I go in and Ken Burns has this marvelous New England house and then a studio and he has one of Jefferson's pavilions, one of his brick

lunette pavilions that he built after

his great success in the 1990s, and more recently a barn which he has had built which is his studio and the barn has no metal in it

It's all done with joinery and you know the classical New England. It's marvelous everything he does is marvelous and so So he records in a barn.

Yeah. Where did he get that?

Well, you know, you can ask him.

So, so they sit me down and they throw a little powder on my nose and move some hair and so on.

And then he comes in.

And it's like there are no list of questions, no prep, just,

hey, good to see you again. He he sits down he's two and a half feet

for me he has gone to video has he now uses video I you know I thought I felt a

shudder in the rotation of the earth recently.

He's gone from film. He used to use film only.

We had a discussion about that when he was here at this studio.

And he had good reason for loving film because the colors are

very rich and deep and so on. I asked him about it and he just said that's the way I've

always done it, that's the way I always will do it.

Right. And at that point he could pretty much do what he wanted forever.

And he probably still could, but as you know, high definition, high resolution video is a dream to work with.

That's one of the beautiful things about digital is you can clone it immediately and there's no loss.

If you have a role of film that somehow gets poorly processed, you're in trouble.

That's all those nitrate films from the early 20th century that combusted, that actually created fires and had to be treated and

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