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1
00:02:16,729 --> 00:02:19,800
At the side of the freeway right
at the entry to the Paris airport...
2
00:02:20,439 --> 00:02:25,389
stands a maiestic tree that signals
my arrivals and departures.
3
00:02:26,379 --> 00:02:30,479
lt's a cedar from Lebanon that
must be at least 150 years-old.
4
00:02:31,250 --> 00:02:34,120
The last time l went by on my way
to the festival in Cannes...
5
00:02:34,719 --> 00:02:36,530
the tree had
a different message.
6
00:02:36,990 --> 00:02:39,509
lt reminded me that it had seen
the beginnings of photography...
7
00:02:40,060 --> 00:02:43,599
and the entire history of cinema.
which it might just as well survive.
8
00:02:44,689 --> 00:02:48,289
so l arrived in Cannes with a
question. that l asked my colleagues.
9
00:02:52,530 --> 00:02:54,340
How long is the reel?
10
00:02:54,800 --> 00:02:56,759
-10 minutes.
-fine.
11
00:03:06,319 --> 00:03:08,069
l've got this piece of paper
that Wim Wenders gave me.
12
00:03:08,520 --> 00:03:13,409
He's set up a camera
and a tape recorder...
13
00:03:14,759 --> 00:03:17,800
and left me here.
14
00:03:19,759 --> 00:03:22,889
But he hasn't set me properly...
15
00:03:24,530 --> 00:03:26,810
for me to see the tennis game.
16
00:03:28,370 --> 00:03:34,169
lt's a ball.
A ball who talks.
17
00:03:35,180 --> 00:03:38,689
l'll play the ball.
l'll play the fool.
18
00:03:40,520 --> 00:03:43,150
this is an enquiry about
the future of the cinema.
19
00:03:43,719 --> 00:03:45,530
the context:
20
00:03:45,990 --> 00:03:49,469
more and more movies
Iook like TV series...
21
00:03:50,159 --> 00:03:54,080
in terms of lighting.
framing. and editing.
22
00:03:54,830 --> 00:03:57,610
for large parts of the audience
all over the world...
23
00:03:58,199 --> 00:04:03,120
a television aesthetic has
replaced a cinematic aesthetic.
24
00:04:04,039 --> 00:04:05,680
Well...
25
00:04:06,110 --> 00:04:08,979
you have to know
who invented television...
26
00:04:09,580 --> 00:04:12,889
and what the context was.
27
00:04:13,919 --> 00:04:17,579
lts arrival coincided with
the talkies...
28
00:04:18,649 --> 00:04:23,839
at a time when governments were
half-consciously thinking of...
29
00:04:24,759 --> 00:04:29,560
harnessing the incredible power...
30
00:04:30,430 --> 00:04:33,360
that was released by the silent film...
31
00:04:33,970 --> 00:04:37,870
which. unlike painting.
achieved instant popularity.
32
00:04:38,610 --> 00:04:40,660
Popularity among the masses.
33
00:04:41,139 --> 00:04:43,949
Rembrandt's paintings...
34
00:04:44,550 --> 00:04:47,360
and Mozart's music were supported
by kings and princes.
35
00:04:47,949 --> 00:04:53,430
But it was a mass public that very
quickly came to support....
36
00:04:54,389 --> 00:04:55,470
the cinema.
37
00:04:58,629 --> 00:05:02,730
the silent movie was
something to behold.
38
00:05:03,500 --> 00:05:05,959
first you look. then you speak.
39
00:05:06,540 --> 00:05:09,379
the sound film might've been invented
right away. but that didn't happen.
40
00:05:09,970 --> 00:05:12,139
lnstead. it took thirty years.
the age of reason...
41
00:05:12,639 --> 00:05:17,529
Whoever has the power has right
on his side. as l said in a movie.
42
00:05:20,250 --> 00:05:23,879
first came the technical
birth of television.
43
00:05:24,589 --> 00:05:26,699
When the film people
weren't interested in it...
44
00:05:27,189 --> 00:05:32,050
it had to be rescued by the post
office. people in communications.
45
00:05:32,930 --> 00:05:37,180
so. today. television...
46
00:05:37,970 --> 00:05:40,959
is like a little post office.
47
00:05:41,569 --> 00:05:43,790
lt's nothing to be afraid of.
it's so small...
48
00:05:44,310 --> 00:05:48,819
and you have to be
very close to the picture...
49
00:05:49,639 --> 00:05:52,449
ln the cinema
on the other hand. the picture...
50
00:05:53,050 --> 00:05:56,009
is large and intimidating... and you
watch it from some distance.
51
00:05:56,620 --> 00:05:59,899
today. it seems people would rather
Iook at a small picture close up...
52
00:06:00,560 --> 00:06:02,990
than a large one from a distance.
53
00:06:06,730 --> 00:06:10,160
television emerged very quickly
because it was born in the USA.
54
00:06:10,829 --> 00:06:14,930
lt was born at the very same time
as the advertising that financed it.
55
00:06:15,699 --> 00:06:19,420
so it was the highly articulate
advertising world...
56
00:06:20,139 --> 00:06:24,860
saying things in a
single phrase or image...
57
00:06:25,709 --> 00:06:30,069
like Eisenstein
as good as Eisenstein...
58
00:06:30,889 --> 00:06:33,199
as good as Potemkin.
59
00:06:33,790 --> 00:06:38,589
so they made ads like Potemxin.
only Potemxin is 90 minutes long.
60
00:06:39,459 --> 00:06:45,000
An ad is less than a minute long.
because otherwise...
61
00:06:45,970 --> 00:06:48,139
you would have to tell
the truth about...
62
00:06:48,639 --> 00:06:53,680
the car. the tennis racket...
63
00:06:55,540 --> 00:07:00,050
lt is linked to the truth
and we admit the lack of it...
64
00:07:00,879 --> 00:07:03,129
and all the chattering
that goes with it.
65
00:07:04,420 --> 00:07:06,319
More and more movies
talk about other movies...
66
00:07:06,790 --> 00:07:09,689
rather than about a reality
outside the cinema.
67
00:07:10,290 --> 00:07:14,889
lt's true. It's difficult to shoot
outdoors. you have to take risks.
68
00:07:15,730 --> 00:07:19,540
lt seems that life can't provide
stories with no troubles.
69
00:07:20,269 --> 00:07:22,610
As soon as there is trouble
we say there is no story.
70
00:07:23,139 --> 00:07:25,829
We just want a story
we know already.
71
00:07:26,410 --> 00:07:30,829
We are reassured not because it's the
story of Alain Delon and his gun...
72
00:07:31,649 --> 00:07:36,480
or Charles Bronson
or something like that...
73
00:07:37,350 --> 00:07:38,990
but because we know the end...
74
00:07:39,420 --> 00:07:41,699
we are reassured about
our own story.
75
00:07:42,220 --> 00:07:47,199
l think a picture is like
an X-ray you take. sick or not.
76
00:07:48,100 --> 00:07:53,170
You get worried or reassured after
seeing a bit of your own story.
77
00:07:54,269 --> 00:08:00,009
And television is made
in the name of power...
78
00:08:01,339 --> 00:08:04,209
political and money power.
79
00:08:04,810 --> 00:08:09,439
they don't want a story.
there is no story in Dallas.
80
00:08:11,189 --> 00:08:14,500
sometimes that is
what l like about Dallas.
81
00:08:16,089 --> 00:08:21,949
''fewer and fewer movies are made''.
that's false. We're making more films.
82
00:08:23,029 --> 00:08:28,889
Americans are very good.
they make fewer movies.
83
00:08:30,540 --> 00:08:34,580
they found out that you need
to make fewer movies.
84
00:08:35,340 --> 00:08:37,360
Hollywood's dream is
to make one movie...
85
00:08:37,850 --> 00:08:41,279
but the television makes it and
to have it distributed everywhere.
86
00:08:41,950 --> 00:08:46,460
Movie and TV series
change titles...
87
00:08:47,289 --> 00:08:49,429
but they are still the same.
88
00:08:49,929 --> 00:08:54,289
text becomes more important
to characterize the story.
89
00:08:56,129 --> 00:08:58,850
so people can think
it's different.
90
00:08:59,429 --> 00:09:01,860
like kids...
91
00:09:03,870 --> 00:09:06,299
Why do people have kids?
92
00:09:07,610 --> 00:09:09,450
''there is a focus towards
big productions.''
93
00:09:09,909 --> 00:09:12,690
we do less but distribute
more widely.
94
00:09:13,279 --> 00:09:16,029
small movies tend to disappear.
95
00:09:16,620 --> 00:09:18,580
Cinema was born with small movies.
96
00:09:19,049 --> 00:09:24,059
small nations too. poor or rich.
will disappear.
97
00:09:24,960 --> 00:09:28,330
Everything small.
98
00:09:37,269 --> 00:09:40,899
''film on VHS are available
very quickly.''
99
00:09:41,610 --> 00:09:43,190
Yes...
100
00:09:43,809 --> 00:09:45,769
this new market is booming.
101
00:09:46,250 --> 00:09:50,639
People prefer to watch movies
at home on tape.
102
00:09:51,850 --> 00:09:54,509
lt's just a pretext.
103
00:09:55,690 --> 00:10:00,580
A porn movie at home on tape
is a pretext to invite a girl...
104
00:10:01,460 --> 00:10:06,559
and it's avoiding the minimal work...
105
00:10:07,470 --> 00:10:08,779
of talking to her about love.
106
00:10:09,669 --> 00:10:13,149
so l don't know...
107
00:10:21,149 --> 00:10:25,950
''ls cinema dying out as a language.
will it soon be a defunct art form?''
108
00:10:28,519 --> 00:10:30,009
lt really doesn't matter.
It's bound to happen some time.
109
00:10:30,429 --> 00:10:34,210
l shall die. but will my art die?
110
00:10:34,929 --> 00:10:36,159
l remember telling
Henri Langlois that...
111
00:10:36,529 --> 00:10:39,460
he should throw away
his collection of films...
112
00:10:40,070 --> 00:10:42,649
and go off somewhere.
otherwise he would die.
113
00:10:43,200 --> 00:10:47,360
so one should just go off somewhere.
It's much the better way.
114
00:11:20,809 --> 00:11:25,970
films are created when
there's no one looking.
115
00:11:28,149 --> 00:11:31,190
they are the invisible.
116
00:11:31,820 --> 00:11:36,799
What you can't see
is the Incredible...
117
00:11:37,690 --> 00:11:42,029
and it's the task of the cinema
to show you that.
118
00:11:42,830 --> 00:11:46,110
to show what you can't see.
119
00:12:44,190 --> 00:12:46,850
l'm sitting here
in front of the camera...
120
00:12:49,799 --> 00:12:53,429
but in reality. in my head.
l'm behind it.
121
00:12:59,970 --> 00:13:03,809
My world is the imaginary and...
122
00:13:06,009 --> 00:13:11,809
that's a journey between
forwards and backwards...
123
00:13:12,820 --> 00:13:14,600
between to and from.
124
00:13:15,620 --> 00:13:19,460
like Wim. l'm a great traveler.
see you later.
125
00:13:39,450 --> 00:13:40,679
Bye.
126
00:13:44,120 --> 00:13:48,950
''ls cinema a language about
to get lost. an art about to die?''
127
00:13:51,490 --> 00:13:53,710
Answer: yes. l think.
128
00:13:56,899 --> 00:13:59,330
lt's obvious that
it's on the way out.
129
00:13:59,870 --> 00:14:02,009
there's no reason
to suspect otherwise.
130
00:14:02,500 --> 00:14:05,220
the novel has been dead for
a long while. People know that.
131
00:14:05,809 --> 00:14:10,230
Poetry is exhausted
a hundred years ago.
132
00:14:11,049 --> 00:14:13,860
Plays hardly exist.
Once in a while.
133
00:14:14,450 --> 00:14:18,960
And every now and then.
there's a movie. But that's about all.
134
00:14:20,360 --> 00:14:25,139
the television is replacing it? Yes.
135
00:14:25,990 --> 00:14:28,039
l. myself...
136
00:14:28,529 --> 00:14:31,570
prefer watching most television
to most movies.
137
00:14:34,799 --> 00:14:39,899
l think the reason why movies
are dropping dead...
138
00:14:40,809 --> 00:14:43,149
is the same as with the novel.
139
00:14:45,779 --> 00:14:48,649
the novel had life in it when...
140
00:14:49,250 --> 00:14:51,909
it was based upon characters...
141
00:14:52,490 --> 00:14:56,440
when the novel was a vehicle
for an artist to create characters.
142
00:14:57,190 --> 00:14:59,559
there was a novel. people read it.
143
00:15:00,090 --> 00:15:05,190
When there was plays. like
Shakespeare. anybody. Shaw...
144
00:15:06,100 --> 00:15:10,350
there's only good plays. Molisre.
if they wrote good characters.
145
00:15:11,139 --> 00:15:13,539
the plots in their plays.
their philosophy...
146
00:15:14,080 --> 00:15:16,799
their meaning. their politics.
are all negligible.
147
00:15:17,379 --> 00:15:20,159
Most of them were ridiculous. stupid.
they go out of fashion.
148
00:15:20,750 --> 00:15:23,149
But good characters stay alive.
149
00:15:23,690 --> 00:15:26,850
the movies don't use
characters anymore.
150
00:15:27,490 --> 00:15:31,769
they use some horrible thing called
''directors and photography''.
151
00:15:32,559 --> 00:15:36,070
l prefer television because
television uses people.
152
00:15:36,759 --> 00:15:41,240
there're no directors on television.
It has much more life than movies.
153
00:15:42,070 --> 00:15:44,409
there're characters on television
on the talk-shows...
154
00:15:44,940 --> 00:15:48,600
there're characters on sitcom
situation comedies.
155
00:15:49,309 --> 00:15:52,820
there're characters on weekly series.
adventure series.
156
00:15:53,509 --> 00:15:58,230
the intrusion of director
does not exist in television.
157
00:15:59,090 --> 00:16:01,840
the material is second-rate...
158
00:16:02,419 --> 00:16:04,610
but the material of the movies
is second-rate.
159
00:16:05,129 --> 00:16:08,500
But people does exist on television.
It's better.
160
00:16:09,159 --> 00:16:10,330
And...
161
00:16:10,870 --> 00:16:15,000
maybe one day television will
die out too. but...
162
00:16:15,769 --> 00:16:16,970
l don't know.
163
00:16:17,340 --> 00:16:18,769
l. myself...
164
00:16:20,879 --> 00:16:26,070
think the movie critics. more than
anything. have destroyed films.
165
00:16:28,649 --> 00:16:32,159
ro ask a director like myself.
from the Philippines...
166
00:16:32,850 --> 00:16:36,389
what the future of the cinema is
l find...
167
00:16:39,529 --> 00:16:43,009
a very absurd question.
because...
168
00:16:43,700 --> 00:16:46,889
to ask what the future
of cinema is in Philippines...
169
00:16:47,539 --> 00:16:50,669
like asking what the
future of Philippines is.
170
00:16:54,940 --> 00:16:56,549
-Good bye.
-Bye.
171
00:16:56,980 --> 00:16:58,620
Nice to meet you.
172
00:17:12,460 --> 00:17:14,069
l don't...
173
00:17:15,359 --> 00:17:17,759
go to the movies very much anymore.
174
00:17:18,930 --> 00:17:22,359
l have a video recorder...
175
00:17:23,039 --> 00:17:26,730
and l record videos off the air.
176
00:17:27,440 --> 00:17:30,160
But l don't watch them while
they're being recorded.
177
00:17:30,750 --> 00:17:35,819
and l very rarely look at them
after l've recorded them.
178
00:17:36,819 --> 00:17:42,589
l have a library with
200 movies that l...
179
00:17:44,289 --> 00:17:45,930
l never see.
180
00:17:52,829 --> 00:17:54,759
l think that...
181
00:17:57,039 --> 00:17:59,230
it doesn't really matter much...
182
00:17:59,740 --> 00:18:04,490
wether movies look like TV
or TV looks like movies...
183
00:18:05,349 --> 00:18:11,210
or wether the language
in the cinema is changing.
184
00:18:13,019 --> 00:18:17,910
l don't that pictures are dying.
l think that...
185
00:18:21,759 --> 00:18:25,099
there are good times
and bad times for movies. And...
186
00:18:27,099 --> 00:18:30,910
l think that the last few years...
187
00:18:31,640 --> 00:18:34,220
have been a bad period.
l think that...
188
00:18:34,779 --> 00:18:39,059
haven't been a lot of movies
that l cared to see...
189
00:18:39,849 --> 00:18:43,279
and the ones that l have seen
l've been disappointed in. so...
190
00:18:43,950 --> 00:18:49,490
lf l go to see a movie that disturbs
me because it's not very good...
191
00:18:50,460 --> 00:18:56,109
that l'll look for an old movie
that l've seen before that l like.
192
00:18:57,099 --> 00:19:02,750
And l'll go to see it and l get some
kind of nourishment from it.
193
00:19:11,009 --> 00:19:15,200
''ls cinema dying out as a language.
will it soon be a defunct art form?''
194
00:19:15,980 --> 00:19:20,990
l don't think so. If you look at
the development of television...
195
00:19:21,890 --> 00:19:25,519
it is going to be
this fabulous tool...
196
00:19:26,230 --> 00:19:31,470
and its incredible ability
to beam out films...
197
00:19:32,400 --> 00:19:36,349
all over the world by satellite...
198
00:19:37,099 --> 00:19:40,730
and everybody will be able
to watch them simultaneously.
199
00:19:41,440 --> 00:19:45,130
thanks to that amaZing
device called video...
200
00:19:45,849 --> 00:19:49,250
Well. then l do feel that cinema
as we know it is on the way out.
201
00:19:49,920 --> 00:19:54,200
Even while l was making my film
''Mourir � 30 Ans''...
202
00:19:54,990 --> 00:19:57,859
l would sometimes
have this feeling...
203
00:19:58,460 --> 00:20:01,970
that it was all out of date.
204
00:20:02,660 --> 00:20:07,960
Magnetic sound recording.
all the lab processing...
205
00:20:08,900 --> 00:20:11,890
the things you have
to do to a film...
206
00:20:12,509 --> 00:20:18,369
how cumbersome and
time-consuming it all is...
207
00:20:19,380 --> 00:20:23,390
when all you're doing is
trying to tell a story.
208
00:20:24,150 --> 00:20:27,369
for instance. when l was shooting
''Mourir � 30 Ans''...
209
00:20:28,289 --> 00:20:29,519
telephone.
210
00:20:30,220 --> 00:20:31,509
Hello?
211
00:20:32,529 --> 00:20:36,369
No. nobody here.
l am alone.
212
00:20:40,640 --> 00:20:46,000
l don't know. because l am alone.
l can't answer to you.
213
00:20:54,420 --> 00:20:56,529
Very strange talking to yourself.
214
00:21:03,660 --> 00:21:05,299
l don't know. l don't know.
215
00:21:06,259 --> 00:21:09,299
l'd like to think
that films are...
216
00:21:09,930 --> 00:21:12,390
l don't know.
Let me just talk personally.
217
00:21:12,930 --> 00:21:17,089
the reason l make movies
l think films are about passion' n.
218
00:21:17,869 --> 00:21:22,319
People make a film the same way
they might paint a painting...
219
00:21:23,140 --> 00:21:26,240
because they are passionate about
something. because they like life...
220
00:21:26,880 --> 00:21:30,720
and they want to reflect that and
they put it in a certain form.
221
00:21:31,450 --> 00:21:36,369
When that passion
goes out of movies...
222
00:21:37,259 --> 00:21:40,480
that's when it starts
to die like any...
223
00:21:41,130 --> 00:21:45,289
like any other art form
that just becomes...
224
00:21:46,400 --> 00:21:47,799
lifeless.
225
00:21:48,640 --> 00:21:50,750
lt's not the cinema that's dead.
226
00:21:51,240 --> 00:21:53,410
lt's the filmmakers
who make moronic films.
227
00:21:53,910 --> 00:21:56,250
People die because they're not allowed
to make the films they want to. But...
228
00:21:56,779 --> 00:21:58,299
that's another story...
229
00:22:46,789 --> 00:22:49,509
''there are fewer movies
being made''. that's true.
230
00:22:50,099 --> 00:22:52,029
films are getting polarized.
231
00:22:53,569 --> 00:22:57,349
One strand of cinema
sensation-oriented cinema...
232
00:22:58,069 --> 00:23:01,029
which tends to be
colossal and bombastic...
233
00:23:02,910 --> 00:23:05,079
you can definitely see that.
234
00:23:05,880 --> 00:23:08,019
On the other hand
like l said...
235
00:23:08,519 --> 00:23:12,000
there is very individual cinema...
236
00:23:12,690 --> 00:23:17,700
or national cinema of
individual filmmakers...
237
00:23:20,029 --> 00:23:25,660
which is far more important today...
238
00:23:26,630 --> 00:23:30,230
than cinema which is
indistinguishable from television.
239
00:23:50,519 --> 00:23:53,920
l think l'll start by taking
my shoes off.
240
00:23:55,059 --> 00:23:58,160
You can't answer a question
like that with your shoes on.
241
00:24:16,920 --> 00:24:21,400
l don't see the situation
in such a dramatic way...
242
00:24:22,220 --> 00:24:26,119
as the question seems to imply.
243
00:24:27,930 --> 00:24:33,759
l feel that we aren't all that
dependent on television.
244
00:24:35,400 --> 00:24:39,789
film aesthetic is something
apart and separate.
245
00:24:40,609 --> 00:24:43,859
TV is just a kind of jukebox.
246
00:24:44,509 --> 00:24:47,529
You're never inside the space of
a theater or inside the film itself.
247
00:24:48,150 --> 00:24:51,809
you have sort of a mobile position
as a viewer.
248
00:24:52,519 --> 00:24:56,180
And you can switch it off.
You can't switch off a cinema.
249
00:24:59,730 --> 00:25:03,539
l'm not all that worried.
250
00:25:04,269 --> 00:25:09,190
l was talking to a friend
one night recently in New York.
251
00:25:10,069 --> 00:25:14,109
We went for a long walk and he
told me how worried he was about...
252
00:25:14,880 --> 00:25:18,420
everything being taken over
by video and television.
253
00:25:19,109 --> 00:25:24,970
soon. you'll choose vegetables in
the supermarket by video camera...
254
00:25:25,990 --> 00:25:28,160
or by pressing buttons
on your telephone...
255
00:25:28,660 --> 00:25:33,079
or your computer.
you can order your meal.
256
00:25:33,890 --> 00:25:39,279
lt won't be long before you can draw
money out of the bank via video...
257
00:25:40,230 --> 00:25:43,859
or this medium here.
258
00:25:45,339 --> 00:25:50,380
''l'm not so worried about camera
or film''. l said to him...
259
00:25:51,279 --> 00:25:55,730
''because whatever happens there.
that's not where life happens.
260
00:25:56,619 --> 00:25:59,519
Life is going on somewhere else.
Wherever life is dynamic...
261
00:26:00,119 --> 00:26:03,660
wherever life touches us
most directly...
262
00:26:04,359 --> 00:26:07,519
that's where you'll find the cinema.
263
00:26:08,160 --> 00:26:10,940
And that's what will survive.
264
00:26:12,869 --> 00:26:15,359
Only that will always survive.''
265
00:26:19,410 --> 00:26:20,720
And...
266
00:26:21,839 --> 00:26:24,940
therefore l am most likely
the last one who is worried...
267
00:26:25,579 --> 00:26:29,589
the last one who is worried
about a question like that.
268
00:26:36,160 --> 00:26:38,240
l'm gonna turn it off now.
269
00:26:44,799 --> 00:26:47,019
l started out writing.
l wrote these novels...
270
00:26:47,529 --> 00:26:51,480
and l felt like l was trapped inside
this enormous tradition.
271
00:26:52,240 --> 00:26:54,289
Movies for me were free
there were no rules.
272
00:26:54,779 --> 00:26:57,029
there was my turf. l could do
anything l wanted to do...
273
00:26:57,539 --> 00:27:00,819
just like everybody else was doing.
274
00:27:01,750 --> 00:27:03,619
that's movies. you know?
275
00:27:04,079 --> 00:27:06,980
Cinema's already...
the books are on the shelf.
276
00:27:08,920 --> 00:27:12,700
Personally. l'd like to stop
making films every day.
277
00:27:14,900 --> 00:27:16,980
lf l could put together...
278
00:27:17,460 --> 00:27:20,119
small productions
to make small films...
279
00:27:20,700 --> 00:27:23,690
with the energy and passion
that l know l have...
280
00:27:24,299 --> 00:27:26,109
that would be my choice.
281
00:27:27,170 --> 00:27:31,180
Here. instead. l perceive...
282
00:27:32,349 --> 00:27:35,190
that the screenwriter disappears...
283
00:27:36,519 --> 00:27:40,180
and the language
and subject matter...
284
00:27:41,859 --> 00:27:44,140
are not that interesting.
285
00:27:45,930 --> 00:27:48,619
l don't know what else
l can say...
286
00:27:52,369 --> 00:27:54,450
but l would like...
287
00:27:56,200 --> 00:27:57,599
to emphasize...
288
00:27:58,740 --> 00:28:01,900
that electronic films
do not interest me.
289
00:28:04,380 --> 00:28:07,599
And l think they can't really interest
any true artist.
290
00:28:08,720 --> 00:28:11,849
l am grateful for this interview
in every way.
291
00:28:13,289 --> 00:28:16,480
Later l would even like to see it.
292
00:28:17,119 --> 00:28:18,549
thank you.
293
00:28:26,470 --> 00:28:28,049
the truth is...
294
00:28:30,069 --> 00:28:34,930
the problem l have with the cinema.
with the films l watch...
295
00:28:35,880 --> 00:28:41,009
with the directors l like and
who affect my work. is this:
296
00:28:41,950 --> 00:28:46,049
how do you make a film
without getting trapped...
297
00:28:46,819 --> 00:28:49,859
in a vicious circle?
298
00:28:50,490 --> 00:28:55,559
A film is made from creativity.
struggle and pain.
299
00:28:56,500 --> 00:29:02,150
But people who make films
no longer take the time to live.
300
00:29:03,140 --> 00:29:07,450
filmmaking overlaps with life
to such an extent that...
301
00:29:08,240 --> 00:29:10,990
you have to ask yourself.
at what point...
302
00:29:11,579 --> 00:29:14,769
am l putting my own life on the
screen. or living out my own films?
303
00:29:15,420 --> 00:29:20,339
the interweaving is so strong...
304
00:29:21,220 --> 00:29:27,079
l don't know if today movie makers and
movie-goers take their time to live.
305
00:29:33,029 --> 00:29:35,309
l'm one of the last of optimists...
306
00:29:35,839 --> 00:29:39,910
about the history and the future of the
motion picture industry in Hollywood.
307
00:29:40,670 --> 00:29:44,039
But l really believe that all
my colleagues who...
308
00:29:44,710 --> 00:29:46,259
love film...
309
00:29:47,650 --> 00:29:49,789
and know nothing else...
310
00:29:50,779 --> 00:29:52,009
lf there were...
311
00:29:52,390 --> 00:29:55,170
lf the end of the world came. we
couldn't dig a hole to climb into.
312
00:29:55,759 --> 00:29:59,829
We wouldn't know how to do that
either. We know movie making.
313
00:30:00,589 --> 00:30:05,039
so l have to be very optimistic
that movies are only going to...
314
00:30:08,640 --> 00:30:10,160
expand...
315
00:30:11,210 --> 00:30:14,309
Hopefully. not at the expense of
other films that might contract...
316
00:30:14,940 --> 00:30:16,250
for economic reasons.
317
00:30:16,640 --> 00:30:19,509
Because we all know money is
short today. It's 1982.
318
00:30:20,109 --> 00:30:22,660
the dollar doesn't stretch as much
as it used to.
319
00:30:23,220 --> 00:30:29,079
ln 1974. when l made ''Jaws'' and
l went a 100 days over schedule...
320
00:30:30,089 --> 00:30:33,160
went from 55 to 155 shooting days...
321
00:30:33,789 --> 00:30:36,069
the budget went to US$ 8 millions.
which is twice as much.
322
00:30:36,599 --> 00:30:40,609
today. because of the dollar.
the franc. the Marc...
323
00:30:41,369 --> 00:30:43,390
the Yen. whatever...
324
00:30:43,869 --> 00:30:49,000
because we're experiencing runaway
inflation within the film business...
325
00:30:49,910 --> 00:30:52,369
''Jaws'' today would probably cost
about US$ 27 millions...
326
00:30:52,910 --> 00:30:55,279
if you shot a 155 shooting days.
a full crew...
327
00:30:55,819 --> 00:31:00,420
away from home. in local motels. have
to feed them and take care of them.
328
00:31:01,259 --> 00:31:02,490
so...
329
00:31:03,720 --> 00:31:05,240
my fear is...
330
00:31:06,589 --> 00:31:09,609
that a movie like my
most current film. ''E.R.''...
331
00:31:10,230 --> 00:31:13,009
,
which cost US$ 10.3 millions
which for me is...
332
00:31:13,599 --> 00:31:16,440
really the least expensive movie l've
made in the last couple of years...
333
00:31:17,039 --> 00:31:19,970
,
Even a film like ''E.r.''
5 years from now...
334
00:31:20,569 --> 00:31:25,049
will cost US$ 18 millions. that picture
takes place in a house. children...
335
00:31:25,880 --> 00:31:28,690
a backyard. a front yard.
one shot in the forest.
336
00:31:29,750 --> 00:31:31,799
Very limited locations.
337
00:31:34,490 --> 00:31:37,970
l don't think we can go around
blaming people for...
338
00:31:39,430 --> 00:31:41,130
blaming unions for
inflating budgets...
339
00:31:41,559 --> 00:31:45,539
by the annual 150% increase
in Hollywood across the board.
340
00:31:46,700 --> 00:31:50,240
We can't just blame the government
nor the shrinking dollar.
341
00:31:51,269 --> 00:31:52,670
Because there's nobody to blame...
342
00:31:53,069 --> 00:31:55,500
because of the state
of the economic art...
343
00:31:56,240 --> 00:31:58,609
l think the best do can do
is just live with what we got...
344
00:31:59,150 --> 00:32:00,700
make the best movies
we know how.
345
00:32:01,109 --> 00:32:04,450
lf we've to compromise to make a film
that looks like a US$ 15 millions...
346
00:32:05,119 --> 00:32:08,960
or perhaps US$ 3 or 4 millions.
we just gonna have to do it.
347
00:32:09,690 --> 00:32:12,529
We're the prisoners from
our own time. and our generation...
348
00:32:13,130 --> 00:32:17,519
is the only generation that's gonna be
able to break through this kind of...
349
00:32:21,769 --> 00:32:23,960
l don't know what you would call it.
kind of like be a...
350
00:32:27,170 --> 00:32:28,980
lt seems that Hollywood...
351
00:32:29,440 --> 00:32:31,549
lt's not that l'm guilt of this.
l've just been...
352
00:32:32,049 --> 00:32:34,599
fortunate to have made
some very successful films...
353
00:32:35,150 --> 00:32:38,049
but seems like everybody
in studio positions...
354
00:32:38,650 --> 00:32:41,140
with the power to say yes.
and the power to say no...
355
00:32:41,690 --> 00:32:42,980
wants a homerun with
everybody on base...
356
00:32:43,359 --> 00:32:47,339
they want a grand slam.
with the games tied 4 and 4.
357
00:32:48,099 --> 00:32:51,059
Everybody wants to be a hero.
358
00:32:51,670 --> 00:32:55,569
And they want to ride into Hollywood
at the 11th hour...
359
00:32:56,299 --> 00:32:59,369
and pull a piece
of shit out of the...
360
00:33:00,009 --> 00:33:01,849
closet and turn into
some sort of a silk purse...
361
00:33:02,309 --> 00:33:04,039
and you have a last-minute hit...
362
00:33:04,480 --> 00:33:07,380
and everybody wants the hit
to be a US$ 100 millions hit.
363
00:33:08,650 --> 00:33:12,019
there seems to be an attitude among
the people who run the studios...
364
00:33:12,690 --> 00:33:15,849
not all of them. but a lot of people
who run the studios...
365
00:33:16,490 --> 00:33:18,569
seem to have an attitude that...
366
00:33:19,190 --> 00:33:23,319
if a film can't at least reach
3rd base let alone home...
367
00:33:24,099 --> 00:33:25,740
then we don't really know if they
wanna make this picture.
368
00:33:26,170 --> 00:33:27,369
And that's the danger:
369
00:33:27,730 --> 00:33:30,799
the danger is not from the filmmakers.
the producers. the writers...
370
00:33:31,440 --> 00:33:34,690
is from the people who are
in control of the money...
371
00:33:35,339 --> 00:33:36,680
who essentially say:
''l want my money back...
372
00:33:37,079 --> 00:33:41,559
l want those returns multiplied by
the powers of 10''.
373
00:33:43,279 --> 00:33:48,500
''l'm not interested in seeing
a movie about your personal life...
374
00:33:49,420 --> 00:33:51,119
your grandfather...
375
00:33:51,559 --> 00:33:54,519
what was like to grow up
in an American school...
376
00:33:55,130 --> 00:34:00,289
or what was like to masturbate
for the first time at 13. whatever.
377
00:34:01,200 --> 00:34:04,099
l want a picture that is going
to please everybody.
378
00:34:04,700 --> 00:34:07,799
ln other words. l think Hollywood
wants the ideal movie...
379
00:34:08,440 --> 00:34:11,460
with something in it for everyone.
and of course that's impossible.
380
00:34:19,119 --> 00:34:22,219
What l think about this problem is...
381
00:34:22,860 --> 00:34:27,250
l'd prefer to speak Italian.
It's easier for me.
382
00:34:28,059 --> 00:34:31,159
l believe this is a serious problem...
383
00:34:31,800 --> 00:34:35,719
and you did the right thing. Wim...
384
00:34:36,469 --> 00:34:39,489
to face it in a movie.
385
00:34:41,070 --> 00:34:46,780
As you said. it is true that the
existence of cinema is threatened.
386
00:34:48,550 --> 00:34:52,150
We have to keep in mind other things.
387
00:34:52,849 --> 00:34:55,510
there are different aspects
to this problem...
388
00:34:56,090 --> 00:34:58,989
that can't be denied.
389
00:34:59,590 --> 00:35:01,460
for example...
390
00:35:01,929 --> 00:35:07,730
the fact that television
is influencing everybody...
391
00:35:09,570 --> 00:35:13,730
the mentality and the eye
of the viewer. is undeniable.
392
00:35:14,510 --> 00:35:19,289
Especially the younger viewers.
the kids.
393
00:35:20,150 --> 00:35:26,010
But it is undeniable that we think
that this subject is particularly...
394
00:35:27,989 --> 00:35:29,099
serious...
395
00:35:30,119 --> 00:35:32,610
possibly only.
because we are a different age.
396
00:35:33,159 --> 00:35:35,940
We have to adapt...
397
00:35:36,530 --> 00:35:41,389
to what is the need
of entertainment in the future.
398
00:35:42,269 --> 00:35:44,199
We all know that
there are 9 forms of...
399
00:35:44,670 --> 00:35:49,360
representation of reality.
400
00:35:50,210 --> 00:35:52,550
there are new forms of reproduction...
401
00:35:53,079 --> 00:35:58,059
new technologies like the magnetic
tape. which will probably...
402
00:35:58,949 --> 00:36:01,139
come to replace
traditional film stock...
403
00:36:01,659 --> 00:36:05,230
which no longer meets...
404
00:36:05,929 --> 00:36:10,760
today's requirements.
405
00:36:11,630 --> 00:36:14,320
lt has problems.
for instance...
406
00:36:14,900 --> 00:36:18,820
Scorsese has pointed out
that color...
407
00:36:19,570 --> 00:36:23,030
film fades over time.
408
00:36:23,710 --> 00:36:26,869
lt is an interesting problem.
that concerns films more...
409
00:36:27,510 --> 00:36:30,530
than magnetic tapes.
410
00:36:31,179 --> 00:36:35,340
l believe that with
the new technologies...
411
00:36:36,119 --> 00:36:38,840
like the electronic system...
412
00:36:39,429 --> 00:36:42,650
and maybe others. like lasers.
who knows...
413
00:36:43,300 --> 00:36:45,909
or others that are
yet to be invented...
414
00:36:46,530 --> 00:36:51,570
the audience is growing...
415
00:36:52,469 --> 00:36:55,809
and this problem will be resolved.
416
00:36:56,480 --> 00:36:58,090
l still don't know how...
417
00:36:58,510 --> 00:37:02,019
and l am myself worried about
the future of cinema.
418
00:37:02,920 --> 00:37:05,789
We are still attached to film...
419
00:37:06,389 --> 00:37:08,880
because film has given us
many opportunities...
420
00:37:09,420 --> 00:37:12,110
to show what we feel...
421
00:37:12,690 --> 00:37:15,849
and what we thought
we had to say.
422
00:37:16,500 --> 00:37:21,010
But it is possible that with
the acquisition of new...
423
00:37:21,840 --> 00:37:25,940
technologies. like the magnetic tape.
with what it will be able to offer...
424
00:37:26,710 --> 00:37:31,949
possibly this feeling we have.
will no longer exist.
425
00:37:32,880 --> 00:37:35,980
ln reality. there is always
a gap between today...
426
00:37:36,619 --> 00:37:40,130
and tomorrow's mentality
that we can't foresee.
427
00:37:40,820 --> 00:37:43,429
We can't even predict how these
houses will look like...
428
00:37:43,989 --> 00:37:46,130
these ones we see
outside the window.
429
00:37:46,630 --> 00:37:49,030
One day they'll no longer be there...
430
00:37:49,559 --> 00:37:52,929
We don't only have to think...
431
00:37:53,599 --> 00:37:56,590
short term.
432
00:37:57,199 --> 00:38:00,739
But we have to think of a future
that will probably never end.
433
00:38:01,440 --> 00:38:07,300
We have to think of the
viewer's needs in the future.
434
00:38:08,480 --> 00:38:10,760
l am not as pessimistic.
435
00:38:13,489 --> 00:38:15,449
l have to say that l am quite...
436
00:38:19,230 --> 00:38:20,400
Well...
437
00:38:20,760 --> 00:38:24,360
l've always tried to adapt
to the forms...
438
00:38:25,929 --> 00:38:29,269
of expression
that would fit the time.
439
00:38:29,940 --> 00:38:32,929
so l made a movie in videotape...
440
00:38:35,510 --> 00:38:39,760
many years ago. when research
on colors was required.
441
00:38:40,550 --> 00:38:42,949
l painted the reality.
442
00:38:43,480 --> 00:38:45,380
lt was a rudimentary system...
443
00:38:45,849 --> 00:38:50,010
but it anticipates my work on video.
444
00:38:50,789 --> 00:38:55,769
l'd like to try further experiments
in that direction...
445
00:38:56,659 --> 00:38:57,949
because l'm sure that...
446
00:38:58,329 --> 00:39:01,900
the different...
447
00:39:02,599 --> 00:39:05,030
possibilities...
448
00:39:05,570 --> 00:39:07,300
of video...
449
00:39:07,739 --> 00:39:11,869
will teach us different ways
of thinking about ourselves.
450
00:39:17,679 --> 00:39:22,780
lt's difficult to talk about
the future of cinema.
451
00:39:24,789 --> 00:39:27,690
Probably. widely...
452
00:39:28,289 --> 00:39:30,780
high-quality videocassettes will soon
bring films into people's homes...
453
00:39:31,329 --> 00:39:34,639
and with high definition
magnetic tape...
454
00:39:35,300 --> 00:39:38,960
we'll have cinema at home. We won't
need to go to the movie theaters.
455
00:39:39,670 --> 00:39:42,599
Current structures will disappear.
456
00:39:43,210 --> 00:39:46,900
Not as quickly and easily
as that suggests...
457
00:39:47,610 --> 00:39:49,659
but it will happen.
458
00:39:50,150 --> 00:39:55,369
the change is inevitable...
459
00:39:56,289 --> 00:40:00,360
and we can't do anything
to prevent it. We will only have...
460
00:40:01,130 --> 00:40:04,150
one thing to do:
we will need to adapt.
461
00:40:05,269 --> 00:40:08,610
l examined the problem
of adapting...
462
00:40:09,269 --> 00:40:13,550
in ''Deserto Rosso''.
463
00:40:14,340 --> 00:40:17,440
Adapting to new technologies...
464
00:40:18,079 --> 00:40:22,940
to new levels of pollution
in the air...
465
00:40:23,820 --> 00:40:26,539
that we'll have to breathe
in the future.
466
00:40:27,119 --> 00:40:29,989
Our own organism will evolve.
467
00:40:30,590 --> 00:40:33,199
Who knows what lies in store for us?
468
00:40:33,760 --> 00:40:36,980
the future will present itself...
469
00:40:37,630 --> 00:40:42,050
with unimaginable ruthlessness.
470
00:40:42,869 --> 00:40:45,739
But we can guess what it would be.
471
00:40:47,469 --> 00:40:49,170
l believe that...
472
00:40:51,909 --> 00:40:55,539
Now l would need to restate
what l've just said.
473
00:40:56,250 --> 00:41:00,670
l'm neither a good speaker.
nor a good abstract thinker.
474
00:41:01,489 --> 00:41:04,510
l like to be practical and...
475
00:41:05,119 --> 00:41:08,690
do the experiments
instead of talking about them.
476
00:41:09,400 --> 00:41:11,130
My feelings is that...
477
00:41:11,559 --> 00:41:15,019
it won't be all that hard...
478
00:41:15,699 --> 00:41:18,829
to transform us into new men...
479
00:41:19,469 --> 00:41:22,750
better adapted to
our new technologies.
480
00:41:23,409 --> 00:41:25,780
this is all l have to say.
481
00:41:40,389 --> 00:41:44,289
Yesterday l went to see
another filmmaker...
482
00:41:45,030 --> 00:41:49,130
who was unable to
come to this room.
483
00:41:52,510 --> 00:41:54,000
He is a Turk.
484
00:41:56,079 --> 00:42:00,150
the Turkish government has demanded
his extradition and for that reason...
485
00:42:01,650 --> 00:42:04,230
he couldn't leave the security
of his place of refuge.
486
00:42:04,780 --> 00:42:10,320
He has answered the same question
concerning the future of the cinema...
487
00:42:11,289 --> 00:42:13,190
and recorded his reply.
488
00:42:14,659 --> 00:42:17,699
l think l'm just going to play it.
489
00:42:19,500 --> 00:42:21,230
Mr. Yilmaz G�ney...
490
00:42:30,280 --> 00:42:31,590
l think...
491
00:42:41,119 --> 00:42:43,260
Cinema should be examined
from two angles:
492
00:42:43,760 --> 00:42:49,300
the industry cinema
and the artistic cinema.
493
00:42:50,260 --> 00:42:53,449
Between the industry cinema
and the artistic cinema...
494
00:42:54,099 --> 00:42:56,210
there is an unbreakable bond.
495
00:42:56,699 --> 00:43:00,800
Because of this. for the film
industry to reach the masses...
496
00:43:01,570 --> 00:43:05,670
the film industry should especially
consider the expectations...
497
00:43:06,449 --> 00:43:10,400
the mood
and the desires of the masses.
498
00:43:11,550 --> 00:43:13,739
However. the desires of the masses
are not frozen...
499
00:43:14,250 --> 00:43:17,000
not unchanging and not monotonous.
500
00:43:17,590 --> 00:43:22,599
for this reason. filmmaking.
in order to reach the masses...
501
00:43:23,500 --> 00:43:26,079
should consider
changes in the masses...
502
00:43:26,630 --> 00:43:32,489
if need be. the social changes
or-political changes...
503
00:43:33,510 --> 00:43:36,579
changes of consciousness...
504
00:43:37,210 --> 00:43:38,880
constantly.
505
00:43:40,480 --> 00:43:45,260
While artistic cinema
talks about the masses...
506
00:43:46,119 --> 00:43:51,360
industry cinema primarily
considers money.
507
00:43:53,690 --> 00:43:58,440
lf artistic cinema cannot satisfy...
508
00:43:59,300 --> 00:44:04,690
the needs of the industry cinema...
509
00:44:05,639 --> 00:44:08,300
in other words...
510
00:44:08,880 --> 00:44:11,719
if it doesn't make money...
511
00:44:12,309 --> 00:44:16,380
the bond is broken
and there is change.
512
00:44:18,019 --> 00:44:20,980
for example. when a lot of
young filmmakers...
513
00:44:21,590 --> 00:44:25,219
advancing young filmmakers...
514
00:44:25,929 --> 00:44:29,739
come in contact with producers
from advanced capitalist countries...
515
00:44:30,460 --> 00:44:32,190
they lose their independence.
516
00:44:32,630 --> 00:44:37,260
Whatever limits are drawn
by large capital...
517
00:44:38,099 --> 00:44:40,650
they are forced to work
within these limits.
518
00:44:41,210 --> 00:44:44,719
At this point. not becoming
part of advancing cinema...
519
00:44:45,409 --> 00:44:49,329
but becoming part of
collapsed. dissolved...
520
00:44:50,079 --> 00:44:52,389
and outdated filmmaking is wanted.
521
00:44:52,989 --> 00:44:54,659
That's why it's a tragedy...
an artist's tragedy.
522
00:44:55,090 --> 00:44:57,369
Also this should be taken as
advancing cinema's...
523
00:44:57,889 --> 00:45:00,000
tragedy.
524
00:45:00,489 --> 00:45:02,449
Basically. in my country...
525
00:45:02,929 --> 00:45:06,360
dominant. advancing cinema
is old-fashioned.
526
00:45:07,030 --> 00:45:11,130
On the other hand. there is
a blooming type of cinema...
527
00:45:11,900 --> 00:45:15,119
that is being constantly
suppressed...
528
00:45:15,780 --> 00:45:18,820
banned. punished. silenced...
529
00:45:19,449 --> 00:45:22,670
by some dominant forces.
530
00:45:43,199 --> 00:45:45,829
Subtitles �sonicalchemy�
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