Name: ワシントンD.C.はいつも自分を翻弄する (Washington, D.C. Always Plays Itself)
Uploaded: 2021-01-14T06:52:28.000Z
Duration: 14 min 34 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

['WASHINGTON D.C.' BY GIL SCOT-HERON PLAYS]

# IT'S A MASS OF IRONY FOR ALL THE WORLD TO SEE

# IT'S THE NATION'S CAPITAL, IT'S WASHINGTON D.C.

Even if you've never been there, you probably have a good idea of what it looks like.

Just from any number of movies about war, or TV shows about politics.

Often in montages during the title sequences.

I do love the House of Cards opening, though. But I'm getting ahead of myself.

But I wonder what other perspectives we could get on it.

# FLOOR TO THE CEILIN', STUNTIN' IN MY BILLION-AIR

KYLE: I'd like to think that I know the city quite well.

And, as with any native of any city, it's a common pastime to scour fiction

and chuckle at the little inconsistencies.

Like how Steve Carell enters the north entrance to the Smithsonian Institution Building

then appears in the south entrance of the Museum of Natural History, a block north.

Or how Judi Dench looks for information about her lost son, a Congressman,

and wondering what she could possibly find at the Folger Shakespeare Library.

Even if a film is actually shot here, they just can't resist going back to L.A.

and shooting a set piece with a high-rise.

In fact, there's a fascinating but false local legend.

That by law, buildings in D.C. must go below a certain height

to ensure the permanent visibility of the Capitol rotunda.

It's not true. But given how often the building is used as a metonym for the entire city, it might as well be.

Oftentimes, the crew never sets foot in D.C.

and sticks the Capitol Building in the background in post.

Shoot your actors in Atlanta, follow them through second unit shots of Washington,

Or even more egregiously, shoot something familiar on Constitution Avenue,

then reverse cut to Los Angeles, with L.A. City Hall right there in the background,

Or, if they want to go for verisimilitude, they shoot on location.

BETSY: How lovely it is! Makes you feel proud, doesn't it?

then to the terrorists or serial killer or potential alien invasion that the movie's really about.

This has been done for decades, by the way.

ANNOUNCER: Flying saucers seen over Washington D.C.

[DUKE ELLINGTON'S 'DON'T GET AROUND MUCH ANYMORE PLAYS]

For as many films that are set here, so few are shot here, due to tax reasons.

So even stories about actual D.C. residents are shot elsewhere.

These characters work in an office on K Street.

These actors were shot in a studio on Sunset Boulevard.

These characters work in the Washington Naval Yard.

These characters work in the J. Edgar Hoover Building.

Sometimes they do use actual interiors, but it's cheaper to fake it in-studio.

Just give the actors a hallway through which one can walk briskly and exposit.

And of course, they always walk to one destination.

THE DOCTOR: Oh look, this is the Oval Office.

I was looking for the, uh, Oblong...Room.

KYLE: Of course, no film can use the actual Oval Office.

I'd imagine that every major studio has their own version of an Oval Office set on standby.

It's the most recognizable room in the city, yet we're most familiar with its copies.

From this, you'd think there was nothing outside the Capitol and the White House.

What's remarkable is how consistent this is with Washington's history.

['WASHINGTON POST MARCH' BY JOHN PHILLIP SOUSA PLAYS]

KYLE: See, D.C. isn't like other world capitals.

It's not a major economic center like London,

It's not even like other East Coast American cities.

Unlike Boston, or New York, or Philadelphia,

it was never a great colonial port before becoming a major city.

It only became a city because of the needs of the new federal government,

as a neutral administrative hub for the States.

the only urban life was a small trading port on the Potomac called Georgetown.

Georgetown is also the setting for a few D.C. films that...aren't about politics.

KYLE: Pierre L'Enfant's original plan for the city was organized around four key structures:

and in sight of the first two structures,

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ワシントンD.C.はいつも自分を翻弄する (Washington, D.C. Always Plays Itself)

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