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John Wilson On Making A Feature Documentary About Concrete _ The Daily Show · Mic Drop Comedy

• 0:00
  Speaker 1: I totally forgot there was an audience here.
• 0:03
  Speaker 2: What were you expecting?
• 0:04
  Speaker 1: I don't know.
• 0:05
  Speaker 2: It's like a black box situation. We're going to get
• 0:07
  Speaker 2: into it.
• 0:08
  Speaker 1: No offense, yeah.
• 0:08
  Speaker 2: Yeah, are you calibrating right now? Like, oh no, now
• 0:11
  Speaker 2: I got to play out to it. I got to
• 0:13
  Speaker 2: come with some jokes. I need to make these people
• 0:14
  Speaker 2: love me.
• 0:15
  Speaker 1: Yeah, don't worry.
• 0:17
  Speaker 2: They're going to love you. Yeah, okay.
• 0:18
  Speaker 1: They're going to love you.
• 0:24
  Speaker 2: Well, okay. History of concrete. Why concrete? I'll bite.
• 0:28
  Speaker 1: Oh, why not? You know, I think it's funny stuff.
• 0:37
  Speaker 2: It's a bedrock of humor that is there, right?
• 0:39
  Speaker 1: Yeah, I think, yeah, I was dodging puns the whole time,
• 0:42
  Speaker 1: I think.
• 0:42
  Speaker 2: I can see in there, even talking about this movie
• 0:45
  Speaker 2: with friends, like you can't help but constantly make concrete jokes.
• 0:49
  Speaker 1: I know.
• 0:49
  Speaker 2: Did you have internally a number of concrete puns you
• 0:52
  Speaker 2: could make in the film?
• 0:54
  Speaker 1: Yeah, and I think the one that I landed on
• 0:56
  Speaker 1: was Rocky-mentary. I think that became the most enduring pun
• 1:03
  Speaker 1: that I decided to keep in. And I think it
• 1:06
  Speaker 1: ended up doing kind of interesting things in the film,
• 1:09
  Speaker 1: because the film was in serious trouble at one point
• 1:14
  Speaker 1: of being uninteresting.
• 1:21
  Speaker 2: Yeah.
• 1:22
  Speaker 1: It's not funny.
• 1:24
  Speaker 2: Were you aware of that moment? I mean, what is
• 1:25
  Speaker 2: amazing about your work and what you do is you're
• 1:28
  Speaker 2: very articulate about the process that you're going through.
• 1:31
  Speaker 1: Yes, I leave very little to the imagination.
• 1:34
  Speaker 2: Where is the fear of like, oh shit, this is uninteresting?
• 1:38
  Speaker 1: You know, after a year of filming Cracked Sidewalk, I think...
• 1:46
  Speaker 1: You kind of, you know, what's that definition of insanity
• 1:50
  Speaker 1: kind of line? You know, I was like, I need
• 1:51
  Speaker 1: to change something because this isn't, looking down isn't getting
• 1:57
  Speaker 1: me anywhere. I need to kind of get back to
• 1:59
  Speaker 1: eye level.
• 2:00
  Speaker 2: Yeah. From even a directional standpoint, you were making mistakes.
• 2:04
  Speaker 1: Yeah, I was making mistakes.
• 2:05
  Speaker 2: I should be filming things.
• 2:07
  Speaker 1: Yeah, I'm not surprised that, you know, it was a
• 2:09
  Speaker 1: little hard to finance at first. Well, you taught me.
• 2:12
  Speaker 2: In the film, you go to Rome, and you spend
• 2:15
  Speaker 2: your entire budget in Rome?
• 2:16
  Speaker 1: Yes.
• 2:17
  Speaker 2: And to be clear, that makes up about 30 seconds
• 2:21
  Speaker 2: of the film, if I recall. It didn't even look
• 2:23
  Speaker 2: like you went into the Colosseum. It didn't seem like
• 2:26
  Speaker 2: there was much to spend it on.
• 2:27
  Speaker 1: I went to a nice wax museum, though.
• 2:29
  Speaker 2: You did go to a wax museum?
• 2:30
  Speaker 1: I talked to some police officers, and I went to
• 2:32
  Speaker 1: a wax museum. That was the main activities.
• 2:35
  Speaker 2: And.
• 2:36
  Speaker 1: But yeah, there was a nice wax figure of Anthony Hopkins.
• 2:43
  Speaker 2: DAN GALPIN- Is that sort of your vision? When you
• 2:46
  Speaker 2: were like, when I dreamed of making a feature-length film,
• 2:48
  Speaker 2: I hope I would capture something just like this.
• 2:50
  Speaker 1: DAN GALPIN- Yeah, I was like, you know, I may
• 2:51
  Speaker 1: have something now. I don't know. But you know, there's
• 2:56
  Speaker 1: a QR code next to the wax figures. And you
• 2:58
  Speaker 1: could scan it. And it would give you a video
• 3:03
  Speaker 1: of an AI mouth speaking through this wax sculpture, which was,
• 3:07
  Speaker 1: it was very creepy. But it didn't seem to be
• 3:13
  Speaker 1: something that anyone else was interacting with at the wax museum.
• 3:18
  Speaker 1: And it seemed like kind of an afterthought. But yeah,
• 3:21
  Speaker 1: on their website, you can just download all the videos
• 3:24
  Speaker 1: that they have of those wax sculptures. And I just
• 3:29
  Speaker 1: used them in my movie.
• 3:31
  Speaker 2: Is there a fear when you're seeing people not interact
• 3:33
  Speaker 2: with something in your mind? Are you thinking, oh, this
• 3:35
  Speaker 2: is not at all interesting. I shouldn't film this? Or
• 3:38
  Speaker 2: is that like, I need to run towards the fire?
• 3:40
  Speaker 1: No, yeah, it's like, if the room is empty, I
• 3:43
  Speaker 1: know I'm in the right place.
• 3:45
  Speaker 2: That's part of why you were so freaked out when
• 3:47
  Speaker 2: you walked out here, right? Well, you have to, I mean,
• 3:50
  Speaker 2: if people aren't familiar with your work, How To with
• 3:53
  Speaker 2: John Wilson, a fantastic show. Thank you all. It was
• 4:00
  Speaker 2: just named one of the top 100 films of this century, correct? Shows. Shows.
• 4:04
  Speaker 2: Shows of this century.
• 4:05
  Speaker 1: Yeah. It's been a short century so far.
• 4:08
  Speaker 2: It's been short, yeah.
• 4:10
  Speaker 1: Right.
• 4:10
  Speaker 2: Was there anybody ahead of you that you were like,
• 4:12
  Speaker 2: screw that show? Mad Men, really? Cigarettes?
• 4:15
  Speaker 1: Yeah.
• 4:16
  Speaker 2: People smoking, looking cool?
• 4:17
  Speaker 1: Mad Men, I know. You know what? Mad Men, I
• 4:20
  Speaker 1: like that show.
• 4:22
  Speaker 2: You're right. I shouldn't bait you into it. No, no, yeah.
• 4:24
  Speaker 1: You're asking me to talk shit about my other 99... Yeah.
• 4:28
  Speaker 2: I was gonna say. You're on a text chain now,
• 4:31
  Speaker 2: I'm sure.
• 4:31
  Speaker 1: Yeah, yeah.
• 4:32
  Speaker 2: Well, part of the fun of, I think, watching your
• 4:35
  Speaker 2: work is that you start out with a premise, and
• 4:38
  Speaker 2: then we follow you tangentially to see kind of the
• 4:40
  Speaker 2: world around you. I would say what I love about
• 4:44
  Speaker 2: watching your stuff is that there's the serendipity that you
• 4:47
  Speaker 2: experience in New York of what you stumble on and
• 4:50
  Speaker 2: the people you meet is a beautiful thing and feels
• 4:52
  Speaker 2: very resonant about people who live in New York or
• 4:55
  Speaker 2: people who just experience kind of life in that way.
• 4:57
  Speaker 2: What I would be curious is, you seem to go
• 5:02
  Speaker 2: out into the world with a camera in hand looking
• 5:04
  Speaker 2: to find something beautiful. I'm curious what happens when you
• 5:07
  Speaker 2: don't go with your camera. and you see those beautiful things,
• 5:12
  Speaker 2: have you unlocked a way to see the world that
• 5:14
  Speaker 2: is helpful? Or are you just furious that you're missing
• 5:17
  Speaker 2: something you could put into a piece of work?
• 5:19
  Speaker 1: I mean, it's a bit of a curse at times
• 5:22
  Speaker 1: and a bit of a sickness, I think, when you
• 5:26
  Speaker 1: try to train your brain to look at everything a
• 5:28
  Speaker 1: certain way. It's like, you know, I was only thinking
• 5:30
  Speaker 1: about scaffolding for a long time, you know, when I
• 5:32
  Speaker 1: made this. So I don't know it's so funny again.
• 5:38
  Speaker 2: We all go through that phase. Don't act like you
• 5:40
  Speaker 2: haven't been there.
• 5:45
  Speaker 1: We've all had scaffolding fetish dreams. Tied up.
• 5:49
  Speaker 2: Yeah, I know.
• 5:51
  Speaker 1: But anyway. But you know, that becomes the way you
• 5:55
  Speaker 1: see the world for a while. But then you kind
• 5:57
  Speaker 1: of give yourself a new objective and that kind of
• 6:01
  Speaker 1: washes out the old stuff. But that doesn't stop people
• 6:04
  Speaker 1: from continuing to send you stuff for years and years
• 6:06
  Speaker 1: after that.
• 6:07
  Speaker 2: I'm sure.
• 6:08
  Speaker 1: But yeah. And then you just talk to people on
• 6:10
  Speaker 1: the street. And I don't know. I try to treat
• 6:14
  Speaker 1: every person like they're, you know, a celebrity and a
• 6:20
  Speaker 1: celebrity like they're a person. I don't know. Just like
• 6:22
  Speaker 1: kind of treat everyone on the street like they're, you know,
• 6:24
  Speaker 1: Michael Douglas or something. Yeah.
• 6:26
  Speaker 2: Do you, I'm curious, do you have trouble getting people
• 6:29
  Speaker 2: to talk to you on the streets? Are people, are
• 6:31
  Speaker 2: people open to you when you're walking around with the camera?
• 6:33
  Speaker 2: Do they want to be, to be interviewed?
• 6:35
  Speaker 1: It depends. I was, I was, I was yesterday, I was,
• 6:38
  Speaker 1: I was in Midtown and I was just going up
• 6:40
  Speaker 1: to different people that weren't wearing I was trying to
• 6:46
  Speaker 1: find someone with a tie, and I found it was
• 6:48
  Speaker 1: hard to find someone wearing a tie. So I was
• 6:50
  Speaker 1: trying to ask people why they weren't wearing ties, but
• 6:52
  Speaker 1: people not wearing ties are usually in a rush. And
• 6:59
  Speaker 1: they didn't want to talk.
• 7:00
  Speaker 2: Was that... Is that when you walked out... When you
• 7:04
  Speaker 2: walked out of your apartment that morning... What morning? Yesterday morning.
• 7:09
  Speaker 1: Oh, yeah, yeah, yeah.
• 7:10
  Speaker 2: Was that your intention? Were you like, I got to
• 7:12
  Speaker 2: go film some people with ties? Or was.
• 7:15
  Speaker 1: You know, this is what's going to happen when AI
• 7:20
  Speaker 1: takes over. Everyone's just going to be on the street
• 7:23
  Speaker 1: trying to fill their time with stuff like this.
• 7:27
  Speaker 2: And you're telling me with ideas like this, you had
• 7:28
  Speaker 2: trouble financing this film, huh?
• 7:30
  Speaker 1: Yeah, I know. That's the thing. That's the thing. You know, whatever.
• 7:34
  Speaker 2: You captured it.
• 7:36
  Speaker 1: Here's a moment I love.
• 7:37
  Speaker 2: I love it here, too, is because you captured a moment.
• 7:40
  Speaker 2: You were at what looked like a very fancy private
• 7:43
  Speaker 2: dinner party. for GQ.
• 7:45
  Speaker 1: The food wasn't very good.
• 7:46
  Speaker 2: Was not very good? But people are toasting Kim Kardashian,
• 7:50
  Speaker 2: who you're sitting across from.
• 7:51
  Speaker 1: Yeah, I don't know why.
• 7:54
  Speaker 2: Well, I think Dwayne Wade was next to her.
• 7:57
  Speaker 1: Yeah.
• 7:59
  Speaker 2: You're filming. I'm wondering, are they noticing you filming at
• 8:02
  Speaker 2: this moment? Are you like a pariah in this moment?
• 8:06
  Speaker 2: What do they think of you?
• 8:07
  Speaker 1: I mean, I'm filming. I mean, I'm like this far away.
• 8:10
  Speaker 2: You're right there. But it feels like a private moment
• 8:13
  Speaker 2: and everybody's celebrating Kim Kardashian. And there's John Wilson sort
• 8:16
  Speaker 2: of like, oh, I might use this.
• 8:20
  Speaker 1: Yeah, I don't know. I never know what anything's going
• 8:22
  Speaker 1: to be for. But I knew it was a rare
• 8:25
  Speaker 1: environment that no one else was. I mean, there are
• 8:29
  Speaker 1: other people from GQ, I think, covering it. But I
• 8:32
  Speaker 1: haven't seen any of that material. And I just, I
• 8:36
  Speaker 1: don't know. I just had never seen an uninterrupted shot
• 8:39
  Speaker 1: of Kim Kardashian before. And I just, I had to
• 8:46
  Speaker 1: have it. Do you? Yeah. We got it.
• 8:56
  Speaker 2: We got it.
• 8:56
  Speaker 1: I got it.
• 8:57
  Speaker 2: Did she have to sign a release after that?
• 8:59
  Speaker 1: I mean, you know, she's a public figure.
• 9:02
  Speaker 2: Right.
• 9:03
  Speaker 1: I mean, anyone in public is a public figure is
• 9:05
  Speaker 1: how I.
• 9:06
  Speaker 2: Is that how it works? I feel like we.
• 9:08
  Speaker 1: I don't know. You know, we... Yeah, we don't got
• 9:10
  Speaker 1: to talk about that.
• 9:13
  Speaker 2: All right, here's another thing I want to talk about.
• 9:14
  Speaker 1: I'm curious.
• 9:15
  Speaker 2: You collect all this footage, and then you sit with
• 9:18
  Speaker 2: an editor, multiple editors. Do editors love working with you?
• 9:21
  Speaker 2: Do they hate you?
• 9:23
  Speaker 1: What are you setting me up for?
• 9:25
  Speaker 2: I just want to... I can see you have a
• 9:29
  Speaker 2: singular voice. You capture the world around you in voluminous amounts. Sure.
• 9:35
  Speaker 2: And then I'm sure you sit with an editor and
• 9:37
  Speaker 2: be like, hey, we need to make something of this.
• 9:39
  Speaker 2: And I'm wondering if those people are secretly... if they
• 9:42
  Speaker 2: secretly despise you.
• 9:43
  Speaker 1: I mean, I may never know, but I don't know.
• 9:46
  Speaker 1: I work very closely with my editors, my editor Corey
• 9:50
  Speaker 1: and Sasha Stenkraven, most recently. They are amazingly talented, and
• 9:58
  Speaker 1: they find stuff that's funny in the material that I
• 10:02
  Speaker 1: may not realize is funny, just as the person recording it.
• 10:06
  Speaker 1: And there's a lot of awkward moments and pauses they
• 10:08
  Speaker 1: know how to play up. And I don't know. I
• 10:11
  Speaker 1: think I can be a bit of what they call
• 10:15
  Speaker 1: a frame sometimes. Where, because I, sorry. Industry jargon.
• 10:23
  Speaker 2: They got to get used to it, right? Don't worry
• 10:24
  Speaker 2: about that. Don't worry about that.
• 10:26
  Speaker 1: Where I'm like, you know, because I worked as an
• 10:29
  Speaker 1: editor for most of my life. And so I'm like,
• 10:33
  Speaker 1: and it feels like I enter a bit of a
• 10:35
  Speaker 1: flow state when I'm cutting stuff. So I will like
• 10:38
  Speaker 1: audition a bunch of stuff and then I'll give it
• 10:40
  Speaker 1: to the editor. They'll put their twists on it. But
• 10:43
  Speaker 1: then I'm also recording the narration. So it has to
• 10:46
  Speaker 1: be like, down to the frame where the joke hits sometimes.
• 10:51
  Speaker 1: So it is like a shot by shot calculation. But
• 10:55
  Speaker 1: it is super fun at the same time. Because I
• 10:58
  Speaker 1: like to do stuff that I wasn't allowed to do
• 11:02
  Speaker 1: at work. So if someone tells me, like, oh, you
• 11:08
  Speaker 1: can't use that shot of that guy because there's a
• 11:11
  Speaker 1: big tree coming out of his head in the way
• 11:14
  Speaker 1: you frame it in the shot, that's kind of what
• 11:16
  Speaker 1: I want to use. I want to, like, you know, even,
• 11:20
  Speaker 1: I don't know, stuff you can't do here, you know?
• 11:22
  Speaker 2: It's like stuff like that. Yeah, the detritus becomes the
• 11:25
  Speaker 2: beautiful thing that you highlight.
• 11:27
  Speaker 1: Yeah, just because, yeah, it just feels like yours, you know? Yeah.
• 11:31
  Speaker 1: And then, you know. That's nice.
• 11:35
  Speaker 2: You have such a unique style. I went to see
• 11:38
  Speaker 2: David Byrne performed here at Forest Hills last weekend. And
• 11:41
  Speaker 2: we're watching. I was there with my wife. And there's
• 11:43
  Speaker 2: a video happening behind David Byrne. And my wife's like, oh,
• 11:45
  Speaker 2: this looks like a John Wilson video. And then I
• 11:48
  Speaker 2: see your name at the end. It's like, oh, this
• 11:49
  Speaker 2: is John Wilson.
• 11:51
  Speaker 1: Yeah, yeah.
• 11:54
  Speaker 2: How is working with David Byrne on a project like that?
• 11:57
  Speaker 1: He's great. We've collaborated a few times at this point.
• 12:00
  Speaker 1: I made a tour documentary about him in, like, 2015,
• 12:03
  Speaker 1: and then.
• 12:06
  Speaker 1: I did a couple of other small things with him.
• 12:09
  Speaker 1: But yeah, this was just kind of a music video
• 12:13
  Speaker 1: with clips harvested from How To that was put to
• 12:16
  Speaker 1: this song that he did. And yeah, everyone's been texting me,
• 12:20
  Speaker 1: and everyone seems to really love it. But I actually
• 12:22
  Speaker 1: saw him a couple of nights ago, and he apologized
• 12:25
  Speaker 1: for not having seen the concrete movie yet.
• 12:28
  Speaker 2: Were you filming him while you were talking to him? Yeah.
• 12:31
  Speaker 1: You were? You were, right? Yeah.
• 12:37
  Speaker 2: I guess it's not a gotcha. It's kind of my thing, Jordan.
• 12:44
  Speaker 2: What the f * * * are you talking about? Again,
• 12:49
  Speaker 2: I mentioned what you capture in New York feels so
• 12:53
  Speaker 2: New York. New York is a strange, beautiful, challenging place
• 12:56
  Speaker 2: to live. And I think it's often like it's often
• 13:00
  Speaker 2: best summed up in the weird characters. The other day, literally,
• 13:04
  Speaker 2: I saw a man in front of my home on
• 13:08
  Speaker 2: a city bike balancing a tire on his head as
• 13:10
  Speaker 2: he went down.
• 13:11
  Speaker 1: The street, right?
• 13:12
  Speaker 2: And it was like a beautiful, strange thing because he
• 13:14
  Speaker 2: had to move this tire a long distance and he's
• 13:17
  Speaker 2: on a city bike.
• 13:18
  Speaker 1: He had to.
• 13:19
  Speaker 2: I assume that... I start telling the story that he
• 13:22
  Speaker 2: needed to do this thing. He used a city bike,
• 13:24
  Speaker 2: and then... Or he's just showing off and flexing.
• 13:27
  Speaker 1: Yeah, yeah.
• 13:28
  Speaker 2: But you were able to find so many of those things.
• 13:30
  Speaker 2: I wonder, as somebody who has captured and seen New
• 13:32
  Speaker 2: York for quite some time, like, what's sort of on
• 13:34
  Speaker 2: your Mount Rushmore of New York moments that you've captured?
• 13:38
  Speaker 1: Oh, I mean... Oh, there was a bit of a scary...
• 13:41
  Speaker 1: I mean, a lot of the great moments in the show,
• 13:45
  Speaker 1: my favorite moments were captured by the second unit team
• 13:47
  Speaker 1: just because we had, like, four or five different teams
• 13:51
  Speaker 1: at a time going out during the day and just
• 13:53
  Speaker 1: like capturing whatever, just like throw a dart at the map.
• 13:56
  Speaker 1: And I don't know, there was one like dog on
• 14:00
  Speaker 1: a really high up ledge that was like caught up
• 14:02
  Speaker 1: there and it was really tense and the whole crowd
• 14:05
  Speaker 1: outside was really worried about it and it was like
• 14:08
  Speaker 1: a big public scene, but then the dog got back inside.
• 14:13
  Speaker 1: That was, yeah, I think Brittany shot that, but the...
• 14:18
  Speaker 1: But I don't know why that comes to mind. There's
• 14:20
  Speaker 1: a lot of good stuff in the Concrete movie, too,
• 14:22
  Speaker 1: that I don't want to spoil either.
• 14:25
  Speaker 2: You're pitching this thing. I was like, is he going
• 14:27
  Speaker 2: to talk about your favorite moment being when a dog
• 14:30
  Speaker 2: died on camera? No, no, no.
• 14:31
  Speaker 1: No, the dog lived.
• 14:32
  Speaker 2: The dog lived. There's tension there.
• 14:34
  Speaker 1: Yes, tension. Yes. I mean, that's the thing. You can
• 14:36
  Speaker 1: show a dog doing anything, and that will give you
• 14:39
  Speaker 1: all the emotion you need for like a... if you
• 14:44
  Speaker 1: say something over it, you know? If you show a
• 14:46
  Speaker 1: dog in the rain, it automatically makes people sad.
• 14:49
  Speaker 2: You know? Well, before I let you go, I will
• 14:52
  Speaker 2: say that is true. Like, we are joking, but this documentary,
• 14:55
  Speaker 2: it goes to such beautiful, strange places, but also doesn't
• 14:59
  Speaker 2: let go of the idea of, like, concrete being this
• 15:02
  Speaker 2: ubiquitous substance that we are constantly surrounded by, and sort
• 15:06
  Speaker 2: of humans need to feel comfort by reliving things over
• 15:09
  Speaker 2: and over again, and these things around us.
• 15:12
  Speaker 1: Like.
• 15:13
  Speaker 2: Like, earnestly, after living in this and making this film,
• 15:16
  Speaker 2: what is your relationship like with concrete? How do you
• 15:21
  Speaker 2: see it differently? Wow.
• 15:23
  Speaker 1: I'm so glad you asked. I mean, I'm trying to
• 15:29
  Speaker 1: work on something new right now, so I kind of
• 15:32
  Speaker 1: forget about it. But I also, I don't know. I
• 15:36
  Speaker 1: feel like concrete is, yeah, it is everywhere. And it's
• 15:39
  Speaker 1: kind of, it's like cyclically, you know, renewed for sidewalks
• 15:45
  Speaker 1: and everything. I don't know, I think there's an existential
• 15:49
  Speaker 1: kind of terror there about the fact that we're running
• 15:53
  Speaker 1: out of a lot of the materials we need to
• 15:55
  Speaker 1: make it, and we may not be able to make
• 15:57
  Speaker 1: it for another century, as we do it now. So,
• 16:00
  Speaker 1: I don't know. I mean, you were saying backstage, I mean,
• 16:08
  Speaker 1: brick is cool, I think.
• 16:09
  Speaker 2: Yeah, brick is cool, man. Yeah, don't I think it.
• 16:13
  Speaker 2: Brick is cool.
• 16:13
  Speaker 1: Brick is cool.
• 16:14
  Speaker 2: My dad was a brick salesman, and we were talking backstage.
• 16:18
  Speaker 2: Everybody's like, what happens backstage at a TV show? And
• 16:20
  Speaker 2: I'm like... There's cool shit going on backstage. I'm talking
• 16:23
  Speaker 2: about brick. You're talking about concrete. Like, we get into
• 16:26
  Speaker 2: some stuff. Let me tell you. Some real Hollywood stuff.
• 16:28
  Speaker 2: But my dad sold brick for a very long time.
• 16:33
  Speaker 2: And understanding, like, the brick industry and the artisans who
• 16:36
  Speaker 2: create something like this, this piece that is both a
• 16:38
  Speaker 2: work of art and that is functional, and also it
• 16:40
  Speaker 2: is an industry that has seen the erosion of big
• 16:45
  Speaker 2: tech and big companies as well. Like, you have such
• 16:47
  Speaker 2: an American story in the materials that we use. And
• 16:50
  Speaker 2: I heard people giggling. you guys. I now feel you, John.
• 16:55
  Speaker 1: I feel you.
• 16:55
  Speaker 2: You reveal what you care about with these substances that
• 16:59
  Speaker 2: we see. But this is who we are, all right?
• 17:05
  Speaker 2: We are the stones that we build upon. We are
• 17:08
  Speaker 2: the ground that we stand upon. These are the things
• 17:11
  Speaker 2: that lift us up. We go beneath them when we die. Like,
• 17:15
  Speaker 2: why shouldn't we not expose these things, investigate these things,
• 17:18
  Speaker 2: live in these things? Am I right?
• 17:20
  Speaker 1: Yes. Yes, it is. Exactly, yes. Yeah, I mean... I
• 17:27
  Speaker 1: don't know. Yeah, it's all a political decision in one
• 17:30
  Speaker 1: way or another. You know, I think what we use.
• 17:33
  Speaker 1: And I think Brick is cool. I just, I don't know. Yeah.
• 17:40
  Speaker 2: You don't have to make it the focus of your
• 17:43
  Speaker 2: next piece. But let me tell you, it's there if
• 17:46
  Speaker 2: you're interested.
• 17:47
  Speaker 1: Yeah, yeah. All right, thank you. I'll let you know.
• 17:52
  Speaker 2: John, it's a great film. It's a unique film.
• 17:55
  Speaker 1: I laughed.
• 17:56
  Speaker 2: I cried. I tried to wedge my brick side into
• 17:59
  Speaker 2: the conversation. But I'm glad you're here.
• 18:03
  Speaker 1: Yeah, yeah. The History of Concrete is in theaters now.
• 18:04
  Speaker 2: John Wilkins.