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VARDA BY AGNÈS

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Sionann O'Neill

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Subtitling: HIVENTY

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Thank you for inviting me.

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Seeing this marvellous opera house
turned into a cinema

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intimidates me.

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There might be children of paradise
up there.

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Some of my films are known,

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some well-known,

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others not.

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I'd like to tell you what led me

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to do this work all these years.

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Three words are important to me:

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inspiration, creation and sharing.

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Inspiration is why you make a film.

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The motivations, ideas, circumstances

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and happenstance

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that ignite your desire to make a film.

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Creation is how you make the film.

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With what means, what structure?

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Alone or not alone?
In colour or not?

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Creation is work.

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The third word is sharing.

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You don't make films
to watch them alone.

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You make films to show them.

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You are the very proof of this sharing.

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These three words guided me.

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We need to know why we do this work.

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I'll start with a short film,

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one I often show in my talks.

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Because...

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a family member is in the film.

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An older gentleman
who will introduce me, as in the past.

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By chance, I was in San Francisco

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for a festival.

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A friend said, "You may know this man,

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a painter named Varda.

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He lives on a boat in Sausalito."

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So we went to see him.
It was a Wednesday.

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I instantly fell in love with him.

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I absolutely had to film him.

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In truth,

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it wasn't so much about meeting him,

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it was about knowing right away
how to film him.

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I imagined the editing as I filmed him.

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I wanted to share the spontaneity,

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joy and excitement of the encounter.

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Now what happens? I say, "Film clip!"

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Mr. Varda?

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I don't know.

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Are you Eugène Varda's daughter?

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Yes lam.

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Cut!

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So, you are my niece!

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Looks like it.

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Cut!

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A perfect example of a miracle.

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From my inspiration to the shoot,
there was a day and a half.

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Then I took my time editing.

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For those of you who want to make films,

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especially those starting out,

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you need patience.

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You have a project, but you need money,
from your school or elsewhere.

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So...

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you need patience,
but try to get around that obstacle.

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Film quickly with the means at hand.

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I show this film for its good humour,

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and for the wonderful Yanco.

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But my most well-known film
is Cléo from 5 to 7.

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Has anyone in the audience seen Cléo?

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Nice!

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A fair few, as they say down south.

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Cléo was inspired

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by two very strong impressions.

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Back in the 60s,
there were collective fears, as always.

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The most common one was cancer.

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People feared cancer.

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Also, the producer told me,

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"I'll make a film with you,
as I did with Godard and Demy,

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but it has to be cheap."

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So how would we do it?

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We could shoot in Paris.
No travel expenses, no hotels.

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The action could take place in one day,
limiting sets and locations.

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It occurred to me
to shorten the time frame further.

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I'd film an hour and a half of her life.
90 minutes, like a film.

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I actually follow Cléo

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from 5 to 6:30 p.m.

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Illustrating time is difficult.

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Time feels different
if we’re happy or if we’re anxious,

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if we’re expecting someone
or having fun.

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I call that subjective time.

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And then there's objective time.

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Time we can't argue with.
Mechanical time,

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counted in hours,
minutes or even seconds.

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I wanted

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to combine objective time,
the clocks we see everywhere,

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with subjective time,

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the way Cléo feels during the film.

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You're wrong.
The card doesn't necessarily mean death.

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The fortune teller says
it means transformation, not death.

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But Cléo sees
a hanged man and clattering bones.

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It gives her a fright.

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Her fear and the threat of death,

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consciously or subconsciously,
stay with her.

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Just like this beautiful woman

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painted by Baldung Grien.

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A skeleton whispers in her ear
what she doesn't want to hear.

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Or pulls her hair.

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I had reproductions, postcards.

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Tiny images to look at.

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And a big mental image
at the heart of my project.

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The film is in two parts.

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First 45 minutes, second 45.

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Exactly in the middle,
she sings her song.

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And if you come too late

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I will have been laid to rest

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Alone, ugly and pale

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Without you

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It's too much.

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I can't go on.

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It's horrible!

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- What's wrong?
- She's tired.

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And you know, the word despair is evil.
Like the word rope.

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Rhymes matter more than words.

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It's a beautiful song.

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You'll revolutionise the music business!

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Really? What is a song anyway?
How long does it last?

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Another tantrum.

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Tantrum, tantrum!
That's all you ever say!

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You make me this way!

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Treating me like an idiot
or a china doll!

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Now I'll lead a revolution
with grim words?

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You call that song charming?
My big hit?

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It'll be a hit funeral!

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You tire me, you exploit me! Go away!

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No, I’ll go!
Angèle will make you drinks.

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Session's over!

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Leave the songs. I'll choose later.

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I made two cuts for this presentation.

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I'll wear black.

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In harmony with your songs.

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She goes down.

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There are ten steps.

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We filmed all ten.

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Then we filmed every step she takes
to cross the courtyard.

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We chose not to cheat
with the distance or the geography.

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The courtyard leads to Rue Huyghens.

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That's where she walked.

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It's the actual street
that leads to Boulevard Raspail.

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The sidewalk was as it was,
with people watching her pass.

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I wanted to go
from the coquetry of the first part

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to something more real.

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Cléo and what happens around her.

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People,

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pigeons...

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Then she notices

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a store called "Good Health."

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And she can no longer stand the hat.

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That doll face, always the same.
That ridiculous hat.

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She takes it off.
She becomes a woman who sees.

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She's no longer seen,
as in the first part.

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She sees.

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I'd noticed a street performer.

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I asked him to come back.
Look what she sees.

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How a guy earns his living.

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C'mere, froggy. Time for a new aquarium.

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Third frog!

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You can't help but notice.

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Even in fiction,
I like to add documentary elements.

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In this film,
as we follow Cléo and her fear,

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we see people in cafés,

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in the streets.

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I love documentaries.

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I know great ones
have been made in faraway places.

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But big documentary journeys
are too far from me.

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I want to film close to me.
What I know.

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Daguerreotypes
was made on my street, Rue Daguerre.

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I chose to film
my close neighbours and the merchants,

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those who sold me bread, meat, hardware.
The hairdresser...

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They create a kind of village.

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At the bakery, people wait in line.

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As everywhere, they wait their turn.

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We were there for the time it took

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to buy or sell something.

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Nurith Aviv is...

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a director of photography.
A camerawoman.

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She did the work.

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We had sequence shots

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where the camera lingered
on people waiting.

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Nothing happens,

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yet something happens inside.

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That's it.

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Videos and commercials move very fast.

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But when you're in the duration,

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you're really in.

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We got set up.

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Nurith takes no space.
Neither did I back then.

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We got set up, hiding in a corner.

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The sound engineer too.

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The idea was to film people,

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whether they realised it or not.

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When you decide
to look closely at something

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that may be trite, it's no longer trite.

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The very act of looking at it
changes it.

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Nothing is trite,

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if you film people
with empathy and love.

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If you find them extraordinary,
as I did.

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We filmed that baker at work.

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I loved how he scored the bread dough

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with his razor blade.

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I listened closely
to what the merchants said.

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They weren't very open.

213
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They weren't very friendly to outsiders.

214
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They represented the silent majority.

215
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That's what I filmed.

216
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It occurs to me,

217
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in contrast to what I just said,

218
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that I once filmed an enraged minority.

219
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The Black Panthers.

220
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They were a movement of Black Americans

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who, in 1968,

222
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created a political program,
spoke out and protested

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because some of their leaders
had been arrested

224
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and one was in prison, Huey Newton.

225
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They held protest rallies.

226
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Jacques Demy and I
lived in Los Angeles then.

227
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I took a plane
to film the protests in Oakland,

228
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near San Francisco.

229
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I was a little lady with a 16mm camera.
I said, "French television"

230
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and they let me in
while they were training.

231
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- Who are you?
- Black Panthers.

232
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- Why are you here?
- To free Huey.

233
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- How?
- Huey's teachings.

234
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- What are they?
- The guns.

235
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This brother here, myself, all of us
were born with this hair.

236
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We wear it this way
because it's natural.

237
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Black people now realise
that black is beautiful.

238
00:17:53,081 --> 00:17:57,841
The Black Panther movement
didn't last very long.

239
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But it was a Black revolt,

240
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for their identity,
and it was a feminist revolt.

241
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Feminism was already going strong
in the USA in the 1960s.

242
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Obviously, I was a feminist.

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I was, and I still am.

244
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And I must say,

245
00:18:18,121 --> 00:18:21,361
issues surrounding women's liberation,

246
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specifically,
the question of body politics,

247
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really concerned me.

248
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Back then, there were struggles

249
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fought by both women and men

250
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that led to contraceptive rights in 1972

251
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and abortion rights in 1975.

252
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It's old history now,

253
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but I experienced it

254
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and wanted to tell the story.

255
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To do so,

256
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I got the idea of two young women.

257
00:18:54,721 --> 00:18:58,721
One already has children,
the other is a natural-born rebel.

258
00:18:59,921 --> 00:19:01,801
How pregnant are you?

259
00:19:02,401 --> 00:19:04,241
2 months, more or less.

260
00:19:04,401 --> 00:19:06,281
Don't cry, get an abortion.

261
00:19:06,441 --> 00:19:08,961
How, where? Think it's easy?

262
00:19:09,121 --> 00:19:10,601
We'll find a way.

263
00:19:16,681 --> 00:19:18,081
You're still up?

264
00:19:18,241 --> 00:19:19,761
André, you promised me!

265
00:19:20,041 --> 00:19:22,481
Why do you lie? What'd we do to you?

266
00:19:22,641 --> 00:19:24,401
- I needed money.
- As always.

267
00:19:24,561 --> 00:19:25,721
Why didn't you ask?

268
00:19:25,881 --> 00:19:28,241
It was for an abortion, you’d say no.

269
00:19:28,401 --> 00:19:29,601
What?

270
00:19:29,761 --> 00:19:34,241
My friend Suzanne needed money
for an abortion.

271
00:19:38,121 --> 00:19:40,081
Their friendship lasts.

272
00:19:40,601 --> 00:19:43,001
10 years later, we see them again,

273
00:19:43,161 --> 00:19:48,481
after they've both lived, loved
and fought the feminist fight.

274
00:19:49,561 --> 00:19:52,201
The feminist fight

275
00:19:53,081 --> 00:19:55,361
was something I wanted

276
00:19:56,001 --> 00:19:57,481
to put into song.

277
00:20:04,001 --> 00:20:07,601
No papa no pope no king

278
00:20:07,761 --> 00:20:09,121
No judge no doctor

279
00:20:09,521 --> 00:20:11,121
No legislator

280
00:20:11,361 --> 00:20:13,921
Gonna lay the law on my body

281
00:20:14,081 --> 00:20:15,681
Biology isn't fate

282
00:20:15,841 --> 00:20:18,601
Papa's laws are out of date

283
00:20:19,041 --> 00:20:22,081
My body belongs to me

284
00:20:22,561 --> 00:20:25,401
I'm the one who knows

285
00:20:25,721 --> 00:20:27,841
Whether or not

286
00:20:28,121 --> 00:20:30,121
I want to give birth

287
00:20:32,041 --> 00:20:34,761
Whether to bring new life

288
00:20:35,281 --> 00:20:38,001
To this earthly existence

289
00:20:38,321 --> 00:20:40,601
Whether to be flat or round

290
00:20:40,761 --> 00:20:42,641
The choice is mine

291
00:20:44,521 --> 00:20:47,081
My body belongs to me

292
00:20:52,281 --> 00:20:54,041
I really took it to heart.

293
00:20:54,201 --> 00:20:57,761
For the music,
I hired François Wertheimer

294
00:20:57,921 --> 00:20:59,921
and a girl group called Orchidée.

295
00:21:00,081 --> 00:21:02,481
We used texts by Engels and Marx.

296
00:21:02,641 --> 00:21:05,761
A very interesting thing:

297
00:21:05,921 --> 00:21:09,681
"Nowadays, in the family,
the man is the bourgeois,

298
00:21:09,841 --> 00:21:12,481
and the woman represents
the proletariat."

299
00:21:12,921 --> 00:21:15,561
It flows better in a song.

300
00:21:15,721 --> 00:21:17,281
But it's worth saying.

301
00:21:17,801 --> 00:21:19,521
Hear that, birdie?

302
00:21:20,201 --> 00:21:21,081
Listen.

303
00:21:29,441 --> 00:21:33,281
When men and women both work full time,

304
00:21:37,961 --> 00:21:41,641
you can set to music
the double shift women do.

305
00:21:45,281 --> 00:21:47,521
Domestic Habits

306
00:21:59,841 --> 00:22:03,361
Incredible friendships formed

307
00:22:03,801 --> 00:22:05,801
in that collective struggle.

308
00:22:05,961 --> 00:22:08,481
The women were often joyful.

309
00:22:08,641 --> 00:22:14,001
We laughed a lot
as we fought for women's rights.

310
00:22:15,081 --> 00:22:20,761
The joy and good humour of the group
come across in the film, I hope.

311
00:22:21,121 --> 00:22:22,721
Now I'll make a jump.

312
00:22:22,881 --> 00:22:26,481
Much later,
I told the story of a girl in a rage.

313
00:22:26,641 --> 00:22:29,001
Not in a group this time, alone.

314
00:22:29,161 --> 00:22:30,721
An enraged loner.

315
00:22:31,321 --> 00:22:34,321
A lot of guys were out on the road.

316
00:22:34,481 --> 00:22:37,161
It was kind of in fashion.

317
00:22:37,321 --> 00:22:41,481
And I'd noticed
women were also doing it.

318
00:22:41,641 --> 00:22:42,961
Backpacking.

319
00:22:43,921 --> 00:22:48,241
I wanted to make a film
about these lawless vagabonds.

320
00:22:48,561 --> 00:22:51,601
I wanted to film freedom and filth.

321
00:22:51,761 --> 00:22:54,921
Tell the story
of a young woman on the road.

322
00:22:55,561 --> 00:22:59,281
So I wrote the film Vagabond.

323
00:23:00,121 --> 00:23:02,841
I asked Sandrine Bonnaire,

324
00:23:03,001 --> 00:23:06,161
who'd been in Pialat's A Nos Amours

325
00:23:06,321 --> 00:23:08,481
and was still only 17.

326
00:23:08,681 --> 00:23:10,801
She was exactly who I needed.

327
00:23:12,841 --> 00:23:15,881
- Is there a tobacco shop?
- Not here.

328
00:23:16,041 --> 00:23:19,681
She's described by the people she meets.

329
00:23:19,841 --> 00:23:22,281
They speak of her quite badly.

330
00:23:24,121 --> 00:23:27,321
Mona's anger is what keeps her alive.

331
00:23:31,201 --> 00:23:35,721
But saying no to everyone
leads her to her death.

332
00:23:38,361 --> 00:23:40,801
The film's structure was precise.

333
00:23:40,961 --> 00:23:43,881
I wanted the camera
to walk the roads with her.

334
00:23:44,041 --> 00:23:45,441
To do that,

335
00:23:46,361 --> 00:23:48,721
I used tracking shots.

336
00:23:48,881 --> 00:23:50,601
There are 13 in the film.

337
00:23:50,961 --> 00:23:54,761
The shots move right to left,
which is jarring,

338
00:23:54,921 --> 00:23:58,241
because it's the opposite
of how we read in the West.

339
00:23:58,561 --> 00:24:01,641
Each tracking shot lasts one minute.

340
00:24:01,801 --> 00:24:04,601
We accompany Mona and her backpack.

341
00:24:04,761 --> 00:24:09,521
We're in rural farm landscapes,
not particularly charming.

342
00:24:09,681 --> 00:24:12,561
At the end of each tracking shot,
the camera leaves Mona

343
00:24:12,721 --> 00:24:16,521
to film a local element or object.

344
00:24:16,881 --> 00:24:21,801
Each subsequent tracking shot
comes about 10 minutes later

345
00:24:21,961 --> 00:24:25,721
and starts with an object or element

346
00:24:25,881 --> 00:24:28,321
reflecting what we've seen.

347
00:24:29,201 --> 00:24:35,121
I enjoyed setting up an enigma
for which only I knew the secret.

348
00:24:36,041 --> 00:24:38,561
Actually, the entire film

349
00:24:38,721 --> 00:24:41,761
is a portrait in the form

350
00:24:41,921 --> 00:24:44,601
of a discontinuous tracking shot.

351
00:24:49,601 --> 00:24:51,961
Ten minutes later in the film...

352
00:24:54,041 --> 00:24:56,961
this was the next tracking shot.

353
00:24:57,161 --> 00:24:59,721
To music by Joanna Bruzdowicz,

354
00:24:59,881 --> 00:25:02,881
composed solely for the tracking shots.

355
00:25:04,481 --> 00:25:07,761
A lovely surprise, Sandrine has arrived.

356
00:25:08,921 --> 00:25:10,961
I've talked about structure.

357
00:25:11,121 --> 00:25:15,121
Now I'd like to discuss
what the role meant to you.

358
00:25:15,961 --> 00:25:19,441
The first thing
you told me about the role was,

359
00:25:19,601 --> 00:25:21,721
"She's a girl who...

360
00:25:22,561 --> 00:25:27,401
never says thank you, stinks,
and tells everyone to fuck off."

361
00:25:27,641 --> 00:25:29,481
We never discussed

362
00:25:30,441 --> 00:25:34,161
where she came from
or why she was on the road.

363
00:25:34,641 --> 00:25:36,241
It was about how she lives.

364
00:25:36,401 --> 00:25:40,841
How she finds food,
where she sleeps, how she behaves.

365
00:25:41,001 --> 00:25:43,761
We didn't analyse her.

366
00:25:43,921 --> 00:25:46,121
We focused on what she did.

367
00:25:46,281 --> 00:25:48,201
- Her actions.
- And behaviour.

368
00:25:49,921 --> 00:25:52,761
You practiced putting on your backpack.

369
00:25:53,361 --> 00:25:54,921
Putting on your boots.

370
00:25:55,081 --> 00:25:58,481
You sent me camping with Setina.

371
00:25:59,961 --> 00:26:02,441
- You slept outside.
- We did.

372
00:26:02,601 --> 00:26:06,841
You wanted me to learn to make a fire
and pitch a tent.

373
00:26:07,001 --> 00:26:11,121
There's a scene
where you repair your boots.

374
00:26:12,001 --> 00:26:15,201
It was all concrete, physical things.

375
00:26:15,681 --> 00:26:17,881
I remember pruning grapevines.

376
00:26:18,041 --> 00:26:22,961
Pruning requires
simple but precise gestures.

377
00:26:23,121 --> 00:26:27,001
You accepted me saying,
"You're Mona, figure it out."

378
00:26:28,561 --> 00:26:31,401
Your own rebellion
went into the character.

379
00:26:31,561 --> 00:26:33,241
I just needed to be there.

380
00:26:33,961 --> 00:26:36,761
And you were. Solid and tough.

381
00:26:36,921 --> 00:26:40,481
I wasn't easy on you.
I gave you a rough time.

382
00:26:40,641 --> 00:26:42,001
Come on!

383
00:26:42,841 --> 00:26:46,321
I remember at one point,
I'd dug up a whole garden patch

384
00:26:46,481 --> 00:26:47,921
and had blisters.

385
00:26:48,081 --> 00:26:50,441
I said,
"Real blisters, like you wanted!"

386
00:26:50,601 --> 00:26:51,601
You said, "Good!"

387
00:26:52,441 --> 00:26:54,001
That bugged me!

388
00:26:54,881 --> 00:26:58,321
I should've licked your blisters
in thanks!

389
00:26:58,841 --> 00:27:00,401
The film is unusual,

390
00:27:01,041 --> 00:27:03,121
because you're dead at the start.

391
00:27:03,281 --> 00:27:06,641
Even though I was young,
I imagined my own death.

392
00:27:06,801 --> 00:27:08,201
Obviously.

393
00:27:08,961 --> 00:27:12,641
And we made you to do it.
Get in the bag like a corpse.

394
00:27:12,801 --> 00:27:15,081
That really freaked me out.

395
00:27:15,681 --> 00:27:18,401
Cinema can be very humbling.

396
00:27:18,561 --> 00:27:21,721
You have a project,
you write it, you make it,

397
00:27:21,881 --> 00:27:23,961
with an actress like yourself...

398
00:27:24,361 --> 00:27:26,441
But during the shoot,

399
00:27:26,601 --> 00:27:29,481
things can feel quite harrowing.

400
00:27:32,281 --> 00:27:36,121
After the shot of dead Mona, a beach...

401
00:27:40,921 --> 00:27:43,521
Beaches are a place of inspiration.

402
00:27:43,801 --> 00:27:45,281
A mental landscape.

403
00:27:45,961 --> 00:27:48,161
You have the three elements.

404
00:27:48,321 --> 00:27:50,161
Sky, sea and earth.

405
00:27:50,561 --> 00:27:53,801
Here, the earth is sand and seaweed.

406
00:27:54,601 --> 00:27:57,721
I remember the works of Bachelard,

407
00:27:58,001 --> 00:28:01,401
a philosopher whose classes I attended.

408
00:28:01,561 --> 00:28:02,961
Water and Dreams,

409
00:28:03,121 --> 00:28:04,561
Air and Dreams,

410
00:28:04,721 --> 00:28:07,201
Earth and Reveries of Repose.

411
00:28:08,361 --> 00:28:10,361
Dreams, reveries,

412
00:28:10,681 --> 00:28:13,521
dreams and repose. Everything I love.

413
00:28:13,961 --> 00:28:17,521
But he also wrote
Earth and Reveries of Will.

414
00:28:17,681 --> 00:28:20,041
I'll continue my chat here.

415
00:28:20,201 --> 00:28:22,561
And I'll invite birds and children.

416
00:28:39,081 --> 00:28:41,601
It's charming to talk to birds.

417
00:28:41,761 --> 00:28:45,001
But real or fake,
they don't understand me.

418
00:28:45,721 --> 00:28:48,401
We make films to share with audiences,

419
00:28:48,561 --> 00:28:53,601
so I thought, "How awful it'd be
if they didn't listen or watch."

420
00:28:54,801 --> 00:28:56,441
A filmmaker's nightmare.

421
00:28:56,601 --> 00:28:58,521
An empty cinema!

422
00:28:59,321 --> 00:29:00,601
Nightmare!

423
00:29:06,601 --> 00:29:10,921
Some of my films did well in the cinema.

424
00:29:11,081 --> 00:29:12,241
Others less so.

425
00:29:12,521 --> 00:29:16,161
We'll jump around.
I can't talk about all my films.

426
00:29:16,321 --> 00:29:18,281
I can't follow the crim...

427
00:29:18,841 --> 00:29:22,201
Not the criminology, the chronology!

428
00:29:22,361 --> 00:29:25,801
We'll jump ahead to a summer film I made

429
00:29:27,041 --> 00:29:28,761
in the 1960s

430
00:29:29,081 --> 00:29:31,081
called Happiness.

431
00:29:32,001 --> 00:29:36,201
I imagined Impressionist paintings,
with their melancholy.

432
00:29:36,841 --> 00:29:39,881
And yet they're happy scenes
of daily life.

433
00:29:40,041 --> 00:29:43,361
I listened to Mozart and pondered death.

434
00:29:44,121 --> 00:29:46,961
I wrote and shot the film quickly.

435
00:29:47,121 --> 00:29:50,201
Like the bright clarity
of our too-short summers.

436
00:29:54,961 --> 00:29:57,681
Go to sleep kids. Daddy's sleeping.

437
00:29:57,841 --> 00:29:59,081
Be quiet.

438
00:30:04,161 --> 00:30:08,881
I wanted to show happiness
as it is traditionally described.

439
00:30:09,041 --> 00:30:11,201
A woman and a man, beautiful children.

440
00:30:11,361 --> 00:30:12,961
They love nature.

441
00:30:13,121 --> 00:30:15,961
They're friendly, unpretentious.

442
00:30:16,121 --> 00:30:18,561
A template for happiness.

443
00:30:18,721 --> 00:30:22,481
And I wanted to set the story
in Ile-de-France.

444
00:30:22,961 --> 00:30:27,161
In places that had inspired
the Impressionists.

445
00:30:27,561 --> 00:30:29,321
I shot in summertime,

446
00:30:29,481 --> 00:30:33,161
in soft, delicate tones.

447
00:30:33,721 --> 00:30:37,121
I accompanied the story
with music by Mozart,

448
00:30:37,281 --> 00:30:39,761
which seemed to express happiness

449
00:30:39,921 --> 00:30:42,601
with a little dash of anguish.

450
00:30:45,441 --> 00:30:48,281
Jean-Claude Drouot was a TV hero.

451
00:30:48,441 --> 00:30:50,281
He was Thierry la Fronde.

452
00:30:50,441 --> 00:30:53,601
I went to the woods
to ask him to be in my film.

453
00:30:53,761 --> 00:30:56,241
He was on horseback, in costume.

454
00:30:58,281 --> 00:31:02,201
I said, "Excuse me, sorry to bother you.

455
00:31:02,361 --> 00:31:06,921
Would you agree to make a film
with your real wife and kids?"

456
00:31:07,761 --> 00:31:11,121
His wife hesitated at first,
but they did it.

457
00:31:16,441 --> 00:31:20,521
It's no problem.
Annie can come babysit at 8:30.

458
00:31:20,801 --> 00:31:23,321
We can make the 9 o'clock show.

459
00:31:23,721 --> 00:31:25,241
I’d love that.

460
00:31:26,481 --> 00:31:30,961
On the surface,
it's a simple story of a happy family.

461
00:31:31,121 --> 00:31:32,801
He's happy with his wife.

462
00:31:32,961 --> 00:31:35,121
But then he meets a postal worker.

463
00:31:35,441 --> 00:31:37,361
She looks like his wife.

464
00:31:37,521 --> 00:31:39,481
He falls in love.

465
00:31:40,081 --> 00:31:41,401
He thinks you can

466
00:31:41,561 --> 00:31:43,161
add happiness to happiness.

467
00:31:43,321 --> 00:31:46,601
The critics had a field day. Outrageous!

468
00:31:46,761 --> 00:31:48,561
Does fidelity mean anything?

469
00:31:48,721 --> 00:31:51,561
Can you film happiness?
Do we have the right?

470
00:32:12,041 --> 00:32:14,441
I had such fun choosing the colours.

471
00:32:14,601 --> 00:32:16,001
I went all out on the blue,

472
00:32:16,761 --> 00:32:18,121
the yellow, the red...

473
00:32:19,041 --> 00:32:21,921
Here we have a predominantly red picnic.

474
00:32:25,121 --> 00:32:26,681
I also thought,

475
00:32:26,841 --> 00:32:30,721
instead of ending the scenes
with the traditional fade to black,

476
00:32:31,441 --> 00:32:33,641
it'd be nice to fade to colours.

477
00:32:33,801 --> 00:32:35,641
So the scenes ended

478
00:32:35,801 --> 00:32:39,321
in red, blue, purple, yellow.

479
00:32:41,681 --> 00:32:43,841
I even made a flag,

480
00:32:44,001 --> 00:32:45,961
with a dissolve in blue,

481
00:32:46,121 --> 00:32:48,161
one in white, and one in red

482
00:32:48,321 --> 00:32:50,321
to announce Bastille Day.

483
00:32:50,601 --> 00:32:52,121
July 14th.

484
00:32:53,761 --> 00:32:56,761
I used to describe the film

485
00:32:56,921 --> 00:33:01,121
as a beautiful summer peach
with a worm inside.

486
00:33:02,761 --> 00:33:03,961
A tragedy.

487
00:33:13,201 --> 00:33:15,801
He cannot bear the situation.

488
00:33:16,601 --> 00:33:18,801
He can't connect to it.

489
00:33:19,281 --> 00:33:21,281
So I used repetition.

490
00:33:21,601 --> 00:33:23,681
I tried repetition.

491
00:33:23,841 --> 00:33:25,761
I used repetition.

492
00:33:28,281 --> 00:33:31,361
I'd like to discuss
what a film is as a whole.

493
00:33:32,481 --> 00:33:35,801
In literature, they use the word style.

494
00:33:35,961 --> 00:33:38,961
In cinema, I use the word cinewriting.

495
00:33:39,521 --> 00:33:44,921
It covers all the choices made
throughout the making of a film.

496
00:33:45,281 --> 00:33:48,961
What do you film?
Fluid or abrupt shots?

497
00:33:49,281 --> 00:33:52,721
Clear, isolated images
or crowded spaces?

498
00:33:53,561 --> 00:33:55,161
Pacing? Music?

499
00:33:55,321 --> 00:33:58,441
It all takes shape in the editing room.

500
00:33:58,601 --> 00:34:00,361
I sometimes add commentaries,

501
00:34:00,521 --> 00:34:04,081
to stay in the film
and be with the audience.

502
00:34:04,921 --> 00:34:09,521
But in editing and mixing
we finish the cinewriting.

503
00:34:10,681 --> 00:34:14,401
As for how a film starts,
life sometimes decides.

504
00:34:14,761 --> 00:34:19,161
At a very sad time of my life,
when Jacques Demy was ill,

505
00:34:20,241 --> 00:34:24,041
he shared his memories, wrote them down.

506
00:34:24,201 --> 00:34:26,761
Fond memories of his childhood.

507
00:34:26,921 --> 00:34:31,561
He was raised in Nantes,
in the garage where his father worked.

508
00:34:31,961 --> 00:34:33,881
He was taking notes.

509
00:34:34,401 --> 00:34:36,521
Every few days he showed them to me.

510
00:34:36,681 --> 00:34:40,441
I said, "This would be a great film.
Will you make it?"

511
00:34:41,041 --> 00:34:42,961
He said, "You do it, I'm too tired."

512
00:34:43,281 --> 00:34:47,361
So I wrote a script
about Jacques Demy's childhood.

513
00:34:47,521 --> 00:34:49,841
Set in the actual garage.

514
00:34:50,001 --> 00:34:54,041
We kicked out the mechanics.
They let us use the place.

515
00:34:54,201 --> 00:34:58,761
The old gas pump was still there.
It hadn't been removed.

516
00:34:59,801 --> 00:35:03,321
It was a very particular experience.

517
00:35:03,481 --> 00:35:07,601
I approached the film
in three different ways.

518
00:35:08,321 --> 00:35:10,681
Black-and-white footage,

519
00:35:10,841 --> 00:35:12,721
1930s style,

520
00:35:12,881 --> 00:35:15,401
tells the story of his childhood.

521
00:35:15,561 --> 00:35:18,641
Then there were colour excerpts

522
00:35:18,801 --> 00:35:21,201
from films Jacques Demy made later,

523
00:35:21,361 --> 00:35:22,761
all inspired

524
00:35:22,921 --> 00:35:24,641
by his childhood.

525
00:35:24,801 --> 00:35:27,601
The engine knocks when it's cold,
don't worry.

526
00:35:27,761 --> 00:35:29,241
Thank you.

527
00:35:33,081 --> 00:35:34,801
Is it ready to go?

528
00:35:35,081 --> 00:35:36,201
Yes.

529
00:35:37,041 --> 00:35:40,801
The engine knocks when it's cold,
don't worry.

530
00:35:41,201 --> 00:35:44,401
And then there was
a third film within the film.

531
00:35:44,561 --> 00:35:47,521
Jacques was still alive, but very ill.

532
00:35:47,681 --> 00:35:51,561
I loved him
and wanted to be as close as possible,

533
00:35:51,721 --> 00:35:53,921
help him as much as I could.

534
00:35:54,081 --> 00:35:57,921
In film terms,
that meant extreme close-ups.

535
00:36:21,681 --> 00:36:25,881
The whole film is a desire to stop time
and deny death.

536
00:36:26,041 --> 00:36:27,281
No.

537
00:36:27,681 --> 00:36:29,961
I don't see it that way.

538
00:36:30,121 --> 00:36:33,281
Not to stop time. To accompany time.

539
00:36:34,761 --> 00:36:37,521
The film accompanies Jacques as he dies.

540
00:36:38,521 --> 00:36:41,961
As he remembers his childhood.

541
00:36:42,721 --> 00:36:45,241
The love of cinema
starts early for some.

542
00:36:45,401 --> 00:36:49,881
Little Jacquot invented cinema,
I dare say.

543
00:36:50,641 --> 00:36:51,721
Look.

544
00:36:55,841 --> 00:36:57,401
Nice set up.

545
00:36:58,641 --> 00:37:00,841
- It's fragile!
- What is it?

546
00:37:01,001 --> 00:37:03,561
Don't bump into the camera.

547
00:37:03,841 --> 00:37:06,521
Look. To make the ballerina move,

548
00:37:06,801 --> 00:37:09,401
I move her leg and take a shot.

549
00:37:09,561 --> 00:37:12,161
Move her leg, take a shot.

550
00:37:14,201 --> 00:37:15,281
Get it?

551
00:37:15,921 --> 00:37:19,721
It creates a continuous movement.
If you film my arm...

552
00:37:21,281 --> 00:37:23,521
you get a continuous movement.

553
00:37:24,001 --> 00:37:27,641
Now get going.
I need quiet concentration.

554
00:37:47,801 --> 00:37:49,681
No good. It's all out of focus.

555
00:37:50,401 --> 00:37:52,041
No good at all.

556
00:37:53,761 --> 00:37:56,361
Several years later, against his will,

557
00:37:57,081 --> 00:38:00,121
Jacquot worked in his father's garage.

558
00:38:01,561 --> 00:38:04,321
And this goes
around the customer's neck?

559
00:38:04,481 --> 00:38:05,801
Start over!

560
00:38:07,081 --> 00:38:08,641
Where's your mind?

561
00:38:08,801 --> 00:38:10,161
On Hollywood!

562
00:38:10,321 --> 00:38:12,001
Some mechanic!

563
00:38:12,801 --> 00:38:15,041
It's extraordinary. Years later,

564
00:38:15,201 --> 00:38:17,681
after the success
of The Umbrellas of Cherbourg,

565
00:38:17,841 --> 00:38:20,801
he was invited to work in Hollywood.

566
00:38:21,241 --> 00:38:22,641
I went with him.

567
00:38:24,761 --> 00:38:27,241
In Los Angeles I discovered,
like everyone,

568
00:38:27,401 --> 00:38:28,801
the stars of the stars

569
00:38:28,961 --> 00:38:30,761
on Hollywood Boulevard.

570
00:38:32,001 --> 00:38:35,121
And I met some of the idols and stars

571
00:38:35,281 --> 00:38:37,961
of the new Hippie Generation.

572
00:38:38,121 --> 00:38:42,401
They wanted to make it in Hollywood
their way.

573
00:38:52,521 --> 00:38:56,001
Three actors with big manes of hair:
Lions.

574
00:38:56,161 --> 00:38:58,041
A love triangle: Love.

575
00:38:58,201 --> 00:39:01,121
Television and the news: Lies.

576
00:39:03,081 --> 00:39:07,841
For the cast,
I chose heroes of the hippie scene.

577
00:39:08,001 --> 00:39:11,641
Rado and Ragni,
who wrote and played in Hair,

578
00:39:11,801 --> 00:39:13,921
and Viva, Andy Warhol's muse.

579
00:39:14,321 --> 00:39:17,321
I went to the Factory in New York
to see Andy,

580
00:39:17,481 --> 00:39:21,641
so he'd introduce us and convince her.
She was tricky.

581
00:39:30,361 --> 00:39:31,561
Then he said:

582
00:39:37,481 --> 00:39:42,241
Another character in the film
was the television set.

583
00:39:42,841 --> 00:39:46,921
It was always there,
embodying the spirit of the film:

584
00:39:47,081 --> 00:39:48,801
sex and politics.

585
00:40:02,521 --> 00:40:06,121
Here the silence was planned,
but usually they talked a lot.

586
00:40:08,761 --> 00:40:10,441
They improvised.

587
00:40:10,601 --> 00:40:13,521
They changed the text
from one take to another.

588
00:40:13,681 --> 00:40:16,081
The scenes were impossible to edit.

589
00:40:20,201 --> 00:40:25,761
So I shot each take of each scene
with three 35mm sound cameras.

590
00:40:27,921 --> 00:40:31,521
Sometimes they agreed
to pose like models.

591
00:40:32,521 --> 00:40:35,081
This is an exact copy
of a drawing by Picasso

592
00:40:35,241 --> 00:40:37,681
from a series he did in 1936.

593
00:40:39,201 --> 00:40:41,801
This is another one.

594
00:40:45,241 --> 00:40:47,641
I wanted to feature Shirley Clarke,

595
00:40:48,081 --> 00:40:50,161
the New York filmmaker

596
00:40:50,321 --> 00:40:53,361
who was, in a way, my double.

597
00:40:54,481 --> 00:40:55,881
Another tableau,

598
00:40:56,041 --> 00:40:58,401
this one inspired
by a Magritte painting.

599
00:41:00,681 --> 00:41:05,361
I think of it as an imaginary
news report, a utopian fiction.

600
00:41:05,521 --> 00:41:08,601
From my time in Hollywood.

601
00:41:09,081 --> 00:41:11,681
A collage, made my way.

602
00:41:12,921 --> 00:41:16,721
Ten years later,
a collage of names on walls.

603
00:41:19,881 --> 00:41:23,121
I was fascinated by what I saw.

604
00:41:23,721 --> 00:41:26,001
Giant murals.

605
00:41:26,241 --> 00:41:30,001
I began documenting them in photographs.

606
00:41:30,601 --> 00:41:34,441
You rarely know who made them.
They're unsigned. I asked neighbours.

607
00:41:35,241 --> 00:41:38,681
Some fine arts graduates
became muralists.

608
00:41:38,841 --> 00:41:40,321
For example, Kent Twitchell.

609
00:41:40,481 --> 00:41:44,201
It was a form of resistance
against the art industry.

610
00:41:46,321 --> 00:41:50,121
The idea is art should be free
for everyone.

611
00:41:52,601 --> 00:41:56,841
Beyond the river is East L.A.,
with its Chicano Art.

612
00:41:59,121 --> 00:42:01,321
I filmed large murals,

613
00:42:01,481 --> 00:42:03,361
like those by Willie Herron.

614
00:42:03,641 --> 00:42:07,001
But I also wanted to make cinema.

615
00:43:34,561 --> 00:43:40,201
I often say Murals Murals is a film
about the extroverted Los Angeles.

616
00:43:40,361 --> 00:43:44,321
People express themselves through walls,
clothing and words.

617
00:43:44,641 --> 00:43:47,401
But I also sense an introverted,

618
00:43:47,561 --> 00:43:50,441
sad, desperate Los Angeles.

619
00:43:52,721 --> 00:43:57,281
It's the story of Emilie,
a French woman exiled in Los Angeles,

620
00:43:58,841 --> 00:44:01,641
looking for a place to live
with her son.

621
00:44:02,641 --> 00:44:07,241
Sabine Mamou, who edited Murals Murals,
played Emilie.

622
00:44:07,401 --> 00:44:08,601
This is your home.

623
00:44:09,041 --> 00:44:11,521
Mathieu Demy played her son.

624
00:44:11,961 --> 00:44:14,041
You mean I’ll be sleeping...

625
00:44:15,481 --> 00:44:16,761
all alone?

626
00:44:16,921 --> 00:44:18,841
You’ll be fine, you’ll see.

627
00:44:19,721 --> 00:44:22,281
If I don't like it, what'll we do?

628
00:44:24,521 --> 00:44:27,561
If he doesn't like it, what'll I do?

629
00:44:28,201 --> 00:44:31,321
If they don't like it, what do they do?

630
00:44:31,481 --> 00:44:33,641
He or she, what do they do?

631
00:44:34,441 --> 00:44:38,841
She's extremely lonely,
she's going through a separation.

632
00:44:39,321 --> 00:44:42,241
But she doesn't want to discuss it
with her son.

633
00:44:42,401 --> 00:44:44,281
You don't confide in children.

634
00:44:44,721 --> 00:44:49,681
So I decided
on a specific process for this film.

635
00:44:49,961 --> 00:44:54,561
I'd use documentary images
to speak for her.

636
00:44:55,121 --> 00:44:59,121
Or she monologues
over documentary images.

637
00:44:59,281 --> 00:45:04,241
When you lose words like tureen,
ladle, table, warmth, togetherness,

638
00:45:04,401 --> 00:45:06,401
the only words left are soup,

639
00:45:06,561 --> 00:45:09,761
solitude, separation, absence.

640
00:45:10,761 --> 00:45:16,521
I had accumulated images
we wondered about.

641
00:45:16,681 --> 00:45:20,401
We didn't always know
what we were capturing.

642
00:45:20,561 --> 00:45:23,641
Silence or speech, pain or peace.

643
00:45:23,801 --> 00:45:27,161
Some sequences were mysteries to us.

644
00:45:27,521 --> 00:45:31,001
For example, we were on the beach

645
00:45:31,161 --> 00:45:33,561
filming Sabine and the boy.

646
00:45:33,721 --> 00:45:35,161
Lying on the sand

647
00:45:35,601 --> 00:45:40,321
was a woman with a bible
and two men on either side of her.

648
00:45:41,321 --> 00:45:44,161
The boy asks Sabine about it.

649
00:45:44,321 --> 00:45:47,081
She has no answer. Neither did we.

650
00:45:47,241 --> 00:45:52,121
We were open to filming
things we didn't understand.

651
00:45:52,281 --> 00:45:54,601
Because in cinema and elsewhere,

652
00:45:54,761 --> 00:45:58,041
it's important to feel, to experience.

653
00:45:58,361 --> 00:46:00,081
What're they doing? Is she dead?

654
00:46:00,241 --> 00:46:02,281
No. I don't know.

655
00:46:02,441 --> 00:46:05,241
Why didn't we stay to find out?

656
00:46:08,641 --> 00:46:13,761
Nurith Aviv and I would go out evenings
to capture images.

657
00:46:13,921 --> 00:46:16,641
One image in particular struck me.

658
00:46:17,281 --> 00:46:21,681
There was a woman doing her laundry
in a laundromat.

659
00:46:21,841 --> 00:46:26,521
We'd just parked the car.
We filmed through the window.

660
00:46:27,201 --> 00:46:32,081
That lone woman fiddled
with her greasy hair for a long time.

661
00:46:32,241 --> 00:46:36,161
An extraordinary moment
of solitary sensuality.

662
00:46:48,801 --> 00:46:53,281
The film is greatly enhanced
by Georges Delerue's music.

663
00:46:53,441 --> 00:46:56,081
He watched it a few times

664
00:46:56,241 --> 00:47:02,001
and improvised a score
that is captivating, frail and subdued.

665
00:47:02,241 --> 00:47:04,721
Like a gentle ache.

666
00:47:13,881 --> 00:47:17,921
Georges Delerue also composed,
23 years earlier,

667
00:47:18,081 --> 00:47:21,961
the music for this short film,
Diary of a Pregnant Woman.

668
00:47:22,481 --> 00:47:23,961
Like Documenteur,

669
00:47:24,121 --> 00:47:27,201
this film was tied to my personal life.

670
00:47:27,681 --> 00:47:30,841
I often went to Rue Mouffetard.

671
00:47:31,001 --> 00:47:33,601
It was almost like the Middle Ages.

672
00:47:33,761 --> 00:47:36,521
There was a market. I love markets.

673
00:47:36,681 --> 00:47:38,201
And there were poor people

674
00:47:38,361 --> 00:47:39,881
living on the streets.

675
00:47:40,161 --> 00:47:41,801
Old folks, cripples

676
00:47:41,961 --> 00:47:43,961
and drunkards.

677
00:47:45,361 --> 00:47:47,121
I was pregnant.

678
00:47:47,601 --> 00:47:52,481
I didn't tell people,
but I filmed a clear sign of pregnancy:

679
00:47:52,641 --> 00:47:53,881
a big belly.

680
00:47:54,041 --> 00:47:58,681
And the way
certain basic, ancestral fears

681
00:47:58,841 --> 00:48:01,721
could be portrayed.

682
00:48:38,201 --> 00:48:43,801
I was utterly haunted
by a fundamental contradiction.

683
00:48:44,321 --> 00:48:45,961
You're full of hope,

684
00:48:46,121 --> 00:48:49,601
you're offering a life to a new child,

685
00:48:49,761 --> 00:48:51,401
who might be happy.

686
00:48:51,561 --> 00:48:53,601
And yet, I saw a population

687
00:48:53,761 --> 00:48:55,161
that was terribly,

688
00:48:55,761 --> 00:48:58,361
terribly... unhappy.

689
00:48:58,681 --> 00:49:01,001
They really inspired me to think.

690
00:49:01,161 --> 00:49:03,241
They too had been newborns.

691
00:49:03,921 --> 00:49:07,961
Maybe when they were wee babies,
even if they were unwanted,

692
00:49:08,121 --> 00:49:12,201
someone cuddled them,
stroked their belly, even a bit.

693
00:49:12,361 --> 00:49:13,641
Some of them

694
00:49:15,441 --> 00:49:17,761
They were newborn babes

695
00:49:18,321 --> 00:49:20,201
Someone, some other

696
00:49:20,481 --> 00:49:22,401
some of them

697
00:49:34,401 --> 00:49:37,281
Many of you want to make documentaries.

698
00:49:37,441 --> 00:49:39,361
I think it's very important...

699
00:49:39,721 --> 00:49:41,641
This isn't really advice,

700
00:49:41,801 --> 00:49:44,281
but when you film something,

701
00:49:44,441 --> 00:49:46,201
a place, a landscape,

702
00:49:46,361 --> 00:49:48,081
a group of people,

703
00:49:48,241 --> 00:49:51,441
you need a viewpoint.
At least to start.

704
00:49:51,601 --> 00:49:54,121
You film in relation to that viewpoint.

705
00:49:54,281 --> 00:49:57,401
It's both a documentary and staged.

706
00:49:57,961 --> 00:50:00,761
There are two types of documentaries.

707
00:50:01,001 --> 00:50:03,521
Pure and raw, reality only.

708
00:50:03,681 --> 00:50:06,641
Those documentaries
can be extraordinary.

709
00:50:06,801 --> 00:50:09,441
But I want mine to be a film too.

710
00:50:09,601 --> 00:50:12,841
I think it's fun to prepare a film

711
00:50:13,001 --> 00:50:15,641
with real reality, but also a twist.

712
00:50:15,801 --> 00:50:18,801
I really love organising,

713
00:50:18,961 --> 00:50:20,921
not the staging per Se,

714
00:50:21,081 --> 00:50:24,001
but the general outline
of a documentary.

715
00:50:27,081 --> 00:50:28,961
From the very start, I understood

716
00:50:29,121 --> 00:50:32,161
that contemporary musicians
were my allies.

717
00:50:32,321 --> 00:50:33,801
I've mentioned Delerue.

718
00:50:33,961 --> 00:50:37,881
There was also Pierre Barbaud,
the composer for La Pointe Courte,

719
00:50:38,041 --> 00:50:39,601
my first film,

720
00:50:40,681 --> 00:50:43,001
shot in 1954

721
00:50:43,161 --> 00:50:45,041
in a neighbourhood of Sète.

722
00:50:46,721 --> 00:50:49,441
I made that film with no experience,

723
00:50:49,601 --> 00:50:51,561
no film schooling,

724
00:50:51,721 --> 00:50:53,961
no prior work as an assistant.

725
00:50:55,521 --> 00:50:57,961
The film came out of nowhere.

726
00:51:06,201 --> 00:51:09,441
I had a particular structure in mind.

727
00:51:09,801 --> 00:51:14,281
I wanted to combine two films
with alternating chapters,

728
00:51:14,441 --> 00:51:18,601
like a Faulkner book I admired,
The Wild Palms.

729
00:51:18,881 --> 00:51:22,921
I'd alternate fishermen sequences
with couple sequences.

730
00:51:23,441 --> 00:51:25,961
Two stories with nothing in common

731
00:51:26,121 --> 00:51:28,081
except the location.

732
00:51:28,841 --> 00:51:31,081
It's a confrontation

733
00:51:31,241 --> 00:51:33,001
between the private and the social.

734
00:51:33,161 --> 00:51:34,841
The labour representative

735
00:51:35,841 --> 00:51:37,401
is coming on the boat.

736
00:51:37,561 --> 00:51:39,121
Don't talk about encounters.

737
00:51:39,281 --> 00:51:43,641
It's a juxtaposition
of two approaches to the world.

738
00:51:43,801 --> 00:51:44,921
One very stylish,

739
00:51:45,081 --> 00:51:47,201
with composition and dialogue.

740
00:51:47,361 --> 00:51:49,161
I know your gestures.

741
00:51:49,321 --> 00:51:51,521
Your habits have become mine.

742
00:51:51,681 --> 00:51:53,721
No more surprises.

743
00:51:53,881 --> 00:51:57,721
And one that looks more
like Italian Neo-Realism.

744
00:51:57,881 --> 00:52:01,081
Though I hadn't yet seen those films.

745
00:52:02,761 --> 00:52:06,641
Alain Resnais, who edited the film,
taught me a lot.

746
00:52:08,361 --> 00:52:11,161
I did another thing that wasn't done.

747
00:52:11,321 --> 00:52:14,361
Usually sound diminishes
as people move away.

748
00:52:14,521 --> 00:52:18,321
It gets quieter
until you barely hear them.

749
00:52:18,481 --> 00:52:22,161
I decreed that the sound
would remain in the foreground.

750
00:52:23,081 --> 00:52:26,721
So as they talk and walk away,

751
00:52:26,921 --> 00:52:30,641
it feels like voiceover dialogue,

752
00:52:30,801 --> 00:52:32,761
yet they're really talking.

753
00:52:32,921 --> 00:52:34,121
It's synchronised.

754
00:52:34,281 --> 00:52:36,721
But the sound stays up front.

755
00:52:36,881 --> 00:52:40,361
I never used to have such thoughts.
Did you?

756
00:52:40,521 --> 00:52:43,201
I've always noticed others.

757
00:52:44,521 --> 00:52:48,721
But I don't want to live anywhere
but with you.

758
00:52:57,001 --> 00:52:59,561
Let's leap from Sète to Sceaux.

759
00:53:00,041 --> 00:53:05,201
In Sceaux Park, a project took shape
with my friend Jane Birkin.

760
00:53:06,401 --> 00:53:11,441
We were walking and suddenly she said,
"It's terrible, I'm almost 40."

761
00:53:11,601 --> 00:53:15,081
I said, "Don't be silly!
It's a wonderful age.

762
00:53:15,241 --> 00:53:17,121
Let's do your portrait."

763
00:53:17,961 --> 00:53:20,121
That's how it began.

764
00:53:20,881 --> 00:53:25,081
I suggested to this lively,
vivacious woman,

765
00:53:25,361 --> 00:53:30,241
that we do the opposite
of those tributes to dead actresses

766
00:53:30,401 --> 00:53:35,001
that compile excerpts from their films
and interviews.

767
00:53:35,321 --> 00:53:40,081
I said we'd create excerpts
of films she'd never made

768
00:53:40,241 --> 00:53:42,561
and do pretend interviews.

769
00:53:43,641 --> 00:53:49,281
We reversed the golden rule
about not breaking the fourth wall.

770
00:53:50,201 --> 00:53:53,321
You must look into the camera
to look at me.

771
00:53:53,681 --> 00:53:55,041
I'm trying!

772
00:53:56,001 --> 00:53:58,881
It's like I'm filming
your self-portrait.

773
00:53:59,041 --> 00:54:01,601
You won't always be alone in the mirror.

774
00:54:01,761 --> 00:54:05,561
There will be the camera,
which is a bit me.

775
00:54:06,041 --> 00:54:10,081
And it's OK if I sometimes appear
in the mirror or in the background.

776
00:54:10,561 --> 00:54:14,081
We were in it together.
The filmmaker and the filmed.

777
00:54:14,761 --> 00:54:17,601
The theme is painter and model.

778
00:54:19,321 --> 00:54:23,641
It's a surprise portrait
of Jane in many roles,

779
00:54:23,801 --> 00:54:25,081
including that of herself.

780
00:54:25,241 --> 00:54:28,321
With my jeans, old sweaters,
messy hair, pajamas...

781
00:54:28,481 --> 00:54:30,001
She was a good sport.

782
00:54:30,161 --> 00:54:31,401
She was funny,

783
00:54:31,561 --> 00:54:32,561
strange,

784
00:54:32,721 --> 00:54:33,721
magnificent,

785
00:54:34,401 --> 00:54:35,361
poignant.

786
00:54:35,521 --> 00:54:38,241
They can eat and drink
a bit of my husband.

787
00:54:42,121 --> 00:54:45,041
It was her first time
in a Spanish costume.

788
00:54:45,201 --> 00:54:46,641
She hated it.

789
00:54:47,201 --> 00:54:51,321
This is also the first time
I've dared show my writing.

790
00:54:51,721 --> 00:54:53,641
Yes, you let me read it.

791
00:54:53,801 --> 00:54:56,361
I liked it, we'll use it.

792
00:54:56,721 --> 00:55:00,961
We ended up making a whole film
to tell the story she wrote.

793
00:55:01,281 --> 00:55:03,801
She's a woman like me. She is me.

794
00:55:03,961 --> 00:55:06,601
She falls in love with a very young boy.

795
00:55:07,401 --> 00:55:09,761
A love story with an unhappy ending.

796
00:55:10,081 --> 00:55:13,401
It’d be nice to shoot the film
as a family.

797
00:55:13,561 --> 00:55:15,041
I get your drift.

798
00:55:15,601 --> 00:55:18,881
You want my son to play the boy.

799
00:55:19,041 --> 00:55:20,561
Yes, of course.

800
00:55:21,241 --> 00:55:23,041
This was a first.

801
00:55:23,481 --> 00:55:28,481
We interrupted Jane B.
to make Kung Fu Master.

802
00:55:28,641 --> 00:55:32,121
Starring Jane as planned,
and Mathieu as planned.

803
00:55:32,721 --> 00:55:34,601
They played a love story

804
00:55:34,761 --> 00:55:37,921
that was a bit different than Jane's,
because now

805
00:55:38,321 --> 00:55:40,481
the woman was in love with a boy

806
00:55:40,641 --> 00:55:44,081
who was himself in love
with a video game.

807
00:55:44,241 --> 00:55:47,441
They throw high or low.
You gotta duck or jump.

808
00:55:48,041 --> 00:55:50,401
The game was called Kung Fu Master.

809
00:55:50,561 --> 00:55:52,801
And the boy wanted to master it.

810
00:55:52,961 --> 00:55:56,041
Knock out a big guy or wizard to go up.

811
00:55:56,201 --> 00:55:59,161
You have to rescue Sylvia
on the 5th floor.

812
00:56:03,681 --> 00:56:05,761
We shot in summer.

813
00:56:05,921 --> 00:56:07,321
I had Mathieu.

814
00:56:07,681 --> 00:56:10,201
And Jane had her two girls.

815
00:56:10,361 --> 00:56:11,961
We liked that.

816
00:56:14,161 --> 00:56:18,121
When school started, we resumed Jane B.

817
00:56:19,281 --> 00:56:22,481
We played with cinema and painting.

818
00:56:22,881 --> 00:56:25,561
It's hard to pinpoint when you slipped

819
00:56:25,961 --> 00:56:28,641
from close-ups to the background,

820
00:56:29,001 --> 00:56:31,001
to the very back of the shot.

821
00:56:32,241 --> 00:56:34,961
Here she is as La Maja Vestida

822
00:56:35,801 --> 00:56:37,281
and La Maja Desnuda.

823
00:56:38,641 --> 00:56:39,601
And vexed

824
00:56:40,001 --> 00:56:42,721
in the background of Titian's Venus.

825
00:56:43,721 --> 00:56:46,161
May the plague take her! And old age!

826
00:56:46,641 --> 00:56:48,561
May she die, may she rot!

827
00:57:02,561 --> 00:57:05,881
Now we'll go
from the History of Painting

828
00:57:06,041 --> 00:57:08,041
to the History of Cinema.

829
00:57:08,521 --> 00:57:13,001
Cinema's 100th birthday
was celebrated very officially.

830
00:57:13,401 --> 00:57:18,921
They asked me to make a film
about the 100 years.

831
00:57:19,081 --> 00:57:22,841
I imagined a 100-year-old man.

832
00:57:23,081 --> 00:57:26,041
A man whose name would be

833
00:57:26,201 --> 00:57:29,561
Simon Cinema.
In French it sounds like "If my cinema."

834
00:57:29,721 --> 00:57:33,201
"If my cinema isn't good,
see another film."

835
00:57:33,361 --> 00:57:35,841
So I called him Simon Cinema.

836
00:57:36,001 --> 00:57:37,161
Monsieur Cinema,

837
00:57:37,961 --> 00:57:40,121
played by Michel Piccoli,

838
00:57:40,721 --> 00:57:45,161
lived in a castle
that was like a film museum.

839
00:57:45,481 --> 00:57:47,761
Night is coming, and melancholy.

840
00:57:47,921 --> 00:57:51,441
Come now.
Who and what shall we talk about?

841
00:57:51,601 --> 00:57:53,641
Renoir? The Popular Front?

842
00:57:53,801 --> 00:57:56,601
I was thinking
of the fellow with the big eyes.

843
00:57:56,761 --> 00:57:58,641
Who? Buster Keaton?

844
00:57:58,801 --> 00:58:00,521
No, not Keaton today.

845
00:58:00,681 --> 00:58:03,841
Buñuel. That eye he slashed in two.

846
00:58:09,201 --> 00:58:11,601
Monsieur Cinema had visitors.

847
00:58:11,761 --> 00:58:14,761
Hanna Schygulla and Jeanne Moreau!

848
00:58:14,921 --> 00:58:17,201
I worked with experienced actors here.

849
00:58:18,641 --> 00:58:20,161
They intimidate me.

850
00:58:21,321 --> 00:58:25,161
For this film,
I dared hire a number of stars.

851
00:58:26,801 --> 00:58:28,481
B for Belmondo.

852
00:58:30,081 --> 00:58:31,481
D for Depardieu.

853
00:58:33,481 --> 00:58:35,801
D for Delon.

854
00:58:36,321 --> 00:58:38,921
I hear Monsieur Cinema has taken ill.

855
00:58:39,561 --> 00:58:42,761
And D for duo. Two famous actors.

856
00:58:43,041 --> 00:58:45,481
Deneuve and De Niro.

857
00:58:48,241 --> 00:58:49,361
A dream.

858
00:58:52,601 --> 00:58:55,561
A dreamy couple, an idyllic cruise.

859
00:58:56,081 --> 00:58:58,561
In reality, on the technical side,

860
00:58:58,721 --> 00:59:00,481
the ocean was a pond.

861
00:59:00,641 --> 00:59:03,521
And 40 technicians found a clever way

862
00:59:03,681 --> 00:59:06,721
for us to do tracking shots
with light stands,

863
00:59:06,881 --> 00:59:10,881
filter screens, rails
and pillars for spotlights.

864
00:59:12,001 --> 00:59:13,321
It was very hot.

865
00:59:13,481 --> 00:59:17,281
We'd bought sunshades
and 20 rubber overalls.

866
00:59:17,841 --> 00:59:22,761
The crew resembled slaves
going down The Nile on a fool's arc.

867
00:59:28,441 --> 00:59:31,561
De Niro flew in on the Concorde
the day before.

868
00:59:31,721 --> 00:59:34,841
He said he rose at 4 a.m. for 3 days,

869
00:59:35,001 --> 00:59:37,561
to beat the jet lag in advance

870
00:59:37,721 --> 00:59:40,201
and be in good shape for the shoot.

871
00:59:42,681 --> 00:59:44,161
A one-day shoot.

872
00:59:44,321 --> 00:59:46,561
He had to leave the next morning.

873
00:59:47,921 --> 00:59:49,721
Getting up at 4 a.m.

874
00:59:50,441 --> 00:59:53,441
was so professional.
We were impressed.

875
00:59:53,841 --> 00:59:57,241
He was willing to shoot in a boat,
in a bowtie

876
00:59:57,401 --> 00:59:58,921
and in French.

877
00:59:59,321 --> 01:00:02,161
He learned his lines phonetically
all morning.

878
01:00:02,321 --> 01:00:04,601
It was fun rehearsing with him.

879
01:00:05,321 --> 01:00:07,361
Honey, did you turn off the gas,

880
01:00:07,521 --> 01:00:10,081
change the cat litter
and put the mayo in the fridge?

881
01:00:11,001 --> 01:00:12,121
Not bad!

882
01:00:18,281 --> 01:00:19,161
I can brag

883
01:00:19,321 --> 01:00:22,881
about getting Deneuve and De Niro
in a boat and in a film.

884
01:00:23,041 --> 01:00:26,801
I can brag about writing a scene
where De Niro falls in the water.

885
01:00:28,241 --> 01:00:30,441
But that was a stunt double.

886
01:00:31,601 --> 01:00:33,881
The film took a dive too.

887
01:00:34,041 --> 01:00:35,921
A box office disaster.

888
01:00:37,961 --> 01:00:41,561
I didn't make
another fiction film in 35mm

889
01:00:41,961 --> 01:00:43,561
or 16mm.

890
01:00:43,921 --> 01:00:46,921
Through to the end of the century.

891
01:00:50,201 --> 01:00:52,601
But I'd made a few films.

892
01:00:52,761 --> 01:00:56,521
They are appreciated and loved
around the world.

893
01:00:57,081 --> 01:00:59,641
My films are covered in affection.

894
01:01:03,921 --> 01:01:05,561
Freeze frame.

895
01:01:05,721 --> 01:01:06,841
Let's talk photos,

896
01:01:07,001 --> 01:01:10,241
with a return to the 1950s
and picture cameras.

897
01:01:26,401 --> 01:01:29,241
I was a photographer in my first life.

898
01:01:29,401 --> 01:01:31,121
I'll be brief about it.

899
01:01:32,561 --> 01:01:34,161
Some remember

900
01:01:34,321 --> 01:01:37,321
my photographs of Gérard Philippe

901
01:01:37,561 --> 01:01:39,121
and Jean Vilar

902
01:01:39,681 --> 01:01:41,521
at the Avignon Festival

903
01:01:41,881 --> 01:01:44,881
and the TNP.
People still talk about them.

904
01:01:45,521 --> 01:01:50,721
Back then, in 1950,
I began photographing theatre.

905
01:01:50,881 --> 01:01:54,601
To document elements
of staging and performance,

906
01:01:54,761 --> 01:02:00,921
and also, in particular,
to create images to represent each play.

907
01:02:02,441 --> 01:02:03,681
For example,

908
01:02:04,321 --> 01:02:05,921
The Prince of Homburg.

909
01:02:06,081 --> 01:02:07,681
Officer, dreamer.

910
01:02:07,841 --> 01:02:10,201
Shot outside in bright sunlight.

911
01:02:11,041 --> 01:02:12,361
In profile,

912
01:02:12,521 --> 01:02:15,001
the star-crossed lovers of Macbeth,

913
01:02:15,161 --> 01:02:16,681
Vilar and Casarès.

914
01:02:17,081 --> 01:02:19,441
And King Ubu, on a jaunt in Paris.

915
01:02:19,601 --> 01:02:22,641
"Blue corn! Ham of God! Head of Cow!"

916
01:02:23,361 --> 01:02:26,801
Caravans as dressing rooms
for Mother Courage.

917
01:02:27,681 --> 01:02:30,401
And in a makeshift dressing room
at the Papal Palace,

918
01:02:30,561 --> 01:02:34,001
Vilar alone,
after playing The Miser.

919
01:02:36,521 --> 01:02:38,881
Salvador Dalí in Cadaqués.

920
01:02:40,321 --> 01:02:42,161
Brassaï on Rue Fermat.

921
01:02:43,841 --> 01:02:47,361
Eugène Ionesco
with his three-nosed fiancée.

922
01:02:48,441 --> 01:02:50,441
Pierre Székely and his daughter.

923
01:02:51,801 --> 01:02:54,721
Simon Hantaï with his wife and son.

924
01:02:56,561 --> 01:02:58,441
And Mario Prassinos.

925
01:02:59,481 --> 01:03:02,281
Calder in the 14th arrondissement.

926
01:03:03,681 --> 01:03:06,281
A few filmmakers: Visconti,

927
01:03:07,201 --> 01:03:08,521
Fellini,

928
01:03:09,601 --> 01:03:10,721
Demy.

929
01:03:11,841 --> 01:03:13,281
Jacques Demy.

930
01:03:15,121 --> 01:03:17,641
Portraits of famous actresses:

931
01:03:18,081 --> 01:03:19,561
Anouk Aimée,

932
01:03:20,601 --> 01:03:22,201
Catherine Deneuve

933
01:03:23,201 --> 01:03:24,321
and Jeanne Moreau.

934
01:03:26,361 --> 01:03:29,441
And the famous Líder Máximo,
Fidel Castro,

935
01:03:29,601 --> 01:03:31,361
with his wings of stone.

936
01:03:32,601 --> 01:03:34,161
But also neighbours:

937
01:03:34,521 --> 01:03:36,121
Mimi and her mother,

938
01:03:36,561 --> 01:03:38,081
Boukkra the grocer.

939
01:03:38,521 --> 01:03:39,681
And friends:

940
01:03:39,841 --> 01:03:42,161
Igor, my brother Jean,

941
01:03:42,921 --> 01:03:43,961
Linou

942
01:03:44,681 --> 01:03:46,401
and Véronique.

943
01:03:47,881 --> 01:03:50,081
Chance provided the staging

944
01:03:50,241 --> 01:03:53,601
on Corbusier's terrace in Marseille.

945
01:03:54,601 --> 01:03:57,561
These are people seen at random

946
01:03:58,001 --> 01:04:00,201
and caught at the right time.

947
01:04:00,361 --> 01:04:02,561
A Portuguese woman passing.

948
01:04:03,601 --> 01:04:05,641
A salt maker, some salt

949
01:04:05,801 --> 01:04:07,361
and a pious woman.

950
01:04:09,201 --> 01:04:11,521
People outside a circus.

951
01:04:12,961 --> 01:04:15,641
I liked to do composed photographs.

952
01:04:21,681 --> 01:04:23,401
Groups too.

953
01:04:23,641 --> 01:04:25,841
A family in the Ardennes.

954
01:04:26,241 --> 01:04:29,081
School girls in Mukden.

955
01:04:30,201 --> 01:04:31,921
China was so far away.

956
01:04:32,081 --> 01:04:33,641
I felt emotions there.

957
01:04:34,001 --> 01:04:35,641
With children.

958
01:04:36,521 --> 01:04:38,721
A little girl with a flower.

959
01:04:39,001 --> 01:04:42,321
The old woman in the back
has mangled feet.

960
01:04:43,241 --> 01:04:45,041
A little boy.

961
01:04:45,201 --> 01:04:49,081
Workers, or prisoners, pass nearby.

962
01:04:50,201 --> 01:04:52,561
And a moving landscape.

963
01:04:53,601 --> 01:04:56,841
A petrified forest
with two living beings:

964
01:04:57,001 --> 01:05:00,361
a small horse and a man bearing water.

965
01:05:07,441 --> 01:05:11,921
I'll sign off this prelude
with some self-portraits.

966
01:05:13,201 --> 01:05:15,281
In this one, I was 20.

967
01:05:16,361 --> 01:05:18,681
How I loved mosaics!

968
01:05:19,041 --> 01:05:21,241
In this one, I was 36.

969
01:05:21,401 --> 01:05:26,001
Standing on the right
of a huge painting by Gentile Bellini.

970
01:05:26,161 --> 01:05:28,161
How I loved paintings!

971
01:05:29,001 --> 01:05:31,161
And here I am at 80.

972
01:05:31,681 --> 01:05:36,401
I experienced the passage
from one century to another.

973
01:05:37,641 --> 01:05:41,561
As the year 2000 approached,
there were many rumours.

974
01:05:41,721 --> 01:05:43,321
It'd be the end of the world.

975
01:05:43,481 --> 01:05:48,201
A computer bug of epic proportions
would blow everything up.

976
01:05:48,881 --> 01:05:51,201
In reality, that New Year's Eve

977
01:05:51,361 --> 01:05:54,921
was celebrated a thousand ways,
from anxiety to exaltation.

978
01:05:55,521 --> 01:06:00,241
But on the first morning
of the 21st century, all was calm.

979
01:06:01,041 --> 01:06:04,361
The new century brought change.

980
01:06:04,521 --> 01:06:07,441
Something new for me as a filmmaker.

981
01:06:07,601 --> 01:06:11,081
Small cameras. Digital cameras.

982
01:06:11,241 --> 01:06:15,121
They gave me an opportunity

983
01:06:15,481 --> 01:06:17,521
to work in a different way.

984
01:06:18,401 --> 01:06:21,161
These new cameras are digital

985
01:06:21,521 --> 01:06:24,601
and fantastic.
They can be stroboscopic,

986
01:06:25,201 --> 01:06:26,281
narcissistic,

987
01:06:27,001 --> 01:06:28,601
even photorealistic.

988
01:06:52,641 --> 01:06:56,121
I could do more personal, intimate work.

989
01:06:56,281 --> 01:06:59,121
I could make documentaries freely.

990
01:07:00,401 --> 01:07:05,121
I'd like to return to three words
I mentioned in my first chat.

991
01:07:05,281 --> 01:07:09,201
Words that guide me.
Inspiration, creation, sharing.

992
01:07:09,361 --> 01:07:12,041
I'd like to discuss inspiration again.

993
01:07:12,721 --> 01:07:14,041
It's quite curious.

994
01:07:14,201 --> 01:07:16,361
Sometimes it happens,

995
01:07:16,521 --> 01:07:20,281
and it comes straight out of reality.

996
01:07:20,441 --> 01:07:24,681
I was at a café on Blvd. Edgar Quinet.

997
01:07:24,841 --> 01:07:28,161
The market was just finishing.

998
01:07:28,321 --> 01:07:32,281
I saw vendors loading their crates,

999
01:07:32,441 --> 01:07:35,121
baskets and cash boxes
into their trucks.

1000
01:07:35,281 --> 01:07:39,281
City cleaners were waiting
with their green plastic brooms.

1001
01:07:39,441 --> 01:07:41,281
And people began to come.

1002
01:07:41,441 --> 01:07:45,001
They bent down
and picked up what they could find.

1003
01:07:46,121 --> 01:07:48,841
A phrase took root in my mind.

1004
01:07:49,361 --> 01:07:52,841
"They pick up and eat
what we throw away."

1005
01:07:53,321 --> 01:07:56,921
The phrase felt like a subject
in itself.

1006
01:07:57,081 --> 01:08:00,721
I absolutely had to make a documentary.

1007
01:08:02,201 --> 01:08:06,161
Gleaning may be extinct,
but stooping has not vanished

1008
01:08:06,321 --> 01:08:08,041
from our sated society.

1009
01:08:08,281 --> 01:08:11,721
Urban and rural gleaners
all stoop to pick up.

1010
01:08:11,881 --> 01:08:15,201
There's no shame,
only worry and distress.

1011
01:08:16,001 --> 01:08:19,761
Those small cameras
really played a role here.

1012
01:08:19,921 --> 01:08:26,201
They allowed me to approach people
who'd fallen on hard times

1013
01:08:26,361 --> 01:08:30,201
and would've been uncomfortable
with a cameraman,

1014
01:08:30,521 --> 01:08:32,521
a sound guy with a boom,

1015
01:08:32,681 --> 01:08:35,481
assistants in caps and sunglasses...

1016
01:08:35,641 --> 01:08:38,241
All the clichés of a film shoot.

1017
01:08:38,401 --> 01:08:42,641
It was just me and my little camera,
like a picture camera.

1018
01:08:42,801 --> 01:08:44,521
I didn't frighten them.

1019
01:08:45,801 --> 01:08:47,561
I intimidated no one.

1020
01:08:47,721 --> 01:08:50,201
I never have.

1021
01:08:50,361 --> 01:08:54,841
It gave me a chance to meet people.
I'll tell you about Alain.

1022
01:08:56,601 --> 01:09:00,641
I see a man with a large bag
eating on the spot.

1023
01:09:06,121 --> 01:09:09,641
I’d see him now and then,
always with his bag,

1024
01:09:09,921 --> 01:09:11,361
always eating.

1025
01:09:18,001 --> 01:09:19,801
The day he was eating parsley

1026
01:09:19,961 --> 01:09:21,681
I approached him.

1027
01:09:22,521 --> 01:09:24,281
Are you a big parsley eater?

1028
01:09:24,441 --> 01:09:26,521
Sometimes. It's good for you.

1029
01:09:26,681 --> 01:09:30,881
Full of vitamin C and E, beta carotene,
zinc, magnesium.

1030
01:09:31,041 --> 01:09:32,321
It's excellent.

1031
01:09:33,481 --> 01:09:35,561
His answer amazed me.

1032
01:09:36,721 --> 01:09:39,601
Over the following weeks
I filmed him often,

1033
01:09:39,761 --> 01:09:41,401
with or without sound,

1034
01:09:41,561 --> 01:09:44,081
and he talked to me in snatches.

1035
01:09:46,721 --> 01:09:50,481
I eat a lot of fruit.
I love apples. They're easy.

1036
01:09:51,081 --> 01:09:52,881
I find all the apples I want.

1037
01:09:54,041 --> 01:09:56,081
How many do you eat a day?

1038
01:09:56,241 --> 01:09:57,521
6 or 7.

1039
01:09:58,481 --> 01:10:00,321
Is it your staple diet?

1040
01:10:00,481 --> 01:10:02,681
I also eat bread.

1041
01:10:03,521 --> 01:10:05,921
I talked to him a number of times.

1042
01:10:06,081 --> 01:10:08,801
I learned how he went
from studying biology

1043
01:10:08,961 --> 01:10:12,201
to living in this difficult,
humble situation.

1044
01:10:12,961 --> 01:10:16,241
I was also keen
to explore agricultural gleaning.

1045
01:10:16,601 --> 01:10:20,721
Gleaning in the fields
after the harvest.

1046
01:10:21,081 --> 01:10:23,401
We had to shoot quickly.

1047
01:10:23,561 --> 01:10:25,641
It was potato season.

1048
01:10:25,801 --> 01:10:30,761
Seasons don't wait
on cinema's unpredictable schedules.

1049
01:10:30,921 --> 01:10:35,041
So I contacted a potato cooperative.

1050
01:10:35,481 --> 01:10:38,401
I saw the gleaners
and went to the cooperative.

1051
01:10:41,961 --> 01:10:44,921
In supermarkets, firm ones are sold

1052
01:10:45,081 --> 01:10:48,481
in containers of 2. 5 or 5 kilos.

1053
01:10:48,641 --> 01:10:52,241
They have to be a specific calibre.

1054
01:10:52,921 --> 01:10:56,121
For the stores, we sell potatoes

1055
01:10:56,721 --> 01:10:59,881
ranging in size
from 45 to 75 millimetres.

1056
01:11:00,041 --> 01:11:03,921
All the rest
are automatically discarded.

1057
01:11:04,361 --> 01:11:06,721
We reject outsized ones, green ones,

1058
01:11:06,881 --> 01:11:08,481
stones and cut

1059
01:11:08,881 --> 01:11:10,321
or damaged ones.

1060
01:11:10,481 --> 01:11:14,521
The non-standard potatoes
are left in the fields.

1061
01:11:14,761 --> 01:11:17,241
Off I go with my 30 kilos.

1062
01:11:17,681 --> 01:11:19,601
There are several tonnes left.

1063
01:11:19,761 --> 01:11:23,801
People could take some,
if they knew about it.

1064
01:11:24,401 --> 01:11:25,641
There you go.

1065
01:11:26,401 --> 01:11:30,201
There's someone
who must have been tipped off.

1066
01:11:30,561 --> 01:11:33,201
Among the rejects, we find huge ones.

1067
01:11:36,561 --> 01:11:38,601
And heart-shaped ones.

1068
01:11:38,761 --> 01:11:41,161
The heart, I want the heart!

1069
01:11:42,041 --> 01:11:43,281
What a surprise!

1070
01:11:43,721 --> 01:11:45,281
I was happy.

1071
01:11:45,441 --> 01:11:47,041
I filmed them up close.

1072
01:11:47,881 --> 01:11:49,921
And brought some home.

1073
01:11:50,841 --> 01:11:53,841
Even with a documentary
on a specific subject,

1074
01:11:54,361 --> 01:11:57,361
you are guided by what you film.

1075
01:11:57,801 --> 01:12:00,761
Hearts speak of tenderness, love.

1076
01:12:00,921 --> 01:12:02,761
It was powerful.

1077
01:12:02,921 --> 01:12:05,921
We couldn't help but think about it.

1078
01:12:06,081 --> 01:12:09,161
It inspired us to approach the gleaners
with affection.

1079
01:12:12,681 --> 01:12:16,001
And those heart-shaped potatoes
inspired me.

1080
01:12:16,761 --> 01:12:18,361
I let them age,

1081
01:12:18,801 --> 01:12:19,921
sprout

1082
01:12:20,241 --> 01:12:22,081
and shrivel up.

1083
01:12:22,801 --> 01:12:24,361
Despite it all,

1084
01:12:24,641 --> 01:12:26,801
they found new life as sprouts

1085
01:12:27,281 --> 01:12:29,041
and roots.

1086
01:12:32,081 --> 01:12:35,841
That's when Hans Ulrich Obrist
came into my life.

1087
01:12:36,521 --> 01:12:41,081
He had a section
in the 2003 Venice Biennial.

1088
01:12:41,561 --> 01:12:43,801
He created a group

1089
01:12:43,961 --> 01:12:45,601
called Utopia Station.

1090
01:12:46,601 --> 01:12:50,161
Everyone did a poster
and an installation.

1091
01:12:50,321 --> 01:12:52,881
I had a potato costume made for me

1092
01:12:53,881 --> 01:12:57,401
to promote my installation Patatutopia.

1093
01:12:59,721 --> 01:13:02,881
There were 700 kilos of potatoes
on the floor.

1094
01:13:03,041 --> 01:13:06,761
It was the first time
I exposed on three screens.

1095
01:13:06,921 --> 01:13:08,441
I loved it.

1096
01:13:08,601 --> 01:13:12,561
In the centre,
I put breathing, heart-shaped spuds.

1097
01:13:17,361 --> 01:13:20,241
And on either side, I put roots

1098
01:13:20,401 --> 01:13:22,081
and sprouts.

1099
01:13:34,121 --> 01:13:37,681
This work of rot marked my entry

1100
01:13:37,841 --> 01:13:41,801
into the group of artists
known as visual artists.

1101
01:13:41,961 --> 01:13:45,921
The French call artists plasticiens.
We don't make plastic!

1102
01:13:46,081 --> 01:13:48,841
I prefer the English term:
visual artist.

1103
01:13:50,641 --> 01:13:53,201
I really enjoyed proposing

1104
01:13:53,361 --> 01:13:56,001
a more complex way of seeing.

1105
01:13:56,441 --> 01:14:00,921
It was also a nod
to 15th and 16th century triptychs,

1106
01:14:01,081 --> 01:14:02,561
which I love.

1107
01:14:03,721 --> 01:14:07,121
Some of them evoke special emotions.

1108
01:14:07,281 --> 01:14:13,321
I wanted to do something along the lines
of those triptychs of interior scenes.

1109
01:14:13,481 --> 01:14:17,841
So I made The Triptych of Noirmoutier.
Very simple. In a kitchen.

1110
01:14:18,641 --> 01:14:20,561
The man drinks his beer,

1111
01:14:20,721 --> 01:14:24,281
while his elderly mother
untangles a string

1112
01:14:24,441 --> 01:14:26,641
and his wife peels potatoes.

1113
01:14:27,601 --> 01:14:30,961
I've always had questions like:

1114
01:14:31,121 --> 01:14:34,681
What happens
before and after a snapshot?

1115
01:14:34,841 --> 01:14:37,441
Or in a film:
What happens when they exit the frame?

1116
01:14:39,641 --> 01:14:42,801
Here, I used side panels

1117
01:14:42,961 --> 01:14:45,321
to show what's off-screen.

1118
01:14:50,121 --> 01:14:54,361
I proposed answers
to our desire to enlarge the frame.

1119
01:14:56,081 --> 01:15:00,361
Visitors choose to see, or not,
what lies beyond the walls.

1120
01:15:17,161 --> 01:15:20,721
Many visitors came,
responded and reacted.

1121
01:15:20,881 --> 01:15:24,321
MoMA in New York
acquired one of the 3 copies.

1122
01:15:24,481 --> 01:15:27,241
And since then, Hervé Chandès,

1123
01:15:27,401 --> 01:15:30,201
the inventive Director of this place,

1124
01:15:30,361 --> 01:15:33,401
the Cartier Foundation
for Contemporary Art,

1125
01:15:33,561 --> 01:15:37,761
purchased the second copy
of the triptych.

1126
01:15:38,081 --> 01:15:42,681
The time has come to ask him
to join our chat.

1127
01:15:48,401 --> 01:15:50,041
Good evening.

1128
01:15:51,081 --> 01:15:52,961
Good evening Agnès, everyone.

1129
01:15:53,641 --> 01:15:56,201
We met when you invited me.

1130
01:15:56,561 --> 01:15:58,921
I'd seen the expo in Venice.

1131
01:15:59,081 --> 01:16:02,841
Then one day I called you, in 2005.

1132
01:16:03,001 --> 01:16:07,201
The expo at Martine Aboucaya's gallery
came soon after.

1133
01:16:07,361 --> 01:16:09,321
We went to it together.

1134
01:16:09,641 --> 01:16:13,281
That's where I discovered
The Triptych of Noirmoutier

1135
01:16:13,441 --> 01:16:15,361
and The Widows of Noirmoutier.

1136
01:16:15,521 --> 01:16:19,441
So you invited me
and offered me that incredible space.

1137
01:16:19,681 --> 01:16:23,281
I was so excited to have so much space.

1138
01:16:23,441 --> 01:16:27,721
All my ideas and propositions were based

1139
01:16:27,881 --> 01:16:31,841
on the Ile of Noirmoutier,
where I'd lived with Jacques Demy.

1140
01:16:32,441 --> 01:16:34,761
I made up a title with two meanings,

1141
01:16:35,281 --> 01:16:36,641
L'Ile et Elle.

1142
01:16:36,801 --> 01:16:38,441
That was in 2006.

1143
01:16:39,521 --> 01:16:42,321
Before they built the bridge,

1144
01:16:42,481 --> 01:16:45,201
you could only get to the island

1145
01:16:45,361 --> 01:16:47,921
by the Gois highway at low tide.

1146
01:16:49,521 --> 01:16:52,881
Signs indicated
the exact times of the tides

1147
01:16:53,041 --> 01:16:55,041
and access to the island.

1148
01:16:55,401 --> 01:16:58,641
Visitors had to go through a filter.

1149
01:16:58,801 --> 01:17:00,601
We built a barrier.

1150
01:17:00,761 --> 01:17:03,201
They had to wait for low tide to go in.

1151
01:17:03,361 --> 01:17:04,961
A clever idea.

1152
01:17:06,041 --> 01:17:09,961
On a factory curtain
of heavy plastic slats,

1153
01:17:10,121 --> 01:17:12,121
you watched the tide go down.

1154
01:17:13,281 --> 01:17:16,001
Then the barrier lifted.

1155
01:17:19,201 --> 01:17:21,161
You entered the island

1156
01:17:21,641 --> 01:17:23,401
and my world.

1157
01:17:24,321 --> 01:17:26,201
The big postcard.

1158
01:17:26,601 --> 01:17:28,241
The portrait shack.

1159
01:17:28,561 --> 01:17:29,361
Women.

1160
01:17:30,681 --> 01:17:31,481
Men.

1161
01:17:33,081 --> 01:17:36,601
I took advantage
of the dimensions and light

1162
01:17:36,761 --> 01:17:40,081
in that big space
designed by Jean Nouvel

1163
01:17:40,241 --> 01:17:43,561
to make my first cinema shack.

1164
01:17:44,841 --> 01:17:48,161
Made with the footage of a film.

1165
01:17:49,641 --> 01:17:52,721
On a metal structure
by Christophe Vallaux,

1166
01:17:52,881 --> 01:17:58,081
we mounted the 3,500 metres
of a standard copy in 9 reels.

1167
01:17:58,761 --> 01:18:02,961
We even added a couple reels
to finish the roof.

1168
01:18:03,881 --> 01:18:05,041
For visitors,

1169
01:18:05,201 --> 01:18:07,201
the film's good and beautiful actors

1170
01:18:07,481 --> 01:18:09,721
Catherine Deneuve and Michel Piccoli,

1171
01:18:09,881 --> 01:18:11,801
were now up close.

1172
01:18:13,121 --> 01:18:14,281
The close-ups

1173
01:18:14,441 --> 01:18:16,681
and the light passing through the film

1174
01:18:16,841 --> 01:18:19,321
create a new form of cinema.

1175
01:18:20,881 --> 01:18:22,561
Let's rewind a bit.

1176
01:18:23,561 --> 01:18:28,121
We filmmakers
used to work with 35mm film.

1177
01:18:28,481 --> 01:18:31,161
We handled it during editing,
assembled it.

1178
01:18:33,041 --> 01:18:34,641
We transported reels in canisters.

1179
01:18:35,081 --> 01:18:36,641
And it all ended up

1180
01:18:36,801 --> 01:18:38,441
in cinema projection booths.

1181
01:18:40,441 --> 01:18:42,281
Film projection has disappeared

1182
01:18:43,441 --> 01:18:45,281
in favour of digital files.

1183
01:18:46,641 --> 01:18:49,521
We found ourselves
with hundreds of reels

1184
01:18:49,681 --> 01:18:51,481
stagnating on shelves,

1185
01:18:51,641 --> 01:18:54,001
in basements, projection booths

1186
01:18:54,161 --> 01:18:55,801
and stockrooms.

1187
01:19:03,841 --> 01:19:06,881
We used the reels of my film Happiness

1188
01:19:07,041 --> 01:19:08,841
to build, in 2018,

1189
01:19:09,241 --> 01:19:12,001
my third cinema shack
in the Galerie Obadia.

1190
01:19:18,641 --> 01:19:20,281
For those who know the film,

1191
01:19:20,441 --> 01:19:23,401
this is a reference
to the opening credits.

1192
01:19:24,001 --> 01:19:25,281
Jean-Claude Drouot,

1193
01:19:25,441 --> 01:19:27,281
his wife and his children,

1194
01:19:27,441 --> 01:19:28,721
the film's characters,

1195
01:19:28,881 --> 01:19:31,281
arrive blurry in the background.

1196
01:19:31,441 --> 01:19:34,641
In the foreground
is a field of sunflowers.

1197
01:19:37,401 --> 01:19:39,441
I made light boxes

1198
01:19:40,281 --> 01:19:42,361
for close-ups of the film strips,

1199
01:19:42,521 --> 01:19:48,041
with their projector perforations
and optical soundtrack.

1200
01:19:51,401 --> 01:19:53,841
So, this is the archway.

1201
01:19:54,241 --> 01:19:55,841
The archway of canisters.

1202
01:19:56,001 --> 01:19:59,161
The metal canisters that contain films.

1203
01:19:59,321 --> 01:20:02,481
We have the contents and the containers.

1204
01:20:03,281 --> 01:20:04,521
The canisters are empty?

1205
01:20:04,681 --> 01:20:06,081
Yes. Their contents

1206
01:20:06,721 --> 01:20:09,041
were used to make the shack.

1207
01:20:09,201 --> 01:20:10,681
You're recycling.

1208
01:20:10,841 --> 01:20:12,041
Always.

1209
01:20:12,681 --> 01:20:16,001
Ever since The Gleaners, whose theme

1210
01:20:16,161 --> 01:20:18,841
was suggested
by the gleaners themselves,

1211
01:20:19,001 --> 01:20:20,601
I've been interested in it.

1212
01:20:20,761 --> 01:20:24,761
And I've learned
that recycling brings joy.

1213
01:20:24,921 --> 01:20:27,081
We feel things aren't lost.

1214
01:20:27,241 --> 01:20:30,001
By taking these unusable canisters

1215
01:20:30,161 --> 01:20:32,361
and that unusable film

1216
01:20:32,521 --> 01:20:35,121
and recycling them artistically,
so to speak,

1217
01:20:35,281 --> 01:20:36,881
we give them new life.

1218
01:20:37,041 --> 01:20:39,441
It's not wasted. It comes back.

1219
01:20:39,601 --> 01:20:42,161
Nothing is lost. Everything transforms.

1220
01:20:42,321 --> 01:20:46,201
It transforms
through creation and imagination.

1221
01:20:51,441 --> 01:20:53,161
On the same floor,

1222
01:20:53,321 --> 01:20:56,081
I did an installation all in plastic.

1223
01:20:57,481 --> 01:21:00,761
Your work is fairly serious,
but this is funny.

1224
01:21:01,121 --> 01:21:05,521
Blowup mattresses, swim rings...
It's childhood, summertime.

1225
01:21:06,561 --> 01:21:10,521
Today we know plastic
is a scourge on the planet.

1226
01:21:10,681 --> 01:21:14,001
And yet,
how I loved that colourful stuff,

1227
01:21:14,161 --> 01:21:15,881
so cheap and so funny.

1228
01:21:16,881 --> 01:21:18,761
A 3-euro pair of thongs

1229
01:21:18,921 --> 01:21:21,681
is a triumph of consumer society!

1230
01:21:22,401 --> 01:21:24,201
I wanted to celebrate it.

1231
01:21:25,761 --> 01:21:27,121
To me, colour dances.

1232
01:21:27,281 --> 01:21:30,001
It dances in my head. It's summer.

1233
01:21:31,441 --> 01:21:33,761
Two things motivated me to do this.

1234
01:21:33,921 --> 01:21:37,321
A desire to throw myself into colour.

1235
01:21:37,721 --> 01:21:41,241
And the sound of it inspired me too.

1236
01:21:41,681 --> 01:21:44,081
Ping Pong, Thongs and Camping.

1237
01:21:54,761 --> 01:21:58,761
Bernard Lubat improvised music
on a pulsating table.

1238
01:21:59,841 --> 01:22:02,521
A ping pong concerto.

1239
01:22:11,641 --> 01:22:17,121
From the carefree world of childhood,
we went to a moving, solemn work:

1240
01:22:17,281 --> 01:22:19,001
The Widows of Noirmoutier.

1241
01:22:19,481 --> 01:22:21,521
There are many on the island.

1242
01:22:21,681 --> 01:22:23,361
I went there often.

1243
01:22:23,521 --> 01:22:25,201
I'm a widow too.

1244
01:22:26,921 --> 01:22:28,881
I felt close to them.

1245
01:22:29,041 --> 01:22:32,961
I began by asking
if they'd mind if I filmed them.

1246
01:22:33,201 --> 01:22:36,801
One-on-one. I was usually alone.

1247
01:22:36,961 --> 01:22:40,721
And they trusted me, because...

1248
01:22:40,881 --> 01:22:45,161
they felt
they could share their distress with me.

1249
01:22:46,241 --> 01:22:50,001
I arranged the space
in a particular way,

1250
01:22:50,161 --> 01:22:53,641
creating a polyptych screen.

1251
01:22:54,201 --> 01:22:59,441
Like the one by Jan van Kessel
of the four continents.

1252
01:23:02,601 --> 01:23:07,921
There was a central film,
shot by Eric Gauthier in 35mm.

1253
01:23:08,081 --> 01:23:10,121
It showed a table on a beach,

1254
01:23:10,281 --> 01:23:12,841
and widows walking around it.

1255
01:23:14,161 --> 01:23:18,521
That image was surrounded
by 14 small video screens.

1256
01:23:18,681 --> 01:23:20,761
There were 14 chairs in the room.

1257
01:23:20,921 --> 01:23:22,881
Each chair had headphones,

1258
01:23:23,041 --> 01:23:25,441
to listen to one of the widows.

1259
01:23:26,401 --> 01:23:30,161
Some people say
they speak to their dead.

1260
01:23:30,321 --> 01:23:32,321
I don't do that.

1261
01:23:36,721 --> 01:23:41,401
As I tell my kids, Dad left 13 years ago
but I can tell you...

1262
01:23:41,561 --> 01:23:44,001
it still feels like yesterday.

1263
01:23:44,361 --> 01:23:46,241
Especially at night.

1264
01:23:47,201 --> 01:23:51,841
During the day,
things keep you occupied.

1265
01:23:52,001 --> 01:23:55,321
But at night you’re all alone.

1266
01:23:55,961 --> 01:23:58,121
You think twice as much.

1267
01:24:02,401 --> 01:24:06,241
What I miss is touching him...

1268
01:24:06,401 --> 01:24:10,001
The house is still filled
with his presence.

1269
01:24:10,161 --> 01:24:12,081
His smell, his...

1270
01:24:12,241 --> 01:24:16,521
Two days ago we ate green beans
he bought at the market.

1271
01:24:17,361 --> 01:24:19,481
It's still so new.

1272
01:24:37,481 --> 01:24:40,521
That project really interested me.

1273
01:24:40,681 --> 01:24:42,761
I was used to one screen,

1274
01:24:42,921 --> 01:24:45,521
where everyone watches the same thing.

1275
01:24:45,681 --> 01:24:50,321
I wanted to modify
the audience's experience.

1276
01:24:50,481 --> 01:24:54,641
There, you had just 14 people
listening to one widow each.

1277
01:24:54,801 --> 01:24:56,761
But they were together in the room.

1278
01:24:56,921 --> 01:25:00,961
It made the experience
both intimate and collective.

1279
01:25:05,121 --> 01:25:09,081
Having each widow speak to one person

1280
01:25:09,241 --> 01:25:13,161
meant that
when the installation travelled,

1281
01:25:13,561 --> 01:25:17,001
we obviously couldn't subtitle it.

1282
01:25:17,161 --> 01:25:19,681
We'd lose the confidentiality.

1283
01:25:19,841 --> 01:25:21,201
So we dubbed it.

1284
01:25:21,361 --> 01:25:22,921
We dubbed the widows

1285
01:25:23,281 --> 01:25:24,401
in Swedish,

1286
01:25:24,561 --> 01:25:25,881
in English of course,

1287
01:25:26,041 --> 01:25:27,121
in Spanish,

1288
01:25:27,281 --> 01:25:29,121
and even in Chinese.

1289
01:25:33,201 --> 01:25:35,201
We loved each other so much...

1290
01:25:46,801 --> 01:25:48,761
It was so amazing for me

1291
01:25:48,921 --> 01:25:51,481
to see the Noirmoutier widows' words

1292
01:25:51,641 --> 01:25:54,641
finding listeners so far from home.

1293
01:25:54,801 --> 01:25:58,801
It's striking to see
how something so local,

1294
01:25:58,961 --> 01:26:01,641
like these stories from Noirmoutier,

1295
01:26:01,801 --> 01:26:05,081
can be so universal.

1296
01:26:05,241 --> 01:26:08,321
In China, Argentina or elsewhere.

1297
01:26:08,881 --> 01:26:13,241
It gave me great confidence
in art in the grand sense.

1298
01:26:13,401 --> 01:26:16,121
Because art

1299
01:26:16,281 --> 01:26:18,961
moves across cultures,

1300
01:26:19,121 --> 01:26:21,841
countries, nationalities, religions

1301
01:26:22,001 --> 01:26:23,521
and ages.

1302
01:26:24,641 --> 01:26:27,401
Speaking of ages, let's talk mine.

1303
01:26:27,561 --> 01:26:30,361
I just passed 90 and I don't care.

1304
01:26:30,521 --> 01:26:32,521
But 10 years ago,

1305
01:26:32,801 --> 01:26:36,561
when I was about to turn 80, I panicked.

1306
01:26:36,721 --> 01:26:38,481
The number 80

1307
01:26:38,641 --> 01:26:42,921
felt like the front of a train
barreling toward me.

1308
01:26:43,081 --> 01:26:46,761
I had to finish something
by the time I was 80.

1309
01:26:46,921 --> 01:26:49,881
So I plunged into a film project.

1310
01:26:50,041 --> 01:26:54,441
I went into it
feeling I had to get it done quick.

1311
01:26:55,841 --> 01:26:59,721
It would be a self-portrait,
a story of my journey.

1312
01:27:00,561 --> 01:27:02,721
I called it The Beaches of Agnès

1313
01:27:02,881 --> 01:27:06,201
because I've always lived near beaches.

1314
01:27:06,361 --> 01:27:10,081
I grew up in Belgium
near the northern beaches.

1315
01:27:10,241 --> 01:27:12,961
After the bombings
and the fall of France

1316
01:27:13,121 --> 01:27:16,081
we fled to Sète on the Mediterranean.

1317
01:27:16,241 --> 01:27:18,481
Jacques introduced me to the Atlantic.

1318
01:27:18,641 --> 01:27:22,241
In Los Angeles,
we discovered the Pacific.

1319
01:27:22,401 --> 01:27:24,641
We felt we'd seen all the seas.

1320
01:27:26,281 --> 01:27:28,761
Jacques and I lived for a long time

1321
01:27:29,321 --> 01:27:30,281
on Rue Daguerre.

1322
01:27:30,441 --> 01:27:35,961
So to justify the title of the film,
we made a beach outside my house

1323
01:27:36,121 --> 01:27:37,001
and office.

1324
01:27:37,161 --> 01:27:38,641
Ciné Tamaris.

1325
01:27:38,801 --> 01:27:42,001
You want Cecilia Rose?
One moment.

1326
01:27:42,161 --> 01:27:45,281
They want to rent Donkey Skin.

1327
01:27:49,401 --> 01:27:50,961
I’ll pass you Agnès.

1328
01:27:51,921 --> 01:27:53,161
Me first!

1329
01:27:53,481 --> 01:27:56,041
Please hold, I’ll get back to you.

1330
01:27:59,441 --> 01:28:01,121
I'm out of tea!

1331
01:28:01,761 --> 01:28:03,361
Got the estimate?

1332
01:28:03,681 --> 01:28:05,601
Not yet. Not yet!

1333
01:28:06,161 --> 01:28:08,281
Beachfront houses are nice.

1334
01:28:08,441 --> 01:28:12,081
Our neighbours were amused
and a bit alarmed.

1335
01:28:12,241 --> 01:28:14,161
The street was blocked for 2 days.

1336
01:28:14,321 --> 01:28:15,881
We had a permit.

1337
01:28:16,041 --> 01:28:17,441
For a private collection.

1338
01:28:17,601 --> 01:28:18,561
See Stéphanie.

1339
01:28:18,961 --> 01:28:20,481
Bank Neuflize OBC?

1340
01:28:22,521 --> 01:28:25,441
We need a loan without interest

1341
01:28:25,601 --> 01:28:28,921
to finish this film comfortably. Please!

1342
01:28:29,281 --> 01:28:32,681
A loan without interest.
Money was our eternal problem.

1343
01:28:33,161 --> 01:28:37,281
You must spend,
but you must also collect.

1344
01:28:37,561 --> 01:28:39,761
If not money, then trophies.

1345
01:28:40,281 --> 01:28:42,721
In a closet or on the sand,

1346
01:28:42,881 --> 01:28:45,601
Demy's and mine stick together.

1347
01:28:45,761 --> 01:28:49,041
A Golden Palm from Cannes.
A Golden Lion from Venice.

1348
01:28:49,881 --> 01:28:51,241
And since...

1349
01:28:52,281 --> 01:28:54,401
Vanitas, vanitatis...

1350
01:29:08,961 --> 01:29:12,121
I play the role of a little old lady,

1351
01:29:12,281 --> 01:29:14,321
pleasantly plump and talkative,

1352
01:29:14,721 --> 01:29:16,561
telling her life story.

1353
01:29:18,841 --> 01:29:23,281
And yet, others interest me more.
I prefer filming them.

1354
01:29:24,041 --> 01:29:27,561
Others intrigue me, motivate me,

1355
01:29:28,201 --> 01:29:29,921
arouse my curiosity,

1356
01:29:30,281 --> 01:29:33,241
disconcert me, fascinate me.

1357
01:29:34,761 --> 01:29:37,601
In telling my story, I thought:

1358
01:29:37,761 --> 01:29:40,841
If we opened people,
we'd find landscapes.

1359
01:29:42,201 --> 01:29:45,561
If we opened me, we'd find beaches.

1360
01:29:48,761 --> 01:29:51,241
Good. Turn it all the way around.

1361
01:29:52,641 --> 01:29:54,801
Painters use mirrors as tools

1362
01:29:55,281 --> 01:29:57,601
in making self-portraits.

1363
01:29:58,881 --> 01:30:00,761
But actually,

1364
01:30:01,041 --> 01:30:03,361
I presented, in my mirror,

1365
01:30:03,521 --> 01:30:06,601
people who worked with
and accompanied me.

1366
01:30:06,761 --> 01:30:09,041
It was a way to say

1367
01:30:09,201 --> 01:30:11,281
the film was about others and me.

1368
01:30:11,441 --> 01:30:13,321
Or me and others.

1369
01:30:17,001 --> 01:30:18,281
And I thought

1370
01:30:18,441 --> 01:30:22,441
of all the times I marched with others,
for various causes.

1371
01:30:23,841 --> 01:30:28,401
I wanted to march
in homage to a drawing by Sempé.

1372
01:30:28,561 --> 01:30:30,241
I hurt everywhere

1373
01:30:30,841 --> 01:30:32,201
We filmed the rally,

1374
01:30:32,361 --> 01:30:34,641
and me alone on the sidewalk

1375
01:30:34,801 --> 01:30:37,521
with a sign reading,
"I hurt everywhere."

1376
01:30:39,321 --> 01:30:42,841
I can march again if you like,
it's still true.

1377
01:30:43,201 --> 01:30:45,681
In any case, I tried,

1378
01:30:46,281 --> 01:30:47,841
with this film,

1379
01:30:48,001 --> 01:30:49,881
not only to tell my story,

1380
01:30:50,041 --> 01:30:54,961
but also to bring to life
memories attached to my films.

1381
01:30:55,121 --> 01:30:58,161
To capture certain moments
in the present.

1382
01:30:58,321 --> 01:30:59,841
For example,

1383
01:31:00,761 --> 01:31:05,041
I wanted to visit my childhood home
in Brussels, Rue de l'Aurore.

1384
01:31:05,201 --> 01:31:06,881
I went to film it,

1385
01:31:07,041 --> 01:31:12,721
but I met a couple there who collected
those little miniature trains.

1386
01:31:12,881 --> 01:31:17,161
Their collection was so extraordinary
and they were so enthusiastic

1387
01:31:17,321 --> 01:31:20,041
that I made a documentary about them.

1388
01:31:20,201 --> 01:31:23,521
It was more entertaining
than my old curtains.

1389
01:31:23,681 --> 01:31:26,001
So I've been right

1390
01:31:26,321 --> 01:31:28,561
in choosing others over myself.

1391
01:31:31,481 --> 01:31:34,161
This is a brass piece.

1392
01:31:34,321 --> 01:31:38,081
It's worth 80, 000 Belgian francs
in Switzerland.

1393
01:31:38,241 --> 01:31:41,041
Only 150 of them were made.

1394
01:31:41,561 --> 01:31:43,521
We call ourselves "insane for trains."

1395
01:31:43,921 --> 01:31:49,001
The real term for train lovers,
toy trains or real trains,

1396
01:31:49,161 --> 01:31:52,081
is "trainopath."

1397
01:31:54,921 --> 01:31:56,681
Trainopath!

1398
01:31:58,281 --> 01:32:00,241
And since it was unusual,

1399
01:32:00,401 --> 01:32:02,321
and I like making documentaries,

1400
01:32:02,481 --> 01:32:04,201
I jumped on the chance

1401
01:32:04,361 --> 01:32:06,281
offered to me by chance.

1402
01:32:06,441 --> 01:32:09,121
The "childhood home" part was a flop.

1403
01:32:13,841 --> 01:32:18,121
Then I returned to the Pointe Courte
where I shot my first film.

1404
01:32:18,281 --> 01:32:21,081
Where I learned
to choose places and faces

1405
01:32:21,241 --> 01:32:24,481
and work with non-professionals.

1406
01:32:24,641 --> 01:32:26,681
As I walked around,

1407
01:32:26,841 --> 01:32:31,361
I wanted to create a situation
linked to a memory from the film.

1408
01:32:31,521 --> 01:32:34,121
Create an emotion in the present.

1409
01:32:34,281 --> 01:32:39,801
I found some 16mm footage
I'd shot as a rough draft of the film.

1410
01:32:39,961 --> 01:32:41,961
I'd asked my friend Suzou

1411
01:32:42,121 --> 01:32:43,881
and her husband Pierrot

1412
01:32:44,041 --> 01:32:46,961
to pretend to be the couple

1413
01:32:47,241 --> 01:32:48,721
in the film.

1414
01:32:49,161 --> 01:32:52,921
Before the final cut,
Pierrot died of cancer.

1415
01:32:55,361 --> 01:32:57,281
Suzou raised their two sons.

1416
01:32:57,721 --> 01:32:58,601
Blaise

1417
01:32:59,041 --> 01:33:00,481
and Vincent.

1418
01:33:00,961 --> 01:33:02,361
Invited them

1419
01:33:02,521 --> 01:33:05,481
to share in a ceremony
with a cart from the film.

1420
01:33:05,641 --> 01:33:09,801
A way to show them
the test footage they’d never seen.

1421
01:33:22,121 --> 01:33:26,401
They’d seen their father in photos,
but never in motion.

1422
01:33:36,521 --> 01:33:40,721
We walked through the night
with our beloved friend.

1423
01:33:41,761 --> 01:33:46,001
Hundreds of anonymous people,
gone and forgotten,

1424
01:33:46,161 --> 01:33:49,681
inspired this Boltanski installation
that I filmed.

1425
01:33:49,841 --> 01:33:51,641
It was called Personnes.

1426
01:33:51,801 --> 01:33:53,481
Hundreds of tin boxes

1427
01:33:53,641 --> 01:33:56,121
as manifestations of his project.

1428
01:33:56,281 --> 01:34:02,681
Each number evokes a person,
and each tin is different.

1429
01:34:02,841 --> 01:34:07,641
It's as though each box
has someone inside, someone's heart

1430
01:34:08,001 --> 01:34:10,041
or someone's spirit.

1431
01:34:11,961 --> 01:34:13,401
Behind the wall of tins,

1432
01:34:13,561 --> 01:34:15,281
like a monument to the dead,

1433
01:34:15,441 --> 01:34:18,281
I filmed this gigantic installation.

1434
01:34:18,681 --> 01:34:21,961
On the floor were thousands of clothes.

1435
01:34:22,401 --> 01:34:24,561
And a pyramid of old clothes.

1436
01:34:24,721 --> 01:34:27,201
The artist gave them a meaning.

1437
01:34:27,361 --> 01:34:30,201
There's this constant movement.

1438
01:34:30,761 --> 01:34:34,081
The claw takes and releases.

1439
01:34:34,241 --> 01:34:36,401
It grabs at random.

1440
01:34:36,561 --> 01:34:38,721
A bit like the hand of God.

1441
01:34:38,881 --> 01:34:41,081
It's neither good nor evil.

1442
01:34:41,241 --> 01:34:44,321
It just does its job.
Taking and releasing.

1443
01:34:52,521 --> 01:34:55,881
It's part of a series
I made around the world.

1444
01:34:56,041 --> 01:34:58,121
I filmed people and places.

1445
01:34:58,281 --> 01:35:00,401
And in France, artists.

1446
01:35:02,881 --> 01:35:07,281
Artists and filmmakers whose work I love
open my mind.

1447
01:35:07,441 --> 01:35:10,641
They give me pleasure and energy.

1448
01:35:12,601 --> 01:35:15,361
And a desire to invent installations

1449
01:35:15,521 --> 01:35:19,281
or methods for each subject,
each project.

1450
01:35:20,721 --> 01:35:23,881
Here, on the 2nd floor
of a condemned building in Nantes,

1451
01:35:24,761 --> 01:35:26,001
I wanted to show

1452
01:35:26,161 --> 01:35:28,761
what life is like for squatters
who have nothing

1453
01:35:28,921 --> 01:35:31,721
and are evicted unceremoniously.

1454
01:35:31,881 --> 01:35:34,361
I posted information on a wall.

1455
01:35:34,801 --> 01:35:38,761
In an abandoned room,
I installed three essential items.

1456
01:35:39,441 --> 01:35:43,121
A mattress,
because they seek a place to sleep.

1457
01:35:43,281 --> 01:35:45,841
A wood stove, because they're cold.

1458
01:35:46,201 --> 01:35:50,401
And a shopping cart with a microwave,
because they're hungry.

1459
01:35:51,081 --> 01:35:53,881
The idea of a bed is important.

1460
01:35:54,121 --> 01:35:56,041
A bed is important.

1461
01:35:56,201 --> 01:35:58,841
Having a roof over your head.

1462
01:35:59,521 --> 01:36:01,561
Someone left mattresses outside.

1463
01:36:02,121 --> 01:36:05,841
We picked them up
and brought them home.

1464
01:36:07,841 --> 01:36:10,241
How many people live here?

1465
01:36:11,321 --> 01:36:12,641
About 6.

1466
01:36:12,801 --> 01:36:15,241
Yeah, 6 or 5.

1467
01:36:16,321 --> 01:36:18,361
You can prepare all you like,

1468
01:36:18,521 --> 01:36:22,001
but when winter comes,
at some point, it’ll be cold.

1469
01:36:22,161 --> 01:36:24,801
This year, winter was so hard.

1470
01:36:24,961 --> 01:36:28,761
I have a bad window,
it's already broken.

1471
01:36:28,921 --> 01:36:32,121
Air gets in and it's very humid.

1472
01:36:33,201 --> 01:36:36,201
People can end up on the streets.

1473
01:36:36,441 --> 01:36:40,801
One day they might wake up
to the police bursting in.

1474
01:36:41,201 --> 01:36:44,281
It was 7 in the morning.

1475
01:36:44,721 --> 01:36:46,801
They knocked on many doors.

1476
01:36:47,401 --> 01:36:51,481
We didn't wake up fast enough
to open the door.

1477
01:36:51,641 --> 01:36:53,281
They broke it down.

1478
01:36:53,441 --> 01:36:56,161
It was so violent.
There were 40 of them.

1479
01:36:56,881 --> 01:36:59,121
Over 40 police officers.

1480
01:36:59,281 --> 01:37:02,281
We were surrounded, people panicked.

1481
01:37:02,441 --> 01:37:03,641
It was so sudden.

1482
01:37:03,801 --> 01:37:07,481
We didn't even have 10 minutes.

1483
01:37:08,081 --> 01:37:09,441
Our stuff is still in there.

1484
01:37:09,601 --> 01:37:11,121
Can you get it?

1485
01:37:11,281 --> 01:37:13,921
No, they walled it off.

1486
01:37:17,241 --> 01:37:19,881
The opposite of a wall is a beach.

1487
01:37:21,921 --> 01:37:25,201
But it can become a wall,
as in this installation,

1488
01:37:25,361 --> 01:37:28,521
where I evoked the seaside
in three ways.

1489
01:37:29,201 --> 01:37:30,801
A giant photo.

1490
01:37:30,961 --> 01:37:33,561
The seafoam on the wave is still.

1491
01:37:33,801 --> 01:37:36,921
Then the still image
becomes a moving image.

1492
01:37:37,081 --> 01:37:40,801
The wave breaking on the sand.

1493
01:37:40,961 --> 01:37:42,361
And then sand.

1494
01:37:42,521 --> 01:37:44,641
A bit of tangible reality.

1495
01:37:47,161 --> 01:37:49,241
As in Patatutopia,

1496
01:37:49,761 --> 01:37:54,361
I like to bring together
reality and its representation.

1497
01:37:54,521 --> 01:37:55,961
That's a general goal,

1498
01:37:56,121 --> 01:38:00,601
but I also juxtapose
moving images and still images

1499
01:38:01,161 --> 01:38:02,801
in video...

1500
01:38:04,681 --> 01:38:06,441
and in photography.

1501
01:38:09,081 --> 01:38:11,561
The middle image is an old photograph.

1502
01:38:11,721 --> 01:38:14,001
A silver print from the 1950s.

1503
01:38:14,921 --> 01:38:16,401
On either side,

1504
01:38:16,561 --> 01:38:19,401
I took digital photographs in colour

1505
01:38:19,561 --> 01:38:21,441
of moving doves.

1506
01:38:23,201 --> 01:38:26,361
The metal frames resemble frames
I saw in Mexico.

1507
01:38:26,521 --> 01:38:28,601
And he's Miquel Barceló.

1508
01:38:29,521 --> 01:38:31,041
Another triptych.

1509
01:38:31,281 --> 01:38:34,081
The photo of Alice
hangs on the wall.

1510
01:38:34,641 --> 01:38:38,281
Next to it,
we project a double video.

1511
01:38:41,081 --> 01:38:44,521
I was fascinated
by how still the cows were.

1512
01:38:45,201 --> 01:38:47,721
Filming them for a moment,

1513
01:38:47,881 --> 01:38:52,881
we captured a fleeting instant
between stillness and movement.

1514
01:38:53,041 --> 01:38:56,361
One flicks her ear,
then starts to move.

1515
01:38:56,521 --> 01:39:00,281
A desire for movement
linked to immobility.

1516
01:39:03,001 --> 01:39:04,961
For a family cat,

1517
01:39:05,201 --> 01:39:06,561
Zgougou,

1518
01:39:06,721 --> 01:39:08,681
I made a tomb.

1519
01:39:13,441 --> 01:39:18,161
The animation was done the old way,
to music by Steve Reich,

1520
01:39:18,401 --> 01:39:22,361
We filmed the finished installation
with shells and flowers.

1521
01:39:22,521 --> 01:39:24,841
Then we filmed image by image,

1522
01:39:25,001 --> 01:39:27,241
removing one element at a time.

1523
01:39:27,561 --> 01:39:31,281
Here the sequence plays backwards.

1524
01:39:38,281 --> 01:39:42,801
You watched me film it, Hervé.
You brought your daughter.

1525
01:39:42,961 --> 01:39:45,361
Yes, she went up in the crane.

1526
01:39:48,281 --> 01:39:50,641
We put a big flower in the tree.

1527
01:39:50,801 --> 01:39:52,641
We needed a marker.

1528
01:39:52,801 --> 01:39:54,481
And I knew why.

1529
01:39:55,081 --> 01:39:59,001
I asked you: Will the Foundation
pay for a helicopter?

1530
01:39:59,161 --> 01:40:00,881
Of course we would!

1531
01:40:01,641 --> 01:40:04,321
So we filmed from the helicopter,

1532
01:40:04,681 --> 01:40:06,961
using the flower as our guide,

1533
01:40:07,121 --> 01:40:12,241
a sequence to show that the tomb
is near the sea.

1534
01:40:12,561 --> 01:40:16,081
And most of all,
this kitty who was important to us

1535
01:40:16,241 --> 01:40:19,561
took on another dimension
with the tomb.

1536
01:40:22,081 --> 01:40:26,201
But seen from further way,
she was like any human.

1537
01:40:26,361 --> 01:40:28,241
Miniscule in the universe.

1538
01:40:30,201 --> 01:40:33,441
You liked Zgougou's tomb.
You bought it.

1539
01:40:33,601 --> 01:40:35,161
I love it. I snapped it up.

1540
01:40:35,321 --> 01:40:37,201
But that's not all.

1541
01:40:37,721 --> 01:40:40,721
As always, I called you.
"Agnès, why don't we...

1542
01:40:42,001 --> 01:40:45,721
install the cat
in the Foundation gardens?"

1543
01:40:46,041 --> 01:40:48,921
- And?
- He ordered a shack from me.

1544
01:40:49,081 --> 01:40:51,481
It's out there in the garden.

1545
01:40:51,641 --> 01:40:53,161
Just outside.

1546
01:40:53,521 --> 01:40:55,921
A little soundproofed utility room

1547
01:40:56,081 --> 01:40:59,001
where we can play a video.

1548
01:40:59,881 --> 01:41:02,321
The video is on a loop.

1549
01:41:02,481 --> 01:41:06,401
Visitors to the Foundation
can drop in anytime.

1550
01:41:07,641 --> 01:41:09,881
They can say hi to Zgougou.

1551
01:41:28,081 --> 01:41:31,121
There's a pile of dirt in the shack.

1552
01:41:31,281 --> 01:41:34,081
- Yes.
- Is there really a cat under it?

1553
01:41:34,241 --> 01:41:35,481
Good question.

1554
01:41:35,641 --> 01:41:39,241
In truth,
the real cat Zgougou isn't here.

1555
01:41:39,401 --> 01:41:42,521
She's under a similar pile of dirt

1556
01:41:42,681 --> 01:41:44,801
on the island of Noirmoutier.

1557
01:41:44,961 --> 01:41:47,641
I haven't seen many cemeteries.

1558
01:41:47,801 --> 01:41:50,121
I know they're pretty sad.

1559
01:41:50,281 --> 01:41:52,241
But this one is more...

1560
01:41:52,401 --> 01:41:54,281
Even though it's a tomb

1561
01:41:54,441 --> 01:41:56,521
and we should be sad,

1562
01:41:56,681 --> 01:41:58,521
it's more...

1563
01:41:58,681 --> 01:42:01,601
more of a happy place,
with fun colours.

1564
01:42:05,681 --> 01:42:07,721
I came back, because it's better

1565
01:42:07,881 --> 01:42:10,001
to watch the film alone.

1566
01:42:10,161 --> 01:42:13,121
You feel things better, in the film.

1567
01:42:14,881 --> 01:42:17,801
Me too, when I'm alone by the sea,

1568
01:42:17,961 --> 01:42:19,761
I feel things better.

1569
01:42:20,801 --> 01:42:22,241
Things are double.

1570
01:42:24,121 --> 01:42:27,801
Even as I enjoy the gentle seascape,

1571
01:42:28,161 --> 01:42:31,281
I know the world
is filled with war, violence,

1572
01:42:31,481 --> 01:42:34,241
suffering and wandering.

1573
01:43:14,361 --> 01:43:15,601
Images of migrants

1574
01:43:15,881 --> 01:43:17,681
struggling and drowning.

1575
01:43:17,841 --> 01:43:19,241
Then this terrible image,

1576
01:43:19,721 --> 01:43:21,561
seen throughout the world.

1577
01:43:23,921 --> 01:43:26,761
We think about it,
and then we forget.

1578
01:43:26,921 --> 01:43:28,601
That's how we live.

1579
01:43:30,401 --> 01:43:34,721
Occasionally I got to work
on the inside of history.

1580
01:43:36,041 --> 01:43:39,121
I want to evoke Les Justes tonight.

1581
01:43:39,281 --> 01:43:41,801
I lived through the war,
I remember it.

1582
01:43:41,961 --> 01:43:44,921
But I had no traumatic experiences.

1583
01:43:45,081 --> 01:43:47,921
President Chirac wanted to pay tribute

1584
01:43:48,281 --> 01:43:50,841
to Les Justes de France
at the Pantheon.

1585
01:43:51,001 --> 01:43:55,601
I was asked to create a short work
for the ceremony.

1586
01:43:59,201 --> 01:44:01,681
A ceremony, a choir

1587
01:44:01,841 --> 01:44:03,961
and my enormous installation.

1588
01:44:06,121 --> 01:44:09,041
Hundreds of portraits on the floor

1589
01:44:09,201 --> 01:44:12,601
of those who took risks to save Jews.

1590
01:44:13,041 --> 01:44:16,121
They were named Les Justes,
the righteous.

1591
01:44:17,201 --> 01:44:21,921
I displayed photographs of them
like open books.

1592
01:44:22,441 --> 01:44:24,241
Their names are on them.

1593
01:44:25,681 --> 01:44:29,201
I added recent, unidentified portraits

1594
01:44:29,361 --> 01:44:32,881
representing
anonymous or unknown Justes.

1595
01:44:33,681 --> 01:44:36,281
To evoke Jews and Justes
in their time,

1596
01:44:36,441 --> 01:44:39,001
I screened 2 films simultaneously

1597
01:44:39,361 --> 01:44:42,241
on 4 screens under the dome.

1598
01:44:42,561 --> 01:44:43,881
A black-and-white film

1599
01:44:44,241 --> 01:44:47,481
shows at a distance
Jews being arrested.

1600
01:44:47,961 --> 01:44:52,601
On another screen,
detail shots in colour enhance reality.

1601
01:44:53,321 --> 01:44:57,841
You looked from one screen to the other
to follow the action.

1602
01:44:58,681 --> 01:45:01,601
Everyone recreated,
for real or mentally,

1603
01:45:02,601 --> 01:45:04,441
what I'll show you

1604
01:45:04,601 --> 01:45:07,961
in this excerpt
fusing images from both screens.

1605
01:45:38,321 --> 01:45:39,641
At the end of each sequence,

1606
01:45:40,241 --> 01:45:43,361
I showed photos of the Justes
who inspired the scene

1607
01:45:43,521 --> 01:45:47,001
and photos of those
who played the scene.

1608
01:45:47,161 --> 01:45:49,041
They weren't real actors,

1609
01:45:49,201 --> 01:45:51,041
but they were real people.

1610
01:45:52,041 --> 01:45:54,641
That's what I've always called

1611
01:45:54,801 --> 01:45:57,681
the people I film
in the streets or fields.

1612
01:46:03,921 --> 01:46:07,681
He was a baker in my native country.

1613
01:46:08,001 --> 01:46:11,441
And then, well...
I waited every Wednesday

1614
01:46:11,601 --> 01:46:14,921
when he brought his bread,
to see him.

1615
01:46:15,561 --> 01:46:19,241
Then, six months later,
we got married.

1616
01:46:24,641 --> 01:46:27,841
Real people
are at the heart of my work.

1617
01:46:28,001 --> 01:46:30,121
I have that in common with JR,

1618
01:46:30,281 --> 01:46:32,161
the urban photographer

1619
01:46:32,321 --> 01:46:35,801
who has approached
thousands of real people.

1620
01:46:36,001 --> 01:46:40,121
We wanted to make a film
of our encounters with people.

1621
01:46:40,281 --> 01:46:42,721
This time, in the French countryside.

1622
01:46:43,161 --> 01:46:45,481
We headed out in his magic truck,

1623
01:46:45,641 --> 01:46:48,081
with the goal of listening to people

1624
01:46:48,241 --> 01:46:50,761
and photographing them in the truck.

1625
01:46:51,721 --> 01:46:54,521
People go into the back,
like in a photo booth.

1626
01:46:54,681 --> 01:46:57,561
The photo comes out 5 seconds later,

1627
01:46:57,721 --> 01:46:58,801
in large format.

1628
01:46:59,441 --> 01:47:01,441
The plan was to show them off.

1629
01:47:01,601 --> 01:47:06,641
To post them as a counterpoint
to models and celebrities

1630
01:47:06,801 --> 01:47:09,561
selling cosmetics, cars and coffee.

1631
01:47:09,721 --> 01:47:12,761
We hired her as a waitress back in...

1632
01:47:13,361 --> 01:47:16,081
late May, early summer.

1633
01:47:16,561 --> 01:47:20,561
Now she's Bonnieux's most famous face.

1634
01:47:21,961 --> 01:47:24,601
What do you think
of your mum up there?

1635
01:47:24,761 --> 01:47:27,641
- She's super pretty.
- Indeed. I agree.

1636
01:47:28,321 --> 01:47:29,681
Press the button.

1637
01:47:30,681 --> 01:47:32,161
Show us your selfie.

1638
01:47:32,321 --> 01:47:33,361
Wow, nice!

1639
01:47:33,521 --> 01:47:34,881
You're good.

1640
01:47:35,041 --> 01:47:37,281
I'm no expert though.

1641
01:47:37,801 --> 01:47:39,641
Tickle tickle!

1642
01:47:41,121 --> 01:47:45,321
Our social and sociological experiment
was full of surprises.

1643
01:47:45,481 --> 01:47:50,041
In one village,
a man said he was the bell-ringer

1644
01:47:50,201 --> 01:47:52,481
and took us to his bell tower.

1645
01:47:52,801 --> 01:47:57,321
And there was a woman
who made goat cheese.

1646
01:47:57,481 --> 01:48:01,361
She was furious,
because other cheesemakers

1647
01:48:01,521 --> 01:48:03,281
were burning goats' horns off.

1648
01:48:03,441 --> 01:48:05,041
We saw it for ourselves.

1649
01:48:08,041 --> 01:48:09,841
We met Françoise.

1650
01:48:10,761 --> 01:48:13,281
You have one of the only herds

1651
01:48:13,441 --> 01:48:15,241
where the goats have horns.

1652
01:48:15,401 --> 01:48:19,201
To my mind,
if a goat has horns, she keeps them.

1653
01:48:19,361 --> 01:48:21,601
I'm not going to remove them.

1654
01:48:22,401 --> 01:48:24,521
That just seems...

1655
01:48:26,761 --> 01:48:29,921
I can find no logical explanation,

1656
01:48:30,081 --> 01:48:33,081
unless you see them as a product

1657
01:48:34,361 --> 01:48:37,681
required to attain
a certain rate of return,

1658
01:48:37,841 --> 01:48:42,401
so you eliminate anything
that might make them less profitable

1659
01:48:42,561 --> 01:48:44,361
and cut off their horns.

1660
01:48:44,961 --> 01:48:46,521
Burn them off.

1661
01:48:46,681 --> 01:48:50,561
But if you respect the animals,

1662
01:48:51,001 --> 01:48:52,561
you leave them intact.

1663
01:48:52,721 --> 01:48:55,281
If they have horns, they keep them.

1664
01:48:55,681 --> 01:48:57,041
Sure, they fight.

1665
01:48:57,201 --> 01:48:59,601
Human beings fight too.

1666
01:48:59,761 --> 01:49:01,161
I didn't know about it

1667
01:49:01,321 --> 01:49:03,401
until you told me just now.

1668
01:49:04,321 --> 01:49:05,881
This horn thing.

1669
01:49:06,041 --> 01:49:09,441
For this project, we didn't ask people

1670
01:49:09,601 --> 01:49:11,641
to answer our questions,

1671
01:49:12,201 --> 01:49:15,881
but rather to think,
and to invent their own responses

1672
01:49:16,041 --> 01:49:17,641
to the situations.

1673
01:49:17,801 --> 01:49:20,401
I say put balls on the tips,

1674
01:49:20,561 --> 01:49:22,761
like with bulls. Rubber balls.

1675
01:49:22,921 --> 01:49:26,161
Could be funny. Or clown noses.

1676
01:49:26,321 --> 01:49:27,441
Rubber ones.

1677
01:49:27,601 --> 01:49:30,681
You could use different colours

1678
01:49:30,841 --> 01:49:34,401
to tell them apart.
Purple, multicolour, zebra.

1679
01:49:34,561 --> 01:49:37,241
Great idea, I love it!
Very imaginative.

1680
01:49:37,401 --> 01:49:38,881
We 're glad we met you.

1681
01:49:39,681 --> 01:49:42,001
I enjoyed meeting you, too.

1682
01:49:43,201 --> 01:49:45,801
Our work together

1683
01:49:46,241 --> 01:49:47,921
made our friendship grow,

1684
01:49:48,081 --> 01:49:49,721
like a plant.

1685
01:49:50,401 --> 01:49:52,281
Like a fish in water.

1686
01:49:53,321 --> 01:49:55,481
He was interested in me,

1687
01:49:55,641 --> 01:49:58,961
and he was interested in my ageing.

1688
01:50:01,321 --> 01:50:03,201
I have an eye disease.

1689
01:50:03,361 --> 01:50:06,281
No fun, considering my profession.

1690
01:50:06,881 --> 01:50:09,561
I need shots, check-ups

1691
01:50:09,721 --> 01:50:11,521
and exams.

1692
01:50:11,681 --> 01:50:14,001
What kind of exams?

1693
01:50:14,481 --> 01:50:16,801
Looking at letters.

1694
01:50:22,761 --> 01:50:24,441
Is this right, Agnès?

1695
01:50:24,601 --> 01:50:27,041
Yes, the bottom is blurry, but...

1696
01:50:27,321 --> 01:50:31,001
The letters need to move a little.

1697
01:50:31,161 --> 01:50:32,561
Move how?

1698
01:50:32,721 --> 01:50:35,121
- Up and down a little.
- Got it.

1699
01:50:35,601 --> 01:50:37,721
- Go tell them.
- Right away.

1700
01:50:37,881 --> 01:50:39,921
Move up and down a little!

1701
01:50:44,681 --> 01:50:47,521
Now I'm happy. That's what I see.

1702
01:50:49,081 --> 01:50:50,361
It was important to me

1703
01:50:50,881 --> 01:50:55,401
that we find a way to bring beauty
to my deteriorating eyesight.

1704
01:50:55,561 --> 01:50:58,801
And that we enjoy ourselves
on that shoot,

1705
01:50:58,961 --> 01:51:01,241
full of surprises and emotion.

1706
01:51:05,081 --> 01:51:06,841
It's surprising.

1707
01:51:07,121 --> 01:51:09,961
- Art should surprise us, right?
- True.

1708
01:51:10,121 --> 01:51:11,801
Have a nice day.

1709
01:51:16,201 --> 01:51:19,921
Today's my last day.
I'm taking early retirement.

1710
01:51:20,561 --> 01:51:22,041
- Today?
- Today.

1711
01:51:22,201 --> 01:51:24,681
- It's your last day?
- Yes it is.

1712
01:51:24,841 --> 01:51:28,481
I feel like I've reached
the edge of a cliff,

1713
01:51:28,641 --> 01:51:31,641
and tonight
I'm leaping into the unknown.

1714
01:51:32,321 --> 01:51:34,601
I'll discover lots of things.

1715
01:51:34,961 --> 01:51:38,401
And we discovered
that fate was with us.

1716
01:51:38,561 --> 01:51:41,601
Once in Normandy,
fate struck three times.

1717
01:51:41,881 --> 01:51:44,721
JR wanted to paste
on a German bunker

1718
01:51:44,881 --> 01:51:47,281
that had fallen off a cliff.

1719
01:51:47,441 --> 01:51:49,681
I said, "We can pick any bunker."

1720
01:51:49,841 --> 01:51:52,881
But when he said
it was at St-Aubin-sur-Mer,

1721
01:51:53,041 --> 01:51:54,321
I pricked up my ears.

1722
01:51:54,481 --> 01:51:58,041
I'd been there in 1954 with friends

1723
01:51:58,201 --> 01:52:00,841
and taken photos on that beach.

1724
01:52:01,201 --> 01:52:04,881
A photo named Ulysse
that inspired a film.

1725
01:52:05,521 --> 01:52:09,361
I was with my friend Guy Bourdin,
a young photographer.

1726
01:52:09,521 --> 01:52:12,721
He became very famous,
but died young.

1727
01:52:15,481 --> 01:52:17,441
I did portraits of him.

1728
01:52:17,921 --> 01:52:20,201
He posed sweetly, dreaming.

1729
01:52:24,321 --> 01:52:27,481
I showed JR my photos of Guy Bourdin,

1730
01:52:27,641 --> 01:52:31,401
and we decided
to paste one on the bunker.

1731
01:52:31,961 --> 01:52:34,841
It was a difficult and dangerous shoot,

1732
01:52:35,001 --> 01:52:39,161
because the low tide didn't last long.

1733
01:53:01,801 --> 01:53:04,841
I could imagine nothing better for Guy.

1734
01:53:05,121 --> 01:53:07,681
Here he is, like a child in his cradle.

1735
01:53:09,001 --> 01:53:10,761
Resting in peace.

1736
01:53:23,321 --> 01:53:26,281
The next morning, we went to see.

1737
01:53:27,801 --> 01:53:30,801
The tide had washed the image away.

1738
01:53:30,961 --> 01:53:33,641
Ephemeral images are my stock-in-trade.

1739
01:53:33,801 --> 01:53:35,721
But the sea worked fast.

1740
01:53:36,041 --> 01:53:37,801
The sea has the last word.

1741
01:53:37,961 --> 01:53:40,081
And the wind, and the sand.

1742
01:53:41,641 --> 01:53:43,481
At one point,

1743
01:53:43,641 --> 01:53:46,441
JR and I imagined
ending the film this way.

1744
01:53:46,961 --> 01:53:50,121
Disappearing in a sandstorm.

1745
01:53:51,041 --> 01:53:54,121
I think this is how I'll end this chat.

1746
01:53:55,361 --> 01:53:57,321
Disappearing in the blur.

1747
01:53:57,481 --> 01:53:58,921
Leaving you.