Deconstruction: Relaxed Samurai in the Town Square

From the Busby Berkeley shot, we cut to a WIDE VIEW from the back of the nearly empty LECTURE HALL looking down and gathering in all of the rows.

Ideally we'd prefer to make the lecture hall or auditorium be based on the one used at the conference at the (then brand-new) Johns Hopkins Center for Humanities.

In the meantime, for story purposes, let's suppose we have the auditorium we need to tell the story.

The lecture hall has a pitch: theater seating. It need not be steep. It can be a gentle slope, and is modern and open, like in the General Assembly Hall of the United Nations, which was built from 1948 and 1952, but obviously much smaller and less grandiose than that famous room.

The lecture hall is broad---enough to fill a wide shot looking down towards the stage, as we are going to do. There are aisles along the sides, maybe also in the middle.

DERRIDA is the last person (or two) in the empty rows, and the last one who is standing amidst the rows: the only one not making for the aisle, or going up and down the aisles towards the door. Perhaps a few people are still sitting solo or in a pair amidst the rows. Let's place DERRIDA about two-thirds of the way up the rows. He is comfortable, contrapposto,  apparently looking with vague focus, askew down across the rows towards the corner towards the direction of LEVI-STRAUSS and his cluster, whom we have placed by the doors. Let us specify that the doors next to the stage and there is an ample there for the cluster to form, like an eddy in a draining pool.

We linger here for a moment, in a moment of equilibrium and difference, seeing the slow motion of the room, with the two men like two poles, Derrida being a perspective-skewed giant, being he is closer.  Between them in the gulf of the rows and seats, and the VACUUM of the auditorium. The podium and stage is like a third force between them, to separate them, to create distance between their respective spaces.

The music should be from the same Walter Wanderley album, but a more gentle tract, like this one:

GOING BACK FOR A MOMENT: it is important that during the previous PAN OVER THE AUDITORIUM  that we eventually arrive at a wide shot of RICHARD MACKSEY enunciating the words of his introductory lecture while at the podium on the stage in front of the seats filled with attentive people. We don't see him otherwise in the scenes so far.