Science
The Creation of the Klingon Language | Unsung Science with David Pogue
In this episode of Unsung Science, David Pogue explores the fascinating creation of the Klingon language, delving into its origins and evolution within the Star Trek universe. Linguist Mark Okrand sha...
The Creation of the Klingon Language | Unsung Science with David Pogue
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CUN! CUN! CUN! CUN! CUN!
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Star Trek CUN!
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The untold story of Star Trek's most legendary villain.
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CUNC did us a favor from this quintessence of dust.
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We will rise.
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Listen to Star Trek CUN, wherever you get your podcasts.
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I am CUN!
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What would Star Trek be if the Klingons didn't speak Klingon?
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What would Game of Thrones be if Daenerys didn't speak high-velirium?
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Doreal Droponto Cityman, Mary-Gemy Yvestra.
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Those are invented languages, complete with syntax, grammar, and vocabulary, commissioned
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by Hollywood executives.
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But where do they come from?
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Who makes them up?
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And what happens when people tear these languages out of movie land and into the real world?
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I'm David Pope, and this is Unsung Science.
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The stories behind amazing accomplishments in science and tech.
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Season 1, Episode 6.
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How fake movie languages become real.
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I don't know what you did with your pandemic, but I checked off a bucket list item I'd been
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putting off forever.
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I finally watched Game of Thrones.
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All 73 hours of it, including the final season, which was everything people said it was.
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A dumpster fire.
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Nonsense-like, rushed, and just so dumb.
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Otherwise Game of Thrones is pretty great.
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It's a sprawling fantasy epic set in a pseudo-medieval, sorta kinda Europe.
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There are hundreds of characters.
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Most of them speak English, with, for some reason, British accents.
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You don't have to do this.
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You don't have to do anything.
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I have to answer to the gods.
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Not when you're sitting in that chair.
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But because these are made up tribes from made up lands, some of them speak made up languages.
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For long stretches, with subtitles.
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That's Dothraki, spoken by the nomadic horseback warriors of Essos.
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And that's Hi-Velirian, which is the Game of Thrones version of Latin.
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A dead language from a long dead empire kept alive mostly by scholars.
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Dothraki and Velirian are only the latest in a grand tradition of phony languages, better
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known as Constructed Languages, or Con Langs, from movies and TV shows.
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The only Hollywood Con Lang more famous than Dothraki and Velirian is, of course, this
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one.
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That's Klingon, spoken by the Klingon aliens in the Star Trek TV shows and movies.
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I'm Marco Krand, and I guess I'm best known as the person who devised the Klingon dialogue
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for Star Trek.
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I mean, in your real life you're a linguist, right?
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Has Klingon taken over your life?
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Now it has, because now I'm retired.
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So yeah.
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Yes, Mark Okrand is the man who created the Klingon language.
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But his first movie, Con Lang, wasn't Klingon.
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It was Vulkan, and the movie was Star Trek 2.
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And how he got that gig has got to be one of the goofiest, most reverse engineered stories
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in all of screenwriting.
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There's a scene where Mr. Spock and a new Vulkan character named Savik have a little discussion
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with Captain Kirk, and then Kirk goes off to look around and Savik says to Spock, he's
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so human and Spock says nobody's perfect.
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That scene was filmed with the characters, the actors speaking English.
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When they went into post-production, they said, why are they speaking English?
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Why aren't they speaking Vulkan?
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The producers decided that the simplest fix was to hire a linguist to watch the scene
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as it was shot in English, studied the actor's lips as they spoke, and make up some fake
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Vulkan syllables that matched their English language lip movements.
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The actors would then dub those Vulkan words over the existing scene, and English subtitles
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would tell the audience what the Vulkan words meant.
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So I made up Govily Gook, I watched the scene, made up some gibberish that matched, I
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hope matched the lips, worked one day with Savik, who is Kristi Ali.
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Yusun Wadla, Ekpanu.
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Worked a couple days later with Spock, you know, with Leonard Nimoy.
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Wingah Khlami Bavik Savikam.
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So I drove away, realizing that I just taught Mr. Spock how to speak Vulkan, which was
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very cool, and I thought this is the end of my Star Trek career, and probably the end
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of my movie career.
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It was not.
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A year and a half later, producer Harvey Bennett called Mark up and told him about a new
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movie with Klingons as the villains.
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He did.
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Now, the first Star Trek movie had included a little Klingon, a handful of very short utterances,
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written by producer John Povo and James Duen, the actor who played Scotty.
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The longest one is three syllables.
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John, you're good.
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John and Jimmy, who made it up, I think we're not all that concerned about grammar and vocabulary.
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You know, that sort of thing.
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They would, they would make a weird sounding language that was the goal.
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But for Star Trek III, the search for Spock, released in 1984, the producers commissioned
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Mark to compose a full-blown working language.
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I made up a grammatical system, made a phonological structure, you know.
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Did Harvey give you any kind of a brief or a goal?
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I mean, did he say I wanted guttural and harsh?
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Gutterl is exactly the right word.
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It's actually in the script.
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It says in the script, Krug says in his guttural Klingon.
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Blah, blah, blah.
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So I assume what they meant by that is kinds of sounds.
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Most words are one syllable.
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It's very abrupt because it's full of global stops.
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So it's kind of chunky.
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And a lot of viewer and you, viewer fricatives, meaning the stuff in the back of a throat.
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That's noisy.
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Brach, no, meh.
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Cool.
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In terms of the grammar, it's pretty straightforward.
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It's got no tense.
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It's got no gender in the sense of sex sexually-based gender, no agreement and so forth.
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In general, the Klingon language matches the Klingon personality.
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Hostel and Spitty.
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It doesn't even have words for courtesy.
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Like, good morning and nice to see you.
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People come up to mark all the time and say,
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You're the language, guys.
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Say something in Klingon.
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Say hello.
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How are you?
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I say Klingon would never say that.
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Once Mark had created his conlang, he recorded himself speaking the Klingon parts on cassette
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tapes, which he then mailed to Paramount.
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The actors learned their lines by listening to those tapes.
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And then I went out to Hollywood, so most of the time I'm just outside the frame when
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they're speaking Klingon.
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So you're on set.
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Cameras rolling and union sound technicians and key grips.
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What do you do when the actor says it wrong?
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Well, I learned really quickly what you do.
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When you make a movie, the director yells cut.
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And then the director checks with the camera person.
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Was that okay?
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Yeah, it was okay.
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No, there was a shadow from the microphone.
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And if there was Klingon, check with me.
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Was that okay?
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Well, I learned very, very quickly not to give no as an answer very often because they were
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annoyed.
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Time is money.
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So if the actor said it and said it wrong, but it still sounded like it could be Klingon
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to me, I'd say it was fine.
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I would just keep notes.
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Individual words sometimes would change from one thing to another.
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And sometimes even the grammar would change as a result.
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Klingon's evolution is filled with accidents like that, where actor screw ups wound up shaping
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the Klingon language for all future generations.
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Like the scene in Star Trek III, where the Klingons have taken three human prisoners.
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And Klingon really wants something from Captain Kirk.
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And he says, and now to show that my intentions are sincere, I shall kill one of the prisoners.
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And then he says, in Klingon, kill one of them.
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I don't care which one.
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And the way to say that in Klingon is what?
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Yakhoch, which means kill one, and white to Shachbe, which means I don't care about who.
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So it's time for a crew to say the line.
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And he says, Yakhoch, to Shachbe.
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Yakhoch.
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To Shachbe.
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And then Nemoyel's cut, that was great.
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And Christopher Lois says, I blew it.
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I said the line wrong, which is true.
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He left off the walk and he left out the white.
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Yakhoch.
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To Shachbe.
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Nemoyel says, Mark, how did the Klingons sound to you?
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Oh boy.
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So there's only one possible answer I could give.
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And I said, the Klingons sounded fine.
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Then I thought to myself, now what?
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Because what he said in the first line was, kill.
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And the whole point is kill one.
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Right.
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And I thought about it.
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I thought about it.
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I said, ah, but here's what we'll do.
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This little prefix, yeah, that means it's an imperative
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that's command.
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Okay, it's still a prefix that means it's a command.
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But you only use it with a singular object.
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Oh, man.
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And this is how language is evolved.
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Exactly.
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So things change as a result of moviemaking.
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And that doesn't violate your purest sense of integrity.
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Not with Klingon at that stage of the game
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because nobody knew anything about this language
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except for me.
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So I could make up new rules and bend things.
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Eventually, Mark O'Grand wrote some books
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that documented the Klingon language.
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They became the Bibles for wannabe speakers
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all over the world.
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So how much then is Klingon a usable language?
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Is there enough vocabulary?
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Oh, it's totally.
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Well, there's not yet enough, but it's growing.
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Today, there's a Klingon language institute
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which holds an annual five-day Klingon conference
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and oversees the translation of various classic works
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into Klingon, including the Bible
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and several Shakespeare plays.
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Here's the famous to-be or not to be soliloquy from Hamlet.
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Or more precisely translated to continue...
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Or not to continue.
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Now, I must ask this.
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Ach-much.
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Check-bomb-be-kill-ish.
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The language learning app Duolingo
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offers a free Klingon course
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right alongside French Italian and Spanish.
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It sounds like this.
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To-he.
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Yen.
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Oh.
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Bevum-mara.
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Mara.
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Bech-er.
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Ch-er-tor-ch.
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M-ch.
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And during the period that Netflix had Star Trek Discovery,
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you could turn on Klingon subtitles for the first episode.
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That might have been useful for the 30 or so people
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who speak fluent Klingon.
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One of them is a guy named Dharmon Spears
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who raised his son with Klingon as his first language.
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Meanwhile, Mark also helps to keep the flame alive.
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The Klingon language institute meets annually.
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And they send me ahead of the meeting.
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They send me a list of requests for new words.
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So you are still the keeper of the leather-bound book.
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You don't let people make up their own words.
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It's not a matter of lead.
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It's not my choice. It's their choice.
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The Klingon-speaking community at some point decided
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that I would be the sole source of new vocabulary
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and the sole source of solving grammatical disputes.
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They didn't even ask me to vote on that.
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Did I read that you have a fake informant?
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He's not fake.
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No, there's a guy named Maltz in Star Trek III.
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There's Krueger.
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And he's got two helpers named Torrug and Maltz.
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At the end of the movie, all the Klingons are killed,
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except for one.
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This is Maltz.
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And he's taken prisoner.
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So I've decided, well, he's taken prisoner.
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I'm going to grab hold of him and learn the language from him.
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So when someone comes to you with a question,
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you say, I'll ask Maltz.
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I'll ask Maltz.
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And everyone plays along with this.
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What does Maltz have to say about that?
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After the break, we'll meet a linguistics professor
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who can teach you how to make your own constructed language
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and the man who created all the Game of Thrones languages.
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David Pogue here again.
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My publisher suggested that I take a moment
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to tell you about my new book,
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How to Prepare for Climate Change.
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But I'm not going to do that.
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Instead, I'm going to let Anastasia Martin tell you about it.
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She says, a timely and entertaining read
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on what is and what will be.
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I feel utterly destroyed for the opportunity
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we lost as a species to stop what is coming.
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But thankfully, this book gives me hope
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that we can at least try to deal with global weirding.
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I'd rather know what's in store
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and how to navigate it than pretend it's not happening.
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Who is Anastasia Martin?
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I have no idea.
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But that's the review she wrote on Amazon
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and I couldn't have put it better.
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How to Prepare for Climate Change,
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available as a printed book and e-book or an audiobook.
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In the Wellesley College Course Catalog,
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this is the description of linguistics 315,
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Invented Languages.
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Over the centuries, invented or artificial languages
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have then devised for many reasons.
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The vast majority have failed.
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But why?
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Is there a place for invented language?
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Students will design their own miniature artificial language.
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The professor is linguist Angela Carpenter.
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She says that invented languages are by no means a new thing.
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Not really, you know.
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One of the earliest attested artificial languages
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was done in the 12th century by a nun,
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a woman called Hildegard von Bingen.
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And she created a language called Linguagnota
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and documented it.
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Now, aside from fake movie languages,
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the only constructed language I'd ever heard of was Esperanto,
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which a Polish I doctor named Ludwig Zamunhof
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created in 1887.
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So his idea was to bring the world together in peace.
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Supposedly, about 100,000 people worldwide
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can speak Esperanto today, mostly to each other.
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Would you say there are any other constructed languages
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that have come anywhere close
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to actually being spoken in the world?
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One could say modern Hebrew is an example.
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What?
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Yes, yes.
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Because Hebrew, as a spoken language, died out.
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It was written, was used for religious reasons,
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for prayers, et cetera, but as an everyday language,
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nobody was speaking Hebrew for, since like,
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I think maybe 280s.
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Enter Russian newspaper editor, Eliezer Ben Yehuda,
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in the 1880s.
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He deliberately said about reviving Hebrew.
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But here's a problem.
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Hebrew as a written language was missing a lot of vocabulary.
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I mean, in the Bible, there's no word for button
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or telegraph or train, right?
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So Ben Yehuda invented new words for modern concepts
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and then promoted Hebrew as an everyday spoken language.
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But look today, whatever the population of Israel is,
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that many people speaking Hebrew.
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So one could say spoken Hebrew is basically
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a newly constructed language.
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Now, you, dear listener, are unlikely ever
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to take linguistics 315 at Wellesley.
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Professor Carpenter accepts only 15 students at a time.
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So I invited her to give us a crash course
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in how her students develop new languages from scratch.
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Right now, I mean, do you say,
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decide what the letters of your alphabet will be,
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decide what the sound is going to be,
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whether it'll sound angry and Germanic or lulling and soothe.
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I mean, well, you hit the nail on the head,
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we start with the sounds.
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So they get to choose the consonants and the vowels.
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And in my class, I encourage them to actually,
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I require that they choose some sounds
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that are not English.
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We also want them to choose the syllable structure,
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syllables can be very simple,
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like what we call a consonant vowel,
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syllable like la, ta, de, right?
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Or you have English, which can have a syllable like sprite,
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right?
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So you can start with a very complex consonant cluster.
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Then they have to do a stress pattern.
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So English is a language that has every multi-syllabic word
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has stress on one syllable, right?
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Telegraph, right?
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Acrimonias, right?
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So they have to decide on that.
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When you put those things together,
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you're syllables and you're stress pattern,
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you get a particular rhythm of your language.
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They kind of get, this is what my language is going to sound like,
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even if they don't have the words get.
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Huh!
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Once you didn't want to the language,
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a piece loving language.
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Very interestingly, she had two versions of her language.
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The regular version, which uses what we call voiced sounds,
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so ber, go, ber, z, that's a voiced sound.
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The student's name is Sam Burke,
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and here's what her regular extroverted dialect sounds like.
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You'll hear some Vs and Zs in there.
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A-Zan-Shi, ni et utzen va, ad nun-Shi, ni uten,
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den et China.
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But when her speaker is wanting to go into an introverted state,
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they changed all their sounds to voiceless sounds.
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So now it's like, ffff, ffff, words like that.
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Ooh!
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A-Zan-Shi, ni et uten, fa, ad nun-Shi, ni utzen, den et China.
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I see. So, voice versus unvoiced.
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So, like, they're the same lips, right?
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Ffff.
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Yeah.
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As the same as ffff, but in one, your voice box is activated,
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and the other, it isn't.
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Exactly.
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Ffff, and ffff, are the exact same sound,
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just different in terms of voicing.
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And then at some point, they've got their rules now,
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they just start making up words that fit the rules they've got?
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Yes. The first thing I have to work on are their verbs,
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their tenses.
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What tenses are they going to have?
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Not all languages have the same tenses as English.
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Some languages have several future tenses, or several past tense, right?
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I give them assignments such as, come up with 25 verbs.
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Ffff.
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And depending on the culture, there's some basics.
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You need walk, run, locomotion of some sort, eat, that sort of thing.
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Then after we move from verbs, we go to nouns.
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Nouns also carry a lot of information, right?
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And is it one person, two people, three people?
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Right?
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Gender, some languages have gender.
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I think about the and la in French, or the three of them in German.
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Yeah.
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So presumably at the end of this class,
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each student has some semblance of the beginnings of a language system, right?
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Yeah, yeah.
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They have a pretty good language system.
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I mean, many of them have up to a thousand words,
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and why the time they're done.
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Constructed languages have always been sort of a nerdy niche,
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occupied by leagues of language loving linguists.
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But in the worlds of sci-fi and fantasy shows and movies,
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they're catching on like wildfire.
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They're featured in movies like the new remake of Dune,
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Dr. Strange, Thor, the Dark World,
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Raya and the Last Dragon, and Bright,
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and in TV series like Defiance, Emerald City,
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Dominion, another life,
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Lovecraft Country, and Shadow and Bone.
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All of those invented languages have something special in common.
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David J. Peterson, he wrote them all,
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and the languages in Game of Thrones.
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In the world of Hollywood conlangs,
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David J. Peterson is the man.
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So at this point, are you able to make a complete living
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from generating languages for people?
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Yeah, that's been the case since I think
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2015.
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I mean, there can't be more than five people in the world
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who do that full time.
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I think there's just one.
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It's you?
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Yeah, yeah.
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David is also an author, a linguistics professor,
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and probably the most famous conlinger working today.
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To say that languages have always interested him
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is the understatement of the century.
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When I was 17, I woke up one day,
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and from a dream quite suddenly,
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and felt very ashamed that there were millions of people
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that spoke French, and I wasn't one of them.
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And so I made it my goal to learn French that day,
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and then to learn every language on the planet,
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which I thought couldn't have numbered more than like 60 or 70.
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At UC Berkeley, he took Arabic the first semester
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and Russian the second.
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And then one day, there was advertised on my dorm,
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just a little slip of paper,
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a student taught class on Esperanto.
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I had heard of it.
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I had heard that Esperanto was this language that somebody created,
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which sounded goofy to me.
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How could you even do that?
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So I have to take this course.
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It was just fun.
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It was just absolute, an absolute joy.
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And somewhere in the middle of that first semester,
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I thought, what if I created a language
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that what if I just created it for my own personal use?
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And so basically I started right then in class,
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and I kept up with it.
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I kept up with creating languages for fun,
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as long as it's been fun.
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So it's been 21 years now.
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While getting his master's degree in linguistics at UC San Diego,
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David Peterson helped to start the language creation society
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in extracurricular group that's exactly what it sounds like.
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And not long thereafter,
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HBO came a calling.
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Dothraki are a bit of a cross between the Mongols
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and some of the Native American tribes.
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There are horse people that live in these great vast grass plains,
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and they make a living by conquering other people.
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That's the voice of David Benioff,
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one of the two writer producers of Game of Thrones.
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He's talking to the camera in an HBO bonus video on YouTube.
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For the series, we actually thought it would be much more believable
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if we heard them speaking their own language
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rather than have them speak and heavily accent the English.
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And here's his collaborator, Dan Weiss.
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We went to the Language Creation Society,
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who turned us on to David Peterson,
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and he created a language taking into account
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what we told him and what was in the books.
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Yes, there was a little bit of Dothraki in the Game of Thrones books.
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Author George R.R. Martin didn't invent a whole language,
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but the snippets he did include were at least linguistically consistent.
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So for David Peterson to create a full matching language
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wasn't like, sit down and create the best language you can.
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It was try to create something that looks like it was there before the books were written.
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That was my goal.
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Dothraki was his very first paid language invention job.
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Then, for season three of Game of Thrones,
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they hired him to create Hyvalerian too.
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Okay, so what are some of those characteristics of, let's say,
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Hyvalerian?
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I'm trying to think some words that really sound valerian.
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Let's see, word for bronze is brridasma.
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That's the type of thing.
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As the same suffix actually is jelidmaism, which is denarius's last name,
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stormborn, yeah.
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When you hear valerian, it's like these,
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and you hit these long bows.
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That was a line from the show.
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A dragon is not a slave.
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It was really cool to interview these famous conlingers,
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but I couldn't keep one nagging thought down.
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Is all this effort really necessary?
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The audience doesn't know what the characters are saying.
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Is it so important to invent an entire language with all these rules of syntax
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and all this baked in history and culture?
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If we're only going to hear a few seconds of it,
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couldn't you get away with like a little plausible gibberish?
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And the answer?
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These days, not really.
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These days, everything's on demand, everything's on YouTube, everything's replayable.
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And the fans are rabid.
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They care.
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They'll scrutinize every syllable.
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And if you're not legit, they'll catch you.
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The fans do get it.
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They do get it and it doesn't take them very long.
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I remember I was watching the last season of Game of Thrones.
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There's this line of dothraki where denarius asks how many today,
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referring to how much have the dragons eaten.
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Finne say a cheque.
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And he says the dothraki for three sheep, ten goats.
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But the subtitles say like nine sheep, twelve goats, something like that.
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And the episode wasn't done airing before somebody noticed the error
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and tweeted at me and asked what was up.
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And I didn't even know what they were talking about.
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Because I went back in and I looked and was like, oh my god, they're right.
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Because like, did I just make a mistake?
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Did I read the wrong number?
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But I went back to the script.
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It's like, no, I did the right numbers.
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They just decided, now that's not enough sheep and goats.
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It's got to be more than that.
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But then they didn't have me retranslated or reshoot it.
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They just changed the subtitles.
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Oh my god.
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That's not showing much respect to your craft.
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Well, I mean, the thing that bothers me and boggles my mind is like,
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who made that decision?
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Who was like, no, no, that's not enough sheep and goats.
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Nobody's going to believe it.
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We have to change it.
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Which people in the audience would they be like,
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not enough sheep and goats?
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Glately, a flood of new commission requests is coming David Peterson's way.
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First, because Game of Thrones was so successful.
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And second, because movie production is ramping back up
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as the pandemic locked down, throttles back down.
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Can you remember any of the requests,
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the descriptive requests that you've gotten for projects?
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Do they say I want a angry sounding language?
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Loving sounding language.
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What do they like, honestly, all the ones you've thrown out?
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Yes.
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Some of the descriptors are harsh, soft, beautiful, whatever.
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And sometimes they mimic descriptions,
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like or just kind of like do a little gibberish line of what they're hoping it would sound like.
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It's really cringe worthy.
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But you know, if they talk for a long enough, I know what they mean.
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Let's say I come to the project and it's an alien race that are just
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schmupi lullabies speaking conflict-free.
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Was something like that the first question is like, okay, they're aliens.
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Are they human aliens?
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Are they alien aliens?
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Oh, I see.
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In other words, like are these are these forehead-rig aliens?
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Or are these aliens where it's like they don't have ears, they don't have mouths.
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Instead, they have these two little pincers that they go
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and that's it.
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Okay, they're human, humanoid.
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Yeah, so like probably what I, you know, I love me some weak fricatives when it comes to that
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weak fricatives or things other than S and Z.
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So Sons are very are are siblings.
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And you know, like things like
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right, Ssh can sometimes be a sibling, but it's like something along in that range.
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Long vowels, vowel sequences.
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And so it's like just something like, you know,
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guy you are swan,
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a lie.
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You know something like that?
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How?
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That's amazing.
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Yeah, sorry about that falsetto thing, but I mean, come on,
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he just invented the first sentence of a new conlang in five seconds.
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Guy you are swan, a lie.
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Anyway, can you say something in dothraki off the cuff?
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Probably.
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Can you say bring me 10 goats?
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Oh my goodness, no, because I don't remember the word for 10.
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Oh, so bring me four goats.
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Wait, is it an anime?
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Crap, if it's an anime, it doesn't have a plural and that's fine.
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So it'd be a it'd be like, you know, if he just and they just and
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and send or be bring to me four goats.
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Yeah, that was really good.
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Wait a minute. So the so inanimate or animate objects have different
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plural situations?
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Yeah, basically if a noun is treated as grammatically inanimate,
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it doesn't get any plural.
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What do the actors get then in the script?
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Do they have a quadrant of what the English would have been,
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what the written dothraki looks like and what the phonetic pronunciation is?
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Yeah, actually.
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They also have another line which is a word for word translation.
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Because it's important where it's like, you know,
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some actors putting like a huge emphasis on one word because they think that it lines up
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with this English word and actually they've just put all this emphasis on a
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preposition and it sounds a little silly, you know.
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And how do they take to having to learn a completely new language?
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They don't learn it.
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I mean, I don't think I don't think any of the actors who ever do that ever learn the language, right?
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You just have to learn how to pronounce it.
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I just record every single line on MP3 exactly the way that it's supposed to be performed.
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Very different from the old days, you know,
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when Mark Okren was working on the Star Trek movies,
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he would record his lines onto a cassette tape.
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He has said, by the way, that, you know, when actors would make a mistake,
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it was really awkward for him.
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Like, does he raise his hand and stop a million dollar a day production process
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to correct some word and cling on that no one will ever catch?
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Yeah, I would never feel bad about that.
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You would correct them?
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Absolutely.
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100%.
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I got to change my language just because they had a slip at the tongue.
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Away.
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Are there examples in the finished shows where they
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spoke something wrong and you just have to live with it?
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Oh, tons.
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Tons.
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That's awful.
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What can you do?
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I mean, 90% of it is good enough.
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I'd say like, 8 to 9% of it is stellar.
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And then there's like, you know, one to two percent of it that's irredeemable, you know?
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Well, thank you, man.
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You are David Peterson creator of languages, as they would say, and Game of Thrones probably.
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Gerim was say, thank you.
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In, in Valerian?
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Yep.
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As with Klingon, Dothraki and Valerian have leapt off the screen and entered the real world.
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David Peterson published a book called Living Language Dothraki.
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He's made duo lingo courses for learning Dothraki and Valerian.
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And academics now study his languages.
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And of course, YouTube is full of people speaking Dothraki.
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You may finally say,
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I will let you live.
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You can answer with
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speaking through fully.
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It's a weird and rarefied world this conlinging.
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I mean, if you look at it in a certain way, maybe the world doesn't technically need
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more languages than it's already got.
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But Wellesley Professor Angela Carpenter doesn't mourn the fact that there isn't one universal language.
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I love language. I love the fact that there are different languages.
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I really do. I admit it would be much more convenient if we could all communicate with one language.
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But language has such richness, such texture.
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So I just see different languages as marvelous ways of seeing how humans differ
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get how they're the same.
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As for Star Trek Conlinger Mark Okrand,
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he claims still to be amazed that Klingon, his 1982 baby, has taken on a life of its own.
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I'm still in awe that that stuff is happening.
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It's sort of like, you know, if you pick up something that you wrote a long time ago,
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and look at it and say, I did this.
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How did I do this?
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And that's what I feel like with things.
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I said, how did this come about?
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You know, I didn't set out to make a language that people are going to use.
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I set out to make some lines of dialogue for a film.
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Unsung Science with David Pogue is presented by Simon and Schuster and CBS News,
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and produced by PRX Productions.
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The executive producers for Simon and Schuster are Richard Roer and Chris Lynch.
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The PRX production team is Jocelyn Gonzalez, Morgan Flannery, Claire Carlinder,
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Pedro Rafael Rosado, and the project manager is Ian Fox.
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The amazing Jesse Nelson composed the Unsung Science theme music,
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and fact checker Christina Ribello positioned herself nobly between my scripts and certain humiliation.
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For more Unsung Science episodes, visit UnsungScience.com,
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and for more of my stuff, visit DavidPogue.com or follow me on Twitter at Pogue.
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P-O-G-U-E. We love it if you'd like and subscribe to Unsung Science,
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wherever you get your podcasts.
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And spread the word, which you, thanks for listening.
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We will rise.
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I am Cone!