[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:06.71,0:00:09.88,Default,,0000,0000,0000,,The film director Cecil B. DeMille's \Nearly silent films
Dialogue: 0,0:00:09.92,0:00:12.33,Default,,0000,0000,0000,,had a dark, moody quality\Nthat was characterized
Dialogue: 0,0:00:12.33,0:00:14.79,Default,,0000,0000,0000,,by the director as "Rembrand lighting".
Dialogue: 0,0:00:16.22,0:00:18.50,Default,,0000,0000,0000,,Movies have been inspired by fine art
Dialogue: 0,0:00:18.51,0:00:21.01,Default,,0000,0000,0000,,from the very beginning\Nof the cinema industry,
Dialogue: 0,0:00:21.03,0:00:22.100,Default,,0000,0000,0000,,sometimes in the form of a sequence,
Dialogue: 0,0:00:23.00,0:00:26.36,Default,,0000,0000,0000,,sometimes in the art direction\Nor the position of the actors,
Dialogue: 0,0:00:26.39,0:00:28.52,Default,,0000,0000,0000,,or sometimes in the "feel" of a movie.
Dialogue: 0,0:00:29.33,0:00:33.57,Default,,0000,0000,0000,,For some films, the homage is obvious,\Nin others more enigmatic.
Dialogue: 0,0:00:34.40,0:00:38.70,Default,,0000,0000,0000,,Many filmmakers and art directors\Ntake direct inspiration from artists
Dialogue: 0,0:00:38.72,0:00:40.95,Default,,0000,0000,0000,,to inform their own creative vision,
Dialogue: 0,0:00:41.86,0:00:45.21,Default,,0000,0000,0000,,often referencing scenes\Nthat are already familiar to us
Dialogue: 0,0:00:45.22,0:00:47.02,Default,,0000,0000,0000,,in specific works of art.
Dialogue: 0,0:00:48.47,0:00:51.38,Default,,0000,0000,0000,,As the French new wave director \NJean-Luc Goddard said:
Dialogue: 0,0:00:51.44,0:00:54.82,Default,,0000,0000,0000,,"It's not where you take things from\Nit's where you take them to."
Dialogue: 0,0:00:59.48,0:01:03.09,Default,,0000,0000,0000,,Edward Hopper is seen as one \Nof the first 20th century artist
Dialogue: 0,0:01:03.12,0:01:05.54,Default,,0000,0000,0000,,to be influenced by the cinema.
Dialogue: 0,0:01:05.56,0:01:11.05,Default,,0000,0000,0000,,He was an artist, more than any other,\Nwho loved cinema — and cinema loved him.
Dialogue: 0,0:01:12.18,0:01:15.06,Default,,0000,0000,0000,,They both looked to each other\Nfor stylistic interpretation
Dialogue: 0,0:01:15.08,0:01:18.55,Default,,0000,0000,0000,,and both created worlds \Nof extraordinary imagination.
Dialogue: 0,0:01:19.99,0:01:23.80,Default,,0000,0000,0000,,As Hopper's work became more well-known\Nover the years to the general public
Dialogue: 0,0:01:23.80,0:01:27.17,Default,,0000,0000,0000,,filmmakers made more self-conscious\Nreferences to his paintings.
Dialogue: 0,0:01:28.16,0:01:33.20,Default,,0000,0000,0000,,This exerimental film by Gustav Deutsch\Nuses 13 beautifully recreated paintings
Dialogue: 0,0:01:33.22,0:01:37.59,Default,,0000,0000,0000,,by Hopper to tell the story of a woman\Nspanning three decades.
Dialogue: 0,0:01:39.08,0:01:43.45,Default,,0000,0000,0000,,In 2020 Wim Wenders released\Nthis "love letter" to Edward Hopper.
Dialogue: 0,0:01:45.04,0:01:49.96,Default,,0000,0000,0000,,"In front of Edward Hopper's paintings\NI always get this feeling
Dialogue: 0,0:01:50.02,0:01:53.55,Default,,0000,0000,0000,,"that they are frames from movies\Nthat were never made,
Dialogue: 0,0:01:54.40,0:01:56.06,Default,,0000,0000,0000,,and I start wondering:
Dialogue: 0,0:01:56.10,0:01:58.55,Default,,0000,0000,0000,,"What's the story that is beginning here?
Dialogue: 0,0:01:58.84,0:02:02.39,Default,,0000,0000,0000,,"What will happen to these \Ncharacters in the next moment?"
Dialogue: 0,0:02:08.78,0:02:12.74,Default,,0000,0000,0000,,Edward Hopper was 13 years old\Nwhen the first motion pictures were shown.
Dialogue: 0,0:02:16.22,0:02:19.31,Default,,0000,0000,0000,,He was in his late forties\Nwhen talking pictures came,
Dialogue: 0,0:02:20.23,0:02:23.76,Default,,0000,0000,0000,,and he died just as Bonnie and Clyde \Nwas being released.
Dialogue: 0,0:02:24.19,0:02:27.25,Default,,0000,0000,0000,,You could say his life \Nwas tied to cinematic history.
Dialogue: 0,0:02:30.80,0:02:33.89,Default,,0000,0000,0000,,His work was inspired \Nnot just by his movie obsession,
Dialogue: 0,0:02:33.92,0:02:36.17,Default,,0000,0000,0000,,but by the very act \Nof going to the cinema,
Dialogue: 0,0:02:36.96,0:02:41.15,Default,,0000,0000,0000,,and we see this in this early etching \Ndepicting two isolated figures
Dialogue: 0,0:02:41.15,0:02:43.91,Default,,0000,0000,0000,,looking down on an unseen screen.
Dialogue: 0,0:02:45.15,0:02:49.96,Default,,0000,0000,0000,,We see cinemas in his other paintings,\Nas well of course with his masterpiece:
Dialogue: 0,0:02:50.26,0:02:51.98,Default,,0000,0000,0000,,"New York Movie".
Dialogue: 0,0:02:52.58,0:02:55.03,Default,,0000,0000,0000,,Filmmakers would hook on\Nto Hopper's creations
Dialogue: 0,0:02:55.04,0:02:56.85,Default,,0000,0000,0000,,— and return the compliments
Dialogue: 0,0:02:56.86,0:02:59.56,Default,,0000,0000,0000,,by turning to him\Nfor stylistic inspiration.
Dialogue: 0,0:03:09.00,0:03:12.26,Default,,0000,0000,0000,,German Expressionism was one\Nof his early influences.
Dialogue: 0,0:03:12.52,0:03:15.48,Default,,0000,0000,0000,,Films he saw in Paris at the turn\Nof the 20th century
Dialogue: 0,0:03:16.78,0:03:20.12,Default,,0000,0000,0000,,— and the high angle images\Nhe produced around this period,
Dialogue: 0,0:03:20.38,0:03:24.22,Default,,0000,0000,0000,,would later be replicated \Nby a new avant-garde generation.
Dialogue: 0,0:03:26.13,0:03:30.08,Default,,0000,0000,0000,,His career would really take off\Nduring the great depression of the 1930s,
Dialogue: 0,0:03:30.40,0:03:33.02,Default,,0000,0000,0000,,and the films of that period \N— and his paintings —
Dialogue: 0,0:03:33.04,0:03:35.51,Default,,0000,0000,0000,,reflected the dark pessimism at the time,
Dialogue: 0,0:03:35.52,0:03:37.48,Default,,0000,0000,0000,,a time of great insecurity.
Dialogue: 0,0:03:38.10,0:03:40.89,Default,,0000,0000,0000,,World War II brings another period\Nof uncertainty
Dialogue: 0,0:03:40.93,0:03:43.01,Default,,0000,0000,0000,,and gives birth to Film Noir.
Dialogue: 0,0:03:45.46,0:03:48.76,Default,,0000,0000,0000,,Woman: "I can't stand it anymore \Nwhat if they do hang me?"
Dialogue: 0,0:03:49.13,0:03:51.74,Default,,0000,0000,0000,,These dark films would look\Nfor inspiration
Dialogue: 0,0:03:51.74,0:03:53.82,Default,,0000,0000,0000,,directly from Hopper's paintings
Dialogue: 0,0:03:53.82,0:03:57.41,Default,,0000,0000,0000,,who was himself looking \Nfor inspiration in the movies.
Dialogue: 0,0:03:57.86,0:04:01.80,Default,,0000,0000,0000,,It was these films shot in Hollywood\Nin the 1930s and 40s
Dialogue: 0,0:04:01.86,0:04:03.51,Default,,0000,0000,0000,,which Hopper really loved.
Dialogue: 0,0:04:03.52,0:04:05.78,Default,,0000,0000,0000,,Films with a voyeuristic edge,
Dialogue: 0,0:04:08.45,0:04:11.48,Default,,0000,0000,0000,,set in an unnamed city,\Nan ambiguous setting.
Dialogue: 0,0:04:11.94,0:04:14.12,Default,,0000,0000,0000,,Films whose aesthetics were themselves
Dialogue: 0,0:04:14.12,0:04:16.32,Default,,0000,0000,0000,,derived from German Expressionism.
Dialogue: 0,0:04:16.64,0:04:20.37,Default,,0000,0000,0000,,Like Hopper, these films \Nuse dark shadows and stark lightinga
Dialogue: 0,0:04:20.37,0:04:23.83,Default,,0000,0000,0000,,to create an extreme contrast \Nbetween light and dark.
Dialogue: 0,0:04:24.20,0:04:27.05,Default,,0000,0000,0000,,But with classic Film Noir \Nit is not just "style",
Dialogue: 0,0:04:27.07,0:04:28.68,Default,,0000,0000,0000,,it is all about the tone,
Dialogue: 0,0:04:28.68,0:04:30.78,Default,,0000,0000,0000,,as it is with Hopper's paintings.
Dialogue: 0,0:04:32.87,0:04:35.37,Default,,0000,0000,0000,,Both take a familiar narrative element,
Dialogue: 0,0:04:35.39,0:04:38.44,Default,,0000,0000,0000,,and apply layer after layer\Nof possible meaning.
Dialogue: 0,0:04:38.46,0:04:42.89,Default,,0000,0000,0000,,ambiguous relationships, sexual tension,\Na cynical eye
Dialogue: 0,0:04:42.89,0:04:45.100,Default,,0000,0000,0000,,and underlying existential philosophy,
Dialogue: 0,0:04:46.06,0:04:48.07,Default,,0000,0000,0000,,were all features we see
Dialogue: 0,0:04:48.07,0:04:51.23,Default,,0000,0000,0000,,in both Hopper's paintings\Nand cinema of this period.
Dialogue: 0,0:04:52.22,0:04:54.06,Default,,0000,0000,0000,,Woman; "Accident insurance?"
Dialogue: 0,0:04:54.11,0:04:55.64,Default,,0000,0000,0000,,In common with Film Noir,
Dialogue: 0,0:04:55.68,0:04:58.04,Default,,0000,0000,0000,,the subject Hopper\Nreturned to again and again
Dialogue: 0,0:04:58.07,0:05:01.17,Default,,0000,0000,0000,,was the hardened and stony-faced \Nfemale protagonist.
Dialogue: 0,0:05:01.57,0:05:04.06,Default,,0000,0000,0000,,As I discussed in my main film on Hopper,
Dialogue: 0,0:05:04.10,0:05:06.92,Default,,0000,0000,0000,,he had a disastrous love life\Nand unhappy marriage
Dialogue: 0,0:05:07.66,0:05:11.97,Default,,0000,0000,0000,,and he often used women \Nas a vehicle to channel his unhappiness.
Dialogue: 0,0:05:12.100,0:05:14.72,Default,,0000,0000,0000,,It is in this early watercolour
Dialogue: 0,0:05:14.72,0:05:18.41,Default,,0000,0000,0000,,that we first see the unhappy\Nand discontented female lead.
Dialogue: 0,0:05:19.20,0:05:22.78,Default,,0000,0000,0000,,In this painting she is the wife\Nbeing ignored by her husband.
Dialogue: 0,0:05:23.85,0:05:27.82,Default,,0000,0000,0000,,Here, a defeated woman\Ncontemplates her lot in life.
Dialogue: 0,0:05:28.84,0:05:32.84,Default,,0000,0000,0000,,And here, a sullen-faced girlfriend\Nignores her partner.
Dialogue: 0,0:05:33.14,0:05:36.82,Default,,0000,0000,0000,,It is in "Nighthawks" that we see\Nher as a classic Femme Fatale.
Dialogue: 0,0:05:37.98,0:05:40.96,Default,,0000,0000,0000,,I sometimes feel\Nas if all of Hopper's women
Dialogue: 0,0:05:40.96,0:05:44.70,Default,,0000,0000,0000,,are ready to walk off frame\Nand commit a misdemeanor.
Dialogue: 0,0:05:44.84,0:05:46.14,Default,,0000,0000,0000,,Woman: "If you don't mind".
Dialogue: 0,0:05:46.14,0:05:47.29,Default,,0000,0000,0000,,(Gunshot)
Dialogue: 0,0:05:47.71,0:05:51.16,Default,,0000,0000,0000,,Alfred Hitchcock, no stranger\Nto the icy female lead,
Dialogue: 0,0:05:51.40,0:05:53.51,Default,,0000,0000,0000,,spoke openly of Hopper's influence
Dialogue: 0,0:05:53.57,0:05:56.19,Default,,0000,0000,0000,,and we see evidence throughout\NHitchcock's films.
Dialogue: 0,0:05:56.60,0:06:00.32,Default,,0000,0000,0000,,They are very much alike \Nin their love of suspense and ambiguity,
Dialogue: 0,0:06:02.15,0:06:06.75,Default,,0000,0000,0000,,and in their interest in themes\Nof voyeurism, loneliness and isolation.
Dialogue: 0,0:06:07.46,0:06:09.60,Default,,0000,0000,0000,,Not to mention... windows.
Dialogue: 0,0:06:09.94,0:06:11.96,Default,,0000,0000,0000,,"This is the scene of the crime.
Dialogue: 0,0:06:12.14,0:06:15.82,Default,,0000,0000,0000,,"A crime of passion, filmed in a way\Nyou have never seen before."
Dialogue: 0,0:06:16.13,0:06:19.00,Default,,0000,0000,0000,,Like Hitchcock, it is \Nwhat Hopper chose to exclude
Dialogue: 0,0:06:19.03,0:06:21.15,Default,,0000,0000,0000,,in his paintings which adds tension.
Dialogue: 0,0:06:21.85,0:06:25.35,Default,,0000,0000,0000,,The narrative power lies in what \Nis obscured or unseen.
Dialogue: 0,0:06:26.38,0:06:29.33,Default,,0000,0000,0000,,One of Hopper's images directly\Ninfluenced Hitchcock.
Dialogue: 0,0:06:29.68,0:06:31.34,Default,,0000,0000,0000,,But it was a big influence
Dialogue: 0,0:06:31.42,0:06:34.92,Default,,0000,0000,0000,,on so many other films,\Nand even illustrations of the day.
Dialogue: 0,0:06:35.59,0:06:37.51,Default,,0000,0000,0000,,Hitchcock: "An old house...
Dialogue: 0,0:06:39.10,0:06:44.71,Default,,0000,0000,0000,,"which is ..., if I may say so,\Na little more sinister looking,
Dialogue: 0,0:06:45.42,0:06:47.90,Default,,0000,0000,0000,,"less innocent than the motel itself."
Dialogue: 0,0:07:07.48,0:07:10.43,Default,,0000,0000,0000,,We saw in the longer film \Nhow Hopper's "Nighthawks"
Dialogue: 0,0:07:10.50,0:07:12.60,Default,,0000,0000,0000,,was inspired by a book by Hemingway
Dialogue: 0,0:07:12.63,0:07:16.58,Default,,0000,0000,0000,,and how the subsequent film version\Nwas then inspired by "Nighthawks".
Dialogue: 0,0:07:18.87,0:07:22.57,Default,,0000,0000,0000,,A great example of this symbiotic \Nand mutually beneficial relationship
Dialogue: 0,0:07:22.95,0:07:25.75,Default,,0000,0000,0000,,can be found in an obscure \Nand rarely film
Dialogue: 0,0:07:25.77,0:07:28.83,Default,,0000,0000,0000,,released two years before \Nhe completed "Nighthawks".
Dialogue: 0,0:07:30.55,0:07:33.84,Default,,0000,0000,0000,,I think, looking at details such as \Nthe corner setting,
Dialogue: 0,0:07:34.08,0:07:35.96,Default,,0000,0000,0000,,the position of the sidewalk,
Dialogue: 0,0:07:35.98,0:07:38.88,Default,,0000,0000,0000,,and even a soda jerk \Nwearing a similar cap,
Dialogue: 0,0:07:38.92,0:07:42.57,Default,,0000,0000,0000,,this may have been one of the main\Ninspirations for Hopper's diner.
Dialogue: 0,0:07:46.74,0:07:50.74,Default,,0000,0000,0000,,An entire generation of film directors\Nwould be influenced by Hopper,
Dialogue: 0,0:07:50.74,0:07:53.74,Default,,0000,0000,0000,,and that aesthetic would be\Ninstantly recognizable
Dialogue: 0,0:07:53.76,0:07:56.34,Default,,0000,0000,0000,,as a certain type of "American landscape"`
Dialogue: 0,0:07:56.40,0:07:59.53,Default,,0000,0000,0000,,not just aesthetically,\Nbut in terms of mood.
Dialogue: 0,0:08:02.21,0:08:04.40,Default,,0000,0000,0000,,["All the paintings of Edward Hopper
Dialogue: 0,0:08:04.40,0:08:07.76,Default,,0000,0000,0000,,[could be taken from \None long movie about America,
Dialogue: 0,0:08:07.79,0:08:11.50,Default,,0000,0000,0000,,[each one, the beginning of a new scene."\N— Wim Wenders]
Dialogue: 0,0:08:11.96,0:08:15.46,Default,,0000,0000,0000,,David Lynch, another American fan,\Nwould also reference
Dialogue: 0,0:08:15.47,0:08:17.42,Default,,0000,0000,0000,,many of Hopper's paintings in his films.
Dialogue: 0,0:08:17.42,0:08:20.19,Default,,0000,0000,0000,,["I like many painters, \Nbut I love Francis Bacon the most,
Dialogue: 0,0:08:20.20,0:08:21.88,Default,,0000,0000,0000,,[and Edward Hopper" — David Lynch]
Dialogue: 0,0:08:21.90,0:08:25.31,Default,,0000,0000,0000,,Lynch, like Hopper, peeled back the facade\Nof the perfect American life
Dialogue: 0,0:08:25.31,0:08:26.93,Default,,0000,0000,0000,,to expose sinister "goings-on".
Dialogue: 0,0:08:26.94,0:08:28.76,Default,,0000,0000,0000,,And in the third season of Twin Peaks
Dialogue: 0,0:08:28.77,0:08:31.19,Default,,0000,0000,0000,,he used the painter's references\Nquite liberally.
Dialogue: 0,0:08:36.75,0:08:39.73,Default,,0000,0000,0000,,Hopper's vision of American life,\Nhas had a huge impact
Dialogue: 0,0:08:39.73,0:08:42.50,Default,,0000,0000,0000,,on how the rest of the world pictures\Nthe United States.
Dialogue: 0,0:08:42.74,0:08:46.62,Default,,0000,0000,0000,,It is a world that today\Nwe still call "Hopper-esque".
Dialogue: 0,0:08:47.50,0:08:50.68,Default,,0000,0000,0000,,He is what we think of\Nas a quintessential American artist,
Dialogue: 0,0:08:51.13,0:08:55.70,Default,,0000,0000,0000,,yet he was also a major influence\Non so many non-American filmmakers,
Dialogue: 0,0:08:55.74,0:08:59.28,Default,,0000,0000,0000,,who saw an intensity in Hopper,\Na sense of emptiness,
Dialogue: 0,0:08:59.30,0:09:02.79,Default,,0000,0000,0000,,and a lack of communication\Nthat we can all understand.
Dialogue: 0,0:09:03.71,0:09:06.44,Default,,0000,0000,0000,,Many of the filmmakers\Nhave their own fascination
Dialogue: 0,0:09:06.44,0:09:09.27,Default,,0000,0000,0000,,with the American dream\N— and the dark side behind it.
Dialogue: 0,0:09:09.52,0:09:12.28,Default,,0000,0000,0000,,They recognize the themes\Nof disconnection.
Dialogue: 0,0:09:12.36,0:09:15.27,Default,,0000,0000,0000,,They see that the psychology\Nbehind a Hopper painting
Dialogue: 0,0:09:15.27,0:09:19.04,Default,,0000,0000,0000,,can be translated into any culture\Nand any language,
Dialogue: 0,0:09:19.25,0:09:21.60,Default,,0000,0000,0000,,and they made Hopper one of their own.
Dialogue: 0,0:09:28.26,0:09:33.10,Default,,0000,0000,0000,,Michelangelo Antonioni said: "The theme\Nof most of my films is loneliness"
Dialogue: 0,0:09:33.26,0:09:36.53,Default,,0000,0000,0000,,and his films typically \Nfeatured bored lovers,
Dialogue: 0,0:09:36.56,0:09:40.65,Default,,0000,0000,0000,,whose lives are blighted by quiet despair\Nand existential unhappiness.
Dialogue: 0,0:09:41.73,0:09:45.62,Default,,0000,0000,0000,,He professed to being stylistically\Ninspired by Hopper
Dialogue: 0,0:09:45.63,0:09:48.51,Default,,0000,0000,0000,,(as well as Giorgio de Chirico).
Dialogue: 0,0:09:49.65,0:09:52.29,Default,,0000,0000,0000,,Roy Andersson's films\Nare instantly recognizable
Dialogue: 0,0:09:52.29,0:09:55.44,Default,,0000,0000,0000,,for their stylized presentation\Nand painterly approach,
Dialogue: 0,0:09:56.07,0:09:57.95,Default,,0000,0000,0000,,and the director, whose films show
Dialogue: 0,0:09:57.96,0:10:00.55,Default,,0000,0000,0000,,the alienation and solitude\Nof modern life,
Dialogue: 0,0:10:00.58,0:10:02.71,Default,,0000,0000,0000,,cites Hopper as a major influence.
Dialogue: 0,0:10:03.12,0:10:04.68,Default,,0000,0000,0000,,Like Hopper's paintings,
Dialogue: 0,0:10:04.69,0:10:07.50,Default,,0000,0000,0000,,Andersson carefully stages\Nevery single frame.
Dialogue: 0,0:10:08.01,0:10:11.03,Default,,0000,0000,0000,,His sets are elaborately built\Nover several months,
Dialogue: 0,0:10:11.06,0:10:14.50,Default,,0000,0000,0000,,and his films sometimes \Ntake four years to make!
Dialogue: 0,0:10:15.09,0:10:17.54,Default,,0000,0000,0000,,Andersson's themes — like Hopper's —
Dialogue: 0,0:10:17.56,0:10:20.56,Default,,0000,0000,0000,,often leave it up to the viewer \Nto guess what is happening
Dialogue: 0,0:10:20.56,0:10:22.59,Default,,0000,0000,0000,,outside the picture frame.
Dialogue: 0,0:10:22.71,0:10:24.88,Default,,0000,0000,0000,,We complete the picture.
Dialogue: 0,0:10:26.48,0:10:29.49,Default,,0000,0000,0000,,The diner in "Nighthawks",\Nhis most iconic image,
Dialogue: 0,0:10:29.49,0:10:31.64,Default,,0000,0000,0000,,and possibly his most cinematic,
Dialogue: 0,0:10:31.64,0:10:34.62,Default,,0000,0000,0000,,has been recreated time and again\Nin the cinema.
Dialogue: 0,0:10:35.23,0:10:38.06,Default,,0000,0000,0000,,The diner has become a short cut\Nto "emotional dysfunction".
Dialogue: 0,0:10:41.84,0:10:43.92,Default,,0000,0000,0000,,Woman: "I know I can't rely \Non you, Arthur.
Dialogue: 0,0:10:45.18,0:10:46.58,Default,,0000,0000,0000,,"Not for anything."
Dialogue: 0,0:10:48.10,0:10:50.52,Default,,0000,0000,0000,,Man: "There's a lot of bad boys \Nout there.
Dialogue: 0,0:10:51.18,0:10:52.73,Default,,0000,0000,0000,,Woman: "I know."
Dialogue: 0,0:10:54.23,0:10:56.52,Default,,0000,0000,0000,,Woman: "But I got eyes \Nin the back of my head."
Dialogue: 0,0:10:58.80,0:10:59.97,Default,,0000,0000,0000,,(Gunshot)
Dialogue: 0,0:11:00.33,0:11:01.70,Default,,0000,0000,0000,,Director: "Cut!"
Dialogue: 0,0:11:02.57,0:11:05.53,Default,,0000,0000,0000,,Filmmakers continue to be inspired\Nby Edward Hopper
Dialogue: 0,0:11:05.98,0:11:09.58,Default,,0000,0000,0000,,whose works still resonate\Nin the 21st century.
Dialogue: 0,0:11:09.95,0:11:14.77,Default,,0000,0000,0000,,And his influence is felt even\Nin a new generation of K-pop stars.
Dialogue: 0,0:11:19.24,0:11:22.93,Default,,0000,0000,0000,,Edward Hopper, the biggest fan of cinema,\Nwould have been astonished
Dialogue: 0,0:11:23.02,0:11:26.70,Default,,0000,0000,0000,,to know his influence would still be felt\Nby so many young filmmakers
Dialogue: 0,0:11:26.87,0:11:31.42,Default,,0000,0000,0000,,and even Korean pop stars, decades \Nafter he created his images.
Dialogue: 0,0:11:32.86,0:11:34.18,Default,,0000,0000,0000,,But who knows?
Dialogue: 0,0:11:34.26,0:11:37.44,Default,,0000,0000,0000,,Maybe in another life, he would have \Nbeen directing films himself.
Dialogue: 0,0:11:37.70,0:11:38.97,Default,,0000,0000,0000,,Director: "Cut!"
Dialogue: 0,0:11:40.27,0:11:41.90,Default,,0000,0000,0000,,Edward Hopper: "Could that be?"
Dialogue: 0,0:11:50.83,0:11:52.77,Default,,0000,0000,0000,,Woman: "Is there a cue when I enter?"