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1
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IT MAY BE THAT BEAUTY HAS
STREGTHENED OUR RESOLVE
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00:00:10,920 --> 00:00:14,239
A film by Philippe Grandrieux.
3
00:01:13,720 --> 00:01:16,839
I desired many things.
4
00:01:23,400 --> 00:01:26,439
But it doesn't matter.
5
00:01:28,560 --> 00:01:31,679
There were many regrettable things.
6
00:01:33,080 --> 00:01:34,919
How can I put it...
7
00:01:40,120 --> 00:01:42,119
There were things missing.
8
00:01:44,920 --> 00:01:50,439
We had to find them,
we had to make them...
9
00:01:50,440 --> 00:01:53,159
or fill in the holes.
10
00:01:53,720 --> 00:01:56,919
But I've always done that.
11
00:02:02,960 --> 00:02:07,919
I wanted those things, I think.
It's a shame...
12
00:02:08,160 --> 00:02:11,719
Let's remember the regrettable things.
13
00:02:16,480 --> 00:02:21,239
You could say
that I regretted all the time but...
14
00:02:26,280 --> 00:02:30,159
But I always...desired.
15
00:02:30,360 --> 00:02:35,359
I don't like to say I don't like to talk about what
I desired, I wish I could put it otherwise.
16
00:02:37,160 --> 00:02:39,719
But there were so many things
I desired.
17
00:02:47,960 --> 00:02:50,199
Yes, I had this impression.
18
00:02:51,960 --> 00:02:55,919
But if I express them with words,
it's too beautiful!
19
00:02:59,120 --> 00:03:04,039
The cold north wind
20
00:03:06,200 --> 00:03:10,599
Trees with wilted falling leaves
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00:03:14,600 --> 00:03:18,439
The water surface
as well as the mountains
22
00:03:20,040 --> 00:03:23,319
freeze.
23
00:03:26,280 --> 00:03:37,359
Desires unfulfilled
24
00:03:39,360 --> 00:03:43,959
Singing men
who grieve for the world.
25
00:03:44,400 --> 00:03:48,799
The cricket.
26
00:03:56,280 --> 00:03:58,919
Too sentimental?
27
00:04:00,600 --> 00:04:02,839
Too sentimental?
28
00:04:06,440 --> 00:04:10,399
It doesn't fit me!
29
00:04:22,240 --> 00:04:25,639
What did I desire
at the beginning of life?
30
00:04:33,720 --> 00:04:35,639
My original desire...
31
00:04:36,960 --> 00:04:37,968
Perhaps...
32
00:04:39,800 --> 00:04:43,439
It must have been my mother.
33
00:04:44,800 --> 00:04:47,439
That's normal,
I had a lot of brothers.
34
00:04:51,720 --> 00:04:53,399
Ah, yes, the neighborhood parties!
35
00:04:53,560 --> 00:04:55,159
At the neighborhood party...
36
00:04:56,120 --> 00:04:57,759
We were so poor,
37
00:04:57,840 --> 00:05:00,639
we wanted a lot of things
but we could only look.
38
00:05:01,160 --> 00:05:03,799
The sorrow of only being able to
look...
39
00:05:05,960 --> 00:05:08,599
I suffered from lack.
40
00:05:11,520 --> 00:05:13,359
That could be it.
41
00:05:18,400 --> 00:05:20,399
Boom! Boom! Boom!
42
00:05:21,400 --> 00:05:23,319
The Kappa!
(a water imp)
43
00:05:25,320 --> 00:05:26,119
The Kappa!
44
00:05:28,120 --> 00:05:30,719
Who do you think you are, Mr. Kappa?
45
00:05:42,880 --> 00:05:46,879
Early on, it was always like this.
46
00:05:47,280 --> 00:05:48,759
That's why,
47
00:05:52,320 --> 00:05:54,239
at the time of the riots,
48
00:05:54,440 --> 00:05:56,879
against the Security Treaty
between the US and Japan,
49
00:05:57,320 --> 00:05:59,759
we had nothing.
Nothing at all.
50
00:06:00,960 --> 00:06:02,839
We had to run, run.
51
00:06:04,200 --> 00:06:06,799
The feeling of always running.
52
00:06:08,200 --> 00:06:10,399
Where to? Where do you run?
53
00:06:12,280 --> 00:06:14,879
What will I do after the race?
54
00:06:16,360 --> 00:06:18,239
Run.
55
00:06:19,520 --> 00:06:20,839
It was exhausting.
56
00:06:21,040 --> 00:06:23,879
But I was happy.
57
00:06:25,960 --> 00:06:28,039
I have the feeling
I only demonstrated.
58
00:06:32,280 --> 00:06:33,879
What if I went back to running?
59
00:06:35,600 --> 00:06:37,479
As usual.
60
00:06:53,000 --> 00:06:57,079
There, everything's logical now.
61
00:06:58,840 --> 00:07:00,719
Formal logic.
62
00:07:04,280 --> 00:07:06,719
Marx and Lenin also.
63
00:07:09,920 --> 00:07:12,919
When you don't understand,
it's only dialectical logic.
64
00:07:14,160 --> 00:07:16,799
But why not take this
view from the outset.
65
00:07:22,400 --> 00:07:25,679
No, it's not a question of logic.
66
00:07:27,560 --> 00:07:30,479
It's a question of taste.
67
00:07:38,720 --> 00:07:43,079
That's why they hated me for so long.
68
00:07:47,600 --> 00:07:51,479
But I took pleasure in being hated.
69
00:07:57,840 --> 00:07:59,919
I like the offensive language.
70
00:08:02,360 --> 00:08:05,159
There were so many things
I'd rather not to remember.
71
00:08:05,360 --> 00:08:07,919
Ah him, I was hard on him.
72
00:08:12,600 --> 00:08:16,799
The one who shouted. Aaah! Ooooh!
73
00:08:30,160 --> 00:08:33,759
But in a way...
74
00:08:39,600 --> 00:08:41,479
The idea...
75
00:08:43,520 --> 00:08:46,199
is a collection of thoughts.
76
00:08:46,320 --> 00:08:49,519
And they superimpose themselves...
77
00:08:50,363 --> 00:08:52,639
They juxtapose themselves
or coalesce,
78
00:08:52,760 --> 00:08:54,799
to establish an idea of the world.
79
00:08:56,240 --> 00:08:58,519
My world view is formed,
80
00:08:58,960 --> 00:09:01,399
by taste and dialectical logic.
81
00:09:05,040 --> 00:09:08,599
That's what makes it.
82
00:09:11,880 --> 00:09:13,759
What's the point?
83
00:09:21,720 --> 00:09:22,799
Indeed,
84
00:09:22,880 --> 00:09:24,639
for a long time,
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00:09:24,760 --> 00:09:29,879
I aspired to, was preoccupied
by The Kingdom of a Thousand Years,
86
00:09:30,400 --> 00:09:35,439
The Thousand-Year Kingdom
is a biblical concept.
87
00:09:36,520 --> 00:09:39,279
I didn't realise until recently.
88
00:09:41,280 --> 00:09:44,759
In China, they call it "Tougenkyo".
89
00:09:50,040 --> 00:09:52,239
It means "paradise", that's right.
90
00:09:52,480 --> 00:09:55,479
The Thousand-Year Kingdom.
91
00:09:57,840 --> 00:09:59,879
Heaven without Hell.
92
00:10:01,160 --> 00:10:03,079
Heaven without Hell...
93
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means nothing at all.
94
00:10:06,560 --> 00:10:09,759
It's like a print on roll paper.
95
00:10:10,120 --> 00:10:12,119
There is no Heaven without Hell.
96
00:10:13,280 --> 00:10:14,879
There's none.
97
00:10:17,160 --> 00:10:18,759
There's none.
98
00:10:28,560 --> 00:10:30,759
Buddhism says that Hell
99
00:10:32,920 --> 00:10:35,479
is 3000 leagues below ground.
100
00:10:35,600 --> 00:10:39,119
That it's a world of red molten iron.
101
00:10:42,600 --> 00:10:45,479
It sounds scientific, isn't?
102
00:10:45,840 --> 00:10:47,439
How could it be?
103
00:10:48,440 --> 00:10:53,239
How could a man say
the center of Earth was molten iron
104
00:10:53,480 --> 00:10:55,239
in such an era?
105
00:10:56,400 --> 00:10:57,999
This is how it is.
106
00:11:01,040 --> 00:11:05,079
It's incomprehensible.
107
00:11:06,720 --> 00:11:08,239
Incomprehensible...
108
00:11:08,480 --> 00:11:10,039
Incomprehensible...
109
00:11:11,040 --> 00:11:13,359
Incomprehensible...
110
00:11:16,880 --> 00:11:18,599
I don't understand.
111
00:11:19,800 --> 00:11:21,679
It's not that I undestand or not,
112
00:11:21,760 --> 00:11:23,959
it's a matter of taste after all.
113
00:11:36,440 --> 00:11:41,079
The non-existent,
the incomprehensible, the unknown,
114
00:11:41,640 --> 00:11:44,079
that's why I try to imagine,
115
00:11:44,600 --> 00:11:46,719
what's very far away,
116
00:11:49,080 --> 00:11:51,599
on the other side of the mountain.
117
00:11:58,680 --> 00:12:00,159
But...
118
00:12:01,210 --> 00:12:02,679
actually...
119
00:12:04,360 --> 00:12:06,719
in order to imagine,
120
00:12:08,000 --> 00:12:09,999
we make use of our memories only.
121
00:12:20,560 --> 00:12:22,959
The Revolution is also an image.
122
00:12:25,400 --> 00:12:30,839
The problem is
how to make the image real?
123
00:12:35,280 --> 00:12:39,239
If only it were possible
to literally turn it in concrete terms!
124
00:12:56,440 --> 00:13:00,039
I said that I wanted to make films.
125
00:13:01,160 --> 00:13:04,399
It was just to try out,
126
00:13:04,560 --> 00:13:09,399
this image, this memory,
this thought process.
127
00:13:11,400 --> 00:13:16,319
I wanted to give all that a form.
128
00:13:16,520 --> 00:13:19,839
I wanted to show people.
129
00:13:20,400 --> 00:13:22,359
I wanted them to discover it.
130
00:13:24,960 --> 00:13:26,479
Or rather...
131
00:13:27,800 --> 00:13:29,239
What do you think?
132
00:13:30,360 --> 00:13:32,359
What do you think, gentlemen?
133
00:13:33,760 --> 00:13:37,039
What do you think, my lords?
134
00:13:47,280 --> 00:13:49,279
Actually...
135
00:13:56,400 --> 00:13:59,159
I was looking for someone.
136
00:14:01,200 --> 00:14:04,639
I never stopped looking for someone.
137
00:14:14,600 --> 00:14:16,439
What is it then?
138
00:14:17,760 --> 00:14:20,719
Eternal, platonic love.
139
00:14:21,760 --> 00:14:22,839
That's it.
140
00:14:28,240 --> 00:14:30,679
That's why it's sadism.
141
00:14:36,720 --> 00:14:39,719
I was drawn to it at the time.
142
00:14:41,520 --> 00:14:45,879
I felt that I could actually visualise
143
00:14:46,440 --> 00:14:49,799
things I couldn't understand.
144
00:14:58,580 --> 00:15:00,139
Yes...
145
00:15:00,600 --> 00:15:02,599
That must be it.
146
00:15:16,000 --> 00:15:20,679
I don't know what to do...
I don't know what to do...
147
00:15:24,280 --> 00:15:28,159
I don't even know what to do
with all things I don't understand.
148
00:15:33,600 --> 00:15:37,439
But I carried on,
it had to be what I wanted.
149
00:15:48,840 --> 00:15:51,599
Does it mean I'm suffering?
150
00:15:52,200 --> 00:15:54,079
Am I suffering?
151
00:15:54,160 --> 00:15:55,439
I suffer.
152
00:15:56,680 --> 00:15:58,519
I'm suferring, I'm not suffering.
153
00:15:59,880 --> 00:16:02,919
I'm trying to suffer.
But no, that's not it.
154
00:16:04,600 --> 00:16:06,319
I would appear to suffer?
155
00:16:06,920 --> 00:16:08,439
I don't suffer.
156
00:16:08,840 --> 00:16:09,919
Let's suffer.
157
00:16:10,240 --> 00:16:12,319
No, that's not it either.
158
00:16:18,520 --> 00:16:19,839
I'm not suffering.
159
00:16:21,160 --> 00:16:23,799
Ah, here we are,
it doesn't make me suffer.
160
00:16:25,960 --> 00:16:28,519
I'm often criticized
161
00:16:29,320 --> 00:16:31,559
for denying everything systematically.
162
00:16:31,720 --> 00:16:34,199
But I'm not looking
for the negative form.
163
00:16:34,560 --> 00:16:36,079
What am I supposed to do?
164
00:16:37,840 --> 00:16:39,719
That's why I make films.
165
00:16:40,960 --> 00:16:43,239
I can only express this with films.
166
00:16:50,600 --> 00:16:52,119
I'll think again.
167
00:17:02,480 --> 00:17:03,679
It's pleasant.
168
00:17:04,560 --> 00:17:06,599
It's pleasant.
It's not pleasant.
169
00:17:08,880 --> 00:17:10,279
I want it to be pleasant.
170
00:17:11,320 --> 00:17:12,519
I have fun.
171
00:17:13,680 --> 00:17:16,159
Yes, I have fun, that's right.
172
00:17:19,400 --> 00:17:22,399
I have fun therefore I suffer.
173
00:17:23,520 --> 00:17:25,799
No, that's just clever lie.
174
00:17:28,080 --> 00:17:30,679
I suffer while I'm having fun.
175
00:17:30,680 --> 00:17:33,159
Damn, it's logical, what won't do.
176
00:17:41,720 --> 00:17:43,439
Forget it then.
177
00:17:44,480 --> 00:17:46,079
Lets forget.
178
00:17:47,440 --> 00:17:48,639
Lets forget.
179
00:17:50,920 --> 00:17:53,079
I lie to forget.
180
00:17:54,320 --> 00:17:55,839
Am I lying?
181
00:17:58,120 --> 00:17:59,319
Lie.
182
00:18:02,200 --> 00:18:05,359
Do I make films in order to lie?
183
00:18:10,520 --> 00:18:13,079
I'm ashamed of lying.
184
00:18:14,960 --> 00:18:16,519
That's true.
185
00:18:18,680 --> 00:18:19,879
Honesty.
186
00:18:20,600 --> 00:18:22,759
If one talks to others honestly,
187
00:18:24,450 --> 00:18:26,750
he's not ashamed.
188
00:18:27,760 --> 00:18:28,759
Is that it?
189
00:18:30,400 --> 00:18:33,319
I'm not ashamed.
I'm ashamed.
190
00:18:34,880 --> 00:18:36,599
It doesn't matter either.
191
00:18:38,720 --> 00:18:40,159
It has no importance.
192
00:18:45,160 --> 00:18:48,599
We return to the M�bius' strip.
193
00:18:51,240 --> 00:18:53,039
It's always the same.
194
00:18:53,800 --> 00:18:55,279
That's right.
195
00:18:56,880 --> 00:18:58,399
M�bius...
196
00:19:05,600 --> 00:19:08,199
Of course, everything is connected.
197
00:19:09,600 --> 00:19:11,759
I don't know since when.
198
00:19:12,240 --> 00:19:14,039
All films...
199
00:19:16,040 --> 00:19:18,919
All films are interconnected.
200
00:19:56,520 --> 00:19:58,399
Did I go hungry?
201
00:20:02,880 --> 00:20:04,679
Did I want to eat?
202
00:20:11,080 --> 00:20:16,239
Were there times
when I was dying of hunger?
203
00:20:16,520 --> 00:20:18,839
I think so.
204
00:20:25,120 --> 00:20:28,199
I was hungry only once.
205
00:20:40,480 --> 00:20:41,359
There.
206
00:20:43,080 --> 00:20:45,399
What is the point of origin
of the Revolution?
207
00:20:50,040 --> 00:20:51,759
What is a point of origin?
208
00:20:51,920 --> 00:20:55,079
They asked me
why I participated in the Revolution.
209
00:21:03,000 --> 00:21:07,279
I always want to be part of it but...
210
00:21:07,680 --> 00:21:10,319
without knowing
what the Revolution is.
211
00:21:10,600 --> 00:21:14,239
So I wanted to do someting
I didn't understand, is that it.
212
00:21:16,080 --> 00:21:17,279
I don't understand.
213
00:21:18,280 --> 00:21:20,479
Revolution means:
I don't understand.
214
00:21:21,080 --> 00:21:23,239
I want to do what I don't understand.
215
00:21:23,520 --> 00:21:26,399
That's why I'm part of the Revolution.
It's a syllogism.
216
00:21:26,800 --> 00:21:27,799
That's it.
217
00:21:28,760 --> 00:21:30,319
It's the best I can do.
218
00:21:32,960 --> 00:21:35,999
Your stomac is empty
so you're hungry.
219
00:21:36,360 --> 00:21:38,679
You're hungry so you want to eat.
220
00:21:40,800 --> 00:21:42,759
But you need food.
221
00:21:43,960 --> 00:21:45,159
So...
222
00:21:47,680 --> 00:21:49,479
it's on that level.
223
00:21:51,320 --> 00:21:52,639
That's it, I understand now.
224
00:21:53,560 --> 00:21:55,039
That's right.
225
00:22:04,040 --> 00:22:07,559
Anyway all of this,
it's just empty words.
226
00:22:09,680 --> 00:22:11,799
Don't you think so?
227
00:22:12,600 --> 00:22:14,319
Don't you think so?
228
00:22:17,120 --> 00:22:18,319
You think so?
229
00:23:52,100 --> 00:23:56,319
The portrait of a man,
his hands, his face
230
00:23:56,554 --> 00:23:59,604
shaped by time in which he lived.
231
00:24:03,442 --> 00:24:05,771
Does the beauty
of the hands, the face,
232
00:24:06,077 --> 00:24:09,126
express the truth
with which life pases through us?
233
00:26:17,200 --> 00:26:21,279
Some have seriously asked themselves
234
00:26:21,480 --> 00:26:26,439
if they were part of the Revolution
or if they just made films.
235
00:26:26,680 --> 00:26:32,319
For me, the two are
one and the same thing.
236
00:26:32,680 --> 00:26:34,879
I've never had any doubt about that.
237
00:26:35,040 --> 00:26:38,559
It has caused many problems.
238
00:26:44,800 --> 00:26:53,159
Here on the wall is a portrait of Haniwa,
a writer whom I admire very much.
239
00:26:53,320 --> 00:26:56,919
I have immense respect for him.
240
00:26:58,840 --> 00:27:01,399
He was also a Marxist.
241
00:27:04,320 --> 00:27:10,759
At the time, all Marxists in Japan
were jailed.
242
00:27:10,960 --> 00:27:15,279
He spent time in prison too.
243
00:27:17,160 --> 00:27:22,639
He was torn between politics and art.
244
00:27:23,960 --> 00:27:28,119
That question didn't bother me.
245
00:27:30,160 --> 00:27:34,319
For me, it has always been the same.
246
00:27:38,800 --> 00:27:44,079
In fact, in my world,
247
00:27:44,280 --> 00:27:47,079
art is not separated from politics.
248
00:27:48,120 --> 00:27:52,639
Or rather,
there is no need to separate them
249
00:27:52,840 --> 00:27:56,479
and it is in this world
that I've developed my reasoning.
250
00:27:56,800 --> 00:28:00,639
I'd love to carry on that way.
251
00:28:04,680 --> 00:28:09,279
I was part of political movements,
252
00:28:10,320 --> 00:28:13,719
and revolutionary movements,
253
00:28:14,880 --> 00:28:19,519
but I never distinguished
254
00:28:19,720 --> 00:28:24,719
between cinema and theatre.
255
00:28:25,400 --> 00:28:33,279
Making movies seemed contradictory
to the practice of guerrilla warfare.
256
00:28:33,960 --> 00:28:38,959
But I told myself it was for me to
resolve this issue.
257
00:28:41,360 --> 00:28:43,519
Admittedly, I agreed to resolve it,
258
00:28:43,720 --> 00:28:46,879
but I took the time to do so.
259
00:28:47,080 --> 00:28:51,319
At the time,
the issue of politics and art,
260
00:28:51,520 --> 00:28:57,119
or of Revolution and art,
excited everyone.
261
00:28:58,160 --> 00:29:04,479
I couldn't say that I wasn't
concerned by the issue.
262
00:29:05,600 --> 00:29:12,599
So I accepted it
and I put it into practice.
263
00:29:17,280 --> 00:29:20,879
Red Army/PFLP:
Declaration of World War
264
00:29:21,040 --> 00:29:25,559
is considered my most political film.
265
00:29:27,200 --> 00:29:34,919
I made that documentary
to express my ideas,
266
00:29:35,200 --> 00:29:39,199
but I had no intention
whatsoever of being political.
267
00:29:40,320 --> 00:29:43,879
I was criticized by both sides,
politics and art.
268
00:29:44,080 --> 00:29:49,159
To tell the truth I was happy
with the criticism
269
00:29:50,040 --> 00:29:53,559
even it it's a bit of a shame.
270
00:29:57,160 --> 00:30:02,279
Ultimately I'm a surrealist.
271
00:30:04,160 --> 00:30:06,039
You understand, Philippe?
272
00:30:06,760 --> 00:30:08,399
Surrealist!
273
00:30:09,200 --> 00:30:10,839
That says it all!
274
00:30:33,760 --> 00:30:37,679
He was at our University.
275
00:30:39,440 --> 00:30:43,359
Adachi was already
a well known personality.
276
00:30:47,920 --> 00:30:49,599
Is that how you met?
277
00:30:49,760 --> 00:30:50,559
Yes, yes.
278
00:30:50,680 --> 00:30:53,439
What was your first impression?
279
00:30:55,120 --> 00:30:56,439
Let me see...
280
00:30:56,600 --> 00:30:57,959
Lawless.
281
00:30:59,240 --> 00:31:00,879
He was lawless.
282
00:31:01,080 --> 00:31:03,399
Now, he lives outside the law.
283
00:31:04,160 --> 00:31:06,199
He was outside the law.
284
00:31:08,600 --> 00:31:11,599
That's what I think of him.
285
00:31:18,560 --> 00:31:21,119
It's his personality.
286
00:31:21,720 --> 00:31:25,479
I think that's the way he lived.
287
00:31:29,240 --> 00:31:30,679
He hasn't changed.
288
00:31:32,320 --> 00:31:36,919
He's a hero
who chose to live as he likes.
289
00:31:41,200 --> 00:31:44,639
And at the times
of the student movements?
290
00:31:45,120 --> 00:31:50,959
You could say
there was a similar vibration...
291
00:31:51,640 --> 00:31:55,199
between May 1968 in France...
292
00:31:55,840 --> 00:31:58,719
and our October and November 1968.
293
00:31:59,920 --> 00:32:06,519
Maybe it will take another 50 years
to understand their ideologies.
294
00:32:06,880 --> 00:32:10,719
In my opinion, it's for that reason
that Adachi has always been way ahead of us.
295
00:32:10,720 --> 00:32:13,439
He never stopped pushing forward.
296
00:32:14,640 --> 00:32:20,959
That's why he's our hero.
297
00:32:22,880 --> 00:32:30,759
How would you explain
the Japanese student movements,
298
00:32:31,120 --> 00:32:36,639
to a European
who didn't know about them?
299
00:32:39,040 --> 00:32:41,719
Neither Soviet or Chinese.
300
00:32:44,320 --> 00:32:49,959
We had to create a Revolution,
our Revolution.
301
00:32:50,880 --> 00:32:53,639
And it was difficult.
302
00:32:54,760 --> 00:32:56,839
Because we didn't manage,
303
00:32:57,640 --> 00:33:03,399
the problem of '68
has always been overlooked.
304
00:33:08,640 --> 00:33:11,039
Even in France, they didn't manage.
305
00:33:11,200 --> 00:33:19,279
There are similitaries
between the Revolution of 1848...
306
00:33:22,760 --> 00:33:28,919
and those of the 1960s
because ultimately they both failed.
307
00:33:29,640 --> 00:33:32,039
They are failed revolutions.
308
00:33:33,280 --> 00:33:35,959
Adachi still thinks about this.
309
00:33:39,280 --> 00:33:40,399
Thank you very much.
310
00:33:40,640 --> 00:33:41,479
Is that it?
311
00:33:41,800 --> 00:33:42,439
We're done!
312
00:33:45,960 --> 00:33:47,999
Documentary!
313
00:39:28,131 --> 00:39:30,597
Last night,
the taxi back to the hotel,
314
00:39:30,847 --> 00:39:33,281
took the highway through Tokyo.
315
00:39:35,355 --> 00:39:37,366
I thought of Tarkovsky,
316
00:39:37,616 --> 00:39:38,801
of Solaris,
317
00:39:39,912 --> 00:39:42,404
of the long film sequence,
shot in the same location.
318
00:39:45,797 --> 00:39:47,560
Cinema moves from one film to another
319
00:39:47,810 --> 00:39:49,395
through time,
320
00:39:50,429 --> 00:39:52,550
above and beyond those who make it.
321
00:39:56,125 --> 00:39:59,995
Adachi-san told me
that he met Jean Genet in Beirut,
322
00:40:00,245 --> 00:40:02,640
after the massacre
of Sabra and Shatila.
323
00:40:06,635 --> 00:40:09,841
Genet refused all interviews,
the hordes of journalists.
324
00:40:13,099 --> 00:40:16,324
Adachi told me that when writing
the screenplay with Oshima,
325
00:40:16,574 --> 00:40:19,446
for Diary of a Shinjuku Thief,
326
00:40:20,561 --> 00:40:23,183
they read twice, aloud,
327
00:40:23,731 --> 00:40:25,365
the book of Jean Genet
328
00:40:26,332 --> 00:40:28,390
The Thief's Journal.
329
00:40:31,088 --> 00:40:33,182
From one man to another,
330
00:40:33,432 --> 00:40:35,997
life is infinitely transferred.
331
00:42:42,885 --> 00:42:45,413
I meet up with Adachi-san
at a restaurant in Kinza,
332
00:42:45,663 --> 00:42:47,542
run by one of his friends.
333
00:42:49,094 --> 00:42:51,222
His wife and daughter are there too.
334
00:42:52,256 --> 00:42:54,844
Nahuriko Onozawa
whom he met in the '60s
335
00:42:55,094 --> 00:42:57,087
and whose latest film
336
00:42:57,337 --> 00:43:00,806
Prisoner/Terrorist he produced,
is with them.
337
00:43:03,498 --> 00:43:05,107
Adachi tells me about his mother,
338
00:43:05,357 --> 00:43:07,520
who was poor, a peasant.
339
00:43:08,739 --> 00:43:11,291
She taught him rebellion, revolt.
340
00:43:12,898 --> 00:43:15,915
It was in an era when the Emperor
was considered a living god.
341
00:43:17,039 --> 00:43:19,819
She said that the war,
the plight of japan
342
00:43:20,069 --> 00:43:22,216
were the fault of the Emperor.
343
00:43:28,819 --> 00:43:31,252
Adachi also tells me
about his relationship with death,
344
00:43:31,502 --> 00:43:34,263
that he is not,
that he has never been afraid of it.
345
00:43:34,513 --> 00:43:37,781
Buddhism, Zen, meditation.
346
00:43:39,133 --> 00:43:41,395
Everything is nothing
and the void is everything.
347
00:44:35,160 --> 00:44:38,439
When I was young,
I was into theatre...
348
00:44:39,040 --> 00:44:44,199
but I thought
I could speak more freely with film,
349
00:44:46,120 --> 00:44:50,319
I decided to choose the cinema.
350
00:44:51,160 --> 00:44:52,919
It was at that time,
351
00:44:55,160 --> 00:44:58,999
that I read
Andr� Breton's First Manifesto.
352
00:45:02,040 --> 00:45:05,079
The book is very clear
and easy to understand.
353
00:45:06,200 --> 00:45:09,559
I realize I could be creative
in my own way,
354
00:45:10,000 --> 00:45:13,239
with everything that seemed unclear,
355
00:45:13,840 --> 00:45:18,159
that it was enough
to broach the subject of reality,
356
00:45:18,720 --> 00:45:22,359
even if I didn't understand it.
357
00:45:24,240 --> 00:45:27,799
And I felt relieved.
358
00:45:28,120 --> 00:45:30,199
It's funny to say this,
359
00:45:30,480 --> 00:45:35,359
but I was a boy who worried a lot.
360
00:45:36,800 --> 00:45:39,079
After reading the First Manifesto
361
00:45:39,200 --> 00:45:43,159
I decided to make films,
362
00:45:44,160 --> 00:45:50,039
since then, I've reread all the theories
on theatre and cinematographic language,
363
00:45:50,240 --> 00:45:53,199
and it was excatly what I thought.
364
00:45:54,760 --> 00:45:59,959
There's no point in confining
our thoughts to a form.
365
00:46:01,040 --> 00:46:05,199
Of course if you want
to make movies for people,
366
00:46:05,920 --> 00:46:08,479
there are certain ways to do it.
367
00:46:09,560 --> 00:46:16,999
But I realized that I could let myself
to go to the limit of my ideas.
368
00:46:17,160 --> 00:46:18,999
So I was very happy.
369
00:46:19,280 --> 00:46:26,679
Since then, I studied surrealism
and I became a huge fan.
370
00:46:27,040 --> 00:46:30,119
I felt like a surrealist.
371
00:46:31,480 --> 00:46:34,119
I hung out with
372
00:46:34,480 --> 00:46:37,679
painters,
373
00:46:38,800 --> 00:46:41,879
of course there were also filmmakers
374
00:46:42,080 --> 00:46:44,119
and poets too.
375
00:46:44,240 --> 00:46:46,919
We didn't only discuss cinema,
376
00:46:47,280 --> 00:46:51,559
we exchanged ideas
on other artistic fields,
377
00:46:52,080 --> 00:46:56,639
it was the late 1950s
and through the 1960s,
378
00:46:58,080 --> 00:47:04,079
I am very interested
in the Japanese neo-dada movement,
379
00:47:07,000 --> 00:47:10,639
I worked with them.
380
00:47:11,720 --> 00:47:13,679
And at the same time...
381
00:47:16,640 --> 00:47:19,919
I didn't tell a story,
382
00:47:21,000 --> 00:47:25,839
I didn't treat
a specific theme in my films,
383
00:47:27,640 --> 00:47:34,519
I preferred to evoke
the entire suffocationg atmosphere,
384
00:47:35,120 --> 00:47:39,919
of our society.
385
00:47:41,080 --> 00:47:43,799
Even if it becomes a melodrama.
386
00:47:45,800 --> 00:47:48,159
How can I put it?
387
00:47:49,720 --> 00:47:54,559
Even in talking about love and sex,
388
00:47:55,360 --> 00:48:02,239
I sought na�ve forms
of artistic expression.
389
00:48:04,280 --> 00:48:10,759
Breton's First Manifesto
introduced me to surrealism.
390
00:48:14,080 --> 00:48:17,799
Trotsky was influenced by surrealism,
391
00:48:18,000 --> 00:48:20,999
but by the end of his life
he criticized it.
392
00:48:21,240 --> 00:48:25,279
I thought he was stupid to do that,
393
00:48:25,720 --> 00:48:27,399
There we are...
394
00:48:27,560 --> 00:48:29,479
I want Philippe to know,
395
00:48:29,680 --> 00:48:34,759
that I'm a surrealist
rather than a Trotskyist.
396
00:48:36,800 --> 00:48:42,159
The surrealist doesn't categorize,
397
00:48:43,800 --> 00:48:49,439
politics, art or society,
398
00:48:51,640 --> 00:48:55,719
he tries to encompass
entirely everything.
399
00:48:56,080 --> 00:49:02,199
Surrealists reject
the banality of everyday life.
400
00:51:42,849 --> 00:51:45,644
Our conversation continues
for a long time,
401
00:51:45,894 --> 00:51:48,439
punctuated regulary
by the passage of trains.
402
00:51:49,469 --> 00:51:52,451
I ask Adachi
if he can recall a specific sound.
403
00:51:54,193 --> 00:51:57,641
He remembers
the sound of rice paper being torn.
404
00:51:59,065 --> 00:52:01,483
His brothers drank and fought often,
405
00:52:01,733 --> 00:52:06,341
and the rice paper door got torn off
during their arguments.
406
00:52:08,463 --> 00:52:12,377
He also remembers
the sound water, the rivers
407
00:52:12,627 --> 00:52:16,174
and above all the waves
and the sound of the wind.
408
00:52:16,424 --> 00:52:18,532
The sound of bamboo in the wind,
409
00:52:18,782 --> 00:52:21,326
a noise that frightened him
more than anything,
410
00:52:21,576 --> 00:52:25,475
more than the sound of bombs and bullets
that he would later hear
411
00:52:26,215 --> 00:52:28,675
as a guerrilla fighting
with the Fedayeen.
412
00:52:28,800 --> 00:52:33,519
Guerrilla is a job in itself.
413
00:52:34,280 --> 00:52:36,439
It's about achieving a goal.
414
00:52:37,600 --> 00:52:44,039
The goal is modest,
it won't change the face of the world.
415
00:52:45,680 --> 00:52:52,239
Our goal was to use propaganda
so the world know about our fight.
416
00:52:53,680 --> 00:52:58,239
Making films is not that different.
417
00:53:01,040 --> 00:53:03,359
It 's a bit odd to say this but
418
00:53:03,440 --> 00:53:05,559
shooting a film,
419
00:53:06,280 --> 00:53:09,159
even the most important one to me,
420
00:53:09,480 --> 00:53:14,999
can't reflect
all my desires and expectations.
421
00:53:16,160 --> 00:53:19,559
It just can't,
from the start to the end.
422
00:53:20,240 --> 00:53:23,479
That's why fighting and cinema
are quite alike.
423
00:53:23,880 --> 00:53:25,679
This likeness...
424
00:53:25,880 --> 00:53:29,719
I was always thinking about it.
425
00:53:31,680 --> 00:53:34,879
In other words,
preparing for an armed operation
426
00:53:35,160 --> 00:53:38,199
is like writing a script.
427
00:53:38,520 --> 00:53:41,359
While taking part in
other directors' films,
428
00:53:41,600 --> 00:53:44,439
I learned a lot of things.
429
00:53:44,680 --> 00:53:46,039
At the same time,
430
00:53:46,840 --> 00:53:52,519
they were very basic propaganda films.
431
00:53:53,040 --> 00:53:55,159
I felt like I was one of them.
432
00:53:55,360 --> 00:53:56,919
Many of them
433
00:53:57,520 --> 00:54:01,959
were bringing to light
the refugee camps issue.
434
00:54:02,720 --> 00:54:05,559
That wasn't my cup of tea.
435
00:54:05,920 --> 00:54:08,559
Everyone was asking me to shoot it.
436
00:54:08,760 --> 00:54:10,359
No way! I didn't want to.
437
00:54:10,520 --> 00:54:12,719
Quite like Philippe.
438
00:54:13,120 --> 00:54:14,679
That's it.
439
00:54:16,720 --> 00:54:17,959
One day,
440
00:54:19,360 --> 00:54:23,639
something happened that shocked
Wakamatsu even more than me.
441
00:54:26,400 --> 00:54:30,639
We went to Jara mountain near the border
between Israel and Jordan
442
00:54:30,880 --> 00:54:34,119
for about two weeks.
443
00:54:34,760 --> 00:54:39,319
Wakamatsu and I wanted to film
guerrilla's everyday life,
444
00:54:40,800 --> 00:54:42,959
but the guys there
didn't want to be recognized.
445
00:54:43,209 --> 00:54:44,679
We stopped shooting
446
00:54:44,880 --> 00:54:48,439
and had military trainings instead.
447
00:54:49,600 --> 00:54:52,159
They made us dig tunnels for days.
448
00:54:53,160 --> 00:54:55,519
And suddently,
they asked us to film them
449
00:54:55,600 --> 00:54:57,199
and then wanted us to leave.
450
00:54:57,360 --> 00:55:02,479
When we arrived in Beirut,
via Amman and Damascus,
451
00:55:02,729 --> 00:55:05,079
we saw their picture in a newspaper,
452
00:55:05,360 --> 00:55:09,999
all of them hanged, all the men with whom
we'd eaten the before.
453
00:55:11,400 --> 00:55:14,199
It was reported on both sides
of the border, Israel and Jordan.
454
00:55:14,360 --> 00:55:15,759
On the front page of the newspapers.
455
00:55:16,000 --> 00:55:18,999
There is a rapport with death
that I evoked earlier.
456
00:55:19,160 --> 00:55:21,439
The experience
was a blow to Wakamatsu.
457
00:55:22,440 --> 00:55:24,959
He felt he should act.
458
00:55:26,640 --> 00:55:29,439
I stayed to continue filming.
459
00:55:29,720 --> 00:55:33,999
I asked Wakamatsu
to let me finish the film.
460
00:55:34,200 --> 00:55:35,639
And he agreed.
461
00:55:36,040 --> 00:55:40,239
Provided that the film served the Palestinian cause.
That's when we decided to make the film:
462
00:55:40,600 --> 00:55:44,559
Red Army/PFLP:
Declaration of World War
463
00:55:45,080 --> 00:55:48,799
We screened the movie
all over the place.
464
00:55:49,960 --> 00:55:53,359
It was the beginning of our actions
to publicize the Palestinian issue.
465
00:55:53,480 --> 00:55:56,039
Until then,
it had been a tourist trip.
466
00:55:58,760 --> 00:56:01,359
The experience taught me a lot.
467
00:56:02,800 --> 00:56:06,639
And the fact is that I disappeared
while trying to go on with shooting of the film.
468
00:56:11,640 --> 00:56:15,839
I traveled from Palestine
to North Africa.
469
00:56:19,200 --> 00:56:22,039
I met people fighting
against deforestation,
470
00:56:22,280 --> 00:56:27,159
creating monoculture
or against oil exploitation.
471
00:56:32,120 --> 00:56:35,639
I wanted to go
as far as Guinea-Bisseau.
472
00:56:36,320 --> 00:56:40,759
And there I was hunted down
as a member of the Japanese Red Army.
473
00:56:41,960 --> 00:56:43,319
That's it.
474
00:56:44,040 --> 00:56:46,879
It's all chance.
475
00:56:49,120 --> 00:56:50,919
Chance!
476
00:56:52,756 --> 00:56:54,672
That's life!
477
00:56:59,960 --> 00:57:02,319
That's life,
but life weighs you down.
478
00:57:02,760 --> 00:57:06,879
I wanted to shot the continuation of
Red Army/PFLP: Declaration of World War
479
00:57:09,680 --> 00:57:13,199
via the Polisario Front.
480
00:57:16,600 --> 00:57:18,719
I wanted to shoot
with the African Maoist,
481
00:57:21,320 --> 00:57:23,959
Amilcar Cabral,
482
00:57:24,160 --> 00:57:28,799
called the reincarnation of Frantz Fanon,
for the end of the film.
483
00:57:30,360 --> 00:57:33,279
On the way,
I met a group of Japansese people
484
00:57:33,600 --> 00:57:36,239
who didn't inspire confidence.
485
00:57:39,400 --> 00:57:42,879
I told them to be more involved,
486
00:57:43,440 --> 00:57:45,879
if they were part
of international volunteering.
487
00:57:48,920 --> 00:57:53,639
So they pushed me to participate,
488
00:57:56,840 --> 00:57:59,799
in the formation
of an organization with them.
489
00:57:59,960 --> 00:58:01,879
And they trapped me.
490
00:58:03,640 --> 00:58:09,559
I was prompted due
to their deplorable inability.
491
00:58:09,800 --> 00:58:12,439
I wanted to do my best.
492
00:58:14,720 --> 00:58:17,959
They said to me:
"What are you doing here, man?"
493
00:58:19,200 --> 00:58:25,079
It took us 4 or 5 years
to establish the organization.
494
00:58:26,760 --> 00:58:31,159
Then we embarked
on armed operations,
495
00:58:31,560 --> 00:58:35,919
because the fighters had been arrested
and they had to be liberated.
496
00:58:36,320 --> 00:58:42,159
We hijacked aeroplanes,
occupied embassies.
497
00:58:42,360 --> 00:58:47,439
Time passed in the blink of an eye.
498
00:58:47,880 --> 00:58:50,119
There you go.
499
00:58:52,680 --> 00:58:54,519
How can I put it?
500
00:58:57,000 --> 00:59:00,239
At the time, I was serious.
501
00:59:00,440 --> 00:59:02,959
I was really involved.
I wasn't there for fun.
502
00:59:03,120 --> 00:59:05,879
Those who didn't fight
seriously got captured.
503
00:59:06,040 --> 00:59:09,399
Looking back,
that happened several times.
504
00:59:10,440 --> 00:59:14,599
Of course I thought about going home
and making movies,
505
00:59:14,840 --> 00:59:18,999
but my priority was to improve
the situation before my eyes.
506
00:59:19,680 --> 00:59:22,359
Films can be made anytime,
I could wait.
507
00:59:22,560 --> 00:59:25,239
I considered filming there too.
508
00:59:25,840 --> 00:59:29,239
We shared the tasks between us.
Wakamatsu returned to Japan
509
00:59:29,400 --> 00:59:31,639
to make his films,
and I stayed there.
510
00:59:31,800 --> 00:59:34,479
But he visited me every year.
511
00:59:35,160 --> 00:59:37,199
He came to the front.
512
00:59:38,960 --> 00:59:40,719
When I asked him why he came,
513
00:59:40,920 --> 00:59:44,199
he nicely replied:
"To purify myself!"
514
00:59:45,520 --> 00:59:48,119
I asked him if that was so difficult?
515
00:59:48,360 --> 00:59:52,479
Perhaps he'd done pretty stupids things
but he came to reenergize himself,
516
00:59:52,680 --> 00:59:55,039
in order to make his films in Japan.
517
00:59:57,960 --> 01:00:00,399
Sometimes he came twice a year.
518
01:00:01,640 --> 01:00:07,519
He cursed because he had to chop wood,
a great director such as himself.
519
01:00:08,600 --> 01:00:12,759
We were in the mountains,
520
01:00:13,240 --> 01:00:18,239
and everyone had to cut wood
to make their own bed.
521
01:00:20,400 --> 01:00:21,679
But he got annoyed.
522
01:00:22,120 --> 01:00:23,399
There.
523
01:00:25,320 --> 01:00:29,959
He shouted across the mountain
that he was a great director!
524
01:00:30,920 --> 01:00:32,559
Funny, hey?
525
01:00:33,680 --> 01:00:35,679
I don't know why,
but that's the way it is.
526
01:00:36,880 --> 01:00:38,599
That's life, right?
527
01:02:18,259 --> 01:02:23,108
Yes, it's possible that beauty
has strengthened our resolve.
528
01:02:28,503 --> 01:02:32,115
I'm reminded of Dostoevsky.
529
01:02:32,365 --> 01:02:34,666
"Beauty will save the world."
530
01:03:13,880 --> 01:03:20,759
People liked
the classic screen plays that I wrote.
531
01:03:21,800 --> 01:03:24,759
People said
that they should be made into films...
532
01:03:24,880 --> 01:03:27,599
but they weren't realistic
about the production side.
533
01:03:27,920 --> 01:03:31,799
When you decide to go ahead and direct,
a budget must be found.
534
01:03:35,640 --> 01:03:38,079
The initial project
is often modified.
535
01:03:40,840 --> 01:03:42,839
It's always the same!
536
01:03:43,560 --> 01:03:49,159
I mentioned this the other day.
537
01:03:49,440 --> 01:03:54,479
My next film is about young people
excluded from the society today.
538
01:03:55,320 --> 01:03:58,399
These young people
539
01:03:58,600 --> 01:04:01,959
resemble the Koreans immigrants,
540
01:04:02,040 --> 01:04:04,039
in Japan during the '50s.
541
01:04:04,440 --> 01:04:08,239
In my film, a Korean appears,
542
01:04:08,520 --> 01:04:13,079
armed with a gun and dynamite
and says:
543
01:04:13,680 --> 01:04:17,039
"Why are you doing the same thing
as 50 years ago? Morons!"
544
01:04:17,160 --> 01:04:19,159
This is the film I want to make.
545
01:04:19,920 --> 01:04:23,159
There's a lot of interest
and everyone wants the film to exist.
546
01:04:23,920 --> 01:04:26,199
When they ask who'll direct,
547
01:04:26,400 --> 01:04:28,599
I reply, "Me".
And there, everyone leaves.
548
01:04:29,000 --> 01:04:30,679
The financial backers too.
549
01:04:31,480 --> 01:04:33,279
They say: "Sorry!"
550
01:04:33,520 --> 01:04:35,799
So it's not worth counting
on those people,
551
01:04:36,360 --> 01:04:39,719
we'll manage with what we find.
552
01:04:41,280 --> 01:04:43,399
That's the state of affairs for now!
553
01:04:44,160 --> 01:04:46,999
Is this the film
you're planning to make this year?
554
01:04:52,120 --> 01:04:55,919
I have an idea
for an experiment with solitude.
555
01:04:59,360 --> 01:05:02,759
I give someone a synopsis.
556
01:05:05,240 --> 01:05:08,639
I offer them
a series scripts one by one.
557
01:05:09,160 --> 01:05:10,839
And they're responsible
for directing.
558
01:05:11,200 --> 01:05:13,559
If they don't manage to shoot,
we stop.
559
01:05:13,960 --> 01:05:16,799
We do rehearsals and film them.
560
01:05:18,560 --> 01:05:21,119
And then we shoot the real takes
for the film too.
561
01:05:24,560 --> 01:05:30,159
Cinematically speaking,
no storyline develops.
562
01:05:33,200 --> 01:05:35,479
But I want to try.
563
01:05:37,400 --> 01:05:39,879
That's my idea for now,
564
01:05:40,160 --> 01:05:47,319
but I will have to be rigorously edited
to tighten the style.
565
01:05:47,520 --> 01:05:51,679
Only the essential images
will remain.
566
01:05:52,200 --> 01:05:55,439
Storytelling will no longer
be an issue.
567
01:05:56,680 --> 01:05:58,359
That's my intention.
568
01:06:00,560 --> 01:06:03,959
So we'll need,
569
01:06:04,960 --> 01:06:06,639
three cameras like this one.
570
01:06:10,960 --> 01:06:16,759
I'll ask the actors
to play the scenes.
571
01:06:16,960 --> 01:06:23,679
We'll film everything,
including the times I direct them.
572
01:06:25,360 --> 01:06:29,359
We don't know if it's a feature
or the making of a film.
573
01:06:29,600 --> 01:06:32,079
Godard already tried this.
574
01:06:32,880 --> 01:06:36,639
I'm not attempting
to invent a new form.
575
01:06:37,800 --> 01:06:44,359
I'd like to show the difference
between now and 50 years ago.
576
01:06:44,880 --> 01:06:48,439
And I'd prove
that there's no difference.
577
01:06:51,440 --> 01:06:56,679
If I was to shoot both the rehearsal
and the final take,
578
01:06:58,960 --> 01:07:02,279
I'd show that no difference exists.
579
01:07:04,680 --> 01:07:08,799
So, as soon as the actors
are in place,
580
01:07:09,120 --> 01:07:13,359
we film everything they do.
581
01:07:14,480 --> 01:07:16,399
And then they play the actual scenes.
582
01:07:16,560 --> 01:07:19,519
They must play both sides,
their roles and themselves.
583
01:07:22,080 --> 01:07:25,119
I'd make sure it's not theatrical,
584
01:07:25,400 --> 01:07:28,359
and I'd completely destroy
the film's storyline.
585
01:07:31,560 --> 01:07:34,559
I'll stop here for now,
586
01:07:35,600 --> 01:07:39,279
If I go any further,
I'll isolate myself even more.
587
01:08:45,560 --> 01:08:50,319
How do you feel
about the relationship
588
01:08:51,360 --> 01:08:56,039
between the world of ideas
and the world of sensations?
589
01:08:58,760 --> 01:09:02,559
As I said earlier,
I embrace solitude.
590
01:09:04,880 --> 01:09:08,359
I'd like to unite the two concepts.
591
01:09:08,680 --> 01:09:12,039
I want to film
592
01:09:12,160 --> 01:09:15,079
and I want to play
all the parts myself,
593
01:09:15,880 --> 01:09:20,199
but it's impossible
to play 5 or 6 characters at once.
594
01:09:20,720 --> 01:09:25,399
I've asked myself a hundred times.
How to do it?
595
01:09:26,800 --> 01:09:29,079
Harmonizing the discrepancy
between the two,
596
01:09:29,280 --> 01:09:32,999
would require rehearsing
the same scene for 1 or 2 years.
597
01:09:35,840 --> 01:09:38,479
Films are made of these dislocations,
598
01:09:39,600 --> 01:09:47,039
between feelings and ideas and,
all that is missing.
599
01:09:47,320 --> 01:09:51,479
By the way, I'll do anything
so that nothing's missing.
600
01:09:51,800 --> 01:09:55,159
But if I don't do that, I get further
and further away from sensations,
601
01:09:55,360 --> 01:09:58,319
and remain in the world of ideas.
602
01:09:58,600 --> 01:10:00,839
If that happens, I stop.
603
01:10:03,600 --> 01:10:06,319
Philippe is the same,
604
01:10:06,480 --> 01:10:10,319
he has to do with what he has shot.
605
01:10:10,920 --> 01:10:13,759
The film must be returned
to the world of sensations.
606
01:10:14,040 --> 01:10:16,799
Since we filmed with our sensations,
607
01:10:17,000 --> 01:10:23,639
we must finish the film with sensations
and not as a prisoner of our ideas.
608
01:10:50,120 --> 01:10:51,799
To go on,
609
01:10:52,400 --> 01:10:54,879
a sensation is something that flows,
610
01:10:55,520 --> 01:10:57,639
it's very fluid,
611
01:10:58,640 --> 01:11:03,919
while ideas
are fragments of thoughts.
612
01:11:06,280 --> 01:11:09,439
This goes back to
what I said earlier on the cinema.
613
01:11:09,640 --> 01:11:17,759
Actually, what are filmed
are just fragments of thoughts.
614
01:11:19,320 --> 01:11:25,959
The film is only visible once
it is returned to the world of sensations.
615
01:11:27,600 --> 01:11:30,679
It's a question
I would like to pursue,
616
01:11:31,640 --> 01:11:35,079
and it provokes in me
the desire to experiment.
617
01:11:49,840 --> 01:11:52,039
That's it, Philippe.
618
01:11:55,172 --> 01:11:57,185
We're done.
619
01:12:00,240 --> 01:12:04,239
I think that's the essence of cinema.
620
01:12:12,480 --> 01:12:14,759
Can you explain
to Philippe afterwards?
621
01:12:14,960 --> 01:12:17,999
The world of ideas
is made up of fragments of thought.
622
01:12:18,280 --> 01:12:24,359
The world of sensations is linked to that of ideas
and we just need to return to the world of sensations.
623
01:12:24,520 --> 01:12:27,639
I say this because I think
that Philippe does the same.
624
01:12:28,440 --> 01:12:30,119
To return to the sensation?
46458
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