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1
00:00:47,804 --> 00:00:51,604
VARDA BY AGNES
2
00:03:39,884 --> 00:03:42,124
Subtitles: Sionann O'Neill
3
00:03:42,284 --> 00:03:43,764
Subtitling: HIVENTY
4
00:03:50,924 --> 00:03:52,604
Thank you for inviting me.
5
00:03:52,764 --> 00:03:57,284
Seeing this marvellous opera house
turned into a cinema
6
00:03:57,444 --> 00:03:58,804
intimidates me.
7
00:03:58,964 --> 00:04:02,364
There might be children of paradise
up there.
8
00:04:04,924 --> 00:04:07,164
Some of my films are known,
9
00:04:07,324 --> 00:04:09,004
some well-known,
10
00:04:09,164 --> 00:04:10,724
others not.
11
00:04:10,884 --> 00:04:14,564
I'd like to tell you what led me
12
00:04:14,724 --> 00:04:16,884
to do this work all these years.
13
00:04:17,324 --> 00:04:19,924
Three words are important to me:
14
00:04:20,884 --> 00:04:24,644
inspiration, creation and sharing.
15
00:04:24,924 --> 00:04:27,884
Inspiration is why you make a film.
16
00:04:28,044 --> 00:04:30,644
The motivations, ideas, circumstances
17
00:04:30,804 --> 00:04:32,124
and happenstance
18
00:04:32,284 --> 00:04:36,764
that ignite your desire to make a film.
19
00:04:37,164 --> 00:04:39,364
Creation is how you make the film.
20
00:04:39,524 --> 00:04:42,164
With what means, what structure?
21
00:04:42,324 --> 00:04:45,284
Alone or not alone?
In colour or not?
22
00:04:45,444 --> 00:04:47,364
Creation is work.
23
00:04:47,804 --> 00:04:49,484
The third word is sharing.
24
00:04:49,644 --> 00:04:52,164
You don't make films
to watch them alone.
25
00:04:52,324 --> 00:04:54,484
You make films to show them.
26
00:04:54,644 --> 00:04:57,364
You are the very proof of this sharing.
27
00:04:57,884 --> 00:05:00,044
These three words guided me.
28
00:05:00,524 --> 00:05:04,084
We need to know why we do this work.
29
00:05:04,644 --> 00:05:07,644
I'll start with a short film,
30
00:05:07,804 --> 00:05:12,084
one I often show in my talks.
31
00:05:12,244 --> 00:05:13,444
Because...
32
00:05:14,364 --> 00:05:16,204
a family member is in the film.
33
00:05:16,364 --> 00:05:20,524
An older gentleman
who will introduce me, as in the past.
34
00:05:22,804 --> 00:05:25,724
By chance, I was in San Francisco
35
00:05:25,884 --> 00:05:27,924
for a festival.
36
00:05:28,524 --> 00:05:31,404
A friend said, "You may know this man,
37
00:05:31,564 --> 00:05:33,484
a painter named Varda.
38
00:05:33,644 --> 00:05:35,804
He lives on a boat in Sausalito."
39
00:05:35,964 --> 00:05:39,044
So we went to see him.
It was a Wednesday.
40
00:05:39,884 --> 00:05:42,804
I instantly fell in love with him.
41
00:05:42,964 --> 00:05:45,924
I absolutely had to film him.
42
00:05:46,404 --> 00:05:47,724
In truth,
43
00:05:48,324 --> 00:05:50,524
it wasn't so much about meeting him,
44
00:05:50,684 --> 00:05:54,364
it was about knowing right away
how to film him.
45
00:05:54,884 --> 00:05:57,964
I imagined the editing as I filmed him.
46
00:05:58,124 --> 00:06:00,404
I wanted to share the spontaneity,
47
00:06:00,564 --> 00:06:03,004
joy and excitement of the encounter.
48
00:06:03,164 --> 00:06:06,404
Now what happens? I say, "Film clip!"
49
00:06:17,004 --> 00:06:18,284
Mr. Varda?
50
00:06:25,204 --> 00:06:26,124
I Don't know.
51
00:06:27,684 --> 00:06:30,004
Are you Eugene Varda's daughter?
52
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Yes I am.
53
00:06:57,204 --> 00:06:58,324
Cut!
54
00:07:10,204 --> 00:07:12,004
So, you are my niece!
55
00:07:12,164 --> 00:07:13,484
Looks like it
56
00:07:14,924 --> 00:07:15,724
cut!
57
00:07:20,204 --> 00:07:22,684
A perfect example of a miracle.
58
00:07:22,844 --> 00:07:27,884
From my inspiration to the shoot,
there was a day and a half.
59
00:07:28,044 --> 00:07:29,764
Then I took my time editing.
60
00:07:29,924 --> 00:07:33,084
For those of you who want to make films,
61
00:07:33,244 --> 00:07:35,084
especially those starting out,
62
00:07:35,524 --> 00:07:37,484
you need patience.
63
00:07:37,644 --> 00:07:42,324
You have a project, but you need money,
from your school or elsewhere.
64
00:07:42,684 --> 00:07:44,084
So...
65
00:07:44,684 --> 00:07:48,404
you need patience,
but try to get around that obstacle.
66
00:07:48,564 --> 00:07:50,884
Film quickly with the means at hand.
67
00:07:52,124 --> 00:07:54,444
I show this film for its good humour,
68
00:07:54,604 --> 00:07:57,204
and for the wonderful Yanco.
69
00:07:57,364 --> 00:08:00,724
But my most well-known film
is Cléofrom5to7.
70
00:08:01,564 --> 00:08:05,044
Has anyone in the audience seen Cleo?
71
00:08:05,204 --> 00:08:06,484
Nice!
72
00:08:06,644 --> 00:08:09,044
A fair few, as they say down south.
73
00:08:09,204 --> 00:08:11,084
Cléowas inspired
74
00:08:11,764 --> 00:08:14,724
by two very strong impressions.
75
00:08:14,884 --> 00:08:19,564
Back in the 60s,
there were collective fears, as always.
76
00:08:19,724 --> 00:08:23,724
The most common one was cancer.
77
00:08:23,884 --> 00:08:25,684
People feared cancer.
78
00:08:25,844 --> 00:08:29,044
Also, the producer told me,
79
00:08:30,004 --> 00:08:34,124
"I'll make a film with you,
as I did with Godard and Demy,
80
00:08:34,284 --> 00:08:36,164
but it has to be cheap."
81
00:08:36,324 --> 00:08:38,404
So how would we do it?
82
00:08:38,564 --> 00:08:43,924
We could shoot in Paris.
No travel expenses, no hotels.
83
00:08:44,084 --> 00:08:49,524
The action could take place in one day,
limiting sets and locations.
84
00:08:49,684 --> 00:08:53,724
It occurred to me
to shorten the timeframe further.
85
00:08:53,884 --> 00:08:58,964
I'd film an hour and a half of her life.
90 minutes, like a film.
86
00:09:00,324 --> 00:09:01,924
I actually follow Cléo
87
00:09:02,244 --> 00:09:04,644
from 5 to 6:30 p.m.
88
00:09:05,684 --> 00:09:07,804
illustrating time is difficult.
89
00:09:07,964 --> 00:09:12,124
Time feels different
if we're happy or if we're anxious,
90
00:09:12,284 --> 00:09:15,084
if we're expecting someone
or having fun.
91
00:09:15,404 --> 00:09:17,884
I call that subjective time.
92
00:09:18,644 --> 00:09:21,124
And then there's objective time.
93
00:09:21,444 --> 00:09:24,284
Time we can't argue with.
Mechanical time,
94
00:09:24,644 --> 00:09:27,644
counted in hours,
minutes or even seconds.
95
00:09:28,804 --> 00:09:30,124
I wanted
96
00:09:30,284 --> 00:09:35,044
to combine objective time,
the clocks we see everywhere,
97
00:09:35,484 --> 00:09:37,124
with subjective time,
98
00:09:37,284 --> 00:09:40,324
the way Cléo feels during the film.
99
00:09:41,164 --> 00:09:44,324
You're wrong.
The card doesn't necessarily mean death.
100
00:09:44,484 --> 00:09:48,404
The fortune teller says
it means transformation, not death.
101
00:09:48,564 --> 00:09:52,284
But Cléo sees
a hanged man and clattering bones.
102
00:09:52,444 --> 00:09:55,004
It gives her a fright.
103
00:09:55,164 --> 00:09:57,604
Her fear and the threat of death,
104
00:09:57,764 --> 00:10:01,084
consciously or subconsciously,
stay with her.
105
00:10:02,724 --> 00:10:05,204
Just like this beautiful woman
106
00:10:05,364 --> 00:10:07,444
painted by Baldung Grien.
107
00:10:07,604 --> 00:10:11,004
A skeleton whispers in her ear
what she doesn't want to hear.
108
00:10:11,244 --> 00:10:12,884
Or pulls her hair.
109
00:10:13,404 --> 00:10:15,644
I had reproductions, postcards.
110
00:10:15,804 --> 00:10:17,724
Tiny images to look at.
111
00:10:17,884 --> 00:10:22,404
And a big mental image
at the heart of my project.
112
00:10:24,924 --> 00:10:27,484
The film is in two parts.
113
00:10:27,644 --> 00:10:29,524
First 45 minutes, second 45.
114
00:10:29,684 --> 00:10:32,964
Exactly in the middle,
she sings her song.
115
00:10:33,564 --> 00:10:37,164
And if you come too late
116
00:10:39,524 --> 00:10:43,124
I will have been laid fo rest
117
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Alone, ugly and pale
118
00:10:51,084 --> 00:10:52,804
Without you
119
00:11:01,044 --> 00:11:02,364
ls foo much.
120
00:11:02,724 --> 00:11:04,124
I can't go on.
121
00:11:04,524 --> 00:11:06,284
It's horrible!
122
00:11:06,444 --> 00:11:08,284
- What's wrong?
- She's tired.
123
00:11:08,444 --> 00:11:12,004
And you know, the word despair is evil.
Like the word rope.
124
00:11:12,164 --> 00:11:14,084
Rhymes matter more than words.
125
00:11:14,244 --> 00:11:15,884
It's a beautiful song.
126
00:11:16,044 --> 00:11:19,084
You'll revolutionise the music business!
127
00:11:19,244 --> 00:11:23,044
Really? What is a song anyway?
How long does it last?
128
00:11:23,204 --> 00:11:24,564
Another tantrum.
129
00:11:24,724 --> 00:11:28,084
Tantrum, tantrum!
That's all you ever say!
130
00:11:28,244 --> 00:11:29,964
You make me this way!
131
00:11:30,124 --> 00:11:32,804
Treating me like an idiot
or a china doll!
132
00:11:32,964 --> 00:11:35,404
Now 1] lead a revolution
with grim words?
133
00:11:35,564 --> 00:11:38,884
You call that song charming?
My big hit?
134
00:11:39,364 --> 00:11:41,444
It'll be a hit funeral!
135
00:11:41,604 --> 00:11:44,364
You tire me, you exploit me! Go away!
136
00:11:44,524 --> 00:11:47,484
No, I'll go!
Angéle will make you drinks.
137
00:11:47,644 --> 00:11:48,724
Session's over!
138
00:11:48,884 --> 00:11:51,444
Leave the songs. I'll choose later.
139
00:11:51,604 --> 00:11:54,444
I made two cuts for this presentation.
140
00:11:55,244 --> 00:11:56,724
11 wear black.
141
00:11:57,244 --> 00:11:59,164
In harmony with your songs.
142
00:12:00,364 --> 00:12:01,764
She goes down.
143
00:12:01,924 --> 00:12:03,444
There are ten steps.
144
00:12:03,604 --> 00:12:05,644
We filmed all ten.
145
00:12:09,884 --> 00:12:14,844
Then we filmed every step she takes
to cross the courtyard.
146
00:12:16,484 --> 00:12:21,404
We chose not to cheat
with the distance or the geography.
147
00:12:30,564 --> 00:12:32,684
The courtyard leads to Rue Huyghens.
148
00:12:33,004 --> 00:12:34,884
That's where she walked.
149
00:12:35,044 --> 00:12:39,124
It's the actual street
that leads to Boulevard Raspail.
150
00:12:40,524 --> 00:12:44,564
The sidewalk was as it was,
with people watching her pass.
151
00:12:44,804 --> 00:12:48,084
I wanted to go
from the coquetry of the first part
152
00:12:48,244 --> 00:12:50,084
to something more real.
153
00:12:50,244 --> 00:12:52,684
Cléo and what happens around her.
154
00:12:52,844 --> 00:12:54,044
People,
155
00:12:54,204 --> 00:12:55,524
pigeons...
156
00:12:56,484 --> 00:12:58,164
Then she notices
157
00:12:58,324 --> 00:13:00,324
a store called "Good Health."
158
00:13:00,484 --> 00:13:02,684
And she can no longer stand the hat.
159
00:13:02,844 --> 00:13:06,284
That doll face, always the same.
That ridiculous hat
160
00:13:06,444 --> 00:13:09,964
She takes it off.
She becomes a woman who sees.
161
00:13:10,124 --> 00:13:13,044
She's no longer seen,
as in the first part.
162
00:13:13,204 --> 00:13:14,404
She sees.
163
00:13:14,964 --> 00:13:17,364
I'd noticed a street performer.
164
00:13:17,804 --> 00:13:20,724
I Asked him to come back.
Look what she sees.
165
00:13:21,244 --> 00:13:23,444
How a guy earns his living.
166
00:13:24,764 --> 00:13:27,284
C'mere, froqqy. Time for a new aquarium.
167
00:13:27,444 --> 00:13:28,724
Third frog!
168
00:13:40,444 --> 00:13:42,924
You can't help but notice.
169
00:13:43,084 --> 00:13:47,324
Even in fiction,
I like to add documentary elements.
170
00:13:47,484 --> 00:13:50,924
In this film,
as we follow Cléo and her fear,
171
00:13:51,644 --> 00:13:54,004
we see people in cafés,
172
00:13:54,164 --> 00:13:55,924
in the streets.
173
00:13:57,844 --> 00:13:59,284
I love documentaries.
174
00:13:59,444 --> 00:14:03,444
I know great ones
have been made in faraway places.
175
00:14:04,604 --> 00:14:08,724
But big documentary journeys
are too far from me.
176
00:14:08,884 --> 00:14:11,884
I want to film close to me.
What I know.
177
00:14:12,484 --> 00:14:16,124
Daguerreotypes
was made on my street, Rue Daguerre.
178
00:14:21,444 --> 00:14:25,124
I chose to film
my close neighbours and the merchants,
179
00:14:25,284 --> 00:14:29,684
those who sold me bread, meat, hardware.
The hairdresser...
180
00:14:29,844 --> 00:14:32,284
They create a kind of village.
181
00:14:36,364 --> 00:14:39,844
At the bakery, people wait in line.
182
00:14:40,004 --> 00:14:42,244
As everywhere, they wait their turn.
183
00:14:42,404 --> 00:14:45,764
We were there for the time it took
184
00:14:46,604 --> 00:14:48,964
to buy or sell something.
185
00:14:51,924 --> 00:14:54,044
Nurith Avivis...
186
00:14:54,844 --> 00:14:57,524
a director of photography.
A camerawoman.
187
00:14:58,284 --> 00:15:00,084
She did the work.
188
00:15:00,684 --> 00:15:02,924
We had sequence shots
189
00:15:03,484 --> 00:15:06,924
where the camera lingered
on people waiting.
190
00:15:07,284 --> 00:15:09,844
Nothing happens,
191
00:15:10,004 --> 00:15:12,484
yet something happens inside.
192
00:15:12,644 --> 00:15:14,204
That's it.
193
00:15:14,364 --> 00:15:17,324
Videos and commercials move very fast.
194
00:15:17,484 --> 00:15:19,924
But when you're in the duration,
195
00:15:20,084 --> 00:15:22,204
you're really in.
196
00:15:24,364 --> 00:15:25,644
We got set up.
197
00:15:25,804 --> 00:15:29,084
Nurith takes no space.
Neither did I back then.
198
00:15:29,244 --> 00:15:33,364
We got set up, hiding in a corner.
199
00:15:33,524 --> 00:15:35,204
The sound engineer too.
200
00:15:35,364 --> 00:15:38,084
The idea was to film people,
201
00:15:38,804 --> 00:15:41,044
whether they realised it or not.
202
00:15:51,644 --> 00:15:55,084
When you decide
to look closely at something
203
00:15:55,244 --> 00:15:58,084
that may be trite, it's no longer trite.
204
00:15:58,244 --> 00:16:01,204
The very act of looking at it
changes it.
205
00:16:01,364 --> 00:16:02,964
Nothing is trite,
206
00:16:03,324 --> 00:16:07,164
if you film people
with empathy and love.
207
00:16:07,324 --> 00:16:10,964
If you find them extraordinary,
as I did.
208
00:16:11,124 --> 00:16:14,284
We filmed that baker at work.
209
00:16:14,444 --> 00:16:18,764
I loved how he scored the bread dough
210
00:16:18,924 --> 00:16:20,564
with his razor blade.
211
00:16:27,084 --> 00:16:30,204
I listened closely
to what the merchants said.
212
00:16:30,364 --> 00:16:33,324
They weren't very open.
213
00:16:33,484 --> 00:16:36,204
They weren't very friendly to outsiders.
214
00:16:36,364 --> 00:16:39,084
They represented the silent majority.
215
00:16:39,244 --> 00:16:40,964
That's what I filmed.
216
00:16:41,964 --> 00:16:43,164
It occurs to me,
217
00:16:43,324 --> 00:16:45,684
in contrast to what I just said,
218
00:16:45,844 --> 00:16:50,124
that I once filmed an enraged minority.
219
00:16:50,284 --> 00:16:51,964
The Black Panthers.
220
00:16:52,124 --> 00:16:55,204
They were a movement of Black Americans
221
00:16:55,364 --> 00:16:57,764
who, in 1968,
222
00:16:58,364 --> 00:17:02,444
created a political program,
spoke out and protested
223
00:17:02,604 --> 00:17:05,684
because some of their leaders
had been arrested
224
00:17:05,844 --> 00:17:08,404
and one was in prison, Huey Newton.
225
00:17:08,764 --> 00:17:10,284
They held protest rallies.
226
00:17:10,444 --> 00:17:13,044
Jacques Demy and I
lived in Los Angeles then.
227
00:17:13,204 --> 00:17:17,564
I took a plane
to film the protests in Oakland,
228
00:17:17,724 --> 00:17:19,484
near San Francisco.
229
00:17:19,644 --> 00:17:23,724
I was a little lady with a 16mm camera.
I said, "French television"
230
00:17:23,884 --> 00:17:27,164
and they let me in
while they were training.
231
00:17:27,324 --> 00:17:29,764
- Who are you?
- Black Panthers.
232
00:17:29,924 --> 00:17:32,164
- Why are you here?
- To free Huey.
233
00:17:32,324 --> 00:17:35,004
- How?
- Huey's teachings.
234
00:17:35,164 --> 00:17:37,524
- What are they?
- The guns.
235
00:17:41,204 --> 00:17:45,124
This brother here, myself; all of us
were born with this hair.
236
00:17:45,284 --> 00:17:47,484
We wear it this way
because its natural.
237
00:17:47,644 --> 00:17:51,844
Black people now realise
that black is beautiful.
238
00:17:53,084 --> 00:17:57,844
The Black Panther movement
didn't last very long.
239
00:17:58,364 --> 00:18:01,524
But it was a Black revolt,
240
00:18:01,684 --> 00:18:04,604
for their identity,
and it was a feminist revolt.
241
00:18:05,324 --> 00:18:11,164
Feminism was already going strong
in the USA in the 1960s.
242
00:18:11,324 --> 00:18:13,444
Obviously, I was a feminist.
243
00:18:13,604 --> 00:18:16,004
I was, and I still am.
244
00:18:16,164 --> 00:18:17,964
And I must say,
245
00:18:18,124 --> 00:18:21,364
issues surrounding women's liberation,
246
00:18:21,524 --> 00:18:25,084
specifically,
the question of body politics,
247
00:18:25,244 --> 00:18:26,964
really concerned me.
248
00:18:28,124 --> 00:18:31,244
Back then, there were struggles
249
00:18:31,404 --> 00:18:34,804
fought by both women and men
250
00:18:34,964 --> 00:18:39,284
that led to contraceptive rights in 1972
251
00:18:39,444 --> 00:18:42,044
and abortion rights in 1975.
252
00:18:42,204 --> 00:18:43,844
It's old history now,
253
00:18:44,004 --> 00:18:46,044
but I experienced it
254
00:18:46,204 --> 00:18:48,204
and wanted to tell the story.
255
00:18:48,364 --> 00:18:50,164
To do so,
256
00:18:50,524 --> 00:18:54,564
I got the idea of two young women.
257
00:18:54,724 --> 00:18:58,724
One already has children,
the other is a natural-born rebel.
258
00:18:59,924 --> 00:19:01,804
How pregnant are you?
259
00:19:02,404 --> 00:19:04,244
2 months, more or less.
260
00:19:04,404 --> 00:19:06,284
Don't cry, get an abortion.
261
00:19:06,444 --> 00:19:08,964
How, where? Think its easy?
262
00:19:09,124 --> 00:19:10,604
Well find a way.
263
00:19:16,684 --> 00:19:18,084
You're still up?
264
00:19:18,244 --> 00:19:19,764
Anaré, you promised me!
265
00:19:20,044 --> 00:19:22,484
Why do you lie? What'd we do to you?
266
00:19:22,644 --> 00:19:24,404
- I needed money.
- As always.
267
00:19:24,564 --> 00:19:25,724
Why didn't you ask?
268
00:19:25,884 --> 00:19:28,244
It was for an abortion, you'd say no.
269
00:19:28,404 --> 00:19:29,604
What?
270
00:19:29,764 --> 00:19:34,244
My friend Suzanne needed money
for an abortion.
271
00:19:38,124 --> 00:19:40,084
Their friendship lasts.
272
00:19:40,604 --> 00:19:43,004
10 years later, we see them again,
273
00:19:43,164 --> 00:19:48,484
after they've both lived, loved
and fought the feminist fight.
274
00:19:49,564 --> 00:19:52,204
The feminist fight
275
00:19:53,084 --> 00:19:55,364
was something I wanted
276
00:19:56,004 --> 00:19:57,484
to put into song.
277
00:20:04,004 --> 00:20:07,604
No papa no pope no king
278
00:20:07,764 --> 00:20:09,124
No judge no doctor
279
00:20:09,524 --> 00:20:11,124
No legislator
280
00:20:11,364 --> 00:20:13,924
Gonna lay the law on my body
281
00:20:14,084 --> 00:20:15,684
Biology isn't fate
282
00:20:15,844 --> 00:20:18,604
Papa's laws are out or date
283
00:20:19,044 --> 00:20:22,084
My body belongs to me
284
00:20:22,564 --> 00:20:25,404
I'm the one who knows
285
00:20:25,724 --> 00:20:27,844
Whether or not
286
00:20:28,124 --> 00:20:30,124
I want to give birth
287
00:20:32,044 --> 00:20:34,764
Whether to bring new life
288
00:20:35,284 --> 00:20:38,004
To this earthly existence
289
00:20:38,324 --> 00:20:40,604
Whether to be flat or round
290
00:20:40,764 --> 00:20:42,644
The choice is mine
291
00:20:44,524 --> 00:20:47,084
My body belongs to me
292
00:20:52,284 --> 00:20:54,044
I really took it to heart.
293
00:20:54,204 --> 00:20:57,764
For the music,
I hired Francois Wertheimer
294
00:20:57,924 --> 00:20:59,924
and a girl group called Orchidée.
295
00:21:00,084 --> 00:21:02,484
We used texts by Engels and Marx.
296
00:21:02,644 --> 00:21:05,764
A very interesting thing:
297
00:21:05,924 --> 00:21:09,684
"Nowadays, in the family,
the man is the bourgeois,
298
00:21:09,844 --> 00:21:12,484
and the woman represents
the proletariat."
299
00:21:12,924 --> 00:21:15,564
It flows better in a song.
300
00:21:15,724 --> 00:21:17,284
But it's worth saying.
301
00:21:17,804 --> 00:21:19,524
Hear that, birdie?
302
00:21:20,204 --> 00:21:21,084
Listen.
303
00:21:29,444 --> 00:21:33,284
When men and women both work full time,
304
00:21:37,964 --> 00:21:41,644
you can set to music
the double shift women do.
305
00:21:45,284 --> 00:21:47,524
Domestic Habits
306
00:21:59,844 --> 00:22:03,364
Incredible friendships formed
307
00:22:03,804 --> 00:22:05,804
in that collective struggle.
308
00:22:05,964 --> 00:22:08,484
The women were often joyful.
309
00:22:08,644 --> 00:22:14,004
We laughed a lot
as we fought for women's rights.
310
00:22:15,084 --> 00:22:20,764
The joy and good humour of the group
come across in the film, I hope.
311
00:22:21,124 --> 00:22:22,724
Now I'll make a jump.
312
00:22:22,884 --> 00:22:26,484
Much later,
I told the story of a girl in a rage.
313
00:22:26,644 --> 00:22:29,004
Not in a group this time, alone.
314
00:22:29,164 --> 00:22:30,724
An enraged loner.
315
00:22:31,324 --> 00:22:34,324
A lot of guys were out on the road.
316
00:22:34,484 --> 00:22:37,164
It was kind of in fashion.
317
00:22:37,324 --> 00:22:41,484
And I'd noticed
women were also doing it.
318
00:22:41,644 --> 00:22:42,964
Backpacking.
319
00:22:43,924 --> 00:22:48,244
I wanted to make a film
about these lawless vagabonds.
320
00:22:48,564 --> 00:22:51,604
I wanted to film freedom and filth.
321
00:22:51,764 --> 00:22:54,924
Tell the story
of a young woman on the road.
322
00:22:55,564 --> 00:22:59,284
So I wrote the film Vagabond.
323
00:23:00,124 --> 00:23:02,844
I asked Sandrine Bonnaire,
324
00:23:03,004 --> 00:23:06,164
who'd been in Pialat's A Mos Amours
325
00:23:06,324 --> 00:23:08,484
and was still only 17.
326
00:23:08,684 --> 00:23:10,804
She was exactly who I needed.
327
00:23:12,844 --> 00:23:15,884
- Is there a tobacco shop?
- Not here.
328
00:23:16,044 --> 00:23:19,684
She's described by the people she meets.
329
00:23:19,844 --> 00:23:22,284
They speak of her quite badly.
330
00:23:24,124 --> 00:23:27,324
Mona's anger is what keeps her alive.
331
00:23:31,204 --> 00:23:35,724
But saying no to everyone
leads her to her death.
332
00:23:38,364 --> 00:23:40,804
The film's structure was precise.
333
00:23:40,964 --> 00:23:43,884
I wanted the camera
to walk the roads with her.
334
00:23:44,044 --> 00:23:45,444
To do that,
335
00:23:46,364 --> 00:23:48,724
I used tracking shots.
336
00:23:48,884 --> 00:23:50,604
There are 13 in the film.
337
00:23:50,964 --> 00:23:54,764
The shots move right to left,
which is jarring,
338
00:23:54,924 --> 00:23:58,244
because it's the opposite
of how we read in the West.
339
00:23:58,564 --> 00:24:01,644
Each tracking shot lasts one minute.
340
00:24:01,804 --> 00:24:04,604
We accompany Mona and her backpack.
341
00:24:04,764 --> 00:24:09,524
We're in rural farm landscapes,
not particularly charming.
342
00:24:09,684 --> 00:24:12,564
At the end of each tracking shot,
the camera leaves Mona
343
00:24:12,724 --> 00:24:16,524
to film a local element or object.
344
00:24:16,884 --> 00:24:21,804
Each subsequent tracking shot
comes about 10 minutes later
345
00:24:21,964 --> 00:24:25,724
and starts with an object or element
346
00:24:25,884 --> 00:24:28,324
reflecting what we've seen.
347
00:24:29,204 --> 00:24:35,124
I enjoyed setting up an enigma
for which only I knew the secret.
348
00:24:36,044 --> 00:24:38,564
Actually, the entire film
349
00:24:38,724 --> 00:24:41,764
is a portrait in the form
350
00:24:41,924 --> 00:24:44,604
of a discontinuous tracking shot.
351
00:24:49,604 --> 00:24:51,964
Ten minutes later in the film...
352
00:24:54,044 --> 00:24:56,964
this was the next tracking shot.
353
00:24:57,164 --> 00:24:59,724
To music by Joanna Bruzdowicz,
354
00:24:59,884 --> 00:25:02,884
composed solely for the tracking shots.
355
00:25:04,484 --> 00:25:07,764
A lovely surprise, Sandrine has arrived.
356
00:25:08,924 --> 00:25:10,964
I've talked about structure.
357
00:25:11,124 --> 00:25:15,124
Now I'd like to discuss
what the role meant to you.
358
00:25:15,964 --> 00:25:19,444
The first thing
you told me about the role was,
359
00:25:19,604 --> 00:25:21,724
"She's a girl who...
360
00:25:22,564 --> 00:25:27,404
never says thank you, stinks,
and tells everyone to fuck off."
361
00:25:27,644 --> 00:25:29,484
We never discussed
362
00:25:30,444 --> 00:25:34,164
where she came from
or why she was on the road.
363
00:25:34,644 --> 00:25:36,244
It was about how she lives.
364
00:25:36,404 --> 00:25:40,844
How she finds food,
where she sleeps, how she behaves.
365
00:25:41,004 --> 00:25:43,764
We didn't analyse her.
366
00:25:43,924 --> 00:25:46,124
We focused on what she did.
367
00:25:46,284 --> 00:25:48,204
- Her actions.
- And behaviour.
368
00:25:49,924 --> 00:25:52,764
You practiced putting on your backpack.
369
00:25:53,364 --> 00:25:54,924
Putting on your boots.
370
00:25:55,084 --> 00:25:58,484
You sent me camping with Setina.
371
00:25:59,964 --> 00:26:02,444
- You slept outside.
- We did.
372
00:26:02,604 --> 00:26:06,844
You wanted me to learn to make a fire
and pitch a tent.
373
00:26:07,004 --> 00:26:11,124
There's a scene
where you repair your boots.
374
00:26:12,004 --> 00:26:15,204
It was all concrete, physical things.
375
00:26:15,684 --> 00:26:17,884
I remember pruning grapevines.
376
00:26:18,044 --> 00:26:22,964
Pruning requires
simple but precise gestures.
377
00:26:23,124 --> 00:26:27,004
You accepted me saying,
"You're Mona, figure it out."
378
00:26:28,564 --> 00:26:31,404
Your own rebellion
went into the character.
379
00:26:31,564 --> 00:26:33,244
I just needed to be there.
380
00:26:33,964 --> 00:26:36,764
And you were. Solid and tough.
381
00:26:36,924 --> 00:26:40,484
I wasn't easy on you.
I gave you a rough time.
382
00:26:40,644 --> 00:26:42,004
Come on!
383
00:26:42,844 --> 00:26:46,324
I remember at one point,
I'd dug up a whole garden patch
384
00:26:46,484 --> 00:26:47,924
and had blisters.
385
00:26:48,084 --> 00:26:50,444
I said,
"Real blisters, like you wanted!"
386
00:26:50,604 --> 00:26:51,604
You said, "Good!"
387
00:26:52,444 --> 00:26:54,004
That bugged me!
388
00:26:54,884 --> 00:26:58,324
I should've licked your blisters
in thanks!
389
00:26:58,844 --> 00:27:00,404
The film is unusual,
390
00:27:01,044 --> 00:27:03,124
because you're dead at the start.
391
00:27:03,284 --> 00:27:06,644
Even though I was young,
I imagined my own death.
392
00:27:06,804 --> 00:27:08,204
Obviously.
393
00:27:08,964 --> 00:27:12,644
And we made you to do it.
Get in the bag like a corpse.
394
00:27:12,804 --> 00:27:15,084
That really freaked me out.
395
00:27:15,684 --> 00:27:18,404
Cinema can be very humbling.
396
00:27:18,564 --> 00:27:21,724
You have a project,
you write it, you make it,
397
00:27:21,884 --> 00:27:23,964
with an actress like yourself...
398
00:27:24,364 --> 00:27:26,444
But during the shoot,
399
00:27:26,604 --> 00:27:29,484
things can feel quite harrowing.
400
00:27:32,284 --> 00:27:36,124
After the shot of dead Mona, a beach...
401
00:27:40,924 --> 00:27:43,524
Beaches are a place of inspiration.
402
00:27:43,804 --> 00:27:45,284
A mental landscape.
403
00:27:45,964 --> 00:27:48,164
You have the three elements.
404
00:27:48,324 --> 00:27:50,164
Sky, sea and earth.
405
00:27:50,564 --> 00:27:53,804
Here, the earth is sand and seaweed.
406
00:27:54,604 --> 00:27:57,724
I remember the works of Bachelard,
407
00:27:58,004 --> 00:28:01,404
a philosopher whose classes I attended.
408
00:28:01,564 --> 00:28:02,964
Water and Dreams,
409
00:28:03,124 --> 00:28:04,564
Air and Dreams,
410
00:28:04,724 --> 00:28:07,204
Earth and Reveries of Repose.
411
00:28:08,364 --> 00:28:10,364
Dreams, reveries,
412
00:28:10,684 --> 00:28:13,524
dreams and repose. Everything I love.
413
00:28:13,964 --> 00:28:17,524
But he also wrote
Earthand Reveries of Will,
414
00:28:17,684 --> 00:28:20,044
I'll continue my chat here.
415
00:28:20,204 --> 00:28:22,564
And I'll invite birds and children.
416
00:28:39,084 --> 00:28:41,604
It's charming to talk to birds.
417
00:28:41,764 --> 00:28:45,004
But real or fake,
they don't understand me.
418
00:28:45,724 --> 00:28:48,404
We make films to share with audiences,
419
00:28:48,564 --> 00:28:53,604
so I thought, "How awful it'd be
if they didn't listen or watch."
420
00:28:54,804 --> 00:28:56,444
A filmmaker's nightmare.
421
00:28:56,604 --> 00:28:58,524
An empty cinema
422
00:28:59,324 --> 00:29:00,604
Nightmare!
423
00:29:06,604 --> 00:29:10,924
Some of my films did well in the cinema.
424
00:29:11,084 --> 00:29:12,244
Others less so.
425
00:29:12,524 --> 00:29:16,164
We'll jump around.
I can't talk about all my films.
426
00:29:16,324 --> 00:29:18,284
I can't follow the crim...
427
00:29:18,844 --> 00:29:22,204
Not the criminology, the chronology!
428
00:29:22,364 --> 00:29:25,804
We'll jump ahead to a summer film I made
429
00:29:27,044 --> 00:29:28,764
in the 1960s
430
00:29:29,084 --> 00:29:31,084
called Happiness.
431
00:29:32,004 --> 00:29:36,204
I imagined Impressionist paintings,
with their melancholy.
432
00:29:36,844 --> 00:29:39,884
And yet they're happy scenes
of daily life.
433
00:29:40,044 --> 00:29:43,364
I listened to Mozart and pondered death.
434
00:29:44,124 --> 00:29:46,964
I wrote and shot the film quickly.
435
00:29:47,124 --> 00:29:50,204
Like the bright clarity
of our too-short summers.
436
00:29:54,964 --> 00:29:57,684
Go to sleep kids. Daddy's sleeping.
437
00:29:57,844 --> 00:29:59,084
Be quiet.
438
00:30:04,164 --> 00:30:08,884
I wanted to show happiness
as it is traditionally described.
439
00:30:09,044 --> 00:30:11,204
A woman and a man, beautiful children.
440
00:30:11,364 --> 00:30:12,964
They love nature.
441
00:30:13,124 --> 00:30:15,964
They're friendly, unpretentious.
442
00:30:16,124 --> 00:30:18,564
A template for happiness.
443
00:30:18,724 --> 00:30:22,484
And I wanted to set the story
in lle-de-France.
444
00:30:22,964 --> 00:30:27,164
In places that had inspired
the Impressionists.
445
00:30:27,564 --> 00:30:29,324
I shot in summertime,
446
00:30:29,484 --> 00:30:33,164
in soft, delicate tones.
447
00:30:33,724 --> 00:30:37,124
I accompanied the story
with music by Mozart,
448
00:30:37,284 --> 00:30:39,764
which seemed to express happiness
449
00:30:39,924 --> 00:30:42,604
with a little dash of anguish.
450
00:30:45,444 --> 00:30:48,284
Jean-Claude Drouot was a TV hero.
451
00:30:48,444 --> 00:30:50,284
He was Thierry la Fronde.
452
00:30:50,444 --> 00:30:53,604
I went to the woods
to ask him to be in my film.
453
00:30:53,764 --> 00:30:56,244
He was on horseback, in costume.
454
00:30:58,284 --> 00:31:02,204
I said, "Excuse me, sorry to bother you.
455
00:31:02,364 --> 00:31:06,924
Would you agree to make a film
with your real wife and kids?"
456
00:31:07,764 --> 00:31:11,124
His wife hesitated at first,
but they did it.
457
00:31:16,444 --> 00:31:20,524
It's no problem.
Annie can come babysit at 8:30.
458
00:31:20,804 --> 00:31:23,324
We can make the 9 o'clock show.
459
00:31:23,724 --> 00:31:25,244
lad love that.
460
00:31:26,484 --> 00:31:30,964
On the surface,
it's a simple story of a happy family.
461
00:31:31,124 --> 00:31:32,804
He's happy with his wife.
462
00:31:32,964 --> 00:31:35,124
But then he meets a postal worker.
463
00:31:35,444 --> 00:31:37,364
She looks like his wife.
464
00:31:37,524 --> 00:31:39,484
He falls in love.
465
00:31:40,084 --> 00:31:41,404
He thinks you can
466
00:31:41,564 --> 00:31:43,164
add happiness to happiness.
467
00:31:43,324 --> 00:31:46,604
The critics had a field day. Outrageous!
468
00:31:46,764 --> 00:31:48,564
Does fidelity mean anything?
469
00:31:48,724 --> 00:31:51,564
Can you film happiness?
Do we have the right?
470
00:32:12,044 --> 00:32:14,444
I had such fun choosing the colours.
471
00:32:14,604 --> 00:32:16,004
I went all out on the blue,
472
00:32:16,764 --> 00:32:18,124
the yellow, the red...
473
00:32:19,044 --> 00:32:21,924
Here we have a predominantly red picnic.
474
00:32:25,124 --> 00:32:26,684
I also thought,
475
00:32:26,844 --> 00:32:30,724
instead of ending the scenes
with the traditional fade to black,
476
00:32:31,444 --> 00:32:33,644
it'd be nice to fade to colours.
477
00:32:33,804 --> 00:32:35,644
So the scenes ended
478
00:32:35,804 --> 00:32:39,324
in red, blue, purple, yellow.
479
00:32:41,684 --> 00:32:43,844
I even made a flag,
480
00:32:44,004 --> 00:32:45,964
with a dissolve in blue,
481
00:32:46,124 --> 00:32:48,164
one in white, and one in red
482
00:32:48,324 --> 00:32:50,324
to announce Bastille Day.
483
00:32:50,604 --> 00:32:52,124
July 14th.
484
00:32:53,764 --> 00:32:56,764
I used to describe the film
485
00:32:56,924 --> 00:33:01,124
as a beautiful summer peach
with a worm inside.
486
00:33:02,764 --> 00:33:03,964
A tragedy.
487
00:33:13,204 --> 00:33:15,804
He cannot bear the situation.
488
00:33:16,604 --> 00:33:18,804
He can't connect to it.
489
00:33:19,284 --> 00:33:21,284
So I used repetition.
490
00:33:21,604 --> 00:33:23,684
I tried repetition.
491
00:33:23,844 --> 00:33:25,764
I used repetition.
492
00:33:28,284 --> 00:33:31,364
I'd like to discuss
what a film is as a whole.
493
00:33:32,484 --> 00:33:35,804
In literature, they use the word style.
494
00:33:35,964 --> 00:33:38,964
In cinema, I use the word cinewriting.
495
00:33:39,524 --> 00:33:44,924
It covers all the choices made
throughout the making of a film.
496
00:33:45,284 --> 00:33:48,964
What do you film?
Fluid or abrupt shots?
497
00:33:49,284 --> 00:33:52,724
Clear, isolated images
or crowded spaces?
498
00:33:53,564 --> 00:33:55,164
Pacing? Music?
499
00:33:55,324 --> 00:33:58,444
It all takes shape in the editing room.
500
00:33:58,604 --> 00:34:00,364
I sometimes add commentaries,
501
00:34:00,524 --> 00:34:04,084
to stay in the film
and be with the audience.
502
00:34:04,924 --> 00:34:09,524
But in editing and mixing
we finish the cinewriting.
503
00:34:10,684 --> 00:34:14,404
As for how a film starts,
life sometimes decides.
504
00:34:14,764 --> 00:34:19,164
At a very sad time of my life,
when Jacques Demy was ll,
505
00:34:20,244 --> 00:34:24,044
he shared his memories, wrote them down.
506
00:34:24,204 --> 00:34:26,764
Fond memories of his childhood.
507
00:34:26,924 --> 00:34:31,564
He was raised in Nantes,
in the garage where his father worked.
508
00:34:31,964 --> 00:34:33,884
He was taking notes.
509
00:34:34,404 --> 00:34:36,524
Every few days he showed them to me.
510
00:34:36,684 --> 00:34:40,444
I said, "This would be a great film.
Will you make it?"
511
00:34:41,044 --> 00:34:42,964
He said, "You do it, I'm too tired."
512
00:34:43,284 --> 00:34:47,364
So I wrote a script
about Jacques Demy's childhood.
513
00:34:47,524 --> 00:34:49,844
Set in the actual garage.
514
00:34:50,004 --> 00:34:54,044
We kicked out the mechanics.
They let us use the place.
515
00:34:54,204 --> 00:34:58,764
The old gas pump was still there.
It hadn't been removed.
516
00:34:59,804 --> 00:35:03,324
It was a very particular experience.
517
00:35:03,484 --> 00:35:07,604
I approached the film
in three different ways.
518
00:35:08,324 --> 00:35:10,684
Black-and-white footage,
519
00:35:10,844 --> 00:35:12,724
1930s style,
520
00:35:12,884 --> 00:35:15,404
tells the story of his childhood.
521
00:35:15,564 --> 00:35:18,644
Then there were colour excerpts
522
00:35:18,804 --> 00:35:21,204
from films Jacques Demy made later,
523
00:35:21,364 --> 00:35:22,764
all inspired
524
00:35:22,924 --> 00:35:24,644
by his childhood.
525
00:35:24,804 --> 00:35:27,604
The engine knocks when it's cold,
don't worry.
526
00:35:27,764 --> 00:35:29,244
Thank you.
527
00:35:33,084 --> 00:35:34,804
Is it ready to go?
528
00:35:35,084 --> 00:35:36,204
Yes.
529
00:35:37,044 --> 00:35:40,804
The engine knocks when it's cold,
don't worry.
530
00:35:41,204 --> 00:35:44,404
And then there was
a third film within the film.
531
00:35:44,564 --> 00:35:47,524
Jacques was still alive, but very ill.
532
00:35:47,684 --> 00:35:51,564
I loved him
and wanted to be as close as possible,
533
00:35:51,724 --> 00:35:53,924
help him as much as I could.
534
00:35:54,084 --> 00:35:57,924
In film terms,
that meant extreme close-ups.
535
00:36:21,684 --> 00:36:25,884
The whole film is a desire to stop time
and deny death.
536
00:36:26,044 --> 00:36:27,284
No.
537
00:36:27,684 --> 00:36:29,964
I don't see it that way.
538
00:36:30,124 --> 00:36:33,284
Not to stop time. To accompany time.
539
00:36:34,764 --> 00:36:37,524
The film accompanies Jacques as he dies.
540
00:36:38,524 --> 00:36:41,964
As he remembers his childhood.
541
00:36:42,724 --> 00:36:45,244
The love of cinema
starts early for some.
542
00:36:45,404 --> 00:36:49,884
Little Jacquot invented cinema,
I dare say.
543
00:36:50,644 --> 00:36:51,724
Look.
544
00:36:55,844 --> 00:36:57,404
Nice set up.
545
00:36:58,644 --> 00:37:00,844
- If's fragile!
- What is it?
546
00:37:01,004 --> 00:37:03,564
Don't bump into the camera.
547
00:37:03,844 --> 00:37:06,524
Look. To make the ballerina move,
548
00:37:06,804 --> 00:37:09,404
I move her leg and take a shot
549
00:37:09,564 --> 00:37:12,164
Move her leg, take a shot
550
00:37:14,204 --> 00:37:15,284
Get it?
551
00:37:15,924 --> 00:37:19,724
It creates a continuous movement.
If you film my arm...
552
00:37:21,284 --> 00:37:23,524
you get a continuous movement.
553
00:37:24,004 --> 00:37:27,644
Now get going.
I need quiet concentration.
554
00:37:47,804 --> 00:37:49,684
No good. If's all out of focus.
555
00:37:50,404 --> 00:37:52,044
No good at all.
556
00:37:53,764 --> 00:37:56,364
Several years later, against his will,
557
00:37:57,084 --> 00:38:00,124
Jacquot worked in his father's garage.
558
00:38:01,564 --> 00:38:04,324
And this goes
around the customer's neck?
559
00:38:04,484 --> 00:38:05,804
Start over!
560
00:38:07,084 --> 00:38:08,644
Where's your mind?
561
00:38:08,804 --> 00:38:10,164
On Hollywood!
562
00:38:10,324 --> 00:38:12,004
Some mechanic!
563
00:38:12,804 --> 00:38:15,044
It's extraordinary. Years later,
564
00:38:15,204 --> 00:38:17,684
after the success
of The Umbrellas of Cherbourg,
565
00:38:17,844 --> 00:38:20,804
he was invited to work in Hollywood.
566
00:38:21,244 --> 00:38:22,644
I went with him.
567
00:38:24,764 --> 00:38:27,244
In Los Angeles I discovered,
like everyone,
568
00:38:27,404 --> 00:38:28,804
the stars of the stars
569
00:38:28,964 --> 00:38:30,764
on Hollywood Boulevard.
570
00:38:32,004 --> 00:38:35,124
And I met some of the idols and stars
571
00:38:35,284 --> 00:38:37,964
of the new Hippie Generation.
572
00:38:38,124 --> 00:38:42,404
They wanted to make it in Hollywood
their way.
573
00:38:52,524 --> 00:38:56,004
Three actors with big manes of hair:
Lions.
574
00:38:56,164 --> 00:38:58,044
A love triangle: Love.
575
00:38:58,204 --> 00:39:01,124
Television and the news: Lies.
576
00:39:03,084 --> 00:39:07,844
For the cast,
I chose heroes of the hippie scene.
577
00:39:08,004 --> 00:39:11,644
Rado and Ragni,
who wrote and played in AHarr,
578
00:39:11,804 --> 00:39:13,924
and Viva, Andy Warhol's muse.
579
00:39:14,324 --> 00:39:17,324
I went to the Factory in New York
to see Andy,
580
00:39:17,484 --> 00:39:21,644
so he'd introduce us and convince her.
She was tricky.
581
00:39:30,364 --> 00:39:31,564
Then he said:
582
00:39:37,484 --> 00:39:42,244
Another character in the film
was the television set.
583
00:39:42,844 --> 00:39:46,924
It was always there,
embodying the spirit of the film:
584
00:39:47,084 --> 00:39:48,804
sex and politics.
585
00:40:02,524 --> 00:40:06,124
Here the silence was planned,
but usually they talked a lot.
586
00:40:08,764 --> 00:40:10,444
They improvised.
587
00:40:10,604 --> 00:40:13,524
They changed the text
from one take to another.
588
00:40:13,684 --> 00:40:16,084
The scenes were impossible to edit.
589
00:40:20,204 --> 00:40:25,764
So I shot each take of each scene
with three 35mm sound cameras.
590
00:40:27,924 --> 00:40:31,524
Sometimes they agreed
to pose like models.
591
00:40:32,524 --> 00:40:35,084
This is an exact copy
of a drawing by Picasso
592
00:40:35,244 --> 00:40:37,684
from a series he did in 1936.
593
00:40:39,204 --> 00:40:41,804
This is another one.
594
00:40:45,244 --> 00:40:47,644
I wanted to feature Shirley Clarke,
595
00:40:48,084 --> 00:40:50,164
the New York filmmaker
596
00:40:50,324 --> 00:40:53,364
who was, in a way, my double.
597
00:40:54,484 --> 00:40:55,884
Another tableau,
598
00:40:56,044 --> 00:40:58,404
this one inspired
by a Magritte painting.
599
00:41:00,684 --> 00:41:05,364
I think of it as an imaginary
news report, a utopian fiction.
600
00:41:05,524 --> 00:41:08,604
From my time in Hollywood.
601
00:41:09,084 --> 00:41:11,684
A collage, made my way.
602
00:41:12,924 --> 00:41:16,724
Ten years later,
a collage of names on walls.
603
00:41:19,884 --> 00:41:23,124
I was fascinated by what I saw.
604
00:41:23,724 --> 00:41:26,004
Giant murals.
605
00:41:26,244 --> 00:41:30,004
I began documenting them in photographs.
606
00:41:30,604 --> 00:41:34,444
You rarely know who made them.
They're unsigned. I asked neighbours.
607
00:41:35,244 --> 00:41:38,684
Some fine arts graduates
became muralists.
608
00:41:38,844 --> 00:41:40,324
For example, Kent Twitchell.
609
00:41:40,484 --> 00:41:44,204
It was a form of resistance
against the art industry.
610
00:41:46,324 --> 00:41:50,124
The idea is art should be free
for everyone.
611
00:41:52,604 --> 00:41:56,844
Beyond the river is Bast LA,
with its Chicano Art.
612
00:41:59,124 --> 00:42:01,324
I filmed large murals,
613
00:42:01,484 --> 00:42:03,364
like those by Willie Herron.
614
00:42:03,644 --> 00:42:07,004
But I also wanted to make cinema.
615
00:43:34,564 --> 00:43:40,204
I often say Murals Muralsis a film
about the extroverted Los Angeles.
616
00:43:40,364 --> 00:43:44,324
People express themselves through walls,
clothing and words.
617
00:43:44,644 --> 00:43:47,404
But I also sense an introverted,
618
00:43:47,564 --> 00:43:50,444
sad, desperate Los Angeles.
619
00:43:52,724 --> 00:43:57,284
It's the story of Emilie,
a French woman exiled in Los Angeles,
620
00:43:58,844 --> 00:44:01,644
looking for a place to live
with her son.
621
00:44:02,644 --> 00:44:07,244
Sabine Mamou, who edited Murals Murals,
played Emilie.
622
00:44:07,404 --> 00:44:08,604
This is your home.
623
00:44:09,044 --> 00:44:11,524
Mathieu Demy played her son.
624
00:44:11,964 --> 00:44:14,044
You mean I'll be sleeping...
625
00:44:15,484 --> 00:44:16,764
all alone?
626
00:44:16,924 --> 00:44:18,844
You'll be fine, you'll see.
627
00:44:19,724 --> 00:44:22,284
If ] don't like it whatll we do?
628
00:44:24,524 --> 00:44:27,564
If he doesn't like it whatll I do?
629
00:44:28,204 --> 00:44:31,324
If they don't like it, what do they do?
630
00:44:31,484 --> 00:44:33,644
He or she, what do they do?
631
00:44:34,444 --> 00:44:38,844
She's extremely lonely,
she's going through a separation.
632
00:44:39,324 --> 00:44:42,244
But she doesn't want to discuss it
with her son.
633
00:44:42,404 --> 00:44:44,284
You don't confide in children.
634
00:44:44,724 --> 00:44:49,684
So I decided
on a specific process for this film.
635
00:44:49,964 --> 00:44:54,564
I'd use documentary images
to speak for her.
636
00:44:55,124 --> 00:44:59,124
Or she monologues
over documentary images.
637
00:44:59,284 --> 00:45:04,244
When you lose words like tureen,
ladle, table, warmth, togetherness,
638
00:45:04,404 --> 00:45:06,404
the only words left are soup,
639
00:45:06,564 --> 00:45:09,764
Solitude, separation, absence.
640
00:45:10,764 --> 00:45:16,524
I had accumulated images
we wondered about.
641
00:45:16,684 --> 00:45:20,404
We didn't always know
what we were capturing.
642
00:45:20,564 --> 00:45:23,644
Silence or speech, pain or peace.
643
00:45:23,804 --> 00:45:27,164
Some sequences were mysteries to us.
644
00:45:27,524 --> 00:45:31,004
For example, we were on the beach
645
00:45:31,164 --> 00:45:33,564
filming Sabine and the boy.
646
00:45:33,724 --> 00:45:35,164
Lying on the sand
647
00:45:35,604 --> 00:45:40,324
was a woman with a bible
and two men on either side of her.
648
00:45:41,324 --> 00:45:44,164
The boy asks Sabine about it.
649
00:45:44,324 --> 00:45:47,084
She has no answer. Neither did we.
650
00:45:47,244 --> 00:45:52,124
We were open to filming
things we didn't understand.
651
00:45:52,284 --> 00:45:54,604
Because in cinema and elsewhere,
652
00:45:54,764 --> 00:45:58,044
it's important to feel, to experience.
653
00:45:58,364 --> 00:46:00,084
What're they doing? Is she dead?
654
00:46:00,244 --> 00:46:02,284
No. I don't know.
655
00:46:02,444 --> 00:46:05,244
Why didn't we stay to find out?
656
00:46:08,644 --> 00:46:13,764
Nurith Aviv and I would go out evenings
to capture images.
657
00:46:13,924 --> 00:46:16,644
One image in particular struck me.
658
00:46:17,284 --> 00:46:21,684
There was a woman doing her laundry
in a laundromat.
659
00:46:21,844 --> 00:46:26,524
We'd just parked the car.
We filmed through the window.
660
00:46:27,204 --> 00:46:32,084
That lone woman fiddled
with her greasy hair for a long time.
661
00:46:32,244 --> 00:46:36,164
An extraordinary moment
of solitary sensuality.
662
00:46:48,804 --> 00:46:53,284
The film is greatly enhanced
by Georges Delerue's music.
663
00:46:53,444 --> 00:46:56,084
He watched it a few times
664
00:46:56,244 --> 00:47:02,004
and improvised a score
that is captivating, frail and subdued.
665
00:47:02,244 --> 00:47:04,724
Like a gentle ache.
666
00:47:13,884 --> 00:47:17,924
Georges Delerue also composed,
23 years earlier,
667
00:47:18,084 --> 00:47:21,964
the music for this short film,
Diary of a Pregnant Woman.
668
00:47:22,484 --> 00:47:23,964
Like Documenteur,
669
00:47:24,124 --> 00:47:27,204
this film was tied to my personal life.
670
00:47:27,684 --> 00:47:30,844
I often went to Rue Mouffetard.
671
00:47:31,004 --> 00:47:33,604
It was almost like the Middle Ages.
672
00:47:33,764 --> 00:47:36,524
There was a market. I love markets.
673
00:47:36,684 --> 00:47:38,204
And there were poor people
674
00:47:38,364 --> 00:47:39,884
living on the streets.
675
00:47:40,164 --> 00:47:41,804
Old folks, cripples
676
00:47:41,964 --> 00:47:43,964
and drunkards.
677
00:47:45,364 --> 00:47:47,124
I was pregnant.
678
00:47:47,604 --> 00:47:52,484
I didn't tell people,
but I filmed a clear sign of pregnancy:
679
00:47:52,644 --> 00:47:53,884
a big belly.
680
00:47:54,044 --> 00:47:58,684
And the way
certain basic, ancestral fears
681
00:47:58,844 --> 00:48:01,724
could be portrayed.
682
00:48:38,204 --> 00:48:43,804
I was utterly haunted
by a fundamental contradiction.
683
00:48:44,324 --> 00:48:45,964
You're full of hope,
684
00:48:46,124 --> 00:48:49,604
you're offering a life to a new child,
685
00:48:49,764 --> 00:48:51,404
who might be happy.
686
00:48:51,564 --> 00:48:53,604
And yet, I saw a population
687
00:48:53,764 --> 00:48:55,164
that was terribly,
688
00:48:55,764 --> 00:48:58,364
terribly... unhappy.
689
00:48:58,684 --> 00:49:01,004
They really inspired me to think.
690
00:49:01,164 --> 00:49:03,244
They too had been newborns.
691
00:49:03,924 --> 00:49:07,964
Maybe when they were wee babies,
even if they were unwanted,
692
00:49:08,124 --> 00:49:12,204
someone cuddled them,
stroked their belly, even a bit.
693
00:49:12,364 --> 00:49:13,644
Some of them
694
00:49:15,444 --> 00:49:17,764
They were newborn babes
695
00:49:18,324 --> 00:49:20,204
Someone, some other
696
00:49:20,484 --> 00:49:22,404
some of them
697
00:49:34,404 --> 00:49:37,284
Many of you want to make documentaries.
698
00:49:37,444 --> 00:49:39,364
I think it's very important...
699
00:49:39,724 --> 00:49:41,644
This isn't really advice,
700
00:49:41,804 --> 00:49:44,284
but when you film something,
701
00:49:44,444 --> 00:49:46,204
a place, a landscape,
702
00:49:46,364 --> 00:49:48,084
a group of people,
703
00:49:48,244 --> 00:49:51,444
you need a viewpoint.
At least to start.
704
00:49:51,604 --> 00:49:54,124
You film in relation to that viewpoint.
705
00:49:54,284 --> 00:49:57,404
It's both a documentary and staged.
706
00:49:57,964 --> 00:50:00,764
There are two types of documentaries.
707
00:50:01,004 --> 00:50:03,524
Pure and raw, reality only.
708
00:50:03,684 --> 00:50:06,644
Those documentaries
can be extraordinary.
709
00:50:06,804 --> 00:50:09,444
But I want mine to be a film too.
710
00:50:09,604 --> 00:50:12,844
I think it's fun to prepare a film
711
00:50:13,004 --> 00:50:15,644
with real reality, but also a twist.
712
00:50:15,804 --> 00:50:18,804
I really love organising,
713
00:50:18,964 --> 00:50:20,924
not the staging per se,
714
00:50:21,084 --> 00:50:24,004
but the general outline
of a documentary.
715
00:50:27,084 --> 00:50:28,964
From the very start, I understood
716
00:50:29,124 --> 00:50:32,164
that contemporary musicians
were my allies.
717
00:50:32,324 --> 00:50:33,804
I've mentioned Delerue.
718
00:50:33,964 --> 00:50:37,884
There was also Pierre Barbaud,
the composer for La Poinfe Courte,
719
00:50:38,044 --> 00:50:39,604
my first film,
720
00:50:40,684 --> 00:50:43,004
shot in 1954
721
00:50:43,164 --> 00:50:45,044
in a neighbourhood of Séte.
722
00:50:46,724 --> 00:50:49,444
I made that film with no experience,
723
00:50:49,604 --> 00:50:51,564
no film schooling,
724
00:50:51,724 --> 00:50:53,964
no prior work as an assistant.
725
00:50:55,524 --> 00:50:57,964
The film came out of nowhere.
726
00:51:06,204 --> 00:51:09,444
I had a particular structure in mind.
727
00:51:09,804 --> 00:51:14,284
I wanted to combine two films
with alternating chapters,
728
00:51:14,444 --> 00:51:18,604
like a Faulkner book I admired,
The Wild Palms.
729
00:51:18,884 --> 00:51:22,924
I'd alternate fishermen sequences
with couple sequences.
730
00:51:23,444 --> 00:51:25,964
Two stories with nothing in common
731
00:51:26,124 --> 00:51:28,084
except the location.
732
00:51:28,844 --> 00:51:31,084
It's a confrontation
733
00:51:31,244 --> 00:51:33,004
between the private and the social.
734
00:51:33,164 --> 00:51:34,844
The labour representative
735
00:51:35,844 --> 00:51:37,404
ls coming on the boat.
736
00:51:37,564 --> 00:51:39,124
Don't talk about encounters.
737
00:51:39,284 --> 00:51:43,644
It's a juxtaposition
of two approaches to the world.
738
00:51:43,804 --> 00:51:44,924
One very stylish,
739
00:51:45,084 --> 00:51:47,204
with composition and dialogue.
740
00:51:47,364 --> 00:51:49,164
I know your gestures.
741
00:51:49,324 --> 00:51:51,524
Your habits have become mine.
742
00:51:51,684 --> 00:51:53,724
No more surprises.
743
00:51:53,884 --> 00:51:57,724
And one that looks more
like Italian Neo-Realism.
744
00:51:57,884 --> 00:52:01,084
Though I hadn't yet seen those films.
745
00:52:02,764 --> 00:52:06,644
Alain Resnais, who edited the film,
taught me a lot.
746
00:52:08,364 --> 00:52:11,164
I did another thing that wasn't done.
747
00:52:11,324 --> 00:52:14,364
Usually sound diminishes
as people move away.
748
00:52:14,524 --> 00:52:18,324
It gets quieter
until you barely hear them.
749
00:52:18,484 --> 00:52:22,164
I decreed that the sound
would remain in the foreground.
750
00:52:23,084 --> 00:52:26,724
So as they talk and walk away,
751
00:52:26,924 --> 00:52:30,644
it feels like voiceover dialogue,
752
00:52:30,804 --> 00:52:32,764
yet they're really talking.
753
00:52:32,924 --> 00:52:34,124
It's synchronised.
754
00:52:34,284 --> 00:52:36,724
But the sound stays up front.
755
00:52:36,884 --> 00:52:40,364
I never used to have such thoughts.
Did you?
756
00:52:40,524 --> 00:52:43,204
I've always noticed others.
757
00:52:44,524 --> 00:52:48,724
But I don't want to live anywhere
but with you.
758
00:52:57,004 --> 00:52:59,564
Let's leap from Séte to Sceaux.
759
00:53:00,044 --> 00:53:05,204
In Sceaux Park, a project took shape
with my friend Jane Birkin.
760
00:53:06,404 --> 00:53:11,444
We were walking and suddenly she said,
"It's terrible, I'm almost 40."
761
00:53:11,604 --> 00:53:15,084
I said, "Don't be silly!
It's a wonderful age.
762
00:53:15,244 --> 00:53:17,124
Let's do your portrait."
763
00:53:17,964 --> 00:53:20,124
That's how it began.
764
00:53:20,884 --> 00:53:25,084
I suggested to this lively,
vivacious woman,
765
00:53:25,364 --> 00:53:30,244
that we do the opposite
of those tributes to dead actresses
766
00:53:30,404 --> 00:53:35,004
that compile excerpts from their films
and interviews.
767
00:53:35,324 --> 00:53:40,084
I said we'd create excerpts
of films she'd never made
768
00:53:40,244 --> 00:53:42,564
and do pretend interviews.
769
00:53:43,644 --> 00:53:49,284
We reversed the golden rule
about not breaking the fourth wall.
770
00:53:50,204 --> 00:53:53,324
You must look into the camera
to look at me.
771
00:53:53,684 --> 00:53:55,044
I'm trying!
772
00:53:56,004 --> 00:53:58,884
Its like I'm filming
your self-portrait.
773
00:53:59,044 --> 00:54:01,604
You won't always be alone in the mirror.
774
00:54:01,764 --> 00:54:05,564
There will be the camera,
which is a bit me.
775
00:54:06,044 --> 00:54:10,084
And if's OK if] sometimes appear
in the mirror or in the background.
776
00:54:10,564 --> 00:54:14,084
We were in it together.
The filmmaker and the filmed.
777
00:54:14,764 --> 00:54:17,604
The theme is painter and model.
778
00:54:19,324 --> 00:54:23,644
It's a surprise portrait
of Jane in many roles,
779
00:54:23,804 --> 00:54:25,084
including that of herself.
780
00:54:25,244 --> 00:54:28,324
With my jeans, old sweaters,
messy hair, pajamas...
781
00:54:28,484 --> 00:54:30,004
She was a good sport.
782
00:54:30,164 --> 00:54:31,404
She was funny,
783
00:54:31,564 --> 00:54:32,564
strange,
784
00:54:32,724 --> 00:54:33,724
magnificent,
785
00:54:34,404 --> 00:54:35,364
poignant.
786
00:54:35,524 --> 00:54:38,244
They can eat and drink
a bit of my husband.
787
00:54:42,124 --> 00:54:45,044
It was her first time
in a Spanish costume.
788
00:54:45,204 --> 00:54:46,644
She hated it.
789
00:54:47,204 --> 00:54:51,324
This is also the first time
I've dared show my writing.
790
00:54:51,724 --> 00:54:53,644
Yes, you let me read it.
791
00:54:53,804 --> 00:54:56,364
! liked it well use it
792
00:54:56,724 --> 00:55:00,964
We ended up making a whole film
to tell the story she wrote.
793
00:55:01,284 --> 00:55:03,804
She's a woman like me. She is me.
794
00:55:03,964 --> 00:55:06,604
She falls in love with a very young boy.
795
00:55:07,404 --> 00:55:09,764
A love story with an unhappy ending.
796
00:55:10,084 --> 00:55:13,404
It'd be nice to shoot the film
as a family.
797
00:55:13,564 --> 00:55:15,044
I get your art.
798
00:55:15,604 --> 00:55:18,884
You want my son to play the boy.
799
00:55:19,044 --> 00:55:20,564
Yes, of course.
800
00:55:21,244 --> 00:55:23,044
This was a first.
801
00:55:23,484 --> 00:55:28,484
We interrupted Jane B.
to make Aung Fu Master.
802
00:55:28,644 --> 00:55:32,124
Starring Jane as planned,
and Mathieu as planned.
803
00:55:32,724 --> 00:55:34,604
They played a love story
804
00:55:34,764 --> 00:55:37,924
that was a bit different than Jane's,
because now
805
00:55:38,324 --> 00:55:40,484
the woman was in love with a boy
806
00:55:40,644 --> 00:55:44,084
who was himself in love
with a video game.
807
00:55:44,244 --> 00:55:47,444
They throw high or low.
You gotta duck or jump.
808
00:55:48,044 --> 00:55:50,404
The game was called Kung Fu Master.
809
00:55:50,564 --> 00:55:52,804
And the boy wanted to master it.
810
00:55:52,964 --> 00:55:56,044
Knock out a big guy or wizard to go up.
811
00:55:56,204 --> 00:55:59,164
You have to rescue Sylvia
on the 5th floor.
812
00:56:03,684 --> 00:56:05,764
We shot in summer.
813
00:56:05,924 --> 00:56:07,324
I had Mathieu.
814
00:56:07,684 --> 00:56:10,204
And Jane had her two girls.
815
00:56:10,364 --> 00:56:11,964
We liked that.
816
00:56:14,164 --> 00:56:18,124
When school started, we resumed Jane 5.
817
00:56:19,284 --> 00:56:22,484
We played with cinema and painting.
818
00:56:22,884 --> 00:56:25,564
Its hard to pinpoint when you slipped
819
00:56:25,964 --> 00:56:28,644
from close-ups to the background,
820
00:56:29,004 --> 00:56:31,004
lo the very back of the shot
821
00:56:32,244 --> 00:56:34,964
Here she is as La Maja Vestida
822
00:56:35,804 --> 00:56:37,284
and La Maja Desnuda.
823
00:56:38,644 --> 00:56:39,604
And vexed
824
00:56:40,004 --> 00:56:42,724
in the background of Titian's Venus.
825
00:56:43,724 --> 00:56:46,164
May the plague take her! And old age!
826
00:56:46,644 --> 00:56:48,564
May she die, may she rot!
827
00:57:02,564 --> 00:57:05,884
Now we'll go
from the History of Painting
828
00:57:06,044 --> 00:57:08,044
to the History of Cinema.
829
00:57:08,524 --> 00:57:13,004
Cinema's 100th birthday
was celebrated very officially.
830
00:57:13,404 --> 00:57:18,924
They asked me to make a film
about the 100 years.
831
00:57:19,084 --> 00:57:22,844
I imagined a 100-year-old man.
832
00:57:23,084 --> 00:57:26,044
A man whose name would be
833
00:57:26,204 --> 00:57:29,564
Simon Cinema.
In French it sounds like "If my cinema."
834
00:57:29,724 --> 00:57:33,204
"If my cinema isn't good,
see another film."
835
00:57:33,364 --> 00:57:35,844
So ll called him Simon Cinema.
836
00:57:36,004 --> 00:57:37,164
Monsieur Cinema,
837
00:57:37,964 --> 00:57:40,124
played by Michel Piccoli,
838
00:57:40,724 --> 00:57:45,164
lived in a castle
that was like a film museum.
839
00:57:45,484 --> 00:57:47,764
Night is coming, and melancholy.
840
00:57:47,924 --> 00:57:51,444
Come now.
Who and what shall we talk about?
841
00:57:51,604 --> 00:57:53,644
Renoir? The Popular Front?
842
00:57:53,804 --> 00:57:56,604
I was thinking
of the fellow with the big eyes.
843
00:57:56,764 --> 00:57:58,644
Who? Buster Keaton?
844
00:57:58,804 --> 00:58:00,524
No, not Keaton today.
845
00:58:00,684 --> 00:58:03,844
Burivel. That eye he slashed in two.
846
00:58:09,204 --> 00:58:11,604
Monsieur Cinema had visitors.
847
00:58:11,764 --> 00:58:14,764
Hanna Schygulla and Jeanne Moreau!
848
00:58:14,924 --> 00:58:17,204
I worked with experienced actors here.
849
00:58:18,644 --> 00:58:20,164
They intimidate me.
850
00:58:21,324 --> 00:58:25,164
For this film,
I dared hire a number of stars.
851
00:58:26,804 --> 00:58:28,484
B for Belmondo.
852
00:58:30,084 --> 00:58:31,484
D for Depardieu.
853
00:58:33,484 --> 00:58:35,804
D for Delon.
854
00:58:36,324 --> 00:58:38,924
I hear Monsieur Cinema has taken ill.
855
00:58:39,564 --> 00:58:42,764
And D for duo. Two famous actors.
856
00:58:43,044 --> 00:58:45,484
Deneuve and De Niro.
857
00:58:48,244 --> 00:58:49,364
A dream.
858
00:58:52,604 --> 00:58:55,564
A dreamy couple, an idyllic cruise.
859
00:58:56,084 --> 00:58:58,564
In reality, on the technical side,
860
00:58:58,724 --> 00:59:00,484
the ocean was a pond.
861
00:59:00,644 --> 00:59:03,524
And 40 technicians found a clever way
862
00:59:03,684 --> 00:59:06,724
for us to do tracking shots
with light stands,
863
00:59:06,884 --> 00:59:10,884
filter screens, rails
and pillars for spotlights.
864
00:59:12,004 --> 00:59:13,324
It was very hot.
865
00:59:13,484 --> 00:59:17,284
We'd bought sunshades
and 20 rubber overalls.
866
00:59:17,844 --> 00:59:22,764
The crew resembled slaves
going down The Nile on a fool's arc.
867
00:59:28,444 --> 00:59:31,564
De Niro flew in on the Concorde
the day before.
868
00:59:31,724 --> 00:59:34,844
He said he rose at 4 a.m. for 3 days,
869
00:59:35,004 --> 00:59:37,564
to beat the jetlag in advance
870
00:59:37,724 --> 00:59:40,204
and be in good shape for the shoot.
871
00:59:42,684 --> 00:59:44,164
A one-day shoot.
872
00:59:44,324 --> 00:59:46,564
He had to leave the next morning.
873
00:59:47,924 --> 00:59:49,724
Getting up at 4 a.m.
874
00:59:50,444 --> 00:59:53,444
was so professional.
We were impressed.
875
00:59:53,844 --> 00:59:57,244
He was willing to shoot in a boat,
in a bowtie
876
00:59:57,404 --> 00:59:58,924
and in French.
877
00:59:59,324 --> 01:00:02,164
He learned his lines phonetically
all morning.
878
01:00:02,324 --> 01:00:04,604
It was fun rehearsing with him.
879
01:00:05,324 --> 01:00:07,364
Honey, did you turn off the gas,
880
01:00:07,524 --> 01:00:10,084
change the cat litter
and put the mayo in the fridge?
881
01:00:11,004 --> 01:00:12,124
Not bad!
882
01:00:18,284 --> 01:00:19,164
I can brag
883
01:00:19,324 --> 01:00:22,884
about getting Deneuve and De Niro
in a boat and in a film.
884
01:00:23,044 --> 01:00:26,804
I can brag about writing a scene
where De Niro falls in the water.
885
01:00:28,244 --> 01:00:30,444
But that was a stunt double.
886
01:00:31,604 --> 01:00:33,884
The film took a dive too.
887
01:00:34,044 --> 01:00:35,924
A box office disaster.
888
01:00:37,964 --> 01:00:41,564
I Didn't make
another fiction film in 35mm
889
01:00:41,964 --> 01:00:43,564
or 16mm.
890
01:00:43,924 --> 01:00:46,924
Through to the end of the century.
891
01:00:50,204 --> 01:00:52,604
But I'd made a few films.
892
01:00:52,764 --> 01:00:56,524
They are appreciated and loved
around the world.
893
01:00:57,084 --> 01:00:59,644
My films are covered in affection.
894
01:01:03,924 --> 01:01:05,564
Freeze frame.
895
01:01:05,724 --> 01:01:06,844
Let's talk photos,
896
01:01:07,004 --> 01:01:10,244
with a return to the 1950s
and picture cameras.
897
01:01:26,404 --> 01:01:29,244
I was a photographer in my first life.
898
01:01:29,404 --> 01:01:31,124
I'll be brief about it.
899
01:01:32,564 --> 01:01:34,164
Some remember
900
01:01:34,324 --> 01:01:37,324
my photographs of Gérard Philippe
901
01:01:37,564 --> 01:01:39,124
and Jean Vilar
902
01:01:39,684 --> 01:01:41,524
at the Avignon Festival
903
01:01:41,884 --> 01:01:44,884
and the TNP.
People still talk about them.
904
01:01:45,524 --> 01:01:50,724
Back then, in 1950,
I began photographing theatre.
905
01:01:50,884 --> 01:01:54,604
To document elements
of staging and performance,
906
01:01:54,764 --> 01:02:00,924
and also, in particular,
to create images to represent each play.
907
01:02:02,444 --> 01:02:03,684
For example,
908
01:02:04,324 --> 01:02:05,924
The Prince of Homburg.
909
01:02:06,084 --> 01:02:07,684
Officer, dreamer.
910
01:02:07,844 --> 01:02:10,204
Shot outside in bright sunlight.
911
01:02:11,044 --> 01:02:12,364
In profile,
912
01:02:12,524 --> 01:02:15,004
the star-crossed lovers of Macbeth,
913
01:02:15,164 --> 01:02:16,684
Vilar and Casareés.
914
01:02:17,084 --> 01:02:19,444
And Aing Ubu, on a jaunt in Paris.
915
01:02:19,604 --> 01:02:22,644
"Blue corn! Ham of God! Head of Cow!"
916
01:02:23,364 --> 01:02:26,804
Caravans as dressing rooms
for Mother Courage.
917
01:02:27,684 --> 01:02:30,404
And in a makeshift dressing room
at the Papal Palace,
918
01:02:30,564 --> 01:02:34,004
Vilar alone,
after playing The Miser.
919
01:02:36,524 --> 01:02:38,884
Salvador Dali in Cadaqués.
920
01:02:40,324 --> 01:02:42,164
Brassai on Rue Fermat.
921
01:02:43,844 --> 01:02:47,364
Eugene lonesco
with his three-nosed fiancée.
922
01:02:48,444 --> 01:02:50,444
Pierre Székely and his daughter.
923
01:02:51,804 --> 01:02:54,724
Simon Hantai with his wife and son.
924
01:02:56,564 --> 01:02:58,444
And Mario Prassinos.
925
01:02:59,484 --> 01:03:02,284
Calder in the 14th arrondissement.
926
01:03:03,684 --> 01:03:06,284
A few filmmakers: Visconti,
927
01:03:07,204 --> 01:03:08,524
Fellini,
928
01:03:09,604 --> 01:03:10,724
Demy.
929
01:03:11,844 --> 01:03:13,284
Jacques Demy.
930
01:03:15,124 --> 01:03:17,644
Portraits of famous actresses:
931
01:03:18,084 --> 01:03:19,564
Anouk Aimee,
932
01:03:20,604 --> 01:03:22,204
Catherine Deneuve
933
01:03:23,204 --> 01:03:24,324
and Jeanne Moreau.
934
01:03:26,364 --> 01:03:29,444
And the famous L/der Maximo,
Fidel Castro,
935
01:03:29,604 --> 01:03:31,364
with his wings of stone.
936
01:03:32,604 --> 01:03:34,164
But also neighbours:
937
01:03:34,524 --> 01:03:36,124
Mimi and her mother,
938
01:03:36,564 --> 01:03:38,084
Boukkra the grocer.
939
01:03:38,524 --> 01:03:39,684
And friends:
940
01:03:39,844 --> 01:03:42,164
Igor, my brother Jean,
941
01:03:42,924 --> 01:03:43,964
Linou
942
01:03:44,684 --> 01:03:46,404
and Véronique.
943
01:03:47,884 --> 01:03:50,084
Chance provided the staging
944
01:03:50,244 --> 01:03:53,604
on Corbusier's terrace in Marseille.
945
01:03:54,604 --> 01:03:57,564
These are people seen at random
946
01:03:58,004 --> 01:04:00,204
and caught at the right time.
947
01:04:00,364 --> 01:04:02,564
A Portuguese woman passing.
948
01:04:03,604 --> 01:04:05,644
A salt maker, some salt
949
01:04:05,804 --> 01:04:07,364
and a pious woman.
950
01:04:09,204 --> 01:04:11,524
People outside a circus.
951
01:04:12,964 --> 01:04:15,644
I liked to do composed photographs.
952
01:04:21,684 --> 01:04:23,404
Groups too.
953
01:04:23,644 --> 01:04:25,844
A family in the Ardennes.
954
01:04:26,244 --> 01:04:29,084
School girls in Mukden.
955
01:04:30,204 --> 01:04:31,924
China was so far away.
956
01:04:32,084 --> 01:04:33,644
I felt emotions there.
957
01:04:34,004 --> 01:04:35,644
With children.
958
01:04:36,524 --> 01:04:38,724
A little girl with a flower.
959
01:04:39,004 --> 01:04:42,324
The old woman in the back
has mangled feet.
960
01:04:43,244 --> 01:04:45,044
A little boy.
961
01:04:45,204 --> 01:04:49,084
Workers, or prisoners, pass nearby.
962
01:04:50,204 --> 01:04:52,564
And a moving landscape.
963
01:04:53,604 --> 01:04:56,844
A petrified forest
with two living beings:
964
01:04:57,004 --> 01:05:00,364
a small horse and a man bearing water.
965
01:05:07,444 --> 01:05:11,924
I'll sign off this prelude
with some self-portraits.
966
01:05:13,204 --> 01:05:15,284
In this one, I was 20.
967
01:05:16,364 --> 01:05:18,684
How I loved mosaics!
968
01:05:19,044 --> 01:05:21,244
In this one, I was 36.
969
01:05:21,404 --> 01:05:26,004
Standing on the right
of a huge painting by Gentile Bellini.
970
01:05:26,164 --> 01:05:28,164
How I loved paintings!
971
01:05:29,004 --> 01:05:31,164
And here I am at 80.
972
01:05:31,684 --> 01:05:36,404
I experienced the passage
from one century to another.
973
01:05:37,644 --> 01:05:41,564
As the year 2000 approached,
there were many rumours.
974
01:05:41,724 --> 01:05:43,324
It'd be the end of the world.
975
01:05:43,484 --> 01:05:48,204
A computer bug of epic proportions
would blow everything up.
976
01:05:48,884 --> 01:05:51,204
In reality, that New Year's Eve
977
01:05:51,364 --> 01:05:54,924
was celebrated a thousand ways,
from anxiety to exaltation.
978
01:05:55,524 --> 01:06:00,244
But on the first morning
of the 21st century, all was calm.
979
01:06:01,044 --> 01:06:04,364
The new century brought change.
980
01:06:04,524 --> 01:06:07,444
Something new for me as a filmmaker.
981
01:06:07,604 --> 01:06:11,084
Small cameras. Digital cameras.
982
01:06:11,244 --> 01:06:15,124
They gave me an opportunity
983
01:06:15,484 --> 01:06:17,524
to work in a different way.
984
01:06:18,404 --> 01:06:21,164
These new cameras are digital
985
01:06:21,524 --> 01:06:24,604
and fantastic.
They can be stroboscopic,
986
01:06:25,204 --> 01:06:26,284
narcissistic,
987
01:06:27,004 --> 01:06:28,604
even photorealistic.
988
01:06:52,644 --> 01:06:56,124
I could do more personal, intimate work.
989
01:06:56,284 --> 01:06:59,124
I could make documentaries freely.
990
01:07:00,404 --> 01:07:05,124
I'd like to return to three words
I mentioned in my first chat.
991
01:07:05,284 --> 01:07:09,204
Words that guide me.
Inspiration, creation, sharing.
992
01:07:09,364 --> 01:07:12,044
I'd like to discuss inspiration again.
993
01:07:12,724 --> 01:07:14,044
It's quite curious.
994
01:07:14,204 --> 01:07:16,364
Sometimes it happens,
995
01:07:16,524 --> 01:07:20,284
and it comes straight out of reality.
996
01:07:20,444 --> 01:07:24,684
I was at a café on Blvd. Edgar Quinet.
997
01:07:24,844 --> 01:07:28,164
The market was just finishing.
998
01:07:28,324 --> 01:07:32,284
I saw vendors loading their crates,
999
01:07:32,444 --> 01:07:35,124
baskets and cash boxes
into their trucks.
1000
01:07:35,284 --> 01:07:39,284
City cleaners were waiting
with their green plastic brooms.
1001
01:07:39,444 --> 01:07:41,284
And people began to come.
1002
01:07:41,444 --> 01:07:45,004
They bent down
and picked up what they could find.
1003
01:07:46,124 --> 01:07:48,844
A phrase took root in my mind.
1004
01:07:49,364 --> 01:07:52,844
"They pick up and eat
what we throw away."
1005
01:07:53,324 --> 01:07:56,924
The phrase felt like a subject
in itself.
1006
01:07:57,084 --> 01:08:00,724
I absolutely had to make a documentary.
1007
01:08:02,204 --> 01:08:06,164
Gleaning may be extinct,
but stooping has not vanished
1008
01:08:06,324 --> 01:08:08,044
from our sated society.
1009
01:08:08,284 --> 01:08:11,724
Urban and rural gleaners
all stoop to pick up.
1010
01:08:11,884 --> 01:08:15,204
There's no shame,
only worry and distress.
1011
01:08:16,004 --> 01:08:19,764
Those small cameras
really played a role here.
1012
01:08:19,924 --> 01:08:26,204
They allowed me to approach people
who'd fallen on hard times
1013
01:08:26,364 --> 01:08:30,204
and would've been uncomfortable
with a cameraman,
1014
01:08:30,524 --> 01:08:32,524
a sound guy with a boom,
1015
01:08:32,684 --> 01:08:35,484
assistants in caps and sunglasses...
1016
01:08:35,644 --> 01:08:38,244
All the clichés of a film shoot.
1017
01:08:38,404 --> 01:08:42,644
It was just me and my little camera,
like a picture camera.
1018
01:08:42,804 --> 01:08:44,524
I didn't frighten them.
1019
01:08:45,804 --> 01:08:47,564
I intimidated no one.
1020
01:08:47,724 --> 01:08:50,204
I never have.
1021
01:08:50,364 --> 01:08:54,844
It gave me a chance to meet people.
I'll tell you about Alain.
1022
01:08:56,604 --> 01:09:00,644
I see a man with a large bag
eating on the spot.
1023
01:09:06,124 --> 01:09:09,644
I'd see him now and then,
always with his bag,
1024
01:09:09,924 --> 01:09:11,364
always eating.
1025
01:09:18,004 --> 01:09:19,804
The day he was eating parsley
1026
01:09:19,964 --> 01:09:21,684
I approached him.
1027
01:09:22,524 --> 01:09:24,284
Are you a big parsley eater?
1028
01:09:24,444 --> 01:09:26,524
Sometimes. If's good for you.
1029
01:09:26,684 --> 01:09:30,884
Full of vitamin C and E, beta carotene,
zinc, magnesium.
1030
01:09:31,044 --> 01:09:32,324
It's excellent.
1031
01:09:33,484 --> 01:09:35,564
His answer amazed me.
1032
01:09:36,724 --> 01:09:39,604
Over the following weeks
I filmed him often,
1033
01:09:39,764 --> 01:09:41,404
with or without sound,
1034
01:09:41,564 --> 01:09:44,084
and he talked to me in snatches.
1035
01:09:46,724 --> 01:09:50,484
I eat a lot of fruit.
I love apples. They're easy.
1036
01:09:51,084 --> 01:09:52,884
I find all the apples I want
1037
01:09:54,044 --> 01:09:56,084
How many do you eat a day?
1038
01:09:56,244 --> 01:09:57,524
6or/.
1039
01:09:58,484 --> 01:10:00,324
ls if your staple diet?
1040
01:10:00,484 --> 01:10:02,684
I also eat bread.
1041
01:10:03,524 --> 01:10:05,924
I talked to him a number of times.
1042
01:10:06,084 --> 01:10:08,804
I learned how he went
from studying biology
1043
01:10:08,964 --> 01:10:12,204
to living in this difficult,
humble situation.
1044
01:10:12,964 --> 01:10:16,244
I was also keen
to explore agricultural gleaning.
1045
01:10:16,604 --> 01:10:20,724
Gleaning in the fields
after the harvest.
1046
01:10:21,084 --> 01:10:23,404
We had to shoot quickly.
1047
01:10:23,564 --> 01:10:25,644
It was potato season.
1048
01:10:25,804 --> 01:10:30,764
Seasons don't wait
on cinema's unpredictable schedules.
1049
01:10:30,924 --> 01:10:35,044
So I contacted a potato cooperative.
1050
01:10:35,484 --> 01:10:38,404
I saw the gleaners
and went to the cooperative.
1051
01:10:41,964 --> 01:10:44,924
In supermarkets, firm ones are sold
1052
01:10:45,084 --> 01:10:48,484
in containers of 2.5 or 5 kilos.
1053
01:10:48,644 --> 01:10:52,244
They have to be a specific calibre.
1054
01:10:52,924 --> 01:10:56,124
For the stores, we sell potatoes
1055
01:10:56,724 --> 01:10:59,884
ranging in size
from 45 to 75 millimetres.
1056
01:11:00,044 --> 01:11:03,924
All the rest
are automatically discarded.
1057
01:11:04,364 --> 01:11:06,724
We reject outsized ones, green ones,
1058
01:11:06,884 --> 01:11:08,484
sf ones and cut
1059
01:11:08,884 --> 01:11:10,324
or damaged ones.
1060
01:11:10,484 --> 01:11:14,524
The non-standard potatoes
are left in the fields.
1061
01:11:14,764 --> 01:11:17,244
Off 1 go with my 30 kilos.
1062
01:11:17,684 --> 01:11:19,604
There are several tonnes left
1063
01:11:19,764 --> 01:11:23,804
People could take some,
if they knew about it
1064
01:11:24,404 --> 01:11:25,644
There you go.
1065
01:11:26,404 --> 01:11:30,204
There's someone
who must have been tipped off.
1066
01:11:30,564 --> 01:11:33,204
Among the rejects, we find huge ones.
1067
01:11:36,564 --> 01:11:38,604
And heart-shaped ones.
1068
01:11:38,764 --> 01:11:41,164
The heart I want the heart!
1069
01:11:42,044 --> 01:11:43,284
What a surprise!
1070
01:11:43,724 --> 01:11:45,284
I Was happy.
1071
01:11:45,444 --> 01:11:47,044
I filmed them up close.
1072
01:11:47,884 --> 01:11:49,924
And brought some home.
1073
01:11:50,844 --> 01:11:53,844
Even with a documentary
on a specific subject,
1074
01:11:54,364 --> 01:11:57,364
you are guided by what you film.
1075
01:11:57,804 --> 01:12:00,764
Hearts speak of tenderness, love.
1076
01:12:00,924 --> 01:12:02,764
It was powerful.
1077
01:12:02,924 --> 01:12:05,924
We couldn't help but think about it.
1078
01:12:06,084 --> 01:12:09,164
It inspired us to approach the gleaners
with affection.
1079
01:12:12,684 --> 01:12:16,004
And those heart-shaped potatoes
inspired me.
1080
01:12:16,764 --> 01:12:18,364
I let them age,
1081
01:12:18,804 --> 01:12:19,924
sprout
1082
01:12:20,244 --> 01:12:22,084
and shrivel up.
1083
01:12:22,804 --> 01:12:24,364
Despite it all,
1084
01:12:24,644 --> 01:12:26,804
they found new life as sprouts
1085
01:12:27,284 --> 01:12:29,044
and roots.
1086
01:12:32,084 --> 01:12:35,844
That's when Hans Ulrich Obrist
came into my life.
1087
01:12:36,524 --> 01:12:41,084
He had a section
in the 2003 Venice Biennial.
1088
01:12:41,564 --> 01:12:43,804
He created a group
1089
01:12:43,964 --> 01:12:45,604
called Utopia Station.
1090
01:12:46,604 --> 01:12:50,164
Everyone did a poster
and an installation.
1091
01:12:50,324 --> 01:12:52,884
I had a potato costume made for me
1092
01:12:53,884 --> 01:12:57,404
to promote my installation Patatutopia.
1093
01:12:59,724 --> 01:13:02,884
There were 700 kilos of potatoes
on the floor.
1094
01:13:03,044 --> 01:13:06,764
It was the first time
I exposed on three screens.
1095
01:13:06,924 --> 01:13:08,444
I Loved it.
1096
01:13:08,604 --> 01:13:12,564
In the centre,
I put breathing, heart-shaped spuds.
1097
01:13:17,364 --> 01:13:20,244
And on either side, I put roots
1098
01:13:20,404 --> 01:13:22,084
and sprouts.
1099
01:13:34,124 --> 01:13:37,684
This work of rot
marked my entry
1100
01:13:37,844 --> 01:13:41,804
into the group of artists
known as visual artists.
1101
01:13:41,964 --> 01:13:45,924
The French call artists plasticiens.
We don't make plastic!
1102
01:13:46,084 --> 01:13:48,844
I prefer the English term:
visual artist.
1103
01:13:50,644 --> 01:13:53,204
I really enjoyed proposing
1104
01:13:53,364 --> 01:13:56,004
a more complex way of seeing.
1105
01:13:56,444 --> 01:14:00,924
It was also a nod
to 15th and 16th century triptychs,
1106
01:14:01,084 --> 01:14:02,564
which I love.
1107
01:14:03,724 --> 01:14:07,124
Some of them evoke special emotions.
1108
01:14:07,284 --> 01:14:13,324
I wanted to do something along the lines
of those triptychs of interior scenes.
1109
01:14:13,484 --> 01:14:17,844
So I made 7he Trptych of Noirmoutier.
Very simple. In a kitchen.
1110
01:14:18,644 --> 01:14:20,564
The man drinks his beer,
1111
01:14:20,724 --> 01:14:24,284
while his elderly mother
untangles a string
1112
01:14:24,444 --> 01:14:26,644
and his wife peels potatoes.
1113
01:14:27,604 --> 01:14:30,964
I've always had questions like:
1114
01:14:31,124 --> 01:14:34,684
What happens
before and after a snapshot?
1115
01:14:34,844 --> 01:14:37,444
Orin a film:
What happens when they exit the frame?
1116
01:14:39,644 --> 01:14:42,804
Here, I used side panels
1117
01:14:42,964 --> 01:14:45,324
to show what's off-screen.
1118
01:14:50,124 --> 01:14:54,364
I proposed answers
to our desire to enlarge the frame.
1119
01:14:56,084 --> 01:15:00,364
Visitors choose to see, or not,
what lies beyond the walls.
1120
01:15:17,164 --> 01:15:20,724
Many visitors came,
responded and reacted.
1121
01:15:20,884 --> 01:15:24,324
MoMA in New York
acquired one of the 3 copies.
1122
01:15:24,484 --> 01:15:27,244
And since then, Hervé Chandes,
1123
01:15:27,404 --> 01:15:30,204
the inventive Director of this place,
1124
01:15:30,364 --> 01:15:33,404
the Cartier Foundation
for Contemporary Art,
1125
01:15:33,564 --> 01:15:37,764
purchased the second copy
of the triptych.
1126
01:15:38,084 --> 01:15:42,684
The time has come to ask him
to join our chat.
1127
01:15:48,404 --> 01:15:50,044
Good evening.
1128
01:15:51,084 --> 01:15:52,964
Good evening Agnes, everyone.
1129
01:15:53,644 --> 01:15:56,204
We met when you invited me.
1130
01:15:56,564 --> 01:15:58,924
I'd seen the expo in Venice.
1131
01:15:59,084 --> 01:16:02,844
Then one day I called you, in 2005.
1132
01:16:03,004 --> 01:16:07,204
The expo at Martine Aboucaya's gallery
came soon after.
1133
01:16:07,364 --> 01:16:09,324
We went to it together.
1134
01:16:09,644 --> 01:16:13,284
That's where I discovered
The Triptych of Noirmoutier
1135
01:16:13,444 --> 01:16:15,364
and The Widows of Noirmoutier.
1136
01:16:15,524 --> 01:16:19,444
So you invited me
and offered me that incredible space.
1137
01:16:19,684 --> 01:16:23,284
I was so excited to have so much space.
1138
01:16:23,444 --> 01:16:27,724
All my ideas and propositions were based
1139
01:16:27,884 --> 01:16:31,844
on the lle of Noirmoutier,
where I'd lived with Jacques Demy.
1140
01:16:32,444 --> 01:16:34,764
I made up a title with two meanings,
1141
01:16:35,284 --> 01:16:36,644
L7e et Elle.
1142
01:16:36,804 --> 01:16:38,444
That was in 2006.
1143
01:16:39,524 --> 01:16:42,324
Before they built the bridge,
1144
01:16:42,484 --> 01:16:45,204
you could only get to the island
1145
01:16:45,364 --> 01:16:47,924
by the Gois highway at low tide.
1146
01:16:49,524 --> 01:16:52,884
Signs indicated
the exact times of the tides
1147
01:16:53,044 --> 01:16:55,044
and access to the island.
1148
01:16:55,404 --> 01:16:58,644
Visitors had to go through a filter.
1149
01:16:58,804 --> 01:17:00,604
We built a barrier.
1150
01:17:00,764 --> 01:17:03,204
They had to wait for low tide to go in.
1151
01:17:03,364 --> 01:17:04,964
A clever idea.
1152
01:17:06,044 --> 01:17:09,964
On a factory curtain
of heavy plastic slats,
1153
01:17:10,124 --> 01:17:12,124
you watched the tide go down.
1154
01:17:13,284 --> 01:17:16,004
Then the barrier lifted.
1155
01:17:19,204 --> 01:17:21,164
You entered the island
1156
01:17:21,644 --> 01:17:23,404
and my world.
1157
01:17:24,324 --> 01:17:26,204
The big postcard.
1158
01:17:26,604 --> 01:17:28,244
The portrait shack.
1159
01:17:28,564 --> 01:17:29,364
Women.
1160
01:17:30,684 --> 01:17:31,484
Men.
1161
01:17:33,084 --> 01:17:36,604
I took advantage
of the dimensions and light
1162
01:17:36,764 --> 01:17:40,084
in that big space
designed by Jean Nouvel
1163
01:17:40,244 --> 01:17:43,564
to make my first cinema shack.
1164
01:17:44,844 --> 01:17:48,164
Made with the footage of a film.
1165
01:17:49,644 --> 01:17:52,724
On a metal structure
by Christophe Vallaux,
1166
01:17:52,884 --> 01:17:58,084
we mounted the 3,500 metres
of a standard copy in 9 reels.
1167
01:17:58,764 --> 01:18:02,964
We even added a couple reels
to finish the roof.
1168
01:18:03,884 --> 01:18:05,044
For visitors,
1169
01:18:05,204 --> 01:18:07,204
the film's good and beautiful actors
1170
01:18:07,484 --> 01:18:09,724
Catherine Deneuve and Michel Piccoli,
1171
01:18:09,884 --> 01:18:11,804
Were now up close.
1172
01:18:13,124 --> 01:18:14,284
The close-ups
1173
01:18:14,444 --> 01:18:16,684
and the light passing through the film
1174
01:18:16,844 --> 01:18:19,324
create a new form of cinema.
1175
01:18:20,884 --> 01:18:22,564
Let's rewind a bit.
1176
01:18:23,564 --> 01:18:28,124
We filmmakers
used to work with 35mm film.
1177
01:18:28,484 --> 01:18:31,164
We handled it during editing,
assembled it.
1178
01:18:33,044 --> 01:18:34,644
We transported reels in canisters.
1179
01:18:35,084 --> 01:18:36,644
And it all ended up
1180
01:18:36,804 --> 01:18:38,444
in cinema projection booths.
1181
01:18:40,444 --> 01:18:42,284
Film projection has disappeared
1182
01:18:43,444 --> 01:18:45,284
in favour of digital files.
1183
01:18:46,644 --> 01:18:49,524
We found ourselves
with hundreds of reels
1184
01:18:49,684 --> 01:18:51,484
stagnating on shelves,
1185
01:18:51,644 --> 01:18:54,004
in basements, projection booths
1186
01:18:54,164 --> 01:18:55,804
and stockrooms.
1187
01:19:03,844 --> 01:19:06,884
We used the reels of my film Happiness
1188
01:19:07,044 --> 01:19:08,844
to build, in 2018,
1189
01:19:09,244 --> 01:19:12,004
my third cinema shack
in the Galerie Obadia.
1190
01:19:18,644 --> 01:19:20,284
For those who know the film,
1191
01:19:20,444 --> 01:19:23,404
this is a reference
to the opening credits.
1192
01:19:24,004 --> 01:19:25,284
Jean-Claude Drouot,
1193
01:19:25,444 --> 01:19:27,284
his wife and his children,
1194
01:19:27,444 --> 01:19:28,724
the film's characters,
1195
01:19:28,884 --> 01:19:31,284
arrive blurry in the background.
1196
01:19:31,444 --> 01:19:34,644
In the foreground
is a field of sunflowers.
1197
01:19:37,404 --> 01:19:39,444
I made light boxes
1198
01:19:40,284 --> 01:19:42,364
for close-ups of the film strips,
1199
01:19:42,524 --> 01:19:48,044
with their projector perforations
and optical soundtrack.
1200
01:19:51,404 --> 01:19:53,844
So, this is the archway.
1201
01:19:54,244 --> 01:19:55,844
The archway of canisters.
1202
01:19:56,004 --> 01:19:59,164
The metal canisters that contain films.
1203
01:19:59,324 --> 01:20:02,484
We have the contents and the containers.
1204
01:20:03,284 --> 01:20:04,524
The canisters are empty?
1205
01:20:04,684 --> 01:20:06,084
Yes. Their contents
1206
01:20:06,724 --> 01:20:09,044
were used to make the shack.
1207
01:20:09,204 --> 01:20:10,684
You're recycling.
1208
01:20:10,844 --> 01:20:12,044
Always.
1209
01:20:12,684 --> 01:20:16,004
Ever since The Gleaners, whose theme
1210
01:20:16,164 --> 01:20:18,844
was suggested
by the gleaners themselves,
1211
01:20:19,004 --> 01:20:20,604
I've been interested in it.
1212
01:20:20,764 --> 01:20:24,764
And I've learned
that recycling brings joy.
1213
01:20:24,924 --> 01:20:27,084
We feel things aren't lost.
1214
01:20:27,244 --> 01:20:30,004
By taking these unusable canisters
1215
01:20:30,164 --> 01:20:32,364
and that unusable film
1216
01:20:32,524 --> 01:20:35,124
and recycling them artistically,
so to speak,
1217
01:20:35,284 --> 01:20:36,884
we give them new life.
1218
01:20:37,044 --> 01:20:39,444
It's not wasted. It comes back.
1219
01:20:39,604 --> 01:20:42,164
Nothing is lost. Everything transforms.
1220
01:20:42,324 --> 01:20:46,204
It transforms
through creation and imagination.
1221
01:20:51,444 --> 01:20:53,164
On the same floor,
1222
01:20:53,324 --> 01:20:56,084
I did an installation all in plastic.
1223
01:20:57,484 --> 01:21:00,764
Your work is fairly serious,
but this is funny.
1224
01:21:01,124 --> 01:21:05,524
Blowup mattresses, swim rings...
It's childhood, summertime.
1225
01:21:06,564 --> 01:21:10,524
Today we know plastic
is a scourge on the planet.
1226
01:21:10,684 --> 01:21:14,004
And yet,
how I loved that colourful stuff,
1227
01:21:14,164 --> 01:21:15,884
so cheap and so funny.
1228
01:21:16,884 --> 01:21:18,764
A 3-euro pair of thongs
1229
01:21:18,924 --> 01:21:21,684
is 2 triumph of consumer society!
1230
01:21:22,404 --> 01:21:24,204
I wanted to celebrate it.
1231
01:21:25,764 --> 01:21:27,124
70 me, colour dances.
1232
01:21:27,284 --> 01:21:30,004
It dances in my head. It's summer.
1233
01:21:31,444 --> 01:21:33,764
Two things motivated me to do this.
1234
01:21:33,924 --> 01:21:37,324
A desire to throw myself info colour.
1235
01:21:37,724 --> 01:21:41,244
And the sound of it inspired me foo.
1236
01:21:41,684 --> 01:21:44,084
Ping Pong, Thongs and Camping.
1237
01:21:54,764 --> 01:21:58,764
Bernard Lubat improvised music
on a pulsating table.
1238
01:21:59,844 --> 01:22:02,524
A ping pong concerto.
1239
01:22:11,644 --> 01:22:17,124
From the carefree world of childhood,
we went to a moving, solemn work:
1240
01:22:17,284 --> 01:22:19,004
The Widows of Noirmoutier.
1241
01:22:19,484 --> 01:22:21,524
There are many on the island.
1242
01:22:21,684 --> 01:22:23,364
I went there often.
1243
01:22:23,524 --> 01:22:25,204
I'm a widow too.
1244
01:22:26,924 --> 01:22:28,884
I felt close to them.
1245
01:22:29,044 --> 01:22:32,964
I began by asking
if they'd mind if I filmed them.
1246
01:22:33,204 --> 01:22:36,804
One-on-one. I was usually alone.
1247
01:22:36,964 --> 01:22:40,724
And they trusted me, because...
1248
01:22:40,884 --> 01:22:45,164
they felt
they could share their distress with me.
1249
01:22:46,244 --> 01:22:50,004
I arranged the space
in a particular way,
1250
01:22:50,164 --> 01:22:53,644
creating a polyptych screen.
1251
01:22:54,204 --> 01:22:59,444
Like the one by Jan van Kessel
of the four continents.
1252
01:23:02,604 --> 01:23:07,924
There was a central film,
shot by Eric Gauthier in 35mm.
1253
01:23:08,084 --> 01:23:10,124
It showed a table on a beach,
1254
01:23:10,284 --> 01:23:12,844
and widows walking around it.
1255
01:23:14,164 --> 01:23:18,524
That image was surrounded
by 14 small video screens.
1256
01:23:18,684 --> 01:23:20,764
There were 14 chairs in the room.
1257
01:23:20,924 --> 01:23:22,884
Each chair had headphones,
1258
01:23:23,044 --> 01:23:25,444
to listen to one of the widows.
1259
01:23:26,404 --> 01:23:30,164
Some people say
they speak to their dead.
1260
01:23:30,324 --> 01:23:32,324
I don't do that
1261
01:23:36,724 --> 01:23:41,404
As I tell my kids, Dad left 13 years ago
but I can tell you...
1262
01:23:41,564 --> 01:23:44,004
it still feels like yesterday.
1263
01:23:44,364 --> 01:23:46,244
Especially at night.
1264
01:23:47,204 --> 01:23:51,844
During the day,
things keep you occupied.
1265
01:23:52,004 --> 01:23:55,324
But at night you're all alone.
1266
01:23:55,964 --> 01:23:58,124
You think twice as much.
1267
01:24:02,404 --> 01:24:06,244
What I miss is touching him...
1268
01:24:06,404 --> 01:24:10,004
The house is still filled
with his presence.
1269
01:24:10,164 --> 01:24:12,084
His smell, his...
1270
01:24:12,244 --> 01:24:16,524
Two days ago we ate green beans
he bought at the market.
1271
01:24:17,364 --> 01:24:19,484
It's still so new.
1272
01:24:37,484 --> 01:24:40,524
That project really interested me.
1273
01:24:40,684 --> 01:24:42,764
I was used to one screen,
1274
01:24:42,924 --> 01:24:45,524
where everyone watches the same thing.
1275
01:24:45,684 --> 01:24:50,324
I wanted to modify
the audience's experience.
1276
01:24:50,484 --> 01:24:54,644
There, you had just 14 people
listening to one widow each.
1277
01:24:54,804 --> 01:24:56,764
But they were together in the room.
1278
01:24:56,924 --> 01:25:00,964
It made the experience
both intimate and collective.
1279
01:25:05,124 --> 01:25:09,084
Having each widow speak to one person
1280
01:25:09,244 --> 01:25:13,164
meant that
when the installation travelled,
1281
01:25:13,564 --> 01:25:17,004
we obviously couldn't subtitle it.
1282
01:25:17,164 --> 01:25:19,684
We'd lose the confidentiality.
1283
01:25:19,844 --> 01:25:21,204
So we dubbed it.
1284
01:25:21,364 --> 01:25:22,924
We dubbed the widows
1285
01:25:23,284 --> 01:25:24,404
in Swedish,
1286
01:25:24,564 --> 01:25:25,884
in English of course,
1287
01:25:26,044 --> 01:25:27,124
in Spanish,
1288
01:25:27,284 --> 01:25:29,124
and even in Chinese.
1289
01:25:33,204 --> 01:25:35,204
We loved each other so much...
1290
01:25:46,804 --> 01:25:48,764
It was so amazing for me
1291
01:25:48,924 --> 01:25:51,484
to see the Noirmoutier widows' words
1292
01:25:51,644 --> 01:25:54,644
finding listeners so far from home.
1293
01:25:54,804 --> 01:25:58,804
It's striking to see
how something so local,
1294
01:25:58,964 --> 01:26:01,644
like these stories from Noirmoutier,
1295
01:26:01,804 --> 01:26:05,084
can be so universal.
1296
01:26:05,244 --> 01:26:08,324
In China, Argentina or elsewhere.
1297
01:26:08,884 --> 01:26:13,244
It gave me great confidence
in art in the grand sense.
1298
01:26:13,404 --> 01:26:16,124
Because art
1299
01:26:16,284 --> 01:26:18,964
moves across cultures,
1300
01:26:19,124 --> 01:26:21,844
countries, nationalities, religions
1301
01:26:22,004 --> 01:26:23,524
and ages.
1302
01:26:24,644 --> 01:26:27,404
Speaking of ages, let's talk mine.
1303
01:26:27,564 --> 01:26:30,364
I just passed 90 and I don't care.
1304
01:26:30,524 --> 01:26:32,524
But 10 years ago,
1305
01:26:32,804 --> 01:26:36,564
when I was about to turn 80, I panicked.
1306
01:26:36,724 --> 01:26:38,484
The number 80
1307
01:26:38,644 --> 01:26:42,924
felt like the front of a train
barreling toward me.
1308
01:26:43,084 --> 01:26:46,764
I had to finish something
by the time I was 80.
1309
01:26:46,924 --> 01:26:49,884
So I plunged into a film project.
1310
01:26:50,044 --> 01:26:54,444
I went into it
feeling I had to get it done quick.
1311
01:26:55,844 --> 01:26:59,724
It would be a self-portrait,
a story of my journey.
1312
01:27:00,564 --> 01:27:02,724
I called it 7he Beaches of Agnes
1313
01:27:02,884 --> 01:27:06,204
because I've always lived near beaches.
1314
01:27:06,364 --> 01:27:10,084
I grew up in Belgium
near the northern beaches.
1315
01:27:10,244 --> 01:27:12,964
After the bombings
and the fall of France
1316
01:27:13,124 --> 01:27:16,084
we fled to Séte on the Mediterranean.
1317
01:27:16,244 --> 01:27:18,484
Jacques introduced me to the Atlantic.
1318
01:27:18,644 --> 01:27:22,244
In Los Angeles,
we discovered the Pacific.
1319
01:27:22,404 --> 01:27:24,644
We felt we'd seen all the seas.
1320
01:27:26,284 --> 01:27:28,764
Jacques and I lived for a long time
1321
01:27:29,324 --> 01:27:30,284
on Rue Daguerre.
1322
01:27:30,444 --> 01:27:35,964
So to justify the title of the film,
we made a beach outside my house
1323
01:27:36,124 --> 01:27:37,004
and office.
1324
01:27:37,164 --> 01:27:38,644
Ciné Tamaris.
1325
01:27:38,804 --> 01:27:42,004
You want Cecilia Rose?
One moment
1326
01:27:42,164 --> 01:27:45,284
They want to rent Donkey Skin.
1327
01:27:49,404 --> 01:27:50,964
11 pass you Agnes.
1328
01:27:51,924 --> 01:27:53,164
Me first!
1329
01:27:53,484 --> 01:27:56,044
Please hold, I'l get back to you.
1330
01:27:59,444 --> 01:28:01,124
I'm out of tea!
1331
01:28:01,764 --> 01:28:03,364
Got the estimate?
1332
01:28:03,684 --> 01:28:05,604
Not yet. Not yet!
1333
01:28:06,164 --> 01:28:08,284
Beachfront houses are nice.
1334
01:28:08,444 --> 01:28:12,084
Our neighbours were amused
and a bit alarmed.
1335
01:28:12,244 --> 01:28:14,164
The street was blocked for 2 days.
1336
01:28:14,324 --> 01:28:15,884
We had a permit.
1337
01:28:16,044 --> 01:28:17,444
For a private collection.
1338
01:28:17,604 --> 01:28:18,564
See Stéphanie.
1339
01:28:18,964 --> 01:28:20,484
Bank Neuflize OBC?
1340
01:28:22,524 --> 01:28:25,444
We need a loan without interest
1341
01:28:25,604 --> 01:28:28,924
lo finish this film comfortably. Please!
1342
01:28:29,284 --> 01:28:32,684
A loan without interest.
Money was our eternal problem.
1343
01:28:33,164 --> 01:28:37,284
You must spend,
but you must also collect.
1344
01:28:37,564 --> 01:28:39,764
If not money, then trophies.
1345
01:28:40,284 --> 01:28:42,724
In a closet or on the sand,
1346
01:28:42,884 --> 01:28:45,604
Demy's and mine stick together.
1347
01:28:45,764 --> 01:28:49,044
A Golden Palm from Cannes.
A Golden Lion from Venice.
1348
01:28:49,884 --> 01:28:51,244
And since...
1349
01:28:52,284 --> 01:28:54,404
Vanitas, vanitatis...
1350
01:29:08,964 --> 01:29:12,124
I play the role of a little old lady,
1351
01:29:12,284 --> 01:29:14,324
pleasantly plump and talkative,
1352
01:29:14,724 --> 01:29:16,564
telling her life story.
1353
01:29:18,844 --> 01:29:23,284
And yet others interest me more.
I prefer filming them.
1354
01:29:24,044 --> 01:29:27,564
Others intrigue me, motivate me,
1355
01:29:28,204 --> 01:29:29,924
arouse my curiosity,
1356
01:29:30,284 --> 01:29:33,244
disconcert me, fascinate me.
1357
01:29:34,764 --> 01:29:37,604
In telling my story, I thought:
1358
01:29:37,764 --> 01:29:40,844
If we opened people,
we'd find landscapes.
1359
01:29:42,204 --> 01:29:45,564
If we opened me, we'd find beaches.
1360
01:29:48,764 --> 01:29:51,244
Good. Turn it all the way around.
1361
01:29:52,644 --> 01:29:54,804
Painters use mirrors as tools
1362
01:29:55,284 --> 01:29:57,604
in making self-portraits.
1363
01:29:58,884 --> 01:30:00,764
But actually,
1364
01:30:01,044 --> 01:30:03,364
I presented, in my mirror,
1365
01:30:03,524 --> 01:30:06,604
people who worked with
and accompanied me.
1366
01:30:06,764 --> 01:30:09,044
It was a way to say
1367
01:30:09,204 --> 01:30:11,284
the film was about others and me.
1368
01:30:11,444 --> 01:30:13,324
Or me and others.
1369
01:30:17,004 --> 01:30:18,284
And I thought
1370
01:30:18,444 --> 01:30:22,444
of all the times I marched with others,
for various causes.
1371
01:30:23,844 --> 01:30:28,404
I wanted to march
in homage to a drawing by Sempé.
1372
01:30:28,564 --> 01:30:30,244
I hurt everywhere
1373
01:30:30,844 --> 01:30:32,204
We filmed the rally,
1374
01:30:32,364 --> 01:30:34,644
and me alone on the sidewalk
1375
01:30:34,804 --> 01:30:37,524
with a sign reading,
"I hurt everywhere."
1376
01:30:39,324 --> 01:30:42,844
I can march again if you like,
it's still true.
1377
01:30:43,204 --> 01:30:45,684
In any case, I tried,
1378
01:30:46,284 --> 01:30:47,844
with this film,
1379
01:30:48,004 --> 01:30:49,884
not only to tell my story,
1380
01:30:50,044 --> 01:30:54,964
but also to bring to life
memories attached to my films.
1381
01:30:55,124 --> 01:30:58,164
To capture certain moments
in the present.
1382
01:30:58,324 --> 01:30:59,844
For example,
1383
01:31:00,764 --> 01:31:05,044
I wanted to visit my childhood home
in Brussels, Rue de I'Aurore.
1384
01:31:05,204 --> 01:31:06,884
I went to film it,
1385
01:31:07,044 --> 01:31:12,724
but I met a couple there who collected
those little miniature trains.
1386
01:31:12,884 --> 01:31:17,164
Their collection was so extraordinary
and they were so enthusiastic
1387
01:31:17,324 --> 01:31:20,044
that I made a documentary about them.
1388
01:31:20,204 --> 01:31:23,524
It was more entertaining
than my old curtains.
1389
01:31:23,684 --> 01:31:26,004
So I've been right
1390
01:31:26,324 --> 01:31:28,564
in choosing others over myself.
1391
01:31:31,484 --> 01:31:34,164
This is a brass piece.
1392
01:31:34,324 --> 01:31:38,084
It's worth 80,000 Belgian francs
in Switzerland.
1393
01:31:38,244 --> 01:31:41,044
Only 150 of them were made.
1394
01:31:41,564 --> 01:31:43,524
We call ourselves "insane for trains.”
1395
01:31:43,924 --> 01:31:49,004
The real term for train lovers,
toy trains or real trains,
1396
01:31:49,164 --> 01:31:52,084
ls "trainopatl. ”
1397
01:31:54,924 --> 01:31:56,684
Trainopath!
1398
01:31:58,284 --> 01:32:00,244
And since it was unusual,
1399
01:32:00,404 --> 01:32:02,324
and I like making documentaries,
1400
01:32:02,484 --> 01:32:04,204
I jumped on the chance
1401
01:32:04,364 --> 01:32:06,284
offered to me by chance.
1402
01:32:06,444 --> 01:32:09,124
The "childhood home" part was a flop.
1403
01:32:13,844 --> 01:32:18,124
Then I returned to the Pointe Courte
where I shot my first film.
1404
01:32:18,284 --> 01:32:21,084
Where I learned
to choose places and faces
1405
01:32:21,244 --> 01:32:24,484
and work with non-professionals.
1406
01:32:24,644 --> 01:32:26,684
As I walked around,
1407
01:32:26,844 --> 01:32:31,364
I wanted to create a situation
linked to a memory from the film.
1408
01:32:31,524 --> 01:32:34,124
Create an emotion in the present.
1409
01:32:34,284 --> 01:32:39,804
I found some 16mm footage
I'd shot as a rough draft of the film.
1410
01:32:39,964 --> 01:32:41,964
I'd asked my friend Suzou
1411
01:32:42,124 --> 01:32:43,884
and her husband Pierrot
1412
01:32:44,044 --> 01:32:46,964
to pretend to be the couple
1413
01:32:47,244 --> 01:32:48,724
in the film.
1414
01:32:49,164 --> 01:32:52,924
Before the final cut
Pierrot died of cancer.
1415
01:32:55,364 --> 01:32:57,284
Suzou raised their two sons.
1416
01:32:57,724 --> 01:32:58,604
Blaise
1417
01:32:59,044 --> 01:33:00,484
and Vincent
1418
01:33:00,964 --> 01:33:02,364
I invited them
1419
01:33:02,524 --> 01:33:05,484
lo share in a ceremony
with a cart from the film.
1420
01:33:05,644 --> 01:33:09,804
A way to show them
the fest footage they'd never seen.
1421
01:33:22,124 --> 01:33:26,404
They'd seen their father in photos,
but never in motion.
1422
01:33:36,524 --> 01:33:40,724
We walked through the night
with our beloved friend.
1423
01:33:41,764 --> 01:33:46,004
Hundreds of anonymous people,
gone and forgotten,
1424
01:33:46,164 --> 01:33:49,684
inspired this Boltanski installation
that I filmed.
1425
01:33:49,844 --> 01:33:51,644
It was called Personnes.
1426
01:33:51,804 --> 01:33:53,484
Hundreds of tin boxes
1427
01:33:53,644 --> 01:33:56,124
as manifestations of his project.
1428
01:33:56,284 --> 01:34:02,684
Each number evokes a person,
and each tin is different
1429
01:34:02,844 --> 01:34:07,644
Its as though each box
has someone inside, someones heart
1430
01:34:08,004 --> 01:34:10,044
or someone's Spirit.
1431
01:34:11,964 --> 01:34:13,404
Behind the wall of tins,
1432
01:34:13,564 --> 01:34:15,284
like a monument to the dead,
1433
01:34:15,444 --> 01:34:18,284
I filmed this gigantic installation.
1434
01:34:18,684 --> 01:34:21,964
On the floor were thousands of clothes.
1435
01:34:22,404 --> 01:34:24,564
And a pyramid of old clothes.
1436
01:34:24,724 --> 01:34:27,204
The artist gave them a meaning.
1437
01:34:27,364 --> 01:34:30,204
There's this constant movement
1438
01:34:30,764 --> 01:34:34,084
The claw takes and releases.
1439
01:34:34,244 --> 01:34:36,404
It grabs at random.
1440
01:34:36,564 --> 01:34:38,724
A bit like the hand of God.
1441
01:34:38,884 --> 01:34:41,084
It's neither good nor evil.
1442
01:34:41,244 --> 01:34:44,324
It just does its job.
Taking and releasing.
1443
01:34:52,524 --> 01:34:55,884
It's part of a series
I made around the world.
1444
01:34:56,044 --> 01:34:58,124
I filmed people and places.
1445
01:34:58,284 --> 01:35:00,404
And in France, artists.
1446
01:35:02,884 --> 01:35:07,284
Artists and filmmakers whose work I love
open my mind.
1447
01:35:07,444 --> 01:35:10,644
They give me pleasure and energy.
1448
01:35:12,604 --> 01:35:15,364
And a desire to invent installations
1449
01:35:15,524 --> 01:35:19,284
or methods for each subject,
each project.
1450
01:35:20,724 --> 01:35:23,884
Here, on the 2nd floor
of a condemned building in Nantes,
1451
01:35:24,764 --> 01:35:26,004
I wanted to show
1452
01:35:26,164 --> 01:35:28,764
what life is like for squatters
who have nothing
1453
01:35:28,924 --> 01:35:31,724
and are evicted unceremoniously.
1454
01:35:31,884 --> 01:35:34,364
I posted information on a wall.
1455
01:35:34,804 --> 01:35:38,764
In an abandoned room,
I installed three essential items.
1456
01:35:39,444 --> 01:35:43,124
A mattress,
because they seek a place to sleep.
1457
01:35:43,284 --> 01:35:45,844
A woodstove, because they're cold.
1458
01:35:46,204 --> 01:35:50,404
And a shopping cart with a microwave,
because they're hungry.
1459
01:35:51,084 --> 01:35:53,884
The idea of a bed is important.
1460
01:35:54,124 --> 01:35:56,044
A bed is important.
1461
01:35:56,204 --> 01:35:58,844
Having a roof over your head.
1462
01:35:59,524 --> 01:36:01,564
Someone left mattresses outside.
1463
01:36:02,124 --> 01:36:05,844
We picked them up
and brought them home.
1464
01:36:07,844 --> 01:36:10,244
How many people live here?
1465
01:36:11,324 --> 01:36:12,644
About 6.
1466
01:36:12,804 --> 01:36:15,244
Yeah, 6 or 5.
1467
01:36:16,324 --> 01:36:18,364
You can prepare all you like,
1468
01:36:18,524 --> 01:36:22,004
but when winter comes,
at some point, it'll be cold.
1469
01:36:22,164 --> 01:36:24,804
This year, winter was so hard.
1470
01:36:24,964 --> 01:36:28,764
I Have a bad window,
its alreaay broken.
1471
01:36:28,924 --> 01:36:32,124
Air gets in and it's very humid.
1472
01:36:33,204 --> 01:36:36,204
People can end up on the streets.
1473
01:36:36,444 --> 01:36:40,804
One day they might wake up
lo the police bursting in.
1474
01:36:41,204 --> 01:36:44,284
It was 7 in the morning.
1475
01:36:44,724 --> 01:36:46,804
They knocked on many doors.
1476
01:36:47,404 --> 01:36:51,484
We didn't wake up fast enough
to open the door.
1477
01:36:51,644 --> 01:36:53,284
They broke it down.
1478
01:36:53,444 --> 01:36:56,164
It was so violent.
There were 40 of them.
1479
01:36:56,884 --> 01:36:59,124
Over 40 police officers.
1480
01:36:59,284 --> 01:37:02,284
We were surrounded, people panicked.
1481
01:37:02,444 --> 01:37:03,644
It was so sudden.
1482
01:37:03,804 --> 01:37:07,484
We didn't even have 10 minutes.
1483
01:37:08,084 --> 01:37:09,444
Our stuff is still in there.
1484
01:37:09,604 --> 01:37:11,124
Can you get it?
1485
01:37:11,284 --> 01:37:13,924
No, they walled it off.
1486
01:37:17,244 --> 01:37:19,884
The opposite of a wall is a beach.
1487
01:37:21,924 --> 01:37:25,204
But it can become a wall,
as in this installation,
1488
01:37:25,364 --> 01:37:28,524
where I evoked the seaside
in three ways.
1489
01:37:29,204 --> 01:37:30,804
A giant photo.
1490
01:37:30,964 --> 01:37:33,564
The seafoam on the wave is still.
1491
01:37:33,804 --> 01:37:36,924
Then the still image
becomes a moving image.
1492
01:37:37,084 --> 01:37:40,804
The wave breaking on the sand.
1493
01:37:40,964 --> 01:37:42,364
And then sand.
1494
01:37:42,524 --> 01:37:44,644
A bit of tangible reality.
1495
01:37:47,164 --> 01:37:49,244
As in Patatutopia,
1496
01:37:49,764 --> 01:37:54,364
I like to bring together
reality and its representation.
1497
01:37:54,524 --> 01:37:55,964
That's a general goal,
1498
01:37:56,124 --> 01:38:00,604
but I also juxtapose
moving images and still images
1499
01:38:01,164 --> 01:38:02,804
in video...
1500
01:38:04,684 --> 01:38:06,444
and in photography.
1501
01:38:09,084 --> 01:38:11,564
The middle image is an old photograph.
1502
01:38:11,724 --> 01:38:14,004
A silver print from the 1950s.
1503
01:38:14,924 --> 01:38:16,404
On either side,
1504
01:38:16,564 --> 01:38:19,404
I took digital photographs in colour
1505
01:38:19,564 --> 01:38:21,444
of moving doves.
1506
01:38:23,204 --> 01:38:26,364
The metal frames resemble frames
I saw in Mexico.
1507
01:38:26,524 --> 01:38:28,604
And he's Miguel Barceld.
1508
01:38:29,524 --> 01:38:31,044
Another triptych.
1509
01:38:31,284 --> 01:38:34,084
The photo of Alice
hangs on the wall.
1510
01:38:34,644 --> 01:38:38,284
Next to it,
we project a double video.
1511
01:38:41,084 --> 01:38:44,524
I was fascinated
by how still the cows were.
1512
01:38:45,204 --> 01:38:47,724
Filming them for a moment,
1513
01:38:47,884 --> 01:38:52,884
we captured a fleeting instant
between stillness and movement.
1514
01:38:53,044 --> 01:38:56,364
One flicks her ear,
then starts to move.
1515
01:38:56,524 --> 01:39:00,284
A desire for movement
linked to immobility.
1516
01:39:03,004 --> 01:39:04,964
For a family cat,
1517
01:39:05,204 --> 01:39:06,564
Zgougou,
1518
01:39:06,724 --> 01:39:08,684
I made a tomb.
1519
01:39:13,444 --> 01:39:18,164
The animation was done the old way,
to music by Steve Reich,
1520
01:39:18,404 --> 01:39:22,364
We filmed the finished installation
with shells and flowers.
1521
01:39:22,524 --> 01:39:24,844
Then we filmed image by image,
1522
01:39:25,004 --> 01:39:27,244
removing one element at a time.
1523
01:39:27,564 --> 01:39:31,284
Here the sequence plays backwards.
1524
01:39:38,284 --> 01:39:42,804
You watched me film it, Hervé.
You brought your daughter.
1525
01:39:42,964 --> 01:39:45,364
Yes, she went up in the crane.
1526
01:39:48,284 --> 01:39:50,644
We put a big flower in the tree.
1527
01:39:50,804 --> 01:39:52,644
We needed a marker.
1528
01:39:52,804 --> 01:39:54,484
And I knew why.
1529
01:39:55,084 --> 01:39:59,004
I asked you: Will the Foundation
pay for a helicopter?
1530
01:39:59,164 --> 01:40:00,884
Of course we would!
1531
01:40:01,644 --> 01:40:04,324
So we filmed from the helicopter,
1532
01:40:04,684 --> 01:40:06,964
using the flower as our guide,
1533
01:40:07,124 --> 01:40:12,244
a sequence to show that the tomb
is near the sea.
1534
01:40:12,564 --> 01:40:16,084
And most of all,
this kitty who was important to us
1535
01:40:16,244 --> 01:40:19,564
took on another dimension
with the tomb.
1536
01:40:22,084 --> 01:40:26,204
But seen from further way,
she was like any human.
1537
01:40:26,364 --> 01:40:28,244
Miniscule in the universe.
1538
01:40:30,204 --> 01:40:33,444
You liked Zgougou's tomb.
You bought it.
1539
01:40:33,604 --> 01:40:35,164
I love it. I snapped it up.
1540
01:40:35,324 --> 01:40:37,204
But that's not all.
1541
01:40:37,724 --> 01:40:40,724
As always, I called you.
"Agnes, why don't we...
1542
01:40:42,004 --> 01:40:45,724
install the cat
in the Foundation gardens?"
1543
01:40:46,044 --> 01:40:48,924
- And?
- He ordered a shack from me.
1544
01:40:49,084 --> 01:40:51,484
It's out there in the garden.
1545
01:40:51,644 --> 01:40:53,164
Just outside.
1546
01:40:53,524 --> 01:40:55,924
A little soundproofed utility room
1547
01:40:56,084 --> 01:40:59,004
where we can play a video.
1548
01:40:59,884 --> 01:41:02,324
The video is on a loop.
1549
01:41:02,484 --> 01:41:06,404
Visitors to the Foundation
can drop in anytime.
1550
01:41:07,644 --> 01:41:09,884
They can say hi to Zgougou.
1551
01:41:28,084 --> 01:41:31,124
There's a pile of dirt in the shack.
1552
01:41:31,284 --> 01:41:34,084
- Yes.
- Is there really a cat under it?
1553
01:41:34,244 --> 01:41:35,484
Good question.
1554
01:41:35,644 --> 01:41:39,244
In truth,
the real cat Zgougou isn't here.
1555
01:41:39,404 --> 01:41:42,524
She's under a similar pile of dirt
1556
01:41:42,684 --> 01:41:44,804
on the island of Noirmoultier.
1557
01:41:44,964 --> 01:41:47,644
I haven't seen many cemeteries.
1558
01:41:47,804 --> 01:41:50,124
I know they're pretty sad.
1559
01:41:50,284 --> 01:41:52,244
But this one is more...
1560
01:41:52,404 --> 01:41:54,284
Even though it's a tomb
1561
01:41:54,444 --> 01:41:56,524
and we should be sad,
1562
01:41:56,684 --> 01:41:58,524
it's more...
1563
01:41:58,684 --> 01:42:01,604
more of a happy place,
with fun colours.
1564
01:42:05,684 --> 01:42:07,724
I came back, because it's better
1565
01:42:07,884 --> 01:42:10,004
to watch the film alone.
1566
01:42:10,164 --> 01:42:13,124
You feel things better, in the film.
1567
01:42:14,884 --> 01:42:17,804
Me too, when I'm alone by the sea,
1568
01:42:17,964 --> 01:42:19,764
I feel things better.
1569
01:42:20,804 --> 01:42:22,244
Things are double.
1570
01:42:24,124 --> 01:42:27,804
Even as I enjoy the gentle seascape,
1571
01:42:28,164 --> 01:42:31,284
I know the world
is filled with war, violence,
1572
01:42:31,484 --> 01:42:34,244
suffering and wandering.
1573
01:43:14,364 --> 01:43:15,604
Images of migrants
1574
01:43:15,884 --> 01:43:17,684
struggling and drowning.
1575
01:43:17,844 --> 01:43:19,244
Then this terrible image,
1576
01:43:19,724 --> 01:43:21,564
seen throughout the world.
1577
01:43:23,924 --> 01:43:26,764
We think about it,
and then we forget.
1578
01:43:26,924 --> 01:43:28,604
That's how we live.
1579
01:43:30,404 --> 01:43:34,724
Occasionally I got to work
on the inside of history.
1580
01:43:36,044 --> 01:43:39,124
I want to evoke Les Justes tonight.
1581
01:43:39,284 --> 01:43:41,804
I lived through the war,
I remember it.
1582
01:43:41,964 --> 01:43:44,924
But I had no traumatic experiences.
1583
01:43:45,084 --> 01:43:47,924
President Chirac wanted to pay tribute
1584
01:43:48,284 --> 01:43:50,844
to Les Justes de France
at the Pantheon.
1585
01:43:51,004 --> 01:43:55,604
I was asked to create a short work
for the ceremony.
1586
01:43:59,204 --> 01:44:01,684
A ceremony, a choir
1587
01:44:01,844 --> 01:44:03,964
and my enormous installation.
1588
01:44:06,124 --> 01:44:09,044
Hundreds of portraits on the floor
1589
01:44:09,204 --> 01:44:12,604
of those who took risks to save Jews.
1590
01:44:13,044 --> 01:44:16,124
They were named Les Justes,
the righteous.
1591
01:44:17,204 --> 01:44:21,924
I displayed photographs of them
like open books.
1592
01:44:22,444 --> 01:44:24,244
Their names are on them.
1593
01:44:25,684 --> 01:44:29,204
I added recent, unidentified portraits
1594
01:44:29,364 --> 01:44:32,884
representing
anonymous or unknown Justes.
1595
01:44:33,684 --> 01:44:36,284
To evoke Jews and Justes
in their time,
1596
01:44:36,444 --> 01:44:39,004
I screened 2 films simultaneously
1597
01:44:39,364 --> 01:44:42,244
on 4 screens under the dome.
1598
01:44:42,564 --> 01:44:43,884
A black-and-white film
1599
01:44:44,244 --> 01:44:47,484
shows at a distance
Jews being arrested.
1600
01:44:47,964 --> 01:44:52,604
On another screen,
detail shots in colour enhance reality.
1601
01:44:53,324 --> 01:44:57,844
You looked from one screen to the other
to follow the action.
1602
01:44:58,684 --> 01:45:01,604
Everyone recreated,
for real or mentally,
1603
01:45:02,604 --> 01:45:04,444
what I'll show you
1604
01:45:04,604 --> 01:45:07,964
in this excerpt
fusing images from both screens.
1605
01:45:38,324 --> 01:45:39,644
At the end of each sequence,
1606
01:45:40,244 --> 01:45:43,364
I showed photos of the Justes
who inspired the scene
1607
01:45:43,524 --> 01:45:47,004
and photos of those
who played the scene.
1608
01:45:47,164 --> 01:45:49,044
They weren't real actors,
1609
01:45:49,204 --> 01:45:51,044
but they were real people.
1610
01:45:52,044 --> 01:45:54,644
That's what I've always called
1611
01:45:54,804 --> 01:45:57,684
the people I film
in the streets or fields.
1612
01:46:03,924 --> 01:46:07,684
He was a baker in my native country.
1613
01:46:08,004 --> 01:46:11,444
And then, well...
l waited every Wednesday
1614
01:46:11,604 --> 01:46:14,924
when he brought his bread,
fo see him.
1615
01:46:15,564 --> 01:46:19,244
Then, six months later,
we got married.
1616
01:46:24,644 --> 01:46:27,844
Real people
are at the heart of my work.
1617
01:46:28,004 --> 01:46:30,124
I have that in common with JR,
1618
01:46:30,284 --> 01:46:32,164
the urban photographer
1619
01:46:32,324 --> 01:46:35,804
who has approached
thousands of real people.
1620
01:46:36,004 --> 01:46:40,124
We wanted to make a film
of our encounters with people.
1621
01:46:40,284 --> 01:46:42,724
This time, in the French countryside.
1622
01:46:43,164 --> 01:46:45,484
We headed out in his magic truck,
1623
01:46:45,644 --> 01:46:48,084
with the goal of listening to people
1624
01:46:48,244 --> 01:46:50,764
and photographing them in the truck.
1625
01:46:51,724 --> 01:46:54,524
People go into the back,
like in a photo booth.
1626
01:46:54,684 --> 01:46:57,564
The photo comes out 5 seconds later,
1627
01:46:57,724 --> 01:46:58,804
in large format.
1628
01:46:59,444 --> 01:47:01,444
The plan was to show them off.
1629
01:47:01,604 --> 01:47:06,644
To post them as a counterpoint
to models and celebrities
1630
01:47:06,804 --> 01:47:09,564
selling cosmetics, cars and coffee.
1631
01:47:09,724 --> 01:47:12,764
We hired her as a waitress back in...
1632
01:47:13,364 --> 01:47:16,084
late May, early summer.
1633
01:47:16,564 --> 01:47:20,564
Now she's Bonnieux's most famous face.
1634
01:47:21,964 --> 01:47:24,604
What do you think
of your mum up there?
1635
01:47:24,764 --> 01:47:27,644
- She's super pretty.
- Indeed. I agree.
1636
01:47:28,324 --> 01:47:29,684
Press the button.
1637
01:47:30,684 --> 01:47:32,164
Show us your selfe.
1638
01:47:32,324 --> 01:47:33,364
Wow, nice!
1639
01:47:33,524 --> 01:47:34,884
You're good.
1640
01:47:35,044 --> 01:47:37,284
I'm no expert though.
1641
01:47:37,804 --> 01:47:39,644
Tickle tickle!
1642
01:47:41,124 --> 01:47:45,324
Our social and sociological experiment
was full of surprises.
1643
01:47:45,484 --> 01:47:50,044
In one village,
a man said he was the bell-ringer
1644
01:47:50,204 --> 01:47:52,484
and took us to his bell tower.
1645
01:47:52,804 --> 01:47:57,324
And there was a woman
who made goat cheese.
1646
01:47:57,484 --> 01:48:01,364
She was furious,
because other cheesemakers
1647
01:48:01,524 --> 01:48:03,284
were burning goats' horns off.
1648
01:48:03,444 --> 01:48:05,044
We saw it for ourselves.
1649
01:48:08,044 --> 01:48:09,844
We met Francoise.
1650
01:48:10,764 --> 01:48:13,284
You have one of the only herds
1651
01:48:13,444 --> 01:48:15,244
where the goats have horns.
1652
01:48:15,404 --> 01:48:19,204
To my mind,
if a goat has horns, she keeps them.
1653
01:48:19,364 --> 01:48:21,604
I'm not going to remove them.
1654
01:48:22,404 --> 01:48:24,524
That just seems...
1655
01:48:26,764 --> 01:48:29,924
I can find no logical explanation,
1656
01:48:30,084 --> 01:48:33,084
unless you see them as a product
1657
01:48:34,364 --> 01:48:37,684
required to attain
a certain rate of return,
1658
01:48:37,844 --> 01:48:42,404
So you eliminate anything
that might make them less profitable
1659
01:48:42,564 --> 01:48:44,364
and cut off their horns.
1660
01:48:44,964 --> 01:48:46,524
Bum them off
1661
01:48:46,684 --> 01:48:50,564
But if you respect the animals,
1662
01:48:51,004 --> 01:48:52,564
you leave them intact
1663
01:48:52,724 --> 01:48:55,284
If they have horns, they keep them.
1664
01:48:55,684 --> 01:48:57,044
Sure, they fight.
1665
01:48:57,204 --> 01:48:59,604
Human beings fight foo.
1666
01:48:59,764 --> 01:49:01,164
I Don't know about it
1667
01:49:01,324 --> 01:49:03,404
until you told me just now.
1668
01:49:04,324 --> 01:49:05,884
This horn thing.
1669
01:49:06,044 --> 01:49:09,444
For this project, we didn't ask people
1670
01:49:09,604 --> 01:49:11,644
to answer our questions,
1671
01:49:12,204 --> 01:49:15,884
but rather to think,
and to invent their own responses
1672
01:49:16,044 --> 01:49:17,644
to the situations.
1673
01:49:17,804 --> 01:49:20,404
I say put balls on the tips,
1674
01:49:20,564 --> 01:49:22,764
like with bulls. Rubber balls.
1675
01:49:22,924 --> 01:49:26,164
Could be funny. Or clown noses.
1676
01:49:26,324 --> 01:49:27,444
Rubber ones.
1677
01:49:27,604 --> 01:49:30,684
You could use different colours
1678
01:49:30,844 --> 01:49:34,404
to tell them apart.
Purple, mulficolour, zebra.
1679
01:49:34,564 --> 01:49:37,244
Great idea, I love it!
Very imaginative.
1680
01:49:37,404 --> 01:49:38,884
We're glad we met you.
1681
01:49:39,684 --> 01:49:42,004
I enjoyed meeting you, too.
1682
01:49:43,204 --> 01:49:45,804
Our work together
1683
01:49:46,244 --> 01:49:47,924
made our friendship grow,
1684
01:49:48,084 --> 01:49:49,724
like a plant.
1685
01:49:50,404 --> 01:49:52,284
Like a fish in water.
1686
01:49:53,324 --> 01:49:55,484
He was interested in me,
1687
01:49:55,644 --> 01:49:58,964
and he was interested in my ageing.
1688
01:50:01,324 --> 01:50:03,204
I have an eye disease.
1689
01:50:03,364 --> 01:50:06,284
No fun, considering my profession.
1690
01:50:06,884 --> 01:50:09,564
I need shots, check-ups
1691
01:50:09,724 --> 01:50:11,524
and exams.
1692
01:50:11,684 --> 01:50:14,004
What kind of exams?
1693
01:50:14,484 --> 01:50:16,804
Looking at letters.
1694
01:50:22,764 --> 01:50:24,444
ls this right, Agnes?
1695
01:50:24,604 --> 01:50:27,044
Yes, the bottom is blurry, but...
1696
01:50:27,324 --> 01:50:31,004
The letters need to move a little.
1697
01:50:31,164 --> 01:50:32,564
Move how?
1698
01:50:32,724 --> 01:50:35,124
- Up and down a little.
- Got it
1699
01:50:35,604 --> 01:50:37,724
- Go tell them.
- Right away.
1700
01:50:37,884 --> 01:50:39,924
Move up and down a little!
1701
01:50:44,684 --> 01:50:47,524
Now I'm happy. That's what I see.
1702
01:50:49,084 --> 01:50:50,364
It was important to me
1703
01:50:50,884 --> 01:50:55,404
that we find a way to bring beauty
to my deteriorating eyesight.
1704
01:50:55,564 --> 01:50:58,804
And that we enjoy ourselves
on that shoot
1705
01:50:58,964 --> 01:51:01,244
full of surprises and emotion.
1706
01:51:05,084 --> 01:51:06,844
Its surprising.
1707
01:51:07,124 --> 01:51:09,964
- Art should surprise us, right?
- True.
1708
01:51:10,124 --> 01:51:11,804
Have a nice day.
1709
01:51:16,204 --> 01:51:19,924
Today's my last day.
I'm taking early retirement.
1710
01:51:20,564 --> 01:51:22,044
- Today?
- Today.
1711
01:51:22,204 --> 01:51:24,684
- If's your last day?
- Yes it is.
1712
01:51:24,844 --> 01:51:28,484
I feel like I've reached
the edge of a cliff,
1713
01:51:28,644 --> 01:51:31,644
and tonight
I'm leaping info the unknown.
1714
01:51:32,324 --> 01:51:34,604
1 discover lots of things.
1715
01:51:34,964 --> 01:51:38,404
And we discovered
that fate was with us.
1716
01:51:38,564 --> 01:51:41,604
Once in Normandy,
fate struck three times.
1717
01:51:41,884 --> 01:51:44,724
JR wanted to paste
on a German bunker
1718
01:51:44,884 --> 01:51:47,284
that had fallen off a cliff.
1719
01:51:47,444 --> 01:51:49,684
I said, "We can pick any bunker."
1720
01:51:49,844 --> 01:51:52,884
But when he said
it was at St-Aubin-sur-Mer,
1721
01:51:53,044 --> 01:51:54,324
I pricked up my ears.
1722
01:51:54,484 --> 01:51:58,044
I'd been there in 1954 with friends
1723
01:51:58,204 --> 01:52:00,844
and taken photos on that beach.
1724
01:52:01,204 --> 01:52:04,884
A photo named Ulysse
that inspired a film.
1725
01:52:05,524 --> 01:52:09,364
I was with my friend Guy Bourdin,
a young photographer.
1726
01:52:09,524 --> 01:52:12,724
He became very famous,
but died young.
1727
01:52:15,484 --> 01:52:17,444
I did portraits of him.
1728
01:52:17,924 --> 01:52:20,204
He posed sweetly, dreaming.
1729
01:52:24,324 --> 01:52:27,484
I showed JR my photos of Guy Bourdin,
1730
01:52:27,644 --> 01:52:31,404
and we decided
to paste one on the bunker.
1731
01:52:31,964 --> 01:52:34,844
It was a difficult and dangerous shoot,
1732
01:52:35,004 --> 01:52:39,164
because the low tide didn't last long.
1733
01:53:01,804 --> 01:53:04,844
I could imagine nothing better for Guy.
1734
01:53:05,124 --> 01:53:07,684
Here he is, like a child in his cradle.
1735
01:53:09,004 --> 01:53:10,764
Resting in peace.
1736
01:53:23,324 --> 01:53:26,284
The next morning, we went to see.
1737
01:53:27,804 --> 01:53:30,804
The tide had washed the image away.
1738
01:53:30,964 --> 01:53:33,644
Ephemeral images are my stock-in-trade.
1739
01:53:33,804 --> 01:53:35,724
But the sea worked fast
1740
01:53:36,044 --> 01:53:37,804
The sea has the last word.
1741
01:53:37,964 --> 01:53:40,084
And the wind, and the sand.
1742
01:53:41,644 --> 01:53:43,484
At one point,
1743
01:53:43,644 --> 01:53:46,444
JR and I imagined
ending the film this way.
1744
01:53:46,964 --> 01:53:50,124
Disappearing in a sandstorm.
1745
01:53:51,044 --> 01:53:54,124
I Think this is how I'll end this chat.
1746
01:53:55,364 --> 01:53:57,324
Disappearing in the blur.
1747
01:53:57,484 --> 01:53:58,924
Leaving you.
129031
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