Le Jeune cinema: Godard et ses emules

1 00:00:01,950 --> 00:00:04,180 <i>Paris, October 1967.</i> 2 00:00:04,210 --> 00:00:06,170 <i>Making a movie about young cinema</i> 3 00:00:06,200 --> 00:00:10,380 <i>requires foraging in this traffic for thoughts that might persist.</i> 4 00:00:10,410 --> 00:00:14,820 <i>One then realizes that some young people persist in making free movies.</i> 5 00:00:14,850 --> 00:00:19,230 <i>They're not well known. Their movies are rarely released. Why?</i> 6 00:00:19,260 --> 00:00:21,990 <i>Trapped in individualism, they badly formulate</i> 7 00:00:22,020 --> 00:00:25,030 <i>a radical critique of traditional systems.</i> 8 00:00:25,060 --> 00:00:29,060 <i>It's self-preservation. Their situation is precarious.</i> 9 00:00:29,090 --> 00:00:33,560 <i>However, a nucleus of virulent cineastes has formed around Jean-Luc Godard.</i> 10 00:00:34,950 --> 00:00:39,520 <i>Francis Leroi, after Pop Game, films his second movie, Cine-Girl.</i> 11 00:00:40,456 --> 00:00:44,080 <i>Jean Eustache has made two movies: Bad Company,</i> 12 00:00:44,240 --> 00:00:46,030 <i>and Santa Claus Has Blue Eyes.</i> 13 00:00:46,060 --> 00:00:48,840 <i>Jean-Michel Barjol has made a number of movies:</i> 14 00:00:48,870 --> 00:00:52,080 <i>La tour sans venin, Nadia, Au temps des châtaignes.</i> 15 00:00:52,110 --> 00:00:55,192 <i>He is working on a commissioned project: The Strangers.</i> 16 00:00:55,740 --> 00:00:59,856 <i>Luc Moullet made Brigitte and Brigitte. He is working on the Smugglers.</i> 17 00:01:00,670 --> 00:01:05,620 The new wave has led to positive developments. 18 00:01:06,860 --> 00:01:09,740 For example, it is no longer contested 19 00:01:09,770 --> 00:01:14,380 that the screenwriter can also be the director. It is now accepted. 20 00:01:14,410 --> 00:01:18,050 That is a big victory. 21 00:01:18,080 --> 00:01:22,650 Prior to this, you had to work as an assistant before becoming a director. 22 00:01:22,680 --> 00:01:26,850 But other preconceived notions must be defeated as well. 23 00:01:26,880 --> 00:01:30,690 It is essential to enable people to make more movies. 24 00:01:30,720 --> 00:01:33,690 A movie costing hundreds of millions is absurd. 25 00:01:33,720 --> 00:01:36,420 There is no money to sustain this. 26 00:01:36,450 --> 00:01:43,420 Movie crews are also too large. That is detrimental to film. 27 00:01:43,450 --> 00:01:47,160 It delays the production process. 28 00:01:47,190 --> 00:01:50,060 We need more movies with smaller crews. 29 00:01:50,480 --> 00:01:54,130 France has a film production problem. 30 00:01:54,160 --> 00:01:57,400 That is the essential problem. 31 00:01:57,890 --> 00:02:03,050 The new cinema, which you are interested in, 32 00:02:03,080 --> 00:02:06,112 is fighting for this new notion. 33 00:02:08,360 --> 00:02:10,220 <i>Cut.</i> 34 00:02:12,000 --> 00:02:18,074 Watch Online Movies and Series for FREE www.osdb.link/lm 35 00:02:24,380 --> 00:02:28,720 What was the problem, William? 36 00:02:29,000 --> 00:02:31,700 Is there a problem? 37 00:02:31,730 --> 00:02:34,560 <i>Go ahead, tell him.</i> 38 00:02:35,480 --> 00:02:37,240 <i>Say it.</i> 39 00:02:37,710 --> 00:02:41,430 He is the problem. He's always off. 40 00:02:41,460 --> 00:02:44,640 <i>When? At the end?</i> 41 00:02:46,560 --> 00:02:49,690 Why don't we solve it? It's simple. 42 00:02:49,720 --> 00:02:52,900 <i>He's going too fast.</i> 43 00:02:53,220 --> 00:02:56,570 I'll tell him to slow down. 44 00:02:56,600 --> 00:02:58,800 He'll slow down here. 45 00:03:02,490 --> 00:03:07,140 <i>He was in frame, and the girl was not,</i> 46 00:03:07,170 --> 00:03:10,680 <i>but then he moved, and the girl was partly in it.</i> 47 00:03:10,710 --> 00:03:13,850 <i>She shouldn't be partly in it.</i> 48 00:03:13,880 --> 00:03:16,920 I am an amateur cineaste. 49 00:03:16,950 --> 00:03:20,240 Being an amateur means being in love. 50 00:03:20,270 --> 00:03:23,610 I refuse to be a professional. 51 00:03:23,640 --> 00:03:27,810 A professional makes movies because it's his job. 52 00:03:27,840 --> 00:03:30,620 Was painting Renoir's profession? 53 00:03:30,650 --> 00:03:33,010 It wasn't his job, but his passion. 54 00:03:33,040 --> 00:03:35,710 If he did not feel like it, he did not paint. 55 00:03:35,740 --> 00:03:37,590 Professionals can't do that. 56 00:03:37,620 --> 00:03:42,880 If a professional does not want to film, he films anyway. 57 00:03:43,080 --> 00:03:47,280 In two years, I might quit, because I might have lost my desire. 58 00:03:47,400 --> 00:03:51,220 I admire Rimbaud for quitting poetry. 59 00:03:51,250 --> 00:03:53,992 He lost his desire and quit. It happens. 60 00:04:12,830 --> 00:04:14,820 Thanks. 61 00:04:22,950 --> 00:04:24,540 Was it longer? 62 00:04:24,570 --> 00:04:28,840 He did it slower this time. It was better. 63 00:04:36,090 --> 00:04:38,490 This was good. 64 00:04:40,190 --> 00:04:42,400 It was great. 65 00:04:49,180 --> 00:04:52,000 <i>Did you ever study film formally?</i> 66 00:04:52,030 --> 00:04:54,850 - What do you mean? - A technical school. 67 00:04:54,880 --> 00:04:57,970 - What's that? - Like IDHEC. 68 00:04:58,000 --> 00:05:04,210 IDHEC is fantastic. It shuttles the failed ones towards television. 69 00:05:04,440 --> 00:05:07,050 <i>You think it trains them for TV?</i> 70 00:05:07,080 --> 00:05:08,850 Lucky for them. 71 00:05:08,880 --> 00:05:11,370 Imagine a 25 year-old graduate 72 00:05:11,400 --> 00:05:14,880 having to intern with me instead. 73 00:05:16,440 --> 00:05:18,328 Fill this drawer up. 74 00:05:18,770 --> 00:05:22,540 Clothes, papers, anything. 75 00:05:23,060 --> 00:05:24,960 <i>We have some binders.</i> 76 00:05:25,530 --> 00:05:28,750 It must be filled with stuff. 77 00:06:24,000 --> 00:06:28,850 <i>The role of money in cinema must be demystified.</i> 78 00:06:28,880 --> 00:06:33,580 <i>The common notion is that it is expensive, which discourages many.</i> 79 00:06:33,720 --> 00:06:36,990 <i>Parents of young people who are interested in cinema</i> 80 00:06:37,020 --> 00:06:40,490 <i>should fund their movie instead of buying them an a flat.</i> 81 00:06:40,520 --> 00:06:44,420 <i>They cost the same. Cinema must similar to novels.</i> 82 00:06:44,450 --> 00:06:46,540 <i>If you want to make a movie, you just do it.</i> 83 00:06:46,570 --> 00:06:50,640 <i>You put a team together, you lease some equipment,</i> 84 00:06:50,670 --> 00:06:54,090 <i>and you make your movie.</i> 85 00:06:54,340 --> 00:06:59,700 My movies target young people, but they're not allowed to see them. 86 00:06:59,730 --> 00:07:05,160 <i>In France, people complain that there is no cinema for the young.</i> 87 00:07:05,190 --> 00:07:13,190 <i>We are making cinema for the young, but they can't watch our movies.</i> 88 00:07:14,880 --> 00:07:18,520 <i>In Pop Game, the actors were all minors.</i> 89 00:07:19,170 --> 00:07:24,560 <i>We improvised a lot. They collaborated on the script.</i> 90 00:07:39,700 --> 00:07:43,410 <i>What did Godard think of Pop Game?</i> 91 00:07:43,440 --> 00:07:45,980 He never says much. 92 00:07:46,010 --> 00:07:48,790 He said he liked it. 93 00:07:49,250 --> 00:07:52,700 He said he liked it a lot. 94 00:07:52,730 --> 00:07:54,480 That's all. 95 00:07:55,430 --> 00:07:59,740 I don't think my movie is directly influenced by Godard. 96 00:07:59,770 --> 00:08:02,080 But it's made in total freedom, 97 00:08:02,110 --> 00:08:07,570 it pays no heed to technical norms. What counts is what happens on screen. 98 00:08:07,760 --> 00:08:10,560 That's the extent of his influence. 99 00:08:14,790 --> 00:08:20,850 <i>What did viewers think of Pop Game?</i> 100 00:08:21,190 --> 00:08:26,610 It was well received by critics and cinephiles. 101 00:08:27,140 --> 00:08:30,950 People I meet would never say they hated it though. 102 00:08:30,980 --> 00:08:34,810 They wouldn't admit it to my face. 103 00:08:35,810 --> 00:08:41,910 I think critics were positive in general. 104 00:08:42,420 --> 00:08:44,210 Except Michel Cournot. 105 00:08:44,720 --> 00:08:46,500 <i>What did he say?</i> 106 00:08:46,770 --> 00:08:50,150 He does not say much either. 107 00:08:50,560 --> 00:08:52,320 But he did not like it. 108 00:08:53,450 --> 00:08:55,730 <i>That does not matter.</i> 109 00:08:57,080 --> 00:08:59,580 He advocates for another cinema. 110 00:09:00,270 --> 00:09:01,900 <i>Yes, his.</i> 111 00:09:02,180 --> 00:09:03,580 Perhaps. 112 00:09:03,610 --> 00:09:06,370 <i>Ciné-girl is the story of a girl,</i> 113 00:09:06,400 --> 00:09:10,620 <i>obsessed with Godard, who moves to Paris</i> 114 00:09:10,650 --> 00:09:13,210 <i>to live her life, like in Breathless.</i> 115 00:09:13,240 --> 00:09:16,810 <i>Contrary to American movies,</i> 116 00:09:16,840 --> 00:09:20,120 <i>things go well for her. She gets married</i> 117 00:09:20,150 --> 00:09:24,750 <i>to a fashionable designer who takes her to fashionable parties,</i> 118 00:09:24,780 --> 00:09:28,410 <i>but she gets disillusioned with her trophy wife existence,</i> 119 00:09:28,440 --> 00:09:30,530 <i>and seeks something else.</i> 120 00:09:30,560 --> 00:09:35,470 <i>She befriends a group of actors, and decides to pursue cinema.</i> 121 00:09:35,500 --> 00:09:37,890 <i>She fails. It is the story of a failure.</i> 122 00:09:37,920 --> 00:09:40,040 <i>She does not do what it takes.</i> 123 00:09:40,070 --> 00:09:42,030 <i>She does not commit completely.</i> 124 00:09:42,060 --> 00:09:45,730 <i>She is unwilling to go to bed with the assistant director.</i> 125 00:09:45,760 --> 00:09:49,070 <i>That's why she does not make it.</i> 126 00:09:49,100 --> 00:09:51,300 Certain people hold the keys, 127 00:09:51,330 --> 00:09:54,970 and there's no way around those people, 128 00:09:55,000 --> 00:09:59,570 certainly in the case of an aspiring actress. 129 00:09:59,600 --> 00:10:05,940 Making it in cinema means being Brigitte Bardot, otherwise it's pointless. 130 00:10:07,480 --> 00:10:10,880 <i>What does it mean to make it as a director?</i> 131 00:10:10,910 --> 00:10:13,950 Making it as a director means 132 00:10:13,980 --> 00:10:19,280 you're Fritz Lang, Warhol, or Walsh. 133 00:10:20,680 --> 00:10:22,176 People of that sort. 134 00:10:22,570 --> 00:10:24,520 You're too far. 135 00:10:24,630 --> 00:10:27,580 You're still too far. 136 00:10:27,610 --> 00:10:29,750 Stand by the tree. 137 00:10:29,780 --> 00:10:31,820 In front of the tree. 138 00:10:32,330 --> 00:10:34,750 In front of the tree, facing me. 139 00:10:35,760 --> 00:10:39,140 A little further. 140 00:10:39,560 --> 00:10:42,180 There, but in front. 141 00:10:42,740 --> 00:10:44,104 Good. 142 00:10:44,520 --> 00:10:49,240 Godard's aesthetic influence is felt in New York 143 00:10:50,080 --> 00:10:52,390 and in Eastern Europe. 144 00:10:52,420 --> 00:10:55,620 His influence in France is on the economic plane. 145 00:10:55,650 --> 00:10:59,650 He was the first to show that you can make this kind of cinema. 146 00:10:59,680 --> 00:11:03,050 A personal cinema that was feasible financially. 147 00:11:03,640 --> 00:11:09,370 Movies made in complete freedom, beyond rules, 148 00:11:09,880 --> 00:11:15,180 beyond conventions such as a linear narrative. 149 00:11:15,600 --> 00:11:18,560 That's his influence here. 150 00:11:18,590 --> 00:11:23,750 Nobody has made a film in the style of Godard in France yet. 151 00:11:26,060 --> 00:11:27,560 No? 152 00:11:29,400 --> 00:11:33,970 <i>Pop Game was made outside of the system. Will it be distributed?</i> 153 00:11:34,000 --> 00:11:39,840 It passed the censorship commission. It is part of the system. 154 00:11:42,070 --> 00:11:46,860 It will be released after the Semaine of the Cahiers du Cinema. 155 00:11:48,800 --> 00:11:50,830 <i>Will you make another movie?</i> 156 00:11:50,860 --> 00:11:55,280 I intend to make many movies. Nobody will stop me. 157 00:11:57,030 --> 00:12:00,120 <i>A conversation with Jean Eustache.</i> 158 00:12:11,970 --> 00:12:18,020 I was told by some cameramen and film school students 159 00:12:18,250 --> 00:12:22,170 that they procured film cheaply 160 00:12:22,530 --> 00:12:25,930 by buying discarded rolls from other productions. 161 00:12:25,960 --> 00:12:31,990 When you use up 300 meters of film, 50 to 60 meters are usually dumped. 162 00:12:32,020 --> 00:12:35,670 They're resold for a discount after production. 163 00:12:35,700 --> 00:12:40,240 You can collect enough film that way. 164 00:12:40,380 --> 00:12:44,440 It's quite affordable. 165 00:12:44,470 --> 00:12:47,500 So I visited other productions 166 00:12:47,530 --> 00:12:54,370 looking for cheap film. I had 2 to 3 months to find it. 167 00:12:55,240 --> 00:12:57,850 Godard was shooting <i>Masculin Féminin</i>. 168 00:12:58,140 --> 00:12:59,850 I asked him for film. 169 00:13:01,480 --> 00:13:07,180 I had found nothing yet up to that point. 170 00:13:07,420 --> 00:13:12,650 He offered to give me all the film I needed for free. 171 00:13:12,680 --> 00:13:16,320 He said 'it's yours if you want it', 172 00:13:16,350 --> 00:13:19,490 'you can shoot your movie'. 173 00:13:25,320 --> 00:13:30,650 I shot the movie, then came back to Paris. 174 00:13:33,090 --> 00:13:35,650 I wrapped up editing in a month. 175 00:13:36,500 --> 00:13:39,480 The whole thing took 16 weeks. 176 00:13:39,900 --> 00:13:43,300 I showed it to Godard. 177 00:13:43,690 --> 00:13:46,930 I wanted to show him the end result. 178 00:13:46,960 --> 00:13:53,900 He paid off the pending bills: editing, sound mixing, and so on. 179 00:13:54,070 --> 00:13:57,930 He paid for a standard copy. 180 00:13:57,960 --> 00:14:02,700 He paid off my debts. 181 00:14:02,730 --> 00:14:08,800 His production company took care of everything. 182 00:14:09,230 --> 00:14:12,180 <i>What did he think of the movie?</i> 183 00:14:12,760 --> 00:14:14,180 He liked it. 184 00:14:14,300 --> 00:14:17,860 That's what he said at least. 185 00:14:19,240 --> 00:14:21,610 <i>How much did it cost?</i> 186 00:14:21,840 --> 00:14:23,780 10 millions. 187 00:14:26,350 --> 00:14:29,250 I shot in Provence. 188 00:14:29,280 --> 00:14:31,170 It's 45 minutes long. 189 00:14:31,700 --> 00:14:34,860 The total budget was 10 million. 190 00:14:35,390 --> 00:14:38,490 That would be just 20 millions for a feature length movie. 191 00:14:38,520 --> 00:14:41,570 It's expensive for a short, 192 00:14:42,240 --> 00:14:44,810 but not for 45 minutes, 193 00:14:44,840 --> 00:14:50,500 especially since I shot in Provence. 194 00:14:50,780 --> 00:14:57,230 It's not expensive for half a feature length movie. 195 00:14:58,970 --> 00:15:02,570 - Was it distributed? - Very badly. 196 00:15:02,750 --> 00:15:04,570 Pretty badly. 197 00:15:05,020 --> 00:15:10,980 At that time I had never involved myself in the production aspect. 198 00:15:11,280 --> 00:15:14,760 I was quite clueless. 199 00:15:14,790 --> 00:15:18,540 I was told that distributors 200 00:15:20,600 --> 00:15:25,480 worked haphazardly, with no specific knowledge of the film. 201 00:15:25,510 --> 00:15:30,170 It is true. My distributor did not even watch my movie. 202 00:15:30,200 --> 00:15:33,850 The movie played at Cannes, in the Semaine. 203 00:15:33,880 --> 00:15:37,560 It played at Pesaro as well. 204 00:15:38,960 --> 00:15:43,790 He distributed it solely based on that. 205 00:15:43,820 --> 00:15:48,220 He was ignorant, so he promoted it badly. 206 00:15:48,250 --> 00:15:50,610 That's the worst aspect of cinema. 207 00:15:50,640 --> 00:15:56,860 That's why movies don't get adequately distributed. 208 00:16:00,070 --> 00:16:05,810 It was completely unprofessional. 209 00:16:10,240 --> 00:16:15,030 So the movie did not do well, as expected. 210 00:16:16,760 --> 00:16:19,460 He was the only one surprised at that. 211 00:16:19,890 --> 00:16:22,950 Nobody else was. 212 00:16:26,310 --> 00:16:30,730 - Did you make up the money? - Yes, eventually. 213 00:16:31,200 --> 00:16:34,580 It won prize money at the shorts festival. 214 00:16:34,690 --> 00:16:35,952 At the Qualité. 215 00:16:42,010 --> 00:16:44,450 <i>Is it the story of a bored young man?</i> 216 00:16:44,480 --> 00:16:47,340 <i>The tale of a soul's death?</i> 217 00:16:47,560 --> 00:16:51,730 Not exactly. That was not my intention. 218 00:16:51,990 --> 00:16:56,110 It is not a story of ennui. 219 00:16:58,960 --> 00:17:04,180 It's hard to talk about it. My intention was different. 220 00:17:04,210 --> 00:17:08,130 I don't know if it translated onto the screen. 221 00:17:08,160 --> 00:17:13,560 <i>What I had in mind was an adventure that could only happen</i> 222 00:17:14,450 --> 00:17:18,580 <i>to a man living in very particular circumstances.</i> 223 00:17:19,460 --> 00:17:25,280 <i>When you're hungry, you don't think about Marxism. You think about food.</i> 224 00:17:25,310 --> 00:17:31,050 <i>When you're alone, and you have no money to buy cigarettes,</i> 225 00:17:31,510 --> 00:17:36,810 <i>you don't think about ideology. You think about your condition.</i> 226 00:17:42,930 --> 00:17:46,100 <i>Nothing else is on your mind.</i> 227 00:17:52,290 --> 00:17:56,340 <i>Metaphysics and ideology are a bourgeois luxury.</i> 228 00:17:56,800 --> 00:18:01,860 I wanted to express that notion coldly. 229 00:18:02,320 --> 00:18:05,500 Many viewers reacted violently. 230 00:18:05,530 --> 00:18:10,190 I was not surprised. That was my intention. 231 00:18:10,220 --> 00:18:13,140 I was aiming for that reaction: 'This guy does nothing'. 232 00:18:13,170 --> 00:18:17,040 'Why doesn't he get politically engaged?' 233 00:18:17,070 --> 00:18:20,210 'Young people are so lethargic', and so on. 234 00:18:20,590 --> 00:18:26,940 I think I achieved part of my goal in the film. 235 00:18:26,970 --> 00:18:31,270 People's reaction to the film 236 00:18:34,680 --> 00:18:37,190 validates my approach. 237 00:18:41,530 --> 00:18:44,220 My name is Jean-Michel Barjol. 238 00:18:44,840 --> 00:18:48,490 I was born May 19th 1938. How old is that? 239 00:18:48,520 --> 00:18:51,600 28, 29. It does not matter. 240 00:18:52,910 --> 00:18:56,160 What else? 241 00:18:57,540 --> 00:19:02,040 I make movies, in total liberty, because I feel like making them. 242 00:19:02,070 --> 00:19:07,150 I had some money, so I made a movie with 2 million francs. 243 00:19:07,450 --> 00:19:13,830 The movie was <i>Nadia</i>. We slept outdoors, we cooked in the woods. 244 00:19:13,940 --> 00:19:16,430 We set a tree on fire by mistake. 245 00:19:16,460 --> 00:19:21,840 We hoisted a camera 100 feet up a pine tree for a shot. We had no crane. 246 00:19:22,170 --> 00:19:27,860 The movie is about a teenager who runs away. 247 00:19:28,410 --> 00:19:31,950 <i>I ran away once, during a storm.</i> 248 00:19:34,370 --> 00:19:35,960 <i>My father</i> 249 00:19:37,070 --> 00:19:39,140 <i>would not give me his hat.</i> 250 00:19:40,840 --> 00:19:42,760 <i>He had read Nadia's letter.</i> 251 00:19:43,280 --> 00:19:45,050 <i>I did not want him to.</i> 252 00:19:45,960 --> 00:19:47,550 <i>I snatched it from him.</i> 253 00:19:49,850 --> 00:19:51,740 <i>'Give it back', he said.</i> 254 00:19:52,040 --> 00:19:54,040 <i>I pushed him to the ground.</i> 255 00:19:55,470 --> 00:19:57,240 <i>He charged towards me.</i> 256 00:19:58,480 --> 00:20:00,320 <i>He wanted to hit me.</i> 257 00:20:02,020 --> 00:20:04,140 <i>He didn't. My mom was right there.</i> 258 00:20:06,180 --> 00:20:08,540 <i>My brother was reading a comic book.</i> 259 00:20:09,200 --> 00:20:12,290 <i>He lifted his head for a second,</i> 260 00:20:13,200 --> 00:20:14,960 <i>then went back to reading.</i> 261 00:20:16,710 --> 00:20:18,320 <i>That's all he did.</i> 262 00:20:20,900 --> 00:20:22,640 <i>So, I ran away.</i> 263 00:20:23,800 --> 00:20:25,350 <i>I said 'ciao'.</i> 264 00:20:26,880 --> 00:20:28,680 <i>She watched me skiing.</i> 265 00:20:30,430 --> 00:20:32,150 <i>She told me later.</i> 266 00:20:33,520 --> 00:20:35,680 <i>'I saw you skiing', she said.</i> 267 00:20:41,520 --> 00:20:43,360 <i>I was quite small.</i> 268 00:21:24,160 --> 00:21:26,970 I am working on a commission: <i>The Strangers</i>. 269 00:21:30,480 --> 00:21:33,950 I just finished filming a movie about youth. 270 00:21:34,570 --> 00:21:36,850 I haven't settled on a name yet. 271 00:21:37,160 --> 00:21:41,010 Maybe I'll call it <i>All set, Let's Go!</i> 272 00:21:41,350 --> 00:21:46,910 The producers were wonderful, so I had total liberty. 273 00:21:47,600 --> 00:21:52,730 It's a movie about summer, but shot indoors. You never glimpse the sun. 274 00:21:52,760 --> 00:21:55,740 It shows that most young people are old. 275 00:21:55,770 --> 00:21:59,920 <i>Picasso was right: It takes a long time for one to become young.</i> 276 00:22:00,200 --> 00:22:04,170 <i>Youth is an elusive term. Most young people are not young.</i> 277 00:22:04,200 --> 00:22:09,610 <i>My first movie, Nadia, was produced by Pierre Braunberger.</i> 278 00:22:10,250 --> 00:22:12,140 It's still in his drawer. 279 00:22:12,760 --> 00:22:18,500 The next one was produced by Paul de Roubaix, and the latest by Samy Halfon. 280 00:22:19,210 --> 00:22:24,060 Halfon made <i>Hiroshima Mon Amour</i>. He worked with Robbe-Grillet, Franju... 281 00:22:24,880 --> 00:22:27,820 <i>Why didn't Braunberger release Nadia?</i> 282 00:22:28,230 --> 00:22:30,930 He is in no hurry. 283 00:22:33,720 --> 00:22:36,550 It makes sense from his point of view. 284 00:22:36,580 --> 00:22:40,390 It would have not made much money. 285 00:22:40,420 --> 00:22:42,760 Maybe it would make a little money now. 286 00:22:44,560 --> 00:22:46,350 <i>Godard is great.</i> 287 00:22:50,830 --> 00:22:55,930 People think he always talks in jest, 288 00:22:56,880 --> 00:22:59,540 But he is very serious. 289 00:22:59,900 --> 00:23:03,416 I think he is quite a lonely person. 290 00:23:04,280 --> 00:23:05,860 Attention. 291 00:23:09,920 --> 00:23:12,300 You go there. 292 00:23:17,260 --> 00:23:18,860 Silence please. 293 00:23:21,160 --> 00:23:22,360 All set. 294 00:23:22,950 --> 00:23:25,120 <i>Take 3.</i> 295 00:23:26,560 --> 00:23:30,820 <i>People talk a lot of nonsense about him. He does not care.</i> 296 00:23:31,240 --> 00:23:34,410 <i>It's good publicity after all.</i> 297 00:23:34,860 --> 00:23:40,330 <i>Take La Chinoise</i> for the example. For me, the film says 298 00:23:40,360 --> 00:23:43,740 <i>"Death to Lumiere. Long live Melies".</i> 299 00:23:43,770 --> 00:23:48,900 <i>The movie expresses that clearly.</i> 300 00:23:51,450 --> 00:23:55,150 <i>Les Carabiniers is a Melies film too.</i> 301 00:23:56,490 --> 00:24:01,260 <i>People who watch La Chinoise</i> should first watch <i>the Carabiniers</i> 4 times. 302 00:24:01,380 --> 00:24:07,390 <i>If they can't take it, they lose the privilege of watching Godard ever again.</i> 303 00:24:07,420 --> 00:24:10,200 <i>That will solve a lot of problems.</i> 304 00:24:20,670 --> 00:24:26,310 <i>Godard is a genius handyman too. That's the real form of genius.</i> 305 00:24:27,400 --> 00:24:32,690 <i>He can handle cameras and sound recorders as well as actors.</i> 306 00:24:32,720 --> 00:24:34,820 <i>He's wonderful.</i> 307 00:24:45,290 --> 00:24:47,150 - Got a light? - No. 308 00:24:52,910 --> 00:24:54,330 There's a chick here. 309 00:24:54,920 --> 00:24:56,330 <i>So what?</i> 310 00:24:57,920 --> 00:24:59,260 Is she yours? 311 00:25:06,280 --> 00:25:07,950 <i>No.</i> 312 00:25:08,300 --> 00:25:10,140 No. Help. 313 00:25:10,550 --> 00:25:15,230 <i>Before I started making movies. I felt like a was trapped in a box.</i> 314 00:25:15,510 --> 00:25:19,810 <i>When I make a movie, I punch a hole in the box.</i> 315 00:25:20,200 --> 00:25:24,890 <i>I work on making the hole wider.</i> 316 00:25:29,720 --> 00:25:33,140 <i>Who attacked first, Israel or Egypt?</i> 317 00:25:33,170 --> 00:25:36,460 - Was it Egypt? - Stupid fool. 318 00:25:46,450 --> 00:25:50,900 <i>There is a downside to Godard though.</i> 319 00:25:51,050 --> 00:25:55,270 <i>It's not his fault, he's never claimed this.</i> 320 00:25:56,580 --> 00:26:00,380 <i>But his movies have propagated certain damaging myths.</i> 321 00:26:04,650 --> 00:26:07,370 <i>For example, that making movies is easy,</i> 322 00:26:07,770 --> 00:26:12,820 <i>that anyone can make a movie. In a sense, that is true,</i> 323 00:26:14,170 --> 00:26:15,740 <i>but it is also hard.</i> 324 00:26:31,050 --> 00:26:34,360 I, Romain Goupil, member of the Communist Youth, 325 00:26:34,830 --> 00:26:38,400 condemn Godard's <i>La Chinoise</i>, for the following reasons: 326 00:26:43,120 --> 00:26:46,120 First, he betrayed Marxism–Leninism. 327 00:26:49,130 --> 00:26:54,400 Second, he attacks actual leftist groups by name, 328 00:26:54,700 --> 00:26:57,800 such as the New Humanity and the Red Guards. 329 00:27:02,310 --> 00:27:05,150 Third, he has portrayed militants as neurotics. 330 00:27:08,980 --> 00:27:14,800 Forth, he is an ally of the Bourgeoisie, as shown by the critical reception. 331 00:27:17,370 --> 00:27:23,280 Fifth, he portrays characters with no understanding of Marxism, 332 00:27:23,680 --> 00:27:25,820 which is an imposture. 333 00:27:30,480 --> 00:27:34,660 Lastly, he retrieved the irretrievable: Revolution. 334 00:27:55,200 --> 00:27:59,120 The worst thing that can happen to a director 335 00:27:59,260 --> 00:28:03,400 is to become fashionable. 336 00:28:05,960 --> 00:28:10,820 One becomes fashionable based on misunderstandings. 337 00:28:11,680 --> 00:28:15,060 The question is whether the fashionable person, 338 00:28:15,320 --> 00:28:18,450 a director for example, or a creator, or a charlatan 339 00:28:18,480 --> 00:28:22,760 will take this adulation seriously or not. 340 00:28:23,420 --> 00:28:26,540 Contrary to what he says, Godard really knows his craft. 341 00:28:26,570 --> 00:28:28,800 He has mastered it. 342 00:28:29,590 --> 00:28:33,750 He understands cinema, and he is searching. 343 00:28:34,270 --> 00:28:38,250 He managed not to fall prey to the system. 344 00:28:38,620 --> 00:28:43,740 One day he'll achieve his masterpiece, 345 00:28:44,990 --> 00:28:49,690 though <i>The Carabiniers</i> and <i>Pierrot Le Fou</i> are close to that. 346 00:28:51,490 --> 00:28:55,380 He works non-stop, but that is the right thing to do. 347 00:28:56,010 --> 00:28:58,540 One must be constantly filming, 348 00:28:58,680 --> 00:29:02,150 just like a painter paints every day. 349 00:29:02,460 --> 00:29:04,960 He is desacralizing cinema. 350 00:29:05,120 --> 00:29:09,440 Cinema has a mythical aspect: The master is silent for a long time, 351 00:29:09,600 --> 00:29:13,070 and then announces a new film to the people. 352 00:29:13,490 --> 00:29:18,730 That is not the case for a painter, who is constantly working, 353 00:29:19,030 --> 00:29:21,730 discarding attempts, starting over again. 354 00:29:21,960 --> 00:29:25,620 A director can't just discard a movie. 355 00:29:25,820 --> 00:29:31,720 Godard devised an economic model that allows him to work like a painter. 356 00:29:32,030 --> 00:29:37,760 Since any movie he makes is profitable, he has the freedom to do what he wants, 357 00:29:37,880 --> 00:29:39,560 and make as many as he wants. 358 00:29:39,700 --> 00:29:44,690 That is fundamentally different from talentless charlatans 359 00:29:45,220 --> 00:29:48,530 who abuse fame to churn out garbage. 360 00:29:48,560 --> 00:29:51,030 That was very good. 361 00:29:54,760 --> 00:29:58,290 That was a good punch. Does your hand hurt? 362 00:30:00,960 --> 00:30:06,140 At the moment when spits out his food, 363 00:30:06,280 --> 00:30:11,310 can you stare at him before he checks his sandwich? 364 00:30:12,530 --> 00:30:15,660 You were great too. One more time. 365 00:30:16,450 --> 00:30:17,760 How do I live? 366 00:30:18,300 --> 00:30:20,680 It's a funny life. 367 00:30:21,320 --> 00:30:24,920 This is my first commission ever. 368 00:30:24,950 --> 00:30:27,890 It's worse than being on parole. 369 00:30:28,600 --> 00:30:30,940 My salary as a director 370 00:30:31,380 --> 00:30:36,710 is the same as a cleaning lady's, about 80 thousand old francs. 371 00:30:39,060 --> 00:30:43,860 I get 11 months per year on this salary. 372 00:30:44,240 --> 00:30:49,112 Not much incentive for young people to get into movies. 373 00:31:39,660 --> 00:31:42,490 <i>Whenever he sees me, his luck turns.</i> 374 00:31:43,090 --> 00:31:44,590 <i>Nadia.</i> 375 00:31:47,750 --> 00:31:49,960 <i>She said I had a Picasso head.</i> 376 00:31:55,190 --> 00:31:57,940 <i>She's always the same, so complicated.</i> 377 00:32:00,150 --> 00:32:02,210 <i>She likes Picasso's eyes.</i> 378 00:32:16,750 --> 00:32:17,940 <i>I was wearing jeans.</i> 379 00:32:19,590 --> 00:32:22,260 <i>I had long hair.</i> 380 00:32:25,060 --> 00:32:28,950 <i>He was pale as a sheet. He had a mustache.</i> 381 00:32:31,190 --> 00:32:35,580 Godard is complicit in propagating a myth 382 00:32:36,110 --> 00:32:41,070 by saying that anyone can make movies. 383 00:32:41,450 --> 00:32:45,570 Because of these statements, you now have a group of people, 384 00:32:45,850 --> 00:32:48,410 about 40 sub-Godard types, 385 00:32:48,700 --> 00:32:55,500 who, instead of exploring their own ideas and lives, 386 00:32:56,230 --> 00:33:00,940 just recycle the same Godard tropes. 387 00:33:02,400 --> 00:33:07,410 That's dangerous. Godard is a genius, 388 00:33:07,880 --> 00:33:09,410 but it's his own genius. 389 00:33:09,850 --> 00:33:11,860 Like Cocteau said, 390 00:33:13,110 --> 00:33:19,120 an artist can describe the secret of movie-making, but only he can apply it. 391 00:33:19,770 --> 00:33:23,310 <i>Compared to the totality of my sandwich,</i> 392 00:33:23,340 --> 00:33:27,510 <i>it's equivalent to US aid to Congo versus the total US budget.</i> 393 00:33:29,460 --> 00:33:30,830 <i>Kiss me.</i> 394 00:33:34,080 --> 00:33:35,410 Kiss me. 395 00:33:41,070 --> 00:33:42,170 You crazy? 396 00:33:42,904 --> 00:33:47,096 I am applying a classic educational rule. 397 00:33:47,568 --> 00:33:48,568 What rule? 398 00:33:49,080 --> 00:33:51,744 A kiss, and then a kick in the butt. 399 00:33:52,900 --> 00:33:54,900 <i>Don't be mean.</i> 400 00:33:55,620 --> 00:33:59,940 You must fight to be able to make movies in liberty, 401 00:34:00,760 --> 00:34:02,940 where you can take full responsibility. 402 00:34:03,510 --> 00:34:08,980 If it turns out to be shit, it's my responsibility. 403 00:34:09,710 --> 00:34:10,990 It's important. 404 00:34:11,200 --> 00:34:17,650 You should never blame the cameraman, or the work conditions. 405 00:34:19,260 --> 00:34:22,470 It's fine to work on little money if things are clear. 406 00:34:22,750 --> 00:34:27,540 My films are made with little money, and they're my responsibility. 407 00:34:28,310 --> 00:34:29,610 They can still be good. 408 00:34:37,200 --> 00:34:39,000 <i>Aren't you exhausted?</i> 409 00:34:39,940 --> 00:34:43,590 This system is very tiring. 410 00:34:45,490 --> 00:34:50,400 For a period of 15 days, there is a sense of euphoria. 411 00:34:50,650 --> 00:34:54,580 Acquaintances visit you, ask you what you're doing, 412 00:34:55,270 --> 00:34:57,490 and you can say you're filming. 413 00:34:58,680 --> 00:35:02,120 But the euphoria wears off, and you're back on the grind. 414 00:35:02,740 --> 00:35:06,210 The work conditions are an issue. 415 00:35:06,520 --> 00:35:10,780 This editing room is very nice for example. 416 00:35:11,200 --> 00:35:16,510 It's first rate. But I have to commute to get here. 417 00:35:16,680 --> 00:35:19,540 I first take a bus, 418 00:35:19,850 --> 00:35:23,720 then the subway for many stops. 419 00:35:24,280 --> 00:35:28,630 It's not so different from people who commute to work twice a day. 420 00:35:29,520 --> 00:35:35,250 I get no commute compensation. I am a proletarian. 421 00:35:35,430 --> 00:35:37,110 A proletarian of the cinema. 422 00:35:37,960 --> 00:35:40,970 It is not so bad, as long as you can bare it. 423 00:35:41,880 --> 00:35:46,970 A guy takes the train to work for 40 years. Then one day, he's had enough. 424 00:35:47,120 --> 00:35:51,140 He says 'I'm fed up. I can't do this anymore'. 425 00:35:51,990 --> 00:35:53,380 I feel like that a little. 426 00:35:54,780 --> 00:35:57,630 One must fight and persist. 427 00:35:58,620 --> 00:36:04,560 You must fight to keep making movies. 428 00:36:07,720 --> 00:36:10,300 I'm a little ashamed 429 00:36:10,910 --> 00:36:16,700 for accepting this commission. It's a learning experience, they say. 430 00:36:19,840 --> 00:36:24,580 You can't teach me my job. 431 00:36:24,780 --> 00:36:26,580 You either have it or you don't. 432 00:36:27,930 --> 00:36:30,850 Fiction's function is to scare people off. 433 00:36:31,390 --> 00:36:33,970 We're all clowns and acrobats, 434 00:36:34,310 --> 00:36:37,180 but it's work that's done in solitude. 435 00:36:38,120 --> 00:36:41,580 It's a hard and isolating job. 436 00:36:42,690 --> 00:36:47,080 People see me as a man who's had bad luck in life. I disagree. 437 00:36:48,010 --> 00:36:55,650 My childhood friends have money, cars, and secretaries. 438 00:36:56,810 --> 00:36:58,300 I'm happy the way I am. 439 00:37:00,400 --> 00:37:04,770 It is important not to deceive people. 440 00:37:05,250 --> 00:37:08,780 You should not say that this is easy, that anyone can do it, 441 00:37:09,080 --> 00:37:11,760 that you'll be appreciated, 442 00:37:12,030 --> 00:37:14,580 that you'll be in charge of many people. 443 00:37:15,530 --> 00:37:21,460 My crew members would all work with me again. 444 00:37:21,940 --> 00:37:25,450 I am as proud of that as of making movies. 445 00:37:26,260 --> 00:37:27,910 <i>Will you make a new one soon?</i> 446 00:37:28,310 --> 00:37:31,780 I hope so. 447 00:37:32,480 --> 00:37:36,230 I must be braver. I have moments of weakness. 448 00:37:37,040 --> 00:37:41,740 I accepted this commission after 15 months of inactivity. 449 00:37:42,360 --> 00:37:48,360 I had tried to make a movie with a producer I like, but we couldn't. 450 00:37:48,480 --> 00:37:50,110 We didn't have the money. 451 00:37:50,580 --> 00:37:54,000 For 15 months, we slowly regressed. 452 00:37:54,490 --> 00:37:57,580 We'd talk every morning, and fade further. 453 00:37:58,780 --> 00:38:04,100 And my friends, who were hoping to work on the movie, 454 00:38:04,420 --> 00:38:09,550 who were looking forward to it, 455 00:38:09,980 --> 00:38:14,090 gradually lost interest as well. 456 00:38:14,480 --> 00:38:15,710 I gave in eventually. 457 00:38:15,960 --> 00:38:18,380 My name is Luc Moullet. 458 00:38:18,730 --> 00:38:21,050 I was born in 1937. 459 00:38:21,850 --> 00:38:27,000 I've made 3 shorts, and this is my second feature-length movie, 460 00:38:27,720 --> 00:38:28,780 <i>The Smugglers.</i> 461 00:38:29,120 --> 00:38:35,260 It is the first western filmed in France in a long time. 462 00:38:35,650 --> 00:38:41,490 They used to be made in Camargue, but they went out of fashion. 463 00:38:41,900 --> 00:38:45,100 Only western parodies remain. 464 00:38:45,240 --> 00:38:47,930 This film is an adventure movie. 465 00:38:49,630 --> 00:38:53,430 I wrote the script and I directed it. 466 00:38:53,850 --> 00:38:55,780 I also produced it. 467 00:38:56,220 --> 00:38:59,340 I'm currently editing it. 468 00:39:01,670 --> 00:39:06,220 There were no difficulties, because I was the producer, 469 00:39:07,080 --> 00:39:08,970 and I get along well with myself. 470 00:39:09,350 --> 00:39:11,610 I produced <i>Brigitte et Brigitte</i> too. 471 00:39:12,040 --> 00:39:13,950 It was my first film. 472 00:39:14,370 --> 00:39:18,330 That was the only feasible way to make it. 473 00:39:18,950 --> 00:39:21,480 It was hard to find a suitable producer. 474 00:39:22,040 --> 00:39:27,710 An outsider producer would have forced significant script changes 475 00:39:27,980 --> 00:39:30,230 which I wanted to avoid. 476 00:39:36,310 --> 00:39:37,700 <i>Did you have money?</i> 477 00:39:38,380 --> 00:39:39,700 Yes. 478 00:39:40,980 --> 00:39:46,300 It took me a long time to raise it. 479 00:39:46,730 --> 00:39:49,720 I managed to secure it eventually. 480 00:39:51,520 --> 00:39:55,420 <i>Did you use the regular distribution system?</i> 481 00:39:56,080 --> 00:39:59,220 The mainstream system? 482 00:39:59,520 --> 00:40:04,930 Yes, I relied on standard distribution. 483 00:40:05,780 --> 00:40:08,780 It worked reasonably well in Paris, 484 00:40:09,220 --> 00:40:11,540 not so well in other regions, 485 00:40:12,120 --> 00:40:14,980 because production companies 486 00:40:15,410 --> 00:40:20,130 are more used to large productions from mainstream directors. 487 00:40:31,070 --> 00:40:32,700 Mister Samuel Fuller, 488 00:40:33,440 --> 00:40:38,110 It is a great honor to interview the world's greatest director. 489 00:40:39,120 --> 00:40:41,560 - I forgot my questions. - Brigitte. 490 00:40:42,400 --> 00:40:43,590 I too, I'm quite... 491 00:40:44,080 --> 00:40:47,580 You are very beautiful. 492 00:40:48,080 --> 00:40:49,880 Very charming, very... 493 00:40:50,780 --> 00:40:54,260 It is my honor to talk to you. 494 00:40:58,880 --> 00:41:02,480 Cinema is America's only artistic manifestation. 495 00:41:02,840 --> 00:41:04,700 Prior to cinema, it was desolate. 496 00:41:05,400 --> 00:41:09,020 It is much superior to American literature. 497 00:41:09,280 --> 00:41:14,150 Didn't Hollywood commercialism cultivate 2 generations of juvenile delinquents? 498 00:41:14,440 --> 00:41:16,740 Gangsters, beatniks, and mashed potatoes? 499 00:41:17,390 --> 00:41:22,850 The aura of romantic failure in Hemingway, Fitzgerald, and Williams 500 00:41:23,310 --> 00:41:26,810 has propped up 3 generations of adult delinquents. 501 00:41:27,330 --> 00:41:28,980 <i>Did Godard help you?</i> 502 00:41:29,600 --> 00:41:31,540 He did. 503 00:41:32,400 --> 00:41:35,430 He found a producer for my first short. 504 00:41:35,960 --> 00:41:38,750 - Which was? - <i>An overcooked steak</i>. 505 00:41:39,100 --> 00:41:41,580 It was a comedy. 506 00:41:42,990 --> 00:41:47,760 He was the one who allowed me to make it. 507 00:41:48,840 --> 00:41:51,590 <i>What did he think of Brigitte and Brigitte?</i> 508 00:41:53,110 --> 00:41:55,300 He said he liked it. 509 00:41:57,440 --> 00:41:59,950 - Anything else? - Sure. 510 00:42:01,860 --> 00:42:04,550 There were things he did not like, 511 00:42:05,490 --> 00:42:12,380 but overall he liked it a lot. I believe him. 512 00:42:13,750 --> 00:42:17,650 <i>Are you facing difficulties in your film career?</i> 513 00:42:18,310 --> 00:42:21,130 No big difficulties. 514 00:42:22,010 --> 00:42:26,740 There are roadblocks, but they're surmountable. 515 00:42:27,470 --> 00:42:29,700 Things are going well. 516 00:42:30,060 --> 00:42:32,100 <i>Wouldn't you advocate</i> 517 00:42:33,090 --> 00:42:35,500 <i>for changes in the production system?</i> 518 00:42:35,840 --> 00:42:40,620 I would, but from my perspective, it is OK. 519 00:42:40,970 --> 00:42:42,920 2 best American directors? 520 00:42:43,070 --> 00:42:45,730 Minnelli and Edward Ludwig. 521 00:42:46,050 --> 00:42:49,440 For his latest movie, I filled 12 pages of notes. 522 00:42:50,270 --> 00:42:51,950 No, 13. 523 00:42:52,830 --> 00:42:54,570 Where do you watch movies? 524 00:42:54,850 --> 00:42:58,810 London, Brussels or New York for new Ludwig movies. 525 00:42:59,900 --> 00:43:01,950 What is your greatest movie desire? 526 00:43:04,300 --> 00:43:05,790 To die during a projection. 527 00:43:49,350 --> 00:43:52,700 SUBTITLES BY KANAFANI 527 00:43:53,305 --> 00:44:53,208