[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:02.26,Default,,0000,0000,0000,,{\i1}--Thank you Roosevelt, here's a song\Ncoming your way right now.{\i0}
Dialogue: 0,0:00:02.26,0:00:05.84,Default,,0000,0000,0000,,{\i1}"Nowhere to Run" by\NMartha and the Vandellas{\i0}
Dialogue: 0,0:00:05.84,0:00:08.50,Default,,0000,0000,0000,,{\i1}Yes, you know what I mean.{\i0}
Dialogue: 0,0:00:10.98,0:00:13.80,Default,,0000,0000,0000,,Hi my name is Tony and\Nthis is Every Frame a Painting.
Dialogue: 0,0:00:13.80,0:00:16.53,Default,,0000,0000,0000,,Today I’m going to honor\Nthe incomparable Robin Williams.
Dialogue: 0,0:00:16.53,0:00:18.92,Default,,0000,0000,0000,,There have been a lot of\Nmoving tributes over the last month,
Dialogue: 0,0:00:18.92,0:00:21.21,Default,,0000,0000,0000,,but I’d like to sidestep\Nwhat others have said
Dialogue: 0,0:00:21.21,0:00:24.53,Default,,0000,0000,0000,,and focus on something else:\Nhow he moved in a scene.
Dialogue: 0,0:00:24.53,0:00:29.03,Default,,0000,0000,0000,,{\i1}--You do an eclectic celebration of a\Ndance. You do Fosse, Fosse, Fosse{\i0}
Dialogue: 0,0:00:29.03,0:00:31.00,Default,,0000,0000,0000,,{\i1}You do, Martha Graham,\NMartha Graham, Martha Graham!{\i0}
Dialogue: 0,0:00:31.00,0:00:33.73,Default,,0000,0000,0000,,Blocking is the choreography\Nof the actors and the camera.
Dialogue: 0,0:00:33.73,0:00:36.43,Default,,0000,0000,0000,,To put it bluntly, the actors move.\NHow they move tells us something
Dialogue: 0,0:00:36.43,0:00:38.47,Default,,0000,0000,0000,,about the characters,\Nthe scene and the story.
Dialogue: 0,0:00:38.47,0:00:41.49,Default,,0000,0000,0000,,{\i1}--but you keep it all inside.{\i0}
Dialogue: 0,0:00:41.49,0:00:44.30,Default,,0000,0000,0000,,Good blocking is good storytelling.\NIf you’d like to see this for yourself,
Dialogue: 0,0:00:44.30,0:00:46.50,Default,,0000,0000,0000,,pick a scene and watch\Nhow the actors move.
Dialogue: 0,0:00:46.50,0:00:50.50,Default,,0000,0000,0000,,{\i1}--We're all gonna sit down\Nand we're gonna finish it.{\i0}
Dialogue: 0,0:00:50.50,0:00:53.00,Default,,0000,0000,0000,,Three minutes later,\Nthis is how he makes her sit.
Dialogue: 0,0:00:53.00,0:00:55.50,Default,,0000,0000,0000,,{\i1}--Anybody up for iced tea?\NI'm gonna make some tea.{\i0}
Dialogue: 0,0:00:57.80,0:01:00.56,Default,,0000,0000,0000,,You could watch this film with the sound\Noff and still understand
Dialogue: 0,0:01:00.56,0:01:03.57,Default,,0000,0000,0000,,most of the story. That's good blocking.\NEverything you need to know about
Dialogue: 0,0:01:03.57,0:01:06.12,Default,,0000,0000,0000,,the characters, their relationship\Nand how it changes
Dialogue: 0,0:01:06.12,0:01:09.56,Default,,0000,0000,0000,,is presented to you through physical\Nmovement. Blocking is a collaboration
Dialogue: 0,0:01:10.04,0:01:13.02,Default,,0000,0000,0000,,between actor and director. Even though\Nthe director approves it, the actors are
Dialogue: 0,0:01:13.02,0:01:14.80,Default,,0000,0000,0000,,ultimately the ones who\Nhave to perform it.
Dialogue: 0,0:01:14.80,0:01:17.33,Default,,0000,0000,0000,,And that's why Robin Williams\Nwork is so dynamic
Dialogue: 0,0:01:17.80,0:01:19.30,Default,,0000,0000,0000,,{\i1}--You move with it!{\i0}
Dialogue: 0,0:01:20.80,0:01:22.30,Default,,0000,0000,0000,,{\i1}--Lead with something!{\i0}
Dialogue: 0,0:01:22.50,0:01:25.21,Default,,0000,0000,0000,,Few actors could express themselves\Nas well through motion
Dialogue: 0,0:01:25.21,0:01:27.20,Default,,0000,0000,0000,,Whether that motion was big
Dialogue: 0,0:01:29.21,0:01:30.81,Default,,0000,0000,0000,,or small
Dialogue: 0,0:01:32.00,0:01:35.36,Default,,0000,0000,0000,,Even when he was doing the same movement\Nin two different scenes
Dialogue: 0,0:01:35.36,0:01:38.10,Default,,0000,0000,0000,,you could see the subtle variations he\Nbrought to the arc of the character.
Dialogue: 0,0:01:39.10,0:01:41.25,Default,,0000,0000,0000,,Sometimes he would move\Nand the camera would be still.
Dialogue: 0,0:01:44.10,0:01:46.32,Default,,0000,0000,0000,,Other times...\N{\i1}--You're just a kid.{\i0}
Dialogue: 0,0:01:46.32,0:01:50.13,Default,,0000,0000,0000,,he would be still and the camera\Nwould move. This shot lasts
Dialogue: 0,0:01:50.13,0:01:52.88,Default,,0000,0000,0000,,2 minutes and 45 seconds and is the\Nfirst time these two characters connect
Dialogue: 0,0:01:52.88,0:01:56.06,Default,,0000,0000,0000,,which Gus Van Sant shows by having the\Ncamera literally bring them together.
Dialogue: 0,0:01:56.06,0:02:00.29,Default,,0000,0000,0000,,{\i1}--You don't know about real loss because\Nthat only occurs when you love something{\i0}
Dialogue: 0,0:02:00.29,0:02:02.11,Default,,0000,0000,0000,,{\i1}--more than you love yourself.{\i0}
Dialogue: 0,0:02:02.11,0:02:05.71,Default,,0000,0000,0000,,And in other films, he moved with the\Ncamera, creating an elaborate dance
Dialogue: 0,0:02:07.71,0:02:09.19,Default,,0000,0000,0000,,{\i1}--And all the time he's mumbling.\N--What's he mumbling?{\i0}
Dialogue: 0,0:02:09.19,0:02:10.19,Default,,0000,0000,0000,,{\i1}--Mumbling truth.{\i0}
Dialogue: 0,0:02:10.19,0:02:11.62,Default,,0000,0000,0000,,Or a less elaborate one.
Dialogue: 0,0:02:13.62,0:02:17.73,Default,,0000,0000,0000,,To watch his work is to see the subtle\Nthings an actor can do with his hands.
Dialogue: 0,0:02:20.73,0:02:21.99,Default,,0000,0000,0000,,his mouth
Dialogue: 0,0:02:24.99,0:02:26.50,Default,,0000,0000,0000,,his right leg
Dialogue: 0,0:02:30.23,0:02:31.100,Default,,0000,0000,0000,,and his facepalm.
Dialogue: 0,0:02:35.100,0:02:37.95,Default,,0000,0000,0000,,Robin Williams' work is an encyclopedia
Dialogue: 0,0:02:37.95,0:02:40.92,Default,,0000,0000,0000,,of ways that an actor can express\Nhimself through movement and he was
Dialogue: 0,0:02:40.92,0:02:43.91,Default,,0000,0000,0000,,fortunate to work with filmmakers who\Nused his talents to their fullest.
Dialogue: 0,0:02:43.91,0:02:47.54,Default,,0000,0000,0000,,{\i1}--I want you to find your own walk\Nright now, your own way of{\i0}
Dialogue: 0,0:02:47.54,0:02:49.74,Default,,0000,0000,0000,,{\i1}striding, pacing, any direction,\Nanything you want, whether it's{\i0}
Dialogue: 0,0:02:49.74,0:02:52.30,Default,,0000,0000,0000,,{\i1}whether it's proud or silly. Anything.{\i0}
Dialogue: 0,0:02:52.30,0:02:55.30,Default,,0000,0000,0000,,I can't talk about how he pulled off\Nso many different characters
Dialogue: 0,0:02:55.30,0:02:57.06,Default,,0000,0000,0000,,because I have no idea.
Dialogue: 0,0:02:57.06,0:03:00.95,Default,,0000,0000,0000,,But I can talk about a few things that\Ndirectors did to help his performances.
Dialogue: 0,0:03:00.95,0:03:02.50,Default,,0000,0000,0000,,Here are five.
Dialogue: 0,0:03:04.28,0:03:07.84,Default,,0000,0000,0000,,#1: They let him play it straight\Nthrough. Movie acting is weird because
Dialogue: 0,0:03:07.84,0:03:09.77,Default,,0000,0000,0000,,it’s hours of preparation\Nto shoot one angle.
Dialogue: 0,0:03:09.77,0:03:12.88,Default,,0000,0000,0000,,And sometimes the actors only\Nget a few seconds to really act.
Dialogue: 0,0:03:12.88,0:03:15.50,Default,,0000,0000,0000,,{\i1}--My God, the children.{\i0}
Dialogue: 0,0:03:15.88,0:03:18.93,Default,,0000,0000,0000,,Many directors here have a history of\Nshooting scenes in 1 or 2 set-ups
Dialogue: 0,0:03:18.93,0:03:20.63,Default,,0000,0000,0000,,which helps the actors keep their rhythm
Dialogue: 0,0:03:20.63,0:03:24.27,Default,,0000,0000,0000,,Some preferred elaborate camera moves.\NOthers liked it very simple
Dialogue: 0,0:03:24.27,0:03:27.64,Default,,0000,0000,0000,,But no matter what, they shared a common\Ndesire to let all the actors perform
Dialogue: 0,0:03:27.64,0:03:29.39,Default,,0000,0000,0000,,uninterrupted, as much as possible.
Dialogue: 0,0:03:29.39,0:03:34.59,Default,,0000,0000,0000,,{\i1}--It's me, Alan, mom and dad!\NI'm home! I'm back!{\i0}
Dialogue: 0,0:03:35.59,0:03:38.30,Default,,0000,0000,0000,,#2: They gave him\Nsomething physical to do.
Dialogue: 0,0:03:38.30,0:03:42.84,Default,,0000,0000,0000,,Open the window. Pick up the apple.\NPut the cans back in the right spot.
Dialogue: 0,0:03:42.84,0:03:45.70,Default,,0000,0000,0000,,{\i1}--I said, well, you know\Nwhat I'm dealing with here?{\i0}
Dialogue: 0,0:03:45.70,0:03:47.70,Default,,0000,0000,0000,,These gestures sometimes\Nrepeated later in the film
Dialogue: 0,0:03:47.70,0:03:50.70,Default,,0000,0000,0000,,giving us a nice before-and-after\Nportrait of the character.
Dialogue: 0,0:03:53.70,0:03:56.50,Default,,0000,0000,0000,,{\i1}--Eleanor?\N--Yes?{\i0}
Dialogue: 0,0:03:56.50,0:03:58.29,Default,,0000,0000,0000,,Other times they were\Njust one-off moments.
Dialogue: 0,0:04:01.29,0:04:04.74,Default,,0000,0000,0000,,As an editor, I can testify that when\NI’m looking at 12 takes of a scene,
Dialogue: 0,0:04:04.74,0:04:06.57,Default,,0000,0000,0000,,these little gestures make\Nall the difference.
Dialogue: 0,0:04:08.57,0:04:12.67,Default,,0000,0000,0000,,#3: They used blocking to tell the story\Nvisually. Human beings are wired
Dialogue: 0,0:04:12.67,0:04:14.70,Default,,0000,0000,0000,,to respond to subtle\Nchanges in body language.
Dialogue: 0,0:04:14.70,0:04:18.01,Default,,0000,0000,0000,,We often derive more understanding from\Na person’s movements and tone
Dialogue: 0,0:04:18.01,0:04:19.80,Default,,0000,0000,0000,,than from the actual words they say.
Dialogue: 0,0:04:19.80,0:04:21.55,Default,,0000,0000,0000,,{\i1}--You forget the girl.{\i0}
Dialogue: 0,0:04:21.55,0:04:22.42,Default,,0000,0000,0000,,One of the great things\Nabout good blocking
Dialogue: 0,0:04:22.42,0:04:25.61,Default,,0000,0000,0000,,is that it’s universal and doesn’t\Nneed to be translated or explained.
Dialogue: 0,0:04:25.61,0:04:29.85,Default,,0000,0000,0000,,{\i1}--you playing Dear Abby\N--I know, because she's my sister!{\i0}
Dialogue: 0,0:04:29.85,0:04:32.10,Default,,0000,0000,0000,,Even if you can't speak English, you\Nunderstand exactly what's happening here
Dialogue: 0,0:04:32.10,0:04:34.31,Default,,0000,0000,0000,,{\i1}--Come on!\N--I don't like you, sir.{\i0}
Dialogue: 0,0:04:34.31,0:04:36.31,Default,,0000,0000,0000,,{\i1}--Why not? I got a great personality,\Nyou ask anybody.{\i0}
Dialogue: 0,0:04:36.31,0:04:40.27,Default,,0000,0000,0000,,#4: They let him listen.\N{\i1}--That started with Peter Weir{\i0}
Dialogue: 0,0:04:40.27,0:04:43.20,Default,,0000,0000,0000,,{\i1}where he said, if you just listen\Nthere's a great power in that.{\i0}
Dialogue: 0,0:04:43.20,0:04:46.55,Default,,0000,0000,0000,,A good percentage what you think of as\Nacting in a movie is actually listening.
Dialogue: 0,0:04:46.55,0:04:48.97,Default,,0000,0000,0000,,Sometimes that’s what happened\Nin the moment. Other times,
Dialogue: 0,0:04:48.97,0:04:51.99,Default,,0000,0000,0000,,we editors find those moments \Nand move them around in the edit.
Dialogue: 0,0:04:51.99,0:04:54.55,Default,,0000,0000,0000,,As they say, acting is reacting.
Dialogue: 0,0:04:57.55,0:05:00.61,Default,,0000,0000,0000,,And lastly: They didn’t let perfection\Nget in the way of inspiration.
Dialogue: 0,0:05:00.61,0:05:03.66,Default,,0000,0000,0000,,There’s a real desire sometimes to film\Nit exactly the way it was in your head
Dialogue: 0,0:05:03.66,0:05:06.91,Default,,0000,0000,0000,,or on the page, but working with Robin\NWilliams was about opening yourself up
Dialogue: 0,0:05:06.91,0:05:08.56,Default,,0000,0000,0000,,to sudden bursts of inspiration.
Dialogue: 0,0:05:08.56,0:05:15.25,Default,,0000,0000,0000,,--She used to fart in her sleep. One\Nnight it was so loud, it woke the dog up
Dialogue: 0,0:05:15.25,0:05:19.43,Default,,0000,0000,0000,,So be open. This man improvised\Nmany of his most iconic moments.
Dialogue: 0,0:05:19.43,0:05:21.02,Default,,0000,0000,0000,,Maybe he was onto something.
Dialogue: 0,0:05:21.02,0:05:23.02,Default,,0000,0000,0000,,--There's great moments that obviously\Npeople have rehearsed and gone over
Dialogue: 0,0:05:23.02,0:05:26.08,Default,,0000,0000,0000,,and gone over and gone over, but\Nliterally when the stuff really hits you
Dialogue: 0,0:05:26.08,0:05:29.47,Default,,0000,0000,0000,,it's usually something that happened\Nand it happened then
Dialogue: 0,0:05:29.47,0:05:32.00,Default,,0000,0000,0000,,and that is what film is about:\Ncapturing a moment.
Dialogue: 0,0:05:35.55,0:05:37.25,Default,,0000,0000,0000,,Farewell, Robin Williams.
Dialogue: 0,0:05:51.54,0:05:55.49,Default,,0000,0000,0000,,{\i1}--He is an editor's nightmare though,\Neditors see him and they go "AGH!"{\i0}
Dialogue: 0,0:05:55.49,0:05:58.90,Default,,0000,0000,0000,,{\i1}because he shows up, you cut on him all\Nthe time, you can't cut on half a phrase{\i0}
Dialogue: 0,0:05:58.90,0:06:01.69,Default,,0000,0000,0000,,{\i1}--Like it's hard to get a\Ntwo-shot right now right?{\i0}
Dialogue: 0,0:06:01.69,0:06:05.00,Default,,0000,0000,0000,,{\i1}--Dammit I can't hold it! Dammit Jim,\Nthe camera's too wide! Bones, go wide!{\i0}
Dialogue: 0,0:06:05.00,0:06:06.35,Default,,0000,0000,0000,,{\i1}--I'll be back.\N--We love you.{\i0}