48.980 --> 00:56:51.481
between a singing diction and a speaking diction.
1152
00:56:51.481 --> 00:56:54.319
It\'s not fair to expect this kind of music
1153
00:56:54.319 --> 00:56:56.483
to be spoken \'cause it can\'t be, it\'ll,
1154
00:56:56.483 --> 00:56:58.778
it really, it puts a major strain.
1155
00:56:58.778 --> 00:57:00.242
So you all need to find a balance
1156
00:57:00.242 --> 00:57:04.175
between the house characterized his actual speaking is
1157
00:57:04.175 --> 00:57:07.351
and how it can go into a sung speech.
1158
00:57:07.351 --> 00:57:09.195
It\'s not fair to expect that,
1159
00:57:09.195 --> 00:57:10.534
like the way you speak up there
1160
00:57:10.534 --> 00:57:12.466
there\'s no way he can get through this,
1161
00:57:12.466 --> 00:57:14.640
any of us could ever get through the whole night
1162
00:57:14.640 --> 00:57:16.963
singing all that music with that voice.
1163
00:57:16.963 --> 00:57:18.407
It just can\'t be done.
1164
00:57:18.407 --> 00:57:22.270
I mean, seriously just from these little guy\'s standpoint.
1165
00:57:22.270 --> 00:57:23.981
(Robert chuckles)
1166
00:57:23.981 --> 00:57:24.814 line:15%
1167
00:57:24.814 --> 00:57:26.246 line:15%
1168
00:57:26.246 --> 00:57:30.098 line:15%
1169
00:57:30.098 --> 00:57:31.056 line:15%
and that\'s that.
1170
00:57:31.056 --> 00:57:34.306 line:15%
1171
00:57:40.918 --> 00:57:45.335 line:15%
(Lambert speaks in foreign language)
1172
00:57:59.742 --> 00:58:03.389 line:15%
(Lambert continues speaking in foreign language)
1173
00:58:03.389 --> 00:58:06.472
(lighthearted music)
1174
00:58:10.967 --> 00:58:15.967 line:15%
(Lambert continues speaking in foreign language)
1175
00:58:27.617 --> 00:58:29.317 line:15%
(Robert speaks in foreign language)
1176
00:58:29.317 --> 00:58:30.169 line:15%
1177
00:58:30.169 --> 00:58:31.880 line:15%
1178
00:58:31.880 --> 00:58:33.556
1179
00:58:33.556 --> 00:58:36.427
It was so fast wasn\'t it?
1180
00:58:36.427 --> 00:58:40.760
(Robert speaks in foreign language)
1181
00:59:01.030 --> 00:59:04.241
(Lambert laughs)
1182
00:59:04.241 --> 00:59:05.074
1183
00:59:05.074 --> 00:59:05.907
1184
00:59:05.907 --> 00:59:07.555
1185
00:59:07.555 --> 00:59:09.302
if we have to we\'ll slow that down
1186
00:59:09.302 --> 00:59:12.010
but we have to allow that music to start.
1187
00:59:12.010 --> 00:59:12.843
1188
00:59:12.843 --> 00:59:15.426
(upbeat music)
1189
00:59:17.866 --> 00:59:22.706
1190
00:59:22.706 --> 00:59:26.111
(upbeat music continues)
1191
00:59:26.111 --> 00:59:29.949
One, two, three , four, five, six, seven, eight.
1192
00:59:29.949 --> 00:59:32.366
One, two, three , four, five.
1193
00:59:43.072 --> 00:59:46.072
(people vocalizing)
1194
00:59:47.140 --> 00:59:47.973
1195
00:59:49.388 --> 00:59:51.268
Yeah, careful.
1196
00:59:51.268 --> 00:59:52.101
Questions?
1197
00:59:53.464 --> 00:59:56.464
(people chattering)
1198
00:59:58.370 --> 01:00:01.412 line:15%
1199
01:00:01.412 --> 01:00:03.789 line:15%
that I can\'t find at home.
1200
01:00:03.789 --> 01:00:06.289
It\'s for poodles, he loves it.
1201
01:00:07.820 --> 01:00:11.152 line:15%
1202
01:00:11.152 --> 01:00:13.247 line:15%
1203
01:00:13.247 --> 01:00:14.080 line:15%
1204
01:00:14.080 --> 01:00:15.094
it\'s already full of change.
1205
01:00:15.094 --> 01:00:15.927
1206
01:00:15.927 --> 01:00:16.760
1207
01:00:16.760 --> 01:00:17.593
1208
01:00:17.593 --> 01:00:19.960
I also wanted to ask you if I could change one other word.
1209
01:00:19.960 --> 01:00:22.836
in this accent it\'s almost impossible to say ordinarily.
1210
01:00:22.836 --> 01:00:23.669
(Kim laughs)
1211
01:00:23.669 --> 01:00:27.362
1212
01:00:27.362 --> 01:00:28.195
It\'s the same meaning it\'s just,
1213
01:00:28.195 --> 01:00:29.028
1214
01:00:29.028 --> 01:00:32.769
1215
01:00:32.769 --> 01:00:34.182
1216
01:00:34.182 --> 01:00:35.982
that we don\'t have anywhere else in the show,
1217
01:00:35.982 --> 01:00:39.261
A, it\'s like by the largest bit of dialogue by 10
1218
01:00:39.261 --> 01:00:42.107
and B, it starts quite realistic
1219
01:00:42.107 --> 01:00:45.655
and then you need to plunge us into the middle of this
1220
01:00:45.655 --> 01:00:48.925
narration that we\'re now dramatizing everything
1221
01:00:48.925 --> 01:00:52.008
and I think that moment becomes here.
1222
01:00:53.477 --> 01:00:55.753
A former mistress, you have to turn her into that,
1223
01:00:55.753 --> 01:00:58.071
invited my husband to be for a farewell drink.
1224
01:00:58.071 --> 01:00:58.904
(Robert exclaims)
1225
01:00:58.904 --> 01:00:59.737
You know, it has to kind of
1226
01:00:59.737 --> 01:01:01.151
that\'s why you have to swing yourself however you,
1227
01:01:01.151 --> 01:01:01.984
1228
01:01:01.984 --> 01:01:04.170
1229
01:01:04.170 --> 01:01:05.340
then you take the glass
1230
01:01:05.340 --> 01:01:06.173
1231
01:01:06.173 --> 01:01:07.333
1232
01:01:07.333 --> 01:01:10.905
1233
01:01:10.905 --> 01:01:12.777
1234
01:01:12.777 --> 01:01:13.610
I just hope,
1235
01:01:13.610 --> 01:01:14.443
1236
01:01:14.443 --> 01:01:15.411
1237
01:01:15.411 --> 01:01:16.506
1238
01:01:16.506 --> 01:01:19.314
1239
01:01:19.314 --> 01:01:21.275
but to have a fabulous time doing this.
1240
01:01:21.275 --> 01:01:22.927
It\'s only when you\'re completely
1241
01:01:22.927 --> 01:01:23.760
1242
01:01:23.760 --> 01:01:24.823
1243
01:01:24.823 --> 01:01:25.656
1244
01:01:25.656 --> 01:01:26.873
1245
01:01:26.873 --> 01:01:29.667
My dear little madam, you know nothing of my birth.
1246
01:01:29.667 --> 01:01:31.689
No, where are you, aren\'t you going here?
1247
01:01:31.689 --> 01:01:32.522
Because she needs drink.
1248
01:01:32.522 --> 01:01:34.864
1249
01:01:34.864 --> 01:01:37.172
1250
01:01:37.172 --> 01:01:38.005
you stopped here,
1251
01:01:38.005 --> 01:01:38.838
1252
01:01:38.838 --> 01:01:39.671
1253
01:01:39.671 --> 01:01:40.504
1254
01:01:40.504 --> 01:01:41.337
1255
01:01:41.337 --> 01:01:42.746
I see, there.
1256
01:01:42.746 --> 01:01:46.721
\"My dear little madam, you know nothing of my birth,
1257
01:01:46.721 --> 01:01:49.011
\"you know nothing of my birth
1258
01:01:49.011 --> 01:01:50.399
\"and if I was to show (stutters)
1259
01:01:50.399 --> 01:01:52.250
\"if I were to show you because if your (stutters)
1260
01:01:52.250 --> 01:01:54.350
\"and if I was to show you my bottom\"
1261
01:01:54.350 --> 01:01:55.412
and now you gotta be listening,
1262
01:01:55.412 --> 01:01:56.245
1263
01:01:56.245 --> 01:01:57.894
1264
01:01:57.894 --> 01:01:59.428
\"you would soon change your mind.\"
1265
01:01:59.428 --> 01:02:01.707
Then you\'re going that way.
1266
01:02:01.707 --> 01:02:04.688
I am the daughter of a Pope, stop.
1267
01:02:04.688 --> 01:02:07.379
No don\'t turn around, stop, what did she say?
1268
01:02:07.379 --> 01:02:09.772
Then turn around and look at me.
1269
01:02:09.772 --> 01:02:11.726
A Polish pope.
1270
01:02:11.726 --> 01:02:16.453
\"The day before it was to take place a former mistress
1271
01:02:16.453 --> 01:02:20.891
\"invited my husband to be for a farewell drink, (exclaims)
1272
01:02:20.891 --> 01:02:22.759
\"farewell indeed.
1273
01:02:22.759 --> 01:02:24.430
\"He died within two hours,
1274
01:02:24.430 --> 01:02:27.606
\"collapsing me to his chest in terrible agony.\"
1275
01:02:27.606 --> 01:02:28.853
Then you have to die.
1276
01:02:28.853 --> 01:02:30.835
1277
01:02:30.835 --> 01:02:31.887
before it was to be something.
1278
01:02:31.887 --> 01:02:33.196
1279
01:02:33.196 --> 01:02:34.503
1280
01:02:34.503 --> 01:02:35.733
1281
01:02:35.733 --> 01:02:36.701
1282
01:02:36.701 --> 01:02:41.044
The day before it was to take place a former mistress...
1283
01:02:41.044 --> 01:02:42.404
1284
01:02:42.404 --> 01:02:44.282
1285
01:02:44.282 --> 01:02:45.115
1286
01:02:45.115 --> 01:02:48.318
1287
01:02:48.318 --> 01:02:49.571
1288
01:02:49.571 --> 01:02:53.136
and show her every line at the end of a period.
1289
01:02:53.136 --> 01:02:55.171 line:15%
1290
01:02:55.171 --> 01:02:59.317 line:15%
He died within two hours, clutching me desperately.
1291
01:02:59.317 --> 01:03:01.128 line:15%
1292
01:03:01.128 --> 01:03:03.220
1293
01:03:03.220 --> 01:03:05.153
1294
01:03:05.153 --> 01:03:09.464
1295
01:03:09.464 --> 01:03:10.422
1296
01:03:10.422 --> 01:03:12.467
1297
01:03:12.467 --> 01:03:13.723
1298
01:03:13.723 --> 01:03:15.956
1299
01:03:15.956 --> 01:03:18.289
I am the daughter of a Pope.
1300
01:03:19.205 --> 01:03:22.476
1301
01:03:22.476 --> 01:03:23.551
what is it?
1302
01:03:23.551 --> 01:03:24.384
1303
01:03:24.384 --> 01:03:26.160
1304
01:03:26.160 --> 01:03:26.993
1305
01:03:26.993 --> 01:03:28.297
1306
01:03:28.297 --> 01:03:31.529
never complain, never explain.
1307
01:03:31.529 --> 01:03:33.449
(Robert vocalizes)
1308
01:03:33.449 --> 01:03:35.109
(woman chuckles)
1309
01:03:35.109 --> 01:03:38.080
So being practical, how, what, how are we going to do this
1310
01:03:38.080 --> 01:03:41.296
because I can\'t do it if you haven\'t got the book
1311
01:03:41.296 --> 01:03:43.136
and you can\'t do it if you haven\'t got the book
1312
01:03:43.136 --> 01:03:44.638
so we got to postpone it.
1313
01:03:44.638 --> 01:03:47.054
1314
01:03:47.054 --> 01:03:49.466
to have them to run it.
1315
01:03:49.466 --> 01:03:51.174
There\'s only so much I can do in a room by myself,
1316
01:03:51.174 --> 01:03:52.072
I just have to run.
1317
01:03:52.072 --> 01:03:53.015
1318
01:03:53.015 --> 01:03:53.848
(Philip mumbles)
1319
01:03:53.848 --> 01:03:54.681
1320
01:03:54.681 --> 01:03:55.514
1321
01:03:55.514 --> 01:03:56.347
1322
01:03:56.347 --> 01:03:57.663
we might just do line-line for a little bit.
1323
01:03:57.663 --> 01:03:58.496
1324
01:03:58.496 --> 01:04:01.079
1325
01:04:02.421 --> 01:04:03.254
1326
01:04:03.254 --> 01:04:04.151
1327
01:04:04.151 --> 01:04:05.446
1328
01:04:05.446 --> 01:04:06.509
(Kim laughs)
1329
01:04:06.509 --> 01:04:09.092
(both exclaim)
1330
01:04:10.418 --> 01:04:12.530
1331
01:04:12.530 --> 01:04:14.537
1332
01:04:14.537 --> 01:04:15.821
1333
01:04:15.821 --> 01:04:16.943
(Kim exclaims)
1334
01:04:16.943 --> 01:04:17.776
Yeah, I know.
1335
01:04:17.776 --> 01:04:20.305
1336
01:04:20.305 --> 01:04:21.336
on the sidewalk.
1337
01:04:21.336 --> 01:04:22.169
1338
01:04:22.169 --> 01:04:23.002
1339
01:04:23.002 --> 01:04:23.952
♪ Ruby ♪
1340
01:04:23.952 --> 01:04:26.224
1341
01:04:26.224 --> 01:04:27.096
Well if that\'s a problem,
1342
01:04:27.096 --> 01:04:28.073
♪ Ruby ♪
1343
01:04:28.073 --> 01:04:29.869
1344
01:04:29.869 --> 01:04:31.930
and the guys will just do without you.
1345
01:04:31.930 --> 01:04:32.763
1346
01:04:32.763 --> 01:04:33.596
1347
01:04:33.596 --> 01:04:34.429
♪ Ruby ♪
1348
01:04:34.429 --> 01:04:35.523
1349
01:04:35.523 --> 01:04:36.356
1350
01:04:36.356 --> 01:04:37.841
1351
01:04:37.841 --> 01:04:40.103
1352
01:04:40.103 --> 01:04:40.936
doing the note after.
1353
01:04:40.936 --> 01:04:41.769
1354
01:04:41.769 --> 01:04:42.602
1355
01:04:42.602 --> 01:04:44.067
And a one two three.
1356
01:04:44.067 --> 01:04:47.150
(lighthearted music)
1357
01:04:55.757 --> 01:04:58.340
Down, one an left, right, left.
1358
01:05:00.459 --> 01:05:03.459
Three, four, five, six, seven, eight
1359
01:05:04.661 --> 01:05:06.580
nine, ten, eleven, twelve
1360
01:05:06.580 --> 01:05:08.247
and one, two, three.
1361
01:05:11.948 --> 01:05:13.825
1362
01:05:13.825 --> 01:05:15.700 line:15%
1363
01:05:15.700 --> 01:05:17.626 line:15%
1364
01:05:17.626 --> 01:05:18.459 line:15%
(all laughs)
1365
01:05:18.459 --> 01:05:20.166
1366
01:05:20.166 --> 01:05:22.902
1367
01:05:22.902 --> 01:05:24.655
\'cause you\'re gonna,
1368
01:05:24.655 --> 01:05:28.528
no it\'s still got to come lower down.
1369
01:05:28.528 --> 01:05:29.361
1370
01:05:29.361 --> 01:05:30.194
1371
01:05:30.194 --> 01:05:31.913 line:15%
1372
01:05:31.913 --> 01:05:36.246 line:15%
(Robert speaks in foreign language)
1373
01:05:41.122 --> 01:05:45.289
(people chattering in background)
1374
01:05:55.411 --> 01:05:57.154
1375
01:05:57.154 --> 01:05:58.154
1376
01:05:58.154 --> 01:06:03.154
♪ (mumbles) with my emotion ♪
1377
01:06:04.955 --> 01:06:09.005
♪ Soon as fevers\' fled for loves a trends in blessing ♪
1378
01:06:09.005 --> 01:06:09.838 line:15%
1379
01:06:09.838 --> 01:06:10.697 line:15%
♪ Just a week in bed ♪
1380
01:06:10.697 --> 01:06:11.530 line:15%
And we will.
1381
01:06:11.530 --> 01:06:14.968 line:15%
♪ And we\'ll become blessing ♪
1382
01:06:14.968 --> 01:06:18.517
♪ Why talk of morals when spring time is flying ♪
1383
01:06:18.517 --> 01:06:20.486
And then you got the jacket off.
1384
01:06:20.486 --> 01:06:25.326
♪ Why do I need quarrels reproaches and sighing ♪
1385
01:06:25.326 --> 01:06:26.159
♪ Crying ♪
1386
01:06:26.159 --> 01:06:27.659
You know you have to vap \'cause everyone says...
1387
01:06:27.659 --> 01:06:29.923
♪ For long ♪
1388
01:06:29.923 --> 01:06:32.725
♪ I cannot entertain your shocking proposition ♪
1389
01:06:32.725 --> 01:06:36.150
♪ How can regain my vaginal condition ♪
1390
01:06:36.150 --> 01:06:37.230
Then you get yourself comfy
1391
01:06:37.230 --> 01:06:39.207
♪ I am ♪
1392
01:06:39.207 --> 01:06:42.506
♪ I am so pure that before you may bed me ♪
1393
01:06:42.506 --> 01:06:43.711
Now don\'t you have to,
1394
01:06:43.711 --> 01:06:45.362
when do you get those two things?
1395
01:06:45.362 --> 01:06:46.544
1396
01:06:46.544 --> 01:06:48.285
1397
01:06:48.285 --> 01:06:49.118
1398
01:06:49.118 --> 01:06:50.620
1399
01:06:50.620 --> 01:06:51.453
1400
01:06:51.453 --> 01:06:52.645
1401
01:06:52.645 --> 01:06:54.733
1402
01:06:54.733 --> 01:06:56.744
So you\'ve got done here and you say,
1403
01:06:56.744 --> 01:06:57.943
Maria can you just move your legs for a second?
1404
01:06:57.943 --> 01:06:59.968
♪ I can not entertain your shocking ♪
1405
01:06:59.968 --> 01:07:04.514
♪ I can not entertain your shocking proposition ♪
1406
01:07:04.514 --> 01:07:08.968
♪ How can I regain my vaginal condition ♪
1407
01:07:08.968 --> 01:07:13.512
♪ I am so pure that before you may bed me ♪
1408
01:07:13.512 --> 01:07:17.657
♪ You must assure me that first you will wed me ♪
1409
01:07:17.657 --> 01:07:19.704
♪ Wed me ♪
1410
01:07:19.704 --> 01:07:21.537
♪ Wed ♪
1411
01:07:25.856 --> 01:07:27.451
(stamp thuds)
1412
01:07:27.451 --> 01:07:29.701
Okay so, forget that dopey.
1413
01:07:30.958 --> 01:07:33.126
1414
01:07:33.126 --> 01:07:35.043
I love you, I want you.
1415
01:07:35.894 --> 01:07:37.381
1416
01:07:37.381 --> 01:07:40.464
(lighthearted music)
1417
01:07:42.181 --> 01:07:47.101
♪ Oh, it\'s a sad love is undying my love ♪
1418
01:07:47.101 --> 01:07:52.101
♪ Don\'t be misled they were all lying my love ♪
1419
01:07:52.112 --> 01:07:53.602
♪ Love\'s on the wing but now I need others ♪
1420
01:07:53.602 --> 01:07:56.611
1421
01:07:56.611 --> 01:07:59.300
♪ Let us be lovers ♪
1422
01:07:59.300 --> 01:08:02.388
♪ One soon recovers my love ♪
1423
01:08:02.388 --> 01:08:07.388
♪ I can not entertain your shocking proposition ♪
1424
01:08:08.360 --> 01:08:13.360
♪ How I could I regain my vaginal condition ♪
1425
01:08:13.921 --> 01:08:18.921
♪ I am so pure that before you may bed me ♪
1426
01:08:19.571 --> 01:08:24.307
♪ You must assure me that first you will wed me ♪
1427
01:08:24.307 --> 01:08:27.211
♪ Wed me ♪
1428
01:08:27.211 --> 01:08:28.044
♪ Where then ♪
1429
01:08:28.044 --> 01:08:30.544
(stamp thuds)
1430
01:08:34.242 --> 01:08:37.466
♪ For if we must wed ♪
1431
01:08:37.466 --> 01:08:40.441
♪ Before we may bed ♪
1432
01:08:40.441 --> 01:08:44.544
♪ Then come let us wed ♪
1433
01:08:44.544 --> 01:08:46.711
♪ My love ♪
1434
01:08:51.415 --> 01:08:52.248
1435
01:08:52.248 --> 01:08:53.199
1436
01:08:53.199 --> 01:08:54.032
That\'s not so good for you.
1437
01:08:54.032 --> 01:08:55.100
1438
01:08:55.100 --> 01:08:56.721
1439
01:08:56.721 --> 01:08:58.789
Now what happens is she just said she\'s pure,
1440
01:08:58.789 --> 01:08:59.706
you\'re sitting there,
1441
01:08:59.706 --> 01:09:02.071
can you come there please where you are?
1442
01:09:02.071 --> 01:09:02.904
1443
01:09:02.904 --> 01:09:04.347
1444
01:09:04.347 --> 01:09:07.551
I am so, before you will, where-
1445
01:09:07.551 --> 01:09:10.140
♪ I am so pure that before you may bed me ♪
1446
01:09:10.140 --> 01:09:12.809
♪ You must assure me that first you will wed me ♪
1447
01:09:12.809 --> 01:09:15.467
1448
01:09:15.467 --> 01:09:16.550
can you hand me the...
1449
01:09:16.550 --> 01:09:18.967
♪ Where then ♪
1450
01:09:20.165 --> 01:09:20.998
Wait.
1451
01:09:22.052 --> 01:09:22.885
No, wait.
1452
01:09:22.885 --> 01:09:25.496
(John vocalizes)
1453
01:09:25.496 --> 01:09:26.329
Now can I do that before.
1454
01:09:26.329 --> 01:09:28.355
(stamp clanks)
1455
01:09:28.355 --> 01:09:29.708
♪ Since you\'re so pure ♪
1456
01:09:29.708 --> 01:09:31.624
It\'s fun if she, he let\'s her do it.
1457
01:09:31.624 --> 01:09:32.457
1458
01:09:32.457 --> 01:09:33.290
1459
01:09:33.290 --> 01:09:34.123
1460
01:09:34.123 --> 01:09:38.180
So John, we just make a little pause for Anna, for John,
1461
01:09:38.180 --> 01:09:39.717
♪ Wed ♪
1462
01:09:39.717 --> 01:09:42.085
1463
01:09:42.085 --> 01:09:43.573
(stamp clanks)
1464
01:09:43.573 --> 01:09:44.406
1465
01:09:44.406 --> 01:09:46.181
♪ Where then ♪
1466
01:09:46.181 --> 01:09:47.317
(mumbles) but he keeps the note.
1467
01:09:47.317 --> 01:09:48.150
1468
01:09:48.150 --> 01:09:48.983
1469
01:09:48.983 --> 01:09:49.816
1470
01:09:49.816 --> 01:09:51.487
you come at the last minute there.
1471
01:09:51.487 --> 01:09:56.166
♪ I am so pure that before you may bed me ♪
1472
01:09:56.166 --> 01:09:56.999
1473
01:09:56.999 --> 01:10:01.680
♪ You must assure me that first you may wed me ♪
1474
01:10:01.680 --> 01:10:03.878
♪ Wed me ♪
1475
01:10:03.878 --> 01:10:04.711
1476
01:10:04.711 --> 01:10:07.128
♪ Where then ♪
1477
01:10:12.570 --> 01:10:15.697
1478
01:10:15.697 --> 01:10:20.177
if possible to do musical rehearsals with blocking.
1479
01:10:20.177 --> 01:10:21.289
1480
01:10:21.289 --> 01:10:22.122
1481
01:10:22.122 --> 01:10:22.957
1482
01:10:22.957 --> 01:10:25.397
1483
01:10:25.397 --> 01:10:26.921
1484
01:10:26.921 --> 01:10:28.788
no the thing is that next week
1485
01:10:28.788 --> 01:10:31.956
they\'ve got two sessions a day on the stage.
1486
01:10:31.956 --> 01:10:33.989
1487
01:10:33.989 --> 01:10:36.096
if I can schedule musical rehearsals, it\'s fine.
1488
01:10:36.096 --> 01:10:39.621
I\'d like to, I wanna prepare everyone before the Italians,
1489
01:10:39.621 --> 01:10:42.017
based on the block and that they do on the scenes
1490
01:10:42.017 --> 01:10:44.620
that you give because not just standing there and singing
1491
01:10:44.620 --> 01:10:46.025
but actually doing the blocking,
1492
01:10:46.025 --> 01:10:46.858
1493
01:10:46.858 --> 01:10:48.104
1494
01:10:48.104 --> 01:10:50.357
1495
01:10:50.357 --> 01:10:51.776
the point is that the next week,
1496
01:10:51.776 --> 01:10:53.850
Saturday is act one, next Monday is act two
1497
01:10:53.850 --> 01:10:57.795
and then Wednesday, Thursday, Friday (mumbles) disaster
1498
01:10:57.795 --> 01:10:58.628
1499
01:10:58.628 --> 01:11:00.921
1500
01:11:00.921 --> 01:11:02.107
they need to have a break there.
1501
01:11:02.107 --> 01:11:05.501
Yeah we do it for four to five o\'clock at the Châtelle
1502
01:11:05.501 --> 01:11:07.714
(static crackles)
1503
01:11:07.714 --> 01:11:09.066
1504
01:11:09.066 --> 01:11:11.983
we\'re about to start the first act.
1505
01:11:13.121 --> 01:11:16.899
This is essentially a day for costume, wigs and makeup.
1506
01:11:16.899 --> 01:11:19.617
So have a nice time and have a lot of patience everyone,
1507
01:11:19.617 --> 01:11:20.950
please today.
1508
01:11:20.950 --> 01:11:24.223
It\'s gonna be a long day so let\'s enjoy it.
1509
01:11:24.223 --> 01:11:28.640 line:15%
(Lambert speaks in foreign language)
1510
01:11:43.452 --> 01:11:46.479 line:15%
(audience laughs)
1511
01:11:46.479 --> 01:11:48.047 line:15%
1512
01:11:48.047 --> 01:11:49.767 line:15%
So his trousers have just,
1513
01:11:49.767 --> 01:11:52.071
(Lambert laughs)
1514
01:11:52.071 --> 01:11:53.820
that is a problem.
1515
01:11:53.820 --> 01:11:55.578
1516
01:11:55.578 --> 01:11:58.316
I can not-
(people chattering)
1517
01:11:58.316 --> 01:11:59.149
1518
01:11:59.149 --> 01:12:00.821
1519
01:12:00.821 --> 01:12:01.883
1520
01:12:01.883 --> 01:12:03.382
1521
01:12:03.382 --> 01:12:04.215
and it\'s, I don\'t want
1522
01:12:04.215 --> 01:12:06.193
to be my trousers falling down
1523
01:12:06.193 --> 01:12:07.938
during the thing will not make me happy.
1524
01:12:07.938 --> 01:12:08.910
1525
01:12:08.910 --> 01:12:09.743
1526
01:12:09.743 --> 01:12:10.576
1527
01:12:10.576 --> 01:12:12.184
1528
01:12:12.184 --> 01:12:13.158
beyond imagination.
1529
01:12:13.158 --> 01:12:13.991
1530
01:12:13.991 --> 01:12:16.066
1531
01:12:16.066 --> 01:12:17.955
that we have to sort tonight.
1532
01:12:17.955 --> 01:12:18.788
I mean, you know,
1533
01:12:18.788 --> 01:12:21.263
how is she gonna put a wig without putting the other ones?
1534
01:12:21.263 --> 01:12:23.854
Things like that which should be ready tonight
1535
01:12:23.854 --> 01:12:25.960
and I\'m a little bit pissed off now so.
1536
01:12:25.960 --> 01:12:28.710
1537
01:12:29.668 --> 01:12:30.501
1538
01:12:30.501 --> 01:12:33.185
1539
01:12:33.185 --> 01:12:34.230
1540
01:12:34.230 --> 01:12:37.341
they have to know also how to put the wig you know, it\'s...
1541
01:12:37.341 --> 01:12:38.638
1542
01:12:38.638 --> 01:12:40.976
before we started the plan mistress and listen,
1543
01:12:40.976 --> 01:12:41.809
I\'m doing my best.
1544
01:12:41.809 --> 01:12:42.833
1545
01:12:42.833 --> 01:12:45.649
1546
01:12:45.649 --> 01:12:46.482
1547
01:12:46.482 --> 01:12:47.697
1548
01:12:47.697 --> 01:12:49.659
you\'re really asking them to trust you
1549
01:12:49.659 --> 01:12:51.685
and to be guided by you and we all
1550
01:12:51.685 --> 01:12:53.824
just thrown into the deep end together.
1551
01:12:53.824 --> 01:12:57.079
Should they practice just taking the coat off for once?
1552
01:12:57.079 --> 01:12:58.408
1553
01:12:58.408 --> 01:13:01.076
1554
01:13:01.076 --> 01:13:05.493 line:15%
(Lambert speaks in foreign language)
1555
01:13:06.891 --> 01:13:09.391
(all exclaim)
1556
01:13:15.078 --> 01:13:17.483 line:15%
1557
01:13:17.483 --> 01:13:19.745 line:15%
It\'s supposed to be attached.
1558
01:13:19.745 --> 01:13:23.662 line:15%
It\'s supposed to be, how do we take it off now?
1559
01:13:26.784 --> 01:13:31.117 line:15%
(Robert speaks in foreign language)
1560
01:13:38.982 --> 01:13:41.086
His costumes are first, okay Buki?
1561
01:13:41.086 --> 01:13:41.919
1562
01:13:41.919 --> 01:13:43.103
1563
01:13:43.103 --> 01:13:44.213
He\'s got so much to worry about
1564
01:13:44.213 --> 01:13:46.810
I don\'t have to worry about his costumes, okay?
1565
01:13:46.810 --> 01:13:48.353 line:15%
(upbeat joyful music)
1566
01:13:48.353 --> 01:13:50.396 line:15%
♪ I get swept to youth perfection ♪
1567
01:13:50.396 --> 01:13:52.350 line:15%
♪ As it\'s true like my complexion ♪
1568
01:13:52.350 --> 01:13:54.105 line:15%
♪ Every time that I can see me ♪
1569
01:13:54.105 --> 01:13:56.473
♪ I\'m reminded life is (mumbles) ♪
1570
01:13:56.473 --> 01:13:58.217
♪ Although I do get tired ♪
1571
01:13:58.217 --> 01:13:59.832
♪ Of being endlessly admired ♪
1572
01:13:59.832 --> 01:14:01.765
♪ People will go hard about me ♪
1573
01:14:01.765 --> 01:14:04.433
♪ How can they go on without me ♪
1574
01:14:04.433 --> 01:14:06.957
♪ If the talk at times is viscous ♪
1575
01:14:06.957 --> 01:14:09.034
♪ That\'s not price you pay ♪
1576
01:14:09.034 --> 01:14:11.981 line:15%
The socks don\'t work for Maximilian at all.
1577
01:14:11.981 --> 01:14:13.508 line:15%
♪ Like this peasant life is simple ♪
1578
01:14:13.508 --> 01:14:15.495
♪ Oh my God is that a pimple ♪
1579
01:14:15.495 --> 01:14:16.450
♪ No it\'s just me ♪
1580
01:14:16.450 --> 01:14:19.943
We don\'t understand David why you\'re wearing those socks.
1581
01:14:19.943 --> 01:14:21.546
1582
01:14:21.546 --> 01:14:22.855
\'cause those are not the right socks
1583
01:14:22.855 --> 01:14:23.826
\'cause it looks like you can\'t decide
1584
01:14:23.826 --> 01:14:26.464
whether you\'re a young boy or a 70 year old golfer
1585
01:14:26.464 --> 01:14:28.406
so lets just push them right down.
1586
01:14:28.406 --> 01:14:30.073
The thing that tells us they\'re children
1587
01:14:30.073 --> 01:14:32.059
are the shoes and the socks
1588
01:14:32.059 --> 01:14:34.067
and the way she said,\" All doing really good things\",
1589
01:14:34.067 --> 01:14:35.247
twisting their knees together
1590
01:14:35.247 --> 01:14:36.722
and acting like little children,
1591
01:14:36.722 --> 01:14:39.599
up here, she\'s fucking the teacher and having sex
1592
01:14:39.599 --> 01:14:41.111
and she\'s a little only 10.
1593
01:14:41.111 --> 01:14:43.546
She gives him (mumbles)
1594
01:14:43.546 --> 01:14:44.379
so we can afford to.
1595
01:14:44.379 --> 01:14:45.425
1596
01:14:45.425 --> 01:14:47.516
totally different styles from the other children.
1597
01:14:47.516 --> 01:14:49.254
I mean they\'re together.
1598
01:14:49.254 --> 01:14:51.725
1599
01:14:51.725 --> 01:14:53.261
She\'s having sex with her father,
1600
01:14:53.261 --> 01:14:55.022
she\'s having sex with the teacher,
1601
01:14:55.022 --> 01:14:56.855
she\'s a little Lolita.
1602
01:14:57.727 --> 01:14:58.722
The fact that we\'ve asked for costumes
1603
01:14:58.722 --> 01:15:01.613
doesn\'t mean I can turn this into a costume rehearsal,
1604
01:15:01.613 --> 01:15:03.307
it means we have to take notes on problems
1605
01:15:03.307 --> 01:15:06.838
\'cause I won\'t get through my stuff.
1606
01:15:06.838 --> 01:15:08.616
The biggest thing is beginning to work
1607
01:15:08.616 --> 01:15:10.811
is when you listen to the other person
1608
01:15:10.811 --> 01:15:12.667
and you bat the ball back at this,
1609
01:15:12.667 --> 01:15:15.110
if he has exactly the right level,
1610
01:15:15.110 --> 01:15:17.546
get his rhythm and deliver it back at the same rhythm.
1611
01:15:17.546 --> 01:15:19.104
Just say your line.
1612
01:15:19.104 --> 01:15:19.937
1613
01:15:19.937 --> 01:15:21.250
1614
01:15:21.250 --> 01:15:24.178
1615
01:15:24.178 --> 01:15:26.754
and I swear it with God\'s help
1616
01:15:26.754 --> 01:15:28.670
I will defend this great nation
1617
01:15:28.670 --> 01:15:31.526
and rule her wisely and peacefully.
1618
01:15:31.526 --> 01:15:34.190
1619
01:15:34.190 --> 01:15:36.313
and I swear not to set a penny more
1620
01:15:36.313 --> 01:15:39.573 line:15%
on that grading either myself or our beautiful new house
1621
01:15:39.573 --> 01:15:41.882 line:15%
that is absolutely necessary.
1622
01:15:41.882 --> 01:15:45.190
1623
01:15:45.190 --> 01:15:47.190
and it will always work.
1624
01:15:48.053 --> 01:15:49.618
Mom, dad give her the cue.
1625
01:15:49.618 --> 01:15:53.295
1626
01:15:53.295 --> 01:15:55.450
mom, dad, come look.
1627
01:15:55.450 --> 01:15:59.490
1628
01:15:59.490 --> 01:16:01.775
(Robert exclaims)
1629
01:16:01.775 --> 01:16:04.230
but he has no pair degree at all.
1630
01:16:04.230 --> 01:16:05.555
1631
01:16:05.555 --> 01:16:07.391
(Robert speaks in foreign language)
1632
01:16:07.391 --> 01:16:09.199
(Robert claps)
1633
01:16:09.199 --> 01:16:12.558
(upbeat music)
1634
01:16:12.558 --> 01:16:14.476 line:15%
(man laughs)
1635
01:16:14.476 --> 01:16:15.928 line:15%
It\'s, looking out here everyone.
1636
01:16:15.928 --> 01:16:18.174
1637
01:16:18.174 --> 01:16:20.565
is more noble but the act of nature.
1638
01:16:20.565 --> 01:16:23.294
1639
01:16:23.294 --> 01:16:25.368
man has become to see that he has in corrupted-
1640
01:16:25.368 --> 01:16:26.335 line:15%
1641
01:16:26.335 --> 01:16:27.322 line:15%
1642
01:16:27.322 --> 01:16:29.305
1643
01:16:29.305 --> 01:16:32.029
and everywhere they have turned into wolves.
1644
01:16:32.029 --> 01:16:34.392
God did not great man with long range guns and missiles.
1645
01:16:34.392 --> 01:16:35.225 line:15%
1646
01:16:35.225 --> 01:16:37.128 line:15%
1647
01:16:37.128 --> 01:16:38.624
to kill his fellow creature
1648
01:16:38.624 --> 01:16:40.642
and when he\'s not killing his fellow man,
1649
01:16:40.642 --> 01:16:42.590
then he\'s beating cheating and stealing from them
1650
01:16:42.590 --> 01:16:45.208
through organized crime which he calls business.
1651
01:16:45.208 --> 01:16:46.454
1652
01:16:46.454 --> 01:16:48.370
but I think it depends on your philosophy.
1653
01:16:48.370 --> 01:16:50.655
Mine is that personal misfortune makes
1654
01:16:50.655 --> 01:16:53.719
with the general good, the more personal the misfortune
1655
01:16:53.719 --> 01:16:55.279
the greater the general good.
1656
01:16:55.279 --> 01:16:57.779
(all exclaim)
1657
01:17:03.758 --> 01:17:06.000
(Robert laughs)
1658
01:17:06.000 --> 01:17:09.083
(lighthearted music)
1659
01:17:12.009 --> 01:17:14.796 line:15%
1660
01:17:14.796 --> 01:17:18.898 line:15%
1661
01:17:18.898 --> 01:17:21.689 line:15%
1662
01:17:21.689 --> 01:17:22.973 line:15%
1663
01:17:22.973 --> 01:17:25.143 line:15%
1664
01:17:25.143 --> 01:17:26.875
presence so that it might float
1665
01:17:26.875 --> 01:17:29.068 line:15%
in this particular part of the sea.
1666
01:17:29.068 --> 01:17:31.343 line:15%
1667
01:17:31.343 --> 01:17:33.888 line:15%
the moment you see it, you see it the light goes
1668
01:17:33.888 --> 01:17:35.230 line:15%
completely through the iceberg,
1669
01:17:35.230 --> 01:17:36.063 line:15%
1670
01:17:36.063 --> 01:17:37.113 line:15%
1671
01:17:37.113 --> 01:17:38.806 line:15%
but there\'s no way we\'ll be lighting that scene,
1672
01:17:38.806 --> 01:17:40.322 line:15%
we have to have light behind.
1673
01:17:40.322 --> 01:17:41.503 line:15%
1674
01:17:41.503 --> 01:17:42.336 line:15%
1675
01:17:42.336 --> 01:17:43.169 line:15%
(Robert speaks in foreign language)
1676
01:17:43.169 --> 01:17:45.841 line:15%
We have to do something else this afternoon than this boat.
1677
01:17:45.841 --> 01:17:48.799
The most difficult thing for a director to deal with
1678
01:17:48.799 --> 01:17:52.968
and it\'s your friend and it\'s your enemy is time.
1679
01:17:52.968 --> 01:17:55.684
The sense that you only got so-and-so long
1680
01:17:55.684 --> 01:17:58.795
to rehearse something but you never want to feel
1681
01:17:58.795 --> 01:18:00.540
that you\'re imprisoned by the time
1682
01:18:00.540 --> 01:18:02.123
so there\'s a sense of that rehearsal
1683
01:18:02.123 --> 01:18:05.745
three hours can last a week and it can also last 10 minutes.
1684
01:18:05.745 --> 01:18:08.122 line:15%
We can\'t just lose another day and then another day
1685
01:18:08.122 --> 01:18:09.941 line:15%
and then suddenly I\'m not here on Saturday
1686
01:18:09.941 --> 01:18:11.497 line:15%
and the piano rehearsal\'s on Monday
1687
01:18:11.497 --> 01:18:13.091 line:15%
and it\'s gonna be tacked,
1688
01:18:13.091 --> 01:18:14.186
Tomorrow when the full book,
1689
01:18:14.186 --> 01:18:15.477
you should take the four people
1690
01:18:15.477 --> 01:18:17.365
and measure them from the ground up
1691
01:18:17.365 --> 01:18:20.613
and to where they think within two centimeters,
1692
01:18:20.613 --> 01:18:21.469
we can approximate heights-
1693
01:18:21.469 --> 01:18:23.814
1694
01:18:23.814 --> 01:18:25.029
you know, \'cause he\'s the guy that\'s reliable for all this.
1695
01:18:25.029 --> 01:18:27.548
1696
01:18:27.548 --> 01:18:29.236
I mean we have to...
1697
01:18:29.236 --> 01:18:30.600
1698
01:18:30.600 --> 01:18:32.578
1699
01:18:32.578 --> 01:18:34.178
for his meeting, the second day he arrived
1700
01:18:34.178 --> 01:18:36.162
and none of us even knew he was coming.
1701
01:18:36.162 --> 01:18:36.995
(all mumble)
1702
01:18:36.995 --> 01:18:37.953
1703
01:18:37.953 --> 01:18:39.060
1704
01:18:39.060 --> 01:18:40.658
(all mumble)
1705
01:18:40.658 --> 01:18:41.820
1706
01:18:41.820 --> 01:18:43.985
I think that he hasn\'t hang the noose yet
1707
01:18:43.985 --> 01:18:44.818
and t\'s difficult to ask the singers to stay past 10:30.
1708
01:18:44.818 --> 01:18:48.181
1709
01:18:48.181 --> 01:18:49.014
1710
01:18:49.014 --> 01:18:50.317
1711
01:18:50.317 --> 01:18:52.560
1712
01:18:52.560 --> 01:18:55.518
because it won\'t work, I know that,
1713
01:18:55.518 --> 01:18:58.499
I just, I can see it a mile away.
1714
01:18:58.499 --> 01:18:59.624
It\'s just never gonna work,
1715
01:18:59.624 --> 01:19:02.935
it\'s gonna take hours to do that but when?
1716
01:19:02.935 --> 01:19:05.552
No, no, she should just have that and nothing else,
1717
01:19:05.552 --> 01:19:06.385
nothing else.
1718
01:19:06.385 --> 01:19:07.218
1719
01:19:07.218 --> 01:19:08.051
1720
01:19:08.051 --> 01:19:09.470
she\'s got a minute to change makeup
1721
01:19:09.470 --> 01:19:10.933
and the other thing that I wanted to say
1722
01:19:10.933 --> 01:19:11.946
that I keep meaning to say is that
1723
01:19:11.946 --> 01:19:13.834
when she comes out for this,
1724
01:19:13.834 --> 01:19:15.667
you\'ve got to have the full Marilyn makeup already done.
1725
01:19:15.667 --> 01:19:17.760
1726
01:19:17.760 --> 01:19:20.568
1727
01:19:20.568 --> 01:19:22.791
so, (exclaims) sorry I got your microphone there.
1728
01:19:22.791 --> 01:19:24.548
What have they planned?
1729
01:19:24.548 --> 01:19:26.973
1730
01:19:26.973 --> 01:19:28.744
a round piece of stretchy thing
1731
01:19:28.744 --> 01:19:31.906
and stick it over my head and then pull it back up and over
1732
01:19:31.906 --> 01:19:33.102
so somehow my hair goes up.
1733
01:19:33.102 --> 01:19:34.558
1734
01:19:34.558 --> 01:19:36.475
I just think it\'s a scandal really,
1735
01:19:36.475 --> 01:19:39.181
that it\'s so, so, so, so bad.
1736
01:19:39.181 --> 01:19:41.511
I mean look at Jackie Kennedy it\'s pathetic
1737
01:19:41.511 --> 01:19:42.614
and of course it\'s the first time
1738
01:19:42.614 --> 01:19:45.005
but Jenny Wilson Best has been here for weeks,
1739
01:19:45.005 --> 01:19:47.857
they could have gotten her for rehearsal.
1740
01:19:47.857 --> 01:19:49.372
The pan glass is a disaster.
1741
01:19:49.372 --> 01:19:53.705 line:15%
(Robert speaks in foreign language)
1742
01:19:55.638 --> 01:19:56.989
You know and what\'s currently makes me cross
1743
01:19:56.989 --> 01:19:58.655
is we haven\'t added all this at the last minute,
1744
01:19:58.655 --> 01:20:00.222
we\'ve known exactly where we\'re going with these
1745
01:20:00.222 --> 01:20:03.154
weeks from the beginning and the amount of pressure I have,
1746
01:20:03.154 --> 01:20:04.041
you know, I feel like I don\'t know
1747
01:20:04.041 --> 01:20:05.268
how to breathe under pressure,
1748
01:20:05.268 --> 01:20:06.101
I feel so pressurized.
1749
01:20:06.101 --> 01:20:08.935
I\'ve never felt so pressurized in my whole life
1750
01:20:08.935 --> 01:20:10.722
and I can\'t fight all these battle,
1751
01:20:10.722 --> 01:20:13.244
I just can\'t do it all myself, you know?
1752
01:20:13.244 --> 01:20:14.332
I just can\'t.
1753
01:20:14.332 --> 01:20:18.665 line:15%
(Robert speaks in foreign language)
1754
01:20:32.739 --> 01:20:37.739 line:15%
(Robert continues speaking in foreign language)
1755
01:20:38.083 --> 01:20:40.122 line:15%
So let\'s get the time now of
1756
01:20:40.122 --> 01:20:43.877 line:15%
(Robert speaks in foreign language)
1757
01:20:43.877 --> 01:20:44.710 line:15%
The next cue.
1758
01:20:44.710 --> 01:20:46.291 line:15%
(Robert speaks in foreign language)
1759
01:20:46.291 --> 01:20:47.280
we have to go into half cues
1760
01:20:47.280 --> 01:20:48.389
or we\'re not gonna have enough.
1761
01:20:48.389 --> 01:20:52.806 line:15%
(Robert speaks in foreign language)
1762
01:21:00.070 --> 01:21:01.987 line:15%
No, no, no, no, no, no.
1763
01:21:04.391 --> 01:21:05.224
Go to 252.
1764
01:21:06.579 --> 01:21:09.340 line:15%
Now, the next thing it should is
1765
01:21:09.340 --> 01:21:13.673 line:15%
(Robert speaks in foreign language)
1766
01:21:14.686 --> 01:21:16.359 line:15%
So can you record this?
1767
01:21:16.359 --> 01:21:19.957 line:15%
(Robert speaks in foreign language)
1768
01:21:19.957 --> 01:21:22.207
Can you turn the vortex on?
1769
01:21:24.037 --> 01:21:26.797
We need to make a new cue.
1770
01:21:26.797 --> 01:21:28.464
New cue 116 please.
1771
01:21:35.276 --> 01:21:39.609 line:15%
(Robert speaks in foreign language)
1772
01:21:51.833 --> 01:21:54.583
(tools clanking)
1773
01:22:00.342 --> 01:22:02.057
Okay next lighting cue.
1774
01:22:02.057 --> 01:22:06.807
(speaks foreign language) only one time.
1775
01:22:18.158 --> 01:22:20.889 line:15%
(Robert speaks in foreign language)
1776
01:22:20.889 --> 01:22:22.841 line:15%
It makes the effect of waves in the front
1777
01:22:22.841 --> 01:22:24.993 line:15%
so could you just move it a little bit?
1778
01:22:24.993 --> 01:22:26.524 line:15%
Like that, that\'s great
1779
01:22:26.524 --> 01:22:28.851 line:15%
because it makes it feel like it\'s water
1780
01:22:28.851 --> 01:22:30.201 line:15%
which is incredible, I don\'t know why.
1781
01:22:30.201 --> 01:22:31.451 line:15%
That\'s amazing.
1782
01:22:36.329 --> 01:22:38.478
Very often the lighting comes out completely different
1783
01:22:38.478 --> 01:22:40.270
than you think and very often by mistake,
1784
01:22:40.270 --> 01:22:43.065
you know the classic one you say put up 278,
1785
01:22:43.065 --> 01:22:45.330
they put up 287 and oh my God,
1786
01:22:45.330 --> 01:22:47.226
that looks incredible like that
1787
01:22:47.226 --> 01:22:48.585
and once you start with something,
1788
01:22:48.585 --> 01:22:51.767
you then have to be very open to what it\'s telling you
1789
01:22:51.767 --> 01:22:54.227
as you work on it and things don\'t often
1790
01:22:54.227 --> 01:22:55.060
and somehow, you know,
1791
01:22:55.060 --> 01:22:57.252
\'cause you\'re trying to get it right all the time
1792
01:22:57.252 --> 01:22:59.207
and you can only get it right if you\'re listening,
1793
01:22:59.207 --> 01:23:01.579
if you\'re really open to it
1794
01:23:01.579 --> 01:23:06.579
and to finding something different than you thought you had.
1795
01:23:07.037 --> 01:23:11.370 line:15%
(Robert speaks in foreign language)
1796
01:23:13.277 --> 01:23:14.110 line:15%
No, no, no.
1797
01:23:14.110 --> 01:23:18.914 line:15%
(Robert speaks in foreign language)
1798
01:23:18.914 --> 01:23:19.747 line:15%
Stop.
1799
01:23:21.306 --> 01:23:24.801 line:15%
Next to (Robert speaks in foreign language)
1800
01:23:24.801 --> 01:23:25.634 line:15%
No, no.
1801
01:23:25.634 --> 01:23:29.967 line:15%
(Robert speaks in foreign language)
1802
01:23:43.175 --> 01:23:44.635
Stop.
1803
01:23:44.635 --> 01:23:47.717 line:15%
(Robert speaks in foreign language)
1804
01:23:47.717 --> 01:23:48.550 line:15%
Stop.
1805
01:23:50.058 --> 01:23:50.891 line:15%
Stop.
1806
01:23:51.851 --> 01:23:56.167
♪ I\'m yet to go (mumbles) ♪
1807
01:23:56.167 --> 01:23:58.726 line:15%
1808
01:23:58.726 --> 01:24:01.317 line:15%
so it\'s not dangerous for the dancers.
1809
01:24:01.317 --> 01:24:02.150 line:15%
Yeah.
1810
01:24:06.792 --> 01:24:09.603 line:15%
Those roses are too long.
1811
01:24:09.603 --> 01:24:12.453 line:15%
It\'s nice if each one enters into the follow-spot.
1812
01:24:12.453 --> 01:24:13.785 line:15%
(Robert speaks in foreign language)
1813
01:24:13.785 --> 01:24:15.134
1814
01:24:15.134 --> 01:24:16.830
So stop, stop, stop, stop.
1815
01:24:16.830 --> 01:24:18.021
Where are these tools everyone
1816
01:24:18.021 --> 01:24:20.235
that we had told her on stage that we\'ve asked
1817
01:24:20.235 --> 01:24:21.068
for a hundred times.
1818
01:24:21.068 --> 01:24:25.401 line:15%
(Robert speaks in foreign language)
1819
01:24:44.600 --> 01:24:47.546
Well, where are these jewels?
1820
01:24:47.546 --> 01:24:48.790
1821
01:24:48.790 --> 01:24:50.058
1822
01:24:50.058 --> 01:24:52.458
I\'m sorry I was just told that we had all these jewels,
1823
01:24:52.458 --> 01:24:55.775
it\'s sort of crazy, it\'s insane
1824
01:24:55.775 --> 01:24:58.108
but I mean this is pathetic.
1825
01:24:59.842 --> 01:25:02.290
The jewelry has arrived.
1826
01:25:02.290 --> 01:25:07.279
♪ Enough, enough of being basely tearful ♪
1827
01:25:07.279 --> 01:25:08.334 line:15%
♪ I\'ll show my (mumbles) stuff ♪
1828
01:25:08.334 --> 01:25:11.927 line:15%
We can\'t light this cloth from behind.
1829
01:25:11.927 --> 01:25:14.304 line:15%
We have a big problem that every time she drops her hand
1830
01:25:14.304 --> 01:25:16.553 line:15%
she\'s just totally in the dark.
1831
01:25:16.553 --> 01:25:20.574 line:15%
This follow spot where\'s this coming from, this follow spot?
1832
01:25:20.574 --> 01:25:24.054 line:15%
(Anna vocalizes)
1833
01:25:24.054 --> 01:25:26.205 line:15%
Yes they\'re fabulous, the jewels.
1834
01:25:26.205 --> 01:25:27.038
1835
01:25:29.154 --> 01:25:30.325
♪ And let ♪
1836
01:25:30.325 --> 01:25:32.563 line:15%
1837
01:25:32.563 --> 01:25:34.230 line:15%
as well if they can.
1838
01:25:35.535 --> 01:25:36.548
♪ Is a star ♪
1839
01:25:36.548 --> 01:25:39.316 line:15%
I know it\'s the first time.
1840
01:25:39.316 --> 01:25:41.533
♪ To get it earing on her ♪
1841
01:25:41.533 --> 01:25:42.995
♪ If I\'ve go the cure ♪
1842
01:25:42.995 --> 01:25:46.630
♪ At least my jewels are ♪
1843
01:25:46.630 --> 01:25:47.543
♪ Enough, enough ♪
1844
01:25:47.543 --> 01:25:51.433 line:15%
(Robert speaks in foreign language)
1845
01:25:51.433 --> 01:25:53.714
♪ And show my (mumbles) ♪
1846
01:25:53.714 --> 01:25:56.339
♪ Maybe (mumbles) ♪
1847
01:25:56.339 --> 01:25:59.089
(Anna vocalizes)
1848
01:26:01.709 --> 01:26:02.626 line:15%
More rings.
1849
01:26:04.533 --> 01:26:05.366 line:15%
(Anna vocalizes)
1850
01:26:05.366 --> 01:26:07.699 line:15%
It\'s great if she does that.
1851
01:26:09.448 --> 01:26:10.802
1852
01:26:10.802 --> 01:26:13.635
1853
01:26:16.077 --> 01:26:17.551
(audience applauds)
1854
01:26:17.551 --> 01:26:22.353 line:15%
(Robert speaks in foreign language)
1855
01:26:22.353 --> 01:26:25.353
(people chattering)
1856
01:26:27.763 --> 01:26:30.930
(instruments playing)
1857
01:26:43.710 --> 01:26:48.043 line:15%
(Robert speaks in foreign language)
1858
01:26:51.044 --> 01:26:55.452
Everyone in the wings please immediately, thank you.
1859
01:26:55.452 --> 01:26:58.619
(instruments playing)
1860
01:27:15.823 --> 01:27:18.057
The impact of music where you know you,
1861
01:27:18.057 --> 01:27:21.543
there it is on the page a series of notes written on pages
1862
01:27:21.543 --> 01:27:23.911
and then somehow these instruments play this in the
1863
01:27:23.911 --> 01:27:27.520
soundscape which is great which doesn\'t really exist,
1864
01:27:27.520 --> 01:27:30.718
it exists in your ears and the way in which you receive it
1865
01:27:30.718 --> 01:27:33.658
in your body, you hear it not just with your ears,
1866
01:27:33.658 --> 01:27:35.157
you hear it with what you feel.
1867
01:27:35.157 --> 01:27:37.740
(upbeat music)
1868
01:27:48.843 --> 01:27:52.426
(upbeat music intensifies)
1869
01:28:13.483 --> 01:28:16.900
(upbeat music continues)
1870
01:28:23.832 --> 01:28:26.657
1871
01:28:26.657 --> 01:28:29.419
but it\'s getting a bit too...
1872
01:28:29.419 --> 01:28:31.670
Okay, you know, just take the edge off that
1873
01:28:31.670 --> 01:28:33.884
but keep it, keep keep him, you know (mumbles)
1874
01:28:33.884 --> 01:28:35.324
1875
01:28:35.324 --> 01:28:36.986
1876
01:28:36.986 --> 01:28:39.059
there should be seagulls and you let them
1877
01:28:39.059 --> 01:28:41.540
make a bit of noise, take very...
1878
01:28:41.540 --> 01:28:42.373
1879
01:28:42.373 --> 01:28:44.885
1880
01:28:44.885 --> 01:28:46.724
as you sit and you move, so just feel it-
1881
01:28:46.724 --> 01:28:48.215
1882
01:28:48.215 --> 01:28:51.004
1883
01:28:51.004 --> 01:28:52.425
you turn completely in profile
1884
01:28:52.425 --> 01:28:54.816
but I need it to be much more three quarters like this.
1885
01:28:54.816 --> 01:28:56.099
1886
01:28:56.099 --> 01:28:56.932
Yeah.
1887
01:28:56.932 --> 01:28:58.324
1888
01:28:58.324 --> 01:29:01.245
♪ To move in your my love one more ♪
1889
01:29:01.245 --> 01:29:02.974
1890
01:29:02.974 --> 01:29:05.165
1891
01:29:05.165 --> 01:29:06.573
that (mumbles) saying things first.
1892
01:29:06.573 --> 01:29:07.712
1893
01:29:07.712 --> 01:29:12.059 line:15%
Cunégonde (Robert speaks in foreign language)
1894
01:29:12.059 --> 01:29:14.665 line:15%
(Robert mumbles)
1895
01:29:14.665 --> 01:29:16.686
(Robert speaks in foreign language)
1896
01:29:16.686 --> 01:29:19.291
Do it all after, it\'s funny when they cover punctuation.
1897
01:29:19.291 --> 01:29:21.902
1898
01:29:21.902 --> 01:29:23.322
1899
01:29:23.322 --> 01:29:24.684
it as a punctuation because she\'s worried
1900
01:29:24.684 --> 01:29:25.579
about doing it too soon.
1901
01:29:25.579 --> 01:29:26.412
1902
01:29:26.412 --> 01:29:27.878
1903
01:29:27.878 --> 01:29:29.179
1904
01:29:29.179 --> 01:29:31.761
1905
01:29:31.761 --> 01:29:33.459
can you actually take the hands away
1906
01:29:33.459 --> 01:29:34.887
as you lift yourself up.
1907
01:29:34.887 --> 01:29:37.206
You can make more of a noise when your hat falls off.
1908
01:29:37.206 --> 01:29:40.187
You know, when it comes off and then you\'ve got safely off,
1909
01:29:40.187 --> 01:29:41.511
we\'ve got to see you look up
1910
01:29:41.511 --> 01:29:46.511
so you round to (mumbles) so that we see him seeing you.
1911
01:29:46.547 --> 01:29:48.164
1912
01:29:48.164 --> 01:29:49.241
1913
01:29:49.241 --> 01:29:50.367
1914
01:29:50.367 --> 01:29:51.922
1915
01:29:51.922 --> 01:29:54.268
and my dresser was nowhere to be found.
1916
01:29:54.268 --> 01:29:57.163
She was upstairs trying to find a fan.
1917
01:29:57.163 --> 01:29:58.033
1918
01:29:58.033 --> 01:29:58.866
1919
01:29:58.866 --> 01:29:59.699
1920
01:29:59.699 --> 01:30:01.317
1921
01:30:01.317 --> 01:30:02.270
and I come running up stage.
1922
01:30:02.270 --> 01:30:03.937
1923
01:30:03.937 --> 01:30:04.770
1924
01:30:04.770 --> 01:30:06.146
1925
01:30:06.146 --> 01:30:07.779
1926
01:30:07.779 --> 01:30:10.251
1927
01:30:10.251 --> 01:30:12.106
1928
01:30:12.106 --> 01:30:13.336
1929
01:30:13.336 --> 01:30:14.169
1930
01:30:14.169 --> 01:30:16.336
1931
01:30:17.226 --> 01:30:20.226
(people chattering)
1932
01:30:27.720 --> 01:30:31.553 line:15%
(instruments playing faintly)
1933
01:30:33.892 --> 01:30:37.142
(chattering continues)
1934
01:30:47.957 --> 01:30:50.957
(audience applauds)
1935
01:31:09.752 --> 01:31:12.585
(audience laughs)
1936
01:31:16.864 --> 01:31:17.770 line:15%
1937
01:31:17.770 --> 01:31:20.993 line:15%
between art and entertainment?
1938
01:31:20.993 --> 01:31:22.160
1939
01:31:24.067 --> 01:31:25.136
(Robert chuckles)
1940
01:31:25.136 --> 01:31:27.433
I absolutely don\'t.
1941
01:31:27.433 --> 01:31:28.266
Do you?
1942
01:31:28.266 --> 01:31:30.590
(static crackles)
1943
01:31:30.590 --> 01:31:33.590
(audience applauds)
1944
01:31:43.351 --> 01:31:47.768 line:15%
(Lambert speaks in foreign language)
1945
01:31:57.800 --> 01:32:01.889
(upbeat classical music)
1946
01:32:01.889 --> 01:32:04.722
(audience laughs)
1947
01:32:06.987 --> 01:32:11.404 line:15%
(Lambert speaks in foreign language)
1948
01:32:16.419 --> 01:32:19.631
(adience laughs)
1949
01:32:19.631 --> 01:32:22.364 line:15%
(Robert speaks in foreign language)
1950
01:32:22.364 --> 01:32:24.866 line:15%
1951
01:32:24.866 --> 01:32:26.582
1952
01:32:26.582 --> 01:32:27.604 line:15%
96.
1953
01:32:27.604 --> 01:32:30.616 line:15%
1954
01:32:30.616 --> 01:32:35.033 line:15%
(Lambert speaks in foreign language)
1955
01:32:51.614 --> 01:32:54.197 line:15%
(drum rolling)
1956
01:33:03.240 --> 01:33:05.128
1957
01:33:05.128 --> 01:33:07.652
1958
01:33:07.652 --> 01:33:11.937
Since God has created this as the only world possible,
1959
01:33:11.937 --> 01:33:13.400
it follows that...
1960
01:33:13.400 --> 01:33:16.017
1961
01:33:16.017 --> 01:33:18.136
1962
01:33:18.136 --> 01:33:19.878
1963
01:33:19.878 --> 01:33:22.758
of all possible philosophers.
1964
01:33:22.758 --> 01:33:23.591
1965
01:33:23.591 --> 01:33:25.603
(Robert laughs)
1966
01:33:25.603 --> 01:33:30.361
1967
01:33:30.361 --> 01:33:33.611
(footsteps pattering)
1968
01:33:35.527 --> 01:33:38.412
1969
01:33:38.412 --> 01:33:41.186
(footsteps pattering)
1970
01:33:41.186 --> 01:33:44.458
But he has no pedigree at all.
1971
01:33:44.458 --> 01:33:46.579
1972
01:33:46.579 --> 01:33:49.199
we were trying out a physical experiment.
1973
01:33:49.199 --> 01:33:51.410
1974
01:33:51.410 --> 01:33:53.477
a visible experiment intercourse-
1975
01:33:53.477 --> 01:33:56.010
1976
01:33:56.010 --> 01:33:57.177
1977
01:33:58.238 --> 01:34:00.334
Have I been paying Ken Glass a fortune
1978
01:34:00.334 --> 01:34:03.524
to teach our children how to have sex?
1979
01:34:03.524 --> 01:34:07.222
Why, I could\'ve done that myself for free.
1980
01:34:07.222 --> 01:34:08.986
1981
01:34:08.986 --> 01:34:10.730
1982
01:34:10.730 --> 01:34:13.192
1983
01:34:13.192 --> 01:34:15.793
to a sweet innocent girl like our daughter.
1984
01:34:15.793 --> 01:34:16.626
1985
01:34:16.626 --> 01:34:17.459
1986
01:34:17.459 --> 01:34:18.292 line:15%
1987
01:34:18.292 --> 01:34:22.709 line:15%
(Lambert speaks in foreign language)
1988
01:34:41.661 --> 01:34:46.078 line:15%
(Lambert speaks in foreign language)
1989
01:34:48.789 --> 01:34:51.872
(lighthearted music)
1990
01:34:58.058 --> 01:35:03.058 line:15%
♪ The dawn will find me ♪
1991
01:35:03.468 --> 01:35:08.468 line:15%
♪ Alone in some strange land ♪
1992
01:35:08.961 --> 01:35:13.312 line:15%
♪ But men are kindly ♪
1993
01:35:13.312 --> 01:35:18.312 line:15%
♪ They\'ll give a helping hand ♪
1994
01:35:19.861 --> 01:35:24.861 line:15%
♪ So said my master ♪
1995
01:35:26.244 --> 01:35:31.244 line:15%
♪ And he must know ♪
1996
01:35:33.052 --> 01:35:37.938 line:15%
♪ It must be so ♪
1997
01:35:37.938 --> 01:35:40.605 line:15%
♪ It must be so ♪
1998
01:35:52.383 --> 01:35:55.096
(machine whirls)
1999
01:35:55.096 --> 01:35:57.596
♪ All hail is ♪
2000
01:35:59.868 --> 01:36:04.868
(all exclaim)
(upbeat classical music)
2001
01:36:21.741 --> 01:36:25.991
(upbeat classical music continues)
2002
01:37:00.922 --> 01:37:05.255 line:15%
(Robert speaks in foreign language)
2003
01:37:18.068 --> 01:37:20.651
(somber music)
2004
01:37:32.874 --> 01:37:37.207 line:15%
(Robert speaks in foreign language)
2005
01:37:48.454 --> 01:37:53.454 line:15%
♪ When such brightness dies so soon ♪
2006
01:37:54.867 --> 01:37:59.867 line:15%
♪ Can the heart find strength to bear it ♪
2007
01:38:01.711 --> 01:38:06.711 line:15%
♪ Shall I ever be consoled, love ♪
2008
01:38:09.230 --> 01:38:14.230 line:15%
♪ No, I swear it by the light of this lover\'s moon ♪
2009
01:38:23.210 --> 01:38:28.210 line:15%
♪ Goodbye my love, my love goodbye ♪
2010
01:38:31.573 --> 01:38:35.823
♪ Goodbye my love, my love goodbye ♪
2011
01:38:41.890 --> 01:38:45.307
(somber music continues)
2012
01:39:09.735 --> 01:39:13.152
(somber music continues)
2013
01:39:17.986 --> 01:39:20.903
2014
01:39:23.822 --> 01:39:25.475
2015
01:39:25.475 --> 01:39:27.142
Poor man, take this.
2016
01:39:29.431 --> 01:39:31.207 line:15%
2017
01:39:31.207 --> 01:39:33.124 line:15%
2018
01:39:34.736 --> 01:39:36.974
2019
01:39:36.974 --> 01:39:39.269 line:15%
You know it\'s just slowly coming up.
2020
01:39:39.269 --> 01:39:40.641 line:15%
2021
01:39:40.641 --> 01:39:43.249 line:15%
2022
01:39:43.249 --> 01:39:45.403
2023
01:39:45.403 --> 01:39:46.741
(audience laughs)
2024
01:39:46.741 --> 01:39:49.683
Disemboweled by the enemy after having been raped
2025
01:39:49.683 --> 01:39:52.947
as often a the human fragrance then.
2026
01:39:52.947 --> 01:39:56.155
Her father assassinated trying to defend his daughter
2027
01:39:56.155 --> 01:39:58.538
while he mother was hacked to pieces.
2028
01:39:58.538 --> 01:39:59.501
(audience laughing)
2029
01:39:59.501 --> 01:40:03.501
Oh but there was a very satisfactory conclusion.
2030
01:40:04.722 --> 01:40:08.282
Our soldiers were able to do exactly the same thing to them
2031
01:40:08.282 --> 01:40:09.794
only worse.
2032
01:40:09.794 --> 01:40:12.544
(machine whirls)
2033
01:40:14.956 --> 01:40:18.373
(upbeat classical music)
2034
01:40:21.350 --> 01:40:24.433 line:15%
2035
01:40:26.452 --> 01:40:30.702
(upbeat classical music continues)
2036
01:40:36.411 --> 01:40:41.411
2037
01:40:41.563 --> 01:40:42.649 line:15%
2038
01:40:42.649 --> 01:40:43.982 line:15%
2039
01:40:43.982 --> 01:40:45.256 line:15%
2040
01:40:45.256 --> 01:40:46.089
2041
01:40:46.089 --> 01:40:48.687 line:15%
2042
01:40:48.687 --> 01:40:51.541
2043
01:40:51.541 --> 01:40:54.612
to our national religious security, arrest them both.
2044
01:40:54.612 --> 01:40:56.024
2045
01:40:56.024 --> 01:40:56.871
2046
01:40:56.871 --> 01:40:58.097
(Candide mumbles)
2047
01:40:58.097 --> 01:41:01.813
2048
01:41:01.813 --> 01:41:04.930
that the disasters which have befallen our people
2049
01:41:04.930 --> 01:41:07.916
are entirely due to our society\'s infiltration
2050
01:41:07.916 --> 01:41:11.820
by the most dangerous elements known to man.
2051
01:41:11.820 --> 01:41:12.903
Radical Jews,
2052
01:41:14.664 --> 01:41:18.581
homosexualists, another communist subversives.
2053
01:41:19.469 --> 01:41:22.394
They will not be tried and then hanged
2054
01:41:22.394 --> 01:41:24.749
in a glorious auto-da-fé.
2055
01:41:24.749 --> 01:41:28.166
(upbeat classical music)
2056
01:41:29.792 --> 01:41:33.385 line:15%
♪ What a day, what a day for an auto-da-fé ♪
2057
01:41:33.385 --> 01:41:35.141 line:15%
♪ What a sunny summer sky ♪
2058
01:41:35.141 --> 01:41:38.417 line:15%
♪ What a day, what a day for an auto-da-fé ♪
2059
01:41:38.417 --> 01:41:42.397 line:15%
♪ It\'s a lovely day for drinking and for watching people fry ♪
2060
01:41:42.397 --> 01:41:46.713 line:15%
(Robert speaks in foreign language)
2061
01:41:46.713 --> 01:41:51.455 line:15%
♪ Hurry, hurry, hurry, hang \'em high ♪
2062
01:41:51.455 --> 01:41:53.538
(bell dings)
2063
01:41:53.538 --> 01:41:58.538 line:15%
♪ Shall we let the sinners go or try them ♪
2064
01:41:58.626 --> 01:42:01.306 line:15%
♪ Try them ♪
2065
01:42:01.306 --> 01:42:06.306 line:15%
♪ Are the culprits innocent or guilty ♪
2066
01:42:06.582 --> 01:42:09.147 line:15%
♪ Guilty ♪
2067
01:42:09.147 --> 01:42:13.898 line:15%
♪ Shall we pardon the, or hang them ♪
2068
01:42:13.898 --> 01:42:16.067 line:15%
♪ Hang them ♪
2069
01:42:16.067 --> 01:42:18.077
(bell dings)
2070
01:42:18.077 --> 01:42:20.660
(upbeat music)
2071
01:42:29.565 --> 01:42:34.565 line:15%
(Robert speaks in foreign language)
2072
01:42:34.675 --> 01:42:36.746
2073
01:42:36.746 --> 01:42:40.163
(upbeat music continues)
2074
01:42:41.285 --> 01:42:43.551 line:15%
2075
01:42:43.551 --> 01:42:45.634 line:15%
You can\'t hear the words.
2076
01:42:56.127 --> 01:42:59.228
2077
01:42:59.228 --> 01:43:02.645
(upbeat music continues)
2078
01:43:13.405 --> 01:43:14.662
(men exclaim)
2079
01:43:14.662 --> 01:43:16.745
Good night and good luck.
2080
01:43:17.886 --> 01:43:22.219 line:15%
(Robert speaks in foreign language)
2081
01:43:26.575 --> 01:43:28.658 line:15%
Good night and good luck.
2082
01:43:32.410 --> 01:43:36.660 line:15%
(upbeat classical music continues)
2083
01:43:45.522 --> 01:43:46.355
(audience applauds)
2084
01:43:46.355 --> 01:43:49.802
The live communion is really what it\'s about.
2085
01:43:49.802 --> 01:43:52.910
People on stage performing for people in the auditorium,
2086
01:43:52.910 --> 01:43:54.959
nothing can replace that.
2087
01:43:54.959 --> 01:43:56.942
I mean, I\'m struck more and more by
2088
01:43:56.942 --> 01:43:58.692
the femoral nature of
2089
01:43:59.928 --> 01:44:03.697
so much effort goes into something which is so,
2090
01:44:03.697 --> 01:44:05.821
you know, you either saw it or you didn\'t see it.
2091
01:44:05.821 --> 01:44:07.139
All that and then, you know,
2092
01:44:07.139 --> 01:44:11.239
your moment has come and your life\'s over and
2093
01:44:11.239 --> 01:44:15.656
it goes on without you and it\'s, it\'s a very fragile,
2094
01:44:16.707 --> 01:44:18.940
quick moment to each of our lives
2095
01:44:18.940 --> 01:44:22.055
and I think the theater is a microcosm of that.
2096
01:44:22.055 --> 01:44:26.489 line:15%
♪ And yet of course I rather like to revel ♪
2097
01:44:26.489 --> 01:44:30.542 line:15%
♪ I have no strong objection to champagne ♪
2098
01:44:30.542 --> 01:44:34.566 line:15%
♪ My wardrobe is expensive as the devil ♪
2099
01:44:34.566 --> 01:44:39.186 line:15%
♪ Perhaps it is ignoble to complain ♪
2100
01:44:39.186 --> 01:44:43.766 line:15%
♪ Enough, enough of being basely tearful ♪
2101
01:44:43.766 --> 01:44:46.126 line:15%
♪ I\'ll show my noble stuff ♪
2102
01:44:46.126 --> 01:44:48.741 line:15%
♪ By being bright and cheerful ♪
2103
01:44:48.741 --> 01:44:51.491
(Anna vocalizes)
2104
01:44:56.166 --> 01:44:59.098 line:15%
(Robert speaks in foreign language)
2105
01:44:59.098 --> 01:45:00.591 line:15%
He supposed to put it in his pockets.
2106
01:45:00.591 --> 01:45:04.258
(Anna continues vocalizing)
2107
01:45:30.306 --> 01:45:32.973
(Anna exclaims)
2108
01:45:42.947 --> 01:45:44.947 line:15%
2109
01:45:46.406 --> 01:45:50.406 line:15%
how can worldly things take place of honor lost?
2110
01:45:51.614 --> 01:45:54.922 line:15%
Can they compensate on my fallen state?
2111
01:45:54.922 --> 01:45:58.339 line:15%
Purchased as they were at such awful cost
2112
01:46:00.634 --> 01:46:05.102 line:15%
Bracelets, lavalieres, can they dry my tears?
2113
01:46:05.102 --> 01:46:08.330 line:15%
Can they blind my eyes to shame?
2114
01:46:08.330 --> 01:46:11.438 line:15%
(man mumbles)
2115
01:46:11.438 --> 01:46:13.386 line:15%
2116
01:46:13.386 --> 01:46:16.803 line:15%
2117
01:46:18.841 --> 01:46:22.829 line:15%
♪ And yet of course these trinkets are endearing ♪
2118
01:46:22.829 --> 01:46:23.912 line:15%
♪ I\'m also glad ♪
2119
01:46:23.912 --> 01:46:25.833
2120
01:46:25.833 --> 01:46:30.630 line:15%
(Robert speaks in foreign language)
2121
01:46:30.630 --> 01:46:34.047 line:15%
2122
01:46:35.141 --> 01:46:39.343 line:15%
♪ Enough, enough, I\'ll take their diamond necklace ♪
2123
01:46:39.343 --> 01:46:41.622 line:15%
♪ And show my noble stuff ♪
2124
01:46:41.622 --> 01:46:44.328 line:15%
♪ By being gay and reckless ♪
2125
01:46:44.328 --> 01:46:47.078
(Anna vocalizes)
2126
01:46:52.300 --> 01:46:55.967
(Anna continues vocalizing)
2127
01:47:13.143 --> 01:47:16.865 line:15%
♪ Observe how bravely I conceal ♪
2128
01:47:16.865 --> 01:47:21.365 line:15%
♪ The dreadful, dreadful shame I feel ♪
2129
01:47:41.310 --> 01:47:43.893 line:15%
2130
01:47:47.783 --> 01:47:49.950 line:15%
That\'s in the wrong place.
2131
01:47:55.241 --> 01:47:56.534
(Anna exclaims)
2132
01:47:56.534 --> 01:47:57.760
(Robert laughs)
(audience laughs)
2133
01:47:57.760 --> 01:48:00.510
(Anna vocalizes)
2134
01:48:09.652 --> 01:48:12.652
(audience applauds)
2135
01:48:33.577 --> 01:48:36.327 line:15%
(crowd applauds)
2136
01:48:43.532 --> 01:48:46.449
So first, to do what everybody did,
2137
01:48:48.580 --> 01:48:49.600
oh my God, to do everything you did
2138
01:48:49.600 --> 01:48:52.011
(crowd laughs)
2139
01:48:52.011 --> 01:48:56.859
in such a short, short, short, short length of time
2140
01:48:56.859 --> 01:48:59.871
is completely incredible and you know
2141
01:48:59.871 --> 01:49:03.703
the feeling of this company of actors,
2142
01:49:03.703 --> 01:49:06.663
singers, dancers who are singers,
2143
01:49:06.663 --> 01:49:08.144
the singers who are dancers,
2144
01:49:08.144 --> 01:49:11.991
to actor who are dancers, the singers who are actors,
2145
01:49:11.991 --> 01:49:14.255
everybody, you know, it\'s what you wanted this to be
2146
01:49:14.255 --> 01:49:19.172
and which is so, so, so rarely is it in the world of opera.
2147
01:49:21.191 --> 01:49:22.599
It\'s very, very unusual.
2148
01:49:22.599 --> 01:49:25.772
So thank you to everybody for that because it\'s
2149
01:49:25.772 --> 01:49:28.313 line:15%
(Robert speaks in foreign language)
2150
01:49:28.313 --> 01:49:29.426
but everyone everyone talked all the time
2151
01:49:29.426 --> 01:49:31.618
about political theater but this piece of theater
2152
01:49:31.618 --> 01:49:35.791
is political because it was political by, by definition.
2153
01:49:35.791 --> 01:49:39.208
Voltaire\'s was the most extraordinary man,
2154
01:49:39.208 --> 01:49:42.822
doing everything he could to deal with the problems
2155
01:49:42.822 --> 01:49:46.172
he found in his age and the idea that Bernstein
2156
01:49:46.172 --> 01:49:47.507
thought of writing this piece with Hellman
2157
01:49:47.507 --> 01:49:49.860
because of what they\'ve been through
2158
01:49:49.860 --> 01:49:51.471
and I think it\'s an amazing achievement
2159
01:49:51.471 --> 01:49:53.724
for all these people that we can try to come
2160
01:49:53.724 --> 01:49:57.218
to the ankle of these people\'s achievement
2161
01:49:57.218 --> 01:49:59.087
and try to share something with the audience.
2162
01:49:59.087 --> 01:50:01.979
We do it for the alchemy.
2163
01:50:01.979 --> 01:50:06.312 line:15%
(Robert speaks in foreign language)
2164
01:50:09.652 --> 01:50:12.402
(crowd applauds)
2165
01:50:15.892 --> 01:50:18.892
(people chattering)
2166
01:50:29.550 --> 01:50:32.133
(upbeat music)
2167
01:50:45.123 --> 01:50:48.540 line:15%
(upbeat music continues)
2168
01:50:58.087 --> 01:51:03.087
(people chattering continues)
(upbeat music continues)
2169
01:51:03.498 --> 01:51:06.357 line:15%
2170
01:51:06.357 --> 01:51:08.764 line:15%
Lambert, Lambert, Lambert.
2171
01:51:08.764 --> 01:51:12.181 line:15%
(upbeat music continues)
2172
01:51:18.504 --> 01:51:21.921
(upbeat music continues)
2173
01:51:30.166 --> 01:51:33.583
(upbeat music continues)
2174
01:51:56.739 --> 01:51:59.739
(Robert chattering)
2175
01:52:01.131 --> 01:52:02.727
2176
01:52:02.727 --> 01:52:03.894
This is great.
2177
01:52:05.050 --> 01:52:09.383 line:15%
(Robert speaks in foreign language)
2178
01:52:11.346 --> 01:52:13.263
2179
01:52:14.874 --> 01:52:16.041
and then that.
2180
01:52:17.249 --> 01:52:19.989
How are we gonna empty that?
2181
01:52:19.989 --> 01:52:24.239 line:15%
(all speaking in foreign language)
2182
01:52:25.287 --> 01:52:27.040
2183
01:52:27.040 --> 01:52:27.957
2184
01:52:30.561 --> 01:52:32.644 line:15%
2185
01:52:35.380 --> 01:52:38.547
(footsteps pattering)
2186
01:52:44.861 --> 01:52:48.278
(upbeat classical music)
2187
01:53:00.845 --> 01:53:05.095
(upbeat music classical continues)
2188
01:53:30.925 --> 01:53:35.258
(upbeat music classical continues)
