:16:02
Which is a relevant question
in occupied Poland.
:16:05
In the Jewish Ghetto, especially.
What do you do?
:16:09
This film must overcome to show
what is impossible to describe. . .
:16:16
. . .in the human language and
in the human situation. Impossible.
:16:21
I'm not going to give up my hope.
:16:25
But I feel, unfortunately, that. . .
:16:28
. . .the question about how you live
morally in an immoral world is. . .
:16:34
. . .more present than
I anticipated it to be.
:16:38
To remind people to remember
what they have not experienced.
:16:42
To force them to remember.
:16:44
Jon Avnet's picture
is running parallel to that.
:16:48
To force you to remember. . .
:16:52
. . .man's inhumanity to man.
:16:54
In rehearsal. . .
:16:56
. . .when I saw the level
of commitment. . .
:16:59
. . .the emotional connection of actors
to the material and characters. . .
:17:03
. . .and to one another. . .
:17:06
. . .I realized we had something
that was really just special.
:17:12
No matter what, we'd never have
that experience in our lives again.
:17:18
Confidence is something that's not
carried with you.
:17:23
It's something that you think
you ought to have.
:17:25
And when you get into rehearsal,
you think, huh?
:17:29
And when I did go into rehearsal. . .
:17:32
. . .I knew I had a chance
for a great movie.
:17:35
That's what I cared to do.
:17:37
In the simplest terms,
my goal was to. . .
:17:40
. . .be a messenger for millions
of people who had no voices.