Sous le vent

1 00:00:01,000 --> 00:00:04,296 Antenne 2 and Les Films d'Ici present 2 00:00:04,961 --> 00:00:07,560 Culture under construction 3 00:00:08,240 --> 00:00:13,168 "... The only aim being to bring the greatest works to the greater number..." 4 00:00:15,000 --> 00:00:21,074 Do you want subtitles for any video? -=[ ai.OpenSubtitles.com ]=- 5 00:00:31,240 --> 00:00:35,896 Six movies directed by 6 00:02:09,323 --> 00:02:13,130 Because of the Gulf War, Richard. 7 00:02:14,693 --> 00:02:16,297 Because of the war. 8 00:02:17,824 --> 00:02:18,824 Yes. 9 00:02:19,119 --> 00:02:20,900 That's why I accept your request 10 00:02:20,951 --> 00:02:22,621 when you phoned me in Berlin. 11 00:02:24,077 --> 00:02:25,077 Otherwise... 12 00:02:26,425 --> 00:02:31,278 A film for the tenth anniversary of the Minister of Culture, 13 00:02:32,668 --> 00:02:34,802 a film about cultural industries: 14 00:02:36,212 --> 00:02:37,732 cinema, television... 15 00:02:48,237 --> 00:02:51,358 But because of the war, 16 00:02:53,356 --> 00:02:56,740 because seeing war footage, 17 00:02:56,811 --> 00:02:58,744 over and over, day after day, 18 00:03:00,010 --> 00:03:03,363 to think about the role of the United States 19 00:03:03,414 --> 00:03:04,935 - what we call "my country" - 20 00:03:05,523 --> 00:03:07,424 in the world, 21 00:03:08,161 --> 00:03:11,392 allowed me to see, from a different angle maybe, 22 00:03:12,048 --> 00:03:13,408 this whole story. 23 00:03:15,077 --> 00:03:16,757 Because here's France, 24 00:03:18,588 --> 00:03:22,967 a country with more means to intervene 25 00:03:23,062 --> 00:03:25,195 in the cultural life of 26 00:03:26,004 --> 00:03:29,544 society than many other countries I know. 27 00:03:33,998 --> 00:03:37,728 And in these domains of cinema and television, 28 00:03:39,275 --> 00:03:44,157 In defense of something, yes, in defense of... a commodity. 29 00:03:45,784 --> 00:03:48,684 And also in defense of a different commodity, 30 00:03:49,187 --> 00:03:51,287 another way of looking at things, 31 00:03:51,712 --> 00:03:53,206 another cinema. 32 00:04:03,400 --> 00:04:05,080 So I've rented this boat 33 00:04:05,126 --> 00:04:07,674 and went to face the D-Day Beaches 34 00:04:08,267 --> 00:04:10,750 to remake the Landings in another way. 35 00:04:11,759 --> 00:04:13,920 In another way than your dad did, 36 00:04:13,983 --> 00:04:16,116 45 years ago, filled with dreams, 37 00:04:25,145 --> 00:04:26,990 which means something else now. 38 00:04:30,354 --> 00:04:31,874 That this presence 39 00:04:33,544 --> 00:04:37,027 maybe means "the end" 40 00:04:39,440 --> 00:04:40,960 of other viewpoints, 41 00:04:41,292 --> 00:04:43,112 of other ways of expression, 42 00:04:43,163 --> 00:04:44,385 of other languages in cinema. 43 00:04:48,792 --> 00:04:50,152 It's complicated. 44 00:05:09,561 --> 00:05:10,967 The story of a rock. 45 00:05:11,538 --> 00:05:13,101 The story of History. 46 00:05:15,517 --> 00:05:17,627 These are Neolithic traces 47 00:05:18,280 --> 00:05:19,800 of funeral chambers 48 00:05:22,789 --> 00:05:24,469 from 5,500 years ago. 49 00:05:25,210 --> 00:05:30,254 Maybe it gives a certain "perspective". 50 00:05:36,432 --> 00:05:37,472 I don't know but 51 00:05:38,313 --> 00:05:41,297 that's where I tore a muscle in my leg 52 00:05:41,365 --> 00:05:45,246 while climbing this mound with the Beta-Cam, 53 00:05:48,179 --> 00:05:49,379 taking a break. 54 00:05:51,799 --> 00:05:53,479 -That's standard here. 55 00:05:53,530 --> 00:05:55,377 Just to stop for a moment, 56 00:05:55,671 --> 00:05:57,936 to slow down in order to see better. 57 00:06:19,123 --> 00:06:20,994 And I remembered 58 00:06:23,178 --> 00:06:25,475 this time in '85 59 00:06:26,562 --> 00:06:30,018 when I was appointed to the Order of Arts and Letters. 60 00:06:30,321 --> 00:06:34,033 It might be difficult for you to know what it meant to me. 61 00:06:34,552 --> 00:06:37,918 Another kind of intervention, if we put it this way, 62 00:06:37,993 --> 00:06:39,637 in the cultural life [...] 63 00:06:39,696 --> 00:06:41,959 -When I touch it this way, 64 00:06:42,010 --> 00:06:45,535 a little bit like in a biological experimentation. 65 00:06:45,953 --> 00:06:48,175 [...] which strengthened me 66 00:06:48,234 --> 00:06:50,684 on a certain path. 67 00:06:50,735 --> 00:06:53,418 Like when you're told: you're doing a good job. 68 00:06:54,399 --> 00:06:55,999 -Oh it's not exactly... 69 00:06:59,351 --> 00:07:01,422 But the idea of wearing... 70 00:07:01,563 --> 00:07:02,647 It might seem strange. 71 00:07:02,729 --> 00:07:04,921 -You only sell the other... 72 00:07:04,982 --> 00:07:09,545 Maybe if I were French, I'd be disposed to decline. 73 00:07:10,110 --> 00:07:14,193 But, as a traveler receiving this... 74 00:07:18,881 --> 00:07:19,881 We'll try. 75 00:07:20,372 --> 00:07:24,699 As these monks who embroidered all those little details 76 00:07:24,720 --> 00:07:26,920 in the Epic of our voyage. 77 00:07:27,926 --> 00:07:30,407 The Normans land in England. 78 00:07:32,427 --> 00:07:35,027 And I'm going to Hérouville-Saint-Clair. 79 00:07:35,351 --> 00:07:37,815 A cinema is interested and on the lookout. 80 00:07:38,882 --> 00:07:40,963 A cinema screening our movies, Richard. 81 00:07:41,185 --> 00:07:42,865 Which is taking risks. 82 00:07:43,932 --> 00:07:44,972 Look at that. 83 00:07:46,247 --> 00:07:48,613 Its auditorium was built in its image. 84 00:07:49,334 --> 00:07:50,454 Now that's us. 85 00:07:51,938 --> 00:07:53,618 That's how it's done. 86 00:07:54,747 --> 00:07:57,003 -We, too, act out within our walls. 87 00:07:58,049 --> 00:07:59,329 -Yes, that's it. 88 00:07:59,532 --> 00:08:02,399 The movie spills out a bit from the screen. 89 00:08:02,491 --> 00:08:04,091 -Oh as it should be! 90 00:08:04,278 --> 00:08:06,072 And that's where it gets interesting: 91 00:08:06,122 --> 00:08:09,254 when you no longer know where the line between life and cinema lies. 92 00:08:09,299 --> 00:08:10,979 Cinema plays on this. 93 00:08:14,874 --> 00:08:17,812 [...] while I'm talking to institutional investors and financiers, 94 00:08:18,255 --> 00:08:19,908 but in fact they're spectators, 95 00:08:20,416 --> 00:08:23,082 and I'd love to convince the spectators. 96 00:08:23,532 --> 00:08:25,745 And all the while I'm smiling because 97 00:08:25,760 --> 00:08:28,424 the work I'm showing them as a necessity is not recognized... 98 00:08:30,684 --> 00:08:32,751 ... a different cultural offer. 99 00:08:32,812 --> 00:08:35,374 And to me, that's what cultural policy is about: 100 00:08:35,903 --> 00:08:40,299 being able to offer, in the same place, 101 00:08:40,960 --> 00:08:44,376 different doorways to various cinematographic genres... 102 00:08:45,327 --> 00:08:47,561 But that place belongs to the audience 103 00:08:47,619 --> 00:08:50,347 or rather to the individual because the "audience" doesn't mean much, 104 00:08:50,401 --> 00:08:52,934 it's one individual entering a cinema to watch a movie 105 00:08:52,944 --> 00:08:55,638 and who gets in his little world for an instant [...] 106 00:09:01,985 --> 00:09:04,196 [...] taking an interest in a certain kind of cinema 107 00:09:04,228 --> 00:09:07,222 in which he, until now, had no intention of discovering. 108 00:09:07,285 --> 00:09:09,842 And so considering we have this array to offer here, 109 00:09:09,960 --> 00:09:13,136 within the place itself, I personally believe that one day 110 00:09:13,226 --> 00:09:15,495 and it's an utopia, I'm well aware of it, 111 00:09:15,575 --> 00:09:18,020 but if we never work towards that utopia 112 00:09:18,071 --> 00:09:20,968 we might as well turn off the projector and close up shop, no? 113 00:09:21,503 --> 00:09:23,025 - Oh yes, 100%. 114 00:09:23,083 --> 00:09:26,222 That's why I'm standing here in your projection room and nowhere else. 115 00:09:26,273 --> 00:09:27,968 - You know what I'm talking about Richard. 116 00:09:28,000 --> 00:09:29,319 We're trying to go forward. 117 00:09:29,370 --> 00:09:32,198 We're navigating in these constantly changing channels. 118 00:09:33,284 --> 00:09:34,804 We go up the Seine. 119 00:10:42,148 --> 00:10:44,681 - In fact, we live as occupied people. 120 00:10:44,732 --> 00:10:46,431 We're making occupied cinema. 121 00:10:46,486 --> 00:10:48,599 I was just listening to the radio yesterday. 122 00:10:48,934 --> 00:10:51,814 In the middle of the night, there were interviews with Godard. 123 00:10:51,865 --> 00:10:54,071 And Jean-Luc says: "The French have always made 124 00:10:54,126 --> 00:10:56,193 a wonderful prisoners' cinema." 125 00:10:56,660 --> 00:10:59,374 They've made the best prisoner's cinema in the world." 126 00:10:59,822 --> 00:11:02,157 And when I saw Bresson's "Pickpocket" 127 00:11:02,183 --> 00:11:04,877 I understood there's greatness in being a prisoner. 128 00:11:05,199 --> 00:11:08,591 But in Bresson, one is a prisoner like in Dostoevsky... 129 00:11:18,793 --> 00:11:20,473 [...] We tell his story. 130 00:11:20,527 --> 00:11:22,830 And we're also asking "what was before me", 131 00:11:22,838 --> 00:11:24,919 "what did I inherit without noticing?" 132 00:11:24,979 --> 00:11:27,672 And yeah, it's not mysterious, we inherited from the war. 133 00:11:27,680 --> 00:11:29,413 We inherited from 1940-45. 134 00:11:29,492 --> 00:11:32,157 So there you have it. We're probably the only country in the world 135 00:11:32,265 --> 00:11:35,535 to have been occupied but didn't resist much 136 00:11:35,622 --> 00:11:39,079 and yet had a very powerful cinema during the war. 137 00:11:39,947 --> 00:11:41,530 "It's the Golden Age of cinema," 138 00:11:41,624 --> 00:11:43,357 ??? CANTON-LARA ??? said, 1940-45 139 00:11:43,424 --> 00:11:45,357 was the Golden Age of French cinema. 140 00:11:45,477 --> 00:11:47,072 And from his standpoint, he was right, 141 00:11:47,123 --> 00:11:48,369 they did all that was... 142 00:11:49,643 --> 00:11:52,608 [...] but people who were doing a cinema, 143 00:11:52,850 --> 00:11:54,850 which prepared or did something else. 144 00:11:54,897 --> 00:11:57,248 And that was understandable but they were the fringe: 145 00:11:57,402 --> 00:11:59,647 Franju, Melville, Cocteau. 146 00:11:59,813 --> 00:12:01,493 It was already Bresson, 147 00:12:01,553 --> 00:12:02,553 Tati, 148 00:12:02,853 --> 00:12:06,340 So the "official" idea that I made for myself of French cinema 149 00:12:06,391 --> 00:12:08,062 was that it was a maverick cinema. 150 00:12:08,117 --> 00:12:10,050 It's a cinema made by non-conformists. 151 00:12:10,183 --> 00:12:11,885 And there are many, from the start, 152 00:12:11,935 --> 00:12:13,026 since Feuillade. 153 00:12:13,086 --> 00:12:14,285 And so yeah, war. 154 00:12:14,336 --> 00:12:17,424 We can say that everything that made up French cinema 155 00:12:17,598 --> 00:12:21,525 professional, unionized, with a very 156 00:12:21,576 --> 00:12:24,886 "homemade" ideology, aesthetic as we say 157 00:12:25,069 --> 00:12:26,749 doesn't interest me much. 158 00:12:26,810 --> 00:12:29,779 I mean, I say "much" because there are some magnificent things. 159 00:12:29,839 --> 00:12:32,291 And then the fringe stuff I'm more interested in. 160 00:12:32,358 --> 00:12:35,002 However, I think that's only true for France. 161 00:12:35,060 --> 00:12:39,022 American cinema also has sublime non-conformists but [...] 162 00:12:56,454 --> 00:12:57,454 So for me 163 00:12:57,680 --> 00:13:00,816 French cinema is indeed inseparable from civil war 164 00:13:00,914 --> 00:13:02,594 but one that's much larger than me. 165 00:13:02,786 --> 00:13:07,098 France is quite a bizarre country. 166 00:13:07,149 --> 00:13:11,370 There is a great awareness of arts and culture. 167 00:13:11,421 --> 00:13:14,327 It is THE global conservatory of the idea of cinema 168 00:13:14,378 --> 00:13:16,471 and has been so since Lumière, since the beginning. 169 00:13:16,522 --> 00:13:17,993 Since Lumière-Eddison. 170 00:13:18,044 --> 00:13:20,631 The Franco-American arm wrestling is very profound. 171 00:13:20,719 --> 00:13:23,791 All the countries abandon cinema, except France. 172 00:13:23,848 --> 00:13:26,301 And the only country that keeps making movies 173 00:13:26,360 --> 00:13:28,596 on a popular and exportable scale is America. 174 00:13:28,787 --> 00:13:31,724 And so this arm wrestling between France and the USA, 175 00:13:31,775 --> 00:13:34,160 Jack Lang, Jack Valenti, 176 00:13:34,298 --> 00:13:35,418 the two Jacks. 177 00:13:36,015 --> 00:13:37,615 It's all quite real. 178 00:13:39,785 --> 00:13:43,500 That being said, the art of Cinema (with a capital C) 179 00:13:43,551 --> 00:13:46,486 strikes me as being infinitely poorer 180 00:13:47,808 --> 00:13:50,353 and swallowed whole by public relations and the media [...] 181 00:13:54,231 --> 00:13:57,123 [...] as technical things, historically dated 182 00:13:57,174 --> 00:13:58,686 they're states of mind. 183 00:13:59,016 --> 00:14:00,950 And television is occupation. 184 00:14:00,995 --> 00:14:02,728 It is what occupies (entertains) people, 185 00:14:02,759 --> 00:14:04,591 it is the American occupation. 186 00:14:04,623 --> 00:14:07,023 It is what occupies (fills) airtime. 187 00:14:07,656 --> 00:14:08,656 It's... 188 00:14:09,855 --> 00:14:12,912 It's vox-pops, Top 50s, 189 00:14:13,436 --> 00:14:16,169 it prevents people from feeling the void. 190 00:14:18,406 --> 00:14:20,339 But still don't forget that [...] 191 00:14:38,348 --> 00:14:40,425 - This show, ladies and gentlemen, 192 00:14:40,495 --> 00:14:41,588 is like a baby. 193 00:15:10,364 --> 00:15:15,526 "Died where he lived: at the hotel." 194 00:15:18,135 --> 00:15:23,442 "The painful kindness of a Saint-Simon thug." 195 00:16:39,876 --> 00:16:41,628 It's college at the cinema. 196 00:16:41,944 --> 00:16:44,433 A program to stimulate interest in cinema. 197 00:16:45,243 --> 00:16:46,243 Gaétane. 198 00:16:47,303 --> 00:16:50,888 Every morning, Gaétane walks 2 km to catch the bus. 199 00:16:51,323 --> 00:16:53,871 Like the others, she lives on the edge of the forest. 200 00:16:53,922 --> 00:16:55,981 She feels jostled between forest and city, 201 00:16:56,000 --> 00:16:57,355 between past and present. 202 00:16:57,423 --> 00:17:00,412 Outside the program, Gaétane (or Béatrice, here) 203 00:17:00,463 --> 00:17:02,208 only sees movies on television. 204 00:17:02,275 --> 00:17:04,142 -Can you see yourself on the screen? 205 00:17:04,211 --> 00:17:05,211 -Hmm no. 206 00:17:05,372 --> 00:17:06,732 -What do you see? 207 00:17:07,601 --> 00:17:08,765 -What do you see? 208 00:17:08,827 --> 00:17:11,367 -Well, I'm seeing... colors. 209 00:17:12,590 --> 00:17:14,003 -I can see you now. 210 00:17:14,113 --> 00:17:15,113 -Really? 211 00:17:16,560 --> 00:17:18,080 -See, you're there. 212 00:17:18,122 --> 00:17:19,482 -Oh you're right. 213 00:17:22,222 --> 00:17:24,007 I can see you better than me. 214 00:17:24,033 --> 00:17:26,567 -Oh yeah, no, I can see you just fine. 215 00:17:27,120 --> 00:17:30,256 -You both can see the other one but not yourself. 216 00:17:30,278 --> 00:17:31,398 -That's right. 217 00:17:36,164 --> 00:17:38,292 -There's a little pond here between [inaudible] 218 00:17:38,343 --> 00:17:39,623 -Where? Oh yeah, there. 219 00:17:42,162 --> 00:17:43,895 Nicole prefers television. 220 00:17:44,505 --> 00:17:46,372 More liberty than in a theatre. 221 00:17:46,415 --> 00:17:48,948 You move around. You can switch the channels. 222 00:17:50,399 --> 00:17:53,599 She's the one expressing the true forest ideology. 223 00:17:53,962 --> 00:17:56,832 Why leave a place where you can do as you want? 224 00:17:57,746 --> 00:17:59,426 Her father works here. 225 00:17:59,637 --> 00:18:01,610 The sawmill is about to close down. 226 00:18:01,729 --> 00:18:04,737 Nicole doesn't know what he's going to do next. 227 00:18:05,399 --> 00:18:06,881 The movie they're going to see today is 228 00:18:06,979 --> 00:18:09,246 Truffaut's "L'enfant sauvage". 229 00:18:23,540 --> 00:18:26,932 -For me, it's more about his return, towards the end. 230 00:18:28,341 --> 00:18:30,208 -[...] had we been like him, 231 00:18:30,543 --> 00:18:33,105 we would've been in our world but... 232 00:18:33,490 --> 00:18:37,106 Because we haven't been raised like him, 233 00:18:37,248 --> 00:18:40,405 we can't know the his world. 234 00:18:40,777 --> 00:18:43,270 In comparison to us... -Yeah, by looking at the images [...] 235 00:18:43,321 --> 00:18:45,242 How did he manage to show it on the screen? 236 00:18:45,292 --> 00:18:47,159 What did he do to show us all the [...] 237 00:18:47,210 --> 00:18:49,520 -We don't know what's happening in his head. 238 00:18:55,685 --> 00:18:57,299 -Squeeze your fingers tight. 239 00:18:57,619 --> 00:18:58,659 There you go. 240 00:19:00,688 --> 00:19:01,968 Open your mouth. 241 00:19:13,529 --> 00:19:15,165 In a word, he's tamed, right? 242 00:19:15,189 --> 00:19:18,575 Oh yes. He's been trained. 243 00:19:18,626 --> 00:19:20,880 -And what do you make of, you know, 244 00:19:20,931 --> 00:19:23,401 the fact that they want to go back to nature. 245 00:19:23,426 --> 00:19:25,426 -Because he was fine where he was 246 00:19:25,458 --> 00:19:29,354 but he still needed to regain his freedom. 247 00:19:29,389 --> 00:19:31,085 -So you're not afraid of the forest? 248 00:19:31,141 --> 00:19:32,141 -Oh no. 249 00:19:32,952 --> 00:19:35,018 -Do you go often in the forest? 250 00:19:35,149 --> 00:19:36,589 -Quite often, yes. 251 00:19:38,074 --> 00:19:41,082 -And what are you finding in the forest... 252 00:19:41,130 --> 00:19:43,377 that... that you like? 253 00:19:44,110 --> 00:19:46,560 -And why do you wish Victor would go back to the forest? 254 00:19:46,616 --> 00:19:48,712 If that's what you wish for him, it's because 255 00:19:48,763 --> 00:19:50,822 you think he's most happy in the forest. 256 00:19:52,987 --> 00:19:54,667 -Because it's freedom. 257 00:19:56,367 --> 00:19:58,047 -Is the forest "freedom"? 258 00:19:58,996 --> 00:20:03,278 On the opposite, what's the world of humans? 259 00:20:03,743 --> 00:20:04,743 [inaudible] 260 00:20:28,818 --> 00:20:31,464 It's horror or my fascination for horror. 261 00:20:33,358 --> 00:20:35,625 It's the beauty of their machines. 262 00:20:51,258 --> 00:20:53,792 You know how much I like these places. 263 00:20:54,048 --> 00:20:55,088 It's America. 264 00:20:55,998 --> 00:20:57,998 It's my childhood. It's power. 265 00:20:59,738 --> 00:21:00,858 And this time, 266 00:21:02,465 --> 00:21:04,336 I felt nostalgia. 267 00:21:05,676 --> 00:21:07,196 I could see myself, 268 00:21:07,751 --> 00:21:09,431 a young man lost in the 269 00:21:09,438 --> 00:21:11,171 forests of iron and steam. 270 00:21:23,439 --> 00:21:25,772 And the power shifted elsewhere, Richard. 271 00:21:26,482 --> 00:21:27,922 And I changed too. 272 00:21:28,287 --> 00:21:29,807 The images told me. 273 00:22:07,344 --> 00:22:09,024 Our movies are burning. 274 00:22:10,181 --> 00:22:11,181 No, not yet. 275 00:22:12,580 --> 00:22:13,620 It's nitrate. 276 00:22:14,417 --> 00:22:16,532 Every movie from before the 1950s 277 00:22:16,583 --> 00:22:18,588 is made up of the same formula as bombs. 278 00:22:25,962 --> 00:22:27,696 We stock them up in forts. 279 00:22:29,443 --> 00:22:32,825 This here is also the Heritage Film Archive. 280 00:22:37,416 --> 00:22:39,230 They are planning a celebration to mark the 281 00:22:39,281 --> 00:22:41,643 100th anniversary of the first film screening. 282 00:22:54,104 --> 00:22:57,275 -So were are here in the "destruction cell". 283 00:22:57,892 --> 00:23:01,264 Which means that all the movies unfortunately ending up here 284 00:23:01,438 --> 00:23:04,038 are condemned. It's the ultimate stage 285 00:23:04,229 --> 00:23:05,429 of their lives. 286 00:23:08,347 --> 00:23:09,351 There. 287 00:23:09,437 --> 00:23:10,790 -Wait a minute, I can't see. 288 00:23:11,739 --> 00:23:15,080 Maybe it's because I'm afraid to see. Oh my God... 289 00:23:15,604 --> 00:23:17,364 So what is it? -Here's an example. 290 00:23:17,461 --> 00:23:22,002 So here, we can see the oxidation of the metal 291 00:23:22,050 --> 00:23:25,420 with the decomposition of the medium 292 00:23:25,443 --> 00:23:27,443 which has become very brittle 293 00:23:28,520 --> 00:23:31,232 and on which nothing remains. 294 00:23:32,285 --> 00:23:35,235 -How many years does it take to become like that? 295 00:23:35,271 --> 00:23:40,039 -It all depends on how the film was treated in the lab. 296 00:23:42,613 --> 00:23:43,613 There. 297 00:23:44,339 --> 00:23:45,339 The result. 298 00:23:46,225 --> 00:23:48,091 It completely eats the case. 299 00:23:50,567 --> 00:23:54,029 So all the films that won't get saved within the next 15 years 300 00:23:54,157 --> 00:23:56,957 we'll still see them. But in this state. 301 00:23:57,740 --> 00:23:58,940 -Yeah that's... 302 00:23:59,880 --> 00:24:01,880 that's a way of seeing things. 303 00:24:09,193 --> 00:24:10,873 -How many films are here? 304 00:24:11,040 --> 00:24:12,320 -How many films? 305 00:24:14,434 --> 00:24:16,985 Mmh... About 100,000 titles. 306 00:24:18,714 --> 00:24:19,994 Watch your head. 307 00:24:41,451 --> 00:24:42,451 Memory. 308 00:24:44,382 --> 00:24:45,422 The archives. 309 00:24:47,231 --> 00:24:48,431 Yeah, that's... 310 00:24:50,562 --> 00:24:52,295 a Henri Verneuil film set. 311 00:24:54,762 --> 00:24:57,729 I've come to show that a certain cinema still exists. 312 00:24:59,198 --> 00:25:02,818 But then, I met with a great production manager. 313 00:25:03,259 --> 00:25:04,813 Buñuel, Bresson, Verneuil... 314 00:25:04,864 --> 00:25:06,145 150 movies. 315 00:25:06,805 --> 00:25:08,485 He summarized his life: 316 00:25:08,902 --> 00:25:11,636 "Germans kept me for 2 years in Germany. 317 00:25:11,738 --> 00:25:14,206 When I came back, I had caught the cinema virus." 318 00:25:17,865 --> 00:25:18,865 Here. 319 00:25:19,423 --> 00:25:21,617 We can see the details better from behind. 320 00:25:23,290 --> 00:25:24,282 Yeah. 321 00:25:25,387 --> 00:25:27,065 Missing details. 322 00:25:31,588 --> 00:25:34,115 -I go to see Buñuel. 323 00:25:35,185 --> 00:25:38,150 He's not happy at first but then, all of a sudden, he's starting to smile 324 00:25:38,222 --> 00:25:40,176 and he tells me: "You're the same height as 325 00:25:40,226 --> 00:25:42,463 the priest so you're gonna play his part." 326 00:25:42,632 --> 00:25:47,027 And so I played the parish priest in the movie for the burial scene. 327 00:25:47,407 --> 00:25:50,952 So there you go, little memories and anecdotes from shoots. 328 00:25:51,121 --> 00:25:53,192 -That's fantastic. Thank you very much. 329 00:25:53,243 --> 00:25:55,264 -You're welcome but I stuttered here and there. 330 00:25:55,315 --> 00:25:56,443 - Oh but you know. 331 00:25:56,494 --> 00:25:58,812 -It's hard. You might have to cut it out. 332 00:25:58,852 --> 00:25:59,852 -Yes but... 333 00:26:03,290 --> 00:26:07,956 That's when Buñuel wanted to fill the roles with "the reals". 334 00:26:08,012 --> 00:26:08,785 -Yes. 335 00:26:09,149 --> 00:26:11,252 -You know, when one works like that, 336 00:26:11,303 --> 00:26:13,639 you don't mind if people stammer or not. 337 00:26:13,834 --> 00:26:15,514 -Bresson was the same. 338 00:26:15,666 --> 00:26:16,666 -Yeah? 339 00:26:18,494 --> 00:26:20,678 You're never going to stop, I think? 340 00:26:20,775 --> 00:26:22,135 -I'll keep going. 341 00:26:23,566 --> 00:26:25,710 It's one of the most beautiful jobs. [inaudible] 342 00:26:25,761 --> 00:26:27,828 -What's that we see in the set? 343 00:26:28,336 --> 00:26:31,236 A diving suit is already waiting down there. 344 00:26:31,512 --> 00:26:32,512 Up there, 345 00:26:32,794 --> 00:26:34,528 the ship is still sailing. 346 00:26:34,834 --> 00:26:38,418 There's not much of a distinction between life and work. 347 00:26:38,545 --> 00:26:40,351 [inaudible] 348 00:26:40,967 --> 00:26:43,497 The river is already severe. 349 00:26:51,253 --> 00:26:53,186 The contradiction is trivial. 350 00:26:54,061 --> 00:26:55,741 We build the commodities. 351 00:26:56,302 --> 00:26:57,982 We belong to an industry. 352 00:26:59,099 --> 00:27:00,099 Vilely. 353 00:27:01,276 --> 00:27:03,276 But what do we believe in, Richard? 354 00:27:04,144 --> 00:27:05,504 That we must see. 355 00:27:06,452 --> 00:27:08,052 See through the end. 356 00:27:08,341 --> 00:27:09,341 See to live, 357 00:27:09,579 --> 00:27:10,579 to survive. 358 00:27:11,570 --> 00:27:12,570 Yes. 359 00:27:12,970 --> 00:27:15,159 Commodities also serve that purpose. 360 00:27:16,194 --> 00:27:18,718 But the contradiction remains to be dealt with. 361 00:28:39,279 --> 00:28:40,279 Our set. 362 00:28:41,977 --> 00:28:43,577 How to go behind it? 363 00:28:44,403 --> 00:28:45,843 Where should I go? 364 00:28:46,125 --> 00:28:47,325 Where's behind? 365 00:29:09,429 --> 00:29:11,695 Without support, the theaters have closed. 366 00:29:11,936 --> 00:29:13,056 That's not it. 367 00:29:13,719 --> 00:29:14,719 It's a war. 368 00:29:15,257 --> 00:29:16,478 Those involved know it. 369 00:29:16,644 --> 00:29:18,084 Everyone is stuck. 370 00:29:18,221 --> 00:29:21,121 It's not cinema nor television, it's a whole. 371 00:29:22,247 --> 00:29:23,607 It's like a tide. 372 00:29:24,698 --> 00:29:26,999 It's the sense that there is no alternative. 373 00:29:27,827 --> 00:29:30,717 We don't talk much, say very little. 374 00:29:31,951 --> 00:29:35,368 Something closes, nobody's happy. 375 00:29:53,446 --> 00:29:55,780 I can't think of an ending, Richard. 376 00:29:56,261 --> 00:29:57,941 Maybe it's bad for the film. 377 00:29:59,817 --> 00:30:01,868 I've only got a bunch of footage of the trip. 378 00:30:05,342 --> 00:30:07,942 But movies can be an invitation to see. 379 00:30:13,424 --> 00:30:16,307 I encourage you to visit Jean Genet's hotel bedroom. 380 00:30:20,316 --> 00:30:22,133 There are of lonely things. 381 00:30:22,990 --> 00:30:24,430 Strong, resistant. 382 00:30:26,070 --> 00:30:27,590 There is necessity. 382 00:30:28,305 --> 00:31:28,468 Support us and become VIP member to remove all ads from www.OpenSubtitles.org