WEBVTT 00:00:50.560 --> 00:00:53.900 MATTHEW BARNEY: There are elements to these  projects that are autobiographical. 00:00:56.160 --> 00:00:59.920 I consider all of the things that  I work with attractive to me. 00:01:02.080 --> 00:01:06.742 Whether they repulse me or not, I’m  still very, very attracted to them. 00:01:09.844 --> 00:01:13.680 CHELSEA ROMERSA: I just feel like it’s  at the basis of existence. 00:01:13.680 --> 00:01:19.468 To me it’s fundamental, like a  rudimentary kind of understanding of life. 00:01:23.793 --> 00:01:29.240 RICHARD SERRA: I recognize in him a certain kind  of energy and youthful exuberance. 00:01:29.240 --> 00:01:33.520 He’s a person who just wants to follow  the imagination of his own work. 00:01:34.517 --> 00:01:36.000 BARNEY: A system that has an internal object. 00:01:36.000 --> 00:01:38.560 Freudian narratives, consumer and a producer. 00:01:38.560 --> 00:01:41.800 Violence. Sexually driven. NFL films. 00:01:41.800 --> 00:01:44.071 These are things that I think about. 00:01:44.071 --> 00:01:59.581 (theatrical music) 00:02:04.200 --> 00:02:06.320 –All right, just really quickly, guys. 00:02:06.320 --> 00:02:09.400 –The lights going to come up really quickly  this morning because there’s no cloud cover, 00:02:09.400 --> 00:02:12.000 –And our shooting window's gonna be really narrow. 00:02:12.000 --> 00:02:14.540 –So we want to try and be  as organized as possible. 00:02:14.540 --> 00:02:17.780 –Man: You're pushing it at 5:00  in the morning, you're pushing it. 00:02:18.578 --> 00:02:19.700 –You know I'm not awake yet. 00:02:19.700 --> 00:02:20.720 Barney: The cremaster 00:02:20.720 --> 00:02:24.200 muscle is a muscle which controls the height 00:02:24.200 --> 00:02:27.440 of the internal reproductive system in the male. 00:02:27.440 --> 00:02:31.601 It's been taken on here as  a stand-in for conflict. 00:02:34.240 --> 00:02:36.600 –You're all set, be good. 00:02:37.132 --> 00:02:37.972 Barney: The film 00:02:37.972 --> 00:02:42.280 was shot and lit like a classic zombie film. 00:02:42.280 --> 00:02:46.000 It'll start within the horror genre  and then immediately move out of it 00:02:46.000 --> 00:02:49.664 into a kind of an art-deco kind of gangster genre. 00:02:50.240 --> 00:02:54.720 The horse is meant to foreshadow  the fate of this betrayer 00:02:54.720 --> 00:03:01.234 and what he sees as a field of ten  horses in harness running dead. 00:03:20.000 --> 00:03:21.475 –All right, you guys! –We're ready for you. 00:03:21.475 --> 00:03:23.120 MAN: Well, they're making a film. 00:03:23.120 --> 00:03:27.480 I'm not too certain what the film's about,  but I guess this is a dream sequence, 00:03:27.480 --> 00:03:32.883 and that's why they have the horses  with this spandex clothing on them. 00:03:33.880 --> 00:03:37.440 It was all choreographed, so we  were all instructed where to finish. 00:03:39.080 --> 00:03:42.029 Luckily I'm going to win it. 00:03:49.364 --> 00:03:51.019 –Man: hey, Chels, it's Gabe. 00:03:51.019 --> 00:03:53.160 –Chelsea: hi, Gabe. 00:03:53.160 --> 00:03:56.680 –Do you know the next two  horses after the two we have? 00:03:56.680 --> 00:04:00.720 GABE BARTALOS: I've done the prosthetic effects  on the last four or five projects. 00:04:01.280 --> 00:04:05.280 It's always these strange calls, he's just  calling to say hi, and then he's like, 00:04:05.280 --> 00:04:08.960 "Hey, you know, what if on the next  project we were doing something like this?" 00:04:08.960 --> 00:04:10.840 And I'm like, "Oh, wow." 00:04:10.840 --> 00:04:16.880 So, this is actually the most ambitious  stuff, at least in all the Cremaster series. 00:04:16.880 --> 00:04:18.962 Matt had real specific ideas about it. 00:04:19.560 --> 00:04:22.360 At a pretty funny breakfast, we  brought out all our anatomy books 00:04:22.360 --> 00:04:25.640 and books of morgues and  stuff, and I was kinda like, 00:04:25.640 --> 00:04:28.020 "Is this what you're thinking about?" 00:04:30.720 --> 00:04:34.760 What's really proven to be the engineering  marvel is the spandex suits underneath. 00:04:34.760 --> 00:04:39.320 It's super-stretching spandex for direction,  reinforced with zippers and buckles. 00:04:39.320 --> 00:04:44.240 Layers of skin are then sewed on and  we dress it and tear it and burn it 00:04:44.240 --> 00:04:45.880 to make sure that they all look different. 00:04:45.880 --> 00:04:51.717 You know, they're all the same pedigree,  but they all have their own identities. 00:04:55.507 --> 00:04:56.040 BARNEY: Because these 00:04:56.040 --> 00:04:59.280 were full body suits that the horses were wearing, 00:05:00.080 --> 00:05:03.560 and they were absorbent, they  were filling up with sweat, 00:05:03.560 --> 00:05:07.000 the horses were becoming fatigued and overheated. 00:05:07.000 --> 00:05:12.440 So we would do takes, a take,  two takes, and the vet would say, 00:05:12.440 --> 00:05:15.880 "That's it, they need a rest.  The suits need to come off them," 00:05:15.880 --> 00:05:17.077 and that's what we would do. 00:05:22.197 --> 00:05:23.560 BARTALOS: Matt is so hands-on with it. 00:05:23.560 --> 00:05:25.680 We're really just an extension of him. 00:05:25.680 --> 00:05:28.280 It's great for us, because it's  all based in artwork, and that's, 00:05:28.280 --> 00:05:29.640 selfishly for me, what's fun. 00:05:31.720 --> 00:05:36.000 There's 10 horses, there's 5  teams of 2, so each pair will be 00:05:36.000 --> 00:05:39.780 photographed in front of the same background. 00:05:39.780 --> 00:05:42.000 ROMERSA: All of us are artists. 00:05:42.000 --> 00:05:47.680 I think all of us, there's plenty  of room in our heads or in our space 00:05:47.680 --> 00:05:55.000 to continue to think artistically in  our own way, and therefore it seems to. 00:05:55.800 --> 00:06:00.040 There's a good product in the end for Matthew,  and it's a good product for us individually. 00:06:00.040 --> 00:06:01.600 –So, the roof next. 00:06:01.600 --> 00:06:04.120 –We're ready for that shot? Okay. 00:06:04.237 --> 00:06:07.160 BARNEY: For the scale of these projects, we're a very small group. 00:06:07.160 --> 00:06:15.606 Because of that fact, it's quite  family— it feels a bit like a family. 00:06:17.600 --> 00:06:20.680 We needed a steward and we  needed a presiding judge, 00:06:20.680 --> 00:06:24.200 and I called my father and asked  him to play the presiding judge 00:06:24.200 --> 00:06:27.896 and he brought a close friend of  his into the role of the steward. 00:06:29.320 --> 00:06:31.080 So it's two shots. 00:06:31.080 --> 00:06:37.745 First shot, the canister comes down to  you, you open it up, you look at it, cut. 00:06:38.720 --> 00:06:40.480 –Actually, could you come forward again? 00:06:40.480 --> 00:06:42.201 –Yeah, that's better, looking up. 00:06:42.440 --> 00:06:45.801 –Three, two, one with the canister. 00:06:51.120 --> 00:06:53.040 He has always been very focused, 00:06:53.040 --> 00:06:58.420 always had goals in front of him and  would work very diligently to get there. 00:06:58.420 --> 00:07:00.648 –BARNEY: And cut, excellent. 00:07:01.800 --> 00:07:02.680 –You happy with that? 00:07:02.680 --> 00:07:03.480 –Yeah. –Yeah. 00:07:03.945 --> 00:07:06.280 ROBERT: I watched him at work, 00:07:06.280 --> 00:07:10.920 which was absolutely fascinating to  see how he can put things together. 00:07:10.920 --> 00:07:12.589 So, Matt, where do you want to set up? 00:07:12.589 --> 00:07:13.480 BARNEY: I'm thinking over here. 00:07:13.480 --> 00:07:16.760 ROBERT: It's both the artistic  side and the business side. 00:07:16.760 --> 00:07:19.780 He seems to have both going for him. 00:07:21.065 --> 00:07:22.280 –ROMERSA: And cut. 00:07:22.280 --> 00:07:23.440 –BARNEY: Gorgeous. 00:07:23.440 --> 00:07:24.000 –Okay. 00:07:24.598 --> 00:07:29.920 –ROBERT: He didn't really show the  artistic side of himself until later. 00:07:29.920 --> 00:07:32.920 Looking back, he wanted to be a plastic surgeon, 00:07:32.920 --> 00:07:36.659 and it's probably better he went into art. 00:07:38.720 --> 00:07:41.880 He just goes out and does  things. I don't know what it is. 00:07:41.880 --> 00:07:44.960 He doesn't seem to have some of  the fears that the rest of us do. 00:07:44.960 --> 00:07:48.935 He just seems to go straight  at it and find a way to do it. 00:08:19.721 --> 00:08:22.882 BARTALOS: Today's our second day doing this makeup on Matt. 00:08:30.040 --> 00:08:36.640 For this makeup, Matthew wears a prosthetic  of his lips blown open and the gums shattered. 00:08:36.640 --> 00:08:41.200 And then I use what's called pax,  it gives him the strange skin tone. 00:08:41.200 --> 00:08:44.480 And then we model with airbrush  the strange red veins on it 00:08:44.480 --> 00:08:49.334 to give it a kind of an organic  life underneath the plastic feel. 00:09:06.970 --> 00:09:08.360 Usually, what I do is that. 00:09:08.360 --> 00:09:12.360 MAN: I think Matthew is picturing  this as some kind of more formal thing 00:09:12.360 --> 00:09:13.920 like when you're watching the guy... 00:09:13.920 --> 00:09:14.560 BARNEY: It's probably 00:09:14.560 --> 00:09:18.334 harder for other people to take  direction because I look so ridiculous. 00:09:18.951 --> 00:09:21.880 MAN: so, Richard, I'd like to try  a couple court paintings, you know, 00:09:21.880 --> 00:09:25.880 where you're kind of on ¾ and the  hand is really deliberate in front. 00:09:25.880 --> 00:09:27.400 And the eyes are sort of off... 00:09:27.400 --> 00:09:32.200 BARNEY: As the story became about a  conflict between a union of metal workers 00:09:32.200 --> 00:09:34.320 and a union of stone masons, 00:09:34.320 --> 00:09:38.000 Richard Serra started to make sense  to me as a kind of chieftain character 00:09:38.000 --> 00:09:39.832 who could preside over the metal workers. 00:09:42.425 --> 00:09:43.720 –Like so, Matthew? 00:09:43.720 --> 00:09:46.040 –Looking good, nice. 00:09:46.040 --> 00:09:50.840 To be sure, Richard's been a  major influence on my work. 00:09:50.963 --> 00:09:56.481 And particularly, the "Throwing lead"  pieces that he did in the late '60s. 00:09:59.429 --> 00:10:01.160 SERRA: I think a guy like  Matthew probably looks at my work 00:10:01.160 --> 00:10:04.640 and there's a certain kind of physicality  that he recognizes in the work, 00:10:04.640 --> 00:10:07.880 where he feels his sensibility  can link into that physicality. 00:10:07.880 --> 00:10:11.880 Albeit, he has a very, very  different way of viewing the world, 00:10:11.880 --> 00:10:13.940 basically through images, not through models. 00:10:14.623 --> 00:10:17.240 –BARNEY: Little more torque  on the upper body, good. 00:10:17.240 --> 00:10:27.658 –Eyes right in the lens, good.  Take a quick look. It's weird. 00:10:34.721 --> 00:10:38.440 BARNEY: You know, in a certain way, a lot  of the characters that I bring into this are 00:10:38.440 --> 00:10:42.560 asked to do things that really have  to do with sort of physical feat 00:10:42.560 --> 00:10:48.200 rather than a kind of mannered, um… 00:10:49.920 --> 00:10:51.327 performance in any way. 00:10:57.200 --> 00:10:59.240 –Okay, let's do it. 00:10:59.240 --> 00:11:00.560 –MAN: let's lock it up, guys. 00:11:00.560 --> 00:11:04.897 –BARNEY: Three, two, one,  start the boom, and action. 00:11:07.800 --> 00:11:12.720 The architect, who's played by Richard  Serra, is shown throwing Vaseline 00:11:12.720 --> 00:11:14.720 on the top of level five, 00:11:14.720 --> 00:11:19.444 in really exactly the same way that  he threw hot lead in the late '60s. 00:11:20.840 --> 00:11:24.080 Of the types of work that I  gravitated towards in art school, 00:11:24.080 --> 00:11:27.199 those were the first pieces  that I think I truly understood. 00:11:28.440 --> 00:11:32.297 –And three, two, one, and action. 00:11:33.760 --> 00:11:42.040 Characters like Harry Houdini, Gary  Gilmore, Norman Mailer, and Ursula Andress, 00:11:42.040 --> 00:11:43.381 in certain ways… 00:11:46.040 --> 00:11:50.000 have a kind of physicality  in common about the way that 00:11:50.000 --> 00:11:55.581 violence is sublimated into form somehow. 00:11:58.240 --> 00:12:00.000 Which is for me what "Throwing lead" is. 00:12:00.520 --> 00:12:04.120 And I think that, as a theme, is sort  of central to what my project is about. 00:12:05.760 --> 00:12:09.560 I think we're just trying to get it  right, you know, for the scene to work, 00:12:10.080 --> 00:12:13.985 without passing any judgment on it, really.