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Downloaded from
YTS.MX
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I'm often asked
why the film begins in color.
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00:00:05,774 --> 00:00:09,577
At least the tarot cards
on the fortune-teller's table.
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00:00:08,000 --> 00:00:13,000
Official YIFY movies site:
YTS.MX
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00:00:10,512 --> 00:00:14,749
I see a departure, a journey.
Here are the three Fates.
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00:00:14,949 --> 00:00:18,186
The fortune-teller believes
the tarot's message.
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00:00:18,319 --> 00:00:21,056
Cléo believes what she's told.
She's afraid,
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00:00:21,389 --> 00:00:23,091
feels threatened,
sees the hanged man.
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00:00:23,224 --> 00:00:25,160
- Are you ill?
- Yes.
10
00:00:25,293 --> 00:00:28,096
So it's a sort of fiction in color...
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00:00:28,963 --> 00:00:32,500
that draws us into the rest
of the film, into reality.
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00:00:32,834 --> 00:00:36,204
We switch to black-and-white.
Ninety minutes of reality.
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00:00:36,337 --> 00:00:37,338
Thanks!
14
00:00:37,772 --> 00:00:40,475
No, this card isn't necessarily death.
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00:00:40,742 --> 00:00:45,080
Even if she says,
"It's not death but transformation,"
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00:00:45,213 --> 00:00:48,616
she's seen the hanged man,
the clattering bones.
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00:00:48,750 --> 00:00:51,553
She's had a shock, a fright.
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00:00:51,786 --> 00:00:56,291
That fear and threat of death
stay with her throughout the film.
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00:00:56,424 --> 00:00:58,893
That's what explains her behavior,
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00:00:59,194 --> 00:01:01,396
even if, at moments,
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00:01:01,529 --> 00:01:05,266
she can't talk about it
or may not think about it.
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00:01:05,800 --> 00:01:08,970
But that fear never leaves her.
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00:01:10,405 --> 00:01:14,642
"5:00 to 7:00" is a racy expression
for an afternoon roll in the hay.
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00:01:15,076 --> 00:01:20,215
But in fact I follow Cléo
from 5:00 to 6:30.
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00:01:22,117 --> 00:01:24,385
Conveying time is difficult.
26
00:01:24,519 --> 00:01:28,723
Time feels different
if we're happy or anxious,
27
00:01:28,857 --> 00:01:31,493
expecting someone
or having fun.
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00:01:31,693 --> 00:01:34,262
I'd call that subjective time.
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00:01:34,863 --> 00:01:37,532
And then there's objective time.
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00:01:37,699 --> 00:01:40,735
Time we can't argue with.
Clock time...
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00:01:40,869 --> 00:01:44,239
counted in hours,
minutes, or even seconds.
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00:01:44,606 --> 00:01:47,142
This type of regularity,
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00:01:47,308 --> 00:01:50,578
like a metronome,
marks every instant.
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00:01:51,079 --> 00:01:55,784
I wanted to combine objective time,
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00:01:55,917 --> 00:01:58,186
the clocks we see everywhere,
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00:01:58,319 --> 00:02:00,355
with subjective time,
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00:02:00,488 --> 00:02:04,092
how Cléo experiences it
during the film.
38
00:02:05,260 --> 00:02:08,263
Speaking of the desire
to film the sensation of time,
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00:02:08,396 --> 00:02:12,167
the length of the shoot
was also part of it.
40
00:02:12,400 --> 00:02:14,969
And the constraints,
hour after hour,
41
00:02:15,103 --> 00:02:17,605
of a low-budget film.
42
00:02:18,206 --> 00:02:23,344
What's more, the shoot took place
at a specific moment in my life.
43
00:02:23,678 --> 00:02:26,781
Here we see Rosalie at three.
44
00:02:27,482 --> 00:02:29,951
I decided to film in Paris —
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00:02:30,084 --> 00:02:32,987
no travel, expenses, etc.
46
00:02:33,221 --> 00:02:36,191
But the city has its frustrations.
47
00:02:36,357 --> 00:02:39,227
I wanted nature to be present,
trees and such.
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00:02:39,394 --> 00:02:42,964
I chose Montsouris Park.
I know it well. It's near my place.
49
00:02:43,531 --> 00:02:46,868
We shot several sequences there.
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00:02:47,235 --> 00:02:50,371
In 1961, the lawn was off limits.
51
00:02:50,538 --> 00:02:54,442
I even marched
so kids could play on the lawn.
52
00:02:54,909 --> 00:02:57,612
Nowadays it's full of kids.
53
00:03:00,815 --> 00:03:05,186
I hoped to film in the spring of 1961
with lilacs blooming...
54
00:03:05,720 --> 00:03:07,288
chestnut trees flowering...
55
00:03:07,856 --> 00:03:10,491
and petals gently falling.
56
00:03:11,826 --> 00:03:14,762
But for production reasons,
we shot in the summer.
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00:03:14,996 --> 00:03:19,367
So I set June 21, 1961,
as the date the film takes place.
58
00:03:19,534 --> 00:03:23,004
It was a Wednesday,
but in the story and for the script,
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00:03:23,137 --> 00:03:25,106
I made it a Tuesday.
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00:03:26,407 --> 00:03:29,510
This is Corinne Marchand,
who portrayed Cléo,
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00:03:29,677 --> 00:03:32,046
revisiting Montsouris Park.
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00:03:39,354 --> 00:03:41,089
- What's that?
- The observatory.
63
00:03:41,222 --> 00:03:43,124
From The Arabian Nights?
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00:03:45,727 --> 00:03:47,195
Another change:
65
00:03:47,328 --> 00:03:50,198
The observatory was demolished.
Only a hill remains.
66
00:03:52,066 --> 00:03:56,738
Luckily I had postcards
of that oriental palace.
67
00:04:02,710 --> 00:04:07,215
Other postcards reveal
more water in the waterfall.
68
00:04:09,751 --> 00:04:13,254
But the cement branches
haven't changed.
69
00:04:13,388 --> 00:04:16,257
They act as railings
and border the park.
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00:04:16,391 --> 00:04:19,994
I like this imitation of nature
in the middle of nature.
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00:04:21,329 --> 00:04:24,599
At that time
I was already singing a bit,
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00:04:24,732 --> 00:04:27,402
so I had some idea of all that.
73
00:04:27,568 --> 00:04:31,005
Agnès asked me to play a singer
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00:04:31,139 --> 00:04:33,908
who's not all that famous.
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00:04:34,275 --> 00:04:36,644
She had me descend these stairs
76
00:04:36,811 --> 00:04:39,747
as if onstage
at the Casino de Paris.
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00:04:40,181 --> 00:04:43,985
I wanted her to swing
her hips and shoulders.
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00:04:44,118 --> 00:04:48,356
I joined in the action,
but just for fun.
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00:04:48,523 --> 00:04:52,927
I didn't need to show her.
She was better at it than me.
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00:04:54,829 --> 00:04:59,667
It's the dream of any singer.
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00:05:00,635 --> 00:05:04,372
I'd have loved
to be a lead in a revue,
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00:05:04,505 --> 00:05:07,442
descending a stairway
with feathers everywhere.
83
00:05:07,742 --> 00:05:10,144
I realized that dream here.
84
00:05:10,645 --> 00:05:13,247
"Realize": It was a team effort.
85
00:05:13,381 --> 00:05:16,851
A small crew around me
with very few resources.
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00:05:17,518 --> 00:05:20,488
We had a crane for just one day.
87
00:05:34,469 --> 00:05:37,005
We spent two weeks
in these gardens
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00:05:37,138 --> 00:05:39,741
where a brief encounter occurs.
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00:05:40,608 --> 00:05:42,944
The encounter with the soldier
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00:05:43,244 --> 00:05:45,847
was very important in the film.
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00:05:46,848 --> 00:05:48,616
Would it interest you to know
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00:05:48,750 --> 00:05:52,186
that today is
the longest day of the year?
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00:05:54,989 --> 00:05:56,958
Certainly feels like the longest.
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00:05:57,091 --> 00:05:59,193
The day seemed very long to Cléo.
95
00:05:59,327 --> 00:06:02,597
The days were long
for the rest of us too.
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00:06:02,730 --> 00:06:06,968
Rabier, the head cameraman,
and I asked Corinne,
97
00:06:07,335 --> 00:06:10,104
Antoine Bourseiller,
and the entire crew
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00:06:10,271 --> 00:06:13,041
to start work at 5:30 a.m.
99
00:06:13,207 --> 00:06:15,209
Because in June,
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00:06:15,476 --> 00:06:19,013
with the longest days of the year,
it's light early.
101
00:06:19,147 --> 00:06:22,216
And that created
a low-angled light.
102
00:06:23,451 --> 00:06:26,754
Rabier had an idea.
We shot in black and white,
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00:06:26,921 --> 00:06:29,624
so this lush green lawn
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00:06:29,957 --> 00:06:32,160
was filmed with a green filter lens.
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00:06:32,326 --> 00:06:34,595
And in the black-and-white image,
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00:06:34,762 --> 00:06:38,266
it created a white,
almost snowlike effect,
107
00:06:38,433 --> 00:06:41,269
which suited this special encounter
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00:06:41,402 --> 00:06:44,705
between a soldier
and a frightened girl.
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00:06:44,906 --> 00:06:47,642
I wanted it to be soft,
somewhat unreal,
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00:06:47,809 --> 00:06:50,511
even if the subject
is a reality she fears.
111
00:06:50,678 --> 00:06:52,447
I'm afraid of everything.
112
00:06:52,613 --> 00:06:55,216
Birds, storms, elevators, needles,
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00:06:55,383 --> 00:06:58,286
and now this great fear of death.
114
00:06:58,453 --> 00:07:01,189
In Algeria, you'd be scared
all the time.
115
00:07:01,355 --> 00:07:02,824
How awful!
116
00:07:03,558 --> 00:07:07,028
Have you seen each other
since we shot the film?
117
00:07:09,397 --> 00:07:11,032
Never?
118
00:07:12,467 --> 00:07:14,368
You've traveled a lot.
119
00:07:14,502 --> 00:07:17,839
You never got together
even by chance?
120
00:07:17,972 --> 00:07:21,876
Never. But that's what
almost always happens.
121
00:07:22,009 --> 00:07:25,580
A film crew lives together
as a community,
122
00:07:25,746 --> 00:07:28,916
like a crew on a boat
through storms and calm weather.
123
00:07:29,083 --> 00:07:32,753
Back in port
they say they'll keep in touch,
124
00:07:32,887 --> 00:07:34,689
and then they don't.
125
00:07:34,856 --> 00:07:37,992
Here we're meeting again
to question our memory.
126
00:07:39,760 --> 00:07:42,830
The film was selected
for the Cannes Film Festival.
127
00:07:42,964 --> 00:07:44,632
I don't know if you remember.
128
00:07:44,899 --> 00:07:48,436
Back then, you'd go up onstage
before the screening.
129
00:07:48,569 --> 00:07:51,672
And the emcee back then,
the famous Léon Zitrone,
130
00:07:51,806 --> 00:07:54,542
introduced me as "Agnès Varga,"
131
00:07:54,675 --> 00:07:58,379
doubtless due to the Varga Girls
at the Casino de Paris.
132
00:07:58,579 --> 00:08:01,048
And then we descended
the stairs
133
00:08:01,215 --> 00:08:03,885
of the old Palais, of course.
134
00:08:04,018 --> 00:08:07,989
And then it's fuzzy.
I can't remember very well.
135
00:08:08,956 --> 00:08:11,659
- Do you remember?
- Yes, I do.
136
00:08:11,792 --> 00:08:14,962
There was a bit of havoc.
137
00:08:16,297 --> 00:08:18,933
I was a little overwhelmed.
138
00:08:19,100 --> 00:08:21,602
I don't think I went to Cannes.
139
00:08:21,769 --> 00:08:24,038
I have no memories of Cannes.
140
00:08:24,172 --> 00:08:26,908
Can that be?
No memories of it?
141
00:08:27,074 --> 00:08:29,443
Hold on a minute.
142
00:08:29,710 --> 00:08:31,946
Who's that, then?
143
00:08:35,917 --> 00:08:37,585
Yes, I was in Cannes.
144
00:08:38,186 --> 00:08:40,621
You both looked pretty good.
145
00:08:40,821 --> 00:08:42,690
"Snazzy," as they say.
146
00:08:43,391 --> 00:08:46,127
I was thrilled to be there.
147
00:08:46,260 --> 00:08:49,530
I didn't know anything
about the festival.
148
00:08:49,664 --> 00:08:52,366
It's funny.
I'm kissing some sailor!
149
00:08:52,500 --> 00:08:55,403
But there was such euphoria
all around.
150
00:08:55,536 --> 00:08:58,973
What a wonderful day
for an actress.
151
00:08:59,407 --> 00:09:01,576
I was queen for a day.
152
00:09:03,377 --> 00:09:04,812
Queen for several weeks...
153
00:09:04,946 --> 00:09:08,015
and ubiquitous in press photos.
154
00:09:11,619 --> 00:09:14,622
I took this shot of Cléo's face.
155
00:09:14,989 --> 00:09:18,259
Luc Fournol had her hair
and makeup done
156
00:09:18,392 --> 00:09:21,796
so she looked as beautiful
157
00:09:21,963 --> 00:09:24,298
as Brigitte Bardot, Liz Taylor,
158
00:09:24,465 --> 00:09:26,767
Grace Kelly, and Marlene Dietrich.
159
00:09:29,136 --> 00:09:30,972
You wore an opera hat
160
00:09:31,138 --> 00:09:33,975
when I discovered you
during the shoot of Lola,
161
00:09:34,108 --> 00:09:37,445
Jacques's first film
with Anouk Aimée.
162
00:09:37,979 --> 00:09:42,083
Bernard Toutblanc, Jacques's
first assistant, is wearing your hat.
163
00:09:42,350 --> 00:09:45,686
He spotted you in a musical
with Georges Guétary.
164
00:09:46,053 --> 00:09:48,856
I called her and said...
165
00:09:49,056 --> 00:09:51,892
"Listen, pack your bag tomorrow.
166
00:09:52,159 --> 00:09:54,729
I don't have a contract yet.
167
00:09:55,963 --> 00:09:58,532
I promise you close-ups
in Demy's film.
168
00:09:58,699 --> 00:10:02,837
Grab your top hat, tights, and boa."
169
00:10:03,004 --> 00:10:04,572
Right?
170
00:10:04,705 --> 00:10:05,740
"And come."
171
00:10:06,274 --> 00:10:08,576
- Had Jacques seen her before?
- No.
172
00:10:09,043 --> 00:10:11,045
But he liked her very much.
173
00:10:11,712 --> 00:10:15,950
And he made good on my promise.
He gave her close-ups.
174
00:10:21,355 --> 00:10:25,660
Cléo the coquette tries on hats
in a shop called Francine's.
175
00:10:26,027 --> 00:10:27,995
It's no longer there.
176
00:10:30,398 --> 00:10:33,234
We got a lucky surprise
as we filmed.
177
00:10:33,467 --> 00:10:36,370
The Republican Guard
rode by on horseback.
178
00:10:37,238 --> 00:10:40,708
I was delighted by this serendipity.
Rabier acted quickly.
179
00:10:40,875 --> 00:10:44,312
I re-edited the unexpected shots
with the cavalrymen
180
00:10:44,445 --> 00:10:48,215
reflected in the store window
and mirrors into the frame.
181
00:10:52,053 --> 00:10:55,690
But I prefer the first one I saw.
182
00:11:01,462 --> 00:11:04,532
Cléo likes mirrors a lot.
183
00:11:10,304 --> 00:11:12,340
In the first part of the film,
184
00:11:12,506 --> 00:11:15,176
Cléo is described and defined
by those who see her.
185
00:11:15,309 --> 00:11:16,377
Her assistant...
186
00:11:16,944 --> 00:11:19,447
the hat saleswoman, her lover,
187
00:11:19,613 --> 00:11:22,883
the musicians, and the mirrors.
188
00:11:24,118 --> 00:11:26,420
Cléo is seen.
189
00:11:26,921 --> 00:11:29,924
In the middle of the film,
I wanted a clean cut,
190
00:11:30,091 --> 00:11:31,892
a sharp change.
191
00:11:32,026 --> 00:11:35,896
Forty-five minutes into the film,
Cléo feels herself cracking.
192
00:11:36,564 --> 00:11:40,368
The baby doll, the blonde starlet —
everything cracks.
193
00:11:40,534 --> 00:11:43,704
She rips off her negligee
and wig and leaves.
194
00:11:43,871 --> 00:11:45,673
I wish I could pull my head off too!
195
00:11:45,873 --> 00:11:48,943
At this point,
she begins to look at others:
196
00:11:49,076 --> 00:11:51,379
people in the street, in cafés,
197
00:11:51,545 --> 00:11:54,849
her friend, and later the soldier.
198
00:11:55,383 --> 00:11:58,319
I consider this a feminist approach.
199
00:11:58,786 --> 00:12:01,489
I wanted to focus
on her as a woman
200
00:12:01,655 --> 00:12:04,725
who defines herself
through others' vision.
201
00:12:04,892 --> 00:12:06,827
And at some point,
202
00:12:06,994 --> 00:12:09,563
because she's the one looking,
she changes.
203
00:12:09,697 --> 00:12:11,732
She redefines herself.
204
00:12:18,172 --> 00:12:20,207
It's a major role.
205
00:12:20,441 --> 00:12:24,912
It's rare to be offered
such a rich character.
206
00:12:25,079 --> 00:12:27,148
It's great for an actress.
207
00:12:27,581 --> 00:12:29,517
Cléo is a multi-layered persona,
208
00:12:29,683 --> 00:12:33,087
going from flirtatiousness to anxiety,
fear to curiosity.
209
00:12:33,220 --> 00:12:35,156
She evolves and changes.
210
00:12:36,157 --> 00:12:39,393
Even her graceful gestures
in her negligee
211
00:12:39,660 --> 00:12:44,064
expose her loneliness
and her fear of being seriously ill.
212
00:12:44,198 --> 00:12:47,201
It's true.
But I'd like to have told him.
213
00:12:47,368 --> 00:12:48,636
About what?
214
00:12:48,769 --> 00:12:51,472
My illness!
Have you forgotten already?
215
00:12:51,639 --> 00:12:53,207
Everyone forgets but me.
216
00:12:53,474 --> 00:12:55,443
What's more...
217
00:12:55,576 --> 00:12:59,814
Corinne's character appears
to be in good health,
218
00:13:00,014 --> 00:13:02,850
despite her condition.
219
00:13:03,017 --> 00:13:05,419
And that was a good thing,
220
00:13:05,553 --> 00:13:08,989
the fact she didn't appear
to be suffering and frail.
221
00:13:09,123 --> 00:13:11,425
You were the picture of health.
222
00:13:11,926 --> 00:13:14,361
Exactly like this magnificent woman
223
00:13:14,528 --> 00:13:16,564
painted by Baldung Grien.
224
00:13:16,864 --> 00:13:20,234
A skeleton whispers something
she doesn't want to hear.
225
00:13:20,801 --> 00:13:22,970
Or it pulls her hair.
226
00:13:23,370 --> 00:13:26,874
That was a common theme
in that painter's work,
227
00:13:27,041 --> 00:13:29,810
but it was an inspiration for me,
228
00:13:29,944 --> 00:13:34,515
another way of presenting
the story I was telling.
229
00:13:34,748 --> 00:13:38,152
So I had postcards
of Baldung Grien's paintings.
230
00:13:38,853 --> 00:13:42,189
I'd tack one up here or there.
231
00:13:42,456 --> 00:13:44,225
It was a tiny image...
232
00:13:44,492 --> 00:13:46,927
but for me
an important mental reference
233
00:13:47,094 --> 00:13:48,796
at the center of my project.
234
00:13:49,196 --> 00:13:53,834
I really understood, via that image,
what you were aiming for.
235
00:13:54,001 --> 00:13:57,204
And let's not forget —
as you well know —
236
00:13:57,338 --> 00:14:00,841
we shot the film
starting at the beginning
237
00:14:00,975 --> 00:14:03,978
and continuing
in chronological order.
238
00:14:05,679 --> 00:14:09,049
By the end,
the idea had exhausted me.
239
00:14:09,216 --> 00:14:12,953
And I seem to remember
being very tired
240
00:14:13,087 --> 00:14:15,456
compared to the first images.
241
00:14:15,623 --> 00:14:17,625
More than just tired.
242
00:14:17,758 --> 00:14:21,161
At my request, you lost
15 pounds in seven weeks!
243
00:14:21,328 --> 00:14:24,064
Because I really identified
with the role.
244
00:14:24,231 --> 00:14:28,435
I thought about it a lot.
I believed in it.
245
00:14:28,569 --> 00:14:31,772
I lived it very deeply.
246
00:14:33,274 --> 00:14:36,844
There's the sick Cléo,
and Cléo the singer.
247
00:14:37,077 --> 00:14:38,579
A real singer.
248
00:14:38,846 --> 00:14:39,914
Not the music?
249
00:14:41,382 --> 00:14:45,519
- Michel Legrand thought you sang well.
- We got along great.
250
00:14:45,653 --> 00:14:48,055
Your voice wasn't dubbed.
That's rare.
251
00:14:49,223 --> 00:14:51,392
That song was a nice moment.
252
00:14:51,525 --> 00:14:54,528
It was a climax in the film.
253
00:14:54,795 --> 00:14:59,466
Ashen, pale, and alone
254
00:15:00,467 --> 00:15:02,002
Without you
255
00:15:11,345 --> 00:15:15,549
When Corinne sang her own playback,
we were all moved.
256
00:15:16,283 --> 00:15:18,719
Bernard is to the right here.
257
00:15:18,886 --> 00:15:22,590
He was Demy's first assistant director
and then became mine.
258
00:15:23,457 --> 00:15:28,262
Here on the left we see
Marin Karmitz, my other AD.
259
00:15:29,063 --> 00:15:31,065
We decided to get together.
260
00:15:31,231 --> 00:15:33,701
The meeting was set up
in the offices
261
00:15:33,834 --> 00:15:36,670
where Marin produces
numerous fine films.
262
00:15:36,837 --> 00:15:40,307
He's a distributor
and releases video.
263
00:15:40,541 --> 00:15:43,243
He's a pillar of French cinema.
264
00:15:43,744 --> 00:15:46,447
Marin has become MK2.
265
00:15:47,514 --> 00:15:50,751
We haven't seen each other
since Cléo, right?
266
00:15:50,884 --> 00:15:52,086
That's right.
267
00:15:52,720 --> 00:15:55,889
During the credits, I'm surprised
at what the medium says
268
00:15:56,023 --> 00:15:58,292
when my two ADs' names appear.
269
00:15:58,726 --> 00:16:00,728
I see evil forces...
270
00:16:00,861 --> 00:16:03,130
Was that by chance?
Or by mistake?
271
00:16:03,297 --> 00:16:07,434
By mistake! You know
you were forces of good for me.
272
00:16:07,568 --> 00:16:09,903
My supports.
My wonderful ADs.
273
00:16:10,037 --> 00:16:12,740
I explained that I met Bernard
through Demy.
274
00:16:12,873 --> 00:16:16,944
And I met you, Marin,
through Antoine and Sami Frey.
275
00:16:17,611 --> 00:16:20,080
Was it more difficult
276
00:16:20,214 --> 00:16:24,151
working on a film in real time,
covering real terrain?
277
00:16:24,284 --> 00:16:28,989
I remember spending
days and days scouting
278
00:16:29,223 --> 00:16:32,559
between Rue de Rivoli
and Montsouris Park,
279
00:16:32,693 --> 00:16:35,362
timing the duration of travel,
280
00:16:35,496 --> 00:16:38,198
which had to be extremely precise,
281
00:16:38,332 --> 00:16:41,635
and wondering
if it could be done in real time.
282
00:16:42,036 --> 00:16:45,839
It was hard. Working in real time
was a challenge.
283
00:16:45,973 --> 00:16:47,541
All the watches
284
00:16:47,675 --> 00:16:51,078
and clocks in the street
had to match the story.
285
00:16:51,211 --> 00:16:54,648
And we had to adapt the editing
286
00:16:54,882 --> 00:16:57,418
so it reflected
the watches we filmed.
287
00:16:58,619 --> 00:17:01,288
Viewers will notice
we were very careful.
288
00:17:01,422 --> 00:17:04,658
It's 5:05 when she sees
the fortune-teller.
289
00:17:05,559 --> 00:17:07,961
It's 5:08
when she enters the café.
290
00:17:08,095 --> 00:17:11,598
It's just the mirror that suggests
there's some mistake.
291
00:17:11,732 --> 00:17:15,436
When TABAC reads correctly,
the clock reads 5:08.
292
00:17:16,503 --> 00:17:20,674
Both the taxi radio
and the street clock give the hour.
293
00:17:20,841 --> 00:17:23,410
It's 5:22.
294
00:17:23,844 --> 00:17:28,115
Cléo has a collection of old clocks,
so we didn't have to reset those.
295
00:17:28,248 --> 00:17:30,350
It would have been impossible.
296
00:17:30,617 --> 00:17:33,020
She only had a timer
for her exercise.
297
00:17:33,520 --> 00:17:36,590
As she walks
to the Café du Dôme, it's 5:52.
298
00:17:37,658 --> 00:17:41,095
And it's 6:00 as she crosses
Place Edgar Quinet
299
00:17:41,228 --> 00:17:43,230
to see her friend Dorothée.
300
00:17:43,864 --> 00:17:47,501
In the taxi to Montsouris Park,
it's 6:15.
301
00:17:47,768 --> 00:17:51,305
It's rare to shoot a film...
302
00:17:52,706 --> 00:17:57,177
in chronological order,
from beginning to end.
303
00:17:57,311 --> 00:18:00,114
It was relatively easier that way.
304
00:18:00,514 --> 00:18:03,984
The hard part was shooting
in the heart of Paris.
305
00:18:04,118 --> 00:18:07,921
Like where the camera glides
to the front of the taxi.
306
00:18:10,791 --> 00:18:14,328
We had to place the car frame
on an enormous platform.
307
00:18:15,028 --> 00:18:17,998
The frame was mounted
on a camera-car,
308
00:18:18,165 --> 00:18:20,534
with a separate driver and engine.
309
00:18:20,801 --> 00:18:25,305
This huge contraption
had to navigate through the streets.
310
00:18:26,039 --> 00:18:29,476
When I wanted a second take
on the Pont Neuf,
311
00:18:29,610 --> 00:18:32,112
the huge platform had to go around,
312
00:18:32,246 --> 00:18:34,948
cross some other bridges,
and come back again.
313
00:18:35,082 --> 00:18:36,950
We lost a lot of time.
314
00:18:38,185 --> 00:18:41,321
I enjoyed filming in real locales,
like cafés I'd scouted,
315
00:18:41,455 --> 00:18:42,990
but it presented problems.
316
00:18:44,458 --> 00:18:46,960
Two extras appear on the right.
317
00:18:47,094 --> 00:18:50,631
The rest are customers in the café
called "Comings and Goings."
318
00:18:51,765 --> 00:18:53,934
There were plenty
of comings and goings...
319
00:18:55,169 --> 00:18:58,505
with natural and spontaneous
real-life action.
320
00:19:08,348 --> 00:19:10,517
Likewise at the Café du Dôme.
321
00:19:10,651 --> 00:19:14,988
Some friends helped out as extras.
The rest were real customers.
322
00:19:17,291 --> 00:19:20,794
In contrast, Bernard Evein
designed the set for Cléo's flat
323
00:19:20,928 --> 00:19:23,230
in a bright, empty space.
324
00:19:23,497 --> 00:19:27,034
A spectacular set
for Cléo and her kittens.
325
00:19:27,835 --> 00:19:30,804
I was thrilled at finding that space,
326
00:19:30,938 --> 00:19:34,007
because I'd scoured
that magnificent area —
327
00:19:34,141 --> 00:19:36,143
Rue de la Fontaine au Roi.
328
00:19:36,476 --> 00:19:38,512
You liked it right away.
329
00:19:38,946 --> 00:19:42,149
We agreed with Jean Rabier,
the head cameraman,
330
00:19:42,482 --> 00:19:46,353
that we'd use the natural sunlight
from the windows.
331
00:19:46,787 --> 00:19:50,724
We used very few lights.
Sometimes none.
332
00:19:50,958 --> 00:19:53,827
- You know I was a cameraman?
- I didn't.
333
00:19:53,994 --> 00:19:56,730
I studied to be
a cameraman at IDHEC,
334
00:19:56,864 --> 00:19:59,466
so I learned the old way.
335
00:19:59,600 --> 00:20:02,002
I was assistant
to Christian Matras,
336
00:20:02,135 --> 00:20:04,137
and to Ghislain Cloquet,
337
00:20:04,304 --> 00:20:06,840
who trained Sacha Vierny,
Pierre Lhomme, etc.
338
00:20:06,974 --> 00:20:09,710
So we were used
to very different lighting.
339
00:20:10,277 --> 00:20:12,746
In the old days,
bed sheets were sky blue.
340
00:20:13,180 --> 00:20:16,750
Cameramen didn't want white.
You remember that?
341
00:20:16,884 --> 00:20:18,886
They'd wear blue shirts.
342
00:20:19,019 --> 00:20:21,521
Actors were forbidden
to wear white.
343
00:20:21,922 --> 00:20:25,626
White was considered too plain.
So we hated white.
344
00:20:25,759 --> 00:20:28,929
Michel Kelber went ballistic
on me once
345
00:20:29,096 --> 00:20:33,901
because in a scene
in one of Léonide Moguy's films,
346
00:20:34,067 --> 00:20:38,472
the typists had white paper
in their machines instead of blue.
347
00:20:38,605 --> 00:20:40,574
It was crazy.
348
00:20:41,074 --> 00:20:44,011
But thanks to you I learned
349
00:20:44,144 --> 00:20:48,315
how to use reflected light
350
00:20:48,448 --> 00:20:52,352
from white paper,
white sheets, and white walls.
351
00:20:52,552 --> 00:20:55,489
I had to unlearn
everything from film school.
352
00:20:55,656 --> 00:20:58,325
I learned another way of doing it
353
00:20:58,492 --> 00:21:01,795
that left its mark on me for life.
354
00:21:02,696 --> 00:21:04,464
Did you like Cléo?
355
00:21:04,598 --> 00:21:06,767
I thought she was very beautiful.
356
00:21:07,034 --> 00:21:12,239
I remember especially her hairdo
and her polka-dot dress.
357
00:21:12,372 --> 00:21:16,009
Here Marin doesn't seem
too taken with the dress.
358
00:21:17,244 --> 00:21:19,479
In the beginning of the film,
359
00:21:19,613 --> 00:21:23,283
Cléo leaves the fortune-teller
at 58 Rue de Rivoli.
360
00:21:23,450 --> 00:21:26,486
Squatters occupied
that building for a long time,
361
00:21:26,620 --> 00:21:28,989
until they were forced to leave.
362
00:21:29,723 --> 00:21:32,659
You can recognize
the ironwork on the door.
363
00:21:33,260 --> 00:21:35,495
This is where we filmed.
364
00:21:36,630 --> 00:21:38,932
And that polka-dot dress —
365
00:21:39,066 --> 00:21:42,869
I think it was organdy,
with a double lining.
366
00:21:43,036 --> 00:21:46,740
It was a sheath dress
with an interior lining.
367
00:21:46,873 --> 00:21:51,411
I remember it gave her
a lovely, airy effect.
368
00:21:51,545 --> 00:21:53,847
And that was your design.
369
00:21:53,981 --> 00:21:57,384
- You designed that?
- Yes, I love polka dots.
370
00:21:57,517 --> 00:22:01,254
It gave her walk...
371
00:22:02,622 --> 00:22:04,958
a breezy quality.
372
00:22:05,592 --> 00:22:09,062
Then there was
the little black dress with darts.
373
00:22:09,596 --> 00:22:11,932
Cléo wears one of my necklaces.
374
00:22:12,065 --> 00:22:14,568
I'd brought my entire collection.
375
00:22:14,801 --> 00:22:16,970
The wings were mine too...
376
00:22:17,104 --> 00:22:19,906
as well as the rocking chair.
377
00:22:20,907 --> 00:22:24,478
I remember lending
my car to the doctor.
378
00:22:24,611 --> 00:22:26,613
You remember that?
379
00:22:26,747 --> 00:22:27,948
That was your car?
380
00:22:28,081 --> 00:22:32,019
Yes, a Singer convertible
I was pretty proud of.
381
00:22:35,288 --> 00:22:37,324
- And the ring?
- Cléo's ring.
382
00:22:37,791 --> 00:22:40,961
You found it in a boutique...
383
00:22:41,294 --> 00:22:43,430
on Boulevard Raspail.
384
00:22:43,697 --> 00:22:46,500
- We didn't buy it —
- Too little money.
385
00:22:46,666 --> 00:22:48,335
We rented it.
386
00:22:48,502 --> 00:22:50,470
Now that I see it, I remember.
387
00:22:50,670 --> 00:22:52,639
What a pretty ring!
388
00:22:52,939 --> 00:22:54,941
A pearl and a frog.
389
00:22:55,208 --> 00:22:57,244
You and me.
390
00:22:58,545 --> 00:23:01,648
And at the end of the shoot,
391
00:23:01,782 --> 00:23:03,750
to show Agnès our appreciation,
392
00:23:03,884 --> 00:23:05,752
we bought it.
393
00:23:05,886 --> 00:23:09,589
You paid the difference
between the rental fee...
394
00:23:10,457 --> 00:23:11,625
and the full price.
395
00:23:12,692 --> 00:23:14,561
I really like this ring.
396
00:23:14,694 --> 00:23:18,365
I was very touched
by the gesture and the gift.
397
00:23:19,699 --> 00:23:21,935
The film was divided into chapters,
398
00:23:22,069 --> 00:23:25,238
with the time and duration
of each sequence.
399
00:23:25,405 --> 00:23:27,307
She's so kind, so pretty.
400
00:23:28,008 --> 00:23:30,277
Let's talk about Dorothée Blank.
401
00:23:30,410 --> 00:23:33,313
Remind me when we first met.
402
00:23:33,513 --> 00:23:36,950
It was when we did
L'Opéra Mouffe.
403
00:23:37,084 --> 00:23:38,685
So 1957.
404
00:23:38,819 --> 00:23:40,720
Don't ask me about dates.
405
00:23:42,189 --> 00:23:45,492
I shot on Rue Mouffetard...
406
00:23:46,226 --> 00:23:50,464
with you and José Varela
and another guy named Tasso.
407
00:23:52,299 --> 00:23:54,668
You had two lovers.
408
00:23:54,801 --> 00:23:57,571
- Might as well, huh?
- Yes, might as well.
409
00:23:58,038 --> 00:24:01,975
We see you in bed with Varela.
Remember that?
410
00:24:02,242 --> 00:24:05,745
Someone said it was shocking.
It seemed innocent to me.
411
00:24:06,580 --> 00:24:08,615
You caressed his feet.
412
00:24:10,183 --> 00:24:13,987
I continued
with other lovers in my life.
413
00:24:17,023 --> 00:24:20,327
My favorite moment
is when you filmed
414
00:24:20,527 --> 00:24:23,263
there in your courtyard.
415
00:24:23,530 --> 00:24:26,967
On a bed.
- A mattress on an iron bed.
416
00:24:27,100 --> 00:24:31,438
You asked me
to just wriggle my back a bit.
417
00:24:34,341 --> 00:24:37,377
You'd had experience as a model.
418
00:24:37,544 --> 00:24:41,515
What about acting in the film?
- It didn't require any transition.
419
00:24:41,648 --> 00:24:44,784
I acted in the film as I did in life.
420
00:24:45,051 --> 00:24:48,155
When I entered the studio...
421
00:24:48,588 --> 00:24:50,590
the atmosphere was marvelous.
422
00:24:51,892 --> 00:24:56,296
It was a world of artists...
423
00:24:57,197 --> 00:24:59,799
very gentle, very calm, very —
424
00:25:00,100 --> 00:25:02,169
And quiet, above all.
425
00:25:03,003 --> 00:25:06,239
I must confess that while preparing
for the DVD release,
426
00:25:06,373 --> 00:25:08,909
I reedited two takes.
427
00:25:09,042 --> 00:25:13,346
Cléo enters Couturier's studio.
We see him at the back.
428
00:25:13,513 --> 00:25:16,016
He turned 100 recently.
429
00:25:16,316 --> 00:25:20,487
The part I removed is in yellow
and in slow motion.
430
00:25:23,390 --> 00:25:27,260
I think it flows better
without that 1.5 seconds.
431
00:25:32,399 --> 00:25:34,267
As Cléo...
432
00:25:34,401 --> 00:25:38,305
you saw Dorothée's simplicity
as she posed.
433
00:25:39,139 --> 00:25:41,541
As for you, Dorothée...
434
00:25:41,675 --> 00:25:44,911
I'd asked the sculptors
435
00:25:45,045 --> 00:25:48,014
to look through you, not at you.
436
00:25:48,181 --> 00:25:51,751
We see an idea through their eyes.
What did you feel?
437
00:25:51,885 --> 00:25:53,920
I felt freedom.
438
00:25:54,054 --> 00:25:56,856
In other professions,
439
00:25:57,023 --> 00:26:00,860
people ask you to behave
this way or that way.
440
00:26:01,027 --> 00:26:03,597
When you model, you're nothing.
441
00:26:03,730 --> 00:26:08,134
You're just yourself.
No one asks how you're feeling.
442
00:26:08,401 --> 00:26:11,137
You breathe...
443
00:26:11,705 --> 00:26:14,174
and turn thoughts over
in your head.
444
00:26:14,307 --> 00:26:17,344
The painter isn't interested in that.
445
00:26:17,611 --> 00:26:19,779
That's what I mean by freedom.
446
00:26:20,146 --> 00:26:22,115
And that delighted you.
447
00:26:22,249 --> 00:26:24,884
Cléo was a little uptight
and anxious.
448
00:26:25,018 --> 00:26:27,087
Cléo was more uptight.
449
00:26:27,220 --> 00:26:29,889
She'd probably never have
posed nude.
450
00:26:30,023 --> 00:26:31,925
And neither would I.
451
00:26:32,259 --> 00:26:34,928
I just learned. Get in.
452
00:26:35,095 --> 00:26:38,565
Then there was
Dorothée's adventure at the wheel.
453
00:26:38,898 --> 00:26:41,768
I had no idea
you didn't know how to drive.
454
00:26:41,901 --> 00:26:45,038
I'd never driven. I took lessons.
455
00:26:45,171 --> 00:26:49,943
I had to take the road test twice.
I failed it the first time.
456
00:26:50,377 --> 00:26:56,416
I failed the second time too,
but the instructor asked...
457
00:26:56,549 --> 00:26:59,185
"When does shooting start?"
458
00:26:59,319 --> 00:27:02,622
"That depends on you, sir."
"On me?"
459
00:27:02,756 --> 00:27:05,692
I said,
"The shoot begins this afternoon.
460
00:27:05,825 --> 00:27:09,195
If I have my license, I work.
If not, I don't."
461
00:27:09,329 --> 00:27:11,264
So he gave it to me.
462
00:27:16,469 --> 00:27:19,506
Speaking of that car
she did her best to drive,
463
00:27:19,806 --> 00:27:23,343
it took a color photo
to remind me it was red.
464
00:27:23,643 --> 00:27:25,979
I can't remember
who loaned it to us.
465
00:27:28,214 --> 00:27:31,851
I remember scouting
a fun address for Dorothée.
466
00:27:32,118 --> 00:27:36,756
In the 14th arrondissement,
there are stairs called Rue des Artistes.
467
00:27:38,692 --> 00:27:42,128
Dorothée descends them again
to bid us farewell.
468
00:27:44,698 --> 00:27:47,367
I like to linger
on street names, boutiques,
469
00:27:47,534 --> 00:27:50,003
metro stations, and buses.
470
00:27:54,174 --> 00:27:57,610
As we came to Place d'Italie,
I seized the chance,
471
00:27:57,777 --> 00:27:59,879
as I often do in my films,
472
00:28:00,013 --> 00:28:03,049
to talk about trees
and how they fare.
473
00:28:03,316 --> 00:28:05,185
You know these trees?
474
00:28:05,385 --> 00:28:07,187
They're Paulownias.
475
00:28:08,421 --> 00:28:12,325
There are some in Paris,
and lots in China and Japan.
476
00:28:13,126 --> 00:28:16,229
It's a rare tree from Poland.
477
00:28:16,596 --> 00:28:20,166
I was wrong.
Paulownias come from China.
478
00:28:20,367 --> 00:28:23,136
But the big trees from 1961
are no longer there.
479
00:28:24,637 --> 00:28:29,242
I asked two chief arborists
for the city to talk about why.
480
00:28:31,010 --> 00:28:34,047
The Paulownias on Place d'Italie
481
00:28:34,214 --> 00:28:38,618
were already advanced in age,
about 50 years old.
482
00:28:39,552 --> 00:28:43,890
The area was
fairly polluted due to traffic.
483
00:28:44,157 --> 00:28:47,761
And don't forget
that the metro is underground.
484
00:28:47,894 --> 00:28:51,531
So the atmosphere
was rather inhospitable,
485
00:28:51,664 --> 00:28:53,900
and they began to waste away.
486
00:28:54,367 --> 00:28:57,537
After a study was done,
it was decided
487
00:28:57,670 --> 00:29:01,775
to remove the remaining trees
and redo the whole square.
488
00:29:02,375 --> 00:29:05,178
The 1999 storm played a part too.
489
00:29:05,311 --> 00:29:07,647
Quite a few trees were uprooted.
490
00:29:07,781 --> 00:29:10,817
It was a danger
for people in the square.
491
00:29:10,950 --> 00:29:13,052
So they were cut down.
492
00:29:13,787 --> 00:29:16,456
It always hurts to cut down a tree,
493
00:29:16,589 --> 00:29:19,826
but one is planted in its place
almost immediately.
494
00:29:19,993 --> 00:29:22,862
And it grows more beautiful
with each passing year.
495
00:29:23,530 --> 00:29:26,065
For the moment,
they're young and small,
496
00:29:26,299 --> 00:29:28,968
but they're vigorous,
and they grow quickly.
497
00:29:30,603 --> 00:29:34,174
And you can see
they're beginning to flower now.
498
00:29:36,776 --> 00:29:41,281
Sometimes kids hang out at night
and vandalize these trees.
499
00:29:41,414 --> 00:29:45,718
They carve things like
"I love you, sweetie" on the trunk.
500
00:29:45,852 --> 00:29:47,754
That's romantic!
501
00:29:47,887 --> 00:29:50,857
Sure, but a tree is a living thing,
502
00:29:51,024 --> 00:29:53,493
and it doesn't like to be hurt.
503
00:29:54,661 --> 00:29:59,365
I don't love trees. I adore them.
I've worked with them for 34 years.
504
00:29:59,499 --> 00:30:01,634
I was raised in the country.
505
00:30:01,768 --> 00:30:05,071
I started climbing trees
at five or six.
506
00:30:05,238 --> 00:30:09,542
For this job, you have to love nature.
That includes trees.
507
00:30:09,676 --> 00:30:12,245
It's a labor of love.
- That's right.
508
00:30:13,680 --> 00:30:16,449
Two months later,
the Paulownias on Place d'Italie,
509
00:30:16,616 --> 00:30:20,320
after blossoming,
were green again.
510
00:30:20,453 --> 00:30:24,157
We passed that way
for the final scene at the hospital.
511
00:30:28,795 --> 00:30:31,431
- When's your train?
- About 8:00.
512
00:30:31,598 --> 00:30:33,666
We have so little time.
513
00:30:33,833 --> 00:30:35,835
It's silly looking for the doctor.
514
00:30:35,969 --> 00:30:38,805
It's not that urgent.
I can call him later.
515
00:30:39,772 --> 00:30:43,576
Time for Cléo and Antoine
was too short or too long.
516
00:30:43,710 --> 00:30:45,578
We have plenty of time.
517
00:30:45,912 --> 00:30:49,516
And the space between them
was either huge or very tight.
518
00:30:50,884 --> 00:30:55,021
I brought Antoine and Corinne
to the hospital grounds
519
00:30:55,154 --> 00:30:58,691
to talk about the final sequence.
520
00:30:59,359 --> 00:31:02,095
I marvel at your relationship,
521
00:31:02,262 --> 00:31:05,498
at something
extremely subtle between you,
522
00:31:05,665 --> 00:31:09,002
a gentleness toward each other.
523
00:31:09,168 --> 00:31:11,237
What I call being together.
524
00:31:11,371 --> 00:31:13,706
It's not about being in love.
525
00:31:13,840 --> 00:31:16,276
It's something you can experience
526
00:31:16,409 --> 00:31:19,012
in certain exceptional
circumstances.
527
00:31:19,746 --> 00:31:22,649
We really were in a sort of bubble.
528
00:31:22,782 --> 00:31:25,852
I think I expressed it in my eyes.
529
00:31:26,119 --> 00:31:28,955
Antoine,
you had tears in your eyes.
530
00:31:29,088 --> 00:31:30,390
That's possible.
531
00:31:30,523 --> 00:31:33,526
Did the viewer feel it?
- Yes!
532
00:31:33,760 --> 00:31:37,063
I can only express my gratitude.
I admired you two then...
533
00:31:37,196 --> 00:31:41,334
and I admire you 40 years later
for expressing what I wanted.
534
00:31:42,936 --> 00:31:44,437
Why?
535
00:31:44,671 --> 00:31:48,541
I'm sorry I'm leaving.
I'd like to be with you.
536
00:31:49,442 --> 00:31:51,044
You are.
537
00:31:53,446 --> 00:31:55,782
I think my fear is gone.
538
00:31:57,750 --> 00:31:59,986
I think I'm happy.
539
00:32:03,156 --> 00:32:07,160
I have to mention
a problem with that last shot.
540
00:32:07,393 --> 00:32:11,598
We set up the dolly tracks,
and the actors walked along them.
541
00:32:11,731 --> 00:32:16,302
They don't look at each other much.
Just a few emotional glances.
542
00:32:16,536 --> 00:32:19,706
There's something ephemeral
and subtle taking place.
543
00:32:19,839 --> 00:32:23,209
It's quite a long shot.
They keep walking.
544
00:32:23,876 --> 00:32:26,045
What happens at the end?
545
00:32:26,212 --> 00:32:29,816
A dark, blurry shape
appears behind them —
546
00:32:29,949 --> 00:32:32,485
the dolly tracks.
547
00:32:34,053 --> 00:32:37,690
I'm devastated and angry at myself.
"The camera was poorly placed!
548
00:32:37,857 --> 00:32:39,826
We weren't careful enough.
549
00:32:39,959 --> 00:32:43,029
We focused on their faces,
not enough on the shot."
550
00:32:43,162 --> 00:32:46,099
It took two months
to convince Beauregard
551
00:32:46,399 --> 00:32:49,102
to authorize a reshoot.
552
00:32:49,569 --> 00:32:52,605
Antoine and Corinne arrive
in their costumes...
553
00:32:53,006 --> 00:32:56,709
a small crew, dolly tracks,
camera, film stock...
554
00:32:56,976 --> 00:33:00,179
The atmosphere is right.
We get ambulances, place the tracks.
555
00:33:00,346 --> 00:33:02,015
They walk slowly.
556
00:33:02,181 --> 00:33:04,183
Corinne says the same thing:
557
00:33:04,317 --> 00:33:07,720
"I think my fear is gone.
I think I'm happy."
558
00:33:07,854 --> 00:33:09,889
They look at each other.
559
00:33:11,124 --> 00:33:14,260
No tracks in the shot,
but it's not working.
560
00:33:14,427 --> 00:33:17,397
I tell them,
"Maybe I didn't direct you well.
561
00:33:17,530 --> 00:33:19,832
I didn't say the right thing.
562
00:33:19,966 --> 00:33:23,302
Or maybe I should have kept quiet.
Let's do it again."
563
00:33:23,436 --> 00:33:25,772
Take two. Take three.
564
00:33:26,372 --> 00:33:29,308
For me it's a dud.
They're just not there.
565
00:33:29,442 --> 00:33:31,744
In the final edit...
566
00:33:31,878 --> 00:33:34,881
I used the scene
from the first shoot,
567
00:33:35,014 --> 00:33:39,152
with the blurry dolly tracks
at the end.
568
00:33:40,186 --> 00:33:43,423
No one ever criticized it.
Maybe no one noticed.
569
00:33:43,589 --> 00:33:46,559
Maybe it's a mistake
to even tell you this.
570
00:33:46,726 --> 00:33:50,797
But that taught me something.
A real lesson.
571
00:33:51,064 --> 00:33:54,467
It's very difficult
to reconstruct and re-create
572
00:33:54,701 --> 00:33:57,603
the magic of a moment...
573
00:33:58,604 --> 00:34:00,873
when everyone was in sync.
574
00:34:01,007 --> 00:34:04,944
The impulse, the director's desire,
the actors' emotions.
575
00:34:05,878 --> 00:34:08,414
You can't just try
576
00:34:08,614 --> 00:34:11,751
to recapture something
so ephemeral and miraculous.
577
00:34:11,884 --> 00:34:13,953
It was quite a lesson.
578
00:34:14,921 --> 00:34:17,890
This hospital bench
reminds me of something.
579
00:34:18,191 --> 00:34:22,595
Georges Sadoul,
a well-known film critic in 1962,
580
00:34:22,762 --> 00:34:25,832
told me a story
I thought was extraordinary.
581
00:34:26,299 --> 00:34:28,868
The film gave him
an unexpected shock,
582
00:34:29,001 --> 00:34:31,370
and he wrote me about it.
583
00:34:34,607 --> 00:34:38,111
"Dear Agnès Varda,
you made me cry for several days
584
00:34:38,244 --> 00:34:42,048
with your film Cléo from 5 to 7,
which touched me deeply.
585
00:34:42,181 --> 00:34:44,383
It's a beautiful film, your best.
586
00:34:44,584 --> 00:34:47,653
I must admit
to a strange coincidence.
587
00:34:49,088 --> 00:34:51,157
In June 1938...
588
00:34:51,390 --> 00:34:55,161
I spent a whole day in the gardens
of the Salpêtrière Hospital
589
00:34:55,294 --> 00:34:57,530
waiting for news of a death:
590
00:34:57,663 --> 00:34:59,966
that of my wife,
Jacqueline Cartier-Bresson,
591
00:35:00,099 --> 00:35:02,935
who died at Cléo's age in the film.
592
00:35:03,069 --> 00:35:06,439
For me, those gardens
are the image of death itself,
593
00:35:06,606 --> 00:35:08,674
the height of tragedy."
594
00:35:09,275 --> 00:35:11,744
And when I spoke with him...
595
00:35:12,278 --> 00:35:16,082
he said he'd not only waited
for the news of her death,
596
00:35:16,215 --> 00:35:20,486
but he'd waited for a doctor
to speak to them.
597
00:35:20,887 --> 00:35:22,989
That really struck me.
598
00:35:23,156 --> 00:35:25,958
Without realizing it, I'd created
599
00:35:26,159 --> 00:35:29,962
an intense and devastating scene
from someone else's life.
600
00:35:30,897 --> 00:35:33,766
I still don't know
what inspired Baldung Grien
601
00:35:33,900 --> 00:35:36,936
to paint beautiful women
taunted by skeletons.
602
00:35:38,437 --> 00:35:41,474
But it reached me 500 years later
603
00:35:41,641 --> 00:35:44,043
and served as my motivation.
604
00:35:44,811 --> 00:35:47,880
I'll now finish up
with my memories of this film
605
00:35:48,014 --> 00:35:52,051
by closing the little notebook
in which I jotted down my plans
606
00:35:52,351 --> 00:35:55,988
and put photos
as the film was shot.
607
00:35:56,222 --> 00:35:58,324
I'm closing it now.
46314
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