:31:02
more than once,
assisted by that technological
aide-memoire the video player,
:31:08
then a remarkable
phenomenon
presents itself.
:31:12
We see...
:31:15
that what, at first,
appeared to be merely
accidental or unrehearsed...
:31:19
becomes on subsequent
viewings an indelible part
of the film's texture.
:31:26
A distant landscape,
:31:29
a blurred face
in the crowd,
:31:32
even a banal message
on a T-shirt.
:31:36
So, the largely unrecognized
art of film acting...
:31:41
depends entirely
on the ability of the actor--
:31:45
or, indeed, actress--
:31:48
to make everything
about himself--
:31:52
uh, or herself--
:31:56
seem equally permanent.
:32:02
When, thus,
:32:05
an actor is called upon
to smile,
:32:08
he must try to select
a smile from a collection--
:32:13
a repertoire-- a whole
file of smiles, as it were.
:32:20
Naive,
:32:23
rueful,
:32:25
sly, sarcastic...
:32:33
and so on.
:32:40
Anyway, to return to my theme
of "The Death of the Future--"
:32:45
Don't you think you've
been overdoing it, old chap?
:32:49
We're not as young
as we used to be, after all.
:32:52
Maybe you should...
take a break.
:32:55
Go on a trip.
Do you the world of good.
:32:59
A trip?