[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:06.39,Default,,0000,0000,0000,,the process of actually discovering what\Nthe film is for me is the journey of
Dialogue: 0,0:00:06.39,0:00:12.90,Default,,0000,0000,0000,,making the film the key process is\Ngetting out there on the location and
Dialogue: 0,0:00:12.90,0:00:16.92,Default,,0000,0000,0000,,shooting the film and it's during that\Nbut I really discover what the film is
Dialogue: 0,0:00:16.92,0:00:21.48,Default,,0000,0000,0000,,and that is a collaboration of a very\Ninvolved in organic kind which is not
Dialogue: 0,0:00:21.48,0:00:25.74,Default,,0000,0000,0000,,just about the actors but about the\Ncinematographer the designers the sound\Nman the weight of the editor and
Dialogue: 0,0:00:30.12,0:00:39.36,Default,,0000,0000,0000,,everybody else but in order to do that\Neach film is preceded by what these days
Dialogue: 0,0:00:39.36,0:00:43.56,Default,,0000,0000,0000,,is usually arounds not about six months\Nof doing the kind of work that I would
Dialogue: 0,0:00:43.56,0:00:47.49,Default,,0000,0000,0000,,elicit Lee referring to which\Nprincipally involves the actors that of
Dialogue: 0,0:00:47.49,0:00:51.84,Default,,0000,0000,0000,,course it involves the other people too\Nbecause obviously we have to prepare the
Dialogue: 0,0:00:51.84,0:00:55.32,Default,,0000,0000,0000,,film that we're going to shoot and we\Nall have to be when we get to day one of
Dialogue: 0,0:00:55.32,0:00:59.28,Default,,0000,0000,0000,,the shooting which is the only time but\Nit really matters because frankly if
Dialogue: 0,0:00:59.28,0:01:02.10,Default,,0000,0000,0000,,you're making a movie nothing matters\Nexcept what happens in front of the
Dialogue: 0,0:01:02.10,0:01:08.07,Default,,0000,0000,0000,,camera when it turns over that the\Nperiod before that that the beginning of\Nthat period and there is no structure at
Dialogue: 0,0:01:11.22,0:01:16.14,Default,,0000,0000,0000,,all there is no five or three act\Nstructure or anything else there is a
Dialogue: 0,0:01:16.14,0:01:23.70,Default,,0000,0000,0000,,feeling a concept a notion possibilities\Nbut the time we get to the point before
Dialogue: 0,0:01:23.70,0:01:28.89,Default,,0000,0000,0000,,the shoot there is a structure a broad\Nstructure which I I do put on very
Dialogue: 0,0:01:28.89,0:01:33.18,Default,,0000,0000,0000,,briefly on paper in a very schematic way\Nbut I think it what I have to say is
Dialogue: 0,0:01:33.18,0:01:42.99,Default,,0000,0000,0000,,that all art in every medium is a\Nsynthesis of improvisation and order all\Nartists no matter when you write or
Dialogue: 0,0:01:45.24,0:01:52.49,Default,,0000,0000,0000,,paint or sculpt or make music or write\Npoems or whatever you do all artists
Dialogue: 0,0:01:52.49,0:01:57.51,Default,,0000,0000,0000,,will have to a greater or lesser extent\Nand sense of what they're going to do
Dialogue: 0,0:01:57.51,0:02:01.56,Default,,0000,0000,0000,,and perhaps not it may be down there I\Nlove and up there
Dialogue: 0,0:02:01.56,0:02:05.49,Default,,0000,0000,0000,,in other words completely intuitive not\Nnot in any way cerebral or intellectual\Nor rational it may be a strong sense of
Dialogue: 0,0:02:10.67,0:02:15.62,Default,,0000,0000,0000,,something that inevitably has to be done\Nor something that really has to be
Dialogue: 0,0:02:15.62,0:02:22.70,Default,,0000,0000,0000,,fleshed out or discovered or dug up from\Nsome depth just by the sheer act of\Ninvestigating Picasso paraphrasing
Dialogue: 0,0:02:30.93,0:02:36.54,Default,,0000,0000,0000,,Picasso said words the effect that if\Nyou know what you're going to do before\Nyou do it what is the point of doing it
Dialogue: 0,0:02:38.72,0:02:47.79,Default,,0000,0000,0000,,it is not extraordinary for artists to\Neither a not know what it's going to be
Dialogue: 0,0:02:47.79,0:02:53.60,Default,,0000,0000,0000,,until you start to investigate and then\Nyou interact with the material or be to
Dialogue: 0,0:02:53.60,0:02:56.94,Default,,0000,0000,0000,,think they know what it's going to be\Nand it turns out to move in another
Dialogue: 0,0:02:56.94,0:03:02.88,Default,,0000,0000,0000,,direction or see to have a clearer\Nnotion which drives them into the theme
Dialogue: 0,0:03:02.88,0:03:07.80,Default,,0000,0000,0000,,but then they're able to make\Ndiscoveries so all of that really is an
Dialogue: 0,0:03:07.80,0:03:15.09,Default,,0000,0000,0000,,explanation to you the fact that I can\Nand do have in the case of some films in
Dialogue: 0,0:03:15.09,0:03:19.41,Default,,0000,0000,0000,,the including naked and happy-go-lucky\Nas we've said have no more than a kind
Dialogue: 0,0:03:19.41,0:03:24.87,Default,,0000,0000,0000,,of sense of feeling of the spiritual\Nthing but then I start to you know work
Dialogue: 0,0:03:24.87,0:03:30.21,Default,,0000,0000,0000,,with this actor with Sally Hawkins in\Nthe case of naked with David Thewlis and
Dialogue: 0,0:03:30.21,0:03:34.29,Default,,0000,0000,0000,,with others and start to build\Ncharacters and start to this resonates
Dialogue: 0,0:03:34.29,0:03:38.10,Default,,0000,0000,0000,,with ideas and possibilities and\Njuxtapositions of things I want to deal
Dialogue: 0,0:03:38.10,0:03:44.88,Default,,0000,0000,0000,,with and things that I mean for example\Nhappy-go-lucky is at one level quite
Dialogue: 0,0:03:44.88,0:03:50.16,Default,,0000,0000,0000,,clearly a reflection on education there\Nare various teachers and good bad and
Dialogue: 0,0:03:50.16,0:03:55.26,Default,,0000,0000,0000,,indifferent that's a very V poppy and\Nher comrades are very good teachers
Dialogue: 0,0:03:55.26,0:04:01.14,Default,,0000,0000,0000,,there's a very good flamenco teacher who\Nhowever has doesn't know the first one
Dialogue: 0,0:04:01.14,0:04:03.26,Default,,0000,0000,0000,,of the first rule\Nof teaching if you leave your personal
Dialogue: 0,0:04:03.26,0:04:08.21,Default,,0000,0000,0000,,emotional baggage outside the classroom\Nand then there's this driving instructor
Dialogue: 0,0:04:08.21,0:04:13.57,Default,,0000,0000,0000,,called Scott brilliantly played by the\NMarsan who is full of all kinds of\Nquantification and stuff about teaching
Dialogue: 0,0:04:17.75,0:04:20.99,Default,,0000,0000,0000,,but in fact understands nothing about\Nteaching it's always a lousy teacher and
Dialogue: 0,0:04:20.99,0:04:28.91,Default,,0000,0000,0000,,but it didn't occur to me but to\Ninvestigate teaching until I came to it
Dialogue: 0,0:04:28.91,0:04:33.98,Default,,0000,0000,0000,,through creating the characters and it\Nisn't that suddenly out of a blue light\Nor our education that's something I've
Dialogue: 0,0:04:36.08,0:04:39.14,Default,,0000,0000,0000,,never thought of I'm going to make this\Nfilm about it it's something that I'm
Dialogue: 0,0:04:39.14,0:04:44.24,Default,,0000,0000,0000,,obviously like everybody you know it's\Nan ongoing proc you patient I've been on
Dialogue: 0,0:04:44.24,0:04:50.15,Default,,0000,0000,0000,,the end of the education system I teach\Ntime two times substantially and of\Ncourse I I've raised a couple of now
Dialogue: 0,0:04:53.09,0:04:56.45,Default,,0000,0000,0000,,adult kids and so I've been preoccupied\Nwith education from that point of view
Dialogue: 0,0:04:56.45,0:05:02.24,Default,,0000,0000,0000,,so you see kind of again as we artists\Nand people of various kinds of create
Dialogue: 0,0:05:02.24,0:05:06.92,Default,,0000,0000,0000,,things do you kind of have ongoing\Npreoccupations when you have very
Dialogue: 0,0:05:06.92,0:05:11.50,Default,,0000,0000,0000,,specific things that you set about