1
00:00:33,784 --> 00:00:35,952
<i>We had to trim this tree back.</i>

2
00:00:36,078 --> 00:00:38,579
<i>It was blocking all the light.</i>

3
00:00:43,585 --> 00:00:48,130
<i>I set out on a series of trips,</i>
<i>filming here and there...</i>

4
00:00:49,216 --> 00:00:52,301
<i>faces and words,</i>
<i>museums, rivers, and art.</i>

5
00:00:59,685 --> 00:01:02,562
<i>I listened to people I met —</i>
<i>sometimes by chance —</i>

6
00:01:02,813 --> 00:01:04,939
AGNÈS VARDA
FROM HERE TO THERE

7
00:01:05,065 --> 00:01:07,316
<i>especially artists whose work I like.</i>

8
00:01:24,001 --> 00:01:26,043
<i>When I returned from my first trip,</i>

9
00:01:26,169 --> 00:01:28,421
<i>the tree already had new shoots.</i>

10
00:01:29,590 --> 00:01:32,925
<i>I continued my travels,</i>
<i>by train or plane,</i>

11
00:01:33,051 --> 00:01:36,470
<i>filming in every city,</i>
<i>not to file a report,</i>

12
00:01:36,597 --> 00:01:39,849
<i>but to capture fragments,</i>
<i>moments, people.</i>

13
00:01:40,100 --> 00:01:42,101
<i>The tree was coming back to life.</i>

14
00:01:43,020 --> 00:01:45,438
<i>I came and went...</i>

15
00:01:45,564 --> 00:01:49,025
<i>and Jean-Baptiste and I edited</i>
<i>the material I'd gathered.</i>

16
00:01:53,822 --> 00:01:57,491
<i>But long before I completed</i>
<i>my journeys and my work,</i>

17
00:01:57,743 --> 00:01:59,994
<i>which lasted well over a year,</i>

18
00:02:00,120 --> 00:02:03,623
<i>the tree,</i>
<i>with new shoots and leaves,</i>

19
00:02:03,957 --> 00:02:08,127
<i>had grown back all its foliage</i>
<i>in less than three months.</i>

20
00:02:08,295 --> 00:02:11,631
<i>You see the process here</i>
<i>in under two minutes.</i>

21
00:02:11,757 --> 00:02:15,593
<i>And viewers will see these chronicles</i>
<i>over several days.</i>

22
00:02:16,303 --> 00:02:19,555
<i>So this series shoots and leaves,</i>
<i>so to speak.</i>

23
00:02:22,351 --> 00:02:25,227
<i>In this episode</i>
<i>we'll go to Brazil, Brussels,</i>

24
00:02:25,354 --> 00:02:27,563
<i>Stockholm, and Venice.</i>

25
00:02:27,689 --> 00:02:31,067
<i>We'll meet the art critic Obrist</i>
<i>and the painter Barceló.</i>

26
00:02:35,739 --> 00:02:39,575
<i>Though we travel far away,</i>
<i>our shadow remains on the ground.</i>

27
00:02:41,036 --> 00:02:43,704
<i>I'm going to Brazil to play filmmaker.</i>

28
00:02:43,914 --> 00:02:47,291
<i>It's not after-sales service.</i>
<i>We accompany our films</i>

29
00:02:47,417 --> 00:02:51,545
<i>and visit other places</i>
<i>and people who welcome us.</i>

30
00:02:56,218 --> 00:02:58,636
<i>I am indeed welcomed in Rio,</i>

31
00:02:58,762 --> 00:03:02,014
<i>by Fabiano Canosa,</i>
<i>the Brazilian from New York,</i>

32
00:03:02,182 --> 00:03:05,518
<i>and Joel Pizzini, local filmmaker.</i>

33
00:03:05,727 --> 00:03:08,229
<i>Joel's partner is Paloma Rocha,</i>

34
00:03:08,355 --> 00:03:10,690
<i>daughter of filmmaker</i>
<i>Glauber Rocha.</i>

35
00:03:10,857 --> 00:03:14,610
<i>Paula Tesser is also here,</i>
<i>to accompany me and interpret.</i>

36
00:03:14,736 --> 00:03:16,278
<i>She's a singer.</i>

37
00:03:22,202 --> 00:03:25,705
<i>Rio de Janeiro's famous Sugarloaf.</i>

38
00:03:27,374 --> 00:03:31,961
<i>I think of Mom, who would put sugar</i>
<i>on leftover bread for us.</i>

39
00:03:36,383 --> 00:03:39,510
<i>From my room in Ipanema</i>
<i>I see the beach.</i>

40
00:03:39,761 --> 00:03:42,430
<i>Here it is at 7:00 a.m...</i>

41
00:03:42,723 --> 00:03:44,390
<i>and at noon.</i>

42
00:03:51,565 --> 00:03:55,109
<i>A bit further down</i>
<i>is famous Copacabana Beach.</i>

43
00:04:11,585 --> 00:04:14,253
<i>Here you can drink</i>
<i>delicious coconut milk.</i>

44
00:04:15,464 --> 00:04:17,506
<i>My son Mathieu is here.</i>

45
00:04:17,632 --> 00:04:19,759
<i>He's come as Mathieu Demy, actor.</i>

46
00:04:20,260 --> 00:04:22,928
<i>Jeanne Moreau and others</i>
<i>are here too.</i>

47
00:04:23,054 --> 00:04:25,014
Look at the big birds.

48
00:04:25,182 --> 00:04:28,601
<i>We're here for the Rio Film Festival.</i>

49
00:04:33,607 --> 00:04:36,942
<i>Fabiano, who once booked films</i>
<i>for the New York Public Theater,</i>

50
00:04:37,068 --> 00:04:38,611
<i>has come home.</i>

51
00:04:39,362 --> 00:04:43,073
<i>Here is the villa of Villa-Lobos,</i>
<i>a center for music and gatherings.</i>

52
00:04:43,283 --> 00:04:45,910
Now I devote my time

53
00:04:46,077 --> 00:04:50,080
to doing retrospectives
and television shows

54
00:04:50,248 --> 00:04:54,585
about Brazilians
whom I love and admire,

55
00:04:54,878 --> 00:04:58,964
<i>including Villa-Lobos,</i>
<i>our greatest classical composer.</i>

56
00:04:59,132 --> 00:05:02,676
<i>Brazil produced two true geniuses</i>
<i>in the 20th century:</i>

57
00:05:02,803 --> 00:05:04,595
<i>Villa-Lobos...</i>

58
00:05:04,721 --> 00:05:08,140
and especially Glauber Rocha,
my brother.

59
00:05:08,266 --> 00:05:09,558
An amazing man.

60
00:05:10,060 --> 00:05:13,771
<i>The filmmaker came to fame</i>
<i>with a strange political film...</i>

61
00:05:13,897 --> 00:05:15,773
Black God, White Devil.

62
00:05:18,568 --> 00:05:21,612
Not with a rosary, Satan...

63
00:05:22,823 --> 00:05:25,658
but with a rifle in hand!

64
00:05:25,909 --> 00:05:28,494
Lies! Lies!

65
00:05:32,457 --> 00:05:35,876
Didn't you say he was great
only in his head?

66
00:05:51,184 --> 00:05:54,520
Virgulino was great,
but he made himself small.

67
00:05:56,147 --> 00:05:57,815
Lies!

68
00:06:03,029 --> 00:06:06,866
<i>Paloma handles the restoration</i>
<i>and promotion of her father's films.</i>

69
00:06:07,033 --> 00:06:09,034
<i>My kids know about that too.</i>

70
00:06:09,953 --> 00:06:13,581
<i>The filmmaker's house</i>
<i>is a film lover's paradise.</i>

71
00:06:13,748 --> 00:06:16,834
<i>Here you might see</i>
<i>Glauber's mother, bottom right...</i>

72
00:06:18,086 --> 00:06:21,463
<i>or his sister Ana-Lúcia.</i>

73
00:06:21,882 --> 00:06:24,049
<i>Others come to see his films,</i>

74
00:06:24,384 --> 00:06:26,552
like Antonio das Mortes,

75
00:06:26,720 --> 00:06:29,847
<i>which impressed the jury</i>
<i>at the Cannes Film Festival.</i>

76
00:06:51,453 --> 00:06:55,748
<i>Glauber represented Cinema Novo,</i>
<i>the Brazilian New Wave,</i>

77
00:06:55,916 --> 00:06:59,418
<i>a mix of social documentary</i>
<i>and bizarre imagination.</i>

78
00:07:00,754 --> 00:07:05,424
<i>Jacques and I got to know him</i>
<i>as we discovered Brazil and its music.</i>

79
00:07:07,928 --> 00:07:11,764
<i>We went to Ouro Preto</i>
<i>in the state of Minas Gerais.</i>

80
00:07:12,057 --> 00:07:15,225
<i>Jacques had a small camera,</i>
<i>which he lost.</i>

81
00:07:18,271 --> 00:07:20,105
<i>Famous for his complex shots,</i>

82
00:07:20,231 --> 00:07:22,441
<i>here he took only static shots.</i>

83
00:07:23,652 --> 00:07:27,446
<i>We daydreamed</i>
<i>in this rich old gold-rush town.</i>

84
00:07:30,075 --> 00:07:31,784
<i>And I took photographs.</i>

85
00:07:39,960 --> 00:07:43,212
<i>Forty years later, I head to Fortaleza.</i>

86
00:07:46,549 --> 00:07:49,718
<i>Beatriz Furtado has invited me</i>

87
00:07:49,844 --> 00:07:51,679
<i>to meet her students</i>

88
00:07:51,805 --> 00:07:54,974
<i>who are studying my documentaries</i>
<i>at the art school she runs.</i>

89
00:07:59,604 --> 00:08:02,231
<i>I greet them by filming them.</i>

90
00:08:04,401 --> 00:08:06,276
<i>Here is lovely Beatriz.</i>

91
00:08:06,569 --> 00:08:10,155
<i>And another teacher. He's so handsome.</i>

92
00:08:11,950 --> 00:08:15,494
This scene in The Gleaners
<i>where I grab trucks struck them.</i>

93
00:08:16,287 --> 00:08:19,164
<i>People mention it wherever I go.</i>

94
00:08:25,922 --> 00:08:27,589
<i>Questions, answers.</i>

95
00:08:27,799 --> 00:08:29,383
<i>I watch their films.</i>

96
00:08:29,509 --> 00:08:33,178
<i>Then there's a party for me</i>
<i>in an old covered market.</i>

97
00:08:42,230 --> 00:08:46,692
<i>At Fishermen's Beach, the fishermen</i>
<i>also wish me good health.</i>

98
00:09:40,622 --> 00:09:43,457
<i>Crayfish, rice, and fish</i>

99
00:09:43,583 --> 00:09:46,585
<i>on another beach</i>
<i>known as Future Beach.</i>

100
00:09:47,087 --> 00:09:50,589
<i>My new friends throw me</i>
<i>a good-bye dinner.</i>

101
00:09:57,597 --> 00:09:59,264
<i>We exchange gifts.</i>

102
00:09:59,766 --> 00:10:02,434
<i>Beatriz gives me a white shirt.</i>

103
00:10:02,602 --> 00:10:04,603
<i>I give her calissons from Aix</i>

104
00:10:04,771 --> 00:10:07,439
<i>and DVDs to her and Paula,</i>

105
00:10:07,607 --> 00:10:09,775
<i>who gives me her CD.</i>

106
00:10:10,110 --> 00:10:12,152
<i>Those two women are amazing.</i>

107
00:10:12,946 --> 00:10:15,781
<i>We went to the market</i>
<i>together to look at fruit.</i>

108
00:10:16,366 --> 00:10:20,160
These are cashews.
We extract juice from the fruit

109
00:10:20,286 --> 00:10:22,955
and eat the nut.

110
00:10:24,374 --> 00:10:28,043
These are soursops.
The flesh inside is white.

111
00:10:28,294 --> 00:10:31,964
We make everything with them:
juice, ice cream.

112
00:10:32,507 --> 00:10:35,008
<i>We hit the hardware store,</i>

113
00:10:35,135 --> 00:10:37,970
<i>where great souvenirs can be found.</i>

114
00:10:39,639 --> 00:10:42,307
<i>I spy statuettes on a shelf.</i>

115
00:10:43,476 --> 00:10:45,352
<i>I'll take this one.</i>

116
00:10:45,895 --> 00:10:49,314
<i>The explanation begins.</i>
<i>This is Pomba Gira.</i>

117
00:10:53,695 --> 00:10:57,322
<i>A saint or goddess of protection.</i>

118
00:11:00,577 --> 00:11:02,995
<i>They bring her champagne,</i>
<i>cookies, and perfume.</i>

119
00:11:05,957 --> 00:11:10,919
And red roses
as a way of asking her...

120
00:11:12,630 --> 00:11:16,258
<i>Asking her to find them jobs,</i>
<i>resolve conflicts,</i>

121
00:11:16,426 --> 00:11:18,594
<i>bring back straying husbands.</i>

122
00:11:22,473 --> 00:11:25,392
<i>It's a lot of hope for five euros.</i>

123
00:11:29,189 --> 00:11:31,481
<i>I had to go back through Rio.</i>

124
00:11:32,358 --> 00:11:35,360
<i>Fabiano took me to</i>
<i>the Niterói Contemporary Art Museum.</i>

125
00:11:35,528 --> 00:11:37,529
<i>It's like a flying saucer...</i>

126
00:11:37,697 --> 00:11:40,657
<i>that follows the contours</i>
<i>of Sugarloaf Mountain.</i>

127
00:11:41,159 --> 00:11:43,452
<i>The architect was Oscar Niemeyer.</i>

128
00:11:44,037 --> 00:11:45,787
<i>Is he still alive?</i>

129
00:11:45,914 --> 00:11:48,582
He's still alive. He's 102.

130
00:11:48,708 --> 00:11:52,377
He was married recently,
five or six years ago.

131
00:11:52,503 --> 00:11:56,924
He goes to his office every day...

132
00:11:57,800 --> 00:12:01,386
to tend to business
like he's always done.

133
00:12:01,554 --> 00:12:03,722
Business as usual.

134
00:12:05,683 --> 00:12:07,976
<i>I discover Brazilian artists.</i>

135
00:12:08,186 --> 00:12:12,397
<i>Antonio Dias and his diptych</i>
For Me, For You.

136
00:12:12,815 --> 00:12:17,569
<i>Luiz Ernesto and a piece</i>
<i>from his series Aquarius.</i>

137
00:12:18,196 --> 00:12:19,905
<i>Antonio Manuel.</i>

138
00:12:20,365 --> 00:12:22,866
<i>I'll translate the title of his series:</i>

139
00:12:23,034 --> 00:12:25,327
Repression Once Again...

140
00:12:25,620 --> 00:12:27,913
<i>dated 1968.</i>

141
00:12:35,088 --> 00:12:39,508
<i>This chair by Cildo Meireles</i>
<i>reminds me of Magritte's.</i>

142
00:12:39,717 --> 00:12:44,179
<i>And this chair in a cage</i>
<i>by Raul Mourão intrigues me.</i>

143
00:12:45,932 --> 00:12:49,351
<i>I think back to some</i>
<i>of the chairs in my life.</i>

144
00:12:49,769 --> 00:12:53,397
Ionesco's The Chairs,
<i>which I photographed in the 1950s.</i>

145
00:12:53,773 --> 00:12:57,609
<i>Tsilla Chelton and Jacques Mauclair</i>
<i>awaited guests who never arrived.</i>

146
00:12:58,194 --> 00:13:00,821
<i>The chair Vilar</i>
<i>was pleased to sit in.</i>

147
00:13:01,948 --> 00:13:05,242
<i>Pierre Étaix's chair.</i>
"Père Lachaise."

148
00:13:05,535 --> 00:13:09,162
<i>And this chair,</i>
<i>one of my first photographs.</i>

149
00:13:10,957 --> 00:13:14,084
<i>These office chairs were stacked</i>
<i>by Michel de Broin,</i>

150
00:13:14,210 --> 00:13:17,462
<i>turned inward on a private meeting</i>
<i>of the executive board.</i>

151
00:13:17,797 --> 00:13:20,424
<i>An igloo of shady business.</i>

152
00:13:21,592 --> 00:13:24,303
<i>From many to few:</i>
<i>Van Gogh's poor chair...</i>

153
00:13:24,679 --> 00:13:26,805
<i>and an armchair.</i>

154
00:13:28,933 --> 00:13:32,185
<i>Two intertwined chairs</i>
<i>by Niki de Saint Phalle.</i>

155
00:13:38,318 --> 00:13:40,736
<i>A couple of chairs on a beach.</i>

156
00:13:41,070 --> 00:13:43,280
<i>Ah, how those two words ring out!</i>

157
00:13:43,573 --> 00:13:45,699
<i>Couple. Beach.</i>

158
00:14:35,500 --> 00:14:37,376
<i>Magritte and his chairs.</i>

159
00:14:37,543 --> 00:14:40,295
<i>One very light:</i>
Threatening Weather.

160
00:14:40,880 --> 00:14:43,507
One very heavy: La chaise.

161
00:14:47,136 --> 00:14:51,014
<i>All aboard! Mustn't miss the opening</i>
<i>of the Magritte Museum...</i>

162
00:14:51,432 --> 00:14:53,558
<i>on the Place Royale in Brussels.</i>

163
00:14:53,684 --> 00:14:55,894
<i>There's a video preview.</i>

164
00:15:11,744 --> 00:15:15,414
<i>Charly Herscovici created</i>
<i>the Magritte Foundation.</i>

165
00:15:15,873 --> 00:15:19,000
<i>He holds the rights to the works</i>
<i>of the man in the bowler hat.</i>

166
00:15:19,127 --> 00:15:21,461
<i>His collection forms</i>
<i>the heart of this museum.</i>

167
00:15:21,587 --> 00:15:23,255
<i>This is Charly.</i>

168
00:15:24,048 --> 00:15:25,340
<i>It's a party.</i>

169
00:15:25,466 --> 00:15:28,427
<i>Violinist Michael Guttman is playing.</i>

170
00:15:55,872 --> 00:15:58,623
<i>The reception is</i>
<i>at the Musée des Beaux Arts.</i>

171
00:15:58,958 --> 00:16:02,627
<i>Among the guests</i>
<i>is collector Walter Vanhaerents.</i>

172
00:16:03,963 --> 00:16:07,257
<i>Katharina Fritsch's Red Man</i>
<i>protects him</i>

173
00:16:07,508 --> 00:16:10,760
<i>in this former factory</i>
<i>housing his large collection,</i>

174
00:16:10,887 --> 00:16:12,471
<i>open to visitors.</i>

175
00:16:13,139 --> 00:16:15,849
<i>In the background,</i>
<i>a work by Thomas Demand...</i>

176
00:16:16,017 --> 00:16:20,061
<i>and a McDonald's mini-market,</i>
<i>reimagined by Tom Sachs.</i>

177
00:16:29,822 --> 00:16:32,824
<i>A hanging piece</i>
<i>by Jason Rhoades.</i>

178
00:16:34,744 --> 00:16:37,162
<i>A piece by Markus Schinwald:</i>

179
00:16:37,622 --> 00:16:40,499
<i>a man and a woman</i>
<i>separated by a wall.</i>

180
00:16:40,666 --> 00:16:43,001
<i>I had no camera to film it,</i>

181
00:16:43,169 --> 00:16:46,171
<i>but the man's right foot</i>
<i>twitches nervously.</i>

182
00:16:46,464 --> 00:16:48,840
<i>The woman doesn't move.</i>

183
00:16:49,050 --> 00:16:52,010
<i>Here, near a long collage</i>
<i>by Ugo Rondinone,</i>

184
00:16:52,178 --> 00:16:54,346
<i>is a chair by Urs Fischer.</i>

185
00:16:54,514 --> 00:16:56,681
<i>Its shadow is gigantic...</i>

186
00:16:57,183 --> 00:17:00,435
<i>just like David Altmejd's</i>
<i>collection of giants,</i>

187
00:17:00,561 --> 00:17:03,146
<i>a recent acquisition.</i>

188
00:17:11,781 --> 00:17:14,741
<i>Walter is happy, and so is the artist.</i>

189
00:17:18,538 --> 00:17:22,874
It's when I start building them
that it all makes sense.

190
00:17:23,960 --> 00:17:25,961
<i>Is it a warrior?</i>

191
00:17:26,170 --> 00:17:29,673
Yes, a warrior
whose arm has fallen off.

192
00:17:38,391 --> 00:17:42,727
<i>These are the new occupants</i>
<i>of the Vanhaerents residence.</i>

193
00:17:51,237 --> 00:17:54,739
<i>When I was little,</i>
<i>I'd go to the Botanical Gardens.</i>

194
00:17:55,366 --> 00:17:59,411
<i>It's now a cultural center and museum.</i>

195
00:18:05,668 --> 00:18:09,421
<i>In 2009, Pierre Alechinsky</i>
<i>occupied the main gallery.</i>

196
00:18:09,755 --> 00:18:11,756
<i>It was a major exposition.</i>

197
00:18:11,966 --> 00:18:13,883
<i>Here are just a few paintings.</i>

198
00:18:19,557 --> 00:18:21,224
<i>Whimsical graphics.</i>

199
00:18:21,559 --> 00:18:23,977
<i>We look at them and smile...</i>

200
00:18:24,103 --> 00:18:26,021
<i>and daydream.</i>

201
00:18:41,954 --> 00:18:46,249
<i>At the other end,</i>
<i>the painter invited another artist:</i>

202
00:18:47,084 --> 00:18:49,210
<i>Kikie Crêvecoeur.</i>

203
00:18:49,879 --> 00:18:53,965
<i>As others engrave wood or stone</i>
<i>then print the images,</i>

204
00:18:54,133 --> 00:18:57,260
<i>she engraves</i>
<i>four-inch-square erasers.</i>

205
00:18:57,803 --> 00:19:01,139
Each small square is the imprint

206
00:19:01,432 --> 00:19:03,600
of an eraser I carved.

207
00:19:03,726 --> 00:19:06,311
For this large room

208
00:19:06,437 --> 00:19:09,397
with about 8,000
different eraser impressions,

209
00:19:09,523 --> 00:19:12,275
I used perhaps 100 different erasers.

210
00:19:13,486 --> 00:19:15,028
<i>What's the idea behind it?</i>

211
00:19:15,154 --> 00:19:17,113
When you're on the freeway,

212
00:19:17,239 --> 00:19:21,409
with trees passing by
on the side of the road,

213
00:19:21,535 --> 00:19:24,496
they look kind of like barcodes.

214
00:19:24,830 --> 00:19:27,165
<i>I wish barcodes were this beautiful!</i>

215
00:19:29,669 --> 00:19:33,672
<i>For her personal diary,</i>
<i>Kikie carves an eraser every day</i>

216
00:19:33,839 --> 00:19:37,676
<i>with a drawing,</i>
<i>the date, and a few code words.</i>

217
00:19:38,052 --> 00:19:41,971
<i>She prints these mini-notebook pages,</i>
<i>here much enlarged.</i>

218
00:19:46,435 --> 00:19:48,687
<i>From erasers to linoleum.</i>

219
00:19:48,854 --> 00:19:51,106
<i>This is linocut...</i>

220
00:19:51,440 --> 00:19:53,525
<i>a fresco of trees.</i>

221
00:19:53,859 --> 00:19:58,697
First I drew,
then carved on linoleum

222
00:19:58,864 --> 00:20:03,535
what nature evokes for me,
but only impressions.

223
00:20:04,453 --> 00:20:08,206
I did them separately.
It took me a year.

224
00:20:08,541 --> 00:20:12,627
There are sometimes
disconnects at the edges,

225
00:20:12,795 --> 00:20:16,131
but sometimes things connect...

226
00:20:16,716 --> 00:20:19,342
which comes from the subconscious.

227
00:20:22,221 --> 00:20:24,472
I can mix them up...

228
00:20:24,598 --> 00:20:28,852
so every time I show them,
I configure them differently.

229
00:20:30,479 --> 00:20:34,023
I also made them into postcards.

230
00:20:34,150 --> 00:20:37,026
<i>Sending just one card</i>
<i>breaks up the series.</i>

231
00:20:37,153 --> 00:20:39,154
There are endless possibilities.

232
00:20:41,907 --> 00:20:44,576
<i>I'll send Kikie a tourist postcard.</i>

233
00:20:44,827 --> 00:20:46,494
<i>I'm off again.</i>

234
00:20:48,122 --> 00:20:50,957
<i>This city looks like</i>
<i>a Middle Eastern pastry...</i>

235
00:20:51,083 --> 00:20:52,917
<i>but it's Stockholm.</i>

236
00:20:53,919 --> 00:20:55,754
<i>They're waiting for me.</i>

237
00:20:56,088 --> 00:20:59,090
<i>Frédéric Strauss, whom I met at</i>
Cahiers du Cinéma.

238
00:20:59,258 --> 00:21:01,301
<i>You're my audiovisual attaché here.</i>

239
00:21:01,469 --> 00:21:03,595
Yes, and Marie is your distributor.

240
00:21:03,763 --> 00:21:06,055
<i>Marie Booberg from Folkets Bio.</i>

241
00:21:07,141 --> 00:21:11,269
<i>In the taxi,</i>
<i>they speak of Ingmar Bergman.</i>

242
00:21:12,521 --> 00:21:16,441
<i>This is the theater where he directed</i>
<i>when he wasn't filming.</i>

243
00:21:16,692 --> 00:21:19,235
<i>And in that building over there,</i>

244
00:21:19,361 --> 00:21:23,198
<i>there was an auction</i>
<i>where all his things were sold</i>

245
00:21:23,324 --> 00:21:25,784
<i>just the night before I arrived.</i>

246
00:21:27,369 --> 00:21:30,288
<i>Marie is still shaken up about it...</i>

247
00:21:30,623 --> 00:21:32,749
<i>like everyone in cinema.</i>

248
00:21:35,586 --> 00:21:38,421
<i>I like my room here,</i>
<i>with its three windows</i>

249
00:21:38,756 --> 00:21:40,590
<i>overlooking the harbor.</i>

250
00:21:42,301 --> 00:21:45,970
<i>Marie talks about the auction.</i>
<i>She brought me the catalog.</i>

251
00:22:34,270 --> 00:22:36,354
<i>The prices are in kronor.</i>

252
00:22:36,939 --> 00:22:38,606
<i>Everything was for sale:</i>

253
00:22:39,191 --> 00:22:41,568
<i>his bed, his bedspread...</i>

254
00:22:44,071 --> 00:22:45,780
<i>his Eames chair...</i>

255
00:22:46,532 --> 00:22:48,700
<i>and several houses on Fårö Island...</i>

256
00:22:49,535 --> 00:22:51,828
<i>including the one he lived in.</i>

257
00:22:55,708 --> 00:22:58,042
<i>And his cars.</i>

258
00:22:58,210 --> 00:23:00,879
<i>Chairs and more chairs. A piano.</i>

259
00:23:31,160 --> 00:23:34,495
<i>That night I thought about the sale</i>
<i>and Bergman's children,</i>

260
00:23:34,663 --> 00:23:37,332
<i>some close to him,</i>
<i>some not as close.</i>

261
00:23:38,292 --> 00:23:42,045
<i>How did they feel about</i>
<i>this decision regarding his estate?</i>

262
00:23:42,588 --> 00:23:46,758
<i>Did any of them have a broker</i>
<i>buy back their childhood armoire,</i>

263
00:23:47,092 --> 00:23:49,552
<i>the one with the squeaky door?</i>

264
00:23:50,179 --> 00:23:51,930
<i>Or their chair...</i>

265
00:23:52,431 --> 00:23:54,474
<i>or a little pewter jug?</i>

266
00:24:02,316 --> 00:24:04,275
Hello.

267
00:24:05,736 --> 00:24:10,657
<i>Into my hotel room walks the journalist</i>
<i>from  Film and TV magazine.</i>

268
00:24:10,783 --> 00:24:13,201
<i>She speaks English and French.</i>

269
00:24:14,453 --> 00:24:15,954
I'm Christina.

270
00:24:16,163 --> 00:24:19,958
I'm a journalist in Stockholm.
<i>- Have a seat.</i>

271
00:24:20,125 --> 00:24:22,585
I like to make films too.

272
00:24:24,922 --> 00:24:27,423
<i>I'm curious.</i>

273
00:24:28,467 --> 00:24:30,510
<i>I hesitate to ask...</i>

274
00:24:31,178 --> 00:24:33,179
<i>but have you been ill?</i>

275
00:24:34,306 --> 00:24:36,641
No, I haven't been ill.

276
00:24:37,142 --> 00:24:39,769
<i>- Is it a punk look?</i>
- No.

277
00:25:24,273 --> 00:25:27,150
Two or three years earlier...

278
00:25:28,652 --> 00:25:32,530
I'd gone through
a few emotional ordeals.

279
00:25:32,823 --> 00:25:36,284
It was a hard time in my life.

280
00:25:36,744 --> 00:25:40,371
Everything was changing.
I was getting divorced.

281
00:25:41,123 --> 00:25:44,625
<i>With so many divorces,</i>
<i>if women all lost their hair</i>

282
00:25:45,044 --> 00:25:47,462
<i>there'd be a lot of bald women!</i>

283
00:26:14,573 --> 00:26:16,908
I have a lover.

284
00:26:17,451 --> 00:26:19,619
He's very important to me.

285
00:26:19,745 --> 00:26:22,330
When this happened...

286
00:26:23,916 --> 00:26:27,376
I panicked.

287
00:26:27,628 --> 00:26:30,630
The worst part for me

288
00:26:30,881 --> 00:26:34,050
was the feeling of not knowing...

289
00:26:35,094 --> 00:26:38,930
if he'd stay with me.

290
00:26:39,515 --> 00:26:42,975
<i>Christina tells me</i>
<i>her lover is a cameraman.</i>

291
00:26:43,102 --> 00:26:45,144
<i>They made a film together</i>

292
00:26:45,270 --> 00:26:48,689
<i>about the importance of hair</i>
<i>to the way a face looks.</i>

293
00:27:00,160 --> 00:27:02,453
Look.

294
00:27:21,265 --> 00:27:23,141
<i>Christina looked at herself</i>

295
00:27:23,475 --> 00:27:26,811
<i>and tried to understand</i>
<i>how others saw her.</i>

296
00:27:29,982 --> 00:27:31,983
<i>She looked closely</i>

297
00:27:32,484 --> 00:27:34,318
<i>at hair and hairstyles.</i>

298
00:27:41,493 --> 00:27:45,329
<i>Then she discovered</i>
<i>people liked her this way.</i>

299
00:27:48,542 --> 00:27:51,335
<i>She strolls along happily by herself...</i>

300
00:27:51,837 --> 00:27:54,172
<i>when she meets another woman...</i>

301
00:27:54,339 --> 00:27:56,257
<i>bald like herself.</i>

302
00:28:00,137 --> 00:28:01,512
<i>Two's company...</i>

303
00:28:02,097 --> 00:28:04,515
<i>and soon there's a crowd.</i>

304
00:28:06,393 --> 00:28:09,353
<i>Thank you, Christina,</i>
<i>for letting me use excerpts</i>

305
00:28:09,479 --> 00:28:11,856
<i>from your story and your film.</i>

306
00:28:13,066 --> 00:28:15,109
<i>You're unique...</i>

307
00:28:15,360 --> 00:28:17,528
<i>though that's relative.</i>

308
00:28:23,076 --> 00:28:27,246
<i>She tells me she makes documentaries</i>
<i>but must also make a living,</i>

309
00:28:27,873 --> 00:28:29,874
<i>so she's a journalist.</i>

310
00:28:35,047 --> 00:28:37,965
<i>It was my turn to sit on the sofa.</i>

311
00:28:38,342 --> 00:28:42,386
<i>A photograph was taken,</i>
<i>and the interview began.</i>

312
00:28:42,679 --> 00:28:45,389
<i>And another photograph</i>
<i>for a magazine.</i>

313
00:28:47,893 --> 00:28:50,728
<i>Marie organized</i>
<i>the release of my Beaches.</i>

314
00:28:52,689 --> 00:28:55,233
<i>Hostesses handed out goody bags.</i>

315
00:29:02,199 --> 00:29:05,076
<i>I remember the nice meal</i>
<i>at the embassy.</i>

316
00:29:13,418 --> 00:29:15,670
<i>Marie and Fred took me back</i>

317
00:29:16,088 --> 00:29:18,422
<i>and shared their story with me.</i>

318
00:29:30,852 --> 00:29:33,688
<i>I was invited because I'd written</i>
<i>about Bergman's films.</i>

319
00:29:33,897 --> 00:29:36,148
<i>Then we went our separate ways.</i>

320
00:29:36,275 --> 00:29:39,944
<i>We each had our own life,</i>
<i>me in Paris, Marie in Stockholm.</i>

321
00:29:40,195 --> 00:29:43,072
<i>Nearly a year later</i>
<i>I wrote her an e-mail</i>

322
00:29:43,198 --> 00:29:46,450
asking if we might
see each other in Cannes again.

323
00:29:46,576 --> 00:29:49,537
I'd been thinking of her
and wanted to see her again.

324
00:29:49,663 --> 00:29:52,498
<i>Did you change your life</i>
<i>before seeing her?</i>

325
00:29:52,958 --> 00:29:55,001
I started thinking about it,

326
00:29:55,127 --> 00:29:57,211
but the change came later.

327
00:30:13,228 --> 00:30:14,895
<i>That's really it.</i>

328
00:30:15,355 --> 00:30:18,899
<i>It's too strong not to act on, right?</i>

329
00:30:19,026 --> 00:30:20,651
Yeah.

330
00:30:22,487 --> 00:30:24,947
<i>Hopefully they're in seventh heaven.</i>

331
00:30:25,073 --> 00:30:27,241
<i>It's back to the sky for me.</i>

332
00:30:27,367 --> 00:30:29,535
<i>A sky by the painter Canaletto,</i>

333
00:30:29,661 --> 00:30:32,663
<i>the Grand Canal in Venice,</i>
<i>and Vivaldi.</i>

334
00:30:42,674 --> 00:30:46,344
<i>A classic tour:</i>
<i>the Grand Canal and Vivaldi.</i>

335
00:30:46,845 --> 00:30:50,181
<i>I can't resist the desire</i>
<i>to revisit the tourist spots.</i>

336
00:31:22,506 --> 00:31:25,549
<i>In 2003, Hans Ulrich Obrist,</i>

337
00:31:25,717 --> 00:31:28,552
<i>along with Molly Nesbit</i>
<i>and Rirkrit Tiravanija,</i>

338
00:31:29,012 --> 00:31:33,015
<i>created a project</i>
<i>called Utopia Station.</i>

339
00:31:33,725 --> 00:31:36,685
<i>Hans invited me to join other artists.</i>

340
00:31:36,812 --> 00:31:40,356
<i>Each would bring a poster</i>
<i>and a work of art.</i>

341
00:31:41,400 --> 00:31:44,985
<i>It would take a whole film</i>
<i>to tell you about Hans Ulrich,</i>

342
00:31:45,237 --> 00:31:48,572
<i>globetrotter</i>
<i>and contemporary art detector.</i>

343
00:31:49,408 --> 00:31:54,161
<i>I follow him around</i>
<i>and listen to him talk about his projects.</i>

344
00:31:54,413 --> 00:31:58,374
<i>He's codirector</i>
<i>of the Serpentine Gallery in London.</i>

345
00:31:59,209 --> 00:32:01,419
<i>They have temporary pavilions.</i>

346
00:32:02,421 --> 00:32:04,255
<i>This one is by SANAA.</i>

347
00:32:04,589 --> 00:32:08,676
<i>It's a reflection of the world</i>
<i>and its reflections.</i>

348
00:32:08,927 --> 00:32:11,262
<i>It's a source of chaos.</i>

349
00:32:12,973 --> 00:32:15,433
<i>Hans edits, for Agnès b.,</i>

350
00:32:15,600 --> 00:32:19,687
<i>a publication in the form</i>
of small posters, Point d'Ironie.

351
00:32:20,605 --> 00:32:24,942
<i>Parreno and Rirkrit see Hans</i>
<i>as a ventriloquist's dummy.</i>

352
00:32:25,610 --> 00:32:28,070
<i>And I filmed him silent.</i>
<i>How silly of me!</i>

353
00:32:28,572 --> 00:32:30,448
<i>He speaks so well.</i>

354
00:32:31,158 --> 00:32:33,617
<i>I forgot to mention he's Swiss.</i>

355
00:32:35,245 --> 00:32:37,204
<i>Thanks to him,</i>
<i>at the Venice Biennial...</i>

356
00:32:38,123 --> 00:32:40,624
<i>I set up three screens</i>
<i>for the first time.</i>

357
00:32:41,293 --> 00:32:43,461
<i>I'd long dreamed of doing that.</i>

358
00:32:43,628 --> 00:32:45,588
<i>We had to find the right angle</i>

359
00:32:45,714 --> 00:32:48,799
<i>and place the projectors</i>
<i>and speakers.</i>

360
00:32:51,052 --> 00:32:54,972
<i>It took 1,500 pounds of potatoes</i>
<i>to cover the ground</i>

361
00:32:55,098 --> 00:32:57,057
<i>up to the screens.</i>

362
00:32:59,478 --> 00:33:03,022
<i>I didn't have the room</i>
<i>or a wide-angle lens</i>

363
00:33:03,148 --> 00:33:05,816
<i>to film all three screens,</i>

364
00:33:06,067 --> 00:33:08,652
<i>so I filmed them two at a time.</i>

365
00:33:14,159 --> 00:33:18,329
<i>I was thrilled to find myself</i>
<i>among Yoko Ono...</i>

366
00:33:18,622 --> 00:33:20,164
<i>Jonas Mekas...</i>

367
00:33:20,332 --> 00:33:23,000
<i>Laurence Weiner</i>
<i>passing by in the background...</i>

368
00:33:24,669 --> 00:33:27,963
<i>and Christian Boltanski,</i>
<i>long a favorite of mine.</i>

369
00:33:29,633 --> 00:33:33,677
<i>My potato costume didn't go unnoticed.</i>
<i>That was the point.</i>

370
00:33:35,889 --> 00:33:38,057
<i>I'd been to Venice in years past,</i>

371
00:33:38,183 --> 00:33:40,476
<i>a number of times</i>
<i>for the film festival.</i>

372
00:33:40,852 --> 00:33:43,437
<i>Once, with Sandrine Bonnaire</i>

373
00:33:43,563 --> 00:33:45,689
for Vagabond,

374
00:33:45,899 --> 00:33:47,816
<i>I brought back a Golden Lion.</i>

375
00:33:48,360 --> 00:33:50,319
<i>And more recently</i>

376
00:33:50,445 --> 00:33:52,696
for The Beaches of Agnès.

377
00:33:53,448 --> 00:33:57,701
<i>The wonderful team who helped me</i>
<i>make the film was there,</i>

378
00:33:57,869 --> 00:33:59,954
<i>all dressed to the nines.</i>

379
00:34:04,292 --> 00:34:07,711
<i>Once again I arrive via the lagoon.</i>

380
00:34:09,548 --> 00:34:12,716
<i>When you look closely,</i>

381
00:34:13,009 --> 00:34:15,219
<i>things become very beautiful.</i>

382
00:34:23,770 --> 00:34:27,565
<i>A chic bash for the opening</i>
<i>of the former customs house</i>

383
00:34:27,857 --> 00:34:31,777
<i>that François Pinault turned</i>
<i>into a contemporary art museum.</i>

384
00:34:33,238 --> 00:34:36,574
<i>We see Charles Ray's</i>
Boy With Frog.

385
00:34:36,741 --> 00:34:39,868
<i>A boy with frog...</i>
<i>and police protection.</i>

386
00:34:40,370 --> 00:34:43,372
<i>Frédéric Mitterrand,</i>
<i>Minister of Culture,</i>

387
00:34:43,540 --> 00:34:45,874
<i>Olivier d'Arvor,</i>
<i>from Culture France,</i>

388
00:34:46,084 --> 00:34:48,961
<i>and even André</i>
<i>from the club Le Baron.</i>

389
00:34:56,428 --> 00:34:59,054
<i>I make my way</i>
<i>through the thicket of guests</i>

390
00:34:59,180 --> 00:35:01,181
<i>and head for the walls.</i>

391
00:35:07,314 --> 00:35:10,274
<i>A wall with art collectors,</i>
<i>the Lemaîtres...</i>

392
00:35:10,400 --> 00:35:12,401
<i>and what I did with it.</i>

393
00:35:13,528 --> 00:35:16,113
<i>A wall with my friend</i>
<i>Véronique Bérard...</i>

394
00:35:16,698 --> 00:35:19,742
<i>whose portrait I'd shot years earlier.</i>

395
00:35:21,328 --> 00:35:23,621
<i>The French Pavilion is crowded again</i>

396
00:35:23,955 --> 00:35:25,789
<i>for Claude Lévêque...</i>

397
00:35:26,625 --> 00:35:29,001
<i>and his cages for black flags...</i>

398
00:35:29,252 --> 00:35:31,211
<i>or for visitors.</i>

399
00:35:38,219 --> 00:35:41,680
<i>The Arsenal hosts</i>
<i>Haegue Yang's cheeky shadows.</i>

400
00:35:41,806 --> 00:35:46,393
<i>The work is entitled</i>
Pre- and Post-Copulatory Positions.

401
00:35:47,479 --> 00:35:50,230
<i>A drowned man. No one saves him.</i>

402
00:35:50,482 --> 00:35:54,902
This is Death of a Collector
<i>by Elmgreen and Dragset.</i>

403
00:35:55,654 --> 00:35:57,988
<i>We're in the Nordic Pavilion.</i>

404
00:35:58,490 --> 00:36:00,282
<i>And now we're in Japan.</i>

405
00:36:00,408 --> 00:36:02,993
<i>One of Murakami's shattered walls.</i>

406
00:36:03,536 --> 00:36:06,455
<i>Shozo Shimamoto's unstable floor.</i>

407
00:36:10,001 --> 00:36:13,337
<i>In the Spanish Pavilion</i>
<i>there are paintings. At last!</i>

408
00:36:14,339 --> 00:36:16,757
<i>Miquel Barceló — what a pleasure!</i>

409
00:36:20,512 --> 00:36:23,097
<i>Paintings inspired by Mali...</i>

410
00:36:23,264 --> 00:36:26,016
<i>with a very elaborate texture.</i>

411
00:36:26,393 --> 00:36:28,394
I painted upside-down.

412
00:36:28,520 --> 00:36:32,648
I put the canvas on the ceiling
and painted up there

413
00:36:32,774 --> 00:36:35,109
to create a stalactite effect.

414
00:36:35,235 --> 00:36:40,155
So when you look at it,
these spikes jump out at you.

415
00:36:45,328 --> 00:36:47,705
At 20, I painted myself
as a young dog.

416
00:36:48,039 --> 00:36:51,959
<i>Now I paint myself</i>
<i>as a mature gorilla.</i>

417
00:36:52,919 --> 00:36:55,212
As soon as I painted it,
I knew it was me.

418
00:36:55,797 --> 00:36:59,383
This gorilla's not in nature.
He's not in the forest.

419
00:36:59,884 --> 00:37:01,969
He's sitting in my studio.

420
00:37:02,762 --> 00:37:05,013
This is my studio.

421
00:37:05,140 --> 00:37:08,559
These are all paint spots
from other paintings.

422
00:37:10,895 --> 00:37:13,147
<i>Paint spots on the floor.</i>

423
00:37:13,273 --> 00:37:16,233
<i>This is Miquel's studio in Paris.</i>

424
00:37:25,076 --> 00:37:29,580
I made that cardboard gorilla
over there with this.

425
00:37:29,831 --> 00:37:31,665
That albino gorilla.

426
00:37:32,584 --> 00:37:34,668
There's still some cardboard in it.

427
00:37:34,794 --> 00:37:37,421
It was probably the leg of a chair.

428
00:37:38,339 --> 00:37:40,924
Here's another strange scraper.

429
00:37:41,092 --> 00:37:43,761
I make all these things
for scraping.

430
00:37:43,928 --> 00:37:46,972
Each scrapes in its own way.

431
00:37:47,932 --> 00:37:52,311
They plow through the fresh paint.

432
00:37:52,604 --> 00:37:54,730
I've used them a lot.

433
00:37:54,856 --> 00:37:58,525
I can squish the prongs together
or spread them apart.

434
00:37:58,651 --> 00:38:01,612
You can't find these anywhere.
I make them myself.

435
00:38:02,447 --> 00:38:04,114
<i>What for?</i>

436
00:38:04,240 --> 00:38:07,451
- To do this, for example.
<i>- Is that a wave?</i>

437
00:38:08,161 --> 00:38:12,456
A wave that bites.
You can see its teeth.

438
00:38:13,666 --> 00:38:16,794
It's a wave
that became a crocodile skull.

439
00:38:16,961 --> 00:38:18,796
<i>Have you seen real ones?</i>

440
00:38:18,963 --> 00:38:22,132
Yes, Mali has many swamps
full of caimans.

441
00:38:22,634 --> 00:38:26,804
<i>He may be the only painter who knows</i>
<i>all about caimans and termites.</i>

442
00:38:26,971 --> 00:38:30,474
Right now in Africa,
paper and sketchbooks

443
00:38:30,642 --> 00:38:33,644
are being devoured
by termites at my place.

444
00:38:34,103 --> 00:38:37,648
They've eaten enormous
quantities of paper.

445
00:38:39,025 --> 00:38:40,818
- These came from Africa?
- Yes.

446
00:38:41,069 --> 00:38:43,070
- Will you use this?
- Yes.

447
00:38:43,196 --> 00:38:46,323
I don't know how yet.
But it's beautiful.

448
00:38:47,492 --> 00:38:51,537
No human hand
could create anything like this.

449
00:39:00,421 --> 00:39:03,507
It's like the topography
of where I live in Africa.

450
00:39:03,675 --> 00:39:06,009
- You go back often?
- Every year.

451
00:39:06,135 --> 00:39:10,055
My place would be here,
at the edge of the cliff.

452
00:39:10,181 --> 00:39:13,016
This is the Dogon Plateau.

453
00:39:13,184 --> 00:39:15,352
My house is here.

454
00:39:15,478 --> 00:39:17,354
I paint there a lot.

455
00:39:18,314 --> 00:39:20,607
<i>He also paints a lot in Majorca.</i>

456
00:39:20,817 --> 00:39:23,443
I was born here in Felanitx,

457
00:39:23,653 --> 00:39:26,196
near this burned match.

458
00:39:26,364 --> 00:39:28,615
And I live here in Farrutx.

459
00:39:29,868 --> 00:39:32,202
This is where the planes fly in.

460
00:39:34,622 --> 00:39:36,373
I felt a bit trapped there.

461
00:39:36,749 --> 00:39:39,585
When I was 16, I'd have given

462
00:39:39,711 --> 00:39:43,714
my left little toe
to have been born in New York.

463
00:39:44,048 --> 00:39:45,716
Not anymore.

464
00:39:53,766 --> 00:39:56,476
I used to paint lots of tomatoes.

465
00:39:56,603 --> 00:40:00,564
I liked how strange they were.

466
00:40:00,690 --> 00:40:02,816
They're like masks.

467
00:40:02,942 --> 00:40:05,652
They have so many holes
and crannies.

468
00:40:06,779 --> 00:40:11,366
I like these entry points, these holes.

469
00:40:12,368 --> 00:40:15,495
Like pathways
to the center of the earth,

470
00:40:15,663 --> 00:40:17,789
each of these tomatoes.

471
00:40:28,718 --> 00:40:30,427
They're almost like flowers.

472
00:40:30,762 --> 00:40:34,181
This is like a river between them,

473
00:40:34,515 --> 00:40:37,851
with bell peppers or kakis
or something.

474
00:40:40,146 --> 00:40:41,855
<i>In summer of 2010,</i>

475
00:40:41,981 --> 00:40:44,650
<i>Barceló shows his work in Avignon.</i>

476
00:40:46,611 --> 00:40:49,988
<i>An elephant standing on its trunk</i>
<i>announces the exhibition.</i>

477
00:40:51,032 --> 00:40:53,784
<i>In Avignon,</i>
<i>the show is in three places.</i>

478
00:40:54,702 --> 00:40:56,745
<i>We needed a totem.</i>

479
00:40:57,163 --> 00:41:01,458
<i>I wanted to make something</i>
<i>with the morphology of a tree,</i>

480
00:41:01,626 --> 00:41:04,836
<i>so it would blend into the town</i>

481
00:41:04,963 --> 00:41:07,214
<i>and its trees.</i>

482
00:41:10,635 --> 00:41:13,053
<i>Across the square,</i>
<i>is the Petit Palais Museum.</i>

483
00:41:13,179 --> 00:41:14,805
<i>I like its collection.</i>

484
00:41:15,807 --> 00:41:18,725
<i>Jacob's Ladder by Nicolas Dipre.</i>

485
00:41:46,713 --> 00:41:51,508
<i>I found a recumbent statue,</i>
<i>decapitated during the Revolution.</i>

486
00:41:52,510 --> 00:41:56,179
<i>This head fit it perfectly.</i>

487
00:41:56,305 --> 00:41:58,724
<i>It was wonderful. It was its mask.</i>

488
00:41:58,850 --> 00:42:01,852
<i>So I gave the poor soul a new face.</i>

489
00:42:02,353 --> 00:42:04,187
<i>But it's a fish face!</i>

490
00:42:04,355 --> 00:42:07,566
Sure, but it's a face.
A nice face.

491
00:42:09,736 --> 00:42:12,863
<i>Barceló is also</i>
<i>at the Avignon Foundation</i>

492
00:42:13,072 --> 00:42:15,615
<i>of his gallery owner Yvon Lambert.</i>

493
00:42:16,284 --> 00:42:18,994
<i>I paint portraits of fish</i>

494
00:42:19,120 --> 00:42:22,122
<i>like one would paint family portraits.</i>

495
00:42:24,042 --> 00:42:28,003
I know the morphology of fish.
I've fished since I was born.

496
00:42:35,720 --> 00:42:40,057
<i>Clay is a form of paint.</i>
<i>I love it. It's like flesh.</i>

497
00:42:40,683 --> 00:42:45,228
<i>It remembers a caress,</i>
<i>a punch, or a scratch.</i>

498
00:42:50,026 --> 00:42:54,029
<i>He and choreographer Josef Nadj</i>
<i>created a performance piece...</i>

499
00:42:54,489 --> 00:42:56,198
Paso Doble.

500
00:43:00,870 --> 00:43:03,914
Paso Doble is a staging

501
00:43:04,040 --> 00:43:07,375
<i>of my lexicon in clay painting.</i>

502
00:43:10,880 --> 00:43:15,008
<i>Nadj is a dancer.</i>
<i>He talked me into doing it myself.</i>

503
00:43:15,134 --> 00:43:19,513
<i>I said,</i>
<i>"I'll do it if you'll do it with me."</i>