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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203190 | [S1] So we want to talk about finding your style. And first off, we, everyone knows I love back lighting, so that's the kind of, is this good lighting? [S2] Yeah, it's top lighting. [S1] Top lighting, yeah. It's a bit backlit, kinda, sorta. Anyways, | 12.24 | 2.880338 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203190.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203191 | [S1] Mikey, finding your style. What's, what I, what I find interesting is people sometimes are afraid to choose one style or, or kind of explore one style, but when you look at all the best filmmakers in Hollywood, almost, if you never had seen the film before, you, and you didn't see any titles or, or name cards, you could guess who made a film. You know what Tarantino looks like. [S2] Right. [S1] You, you know what, especially someone like Wes Anderson. [S2] Mm-hmm. [S1] You know, one of the most famous Hollywood directors. He has a very specific style. [S2] Yeah, yeah. [S1] You know, two, three, five, center frame, | 27.92 | 3.028918 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203191.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203192 | [S1] Uh, very poppy pastel colors. It's, it's, you know, a Wes Anderson frame, to the point that people say shoot it in a Wes Anderson style. [S2] Right. [S1] So we're talking about, styles aren't bad. Choosing one lane isn't bad. So the three points we're going to talk about for finding your style are find inspiration, create boundaries, and start shooting. And we'll talk about what those actually mean. But Mikey, you just, uh, you just worked on a film that had a very distinct style. How did you choose that for, uh, His Name is Ray? | 26.92 | 3.320513 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203192.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203193 | [S1] ... you know, shooting heroin. That was kind of the whole thing. And so, I needed to create an atmosphere. [S2] Yeah. [S1] Right? And, and the atmosphere was cars whisking by, him walking down long roads that led to the lake. And like, you know, when you just looked at my eyes, I, you just saw that I needed, I needed to shoot this thing wide. [S2] Well, his home is the world. [S1] Yeah. [S2] So it had to be a wide. [S1] Right. [S2] Yeah. | 21.32 | 3.40044 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203193.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203194 | [S1] So talking about that, finding, you just mentioned, uh, Chivo and you mentioned Terrence Malick, that is a big way to find your style, is start finding what inspires you, what exhilarates you as an artist. So for you, I, what I love about Michael, I'll come into the office and I don't know how he does this, but Michael will be working on a task, like two or three things, and he'll have a movie- [S2] Yeah. [S1] ... playing in the background. 'Cause that's where you get your inspiration. That's where you get your energy. You feed off that. | 26.36 | 3.315146 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203194.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203195 | [S1] Yeah, and I'm not even, you know, when I'm doing that, or even a lot of times, I think when it comes to finding a style from great filmmakers that have come before, it's like, I'm not concerned about the story. I'm, I'm looking at the filmmaking. [S2] Yeah. [S1] You know, that's what inspires me, is just kind of | 14.72 | 3.378606 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203195.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203196 | [S1] A perfect example would be like, um, you know- [S2] You watch the big short a lot. [S1] Well, for, yeah, okay. Well, and that was for reference to this one doc we're working on right now, right? Where it's, there's a lot of numbers, there's a lot of- [S2] Sales. [S1] It's a lot of sales, it's a lot of kind of computer analytics. So, you know, we're referring to the big short 'cause I think that's one of, that and kind of the social network are two of the best films that take these kind of cyber worlds and- [S2] Yeah. Yeah. [S1] ... you know, make it, make it humanized and interactive and engaging and kinetic and it brings that energy that otherwise- | 29.88 | 2.923939 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203196.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203197 | [S1] you know, you would just basically be in cubicles. [S2] Totally. [S1] Right? So, again, I- [S2] How do you make that interesting? [S1] Right. Well, and, and the thing, the thing that you're fortunate enough is that someone's probably done what you're trying to do. So go, go find what they did well and, and try to replicate that. And you'll obviously bring your own voice to it and your own truth, but use that as your | 18.48 | 3.242511 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203197.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203198 | [S1] ... your starting point. [S2] Yeah. What's great with, too, Michael, having a reference, having an inspiration point, is that film he's talking about, that doc, which we can't talk about. We're in the middle of trying to get funding from a broadcaster. But since I'm DPing it, Michael referenced the big short, and I immediately could go watch that. [S1] Right. [S2] I could get inspired. And then I had | 18.12 | 3.430174 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203198.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203199 | [S1] Yeah. One was like the num- I wasn't going to bring any other gear that didn't fit my fanny pack. [S2] They are- [S1] So it was like a couple batteries, a couple cards. I didn't want to be overwhelmed by tripods or lights or- [S2] Yeah. [S1] ... or gimbals. So it was, it was the camera and the fanny pack. And that was kind of what I said when I run out of battery or what I, run out of cards, whatever comes first, you know, I call the Uber and go home. | 20.96 | 3.299829 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203199.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203200 | [S1] is during monsoon season. So I went there during- [S2] Yeah. [S1] ... monsoon season, and I tried to not shoot during the middle of the day as much as possible. [S2] Right. [S1] Because the hell that these paramedics go through is in the evening. [S2] Right. [S1] It's at night, so I wanted the film to reflect that tone. It's why I color corrected it. So again, these sound like boundaries, and they feel like you're squeezing the film, but what you're actually doing is, is making a really sharp film, a really streamlined theme. [S2] Well, yeah. [S1] And it comes through in the final project. | 25.16 | 3.395771 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203200.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203201 | [S1] Absolutely. 'Cause you, you know, obviously like with that, that's a perfect example of then, you know, what happens so many times with documentary filmmakers is like, you know, they shoot everything, you know, and they're, and there's, there's a little bit of truth to that, but really, you know, good luck editing that. [S2] We just watched, we were just watching a film before this, and it just becomes bland. [S1] Yeah. | 17.72 | 3.464314 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203201.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203202 | [S1] You just kind of feel like you guys just kind of shot everything and just, there was no choices being made. So it's like, I love that example of like, I'm shooting this, you know, and there's a lot of, like Revenant was a perfect example of, you know, the, their use of light. Like, you know, they had like a, I don't know, a couple hour filming block. [S2] Yeah, every day. [S1] Right. [S2] Yeah. [S1] And it's like, do something interesting like that. [S2] Yeah, yeah. You could even say, I'm gonna shoot this entire film on an iPhone. [S1] Right. [S2] Or a GoPro. [S1] Absolutely. [S2] Or, or, I don't know, with your hat. Somehow shoot it with your hat. [S1] Yeah. I mean, don't, you know, | 27.84 | 3.409202 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203202.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203203 | [S1] Yeah. I mean, don't, you know, don't, don't do, I would say, yeah, don't, don't do it for the, like, I'm going to shoot the whole thing with my backup camera. [S2] Yeah. [S1] Like, it's not for the sake of being gimmicky. You're doing it because it's the right choice to make for this film. [S2] Yeah. [S1] Right? I think that's what it has to come down to. It has to come down to, like, what's the theme? It goes back to the simple, you know, the ideas you're being taught here. Like, what's the characters, what's the story, what are the themes, and then how do I come up with a process and filming style, create these boundaries that is right for this. [S2] Totally. [S1] Yeah. | 27.64 | 2.872532 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203203.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203204 | [S1] You know. Uh, the last point, uh, and we've kind of already covered this, but is you gotta get shooting. Uh, one of my first YouTube tip videos I said was you gotta get a camera and you gotta shoot. [S2] Yeah. [S1] 'Cause the thing is you gotta shoot... | 11.8 | 3.121366 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203204.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203205 | [S1] ... to actually find out what you like. [S2] Mm-hmm. [S1] And you have to choose your style, shoot what you like, because if you don't like something, you won't be passionate about it. [S2] Yeah. [S1] It's like a relationship. Your film's a relationship. If you don't like the person you're in a relationship with, you're not gonna go the extent, you're not gonna go buy them flowers. [S2] Uh-huh. [S1] You're not gonna do all the things that help keep a relation flip, relationship flip, relationship healthy and thriving. So I've seen my films as that. So what I mean by that is go out and get shooting, but shoot things you like. [S2] Mm-hmm. [S1] Shoot topics you like. [S2] Yeah. [S1] So Michael, he's a runner and, | 29.56 | 3.383247 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203205.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203206 | [S1] And shoot, shoot people you like. [S2] Yeah. [S1] You know, 'cause I think- [S2] Yeah, true. [S1] Sorry, 'cause I, I think generally I'm drawn to kinda men in the middle of their life. | 8.12 | 3.201258 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203206.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203207 | [S1] You know, that are searching for their purpose and mission in life. [S2] Yeah. [S1] Like that's kind of always been my, my niche. I've always finding myself following these individuals that I'm, you know, probably they're probably 10 years ahead of me or something, or I see similarities in them and I find that I just want to follow them to kind of listen to them. So, you know, I think that that's, you know, when it comes to just shooting, it's like find a topic or someone that you just, you know, you can't really get enough of. Like you just want to be there. [S2] Yeah. [S1] You know, a big, a big example, I'll just say one example that was in, in Shawn Baker's The Florida | 29.88 | 3.49793 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203207.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203208 | [S1] ... project. And I remember there's, if you've seen it, you know, there's not a, you know, a conventional plot to it. It, it's, it's just these characters that you just can't turn away from. [S2] Mm-hmm. [S1] And, and that made me really inspired to make His Name is Ray, 'cause I was just like, I don't necessarily even need the most dramatic plot. [S2] Yeah. [S1] You know, I don't need this epic journey, but I need someone that I'm just engrossed by how they're living and how they think. [S2] Yeah. [S1] And I just, I want more. Like, tell me more. [S2] Yeah. Yeah. [S1] You know, 'cause if I'm feeling that, I know the audience is gonna be just | 29.4 | 3.342204 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203208.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203209 | [S1] ... just as captivated. [S2] Totally. So just to summarize that, find inspiration. For me, it's music. I listen to music and I begin to see the film ahead of time. [S1] Mm-hmm. [S2] Michael watches films. That's where he gets his inspiration. Number two is find the boundaries. Determine some rules for the films you're gonna make- [S1] Mm-hmm. [S2] ... and then play within that. And then the last thing is shoot something you like. [S1] Mm-hmm. [S2] Get out shooting, find characters or themes that you like- [S1] Mm-hmm. [S2] ... because you're gonna be more passionate about it. | 23.92 | 3.253441 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203209.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203210 | [S1] You know, you're going to intuitively know a little bit, like where it's headed. [S2] Yeah. [S1] You know, 'cause you've been there, right? When you mature, you, I think you'll be able to go and venture into some new categories, but yeah, stick, stick to kind of what you know. [S2] Yeah. [S1] That's what, that would be a good place to start. [S2] Awesome. | 13.6 | 3.440076 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p6_BV1tu4y197NB_p6_m4-dialogue_0203210.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587115 | [S1] Oh, this is a big one. [S2] Yeah. [S1] This is a big one. [S2] That's cool. Well, that's, Mikey's saying this is a big one. [S1] Uh-huh. [S2] And so you should watch this one start to finish because this is about actually, I, I don't wanna say convincing 'cause if you have to convince someone to be a part of your film, that's, to me, a warning sign. But we'll get into that. So we wanna talk about, we'll say convincing someone to be a part of your film as a filmmaker. And so the five points that we are gonna cover are put your camera away, be honest, be clear, | 27.36 | 3.275731 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587115.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587116 | [S1] You put your camera away and go have a conversation with them. [S2] Yeah. [S1] You don't, you're not on camera. Every, every film I've ever done, Transcend, I had a conversation with Wesley in the bathroom. [S2] Yeah. [S1] You know, Janae, I drove down to Ypsilanti, Michigan without a camera and we talked till midnight in her, she was a man at the time, but we just talked about her struggles and yeah, that's it. I mean, what, what I would do with the film. So it's, it's an opportunity, it's like dating. It's an opportunity | 27.6 | 3.326621 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587116.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587117 | [S1] ... to see if they want to work with, tell, they want to entrust their story to you, and whether you feel that they are going to be authentic and genuine with you in a way that's going to deliver a great film. [S2] Yeah. [S1] So it, it's, it's not that you're trying to convince them, you know, because if you over convince them, it's like a relationship. There might be resentment. It might not, it likely isn't going to end up go- [S2] No. [S1] ... going well. So it needs to be kind of a healthy relationship. [S2] Exactly. That's what I'm saying too, is when you put your camera away, you're approaching them as a human, not as a filmmaker, because | 28.56 | 3.347774 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587117.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587118 | [S1] A filmmaker, again, we, I've talked about this, sitting in front of a camera, it's this black judgmental eye, and I think it's a terrible way to meet someone, is that they'll see the camera and not you. You want them- [S2] Mm-hmm. [S1] ... to trust you as a person. Number two, be honest and upfront. It, it, it can sometimes feel like you don't want to play all your cards to your character, and sometimes you can't, it, it's difficult when you're making, like, an investigative- [S2] Mm-hmm. [S1] ... film where you feel someone has done wrong and you're trying to, | 27.4 | 3.400697 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587118.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587119 | [S1] People really appreciate when they don't feel like you have a hidden agenda. [S2] Right. [S1] I, I know with Ahmadjod and Shalaka from No Countries an Island, we were very upfront where we're like, we know your country's gone through civil war. [S2] Uh-huh. [S1] And we wanna look at the ripple effect of that into this Easter bombing. And we just said that. And then they, if they disagree with that, they at least know what we're trying to do and they know that we're not trying to- [S2] Right. | 23.04 | 3.376993 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587119.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587120 | [S1] have a secret agenda. It's like we're up front with what we are trying to do. [S2] Yeah. [S1] And sometimes you don't know that until you've met the person, which goes back to our first point, which is put your camera down, meet them as a human. You may then learn what your own personal perspective is. [S2] Yeah, because here's the bottom line, is that I don't, I don't want to use this word, convince them, but in, in order for them to give you the life rights to their story, they need to know that | 24.64 | 3.336492 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587120.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587121 | [S1] ... their story is safe in your hands. [S2] Mm-hmm. [S1] And that you have a voice and a way that you're gonna tell it. [S2] Yeah. [S1] You know, if I walk in and say, "Yeah, I'd like to, you know, I'd like to just document some stuff and, you know, I'll figure it out along the way," you know, it's not gonna, you know, I wouldn't feel like I wanna entrust my life with you. [S2] No. [S1] But if, if, if you come at it and you've given it thought, you know, you're thoughtful, you're truthful, you have a vision, like you have, you have, again, all these things we're teaching you. Like you have a bit of a style on how you would do it, you know, | 27.56 | 3.320495 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587121.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587122 | [S1] And number three is be clear in that you want to be clear about your timelines and the needs for the film. So when I'm working on a film, I'm very clear and upfront with the people saying, "I'll, I'll need this amount of access." [S2] Right. [S1] If it's a film that requires 24/7 access, I'll say that. It never, never does. But in the case of a film like "Riscate," I just told them, I go, "In order for me to tell this story the best- [S2] You need to sleep there. [S1] I need to sleep at your headquarters 'cause I need to be there right when you guys get to an accident, and I need to be able to be beside you shoulder-to-shoulder- | 29.88 | 3.312873 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587122.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587123 | [S1] ... shoulder while you're dealing with the accidents. And that- [S2] And because that was the vision you had. [S1] That was the vision I had. [S2] And someone else may say like, "Oh, I can pop in," and then that's ... But see, you were committed to your vision. [S1] Yeah. [S2] And that dictated, you know, you, you kind of setting the rules for them. And- [S1] And then- [S2] ... that's how you were gonna make it. [S1] Exactly. And then we had that conversation up front. They agreed to it. And then it was like I had full freedom to actually tell the film. And then again, that builds trust, 'cause I'm being upfront. You, you wanna build ... You need trust with your character. [S2] Yeah. | 25.52 | 3.209782 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587123.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587124 | [S1] On the flip side, you know, with His Name is Ray, when I was talking to him about doing the film, we knew that it was more of an art film. There wasn't a broadcast date. [S2] Yeah. [S1] So we knew we were more flexible to try and, you know, stick with this as long as we need to, to get to our end. [S2] Yeah. [S1] So again, like, | 17.52 | 3.305312 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587124.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587125 | [S1] Make sure you know, kind of be honest with them. What's the timeline? Something else I'll throw in is, is, is there any payment? You know, I, I've, I've had different scenarios where characters have asked, you know, is there any honorarium for doing this? [S2] Mm-hmm. [S1] And- [S2] That's always difficult. And that's, I think you have to make a personal call for you. [S1] Right. [S2] Some people say never pay a subject. Some cases your film would never happen unless there was, uh, you know, remuneration for them. | 25.32 | 3.226648 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587125.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587126 | [S1] Maybe, and maybe on a longer podcast, we can go into more detail, but I think, you know, the gist of it is, you know, a documentary generally is, is meant to be done for, uh, not financial reasons, but- [S2] There's not much money in documentary. [S1] There's not much money on the budget side, so there's not gonna be much money for the character side. [S2] Yeah. Yeah. [S1] But there's exceptions. | 19.84 | 3.448513 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587126.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587127 | [S1] Um, number four is be human. You have to remember the f- people that you're filming are human. They have needs, they have desire- [S2] Family. [S1] ... they have family, they- they have struggles. [S2] Mm-hmm. [S1] I- I think you have to be really caring for them. This is | 15.36 | 3.308524 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587127.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587128 | [S1] ... in the interviews, but I had to care for his needs. Even like the fact that he couldn't film all day. I ha- we ended up, rather than shooting it over, we could have really shot that film in like two days, maybe three days. We shot it over seven days because I, he, we had to be human. Like, Delhi needed time to- [S2] Right. [S1] ... recover every day. He just got over a stroke. [S2] Right. | 18 | 3.370037 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587128.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587129 | [S1] not do it. It's just in you and you have to go. You're compelled to go be with this person. Even, you know, when your wife's pregnant and experiencing morning sickness and, you know, you have to go spend time with this person. And I think that will come off. If you're genuine and honest, uh, with why you're doing this, they're gonna, they're gonna feel that. [S2] Totally. And be upfront and honest with your life partner. [S1] Yeah. [S2] About your career. [S1] Yeah. | 24.4 | 3.445686 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587129.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587130 | [S1] Yeah. [S2] Yeah. [S1] Yeah, and what you're doing, you know, like it's, it's, it's a beautiful experience. Like, I mean, you're gonna share, if you have someone in your life, whether it's, you know, an intimate person or family or close friend or whatever, like you're gonna share this stuff with them. So, you know, it's, yeah, it is, it's always been helpful. They, they might second guess what the heck you're doing, you know, going to some of these places that documentaries take us. But, you know, ultimately, like you, you know, they're, they're advocates for you as well, you know? [S2] Yeah. [S1] They, they help, they help keep you on track, so. | 28.08 | 3.399456 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587130.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587131 | [S1] I, I remember right before I was engaged, uh, or right when we, I was engaged, I was away for like two months and someone says like, "Is this difficult for you?" to my wife. And she goes, "Oh, well, I, I know what I signed up for." [S2] Right. [S1] You know, I was very, I was very upfront with, with, with the career and the traductory. But, so those are five ways for you to help convince and kind of sell your idea through to a potential documentary character. | 21.52 | 3.288069 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p9_BV1tu4y197NB_p9_m4-dialogue_0587131.mp3 | [
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bilibili_data_141377939_BV1qL411G7iY_p5_BV1qL411G7iY_p5_m4-dialogue_1005130 | [S1] I'm Price. Chloe Price. Bang! [S2] Jesus, put that thing down. [S1] Chillax, sister. It's not even loaded. Yet. [S2] I thought you believed in gun control. [S1] Yes, I believe I should control the gun. It's the men who need to be checked. You trust Nathan or David? Thanks for taking the heat. We totally smacked this punk ass down, Max. He's no match for you and me now. That was an epic win. | 25.92 | 2.907748 | 24,000 | audio/en/bilibili_data_141377939_BV1qL411G7iY_p5_BV1qL411G7iY_p5_m4-dialogue_1005130.mp3 | [
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bilibili_data_141377939_BV1qL411G7iY_p8_BV1qL411G7iY_p8_m4-dialogue_0823383 | [S1] Oh, sorry, Chloe. Don't let me get in the way of your bonding. I heard the gunshots and the breaking glass. It's cute that you're playing with guns. Just like me at your age. [S2] We're not anything alike, man. [S1] We both need money. In fact, you need it so bad, you owe me a shitload, don't you, Chloe? Huh? [S2] You'll get your money. [S1] Don't they all say that? You know, even when they're broke and acting tough? What are you hiding there, girlie? Let me see. | 29.56 | 2.849052 | 24,000 | audio/en/bilibili_data_141377939_BV1qL411G7iY_p8_BV1qL411G7iY_p8_m4-dialogue_0823383.mp3 | [
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bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447460 | [S1] Okay. [S2] They give us key to the practice. [S1] I see. So you're a kind of a special group. If, if Daniel decides he wants to practice over there, they're not gonna let Daniel have a key to the, key to the, the treasury. Uh, okay. But we are a red cross street. What are we building over there? A new music department building. It's gonna have a lot more practice, uh, facilities in the basement of that, principally for undergraduates. | 22.76 | 3.004313 | 24,000 | audio/en/bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447460.mp3 | [
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bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447462 | [S1] Uh, yeah, I, I knew that. It was kind of a... So, um, you may not have absolute pitch. You probably don't have absolute pitch, right? [S2] I know. I've never thought of that. [S1] No. But you probably have a very good sense of relative pitch. What would have happened if you started out... Well, what, was piano your first instrument? [S2] It was. [S1] It was. Supposing you had started out on, at age... And what, how old were you when you started? [S2] I was | 20.48 | 2.807861 | 24,000 | audio/en/bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447462.mp3 | [
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bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447464 | [S1] ... of it. What's this poem about, Naomi? Have you ever looked at the poem? No. [S2] Yes, I have. [S1] So what's, what's it, what's it do for us? | 7.24 | 2.906998 | 24,000 | audio/en/bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447464.mp3 | [
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bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447465 | [S1] Uh-huh. Um, so, so when you play this, do you think a partic- Because we do have the text here. Do you think of particular moments in the poem? [S2] Yeah. [S1] Oh, really? [S2] Um, most of them- [S1] You wanna play one? [S2] Sure, yeah. Well, with the water is, is happened throughout the whole piece. There's constant running notes in the whole piece. [S1] Okay. | 19.6 | 2.942215 | 24,000 | audio/en/bilibili_data_14176954_BV1sW411a7nM_p21_BV1sW411a7nM_p21_m4-dialogue_0447465.mp3 | [
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bilibili_data_14281936_BV1234y1q7XY_p1_BV1234y1q7XY_p1_m4-dialogue_0008038 | [S1] And his father has an extensively medical collection, and he doesn't have access to that material. [S2] Yeah. [S1] Um, and that tends to sort of be an ongoing, the, the, the nature of the legitimation of knowledge and the processes through which, uh, scientific discourses occur and- | 17.92 | 3.492041 | 24,000 | audio/en/bilibili_data_14281936_BV1234y1q7XY_p1_BV1234y1q7XY_p1_m4-dialogue_0008038.mp3 | [
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bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966676 | [S1] In its animal form, in its elementary form, this auto-affection is indifferent to itself. So the animal has a soul, of course, but this soul, um, is entirely, uh, diffused in life. It, it is not overlooking it. Okay? So this is what I would say. And it's not about representation, it's about reflection. So, uh, oh my God, all these questions. Uh, [S2] I'm sorry. [S1] Oh God, | 28.48 | 3.277744 | 24,000 | audio/en/bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966676.mp3 | [
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bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966677 | [S1] I don't want to let you feel overwhelmed. Um, I'm doing a lot. Why don't you tell us when you would like to, to pause, if you want. Um, please feel free whenever you, you feel like. [S2] Okay, I will try to, to answer them when the ones that appear, on the Q&A, but no, after, I will stop after Sebastian, okay? [S1] Okay. | 22.04 | 2.886289 | 24,000 | audio/en/bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966677.mp3 | [
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bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966678 | [S1] ... It is more like a direction. [S2] Mm-hmm. [S1] It is more life appears more as a task. Uh, something, um, like if it, when Foucault talk, talks about ascetism, uh, ascesis means task. It is more about, um, | 27.2 | 3.015864 | 24,000 | audio/en/bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966678.mp3 | [
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bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966679 | [S1] I think this is something else, uh, that Foucault is talking about here, something else, but yes, definitely cannot be subsumed under identity for sure. Um, okay. So perhaps we can, um- [S2] You've, you've done a, a tremendous amount. Uh, thank you. I'm sure this could go on for quite some time and, um- [S1] Yes, because, and I, I see other, yes. | 28.88 | 3.227683 | 24,000 | audio/en/bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966679.mp3 | [
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bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966680 | [S1] I don't, um, we, we will, uh, communicate to you that list, you know, so that you can consider, um, the- [S2] Yes. Mm-hmm. Okay. [S1] And, um, I, let me, let me just thank all the respondents for a set of really- [S2] Yes, absolutely. No, it was great questions, really. [S1] I think that those, those questions are a function of the talk itself, which is really very, um, very compelling and, and engaging. So, um, let me thank you. I had a couple thoughts, but I, uh, let, let us, let, let us bring this- [S2] Yeah, we, we can always- | 28.64 | 2.848437 | 24,000 | audio/en/bilibili_data_14281936_BV18K4y1G7Vc_p1_BV18K4y1G7Vc_p1_m4-dialogue_0966680.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618103 | [S1] Before I answer the question on cosmic nonchalance, just to pick up on, uh, one of the things you said. [S2] Please. [S1] Uh, regarding value and kind of nature backed value, how those things will link up. We don't have a good answer for that yet, but we're getting there. [S2] [LAUGHS] [S1] Very slowly. Yeah. [S2] We're trying. [S1] But I'm glad that you said acknowledge, uh, when you said, you know, if we're gone, there's nothing around to acknowledge the value. Because I think a lot of these discussions, some people might kind of | 26.92 | 2.999372 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618103.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618104 | [S1] Mm, yeah, yeah. So it's a, it's a long story, the, uh, move from a kind of perfect cosmos. So Aristotle, again, you know, going back to Aristotle, he said that the heavens were impermanent, they were perfect, they were- [S2] Mm-hmm. [S1] ... incapable of corruption. And that's because there was a sense of the really nice balance of the orbits and that kind of continuous, methodical, uh, seemingly painstakingly perfect motion. | 24 | 3.054398 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618104.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618106 | [S1] Not so much whether it comes in the form of a, of a human person, but what we've learnt by just being human is the thing that's worth preserving. [S2] You know, I guess, 'cause we have to kind of, again, abstract. Now we're talking about the whole cosmos and the place of morality within it. [S1] Uh-huh. [S2] You know, you have to abstract. And that means that you ta- I, you know, I, I, I use the word value a lot. Obviously, a lot of people are probably thinking, "What does that mean?" Um, I would say- [S1] Yeah. | 26.04 | 3.275096 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618106.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618108 | [S1] ... then around the 90s, the internet, you know, kind of takes hold, and I think, yeah, disparate communities of kind of, I guess what you'd now call a nerd, uh, you know, kind of highly intelligent people that are like, [S2] [LAUGHS] [S1] ... able to think outside the box, think unconventionally, but, you know, also rigorously. | 17.72 | 3.15255 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618108.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618109 | [S1] diversification of viewpoints that has, like, drawbacks, I guess. You know, there's the kind of co- the, the common argument, and this goes way back to, uh, HG Wells and kind of that era, is, "Oh dear, we've invented, you know, the ability to kill each other and we don't have a unipolar government." [S2] [LAUGHS] [S1] You know, this is a, this is a kind of, a kind of, at least, uh, century-old theme of futurism. [S2] Uh-huh. [S1] Um, | 23.4 | 3.111803 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618109.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618110 | [S1] ... more often than taking them seriously. Uh- [S2] You mentioned George Vern in the book. [S1] Yeah, yeah, yeah. And Jonathan Swift as well. He, you know, he gets a look in 'cause he absolutely hated science. He thought it was, you know, kind of these like weird, anti-social, uh, kind of, you know, freaks that were just playing around with like vacuum pumps and wasting their time and not- | 20.4 | 2.993356 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618110.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618111 | [S1] So from my perspective, from, you know, that kind of all being in the background of my mind, I'm just so happy that there is this kind of shift towards people actually thinking about these things seriously. And yeah, I think, you know, where do we go from here? Um, you know, that's a job for the engineers, the politicians, the decision makers, the policy makers, right? [S2] So you're just going to relinquish control, are you? [S1] Well, no, I mean, | 25.76 | 3.107416 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618111.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618112 | [S1] ... affect over the future. [S2] Mm. Yeah, yeah, yeah. No, no. I mean, I c- I couldn't agree more. It's kind of one of the dynamics that begins as soon as kind of prediction in the modern sense begins, is that kind of- [S1] Mm-hmm. [S2] ... you see it in the, you know, the kind of beginning of the stock market is that kind of self-fulfilling prophecy aspect. | 16.4 | 3.073747 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618112.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618113 | [S1] You know, like you, you said, like kind of the FHI, like the new future, the no future crew. Uh, I haven't heard that one before. [S2] No future folk, yeah. [S1] The no, the no future folk. You, you know, I think it's just a kind of contingency of the order in which things have happened. [S2] Mm-hmm. [S1] You know, one of my colleagues there, Andrew Sandberg, uh, he's this brilliant, polymathic kind of genius. Um, and he's writing this book that's kind of the sequel to all this stuff that's already come out about, you know, | 26.04 | 2.950326 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618113.mp3 | [
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bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618115 | [S1] Mm. Yeah, yeah. I definitely, uh, think that, well, yeah, I think the narrow attachment to the human can often be narrow attachment to what the human contingently is rather than what it- [S2] It's true. [S1] ... should be or could be, or, you know, they're kind of- [S2] Uh-huh. [S1] ... that more normative aspect of us, that ability to go, "Oh, that would be better than the current situation," where, you know, kind of | 26.04 | 3.034274 | 24,000 | audio/en/bilibili_data_14281936_BV1C3411y7Lr_p1_BV1C3411y7Lr_p1_m4-dialogue_0618115.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551567 | [S1] Old age home? [S2] Huh? [S1] Old age home. [S2] In France, in France is a little terrible because there is an acronym, it is A-H-A, no, E-H-A-P, uh, Etablissement Hospitalier pour Adulte, no, no, Dependants. | 25.76 | 3.203726 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551567.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551569 | [S1] More than one century before Marx, you have already seen this terrible formula, you know? That is, everything can be, uh, uh, resume. [S2] Uh? [S1] Reduced. | 20.36 | 2.963057 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551569.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551570 | [S1] So, um- [S2] Already. But on the other, excuse me, just finish. [S1] Mm-hmm. [S2] On one side, so, so there is a question of death. And the, and the second question is that in a way it is the same question. It is then how can we, uh, name, if you want, the value of leave or what, uh, | 29.96 | 3.110111 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551570.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551571 | [S1] Huh? [S2] No. [S1] Between, between those. Absolutely not. Huh? Well, and then, uh, so, so how, how could we, uh, name the, the, this value or, | 20.64 | 2.836539 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551571.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551572 | Maybe a, a better way to ask the question would be to say, uh, in French, uh, [S1] How, how does this value, uh, um, value, uh, worth, is worth maybe. We can go back- [S2] Maybe it is worth- [S1] Mm-hmm. | 28.84 | 3.159659 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551572.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551573 | [S1] ... different at the same time. [S2] Mm-hmm. [S1] Well- [S2] Um- [S1] I should- [S2] Yeah. [S1] ... 'cause I- I stopped you. | 8.28 | 2.834288 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551573.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551574 | [S1] That is very, no, very, very, very important. And how much does, is the value of life? Is it $20 worth, like a, the George Floyd murder? Joshua Sobol, Israeli playwright, said he was impressed that a life does count, that blood did count in America at the moment, also of George Floyd. [S2] Mm-hmm. [S1] Do you think, uh, this time of corona, | 28.12 | 3.353133 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551574.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551575 | [S1] In French, it is possible to have two names, you know? That is, one is the future, the other is avenue. Avenue is like a- [S2] What is to come. [S1] Hmm? [S2] What is to come. | 17.48 | 3.115064 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551575.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551576 | [S1] I hope no catastrophe, but no. [S2] Yeah. [S1] No, but very simple. I, I don't know. I don't know what can happen if I go now out on the street and maybe I will encounter somebody, uh, which I never expected to, to meet. And so, | 28.76 | 2.945264 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551576.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551577 | [S1] or, or nothing. Something like that. No? [S2] Mm-hmm. [S1] Uh, of course, it is very ambiguous if, if we think, uh, what, a, a new religion? Well, no, no, no, no. I see. But, uh, um, I think, or, or, I don't know, even, even Nietzsche, even precisely Nietzsche, | 27.4 | 3.125293 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551577.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551578 | [S1] Like, like the children, she, the children say, "Whoa, whoa." [S2] "Wink, wink," maybe. [S1] Huh? [S2] "Wink, wink." [S1] Uh, you say wink in English? [S2] Yeah. [S1] Uh, yeah. [S2] Uh-huh. But I'm not sure the meaning exactly the same as German, but there is a wink. It's more a gesture. | 20.96 | 2.942028 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551578.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551580 | [S1] Uh, as we say, in French, there is an expression which is very comic, the Politique Politicienne. The Politicien Politique. [S2] Say again? [S1] Ira? [S2] Political, political politics. The politico-politicians. [S1] Right. [S2] The politico-politicians. | 27.48 | 2.987425 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551580.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551581 | [S1] What one is properly. [S2] Proper. [S1] Proper. Proper. [S2] Proper. The proper. [S1] The proper. The proper. The proper which precisely is, is, is never proper. The proper. Who are you proper? I... | 27.24 | 2.853227 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551581.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551583 | [S1] There are at least with what I can see in Europe and I don't see many things, but there are two, two phenomenon together. One is that the theater is a, is a little fatigue. [S2] Tired. [S1] Tired, yeah. | 26.24 | 2.856843 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551583.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551584 | [S1] I don't know. I'm, I'm, I am, I am very, uh, tired, yeah. With, uh, uh, uh, the film, "Policier." [S2] Hmm? [S1] The film. Detective film, maybe? | 18.88 | 2.896042 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551584.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551586 | [S1] But people got there. [S2] Yeah, yeah. [S1] And each time it is in another approach. And then you are, you are like invited to think | 14.56 | 3.033045 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551586.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551587 | [S1] And we zoom, zoom, and he's like that, you know, when, when, when- [S2] Close up. [S1] What, what, what close up, which is a title of a film. Uh, so, what happens with that? I think the cinema is much more there than in the lateral movement, the, the, the car or the horses or the going faster, you know? | 29.16 | 2.823711 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551587.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551588 | [S1] Then, um, in the theater, in the theater it's different because it is a, it is not a matter of closeness, uh, or there is a different closeness. It is difference of the, of the feeling of the presence of the actor. [S2] Mm-hmm. [S1] Yeah. But, | 27.56 | 3.186792 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551588.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551589 | [S1] action, or should it be point to outside the world? The time we live in now, let's say America, the unrest we have here at the moment, the demonstrations, what, what art do we need and what art works? [S2] I'm not an artist. [S1] [LAUGHS] [S2] The artist can answer. I don't know. I don't know. Uh, | 27.36 | 3.396902 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551589.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551590 | [S1] I, I don't know because I have an example, uh, to see on the theater in, but in, in France, in France, there is a, a, a theater maker, Francois Tanguy, who's, uh, he's, uh, his name, Le Radeau. Uh, Radeau, Radeau is a raft, I think, uh, something like that. [S2] A lifeboat? [S1] Mm-hmm. [S2] A lifeboat? Uh, | 29.16 | 2.943132 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551590.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551592 | [S1] ... touched, uh, uh, um, yeah, touched. [S2] Very touched. [S1] But more than, than touched, uh, frappe, uh, shaken, or- [S2] Very shake, shake, shake, shake, shake, shake. [S1] Shake, shake, shake. [S2] By the fact that, uh, uh, uh, uh, but I don't know what I wanted to say. [S1] About tourism, you were saying there is a visit. | 25 | 2.884737 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551592.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551593 | [S1] I did, I did, I did the- [S2] ... I, I, I, which is terrible. It is, it is almost like a ... [S1] So, uh- [S2] ... today I would say I want to go, well, today for me, you know, traveling is too tiring, but, but, uh, | 29.16 | 3.126785 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551593.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551594 | [S1] ... and the moving- [S2] Yeah. [S1] ... toward, toward myself. But, but myself will never come, no? But to, but, yes. Yes, to go, to, to, to, to become, and, and to the point where, uh, | 27.04 | 3.062641 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551594.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551595 | [S1] But to find the, the, the beam to be resurrected in 200 years, it is another. [S2] Another thing. Maybe since we're coming closer also to the end of the talk, you wrote- [S1] Yeah, I am seeing the time. [S2] Yeah. You wrote about, you wrote a lot about also about tragedy. Do you think we live in a, is it a tragic time we live in? | 26.8 | 2.932048 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551595.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551596 | [S1] To err, to err, to move without knowing a goal. Errands, errands. [S2] Sure. [S1] Errancy in English also. | 9.68 | 3.091733 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551596.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551597 | [S1] Oh, you could even say destinerance in English, almost. [S2] Almost. [S1] So, and so it is, it is a nice word. Again, despite the fact that if it is not a word of the language, it is not. But, uh, | 22.4 | 2.971948 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551597.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551598 | [S1] ... taking time, precious time, also a lot of time. And, uh, I wish we would have each day a, a conversation in that way. I think it is full of, uh- [S2] Mm-hmm. [S1] ... inspiration and, and thought, and also in the kind of, uh, archipelago, islands of thoughts that connect itself to a bigger, bigger landscape, actually. So, uh, it is important to hear a philosophical, uh, point of view and, uh, also that we don't know. | 27.64 | 3.091888 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551598.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551599 | [S1] ... on Friday, Woody King Jr., uh, for 50 years ran a Black American theater, and he will tell us what it meant for him and, and his journey. But again, Jean-Luc, thank you so much, and I hope we will also- [S2] Thank you. [S1] ... in our series continue to hear voices from, uh, philosophers, anthropologists, or sociologists. I think we need to reach out, uh, that, uh, we have to get out of our, uh, um, of ours, smaller worlds where we are in, and, uh, step outside. | 29.64 | 3.312578 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551599.mp3 | [
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bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551600 | [S1] ... and searching for, for, for truth. And, um, as you said, artists now create something that you can see. It's a, you know, the opposite of philosophy. We talk about things with language, but it'd be artists create something final, a statue, but at the end, gods are statues we look at now, and, but they are images and they are powerful ones. Thank you very, very much. And Irene, thank you for being with us, for being- [S2] Thank you, and thank you to Irene. [S1] ... President. | 28.64 | 3.303753 | 24,000 | audio/en/bilibili_data_14281936_BV1FA411c7Bk_p1_BV1FA411c7Bk_p1_m4-dialogue_0551600.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002107 | [S1] Uh, and Bernard's work, uh, I'll say very briefly, uh, Bernard's work marries the question of technics, uh, or the role that technical instruments play in the development of humankind to the intricate discourse of phenomenology, uh, as well as deconstruction and Marxism, which are addressed throughout his ouvre. Uh, hi, Bernard. [S2] Hi. How are you? [S1] Very good. | 23.28 | 3.449272 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002107.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002108 | [S1] Uh, when I say value, it's not exchange value, even use value, but what we call practice value, uh, is knowledge. And that in, um, in a world in which, uh, the future is destroyed by the, the increasing of entropy and also of what I call entropy with an H. [S2] Mm-hmm. [S1] This is what is, uh, | 28.8 | 3.2006 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002108.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002109 | [S1] During the famine in Bangladesh, he discovered that the expect, uh, expectancy for life in Bangladesh was better than in Harlem in New York City. [S2] Mm-hmm. [S1] And he said four years later, because he studied this, he wanted to explain this incredibly paradoxical, uh, fate, uh, fact, he, he showed that it was because | 28.08 | 3.14223 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002109.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002110 | [S1] Mm-hmm. I will not say cynical. I would say I'm not a dialectician. This is the reason for which myself I present myself as a post-Marxist. Um, I'm not yet a Marxist today. I was a Marxist for a long time, and, uh, I believe that today, I believe that in the Grundrisse, Marx, in the famous fragment on machinery- [S2] Mm-hmm. [S1] ... on machines, | 26.64 | 3.098437 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002110.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002111 | [S1] Uh, Engels wrote that, uh, the theory of thermodynamics and entropy was wrong because it was not possible to dialecti- dialectize, to dialectize, uh, the negentropic, uh, the- the entropic, uh, situation of the universe, so it was necessarily wrong. [S2] Mm-hmm. [S1] And of course it was, what was wrong was the discourse of Engels. | 29.8 | 3.284339 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002111.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002112 | [S1] Um, so, okay, here we have a, we have a question here, uh, from the audience. Uh, within the context of generalized proletarianization, how do we interpret the reappearance of essential workers in popular discourse? Some would seem to be more proletarianized than others, no? So he's talking about, um- [S2] It's a very- [S1] COVID-19, yeah. | 21.16 | 3.51655 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002112.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002113 | [S1] Um, but, you know, of course, if we're looking in, in a Marxist context, um, you know, it's, uh, variable capital, right? Or, uh, the sale of labor power. It's, it's, uh, capital variable, variable capital. [S2] Mm-hmm. Oh, yeah, yeah. [S1] Or the, the sale of labor power, uh, that actually, uh, furnishes the basis of, of surplus value and profit. [S2] Mm-hmm. [S1] Um, so in practice, right, we've seen a great deal of automation, uh, but we've also seen that there are sectors that are more labor-intensive | 29.84 | 3.312153 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002113.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002114 | [S1] were organizing the f- famous fi- financial, I don't know how you say that in English, la financialization, financialization. [S2] Financialization, yeah. [S1] Of economy. [S2] Mm-hmm. [S1] That, that makes economy becoming speculative and not at all investment. So this is what is called in France the casino economy, you know. [S2] Mm-hmm. [S1] And, uh, this is not at all, uh, this is a, a, an extension of, of, uh, | 29.8 | 3.196582 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002114.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002115 | [S1] Those questions are really difficult and I don't like to, to talk when I don't have time for really thinking the question. For example, this, I, this revocation of abolishment of police, I didn't know that. [S2] Mm-hmm. [S1] Now, in general, I think that an uprising which is not in the service of a real new perspective very often leads to failure. | 29.84 | 3.063059 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002115.mp3 | [
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bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002116 | [S1] About the abolishment of the police, for me, it's simply ridiculous. [S2] Mm-hmm. [S1] As ridiculous as declaring the rule of justice, for example. Justice never rings. And of course, we must never give up, give it up, of course. This kind of claim can lead to very dangerous discouragement, and precisely to such a renunciation, for example, to justice. | 29.36 | 2.987309 | 24,000 | audio/en/bilibili_data_14281936_BV1J44y1r7gN_p1_BV1J44y1r7gN_p1_m4-dialogue_1002116.mp3 | [
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