0:00:10.000,0:00:12.000
I have to admit something.

0:00:12.000,0:00:15.790
My memory isn't very good.

0:00:15.790,0:00:19.387
I don't have much recollection [br]of my childhood.

0:00:19.387,0:00:22.870
I relied on a trick to help me

0:00:22.870,0:00:26.353
remember things while growing up.

0:00:26.353,0:00:29.838
What happened in what order, [br]and so on. What was it?

0:00:29.838,0:00:32.390
My mother would say, [br]"Remember when you were twelve

0:00:32.390,0:00:36.334
and threw up from food poisoning[br]at that restaurant.

0:00:36.334,0:00:38.429
Remember?" And I was like, "Twelve?"

0:00:38.429,0:00:40.683
And my mother would say,

0:00:40.683,0:00:42.186
"That was the day we saw [br]INDIANA JONES 3

0:00:42.186,0:00:43.689
and you liked it so much."

0:00:43.689,0:00:45.192
"And after that, what did we do?"

0:00:45.192,0:00:48.200
And I'd be like [br]"Oh yeah! That restaurant. Yeah."

0:00:48.200,0:00:50.361
And so I relied on movies [br]to remember things.

0:00:50.361,0:00:54.183
So my timeline of memory relied on [br]when I had seen movies.

0:00:54.183,0:00:56.322
Why do I bring this up?

0:00:56.322,0:00:58.468
My mother always took me to the movies.

0:00:58.468,0:01:01.578
Always. Even without captions.

0:01:01.578,0:01:03.600
We would sit in the theater and [br]the images would appear before us.

0:01:03.600,0:01:05.785
Were we bored?

0:01:05.785,0:01:07.600
Even when I was a restless kid? Nope.

0:01:07.600,0:01:09.600
Why was I fascinated?

0:01:09.600,0:01:11.843
The camera. The lighting. The framing.

0:01:11.843,0:01:13.874
The camera was always moving.

0:01:13.874,0:01:15.810
It moved on the actors as they spoke, [br]then moved away.

0:01:15.810,0:01:17.414
I was transfixed.

0:01:17.414,0:01:19.590
The separate pictures, without words,

0:01:19.590,0:01:21.534
no dialogue at all. Just the pictures. [br]They came together

0:01:21.534,0:01:24.534
to tell a story.

0:01:24.534,0:01:27.000
And it was truly powerful. Wow.

0:01:27.000,0:01:29.113
Especially for one movie.

0:01:29.113,0:01:37.038
It stuck in my mind. [br]To this day, it still stands out.

0:01:37.038,0:01:40.241
How many of you have seen it?

0:01:40.241,0:01:42.784
All of you, yeah.

0:01:42.784,0:01:44.589
This was probably the first movie [br]I'd seen in a theater.

0:01:44.589,0:01:47.798
That I remember seeing, at least.

0:01:47.798,0:01:49.389
I remember being a little kid and [br]sitting in the theater

0:01:49.389,0:01:51.475
with my mother, all excited.

0:01:51.475,0:01:53.781
We saw it all the way to the end.

0:01:53.781,0:01:55.419
And I was in tears.

0:01:55.419,0:01:57.759
I couldn't sleep that night, and [br]my mother tried to comfort me.

0:01:57.759,0:02:00.734
But E.T. was gone! [br]I was devastated by that.

0:02:00.734,0:02:02.907
But... I lingered on one part.

0:02:02.907,0:02:06.735
Remember the opening?

0:02:06.735,0:02:08.957
The movie opens at night, in the woods.

0:02:08.957,0:02:10.895
A UFO flashes its lights above.

0:02:10.895,0:02:12.900
The trees blow in its path as it lands.

0:02:12.900,0:02:16.043
And a creature... something... [br]scurries out of the craft.

0:02:16.043,0:02:18.100
The trees bristle as it moves through[br]the woods, and the camera moves

0:02:18.100,0:02:19.999
on to cars and trucks [br]arriving on the scene,

0:02:19.999,0:02:21.898
the high beams illuminating the trees.

0:02:21.898,0:02:23.211
One of the cars comes to a stop,[br]the car door opens,

0:02:23.211,0:02:24.524
and a pair of shoes [br]come out on the ground.

0:02:24.524,0:02:25.837
The camera stays on the feet.

0:02:25.837,0:02:29.956
Then it pans up to a set of keys [br]hanging off the man's belt.

0:02:29.956,0:02:33.023
They don't show this man's face at all.

0:02:33.023,0:02:34.995
The camera is focused on the keys. [br]I see this.

0:02:34.995,0:02:38.198
Who was this man? I didn't know. [br]Why was he there? I didn't know.

0:02:38.198,0:02:40.143
All I knew was that he was chasing[br]the creature and failed to get it.

0:02:40.143,0:02:42.717
And the alien escaped to the city.

0:02:42.717,0:02:44.990
The man goes back, and we fade out.

0:02:44.990,0:02:47.129
Later in the movie,

0:02:47.129,0:02:49.529
after the famous bicycle scene, [br]near the end,

0:02:49.529,0:02:51.944
E.T. is dying of disease.

0:02:51.944,0:02:54.080
They find him and bring him home.

0:02:54.080,0:02:56.823
They bring it into the bathroom and [br]hide it there as it dies.

0:02:56.823,0:02:58.895
The boy weeps over E.T.'s body.

0:02:58.895,0:03:01.168
And then the camera cuts to outside, [br]where the police, NASA,

0:03:01.168,0:03:03.089
and assorted officials are arriving.

0:03:03.089,0:03:05.249
One of the trucks pulls up, the door opens,

0:03:05.249,0:03:07.385
and out comes the same feet, again!

0:03:07.385,0:03:11.597
The camera pans up[br]to reveal the same keychain.

0:03:11.597,0:03:13.654
Do we see his face?

0:03:13.654,0:03:15.698
I don't know. What's his job? I don't know.

0:03:15.698,0:03:17.686
But that one detail from before--

0:03:17.686,0:03:19.970
the keychain-- matches up [br]with the keychain here.

0:03:19.970,0:03:23.296
That detail tells us right away that [br]is the bad guy!

0:03:23.296,0:03:25.669
He's ready to take E.T. and go.

0:03:25.669,0:03:28.795
We know this, all from the keychain. [br]That one detail.

0:03:28.795,0:03:31.209
And after that, I knew

0:03:31.209,0:03:33.484
I wanted to make movies [br]from that point on.

0:03:33.484,0:03:36.499
I wanted to make separate pictures [br]that came together to give us a story

0:03:36.499,0:03:38.732
without relying on a script, [br]spoken or signed.

0:03:38.732,0:03:40.878
It was those pictures!

0:03:40.878,0:03:46.594
And from there, my journey began.

0:03:46.594,0:03:48.856
Later, I entered Gallaudet University.

0:03:48.856,0:03:51.139
I took courses towards a film major.

0:03:51.139,0:03:53.747
In one of my classes, [br]there was this professor, Facundo.

0:03:53.747,0:03:57.000
He passed away recently. [br]He was hearing and couldn't sign.

0:03:57.000,0:03:58.697
He would brush away[br]the sign language interpreter

0:03:58.697,0:04:00.394
assigned to him and attempt to sign.

0:04:00.394,0:04:02.093
"I can do it," he said. [br]And so he signed slowly.

0:04:02.093,0:04:04.529
Eventually, over time in the class,

0:04:04.529,0:04:10.025
he assigned a project that stood out.

0:04:10.025,0:04:12.967
Visual expression?

0:04:12.967,0:04:14.593
Up until that point, we had learned[br]how to frame shots,

0:04:16.219,0:04:17.847
how to tell a story, and so on. [br]But this was different.

0:04:17.847,0:04:20.760
The teacher had [br]a hard time explaining this.

0:04:20.760,0:04:22.894
'Class, I want you to

0:04:22.894,0:04:27.139
express something about yourself.'

0:04:27.139,0:04:29.479
I could say something about myself. [br]But what?

0:04:29.479,0:04:33.000
Then he showed a work of his. [br]He was hearing, remember.

0:04:33.000,0:04:35.328
The work was from his university days.

0:04:35.328,0:04:37.367
It had an unusual opening.

0:04:37.367,0:04:40.079
The camera lingered on his face [br]as he faced the camera without a shirt.

0:04:40.079,0:04:42.331
Then the camera cut [br]to grass blowing in the wind.

0:04:42.331,0:04:45.390
Then to a lawn mower, then to a fire.

0:04:45.390,0:04:47.562
Then to a man running.

0:04:47.562,0:04:50.938
Then to clouds in the sky. I didn't [br]understand anything about it.

0:04:50.938,0:04:53.211
But it was odd-- his expression.

0:04:53.211,0:04:57.285
The teacher added that [br]it had music and sound.

0:04:57.285,0:04:59.537
"This is an abstraction on my life,"[br]he said.

0:04:59.537,0:05:02.671
'I want you, this deaf class, [br]to express yourself.

0:05:02.671,0:05:04.901
I don't want you to copy my movie.

0:05:04.901,0:05:07.000
This movie is mine. What's yours?

0:05:07.000,0:05:10.659
As he struggled to explain,

0:05:10.659,0:05:12.889
I could see that [br]he couldn't find the words

0:05:12.889,0:05:15.239
for what he wanted to see from us.

0:05:15.239,0:05:17.679
He didn't know how to say it.

0:05:17.679,0:05:19.994
And when the project was due, [br]we turned in our assignments.

0:05:19.994,0:05:24.097
The teacher told us we had done a good [br]job and we moved on to the next project.

0:05:24.097,0:05:26.637
But it stayed in my mind.

0:05:26.637,0:05:29.445
I transferred from Gallaudet to RIT.

0:05:29.445,0:05:31.918
There, I focused on technology and

0:05:31.918,0:05:33.824
I took various courses [br]that focused on cameras, lenses--

0:05:33.824,0:05:37.968
the difference between [br]50mm and 35mm lenses,

0:05:37.968,0:05:40.576
how to light a scene with three lights and

0:05:40.576,0:05:42.700
why we couldn't remove [br]a third light, and so on.

0:05:42.700,0:05:44.300
You won't believe that there's [br]a particular course in film school.

0:05:44.300,0:05:54.715
There's such a thing as a course as...

0:05:54.715,0:05:57.823
Film language.

0:05:57.823,0:06:02.394
Wait a minute, there's a course [br]on language for film?

0:06:02.394,0:06:04.553
This wasn't like a teacher passing out[br]two stapled pieces of paper

0:06:04.553,0:06:08.244
that composed the entirety [br]of the course, Film Language.

0:06:08.244,0:06:10.492
There was a thick book!

0:06:10.492,0:06:17.417
There were countless terms. [br]To give you an idea...

0:06:17.417,0:06:19.751
Do you know these terms?

0:06:19.751,0:06:22.826
A closeup. A medium shot. A wide shot.

0:06:22.826,0:06:24.698
I'll sum it up for you.

0:06:24.698,0:06:28.779
A wide shot introduces [br]location into a story.

0:06:28.779,0:06:31.352
In the first frame, we see a landscape [br]with a tree and a house.

0:06:31.352,0:06:33.556
Then a cowboy with a hat, [br]chewing on hay.

0:06:33.556,0:06:35.714
That's a wide shot. [br]Then the frame tightens

0:06:35.714,0:06:38.060
to a medium shot. The framing[br]cuts the man off at the thighs.

0:06:38.060,0:06:41.000
He's standing by the tree, [br]chewing on the piece of hay.

0:06:41.000,0:06:44.483
Then the close up tightens the framing[br]even further, to the man's head.

0:06:44.483,0:06:46.442
This shot is used to indicate emotion.

0:06:46.442,0:06:49.000
The close up will emphasize what [br]we need to know in that moment.

0:06:49.000,0:06:51.000
So those are three kinds of framing.

0:06:51.000,0:06:53.246
There are even more kinds of shots.

0:06:53.246,0:06:54.781
In the dutch tilt, the framing [br]is tilted off to the side.

0:06:54.781,0:06:58.190
A dolly shot moves the camera [br]back and forth as it rolls.

0:06:58.190,0:07:01.098
A crane shot moves the camera up and down.[br]There are countless kinds of shots.

0:07:01.098,0:07:09.367
Another kind of technique that [br]seemed like a wrong fit for me:

0:07:09.367,0:07:12.129
In short, this is used by news shows,

0:07:12.129,0:07:14.645
movies... for example, [br]there's a poor little boy

0:07:14.645,0:07:17.510
crouched over, hungry.

0:07:17.510,0:07:19.693
But a voice narrator tells us

0:07:19.693,0:07:21.687
tells us that this boy doesn't have [br]any parents and that he's lost, and

0:07:21.687,0:07:24.031
statistics tell us that, in that country, [br]this is but one example and

0:07:24.031,0:07:26.003
that your support is needed.

0:07:26.003,0:07:29.000
Wait-- there are two different stories:

0:07:29.000,0:07:31.000
There's the hungry, sick boy [br]that arouses our sympathy

0:07:31.000,0:07:34.693
And we hear a parallel narration that [br]relates to the story being told on camera.

0:07:34.693,0:07:39.836
The two strands come together [br]to become one story.

0:07:39.836,0:07:42.013
In deaf film...

0:07:42.013,0:07:48.463
And there are countless elements...

0:07:48.463,0:07:51.156
I'm telling you- [br]this is just a small sampling

0:07:51.156,0:07:53.477
of what's in film language.

0:07:53.477,0:07:55.215
There are countless story-related [br]techniques in the script:

0:07:55.215,0:07:58.520
the opening of the story, [br]the character introductions,

0:07:58.520,0:08:00.746
the conflict, the upward [br]progression of the story,

0:08:00.746,0:08:03.036
conflict after conflict after conflict, [br]then earth crashes down

0:08:03.036,0:08:05.811
and the RV drives away in the nick [br]of time as it dodges flying boulders.

0:08:05.811,0:08:08.084
And then there are even more conflicts, [br]until the resolution.

0:08:08.084,0:08:09.825
Everyone is reunited, [br]and the action falls down.

0:08:09.825,0:08:11.799
Then there's the happy ending.

0:08:11.799,0:08:13.700
I'm talking about American films here...

0:08:13.700,0:08:15.571
they always end happily.

0:08:15.571,0:08:17.998
So, there are rules [br]for the progression of action.

0:08:17.998,0:08:20.117
We are supposed to follow them, [br]and school encourages us

0:08:20.117,0:08:25.779
to follow these rules. [br]There are many of them.

0:08:25.779,0:08:28.540
In my class, there were [br]few deaf students-- this is at RIT.

0:08:28.540,0:08:30.880
I eagerly rolled up my sleeves [br]because I wanted--

0:08:30.880,0:08:34.320
the various terms and rules--

0:08:34.320,0:08:36.899
everything-- I wanted to rearrange [br]them so I could make

0:08:36.899,0:08:39.237
a deaf film. The result is my first

0:08:39.237,0:08:43.000
film at RIT. The goal was to--

0:08:43.000,0:08:45.253
you know-- deaf, signed dialogue

0:08:45.253,0:08:48.359
on the movie screen-- if I signed [br]out of frame... it's always "Cut!"

0:08:48.359,0:08:52.876
'Cut!' Your hand is out of frame.

0:08:52.876,0:08:54.612
'Do it again.'

0:08:54.612,0:08:57.299
My friend and I wanted to challenge that.

0:08:57.299,0:08:59.526
I said, 'No, I think that the fear [br]of a hand out of frame

0:08:59.526,0:09:02.200
should not constrain us [br]to signing awkwardly within the frame.

0:09:02.200,0:09:04.144
They will still be able to understand me. [br]I believe that.'

0:09:04.144,0:09:38.168
And so we made this movie.

0:09:38.168,0:09:40.173
Two interesting things happened here.

0:09:40.173,0:09:43.648
I showed this to an audience and

0:09:43.648,0:09:45.700
I must have been a freshman.

0:09:45.700,0:09:47.893
I was working with a small camera, [br]and I was filled with ideas.

0:09:47.893,0:09:50.701
So we executed those ideas, [br]just to prove that we could do it.

0:09:50.701,0:09:53.977
The audience saw it, [br]and they said, 'Wow.'

0:09:53.977,0:09:56.751
But as I sat in the audience,

0:09:56.751,0:09:59.358
I felt something was missing.

0:09:59.358,0:10:02.734
It didn't feel natural. It didn't.

0:10:02.734,0:10:04.807
My deaf world-- the one that I saw--

0:10:04.807,0:10:08.286
this wasn't it.

0:10:08.286,0:10:10.290
This movie showed a different world.

0:10:10.290,0:10:12.124
I realized this.

0:10:12.124,0:10:15.000
The other thing: why was there a phone?[br]The man was deaf.

0:10:15.000,0:10:20.183
That was my mistake. I still don't know[br]why we had a phone.

0:10:20.183,0:10:23.091
And my struggle began [br]with this project.

0:10:23.091,0:10:25.063
In my following projects, I followed[br]all of the rules of film language.

0:10:25.063,0:10:28.053
I tried various ways [br]to rearrange the rules.

0:10:28.053,0:10:30.259
But I never got the feeling [br]that it was natural.

0:10:30.259,0:10:32.300
I wanted to watch something [br]on the screen and say

0:10:32.300,0:10:34.823
"That's my world!"[br]Right there, on the screen.

0:10:34.823,0:10:40.685
I had never experienced that.

0:10:40.685,0:10:45.247
Film language had a box around it, [br]and I felt trapped in this box.

0:10:45.247,0:10:49.026
I struggled to get out of the box [br]by rearranging the rules.

0:10:49.026,0:10:56.583
Then I realized[br]I should just put the box aside.

0:10:56.583,0:10:58.600
This box had a set of rules

0:10:58.600,0:11:02.299
developed over time. And everybody else[br]worked with sound.

0:11:02.299,0:11:04.485
It didn't matter which country [br]you came from--

0:11:04.485,0:11:06.691
everybody was working with sound [br]as an essential part of their film.

0:11:06.691,0:11:09.942
This influenced the editing of the movie[br]-- sound was tied up in all of this.

0:11:09.942,0:11:13.950
I'm a deaf person. I'm very visual.

0:11:13.950,0:11:16.271
I didn't even think about sound at all.

0:11:16.271,0:11:18.544
This realization led me to look within.

0:11:18.544,0:11:21.587
My world, and how I perceived it.

0:11:21.587,0:11:30.033
And how I should apply [br]these principles to film.

0:11:30.033,0:11:34.084
You all know what a script is. [br]Writing on a paper.

0:11:34.084,0:11:36.928
It starts with 'INT: A TREEHOUSE...

0:11:36.928,0:11:39.003
So-and-so character... and so on.'

0:11:39.003,0:11:41.074
Words on pages.

0:11:41.074,0:11:43.356
My first thought: the language.

0:11:43.356,0:11:46.154
We use sign language.

0:11:46.154,0:11:48.527
Sure, I can write it down-- [br]my English is OK.

0:11:48.527,0:11:51.902
But I struggled in writing on the page.

0:11:51.902,0:11:54.582
Sign language...

0:11:54.582,0:11:57.051
Bernard Bragg

0:11:57.051,0:11:59.123
and Ben Bahan,

0:11:59.123,0:12:01.463
the Gallaudet professor

0:12:01.463,0:12:03.650
always told us that ASL

0:12:03.650,0:12:09.084
has cinematic value.

0:12:09.084,0:12:11.405
They said that sign language is [br]just like the film screen.

0:12:11.405,0:12:15.131
A roving eye, closeups, and so on.

0:12:15.131,0:12:17.200
And that was true. But was it identical?

0:12:17.200,0:12:19.247
Not really.

0:12:19.247,0:12:21.685
I think sign language

0:12:21.685,0:12:25.696
is far more rich than what we have [br]to work with in cinema.

0:12:25.696,0:12:31.007
ASL goes far and beyond that.

0:12:31.007,0:12:33.017
So the written script should be discarded.

0:12:33.017,0:12:36.025
In its place, we could have an ASL script.

0:12:36.025,0:12:38.599
I sign the story in front of a camera.

0:12:38.599,0:12:41.808
Recently, I did that for a project.

0:12:41.808,0:12:45.785
Here's what it looked like.

0:12:45.785,0:12:48.994
The frame zooms in and [br]we go through a wall.

0:12:48.994,0:12:51.053
This is actually 6th Street.

0:12:51.053,0:12:54.175
Cars drive up and down, [br]and buildings line the road.

0:12:54.175,0:12:56.200
Clouds fly above our heads

0:12:56.200,0:12:58.213
and a pair of hands appear, [br]which make a brushing motion.

0:12:58.213,0:13:01.532
And for real, a row of buildings [br]disappear into the ground.

0:13:01.532,0:13:03.568
The hands make another gesture, [br]and a new building appears in its place.

0:13:03.568,0:13:08.448
Here, we see drawings turn into buildings, [br]and they now occupy the side of the road.

0:13:08.448,0:13:10.556
This was my first ASL script.

0:13:10.556,0:13:12.706
I wasn't the only one that used it. [br]We had an entire team,

0:13:12.706,0:13:14.431
a big team,

0:13:14.431,0:13:17.607
of deaf crew members. [br]There were prop artists,

0:13:17.607,0:13:20.229
actors and their coaches,

0:13:20.229,0:13:23.791
cameramen, editors, [br]special effects people,

0:13:23.791,0:13:25.930
a big team. And we all relied on this.

0:13:25.930,0:13:28.037
Sign language. No writing on paper.

0:13:28.037,0:13:52.037
And here's the result.

0:13:52.037,0:13:54.409
Thank you. And I felt

0:13:54.409,0:13:56.515
THIS was the future.

0:13:56.515,0:13:58.400
If I worked on the ASL, my world

0:13:58.400,0:14:01.062
would expand.

0:14:01.062,0:14:03.166
And I could easily translate[br]this vision because

0:14:03.166,0:14:05.206
we were all speaking the same language. [br]They saw this and understood it right away.

0:14:05.206,0:14:08.549
"The building pops up. I got it. [br]I'll take care of it."

0:14:08.549,0:14:11.857
So this is something we should pursue. [br]ASL scripts.

0:14:11.857,0:14:16.270
Here's another thing.

0:14:16.270,0:14:18.270
Camera flow.

0:14:18.270,0:14:20.787
You all know what editing is.

0:14:20.787,0:14:23.132
In a shot, a person talks.

0:14:23.132,0:14:25.262
Then we cut to the other side: "No, mom."

0:14:25.262,0:14:27.467
Back to the original frame. And so on. [br]That's editing.

0:14:27.467,0:14:29.506
Back and forth between two frames.

0:14:29.506,0:14:31.578
I looked at this uniform practice and

0:14:31.578,0:14:34.319
when we talk in ASL to another person,

0:14:34.319,0:14:37.027
do we carry on conversation [br]facing one another?

0:14:37.027,0:14:39.325
Is that how we talk in ASL?

0:14:39.325,0:14:41.267
Or do we wave our hands abruptly [br]in front of that person?

0:14:41.267,0:14:43.444
"Oh, OK. What?

0:14:43.444,0:14:45.534
Is there something on the floor?" Nah.

0:14:45.534,0:14:47.724
We normally maintain eye contact[br]throughout the conversation.

0:14:47.724,0:14:49.864
Even when we're walking, we maintain [br]eye contact in conversation.

0:14:49.864,0:14:52.269
Telephone poles come between us, [br]and we still maintain eye contact.

0:14:52.269,0:14:53.973
It doesn't matter which direction we go[br]or if there are obstacles.

0:14:53.973,0:14:55.677
We stay connected to each other.

0:14:55.677,0:14:57.382
We must be attuned to each other, [br]so we can maintain that connection.

0:14:57.382,0:14:59.489
Therefore, the camera should be fluid

0:14:59.489,0:15:01.565
and constant.

0:15:01.565,0:15:03.533
This will appeal to our inner values.

0:15:03.533,0:15:05.973
"Yes, this is just like my world."

0:15:05.973,0:15:08.018
I've started doing something more:

0:15:08.018,0:15:10.388
attaching the camera to a body rig [br]so that when I walk,

0:15:10.388,0:15:12.475
the camera bounces gently.

0:15:12.475,0:15:15.300
This is called a Steadicam.

0:15:15.300,0:15:18.351
Using this makes me feel more attuned[br]to the action.

0:15:18.351,0:16:05.973
Here's an example of a steadicam shot:

0:16:05.973,0:16:08.083
Another thing: did you see the captions?

0:16:08.083,0:16:12.051
Notice the captions? They weren't fixed[br]to the bottom of the screen.

0:16:12.051,0:16:13.500
Those captions feel just like [br]an abrupt break in the edit.

0:16:13.500,0:16:14.949
My eyes are drawn [br]to the bottom of the screen.

0:16:14.949,0:16:16.399
Just as I'm making eye contact [br]with the actor,

0:16:16.399,0:16:18.203
I have to look away to read the captions.[br]I want that eye contact!

0:16:18.203,0:16:20.009
I wanted to maintain eye contact, so I had [br]the captions appear around the actors.

0:16:20.009,0:16:22.119
Now my eyes are able to follow [br]the captions as they appear.

0:16:22.119,0:16:24.256
My eyes can still feel the flow [br]in the sequence.

0:16:24.256,0:16:26.330
I feel connected to what's going on. [br]And that's my world.

0:16:26.330,0:16:29.205
That's it.

0:16:29.205,0:16:34.302
Here's another element:

0:16:34.302,0:16:37.024
Recall the voiceover.

0:16:37.024,0:16:39.131
For us, the sound doesn't jibe [br]with what's going on.

0:16:39.131,0:16:41.314
We're a visual people. [br]We don't hear anything.

0:16:41.314,0:16:44.145
So, how do we work around this?

0:16:44.145,0:16:46.755
Let's go back to the first element: [br]the ASL script.

0:16:46.755,0:16:49.158
When it's signed, we can see the story.

0:16:49.158,0:16:51.833
And the second element is flow.

0:16:51.833,0:16:56.045
Combining these two elements led me[br]to make a film, VITAL SIGNS.

0:16:56.045,0:16:58.059
A person tells a story as vignettes [br]appear around him.

0:16:58.059,0:17:03.164
And the vignettes [br]match up with the story.

0:17:03.164,0:17:06.674
The car backs out of the garage [br]and speeds away.

0:17:06.674,0:17:08.700
'Gotta get in the car!'

0:17:08.700,0:17:10.873
Keys in the ignition,[br]the roar of the engine!

0:17:10.873,0:17:13.027
The RPM needle rises and falls, [br]the gears shift, the tires spin!

0:17:13.027,0:17:14.502
The car drives in reverse, [br]then spins around, the gears shift again,

0:17:14.502,0:17:15.977
and the engine roars!

0:17:15.977,0:17:17.453
The roar of the engine... [br]and the car speeds away,

0:17:17.453,0:17:19.643
... and away. "Oh! A red light." [br]The car passes under it.

0:17:19.643,0:17:21.816
The other cars slam on their brakes [br]as the car speeds away.

0:17:21.816,0:17:24.089
The car veers around a curve,[br]into traffic.

0:17:24.089,0:17:26.163
Weaving into traffic behind another car,[br]the car speeds up and

0:17:26.163,0:17:31.585
overtakes it... but oh!

0:17:31.585,0:17:34.423
He spots what he's looking for [br]and fishtails,

0:17:34.423,0:17:37.261
nearly hitting another car [br]in front of him.

0:17:37.261,0:17:40.100
He comes to a stop and gets out of the car.[br]He walks: "Where's my wife?"

0:17:40.100,0:17:42.038
Here's the narrator. [br]So the three elements

0:17:42.038,0:17:44.124
combined,

0:17:44.124,0:17:46.237
make me go back to my teacher [br]at Gallaudet, Facundo.

0:17:46.237,0:17:48.513
He didn't find the words at the time,

0:17:48.513,0:17:56.244
but I think I know [br]what he was trying to say.

0:17:56.244,0:17:59.828
It would be like we had holes [br]in the back of our heads.

0:17:59.828,0:18:03.064
And the camera would capture [br]what my eyes saw.

0:18:03.064,0:18:05.269
Through this perspective, you'd say, [br]"Ah, so that's their world!

0:18:05.269,0:18:07.275
That's how they see-- fluidly."

0:18:07.275,0:18:09.147
So this is something new.

0:18:09.147,0:18:10.759
And this leads us to...

0:18:10.759,0:18:13.081
Deaf Lens

0:18:13.081,0:18:16.144
There are no limits anymore. None.

0:18:16.144,0:18:18.632
And I want to pursue this further.

0:18:19.008,0:18:21.042
Thank you.