[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:50.56,0:00:53.90,Default,,0000,0000,0000,,MATTHEW BARNEY: There are elements to these \Nprojects that are autobiographical.
Dialogue: 0,0:00:56.16,0:00:59.92,Default,,0000,0000,0000,,I consider all of the things that \NI work with attractive to me.
Dialogue: 0,0:01:02.08,0:01:06.74,Default,,0000,0000,0000,,Whether they repulse me or not, I’m \Nstill very, very attracted to them.
Dialogue: 0,0:01:09.84,0:01:13.68,Default,,0000,0000,0000,,CHELSEA ROMERSA: I just feel like it’s \Nat the basis of existence.
Dialogue: 0,0:01:13.68,0:01:19.47,Default,,0000,0000,0000,,To me it’s fundamental, like a \Nrudimentary kind of understanding of life.
Dialogue: 0,0:01:23.79,0:01:29.24,Default,,0000,0000,0000,,RICHARD SERRA: I recognize in him a certain kind \Nof energy and youthful exuberance.
Dialogue: 0,0:01:29.24,0:01:33.52,Default,,0000,0000,0000,,He’s a person who just wants to follow \Nthe imagination of his own work.
Dialogue: 0,0:01:34.52,0:01:36.00,Default,,0000,0000,0000,,BARNEY: A system that has an internal object.
Dialogue: 0,0:01:36.00,0:01:38.56,Default,,0000,0000,0000,,Freudian narratives, consumer and a producer.
Dialogue: 0,0:01:38.56,0:01:41.80,Default,,0000,0000,0000,,Violence. Sexually driven. NFL films.
Dialogue: 0,0:01:41.80,0:01:44.07,Default,,0000,0000,0000,,These are things that I think about.
Dialogue: 0,0:01:44.07,0:01:59.58,Default,,0000,0000,0000,,(theatrical music)
Dialogue: 0,0:02:04.20,0:02:06.32,Default,,0000,0000,0000,,–All right, just really quickly, guys.
Dialogue: 0,0:02:06.32,0:02:09.40,Default,,0000,0000,0000,,–The lights going to come up really quickly \Nthis morning because there’s no cloud cover,
Dialogue: 0,0:02:09.40,0:02:12.00,Default,,0000,0000,0000,,–And our shooting window's gonna be really narrow.
Dialogue: 0,0:02:12.00,0:02:14.54,Default,,0000,0000,0000,,–So we want to try and be \Nas organized as possible.
Dialogue: 0,0:02:14.54,0:02:17.78,Default,,0000,0000,0000,,–Man: You're pushing it at 5:00 \Nin the morning, you're pushing it.
Dialogue: 0,0:02:18.58,0:02:19.70,Default,,0000,0000,0000,,–You know I'm not awake yet.
Dialogue: 0,0:02:19.70,0:02:20.72,Default,,0000,0000,0000,,Barney:\NThe cremaster
Dialogue: 0,0:02:20.72,0:02:24.20,Default,,0000,0000,0000,,muscle is a muscle which controls the height
Dialogue: 0,0:02:24.20,0:02:27.44,Default,,0000,0000,0000,,of the internal reproductive system in the male.
Dialogue: 0,0:02:27.44,0:02:31.60,Default,,0000,0000,0000,,It's been taken on here as \Na stand-in for conflict.
Dialogue: 0,0:02:34.24,0:02:36.60,Default,,0000,0000,0000,,–You're all set, be good.
Dialogue: 0,0:02:37.13,0:02:37.97,Default,,0000,0000,0000,,Barney:\NThe film
Dialogue: 0,0:02:37.97,0:02:42.28,Default,,0000,0000,0000,,was shot and lit like a classic zombie film.
Dialogue: 0,0:02:42.28,0:02:46.00,Default,,0000,0000,0000,,It'll start within the horror genre \Nand then immediately move out of it
Dialogue: 0,0:02:46.00,0:02:49.66,Default,,0000,0000,0000,,into a kind of an art-deco kind of gangster genre.
Dialogue: 0,0:02:50.24,0:02:54.72,Default,,0000,0000,0000,,The horse is meant to foreshadow \Nthe fate of this betrayer
Dialogue: 0,0:02:54.72,0:03:01.23,Default,,0000,0000,0000,,and what he sees as a field of ten \Nhorses in harness running dead.
Dialogue: 0,0:03:20.00,0:03:21.48,Default,,0000,0000,0000,,–All right, you guys!\N–We're ready for you.
Dialogue: 0,0:03:21.48,0:03:23.12,Default,,0000,0000,0000,,FRANK MCMAHON: Well, they're making a film.
Dialogue: 0,0:03:23.12,0:03:27.48,Default,,0000,0000,0000,,I'm not too certain what the film's about, \Nbut I guess this is a dream sequence,
Dialogue: 0,0:03:27.48,0:03:32.88,Default,,0000,0000,0000,,and that's why they have the horses \Nwith this spandex clothing on them.
Dialogue: 0,0:03:33.88,0:03:37.44,Default,,0000,0000,0000,,It was all choreographed, so we \Nwere all instructed where to finish.
Dialogue: 0,0:03:39.08,0:03:42.03,Default,,0000,0000,0000,,Luckily I'm going to win it.
Dialogue: 0,0:03:49.36,0:03:51.02,Default,,0000,0000,0000,,–Man: hey, Chels, it's Gabe.
Dialogue: 0,0:03:51.02,0:03:53.16,Default,,0000,0000,0000,,–Chelsea: hi, Gabe.
Dialogue: 0,0:03:53.16,0:03:56.68,Default,,0000,0000,0000,,–Do you know the next two \Nhorses after the two we have?
Dialogue: 0,0:03:56.68,0:04:00.72,Default,,0000,0000,0000,,GABE BARTALOS: I've done the prosthetic effects \Non the last four or five projects.
Dialogue: 0,0:04:01.28,0:04:05.28,Default,,0000,0000,0000,,It's always these strange calls, he's just \Ncalling to say hi, and then he's like,
Dialogue: 0,0:04:05.28,0:04:08.96,Default,,0000,0000,0000,,"Hey, you know, what if on the next \Nproject we were doing something like this?"
Dialogue: 0,0:04:08.96,0:04:10.84,Default,,0000,0000,0000,,And I'm like, "Oh, wow."
Dialogue: 0,0:04:10.84,0:04:16.88,Default,,0000,0000,0000,,So, this is actually the most ambitious \Nstuff, at least in all the Cremaster series.
Dialogue: 0,0:04:16.88,0:04:18.96,Default,,0000,0000,0000,,Matt had real specific ideas about it.
Dialogue: 0,0:04:19.56,0:04:22.36,Default,,0000,0000,0000,,At a pretty funny breakfast, we \Nbrought out all our anatomy books
Dialogue: 0,0:04:22.36,0:04:25.64,Default,,0000,0000,0000,,and books of morgues and \Nstuff, and I was kinda like,
Dialogue: 0,0:04:25.64,0:04:28.02,Default,,0000,0000,0000,,"Is this what you're thinking about?"
Dialogue: 0,0:04:30.72,0:04:34.76,Default,,0000,0000,0000,,What's really proven to be the engineering \Nmarvel is the spandex suits underneath.
Dialogue: 0,0:04:34.76,0:04:39.32,Default,,0000,0000,0000,,It's super-stretching spandex for direction, \Nreinforced with zippers and buckles.
Dialogue: 0,0:04:39.32,0:04:44.24,Default,,0000,0000,0000,,Layers of skin are then sewed on and \Nwe dress it and tear it and burn it
Dialogue: 0,0:04:44.24,0:04:45.88,Default,,0000,0000,0000,,to make sure that they all look different.
Dialogue: 0,0:04:45.88,0:04:51.72,Default,,0000,0000,0000,,You know, they're all the same pedigree, \Nbut they all have their own identities.
Dialogue: 0,0:04:55.51,0:04:56.04,Default,,0000,0000,0000,,BARNEY:\NBecause these
Dialogue: 0,0:04:56.04,0:04:59.28,Default,,0000,0000,0000,,were full body suits that the horses were wearing,
Dialogue: 0,0:05:00.08,0:05:03.56,Default,,0000,0000,0000,,and they were absorbent, they \Nwere filling up with sweat,
Dialogue: 0,0:05:03.56,0:05:07.00,Default,,0000,0000,0000,,the horses were becoming fatigued and overheated.
Dialogue: 0,0:05:07.00,0:05:12.44,Default,,0000,0000,0000,,So we would do takes, a take, \Ntwo takes, and the vet would say,
Dialogue: 0,0:05:12.44,0:05:15.88,Default,,0000,0000,0000,,"That's it, they need a rest. \NThe suits need to come off them,"
Dialogue: 0,0:05:15.88,0:05:17.08,Default,,0000,0000,0000,,and that's what we would do.
Dialogue: 0,0:05:22.20,0:05:23.56,Default,,0000,0000,0000,,BARTALOS:\NMatt is so hands-on with it.
Dialogue: 0,0:05:23.56,0:05:25.68,Default,,0000,0000,0000,,We're really just an extension of him.
Dialogue: 0,0:05:25.68,0:05:28.28,Default,,0000,0000,0000,,It's great for us, because it's \Nall based in artwork, and that's,
Dialogue: 0,0:05:28.28,0:05:29.64,Default,,0000,0000,0000,,selfishly for me, what's fun.
Dialogue: 0,0:05:31.72,0:05:36.00,Default,,0000,0000,0000,,BARNEY: There's 10 horses, there's 5 \Nteams of 2, so each pair will be
Dialogue: 0,0:05:36.00,0:05:39.78,Default,,0000,0000,0000,,photographed in front of the same background.
Dialogue: 0,0:05:39.78,0:05:42.00,Default,,0000,0000,0000,,ROMERSA: All of us are artists.
Dialogue: 0,0:05:42.00,0:05:47.68,Default,,0000,0000,0000,,I think all of us, there's plenty \Nof room in our heads or in our space
Dialogue: 0,0:05:47.68,0:05:55.00,Default,,0000,0000,0000,,to continue to think artistically in \Nour own way, and therefore it seems to.
Dialogue: 0,0:05:55.80,0:06:00.04,Default,,0000,0000,0000,,There's a good product in the end for Matthew, \Nand it's a good product for us individually.
Dialogue: 0,0:06:00.04,0:06:01.60,Default,,0000,0000,0000,,–So, the roof next.
Dialogue: 0,0:06:01.60,0:06:04.12,Default,,0000,0000,0000,,–We're ready for that shot? Okay.
Dialogue: 0,0:06:04.24,0:06:07.16,Default,,0000,0000,0000,,BARNEY:\NFor the scale of these projects, we're a very small group.
Dialogue: 0,0:06:07.16,0:06:15.61,Default,,0000,0000,0000,,Because of that fact, it's quite \Nfamily— it feels a bit like a family.
Dialogue: 0,0:06:17.60,0:06:20.68,Default,,0000,0000,0000,,We needed a steward and we \Nneeded a presiding judge,
Dialogue: 0,0:06:20.68,0:06:24.20,Default,,0000,0000,0000,,and I called my father and asked \Nhim to play the presiding judge
Dialogue: 0,0:06:24.20,0:06:27.90,Default,,0000,0000,0000,,and he brought a close friend of \Nhis into the role of the steward.
Dialogue: 0,0:06:29.32,0:06:31.08,Default,,0000,0000,0000,,So it's two shots.
Dialogue: 0,0:06:31.08,0:06:37.74,Default,,0000,0000,0000,,First shot, the canister comes down to \Nyou, you open it up, you look at it, cut.
Dialogue: 0,0:06:38.72,0:06:40.48,Default,,0000,0000,0000,,–Actually, could you come forward again?
Dialogue: 0,0:06:40.48,0:06:42.20,Default,,0000,0000,0000,,–Yeah, that's better, looking up.
Dialogue: 0,0:06:42.44,0:06:45.80,Default,,0000,0000,0000,,–Three, two, one with the canister.
Dialogue: 0,0:06:51.12,0:06:53.04,Default,,0000,0000,0000,,ROBERT BARNEY: He has always been very focused,
Dialogue: 0,0:06:53.04,0:06:58.42,Default,,0000,0000,0000,,always had goals in front of him and \Nwould work very diligently to get there.
Dialogue: 0,0:06:58.42,0:07:00.65,Default,,0000,0000,0000,,–BARNEY: And cut, excellent.
Dialogue: 0,0:07:01.80,0:07:02.68,Default,,0000,0000,0000,,–You happy with that?
Dialogue: 0,0:07:02.68,0:07:03.48,Default,,0000,0000,0000,,–Yeah.\N–Yeah.
Dialogue: 0,0:07:03.94,0:07:06.28,Default,,0000,0000,0000,,ROBERT:\NI watched him at work,
Dialogue: 0,0:07:06.28,0:07:10.92,Default,,0000,0000,0000,,which was absolutely fascinating to \Nsee how he can put things together.
Dialogue: 0,0:07:10.92,0:07:12.59,Default,,0000,0000,0000,,So, Matt, where do you want to set up?
Dialogue: 0,0:07:12.59,0:07:13.48,Default,,0000,0000,0000,,BARNEY:\NI'm thinking over here.
Dialogue: 0,0:07:13.48,0:07:16.76,Default,,0000,0000,0000,,ROBERT: It's both the artistic \Nside and the business side.
Dialogue: 0,0:07:16.76,0:07:19.78,Default,,0000,0000,0000,,He seems to have both going for him.
Dialogue: 0,0:07:21.06,0:07:22.28,Default,,0000,0000,0000,,–ROMERSA: And cut.
Dialogue: 0,0:07:22.28,0:07:23.44,Default,,0000,0000,0000,,–BARNEY: Gorgeous.
Dialogue: 0,0:07:23.44,0:07:24.00,Default,,0000,0000,0000,,–Okay.
Dialogue: 0,0:07:24.60,0:07:29.92,Default,,0000,0000,0000,,–ROBERT: He didn't really show the \Nartistic side of himself until later.
Dialogue: 0,0:07:29.92,0:07:32.92,Default,,0000,0000,0000,,Looking back, he wanted to be a plastic surgeon,
Dialogue: 0,0:07:32.92,0:07:36.66,Default,,0000,0000,0000,,and it's probably better he went into art.
Dialogue: 0,0:07:38.72,0:07:41.88,Default,,0000,0000,0000,,He just goes out and does \Nthings. I don't know what it is.
Dialogue: 0,0:07:41.88,0:07:44.96,Default,,0000,0000,0000,,He doesn't seem to have some of \Nthe fears that the rest of us do.
Dialogue: 0,0:07:44.96,0:07:48.94,Default,,0000,0000,0000,,He just seems to go straight \Nat it and find a way to do it.
Dialogue: 0,0:08:19.72,0:08:22.88,Default,,0000,0000,0000,,BARTALOS: Today's our second day doing this makeup on Matt.
Dialogue: 0,0:08:30.04,0:08:36.64,Default,,0000,0000,0000,,For this makeup, Matthew wears a prosthetic \Nof his lips blown open and the gums shattered.
Dialogue: 0,0:08:36.64,0:08:41.20,Default,,0000,0000,0000,,And then I use what's called pax, \Nit gives him the strange skin tone.
Dialogue: 0,0:08:41.20,0:08:44.48,Default,,0000,0000,0000,,And then we model with airbrush \Nthe strange red veins on it
Dialogue: 0,0:08:44.48,0:08:49.33,Default,,0000,0000,0000,,to give it a kind of an organic \Nlife underneath the plastic feel.
Dialogue: 0,0:09:06.97,0:09:08.36,Default,,0000,0000,0000,,Usually, what I do is that.
Dialogue: 0,0:09:08.36,0:09:12.36,Default,,0000,0000,0000,,MAN: I think Matthew is picturing \Nthis as some kind of more formal thing
Dialogue: 0,0:09:12.36,0:09:13.92,Default,,0000,0000,0000,,like when you're watching the guy...
Dialogue: 0,0:09:13.92,0:09:14.56,Default,,0000,0000,0000,,BARNEY:\NIt's probably
Dialogue: 0,0:09:14.56,0:09:18.33,Default,,0000,0000,0000,,harder for other people to take \Ndirection because I look so ridiculous.
Dialogue: 0,0:09:18.95,0:09:21.88,Default,,0000,0000,0000,,MAN: so, Richard, I'd like to try \Na couple court paintings, you know,
Dialogue: 0,0:09:21.88,0:09:25.88,Default,,0000,0000,0000,,where you're kind of on ¾ and the \Nhand is really deliberate in front.
Dialogue: 0,0:09:25.88,0:09:27.40,Default,,0000,0000,0000,,And the eyes are sort of off...
Dialogue: 0,0:09:27.40,0:09:32.20,Default,,0000,0000,0000,,BARNEY: As the story became about a \Nconflict between a union of metal workers
Dialogue: 0,0:09:32.20,0:09:34.32,Default,,0000,0000,0000,,and a union of stone masons,
Dialogue: 0,0:09:34.32,0:09:38.00,Default,,0000,0000,0000,,Richard Serra started to make sense \Nto me as a kind of chieftain character
Dialogue: 0,0:09:38.00,0:09:39.83,Default,,0000,0000,0000,,who could preside over the metal workers.
Dialogue: 0,0:09:42.42,0:09:43.72,Default,,0000,0000,0000,,–Like so, Matthew?
Dialogue: 0,0:09:43.72,0:09:46.04,Default,,0000,0000,0000,,–Looking good, nice.
Dialogue: 0,0:09:46.04,0:09:50.84,Default,,0000,0000,0000,,To be sure, Richard's been a \Nmajor influence on my work.
Dialogue: 0,0:09:50.96,0:09:56.48,Default,,0000,0000,0000,,And particularly, the "Throwing lead" \Npieces that he did in the late '60s.
Dialogue: 0,0:09:59.43,0:10:01.16,Default,,0000,0000,0000,,SERRA: I think a guy like \NMatthew probably looks at my work
Dialogue: 0,0:10:01.16,0:10:04.64,Default,,0000,0000,0000,,and there's a certain kind of physicality \Nthat he recognizes in the work,
Dialogue: 0,0:10:04.64,0:10:07.88,Default,,0000,0000,0000,,where he feels his sensibility \Ncan link into that physicality.
Dialogue: 0,0:10:07.88,0:10:11.88,Default,,0000,0000,0000,,Albeit, he has a very, very \Ndifferent way of viewing the world,
Dialogue: 0,0:10:11.88,0:10:13.94,Default,,0000,0000,0000,,basically through images, not through models.
Dialogue: 0,0:10:14.62,0:10:17.24,Default,,0000,0000,0000,,–BARNEY: Little more torque \Non the upper body, good.
Dialogue: 0,0:10:17.24,0:10:27.66,Default,,0000,0000,0000,,–Eyes right in the lens, good. \NTake a quick look. It's weird.
Dialogue: 0,0:10:34.72,0:10:38.44,Default,,0000,0000,0000,,BARNEY: You know, in a certain way, a lot \Nof the characters that I bring into this are
Dialogue: 0,0:10:38.44,0:10:42.56,Default,,0000,0000,0000,,asked to do things that really have \Nto do with sort of physical feat
Dialogue: 0,0:10:42.56,0:10:48.20,Default,,0000,0000,0000,,rather than a kind of mannered, um…
Dialogue: 0,0:10:49.92,0:10:51.33,Default,,0000,0000,0000,,performance in any way.
Dialogue: 0,0:10:57.20,0:10:59.24,Default,,0000,0000,0000,,–Okay, let's do it.
Dialogue: 0,0:10:59.24,0:11:00.56,Default,,0000,0000,0000,,–MAN: let's lock it up, guys.
Dialogue: 0,0:11:00.56,0:11:04.90,Default,,0000,0000,0000,,–BARNEY: Three, two, one, \Nstart the boom, and action.
Dialogue: 0,0:11:07.80,0:11:12.72,Default,,0000,0000,0000,,The architect, who's played by Richard \NSerra, is shown throwing Vaseline
Dialogue: 0,0:11:12.72,0:11:14.72,Default,,0000,0000,0000,,on the top of level five,
Dialogue: 0,0:11:14.72,0:11:19.44,Default,,0000,0000,0000,,in really exactly the same way that \Nhe threw hot lead in the late '60s.
Dialogue: 0,0:11:20.84,0:11:24.08,Default,,0000,0000,0000,,Of the types of work that I \Ngravitated towards in art school,
Dialogue: 0,0:11:24.08,0:11:27.20,Default,,0000,0000,0000,,those were the first pieces \Nthat I think I truly understood.
Dialogue: 0,0:11:28.44,0:11:32.30,Default,,0000,0000,0000,,–And three, two, one, and action.
Dialogue: 0,0:11:33.76,0:11:42.04,Default,,0000,0000,0000,,Characters like Harry Houdini, Gary \NGilmore, Norman Mailer, and Ursula Andress,
Dialogue: 0,0:11:42.04,0:11:43.38,Default,,0000,0000,0000,,in certain ways…
Dialogue: 0,0:11:46.04,0:11:50.00,Default,,0000,0000,0000,,have a kind of physicality \Nin common about the way that
Dialogue: 0,0:11:50.00,0:11:55.58,Default,,0000,0000,0000,,violence is sublimated into form somehow.
Dialogue: 0,0:11:58.24,0:12:00.00,Default,,0000,0000,0000,,Which is for me what "Throwing lead" is.
Dialogue: 0,0:12:00.52,0:12:04.12,Default,,0000,0000,0000,,And I think that, as a theme, is sort \Nof central to what my project is about.
Dialogue: 0,0:12:05.76,0:12:09.56,Default,,0000,0000,0000,,I think we're just trying to get it \Nright, you know, for the scene to work,
Dialogue: 0,0:12:10.08,0:12:13.98,Default,,0000,0000,0000,,without passing any judgment on it, really.