[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.16,0:00:03.00,Default,,0000,0000,0000,,{\i1}--Okay Max now this is it.\NLeft or right?{\i0}
Dialogue: 0,0:00:06.62,0:00:08.20,Default,,0000,0000,0000,,{\i1}--Come on Max!{\i0}
Dialogue: 0,0:00:09.00,0:00:10.21,Default,,0000,0000,0000,,{\i1}--Left!{\i0}
Dialogue: 0,0:00:12.40,0:00:15.21,Default,,0000,0000,0000,,Hi, my name is Tony and this is a\Nquick Every Frame a Painting.
Dialogue: 0,0:00:15.21,0:00:18.22,Default,,0000,0000,0000,,Be warned, this video\Nspoils all of Snowpiercer.
Dialogue: 0,0:00:18.22,0:00:21.50,Default,,0000,0000,0000,,So I am giving you a choice.\NBeyond this point in the video...
Dialogue: 0,0:00:21.50,0:00:24.89,Default,,0000,0000,0000,,{\i1}--There's no turning back.\N--There is no turning back.{\i0}
Dialogue: 0,0:00:24.89,0:00:26.89,Default,,0000,0000,0000,,{\i1}--There's no turning back.\N--There is no turning back.{\i0}
Dialogue: 0,0:00:26.89,0:00:30.67,Default,,0000,0000,0000,,{\i1}--There is no turning back.\N--And there's no turning back{\i0}
Dialogue: 0,0:00:30.67,0:00:33.21,Default,,0000,0000,0000,,{\i1}you understand?\N--Yes I do.{\i0}
Dialogue: 0,0:00:33.71,0:00:36.66,Default,,0000,0000,0000,,In nearly every blockbuster you watch or\NTelltale game that you’ve played,
Dialogue: 0,0:00:36.66,0:00:39.71,Default,,0000,0000,0000,,you've seen moments like this.\NThe protagonist has to make a choice,
Dialogue: 0,0:00:39.71,0:00:41.21,Default,,0000,0000,0000,,and there’s no way to reverse it.
Dialogue: 0,0:00:42.30,0:00:43.69,Default,,0000,0000,0000,,{\i1}--Okay it's you.{\i0}
Dialogue: 0,0:00:44.69,0:00:47.00,Default,,0000,0000,0000,,Just to be clear, I think moments like\Nthese are great and a foundation
Dialogue: 0,0:00:47.00,0:00:48.49,Default,,0000,0000,0000,,of good storytelling.
Dialogue: 0,0:00:48.49,0:00:50.95,Default,,0000,0000,0000,,But I do wish in movies they weren’t\Npresented through dialogue.
Dialogue: 0,0:00:50.95,0:00:53.02,Default,,0000,0000,0000,,So today I look at\None possible alternative.
Dialogue: 0,0:00:53.02,0:00:56.00,Default,,0000,0000,0000,,In fact, this is one of the\Noldest traditions in cinema.
Dialogue: 0,0:00:56.00,0:00:57.50,Default,,0000,0000,0000,,How do you show character choice?
Dialogue: 0,0:01:02.27,0:01:04.87,Default,,0000,0000,0000,,Left or Right. That’s it.
Dialogue: 0,0:01:04.87,0:01:08.06,Default,,0000,0000,0000,,We often forget that screen direction is\Na tool, and that character choices
Dialogue: 0,0:01:08.06,0:01:09.66,Default,,0000,0000,0000,,can be presented simply\Nby having them look.
Dialogue: 0,0:01:09.66,0:01:13.85,Default,,0000,0000,0000,,Snowpiercer depends on one simple rule:
Dialogue: 0,0:01:13.85,0:01:17.09,Default,,0000,0000,0000,,camera left is the back of the train,\Nwhile camera right is the front.
Dialogue: 0,0:01:17.09,0:01:18.68,Default,,0000,0000,0000,,And we gradually move\Nfrom left to right.
Dialogue: 0,0:01:20.00,0:01:22.22,Default,,0000,0000,0000,,In fact, you could see this film as\Nthe story of a man who thinks
Dialogue: 0,0:01:22.22,0:01:24.06,Default,,0000,0000,0000,,he has to keep pushing forward.
Dialogue: 0,0:01:27.06,0:01:29.06,Default,,0000,0000,0000,,And yet everything that anchors him\Nand gives him his humanity
Dialogue: 0,0:01:29.80,0:01:32.33,Default,,0000,0000,0000,,is behind him.\N{\i1}--You have to lead us.{\i0}
Dialogue: 0,0:01:33.33,0:01:37.02,Default,,0000,0000,0000,,Each decision he faces seems to be a\Nsimple variation on these two directions
Dialogue: 0,0:01:37.02,0:01:40.18,Default,,0000,0000,0000,,But the film doesnt make it easy for him\Nand sometimes he goes backwards.
Dialogue: 0,0:01:40.18,0:01:44.64,Default,,0000,0000,0000,,{\i1}--Curtis, my friend, we understand each\Nother, listen to my words, it wasn't me!{\i0}
Dialogue: 0,0:01:48.37,0:01:50.01,Default,,0000,0000,0000,,When he finally reaches the end of his\Njourney, Curtis is pushed
Dialogue: 0,0:01:50.01,0:01:52.37,Default,,0000,0000,0000,,by yet another person\Nto go forward.
Dialogue: 0,0:01:52.37,0:01:58.10,Default,,0000,0000,0000,,{\i1}--I have devoted my entire life to this,\Nthe eternal engine.{\i0}
Dialogue: 0,0:01:58.10,0:02:01.16,Default,,0000,0000,0000,,And to see the humanity behind\Nhim as something lesser.
Dialogue: 0,0:02:01.16,0:02:03.30,Default,,0000,0000,0000,,{\i1}--You can save them from themselves{\i0}
Dialogue: 0,0:02:03.99,0:02:06.46,Default,,0000,0000,0000,,And given one final choice\Nbetween right and above
Dialogue: 0,0:02:07.46,0:02:08.90,Default,,0000,0000,0000,,or left and below.
Dialogue: 0,0:02:10.46,0:02:12.21,Default,,0000,0000,0000,,He chooses this.
Dialogue: 0,0:02:14.00,0:02:15.80,Default,,0000,0000,0000,,The best part of this is\Nthat Bong Joon-ho
Dialogue: 0,0:02:15.80,0:02:19.16,Default,,0000,0000,0000,,has shown the moral progression of his\Nchoices without ever needing dialogue.
Dialogue: 0,0:02:19.16,0:02:22.50,Default,,0000,0000,0000,,Snowpiercer is probably the most lateral\Nfilm you’ll see this year.
Dialogue: 0,0:02:22.50,0:02:26.25,Default,,0000,0000,0000,,And it’s proof that the simplest visual\Nideas have a lot of grace and subtlety.
Dialogue: 0,0:02:27.75,0:02:30.04,Default,,0000,0000,0000,,So the next time your character\Nruns into a complex choice...
Dialogue: 0,0:02:34.04,0:02:35.50,Default,,0000,0000,0000,,Who knows?
Dialogue: 0,0:02:35.50,0:02:38.44,Default,,0000,0000,0000,,Maybe it’s actually just a simple matter\Nof left or right.