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1
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Autumn
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00:00:04,040 --> 00:00:06,895
Written, filmed and directed
by Marcel Hanoun
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00:00:09,708 --> 00:00:12,415
Julien: Michael Lonsdale
4
00:00:13,998 --> 00:00:15,791
Anne: Tamia
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00:00:17,999 --> 00:00:22,905
Assistant: Mohamed Bensalah
Bernard Pinon, Olivier Delilez
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00:00:24,083 --> 00:00:27,665
''Anne'' is read like ''Love''
like a word of love: Anne.
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00:00:28,624 --> 00:00:31,363
Script Girl: Marielle Paternostre
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00:00:34,082 --> 00:00:36,968
Assistant Camera:
Babette Mangolte
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00:00:38,541 --> 00:00:40,624
Sound Recording:
Martine Loubet
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00:00:42,415 --> 00:00:45,416
Film-set photographer:
Veronica Selver
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00:00:49,707 --> 00:00:51,311
I'd like to make my own film.
12
00:00:51,666 --> 00:00:55,833
Assistant Editors:
Martine Loubet, Olivier Delilez
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00:00:57,082 --> 00:00:58,905
He sat right in front of the screen.
14
00:00:59,291 --> 00:01:01,187
Sound Mix: Jean-Paul Loublier
15
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Auditorium: CTIS
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00:06:29,998 --> 00:06:30,947
Hello?
17
00:06:31,873 --> 00:06:32,749
Jean-Fran�ois?
18
00:06:34,583 --> 00:06:35,707
Excuse me, Martine
19
00:06:36,916 --> 00:06:37,790
Is he there?
20
00:06:50,373 --> 00:06:52,457
Listen Jean-fran�ois,
I need heIp,
21
00:06:54,583 --> 00:06:57,905
I need you to find me an assistant,
I'd prefer a woman,
22
00:06:59,748 --> 00:07:04,613
I'll never finish the film in time alone
and I'd like it to be ready for Venice,
23
00:07:06,208 --> 00:07:07,666
Do you have what I need?
24
00:07:09,416 --> 00:07:10,989
Call her and call me back,
25
00:07:13,249 --> 00:07:16,467
Yes, she'll be paid by the
production, standard rate,
26
00:07:17,041 --> 00:07:18,092
She'll be housed,
27
00:07:19,790 --> 00:07:22,207
And her train trip will be reimbursed,
28
00:07:25,749 --> 00:07:27,207
I'll wait for your call,
29
00:08:09,998 --> 00:08:11,936
It's called Juliette Sacrified,
30
00:08:13,791 --> 00:08:15,509
What filmmakers do you like?
31
00:08:17,624 --> 00:08:21,468
Is this in relation to
Donatien Alphonse Francois?
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00:08:22,833 --> 00:08:23,998
- What?
- Juliette.
33
00:08:24,791 --> 00:08:27,937
Were you thinking of
Donatien Alphonse Francois de Sade?
34
00:08:28,499 --> 00:08:31,603
- You haven't answered my question.
- Nor you mine.
35
00:08:33,791 --> 00:08:37,708
I love Bergman, Bresson...
36
00:08:39,415 --> 00:08:40,291
Dreyer...
37
00:08:41,458 --> 00:08:42,697
Visconti too.
38
00:08:44,623 --> 00:08:47,145
An overlooked filmmaker
Chris Marker.
39
00:08:48,998 --> 00:08:52,103
A Pasolini film
the Gospel According to' Matthew,
40
00:08:55,874 --> 00:09:00,041
I like that Pasolini's film
is in some kind of harmony
41
00:09:01,791 --> 00:09:03,979
with its source of inspiration, like
42
00:09:05,041 --> 00:09:08,916
undeniably, the old painters
naturally found this same harmony.
43
00:09:12,291 --> 00:09:16,895
And too bad for the few idiots who
won't understand the meaning of longevity
44
00:09:18,082 --> 00:09:22,218
in the use of music from many periods
but linked by the same source.
45
00:09:24,082 --> 00:09:25,946
They won't like my film either.
46
00:09:26,374 --> 00:09:30,613
Some day, I'd like to make
a film based on Sade.
47
00:09:33,958 --> 00:09:35,635
Do you want to get a coffee?
48
00:09:53,790 --> 00:09:54,885
May I rewind?
49
00:10:22,165 --> 00:10:25,019
Do you think this zoom out
will be very useful?
50
00:10:25,696 --> 00:10:27,123
No, you can cut it.
51
00:11:32,498 --> 00:11:34,144
What seems beautiful to me
52
00:11:37,124 --> 00:11:39,718
what I'd like to do
is a book with no subject
53
00:11:40,208 --> 00:11:42,873
that would hold only by
the internal force of its style,
54
00:11:43,374 --> 00:11:46,665
like the Earth is maintained
in space with no support.
55
00:11:54,583 --> 00:11:56,083
Yes she's here, hold on.
56
00:11:59,791 --> 00:12:02,019
Yes, they let me in with no passport.
57
00:12:02,540 --> 00:12:05,394
Then why did you let me leave?
You're an idiot,
58
00:12:06,207 --> 00:12:08,655
Listen I said you're
an idiot as a joke.
59
00:12:09,374 --> 00:12:11,936
Yes, it's working out,
it's interesting.
60
00:12:12,707 --> 00:12:16,145
Of course, I'll come back.
Come on Michel, don't be stupid,
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00:12:16,791 --> 00:12:20,155
Yes, I want to go with you,
to swim with you.
62
00:12:21,083 --> 00:12:22,395
What's the matter?
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00:12:22,873 --> 00:12:25,217
Return to the sea and my motherland.
64
00:12:25,748 --> 00:12:27,135
...return to my father?
65
00:12:28,291 --> 00:12:29,269
Are you kidding?
66
00:12:30,624 --> 00:12:34,717
I know, the moment of birth
expels onto the shores of death.
67
00:12:39,208 --> 00:12:42,062
No, it's you.
You're jealous but for no reason,
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00:12:44,583 --> 00:12:46,010
Do what you want,
69
00:12:47,248 --> 00:12:48,489
Him? He...
70
00:12:49,124 --> 00:12:50,510
You're silly, Michel.
71
00:12:52,832 --> 00:12:53,958
I'll call you back.
72
00:12:55,999 --> 00:12:57,644
Me too, I'll call you back.
73
00:12:58,707 --> 00:13:02,916
It was written in the 19th century,
a letter from Flaubert to Louis Colet.
74
00:13:03,623 --> 00:13:05,738
So you think you're
Madame Bovary?
75
00:13:08,707 --> 00:13:11,051
If you're married, why don't
you wear a wedding ring?
76
00:13:12,666 --> 00:13:13,540
Who told you I was?
77
00:13:14,791 --> 00:13:18,082
Jean-Francois, when he told
me you'd work with me.
78
00:13:20,374 --> 00:13:23,926
He seemed to act as guardian
of your virtue and mine.
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00:13:26,957 --> 00:13:30,802
He also said your husband
delayed his vacation to let you come.
80
00:13:32,333 --> 00:13:33,645
You're going to Corsica?
81
00:13:33,957 --> 00:13:36,666
Flaubert also wrote
but I don't remember well
82
00:13:37,166 --> 00:13:39,354
too bad if I betray it,
I'll betray it for sure,
83
00:13:39,791 --> 00:13:41,874
but I think that betraying
is being faithful,
84
00:13:42,333 --> 00:13:46,467
and perfection would be describing
with as much happiness and merit,
85
00:13:47,583 --> 00:13:52,082
an action that instead of happening
in its original place, Constantinople,
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00:13:52,873 --> 00:13:56,644
was situated in an unimportant
village: Denzitto, I think.
87
00:14:01,582 --> 00:14:03,155
What does your husband do?
88
00:14:07,540 --> 00:14:10,499
Let's keep working or
we'll never finish on time.
89
00:14:11,374 --> 00:14:14,770
I'll show you the next scene
with music already dubbed.
90
00:14:15,498 --> 00:14:17,071
Find soundtrack D-J.
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00:14:18,291 --> 00:14:19,936
He has no special training.
92
00:14:30,291 --> 00:14:34,864
I don't know any music more tragic,
but I fear it's too much for the scene.
93
00:14:36,916 --> 00:14:40,833
Yet, a contradiction
must be sought
94
00:14:41,499 --> 00:14:42,406
and registered:
95
00:14:44,248 --> 00:14:46,552
Juliette has just
Iearned she's pregnant.
96
00:14:47,999 --> 00:14:50,562
And she's waiting
impatiently and joyously
97
00:14:51,083 --> 00:14:52,467
to tell her husband.
98
00:14:55,748 --> 00:15:00,540
To calm her impatience, she puts on
a record, the first one she sees: Mozart.
99
00:15:04,582 --> 00:15:06,333
This tragic music
100
00:15:07,291 --> 00:15:10,988
could be in contradiction
with her tragic death,
101
00:15:12,708 --> 00:15:16,842
which we won't see, although
she'll be taken to a clinic later.
102
00:15:17,748 --> 00:15:23,677
At least this music will
contradict Juliette's current joy.
103
00:15:24,873 --> 00:15:27,291
It will be disturbing.
104
00:15:29,207 --> 00:15:32,603
Better just to watch it, don't you think?
Can I start?
105
00:20:54,957 --> 00:20:58,873
I know what you're thinking:
the scene would be stronger silent.
106
00:21:01,333 --> 00:21:05,354
Juliette is always playing the same
record, but we never hear it.
107
00:21:06,415 --> 00:21:07,947
It's quite arbitrary.
108
00:21:10,458 --> 00:21:15,218
Mozart understood the misunderstanding
of the myth of Jean, the great seducer.
109
00:21:16,155 --> 00:21:18,343
He didn't confuse
him with Casanova.
110
00:21:19,707 --> 00:21:20,729
Shall we rewind?
111
00:21:28,582 --> 00:21:31,145
Do you think they'll
be able to take this?
112
00:21:31,748 --> 00:21:33,645
- What?
- Them, the audience.
113
00:21:34,040 --> 00:21:35,249
Let's try from here.
114
00:21:42,196 --> 00:21:45,708
Let's trade places,
I need to be closer to the screen.
115
00:21:53,208 --> 00:21:54,781
Music is bourgeois.
116
00:21:55,291 --> 00:21:57,885
Down with music! Down
with bourgeois culture!
117
00:22:02,833 --> 00:22:07,812
You saw the review of my last film said
I used too much bourgeois music?
118
00:22:10,321 --> 00:22:13,103
No. I don't read the
bourgeois press anymore.
119
00:22:15,666 --> 00:22:18,842
The only reviews I remember
are those by an actress.
120
00:22:20,041 --> 00:22:21,686
She made me go see it.
121
00:22:23,958 --> 00:22:27,248
I already told you, I was
very irritated by your film.
122
00:22:28,833 --> 00:22:30,479
But I want to see it again.
123
00:22:31,873 --> 00:22:35,718
Within this irritation, I think
there was a certain admiration.
124
00:22:39,915 --> 00:22:42,947
You don't remember, or
you'd have said something:
125
00:22:43,499 --> 00:22:47,447
I approached you one day in front of
the studio in the rue Mouffetard.
126
00:22:48,124 --> 00:22:51,196
I just said:
Are you Julien?
127
00:22:52,583 --> 00:22:54,739
- That's all?
- That was all.
128
00:22:55,249 --> 00:22:59,707
That must be why I don't remember.
You must have seemed to be teasing me.
129
00:23:01,623 --> 00:23:05,093
You were with a
beautiful brunette girl.
130
00:23:06,458 --> 00:23:08,394
It may have been your assistant.
131
00:23:13,332 --> 00:23:15,853
I prefer the sequence silent.
Leave it silent.
132
00:23:27,832 --> 00:23:29,770
The moonlight is very beautiful.
133
00:23:40,415 --> 00:23:42,238
You've made me drink too much.
134
00:23:49,957 --> 00:23:51,489
You look like a coffin.
135
00:23:53,208 --> 00:23:55,916
I mean Madame Recamier
as seen by Magritte.
136
00:24:02,207 --> 00:24:04,582
Have you thought of ho,w
the true reverse shot
137
00:24:05,208 --> 00:24:07,144
as they say in film,
138
00:24:08,166 --> 00:24:09,259
of Madame Recamier
139
00:24:10,208 --> 00:24:13,498
is the public rather than
the painter painting?
140
00:24:15,416 --> 00:24:19,405
That's even truer of Van Eyck
and even more of Velasquez
141
00:24:20,748 --> 00:24:24,957
who painted Las Meninas from
the audience's perspective and beyond.
142
00:24:32,874 --> 00:24:33,895
Come closer, Anne.
143
00:24:44,665 --> 00:24:48,832
It's a virtual reverse shot
that could even stop being virtual
144
00:24:51,374 --> 00:24:53,821
if it wasn't given,
by the audience.
145
00:24:56,041 --> 00:24:59,364
And if the spectator wanted
to be not only the audience
146
00:24:59,958 --> 00:25:01,708
but also the creator.
147
00:25:02,083 --> 00:25:04,019
As Mallarm� wrote in a preface,
148
00:25:04,457 --> 00:25:07,603
this story is addressed to
the reader's intelligence,
149
00:25:08,165 --> 00:25:09,552
meaning the viewer,
150
00:25:10,707 --> 00:25:13,884
who directs things
through intelligence.
151
00:25:17,583 --> 00:25:19,406
Do you believe in
the viewer's creativity?
152
00:25:19,873 --> 00:25:22,135
The most audacious
thing in a political film
153
00:25:22,998 --> 00:25:25,958
would be to have slogans
said by a topless girl.
154
00:25:26,915 --> 00:25:30,427
When Jean-Marie comes,
home and sees Juliette
155
00:25:32,915 --> 00:25:36,759
he's cranky and doesn't give
her the attention he should.
156
00:25:39,332 --> 00:25:43,832
This is why the next day out of regret,
he comes home in a better mood.
157
00:25:46,541 --> 00:25:49,135
But he will never
see Juliette alive again.
158
00:25:54,083 --> 00:25:57,665
To highlight the situation's
fatality and ineluctability...
159
00:26:00,540 --> 00:26:04,967
so as to accentuate Jean-Marie's
remorse and his future despair,
160
00:26:07,498 --> 00:26:11,343
that us others, viewers
we won't see but imagine,
161
00:26:13,833 --> 00:26:18,291
I'm going to film his two successive
returns 24 hours apart, in one take.
162
00:26:19,457 --> 00:26:24,541
So, one take with two
cameras, at the same time.
163
00:26:26,708 --> 00:26:30,770
One tracking with a
telephoto lens, tilted down,
164
00:26:32,998 --> 00:26:36,843
and the other tracking with
a wide angle lens, tilted up a bit.
165
00:26:39,832 --> 00:26:42,425
Both moments made up of
bad mood and remorse
166
00:26:42,999 --> 00:26:46,510
are found together and
closed in a unity of time,
167
00:26:47,373 --> 00:26:48,729
or space.
168
00:26:50,041 --> 00:26:51,467
It's the same moment.
169
00:26:53,999 --> 00:26:56,812
Excuse me, I'm starting
to get a little tired.
170
00:26:58,582 --> 00:27:00,373
But I'll come early tomorrow.
171
00:27:02,415 --> 00:27:05,229
You'll show me what you've
done if you keep working.
172
00:27:05,749 --> 00:27:07,791
I can come ear Iy tomorrow morning,
173
00:27:08,665 --> 00:27:12,394
You'll show me what you've done,
if you keep working,
174
00:27:13,041 --> 00:27:14,864
I think I won't sleep tonight.
175
00:27:53,416 --> 00:27:54,947
No, no, don't.
176
00:27:57,041 --> 00:27:59,052
I love Michel, I love my husband.
177
00:28:03,208 --> 00:28:04,083
Maybe later...
178
00:28:04,748 --> 00:28:07,239
What did I say?
I must be crazy.
179
00:34:39,998 --> 00:34:41,677
What do you think of my hat?
180
00:34:44,583 --> 00:34:46,083
What do you think of it?
181
00:34:46,958 --> 00:34:50,425
I don't know if you fit your hat
or if your hat fib you.
182
00:34:52,166 --> 00:34:53,519
Okay then.
183
00:34:57,374 --> 00:34:59,050
I feel ridiculous with this.
184
00:35:00,499 --> 00:35:02,915
People were looking
at me in the street.
185
00:35:03,457 --> 00:35:05,832
I tried to keep it on until I got here.
186
00:35:08,623 --> 00:35:09,748
Did you work well?
187
00:35:17,040 --> 00:35:18,540
Did you sleep last night?
188
00:35:19,499 --> 00:35:20,405
I'll show you.
189
00:35:21,874 --> 00:35:22,822
Let's rewind.
190
00:35:35,582 --> 00:35:36,458
Ready?
191
00:35:36,697 --> 00:35:37,572
Always ready!
192
00:36:44,041 --> 00:36:45,613
Later, I'm still not sure
193
00:36:46,083 --> 00:36:49,082
I'll stop the music on
the black and white shots.
194
00:37:25,031 --> 00:37:28,354
I'll only keep the music
for the nature shots in color:
195
00:37:30,040 --> 00:37:32,228
the yellow, red and green trees,
196
00:37:35,208 --> 00:37:36,738
seen from the moving car.
197
00:37:55,333 --> 00:37:58,885
The music may continue over
the last black and white shot.
198
00:39:13,864 --> 00:39:17,373
The music may continue over
the last black and white shot.
199
00:39:22,833 --> 00:39:24,656
I'm going to go rest a little.
200
00:39:29,708 --> 00:39:33,478
Do you want to edit alone the
Juliette-Francoise conversation,
201
00:39:34,123 --> 00:39:35,031
sequence 18?
202
00:39:38,499 --> 00:39:43,291
I'll try editing alone the sequence
Mr. Director doesn't want to edit
203
00:39:44,166 --> 00:39:46,614
and that he throws at
his hungry editor.
204
00:39:48,623 --> 00:39:50,050
Anne, I trust you,
205
00:39:50,458 --> 00:39:52,281
I'm a little tired, excuse me.
206
00:39:53,541 --> 00:39:55,915
I'm going but it's
as if I were staying.
207
00:39:57,072 --> 00:39:59,259
Keep working as
if you were me.
208
00:41:23,373 --> 00:41:24,540
I was waiting for your call,
209
00:41:26,656 --> 00:41:29,248
Of course I was waiting
for you to call me,
210
00:41:29,916 --> 00:41:31,301
You're already working?
211
00:41:33,499 --> 00:41:35,687
I called your hotel
Iate yesterday,
212
00:41:36,208 --> 00:41:37,187
No one told you?
213
00:41:38,582 --> 00:41:41,072
You're going well
beyond the union hours!
214
00:41:42,958 --> 00:41:44,530
Ah! You're learning a lot!
215
00:41:45,124 --> 00:41:47,613
I'm not being ironic,
I'm happy for you,
216
00:41:51,697 --> 00:41:55,541
He's sleeping near the editing
room and you can't speak louder?
217
00:41:56,290 --> 00:41:58,447
You're completely crazy, Michel.
218
00:41:59,957 --> 00:42:02,738
You should come here
for one or two days,
219
00:42:03,998 --> 00:42:05,093
more if you can.
220
00:42:07,748 --> 00:42:08,843
He's crazy.
221
00:42:09,666 --> 00:42:10,717
He hung up.
222
00:42:37,489 --> 00:42:38,947
It hardly snowed on you.
223
00:42:43,458 --> 00:42:44,843
You know, it's amazing.
224
00:42:46,541 --> 00:42:48,113
Did you feel I needed you?
225
00:42:52,749 --> 00:42:54,031
I just did something.
226
00:42:55,082 --> 00:42:56,103
Don't get upset.
227
00:43:00,447 --> 00:43:04,394
Maybe you'll like it or maybe you won't.
I'll redo what you want.
228
00:43:05,114 --> 00:43:07,999
I woke up suddenly and
felt you needed me.
229
00:43:12,906 --> 00:43:16,373
I still have to fix a little thing.
Then I'll show you.
230
00:43:49,083 --> 00:43:52,406
It's easier to cut film
then a bad appendix.
231
00:43:56,114 --> 00:43:58,781
At least, when a cut isn't good,
232
00:44:00,416 --> 00:44:02,207
you can always start over
233
00:44:04,583 --> 00:44:06,082
and put it back together.
234
00:44:10,040 --> 00:44:11,093
Fatal mistake
235
00:44:11,416 --> 00:44:14,301
as a rule, I never fix
a shot I already cut.
236
00:44:14,832 --> 00:44:17,540
If it's too short
it remains too short.
237
00:44:18,531 --> 00:44:20,874
I say that but I've
always cut just right.
238
00:44:22,791 --> 00:44:24,614
An undoubtedly tragic mistake.
239
00:44:26,458 --> 00:44:30,010
Fatal pride that makes
you discover in others...
240
00:44:31,915 --> 00:44:33,156
...your own faults.
241
00:44:36,123 --> 00:44:38,165
I will surely be
your next victim.
242
00:44:52,499 --> 00:44:53,373
Are you ready?
243
00:44:53,749 --> 00:44:54,624
Always ready!
244
00:44:59,458 --> 00:45:02,604
Fran�oise, I must tell you,
I'm going to have a baby,
245
00:45:03,499 --> 00:45:05,729
that's your only reaction?
What, him?
246
00:45:06,708 --> 00:45:07,687
No, not yet,
247
00:45:08,373 --> 00:45:09,947
Yes, He wants to, I think,
248
00:45:10,708 --> 00:45:13,999
Fran�oise, I must tell you,
I'm going to have a baby,
249
00:45:15,707 --> 00:45:17,936
Oh really?
That's your only reaction?
250
00:45:18,666 --> 00:45:20,457
Come on, don't be stupid.
251
00:45:21,031 --> 00:45:25,165
It happens more often than we think,
than we want and than we admit.
252
00:45:26,739 --> 00:45:27,644
What about him?
253
00:45:27,958 --> 00:45:29,197
It's Jean-Marie, of course.
254
00:45:29,707 --> 00:45:30,583
But does he know?
255
00:45:31,415 --> 00:45:32,436
No, not yet.
256
00:45:33,457 --> 00:45:34,812
You want to marry him?
257
00:45:35,333 --> 00:45:36,208
Yes.
258
00:45:50,958 --> 00:45:51,833
Anne...
259
00:45:54,832 --> 00:45:56,187
I'm pleased with you.
260
00:46:00,208 --> 00:46:01,229
No, is that true?
261
00:46:03,291 --> 00:46:05,479
You're teasing...
you're teasing me.
262
00:46:07,957 --> 00:46:09,050
Don't tease me.
263
00:46:09,332 --> 00:46:11,519
No, I promise,
I'm not teasing you.
264
00:46:13,749 --> 00:46:18,583
You perfectly understood my intention of
denouncing this scene as a performance,
265
00:46:19,624 --> 00:46:23,906
that the scene denounces itself
to acquire its own authenticity.
266
00:46:27,333 --> 00:46:29,156
This is what cinema should be.
267
00:46:31,832 --> 00:46:35,853
So we had to know that Juliettte
had learned all her lines by heart
268
00:46:36,582 --> 00:46:38,958
and she took the
time to memorize them.
269
00:46:40,874 --> 00:46:43,728
It's good you used the
still shot of Juliette.
270
00:46:45,457 --> 00:46:47,571
This long time.
This idle time...
271
00:46:48,957 --> 00:46:51,333
Just before the
beginning of the scene.
272
00:46:51,958 --> 00:46:53,781
She seems a little lost.
273
00:46:54,541 --> 00:46:56,290
I hadn't yet called action
274
00:46:59,249 --> 00:47:00,155
and...
275
00:47:03,457 --> 00:47:07,988
I didn't know why I felt the need
to let the action go a moment too long.
276
00:47:09,748 --> 00:47:13,333
And you really knew how to use
this moment that's too long.
277
00:47:14,998 --> 00:47:18,916
I might not have edited it like this
but it had to be like this.
278
00:47:48,708 --> 00:47:50,092
If I were your husband,
279
00:47:51,957 --> 00:47:54,072
I couldn't live long away from you.
280
00:47:56,999 --> 00:47:58,894
I would already
have come here.
281
00:48:02,208 --> 00:48:04,874
Does he like what you do?
Your profession...
282
00:48:09,374 --> 00:48:13,175
He likes what I do without
liking too much that I do it.
283
00:48:20,207 --> 00:48:21,665
He loved the cinema
284
00:48:24,124 --> 00:48:25,104
before me
285
00:48:26,957 --> 00:48:29,187
He was interested
in it before I was.
286
00:48:33,499 --> 00:48:34,707
Maybe...
287
00:48:39,873 --> 00:48:40,853
maybe,
288
00:48:43,249 --> 00:48:44,458
in a way,
289
00:48:46,290 --> 00:48:47,895
he is jealous.
290
00:48:52,249 --> 00:48:56,821
Maybe he regrets not being
oriented in the direction I'm going.
291
00:49:05,708 --> 00:49:08,958
I'd like to make a
film myself, Julien.
292
00:49:15,832 --> 00:49:17,915
It's funny, I just
said your name.
293
00:49:19,957 --> 00:49:21,967
It's the first
time I've said it.
294
00:49:23,499 --> 00:49:25,801
I must tell you,
in spite of Stendhal:
295
00:49:42,124 --> 00:49:46,623
He said that if he had to come here
it would be to punch you in the nose'.
296
00:49:50,332 --> 00:49:53,332
He has no reason to be jealous.
- I think he's right.
297
00:49:53,915 --> 00:49:56,582
If I were in his place,
I would be even more.
298
00:49:57,623 --> 00:49:59,374
What should I do?
299
00:50:01,874 --> 00:50:03,332
Well, what's he doing?
300
00:50:04,499 --> 00:50:06,915
I mean, what's his profession?
301
00:50:09,082 --> 00:50:11,572
He's concerned with
what happens up here.
302
00:50:13,499 --> 00:50:15,583
Not for people,
for machines.
303
00:50:17,083 --> 00:50:18,175
Electronic brains.
304
00:50:19,541 --> 00:50:20,592
He's an engineer.
305
00:50:29,124 --> 00:50:32,050
I love Anne.
I've always...
306
00:50:34,582 --> 00:50:36,040
I've always loved Anne.
307
00:50:38,874 --> 00:50:40,186
Anne is pronounced...
308
00:50:42,415 --> 00:50:43,624
I love Anne.
309
00:50:44,083 --> 00:50:45,759
I've always I've --
Damn!
310
00:50:49,707 --> 00:50:50,614
I love Anne.
311
00:50:52,290 --> 00:50:53,864
I've always loved Anne.
312
00:50:55,290 --> 00:50:57,666
''Anne'' is pronounced
like ''amorous.''
313
00:50:59,249 --> 00:51:02,425
Or better yet, like a word
of love. Anne.
314
00:51:05,207 --> 00:51:06,926
There's a doubling,
315
00:51:07,541 --> 00:51:10,134
a redundancy in saying
''Anne, I love you.''
316
00:51:11,373 --> 00:51:13,749
I don't know which
word is superfluous.
317
00:51:15,958 --> 00:51:17,165
None is too much.
318
00:51:19,041 --> 00:51:21,530
One cancels the other
and vice versa.
319
00:51:25,874 --> 00:51:28,031
I'll put your name
in my next film.
320
00:51:32,332 --> 00:51:35,364
Listen, I'm going to
tell you about my next film.
321
00:51:38,708 --> 00:51:40,458
Tell me what you think of it.
322
00:51:42,458 --> 00:51:45,196
Maybe you'll want to
help me, to participate.
323
00:51:46,457 --> 00:51:48,833
But I have to tell you something first.
324
00:51:52,707 --> 00:51:55,050
What I'm going to say
may sound crazy.
325
00:51:59,583 --> 00:52:02,687
I want my films to attain
the rigor of a Bach.
326
00:52:04,791 --> 00:52:08,853
The poetic, mathematical
rigor I think Valery talked about.
327
00:52:12,373 --> 00:52:16,395
I want my films to be
like math equations,
328
00:52:19,583 --> 00:52:22,322
which won't be fooled
and won't fool anyone.
329
00:52:22,957 --> 00:52:25,373
Because their common
denominator will be
330
00:52:25,873 --> 00:52:27,989
man and his collective unconscious.
331
00:52:32,290 --> 00:52:35,218
And each man could
find some of what
332
00:52:36,290 --> 00:52:38,447
he can already find elsewhere.
333
00:52:42,416 --> 00:52:45,635
One day we should no longer need
films to be logical,
334
00:52:46,248 --> 00:52:48,738
like we don't demand music
to be logical.
335
00:52:51,333 --> 00:52:53,780
It will no longer be
necessary to tell,
336
00:52:54,416 --> 00:52:56,093
to tell nice stories.
337
00:53:00,041 --> 00:53:00,915
Listen
338
00:53:02,498 --> 00:53:04,291
some friends, a couple,
339
00:53:05,623 --> 00:53:08,363
told me one day about
an extraordinary image.
340
00:53:10,748 --> 00:53:12,613
I'm going to put
it in my film.
341
00:53:13,666 --> 00:53:16,447
They were in the south
of Italy, I think,
342
00:53:18,374 --> 00:53:21,301
and they went into a church
high up in a village.
343
00:53:23,790 --> 00:53:26,353
In front of the altar
they turned around',
344
00:53:27,208 --> 00:53:30,280
and from that exact perspective,
345
00:53:32,165 --> 00:53:35,165
they saw only the green sea
and the blue sky,
346
00:53:37,415 --> 00:53:41,989
and the line of the horizon divided
exactly in two the height of the porch.
347
00:53:45,748 --> 00:53:49,218
What your saying isn't crazy,
but you're crazy to say it.
348
00:53:49,873 --> 00:53:53,604
You're talking like an old
reactionary idiot, you fantasize,
349
00:53:54,291 --> 00:53:55,749
think of surreal things.
350
00:53:56,833 --> 00:53:58,333
You're living crazy love.
351
00:53:59,499 --> 00:54:03,998
I may be reading in reverse the same
absurdity as the prisoner's gestures
352
00:54:04,957 --> 00:54:06,780
in Solzhenitsyn.
353
00:54:09,958 --> 00:54:12,665
The prisoner painted
on the hats, chapkas,
354
00:54:13,207 --> 00:54:15,989
of the other prisoners,
their prisoner number.
355
00:54:16,541 --> 00:54:17,562
He had a beard.
356
00:54:19,082 --> 00:54:22,854
Men filed past him and with
a quick and supple move,
357
00:54:24,290 --> 00:54:26,781
this bearded man
fulfilled his duty
358
00:54:27,373 --> 00:54:30,957
and the narrator saw in it the
anointing gesture of a pope.
359
00:54:31,915 --> 00:54:33,082
If I understand it
360
00:54:33,998 --> 00:54:36,446
cinema's function is
on the other hand
361
00:54:38,748 --> 00:54:43,613
an anointing gesture in which
some only see a vulgar gesture.
362
00:54:45,957 --> 00:54:48,144
And films would be
useless gestures.
363
00:55:04,958 --> 00:55:06,530
Last summer in Roussillon
364
00:55:07,791 --> 00:55:11,738
some friends, including a painter
I'd just met named Pierre,
365
00:55:12,958 --> 00:55:13,905
yes, Pierre,
366
00:55:16,373 --> 00:55:18,717
brought me to Serrabone Priory.
367
00:55:21,749 --> 00:55:26,321
I couldn't describe the very
strong impression that I felt,
368
00:55:29,499 --> 00:55:33,343
this false silence on a faraway
background of insect noises,
369
00:55:35,082 --> 00:55:37,270
this light falling from the sky,
370
00:55:39,958 --> 00:55:42,041
the tranquil beauty of the place,
371
00:55:43,832 --> 00:55:45,800
the feeling of an absent time,
372
00:55:47,040 --> 00:55:48,354
of eternal duration.
373
00:55:50,582 --> 00:55:54,092
I told myself I had to capture
my feeling with a camera,
374
00:55:56,832 --> 00:55:59,249
I must put this
shot in my next film.
375
00:56:03,874 --> 00:56:07,604
I came back a few days
Iater with a camera and film
376
00:56:09,791 --> 00:56:13,519
with Pierre and other friends:
Therese and Catherine, Isaac.
377
00:56:16,499 --> 00:56:19,281
I no longer found the
same impression at all.
378
00:56:19,915 --> 00:56:21,926
Yet the same beauty was there.
379
00:56:24,333 --> 00:56:25,540
I gave up on filming
380
00:56:27,333 --> 00:56:30,114
and went back to Paris
with my unexposed film.
381
00:56:39,623 --> 00:56:41,999
You only want to
show beautiful things.
382
00:56:43,499 --> 00:56:45,801
I'd also like
to show cruelty.
383
00:56:47,249 --> 00:56:50,468
To recount the cruelty
of a little girl, for example.
384
00:56:53,248 --> 00:56:54,707
When I was a little girl
385
00:56:55,707 --> 00:56:58,708
in a village near Moulin,
at my grandmother's,
386
00:57:00,873 --> 00:57:04,676
with other little girls,
I played by masturbating a cat.
387
00:57:11,790 --> 00:57:15,259
In Sub-Saharan Africa
in front of an outdoor screening,
388
00:57:15,874 --> 00:57:16,854
a lion appeared,
389
00:57:20,832 --> 00:57:23,541
holding the remains of
a zebra in its mouth.
390
00:57:24,791 --> 00:57:28,635
He stood right in front of the screen
in the projector's light,
391
00:57:31,082 --> 00:57:33,645
undoubtedly looking for a quiet place.
392
00:57:35,373 --> 00:57:37,864
He sat down and
continued his feast.
393
00:58:17,791 --> 00:58:19,102
Two years ago,
394
00:58:23,083 --> 00:58:24,760
I was on vacation in Greece
395
00:58:27,749 --> 00:58:28,989
on a small island.
396
00:58:32,374 --> 00:58:33,760
I was walking barefoot.
397
00:58:46,248 --> 00:58:48,218
A little girl came up to me,
398
00:58:51,249 --> 00:58:54,645
without a word
she took my hand,
399
00:58:57,165 --> 00:58:58,665
brought me to a fountain.
400
00:59:02,957 --> 00:59:04,415
She washed my feet,
401
00:59:07,374 --> 00:59:08,977
I washed her feet too.
402
00:59:15,248 --> 00:59:17,364
We continued to not talk.
403
00:59:21,916 --> 00:59:23,446
We burst out laughing.
404
00:59:27,915 --> 00:59:31,687
I don't know when I'll edit the
love scene, it's embarrassing.
405
00:59:33,416 --> 00:59:36,374
Why make it so long?
Why did we shoot it so long?
406
00:59:38,290 --> 00:59:39,936
Why did we shoot it at all?
407
00:59:41,415 --> 00:59:44,666
Everything in love has
been done in film. Or almost.
408
00:59:46,833 --> 00:59:51,218
And if we go towards pornography,
it tends to resemble political cinema.
409
00:59:54,041 --> 00:59:57,363
Rather, political cinema tends to
resemble pornography.
410
01:00:02,123 --> 01:00:05,227
Both should take a distance
from their object,
411
01:00:06,166 --> 01:00:09,093
otherwise, there's no reason
for cinema to exist.
412
01:00:14,874 --> 01:00:18,426
For me, cinema is an
art of entrenchment
413
01:00:21,249 --> 01:00:22,374
and distance.
414
01:00:26,833 --> 01:00:30,675
Politics and pornography
must be lived
415
01:00:32,498 --> 01:00:34,540
not just shown, vicariously.
416
01:00:36,416 --> 01:00:39,925
Porno-litical cinema is
just the fantasy of an erection...
417
01:00:40,624 --> 01:00:41,676
with no orgasm.
418
01:00:44,873 --> 01:00:48,196
I'll edit the love
scene last. I'll wait.
419
01:00:50,540 --> 01:00:54,197
It's like you just read
a written text, a manifesto.
420
01:00:54,832 --> 01:00:57,832
It bothers me a little.
Not what you're saying.
421
01:00:58,373 --> 01:01:02,144
Well, basically, you know,
it was written.
422
01:01:03,082 --> 01:01:05,748
Maybe poorly, before
I had to repeat it.
423
01:01:10,624 --> 01:01:13,040
There is more force
and political virtue
424
01:01:13,498 --> 01:01:15,686
in two shots from
Bergman's Persona --
425
01:01:16,916 --> 01:01:19,145
the Buddhist who
burns in Vietnam and
426
01:01:20,666 --> 01:01:24,655
the Jewish child in Warsaw
hands in the air
427
01:01:26,833 --> 01:01:29,135
in a face-off with the Nazi soldier --
428
01:01:29,707 --> 01:01:32,781
than in the political total,
the kilometric total
429
01:01:34,166 --> 01:01:36,655
of every Marxist-Leninist film today.
430
01:01:42,290 --> 01:01:45,468
I also know films made
about black people...
431
01:01:46,041 --> 01:01:50,540
the demagogy of the white people,
their good conscience, their cynicism...
432
01:01:52,249 --> 01:01:53,999
the hypocrisy and paternalism
433
01:01:54,374 --> 01:01:57,227
that reign in the worst
moments of colonialism.
434
01:02:03,958 --> 01:02:05,781
What you're reproaching me for
435
01:02:06,207 --> 01:02:09,906
proves both the vanity
and necessity of language.
436
01:02:12,457 --> 01:02:16,082
And since you said you wanted,
to make a film based on Sade
437
01:02:17,458 --> 01:02:18,988
Sade knew this very well,
438
01:02:20,041 --> 01:02:23,666
having mixed ethical and
philosophical discourse and action.
439
01:02:26,708 --> 01:02:28,717
And Sade was, moreover
440
01:02:29,249 --> 01:02:33,822
a prisoner of storytelling conventions
of his age and their contradictions.
441
01:02:34,790 --> 01:02:37,717
I hope the film you make
will finally free Sade.
442
01:02:41,791 --> 01:02:45,885
Know that you'll be most faithful
to him by betraying him the most.
443
01:02:49,041 --> 01:02:52,738
We are all enclosed in a
real or fictional prison, the same
444
01:02:55,416 --> 01:02:59,550
that pushes us to compensate our
powerlessness in action and speech.
445
01:03:05,208 --> 01:03:10,405
Most of the time, we don't know how
to take the necessary, critical distance
446
01:03:12,583 --> 01:03:17,593
which is our only possible liberation,
and our only guarantee of authentication.
447
01:03:24,083 --> 01:03:27,083
I knew a Zen, Japanese speaker.
448
01:03:29,208 --> 01:03:31,437
He was deaf like Goya
or Beethoven
449
01:03:33,207 --> 01:03:36,239
and like Bu�uel
he had a hearing aid.
450
01:03:38,332 --> 01:03:40,343
And when he was
asked a question,
451
01:03:40,749 --> 01:03:42,644
through a translator besides,
452
01:03:45,040 --> 01:03:46,686
he would take off his hearing aid
453
01:03:48,124 --> 01:03:51,343
and only put it back on to answer,
and he answered well.
454
01:04:01,915 --> 01:04:07,333
I think film or literature or music
painting and even life itself...
455
01:04:08,291 --> 01:04:11,321
must steal from life in order
to render it better.
456
01:04:12,416 --> 01:04:15,083
Not through vampirism
or abusive possession.
457
01:04:17,791 --> 01:04:19,977
I should buy you a Texan hat,
458
01:04:21,165 --> 01:04:23,467
dark glasses and
shoot gangster films.
459
01:04:25,541 --> 01:04:27,364
Gangsters work well in cinema.
460
01:04:29,290 --> 01:04:32,291
They seem to most
faithfully represent
461
01:04:33,916 --> 01:04:35,854
every individual in our society.
462
01:04:37,748 --> 01:04:39,426
We are all German gangsters.
463
01:04:41,124 --> 01:04:44,010
I want to put another image in a film.
464
01:04:44,749 --> 01:04:47,416
It's simply a chair,
465
01:04:49,207 --> 01:04:50,811
a rocking chair in motion.
466
01:04:52,790 --> 01:04:57,175
We also must know that this motion
was caused just before by a woman,
467
01:04:58,374 --> 01:04:59,280
off screen
468
01:05:01,665 --> 01:05:04,446
who got up, furious,
because her lover
469
01:05:07,915 --> 01:05:09,010
off screen
470
01:05:09,708 --> 01:05:13,260
but present by his words,
told her his intention of...
471
01:05:41,207 --> 01:05:44,134
In a foreign film, we
shouldn't have subtitles.
472
01:05:45,915 --> 01:05:50,300
Those who don't understand should
feel the language, a foreign language.
473
01:05:52,416 --> 01:05:56,655
It's fortunate that the Sphinx and
Oedipus spoke the same language.
474
01:05:57,998 --> 01:06:01,102
Oedipus wouldn't have known
the pleasure of incest.
475
01:06:20,290 --> 01:06:21,604
Hold on, I'll get him.
476
01:06:21,998 --> 01:06:23,572
I think it's the producer.
477
01:06:28,999 --> 01:06:30,425
Yes, it's coming along.
478
01:06:30,790 --> 01:06:31,885
It's coming along.
479
01:06:32,832 --> 01:06:34,947
We're almost caught up.
480
01:06:35,624 --> 01:06:36,572
Yes.
481
01:06:38,791 --> 01:06:39,999
We'll be on time.
482
01:06:42,416 --> 01:06:44,604
There are 8 minutes left to edit.
483
01:06:47,791 --> 01:06:49,217
Yes, it worked out well.
484
01:07:01,082 --> 01:07:04,114
Yes, of course, we'll mix
next week as planned.
485
01:07:08,832 --> 01:07:10,218
You can't come see us?
486
01:07:12,540 --> 01:07:14,957
That's OK.
You'll see the finished film.
487
01:07:20,958 --> 01:07:23,843
Yes, she'll leave after
the last day of mixing.
488
01:07:32,123 --> 01:07:34,352
You should see her
before she leaves.
489
01:07:35,708 --> 01:07:37,092
Yes, I think she knows.
490
01:15:22,624 --> 01:15:25,583
Subtitles: Anthology Film Archives,
Re:Voir Video
38168
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