tv The Cure for Capitalism LINKTV April 27, 2017 9:30am-12:01pm PDT
(nancy savoca) we did go out with a script but it was rejected basically because it's not a topic many people want to deal with. and we ended up doing it independently, mainly because we just couldn't find somebody to back it. independent filmmaking is a really wonderful thing, but the harsh reality of it is that it gives you less money when you're working outside of the studio system and you suffer for it. there's a lot of compromising and you lose a lot of things. but you gain creative control. at this point it's the only way i can get creative control. if someone's giving me money i'll take it. but at the same time i want the creative control. and that's the battle. (upbeat music playing) (narrator) with "reservoir dogs," quentin tarantino's use of sharp dialogue and graphic violence created a sensation at the 1992 cannes turino and sundance film festivals. i just didn't think i was ever going to deal my way in. "you know, we're going to take a chance
on you, kid." i just never thought that would ever happen. so out of frustration, i wrote "reservoir dogs," i had just sold a script so i decided to take that money and make the movie with that. i was going to shoot "reservoir dogs" for $30,000 16-millimeter, black and white. that's why it takes place in one room. i begged him and begged him to let me raise more money and he refused. no, no, no, no i've heard that before forget it, no way. no one's ever going to give me a chance and no. and he was saying this to me i'm like, oh, man, but just let me, like, go raise some money, please. and finally after a long time of negotiating he goes, "all right, give me two months with it. you can wait three months to make your home movie." and i go "well, okay, 2 months." in two months we got it going. i'm going to die i know it! oh, excuse me, i didn't realize you had a degree in medicine. uh, uh... are you a doctor? are you a doctor?
answer me please are you a doctor? huh? no, i'm not, i'm not. so you admit you don't know what you're talking about. so if you're through giving me your amateur opinion slide back and listen to the news i'm taking you back. joe's going to get you a doctor and the doctor will fix you up. (harvey keitel) it's a film that hollywood did not want to make. quentin was going to give up directing the script because of all the difficulty in raising the funding. and i urged him to direct it. i wanted him to direct it, because in the text his talent was so vivid to me that i felt he should direct it and i didn't want to do it unless he directed it. the way i write, i get the characters talking. and they just start talking to each other and i'm like a court reporter, just writing it down. and they just get it going. and so since this was basically almost like a play as far as like the way they dealt with each other they wrote it.
(quentin tarantino) this is my quickest script i wrote it in about 3 weeks. (man) if i'd known how you are i'd never have worked with you. are you going to bark all day, little doggie? or are you going to bite? what was that? i'm sorry, i didn't catch it. would you repeat it? are you going to bark all day, or are you going to bite? i got involved in helping quentin with the casting which an actor of my experience should do for a young director a first-time director. so i read with a lot of people and all that. and then i wanted quentin to see all the actors he could to make the best choices he could. there wasn't money in the budget to finance a trip to new york to see new york actors so i financed that. to me, if it was good acting and it was a clever dialogue and good writing or whatever it would have been a failure if it hadn't worked as far as the film going to a projector.
(screeching tires) (gunfire) (quentin tarantino) it's cool because i get to be both actor and director. actually, i don't like most movies directed by actors. there's no cinema involved they're all touchie-feelie. i like cinema. my heroes are brian de palma sergio leone, mario bava martin scorsese, nicholas ray, people like that. sam fuller. cinema guys. ever listen to k-billy's "super sounds of the 70s"? violence in movies doesn't bother me at all. saying you don't like violence in movies is like saying you don't like tap-dancing in movies. it's a very cinematic thing, and you may not like it, but it's not up for questioning, you can do anything. ♪ i gotta feelin' ♪ ♪ somethin' ain't right ♪
♪ i'm so scared ♪ ♪ i guess i'll fall ♪ ♪ off my chair ♪ ♪ an' i'm wonderin' how ♪ ♪ i'll get down the stairs ♪ ♪ clowns to the left of me ♪ ♪ jokers to the right ♪ ♪ here i am ♪ ♪ stuck in the middle ♪ ♪ with you ♪ ♪ hmmmmm! ♪ an' i'm wonderin' what ♪ ♪ it is you will do ♪ ♪ it's so hard ♪ ♪ to keep the smile ♪ ♪ from my face ♪ ♪ (man) hold still! (quentin tarantino) that was one of the only scenes that i actually shot two ways. i did another shot where the camera was behind the cop, as michael straddles him and cuts off the ear. because i wanted to be sure about which way to go. in the rushes, the one where michael is on top and saws it off on screen, that was the powerful one. that was the one where we were oh, wow, we gotta use that one. that's the one.
but in the movie where the camera pans away that was the more powerful one. you could dismiss the other one because of its shock value. it was easier to explain away. the other one where your imagination takes it is the one that disturbs people. i wanted it to be disturbing. everyone talks about the violence scene in "dogs" as, god, it's just unbearable, people walk out and so on. when i saw it, women just left in droves at that scene. but it does create a selling point. and i think that something people perhaps overlook a bit in this kind of rarefied world of american art cinema independent cinema is that there still has to be something to sell in them and that's exploitable. (narrator) while tarantino uses the spectacle of violence to propel his story forward, in "one false move," carl franklin portrays violence in a different way. i wanted people to experience a loss of humanity the invasion of humanity which is what happens
when somebody dies, you know somebody who was alive somebody who had dreams, somebody who was loved is not here anymore. and there are people who mourn that loss. there is a chunk of humanity that suddenly is gone. and there's a numbing kind of a feeling. it's not an exciting thing that somebody's dead, you know. and there's an absence. and i wanted to depict that. there's coke in the kitchen. take the money and the coke. (carl franklin) we shot it wide so you can see the perpetrator and you could see the victim. and you could see the response of the perpetrator. and you could see the response of the people who cared about the victim all of that was in the frame. (yelling and screaming) (carl franklin) i didn't write the script, but to accept the screenplay you have to accept your own representation of violence. and if it is a horrid one, then you got to communicate it.
the difference between sort of mindless hollywood violence and the kind of violence you occasionally confront in these independent films "one false move," maybe "reservoir dogs," is that the artists putting these sequences on that make you feel the horror and/or really make you think about what this means, it can really justify what they're putting on the screen. (carl franklin) we wanted to somehow break the genre. we didn't want it to be a conventional hollywood crime. slow down, ray. don't panic. he recognized me back there, man, i know he did. if he recognized you he'd arrest you in the store. he was just looking us over. white boy and a nigger girl in texas, that's all it is. (carl franklin) the characters weren't all good or all bad, they were flawed. i'm going to pull 'em over. and with that principle kind of established
that this was a world where people had good and bad sides and where evil was not as clearly defined or as simple as it normally is in a hollywood film, that created a lot of room to interpret and to do a lot of human inner-character work. y'all want some rolls? (carl franklin) the fact that race was not the foremost issue in the film was in the writing but it also coincided with my own view of racial problems that we have in the world. i hope to hell he does show his heinie up there, that piece of white trash and them two niggers are -- ow, shirley, you nearly broke my -- arnie, pass me them pickles, will you? most of the time people don't call me names, or confront me people who are racist. but they'll do other things. and it's
the same thing. in "one false move," pluto's not going to say "i don't like the relationship of you and ray" to fantasia but you'll see it in his responses and his looks. we can buy all the blow we want when we get there. we'll be safe. pluto will take care of us. we'll be safe, baby. i have had offers, several offers from the studios wanting me to do things that are very hollywood, and really slick. and it somehow escapes me as to why they've come to me. i don't know what they saw in the movie that would make them think that i can do those films, or that i would want to do those kinds of films. (slow percussion music playing)
(julie dash) "daughters of the dust" is based upon african deities, so the structure unravels and the story reveals itself in a very west african way. in the way an african rio would recount and recall and retell his family's history. i was trying to shoot in tableaux that people would remember to redefine african-americans, specifically african women in historical drama. (african woman) when i was a child mother cut this from her hair before she was sold away from me. now i add on my own hair
there must be a bond a connection. i wrote "daughters of the dust" while i was a student at afi. and they marked a big "no" across it. and years later, after i had done "illusions" i started pitching this story to studio executives because they kept saying "oh, we're really interested in seeing how independents can make these films on such low budgets." so i pitched "daughters of the dust." and they said, "oh, um, is it like 'sounder'?" "is it like anything -- is it like 'the color purple'?" and i said, "no, it's something we've never seen before." and they kind of balked -- one of them even told me "well, we don't do anything that we've never seen before." (todd mccarthy) if your film is something like "daughters of the dust," which is a very particular special kind of film that's the kind of film to make outside the system because as soon as hollywood gets involved, they're going to want more of a story,
they're going to want name actors. they're going to want some kind of a really strong narrative. and that's not the kind of film she was interested in making. when i'm pitching a story to a hollywood executive it's usually a male. and men tend to want to see and hear male drama stories and coming of age stories of young boys. (julie dash) i think a lot of the films that we've seen recently from african-american male directors are doing well because these executives were able to role-play when they read the stories. and it's kind of like "national geographic" to them, and they can watch these films and role-play for two hours and walk out of the theatre and feel safe because they know, phew, that wasn't my life. i never had too much trouble making a dollar. never needed nobody to help me do that. i can't stand still... (julie dash) when i pitch stories to them i'm pitching stories about african-american women. so i'm asking these executives to extend themselves two hours
to look at stories about african-american women who are not victims, who are living their lives who are facing pivotal moments in their lives. and usually they disengage from the stories. (julie dash) they disengage from the pitch. and i really believe it's because they're not interested. this is not what titillates them. they do not want to extend themselves into being an african-american woman for two hours. they rarely want to extend themselves into being a white woman for two hours. that's why it's very difficult for women filmmakers in general to get stories about themselves on the screen. (narrator) independent films often need specialized marketing. "daughters of the dust" made variety top-grossing list and remained there for over 30 weeks, using an innovative grass-roots marketing strategy developed by kjm-3 a company of african-american film professionals. their approach included direct distribution flyers and asking ministers to mention the
film in their sermons. (narrator) "laws of gravity," directed by nick gomez illustrates how many filmmakers faced with low budgets turn a lack of money into a creative challenge. the films i want to make are films that speak honestly about people who live in this country. (nick gomez) maybe with a point of view maybe even a little bite. we worked out of our apartments about a year-and-a-half ago, and it's a hassle working out of your apartment. there's no separation between work and life. so we decided to create a place for those without money. (larry meistrich) the shooting gallery is a home for independent filmmaking within two floors here about 10,000 square feet of anything you could think of having to do with making films.
you could shoot here for a couple hundred dollars a day cast and have a somewhat more professional atmosphere than casting out of your apartment. and at the same time not spending a lot of money and keeping that money for the production you're working on. you've just got to get up and get the film stock and borrow a camera and go out and shoot it, as opposed to sitting around and planning and submitting, trying to raise funding through the powers that be. well, the film that we made cost $35,000 dollars so there isn't a lot of precedence for that. so what we were trying to do is create our own model. (nick gomez) the economics of the characters and the geography of the film matched the economics of the making of the movie. it's very easy, especially shooting hand-held stuff to sort of just say, "well, let's just sit down and put the camera on a tripod let's just relax for a minute."
and the cameraman looks up to you exhausted, sweat pouring down his face with an aaton on his shoulder. but you just have to keep on pushing everybody to try to maintain a certain kind of level. (nick gomez) you create a live situation and the camera gets it and it's an intact moment from beginning to end. and that's a great way to work. instead of breaking scenes down and stopping and getting the action shot and blah, blah, blah where the whole thing happens like it's live and the whole scene unfolds from beginning to end. (yelling and screaming) where are you taking him? so if i didn't have these guys if i just came in and had directed this movie i'd end up in hollywood waiting around for whatever, work, the phone to ring, or whatever to happen to me. but because we have this good little group here, we're able to approach things in a clear-eyed responsible way
and just continue to make films the way we want to make them. we don't want to keep making movies for $35,000. we'd like to pay our crews and be able to feed them better and things like that. but we're not that interested in making $40 million movies. what's particularly exciting about american independent film now is it's giving a platform for many, many new voices. from america, from many different parts of culture. and i think that that's going to force actually eventually, hollywood films to reflect more of america and the changing population and changing artistic voices. (narrator) in "swoon," director tom kalin reinterpreted the scandalous 1920's chicago trial of nathan leopold and richard loeb two lovers accused of murdering a young boy. rather than obscure the characters'
homosexuality, kalin took a different route. (muffled screams) (tom kalin) at the heart of "swoon," and it's one of the things that makes many audiences maybe disturbed by the film, is its unrepentant quality or a refusal to moralize. "swoon" doesn't have as its core a desire to locate leopold and loeb as victims or as heroes. come on. (tom kalin) "swoon" really tries to tell the film from inside the relationship. the chaotic, contradictory complex relationship of them. so that in a certain degree, you are made to participate. i'm not peddling family values in "swoon," for instance. i'm peddling values that are much more complicated that ask you to ask questions about, for instance, the ideology of the family or sexual or racial roles, or various positions in society.
and i think at the heart a lot of movies in hollywood do have an extremely strong and unself-critical promotion of family values, et cetera. (tom kalin) and i think "swoon" wants to interrupt that and recognize that the audience is more complicated and diverse than it's been constituted by mainstream film. using "new queer" cinema as a banner in which to market films has its pluses, obviously because films get more press they get a movement. but on the other hand, i think it's a great disservice to a film like "swoon," which i think, certainly transcends issues of sexuality and gender into much broader, stronger ideas of desire and passion. where was i? (judge) you were discussing their pathology. (attorney) your honor, if the defense
is proposing these murders -- (christine vachon) i don't think we are saying, "oh, there's absolutely no way we'd ever work within a hollywood system or whatever" but i do think there's certain fundamental things. i mean, ultimately, the things that make our films interesting are exactly the things often that those systems strip away, like choice of cast, like final cut, you know. and like the chance to really be innovative, take chances on people and on structure and on form. so once those things are gone, then who does it really matter who's making the film? (narrator) with "the living end," a movie about two men with hiv gregg araki added another voice to queer cinema. where's the party, animal? (rock 'n roll music playing) the world is ours. so, like, figure this:
there's thousands and maybe millions of us walking around with this inside of us this time bomb ticking making our futures finite. suddenly i realized we got nothing to lose. you know, i went to the usc film school. and being in a really industry-oriented school really pushed me more towards an independent underground edge in that i knew my films were in terms of content and form a little too weird or esoteric or artsy for mainstream tastes. (woman) now, don't kill him until i get back. and no more flirting. you know, she shouldn't go out there alone there are snakes in those bushes. fran can take care of herself, you better believe it. (prolonged scream) snakes. (gregg araki) i really wanted the film to be as weird and as radical
and as bold and out there as i possibly could. and i think that the difference in, say, a hollywood film, they very much want to do the opposite and to rein you in. and "don't make it too weird," or "don't offend that part of the audience." ow, ow, f---. do you really want to go back to: i'm-hiv-positive-and- everything's-hunkie-dorie? go f---' right ahead. just don't forget to have sex in a plastic baggie and don't plan anything too far in the future. (gregg araki) the best thing about being an independent filmmaker is freedom of the underground, in that you can do things, say things, try things that hollywood films can't. i think he's going to keep doing that. that's what he wants to do. to use somewhat better actors, the budget may go from $25,000 to $500,000; same with 35-millimeter shooting.
but this last film was mixed on a macintosh computer, for almost nothing. and as the technology changes, it's going to be easier and easier to make these very cheap films for someone like gregg who's got that much talent. if you're determined to make a film now i am convinced that you can find a way to make it. whether you shoot it on video and get it transferred or you get everyone and all the equipment for free or you save up for two or three years all those ways now are possible. whereas before, it was completely out of the question. i think i'll always be a guerilla filmmaker. at one point one critic called us outlaws and so, yes, i am a film outlaw and i think that's a good thing to be.
annenberg media ♪ by: ¿por qué tienes que ser tan desconfiado? no entiendo por qué todos le tienen tanta antipatía a jorge. porque queremos protegerte de ese don juan. no tienes derecho de decir que es un don juan. tú no lo sabes. entonces, ¿quién era la mujer que contestó cuando lo llamaste a su casa? unos amigos de nueva york que están en puerto rico. están alojados en su casa. ¿qué hay de malo en eso? ¿tú crees eso? por supuesto. narrador: bienvenidos al episodio 47 de destinos.
primero, algunas escenas de este episodio. mira, arturo, quería hablar contigo porque... pues tengo unos problemas y pensé que como tú eres psiquiatra... te escucho. ¿de qué se trata? de mi mujer, gloria. en este episodio no hay vocabulario nuevo. uds. no tienen que hacer nada más que ponerse cómodos y gozar de la historia porque en este episodio don fernando finalmente conoce a sus nietos. yo soy angela y éste es mi hermano, roberto. vengan. quiero verlos de cerca.
captioning of this program is made possible by the annenberg/cpb project and the geraldine r. dodge foundation. en el episodio previo, don fernando regresó a la gavia. en guadalajara, el médico le había dicho a mercedes que ya no había nada que hacer y que don fernando podía regresar a casa a pasar sus últimos días con su familia. mientras tanto, arturo y pancho, el padre de raquel conversaban durante el desayuno. era evidente que arturo le caía bien a pancho. y la madre de raquel a quien no le gustaba arturo
le confesó a raquel sus temores. no es que no me gusta tu amigo arturo. es que... es que tengo miedo. raquel, tu papá y yo somos viejos. no tenemos a nadie. iyo no quiero que te vayas a la argentina! más tarde raquel, arturo pancho y maría dieron un paseo y maría empezó a conocer a arturo. angela y roberto hablaron del apartamento y decidieron no venderlo por el momento. por la tarde, fueron a la gavia con arturo y raquel para conocer por fin a su abuelo paterno. don fernando... quiero presentarle a sus nietos.
angela: abuelo... yo soy angela y éste es mi hermano, roberto. vengan. quiero verlos de cerca. abuelo. abuelo, éste es nuestro tío, arturo el medio hermano de nuestro papá. don fernando: arturo... gracias por haber ayudado a raquel. te estoy muy agradecido. quien tiene que dar las gracias soy yo. gracias a ud. puedo conocer a mis sobrinos y por fin conocer el destino de angel.
dime, arturo... ¿rosario fue feliz? sí, lo fue. le he traído una foto de ella. está tan bella como el día en que nos casamos. mi madre... siempre sintió un gran afecto por angel. ahora, me doy cuenta que fue por ud. tengo una foto de angel cuando tenía veinte años. supongo que uds. le habrán contado
lo que pasó con angel. sí. mi hermano pedro me lo ha contado todo. tú te sientes culpable, ¿verdad? pero no hay ningún motivo para que te sientas así. angel sólo hizo lo que pensó que era necesario. ( tose ) papá ¿estás bien? ¿que si estoy bien, hija mía? me estoy muriendo. vamos. vamos. mejor dejemos a mi hermano para que pueda descansar. sí, sí, vayan. déjenme solo un rato. necesito tiempo para reponerme.
disculpen, voy a dar un paseo para tomar un poco de aire fresco. ¿me permiten? sí, andá no hay problemas. juan está pasando por un período difícil. bueno, estamos organizando todo para la cena de esta noche. tú te quedas, raquel, ¿no? pues, no lo sé. mis padres acaban de llegar de los angeles. ipues los invitamos a ellos también! gracias, pero no creo que acepten. la gavia está muy lejos. además ésta es una reunión muy importante
para uds. raquel, quédate sólo por esta noche. esta es una ocasión única. desde mañana podrás estar con tus padres todo el tiempo que quieras. está bien, los voy a llamar. aquí hay recámaras para todos. pueden quedarse hasta mañana. así no tendrán que viajar toda la noche. de acuerdo. voy a telefonear al hotel. antes de que hagas eso me gustaría dar un paseo. quisiera conocer la hacienda. además, tengo que hablar de algo muy importante con vos. bueno, si quieres. gracias. gracias. permiso. ¿podemos hablar un momento en la oficina? sí, está bien. voy a buscar a ramón.
no sé qué decir. carlos... es difícil enfrentar un problema como el que tiene gloria. tu error fue ocultarlo en lugar de pedir ayuda pero es comprensible. ¿y la oficina? pues, ya es demasiado tarde para salvar nuestra sucursal en miami. uds. tendrán que venirse a vivir a méxico. tal vez a gloria le haga bien. sí, tal vez le ayude. si está rodeada de una familia que la quiere que no la juzga... me siento muy agradecido por la comprensión y el apoyo de uds. pero, ¿qué vamos a hacer con los negocios? ¿y qué va a pasar con la gavia? todavía no lo sabemos. lupe me contó una historia
de cuando papá compró la gavia de como pensaba. no creo que podamos venderla. mercedes, tú dijiste que tenías una idea. mercedes: así es. no sé lo que les parecerá, pero es ésta. ¿no creen que el lugar es ideal para fundar un hogar para niños que no tienen familia? ¿un orfanato? algo así, para recoger a los niños huérfanos. una escuela para educarlos. necesitamos dinero para hacer reformas al edificio, contratar personal... podemos comenzar con unos pocos niños. y estoy segura de que por una causa así podremos conseguir dinero de instituciones o de personas. ¿me comprenden? sí, pero... es una gran responsabilidad. traer niños sin tener asegurados los fondos económicos no es tan fácil. ( teléfono suena )
¿bueno? sí, ¿cómo está ud., señora lópez estrada? sí, mi padre ya está de regreso. no, todavía no. claro, está descansando del viaje. no, justo ahorita estábamos platicando del tema. mire, lo mejor es que yo le llame cuando hablemos con mi padre. ¿de acuerdo? gracias. hasta pronto. yo creo que lo mejor será que no hablemos de esto hasta que hablemos con papá. estoy de acuerdo. yo también. ( teléfono suena ) ¿bueno? sí. ¿larga distancia? ¿angela castillo? sí, un momento. está aquí, voy a llamarla. le hablan a angela de puerto rico-- un tal jorge.
raquel... quiero hacerte una pregunta. ¿sí? bueno, no es fácil. luis... ah, sí. luis. luis ha regresado a los angeles. esta mañana recibí un mensaje de él. han pasado diez años y yo he cambiado. fue bueno verlo, pero fue bueno que también regresara a los angeles. ¿estás segura? segura. luis pertenece al pasado y yo no quiero volver al pasado. entonces, quiero hablarte del futuro. quiero que regreses conmigo a buenos aires.
( suspira ) arturo, no es fácil. yo tengo una profesión y una carrera que quiero seguir. además, mi familia vive en los angeles mis padres. no puedo abandonarlos. pero, yo tengo buenos contactos en buenos aires. tengo amigos abogados. podrías establecerte perfectamente. en cuanto a tus padres tengo una casa grande. podrían venir a vivir con nosotros. arturo, eres muy amable. pero, ¿crees sinceramente que podría sacar a mis padres de los angeles? es todo lo que conocen. no podrían adaptarse a otro país. comprendo. además, también para mí
ipiensa en lo que eso significa! lo he pensado mucho. ¿qué tengo en buenos aires? no tengo familia... amigos muy pocos... sólo tengo mi trabajo. podría comenzar de nuevo en los angeles. claro, tengo que mejorar mi inglés. what seems your problem, miss jones? ( ríen ) pero, arturo... piensa en lo que eso significa. dejarías buenos aires, saldrías de tu país vivirías en un mundo muy diferente al tuyo. lo único que me importa es estar contigo. ( suspira ) no esperaba eso en mi vida. yo tampoco pero hablo en serio. arturo, ¿no crees
disculpen si interrumpo. pues, arturo ¿podríamos platicar un momento? sí, claro, ¿cómo no? ¿no te molesta, raquel? es muy importante. claro que no. aprovecharé para llamar a mis padres. con permiso. sí. ¿nos sentamos ahí? sí. mira, arturo, quería hablar contigo porque... pues tengo unos problemas y pensé que como tú eres psiquiatra... te escucho. ¿de qué se trata? de mi mujer, gloria. hace tiempo... años... empezó a jugar. le gustaban los casinos, la ruleta, tú sabes.
sí. pues, al principio no me pareció mal. a mí también me gustaba jugar un poco de vez en cuando como diversión. pero ella ya no lo hace por diversión. eso es. es como... como un vicio. empieza a jugar, y ya no para. ¿y han hablado de esto entre uds.? sí. dice que va a parar, promete, pero luego... lo hace otra vez. sí. se escapa. se va a san juan, a las bahamas y hasta que no pierde todo el dinero, no regresa. ¿qué crees que puedo hacer? hay que averiguar qué es lo que la lleva a hacer esto. seguramente necesita ayuda profesional. ¿cómo qué? bueno hay terapias individuales, hay terapias de grupo. además si uds. van a estados unidos allí hay organizaciones que dan apoyo emocional.
tengo que confesar que es difícil hablar de esto. es natural. vamos a caminar y si querés, seguimos hablando un poco más de esto. pero, ¿cómo averiguó jorge el teléfono de aquí? no lo sé. ¿tú le diste el teléfono de pedro? iay, no! pero, ¿qué importa? habrá llamado al tío jaime. es que me extraña. ¿qué quería? hablar conmigo saber cómo estoy. ¿por qué te extraña? angela, te conozco muy bien. además, ¿no te vas a enfadar si te lo digo? no, no me voy a enfadar. te lo prometo.
quería darme una buena noticia. ha encontrado una increíble oportunidad un teatro viejo. queda en la calle de la cruz. ay, jorge está muy contento y quería contármelo. ¿nada más que contártelo? nada más. ¿por qué tienes que ser tan desconfiado? no entiendo por qué todos le tienen tanta antipatía a jorge. porque queremos protegerte de ese don juan. no tienes derecho de decir que es un don juan. tú no lo sabes. entonces, ¿quién era la mujer que contestó cuando lo llamaste a su casa? unos amigos de nueva york que están en puerto rico. están alojados en su casa. ¿qué hay de malo en eso? ¿tú crees eso? ipor supuesto! y mira, terminemos con esta discusión. no hay nada malo en jorge.
tiene una vocación y yo quiero ayudarlo. ¿no están en el hotel? entonces, por favor, quiero dejar un mensaje. dígales por favor que llamó su hija... que regresaré mañana y que llamaré más tarde. sí, sí. gracias. bueno. mis padres no están y les dejé un mensaje. esta noche voy a quedarme aquí en la gavia a cenar con la familia castillo. iqué emocionante el encuentro entre don fernando, angela roberto y arturo! ¿recuerdan lo que le trajo arturo a don fernando?
le traje una foto de angel. raquel: arturo trajo dos fotos: una de angel y otra de rosario. pero no pasamos mucho tiempo con don fernando. con la emoción necesitaba descansar. entonces, arturo y yo salimos a dar un paseo. arturo quería dar un paseo para hablar conmigo sobre algo importante. yo sabía dos cosas. sabía que él quería hablar de nuestro futuro. y también sabía que él iba a pedirme que yo me fuera a vivir a la argentina. cuando yo le dije que no podía
que tenía mi profesión y mi familia en los angeles su respuesta realmente me sorprendió. arturo me dijo que se iría a vivir a los angeles. pues, claro, yo no esperaba eso. y le respondí que no era fácil lo que me proponía. pero ahora que lo pienso sus razones son lógicas. ¿qué tengo en buenos aires? no tengo familia... amigos muy pocos... sólo tengo me trabajo. podría comenzar de nuevo en los angeles. seguramente vamos a hablar más de eso. por el momento, no sé.
me siento muy feliz, pero también un poco preocupada. salir de la argentina para irse a vivir a los angeles pues, no le será fácil a arturo. pero la idea me gusta mucho. sí, me gusta mucho. angela: no sé pero ya me siento muy bien aquí entre esta gente. es tu familia, angela. quieren que te sientas cómoda. ¿y dónde está lupita?
all the money is here. i don't understand. - probably one of those gangs. - how do you know ? look at the wall. we are lucky they only came here to mess the place up. yes, very lucky. you are going to call the police, aren't you ? oh, yes, of course. look at this. it has chinese lettering on it. henry must have left it here when he was opening boxes. - so what is it doing in the wall ? - i don't know. maybe they wanted to show us they could do whatever they want to our property. - what shall we do with it ? - oh, just give it back to henry. oh, no ! who is that ? who do you think ? it looks like a war zone in here. have you called the police ? i was just about to. unbelievable.
mr. brashov, i knew we couldn't rely on that old alarm system. forget about it, jamal. do you want me to make a sign that says we're closed for repairs ? yes. i'm afraid we might be closed for a few days. i'll get some paint to cover up the graffiti. no, no, no. wait until the police come. all right. - i'll go check the kitchen. - be careful not to touch anything. - there might be fingerprints. - thank you... detective blake. mr. brashov, any problems with customers or anyone else in the neighborhood... who might be upset about something ? no. we have good food at good prices. why would anyone be upset ? - wow. - who's this ? - this is henry, our busboy. - what happened ? somebody thought rosa's oatmeal was too lumpy.
- shouldn't you be in school ? - teacher conferences today. - so, for that you miss school ? - hey, i don't make the rules. so, officer, any idea who might have done this ? - well, obviously, it's gang related. - what did i tell you ? probably some young kids trying to make their mark. anyway, if you think of anything else please give me a call. oh, thank you, officer rizzo. you're welcome. is it okay if we clean up now ? sure. go ahead. - we won't disturb the evidence ? - no. but thank you for staying on top of the situation. - good-bye. - so long, mr. brashov. he probably already checked for fingerprints. - i better go clean up in back. - i'll help you. i'll go get some paint. see you later, jamal. what a mess. this ought to keep me busy for a while.
henry, here's your knife. where was it ? in back. thanks. it's no big deal. i turned it in the next day. - you can't just make up your own rules. - okay, forget about it. this is not the first time edward. if it happens again you will be punished. fine. whatever. what was all that about ? sometimes i just can't stand her. what did she do now ? she gets all crazy just because i didn't get my homework done on time. - did she tell you you're throwing away your future ? - twice. - and that she only wants what's best for you ? - three times.
good old mom. - did you have to put up with all this crap ? - all the time. so how come you were late with your homework ? - hey, i don't need it from you too, okay ? - fine. hey, where did you get that ? katherine, do you know why rosa isn't here yet ? well, it's got to be one of four things. either her roommate's car is in the shop, they turned off the water in her building, her alarm clock died or-- i'm sorry. my bus was late. - that was my next guess. - but it won't happen again. you're right. it won't. it won't ? - no, i have good news for you. - you're moving to another planet.
no, my neighbor just bought a brand new car. are you purposely trying to make no sense ? - her old car would be perfect for you. - i don't think so. rosa, i thought you were saving money to buy a car. - money is not the problem. - so what is ? i can't drive. rosa, is your accent getting worse, or am i losing my hearing ? - i can't drive. - what ? - i can't drive ! - i don't believe it. - good morning, victor. mind if i come in ? - you are certainly here early. i've got to take that old jalopy i drive in to the shop so i thought i'd drop by for a cup of coffee first. that's a coincidence. i was just telling rosa about this car that i thought would be perfect for her. great ! can we change the subject ? - did i miss something here ? - the car is perfect except for one thing. - rosa can't drive. - you're kidding ? - i just haven't had time to learn. - it's so easy. - you could do it in no time. - i'm not sure.
look, i'll have my car back by the end of the day. i'd be happy to teach you. thanks, jess, but i don't think i want to drive in all that traffic. how about on sunday ? there's hardly any traffic then. - maybe next week. - rosa, what is your problem ? i guess i might be a little bit scared. a little bit ? it sounds like we're talking major phobia. there's got to be some place you could learn to drive. okay. how do you feel ? great ! this is easy. see ? i told you. just keep your eyes on the road. i am. i can see everything perfectly. excellent. so, how am i doing so far ? best indoor driver i've ever seen. hey. hi.
you're going to have to talk about it sometime. how did the knife end up at the cafe ? how should i know ? you didn't answer my question. great. now how am i going to explain this to mom ? how are you going to explain all those bruises ? i fell down at school the other day. from what, a three-story building ? - why don't you cut the crap, edward ? - that's what happened. fine. if you don't want to talk to me you can talk to mom. wait. every day they've been messing with me. - who ? - these guys. they say if i don't do what they tell me, they're going to keep beating me up even worse. - what are you talking about ? - a couple of weeks ago, they wanted money.
then they wanted me to take something from the principal's office. and then it was breaking into the restaurant. - why ? - they said it was part of joining. - what are you doing hanging around with a gang ? - i didn't want to. but they said if i didn't join they're going to keep beating me up. - why didn't you tell me ? - i wanted to take care of it myself. oh, you took care of it, all right. the cops have been all over the cafe since this thing happened. - you're going to tell anyone ? - i don't know. - so, what are you going to do ? - what do you think ? there's 20 of them and 1 of me.
and you might be interested in getting back to the story. at least it's a possibility. if only real driving was this easy. believe me, rosa, it is. all right. now, let's say you're driving down a city street and you want to make a left-hand turn. what do you do ? i put on my left-turn signal. and if your left-turn signal is broken ? i put out my arm like this.
excellent. now, you're coming up to a stoplight. and you don't want to wait until the last minute to slow down so you start slowing down. how do i slow down ? put your foot on the brake. what brake ? it's on-- it's nice to see everything is finally back to normal. you did a good job jamal. the only problem is, every morning before i open the door, i wonder what i might find inside. - officer rizzo, hello. - mr. brashov. and who do we have here ? this is one of the punks we think broke in here the other night. - he's just a kid. - yes, well, he may be a kid, but he's running around with a pretty tough crowd. the rest of them got away from us, but we managed to run this one down. - where did you find him ? - outside another restaurant about an hour ago. he wouldn't tell us where he lives, but he said his brother works here. hello, edward.
- is this your brother ? - yes. officer rizzo, there must be some mistake. no, i don't think so. we found this on him when we picked him up. have you seen this knife before ? yes. it's the same one we found in the back after the break-in. i didn't want to bring my family's problems into the restaurant. but, henry, we are not like strangers here. i know, but it's not the same thing. what are you going to do ? i'm going to take this boy down to the station. please, let me call his parents. - this boy needs to be taught a lesson. - of course. what he did was wrong. but what if we came up with a plan to stop this gang ? a plan that henry's brother would be a part of ? i'm listening.
[ narrator ] in cities large and small, in countries around the world, gangs have become an unfortunate aspect of modern life. gangs exist for a couple of reasons. one, they provide a sense of belonging a sense of status, a sense of family protection and a safe harbor... for youngsters who have become alienated, who have developed a low self-esteem, see life as basically being hopeless... and are looking for a place to be accepted. it's good to be in a gang because of the money and the power. they are my family right here. i'm with them every day, and they're with me all the way. we belong together. as a seventh grader, manaia petaia was involved with a gang called the s.o.s.
but today, he's teaching children to resist the temptation... of gang membership. what made the difference for him ? a very determined volleyball coach. a lot of the kids that i hung out with... were involved in gangs. and i truly believe that if mr. muenzer didn't take the time... to work with not only myself but the rest of my family and friends, we would probably be involved in gangs... or, you know, we'd probably be in jail, you know. or even dead. he's definitely a positive role model. who in this classroom knows somebody who's been shot before ? a lot of you. i didn't give up on him. i just kept saying, "come on i need you on this team." and i made it hard for him to say "no." if you join a gang are you the only one who gets hurt ? no. yeah. who else ? the other ones. bystanders. okay, the bystanders we talked about. now i'm in the position where i hope
i'm making the same difference. okay. now. what are some of the ways we can say "no" to negative peer pressure ? i don't do that kind of stuff that's bad for you... and it can get you in a lot of trouble. [ narrator ] across the country schools and community groups... are uniting to teach children the dangers of joining a gang... before it's too late. a lot of these children, they live in the community. they know about gangs and maybe some of them have relatives brothers and sisters that are involved. so we try to teach them the skills that they need so they can make a choice, a better choice, so they don't fall and make that wrong choice. remember we talked about this one boy who joined a gang ? and all of a sudden, he wanted to quit the gang. they burned his house down. with this program, we try to instill in the children that once you make a bad choice, it's not as easy to just one day say, "well, i changed my mind. i don't want to be part of this group anymore." if you try, you can get hurt. not only you, but your family members can get hurt.
so bottom line is, we're trying to help them save their own lives. it's not as fun anymore, like when i was a kid. it's like you're in a deep hole and you can't find your way out. no, i have better things and we can get in trouble for that. [ narrator ] as part of this program, students role-play options they can use to avoid trouble with gang members. okay. chicken. lorenzo moss. students who complete the nine-week program... are recognized at a graduation ceremony. in addition to their teaching assignments members of the team conduct gang awareness programs... for parents and community leaders... and respond to requests for one-on-one counseling. i don't know. i do get bored real fast at school. and then i get in trouble a lot too. and now i'm being kicked out. if the schools or administrators have a really high-risk student or at-risk student... or even someone that they may even have a feeling...
that needs the extra one-on-one attention we do that. do you live with mom and dad ? no, i just live with my mom. how does she feel about the whole thing, seeing you come and go come and go to all these different schools ? well, she gets mad at me. she tells me, "why do you do that ?" and this and that. or someone looks at you or says something, just ignore them. the fact of the matter is, you need to be in school. so what i'm going to do is i'll talk to mom also. we'll go through the different options that you have, and maybe she can help you make a choice. maybe you together. i do this program because... it's my way of giving back to the community that gave so much to me. it's sort of like... i was one of them. and maybe one day they can be one of me. who in this classroom is not going to join a gang ? is not ? is not going to join a gang ? is that a promise ? yes. okay.
think you've got it now ? yes, i think so. good. did you call him yet ? yes. i'm meeting him at 8:00 tomorrow night. - i still don't know how to get him to the restaurant. - you'll think of something. yes. all right. i'll show you again. - what is going on in here ? - nothing. - well, could you do nothing a little more quietly ? - sorry. - edward, have you finished your homework yet ? - almost. your father wants to check it over when you're through. - henry ? - hmm ? could you teach your brother something useful ? - maybe you should tell them what happened. - it wouldn't do any good. any time there's a problem with outsiders, all they do is smile and look down. wrong. you have no idea what you're talking about. they've had to stand up to much more than anyone in that stupid gang ever will. all right. come on, your turn.
you got a long way to go little brother. where did you get the key ? i stole it from my brother. well, you're not as stupid as you look. well, where did you say the safe was ? it's in back. let's do it. - hey, what's going on ? - let's get out of here. get out of my way. come on ! let's go ! that's pretty good. you think you can stop all of us by yourself ? he does not have to stop you by himself.
- oh, and who's going to help him ? you ? - yes. - i'll help him too. - me too. - so will i. - and me. me too. so will i. - so will i. - so will i. these are all the people who live and work in this neighborhood. and they will not run away from you or your friends. you wait until tomorrow night. we'll be back with the others, and then we'll see how tough you are. i don't think so. thank you, officer rizzo. you haven't solved anything, mr. brashov, but it's a good first step.
okay, i've washed all the pots and pans. now what ? clean up the stove then the refrigerator. and when you're finished with that start mopping the floor. how long does your brother have to work here ? mr. brashov said three weeks would be enough to pay for all the damages. - that seems fair. - well, i was hoping it would be a little longer than that. - why ? - i'm really going to miss bossing him around. - see you tomorrow. - you're leaving a little early, aren't you ? tell her, rosa. - i'm on my way to a driving lesson. - where's jamal's cart ? i meant my first real driving lesson in a real car. so how did you finally get up the nerve ? i decided if people around here can stand up to those gangsters i can probably stand up to rush-hour traffic. i'm sure you will do fine. - i do have one small word of advice. - what is it ? - when you are out on the road, driving ? - yes ?
nurse: let me take you to your father. before you see him there's something i want to tell you. your father has just had another heart attack and at this point it does not look good. what are you saying? he made it through the first one... well, not entirely. and the second heart attack was more massive. aren't there any new drugs you can give him? there are new drugs, but they won't help... not in his current condition. i can't believe that there's... i'm very sorry. you should probably notify any other members of the family. ( beeping ) hello. i'm father o'connor. oh, father thank you for coming. i want you to know i'm here for you and your family. is this your father? yes. can we talk for a minute? tell me about your father's condition. my father just had his second serious heart attack
in the last two days. i'm so sorry. it must be very difficult for you. are you very close to your father? yes. kevin lives with my dad. i did too until recently. we're all pretty close. and your mother...? my mother died of lung cancer almost twelve years ago. what a loss. now, are there any other family members besides the two of you? not really. there are some relatives in ireland but we've never met them. we have a great-aunt on my mother's side, and, uh, my father's brother, brendan. oh, your father has a brother? does he know your father's in the hospital? no, he lives in illinois. he has a farm there. my father and uncle don't talk to each other. they haven't for years. maybe this is the time for them to make peace. perhaps you should call him. i don't want to upset my father. maybe kevin and i need to talk before we do anything.
give it some thought. i will begin my prayers for your father. god bless you. thanks, father. yes, i need the number for a brendan casey. ( cow moos ) anne: brendan!... brendan, telephone. it's rebecca casey. hello, uncle brendan. it's rebecca. i'm afraid i have some bad news about my father. he's in the hospital? what do the doctors say?
i see... yeah, i'll take the next flight out. oh, and rebecca... thank you for calling. goodbye. anne: was that patrick's daughter? yeah, she called about patrick. he's in the hospital. he just had a heart attack. oh, honey, i'm sorry to hear that. it doesn't look good. i'm going to take the next flight to boston. yeah, i'll pack your bag. ( labored breathing ) ( weakly ): kevin... kevin... take care of kevin.
mr. casey, i'm going to administer the sacrament of the sick. rebecca. sandy. hi. kevin called and told me. how are you doing? terrible. i flew in this morning. this is my worst nightmare. how is he? he's barely hanging on. the doctors aren't hopeful. becky, i feel so sorry for you. how is he doing?
rebecca: he keeps everything inside. i don't know... he seems so different. poor kid. sandy, you should see the apartment. it's a total mess. there's no food in the refrigerator, nothing. i guess he still needs someone to take care of him. i feel bad... i yelled at him this morning. it's o.k. you're upset, that's normal. i know, but i shouldn't have yelled at him. i mean, he doesn't... i bet you could use a cup of coffee. there's a cafeteria on the third floor. what do you say we go? yeah. it's so good to see you. i feel guilty for leaving dad alone. i don't know... the doctor said things don't look good. i asked for a second opinion. the other doctor said the same thing. i don't know if he's going to make it. rebecca... your dad's always been a fighter. he'll make it.
one coffee. two coffees, please. thank you. thanks. so... how's life in san francisco? maybe i should have gone with you. it's good. school's hard, but the teachers are great. did you get my letter? yeah. how's it going with that roberto guy? ( laughs ): alberto. right, that's it. he's very nice. anything serious? i don't know. it's still new. take my advice-- get to know him before you fall in love.
( chuckles ): i will. how's jack? mm... we're living together, you know. when's the big day? the wedding? that's off, for now. he says he just wants to live together. sandy, your face is all black and blue. what on earth happened to you? why are you wearing sunglasses? it's nothing. i... ( agitated ): i bumped into a door. did jack hit you? oh my god, he hit you, didn't he? i can't believe he hit you! there's no excuse for that. none! rebecca, uncle brendan's here. i'll be right there.
don't move. i'll be back in a few minutes. do you hear me? ( sighs heavily ) the father has taken a turn for the worse. your father has just had another heart attack and at this point it does not look good. the priest comes. hello. i'm father o'connor. oh, father thank you for coming. the priest asks them if there are any family members who should be present. now, are there any other family members besides the two of you? we have a great-aunt on my mother's side, and, uh, my father's brother, brendan. oh, your father has a brother? does he know your father's in the hospital? speaker: kevin is so different. his face... i don't know is so sad. rebecca goes to the phone and she has to call her uncle.
hello, uncle brendan. it's rebecca. i'm afraid i have some bad news about my father. he's in the hospital? brendan and patrick are two brothers who haven't seen each other for a very long time. speaker: rebecca's girlfriend sandy came to the hospital. speaker: obviously she's coming to give her friend some moral support. rebecca noticed that sandy had a bruise on her face. sandy tells rebecca that it was just an accident. but rebecca doesn't believe her because she remembers that jack used to be quite aggres3ive. sandy, your face is all black and blue. what on earth happened to you? why are you wearing sunglasses? it's nothing. i... i bumped into a door. did jack hit you? speaker: i think that she just doesn't want to give any explanation at that point. she felt that's the wrong place, the wrong time.
it's already very difficult for rebecca... that's what i think-- that she doesn't want to give rebecca any extra trouble. rebecca? uncle brendan. it's so good to meet you, finally. yeah, i wish it were under happier circumstances. how are you holding up? we're o.k. it's dad i'm worried about. does he know you called me? yes. he wants to see you. can i go in and see him? excuse me. this is my unclerendan. he'd like to see my father. yes, come in. he's resting. uh... i'd like to see him alone for a few minutes, if that's o.k. yes. of course.
i can't believe it. rebecca called me. she told me you asked for me to come. ( gasps ): i'm... i... i'm glad... glad you came. ( gasping ) it's been a long time... ( gasping ) it's too long, i guess. you know what we are? we're two pig-headed irishmen so stubborn that we didn't talk to each other for almost 30 years. that's not the way brothers are supposed to be.
yeah, you should see her face. she has a huge black and blue mark right here. that pig. he should have his face kicked in. kevin, don't talk like that. this thing won't take my money. do you have any change? how much do you need? seventy-five cents. kevin, i'm sorry i yelled at you. that's all right. that's all right. it's all right. ( beeping ) ( beeping stops )
nurse! hurry! help! what's wrong uncle brendan? what's going on? bring in the defibrillator. he's not breathing and he has no pulse. we're going to shock him. everybody stand clear. clear! shock! shock! shock! begin cpr. can we get lidocaine? one milligram of lidocaine. one, two, three and four and five. and one and two and three and four and five. ( sobs ) brendan: it's okay. ( phone ringing )
hello? brendan: oh, hi, hon. i have bad news. patrick passed away a few hours ago. oh, honey, i'm so sorry. were you able to talk to him? we made our peace. anne: oh, that's good. how are kevin and rebecca taking it? rebecca's, uh... pretty upset. kevin's a little quiet. yeah, i understand. i'd like you to come out to the funeral. of course. aunt molly? it's rebecca. i have some sad news. dad passed away this morning. a heart attack. yes, it was a terrible shock. the wake is going to be tomorrow, from 6:00 to 9:00.
and you must be anne. thank you for making the trip. i'm very sorry about your father. it all happened so fast. we can't believe it. thank you for the flowers. they're... just beautiful. i don't know anyone here. where's kevin? over there. excuse me. it was good you called brendan. you did the right thing. it's wrong for a family to be like that. i know. brendan can be very stubborn. but i guess your father was, too. yeah. how're you holding up, kid? pretty good. you know, i don't know a soul here.
do you know who any of these people are? not all, but some. that guy over there worked with dad at the fire department; and that's mrs. peterson. she lives in our building. oh. that guy over there-- that's frank welles. he's a fireman, too. he's an old friend of dad's. oh, my god! i can't believe my eyes! is that molly over there? kevin: aunt molly? yeah. frank welles picke$ her up at the retirement community. you know, we used to get christmas cards from her but i haven't seen her in i-don't-know how long. brendan's so sad about losing his only brother but at least they made peace before your father died. i was happy about that. um... can i ask you something? yeah. dad never told me what their disagreement was about.
d/ you +n/w? you mean you don't know? no. i think it would be better i& r%n$a.t/l$ yo5 (i-s%l&. r%b%c#aúa.d k%v)n s%e t(e u.c,e for the first time. rebecca? uncle brend!n. it's so good to meet you finally. t(e u.c,e a3k3 if he can go in the room to se% the brot(er (e h!sn'4 s%e. fo2 3o many 9e!r3. c!n i go in and see him? they make peace. i'm ready... to forgive and forget. unfortunately, he passed away. c!n you res0o.d to -e? bring in the defibrillator. he's not breathing.
( r%bec#a s/b"ing ) brendan: it's okay. brendan called his wife on the farm... a.d a3k%d h%r to co-e to boston to the funeral. i'd like 9ou to c/me out to the funeral. o& #o5r3e. w%r% 9o5 !b,e t/ 4a,k t/ (i-? w% -a$e o5r p%a#e. speaker: it's really a shame peo0l% do.'4 2e!l)z% %a2l)e2 that they should just tryt/ 2e3o,v% 4hei2 $i3a'ree-e.t..n m!n: y%a(, t(a4'3 2i'h4. ...before they realize "oh, it's g/ing t/ "e t/o l!t%." åw/m!n:i t(i.k i& 4h/s%two b2o4her3 c/uld go back they wouldn't have lived their l)v%s tha4 wa9. don't you think? they would havem!de !m%n$s b%f/r%. maybe, maybe not. but sometimes, you know, like, calamity /r dis!ste2s always bring the good out of (uman "e)n's. t(e c!p4i/n c%n4e2 wb d5c!tio.a, o5nda4i/n
IN COLLECTIONSLinkTV Television Archive Television Archive News Search Service
Uploaded by TV Archive on