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I made myself among these rocks,
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I formed my personality here,
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I discovered my love,
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I painted my work,
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I constructed my home.
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I cannot separate myself
from this sky, this sea,
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these rocks, I am bound
forever to Port Lligat,
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where I have defined all my
most sincere truths and my roots.
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We are in front of the
house at Port Lligat Bay,
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the only home Dalí ever had,
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and this is important because the whole house
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can be thought of as a workshop.
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It was a vital place for him.
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He needed to soak up the landscape.
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And this house represented the intimate Dalí,
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the Dalí who could concentrate,
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who could create, and above all else,
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it is the one place in the world
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where he decided to create a house to live in
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and a studio in which to paint.
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Dalí's relationship with
Cadaqués began early.
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His father, the notary, who was born there,
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had a house on the Es Llaner beach.
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Dalí spent his holidays there
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and had very fond memories of it,
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since he associated the village
with the summer and free time,
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far from his school studies,
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it was a time he could devote to painting.
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In his childhood diaries,
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Dalí, during the winter in Figueres,
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often recalled Cadaqués wistfully.
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I spent a delicious summer, as always,
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in the ideal and dreamy village of Cadaqués.
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There, beside the Latin sea,
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I gorged myself on light and color.
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I spent the torrid days of
summer painting frenetically
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and striving to capture
the incomparable beauty
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of the sea and the sundrenched beach.
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For Dalí, Cadaqués was light,
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freedom, color, Impressionism.
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And then Figueres was more functional,
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the place where he went to school,
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which he didn't like.
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Salvador, who doesn't take
holidays as other children do,
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works constantly, and thus makes
the most of our summers in Cadaqués.
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00:04:14,208 --> 00:04:17,791
Many days, by sunrise he
is all ready to start painting.
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On other days he spends
hours and hours in the studio,
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from the break of dawn until sunset.
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His sister Anna Maria Dalí,
four years younger than him,
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was fascinated by her talented brother,
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for whom she posed as a model
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and for whom she felt a
great affection and closeness.
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When he painted me, I
was always near a window,
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and so my eyes had time
to fix on the smallest details
55
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...the way Salvador's retinae
captured the atmosphere of the village,
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the luminosity that filtered into his body,
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and then flowed from his
fingers, which handled the brushes.
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It's a process I have always marveled at
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because it is the process
that creates the work of art.
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At home, it would take place very often
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with the greatest simplicity and naturalness.
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I was going out with my
brushes and my canvases,
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painting the coast, and
one day I discovered a hut.
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From then on, I saved myself the trouble
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of carrying my materials back and forth.
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This hut was in a little
bay, known as Port Lligat,
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fifteen minutes walk from Cadaqués,
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on the other side of the cemetery.
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From this moment on,
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Dalí intensely explored this new landscape,
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a setting from which he
would never separate himself.
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He even declared on at least one occasion
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that he himself was Cap De Creus.
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The identification was and is total.
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So much so that Dalí's
work cannot be understood
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without having visited this landscape.
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Port Lligat is one of the most arid,
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mineral and planetary places on Earth.
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And in this modesty of nature,
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I discerned the very principle of irony.
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00:06:01,791 --> 00:06:05,083
Observing how the forms of
those motionless rocks moved,
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I meditated on my own rocks,
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those of my thoughts.
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In the Bay of Port Lligat,
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there are some huts by the sea.
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These are ramshackle constructions,
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in which the fishermen kept their tools.
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One of these huts belonged
to a fisherman's widow...
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Lídia Noguer.
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The friendship between the young Dalí
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and Lídia continued until her death.
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And she would come to play a fundamental role
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in one of the most difficult
moments in the artist's life.
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In fact, Dalí felt a great
fascination for Lídia,
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to the extent of declaring
that "Lídia possesses
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"the most magnificent paranoiac brain,
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aside from my own, that
I have ever encountered."
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00:06:59,666 --> 00:07:02,417
Young Dalí must have
been fascinated by Lídia,
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00:07:02,500 --> 00:07:04,291
who told stories to all the children...
100
00:07:04,375 --> 00:07:06,749
stories that she quite often
took out of the newspapers
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00:07:06,833 --> 00:07:09,083
she used to wrap the fish in she sold.
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Lídia's madness is a moist, soft madness,
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full of seagulls and lobsters,
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it is a plastic madness.
105
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Don Quijote rides through the air
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and Lídia through the
air of the Mediterranean.
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How wonderful Cadaqués is!
108
00:07:22,500 --> 00:07:24,874
And how wonderful it is to draw a parallel
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00:07:24,957 --> 00:07:27,874
between Lídia and the last knight-errant.
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During Dalí's early years,
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the landscape, his family,
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00:07:36,125 --> 00:07:38,916
and he himself were the focus of his work,
113
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which swung back and forth
between tradition and avant garde.
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00:07:43,125 --> 00:07:47,207
For Dalí, his creative work was
also a means of experimentation,
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which allowed him to open up
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and to discover the latest tendencies in art.
117
00:07:51,916 --> 00:07:55,082
This experimentation led him to Surrealism,
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a movement of which he became
one of the outstanding figures.
119
00:08:00,291 --> 00:08:03,749
And this painting is a
reflection of this new line,
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00:08:03,833 --> 00:08:06,500
of amputated bodies, severed hands,
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00:08:06,582 --> 00:08:08,708
arteries, veins.
122
00:08:08,791 --> 00:08:13,791
Now time painted in an almost
hyperrealist manner, isn't it?
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00:08:15,291 --> 00:08:17,250
And he feels the need to move on.
124
00:08:17,332 --> 00:08:21,125
He feels rather trapped in
the classical approach to art.
125
00:08:21,207 --> 00:08:23,916
My brother went to Paris with Luís Buñuel
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00:08:23,999 --> 00:08:25,874
to make the film "Un Chien Andalou,"
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and there he made contact
with various members
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of the Surrealist group, who
visited Cadaqués that summer.
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00:08:31,332 --> 00:08:34,125
It was the summer of '29.
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00:08:34,207 --> 00:08:36,290
He lost the spiritual
peace and the well-being
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00:08:36,375 --> 00:08:39,165
that his work had reflected up until then.
132
00:08:39,250 --> 00:08:42,417
The paintings he was making
were horribly hallucinatory.
133
00:08:42,500 --> 00:08:45,665
What he sculpted on his
canvases were authentic nightmares,
134
00:08:45,749 --> 00:08:47,915
and those disturbing figures that seemed
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to want to explain something
inexplicable were a torture.
136
00:08:51,458 --> 00:08:54,458
Lugubrious Game is the
most representative example
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of the paintings of that period
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and the one that most clearly reflects
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00:08:58,458 --> 00:09:00,417
the change in spirit he had undergone.
140
00:09:02,083 --> 00:09:05,083
But it seems to me, there
were mixed emotions here.
141
00:09:05,166 --> 00:09:09,083
It wasn't just Surrealism
that Anna Maria didn't like.
142
00:09:09,166 --> 00:09:11,708
It's rather a familial vision,
143
00:09:11,791 --> 00:09:15,250
but it's where Dalí set about
finding a style of his own
144
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and was able to affirm himself
with a specific current, isn't it?
145
00:09:19,666 --> 00:09:22,458
Miró introduced him to Paris society
146
00:09:22,541 --> 00:09:26,541
and, most important, he made
his first contact with the Surrealists,
147
00:09:26,624 --> 00:09:30,375
among them, Paul Eluard
and the Viscount Noailles,
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who were to become Dalí's patrons
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and would have a major role in
financing the house in Port Lligat.
150
00:09:40,665 --> 00:09:44,708
1929 was a decisive year in Dalí's life.
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He met Gala, who was to
be his partner and muse.
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Dalí spent the summer in Cadaqués,
153
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where he was visited by the gallerist
owner Goemans and his partner,
154
00:09:54,999 --> 00:09:57,749
and also Luís Buñuel, René Magritte,
155
00:09:57,833 --> 00:10:00,417
and Paul Eluard and his wife Gala,
156
00:10:00,500 --> 00:10:02,333
with their daughter Cécile.
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Thus, in four days,
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I found myself surrounded
for the first time by Surrealists,
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who were drawn there above all
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by the remarkable personality
they discovered in me
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because Cadaqués could offer
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none of the indispensable
amenities of a leisure resort
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if you didn't have a house of your own there.
164
00:10:19,958 --> 00:10:21,916
And then Dalí dramatized this gathering.
165
00:10:21,999 --> 00:10:23,874
It was very important to him.
166
00:10:23,958 --> 00:10:27,083
It represented everything he
was looking for at that moment,
167
00:10:27,166 --> 00:10:30,083
and, as he recounts in fantastical
fashion in his autobiography,
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he fell madly in love with Gala
and was eager to impress her.
169
00:11:24,291 --> 00:11:27,208
When the group returned
to Paris in September,
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Gala stayed on for a few weeks in Cadaqués,
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and from that moment on she
was always at the painter's side.
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She said to me, "My boy,
we shall never separate."
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She was destined to be my Godiva,
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she who advances,
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my victory, my wife.
176
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But for this to happen, she had to heal me,
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and she healed me.
178
00:11:50,250 --> 00:11:53,125
The morality of the Dalí house
was far more conventional.
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00:11:53,208 --> 00:11:55,749
And so it was, quite clearly, a revolution,
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a revolution in the family home,
181
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which was difficult to swallow.
182
00:12:00,624 --> 00:12:03,417
They were able to accept it, in
due course, but not immediately.
183
00:12:05,291 --> 00:12:07,490
And Dalí found that while his
sister struggled to understand
184
00:12:07,500 --> 00:12:10,916
the painting "Lugubrious Game," for
example, Gala readily understood it.
185
00:12:10,999 --> 00:12:13,041
That summer was all it took
186
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to bring about in Salvador the change
187
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that distanced him from his friends,
188
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from us and even from himself.
189
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The river of his life, so well channeled,
190
00:12:22,791 --> 00:12:26,749
was diverted by the pressure
from those complicated beings,
191
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who were unable to understand anything
192
00:12:28,666 --> 00:12:31,125
of the classic landscape of Cadaqués.
193
00:12:31,208 --> 00:12:33,375
My father was seriously concerned.
194
00:12:33,458 --> 00:12:35,250
He tugged at his white hair,
195
00:12:35,333 --> 00:12:37,915
a sign that something
was troubling him greatly,
196
00:12:37,999 --> 00:12:40,582
and his usual smiling, optimistic face
197
00:12:40,665 --> 00:12:42,417
betrayed a fear of some tragic event.
198
00:12:48,125 --> 00:12:49,874
Dalí's relationship with Gala,
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begun that summer,
200
00:12:51,500 --> 00:12:54,125
prompted his father, the
notary, to change his will,
201
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and practically disinherited his son.
202
00:12:57,165 --> 00:13:00,375
The situation was made worse
by the painting Dalí exhibited
203
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at the Goemans gallery in Paris
204
00:13:02,666 --> 00:13:05,958
an image of the Sacred
Heart, on which Dalí had written,
205
00:13:06,041 --> 00:13:09,541
"Sometimes I spit with pleasure
on the portrait of my mother,"
206
00:13:09,624 --> 00:13:12,458
which caused the family a lot of unhappiness.
207
00:13:12,541 --> 00:13:14,417
The fact that our subconscious impulses
208
00:13:14,500 --> 00:13:17,458
are often felt as extremely
cruel to our conscious mind
209
00:13:17,541 --> 00:13:20,375
is yet another reason for
not failing to manifest them
210
00:13:20,458 --> 00:13:22,166
when they are the friends of truth.
211
00:13:22,250 --> 00:13:25,833
The greater part of these
manifestations were perfectly unjust.
212
00:13:25,916 --> 00:13:27,458
But what I was trying to do
213
00:13:27,541 --> 00:13:30,417
was to affirm my will to
power and to prove myself
214
00:13:30,500 --> 00:13:32,874
that I was still inaccessible to remorse.
215
00:13:34,665 --> 00:13:37,208
I think it was part of this
process we have talked about,
216
00:13:37,290 --> 00:13:40,417
of transformation, of a radical break,
217
00:13:40,500 --> 00:13:43,125
and that it was a declaration to that effect.
218
00:13:43,208 --> 00:13:45,874
What happened is that it was interpreted
219
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as a particular moment
and taken very literally,
220
00:13:48,624 --> 00:13:50,958
in any case, it was a provocation
221
00:13:51,040 --> 00:13:52,915
and he knew that, didn't he?
222
00:13:52,999 --> 00:13:56,708
His father let him go to
Cadaqués with Luís Buñuel
223
00:13:56,790 --> 00:13:59,749
because he thought a
period of rest and separation
224
00:13:59,833 --> 00:14:02,291
would help him rediscover his true self
225
00:14:02,375 --> 00:14:06,417
and his love of everything
he had loved up until then.
226
00:14:06,500 --> 00:14:08,624
But his father's plan failed.
227
00:14:08,708 --> 00:14:12,874
The young Dalí was more and more
caught up in the Surrealist movement,
228
00:14:12,958 --> 00:14:15,500
in which he had found a
new means of expression
229
00:14:15,582 --> 00:14:17,250
through the subconscious,
230
00:14:17,333 --> 00:14:22,208
which revealed a whole world
hidden by the conscious mind.
231
00:14:22,291 --> 00:14:25,500
A few days later, I received
a letter from my father
232
00:14:25,582 --> 00:14:29,916
informing me that he had banished
me irrevocably from the family.
233
00:14:29,999 --> 00:14:31,624
When I received this letter,
234
00:14:31,708 --> 00:14:34,624
my first reaction was to cut off my hair.
235
00:14:34,708 --> 00:14:36,250
But I went even further,
236
00:14:36,333 --> 00:14:38,250
I shaved my whole head.
237
00:14:38,333 --> 00:14:40,375
I went to bury my hair, so black,
238
00:14:40,458 --> 00:14:43,040
in a hole I dug in the
beach for this purpose.
239
00:14:43,125 --> 00:14:45,582
And where I also buried the pile of shells
240
00:14:45,665 --> 00:14:49,250
of the sea urchins I had eaten at midday.
241
00:14:49,333 --> 00:14:51,915
After that, I climbed a small hill
242
00:14:51,999 --> 00:14:53,624
that overlooks the village of Cadaqués.
243
00:14:53,708 --> 00:14:56,333
And there, sitting under the olive trees,
244
00:14:56,417 --> 00:14:58,375
I spent two interminable hours
245
00:14:58,458 --> 00:15:00,155
contemplating the panorama of my childhood,
246
00:15:00,165 --> 00:15:04,417
my adolescence and my present.
247
00:15:04,500 --> 00:15:07,791
The artist's father found
out about his son's intention
248
00:15:07,874 --> 00:15:09,417
of returning to Cadaqués.
249
00:15:09,500 --> 00:15:12,375
Furious, he tried in every way possible
250
00:15:12,458 --> 00:15:14,916
to keep Dalí and Gala out of Cadaqués.
251
00:15:14,999 --> 00:15:17,166
A good example of this is the letter
252
00:15:17,250 --> 00:15:20,417
Dalí's father sent to Luís Buñuel in Paris.
253
00:15:20,500 --> 00:15:22,874
If you still maintain your
friendship with my son,
254
00:15:22,958 --> 00:15:24,500
you could do me a favor.
255
00:15:24,582 --> 00:15:27,708
I do not write to him as I
am ignorant of his address.
256
00:15:27,791 --> 00:15:29,624
He left yesterday evening for Paris,
257
00:15:29,708 --> 00:15:32,166
where I believe he will
remain for eight days.
258
00:15:32,250 --> 00:15:33,958
You will know where madame resides,
259
00:15:34,040 --> 00:15:36,155
and could advise my son not
to seek to return to Cadaqués,
260
00:15:36,165 --> 00:15:39,915
for the simple reason that he will
not be able to stay in that village
261
00:15:39,999 --> 00:15:41,582
for even two or three hours.
262
00:15:41,665 --> 00:15:43,958
Then things will become
so complicated for him
263
00:15:44,040 --> 00:15:46,250
that he will be unable to return to France.
264
00:15:46,333 --> 00:15:48,790
...Should this measure fail,
I will resort to every means
265
00:15:48,874 --> 00:15:51,915
at my disposal, including
assault on his person.
266
00:15:51,999 --> 00:15:54,417
My son will not go to Cadaqués,
267
00:15:54,500 --> 00:15:57,250
he should not go, he cannot go.
268
00:15:57,333 --> 00:15:59,749
Dalí's father learned of his intention
269
00:15:59,833 --> 00:16:02,791
of buying a house in or near Cadaqués.
270
00:16:02,874 --> 00:16:05,916
Dalí wanted to buy the fisherman's
hut owned by Lídia Noguer,
271
00:16:05,999 --> 00:16:08,250
which he was using as a storeroom and studio.
272
00:16:08,333 --> 00:16:10,916
His father did all he could to prevent this,
273
00:16:10,999 --> 00:16:15,500
but Lídia, who felt a great affection
for the young Dalí, took no notice.
274
00:16:15,582 --> 00:16:18,250
With the money he gained
from selling his painting
275
00:16:18,333 --> 00:16:21,417
"The Old Age of William
Tell" to the viscount of Noailles,
276
00:16:21,500 --> 00:16:23,140
Dalí was able to buy the fisherman's hut.
277
00:16:24,582 --> 00:16:26,417
It was Dalí's triumph, that is to say,
278
00:16:26,500 --> 00:16:29,041
he couldn't come to Cadaqués,
he couldn't have a house,
279
00:16:29,125 --> 00:16:31,250
but he had a house there,
and at the very moment
280
00:16:31,333 --> 00:16:32,915
that his father told him he couldn't.
281
00:16:32,999 --> 00:16:36,458
So it's also a symbol of
Dalí's triumph once again.
282
00:16:36,540 --> 00:16:38,915
I spent the whole evening
looking at the check
283
00:16:38,999 --> 00:16:41,083
and for the first time I began to suspect
284
00:16:41,165 --> 00:16:43,665
that money was a very important thing...
285
00:16:43,749 --> 00:16:46,749
With that and Gala's money
we would go to Cadaqués
286
00:16:46,833 --> 00:16:49,582
and build a house large
enough for the two of us.
287
00:16:49,665 --> 00:16:51,250
This would allow us to work
288
00:16:51,333 --> 00:16:53,582
and get away to Paris from time to time.
289
00:16:53,665 --> 00:16:56,708
The only landscape that
I like is that of Cadaqués
290
00:16:56,790 --> 00:16:58,582
and I didn't want to look at any other.
291
00:17:32,666 --> 00:17:34,541
[Spanish to English
292
00:17:34,624 --> 00:17:38,250
So, this was the first
hut, the one Lídia bought,
293
00:17:38,333 --> 00:17:41,208
a very small hut of 22 square meters,
294
00:17:41,291 --> 00:17:43,541
and this is where they made their life.
295
00:17:43,624 --> 00:17:47,041
A really confined space,
which they used for everything.
296
00:17:48,624 --> 00:17:52,458
And what he did was to
reinvent the hut for himself,
297
00:17:52,541 --> 00:17:56,083
to make it into a 22-square meter house,
298
00:17:56,166 --> 00:17:57,791
which amounts to a bedroom,
299
00:17:57,874 --> 00:18:00,041
a living room, a studio,
300
00:18:00,125 --> 00:18:02,417
and a small service space,
301
00:18:02,500 --> 00:18:04,083
which would be the one upstairs
302
00:18:04,166 --> 00:18:06,541
where there was a shower,
kitchen and bathroom,
303
00:18:06,624 --> 00:18:07,749
and that was all.
304
00:18:41,500 --> 00:18:43,874
It was necessary to walk very carefully,
305
00:18:43,958 --> 00:18:45,916
almost sideways, between things,
306
00:18:45,999 --> 00:18:48,208
because it was an extremely small space.
307
00:18:48,291 --> 00:18:49,624
I wanted it to be small.
308
00:18:49,708 --> 00:18:51,916
The smaller, the more intrauterine.
309
00:18:51,999 --> 00:18:54,000
Not being in a position to carry out
310
00:18:54,083 --> 00:18:56,166
any of my delirious decorative ideas,
311
00:18:56,250 --> 00:18:59,291
I just wanted the exact
proportions required for the two of us
312
00:18:59,375 --> 00:19:00,916
and only the two of us.
313
00:19:02,291 --> 00:19:04,833
But as an artist's studio it didn't work.
314
00:19:04,916 --> 00:19:06,791
So Dalí did the whole conversion
315
00:19:06,874 --> 00:19:09,708
to transform it into his
first studio at Port Lligat.
316
00:19:11,500 --> 00:19:13,250
And there was no electricity,
317
00:19:13,333 --> 00:19:16,417
there was no water. It was, he said,
318
00:19:16,500 --> 00:19:18,582
an aesthetic life.
319
00:19:18,666 --> 00:19:20,749
"Here I learned to hone myself down
320
00:19:20,833 --> 00:19:24,083
and live with the bare necessities."
321
00:19:24,166 --> 00:19:26,541
It was here in Port Lligat
322
00:19:26,624 --> 00:19:28,624
that I learned to impoverish myself,
323
00:19:28,708 --> 00:19:30,749
to limit and hone my thinking
324
00:19:30,833 --> 00:19:32,156
so it would be as efficient as an axe,
325
00:19:32,166 --> 00:19:35,041
where blood tasted like blood
326
00:19:35,125 --> 00:19:37,083
and honey tasted like honey.
327
00:19:37,166 --> 00:19:40,083
A life that was hard,
without metaphor or wine,
328
00:19:40,166 --> 00:19:41,916
a life with the light of eternity
329
00:19:42,000 --> 00:19:43,250
The idle chip chap of Paris,
330
00:19:43,333 --> 00:19:47,041
the lights of the city and of
the jewels of "Rue de la Paix"
331
00:19:47,125 --> 00:19:48,874
could not resist this other light,
332
00:19:48,958 --> 00:19:50,083
total, age-old, poor,
333
00:19:50,166 --> 00:19:54,458
as serene and intrepid as
the concise brow of Minerva.
334
00:19:56,833 --> 00:19:58,874
And then, of course, a month later
335
00:19:58,958 --> 00:20:01,083
he was able to buy this second hut
336
00:20:01,166 --> 00:20:02,708
and he made this opening,
337
00:20:02,791 --> 00:20:06,375
and at once he had more space and more light.
338
00:20:14,958 --> 00:20:17,874
So now we're in what would
become the dining room,
339
00:20:17,958 --> 00:20:20,708
but was initially the second studio,
340
00:20:20,791 --> 00:20:24,624
the second cell of this
cellular growth of the house.
341
00:20:24,708 --> 00:20:26,874
What did he do with this space?
342
00:20:26,958 --> 00:20:30,125
His aim was to turn it into a
space to work and paint in.
343
00:20:30,208 --> 00:20:32,166
So what he needed, first and foremost,
344
00:20:32,250 --> 00:20:34,041
was to let light in,
345
00:20:34,125 --> 00:20:35,958
and what did he do to let light in?
346
00:20:36,041 --> 00:20:39,375
Well, basically, make a window to
let in overhead light from the north,
347
00:20:39,458 --> 00:20:41,250
which was very important to him,
348
00:20:41,333 --> 00:20:44,582
and convert what was a little
window in a little fisherman's hut
349
00:20:44,666 --> 00:20:46,916
into a splendid panoramic window,
350
00:20:46,999 --> 00:20:49,958
which let the landscape into his house.
351
00:20:50,041 --> 00:20:53,041
Six years had gone by since the family rift,
352
00:20:53,125 --> 00:20:57,041
and Salvador Dalí hadn't
seen his father since 1929.
353
00:20:57,125 --> 00:20:59,624
During that time he had worked tirelessly,
354
00:20:59,708 --> 00:21:03,541
while moving between Paris, New
York, and the house in Port Lligat.
355
00:21:03,624 --> 00:21:08,208
He was combining Paris with
occasional trips to New York,
356
00:21:08,291 --> 00:21:10,541
and he set himself apart in Paris.
357
00:21:10,624 --> 00:21:13,417
He had two very important
individual exhibitions.
358
00:21:13,500 --> 00:21:17,582
He was acquiring ever-greater
importance within the Surrealist group,
359
00:21:17,666 --> 00:21:19,156
and at the same time,
getting to know Americans
360
00:21:19,166 --> 00:21:22,958
who would open doors
for him in the United States,
361
00:21:23,041 --> 00:21:25,417
which was to be a new phase for him,
362
00:21:25,500 --> 00:21:27,582
and he combined this house in Port Lligat
363
00:21:27,666 --> 00:21:30,749
with two outstanding
centers of art, one being Paris,
364
00:21:30,833 --> 00:21:33,125
and the other, the future, New York.
365
00:21:37,958 --> 00:21:40,083
At the very beginning of the two huts,
366
00:21:40,166 --> 00:21:41,916
the upper one was a terrace,
367
00:21:41,999 --> 00:21:43,916
a terrace which must have been splendid
368
00:21:43,999 --> 00:21:45,833
from the pictures we have of it.
369
00:21:46,958 --> 00:21:49,041
Here we see Gala and Dalí
370
00:21:49,125 --> 00:21:50,749
and the friends who came to visit them,
371
00:21:50,833 --> 00:21:54,208
with a sunshade, the
terrace furniture, etc...
372
00:21:54,291 --> 00:21:55,874
What happened is, in due course,
373
00:21:55,958 --> 00:21:58,708
these two terraces ended
up becoming a new studio
374
00:21:58,791 --> 00:22:01,375
and a new living space.
375
00:22:01,458 --> 00:22:03,999
His relationship with Gala was stable
376
00:22:04,083 --> 00:22:05,791
and they formed a tandem,
377
00:22:05,874 --> 00:22:09,458
strengthened by the ever-increasing
number of commissions.
378
00:22:09,541 --> 00:22:12,417
The time had come to close old wounds.
379
00:22:12,500 --> 00:22:14,791
On March 3rd, 1935,
380
00:22:14,874 --> 00:22:19,125
the meeting and reconciliation
with his family took place.
381
00:22:19,208 --> 00:22:20,749
That same year,
382
00:22:20,833 --> 00:22:23,417
the Dalís considered
extending their home again,
383
00:22:23,500 --> 00:22:26,250
and they contacted Emili Puignau,
384
00:22:26,333 --> 00:22:28,624
the man who was to
take charge of all the work
385
00:22:28,708 --> 00:22:30,916
that would be done on the house.
386
00:22:32,500 --> 00:22:33,250
And he always knew how to get it done,
387
00:22:33,333 --> 00:22:36,125
however difficult it may have been,
388
00:22:36,208 --> 00:22:38,582
and he explains in his book that at times
389
00:22:38,666 --> 00:22:42,083
it was very difficult to achieve
what Dalí was asking for,
390
00:22:42,166 --> 00:22:44,749
but nevertheless he did his
utmost and the house took shape,
391
00:22:44,833 --> 00:22:47,749
because Dalí was the architect on this house.
392
00:22:47,833 --> 00:22:50,624
He designed it, it was in his head,
393
00:22:50,708 --> 00:22:54,083
he even had them cut back
the rock to make this fireplace,
394
00:22:54,166 --> 00:22:57,708
which he sketched, and
which became a constant.
395
00:22:57,791 --> 00:22:59,916
He sketched many of the fireplaces,
396
00:22:59,999 --> 00:23:03,375
not only here, but later for Púbol too.
397
00:23:03,458 --> 00:23:06,582
The painter's interest in
the house was aesthetic...
398
00:23:06,666 --> 00:23:11,083
for example, that the roofs should form
a series of steps leading down to the sea.
399
00:23:11,166 --> 00:23:14,083
Dalí was always in a
hurry to get things done,
400
00:23:14,166 --> 00:23:16,375
so when he was asked
when he wanted something for,
401
00:23:16,458 --> 00:23:18,417
he would answer, "Yesterday."
402
00:23:18,500 --> 00:23:20,916
So it didn't take us long to
do the bodies of the buildings.
403
00:23:20,999 --> 00:23:22,916
That was in the autumn of '35
404
00:23:22,999 --> 00:23:25,083
and they had to be finished
for the coming summer.
405
00:23:25,166 --> 00:23:26,749
The construction was completed,
406
00:23:26,833 --> 00:23:30,250
apart from some details, in July of 1936.
407
00:23:30,333 --> 00:23:32,624
A fateful date, coinciding as it did
408
00:23:32,708 --> 00:23:35,041
with the outbreak of the Spanish Civil War.
409
00:23:42,874 --> 00:23:44,749
The peaceful, contemplative life
410
00:23:44,833 --> 00:23:47,041
Dalí and Gala led in Port Lligat
411
00:23:47,125 --> 00:23:49,083
was cut short by the
imminent Spanish Civil War
412
00:23:49,166 --> 00:23:51,458
that divided the country
413
00:23:51,541 --> 00:23:54,375
and plunged it into misery and uncertainty,
414
00:23:54,458 --> 00:23:58,083
an uncertainty which the
Dalís had sensed for some time,
415
00:23:58,166 --> 00:24:01,333
especially Gala, who went
through the Russian Revolution.
416
00:24:03,291 --> 00:24:04,958
The Civil War had begun!
417
00:24:05,041 --> 00:24:07,208
I knew it, I was certain of it.
418
00:24:07,291 --> 00:24:08,582
I had predicted it!
419
00:24:08,666 --> 00:24:10,458
And Spain, with another war,
420
00:24:10,541 --> 00:24:12,708
was to be the first country called to resolve
421
00:24:12,791 --> 00:24:14,958
with the stark reality of violence and blood
422
00:24:15,041 --> 00:24:19,624
all of the insoluble ideological
dramas of post-war Europe,
423
00:24:19,708 --> 00:24:22,417
all of the aesthetic anxiety of the isms
424
00:24:22,500 --> 00:24:24,417
polarized in two words,
425
00:24:24,500 --> 00:24:27,417
revolution and tradition.
426
00:24:30,041 --> 00:24:32,208
When I went to Port Lligat the next day,
427
00:24:32,291 --> 00:24:34,916
the Dalís told me they
were alarmed and uneasy.
428
00:24:34,999 --> 00:24:37,916
I tried to reassure them,
saying that nothing could happen,
429
00:24:37,999 --> 00:24:40,582
but they at once said
that they weren't so sure.
430
00:24:40,666 --> 00:24:41,916
Gala said to me
431
00:24:41,999 --> 00:24:44,250
"Mon petit, we cannot take any risks."
432
00:24:44,333 --> 00:24:48,250
Who could have known then that it
would be 12 years before I saw them again
433
00:24:48,333 --> 00:24:52,749
and before they could live in the
house that meant so much to them?
434
00:24:52,833 --> 00:24:55,791
During the years of the Spanish Civil War,
435
00:24:55,874 --> 00:24:59,083
the Dalís moved from place
to place around Europe,
436
00:24:59,166 --> 00:25:01,417
waiting for their return to Port Lligat.
437
00:25:01,500 --> 00:25:03,375
They were mostly in Italy and France,
438
00:25:03,458 --> 00:25:06,582
interspersed with sporadic
trips to the United States,
439
00:25:06,666 --> 00:25:10,083
where Dalí had begun to
take his place in the public eye
440
00:25:10,166 --> 00:25:11,083
and where he saw the opportunity
441
00:25:11,166 --> 00:25:14,582
to make his fortune through his work.
442
00:25:24,624 --> 00:25:27,916
In fact, we can say that
Dalí hardly saw Port Lligat
443
00:25:27,999 --> 00:25:32,417
from 1936 until 1948... a long time.
444
00:25:32,500 --> 00:25:34,749
The reasons for this were the Civil War,
445
00:25:34,833 --> 00:25:36,791
which kept him from returning to his country,
446
00:25:36,874 --> 00:25:38,582
and then the Second World War,
447
00:25:38,666 --> 00:25:41,375
which he spent in the United States.
448
00:25:48,375 --> 00:25:51,458
I could feel the rise of
the blind forces of fury,
449
00:25:51,541 --> 00:25:55,083
of destruction and death
that would dislocate Europe.
450
00:25:55,166 --> 00:25:57,916
When three days later,
war was officially declared,
451
00:25:57,999 --> 00:25:59,291
Gala, always alert,
452
00:25:59,375 --> 00:26:01,582
immediately thought of our escape.
453
00:26:01,666 --> 00:26:03,083
Gala left for Lisbon in 1940
454
00:26:03,166 --> 00:26:07,250
and waited for Dalí to
join her a few days later
455
00:26:07,333 --> 00:26:10,582
to make the definitive
move to the United States.
456
00:26:10,666 --> 00:26:13,582
Before leaving, Dalí visited his family,
457
00:26:13,666 --> 00:26:15,156
who had suffered the consequences of the war.
458
00:26:15,166 --> 00:26:20,749
He traveled for 24 hours to get
to his father's house in Cadaqués.
459
00:26:20,833 --> 00:26:23,582
I had to pass through 10 villages in ruins,
460
00:26:23,666 --> 00:26:25,250
their walls, like ghosts,
461
00:26:25,333 --> 00:26:27,041
were silhouetted in the moonlight
462
00:26:27,125 --> 00:26:29,541
like Goya's drawings
of the horrors of battle,
463
00:26:29,624 --> 00:26:32,083
and my heart shrank in
traversing that labyrinth
464
00:26:32,166 --> 00:26:34,250
of the miseries of war.
465
00:26:34,333 --> 00:26:37,083
In people's memory, the wounds
of martyrdom had not yet healed,
466
00:26:37,166 --> 00:26:41,916
and my coming there at that
time was met with mistrust.
467
00:26:41,999 --> 00:26:45,083
"Papa!" "Who's there? What do you want?"
468
00:26:45,166 --> 00:26:47,291
"It's me." "Who?"
469
00:26:47,375 --> 00:26:50,791
"Me, Salvador Dalí, your son."
470
00:26:50,874 --> 00:26:52,624
So I knocked on my father's door,
471
00:26:52,708 --> 00:26:55,624
in Cadaqués, at two o'clock in the morning.
472
00:26:55,708 --> 00:26:58,958
I embraced my family. They gave me anchovies,
473
00:26:59,041 --> 00:27:01,541
sausages, and tomatoes
dressed with olive oil.
474
00:27:01,624 --> 00:27:04,083
I chewed the food, astonished and terrified!
475
00:27:04,166 --> 00:27:07,916
The morning following my return to Cadaqués.
476
00:27:07,999 --> 00:27:11,541
I hugged the heroic Lídia,
who had survived everything.
477
00:27:11,624 --> 00:27:14,250
I went with her to visit
our house in Port Lligat.
478
00:27:14,333 --> 00:27:16,791
I opened the door of my home.
479
00:27:16,874 --> 00:27:18,250
Everything was gone.
480
00:27:18,333 --> 00:27:20,624
There was nothing left of my library,
481
00:27:20,708 --> 00:27:22,250
absolutely nothing...
482
00:27:22,333 --> 00:27:24,582
only walls covered with obscene drawings
483
00:27:24,666 --> 00:27:27,083
and conflicting political emblems.
484
00:27:27,166 --> 00:27:29,250
I pushed aside the waste with my foot
485
00:27:29,333 --> 00:27:30,749
and went outside, to the sun.
486
00:27:35,083 --> 00:27:37,083
New skin, new land!
487
00:27:37,166 --> 00:27:39,250
And a land of freedom, if that is possible!
488
00:27:39,333 --> 00:27:42,624
I have chosen the geology of
a country that was new to me
489
00:27:42,708 --> 00:27:45,417
and was young, virgin, and free from drama.
490
00:27:45,500 --> 00:27:47,582
That of America.
491
00:27:49,166 --> 00:27:51,041
Upon arriving in America,
492
00:27:51,125 --> 00:27:53,083
I went almost immediately to Hampton Manor,
493
00:27:53,166 --> 00:27:55,083
the residence of Caresse Crosby,
494
00:27:55,166 --> 00:27:57,500
our friend from the time at Moulin du Soleil.
495
00:27:57,582 --> 00:28:00,083
We were all going to try to
make the sun shine again,
496
00:28:00,166 --> 00:28:03,417
a little, that sun of France, which had set.
497
00:28:05,791 --> 00:28:07,156
As soon as we arrived, I set up my easel
498
00:28:07,166 --> 00:28:09,916
with two large canvases
499
00:28:09,999 --> 00:28:11,541
and I painted "Spider of the Evening,"
500
00:28:11,624 --> 00:28:14,500
"Hope," and Resurrection of the Flesh.
501
00:28:20,125 --> 00:28:22,582
He also saw how the center of the art world
502
00:28:22,666 --> 00:28:24,916
was shifting from Paris to New York,
503
00:28:24,999 --> 00:28:27,250
so he was where he needed to be,
504
00:28:27,333 --> 00:28:30,333
despite the fact that he
was exiled against his will,
505
00:28:30,417 --> 00:28:33,958
but I think he knew how
to read the situation well
506
00:28:34,041 --> 00:28:38,041
and positively, insofar as it
wasn't a pleasant experience,
507
00:28:38,125 --> 00:28:40,291
and took the opportunity to find out
508
00:28:40,375 --> 00:28:42,083
how the United States worked,
509
00:28:42,166 --> 00:28:44,874
to consecrate himself once and for all.
510
00:28:48,333 --> 00:28:50,916
Mr. Salvador Dalí gives a party.
511
00:28:50,999 --> 00:28:52,582
The Spanish painter of surrealism
512
00:28:52,666 --> 00:28:55,125
dresses Mrs. Dalí in a unicorn's head,
513
00:28:55,208 --> 00:28:56,791
just to start things off.
514
00:28:56,874 --> 00:28:59,624
As hostess, she presides
from a red velvet bed.
515
00:28:59,708 --> 00:29:04,916
Soldier Jackie Coogan and the still
dapper Mr. Hope serve the main course.
516
00:29:04,999 --> 00:29:06,833
The party is surrealism,
517
00:29:06,916 --> 00:29:09,291
but them frogs is real!
518
00:29:14,958 --> 00:29:18,125
And though his work evolves
in tandem with his experiences,
519
00:29:18,208 --> 00:29:21,250
both personal and
artistic, in the United States,
520
00:29:21,333 --> 00:29:23,791
the references to the landscape of Cadaqués
521
00:29:23,874 --> 00:29:26,417
and Port Lligat are still there.
522
00:29:26,500 --> 00:29:30,916
He remembered with
melancholy the lights and colors.
523
00:29:30,999 --> 00:29:33,916
And in his portraits of members
of American high society,
524
00:29:33,999 --> 00:29:37,624
the presence of the landscape is a constant.
525
00:29:38,958 --> 00:29:41,083
...or in the animated short "Destino,"
526
00:29:41,166 --> 00:29:43,582
with Walt Disney in 1946,
527
00:29:43,666 --> 00:29:48,791
where the landscapes and reminiscences
of Port Lligat are ever present.
528
00:29:59,624 --> 00:30:02,458
In the United States, he
sought the life he had here,
529
00:30:02,541 --> 00:30:04,541
and that's why he combined New York,
530
00:30:04,624 --> 00:30:06,125
the exhibition season,
531
00:30:06,208 --> 00:30:08,874
the art season in New York,
532
00:30:08,958 --> 00:30:11,417
and then the move to Monterrey, California,
533
00:30:11,500 --> 00:30:14,916
where he always looked for
landscapes like those of Port Lligat
534
00:30:14,999 --> 00:30:18,291
or which evoked Port Lligat for him.
535
00:30:34,041 --> 00:30:36,417
During this long period of absence,
536
00:30:36,500 --> 00:30:39,291
the Dalí family took care of the house.
537
00:30:39,375 --> 00:30:43,083
In 1944, Dalí's father wrote to his son
538
00:30:43,166 --> 00:30:46,582
to say that a close friend
of Anna Maria, Dalí's sister,
539
00:30:46,666 --> 00:30:49,500
would live in and look
after the house in Port Lligat
540
00:30:49,582 --> 00:30:52,333
until he came back from the United States.
541
00:30:52,417 --> 00:30:55,041
Anna Maria has let them have the house
542
00:30:55,125 --> 00:30:56,874
so they may live there without paying rent,
543
00:30:56,958 --> 00:30:59,582
but with the condition,
which they have fulfilled,
544
00:30:59,666 --> 00:31:01,708
of repairing it at their expense,
545
00:31:01,791 --> 00:31:03,749
and have left it as good as new
546
00:31:03,833 --> 00:31:07,291
so that the cession of the house
in no way disadvantages you,
547
00:31:07,375 --> 00:31:10,125
whereas left unoccupied,
it would have deteriorated
548
00:31:10,208 --> 00:31:12,582
and you would have lost almost everything.
549
00:31:12,666 --> 00:31:14,749
We go on as before, with no news,
550
00:31:14,833 --> 00:31:16,417
and calmly await your return,
551
00:31:16,500 --> 00:31:20,083
which I am sure you wish
for after four years of absence.
552
00:31:37,958 --> 00:31:41,791
The bomb in Hiroshima
exploded in an immaculate sky.
553
00:31:41,874 --> 00:31:43,749
Pikado, "Light and noise,"
554
00:31:43,833 --> 00:31:46,250
the Japanese who managed to escape said.
555
00:31:46,333 --> 00:31:48,749
I was painting Gala naked from behind
556
00:31:48,833 --> 00:31:51,125
when I felt the seismic
shock of the explosion.
557
00:31:51,208 --> 00:31:53,749
It filled me with terror.
558
00:31:53,833 --> 00:31:55,823
What horrified me was
the thought of the possibility
559
00:31:55,833 --> 00:31:57,375
of a chain of explosions
560
00:31:57,458 --> 00:31:59,041
that could have reached the whole world
561
00:31:59,125 --> 00:32:01,916
before I finished the
perfect breast of my Galarina.
562
00:32:01,999 --> 00:32:05,250
No one was safe, wherever they may have been.
563
00:32:05,333 --> 00:32:07,250
I decided to study, without delay,
564
00:32:07,333 --> 00:32:10,291
the best means of preserving
my precious existence
565
00:32:10,375 --> 00:32:11,708
from the clutches of death,
566
00:32:11,791 --> 00:32:13,874
and I began to occupy myself in earnest
567
00:32:13,958 --> 00:32:15,958
with the formulas of immortality.
568
00:32:16,041 --> 00:32:18,916
"Atomic Melancholy,"
which I painted at the time,
569
00:32:18,999 --> 00:32:20,916
expresses the doubts and certainties
570
00:32:20,999 --> 00:32:24,291
that were born in me on
the 6th of August, 1945.
571
00:32:34,125 --> 00:32:35,916
The war was over,
572
00:32:35,999 --> 00:32:38,041
but it would take Dalí and Gala
573
00:32:38,125 --> 00:32:40,874
another three years to
get back to Port Lligat.
574
00:32:40,958 --> 00:32:43,708
Acclaimed as an international artist,
575
00:32:43,791 --> 00:32:46,291
he had achieved what he had dreamed of.
576
00:32:46,375 --> 00:32:48,458
His popularity in the United States
577
00:32:48,541 --> 00:32:51,458
can only be compared to that of movie stars,
578
00:32:51,541 --> 00:32:54,791
stars whom he knew and socialized with.
579
00:32:54,874 --> 00:32:58,375
His work was on show in the
leading museums and salons.
580
00:32:59,166 --> 00:33:02,666
Papa has a great desire for you to come home.
581
00:33:02,749 --> 00:33:04,125
You cannot imagine it.
582
00:33:04,208 --> 00:33:07,208
Everything he does shows
how eager he is for your return.
583
00:33:07,291 --> 00:33:09,833
Auntie and I are also
looking forward enormously
584
00:33:09,916 --> 00:33:13,791
to the day we shall all be reunited
in our little house in Cadaqués,
585
00:33:13,874 --> 00:33:16,125
our little house from when we were small.
586
00:33:16,208 --> 00:33:18,916
1948 came, and with it
587
00:33:18,999 --> 00:33:21,291
the long-awaited return
of the Dalís to Spain,
588
00:33:21,375 --> 00:33:24,500
and to the center of
his Universe, Port Lligat.
589
00:33:29,375 --> 00:33:30,208
From the bridge of the ship,
590
00:33:30,291 --> 00:33:33,749
I looked at New York with satisfaction.
591
00:33:33,833 --> 00:33:35,749
What joy in finding once again
592
00:33:35,833 --> 00:33:37,624
the transcendent beauty of Port Lligat,
593
00:33:37,708 --> 00:33:40,083
my kingdom, my Platonic cave.
594
00:33:40,166 --> 00:33:42,041
I am in transit.
595
00:33:42,125 --> 00:33:45,041
I forget the pride of the
skyscrapers and the agitation,
596
00:33:45,125 --> 00:33:47,541
the noise, the American frenzy.
597
00:33:47,624 --> 00:33:50,582
From the point of hypersnobbism
at which I have arrived,
598
00:33:50,666 --> 00:33:53,916
I have no alternative,
but to feel I am a mystic.
599
00:34:21,666 --> 00:34:25,250
The newspapers took an
interest in Dalí and Gala's return.
600
00:34:25,333 --> 00:34:27,873
On August 1st, 1948,
601
00:34:27,958 --> 00:34:30,581
the daily "La Vanguardia"
published an article
602
00:34:30,666 --> 00:34:32,417
recounting a meeting with the artist
603
00:34:32,500 --> 00:34:35,125
on the very day he arrived in Port Lligat.
604
00:34:38,458 --> 00:34:41,083
I am not the man who stole a landscape,
605
00:34:41,166 --> 00:34:43,250
the landscape stole me.
606
00:34:43,333 --> 00:34:45,581
I want to get back to painting my mythology
607
00:34:45,666 --> 00:34:48,125
with the precise places seen in a new way.
608
00:34:48,208 --> 00:34:49,873
In keeping with the new physics,
609
00:34:49,958 --> 00:34:53,041
it is no longer Freudian
psychology that attracts me,
610
00:34:53,125 --> 00:34:56,623
but the geography of the
places where mythologies live on.
611
00:35:04,333 --> 00:35:06,874
"Salvador Dalí has returned..."
612
00:35:06,958 --> 00:35:08,749
The press take up the story,
613
00:35:08,833 --> 00:35:10,916
the family reunion continues,
614
00:35:10,999 --> 00:35:12,749
it's a very sweet moment,
615
00:35:12,833 --> 00:35:14,749
and of course he returned to his home
616
00:35:14,833 --> 00:35:17,417
and carried on with his
project of extending it.
617
00:35:18,624 --> 00:35:20,833
In the summer of 1948,
618
00:35:20,916 --> 00:35:23,791
Dalí and Gala, after twelve years absence,
619
00:35:23,874 --> 00:35:25,156
had already decided to make Port Lligat
620
00:35:25,166 --> 00:35:28,624
their place of permanent residence.
621
00:35:28,708 --> 00:35:30,582
Dalí needed a space to work in,
622
00:35:30,666 --> 00:35:32,541
but also to sort out
623
00:35:32,624 --> 00:35:34,582
and accumulate everything his life
624
00:35:34,666 --> 00:35:37,791
as a hotel nomad hadn't let him store away.
625
00:35:37,874 --> 00:35:41,083
His financial situation was comfortable.
626
00:35:41,166 --> 00:35:44,666
They could extend the house
with a new cell and furnish it.
627
00:35:44,749 --> 00:35:48,375
They bought another hut,
also of 22 square meters,
628
00:35:48,458 --> 00:35:51,375
and a piece of land, which is an olive grove,
629
00:35:51,458 --> 00:35:53,250
enabling them to add to the house
630
00:35:53,333 --> 00:35:56,083
what are now the living room and the library.
631
00:36:15,833 --> 00:36:17,417
Their builder, Puignau,
632
00:36:17,500 --> 00:36:20,041
also undertook this second extension,
633
00:36:20,125 --> 00:36:22,250
and since they worked without an architect,
634
00:36:22,333 --> 00:36:24,500
he followed the artist's indications
635
00:36:24,582 --> 00:36:28,458
in the form of letters,
plans, designs and sketches.
636
00:36:28,541 --> 00:36:31,916
With his departure for Paris in 1948,
637
00:36:32,000 --> 00:36:34,083
we started the work of rebuilding the hut
638
00:36:34,166 --> 00:36:37,083
so that it would be ready
for his return the year after,
639
00:36:37,166 --> 00:36:38,791
just as we always did.
640
00:36:38,874 --> 00:36:41,083
In the spring of 1949,
641
00:36:41,166 --> 00:36:43,375
the house was ready to be lived in.
642
00:36:43,458 --> 00:36:45,582
Gala took charge of the decorating
643
00:36:45,666 --> 00:36:46,916
and bought pieces of furniture
644
00:36:46,999 --> 00:36:49,833
from various antique shops in the area.
645
00:36:53,999 --> 00:36:56,708
And he even had this mirror
placed in a special way.
646
00:36:56,791 --> 00:36:59,541
He took care care, you
know, in positioning the mirrors
647
00:36:59,624 --> 00:37:02,749
because she said that in this way,
from the room, from the bedroom,
648
00:37:02,833 --> 00:37:06,250
he would be the first man
in Spain to see the sun rise.
649
00:37:14,874 --> 00:37:16,582
As I was having breakfast,
650
00:37:16,666 --> 00:37:19,541
I watched the sun rise and
it struck me that Port Lligat
651
00:37:19,624 --> 00:37:22,417
being geographically the
most easterly point of Spain,
652
00:37:22,500 --> 00:37:26,375
every morning, I am the first
Spaniard to feel the sun's caress.
653
00:37:26,458 --> 00:37:29,250
Even in Cadaqués, which
is ten minutes from here,
654
00:37:29,333 --> 00:37:32,417
the sun arrives later.
655
00:37:32,500 --> 00:37:34,958
The home that Dalí had
had to abandon for years,
656
00:37:35,041 --> 00:37:37,458
on account of the war, had now been recovered
657
00:37:37,541 --> 00:37:41,417
and his inner peace and his
landscapes were reestablished.
658
00:37:41,500 --> 00:37:43,916
But a new conflict
emerged with the publication
659
00:37:43,999 --> 00:37:46,333
of his sister Anna Maria's autobiography,
660
00:37:46,417 --> 00:37:48,156
in which she declared
her aversion to Surrealism
661
00:37:48,166 --> 00:37:51,208
and rejection of Gala.
662
00:37:51,291 --> 00:37:54,041
With this book, old wounds were reopened
663
00:37:54,125 --> 00:37:56,749
and the family was divided once again.
664
00:37:56,833 --> 00:37:59,582
Salvador had said that far from the family,
665
00:37:59,666 --> 00:38:01,916
when he saw our little house in Cadaqués,
666
00:38:01,999 --> 00:38:05,041
the scene of all of his
childhood and adolescence,
667
00:38:05,125 --> 00:38:06,916
it made him think of a lump of sugar
668
00:38:06,999 --> 00:38:08,417
covered in bitterness.
669
00:38:08,500 --> 00:38:10,375
This image could not be more real,
670
00:38:10,458 --> 00:38:13,208
though it must be remembered
that the bitterness he saw
671
00:38:13,291 --> 00:38:16,083
was bitterness that he,
thanks to the Surrealist group,
672
00:38:16,166 --> 00:38:18,666
had put there, making us victims
673
00:38:18,749 --> 00:38:21,749
of the decadent world, which
he unfortunately suggested,
674
00:38:21,833 --> 00:38:25,041
but from which all of us
have always kept our distance.
675
00:38:25,125 --> 00:38:28,417
His father found himself
in a difficult situation,
676
00:38:28,500 --> 00:38:30,375
but he took his daughter's side,
677
00:38:30,458 --> 00:38:33,749
as the foreword he wrote for
Anna Maria's book clearly shows.
678
00:38:33,833 --> 00:38:37,208
At the same time, the decision
by Dalí's father and sister
679
00:38:37,291 --> 00:38:40,291
to sell some early
paintings without his consent,
680
00:38:40,375 --> 00:38:42,250
deeply offended Dalí.
681
00:38:42,333 --> 00:38:44,375
The break had become definitive.
682
00:38:44,458 --> 00:38:47,083
The artist closed the doors
of his home in Port Lligat
683
00:38:47,166 --> 00:38:49,958
to his family and only opened them again
684
00:38:50,041 --> 00:38:51,958
a few days before his father's death.
685
00:38:55,708 --> 00:38:58,582
In the two previous seasons
he spent in Port Lligat,
686
00:38:58,666 --> 00:39:02,250
Dalí had used the so-called
yellow room as his studio...
687
00:39:02,333 --> 00:39:05,208
the room off the stairway
leading to the first floor.
688
00:39:05,291 --> 00:39:07,874
However, this room was really too small
689
00:39:07,958 --> 00:39:09,916
for painting in reasonable comfort,
690
00:39:09,999 --> 00:39:12,250
so that same year, taking advantage
691
00:39:12,333 --> 00:39:14,458
of the neighbors' decision to sell their hut,
692
00:39:14,541 --> 00:39:16,541
which was next to the Dalí's house,
693
00:39:16,624 --> 00:39:19,250
they bought it without so
much as discussing the price,
694
00:39:19,333 --> 00:39:22,208
since it was a unique opportunity
to make another extension.
695
00:39:23,791 --> 00:39:26,417
And Dalí had already
begun to explore new formats,
696
00:39:26,500 --> 00:39:28,582
with much larger canvases,
697
00:39:28,666 --> 00:39:30,916
and here he didn't have the space he needed.
698
00:39:30,999 --> 00:39:32,417
Yes, in terms of light.
699
00:39:32,500 --> 00:39:34,083
Yes, in terms of views.
700
00:39:34,166 --> 00:39:36,208
But not in terms of space.
701
00:39:37,624 --> 00:39:39,250
As was his custom,
702
00:39:39,333 --> 00:39:43,624
Dalí drew up the basic scheme
of how his new studio should be.
703
00:39:43,708 --> 00:39:45,291
He had thought it all out.
704
00:39:45,375 --> 00:39:47,083
The work was done, as before,
705
00:39:47,166 --> 00:39:48,375
during the part of the year
706
00:39:48,458 --> 00:39:50,333
they spent in Paris and New York.
707
00:39:54,833 --> 00:39:57,375
The wall that formed a little vestibule
708
00:39:57,458 --> 00:39:58,916
with the door to his studio
709
00:39:58,999 --> 00:40:01,417
had to have the Dalí stamp,
710
00:40:01,500 --> 00:40:04,250
so the large door or
opening for communication
711
00:40:04,333 --> 00:40:07,250
had to be a truncated isosceles triangle,
712
00:40:07,333 --> 00:40:10,125
and the fireplace situated
next to this opening
713
00:40:10,208 --> 00:40:14,083
would be like the opening, but upside down...
714
00:40:14,166 --> 00:40:17,582
a very different design
from what we were used to.
715
00:40:17,666 --> 00:40:19,582
In the spring of 1950,
716
00:40:19,666 --> 00:40:21,916
the Dalís returned from their annual trip
717
00:40:22,000 --> 00:40:23,874
to Paris and the United States.
718
00:40:23,958 --> 00:40:27,083
His great desire was to
see the studio completed.
719
00:40:27,166 --> 00:40:28,791
Jordi
720
00:40:28,874 --> 00:40:31,749
At last he had a studio with maximum capacity
721
00:40:31,833 --> 00:40:33,083
to receive light from outside.
722
00:40:33,166 --> 00:40:36,291
At last he had a studio whose windows
723
00:40:36,375 --> 00:40:38,749
all looked out on the
landscape of Port Lligat,
724
00:40:38,833 --> 00:40:42,749
so that the landscape really
did invade the studio completely.
725
00:40:42,833 --> 00:40:45,083
What's more, it was a studio whose space
726
00:40:45,166 --> 00:40:47,041
was really suitable for the new canvases,
727
00:40:47,125 --> 00:40:48,916
the new formats.
728
00:40:48,999 --> 00:40:51,916
The first painting he
did in the definitive studio
729
00:40:51,999 --> 00:40:54,083
was "The Madonna of Port Lligat,"
730
00:40:54,166 --> 00:40:56,708
a supremely mystic-nuclear work,
731
00:40:56,791 --> 00:40:58,250
conceived over the winter
732
00:40:58,333 --> 00:41:00,582
and perfectly structured in his mind,
733
00:41:00,666 --> 00:41:03,083
all he needed was a
suitable place to paint it.
734
00:41:03,166 --> 00:41:04,326
And the new studio was ideal.
735
00:41:07,208 --> 00:41:10,874
Then he had the idea, aided by Emili Puignau,
736
00:41:10,958 --> 00:41:12,582
for this metal framework,
737
00:41:12,666 --> 00:41:14,083
which at first was manual,
738
00:41:14,166 --> 00:41:16,041
and later worked with a push button
739
00:41:16,125 --> 00:41:17,624
to move up and down,
740
00:41:17,708 --> 00:41:20,250
so that Dalí always had
the part of the canvas
741
00:41:20,333 --> 00:41:22,958
he was painting in front of him
742
00:41:23,041 --> 00:41:25,083
And then, with the maulstick and the brush,
743
00:41:25,166 --> 00:41:26,541
he would paint.
744
00:41:27,166 --> 00:41:30,916
He would go over to the
bench and contemplate,
745
00:41:30,999 --> 00:41:33,208
and it was this to and fro.
746
00:41:34,500 --> 00:41:35,916
Here, for example,
747
00:41:35,999 --> 00:41:38,250
he finished "The Madonna of Port Lligat,"
748
00:41:38,333 --> 00:41:40,916
he painted "The Battle of Tetuan,"
749
00:41:40,999 --> 00:41:45,083
the canvases for the ceiling
of the Theatre-Museum,
750
00:41:45,166 --> 00:41:47,208
and these and other large canvases
751
00:41:47,291 --> 00:41:51,582
would be rolled up and
passed out through this window.
752
00:41:54,791 --> 00:41:57,291
But even though he now had the new studio,
753
00:41:57,375 --> 00:42:00,250
Dalí wasn't progressing at his usual rate.
754
00:42:00,333 --> 00:42:01,624
His father was ill
755
00:42:01,708 --> 00:42:03,916
and Dalí knew he had to go and see him
756
00:42:03,999 --> 00:42:06,041
before his inevitable death.
757
00:42:07,208 --> 00:42:10,083
In September of 1950, his father died.
758
00:42:10,166 --> 00:42:12,958
Dalí's grief was profound.
759
00:42:14,749 --> 00:42:16,916
It was a major blow for Dalí,
760
00:42:16,999 --> 00:42:19,250
because his father was his mentor
761
00:42:19,333 --> 00:42:22,417
and he would always have his example in mind.
762
00:42:22,500 --> 00:42:25,041
Dalí never forgot when
his father once said to him,
763
00:42:25,125 --> 00:42:26,749
when they had been arguing together,
764
00:42:26,833 --> 00:42:29,417
"You will die alone and poor."
765
00:42:29,500 --> 00:42:31,749
And he sometimes said
his life had been a struggle
766
00:42:31,833 --> 00:42:33,125
to prove his father wrong.
767
00:42:36,125 --> 00:42:39,749
His father's death
reawakened the fear of falling ill
768
00:42:39,833 --> 00:42:42,958
and dying that Dalí felt from an early age,
769
00:42:43,041 --> 00:42:45,916
and rekindled his interest in immortality,
770
00:42:45,999 --> 00:42:48,375
and in particular hibernation.
771
00:42:48,458 --> 00:42:51,624
I have made the decision that
immediately after my demise,
772
00:42:51,708 --> 00:42:53,083
I am to be preserved,
773
00:42:53,166 --> 00:42:55,250
to await the discovery
that will allow humanity
774
00:42:55,333 --> 00:42:57,624
one day to revive the brilliant Dalí.
775
00:42:57,708 --> 00:43:00,582
I am certain that a cure
will be found for cancer,
776
00:43:00,666 --> 00:43:03,291
that astonishing
transplants will be performed
777
00:43:03,375 --> 00:43:07,041
and that the rejuvenation
of cells is only days away.
778
00:43:07,125 --> 00:43:10,417
Coming back to life will
be an ordinary operation.
779
00:43:10,500 --> 00:43:14,417
I will await in liquid
helium, without impatience.
780
00:43:16,458 --> 00:43:19,250
In due course, Dalí returned to normal,
781
00:43:19,333 --> 00:43:21,133
to his daily routine of painting and writing.
782
00:43:21,166 --> 00:43:25,417
In short, he recovered his capacity to work
783
00:43:25,500 --> 00:43:27,582
and his extraordinary rhythm.
784
00:43:27,666 --> 00:43:30,417
He would get up early
and paint until lunchtime.
785
00:43:30,500 --> 00:43:32,156
Afterwards, without lingering at the table,
786
00:43:32,166 --> 00:43:34,582
he took a short nap,
787
00:43:34,666 --> 00:43:36,083
then went back to the studio
788
00:43:36,166 --> 00:43:38,874
to paint for the rest of
the day until evening.
789
00:43:40,458 --> 00:43:42,125
After years of exile,
790
00:43:42,208 --> 00:43:43,916
successes and tragedies,
791
00:43:43,999 --> 00:43:46,083
a great deal of work and effort,
792
00:43:46,166 --> 00:43:47,417
the cells have come together
793
00:43:47,500 --> 00:43:50,791
to form the great mother cell, his home.
794
00:43:50,874 --> 00:43:54,417
Our house has grown exactly
like a true biological structure,
795
00:43:54,500 --> 00:43:56,791
in cellular outgrowths.
796
00:43:56,874 --> 00:43:58,417
Each new impulse in our life
797
00:43:58,500 --> 00:44:01,624
has its corresponding new cell... a room.
798
00:44:01,708 --> 00:44:05,083
The nucleus was formed by
the paranoiac delirium of Lídia,
799
00:44:05,166 --> 00:44:06,916
who gifted us the first cell.
800
00:45:18,666 --> 00:45:20,083
A few years have passed
801
00:45:20,166 --> 00:45:22,749
since the creation of his definitive studio.
802
00:45:22,833 --> 00:45:26,083
Dalí's house has been
extended with additions of gardens
803
00:45:26,166 --> 00:45:29,250
with olive trees around
the house down to the sea.
804
00:45:29,333 --> 00:45:32,458
The house has become a place
of pilgrimage for many people
805
00:45:32,541 --> 00:45:35,250
and also for the media
from all over the world.
806
00:45:35,333 --> 00:45:37,916
Dalí is a world-famous artist,
807
00:45:37,999 --> 00:45:40,208
and now everyone knows where to find him.
808
00:45:40,291 --> 00:45:42,208
Jordi
809
00:45:42,291 --> 00:45:44,691
The first thing is that he now
constructed part of the house
810
00:45:44,708 --> 00:45:47,417
as a public place, a reception area,
811
00:45:47,500 --> 00:45:49,582
and a kind of open-air studio
812
00:45:49,666 --> 00:45:52,916
where he could work in
collaboration with visitors,
813
00:45:52,999 --> 00:45:56,125
other artists, younger people...
814
00:45:56,208 --> 00:45:59,791
people who contribute the
to temperature of modernity.
815
00:46:01,500 --> 00:46:04,250
Dalí went on with his life at Port Lligat,
816
00:46:04,333 --> 00:46:07,208
a life tied to the evolution of his work,
817
00:46:07,291 --> 00:46:09,458
now expanding into
happenings and performances,
818
00:46:09,541 --> 00:46:14,417
some of which now take shape
in the outdoor spaces of the house.
819
00:46:15,375 --> 00:46:17,749
It was this combination of innovation,
820
00:46:17,833 --> 00:46:19,989
but let's make this clear,
because I think it's interesting
821
00:46:19,999 --> 00:46:22,582
that Dalí, who was always experimenting,
822
00:46:22,666 --> 00:46:25,375
also wanted to explain how he experimented
823
00:46:25,458 --> 00:46:28,417
and above all for everyone
to know how he experimented.
824
00:46:28,500 --> 00:46:31,582
Of course, because he
wanted to get through to people.
825
00:46:31,666 --> 00:46:33,458
He didn't want to be an artist enclosed
826
00:46:33,541 --> 00:46:35,208
in some kind of ivory tower
827
00:46:35,291 --> 00:46:37,582
who someone might be interested in some day.
828
00:46:37,666 --> 00:46:39,417
He wanted to get through to people.
829
00:46:39,500 --> 00:46:40,958
He wanted people to think about
830
00:46:41,041 --> 00:46:43,083
the things he was thinking about.
831
00:47:59,208 --> 00:48:01,250
These were new forms of creation,
832
00:48:01,333 --> 00:48:03,874
because the world was
becoming smaller for him,
833
00:48:03,958 --> 00:48:06,541
and his sense of this gave
him a new need to grow,
834
00:48:06,624 --> 00:48:09,083
to grow where he could,
835
00:48:09,166 --> 00:48:11,125
in means, in thought,
836
00:48:11,208 --> 00:48:15,250
in the company of other
artists or cameras, or whatever.
837
00:48:15,333 --> 00:48:17,582
And above to project outwards,
838
00:48:17,666 --> 00:48:20,417
to the world, always.
839
00:48:53,666 --> 00:48:56,749
The house was now a
complex cellular structure,
840
00:48:56,833 --> 00:49:00,083
which the Dalís had completed
with the passage of time,
841
00:49:00,166 --> 00:49:03,250
and had grown to include
spaces like the swimming pool
842
00:49:03,333 --> 00:49:06,083
or the what he called the milky way.
843
00:49:14,999 --> 00:49:16,916
There is a whole Pop aesthetic,
844
00:49:16,999 --> 00:49:18,083
Pirelli, the Lips sofas,
845
00:49:18,166 --> 00:49:21,208
which is a Dalí classic,
846
00:49:21,291 --> 00:49:23,083
but the pool in this form,
847
00:49:23,166 --> 00:49:25,291
out of "One Thousand and One Nights,"
848
00:49:25,375 --> 00:49:27,833
with some inspiration from the Alhambra...
849
00:49:29,708 --> 00:49:32,916
Yes, it has exactly the
perspective of the Alhambra Pool,
850
00:49:32,999 --> 00:49:35,874
Which is funny because
in fact the idea for the pool
851
00:49:35,958 --> 00:49:38,083
came from a piece of polystyrene, didn't it?
852
00:49:38,166 --> 00:49:39,749
You can see it in the studio.
853
00:49:39,833 --> 00:49:41,541
Yes, it's in the studio...
854
00:49:41,624 --> 00:49:43,656
The chronological evolution
of the house is linked,
855
00:49:43,666 --> 00:49:47,041
naturally, to Dalí's artistic evolution,
856
00:49:47,125 --> 00:49:50,083
and to the movements in art
that were happening at that time,
857
00:49:50,166 --> 00:49:51,916
because Dalí, with his curiosity,
858
00:49:51,999 --> 00:49:54,208
was very much aware of what was happening.
859
00:49:54,291 --> 00:49:56,666
He was interested in American abstract art.
860
00:49:56,749 --> 00:49:58,582
He was interested in hyperrealism.
861
00:49:58,666 --> 00:50:00,582
He was interested in Pop Art.
862
00:50:00,666 --> 00:50:03,250
But we can see that what he worked most at,
863
00:50:03,333 --> 00:50:04,749
really, was installation
864
00:50:04,833 --> 00:50:06,417
and he was experimenting,
865
00:50:06,500 --> 00:50:08,208
but he would end the Eighties, once again,
866
00:50:08,291 --> 00:50:09,541
with the great classics.
867
00:50:13,999 --> 00:50:16,458
Even though Dalí was combining travel,
868
00:50:16,541 --> 00:50:20,083
happenings and work in his
studio in the Port Lligat house,
869
00:50:20,166 --> 00:50:23,417
from 1970, one project absorbed
870
00:50:23,500 --> 00:50:25,624
and concentrated much of his time,
871
00:50:25,708 --> 00:50:28,749
the Dalí Theatre-Museum in Figueres,
872
00:50:28,833 --> 00:50:32,916
a center in which he invested
his energy and his hopes.
873
00:50:37,166 --> 00:50:39,916
In his studio, he prepared the great ceiling
874
00:50:39,999 --> 00:50:41,291
of the "Palace of the Wind"
875
00:50:41,375 --> 00:50:43,874
where he depicted Gala and himself.
876
00:50:45,333 --> 00:50:48,083
The stereoscopic
paintings, born of his interest
877
00:50:48,166 --> 00:50:50,916
in optical illusions and double images,
878
00:50:50,999 --> 00:50:53,166
and many of the ideas and elements
879
00:50:53,250 --> 00:50:55,541
that make up the Dalí universe,
880
00:50:55,624 --> 00:50:58,582
brought together here almost as if this were
881
00:50:58,666 --> 00:51:02,125
a testament to his life and his art.
882
00:51:02,208 --> 00:51:05,041
In this task he had the invaluable support
883
00:51:05,125 --> 00:51:08,916
of his friend, the artist Antoni Pitxot.
884
00:51:16,166 --> 00:51:19,958
Dalí was invited to design
a nightclub in Acapulco
885
00:51:20,041 --> 00:51:23,874
and he gave it an oval form
inspired by the sea urchin.
886
00:51:23,958 --> 00:51:26,041
It was never built, but Gala,
887
00:51:26,125 --> 00:51:28,458
who followed the process very closely,
888
00:51:28,541 --> 00:51:31,749
was impressed by the
structure Dalí had conceived
889
00:51:31,833 --> 00:51:33,582
and she asked him to apply it
890
00:51:33,666 --> 00:51:36,500
as the new extension at
his home in Port Lligat...
891
00:51:36,582 --> 00:51:38,541
the oval room.
892
00:51:44,666 --> 00:51:47,083
Everything celebrates the cult of Gala,
893
00:51:47,166 --> 00:51:49,958
even the round room, with its perfect echo,
894
00:51:50,041 --> 00:51:52,250
which crowns the whole built complex
895
00:51:52,333 --> 00:51:55,458
and is like the dome of
this galactic cathedral.
896
00:51:57,500 --> 00:51:59,749
This is the last cellular extension
897
00:51:59,833 --> 00:52:02,083
of the Port Lligat house, which in turn,
898
00:52:02,166 --> 00:52:04,375
became the first cellular extension
899
00:52:04,458 --> 00:52:07,250
of the Castle of Púbol,
which a few years later,
900
00:52:07,333 --> 00:52:09,833
Dalí gave as a present to Gala.
901
00:52:11,624 --> 00:52:13,250
Exactly one year ago,
902
00:52:13,333 --> 00:52:16,041
I discovered the ruins of
the noble Castle of Púbol.
903
00:52:16,125 --> 00:52:18,250
I took Gala there with her eyes closed
904
00:52:18,333 --> 00:52:20,291
and I gave it to her. Three months later,
905
00:52:20,375 --> 00:52:23,500
on our way back to New
York, in the middle of the ocean,
906
00:52:23,582 --> 00:52:26,708
at 5:00 teatime, Gala took me by the hand
907
00:52:26,791 --> 00:52:30,541
and suddenly said to me, "I
accept the Castle of Púbol,
908
00:52:30,624 --> 00:52:32,916
"with only one condition,
909
00:52:32,999 --> 00:52:36,582
that you will only come to visit me
at the castle by written invitation."
910
00:53:00,833 --> 00:53:03,916
Because she found the
atmosphere at Port Lligat,
911
00:53:03,999 --> 00:53:07,250
where Dalí was visited by
so many people, rather tiring,
912
00:53:07,333 --> 00:53:10,125
and she wanted a private space of her own.
913
00:53:12,958 --> 00:53:15,749
Everyone thinks I'm a well-defended fortress,
914
00:53:15,833 --> 00:53:17,250
perfectly organized,
915
00:53:17,333 --> 00:53:19,916
when at most I might
be a little tottering tower
916
00:53:19,999 --> 00:53:21,708
that, out of modesty,
917
00:53:21,791 --> 00:53:24,916
tries to cover itself with
ferns and hide its flanks,
918
00:53:24,999 --> 00:53:29,417
already in ruins, to
find a bit of loneliness.
919
00:53:35,666 --> 00:53:37,375
Then they recalled an old pact
920
00:53:37,458 --> 00:53:39,749
between them that was made in the 1930s
921
00:53:39,833 --> 00:53:41,833
on one of their stays in Italy.
922
00:53:45,666 --> 00:53:49,208
A trip to Italy on which
Dalí promised her a castle,
923
00:53:49,291 --> 00:53:50,833
and with Púbol,
924
00:53:50,916 --> 00:53:53,749
I believe they gave solid form to a legend,
925
00:53:53,833 --> 00:53:57,208
a legend of a love story
beyond the usual parameters.
926
00:53:57,291 --> 00:53:59,041
And I think that finding this castle
927
00:53:59,125 --> 00:54:03,083
was like the solidification of desire.
928
00:54:03,166 --> 00:54:05,083
I had still to offer Gala
929
00:54:05,166 --> 00:54:08,041
a casket more solemnly worthy of our love.
930
00:54:08,125 --> 00:54:10,624
I therefore gave her a
mansion raised on the remains
931
00:54:10,708 --> 00:54:13,083
of a twelfth-century castle at La Bisbal,
932
00:54:13,166 --> 00:54:15,582
the ancient Castle of Púbol,
933
00:54:15,666 --> 00:54:18,916
where she would reign as absolute sovereign.
934
00:54:23,375 --> 00:54:24,958
Gala was delighted.
935
00:54:25,041 --> 00:54:27,250
She especially liked the
garden and the flowers,
936
00:54:27,333 --> 00:54:29,041
above all the roses,
937
00:54:29,125 --> 00:54:31,375
which reminded her of a garden in Crimea,
938
00:54:31,458 --> 00:54:34,250
where as a young girl she
had spent the summer holidays.
939
00:54:41,458 --> 00:54:43,749
The castle was in a half-ruined state,
940
00:54:43,833 --> 00:54:45,749
both the interior floors and the roof,
941
00:54:45,833 --> 00:54:48,417
but the façades and
especially the courtyards,
942
00:54:48,500 --> 00:54:49,916
which impressed Dalí,
943
00:54:49,999 --> 00:54:51,208
were in good condition.
944
00:55:00,125 --> 00:55:02,582
Magnificent, it's fantastic!
945
00:55:02,666 --> 00:55:03,916
I like it.
946
00:55:03,999 --> 00:55:06,458
It's worth buying for the courtyard alone.
947
00:55:06,541 --> 00:55:09,916
What is more, I have seen
something sublime on the façade.
948
00:55:09,999 --> 00:55:12,916
Not only is it cracked, but
the form of a rough edge
949
00:55:12,999 --> 00:55:15,417
in the crack gives the
impression that there has been
950
00:55:15,500 --> 00:55:17,541
a cataclysm there, an earthquake,
951
00:55:17,624 --> 00:55:20,749
that one part held firm while
the other broke away and fell.
952
00:55:20,833 --> 00:55:23,541
Therefore, it should not be touched.
953
00:55:23,624 --> 00:55:25,417
It should be left as it is.
954
00:55:25,500 --> 00:55:27,417
Dear Emili, dear friend.
955
00:55:27,500 --> 00:55:29,541
As you will have realized,
956
00:55:29,624 --> 00:55:32,749
Púbol is my obsession... ours, rather.
957
00:55:32,833 --> 00:55:36,208
So far, working together,
we have always triumphed.
958
00:55:36,291 --> 00:55:39,749
At Port Lligat, this little
house has become famous,
959
00:55:39,833 --> 00:55:41,156
and so we have a great responsibility
960
00:55:41,166 --> 00:55:44,541
for a grand new success, you and I.
961
00:55:44,624 --> 00:55:47,708
For the first time, after so many years,
962
00:55:47,791 --> 00:55:50,208
I saw Gala really obsessed
and very interested
963
00:55:50,291 --> 00:55:52,666
in the execution of the work on the castle.
964
00:55:52,749 --> 00:55:54,582
One day she said to me...
965
00:55:54,666 --> 00:55:56,791
Emili, time is a vital thing.
966
00:55:56,874 --> 00:55:58,916
Life is short, and so I have to be able
967
00:55:58,999 --> 00:56:00,458
to make use of the castle.
968
00:56:00,541 --> 00:56:02,582
Everything must be finished when we return
969
00:56:02,666 --> 00:56:05,083
from Paris and New York
at the end of next May.
970
00:56:05,166 --> 00:56:08,458
If this results in a higher cost
than envisaged, I do not mind.
971
00:56:08,541 --> 00:56:10,749
I have complete confidence in you.
972
00:56:10,833 --> 00:56:14,874
Both Dalí and Gala had
great hopes for their castle.
973
00:56:14,958 --> 00:56:17,041
He already had in mind
974
00:56:17,125 --> 00:56:19,582
a whole series of details for the decoration.
975
00:56:19,666 --> 00:56:21,916
Every day he had new ideas.
976
00:56:21,999 --> 00:56:24,874
But he was faced with
opposition from Gala, who said,
977
00:56:24,958 --> 00:56:26,083
"No, no, the castle is mine
978
00:56:26,166 --> 00:56:29,083
"and you must not intervene at all.
979
00:56:29,166 --> 00:56:32,375
"The reconstruction of the
castle is a matter for Emili and me,
980
00:56:32,458 --> 00:56:33,916
so do not get involved."
981
00:56:33,999 --> 00:56:35,874
Dalí smiled and replied,
982
00:56:35,958 --> 00:56:38,083
"Yes, yes, Galutxa.
983
00:56:38,166 --> 00:56:39,708
I very much agree on this."
984
00:56:39,791 --> 00:56:41,749
But he knew very well
that he would be the one
985
00:56:41,833 --> 00:56:43,473
who would really complete all the details
986
00:56:43,541 --> 00:56:45,417
and the decoration, and so it was.
987
00:56:46,833 --> 00:56:48,582
I have here the list of orders
988
00:56:48,666 --> 00:56:51,250
I have received from
Gala so far for her castle.
989
00:56:51,333 --> 00:56:52,958
A roof fifteen meters across
990
00:56:53,041 --> 00:56:54,156
that will represent, in
the Mediterranean sky,
991
00:56:54,166 --> 00:56:58,582
a nocturnal hole from
which surrealist objects fall.
992
00:56:58,666 --> 00:57:00,083
Chairs that do not touch the floor.
993
00:57:00,166 --> 00:57:03,250
Six water-fountain elephants with stork legs,
994
00:57:03,333 --> 00:57:07,250
which flow into the pool with the 27
ceramic heads of Richard Wagner.
995
00:57:07,333 --> 00:57:10,125
Screens painted with
optical illusion representations
996
00:57:10,208 --> 00:57:12,624
of heating radiators to conceal radiators.
997
00:57:12,708 --> 00:57:16,208
Solid gold taps and shower
heads for the bathroom
998
00:57:16,291 --> 00:57:17,624
that will be painted black
999
00:57:17,708 --> 00:57:19,156
because according to the rules of alchemy,
1000
00:57:19,166 --> 00:57:22,375
treasures must always be hidden.
1001
00:57:23,999 --> 00:57:25,989
When we come to the first
floor and see the first room,
1002
00:57:25,999 --> 00:57:28,250
we are amazed by the imaginative deluge
1003
00:57:28,333 --> 00:57:30,582
with which a setting has been created,
1004
00:57:30,666 --> 00:57:32,916
which transports us to the Middle Ages,
1005
00:57:32,999 --> 00:57:35,582
yet it is very clear that we
are not in the Middle Ages,
1006
00:57:35,666 --> 00:57:38,375
but in the world of Salvador Dalí.
1007
00:57:39,333 --> 00:57:42,458
It's like the intermission of a play.
1008
00:57:42,541 --> 00:57:43,749
Before we come in,
1009
00:57:43,833 --> 00:57:45,582
all the elements are already there...
1010
00:57:45,666 --> 00:57:48,582
Gala's throne, Gala's powerful presence
1011
00:57:48,666 --> 00:57:50,291
and then we come further in
1012
00:57:50,375 --> 00:57:52,582
to reach even more hidden spaces,
1013
00:57:52,666 --> 00:57:55,375
such as the library, or the bedroom.
1014
00:57:55,458 --> 00:57:57,375
But first, the magnificence.
1015
00:57:57,458 --> 00:57:58,458
Exactly!
1016
00:57:58,541 --> 00:58:00,916
Dalí used walls
1017
00:58:00,999 --> 00:58:03,541
and half-ruined roofs very intelligently,
1018
00:58:03,624 --> 00:58:07,582
creating unsuspected spaces of
strongly contrasted dimensions.
1019
00:58:07,666 --> 00:58:11,582
The result is a place with
spaces of great beauty,
1020
00:58:11,666 --> 00:58:14,375
such as the old kitchen
converted into a bathroom
1021
00:58:14,458 --> 00:58:15,999
or the Piano Room.
1022
00:58:20,041 --> 00:58:23,417
Dalí was interested in the concept of ruin.
1023
00:58:23,500 --> 00:58:26,749
In fact, all the houses that
make up the Dalí triangle
1024
00:58:26,833 --> 00:58:29,582
were rebuilt on top of ruined buildings.
1025
00:58:29,666 --> 00:58:33,541
And in all three, he always
applied the same criterion.
1026
00:58:33,624 --> 00:58:36,083
He reconstructed and redecorated them
1027
00:58:36,166 --> 00:58:38,083
as if they were sets
1028
00:58:38,166 --> 00:58:41,582
with elements that evoke the
Classical period of the Renaissance,
1029
00:58:41,666 --> 00:58:44,582
such as domes, columns or sculptures.
1030
00:58:44,666 --> 00:58:46,541
At Púbol in particular,
1031
00:58:46,624 --> 00:58:48,708
there is a clear scenographic intention
1032
00:58:48,791 --> 00:58:51,041
with links to Classicism and Romanticism.
1033
00:58:54,333 --> 00:58:57,291
Yes, for me, this whole area
of the pool and the garden
1034
00:58:57,375 --> 00:58:59,708
is the most scenographic part of the castle.
1035
00:58:59,791 --> 00:59:01,417
And as Dalí himself said:
1036
00:59:01,500 --> 00:59:04,582
"I am an eminently theatrical artist."
1037
00:59:04,666 --> 00:59:07,208
[Spanish to English None other than Visconti
1038
00:59:07,291 --> 00:59:09,417
considered that he had a theatrical talent
1039
00:59:09,500 --> 00:59:11,458
and a gift for the stage.
1040
00:59:15,833 --> 00:59:17,250
Then Dalí came.
1041
00:59:17,333 --> 00:59:19,500
I met him in Rome when
he was studying Bramante
1042
00:59:19,582 --> 00:59:22,041
and I was looking for
an eccentric set designer,
1043
00:59:22,125 --> 00:59:24,582
a magician, but one who really possessed
1044
00:59:24,666 --> 00:59:27,083
exactly as he demonstrated
in "As You Like It,"
1045
00:59:27,166 --> 00:59:29,708
the gift of creating a stage set.
1046
00:59:29,791 --> 00:59:32,208
For a month, he immersed
himself in the construction
1047
00:59:32,291 --> 00:59:34,624
of his geometric forest
of Raphaelesque trees,
1048
00:59:34,708 --> 00:59:36,417
among shepherds, courtiers,
1049
00:59:36,500 --> 00:59:38,666
sheep and atomic pomegranates.
1050
00:59:38,749 --> 00:59:41,083
Because Dalí needed
to step out of the canvas,
1051
00:59:41,166 --> 00:59:44,791
he needed to go far
beyond an exhibition room,
1052
00:59:44,874 --> 00:59:47,624
and these were arts that
allowed him to express himself
1053
00:59:47,708 --> 00:59:49,250
in his entirety.
1054
00:59:49,333 --> 00:59:51,458
His creativity in the field of set design
1055
00:59:51,541 --> 00:59:53,250
extended to the world of cinema,
1056
00:59:53,333 --> 00:59:55,083
especially in the U.S.,
1057
00:59:55,166 --> 00:59:57,083
where Alfred Hitchcock chose him
1058
00:59:57,166 --> 00:59:59,333
because he felt he was
the artist best equipped
1059
00:59:59,417 --> 01:00:01,417
to reflect the realm of the subconscious,
1060
01:00:01,500 --> 01:00:05,250
a realm that Dalí ended up
transporting into his own spaces.
1061
01:00:07,041 --> 01:00:08,958
I requested Dalí.
1062
01:00:09,041 --> 01:00:11,541
Selznick, the producer, had the impression
1063
01:00:11,624 --> 01:00:14,417
that I wanted Dalí for the publicity value.
1064
01:00:14,500 --> 01:00:16,083
That wasn't it at all.
1065
01:00:16,166 --> 01:00:19,458
Dalí was the best man for me to do the dreams
1066
01:00:19,541 --> 01:00:21,749
because that's what dreams should be.
1067
01:00:31,291 --> 01:00:33,582
Dalí took a special interest in the design
1068
01:00:33,666 --> 01:00:36,041
of the exterior spaces of the castle.
1069
01:00:38,458 --> 01:00:40,541
In Italy, he had been fascinated
1070
01:00:40,624 --> 01:00:43,250
by the baroque magic of
the gardens of Bomarzo,
1071
01:00:43,333 --> 01:00:44,791
not far from Rome.
1072
01:00:53,666 --> 01:00:56,250
Here again a reference
to Classical mythology,
1073
01:00:56,333 --> 01:00:58,458
to the labyrinth and to structures
1074
01:00:58,541 --> 01:01:00,250
that are both seen and not seen,
1075
01:01:00,333 --> 01:01:02,250
this play of visible and invisible,
1076
01:01:02,333 --> 01:01:04,916
which is always very present in Dalí.
1077
01:01:10,333 --> 01:01:13,582
Dalí was also a great
lover of forced perspectives,
1078
01:01:13,666 --> 01:01:15,708
the one that interested him the most
1079
01:01:15,791 --> 01:01:18,582
is the one in the Palazzo Spada in Rome.
1080
01:01:42,624 --> 01:01:45,375
What Dalí did with one
of the paths in the garden
1081
01:01:45,458 --> 01:01:48,749
was to project a perspective
like the one in the Palazzo Spada,
1082
01:01:48,833 --> 01:01:51,458
but instead of using
columns, he used the trees,
1083
01:01:51,541 --> 01:01:53,250
and in a very skillful way,
1084
01:01:53,333 --> 01:01:56,083
he had the trees planted
and the vegetation cut
1085
01:01:56,166 --> 01:01:59,708
in such a way as to create
this false perspective.
1086
01:02:03,624 --> 01:02:07,708
In 1974, the pool and the
garden were constructed.
1087
01:02:07,791 --> 01:02:09,458
With these interventions,
1088
01:02:09,541 --> 01:02:12,333
the work on the Castle
of Púbol was completed.
1089
01:02:16,333 --> 01:02:19,333
The Castle of Púbol was Dalí's gift to Gala,
1090
01:02:19,417 --> 01:02:22,417
his lady, to whom he rendered vassalage,
1091
01:02:22,500 --> 01:02:24,250
and agreed not to enter the castle
1092
01:02:24,333 --> 01:02:25,916
without her written permission.
1093
01:02:25,999 --> 01:02:28,582
I am giving you a Gothic castle, Gala.
1094
01:02:28,666 --> 01:02:30,375
I accept with one condition,
1095
01:02:30,458 --> 01:02:34,041
that you only come to visit
me at the castle by invitation.
1096
01:02:34,125 --> 01:02:35,541
I accept.
1097
01:02:35,624 --> 01:02:37,624
Since I accept in principle every condition
1098
01:02:37,708 --> 01:02:39,417
in which there are conditions.
1099
01:02:39,500 --> 01:02:41,140
It is the very principle of courtly love.
1100
01:02:46,791 --> 01:02:48,083
The day that Dalí decide
1101
01:02:48,166 --> 01:02:52,916
I give this castle and tell Gala
1102
01:02:52,999 --> 01:02:55,156
"please, you catch this
castle because it is one gift."
1103
01:02:55,166 --> 01:02:58,582
Tell "No! Only one condition...
1104
01:02:58,666 --> 01:03:01,708
You never come in this castle sin me,
1105
01:03:01,791 --> 01:03:04,582
only with written invitation.
1106
01:03:04,666 --> 01:03:05,874
From your wife?
1107
01:03:05,958 --> 01:03:08,250
From, from... and Dalí is...
1108
01:03:08,333 --> 01:03:09,958
every day more masochist,
1109
01:03:10,041 --> 01:03:13,083
and love tremendously this condition.
1110
01:03:13,166 --> 01:03:17,958
And now receive an invitation
and bring you this afternoon
1111
01:03:18,041 --> 01:03:19,874
and you look one second
1112
01:03:19,958 --> 01:03:23,791
the visual Gala open and close the door.
1113
01:03:23,874 --> 01:03:25,916
Gala became the impregnable castle
1114
01:03:25,999 --> 01:03:27,958
that she had never ceased to be.
1115
01:03:28,041 --> 01:03:30,375
Intimacy and, above all, familiarities
1116
01:03:30,458 --> 01:03:32,749
make all passions diminish.
1117
01:03:32,833 --> 01:03:34,541
Rigor of feeling and distances,
1118
01:03:34,624 --> 01:03:36,916
as demonstrated by the neurotic ceremonial
1119
01:03:36,999 --> 01:03:39,582
of courtly love, make passion grow.
1120
01:03:48,833 --> 01:03:52,749
Gala has always been considered
the muse of Salvador Dalí,
1121
01:03:52,833 --> 01:03:56,041
an inspiring muse and a mysterious woman.
1122
01:03:56,125 --> 01:03:58,916
Loved by some, hated by others,
1123
01:03:58,999 --> 01:04:01,041
she left no one indifferent.
1124
01:04:01,125 --> 01:04:03,375
She was a woman of great intuition,
1125
01:04:03,458 --> 01:04:06,125
with an exceptional artistic sensibility,
1126
01:04:06,208 --> 01:04:09,041
who recognized the
artistic and creative genius
1127
01:04:09,125 --> 01:04:12,417
of intellectual artists such as Paul Eluard,
1128
01:04:12,500 --> 01:04:15,250
Max Ernst, and Salvador Dalí.
1129
01:04:15,333 --> 01:04:17,208
She was a woman,
1130
01:04:17,291 --> 01:04:19,125
a strong character, Gala,
1131
01:04:19,208 --> 01:04:21,041
powerful, very cultured.
1132
01:04:21,125 --> 01:04:23,291
And she was in fact of the few women
1133
01:04:23,375 --> 01:04:25,458
to be accepted by the Surrealist group.
1134
01:04:27,166 --> 01:04:29,250
The relationship with the Surrealist group
1135
01:04:29,333 --> 01:04:31,582
was always, I believe, very conflictive,
1136
01:04:31,666 --> 01:04:33,291
because the Surrealist group,
1137
01:04:33,375 --> 01:04:35,708
however much they strove
to demonstrate the contrary,
1138
01:04:35,791 --> 01:04:39,500
was a group of petty bourgeois
captained by André Breton
1139
01:04:39,582 --> 01:04:42,624
who who wanted the world
to adapt itself to their needs.
1140
01:04:42,708 --> 01:04:44,333
Then along comes Gala,
1141
01:04:44,417 --> 01:04:46,916
who does not want the world
to adapt to Breton's needs,
1142
01:04:46,999 --> 01:04:51,500
and I think it turned into a conflict.
1143
01:04:51,582 --> 01:04:55,083
In 1917, Gala married Paul Eluard,
1144
01:04:55,166 --> 01:04:58,624
who introduced her into the
artistic and literary circles of Paris,
1145
01:04:58,708 --> 01:05:00,208
where she was one of the few women
1146
01:05:00,291 --> 01:05:02,541
accepted by the Surrealist group.
1147
01:05:02,624 --> 01:05:05,708
In 1929, Gala met Salvador Dalí
1148
01:05:05,791 --> 01:05:07,458
and they fell in love.
1149
01:05:07,541 --> 01:05:10,375
Eluard reluctantly accepted
that his wife was leaving him
1150
01:05:10,458 --> 01:05:13,749
for a young artist ten
years younger than she was,
1151
01:05:13,833 --> 01:05:17,417
an emotionally unstable
artist with an uncertain future.
1152
01:05:18,666 --> 01:05:20,083
Gala saw what Dalí was
1153
01:05:20,166 --> 01:05:23,916
and, of course, suddenly she meets this guy,
1154
01:05:23,999 --> 01:05:25,582
fascinating, totally crazy,
1155
01:05:25,666 --> 01:05:28,541
as he must have been at
that moment, spontaneous.
1156
01:05:28,624 --> 01:05:31,749
And she realizes that she
has a great deal to learn,
1157
01:05:31,833 --> 01:05:33,208
to look at, to shape...
1158
01:05:34,999 --> 01:05:37,250
She has in front of her a treasure,
1159
01:05:37,333 --> 01:05:38,749
she has a gift.
1160
01:05:40,666 --> 01:05:42,916
We are always ready to admit that suddenly,
1161
01:05:42,999 --> 01:05:45,541
great artists find their muses.
1162
01:05:45,624 --> 01:05:49,250
Well, I believe that Gala was a great artist
1163
01:05:49,333 --> 01:05:51,083
who found her muse in Dalí
1164
01:05:51,166 --> 01:05:53,083
and on that account
she left a successful poet,
1165
01:05:53,166 --> 01:05:56,417
a fascinating life of great pomp
1166
01:05:56,500 --> 01:05:58,541
with a great poet of Breton,
1167
01:05:58,624 --> 01:06:00,582
and went to live...
1168
01:06:00,666 --> 01:06:03,291
well, almost with fishermen,
with country people...
1169
01:06:05,833 --> 01:06:08,417
The most essential thing for me is love.
1170
01:06:08,500 --> 01:06:11,791
It is the axis of my
vitality and of my brain,
1171
01:06:11,874 --> 01:06:13,749
the spring that launches me forward
1172
01:06:13,833 --> 01:06:15,916
with elasticity and agility,
1173
01:06:15,999 --> 01:06:17,958
with more clarity and precision
1174
01:06:18,041 --> 01:06:20,250
in all the movements of my senses,
1175
01:06:20,333 --> 01:06:23,125
my impulses, my knowledge.
1176
01:06:24,833 --> 01:06:27,582
Gala had begun to explain
to me in minute detail
1177
01:06:27,666 --> 01:06:29,582
the reasons for her desire.
1178
01:06:29,666 --> 01:06:31,386
And it suddenly occurred to me that she too
1179
01:06:31,458 --> 01:06:33,874
had her inner world of desires and failures
1180
01:06:33,958 --> 01:06:35,749
and moved with her own rhythm
1181
01:06:35,833 --> 01:06:39,250
between the poles of lucidity and madness.
1182
01:06:39,333 --> 01:06:40,083
Throughout his autobiography,
1183
01:06:40,166 --> 01:06:43,125
Dalí tells us about Gala
1184
01:06:43,208 --> 01:06:46,541
in relation to desire and the
discovery of the sexual act.
1185
01:06:46,624 --> 01:06:48,083
I kissed her on the mouth,
1186
01:06:48,166 --> 01:06:49,958
inside her mouth.
1187
01:06:50,041 --> 01:06:52,417
It was the first time I did this.
1188
01:06:52,500 --> 01:06:56,083
I had not suspected until then
that one could kiss in this way.
1189
01:06:56,166 --> 01:06:58,041
With a single leap all the Parsifals
1190
01:06:58,125 --> 01:07:01,624
of my long-bridled and
tyrannized erotic desires rose,
1191
01:07:01,708 --> 01:07:04,417
awakened by the shocks of the flesh.
1192
01:07:04,500 --> 01:07:06,791
And then, also in his autobiography,
1193
01:07:06,874 --> 01:07:08,417
in an ironic tone,
1194
01:07:08,500 --> 01:07:11,582
the most Surrealist Dalí associates food
1195
01:07:11,666 --> 01:07:14,083
with the loved one who has to be devoured
1196
01:07:14,166 --> 01:07:16,874
in order to arrive in this way at total love.
1197
01:07:40,291 --> 01:07:43,417
Since Malaga, I had become Gala's pupil.
1198
01:07:43,500 --> 01:07:46,916
She had revealed to me
the principle of pleasure.
1199
01:07:46,999 --> 01:07:50,708
She taught me also the
principle of reality in all things.
1200
01:07:50,791 --> 01:07:52,749
She also taught me the
principle of proportion,
1201
01:07:52,833 --> 01:07:55,083
which slumbered in my intelligence.
1202
01:07:55,166 --> 01:07:57,582
She was the Angel of Equilibrium,
1203
01:07:57,666 --> 01:08:00,083
the precursor of my classicism.
1204
01:08:00,166 --> 01:08:05,083
Gala became the model and
muse that Dalí had been waiting for.
1205
01:08:05,166 --> 01:08:07,291
A muse that inspired him in the same way
1206
01:08:07,375 --> 01:08:09,749
that other women inspired
the Renaissance painters
1207
01:08:09,833 --> 01:08:11,749
that Dalí so admired...
1208
01:08:11,833 --> 01:08:15,458
"Galarina" is a clear example of this.
1209
01:08:17,500 --> 01:08:19,874
I called it "Galarina" because Gala is to me
1210
01:08:19,957 --> 01:08:22,125
the muse that La Fornarina was to Raphael.
1211
01:08:24,999 --> 01:08:26,957
In short, every good painter
1212
01:08:27,041 --> 01:08:29,332
who aspires to create authentic masterpieces
1213
01:08:29,417 --> 01:08:31,125
must first marry my wife Gala.
1214
01:08:33,999 --> 01:08:36,375
Gala took it on herself to provide Dalí
1215
01:08:36,457 --> 01:08:38,707
with the financial stability he needed,
1216
01:08:38,791 --> 01:08:41,457
in order to dedicate
himself exclusively to art.
1217
01:08:41,541 --> 01:08:44,125
It was she who, with great tenacity,
1218
01:08:44,207 --> 01:08:47,916
sought out the best dealers,
the most prestigious galleries
1219
01:08:47,999 --> 01:08:50,250
and the most refined clients to buy,
1220
01:08:50,332 --> 01:08:52,250
sell and exhibit Dalí's work.
1221
01:08:53,375 --> 01:08:55,417
In fact, Dalí never had a dealer
1222
01:08:55,500 --> 01:08:57,417
or a gallery to represent him.
1223
01:08:57,500 --> 01:08:58,624
Gala did it all.
1224
01:08:58,707 --> 01:09:00,250
We see the two of them
1225
01:09:00,332 --> 01:09:03,250
with the influential New
York gallerist Julien Levy.
1226
01:09:03,332 --> 01:09:06,375
This was part of her
role, the role she took on,
1227
01:09:06,457 --> 01:09:08,457
and she performed it very well.
1228
01:09:08,541 --> 01:09:10,916
She creates a place, a comfort zone,
1229
01:09:10,999 --> 01:09:12,749
as we would say in contemporary terms,
1230
01:09:12,832 --> 01:09:14,582
which is to be that woman,
1231
01:09:14,666 --> 01:09:16,749
as when she writes the letter to his father,
1232
01:09:16,832 --> 01:09:18,082
which she reads to her husband,
1233
01:09:18,166 --> 01:09:21,082
when she looks after him as Russian women do,
1234
01:09:21,166 --> 01:09:22,957
and from that parapet
1235
01:09:23,041 --> 01:09:25,041
she comes up with lots of different personas
1236
01:09:25,125 --> 01:09:27,791
between which she
modulated throughout her life.
1237
01:09:27,874 --> 01:09:29,791
I, like all of us Russian women,
1238
01:09:29,874 --> 01:09:32,749
personally help my husband in everything.
1239
01:09:32,832 --> 01:09:34,582
I try to lighten his load.
1240
01:09:34,666 --> 01:09:37,417
I have to do it, and in any case I enjoy it.
1241
01:09:37,500 --> 01:09:39,707
I often serve as his model,
1242
01:09:39,791 --> 01:09:42,582
I also act as secretary and
take charge of everything
1243
01:09:42,666 --> 01:09:44,916
to do with the practical part of our life,
1244
01:09:44,999 --> 01:09:47,291
I do all that because he, as you see,
1245
01:09:47,375 --> 01:09:49,791
is totally immersed in the creative world,
1246
01:09:49,874 --> 01:09:51,624
in his work.
1247
01:09:51,707 --> 01:09:54,082
He is not able to deal with these trifles.
1248
01:09:54,166 --> 01:09:55,083
I am not very brilliant either,
1249
01:09:55,166 --> 01:09:57,083
but we live like all artists,
1250
01:09:57,166 --> 01:10:00,916
we work, and that is
the most important thing.
1251
01:10:01,000 --> 01:10:04,958
The possibility of expressing
oneself thanks to a talent.
1252
01:10:07,166 --> 01:10:11,333
Gala alone was a witness to my furies,
1253
01:10:11,417 --> 01:10:13,417
my despairs,
1254
01:10:13,500 --> 01:10:15,250
my fugitive ecstasies
1255
01:10:15,333 --> 01:10:18,250
and my relapses into the bitterest pessimism.
1256
01:10:19,333 --> 01:10:21,083
She alone knows to what point
1257
01:10:21,166 --> 01:10:22,749
painting became for me at this period
1258
01:10:22,833 --> 01:10:25,417
a ferocious reason for living,
1259
01:10:25,500 --> 01:10:28,083
while at the same time it
became an even more ferocious
1260
01:10:28,166 --> 01:10:31,874
and unsatisfied reason for loving her, Gala,
1261
01:10:31,958 --> 01:10:34,083
for she and she alone was the reality.
1262
01:10:34,166 --> 01:10:37,916
And all that my eyes were
capable of seeing was "she."
1263
01:10:37,999 --> 01:10:39,417
And it was the portrait of her
1264
01:10:39,500 --> 01:10:43,083
that would be my work, my idea, my reality.
1265
01:10:58,874 --> 01:11:00,417
In his autobiography,
1266
01:11:00,500 --> 01:11:02,749
"The Secret Life of Salvador Dalí,"
1267
01:11:02,833 --> 01:11:05,916
the artist explains how at
a crucial moment in his life,
1268
01:11:05,999 --> 01:11:08,417
thanks to Gala, his work evolved,
1269
01:11:08,500 --> 01:11:12,083
fusing Surrealism with Classicism.
1270
01:11:12,166 --> 01:11:14,791
"My prisons were the
condition of my metamorphosis.
1271
01:11:14,874 --> 01:11:18,083
"But without Gala, they
threatened to become my coffins,
1272
01:11:18,166 --> 01:11:20,916
"and again it was Gala
who with her very teeth
1273
01:11:20,999 --> 01:11:22,541
"came to tear away the wrappings
1274
01:11:22,624 --> 01:11:25,208
"patiently woven by the
secretion of my anguish
1275
01:11:25,291 --> 01:11:28,375
and within which I was
beginning to decompose."
1276
01:11:33,125 --> 01:11:36,166
"Arise and walk!" I obeyed her
1277
01:11:36,250 --> 01:11:37,749
"You've accomplished nothing yet!
1278
01:11:37,833 --> 01:11:39,250
It is not time for you to die!"
1279
01:11:39,333 --> 01:11:42,582
My surrealist glory was worth nothing.
1280
01:11:42,666 --> 01:11:45,916
I must incorporate surrealism into tradition.
1281
01:11:45,999 --> 01:11:48,791
My imagination must become classic again.
1282
01:11:48,874 --> 01:11:51,208
I had before me a work to accomplish
1283
01:11:51,291 --> 01:11:54,125
for which the rest of
my life would not suffice.
1284
01:11:54,208 --> 01:11:56,375
Gala made me believe in this mission.
1285
01:12:20,666 --> 01:12:22,375
This time I will send you a catalogue
1286
01:12:22,458 --> 01:12:24,083
of the exhibition and you will see
1287
01:12:24,166 --> 01:12:25,749
that his paintings cannot be done
1288
01:12:25,833 --> 01:12:29,083
in a quarter of an hour
like most of modernism.
1289
01:12:29,166 --> 01:12:31,417
His technique is classical and the content,
1290
01:12:31,500 --> 01:12:34,333
we could say, is an absolutely new movement
1291
01:12:34,417 --> 01:12:35,916
with a symbolic meaning.
1292
01:12:37,166 --> 01:12:40,749
Gala signified all of his intelligence,
1293
01:12:40,833 --> 01:12:43,500
all his culture, all his creativity,
1294
01:12:43,582 --> 01:12:47,375
all his... his pragmatic sense of life.
1295
01:12:47,458 --> 01:12:49,291
Because she was also...
1296
01:12:49,375 --> 01:12:51,417
she could serve as a crutch, right?
1297
01:12:51,500 --> 01:12:54,458
But she was absolutely
essential for Dalí's life,
1298
01:12:54,541 --> 01:12:57,749
his creative and pragmatic life.
1299
01:12:57,833 --> 01:12:59,458
Since my Surrealist period,
1300
01:12:59,541 --> 01:13:03,624
I have signed my best
paintings "Gala Salvador Dalí."
1301
01:13:03,708 --> 01:13:05,749
It is not necessary to be Sartre
1302
01:13:05,833 --> 01:13:07,916
to affirm that the name is the person,
1303
01:13:07,999 --> 01:13:09,833
but it is necessary to be Dalí
1304
01:13:09,916 --> 01:13:11,417
to affirm that the superperson,
1305
01:13:11,500 --> 01:13:12,916
the superman of Nietzsche
1306
01:13:13,000 --> 01:13:15,833
and the Dalinian superwoman are his castle.
1307
01:13:17,666 --> 01:13:20,417
I think that Gala was in
camouflage all the time,
1308
01:13:20,500 --> 01:13:22,624
which is to say that from that point of view
1309
01:13:22,708 --> 01:13:26,250
I think of Gala almost as a
kind of postmodern heroine.
1310
01:13:26,333 --> 01:13:29,125
We said before that the
title "The Visible Woman"
1311
01:13:29,208 --> 01:13:31,250
is almost a contradiction, really,
1312
01:13:31,333 --> 01:13:34,083
because in fact Gala is the invisible woman,
1313
01:13:34,166 --> 01:13:36,291
the one we do not get to know, right?
1314
01:13:36,375 --> 01:13:39,083
And this is part of her mystery.
1315
01:13:39,166 --> 01:13:42,582
From the beginning I
imposed a very personal norm
1316
01:13:42,666 --> 01:13:44,958
that has nothing to do neither with morals
1317
01:13:45,041 --> 01:13:46,916
nor with ethics or with anything.
1318
01:13:46,999 --> 01:13:49,458
I adopted it by and for myself,
1319
01:13:49,541 --> 01:13:53,417
and it consists in not agreeing
to any request for an interview,
1320
01:13:53,500 --> 01:13:55,833
in not making any statement for the press.
1321
01:13:55,916 --> 01:13:58,916
I want to go down in history as a legend.
1322
01:13:58,999 --> 01:14:00,916
When everything is over and done with,
1323
01:14:00,999 --> 01:14:03,250
when everything that is now cloudy is clean,
1324
01:14:03,333 --> 01:14:06,541
when time has passed,
things will be said about me,
1325
01:14:06,624 --> 01:14:08,916
for good or ill, but for now,
1326
01:14:08,999 --> 01:14:11,708
I do not want anything to be said.
1327
01:14:16,208 --> 01:14:19,041
On June 10, 1982,
1328
01:14:19,125 --> 01:14:20,958
Gala died in Port Lligat
1329
01:14:21,041 --> 01:14:23,333
and was taken to her Castle of Púbol,
1330
01:14:23,417 --> 01:14:24,749
where she is buried.
1331
01:14:24,833 --> 01:14:26,417
Just a few months before,
1332
01:14:26,500 --> 01:14:29,083
in view of the precarious
state of his wife's health,
1333
01:14:29,166 --> 01:14:31,708
Dalí took it on himself to prepare a crypt
1334
01:14:31,791 --> 01:14:35,417
in the space formerly
used to store the tithes.
1335
01:14:35,500 --> 01:14:37,958
Finally we buried Gala in her tomb,
1336
01:14:38,041 --> 01:14:39,791
which had been made ready.
1337
01:14:39,874 --> 01:14:43,083
A priest from a nearby town
officiated at the ceremony
1338
01:14:43,166 --> 01:14:45,083
and Dalí, deeply moved,
1339
01:14:45,166 --> 01:14:47,375
managed to attend the
funeral for a few moments
1340
01:14:47,458 --> 01:14:49,541
before leaving abruptly.
1341
01:14:49,624 --> 01:14:52,083
Dalí had to leave his wife's funeral.
1342
01:14:52,166 --> 01:14:53,958
It was too painful for him.
1343
01:14:55,208 --> 01:14:58,083
Downcast, he retired to the Piano Room.
1344
01:14:58,166 --> 01:15:00,375
He did not want anyone near him,
1345
01:15:00,458 --> 01:15:02,041
other than his faithful friend
1346
01:15:02,125 --> 01:15:04,582
Antoni Pitxot, who was also an artist.
1347
01:15:27,708 --> 01:15:29,083
"The Death of Hector,"
1348
01:15:29,166 --> 01:15:31,458
represented in the tapestry in this room,
1349
01:15:31,541 --> 01:15:34,250
was quite significant in
those moments of pain.
1350
01:15:34,333 --> 01:15:36,874
During the funeral, Dalí and Pitxot
1351
01:15:36,958 --> 01:15:40,208
sat for over an hour
in front of the tapestry.
1352
01:15:40,291 --> 01:15:43,041
According to Pitxot, Dalí was absent,
1353
01:15:43,125 --> 01:15:45,250
contained, even expressionless,
1354
01:15:45,333 --> 01:15:46,958
staring into space.
1355
01:15:47,041 --> 01:15:49,125
To distract and rouse him,
1356
01:15:49,208 --> 01:15:51,458
Pitxot talked about the
tapestry in front of them
1357
01:15:51,541 --> 01:15:53,749
depicting a scene from "The Iliad"
1358
01:15:53,833 --> 01:15:56,916
of Hector being killed by a spear.
1359
01:15:56,999 --> 01:16:00,624
Eventually, Dalí looked up
up and focused on the scene.
1360
01:16:00,708 --> 01:16:02,458
And after a moment's reflection,
1361
01:16:02,541 --> 01:16:04,083
made the following comment.
1362
01:16:04,166 --> 01:16:06,458
This is what has happened to me, Antoni.
1363
01:16:06,541 --> 01:16:08,708
The final spear-thrust.
1364
01:16:08,791 --> 01:16:11,041
His magnificent house of cards has collapsed.
1365
01:16:11,125 --> 01:16:12,708
Gala was dead.
1366
01:16:12,791 --> 01:16:14,708
We have to think that Dalí...
1367
01:16:14,791 --> 01:16:16,666
it's what we were saying, isn't it?
1368
01:16:16,749 --> 01:16:19,582
For some years he had been
aware that he was getting old,
1369
01:16:19,666 --> 01:16:23,624
and on top of that in 1982
he found himself alone.
1370
01:16:23,708 --> 01:16:26,417
For the first time in his life
he was alone in the world
1371
01:16:26,500 --> 01:16:28,417
because he no longer had Gala,
1372
01:16:28,500 --> 01:16:31,083
he had no one to cover reality for him.
1373
01:16:33,582 --> 01:16:35,041
After Gala's death,
1374
01:16:35,125 --> 01:16:37,749
Dalí didn't want to go back to Port Lligat.
1375
01:16:37,833 --> 01:16:39,833
He told Antoni Pitxot
1376
01:16:39,916 --> 01:16:42,916
that he intended to stay at
the castle to be close to her.
1377
01:16:43,000 --> 01:16:45,541
I have been worried, and thinking all night,
1378
01:16:45,624 --> 01:16:47,666
and I have made this decision.
1379
01:16:47,749 --> 01:16:50,458
I do not want to go back to Cadaqués anymore.
1380
01:16:50,541 --> 01:16:52,000
I want to stay in the castle.
1381
01:17:06,833 --> 01:17:09,458
Dalí moved into Gala's room.
1382
01:17:09,541 --> 01:17:13,083
He slept in her bed and
shut himself up in the castle,
1383
01:17:13,166 --> 01:17:15,833
not going outside and seeing almost no one
1384
01:17:15,916 --> 01:17:17,476
except for the staff and Antoni Pitxot.
1385
01:18:17,999 --> 01:18:21,541
The days were passing
and Dalí was still no better.
1386
01:18:21,624 --> 01:18:23,500
Artur, his butler,
1387
01:18:23,582 --> 01:18:26,541
occasionally got him to walk in the garden.
1388
01:18:26,624 --> 01:18:27,250
On one of these walks,
1389
01:18:27,333 --> 01:18:30,582
on which I also accompanied him,
1390
01:18:30,666 --> 01:18:33,041
he pointed with his cane to the wall
1391
01:18:33,125 --> 01:18:34,916
that was near us and said...
1392
01:18:34,999 --> 01:18:36,749
Tell them to raise it half a meter
1393
01:18:36,833 --> 01:18:39,250
so that I cannot be seen
from the neighboring field.
1394
01:18:39,333 --> 01:18:41,458
A few days later,
1395
01:18:41,541 --> 01:18:43,166
the wall had been built up.
1396
01:18:43,250 --> 01:18:46,541
Dalí was enclosed in on himself, absent.
1397
01:18:46,624 --> 01:18:50,375
His health was deteriorating
with every day that passed,
1398
01:18:50,458 --> 01:18:51,916
he did not want to eat
1399
01:18:51,999 --> 01:18:54,416
and the nurses no longer
knew what to do with him.
1400
01:18:54,500 --> 01:18:56,708
He didn't want to see anyone.
1401
01:19:17,666 --> 01:19:21,125
Antoni Pitxot came over
every day from Cadaqués
1402
01:19:21,208 --> 01:19:23,166
to visit him and tried to encourage him
1403
01:19:23,250 --> 01:19:25,999
to regain his enthusiasm for painting,
1404
01:19:26,083 --> 01:19:27,958
but he did not find it easy.
1405
01:19:28,041 --> 01:19:29,708
Dalí was not the same.
1406
01:19:29,791 --> 01:19:32,416
From his bed, he asked
him to close the curtains
1407
01:19:32,500 --> 01:19:34,582
so as not to let the sunlight in.
1408
01:19:34,666 --> 01:19:37,791
Close the curtains! That is life!
1409
01:19:37,874 --> 01:19:40,083
Many days when I arrived in the morning
1410
01:19:40,166 --> 01:19:41,823
and asked him how he was, he would answer me,
1411
01:19:41,833 --> 01:19:44,582
"I'm dying, I'm dying." And things like that.
1412
01:19:44,666 --> 01:19:46,582
Then, to change the tone of sadness
1413
01:19:46,666 --> 01:19:48,083
and give it a brighter turn,
1414
01:19:48,166 --> 01:19:49,083
I would say, "Why don't you sing it to me?
1415
01:19:49,166 --> 01:19:52,749
"Like that song I'm sure
you know that goes...
1416
01:19:52,833 --> 01:19:54,791
♪ Con el ay, con el Marabay ♪
1417
01:19:54,874 --> 01:19:56,624
♪ Con el ú, con el Marabú ♪
1418
01:19:56,708 --> 01:19:58,083
♪ Ay, que me mu, que me muero... ♪
1419
01:19:58,166 --> 01:20:01,416
[woman continues singing "El Marabú"
1420
01:20:04,624 --> 01:20:07,291
And he immediately opened his eyes and said,
1421
01:20:07,375 --> 01:20:08,916
"San Juan de la Cruz,"
1422
01:20:08,999 --> 01:20:12,416
which is exactly how the
bolero "Marabú" continues.
1423
01:20:12,500 --> 01:20:14,582
Then Dalí became more lively
1424
01:20:14,666 --> 01:20:16,582
and made the nurses
laugh by singing all kinds
1425
01:20:16,666 --> 01:20:18,582
of nonsense and songs of that time.
1426
01:20:22,833 --> 01:20:24,666
In those difficult days,
1427
01:20:24,749 --> 01:20:26,874
in order to stimulate his friend,
1428
01:20:26,958 --> 01:20:29,041
Pitxot brought him a lot of sketchbooks,
1429
01:20:29,125 --> 01:20:31,582
so he would have them
to hand and feel prompted
1430
01:20:31,666 --> 01:20:33,582
to draw or paint.
1431
01:20:33,666 --> 01:20:35,541
One day I arrived and I found him
1432
01:20:35,624 --> 01:20:37,582
with one of those sketchbooks in his hands.
1433
01:20:37,666 --> 01:20:39,416
I said to myself "At last!"
1434
01:20:39,500 --> 01:20:40,864
And I asked him, "What are you doing?"
1435
01:20:40,874 --> 01:20:43,416
And he tore out a sheet
in tremendous ill humor
1436
01:20:43,500 --> 01:20:45,208
and threw it on the floor.
1437
01:20:45,291 --> 01:20:47,458
When he threw the first sheet I said nothing.
1438
01:20:47,541 --> 01:20:50,749
Then he threw six or
seven balls of paper in a row,
1439
01:20:50,833 --> 01:20:53,582
as if expressing a feeling
of suppressed rage.
1440
01:20:53,666 --> 01:20:55,156
Then I said in a rather pacifying tone,
1441
01:20:55,166 --> 01:20:57,708
"I'm sure this thing you're doing
1442
01:20:57,791 --> 01:20:59,191
"responds to some feeling you have,
1443
01:20:59,208 --> 01:21:01,041
"but let me tell you that it's absurd.
1444
01:21:01,125 --> 01:21:03,083
Give it a function, that's what it's for."
1445
01:21:03,166 --> 01:21:04,083
And he threw another
ball of paper on the floor.
1446
01:21:04,166 --> 01:21:06,916
"That's okay. Carry on.
1447
01:21:06,999 --> 01:21:08,416
"If you like, we'll bring you more
1448
01:21:08,500 --> 01:21:10,916
"so you can cover the
floor with crumpled paper.
1449
01:21:11,000 --> 01:21:14,250
Then he beckoned to me to
come closer and he snarled,
1450
01:21:14,333 --> 01:21:19,208
"Dying is probably like
crumpling up sheets of paper."
1451
01:21:19,291 --> 01:21:22,208
But Antoni Pitxot did not give up.
1452
01:21:22,291 --> 01:21:24,708
He knew that the only way to stimulate Dalí
1453
01:21:24,791 --> 01:21:26,416
was through painting.
1454
01:21:26,500 --> 01:21:28,582
I need you to recapture
the spark of the painting,
1455
01:21:28,666 --> 01:21:30,582
which is my religion.
1456
01:21:30,666 --> 01:21:33,582
You know that I don't believe in
anything, only in good painting.
1457
01:21:33,666 --> 01:21:35,791
I believe in Rembrandt's
"The Slaughtered Ox,"
1458
01:21:35,874 --> 01:21:38,749
the brushstrokes of which,
as our teacher Nuñez said,
1459
01:21:38,833 --> 01:21:41,624
deserve to be kissed. You remember?
1460
01:21:41,708 --> 01:21:43,874
If I can't follow this cult of my religion,
1461
01:21:43,958 --> 01:21:45,874
then I will stop coming.
1462
01:21:45,958 --> 01:21:48,582
I promise you that tomorrow
I will do something again.
1463
01:22:11,166 --> 01:22:13,083
Antoni Pitxot's persistence paid off,
1464
01:22:13,166 --> 01:22:17,749
and by the end of 1982,
Dalí was active once more,
1465
01:22:17,833 --> 01:22:19,749
working obsessively in the sketchbooks,
1466
01:22:19,833 --> 01:22:23,125
drawing symbols inspired
by the catastrophe theory
1467
01:22:23,208 --> 01:22:26,083
of the French mathematician René Thom
1468
01:22:26,166 --> 01:22:30,250
and creating what he called
catastropheiform writing.
1469
01:22:30,333 --> 01:22:32,749
When I finally got him to paint again,
1470
01:22:32,833 --> 01:22:35,916
this is what he came up
with, which I found wonderful.
1471
01:22:35,999 --> 01:22:38,916
They were in a sense
the signs of his ailments,
1472
01:22:38,999 --> 01:22:42,541
but expressed in an
absolutely free, fantastic way.
1473
01:22:42,624 --> 01:22:43,250
He filled whole sketchbooks,
1474
01:22:43,333 --> 01:22:45,958
drawing in those same sketchbooks
1475
01:22:46,041 --> 01:22:48,541
from which he had torn out the
pages and crumpled them up.
1476
01:22:48,624 --> 01:22:53,041
He covered page after page
with these catastropheiform signs.
1477
01:22:53,125 --> 01:22:56,791
After a period of emotional
and physical crisis,
1478
01:22:56,874 --> 01:23:00,083
Dalí was ready to pick up his brushes again.
1479
01:23:00,166 --> 01:23:02,958
He chose a spot in the
main hall of the castle,
1480
01:23:03,041 --> 01:23:06,458
next to a window, and set up his easel there,
1481
01:23:06,541 --> 01:23:09,083
adapting it as an improvised studio,
1482
01:23:09,166 --> 01:23:11,874
which was to be his last studio.
1483
01:23:11,958 --> 01:23:13,156
Dalí gives form in these works
1484
01:23:13,166 --> 01:23:15,958
to the subjects that obsess him...
1485
01:23:16,041 --> 01:23:18,916
immortality, and the nostalgia for a past
1486
01:23:18,999 --> 01:23:20,582
that will not return again.
1487
01:23:20,666 --> 01:23:22,458
Mine is no longer an imagination
1488
01:23:22,541 --> 01:23:24,624
at the service of caprice and dreams,
1489
01:23:24,708 --> 01:23:26,416
or of automatism,
1490
01:23:26,500 --> 01:23:28,208
now I paint meaningful things
1491
01:23:28,291 --> 01:23:30,458
taken directly from my own existence,
1492
01:23:30,541 --> 01:23:33,958
from my illness or from
my most present memories.
1493
01:23:34,041 --> 01:23:35,582
One of these oil paintings,
1494
01:23:35,666 --> 01:23:38,416
"We'll Be Arriving Later, Around Five,"
1495
01:23:38,500 --> 01:23:42,083
is a curiously enigmatic
image of a dark interior.
1496
01:23:42,166 --> 01:23:45,749
At the back of this work
lies the theme of mortality,
1497
01:23:45,833 --> 01:23:48,416
and the fact that it depicts a removal van,
1498
01:23:48,500 --> 01:23:50,250
takes us back to Dalí's youth,
1499
01:23:50,333 --> 01:23:52,916
when he heard André Breton declare,
1500
01:23:52,999 --> 01:23:57,125
"I ask to be conducted to the
cemetery in a removal van."
1501
01:23:58,666 --> 01:24:01,208
This painting, "Swallow's Tail," from 1983,
1502
01:24:01,291 --> 01:24:03,582
is the last oil Dalí painted,
1503
01:24:03,666 --> 01:24:06,083
and he painted it at Púbol. It is, then,
1504
01:24:06,166 --> 01:24:09,541
another reference to the
catastrophe theory of René Thom,
1505
01:24:09,624 --> 01:24:11,874
in which Dalí was interested at the time,
1506
01:24:11,958 --> 01:24:15,041
from various angles,
including the scientific.
1507
01:24:15,125 --> 01:24:17,416
These oils from Dalí's last period,
1508
01:24:17,500 --> 01:24:20,416
marked by his interest in catastrophe theory,
1509
01:24:20,500 --> 01:24:23,083
bear witness to a world that is ending,
1510
01:24:23,166 --> 01:24:24,833
something that is collapsing.
1511
01:24:24,916 --> 01:24:28,375
They are a kind of
self-portrait of his final stage.
1512
01:24:28,458 --> 01:24:30,041
And in a way,
1513
01:24:30,125 --> 01:24:33,375
these works also have a
premonitory significance.
1514
01:24:40,166 --> 01:24:43,458
Salvador Dalí suffered minor burns
1515
01:24:43,541 --> 01:24:45,708
when his bedroom at Púbol caught fire.
1516
01:24:45,791 --> 01:24:48,582
A fire which completely destroyed Dalí's room
1517
01:24:48,666 --> 01:24:50,125
broke out at dawn yesterday
1518
01:24:50,208 --> 01:24:52,375
at the painter's habitual residence.
1519
01:24:53,624 --> 01:24:55,708
Dalí, who is relatively unharmed,
1520
01:24:55,791 --> 01:24:57,541
according to those closest to him,
1521
01:24:57,624 --> 01:25:00,749
has minor burns on his
right thigh and right forearm,
1522
01:25:00,833 --> 01:25:03,208
and was slightly affected by the smoke.
1523
01:25:03,291 --> 01:25:06,416
The doctors recommended
that Dalí be moved to a hospital.
1524
01:25:07,458 --> 01:25:09,125
The painter Antonio Pitxot
1525
01:25:09,208 --> 01:25:13,125
attributed the cause of
the fire to a short circuit.
1526
01:25:13,208 --> 01:25:16,083
The nurses had a bell
installed in Dalí's room
1527
01:25:16,166 --> 01:25:18,416
in case he should needed anything.
1528
01:25:18,500 --> 01:25:20,749
That night, in a state of nerves,
1529
01:25:20,833 --> 01:25:23,166
Dalí pressed the button so many times
1530
01:25:23,250 --> 01:25:27,333
that it caused a short circuit
and started a fire in his bed.
1531
01:25:38,833 --> 01:25:41,708
Dalí had to be admitted
to a clinic in Barcelona
1532
01:25:41,791 --> 01:25:43,916
to treat his burns.
1533
01:25:43,999 --> 01:25:45,916
But on his way to Barcelona,
1534
01:25:45,999 --> 01:25:49,083
he asked for the ambulance to
take him to his Museum in Figueres
1535
01:25:49,166 --> 01:25:51,166
so he could see it at night,
1536
01:25:51,250 --> 01:25:54,916
probably thinking that he
would never do so again.
1537
01:25:54,999 --> 01:25:56,791
So, in the middle of the night,
1538
01:25:56,874 --> 01:25:59,916
the nurses, the doctor
and Dalí's usual retinue
1539
01:25:59,999 --> 01:26:02,333
accompanied the injured painter
1540
01:26:02,416 --> 01:26:05,291
as he visited the rooms
of his Museum one by one,
1541
01:26:05,375 --> 01:26:07,582
before being taken to the clinic.
1542
01:26:14,833 --> 01:26:17,083
He paid special attention to the boat
1543
01:26:17,166 --> 01:26:21,916
that he and Gala often used
when they lived at Port Lligat,
1544
01:26:21,999 --> 01:26:23,666
which that very day had been put in place
1545
01:26:23,749 --> 01:26:26,458
as part of a central
installation in the courtyard.
1546
01:26:41,500 --> 01:26:44,416
Many people will not know
the geographical locations
1547
01:26:44,500 --> 01:26:46,250
of Figueres and Púbol,
1548
01:26:46,333 --> 01:26:48,708
but it took a special effort
for a person in his condition
1549
01:26:48,791 --> 01:26:51,208
to go to Figueres, which
was quite out of the way.
1550
01:26:51,291 --> 01:26:53,749
In other words, it says a lot
about what he was thinking,
1551
01:26:53,833 --> 01:26:56,541
about what was on his mind at that moment.
1552
01:26:56,624 --> 01:26:58,749
During this convalescent period,
1553
01:26:58,833 --> 01:27:01,291
as the day approached
when he would be discharged
1554
01:27:01,375 --> 01:27:02,916
and leave the clinic,
1555
01:27:02,999 --> 01:27:06,250
the dilemma as to his
future residence returns.
1556
01:27:06,333 --> 01:27:08,541
He could not go back to the castle,
1557
01:27:08,624 --> 01:27:11,250
because the fire meant
that repairs were needed
1558
01:27:11,333 --> 01:27:13,291
and he could not live there.
1559
01:27:13,375 --> 01:27:16,208
As Dalí was well on the way to recovery,
1560
01:27:16,291 --> 01:27:18,416
the question was put to him.
1561
01:27:18,500 --> 01:27:22,250
His answer was immediate and concise.
1562
01:27:22,333 --> 01:27:25,666
I will go to Figueres, to the Torre Galatea!
1563
01:27:32,874 --> 01:27:34,708
The Torre Galatea,
1564
01:27:34,791 --> 01:27:36,749
formerly known as the Torre Gorgot,
1565
01:27:36,833 --> 01:27:39,250
is an annex to the Dalí Museum.
1566
01:27:39,333 --> 01:27:41,749
The tower dates from the 17th century
1567
01:27:41,833 --> 01:27:44,333
and preserves the only visible remnants
1568
01:27:44,416 --> 01:27:46,916
of the old mediaeval wall of Figueres.
1569
01:27:46,999 --> 01:27:49,041
Salvador Dalí had refurbished it,
1570
01:27:49,125 --> 01:27:51,041
connected it to the Theatre-Museum,
1571
01:27:51,125 --> 01:27:53,708
and given it the name of Torre Galatea.
1572
01:27:53,791 --> 01:27:57,375
In addition, in honor of all
the enigmas surrounding Gala,
1573
01:27:57,458 --> 01:28:00,291
he transformed its general
appearance with bright colors,
1574
01:28:00,375 --> 01:28:02,749
loaves of bread and eggs on the façade.
1575
01:28:02,833 --> 01:28:04,791
Precisely at that time,
1576
01:28:04,874 --> 01:28:07,708
Dalí at Púbol was working
on the Torre Galatea.
1577
01:28:07,791 --> 01:28:09,125
It was from Púbol
1578
01:28:09,208 --> 01:28:12,125
that he redesigned and
decorated the Torre Galatea.
1579
01:28:12,208 --> 01:28:14,458
What I am saying is that we can clearly see
1580
01:28:14,541 --> 01:28:17,250
that Dalí in Púbol was thinking more and more
1581
01:28:17,333 --> 01:28:19,250
about his real masterpiece,
1582
01:28:19,333 --> 01:28:22,250
which is the Dalí Theatre-Museum.
1583
01:28:24,833 --> 01:28:27,416
Prolonging my Theatre-Museum of Figueres,
1584
01:28:27,500 --> 01:28:29,708
I declare that from now on, Torre Gorgot
1585
01:28:29,791 --> 01:28:32,208
will be called Torre Galatea.
1586
01:28:32,291 --> 01:28:34,708
I raise a monument, unique in the world,
1587
01:28:34,791 --> 01:28:38,041
in honor of all enigmas.
1588
01:28:44,624 --> 01:28:47,582
The curious thing is that he
returned to his home town,
1589
01:28:47,666 --> 01:28:50,749
Figueres, which he had left long before.
1590
01:28:50,833 --> 01:28:53,083
In fact, he wanted to come back here
1591
01:28:53,166 --> 01:28:54,791
to feel close to the Museum,
1592
01:28:54,874 --> 01:28:56,874
the church where he was baptized,
1593
01:28:56,958 --> 01:28:59,250
and also the place where his father organized
1594
01:28:59,333 --> 01:29:01,208
his first painting exhibition.
1595
01:29:01,291 --> 01:29:03,041
He wanted to close the circle.
1596
01:29:03,125 --> 01:29:05,041
Indeed, he wanted to close it so much
1597
01:29:05,125 --> 01:29:08,083
that he even said that he was
to be buried in the Museum.
1598
01:29:08,166 --> 01:29:12,375
I believe that in itself is the
total culmination of his work.
1599
01:29:14,166 --> 01:29:16,250
In October 1984,
1600
01:29:16,333 --> 01:29:19,749
Dalí settled permanently
in the Torre Galatea,
1601
01:29:19,833 --> 01:29:23,541
in a set of rooms that communicated
internally with the Museum.
1602
01:29:24,999 --> 01:29:27,916
I think another of the
reasons why he chose it
1603
01:29:27,999 --> 01:29:29,156
is also because there is a huge window
1604
01:29:29,166 --> 01:29:32,582
that looks out on the wall of the Museum
1605
01:29:32,666 --> 01:29:35,375
and that was an absolutely direct connection
1606
01:29:35,458 --> 01:29:37,291
that he established with his Museum.
1607
01:29:38,791 --> 01:29:40,156
In his room, Dalí often spent hours
1608
01:29:40,166 --> 01:29:42,916
looking at the stone wall opposite.
1609
01:29:42,999 --> 01:29:45,749
This reminded him of
what Leonardo da Vinci said
1610
01:29:45,833 --> 01:29:47,916
about being able to see
images of great battles
1611
01:29:47,999 --> 01:29:49,791
in the stains on a wall,
1612
01:29:49,874 --> 01:29:51,874
and of Piero di Cosimo
1613
01:29:51,958 --> 01:29:53,916
among the tuberculosis patients,
1614
01:29:53,999 --> 01:29:57,749
who saw dragons and other monsters
in the sputum coughed onto the walls.
1615
01:29:57,833 --> 01:30:00,916
Dalí, who had always known
how to see beyond reality,
1616
01:30:00,999 --> 01:30:03,083
found in these visions a form of escape.
1617
01:30:04,500 --> 01:30:07,041
He led a very closed life,
1618
01:30:07,125 --> 01:30:09,874
and he chose to see only a few people,
1619
01:30:09,958 --> 01:30:12,708
his staff of nurses, his whole team,
1620
01:30:12,791 --> 01:30:14,749
and especially Antoni Pitxot.
1621
01:30:14,833 --> 01:30:16,291
It was interesting because
1622
01:30:16,375 --> 01:30:18,291
I was with Dalí for some of this time.
1623
01:30:18,375 --> 01:30:21,291
In fact he had asked me
to read Stephen Hawking's
1624
01:30:21,375 --> 01:30:23,500
"A Brief History of Time" to him.
1625
01:30:23,582 --> 01:30:26,749
And we would read articles
from the "Scientific American,"
1626
01:30:26,833 --> 01:30:29,250
because he had not lost his curiosity.
1627
01:30:29,333 --> 01:30:31,541
He still had that very profound vision
1628
01:30:31,624 --> 01:30:34,749
and that curiosity, which
he never lost for a moment.
1629
01:30:36,125 --> 01:30:38,958
Dalí's doctors were visiting him regularly,
1630
01:30:39,041 --> 01:30:41,208
and although his condition was stable,
1631
01:30:41,291 --> 01:30:43,291
he was fully aware that he was in a process
1632
01:30:43,375 --> 01:30:45,582
of irreversible deterioration.
1633
01:30:45,666 --> 01:30:48,083
Pitxot, always close to his friend,
1634
01:30:48,166 --> 01:30:50,458
was by his side, supporting him.
1635
01:31:11,708 --> 01:31:14,125
They were very hard moments for Dalí
1636
01:31:14,208 --> 01:31:16,749
because he was someone
who had created that mask,
1637
01:31:16,833 --> 01:31:18,541
his persona as such,
1638
01:31:18,624 --> 01:31:20,041
which was one of his works,
1639
01:31:20,125 --> 01:31:23,416
and he was perfectly aware of his decline,
1640
01:31:23,500 --> 01:31:25,708
precisely because he retained that lucidity,
1641
01:31:25,791 --> 01:31:28,541
that magnificent mind he always had,
1642
01:31:28,624 --> 01:31:31,708
while his physical condition
was failing to keep up with it.
1643
01:31:38,791 --> 01:31:40,708
Every night, before going to bed,
1644
01:31:40,791 --> 01:31:43,916
Dalí would always ask
Antoni Pitxot the same thing.
1645
01:31:43,999 --> 01:31:46,791
He wanted to hear
Wagner's "Tristan and Isolde."
1646
01:31:46,874 --> 01:31:49,000
In the opera, there is an apotheosis
1647
01:31:49,083 --> 01:31:50,958
in which Tristan descends from the sky
1648
01:31:51,041 --> 01:31:52,582
and the trumpets sound.
1649
01:31:52,666 --> 01:31:54,156
This represents the arrival of Tristan,
1650
01:31:54,166 --> 01:31:57,541
and it was only then that Pitxot leaves
1651
01:31:57,624 --> 01:31:59,250
and Dalí would fall asleep.
1652
01:32:21,458 --> 01:32:23,416
Dalí was always interested in science,
1653
01:32:23,500 --> 01:32:25,916
in the possibilities it offered him,
1654
01:32:25,999 --> 01:32:27,749
in optical phenomena.
1655
01:32:27,833 --> 01:32:30,458
And he was always
interested in new languages.
1656
01:32:30,541 --> 01:32:32,582
That was the way that Dalí found
1657
01:32:32,666 --> 01:32:35,041
to go on explaining the inexplicable,
1658
01:32:35,125 --> 01:32:37,375
by way of science, when it seemed to him
1659
01:32:37,458 --> 01:32:40,208
that other approaches had been exhausted.
1660
01:32:47,958 --> 01:32:50,708
And a symposium on determinism and freedom
1661
01:32:50,791 --> 01:32:52,458
was organized in his Museum,
1662
01:32:52,541 --> 01:32:55,041
entitled "Process of Chance."
1663
01:33:28,166 --> 01:33:32,458
Mathematics has nothing to say to reality.
1664
01:33:32,541 --> 01:33:35,624
That is your point of view, it's not mine.
1665
01:33:47,833 --> 01:33:49,749
It was the confluence of the search
1666
01:33:49,833 --> 01:33:51,582
for a faith he could not find
1667
01:33:51,666 --> 01:33:54,958
and the support that science
gave him in seeking to explain
1668
01:33:55,041 --> 01:33:57,083
the processes of chance, of chaos,
1669
01:33:57,166 --> 01:34:00,749
and in fact, quantum mechanics and physics
1670
01:34:00,833 --> 01:34:02,791
helped him look for answers that,
1671
01:34:02,874 --> 01:34:05,083
in the last analysis, he did not find.
1672
01:34:29,708 --> 01:34:32,208
What Dalí was seeking in science
1673
01:34:32,291 --> 01:34:34,582
were new foundations from which to approach
1674
01:34:34,666 --> 01:34:37,416
the immortality he so desired.
1675
01:34:37,500 --> 01:34:39,208
And to overcome death,
1676
01:34:39,291 --> 01:34:42,375
always so present in his life and his work.
1677
01:34:42,458 --> 01:34:47,582
I enjoy tremendously every
single moment of my life.
1678
01:34:47,666 --> 01:34:49,791
Because of death, all times very close,
1679
01:34:49,874 --> 01:34:51,791
watch me.
1680
01:34:51,874 --> 01:34:53,916
And the death like catch me,
1681
01:34:53,999 --> 01:34:56,749
and every five minutes,
the death no catch me,
1682
01:34:56,833 --> 01:34:58,541
I enjoy tremendously.
1683
01:34:58,624 --> 01:35:00,375
...a little piece of Vichy water,
1684
01:35:00,458 --> 01:35:02,031
you said to me a little tea or something...
1685
01:35:02,041 --> 01:35:05,833
Everything becomes one tremendous pleasure,
1686
01:35:05,916 --> 01:35:07,874
because the death surrenders,
1687
01:35:07,958 --> 01:35:12,250
and because the death is so close,
1688
01:35:12,333 --> 01:35:16,125
it's possible make erotic
1689
01:35:16,208 --> 01:35:19,749
every single piece of my life.
1690
01:35:28,874 --> 01:35:31,749
I have lived with death
since I have known I breathe,
1691
01:35:31,833 --> 01:35:34,458
and it kills me with a cold voluptuousness
1692
01:35:34,541 --> 01:35:38,250
only comparable to my lucid
passion to outlive it every minute,
1693
01:35:38,333 --> 01:35:42,083
every infinitesimal second
of my consciousness of being.
1694
01:35:42,166 --> 01:35:45,416
This constant, stubborn, fierce,
1695
01:35:45,500 --> 01:35:50,208
terrible tension constitutes
the whole story of my quest.
1696
01:35:52,125 --> 01:35:55,375
There comes a time, especially
in the last period, I think,
1697
01:35:55,458 --> 01:35:58,749
when what concerns him
most, more than physical death,
1698
01:35:58,833 --> 01:36:00,416
is the death of the intellect,
1699
01:36:00,500 --> 01:36:02,250
the non-transcendence.
1700
01:36:03,874 --> 01:36:05,958
Step by step, little by little,
1701
01:36:06,041 --> 01:36:09,250
and day by day, it was
clear that one more page
1702
01:36:09,333 --> 01:36:12,208
of his transit towards the end was turning.
1703
01:36:12,291 --> 01:36:14,749
And Dalí saw it and accepted it.
1704
01:36:14,833 --> 01:36:16,749
Dalí, the eternal observer,
1705
01:36:16,833 --> 01:36:19,582
was the spectator of his own end.
1706
01:37:07,833 --> 01:37:11,916
In fact, the Dalí Theatre-Museum
goes much further.
1707
01:37:11,999 --> 01:37:14,749
It is also the consolidation of his desire
1708
01:37:14,833 --> 01:37:17,749
for transcendence and immortality.
1709
01:37:21,291 --> 01:37:23,125
In spite of Dalí's health problems,
1710
01:37:23,208 --> 01:37:25,624
his last stage had moments of great richness.
1711
01:37:25,708 --> 01:37:28,624
He liked to look back, to
remember, to go over his youth.
1712
01:37:28,708 --> 01:37:31,083
He remembered García Lorca, Buñuel,
1713
01:37:31,166 --> 01:37:33,958
the tangos of Irusta, and Demare.
1714
01:38:14,333 --> 01:38:16,083
In June, 1932,
1715
01:38:16,166 --> 01:38:17,541
there suddenly came to my mind
1716
01:38:17,624 --> 01:38:19,156
without any close or conscious association,
1717
01:38:19,166 --> 01:38:22,582
which would have provided
an immediate explanation,
1718
01:38:22,666 --> 01:38:25,333
the image of The Angelus of Millet.
1719
01:38:26,666 --> 01:38:28,749
This image was composed of a very clear
1720
01:38:28,833 --> 01:38:31,416
visual representation and in color.
1721
01:38:31,500 --> 01:38:33,624
It was nearly instantaneous
1722
01:38:33,708 --> 01:38:35,958
and was not followed by other images.
1723
01:38:37,208 --> 01:38:39,291
It appeared to me absolutely modified
1724
01:38:39,375 --> 01:38:42,624
and charged with such latent intentionality
1725
01:38:42,708 --> 01:38:45,250
that The "Angelus of Millet"
suddenly became for me
1726
01:38:45,333 --> 01:38:48,708
the most troubling, the
most enigmatic pictorial work,
1727
01:38:48,791 --> 01:38:51,582
the densest and richest
in unconscious thoughts
1728
01:38:51,666 --> 01:38:54,416
that I had ever seen.
1729
01:39:05,333 --> 01:39:09,083
This painting produced in
him a dark anguish so acute
1730
01:39:09,166 --> 01:39:11,958
that the memory of these
two immobile silhouettes
1731
01:39:12,041 --> 01:39:15,458
pursued him for years
with the constant disquiet
1732
01:39:15,541 --> 01:39:18,375
produced by their continual
ambiguous presence.
1733
01:39:20,166 --> 01:39:22,749
There is another fundamental theme in Dalí,
1734
01:39:22,833 --> 01:39:26,416
which is his interpretation
of Millet's "The Angelus,"
1735
01:39:26,500 --> 01:39:29,416
and is an interpretation that makes through
1736
01:39:29,500 --> 01:39:31,250
the paranoiac-critical method,
1737
01:39:31,333 --> 01:39:33,582
a method that was his contribution
1738
01:39:33,666 --> 01:39:35,083
to the Surrealist movement
1739
01:39:35,166 --> 01:39:37,582
and made him stand out over the others.
1740
01:39:37,666 --> 01:39:40,041
Because he engaged with paranoid thinking
1741
01:39:40,125 --> 01:39:43,458
and understood that
reality is never as we see it,
1742
01:39:43,541 --> 01:39:46,291
the more deeply we look at reality,
1743
01:39:46,375 --> 01:39:48,582
the more interpretations we can find.
1744
01:39:50,666 --> 01:39:54,083
While we may see this
painting as a conventional scene
1745
01:39:54,166 --> 01:39:57,582
of two peasants reciting
the midday Angelus prayer...
1746
01:39:58,708 --> 01:40:01,250
Dalí, in contrast, saw two parents
1747
01:40:01,333 --> 01:40:03,083
mourning the death of their son,
1748
01:40:03,166 --> 01:40:06,749
because he did not interpret
the carrycot as a carrycot,
1749
01:40:06,833 --> 01:40:10,749
but rather as the coffin of a child.
1750
01:40:10,833 --> 01:40:13,083
Surely, in fact, it is a direct reference
1751
01:40:13,166 --> 01:40:15,083
to both the premonition of death,
1752
01:40:15,166 --> 01:40:17,375
which is what the icon
of Millet's "The Angelus"
1753
01:40:17,458 --> 01:40:19,874
ended up being for Dalí,
1754
01:40:19,958 --> 01:40:22,375
and to the obsession with his brother's death
1755
01:40:22,458 --> 01:40:25,375
that stayed with him all his life.
1756
01:41:22,500 --> 01:41:24,874
And it was in the Torre Galatea,
1757
01:41:24,958 --> 01:41:27,749
right next to the church
where he was baptized
1758
01:41:27,833 --> 01:41:29,416
and opposite the wall of the building
1759
01:41:29,500 --> 01:41:31,458
in which he had his first exhibition,
1760
01:41:31,541 --> 01:41:34,416
that Dalí spent the last days of his life
1761
01:41:34,500 --> 01:41:36,791
before finally being extinguished
1762
01:41:36,874 --> 01:41:40,416
on January 23, 1989.
1763
01:42:24,958 --> 01:42:26,916
Tell me this what do you think
1764
01:42:26,999 --> 01:42:29,208
will happen to you when you die?
1765
01:42:30,458 --> 01:42:32,749
Myself no believe in my own death
1766
01:42:32,833 --> 01:42:33,582
You will not die?
1767
01:42:33,666 --> 01:42:36,250
No, no believe in general death,
1768
01:42:36,333 --> 01:42:39,458
but in the death of
Dalí, absolutely not... not.
1769
01:42:39,541 --> 01:42:42,791
Si believe in my death becoming very afraid,
1770
01:42:42,874 --> 01:42:44,458
almost impossible.
1771
01:42:44,541 --> 01:42:46,083
You fear death? -Yes.
1772
01:42:46,166 --> 01:42:47,916
Death is beautiful, but you fear death?
1773
01:42:47,999 --> 01:42:51,416
Exactly, because Dalí is contradictory
1774
01:42:51,500 --> 01:42:54,250
and paradoxical.
1775
01:43:05,624 --> 01:43:08,125
In fact, I believe that we have had to reach
1776
01:43:08,208 --> 01:43:11,416
the 21st century to
appreciate all of the capacity
1777
01:43:11,500 --> 01:43:13,416
for rebellion and that appeal
1778
01:43:13,500 --> 01:43:16,291
to individual freedom that Dalí makes.
1779
01:43:16,375 --> 01:43:18,291
In effect, Dalí invites us
1780
01:43:18,375 --> 01:43:20,916
to be transgressors through provocation.
1781
01:43:20,999 --> 01:43:23,416
There is a constant provocation
1782
01:43:23,500 --> 01:43:25,999
and we feel provoked
because we are being provoked
1783
01:43:26,083 --> 01:43:27,083
by a thinking machine.
1784
01:43:28,833 --> 01:43:31,458
To enter into his mind is
to enter fully into his time
1785
01:43:31,541 --> 01:43:34,291
and thus to enter into the
whole world of the 20th century.
1786
01:43:58,833 --> 01:44:00,708
Oooohhhhh!
1787
01:44:01,666 --> 01:44:04,582
Oooohhhhh!
1788
01:44:16,791 --> 01:44:19,749
Heaven is what I have been seeking all along
1789
01:44:19,833 --> 01:44:21,416
and through the density of confused
1790
01:44:21,500 --> 01:44:24,916
and demoniac flesh of my life... heaven!
1791
01:44:24,999 --> 01:44:28,291
Alas for him, who has
not yet understood that!
1792
01:44:28,375 --> 01:44:31,083
When with my crutch I
stirred into the putrefied
1793
01:44:31,166 --> 01:44:33,582
and worm-eaten mass of my dead hedgehog,
1794
01:44:33,666 --> 01:44:36,083
it was heaven I was seeking.
1795
01:44:36,166 --> 01:44:38,749
When, from the summit of the Molí de la Torre
1796
01:44:38,833 --> 01:44:41,083
I looked far down into the black emptiness,
1797
01:44:41,166 --> 01:44:44,250
I was also and still seeking heaven.
1798
01:44:44,333 --> 01:44:48,083
Gala, you are reality!
1799
01:44:48,166 --> 01:44:49,582
And what is heaven?
1800
01:44:49,666 --> 01:44:52,041
Where is it to be found?
1801
01:44:52,125 --> 01:44:54,916
"Heaven is to be found
neither above nor below,
1802
01:44:54,999 --> 01:44:56,916
"neither to the right nor to the left,
1803
01:44:56,999 --> 01:44:59,083
"heaven is to be found exactly in the center
1804
01:44:59,166 --> 01:45:02,749
of the bosom of the man who has faith!"
1805
01:45:02,833 --> 01:45:05,541
At this moment, I do not yet have faith,
1806
01:45:05,624 --> 01:45:08,541
and I fear I shall die without heaven.
1807
01:45:08,624 --> 01:45:10,375
My triumph will lie in the fact
1808
01:45:10,458 --> 01:45:12,125
that I was able to overwhelm my period
1809
01:45:12,208 --> 01:45:14,791
and at the same time achieve immortality.
1810
01:45:14,874 --> 01:45:16,416
My triumph is the gold
1811
01:45:16,500 --> 01:45:18,749
that accounts for my present-day success
1812
01:45:18,833 --> 01:45:21,874
and nurtures my eternal genius.
145363
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