Creative Education
2011. Vol.2, No.3, 174-180
Copyright © 2011 SciRes. DOI:10.4236/ce.2011.23024
Educating through Movies: How Hollywood Fosters Reflection
Pablo G. Blasco1, Mariluz González Blas co2, Marcelo R. Levites3,Graziela Moreto3,
James W. Tysinger4
1Brazilian Society of Family Medicine Rua Silvia, São Paulo, Brazil;
2Philosophy Department Mirasierra Institute, Madrid, Spain;
3Brazilian Society of Family Medicine, São Paulo, Brazil;
4Faculty Development University of Texas, Health Science Center, San Antonio, USA.
[e-mail], [e-mail], [e-mail]
Received April 14th, 2011; revised May 7th, 2011; accepted May 20th, 2011.
Learning through aestheti c s —i n w h i ch c in ema is included—stimulates learner reflecti on . Because emotions play
key roles in learning attitudes and changing behavior, teachers must impact learners’ affective domain. Since
feelings exist before concepts, the affective path is a critical path to the rational process of learning. Likewise,
faculty use their own emotions in teaching, so learning proper methods to address their affective side is a com-
plementary way to improve their communication with students. This paper presents experiences of how to use
cinema for educating emotions, among students and teachers, to foster reflection and improve teaching skills.
Keywords: Cinema and Education, Affective Education, Innovative Teaching Methodology, Learning through
Emotions, Reflection among Peer s
Background: Why Teach with Movies?
Using movies to educate and facilitate reflection among phy-
sicians is an important instructional method for medical educa-
tors. As children, our parents taught us much through movies,
but many medical teachers don’t use this method either because
they are unfamiliar with it, or are reluctant to use engage in the
discussion that is so integral to this approach. Consider how
Frank Capra’s “It’s a Wonderful Life” teaches us about valuing
relationships; or Gary Cooper’s “Sergeant York” models stead-
fastly holding onto one’s values. This method of using movies
to teach was re-discovered by one of the authors at a meeting of
Family Medicine educators. At this meeting he and two co-
presenters, both medical students, showed a movie clip to the
session’s attendees. After the clip was shown, this author com-
mented on the scene, but was surprised to see his co-presenters
crying. Afterwards, he asked: “What was wrong? You already
knew what was in this clip, but you had this emotional response
when viewing it. Why?” The students responded by identifying
a key attribute of this method: “Preparing and previewing the
clip is one thing, but watching it here made us think how the
content of the clip applies to our lives”.
After this experience, the authors started integrating movies
into medical talks. Thus, lectures like “Patient-Centered Medi-
cine” and “Leadership Strategies for Medical Students” went
from traditional presentations to interactive discussions among
faculty, residents, and medical students with movie clips always
included. Even lectures specifically developed for faculty also
included movie clips. At that point, this same author’s aca-
demic research which resulted in his PhD dissertation was
supported by movies: “Medical education, family medicine and
humanism: analyzing medical students’ expectative, dilemmas
and motivation through a cinema teaching context”. Thus, since
2002 the authors’ presentations have always contained movie
clips.
During the last eight years the Brazilian Society of Family
Medicine (SOBRAMFA, www.sobramfa.com.br ) and its close
colleagues have spread this cinema-based teaching method in
two main venues. One, our presentations at medical meetings
like the Society of Teachers of Family Medicine’s Annual
Spring Conference and the World Family Doctors Organiza-
tion’s (Wonca) meetings have used movies to teach faculty,
medical students, and family medicine residents (Blasco,
Levites et al., 2008; Blasco, Garcia et al., 2010; B lasco, Môna co
et al., 2010). Two, the authors have used movies while teaching
high school students and faculty.
This article describes the authors’ movie-based teaching ex-
periences from 2003 to present in workshops with high school
students and teachers and faculty development workshops to
physicians in Spain, Brazil, Latin America, and Europe. We
encourage other medical school and residency faculty to adapt
our approach to their particular learners.
From Emotions to Reflection: Movies’
Contributions to Education
Technical knowledge and skills can be acquired through
training with little reflection; but refining attitudes, acquiring
virtues and incorporating values requires reflection. In life,
people learn important attitudes, values, and beliefs by observ-
ing role models, a process that impacts lear ners ’ e moti ons (Ruiz,
1999). Since feelings exist before concepts, the affecttive path
is a critical way to the rational process of learning. Learning
through aesthetics—in which movies are included—stimulates
learner reflection.
Teaching through humanities includes several modalities in
which art is involved. Literature and theatre (Shapiro, 2000),

P. G. BLASCO ET AL. 175
poetry (Whitman, 2000), opera (Blasco, Moreto, & Levites, 2005)
are all useful tools when the goal is to promote learner reflec-
tion and construct what has been called the professional phi-
losophic exercise.
Using movies in teaching is an effective way to reach peo-
ple’s affective domain, promote reflective attitudes (Blasco,
Mônaco et al., 2010; Blasco, Moreto et al., 2006), and link
learning to experiences. Teaching using movies triggers dis-
closing emotions, and this allows questions, expectations and
dilemmas to arise for both learners and faculty. Movies provide
a narrative model grounded in the learners’ familiar world that
are framed in emotions and images.
Life stories are a powerful resource in teaching. In ancient
cultures, such as classical Greece, the art of story-telling was
often used to teach ethics and human values (MacIntyre, 1984).
Stories are one reasonable solution to the problem that most
people, especially young people, can only be exposed to a lim-
ited range of life experiences. Story-telling, theatre, literature,
opera, and movies all have the capacity to supplement learners’
understanding of the broad universe of human experience. Ex-
posure to life experience—either the real lived one or the one
lived through story—provides what Aristotle called catharsis.
Catharsis has a double meaning, both of which deal with a hu-
man’s feelings. One, catharsis means literally to “wash out” the
feelings retained in the soul. Two, catharsis implies an organiz-
ing process in which the person sorts through, orders, and
makes sense of emotions. In short, in the normal course of
events people keep their feelings inside, storing them in an
untidy fashion, but don’t think about them. Catharsis helps
empty one’s emotional drawers and reorganized them in ways
that provide a pleasant sense of order and relief.
Beside this classic concept regarding aesthetic learning, the
educator needs to recognize that learners are immersed in a
popular culture framed in emotions and images (Ferres, 2000).
Emotions and images are privileged in popular culture so they
should be the front door in learners’ learning process. Life sto-
ries and narratives enhance emotions, and therefore lay the
foundation for conveying concepts. When strategically incur-
porated into the educational process and allowed to flow easily
in the learning context, emotions facilitate a constructive ap-
proach to understanding that uses the learners’ own empathetic
language. Furthermore, in dealing with the learners’ affective
domain the struggle in learning comes close to the felt pleasure,
and it is possible to take advantage of emotions to identify atti-
tudes and foster reflection over them. Thus, when the subject is
emotions, attitudes, and promoting reflection, life histories de-
rived from movies fit well with the learners’ context and ex-
pectations.
Because they are familiar, evocative, and non-threatening,
movies are useful in teaching the human dimension required for
a developing personality and for building identity in young
learners and confirm teaching roles in their faculty. The movie
learning scenario allows teaching points quickly and directly
with specific scenes, putting emotions together, and helping the
learners immediately understand and recognize issues. Foster-
ing reflection stimulates discussion about the breadth of human
experience and this discussion often elicits profound conflicts
and concerns learners have about their future professional roles
and personal lives.
In addition, learners have the opportunity to “translate” life
stories from movies into their own lives. In this way movies
create a new learning process, and through it learners integrate
learning into their lives. The movie experience acts like emo-
tional memory for learners’ developing attitudes and allows
them to proceed through daily activities.
Real learning has more to do with the affection and love
teachers invest in educating people that with theoretical rea-
soning (Palmer, 1998). To educate through emotions doesn’t
mean to limit learning about values and attitudes exclusively in
the affective domain. The point is to provoke students to reflect
on those values and attitudes (Blasco & Alexander, 2005) To
impact emotions is the short-cut for reaching learners, a type of
track for taking-off and moving deeper afterwards. Besides the
specific knowledge students must master, learners must refine
attitudes, construct identities, and develop personalities. Fos-
tering reflection is required to do this.
Teaching reflection is a goal for excellent educators who
want to move beyond transmitting subject matter content.
These faculty view teaching as fostering learning, and they
believe that they will better understand their students and the
nature and processes of learning if they can create more sup-
portive learning environments. The best teaching is often both
an intellectual creation and a performing art, and teaching is
conceived by excellent educators as the opportunity to create
good learning environments (Bain, 2004). Therefore, excellent
teachers develop their teaching skills through constant self-
evaluation, reflection, the willingness to change, and the drive
to learn something themselves (Palmer, 1998). Teaching with
movies is an innovative method for promoting learning that
education requires today.
Preparing for the Presentation
Although this movie-based educational methodology was
positively received by Brazilian medical students and faculty,
we wondered if the approach would also work with people from
different cultures and educational and social backgrounds. Lan-
guage barriers also concerned us: We use American movies
with subtitles in Portuguese that almost no one in these settings
could read. Thus, before every presentation we asked: “Will
this approach work with this audience?”
We consider two variables when planning a presentation:
The number of people in the audience and the amount of teach-
ing time available. Experience has taught us that a small audi-
ence (e.g., 30 people) and a larger time period (e.g., 2 hours) is
the best scenario for a workshop that uses movie clips. How-
ever, the method can also work with a larger audience (e.g., 100
people) and a shorter time period (e.g., 1 hour), but we adapt by
giving a shorter lecture using fewer movie clips to stimulate
discussion.
Next, we consider our presentation attendees. Who are they,
and why will they attend our session? If the audience is small
(e.g., less than 30 people) and have enough time, we ask atten-
dees individually what they want to gain from the session.
Some people attend because they have heard about our teaching
methodology and want to learn more; others just love watching
movies, and those who already use movies in their teaching
want to compare their approach with ours. If the audience is
large and the presentation time brief, we write potential re-
sponses on a flipchart and ask people to raise their hands when
the response that matches their reason for attending is read

P. G. BLASCO ET AL. 176
aloud. In each situation, the audience feels comfortable in shar-
ing what they want to hear and learn.
The Strategy for Planning the Session, Selecting
Movie Clips, and Making Comments
We start each session by briefly introducing the facilitators
and stating the session objectives. For the next 20 - 30 minutes
multiple movie clips are shown in rapid sequence with a facili-
tator following each with focused comments. A discussion
follows with the audience asking questions and sharing their
reflections, feelings, and thoughts. If the audience is large and
we have enough time, we break the audience into small groups
to encourage discussion. At the end of the session the small
groups reform into the large group, and a spokesperson from
each small group will share the topics discussed in his/her
group.
Selecting the movies and specific scenes on a specific topic
to stimulate discussion and adapting the movies to the audience
or to the topics being presented takes experience. Our basic
guidance: Insure the clips relate to your presentation’s object-
tives. For a broad selection of movie clips, we refer readers to
several papers we have published (Blasco, Moreto et al., 2006;
Blasco, Garcia et al., 2010; Blasco, Pinheiro et al., 2009).
However, presenters must adapt their comments to the specific
audience. Adapting to the audience requires facilitators to un-
derstand the people to whom they are speaking and to reflect on
the clips before framing their comments. The point is to pro-
mote participant reflection on attitudes, human values from a
broad perspective. The comments that really stimulate reflec-
tion are those based on the audience’s response to the clip being
shown.
What Happens in the Session? Is It All about
Tears or Is There Reflection?
Emotions can be seen on the participants’ faces as they view
the movie clips and hear the facilitators’ comments. Sighs are
heard, handkerchiefs appear, and some people are seen crying
with no shame as room lights are turned on. People from both
genders, including facilitators, cry . Sometimes everyone is m ove d
and in tears. Fostering reflection is next.
“Fostering reflection” is the main concept noted in all eva-
luations from the audience. The whole process—brief movie
clips along with the facilitator’s comments—stimulates reflec-
tion. While the clips’ quickly changing scenes evoke concerns
and reflection in individual audience members, the facilitators’
comments amplify the whole process. Because each member of
the audience is involved in her personal reflective process,
she/he may agree or disagree with the facilitator’s comments
and draw their own conclusions. This is a desirable outcome
once participants note that divergent comments are desired to
facilitate reflection.
Understanding Audience Feedback and Making
Connections
The value in teaching with movies is reinforced through the
audience’s feedback. Analyzing data from participants (i.e.,
comments through field notes and session evaluations, inter-
views and written assignments) have helped us see the value of
teaching with movie clips. Since it is well suited for such an
analysis, we use a qual itative app r oa ch t o an alyze this data .
Qualitative analysis is useful for researchers who understand
their discipline as more empirical and craft-based than theo-
retical (Crabtree & Miller, 1999). This is especially true when
the session objectives deal with emotions, attitudes and profes-
sional values. Qualitative designs are flexible, iterative, and
continuous. Good qualitative research is always more of a cir-
cular process than a linear one. The ultimate canon of evidence
in any qualitative research is that the report carries “sufficient
conviction” to enable others to obtain the same results and ap-
preciate the account’s truth as the original observer. Discussion
and focus group are one of the features of qualitative research.
The goal of a discussion group is to gather information based
on the participant’s interaction, not to build consensus or aid
decision-making. Through an interactive exchange among the
participants, multiple stories are produced, diverse experience
related, similarities and differences emerge, and contrary opin-
ions can be explored to generate new areas of inquiry. Thus, a
qualitative approach is well suited for analyzing the data and
identifying the results from the movie clips and educational
experiences. It must be said that the results include the re-
searchers’ interpretation of notes and records of what was ob-
served. As the literature states, “the researcher is the primary
research tool, so it is essential to include his/her feelings and
reflections over the analysis. The experience had in the field is
not merely observed and recorded, but is also felt. Reflection on
feelings is essential (Crabtree & Miller, 1999)”.
Audience feedback consists of ratings (e.g., “The presenters
allowed me to interact with others”: 5-point scale ranging from
“strongly disagree” to “strongly agree”) and comments made in
response to specific questions. When analyzing audience com-
ments, we divide the data into two specific groups: Learners
and faculty. If necessary, each group can be further divided into
other units (e.g., medical students, first year residents, second
year residents). Here comments from high school students and
faculty are included to illustrate key themes.
Comments from High School Students
Young people today live in a dynamic and sensitive envi-
ronment characterized by rapid information acquisition and
high emotional impact. Movies provide a quick and direct
teaching scenario that accesses their emotions.
 “If I were a teacher, I would try to improve communication
with my students and reach their emotions, touching them
since in this way they will grow up like human beings.
There is a barrier between teachers and students, and we
need to go further than (subject matter) content to overcome
this barrier. We need to reach peoples’ heart for providing
good education”. (Student’s quote) (Sq).
Students want more practical education: Not just theoretical
content, but concepts connected with reality. They want room
for more creativity. Education must foster their creativity and
imagination.
 “When Aristotle and Plato talk about education they focus it
on the person. It is a kind of education for life, education
for relationships, for citizenship in society. Teachers need

P. G. BLASCO ET AL. 177
to help us grow up and develop as people instead of just
focusing on learning issues, content…” (Sq).
 “There is a problem with (subject matter) content. And that
is students are unable to find out how such content will help
them. There is a gap between theoretical issues and real life.
Students must understand why the content we are taught is
really useful for us.” (Sq).
We strive to help students reflect, rather than to show them
how to incorporate a particular attitude. High school students
exposed to this method often change their attitudes.
 “You need to get students motivated the right way, get them
involved somehow.” (Sq).
 “What really matters in education is to foster people’s de-
velopment as human beings. We need to value the person
more than content. In this way we can get from them the
best they have in their minds.” (Sq).
The movie clip method is used to direct student attention to
professional attitudes and to produce leaders. Showing movie
clips fits well with the dynamic and emotional nature of stu-
dents’ lived experience. In this context using movie clips to
teach is logical because they are brief, many can be shown
quickly, and they impact the emotions. From factors related to
career choice, idealism, unspoken vocational doubts; students
move to a more reflective attitude in choosing their professional
careers, become more committed to their career choices, and
recognize that the movie discussions make them aware of
struggles they could not articulate before.
 “Maybe one of the best outcomes in education is to accom-
plish what happens in the ‘Lion King’ movie clip we saw a
few minutes ago. Teachers should get students to look in-
side, like the Lion King, and to find their own motivations
to take their place in the circle of life. When you find your
own motivations, they are more powerful and stronger than
motivations coming from the outside.” (Sq).
Comments from Faculty
Faculty groups often come anticipating this methodology,
and their expectation are supported. That is, faculty realize they
can improve their teaching strategies to reach students more
efficiently.
 “I was told about the informal curriculum, and they said it
works fine among the students. How can I be more credible
to my students and help them more? Must their teachers
have special skill s?” (Faculty quote) (Fq).
 “What can we do when we are short of time, have a lot of
work to do, too many students, and can’t give them good
feedback? Is there any short-cut I can use? Am I missing
something in this? Maybe we don’t reach the students be-
cause we don’t understand them. How can we ask them the
right questions?” (Fq).
Faculty face challenges when they teach alone. Even when
they discuss educational issues with their colleagues, they often
spend most of this time talking about problematic students.
Faculty seldom think about themselves and usually lack the
time to disclose their feelings before encountering new chal-
lenges. When searching for excellence in teaching, one’s fellow
teachers are useful resources. After all, our colleagues can teach
us a great deal about ourselves and our craft.
 “We need to meet and get in touch with each other, before
we start teaching. And the teaching session we just finished
showed us how to do this in a fun way. We get to grow in
our relationships. (…) We have limited time to reflect on
our teaching endeavors” (Fq).
 “I want to be comfortable in teaching, teach well, know my
colleagues, and feel supported by them. (…) We can set an
informal group to continue these reflections on teaching.
Nothing official, but a good informal get-together for mu-
tual support. (…) This workshop at the very beginning of
the year, in advance, is a good start.” (Fq).
 “Get common ground among us. Be positive, and we will
try to reach consensus in each meeting. (…) We need to
share the outcomes: the good ones, what is working, and the
bad ones, what is not working (...) We also need to learn to
value an individual’s success. If we get a few faculty in-
volved, we could achieve much more because the news
about having a reflective environment spreads quickly. (…)
Cooperation and service: We must get the faculty to adopt
these attitudes as a team.” (Fq).
Movie clips offer faculty a special environment for fostering
open discussions that help them better know themselves, im-
prove their self awareness, and develop closer relationships
with colleagues and students through the affective domain.
Thus, the process helps faculty become more reflective: They
begin by sharing their weaknesses and frustrations as teachers
and asking why they lose energy and ideals.
 “We are ashamed of sharing our feelings, frustrations, and
expectations. We don’t talk about what really matters, those
major issues that really concern.” (Fq)
 “We can’t cope with our frustrations and bad results with
the students. And we don’t talk about out bad outcomes be-
cause we have no room for it. All we talk about is problem-
atic students, not about our failures.” (Fq)
 “What gets me down is to lose my ideals, I mean, my en-
thusiasm for teaching.” (Fq).
 ”My doubts are not just mine: They are others’ doubts, too.
We need to share knowledge and methods.” (Fq).
The clips help faculty state new paradigms, gain skills that
help them better communicate with learners, and recognize the
need to better know themselves so they can facilitate learning.
 “We are teaching in the same way we were taught. And that
might change in the se sessions.” (Fq).
 “For sure, what really matters in education is what we do,
more than what we say. We teach what we are. (…) Raise
your flag, don’t say anything. Attitude is the best resource
for a leader.” (Fq).
 “That’s the main faculty role: Foster reflection, help stu-
dents find their gifts and use them properly. (…) Don’t ask
students for what you are not ready to give them. Get the
best from them. This is what we must do all the time as
teachers.” (Fq).
 “Students are the principal characters in education. So the
Oscar for best actor and actress always should go to them,
not to the teacher. A good teacher deserves the Oscar for
the best supportive actor or actress. Not more than that.”
(Fq).
 “Throw out the schedules (like in that movie, with the
chessboard without pieces)… Maybe schedules and syllabi
impede good teaching.” (Fq).
The movie clip method can improve faculty teaching and

P. G. BLASCO ET AL. 178
stimulate their professional growth. The clips point out solu-
tions and challenges they want to face to refine their teaching
role.
 “We need much more simplicity. Be realistic, and just start
improving what we already have. (…) And, for sure, work
with patience and learn how to wait. I like that expression:
‘watchful waiting’.” (Fq).
 “What really matters is not my subject matter, but the con-
cepts that interest students. (…) The best outcome for me:
There are many ways to reach my students. And there will
always be students we can’t reach.” (Fq).
 “What first matters is the human side of students (…) We
need to love and have fun while communicating something:
That’s teaching. Improving the way I communicate is like
that.” (Fq).
 “I wish I had words for this. I have just emotions (...) I need
to look inside me to be a better teacher. And for now, there
is a challenge: To be divided no more, so I am the same
person in life and as when I teach.” (Fq).
 “The teacher’s role? To foster reflection, that’s the corner-
stone. And to share our expectations and dilemmas with the
students. They are grown people.” (Fq).
Finally, there are always major questions that call for an-
swers. The movie clip education method is an opportunity to
pose these inquiries so faculty can reflect on them. That is the
method’s good outcome: Ongoing reflection.
 “How can I be effective with all my students? How do I get
to know them? How do I get them involved and committed
to solving educational problems? How can I always have
the student on my side?” (Fq).
 “Could I reach my students through emotions? How do I
motivate them? How do I better communicate with them?
How do I measure the outcomes in all this?” (Fq).
 “Am I losing my ideals? Are we afraid of innovation?
Could we, as faculty, share experiences and disclose our-
selves? How can this workshop be a starting point and that
gets us to engage in reflective practice?” (Fq).
Summary
Movie clips are useful resources for teaching medical stu-
dents, residents, and faculty because they help people better
understand human emotions. The learners’ emotions easily
emerge through movies, and faculty can impact learning by
broadening their perspectives of learner de velopmen t. Like wise,
faculty use their own emotions in teaching, so learning proper
methods to address their affective side is a complementary way
to improve their communication with students.
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Appendix
TOPIC MOVIE
SCENE AND TIME
COUNTING SOME COMMENTS THE PRESENTER COULD ADD WHILE THE MOVIE CLIP IS GOING ON.
Patch Adams 0:32:26 - 0:35:18 Why do you want to be a doctor?
The Bone Collector 1:00:49 - 1:02:15 You have a gift. Don’t throw it away!
Analyze t his 0:19:50 - 0:22:30 You have a gift. You are good. You have a terrific gift
Vocation
Nurse Betty 1: 35:10 - 1:36:30
1: 40:30 - 1: 41:25 You don’t need that doctor. You don’t need any man. You know why? Because you’ve got yourself.
October Sky 1:17:31 - 1:20:30 Coal mine is your life, not mine. I’ll never get in it again. I want to
go into space.
Tucker: the Man and his
Dream 1:43:20 - 1:4 4:20 What really matters is the idea , the dream.
Billy Eliot
0:26:00 - 0:28:20
0:40:16 - 0:41:20
0:59:17 - 1:00:26
1:29:00 - 1:30:12
Several scenes showing the strength will of mother orphan boy who
wants to become a ballet da ncer facing opposition in his fa mily.
Instinct 1:09:14 - 1:11:14 What have you lost? My illusions!!
Keeping Your Idealism
Facing Diffic ulties
The Truman Show 1:24:07 - 1: 29:03 Increase the wind. Truman survives because he is tied to the boat.
About Schmidt 1:54:00 - 1:56:20 What difference I made with my life ? None at all.
The Notebook 1:38:00 - 1:39:00 What do you want? Not your parents, not me. Just you!!
American Beauty 2:01:00 - 2:03:00 I remember every single moment of my insignificant life. Probably you don’t know what I am talking about. Don’t worry. Some day
you will (When you were dead, like me).
The Lion King 1:04:00 - 1:08:52 Simba, you have forgotten me. You forgot who you are so you have
forgotten me. You are the true Lion K i ng.
Reflective Attitude
The Nanny Diary 0:05:54 - 0:06:55 Tell me: who are you? ... I have no idea!
Shadowlands 1:45:50 - 1:48:11 The pain you will have then is part of the happiness you have now.
That’s the deal.
The Spitfire Gril 01:31:36 - 01:3 5 : 05How we nee d t o l is ten to peoples’ stories, with kind watchfulness
Understanding Suffering
and Pain
Secret and Lies 2:05:00 - 2:08:00 We are all in pain. Why we don’t share this pain? I live trying to make people happy and those who really I love are fighting among
them.
Marvin’s Room 0:57 - 0:59 1:26:53 - 1:28:02
1:33 - 1:34
I have such love in life! I was able to love them. This is why I am
happy.
Dead Man Walkin g 1:36:00 -1:37:30
1: 41:49 - 1:42:09
I don’t know what’s love. I have never been loved. I need to die to
discover what love is.
Look at m e. I will be the face of love for you while th ey do it.
Scent of a Woman 2:00:00 - 2: 00: 39 1:42:30 - 1: 43: 10
1:26:00 - 1:27:15
Give me one reason to not kill my self.
You dance tango and drive a Ferrari as no one else.
Generosity and Love
Supporting People with
Friendship
Casablanca 1: 24: 50 - 1: 25: 20
1: 36: 45 - 1: 37: 40
I don’t know what’s right any longer. You must think for both of us,
for all of us.
If that plane leaves the ground and you’re not with him you’ll regret
it. Maybe not today, maybe not tomorrow, but soon and for the rest
of your life.
The Legend of 1900 0:28:57 - 0:31:00
0:50:00 - 0:52:40
Release the piano, otherwise I can´t create this music. Come with
me, take the risk.
From where comes this music? Look at people and you will find
out. (This is patient centered approach, people centered music).
People Centered Appr oach.
Amistad 1:03:00 - 1:04:35
1:20:00 - 1:22:00
Who are them? Which is their story? You need to know peoples´
stories.
The slave’s child is born free, without chains.

P. G. BLASCO ET AL. 180
Cast Away 0:48:36 - 0:50:00 Although no one ask him to do it, even he doesn’t know if he will survive, buries his colleague and find out who is the dead person
and his family and write the name beside the grave.
Searching f or Bobby Fisher 0:35:00 - 0:37:00 I will make easier for you ( the teachers throws the chess pieces
down).
Dead Poet Society 0:21:12 - 0:23:35 0:25:30 - 0:25:59
0:43:00 - 0:43:43
Revolutionary new paradigms in education, leading people to think
by them selves.
Good Will Hunting 0:46:54 - 0:50:33
You know just what you can read in books. But you have never
smelt the f ragrance of th e Sixtin Chap el neither yo u have hold you r
best friend’s head while he was dying. You don’t know anything
about lost because you are selfish and don’t love anyone more than
yourself.
Music from the Heart 0:28:00 - 0:29:00
1:48:00 - 1:49:00 What really matters is to get strength insid e. Don’t look at the audience, look at me. And play from the heart.
New Paradigms in
Education
Pretty Woma n 1:26:19 - 1:28:49 How can someone change in a two hour opera performance, even
without understanding Italian language and lacking knowledge
about Opera.
Saving Private Ryan
1:48:30 - 1:51:27
2:36:21 - 2:36:50
2:38:40 - 2:39:10
2:39:25 - 2:41:30
They are th e only brothers I have now.
James earn this. Every day I think about what you said to me. I tried
to live my life the best I could, and I hope before your eyes I earned
what you all did for me.
Man of Honor 1:57:21 - 1:59:37 Mentoring is essential to bring the best from people. I want my
twelve steps, repot to this line.
Responsibility and
Commitment
Gattaca 1:30:00 - 1:34:0 0 I never saved forces for the swimming back!! This is how I could do
it.
Any given S unday 1:57:20 -1:59:30 Gentleman, we’re a team, and or we heal like a team or we’ll perish
as individuals.
Gladiator 1:10:30 - 1:11:00
1:23:50 - 1:24:20
Win the crowd and you’ll b e free.
I don’t know what’s coming out from that gate, but if we stay to-
gether we’ll s urvive.
Spartacus 0:49:30 - 0:5 0: 50
IIpart Who is Spartacus? I am Spartacus, I am Spartacus. Everyone is Spartacus. More than a person it is an idea.
Working in a Team
Ladder 49 0:49:53 - 0:50:36 I have just come to tell a mother that her son is dead and you are fighting like this, in my house!! We honor the dead colleague when
we turn back to work every single day.
The Patriot 2:13:55 - 2:15:40
2:26:17 - 2:28:00 Two great flag scenes. As anyone can carry a gun in the battle, just the leader is able to put up the flag and push people to victory.
Glory 0:50:36 - 0:51:55
1:27:40 - 1:30:00
If you man w o u l d t ake no pay, then none of us will.
The 540 of Massachusetts asks for the honor to lead the attack.
There is more than rest in fight; there is character, strength of heart.
The Last Castle 0:10:00 - 0:1 2:00
1:23:00 - 1:25:00
Any man with a collection like this never set foot on a battle, These
points out the difference between natural leadership and official
command
Leaders must be understood, and for that they need to explain their
attitudes, making them rational.
Schindler’s List 0:44:55 - 0:46:55
IIpart. I could save more people. The leader knows how further he can go.
We were soldiers (0:16:50 - 0:17:35)
(0:34:00 - 0:35: 00 )
Take care of your men. When all this begin all we have is each
other.
I will be the fir s t to set foot on the battle and the last to step off.
Enemy at the gates 0:24:28 - 0:26:21 Give them her oes, examples to follow. Give them hope.
K 19. The Widomaker 1:45:30 - 1:47:45 Don’t give orders to the men. Just ask them.
Leadership
The Last Samurai 2:10:35 - 2:16:10 Impressive Scene with the enemies kneeling down before the dead
Samurai.