All language subtitles for Once Upon a Time There was... Contempt.eng

We haven't used cinema.

It's an unknown science.

To me, it's still the reference.

I still think that in a relationship,

if they don't agree on films,

they'll divorce.

If it's music or football,
they can get along fine.

Once Upon A Time There Was...
CONTEMPT

Once upon a time, in 1963,

there was Contempt,
adapted from an Alberto Moravia novel,

the story of a film being made
and a relationship unravelling.

In Rome, screenwriter Paul Java!
- Michel Piccoli -

and his wife Camille
- Brigitte Bardot -

join director Fritz Lang
- playing himself -

filming an adaptation
of The Odyssey.

Hollywood producer Jeremy Prokosch
- Jack Palance -

unhappy with Lang's work,
asks Paul to rewrite the script.

Prokosch flirts with Camille.

The young woman thinks her husband
is pushing her towards the producer,

and begins to despise him.

Camille leaves Capri with Prokosch.

Both die in a car accident.

Fritz Lang finishes the film alone

with his assistant,
played by Jean-Luc Godard himseff.

Why don't you love me anymore?

That's life.

Why do you despise me?

I'll never tell you,
not even on my deathbed.

You knew we kissed and you were still
ready to change your mind.

I turned the job down for you.
So you'd change your mind about me.

Don't touch me.

I don't love you anymore.

There's no way
I'll ever love you again.

Even if I turn it down,
you'll despise me?

- Yes, I will.
- Why?

There must be a reason.

You're the reason.

What do you mean, me?

I don't know.
You're not a man.

I loved you so much.

Now it's impossible.

I hate you because
you can't make me feel.

I can! You're almost in tears.

The only thing I remember is...

I thought:
I don't know what contempt is.

After the film, I knew no more.
Nor do I today.

Jean-Luc Godard was 33
when he filmed Contempt.

His first film, in 1960,

Breathless,
was an international hit.

It shows an inspired improviser,

always moving,
fascinated by techniques,

using variable focal lengths,
ultra-rapid film stock,

portable recorders
and hand-held cameras.

A fan of quotes from books,
films and music,

this virtuoso editor
is a cinema one-man band.

In 1961 he married Anna Karina,
a young Danish actress.

Their youthful cinematic intimacy
lasted 7 years.

The Karina years.

When I was born, in 1930,

long after, I thought that my mother
had never seen a talking film.

Nor had my father.

That must be why I started talking
very late.

At 4 or 5, which is much too late.

I made up for that later, admittedly!

We are children of the Liberation,
which we didn't know,

and the cinema.

We are the only cinema people,

as filmmakers,

to be born in a movie theatre,

a film library.

At the end of the 50s, France thirsted
for renewal in every field:

nouveau roman, new institutions,
new front, new realism,

nouvelle figuration,
new music, new towns,

New Wave, an expression
applied solely to the cinema.

Born in 1958, the New Wave
lasted only 4 years.

During this period, 97 young directors
shot their first film,

mostly commercial failures.

Lots moved to television.

Of the New Wave's
aesthetic offensive,

there remained but a small handful
of filmmakers by 1963.

After Breathless, A Woman is
a Woman and The Carabineers,

which were films produced
by de Beauregard and Carlo Ponti,

and after The Carabineers

and A Woman is a Woman flopped,
Carlo Ponti

didn't want to do
any more fantastical films

like those he thought I made.

I'd said to de Beauregard:

"Tell Carlo Ponti that if he has
a novel to adapt, I'll adapt it.

"I'm quite ready
to make classical films,

"I love all forms of cinema,
and why not?"

Among the novels for which Ponti
could acquire the rights

was Contempt.
So I read it and told him...

- You hadn't read it before?
-No.

But I knew Moravia

from a novel
that I consider his best,

that influenced me a lot,
entitled Mistaken Ambitions.

So that's how it happened.

I saw Moravia, he agreed,
and that was that.

He didn't work on the script at all,
he trusted me.

He was a charming man.

In the early 60s,
the movie industry was in crisis.

Television was spreading,
theatres were closing,

the number of films produced
by Hollywood halved

between 1958 and 1963.

American majors
partnered with Europeans.

Italy became the cinema's
land of exile.

Movie giants struggled
at the end of their career.

The masters of classicism
turned to television,

stopped filming

or came to Italy to make epics,

like Fritz Lang
who shot The Odyssey in Contempt.

The German filmmaker
and self-styled studio artisan

of the great Hollywood age,
is idealized

in Contempt
as the absolute creator.

Because to Jean-Luc Godard,
cinemas is art par excellence.

If someone who didn't know the cinema
were to ask you, Fritz Lang;

"How would you define what man is,

and more particularly,
one who is a film director?

Would you say a hard worker,
an artist?

What makes a man a director?

What's special about him?

You know I don't like
the term "artist".

What is an artist?

Someone who works hard,
who knows his job.

A great surgeon is an artist
in my opinion.

I'm someone who works hard.

I like my job.
I must say I like ita lot.

I have a somewhat different feeling.

Van Gogh was more important

than the carpenter
who made the easel

on which he painted,
even if it was beautiful.

You're absolutely right.

It's an excellent example.

Maybe I'm wrong!

Lang arrives in the film,

as a representative
of a cinema

that Godard knows
can exist no longer.

He's a sort of...
He personifies something

that Godard totally admired,

that made him want to make films,
but that is finished.

We respected Fritz Lang hugely.

It seemed natural to go and see him.
I went to Munich.

He was interested,
by the wages too.

He was very, very old,

almost blind.

I find that fine today,
but at the time...

I paid it no mind,
I saw no sense in it.

My wife, Camille.

- How do you do.
- Fritz Lang.

Hello.

He's the one who did that western
with Dietrich.

It was terrific!

I prefer.

M?

We saw it on television.
I really liked it.

Thank you. That's kind of you.

Francesca!

I love the scene where Ferrer
leans on the scales.

Thank you.
When I finish The Odyssey...

Mr. Prokosch is inviting you
for a drink.

I don't know.

It was the first film you shot
with a big budget.

Not really. It was a film,
at the time, in old francs...

Yes, the film itself
cost more than the others.

The others cost 25-30 million francs.

Whereas that one came in
at around 80-100 million.

It was increased by Bardot's fee,

Lang's fee and Prokosch's fee.

And Moravia's,
but that wasn't counted.

Bardot came through Sami Frey.

He said: "I'll talk to Brigitte".

Brigitte remembered that
the New Wave had praised her

while others had slated her
so there you are...

From there on, it had begun.

It was your first time
shooting with Bardot

who may,
under your direction,

with your distinctive way of working,

not be in danger
but be taking a big risk.

Yes, but I believe that a film,

a work of art, is always a battle,

and if there's no danger,
if there's no risk...

Risk in aesthetic terms
is what gives the thing value.

Has she made many good films?

No, she's made one.

And God Created Woman,
a very good film that I like a lot.

And this will be her second.

- You're self-confident.
- You have to be!

Godard's friend Jacques Rozier
directed one of the little-known jewels

of the New Wave,
Adieu Philippine.

He devoted 2 documentaries
to the making of Contempt.

I'd got the go-ahead
from both Jean-Luc Godard and Bardot.

So I followed the whole shoot
in Capri.

It's hard to understand
but it was like a thunderbolt.

Jean-Luc Godard
was the symbol of the New Wave

and Bardot the symbol
of traditional French cinema.

She was the great film star.

Not just from a French point of view,

from an international point of view.

Brigitte Bardot appeared in 1956,
wild and free,

nearly nude
and sexually liberated,

in And God Created Woman
by R. Vadim.

Godard immediately defended
the actress, her character

and the film's realism.

This modern heroine ushered in
a new era for women.

Bardot shook up
the phony representation

of sex in both the American
and the French film industries.

With disarming sincerity,
she hid neither her lovers

nor her desires
nor her breakdowns,

like her 1960 suicide attempt.

When she signed up for Contempt,
she was 29

and "the soul of our era”,
according to Jean Cocteau.

Brigitte was very protected.

At first, she was rather suspicious.

Bardot was advised by her entourage,
who were unaware

of the importance in film terms
of the Bardot-Godard meeting.

Afterwards, she shrewdly understood
that it was important.

So you shout "Camille” here.

Once Brigitte has passed by,

you count up to five...

Brigitte was extremely attentive,
extremely precise,

extremely disciplined

and no doubt extremely
fascinated by Godard.

Godard didn't burden her
with explanations,

be they psychological,
philosophical or personal.

I think I succeeded in helping Brigitte

feel completely at ease

before the silent, impressive character
that Godard

showed to actors.

Jean-Luc is intimidating,
even though we're very intimate,

very close,
he's very intimidating.

The way he is has never
been a hindrance to me.

On the contrary,
he and I,

by some miracle, his miracle,

understand each other immediately.

I listened to what he told others.
He said very little.

"Turn right, sit there,
say your lines."

I watched him closely.

We tried one last costume in Rome,
which was the hat.

I noticed that he chose the hat

he would have wanted to wear.

I said: "Now I know
how I have to act."

So I played Jean-Luc.

Brigitte and I managed

to put ourselves in Godard's
and Anna Karina's shoes.

I think he was very moved
to film this story.

Firstly because
he was totally included

in the story personally,
his greatest intimacy.

And he had a gorgeous actress

who was an international star
at the time.

But by his side during filming

was another admirable actress.

He had both his women with him.

This imaginary woman

and a real woma n.

The day began badly,
everyone's tense.

The spying is unbearable.

Especially to Godard.
He tells the paparazzi so.

Furious at being dismissed,
Claudio, Lucciano, Paulo decided

they'd get a photo of Bardot
come what may.

Leaving the restaurant,
there's a scuffle.

They insult people in the street,
especially me.

And when we're forced to react,
they report us,

saying that we hit them.

The poor wretches!

The next day,
they said they were beaten up.

Why publish that article?

Because you're not nice to us.

We were very angry, Brigitte...

and we wanted to tell everyone
what you are like.

Why don't you ever allow us
to take photos?

She was the first to be subjected
to this media pressure.

There was the Louis Matte film
A Very Private Affair

that recounted
the difficulties of the life

of a star, her personal life.

At the same time

you're solicited,
there's a certain euphoria

in being a mythological object,

but with all the constraints
that implies.

What are you doing?

What are you doing?

Looking.

Don't stay by yourself.
Join us.

What were you talking about?

She was a bit bored.

I don't think she was...

She must have been surprised
no one was wooing her

or falling in love with her, I think.

Or courting her a little...
So she was bored.

No, she was a very nice kid.

She did what Godard asked
fairly obediently.

One day we were filming
on the roof of Villa Malaparte

and Bardot had that hairstyle
from And God Created Woman,

which made her a hit,

a kind of beehive.

We began shooting a scene
and Godard said:

"That beehive won't do.

“I'll ask her to take out her hairpins

"and leave her hair alone."

"That thing above your forehead
is at least 15 centimetres.

"If I walk 15 metres on my hands,

"for each metre that I walk,

"do you agree to lower your hair
by 1 centimetre?"

Yes, because you couldn't.

So she said "yes".
And so I did this...

Look.

Look.

Doesn't it suit me?

No, I prefer you as a blonde.

And I prefer you
without a hat and cigar.

It's just to look like Dean Martin
in Some Came Running.

What a laugh!

What is?

You may want to look
like Dean Martin,

but it's more like Martin's ass.

Who's that?

Never read the adventures
of Martin's ass?

No.

One day he goes to Baghdad
to buy a flying carpet.

He finds this really nice one,

so he sits on it,
but it doesn't take off.

"Hardly surprising,"
says the carpet seller.

Are you listening?

The shoot took a very long time.

The continuity girl and I
were getting very worried.

The script was our record
of scenes shot.

Despite the legend,
Godard did sometimes have a script...

The one we had was 132 pages long.

And there was so much left to shoot.

In three quarters of the time,
we'd shot a quarter of the film.

So Godard solved the problem

by shooting very long scenes
in the flat.

He used a lot of
lateral camera movement.

The camera came and went
from one room to the next.

He made up the backlog in Rome
shooting interiors.

The domestic scene at the heart
of the film lasts 34 minutes.

I think my aim was to make it
half an hour long, if possible.

It enabled me to bridge the gulf
that I always felt

when I got to 50 minutes
and had to get to 65.

Then either I'd shoot
long sequences or...

I don't remember that well,
but I felt there was...

...too much of a lull
so I said: "We'll fill it up."

"Nobody will notice."

In Pierrot le fou
there were huge lulls.

We filled them with... I don't know.

I feel that
that's doing the film down.

If it's cinema,
you fill it with cinema things

that may not have much to do
with the film.

That's always been my problem.

That and never mastering
the difference

between the essay and the novel.

Sit down, I have to talk to you.

What about the cinema?

Camille, | need to talk to you.

Al right, I'm listening.

I need... to talk to you.

Earlier, before the phone rang,

I told you I didn't want
to take this job

if I couldn't be sure of your love.

You said you loved me

and that I should take it.

Yes.

I'm sure you lied.

Why, I don't know.

Out of pity, self-interest...

What self-interest?

You holding on to this flat.

How can you know what I think?

In fact, I couldn't care less.

You can sell the flat, I don't care.

You said it was better than a hotel.

Not a tall.
I said that to make you happy.

Often, in my disputes
with technicians,

or what they call my arrogance
or bad temper, which I admit to,

there's simply a desire for dispute

without it being personal.

To give you a description,
I like tennis

because there's a link to cinema.

You have a square or a rectangle,

a net in the middle,

one person to the left,
one person to the right.

Between the two are the facts.

So let's look at the facts.

Let's see how the facts from each side
go to the persons.

It makes lots of patterns,
angles and different stuff.

Camille!

Camille.

I despise you!
That's what I feel.

That's why the love's gone.

And you disgust me
when you touch me.

I have a scene.

The set designer comes up

with a room like that, let's say.

I say that won't work.

I want four walls, like that.

So I say:

this man is sitting at this desk.

There's the desk.
There has to be a window here.

This is what we have to start off.
He's sitting here.

He gives me a door here.

I have a scene where

the man who's sitting here

has to walk here.
It takes a long time,

| don't want to...

Wait, waste...

...waste time.

So give me a door here
so he can go this way.

I wouldn't know whether
I'd want the desk there or there.

But why not?

I don't know.
I have to see everything:

the desk, the chair, the door.

Listen...

If the door is there, likewise,
I don't want to waste time.

Do you remember in Rome
where we fimed Contempt?

I should say something.
When I saw that scene...

I should be honest.

I know that in these cases
you improvised.

I find that scene...

...extraordinary.

No, but...

I'm talking.

In this scene, I understood
why you improvised at times.

You always have
a great sense of vision.

Why is it necessary
to see everything?

Maybe it's that I'm interested
in the entirety of things

rather than something in particular.

I'm Paul Javal, Mr. Prokosch...

I know.

It looks swell.
I really like Cinemascope.

It wasn't made for people

but for snakes and funerals.

What's the matter, Miss Vanini.
Is it about the script?

He says it's not the same on screen
as on paper.

Jeremy!

The money came in thanks to Bardot.

And with the money
came the constraints.

Godard yielded on things
from having more money than usual,

having a star,

having lovely sets, Cinemascope.

He had all the toys he wanted
to make the film, and he needed them

because it's the film of his dreams.

But he was forced to give
the producers certain guarantees.

You define art
as a ho-compromise zone.

Compromise with what?

No, I think it's a compromise.

I've only made films with producers

with whom I've reached a compromise.

One of the first

was to be able to spend money
as I liked.

The first time, Beauregard got scared.
Then he trusted me.

And he monitored the film in his way,

but there was a compromise.

The terms of the debate
haven't changed much in 40 years.

The producer-no producer debate...

There are no more producers.

There are those who try,

who have the innocence to be one,

but who don't have the capacity.

I've known 3 or 4
with whom there was...

...dialogue, friendship, dispute.

Is dialogue indispensable?

Yes, and that doesn't exist today.

Absolutely.

You don't miss the Prokoschs?

Yes, on certain films.

I remember when I won a prize
in Venice,

Fellini was in the theatre.

And during the conversation...

At the press conference,
I praised the producers.

He said: "You're exaggerating”.

I said: "No, but for Carlo Ponti,
you'd never have made La Strada."

Earlier we were talking about
the problem in France.

But there's one thing...

I know what you mean.

It's the only country
where the director owns copyright.

I don't know if it's copyright.

It's the only place where a director
is seen as an author in law.

It's something extraordinary
about France.

This doesn't exist anywhere else.

The distributors and the backers,

they make cuts.

We can't do anything in America,
England or Germany.

I can name two or three
of my films...

where they cut
exactly those scenes

for which I made the film.

And you can't do anything.

Seeing the dailies,
the producers said:

"Nothing's happening with Brigitte
Bardot who is a global...

"...sex symbol.
Something has to happen.

"Can't they kiss,
or sleep together?"

"No, no." He replied.

He'd reply to telegrams,
I seem to recall,

or perhaps I imagined it,
but it tallies perfectly,

to "King Kong Levine"

and "Mussolini Ponti".

The producers, not Beauregard,

the Americans and Ponti,
mainly the Americans, said:

"We paid to see Brigitte Bardot naked
and she's never naked."

The goods didn't fit their billing,

because the Americans
had staked their money

on Bardot and a bit on Godard,

but it was Bardot who was
the bankable element.

This is important
in understanding Godard.

Godard didn't say:
"No, I'll kick up a fuss."

He said: "You want nude scenes,
I'll give you them,

"but they'll be coherent
with my project.”

See my feet in the mirror?

Yes.

Think they're pretty?

Very.

You like my ankles?

Yes.

And my knees, too?

Yes. I really like your knees.

And my thighs?

And your thighs.

Do you see my bottom in the mirror?

Yes.

Do you think I have nice buttocks?

Yes. Very.

I told them: "Leave it to me,
I promise you

"so many minutes naked,
and that's it"

But it fits with the film.

It fitted with the film.

There are other scenes
that are less coherent.

That was coherent.

We had to make naked footage,
if you like.

- You don't regret...
- Not at all.

You can't regret it. You can say
it's bad, but you can't regret it.

I took it upon myself.

He managed to get Brigitte...

He got Brigitte to act out
a questionnaire on

"What do you think of
the parts of my body?"

"If you love them all,
then you love me."

There was no need for any smut.

We'll just do a very chaste scene

on the greatest intimacy that exists
between man and woman.

One very important thing
in Contemptis the music.

You feel like...

Was that your request?

| don't recall.

It's very romantic.

Yes. I might have given indications

to Delerue, who did it his way.

- He did it after the film?
- Yes.

- While watching it?
- Yes, after editing.

I'd often ask him...

"I want so many minutes like this,
so many minutes like that"

Then I'll manage.

The music for Contempt was among
the best work by Georges Delerue,

who wrote the scores
for more than 300 films.

Varying the romantic theme
in a way that was repetitive,

obsessive and desperate,
Jean-Luc Godard created a myth.

The eternal blue of the sea,
the blood-red car,

the sun-yellow bathrobes,

the immaculate white statues
in the Roman flat...

Godard shares a palette
with the painters of new realism

and pop art,
as well as fashion designers

from the early sixties.

Villa Malaparte,
named for the Italian writer,

lends this opera of romantic break-up

its futurist, blockhouse architecture

in the form of sacrificial attars.

Godard, the northerner,

who likes only grey water,
cloudy skies,

where the light changes, etc...

meets the Mediterranean.

Godard meets maximum otherness.

Otherness to him is woman,
but here,

it's also nature,
the landscape, the sun.

Godard, before leaving for Italy,

had described the basic colours
in his screenplay.

He said:
"The Mediterranean means blue..."

That means the palette

was totally conceived in advance.

Beside the musicians who play
for baby boomer dancers,

New Wave directors
film their bodies

and make movies about them.

Godard and his camera accompany
this generation of disposable income,

surprise parties,
rock'n'rolf and yéyé,

"made in France".

Johnny Hallyday and Salut Les Copains
play to 150,000 kids

at a free concert,
Place de la Nation, in June 1963.

With this first collective event,

youth becomes a sociological category

for which Jean-Luc Godard is the poet.

When I made Histoire(s) du cinema,
I spoke on a program me

called A New Wave,
not The New Wave.

At one point, I point to
the boys and girls and say:

"The New Wave
was what we wanted at the time."

That was my view. I don't know if
Francois wanted that, but I think so.

Rivette less so, perhaps.

Rohmer, I don't know.
It was more me and Truffaut.

It was to show boys and girls

who, when they saw the film,

would see themselves in the world.

When you'd go to see Godard's films,

you'd think: "How does this guy

"know who we are right now?"

Suddenly, people who were
very young at the time

allowed themselves to talk
like in Godard's films,

to do things that were done
in Godard's films.

He was the one who best condensed

desires for a new way of life
compared to previous generations.

The youngsters of the 60s

threw out the old furniture
and decorated their flats

like in Godard's films.

The aesthetic became a way of life.

Thanks to Godard-Coutard.
They invented an aesthetic

that was radically new.
And, a rare thing in cinema history,

it arrived in people's lives.

Though American culture
impregnated European youth,

there was a growing hostility
towards Washington.

On one hand, there was
greater fascination for rock, jazz,

beatnik literature, lifestyle
and lust for life,

on the other, race riots,

the Bay of Pigs landings,

the Kennedy assassination,
military opposition

to all liberation movements,

and Vietnam,
where waves of Buddhist monks

immolated themselves
during summer 1963

Godard, who passionately loved
great American movies,

broke away from Hollywood's decline

and Washington's aggressive
foreign policy.

Contempt is the film
of that break-up.

"Dear Paul, | found your revolver
and took the bullets out.

"If you won't leave, I will.

"Jeremy Prokosch has to return to Rome,
so I'll get a lift with him."

TAKE CARE.

FAREWELL.

I found a great difference
when we worked together.

It's very important

and I think you're right.

I'm talking now
about the car accident.

The car accident where
Palance and Bardot were killed.

Certainly what I would have done...

They're in the car
going faster and faster...

Maybe there's something...
He can't do that.

I'd show the accident.

But you don't show it.

You showed them dead
between two trucks.

For you, the consequences

were far more important
than the accident itself.

And that's interesting,

and significant.

The discussion with Lang
about the accident is interesting.

There's the ellipsis,
in the end, of the impact.

I've always tried to avoid that.
I don't know how to do it...

You don't know how...?

I'd need...

I'd need stunt men,
I'd need to wreck an Alfa Romeo...

When you say you don't know,
do you prefer an ellipsis?

No, that's not the point...

No...

You don't say: "I want to do
an ellipsis." Not at all

I think that's silly...

Creating an ellipsis
is giving it a sense

and you want...
There's intent.

I think that unconsciously
I was against that intent...

I think that what attracted me
unconsciously, without knowing it,

was coming near to something,

which in films
is mission impossible,

where you see what you don't see.

There are always three images.

A good film shows you the third.

We shouldn't see the first,

we shouldn't see the second,

so it makes it the third,
which may not have to be filmed.

We haven't used cinema.

It was there, like that.
We immediately put...

a kind of hypertext on it.

The text didn't come from cinema.

It was like telling a child
how it should speak.

In Contempt, the film carries on,
cinema carries on.

The story carries on,
Greece carries on, history...

The camera carries on filming.

In the end, is Contempt
a film about the twilight?

The twilight of cinema?

I'd say glory...
there's the famous phrase

by Madame de Staél to Napoleon:

"Glory, Sire..."

"Glory, Sire, is the dazzling
mourning of happiness.”

So it's dazzling.

I think it has that.
The glory of cinema...

Contempt was released in Paris
on 27 December 1963

in 5 theatres.
With 380,000 tickets sold in France,

it ranked 7th
among French releases that year.

Disappointing for B. Bardot,

but one of Jean-Luc Godard's
biggest box-office successes.

After Contempt,
he made another 46 films,

- often isolated and embattled -
seeking to show the power of cinema

with militant post-68 films,
then made for TV movies,

feature-length films
in the 80s and 90s,

finally the film-essays he has
been making over the past few years

in his monastic refuge
at Rolle, Switzerland,

on the banks of Lake Geneva.

This ambition of cinema...

People didn't know that,
apart from certain madmen...

It stops in the sixties?

It starts to decline.

It slowly declined
and today it's virtually finished.

That doesn't mean there aren't
islands of independent film

that generate...

other things like that
that people can always do.

We've been stripped
of our intellectual resources.

We have technical
and financial resources.

You can make a film with 10 dollars
if you have 10 dollars.

With modest equipment.
Nobody does.

By using a small video camera.

I hesitate to do so
for psychological reasons.

A former tennis champion will play
the mother. Catherine Tanvier.

If I come along with that,
she'll think:

"No, that's not cinema.

"They were right when they said
this boy was mental."

If, on the contrary, I bring
a big camera, she'll be reassured.

But I'll be worried
by the fact she's reassured.

What reassured her?

Much later,

I carved for myself cinema
where, it's said, the camera is useful.

What's it used for?
It's used to see.

To see what we can't see.

Like a microscope is used
to see what we can't see.

Something interesting
socially in that cinema

is that we can see things life-size,

be they infinitely small
or infinitely big.

It's used to see
what people don't see.

I once came out with a phrase:

"People have the courage to live
their life, however it may be,

"whether trader or tramp,
they live their life,

"but they don't have the courage
to imagine it."

Cinema should have given them
that courage.

Ulysses, to the sea.

- We're ready, Mr. Lang.
- Thank you.

Quiet on the set.

Camera!

Action!

Tracking shot!

Subtitles - Henry Moon
for TELETOTA