1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:09,885 --> 00:00:11,637 But why? 4 00:00:14,598 --> 00:00:17,977 Is it so difficult to sell the oranges? 5 00:00:43,169 --> 00:00:44,754 There! 6 00:00:45,713 --> 00:00:49,592 - Do you want my seat? - No way. 7 00:01:19,413 --> 00:01:21,874 - It's... - I know, shut up. 8 00:01:25,211 --> 00:01:29,715 He already has his mouth open, but it should work. 9 00:01:30,216 --> 00:01:33,427 It's better with his mouth open, just this once. 10 00:01:37,681 --> 00:01:38,849 Is this good for you? 11 00:01:39,183 --> 00:01:42,561 - But be careful with the "N". - The "N" is in there. 12 00:01:52,071 --> 00:01:53,614 Eighty-two. 13 00:01:56,992 --> 00:02:01,664 - It's better. - Are you sure? He blinks. 14 00:02:13,050 --> 00:02:18,013 That's nervous tension, he's ready for his big speech and all the violence... 15 00:02:18,514 --> 00:02:22,518 You're serving stones in gravy! It's a question of where to cut. 16 00:02:25,646 --> 00:02:27,064 There's fine. 17 00:02:27,898 --> 00:02:31,193 That's what I would suggest, what do you say? 18 00:02:40,244 --> 00:02:43,831 I don't trust your fanaticism in cases like this. 19 00:02:44,331 --> 00:02:48,627 Here's my solution. Fasten your seatbelt. 20 00:02:51,714 --> 00:02:52,965 Better. 21 00:02:55,676 --> 00:02:59,972 - Much better. - In terms of what we see, but I'm afraid... 22 00:03:00,514 --> 00:03:02,933 Give me a break, Straub! 23 00:03:04,059 --> 00:03:07,438 ... you'll cut out some preliminary harmonies of the "N". 24 00:03:32,838 --> 00:03:37,134 This is you... This here. 25 00:03:51,106 --> 00:03:52,775 And this is me. 26 00:03:58,656 --> 00:04:03,244 - What? - A one-frame difference. 27 00:04:03,702 --> 00:04:05,746 - Between us? - Yes. 28 00:04:08,791 --> 00:04:10,709 - So? - So? 29 00:04:13,379 --> 00:04:19,218 - Don't spend 100 years on it. - I don't need 100, I just need 70. 30 00:04:32,231 --> 00:04:35,109 - They are eaten in salad. - In America? 31 00:04:35,484 --> 00:04:40,030 - No, here by us. - Here? In salad with oil? 32 00:04:40,572 --> 00:04:44,034 Yes, with oil. And a little garlic, and salt. 33 00:04:44,410 --> 00:04:47,329 - And with bread? - Surely, with bread. 34 00:04:48,289 --> 00:04:57,298 - I always ate that as a boy. - Ah, did you? It went well for you then, too? 35 00:04:57,923 --> 00:04:59,550 So-so. 36 00:05:00,926 --> 00:05:04,596 You never ate oranges in salad? 37 00:05:04,680 --> 00:05:09,601 Yes, sometimes. But there's not always oil. 38 00:05:11,353 --> 00:05:14,481 It's not always a good year. 39 00:05:15,107 --> 00:05:19,320 - The oil can cost a lot. - And there's not always bread. 40 00:05:19,778 --> 00:05:24,325 If one doesn't sell the oranges there is no bread. 41 00:05:25,367 --> 00:05:27,328 But why? 42 00:05:30,748 --> 00:05:33,751 Is it so difficult to sell the oranges? 43 00:05:33,834 --> 00:05:38,088 They won't sell. No one wants them. 44 00:05:38,547 --> 00:05:41,133 Abroad they don't want them. 45 00:05:42,134 --> 00:05:45,512 And the boss pays us this way, he gives us the oranges. 46 00:05:46,263 --> 00:05:49,683 And we don't know what to do. No one wants them. 47 00:05:50,267 --> 00:05:54,730 We come to Messina on foot and no one wants them. 48 00:05:55,397 --> 00:05:59,026 We go to see if they want them in Reggio, in Villa San Giovanni, 49 00:05:59,526 --> 00:06:02,363 and they don't want them. No one wants them. 50 00:06:03,322 --> 00:06:07,409 We go back and forth, we pay the way, we don't eat bread, 51 00:06:08,410 --> 00:06:10,162 no one wants them. 52 00:06:10,704 --> 00:06:13,791 As if they were poison. Accursed oranges. 53 00:06:33,227 --> 00:06:38,232 You cannot expect form before the idea... 54 00:06:39,274 --> 00:06:42,236 ... for together they'll make their appearance. 55 00:06:44,655 --> 00:06:49,576 WHERE DOES YOUR HIDDEN SMILE LIE? 56 00:07:15,602 --> 00:07:19,857 I haven't told you, my Kabyle friend 57 00:07:21,608 --> 00:07:25,737 is the only guy I have met so far who knows this song. 58 00:07:26,196 --> 00:07:32,077 He doesn't sing: "Unhide from the mine THE guns, THE automatics, THE grenades." 59 00:07:32,578 --> 00:07:39,626 He sings: "Unhide from the mine YOUR guns, YOUR automatics, YOUR grenades." 60 00:07:40,169 --> 00:07:43,005 - And I think he is wrong. - I think so too. 61 00:07:43,088 --> 00:07:45,174 At best you could sing: 62 00:07:45,257 --> 00:07:50,679 "Unhide from the mine YOUR guns, THE automatics, THE grenades." 63 00:07:50,762 --> 00:07:54,475 It could be... But my version would be: 64 00:07:54,558 --> 00:07:58,228 "THE guns, THE automatics, THE grenades." 65 00:08:26,632 --> 00:08:32,888 Buñuel tells a frightening story in his book. 66 00:08:34,181 --> 00:08:40,896 One day his son told him that there was this guy he should meet, Nicholas Ray. 67 00:08:41,605 --> 00:08:46,068 And so he went to dinner one evening with Nicholas Ray. 68 00:08:46,860 --> 00:08:53,867 And Ray told him the most appalling story he had ever heard about film-making. 69 00:08:54,535 --> 00:08:59,581 He said that, in the system, if you wanted to have a career, 70 00:09:00,332 --> 00:09:05,629 it was absolutely out of the question that the film you were going to make 71 00:09:06,630 --> 00:09:10,342 could cost less than the one you had just made. 72 00:09:12,344 --> 00:09:18,308 There had to be growth, development, and all that. 73 00:09:21,436 --> 00:09:27,734 So Buñuel listens to this and for him it's like the end of the world. 74 00:09:29,861 --> 00:09:32,155 Do they have eyes? 75 00:09:47,713 --> 00:09:49,798 I am from Leonforte, 76 00:09:50,465 --> 00:09:53,176 up in the Val Demone between Enna and Nicosia, 77 00:09:53,260 --> 00:09:55,846 I am a landowner with three beautiful daughters, 78 00:09:55,929 --> 00:09:58,974 one more beautiful than the other, 79 00:09:59,641 --> 00:10:01,643 and I have a horse 80 00:10:01,977 --> 00:10:06,648 on which I ride across my lands and then I believe I am a king. 81 00:10:07,316 --> 00:10:11,903 believing I am a king when I mount my horse, 82 00:10:11,987 --> 00:10:14,990 and I would like to acquire some other knowledge 83 00:10:15,073 --> 00:10:19,578 and feel myself to be different with something new in my soul, 84 00:10:20,245 --> 00:10:26,168 I would give all that I possess and the horse, too, the lands, 85 00:10:26,877 --> 00:10:30,088 to feel myself to be more at peace with men, 86 00:10:30,172 --> 00:10:33,175 as one who has nothing to cause self-reproach. 87 00:10:33,634 --> 00:10:37,304 Not that I had any particular cause for self-reproach. 88 00:10:37,721 --> 00:10:41,516 Not at all. And I'm also not talking in the sense of the sacristy. 89 00:10:42,017 --> 00:10:45,604 But it seems to me that I am not at peace with men. 90 00:10:46,313 --> 00:10:49,107 I would like to have a fresh conscience 91 00:10:49,691 --> 00:10:53,111 and that would require me to fulfill other duties, 92 00:10:53,612 --> 00:10:57,282 not the usual, other, new duties and higher, 93 00:10:57,699 --> 00:11:00,911 regarding other men, because in fulfilling the usual duties 94 00:11:01,370 --> 00:11:06,041 there is no satisfaction and one remains, as if one had done nothing, 95 00:11:06,500 --> 00:11:09,419 discontented with oneself, disappointed. 96 00:11:10,128 --> 00:11:12,589 I believe man is ripe for other things. 97 00:11:12,673 --> 00:11:17,719 Not only not to steal, not to kill, etc. and to be a good citizen. 98 00:11:18,220 --> 00:11:23,100 I believe he is ripe for other things, for other duties, new ones. 99 00:11:23,183 --> 00:11:27,145 That is what one feels, I believe, the lack of other duties, 100 00:11:27,562 --> 00:11:30,273 other things to fulfill. Things to do 101 00:11:30,649 --> 00:11:33,360 for our conscience in a new sense. 102 00:11:33,777 --> 00:11:38,156 I believe you are right. Are you a professor? 103 00:11:38,240 --> 00:11:39,825 A professor? 104 00:11:40,242 --> 00:11:43,995 Nothing to laugh at, little Grandpa. Nothing to laugh at. 105 00:11:45,539 --> 00:11:51,169 Ah, I believe that is just it. We feel no satisfaction any more 106 00:11:51,253 --> 00:11:55,632 in the fulfilment of our duties. To us the fulfilment is indifferent. 107 00:11:56,341 --> 00:11:58,844 We feel bad all the same. 108 00:11:59,261 --> 00:12:02,514 And I believe, it is just because of this, 109 00:12:02,597 --> 00:12:04,891 because these are duties that are too old, 110 00:12:04,975 --> 00:12:07,644 too old and become too easy, 111 00:12:08,145 --> 00:12:11,815 without significance any more for the conscience. 112 00:12:11,898 --> 00:12:16,445 - But really you are not a professor? - Have I the air of a professor? 113 00:12:16,945 --> 00:12:20,532 I am not ignorant, I can read a book, if I want to, 114 00:12:20,615 --> 00:12:24,453 but I am not a professor. I was with the Salesians as a child, 115 00:12:24,536 --> 00:12:26,913 but I am not a professor. 116 00:12:38,341 --> 00:12:39,509 Thank you. 117 00:12:46,475 --> 00:12:48,226 Did you get that? 118 00:12:49,352 --> 00:12:52,022 "Giovanni, I will never forget you." 119 00:13:00,947 --> 00:13:03,366 You see, freedom had come to him. 120 00:13:05,076 --> 00:13:08,079 Like the freedom of the musician, 121 00:13:08,538 --> 00:13:11,917 it comes when he masters the mechanics. 122 00:13:12,709 --> 00:13:16,505 Freedom doesn't come just like that. 123 00:13:17,214 --> 00:13:21,676 Things don't exist until they have found a rhythm, a form. 124 00:13:22,969 --> 00:13:27,057 The form of the body gives birth to the soul, I've said it a thousand times. 125 00:13:27,474 --> 00:13:31,311 There was this Thomas Aquinas who discovered that 126 00:13:31,770 --> 00:13:35,482 and as he was Neapolitan, he knew what he was talking about. 127 00:13:44,282 --> 00:13:49,913 When someone says: "The form, the form, never mind the idea." 128 00:13:50,580 --> 00:13:55,836 It's a sell-out. It's not true. You have to understand: first there is the idea! 129 00:13:55,919 --> 00:13:58,964 Then there is the matter and then the form! 130 00:13:59,422 --> 00:14:02,759 There's nothing you can do about that. Nobody can change that. 131 00:14:03,343 --> 00:14:09,266 The idea, that's what Eisenstein had when he organized his sequences, 132 00:14:09,766 --> 00:14:15,814 he has his montage of attractions, then there is the matter 133 00:14:15,897 --> 00:14:20,902 he has to find the duration of the shots he stringed together, that is the matter, 134 00:14:21,403 --> 00:14:25,615 and here is the idea that was on paper, the construction of the film, 135 00:14:26,157 --> 00:14:30,453 the continuity, and then we work on the matter. 136 00:14:30,537 --> 00:14:34,833 We work with a matter that resists us, you can't cut anywhere between shots. 137 00:14:34,916 --> 00:14:39,629 I already explained that before coming into this joint... 138 00:14:42,299 --> 00:14:48,346 And through this work, the struggle between the idea and the matter, 139 00:14:48,889 --> 00:14:51,349 and the struggle with the matter, 140 00:14:53,852 --> 00:14:59,149 gives rise to the form. And the rest is just filling material. 141 00:14:59,983 --> 00:15:02,319 I want that to be quite clear. 142 00:15:05,113 --> 00:15:13,121 You can't say: "This is true, and there's this too, this is also true." No! 143 00:15:29,429 --> 00:15:31,806 The same goes for a sculptor. 144 00:15:36,019 --> 00:15:40,440 He has his idea and gets a block of marble 145 00:15:40,899 --> 00:15:45,487 and he works the matter. 146 00:15:45,946 --> 00:15:50,867 He has to take into account the nervures in the marble, the cracks, 147 00:15:52,744 --> 00:15:59,209 all the geological layers in it. He just can't do whatever he wants. 148 00:16:01,378 --> 00:16:06,257 My blood boils when I hear things like that. 149 00:16:13,098 --> 00:16:18,186 The idea doesn't exist because there's a form. But where does form come from? 150 00:16:18,728 --> 00:16:22,732 If it hasn't been worked, if it hasn't come from matter, there's no form! 151 00:16:23,274 --> 00:16:25,110 It's formless! 152 00:16:25,610 --> 00:16:28,822 In the beginning, the Earth was without form and empty. 153 00:16:47,090 --> 00:16:49,342 Your formless form. 154 00:16:50,969 --> 00:16:56,391 Your infamous form, formless, infamous, invertebrate. 155 00:16:59,936 --> 00:17:05,942 If you are working with nuance, condensation, expansion, deflagration, 156 00:17:06,526 --> 00:17:10,739 you cannot say that it's all in the whole, that it's all one. 157 00:17:13,992 --> 00:17:17,704 Those are people who no longer have morals, 158 00:17:18,163 --> 00:17:22,917 can no longer feel emotions, neither restrained nor violent. 159 00:17:23,001 --> 00:17:24,586 Are you done? 160 00:17:26,337 --> 00:17:29,632 - Have you calmed down? - I'm always calm. 161 00:17:34,012 --> 00:17:39,976 I was in the café on the station platform with a homeless 162 00:17:40,560 --> 00:17:48,902 because I had to wait for the crew who had gone to the supermarket... 163 00:17:49,652 --> 00:17:52,781 And he was telling me all sorts of incredible stories, 164 00:17:52,864 --> 00:17:56,076 he had been to Australia, Germany, all over... 165 00:17:57,744 --> 00:18:02,665 He asked: "What are you doing here?" I told him: "Just waiting." 166 00:18:03,249 --> 00:18:05,835 And I fiddled with my framing. 167 00:18:48,753 --> 00:18:52,674 - You will permit me, won't you? - By God, why not? 168 00:18:53,758 --> 00:18:57,220 It seemed to me I had seen you get off in Catania. 169 00:18:57,303 --> 00:19:02,892 You saw me? But I accompanied a friend to the train for Caltanissetta. 170 00:19:03,434 --> 00:19:07,564 I got back on at the last minute. In the last car. 171 00:19:07,647 --> 00:19:10,150 I hardly had time. 172 00:19:10,775 --> 00:19:15,697 - I was concerned about my luggage! - Yes, you never know. 173 00:19:15,780 --> 00:19:21,703 True. You never know, with these nasty fellows going around. 174 00:19:26,499 --> 00:19:28,251 I am an employee at the Land Registry. 175 00:19:42,348 --> 00:19:45,560 That's good, it changes frequency. 176 00:19:45,977 --> 00:19:49,731 The sound is more muted in the second shot. 177 00:19:52,442 --> 00:19:55,445 While shooting, I thought we'd never edit this sound. 178 00:19:55,904 --> 00:19:58,281 It's working out better than I thought. 179 00:19:58,364 --> 00:20:02,535 It's nice because one can feel the high frequencies of the train coming across. 180 00:20:02,619 --> 00:20:06,623 But no one does this kind of work. Even Duret, the sound man, told us 181 00:20:07,081 --> 00:20:12,128 we should edit with a train track to blend everything like a sauce. 182 00:20:12,837 --> 00:20:14,547 The soup! 183 00:20:17,300 --> 00:20:21,179 There are lots of masterpieces in the history of cinema... 184 00:20:22,347 --> 00:20:29,729 which we admire very much but which hold together because of the soup, 185 00:20:30,355 --> 00:20:34,776 musical soup in particular or sound soup, etc... 186 00:20:36,986 --> 00:20:44,786 I'm not saying that that's not legitimate or always ugly but nevertheless... 187 00:20:49,540 --> 00:20:57,590 Here we are restricted, if there's no music or soup, you need greater precision. 188 00:20:58,341 --> 00:21:02,428 Otherwise we'd say: "Yes, great." 189 00:21:03,680 --> 00:21:08,685 "A bit more sound, a bit more music and everything will be nice and smooth." 190 00:21:09,978 --> 00:21:13,022 "Would you like a little more?" 191 00:21:22,115 --> 00:21:25,451 What's that? "Would you like a little more?" 192 00:21:36,421 --> 00:21:38,172 What film is it? 193 00:21:39,507 --> 00:21:42,343 You don't know? It's "My Uncle". 194 00:21:42,760 --> 00:21:44,929 There's this little old man with one eye 195 00:21:45,471 --> 00:21:51,602 and he is in a street, painting the white lines for the drivers. 196 00:21:52,895 --> 00:21:57,734 And as he is dutifully painting his lines, a Buick drives past, 197 00:21:57,817 --> 00:22:01,863 it's a Buick, I don't know much about cars, but it's a Buick. 198 00:22:05,325 --> 00:22:10,747 Olive green and strawberry pink, two clashing colours. 199 00:22:11,414 --> 00:22:17,670 He sees it go by, turns up his nose, pick up his brush, 200 00:22:18,212 --> 00:22:23,843 and when it has passed he says: "Would you like a little more?" 201 00:22:27,764 --> 00:22:30,850 When we see films like that, where... 202 00:22:31,684 --> 00:22:36,564 the people who made them haven't shied away from the most basic demagogy, 203 00:22:37,106 --> 00:22:41,361 we look at each other and say: "Would you like a little more?" 204 00:22:47,283 --> 00:22:50,703 Some people have the impression, because we reject... 205 00:22:53,081 --> 00:22:57,919 verisimilitude and TV-style cinema, 206 00:22:58,544 --> 00:23:06,594 Dallas and all that, even Woody Allen, Cassavetes, etc. 207 00:23:07,428 --> 00:23:10,681 that there is no psychology in our films. But that's not true. 208 00:23:11,140 --> 00:23:14,060 All this is psychology. 209 00:23:14,435 --> 00:23:17,355 There is no psychology in terms of the performance of the actor 210 00:23:17,438 --> 00:23:21,692 because there is a dramatic abstraction that goes deeper 211 00:23:22,610 --> 00:23:27,865 than so-called verisimilitude, but it's in there... 212 00:23:28,574 --> 00:23:35,456 in between the shots, in the montage, in the way the shots link to each other, 213 00:23:36,124 --> 00:23:40,128 it is extremely subtle psychology. 214 00:23:42,463 --> 00:23:48,219 You never know, with these nasty fellows going around. 215 00:23:53,349 --> 00:23:55,143 I am an employee at the Land Registry. 216 00:24:00,356 --> 00:24:02,316 Oh, really? 217 00:24:08,197 --> 00:24:11,576 Is this mark tighter than the one you did before? 218 00:24:12,702 --> 00:24:14,412 No, it's the same. 219 00:24:14,495 --> 00:24:18,624 But I'm wondering if it's not too tight. Let me think for a second. 220 00:24:19,917 --> 00:24:24,338 There's a smile lighting up in his eyes but it's difficult... 221 00:24:24,922 --> 00:24:27,467 If we could keep it, it would be better. 222 00:25:25,650 --> 00:25:28,778 It's not easy, very hard to see... 223 00:25:32,615 --> 00:25:37,662 I'm sorry, but if you want to bring out this smile a bit better, 224 00:25:38,162 --> 00:25:40,873 you'll have to go back to the clap. 225 00:25:42,333 --> 00:25:45,670 Really! Do it for me, please. 226 00:25:53,094 --> 00:25:56,556 - There! - Don't start "thereing" me. 227 00:25:57,014 --> 00:25:58,558 There is no "there"! 228 00:26:03,187 --> 00:26:08,484 When you finish your refined work you'll discover a noise to deal with. 229 00:26:08,568 --> 00:26:10,361 That's it? 230 00:26:13,072 --> 00:26:15,199 It's your fault that I missed it! 231 00:26:15,616 --> 00:26:21,372 Will you ever understand that being disrupted while concentrating fucks it up! 232 00:26:22,081 --> 00:26:27,253 After all this time editing films together, you still don't have the discipline! 233 00:26:30,464 --> 00:26:35,344 The guy relying on you to jump would fall on his face at every attempt. 234 00:26:35,928 --> 00:26:39,056 - Just imagine an acrobat... - Shut up! 235 00:26:39,140 --> 00:26:42,727 - The acrobat... - The acrobat would be dead by now! 236 00:26:54,947 --> 00:26:59,994 I've something to say. I'll wait for your permission. 237 00:27:00,745 --> 00:27:04,749 - But if I don't get it, I'll say it anyway. - Spit it out! 238 00:27:05,291 --> 00:27:10,296 I think it's not worth searching for an intermediate solution. 239 00:27:10,379 --> 00:27:12,548 As in democracy, it's a dead end. 240 00:27:12,632 --> 00:27:17,720 If we want to see that there is a smile, we should have some frames 241 00:27:18,262 --> 00:27:22,600 where he looks at him like a fish as if to say: "I don't believe a word." 242 00:27:23,059 --> 00:27:27,647 There's no smile, something is going on in his eyes but we don't see it. 243 00:27:27,730 --> 00:27:32,360 But we have to see it grow. You can't start here, it doesn't show. 244 00:27:33,027 --> 00:27:35,071 You have to see it grow! 245 00:27:36,030 --> 00:27:39,825 His reaction is: "Liar, I don't believe you!" 246 00:27:39,909 --> 00:27:44,914 And then he smiles to himself. I've said all I had to say. 247 00:27:55,383 --> 00:27:57,593 That's how I'd like it. 248 00:28:04,767 --> 00:28:08,020 He knows that he doesn't work at the Land Registry. 249 00:28:08,104 --> 00:28:14,151 He should slap him and say: "I offer you a seat and you tell me lies!" 250 00:28:28,040 --> 00:28:32,878 - See what he does with his mouth? - He does nothing in particular. 251 00:28:33,421 --> 00:28:36,340 He shuts his mouth as he shakes his head. 252 00:28:36,716 --> 00:28:40,052 - Do you want this tight? - Yes. 253 00:28:40,136 --> 00:28:41,929 Let me work in peace! 254 00:28:48,227 --> 00:28:51,439 - We can't... - Shut up, please! 255 00:28:59,238 --> 00:29:00,906 You're afraid, aren't you? 256 00:29:01,782 --> 00:29:04,076 I'm not afraid, I'm looking! 257 00:29:05,745 --> 00:29:09,373 You're bold. I'm always afraid. 258 00:29:21,552 --> 00:29:28,058 Here if we linger on the man who says: "I'm an employee at the Registry" 259 00:29:33,189 --> 00:29:39,069 then we're stuck because, or we stay on him for a long time, 260 00:29:39,153 --> 00:29:42,990 then it's us, the viewers, who are contemp... 261 00:29:44,909 --> 00:29:49,997 ... we are contemplating a man who has lied, who has just lied. 262 00:29:51,207 --> 00:29:56,545 Whereas if we stop on the "O" of "cadasto", on the exact frame, 263 00:29:56,629 --> 00:29:59,799 then the lie passes over to the other side, it's sent over. 264 00:29:59,882 --> 00:30:03,385 Then, it's he who contemplates the liar, it's completely different. 265 00:30:04,386 --> 00:30:07,598 We're not sure it's going to work. 266 00:30:23,948 --> 00:30:25,574 It works, doesn't it? 267 00:30:26,909 --> 00:30:31,747 And they'll say, "he dared too much, but the audacity was beautiful." 268 00:30:32,581 --> 00:30:35,167 - Shall we leave it like that? - I would leave it. 269 00:30:35,251 --> 00:30:38,087 You see the stupid things we do? 270 00:30:38,170 --> 00:30:40,548 - But we didn't. - No, we didn't. 271 00:30:40,631 --> 00:30:44,718 We've done enough stupid things, why imagine other we could have done. 272 00:30:59,108 --> 00:31:03,612 - It's hard not to talk bullshit. - No, you just have to shut up. 273 00:31:04,154 --> 00:31:07,157 Of course, that's radical. 274 00:31:13,539 --> 00:31:17,042 When you make films, you try not to say stupid things. 275 00:31:17,126 --> 00:31:20,045 You work hard to avoid them, you destroy clichés, 276 00:31:20,671 --> 00:31:26,385 go back, correct, abandon or add things... 277 00:31:27,344 --> 00:31:31,015 And then, in real life, you do talk nonsense. 278 00:31:32,224 --> 00:31:36,645 You end up destroying some of the work and the films you made. 279 00:31:51,076 --> 00:31:52,870 Go to the maximum... 280 00:31:55,873 --> 00:31:59,168 - What do you mean by "maximum"? - Take that out. 281 00:32:00,920 --> 00:32:04,256 All of it, if possible. 282 00:32:09,011 --> 00:32:12,514 - I want to see it. - What do you mean by "maximum"? 283 00:32:12,973 --> 00:32:16,769 The maximum, the "Gia", his mouth open, anyway... 284 00:32:17,394 --> 00:32:20,105 It's not difficult to be clear. 285 00:32:20,189 --> 00:32:23,359 "What's well thought out can be clearly expressed"... 286 00:32:23,901 --> 00:32:28,614 - "and the words one needs"... - "come easily." 287 00:32:29,615 --> 00:32:31,742 No, gently. 288 00:32:44,338 --> 00:32:46,966 I would do this and no more. 289 00:32:47,967 --> 00:32:51,428 - I'd like to know why? - Well, just look! 290 00:32:51,512 --> 00:32:54,264 To distinguish it from the preceding cut... 291 00:32:54,640 --> 00:32:57,101 - The preceding one was tighter. - Yes, exactly. 292 00:32:57,434 --> 00:33:00,646 I don't want to cut more because... 293 00:33:01,063 --> 00:33:04,566 What can I say? Just look, look, look! 294 00:33:05,859 --> 00:33:08,320 No need to be afraid here. 295 00:33:09,822 --> 00:33:16,370 Cutting a film is cutting time. Things happen between two shots. 296 00:33:18,956 --> 00:33:22,668 I don't want him to reply "Gia" immediately. 297 00:33:23,961 --> 00:33:28,340 I don't want it to be an enthusiastic gesture, there's enough of that. 298 00:33:29,008 --> 00:33:32,886 I'd like to see the end of the preceding shot. 299 00:33:52,781 --> 00:33:55,492 What is he doing? There's a light in his eyes. 300 00:33:55,993 --> 00:33:58,037 I would like to keep that. 301 00:33:58,412 --> 00:34:02,374 - It's not him, it's the light outside. - I'd keep that. 302 00:34:06,670 --> 00:34:12,009 There's a problem with the sound of the train, it's not the same, so... 303 00:34:18,849 --> 00:34:20,476 Well, here... 304 00:34:22,061 --> 00:34:28,275 ... it's like a matching shot, which is the most idiotic thing in film-making. 305 00:34:29,568 --> 00:34:34,907 Do as you like but I am sure we will cut it, not 100% sure, but... 306 00:34:34,990 --> 00:34:38,285 - Don't put the light on, please. - I'm not, I'm leaving! 307 00:34:38,368 --> 00:34:40,913 You don't want me anymore! So long! 308 00:35:02,101 --> 00:35:05,104 This is the end of which film by Mizoguchi? 309 00:36:22,973 --> 00:36:25,767 Tough luck, it works perfectly. 310 00:36:29,771 --> 00:36:32,232 - You didn't understand what I said. - What? 311 00:36:32,608 --> 00:36:36,403 - Tough luck, it works perfectly. - Shit! 312 00:36:38,697 --> 00:36:44,369 This bloody matching shot gives rise to the suspicion that we had a script girl, 313 00:36:45,245 --> 00:36:46,830 but we never had one. 314 00:36:47,372 --> 00:36:52,377 What works? No script girl for me, no way. 315 00:36:52,461 --> 00:36:55,797 It's a proper job. It's not something anyone can do. 316 00:36:56,256 --> 00:36:59,009 There was only one script girl one could take seriously. 317 00:36:59,676 --> 00:37:02,846 Hitchcock would have had a hard time without one. 318 00:37:03,263 --> 00:37:11,146 The one who worked with Hitchcock? Sylvette Baudrot?... 319 00:37:15,150 --> 00:37:18,278 But he really needed one... 320 00:37:20,113 --> 00:37:24,159 because he wasn't into modern cinema! 321 00:37:25,702 --> 00:37:30,916 "Mama, mama, what's that: modern people?" 322 00:37:31,375 --> 00:37:37,422 When you see a continuity error in a good film, it's rather fun, amusing. 323 00:37:38,006 --> 00:37:43,512 - But when it's just "schlampigkeit"... - Yeah, sloppiness. 324 00:37:46,598 --> 00:37:54,940 When you do a series of close-ups of the same character like Fortini 325 00:37:55,023 --> 00:37:59,611 and you intercut with black film, no matter how long, 326 00:38:01,154 --> 00:38:05,575 you realize that it's not possible, you can't create the same framing. 327 00:38:05,659 --> 00:38:11,540 You have to put marks on the wall, the next day the light is different. 328 00:38:11,623 --> 00:38:18,630 What was meant to be absolute continuity turns out false, and vice-versa, 329 00:38:18,714 --> 00:38:20,841 it's just not possible. 330 00:38:42,321 --> 00:38:49,578 For "Cézanne", for the first time, we searched the centre of each painting. 331 00:38:49,661 --> 00:38:52,581 - We often spent half an hour... - More... 332 00:38:53,040 --> 00:38:59,755 While the others were fiddling around, we searched the centre of each painting. 333 00:39:00,380 --> 00:39:06,261 And not looking from above or below, but the way it should be, with a tripod. 334 00:39:06,803 --> 00:39:12,976 We had to draw the arcs of the circle, triangles in the frame. 335 00:39:13,518 --> 00:39:17,606 It's surveyor's work, back-breaking hard work. 336 00:39:18,106 --> 00:39:20,150 Jean-Marie, look at the this shot. 337 00:39:21,485 --> 00:39:27,115 And you can't turn your actors into statues. Impossible. 338 00:39:27,657 --> 00:39:35,165 Even if we have precisely defined positions, which they discover for themselves, 339 00:39:35,832 --> 00:39:39,878 you have to leave a margin of freedom of movement, 340 00:39:40,379 --> 00:39:43,423 otherwise we would be there screwing them to the ground, 341 00:39:43,799 --> 00:39:47,511 moving their feet and driving nails into them... 342 00:39:48,929 --> 00:39:50,013 Let's go! 343 00:39:54,017 --> 00:39:56,436 Didn't you know that? 344 00:39:56,812 --> 00:40:00,982 - Oh, as for knowing, I know it. - Naturally. 345 00:40:01,400 --> 00:40:05,237 You could not have lived till today without knowing. 346 00:40:06,738 --> 00:40:11,243 Too bad that you are an employee at the Land Registry instead of singing. 347 00:40:12,953 --> 00:40:16,164 Yes. I would have liked that. 348 00:40:17,332 --> 00:40:19,334 - So? - So? 349 00:40:19,960 --> 00:40:22,045 I'm afraid you've won. 350 00:40:22,712 --> 00:40:24,131 Men! 351 00:40:24,464 --> 00:40:29,052 In Falstaff, in Rigoletto, on all the stages of Europe... 352 00:40:29,553 --> 00:40:32,347 Or even on the street, what does it matter? 353 00:40:32,806 --> 00:40:34,641 Always better than being an employee. 354 00:40:35,934 --> 00:40:39,271 Oh, yes, perhaps... 355 00:40:42,524 --> 00:40:44,526 We are in Syracuse. 356 00:40:44,860 --> 00:40:48,572 I believe I will get a connection right away. 357 00:40:50,866 --> 00:40:53,410 But what will you do in Syracuse? 358 00:40:57,497 --> 00:40:59,833 Tales of a Pale Moon... 359 00:42:00,644 --> 00:42:03,230 Peasants have no history. 360 00:42:06,650 --> 00:42:12,322 Workers... have no history either. 361 00:42:16,034 --> 00:42:20,372 There was a writer like Pavese who fought like hell against it 362 00:42:20,830 --> 00:42:22,791 until he committed suicide, 363 00:42:23,458 --> 00:42:26,211 - and Vittorini. - and Fortini. 364 00:42:30,632 --> 00:42:35,929 There were also people in France. Someone I like very much. 365 00:42:36,429 --> 00:42:39,057 His name was Charles Peguy. 366 00:42:39,432 --> 00:42:43,019 He said: "Making a revolution" 367 00:42:43,478 --> 00:42:47,524 "also means reinstating old things". 368 00:42:47,607 --> 00:42:50,569 - "Very old". - "Very old but forgotten". 369 00:42:50,652 --> 00:42:56,157 He was wise, he said: "also". That was Pavese's dream. 370 00:42:59,119 --> 00:43:05,625 The myth, the unwritten story, that is the history of the peasants 371 00:43:06,751 --> 00:43:10,255 weighed as much on the scales 372 00:43:10,672 --> 00:43:16,720 as contemporary history, and the history of contemporary struggles. 373 00:43:21,975 --> 00:43:26,438 And when he realized that things were mad, 374 00:43:26,980 --> 00:43:29,774 that his party was not capable 375 00:43:30,150 --> 00:43:33,570 of bringing the two poles together and balancing the scales, 376 00:43:33,945 --> 00:43:40,785 Pavese committed suicide in a Turin hotel room in July 1950. 377 00:43:41,369 --> 00:43:48,001 At the same time, Vittorini, who had the same publishers, Einaudi, 378 00:43:48,585 --> 00:43:52,547 sat down on the stairs at the office and wept. 379 00:43:52,964 --> 00:43:58,928 He lived on, kept on writing, there was a bond between them, they were old friends. 380 00:44:10,982 --> 00:44:20,158 Pavese means a lot to us because he was an intellectual, an Italian petit-bourgeois 381 00:44:21,034 --> 00:44:25,830 who didn't indulge... 382 00:44:28,041 --> 00:44:30,794 in his own complacency. 383 00:44:31,753 --> 00:44:38,426 Without being in the least masochistic, 384 00:44:39,219 --> 00:44:43,973 he was someone who reacted constantly... 385 00:44:45,975 --> 00:44:48,228 against the flow. 386 00:44:49,604 --> 00:44:55,652 That's important because there comes a moment when enough is enough. 387 00:45:32,564 --> 00:45:33,773 Did you see that? 388 00:45:35,692 --> 00:45:37,402 A butterfly. 389 00:45:43,408 --> 00:45:47,120 I saw it when we were shooting, but I forgot about it. 390 00:45:49,831 --> 00:45:51,416 There, see? 391 00:45:52,917 --> 00:45:57,005 - How did you recognize me? - I ask myself that, too. 392 00:45:58,757 --> 00:46:01,092 Come, I have a herring on the fire. 393 00:46:39,172 --> 00:46:40,799 Aren't you cold? 394 00:46:43,218 --> 00:46:44,969 - No. - What? 395 00:47:12,580 --> 00:47:15,625 - Are you hungry? - I don't know. 396 00:47:21,506 --> 00:47:26,719 - He was a great man, Grandfather? - And how! Didn't you know that? 397 00:47:27,220 --> 00:47:31,683 He was a great man. He could work eighteen hours a day, 398 00:47:32,809 --> 00:47:37,105 and he was a great socialist, a great hunter, 399 00:47:37,647 --> 00:47:41,109 and great on a horse in the procession of St. Joseph. 400 00:47:41,568 --> 00:47:44,028 He rode in the procession of St. Joseph? 401 00:47:44,487 --> 00:47:48,700 And how! He was a great rider, 402 00:47:49,242 --> 00:47:54,289 better than all here in the village, and also in Piazza Armerina. 403 00:47:54,831 --> 00:47:57,709 How do you think they could have had the cavalcade without him? 404 00:47:58,084 --> 00:48:01,087 - But he was a socialist... - He was a socialist. 405 00:48:01,504 --> 00:48:05,216 He could neither read nor write but he understood politics 406 00:48:05,758 --> 00:48:07,427 and he was a socialist. 407 00:48:07,802 --> 00:48:11,055 How could he ride behind St. Joseph if he was a socialist? 408 00:48:11,556 --> 00:48:14,225 The socialists don't believe in St. Joseph. 409 00:48:14,893 --> 00:48:18,229 What a beast you are! Your grandfather 410 00:48:18,605 --> 00:48:23,401 was not a socialist like all the others. He was a great man. 411 00:48:25,403 --> 00:48:29,198 He could believe in St. Joseph and be a socialist. 412 00:48:30,867 --> 00:48:35,580 He had a mind for a thousand things together. And he was a socialist 413 00:48:36,080 --> 00:48:39,042 because he understood politics. But he could 414 00:48:40,418 --> 00:48:44,380 believe in St. Joseph. He said nothing against St. Joseph. 415 00:48:45,006 --> 00:48:49,761 But the priests, I imagine that they found him contrary. 416 00:48:50,428 --> 00:48:52,305 We won't get it any better. 417 00:48:58,603 --> 00:49:02,398 I told him: "It's a good take, do one more for me." 418 00:49:03,232 --> 00:49:05,234 That works every time. 419 00:49:05,902 --> 00:49:07,487 Not true. 420 00:49:10,490 --> 00:49:13,242 - What take is that? - 14th, I think. 421 00:49:14,327 --> 00:49:16,496 Did we do more or did we stop here? 422 00:49:16,829 --> 00:49:21,668 We have the 11th in version 1, 12th in version 2 and this is the 14th, 423 00:49:21,751 --> 00:49:23,836 if there are any more, they're probably not as good. 424 00:49:24,170 --> 00:49:27,924 - We'll trash them. - But this film was full of ups and downs. 425 00:49:28,007 --> 00:49:31,511 Not like "Empedocles" where the last ones were always the best. 426 00:49:31,594 --> 00:49:37,517 - Because they had worked less... - No, they're more extroverted, 427 00:49:37,600 --> 00:49:41,646 "Empedocles" was introverted, so the concentration was intense. 428 00:49:41,729 --> 00:49:45,483 There is another element at play. 429 00:49:47,318 --> 00:49:50,780 "Empedocles" was a project that took a year and a half, but not every day, 430 00:49:51,155 --> 00:49:54,993 this was a three-month project, working every day, no comparison. 431 00:49:55,076 --> 00:50:00,498 It's better to work a year and a half, but not every day, to master the text, 432 00:50:00,999 --> 00:50:04,544 than to work three months, having to work every day, even on Sunday. 433 00:50:05,586 --> 00:50:09,048 There's nothing you can do, time is not money. 434 00:50:12,093 --> 00:50:17,849 They also discovered what is a text and even literature. 435 00:50:19,684 --> 00:50:25,982 They didn't know where it was taking them because they realized it was hard work. 436 00:50:26,524 --> 00:50:31,029 - What were you saying? - It's too much work, too long, too difficult. 437 00:50:31,487 --> 00:50:35,533 It really is popular culture. These are people who worked all day, 438 00:50:35,992 --> 00:50:43,583 who arrived at rehearsals at six, five thirty at the earliest. It was a huge effort. 439 00:50:44,500 --> 00:50:48,504 We had to get them interested, otherwise they wouldn't have held out. 440 00:50:56,637 --> 00:51:02,310 It's also a question of trust, Straub meant nothing to them. 441 00:51:05,480 --> 00:51:08,232 They didn't know... We're not in the papers... 442 00:51:08,649 --> 00:51:15,990 they show our films on TV, in Italy, at 1 P.M. They work, they can't watch TV at 1 P.M. 443 00:51:20,161 --> 00:51:24,749 Then they discovered Vitorinni - they had a vague idea of theater - 444 00:51:25,166 --> 00:51:29,921 they discovered cinema, and slowly we became friends. 445 00:51:57,907 --> 00:52:01,702 If you want to know, the actor makes a little mistake here, 446 00:52:02,161 --> 00:52:05,206 it's not serious, but a mistake all the same. 447 00:52:06,541 --> 00:52:13,256 In the first and second versions, he does what we had rehearsed... 448 00:52:13,965 --> 00:52:16,425 "una COSA dei pretti" 449 00:52:16,926 --> 00:52:19,470 and not "una cosa dei PRETTI" 450 00:52:29,188 --> 00:52:34,193 But the priests, I imagine that they found him contrary? 451 00:52:34,652 --> 00:52:37,822 But of what import was that to him, the priests? 452 00:52:38,281 --> 00:52:42,118 But the procession was a matter of the priests! 453 00:52:42,702 --> 00:52:47,790 How ignorant you are! The procession was horses and men on horses. 454 00:52:49,000 --> 00:52:51,002 It was a cavalcade. 455 00:52:57,049 --> 00:52:58,551 You see: 456 00:53:00,595 --> 00:53:04,223 The cavalcade departed from over there. 457 00:53:04,640 --> 00:53:09,187 There is a small church that you don't see on the mountain 458 00:53:09,687 --> 00:53:15,234 but they lit it up inside and out and it became a star. 459 00:53:16,360 --> 00:53:21,532 And the cavalcade departed from the church with lanterns and bells 460 00:53:22,408 --> 00:53:25,077 and descended the mountain. 461 00:53:25,912 --> 00:53:29,957 It was always by night, naturally. One saw the lanterns 462 00:53:30,458 --> 00:53:36,547 and I knew that my father was at the head, a great rider. 463 00:53:37,381 --> 00:53:42,345 And all waited on the piazza below, and on the bridge. 464 00:53:43,804 --> 00:53:47,225 And the cavalcade entered the woods, 465 00:53:48,476 --> 00:53:53,356 one saw the lanterns no more, one only heard the bells. 466 00:53:55,191 --> 00:54:00,404 It took a long time and then the cavalcade appeared on the bridge, 467 00:54:02,615 --> 00:54:07,787 with all the noise of the bells and with lanterns and him at the head 468 00:54:08,746 --> 00:54:11,666 as if he felt like a king. 469 00:54:12,166 --> 00:54:14,543 It seems to me I remember. 470 00:54:16,837 --> 00:54:18,631 Nonsense! 471 00:54:19,006 --> 00:54:23,469 You were three years old the only time you saw it. 472 00:54:26,806 --> 00:54:31,894 The problem with a shot like this, is getting it done. 473 00:54:32,895 --> 00:54:39,610 Most of us begin with a cliché, not always, but most of the time, 474 00:54:40,152 --> 00:54:44,865 and that's fine but you have to look at it from all sides and clarify it. 475 00:54:45,366 --> 00:54:49,745 So you start with the idea of a discovery... 476 00:54:51,163 --> 00:54:56,502 Showing a mountain without the window, without anything. 477 00:54:59,171 --> 00:55:04,760 A torn curtain. Then you ask yourself, but why? 478 00:55:05,344 --> 00:55:11,851 It will inhibit the viewers' imagination instead of opening it and you ask yourself: 479 00:55:12,435 --> 00:55:16,522 "After having filmed Mount Thebes in "Moses and Aaron", 480 00:55:16,981 --> 00:55:26,240 "after having filmed Mount Etna, Mount Sainte-Victoire, why add another one?" 481 00:55:26,991 --> 00:55:32,663 And so you renounce, slowly. Then one fine day... 482 00:55:33,289 --> 00:55:38,878 you realize that it's better to see as little as possible. 483 00:55:40,004 --> 00:55:42,798 You have a sort of... 484 00:55:45,259 --> 00:55:50,473 reduction, only it's not a reduction, it's a concentration... 485 00:55:52,308 --> 00:55:54,518 ... and it actually says more. 486 00:55:56,312 --> 00:56:00,941 But you don't do that immediately from one day to the next. 487 00:56:01,442 --> 00:56:03,903 You need time and patience. 488 00:56:12,578 --> 00:56:16,582 A sigh can become a novel. 489 00:56:34,183 --> 00:56:38,104 This is the way that everybody should be editing. 490 00:56:38,562 --> 00:56:42,608 It is part of what I call cinematographic rhetoric, 491 00:56:43,109 --> 00:56:47,571 in the positive sense of the term. 492 00:56:48,155 --> 00:56:51,909 If you don't edit this shot the way it should be edited, 493 00:56:52,326 --> 00:56:58,541 there's an absolute rule, one can say that Chaplin invented it, not Eisenstein. 494 00:56:59,125 --> 00:57:04,672 There is a movement. It's very clear. If it's not edited the way we're doing it now 495 00:57:05,214 --> 00:57:11,303 then the film isn't edited at all, the editor just couldn't be bothered. 496 00:57:12,638 --> 00:57:16,892 Stop it! Your movement doesn't start here, 497 00:57:16,976 --> 00:57:18,978 it starts there. 498 00:57:20,646 --> 00:57:26,110 These are the little details that Chaplin saw in his 10 minute films. 499 00:57:26,569 --> 00:57:31,323 He saw them, not on a Moviola, he didn't need machinery 500 00:57:31,866 --> 00:57:38,038 and buttons and switches. He used his bare eyes. 501 00:57:38,706 --> 00:57:42,668 He would see an open eyelid, a closed eyelid. 502 00:57:43,127 --> 00:57:46,922 He'd see the beginning of a movement and its end. 503 00:57:47,339 --> 00:57:50,926 His 10 minute films from the Essanay series were like that. 504 00:57:51,385 --> 00:57:54,180 Not only those, but those in particular. 505 00:57:55,222 --> 00:57:56,724 Are you ready? 506 00:58:05,357 --> 00:58:10,988 He didn't do it because he was a great artist, nobody thought he was a great artist. 507 00:58:11,614 --> 00:58:16,243 He did it because he had found out it was absolutely necessary 508 00:58:16,702 --> 00:58:19,371 and a simple question of effectiveness. 509 00:58:29,298 --> 00:58:32,718 You gave me this cold, didn't you? 510 00:58:35,304 --> 00:58:37,765 You're going to tell me I've been coughing for 40 years? 511 00:58:38,140 --> 00:58:39,808 And yet... 512 00:58:41,685 --> 00:58:45,314 Karl Rossmann said one true thing when we were working with him. 513 00:58:45,731 --> 00:58:47,816 - He said quite a few. - He said... 514 00:58:48,234 --> 00:58:50,945 We never had anyone able to look... 515 00:58:51,445 --> 00:58:56,200 immediately in the right way, without us saying anything. 516 00:58:56,700 --> 00:59:00,788 He was a young spirit. He had a young brain, 517 00:59:01,247 --> 00:59:06,877 his brain cells weren't destroyed yet forty thousand cells a day. 518 00:59:08,546 --> 00:59:12,174 - What age was he? - Sixteen. 519 00:59:13,759 --> 00:59:16,345 But the true thing he said was... 520 00:59:16,804 --> 00:59:21,433 Every time you said I had been coughing for 40 years, he would say: 521 00:59:21,934 --> 00:59:26,105 "The day he stops, that'll be the end of him." 522 00:59:28,774 --> 00:59:32,403 - I'll just have to go on. - Mercy on the rest of us. 523 00:59:32,861 --> 00:59:36,615 Especially when we need our ears and our brains. 524 00:59:37,283 --> 00:59:40,411 "Death to the old and senile". 525 00:59:41,912 --> 00:59:44,290 "The Golden Coach". 526 00:59:47,918 --> 00:59:51,338 "His Excellency the Archbishop is very stern." 527 00:59:54,550 --> 00:59:57,136 What does it matter to see the line? 528 00:59:57,553 --> 01:00:01,807 I meant without ever hearing a train pass? 529 01:00:01,890 --> 01:00:04,935 What does it matter, to hear a train pass? 530 01:00:05,394 --> 01:00:07,813 I believed it would matter to you. 531 01:00:08,147 --> 01:00:10,024 You went out 532 01:00:10,441 --> 01:00:13,944 and stood with the flag at the barrier when it passed. 533 01:00:14,320 --> 01:00:16,989 Yes, if I didn't send one of you. 534 01:00:18,157 --> 01:00:23,287 There was a place, where we lived near the station. 535 01:00:25,122 --> 01:00:26,749 Serradifalco, I believe. 536 01:00:27,124 --> 01:00:30,294 We didn't see it, but we could hear the freight cars 537 01:00:30,711 --> 01:00:33,422 bumping one against the other during the shuntings... 538 01:00:33,881 --> 01:00:36,467 Cut the melon! 539 01:00:53,233 --> 01:00:56,862 - There... - Shut up for a second. 540 01:01:04,703 --> 01:01:05,954 No. 541 01:01:08,123 --> 01:01:09,583 Listen... 542 01:01:09,917 --> 01:01:18,425 I think you have to go with the action, like in Essanay Chaplin once more. 543 01:01:20,636 --> 01:01:25,766 Here the action is not hard to find, though it's subdued. 544 01:01:41,865 --> 01:01:48,580 There's another reason: he drinks as if he were sleepwalking 545 01:01:49,123 --> 01:01:52,626 he moves like Bresson dreamt of actors moving 546 01:01:53,085 --> 01:01:56,964 switching on the light without knowing what one is doing, 547 01:01:57,423 --> 01:02:01,009 not like a bad actor making a point of looking for the light switch 548 01:02:01,468 --> 01:02:03,387 one makes unconscious, mechanical gestures. 549 01:02:03,721 --> 01:02:08,058 That's what he does, he drinks. 550 01:02:08,559 --> 01:02:14,857 But because he is sleepwalking and unconscious he has that meditative look 551 01:02:15,399 --> 01:02:19,778 of someone who stares at the coffee grounds in his cup, into his glass. 552 01:02:20,279 --> 01:02:26,076 It wouldn't make sense to prolong it, that would only dilute the sauce. 553 01:02:35,294 --> 01:02:38,589 - What is she doing? - Shifting about. 554 01:02:39,006 --> 01:02:43,886 We won't be able to keep a lot of this because she simpers. 555 01:02:49,725 --> 01:02:54,396 She thought that was enough, she didn't keep the tension up until the end. 556 01:03:09,495 --> 01:03:15,334 No, it's a pity. Look at that bent wrist there... 557 01:03:28,263 --> 01:03:29,431 There. 558 01:03:35,646 --> 01:03:38,398 That's something precious, because it is... 559 01:03:39,650 --> 01:03:44,822 It's also something extremely difficult to get from professional actors. 560 01:03:50,410 --> 01:03:53,288 Look at Vernon, who is a good actor. 561 01:03:53,372 --> 01:03:56,500 When we began to rehearse, we said to him: 562 01:03:56,917 --> 01:04:01,839 "You look down, down to the ground." 563 01:04:02,673 --> 01:04:06,134 We're rehearsing and asked him: "Where are you looking?" 564 01:04:06,593 --> 01:04:09,513 "I'm looking down at the ground." Jean-Marie asked him: "Where?" 565 01:04:09,888 --> 01:04:16,353 "If you look far down, your eyes are too low, the camera won't see them." 566 01:04:16,979 --> 01:04:21,692 "You have to look down and still see your eyes". That's what they're taught. 567 01:04:23,777 --> 01:04:28,115 As he was not vain and he liked us a lot, he looked where we told him to. 568 01:04:28,574 --> 01:04:31,285 That's what they learn as actors, tricks like that... 569 01:04:31,702 --> 01:04:35,956 Instead of learning to breathe, to coordinate a gesture 570 01:04:36,540 --> 01:04:43,005 or a look or a syllable and to move without it looking... 571 01:04:45,507 --> 01:04:49,553 as if it were straight out of the romantic magazines, 572 01:04:50,012 --> 01:04:57,144 they learn tricks, crafty tricks, Scapin tricks. 573 01:04:57,728 --> 01:05:03,442 The two actors who weren't from the Schaubühne but from the Gorki Theatre, from East Berlin. 574 01:05:03,942 --> 01:05:07,321 We never had any problems with them! 575 01:05:08,280 --> 01:05:14,119 Brecht had spent some time there, so they did learn something. 576 01:05:14,703 --> 01:05:17,915 And the first time we were with the oldest one from the chorus, 577 01:05:18,332 --> 01:05:23,086 rehearsing at his place because we didn't want to put him out too much. 578 01:05:23,629 --> 01:05:28,550 In a suburban flat on the 20th floor with one room which he shared with his wife. 579 01:05:29,051 --> 01:05:32,012 They opened the door and there was a piano. 580 01:05:32,429 --> 01:05:37,517 Which is unexpected for an actor. We had brought the long chorus text, 581 01:05:38,018 --> 01:05:41,813 the longest text, which tells all the miracles man is capable of 582 01:05:42,272 --> 01:05:47,110 and which ends in catastrophe. And we asked him, a little timidly 583 01:05:47,694 --> 01:05:50,614 if he'd be so kind as to do a reading rehearsal. 584 01:05:51,031 --> 01:05:53,909 After two or three cups of coffee and German cake. 585 01:05:54,326 --> 01:05:56,036 And he began to read. 586 01:05:56,370 --> 01:06:00,374 He read his text and I think Jean-Marie changed three details. 587 01:06:01,124 --> 01:06:06,338 A little surprised, we asked him: "There are no miracles, how did you do it?" 588 01:06:08,215 --> 01:06:12,886 "I always asked myself why one recites verse without respecting it as verse." 589 01:06:13,387 --> 01:06:16,098 "I've been asking myself this since I'm an actor." 590 01:06:16,515 --> 01:06:21,019 - "I saw "The Death of Empedocles"... - He meant not to link every verse. 591 01:06:21,478 --> 01:06:26,858 "I found that in your films, verse is verse and metre is metre." 592 01:06:27,359 --> 01:06:30,028 - And he was 65 years old. - And he played the piano. 593 01:06:30,445 --> 01:06:33,824 He worked alone, he understood it! He practised and practised. 594 01:06:34,282 --> 01:06:38,328 He understood it was all about practising like a musician 595 01:06:38,870 --> 01:06:44,042 and not like an actor who says: "I never practise, it kills my spontaneity!" 596 01:06:44,584 --> 01:06:47,337 Bullshit! Let's move on. 597 01:07:02,811 --> 01:07:06,857 What I have to tell you about "The Death of Empedocles"... 598 01:07:07,774 --> 01:07:13,405 It is the second of our 22 films 599 01:07:14,031 --> 01:07:17,826 that has a message. And the message is not ours. 600 01:07:18,285 --> 01:07:23,290 It's the message of the man who wrote the text, in 1793. 601 01:07:23,915 --> 01:07:27,711 He was German but had travelled in France, he'd gone to Bordeaux. 602 01:07:28,128 --> 01:07:34,176 He travelled in France, after the revolution, then he returned to Germany. 603 01:07:34,718 --> 01:07:37,971 And his message is quite simply a communist utopia. 604 01:07:38,472 --> 01:07:40,098 Which says: 605 01:07:40,432 --> 01:07:46,813 there is only one thing that will save the Earth and its children: communism. 606 01:07:47,355 --> 01:07:51,068 You'll see it's not any old communism but a very precise communism 607 01:07:51,526 --> 01:07:57,699 that will be necessary, if we don't want to perish, in nothingness and ruin, 608 01:07:58,283 --> 01:08:02,913 well, we will have to reinvent it. You'll see how he defines it: 609 01:08:03,413 --> 01:08:09,169 "You have always thirsted for something new, so go for it!" 610 01:08:09,711 --> 01:08:13,757 "You have learned only what your fathers have told you" 611 01:08:14,216 --> 01:08:19,513 and he goes on, only if you don't forget this and that 612 01:08:20,222 --> 01:08:24,184 as kids say... as children telling stories... 613 01:08:24,601 --> 01:08:29,356 only then will there be a communism that can save us 614 01:08:29,856 --> 01:08:33,902 and not just us but the only precious thing we have, 615 01:08:34,361 --> 01:08:38,031 namely the ground we walk upon, not this one here but the Earth. 616 01:08:38,115 --> 01:08:42,327 The children of the Earth. Good evening and... 617 01:08:43,578 --> 01:08:45,122 Thank you. 618 01:08:49,126 --> 01:08:50,210 Excuse me. 619 01:10:08,622 --> 01:10:14,044 There are those who stick close to reality and do not put their imagination in there, 620 01:10:14,544 --> 01:10:19,216 their limited imagination of limited creatures. 621 01:10:21,426 --> 01:10:25,388 And then there are those who distort reality 622 01:10:27,057 --> 01:10:33,438 for the sake of the so-called wealth of their imagination. 623 01:10:43,198 --> 01:10:47,744 The result is, and this is controversial on my part, 624 01:10:49,955 --> 01:10:52,707 that the imagination is much more limited 625 01:10:53,124 --> 01:10:57,545 in the work of the second family than in those of the first family. 626 01:10:58,046 --> 01:11:02,133 That of the first... 627 01:11:11,893 --> 01:11:16,439 Because there is less patience in the work of the second family 628 01:11:17,774 --> 01:11:19,276 and... 629 01:11:22,028 --> 01:11:24,990 as someone once said, genius... 630 01:11:26,408 --> 01:11:29,536 is nothing more than a great deal of patience. 631 01:11:56,438 --> 01:12:04,571 If you have patience, it will be charged with contradictions at the same time. 632 01:12:05,238 --> 01:12:08,283 Otherwise it doesn't have time to be charged. 633 01:12:12,704 --> 01:12:17,751 Lasting patience is necessarily charged with tenderness and violence. 634 01:12:18,251 --> 01:12:24,758 Impatient impatience is only charged with impatience. 635 01:13:17,310 --> 01:13:20,438 Beautiful autumn is here again. 636 01:13:25,318 --> 01:13:26,820 Holy shit! 637 01:13:29,656 --> 01:13:31,324 He's mad! 638 01:13:35,078 --> 01:13:39,833 Straub, can you tell me why the door is open and the light in my face? 639 01:13:40,291 --> 01:13:44,337 - I thought we'd done the marks. - But I check them before cutting. 640 01:13:57,058 --> 01:14:01,855 Here, the problem is deciding if we should have a see-saw movement: 641 01:14:02,313 --> 01:14:05,859 he lowers his nose and immediately, in the next shot, raises it again. 642 01:14:06,317 --> 01:14:10,405 Or if we should have him lower his nose, cut then, 643 01:14:10,905 --> 01:14:14,826 and hold it for a few frames before he raises his nose again. 644 01:14:15,285 --> 01:14:18,663 - We can't. - What would be the reason? 645 01:14:20,957 --> 01:14:24,210 The reason would be that the clap is in the picture. 646 01:14:27,505 --> 01:14:32,343 - That's the silliest of reasons. - It's not my fault. 647 01:14:44,564 --> 01:14:46,816 That palm tree is annoying... 648 01:15:01,998 --> 01:15:06,211 That's the most difficult thing with actors, professional or not. 649 01:15:26,648 --> 01:15:28,525 We'll start like that. 650 01:15:28,942 --> 01:15:32,779 It's getting into their heads that all the time after the clap... 651 01:15:34,572 --> 01:15:39,661 is their time and it is luxury, and they must never rush things. 652 01:15:40,161 --> 01:15:44,999 They must use this time to collect themselves, concentrate, 653 01:15:47,293 --> 01:15:51,005 think, meditate and be at one with their body. 654 01:15:57,220 --> 01:16:01,808 We're not a huge production, it's better to waste 10 meters of film 655 01:16:02,267 --> 01:16:07,480 than to start again because you started too early and weren't concentrated. 656 01:16:09,232 --> 01:16:11,859 But this guy is such a hothead... 657 01:16:27,500 --> 01:16:32,547 - Did you check for noises? - No problem here. 658 01:16:33,256 --> 01:16:37,552 The problem is I can't imagine the length of time I need here, 659 01:16:38,011 --> 01:16:40,597 given that in the next shot he starts immediately. 660 01:16:41,014 --> 01:16:43,683 And this here annoys me too. 661 01:16:44,100 --> 01:16:48,062 So, for it to work, I'll have to cut early, here. 662 01:16:48,479 --> 01:16:52,150 He's just finished lowering his head, and I'm not sure that this fits him, 663 01:16:52,609 --> 01:16:56,571 having just lowered his head and in the next shot lifting it right away. 664 01:16:57,071 --> 01:17:00,199 On the other hand, I don't believe putting in a pause 665 01:17:00,617 --> 01:17:04,829 will fix things because he lifts his head immediately in the next one. 666 01:17:05,580 --> 01:17:11,252 A cut serves to condense something one doesn't necessarily do in real life. 667 01:17:11,878 --> 01:17:15,381 But in life we do that too: up, down... 668 01:17:17,842 --> 01:17:19,927 It's not the same thing. 669 01:17:21,262 --> 01:17:25,308 In real life, you don't make film shots. 670 01:17:49,290 --> 01:17:51,584 I don't want to do up, down. 671 01:18:06,808 --> 01:18:11,062 Here you see that editing has nothing to do with life. 672 01:18:17,985 --> 01:18:20,988 Even though we work with elements... 673 01:18:25,326 --> 01:18:26,661 of life. 674 01:18:28,121 --> 01:18:30,623 - There! - Yes, perhaps it's better. 675 01:18:33,251 --> 01:18:38,005 You see that there is no sense in a close-up like this 676 01:18:38,631 --> 01:18:42,802 unless it is taken from the same perspective as the preceding shot. 677 01:18:48,057 --> 01:18:51,894 Because otherwise you flatten the space, 678 01:18:53,521 --> 01:18:55,898 you turn it into rubber... 679 01:18:56,357 --> 01:19:00,486 and you end up not knowing where to place yourself, there's no reference. 680 01:19:00,987 --> 01:19:06,033 Does one place oneself full face or in profile or a bit more frontal?... 681 01:19:06,534 --> 01:19:09,662 That comes a bit like a hair in the soup. 682 01:19:10,079 --> 01:19:16,085 Whereas this is a matching shot that has a meaning. 683 01:19:17,295 --> 01:19:21,924 And the close-up, instead of being purely psychological matter... 684 01:19:23,217 --> 01:19:27,597 is a spatial discovery. The way he's shot here 685 01:19:28,097 --> 01:19:32,560 is the same point of view as when we see the two of them. 686 01:19:33,019 --> 01:19:37,732 It's just the lenses that change, it's the principle of a pan 687 01:19:38,191 --> 01:19:41,360 or of a crane shot sliced into several pieces. 688 01:19:50,244 --> 01:19:51,662 Here it is! 689 01:19:52,288 --> 01:19:55,374 This is much more interesting than if you said: 690 01:19:55,833 --> 01:20:01,839 to cut the other character out, we'll move a bit left or a bit right. 691 01:20:02,799 --> 01:20:07,887 If you respect the same perspective, it's much more interesting, 692 01:20:08,346 --> 01:20:15,102 because it's simple and logical. It's not chewing-gum. 693 01:20:27,657 --> 01:20:29,617 We won't do any better. 694 01:20:29,951 --> 01:20:31,661 You must excuse me. 695 01:20:32,036 --> 01:20:34,914 I believed I could do it because you are a stranger. 696 01:20:35,289 --> 01:20:38,793 Oh, that is nothing. Two soldi more or two soldi less... 697 01:20:39,585 --> 01:20:45,716 The question is one does not know how to comport oneself with strangers. 698 01:20:46,259 --> 01:20:48,135 There are perhaps scissors sharpeners 699 01:20:48,469 --> 01:20:52,265 who charge eight soldi in other villages, 700 01:20:53,099 --> 01:20:58,020 and one risks damaging them in charging six. 701 01:21:00,273 --> 01:21:02,024 It is beautiful, the world. 702 01:21:02,400 --> 01:21:06,404 Light, shadow, cold, heat, joy, non-joy... 703 01:21:06,821 --> 01:21:09,907 Hope, charity... 704 01:21:10,491 --> 01:21:12,243 Infancy, youth, age... 705 01:21:12,577 --> 01:21:14,328 Men, children, women... 706 01:21:14,704 --> 01:21:19,917 Beautiful women, ugly women, the grace of God, roguery 707 01:21:20,543 --> 01:21:23,629 - and honesty... - Memory, fantasy. 708 01:21:25,423 --> 01:21:27,550 What should that mean? 709 01:21:28,050 --> 01:21:29,802 Oh, nothing. 710 01:21:30,553 --> 01:21:32,388 Bread and wine. 711 01:21:34,223 --> 01:21:36,726 Sausages, milk, goats, 712 01:21:36,809 --> 01:21:38,853 pigs and cows. 713 01:21:39,478 --> 01:21:41,439 - Rats. - Bears. 714 01:21:41,814 --> 01:21:44,025 - Wolves. - Birds. 715 01:21:44,650 --> 01:21:46,819 Trees and smoke, 716 01:21:47,236 --> 01:21:48,321 snow. 717 01:21:48,696 --> 01:21:51,908 Sickness, recovery. I know, I know. 718 01:21:52,325 --> 01:21:53,743 Death, 719 01:21:54,368 --> 01:21:56,537 immortality and resurrection. 720 01:22:07,465 --> 01:22:10,217 That palm tree is a nuisance. 721 01:22:14,639 --> 01:22:17,099 Let it sway. 722 01:22:17,725 --> 01:22:18,976 What about this? 723 01:22:19,352 --> 01:22:22,897 It was alright. It worked relatively well. 724 01:22:23,356 --> 01:22:26,484 Relatively because you don't see clearly, but it's still there. 725 01:22:26,859 --> 01:22:29,737 It was in there, but just for a moment... 726 01:22:30,196 --> 01:22:32,823 I saw it very well, I looked closely. 727 01:22:42,917 --> 01:22:45,878 - It's just out of frame. - No, it's not! 728 01:22:46,295 --> 01:22:52,301 There are still bits out of focus... But most of it is out. 729 01:22:56,055 --> 01:23:01,060 You need to know that, if you have a palm tree swaying like this, 730 01:23:07,024 --> 01:23:15,282 there will be, helpful, friendly assistants, or even the cameraman 731 01:23:19,161 --> 01:23:20,037 Good. 732 01:23:20,746 --> 01:23:25,042 They'd be here straight away to cut the branches with clippers 733 01:23:25,459 --> 01:23:28,546 or to put rope to stop them moving... 734 01:23:29,005 --> 01:23:32,174 And that's the kind of things that sticks out. 735 01:23:33,467 --> 01:23:39,932 Then you do a large shot, you have to take off the rope and you regret having cut it. 736 01:23:48,399 --> 01:23:54,155 In "En Rachachant", there was an old wooden platform in a suburban school... 737 01:23:55,406 --> 01:23:58,576 It was hard to find because they don't make them anymore. 738 01:23:59,035 --> 01:24:02,246 The cameraman already had an axe in his hand. 739 01:24:03,539 --> 01:24:05,750 I held his arm back. 740 01:24:06,792 --> 01:24:09,795 That's cinema. You can't trust cinema. 741 01:24:30,316 --> 01:24:32,151 The little birds... 742 01:24:32,568 --> 01:24:35,696 There are the birds and the wind in his hair. 743 01:24:44,497 --> 01:24:47,500 - We could try to... - To keep some of the wind. 744 01:24:47,917 --> 01:24:51,378 Let's keep a bit of the tall, dark, handsome guy as if he'd... 745 01:24:51,879 --> 01:24:56,050 finished his thing, he's quite happy with himself. 746 01:25:07,520 --> 01:25:11,941 - With the wind playing with his tuft. - I don't know if it will work... 747 01:25:12,441 --> 01:25:16,028 Scrutinize the wind. And the tuft. 748 01:26:14,336 --> 01:26:21,677 In a sequence like that, it would be wrong to do shots 749 01:26:22,261 --> 01:26:26,557 like in the dialogue between Robert and Schrella in the billiards 750 01:26:27,183 --> 01:26:33,814 in "Not Reconciled", in which there are high angle shots 751 01:26:34,398 --> 01:26:41,906 of Robert responding to Schrella. There was a reason for that. 752 01:26:42,823 --> 01:26:46,035 It's a dialogue that goes from one extreme to the other, 753 01:26:46,785 --> 01:26:51,123 in which the feelings of each other constantly swing. 754 01:26:51,624 --> 01:26:58,547 Here, we have two characters who meet, 755 01:27:00,883 --> 01:27:06,430 first in mistrust, and suddenly... 756 01:27:09,350 --> 01:27:14,396 something happens between them, we must stay at their height, that's all. 757 01:27:15,147 --> 01:27:22,112 All the more so because at the end they come to be on brotherly terms... 758 01:27:27,326 --> 01:27:29,954 they are both... 759 01:27:33,999 --> 01:27:38,087 on the edge of a kind of invisible abyss... 760 01:27:40,005 --> 01:27:42,299 It ends like that. 761 01:28:06,282 --> 01:28:08,492 When you finish drifting, Straub. 762 01:28:15,958 --> 01:28:18,669 Well, let's see... 763 01:28:19,503 --> 01:28:21,797 Immortality and resurrection. 764 01:28:23,882 --> 01:28:26,260 It is extraordinary! 765 01:28:31,140 --> 01:28:33,350 - I suppose. - Too bad... 766 01:28:33,726 --> 01:28:35,519 Listen... 767 01:28:38,689 --> 01:28:43,861 Excuse me, if someone knows another whose acquaintance he has made with great pleasure, 768 01:28:44,320 --> 01:28:47,781 and then takes from him two soldi or two lire more 769 01:28:48,282 --> 01:28:52,328 for a service he should have rendered gratis 770 01:28:52,786 --> 01:28:56,457 due to the great pleasure it gives him to know him, 771 01:28:57,124 --> 01:29:02,838 what kind of thing is that one, isn't that a man who offends the world? 772 01:29:05,758 --> 01:29:07,718 Thank you, friend. 773 01:29:08,344 --> 01:29:11,805 I don't know, there's something that doesn't work. 774 01:29:19,104 --> 01:29:22,066 Can I just point out that it's my hat? 775 01:29:24,151 --> 01:29:27,071 I've had it for 10 years. No, 15. 776 01:29:27,571 --> 01:29:30,824 - It had a hole... - That's two frames less. 777 01:29:32,034 --> 01:29:33,827 I gave it to him. 778 01:29:37,331 --> 01:29:40,959 - Two days later, I bought this one. - Now listen, Jean-Marie! 779 01:29:49,510 --> 01:29:52,930 In "Diary of a Country Priest", they greeted... 780 01:29:54,431 --> 01:29:59,478 "from one side to the other of an invisible road." 781 01:30:05,776 --> 01:30:11,073 I asked: "what shirts have you got?" He brought his shirts and trousers. 782 01:30:11,573 --> 01:30:15,327 And he had pink shirts and stuff like that... 783 01:30:16,745 --> 01:30:21,750 - So, I had to give him that shirt. - And the trousers too. 784 01:30:29,049 --> 01:30:32,094 And I found that shirt in the rubbish in Rome. 785 01:30:32,553 --> 01:30:36,807 I found it 4 or 5 years before in Rome. People throw away all kinds of things. 786 01:30:37,307 --> 01:30:41,145 But they're very nice, they have them cleaned first 787 01:30:41,645 --> 01:30:44,773 and then put in plastic wrappers 788 01:30:45,190 --> 01:30:50,028 and they either put them straight in the bins or well to one side. 789 01:30:55,868 --> 01:30:57,828 I found that shirt in the rubbish. 790 01:31:07,671 --> 01:31:11,800 You're mixing up shirts. I bought that shirt. 791 01:31:12,342 --> 01:31:17,723 I didn't buy it, I stole it. I stole it from a supermarket in Rome. 792 01:31:18,223 --> 01:31:23,312 It was a bargain, I said to myself "what a shame!" 793 01:31:26,064 --> 01:31:30,444 The one you found has got a big cigarette burn in it. 794 01:31:31,195 --> 01:31:33,989 It's a tartan shirt. Red and green. 795 01:31:34,364 --> 01:31:37,534 - Isn't that tartan? - Yes, but not red and green. 796 01:31:50,714 --> 01:31:56,136 We can't go further, there's a car door slamming, which is rather unfortunate. 797 01:32:07,147 --> 01:32:09,816 - There's another solution. - What's that? 798 01:32:11,318 --> 01:32:17,741 We keep the slam of the door and use it to start the music. 799 01:32:20,244 --> 01:32:22,955 I'll try but I don't think so. 800 01:32:23,330 --> 01:32:26,583 We did something like that when we were young. 801 01:32:27,084 --> 01:32:31,713 We're not young anymore and the noise is not very clear. 802 01:32:32,214 --> 01:32:37,970 It's a car door, what else could it be? It's not a gunshot. 803 01:32:43,559 --> 01:32:46,728 I've made a mess of your work? 804 01:32:46,812 --> 01:32:50,232 - Happy now? - You're going to sigh... 805 01:33:19,511 --> 01:33:23,015 I think we live in an age of betrayal. 806 01:33:30,939 --> 01:33:38,655 I'm 97 years, I am older than Baudelaire when he said he was 1000 years old. 807 01:33:39,573 --> 01:33:46,288 I've survived in a world in which the life of the artiste en plein air was a bit difficult, 808 01:33:47,039 --> 01:33:50,042 especially when you wanted to do what Cocteau described as: 809 01:33:50,125 --> 01:33:53,587 "Nourish that for which you are criticised, it's your real self." 810 01:33:54,004 --> 01:33:58,008 We see ourselves as privileged all the same. 811 01:33:58,091 --> 01:34:03,221 In a world in which 90% of the people have a job they're not interested in, 812 01:34:03,764 --> 01:34:09,811 we've been able to do a job we're interested in and to do it the way we wanted to, 813 01:34:09,895 --> 01:34:13,649 and not the way others would have wanted us to do it. 814 01:34:13,732 --> 01:34:17,861 When we did "The Chronicle of Anna Magdalena Bach", our first project, 815 01:34:18,278 --> 01:34:21,156 we spent 10 years trying to get financing but we made it. 816 01:34:21,239 --> 01:34:26,203 Some people suggested Curd Jürgens, a famous German actor of the time, 817 01:34:26,662 --> 01:34:29,956 who would have pretended to be playing or conducting music 818 01:34:30,457 --> 01:34:35,212 "everything is possible in cinema" they said, "it will be dubbed anyway". 819 01:34:35,754 --> 01:34:38,757 Then, someone suggested... 820 01:34:39,549 --> 01:34:41,843 - What was his name? - Herbert. 821 01:34:42,219 --> 01:34:45,639 Herbert von Karajan. I asked: "Who's going to pay him?" 822 01:34:46,098 --> 01:34:50,227 He said: "I'll pay, it won't be in the film budget, I'll pay Karajan." 823 01:34:50,686 --> 01:34:53,522 So I told him: "I'm sorry, we don't want Karajan," 824 01:34:53,939 --> 01:34:57,859 "we have known Gustav Leonhardt for ten years and nobody knows him" 825 01:34:58,276 --> 01:35:00,987 he has made two records, and everyone asked: "who's that?" 826 01:35:01,405 --> 01:35:04,574 He didn't have the market value neither in box office, 827 01:35:04,991 --> 01:35:09,287 nor for musicologists, musicians and even less in the cinema crowd. 828 01:35:09,371 --> 01:35:15,419 I said: "It wouldn't be our film, go on and make a film with Karajan." 829 01:35:15,961 --> 01:35:22,801 He said: "If you accept it, I'll pay for him and give you a certain amount for the film." 830 01:35:23,468 --> 01:35:27,931 I asked: "what's this? we have a budget, we only need half," 831 01:35:28,014 --> 01:35:32,060 "keep the other half, fuck you, give us the half we need" 832 01:35:32,519 --> 01:35:35,147 "and let us do our film with Gustav Leonhardt." 833 01:35:35,605 --> 01:35:38,900 To which he said no. We ended up doing it anyway. 834 01:35:39,359 --> 01:35:42,362 You end up paying the price. 835 01:35:43,071 --> 01:35:46,032 We haven't any retirement pension and all the crap. 836 01:35:46,533 --> 01:35:49,327 But we're happy and we're privileged. 837 01:35:51,121 --> 01:35:55,041 So, in an age of betrayal I don't see any harm... 838 01:35:55,751 --> 01:35:59,838 in recalling a bit of faithfulness... 839 01:36:00,297 --> 01:36:05,594 "Sicilia!", if it was love at first sight, if we wanted to do it it was because in 72, 840 01:36:06,094 --> 01:36:10,766 when we scouted locations for "Moses and Aaron" which we shot in 74, in Italy, 841 01:36:11,266 --> 01:36:14,895 we travelled 30.000 km at snail's pace 842 01:36:14,978 --> 01:36:20,400 and during the search, one day, on a bridge, we said to each other: 843 01:36:20,901 --> 01:36:24,321 "What a strange smell, not unpleasant but very strong, what is it?" 844 01:36:24,738 --> 01:36:31,495 And we saw hundreds of kilos of oranges lying in the riverbed below. 845 01:36:31,578 --> 01:36:35,457 That stuck in our minds and when we read the beginning of... 846 01:36:36,249 --> 01:36:43,256 "Conversazione in Sicilia" it came back as a strong memory. 847 01:36:46,593 --> 01:36:53,058 And how can a man and a woman stand, the word is stand, stand together? 848 01:36:55,852 --> 01:36:58,313 It was also worth it for the oranges. 849 01:37:53,159 --> 01:37:57,038 Old print, old film, but... 850 01:37:58,415 --> 01:38:00,208 forever young! 851 01:38:00,709 --> 01:38:02,919 "A little powder, a little rouge"... 852 01:38:03,461 --> 01:38:06,548 "An artist is forever young!" 853 01:38:20,937 --> 01:38:23,982 At the end of the last shot there's nothing to cut out? 854 01:38:25,984 --> 01:38:28,945 I'll tell you when I've finished, but I don't think so. 855 01:38:30,488 --> 01:38:33,241 You know, she always talks like that. 856 01:38:33,617 --> 01:38:42,334 When we met in 54, I attended the Lycée Voltaire, for only 8 days 857 01:38:42,959 --> 01:38:47,339 - 3 weeks. - 3 weeks? Very well. 858 01:38:48,506 --> 01:38:50,258 Then I left... 859 01:38:50,675 --> 01:38:55,180 - You were told it would be better to leave. - I was kicked out. 860 01:39:00,435 --> 01:39:02,854 I was even told why: 861 01:39:03,521 --> 01:39:07,442 I knew too much about Hitchcock and that disturbed the class. 862 01:39:09,903 --> 01:39:12,072 I was watching her from a distance. 863 01:39:14,157 --> 01:39:17,035 We weren't sitting that close to each other. 864 01:39:18,203 --> 01:39:21,414 I didn't know her, I was just watching her. 865 01:39:26,419 --> 01:39:30,173 Every time she uttered something, 866 01:39:30,674 --> 01:39:34,427 the others would ask me - why me? - what she'd said. 867 01:39:35,303 --> 01:39:38,890 I had to translate, it was taken for granted that I understood. 868 01:39:39,808 --> 01:39:41,685 And did you understand? 869 01:39:42,143 --> 01:39:47,315 That's a mystery! One will never know. 870 01:40:00,120 --> 01:40:04,541 They must have noticed that I had fallen madly in love 871 01:40:05,041 --> 01:40:10,422 at first sight, so they thought: "he must understand what she says." 872 01:40:25,270 --> 01:40:28,898 Here, it's the idea of convalescence. 873 01:40:29,691 --> 01:40:32,944 After this call to violence... 874 01:40:33,778 --> 01:40:35,363 comes... 875 01:40:36,614 --> 01:40:44,039 what Beethoven called the convalescent's thanksgiving to God. 876 01:40:45,749 --> 01:40:49,210 The thanksgiving of a convalescent who comes back to life. 877 01:40:49,669 --> 01:40:55,759 It's the idea of a little ointment on a wound. 878 01:40:56,718 --> 01:41:01,222 Let's say that humanity has no other way out than violence... 879 01:41:01,723 --> 01:41:03,767 That's exactly what I think... 880 01:41:07,729 --> 01:41:09,564 That's very bad. 881 01:41:10,607 --> 01:41:15,320 It's bad and one day something else must happen. 882 01:41:15,904 --> 01:41:20,909 In any case, one will have to heal the wounds. 883 01:41:23,286 --> 01:41:25,955 Here, on the contrary... 884 01:41:27,665 --> 01:41:31,127 that which emerges slowly and grows and grows, 885 01:41:31,669 --> 01:41:36,257 has nothing to do with an ointment. It's the opposite. 886 01:41:43,598 --> 01:41:46,726 It's the trees of the forest beginning to march. 887 01:41:49,020 --> 01:41:51,981 - Have you fastened your seatbelt? - Let's go! 888 01:41:54,484 --> 01:41:55,944 Thank you, friend. 889 01:41:56,861 --> 01:42:01,449 Sometimes one confuses the pettinesses of the world 890 01:42:02,242 --> 01:42:04,494 with the offences to the world. 891 01:42:05,662 --> 01:42:09,249 Ah! If there were 892 01:42:11,376 --> 01:42:16,381 knives and scissors, awls, picks and harquebuses, 893 01:42:17,590 --> 01:42:22,262 mortars, sickles and hammers, cannons, cannons, dynamite.