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VARDA BY AGNES

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Subtitles: Sionann O'Neill

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Subtitling: HIVENTY

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Thank you for inviting me.

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Seeing this marvellous opera house
turned into a cinema

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intimidates me.

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There might be children of paradise
up there.

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Some of my films are known,

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some well-known,

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others not.

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I'd like to tell you what led me

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to do this work all these years.

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Three words are important to me:

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inspiration, creation and sharing.

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Inspiration is why you make a film.

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The motivations, ideas, circumstances

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and happenstance

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that ignite your desire to make a film.

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Creation is how you make the film.

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With what means, what structure?

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Alone or not alone?
In colour or not?

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Creation is work.

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The third word is sharing.

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You don't make films
to watch them alone.

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You make films to show them.

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You are the very proof of this sharing.

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These three words guided me.

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We need to know why we do this work.

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I'll start with a short film,

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one I often show in my talks.

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Because...

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a family member is in the film.

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An older gentleman
who will introduce me, as in the past.

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By chance, I was in San Francisco

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for a festival.

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A friend said, "You may know this man,

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a painter named Varda.

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He lives on a boat in Sausalito."

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So we went to see him.
It was a Wednesday.

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I instantly fell in love with him.

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I absolutely had to film him.

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In truth,

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it wasn't so much about meeting him,

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it was about knowing right away
how to film him.

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I imagined the editing as I filmed him.

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I wanted to share the spontaneity,

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joy and excitement of the encounter.

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Now what happens? I say, "Film clip!"

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Mr. Varda?

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I Don't know.

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<i>Are you Eugene Varda's daughter?</i>

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Yes I am.

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Cut!

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So, you are my niece!

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Looks like it

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cut!

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A perfect example of a miracle.

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From my inspiration to the shoot,
there was a day and a half.

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Then I took my time editing.

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For those of you who want to make films,

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especially those starting out,

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you need patience.

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You have a project, but you need money,
from your school or elsewhere.

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So...

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you need patience,
but try to get around that obstacle.

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Film quickly with the means at hand.

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I show this film for its good humour,

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and for the wonderful Yanco.

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<i>But my most well-known film
is Cléofrom5to7.</i>

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Has anyone in the audience seen Cleo?

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Nice!

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A fair few, as they say down south.

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Cléowas inspired

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by two very strong impressions.

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Back in the 60s,
there were collective fears, as always.

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The most common one was cancer.

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People feared cancer.

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Also, the producer told me,

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"I'll make a film with you,
as I did with Godard and Demy,

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but it has to be cheap."

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So how would we do it?

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We could shoot in Paris.
No travel expenses, no hotels.

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The action could take place in one day,
limiting sets and locations.

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It occurred to me
to shorten the timeframe further.

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I'd film an hour and a half of her life.
90 minutes, like a film.

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I actually follow Cléo

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from 5 to 6:30 p.m.

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illustrating time is difficult.

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Time feels different
if we're happy or if we're anxious,

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if we're expecting someone
or having fun.

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I call that subjective time.

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And then there's objective time.

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Time we can't argue with.
Mechanical time,

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counted in hours,
minutes or even seconds.

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I wanted

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to combine objective time,
the clocks we see everywhere,

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with subjective time,

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the way Cléo feels during the film.

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You're wrong.
The card doesn't necessarily mean death.

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The fortune teller says
it means transformation, not death.

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But Cléo sees
a hanged man and clattering bones.

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It gives her a fright.

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Her fear and the threat of death,

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consciously or subconsciously,
stay with her.

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Just like this beautiful woman

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painted by Baldung Grien.

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A skeleton whispers in her ear
what she doesn't want to hear.

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Or pulls her hair.

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I had reproductions, postcards.

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Tiny images to look at.

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And a big mental image
at the heart of my project.

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The film is in two parts.

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First 45 minutes, second 45.

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Exactly in the middle,
she sings her song.

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And if you come too late

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I will have been laid fo rest

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Alone, ugly and pale

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Without you

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ls foo much.

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I can't go on.

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<i>It's horrible!</i>

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- What's wrong?
- She's tired.

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And you know, the word despair is evil.
Like the word rope.

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<i>Rhymes matter more than words.</i>

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<i>It's a beautiful song.</i>

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You'll revolutionise the music business!

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Really? What is a song anyway?
How long does it last?

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<i>Another tantrum.</i>

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Tantrum, tantrum!
That's all you ever say!

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You make me this way!

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<i>Treating me like an idiot
or a china doll!</i>

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Now 1] lead a revolution
with grim words?

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You call that song charming?
My big hit?

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<i>It'll be a hit funeral!</i>

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You tire me, you exploit me! Go away!

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<i>No, I'll go!
Angéle will make you drinks.</i>

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Session's over!

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<i>Leave the songs. I'll choose later.</i>

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I made two cuts for this presentation.

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11 wear black.

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In harmony with your songs.

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She goes down.

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There are ten steps.

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We filmed all ten.

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Then we filmed every step she takes
to cross the courtyard.

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We chose not to cheat
with the distance or the geography.

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The courtyard leads to Rue Huyghens.

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That's where she walked.

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It's the actual street
that leads to Boulevard Raspail.

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The sidewalk was as it was,
with people watching her pass.

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I wanted to go
from the coquetry of the first part

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to something more real.

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Cléo and what happens around her.

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People,

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pigeons...

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Then she notices

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a store called "Good Health."

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And she can no longer stand the hat.

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That doll face, always the same.
That ridiculous hat

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She takes it off.
She becomes a woman who sees.

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She's no longer seen,
as in the first part.

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She sees.

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I'd noticed a street performer.

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I Asked him to come back.
Look what she sees.

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How a guy earns his living.

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C'mere, froqqy. Time for a new aquarium.

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Third frog!

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You can't help but notice.

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Even in fiction,
I like to add documentary elements.

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In this film,
as we follow Cléo and her fear,

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we see people in cafés,

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in the streets.

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I love documentaries.

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I know great ones
have been made in faraway places.

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But big documentary journeys
are too far from me.

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I want to film close to me.
What I know.

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Daguerreotypes
was made on my street, Rue Daguerre.

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I chose to film
my close neighbours and the merchants,

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those who sold me bread, meat, hardware.
The hairdresser...

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They create a kind of village.

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At the bakery, people wait in line.

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As everywhere, they wait their turn.

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We were there for the time it took

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to buy or sell something.

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Nurith Avivis...

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a director of photography.
A camerawoman.

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She did the work.

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We had sequence shots

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where the camera lingered
on people waiting.

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Nothing happens,

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yet something happens inside.

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That's it.

193
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Videos and commercials move very fast.

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But when you're in the duration,

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you're really in.

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We got set up.

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Nurith takes no space.
Neither did I back then.

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We got set up, hiding in a corner.

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The sound engineer too.

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The idea was to film people,

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whether they realised it or not.

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When you decide
to look closely at something

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that may be trite, it's no longer trite.

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The very act of looking at it
changes it.

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Nothing is trite,

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if you film people
with empathy and love.

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If you find them extraordinary,
as I did.

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We filmed that baker at work.

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I loved how he scored the bread dough

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with his razor blade.

211
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I listened closely
to what the merchants said.

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They weren't very open.

213
00:16:33,484 --> 00:16:36,204
They weren't very friendly to outsiders.

214
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They represented the silent majority.

215
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That's what I filmed.

216
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It occurs to me,

217
00:16:43,324 --> 00:16:45,684
in contrast to what I just said,

218
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that I once filmed an enraged minority.

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The Black Panthers.

220
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They were a movement of Black Americans

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00:16:55,364 --> 00:16:57,764
who, in 1968,

222
00:16:58,364 --> 00:17:02,444
created a political program,
spoke out and protested

223
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because some of their leaders
had been arrested

224
00:17:05,844 --> 00:17:08,404
and one was in prison, Huey Newton.

225
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They held protest rallies.

226
00:17:10,444 --> 00:17:13,044
Jacques Demy and I
lived in Los Angeles then.

227
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I took a plane
to film the protests in Oakland,

228
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near San Francisco.

229
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I was a little lady with a 16mm camera.
I said, "French television"

230
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and they let me in
while they were training.

231
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- Who are you?
- Black Panthers.

232
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- Why are you here?
- To free Huey.

233
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- How?
- Huey's teachings.

234
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- What are they?
- The guns.

235
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This brother here, myself; all of us
were born with this hair.

236
00:17:45,284 --> 00:17:47,484
We wear it this way
because its natural.

237
00:17:47,644 --> 00:17:51,844
Black people now realise
that black is beautiful.

238
00:17:53,084 --> 00:17:57,844
The Black Panther movement
didn't last very long.

239
00:17:58,364 --> 00:18:01,524
But it was a Black revolt,

240
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for their identity,
and it was a feminist revolt.

241
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Feminism was already going strong
in the USA in the 1960s.

242
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Obviously, I was a feminist.

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I was, and I still am.

244
00:18:16,164 --> 00:18:17,964
And I must say,

245
00:18:18,124 --> 00:18:21,364
issues surrounding women's liberation,

246
00:18:21,524 --> 00:18:25,084
specifically,
the question of body politics,

247
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really concerned me.

248
00:18:28,124 --> 00:18:31,244
Back then, there were struggles

249
00:18:31,404 --> 00:18:34,804
fought by both women and men

250
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that led to contraceptive rights in 1972

251
00:18:39,444 --> 00:18:42,044
and abortion rights in 1975.

252
00:18:42,204 --> 00:18:43,844
It's old history now,

253
00:18:44,004 --> 00:18:46,044
but I experienced it

254
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and wanted to tell the story.

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To do so,

256
00:18:50,524 --> 00:18:54,564
I got the idea of two young women.

257
00:18:54,724 --> 00:18:58,724
One already has children,
the other is a natural-born rebel.

258
00:18:59,924 --> 00:19:01,804
How pregnant are you?

259
00:19:02,404 --> 00:19:04,244
2 months, more or less.

260
00:19:04,404 --> 00:19:06,284
Don't cry, get an abortion.

261
00:19:06,444 --> 00:19:08,964
How, where? Think its easy?

262
00:19:09,124 --> 00:19:10,604
Well find a way.

263
00:19:16,684 --> 00:19:18,084
You're still up?

264
00:19:18,244 --> 00:19:19,764
Anaré, you promised me!

265
00:19:20,044 --> 00:19:22,484
<i>Why do you lie? What'd we do to you?</i>

266
00:19:22,644 --> 00:19:24,404
- I needed money.
- As always.

267
00:19:24,564 --> 00:19:25,724
Why didn't you ask?

268
00:19:25,884 --> 00:19:28,244
It was for an abortion, you'd say no.

269
00:19:28,404 --> 00:19:29,604
What?

270
00:19:29,764 --> 00:19:34,244
My friend Suzanne needed money
for an abortion.

271
00:19:38,124 --> 00:19:40,084
Their friendship lasts.

272
00:19:40,604 --> 00:19:43,004
10 years later, we see them again,

273
00:19:43,164 --> 00:19:48,484
after they've both lived, loved
and fought the feminist fight.

274
00:19:49,564 --> 00:19:52,204
The feminist fight

275
00:19:53,084 --> 00:19:55,364
was something I wanted

276
00:19:56,004 --> 00:19:57,484
to put into song.

277
00:20:04,004 --> 00:20:07,604
No papa no pope no king

278
00:20:07,764 --> 00:20:09,124
No judge no doctor

279
00:20:09,524 --> 00:20:11,124
No legislator

280
00:20:11,364 --> 00:20:13,924
Gonna lay the law on my body

281
00:20:14,084 --> 00:20:15,684
Biology isn't fate

282
00:20:15,844 --> 00:20:18,604
Papa's laws are out or date

283
00:20:19,044 --> 00:20:22,084
<i>My body belongs to me</i>

284
00:20:22,564 --> 00:20:25,404
I'm the one who knows

285
00:20:25,724 --> 00:20:27,844
Whether or not

286
00:20:28,124 --> 00:20:30,124
I want to give birth

287
00:20:32,044 --> 00:20:34,764
Whether to bring new life

288
00:20:35,284 --> 00:20:38,004
To this earthly existence

289
00:20:38,324 --> 00:20:40,604
<i>Whether to be flat or round</i>

290
00:20:40,764 --> 00:20:42,644
The choice is mine

291
00:20:44,524 --> 00:20:47,084
<i>My body belongs to me</i>

292
00:20:52,284 --> 00:20:54,044
I really took it to heart.

293
00:20:54,204 --> 00:20:57,764
For the music,
I hired Francois Wertheimer

294
00:20:57,924 --> 00:20:59,924
and a girl group called Orchidée.

295
00:21:00,084 --> 00:21:02,484
We used texts by Engels and Marx.

296
00:21:02,644 --> 00:21:05,764
A very interesting thing:

297
00:21:05,924 --> 00:21:09,684
"Nowadays, in the family,
the man is the bourgeois,

298
00:21:09,844 --> 00:21:12,484
and the woman represents
the proletariat."

299
00:21:12,924 --> 00:21:15,564
It flows better in a song.

300
00:21:15,724 --> 00:21:17,284
But it's worth saying.

301
00:21:17,804 --> 00:21:19,524
Hear that, birdie?

302
00:21:20,204 --> 00:21:21,084
Listen.

303
00:21:29,444 --> 00:21:33,284
When men and women both work full time,

304
00:21:37,964 --> 00:21:41,644
you can set to music
the double shift women do.

305
00:21:45,284 --> 00:21:47,524
Domestic Habits

306
00:21:59,844 --> 00:22:03,364
Incredible friendships formed

307
00:22:03,804 --> 00:22:05,804
in that collective struggle.

308
00:22:05,964 --> 00:22:08,484
The women were often joyful.

309
00:22:08,644 --> 00:22:14,004
We laughed a lot
as we fought for women's rights.

310
00:22:15,084 --> 00:22:20,764
The joy and good humour of the group
come across in the film, I hope.

311
00:22:21,124 --> 00:22:22,724
Now I'll make a jump.

312
00:22:22,884 --> 00:22:26,484
Much later,
I told the story of a girl in a rage.

313
00:22:26,644 --> 00:22:29,004
Not in a group this time, alone.

314
00:22:29,164 --> 00:22:30,724
An enraged loner.

315
00:22:31,324 --> 00:22:34,324
A lot of guys were out on the road.

316
00:22:34,484 --> 00:22:37,164
It was kind of in fashion.

317
00:22:37,324 --> 00:22:41,484
And I'd noticed
women were also doing it.

318
00:22:41,644 --> 00:22:42,964
Backpacking.

319
00:22:43,924 --> 00:22:48,244
I wanted to make a film
about these lawless vagabonds.

320
00:22:48,564 --> 00:22:51,604
I wanted to film freedom and filth.

321
00:22:51,764 --> 00:22:54,924
Tell the story
of a young woman on the road.

322
00:22:55,564 --> 00:22:59,284
So I wrote the film Vagabond.

323
00:23:00,124 --> 00:23:02,844
I asked Sandrine Bonnaire,

324
00:23:03,004 --> 00:23:06,164
who'd been in Pialat's A Mos Amours

325
00:23:06,324 --> 00:23:08,484
and was still only 17.

326
00:23:08,684 --> 00:23:10,804
She was exactly who I needed.

327
00:23:12,844 --> 00:23:15,884
<i>- Is there a tobacco shop?
- Not here.</i>

328
00:23:16,044 --> 00:23:19,684
She's described by the people she meets.

329
00:23:19,844 --> 00:23:22,284
They speak of her quite badly.

330
00:23:24,124 --> 00:23:27,324
Mona's anger is what keeps her alive.

331
00:23:31,204 --> 00:23:35,724
But saying no to everyone
leads her to her death.

332
00:23:38,364 --> 00:23:40,804
The film's structure was precise.

333
00:23:40,964 --> 00:23:43,884
I wanted the camera
to walk the roads with her.

334
00:23:44,044 --> 00:23:45,444
To do that,

335
00:23:46,364 --> 00:23:48,724
I used tracking shots.

336
00:23:48,884 --> 00:23:50,604
There are 13 in the film.

337
00:23:50,964 --> 00:23:54,764
The shots move right to left,
which is jarring,

338
00:23:54,924 --> 00:23:58,244
because it's the opposite
of how we read in the West.

339
00:23:58,564 --> 00:24:01,644
Each tracking shot lasts one minute.

340
00:24:01,804 --> 00:24:04,604
We accompany Mona and her backpack.

341
00:24:04,764 --> 00:24:09,524
We're in rural farm landscapes,
not particularly charming.

342
00:24:09,684 --> 00:24:12,564
At the end of each tracking shot,
the camera leaves Mona

343
00:24:12,724 --> 00:24:16,524
to film a local element or object.

344
00:24:16,884 --> 00:24:21,804
Each subsequent tracking shot
comes about 10 minutes later

345
00:24:21,964 --> 00:24:25,724
and starts with an object or element

346
00:24:25,884 --> 00:24:28,324
reflecting what we've seen.

347
00:24:29,204 --> 00:24:35,124
I enjoyed setting up an enigma
for which only I knew the secret.

348
00:24:36,044 --> 00:24:38,564
Actually, the entire film

349
00:24:38,724 --> 00:24:41,764
is a portrait in the form

350
00:24:41,924 --> 00:24:44,604
of a discontinuous tracking shot.

351
00:24:49,604 --> 00:24:51,964
Ten minutes later in the film...

352
00:24:54,044 --> 00:24:56,964
this was the next tracking shot.

353
00:24:57,164 --> 00:24:59,724
To music by Joanna Bruzdowicz,

354
00:24:59,884 --> 00:25:02,884
composed solely for the tracking shots.

355
00:25:04,484 --> 00:25:07,764
A lovely surprise, Sandrine has arrived.

356
00:25:08,924 --> 00:25:10,964
I've talked about structure.

357
00:25:11,124 --> 00:25:15,124
Now I'd like to discuss
what the role meant to you.

358
00:25:15,964 --> 00:25:19,444
The first thing
you told me about the role was,

359
00:25:19,604 --> 00:25:21,724
"She's a girl who...

360
00:25:22,564 --> 00:25:27,404
never says thank you, stinks,
and tells everyone to fuck off."

361
00:25:27,644 --> 00:25:29,484
We never discussed

362
00:25:30,444 --> 00:25:34,164
where she came from
or why she was on the road.

363
00:25:34,644 --> 00:25:36,244
It was about how she lives.

364
00:25:36,404 --> 00:25:40,844
How she finds food,
where she sleeps, how she behaves.

365
00:25:41,004 --> 00:25:43,764
We didn't analyse her.

366
00:25:43,924 --> 00:25:46,124
We focused on what she did.

367
00:25:46,284 --> 00:25:48,204
- Her actions.
- And behaviour.

368
00:25:49,924 --> 00:25:52,764
You practiced putting on your backpack.

369
00:25:53,364 --> 00:25:54,924
Putting on your boots.

370
00:25:55,084 --> 00:25:58,484
You sent me camping with Setina.

371
00:25:59,964 --> 00:26:02,444
- You slept outside.
- We did.

372
00:26:02,604 --> 00:26:06,844
You wanted me to learn to make a fire
and pitch a tent.

373
00:26:07,004 --> 00:26:11,124
There's a scene
where you repair your boots.

374
00:26:12,004 --> 00:26:15,204
It was all concrete, physical things.

375
00:26:15,684 --> 00:26:17,884
I remember pruning grapevines.

376
00:26:18,044 --> 00:26:22,964
Pruning requires
simple but precise gestures.

377
00:26:23,124 --> 00:26:27,004
You accepted me saying,
"You're Mona, figure it out."

378
00:26:28,564 --> 00:26:31,404
Your own rebellion
went into the character.

379
00:26:31,564 --> 00:26:33,244
I just needed to be there.

380
00:26:33,964 --> 00:26:36,764
And you were. Solid and tough.

381
00:26:36,924 --> 00:26:40,484
I wasn't easy on you.
I gave you a rough time.

382
00:26:40,644 --> 00:26:42,004
Come on!

383
00:26:42,844 --> 00:26:46,324
I remember at one point,
I'd dug up a whole garden patch

384
00:26:46,484 --> 00:26:47,924
and had blisters.

385
00:26:48,084 --> 00:26:50,444
I said,
"Real blisters, like you wanted!"

386
00:26:50,604 --> 00:26:51,604
You said, "Good!"

387
00:26:52,444 --> 00:26:54,004
That bugged me!

388
00:26:54,884 --> 00:26:58,324
I should've licked your blisters
in thanks!

389
00:26:58,844 --> 00:27:00,404
The film is unusual,

390
00:27:01,044 --> 00:27:03,124
because you're dead at the start.

391
00:27:03,284 --> 00:27:06,644
Even though I was young,
I imagined my own death.

392
00:27:06,804 --> 00:27:08,204
Obviously.

393
00:27:08,964 --> 00:27:12,644
And we made you to do it.
Get in the bag like a corpse.

394
00:27:12,804 --> 00:27:15,084
That really freaked me out.

395
00:27:15,684 --> 00:27:18,404
Cinema can be very humbling.

396
00:27:18,564 --> 00:27:21,724
You have a project,
you write it, you make it,

397
00:27:21,884 --> 00:27:23,964
with an actress like yourself...

398
00:27:24,364 --> 00:27:26,444
But during the shoot,

399
00:27:26,604 --> 00:27:29,484
things can feel quite harrowing.

400
00:27:32,284 --> 00:27:36,124
After the shot of dead Mona, a beach...

401
00:27:40,924 --> 00:27:43,524
Beaches are a place of inspiration.

402
00:27:43,804 --> 00:27:45,284
A mental landscape.

403
00:27:45,964 --> 00:27:48,164
You have the three elements.

404
00:27:48,324 --> 00:27:50,164
Sky, sea and earth.

405
00:27:50,564 --> 00:27:53,804
Here, the earth is sand and seaweed.

406
00:27:54,604 --> 00:27:57,724
I remember the works of Bachelard,

407
00:27:58,004 --> 00:28:01,404
a philosopher whose classes I attended.

408
00:28:01,564 --> 00:28:02,964
Water and Dreams,

409
00:28:03,124 --> 00:28:04,564
Air and Dreams,

410
00:28:04,724 --> 00:28:07,204
Earth and Reveries of Repose.

411
00:28:08,364 --> 00:28:10,364
Dreams, reveries,

412
00:28:10,684 --> 00:28:13,524
dreams and repose. Everything I love.

413
00:28:13,964 --> 00:28:17,524
But he also wrote
Earthand Reveries of Will,

414
00:28:17,684 --> 00:28:20,044
I'll continue my chat here.

415
00:28:20,204 --> 00:28:22,564
And I'll invite birds and children.

416
00:28:39,084 --> 00:28:41,604
It's charming to talk to birds.

417
00:28:41,764 --> 00:28:45,004
But real or fake,
they don't understand me.

418
00:28:45,724 --> 00:28:48,404
We make films to share with audiences,

419
00:28:48,564 --> 00:28:53,604
so I thought, "How awful it'd be
if they didn't listen or watch."

420
00:28:54,804 --> 00:28:56,444
A filmmaker's nightmare.

421
00:28:56,604 --> 00:28:58,524
An empty cinema

422
00:28:59,324 --> 00:29:00,604
Nightmare!

423
00:29:06,604 --> 00:29:10,924
Some of my films did well in the cinema.

424
00:29:11,084 --> 00:29:12,244
Others less so.

425
00:29:12,524 --> 00:29:16,164
We'll jump around.
I can't talk about all my films.

426
00:29:16,324 --> 00:29:18,284
I can't follow the crim...

427
00:29:18,844 --> 00:29:22,204
Not the criminology, the chronology!

428
00:29:22,364 --> 00:29:25,804
We'll jump ahead to a summer film I made

429
00:29:27,044 --> 00:29:28,764
in the 1960s

430
00:29:29,084 --> 00:29:31,084
called Happiness.

431
00:29:32,004 --> 00:29:36,204
I imagined Impressionist paintings,
with their melancholy.

432
00:29:36,844 --> 00:29:39,884
And yet they're happy scenes
of daily life.

433
00:29:40,044 --> 00:29:43,364
I listened to Mozart and pondered death.

434
00:29:44,124 --> 00:29:46,964
I wrote and shot the film quickly.

435
00:29:47,124 --> 00:29:50,204
Like the bright clarity
of our too-short summers.

436
00:29:54,964 --> 00:29:57,684
<i>Go to sleep kids. Daddy's sleeping.</i>

437
00:29:57,844 --> 00:29:59,084
Be quiet.

438
00:30:04,164 --> 00:30:08,884
I wanted to show happiness
as it is traditionally described.

439
00:30:09,044 --> 00:30:11,204
A woman and a man, beautiful children.

440
00:30:11,364 --> 00:30:12,964
They love nature.

441
00:30:13,124 --> 00:30:15,964
They're friendly, unpretentious.

442
00:30:16,124 --> 00:30:18,564
A template for happiness.

443
00:30:18,724 --> 00:30:22,484
And I wanted to set the story
in lle-de-France.

444
00:30:22,964 --> 00:30:27,164
In places that had inspired
the Impressionists.

445
00:30:27,564 --> 00:30:29,324
I shot in summertime,

446
00:30:29,484 --> 00:30:33,164
in soft, delicate tones.

447
00:30:33,724 --> 00:30:37,124
I accompanied the story
with music by Mozart,

448
00:30:37,284 --> 00:30:39,764
which seemed to express happiness

449
00:30:39,924 --> 00:30:42,604
with a little dash of anguish.

450
00:30:45,444 --> 00:30:48,284
Jean-Claude Drouot was a TV hero.

451
00:30:48,444 --> 00:30:50,284
He was Thierry la Fronde.

452
00:30:50,444 --> 00:30:53,604
I went to the woods
to ask him to be in my film.

453
00:30:53,764 --> 00:30:56,244
He was on horseback, in costume.

454
00:30:58,284 --> 00:31:02,204
I said, "Excuse me, sorry to bother you.

455
00:31:02,364 --> 00:31:06,924
Would you agree to make a film
with your real wife and kids?"

456
00:31:07,764 --> 00:31:11,124
His wife hesitated at first,
but they did it.

457
00:31:16,444 --> 00:31:20,524
<i>It's no problem.
Annie can come babysit at 8:30.</i>

458
00:31:20,804 --> 00:31:23,324
<i>We can make the 9 o'clock show.</i>

459
00:31:23,724 --> 00:31:25,244
lad love that.

460
00:31:26,484 --> 00:31:30,964
On the surface,
it's a simple story of a happy family.

461
00:31:31,124 --> 00:31:32,804
He's happy with his wife.

462
00:31:32,964 --> 00:31:35,124
But then he meets a postal worker.

463
00:31:35,444 --> 00:31:37,364
She looks like his wife.

464
00:31:37,524 --> 00:31:39,484
He falls in love.

465
00:31:40,084 --> 00:31:41,404
He thinks you can

466
00:31:41,564 --> 00:31:43,164
add happiness to happiness.

467
00:31:43,324 --> 00:31:46,604
The critics had a field day. Outrageous!

468
00:31:46,764 --> 00:31:48,564
Does fidelity mean anything?

469
00:31:48,724 --> 00:31:51,564
Can you film happiness?
Do we have the right?

470
00:32:12,044 --> 00:32:14,444
I had such fun choosing the colours.

471
00:32:14,604 --> 00:32:16,004
I went all out on the blue,

472
00:32:16,764 --> 00:32:18,124
the yellow, the red...

473
00:32:19,044 --> 00:32:21,924
Here we have a predominantly red picnic.

474
00:32:25,124 --> 00:32:26,684
I also thought,

475
00:32:26,844 --> 00:32:30,724
instead of ending the scenes
with the traditional fade to black,

476
00:32:31,444 --> 00:32:33,644
it'd be nice to fade to colours.

477
00:32:33,804 --> 00:32:35,644
So the scenes ended

478
00:32:35,804 --> 00:32:39,324
in red, blue, purple, yellow.

479
00:32:41,684 --> 00:32:43,844
I even made a flag,

480
00:32:44,004 --> 00:32:45,964
with a dissolve in blue,

481
00:32:46,124 --> 00:32:48,164
one in white, and one in red

482
00:32:48,324 --> 00:32:50,324
to announce Bastille Day.

483
00:32:50,604 --> 00:32:52,124
July 14th.

484
00:32:53,764 --> 00:32:56,764
I used to describe the film

485
00:32:56,924 --> 00:33:01,124
as a beautiful summer peach
with a worm inside.

486
00:33:02,764 --> 00:33:03,964
A tragedy.

487
00:33:13,204 --> 00:33:15,804
He cannot bear the situation.

488
00:33:16,604 --> 00:33:18,804
He can't connect to it.

489
00:33:19,284 --> 00:33:21,284
So I used repetition.

490
00:33:21,604 --> 00:33:23,684
I tried repetition.

491
00:33:23,844 --> 00:33:25,764
I used repetition.

492
00:33:28,284 --> 00:33:31,364
I'd like to discuss
what a film is as a whole.

493
00:33:32,484 --> 00:33:35,804
In literature, they use the word style.

494
00:33:35,964 --> 00:33:38,964
In cinema, I use the word cinewriting.

495
00:33:39,524 --> 00:33:44,924
It covers all the choices made
throughout the making of a film.

496
00:33:45,284 --> 00:33:48,964
What do you film?
Fluid or abrupt shots?

497
00:33:49,284 --> 00:33:52,724
Clear, isolated images
or crowded spaces?

498
00:33:53,564 --> 00:33:55,164
Pacing? Music?

499
00:33:55,324 --> 00:33:58,444
It all takes shape in the editing room.

500
00:33:58,604 --> 00:34:00,364
I sometimes add commentaries,

501
00:34:00,524 --> 00:34:04,084
to stay in the film
and be with the audience.

502
00:34:04,924 --> 00:34:09,524
But in editing and mixing
we finish the cinewriting.

503
00:34:10,684 --> 00:34:14,404
As for how a film starts,
life sometimes decides.

504
00:34:14,764 --> 00:34:19,164
At a very sad time of my life,
when Jacques Demy was ll,

505
00:34:20,244 --> 00:34:24,044
he shared his memories, wrote them down.

506
00:34:24,204 --> 00:34:26,764
Fond memories of his childhood.

507
00:34:26,924 --> 00:34:31,564
He was raised in Nantes,
in the garage where his father worked.

508
00:34:31,964 --> 00:34:33,884
He was taking notes.

509
00:34:34,404 --> 00:34:36,524
Every few days he showed them to me.

510
00:34:36,684 --> 00:34:40,444
I said, "This would be a great film.
Will you make it?"

511
00:34:41,044 --> 00:34:42,964
He said, "You do it, I'm too tired."

512
00:34:43,284 --> 00:34:47,364
So I wrote a script
about Jacques Demy's childhood.

513
00:34:47,524 --> 00:34:49,844
Set in the actual garage.

514
00:34:50,004 --> 00:34:54,044
We kicked out the mechanics.
They let us use the place.

515
00:34:54,204 --> 00:34:58,764
The old gas pump was still there.
It hadn't been removed.

516
00:34:59,804 --> 00:35:03,324
It was a very particular experience.

517
00:35:03,484 --> 00:35:07,604
I approached the film
in three different ways.

518
00:35:08,324 --> 00:35:10,684
Black-and-white footage,

519
00:35:10,844 --> 00:35:12,724
1930s style,

520
00:35:12,884 --> 00:35:15,404
tells the story of his childhood.

521
00:35:15,564 --> 00:35:18,644
Then there were colour excerpts

522
00:35:18,804 --> 00:35:21,204
from films Jacques Demy made later,

523
00:35:21,364 --> 00:35:22,764
all inspired

524
00:35:22,924 --> 00:35:24,644
by his childhood.

525
00:35:24,804 --> 00:35:27,604
The engine knocks when it's cold,
don't worry.

526
00:35:27,764 --> 00:35:29,244
Thank you.

527
00:35:33,084 --> 00:35:34,804
<i>Is it ready to go?</i>

528
00:35:35,084 --> 00:35:36,204
Yes.

529
00:35:37,044 --> 00:35:40,804
The engine knocks when it's cold,
don't worry.

530
00:35:41,204 --> 00:35:44,404
And then there was
a third film within the film.

531
00:35:44,564 --> 00:35:47,524
Jacques was still alive, but very ill.

532
00:35:47,684 --> 00:35:51,564
I loved him
and wanted to be as close as possible,

533
00:35:51,724 --> 00:35:53,924
help him as much as I could.

534
00:35:54,084 --> 00:35:57,924
In film terms,
that meant extreme close-ups.

535
00:36:21,684 --> 00:36:25,884
The whole film is a desire to stop time
and deny death.

536
00:36:26,044 --> 00:36:27,284
No.

537
00:36:27,684 --> 00:36:29,964
I don't see it that way.

538
00:36:30,124 --> 00:36:33,284
Not to stop time. To accompany time.

539
00:36:34,764 --> 00:36:37,524
The film accompanies Jacques as he dies.

540
00:36:38,524 --> 00:36:41,964
As he remembers his childhood.

541
00:36:42,724 --> 00:36:45,244
The love of cinema
starts early for some.

542
00:36:45,404 --> 00:36:49,884
Little Jacquot invented cinema,
I dare say.

543
00:36:50,644 --> 00:36:51,724
Look.

544
00:36:55,844 --> 00:36:57,404
Nice set up.

545
00:36:58,644 --> 00:37:00,844
- If's fragile!
- What is it?

546
00:37:01,004 --> 00:37:03,564
Don't bump into the camera.

547
00:37:03,844 --> 00:37:06,524
Look. To make the ballerina move,

548
00:37:06,804 --> 00:37:09,404
I move her leg and take a shot

549
00:37:09,564 --> 00:37:12,164
Move her leg, take a shot

550
00:37:14,204 --> 00:37:15,284
Get it?

551
00:37:15,924 --> 00:37:19,724
<i>It creates a continuous movement.
If you film my arm...</i>

552
00:37:21,284 --> 00:37:23,524
you get a continuous movement.

553
00:37:24,004 --> 00:37:27,644
Now get going.
I need quiet concentration.

554
00:37:47,804 --> 00:37:49,684
No good. If's all out of focus.

555
00:37:50,404 --> 00:37:52,044
No good at all.

556
00:37:53,764 --> 00:37:56,364
Several years later, against his will,

557
00:37:57,084 --> 00:38:00,124
Jacquot worked in his father's garage.

558
00:38:01,564 --> 00:38:04,324
And this goes
around the customer's neck?

559
00:38:04,484 --> 00:38:05,804
Start over!

560
00:38:07,084 --> 00:38:08,644
Where's your mind?

561
00:38:08,804 --> 00:38:10,164
On Hollywood!

562
00:38:10,324 --> 00:38:12,004
Some mechanic!

563
00:38:12,804 --> 00:38:15,044
It's extraordinary. Years later,

564
00:38:15,204 --> 00:38:17,684
after the success
of The Umbrellas of Cherbourg,

565
00:38:17,844 --> 00:38:20,804
he was invited to work in Hollywood.

566
00:38:21,244 --> 00:38:22,644
I went with him.

567
00:38:24,764 --> 00:38:27,244
In Los Angeles I discovered,
like everyone,

568
00:38:27,404 --> 00:38:28,804
the stars of the stars

569
00:38:28,964 --> 00:38:30,764
on Hollywood Boulevard.

570
00:38:32,004 --> 00:38:35,124
And I met some of the idols and stars

571
00:38:35,284 --> 00:38:37,964
of the new Hippie Generation.

572
00:38:38,124 --> 00:38:42,404
They wanted to make it in Hollywood
their way.

573
00:38:52,524 --> 00:38:56,004
Three actors with big manes of hair:
Lions.

574
00:38:56,164 --> 00:38:58,044
A love triangle: Love.

575
00:38:58,204 --> 00:39:01,124
Television and the news: Lies.

576
00:39:03,084 --> 00:39:07,844
For the cast,
I chose heroes of the hippie scene.

577
00:39:08,004 --> 00:39:11,644
Rado and Ragni,
who wrote and played in AHarr,

578
00:39:11,804 --> 00:39:13,924
and Viva, Andy Warhol's muse.

579
00:39:14,324 --> 00:39:17,324
I went to the Factory in New York
to see Andy,

580
00:39:17,484 --> 00:39:21,644
so he'd introduce us and convince her.
She was tricky.

581
00:39:30,364 --> 00:39:31,564
Then he said:

582
00:39:37,484 --> 00:39:42,244
Another character in the film
was the television set.

583
00:39:42,844 --> 00:39:46,924
It was always there,
embodying the spirit of the film:

584
00:39:47,084 --> 00:39:48,804
sex and politics.

585
00:40:02,524 --> 00:40:06,124
Here the silence was planned,
but usually they talked a lot.

586
00:40:08,764 --> 00:40:10,444
They improvised.

587
00:40:10,604 --> 00:40:13,524
They changed the text
from one take to another.

588
00:40:13,684 --> 00:40:16,084
The scenes were impossible to edit.

589
00:40:20,204 --> 00:40:25,764
So I shot each take of each scene
with three 35mm sound cameras.

590
00:40:27,924 --> 00:40:31,524
Sometimes they agreed
to pose like models.

591
00:40:32,524 --> 00:40:35,084
This is an exact copy
of a drawing by Picasso

592
00:40:35,244 --> 00:40:37,684
from a series he did in 1936.

593
00:40:39,204 --> 00:40:41,804
This is another one.

594
00:40:45,244 --> 00:40:47,644
I wanted to feature Shirley Clarke,

595
00:40:48,084 --> 00:40:50,164
the New York filmmaker

596
00:40:50,324 --> 00:40:53,364
who was, in a way, my double.

597
00:40:54,484 --> 00:40:55,884
Another tableau,

598
00:40:56,044 --> 00:40:58,404
this one inspired
by a Magritte painting.

599
00:41:00,684 --> 00:41:05,364
I think of it as an imaginary
news report, a utopian fiction.

600
00:41:05,524 --> 00:41:08,604
From my time in Hollywood.

601
00:41:09,084 --> 00:41:11,684
A collage, made my way.

602
00:41:12,924 --> 00:41:16,724
Ten years later,
a collage of names on walls.

603
00:41:19,884 --> 00:41:23,124
I was fascinated by what I saw.

604
00:41:23,724 --> 00:41:26,004
Giant murals.

605
00:41:26,244 --> 00:41:30,004
I began documenting them in photographs.

606
00:41:30,604 --> 00:41:34,444
You rarely know who made them.
They're unsigned. I asked neighbours.

607
00:41:35,244 --> 00:41:38,684
Some fine arts graduates
became muralists.

608
00:41:38,844 --> 00:41:40,324
For example, Kent Twitchell.

609
00:41:40,484 --> 00:41:44,204
It was a form of resistance
against the art industry.

610
00:41:46,324 --> 00:41:50,124
The idea is art should be free
for everyone.

611
00:41:52,604 --> 00:41:56,844
<i>Beyond the river is Bast LA,
with its Chicano Art.</i>

612
00:41:59,124 --> 00:42:01,324
I filmed large murals,

613
00:42:01,484 --> 00:42:03,364
like those by Willie Herron.

614
00:42:03,644 --> 00:42:07,004
But I also wanted to make cinema.

615
00:43:34,564 --> 00:43:40,204
I often say Murals Muralsis a film
about the extroverted Los Angeles.

616
00:43:40,364 --> 00:43:44,324
People express themselves through walls,
clothing and words.

617
00:43:44,644 --> 00:43:47,404
But I also sense an introverted,

618
00:43:47,564 --> 00:43:50,444
sad, desperate Los Angeles.

619
00:43:52,724 --> 00:43:57,284
It's the story of Emilie,
a French woman exiled in Los Angeles,

620
00:43:58,844 --> 00:44:01,644
looking for a place to live
with her son.

621
00:44:02,644 --> 00:44:07,244
Sabine Mamou, who edited Murals Murals,
played Emilie.

622
00:44:07,404 --> 00:44:08,604
This is your home.

623
00:44:09,044 --> 00:44:11,524
Mathieu Demy played her son.

624
00:44:11,964 --> 00:44:14,044
<i>You mean I'll be sleeping...</i>

625
00:44:15,484 --> 00:44:16,764
all alone?

626
00:44:16,924 --> 00:44:18,844
You'll be fine, you'll see.

627
00:44:19,724 --> 00:44:22,284
If ] don't like it whatll we do?

628
00:44:24,524 --> 00:44:27,564
If he doesn't like it whatll I do?

629
00:44:28,204 --> 00:44:31,324
<i>If they don't like it, what do they do?</i>

630
00:44:31,484 --> 00:44:33,644
He or she, what do they do?

631
00:44:34,444 --> 00:44:38,844
She's extremely lonely,
she's going through a separation.

632
00:44:39,324 --> 00:44:42,244
But she doesn't want to discuss it
with her son.

633
00:44:42,404 --> 00:44:44,284
You don't confide in children.

634
00:44:44,724 --> 00:44:49,684
So I decided
on a specific process for this film.

635
00:44:49,964 --> 00:44:54,564
I'd use documentary images
to speak for her.

636
00:44:55,124 --> 00:44:59,124
Or she monologues
over documentary images.

637
00:44:59,284 --> 00:45:04,244
<i>When you lose words like tureen,
ladle, table, warmth, togetherness,</i>

638
00:45:04,404 --> 00:45:06,404
<i>the only words left are soup,</i>

639
00:45:06,564 --> 00:45:09,764
Solitude, separation, absence.

640
00:45:10,764 --> 00:45:16,524
I had accumulated images
we wondered about.

641
00:45:16,684 --> 00:45:20,404
We didn't always know
what we were capturing.

642
00:45:20,564 --> 00:45:23,644
Silence or speech, pain or peace.

643
00:45:23,804 --> 00:45:27,164
Some sequences were mysteries to us.

644
00:45:27,524 --> 00:45:31,004
For example, we were on the beach

645
00:45:31,164 --> 00:45:33,564
filming Sabine and the boy.

646
00:45:33,724 --> 00:45:35,164
Lying on the sand

647
00:45:35,604 --> 00:45:40,324
was a woman with a bible
and two men on either side of her.

648
00:45:41,324 --> 00:45:44,164
The boy asks Sabine about it.

649
00:45:44,324 --> 00:45:47,084
She has no answer. Neither did we.

650
00:45:47,244 --> 00:45:52,124
We were open to filming
things we didn't understand.

651
00:45:52,284 --> 00:45:54,604
Because in cinema and elsewhere,

652
00:45:54,764 --> 00:45:58,044
it's important to feel, to experience.

653
00:45:58,364 --> 00:46:00,084
What're they doing? Is she dead?

654
00:46:00,244 --> 00:46:02,284
No. I don't know.

655
00:46:02,444 --> 00:46:05,244
Why didn't we stay to find out?

656
00:46:08,644 --> 00:46:13,764
Nurith Aviv and I would go out evenings
to capture images.

657
00:46:13,924 --> 00:46:16,644
One image in particular struck me.

658
00:46:17,284 --> 00:46:21,684
There was a woman doing her laundry
in a laundromat.

659
00:46:21,844 --> 00:46:26,524
We'd just parked the car.
We filmed through the window.

660
00:46:27,204 --> 00:46:32,084
That lone woman fiddled
with her greasy hair for a long time.

661
00:46:32,244 --> 00:46:36,164
An extraordinary moment
of solitary sensuality.

662
00:46:48,804 --> 00:46:53,284
The film is greatly enhanced
by Georges Delerue's music.

663
00:46:53,444 --> 00:46:56,084
He watched it a few times

664
00:46:56,244 --> 00:47:02,004
and improvised a score
that is captivating, frail and subdued.

665
00:47:02,244 --> 00:47:04,724
Like a gentle ache.

666
00:47:13,884 --> 00:47:17,924
Georges Delerue also composed,
23 years earlier,

667
00:47:18,084 --> 00:47:21,964
the music for this short film,
Diary of a Pregnant Woman.

668
00:47:22,484 --> 00:47:23,964
Like Documenteur,

669
00:47:24,124 --> 00:47:27,204
this film was tied to my personal life.

670
00:47:27,684 --> 00:47:30,844
I often went to Rue Mouffetard.

671
00:47:31,004 --> 00:47:33,604
It was almost like the Middle Ages.

672
00:47:33,764 --> 00:47:36,524
There was a market. I love markets.

673
00:47:36,684 --> 00:47:38,204
And there were poor people

674
00:47:38,364 --> 00:47:39,884
living on the streets.

675
00:47:40,164 --> 00:47:41,804
Old folks, cripples

676
00:47:41,964 --> 00:47:43,964
and drunkards.

677
00:47:45,364 --> 00:47:47,124
I was pregnant.

678
00:47:47,604 --> 00:47:52,484
I didn't tell people,
but I filmed a clear sign of pregnancy:

679
00:47:52,644 --> 00:47:53,884
a big belly.

680
00:47:54,044 --> 00:47:58,684
And the way
certain basic, ancestral fears

681
00:47:58,844 --> 00:48:01,724
could be portrayed.

682
00:48:38,204 --> 00:48:43,804
I was utterly haunted
by a fundamental contradiction.

683
00:48:44,324 --> 00:48:45,964
You're full of hope,

684
00:48:46,124 --> 00:48:49,604
you're offering a life to a new child,

685
00:48:49,764 --> 00:48:51,404
who might be happy.

686
00:48:51,564 --> 00:48:53,604
And yet, I saw a population

687
00:48:53,764 --> 00:48:55,164
that was terribly,

688
00:48:55,764 --> 00:48:58,364
terribly... unhappy.

689
00:48:58,684 --> 00:49:01,004
They really inspired me to think.

690
00:49:01,164 --> 00:49:03,244
They too had been newborns.

691
00:49:03,924 --> 00:49:07,964
Maybe when they were wee babies,
even if they were unwanted,

692
00:49:08,124 --> 00:49:12,204
someone cuddled them,
stroked their belly, even a bit.

693
00:49:12,364 --> 00:49:13,644
Some of them

694
00:49:15,444 --> 00:49:17,764
They were newborn babes

695
00:49:18,324 --> 00:49:20,204
Someone, some other

696
00:49:20,484 --> 00:49:22,404
some of them

697
00:49:34,404 --> 00:49:37,284
Many of you want to make documentaries.

698
00:49:37,444 --> 00:49:39,364
I think it's very important...

699
00:49:39,724 --> 00:49:41,644
This isn't really advice,

700
00:49:41,804 --> 00:49:44,284
but when you film something,

701
00:49:44,444 --> 00:49:46,204
a place, a landscape,

702
00:49:46,364 --> 00:49:48,084
a group of people,

703
00:49:48,244 --> 00:49:51,444
you need a viewpoint.
At least to start.

704
00:49:51,604 --> 00:49:54,124
You film in relation to that viewpoint.

705
00:49:54,284 --> 00:49:57,404
It's both a documentary and staged.

706
00:49:57,964 --> 00:50:00,764
There are two types of documentaries.

707
00:50:01,004 --> 00:50:03,524
Pure and raw, reality only.

708
00:50:03,684 --> 00:50:06,644
Those documentaries
can be extraordinary.

709
00:50:06,804 --> 00:50:09,444
But I want mine to be a film too.

710
00:50:09,604 --> 00:50:12,844
I think it's fun to prepare a film

711
00:50:13,004 --> 00:50:15,644
with real reality, but also a twist.

712
00:50:15,804 --> 00:50:18,804
I really love organising,

713
00:50:18,964 --> 00:50:20,924
not the staging per se,

714
00:50:21,084 --> 00:50:24,004
but the general outline
of a documentary.

715
00:50:27,084 --> 00:50:28,964
From the very start, I understood

716
00:50:29,124 --> 00:50:32,164
that contemporary musicians
were my allies.

717
00:50:32,324 --> 00:50:33,804
I've mentioned Delerue.

718
00:50:33,964 --> 00:50:37,884
There was also Pierre Barbaud,
the composer for La Poinfe Courte,

719
00:50:38,044 --> 00:50:39,604
my first film,

720
00:50:40,684 --> 00:50:43,004
shot in 1954

721
00:50:43,164 --> 00:50:45,044
in a neighbourhood of Séte.

722
00:50:46,724 --> 00:50:49,444
I made that film with no experience,

723
00:50:49,604 --> 00:50:51,564
no film schooling,

724
00:50:51,724 --> 00:50:53,964
no prior work as an assistant.

725
00:50:55,524 --> 00:50:57,964
The film came out of nowhere.

726
00:51:06,204 --> 00:51:09,444
I had a particular structure in mind.

727
00:51:09,804 --> 00:51:14,284
I wanted to combine two films
with alternating chapters,

728
00:51:14,444 --> 00:51:18,604
like a Faulkner book I admired,
The Wild Palms.

729
00:51:18,884 --> 00:51:22,924
I'd alternate fishermen sequences
with couple sequences.

730
00:51:23,444 --> 00:51:25,964
Two stories with nothing in common

731
00:51:26,124 --> 00:51:28,084
except the location.

732
00:51:28,844 --> 00:51:31,084
It's a confrontation

733
00:51:31,244 --> 00:51:33,004
between the private and the social.

734
00:51:33,164 --> 00:51:34,844
The labour representative

735
00:51:35,844 --> 00:51:37,404
ls coming on the boat.

736
00:51:37,564 --> 00:51:39,124
Don't talk about encounters.

737
00:51:39,284 --> 00:51:43,644
It's a juxtaposition
of two approaches to the world.

738
00:51:43,804 --> 00:51:44,924
One very stylish,

739
00:51:45,084 --> 00:51:47,204
with composition and dialogue.

740
00:51:47,364 --> 00:51:49,164
I know your gestures.

741
00:51:49,324 --> 00:51:51,524
Your habits have become mine.

742
00:51:51,684 --> 00:51:53,724
No more surprises.

743
00:51:53,884 --> 00:51:57,724
And one that looks more
like Italian Neo-Realism.

744
00:51:57,884 --> 00:52:01,084
Though I hadn't yet seen those films.

745
00:52:02,764 --> 00:52:06,644
Alain Resnais, who edited the film,
taught me a lot.

746
00:52:08,364 --> 00:52:11,164
I did another thing that wasn't done.

747
00:52:11,324 --> 00:52:14,364
Usually sound diminishes
as people move away.

748
00:52:14,524 --> 00:52:18,324
It gets quieter
until you barely hear them.

749
00:52:18,484 --> 00:52:22,164
I decreed that the sound
would remain in the foreground.

750
00:52:23,084 --> 00:52:26,724
So as they talk and walk away,

751
00:52:26,924 --> 00:52:30,644
it feels like voiceover dialogue,

752
00:52:30,804 --> 00:52:32,764
yet they're really talking.

753
00:52:32,924 --> 00:52:34,124
It's synchronised.

754
00:52:34,284 --> 00:52:36,724
But the sound stays up front.

755
00:52:36,884 --> 00:52:40,364
<i>I never used to have such thoughts.
Did you?</i>

756
00:52:40,524 --> 00:52:43,204
I've always noticed others.

757
00:52:44,524 --> 00:52:48,724
But I don't want to live anywhere
but with you.

758
00:52:57,004 --> 00:52:59,564
Let's leap from Séte to Sceaux.

759
00:53:00,044 --> 00:53:05,204
In Sceaux Park, a project took shape
with my friend Jane Birkin.

760
00:53:06,404 --> 00:53:11,444
We were walking and suddenly she said,
"It's terrible, I'm almost 40."

761
00:53:11,604 --> 00:53:15,084
I said, "Don't be silly!
It's a wonderful age.

762
00:53:15,244 --> 00:53:17,124
Let's do your portrait."

763
00:53:17,964 --> 00:53:20,124
That's how it began.

764
00:53:20,884 --> 00:53:25,084
I suggested to this lively,
vivacious woman,

765
00:53:25,364 --> 00:53:30,244
that we do the opposite
of those tributes to dead actresses

766
00:53:30,404 --> 00:53:35,004
that compile excerpts from their films
and interviews.

767
00:53:35,324 --> 00:53:40,084
I said we'd create excerpts
of films she'd never made

768
00:53:40,244 --> 00:53:42,564
and do pretend interviews.

769
00:53:43,644 --> 00:53:49,284
We reversed the golden rule
about not breaking the fourth wall.

770
00:53:50,204 --> 00:53:53,324
<i>You must look into the camera
to look at me.</i>

771
00:53:53,684 --> 00:53:55,044
<i>I'm trying!</i>

772
00:53:56,004 --> 00:53:58,884
Its like I'm filming
your self-portrait.

773
00:53:59,044 --> 00:54:01,604
You won't always be alone in the mirror.

774
00:54:01,764 --> 00:54:05,564
There will be the camera,
which is a bit me.

775
00:54:06,044 --> 00:54:10,084
And if's OK if] sometimes appear
in the mirror or in the background.

776
00:54:10,564 --> 00:54:14,084
We were in it together.
The filmmaker and the filmed.

777
00:54:14,764 --> 00:54:17,604
The theme is painter and model.

778
00:54:19,324 --> 00:54:23,644
It's a surprise portrait
of Jane in many roles,

779
00:54:23,804 --> 00:54:25,084
including that of herself.

780
00:54:25,244 --> 00:54:28,324
With my jeans, old sweaters,
messy hair, pajamas...

781
00:54:28,484 --> 00:54:30,004
She was a good sport.

782
00:54:30,164 --> 00:54:31,404
She was funny,

783
00:54:31,564 --> 00:54:32,564
strange,

784
00:54:32,724 --> 00:54:33,724
magnificent,

785
00:54:34,404 --> 00:54:35,364
poignant.

786
00:54:35,524 --> 00:54:38,244
<i>They can eat and drink
a bit of my husband.</i>

787
00:54:42,124 --> 00:54:45,044
It was her first time
in a Spanish costume.

788
00:54:45,204 --> 00:54:46,644
She hated it.

789
00:54:47,204 --> 00:54:51,324
<i>This is also the first time
I've dared show my writing.</i>

790
00:54:51,724 --> 00:54:53,644
Yes, you let me read it.

791
00:54:53,804 --> 00:54:56,364
! liked it well use it

792
00:54:56,724 --> 00:55:00,964
We ended up making a whole film
to tell the story she wrote.

793
00:55:01,284 --> 00:55:03,804
She's a woman like me. She is me.

794
00:55:03,964 --> 00:55:06,604
She falls in love with a very young boy.

795
00:55:07,404 --> 00:55:09,764
<i>A love story with an unhappy ending.</i>

796
00:55:10,084 --> 00:55:13,404
<i>It'd be nice to shoot the film
as a family.</i>

797
00:55:13,564 --> 00:55:15,044
I get your art.

798
00:55:15,604 --> 00:55:18,884
<i>You want my son to play the boy.</i>

799
00:55:19,044 --> 00:55:20,564
Yes, of course.

800
00:55:21,244 --> 00:55:23,044
This was a first.

801
00:55:23,484 --> 00:55:28,484
We interrupted Jane B.
to make Aung Fu Master.

802
00:55:28,644 --> 00:55:32,124
Starring Jane as planned,
and Mathieu as planned.

803
00:55:32,724 --> 00:55:34,604
They played a love story

804
00:55:34,764 --> 00:55:37,924
that was a bit different than Jane's,
because now

805
00:55:38,324 --> 00:55:40,484
the woman was in love with a boy

806
00:55:40,644 --> 00:55:44,084
who was himself in love
with a video game.

807
00:55:44,244 --> 00:55:47,444
<i>They throw high or low.
You gotta duck or jump.</i>

808
00:55:48,044 --> 00:55:50,404
The game was called Kung Fu Master.

809
00:55:50,564 --> 00:55:52,804
And the boy wanted to master it.

810
00:55:52,964 --> 00:55:56,044
<i>Knock out a big guy or wizard to go up.</i>

811
00:55:56,204 --> 00:55:59,164
<i>You have to rescue Sylvia
on the 5th floor.</i>

812
00:56:03,684 --> 00:56:05,764
We shot in summer.

813
00:56:05,924 --> 00:56:07,324
I had Mathieu.

814
00:56:07,684 --> 00:56:10,204
And Jane had her two girls.

815
00:56:10,364 --> 00:56:11,964
We liked that.

816
00:56:14,164 --> 00:56:18,124
When school started, we resumed Jane 5.

817
00:56:19,284 --> 00:56:22,484
We played with cinema and painting.

818
00:56:22,884 --> 00:56:25,564
Its hard to pinpoint when you slipped

819
00:56:25,964 --> 00:56:28,644
<i>from close-ups to the background,</i>

820
00:56:29,004 --> 00:56:31,004
lo the very back of the shot

821
00:56:32,244 --> 00:56:34,964
Here she is as La Maja Vestida

822
00:56:35,804 --> 00:56:37,284
and La Maja Desnuda.

823
00:56:38,644 --> 00:56:39,604
And vexed

824
00:56:40,004 --> 00:56:42,724
in the background of Titian's Venus.

825
00:56:43,724 --> 00:56:46,164
May the plague take her! And old age!

826
00:56:46,644 --> 00:56:48,564
<i>May she die, may she rot!</i>

827
00:57:02,564 --> 00:57:05,884
Now we'll go
from the History of Painting

828
00:57:06,044 --> 00:57:08,044
to the History of Cinema.

829
00:57:08,524 --> 00:57:13,004
Cinema's 100th birthday
was celebrated very officially.

830
00:57:13,404 --> 00:57:18,924
They asked me to make a film
about the 100 years.

831
00:57:19,084 --> 00:57:22,844
I imagined a 100-year-old man.

832
00:57:23,084 --> 00:57:26,044
A man whose name would be

833
00:57:26,204 --> 00:57:29,564
Simon Cinema.
In French it sounds like "If my cinema."

834
00:57:29,724 --> 00:57:33,204
"If my cinema isn't good,
see another film."

835
00:57:33,364 --> 00:57:35,844
So ll called him Simon Cinema.

836
00:57:36,004 --> 00:57:37,164
Monsieur Cinema,

837
00:57:37,964 --> 00:57:40,124
played by Michel Piccoli,

838
00:57:40,724 --> 00:57:45,164
lived in a castle
that was like a film museum.

839
00:57:45,484 --> 00:57:47,764
Night is coming, and melancholy.

840
00:57:47,924 --> 00:57:51,444
Come now.
Who and what shall we talk about?

841
00:57:51,604 --> 00:57:53,644
Renoir? The Popular Front?

842
00:57:53,804 --> 00:57:56,604
I was thinking
of the fellow with the big eyes.

843
00:57:56,764 --> 00:57:58,644
<i>Who? Buster Keaton?</i>

844
00:57:58,804 --> 00:58:00,524
No, not Keaton today.

845
00:58:00,684 --> 00:58:03,844
Burivel. That eye he slashed in two.

846
00:58:09,204 --> 00:58:11,604
Monsieur Cinema had visitors.

847
00:58:11,764 --> 00:58:14,764
Hanna Schygulla and Jeanne Moreau!

848
00:58:14,924 --> 00:58:17,204
I worked with experienced actors here.

849
00:58:18,644 --> 00:58:20,164
They intimidate me.

850
00:58:21,324 --> 00:58:25,164
For this film,
I dared hire a number of stars.

851
00:58:26,804 --> 00:58:28,484
B for Belmondo.

852
00:58:30,084 --> 00:58:31,484
D for Depardieu.

853
00:58:33,484 --> 00:58:35,804
D for Delon.

854
00:58:36,324 --> 00:58:38,924
I hear Monsieur Cinema has taken ill.

855
00:58:39,564 --> 00:58:42,764
And D for duo. Two famous actors.

856
00:58:43,044 --> 00:58:45,484
Deneuve and De Niro.

857
00:58:48,244 --> 00:58:49,364
A dream.

858
00:58:52,604 --> 00:58:55,564
A dreamy couple, an idyllic cruise.

859
00:58:56,084 --> 00:58:58,564
In reality, on the technical side,

860
00:58:58,724 --> 00:59:00,484
the ocean was a pond.

861
00:59:00,644 --> 00:59:03,524
And 40 technicians found a clever way

862
00:59:03,684 --> 00:59:06,724
for us to do tracking shots
with light stands,

863
00:59:06,884 --> 00:59:10,884
filter screens, rails
and pillars for spotlights.

864
00:59:12,004 --> 00:59:13,324
It was very hot.

865
00:59:13,484 --> 00:59:17,284
We'd bought sunshades
and 20 rubber overalls.

866
00:59:17,844 --> 00:59:22,764
The crew resembled slaves
going down The Nile on a fool's arc.

867
00:59:28,444 --> 00:59:31,564
De Niro flew in on the Concorde
the day before.

868
00:59:31,724 --> 00:59:34,844
He said he rose at 4 a.m. for 3 days,

869
00:59:35,004 --> 00:59:37,564
to beat the jetlag in advance

870
00:59:37,724 --> 00:59:40,204
and be in good shape for the shoot.

871
00:59:42,684 --> 00:59:44,164
A one-day shoot.

872
00:59:44,324 --> 00:59:46,564
He had to leave the next morning.

873
00:59:47,924 --> 00:59:49,724
Getting up at 4 a.m.

874
00:59:50,444 --> 00:59:53,444
was so professional.
We were impressed.

875
00:59:53,844 --> 00:59:57,244
He was willing to shoot in a boat,
in a bowtie

876
00:59:57,404 --> 00:59:58,924
and in French.

877
00:59:59,324 --> 01:00:02,164
He learned his lines phonetically
all morning.

878
01:00:02,324 --> 01:00:04,604
It was fun rehearsing with him.

879
01:00:05,324 --> 01:00:07,364
Honey, did you turn off the gas,

880
01:00:07,524 --> 01:00:10,084
change the cat litter
and put the mayo in the fridge?

881
01:00:11,004 --> 01:00:12,124
Not bad!

882
01:00:18,284 --> 01:00:19,164
I can brag

883
01:00:19,324 --> 01:00:22,884
about getting Deneuve and De Niro
in a boat and in a film.

884
01:00:23,044 --> 01:00:26,804
I can brag about writing a scene
where De Niro falls in the water.

885
01:00:28,244 --> 01:00:30,444
But that was a stunt double.

886
01:00:31,604 --> 01:00:33,884
The film took a dive too.

887
01:00:34,044 --> 01:00:35,924
A box office disaster.

888
01:00:37,964 --> 01:00:41,564
I Didn't make
another fiction film in 35mm

889
01:00:41,964 --> 01:00:43,564
or 16mm.

890
01:00:43,924 --> 01:00:46,924
Through to the end of the century.

891
01:00:50,204 --> 01:00:52,604
But I'd made a few films.

892
01:00:52,764 --> 01:00:56,524
They are appreciated and loved
around the world.

893
01:00:57,084 --> 01:00:59,644
My films are covered in affection.

894
01:01:03,924 --> 01:01:05,564
Freeze frame.

895
01:01:05,724 --> 01:01:06,844
Let's talk photos,

896
01:01:07,004 --> 01:01:10,244
with a return to the 1950s
and picture cameras.

897
01:01:26,404 --> 01:01:29,244
I was a photographer in my first life.

898
01:01:29,404 --> 01:01:31,124
I'll be brief about it.

899
01:01:32,564 --> 01:01:34,164
Some remember

900
01:01:34,324 --> 01:01:37,324
my photographs of Gérard Philippe

901
01:01:37,564 --> 01:01:39,124
and Jean Vilar

902
01:01:39,684 --> 01:01:41,524
at the Avignon Festival

903
01:01:41,884 --> 01:01:44,884
and the TNP.
People still talk about them.

904
01:01:45,524 --> 01:01:50,724
Back then, in 1950,
I began photographing theatre.

905
01:01:50,884 --> 01:01:54,604
To document elements
of staging and performance,

906
01:01:54,764 --> 01:02:00,924
and also, in particular,
to create images to represent each play.

907
01:02:02,444 --> 01:02:03,684
For example,

908
01:02:04,324 --> 01:02:05,924
The Prince of Homburg.

909
01:02:06,084 --> 01:02:07,684
Officer, dreamer.

910
01:02:07,844 --> 01:02:10,204
Shot outside in bright sunlight.

911
01:02:11,044 --> 01:02:12,364
In profile,

912
01:02:12,524 --> 01:02:15,004
the star-crossed lovers of Macbeth,

913
01:02:15,164 --> 01:02:16,684
Vilar and Casareés.

914
01:02:17,084 --> 01:02:19,444
And Aing Ubu, on a jaunt in Paris.

915
01:02:19,604 --> 01:02:22,644
"Blue corn! Ham of God! Head of Cow!"

916
01:02:23,364 --> 01:02:26,804
Caravans as dressing rooms
for Mother Courage.

917
01:02:27,684 --> 01:02:30,404
And in a makeshift dressing room
at the Papal Palace,

918
01:02:30,564 --> 01:02:34,004
<i>Vilar alone,
after playing The Miser.</i>

919
01:02:36,524 --> 01:02:38,884
Salvador Dali in Cadaqués.

920
01:02:40,324 --> 01:02:42,164
Brassai on Rue Fermat.

921
01:02:43,844 --> 01:02:47,364
Eugene lonesco
with his three-nosed fiancée.

922
01:02:48,444 --> 01:02:50,444
Pierre Székely and his daughter.

923
01:02:51,804 --> 01:02:54,724
Simon Hantai with his wife and son.

924
01:02:56,564 --> 01:02:58,444
And Mario Prassinos.

925
01:02:59,484 --> 01:03:02,284
Calder in the 14th arrondissement.

926
01:03:03,684 --> 01:03:06,284
A few filmmakers: Visconti,

927
01:03:07,204 --> 01:03:08,524
Fellini,

928
01:03:09,604 --> 01:03:10,724
Demy.

929
01:03:11,844 --> 01:03:13,284
Jacques Demy.

930
01:03:15,124 --> 01:03:17,644
Portraits of famous actresses:

931
01:03:18,084 --> 01:03:19,564
<i>Anouk Aimee,</i>

932
01:03:20,604 --> 01:03:22,204
Catherine Deneuve

933
01:03:23,204 --> 01:03:24,324
and Jeanne Moreau.

934
01:03:26,364 --> 01:03:29,444
And the famous L/der Maximo,
Fidel Castro,

935
01:03:29,604 --> 01:03:31,364
with his wings of stone.

936
01:03:32,604 --> 01:03:34,164
But also neighbours:

937
01:03:34,524 --> 01:03:36,124
Mimi and her mother,

938
01:03:36,564 --> 01:03:38,084
Boukkra the grocer.

939
01:03:38,524 --> 01:03:39,684
And friends:

940
01:03:39,844 --> 01:03:42,164
Igor, my brother Jean,

941
01:03:42,924 --> 01:03:43,964
Linou

942
01:03:44,684 --> 01:03:46,404
and Véronique.

943
01:03:47,884 --> 01:03:50,084
Chance provided the staging

944
01:03:50,244 --> 01:03:53,604
on Corbusier's terrace in Marseille.

945
01:03:54,604 --> 01:03:57,564
These are people seen at random

946
01:03:58,004 --> 01:04:00,204
and caught at the right time.

947
01:04:00,364 --> 01:04:02,564
A Portuguese woman passing.

948
01:04:03,604 --> 01:04:05,644
A salt maker, some salt

949
01:04:05,804 --> 01:04:07,364
and a pious woman.

950
01:04:09,204 --> 01:04:11,524
People outside a circus.

951
01:04:12,964 --> 01:04:15,644
I liked to do composed photographs.

952
01:04:21,684 --> 01:04:23,404
Groups too.

953
01:04:23,644 --> 01:04:25,844
A family in the Ardennes.

954
01:04:26,244 --> 01:04:29,084
School girls in Mukden.

955
01:04:30,204 --> 01:04:31,924
China was so far away.

956
01:04:32,084 --> 01:04:33,644
I felt emotions there.

957
01:04:34,004 --> 01:04:35,644
With children.

958
01:04:36,524 --> 01:04:38,724
A little girl with a flower.

959
01:04:39,004 --> 01:04:42,324
The old woman in the back
has mangled feet.

960
01:04:43,244 --> 01:04:45,044
A little boy.

961
01:04:45,204 --> 01:04:49,084
Workers, or prisoners, pass nearby.

962
01:04:50,204 --> 01:04:52,564
And a moving landscape.

963
01:04:53,604 --> 01:04:56,844
A petrified forest
with two living beings:

964
01:04:57,004 --> 01:05:00,364
a small horse and a man bearing water.

965
01:05:07,444 --> 01:05:11,924
I'll sign off this prelude
with some self-portraits.

966
01:05:13,204 --> 01:05:15,284
In this one, I was 20.

967
01:05:16,364 --> 01:05:18,684
How I loved mosaics!

968
01:05:19,044 --> 01:05:21,244
In this one, I was 36.

969
01:05:21,404 --> 01:05:26,004
Standing on the right
of a huge painting by Gentile Bellini.

970
01:05:26,164 --> 01:05:28,164
How I loved paintings!

971
01:05:29,004 --> 01:05:31,164
And here I am at 80.

972
01:05:31,684 --> 01:05:36,404
I experienced the passage
from one century to another.

973
01:05:37,644 --> 01:05:41,564
As the year 2000 approached,
there were many rumours.

974
01:05:41,724 --> 01:05:43,324
It'd be the end of the world.

975
01:05:43,484 --> 01:05:48,204
A computer bug of epic proportions
would blow everything up.

976
01:05:48,884 --> 01:05:51,204
In reality, that New Year's Eve

977
01:05:51,364 --> 01:05:54,924
was celebrated a thousand ways,
from anxiety to exaltation.

978
01:05:55,524 --> 01:06:00,244
But on the first morning
of the 21st century, all was calm.

979
01:06:01,044 --> 01:06:04,364
The new century brought change.

980
01:06:04,524 --> 01:06:07,444
Something new for me as a filmmaker.

981
01:06:07,604 --> 01:06:11,084
Small cameras. Digital cameras.

982
01:06:11,244 --> 01:06:15,124
They gave me an opportunity

983
01:06:15,484 --> 01:06:17,524
to work in a different way.

984
01:06:18,404 --> 01:06:21,164
These new cameras are digital

985
01:06:21,524 --> 01:06:24,604
and fantastic.
They can be stroboscopic,

986
01:06:25,204 --> 01:06:26,284
narcissistic,

987
01:06:27,004 --> 01:06:28,604
even photorealistic.

988
01:06:52,644 --> 01:06:56,124
I could do more personal, intimate work.

989
01:06:56,284 --> 01:06:59,124
I could make documentaries freely.

990
01:07:00,404 --> 01:07:05,124
I'd like to return to three words
I mentioned in my first chat.

991
01:07:05,284 --> 01:07:09,204
Words that guide me.
Inspiration, creation, sharing.

992
01:07:09,364 --> 01:07:12,044
I'd like to discuss inspiration again.

993
01:07:12,724 --> 01:07:14,044
It's quite curious.

994
01:07:14,204 --> 01:07:16,364
Sometimes it happens,

995
01:07:16,524 --> 01:07:20,284
and it comes straight out of reality.

996
01:07:20,444 --> 01:07:24,684
I was at a café on Blvd. Edgar Quinet.

997
01:07:24,844 --> 01:07:28,164
The market was just finishing.

998
01:07:28,324 --> 01:07:32,284
I saw vendors loading their crates,

999
01:07:32,444 --> 01:07:35,124
baskets and cash boxes
into their trucks.

1000
01:07:35,284 --> 01:07:39,284
City cleaners were waiting
with their green plastic brooms.

1001
01:07:39,444 --> 01:07:41,284
And people began to come.

1002
01:07:41,444 --> 01:07:45,004
They bent down
and picked up what they could find.

1003
01:07:46,124 --> 01:07:48,844
A phrase took root in my mind.

1004
01:07:49,364 --> 01:07:52,844
"They pick up and eat
what we throw away."

1005
01:07:53,324 --> 01:07:56,924
The phrase felt like a subject
in itself.

1006
01:07:57,084 --> 01:08:00,724
I absolutely had to make a documentary.

1007
01:08:02,204 --> 01:08:06,164
Gleaning may be extinct,
but stooping has not vanished

1008
01:08:06,324 --> 01:08:08,044
from our sated society.

1009
01:08:08,284 --> 01:08:11,724
<i>Urban and rural gleaners
all stoop to pick up.</i>

1010
01:08:11,884 --> 01:08:15,204
There's no shame,
only worry and distress.

1011
01:08:16,004 --> 01:08:19,764
Those small cameras
really played a role here.

1012
01:08:19,924 --> 01:08:26,204
They allowed me to approach people
who'd fallen on hard times

1013
01:08:26,364 --> 01:08:30,204
and would've been uncomfortable
with a cameraman,

1014
01:08:30,524 --> 01:08:32,524
a sound guy with a boom,

1015
01:08:32,684 --> 01:08:35,484
assistants in caps and sunglasses...

1016
01:08:35,644 --> 01:08:38,244
All the clichés of a film shoot.

1017
01:08:38,404 --> 01:08:42,644
It was just me and my little camera,
like a picture camera.

1018
01:08:42,804 --> 01:08:44,524
I didn't frighten them.

1019
01:08:45,804 --> 01:08:47,564
I intimidated no one.

1020
01:08:47,724 --> 01:08:50,204
I never have.

1021
01:08:50,364 --> 01:08:54,844
It gave me a chance to meet people.
I'll tell you about Alain.

1022
01:08:56,604 --> 01:09:00,644
I see a man with a large bag
eating on the spot.

1023
01:09:06,124 --> 01:09:09,644
<i>I'd see him now and then,
always with his bag,</i>

1024
01:09:09,924 --> 01:09:11,364
always eating.

1025
01:09:18,004 --> 01:09:19,804
The day he was eating parsley

1026
01:09:19,964 --> 01:09:21,684
I approached him.

1027
01:09:22,524 --> 01:09:24,284
Are you a big parsley eater?

1028
01:09:24,444 --> 01:09:26,524
Sometimes. If's good for you.

1029
01:09:26,684 --> 01:09:30,884
<i>Full of vitamin C and E, beta carotene,
zinc, magnesium.</i>

1030
01:09:31,044 --> 01:09:32,324
<i>It's excellent.</i>

1031
01:09:33,484 --> 01:09:35,564
His answer amazed me.

1032
01:09:36,724 --> 01:09:39,604
Over the following weeks
I filmed him often,

1033
01:09:39,764 --> 01:09:41,404
with or without sound,

1034
01:09:41,564 --> 01:09:44,084
<i>and he talked to me in snatches.</i>

1035
01:09:46,724 --> 01:09:50,484
I eat a lot of fruit.
I love apples. They're easy.

1036
01:09:51,084 --> 01:09:52,884
I find all the apples I want

1037
01:09:54,044 --> 01:09:56,084
How many do you eat a day?

1038
01:09:56,244 --> 01:09:57,524
6or/.

1039
01:09:58,484 --> 01:10:00,324
ls if your staple diet?

1040
01:10:00,484 --> 01:10:02,684
I also eat bread.

1041
01:10:03,524 --> 01:10:05,924
I talked to him a number of times.

1042
01:10:06,084 --> 01:10:08,804
I learned how he went
from studying biology

1043
01:10:08,964 --> 01:10:12,204
to living in this difficult,
humble situation.

1044
01:10:12,964 --> 01:10:16,244
I was also keen
to explore agricultural gleaning.

1045
01:10:16,604 --> 01:10:20,724
Gleaning in the fields
after the harvest.

1046
01:10:21,084 --> 01:10:23,404
We had to shoot quickly.

1047
01:10:23,564 --> 01:10:25,644
It was potato season.

1048
01:10:25,804 --> 01:10:30,764
Seasons don't wait
on cinema's unpredictable schedules.

1049
01:10:30,924 --> 01:10:35,044
So I contacted a potato cooperative.

1050
01:10:35,484 --> 01:10:38,404
I saw the gleaners
and went to the cooperative.

1051
01:10:41,964 --> 01:10:44,924
In supermarkets, firm ones are sold

1052
01:10:45,084 --> 01:10:48,484
in containers of 2.5 or 5 kilos.

1053
01:10:48,644 --> 01:10:52,244
<i>They have to be a specific calibre.</i>

1054
01:10:52,924 --> 01:10:56,124
For the stores, we sell potatoes

1055
01:10:56,724 --> 01:10:59,884
ranging in size
from 45 to 75 millimetres.

1056
01:11:00,044 --> 01:11:03,924
All the rest
are automatically discarded.

1057
01:11:04,364 --> 01:11:06,724
<i>We reject outsized ones, green ones,</i>

1058
01:11:06,884 --> 01:11:08,484
sf ones and cut

1059
01:11:08,884 --> 01:11:10,324
or damaged ones.

1060
01:11:10,484 --> 01:11:14,524
The non-standard potatoes
are left in the fields.

1061
01:11:14,764 --> 01:11:17,244
Off 1 go with my 30 kilos.

1062
01:11:17,684 --> 01:11:19,604
There are several tonnes left

1063
01:11:19,764 --> 01:11:23,804
People could take some,
if they knew about it

1064
01:11:24,404 --> 01:11:25,644
There you go.

1065
01:11:26,404 --> 01:11:30,204
There's someone
who must have been tipped off.

1066
01:11:30,564 --> 01:11:33,204
Among the rejects, we find huge ones.

1067
01:11:36,564 --> 01:11:38,604
And heart-shaped ones.

1068
01:11:38,764 --> 01:11:41,164
The heart I want the heart!

1069
01:11:42,044 --> 01:11:43,284
What a surprise!

1070
01:11:43,724 --> 01:11:45,284
I Was happy.

1071
01:11:45,444 --> 01:11:47,044
I filmed them up close.

1072
01:11:47,884 --> 01:11:49,924
And brought some home.

1073
01:11:50,844 --> 01:11:53,844
Even with a documentary
on a specific subject,

1074
01:11:54,364 --> 01:11:57,364
you are guided by what you film.

1075
01:11:57,804 --> 01:12:00,764
Hearts speak of tenderness, love.

1076
01:12:00,924 --> 01:12:02,764
It was powerful.

1077
01:12:02,924 --> 01:12:05,924
We couldn't help but think about it.

1078
01:12:06,084 --> 01:12:09,164
It inspired us to approach the gleaners
with affection.

1079
01:12:12,684 --> 01:12:16,004
And those heart-shaped potatoes
inspired me.

1080
01:12:16,764 --> 01:12:18,364
I let them age,

1081
01:12:18,804 --> 01:12:19,924
sprout

1082
01:12:20,244 --> 01:12:22,084
and shrivel up.

1083
01:12:22,804 --> 01:12:24,364
Despite it all,

1084
01:12:24,644 --> 01:12:26,804
they found new life as sprouts

1085
01:12:27,284 --> 01:12:29,044
and roots.

1086
01:12:32,084 --> 01:12:35,844
That's when Hans Ulrich Obrist
came into my life.

1087
01:12:36,524 --> 01:12:41,084
He had a section
in the 2003 Venice Biennial.

1088
01:12:41,564 --> 01:12:43,804
He created a group

1089
01:12:43,964 --> 01:12:45,604
called Utopia Station.

1090
01:12:46,604 --> 01:12:50,164
Everyone did a poster
and an installation.

1091
01:12:50,324 --> 01:12:52,884
I had a potato costume made for me

1092
01:12:53,884 --> 01:12:57,404
to promote my installation Patatutopia.

1093
01:12:59,724 --> 01:13:02,884
There were 700 kilos of potatoes
on the floor.

1094
01:13:03,044 --> 01:13:06,764
It was the first time
I exposed on three screens.

1095
01:13:06,924 --> 01:13:08,444
I Loved it.

1096
01:13:08,604 --> 01:13:12,564
In the centre,
I put breathing, heart-shaped spuds.

1097
01:13:17,364 --> 01:13:20,244
And on either side, I put roots

1098
01:13:20,404 --> 01:13:22,084
and sprouts.

1099
01:13:34,124 --> 01:13:37,684
This work of rot
marked my entry

1100
01:13:37,844 --> 01:13:41,804
into the group of artists
known as visual artists.

1101
01:13:41,964 --> 01:13:45,924
The French call artists plasticiens.
We don't make plastic!

1102
01:13:46,084 --> 01:13:48,844
I prefer the English term:
visual artist.

1103
01:13:50,644 --> 01:13:53,204
I really enjoyed proposing

1104
01:13:53,364 --> 01:13:56,004
a more complex way of seeing.

1105
01:13:56,444 --> 01:14:00,924
It was also a nod
to 15th and 16th century triptychs,

1106
01:14:01,084 --> 01:14:02,564
which I love.

1107
01:14:03,724 --> 01:14:07,124
Some of them evoke special emotions.

1108
01:14:07,284 --> 01:14:13,324
I wanted to do something along the lines
of those triptychs of interior scenes.

1109
01:14:13,484 --> 01:14:17,844
So I made 7he Trptych of Noirmoutier.
Very simple. In a kitchen.

1110
01:14:18,644 --> 01:14:20,564
The man drinks his beer,

1111
01:14:20,724 --> 01:14:24,284
while his elderly mother
untangles a string

1112
01:14:24,444 --> 01:14:26,644
and his wife peels potatoes.

1113
01:14:27,604 --> 01:14:30,964
I've always had questions like:

1114
01:14:31,124 --> 01:14:34,684
What happens
before and after a snapshot?

1115
01:14:34,844 --> 01:14:37,444
Orin a film:
What happens when they exit the frame?

1116
01:14:39,644 --> 01:14:42,804
Here, I used side panels

1117
01:14:42,964 --> 01:14:45,324
to show what's off-screen.

1118
01:14:50,124 --> 01:14:54,364
I proposed answers
to our desire to enlarge the frame.

1119
01:14:56,084 --> 01:15:00,364
Visitors choose to see, or not,
what lies beyond the walls.

1120
01:15:17,164 --> 01:15:20,724
Many visitors came,
responded and reacted.

1121
01:15:20,884 --> 01:15:24,324
MoMA in New York
acquired one of the 3 copies.

1122
01:15:24,484 --> 01:15:27,244
And since then, Hervé Chandes,

1123
01:15:27,404 --> 01:15:30,204
the inventive Director of this place,

1124
01:15:30,364 --> 01:15:33,404
the Cartier Foundation
for Contemporary Art,

1125
01:15:33,564 --> 01:15:37,764
purchased the second copy
of the triptych.

1126
01:15:38,084 --> 01:15:42,684
The time has come to ask him
to join our chat.

1127
01:15:48,404 --> 01:15:50,044
Good evening.

1128
01:15:51,084 --> 01:15:52,964
Good evening Agnes, everyone.

1129
01:15:53,644 --> 01:15:56,204
We met when you invited me.

1130
01:15:56,564 --> 01:15:58,924
I'd seen the expo in Venice.

1131
01:15:59,084 --> 01:16:02,844
Then one day I called you, in 2005.

1132
01:16:03,004 --> 01:16:07,204
The expo at Martine Aboucaya's gallery
came soon after.

1133
01:16:07,364 --> 01:16:09,324
We went to it together.

1134
01:16:09,644 --> 01:16:13,284
That's where I discovered
The Triptych of Noirmoutier

1135
01:16:13,444 --> 01:16:15,364
<i>and The Widows of Noirmoutier.</i>

1136
01:16:15,524 --> 01:16:19,444
So you invited me
and offered me that incredible space.

1137
01:16:19,684 --> 01:16:23,284
I was so excited to have so much space.

1138
01:16:23,444 --> 01:16:27,724
All my ideas and propositions were based

1139
01:16:27,884 --> 01:16:31,844
on the lle of Noirmoutier,
where I'd lived with Jacques Demy.

1140
01:16:32,444 --> 01:16:34,764
I made up a title with two meanings,

1141
01:16:35,284 --> 01:16:36,644
L7e et Elle.

1142
01:16:36,804 --> 01:16:38,444
That was in 2006.

1143
01:16:39,524 --> 01:16:42,324
Before they built the bridge,

1144
01:16:42,484 --> 01:16:45,204
you could only get to the island

1145
01:16:45,364 --> 01:16:47,924
by the Gois highway at low tide.

1146
01:16:49,524 --> 01:16:52,884
Signs indicated
the exact times of the tides

1147
01:16:53,044 --> 01:16:55,044
and access to the island.

1148
01:16:55,404 --> 01:16:58,644
Visitors had to go through a filter.

1149
01:16:58,804 --> 01:17:00,604
We built a barrier.

1150
01:17:00,764 --> 01:17:03,204
They had to wait for low tide to go in.

1151
01:17:03,364 --> 01:17:04,964
A clever idea.

1152
01:17:06,044 --> 01:17:09,964
On a factory curtain
of heavy plastic slats,

1153
01:17:10,124 --> 01:17:12,124
you watched the tide go down.

1154
01:17:13,284 --> 01:17:16,004
Then the barrier lifted.

1155
01:17:19,204 --> 01:17:21,164
You entered the island

1156
01:17:21,644 --> 01:17:23,404
and my world.

1157
01:17:24,324 --> 01:17:26,204
The big postcard.

1158
01:17:26,604 --> 01:17:28,244
The portrait shack.

1159
01:17:28,564 --> 01:17:29,364
Women.

1160
01:17:30,684 --> 01:17:31,484
Men.

1161
01:17:33,084 --> 01:17:36,604
I took advantage
of the dimensions and light

1162
01:17:36,764 --> 01:17:40,084
in that big space
designed by Jean Nouvel

1163
01:17:40,244 --> 01:17:43,564
to make my first cinema shack.

1164
01:17:44,844 --> 01:17:48,164
Made with the footage of a film.

1165
01:17:49,644 --> 01:17:52,724
On a metal structure
by Christophe Vallaux,

1166
01:17:52,884 --> 01:17:58,084
we mounted the 3,500 metres
of a standard copy in 9 reels.

1167
01:17:58,764 --> 01:18:02,964
We even added a couple reels
to finish the roof.

1168
01:18:03,884 --> 01:18:05,044
For visitors,

1169
01:18:05,204 --> 01:18:07,204
the film's good and beautiful actors

1170
01:18:07,484 --> 01:18:09,724
Catherine Deneuve and Michel Piccoli,

1171
01:18:09,884 --> 01:18:11,804
Were now up close.

1172
01:18:13,124 --> 01:18:14,284
The close-ups

1173
01:18:14,444 --> 01:18:16,684
and the light passing through the film

1174
01:18:16,844 --> 01:18:19,324
create a new form of cinema.

1175
01:18:20,884 --> 01:18:22,564
Let's rewind a bit.

1176
01:18:23,564 --> 01:18:28,124
We filmmakers
used to work with 35mm film.

1177
01:18:28,484 --> 01:18:31,164
We handled it during editing,
assembled it.

1178
01:18:33,044 --> 01:18:34,644
We transported reels in canisters.

1179
01:18:35,084 --> 01:18:36,644
And it all ended up

1180
01:18:36,804 --> 01:18:38,444
in cinema projection booths.

1181
01:18:40,444 --> 01:18:42,284
Film projection has disappeared

1182
01:18:43,444 --> 01:18:45,284
in favour of digital files.

1183
01:18:46,644 --> 01:18:49,524
We found ourselves
with hundreds of reels

1184
01:18:49,684 --> 01:18:51,484
stagnating on shelves,

1185
01:18:51,644 --> 01:18:54,004
in basements, projection booths

1186
01:18:54,164 --> 01:18:55,804
and stockrooms.

1187
01:19:03,844 --> 01:19:06,884
We used the reels of my film Happiness

1188
01:19:07,044 --> 01:19:08,844
to build, in 2018,

1189
01:19:09,244 --> 01:19:12,004
my third cinema shack
in the Galerie Obadia.

1190
01:19:18,644 --> 01:19:20,284
For those who know the film,

1191
01:19:20,444 --> 01:19:23,404
this is a reference
to the opening credits.

1192
01:19:24,004 --> 01:19:25,284
Jean-Claude Drouot,

1193
01:19:25,444 --> 01:19:27,284
his wife and his children,

1194
01:19:27,444 --> 01:19:28,724
the film's characters,

1195
01:19:28,884 --> 01:19:31,284
arrive blurry in the background.

1196
01:19:31,444 --> 01:19:34,644
In the foreground
is a field of sunflowers.

1197
01:19:37,404 --> 01:19:39,444
I made light boxes

1198
01:19:40,284 --> 01:19:42,364
for close-ups of the film strips,

1199
01:19:42,524 --> 01:19:48,044
with their projector perforations
and optical soundtrack.

1200
01:19:51,404 --> 01:19:53,844
So, this is the archway.

1201
01:19:54,244 --> 01:19:55,844
The archway of canisters.

1202
01:19:56,004 --> 01:19:59,164
The metal canisters that contain films.

1203
01:19:59,324 --> 01:20:02,484
We have the contents and the containers.

1204
01:20:03,284 --> 01:20:04,524
The canisters are empty?

1205
01:20:04,684 --> 01:20:06,084
Yes. Their contents

1206
01:20:06,724 --> 01:20:09,044
were used to make the shack.

1207
01:20:09,204 --> 01:20:10,684
You're recycling.

1208
01:20:10,844 --> 01:20:12,044
Always.

1209
01:20:12,684 --> 01:20:16,004
<i>Ever since The Gleaners, whose theme</i>

1210
01:20:16,164 --> 01:20:18,844
was suggested
by the gleaners themselves,

1211
01:20:19,004 --> 01:20:20,604
I've been interested in it.

1212
01:20:20,764 --> 01:20:24,764
And I've learned
that recycling brings joy.

1213
01:20:24,924 --> 01:20:27,084
We feel things aren't lost.

1214
01:20:27,244 --> 01:20:30,004
By taking these unusable canisters

1215
01:20:30,164 --> 01:20:32,364
and that unusable film

1216
01:20:32,524 --> 01:20:35,124
and recycling them artistically,
so to speak,

1217
01:20:35,284 --> 01:20:36,884
we give them new life.

1218
01:20:37,044 --> 01:20:39,444
It's not wasted. It comes back.

1219
01:20:39,604 --> 01:20:42,164
Nothing is lost. Everything transforms.

1220
01:20:42,324 --> 01:20:46,204
It transforms
through creation and imagination.

1221
01:20:51,444 --> 01:20:53,164
On the same floor,

1222
01:20:53,324 --> 01:20:56,084
I did an installation all in plastic.

1223
01:20:57,484 --> 01:21:00,764
Your work is fairly serious,
but this is funny.

1224
01:21:01,124 --> 01:21:05,524
Blowup mattresses, swim rings...
It's childhood, summertime.

1225
01:21:06,564 --> 01:21:10,524
Today we know plastic
is a scourge on the planet.

1226
01:21:10,684 --> 01:21:14,004
And yet,
how I loved that colourful stuff,

1227
01:21:14,164 --> 01:21:15,884
so cheap and so funny.

1228
01:21:16,884 --> 01:21:18,764
A 3-euro pair of thongs

1229
01:21:18,924 --> 01:21:21,684
<i>is 2 triumph of consumer society!</i>

1230
01:21:22,404 --> 01:21:24,204
I wanted to celebrate it.

1231
01:21:25,764 --> 01:21:27,124
70 me, colour dances.

1232
01:21:27,284 --> 01:21:30,004
It dances in my head. It's summer.

1233
01:21:31,444 --> 01:21:33,764
<i>Two things motivated me to do this.</i>

1234
01:21:33,924 --> 01:21:37,324
A desire to throw myself info colour.

1235
01:21:37,724 --> 01:21:41,244
And the sound of it inspired me foo.

1236
01:21:41,684 --> 01:21:44,084
Ping Pong, Thongs and Camping.

1237
01:21:54,764 --> 01:21:58,764
Bernard Lubat improvised music
on a pulsating table.

1238
01:21:59,844 --> 01:22:02,524
A ping pong concerto.

1239
01:22:11,644 --> 01:22:17,124
From the carefree world of childhood,
we went to a moving, solemn work:

1240
01:22:17,284 --> 01:22:19,004
The Widows of Noirmoutier.

1241
01:22:19,484 --> 01:22:21,524
There are many on the island.

1242
01:22:21,684 --> 01:22:23,364
I went there often.

1243
01:22:23,524 --> 01:22:25,204
I'm a widow too.

1244
01:22:26,924 --> 01:22:28,884
I felt close to them.

1245
01:22:29,044 --> 01:22:32,964
I began by asking
if they'd mind if I filmed them.

1246
01:22:33,204 --> 01:22:36,804
One-on-one. I was usually alone.

1247
01:22:36,964 --> 01:22:40,724
And they trusted me, because...

1248
01:22:40,884 --> 01:22:45,164
they felt
they could share their distress with me.

1249
01:22:46,244 --> 01:22:50,004
I arranged the space
in a particular way,

1250
01:22:50,164 --> 01:22:53,644
creating a polyptych screen.

1251
01:22:54,204 --> 01:22:59,444
Like the one by Jan van Kessel
of the four continents.

1252
01:23:02,604 --> 01:23:07,924
There was a central film,
shot by Eric Gauthier in 35mm.

1253
01:23:08,084 --> 01:23:10,124
It showed a table on a beach,

1254
01:23:10,284 --> 01:23:12,844
and widows walking around it.

1255
01:23:14,164 --> 01:23:18,524
That image was surrounded
by 14 small video screens.

1256
01:23:18,684 --> 01:23:20,764
There were 14 chairs in the room.

1257
01:23:20,924 --> 01:23:22,884
Each chair had headphones,

1258
01:23:23,044 --> 01:23:25,444
to listen to one of the widows.

1259
01:23:26,404 --> 01:23:30,164
<i>Some people say
they speak to their dead.</i>

1260
01:23:30,324 --> 01:23:32,324
I don't do that

1261
01:23:36,724 --> 01:23:41,404
As I tell my kids, Dad left 13 years ago
but I can tell you...

1262
01:23:41,564 --> 01:23:44,004
it still feels like yesterday.

1263
01:23:44,364 --> 01:23:46,244
Especially at night.

1264
01:23:47,204 --> 01:23:51,844
During the day,
things keep you occupied.

1265
01:23:52,004 --> 01:23:55,324
But at night you're all alone.

1266
01:23:55,964 --> 01:23:58,124
You think twice as much.

1267
01:24:02,404 --> 01:24:06,244
What I miss is touching him...

1268
01:24:06,404 --> 01:24:10,004
The house is still filled
with his presence.

1269
01:24:10,164 --> 01:24:12,084
His smell, his...

1270
01:24:12,244 --> 01:24:16,524
<i>Two days ago we ate green beans
he bought at the market.</i>

1271
01:24:17,364 --> 01:24:19,484
<i>It's still so new.</i>

1272
01:24:37,484 --> 01:24:40,524
That project really interested me.

1273
01:24:40,684 --> 01:24:42,764
I was used to one screen,

1274
01:24:42,924 --> 01:24:45,524
where everyone watches the same thing.

1275
01:24:45,684 --> 01:24:50,324
I wanted to modify
the audience's experience.

1276
01:24:50,484 --> 01:24:54,644
There, you had just 14 people
listening to one widow each.

1277
01:24:54,804 --> 01:24:56,764
But they were together in the room.

1278
01:24:56,924 --> 01:25:00,964
It made the experience
both intimate and collective.

1279
01:25:05,124 --> 01:25:09,084
Having each widow speak to one person

1280
01:25:09,244 --> 01:25:13,164
meant that
when the installation travelled,

1281
01:25:13,564 --> 01:25:17,004
we obviously couldn't subtitle it.

1282
01:25:17,164 --> 01:25:19,684
We'd lose the confidentiality.

1283
01:25:19,844 --> 01:25:21,204
So we dubbed it.

1284
01:25:21,364 --> 01:25:22,924
We dubbed the widows

1285
01:25:23,284 --> 01:25:24,404
in Swedish,

1286
01:25:24,564 --> 01:25:25,884
in English of course,

1287
01:25:26,044 --> 01:25:27,124
in Spanish,

1288
01:25:27,284 --> 01:25:29,124
and even in Chinese.

1289
01:25:33,204 --> 01:25:35,204
We loved each other so much...

1290
01:25:46,804 --> 01:25:48,764
It was so amazing for me

1291
01:25:48,924 --> 01:25:51,484
to see the Noirmoutier widows' words

1292
01:25:51,644 --> 01:25:54,644
finding listeners so far from home.

1293
01:25:54,804 --> 01:25:58,804
It's striking to see
how something so local,

1294
01:25:58,964 --> 01:26:01,644
like these stories from Noirmoutier,

1295
01:26:01,804 --> 01:26:05,084
can be so universal.

1296
01:26:05,244 --> 01:26:08,324
In China, Argentina or elsewhere.

1297
01:26:08,884 --> 01:26:13,244
It gave me great confidence
in art in the grand sense.

1298
01:26:13,404 --> 01:26:16,124
Because art

1299
01:26:16,284 --> 01:26:18,964
moves across cultures,

1300
01:26:19,124 --> 01:26:21,844
countries, nationalities, religions

1301
01:26:22,004 --> 01:26:23,524
and ages.

1302
01:26:24,644 --> 01:26:27,404
Speaking of ages, let's talk mine.

1303
01:26:27,564 --> 01:26:30,364
I just passed 90 and I don't care.

1304
01:26:30,524 --> 01:26:32,524
But 10 years ago,

1305
01:26:32,804 --> 01:26:36,564
when I was about to turn 80, I panicked.

1306
01:26:36,724 --> 01:26:38,484
The number 80

1307
01:26:38,644 --> 01:26:42,924
felt like the front of a train
barreling toward me.

1308
01:26:43,084 --> 01:26:46,764
I had to finish something
by the time I was 80.

1309
01:26:46,924 --> 01:26:49,884
So I plunged into a film project.

1310
01:26:50,044 --> 01:26:54,444
I went into it
feeling I had to get it done quick.

1311
01:26:55,844 --> 01:26:59,724
It would be a self-portrait,
a story of my journey.

1312
01:27:00,564 --> 01:27:02,724
I called it 7he Beaches of Agnes

1313
01:27:02,884 --> 01:27:06,204
because I've always lived near beaches.

1314
01:27:06,364 --> 01:27:10,084
I grew up in Belgium
near the northern beaches.

1315
01:27:10,244 --> 01:27:12,964
After the bombings
and the fall of France

1316
01:27:13,124 --> 01:27:16,084
we fled to Séte on the Mediterranean.

1317
01:27:16,244 --> 01:27:18,484
Jacques introduced me to the Atlantic.

1318
01:27:18,644 --> 01:27:22,244
In Los Angeles,
we discovered the Pacific.

1319
01:27:22,404 --> 01:27:24,644
We felt we'd seen all the seas.

1320
01:27:26,284 --> 01:27:28,764
Jacques and I lived for a long time

1321
01:27:29,324 --> 01:27:30,284
on Rue Daguerre.

1322
01:27:30,444 --> 01:27:35,964
So to justify the title of the film,
we made a beach outside my house

1323
01:27:36,124 --> 01:27:37,004
and office.

1324
01:27:37,164 --> 01:27:38,644
Ciné Tamaris.

1325
01:27:38,804 --> 01:27:42,004
You want Cecilia Rose?
One moment

1326
01:27:42,164 --> 01:27:45,284
<i>They want to rent Donkey Skin.</i>

1327
01:27:49,404 --> 01:27:50,964
11 pass you Agnes.

1328
01:27:51,924 --> 01:27:53,164
Me first!

1329
01:27:53,484 --> 01:27:56,044
<i>Please hold, I'l get back to you.</i>

1330
01:27:59,444 --> 01:28:01,124
I'm out of tea!

1331
01:28:01,764 --> 01:28:03,364
Got the estimate?

1332
01:28:03,684 --> 01:28:05,604
Not yet. Not yet!

1333
01:28:06,164 --> 01:28:08,284
Beachfront houses are nice.

1334
01:28:08,444 --> 01:28:12,084
Our neighbours were amused
and a bit alarmed.

1335
01:28:12,244 --> 01:28:14,164
The street was blocked for 2 days.

1336
01:28:14,324 --> 01:28:15,884
We had a permit.

1337
01:28:16,044 --> 01:28:17,444
For a private collection.

1338
01:28:17,604 --> 01:28:18,564
See Stéphanie.

1339
01:28:18,964 --> 01:28:20,484
Bank Neuflize OBC?

1340
01:28:22,524 --> 01:28:25,444
We need a loan without interest

1341
01:28:25,604 --> 01:28:28,924
lo finish this film comfortably. Please!

1342
01:28:29,284 --> 01:28:32,684
A loan without interest.
Money was our eternal problem.

1343
01:28:33,164 --> 01:28:37,284
<i>You must spend,
but you must also collect.</i>

1344
01:28:37,564 --> 01:28:39,764
If not money, then trophies.

1345
01:28:40,284 --> 01:28:42,724
In a closet or on the sand,

1346
01:28:42,884 --> 01:28:45,604
Demy's and mine stick together.

1347
01:28:45,764 --> 01:28:49,044
A Golden Palm from Cannes.
A Golden Lion from Venice.

1348
01:28:49,884 --> 01:28:51,244
And since...

1349
01:28:52,284 --> 01:28:54,404
Vanitas, vanitatis...

1350
01:29:08,964 --> 01:29:12,124
<i>I play the role of a little old lady,</i>

1351
01:29:12,284 --> 01:29:14,324
pleasantly plump and talkative,

1352
01:29:14,724 --> 01:29:16,564
telling her life story.

1353
01:29:18,844 --> 01:29:23,284
And yet others interest me more.
I prefer filming them.

1354
01:29:24,044 --> 01:29:27,564
Others intrigue me, motivate me,

1355
01:29:28,204 --> 01:29:29,924
arouse my curiosity,

1356
01:29:30,284 --> 01:29:33,244
<i>disconcert me, fascinate me.</i>

1357
01:29:34,764 --> 01:29:37,604
In telling my story, I thought:

1358
01:29:37,764 --> 01:29:40,844
If we opened people,
we'd find landscapes.

1359
01:29:42,204 --> 01:29:45,564
If we opened me, we'd find beaches.

1360
01:29:48,764 --> 01:29:51,244
Good. Turn it all the way around.

1361
01:29:52,644 --> 01:29:54,804
Painters use mirrors as tools

1362
01:29:55,284 --> 01:29:57,604
in making self-portraits.

1363
01:29:58,884 --> 01:30:00,764
But actually,

1364
01:30:01,044 --> 01:30:03,364
I presented, in my mirror,

1365
01:30:03,524 --> 01:30:06,604
people who worked with
and accompanied me.

1366
01:30:06,764 --> 01:30:09,044
It was a way to say

1367
01:30:09,204 --> 01:30:11,284
the film was about others and me.

1368
01:30:11,444 --> 01:30:13,324
Or me and others.

1369
01:30:17,004 --> 01:30:18,284
And I thought

1370
01:30:18,444 --> 01:30:22,444
of all the times I marched with others,
for various causes.

1371
01:30:23,844 --> 01:30:28,404
I wanted to march
in homage to a drawing by Sempé.

1372
01:30:28,564 --> 01:30:30,244
I hurt everywhere

1373
01:30:30,844 --> 01:30:32,204
We filmed the rally,

1374
01:30:32,364 --> 01:30:34,644
and me alone on the sidewalk

1375
01:30:34,804 --> 01:30:37,524
with a sign reading,
"I hurt everywhere."

1376
01:30:39,324 --> 01:30:42,844
I can march again if you like,
it's still true.

1377
01:30:43,204 --> 01:30:45,684
In any case, I tried,

1378
01:30:46,284 --> 01:30:47,844
with this film,

1379
01:30:48,004 --> 01:30:49,884
not only to tell my story,

1380
01:30:50,044 --> 01:30:54,964
but also to bring to life
memories attached to my films.

1381
01:30:55,124 --> 01:30:58,164
To capture certain moments
in the present.

1382
01:30:58,324 --> 01:30:59,844
For example,

1383
01:31:00,764 --> 01:31:05,044
I wanted to visit my childhood home
in Brussels, Rue de I'Aurore.

1384
01:31:05,204 --> 01:31:06,884
I went to film it,

1385
01:31:07,044 --> 01:31:12,724
but I met a couple there who collected
those little miniature trains.

1386
01:31:12,884 --> 01:31:17,164
Their collection was so extraordinary
and they were so enthusiastic

1387
01:31:17,324 --> 01:31:20,044
that I made a documentary about them.

1388
01:31:20,204 --> 01:31:23,524
It was more entertaining
than my old curtains.

1389
01:31:23,684 --> 01:31:26,004
So I've been right

1390
01:31:26,324 --> 01:31:28,564
in choosing others over myself.

1391
01:31:31,484 --> 01:31:34,164
This is a brass piece.

1392
01:31:34,324 --> 01:31:38,084
It's worth 80,000 Belgian francs
in Switzerland.

1393
01:31:38,244 --> 01:31:41,044
Only 150 of them were made.

1394
01:31:41,564 --> 01:31:43,524
We call ourselves "insane for trains.”

1395
01:31:43,924 --> 01:31:49,004
<i>The real term for train lovers,
toy trains or real trains,</i>

1396
01:31:49,164 --> 01:31:52,084
ls "trainopatl. ”

1397
01:31:54,924 --> 01:31:56,684
Trainopath!

1398
01:31:58,284 --> 01:32:00,244
And since it was unusual,

1399
01:32:00,404 --> 01:32:02,324
and I like making documentaries,

1400
01:32:02,484 --> 01:32:04,204
I jumped on the chance

1401
01:32:04,364 --> 01:32:06,284
offered to me by chance.

1402
01:32:06,444 --> 01:32:09,124
The "childhood home" part was a flop.

1403
01:32:13,844 --> 01:32:18,124
Then I returned to the Pointe Courte
where I shot my first film.

1404
01:32:18,284 --> 01:32:21,084
Where I learned
to choose places and faces

1405
01:32:21,244 --> 01:32:24,484
and work with non-professionals.

1406
01:32:24,644 --> 01:32:26,684
As I walked around,

1407
01:32:26,844 --> 01:32:31,364
I wanted to create a situation
linked to a memory from the film.

1408
01:32:31,524 --> 01:32:34,124
Create an emotion in the present.

1409
01:32:34,284 --> 01:32:39,804
I found some 16mm footage
I'd shot as a rough draft of the film.

1410
01:32:39,964 --> 01:32:41,964
I'd asked my friend Suzou

1411
01:32:42,124 --> 01:32:43,884
and her husband Pierrot

1412
01:32:44,044 --> 01:32:46,964
to pretend to be the couple

1413
01:32:47,244 --> 01:32:48,724
in the film.

1414
01:32:49,164 --> 01:32:52,924
Before the final cut
Pierrot died of cancer.

1415
01:32:55,364 --> 01:32:57,284
Suzou raised their two sons.

1416
01:32:57,724 --> 01:32:58,604
Blaise

1417
01:32:59,044 --> 01:33:00,484
and Vincent

1418
01:33:00,964 --> 01:33:02,364
I invited them

1419
01:33:02,524 --> 01:33:05,484
lo share in a ceremony
with a cart from the film.

1420
01:33:05,644 --> 01:33:09,804
A way to show them
the fest footage they'd never seen.

1421
01:33:22,124 --> 01:33:26,404
<i>They'd seen their father in photos,
but never in motion.</i>

1422
01:33:36,524 --> 01:33:40,724
We walked through the night
with our beloved friend.

1423
01:33:41,764 --> 01:33:46,004
Hundreds of anonymous people,
gone and forgotten,

1424
01:33:46,164 --> 01:33:49,684
inspired this Boltanski installation
that I filmed.

1425
01:33:49,844 --> 01:33:51,644
It was called Personnes.

1426
01:33:51,804 --> 01:33:53,484
Hundreds of tin boxes

1427
01:33:53,644 --> 01:33:56,124
as manifestations of his project.

1428
01:33:56,284 --> 01:34:02,684
Each number evokes a person,
and each tin is different

1429
01:34:02,844 --> 01:34:07,644
Its as though each box
has someone inside, someones heart

1430
01:34:08,004 --> 01:34:10,044
or someone's Spirit.

1431
01:34:11,964 --> 01:34:13,404
Behind the wall of tins,

1432
01:34:13,564 --> 01:34:15,284
like a monument to the dead,

1433
01:34:15,444 --> 01:34:18,284
I filmed this gigantic installation.

1434
01:34:18,684 --> 01:34:21,964
On the floor were thousands of clothes.

1435
01:34:22,404 --> 01:34:24,564
And a pyramid of old clothes.

1436
01:34:24,724 --> 01:34:27,204
The artist gave them a meaning.

1437
01:34:27,364 --> 01:34:30,204
There's this constant movement

1438
01:34:30,764 --> 01:34:34,084
The claw takes and releases.

1439
01:34:34,244 --> 01:34:36,404
It grabs at random.

1440
01:34:36,564 --> 01:34:38,724
A bit like the hand of God.

1441
01:34:38,884 --> 01:34:41,084
<i>It's neither good nor evil.</i>

1442
01:34:41,244 --> 01:34:44,324
It just does its job.
Taking and releasing.

1443
01:34:52,524 --> 01:34:55,884
It's part of a series
I made around the world.

1444
01:34:56,044 --> 01:34:58,124
I filmed people and places.

1445
01:34:58,284 --> 01:35:00,404
And in France, artists.

1446
01:35:02,884 --> 01:35:07,284
Artists and filmmakers whose work I love
open my mind.

1447
01:35:07,444 --> 01:35:10,644
They give me pleasure and energy.

1448
01:35:12,604 --> 01:35:15,364
And a desire to invent installations

1449
01:35:15,524 --> 01:35:19,284
or methods for each subject,
each project.

1450
01:35:20,724 --> 01:35:23,884
Here, on the 2nd floor
of a condemned building in Nantes,

1451
01:35:24,764 --> 01:35:26,004
I wanted to show

1452
01:35:26,164 --> 01:35:28,764
what life is like for squatters
who have nothing

1453
01:35:28,924 --> 01:35:31,724
and are evicted unceremoniously.

1454
01:35:31,884 --> 01:35:34,364
I posted information on a wall.

1455
01:35:34,804 --> 01:35:38,764
In an abandoned room,
I installed three essential items.

1456
01:35:39,444 --> 01:35:43,124
A mattress,
because they seek a place to sleep.

1457
01:35:43,284 --> 01:35:45,844
A woodstove, because they're cold.

1458
01:35:46,204 --> 01:35:50,404
And a shopping cart with a microwave,
because they're hungry.

1459
01:35:51,084 --> 01:35:53,884
The idea of a bed is important.

1460
01:35:54,124 --> 01:35:56,044
A bed is important.

1461
01:35:56,204 --> 01:35:58,844
Having a roof over your head.

1462
01:35:59,524 --> 01:36:01,564
<i>Someone left mattresses outside.</i>

1463
01:36:02,124 --> 01:36:05,844
We picked them up
and brought them home.

1464
01:36:07,844 --> 01:36:10,244
How many people live here?

1465
01:36:11,324 --> 01:36:12,644
About 6.

1466
01:36:12,804 --> 01:36:15,244
Yeah, 6 or 5.

1467
01:36:16,324 --> 01:36:18,364
You can prepare all you like,

1468
01:36:18,524 --> 01:36:22,004
but when winter comes,
at some point, it'll be cold.

1469
01:36:22,164 --> 01:36:24,804
This year, winter was so hard.

1470
01:36:24,964 --> 01:36:28,764
I Have a bad window,
its alreaay broken.

1471
01:36:28,924 --> 01:36:32,124
Air gets in and it's very humid.

1472
01:36:33,204 --> 01:36:36,204
<i>People can end up on the streets.</i>

1473
01:36:36,444 --> 01:36:40,804
One day they might wake up
lo the police bursting in.

1474
01:36:41,204 --> 01:36:44,284
It was 7 in the morning.

1475
01:36:44,724 --> 01:36:46,804
They knocked on many doors.

1476
01:36:47,404 --> 01:36:51,484
We didn't wake up fast enough
to open the door.

1477
01:36:51,644 --> 01:36:53,284
They broke it down.

1478
01:36:53,444 --> 01:36:56,164
<i>It was so violent.
There were 40 of them.</i>

1479
01:36:56,884 --> 01:36:59,124
Over 40 police officers.

1480
01:36:59,284 --> 01:37:02,284
We were surrounded, people panicked.

1481
01:37:02,444 --> 01:37:03,644
<i>It was so sudden.</i>

1482
01:37:03,804 --> 01:37:07,484
<i>We didn't even have 10 minutes.</i>

1483
01:37:08,084 --> 01:37:09,444
Our stuff is still in there.

1484
01:37:09,604 --> 01:37:11,124
Can you get it?

1485
01:37:11,284 --> 01:37:13,924
No, they walled it off.

1486
01:37:17,244 --> 01:37:19,884
The opposite of a wall is a beach.

1487
01:37:21,924 --> 01:37:25,204
But it can become a wall,
as in this installation,

1488
01:37:25,364 --> 01:37:28,524
where I evoked the seaside
in three ways.

1489
01:37:29,204 --> 01:37:30,804
A giant photo.

1490
01:37:30,964 --> 01:37:33,564
The seafoam on the wave is still.

1491
01:37:33,804 --> 01:37:36,924
Then the still image
becomes a moving image.

1492
01:37:37,084 --> 01:37:40,804
The wave breaking on the sand.

1493
01:37:40,964 --> 01:37:42,364
And then sand.

1494
01:37:42,524 --> 01:37:44,644
A bit of tangible reality.

1495
01:37:47,164 --> 01:37:49,244
As in Patatutopia,

1496
01:37:49,764 --> 01:37:54,364
I like to bring together
reality and its representation.

1497
01:37:54,524 --> 01:37:55,964
That's a general goal,

1498
01:37:56,124 --> 01:38:00,604
but I also juxtapose
moving images and still images

1499
01:38:01,164 --> 01:38:02,804
in video...

1500
01:38:04,684 --> 01:38:06,444
and in photography.

1501
01:38:09,084 --> 01:38:11,564
The middle image is an old photograph.

1502
01:38:11,724 --> 01:38:14,004
A silver print from the 1950s.

1503
01:38:14,924 --> 01:38:16,404
On either side,

1504
01:38:16,564 --> 01:38:19,404
I took digital photographs in colour

1505
01:38:19,564 --> 01:38:21,444
of moving doves.

1506
01:38:23,204 --> 01:38:26,364
The metal frames resemble frames
I saw in Mexico.

1507
01:38:26,524 --> 01:38:28,604
<i>And he's Miguel Barceld.</i>

1508
01:38:29,524 --> 01:38:31,044
Another triptych.

1509
01:38:31,284 --> 01:38:34,084
The photo of Alice
hangs on the wall.

1510
01:38:34,644 --> 01:38:38,284
Next to it,
we project a double video.

1511
01:38:41,084 --> 01:38:44,524
I was fascinated
by how still the cows were.

1512
01:38:45,204 --> 01:38:47,724
Filming them for a moment,

1513
01:38:47,884 --> 01:38:52,884
we captured a fleeting instant
between stillness and movement.

1514
01:38:53,044 --> 01:38:56,364
One flicks her ear,
then starts to move.

1515
01:38:56,524 --> 01:39:00,284
A desire for movement
linked to immobility.

1516
01:39:03,004 --> 01:39:04,964
For a family cat,

1517
01:39:05,204 --> 01:39:06,564
Zgougou,

1518
01:39:06,724 --> 01:39:08,684
I made a tomb.

1519
01:39:13,444 --> 01:39:18,164
The animation was done the old way,
to music by Steve Reich,

1520
01:39:18,404 --> 01:39:22,364
We filmed the finished installation
with shells and flowers.

1521
01:39:22,524 --> 01:39:24,844
Then we filmed image by image,

1522
01:39:25,004 --> 01:39:27,244
removing one element at a time.

1523
01:39:27,564 --> 01:39:31,284
Here the sequence plays backwards.

1524
01:39:38,284 --> 01:39:42,804
You watched me film it, Hervé.
You brought your daughter.

1525
01:39:42,964 --> 01:39:45,364
Yes, she went up in the crane.

1526
01:39:48,284 --> 01:39:50,644
We put a big flower in the tree.

1527
01:39:50,804 --> 01:39:52,644
We needed a marker.

1528
01:39:52,804 --> 01:39:54,484
And I knew why.

1529
01:39:55,084 --> 01:39:59,004
I asked you: Will the Foundation
pay for a helicopter?

1530
01:39:59,164 --> 01:40:00,884
Of course we would!

1531
01:40:01,644 --> 01:40:04,324
So we filmed from the helicopter,

1532
01:40:04,684 --> 01:40:06,964
using the flower as our guide,

1533
01:40:07,124 --> 01:40:12,244
a sequence to show that the tomb
is near the sea.

1534
01:40:12,564 --> 01:40:16,084
And most of all,
this kitty who was important to us

1535
01:40:16,244 --> 01:40:19,564
took on another dimension
with the tomb.

1536
01:40:22,084 --> 01:40:26,204
But seen from further way,
she was like any human.

1537
01:40:26,364 --> 01:40:28,244
Miniscule in the universe.

1538
01:40:30,204 --> 01:40:33,444
You liked Zgougou's tomb.
You bought it.

1539
01:40:33,604 --> 01:40:35,164
I love it. I snapped it up.

1540
01:40:35,324 --> 01:40:37,204
But that's not all.

1541
01:40:37,724 --> 01:40:40,724
As always, I called you.
"Agnes, why don't we...

1542
01:40:42,004 --> 01:40:45,724
install the cat
in the Foundation gardens?"

1543
01:40:46,044 --> 01:40:48,924
- And?
- He ordered a shack from me.

1544
01:40:49,084 --> 01:40:51,484
It's out there in the garden.

1545
01:40:51,644 --> 01:40:53,164
Just outside.

1546
01:40:53,524 --> 01:40:55,924
A little soundproofed utility room

1547
01:40:56,084 --> 01:40:59,004
where we can play a video.

1548
01:40:59,884 --> 01:41:02,324
The video is on a loop.

1549
01:41:02,484 --> 01:41:06,404
Visitors to the Foundation
can drop in anytime.

1550
01:41:07,644 --> 01:41:09,884
They can say hi to Zgougou.

1551
01:41:28,084 --> 01:41:31,124
There's a pile of dirt in the shack.

1552
01:41:31,284 --> 01:41:34,084
- Yes.
- Is there really a cat under it?

1553
01:41:34,244 --> 01:41:35,484
Good question.

1554
01:41:35,644 --> 01:41:39,244
In truth,
the real cat Zgougou isn't here.

1555
01:41:39,404 --> 01:41:42,524
She's under a similar pile of dirt

1556
01:41:42,684 --> 01:41:44,804
on the island of Noirmoultier.

1557
01:41:44,964 --> 01:41:47,644
I haven't seen many cemeteries.

1558
01:41:47,804 --> 01:41:50,124
I know they're pretty sad.

1559
01:41:50,284 --> 01:41:52,244
But this one is more...

1560
01:41:52,404 --> 01:41:54,284
Even though it's a tomb

1561
01:41:54,444 --> 01:41:56,524
and we should be sad,

1562
01:41:56,684 --> 01:41:58,524
it's more...

1563
01:41:58,684 --> 01:42:01,604
more of a happy place,
with fun colours.

1564
01:42:05,684 --> 01:42:07,724
I came back, because it's better

1565
01:42:07,884 --> 01:42:10,004
to watch the film alone.

1566
01:42:10,164 --> 01:42:13,124
You feel things better, in the film.

1567
01:42:14,884 --> 01:42:17,804
Me too, when I'm alone by the sea,

1568
01:42:17,964 --> 01:42:19,764
I feel things better.

1569
01:42:20,804 --> 01:42:22,244
Things are double.

1570
01:42:24,124 --> 01:42:27,804
Even as I enjoy the gentle seascape,

1571
01:42:28,164 --> 01:42:31,284
I know the world
is filled with war, violence,

1572
01:42:31,484 --> 01:42:34,244
suffering and wandering.

1573
01:43:14,364 --> 01:43:15,604
Images of migrants

1574
01:43:15,884 --> 01:43:17,684
struggling and drowning.

1575
01:43:17,844 --> 01:43:19,244
Then this terrible image,

1576
01:43:19,724 --> 01:43:21,564
seen throughout the world.

1577
01:43:23,924 --> 01:43:26,764
We think about it,
and then we forget.

1578
01:43:26,924 --> 01:43:28,604
That's how we live.

1579
01:43:30,404 --> 01:43:34,724
Occasionally I got to work
on the inside of history.

1580
01:43:36,044 --> 01:43:39,124
I want to evoke Les Justes tonight.

1581
01:43:39,284 --> 01:43:41,804
I lived through the war,
I remember it.

1582
01:43:41,964 --> 01:43:44,924
But I had no traumatic experiences.

1583
01:43:45,084 --> 01:43:47,924
President Chirac wanted to pay tribute

1584
01:43:48,284 --> 01:43:50,844
to Les Justes de France
at the Pantheon.

1585
01:43:51,004 --> 01:43:55,604
I was asked to create a short work
for the ceremony.

1586
01:43:59,204 --> 01:44:01,684
A ceremony, a choir

1587
01:44:01,844 --> 01:44:03,964
and my enormous installation.

1588
01:44:06,124 --> 01:44:09,044
Hundreds of portraits on the floor

1589
01:44:09,204 --> 01:44:12,604
of those who took risks to save Jews.

1590
01:44:13,044 --> 01:44:16,124
They were named Les Justes,
the righteous.

1591
01:44:17,204 --> 01:44:21,924
I displayed photographs of them
like open books.

1592
01:44:22,444 --> 01:44:24,244
Their names are on them.

1593
01:44:25,684 --> 01:44:29,204
I added recent, unidentified portraits

1594
01:44:29,364 --> 01:44:32,884
representing
anonymous or unknown Justes.

1595
01:44:33,684 --> 01:44:36,284
To evoke Jews and Justes
in their time,

1596
01:44:36,444 --> 01:44:39,004
I screened 2 films simultaneously

1597
01:44:39,364 --> 01:44:42,244
on 4 screens under the dome.

1598
01:44:42,564 --> 01:44:43,884
A black-and-white film

1599
01:44:44,244 --> 01:44:47,484
shows at a distance
Jews being arrested.

1600
01:44:47,964 --> 01:44:52,604
On another screen,
detail shots in colour enhance reality.

1601
01:44:53,324 --> 01:44:57,844
You looked from one screen to the other
to follow the action.

1602
01:44:58,684 --> 01:45:01,604
Everyone recreated,
for real or mentally,

1603
01:45:02,604 --> 01:45:04,444
what I'll show you

1604
01:45:04,604 --> 01:45:07,964
in this excerpt
fusing images from both screens.

1605
01:45:38,324 --> 01:45:39,644
At the end of each sequence,

1606
01:45:40,244 --> 01:45:43,364
I showed photos of the Justes
who inspired the scene

1607
01:45:43,524 --> 01:45:47,004
and photos of those
who played the scene.

1608
01:45:47,164 --> 01:45:49,044
They weren't real actors,

1609
01:45:49,204 --> 01:45:51,044
but they were real people.

1610
01:45:52,044 --> 01:45:54,644
That's what I've always called

1611
01:45:54,804 --> 01:45:57,684
the people I film
in the streets or fields.

1612
01:46:03,924 --> 01:46:07,684
He was a baker in my native country.

1613
01:46:08,004 --> 01:46:11,444
<i>And then, well...
l waited every Wednesday</i>

1614
01:46:11,604 --> 01:46:14,924
when he brought his bread,
fo see him.

1615
01:46:15,564 --> 01:46:19,244
Then, six months later,
we got married.

1616
01:46:24,644 --> 01:46:27,844
Real people
are at the heart of my work.

1617
01:46:28,004 --> 01:46:30,124
I have that in common with JR,

1618
01:46:30,284 --> 01:46:32,164
the urban photographer

1619
01:46:32,324 --> 01:46:35,804
who has approached
thousands of real people.

1620
01:46:36,004 --> 01:46:40,124
We wanted to make a film
of our encounters with people.

1621
01:46:40,284 --> 01:46:42,724
This time, in the French countryside.

1622
01:46:43,164 --> 01:46:45,484
We headed out in his magic truck,

1623
01:46:45,644 --> 01:46:48,084
with the goal of listening to people

1624
01:46:48,244 --> 01:46:50,764
and photographing them in the truck.

1625
01:46:51,724 --> 01:46:54,524
<i>People go into the back,
like in a photo booth.</i>

1626
01:46:54,684 --> 01:46:57,564
The photo comes out 5 seconds later,

1627
01:46:57,724 --> 01:46:58,804
in large format.

1628
01:46:59,444 --> 01:47:01,444
The plan was to show them off.

1629
01:47:01,604 --> 01:47:06,644
To post them as a counterpoint
to models and celebrities

1630
01:47:06,804 --> 01:47:09,564
selling cosmetics, cars and coffee.

1631
01:47:09,724 --> 01:47:12,764
We hired her as a waitress back in...

1632
01:47:13,364 --> 01:47:16,084
late May, early summer.

1633
01:47:16,564 --> 01:47:20,564
Now she's Bonnieux's most famous face.

1634
01:47:21,964 --> 01:47:24,604
What do you think
of your mum up there?

1635
01:47:24,764 --> 01:47:27,644
- She's super pretty.
- Indeed. I agree.

1636
01:47:28,324 --> 01:47:29,684
Press the button.

1637
01:47:30,684 --> 01:47:32,164
Show us your selfe.

1638
01:47:32,324 --> 01:47:33,364
Wow, nice!

1639
01:47:33,524 --> 01:47:34,884
You're good.

1640
01:47:35,044 --> 01:47:37,284
I'm no expert though.

1641
01:47:37,804 --> 01:47:39,644
Tickle tickle!

1642
01:47:41,124 --> 01:47:45,324
Our social and sociological experiment
was full of surprises.

1643
01:47:45,484 --> 01:47:50,044
In one village,
a man said he was the bell-ringer

1644
01:47:50,204 --> 01:47:52,484
and took us to his bell tower.

1645
01:47:52,804 --> 01:47:57,324
And there was a woman
who made goat cheese.

1646
01:47:57,484 --> 01:48:01,364
She was furious,
because other cheesemakers

1647
01:48:01,524 --> 01:48:03,284
were burning goats' horns off.

1648
01:48:03,444 --> 01:48:05,044
We saw it for ourselves.

1649
01:48:08,044 --> 01:48:09,844
We met Francoise.

1650
01:48:10,764 --> 01:48:13,284
You have one of the only herds

1651
01:48:13,444 --> 01:48:15,244
<i>where the goats have horns.</i>

1652
01:48:15,404 --> 01:48:19,204
<i>To my mind,
if a goat has horns, she keeps them.</i>

1653
01:48:19,364 --> 01:48:21,604
<i>I'm not going to remove them.</i>

1654
01:48:22,404 --> 01:48:24,524
That just seems...

1655
01:48:26,764 --> 01:48:29,924
I can find no logical explanation,

1656
01:48:30,084 --> 01:48:33,084
unless you see them as a product

1657
01:48:34,364 --> 01:48:37,684
required to attain
a certain rate of return,

1658
01:48:37,844 --> 01:48:42,404
So you eliminate anything
that might make them less profitable

1659
01:48:42,564 --> 01:48:44,364
and cut off their horns.

1660
01:48:44,964 --> 01:48:46,524
Bum them off

1661
01:48:46,684 --> 01:48:50,564
But if you respect the animals,

1662
01:48:51,004 --> 01:48:52,564
you leave them intact

1663
01:48:52,724 --> 01:48:55,284
<i>If they have horns, they keep them.</i>

1664
01:48:55,684 --> 01:48:57,044
Sure, they fight.

1665
01:48:57,204 --> 01:48:59,604
Human beings fight foo.

1666
01:48:59,764 --> 01:49:01,164
I Don't know about it

1667
01:49:01,324 --> 01:49:03,404
until you told me just now.

1668
01:49:04,324 --> 01:49:05,884
This horn thing.

1669
01:49:06,044 --> 01:49:09,444
For this project, we didn't ask people

1670
01:49:09,604 --> 01:49:11,644
to answer our questions,

1671
01:49:12,204 --> 01:49:15,884
but rather to think,
and to invent their own responses

1672
01:49:16,044 --> 01:49:17,644
to the situations.

1673
01:49:17,804 --> 01:49:20,404
<i>I say put balls on the tips,</i>

1674
01:49:20,564 --> 01:49:22,764
like with bulls. Rubber balls.

1675
01:49:22,924 --> 01:49:26,164
Could be funny. Or clown noses.

1676
01:49:26,324 --> 01:49:27,444
Rubber ones.

1677
01:49:27,604 --> 01:49:30,684
You could use different colours

1678
01:49:30,844 --> 01:49:34,404
to tell them apart.
Purple, mulficolour, zebra.

1679
01:49:34,564 --> 01:49:37,244
Great idea, I love it!
Very imaginative.

1680
01:49:37,404 --> 01:49:38,884
We're glad we met you.

1681
01:49:39,684 --> 01:49:42,004
I enjoyed meeting you, too.

1682
01:49:43,204 --> 01:49:45,804
Our work together

1683
01:49:46,244 --> 01:49:47,924
made our friendship grow,

1684
01:49:48,084 --> 01:49:49,724
like a plant.

1685
01:49:50,404 --> 01:49:52,284
Like a fish in water.

1686
01:49:53,324 --> 01:49:55,484
He was interested in me,

1687
01:49:55,644 --> 01:49:58,964
and he was interested in my ageing.

1688
01:50:01,324 --> 01:50:03,204
I have an eye disease.

1689
01:50:03,364 --> 01:50:06,284
No fun, considering my profession.

1690
01:50:06,884 --> 01:50:09,564
I need shots, check-ups

1691
01:50:09,724 --> 01:50:11,524
<i>and exams.</i>

1692
01:50:11,684 --> 01:50:14,004
What kind of exams?

1693
01:50:14,484 --> 01:50:16,804
Looking at letters.

1694
01:50:22,764 --> 01:50:24,444
ls this right, Agnes?

1695
01:50:24,604 --> 01:50:27,044
<i>Yes, the bottom is blurry, but...</i>

1696
01:50:27,324 --> 01:50:31,004
<i>The letters need to move a little.</i>

1697
01:50:31,164 --> 01:50:32,564
Move how?

1698
01:50:32,724 --> 01:50:35,124
- Up and down a little.
- Got it

1699
01:50:35,604 --> 01:50:37,724
<i>- Go tell them.
- Right away.</i>

1700
01:50:37,884 --> 01:50:39,924
<i>Move up and down a little!</i>

1701
01:50:44,684 --> 01:50:47,524
Now I'm happy. That's what I see.

1702
01:50:49,084 --> 01:50:50,364
<i>It was important to me</i>

1703
01:50:50,884 --> 01:50:55,404
<i>that we find a way to bring beauty
to my deteriorating eyesight.</i>

1704
01:50:55,564 --> 01:50:58,804
And that we enjoy ourselves
on that shoot

1705
01:50:58,964 --> 01:51:01,244
<i>full of surprises and emotion.</i>

1706
01:51:05,084 --> 01:51:06,844
Its surprising.

1707
01:51:07,124 --> 01:51:09,964
- Art should surprise us, right?
- True.

1708
01:51:10,124 --> 01:51:11,804
Have a nice day.

1709
01:51:16,204 --> 01:51:19,924
Today's my last day.
I'm taking early retirement.

1710
01:51:20,564 --> 01:51:22,044
- Today?
- Today.

1711
01:51:22,204 --> 01:51:24,684
- If's your last day?
- Yes it is.

1712
01:51:24,844 --> 01:51:28,484
<i>I feel like I've reached
the edge of a cliff,</i>

1713
01:51:28,644 --> 01:51:31,644
and tonight
I'm leaping info the unknown.

1714
01:51:32,324 --> 01:51:34,604
1 discover lots of things.

1715
01:51:34,964 --> 01:51:38,404
And we discovered
that fate was with us.

1716
01:51:38,564 --> 01:51:41,604
Once in Normandy,
fate struck three times.

1717
01:51:41,884 --> 01:51:44,724
JR wanted to paste
on a German bunker

1718
01:51:44,884 --> 01:51:47,284
that had fallen off a cliff.

1719
01:51:47,444 --> 01:51:49,684
I said, "We can pick any bunker."

1720
01:51:49,844 --> 01:51:52,884
But when he said
it was at St-Aubin-sur-Mer,

1721
01:51:53,044 --> 01:51:54,324
I pricked up my ears.

1722
01:51:54,484 --> 01:51:58,044
I'd been there in 1954 with friends

1723
01:51:58,204 --> 01:52:00,844
and taken photos on that beach.

1724
01:52:01,204 --> 01:52:04,884
A photo named Ulysse
that inspired a film.

1725
01:52:05,524 --> 01:52:09,364
I was with my friend Guy Bourdin,
a young photographer.

1726
01:52:09,524 --> 01:52:12,724
He became very famous,
but died young.

1727
01:52:15,484 --> 01:52:17,444
I did portraits of him.

1728
01:52:17,924 --> 01:52:20,204
He posed sweetly, dreaming.

1729
01:52:24,324 --> 01:52:27,484
I showed JR my photos of Guy Bourdin,

1730
01:52:27,644 --> 01:52:31,404
and we decided
to paste one on the bunker.

1731
01:52:31,964 --> 01:52:34,844
It was a difficult and dangerous shoot,

1732
01:52:35,004 --> 01:52:39,164
because the low tide didn't last long.

1733
01:53:01,804 --> 01:53:04,844
<i>I could imagine nothing better for Guy.</i>

1734
01:53:05,124 --> 01:53:07,684
Here he is, like a child in his cradle.

1735
01:53:09,004 --> 01:53:10,764
Resting in peace.

1736
01:53:23,324 --> 01:53:26,284
The next morning, we went to see.

1737
01:53:27,804 --> 01:53:30,804
The tide had washed the image away.

1738
01:53:30,964 --> 01:53:33,644
Ephemeral images are my stock-in-trade.

1739
01:53:33,804 --> 01:53:35,724
But the sea worked fast

1740
01:53:36,044 --> 01:53:37,804
The sea has the last word.

1741
01:53:37,964 --> 01:53:40,084
And the wind, and the sand.

1742
01:53:41,644 --> 01:53:43,484
At one point,

1743
01:53:43,644 --> 01:53:46,444
JR and I imagined
ending the film this way.

1744
01:53:46,964 --> 01:53:50,124
Disappearing in a sandstorm.

1745
01:53:51,044 --> 01:53:54,124
I Think this is how I'll end this chat.

1746
01:53:55,364 --> 01:53:57,324
Disappearing in the blur.

1747
01:53:57,484 --> 01:53:58,924
Leaving you.