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My stomach is turning

I have a weak throat My stomach is too low

And my ribs are too high My hips are fighting

Official YIFY movies site: YTS.MX

OK. Sit down, dear sir.

Sit down.

An eccentric, disturbing

filmmaker,

a great inventor of forms,

the sparkling Alain Resnais

left a permanent mark in the New Wave's shadow

which made him

one of the fathers of European cinematographic modernity.

With Same Old Song,

Smoking / No Smoking,

L'année dernière à Marienbad,

Hiroshima, mon amour,

he cast his incredulous child's eyes

in a world of escheat

ready to question everything,

reinvent everything.

There, perfect.

Refusing television broadcast out of emotion,

which made him lose his ways,

he fed a process in austerity.

His personal archives, largely unpublished,

enable us to re-read the career of this fantastic adventurer,

that of a man in a depressive world,

looking to take control of his emotions,

make the choice of joy, of knowledge.

A flamboyant career,

in the search of happiness.

ALAIN RESNAIS THE AUDACIOUS

Alain Resnais was born in Vannes, on June 3, 1922,

in Morbihan.

Who chose this unique fertilizer? Chance.

My family destined me to a career as a pharmacist,

as my father and grandfather were pharmacists.

Each of these cells is a real miniature world.

They contain particles in constant number, chromosomes,

which are the main creators of heredity.

They decide each of our personalities.

But the child's survival was quickly

compromised by breathing difficulties.

I remember a doctor saying to my family...

It was in the room next door. I was sick.

He said a sentence that must have shocked me,

which was: "You won't get him up."

Well. I was seven,

but I knew that he was a very pessimistic doctor

and it didn't bother me.

Asthmatic, only being able to sleep seated,

the young Resnais was removed from school at nine

and continued studies at home.

I was quite unwell.

I was more a dreamer

and I compensated for

my health problems by reading a lot.

ALAIN RESNAIS'S ARCHIVES

Attracted by image,

the young Resnais initiated himself to photography early.

A habit he would keep his whole life,

using it almost like a notebook.

There were moments in the Morbihan Gulf...

I really liked

landing on an island. Especially that. I loved it.

His parents hoped he would be disciplined,

with good grades, playing piano and going to church.

They were quickly disillusioned.

The child liked dreaming he was a billionaire and an orphan.

He played heating sand with friends,

to try and make glass, like the Egyptians,

he liked strange castles and eccentric aristocrats,

cartoon strips, but not the discoveries of Harry Dickson,

that he removed, too scary.

I always have this feeling each time I read a newspaper,

each time I meet people who have certainties,

that the essential is elsewhere,

that explains the feeling of dead-end in which we are.

In fact, I think he experienced difference

extremely early.

Between being sick,

the fact he was hypersensitive, super shy

and not wanting to be a pharmacist at all.

From the moment of the first experience

and when you don't die,

you become someone particular.

The world in Alain Resnais's eyes.

I spent my whole childhood

with one single desire. That of going to Paris.

For me, Paris was a sort of paradise,

perhaps because of gardens like Buttes-Chaumont.

Perhaps also because of the thousands of cinemas,

which I felt populated the capital,

and hundreds of posters that I saw on walls.

Being a child, I was fascinated

by all the worlds I met

and the one I clearly didn't know at all

was that of theater.

When I discovered that the people in this world

were much nicer, more open, happier,

sensitive to everything, curious about everything,

I wanted to become an actor.

Despite his desire to overcome his introversion,

the panic attacks he had

pushed him to choose a less-exposed profession.

I lacked control in everything I did

and I thought it better to renounce it.

Under the advice of a girlfriend,

he oriented himself toward mountains.

Some of my friends, who taught at IDHEC,

were a bit confused.

They said: "This boy, it's a shame.

"He's smart, he's cultivated,

"he's sensitive, but he'll do nothing in cinema."

Because when we went into his shell,

as he was at the time, it seemed quite hard.

No, Resnais wasn't at all sure of himself.

And he didn't love himself.

He declared that one day,

that he hated himself.

Each time there was a big test...

WRITER

...it gave him energy.

It was touching even.

"I like beings who struggle to live,

"who accept life as it is,"

he noted in his notebooks.

Yes.

He said that, if he had to write his biography,

he would have called it Traveling uncomfortably,

as he was always uncomfortable.

I never wanted to be a director.

I never had the idea of becoming a director.

I would have also agreed to be chief operator.

I would have even accepted sound technician,

if I'd had the chance.

The main thing, for me, was being in the world.

Mounter, assistant,

Resnais created, in his free time, little films in 16mm.

As I was unemployed in montage,

I couldn't refuse a short film.

I made a few films in 16mm, like little reports

in the private world.

VAN GOGH SILENT ORIGINAL VERSION, 1947

His portrait of Van Gogh drew attention

out of a strange use of paintings,

in a narrative way.

Blurry, out of the frame, superposed.

These enthusiastic experiments

earned him the Oscar for best short film

in 1950.

Which was a very bad omen for its director,

if he didn't want to broadcast himself.

And even worse for his parents.

In my family, cinema was badly seen. Yes, that's what was funny.

Cinema was something not very serious.

Not only not serious,

but that hurt France a lot,

because people wasted time going to cinema.

I remember a lot of conversations

of this type and so, if I tried to make an 8-mm,

I associated myself with all these little thugs,

all these people who wasted time,

instead of doing noble and useful things to the nation,

by going to the cinema.

Doing that wasn't much better.

But it wasn't to demotivate him.

Resnais conceived a feeling against this suffocating world

from which he heard, all his

childhood, only patriotic, warmonger things,

favorable to the fascist forces in Spain,

until his readings, in 1937,

in favor of the Republic,

marked the awakening of his critical spirit.

"Then, when Hitler prohibited Mickey Mouse

"and when Mussolini seized Flash Gordon,

"I understood the meaning of dictatorships

"and I chose my camp."

Sensitive to the oppressed,

his fantasy hurtled toward the reality of a mean and unfair world.

Sure he wouldn't be satisfied,

he approached the future great director Chris Marker,

with whom was born an artistic and political emulation.

AN EMPIRE OF 100 MILLION PEOPLE

While in 1950,

France continued to impose colonial domination by force,

Resnais and Marker accepted an order on African art.

A dream opportunity

to explicitly attack, but with shapes,

this unworthy influence.

It's that we're the Martians of Africa.

We arrive from our planet,

with our ways of seeing,

with our white magic and with our machines.

Cheerful music, scholarship,

chiseled language.

The attack hit.

All this dominated by white man who sees things at his height

and rises above the contradictions of reality.

From this height, Africa is a wonderful laboratory,

where, despite a few losses, the good negro

dreamed of by the white man are patiently made.

An immense provocation,

while French colonies already started to rebel.

The film was prohibited for 10 years.

Yes, but he said he was shy,

but he was nervy,

that is, a bit provocative.

He had to overcome this.

When he treated a subject, he didn't do it half-heartedly.

But it's true that he was a sensitive person,

who let people speak. Often, in conversations,

I was uncomfortable because there were others speaking

while it would have been better to let him speak.

But he was very respectful of everyone

and he didn't want to impose himself.

He imposed himself via his work.

This climate of bullying and threats

led the negro artist to a new metamorphosis

and in the ring, in his orchestra,

his role was to give shots that his brother received in the street.

Often, it was new and unexpected,

in its construction, its shape.

Resnais found his way.

That of an extremely elegant, inventive

cinematography, of the worst diversions of the century.

I think it's one of the characteristics of cinema,

manipulating time.

The Jean-Vigo prize was just awarded to Mr. Alain Resnais

and Chris Marker for Statues Also Die.

He had stage fright. Alain Resnais was consecrated.

The rumor spread about this brilliant young filmmaker,

who knew how to refine abrasive subjects.

It was the start of a prosperous

period, where Resnais made three senseless films,

that documented an essential part of contemporary discomfort.

While he always gave the impression of apologizing for being there,

not daring to introduce himself

as a director, the young man was propelled

as one of the major figures of French cinema.

June 9, 1955, Combat title:

Alain Resnais on the quest of difficulties.

In a society still traumatized by its collapse

and its mistakes during World War 2,

which was trying to find itself in a form of forgetting, of lies

and of a blind race to material comfort,

Alain Resnais accepted an order on the explosive subject,

judged until then impossible to represent,

concentration camps.

NIGHT AND FOG 1955

1933.

The machine starts.

No film has had as much effect on me as Night and Fog.

It took a nation without a wrong note.

I realized with over 60 years of distance.

We knew of concentration camps,

even at high school, in Germany.

We spoke about it,

but without much precision.

Work starts.

A concentration camp is built like a stadium or a hotel,

with entrepreneurs, quotes, competition,

undoubtedly with bribes.

No style imposed. It's left to the imagination.

Alpine style,

garage style,

Japanese style.

No style.

Architects calmy invent these porches,

destined to be crossed just once.

Resnais analyzed for the first time,

with rigor and detail,

the concentration machine

in which he made sure he included the matter, still poorly known,

of extermination.

It's a film that was made in a state of vertigo.

Each night, I had nightmares and I woke up screaming.

First look on the camp. It's another planet.

Under its hygienic excuse, the nudity of the first shock

delivered to the camp an already humiliated,

shaven,

tattooed,

numbered man.

Far from limiting himself to a description of facts,

Resnais chose to alter his narration

with the use of a political script and music...

"I'm not responsible," says the Kapo,

...which gives a magnitude, a breath.

"I'm not responsible," says the officer.

I'm not responsible.

So, who is responsible?

What's incredible in the film

is what it doesn't say. The documents speak for themselves.

Simply aligning the documents,

that would have been too much.

We went to see the remainder of a camp and I thought:

I have an idea that will seem crazy.

I want to make it in color and black and white simultaneously.

This reality of camps was so in vain

that on our tour, we try to discover the remains.

Refusing to limit himself to archives,

Resnais made the audacious choice of contemporary filming.

At the time of speaking,

the cold swamp water and ruins fill the gaps in mass graves,

a cold and opaque water, like our bad memory.

I felt that we couldn't only suggest this horror.

We had to let the spectator's imagination work.

Nine million deaths haunt this landscape.

All the possible procedures.

There is us, who watch these ruins sincerely,

as if the old concentration monster died

on the debris,

that we pretend to hope in front of this disappearing image,

as if we were recovering from the concentration plague.

We who pretend to believe that all this is from one time

and one country,

and who don't think to look all around us

and who can't hear the endless screaming.

FILM DIRECTOR

I feel like in Alain Resnais's work,

since Night and Fog,

the idea of representing the unrepresentable,

like the great tragedies of the 20th century,

of trying to find a form to suggest the unspeakable

is the starting point of his approach to cinema.

The paradox of cinema he plays at is always absence.

There's always absence.

We see in his work, in his first films,

with his taste for these long tracking shots,

this way of scrutinizing facades

as if he was constantly asking: "What can we see?"

How to go beyond the surface of things?

How to go deeper?

How to find a truth in this place?

This constant aspiration to see and understand

is remarkable.

For me, that's cinema.

Someone who presents us the world through their eyes

and wonders.

What is the meaning of all this? What does this mean?

All while knowing that

nothing is clear, that there's always a form

of understanding beyond us.

Showing humility toward what we tell,

not trying to impose a totalitarian vision,

where we think we know everything,

but remaining on a human scale.

There's already a catastrophe.

The eviction of Alain Resnais's film Night and Fog

dedicated to death camps,

set off a wave of protests.

A measure called diplomatic

on which we don't have to comment here.

The protest that was in reality censorship,

would crystallize on the image of a French policeman,

surveying the Pithiviers camp.

It would become emblematic of what France wanted to hide.

Its participation in the concentration process.

Dauman told me:

"I don't regret having produced this film.

"I'm proud, but I can guarantee you that it will always remain hidden.

"No cinema will agree to play it."

He was so wrong.

Prohibited short films in censored short films,

Alain Resnais was finally able to access long films

with the even more taboo project of the atomic bomb,

on its controversial use by American forces

during World War 2,

which led to, in Hiroshima, the massacre of civilian populations.

But Resnais

didn't see what a new documentary could bring.

He declined. It wasn't possible.

This difficulty would become the subject of the film.

You haven't seen anything in Hiroshima. Nothing.

I've seen everything. Everything.

The whole first part of Hiroshima, mon amour, at the museum,

questions our capacity to understand the events

from objects,

from documentaries or a fiction.

Does it let us get closer to the truth?

Beyond suffering.

Does it enlighten us on the context?

What does that mean?

Then it goes into a poetic form,

to try and go even deeper.

It was less physical in the female

character to awaken the trauma of an old love.

A German soldier died in her arms in the Liberation.

A woman's voice takes over. Calm, motivational.

-I've seen everything. -No, you haven't.

Nothing.

Too marginal to hope to interest established directors,

Resnais turned toward a totally novice writer

in screenwriting.

Marguerite Duras.

Resnais's work, it's always the meeting

of Resnais and a big writer.

Who's called Chris Marker, Queneau

or all those who worked with him.

Hello, Alain Resnais. How are you?

I've finished the recording.

I'll send it to you continuously in two days.

I think of you a lot.

They asked me, like everyone I think,

to write a few scenes in the week,

and to record it on tape.

And after, he listened to these tapes in the dark.

He said that as long as he visualized the film, everything

was fine and when we couldn't see,

there was a problem, he had to work on it.

They're together, naked, in a bed.

It's after love.

Was he French, the man you loved during the war?

In Nevers.

Resnais asked me

to describe the film before he made it.

Dear Marguerite Duras,

I won't forget these strange days spent in my room

in the company of your voice.

It was strangely moving for me,

your magneto phone letter.

I decided to play it every night during filming.

Affectionately, Alain.

I meet you.

I remember you.

My passion for Marguerite Duras

came from the musicality of her style.

You're killing me. You're good for me.

I'm only speaking about the physical effect on the spectators.

We calmed down.

We're calm.

How would I have known

that this city is made in the size of love?

How would I have known

that you were made in my soul's size?

I like you.

What an event.

There's a sort of prestige in all this. Undoubtedly.

In any case, cinema has something magical,

where you feel good. Because what we're

looking for is to hypnotize the spectator.

He really entered my universe,

completely. As completely as is possible.

Resnais has a sort of facility of attention,

that is extravagant, extraordinary.

Resnais noted the words by the script,

what I said, what I did.

And so the legend of Resnais the technician was born,

director of a film he refused to be the author of.

A provocation he devoted

to himself in this rare interview.

I think it's just a problem of realism

and perhaps even of lucidity.

I don't consider myself a film writer.

I consider myself a director

and I take the responsibility of the director.

But his correspondence with Duras shows a very different reality,

that of a writer as courteous as he is demanding

and who doesn't hesitate to modify the text as much as needed.

I would like Riva to respond.

I'd like to mention...

Would it be possible to simplify?

Perhaps cut?

The response still seems ambiguous. Still not satisfied.

I'm a pain, right?

I'm still as obsessive.

His notebooks are full of interrogations,

doubts that would make anyone renounce doing the film.

Unclear, laborious, too far.

Hostile reading result.

Section. Were we right to abandon?

Resnais noted everything.

He ran directing ideas past other directors.

Lesson from Visconti, from Clément, from Becker.

His writings revealed an extremely meticulous, pensive

director,

sometimes on only sensitive or sensorial things,

like the breathing of lovers,

to which he preferred the noise of a comb,

hair, wind.

Patiently, after synthesizing, copying,

certainties emerged.

A Nevers and Hiroshima mix.

I want to avoid a return to the classic.

His ambition was to work rhymes

and he already renounced the exact reconstitution of the past.

Who knows how many times I'll modify my memories?

One of my favorite sequences in cinema

is the night stroll in Hiroshima, mon amour,

of the two characters,

wandering in the streets of Hiroshima,

where the scenes are shared between that of Nevers in France,

where Emmanuelle Riva's character spent her childhood.

This way in which time and space mix

is really unique.

This film really is a central work in 20th century art.

I think I'll continue to watch it again and again,

until I die.

But, upsetting order,

the film started a violent polemic in Cannes.

"Awful," the president of the jury stated. "It's shit."

We're not even at the arguments.

We're simply at the stage of insults.

But...

That's all it took to artificially place the UFO Resnais

at the head of the bow of an entire generation.

It bothers me to speak about affinities between Alain Resnais

and I, because I truly consider him the uncontested master

not only of young French cinema,

but of French cinema, period.

Hiroshima, mon amour was the most influential French film.

It's very difficult to envisage other films

with classic narration procedures.

Hiroshima was brandished a bit like the flag.

The flag of a new generation,

in any case of French film.

Resnais was he who knew things.

We were amateurs.

Him, not at all. We hid behind him.

I didn't think I was part of the movement.

I was carried by the New Wave. No doubt.

Film is of capital importance.

It's thanks to this generation that producers trusted him

to do long films.

TRIALS L'ANNÉE DERNIÈRE À MARIENBAD, 1961

Resnais,

who did the casting in his own apartment,

rue des Plantes, with actress Delphine Seyrig,

had no intention of closing off in a group,

nor in political or past subjects.

While we've always celebrated Alain Resnais in form

and a cerebral side, a bit of having treated this or that subject,

I've always seen the opposite. I've always seen a sensitive man.

Everything was thought out,

but not coldly, not cerebrally.

I tend to always leave primality to a certain instinct.

Rather than logical reasoning.

I tried to put as much unconscious as possible.

Resnais wanted to explore a new cinema,

without real history,

based only on sensations,

that would be totally open to interpretation,

like music.

And so was born an incredible cinematographic adventure,

that of L'Année dernière à Marienbad,

that propelled Resnais to the top of global cinema.

We hoped that after Hiroshima, he would do

something that would enter more in the system.

It turned out that Resnais, to the contrary, accentuated

the formal character of his research.

The film was made on snippets of situations.

Remember.

It was at night. The last one, undoubtedly.

In a Baroque castle, where a feeling of threat existed,

where inhabitants, half petrified, live as recluses,

a man tries to convince his wife

of the reality of his memory,

that of their passionate relationship the year before.

I don't know what room you speak of.

I was never with you in a room.

You don't want to remember,

because you're afraid.

Without real dramatic progression,

the events repeat indefinitely.

As if we were stuck in time,

after a trauma.

At the center of his attention

dominated the fantastic figure of Delphine Seyrig,

who Resnais patiently transformed

into this feverish and evaporated icon.

Between them, the work was naturally fed by seduction

and desire.

In a traumatized and incoherent world,

desire seemed to be the only energy possible to move ahead.

Resnais wasn't beautiful, but he was very charming

and it was a charm that everyone was sensitive to.

He didn't play that.

He wasn't someone who... No, not at all.

I found he was of a great simplicity.

Actually, if he was sure of his charm,

he wouldn't have been so uncertain.

No.

Far too atypical to be consensual,

the film became an object of fashion

and intense controversies.

VENICE FILM FESTIVAL, 1961

During, at least, the first 45 minutes

of the Venice projection,

the audience reacted very badly,

punctuating each of the film's lines

with great laughter,

to the point where I turned around

to the festival organizers and said:

"I think here, we just suffered for 40 minutes

"and we better get the audience happy again and stop the film."

And suddenly,

some of the spectators

started applauding very violently

and the other part of the audience quietened down

and the last 45 minutes of the film

continued in absolute silence.

And after, we had the Lion d'or.

L'Année dernière à Marienbad.

The film is today considered cult.

And so went Alain Resnais's destiny,

who systematically had to face hostility

in order to be recognized.

I had a bit of the taste of the precipice

and we walk very close to the cave.

It leaves a stronger memory.

But at the same time,

there are no more prudent, timid, more timorous than me.

So it's quite funny. There's this double trend.

But it's true that I'm more stimulated by a film

that will cause formal problems.

I can't think

that we can make an emotion born in the spectator

if there isn't an exact, decided,

intentional form.

There's a chemical box, Chemical 2000.

There's a sort of Resnais 2000

in all his films.

He had very strong intuition,

but he also questioned himself.

It became the result of experience.

We'll see what it makes, the future film.

What effect will it have

if we show only moments of problems or agitation,

if the voice was off,

if we mixed two completely different scenes?

He stimulated his entire team.

The more different it was, the more he liked it.

I was fascinated by the idea of working with Alain,

but he told me: "Wait, Claude, I need to warn you.

"We won't see you on the screen.

"The camera will be you.

"We'll see you simply

"when you go in front of the mirror."

I said: "Look, I hope there are many mirrors.

"But, Alain, with you,

"it's very good."

On the other, there is simply my taste as a spectator.

I go to the cinema.

It's true that I like having surprises.

But the rising economic pressure

made the cinema industry less and less open to iconoclasts.

Weakened by the failure of his film I Love You, I Love You,

released in 1968,

Resnais took off for New York in search of a second wind,

and started a hard desert crossing.

For nearly five years, I wasn't able to work.

We started with an idea.

We saw that when the idea developed,

that it would become too expensive a film,

that we couldn't reasonably produce it.

In debt,

Resnais survived thanks to the generosity of friends.

I feel like life is such a mysterious, obscure

or absurd thing,

I'll let you decide the adjective,

that I feel a bit like a swimmer

who doesn't know how to swim

in a sea that doesn't take him very far

and who has to fight so as not to drown.

But every day.

To stem this loss of confidence, of joy,

a monastic life was organized,

centered exclusively on work.

Resnais owed his comfort to the presence of Florence Malraux,

the daughter of the minister of culture de Gaulle,

particularly sensitive to artists' lives.

She was his assistant since l'Année dernière à Marienbad

and admitted to falling in love with him

due to Night and Fog.

They got married in secret at the New York consulate,

by choosing two anonymous people in the crowd as witnesses.

While his asthma problems had been fixed for a long time,

Resnais still had fragile health.

He was easily tired,

drank huge amounts of coffee to fight against his narcolepsy.

And even if Florence tried to be the interface

with the world to calm him,

Resnais started, he himself said, to worry

as soon as he got up at 5 a.m.

Except when he filmed, when he woke up and worried from 4 a.m.

It was the case, fortunately, when he returned

to France, where thanks to

Jean Paul Belmondo and his agent, Gérard Lebovici, who continued

to trust him, Resnais made his comeback with Stavisky.

Jean Paul Belmondo was Stavisky,

a film by Alain Resnais, who returned after five years of silence.

And especially, Providence

which once again aroused interest.

A transition period,

which documented his reconstruction process.

We'll speak about daily life again.

The essential was managing to survive.

Still as eager to change life,

but disappointed by politics,

Resnais dove into a great free spirit

by reading scientific works.

He became convinced

that the revolution isn't against someone,

it's for us to do.

"Dream and revolution," he pleaded, "are the same thing."

So here, I'm forced to allude to Henri Laborit.

While the result of Laborit's works is exact,

it seems as though, when we have a leak of imagination,

it's first of all a way to survive.

Imagination will enable life to be prolonged.

As he read a certain number of my books,

and that he found better,

he said: "I have a debt of recognition to you,

"given that I'm depressive."

I can't keep it

for me, I have to let these notions out.

Look.

Science is the key to happiness.

-You're crazy. -And he continues.

That's what Resnais offered,

by confronting fictional characters

with scientific theories.

Bastard. Thug.

Damn.

In this third situation,

the rat will face another rat,

who will be his opponent.

This fight is absolutely useless.

It didn't enable him to avoid punishment,

but he acts. He will be in very good state.

And in man,

social laws prohibit this defensive violence in general.

The worker, who sees his boss every day,

whose head he can't remember,

he can't break his face,

as agents will be sent.

And we need...

He can't flee, he'll be jobless.

And every day of the week,

every week of the months, every month

of the year, all these years,

he's unable to act.

Acting to survive.

That's the moral.

Aggression can be a solution from a biological point of view,

but Resnais suggested another. The action of the brain.

Fantasy. Dream.

Imagination is perhaps

the only way to bear life

to remain balanced during an existence.

Are there great people?

As our instincts are completely child-like,

even if our reasoning is adult,

we remain children all our existence.

He was lighter and lighter, yes,

the more films he did

and as life went on.

It was as if he reappeared

as the child he must have been,

as the spectator who went to see his first theater piece

at Madeleine theater and elsewhere, to see Guitry or Bernstein.

And he was like a happy child, ready to have fun.

He didn't really have...

He wasn't really allowed to be a child.

He gave himself the luxury of becoming a child around 70.

"A successful life is an idea of youth

"completed at a ripe age," thought Resnais.

His parents prohibited

him from seeing adaptations of Not on the Lips and Mélo

when he was small.

"We could say while joking," he continued,

"that I made these films because it's the only way to see the plays

"and people do them for me."

It something I like a lot.

-Perhaps it's late. -So what?

I never sleep. You must sleep a lot.

I'll play as much as you like.

It's true that there is a change.

It's uncontestable.

And it really happened, I think, from Mélo.

From Mélo, he entered into something else.

He joined this world

he dreamed of, that of theater.

He joined it as a screenwriter.

He was a bit frightening.

You get us out of these stories.

Yvonne, give me this plate.

And especially these judgments.

Didn't you pay for our head?

I would have liked to direct a theater group.

I really like seeing actors

transform, renew

and also recognize them.

-Your tea, ma'am. -I don't want it.

I just had one.

I have no other way to speak to you.

-Your pastry. -I wrote a word for you.

They need to see me serving you.

No. I don't want it.

I've had three cups. I don't want it.

I'll drown myself.

Don't be stupid. Serve me a small cup.

-I love you. -In the cup.

I know you love me, but... In the cup.

-I'd give my life for you. -Look... yes.

You're not a waiter.

I don't know. Try to do something.

I feel like they know.

Taking the opposite views of all attempts,

Resnais joined the unappreciated genre of filmed theater,

giving him an unexpected joy,

a modernity even, in the way he did things.

No more jumps back in time for montages, virtuoso but broken,

the opaque recitals.

Now, intrigue became more limpid, the plans lengthened,

the camera focused on his new priority.

What a funny moment.

The performance of actors.

Well, I'm waiting for him.

But he did something else,

because there was an encounter that took place,

with what we could call Resnais comedy.

He called it that himself.

That is, Dussollier, Azéma

and I.

To a friend who marveled at finding Sabine Azéma wonderful,

Alain Resnais responded maliciously:

"I'm very happy that you think that."

A circumlocution for this thoughtful artist

whose life and cinema were completely upended,

electrocuted by the presence of this enthusiastic young woman,

full of life.

Get out of there, Rowena.

I'll get out when you say: "I want a poem."

The most mysterious thing about existence

is why you meet a person

and they become essential to you,

you obsess over them.

She was able to see me, listen to me. She calmed my fear.

Fountain of soul.

No, stop. We're going.

It was to us he said: "Man is in despair.

"Man is bad.

"Man is only disappointment and lies,

"but he has an extraordinary power

"or a curse. He gets attached"

She would be his last wife

and the center of gravity of the joyful group,

the subject of all the experiments,

of the rediscovery of unfashionable

writers and iconoclastic propositions.

How am I? Am I good?

Yes, much better.

-Ah really? -Yes.

He fled fashions.

I often see that in self-taught people.

People interested in everything,

as much as in radishes as in cellphones

or American politics or whatever other story.

So he was always surprising.

I would struggle if you stopped.

It was in Same Old Song that it struck me the most.

I'm sad for no reason. It makes me even sadder.

Résiste

SAME OLD SONG, 1997

Prove that you exist

Look for your happiness everywhere

Go, refuse this selfish world

Same Old Song, the idea was wonderful.

The song is part of our lives and through a film like that,

he gave a place to song, it was worth lines.

What is that fool doing?

He told of situations and states of souls.

What, my face? What's wrong with my face?

It was much more evocative

than if they'd said that with words and sentences.

She won't come back to you

No tone. The phone is disconnected.

Everyone, after this film came out...

I saw in young screenwriters' eyes:

"Why didn't I think that?"

There too, it's a game with bad taste.

Popular song,

considered as a completely minor art.

And he said, for him,

that it could have an impact on your life

greater than a fascinating philosopher.

But well,

suddenly, you're in a certain state,

and you hear a song with simple lyrics.

I came to tell you I'm leaving

And your tears can't change anything

It will move you and have a consoling

or stimulating effect on your emotions.

That was his starting point.

I always like to make believe that I'm in control.

The film describes a joyous back-and-forth

of lost people...

Well, it's a fail.

...looking for a difficult balance.

You want me to give my opinion?

I prefer you like this. This is really you.

This is really you.

I wanted to call it Songs while depressed,

because the people he describes are people fighting,

in order to be

the least sad possible.

I can feel, I can feel

I can feel that it's you

I can feel

I can feel that it's you

Resnais took his thoughts on social conditioning,

initiated in My American Uncle,

and on the utility of culture,

as an element of emotional mediation.

I think that, very often, we don't express our thoughts.

We're very limited

by the dominating thought,

by our education, by what is correct, incorrect,

the social mask,

and so we have more difficulty expressing our real desire,

even knowing it before expressing it.

These songs, that's more what it meant for us.

It goes and it returns

It's made from little nothings

Alain Resnais...

...for Hiroshima, mon amour.

It would be Alain Resnais's biggest success,

which celebrated his 75th birthday

and his last original screenplay.

The more time went on, the more hurried he was.

He went toward existing scripts, theater pieces.

On the quay, the Malaquais quay

At 23, you enter straight

To the left, you turn around It's the door to the heart

There is no mistake Next to that of a frame-maker

In Alain Resnais's archives, this citation:

"Like all animated images, theater is temporary.

"I see, I enjoy and it's over.

"It's lost forever, will have been seen for nothing.

"May nothing let us forget

"the joy of theater.

"This fact is worse than the worst defeat."

Producers, sometimes, with him, were disconcerted

because he told of the film

and then there were these jellyfish,

this illness at work,

that festered, that contaminated the film.

There was always a ghost in Resnais.

There was always a cold wind.

And for that,

Ayckbourn, for example, is a writer similar to him.

Who's there, Lionel?

Who have you brought?

It's OK, Dad. Don't worry.

Under extremely light and funny appearances,

as his pieces are funny, but there was this darkness.

-My father. -Yes.

Is it one of your girls again?

Lionel, I'm talking to you.

-Sorry, he's a bit... -It's OK.

I hope she has a nice ass.

-Not like the last one. -Don't worry.

Cœurs, which is a piece by Ayckbourn,

the producers or others thought it was a comedy,

but it came out as a bit of a twilight film.

There was something a bit dark deep down.

But at the same time, there was a fun form,

as you have to escape in jokes,

in laughs, in lightness,

in pirouettes.

-Hello. -Hi. It's me.

What were you watching?

I'm watching the football.

Football? But you hate it.

As I never felt

that my films were easy

regarding exploitation,

I want to say

that for the 50-or-so years I've worked in cinema,

what surprises me

is that they were, more or less, accepted.

He was afraid of doing one film too many.

I heard him say that.

Ten.

At the same time, he always had ideas.

That's what was extremely moving.

Very moving.

Even physically less impressive,

he had many ideas. He wanted to make films.

He had many ideas, many plans.

It's the difference

between the physical capacity to do things

and everything we can have in our head.

Swear you'll never leave me.

I'm thinking of a quote from an American writer:

"What a strange feeling to age, for a little boy."

Does the brain still work completely?

The brain itself seems to be the most solid thing,

at the end of the day, in the body. It's quite curious.

Consciousness is perhaps the last thing to leave.

Let's go.

Go.

LIFE OF RILEY, 2014

Death, in itself, can't frighten.

One's own death can't frighten. It's the death of others,

the death of loved ones, that is terrifying.

-Hello? -Lambert Wilson?

Speaking.

I'm calling to give you some sad news.

At over 90 years old,

Resnais, still fantastic, played with his own death.

The rule was that actors

play a film as themselves.

I asked them to come as they would have reacted

if one of their familiar writers,

who they loved a lot, died,

in the same outfit they'd come to the funeral.

And there, I respected the documentary side.

It was, clearly, very fun to do.

So, she said to dad:

"Life isn't a novel."

Life isn't a novel?

When I was a child, my father always told me: "Careful,

"enjoy your childhood. Later, you'll be a student,

"you'll eat beef with rabies.

"Don't forget that life isn't a novel."

What does that mean?

We'll understand later.

"I've lived my life perfectly and I've discovered

"that childhood isn't the best age in life,

"that student life wasn't so bad

"and that beef with rabies

"was better than what we ate at home.

"So yes, life is a novel."

We might not have realized at the time,

but we had so much fun.

We had so much fun.

I think... That's all Folks.

Pat Anderson Subtitling: Hiventy by TransPerfect