And he was out there with a tape measure, going through the trash heap, looking for header material, or the board that goes over a door, thinking he'd impress his boss -- that's how we taught him to do it.
Now, Ron Howard ran into Buzz Aldrin, who was not on the movie, so he had no idea that we were faking any of this footage, and he just responded as he would respond, and I'll run this.
But it's when you compare the last two groups, the mid-adolescent group and the adult group where things get really interesting, because there, there is no continued improvement in the no-director condition.
The filmmaker Mira Nair speaks about growing up in a small town in India. Its name is Bhubaneswar, and here's a picture of one of the temples in her town.
It's the leadership of the athletic director, the president of the university, the people in charge who make decisions about resources and who make decisions about priorities in the institutional settings.
If they agree -- and you don't want to know what happens if they don't -- they train them and they supervise them on how to run the most efficient criminal operation for that town, in exchange for royalties.
When they're entering a new market, they send a family member to supervise it, or, if they're partnering with a new organization, they create a family tie, either through marriages or other types of ties.
What does that say about the state of oversight in American intelligence when the chairman of the Senate Intelligence Committee has no idea that the rules are being broken thousands of times every year?
Improvisation theater, just like science, goes into the unknown, because you have to make a scene onstage without a director, without a script, without having any idea what you'll portray or what the other characters will do.
By the end of each week, the students take a quiz, hand in their homework, which are assessed by their peers under the supervision of the instructors, get a grade, move to the next week.
And in a twist you would not believe in a Steven Spielberg film -- the Gauleiter who was overseeing this brutal beating was the very same thief who had stolen socks from Mr. Teszler's hosiery mill.
And two months later when the main plant opened and hundreds of new workers, white and black, poured in to see the facility for the first time, they were met by the 16 foremen, white and black, standing shoulder to shoulder.
And one of the white foremen stepped forward and said, "You are being paid twice the wages of any other workers in this industry in this region and this is how we do business.
私はブロガーで 映画監督で 肉屋です なぜ この3つの立場が 1つになったのかお話ししましょう
I'm a blogger, a filmmaker and a butcher, and I'll explain how these identities come together.
I saw presidents opening emergency operation centers themselves against Ebola so that they could personally coordinate and oversee and champion this surge of international support to try and stop this disease.
Because that animator was allowed to share what we referred to as his slice of genius, he was able to help that director reconceive the character in a subtle but important way that really improved the story.
(Applause) And so you could imagine giving this to a film director, and letting him control, say, the strength and direction of wind in a shot after it's been recorded.
We need to reclaim morality in a secular context that creates ethical scrutiny and accountability for religions all around the world, but we need to do it in a respectful way that breeds cooperation and not extremism.
Lisa O'Connell, a dramaturge and director of a playwright center, pulled us aside after the show and said, "Do you have any idea how political that was?"
You make lists of writers and directors and actors who might be right for movies that you want to will into existence; you meet with many of them and their representatives, hoping to curry favor for some future date.
So when they're going to hire a director to command a crew, lead a ship, be a visionary or be General Patton, all the things that we've heard -- their thoughts and ideations pull male.
Third solution: this would be for the entertainment industry, Hollywood in particular, to adopt the Rooney Rule when it comes to hiring practices around directors.
So I wrote to Steven Spielberg -- (Laughter) (Applause) and I said, "I don't know if you understand the psychological importance of what's happened, and are you prepared to pay for the therapy bills?"
(Laughter) But I thought it was interesting, because if you read reviews of what he intended with E.T., he says very specifically, "I wanted the world to understand that we should love and embrace difference."
We set out to make this movie, and sort of accidentally, we end up hiring an all-female production team: the writer, directors, producers, and it's a film about two women.
So now, consider this: if you have watched mostly American movies in your lifetime, 95 percent of all the films you have ever seen were directed by men.
And yet, Paramount and Fox recently released their slates, and of the 47 films that they will release between now and 2018, not a single one will be directed by a woman.
I lead with this in my latest documentary film, "Smoke That Travels, " which immerses people into the world of music, song, color and dance, as I explore my fear that a part of my identity, my Native heritage, will be forgotten in time.
I spent, you know, several weeks with all these actors, producers, and the problems they have to go through are unimaginable for, you know, a Westerner, a filmmaker who works in America or in Europe.
Filmmakers, friends of mine, they look at Nollywood and they say, "Wow, they are doing what we really want to do, and make a buck and live with this job."
And George Wolf had taken over from another director and he wanted to change the theater, and he wanted to make it urban and loud and a place that was inclusive.
Fifty years ago, when I began exploring the ocean, no one -- not Jacques Perrin, not Jacques Cousteau or Rachel Carson -- imagined that we could do anything to harm the ocean by what we put into it or by what we took out of it.
And at the push of a button, it allows the artistic director to move between proscenium, thrust, and in fact, arena and traverse and flat floor, in a very quick transfiguration.
It's a good film in the sense that I certainly want to see it, right, but don't expect Emmerich to cast Brad Pitt in his next movie digging latrines in Tanzania or something. (Laughter) It just doesn't make for as much of a movie.
You've got Bollywood. My attitude to Bollywood is best summarized in the tale of the two goats at a Bollywood garbage dump -- Mr. Shekhar Kapur, forgive me -- and they're chewing away on cans of celluloid discarded by a Bollywood studio.
This building, when an artistic director wanted to do a "Cherry Orchard" and wanted people and wanted people to come out of a well on the stage, they brought a backhoe in, and they simply dug the hole.
And you can start to get the best artistic directors, scenic designers and actors from around the country to come to perform here because you can do things you can't do elsewhere.
But Alex was preparing a little, sort of obscure, indie, arthouse film called "Minority Report" for Steven Spielberg, and invited us to come out from MIT and design the interfaces that would appear in that film.
(Video) Lil Demon: ♫ Step your game up. Oh. Oh. ♫ ♫ Step your game up. Oh. Oh. ♫ Chris Anderson: So, that was sent to me by this man, a filmmaker, Jonathan Chu, who told me that was the moment he realized the Internet was causing dance to evolve.
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And he was out there with a tape measure, going through the trash heap, looking for header material, or the board that goes over a door, thinking he'd impress his boss -- that's how we taught him to do it. 