1 00:07:22,860 --> 00:07:25,779 Initially, the feet are parallel to the baseline. 2 00:07:28,991 --> 00:07:30,659 As soon as the movement begins, 3 00:07:30,909 --> 00:07:33,829 an Astonishing rotation of the arm and forearm 4 00:07:34,079 --> 00:07:39,001 turns the racket through more than 180 degrees on its longitudinal axis. 5 00:07:41,295 --> 00:07:44,173 In the armed position, knees are bent 6 00:07:44,423 --> 00:07:47,426 and the shoulder and arm line is nearly vertical. 7 00:07:48,510 --> 00:07:51,555 Relaxing the knees and shifting the shoulders 8 00:07:51,805 --> 00:07:54,475 helps increase the speed of the racket 9 00:07:54,725 --> 00:07:57,311 as it begins to go down the player's back. 10 00:07:58,020 --> 00:08:01,482 The undulation travels like a whipcrack until the ball is hit, 11 00:08:01,732 --> 00:08:03,859 with the arm not fully extended 12 00:08:04,109 --> 00:08:06,820 nor the handle aligned with the forearm, 13 00:08:07,070 --> 00:08:09,031 unlike most great servers. 14 00:08:09,281 --> 00:08:13,619 The shoulders are not yet facing again when the ball is hit. 15 00:08:22,377 --> 00:08:26,465 The efficiency comes not only from the speed with which the ball is hit 16 00:08:26,715 --> 00:08:29,051 nor the speed or variety of placing, 17 00:08:29,301 --> 00:08:32,304 but also from its unpredictable nature. 18 00:08:32,554 --> 00:08:37,726 McEnroe's movement doesn't let opponents guess where the ball will go. 19 00:08:40,395 --> 00:08:44,233 What's more, his speed in coming up close to the net 20 00:08:44,483 --> 00:08:46,652 gives him angles to play with, 21 00:08:46,902 --> 00:08:49,071 without even having to volley. 22 00:10:16,992 --> 00:10:20,871 TECHNICAL SEQUENCES 23 00:11:55,132 --> 00:11:58,885 So we were waiting, well, I was waiting... 24 00:12:01,304 --> 00:12:02,973 for the signal to come through - 25 00:12:03,223 --> 00:12:07,018 for the game to be over and the players sitting down - 26 00:12:07,269 --> 00:12:11,022 so the spectators would be moving. 27 00:12:12,691 --> 00:12:15,861 So we were... I was always a bit tense because it was... 28 00:12:17,112 --> 00:12:18,905 it's the closest spot, 29 00:12:19,156 --> 00:12:22,826 closest to the court, closest to the players. 30 00:12:24,286 --> 00:12:25,704 So we moved forward... 31 00:12:51,396 --> 00:12:53,106 I set up my tripod. 32 00:12:55,192 --> 00:13:00,155 I always filmed with a tripod, trying... 33 00:13:01,907 --> 00:13:03,366 not to get in the way. 34 00:13:03,867 --> 00:13:06,953 To be at the right height. There I'm on the flowers, 35 00:13:07,788 --> 00:13:10,415 which are just in front of me. 36 00:13:14,169 --> 00:13:18,340 And we were surrounded by photographers... 37 00:13:20,467 --> 00:13:25,555 who also had big cameras with long focal lenses. 38 00:14:14,729 --> 00:14:16,523 I think that's also what... 39 00:14:18,567 --> 00:14:20,360 what you look for... 40 00:14:21,987 --> 00:14:23,864 when you're filming. 41 00:14:24,906 --> 00:14:29,369 The sort of ideal spot. 42 00:14:35,000 --> 00:14:39,129 With no tricks, no big movements... 43 00:14:41,172 --> 00:14:44,718 you describe a presence, 44 00:14:44,968 --> 00:14:46,928 an action, a movement. 45 00:14:47,679 --> 00:14:50,473 That's the spot, I think, at Roland Garros. 46 00:14:51,349 --> 00:14:52,976 Of course you don't see... 47 00:14:55,729 --> 00:14:57,397 you don't see both players. 48 00:15:01,568 --> 00:15:03,111 You don't see the match. 49 00:15:03,486 --> 00:15:05,238 You don't see the rallies. 50 00:15:05,822 --> 00:15:07,282 You just see one player. 51 00:15:08,617 --> 00:15:11,202 Indeed, it seems he's playing against himself. 52 00:15:15,040 --> 00:15:17,626 You see the strength in tennis. 53 00:16:13,556 --> 00:16:15,475 Game, McEnroe. 54 00:16:15,725 --> 00:16:17,852 Two games all, first set. 55 00:16:27,612 --> 00:16:30,365 In the range of shots played beyond the baseline, 56 00:16:30,615 --> 00:16:33,785 his strong point is never violence, but variety. 57 00:16:34,202 --> 00:16:36,579 His elastic defense is only ever temporary, 58 00:16:36,830 --> 00:16:40,917 always watching for a short enough ball to give his best game. 59 00:16:46,673 --> 00:16:50,218 This desire to vary rate and effects in baseline exchanges... 60 00:16:51,302 --> 00:16:53,263 is particularly visible at backhand 61 00:16:53,513 --> 00:16:57,559 where slices and lifts alternate almost systematically, 62 00:16:57,934 --> 00:17:01,271 though the play situations may not be any different. 63 00:17:11,573 --> 00:17:15,410 This mix shows the attention he gives to each shot 64 00:17:15,660 --> 00:17:20,040 without ever taking the easy route of a stereotypical movement. 65 00:17:20,665 --> 00:17:26,046 That is probably one of the ways he makes his opponents feel insecure. 66 00:17:34,345 --> 00:17:37,390 As tennis began to be broadcast more and more 67 00:17:37,640 --> 00:17:40,518 and Roland Garros was seen worldwide, 68 00:17:40,769 --> 00:17:42,937 with ever costlier television rights, 69 00:17:43,605 --> 00:17:48,068 our little spot for filming those shots for Gil's films 70 00:17:48,318 --> 00:17:49,986 got smaller and smaller. 71 00:17:50,612 --> 00:17:55,158 At one point, the Federation even made him this offer: 72 00:17:55,408 --> 00:18:00,830 "French television has 20 cameras around the courts. 73 00:18:02,540 --> 00:18:05,710 The Americans too. Just use those pictures. 74 00:18:06,711 --> 00:18:10,632 The television companies will give them to you, just use them." 75 00:18:10,882 --> 00:18:13,551 He was beside himself. 76 00:18:14,302 --> 00:18:17,889 He said, "They don't understand I don't do the same job. 77 00:18:18,139 --> 00:18:20,391 They don't understand what I'm doing. 78 00:18:20,642 --> 00:18:21,851 I'm making a film." 79 00:18:22,727 --> 00:18:24,854 That made him really furious. 80 00:18:26,439 --> 00:18:28,983 What he wanted was very precise. 81 00:18:29,442 --> 00:18:32,654 I think he was more interested in the players than the match. 82 00:18:34,322 --> 00:18:38,076 It bore no relation to live television coverage. 83 00:18:39,077 --> 00:18:43,873 And indeed, I don't believe Gil watched tennis on television at all. 84 00:18:44,124 --> 00:18:45,500 He wasn't interested. 85 00:18:51,548 --> 00:18:53,591 Sober and varied, 86 00:18:53,842 --> 00:18:55,927 applied and imaginative: 87 00:18:56,177 --> 00:18:58,596 People were bound to like McEnroe's game. 88 00:18:59,222 --> 00:19:01,808 And the better placed the ball, 89 00:19:02,058 --> 00:19:04,519 the more efficiently he hit it. 90 00:19:15,280 --> 00:19:18,616 Drop shots were one of his major weapons. 91 00:19:20,535 --> 00:19:23,955 Forehand, when his movement gave away his intention, 92 00:19:24,205 --> 00:19:25,582 it was already too late. 93 00:19:25,832 --> 00:19:29,127 His attack position suggested something quite different. 94 00:19:57,989 --> 00:20:01,242 Backhand, the surprise was if anything even more total, 95 00:20:01,492 --> 00:20:04,120 since it was entirely unpredictable. 96 00:22:28,056 --> 00:22:29,057 15-40. 97 00:22:32,685 --> 00:22:35,271 Go and check. The mark is on the line. 98 00:22:37,023 --> 00:22:39,692 It's in. No, the ball is in. Please. 99 00:22:49,118 --> 00:22:50,453 15-40. 100 00:27:19,430 --> 00:27:22,266 We count in points, games, 101 00:27:22,516 --> 00:27:24,352 sets, and match. 102 00:27:24,602 --> 00:27:26,520 The first point is called 15. 103 00:27:26,771 --> 00:27:30,524 The second, 30. The third, 40. And the fourth, game. 104 00:27:32,485 --> 00:27:37,073 To win a game, you have to have at least four points and a two-point lead. 105 00:27:39,075 --> 00:27:42,286 The server's points are always given first. 106 00:27:42,745 --> 00:27:43,954 Love-15. 107 00:27:44,205 --> 00:27:46,207 When each player has won a point, 108 00:27:46,457 --> 00:27:47,875 the announcer says... 109 00:27:48,125 --> 00:27:49,335 Fifteen all. 110 00:27:49,585 --> 00:27:53,339 If each player has scored three points, it is called deuce. 111 00:27:53,589 --> 00:27:54,715 40 all! 112 00:27:54,965 --> 00:27:58,427 The player who next wins a point has the advantage. 113 00:27:59,053 --> 00:28:02,014 They may go back to deuce by losing the next point 114 00:28:02,264 --> 00:28:04,058 or win the game by winning it. 115 00:28:08,229 --> 00:28:12,483 To win a set, you must win six games and be two games ahead. 116 00:28:12,942 --> 00:28:15,945 When the players reach a score of six games each, 117 00:28:16,195 --> 00:28:19,407 a seven-point decider is played, called a tiebreak, 118 00:28:19,657 --> 00:28:21,158 to finish the set. 119 00:28:22,535 --> 00:28:26,122 To win a match, women must win two sets 120 00:28:26,622 --> 00:28:30,084 and men must win three sets, at least at Roland Garros. 121 00:32:41,710 --> 00:32:43,003 15 all. 122 00:33:13,951 --> 00:33:15,244 30-15. 123 00:33:31,427 --> 00:33:33,053 Quiet, please. 124 00:33:33,470 --> 00:33:34,763 Please. 125 00:35:22,246 --> 00:35:26,125 The photographers will kindly leave. Thank you. 126 00:36:23,307 --> 00:36:26,310 Five games all, second set. 127 00:36:58,008 --> 00:37:00,385 I used to think, I'll have a rest in the pit, 128 00:37:00,636 --> 00:37:02,804 but you don't get any rest there. 129 00:37:03,055 --> 00:37:04,348 In that hole, 130 00:37:05,182 --> 00:37:07,059 you're careful about the balls, 131 00:37:07,309 --> 00:37:08,852 you're a little bit afraid. 132 00:37:17,611 --> 00:37:19,821 When we were shooting in 16-mm, 133 00:37:20,155 --> 00:37:24,576 it was a place where we could change our cassettes peacefully 134 00:37:24,826 --> 00:37:28,413 in the changing bag, in the cool darkness. 135 00:37:29,623 --> 00:37:31,667 It was less risky than outside. 136 00:37:36,713 --> 00:37:38,924 The Arri SR made a lot of noise... 137 00:37:41,051 --> 00:37:43,512 in that hole, that pit. 138 00:37:43,762 --> 00:37:46,098 It was resonant, I felt a bit ashamed. 139 00:38:17,087 --> 00:38:22,509 It wasn't that easy, actually you had to impose yourself. 140 00:38:23,093 --> 00:38:25,220 But I did have a bit of difficulty 141 00:38:25,470 --> 00:38:28,265 because sometimes the photographers could see 142 00:38:28,515 --> 00:38:32,269 that I had nothing to do with photography. 143 00:38:34,688 --> 00:38:39,067 I used to get ahead of things before the matches. 144 00:38:39,318 --> 00:38:41,194 I set the equipment up, 145 00:38:41,820 --> 00:38:44,948 I plugged it in and well, there were no problems. 146 00:38:46,616 --> 00:38:50,662 I don't know why, but it was especially the microphone's windscreen 147 00:38:50,912 --> 00:38:56,877 which, I suppose, must have intrigued him. 148 00:38:58,086 --> 00:39:02,049 There were often players who would go after... 149 00:39:02,299 --> 00:39:03,342 Not just him. 150 00:39:03,592 --> 00:39:08,597 There were several players that went after the crowd. 151 00:39:10,057 --> 00:39:13,935 It was a nervous thing with them, 152 00:39:14,186 --> 00:39:18,231 and that time it happened that the windscreen intrigued him. 153 00:39:24,071 --> 00:39:29,576 He asked the umpire, who was just in front of me... 154 00:39:31,244 --> 00:39:38,877 to put an end to the recording. 155 00:39:39,127 --> 00:39:41,630 He replied that it was out of the question, 156 00:39:41,880 --> 00:39:44,633 I wasn't intruding on court, 157 00:39:45,634 --> 00:39:47,761 and so there was no problem 158 00:39:48,345 --> 00:39:50,555 that could make him forbid it. 159 00:39:52,140 --> 00:39:54,726 And then he came back to it two or three times, 160 00:39:54,976 --> 00:39:56,853 then he blew up. 161 00:40:46,653 --> 00:40:50,365 They tried to put a sound blimp on the camera each time, 162 00:40:50,615 --> 00:40:54,453 to cut the sound made by the reel spinning 163 00:40:54,703 --> 00:40:57,873 at 120 images per second for slow motion. 164 00:40:59,458 --> 00:41:00,917 They put on a sound blimp, 165 00:41:01,168 --> 00:41:06,465 and sometimes over that they put a coat or a jacket, 166 00:41:06,715 --> 00:41:08,550 but the sound still came out. 167 00:41:08,800 --> 00:41:11,011 Through the lens. So you heard... 168 00:41:12,888 --> 00:41:13,972 on the court, 169 00:41:14,222 --> 00:41:16,725 as soon as it was switched on to capture a movement. 170 00:41:16,975 --> 00:41:20,770 A 16-mm Arriflex High Speed going at 120 images/second 171 00:41:21,021 --> 00:41:22,022 makes a noise. 172 00:41:22,272 --> 00:41:25,775 And when you're in an entirely silent stadium - 173 00:41:26,568 --> 00:41:29,321 since there is no noise during tennis rallies - 174 00:41:29,571 --> 00:41:30,906 you can imagine. 175 00:41:55,096 --> 00:41:56,556 Game, McEnroe. 176 00:42:22,707 --> 00:42:24,376 40-0. 177 00:43:04,749 --> 00:43:05,959 30 all. 178 00:52:01,035 --> 00:52:04,705 CLINICAL PSYCHOLOGY 179 00:52:04,956 --> 00:52:06,541 The codification... 180 00:52:07,750 --> 00:52:10,128 of feelings on a sports ground 181 00:52:10,378 --> 00:52:12,130 is pretty banal. 182 00:52:12,380 --> 00:52:16,342 That is, they are positive feelings, those of a fighting spirit. 183 00:52:17,343 --> 00:52:21,264 But this player doesn't bring that, he brings negative feelings. 184 00:52:21,514 --> 00:52:23,766 And so, for some of the spectators... 185 00:52:25,309 --> 00:52:28,146 it seems so out of line with what we usually see 186 00:52:28,396 --> 00:52:30,523 or expect to see on a sports ground, 187 00:52:30,773 --> 00:52:36,195 that we're - and I think this explains why we may even laugh sometimes - 188 00:52:37,071 --> 00:52:41,868 we think it's someone who is absolutely not under control. 189 00:52:42,118 --> 00:52:48,082 Someone who is completely out of line with feelings that will let him win. 190 00:52:48,583 --> 00:52:54,213 Except that in fact, those aren't pleasant moments for him, 191 00:52:54,463 --> 00:52:58,676 but they were things he managed to turn to his advantage. 192 00:52:58,926 --> 00:53:04,765 And I'm not sure the spectators could necessarily be aware of it. 193 00:53:05,016 --> 00:53:08,311 Because the spectators will go along with feelings of joy, 194 00:53:08,561 --> 00:53:10,688 combativeness, fury... 195 00:53:10,938 --> 00:53:13,107 Feelings considered to be positive: 196 00:53:13,357 --> 00:53:16,068 personal achievement, pushing your limits... 197 00:53:16,319 --> 00:53:20,531 The idea of personal achievement thanks to anger or rage, 198 00:53:20,781 --> 00:53:25,161 when you have the impression a sportsman is exploding inwardly, 199 00:53:25,411 --> 00:53:30,625 we say, "He's got a problem, he can't win like that." 200 00:53:30,875 --> 00:53:32,543 Yes, he could! 201 00:53:51,437 --> 00:53:56,567 Most other players or athletes, if they give way to feelings of anger, 202 00:53:56,817 --> 00:53:58,778 soon become violent, 203 00:53:59,028 --> 00:54:01,364 and it's very difficult to rev up... 204 00:54:02,448 --> 00:54:07,203 and be in a storm of emotional agitation, 205 00:54:07,453 --> 00:54:11,707 be filled with anger, rage, and even violence, 206 00:54:11,958 --> 00:54:13,334 and remain productive. 207 00:54:13,584 --> 00:54:15,753 It is extremely difficult. 208 00:54:16,003 --> 00:54:18,005 And coming back down again quickly 209 00:54:18,256 --> 00:54:21,384 and remaining lucid where strategy is concerned 210 00:54:21,634 --> 00:54:23,344 is extremely hard. 211 00:54:23,594 --> 00:54:25,388 Not only is it not exportable, 212 00:54:25,638 --> 00:54:28,432 it's more or less destined to fail in most cases. 213 00:54:28,683 --> 00:54:33,521 Logically, an efficient model is feelings under control. 214 00:54:34,063 --> 00:54:35,064 In McEnroe's case, 215 00:54:35,314 --> 00:54:39,902 it seems he can open the door and let the lion out of the cage, 216 00:54:40,152 --> 00:54:41,696 express himself, shout, 217 00:54:41,946 --> 00:54:43,614 and remain efficient. 218 00:54:43,864 --> 00:54:45,491 Logically impossible. 219 00:55:56,354 --> 00:55:57,730 Deuce. 220 00:57:30,364 --> 00:57:34,160 So when you are a perfectionist and very demanding with yourself, 221 00:57:34,410 --> 00:57:35,995 you tend to project 222 00:57:36,245 --> 00:57:40,708 and expect others around you to be just as invested as you. 223 00:57:41,876 --> 00:57:44,962 So he feels a referee doesn't really know, 224 00:57:45,212 --> 00:57:46,547 he's hesitant, 225 00:57:47,214 --> 00:57:49,008 people are approximative, 226 00:57:50,009 --> 00:57:53,012 amateurish, those that are around him, 227 00:57:53,262 --> 00:57:56,056 including the referees who are there to judge, 228 00:57:56,432 --> 00:58:00,311 and that causes almost uncontrollable rage. 229 00:58:00,561 --> 00:58:04,106 How can I, who am so invested and put in so much effort 230 00:58:04,356 --> 00:58:08,068 and come here with such a perfect performance, 231 00:58:08,319 --> 00:58:10,905 be judged and deceived 232 00:58:11,155 --> 00:58:14,366 by someone who just isn't demanding enough himself, 233 00:58:14,617 --> 00:58:17,161 not precise enough, not good enough? 234 00:58:18,245 --> 00:58:22,208 That causes - for McEnroe and a certain number of athletes - 235 00:58:22,458 --> 00:58:24,752 feelings of injustice and anger, 236 00:58:25,002 --> 00:58:29,215 and for McEnroe they weren't necessarily under control. 237 00:59:21,350 --> 00:59:23,143 Can you show the mark? 238 00:59:26,939 --> 00:59:28,899 There. No, it's behind. 239 00:59:32,945 --> 00:59:34,655 No, not you. 240 00:59:58,637 --> 01:00:01,724 What's happening in that player's head, 241 01:00:02,600 --> 01:00:04,059 we can't get to it. 242 01:00:05,644 --> 01:00:08,439 It's a match against himself. 243 01:00:08,689 --> 01:00:12,568 Perfectionists don't only play against others, or a chronometer. 244 01:00:12,818 --> 01:00:15,988 A real perfectionist is someone who seeks 245 01:00:16,989 --> 01:00:22,119 something along the lines of a culmination of performance, 246 01:00:22,369 --> 01:00:26,040 be it the moves made, the quality, everything. 247 01:00:26,582 --> 01:00:31,045 So there's a struggle against oneself which is very much there too. 248 01:00:31,295 --> 01:00:36,216 Emphasis is sometimes put on a point that may seem anecdotal, 249 01:00:36,634 --> 01:00:39,678 but it comes barging into his own story, 250 01:00:39,928 --> 01:00:43,307 in the match against himself, 251 01:00:43,557 --> 01:00:49,730 little approximations - a referee's approximations - 252 01:00:49,980 --> 01:00:53,400 may lead him to lose control. 253 01:00:53,651 --> 01:00:57,946 And it's true that theoretically, 254 01:00:58,197 --> 01:01:01,075 as part of mental preparation in particular, 255 01:01:01,325 --> 01:01:07,831 sports people are taught to think about the manageable factors, 256 01:01:08,082 --> 01:01:12,211 that is to say all the things they can manage themselves on court, 257 01:01:12,461 --> 01:01:16,632 and let go of those they can't in order to stay in the present 258 01:01:16,882 --> 01:01:22,096 in such a way as to have stable intensity and concentration. 259 01:01:23,305 --> 01:01:26,767 McEnroe does seem to be into ultra-control. 260 01:01:27,559 --> 01:01:30,813 He has to control everything, and if anything escapes him, 261 01:01:31,438 --> 01:01:32,981 he flies into a fury. 262 01:01:34,525 --> 01:01:36,110 Game, McEnroe. 263 01:04:58,937 --> 01:05:02,941 McEnroe's art is thus largely one of camouflage. 264 01:05:03,191 --> 01:05:05,444 But it's also an art of sensitivity, 265 01:05:05,694 --> 01:05:08,238 the right decision at the right moment. 266 01:05:08,780 --> 01:05:10,449 So up to the net he goes, 267 01:05:10,699 --> 01:05:14,453 after a lag time aimed at weighing up if it is a good idea, 268 01:05:14,703 --> 01:05:16,914 and also surprising his opponent. 269 01:05:19,583 --> 01:05:22,669 This desire to constantly muddy the waters, 270 01:05:22,920 --> 01:05:26,798 to turn everything into a fight between two people's intelligence, 271 01:05:27,341 --> 01:05:29,134 is no doubt the most original mark 272 01:05:29,384 --> 01:05:32,679 John McEnroe will have left on modern tennis. 273 01:06:42,874 --> 01:06:45,002 Very often there are... 274 01:06:45,252 --> 01:06:50,882 If you look at the very strong motors behind fulfillment and excelling oneself, 275 01:06:51,133 --> 01:06:54,344 there are stories that go back to childhood 276 01:06:54,594 --> 01:06:56,388 and the family setting, 277 01:06:57,097 --> 01:07:00,517 and what happened around issues of love and attachment. 278 01:07:01,351 --> 01:07:05,272 Does anyone love me? Will anyone love me? 279 01:07:05,522 --> 01:07:08,066 Will I be admired, recognized? 280 01:07:08,316 --> 01:07:11,194 Will I be valued within my family? 281 01:07:11,945 --> 01:07:15,866 Or more rooted in fear: Will I lose? 282 01:07:16,116 --> 01:07:20,078 Will people stop loving me if I lose, 283 01:07:20,328 --> 01:07:22,289 if I perform less well? 284 01:07:22,539 --> 01:07:26,752 Those are motors or brakes, or both. 285 01:07:27,377 --> 01:07:29,171 Sometimes it's very ambivalent, 286 01:07:29,421 --> 01:07:33,508 with a big contrast between that fear, 287 01:07:33,759 --> 01:07:35,469 which can create abnormal desire, 288 01:07:35,719 --> 01:07:37,804 because playing high-level sport 289 01:07:38,305 --> 01:07:43,226 is to my mind something "abnormal," psychically speaking, 290 01:07:43,477 --> 01:07:46,021 an investment that isn't "normal," 291 01:07:46,271 --> 01:07:49,232 a relationship to suffering that isn't normal, 292 01:07:49,483 --> 01:07:51,902 to excelling oneself, to willpower, 293 01:07:52,152 --> 01:07:55,280 the rage to always do better, to go back over again 294 01:07:55,530 --> 01:07:58,658 in order to face all sorts of tests... 295 01:07:58,909 --> 01:08:00,160 It isn't "normality." 296 01:08:00,410 --> 01:08:05,123 So there are often things that have happened, psychically, in childhood 297 01:08:05,373 --> 01:08:08,752 which, too, aren't normal in the way they're interpreted. 298 01:08:09,628 --> 01:08:12,714 And from those sometimes contrasting, violent feelings 299 01:08:13,340 --> 01:08:16,968 is born a desire for fulfillment or reparation 300 01:08:17,219 --> 01:08:20,430 which expresses itself in top-class sport. 301 01:16:01,808 --> 01:16:04,936 McEnroe wins the first set six games to three. 302 01:17:23,348 --> 01:17:24,682 40-30. 303 01:18:28,996 --> 01:18:31,582 Game and second set, McEnroe. 304 01:19:13,166 --> 01:19:14,876 Game, McEnroe. 305 01:19:20,339 --> 01:19:22,133 One game all. 306 01:23:08,609 --> 01:23:10,736 Third set, Lendl. 307 01:24:53,631 --> 01:24:55,382 Game, Lendl. 308 01:24:57,343 --> 01:24:59,386 Four games all. 309 01:25:25,621 --> 01:25:27,498 Deuce. 310 01:25:44,765 --> 01:25:47,184 Just a light watering, please. 311 01:26:53,709 --> 01:26:56,962 Could you please confirm the mark? 312 01:35:00,612 --> 01:35:02,572 Subtitled by Captions, Inc.