Original subtitles

THE YOUNG GIRLS TURN 25

From bridge to square,

all Rochefort remembers the film Jacques Demy shot there in 1966,

The Young Girls of Rochefort.

Tourists still ask for “Demoiselle Square,”

and folks often reply

by singing the famous song composed by Michel Legrand...

We are a pair of twins

Born in the sign of Gemini

We're two demoiselles

Who took to the boys long ago

Twenty-five years later...

Rochefort decided to celebrate.

A prop plane flew in guests

connected with the film,

like myself.

The star guest was of course demoiselle Deneuve.

Mayor Jean-Louis Frot.

Welcome to Rochefort.

What a pleasure to have you here.

We'd chosen June 5,

in memory of Jacques Demy, born 61 years earlier.

My name's Michel Rivaux, and I'm here today

because I was one of the motorcyclists

taking part in the film's motorcade.

I still have this great cap. It's 25 years old.

It shrank in the wash, but it's still here.

My name's André Kety.

We had five Honda CB77's

for our part in the film.

I'm Christian Guérin.

I was part of the Rochefort Bike Club too.

My cap's yellowed now, whereas my hair's gone white.

My name's Pierre Veniel.

One of us is missing:

the fifth motorcyclist,

Guy Vinet, whose nickname was Guitou.

We were all sort of slumbering,

a bit like in Sleeping Beauty.

That was Rochefort.

The film people came, and we awakened.

We got up, so to speak, from our canopy bed,

and we all began to sing.

It was marvelous! Extraordinary!

This was the studio

for the film's first interiors.

My memory plays tricks every time. It's much smaller.

I remembered it as bigger.

Like children who come back and say,

“This garden used to be so big!”

The dance studio was here.

There was so much stuff.

There were dolly tracks,

the piano, the ballet bar, the students.

The piano must have been there.

- No, it was over there. - Oh, it was?

In fact, your memory tends to blow things up.

That's where reality and film differ.

Today we're in a real place: the mayor's office.

We turned it into a shooting location.

What if they really love us?

How these linden trees have grown!

They're sweet.

Yes, they are.

For me it was such a timeless film,

but being here now grounds it in reality,

because it's us, me, 25 years later.

It's still me,

whatever the pleasure and melancholy of it.

And I hear the music from the film outside.

There'll be balloons, then the screening,

and the photo show. I'll enjoy it all.

I know it'll be melancholic too,

but I also know

there's the fact it endures, that it continues on.

The pleasure of memory will win out.

I won't let painful emotions overwhelm me - I hope.

It's moving to be back in Rochefort

25 years - a quarter century -

after making

the great The Young Girls of Rochefort.

I have this feeling that if I just walk around,

carnies and sailors will suddenly appear,

and in a perfectly natural way, they'll all begin to dance.

And having played Maxence back then,

I can see myself in the sailors

I pass in the streets.

It was a film about joy.

That's what Jacques and I wanted to make.

I've come back to find that joy again.

It's wonderful to see that the city decided to celebrate

a film made about the city. It's marvelous.

The city had been preparing for weeks.

Dance classes buzzed with excitement.

Rehearsals inside, balloons outside,

streamers going up everywhere.

The music, the crane, the loudspeakers!

I remember when we made The Umbrellas Of Cherbourg.

Whatever the subject,

if you're shooting outdoors with music,

it turns into a party.

It's a musical,

classical in form, somewhat traditional,

but trying to create something new

or at least something personal.

But the characters all sing, talk, and dance...

like in the Hollywood classics.

Jacques chose Rochefort

for its lovely and imposing military architecture.

Jacques and I toured

French towns built in that style:

Saumur, La Roche-sur-Yon, places like that.

At first he wanted Hyères (sounds like “yesterday”)

so it would be “The Young Girls of Hyères.”

But in the end,

the architecture was more important than the wordplay,

and he chose Rochefort.

He loved Hollywood musicals. They fed his dreams.

But he was after something much more French and classical,

and Rochefort was just right for it.

When we saw Colbert Square, we jumped for joy,

because he saw a magnificent city

that he could turn into a celebration.

As I watched The Young Girls of Rochefort,

suddenly, right in the middle,

I had this image from the past.

I suddenly saw and heard Jacques again.

When I was a press agent

for producer Georges de Beauregard,

we used to go over to the Chiquito café,

and we'd sit there as he described for me

the musical set pieces,

how he'd film the dances and songs

and do what he wasn't able to do in Lola.

And all of a sudden, I saw him superimposed on the screen,

like a double exposure.

I saw him among the buildings painted in every color,

I saw the Chiquito,

and I saw Demy up on the screen, talking to me.

I even remember the color

of the sweater and jacket he wore at the Chiquito.

- The corduroy jacket. - Exactly.

I think Demy needed

actresses who could play female leads who were both

distant and intimate.

And Deneuve really conveys those qualities in the film.

Demy and Deneuve were like Hitchcock and Grace Kelly.

I think Jacques found something in Deneuve

he'd been searching for:

an actress with star quality.

You've turned out in great numbers,

just like in 1966 to watch the filming in this square.

I'm going to ask Catherine Deneuve

to step up here.

You all know Michel Legrand.

You know his music for the film.

The set designer

who transformed our city for the film.

Here he is!

Give him a big hand.

He's the one who brought all that color.

I like working with people I know,

simply because friendship counts

and makes the work go faster.

We understand each other.

If I tell Evein I want a certain blue,

or ultramarine,

or a salon in blood red,

he can visualize it on the spot.

Bernard had over 1,000 shutters repainted.

I remember the city's new colors when we arrived,

and the population eager to take part in the film,

looking forward to the big party,

without even knowing what it would be like.

What was terrific for me

was the preparation.

We worked on the dances in England.

Norman Maen, the choreographer,

was British, as were the dancers.

The sisters also had to learn to lip-synch the songs.

Two weeks in London. We're working on the dances.

Catherine's been working

for three months, and so have I.

I've danced before, but not Catherine.

I'm bored with these provincial ways

It's Paris for me where art really pays

It was a big gamble

making me the dancer.

Françoise had ballet training

and was more suited for the role.

But he wanted Françoise to be the singer,

because of her lyrical temperament,

and me to be the dance instructor.

I had technical problems learning the songs,

lip-synching perfectly to the music.

It's hard to both sing and dance.

It takes great breath control.

And concentrating on doing both

is very hard.

Dancing and singing

at the same time.

Let's do a run-through.

It's the English version.

I had to do some dancing on the square.

It was awful.

And with Gene Kelly and real dancers there!

I felt like a jerk,

because dance is a real craft, and nothing can be left to chance,

whereas actors can benefit from chance.

But dance requires

such precision.

I learned a lot from Gene. He was terrific.

There were tons of things I didn't know.

I wanted him to choreograph the whole film, but he said no.

He'd come to France,

but just for three weeks,

so as not to be away from his kids.

He did his numbers and helped plan the shots.

He's a real ace, he knows it all -

how the camera relates to the dancers, and everything.

It took a trip across two continents

It took this one amazing chance

To change my life and give it sense

It took my coming back to France

- You came this way. - After Kelly's scene.

- You remember everything? - Not so well.

Twenty-five years is a long time. But certain scenes, sure.

Especially the scene with Gene Kelly,

who picked us out of the whole fifth grade.

We tried out in the schoolyard. He showed us the steps.

And just like that, he chose me.

We went up to the car.

He danced with two sailors, then we joined him by the car.

He jumped in as we stood nearby.

We watched and waved good-bye, I think.

Andrew Miller

was looking for a friend with a music shop.

My name's Simon Dame, and that's my problem.

When somebody comes in...

through the door,

their greeting is:

“Hello, messieurs, dames.”

Good day, Mr. Dame.

Good day, sisters.

The tragedy of my youth is that my fiancée...

couldn't stand my name,

so she left me.

She went away? Far away?

To Mexico, with some bum.

What was this monster's name?

Dame. Simon Dame.

I'd have become Madame Dame. Absurd!

He was a bastard!

Not at all, Papa. Calm down.

A bastard!

Maybe so, but he had a charming name.

“Madame Dame.”

- It's amusing. - So I did wrong?

But Jacques didn't do wrong in choosing Danielle Darrieux

as the twins' attractive mother.

He loved and admired her.

She was his type, just like Catherine.

I'd known Danielle forever.

Things were so simple and intimate with her.

We're very much alike

in not dwelling on certain things but taking them lightly,

and in a physical resemblance

that Jacques played on.

Why must I give up on love?

She came back to Rochefort,

and we were reunited. Life is beautiful.

I was 17 back in June of 1966.

On the first day of shooting, I was to report to Colbert Square.

I'll never forget it,

especially because school was in session,

and I was taking a big risk by cutting classes.

I was often called on to be an extra.

I got paid for it,

and my pals were green with envy.

It ended in a kind of weird way,

since I had to be back in class by late June to avoid being expelled.

- I'm Didier. - I'm Alain.

We were the real twins in the film.

We were fifth-graders.

We were chosen, like other child extras then,

to be in several scenes.

The film was our first real experience of life.

A fabulous party.

We discovered the world of cinema,

but mostly our first romantic feelings

for the mini-demoiselles of Rochefort.

It was quite an event, and we ended up

writing it all down.

Impressed by this major event, I started keeping a diary.

And I did likewise.

We were both keeping track of things.

But we only realized it recently.

For 25 years we'd completely forgotten

that these diaries existed.

These notebooks survived

since I teach history, and I still write.

I teach French. We're both in Poitiers.

For this interview, we looked

for any mementos.

I found my sailor's cap here.

I found mine too. I'd kept it.

“Catherine gave me a half smile.

I responded with a shy laugh.”

“We like each other,

but since I wear glasses,

I take them off to please her.”

“Our eyes met inquisitively.”

“Boys and girls wore sailor suits:

a small cap with red pompon,

a striped jersey, white trousers,

white pleated skirts for the girls,

tennis shoes, with white bobby socks for the girls.

We made a triumphant entry among the crowd

which swayed back and forth. A movie-made carnival!”

It seems so strange now.

All those color images of summer 1966

were shot by me for a little film.

A great film!

The Young Girls of Rochefort.

You were making a film about the film,

while I filmed what you were filming.

A film of the film about the film.

It started out like a family movie.

Rosalie was delighted to be there.

So was my dear momma, so afraid of getting in the way.

Only I would have filmed my darling

dressing with that special rhythm of his.

I filmed his calmness amid the work crew,

and his dreamy smile.

As a special guest, I could film the stars

really close up.

I filmed ordinary people too, which I love.

We need a bench to sit on.

We can never see anything, so we listen.

Are you enjoying the music?

We stayed, so it can't be bad.

Which do you prefer?

They look so much alike.

If only they had the same hair color.

I guess they must be twins, right?

We arrived on the set like two teenagers,

since we recovered something

of the way we'd lived at home.

At that moment in our lives,

she lived near my parents,

but I already had a son.

We'd lost our sisterly bond, but we renewed

that sisterly bond before the film,

and all through the film.

I felt this melancholy when we went home,

her to her loves, me to my life.

But I'd recovered something I had missed.

Lucky we aren't real twins. How awful!

- That's true. - It would be awful.

But it's nice being twins for Jacques,

and with my own sister.

Though there are minor problems.

She dares to hit me!

This was a film Jacques made

to have the two of us together in a film

and recreate a music that resembled our life tempo.

With our feet on the ground we have flights of fantasy

Hearing the twins in English, in French,

on prerecorded tracks 25 times a day

starts to make your head buzz.

We are delicate souls, two romantics

In love with art, music, and antics

Where's that man? The man we long to find

Mr. Right... A few faults we won't mind

I embodied the ideal male

as Jacques saw it, or maybe convention,

the same way I did for Deneuve's character.

And I was amazed.

Why me? I didn't know Demy.

I often wanted to discuss it with him,

figure out the why and how, that special link.

We made the entire film with no other link

than what emerged in the moment of filming.

Things happened intuitively,

and when it was over, I lost touch with Jacques.

I figured that was the way it had to be.

I know his films better than I do him.

But sometimes you get to know people through their work.

In that sense, I know Jacques rather well.

Maybe try Maxence's song.

Is he near or far? Could he be in Rochefort?

I'm sure to meet him I know he does exist

Whatever reason says, my heart tells me more

Its reign, its law is something one can't resist

And resist I never will

Sweetie, guys like that don't hang out in Rochefort.

For Jacques,

it's a romantic vision from the great movie melodramas.

Life has several phases.

If it's not meant to happen, well -

But romance might always come along later.

It's like there's a time lag,

these desires that are out of sync.

So there's always a melancholy feeling.

Maxence's theme is romantic because so is he.

She is my only love, but what good is a dream?

I've searched all over, but she's nowhere to be seen

Dear Jacques, your romanticism is contagious

Every barfly has made the same wish

To find the great romance

But what good is a dream?

A four-month party.

Shopkeepers were delighted. Everybody was.

It really gave us all a lift, and we needed it,

I have to admit.

It brought in lots of new customers.

There was a real holiday atmosphere.

I can tell you another story.

A good friend of mine,

the daughter of a local jeweler,

married a “film roller.”

A charming story.

Perhaps they were married by Mr. Gaury.

He was mayor then.

I really have so little time.

Here's the current mayor

posing beside a pot of begonias, a plant from Martinique,

imported by Father Plumier

at the time Begon was intendant to Louis XIV.

It was renamed in honor of Madame Begon:

“begonia.”

Rochefort is famous for four things:

1) begonias of all varieties,

2) writer Pierre Loti and his orientalist fancies,

3) The Young Girls of Rochefort,

and by extension, 4) twins.

The shoot was a genuine highlight in local history.

For four months,

the town was abuzz with activity

because of what was going on...

Chakiris, Gene Kelly...

the twins dancing and singing on Colbert Square.

It was extraordinary.

Lots of music,

lots of striking images,

lots of movement.

And I must say that

because of all the excitement

and the stepped-up rhythm of life in town for four months,

1966, when the film was made,

was probably

Year One in the rebirth of Rochefort.

That's when we began to say,

“Though the shipyards have closed,

the town can live again.”

Today, it's a fact.

The arsenal was restored, along with the rope factory.

They house the Oceanic Center,

the Bird Preservation League,

a library, and a media center.

It's also a popular Sunday stroll.

Speaking of photos,

the rope factory is exhibiting

photos from Jacques's films,

notably The Young Girls of Rochefort.

Back to the Charente river,

back to “go” - the bridge and the opening credits.

We're here

at the transporter bridge,

now a landmark.

At the foot

of this bridge, the first and last scenes

of The Young Girls were shot.

It thus seemed natural

that the road to the bridge

be named after Jacques Demy, in the presence of

Agnès Varda,

Mathieu Demy, their son,

Hélène Demy, sister of Jacques Demy,

as well as those we all know -

Catherine Deneuve,

Bernard Evein, Michel Legrand,

and Mag Bodard, without whom

we wouldn't be here today,

since she was the producer

of The Young Girls.

It's a major film,

an American-style production,

shot in two languages,

but made with French financing.

A huge budget for France, but French nevertheless.

Of course it's a my risk to take,

with exteriors,

meaning we're at the mercy of the weather,

since it's a film requiring sunshine.

But as the one bearing all the responsibility,

I know I'll win in the end,

which helps me take the risks.

But I believe in the film,

and I believe in Jacques Demy.

I'm going to ask Agnès Varda

to christen this avenue.

Hélène, then.

Jacques was like a brother to me.

A long time ago I dedicated

much more than a street to him:

It was a main artery of my life,

an artery leading from my heart.

Now for another emotional moment:

Rochefort wished to remember Françoise Dorléac.

That's Christiane Fageolle.

She was Françoise's dresser, then Catherine's.

You are among

those who have worked for the honor

of French cinema.

This site will bear Françoise Dorléac's name from now on.

Young girls dream of acting.

Even if only as an extra.

I was unemployed.

So a girlfriend said,

“I'm appearing in the film. I can introduce you.”

I was hired on the spot.

The cops spoke English for the English version,

so the extras in the scene

were in the dark about both the crime

and Solange's love affairs.

So we reshot it

once, twice, three times.

The takes were endless.

They didn't get the standard joke

Maxence makes about his leave: “My leave's immi-Nantes!”

Because in English the pun became...

“A born loser in Toulouse.”

So the sailor born in Nantes

ended up a loser from Toulouse. Poor Maxence!

Behind those light-hearted scenes,

there was, as in most films, the counterweight of technique:

the crane, dollies, tracks.

Françoise, you take two steps.

Take one, two, three steps that way.

Not quite so far.

Mark those two spots, please.

Jacques set up the shots looking through the camera.

Pause on “two.”

Then dolly in and crane down simultaneously.

You got your end mark? That's all it is.

Our Belgian friend André Delvaux

filmed this scene of Jacques turning the camera over

to Ghislain Cloquet, master of image and light.

Don't be fooled.

I make it look easy, but it's not.

We had a week of pure blue sky.

Checking test shots. This footage is in black and white,

but the negative was in color.

Next, the director focuses on his actors.

At the same instant as Gene.

You two have to be in perfect synch.

You both go to pick up the things.

What we need here - “Don't mention it.”

You have to -

At some point you drop your score.

Miss, your slip is showing.

“Miss, your slip is showing.”

Make it tight.

That abruptness is good.

Cut! Lunch break. We'll pick up at 1:45.

Everyone to the Grand Bacha, as usual.

I was maître d' at the Grand Bacha.

We had to serve 150 people.

We had to be quick.

There was no distinction made

between actors,

electricians, or any of the crew.

Everyone sat together.

Back to work after lunch.

Jacques consults with script supervisor Annie Maurel.

There go Claude Miller and Alain Franchet,

his assistants.

Shooting finally resumes.

Action!

- Are you a musician? - Yes.

Good-bye.

Miss, your slip is showing.

I know, but it doesn't matter.

Miss...

may I see you again?

I don't know.

I don't think so.

Come on.

That guy's got some nerve.

For The Young Girls, if I'd been born a bit earlier,

I'd have liked to play Boubou.

Jacques was my granddad.

He'd screen 16 mm films for me.

He'd say, “You wanna watch The Umbrellas of Cherbourg?”

Wanna watch The Young Girls of Rochefort?”

And I'd say, “Sure!”

I've seen The Young Girls of Rochefort 30 times,

because I really love it.

There are works that are part of my life.

Books like Elie Wiesel's The Testament,

music like Bach's cello suites,

and two films: Jean Cocteau's Orpheus,

and Demy's The Young Girls of Rochefort.

In fact, when I travel or I'm away from home,

I take along the cassette of The Young Girls of Rochefort.

That's not a plug. It's my life.

It's also the life of cheese-eating mice who turn into

the “Demouselles of Roquefort,”

created by Pierre Beaucousin,

high school senior.

I bounce between teaching and being a cinephile.

I'm Marc Le Gouard, and I teach kindergarten.

Before I came here,

I'd only seen postcard aerial views of the city.

Seen from above, it looked like a waffle iron.

When I moved here to Rochefort,

I had all these images

from the film in my head.

I lived more in the film

than in the city itself.

It's a dull town,

with its daily routines.

In the street, I'd imagine people dancing

and singing.

Deep down, I always felt that magic,

those melodies, that atmosphere.

Marc rendered that atmosphere

as figures of the “young girls” for his kids to color.

This is by Tony, who's 3 1/2.

This one, full of life, movement, and color,

is by Anamandine.

These are in stripes.

This one's colorful too.

Providence School, first grade.

Children, show us your pretty pictures.

Hold them up high.

The subject: the town square and the “young girls.”

That's the square.

The young girls of Rochefort,

in dresses and hats.

Speaking of timeless and stunning costumes,

Jacques clipped photos of dresses by Courrèges,

straight and loose-fitting,

and dreamed up extravagant hats.

A stylistic blend of the '60s and the 1900s,

like the fantasy he projected onto the rectilinear streets of the city.

He spoke to Jacqueline Moreau,

and she designed the dresses.

The same pattern for mother and daughters.

Only the color of the fabric and trim varied.

The hats were by Jean Barthet.

- Hi, Solange. - Hi, pumpkin.

Your slip's showing.

Twenty-five years ago we played children

coming out of school.

Deneuve and Dorléac came to fetch Boubou, our classmate.

We were told to hold hands

and run to our mommies.

I ran to Mommy Dominique.

I'm Dominique.

I was 15. I played the mommy.

I'm Joël, and I was 11. I played her son.

We were strangers then, just extras in the film.

We met again in '73 in a factory,

where we'd both found jobs.

We became friends and then got married.

We have a little girl now.

So you married your mother?

In a way, yes.

She played my mother when I was a kid.

Now she's my little lady.

The plot means nothing to me.

It's a general feeling,

a moment in life,

just moments of existence.

Call it scenes from provincial life.

Odd provincial life, where ladies in see-through slickers

leave their kids where they might drown

to go cavort with the barrack boys!

Jacques saw the provinces with a smile.

Jacques's strength lay in having

a vision of what he wanted.

He wasn't out to impress. It was him, his style.

It was him, his imagination:

miniskirts and sailor suits...

since sailors are more fun.

I'm Captain Camescasse

of the Rochefort Naval Aeronautic Base.

I was a young sailor at the time.

We were asked to come to the square in uniform

as extras.

We've had it with sailors, girls, and boats.

Grover Dale came from New York, and George Chakiris had shone

in West Side Story.

It was amazing to see George Chakiris and Gene Kelly

here on the town square.

We go from town to town The future's an unknown

A pretty girl lends a hand and life is grand

- Today here - Tomorrow there

Our life's a romance, a melody composed by chance

Full of new delights

We prefer joy to misery

Intelligence to stupidity

Straight talk to hypocrisy

And gentle arms to gendarmes

We go from fair to fair Folks point and stare

They call us carnies

Amid the floating balloons and the fleeting ballets,

did Catherine recall the nutty rehearsals

that I'd filmed without sound?

I'd suggested Braque, Matisse, Picasso.

Jacques said, “No, I want paintings that maybe aren't beautiful,

but more modern, pseudo-contemporary.”

So we created some fake canvases.

We rented out our storeroom

for the film's art gallery.

They made such a mess I couldn't find anything!

It was weird to see the “Ancient Gallery”

displaying nothing but modern art.

Guillaume Lancien was into splatter painting.

He'd fill balloons with paint and shoot at them.

Like early Niki de Saint Phalle.

Hello, dear rose.

You're lovely, dear soul. - By “soul” you mean my body.

You're so right, dear heart.

For The Young Girls of Rochefort,

Jacques wrote lines

really chiseled to a fraction of an inch.

They're fantastic!

He loved the rhythms of alexandrines.

I'd collar him. “How do I set alexandrines to music?”

Figure something out!”

You think you know me You like to talk a lot

But really you do not not not...

You don't know how I feel If you did know, you'd reel

You'll never know.

Then there was that song with the wild tempo.

We wanted it to move fast.

It was the newspaper item

about the crime.

Someone butchered a dame by the château in Etiquette Lane

A wicker basket found today contained the pieces of Pélagie Rosier

I live on the street where the crime took place.

The person I saw most was Michel Legrand.

He'd walk by our house

scribbling notes on a pad.

When folks ask directions, we always say,

“the scene of the crime” - in the film, naturally.

The basket's open, the case is too Police won't say if there's a clue

No stone will be left unturned until the slasher's name is learned

The beast who butchered the singer Lola-Lola

made a fuss about cutting a cake,

but not Catherine, who cut

the birthday cake for the film made by the Pastry Brotherhood

of Saint-Honoré, Aunis, and Saintonge.

At the huge open-air screening,

it rained on the young girls of Cherbourg.

The public waited stoically under “the umbrellas of Rochefort,”

and the rain let up... a bit.

I spoke to folks in Rochefort.

They know it by heart. It's part of their heritage.

It belongs to them.

It's not so much a director's film

or a star vehicle.

It belongs to the people of Rochefort,

a gigantic home movie

that met with worldwide acclaim.

True, Jacques and I

made 10 or 12 films together.

A fair number of musicals.

The Young Girls of Rochefort

is our most joyous memory and collaboration.

When the summer is gone, when the seasons move on

When the leaves die and fall, we only sigh about it all

But to bring back a summer's day

Cut!

You're not together.

We're the focus, but surrounded by a whole crew,

and the music is an added shield.

It's like filming in the rain:

It protects and insulates you.

It's easier than an intimate street scene

where's it just two actors.

Better to be the distant focal point of a huge scene

with 500 people 500 yards away

than with 10 people 15 feet away.

Love your life, love the flowers Love to laugh, love to cry

I also remember

how incredibly hot it was,

the strain of rehearsing at the worst hours.

There were some tense moments

due to the heat and fatigue and the complexity of the film.

But everyone was determined to hold on.

We knew it was a wild gamble,

a film like that

on location. It was crazy!

Action!

By repeating “When Summer is Gone,”

maybe it won't vanish,

or a bit less.

And to relive some of the summer of '66,

all you have to do is film.

All you have to do is love

Love your life, love the flowers Love to laugh, love to cry

Love the day, love the night Love the sunshine and showers

Love the cold, love the wind Love the cities and the fields

Love the sea, love the flames Love the world and be happy again

Be happy again!

The memory of happiness is perhaps also happiness.

We're a pair of twins born under the sign of Cancer.

We're a pair of twins born under the sign of Leo.

We're a pair of twins born under the sign of Aries.

We're a pair of twins born under the sign of Aries.

We're a pair of twins born under the sign of Aquarius.