0:00:09.100,0:00:11.200 [Former Los Angeles Zoo] 0:00:12.840,0:00:15.840 I always thought this might have been[br]where they kept the lions. 0:00:19.200,0:00:22.420 In the '60s and '70s, my parents took us to zoos. 0:00:22.430,0:00:24.870 But they always made me sad. 0:00:26.520,0:00:29.140 You know, I had a friend who took his daughter[br]to the zoo, 0:00:29.140,0:00:31.550 and I said,[br]"Why would you do such a thing," 0:00:31.550,0:00:33.270 "and show someone--a child--" 0:00:33.270,0:00:36.330 "That this is the way we behave toward nature." 0:00:36.330,0:00:38.400 And he said,[br]"Well, where else will she see a giraffe?" 0:00:38.400,0:00:40.940 And I said,[br]"Well, maybe she shouldn't see a giraffe!" 0:00:41.900,0:00:43.800 Maybe the only place you should see a giraffe 0:00:43.800,0:00:45.100 is on National Geographic. 0:00:45.100,0:00:48.320 And maybe that's why we have National Geographic,[br]you know? 0:00:48.320,0:00:50.440 Watch nature documentaries. 0:00:52.220,0:00:57.059 Ric O'Barry always says that it makes them[br]akin to psychotic 0:00:57.059,0:00:59.279 when you put an animal in a space like this-- 0:01:00.920,0:01:06.180 That has a little bit of that, sort of,[br]Chernobyl-esque quality to it. 0:01:06.190,0:01:07.670 But that's a… 0:01:08.180,0:01:10.540 It’s a different kind of disaster. 0:01:10.550,0:01:12.950 You know, this isn’t...[br]This is ongoing. 0:01:16.130,0:01:19.680 My life as an activist is one that is anti-captivity. 0:01:22.100,0:01:24.240 ["Welcome to Taiji"][br][Post-production and editing: Diana Thater] 0:01:24.240,0:01:25.800 When I worked for the Dolphin Project--[br]Ric O’Barry-- 0:01:25.800,0:01:30.819 all of the work was to stop the capture and[br]sale of cetaceans 0:01:30.819,0:01:34.259 to marine parks and animal amusements. 0:01:35.660,0:01:39.640 I haven't done any activist work since 2010. 0:01:40.360,0:01:44.060 And I sort of feel a loss of that in my life. 0:01:50.580,0:01:52.280 ["Delphine" (1999)] 0:01:52.280,0:01:56.720 I don't put the politics of activism and the[br]politics of my work together. 0:01:56.720,0:01:58.360 I think it makes a muddle. 0:01:59.320,0:02:01.540 My life as an artist is a different one. 0:02:01.540,0:02:03.460 The politics are much more subtle. 0:02:06.660,0:02:13.520 When you make films about the natural world[br]that aren't narrative 0:02:13.520,0:02:14.960 that's the problem-- 0:02:14.960,0:02:16.900 [LAUGHS] there's no narrative. 0:02:16.900,0:02:18.700 So what are you editing for? 0:02:19.960,0:02:23.440 Can you just put one image of a dolphin[br]after another image of a dolphin? 0:02:23.450,0:02:24.720 They're all great. 0:02:24.720,0:02:28.040 You film dolphins,[br]every image you get is fantastic. 0:02:29.189,0:02:32.450 You have to figure out ways to put images[br]next to one another 0:02:32.450,0:02:35.630 and that requires that you think about time. 0:02:36.260,0:02:39.780 How do you keep throwing the viewer[br]back at themselves 0:02:39.780,0:02:42.000 so they don't get lost in something? 0:02:42.010,0:02:44.830 I don't want people to lose themselves[br]in a story. 0:02:48.109,0:02:50.829 Let's say an installation like "Delphine," 0:02:50.829,0:02:54.749 everything is trying to push or foreground-- 0:02:54.749,0:02:56.890 or make possible-- 0:02:56.890,0:03:02.079 wherein you can see a dolphin spinning underwater 0:03:02.079,0:03:04.290 and you can almost feel it. 0:03:04.290,0:03:08.750 And that's the kind of, sort of, sympathetic[br]response I'm interested in. 0:03:14.740,0:03:19.060 People do often talk about pleasure, 0:03:19.069,0:03:22.139 about beauty in the work. 0:03:22.139,0:03:24.800 Once you're in that, sort of, ecstatic place 0:03:24.800,0:03:26.620 or that place where you're contemplating beauty, 0:03:26.620,0:03:29.200 I think you are fully within yourself. 0:03:29.209,0:03:32.149 I want you to be conscious of your body. 0:03:34.440,0:03:38.459 I would like for humans to recognize 0:03:38.459,0:03:44.590 that they belong to a complicated[br]and complex ecosystem 0:03:44.590,0:03:47.910 that includes all kinds of other beings. 0:03:48.460,0:03:50.879 Just because we can't communicate verbally 0:03:50.879,0:03:54.770 doesn't mean we can't[br]communicate in other ways. 0:03:54.770,0:03:59.310 And so I want to form a possible model[br]for communication 0:03:59.960,0:04:03.980 through this, kind of,[br]sympathetic bodily adventure. 0:04:05.079,0:04:08.439 It's really important to me to be able to[br]do something 0:04:08.440,0:04:10.800 to, sort of, better the conditions of animals, 0:04:10.810,0:04:14.170 but also to better the conditions of humanity.