Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:47,801 --> 00:00:51,601
VARDA BY AGNÈS
2
00:03:39,881 --> 00:03:42,121
Sionann O'Neill
3
00:03:42,281 --> 00:03:43,761
Subtitling: HIVENTY
4
00:03:50,921 --> 00:03:52,601
Thank you for inviting me.
5
00:03:52,761 --> 00:03:57,281
Seeing this marvellous opera house
turned into a cinema
6
00:03:57,441 --> 00:03:58,801
intimidates me.
7
00:03:58,961 --> 00:04:02,361
There might be children of paradise
up there.
8
00:04:04,921 --> 00:04:07,161
Some of my films are known,
9
00:04:07,321 --> 00:04:09,001
some well-known,
10
00:04:09,161 --> 00:04:10,721
others not.
11
00:04:10,881 --> 00:04:14,561
I'd like to tell you what led me
12
00:04:14,721 --> 00:04:16,881
to do this work all these years.
13
00:04:17,321 --> 00:04:19,921
Three words are important to me:
14
00:04:20,881 --> 00:04:24,641
inspiration, creation and sharing.
15
00:04:24,921 --> 00:04:27,881
Inspiration is why you make a film.
16
00:04:28,041 --> 00:04:30,641
The motivations, ideas, circumstances
17
00:04:30,801 --> 00:04:32,121
and happenstance
18
00:04:32,281 --> 00:04:36,761
that ignite your desire to make a film.
19
00:04:37,161 --> 00:04:39,361
Creation is how you make the film.
20
00:04:39,521 --> 00:04:42,161
With what means, what structure?
21
00:04:42,321 --> 00:04:45,281
Alone or not alone?
In colour or not?
22
00:04:45,441 --> 00:04:47,361
Creation is work.
23
00:04:47,801 --> 00:04:49,481
The third word is sharing.
24
00:04:49,641 --> 00:04:52,161
You don't make films
to watch them alone.
25
00:04:52,321 --> 00:04:54,481
You make films to show them.
26
00:04:54,641 --> 00:04:57,361
You are the very proof of this sharing.
27
00:04:57,881 --> 00:05:00,041
These three words guided me.
28
00:05:00,521 --> 00:05:04,081
We need to know why we do this work.
29
00:05:04,641 --> 00:05:07,641
I'll start with a short film,
30
00:05:07,801 --> 00:05:12,081
one I often show in my talks.
31
00:05:12,241 --> 00:05:13,441
Because...
32
00:05:14,361 --> 00:05:16,201
a family member is in the film.
33
00:05:16,361 --> 00:05:20,521
An older gentleman
who will introduce me, as in the past.
34
00:05:22,801 --> 00:05:25,721
By chance, I was in San Francisco
35
00:05:25,881 --> 00:05:27,921
for a festival.
36
00:05:28,521 --> 00:05:31,401
A friend said, "You may know this man,
37
00:05:31,561 --> 00:05:33,481
a painter named Varda.
38
00:05:33,641 --> 00:05:35,801
He lives on a boat in Sausalito."
39
00:05:35,961 --> 00:05:39,041
So we went to see him.
It was a Wednesday.
40
00:05:39,881 --> 00:05:42,801
I instantly fell in love with him.
41
00:05:42,961 --> 00:05:45,921
I absolutely had to film him.
42
00:05:46,401 --> 00:05:47,721
In truth,
43
00:05:48,321 --> 00:05:50,521
it wasn't so much about meeting him,
44
00:05:50,681 --> 00:05:54,361
it was about knowing right away
how to film him.
45
00:05:54,881 --> 00:05:57,961
I imagined the editing as I filmed him.
46
00:05:58,121 --> 00:06:00,401
I wanted to share the spontaneity,
47
00:06:00,561 --> 00:06:03,001
joy and excitement of the encounter.
48
00:06:03,161 --> 00:06:06,401
Now what happens? I say, "Film clip!"
49
00:06:17,001 --> 00:06:18,281
Mr. Varda?
50
00:06:25,201 --> 00:06:26,121
I don't know.
51
00:06:27,681 --> 00:06:30,001
Are you Eugène Varda's daughter?
52
00:06:30,161 --> 00:06:30,921
Yes lam.
53
00:06:57,201 --> 00:06:58,321
Cut!
54
00:07:10,201 --> 00:07:12,001
So, you are my niece!
55
00:07:12,161 --> 00:07:13,481
Looks like it.
56
00:07:14,921 --> 00:07:15,721
Cut!
57
00:07:20,201 --> 00:07:22,681
A perfect example of a miracle.
58
00:07:22,841 --> 00:07:27,881
From my inspiration to the shoot,
there was a day and a half.
59
00:07:28,041 --> 00:07:29,761
Then I took my time editing.
60
00:07:29,921 --> 00:07:33,081
For those of you who want to make films,
61
00:07:33,241 --> 00:07:35,081
especially those starting out,
62
00:07:35,521 --> 00:07:37,481
you need patience.
63
00:07:37,641 --> 00:07:42,321
You have a project, but you need money,
from your school or elsewhere.
64
00:07:42,681 --> 00:07:44,081
So...
65
00:07:44,681 --> 00:07:48,401
you need patience,
but try to get around that obstacle.
66
00:07:48,561 --> 00:07:50,881
Film quickly with the means at hand.
67
00:07:52,121 --> 00:07:54,441
I show this film for its good humour,
68
00:07:54,601 --> 00:07:57,201
and for the wonderful Yanco.
69
00:07:57,361 --> 00:08:00,721
But my most well-known film
is Cléo from 5 to 7.
70
00:08:01,561 --> 00:08:05,041
Has anyone in the audience seen Cléo?
71
00:08:05,201 --> 00:08:06,481
Nice!
72
00:08:06,641 --> 00:08:09,041
A fair few, as they say down south.
73
00:08:09,201 --> 00:08:11,081
Cléo was inspired
74
00:08:11,761 --> 00:08:14,721
by two very strong impressions.
75
00:08:14,881 --> 00:08:19,561
Back in the 60s,
there were collective fears, as always.
76
00:08:19,721 --> 00:08:23,721
The most common one was cancer.
77
00:08:23,881 --> 00:08:25,681
People feared cancer.
78
00:08:25,841 --> 00:08:29,041
Also, the producer told me,
79
00:08:30,001 --> 00:08:34,121
"I'll make a film with you,
as I did with Godard and Demy,
80
00:08:34,281 --> 00:08:36,161
but it has to be cheap."
81
00:08:36,321 --> 00:08:38,401
So how would we do it?
82
00:08:38,561 --> 00:08:43,921
We could shoot in Paris.
No travel expenses, no hotels.
83
00:08:44,081 --> 00:08:49,521
The action could take place in one day,
limiting sets and locations.
84
00:08:49,681 --> 00:08:53,721
It occurred to me
to shorten the time frame further.
85
00:08:53,881 --> 00:08:58,961
I'd film an hour and a half of her life.
90 minutes, like a film.
86
00:09:00,321 --> 00:09:01,921
I actually follow Cléo
87
00:09:02,241 --> 00:09:04,641
from 5 to 6:30 p.m.
88
00:09:05,681 --> 00:09:07,801
Illustrating time is difficult.
89
00:09:07,961 --> 00:09:12,121
Time feels different
if we’re happy or if we’re anxious,
90
00:09:12,281 --> 00:09:15,081
if we’re expecting someone
or having fun.
91
00:09:15,401 --> 00:09:17,881
I call that subjective time.
92
00:09:18,641 --> 00:09:21,121
And then there's objective time.
93
00:09:21,441 --> 00:09:24,281
Time we can't argue with.
Mechanical time,
94
00:09:24,641 --> 00:09:27,641
counted in hours,
minutes or even seconds.
95
00:09:28,801 --> 00:09:30,121
I wanted
96
00:09:30,281 --> 00:09:35,041
to combine objective time,
the clocks we see everywhere,
97
00:09:35,481 --> 00:09:37,121
with subjective time,
98
00:09:37,281 --> 00:09:40,321
the way Cléo feels during the film.
99
00:09:41,161 --> 00:09:44,321
You're wrong.
The card doesn't necessarily mean death.
100
00:09:44,481 --> 00:09:48,401
The fortune teller says
it means transformation, not death.
101
00:09:48,561 --> 00:09:52,281
But Cléo sees
a hanged man and clattering bones.
102
00:09:52,441 --> 00:09:55,001
It gives her a fright.
103
00:09:55,161 --> 00:09:57,601
Her fear and the threat of death,
104
00:09:57,761 --> 00:10:01,081
consciously or subconsciously,
stay with her.
105
00:10:02,721 --> 00:10:05,201
Just like this beautiful woman
106
00:10:05,361 --> 00:10:07,441
painted by Baldung Grien.
107
00:10:07,601 --> 00:10:11,001
A skeleton whispers in her ear
what she doesn't want to hear.
108
00:10:11,241 --> 00:10:12,881
Or pulls her hair.
109
00:10:13,401 --> 00:10:15,641
I had reproductions, postcards.
110
00:10:15,801 --> 00:10:17,721
Tiny images to look at.
111
00:10:17,881 --> 00:10:22,401
And a big mental image
at the heart of my project.
112
00:10:24,921 --> 00:10:27,481
The film is in two parts.
113
00:10:27,641 --> 00:10:29,521
First 45 minutes, second 45.
114
00:10:29,681 --> 00:10:32,961
Exactly in the middle,
she sings her song.
115
00:10:33,561 --> 00:10:37,161
And if you come too late
116
00:10:39,521 --> 00:10:43,121
I will have been laid to rest
117
00:10:45,361 --> 00:10:50,001
Alone, ugly and pale
118
00:10:51,081 --> 00:10:52,801
Without you
119
00:11:01,041 --> 00:11:02,361
It's too much.
120
00:11:02,721 --> 00:11:04,121
I can't go on.
121
00:11:04,521 --> 00:11:06,281
It's horrible!
122
00:11:06,441 --> 00:11:08,281
- What's wrong?
- She's tired.
123
00:11:08,441 --> 00:11:12,001
And you know, the word despair is evil.
Like the word rope.
124
00:11:12,161 --> 00:11:14,081
Rhymes matter more than words.
125
00:11:14,241 --> 00:11:15,881
It's a beautiful song.
126
00:11:16,041 --> 00:11:19,081
You'll revolutionise the music business!
127
00:11:19,241 --> 00:11:23,041
Really? What is a song anyway?
How long does it last?
128
00:11:23,201 --> 00:11:24,561
Another tantrum.
129
00:11:24,721 --> 00:11:28,081
Tantrum, tantrum!
That's all you ever say!
130
00:11:28,241 --> 00:11:29,961
You make me this way!
131
00:11:30,121 --> 00:11:32,801
Treating me like an idiot
or a china doll!
132
00:11:32,961 --> 00:11:35,401
Now I'll lead a revolution
with grim words?
133
00:11:35,561 --> 00:11:38,881
You call that song charming?
My big hit?
134
00:11:39,361 --> 00:11:41,441
It'll be a hit funeral!
135
00:11:41,601 --> 00:11:44,361
You tire me, you exploit me! Go away!
136
00:11:44,521 --> 00:11:47,481
No, I’ll go!
Angèle will make you drinks.
137
00:11:47,641 --> 00:11:48,721
Session's over!
138
00:11:48,881 --> 00:11:51,441
Leave the songs. I'll choose later.
139
00:11:51,601 --> 00:11:54,441
I made two cuts for this presentation.
140
00:11:55,241 --> 00:11:56,721
I'll wear black.
141
00:11:57,241 --> 00:11:59,161
In harmony with your songs.
142
00:12:00,361 --> 00:12:01,761
She goes down.
143
00:12:01,921 --> 00:12:03,441
There are ten steps.
144
00:12:03,601 --> 00:12:05,641
We filmed all ten.
145
00:12:09,881 --> 00:12:14,841
Then we filmed every step she takes
to cross the courtyard.
146
00:12:16,481 --> 00:12:21,401
We chose not to cheat
with the distance or the geography.
147
00:12:30,561 --> 00:12:32,681
The courtyard leads to Rue Huyghens.
148
00:12:33,001 --> 00:12:34,881
That's where she walked.
149
00:12:35,041 --> 00:12:39,121
It's the actual street
that leads to Boulevard Raspail.
150
00:12:40,521 --> 00:12:44,561
The sidewalk was as it was,
with people watching her pass.
151
00:12:44,801 --> 00:12:48,081
I wanted to go
from the coquetry of the first part
152
00:12:48,241 --> 00:12:50,081
to something more real.
153
00:12:50,241 --> 00:12:52,681
Cléo and what happens around her.
154
00:12:52,841 --> 00:12:54,041
People,
155
00:12:54,201 --> 00:12:55,521
pigeons...
156
00:12:56,481 --> 00:12:58,161
Then she notices
157
00:12:58,321 --> 00:13:00,321
a store called "Good Health."
158
00:13:00,481 --> 00:13:02,681
And she can no longer stand the hat.
159
00:13:02,841 --> 00:13:06,281
That doll face, always the same.
That ridiculous hat.
160
00:13:06,441 --> 00:13:09,961
She takes it off.
She becomes a woman who sees.
161
00:13:10,121 --> 00:13:13,041
She's no longer seen,
as in the first part.
162
00:13:13,201 --> 00:13:14,401
She sees.
163
00:13:14,961 --> 00:13:17,361
I'd noticed a street performer.
164
00:13:17,801 --> 00:13:20,721
I asked him to come back.
Look what she sees.
165
00:13:21,241 --> 00:13:23,441
How a guy earns his living.
166
00:13:24,761 --> 00:13:27,281
C'mere, froggy. Time for a new aquarium.
167
00:13:27,441 --> 00:13:28,721
Third frog!
168
00:13:40,441 --> 00:13:42,921
You can't help but notice.
169
00:13:43,081 --> 00:13:47,321
Even in fiction,
I like to add documentary elements.
170
00:13:47,481 --> 00:13:50,921
In this film,
as we follow Cléo and her fear,
171
00:13:51,641 --> 00:13:54,001
we see people in cafés,
172
00:13:54,161 --> 00:13:55,921
in the streets.
173
00:13:57,841 --> 00:13:59,281
I love documentaries.
174
00:13:59,441 --> 00:14:03,441
I know great ones
have been made in faraway places.
175
00:14:04,601 --> 00:14:08,721
But big documentary journeys
are too far from me.
176
00:14:08,881 --> 00:14:11,881
I want to film close to me.
What I know.
177
00:14:12,481 --> 00:14:16,121
Daguerreotypes
was made on my street, Rue Daguerre.
178
00:14:21,441 --> 00:14:25,121
I chose to film
my close neighbours and the merchants,
179
00:14:25,281 --> 00:14:29,681
those who sold me bread, meat, hardware.
The hairdresser...
180
00:14:29,841 --> 00:14:32,281
They create a kind of village.
181
00:14:36,361 --> 00:14:39,841
At the bakery, people wait in line.
182
00:14:40,001 --> 00:14:42,241
As everywhere, they wait their turn.
183
00:14:42,401 --> 00:14:45,761
We were there for the time it took
184
00:14:46,601 --> 00:14:48,961
to buy or sell something.
185
00:14:51,921 --> 00:14:54,041
Nurith Aviv is...
186
00:14:54,841 --> 00:14:57,521
a director of photography.
A camerawoman.
187
00:14:58,281 --> 00:15:00,081
She did the work.
188
00:15:00,681 --> 00:15:02,921
We had sequence shots
189
00:15:03,481 --> 00:15:06,921
where the camera lingered
on people waiting.
190
00:15:07,281 --> 00:15:09,841
Nothing happens,
191
00:15:10,001 --> 00:15:12,481
yet something happens inside.
192
00:15:12,641 --> 00:15:14,201
That's it.
193
00:15:14,361 --> 00:15:17,321
Videos and commercials move very fast.
194
00:15:17,481 --> 00:15:19,921
But when you're in the duration,
195
00:15:20,081 --> 00:15:22,201
you're really in.
196
00:15:24,361 --> 00:15:25,641
We got set up.
197
00:15:25,801 --> 00:15:29,081
Nurith takes no space.
Neither did I back then.
198
00:15:29,241 --> 00:15:33,361
We got set up, hiding in a corner.
199
00:15:33,521 --> 00:15:35,201
The sound engineer too.
200
00:15:35,361 --> 00:15:38,081
The idea was to film people,
201
00:15:38,801 --> 00:15:41,041
whether they realised it or not.
202
00:15:51,641 --> 00:15:55,081
When you decide
to look closely at something
203
00:15:55,241 --> 00:15:58,081
that may be trite, it's no longer trite.
204
00:15:58,241 --> 00:16:01,201
The very act of looking at it
changes it.
205
00:16:01,361 --> 00:16:02,961
Nothing is trite,
206
00:16:03,321 --> 00:16:07,161
if you film people
with empathy and love.
207
00:16:07,321 --> 00:16:10,961
If you find them extraordinary,
as I did.
208
00:16:11,121 --> 00:16:14,281
We filmed that baker at work.
209
00:16:14,441 --> 00:16:18,761
I loved how he scored the bread dough
210
00:16:18,921 --> 00:16:20,561
with his razor blade.
211
00:16:27,081 --> 00:16:30,201
I listened closely
to what the merchants said.
212
00:16:30,361 --> 00:16:33,321
They weren't very open.
213
00:16:33,481 --> 00:16:36,201
They weren't very friendly to outsiders.
214
00:16:36,361 --> 00:16:39,081
They represented the silent majority.
215
00:16:39,241 --> 00:16:40,961
That's what I filmed.
216
00:16:41,961 --> 00:16:43,161
It occurs to me,
217
00:16:43,321 --> 00:16:45,681
in contrast to what I just said,
218
00:16:45,841 --> 00:16:50,121
that I once filmed an enraged minority.
219
00:16:50,281 --> 00:16:51,961
The Black Panthers.
220
00:16:52,121 --> 00:16:55,201
They were a movement of Black Americans
221
00:16:55,361 --> 00:16:57,761
who, in 1968,
222
00:16:58,361 --> 00:17:02,441
created a political program,
spoke out and protested
223
00:17:02,601 --> 00:17:05,681
because some of their leaders
had been arrested
224
00:17:05,841 --> 00:17:08,401
and one was in prison, Huey Newton.
225
00:17:08,761 --> 00:17:10,281
They held protest rallies.
226
00:17:10,441 --> 00:17:13,041
Jacques Demy and I
lived in Los Angeles then.
227
00:17:13,201 --> 00:17:17,561
I took a plane
to film the protests in Oakland,
228
00:17:17,721 --> 00:17:19,481
near San Francisco.
229
00:17:19,641 --> 00:17:23,721
I was a little lady with a 16mm camera.
I said, "French television"
230
00:17:23,881 --> 00:17:27,161
and they let me in
while they were training.
231
00:17:27,321 --> 00:17:29,761
- Who are you?
- Black Panthers.
232
00:17:29,921 --> 00:17:32,161
- Why are you here?
- To free Huey.
233
00:17:32,321 --> 00:17:35,001
- How?
- Huey's teachings.
234
00:17:35,161 --> 00:17:37,521
- What are they?
- The guns.
235
00:17:41,201 --> 00:17:45,121
This brother here, myself, all of us
were born with this hair.
236
00:17:45,281 --> 00:17:47,481
We wear it this way
because it's natural.
237
00:17:47,641 --> 00:17:51,841
Black people now realise
that black is beautiful.
238
00:17:53,081 --> 00:17:57,841
The Black Panther movement
didn't last very long.
239
00:17:58,361 --> 00:18:01,521
But it was a Black revolt,
240
00:18:01,681 --> 00:18:04,601
for their identity,
and it was a feminist revolt.
241
00:18:05,321 --> 00:18:11,161
Feminism was already going strong
in the USA in the 1960s.
242
00:18:11,321 --> 00:18:13,441
Obviously, I was a feminist.
243
00:18:13,601 --> 00:18:16,001
I was, and I still am.
244
00:18:16,161 --> 00:18:17,961
And I must say,
245
00:18:18,121 --> 00:18:21,361
issues surrounding women's liberation,
246
00:18:21,521 --> 00:18:25,081
specifically,
the question of body politics,
247
00:18:25,241 --> 00:18:26,961
really concerned me.
248
00:18:28,121 --> 00:18:31,241
Back then, there were struggles
249
00:18:31,401 --> 00:18:34,801
fought by both women and men
250
00:18:34,961 --> 00:18:39,281
that led to contraceptive rights in 1972
251
00:18:39,441 --> 00:18:42,041
and abortion rights in 1975.
252
00:18:42,201 --> 00:18:43,841
It's old history now,
253
00:18:44,001 --> 00:18:46,041
but I experienced it
254
00:18:46,201 --> 00:18:48,201
and wanted to tell the story.
255
00:18:48,361 --> 00:18:50,161
To do so,
256
00:18:50,521 --> 00:18:54,561
I got the idea of two young women.
257
00:18:54,721 --> 00:18:58,721
One already has children,
the other is a natural-born rebel.
258
00:18:59,921 --> 00:19:01,801
How pregnant are you?
259
00:19:02,401 --> 00:19:04,241
2 months, more or less.
260
00:19:04,401 --> 00:19:06,281
Don't cry, get an abortion.
261
00:19:06,441 --> 00:19:08,961
How, where? Think it's easy?
262
00:19:09,121 --> 00:19:10,601
We'll find a way.
263
00:19:16,681 --> 00:19:18,081
You're still up?
264
00:19:18,241 --> 00:19:19,761
André, you promised me!
265
00:19:20,041 --> 00:19:22,481
Why do you lie? What'd we do to you?
266
00:19:22,641 --> 00:19:24,401
- I needed money.
- As always.
267
00:19:24,561 --> 00:19:25,721
Why didn't you ask?
268
00:19:25,881 --> 00:19:28,241
It was for an abortion, you’d say no.
269
00:19:28,401 --> 00:19:29,601
What?
270
00:19:29,761 --> 00:19:34,241
My friend Suzanne needed money
for an abortion.
271
00:19:38,121 --> 00:19:40,081
Their friendship lasts.
272
00:19:40,601 --> 00:19:43,001
10 years later, we see them again,
273
00:19:43,161 --> 00:19:48,481
after they've both lived, loved
and fought the feminist fight.
274
00:19:49,561 --> 00:19:52,201
The feminist fight
275
00:19:53,081 --> 00:19:55,361
was something I wanted
276
00:19:56,001 --> 00:19:57,481
to put into song.
277
00:20:04,001 --> 00:20:07,601
No papa no pope no king
278
00:20:07,761 --> 00:20:09,121
No judge no doctor
279
00:20:09,521 --> 00:20:11,121
No legislator
280
00:20:11,361 --> 00:20:13,921
Gonna lay the law on my body
281
00:20:14,081 --> 00:20:15,681
Biology isn't fate
282
00:20:15,841 --> 00:20:18,601
Papa's laws are out of date
283
00:20:19,041 --> 00:20:22,081
My body belongs to me
284
00:20:22,561 --> 00:20:25,401
I'm the one who knows
285
00:20:25,721 --> 00:20:27,841
Whether or not
286
00:20:28,121 --> 00:20:30,121
I want to give birth
287
00:20:32,041 --> 00:20:34,761
Whether to bring new life
288
00:20:35,281 --> 00:20:38,001
To this earthly existence
289
00:20:38,321 --> 00:20:40,601
Whether to be flat or round
290
00:20:40,761 --> 00:20:42,641
The choice is mine
291
00:20:44,521 --> 00:20:47,081
My body belongs to me
292
00:20:52,281 --> 00:20:54,041
I really took it to heart.
293
00:20:54,201 --> 00:20:57,761
For the music,
I hired François Wertheimer
294
00:20:57,921 --> 00:20:59,921
and a girl group called Orchidée.
295
00:21:00,081 --> 00:21:02,481
We used texts by Engels and Marx.
296
00:21:02,641 --> 00:21:05,761
A very interesting thing:
297
00:21:05,921 --> 00:21:09,681
"Nowadays, in the family,
the man is the bourgeois,
298
00:21:09,841 --> 00:21:12,481
and the woman represents
the proletariat."
299
00:21:12,921 --> 00:21:15,561
It flows better in a song.
300
00:21:15,721 --> 00:21:17,281
But it's worth saying.
301
00:21:17,801 --> 00:21:19,521
Hear that, birdie?
302
00:21:20,201 --> 00:21:21,081
Listen.
303
00:21:29,441 --> 00:21:33,281
When men and women both work full time,
304
00:21:37,961 --> 00:21:41,641
you can set to music
the double shift women do.
305
00:21:45,281 --> 00:21:47,521
Domestic Habits
306
00:21:59,841 --> 00:22:03,361
Incredible friendships formed
307
00:22:03,801 --> 00:22:05,801
in that collective struggle.
308
00:22:05,961 --> 00:22:08,481
The women were often joyful.
309
00:22:08,641 --> 00:22:14,001
We laughed a lot
as we fought for women's rights.
310
00:22:15,081 --> 00:22:20,761
The joy and good humour of the group
come across in the film, I hope.
311
00:22:21,121 --> 00:22:22,721
Now I'll make a jump.
312
00:22:22,881 --> 00:22:26,481
Much later,
I told the story of a girl in a rage.
313
00:22:26,641 --> 00:22:29,001
Not in a group this time, alone.
314
00:22:29,161 --> 00:22:30,721
An enraged loner.
315
00:22:31,321 --> 00:22:34,321
A lot of guys were out on the road.
316
00:22:34,481 --> 00:22:37,161
It was kind of in fashion.
317
00:22:37,321 --> 00:22:41,481
And I'd noticed
women were also doing it.
318
00:22:41,641 --> 00:22:42,961
Backpacking.
319
00:22:43,921 --> 00:22:48,241
I wanted to make a film
about these lawless vagabonds.
320
00:22:48,561 --> 00:22:51,601
I wanted to film freedom and filth.
321
00:22:51,761 --> 00:22:54,921
Tell the story
of a young woman on the road.
322
00:22:55,561 --> 00:22:59,281
So I wrote the film Vagabond.
323
00:23:00,121 --> 00:23:02,841
I asked Sandrine Bonnaire,
324
00:23:03,001 --> 00:23:06,161
who'd been in Pialat's A Nos Amours
325
00:23:06,321 --> 00:23:08,481
and was still only 17.
326
00:23:08,681 --> 00:23:10,801
She was exactly who I needed.
327
00:23:12,841 --> 00:23:15,881
- Is there a tobacco shop?
- Not here.
328
00:23:16,041 --> 00:23:19,681
She's described by the people she meets.
329
00:23:19,841 --> 00:23:22,281
They speak of her quite badly.
330
00:23:24,121 --> 00:23:27,321
Mona's anger is what keeps her alive.
331
00:23:31,201 --> 00:23:35,721
But saying no to everyone
leads her to her death.
332
00:23:38,361 --> 00:23:40,801
The film's structure was precise.
333
00:23:40,961 --> 00:23:43,881
I wanted the camera
to walk the roads with her.
334
00:23:44,041 --> 00:23:45,441
To do that,
335
00:23:46,361 --> 00:23:48,721
I used tracking shots.
336
00:23:48,881 --> 00:23:50,601
There are 13 in the film.
337
00:23:50,961 --> 00:23:54,761
The shots move right to left,
which is jarring,
338
00:23:54,921 --> 00:23:58,241
because it's the opposite
of how we read in the West.
339
00:23:58,561 --> 00:24:01,641
Each tracking shot lasts one minute.
340
00:24:01,801 --> 00:24:04,601
We accompany Mona and her backpack.
341
00:24:04,761 --> 00:24:09,521
We're in rural farm landscapes,
not particularly charming.
342
00:24:09,681 --> 00:24:12,561
At the end of each tracking shot,
the camera leaves Mona
343
00:24:12,721 --> 00:24:16,521
to film a local element or object.
344
00:24:16,881 --> 00:24:21,801
Each subsequent tracking shot
comes about 10 minutes later
345
00:24:21,961 --> 00:24:25,721
and starts with an object or element
346
00:24:25,881 --> 00:24:28,321
reflecting what we've seen.
347
00:24:29,201 --> 00:24:35,121
I enjoyed setting up an enigma
for which only I knew the secret.
348
00:24:36,041 --> 00:24:38,561
Actually, the entire film
349
00:24:38,721 --> 00:24:41,761
is a portrait in the form
350
00:24:41,921 --> 00:24:44,601
of a discontinuous tracking shot.
351
00:24:49,601 --> 00:24:51,961
Ten minutes later in the film...
352
00:24:54,041 --> 00:24:56,961
this was the next tracking shot.
353
00:24:57,161 --> 00:24:59,721
To music by Joanna Bruzdowicz,
354
00:24:59,881 --> 00:25:02,881
composed solely for the tracking shots.
355
00:25:04,481 --> 00:25:07,761
A lovely surprise, Sandrine has arrived.
356
00:25:08,921 --> 00:25:10,961
I've talked about structure.
357
00:25:11,121 --> 00:25:15,121
Now I'd like to discuss
what the role meant to you.
358
00:25:15,961 --> 00:25:19,441
The first thing
you told me about the role was,
359
00:25:19,601 --> 00:25:21,721
"She's a girl who...
360
00:25:22,561 --> 00:25:27,401
never says thank you, stinks,
and tells everyone to fuck off."
361
00:25:27,641 --> 00:25:29,481
We never discussed
362
00:25:30,441 --> 00:25:34,161
where she came from
or why she was on the road.
363
00:25:34,641 --> 00:25:36,241
It was about how she lives.
364
00:25:36,401 --> 00:25:40,841
How she finds food,
where she sleeps, how she behaves.
365
00:25:41,001 --> 00:25:43,761
We didn't analyse her.
366
00:25:43,921 --> 00:25:46,121
We focused on what she did.
367
00:25:46,281 --> 00:25:48,201
- Her actions.
- And behaviour.
368
00:25:49,921 --> 00:25:52,761
You practiced putting on your backpack.
369
00:25:53,361 --> 00:25:54,921
Putting on your boots.
370
00:25:55,081 --> 00:25:58,481
You sent me camping with Setina.
371
00:25:59,961 --> 00:26:02,441
- You slept outside.
- We did.
372
00:26:02,601 --> 00:26:06,841
You wanted me to learn to make a fire
and pitch a tent.
373
00:26:07,001 --> 00:26:11,121
There's a scene
where you repair your boots.
374
00:26:12,001 --> 00:26:15,201
It was all concrete, physical things.
375
00:26:15,681 --> 00:26:17,881
I remember pruning grapevines.
376
00:26:18,041 --> 00:26:22,961
Pruning requires
simple but precise gestures.
377
00:26:23,121 --> 00:26:27,001
You accepted me saying,
"You're Mona, figure it out."
378
00:26:28,561 --> 00:26:31,401
Your own rebellion
went into the character.
379
00:26:31,561 --> 00:26:33,241
I just needed to be there.
380
00:26:33,961 --> 00:26:36,761
And you were. Solid and tough.
381
00:26:36,921 --> 00:26:40,481
I wasn't easy on you.
I gave you a rough time.
382
00:26:40,641 --> 00:26:42,001
Come on!
383
00:26:42,841 --> 00:26:46,321
I remember at one point,
I'd dug up a whole garden patch
384
00:26:46,481 --> 00:26:47,921
and had blisters.
385
00:26:48,081 --> 00:26:50,441
I said,
"Real blisters, like you wanted!"
386
00:26:50,601 --> 00:26:51,601
You said, "Good!"
387
00:26:52,441 --> 00:26:54,001
That bugged me!
388
00:26:54,881 --> 00:26:58,321
I should've licked your blisters
in thanks!
389
00:26:58,841 --> 00:27:00,401
The film is unusual,
390
00:27:01,041 --> 00:27:03,121
because you're dead at the start.
391
00:27:03,281 --> 00:27:06,641
Even though I was young,
I imagined my own death.
392
00:27:06,801 --> 00:27:08,201
Obviously.
393
00:27:08,961 --> 00:27:12,641
And we made you to do it.
Get in the bag like a corpse.
394
00:27:12,801 --> 00:27:15,081
That really freaked me out.
395
00:27:15,681 --> 00:27:18,401
Cinema can be very humbling.
396
00:27:18,561 --> 00:27:21,721
You have a project,
you write it, you make it,
397
00:27:21,881 --> 00:27:23,961
with an actress like yourself...
398
00:27:24,361 --> 00:27:26,441
But during the shoot,
399
00:27:26,601 --> 00:27:29,481
things can feel quite harrowing.
400
00:27:32,281 --> 00:27:36,121
After the shot of dead Mona, a beach...
401
00:27:40,921 --> 00:27:43,521
Beaches are a place of inspiration.
402
00:27:43,801 --> 00:27:45,281
A mental landscape.
403
00:27:45,961 --> 00:27:48,161
You have the three elements.
404
00:27:48,321 --> 00:27:50,161
Sky, sea and earth.
405
00:27:50,561 --> 00:27:53,801
Here, the earth is sand and seaweed.
406
00:27:54,601 --> 00:27:57,721
I remember the works of Bachelard,
407
00:27:58,001 --> 00:28:01,401
a philosopher whose classes I attended.
408
00:28:01,561 --> 00:28:02,961
Water and Dreams,
409
00:28:03,121 --> 00:28:04,561
Air and Dreams,
410
00:28:04,721 --> 00:28:07,201
Earth and Reveries of Repose.
411
00:28:08,361 --> 00:28:10,361
Dreams, reveries,
412
00:28:10,681 --> 00:28:13,521
dreams and repose. Everything I love.
413
00:28:13,961 --> 00:28:17,521
But he also wrote
Earth and Reveries of Will.
414
00:28:17,681 --> 00:28:20,041
I'll continue my chat here.
415
00:28:20,201 --> 00:28:22,561
And I'll invite birds and children.
416
00:28:39,081 --> 00:28:41,601
It's charming to talk to birds.
417
00:28:41,761 --> 00:28:45,001
But real or fake,
they don't understand me.
418
00:28:45,721 --> 00:28:48,401
We make films to share with audiences,
419
00:28:48,561 --> 00:28:53,601
so I thought, "How awful it'd be
if they didn't listen or watch."
420
00:28:54,801 --> 00:28:56,441
A filmmaker's nightmare.
421
00:28:56,601 --> 00:28:58,521
An empty cinema!
422
00:28:59,321 --> 00:29:00,601
Nightmare!
423
00:29:06,601 --> 00:29:10,921
Some of my films did well in the cinema.
424
00:29:11,081 --> 00:29:12,241
Others less so.
425
00:29:12,521 --> 00:29:16,161
We'll jump around.
I can't talk about all my films.
426
00:29:16,321 --> 00:29:18,281
I can't follow the crim...
427
00:29:18,841 --> 00:29:22,201
Not the criminology, the chronology!
428
00:29:22,361 --> 00:29:25,801
We'll jump ahead to a summer film I made
429
00:29:27,041 --> 00:29:28,761
in the 1960s
430
00:29:29,081 --> 00:29:31,081
called Happiness.
431
00:29:32,001 --> 00:29:36,201
I imagined Impressionist paintings,
with their melancholy.
432
00:29:36,841 --> 00:29:39,881
And yet they're happy scenes
of daily life.
433
00:29:40,041 --> 00:29:43,361
I listened to Mozart and pondered death.
434
00:29:44,121 --> 00:29:46,961
I wrote and shot the film quickly.
435
00:29:47,121 --> 00:29:50,201
Like the bright clarity
of our too-short summers.
436
00:29:54,961 --> 00:29:57,681
Go to sleep kids. Daddy's sleeping.
437
00:29:57,841 --> 00:29:59,081
Be quiet.
438
00:30:04,161 --> 00:30:08,881
I wanted to show happiness
as it is traditionally described.
439
00:30:09,041 --> 00:30:11,201
A woman and a man, beautiful children.
440
00:30:11,361 --> 00:30:12,961
They love nature.
441
00:30:13,121 --> 00:30:15,961
They're friendly, unpretentious.
442
00:30:16,121 --> 00:30:18,561
A template for happiness.
443
00:30:18,721 --> 00:30:22,481
And I wanted to set the story
in Ile-de-France.
444
00:30:22,961 --> 00:30:27,161
In places that had inspired
the Impressionists.
445
00:30:27,561 --> 00:30:29,321
I shot in summertime,
446
00:30:29,481 --> 00:30:33,161
in soft, delicate tones.
447
00:30:33,721 --> 00:30:37,121
I accompanied the story
with music by Mozart,
448
00:30:37,281 --> 00:30:39,761
which seemed to express happiness
449
00:30:39,921 --> 00:30:42,601
with a little dash of anguish.
450
00:30:45,441 --> 00:30:48,281
Jean-Claude Drouot was a TV hero.
451
00:30:48,441 --> 00:30:50,281
He was Thierry la Fronde.
452
00:30:50,441 --> 00:30:53,601
I went to the woods
to ask him to be in my film.
453
00:30:53,761 --> 00:30:56,241
He was on horseback, in costume.
454
00:30:58,281 --> 00:31:02,201
I said, "Excuse me, sorry to bother you.
455
00:31:02,361 --> 00:31:06,921
Would you agree to make a film
with your real wife and kids?"
456
00:31:07,761 --> 00:31:11,121
His wife hesitated at first,
but they did it.
457
00:31:16,441 --> 00:31:20,521
It's no problem.
Annie can come babysit at 8:30.
458
00:31:20,801 --> 00:31:23,321
We can make the 9 o'clock show.
459
00:31:23,721 --> 00:31:25,241
I’d love that.
460
00:31:26,481 --> 00:31:30,961
On the surface,
it's a simple story of a happy family.
461
00:31:31,121 --> 00:31:32,801
He's happy with his wife.
462
00:31:32,961 --> 00:31:35,121
But then he meets a postal worker.
463
00:31:35,441 --> 00:31:37,361
She looks like his wife.
464
00:31:37,521 --> 00:31:39,481
He falls in love.
465
00:31:40,081 --> 00:31:41,401
He thinks you can
466
00:31:41,561 --> 00:31:43,161
add happiness to happiness.
467
00:31:43,321 --> 00:31:46,601
The critics had a field day. Outrageous!
468
00:31:46,761 --> 00:31:48,561
Does fidelity mean anything?
469
00:31:48,721 --> 00:31:51,561
Can you film happiness?
Do we have the right?
470
00:32:12,041 --> 00:32:14,441
I had such fun choosing the colours.
471
00:32:14,601 --> 00:32:16,001
I went all out on the blue,
472
00:32:16,761 --> 00:32:18,121
the yellow, the red...
473
00:32:19,041 --> 00:32:21,921
Here we have a predominantly red picnic.
474
00:32:25,121 --> 00:32:26,681
I also thought,
475
00:32:26,841 --> 00:32:30,721
instead of ending the scenes
with the traditional fade to black,
476
00:32:31,441 --> 00:32:33,641
it'd be nice to fade to colours.
477
00:32:33,801 --> 00:32:35,641
So the scenes ended
478
00:32:35,801 --> 00:32:39,321
in red, blue, purple, yellow.
479
00:32:41,681 --> 00:32:43,841
I even made a flag,
480
00:32:44,001 --> 00:32:45,961
with a dissolve in blue,
481
00:32:46,121 --> 00:32:48,161
one in white, and one in red
482
00:32:48,321 --> 00:32:50,321
to announce Bastille Day.
483
00:32:50,601 --> 00:32:52,121
July 14th.
484
00:32:53,761 --> 00:32:56,761
I used to describe the film
485
00:32:56,921 --> 00:33:01,121
as a beautiful summer peach
with a worm inside.
486
00:33:02,761 --> 00:33:03,961
A tragedy.
487
00:33:13,201 --> 00:33:15,801
He cannot bear the situation.
488
00:33:16,601 --> 00:33:18,801
He can't connect to it.
489
00:33:19,281 --> 00:33:21,281
So I used repetition.
490
00:33:21,601 --> 00:33:23,681
I tried repetition.
491
00:33:23,841 --> 00:33:25,761
I used repetition.
492
00:33:28,281 --> 00:33:31,361
I'd like to discuss
what a film is as a whole.
493
00:33:32,481 --> 00:33:35,801
In literature, they use the word style.
494
00:33:35,961 --> 00:33:38,961
In cinema, I use the word cinewriting.
495
00:33:39,521 --> 00:33:44,921
It covers all the choices made
throughout the making of a film.
496
00:33:45,281 --> 00:33:48,961
What do you film?
Fluid or abrupt shots?
497
00:33:49,281 --> 00:33:52,721
Clear, isolated images
or crowded spaces?
498
00:33:53,561 --> 00:33:55,161
Pacing? Music?
499
00:33:55,321 --> 00:33:58,441
It all takes shape in the editing room.
500
00:33:58,601 --> 00:34:00,361
I sometimes add commentaries,
501
00:34:00,521 --> 00:34:04,081
to stay in the film
and be with the audience.
502
00:34:04,921 --> 00:34:09,521
But in editing and mixing
we finish the cinewriting.
503
00:34:10,681 --> 00:34:14,401
As for how a film starts,
life sometimes decides.
504
00:34:14,761 --> 00:34:19,161
At a very sad time of my life,
when Jacques Demy was ill,
505
00:34:20,241 --> 00:34:24,041
he shared his memories, wrote them down.
506
00:34:24,201 --> 00:34:26,761
Fond memories of his childhood.
507
00:34:26,921 --> 00:34:31,561
He was raised in Nantes,
in the garage where his father worked.
508
00:34:31,961 --> 00:34:33,881
He was taking notes.
509
00:34:34,401 --> 00:34:36,521
Every few days he showed them to me.
510
00:34:36,681 --> 00:34:40,441
I said, "This would be a great film.
Will you make it?"
511
00:34:41,041 --> 00:34:42,961
He said, "You do it, I'm too tired."
512
00:34:43,281 --> 00:34:47,361
So I wrote a script
about Jacques Demy's childhood.
513
00:34:47,521 --> 00:34:49,841
Set in the actual garage.
514
00:34:50,001 --> 00:34:54,041
We kicked out the mechanics.
They let us use the place.
515
00:34:54,201 --> 00:34:58,761
The old gas pump was still there.
It hadn't been removed.
516
00:34:59,801 --> 00:35:03,321
It was a very particular experience.
517
00:35:03,481 --> 00:35:07,601
I approached the film
in three different ways.
518
00:35:08,321 --> 00:35:10,681
Black-and-white footage,
519
00:35:10,841 --> 00:35:12,721
1930s style,
520
00:35:12,881 --> 00:35:15,401
tells the story of his childhood.
521
00:35:15,561 --> 00:35:18,641
Then there were colour excerpts
522
00:35:18,801 --> 00:35:21,201
from films Jacques Demy made later,
523
00:35:21,361 --> 00:35:22,761
all inspired
524
00:35:22,921 --> 00:35:24,641
by his childhood.
525
00:35:24,801 --> 00:35:27,601
The engine knocks when it's cold,
don't worry.
526
00:35:27,761 --> 00:35:29,241
Thank you.
527
00:35:33,081 --> 00:35:34,801
Is it ready to go?
528
00:35:35,081 --> 00:35:36,201
Yes.
529
00:35:37,041 --> 00:35:40,801
The engine knocks when it's cold,
don't worry.
530
00:35:41,201 --> 00:35:44,401
And then there was
a third film within the film.
531
00:35:44,561 --> 00:35:47,521
Jacques was still alive, but very ill.
532
00:35:47,681 --> 00:35:51,561
I loved him
and wanted to be as close as possible,
533
00:35:51,721 --> 00:35:53,921
help him as much as I could.
534
00:35:54,081 --> 00:35:57,921
In film terms,
that meant extreme close-ups.
535
00:36:21,681 --> 00:36:25,881
The whole film is a desire to stop time
and deny death.
536
00:36:26,041 --> 00:36:27,281
No.
537
00:36:27,681 --> 00:36:29,961
I don't see it that way.
538
00:36:30,121 --> 00:36:33,281
Not to stop time. To accompany time.
539
00:36:34,761 --> 00:36:37,521
The film accompanies Jacques as he dies.
540
00:36:38,521 --> 00:36:41,961
As he remembers his childhood.
541
00:36:42,721 --> 00:36:45,241
The love of cinema
starts early for some.
542
00:36:45,401 --> 00:36:49,881
Little Jacquot invented cinema,
I dare say.
543
00:36:50,641 --> 00:36:51,721
Look.
544
00:36:55,841 --> 00:36:57,401
Nice set up.
545
00:36:58,641 --> 00:37:00,841
- It's fragile!
- What is it?
546
00:37:01,001 --> 00:37:03,561
Don't bump into the camera.
547
00:37:03,841 --> 00:37:06,521
Look. To make the ballerina move,
548
00:37:06,801 --> 00:37:09,401
I move her leg and take a shot.
549
00:37:09,561 --> 00:37:12,161
Move her leg, take a shot.
550
00:37:14,201 --> 00:37:15,281
Get it?
551
00:37:15,921 --> 00:37:19,721
It creates a continuous movement.
If you film my arm...
552
00:37:21,281 --> 00:37:23,521
you get a continuous movement.
553
00:37:24,001 --> 00:37:27,641
Now get going.
I need quiet concentration.
554
00:37:47,801 --> 00:37:49,681
No good. It's all out of focus.
555
00:37:50,401 --> 00:37:52,041
No good at all.
556
00:37:53,761 --> 00:37:56,361
Several years later, against his will,
557
00:37:57,081 --> 00:38:00,121
Jacquot worked in his father's garage.
558
00:38:01,561 --> 00:38:04,321
And this goes
around the customer's neck?
559
00:38:04,481 --> 00:38:05,801
Start over!
560
00:38:07,081 --> 00:38:08,641
Where's your mind?
561
00:38:08,801 --> 00:38:10,161
On Hollywood!
562
00:38:10,321 --> 00:38:12,001
Some mechanic!
563
00:38:12,801 --> 00:38:15,041
It's extraordinary. Years later,
564
00:38:15,201 --> 00:38:17,681
after the success
of The Umbrellas of Cherbourg,
565
00:38:17,841 --> 00:38:20,801
he was invited to work in Hollywood.
566
00:38:21,241 --> 00:38:22,641
I went with him.
567
00:38:24,761 --> 00:38:27,241
In Los Angeles I discovered,
like everyone,
568
00:38:27,401 --> 00:38:28,801
the stars of the stars
569
00:38:28,961 --> 00:38:30,761
on Hollywood Boulevard.
570
00:38:32,001 --> 00:38:35,121
And I met some of the idols and stars
571
00:38:35,281 --> 00:38:37,961
of the new Hippie Generation.
572
00:38:38,121 --> 00:38:42,401
They wanted to make it in Hollywood
their way.
573
00:38:52,521 --> 00:38:56,001
Three actors with big manes of hair:
Lions.
574
00:38:56,161 --> 00:38:58,041
A love triangle: Love.
575
00:38:58,201 --> 00:39:01,121
Television and the news: Lies.
576
00:39:03,081 --> 00:39:07,841
For the cast,
I chose heroes of the hippie scene.
577
00:39:08,001 --> 00:39:11,641
Rado and Ragni,
who wrote and played in Hair,
578
00:39:11,801 --> 00:39:13,921
and Viva, Andy Warhol's muse.
579
00:39:14,321 --> 00:39:17,321
I went to the Factory in New York
to see Andy,
580
00:39:17,481 --> 00:39:21,641
so he'd introduce us and convince her.
She was tricky.
581
00:39:30,361 --> 00:39:31,561
Then he said:
582
00:39:37,481 --> 00:39:42,241
Another character in the film
was the television set.
583
00:39:42,841 --> 00:39:46,921
It was always there,
embodying the spirit of the film:
584
00:39:47,081 --> 00:39:48,801
sex and politics.
585
00:40:02,521 --> 00:40:06,121
Here the silence was planned,
but usually they talked a lot.
586
00:40:08,761 --> 00:40:10,441
They improvised.
587
00:40:10,601 --> 00:40:13,521
They changed the text
from one take to another.
588
00:40:13,681 --> 00:40:16,081
The scenes were impossible to edit.
589
00:40:20,201 --> 00:40:25,761
So I shot each take of each scene
with three 35mm sound cameras.
590
00:40:27,921 --> 00:40:31,521
Sometimes they agreed
to pose like models.
591
00:40:32,521 --> 00:40:35,081
This is an exact copy
of a drawing by Picasso
592
00:40:35,241 --> 00:40:37,681
from a series he did in 1936.
593
00:40:39,201 --> 00:40:41,801
This is another one.
594
00:40:45,241 --> 00:40:47,641
I wanted to feature Shirley Clarke,
595
00:40:48,081 --> 00:40:50,161
the New York filmmaker
596
00:40:50,321 --> 00:40:53,361
who was, in a way, my double.
597
00:40:54,481 --> 00:40:55,881
Another tableau,
598
00:40:56,041 --> 00:40:58,401
this one inspired
by a Magritte painting.
599
00:41:00,681 --> 00:41:05,361
I think of it as an imaginary
news report, a utopian fiction.
600
00:41:05,521 --> 00:41:08,601
From my time in Hollywood.
601
00:41:09,081 --> 00:41:11,681
A collage, made my way.
602
00:41:12,921 --> 00:41:16,721
Ten years later,
a collage of names on walls.
603
00:41:19,881 --> 00:41:23,121
I was fascinated by what I saw.
604
00:41:23,721 --> 00:41:26,001
Giant murals.
605
00:41:26,241 --> 00:41:30,001
I began documenting them in photographs.
606
00:41:30,601 --> 00:41:34,441
You rarely know who made them.
They're unsigned. I asked neighbours.
607
00:41:35,241 --> 00:41:38,681
Some fine arts graduates
became muralists.
608
00:41:38,841 --> 00:41:40,321
For example, Kent Twitchell.
609
00:41:40,481 --> 00:41:44,201
It was a form of resistance
against the art industry.
610
00:41:46,321 --> 00:41:50,121
The idea is art should be free
for everyone.
611
00:41:52,601 --> 00:41:56,841
Beyond the river is East L.A.,
with its Chicano Art.
612
00:41:59,121 --> 00:42:01,321
I filmed large murals,
613
00:42:01,481 --> 00:42:03,361
like those by Willie Herron.
614
00:42:03,641 --> 00:42:07,001
But I also wanted to make cinema.
615
00:43:34,561 --> 00:43:40,201
I often say Murals Murals is a film
about the extroverted Los Angeles.
616
00:43:40,361 --> 00:43:44,321
People express themselves through walls,
clothing and words.
617
00:43:44,641 --> 00:43:47,401
But I also sense an introverted,
618
00:43:47,561 --> 00:43:50,441
sad, desperate Los Angeles.
619
00:43:52,721 --> 00:43:57,281
It's the story of Emilie,
a French woman exiled in Los Angeles,
620
00:43:58,841 --> 00:44:01,641
looking for a place to live
with her son.
621
00:44:02,641 --> 00:44:07,241
Sabine Mamou, who edited Murals Murals,
played Emilie.
622
00:44:07,401 --> 00:44:08,601
This is your home.
623
00:44:09,041 --> 00:44:11,521
Mathieu Demy played her son.
624
00:44:11,961 --> 00:44:14,041
You mean I’ll be sleeping...
625
00:44:15,481 --> 00:44:16,761
all alone?
626
00:44:16,921 --> 00:44:18,841
You’ll be fine, you’ll see.
627
00:44:19,721 --> 00:44:22,281
If I don't like it, what'll we do?
628
00:44:24,521 --> 00:44:27,561
If he doesn't like it, what'll I do?
629
00:44:28,201 --> 00:44:31,321
If they don't like it, what do they do?
630
00:44:31,481 --> 00:44:33,641
He or she, what do they do?
631
00:44:34,441 --> 00:44:38,841
She's extremely lonely,
she's going through a separation.
632
00:44:39,321 --> 00:44:42,241
But she doesn't want to discuss it
with her son.
633
00:44:42,401 --> 00:44:44,281
You don't confide in children.
634
00:44:44,721 --> 00:44:49,681
So I decided
on a specific process for this film.
635
00:44:49,961 --> 00:44:54,561
I'd use documentary images
to speak for her.
636
00:44:55,121 --> 00:44:59,121
Or she monologues
over documentary images.
637
00:44:59,281 --> 00:45:04,241
When you lose words like tureen,
ladle, table, warmth, togetherness,
638
00:45:04,401 --> 00:45:06,401
the only words left are soup,
639
00:45:06,561 --> 00:45:09,761
solitude, separation, absence.
640
00:45:10,761 --> 00:45:16,521
I had accumulated images
we wondered about.
641
00:45:16,681 --> 00:45:20,401
We didn't always know
what we were capturing.
642
00:45:20,561 --> 00:45:23,641
Silence or speech, pain or peace.
643
00:45:23,801 --> 00:45:27,161
Some sequences were mysteries to us.
644
00:45:27,521 --> 00:45:31,001
For example, we were on the beach
645
00:45:31,161 --> 00:45:33,561
filming Sabine and the boy.
646
00:45:33,721 --> 00:45:35,161
Lying on the sand
647
00:45:35,601 --> 00:45:40,321
was a woman with a bible
and two men on either side of her.
648
00:45:41,321 --> 00:45:44,161
The boy asks Sabine about it.
649
00:45:44,321 --> 00:45:47,081
She has no answer. Neither did we.
650
00:45:47,241 --> 00:45:52,121
We were open to filming
things we didn't understand.
651
00:45:52,281 --> 00:45:54,601
Because in cinema and elsewhere,
652
00:45:54,761 --> 00:45:58,041
it's important to feel, to experience.
653
00:45:58,361 --> 00:46:00,081
What're they doing? Is she dead?
654
00:46:00,241 --> 00:46:02,281
No. I don't know.
655
00:46:02,441 --> 00:46:05,241
Why didn't we stay to find out?
656
00:46:08,641 --> 00:46:13,761
Nurith Aviv and I would go out evenings
to capture images.
657
00:46:13,921 --> 00:46:16,641
One image in particular struck me.
658
00:46:17,281 --> 00:46:21,681
There was a woman doing her laundry
in a laundromat.
659
00:46:21,841 --> 00:46:26,521
We'd just parked the car.
We filmed through the window.
660
00:46:27,201 --> 00:46:32,081
That lone woman fiddled
with her greasy hair for a long time.
661
00:46:32,241 --> 00:46:36,161
An extraordinary moment
of solitary sensuality.
662
00:46:48,801 --> 00:46:53,281
The film is greatly enhanced
by Georges Delerue's music.
663
00:46:53,441 --> 00:46:56,081
He watched it a few times
664
00:46:56,241 --> 00:47:02,001
and improvised a score
that is captivating, frail and subdued.
665
00:47:02,241 --> 00:47:04,721
Like a gentle ache.
666
00:47:13,881 --> 00:47:17,921
Georges Delerue also composed,
23 years earlier,
667
00:47:18,081 --> 00:47:21,961
the music for this short film,
Diary of a Pregnant Woman.
668
00:47:22,481 --> 00:47:23,961
Like Documenteur,
669
00:47:24,121 --> 00:47:27,201
this film was tied to my personal life.
670
00:47:27,681 --> 00:47:30,841
I often went to Rue Mouffetard.
671
00:47:31,001 --> 00:47:33,601
It was almost like the Middle Ages.
672
00:47:33,761 --> 00:47:36,521
There was a market. I love markets.
673
00:47:36,681 --> 00:47:38,201
And there were poor people
674
00:47:38,361 --> 00:47:39,881
living on the streets.
675
00:47:40,161 --> 00:47:41,801
Old folks, cripples
676
00:47:41,961 --> 00:47:43,961
and drunkards.
677
00:47:45,361 --> 00:47:47,121
I was pregnant.
678
00:47:47,601 --> 00:47:52,481
I didn't tell people,
but I filmed a clear sign of pregnancy:
679
00:47:52,641 --> 00:47:53,881
a big belly.
680
00:47:54,041 --> 00:47:58,681
And the way
certain basic, ancestral fears
681
00:47:58,841 --> 00:48:01,721
could be portrayed.
682
00:48:38,201 --> 00:48:43,801
I was utterly haunted
by a fundamental contradiction.
683
00:48:44,321 --> 00:48:45,961
You're full of hope,
684
00:48:46,121 --> 00:48:49,601
you're offering a life to a new child,
685
00:48:49,761 --> 00:48:51,401
who might be happy.
686
00:48:51,561 --> 00:48:53,601
And yet, I saw a population
687
00:48:53,761 --> 00:48:55,161
that was terribly,
688
00:48:55,761 --> 00:48:58,361
terribly... unhappy.
689
00:48:58,681 --> 00:49:01,001
They really inspired me to think.
690
00:49:01,161 --> 00:49:03,241
They too had been newborns.
691
00:49:03,921 --> 00:49:07,961
Maybe when they were wee babies,
even if they were unwanted,
692
00:49:08,121 --> 00:49:12,201
someone cuddled them,
stroked their belly, even a bit.
693
00:49:12,361 --> 00:49:13,641
Some of them
694
00:49:15,441 --> 00:49:17,761
They were newborn babes
695
00:49:18,321 --> 00:49:20,201
Someone, some other
696
00:49:20,481 --> 00:49:22,401
some of them
697
00:49:34,401 --> 00:49:37,281
Many of you want to make documentaries.
698
00:49:37,441 --> 00:49:39,361
I think it's very important...
699
00:49:39,721 --> 00:49:41,641
This isn't really advice,
700
00:49:41,801 --> 00:49:44,281
but when you film something,
701
00:49:44,441 --> 00:49:46,201
a place, a landscape,
702
00:49:46,361 --> 00:49:48,081
a group of people,
703
00:49:48,241 --> 00:49:51,441
you need a viewpoint.
At least to start.
704
00:49:51,601 --> 00:49:54,121
You film in relation to that viewpoint.
705
00:49:54,281 --> 00:49:57,401
It's both a documentary and staged.
706
00:49:57,961 --> 00:50:00,761
There are two types of documentaries.
707
00:50:01,001 --> 00:50:03,521
Pure and raw, reality only.
708
00:50:03,681 --> 00:50:06,641
Those documentaries
can be extraordinary.
709
00:50:06,801 --> 00:50:09,441
But I want mine to be a film too.
710
00:50:09,601 --> 00:50:12,841
I think it's fun to prepare a film
711
00:50:13,001 --> 00:50:15,641
with real reality, but also a twist.
712
00:50:15,801 --> 00:50:18,801
I really love organising,
713
00:50:18,961 --> 00:50:20,921
not the staging per Se,
714
00:50:21,081 --> 00:50:24,001
but the general outline
of a documentary.
715
00:50:27,081 --> 00:50:28,961
From the very start, I understood
716
00:50:29,121 --> 00:50:32,161
that contemporary musicians
were my allies.
717
00:50:32,321 --> 00:50:33,801
I've mentioned Delerue.
718
00:50:33,961 --> 00:50:37,881
There was also Pierre Barbaud,
the composer for La Pointe Courte,
719
00:50:38,041 --> 00:50:39,601
my first film,
720
00:50:40,681 --> 00:50:43,001
shot in 1954
721
00:50:43,161 --> 00:50:45,041
in a neighbourhood of Sète.
722
00:50:46,721 --> 00:50:49,441
I made that film with no experience,
723
00:50:49,601 --> 00:50:51,561
no film schooling,
724
00:50:51,721 --> 00:50:53,961
no prior work as an assistant.
725
00:50:55,521 --> 00:50:57,961
The film came out of nowhere.
726
00:51:06,201 --> 00:51:09,441
I had a particular structure in mind.
727
00:51:09,801 --> 00:51:14,281
I wanted to combine two films
with alternating chapters,
728
00:51:14,441 --> 00:51:18,601
like a Faulkner book I admired,
The Wild Palms.
729
00:51:18,881 --> 00:51:22,921
I'd alternate fishermen sequences
with couple sequences.
730
00:51:23,441 --> 00:51:25,961
Two stories with nothing in common
731
00:51:26,121 --> 00:51:28,081
except the location.
732
00:51:28,841 --> 00:51:31,081
It's a confrontation
733
00:51:31,241 --> 00:51:33,001
between the private and the social.
734
00:51:33,161 --> 00:51:34,841
The labour representative
735
00:51:35,841 --> 00:51:37,401
is coming on the boat.
736
00:51:37,561 --> 00:51:39,121
Don't talk about encounters.
737
00:51:39,281 --> 00:51:43,641
It's a juxtaposition
of two approaches to the world.
738
00:51:43,801 --> 00:51:44,921
One very stylish,
739
00:51:45,081 --> 00:51:47,201
with composition and dialogue.
740
00:51:47,361 --> 00:51:49,161
I know your gestures.
741
00:51:49,321 --> 00:51:51,521
Your habits have become mine.
742
00:51:51,681 --> 00:51:53,721
No more surprises.
743
00:51:53,881 --> 00:51:57,721
And one that looks more
like Italian Neo-Realism.
744
00:51:57,881 --> 00:52:01,081
Though I hadn't yet seen those films.
745
00:52:02,761 --> 00:52:06,641
Alain Resnais, who edited the film,
taught me a lot.
746
00:52:08,361 --> 00:52:11,161
I did another thing that wasn't done.
747
00:52:11,321 --> 00:52:14,361
Usually sound diminishes
as people move away.
748
00:52:14,521 --> 00:52:18,321
It gets quieter
until you barely hear them.
749
00:52:18,481 --> 00:52:22,161
I decreed that the sound
would remain in the foreground.
750
00:52:23,081 --> 00:52:26,721
So as they talk and walk away,
751
00:52:26,921 --> 00:52:30,641
it feels like voiceover dialogue,
752
00:52:30,801 --> 00:52:32,761
yet they're really talking.
753
00:52:32,921 --> 00:52:34,121
It's synchronised.
754
00:52:34,281 --> 00:52:36,721
But the sound stays up front.
755
00:52:36,881 --> 00:52:40,361
I never used to have such thoughts.
Did you?
756
00:52:40,521 --> 00:52:43,201
I've always noticed others.
757
00:52:44,521 --> 00:52:48,721
But I don't want to live anywhere
but with you.
758
00:52:57,001 --> 00:52:59,561
Let's leap from Sète to Sceaux.
759
00:53:00,041 --> 00:53:05,201
In Sceaux Park, a project took shape
with my friend Jane Birkin.
760
00:53:06,401 --> 00:53:11,441
We were walking and suddenly she said,
"It's terrible, I'm almost 40."
761
00:53:11,601 --> 00:53:15,081
I said, "Don't be silly!
It's a wonderful age.
762
00:53:15,241 --> 00:53:17,121
Let's do your portrait."
763
00:53:17,961 --> 00:53:20,121
That's how it began.
764
00:53:20,881 --> 00:53:25,081
I suggested to this lively,
vivacious woman,
765
00:53:25,361 --> 00:53:30,241
that we do the opposite
of those tributes to dead actresses
766
00:53:30,401 --> 00:53:35,001
that compile excerpts from their films
and interviews.
767
00:53:35,321 --> 00:53:40,081
I said we'd create excerpts
of films she'd never made
768
00:53:40,241 --> 00:53:42,561
and do pretend interviews.
769
00:53:43,641 --> 00:53:49,281
We reversed the golden rule
about not breaking the fourth wall.
770
00:53:50,201 --> 00:53:53,321
You must look into the camera
to look at me.
771
00:53:53,681 --> 00:53:55,041
I'm trying!
772
00:53:56,001 --> 00:53:58,881
It's like I'm filming
your self-portrait.
773
00:53:59,041 --> 00:54:01,601
You won't always be alone in the mirror.
774
00:54:01,761 --> 00:54:05,561
There will be the camera,
which is a bit me.
775
00:54:06,041 --> 00:54:10,081
And it's OK if I sometimes appear
in the mirror or in the background.
776
00:54:10,561 --> 00:54:14,081
We were in it together.
The filmmaker and the filmed.
777
00:54:14,761 --> 00:54:17,601
The theme is painter and model.
778
00:54:19,321 --> 00:54:23,641
It's a surprise portrait
of Jane in many roles,
779
00:54:23,801 --> 00:54:25,081
including that of herself.
780
00:54:25,241 --> 00:54:28,321
With my jeans, old sweaters,
messy hair, pajamas...
781
00:54:28,481 --> 00:54:30,001
She was a good sport.
782
00:54:30,161 --> 00:54:31,401
She was funny,
783
00:54:31,561 --> 00:54:32,561
strange,
784
00:54:32,721 --> 00:54:33,721
magnificent,
785
00:54:34,401 --> 00:54:35,361
poignant.
786
00:54:35,521 --> 00:54:38,241
They can eat and drink
a bit of my husband.
787
00:54:42,121 --> 00:54:45,041
It was her first time
in a Spanish costume.
788
00:54:45,201 --> 00:54:46,641
She hated it.
789
00:54:47,201 --> 00:54:51,321
This is also the first time
I've dared show my writing.
790
00:54:51,721 --> 00:54:53,641
Yes, you let me read it.
791
00:54:53,801 --> 00:54:56,361
I liked it, we'll use it.
792
00:54:56,721 --> 00:55:00,961
We ended up making a whole film
to tell the story she wrote.
793
00:55:01,281 --> 00:55:03,801
She's a woman like me. She is me.
794
00:55:03,961 --> 00:55:06,601
She falls in love with a very young boy.
795
00:55:07,401 --> 00:55:09,761
A love story with an unhappy ending.
796
00:55:10,081 --> 00:55:13,401
It’d be nice to shoot the film
as a family.
797
00:55:13,561 --> 00:55:15,041
I get your drift.
798
00:55:15,601 --> 00:55:18,881
You want my son to play the boy.
799
00:55:19,041 --> 00:55:20,561
Yes, of course.
800
00:55:21,241 --> 00:55:23,041
This was a first.
801
00:55:23,481 --> 00:55:28,481
We interrupted Jane B.
to make Kung Fu Master.
802
00:55:28,641 --> 00:55:32,121
Starring Jane as planned,
and Mathieu as planned.
803
00:55:32,721 --> 00:55:34,601
They played a love story
804
00:55:34,761 --> 00:55:37,921
that was a bit different than Jane's,
because now
805
00:55:38,321 --> 00:55:40,481
the woman was in love with a boy
806
00:55:40,641 --> 00:55:44,081
who was himself in love
with a video game.
807
00:55:44,241 --> 00:55:47,441
They throw high or low.
You gotta duck or jump.
808
00:55:48,041 --> 00:55:50,401
The game was called Kung Fu Master.
809
00:55:50,561 --> 00:55:52,801
And the boy wanted to master it.
810
00:55:52,961 --> 00:55:56,041
Knock out a big guy or wizard to go up.
811
00:55:56,201 --> 00:55:59,161
You have to rescue Sylvia
on the 5th floor.
812
00:56:03,681 --> 00:56:05,761
We shot in summer.
813
00:56:05,921 --> 00:56:07,321
I had Mathieu.
814
00:56:07,681 --> 00:56:10,201
And Jane had her two girls.
815
00:56:10,361 --> 00:56:11,961
We liked that.
816
00:56:14,161 --> 00:56:18,121
When school started, we resumed Jane B.
817
00:56:19,281 --> 00:56:22,481
We played with cinema and painting.
818
00:56:22,881 --> 00:56:25,561
It's hard to pinpoint when you slipped
819
00:56:25,961 --> 00:56:28,641
from close-ups to the background,
820
00:56:29,001 --> 00:56:31,001
to the very back of the shot.
821
00:56:32,241 --> 00:56:34,961
Here she is as La Maja Vestida
822
00:56:35,801 --> 00:56:37,281
and La Maja Desnuda.
823
00:56:38,641 --> 00:56:39,601
And vexed
824
00:56:40,001 --> 00:56:42,721
in the background of Titian's Venus.
825
00:56:43,721 --> 00:56:46,161
May the plague take her! And old age!
826
00:56:46,641 --> 00:56:48,561
May she die, may she rot!
827
00:57:02,561 --> 00:57:05,881
Now we'll go
from the History of Painting
828
00:57:06,041 --> 00:57:08,041
to the History of Cinema.
829
00:57:08,521 --> 00:57:13,001
Cinema's 100th birthday
was celebrated very officially.
830
00:57:13,401 --> 00:57:18,921
They asked me to make a film
about the 100 years.
831
00:57:19,081 --> 00:57:22,841
I imagined a 100-year-old man.
832
00:57:23,081 --> 00:57:26,041
A man whose name would be
833
00:57:26,201 --> 00:57:29,561
Simon Cinema.
In French it sounds like "If my cinema."
834
00:57:29,721 --> 00:57:33,201
"If my cinema isn't good,
see another film."
835
00:57:33,361 --> 00:57:35,841
So I called him Simon Cinema.
836
00:57:36,001 --> 00:57:37,161
Monsieur Cinema,
837
00:57:37,961 --> 00:57:40,121
played by Michel Piccoli,
838
00:57:40,721 --> 00:57:45,161
lived in a castle
that was like a film museum.
839
00:57:45,481 --> 00:57:47,761
Night is coming, and melancholy.
840
00:57:47,921 --> 00:57:51,441
Come now.
Who and what shall we talk about?
841
00:57:51,601 --> 00:57:53,641
Renoir? The Popular Front?
842
00:57:53,801 --> 00:57:56,601
I was thinking
of the fellow with the big eyes.
843
00:57:56,761 --> 00:57:58,641
Who? Buster Keaton?
844
00:57:58,801 --> 00:58:00,521
No, not Keaton today.
845
00:58:00,681 --> 00:58:03,841
Buñuel. That eye he slashed in two.
846
00:58:09,201 --> 00:58:11,601
Monsieur Cinema had visitors.
847
00:58:11,761 --> 00:58:14,761
Hanna Schygulla and Jeanne Moreau!
848
00:58:14,921 --> 00:58:17,201
I worked with experienced actors here.
849
00:58:18,641 --> 00:58:20,161
They intimidate me.
850
00:58:21,321 --> 00:58:25,161
For this film,
I dared hire a number of stars.
851
00:58:26,801 --> 00:58:28,481
B for Belmondo.
852
00:58:30,081 --> 00:58:31,481
D for Depardieu.
853
00:58:33,481 --> 00:58:35,801
D for Delon.
854
00:58:36,321 --> 00:58:38,921
I hear Monsieur Cinema has taken ill.
855
00:58:39,561 --> 00:58:42,761
And D for duo. Two famous actors.
856
00:58:43,041 --> 00:58:45,481
Deneuve and De Niro.
857
00:58:48,241 --> 00:58:49,361
A dream.
858
00:58:52,601 --> 00:58:55,561
A dreamy couple, an idyllic cruise.
859
00:58:56,081 --> 00:58:58,561
In reality, on the technical side,
860
00:58:58,721 --> 00:59:00,481
the ocean was a pond.
861
00:59:00,641 --> 00:59:03,521
And 40 technicians found a clever way
862
00:59:03,681 --> 00:59:06,721
for us to do tracking shots
with light stands,
863
00:59:06,881 --> 00:59:10,881
filter screens, rails
and pillars for spotlights.
864
00:59:12,001 --> 00:59:13,321
It was very hot.
865
00:59:13,481 --> 00:59:17,281
We'd bought sunshades
and 20 rubber overalls.
866
00:59:17,841 --> 00:59:22,761
The crew resembled slaves
going down The Nile on a fool's arc.
867
00:59:28,441 --> 00:59:31,561
De Niro flew in on the Concorde
the day before.
868
00:59:31,721 --> 00:59:34,841
He said he rose at 4 a.m. for 3 days,
869
00:59:35,001 --> 00:59:37,561
to beat the jet lag in advance
870
00:59:37,721 --> 00:59:40,201
and be in good shape for the shoot.
871
00:59:42,681 --> 00:59:44,161
A one-day shoot.
872
00:59:44,321 --> 00:59:46,561
He had to leave the next morning.
873
00:59:47,921 --> 00:59:49,721
Getting up at 4 a.m.
874
00:59:50,441 --> 00:59:53,441
was so professional.
We were impressed.
875
00:59:53,841 --> 00:59:57,241
He was willing to shoot in a boat,
in a bowtie
876
00:59:57,401 --> 00:59:58,921
and in French.
877
00:59:59,321 --> 01:00:02,161
He learned his lines phonetically
all morning.
878
01:00:02,321 --> 01:00:04,601
It was fun rehearsing with him.
879
01:00:05,321 --> 01:00:07,361
Honey, did you turn off the gas,
880
01:00:07,521 --> 01:00:10,081
change the cat litter
and put the mayo in the fridge?
881
01:00:11,001 --> 01:00:12,121
Not bad!
882
01:00:18,281 --> 01:00:19,161
I can brag
883
01:00:19,321 --> 01:00:22,881
about getting Deneuve and De Niro
in a boat and in a film.
884
01:00:23,041 --> 01:00:26,801
I can brag about writing a scene
where De Niro falls in the water.
885
01:00:28,241 --> 01:00:30,441
But that was a stunt double.
886
01:00:31,601 --> 01:00:33,881
The film took a dive too.
887
01:00:34,041 --> 01:00:35,921
A box office disaster.
888
01:00:37,961 --> 01:00:41,561
I didn't make
another fiction film in 35mm
889
01:00:41,961 --> 01:00:43,561
or 16mm.
890
01:00:43,921 --> 01:00:46,921
Through to the end of the century.
891
01:00:50,201 --> 01:00:52,601
But I'd made a few films.
892
01:00:52,761 --> 01:00:56,521
They are appreciated and loved
around the world.
893
01:00:57,081 --> 01:00:59,641
My films are covered in affection.
894
01:01:03,921 --> 01:01:05,561
Freeze frame.
895
01:01:05,721 --> 01:01:06,841
Let's talk photos,
896
01:01:07,001 --> 01:01:10,241
with a return to the 1950s
and picture cameras.
897
01:01:26,401 --> 01:01:29,241
I was a photographer in my first life.
898
01:01:29,401 --> 01:01:31,121
I'll be brief about it.
899
01:01:32,561 --> 01:01:34,161
Some remember
900
01:01:34,321 --> 01:01:37,321
my photographs of Gérard Philippe
901
01:01:37,561 --> 01:01:39,121
and Jean Vilar
902
01:01:39,681 --> 01:01:41,521
at the Avignon Festival
903
01:01:41,881 --> 01:01:44,881
and the TNP.
People still talk about them.
904
01:01:45,521 --> 01:01:50,721
Back then, in 1950,
I began photographing theatre.
905
01:01:50,881 --> 01:01:54,601
To document elements
of staging and performance,
906
01:01:54,761 --> 01:02:00,921
and also, in particular,
to create images to represent each play.
907
01:02:02,441 --> 01:02:03,681
For example,
908
01:02:04,321 --> 01:02:05,921
The Prince of Homburg.
909
01:02:06,081 --> 01:02:07,681
Officer, dreamer.
910
01:02:07,841 --> 01:02:10,201
Shot outside in bright sunlight.
911
01:02:11,041 --> 01:02:12,361
In profile,
912
01:02:12,521 --> 01:02:15,001
the star-crossed lovers of Macbeth,
913
01:02:15,161 --> 01:02:16,681
Vilar and Casarès.
914
01:02:17,081 --> 01:02:19,441
And King Ubu, on a jaunt in Paris.
915
01:02:19,601 --> 01:02:22,641
"Blue corn! Ham of God! Head of Cow!"
916
01:02:23,361 --> 01:02:26,801
Caravans as dressing rooms
for Mother Courage.
917
01:02:27,681 --> 01:02:30,401
And in a makeshift dressing room
at the Papal Palace,
918
01:02:30,561 --> 01:02:34,001
Vilar alone,
after playing The Miser.
919
01:02:36,521 --> 01:02:38,881
Salvador Dalí in Cadaqués.
920
01:02:40,321 --> 01:02:42,161
Brassaï on Rue Fermat.
921
01:02:43,841 --> 01:02:47,361
Eugène Ionesco
with his three-nosed fiancée.
922
01:02:48,441 --> 01:02:50,441
Pierre Székely and his daughter.
923
01:02:51,801 --> 01:02:54,721
Simon Hantaï with his wife and son.
924
01:02:56,561 --> 01:02:58,441
And Mario Prassinos.
925
01:02:59,481 --> 01:03:02,281
Calder in the 14th arrondissement.
926
01:03:03,681 --> 01:03:06,281
A few filmmakers: Visconti,
927
01:03:07,201 --> 01:03:08,521
Fellini,
928
01:03:09,601 --> 01:03:10,721
Demy.
929
01:03:11,841 --> 01:03:13,281
Jacques Demy.
930
01:03:15,121 --> 01:03:17,641
Portraits of famous actresses:
931
01:03:18,081 --> 01:03:19,561
Anouk Aimée,
932
01:03:20,601 --> 01:03:22,201
Catherine Deneuve
933
01:03:23,201 --> 01:03:24,321
and Jeanne Moreau.
934
01:03:26,361 --> 01:03:29,441
And the famous Líder Máximo,
Fidel Castro,
935
01:03:29,601 --> 01:03:31,361
with his wings of stone.
936
01:03:32,601 --> 01:03:34,161
But also neighbours:
937
01:03:34,521 --> 01:03:36,121
Mimi and her mother,
938
01:03:36,561 --> 01:03:38,081
Boukkra the grocer.
939
01:03:38,521 --> 01:03:39,681
And friends:
940
01:03:39,841 --> 01:03:42,161
Igor, my brother Jean,
941
01:03:42,921 --> 01:03:43,961
Linou
942
01:03:44,681 --> 01:03:46,401
and Véronique.
943
01:03:47,881 --> 01:03:50,081
Chance provided the staging
944
01:03:50,241 --> 01:03:53,601
on Corbusier's terrace in Marseille.
945
01:03:54,601 --> 01:03:57,561
These are people seen at random
946
01:03:58,001 --> 01:04:00,201
and caught at the right time.
947
01:04:00,361 --> 01:04:02,561
A Portuguese woman passing.
948
01:04:03,601 --> 01:04:05,641
A salt maker, some salt
949
01:04:05,801 --> 01:04:07,361
and a pious woman.
950
01:04:09,201 --> 01:04:11,521
People outside a circus.
951
01:04:12,961 --> 01:04:15,641
I liked to do composed photographs.
952
01:04:21,681 --> 01:04:23,401
Groups too.
953
01:04:23,641 --> 01:04:25,841
A family in the Ardennes.
954
01:04:26,241 --> 01:04:29,081
School girls in Mukden.
955
01:04:30,201 --> 01:04:31,921
China was so far away.
956
01:04:32,081 --> 01:04:33,641
I felt emotions there.
957
01:04:34,001 --> 01:04:35,641
With children.
958
01:04:36,521 --> 01:04:38,721
A little girl with a flower.
959
01:04:39,001 --> 01:04:42,321
The old woman in the back
has mangled feet.
960
01:04:43,241 --> 01:04:45,041
A little boy.
961
01:04:45,201 --> 01:04:49,081
Workers, or prisoners, pass nearby.
962
01:04:50,201 --> 01:04:52,561
And a moving landscape.
963
01:04:53,601 --> 01:04:56,841
A petrified forest
with two living beings:
964
01:04:57,001 --> 01:05:00,361
a small horse and a man bearing water.
965
01:05:07,441 --> 01:05:11,921
I'll sign off this prelude
with some self-portraits.
966
01:05:13,201 --> 01:05:15,281
In this one, I was 20.
967
01:05:16,361 --> 01:05:18,681
How I loved mosaics!
968
01:05:19,041 --> 01:05:21,241
In this one, I was 36.
969
01:05:21,401 --> 01:05:26,001
Standing on the right
of a huge painting by Gentile Bellini.
970
01:05:26,161 --> 01:05:28,161
How I loved paintings!
971
01:05:29,001 --> 01:05:31,161
And here I am at 80.
972
01:05:31,681 --> 01:05:36,401
I experienced the passage
from one century to another.
973
01:05:37,641 --> 01:05:41,561
As the year 2000 approached,
there were many rumours.
974
01:05:41,721 --> 01:05:43,321
It'd be the end of the world.
975
01:05:43,481 --> 01:05:48,201
A computer bug of epic proportions
would blow everything up.
976
01:05:48,881 --> 01:05:51,201
In reality, that New Year's Eve
977
01:05:51,361 --> 01:05:54,921
was celebrated a thousand ways,
from anxiety to exaltation.
978
01:05:55,521 --> 01:06:00,241
But on the first morning
of the 21st century, all was calm.
979
01:06:01,041 --> 01:06:04,361
The new century brought change.
980
01:06:04,521 --> 01:06:07,441
Something new for me as a filmmaker.
981
01:06:07,601 --> 01:06:11,081
Small cameras. Digital cameras.
982
01:06:11,241 --> 01:06:15,121
They gave me an opportunity
983
01:06:15,481 --> 01:06:17,521
to work in a different way.
984
01:06:18,401 --> 01:06:21,161
These new cameras are digital
985
01:06:21,521 --> 01:06:24,601
and fantastic.
They can be stroboscopic,
986
01:06:25,201 --> 01:06:26,281
narcissistic,
987
01:06:27,001 --> 01:06:28,601
even photorealistic.
988
01:06:52,641 --> 01:06:56,121
I could do more personal, intimate work.
989
01:06:56,281 --> 01:06:59,121
I could make documentaries freely.
990
01:07:00,401 --> 01:07:05,121
I'd like to return to three words
I mentioned in my first chat.
991
01:07:05,281 --> 01:07:09,201
Words that guide me.
Inspiration, creation, sharing.
992
01:07:09,361 --> 01:07:12,041
I'd like to discuss inspiration again.
993
01:07:12,721 --> 01:07:14,041
It's quite curious.
994
01:07:14,201 --> 01:07:16,361
Sometimes it happens,
995
01:07:16,521 --> 01:07:20,281
and it comes straight out of reality.
996
01:07:20,441 --> 01:07:24,681
I was at a café on Blvd. Edgar Quinet.
997
01:07:24,841 --> 01:07:28,161
The market was just finishing.
998
01:07:28,321 --> 01:07:32,281
I saw vendors loading their crates,
999
01:07:32,441 --> 01:07:35,121
baskets and cash boxes
into their trucks.
1000
01:07:35,281 --> 01:07:39,281
City cleaners were waiting
with their green plastic brooms.
1001
01:07:39,441 --> 01:07:41,281
And people began to come.
1002
01:07:41,441 --> 01:07:45,001
They bent down
and picked up what they could find.
1003
01:07:46,121 --> 01:07:48,841
A phrase took root in my mind.
1004
01:07:49,361 --> 01:07:52,841
"They pick up and eat
what we throw away."
1005
01:07:53,321 --> 01:07:56,921
The phrase felt like a subject
in itself.
1006
01:07:57,081 --> 01:08:00,721
I absolutely had to make a documentary.
1007
01:08:02,201 --> 01:08:06,161
Gleaning may be extinct,
but stooping has not vanished
1008
01:08:06,321 --> 01:08:08,041
from our sated society.
1009
01:08:08,281 --> 01:08:11,721
Urban and rural gleaners
all stoop to pick up.
1010
01:08:11,881 --> 01:08:15,201
There's no shame,
only worry and distress.
1011
01:08:16,001 --> 01:08:19,761
Those small cameras
really played a role here.
1012
01:08:19,921 --> 01:08:26,201
They allowed me to approach people
who'd fallen on hard times
1013
01:08:26,361 --> 01:08:30,201
and would've been uncomfortable
with a cameraman,
1014
01:08:30,521 --> 01:08:32,521
a sound guy with a boom,
1015
01:08:32,681 --> 01:08:35,481
assistants in caps and sunglasses...
1016
01:08:35,641 --> 01:08:38,241
All the clichés of a film shoot.
1017
01:08:38,401 --> 01:08:42,641
It was just me and my little camera,
like a picture camera.
1018
01:08:42,801 --> 01:08:44,521
I didn't frighten them.
1019
01:08:45,801 --> 01:08:47,561
I intimidated no one.
1020
01:08:47,721 --> 01:08:50,201
I never have.
1021
01:08:50,361 --> 01:08:54,841
It gave me a chance to meet people.
I'll tell you about Alain.
1022
01:08:56,601 --> 01:09:00,641
I see a man with a large bag
eating on the spot.
1023
01:09:06,121 --> 01:09:09,641
I’d see him now and then,
always with his bag,
1024
01:09:09,921 --> 01:09:11,361
always eating.
1025
01:09:18,001 --> 01:09:19,801
The day he was eating parsley
1026
01:09:19,961 --> 01:09:21,681
I approached him.
1027
01:09:22,521 --> 01:09:24,281
Are you a big parsley eater?
1028
01:09:24,441 --> 01:09:26,521
Sometimes. It's good for you.
1029
01:09:26,681 --> 01:09:30,881
Full of vitamin C and E, beta carotene,
zinc, magnesium.
1030
01:09:31,041 --> 01:09:32,321
It's excellent.
1031
01:09:33,481 --> 01:09:35,561
His answer amazed me.
1032
01:09:36,721 --> 01:09:39,601
Over the following weeks
I filmed him often,
1033
01:09:39,761 --> 01:09:41,401
with or without sound,
1034
01:09:41,561 --> 01:09:44,081
and he talked to me in snatches.
1035
01:09:46,721 --> 01:09:50,481
I eat a lot of fruit.
I love apples. They're easy.
1036
01:09:51,081 --> 01:09:52,881
I find all the apples I want.
1037
01:09:54,041 --> 01:09:56,081
How many do you eat a day?
1038
01:09:56,241 --> 01:09:57,521
6 or 7.
1039
01:09:58,481 --> 01:10:00,321
Is it your staple diet?
1040
01:10:00,481 --> 01:10:02,681
I also eat bread.
1041
01:10:03,521 --> 01:10:05,921
I talked to him a number of times.
1042
01:10:06,081 --> 01:10:08,801
I learned how he went
from studying biology
1043
01:10:08,961 --> 01:10:12,201
to living in this difficult,
humble situation.
1044
01:10:12,961 --> 01:10:16,241
I was also keen
to explore agricultural gleaning.
1045
01:10:16,601 --> 01:10:20,721
Gleaning in the fields
after the harvest.
1046
01:10:21,081 --> 01:10:23,401
We had to shoot quickly.
1047
01:10:23,561 --> 01:10:25,641
It was potato season.
1048
01:10:25,801 --> 01:10:30,761
Seasons don't wait
on cinema's unpredictable schedules.
1049
01:10:30,921 --> 01:10:35,041
So I contacted a potato cooperative.
1050
01:10:35,481 --> 01:10:38,401
I saw the gleaners
and went to the cooperative.
1051
01:10:41,961 --> 01:10:44,921
In supermarkets, firm ones are sold
1052
01:10:45,081 --> 01:10:48,481
in containers of 2. 5 or 5 kilos.
1053
01:10:48,641 --> 01:10:52,241
They have to be a specific calibre.
1054
01:10:52,921 --> 01:10:56,121
For the stores, we sell potatoes
1055
01:10:56,721 --> 01:10:59,881
ranging in size
from 45 to 75 millimetres.
1056
01:11:00,041 --> 01:11:03,921
All the rest
are automatically discarded.
1057
01:11:04,361 --> 01:11:06,721
We reject outsized ones, green ones,
1058
01:11:06,881 --> 01:11:08,481
stones and cut
1059
01:11:08,881 --> 01:11:10,321
or damaged ones.
1060
01:11:10,481 --> 01:11:14,521
The non-standard potatoes
are left in the fields.
1061
01:11:14,761 --> 01:11:17,241
Off I go with my 30 kilos.
1062
01:11:17,681 --> 01:11:19,601
There are several tonnes left.
1063
01:11:19,761 --> 01:11:23,801
People could take some,
if they knew about it.
1064
01:11:24,401 --> 01:11:25,641
There you go.
1065
01:11:26,401 --> 01:11:30,201
There's someone
who must have been tipped off.
1066
01:11:30,561 --> 01:11:33,201
Among the rejects, we find huge ones.
1067
01:11:36,561 --> 01:11:38,601
And heart-shaped ones.
1068
01:11:38,761 --> 01:11:41,161
The heart, I want the heart!
1069
01:11:42,041 --> 01:11:43,281
What a surprise!
1070
01:11:43,721 --> 01:11:45,281
I was happy.
1071
01:11:45,441 --> 01:11:47,041
I filmed them up close.
1072
01:11:47,881 --> 01:11:49,921
And brought some home.
1073
01:11:50,841 --> 01:11:53,841
Even with a documentary
on a specific subject,
1074
01:11:54,361 --> 01:11:57,361
you are guided by what you film.
1075
01:11:57,801 --> 01:12:00,761
Hearts speak of tenderness, love.
1076
01:12:00,921 --> 01:12:02,761
It was powerful.
1077
01:12:02,921 --> 01:12:05,921
We couldn't help but think about it.
1078
01:12:06,081 --> 01:12:09,161
It inspired us to approach the gleaners
with affection.
1079
01:12:12,681 --> 01:12:16,001
And those heart-shaped potatoes
inspired me.
1080
01:12:16,761 --> 01:12:18,361
I let them age,
1081
01:12:18,801 --> 01:12:19,921
sprout
1082
01:12:20,241 --> 01:12:22,081
and shrivel up.
1083
01:12:22,801 --> 01:12:24,361
Despite it all,
1084
01:12:24,641 --> 01:12:26,801
they found new life as sprouts
1085
01:12:27,281 --> 01:12:29,041
and roots.
1086
01:12:32,081 --> 01:12:35,841
That's when Hans Ulrich Obrist
came into my life.
1087
01:12:36,521 --> 01:12:41,081
He had a section
in the 2003 Venice Biennial.
1088
01:12:41,561 --> 01:12:43,801
He created a group
1089
01:12:43,961 --> 01:12:45,601
called Utopia Station.
1090
01:12:46,601 --> 01:12:50,161
Everyone did a poster
and an installation.
1091
01:12:50,321 --> 01:12:52,881
I had a potato costume made for me
1092
01:12:53,881 --> 01:12:57,401
to promote my installation Patatutopia.
1093
01:12:59,721 --> 01:13:02,881
There were 700 kilos of potatoes
on the floor.
1094
01:13:03,041 --> 01:13:06,761
It was the first time
I exposed on three screens.
1095
01:13:06,921 --> 01:13:08,441
I loved it.
1096
01:13:08,601 --> 01:13:12,561
In the centre,
I put breathing, heart-shaped spuds.
1097
01:13:17,361 --> 01:13:20,241
And on either side, I put roots
1098
01:13:20,401 --> 01:13:22,081
and sprouts.
1099
01:13:34,121 --> 01:13:37,681
This work of rot marked my entry
1100
01:13:37,841 --> 01:13:41,801
into the group of artists
known as visual artists.
1101
01:13:41,961 --> 01:13:45,921
The French call artists plasticiens.
We don't make plastic!
1102
01:13:46,081 --> 01:13:48,841
I prefer the English term:
visual artist.
1103
01:13:50,641 --> 01:13:53,201
I really enjoyed proposing
1104
01:13:53,361 --> 01:13:56,001
a more complex way of seeing.
1105
01:13:56,441 --> 01:14:00,921
It was also a nod
to 15th and 16th century triptychs,
1106
01:14:01,081 --> 01:14:02,561
which I love.
1107
01:14:03,721 --> 01:14:07,121
Some of them evoke special emotions.
1108
01:14:07,281 --> 01:14:13,321
I wanted to do something along the lines
of those triptychs of interior scenes.
1109
01:14:13,481 --> 01:14:17,841
So I made The Triptych of Noirmoutier.
Very simple. In a kitchen.
1110
01:14:18,641 --> 01:14:20,561
The man drinks his beer,
1111
01:14:20,721 --> 01:14:24,281
while his elderly mother
untangles a string
1112
01:14:24,441 --> 01:14:26,641
and his wife peels potatoes.
1113
01:14:27,601 --> 01:14:30,961
I've always had questions like:
1114
01:14:31,121 --> 01:14:34,681
What happens
before and after a snapshot?
1115
01:14:34,841 --> 01:14:37,441
Or in a film:
What happens when they exit the frame?
1116
01:14:39,641 --> 01:14:42,801
Here, I used side panels
1117
01:14:42,961 --> 01:14:45,321
to show what's off-screen.
1118
01:14:50,121 --> 01:14:54,361
I proposed answers
to our desire to enlarge the frame.
1119
01:14:56,081 --> 01:15:00,361
Visitors choose to see, or not,
what lies beyond the walls.
1120
01:15:17,161 --> 01:15:20,721
Many visitors came,
responded and reacted.
1121
01:15:20,881 --> 01:15:24,321
MoMA in New York
acquired one of the 3 copies.
1122
01:15:24,481 --> 01:15:27,241
And since then, Hervé Chandès,
1123
01:15:27,401 --> 01:15:30,201
the inventive Director of this place,
1124
01:15:30,361 --> 01:15:33,401
the Cartier Foundation
for Contemporary Art,
1125
01:15:33,561 --> 01:15:37,761
purchased the second copy
of the triptych.
1126
01:15:38,081 --> 01:15:42,681
The time has come to ask him
to join our chat.
1127
01:15:48,401 --> 01:15:50,041
Good evening.
1128
01:15:51,081 --> 01:15:52,961
Good evening Agnès, everyone.
1129
01:15:53,641 --> 01:15:56,201
We met when you invited me.
1130
01:15:56,561 --> 01:15:58,921
I'd seen the expo in Venice.
1131
01:15:59,081 --> 01:16:02,841
Then one day I called you, in 2005.
1132
01:16:03,001 --> 01:16:07,201
The expo at Martine Aboucaya's gallery
came soon after.
1133
01:16:07,361 --> 01:16:09,321
We went to it together.
1134
01:16:09,641 --> 01:16:13,281
That's where I discovered
The Triptych of Noirmoutier
1135
01:16:13,441 --> 01:16:15,361
and The Widows of Noirmoutier.
1136
01:16:15,521 --> 01:16:19,441
So you invited me
and offered me that incredible space.
1137
01:16:19,681 --> 01:16:23,281
I was so excited to have so much space.
1138
01:16:23,441 --> 01:16:27,721
All my ideas and propositions were based
1139
01:16:27,881 --> 01:16:31,841
on the Ile of Noirmoutier,
where I'd lived with Jacques Demy.
1140
01:16:32,441 --> 01:16:34,761
I made up a title with two meanings,
1141
01:16:35,281 --> 01:16:36,641
L'Ile et Elle.
1142
01:16:36,801 --> 01:16:38,441
That was in 2006.
1143
01:16:39,521 --> 01:16:42,321
Before they built the bridge,
1144
01:16:42,481 --> 01:16:45,201
you could only get to the island
1145
01:16:45,361 --> 01:16:47,921
by the Gois highway at low tide.
1146
01:16:49,521 --> 01:16:52,881
Signs indicated
the exact times of the tides
1147
01:16:53,041 --> 01:16:55,041
and access to the island.
1148
01:16:55,401 --> 01:16:58,641
Visitors had to go through a filter.
1149
01:16:58,801 --> 01:17:00,601
We built a barrier.
1150
01:17:00,761 --> 01:17:03,201
They had to wait for low tide to go in.
1151
01:17:03,361 --> 01:17:04,961
A clever idea.
1152
01:17:06,041 --> 01:17:09,961
On a factory curtain
of heavy plastic slats,
1153
01:17:10,121 --> 01:17:12,121
you watched the tide go down.
1154
01:17:13,281 --> 01:17:16,001
Then the barrier lifted.
1155
01:17:19,201 --> 01:17:21,161
You entered the island
1156
01:17:21,641 --> 01:17:23,401
and my world.
1157
01:17:24,321 --> 01:17:26,201
The big postcard.
1158
01:17:26,601 --> 01:17:28,241
The portrait shack.
1159
01:17:28,561 --> 01:17:29,361
Women.
1160
01:17:30,681 --> 01:17:31,481
Men.
1161
01:17:33,081 --> 01:17:36,601
I took advantage
of the dimensions and light
1162
01:17:36,761 --> 01:17:40,081
in that big space
designed by Jean Nouvel
1163
01:17:40,241 --> 01:17:43,561
to make my first cinema shack.
1164
01:17:44,841 --> 01:17:48,161
Made with the footage of a film.
1165
01:17:49,641 --> 01:17:52,721
On a metal structure
by Christophe Vallaux,
1166
01:17:52,881 --> 01:17:58,081
we mounted the 3,500 metres
of a standard copy in 9 reels.
1167
01:17:58,761 --> 01:18:02,961
We even added a couple reels
to finish the roof.
1168
01:18:03,881 --> 01:18:05,041
For visitors,
1169
01:18:05,201 --> 01:18:07,201
the film's good and beautiful actors
1170
01:18:07,481 --> 01:18:09,721
Catherine Deneuve and Michel Piccoli,
1171
01:18:09,881 --> 01:18:11,801
were now up close.
1172
01:18:13,121 --> 01:18:14,281
The close-ups
1173
01:18:14,441 --> 01:18:16,681
and the light passing through the film
1174
01:18:16,841 --> 01:18:19,321
create a new form of cinema.
1175
01:18:20,881 --> 01:18:22,561
Let's rewind a bit.
1176
01:18:23,561 --> 01:18:28,121
We filmmakers
used to work with 35mm film.
1177
01:18:28,481 --> 01:18:31,161
We handled it during editing,
assembled it.
1178
01:18:33,041 --> 01:18:34,641
We transported reels in canisters.
1179
01:18:35,081 --> 01:18:36,641
And it all ended up
1180
01:18:36,801 --> 01:18:38,441
in cinema projection booths.
1181
01:18:40,441 --> 01:18:42,281
Film projection has disappeared
1182
01:18:43,441 --> 01:18:45,281
in favour of digital files.
1183
01:18:46,641 --> 01:18:49,521
We found ourselves
with hundreds of reels
1184
01:18:49,681 --> 01:18:51,481
stagnating on shelves,
1185
01:18:51,641 --> 01:18:54,001
in basements, projection booths
1186
01:18:54,161 --> 01:18:55,801
and stockrooms.
1187
01:19:03,841 --> 01:19:06,881
We used the reels of my film Happiness
1188
01:19:07,041 --> 01:19:08,841
to build, in 2018,
1189
01:19:09,241 --> 01:19:12,001
my third cinema shack
in the Galerie Obadia.
1190
01:19:18,641 --> 01:19:20,281
For those who know the film,
1191
01:19:20,441 --> 01:19:23,401
this is a reference
to the opening credits.
1192
01:19:24,001 --> 01:19:25,281
Jean-Claude Drouot,
1193
01:19:25,441 --> 01:19:27,281
his wife and his children,
1194
01:19:27,441 --> 01:19:28,721
the film's characters,
1195
01:19:28,881 --> 01:19:31,281
arrive blurry in the background.
1196
01:19:31,441 --> 01:19:34,641
In the foreground
is a field of sunflowers.
1197
01:19:37,401 --> 01:19:39,441
I made light boxes
1198
01:19:40,281 --> 01:19:42,361
for close-ups of the film strips,
1199
01:19:42,521 --> 01:19:48,041
with their projector perforations
and optical soundtrack.
1200
01:19:51,401 --> 01:19:53,841
So, this is the archway.
1201
01:19:54,241 --> 01:19:55,841
The archway of canisters.
1202
01:19:56,001 --> 01:19:59,161
The metal canisters that contain films.
1203
01:19:59,321 --> 01:20:02,481
We have the contents and the containers.
1204
01:20:03,281 --> 01:20:04,521
The canisters are empty?
1205
01:20:04,681 --> 01:20:06,081
Yes. Their contents
1206
01:20:06,721 --> 01:20:09,041
were used to make the shack.
1207
01:20:09,201 --> 01:20:10,681
You're recycling.
1208
01:20:10,841 --> 01:20:12,041
Always.
1209
01:20:12,681 --> 01:20:16,001
Ever since The Gleaners, whose theme
1210
01:20:16,161 --> 01:20:18,841
was suggested
by the gleaners themselves,
1211
01:20:19,001 --> 01:20:20,601
I've been interested in it.
1212
01:20:20,761 --> 01:20:24,761
And I've learned
that recycling brings joy.
1213
01:20:24,921 --> 01:20:27,081
We feel things aren't lost.
1214
01:20:27,241 --> 01:20:30,001
By taking these unusable canisters
1215
01:20:30,161 --> 01:20:32,361
and that unusable film
1216
01:20:32,521 --> 01:20:35,121
and recycling them artistically,
so to speak,
1217
01:20:35,281 --> 01:20:36,881
we give them new life.
1218
01:20:37,041 --> 01:20:39,441
It's not wasted. It comes back.
1219
01:20:39,601 --> 01:20:42,161
Nothing is lost. Everything transforms.
1220
01:20:42,321 --> 01:20:46,201
It transforms
through creation and imagination.
1221
01:20:51,441 --> 01:20:53,161
On the same floor,
1222
01:20:53,321 --> 01:20:56,081
I did an installation all in plastic.
1223
01:20:57,481 --> 01:21:00,761
Your work is fairly serious,
but this is funny.
1224
01:21:01,121 --> 01:21:05,521
Blowup mattresses, swim rings...
It's childhood, summertime.
1225
01:21:06,561 --> 01:21:10,521
Today we know plastic
is a scourge on the planet.
1226
01:21:10,681 --> 01:21:14,001
And yet,
how I loved that colourful stuff,
1227
01:21:14,161 --> 01:21:15,881
so cheap and so funny.
1228
01:21:16,881 --> 01:21:18,761
A 3-euro pair of thongs
1229
01:21:18,921 --> 01:21:21,681
is a triumph of consumer society!
1230
01:21:22,401 --> 01:21:24,201
I wanted to celebrate it.
1231
01:21:25,761 --> 01:21:27,121
To me, colour dances.
1232
01:21:27,281 --> 01:21:30,001
It dances in my head. It's summer.
1233
01:21:31,441 --> 01:21:33,761
Two things motivated me to do this.
1234
01:21:33,921 --> 01:21:37,321
A desire to throw myself into colour.
1235
01:21:37,721 --> 01:21:41,241
And the sound of it inspired me too.
1236
01:21:41,681 --> 01:21:44,081
Ping Pong, Thongs and Camping.
1237
01:21:54,761 --> 01:21:58,761
Bernard Lubat improvised music
on a pulsating table.
1238
01:21:59,841 --> 01:22:02,521
A ping pong concerto.
1239
01:22:11,641 --> 01:22:17,121
From the carefree world of childhood,
we went to a moving, solemn work:
1240
01:22:17,281 --> 01:22:19,001
The Widows of Noirmoutier.
1241
01:22:19,481 --> 01:22:21,521
There are many on the island.
1242
01:22:21,681 --> 01:22:23,361
I went there often.
1243
01:22:23,521 --> 01:22:25,201
I'm a widow too.
1244
01:22:26,921 --> 01:22:28,881
I felt close to them.
1245
01:22:29,041 --> 01:22:32,961
I began by asking
if they'd mind if I filmed them.
1246
01:22:33,201 --> 01:22:36,801
One-on-one. I was usually alone.
1247
01:22:36,961 --> 01:22:40,721
And they trusted me, because...
1248
01:22:40,881 --> 01:22:45,161
they felt
they could share their distress with me.
1249
01:22:46,241 --> 01:22:50,001
I arranged the space
in a particular way,
1250
01:22:50,161 --> 01:22:53,641
creating a polyptych screen.
1251
01:22:54,201 --> 01:22:59,441
Like the one by Jan van Kessel
of the four continents.
1252
01:23:02,601 --> 01:23:07,921
There was a central film,
shot by Eric Gauthier in 35mm.
1253
01:23:08,081 --> 01:23:10,121
It showed a table on a beach,
1254
01:23:10,281 --> 01:23:12,841
and widows walking around it.
1255
01:23:14,161 --> 01:23:18,521
That image was surrounded
by 14 small video screens.
1256
01:23:18,681 --> 01:23:20,761
There were 14 chairs in the room.
1257
01:23:20,921 --> 01:23:22,881
Each chair had headphones,
1258
01:23:23,041 --> 01:23:25,441
to listen to one of the widows.
1259
01:23:26,401 --> 01:23:30,161
Some people say
they speak to their dead.
1260
01:23:30,321 --> 01:23:32,321
I don't do that.
1261
01:23:36,721 --> 01:23:41,401
As I tell my kids, Dad left 13 years ago
but I can tell you...
1262
01:23:41,561 --> 01:23:44,001
it still feels like yesterday.
1263
01:23:44,361 --> 01:23:46,241
Especially at night.
1264
01:23:47,201 --> 01:23:51,841
During the day,
things keep you occupied.
1265
01:23:52,001 --> 01:23:55,321
But at night you’re all alone.
1266
01:23:55,961 --> 01:23:58,121
You think twice as much.
1267
01:24:02,401 --> 01:24:06,241
What I miss is touching him...
1268
01:24:06,401 --> 01:24:10,001
The house is still filled
with his presence.
1269
01:24:10,161 --> 01:24:12,081
His smell, his...
1270
01:24:12,241 --> 01:24:16,521
Two days ago we ate green beans
he bought at the market.
1271
01:24:17,361 --> 01:24:19,481
It's still so new.
1272
01:24:37,481 --> 01:24:40,521
That project really interested me.
1273
01:24:40,681 --> 01:24:42,761
I was used to one screen,
1274
01:24:42,921 --> 01:24:45,521
where everyone watches the same thing.
1275
01:24:45,681 --> 01:24:50,321
I wanted to modify
the audience's experience.
1276
01:24:50,481 --> 01:24:54,641
There, you had just 14 people
listening to one widow each.
1277
01:24:54,801 --> 01:24:56,761
But they were together in the room.
1278
01:24:56,921 --> 01:25:00,961
It made the experience
both intimate and collective.
1279
01:25:05,121 --> 01:25:09,081
Having each widow speak to one person
1280
01:25:09,241 --> 01:25:13,161
meant that
when the installation travelled,
1281
01:25:13,561 --> 01:25:17,001
we obviously couldn't subtitle it.
1282
01:25:17,161 --> 01:25:19,681
We'd lose the confidentiality.
1283
01:25:19,841 --> 01:25:21,201
So we dubbed it.
1284
01:25:21,361 --> 01:25:22,921
We dubbed the widows
1285
01:25:23,281 --> 01:25:24,401
in Swedish,
1286
01:25:24,561 --> 01:25:25,881
in English of course,
1287
01:25:26,041 --> 01:25:27,121
in Spanish,
1288
01:25:27,281 --> 01:25:29,121
and even in Chinese.
1289
01:25:33,201 --> 01:25:35,201
We loved each other so much...
1290
01:25:46,801 --> 01:25:48,761
It was so amazing for me
1291
01:25:48,921 --> 01:25:51,481
to see the Noirmoutier widows' words
1292
01:25:51,641 --> 01:25:54,641
finding listeners so far from home.
1293
01:25:54,801 --> 01:25:58,801
It's striking to see
how something so local,
1294
01:25:58,961 --> 01:26:01,641
like these stories from Noirmoutier,
1295
01:26:01,801 --> 01:26:05,081
can be so universal.
1296
01:26:05,241 --> 01:26:08,321
In China, Argentina or elsewhere.
1297
01:26:08,881 --> 01:26:13,241
It gave me great confidence
in art in the grand sense.
1298
01:26:13,401 --> 01:26:16,121
Because art
1299
01:26:16,281 --> 01:26:18,961
moves across cultures,
1300
01:26:19,121 --> 01:26:21,841
countries, nationalities, religions
1301
01:26:22,001 --> 01:26:23,521
and ages.
1302
01:26:24,641 --> 01:26:27,401
Speaking of ages, let's talk mine.
1303
01:26:27,561 --> 01:26:30,361
I just passed 90 and I don't care.
1304
01:26:30,521 --> 01:26:32,521
But 10 years ago,
1305
01:26:32,801 --> 01:26:36,561
when I was about to turn 80, I panicked.
1306
01:26:36,721 --> 01:26:38,481
The number 80
1307
01:26:38,641 --> 01:26:42,921
felt like the front of a train
barreling toward me.
1308
01:26:43,081 --> 01:26:46,761
I had to finish something
by the time I was 80.
1309
01:26:46,921 --> 01:26:49,881
So I plunged into a film project.
1310
01:26:50,041 --> 01:26:54,441
I went into it
feeling I had to get it done quick.
1311
01:26:55,841 --> 01:26:59,721
It would be a self-portrait,
a story of my journey.
1312
01:27:00,561 --> 01:27:02,721
I called it The Beaches of Agnès
1313
01:27:02,881 --> 01:27:06,201
because I've always lived near beaches.
1314
01:27:06,361 --> 01:27:10,081
I grew up in Belgium
near the northern beaches.
1315
01:27:10,241 --> 01:27:12,961
After the bombings
and the fall of France
1316
01:27:13,121 --> 01:27:16,081
we fled to Sète on the Mediterranean.
1317
01:27:16,241 --> 01:27:18,481
Jacques introduced me to the Atlantic.
1318
01:27:18,641 --> 01:27:22,241
In Los Angeles,
we discovered the Pacific.
1319
01:27:22,401 --> 01:27:24,641
We felt we'd seen all the seas.
1320
01:27:26,281 --> 01:27:28,761
Jacques and I lived for a long time
1321
01:27:29,321 --> 01:27:30,281
on Rue Daguerre.
1322
01:27:30,441 --> 01:27:35,961
So to justify the title of the film,
we made a beach outside my house
1323
01:27:36,121 --> 01:27:37,001
and office.
1324
01:27:37,161 --> 01:27:38,641
Ciné Tamaris.
1325
01:27:38,801 --> 01:27:42,001
You want Cecilia Rose?
One moment.
1326
01:27:42,161 --> 01:27:45,281
They want to rent Donkey Skin.
1327
01:27:49,401 --> 01:27:50,961
I’ll pass you Agnès.
1328
01:27:51,921 --> 01:27:53,161
Me first!
1329
01:27:53,481 --> 01:27:56,041
Please hold, I’ll get back to you.
1330
01:27:59,441 --> 01:28:01,121
I'm out of tea!
1331
01:28:01,761 --> 01:28:03,361
Got the estimate?
1332
01:28:03,681 --> 01:28:05,601
Not yet. Not yet!
1333
01:28:06,161 --> 01:28:08,281
Beachfront houses are nice.
1334
01:28:08,441 --> 01:28:12,081
Our neighbours were amused
and a bit alarmed.
1335
01:28:12,241 --> 01:28:14,161
The street was blocked for 2 days.
1336
01:28:14,321 --> 01:28:15,881
We had a permit.
1337
01:28:16,041 --> 01:28:17,441
For a private collection.
1338
01:28:17,601 --> 01:28:18,561
See Stéphanie.
1339
01:28:18,961 --> 01:28:20,481
Bank Neuflize OBC?
1340
01:28:22,521 --> 01:28:25,441
We need a loan without interest
1341
01:28:25,601 --> 01:28:28,921
to finish this film comfortably. Please!
1342
01:28:29,281 --> 01:28:32,681
A loan without interest.
Money was our eternal problem.
1343
01:28:33,161 --> 01:28:37,281
You must spend,
but you must also collect.
1344
01:28:37,561 --> 01:28:39,761
If not money, then trophies.
1345
01:28:40,281 --> 01:28:42,721
In a closet or on the sand,
1346
01:28:42,881 --> 01:28:45,601
Demy's and mine stick together.
1347
01:28:45,761 --> 01:28:49,041
A Golden Palm from Cannes.
A Golden Lion from Venice.
1348
01:28:49,881 --> 01:28:51,241
And since...
1349
01:28:52,281 --> 01:28:54,401
Vanitas, vanitatis...
1350
01:29:08,961 --> 01:29:12,121
I play the role of a little old lady,
1351
01:29:12,281 --> 01:29:14,321
pleasantly plump and talkative,
1352
01:29:14,721 --> 01:29:16,561
telling her life story.
1353
01:29:18,841 --> 01:29:23,281
And yet, others interest me more.
I prefer filming them.
1354
01:29:24,041 --> 01:29:27,561
Others intrigue me, motivate me,
1355
01:29:28,201 --> 01:29:29,921
arouse my curiosity,
1356
01:29:30,281 --> 01:29:33,241
disconcert me, fascinate me.
1357
01:29:34,761 --> 01:29:37,601
In telling my story, I thought:
1358
01:29:37,761 --> 01:29:40,841
If we opened people,
we'd find landscapes.
1359
01:29:42,201 --> 01:29:45,561
If we opened me, we'd find beaches.
1360
01:29:48,761 --> 01:29:51,241
Good. Turn it all the way around.
1361
01:29:52,641 --> 01:29:54,801
Painters use mirrors as tools
1362
01:29:55,281 --> 01:29:57,601
in making self-portraits.
1363
01:29:58,881 --> 01:30:00,761
But actually,
1364
01:30:01,041 --> 01:30:03,361
I presented, in my mirror,
1365
01:30:03,521 --> 01:30:06,601
people who worked with
and accompanied me.
1366
01:30:06,761 --> 01:30:09,041
It was a way to say
1367
01:30:09,201 --> 01:30:11,281
the film was about others and me.
1368
01:30:11,441 --> 01:30:13,321
Or me and others.
1369
01:30:17,001 --> 01:30:18,281
And I thought
1370
01:30:18,441 --> 01:30:22,441
of all the times I marched with others,
for various causes.
1371
01:30:23,841 --> 01:30:28,401
I wanted to march
in homage to a drawing by Sempé.
1372
01:30:28,561 --> 01:30:30,241
I hurt everywhere
1373
01:30:30,841 --> 01:30:32,201
We filmed the rally,
1374
01:30:32,361 --> 01:30:34,641
and me alone on the sidewalk
1375
01:30:34,801 --> 01:30:37,521
with a sign reading,
"I hurt everywhere."
1376
01:30:39,321 --> 01:30:42,841
I can march again if you like,
it's still true.
1377
01:30:43,201 --> 01:30:45,681
In any case, I tried,
1378
01:30:46,281 --> 01:30:47,841
with this film,
1379
01:30:48,001 --> 01:30:49,881
not only to tell my story,
1380
01:30:50,041 --> 01:30:54,961
but also to bring to life
memories attached to my films.
1381
01:30:55,121 --> 01:30:58,161
To capture certain moments
in the present.
1382
01:30:58,321 --> 01:30:59,841
For example,
1383
01:31:00,761 --> 01:31:05,041
I wanted to visit my childhood home
in Brussels, Rue de l'Aurore.
1384
01:31:05,201 --> 01:31:06,881
I went to film it,
1385
01:31:07,041 --> 01:31:12,721
but I met a couple there who collected
those little miniature trains.
1386
01:31:12,881 --> 01:31:17,161
Their collection was so extraordinary
and they were so enthusiastic
1387
01:31:17,321 --> 01:31:20,041
that I made a documentary about them.
1388
01:31:20,201 --> 01:31:23,521
It was more entertaining
than my old curtains.
1389
01:31:23,681 --> 01:31:26,001
So I've been right
1390
01:31:26,321 --> 01:31:28,561
in choosing others over myself.
1391
01:31:31,481 --> 01:31:34,161
This is a brass piece.
1392
01:31:34,321 --> 01:31:38,081
It's worth 80, 000 Belgian francs
in Switzerland.
1393
01:31:38,241 --> 01:31:41,041
Only 150 of them were made.
1394
01:31:41,561 --> 01:31:43,521
We call ourselves "insane for trains."
1395
01:31:43,921 --> 01:31:49,001
The real term for train lovers,
toy trains or real trains,
1396
01:31:49,161 --> 01:31:52,081
is "trainopath."
1397
01:31:54,921 --> 01:31:56,681
Trainopath!
1398
01:31:58,281 --> 01:32:00,241
And since it was unusual,
1399
01:32:00,401 --> 01:32:02,321
and I like making documentaries,
1400
01:32:02,481 --> 01:32:04,201
I jumped on the chance
1401
01:32:04,361 --> 01:32:06,281
offered to me by chance.
1402
01:32:06,441 --> 01:32:09,121
The "childhood home" part was a flop.
1403
01:32:13,841 --> 01:32:18,121
Then I returned to the Pointe Courte
where I shot my first film.
1404
01:32:18,281 --> 01:32:21,081
Where I learned
to choose places and faces
1405
01:32:21,241 --> 01:32:24,481
and work with non-professionals.
1406
01:32:24,641 --> 01:32:26,681
As I walked around,
1407
01:32:26,841 --> 01:32:31,361
I wanted to create a situation
linked to a memory from the film.
1408
01:32:31,521 --> 01:32:34,121
Create an emotion in the present.
1409
01:32:34,281 --> 01:32:39,801
I found some 16mm footage
I'd shot as a rough draft of the film.
1410
01:32:39,961 --> 01:32:41,961
I'd asked my friend Suzou
1411
01:32:42,121 --> 01:32:43,881
and her husband Pierrot
1412
01:32:44,041 --> 01:32:46,961
to pretend to be the couple
1413
01:32:47,241 --> 01:32:48,721
in the film.
1414
01:32:49,161 --> 01:32:52,921
Before the final cut,
Pierrot died of cancer.
1415
01:32:55,361 --> 01:32:57,281
Suzou raised their two sons.
1416
01:32:57,721 --> 01:32:58,601
Blaise
1417
01:32:59,041 --> 01:33:00,481
and Vincent.
1418
01:33:00,961 --> 01:33:02,361
Invited them
1419
01:33:02,521 --> 01:33:05,481
to share in a ceremony
with a cart from the film.
1420
01:33:05,641 --> 01:33:09,801
A way to show them
the test footage they’d never seen.
1421
01:33:22,121 --> 01:33:26,401
They’d seen their father in photos,
but never in motion.
1422
01:33:36,521 --> 01:33:40,721
We walked through the night
with our beloved friend.
1423
01:33:41,761 --> 01:33:46,001
Hundreds of anonymous people,
gone and forgotten,
1424
01:33:46,161 --> 01:33:49,681
inspired this Boltanski installation
that I filmed.
1425
01:33:49,841 --> 01:33:51,641
It was called Personnes.
1426
01:33:51,801 --> 01:33:53,481
Hundreds of tin boxes
1427
01:33:53,641 --> 01:33:56,121
as manifestations of his project.
1428
01:33:56,281 --> 01:34:02,681
Each number evokes a person,
and each tin is different.
1429
01:34:02,841 --> 01:34:07,641
It's as though each box
has someone inside, someone's heart
1430
01:34:08,001 --> 01:34:10,041
or someone's spirit.
1431
01:34:11,961 --> 01:34:13,401
Behind the wall of tins,
1432
01:34:13,561 --> 01:34:15,281
like a monument to the dead,
1433
01:34:15,441 --> 01:34:18,281
I filmed this gigantic installation.
1434
01:34:18,681 --> 01:34:21,961
On the floor were thousands of clothes.
1435
01:34:22,401 --> 01:34:24,561
And a pyramid of old clothes.
1436
01:34:24,721 --> 01:34:27,201
The artist gave them a meaning.
1437
01:34:27,361 --> 01:34:30,201
There's this constant movement.
1438
01:34:30,761 --> 01:34:34,081
The claw takes and releases.
1439
01:34:34,241 --> 01:34:36,401
It grabs at random.
1440
01:34:36,561 --> 01:34:38,721
A bit like the hand of God.
1441
01:34:38,881 --> 01:34:41,081
It's neither good nor evil.
1442
01:34:41,241 --> 01:34:44,321
It just does its job.
Taking and releasing.
1443
01:34:52,521 --> 01:34:55,881
It's part of a series
I made around the world.
1444
01:34:56,041 --> 01:34:58,121
I filmed people and places.
1445
01:34:58,281 --> 01:35:00,401
And in France, artists.
1446
01:35:02,881 --> 01:35:07,281
Artists and filmmakers whose work I love
open my mind.
1447
01:35:07,441 --> 01:35:10,641
They give me pleasure and energy.
1448
01:35:12,601 --> 01:35:15,361
And a desire to invent installations
1449
01:35:15,521 --> 01:35:19,281
or methods for each subject,
each project.
1450
01:35:20,721 --> 01:35:23,881
Here, on the 2nd floor
of a condemned building in Nantes,
1451
01:35:24,761 --> 01:35:26,001
I wanted to show
1452
01:35:26,161 --> 01:35:28,761
what life is like for squatters
who have nothing
1453
01:35:28,921 --> 01:35:31,721
and are evicted unceremoniously.
1454
01:35:31,881 --> 01:35:34,361
I posted information on a wall.
1455
01:35:34,801 --> 01:35:38,761
In an abandoned room,
I installed three essential items.
1456
01:35:39,441 --> 01:35:43,121
A mattress,
because they seek a place to sleep.
1457
01:35:43,281 --> 01:35:45,841
A wood stove, because they're cold.
1458
01:35:46,201 --> 01:35:50,401
And a shopping cart with a microwave,
because they're hungry.
1459
01:35:51,081 --> 01:35:53,881
The idea of a bed is important.
1460
01:35:54,121 --> 01:35:56,041
A bed is important.
1461
01:35:56,201 --> 01:35:58,841
Having a roof over your head.
1462
01:35:59,521 --> 01:36:01,561
Someone left mattresses outside.
1463
01:36:02,121 --> 01:36:05,841
We picked them up
and brought them home.
1464
01:36:07,841 --> 01:36:10,241
How many people live here?
1465
01:36:11,321 --> 01:36:12,641
About 6.
1466
01:36:12,801 --> 01:36:15,241
Yeah, 6 or 5.
1467
01:36:16,321 --> 01:36:18,361
You can prepare all you like,
1468
01:36:18,521 --> 01:36:22,001
but when winter comes,
at some point, it’ll be cold.
1469
01:36:22,161 --> 01:36:24,801
This year, winter was so hard.
1470
01:36:24,961 --> 01:36:28,761
I have a bad window,
it's already broken.
1471
01:36:28,921 --> 01:36:32,121
Air gets in and it's very humid.
1472
01:36:33,201 --> 01:36:36,201
People can end up on the streets.
1473
01:36:36,441 --> 01:36:40,801
One day they might wake up
to the police bursting in.
1474
01:36:41,201 --> 01:36:44,281
It was 7 in the morning.
1475
01:36:44,721 --> 01:36:46,801
They knocked on many doors.
1476
01:36:47,401 --> 01:36:51,481
We didn't wake up fast enough
to open the door.
1477
01:36:51,641 --> 01:36:53,281
They broke it down.
1478
01:36:53,441 --> 01:36:56,161
It was so violent.
There were 40 of them.
1479
01:36:56,881 --> 01:36:59,121
Over 40 police officers.
1480
01:36:59,281 --> 01:37:02,281
We were surrounded, people panicked.
1481
01:37:02,441 --> 01:37:03,641
It was so sudden.
1482
01:37:03,801 --> 01:37:07,481
We didn't even have 10 minutes.
1483
01:37:08,081 --> 01:37:09,441
Our stuff is still in there.
1484
01:37:09,601 --> 01:37:11,121
Can you get it?
1485
01:37:11,281 --> 01:37:13,921
No, they walled it off.
1486
01:37:17,241 --> 01:37:19,881
The opposite of a wall is a beach.
1487
01:37:21,921 --> 01:37:25,201
But it can become a wall,
as in this installation,
1488
01:37:25,361 --> 01:37:28,521
where I evoked the seaside
in three ways.
1489
01:37:29,201 --> 01:37:30,801
A giant photo.
1490
01:37:30,961 --> 01:37:33,561
The seafoam on the wave is still.
1491
01:37:33,801 --> 01:37:36,921
Then the still image
becomes a moving image.
1492
01:37:37,081 --> 01:37:40,801
The wave breaking on the sand.
1493
01:37:40,961 --> 01:37:42,361
And then sand.
1494
01:37:42,521 --> 01:37:44,641
A bit of tangible reality.
1495
01:37:47,161 --> 01:37:49,241
As in Patatutopia,
1496
01:37:49,761 --> 01:37:54,361
I like to bring together
reality and its representation.
1497
01:37:54,521 --> 01:37:55,961
That's a general goal,
1498
01:37:56,121 --> 01:38:00,601
but I also juxtapose
moving images and still images
1499
01:38:01,161 --> 01:38:02,801
in video...
1500
01:38:04,681 --> 01:38:06,441
and in photography.
1501
01:38:09,081 --> 01:38:11,561
The middle image is an old photograph.
1502
01:38:11,721 --> 01:38:14,001
A silver print from the 1950s.
1503
01:38:14,921 --> 01:38:16,401
On either side,
1504
01:38:16,561 --> 01:38:19,401
I took digital photographs in colour
1505
01:38:19,561 --> 01:38:21,441
of moving doves.
1506
01:38:23,201 --> 01:38:26,361
The metal frames resemble frames
I saw in Mexico.
1507
01:38:26,521 --> 01:38:28,601
And he's Miquel Barceló.
1508
01:38:29,521 --> 01:38:31,041
Another triptych.
1509
01:38:31,281 --> 01:38:34,081
The photo of Alice
hangs on the wall.
1510
01:38:34,641 --> 01:38:38,281
Next to it,
we project a double video.
1511
01:38:41,081 --> 01:38:44,521
I was fascinated
by how still the cows were.
1512
01:38:45,201 --> 01:38:47,721
Filming them for a moment,
1513
01:38:47,881 --> 01:38:52,881
we captured a fleeting instant
between stillness and movement.
1514
01:38:53,041 --> 01:38:56,361
One flicks her ear,
then starts to move.
1515
01:38:56,521 --> 01:39:00,281
A desire for movement
linked to immobility.
1516
01:39:03,001 --> 01:39:04,961
For a family cat,
1517
01:39:05,201 --> 01:39:06,561
Zgougou,
1518
01:39:06,721 --> 01:39:08,681
I made a tomb.
1519
01:39:13,441 --> 01:39:18,161
The animation was done the old way,
to music by Steve Reich,
1520
01:39:18,401 --> 01:39:22,361
We filmed the finished installation
with shells and flowers.
1521
01:39:22,521 --> 01:39:24,841
Then we filmed image by image,
1522
01:39:25,001 --> 01:39:27,241
removing one element at a time.
1523
01:39:27,561 --> 01:39:31,281
Here the sequence plays backwards.
1524
01:39:38,281 --> 01:39:42,801
You watched me film it, Hervé.
You brought your daughter.
1525
01:39:42,961 --> 01:39:45,361
Yes, she went up in the crane.
1526
01:39:48,281 --> 01:39:50,641
We put a big flower in the tree.
1527
01:39:50,801 --> 01:39:52,641
We needed a marker.
1528
01:39:52,801 --> 01:39:54,481
And I knew why.
1529
01:39:55,081 --> 01:39:59,001
I asked you: Will the Foundation
pay for a helicopter?
1530
01:39:59,161 --> 01:40:00,881
Of course we would!
1531
01:40:01,641 --> 01:40:04,321
So we filmed from the helicopter,
1532
01:40:04,681 --> 01:40:06,961
using the flower as our guide,
1533
01:40:07,121 --> 01:40:12,241
a sequence to show that the tomb
is near the sea.
1534
01:40:12,561 --> 01:40:16,081
And most of all,
this kitty who was important to us
1535
01:40:16,241 --> 01:40:19,561
took on another dimension
with the tomb.
1536
01:40:22,081 --> 01:40:26,201
But seen from further way,
she was like any human.
1537
01:40:26,361 --> 01:40:28,241
Miniscule in the universe.
1538
01:40:30,201 --> 01:40:33,441
You liked Zgougou's tomb.
You bought it.
1539
01:40:33,601 --> 01:40:35,161
I love it. I snapped it up.
1540
01:40:35,321 --> 01:40:37,201
But that's not all.
1541
01:40:37,721 --> 01:40:40,721
As always, I called you.
"Agnès, why don't we...
1542
01:40:42,001 --> 01:40:45,721
install the cat
in the Foundation gardens?"
1543
01:40:46,041 --> 01:40:48,921
- And?
- He ordered a shack from me.
1544
01:40:49,081 --> 01:40:51,481
It's out there in the garden.
1545
01:40:51,641 --> 01:40:53,161
Just outside.
1546
01:40:53,521 --> 01:40:55,921
A little soundproofed utility room
1547
01:40:56,081 --> 01:40:59,001
where we can play a video.
1548
01:40:59,881 --> 01:41:02,321
The video is on a loop.
1549
01:41:02,481 --> 01:41:06,401
Visitors to the Foundation
can drop in anytime.
1550
01:41:07,641 --> 01:41:09,881
They can say hi to Zgougou.
1551
01:41:28,081 --> 01:41:31,121
There's a pile of dirt in the shack.
1552
01:41:31,281 --> 01:41:34,081
- Yes.
- Is there really a cat under it?
1553
01:41:34,241 --> 01:41:35,481
Good question.
1554
01:41:35,641 --> 01:41:39,241
In truth,
the real cat Zgougou isn't here.
1555
01:41:39,401 --> 01:41:42,521
She's under a similar pile of dirt
1556
01:41:42,681 --> 01:41:44,801
on the island of Noirmoutier.
1557
01:41:44,961 --> 01:41:47,641
I haven't seen many cemeteries.
1558
01:41:47,801 --> 01:41:50,121
I know they're pretty sad.
1559
01:41:50,281 --> 01:41:52,241
But this one is more...
1560
01:41:52,401 --> 01:41:54,281
Even though it's a tomb
1561
01:41:54,441 --> 01:41:56,521
and we should be sad,
1562
01:41:56,681 --> 01:41:58,521
it's more...
1563
01:41:58,681 --> 01:42:01,601
more of a happy place,
with fun colours.
1564
01:42:05,681 --> 01:42:07,721
I came back, because it's better
1565
01:42:07,881 --> 01:42:10,001
to watch the film alone.
1566
01:42:10,161 --> 01:42:13,121
You feel things better, in the film.
1567
01:42:14,881 --> 01:42:17,801
Me too, when I'm alone by the sea,
1568
01:42:17,961 --> 01:42:19,761
I feel things better.
1569
01:42:20,801 --> 01:42:22,241
Things are double.
1570
01:42:24,121 --> 01:42:27,801
Even as I enjoy the gentle seascape,
1571
01:42:28,161 --> 01:42:31,281
I know the world
is filled with war, violence,
1572
01:42:31,481 --> 01:42:34,241
suffering and wandering.
1573
01:43:14,361 --> 01:43:15,601
Images of migrants
1574
01:43:15,881 --> 01:43:17,681
struggling and drowning.
1575
01:43:17,841 --> 01:43:19,241
Then this terrible image,
1576
01:43:19,721 --> 01:43:21,561
seen throughout the world.
1577
01:43:23,921 --> 01:43:26,761
We think about it,
and then we forget.
1578
01:43:26,921 --> 01:43:28,601
That's how we live.
1579
01:43:30,401 --> 01:43:34,721
Occasionally I got to work
on the inside of history.
1580
01:43:36,041 --> 01:43:39,121
I want to evoke Les Justes tonight.
1581
01:43:39,281 --> 01:43:41,801
I lived through the war,
I remember it.
1582
01:43:41,961 --> 01:43:44,921
But I had no traumatic experiences.
1583
01:43:45,081 --> 01:43:47,921
President Chirac wanted to pay tribute
1584
01:43:48,281 --> 01:43:50,841
to Les Justes de France
at the Pantheon.
1585
01:43:51,001 --> 01:43:55,601
I was asked to create a short work
for the ceremony.
1586
01:43:59,201 --> 01:44:01,681
A ceremony, a choir
1587
01:44:01,841 --> 01:44:03,961
and my enormous installation.
1588
01:44:06,121 --> 01:44:09,041
Hundreds of portraits on the floor
1589
01:44:09,201 --> 01:44:12,601
of those who took risks to save Jews.
1590
01:44:13,041 --> 01:44:16,121
They were named Les Justes,
the righteous.
1591
01:44:17,201 --> 01:44:21,921
I displayed photographs of them
like open books.
1592
01:44:22,441 --> 01:44:24,241
Their names are on them.
1593
01:44:25,681 --> 01:44:29,201
I added recent, unidentified portraits
1594
01:44:29,361 --> 01:44:32,881
representing
anonymous or unknown Justes.
1595
01:44:33,681 --> 01:44:36,281
To evoke Jews and Justes
in their time,
1596
01:44:36,441 --> 01:44:39,001
I screened 2 films simultaneously
1597
01:44:39,361 --> 01:44:42,241
on 4 screens under the dome.
1598
01:44:42,561 --> 01:44:43,881
A black-and-white film
1599
01:44:44,241 --> 01:44:47,481
shows at a distance
Jews being arrested.
1600
01:44:47,961 --> 01:44:52,601
On another screen,
detail shots in colour enhance reality.
1601
01:44:53,321 --> 01:44:57,841
You looked from one screen to the other
to follow the action.
1602
01:44:58,681 --> 01:45:01,601
Everyone recreated,
for real or mentally,
1603
01:45:02,601 --> 01:45:04,441
what I'll show you
1604
01:45:04,601 --> 01:45:07,961
in this excerpt
fusing images from both screens.
1605
01:45:38,321 --> 01:45:39,641
At the end of each sequence,
1606
01:45:40,241 --> 01:45:43,361
I showed photos of the Justes
who inspired the scene
1607
01:45:43,521 --> 01:45:47,001
and photos of those
who played the scene.
1608
01:45:47,161 --> 01:45:49,041
They weren't real actors,
1609
01:45:49,201 --> 01:45:51,041
but they were real people.
1610
01:45:52,041 --> 01:45:54,641
That's what I've always called
1611
01:45:54,801 --> 01:45:57,681
the people I film
in the streets or fields.
1612
01:46:03,921 --> 01:46:07,681
He was a baker in my native country.
1613
01:46:08,001 --> 01:46:11,441
And then, well...
I waited every Wednesday
1614
01:46:11,601 --> 01:46:14,921
when he brought his bread,
to see him.
1615
01:46:15,561 --> 01:46:19,241
Then, six months later,
we got married.
1616
01:46:24,641 --> 01:46:27,841
Real people
are at the heart of my work.
1617
01:46:28,001 --> 01:46:30,121
I have that in common with JR,
1618
01:46:30,281 --> 01:46:32,161
the urban photographer
1619
01:46:32,321 --> 01:46:35,801
who has approached
thousands of real people.
1620
01:46:36,001 --> 01:46:40,121
We wanted to make a film
of our encounters with people.
1621
01:46:40,281 --> 01:46:42,721
This time, in the French countryside.
1622
01:46:43,161 --> 01:46:45,481
We headed out in his magic truck,
1623
01:46:45,641 --> 01:46:48,081
with the goal of listening to people
1624
01:46:48,241 --> 01:46:50,761
and photographing them in the truck.
1625
01:46:51,721 --> 01:46:54,521
People go into the back,
like in a photo booth.
1626
01:46:54,681 --> 01:46:57,561
The photo comes out 5 seconds later,
1627
01:46:57,721 --> 01:46:58,801
in large format.
1628
01:46:59,441 --> 01:47:01,441
The plan was to show them off.
1629
01:47:01,601 --> 01:47:06,641
To post them as a counterpoint
to models and celebrities
1630
01:47:06,801 --> 01:47:09,561
selling cosmetics, cars and coffee.
1631
01:47:09,721 --> 01:47:12,761
We hired her as a waitress back in...
1632
01:47:13,361 --> 01:47:16,081
late May, early summer.
1633
01:47:16,561 --> 01:47:20,561
Now she's Bonnieux's most famous face.
1634
01:47:21,961 --> 01:47:24,601
What do you think
of your mum up there?
1635
01:47:24,761 --> 01:47:27,641
- She's super pretty.
- Indeed. I agree.
1636
01:47:28,321 --> 01:47:29,681
Press the button.
1637
01:47:30,681 --> 01:47:32,161
Show us your selfie.
1638
01:47:32,321 --> 01:47:33,361
Wow, nice!
1639
01:47:33,521 --> 01:47:34,881
You're good.
1640
01:47:35,041 --> 01:47:37,281
I'm no expert though.
1641
01:47:37,801 --> 01:47:39,641
Tickle tickle!
1642
01:47:41,121 --> 01:47:45,321
Our social and sociological experiment
was full of surprises.
1643
01:47:45,481 --> 01:47:50,041
In one village,
a man said he was the bell-ringer
1644
01:47:50,201 --> 01:47:52,481
and took us to his bell tower.
1645
01:47:52,801 --> 01:47:57,321
And there was a woman
who made goat cheese.
1646
01:47:57,481 --> 01:48:01,361
She was furious,
because other cheesemakers
1647
01:48:01,521 --> 01:48:03,281
were burning goats' horns off.
1648
01:48:03,441 --> 01:48:05,041
We saw it for ourselves.
1649
01:48:08,041 --> 01:48:09,841
We met Françoise.
1650
01:48:10,761 --> 01:48:13,281
You have one of the only herds
1651
01:48:13,441 --> 01:48:15,241
where the goats have horns.
1652
01:48:15,401 --> 01:48:19,201
To my mind,
if a goat has horns, she keeps them.
1653
01:48:19,361 --> 01:48:21,601
I'm not going to remove them.
1654
01:48:22,401 --> 01:48:24,521
That just seems...
1655
01:48:26,761 --> 01:48:29,921
I can find no logical explanation,
1656
01:48:30,081 --> 01:48:33,081
unless you see them as a product
1657
01:48:34,361 --> 01:48:37,681
required to attain
a certain rate of return,
1658
01:48:37,841 --> 01:48:42,401
so you eliminate anything
that might make them less profitable
1659
01:48:42,561 --> 01:48:44,361
and cut off their horns.
1660
01:48:44,961 --> 01:48:46,521
Burn them off.
1661
01:48:46,681 --> 01:48:50,561
But if you respect the animals,
1662
01:48:51,001 --> 01:48:52,561
you leave them intact.
1663
01:48:52,721 --> 01:48:55,281
If they have horns, they keep them.
1664
01:48:55,681 --> 01:48:57,041
Sure, they fight.
1665
01:48:57,201 --> 01:48:59,601
Human beings fight too.
1666
01:48:59,761 --> 01:49:01,161
I didn't know about it
1667
01:49:01,321 --> 01:49:03,401
until you told me just now.
1668
01:49:04,321 --> 01:49:05,881
This horn thing.
1669
01:49:06,041 --> 01:49:09,441
For this project, we didn't ask people
1670
01:49:09,601 --> 01:49:11,641
to answer our questions,
1671
01:49:12,201 --> 01:49:15,881
but rather to think,
and to invent their own responses
1672
01:49:16,041 --> 01:49:17,641
to the situations.
1673
01:49:17,801 --> 01:49:20,401
I say put balls on the tips,
1674
01:49:20,561 --> 01:49:22,761
like with bulls. Rubber balls.
1675
01:49:22,921 --> 01:49:26,161
Could be funny. Or clown noses.
1676
01:49:26,321 --> 01:49:27,441
Rubber ones.
1677
01:49:27,601 --> 01:49:30,681
You could use different colours
1678
01:49:30,841 --> 01:49:34,401
to tell them apart.
Purple, multicolour, zebra.
1679
01:49:34,561 --> 01:49:37,241
Great idea, I love it!
Very imaginative.
1680
01:49:37,401 --> 01:49:38,881
We 're glad we met you.
1681
01:49:39,681 --> 01:49:42,001
I enjoyed meeting you, too.
1682
01:49:43,201 --> 01:49:45,801
Our work together
1683
01:49:46,241 --> 01:49:47,921
made our friendship grow,
1684
01:49:48,081 --> 01:49:49,721
like a plant.
1685
01:49:50,401 --> 01:49:52,281
Like a fish in water.
1686
01:49:53,321 --> 01:49:55,481
He was interested in me,
1687
01:49:55,641 --> 01:49:58,961
and he was interested in my ageing.
1688
01:50:01,321 --> 01:50:03,201
I have an eye disease.
1689
01:50:03,361 --> 01:50:06,281
No fun, considering my profession.
1690
01:50:06,881 --> 01:50:09,561
I need shots, check-ups
1691
01:50:09,721 --> 01:50:11,521
and exams.
1692
01:50:11,681 --> 01:50:14,001
What kind of exams?
1693
01:50:14,481 --> 01:50:16,801
Looking at letters.
1694
01:50:22,761 --> 01:50:24,441
Is this right, Agnès?
1695
01:50:24,601 --> 01:50:27,041
Yes, the bottom is blurry, but...
1696
01:50:27,321 --> 01:50:31,001
The letters need to move a little.
1697
01:50:31,161 --> 01:50:32,561
Move how?
1698
01:50:32,721 --> 01:50:35,121
- Up and down a little.
- Got it.
1699
01:50:35,601 --> 01:50:37,721
- Go tell them.
- Right away.
1700
01:50:37,881 --> 01:50:39,921
Move up and down a little!
1701
01:50:44,681 --> 01:50:47,521
Now I'm happy. That's what I see.
1702
01:50:49,081 --> 01:50:50,361
It was important to me
1703
01:50:50,881 --> 01:50:55,401
that we find a way to bring beauty
to my deteriorating eyesight.
1704
01:50:55,561 --> 01:50:58,801
And that we enjoy ourselves
on that shoot,
1705
01:50:58,961 --> 01:51:01,241
full of surprises and emotion.
1706
01:51:05,081 --> 01:51:06,841
It's surprising.
1707
01:51:07,121 --> 01:51:09,961
- Art should surprise us, right?
- True.
1708
01:51:10,121 --> 01:51:11,801
Have a nice day.
1709
01:51:16,201 --> 01:51:19,921
Today's my last day.
I'm taking early retirement.
1710
01:51:20,561 --> 01:51:22,041
- Today?
- Today.
1711
01:51:22,201 --> 01:51:24,681
- It's your last day?
- Yes it is.
1712
01:51:24,841 --> 01:51:28,481
I feel like I've reached
the edge of a cliff,
1713
01:51:28,641 --> 01:51:31,641
and tonight
I'm leaping into the unknown.
1714
01:51:32,321 --> 01:51:34,601
I'll discover lots of things.
1715
01:51:34,961 --> 01:51:38,401
And we discovered
that fate was with us.
1716
01:51:38,561 --> 01:51:41,601
Once in Normandy,
fate struck three times.
1717
01:51:41,881 --> 01:51:44,721
JR wanted to paste
on a German bunker
1718
01:51:44,881 --> 01:51:47,281
that had fallen off a cliff.
1719
01:51:47,441 --> 01:51:49,681
I said, "We can pick any bunker."
1720
01:51:49,841 --> 01:51:52,881
But when he said
it was at St-Aubin-sur-Mer,
1721
01:51:53,041 --> 01:51:54,321
I pricked up my ears.
1722
01:51:54,481 --> 01:51:58,041
I'd been there in 1954 with friends
1723
01:51:58,201 --> 01:52:00,841
and taken photos on that beach.
1724
01:52:01,201 --> 01:52:04,881
A photo named Ulysse
that inspired a film.
1725
01:52:05,521 --> 01:52:09,361
I was with my friend Guy Bourdin,
a young photographer.
1726
01:52:09,521 --> 01:52:12,721
He became very famous,
but died young.
1727
01:52:15,481 --> 01:52:17,441
I did portraits of him.
1728
01:52:17,921 --> 01:52:20,201
He posed sweetly, dreaming.
1729
01:52:24,321 --> 01:52:27,481
I showed JR my photos of Guy Bourdin,
1730
01:52:27,641 --> 01:52:31,401
and we decided
to paste one on the bunker.
1731
01:52:31,961 --> 01:52:34,841
It was a difficult and dangerous shoot,
1732
01:52:35,001 --> 01:52:39,161
because the low tide didn't last long.
1733
01:53:01,801 --> 01:53:04,841
I could imagine nothing better for Guy.
1734
01:53:05,121 --> 01:53:07,681
Here he is, like a child in his cradle.
1735
01:53:09,001 --> 01:53:10,761
Resting in peace.
1736
01:53:23,321 --> 01:53:26,281
The next morning, we went to see.
1737
01:53:27,801 --> 01:53:30,801
The tide had washed the image away.
1738
01:53:30,961 --> 01:53:33,641
Ephemeral images are my stock-in-trade.
1739
01:53:33,801 --> 01:53:35,721
But the sea worked fast.
1740
01:53:36,041 --> 01:53:37,801
The sea has the last word.
1741
01:53:37,961 --> 01:53:40,081
And the wind, and the sand.
1742
01:53:41,641 --> 01:53:43,481
At one point,
1743
01:53:43,641 --> 01:53:46,441
JR and I imagined
ending the film this way.
1744
01:53:46,961 --> 01:53:50,121
Disappearing in a sandstorm.
1745
01:53:51,041 --> 01:53:54,121
I think this is how I'll end this chat.
1746
01:53:55,361 --> 01:53:57,321
Disappearing in the blur.
1747
01:53:57,481 --> 01:53:58,921
Leaving you.
128536
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.