WEBVTT 1 00:00:09.600 --> 00:00:10.100 Okay. 2 00:00:10.920 --> 00:00:11.820 Scene six, you're rolling. 3 00:00:12.040 --> 00:00:13.680 Scene six, take one, roll two. 4 00:00:47.220 --> 00:00:48.320 It's for the branches. 5 00:00:49.500 --> 00:00:51.880 Yeah, the, you know, the drop of the tree and everything. 6 00:01:17.140 --> 00:01:18.700 Scene seven, take one. 7 00:01:27.780 --> 00:01:29.680 He said we should, uh. 8 00:01:30.600 --> 00:01:33.860 What are we going to name the mural after he finished? 9 00:01:34.220 --> 00:01:36.120 Oh, yeah, we have to come up with a name. 10 00:01:36.520 --> 00:01:41.880 So I had one where he said everybody put, done, and we put them in a bucket and we take it home. 11 00:01:43.820 --> 00:01:46.880 I thought of putting it up there on top of the dumpster. 12 00:01:48.500 --> 00:01:49.800 What do you think? 13 00:01:50.520 --> 00:02:03.720 Well, no, to the honor of their working class or the working men of part of the district, because I remember these are all our traits and how would you say, labor. 14 00:02:03.720 --> 00:02:05.840 Unity and people. 15 00:02:05.940 --> 00:02:14.120 You could put like a banner up there and then write whatever it is. 16 00:02:14.400 --> 00:02:15.760 It must be written in the banner. 17 00:02:16.140 --> 00:02:17.120 In the banner, yeah. 18 00:02:17.920 --> 00:02:19.440 Maybe somebody hold a banner. 19 00:02:20.160 --> 00:02:20.860 It's an idea. 20 00:02:21.720 --> 00:02:23.160 Put Casalgazipalcos. 21 00:02:24.640 --> 00:02:25.880 A Reiss Post-Union. 22 00:02:26.700 --> 00:02:27.720 Something like that? 23 00:02:29.300 --> 00:02:30.020 That'd be good. 24 00:02:32.120 --> 00:02:33.800 How you can place it almost anywhere? 25 00:02:35.100 --> 00:02:40.360 Well, you can place it anywhere, but the idea is that this is the center of the picture. 26 00:02:40.460 --> 00:02:42.140 It would be nice to be on top of it. 27 00:02:42.480 --> 00:02:49.420 When everybody look at it, can read at the same time what is, what the signs are from the, you know. 28 00:02:50.900 --> 00:03:00.060 Like I said, you can keep working over and over on this stuff because it all needs to be like the can and everything else needs to be retouched again. 29 00:03:00.320 --> 00:03:03.300 You got holes and we're going to make the lines. 30 00:03:03.860 --> 00:03:08.860 And then the symbols that we're going to put up on the top there like a snowflake or whatever. 31 00:03:09.400 --> 00:03:11.000 When I say we, I don't mean me. 32 00:03:11.080 --> 00:03:15.640 I mean, you know, I have to because anybody listen to we. 33 00:03:16.420 --> 00:03:17.320 What is it? 34 00:03:17.320 --> 00:03:18.720 We'll give you a paintbrush. 35 00:03:19.540 --> 00:03:20.720 We'll give you a paintbrush. 36 00:03:24.600 --> 00:03:25.060 It's good. 37 00:03:25.500 --> 00:03:27.080 Well, most everybody can. 38 00:03:27.280 --> 00:03:31.320 He's brushing his hand one time or another in this little. 39 00:03:32.580 --> 00:03:35.380 Even Escudero went up there in Iceland. 40 00:03:36.660 --> 00:03:36.660 41 00:03:36.660 --> 00:03:37.140 Dennis. 42 00:03:39.140 --> 00:03:43.760 You still got to do the windows and then put some trees on there, you know, like it's supposed to be. 43 00:03:43.760 --> 00:03:44.740 By the way, where is Dennis? 44 00:03:45.360 --> 00:03:46.820 Dennis, I left them outside. 45 00:03:47.020 --> 00:03:50.440 We should bring him in because he's part of the mirror. 46 00:03:50.940 --> 00:03:58.660 He may as well bring him in and all those figures got to be like, you know, retouched to give more dimension. 47 00:03:59.600 --> 00:04:02.420 When you say dimension, what are you telling me? 48 00:04:02.880 --> 00:04:03.280 Explain. 49 00:04:03.480 --> 00:04:04.280 Not to explain. 50 00:04:04.800 --> 00:04:05.000 All right. 51 00:04:05.000 --> 00:04:06.180 That sounds like 3D. 52 00:04:06.820 --> 00:04:06.820 53 00:04:07.320 --> 00:04:08.260 The school of key. 54 00:04:08.540 --> 00:04:09.380 I'm looking at it. 55 00:04:09.400 --> 00:04:09.720 It's pretty. 56 00:04:10.080 --> 00:04:10.580 There we go. 57 00:04:10.840 --> 00:04:11.040 Hey. 58 00:04:12.620 --> 00:04:12.860 Ready? 59 00:04:14.520 --> 00:04:15.280 Okay. 60 00:04:16.940 --> 00:04:18.100 Scene eight, take one. 61 00:04:18.100 --> 00:04:22.560 You have to tell me that you're also watching the time. 62 00:04:23.560 --> 00:04:24.820 I have to say that they get in so much. 63 00:04:26.140 --> 00:04:30.840 But take off your hat because they're going to say, hey, this one is watching the time. 64 00:04:31.180 --> 00:04:32.360 You can see what happened. 65 00:04:34.040 --> 00:04:34.760 Come on, Hector. 66 00:04:35.100 --> 00:04:38.540 No, but first, I looked at that corner and I couldn't see anything else. 67 00:04:38.920 --> 00:04:40.000 You're going to talk in Spanish. 68 00:04:40.020 --> 00:04:42.140 You got to look at him because I don't understand. 69 00:04:42.360 --> 00:04:45.620 When I look at the handle, I just say, what is that? 70 00:04:45.620 --> 00:04:47.900 But then you have to throw it. 71 00:04:48.680 --> 00:04:52.540 And then you can grab the concept of the truck. 72 00:04:53.720 --> 00:04:55.640 Remember, you used to tell me that's the truck. 73 00:04:55.860 --> 00:04:56.340 That's the truck. 74 00:04:57.280 --> 00:04:58.240 You only see the handle. 75 00:04:58.980 --> 00:05:00.860 Because I knew that was the handle of the mower. 76 00:05:00.880 --> 00:05:01.660 That's why I got up there. 77 00:05:02.780 --> 00:05:05.520 Maybe you put two back up lights there. 78 00:05:06.700 --> 00:05:07.140 Definitely. 79 00:05:07.560 --> 00:05:08.660 It's got to be done. 80 00:05:09.160 --> 00:05:13.480 Because when you look at it, you cannot grab it. 81 00:05:13.480 --> 00:05:18.060 But then when you get more attentive, then you can get it. 82 00:05:18.520 --> 00:05:22.620 If you put the two lights in there and make it more distinctive, that it's a truck. 83 00:05:24.920 --> 00:05:26.780 And then some lights up there on the top of the roof. 84 00:05:26.780 --> 00:05:28.820 That's what he was talking about. 85 00:05:29.060 --> 00:05:32.800 Because before, I just looked at the handle and I knew that was the handle of the truck. 86 00:05:33.180 --> 00:05:34.360 But I could see the truck. 87 00:05:34.360 --> 00:05:34.760 What is that? 88 00:05:34.760 --> 00:05:36.940 What is that? 89 00:05:37.060 --> 00:05:37.700 Boots. 90 00:05:37.900 --> 00:05:38.240 Boots. 91 00:05:40.480 --> 00:05:42.640 But that's too wide. 92 00:05:43.660 --> 00:05:46.820 He wanted to take that off because when they were painting it. 93 00:05:47.520 --> 00:05:50.020 If he was painting it, he would take it off. 94 00:05:50.040 --> 00:05:53.320 He stopped by the plant and said, you said that, come on. 95 00:05:53.780 --> 00:05:54.720 Because when you... 96 00:05:54.720 --> 00:05:58.360 When you trip, you trip it and you fall out. 97 00:06:17.860 --> 00:06:19.000 You go there. 98 00:06:19.420 --> 00:06:22.480 And if you just want to hear it, don't go all the way to no limit. 99 00:06:27.760 --> 00:06:29.720 Actually, Susan, you don't even have to do it in front of this face. 100 00:06:29.840 --> 00:06:31.060 I can just get you right there. 101 00:06:31.060 --> 00:06:32.420 You can do it in front of your face. 102 00:06:32.620 --> 00:06:33.800 Alright, that's a good idea. 103 00:06:38.000 --> 00:06:40.720 Jose Guerrero, reel two, scene one. 104 00:06:40.800 --> 00:06:42.060 Look at the government flag. 105 00:06:43.340 --> 00:06:44.060 Just once. 106 00:06:44.440 --> 00:06:45.080 No, that's enough. 107 00:06:45.700 --> 00:06:46.800 Okay, anytime you guys are ready. 108 00:06:47.420 --> 00:06:50.720 Jose, I thought maybe you could tell us a little bit about what this mural means. 109 00:06:52.820 --> 00:06:56.560 Well, the mural is, like I said, we're using a lot of symbols there, see? 110 00:06:56.560 --> 00:07:04.680 And instead of using actual figures of gangs and generals and diseases or whatever, 111 00:07:05.440 --> 00:07:09.600 we used a storm on top of the dove there. 112 00:07:10.540 --> 00:07:18.140 And as you can see, it's part dove, it's a dove, but it's also like a thunderbird, you know, with the sides. 113 00:07:19.480 --> 00:07:21.260 So it wouldn't look so timid, you know. 114 00:07:23.560 --> 00:07:24.640 Sort of like dove and eagle? 115 00:07:26.560 --> 00:07:29.640 More aggressive doves, more like it. 116 00:07:30.300 --> 00:07:32.940 As opposed to the regular peace dove that everybody uses. 117 00:07:34.200 --> 00:07:37.600 So can you tell us how you started this mural and what steps you've been through? 118 00:07:38.660 --> 00:07:45.480 Well, what we did was, you're talking about from the beginning, we primed the wall, we wirebrushed it first, see? 119 00:07:45.660 --> 00:07:51.320 After we wirebrushed it, we put the base paint, and then we start doing the geometrical lines. 120 00:07:51.320 --> 00:07:55.760 You know, like crisscrossing circles or whatever. 121 00:07:57.120 --> 00:08:08.220 And then we start, whatever figures we got on the sketch, we figure on a way of putting it alongside the lines that are already on the wall. 122 00:08:09.640 --> 00:08:13.100 Using the lines because then they will fully cover the whole wall, see? 123 00:08:14.080 --> 00:08:15.360 And take a lot of space. 124 00:08:16.140 --> 00:08:20.360 And then you cover it in the, you use different colors to fill in the space. 125 00:08:21.460 --> 00:08:23.660 As opposed to a lot of figures, you know, what I was saying. 126 00:08:25.180 --> 00:08:27.960 And why are you doing that? What's your idea about composition? 127 00:08:30.400 --> 00:08:37.800 The composition, I don't worry about the composition because once I do the lines, I can see where everything goes, see? 128 00:08:37.800 --> 00:08:46.660 And then, like putting to the side doors, we put one figure on one side and then a boy. 129 00:08:47.700 --> 00:08:49.240 And then the girl on the other side. 130 00:08:50.720 --> 00:09:01.100 Okay, now, it's not to use so many figures, we use the girl that's doing away and burying, you know, like the old order. 131 00:09:01.940 --> 00:09:04.620 You know, the reactionary politics or whatever. 132 00:09:05.460 --> 00:09:07.100 She's done that already. 133 00:09:07.740 --> 00:09:23.040 And then on the other side, this boy here is supposedly playing in a clear, more serene environment, free from the storm, as we call it. 134 00:09:26.620 --> 00:09:26.620 135 00:09:26.680 --> 00:09:28.280 How did you decide on the colors? 136 00:09:31.840 --> 00:09:35.240 Well, the color, we start playing them out on paper. 137 00:09:36.000 --> 00:09:43.400 And then, since it is a building, you got to figure out how the colors look like from maybe four blocks away. 138 00:09:44.220 --> 00:09:49.200 So you're coming down the street on 28th Street, you can see certain colors already popping out. 139 00:09:49.560 --> 00:09:55.900 You can figure out what the figure's about, but the closer you get, then the color starts to make sense. 140 00:09:55.900 --> 00:10:11.500 The darker colors, then the lighter colors, the darker colors meaning, you know, the turmoil, and then the lighter colors bringing things into a brighter surrounding. 141 00:10:13.780 --> 00:10:18.660 How did you decide on having the dove sort of behind the door, embracing the door? 142 00:10:19.860 --> 00:10:31.960 Well, because the door stands in the way, so we were going to use those white pillars there, so it could be another part of the dove. 143 00:10:33.300 --> 00:10:36.340 But then we decided not to do that. 144 00:10:36.600 --> 00:10:38.160 Instead, it's behind the door. 145 00:10:39.680 --> 00:10:44.320 And the reason it's behind, because that's the only place we could put it. 146 00:10:44.320 --> 00:10:52.820 You know, when we did the circle for the head and then the lines, that's about the only place that would fit in. 147 00:10:55.040 --> 00:10:58.600 Then, of course, I had a lot of technical advice from, like I said, Duarte and Demian. 148 00:10:58.820 --> 00:11:04.360 He's very familiar with using the lines and geometric figures. 149 00:11:07.220 --> 00:11:10.980 Was there a group of you that were planning the mural, or was it most of you and Ipdo? 150 00:11:11.460 --> 00:11:17.900 No, I started. And then I always do this. When I start a mural, I always start it. 151 00:11:18.200 --> 00:11:22.600 And I don't mind seeking help from other people, coming to see it and saying, well, you should do this or do that, you know. 152 00:11:24.140 --> 00:11:30.480 And usually, following the advice, it comes out pretty good. I don't mind listening to other people. 153 00:11:32.060 --> 00:11:39.480 Why don't you guys talk a little bit about the meaning some more, you know, kind of what it means, the overall meaning to the community, impact, that kind of stuff. 154 00:11:41.000 --> 00:11:51.020 Well, as far as the community, you know, like there's a lot of gang violence in this area here, like in any other area in Chicago, I suppose. 155 00:11:51.780 --> 00:11:56.460 But this is mostly like an area where a lot of the young kids get involved in. 156 00:11:57.960 --> 00:12:07.800 So the meaning of the mural means, what I said before, the storm on top, you know, means the turmoil and whatever's happening here. 157 00:12:08.720 --> 00:12:20.340 But not only here, you know, the storm indicates even international politics, you know, the threat of the Third World War and the threat of more drugs coming in. 158 00:12:21.240 --> 00:12:36.360 It interprets in that a storm can be anything. So the name of the mural will be, we will stop the storm, meaning the younger people, because a lot of the older people, you know, they kind of shy away from that, you know, from doing anything. 159 00:12:36.360 --> 00:12:42.940 But the young people are the ones more daring to either get involved in a negative thing or a positive thing. 160 00:12:43.480 --> 00:12:55.260 And I believe that they will get involved in more positive things in order to try to stop the storm, you know, like do whatever has to be done to stop the Third World War or stop the drug traffic into the U.S. 161 00:12:55.260 --> 00:13:02.720 And I think that's the reason why the mural is being supported by the, which is, you know, actually nobody's doing anything about it because it's being supported by the system. 162 00:13:03.140 --> 00:13:10.800 The contrast is bringing drugs in and people profited from it, so nobody wants to do anything about it. 163 00:13:10.800 --> 00:13:16.800 So what kinds of responses have you gotten from people as you've been painting? Do people come by and say things to you? 164 00:13:17.720 --> 00:13:27.760 Well, yeah, the people, like when we were working on this morning, a lot are more interested in the kids getting involved in the art, you know. 165 00:13:28.360 --> 00:13:33.660 So they would ask, where do we teach art or can they join in and help? 166 00:13:33.660 --> 00:13:42.820 And of course we tell them, yeah, because it's a project for the community and there's about eight kids working on it. 167 00:13:43.300 --> 00:13:47.720 You know, since I just got back, but then by tomorrow they'll probably be helping out. 168 00:13:48.140 --> 00:13:55.660 And then we get two or three kids to be working at a time because you can get them on the scaffold because they might, you know, fall off. 169 00:13:57.120 --> 00:14:01.420 Which should happen one time. But it wasn't a kid, it was somebody else. 170 00:14:01.880 --> 00:14:04.340 So do they come over and ask you if they can join in? 171 00:14:05.580 --> 00:14:09.640 Yeah, most of the time, yeah. Or they just, you know, say they want to paint. 172 00:14:10.640 --> 00:14:13.800 We tell them what areas to do and they just do it. 173 00:14:14.700 --> 00:14:20.180 Like you see, we use a lot of flat areas so that they would have no trouble, you know, mixing paints or anything. 174 00:14:21.180 --> 00:14:28.120 If there's any mixing to be done, you know, the guy that's more familiar with it will do it. Me or whoever directs on the project. 175 00:14:31.420 --> 00:14:34.000 Do you think everybody can understand the message pretty easily? 176 00:14:35.860 --> 00:14:42.340 Well, the idea is to make it simple enough. In my case, we try to make it simple enough so that they can relate to it. 177 00:14:42.700 --> 00:14:47.680 You know, the dove, anybody can relate to the dove, you know. Anybody can relate to that. 178 00:14:48.500 --> 00:14:52.600 And of course they see the storm and everybody knows that something's wrong, you know. 179 00:14:53.160 --> 00:14:58.260 That it's not a pleasant, it's not like a sunny sky or nothing like that. And that the dove is black in it. 180 00:14:58.260 --> 00:15:04.520 And then they ask, well, what do the colors mean? Well, the colors means that it gets brighter, things get brighter. 181 00:15:05.380 --> 00:15:13.480 But it's up to the younger people to, you know, whoever's daring enough to get involved in stopping the storm, you know. 182 00:15:14.520 --> 00:15:20.340 And on the other side with the girl, what kind of symbols did you use to portray her message? 183 00:15:20.880 --> 00:15:29.580 Well, the girl, she's standing on top of a grave, you know, actually, you can see. 184 00:15:30.800 --> 00:15:37.260 And then you use swastikas, you know, swastikas are still very much in vogue now. 185 00:15:37.560 --> 00:15:43.960 So I work over there in the north side and I see a lot of swastikas and a lot of natigraphy, you know. 186 00:15:43.960 --> 00:15:48.820 So a lot of people say that's an old symbol, and it's not old, you know. 187 00:15:49.240 --> 00:15:54.200 It's brand new, as far as I'm concerned. Because you got the parade over there by the clan and all that. 188 00:15:55.700 --> 00:16:00.340 So in her case, the symbol is, you know, racism, the swastika. 189 00:16:00.980 --> 00:16:07.960 Which originally it wasn't meant for that. People were using the swastika for other things, you know, the Indians were using it for something else. 190 00:16:08.980 --> 00:16:16.140 But then we got the, like the gas mask, you know, we got daggers. 191 00:16:17.280 --> 00:16:21.880 We got the crucifix, which is not to put down Christianity, you know. 192 00:16:22.200 --> 00:16:28.020 That's not the case. The cases that cross is loaded with money inside, as you see in the picture. 193 00:16:28.660 --> 00:16:34.780 And it talks about the prime time religion, you know, as opposed to old time. 194 00:16:34.780 --> 00:16:44.460 Like on TV they're making a lot of money out of it. So that's why it's about, she's burying all that ignorance, you know, of whatever oppression the people are now. 195 00:16:45.940 --> 00:16:50.220 And the cross is loading out all the money. It was actually a hollow cross, not a real. 196 00:16:52.140 --> 00:16:57.840 Some people say, well, this is putting down Christianity with a cross being put down like that. 197 00:16:57.840 --> 00:17:05.680 And I said, well, no, it's not a real cross actually. It's hollow inside, you know, you can see it's nothing inside, you know. 198 00:17:12.440 --> 00:17:22.700 No, it made no difference, no. It could have been the boy, just that it happened that I saw a drawing, it looked like a girl's drawing, that's what I put there. Yeah. 199 00:17:22.700 --> 00:17:25.340 And is the boy reaching for the sky? Is that the idea? 200 00:17:26.700 --> 00:17:39.500 Well, the paint is not finished yet. And one of my colleagues, Valadez, started working on it and he's got some ideas he's going to put something up there. I don't know what. 201 00:17:40.180 --> 00:17:48.360 But the kid, mostly he's just playing, see. I mean, he's playing in a clean environment, you know, with no pollution or whatever. 202 00:17:51.300 --> 00:18:02.780 That's it for the film, but if you guys want to keep talking to him, you can. I'm going to put in another reel so I can get the murals themselves, because we can still use them if you don't want to. 203 00:18:03.040 --> 00:18:08.600 Do you have a couple more things you want to talk to him about? Sure. We could talk about the other murals too? Yeah, sure.