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1
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Stand by!
2
00:00:02,888 --> 00:00:04,930
Enjoy the party, it's 1906.
3
00:00:05,097 --> 00:00:06,805
And... action!
4
00:00:06,972 --> 00:00:08,680
Step back, please.
5
00:00:19,013 --> 00:00:20,013
It's over there.
6
00:00:46,763 --> 00:00:47,805
Cut!
7
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Come on, one more...
8
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"Una más!
That's Spanish for number one.
9
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Quicker on the sticks for this one.
10
00:00:55,680 --> 00:00:57,680
Why do you want me
to generalize?
11
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Now I'm content.
12
00:00:59,347 --> 00:01:01,389
In five minutes, I'll be furious.
13
00:01:01,556 --> 00:01:03,721
and in ten minutes I'm content again.
14
00:01:03,888 --> 00:01:05,972
It changes like that. You know that.
15
00:01:08,080 --> 00:01:10,270
Tell me one more thing,
16
00:01:10,320 --> 00:01:16,680
you're gonna be shooting
a new scene tonight...
17
00:01:17,360 --> 00:01:25,240
-Yeah.
-What are the main ideas of the scene?
18
00:01:27,240 --> 00:01:30,360
One main idea.
19
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Just to shoot it.
Just to shoot it...
20
00:01:33,264 --> 00:01:35,763
Just to finish...
It's in the script.
21
00:01:35,930 --> 00:01:39,305
What matters...
It's not an important scene.
22
00:01:39,425 --> 00:01:42,479
It's not a very important
scene... it shows...
23
00:01:43,180 --> 00:01:47,305
shows a world into which
Evelyn Nesbit enters
24
00:01:47,472 --> 00:01:49,680
after Harry K. Thaw
25
00:01:49,847 --> 00:01:54,305
has been sentenced
to a mental asylum.
26
00:01:54,472 --> 00:01:58,721
She is surrounded by
sleazy agents and managers.
27
00:01:58,888 --> 00:02:02,472
They are dragging her
into a different world.
28
00:02:03,013 --> 00:02:05,222
Away from the younger brother.
29
00:02:05,720 --> 00:02:10,713
I want to know the meaning.
The inner meaning.
30
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Essence? Charm...
31
00:02:13,763 --> 00:02:16,734
Charm, music, the girl...
32
00:02:16,797 --> 00:02:18,877
That's not the inner meaning.
33
00:02:19,680 --> 00:02:25,160
That’s not the meaning... the inner...
that cannot escape from this shot...
34
00:02:25,680 --> 00:02:27,760
- Is it exclusively the story?
- Yes
35
00:02:28,097 --> 00:02:29,138
Yes.
36
00:02:29,305 --> 00:02:30,356
I think so.
37
00:02:30,422 --> 00:02:33,015
That way it’s impossible...
you’re not a story director,
38
00:02:33,100 --> 00:02:36,622
- But why...
- You're an auteur director...
39
00:02:36,732 --> 00:02:38,721
Why didn't you say so
before the shooting!
40
00:02:38,888 --> 00:02:41,763
I could have improved it.
Now it's too late.
41
00:02:41,930 --> 00:02:44,138
Now I have to film what's
in the script.
42
00:02:44,305 --> 00:02:46,956
This is the worst time
to talk theoretically.
43
00:02:47,007 --> 00:02:49,116
Absolutely worst time
to speak theoretically.
44
00:02:49,167 --> 00:02:51,040
It’s always the same!
We speak later...
45
00:02:51,100 --> 00:02:53,938
Surely you know what
your intention is.
46
00:02:53,988 --> 00:02:56,305
No, not during the shooting.
47
00:02:56,637 --> 00:02:58,556
All you are concentrating on...
48
00:02:58,680 --> 00:03:01,013
But you must know
what you want.
49
00:03:01,180 --> 00:03:04,805
You always have to be aware
of what is important and what is not.
50
00:03:04,856 --> 00:03:07,351
Or you'd lose
consciousness of continuity.
51
00:03:08,266 --> 00:03:10,861
Consciousness of continuities.
52
00:03:11,637 --> 00:03:13,347
Because at the outset,
53
00:03:13,514 --> 00:03:16,847
it is necessary to be conscious
of the continuities,
54
00:03:17,013 --> 00:03:19,638
whether they are
negative or positive.
55
00:03:20,264 --> 00:03:23,697
It is necessary to take account of
parallel actions.
56
00:03:23,766 --> 00:03:25,641
and to be aware of tradition.
57
00:03:26,347 --> 00:03:28,680
These things provide an overall view.
58
00:03:28,847 --> 00:03:30,972
embracing a wide horizon.
59
00:03:31,556 --> 00:03:33,721
Play! Play! Play!
60
00:03:43,305 --> 00:03:44,347
Cut!
61
00:03:46,638 --> 00:03:48,763
Something's strange.
62
00:03:49,721 --> 00:03:53,680
We start with you
hitting the strings.
63
00:03:53,847 --> 00:03:56,013
You come here,
64
00:03:56,180 --> 00:03:58,930
you say "Play!"
and you stay there.
65
00:04:00,097 --> 00:04:02,514
Here. You stay there.
66
00:04:02,638 --> 00:04:05,180
When they are playing,
67
00:04:05,347 --> 00:04:09,138
very slowly, you turn around
and move forward. OK?
68
00:04:10,138 --> 00:04:13,264
After completing his studies in Prague
in the 1960s,
69
00:04:13,430 --> 00:04:17,721
Milos Forman became the major
representative of the Czechoslovak New Wave.
70
00:04:17,888 --> 00:04:20,180
with films like The Ace of Spades,
71
00:04:20,347 --> 00:04:23,013
Loves of a Blonde,
and Fireman's Ball.
72
00:04:23,180 --> 00:04:27,305
The success of his films catapulted him
into the arms of Carlo Ponti.
73
00:04:27,472 --> 00:04:30,097
But the stronghold quickly loosened
when it became evident
74
00:04:30,264 --> 00:04:34,180
that Milos's mind could be
neither kneeded or crushed.
75
00:04:34,347 --> 00:04:38,637
His strong will did not even break
when he encountered foreign toughness.
76
00:04:39,264 --> 00:04:41,430
One more. Ready!
77
00:04:41,597 --> 00:04:46,430
Milos, I have to call my waiters
before you yell background for Mike.
78
00:04:46,597 --> 00:04:47,888
Stand by!
79
00:04:48,556 --> 00:04:49,805
Talking.
80
00:04:50,389 --> 00:04:52,597
And... the first waiter.
81
00:04:53,305 --> 00:04:54,297
Mike.
82
00:04:54,347 --> 00:04:56,055
Play! Play!
83
00:04:56,222 --> 00:04:57,430
Play!
84
00:05:01,805 --> 00:05:03,514
You couldn't hear him?
85
00:05:03,638 --> 00:05:06,930
That took him three times
to yell "Play!".
86
00:05:07,097 --> 00:05:10,055
Once you hear play, you turn around
and react.
87
00:05:13,847 --> 00:05:15,430
Mike, go again.
88
00:05:15,597 --> 00:05:16,930
Get ready!
89
00:05:17,680 --> 00:05:22,138
There was only a slight crack in him
that allowed him to understand
90
00:05:22,305 --> 00:05:25,180
the surrounding world around him
that much more quickly.
91
00:05:26,248 --> 00:05:27,315
Quiet please!
92
00:05:27,366 --> 00:05:28,366
Quiet!
93
00:05:28,417 --> 00:05:31,250
You guys are enjoying the conversation,
the band members.
94
00:05:31,347 --> 00:05:34,472
You are looking and talking.
The first waiter enters!
95
00:05:35,222 --> 00:05:36,264
Michael.
96
00:05:36,430 --> 00:05:37,888
Play! Play!
97
00:05:38,347 --> 00:05:39,347
Play!
98
00:05:47,305 --> 00:05:48,597
Once again.
99
00:05:50,430 --> 00:05:52,305
No, you have to stop...
100
00:05:53,472 --> 00:05:56,472
at this very spot, right here.
You have to stop...
101
00:05:56,637 --> 00:05:58,430
Can't go so far, right?
102
00:05:59,721 --> 00:06:01,180
Once again.
103
00:06:01,680 --> 00:06:02,888
OK, back it up.
104
00:06:03,055 --> 00:06:05,180
Who is Milos Forman, in fact?
105
00:06:05,347 --> 00:06:07,472
Czech or American?
106
00:06:07,805 --> 00:06:08,972
Czech-American?
107
00:06:09,138 --> 00:06:10,680
Or American-Czech?
108
00:06:10,847 --> 00:06:11,680
First waiter!
109
00:06:11,847 --> 00:06:14,680
Is it possible
to uproot someone?
110
00:06:15,138 --> 00:06:17,597
What sources inspire his work?
111
00:06:18,180 --> 00:06:19,180
Play!
112
00:08:56,763 --> 00:08:59,055
Life is surrounded by death...
113
00:09:02,354 --> 00:09:03,396
Youth,
114
00:09:04,044 --> 00:09:05,336
love,
115
00:09:05,930 --> 00:09:09,763
and everything else is etched
on a surface of failure.
116
00:09:14,389 --> 00:09:18,680
It is perhaps the initial source
of our inspiration.
117
00:09:24,930 --> 00:09:26,972
Do you have dreams, Milos?
118
00:09:33,013 --> 00:09:36,264
I have only two subjects of
daydreaming
119
00:09:36,430 --> 00:09:37,638
I guess.
120
00:09:39,180 --> 00:09:42,305
When you try to fall asleep,
121
00:09:43,305 --> 00:09:45,389
you want your mind to
122
00:09:45,556 --> 00:09:48,180
to be in a happy mood
123
00:09:51,013 --> 00:09:52,472
You dream about
124
00:09:53,097 --> 00:09:54,805
women and...
125
00:09:55,847 --> 00:09:57,222
of what...
126
00:09:58,055 --> 00:10:00,430
you're doing right now.
127
00:10:01,301 --> 00:10:03,217
In the sense that you
128
00:10:04,430 --> 00:10:06,097
are doing it well.
129
00:10:06,847 --> 00:10:09,430
What influences you?
130
00:10:10,305 --> 00:10:11,389
Everything...
131
00:10:11,680 --> 00:10:13,763
Everything.
The whole thing.
132
00:10:13,930 --> 00:10:17,138
But what it was exactly,
I don't know really.
133
00:10:20,680 --> 00:10:22,013
How can you say
134
00:10:22,180 --> 00:10:26,347
what has had the strongest influence
on yourself and your life?
135
00:10:27,138 --> 00:10:30,888
I think the strongest influence,
is the genes
136
00:10:31,055 --> 00:10:33,472
that we bring to this planet.
137
00:10:36,723 --> 00:10:40,640
Our mother and father give you
your strongest influence in the genes.
138
00:11:35,305 --> 00:11:38,597
Hasn't the greatest milestone been
139
00:11:38,721 --> 00:11:41,805
having been orphaned after
your parents died?
140
00:11:43,347 --> 00:11:46,222
What do I know?
That's how I feel.
141
00:11:47,013 --> 00:11:48,097
I can't...
142
00:11:48,930 --> 00:11:53,680
I think it was important
when I found myself...
143
00:11:56,221 --> 00:11:59,021
being by myself
144
00:11:59,097 --> 00:12:00,930
at the age of whatever, 10.
145
00:12:02,514 --> 00:12:05,013
I have to deal with situations
146
00:12:05,763 --> 00:12:07,972
at an age when you are
very perceptive
147
00:12:08,138 --> 00:12:10,138
to learn...
148
00:12:11,180 --> 00:12:13,013
Where we are very
149
00:12:13,180 --> 00:12:15,264
open to every new experience.
150
00:12:16,972 --> 00:12:18,930
I had to deal with things
151
00:12:19,763 --> 00:12:22,514
that normally you face later on.
152
00:12:24,097 --> 00:12:25,264
I don't know...
153
00:12:25,855 --> 00:12:28,839
Have you had any influences,
154
00:12:28,890 --> 00:12:31,358
ideals, desires...
155
00:12:31,421 --> 00:12:33,962
Something that shocked you,
a person who is dear to you?
156
00:12:34,055 --> 00:12:35,556
A director, for instance?
157
00:12:38,556 --> 00:12:40,055
I believe that
158
00:12:41,305 --> 00:12:43,347
the influence of art,
159
00:12:43,514 --> 00:12:44,680
in general...
160
00:12:48,430 --> 00:12:51,514
on a young person
who's just out of puberty,
161
00:12:51,741 --> 00:12:53,824
in these very fragile years,
162
00:12:53,888 --> 00:12:55,637
I think is enormous.
163
00:12:56,597 --> 00:12:57,597
It can
164
00:12:57,930 --> 00:12:59,138
put you...
165
00:13:00,763 --> 00:13:02,264
on a path...
166
00:13:04,055 --> 00:13:06,597
It's not necessarily
great art...
167
00:13:07,055 --> 00:13:08,721
which does it to you...
168
00:13:10,013 --> 00:13:12,514
It was a book,
which I never heard of again,
169
00:13:12,638 --> 00:13:14,930
"Plavčíci kapitána Bontekoea"
170
00:13:15,264 --> 00:13:18,721
which made me discover
a world of fantasy.
171
00:13:19,847 --> 00:13:21,180
I just loved it.
172
00:13:21,347 --> 00:13:24,138
I couldn't wait to run home
173
00:13:24,305 --> 00:13:27,638
to live in the world of this book.
174
00:13:28,638 --> 00:13:31,347
I was very sad,
when it was over.
175
00:13:31,972 --> 00:13:35,721
I was begging God
to make me forget the book
176
00:13:35,888 --> 00:13:38,805
so I could read it again
177
00:13:39,847 --> 00:13:43,305
with the same discoveries
as if I didn't know anything.
178
00:14:09,472 --> 00:14:11,472
Then later, I must say,
179
00:14:11,847 --> 00:14:14,013
it's very strange,
180
00:14:14,638 --> 00:14:16,930
I discovered
with great excitement
181
00:14:17,097 --> 00:14:20,930
the lectures of Dr František Dvořák,
182
00:14:21,097 --> 00:14:23,138
who taught art history.
183
00:14:23,305 --> 00:14:25,930
He was talking about paintings and...
184
00:14:29,305 --> 00:14:31,055
why...
185
00:14:31,763 --> 00:14:35,013
and what distinguished
the Italian renaissance school
186
00:14:35,180 --> 00:14:38,264
from the Flemish...
187
00:14:40,347 --> 00:14:41,763
It was...
188
00:14:43,264 --> 00:14:46,013
I spent hours
189
00:14:46,180 --> 00:14:50,514
going through galleries and art
books on my own
190
00:14:50,638 --> 00:14:53,177
just being excited by this teacher.
191
00:14:53,536 --> 00:14:55,341
Who has
influenced you most in cinema?
192
00:15:05,013 --> 00:15:07,430
I guess it was Charlie Chaplin.
193
00:15:10,930 --> 00:15:14,305
I was so impressed
by his power over me.
194
00:15:15,013 --> 00:15:19,097
Because I would come
in a theatre, in a cinema,
195
00:15:19,264 --> 00:15:21,055
and all of a sudden,
196
00:15:21,222 --> 00:15:25,180
here I am, laughing or crying,
197
00:15:25,347 --> 00:15:28,805
exactly as he is dictating.
198
00:15:28,972 --> 00:15:32,805
This power over me
fascinated me.
199
00:15:32,878 --> 00:15:36,544
I wanted to exercise
the same power over people,
200
00:15:36,805 --> 00:15:38,514
sitting in the movie house.
201
00:15:39,556 --> 00:15:41,097
Any time,
202
00:15:41,264 --> 00:15:43,637
I was laughing so hard
203
00:15:43,763 --> 00:15:48,138
so much that I couldn't see anything
I was crying with laughter.
204
00:15:48,637 --> 00:15:50,347
How did he do it?
205
00:15:51,721 --> 00:15:55,638
How does Milos Forman
captivate moviegoers?
206
00:15:58,847 --> 00:16:00,597
Let's just shoot the beginning.
207
00:16:00,721 --> 00:16:04,847
Then continue just as written.
208
00:16:05,305 --> 00:16:08,013
Then we'll film these two.
209
00:16:08,888 --> 00:16:11,930
This one, this one and this one.
210
00:16:16,680 --> 00:16:19,097
What do we have to do
to make them talk?
211
00:16:19,556 --> 00:16:21,097
They know what we want.
212
00:16:23,503 --> 00:16:24,919
Why don't we just
213
00:16:25,514 --> 00:16:27,721
to get that Conklin?
214
00:16:28,638 --> 00:16:30,097
I know where he lives.
215
00:16:30,888 --> 00:16:32,805
It keeps us in people's minds...
216
00:16:34,930 --> 00:16:36,637
While they are here,
217
00:16:37,013 --> 00:16:39,389
let's move them around a bit.
218
00:16:39,556 --> 00:16:43,055
They will be in front
and we can see them all.
219
00:16:43,562 --> 00:16:45,921
Mara will be here and we
will have to change everything.
220
00:16:45,972 --> 00:16:48,347
In that case, I'll have to rewrite it.
221
00:16:49,097 --> 00:16:51,097
Just for these two shots.
222
00:16:54,954 --> 00:16:57,243
Can you show me the beginning.
223
00:16:57,638 --> 00:16:59,637
Open it in front of your face.
224
00:17:00,721 --> 00:17:03,472
Do exactly as I did it.
In front of your face.
225
00:17:03,805 --> 00:17:05,680
And turn the page.
226
00:17:09,930 --> 00:17:12,222
Nothing in here.
You got anything?
227
00:17:12,708 --> 00:17:13,754
Who's next?
228
00:17:13,805 --> 00:17:15,180
Do you have anything?
229
00:17:16,805 --> 00:17:18,013
Guess who it is.
230
00:17:18,430 --> 00:17:21,389
It says here that the bombs,
if it's related,
231
00:17:21,556 --> 00:17:23,389
were planted by a deranged man.
232
00:17:23,556 --> 00:17:25,721
Who is a bad actor for you?
233
00:17:28,680 --> 00:17:29,888
A bad actor...
234
00:17:30,055 --> 00:17:32,888
A bad actor,
is the one you don't believe.
235
00:17:34,637 --> 00:17:36,721
But that doesn't mean they're bad.
236
00:17:36,888 --> 00:17:41,721
They're just not persuasive.
Might not be their fault.
237
00:17:41,888 --> 00:17:42,888
Just get him.
238
00:17:42,972 --> 00:17:43,972
Let's do that.
239
00:17:44,097 --> 00:17:46,638
I'm not finished yet.
I know where he lives.
240
00:17:47,680 --> 00:17:49,222
Yeah, why don't we do that?
241
00:17:50,930 --> 00:17:53,556
All three of you should...
242
00:17:55,347 --> 00:17:56,472
Yes, why don't we do that?
243
00:17:57,805 --> 00:18:01,180
Once you shoot, you don't care...
244
00:18:03,138 --> 00:18:05,180
what's wrong.
245
00:18:07,930 --> 00:18:09,763
Show me again the beginning.
246
00:18:09,930 --> 00:18:13,013
Let's do the whole thing again just
before he closes the newspaper.
247
00:18:13,180 --> 00:18:14,430
I just want to...
248
00:18:23,472 --> 00:18:26,138
Nothing here.
You got anything?
249
00:18:26,472 --> 00:18:27,514
No, nothing.
250
00:18:27,638 --> 00:18:28,680
Wait a minute.
251
00:18:29,264 --> 00:18:31,972
Says here that the bombings,
if it's related,
252
00:18:32,138 --> 00:18:34,930
were the work of deranged madmen.
253
00:18:35,125 --> 00:18:36,958
They don't take us seriously.
254
00:18:37,180 --> 00:18:39,556
What have we got to do before
they are willing to talk?
255
00:18:39,680 --> 00:18:41,347
They know what we want.
256
00:18:42,556 --> 00:18:43,847
Why don't we don't just...
257
00:18:44,888 --> 00:18:47,556
go get Conklin,
just get him?
258
00:18:47,680 --> 00:18:50,805
I see thousands and thousands
of actors.
259
00:18:51,097 --> 00:18:54,097
Even for tiny, little parts,
I do readings.
260
00:18:54,264 --> 00:18:55,347
I can't
261
00:18:55,721 --> 00:18:57,305
take a chance
262
00:18:57,562 --> 00:19:01,265
that an actor will be bad,
not because he's a bad actor,
263
00:19:01,385 --> 00:19:05,093
but because he is wrongly cast
by me, which is very possible.
264
00:19:05,347 --> 00:19:06,721
I've seen so many wonderful actors
265
00:19:06,888 --> 00:19:09,638
act badly because of
they were wrongly cast.
266
00:19:09,805 --> 00:19:12,305
I don't know what it is.
267
00:19:12,638 --> 00:19:16,514
Why you can be wonderful
in a part
268
00:19:16,638 --> 00:19:18,305
and bad in another.
269
00:19:18,472 --> 00:19:22,055
Why some can be good all the time
or some just once in a lifetime.
270
00:19:22,222 --> 00:19:24,888
Acting is a total mystery to me.
271
00:19:25,055 --> 00:19:27,972
Something I admire enormously.
272
00:19:28,930 --> 00:19:31,389
It's wonderful that somebody is
able to do this to me.
273
00:19:31,462 --> 00:19:34,711
And I am very angry
when somebody can't do it to me.
274
00:19:34,972 --> 00:19:37,888
Someone who is pretentious
275
00:19:38,472 --> 00:19:41,472
or too mechanical
276
00:19:41,637 --> 00:19:43,389
or you see through it.
277
00:19:43,485 --> 00:19:45,109
I get angry because...
278
00:19:45,347 --> 00:19:46,888
I feel betrayed.
279
00:19:47,055 --> 00:19:49,805
I'm here,
I want to believe your story
280
00:19:49,972 --> 00:19:51,763
and all I see,
281
00:19:51,930 --> 00:19:54,514
is some kind of bravura,
282
00:19:54,638 --> 00:19:57,013
some kind of mechanics,
283
00:19:57,805 --> 00:19:59,013
and I get angry.
284
00:19:59,180 --> 00:20:02,264
What other kinds of experience did
you with other directors before?
285
00:20:02,430 --> 00:20:04,389
There were nothing like
286
00:20:05,514 --> 00:20:08,514
what I do with Milos,
especially film.
287
00:20:09,180 --> 00:20:10,930
Doing film with Milos, it was...
288
00:20:11,097 --> 00:20:14,264
it's still, because we still
have one day to go,
289
00:20:15,430 --> 00:20:18,055
something I know I won't have
too many more times.
290
00:20:18,222 --> 00:20:21,888
I don't think I'll get a chance
to meet another director like Milos
291
00:20:23,180 --> 00:20:24,305
because he has...
292
00:20:25,556 --> 00:20:27,556
a tremendous sense
293
00:20:28,264 --> 00:20:30,097
of what is universal.
294
00:20:30,305 --> 00:20:34,354
He understands the whole human idea.
295
00:20:34,569 --> 00:20:38,161
...the total idea of humanity,
he understands it all
296
00:20:40,127 --> 00:20:43,791
He gives me confidence...
297
00:20:47,721 --> 00:20:49,514
...that I'll never forget.
298
00:20:50,430 --> 00:20:51,805
I can't forget it.
299
00:20:56,640 --> 00:21:02,093
Other directors will tell you:
300
00:21:02,423 --> 00:21:05,755
do this and do that.
301
00:21:07,106 --> 00:21:10,668
But he just: Wait, no, no, no.
302
00:21:13,183 --> 00:21:15,519
So, you stand there and you say:
303
00:21:16,066 --> 00:21:17,721
"Damn... what should I do?"
304
00:21:17,888 --> 00:21:21,192
They don't give you any idea.
"What are we doing? What's it about?"
305
00:21:21,260 --> 00:21:23,575
I don't know. I don't know.
306
00:21:23,856 --> 00:21:29,240
So we're discovering it together.
Making... discoveries.
307
00:21:32,440 --> 00:21:34,783
But it's necessary...
308
00:21:35,135 --> 00:21:40,213
How do you say it?
For the ship to have a captain.
309
00:21:40,760 --> 00:21:45,200
There's always a captain.
and the others are the ones who work.
310
00:21:45,442 --> 00:21:48,642
Needless to say, there is a direction.
311
00:21:54,472 --> 00:21:56,347
Here at the Chelsea Hotel
312
00:21:56,404 --> 00:21:59,611
right now I am here out of
pure nostalgia,
313
00:22:00,659 --> 00:22:02,909
because I was staying here
314
00:22:03,638 --> 00:22:07,637
when I came for my first time
on a private visit
315
00:22:07,763 --> 00:22:09,180
to the United States.
316
00:22:10,556 --> 00:22:11,763
Then I lived here for two years,
317
00:22:11,937 --> 00:22:14,104
when I didn't have any money.
318
00:22:16,472 --> 00:22:21,222
I feel sentimental about the fact
that for a year
319
00:22:21,389 --> 00:22:24,138
I didn't pay my rent
and nobody said a word.
320
00:22:24,305 --> 00:22:27,264
These things make you
feel something
321
00:22:27,430 --> 00:22:30,264
very personal about the hotel.
322
00:22:31,138 --> 00:22:32,763
My first Christmas...
323
00:22:34,430 --> 00:22:35,930
away from home,
324
00:22:36,805 --> 00:22:38,430
away from my country,
325
00:22:38,597 --> 00:22:42,847
I spent it here,
in practically the same room.
326
00:22:45,180 --> 00:22:47,847
I was absolutely alone...
327
00:22:53,055 --> 00:22:55,097
and I playing
with the television set.
328
00:22:55,264 --> 00:22:58,972
And suddenly, I think it was
on Channel 9 or Channel 11,
329
00:22:59,052 --> 00:23:01,886
I found out that they were showing
330
00:23:02,138 --> 00:23:04,389
a burning fireplace,
331
00:23:05,138 --> 00:23:06,597
nothing else.
332
00:23:07,097 --> 00:23:09,305
I was lying in the bed,
333
00:23:11,264 --> 00:23:13,597
I had a bottle of champagne,
334
00:23:15,222 --> 00:23:17,638
and a little caviar,
335
00:23:17,805 --> 00:23:20,930
and I was watching for hours
a fireplace
336
00:23:21,097 --> 00:23:22,305
on the television.
337
00:23:22,472 --> 00:23:26,222
And I was feeling so sorry for myself,
I was so sad.
338
00:23:26,972 --> 00:23:28,138
I loved it.
339
00:26:42,721 --> 00:26:44,430
Happiness doesn't exist.
340
00:26:44,597 --> 00:26:47,264
Happiness is too abstract.
341
00:26:47,430 --> 00:26:50,888
I so much look forward to
something that will make me happy
342
00:26:51,055 --> 00:26:54,180
and the moment I have it,
I'm disappointed.
343
00:26:54,597 --> 00:26:56,514
The way I got it
344
00:26:56,638 --> 00:26:59,888
gave me much more excitement,
much more happiness
345
00:27:00,055 --> 00:27:03,472
than the goal when you get there.
346
00:27:03,637 --> 00:27:07,597
I guess for me, to be free to
pursue your happiness
347
00:27:07,721 --> 00:27:09,430
is the ultimate happiness.
348
00:27:11,800 --> 00:27:14,604
For you, happiness is not peace.
349
00:27:14,805 --> 00:27:17,847
Happiness...
is the road to happiness.
350
00:27:19,597 --> 00:27:22,638
Tranquility... is wonderful for
resting.
351
00:27:22,805 --> 00:27:26,637
You can't keep moving
and running all the time.
352
00:27:26,763 --> 00:27:29,055
You need calm,
353
00:27:29,222 --> 00:27:31,597
you need to stop.
354
00:27:31,721 --> 00:27:34,680
But that's good to rest.
355
00:27:36,640 --> 00:27:40,960
But everybody wants to be tranquil,
at peace.
356
00:27:41,040 --> 00:27:45,000
Because everybody needs to rest.
357
00:27:46,040 --> 00:27:49,000
Because everybody... needs to rest.
358
00:27:49,930 --> 00:27:52,389
So you're saying that, the peace
everyone is searching for
359
00:27:52,556 --> 00:27:54,472
is also a search for death?
360
00:27:55,000 --> 00:27:58,280
It could be death.
361
00:28:02,805 --> 00:28:05,514
No, that doesn't mean it's...
362
00:28:06,347 --> 00:28:07,930
It doesn't mean death.
363
00:28:08,097 --> 00:28:10,222
It just means you're resting.
364
00:28:10,389 --> 00:28:14,138
You're gathering strength,
gathering power, gathering thoughts.
365
00:28:14,305 --> 00:28:16,180
You're getting ready for a new trip.
366
00:29:28,930 --> 00:29:30,763
Can you tell me who you are?
367
00:29:32,972 --> 00:29:37,180
I am consciously avoiding
analyzing myself.
368
00:29:37,763 --> 00:29:41,763
Because I have a horror...
369
00:29:41,930 --> 00:29:44,888
not to become one of these
self-indulgent
370
00:29:45,055 --> 00:29:47,888
self-inverted people
371
00:29:48,055 --> 00:29:51,472
who constantly analyzes
and talks about himself.
372
00:29:51,637 --> 00:29:54,888
It is not really important if
you are like that or not.
373
00:30:01,556 --> 00:30:03,888
We have been raised to think
and question who we are.
374
00:30:04,721 --> 00:30:07,013
We were taught it
even while in school.
375
00:30:07,637 --> 00:30:10,763
I know that when I came to school,
and I was studying
376
00:30:10,930 --> 00:30:13,721
I was so much overwhelmed
by everything I saw,
377
00:30:13,888 --> 00:30:18,180
all these films, paintings
and literature.
378
00:30:18,347 --> 00:30:21,389
My natural tendency was to copy.
379
00:30:21,556 --> 00:30:25,138
I was stealing everywhere
because I wanted to be like that.
380
00:30:25,305 --> 00:30:29,805
I wanted to be like that filmmaker,
I wanted to be like that filmmaker...
381
00:30:29,972 --> 00:30:32,222
I wanted to be like that writer.
382
00:30:32,805 --> 00:30:34,972
Slowly, you find out...
383
00:30:37,378 --> 00:30:40,961
that it's good that it will provoke
or inspire you...
384
00:30:41,222 --> 00:30:44,055
but in the end, you end up...
385
00:30:44,556 --> 00:30:46,389
as somebody who is doing
386
00:30:46,680 --> 00:30:49,389
a bad imitation of someone else's work.
387
00:30:49,556 --> 00:30:53,472
The only way,
is to try to find
388
00:30:54,680 --> 00:30:57,763
what you want to say, what you
want to express.
389
00:30:57,930 --> 00:30:59,930
How you feel.
390
00:31:00,097 --> 00:31:03,847
Even if you are taking the risk
that it will be bad, it will be boring,
391
00:31:04,013 --> 00:31:06,972
and that it will not interest anybody,
you have to try that.
392
00:31:14,597 --> 00:31:16,222
So, what did you learn?
393
00:31:17,805 --> 00:31:19,514
Vera, I...
394
00:31:21,472 --> 00:31:24,930
I don't know
what I learned about myself.
395
00:31:25,097 --> 00:31:27,556
I learned about myself
396
00:31:27,680 --> 00:31:29,556
that I enjoy what I do,
397
00:31:29,680 --> 00:31:32,013
that I enjoy telling stories.
398
00:31:35,097 --> 00:31:39,597
But what it means,
in what you are doing, I don't know.
399
00:31:40,120 --> 00:31:43,135
I need to know if
you know what you want.
400
00:31:44,315 --> 00:31:46,341
What is your position
on life, on living?
401
00:31:46,472 --> 00:31:47,472
I don't know.
402
00:31:48,517 --> 00:31:50,517
I think that these questions,
403
00:31:50,633 --> 00:31:53,925
are like masturbation
in cold water.
404
00:31:54,597 --> 00:31:56,430
Of course I know what I want...
I want...
405
00:31:56,480 --> 00:31:58,920
You can say:
I know it or I don't know it.
406
00:31:59,347 --> 00:32:02,097
I'll tell you, I know that
407
00:32:02,556 --> 00:32:05,680
I have nothing to do
and I would love to make a movie.
408
00:32:05,761 --> 00:32:08,677
All I want
is to find a book, a script.
409
00:32:08,930 --> 00:32:10,638
And I am reading and reading...
410
00:32:10,805 --> 00:32:14,637
until one day I find
I find a story and I am excited,
411
00:32:14,763 --> 00:32:18,222
I can't stop reading that book.
I want to do that book.
412
00:32:18,389 --> 00:32:21,264
Why?
Because I was not bored.
413
00:32:21,430 --> 00:32:24,587
That's the only reason.
I want to do this film...
414
00:32:24,790 --> 00:32:29,658
Why don't you want to know the reason
you want this or that particular book?
415
00:32:29,721 --> 00:32:31,305
I don't care. I don't...
416
00:32:31,360 --> 00:32:36,800
You have a thinking brain, don’t you?
One should always ask why!
417
00:32:37,478 --> 00:32:40,430
Everybody wants to know...
418
00:32:40,805 --> 00:32:42,430
But of course.
419
00:32:42,597 --> 00:32:44,763
"Ragtime", when I read "Ragtime",
420
00:32:44,930 --> 00:32:49,430
It's a wonderful story which is
about something which I...
421
00:32:50,638 --> 00:32:53,930
I like to talk about,
it's about man's pride.
422
00:32:54,097 --> 00:32:56,055
It's about man's...
423
00:32:57,305 --> 00:32:59,180
fight for dignity,
424
00:32:59,347 --> 00:33:01,180
for something which we all...
425
00:33:01,240 --> 00:33:02,506
These are the premises!
426
00:33:02,556 --> 00:33:06,597
But on the other hand,
you have the same ideas
427
00:33:06,721 --> 00:33:09,597
in another work
which is totally boring.
428
00:33:10,032 --> 00:33:12,847
It's not the idea which count,
it's a combination
429
00:33:13,013 --> 00:33:15,347
of idea and its execution.
430
00:33:15,514 --> 00:33:16,680
That's what's important.
431
00:33:16,847 --> 00:33:19,847
It's not the idea itself,
not the execution itself.
432
00:33:20,013 --> 00:33:22,637
You can have a brilliant book,
433
00:33:22,763 --> 00:33:24,430
and you finish reading and you
434
00:33:25,055 --> 00:33:27,305
say: "So what?"
435
00:33:27,472 --> 00:33:29,972
On the other hand, you can have a
wonderful idea...
436
00:33:30,138 --> 00:33:33,888
and it's so boring how it is
written and how it is told.
437
00:33:33,961 --> 00:33:37,503
Then who cares?
It's always a combination.
438
00:33:38,760 --> 00:33:43,312
How can you connect with things,
if you don't want to analyze anything,
439
00:33:43,400 --> 00:33:45,892
if you don't want to know yourself?
440
00:33:46,140 --> 00:33:49,138
I think that the knowledge
about myself,
441
00:33:49,312 --> 00:33:52,604
which I get without wanting it,
442
00:33:52,721 --> 00:33:55,180
is enough to depress me, you know.
443
00:33:55,347 --> 00:33:59,556
So, why should I even work on
this kind of self-destruction?
444
00:34:00,480 --> 00:34:05,440
Well... at least you’d know the truth.
I thought you were looking for it.
445
00:34:05,763 --> 00:34:09,805
Alright, are we ready?
We can start moving a little earlier.
446
00:34:09,972 --> 00:34:10,972
Here we go.
447
00:34:11,055 --> 00:34:13,389
Stand by! Full of vim,
full of vigour.
448
00:34:14,637 --> 00:34:18,389
Background action first.
Stand by, background action.
449
00:34:18,972 --> 00:34:20,222
Michael!
450
00:34:23,637 --> 00:34:25,347
Quickly, play! Play!
451
00:34:27,763 --> 00:34:29,638
Forward, forward!
452
00:34:40,097 --> 00:34:42,637
Evelyn, look at that!
453
00:34:43,721 --> 00:34:45,222
Stop, stop now.
454
00:34:46,222 --> 00:34:47,972
Hold it.
455
00:34:50,470 --> 00:34:51,463
Same positions.
456
00:34:51,514 --> 00:34:53,638
You should stop, touch...
457
00:34:53,805 --> 00:34:56,055
Underneath this...
458
00:34:56,222 --> 00:34:57,638
Under the chandelier.
459
00:34:57,805 --> 00:34:59,222
All of you.
460
00:34:59,389 --> 00:35:01,347
And you all, come forward.
461
00:35:01,514 --> 00:35:03,888
Don't be shy!
Come on in!
462
00:35:04,055 --> 00:35:06,347
You are all looking at the statue.
463
00:35:06,514 --> 00:35:09,597
Applauding, applauding,
admiring...
464
00:35:09,721 --> 00:35:11,097
Being happy...
465
00:35:17,013 --> 00:35:18,180
Now, Tommy...
466
00:35:18,347 --> 00:35:20,222
We're pulling back with this guy.
467
00:35:20,347 --> 00:35:24,151
He will take us over there. From that
moment, you see all these people running,
468
00:35:24,222 --> 00:35:27,305
you slowly pan and
start to follow...
469
00:35:27,472 --> 00:35:30,637
The only thing we will have to fix is...
470
00:35:31,556 --> 00:35:33,514
You'll see what will happen...
471
00:35:34,472 --> 00:35:36,637
They should be
coming down a little early,
472
00:35:36,763 --> 00:35:39,472
Evelyn and her entourage.
473
00:35:40,013 --> 00:35:42,637
So as these people cross over...
474
00:35:42,763 --> 00:35:45,389
they gotta be at the door, instead of
the steps... too far back...
475
00:35:50,430 --> 00:35:53,763
Now you have to go down faster
and faster.
476
00:35:53,930 --> 00:35:56,763
You push the people who
are in your way.
477
00:35:56,930 --> 00:35:59,138
Until they move. Push them!
478
00:35:59,514 --> 00:36:01,597
And how about the guys that are
coming in with them?
479
00:36:01,721 --> 00:36:04,805
Do you want them to take a picture?
One up there and one in here?
480
00:36:05,252 --> 00:36:06,122
Huh?
481
00:36:06,172 --> 00:36:08,222
A couple of guys
are coming down with them.
482
00:36:08,389 --> 00:36:11,389
One guy stops here
and the other one here.
483
00:36:11,556 --> 00:36:14,055
Do you want them to do it like this?
484
00:36:14,472 --> 00:36:16,972
Yeah, it can be. Yeah, it can be
right now...
485
00:36:17,430 --> 00:36:18,763
That's alright. Now...
486
00:36:18,930 --> 00:36:23,347
What do we do about the music?
We might have some stuff underneath it.
487
00:36:23,514 --> 00:36:27,055
No, we'll do it without music.
We only record the sound.
488
00:36:27,347 --> 00:36:28,430
Yeah.
489
00:36:29,972 --> 00:36:31,264
Now, Mike...
490
00:36:32,847 --> 00:36:34,055
Mike...
491
00:36:34,222 --> 00:36:36,597
we will only play the music
in the rehearsal now.
492
00:36:36,721 --> 00:36:39,680
We will not play the music.
You'll have to cue them.
493
00:36:42,680 --> 00:36:44,264
One more rehearsal.
494
00:36:44,430 --> 00:36:46,180
Let me see one.
495
00:36:46,847 --> 00:36:49,055
First positions. Silencio!
496
00:36:49,222 --> 00:36:51,055
Let's go. Everybody quiet!
497
00:36:51,222 --> 00:36:53,930
That's a live sale over there,
I want walking,
498
00:36:54,097 --> 00:36:56,013
talking, drinking.
499
00:36:59,680 --> 00:37:01,222
Well, it seems to me that
500
00:37:01,888 --> 00:37:03,514
the most important thing is
501
00:37:04,556 --> 00:37:07,222
to serve the idea,
502
00:37:08,721 --> 00:37:10,013
the story
503
00:37:11,293 --> 00:37:12,377
with
504
00:37:12,888 --> 00:37:16,680
the adequate filmic way.
505
00:37:17,138 --> 00:37:20,138
Which means, I don't think
there exists one formula
506
00:37:20,305 --> 00:37:22,888
for the specificities
of film language.
507
00:37:23,055 --> 00:37:24,097
I don't think it exists.
508
00:37:24,264 --> 00:37:26,888
Every story dictates a different way
how to express it
509
00:37:27,055 --> 00:37:29,389
how to tell it.
510
00:37:31,264 --> 00:37:32,972
Well... there are a number of
511
00:37:33,138 --> 00:37:36,138
specific filmic means...
512
00:37:36,305 --> 00:37:38,222
Name some of them.
513
00:37:39,472 --> 00:37:42,514
There is no theoretical answer
to this question because
514
00:37:42,638 --> 00:37:44,389
every scene,
515
00:37:44,556 --> 00:37:45,721
every story,
516
00:37:45,888 --> 00:37:47,013
every...
517
00:37:48,638 --> 00:37:50,556
mood in the film,
518
00:37:50,680 --> 00:37:55,347
asks for its own specific expression.
519
00:37:55,721 --> 00:37:58,888
But cinema
is an audiovisual system.
520
00:37:59,055 --> 00:38:02,180
What do you think is the most...
521
00:38:03,638 --> 00:38:06,637
let's say...
which way suits you best?
522
00:38:06,763 --> 00:38:10,514
Tell me.
There are so many possibilities.
523
00:38:15,972 --> 00:38:18,013
Sensitive material,
524
00:38:19,264 --> 00:38:20,638
in colour,
525
00:38:21,222 --> 00:38:23,055
good stereo music,
526
00:38:24,305 --> 00:38:25,888
a good editor...
527
00:38:26,055 --> 00:38:27,847
What does auteur cinema mean then?
528
00:38:28,013 --> 00:38:29,638
Author cinema is...
529
00:38:32,222 --> 00:38:33,763
a normal cinema
530
00:38:33,930 --> 00:38:36,347
where a director
531
00:38:36,680 --> 00:38:40,055
is involved
from the beginning to the end.
532
00:38:40,222 --> 00:38:44,138
That's author's cinema,
regardless if you want it or not.
533
00:38:44,514 --> 00:38:47,138
Even if you are doing the most
conventional
534
00:38:47,305 --> 00:38:50,597
commercial, whatever,
type of films.
535
00:38:50,930 --> 00:38:53,347
Once you are involved
as a director,
536
00:38:53,514 --> 00:38:55,680
from the beginning, of the
writing of the script
537
00:38:55,847 --> 00:39:00,055
to the final stages of editing
and mix,
538
00:39:00,222 --> 00:39:01,637
it's an author film.
539
00:39:02,638 --> 00:39:05,222
What is it to 'think through film'?
540
00:39:06,638 --> 00:39:08,638
One doesn't think
541
00:39:10,180 --> 00:39:11,347
through film.
542
00:39:12,264 --> 00:39:13,847
Why not?
543
00:39:14,013 --> 00:39:18,888
It's entirely up to you how you
make use of the language of film
544
00:39:19,055 --> 00:39:21,015
to express your attitude
about a thing.
545
00:39:21,430 --> 00:39:23,888
That is happening every time,
546
00:39:24,222 --> 00:39:27,180
even if you are doing the most
conventional movie.
547
00:39:27,637 --> 00:39:29,597
I don't think that's...
548
00:39:30,389 --> 00:39:33,763
I think that's the normal process.
549
00:39:35,763 --> 00:39:39,514
Whatever you are saying,
whatever story you are telling,
550
00:39:40,347 --> 00:39:41,472
you have...
551
00:39:42,972 --> 00:39:46,597
basically some kind of emotional
relation to that story.
552
00:39:47,097 --> 00:39:49,597
And these emotions will come across,
553
00:39:49,721 --> 00:39:52,138
must come across, regardless...
554
00:39:53,597 --> 00:39:54,888
if you want it or not.
555
00:39:55,055 --> 00:39:58,222
But you adapt somebody
else's material.
556
00:39:58,638 --> 00:40:01,472
Does that mean you identify with it?
557
00:40:02,086 --> 00:40:03,128
Look.
558
00:40:04,097 --> 00:40:05,180
Every...
559
00:40:05,972 --> 00:40:07,930
material is foreign.
560
00:40:08,514 --> 00:40:11,180
We are not born with these ideas.
561
00:40:11,347 --> 00:40:12,680
Our ideas
562
00:40:13,347 --> 00:40:16,222
are based on what we have lived,
563
00:40:16,389 --> 00:40:17,763
what we have read,
564
00:40:17,930 --> 00:40:21,138
what we saw on the screen
or in the theatre...
565
00:40:22,055 --> 00:40:23,637
what we heard.
566
00:40:24,013 --> 00:40:27,180
It all comes from the outside
to our...
567
00:40:27,805 --> 00:40:29,138
little thing.
568
00:40:29,680 --> 00:40:31,763
They are all foreign.
569
00:40:35,680 --> 00:40:39,180
I don't make distinguish my material
570
00:40:39,347 --> 00:40:40,805
and foreign materials.
571
00:40:40,972 --> 00:40:42,721
It is all foreign and it is all mine,
572
00:40:42,888 --> 00:40:45,180
the moment I decide to deal with
the material.
573
00:40:45,347 --> 00:40:49,055
So, by accepting someone's material
you're expressing yourself.
574
00:40:49,222 --> 00:40:50,763
Because you know...
575
00:40:54,180 --> 00:40:55,514
I found out
576
00:40:55,847 --> 00:40:59,389
that I can't function
as a writer
577
00:40:59,556 --> 00:41:02,055
in a country and in a language
578
00:41:02,222 --> 00:41:06,055
where I didn't spend my childhood
and teenage years.
579
00:41:06,888 --> 00:41:10,847
I can't do it.
I don't feel safe enough.
580
00:41:11,013 --> 00:41:15,097
I have to rely on
on material written by people
581
00:41:15,264 --> 00:41:16,930
who digested
582
00:41:17,097 --> 00:41:20,514
the experience of childhood
in this country.
583
00:41:21,222 --> 00:41:22,430
But...
584
00:41:23,763 --> 00:41:25,888
it would be a bad service
585
00:41:26,264 --> 00:41:27,472
to any of these
586
00:41:28,430 --> 00:41:32,180
books or plays
if I just illustrated them.
587
00:41:32,347 --> 00:41:35,180
I have to treat this material
588
00:41:35,347 --> 00:41:38,305
as they treat
their original material.
589
00:41:38,472 --> 00:41:40,138
Regardless of whether it is
590
00:41:40,805 --> 00:41:43,264
their own experience or something else.
591
00:41:43,836 --> 00:41:45,295
For example, "Ragtime".
592
00:41:45,367 --> 00:41:50,013
"Ragtime" is basically based
on historical facts
593
00:41:50,148 --> 00:41:52,898
that E. L. Doctorow
594
00:41:54,013 --> 00:41:56,888
read about or heard about.
595
00:41:57,389 --> 00:42:00,721
It is also based on, or inspired by
596
00:42:00,888 --> 00:42:03,805
a novel by Heinrich von Kleist,
597
00:42:03,972 --> 00:42:06,097
"Michael Kohlhaas".
598
00:42:06,430 --> 00:42:10,597
But he took this material
and made his own vision from it.
599
00:42:10,930 --> 00:42:13,847
Here I have "Ragtime", his book,
600
00:42:14,389 --> 00:42:16,514
and his version became
601
00:42:16,638 --> 00:42:19,888
for me a material for
my own vision.
602
00:42:21,514 --> 00:42:24,430
What is the difference between
his conception of it and yours?
603
00:42:24,888 --> 00:42:26,264
There is no difference
604
00:42:26,430 --> 00:42:29,180
I'm trying
605
00:42:29,637 --> 00:42:34,389
to stay faithful to
the spirit of the book.
606
00:42:34,763 --> 00:42:37,013
The concept of the book,
it is literature.
607
00:42:37,514 --> 00:42:38,763
You can't...
608
00:42:39,805 --> 00:42:41,138
This is a film.
609
00:42:41,840 --> 00:42:44,760
Are you trying to experiment?
610
00:42:47,862 --> 00:42:49,445
If I experiment?
611
00:42:50,597 --> 00:42:51,847
In what sense?
612
00:42:52,347 --> 00:42:56,055
Experiment in the sense of searching,
in the sense of probing.
613
00:42:56,222 --> 00:43:01,347
Do you feel the need to say things
614
00:43:01,514 --> 00:43:03,264
again in a different, inimitable way?
615
00:43:03,430 --> 00:43:06,305
In your very own, unique voice?
616
00:43:06,472 --> 00:43:08,930
What makes you decide
617
00:43:09,638 --> 00:43:12,180
to delve into a risky project
618
00:43:12,347 --> 00:43:14,930
with an uncertain outcome?
619
00:43:15,097 --> 00:43:17,472
A topic you're not sure
if you can to master.
620
00:43:17,972 --> 00:43:19,332
Do you understand what I'm saying?
621
00:43:21,097 --> 00:43:24,389
You never have any certainties.
622
00:43:25,138 --> 00:43:27,389
You always experiment.
623
00:43:32,055 --> 00:43:34,847
Of course,
you don't want to repeat
624
00:43:35,013 --> 00:43:38,805
what you saw yesterday
on TV or in a film.
625
00:43:39,222 --> 00:43:41,097
Of course, you have the ambition
626
00:43:42,055 --> 00:43:44,805
to find another way.
627
00:43:45,222 --> 00:43:46,763
It's not a question of
628
00:43:47,680 --> 00:43:50,888
being original at all costs.
629
00:43:51,055 --> 00:43:52,097
Not at all.
630
00:43:52,264 --> 00:43:54,389
No, not at any price...
631
00:43:54,556 --> 00:43:57,847
If I did certain things
or I saw certain things,
632
00:43:58,013 --> 00:44:00,763
which I love and I like them,
633
00:44:00,930 --> 00:44:03,389
I'll do them again and again.
634
00:44:04,597 --> 00:44:07,138
But when I'm not happy
635
00:44:07,972 --> 00:44:10,347
with what I'm planning,
what I'm thinking about,
636
00:44:10,514 --> 00:44:13,347
then I try to find another way.
637
00:44:13,514 --> 00:44:16,180
That won't be so boring...
638
00:44:18,222 --> 00:44:19,389
dull,
639
00:44:19,721 --> 00:44:22,763
as what I've seen or done before.
640
00:44:22,930 --> 00:44:27,097
Then you try to look for
new ways and possibilities.
641
00:44:27,264 --> 00:44:30,763
But it's not
a question of speculation.
642
00:44:31,320 --> 00:44:32,815
Yes, I know that,
643
00:44:32,943 --> 00:44:37,478
but as filmmakers we are trying
to find a way that's not boring.
644
00:44:38,280 --> 00:44:43,160
Once I've said something,
it's boring.
645
00:44:44,180 --> 00:44:45,430
Not necessary.
646
00:44:46,222 --> 00:44:47,847
There are things you know...
647
00:44:49,805 --> 00:44:54,097
which you like
and excite you again and again.
648
00:44:57,305 --> 00:44:59,721
Background. Hello, hello!
Background.
649
00:45:01,138 --> 00:45:02,222
And... Mike!
650
00:45:04,180 --> 00:45:06,138
Quickly, play, play!
651
00:45:11,013 --> 00:45:12,763
That's my girl over there!
652
00:45:13,347 --> 00:45:14,638
Look at that!
653
00:45:30,472 --> 00:45:31,805
Here, you are here.
654
00:45:31,972 --> 00:45:33,763
Suddenly, she's moving here.
655
00:45:33,930 --> 00:45:36,556
So the best spot
to photograph her is here.
656
00:45:36,680 --> 00:45:39,180
Every photographer wants to be here.
657
00:45:39,847 --> 00:45:41,763
But the scribes go in...
658
00:45:42,180 --> 00:45:45,305
If we get back here,
but the scribes are coming in...
659
00:45:45,472 --> 00:45:48,638
No, the scribes shouldn't come in,
these are your photographers
660
00:45:48,805 --> 00:45:52,556
and you want them to have pictures
for your newspaper articles.
661
00:45:52,680 --> 00:45:54,763
You will not get them if you just
stand like this.
662
00:45:54,930 --> 00:45:57,097
Opposite is good.
663
00:45:57,264 --> 00:46:00,305
You are trying to make it clear
they should be photographed.
664
00:46:00,472 --> 00:46:04,222
You should be in there
taking your photographs...
665
00:46:04,389 --> 00:46:06,638
And you, be much more aggressive.
666
00:46:06,972 --> 00:46:08,721
You have to clear it.
667
00:46:09,138 --> 00:46:11,347
You get in there and start saying...
668
00:46:19,055 --> 00:46:21,055
Place your leg like the statue.
669
00:46:21,152 --> 00:46:23,319
This hand, this hand.
Look, look!
670
00:46:23,556 --> 00:46:26,847
You check if you are
like the statue. Go on your toe.
671
00:46:27,638 --> 00:46:29,514
Yeah! There you go, good,
now stay!
672
00:46:34,597 --> 00:46:36,389
Here
I want to see some movement.
673
00:46:36,556 --> 00:46:39,637
And we are trying to get
the best frame, right?
674
00:47:33,013 --> 00:47:35,347
The inspiration for "Ragtime",
675
00:47:36,805 --> 00:47:38,514
was the house I lived in,
676
00:47:38,638 --> 00:47:41,347
which was built in that period,
677
00:47:41,514 --> 00:47:42,597
in 1906.
678
00:47:42,721 --> 00:47:46,514
I was staring at the wall one day,
679
00:47:47,013 --> 00:47:48,847
wondering
what I was going to write.
680
00:47:49,013 --> 00:47:52,972
I started to write about the wall,
then the house.
681
00:47:53,763 --> 00:47:58,138
And what things must have been like
when the house was built.
682
00:48:01,875 --> 00:48:05,625
As the author of the book
from which he is making a film,
683
00:48:05,930 --> 00:48:08,097
from which the film is derived from,
684
00:48:08,680 --> 00:48:12,389
it was in my interest
in seeing to it that...
685
00:48:13,680 --> 00:48:18,347
the film has some fidelity to the ideas
and the spirit of the book.
686
00:48:19,637 --> 00:48:21,138
And Milos...
687
00:48:23,097 --> 00:48:26,138
has his own independence,
as an artist,
688
00:48:26,472 --> 00:48:27,847
to think about.
689
00:48:28,013 --> 00:48:30,138
And he would rather not have...
690
00:48:31,347 --> 00:48:34,264
- I'm pretty sure -
my point of view,
691
00:48:34,430 --> 00:48:38,013
my proprietary point of view
to deal with.
692
00:48:38,597 --> 00:48:40,097
He has said to me:
693
00:48:40,264 --> 00:48:43,514
"Why don't you grant me
as filmmaker
694
00:48:43,638 --> 00:48:47,930
the same freedom to deal with
your book as a source
695
00:48:48,097 --> 00:48:51,556
that you grant yourself when you
write the book in the first place?"
696
00:48:52,138 --> 00:48:54,055
My answer to that is
697
00:48:55,013 --> 00:48:59,222
that I grant you all the freedom
you want,
698
00:48:59,389 --> 00:49:01,514
Just don't call it "Ragtime".
699
00:49:06,347 --> 00:49:10,055
It's not just a question of
of what's already in your head
700
00:49:10,222 --> 00:49:12,514
and what you can on paper.
701
00:49:12,638 --> 00:49:15,264
But also how you are able to
provoke each other
702
00:49:15,430 --> 00:49:17,597
and inspire each other.
703
00:49:19,637 --> 00:49:22,721
I remember when I was ready
704
00:49:22,888 --> 00:49:24,888
to start "Hair", the movie,
705
00:49:25,055 --> 00:49:28,888
Michael came and I asked him
if I had read "Hair",
706
00:49:29,590 --> 00:49:32,116
if I knew
the music and the play.
707
00:49:32,222 --> 00:49:34,847
He said yes.
"So what do you think?
708
00:49:35,013 --> 00:49:37,222
"How do you think this movie
should be done?"
709
00:49:37,389 --> 00:49:40,597
His answer was
"I have no fucking idea."
710
00:49:41,389 --> 00:49:43,305
At that moment, I understood
711
00:49:43,472 --> 00:49:47,180
that this is a good starting point,
we can start from there.
712
00:49:50,763 --> 00:49:51,930
That's great.
713
00:49:52,097 --> 00:49:55,264
Then we sit down
and say, "All right.
714
00:49:55,430 --> 00:49:57,389
"So, now...
715
00:49:58,472 --> 00:50:02,347
"who opens the door
and what does he or she say?"
716
00:50:03,680 --> 00:50:06,437
So you bonded over
sharing doubts.
717
00:50:06,804 --> 00:50:10,595
It's like anything.
Something unites people,
718
00:50:10,888 --> 00:50:13,430
that we try to explain
afterwards.
719
00:50:13,597 --> 00:50:15,264
And it's pointless.
720
00:50:16,680 --> 00:50:19,138
You either enjoy being with
somebody or you don't.
721
00:50:19,266 --> 00:50:21,763
We don't know why,
You can't explain it.
722
00:50:21,940 --> 00:50:23,940
It's just that way.
723
00:50:24,264 --> 00:50:26,180
And it's a lot of fun.
724
00:50:28,514 --> 00:50:31,637
I think there is one thing
that's important
725
00:50:32,637 --> 00:50:33,680
that...
726
00:50:34,055 --> 00:50:37,097
we share, a certain kind of,
727
00:50:38,972 --> 00:50:43,638
emotional attitude
towards situations and people.
728
00:50:43,805 --> 00:50:46,637
It's important to find out.
729
00:50:46,763 --> 00:50:49,180
It's something that you really have
to find out.
730
00:50:49,347 --> 00:50:51,930
It's not that you can tell him:
731
00:50:52,097 --> 00:50:56,472
"Do it like this or do it like that."
And "Feel this way".
732
00:50:56,637 --> 00:50:58,222
You either feel that way or not.
733
00:50:58,389 --> 00:50:59,763
What I mean is,
734
00:51:00,556 --> 00:51:02,305
you have to get to find out
735
00:51:02,472 --> 00:51:06,180
if this character
we both like emotionally,
736
00:51:06,347 --> 00:51:08,721
we feel compassion
for the same people,
737
00:51:08,888 --> 00:51:11,347
hatred for the same people,
738
00:51:11,514 --> 00:51:13,721
we feel... am I right?
739
00:51:13,794 --> 00:51:14,794
Yeah, yeah.
740
00:51:14,888 --> 00:51:17,680
It would probably be difficult
to collaborate
741
00:51:17,847 --> 00:51:21,264
if this character has
all my compassion and love
742
00:51:21,430 --> 00:51:22,888
and he loathed him.
743
00:51:23,055 --> 00:51:24,972
If he thinks that I...
744
00:51:27,055 --> 00:51:29,347
I think that's probably...
745
00:51:29,514 --> 00:51:31,472
Except sometimes I know,
746
00:51:31,637 --> 00:51:34,097
I'm sure that it's very good that
747
00:51:35,805 --> 00:51:39,847
Sometimes the material that
you want to work on or that I like,
748
00:51:40,637 --> 00:51:43,763
you won't think much of it, or
I won't think much of it,
749
00:51:43,930 --> 00:51:46,680
and you have to justify it...
750
00:51:47,097 --> 00:51:50,930
It's sometimes good that we have to
challenge each other
751
00:51:51,097 --> 00:51:53,305
before we really know for sure
752
00:51:53,972 --> 00:51:55,556
that we do feel good in it.
753
00:51:55,680 --> 00:51:58,638
There are often times when
that we each have our own idea.
754
00:52:00,055 --> 00:52:02,222
I'll tell you one thing that's
755
00:52:02,389 --> 00:52:05,264
Really important.
You have to have...
756
00:52:06,637 --> 00:52:10,847
the confidence and trust
to make terrible mistakes and to be wrong.
757
00:52:11,013 --> 00:52:13,264
That is very critical
in a collaboration.
758
00:52:13,430 --> 00:52:15,805
If you know you can be stupid
in front of a person
759
00:52:15,972 --> 00:52:19,472
and say anything
when you're in trouble for an idea,
760
00:52:19,637 --> 00:52:22,430
without having to defend it
and look intelligent,
761
00:52:22,597 --> 00:52:24,472
you can just be stupid,
762
00:52:24,805 --> 00:52:26,597
that's very important.
763
00:52:27,305 --> 00:52:28,347
There must be
764
00:52:28,514 --> 00:52:31,721
ideological goals
that you identify with.
765
00:52:31,888 --> 00:52:33,648
What did you find interesting
in "Ragtime"?
766
00:52:33,805 --> 00:52:35,430
From this point of view,
767
00:52:35,597 --> 00:52:39,180
she is interested in what
interested you in "Ragtime".
768
00:52:41,222 --> 00:52:44,472
Well first of all, I must be very
superficial,
769
00:52:44,637 --> 00:52:47,472
I don't become interested in
something for ethical...
770
00:52:47,637 --> 00:52:49,930
I'm not interested in working
771
00:52:50,097 --> 00:52:52,847
on a story for ethical reasons.
772
00:52:53,556 --> 00:52:56,055
If it's an unethical story,
I don't like it.
773
00:52:56,222 --> 00:52:58,055
But that's rare.
774
00:52:58,430 --> 00:53:02,847
What usually attracts me in the end,
it's not some deep ethical...
775
00:53:03,013 --> 00:53:05,222
I'm not a moral writer.
776
00:53:06,389 --> 00:53:09,556
These things don't excite me,
the moral truth in something.
777
00:53:09,680 --> 00:53:12,680
At least, not in the first
instance.
778
00:53:12,847 --> 00:53:16,637
Maybe when you start working on it,
it begin to excite me a little more.
779
00:53:16,888 --> 00:53:19,305
But in "Ragtime",
780
00:53:21,638 --> 00:53:24,805
I liked the period
it was set in.
781
00:53:25,514 --> 00:53:28,430
I liked something about
782
00:53:29,222 --> 00:53:32,805
all the different stories
it was trying to tell in different ways.
783
00:53:32,972 --> 00:53:34,805
It was almost...
784
00:53:36,430 --> 00:53:40,637
For film, if the material brings
you plot,
785
00:53:40,763 --> 00:53:44,264
or something to build a good plot
and good characters.
786
00:53:44,430 --> 00:53:48,347
For me, that was what was very
attractive in "Ragtime", the book.
787
00:53:48,514 --> 00:53:49,638
Because...
788
00:53:50,305 --> 00:53:51,805
it's not...
789
00:53:52,637 --> 00:53:54,347
It's so intriguing
790
00:53:54,514 --> 00:53:58,638
to be able to build a plot
and characters.
791
00:53:59,888 --> 00:54:01,222
It was so...
792
00:54:02,847 --> 00:54:06,763
You open a conflict here and suddenly
it becomes a different conflict.
793
00:54:06,930 --> 00:54:08,972
Then you open...
794
00:54:09,347 --> 00:54:10,680
a character.
795
00:54:10,847 --> 00:54:13,305
And you lead one character
to meet another one.
796
00:54:13,472 --> 00:54:15,805
Then the 3rd character
takes you away.
797
00:54:15,972 --> 00:54:18,305
And still, how to feel
798
00:54:18,472 --> 00:54:21,389
the same kind of tension and suspense
799
00:54:21,556 --> 00:54:23,389
for that character,
800
00:54:23,888 --> 00:54:27,389
without feeling betrayed that another
character dropped out of the story.
801
00:54:27,556 --> 00:54:30,637
That kind of thing makes you...
802
00:54:31,097 --> 00:54:32,638
So, if you mean...
803
00:54:33,511 --> 00:54:36,182
if there was something in the way
he wrote his sentences...
804
00:54:36,264 --> 00:54:38,472
For instance,
Doctorow is a very conscious writer,
805
00:54:38,637 --> 00:54:40,556
he knows exactly what he's doing.
806
00:54:41,680 --> 00:54:46,305
And he found a kind of prose
to write the book with,
807
00:54:46,386 --> 00:54:49,013
It's not the prose he has written
his other books with.
808
00:54:49,180 --> 00:54:50,556
It's specific to this one.
809
00:54:50,680 --> 00:54:53,514
It's a set of
of short "jazzy" sentences.
810
00:54:53,638 --> 00:54:56,055
He was thinking about ragtime music,
811
00:54:56,222 --> 00:55:00,138
he tried to find
equivalent prose.
812
00:55:00,226 --> 00:55:03,222
If you are saying,
"Do I as a writer,
813
00:55:03,389 --> 00:55:06,597
"try to find a way
to make a film that reflects
814
00:55:06,721 --> 00:55:10,264
the ragtime feeling of the sentences?,
815
00:55:10,430 --> 00:55:12,972
Then no,
I don't know how to do that.
816
00:55:13,138 --> 00:55:17,402
It may have been something that
interested Doctorow in finding sentences.
817
00:55:17,453 --> 00:55:19,763
But it's not one of the things that
would excite me much
818
00:55:19,814 --> 00:55:22,894
in finding out how to turn it
into a screenplay.
819
00:55:23,138 --> 00:55:25,180
I'll tell you...
820
00:55:26,721 --> 00:55:28,930
it was dictated by the book.
821
00:55:29,222 --> 00:55:33,347
I wanted, consciously,
for the film to have the same flavour,
822
00:55:33,514 --> 00:55:36,597
a very free way to tell stories
823
00:55:36,721 --> 00:55:38,159
which interlock,
824
00:55:38,260 --> 00:55:42,010
in which the characters are coming out
of nowhere and disappearing into nowhere
825
00:55:42,389 --> 00:55:45,389
and yet you feel they are essential
and important
826
00:55:45,556 --> 00:55:49,180
for something which was either before
or which is coming later
827
00:55:49,347 --> 00:55:52,888
So that nothing is arbitrary,
everything makes sense
828
00:55:53,055 --> 00:55:54,638
at the end of the film.
829
00:55:54,805 --> 00:55:57,721
And still you have the feeling
830
00:55:57,888 --> 00:56:01,055
of having seen a saga, a mosaic,
831
00:56:01,222 --> 00:56:05,264
not just one situation-story
832
00:56:05,597 --> 00:56:07,637
So I had this in mind.
833
00:56:07,763 --> 00:56:08,847
It's not that...
834
00:56:09,013 --> 00:56:12,472
You see, I like
that kind of story for films.
835
00:56:12,637 --> 00:56:13,805
I don't know if...
836
00:56:13,972 --> 00:56:17,721
This was something I tried
unsuccessfully in "Fireman's Ball"
837
00:56:17,888 --> 00:56:21,430
Which doesn't have a central
character at all.
838
00:56:21,847 --> 00:56:26,055
"Ragtime" still finally,
about halfway through the film,
839
00:56:26,222 --> 00:56:29,805
suddenly one or two characters
emerge as the leading characters.
840
00:56:29,972 --> 00:56:32,300
Which "Fireman's Ball" doesn't
have at all.
841
00:56:32,457 --> 00:56:35,500
It was a failure
842
00:56:35,847 --> 00:56:38,763
but it's something
I like, I like very much,
843
00:56:38,930 --> 00:56:41,472
Because it's...
844
00:56:41,637 --> 00:56:46,055
as unpredictable and
full of contradictions as life itself.
845
00:56:46,760 --> 00:56:49,360
But, what do you do in order not to
simply illustrate the book?
846
00:56:49,799 --> 00:56:52,300
You don't have a formula!
847
00:56:52,972 --> 00:56:56,138
You don't have a formula for
how to attack this problem.
848
00:56:56,305 --> 00:56:58,013
If you had a formula,
849
00:56:58,180 --> 00:57:02,159
it wouldn't be difficult
make wonderful films out of any book.
850
00:57:02,296 --> 00:57:06,130
That's not true. Creative intent
doesn't equal success.
851
00:57:07,305 --> 00:57:11,222
You are right. It doesn't mean that
that if you have a formula
852
00:57:11,389 --> 00:57:15,264
that it'll be successful in
the end. That's true
853
00:57:15,430 --> 00:57:19,264
I think it's dangerous
to have any formula at all,
854
00:57:19,805 --> 00:57:22,472
because then you are really...
855
00:57:23,637 --> 00:57:26,721
doing something in cold blood
856
00:57:26,888 --> 00:57:31,055
because a formula is something,
it's almost mathematical.
857
00:57:31,597 --> 00:57:34,222
Then you decide,
alright, we'll decide
858
00:57:34,389 --> 00:57:38,222
to attack it with
this or that formula
859
00:57:38,389 --> 00:57:41,556
then it is lifeless
what you are doing.
860
00:57:41,680 --> 00:57:44,389
It would be fulfilling some kind...
861
00:57:45,760 --> 00:57:49,280
You always work intuitively?
862
00:57:49,680 --> 00:57:53,763
No, it's never like that.
You start with intuition,
863
00:57:54,036 --> 00:57:57,703
but the moment you write down
your first sentence,
864
00:57:58,389 --> 00:58:02,138
you're already setting up rules
for yourself.
865
00:58:02,680 --> 00:58:04,472
If you write this sentence,
866
00:58:04,637 --> 00:58:08,430
the next one can't be any other
sentence but this one.
867
00:58:08,597 --> 00:58:11,430
The moment you start working,
868
00:58:11,597 --> 00:58:14,556
you are setting rules and formulas
for yourself.
869
00:58:16,305 --> 00:58:18,888
It's always a symbiosis, or...
870
00:58:20,430 --> 00:58:23,430
Of course it's always
a symbiosis.
871
00:58:23,597 --> 00:58:26,264
but you can only get as much out of it
as you invest into it.
872
00:58:26,430 --> 00:58:30,847
Surely you don't destroy something
simply by knowing more about it.
873
00:58:31,847 --> 00:58:35,055
Look, let me give you an example
of what I am talking about.
874
00:58:36,110 --> 00:58:37,860
I was aware...
875
00:58:39,305 --> 00:58:40,763
that I have, because...
876
00:58:40,835 --> 00:58:45,002
After a while, when you tell stories
with certain characters,
877
00:58:45,264 --> 00:58:49,556
you can't suddenly stop to show
what's everything that's around.
878
00:58:49,680 --> 00:58:52,805
I was aware that,
if I had a place,
879
00:58:52,972 --> 00:58:55,097
a space, a film space,
880
00:58:55,264 --> 00:58:58,305
to show
a certain kind of period,
881
00:58:58,472 --> 00:59:03,389
and places, and people, and different
places, and different people,
882
00:59:03,556 --> 00:59:05,735
and give the flavour of the whole,
883
00:59:05,786 --> 00:59:07,540
this is right at
the beginning of the film.
884
00:59:07,888 --> 00:59:09,556
How to do it?
885
00:59:09,680 --> 00:59:12,680
We open the film with newsreels
886
00:59:13,347 --> 00:59:15,847
to which Coalhouse Walker,
in the moviehouse,
887
00:59:16,013 --> 00:59:19,013
playing, accompanying on the piano.
888
00:59:20,138 --> 00:59:23,097
One of the last newsreels
889
00:59:23,264 --> 00:59:25,097
will take us into the real
story
890
00:59:25,264 --> 00:59:28,721
because it deals with
the unveiling of the nude statue
891
00:59:29,180 --> 00:59:33,389
which was a big scandal in the
period nineteen-something in New York,
892
00:59:33,556 --> 00:59:35,222
when it was
893
00:59:35,389 --> 00:59:38,556
on public display
very high above the city but still,
894
00:59:38,680 --> 00:59:40,771
but it was still a nude woman.
895
00:59:40,848 --> 00:59:43,670
Look, I'm asking you about the
mechanics of directing,
896
00:59:43,760 --> 00:59:45,771
not the dramaturgy.
897
00:59:45,930 --> 00:59:47,514
How can you...
898
00:59:48,097 --> 00:59:51,847
how can you work...
899
00:59:52,013 --> 00:59:53,638
to get underneath the surface?
900
00:59:53,805 --> 00:59:57,180
To reveal the sense of things.
901
00:59:57,638 --> 00:59:59,805
And not only their surface.
902
01:00:03,180 --> 01:00:06,637
How do I know? I am trying!
I'm trying.
903
01:00:07,805 --> 01:00:11,472
I only know that the first important
thing how to get things across
904
01:00:11,637 --> 01:00:13,597
is to cast well.
905
01:00:13,721 --> 01:00:17,680
Cast people that
the audience will believe
906
01:00:17,847 --> 01:00:19,472
that they are these people
907
01:00:19,637 --> 01:00:23,138
To cast actors who are alive enough
908
01:00:23,305 --> 01:00:25,680
their face, their eyes...
909
01:00:25,847 --> 01:00:28,763
That they can express things
910
01:00:28,930 --> 01:00:31,138
so that you can see
911
01:00:31,305 --> 01:00:33,264
what is happening
behind their eyes,
912
01:00:33,430 --> 01:00:36,430
behind their flesh itself,
913
01:00:36,597 --> 01:00:38,222
behind their skin.
914
01:00:38,389 --> 01:00:40,055
If you have that,
915
01:00:40,222 --> 01:00:42,805
then you know that you have
916
01:00:42,972 --> 01:00:44,972
to cover it in a certain way,
917
01:00:45,138 --> 01:00:48,264
so that you give the actor
the chance
918
01:00:48,430 --> 01:00:51,680
to give you as much...
919
01:00:53,930 --> 01:00:57,347
observation of their
behaviour, faces,
920
01:00:57,514 --> 01:01:01,305
so that, when you put it
together in a certain way
921
01:01:01,805 --> 01:01:03,972
it comes across, what's behind it.
922
01:01:04,138 --> 01:01:06,180
It's not just...
923
01:01:07,222 --> 01:01:11,347
learned dialogues
where only the words make sense,
924
01:01:11,680 --> 01:01:15,013
but also the faces,
the behaviour,
925
01:01:15,180 --> 01:01:17,888
the mood, the light...
926
01:01:18,055 --> 01:01:20,597
You have to believe in yourself,
927
01:01:21,347 --> 01:01:23,763
believe in
the people you work with,
928
01:01:23,930 --> 01:01:26,222
and you choose, of course.
929
01:01:26,389 --> 01:01:30,305
And you have to believe
that you're taking a risk.
930
01:01:30,472 --> 01:01:32,055
There is no guarantee.
931
01:02:04,120 --> 01:02:07,252
Do you know
what the final form will be yet?
932
01:02:07,467 --> 01:02:09,175
I am superstitious.
933
01:02:09,389 --> 01:02:11,013
And I don't want to talk
934
01:02:11,180 --> 01:02:14,013
about the film until it's finished.
935
01:02:14,180 --> 01:02:15,703
I'm just superstitious.
936
01:02:15,921 --> 01:02:20,641
You're not sure of the outcome?
937
01:02:23,320 --> 01:02:25,237
I'm never sure of the result.
938
01:02:25,597 --> 01:02:28,097
I'm not sure about it now,
939
01:02:28,194 --> 01:02:29,943
and I never will be sure about it.
940
01:02:30,180 --> 01:02:32,805
I can't judge it,
I can't see it.
941
01:02:32,972 --> 01:02:34,389
You've got some rice on your chin.
942
01:02:34,846 --> 01:02:39,006
But that's a professional question,
the most important one.
943
01:02:39,193 --> 01:02:44,833
To know the initial premise
944
01:02:44,920 --> 01:02:49,640
and what it will become...
at the end.
945
01:02:52,347 --> 01:02:55,870
It’s about the process of...
946
01:02:56,293 --> 01:02:59,406
How do you say “grasp”?
947
01:03:00,737 --> 01:03:02,264
- "Grasp"?
- The process...
948
01:03:02,430 --> 01:03:05,305
To grab hold of it.
949
01:03:05,472 --> 01:03:06,464
To own the idea.
950
01:03:06,514 --> 01:03:08,930
I'm too stupid to talk about this.
951
01:03:10,222 --> 01:03:11,680
No, it's true.
952
01:03:16,597 --> 01:03:18,514
You must be a narcissist.
953
01:03:19,264 --> 01:03:20,638
But why?
954
01:03:20,805 --> 01:03:25,888
When you discuss film as such,
or the meaning of things...
955
01:03:26,101 --> 01:03:28,975
We must talk about
the meaning of things.
956
01:03:30,097 --> 01:03:32,638
Listen, if I tell you,
957
01:03:33,222 --> 01:03:36,637
"Yes, this story which attracted me
958
01:03:37,180 --> 01:03:41,597
"because it deals with men's pride
and the desire for tolerance",
959
01:03:41,721 --> 01:03:43,680
what does that mean?
960
01:03:43,880 --> 01:03:49,586
I just want to know the difference
between the first idea and the outcome.
961
01:03:49,715 --> 01:03:52,389
Rather than discussing ideas,
962
01:03:52,556 --> 01:03:54,888
go see the film, they're there.
963
01:03:55,443 --> 01:03:59,359
If I wanted to discuss it,
I wouldn't make a movie about it.
964
01:03:59,597 --> 01:04:00,463
What?
965
01:04:00,514 --> 01:04:02,721
Why would I talk simply
about the plot?
966
01:04:02,888 --> 01:04:05,138
Just watch it and you'll find out.
967
01:04:05,720 --> 01:04:07,760
But I'm making a movie about you,
968
01:04:07,811 --> 01:04:12,011
and would like to know what were you
you were looking for in the beginning.
969
01:04:12,400 --> 01:04:15,920
I want to know
what you want, who you are.
970
01:04:17,200 --> 01:04:22,046
And if you behave like that,
that’s the only thing I’ll have.
971
01:04:22,181 --> 01:04:25,389
I'm in the worst person
to tell you who I am.
972
01:04:26,295 --> 01:04:31,240
If you say 'I refuse',
that says something about you, too.
973
01:04:32,721 --> 01:04:34,637
I'm so much scared
974
01:04:35,888 --> 01:04:38,138
to sound so intelligent,
975
01:04:38,305 --> 01:04:41,264
and smart and pretentious.
976
01:04:41,430 --> 01:04:44,013
What if the movie is a piece of shit?
977
01:04:44,930 --> 01:04:47,514
This little piggy goes to market.
978
01:04:48,305 --> 01:04:51,055
This little piggy is going home.
979
01:04:51,222 --> 01:04:53,389
This little piggy has roast beef.
980
01:04:53,556 --> 01:04:57,721
And this piggy goes wee-wee-wee
all the way to the bank!
981
01:04:57,888 --> 01:04:59,680
- That's it.
- That's it.
982
01:04:59,847 --> 01:05:03,763
All the way to the bank,
that's what he does.
983
01:05:06,930 --> 01:05:08,264
That was very good.
984
01:05:08,430 --> 01:05:11,472
But you need to push it more.
985
01:05:11,637 --> 01:05:13,597
You have to start out laughing.
986
01:05:13,721 --> 01:05:16,556
When you say,
"this one... and this one...
987
01:05:16,680 --> 01:05:18,888
"and blah, blah, blah",
988
01:05:19,055 --> 01:05:20,888
you start laughing.
989
01:05:21,055 --> 01:05:22,597
"This little piggy..."
990
01:05:22,721 --> 01:05:24,430
It must be full of life.
991
01:05:24,597 --> 01:05:25,888
Yes, you're right.
992
01:05:32,930 --> 01:05:34,389
I like it...
993
01:05:35,472 --> 01:05:40,180
when a director leads me through
very contradictory emotions
994
01:05:40,597 --> 01:05:43,514
that I will attribute to
life on the screen,
995
01:05:43,638 --> 01:05:44,847
not to the director.
996
01:05:45,013 --> 01:05:47,805
The moment I see
the director talking to me,
997
01:05:47,972 --> 01:05:51,180
I am out.
I lose emotions.
998
01:05:51,347 --> 01:05:54,721
I don't feel any emotional contact
with the screen.
999
01:05:55,280 --> 01:05:58,560
Do you lose emotion even when you read?
1000
01:05:58,930 --> 01:06:01,097
Reading a book,
is literature,
1001
01:06:01,264 --> 01:06:02,805
we know that someone...
1002
01:06:02,972 --> 01:06:06,847
it's a stream
of subjective thoughts,
1003
01:06:07,430 --> 01:06:08,972
that someone is telling you.
1004
01:06:09,138 --> 01:06:12,847
But a film, because of the nature
of photography, it's objective.
1005
01:06:13,888 --> 01:06:14,848
Of course it is.
1006
01:06:14,926 --> 01:06:17,385
It forces you to see something.
1007
01:06:17,721 --> 01:06:19,680
Yes, but that's the game
1008
01:06:19,847 --> 01:06:22,638
that I love, when it's hidden.
1009
01:06:23,097 --> 01:06:25,222
When I don't see it.
1010
01:06:25,389 --> 01:06:27,763
Because what appears on the screen,
1011
01:06:27,930 --> 01:06:30,222
on the photograph,
everything is real.
1012
01:06:30,389 --> 01:06:32,514
The trees,
they are real trees.
1013
01:06:32,920 --> 01:06:36,640
Yes, but what about the editing?
1014
01:06:37,847 --> 01:06:39,556
That's what I'm saying.
1015
01:06:41,160 --> 01:06:44,800
...after editing, you have
broken it, deformed it.
1016
01:06:45,264 --> 01:06:48,347
I know.
But I like it best
1017
01:06:48,514 --> 01:06:51,264
when a filmmaker does it to me
1018
01:06:51,430 --> 01:06:53,972
without me being aware it.
1019
01:06:54,138 --> 01:06:55,637
I like the
1020
01:06:56,721 --> 01:06:59,389
impact of the game he plays with me.
1021
01:06:59,556 --> 01:07:02,847
But I don't like
to see through it.
1022
01:07:06,374 --> 01:07:11,760
Yes, I know it, it’s your love...
things with the story...
1023
01:07:13,061 --> 01:07:19,186
You're in agreement with the audience
on that, they like stories, too.
1024
01:07:21,520 --> 01:07:25,129
But the viewer is not your
your only criterion.
1025
01:07:26,440 --> 01:07:30,520
Your goals must be higher.
than the wishes of the viewers.
1026
01:07:31,389 --> 01:07:33,805
But I am a partner.
1027
01:07:34,430 --> 01:07:38,180
I don't want it to be
like a student at school
1028
01:07:38,347 --> 01:07:40,180
listening
1029
01:07:40,972 --> 01:07:42,431
preaching...
1030
01:07:43,222 --> 01:07:44,721
I don't like that.
1031
01:07:51,389 --> 01:07:54,680
...when someone wants to know
something, it means he is a student?
1032
01:07:54,888 --> 01:07:57,472
Of course. Then I'll go to school.
1033
01:07:57,640 --> 01:08:02,800
So, everyone should keep on
learning till the end of times, huh?
1034
01:10:09,097 --> 01:10:10,556
First of all, it's good
1035
01:10:10,680 --> 01:10:14,472
that the character
is the guy who goes for the first time.
1036
01:10:14,637 --> 01:10:18,637
I'll make him act like
he's a pro.
1037
01:10:21,068 --> 01:10:23,652
Well, it depends..
1038
01:10:24,637 --> 01:10:26,138
It's up to you.
1039
01:10:26,597 --> 01:10:27,805
Milos Forman shares his
1040
01:10:27,972 --> 01:10:31,222
experiences at Columbia University
1041
01:10:31,389 --> 01:10:34,597
another harvest is germinating
in Czechoslovakia.
1042
01:10:35,514 --> 01:10:37,472
Let's hope his offspring.
1043
01:10:37,637 --> 01:10:39,763
will not linger
in the shadow of their father.
1044
01:10:41,805 --> 01:10:46,180
If you want to do
a funny observation
1045
01:10:46,347 --> 01:10:47,721
of human behaviour,
1046
01:10:47,888 --> 01:10:51,930
I think this is the right basis.
1047
01:10:52,817 --> 01:10:56,797
You’re often criticised due to
your humour being based on ridicule.
1048
01:10:57,055 --> 01:11:00,430
That's a very relative question,
1049
01:11:01,805 --> 01:11:05,556
when you laugh with someone,
you're laughing at...
1050
01:11:06,347 --> 01:11:07,556
You know...
1051
01:11:09,055 --> 01:11:11,992
I don't make...
I don't make those kinds of distinctions.
1052
01:11:15,637 --> 01:11:19,389
You can't really laugh
at anybody you like
1053
01:11:19,888 --> 01:11:23,888
You always laugh with him, even if
you make him look ridiculous.
1054
01:11:24,055 --> 01:11:28,180
I would never joke with someone
with someone I don't like.
1055
01:11:28,347 --> 01:11:30,264
I would never joke
1056
01:11:30,430 --> 01:11:34,347
at the expense of someone...
I don't like.
1057
01:11:34,721 --> 01:11:36,389
I can really
1058
01:11:36,462 --> 01:11:39,627
laugh only at the expense of people
I like.
1059
01:11:44,721 --> 01:11:46,180
I can...
1060
01:11:48,222 --> 01:11:51,514
I can stand
better than anyone else,
1061
01:11:51,638 --> 01:11:54,472
if they like me, that they
tell me what they want.
1062
01:11:54,637 --> 01:11:58,930
And it's true. I can't stand it
if I know that this person
1063
01:12:00,138 --> 01:12:01,637
dislikes me.
1064
01:12:07,888 --> 01:12:09,721
That's petty, I guess.
1065
01:12:13,347 --> 01:12:16,472
I should be able to
stand that, I suppose.
1066
01:12:16,637 --> 01:12:18,472
I just about understand you.
1067
01:12:20,847 --> 01:12:22,430
One of the most important
1068
01:12:22,597 --> 01:12:24,972
laws of nature is balance.
1069
01:12:28,680 --> 01:12:30,805
And that is very often
1070
01:12:32,013 --> 01:12:33,389
mistaken.
1071
01:12:35,597 --> 01:12:36,638
Because...
1072
01:12:37,847 --> 01:12:41,013
when things lean to one side,
1073
01:12:41,180 --> 01:12:43,805
and they're in danger of falling,
1074
01:12:44,222 --> 01:12:47,097
you have to push in the other direction.
1075
01:12:47,888 --> 01:12:49,180
While it's unpopular
1076
01:12:49,347 --> 01:12:52,180
because the whole trend
is to go the other way.
1077
01:12:54,264 --> 01:12:57,305
You might be considered
a rebel,
1078
01:12:57,472 --> 01:13:01,888
or as an opponent, you know,
1079
01:13:02,430 --> 01:13:07,055
to the established system
or the established trend.
1080
01:13:07,805 --> 01:13:09,888
That's bullshit.
It's not true.
1081
01:13:10,055 --> 01:13:12,430
You're doing a good service
1082
01:13:12,597 --> 01:13:15,222
because you're trying
to maintain the balance.
1083
01:13:15,389 --> 01:13:17,138
You know what I'm talking about?
1084
01:13:17,305 --> 01:13:20,721
I know what you mean. Engagement doesn't
always get a warm reception,
1085
01:13:20,888 --> 01:13:23,514
even if it's compassion for reality.
1086
01:13:24,180 --> 01:13:25,721
When you think about it,
1087
01:13:27,597 --> 01:13:30,638
you don't feel compassion
with institutions.
1088
01:13:31,638 --> 01:13:34,556
You feel compassion with individuals.
1089
01:13:36,326 --> 01:13:37,409
Compassion...
1090
01:13:38,389 --> 01:13:40,637
I don't have compassion
for institutions.
1091
01:13:40,763 --> 01:13:43,055
I have compassion for individuals.
1092
01:13:43,222 --> 01:13:45,930
So, it's a person
1093
01:13:47,389 --> 01:13:50,222
who deserves our compassion.
1094
01:13:54,472 --> 01:13:56,888
If an individual
1095
01:13:57,055 --> 01:13:59,972
of individual lives, happiness,
1096
01:14:00,138 --> 01:14:03,389
well-being,
are threatened by another individual,
1097
01:14:04,013 --> 01:14:06,347
that is a good conflict
1098
01:14:06,721 --> 01:14:09,721
and I'm not saying
that it's worth it
1099
01:14:10,721 --> 01:14:12,138
to talk about that
1100
01:14:12,514 --> 01:14:13,514
but
1101
01:14:14,180 --> 01:14:16,680
it's a much more touching conflict
1102
01:14:16,847 --> 01:14:19,805
if it's between an individual
and an institution.
1103
01:14:19,972 --> 01:14:23,556
Regardless, if it it's
society in general
1104
01:14:24,219 --> 01:14:28,261
or the school, the office,
the government, whatever...
1105
01:14:29,213 --> 01:14:30,380
There,
1106
01:14:30,945 --> 01:14:34,737
when a person gets into a conflict
1107
01:14:35,556 --> 01:14:37,180
with an institution,
1108
01:14:38,305 --> 01:14:41,680
there I feel
I feel a very strong compassion.
1109
01:14:41,847 --> 01:14:45,930
Because I know that this individual
needs my compassion.
1110
01:14:46,472 --> 01:14:48,055
And the compassion of all of us
1111
01:14:48,222 --> 01:14:52,055
because through this compassion,
we protect ourselves.
1112
01:14:53,222 --> 01:14:57,721
I think this is that's
the major conflict in human existence.
1113
01:14:57,888 --> 01:15:00,888
For we are individuals
and all,
1114
01:15:01,055 --> 01:15:02,888
we struggle
1115
01:15:03,556 --> 01:15:06,763
for our independence
and our freedom as individuals.
1116
01:15:06,930 --> 01:15:09,347
On the other hand,
we need institutions
1117
01:15:09,514 --> 01:15:13,430
to be able to live.
So, we create institutions
1118
01:15:13,597 --> 01:15:16,556
but every institution,
by its nature,
1119
01:15:16,680 --> 01:15:21,013
after a while,
starts to dominate us,
1120
01:15:21,638 --> 01:15:23,180
to own us.
1121
01:15:24,264 --> 01:15:25,721
And in that moment,
1122
01:15:26,097 --> 01:15:29,347
starts the most dramatic conflict,
1123
01:15:29,514 --> 01:15:31,721
I guess...
1124
01:15:32,055 --> 01:15:34,930
since the beginning of mankind
1125
01:15:35,097 --> 01:15:36,972
and it will last forever.
1126
01:15:37,638 --> 01:15:39,721
I guess this is
1127
01:15:40,638 --> 01:15:43,638
what you call...
1128
01:15:44,680 --> 01:15:47,180
the social meaning
of what we are doing.
1129
01:15:49,133 --> 01:15:53,055
That's your answer as to why
you make movies?
1130
01:15:53,472 --> 01:15:55,680
All I can say is,
1131
01:15:57,763 --> 01:15:59,305
is that I'm trying
1132
01:16:00,305 --> 01:16:03,597
to do things my own way.
1133
01:16:04,264 --> 01:16:06,514
Which I admire,
1134
01:16:07,097 --> 01:16:08,763
which excited me,
1135
01:16:09,222 --> 01:16:11,514
and inspires me and provoke me,
1136
01:16:12,430 --> 01:16:15,138
as a student,
as a spectator,
1137
01:16:15,305 --> 01:16:18,222
until today,
1138
01:16:19,805 --> 01:16:21,222
done by other people.
1139
01:16:22,763 --> 01:16:23,805
Which...
1140
01:16:26,721 --> 01:16:30,638
I am fascinated
by the contradictions of life.
1141
01:16:30,805 --> 01:16:34,514
I am fascinated
by the ambiguity of things.
1142
01:16:34,888 --> 01:16:37,637
Where, next to each other live
1143
01:16:38,637 --> 01:16:41,013
tenderness and cruelty,
1144
01:16:42,097 --> 01:16:44,222
sadness and joy,
1145
01:16:44,637 --> 01:16:46,930
wisdom and silliness,
1146
01:16:47,389 --> 01:16:49,055
It fascinates me...
1147
01:16:50,556 --> 01:16:54,888
than in one person,
one story, one time,
1148
01:16:55,222 --> 01:16:58,930
these things are there,
if you look from a certain angle.
1149
01:16:59,989 --> 01:17:02,323
It's silly, it's cruel.
1150
01:17:03,389 --> 01:17:05,972
It's materialistic, it's dry.
1151
01:17:06,138 --> 01:17:09,472
And if you look at the same thing
from another angle,
1152
01:17:10,514 --> 01:17:12,972
it becomes tender, poetic.
1153
01:17:13,378 --> 01:17:15,919
It's very wise.
1154
01:17:16,721 --> 01:17:18,430
And it's beautiful.
1155
01:17:23,097 --> 01:17:26,472
And because
I can never figure it out myself
1156
01:17:27,180 --> 01:17:28,972
how these things happen,
1157
01:17:30,472 --> 01:17:32,637
That keeps me talking about them.
1158
01:18:15,888 --> 01:18:17,514
Each of us
1159
01:18:17,638 --> 01:18:20,097
has been placed before a different task.
1160
01:18:20,805 --> 01:18:23,222
And each of us sees our mission
1161
01:18:23,389 --> 01:18:24,888
from a different angle.
1162
01:18:27,514 --> 01:18:30,556
We are different from each other
in our beliefs,
1163
01:18:30,680 --> 01:18:33,430
our interests and in our opinions.
1164
01:18:34,847 --> 01:18:36,013
But there is no difference
1165
01:18:36,180 --> 01:18:40,472
that can make us forget
our common and fundamental desire,
1166
01:18:40,888 --> 01:18:42,556
our thirst for evolution
1167
01:18:42,930 --> 01:18:44,472
and liberty.
1168
01:20:13,222 --> 01:20:16,597
I don't need a happy ending,
but I need a catharsis.
1169
01:20:17,180 --> 01:20:19,013
I need to feel
1170
01:20:19,180 --> 01:20:21,637
that tragedy is not in vain.
1171
01:20:23,389 --> 01:20:24,847
Because I believe in it.
1172
01:20:25,013 --> 01:20:26,847
I believe that
even if I never find
1173
01:20:27,013 --> 01:20:30,347
the meaning of life,
or that it has some meaning
1174
01:20:30,514 --> 01:20:34,389
And I don't care if
I find the meaning or not.
1175
01:20:34,556 --> 01:20:37,847
I just want to believe it does.
That's all.
1176
01:20:38,930 --> 01:20:43,305
I know that we are not immortal.
1177
01:20:43,721 --> 01:20:46,472
But I just don't want to live
with the idea
1178
01:20:46,637 --> 01:20:49,847
that I am going to
die at any moment
1179
01:20:50,013 --> 01:20:51,888
and that nothing make sense.
1180
01:21:13,597 --> 01:21:15,305
I love it here.
1181
01:21:17,597 --> 01:21:18,972
This pair...
1182
01:21:19,805 --> 01:21:21,264
comes every year.
1183
01:21:21,328 --> 01:21:24,203
Last year they had 11 little ones,
1184
01:21:24,472 --> 01:21:27,055
The year before that,
they only had 6.
1185
01:21:27,389 --> 01:21:29,430
It's incredible because
1186
01:21:29,597 --> 01:21:33,514
they arrived
about three weeks ago.
1187
01:21:33,638 --> 01:21:37,472
They're... walking around, flying.
1188
01:21:37,930 --> 01:21:40,514
And then they'll disappear.
1189
01:21:41,847 --> 01:21:45,472
And one day they will come back
with the little ones behind them.
1190
01:21:45,637 --> 01:21:48,888
And if you try to find out
where they are hatching,
1191
01:21:49,055 --> 01:21:50,637
nobody knows.
1192
01:21:50,763 --> 01:21:52,347
Nobody can find out.
1193
01:21:55,264 --> 01:21:58,721
That's why I had to put this
thing there,
1194
01:22:00,209 --> 01:22:02,138
in the middle of the water
1195
01:22:02,305 --> 01:22:05,721
so that the little ones can
sleep on the wood thing in the water.
1196
01:22:05,888 --> 01:22:08,138
Otherwise, they wouldn't stay here.
1197
01:22:08,305 --> 01:22:12,222
They have to be protected in the
night from the fox.
1198
01:22:12,797 --> 01:22:13,719
You know?
1199
01:22:13,805 --> 01:22:15,930
I saw several times, all the family
1200
01:22:16,097 --> 01:22:18,637
the geese family, sitting there,
1201
01:22:18,763 --> 01:22:22,430
on that wooden box,
1202
01:22:22,888 --> 01:22:25,180
with the fox walking around here.
1203
01:22:25,347 --> 01:22:26,721
Watching each other.
1204
01:22:34,721 --> 01:22:36,138
The role of art,
1205
01:22:36,305 --> 01:22:38,888
is to express meaning, rhythm,
1206
01:22:39,055 --> 01:22:41,305
And the terrible beauty of life.
1207
01:22:41,680 --> 01:22:45,721
The awakening of sympathies
and of human solidarity.
1208
01:22:46,305 --> 01:22:49,638
For it is these qualities, hand in hand,
1209
01:22:49,805 --> 01:22:52,472
that fend off all that is lowly,
1210
01:22:52,637 --> 01:22:55,597
egotistical and condemnable.
1211
01:24:07,240 --> 01:24:10,840
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