John, Clarence Darrow, Amsterdam discussed on The Thinking Atheist


And it all worked out. I wasn't easy. And I can't even say it was fun. But it was it was certainly a challenge and. I got a call of a couple of months or so ago saying from guy in Amsterdam, I'm writing Iraq opera. And I'd like I like to write it. You know, I'd like to do it around you. My agents. Don't know, you know, you you know, that he wants you to commit to it. Now, I said, well, what's the problem with well, John? I mean, there are a lot of things who knows what will happen September next year. I remember saying how many rob them? Are being offered the seventy year old. What am I waiting for like a better rock opera or another one to pick room? I mean, come on. Let's go for it civil lot of. I mean, do I call it humanist activism, John, you know, some of the stuff that you're getting into your interviewed in the humanist. You are appearing at. Thing for the freedom from religion foundation in San Francisco's marvelous. A really marvelous convention super terrific presentation that you speak. I spoke about I spoke about lying. If you wanna know what has me really upset? These days is just the lying. That's going on. I just are we back to Trump two point. Oh here. I mean, you brought him up. So yeah. Yeah. I remember watching those early early debates. Yes, I remember turning my life for what you find. God. He's but he's lying like right in front of me. But he didn't say something which I just heard him say I was really struck by that I was really struck by that. And I'd like to say that I was struck really early on. And I've been just whipsawed with it. And so my speech was about lying, and how corrosive it is the storyteller, then whether it's in film, whether it's on stage for a play, whatever you see utility in using the storyteller in that context to help course. Correct. The culture what you're doing with the Clarence Darrow portrayal with the play you're writing do you see that as your contribution to trying to promote a culture of reason? Yes, I mean, the speech in which I gave was prompted by a lawyer who is having dinner with and the lawyer made the comment to me that you know, if I ever got you on the on the stand, I could destroy your credibility with. With the audience because actors are by their very nature wires. I went one you said, well, that's what you guys. Do you buy? I said, no, you completely don't understand what it is that we do or what the whole process. First of all what the process is packing. And then what the intent is if the intent is to present a mirror up to nature. You have to understand is that the process when we get down in the room there what we are looking for is not lies. We cannot act cannot literally act, but the -ception you can be in phoen- where where the audience is looking at somebody who is deceiving. That's what the characters doing this evening of the actor who plays. It is not in in the process of the evening. They're actually looking for the truth and the truth of this character is at their liar. Yes. But that doesn't make the actor liar. That isn't what that isn't the mechanism that we use it. It's just completely different. And the other thing is that as opposed to many. Other professions. Not the least riches lawyers profession is that we bring people into a room. There's a permission that's giving we enter an imaginary world and the audience knows that they're entering an imaginary world. So there's no deception that's going on the only thing that's real that. That happens. You know, again, I'm going back to play. The only thing that's real that happens in a play is the emotion that each audience member feels that Israel, but there's no deception. So in any case when I am now. Yes..

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