WEBVTT 00:00:00.000 --> 00:00:03.960 [MUSIC PLAYING] 00:00:15.870 --> 00:00:20.190 Traditionally, music-- which is a hugely powerful force 00:00:20.190 --> 00:00:21.860 in anything, in life. 00:00:21.860 --> 00:00:23.440 It's probably the quickest art form. 00:00:23.440 --> 00:00:23.940 It is. 00:00:23.940 --> 00:00:26.340 It gets in there like mainlining heroin. 00:00:26.340 --> 00:00:27.960 It's like two notes and you're there, 00:00:27.960 --> 00:00:29.940 and something's being felt. 00:00:29.940 --> 00:00:30.000 Traditionally, in film production, 00:00:30.000 --> 00:00:31.950 Traditionally, in film production, 00:00:31.950 --> 00:00:34.320 with the exception of some temporary tracks that you 00:00:34.320 --> 00:00:37.800 might use during editing, music is an afterthought. 00:00:37.800 --> 00:00:42.480 Music is something that you add to the existing film 00:00:42.480 --> 00:00:44.760 once it's more or less done, where 00:00:44.760 --> 00:00:49.140 you hope-- you hope it will amplify emotions that 00:00:49.140 --> 00:00:50.580 are there, that you've created. 00:00:50.580 --> 00:00:53.940 And it is very much about amplification. 00:00:53.940 --> 00:00:57.450 But that, to me, always felt a little artificial, 00:00:57.450 --> 00:00:59.370 that something as powerful as music should 00:00:59.370 --> 00:01:00.000 take some kind of secondary-- or at least, 00:01:00.000 --> 00:01:02.790 take some kind of secondary-- or at least, 00:01:02.790 --> 00:01:05.170 some step that came in at the end. 00:01:05.170 --> 00:01:07.770 We sort of felt that music, because 00:01:07.770 --> 00:01:11.820 of its centrality and its power, ought to be recorded first. 00:01:11.820 --> 00:01:17.940 So it has been our process from the very, very beginning 00:01:17.940 --> 00:01:21.360 to record music either before we start editing or very 00:01:21.360 --> 00:01:24.840 early in the editing process, so that the music itself 00:01:24.840 --> 00:01:27.180 is one of the directors of the film, 00:01:27.180 --> 00:01:30.000 rather than something that's added as an afterthought. 00:01:30.000 --> 00:01:30.090 rather than something that's added as an afterthought. 00:01:30.090 --> 00:01:32.220 And rather than have something scored-- 00:01:32.220 --> 00:01:34.710 which is, you know, once you've locked the picture, 00:01:34.710 --> 00:01:36.730 a score is kind of a mathematical term. 00:01:36.730 --> 00:01:41.430 It's got to be exactly 53 seconds and 20 frames till this 00:01:41.430 --> 00:01:42.180 hit. 00:01:42.180 --> 00:01:44.460 We would rather record music that we're 00:01:44.460 --> 00:01:48.510 drawn to emotionally, that we think fits a variety of needs, 00:01:48.510 --> 00:01:50.820 record many different versions of it, 00:01:50.820 --> 00:01:52.830 and permit the music to dictate-- 00:01:52.830 --> 00:01:55.350 in many cases-- the pace and rhythm as we 00:01:55.350 --> 00:01:56.880 develop those scenes. 00:01:56.880 --> 00:02:00.000 So sometimes we might actually shorten a sentence of narration 00:02:00.000 --> 00:02:00.240 So sometimes we might actually shorten a sentence of narration 00:02:00.240 --> 00:02:02.070 or lengthen a sentence of narration, 00:02:02.070 --> 00:02:04.070 if that's appropriate, to-- 00:02:04.070 --> 00:02:07.370 to meet a phrase of music that's ending. 00:02:07.370 --> 00:02:09.770 It's the exact opposite of scoring. 00:02:09.770 --> 00:02:11.370 It's baking in this. 00:02:11.370 --> 00:02:13.260 It's not the icing on the cake. 00:02:13.260 --> 00:02:14.025 It's the fudge. 00:02:14.025 --> 00:02:17.623 [MUSIC PLAYING] 00:02:20.910 --> 00:02:26.400 The power of music is so great that we can actually 00:02:26.400 --> 00:02:30.000 use recurring themes of music to build 00:02:30.000 --> 00:02:30.870 use recurring themes of music to build 00:02:30.870 --> 00:02:34.830 a kind of emotional structure, and give 00:02:34.830 --> 00:02:39.810 more force to the narrative arc that we're trying to-- 00:02:39.810 --> 00:02:40.920 to create. 00:02:40.920 --> 00:02:43.470 One can think of David Lean's "Lawrence of Arabia," 00:02:43.470 --> 00:02:47.910 when those five or six notes-- da, da, da, da, da, da, da-- 00:02:47.910 --> 00:02:52.110 I mean, he plays it, in a three-hour film, 250 times. 00:02:52.110 --> 00:02:54.442 I mean, I'm sitting here with editors sometimes 00:02:54.442 --> 00:02:55.650 and I'll say, well, use that. 00:02:55.650 --> 00:02:57.316 And they go, well, I've already used it. 00:02:57.316 --> 00:02:58.260 I say, so? 00:02:58.260 --> 00:03:00.000 You know, there's something-- it's like an establishing shot. 00:03:00.000 --> 00:03:01.210 You know, there's something-- it's like an establishing shot. 00:03:01.210 --> 00:03:03.510 But it's an establishing shot in your heart. 00:03:03.510 --> 00:03:04.540 You're not seeing it. 00:03:04.540 --> 00:03:05.780 You're feeling something. 00:03:05.780 --> 00:03:08.700 And so what happens is as you begin 00:03:08.700 --> 00:03:10.770 to work with these beds of music, that 00:03:10.770 --> 00:03:14.340 might be 50 different versions of 50 different songs-- 00:03:14.340 --> 00:03:17.370 think of the mathematical possibilities. 00:03:17.370 --> 00:03:19.620 What happens is you begin to gravitate, 00:03:19.620 --> 00:03:24.510 using a particular theme at a particular kind of moment. 00:03:24.510 --> 00:03:28.800 And when you do that, then it becomes not incumbent upon you, 00:03:28.800 --> 00:03:30.000 but it becomes a possibility to use that music again 00:03:30.000 --> 00:03:32.850 but it becomes a possibility to use that music again 00:03:32.850 --> 00:03:35.670 at another moment that's similar in feeling. 00:03:35.670 --> 00:03:39.180 Or you find out that a character has 00:03:39.180 --> 00:03:41.650 such a force that their entrance works really 00:03:41.650 --> 00:03:42.900 well with this piece of music. 00:03:42.900 --> 00:03:45.960 And it might behoove you to experiment, 00:03:45.960 --> 00:03:48.930 seeing if that repetition of that theme 00:03:48.930 --> 00:03:51.180 helps to reintroduce them again. 00:03:51.180 --> 00:03:54.690 And then sometimes, it's just the collection 00:03:54.690 --> 00:03:59.340 of the ideas and feelings of the film, the themes of the films. 00:03:59.340 --> 00:04:00.000 When you do that, you get an accumulated set of emotions 00:04:00.000 --> 00:04:03.600 When you do that, you get an accumulated set of emotions 00:04:03.600 --> 00:04:08.030 that then help you make your whole narrative point. 00:04:08.030 --> 00:04:10.590 It's-- it's much better that way, so that, you know, 00:04:10.590 --> 00:04:12.810 by the end of the film, when that theme comes back 00:04:12.810 --> 00:04:15.450 for the very last time, I am-- 00:04:15.450 --> 00:04:16.500 I hope you are-- 00:04:16.500 --> 00:04:19.920 weeping out of the sympathy and the understanding, 00:04:19.920 --> 00:04:23.910 the complexity, the loss, and just sort 00:04:23.910 --> 00:04:26.610 of the vividness of the narrative 00:04:26.610 --> 00:04:28.230 that you hope that you've created. 00:04:28.230 --> 00:04:29.820 And that's where music is-- 00:04:29.820 --> 00:04:30.000 is just always the best, the quickest, the fastest, 00:04:30.000 --> 00:04:35.490 is just always the best, the quickest, the fastest, 00:04:35.490 --> 00:04:37.500 the most emotionally powerful. 00:04:37.500 --> 00:04:41.340 [MUSIC PLAYING] 00:04:44.230 --> 00:04:48.870 We've taken essential anthems of the United States, 00:04:48.870 --> 00:04:51.750 like "My Country, 'Tis of Thee," and we 00:04:51.750 --> 00:04:53.550 have played it every which way. 00:04:53.550 --> 00:04:55.740 And more often than not, we've played it 00:04:55.740 --> 00:04:59.430 as a kind of ghostly echo of a failed promise. 00:04:59.430 --> 00:05:00.000 I've dealt with race in almost all the films that we've done. 00:05:00.000 --> 00:05:03.210 I've dealt with race in almost all the films that we've done. 00:05:03.210 --> 00:05:06.930 We've seen the fact that our inability 00:05:06.930 --> 00:05:10.770 to deal with the question of race in the United States 00:05:10.770 --> 00:05:16.320 has left us in really serious jeopardy 00:05:16.320 --> 00:05:17.940 throughout our history-- 00:05:17.940 --> 00:05:19.260 right up to the present moment. 00:05:19.260 --> 00:05:23.730 And so quite often, sometimes "My Country, 'Tis of Thee," 00:05:23.730 --> 00:05:26.910 played in a different kind of key, or played in [INAUDIBLE],, 00:05:26.910 --> 00:05:29.690 often counterpoints, say, the violence of the Ku Klux Klan, 00:05:29.690 --> 00:05:30.000 you know. 00:05:30.000 --> 00:05:30.190 you know. 00:05:30.190 --> 00:05:32.550 And you-- you hear in Jack Johnson 00:05:32.550 --> 00:05:37.140 about the sort of rabid railing against miscegenation, 00:05:37.140 --> 00:05:40.140 the mixing of black and white, that you 00:05:40.140 --> 00:05:43.620 hear the echo of "My Country, 'Tis of Thee" 00:05:43.620 --> 00:05:47.400 as a kind of reminder of maybe our better angels 00:05:47.400 --> 00:05:50.790 that aren't being fulfilled at that moment. 00:05:50.790 --> 00:05:53.490 KEITH DAVID: Millions of white Americans already shared 00:05:53.490 --> 00:05:55.770 their view. 00:05:55.770 --> 00:05:57.540 The fledgling National Association 00:05:57.540 --> 00:05:59.590 for the Advancement of Colored People 00:05:59.590 --> 00:06:00.000 mounted a national campaign to ban the film, 00:06:00.000 --> 00:06:03.030 mounted a national campaign to ban the film, 00:06:03.030 --> 00:06:07.620 and only succeeded in publicizing it. 00:06:07.620 --> 00:06:10.380 "Birth of a Nation" opened at the Liberty Theatre 00:06:10.380 --> 00:06:13.230 on Broadway the following month, beginning 00:06:13.230 --> 00:06:17.630 a record run of 44 weeks. 00:06:17.630 --> 00:06:20.485 It would become the most-seen movie of its time. 00:06:24.550 --> 00:06:29.200 Miscegenation was the supposed evil at the heart of its story. 00:06:29.200 --> 00:06:30.000 And its moral was that every self-respecting white man 00:06:30.000 --> 00:06:32.860 And its moral was that every self-respecting white man 00:06:32.860 --> 00:06:36.360 had a duty to avenge it if he could. 00:06:36.360 --> 00:06:37.380 And you just go-- 00:06:37.380 --> 00:06:38.190 whoa. 00:06:38.190 --> 00:06:41.430 And all of a sudden, music and picture-- 00:06:41.430 --> 00:06:44.550 one and one isn't equaling two, but three, because something 00:06:44.550 --> 00:06:46.260 else is produced. 00:06:46.260 --> 00:06:49.200 The free electrons that give off create yet 00:06:49.200 --> 00:06:51.720 another thing, which is all that we're looking for. 00:06:51.720 --> 00:06:54.862 You know, you can't have the father and son. 00:06:54.862 --> 00:06:56.070 You also need the Holy Ghost. 00:06:56.070 --> 00:06:58.320 So you know, I sort of feel like-- 00:06:58.320 --> 00:07:00.000 particularly with music, but certainly art in a bigger 00:07:00.000 --> 00:07:00.840 particularly with music, but certainly art in a bigger 00:07:00.840 --> 00:07:02.610 context is that Holy Ghost. 00:07:02.610 --> 00:07:05.420 It takes the conflict, the dialectic, the good and bad, 00:07:05.420 --> 00:07:07.650 the yes and no, the red state-blue state, the gay 00:07:07.650 --> 00:07:09.858 and straight, the black and white, the rich and poor, 00:07:09.858 --> 00:07:12.060 or whatever thing you want to do, 00:07:12.060 --> 00:07:13.950 and reconciles it with something else. 00:07:13.950 --> 00:07:17.394 [MUSIC PLAYING] 00:07:20.761 --> 00:07:23.010 Nothing could be more important than the effectiveness 00:07:23.010 --> 00:07:23.670 of music. 00:07:23.670 --> 00:07:25.500 So the period music that we select 00:07:25.500 --> 00:07:29.490 is an attempt to help wake the dead of that particular time 00:07:29.490 --> 00:07:30.000 and understand what they listened to, what kind of music 00:07:30.000 --> 00:07:31.830 and understand what they listened to, what kind of music 00:07:31.830 --> 00:07:32.520 they liked. 00:07:32.520 --> 00:07:35.340 And it has a hugely important role 00:07:35.340 --> 00:07:38.100 in sort of gluing all of the things together. 00:07:38.100 --> 00:07:41.700 And so each film has a different set of exigencies and demands. 00:07:41.700 --> 00:07:44.790 Each film is going to require a different kind of music. 00:07:44.790 --> 00:07:48.360 So at any given time, we're looking for the hip hop 00:07:48.360 --> 00:07:51.930 music that's appropriate to "The Central Park Five," back 00:07:51.930 --> 00:07:56.640 to the early schottisches and waltzes and horn pipes, 00:07:56.640 --> 00:07:59.850 as they're called, in any kind of revolutionary period, 00:07:59.850 --> 00:08:00.000 or the Native American music in "The West" 00:08:00.000 --> 00:08:02.460 or the Native American music in "The West" 00:08:02.460 --> 00:08:05.060 or in "Lewis and Clark" or "The National Parks." 00:08:05.060 --> 00:08:08.350 [NATIVE AMERICAN MUSIC] 00:08:08.350 --> 00:08:11.480 FILM ACTOR: You will probably meet with parties of the Teton 00:08:11.480 --> 00:08:13.744 Sioux. 00:08:13.744 --> 00:08:16.650 On that nation we wish most particularly 00:08:16.650 --> 00:08:23.660 to make a friendly impression, because of their immense power. 00:08:23.660 --> 00:08:26.040 We want it to be organic and appropriate to the moment. 00:08:26.040 --> 00:08:28.200 And we feel that what happens is, 00:08:28.200 --> 00:08:30.000 because of the power of music, the amplification comes 00:08:30.000 --> 00:08:31.710 because of the power of music, the amplification comes 00:08:31.710 --> 00:08:32.500 from within. 00:08:32.500 --> 00:08:35.819 It's really authentic to the exposition. 00:08:35.819 --> 00:08:39.539 [MUSIC PLAYING] 00:08:42.419 --> 00:08:45.450 The thing that we've avoided, or tried to avoid, 00:08:45.450 --> 00:08:47.400 through most of our-- 00:08:47.400 --> 00:08:51.360 our professional lives is to go to those music places where-- 00:08:51.360 --> 00:08:54.410 they're called needle drops, from the old days of-- 00:08:54.410 --> 00:08:58.560 of vinyl records, where you drop a needle on a particular song. 00:08:58.560 --> 00:08:59.970 You say, that's what I want. 00:08:59.970 --> 00:09:00.000 And it's sort of the idea. 00:09:00.000 --> 00:09:01.740 And it's sort of the idea. 00:09:01.740 --> 00:09:04.750 That's where temp music is often from, where you get-- 00:09:04.750 --> 00:09:08.420 get me something before my composer comes in at the end 00:09:08.420 --> 00:09:09.630 and does the real themes. 00:09:09.630 --> 00:09:11.880 And I don't want to belittle any of that. 00:09:11.880 --> 00:09:14.320 And music is a hugely expensive part of it. 00:09:14.320 --> 00:09:16.530 And when we set about budgeting, we 00:09:16.530 --> 00:09:20.700 know we want to never not use a piece of music 00:09:20.700 --> 00:09:23.400 because it's suddenly prohibitively expensive. 00:09:23.400 --> 00:09:27.300 And we've done everything we can to get most favored nation 00:09:27.300 --> 00:09:30.000 deals, and get folks, like the Beatles in the Vietnam film, 00:09:30.000 --> 00:09:30.750 deals, and get folks, like the Beatles in the Vietnam film, 00:09:30.750 --> 00:09:32.490 to say, yeah, we-- 00:09:32.490 --> 00:09:33.900 we want this part of it. 00:09:33.900 --> 00:09:36.090 You know, we have 120 music cues. 00:09:36.090 --> 00:09:38.520 I couldn't have afforded 12. 00:09:38.520 --> 00:09:40.800 You know, I have 10 times as many 00:09:40.800 --> 00:09:44.430 as that because these musicians were willing to say, we get it. 00:09:44.430 --> 00:09:47.910 So I would just urge you, starting out, to aim high. 00:09:47.910 --> 00:09:50.940 I mean, the-- the worst thing that can happen 00:09:50.940 --> 00:09:53.740 is that you say, you can't get this piece of music. 00:09:53.740 --> 00:09:57.072 [MUSIC PLAYING] 00:09:59.930 --> 00:10:00.000 I wanted to be a feature film maker. 00:10:00.000 --> 00:10:01.830 I wanted to be a feature film maker. 00:10:01.830 --> 00:10:06.470 And I think I migrated a lot of the laws of storytelling 00:10:06.470 --> 00:10:09.362 and of music to the documentary film. 00:10:09.362 --> 00:10:10.820 And one of them is, of course, sort 00:10:10.820 --> 00:10:14.300 of finding if not one theme, then some themes. 00:10:14.300 --> 00:10:16.520 And I think there's been no piece of music I've ever 00:10:16.520 --> 00:10:18.920 employed that sort of had more legs 00:10:18.920 --> 00:10:21.830 and had more effect than a tune called "The Ashokan 00:10:21.830 --> 00:10:23.990 Farewell" that I used throughout "The Civil War." 00:10:23.990 --> 00:10:26.990 The interesting thing is, it's the only piece of music 00:10:26.990 --> 00:10:29.060 that is not of the period of the Civil War. 00:10:29.060 --> 00:10:30.000 It was actually written in the early '80s 00:10:30.000 --> 00:10:30.830 It was actually written in the early '80s 00:10:30.830 --> 00:10:32.450 by one of my session musicians. 00:10:32.450 --> 00:10:35.510 And I would go into a recording studio 00:10:35.510 --> 00:10:39.350 with a guy named Jay Ungar and his partner, Molly Mason. 00:10:39.350 --> 00:10:43.100 And it was this extraordinary Scotch-Irish lament. 00:10:43.100 --> 00:10:45.140 And I knew right then and there that it 00:10:45.140 --> 00:10:48.170 had to be the bridge to the past, 00:10:48.170 --> 00:10:51.530 and conversely, to the present for the Civil War series. 00:10:51.530 --> 00:10:55.460 To me, the biggest lesson is to be open always 00:10:55.460 --> 00:10:58.440 to doing something the opposite of the way 00:10:58.440 --> 00:11:00.000 you've decided to do it. 00:11:00.000 --> 00:11:00.170 you've decided to do it. 00:11:00.170 --> 00:11:02.990 I decided early on, in all of my films, 00:11:02.990 --> 00:11:06.440 that I would try to do music that was contemporary 00:11:06.440 --> 00:11:08.690 to the subject matter, that I would-- 00:11:08.690 --> 00:11:11.570 as much as possible-- play it on instruments that would have 00:11:11.570 --> 00:11:12.230 been-- 00:11:12.230 --> 00:11:15.470 that music would have been played on at that time. 00:11:15.470 --> 00:11:16.730 And I did that. 00:11:16.730 --> 00:11:20.120 And then, almost in every film-- not all of them-- 00:11:20.120 --> 00:11:21.350 there were exceptions. 00:11:21.350 --> 00:11:24.020 And I think that you, as a filmmaker, 00:11:24.020 --> 00:11:27.170 have to be aware of your own feelings about something. 00:11:27.170 --> 00:11:30.000 It isn't just the abstract idea of a soundtrack. 00:11:30.000 --> 00:11:30.560 It isn't just the abstract idea of a soundtrack. 00:11:30.560 --> 00:11:33.720 Yeah, that's great, we've got this name, this stuff. 00:11:33.720 --> 00:11:35.660 You've got to say no. 00:11:35.660 --> 00:11:37.980 You've got to be able to say, that does not feel right, 00:11:37.980 --> 00:11:39.830 or yes, that feels right. 00:11:39.830 --> 00:11:43.830 [MUSIC PLAYING] 00:11:51.830 --> 00:11:55.975 This is the most important event in American history. 00:11:55.975 --> 00:11:59.740 And I began with an image of the ruins of Richmond. 00:11:59.740 --> 00:12:00.000 As the retreating Confederate government left, 00:12:00.000 --> 00:12:02.800 As the retreating Confederate government left, 00:12:02.800 --> 00:12:05.660 they blew up and set fire to their munitions. 00:12:05.660 --> 00:12:08.410 It wasn't the Union destruction of Richmond, 00:12:08.410 --> 00:12:11.850 it was the Confederate destruction. 00:12:11.850 --> 00:12:14.970 You get the sense of tension with this. 00:12:14.970 --> 00:12:17.040 The main reason that I've done this 00:12:17.040 --> 00:12:20.670 is that it's silent here, except for the music, 00:12:20.670 --> 00:12:25.710 to give me a chance to play the entire A music twice, 00:12:25.710 --> 00:12:29.430 and then to begin the repeat of the A music right here. 00:12:29.430 --> 00:12:30.000 As we're sort of upping the stakes, 00:12:30.000 --> 00:12:31.500 As we're sort of upping the stakes, 00:12:31.500 --> 00:12:33.390 we've got a single violin. 00:12:33.390 --> 00:12:35.670 It's now a second violin has come in. 00:12:35.670 --> 00:12:39.200 We're beginning to hear a few guitar chords periodically 00:12:39.200 --> 00:12:43.260 there, as we're witnessing the totality of the destruction 00:12:43.260 --> 00:12:43.980 of the Civil War. 00:12:43.980 --> 00:12:46.260 And there's no commentary needed. 00:12:46.260 --> 00:12:51.060 It is impossible to think that this could have happened here. 00:12:51.060 --> 00:12:53.940 And I want to do this just visually, and have 00:12:53.940 --> 00:12:55.470 the music be a counterpart. 00:12:55.470 --> 00:12:57.460 There's the beginning of the B music. 00:12:57.460 --> 00:13:00.000 And now you can begin the narration. 00:13:00.000 --> 00:13:00.030 And now you can begin the narration. 00:13:00.030 --> 00:13:03.160 NARRATOR: The Civil War was fought in 10,000 places, 00:13:03.160 --> 00:13:06.360 from Valverde, New Mexico, and Tullahoma, Tennessee, 00:13:06.360 --> 00:13:08.460 to St. Albans, Vermont. 00:13:08.460 --> 00:13:10.440 There's something in this piece of music 00:13:10.440 --> 00:13:13.230 that is of the period of the Civil War. 00:13:13.230 --> 00:13:14.820 And then, of course, it isn't. 00:13:14.820 --> 00:13:18.090 And because it has a freshness and a newness, 00:13:18.090 --> 00:13:23.310 it is going to be the connector not only to all the other music 00:13:23.310 --> 00:13:27.750 from the period, but to us in our hearts about what happens. 00:13:27.750 --> 00:13:30.000 And so we're now adding more instrumentation. 00:13:30.000 --> 00:13:31.170 And so we're now adding more instrumentation. 00:13:31.170 --> 00:13:35.430 We're-- we're beginning to say all of the sort of essential, 00:13:35.430 --> 00:13:38.790 30,000 feet of the Civil War. 00:13:38.790 --> 00:13:41.810 But at the same time the-- 00:13:41.810 --> 00:13:43.499 the imagery is intimate. 00:13:43.499 --> 00:13:44.415 I mean the idea that-- 00:13:44.415 --> 00:13:45.960 NARRATOR: Americans slaughtered one another wholesale. 00:13:45.960 --> 00:13:48.510 Americans slaughtered one another wholesale, right here 00:13:48.510 --> 00:13:50.670 in America, in their own cornfields 00:13:50.670 --> 00:13:51.765 and their peach orchards. 00:13:51.765 --> 00:13:53.056 NARRATOR: Along familiar roads. 00:13:53.056 --> 00:13:56.540 Along familiar roads, and by waters with old American names. 00:13:56.540 --> 00:13:59.280 It's just saying, how could we do this to each other? 00:13:59.280 --> 00:14:00.000 And the music is a perfect complement. 00:14:00.000 --> 00:14:01.410 And the music is a perfect complement. 00:14:01.410 --> 00:14:04.200 And because it's new, it has the ability 00:14:04.200 --> 00:14:07.230 of permitting us to see something 00:14:07.230 --> 00:14:11.050 new, much in the same way Lincoln is saying, you know, 00:14:11.050 --> 00:14:15.420 "four score and seven years ago," not 87 years ago. 00:14:15.420 --> 00:14:19.350 I think this music sort of is a poetic dissonance that 00:14:19.350 --> 00:14:22.590 permits you to then pull yourself right into the story. 00:14:22.590 --> 00:14:27.450 And because of its plaintive wail, you are-- 00:14:27.450 --> 00:14:30.000 are pulled in inexorably, just by the power of the music. 00:14:30.000 --> 00:14:30.300 are pulled in inexorably, just by the power of the music. 00:14:30.300 --> 00:14:34.204 [MUSIC PLAYING] 00:14:39.012 --> 00:14:40.470 NARRATOR: Men who had never strayed 00:14:40.470 --> 00:14:42.690 20 miles from their own front doors 00:14:42.690 --> 00:14:45.870 now found themselves soldiers in great armies, 00:14:45.870 --> 00:14:48.370 fighting epic battles hundreds of miles from home. 00:14:51.980 --> 00:14:54.110 They knew they were making history. 00:14:54.110 --> 00:14:57.460 And it was the greatest adventure of their lives.