Oral history is very popular now. We have storytelling booths all over the city and the country, and so on and so forth. So the word oral history is used to cover a lot. What I mean by oral history is biography in the way that Allan Nevins meant it. I mean life history. So when you're asking someone about their lives, that's a very intimate process. And ideally it is done with one-on-one, with two people in the room. In a way, this is what they asked us to investigate: How can you shelter that experience when there are ten people in the room, when there's a video crew? Is there a way to do that? Is there a way to preserve the intimacy with an audience? The answer is yes, there really is. That rapport, that intimacy, between the narrator and the interviewer can continue to exist on video. It can even be built if video happens from the very beginning. This is not a Carnegie story, but it's a relevant story. I was doing an interview, a videography, with a woman who is a philanthropist, and she was a very, very shy person. And in fact she invited me to come and meet her to tell me that she couldn't do the interview, but she wanted to see me in person to tell me that she wouldn't be able to do it. And so we talked, and at the end of the conversation she said, "I've decided I can do it." The problem was we had a crew. I didn't even have an audio recorder, I would've certainly used it at that point. So I said to her, "How are we going to do this?" And she said, "Can we hide them?" And so we got a bunch of big plants and I said to the crew, "Hide behind these plants. We're going to pretend you're not here." And she had a musical instrument she had created, and I invited her to play that in the beginning. So the performance began nonverbally, with her being able to play an instrument she had created for her niece, whom she greatly loved. And so then she was able to speak. So in essence the videography is—all oral history is performance but the videography is really a performance, it's an artistic performance. And I think that's the way that we have to see it. It can still be very intimate in the same way that a ballet dancer can dance across a stage before a thousand people and you feel as if you're the only one in the audience. And ideally that's what will happen with intimate autobiography on video, is that you can still . . . she gave me a very personal and beautiful story as though we were the only two people in the room. So I think that intimacy can be created, it's just harder to create it on video. But it may be very, very important because I think we've deprived our audiences for years of seeing the people that we interview. What we relish about oral history as oral historians, and probably why we're still in the field, is it's such an unbelievable opportunity not only to hear stories but to watch what happens on a person's face when they're telling that story. We get a lot of information that way, and it's time I believe that we share that depth of information with the general public.