[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:40.74,0:00:46.32,Default,,0000,0000,0000,,Stan Douglas: Hogan's Alley was always thought to be a \Nplace of vice, a place of urban blight,
Dialogue: 0,0:00:48.60,0:00:52.50,Default,,0000,0000,0000,,and so the city council always had it \Non their eye for a place to demolish.
Dialogue: 0,0:00:54.18,0:00:57.27,Default,,0000,0000,0000,,[Railroad crossing signal clanging]
Dialogue: 0,0:00:57.27,0:01:01.33,Default,,0000,0000,0000,,[whistling]
Dialogue: 0,0:01:01.33,0:01:04.68,Default,,0000,0000,0000,,[Jazz playing on radio]
Dialogue: 0,0:01:04.68,0:01:06.79,Default,,0000,0000,0000,,It got a reputation as being a Black neighborhood,
Dialogue: 0,0:01:07.44,0:01:10.32,Default,,0000,0000,0000,,even though really it was a mixed Black, \NItalian, and Chinese neighborhood,
Dialogue: 0,0:01:12.30,0:01:15.06,Default,,0000,0000,0000,,but it got that reputation from all the \NBlack people that used to hang out here.
Dialogue: 0,0:01:19.14,0:01:23.28,Default,,0000,0000,0000,,I'm an artist, and history is one \Nthing I use to make what I make.
Dialogue: 0,0:01:25.50,0:01:28.14,Default,,0000,0000,0000,,That white building is something \Ncalled Vie's Chicken Shack,
Dialogue: 0,0:01:28.14,0:01:31.74,Default,,0000,0000,0000,,where a lot of jazz musicians used to \Ngo after playing downtown Vancouver.
Dialogue: 0,0:01:33.42,0:01:36.30,Default,,0000,0000,0000,,They weren't allowed to drink \Nin the clubs where they played,
Dialogue: 0,0:01:36.30,0:01:38.40,Default,,0000,0000,0000,,so they'd come here to have chicken and to party.
Dialogue: 0,0:01:39.04,0:01:41.16,Default,,0000,0000,0000,,[Jazz playing]
Dialogue: 0,0:01:41.16,0:01:42.40,Default,,0000,0000,0000,,[Man] Hey, Roy.
Dialogue: 0,0:01:42.40,0:01:43.43,Default,,0000,0000,0000,,[Roy] How do, buddy?
Dialogue: 0,0:01:43.43,0:01:45.28,Default,,0000,0000,0000,,[Man] Heh heh heh. You back in town.
Dialogue: 0,0:01:45.28,0:01:46.55,Default,,0000,0000,0000,,[Roy] Just got back last night.
Dialogue: 0,0:01:47.76,0:01:50.58,Default,,0000,0000,0000,,[Stan Douglas] This is a piece of interactive \Nstorytelling you can download to your phone
Dialogue: 0,0:01:51.84,0:01:53.40,Default,,0000,0000,0000,,and actually play like a game.
Dialogue: 0,0:01:55.50,0:02:00.30,Default,,0000,0000,0000,,As best we could, we tried to make a historically \Naccurate representation based on public record.
Dialogue: 0,0:02:02.72,0:02:04.14,Default,,0000,0000,0000,,Here's the Italian bootlegger.
Dialogue: 0,0:02:04.41,0:02:06.41,Default,,0000,0000,0000,,[Man humming]
Dialogue: 0,0:02:06.41,0:02:07.48,Default,,0000,0000,0000,,[Bell dings]
Dialogue: 0,0:02:08.30,0:02:10.59,Default,,0000,0000,0000,,Here was a Chinese brothel.
Dialogue: 0,0:02:10.59,0:02:11.73,Default,,0000,0000,0000,,[Woman] How much you pay your\Ngirls?
Dialogue: 0,0:02:11.73,0:02:13.73,Default,,0000,0000,0000,,[Different woman] Hmm. I'm not\Nhiring.
Dialogue: 0,0:02:16.44,0:02:17.94,Default,,0000,0000,0000,,[Stan Douglas] I make my work so I can see it.
Dialogue: 0,0:02:20.22,0:02:25.80,Default,,0000,0000,0000,,One major function of art is to allow us to \Nsee things we think we know in a different way.
Dialogue: 0,0:02:29.56,0:02:35.14,Default,,0000,0000,0000,,[electronic music]
Dialogue: 0,0:02:48.84,0:02:51.10,Default,,0000,0000,0000,,My first job after high school was as an usher.
Dialogue: 0,0:02:51.54,0:02:54.24,Default,,0000,0000,0000,,My second job after high school was, um, as a DJ.
Dialogue: 0,0:02:54.24,0:02:57.54,Default,,0000,0000,0000,,I was the first guy to play \Nhip-hop in, um--in Vancouver.
Dialogue: 0,0:02:59.16,0:03:01.98,Default,,0000,0000,0000,,I came to art late in life. I \Nwas more interested in theater.
Dialogue: 0,0:03:03.42,0:03:07.98,Default,,0000,0000,0000,,I realized early on that in Vancouver \Nthese TV shows were being made,
Dialogue: 0,0:03:07.98,0:03:09.18,Default,,0000,0000,0000,,these movies were being made,
Dialogue: 0,0:03:10.38,0:03:14.34,Default,,0000,0000,0000,,so I could use the apparatus of \Ncinema and TV to make my work.
Dialogue: 0,0:03:16.42,0:03:19.52,Default,,0000,0000,0000,,[ambient music]
Dialogue: 0,0:03:24.74,0:03:28.26,Default,,0000,0000,0000,,[Indistinct chatter]
Dialogue: 0,0:03:28.26,0:03:33.78,Default,,0000,0000,0000,,The last 10 years or so, I've made these sort of \Nvery elaborate, very free remakes of other works.
Dialogue: 0,0:03:37.02,0:03:41.52,Default,,0000,0000,0000,,I was researching the post-War period in Vancouver \Nand realized from the images I was seeing
Dialogue: 0,0:03:41.52,0:03:43.26,Default,,0000,0000,0000,,that Vancouver's part of this film noir world.
Dialogue: 0,0:03:45.84,0:03:49.70,Default,,0000,0000,0000,,[jazz music]
Dialogue: 0,0:03:54.56,0:03:58.46,Default,,0000,0000,0000,,In "Helen Lawrence," we're seeing two things \Nsimultaneously all the time,
Dialogue: 0,0:03:58.46,0:04:03.60,Default,,0000,0000,0000,,the actors onstage and the cinematic \Nimage of the actors on the scrim.
Dialogue: 0,0:04:04.92,0:04:06.32,Default,,0000,0000,0000,,At first, it's very confusing...
Dialogue: 0,0:04:06.32,0:04:07.30,Default,,0000,0000,0000,,- What's your name?
Dialogue: 0,0:04:07.30,0:04:11.46,Default,,0000,0000,0000,,but eventually, \Nyou learn to watch two things simultaneously.
Dialogue: 0,0:04:11.66,0:04:13.80,Default,,0000,0000,0000,,- If I asked you to do a little\Nsomething for me,
Dialogue: 0,0:04:13.80,0:04:17.46,Default,,0000,0000,0000,,you think you could do it, no\Nquestions asked, on, the, uh, QT?
Dialogue: 0,0:04:18.17,0:04:19.70,Default,,0000,0000,0000,,[Stand Douglas] We made virtual sets.
Dialogue: 0,0:04:19.70,0:04:21.76,Default,,0000,0000,0000,,We built the entire neighborhood of Hogan's Alley.
Dialogue: 0,0:04:22.14,0:04:24.24,Default,,0000,0000,0000,,Built two entire floors of the Hotel Vancouver.
Dialogue: 0,0:04:24.24,0:04:25.32,Default,,0000,0000,0000,,- No. Take a walk!
Dialogue: 0,0:04:25.32,0:04:27.09,Default,,0000,0000,0000,,- Come on. Get out of here.
Dialogue: 0,0:04:27.33,0:04:30.29,Default,,0000,0000,0000,,[Stan Douglas] We have the actors on a blue screen stage.
Dialogue: 0,0:04:30.93,0:04:34.50,Default,,0000,0000,0000,,They're being filmed by cameras, and \Nthen because we're in a blue background,
Dialogue: 0,0:04:34.50,0:04:37.86,Default,,0000,0000,0000,,that can be taken away digitally \Nlike with the weatherman on TV,
Dialogue: 0,0:04:37.86,0:04:40.26,Default,,0000,0000,0000,,and another background can \Nbe inserted behind them.
Dialogue: 0,0:04:40.80,0:04:42.66,Default,,0000,0000,0000,,What is happening is we're making this thing live.
Dialogue: 0,0:04:43.34,0:04:46.65,Default,,0000,0000,0000,,The cast is making a film \Nin real time every night.
Dialogue: 0,0:04:46.65,0:04:47.80,Default,,0000,0000,0000,,- Please don't spoil my fun.
Dialogue: 0,0:04:47.80,0:04:49.65,Default,,0000,0000,0000,,I haven't had uch lately.
Dialogue: 0,0:04:50.22,0:04:51.19,Default,,0000,0000,0000,,- I think I'll join you.
Dialogue: 0,0:04:51.19,0:04:52.77,Default,,0000,0000,0000,,- You'll probably need a double.
Dialogue: 0,0:04:53.15,0:04:56.66,Default,,0000,0000,0000,,[Stan Douglas] "Helen Lawrence" came from an \Nepiphany I had about film noir.
Dialogue: 0,0:04:57.18,0:05:02.10,Default,,0000,0000,0000,,Somehow, the behavior of people in film \Nnoir was based on the trauma of war.
Dialogue: 0,0:05:03.42,0:05:04.98,Default,,0000,0000,0000,,The tough guys and femme fatales,
Dialogue: 0,0:05:04.98,0:05:06.42,Default,,0000,0000,0000,,they're actually desperate.
Dialogue: 0,0:05:06.42,0:05:08.52,Default,,0000,0000,0000,,They've done things they're not proud of.
Dialogue: 0,0:05:08.52,0:05:10.12,Default,,0000,0000,0000,,- Spare a cigarette, hon?
Dialogue: 0,0:05:10.76,0:05:13.02,Default,,0000,0000,0000,,[Stan Douglas] Killed people, seen\Npeople die around them.
Dialogue: 0,0:05:13.73,0:05:15.02,Default,,0000,0000,0000,,- To help us all out, you...
Dialogue: 0,0:05:15.67,0:05:20.00,Default,,0000,0000,0000,,[Stan Douglas] These themes of trauma, these are things \Nwhich I go back to again and again.
Dialogue: 0,0:05:20.00,0:05:21.84,Default,,0000,0000,0000,,I don't know why.
Dialogue: 0,0:05:21.84,0:05:25.55,Default,,0000,0000,0000,,- You know, I think you would\Nhave been happy if I never came back.
Dialogue: 0,0:05:26.76,0:05:29.22,Default,,0000,0000,0000,,[Stan Douglas] The fact that we can't \Nreally understand each other,
Dialogue: 0,0:05:30.42,0:05:32.10,Default,,0000,0000,0000,,that we're kind of locked inside our brains.
Dialogue: 0,0:05:33.06,0:05:35.04,Default,,0000,0000,0000,,This is something which I \Ntake as a starting point.
Dialogue: 0,0:05:46.14,0:05:48.24,Default,,0000,0000,0000,,So behind me is the intersection \Nof Abbott and Cordova.
Dialogue: 0,0:05:48.24,0:05:52.80,Default,,0000,0000,0000,,That's the setting for my \Nphotograph, "Abbott and Cordova,"
Dialogue: 0,0:05:52.80,0:05:55.08,Default,,0000,0000,0000,,but probably just above that "P" where the windows
Dialogue: 0,0:05:55.08,0:05:58.26,Default,,0000,0000,0000,,open is more or less the \Nvantage point of my image.
Dialogue: 0,0:05:59.34,0:06:08.15,Default,,0000,0000,0000,,[building ambient music]
Dialogue: 0,0:06:08.15,0:06:11.34,Default,,0000,0000,0000,,In the 1960s and early seventies, \Nthere were many hippies in Vancouver,
Dialogue: 0,0:06:12.66,0:06:13.98,Default,,0000,0000,0000,,so they decided to have a festival,
Dialogue: 0,0:06:13.98,0:06:15.60,Default,,0000,0000,0000,,and the cops didn't like this.
Dialogue: 0,0:06:17.16,0:06:20.70,Default,,0000,0000,0000,,Often, with these--these works \Nwhere I'm staging the photographs,
Dialogue: 0,0:06:20.70,0:06:22.86,Default,,0000,0000,0000,,there's obviously documentation of that moment.
Dialogue: 0,0:06:23.82,0:06:26.40,Default,,0000,0000,0000,,These documents do tell a story, \Nbut they're kind of partial.
Dialogue: 0,0:06:27.96,0:06:30.48,Default,,0000,0000,0000,,What I want to do is to be \Nable to condense these ideas.
Dialogue: 0,0:06:32.70,0:06:33.84,Default,,0000,0000,0000,,We had to build a set.
Dialogue: 0,0:06:35.28,0:06:37.02,Default,,0000,0000,0000,,We needed a lot of light to make that piece.
Dialogue: 0,0:06:38.46,0:06:41.64,Default,,0000,0000,0000,,Almost always my works are \Nallegories of the present, as well.
Dialogue: 0,0:06:44.04,0:06:46.56,Default,,0000,0000,0000,,That event made this \Nneighborhood what it is today.
Dialogue: 0,0:06:50.16,0:06:54.36,Default,,0000,0000,0000,,After that event happened, the city's \Ninterest in the neighborhood declined.
Dialogue: 0,0:06:55.68,0:07:00.66,Default,,0000,0000,0000,,There was a policy of containing drug use, \Nvice, and poverty in this neighborhood.
Dialogue: 0,0:07:05.46,0:07:09.84,Default,,0000,0000,0000,,My approach to looking at historical events \Nis that historical events always have within
Dialogue: 0,0:07:09.84,0:07:11.70,Default,,0000,0000,0000,,themselves the possibility of \Nhaving been something else.
Dialogue: 0,0:07:15.90,0:07:20.52,Default,,0000,0000,0000,,And the tension between different \Nforces at play should not be forgotten.
Dialogue: 0,0:07:23.64,0:07:29.34,Default,,0000,0000,0000,,I often depict minor histories, but I always try \Nto depict a local symptom of a global condition.
Dialogue: 0,0:07:31.92,0:07:41.10,Default,,0000,0000,0000,,[soft electronic music]
Dialogue: 0,0:07:43.82,0:07:48.30,Default,,0000,0000,0000,,[Peter Courtemanche] So we're working on the soundtrack \Nfor a new video installation piece,
Dialogue: 0,0:07:48.30,0:07:51.84,Default,,0000,0000,0000,,and this particular piece has 6 video screens.
Dialogue: 0,0:07:52.44,0:07:55.56,Default,,0000,0000,0000,,[Brodie Smith] And each screen will have a pair \Nof speakers, so making 8 speakers,
Dialogue: 0,0:07:55.56,0:07:57.00,Default,,0000,0000,0000,,which is what we've set up here.
Dialogue: 0,0:07:59.72,0:08:03.90,Default,,0000,0000,0000,,[Peter Courtemanche] They're just trying to get a sense of how \Nall the sounds work together in the space.
Dialogue: 0,0:08:07.38,0:08:09.18,Default,,0000,0000,0000,,[Brodie Smith] This one is called "The Secret Agent."
Dialogue: 0,0:08:09.18,0:08:10.74,Default,,0000,0000,0000,,[Door opens]
Dialogue: 0,0:08:13.02,0:08:16.14,Default,,0000,0000,0000,,It's completely different than \Nanything that we've ever done before.
Dialogue: 0,0:08:17.34,0:08:20.46,Default,,0000,0000,0000,,That will be exciting, but it's \Nalso quite complicated in terms
Dialogue: 0,0:08:20.46,0:08:22.50,Default,,0000,0000,0000,,of the logistics of how are we gonna mount this.
Dialogue: 0,0:08:23.36,0:08:27.00,Default,,0000,0000,0000,,- Blow up the Marconi\Ninstallation at Sesimbra.
Dialogue: 0,0:08:27.38,0:08:30.87,Default,,0000,0000,0000,,[Peter Courtemanche] We'll get a miniature version of it up \Nand running in Stan's studio for a while.
Dialogue: 0,0:08:30.87,0:08:32.64,Default,,0000,0000,0000,,- What are you supposed to\Nbe anyway,
Dialogue: 0,0:08:32.64,0:08:35.20,Default,,0000,0000,0000,,anarchist, desperate\Ncommunist?
Dialogue: 0,0:08:35.33,0:08:36.28,Default,,0000,0000,0000,,- Anarchist.
Dialogue: 0,0:08:36.81,0:08:41.70,Default,,0000,0000,0000,,[Brodie Smith] It plays back as a computer program, and so \Nthen we always run them for extended periods of time
Dialogue: 0,0:08:41.70,0:08:44.64,Default,,0000,0000,0000,,so that we know that they're \Nstable for an exhibition.
Dialogue: 0,0:08:46.86,0:08:49.26,Default,,0000,0000,0000,,[Stan Douglas] "The Secret Agent" was based \Non the notion of terrorism,
Dialogue: 0,0:08:49.26,0:08:52.98,Default,,0000,0000,0000,,which we're very concerned about these \Ndays, but it's been around for a long time.
Dialogue: 0,0:08:54.60,0:08:57.96,Default,,0000,0000,0000,,"The Secret Agent" was the first \Nliterary depiction of terrorism,
Dialogue: 0,0:08:58.86,0:09:03.48,Default,,0000,0000,0000,,but it was depicting anarchists who \Nwere active in the late 19th century.
Dialogue: 0,0:09:04.08,0:09:06.30,Default,,0000,0000,0000,,- A man was blown up at\NSesimbra this morning.
Dialogue: 0,0:09:07.02,0:09:10.38,Default,,0000,0000,0000,,[Stan Douglas] The terrorists I was looking \Nat are more based in the 1970s,
Dialogue: 0,0:09:11.16,0:09:13.80,Default,,0000,0000,0000,,so this idea of taking an existing narrative
Dialogue: 0,0:09:13.80,0:09:16.74,Default,,0000,0000,0000,,and restaging it in a way that \Nreveals some hidden content there
Dialogue: 0,0:09:16.74,0:09:18.84,Default,,0000,0000,0000,,or takes you to a different \Ncontext is something that
Dialogue: 0,0:09:18.84,0:09:22.32,Default,,0000,0000,0000,,has been a very huge source of inspiration for me.
Dialogue: 0,0:09:24.31,0:09:35.84,Default,,0000,0000,0000,,[soft electronic music]
Dialogue: 0,0:09:52.11,0:09:53.86,Default,,0000,0000,0000,,- Two of these are backwards.
Dialogue: 0,0:09:54.00,0:09:55.56,Default,,0000,0000,0000,,- One should be backwards,\Nright?
Dialogue: 0,0:09:55.69,0:09:57.76,Default,,0000,0000,0000,,Let's take a look. It may just be a little bit out.
Dialogue: 0,0:09:57.76,0:09:58.77,Default,,0000,0000,0000,,- Yeah, sure. Ok.
Dialogue: 0,0:09:59.10,0:10:02.36,Default,,0000,0000,0000,,- I have nothing special to\Ntell you. You summoned me.
Dialogue: 0,0:10:03.47,0:10:06.67,Default,,0000,0000,0000,,- This one should go a bit more\Nto the right, I think, too.
Dialogue: 0,0:10:07.80,0:10:09.20,Default,,0000,0000,0000,,- Hold that.
Dialogue: 0,0:10:11.36,0:10:15.82,Default,,0000,0000,0000,,[Indistinct chatter]
Dialogue: 0,0:10:29.02,0:10:33.42,Default,,0000,0000,0000,,- Blow up the Marconi\Ninstallation at Sesimbra.
Dialogue: 0,0:10:33.95,0:10:36.86,Default,,0000,0000,0000,,[Stan Doublas] In "Secret Agent," there are 6 screens playing.
Dialogue: 0,0:10:36.96,0:10:39.42,Default,,0000,0000,0000,,Always at least two are playing simultaneously.
Dialogue: 0,0:10:42.42,0:10:44.70,Default,,0000,0000,0000,,There's more going on than you \Ncan actually pay attention to.
Dialogue: 0,0:10:49.38,0:10:53.29,Default,,0000,0000,0000,,This kind of confusion is part of everyday life \Nwhere we're not quite sure what's gonna happen.
Dialogue: 0,0:10:53.29,0:10:56.98,Default,,0000,0000,0000,,- What are you supposed to be anyway, \Nanarchist, desperate communist?
Dialogue: 0,0:10:56.98,0:10:59.73,Default,,0000,0000,0000,,[Stan Douglas] In these works, a kind of parallax happens.
Dialogue: 0,0:11:01.54,0:11:03.96,Default,,0000,0000,0000,,We see stereo vision through parallax.
Dialogue: 0,0:11:05.34,0:11:08.46,Default,,0000,0000,0000,,Our left eye and our right eye allow us to see the
Dialogue: 0,0:11:08.46,0:11:10.14,Default,,0000,0000,0000,,same subject from slightly \Ndifferent points of view.
Dialogue: 0,0:11:12.83,0:11:15.81,Default,,0000,0000,0000,,This allows us to take in \Nthe two ideas simultaneously.
Dialogue: 0,0:11:18.48,0:11:20.88,Default,,0000,0000,0000,,So the narrative of "The Secret Agent,"
Dialogue: 0,0:11:20.88,0:11:23.46,Default,,0000,0000,0000,,if you think about what that \Nmeant in the 19th century,
Dialogue: 0,0:11:24.12,0:11:26.10,Default,,0000,0000,0000,,think about what that meant in the 1970s,
Dialogue: 0,0:11:26.10,0:11:30.66,Default,,0000,0000,0000,,this is a parallax through which we can \Nview the same story in different ways.
Dialogue: 0,0:11:30.66,0:11:33.56,Default,,0000,0000,0000,,- And when I walk in a crowd,\NI never let go of this.
Dialogue: 0,0:11:34.42,0:11:37.62,Default,,0000,0000,0000,,A squeeze actuates the\Ndetonator.
Dialogue: 0,0:11:38.16,0:11:40.14,Default,,0000,0000,0000,,[Stan Douglas] And these things of course \Nrelate to what we have now.
Dialogue: 0,0:11:40.14,0:11:44.94,Default,,0000,0000,0000,,You see in a very real sense \Nthe consequence of terrorism,
Dialogue: 0,0:11:46.62,0:11:49.20,Default,,0000,0000,0000,,of somebody saying to somebody \Nelse, "I'm better than you."
Dialogue: 0,0:11:49.20,0:11:54.42,Default,,0000,0000,0000,,"I know the way you should live so much so \Nthat your life matters less than my act."
Dialogue: 0,0:12:02.88,0:12:04.62,Default,,0000,0000,0000,,A few weeks after it premiered,
Dialogue: 0,0:12:04.62,0:12:10.02,Default,,0000,0000,0000,,this terrorist bombing took place in Paris from \Npeople who were based in and around Brussels.
Dialogue: 0,0:12:11.76,0:12:14.58,Default,,0000,0000,0000,,The show was shut down for many \Ndays because of terrorist fears.
Dialogue: 0,0:12:19.02,0:12:20.76,Default,,0000,0000,0000,,History does not repeat itself.
Dialogue: 0,0:12:22.98,0:12:26.22,Default,,0000,0000,0000,,Things do come back, symptoms do recur,
Dialogue: 0,0:12:26.22,0:12:30.12,Default,,0000,0000,0000,,but they often recur because what caused it \Nin the first place never actually went away.
Dialogue: 0,0:12:31.32,0:12:34.56,Default,,0000,0000,0000,,In my work, I want to go back to \Nlook at these possibilities of
Dialogue: 0,0:12:34.56,0:12:36.18,Default,,0000,0000,0000,,what if did not work out the way it did?
Dialogue: 0,0:12:38.46,0:12:40.86,Default,,0000,0000,0000,,So looking forward, looking back,
Dialogue: 0,0:12:40.86,0:12:45.06,Default,,0000,0000,0000,,I always want to consider that the \Nthing we have is not necessary.
Dialogue: 0,0:12:45.06,0:12:47.16,Default,,0000,0000,0000,,It's not the only way things could possibly be.
Dialogue: 0,0:12:51.85,0:12:59.04,Default,,0000,0000,0000,,[soft electronic music]