All language subtitles for 阿涅斯论瓦尔达 Varda by Agnes_track3_eng

af Afrikaans
ak Akan
sq Albanian
am Amharic
ar Arabic
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bem Bemba
bn Bengali
bh Bihari
bs Bosnian
br Breton
bg Bulgarian
km Cambodian
ca Catalan
chr Cherokee
ny Chichewa
zh-CN Chinese (Simplified) Download
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
cs Czech
da Danish
nl Dutch
en English
eo Esperanto
et Estonian
ee Ewe
fo Faroese
tl Filipino
fi Finnish
fr French
fy Frisian
gaa Ga
gl Galician
ka Georgian
de German
el Greek
gn Guarani
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ia Interlingua
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
rw Kinyarwanda
rn Kirundi
kg Kongo
ko Korean
kri Krio (Sierra Leone)
ku Kurdish
ckb Kurdish (Soranî)
ky Kyrgyz
lo Laothian
la Latin
lv Latvian
ln Lingala
lt Lithuanian
loz Lozi
lg Luganda
ach Luo
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mfe Mauritian Creole
mo Moldavian
mn Mongolian
sr-ME Montenegrin
ne Nepali
pcm Nigerian Pidgin
nso Northern Sotho
no Norwegian
nn Norwegian (Nynorsk)
oc Occitan
or Oriya
om Oromo
ps Pashto
fa Persian
pl Polish
pt-BR Portuguese (Brazil)
pt-PT Portuguese (Portugal)
pa Punjabi
qu Quechua
ro Romanian
rm Romansh
nyn Runyakitara
ru Russian
gd Scots Gaelic
sr Serbian
sh Serbo-Croatian
st Sesotho
tn Setswana
crs Seychellois Creole
sn Shona
sd Sindhi
si Sinhalese
sk Slovak
sl Slovenian
so Somali
es Spanish
es-419 Spanish (Latin American)
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
tt Tatar
te Telugu
th Thai
ti Tigrinya
to Tonga
lua Tshiluba
tum Tumbuka
tr Turkish
tk Turkmen
tw Twi
ug Uighur
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese
cy Welsh
wo Wolof
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
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.