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1
00:03:11,229 --> 00:03:14,300
At the side of the freeway right
at the entry to the Paris airport...
2
00:03:14,939 --> 00:03:19,889
stands a maiestic tree that signals
my arrivals and departures.
3
00:03:20,879 --> 00:03:24,979
lt's a cedar from Lebanon that
must be at least 150 years-old.
4
00:03:25,750 --> 00:03:28,620
The last time l went by on my way
to the festival in Cannes...
5
00:03:29,219 --> 00:03:31,030
the tree had
a different message.
6
00:03:31,490 --> 00:03:34,009
lt reminded me that it had seen
the beginnings of photography...
7
00:03:34,560 --> 00:03:38,099
and the entire history of cinema.
which it might just as well survive.
8
00:03:39,189 --> 00:03:42,789
so l arrived in Cannes with a
question. that l asked my colleagues.
9
00:03:47,030 --> 00:03:48,840
How long is the reel?
10
00:03:49,300 --> 00:03:51,259
-10 minutes.
-fine.
11
00:04:00,819 --> 00:04:02,569
l've got this piece of paper
that Wim Wenders gave me.
12
00:04:03,020 --> 00:04:07,909
He's set up a camera
and a tape recorder...
13
00:04:09,259 --> 00:04:12,300
and left me here.
14
00:04:14,259 --> 00:04:17,389
But he hasn't set me properly...
15
00:04:19,029 --> 00:04:21,310
for me to see the tennis game.
16
00:04:22,870 --> 00:04:28,669
lt's a ball.
A ball who talks.
17
00:04:29,680 --> 00:04:33,189
l'll play the ball.
l'll play the fool.
18
00:04:35,020 --> 00:04:37,650
this is an enquiry about
the future of the cinema.
19
00:04:38,219 --> 00:04:40,030
the context:
20
00:04:40,490 --> 00:04:43,969
more and more movies
Iook like TV series...
21
00:04:44,659 --> 00:04:48,580
in terms of lighting.
framing. and editing.
22
00:04:49,330 --> 00:04:52,110
for large parts of the audience
all over the world...
23
00:04:52,699 --> 00:04:57,620
a television aesthetic has
replaced a cinematic aesthetic.
24
00:04:58,539 --> 00:05:00,180
Well...
25
00:05:00,610 --> 00:05:03,479
you have to know
who invented television...
26
00:05:04,080 --> 00:05:07,389
and what the context was.
27
00:05:08,419 --> 00:05:12,079
lts arrival coincided with
the talkies...
28
00:05:13,149 --> 00:05:18,339
at a time when governments were
half-consciously thinking of...
29
00:05:19,259 --> 00:05:24,060
harnessing the incredible power...
30
00:05:24,930 --> 00:05:27,860
that was released by the silent film...
31
00:05:28,470 --> 00:05:32,370
which. unlike painting.
achieved instant popularity.
32
00:05:33,110 --> 00:05:35,160
Popularity among the masses.
33
00:05:35,639 --> 00:05:38,449
Rembrandt's paintings...
34
00:05:39,050 --> 00:05:41,860
and Mozart's music were supported
by kings and princes.
35
00:05:42,449 --> 00:05:47,930
But it was a mass public that very
quickly came to support....
36
00:05:48,889 --> 00:05:49,970
the cinema.
37
00:05:53,129 --> 00:05:57,230
the silent movie was
something to behold.
38
00:05:58,000 --> 00:06:00,459
first you look. then you speak.
39
00:06:01,040 --> 00:06:03,879
the sound film might've been invented
right away. but that didn't happen.
40
00:06:04,470 --> 00:06:06,639
lnstead. it took thirty years.
the age of reason...
41
00:06:07,139 --> 00:06:12,029
Whoever has the power has right
on his side. as l said in a movie.
42
00:06:14,750 --> 00:06:18,379
first came the technical
birth of television.
43
00:06:19,089 --> 00:06:21,199
When the film people
weren't interested in it...
44
00:06:21,689 --> 00:06:26,550
it had to be rescued by the post
office. people in communications.
45
00:06:27,430 --> 00:06:31,680
so. today. television...
46
00:06:32,470 --> 00:06:35,459
is like a little post office.
47
00:06:36,069 --> 00:06:38,290
lt's nothing to be afraid of.
it's so small...
48
00:06:38,810 --> 00:06:43,319
and you have to be
very close to the picture...
49
00:06:44,139 --> 00:06:46,949
ln the cinema
on the other hand. the picture...
50
00:06:47,550 --> 00:06:50,509
is large and intimidating... and you
watch it from some distance.
51
00:06:51,120 --> 00:06:54,399
today. it seems people would rather
Iook at a small picture close up...
52
00:06:55,060 --> 00:06:57,490
than a large one from a distance.
53
00:07:01,230 --> 00:07:04,660
television emerged very quickly
because it was born in the USA.
54
00:07:05,329 --> 00:07:09,430
lt was born at the very same time
as the advertising that financed it.
55
00:07:10,199 --> 00:07:13,920
so it was the highly articulate
advertising world...
56
00:07:14,639 --> 00:07:19,360
saying things in a
single phrase or image...
57
00:07:20,209 --> 00:07:24,569
like Eisenstein
as good as Eisenstein...
58
00:07:25,389 --> 00:07:27,699
as good as Potemkin.
59
00:07:28,290 --> 00:07:33,089
so they made ads like Potemxin.
only Potemxin is 90 minutes long.
60
00:07:33,959 --> 00:07:39,500
An ad is less than a minute long.
because otherwise...
61
00:07:40,470 --> 00:07:42,639
you would have to tell
the truth about...
62
00:07:43,139 --> 00:07:48,180
the car. the tennis racket...
63
00:07:50,040 --> 00:07:54,550
lt is linked to the truth
and we admit the lack of it...
64
00:07:55,379 --> 00:07:57,629
and all the chattering
that goes with it.
65
00:07:58,920 --> 00:08:00,819
More and more movies
talk about other movies...
66
00:08:01,290 --> 00:08:04,189
rather than about a reality
outside the cinema.
67
00:08:04,790 --> 00:08:09,389
lt's true. It's difficult to shoot
outdoors. you have to take risks.
68
00:08:10,230 --> 00:08:14,040
lt seems that life can't provide
stories with no troubles.
69
00:08:14,769 --> 00:08:17,110
As soon as there is trouble
we say there is no story.
70
00:08:17,639 --> 00:08:20,329
We just want a story
we know already.
71
00:08:20,910 --> 00:08:25,329
We are reassured not because it's the
story of Alain Delon and his gun...
72
00:08:26,149 --> 00:08:30,980
or Charles Bronson
or something like that...
73
00:08:31,850 --> 00:08:33,490
but because we know the end...
74
00:08:33,919 --> 00:08:36,198
we are reassured about
our own story.
75
00:08:36,720 --> 00:08:41,698
l think a picture is like
an X-ray you take. sick or not.
76
00:08:42,600 --> 00:08:47,670
You get worried or reassured after
seeing a bit of your own story.
77
00:08:48,769 --> 00:08:54,509
And television is made
in the name of power...
78
00:08:55,839 --> 00:08:58,709
political and money power.
79
00:08:59,310 --> 00:09:03,939
they don't want a story.
there is no story in Dallas.
80
00:09:05,689 --> 00:09:09,000
sometimes that is
what l like about Dallas.
81
00:09:10,589 --> 00:09:16,449
''fewer and fewer movies are made''.
that's false. We're making more films.
82
00:09:17,529 --> 00:09:23,389
Americans are very good.
they make fewer movies.
83
00:09:25,040 --> 00:09:29,080
they found out that you need
to make fewer movies.
84
00:09:29,840 --> 00:09:31,860
Hollywood's dream is
to make one movie...
85
00:09:32,350 --> 00:09:35,779
but the television makes it and
to have it distributed everywhere.
86
00:09:36,450 --> 00:09:40,960
Movie and TV series
change titles...
87
00:09:41,789 --> 00:09:43,929
but they are still the same.
88
00:09:44,429 --> 00:09:48,789
text becomes more important
to characterize the story.
89
00:09:50,629 --> 00:09:53,350
so people can think
it's different.
90
00:09:53,929 --> 00:09:56,360
like kids...
91
00:09:58,370 --> 00:10:00,799
Why do people have kids?
92
00:10:02,110 --> 00:10:03,950
''there is a focus towards
big productions.''
93
00:10:04,409 --> 00:10:07,190
we do less but distribute
more widely.
94
00:10:07,779 --> 00:10:10,529
small movies tend to disappear.
95
00:10:11,120 --> 00:10:13,080
Cinema was born with small movies.
96
00:10:13,549 --> 00:10:18,559
small nations too. poor or rich.
will disappear.
97
00:10:19,460 --> 00:10:22,830
Everything small.
98
00:10:31,769 --> 00:10:35,399
''film on VHS are available
very quickly.''
99
00:10:36,110 --> 00:10:37,690
Yes...
100
00:10:38,309 --> 00:10:40,269
this new market is booming.
101
00:10:40,750 --> 00:10:45,139
People prefer to watch movies
at home on tape.
102
00:10:46,350 --> 00:10:49,009
lt's just a pretext.
103
00:10:50,190 --> 00:10:55,080
A porn movie at home on tape
is a pretext to invite a girl...
104
00:10:55,960 --> 00:11:01,059
and it's avoiding the minimal work...
105
00:11:01,970 --> 00:11:03,279
of talking to her about love.
106
00:11:04,169 --> 00:11:07,649
so l don't know...
107
00:11:15,649 --> 00:11:20,450
''ls cinema dying out as a language.
will it soon be a defunct art form?''
108
00:11:23,019 --> 00:11:24,509
lt really doesn't matter.
It's bound to happen some time.
109
00:11:24,929 --> 00:11:28,710
l shall die. but will my art die?
110
00:11:29,429 --> 00:11:30,659
l remember telling
Henri Langlois that...
111
00:11:31,029 --> 00:11:33,960
he should throw away
his collection of films...
112
00:11:34,570 --> 00:11:37,149
and go off somewhere.
otherwise he would die.
113
00:11:37,700 --> 00:11:41,860
so one should just go off somewhere.
It's much the better way.
114
00:12:15,309 --> 00:12:20,470
films are created when
there's no one looking.
115
00:12:22,649 --> 00:12:25,690
they are the invisible.
116
00:12:26,320 --> 00:12:31,299
What you can't see
is the Incredible...
117
00:12:32,190 --> 00:12:36,529
and it's the task of the cinema
to show you that.
118
00:12:37,330 --> 00:12:40,610
to show what you can't see.
119
00:13:38,690 --> 00:13:41,350
l'm sitting here
in front of the camera...
120
00:13:44,299 --> 00:13:47,929
but in reality. in my head.
l'm behind it.
121
00:13:54,470 --> 00:13:58,309
My world is the imaginary and...
122
00:14:00,509 --> 00:14:06,309
that's a journey between
forwards and backwards...
123
00:14:07,320 --> 00:14:09,100
between to and from.
124
00:14:10,120 --> 00:14:13,960
like Wim. l'm a great traveler.
see you later.
125
00:14:33,950 --> 00:14:35,179
Bye.
126
00:14:38,620 --> 00:14:43,450
''ls cinema a language about
to get lost. an art about to die?''
127
00:14:45,990 --> 00:14:48,210
Answer: yes. l think.
128
00:14:51,399 --> 00:14:53,830
lt's obvious that
it's on the way out.
129
00:14:54,370 --> 00:14:56,509
there's no reason
to suspect otherwise.
130
00:14:57,000 --> 00:14:59,720
the novel has been dead for
a long while. People know that.
131
00:15:00,309 --> 00:15:04,730
Poetry is exhausted
a hundred years ago.
132
00:15:05,549 --> 00:15:08,360
Plays hardly exist.
Once in a while.
133
00:15:08,950 --> 00:15:13,460
And every now and then.
there's a movie. But that's about all.
134
00:15:14,860 --> 00:15:19,639
the television is replacing it? Yes.
135
00:15:20,490 --> 00:15:22,539
l. myself...
136
00:15:23,029 --> 00:15:26,070
prefer watching most television
to most movies.
137
00:15:29,299 --> 00:15:34,399
l think the reason why movies
are dropping dead...
138
00:15:35,309 --> 00:15:37,649
is the same as with the novel.
139
00:15:40,279 --> 00:15:43,149
the novel had life in it when...
140
00:15:43,750 --> 00:15:46,409
it was based upon characters...
141
00:15:46,990 --> 00:15:50,940
when the novel was a vehicle
for an artist to create characters.
142
00:15:51,690 --> 00:15:54,059
there was a novel. people read it.
143
00:15:54,590 --> 00:15:59,690
When there was plays. like
Shakespeare. anybody. Shaw...
144
00:16:00,600 --> 00:16:04,850
there's only good plays. Molisre.
if they wrote good characters.
145
00:16:05,639 --> 00:16:08,039
the plots in their plays.
their philosophy...
146
00:16:08,580 --> 00:16:11,299
their meaning. their politics.
are all negligible.
147
00:16:11,879 --> 00:16:14,659
Most of them were ridiculous. stupid.
they go out of fashion.
148
00:16:15,250 --> 00:16:17,649
But good characters stay alive.
149
00:16:18,190 --> 00:16:21,350
the movies don't use
characters anymore.
150
00:16:21,990 --> 00:16:26,269
they use some horrible thing called
''directors and photography''.
151
00:16:27,059 --> 00:16:30,570
l prefer television because
television uses people.
152
00:16:31,259 --> 00:16:35,740
there're no directors on television.
It has much more life than movies.
153
00:16:36,570 --> 00:16:38,909
there're characters on television
on the talk-shows...
154
00:16:39,440 --> 00:16:43,100
there're characters on sitcom
situation comedies.
155
00:16:43,809 --> 00:16:47,320
there're characters on weekly series.
adventure series.
156
00:16:48,009 --> 00:16:52,730
the intrusion of director
does not exist in television.
157
00:16:53,590 --> 00:16:56,340
the material is second-rate...
158
00:16:56,919 --> 00:16:59,110
but the material of the movies
is second-rate.
159
00:16:59,629 --> 00:17:03,000
But people does exist on television.
It's better.
160
00:17:03,659 --> 00:17:04,829
And...
161
00:17:05,369 --> 00:17:09,500
maybe one day television will
die out too. but...
162
00:17:10,269 --> 00:17:11,470
l don't know.
163
00:17:11,839 --> 00:17:13,269
l. myself...
164
00:17:15,378 --> 00:17:20,569
think the movie critics. more than
anything. have destroyed films.
165
00:17:23,148 --> 00:17:26,659
ro ask a director like myself.
from the Philippines...
166
00:17:27,349 --> 00:17:30,889
what the future of the cinema is
l find...
167
00:17:34,029 --> 00:17:37,509
a very absurd question.
because...
168
00:17:38,200 --> 00:17:41,389
to ask what the future
of cinema is in Philippines...
169
00:17:42,039 --> 00:17:45,169
like asking what the
future of Philippines is.
170
00:17:49,440 --> 00:17:51,049
-Good bye.
-Bye.
171
00:17:51,480 --> 00:17:53,120
Nice to meet you.
172
00:18:06,960 --> 00:18:08,569
l don't...
173
00:18:09,859 --> 00:18:12,259
go to the movies very much anymore.
174
00:18:13,430 --> 00:18:16,859
l have a video recorder...
175
00:18:17,539 --> 00:18:21,230
and l record videos off the air.
176
00:18:21,940 --> 00:18:24,660
But l don't watch them while
they're being recorded.
177
00:18:25,250 --> 00:18:30,319
and l very rarely look at them
after l've recorded them.
178
00:18:31,319 --> 00:18:37,089
l have a library with
200 movies that l...
179
00:18:38,789 --> 00:18:40,430
l never see.
180
00:18:47,329 --> 00:18:49,259
l think that...
181
00:18:51,539 --> 00:18:53,730
it doesn't really matter much...
182
00:18:54,240 --> 00:18:58,990
wether movies look like TV
or TV looks like movies...
183
00:18:59,849 --> 00:19:05,710
or wether the language
in the cinema is changing.
184
00:19:07,519 --> 00:19:12,410
l don't that pictures are dying.
l think that...
185
00:19:16,259 --> 00:19:19,599
there are good times
and bad times for movies. And...
186
00:19:21,599 --> 00:19:25,410
l think that the last few years...
187
00:19:26,140 --> 00:19:28,720
have been a bad period.
l think that...
188
00:19:29,279 --> 00:19:33,559
haven't been a lot of movies
that l cared to see...
189
00:19:34,349 --> 00:19:37,779
and the ones that l have seen
l've been disappointed in. so...
190
00:19:38,450 --> 00:19:43,990
lf l go to see a movie that disturbs
me because it's not very good...
191
00:19:44,960 --> 00:19:50,609
that l'll look for an old movie
that l've seen before that l like.
192
00:19:51,599 --> 00:19:57,250
And l'll go to see it and l get some
kind of nourishment from it.
193
00:20:05,509 --> 00:20:09,700
''ls cinema dying out as a language.
will it soon be a defunct art form?''
194
00:20:10,480 --> 00:20:15,490
l don't think so. If you look at
the development of television...
195
00:20:16,390 --> 00:20:20,019
it is going to be
this fabulous tool...
196
00:20:20,730 --> 00:20:25,970
and its incredible ability
to beam out films...
197
00:20:26,900 --> 00:20:30,849
all over the world by satellite...
198
00:20:31,599 --> 00:20:35,230
and everybody will be able
to watch them simultaneously.
199
00:20:35,940 --> 00:20:39,630
thanks to that amaZing
device called video...
200
00:20:40,349 --> 00:20:43,750
Well. then l do feel that cinema
as we know it is on the way out.
201
00:20:44,420 --> 00:20:48,700
Even while l was making my film
''Mourir � 30 Ans''...
202
00:20:49,490 --> 00:20:52,359
l would sometimes
have this feeling...
203
00:20:52,960 --> 00:20:56,470
that it was all out of date.
204
00:20:57,160 --> 00:21:02,460
Magnetic sound recording.
all the lab processing...
205
00:21:03,400 --> 00:21:06,390
the things you have
to do to a film...
206
00:21:07,009 --> 00:21:12,869
how cumbersome and
time-consuming it all is...
207
00:21:13,880 --> 00:21:17,890
when all you're doing is
trying to tell a story.
208
00:21:18,650 --> 00:21:21,869
for instance. when l was shooting
''Mourir � 30 Ans''...
209
00:21:22,789 --> 00:21:24,019
telephone.
210
00:21:24,720 --> 00:21:26,009
Hello?
211
00:21:27,029 --> 00:21:30,869
No. nobody here.
l am alone.
212
00:21:35,140 --> 00:21:40,500
l don't know. because l am alone.
l can't answer to you.
213
00:21:48,920 --> 00:21:51,029
Very strange talking to yourself.
214
00:21:58,160 --> 00:21:59,799
l don't know. l don't know.
215
00:22:00,759 --> 00:22:03,799
l'd like to think
that films are...
216
00:22:04,430 --> 00:22:06,890
l don't know.
Let me just talk personally.
217
00:22:07,430 --> 00:22:11,589
the reason l make movies
l think films are about passion' n.
218
00:22:12,369 --> 00:22:16,819
People make a film the same way
they might paint a painting...
219
00:22:17,640 --> 00:22:20,740
because they are passionate about
something. because they like life...
220
00:22:21,380 --> 00:22:25,220
and they want to reflect that and
they put it in a certain form.
221
00:22:25,950 --> 00:22:30,869
When that passion
goes out of movies...
222
00:22:31,759 --> 00:22:34,980
that's when it starts
to die like any...
223
00:22:35,630 --> 00:22:39,789
like any other art form
that just becomes...
224
00:22:40,900 --> 00:22:42,299
lifeless.
225
00:22:43,140 --> 00:22:45,250
lt's not the cinema that's dead.
226
00:22:45,740 --> 00:22:47,910
lt's the filmmakers
who make moronic films.
227
00:22:48,410 --> 00:22:50,750
People die because they're not allowed
to make the films they want to. But...
228
00:22:51,279 --> 00:22:52,799
that's another story...
229
00:23:41,289 --> 00:23:44,009
''there are fewer movies
being made''. that's true.
230
00:23:44,599 --> 00:23:46,529
films are getting polarized.
231
00:23:48,069 --> 00:23:51,849
One strand of cinema
sensation-oriented cinema...
232
00:23:52,569 --> 00:23:55,529
which tends to be
colossal and bombastic...
233
00:23:57,410 --> 00:23:59,579
you can definitely see that.
234
00:24:00,380 --> 00:24:02,519
On the other hand
like l said...
235
00:24:03,019 --> 00:24:06,500
there is very individual cinema...
236
00:24:07,190 --> 00:24:12,200
or national cinema of
individual filmmakers...
237
00:24:14,529 --> 00:24:20,160
which is far more important today...
238
00:24:21,130 --> 00:24:24,730
than cinema which is
indistinguishable from television.
239
00:24:45,019 --> 00:24:48,420
l think l'll start by taking
my shoes off.
240
00:24:49,559 --> 00:24:52,660
You can't answer a question
like that with your shoes on.
241
00:25:11,420 --> 00:25:15,900
l don't see the situation
in such a dramatic way...
242
00:25:16,720 --> 00:25:20,619
as the question seems to imply.
243
00:25:22,430 --> 00:25:28,259
l feel that we aren't all that
dependent on television.
244
00:25:29,900 --> 00:25:34,289
film aesthetic is something
apart and separate.
245
00:25:35,109 --> 00:25:38,359
TV is just a kind of jukebox.
246
00:25:39,009 --> 00:25:42,029
You're never inside the space of
a theater or inside the film itself.
247
00:25:42,650 --> 00:25:46,309
you have sort of a mobile position
as a viewer.
248
00:25:47,019 --> 00:25:50,680
And you can switch it off.
You can't switch off a cinema.
249
00:25:54,230 --> 00:25:58,039
l'm not all that worried.
250
00:25:58,769 --> 00:26:03,690
l was talking to a friend
one night recently in New York.
251
00:26:04,569 --> 00:26:08,609
We went for a long walk and he
told me how worried he was about...
252
00:26:09,380 --> 00:26:12,920
everything being taken over
by video and television.
253
00:26:13,609 --> 00:26:19,470
soon. you'll choose vegetables in
the supermarket by video camera...
254
00:26:20,490 --> 00:26:22,660
or by pressing buttons
on your telephone...
255
00:26:23,160 --> 00:26:27,579
or your computer.
you can order your meal.
256
00:26:28,390 --> 00:26:33,779
lt won't be long before you can draw
money out of the bank via video...
257
00:26:34,730 --> 00:26:38,359
or this medium here.
258
00:26:39,839 --> 00:26:44,880
''l'm not so worried about camera
or film''. l said to him...
259
00:26:45,779 --> 00:26:50,230
''because whatever happens there.
that's not where life happens.
260
00:26:51,119 --> 00:26:54,019
Life is going on somewhere else.
Wherever life is dynamic...
261
00:26:54,619 --> 00:26:58,160
wherever life touches us
most directly...
262
00:26:58,859 --> 00:27:02,019
that's where you'll find the cinema.
263
00:27:02,660 --> 00:27:05,440
And that's what will survive.
264
00:27:07,369 --> 00:27:09,859
Only that will always survive.''
265
00:27:13,910 --> 00:27:15,220
And...
266
00:27:16,339 --> 00:27:19,440
therefore l am most likely
the last one who is worried...
267
00:27:20,079 --> 00:27:24,089
the last one who is worried
about a question like that.
268
00:27:30,660 --> 00:27:32,740
l'm gonna turn it off now.
269
00:27:39,299 --> 00:27:41,519
l started out writing.
l wrote these novels...
270
00:27:42,029 --> 00:27:45,980
and l felt like l was trapped inside
this enormous tradition.
271
00:27:46,740 --> 00:27:48,789
Movies for me were free
there were no rules.
272
00:27:49,279 --> 00:27:51,529
there was my turf. l could do
anything l wanted to do...
273
00:27:52,039 --> 00:27:55,319
just like everybody else was doing.
274
00:27:56,250 --> 00:27:58,119
that's movies. you know?
275
00:27:58,579 --> 00:28:01,480
Cinema's already...
the books are on the shelf.
276
00:28:03,420 --> 00:28:07,200
Personally. l'd like to stop
making films every day.
277
00:28:09,400 --> 00:28:11,480
lf l could put together...
278
00:28:11,960 --> 00:28:14,619
small productions
to make small films...
279
00:28:15,200 --> 00:28:18,190
with the energy and passion
that l know l have...
280
00:28:18,799 --> 00:28:20,609
that would be my choice.
281
00:28:21,670 --> 00:28:25,680
Here. instead. l perceive...
282
00:28:26,849 --> 00:28:29,690
that the screenwriter disappears...
283
00:28:31,019 --> 00:28:34,680
and the language
and subject matter...
284
00:28:36,359 --> 00:28:38,640
are not that interesting.
285
00:28:40,430 --> 00:28:43,119
l don't know what else
l can say...
286
00:28:46,869 --> 00:28:48,950
but l would like...
287
00:28:50,700 --> 00:28:52,099
to emphasize...
288
00:28:53,240 --> 00:28:56,400
that electronic films
do not interest me.
289
00:28:58,880 --> 00:29:02,099
And l think they can't really interest
any true artist.
290
00:29:03,220 --> 00:29:06,349
l am grateful for this interview
in every way.
291
00:29:07,789 --> 00:29:10,980
Later l would even like to see it.
292
00:29:11,619 --> 00:29:13,049
thank you.
293
00:29:20,970 --> 00:29:22,549
the truth is...
294
00:29:24,569 --> 00:29:29,430
the problem l have with the cinema.
with the films l watch...
295
00:29:30,380 --> 00:29:35,509
with the directors l like and
who affect my work. is this:
296
00:29:36,450 --> 00:29:40,549
how do you make a film
without getting trapped...
297
00:29:41,319 --> 00:29:44,359
in a vicious circle?
298
00:29:44,990 --> 00:29:50,059
A film is made from creativity.
struggle and pain.
299
00:29:51,000 --> 00:29:56,650
But people who make films
no longer take the time to live.
300
00:29:57,640 --> 00:30:01,950
filmmaking overlaps with life
to such an extent that...
301
00:30:02,740 --> 00:30:05,490
you have to ask yourself.
at what point...
302
00:30:06,079 --> 00:30:09,269
am l putting my own life on the
screen. or living out my own films?
303
00:30:09,920 --> 00:30:14,839
the interweaving is so strong...
304
00:30:15,720 --> 00:30:21,579
l don't know if today movie makers and
movie-goers take their time to live.
305
00:30:27,529 --> 00:30:29,809
l'm one of the last of optimists...
306
00:30:30,339 --> 00:30:34,410
about the history and the future of the
motion picture industry in Hollywood.
307
00:30:35,170 --> 00:30:38,539
But l really believe that all
my colleagues who...
308
00:30:39,210 --> 00:30:40,759
love film...
309
00:30:42,150 --> 00:30:44,289
and know nothing else...
310
00:30:45,279 --> 00:30:46,509
lf there were...
311
00:30:46,890 --> 00:30:49,670
lf the end of the world came. we
couldn't dig a hole to climb into.
312
00:30:50,259 --> 00:30:54,329
We wouldn't know how to do that
either. We know movie making.
313
00:30:55,089 --> 00:30:59,539
so l have to be very optimistic
that movies are only going to...
314
00:31:03,140 --> 00:31:04,660
expand...
315
00:31:05,710 --> 00:31:08,809
Hopefully. not at the expense of
other films that might contract...
316
00:31:09,440 --> 00:31:10,750
for economic reasons.
317
00:31:11,140 --> 00:31:14,009
Because we all know money is
short today. It's 1982.
318
00:31:14,609 --> 00:31:17,160
the dollar doesn't stretch as much
as it used to.
319
00:31:17,720 --> 00:31:23,579
ln 1974. when l made ''Jaws'' and
l went a 100 days over schedule...
320
00:31:24,589 --> 00:31:27,660
went from 55 to 155 shooting days...
321
00:31:28,289 --> 00:31:30,569
the budget went to US$ 8 millions.
which is twice as much.
322
00:31:31,099 --> 00:31:35,109
today. because of the dollar.
the franc. the Marc...
323
00:31:35,869 --> 00:31:37,890
the Yen. whatever...
324
00:31:38,369 --> 00:31:43,500
because we're experiencing runaway
inflation within the film business...
325
00:31:44,410 --> 00:31:46,869
''Jaws'' today would probably cost
about US$ 27 millions...
326
00:31:47,410 --> 00:31:49,779
if you shot a 155 shooting days.
a full crew...
327
00:31:50,319 --> 00:31:54,920
away from home. in local motels. have
to feed them and take care of them.
328
00:31:55,759 --> 00:31:56,990
so...
329
00:31:58,220 --> 00:31:59,740
my fear is...
330
00:32:01,089 --> 00:32:04,109
that a movie like my
most current film. ''E.R.''...
331
00:32:04,730 --> 00:32:07,509
,
which cost US$ 10.3 millions
which for me is...
332
00:32:08,099 --> 00:32:10,940
really the least expensive movie l've
made in the last couple of years...
333
00:32:11,539 --> 00:32:14,470
,
Even a film like ''E.r.''
5 years from now...
334
00:32:15,069 --> 00:32:19,549
will cost US$ 18 millions. that picture
takes place in a house. children...
335
00:32:20,380 --> 00:32:23,190
a backyard. a front yard.
one shot in the forest.
336
00:32:24,250 --> 00:32:26,299
Very limited locations.
337
00:32:28,990 --> 00:32:32,470
l don't think we can go around
blaming people for...
338
00:32:33,930 --> 00:32:35,630
blaming unions for
inflating budgets...
339
00:32:36,059 --> 00:32:40,039
by the annual 150% increase
in Hollywood across the board.
340
00:32:41,200 --> 00:32:44,740
We can't just blame the government
nor the shrinking dollar.
341
00:32:45,769 --> 00:32:47,170
Because there's nobody to blame...
342
00:32:47,569 --> 00:32:50,000
because of the state
of the economic art...
343
00:32:50,740 --> 00:32:53,109
l think the best do can do
is just live with what we got...
344
00:32:53,650 --> 00:32:55,200
make the best movies
we know how.
345
00:32:55,609 --> 00:32:58,950
lf we've to compromise to make a film
that looks like a US$ 15 millions...
346
00:32:59,619 --> 00:33:03,460
or perhaps US$ 3 or 4 millions.
we just gonna have to do it.
347
00:33:04,190 --> 00:33:07,029
We're the prisoners from
our own time. and our generation...
348
00:33:07,630 --> 00:33:12,019
is the only generation that's gonna be
able to break through this kind of...
349
00:33:16,269 --> 00:33:18,460
l don't know what you would call it.
kind of like be a...
350
00:33:21,670 --> 00:33:23,480
lt seems that Hollywood...
351
00:33:23,940 --> 00:33:26,049
lt's not that l'm guilt of this.
l've just been...
352
00:33:26,549 --> 00:33:29,099
fortunate to have made
some very successful films...
353
00:33:29,650 --> 00:33:32,549
but seems like everybody
in studio positions...
354
00:33:33,150 --> 00:33:35,640
with the power to say yes.
and the power to say no...
355
00:33:36,190 --> 00:33:37,480
wants a homerun with
everybody on base...
356
00:33:37,859 --> 00:33:41,839
they want a grand slam.
with the games tied 4 and 4.
357
00:33:42,599 --> 00:33:45,559
Everybody wants to be a hero.
358
00:33:46,170 --> 00:33:50,069
And they want to ride into Hollywood
at the 11th hour...
359
00:33:50,799 --> 00:33:53,869
and pull a piece
of shit out of the...
360
00:33:54,509 --> 00:33:56,349
closet and turn into
some sort of a silk purse...
361
00:33:56,809 --> 00:33:58,539
and you have a last-minute hit...
362
00:33:58,980 --> 00:34:01,880
and everybody wants the hit
to be a US$ 100 millions hit.
363
00:34:03,150 --> 00:34:06,519
there seems to be an attitude among
the people who run the studios...
364
00:34:07,190 --> 00:34:10,349
not all of them. but a lot of people
who run the studios...
365
00:34:10,989 --> 00:34:13,069
seem to have an attitude that...
366
00:34:13,690 --> 00:34:17,819
if a film can't at least reach
3rd base let alone home...
367
00:34:18,599 --> 00:34:20,239
then we don't really know if they
wanna make this picture.
368
00:34:20,670 --> 00:34:21,869
And that's the danger:
369
00:34:22,230 --> 00:34:25,299
the danger is not from the filmmakers.
the producers. the writers...
370
00:34:25,940 --> 00:34:29,190
is from the people who are
in control of the money...
371
00:34:29,839 --> 00:34:31,179
who essentially say:
''l want my money back...
372
00:34:31,579 --> 00:34:36,059
l want those returns multiplied by
the powers of 10''.
373
00:34:37,779 --> 00:34:43,000
''l'm not interested in seeing
a movie about your personal life...
374
00:34:43,920 --> 00:34:45,619
your grandfather...
375
00:34:46,059 --> 00:34:49,018
what was like to grow up
in an American school...
376
00:34:49,630 --> 00:34:54,789
or what was like to masturbate
for the first time at 13. whatever.
377
00:34:55,699 --> 00:34:58,599
l want a picture that is going
to please everybody.
378
00:34:59,200 --> 00:35:02,299
ln other words. l think Hollywood
wants the ideal movie...
379
00:35:02,940 --> 00:35:05,960
with something in it for everyone.
and of course that's impossible.
380
00:35:13,619 --> 00:35:16,719
What l think about this problem is...
381
00:35:17,360 --> 00:35:21,750
l'd prefer to speak Italian.
It's easier for me.
382
00:35:22,559 --> 00:35:25,659
l believe this is a serious problem...
383
00:35:26,300 --> 00:35:30,219
and you did the right thing. Wim...
384
00:35:30,969 --> 00:35:33,989
to face it in a movie.
385
00:35:35,570 --> 00:35:41,280
As you said. it is true that the
existence of cinema is threatened.
386
00:35:43,050 --> 00:35:46,650
We have to keep in mind other things.
387
00:35:47,349 --> 00:35:50,010
there are different aspects
to this problem...
388
00:35:50,590 --> 00:35:53,489
that can't be denied.
389
00:35:54,090 --> 00:35:55,960
for example...
390
00:35:56,429 --> 00:36:02,230
the fact that television
is influencing everybody...
391
00:36:04,070 --> 00:36:08,230
the mentality and the eye
of the viewer. is undeniable.
392
00:36:09,010 --> 00:36:13,789
Especially the younger viewers.
the kids.
393
00:36:14,650 --> 00:36:20,510
But it is undeniable that we think
that this subject is particularly...
394
00:36:22,489 --> 00:36:23,599
serious...
395
00:36:24,619 --> 00:36:27,110
possibly only.
because we are a different age.
396
00:36:27,659 --> 00:36:30,440
We have to adapt...
397
00:36:31,030 --> 00:36:35,889
to what is the need
of entertainment in the future.
398
00:36:36,769 --> 00:36:38,699
We all know that
there are 9 forms of...
399
00:36:39,170 --> 00:36:43,860
representation of reality.
400
00:36:44,710 --> 00:36:47,050
there are new forms of reproduction...
401
00:36:47,579 --> 00:36:52,559
new technologies like the magnetic
tape. which will probably...
402
00:36:53,449 --> 00:36:55,639
come to replace
traditional film stock...
403
00:36:56,159 --> 00:36:59,730
which no longer meets...
404
00:37:00,429 --> 00:37:05,260
today's requirements.
405
00:37:06,130 --> 00:37:08,820
lt has problems.
for instance...
406
00:37:09,400 --> 00:37:13,320
Scorsese has pointed out
that color...
407
00:37:14,070 --> 00:37:17,530
film fades over time.
408
00:37:18,210 --> 00:37:21,369
lt is an interesting problem.
that concerns films more...
409
00:37:22,010 --> 00:37:25,030
than magnetic tapes.
410
00:37:25,679 --> 00:37:29,840
l believe that with
the new technologies...
411
00:37:30,619 --> 00:37:33,340
like the electronic system...
412
00:37:33,929 --> 00:37:37,150
and maybe others. like lasers.
who knows...
413
00:37:37,800 --> 00:37:40,409
or others that are
yet to be invented...
414
00:37:41,030 --> 00:37:46,070
the audience is growing...
415
00:37:46,969 --> 00:37:50,309
and this problem will be resolved.
416
00:37:50,980 --> 00:37:52,590
l still don't know how...
417
00:37:53,010 --> 00:37:56,519
and l am myself worried about
the future of cinema.
418
00:37:57,420 --> 00:38:00,289
We are still attached to film...
419
00:38:00,889 --> 00:38:03,380
because film has given us
many opportunities...
420
00:38:03,920 --> 00:38:06,610
to show what we feel...
421
00:38:07,190 --> 00:38:10,349
and what we thought
we had to say.
422
00:38:11,000 --> 00:38:15,510
But it is possible that with
the acquisition of new...
423
00:38:16,340 --> 00:38:20,440
technologies. like the magnetic tape.
with what it will be able to offer...
424
00:38:21,210 --> 00:38:26,449
possibly this feeling we have.
will no longer exist.
425
00:38:27,380 --> 00:38:30,480
ln reality. there is always
a gap between today...
426
00:38:31,119 --> 00:38:34,630
and tomorrow's mentality
that we can't foresee.
427
00:38:35,320 --> 00:38:37,929
We can't even predict how these
houses will look like...
428
00:38:38,489 --> 00:38:40,630
these ones we see
outside the window.
429
00:38:41,130 --> 00:38:43,530
One day they'll no longer be there...
430
00:38:44,059 --> 00:38:47,429
We don't only have to think...
431
00:38:48,099 --> 00:38:51,090
short term.
432
00:38:51,699 --> 00:38:55,239
But we have to think of a future
that will probably never end.
433
00:38:55,940 --> 00:39:01,800
We have to think of the
viewer's needs in the future.
434
00:39:02,980 --> 00:39:05,260
l am not as pessimistic.
435
00:39:07,989 --> 00:39:09,949
l have to say that l am quite...
436
00:39:13,730 --> 00:39:14,900
Well...
437
00:39:15,260 --> 00:39:18,860
l've always tried to adapt
to the forms...
438
00:39:20,429 --> 00:39:23,769
of expression
that would fit the time.
439
00:39:24,440 --> 00:39:27,429
so l made a movie in videotape...
440
00:39:30,010 --> 00:39:34,260
many years ago. when research
on colors was required.
441
00:39:35,050 --> 00:39:37,449
l painted the reality.
442
00:39:37,980 --> 00:39:39,880
lt was a rudimentary system...
443
00:39:40,349 --> 00:39:44,510
but it anticipates my work on video.
444
00:39:45,289 --> 00:39:50,269
l'd like to try further experiments
in that direction...
445
00:39:51,159 --> 00:39:52,449
because l'm sure that...
446
00:39:52,829 --> 00:39:56,400
the different...
447
00:39:57,099 --> 00:39:59,530
possibilities...
448
00:40:00,070 --> 00:40:01,800
of video...
449
00:40:02,239 --> 00:40:06,369
will teach us different ways
of thinking about ourselves.
450
00:40:12,179 --> 00:40:17,280
lt's difficult to talk about
the future of cinema.
451
00:40:19,289 --> 00:40:22,190
Probably. widely...
452
00:40:22,789 --> 00:40:25,280
high-quality videocassettes will soon
bring films into people's homes...
453
00:40:25,829 --> 00:40:29,139
and with high definition
magnetic tape...
454
00:40:29,800 --> 00:40:33,460
we'll have cinema at home. We won't
need to go to the movie theaters.
455
00:40:34,170 --> 00:40:37,099
Current structures will disappear.
456
00:40:37,710 --> 00:40:41,400
Not as quickly and easily
as that suggests...
457
00:40:42,110 --> 00:40:44,159
but it will happen.
458
00:40:44,650 --> 00:40:49,869
the change is inevitable...
459
00:40:50,789 --> 00:40:54,860
and we can't do anything
to prevent it. We will only have...
460
00:40:55,630 --> 00:40:58,650
one thing to do:
we will need to adapt.
461
00:40:59,769 --> 00:41:03,110
l examined the problem
of adapting...
462
00:41:03,769 --> 00:41:08,050
in ''Deserto Rosso''.
463
00:41:08,840 --> 00:41:11,940
Adapting to new technologies...
464
00:41:12,579 --> 00:41:17,440
to new levels of pollution
in the air...
465
00:41:18,320 --> 00:41:21,039
that we'll have to breathe
in the future.
466
00:41:21,619 --> 00:41:24,489
Our own organism will evolve.
467
00:41:25,090 --> 00:41:27,699
Who knows what lies in store for us?
468
00:41:28,260 --> 00:41:31,480
the future will present itself...
469
00:41:32,130 --> 00:41:36,550
with unimaginable ruthlessness.
470
00:41:37,369 --> 00:41:40,239
But we can guess what it would be.
471
00:41:41,969 --> 00:41:43,670
l believe that...
472
00:41:46,409 --> 00:41:50,039
Now l would need to restate
what l've just said.
473
00:41:50,750 --> 00:41:55,170
l'm neither a good speaker.
nor a good abstract thinker.
474
00:41:55,989 --> 00:41:59,010
l like to be practical and...
475
00:41:59,619 --> 00:42:03,190
do the experiments
instead of talking about them.
476
00:42:03,900 --> 00:42:05,630
My feelings is that...
477
00:42:06,059 --> 00:42:09,519
it won't be all that hard...
478
00:42:10,199 --> 00:42:13,329
to transform us into new men...
479
00:42:13,969 --> 00:42:17,250
better adapted to
our new technologies.
480
00:42:17,909 --> 00:42:20,280
this is all l have to say.
481
00:42:34,889 --> 00:42:38,789
Yesterday l went to see
another filmmaker...
482
00:42:39,530 --> 00:42:43,630
who was unable to
come to this room.
483
00:42:47,010 --> 00:42:48,500
He is a Turk.
484
00:42:50,579 --> 00:42:54,650
the Turkish government has demanded
his extradition and for that reason...
485
00:42:56,150 --> 00:42:58,730
he couldn't leave the security
of his place of refuge.
486
00:42:59,280 --> 00:43:04,820
He has answered the same question
concerning the future of the cinema...
487
00:43:05,789 --> 00:43:07,690
and recorded his reply.
488
00:43:09,159 --> 00:43:12,199
l think l'm just going to play it.
489
00:43:14,000 --> 00:43:15,730
Mr. Yilmaz G�ney...
490
00:43:24,780 --> 00:43:26,090
l think...
491
00:43:35,619 --> 00:43:37,760
Cinema should be examined
from two angles:
492
00:43:38,260 --> 00:43:43,800
the industry cinema
and the artistic cinema.
493
00:43:44,760 --> 00:43:47,949
Between the industry cinema
and the artistic cinema...
494
00:43:48,599 --> 00:43:50,710
there is an unbreakable bond.
495
00:43:51,199 --> 00:43:55,300
Because of this. for the film
industry to reach the masses...
496
00:43:56,070 --> 00:44:00,170
the film industry should especially
consider the expectations...
497
00:44:00,949 --> 00:44:04,900
the mood
and the desires of the masses.
498
00:44:06,050 --> 00:44:08,239
However. the desires of the masses
are not frozen...
499
00:44:08,750 --> 00:44:11,500
not unchanging and not monotonous.
500
00:44:12,090 --> 00:44:17,099
for this reason. filmmaking.
in order to reach the masses...
501
00:44:18,000 --> 00:44:20,579
should consider
changes in the masses...
502
00:44:21,130 --> 00:44:26,989
if need be. the social changes
or-political changes...
503
00:44:28,010 --> 00:44:31,079
changes of consciousness...
504
00:44:31,710 --> 00:44:33,380
constantly.
505
00:44:34,980 --> 00:44:39,760
While artistic cinema
talks about the masses...
506
00:44:40,619 --> 00:44:45,860
industry cinema primarily
considers money.
507
00:44:48,190 --> 00:44:52,940
lf artistic cinema cannot satisfy...
508
00:44:53,800 --> 00:44:59,190
the needs of the industry cinema...
509
00:45:00,139 --> 00:45:02,800
in other words...
510
00:45:03,380 --> 00:45:06,219
if it doesn't make money...
511
00:45:06,809 --> 00:45:10,880
the bond is broken
and there is change.
512
00:45:12,519 --> 00:45:15,480
for example. when a lot of
young filmmakers...
513
00:45:16,090 --> 00:45:19,719
advancing young filmmakers...
514
00:45:20,429 --> 00:45:24,239
come in contact with producers
from advanced capitalist countries...
515
00:45:24,960 --> 00:45:26,690
they lose their independence.
516
00:45:27,130 --> 00:45:31,760
Whatever limits are drawn
by large capital...
517
00:45:32,599 --> 00:45:35,150
they are forced to work
within these limits.
518
00:45:35,710 --> 00:45:39,219
At this point. not becoming
part of advancing cinema...
519
00:45:39,909 --> 00:45:43,829
but becoming part of
collapsed. dissolved...
520
00:45:44,579 --> 00:45:46,889
and outdated filmmaking is wanted.
521
00:45:47,489 --> 00:45:49,159
That's why it's a tragedy...
an artist's tragedy.
522
00:45:49,590 --> 00:45:51,869
Also this should be taken as
advancing cinema's...
523
00:45:52,389 --> 00:45:54,500
tragedy.
524
00:45:54,989 --> 00:45:56,949
Basically. in my country...
525
00:45:57,429 --> 00:46:00,860
dominant. advancing cinema
is old-fashioned.
526
00:46:01,530 --> 00:46:05,630
On the other hand. there is
a blooming type of cinema...
527
00:46:06,400 --> 00:46:09,619
that is being constantly
suppressed...
528
00:46:10,280 --> 00:46:13,320
banned. punished. silenced...
529
00:46:13,949 --> 00:46:17,170
by some dominant forces.
41457
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