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1
00:00:01,034 --> 00:00:03,878
Can I have that mic back?
2
00:00:04,169 --> 00:00:07,013
The mic on the table.
3
00:00:18,117 --> 00:00:22,588
We'll begin the press conference
for the film you just saw...
4
00:00:23,623 --> 00:00:25,625
"L'argent."
5
00:00:25,792 --> 00:00:28,204
I've already introduced everyone.
6
00:00:28,361 --> 00:00:30,772
Who has the first question?
7
00:00:32,198 --> 00:00:36,771
I don't understand exactly why
the character's wife left him.
8
00:00:43,109 --> 00:00:44,746
Whom is he asking?
9
00:00:44,911 --> 00:00:47,356
To whom are you addressing
the question?
10
00:00:47,514 --> 00:00:49,493
I don't understand either.
11
00:00:49,649 --> 00:00:52,789
The question is
why Yvon's wife leaves him.
12
00:00:52,951 --> 00:00:56,262
- There are things we don't understand.
- Speak into the mic!
13
00:00:56,423 --> 00:00:58,130
It's not working.
14
00:01:01,161 --> 00:01:03,573
I said I don't understand either.
15
00:01:03,729 --> 00:01:06,176
Neither does the wife.
No one does.
16
00:01:08,468 --> 00:01:12,814
It's not about understanding
but about feeling, which is different.
17
00:01:13,272 --> 00:01:17,118
You've often adapted works
of Russian literature.
18
00:01:19,045 --> 00:01:20,489
Go on.
19
00:01:20,647 --> 00:01:25,027
Is that because
it's a literature of extremes?
20
00:01:25,185 --> 00:01:28,859
The question is:
You've often adapted Russian works.
21
00:01:29,022 --> 00:01:33,266
Do they interest you
because it's a literature of extremes?
22
00:01:34,561 --> 00:01:36,939
No, it's because
there's truth in them.
23
00:01:41,935 --> 00:01:47,009
A more profound truth
than in contemporary authors.
24
00:01:47,906 --> 00:01:52,286
Feelings were the same
200 years ago as now.
25
00:01:52,444 --> 00:01:55,425
It's just a question
of transposing them to our time.
26
00:01:57,784 --> 00:02:01,391
Mr. Bresson, I find your film
admirable from start to finish.
27
00:02:01,554 --> 00:02:03,625
But I do have one question:
28
00:02:03,790 --> 00:02:09,866
In all your other films,
there was always an element of hope,
29
00:02:10,028 --> 00:02:12,201
perhaps expressed by music,
for example.
30
00:02:12,365 --> 00:02:14,436
Here there's no music.
31
00:02:14,600 --> 00:02:18,343
No, it wasn't only music,
but there was something to hold on to.
32
00:02:18,504 --> 00:02:22,078
But here there's nothing
we can hold on to.
33
00:02:22,241 --> 00:02:27,054
We leave the film with a sense
of fulfillment but also despair.
34
00:02:27,212 --> 00:02:30,056
First, there can be no hope
without despair.
35
00:02:30,383 --> 00:02:32,420
Despair can...
36
00:02:34,187 --> 00:02:36,064
and should be pushed very far
37
00:02:36,288 --> 00:02:39,235
so that hope can arise.
38
00:02:39,526 --> 00:02:41,506
The greater the hope,
39
00:02:41,661 --> 00:02:45,370
the heavier and more oppressive
the despair was.
40
00:02:48,200 --> 00:02:51,807
Mr. Bresson,
your film wasn't very pleasant,
41
00:02:51,971 --> 00:02:54,042
but it was interesting.
42
00:02:54,206 --> 00:02:58,348
Your style is quite unique.
I consider it frustrating for viewers.
43
00:02:58,510 --> 00:03:02,925
If you agree with that description,
what do you think of it?
44
00:03:03,081 --> 00:03:07,792
Why do you make films
that are frustrating for viewers?
45
00:03:07,954 --> 00:03:10,867
- Films that are what?
- Frustrating.
46
00:03:20,366 --> 00:03:23,643
- What sort of films?
- Frustrating for the viewer.
47
00:03:23,802 --> 00:03:25,748
Frustrating.
48
00:03:32,579 --> 00:03:35,423
What viewer
are you talking about?
49
00:03:47,193 --> 00:03:48,763
Nobody?
50
00:03:52,831 --> 00:03:54,469
Wait.
51
00:03:54,700 --> 00:03:58,147
Why do you prefer
to make films about youth?
52
00:04:01,039 --> 00:04:05,681
Why do you prefer youth
as a subject in your films?
53
00:04:05,844 --> 00:04:07,882
Why prefer youth?
54
00:04:08,848 --> 00:04:12,159
Because youth is full of genius.
55
00:04:17,889 --> 00:04:19,836
Genius and suppleness.
56
00:04:24,396 --> 00:04:29,437
Up until the age of 35.
57
00:04:34,540 --> 00:04:39,387
These people are
enemies on the attack!
58
00:04:45,550 --> 00:04:47,188
Can I hide?
59
00:04:48,855 --> 00:04:50,459
That's enough.
60
00:04:50,622 --> 00:04:53,796
We can't hear you without the mic.
61
00:04:53,959 --> 00:04:58,203
You say there's genius in youth
up to the age of 35.
62
00:04:58,363 --> 00:05:01,640
So at your age
do you have no more genius?
63
00:05:08,774 --> 00:05:10,651
First, I'm no genius.
64
00:05:10,810 --> 00:05:13,757
If I were, it wouldn't be
the same kind of genius.
65
00:05:16,548 --> 00:05:21,054
I'd like a bit of clarification
about the ending.
66
00:05:21,286 --> 00:05:25,793
I read the text you wrote
that said...
67
00:05:26,259 --> 00:05:28,466
"In the end,
good comes through."
68
00:05:29,762 --> 00:05:33,300
Good lies in the act
of turning himself in.
69
00:05:33,466 --> 00:05:37,641
Good comes
in the form of confession...
70
00:05:38,637 --> 00:05:42,141
a concept dear to Dostoyevsky,
one he often used.
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00:05:42,307 --> 00:05:44,685
I find it still fitting today.
72
00:05:44,843 --> 00:05:46,880
We can't hear you!
73
00:05:53,685 --> 00:05:55,596
What I mean is...
74
00:06:03,596 --> 00:06:07,271
good lies in the redemption
of the character
75
00:06:07,432 --> 00:06:09,639
for the terrible things he did.
76
00:06:09,802 --> 00:06:13,773
It lies in turning himself in
to the police and confessing.
77
00:06:13,939 --> 00:06:15,920
In the confession
78
00:06:16,074 --> 00:06:20,250
is the proof
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00:06:20,779 --> 00:06:23,316
that he disavows what he did.
80
00:06:23,783 --> 00:06:26,059
Is it a kind of expiation?
81
00:06:28,086 --> 00:06:30,498
- A what?
- A voluntary expiation?
82
00:06:30,656 --> 00:06:32,329
Of course.
83
00:06:33,459 --> 00:06:36,497
In Tolstoy's novella,
84
00:06:36,661 --> 00:06:40,007
good arrived much earlier,
85
00:06:40,266 --> 00:06:43,213
and then the story took off
in another direction.
86
00:06:43,369 --> 00:06:45,815
Evil regained the upper hand
87
00:06:45,971 --> 00:06:48,349
and the story went
in another direction.
88
00:06:48,507 --> 00:06:51,613
But in the film
I wanted above all...
89
00:06:53,112 --> 00:06:56,286
to give a sense of uncertainty.
90
00:06:56,449 --> 00:06:59,487
I wanted to push it to the limit
91
00:06:59,651 --> 00:07:02,063
so that it's only at the end
92
00:07:02,422 --> 00:07:05,335
that we get the conclusion
of the whole terrible story.
93
00:07:07,125 --> 00:07:11,267
The language of your film seems
like an extension of silent film.
94
00:07:11,430 --> 00:07:14,377
- No!
- Do you deliberately try to -
95
00:07:14,533 --> 00:07:16,605
You astonish me, sir,
96
00:07:16,769 --> 00:07:20,239
because for me,
sound and noises are really -
97
00:07:20,406 --> 00:07:23,751
The human voice is
one of the most beautiful noises.
98
00:07:23,910 --> 00:07:26,322
The more films I make,
the more I think
99
00:07:26,478 --> 00:07:29,187
we could almost do
with just sound and no image.
100
00:07:38,557 --> 00:07:41,004
You speak of good and evil.
101
00:07:41,160 --> 00:07:45,006
Is that something of your own
or something you adapted?
102
00:07:45,163 --> 00:07:48,201
Where do you stand
in this version of good and evil?
103
00:07:48,367 --> 00:07:51,837
It's not easy for the character
to spend years in jail
104
00:07:52,004 --> 00:07:54,040
to atone for his actions.
105
00:07:54,206 --> 00:07:56,812
After he's sewed
his years in prison,
106
00:07:56,975 --> 00:07:59,923
do you think he'll leave
there a decent man?
107
00:08:00,079 --> 00:08:02,490
The characters never
fully accept responsibility
108
00:08:02,648 --> 00:08:04,958
for what they did.
109
00:08:05,317 --> 00:08:07,991
Is that your version?
110
00:08:08,153 --> 00:08:13,069
Do you think that through confession
or prison, which are the same thing -
111
00:08:13,225 --> 00:08:17,105
You say, "I did this. Forgive me."
"You're sentenced to ten years."
112
00:08:17,262 --> 00:08:20,800
ls that your idea
of good and evil?
113
00:08:20,966 --> 00:08:24,312
There are a dozen questions
in your question.
114
00:08:24,470 --> 00:08:27,110
I'll answer each individually.
115
00:08:27,839 --> 00:08:30,286
I don't know.
I've yet to be in prison.
116
00:08:30,442 --> 00:08:32,251
I don't know its effect.
117
00:08:32,410 --> 00:08:35,687
I'll elaborate.
The responsibility for his actions -
118
00:08:35,847 --> 00:08:37,349
He's not listening.
119
00:08:37,616 --> 00:08:39,152
Oh, well.
120
00:08:42,087 --> 00:08:45,432
Here's a question
for the actors instead -
121
00:08:46,491 --> 00:08:48,562
Why ask that question
122
00:08:48,727 --> 00:08:50,764
when most newspapers claim
123
00:08:50,929 --> 00:08:54,001
that in most cases
it's just the opposite?
124
00:08:55,534 --> 00:09:00,040
For very complex reasons
that I'm unfamiliar with.
125
00:09:00,373 --> 00:09:02,444
Do you belong -
126
00:09:02,607 --> 00:09:05,611
This will get a big laugh
from the crowd.
127
00:09:05,778 --> 00:09:11,750
Do you espouse
any particular ideology?
128
00:09:12,684 --> 00:09:15,290
I don't know
what an ideology is.
129
00:09:17,956 --> 00:09:22,167
- That's too easy.
- You'd better stop.
130
00:09:22,327 --> 00:09:26,707
- You're not going to get anywhere.
- Here's a question for the actors.
131
00:09:29,168 --> 00:09:32,240
For actors -
this interests me very much -
132
00:09:32,404 --> 00:09:35,578
is it difficult
and what is the process
133
00:09:35,740 --> 00:09:38,380
of working with Mr. Bresson?
134
00:09:38,543 --> 00:09:43,424
In acting classes,
it's exactly the way -
135
00:09:43,582 --> 00:09:45,892
Why talk about acting classes?
136
00:09:46,052 --> 00:09:49,795
These actors haven't taken acting
classes. They're nonprofessionals.
137
00:09:49,956 --> 00:09:53,903
Read the press book.
That's what it's for.
138
00:09:54,159 --> 00:09:57,299
They're virgins.
They're acting virgins.
139
00:09:58,297 --> 00:10:00,207
That's not true.
140
00:10:03,836 --> 00:10:06,680
The question is null and void.
141
00:10:08,173 --> 00:10:09,846
It is!
142
00:10:10,142 --> 00:10:14,249
We can't talk about acting classes
if they haven't taken any.
143
00:10:16,749 --> 00:10:20,526
I'd like to ask Mr. Bresson
why he chose Caroline Lang.
144
00:10:20,919 --> 00:10:23,456
That's not hard to answer.
145
00:10:24,255 --> 00:10:27,499
First, she has a wonderful face.
146
00:10:27,659 --> 00:10:31,573
Second,
she doesn't look Parisian,
147
00:10:31,730 --> 00:10:34,143
or like a factory worker,
148
00:10:34,299 --> 00:10:35,903
or like a country girl.
149
00:10:36,067 --> 00:10:37,672
She's something different,
150
00:10:37,836 --> 00:10:41,614
something I've sought since I started
making films, and I found her.
151
00:10:42,475 --> 00:10:46,753
I'd like to add that,
as Cocteau said of himself...
152
00:10:46,912 --> 00:10:49,620
“I'm on my own side."
153
00:10:51,650 --> 00:10:53,152
Understand?
154
00:10:55,221 --> 00:10:57,962
Mr. Bresson.
ls this mic working?
155
00:11:00,125 --> 00:11:02,538
Mr. Bresson, I'm an actress.
156
00:11:02,695 --> 00:11:05,437
What can I do to work with you?
157
00:11:10,802 --> 00:11:14,979
I'll tell you something Michel Piccoli
said, who's a great actor.
158
00:11:17,076 --> 00:11:18,316
Is he here?
159
00:11:20,546 --> 00:11:23,049
He didn't say this.
He wrote it.
160
00:11:23,349 --> 00:11:27,855
He wrote, “I'd like to meet Bresson
without him knowing who I am,
161
00:11:28,086 --> 00:11:32,193
and ask if I could work with him.
And I'd start over from scratch."
162
00:11:32,457 --> 00:11:34,266
So I can work with you?
163
00:11:38,264 --> 00:11:40,608
That wasn't exactly the point.
164
00:11:41,267 --> 00:11:43,474
But first you'd have to forget.
165
00:11:49,908 --> 00:11:51,615
I truly think -
166
00:11:51,777 --> 00:11:55,224
I'm going to speak freely now,
and possibly spout nonsense.
167
00:11:55,380 --> 00:11:58,225
But I truly think that cinema...
168
00:11:59,485 --> 00:12:01,431
has to evolve.
169
00:12:01,620 --> 00:12:05,397
It could be something
great and admirable
170
00:12:05,658 --> 00:12:10,903
if we don't remain stuck doing
"filmed theatre" with actors.
171
00:12:16,000 --> 00:12:19,312
There are lots
of young people who agree.
172
00:12:24,809 --> 00:12:27,722
Mr. Bresson,
in the last scene in your film,
173
00:12:27,879 --> 00:12:31,350
what does the crowd looking
into the empty restaurant mean?
174
00:12:31,984 --> 00:12:33,985
They're looking at nothing.
175
00:12:36,322 --> 00:12:39,701
There's nothing left.
There's nothing there now.
176
00:12:39,859 --> 00:12:43,397
Good has left in a police car.
177
00:12:43,763 --> 00:12:47,074
I can't explain a film.
178
00:12:47,232 --> 00:12:48,643
It explains itself.
179
00:12:48,801 --> 00:12:50,508
I can't explain it.
180
00:12:50,668 --> 00:12:52,944
I do most things spontaneously.
181
00:12:53,105 --> 00:12:57,349
There isn't much left
of what I put down on paper.
182
00:13:02,615 --> 00:13:05,027
I've said before that when you work,
183
00:13:05,183 --> 00:13:07,857
whether you're a writer, a painter,
184
00:13:08,320 --> 00:13:10,493
or a sculptor...
185
00:13:10,655 --> 00:13:13,795
when you work,
you mustn't think.
186
00:13:13,958 --> 00:13:16,802
Actors think.
They're self-conscious.
187
00:13:18,563 --> 00:13:20,406
And I shouldn't think either.
188
00:13:21,033 --> 00:13:22,671
I should work.
189
00:13:22,835 --> 00:13:26,009
I'm allowed to think
in between films.
190
00:13:27,873 --> 00:13:30,285
So it's very hard to answer
such specific questions.
191
00:13:30,442 --> 00:13:32,250
I don't know the answers.
192
00:13:33,812 --> 00:13:38,784
What I find so notable
about your film is the use of sound.
193
00:13:38,951 --> 00:13:42,831
Can you tell us about
your interest and your work
194
00:13:42,988 --> 00:13:46,401
on the sound design?
195
00:13:47,125 --> 00:13:51,336
I can't talk about it specifically,
but I believe -
196
00:13:52,163 --> 00:13:55,235
While editing,
while the film's rolling,
197
00:13:55,400 --> 00:13:57,778
I've been surprised to find myself...
198
00:13:59,171 --> 00:14:02,414
no longer watching the images
199
00:14:02,575 --> 00:14:06,283
but only listening
to the sound track
200
00:14:06,678 --> 00:14:10,956
and modifying it
when I sensed it wasn't right.
201
00:14:11,115 --> 00:14:14,961
There are two tracks -
sound and image -
202
00:14:16,254 --> 00:14:18,735
that advance in parallel.
203
00:14:19,124 --> 00:14:22,298
Sometimes one goes faster,
one slower.
204
00:14:22,461 --> 00:14:26,238
Then they come together
and join hands, then they move apart.
205
00:14:26,398 --> 00:14:29,038
I'm saying that the work
I try to do -
206
00:14:29,201 --> 00:14:32,148
I try.
I'm not saying I succeed.
207
00:14:32,303 --> 00:14:36,251
If one really wants to succeed
in becoming a cinematograph,
208
00:14:36,408 --> 00:14:40,913
it's through
bringing things together,
209
00:14:41,346 --> 00:14:43,257
through exchange,
210
00:14:43,414 --> 00:14:45,951
by constantly transposing
one world to another,
211
00:14:46,118 --> 00:14:50,123
the world of sound to that of image,
and vice versa.
212
00:14:50,422 --> 00:14:54,495
These days I prefer to move
from the world of image
213
00:14:54,659 --> 00:14:58,539
to the world of sound,
which is richer and deeper.
214
00:14:58,864 --> 00:15:03,370
I'm amazed that people today
still wonder if silent film wasn't better.
215
00:15:04,003 --> 00:15:05,846
I don't understand that.
216
00:15:06,004 --> 00:15:08,211
You have two machines,
217
00:15:08,374 --> 00:15:10,547
and both are wonderful,
218
00:15:10,708 --> 00:15:15,248
but one reproduces the world...
219
00:15:16,447 --> 00:15:18,449
in a deceptive way.
220
00:15:18,616 --> 00:15:22,962
Rodin used to say,
“A photograph is a lie."
221
00:15:23,254 --> 00:15:25,235
And he was right.
222
00:15:25,390 --> 00:15:28,428
The other machine,
the tape recorder,
223
00:15:28,594 --> 00:15:32,132
perfectly reproduces sound itself.
224
00:15:32,298 --> 00:15:34,538
What can you do
with these two things,
225
00:15:34,700 --> 00:15:37,840
one that's too unreal
and the other too real?
226
00:15:38,003 --> 00:15:41,815
You must get them to exchange
their virtues and their flaws.
227
00:15:41,974 --> 00:15:45,547
The image tries
to gain realism from sound,
228
00:15:45,711 --> 00:15:48,384
while sound tries
to lose its excessive realism.
229
00:15:49,048 --> 00:15:51,551
That in itself is extraordinary.
230
00:15:51,750 --> 00:15:55,027
You must work
with these two machines
231
00:15:55,187 --> 00:15:58,930
like a surgeon working with
two completely different instruments.
232
00:15:59,091 --> 00:16:02,971
He manages to operate
by the grace of... I don't know what.
233
00:16:03,361 --> 00:16:05,967
It's not by having actors talk,
234
00:16:06,130 --> 00:16:08,337
explain the story
and their feelings,
235
00:16:08,500 --> 00:16:11,105
and following with the camera
like you watch a play.
236
00:16:11,269 --> 00:16:13,614
Another very important thing:
237
00:16:14,005 --> 00:16:16,281
In this film you probably noticed
238
00:16:16,442 --> 00:16:19,912
that I often don't show people
from head to toe.
239
00:16:20,078 --> 00:16:24,288
Doing so is an artifact from theatre,
where we see everything.
240
00:16:24,682 --> 00:16:26,889
But when we look at things -
241
00:16:27,052 --> 00:16:29,157
Sitting at this table,
I see a glass.
242
00:16:29,321 --> 00:16:32,927
I see the man
taking pictures of me.
243
00:16:33,091 --> 00:16:34,696
I don't see all of him.
244
00:16:34,860 --> 00:16:37,397
I see two hands,
one eye looking at me,
245
00:16:37,562 --> 00:16:40,134
another doing something else -
but that's all.
246
00:16:40,298 --> 00:16:43,438
I don't need to stand up
and see his feet
247
00:16:43,601 --> 00:16:45,639
to know he's a photographer.
248
00:16:49,908 --> 00:16:53,980
I wrote a short book
four or five years ago.
249
00:16:54,145 --> 00:16:57,126
It doesn't contain
everything I just said,
250
00:16:57,282 --> 00:17:02,129
but the starting point
for what I just said.
251
00:17:06,724 --> 00:17:09,398
...in which you'll find
not exactly what I just said
252
00:17:09,560 --> 00:17:11,198
but the same, more or less.
253
00:17:11,363 --> 00:17:14,640
No, the starting point
for what I just said.
254
00:17:15,800 --> 00:17:18,542
Do you still write,
Mr. Bresson?
255
00:17:20,372 --> 00:17:22,648
On paper?
256
00:17:22,807 --> 00:17:25,913
You mean books?
Yes, but I stopped for the film.
257
00:17:26,077 --> 00:17:29,149
I'd like to dig much deeper
into what I wrote
258
00:17:29,314 --> 00:17:31,021
and perhaps make it clearer.
259
00:17:33,251 --> 00:17:35,993
I'd like to find young people
260
00:17:36,154 --> 00:17:40,535
who are true artists.
261
00:17:40,692 --> 00:17:43,730
Right now, cinema isn't an art.
262
00:17:43,895 --> 00:17:47,776
If it continues as it is now,
it never will be.
263
00:17:47,932 --> 00:17:50,071
It's a sort of craft.
264
00:17:50,234 --> 00:17:52,578
But cinema must become an art.
265
00:17:52,837 --> 00:17:55,546
Not the synthesis of other arts
266
00:17:55,907 --> 00:17:59,878
but something extraordinary in itself
due to these two machines.
267
00:18:00,144 --> 00:18:02,283
We live in a marvelous time.
268
00:18:02,448 --> 00:18:04,586
These two machines
have happened along
269
00:18:04,750 --> 00:18:07,730
just when painting
and so on is declining.
270
00:18:08,353 --> 00:18:12,096
Unfortunately,
behind all this is... "l'argent."
271
00:18:17,229 --> 00:18:19,334
Which is no secret.
272
00:18:21,767 --> 00:18:28,343
Do you feel that this film
is full of quiet violence?
273
00:18:32,911 --> 00:18:36,484
What is quiet violence?
I've never seen such a thing.
274
00:18:37,415 --> 00:18:39,259
What is quiet violence?
275
00:18:41,519 --> 00:18:43,021
What is quiet violence?
276
00:18:43,188 --> 00:18:44,667
Someone who doesn't move?
277
00:18:44,823 --> 00:18:51,707
It's a violence that's calm,
without a lot of bloodshed.
278
00:18:51,864 --> 00:18:54,105
I don't know what that is.
279
00:18:56,101 --> 00:18:59,105
Is your film about real violence?
280
00:19:01,173 --> 00:19:04,244
Of course.
Everything in the film is real.
281
00:19:06,944 --> 00:19:10,016
You mentioned young
metteurs en scène behind you.
282
00:19:10,182 --> 00:19:11,819
Who are you thinking of?
283
00:19:11,983 --> 00:19:13,553
Have you seen Beineix's film
"The Moon in the Gutter?"
284
00:19:13,719 --> 00:19:15,630
- I don't know him.
- No?
285
00:19:15,953 --> 00:19:17,729
Have you seen Beineix's film?
286
00:19:21,660 --> 00:19:25,802
The term "metteur en scène" is,
again, borrowed from theatre.
287
00:19:25,963 --> 00:19:27,840
It ruins everything.
288
00:19:28,000 --> 00:19:30,344
There is no mise-en-scène.
It doesn't exist.
289
00:19:30,501 --> 00:19:32,640
There's just a person
who feels things
290
00:19:32,804 --> 00:19:36,445
and tries to reproduce them
so others feel them.
291
00:19:36,607 --> 00:19:39,817
That's all.
There is no mise-en-scène.
292
00:19:39,978 --> 00:19:44,017
You can't keep going
to movies forever
293
00:19:44,182 --> 00:19:48,325
just to see an actor's performance
or vocal modulations.
294
00:19:48,487 --> 00:19:50,797
You can't do that your whole life!
295
00:19:50,955 --> 00:19:53,094
Then what do you call yourself?
296
00:19:53,925 --> 00:19:55,097
What do you call yourself?
297
00:19:55,259 --> 00:19:58,263
- What do I call myself?
- What term do you use?
298
00:19:58,430 --> 00:20:01,433
When I wake up,
I don't call myself.
299
00:20:01,700 --> 00:20:04,703
In the credits
he's listed as "director."
300
00:20:04,869 --> 00:20:06,849
I don't give myself a title.
301
00:20:07,905 --> 00:20:10,818
I look at things and people.
302
00:20:10,976 --> 00:20:14,480
I don't give myself a title.
I wouldn't know what to use.
303
00:20:14,645 --> 00:20:16,522
Yet the credits say "directed by."
304
00:20:17,015 --> 00:20:18,085
Excuse me?
305
00:20:18,250 --> 00:20:21,663
In the credits
it says “directed by.”
306
00:20:21,819 --> 00:20:24,060
- That wasn't my choice.
- Really?
307
00:20:30,895 --> 00:20:35,538
What's kept you from making a film
for the last seven years?
308
00:20:38,069 --> 00:20:41,210
Money that I didn't have.
309
00:20:41,940 --> 00:20:43,647
I'll explain.
310
00:20:44,242 --> 00:20:47,849
I presented the same story,
written the same way,
311
00:20:48,012 --> 00:20:49,992
exactly the same thing,
312
00:20:50,147 --> 00:20:52,058
four years ago
313
00:20:52,217 --> 00:20:54,754
to the Commission
of Advance Against Revenue,
314
00:20:54,920 --> 00:20:58,129
which gives us
starting funds for the budget.
315
00:20:58,289 --> 00:21:00,394
They didn't say no,
316
00:21:00,558 --> 00:21:04,734
but they only gave me enough
to not make the film.
317
00:21:05,631 --> 00:21:08,134
A question for the actors -
318
00:21:08,299 --> 00:21:12,145
who aren't actors, because
Mr. Bresson doesn't use actors.
319
00:21:13,105 --> 00:21:16,314
What's the point
of being in a film
320
00:21:16,474 --> 00:21:19,717
if you don't intend
to pursue an acting career?
321
00:21:19,877 --> 00:21:24,348
Just to be in front of the camera
and enjoy a moment of glory?
322
00:21:32,423 --> 00:21:34,403
What glory
are you talking about?
323
00:21:34,558 --> 00:21:38,404
I heard the word,
but I don't know what it means.
324
00:21:38,563 --> 00:21:43,535
Glory meaning the pleasure
of seeing one's image
325
00:21:43,701 --> 00:21:46,580
and one's name in the papers.
326
00:21:46,738 --> 00:21:50,015
I love being photographed.
It's my favorite thing.
327
00:21:50,174 --> 00:21:51,915
Everyone knows that.
328
00:21:52,344 --> 00:21:54,551
Are you sure it's a pleasure?
329
00:22:01,153 --> 00:22:03,190
Let the actors answer.
330
00:22:03,355 --> 00:22:06,096
Because it makes me happy - me.
331
00:22:09,627 --> 00:22:15,236
In terms of glory and all that,
it's more -
332
00:22:15,400 --> 00:22:18,403
You speak of glory.
This is glory.
333
00:22:18,569 --> 00:22:20,549
It's not about glory.
334
00:22:20,705 --> 00:22:23,151
At first we're sort of unaware.
335
00:22:23,808 --> 00:22:27,278
If we agree to do it,
we all have our own reasons.
336
00:22:27,445 --> 00:22:29,482
I'm an architect by profession,
337
00:22:29,647 --> 00:22:32,423
and maybe the similarities
are what tempted me.
338
00:22:32,584 --> 00:22:35,190
It's just expressed a different way.
339
00:22:35,554 --> 00:22:41,561
You're not drawn
to the idea of acting?
340
00:22:41,727 --> 00:22:45,971
- If a producer asked you -
- What a boring question!
341
00:22:46,464 --> 00:22:47,875
No, it's interesting.
342
00:22:50,501 --> 00:22:53,505
- Let's just stop.
- That's not the question.
343
00:22:53,672 --> 00:22:59,144
Initially, when given the role,
I was at home, looking at blueprints.
344
00:22:59,310 --> 00:23:04,055
I wasn't daydreaming
and looking at movie-star magazines.
345
00:23:05,250 --> 00:23:09,198
I was pulled out of architecture
and asked to collaborate
346
00:23:09,354 --> 00:23:13,961
in another experience
using another language, that's all.
347
00:23:14,125 --> 00:23:16,731
I never dreamed of being in a film.
348
00:23:18,596 --> 00:23:23,841
Mr. Bresson, in your early films,
we felt in your characters
349
00:23:24,201 --> 00:23:26,409
a spiritual communication,
350
00:23:26,605 --> 00:23:29,211
whether at the end of
"Angels of Sin" -
351
00:23:29,374 --> 00:23:31,819
Even if you didn't like that film,
352
00:23:31,977 --> 00:23:34,980
at the end there was communication
between Anne-Marie and Thérèse.
353
00:23:35,146 --> 00:23:38,616
The empty hands in
"Diary of a Country Priest."
354
00:23:38,784 --> 00:23:42,891
"A Man Escaped,"
through Jost as intermediary.
355
00:23:43,087 --> 00:23:46,797
At those moments there was
communication between human beings.
356
00:23:46,958 --> 00:23:50,167
I didn't sense
that communication in this film.
357
00:23:50,327 --> 00:23:53,206
- They don't communicate.
- They don't communicate.
358
00:23:53,365 --> 00:23:56,174
Is it a gradual drying up,
359
00:23:56,334 --> 00:23:59,837
not in your own personality
but in your characters?
360
00:24:00,471 --> 00:24:03,942
In this film Targe is all alone.
361
00:24:04,108 --> 00:24:07,783
It's hard for us to understand why,
at the end, he abruptly -
362
00:24:07,945 --> 00:24:11,826
We're not meant to understand,
but we sense that he changes,
363
00:24:11,982 --> 00:24:15,429
and so quickly
that we're very surprised.
364
00:24:16,288 --> 00:24:20,827
Does human communication,
even in unexpressed form,
365
00:24:20,991 --> 00:24:23,268
no longer exist for you?
366
00:24:23,428 --> 00:24:26,898
Targe communicates
in the wrong way.
367
00:24:27,132 --> 00:24:31,205
If evil becomes
more and more evil,
368
00:24:31,736 --> 00:24:35,445
that necessarily means
communication and exchange.
369
00:24:35,606 --> 00:24:39,349
Communication doesn't always
have to involve good.
370
00:24:39,510 --> 00:24:42,081
Communication can involve evil.
371
00:24:42,247 --> 00:24:45,057
It's the spirit of evil at work
from start to finish.
372
00:24:46,017 --> 00:24:47,758
You're right to speak
of communication.
373
00:24:47,919 --> 00:24:50,126
We have to feel it.
374
00:24:50,288 --> 00:24:54,134
But we're not used
to feeling it in evil.
375
00:24:55,626 --> 00:24:59,233
- Mr. Bresson told us -
- Can't hear you!
376
00:24:59,564 --> 00:25:01,066
Sorry.
377
00:25:02,634 --> 00:25:05,774
Mr. Bresson said that
what interests him
378
00:25:05,936 --> 00:25:10,385
and what's behind
his desire to make films
379
00:25:10,541 --> 00:25:12,987
is his attempt
380
00:25:13,144 --> 00:25:16,284
to reproduce something he feels.
381
00:25:16,548 --> 00:25:20,325
I'd like to ask him whether,
382
00:25:20,684 --> 00:25:24,690
in making this film
or some other film,
383
00:25:24,990 --> 00:25:29,370
he's ever failed
to achieve that reproduction...
384
00:25:30,828 --> 00:25:33,069
for any reason.
385
00:25:33,597 --> 00:25:38,047
I wonder if he'd talk about that.
386
00:25:47,144 --> 00:25:49,125
I don't understand the question.
387
00:25:49,647 --> 00:25:51,320
Could you repeat
the question, please?
388
00:25:51,482 --> 00:25:55,726
Make it simpler.
What can I say?
389
00:25:55,886 --> 00:26:00,301
Earlier you said
that what you sought
390
00:26:00,458 --> 00:26:03,961
was to reproduce
something that you felt.
391
00:26:06,030 --> 00:26:09,534
- Speak into the mic.
- It doesn't work.
392
00:26:12,369 --> 00:26:14,349
Then speak loudly.
393
00:26:14,772 --> 00:26:18,219
Earlier you said
that what you sought,
394
00:26:18,375 --> 00:26:23,951
what was behind
your desire to make films,
395
00:26:24,115 --> 00:26:28,689
was to reproduce something
that you felt, a feeling.
396
00:26:28,853 --> 00:26:30,196
Exactly.
397
00:26:30,355 --> 00:26:36,396
My question is if you've ever failed,
over the course of your career,
398
00:26:36,560 --> 00:26:39,201
either with this film
or some other film,
399
00:26:39,364 --> 00:26:43,971
in the use of the means
you mentioned for any reason.
400
00:26:44,134 --> 00:26:47,081
I can't tell you that.
You have to tell me.
401
00:26:47,238 --> 00:26:50,879
If what I do doesn't speak to you,
then that's that.
402
00:26:55,779 --> 00:26:58,020
Then I didn't do my job well.
403
00:26:58,182 --> 00:27:01,824
If you didn't feel anything,
I haven't done a good job.
404
00:27:06,057 --> 00:27:08,264
So you're not interested
in talking about -
405
00:27:08,425 --> 00:27:11,566
I am, but not about
the same things as you.
406
00:27:11,863 --> 00:27:13,968
Not at the same moment as you.
407
00:27:14,132 --> 00:27:19,240
I fear that audiences
accustomed to the sort of films
408
00:27:19,403 --> 00:27:21,611
that I myself no longer watch
409
00:27:21,972 --> 00:27:25,078
but which I "feel" -
that word once again -
410
00:27:25,242 --> 00:27:28,246
through their titles,
what I hear about them,
411
00:27:28,413 --> 00:27:30,551
those audiences
are incapable of feeling
412
00:27:30,714 --> 00:27:33,024
what I attempt
to make them feel.
413
00:27:33,183 --> 00:27:35,721
We're in entirely different worlds.
414
00:27:35,987 --> 00:27:41,061
To compare it with other films
leads absolutely nowhere.
415
00:27:45,363 --> 00:27:47,536
A film should not be
entertainment.
416
00:27:47,699 --> 00:27:51,442
All films shown in theatres
are entertainment.
417
00:27:51,603 --> 00:27:55,312
I don't want my films to be -
My film can't be entertainment.
418
00:28:12,457 --> 00:28:16,337
If Mr. Bresson
doesn't work with actors,
419
00:28:16,493 --> 00:28:18,871
why are there acting schools?
420
00:28:19,196 --> 00:28:22,075
I'd like to know too!
421
00:28:24,368 --> 00:28:26,939
They exist for "movies."
422
00:28:27,905 --> 00:28:31,682
“Movies" are fine.
They make money for producers.
423
00:28:32,210 --> 00:28:37,489
But cinema cannot remain
forever just movies
424
00:28:37,648 --> 00:28:39,355
and only movies.
425
00:28:39,750 --> 00:28:41,320
Take painting,
426
00:28:41,486 --> 00:28:43,989
which is more serious
and more established.
427
00:28:44,154 --> 00:28:46,156
Painting has evolved.
428
00:28:46,324 --> 00:28:50,170
It's not just
primitive painting anymore.
429
00:28:50,327 --> 00:28:52,898
It's become other things.
430
00:28:53,565 --> 00:28:55,602
It has constantly evolved.
431
00:28:55,767 --> 00:28:58,907
Why do you want
to stick with your “movies”?
432
00:28:59,069 --> 00:29:02,812
Aren't you curious or interested
in something new?
433
00:29:06,009 --> 00:29:09,480
Aren't you curious?
You always like the same things?
434
00:29:10,248 --> 00:29:14,594
Always the same actors
and actresses?
435
00:29:15,353 --> 00:29:18,994
You like lovely postcard images,
things like that?
436
00:29:19,423 --> 00:29:20,960
Is that it?
437
00:29:24,095 --> 00:29:26,803
Last question.
438
00:29:27,565 --> 00:29:29,635
Just two more questions.
439
00:29:29,800 --> 00:29:31,609
One.
440
00:29:32,903 --> 00:29:34,815
I hope it's a good one.
441
00:29:34,972 --> 00:29:37,009
Really good.
442
00:29:37,174 --> 00:29:40,678
Since you say
you don't seek glory or renown -
443
00:29:40,845 --> 00:29:44,918
Let's stop talking about glory.
It doesn't interest me in the least.
444
00:29:45,083 --> 00:29:47,427
Okay. Here's my question:
445
00:29:47,751 --> 00:29:52,565
Why do you agree to attend
a competition like Cannes -
446
00:29:52,723 --> 00:29:54,532
I wonder that myself!
447
00:29:54,692 --> 00:29:59,198
Before my film, they screened
a film that derailed everything
448
00:29:59,364 --> 00:30:01,469
for at least half an hour.
449
00:30:01,633 --> 00:30:04,636
A lovely film to look at,
smart and well done,
450
00:30:04,803 --> 00:30:07,409
that had nothing
to do with my film.
451
00:30:07,571 --> 00:30:11,144
If you were a chef
who'd perfected a dish,
452
00:30:11,308 --> 00:30:16,315
you wouldn't serve an appetizer
before it with a spicy sauce...
453
00:30:17,214 --> 00:30:21,959
that made it impossible to taste
the main dish, would you?
454
00:30:22,420 --> 00:30:25,798
That happens constantly.
It happened to me here.
33371
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