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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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The great Asian dust
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covers the past
5
00:00:46,958 --> 00:00:49,041
and shrouds the future.
6
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Well, now we know.
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All of civilization is mortal.
8
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Even film!
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Especially this film.
10
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But there are free drinks at the party.
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You thrilled me in Bonjour Tristesse.
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What a haunting performance.
13
00:02:05,625 --> 00:02:06,875
Don't tell me,
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you're a director.
15
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Yes, well, I mean...
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Your film is a load of shit.
17
00:02:17,541 --> 00:02:19,875
Wait, don't ruin it for me.
18
00:02:19,958 --> 00:02:22,541
I want to read your review
when it comes out.
19
00:02:24,416 --> 00:02:27,000
La Passe du Diable
is not so much far from good,
20
00:02:27,083 --> 00:02:29,291
as it is close to being bad.
21
00:02:30,958 --> 00:02:32,875
You're my favorite critic, you know.
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00:02:32,958 --> 00:02:34,458
So remember this:
23
00:02:34,541 --> 00:02:37,416
the best way to criticize a film
is to make one.
24
00:02:37,500 --> 00:02:38,791
Here we go.
25
00:02:39,291 --> 00:02:40,625
Beau-Beau.
26
00:02:40,708 --> 00:02:42,333
I’m ready to make a film.
27
00:02:42,833 --> 00:02:45,208
I hired you to write
the Pêcheur d'Islande script,
28
00:02:45,291 --> 00:02:46,916
and you can't finish it.
29
00:02:47,000 --> 00:02:48,750
Because I'm not going to direct it.
30
00:02:48,833 --> 00:02:50,791
I don't know what the story is.
31
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- It's an adaptation.
- Exactly.
32
00:02:52,916 --> 00:02:55,416
I'm ready to direct. Now.
33
00:02:55,500 --> 00:02:58,333
Mr. de Beauregard, your film is a wonder.
34
00:02:58,416 --> 00:03:00,708
The landscapes are spectacular.
35
00:03:00,791 --> 00:03:03,916
Splendid movie.
Even better than Ramuntcho.
36
00:03:05,000 --> 00:03:06,083
See you later.
37
00:03:10,833 --> 00:03:12,750
How come no one ever stands for me?
38
00:03:12,833 --> 00:03:14,416
Thank your lucky starlets we don't.
39
00:03:14,500 --> 00:03:16,208
We respect you too much for that.
40
00:03:16,791 --> 00:03:18,958
The one in the middle is Truffaut.
41
00:03:20,000 --> 00:03:22,000
And of course, Chabrol.
42
00:03:23,250 --> 00:03:25,666
The one with sunglasses is Jean-Luc.
43
00:03:25,750 --> 00:03:26,916
Jean-Luc?
44
00:03:28,291 --> 00:03:29,458
Godard.
45
00:03:31,250 --> 00:03:32,791
He's the real genius.
46
00:03:34,166 --> 00:03:36,291
At least, that's what he'll tell you.
47
00:03:36,375 --> 00:03:39,333
Cannes is not ready
for your brilliance, François.
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I tell you,
your film is going to mesmerize them.
49
00:03:43,333 --> 00:03:46,000
They'll see the true face
of modern French cinema.
50
00:03:46,083 --> 00:03:48,333
Why say that? He just cursed my film!
51
00:03:48,416 --> 00:03:49,833
Stop with the superstitions.
52
00:03:49,916 --> 00:03:51,500
Don't worry, they'll hate it.
53
00:03:51,583 --> 00:03:52,875
Year's worst film.
54
00:03:52,958 --> 00:03:54,583
Never be released.
55
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- Bound to be a flop.
- It's no Citizen Kane.
56
00:03:56,875 --> 00:03:58,166
Not by a long shot.
57
00:03:58,250 --> 00:04:01,666
It'd be a miracle for those Neanderthals
to like your film.
58
00:04:02,333 --> 00:04:03,541
Your wife.
59
00:04:11,250 --> 00:04:13,125
Rossellini was best man
at their wedding.
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00:04:13,208 --> 00:04:14,541
Written in the stars.
61
00:04:22,916 --> 00:04:23,958
Pardon me,
62
00:04:24,458 --> 00:04:26,166
Claude Chabrol, right?
63
00:04:26,250 --> 00:04:27,583
Sorry to intrude.
64
00:04:27,666 --> 00:04:30,041
I just wanted to say
I loved Le Beau Serge.
65
00:04:31,333 --> 00:04:33,458
Thank you. I am flattered.
66
00:04:33,958 --> 00:04:35,250
I admire you a lot.
67
00:04:45,083 --> 00:04:46,875
When I told my parents
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00:04:47,416 --> 00:04:48,916
I had to make movies,
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00:04:49,000 --> 00:04:51,666
it was like saying
"I want to be a composer"
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00:04:51,750 --> 00:04:53,625
to someone who'd never heard music.
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00:04:53,708 --> 00:04:56,708
It's unknown territory for them.
But I have to direct.
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00:04:58,958 --> 00:05:00,333
It's past time, Suzanne.
73
00:05:01,416 --> 00:05:04,291
There's no such thing.
When it's time, it's time.
74
00:05:04,375 --> 00:05:07,083
I was supposed
to make my first film by 25.
75
00:05:07,166 --> 00:05:09,791
"Missed the Wave"
would be a nice epitaph.
76
00:05:09,875 --> 00:05:11,250
You did direct at 25.
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00:05:11,333 --> 00:05:12,416
A short.
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00:05:12,500 --> 00:05:14,083
That you directed.
79
00:05:15,583 --> 00:05:18,375
Those don't count.
Short films are anti-cinema.
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00:05:19,291 --> 00:05:20,708
Face facts:
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00:05:20,791 --> 00:05:23,208
I'm the last one from Cahiers to direct.
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00:05:23,291 --> 00:05:25,291
Rivette, yes. Rohmer, yes.
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00:05:25,375 --> 00:05:26,583
Chabrol, two times, yes.
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00:05:26,666 --> 00:05:27,916
Truffaut, yes.
85
00:05:28,000 --> 00:05:31,708
Rohmer even wrote a novel.
Truffaut is a year younger than me.
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00:05:33,000 --> 00:05:34,708
But Godard, no!
87
00:05:36,208 --> 00:05:38,583
How much longer until
you work up the courage?
88
00:05:40,166 --> 00:05:42,500
It's put-up-or-shut-up time,
the best moment.
89
00:06:08,125 --> 00:06:11,333
The 400 Blows
will be a film signed Frankness.
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00:06:12,083 --> 00:06:14,500
Rapidity. Art.
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00:06:14,583 --> 00:06:17,000
Novelty. Cinematograph.
92
00:06:17,500 --> 00:06:20,416
Originality. Impertinence.
93
00:06:20,500 --> 00:06:22,750
Seriousness. Tragedy.
94
00:06:23,291 --> 00:06:25,791
Ferocity. Ubu Roi.
95
00:06:26,375 --> 00:06:27,958
Fantasy.
96
00:06:28,041 --> 00:06:30,125
Affection. Universality.
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00:06:30,208 --> 00:06:31,458
Tenderness.
98
00:06:31,541 --> 00:06:34,333
So why aren't we at Cannes
for the premiere?
99
00:06:34,416 --> 00:06:37,291
It's absurd.
Everyone's at Cannes. Everyone.
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00:06:37,875 --> 00:06:38,708
I'm not.
101
00:06:38,791 --> 00:06:39,833
Me neither.
102
00:06:41,458 --> 00:06:42,375
But me,
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00:06:42,916 --> 00:06:44,625
what the hell am I doing here?
104
00:06:45,375 --> 00:06:46,791
Eh, le Grand Momo?
105
00:06:47,375 --> 00:06:48,666
Go if you want to go.
106
00:06:48,750 --> 00:06:50,583
I really do love François' movie.
107
00:06:51,125 --> 00:06:51,958
Me too.
108
00:06:52,583 --> 00:06:54,125
Me three. Me four!
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00:06:54,875 --> 00:06:57,083
I would suffer 400 blows
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00:06:57,166 --> 00:06:58,833
to see the premiere at Cannes.
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00:06:58,916 --> 00:07:00,333
Then go,
112
00:07:00,416 --> 00:07:01,583
just leave us alone.
113
00:07:38,416 --> 00:07:39,583
I'm going.
114
00:08:52,333 --> 00:08:54,875
Congratulations, François. Remember:
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00:08:54,958 --> 00:08:58,166
art is not a pastime but a priesthood.
116
00:09:19,166 --> 00:09:20,708
"A 28-year-old director:
117
00:09:21,291 --> 00:09:22,458
François Truffaut."
118
00:09:22,541 --> 00:09:25,291
"A 14-year-old star: Jean-Pierre Léaud."
119
00:09:25,375 --> 00:09:26,791
"A triumph at Cannes:
120
00:09:27,500 --> 00:09:28,958
The 400 Blows."
121
00:09:30,125 --> 00:09:31,833
Like Chabrol said last night,
122
00:09:32,583 --> 00:09:35,041
not bad for a school dropout, runaway,
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00:09:35,125 --> 00:09:36,500
and army deserter.
124
00:09:38,666 --> 00:09:41,416
I talked to Braunberger
about your script, Odile.
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00:09:42,333 --> 00:09:44,458
He said it was 250 pages.
126
00:09:44,541 --> 00:09:46,041
He told me it was unfilmable.
127
00:09:46,875 --> 00:09:48,250
What's unfilmable?
128
00:09:48,333 --> 00:09:50,458
Anything and everything is filmable.
129
00:09:51,041 --> 00:09:52,916
He must have meant un-produce-able.
130
00:09:58,375 --> 00:09:59,666
Prenatal then?
131
00:10:00,541 --> 00:10:04,375
Maybe call it A Woman is a Woman
and make it part musical?
132
00:10:04,458 --> 00:10:05,375
Which part?
133
00:10:07,208 --> 00:10:08,208
Not nearly half.
134
00:10:08,291 --> 00:10:10,625
Our best bet is the Truffaut outline,
135
00:10:10,708 --> 00:10:13,000
the American-girl-loving cop killer.
136
00:10:13,083 --> 00:10:14,583
The true crime guy?
137
00:10:15,083 --> 00:10:16,416
Michel Portail?
138
00:10:16,958 --> 00:10:18,458
He's just a petty thief.
139
00:10:18,541 --> 00:10:21,416
You and Truffaut did it together. Perfect.
140
00:10:23,625 --> 00:10:26,500
I'd like to show you
what I have of Prenatal.
141
00:10:26,583 --> 00:10:28,208
You want a chance or not?
142
00:10:28,291 --> 00:10:30,833
Let Igance Morgenstern do Prenatal.
143
00:10:30,916 --> 00:10:34,250
I'll only let you direct
if you shoot Truffaut's story.
144
00:10:47,708 --> 00:10:51,000
I was secretly hoping
that would be the one you favored.
145
00:10:52,166 --> 00:10:54,833
We can make it for a paltry sum.
I promise.
146
00:10:54,916 --> 00:10:57,416
However paltry, I don't even have that.
147
00:10:57,916 --> 00:11:00,166
But with Truffaut and Chabrol's names...
148
00:11:00,250 --> 00:11:01,208
Claude too?
149
00:11:01,291 --> 00:11:05,250
He'll be our Technical Director.
Or Artistic Supervisor.
150
00:11:05,333 --> 00:11:07,541
Whatever satisfies the union.
151
00:11:07,625 --> 00:11:09,250
Truffaut, Chabrol
152
00:11:09,833 --> 00:11:10,958
and me.
153
00:11:12,250 --> 00:11:14,041
If they want New Wave,
154
00:11:14,958 --> 00:11:16,500
we'll deliver the whole wave.
155
00:11:16,583 --> 00:11:18,416
Precisely! That's the spirit.
156
00:11:18,500 --> 00:11:21,041
Everyone wants the New Wave.
157
00:11:21,125 --> 00:11:24,750
With subsidies, plus Pignères,
158
00:11:24,833 --> 00:11:26,833
and I've lined up Gérard Beytout,
159
00:11:27,333 --> 00:11:28,875
it will still be less
160
00:11:28,958 --> 00:11:31,583
than a third of the budget
for an average film.
161
00:11:31,666 --> 00:11:33,250
More than enough.
162
00:11:33,333 --> 00:11:37,208
But please,
don't ever say average again.
163
00:11:37,291 --> 00:11:38,333
Never again.
164
00:11:38,416 --> 00:11:41,541
We at Cahiers believe
films shouldn't cost much.
165
00:11:41,625 --> 00:11:43,416
I've always liked that about Cahiers.
166
00:11:43,500 --> 00:11:45,458
It's the way to creative freedom.
167
00:11:45,541 --> 00:11:46,583
That, I like less.
168
00:11:47,916 --> 00:11:48,833
Look,
169
00:11:48,916 --> 00:11:52,125
this is one of the notebooks
where I've put
170
00:11:52,208 --> 00:11:54,125
a decade of making movies in my head.
171
00:11:54,625 --> 00:11:57,083
Now's the time to transform ideas
172
00:11:57,166 --> 00:11:58,666
into clear images.
173
00:11:59,458 --> 00:12:03,541
All you need for a movie
is a girl and a gun.
174
00:12:03,625 --> 00:12:04,791
I'm counting on that.
175
00:12:04,875 --> 00:12:08,041
The instantaneous and unexpected
are excluded in a formal narrative.
176
00:12:08,125 --> 00:12:09,875
It's time to explore that.
177
00:12:09,958 --> 00:12:12,416
Yet a formal narrative
is what an audience enjoys.
178
00:12:12,500 --> 00:12:15,125
The paying audience, that is.
179
00:12:15,208 --> 00:12:19,000
How often can it choose
between lyricism and narrative,
180
00:12:19,083 --> 00:12:20,500
this paying audience?
181
00:12:22,375 --> 00:12:24,416
Why am I getting involved
with a cinephile?
182
00:12:25,000 --> 00:12:27,416
I'm either insane or a genius.
183
00:12:36,750 --> 00:12:38,583
We'll never get Jean Seberg.
184
00:12:44,166 --> 00:12:46,125
It doesn't cost anything to try.
185
00:13:00,375 --> 00:13:02,166
Lucien?
186
00:13:02,916 --> 00:13:05,625
- You hate that name?
- No, but why change it?
187
00:13:05,708 --> 00:13:07,041
You're right.
188
00:13:07,625 --> 00:13:09,750
Michel it was, Michel it shall remain.
189
00:13:10,416 --> 00:13:13,500
But instead of Michel Portail,
Michel Poiccard.
190
00:13:14,000 --> 00:13:16,000
Poiccard? Why not.
191
00:13:43,833 --> 00:13:46,333
- Well?
- Good.
192
00:13:46,416 --> 00:13:47,458
Not great?
193
00:13:47,541 --> 00:13:49,541
It's an outline, how great can it be?
194
00:13:49,625 --> 00:13:51,750
I applaud these ideas. It's coming along.
195
00:13:54,000 --> 00:13:57,541
I should go make that film in Panama.
At least I know it well.
196
00:13:57,625 --> 00:14:00,125
Jean-Luc's infamous lost years.
197
00:14:00,208 --> 00:14:02,250
That too will be an interesting movie.
198
00:14:02,333 --> 00:14:03,583
Maybe next time.
199
00:14:04,791 --> 00:14:07,375
- It's Liliane David.
- What a surprise.
200
00:14:09,958 --> 00:14:12,375
This is where you two write?
201
00:14:12,458 --> 00:14:13,625
For years.
202
00:14:14,166 --> 00:14:17,458
Says here:
"First draft, December '56."
203
00:14:17,541 --> 00:14:21,000
"We're going to talk about
very nasty things." Stendhal.
204
00:14:21,083 --> 00:14:22,833
Can't say I'm surprised.
205
00:14:24,125 --> 00:14:26,791
Jean-Luc, you have a part for me?
206
00:14:27,416 --> 00:14:28,833
Definitely not.
207
00:14:30,625 --> 00:14:33,250
Film your feelings.
Make a great film. My name's on it.
208
00:14:34,250 --> 00:14:36,041
- But it’s my movie.
- Precisely.
209
00:14:36,125 --> 00:14:37,500
Make your own mistake.
210
00:15:01,958 --> 00:15:03,958
You need to work on your footwork.
211
00:15:07,166 --> 00:15:09,041
You're lucky you wear glasses.
212
00:15:11,166 --> 00:15:13,250
So, your character,
213
00:15:13,333 --> 00:15:14,291
Michel,
214
00:15:14,791 --> 00:15:16,666
will either die,
215
00:15:16,750 --> 00:15:18,750
or get the girl.
216
00:15:19,833 --> 00:15:21,166
I can do both.
217
00:15:27,916 --> 00:15:29,708
You'll shoot it like
Charlotte et son Jules?
218
00:15:31,500 --> 00:15:34,333
- But this time you dub your own voice.
- Why?
219
00:15:34,916 --> 00:15:36,875
You did such a great job in my absence.
220
00:15:37,375 --> 00:15:38,791
I did the best I could.
221
00:15:39,291 --> 00:15:42,250
You're done with military service
in Algeria?
222
00:15:42,333 --> 00:15:43,166
Yes.
223
00:15:43,250 --> 00:15:45,958
So you'll be able
to dub yourself this time.
224
00:15:47,416 --> 00:15:48,833
If I do the picture.
225
00:15:49,333 --> 00:15:51,041
It's not another short, is it?
226
00:16:23,333 --> 00:16:25,958
Roberto Rossellini,
you're the father of New Wave
227
00:16:26,041 --> 00:16:28,125
and we feel like your adopted children.
228
00:16:28,208 --> 00:16:30,208
Cahiers du Cinéma is your home.
229
00:16:30,291 --> 00:16:31,416
Welcome, Roberto.
230
00:16:40,833 --> 00:16:42,041
Thank you, my friends.
231
00:16:42,125 --> 00:16:44,250
Circle of cinemaniacs.
232
00:16:45,625 --> 00:16:47,083
Insurgents all.
233
00:16:48,208 --> 00:16:51,416
I'm always trying to create a movement.
234
00:16:52,125 --> 00:16:54,541
But I've yet to succeed
because I understand that,
235
00:16:54,625 --> 00:16:57,708
to create a movement,
you must crystallize yourself
236
00:16:57,791 --> 00:16:59,083
into a position.
237
00:17:00,000 --> 00:17:02,500
To crystallize yourself
is to castrate yourself.
238
00:17:05,208 --> 00:17:06,708
Cinema is a moral affair.
239
00:17:07,291 --> 00:17:10,333
There is no technique
for grasping reality.
240
00:17:10,416 --> 00:17:13,750
Only a moral position to do so.
241
00:17:13,833 --> 00:17:17,166
The camera's a ballpoint pen,
an imbecile,
242
00:17:17,750 --> 00:17:19,791
it's worth nothing
if you have nothing to say.
243
00:17:20,416 --> 00:17:22,916
The best way of filming is the simplest.
244
00:17:23,000 --> 00:17:24,500
Real art
245
00:17:24,583 --> 00:17:27,250
avoids artistic effects like the plague.
246
00:17:27,333 --> 00:17:29,666
True freedom is logical
247
00:17:29,750 --> 00:17:32,208
and does not care about rules and habits.
248
00:17:32,291 --> 00:17:36,791
Filming should only be done
in a state of urgency and necessity.
249
00:17:39,250 --> 00:17:42,375
Don't regard cinema as something mystical.
250
00:17:44,041 --> 00:17:45,125
I'll be watching.
251
00:17:50,958 --> 00:17:53,166
- To urgency and necessity.
- Thank you, Jacques.
252
00:17:53,708 --> 00:17:56,291
Journey to Italy shook me to my core.
253
00:17:58,750 --> 00:18:00,333
Thank you for your speech.
254
00:18:06,458 --> 00:18:07,458
At last!
255
00:18:08,625 --> 00:18:10,916
My dream came true.
I'm making my first film.
256
00:18:11,000 --> 00:18:12,458
Beauregard greenlighted it.
257
00:18:12,541 --> 00:18:13,791
For fuck's sake!
258
00:18:14,291 --> 00:18:16,375
First day of shooting: end of dream.
259
00:18:24,000 --> 00:18:25,708
Anybody can make movies.
260
00:18:25,791 --> 00:18:27,833
It's just another means of expression.
261
00:18:27,916 --> 00:18:29,958
Forget about live sound,
color, big screen.
262
00:18:30,041 --> 00:18:31,958
Disrespect cinema's traditional forms.
263
00:18:32,041 --> 00:18:33,625
Where should I drop you?
264
00:18:33,708 --> 00:18:36,541
Turn left. Remember, shoot quickly.
265
00:18:36,625 --> 00:18:39,375
Interrupt shooting
when inspiration flags.
266
00:18:39,458 --> 00:18:40,541
It's a one-way street.
267
00:18:40,625 --> 00:18:42,375
Then the next left.
268
00:18:42,875 --> 00:18:44,333
Use notes instead of a script.
269
00:18:44,416 --> 00:18:47,291
Find cheap technical solutions
to logistical problems.
270
00:18:47,375 --> 00:18:48,500
Here, it's fine.
271
00:18:55,291 --> 00:18:56,208
Thank you, Roberto.
272
00:18:56,291 --> 00:18:58,458
Thank you for the ride, Jean-Luc.
273
00:19:06,291 --> 00:19:08,291
Do you have any money you could lend me?
274
00:19:14,291 --> 00:19:16,208
It'll be the biggest mistake of your life.
275
00:19:16,291 --> 00:19:18,166
The biggest mistake of my life?
276
00:19:18,666 --> 00:19:20,041
Are you positive?
277
00:19:20,125 --> 00:19:21,291
You promise?
278
00:19:21,875 --> 00:19:24,708
I'm okay with this being my worst fuck-up.
279
00:19:24,791 --> 00:19:28,166
Let's just hope it's never released.
It'll ruin your career.
280
00:19:28,250 --> 00:19:31,083
Then line up another film
before I'm done with this one.
281
00:19:31,166 --> 00:19:33,250
I know Godard's your friend,
282
00:19:34,458 --> 00:19:36,291
but this is career suicide.
283
00:19:36,375 --> 00:19:38,875
You're wrong. He's not that good a friend.
284
00:19:38,958 --> 00:19:40,166
I can tell.
285
00:19:40,250 --> 00:19:43,541
The contract they sent won't pay
for your vacation on the Riviera.
286
00:19:44,250 --> 00:19:46,250
A side trip to Monaco,
one spin of the wheel,
287
00:19:46,750 --> 00:19:47,916
will pay for it.
288
00:19:49,291 --> 00:19:51,041
I'll ask you one more time:
289
00:19:51,125 --> 00:19:54,250
I can get you
a part in Julien Duvivier's film.
290
00:19:54,333 --> 00:19:56,166
You'll work less, make more.
291
00:19:56,250 --> 00:19:58,416
And be in a film people will see.
292
00:20:00,083 --> 00:20:02,125
And be bored to death.
293
00:20:03,666 --> 00:20:04,916
You're wearing me out.
294
00:20:08,041 --> 00:20:10,041
Don't be mad at me.
295
00:20:10,666 --> 00:20:11,791
It will be fine.
296
00:20:23,125 --> 00:20:25,416
The only way not to be late,
297
00:20:25,500 --> 00:20:27,125
is to always be early.
298
00:20:27,708 --> 00:20:31,166
I said I'd make you the youngest
First Assistant Director in France.
299
00:20:31,666 --> 00:20:32,708
Thank you.
300
00:20:36,541 --> 00:20:38,166
Here's the story outline.
301
00:20:41,166 --> 00:20:43,250
Plenty for me to start scheduling.
302
00:20:43,833 --> 00:20:45,333
When should we start scouting?
303
00:20:45,416 --> 00:20:46,791
I already have my locations.
304
00:20:46,875 --> 00:20:48,625
- This is the list.
- Great.
305
00:20:48,708 --> 00:20:50,500
And here's a list of cars.
306
00:20:50,583 --> 00:20:52,791
All the ones I want for the shoot.
307
00:20:52,875 --> 00:20:56,375
The big American car
is stolen by Michel at the beginning.
308
00:20:57,583 --> 00:20:58,958
You'll find one in Marseilles?
309
00:20:59,041 --> 00:21:00,291
Of course.
310
00:21:02,375 --> 00:21:03,583
That's all?
311
00:21:07,583 --> 00:21:08,791
So, Jean-Luc,
312
00:21:08,875 --> 00:21:11,500
in this scenario, there are 58 scenes.
313
00:21:11,583 --> 00:21:12,958
Give or take ten.
314
00:21:13,500 --> 00:21:15,333
Of course, it could all change.
315
00:21:15,416 --> 00:21:16,875
All but the money.
316
00:21:16,958 --> 00:21:18,250
Which means our days.
317
00:21:19,833 --> 00:21:21,833
We have 20 days to shoot,
318
00:21:21,916 --> 00:21:24,166
no matter how many scenes there are.
319
00:21:24,250 --> 00:21:26,916
It's more than enough. Beyond adequate.
320
00:21:28,500 --> 00:21:30,541
Don't let anyone see any of that.
321
00:21:46,541 --> 00:21:47,500
Sir, please.
322
00:21:48,208 --> 00:21:49,583
Melville said I could visit.
323
00:21:49,666 --> 00:21:51,000
What's your name?
324
00:21:51,875 --> 00:21:54,500
- Jean-Luc Godard.
- I'm sorry, no press on set.
325
00:21:54,583 --> 00:21:56,291
Melville invited me.
326
00:21:56,375 --> 00:21:57,833
And I'm not press.
327
00:22:02,166 --> 00:22:03,916
I'm a director now.
328
00:22:04,000 --> 00:22:06,791
- I didn't think you'd come.
- Really?
329
00:22:06,875 --> 00:22:08,833
Add another length of track.
330
00:22:08,916 --> 00:22:10,666
I just want to soak it in.
331
00:22:11,166 --> 00:22:14,333
I have so many questions
as day one gets closer.
332
00:22:14,416 --> 00:22:16,291
But of course. Naturally.
333
00:22:16,375 --> 00:22:21,041
A filmmaker should be constantly open
and "traumatizable."
334
00:22:21,125 --> 00:22:25,750
Their sense of observation and psychology
must be sharp.
335
00:22:25,833 --> 00:22:28,041
And you have to use Martial for the music.
336
00:22:28,125 --> 00:22:30,750
Solal is sublime.
I'll make sure you two meet.
337
00:22:30,833 --> 00:22:32,250
Roland!
338
00:22:32,333 --> 00:22:34,916
Let's swap out the Cadillac.
Use the Buick.
339
00:22:36,416 --> 00:22:39,541
I can introduce you to some car thieves.
340
00:22:39,625 --> 00:22:41,958
Specialists. The best of the best.
341
00:22:44,375 --> 00:22:45,416
This one.
342
00:22:46,625 --> 00:22:48,541
Make your storytelling easy.
343
00:22:48,625 --> 00:22:50,500
Lose the sub-plots.
344
00:22:51,000 --> 00:22:53,916
- Even the one including you?
- Of course not.
345
00:22:54,000 --> 00:22:56,333
Find the lyricism in your narrative.
346
00:22:57,125 --> 00:23:01,500
Feel free to ignore what I've said.
That's what advice is for.
347
00:23:01,583 --> 00:23:02,791
If you'll excuse me...
348
00:23:05,000 --> 00:23:07,958
When you're on set
and everyone's looking at you,
349
00:23:08,041 --> 00:23:10,041
that will be your own personal hell.
350
00:23:10,708 --> 00:23:12,708
You two, on the other side,
351
00:23:12,791 --> 00:23:14,333
you, come with me.
352
00:23:27,875 --> 00:23:29,500
Jean Seberg has just arrived,
353
00:23:30,166 --> 00:23:32,041
she is getting out of her car.
354
00:23:35,166 --> 00:23:36,541
Are you settling in here?
355
00:23:37,125 --> 00:23:38,500
What do you expect from Paris?
356
00:23:39,333 --> 00:23:41,750
Money, fast cars,
357
00:23:41,833 --> 00:23:43,083
diamonds!
358
00:23:45,875 --> 00:23:47,625
No, seriously,
359
00:23:47,708 --> 00:23:50,333
a quiet, creative life
360
00:23:50,416 --> 00:23:51,916
with my husband
361
00:23:52,500 --> 00:23:53,541
and my friends.
362
00:23:54,416 --> 00:23:55,458
Thank you.
363
00:24:23,750 --> 00:24:26,500
Do you consider yourself a movie star
364
00:24:26,583 --> 00:24:28,125
or an actress?
365
00:24:29,750 --> 00:24:31,291
I think that...
366
00:24:34,083 --> 00:24:37,333
I'm living proof
that all the publicity in the world
367
00:24:37,416 --> 00:24:40,375
will not make you a movie star
368
00:24:40,458 --> 00:24:42,750
if you are not also an actress.
369
00:24:43,583 --> 00:24:45,583
- What is your name again?
- Godard.
370
00:24:46,125 --> 00:24:47,666
G-O-D-A-R-D.
371
00:24:47,750 --> 00:24:49,166
I should be on the list.
372
00:24:49,708 --> 00:24:52,083
Jean Seberg might star in my film.
373
00:24:54,833 --> 00:24:55,750
François Moreuil?
374
00:24:58,708 --> 00:24:59,958
Raymond, he's with me.
375
00:25:00,666 --> 00:25:02,916
Jean-Luc Godard. Glad you could make it.
376
00:25:03,000 --> 00:25:03,958
Thank you.
377
00:25:04,500 --> 00:25:06,291
Thanks for having me.
378
00:25:06,375 --> 00:25:09,166
Didn't expect to have room in my life
for another François.
379
00:25:10,083 --> 00:25:11,500
Jean's excited to meet you.
380
00:25:11,583 --> 00:25:13,250
Jean Seberg has seen my work?
381
00:25:13,333 --> 00:25:14,833
You've made a film before?
382
00:25:16,291 --> 00:25:18,500
I feel so close to the New Wave.
383
00:25:18,583 --> 00:25:22,000
Truffaut wrote the script,
Chabrol is an advisor.
384
00:25:22,083 --> 00:25:23,875
I think it would be great for her.
385
00:25:23,958 --> 00:25:25,458
What does she think?
386
00:25:25,541 --> 00:25:30,750
Otto Preminger is the world's
most charming dinner guest,
387
00:25:30,833 --> 00:25:35,166
and the world's most sadistic director.
388
00:25:35,875 --> 00:25:37,250
That's not true.
389
00:25:37,333 --> 00:25:40,500
He's only okay as a dinner guest.
390
00:25:42,375 --> 00:25:43,916
I'm not Preminger.
391
00:25:44,500 --> 00:25:46,583
I won't do more than two takes.
392
00:25:46,666 --> 00:25:48,000
They'll let you do that?
393
00:25:50,208 --> 00:25:53,541
The more you repeat,
the more mechanical things get,
394
00:25:53,625 --> 00:25:55,541
the more the film loses life.
395
00:25:56,916 --> 00:25:59,458
I want to maintain
the independence of the artist,
396
00:25:59,541 --> 00:26:03,125
like a painter who leaves his canvas
to get a drink
397
00:26:03,208 --> 00:26:04,583
if he feels like it.
398
00:26:04,666 --> 00:26:07,291
To seek inspiration.
399
00:26:08,916 --> 00:26:11,458
That sounds interesting.
400
00:26:11,541 --> 00:26:13,708
Very different from what
401
00:26:13,791 --> 00:26:15,500
Herr Otto taught me.
402
00:26:16,041 --> 00:26:17,625
It's not so different.
403
00:26:18,791 --> 00:26:22,000
Breathless will be a continuation
of your role in Bonjour Tristesse.
404
00:26:23,541 --> 00:26:24,500
How?
405
00:26:24,583 --> 00:26:28,041
Imagine Preminger's last shot,
406
00:26:28,125 --> 00:26:30,875
dissolve, then the title,
"Three Years Later."
407
00:26:30,958 --> 00:26:32,583
All you have to be is yourself.
408
00:26:35,291 --> 00:26:38,416
I want you to keep the gestures
you make away from set.
409
00:26:38,500 --> 00:26:40,416
The way you hold your cigarette,
410
00:26:41,250 --> 00:26:42,500
or comb your hair.
411
00:26:44,166 --> 00:26:46,041
You've never seen me comb my hair.
412
00:26:46,125 --> 00:26:47,291
Yet...
413
00:26:48,083 --> 00:26:49,750
everyone would love to.
414
00:27:06,333 --> 00:27:07,375
The saint.
415
00:27:08,250 --> 00:27:10,291
And a sinner in Bonjour Tristesse.
416
00:27:10,375 --> 00:27:13,750
In this you'll be both. Sinner and saint.
417
00:27:14,458 --> 00:27:15,958
Sounds quite tempting.
418
00:27:17,625 --> 00:27:19,791
If the big bad wolves will let me.
419
00:27:23,541 --> 00:27:24,916
Which wolves are those?
420
00:27:25,000 --> 00:27:27,500
Preminger sold Jean's contract
to Columbia Pictures.
421
00:27:28,416 --> 00:27:29,416
What contract?
422
00:27:30,458 --> 00:27:33,541
Don't worry. I'll make sure
Columbia sees it our way.
423
00:27:34,500 --> 00:27:38,000
We'll offer them $15,000
or half the worldwide profits.
424
00:27:38,666 --> 00:27:41,333
- They'll take the cash.
- $15,000!
425
00:27:42,083 --> 00:27:43,208
She's worth it.
426
00:28:40,416 --> 00:28:42,958
This is the fantastic cameraman
I told you about.
427
00:28:43,041 --> 00:28:44,375
I am Raoul Coutard.
428
00:28:44,458 --> 00:28:46,833
I don't like Beau-Beau imposing me
instead of Latouche.
429
00:28:46,916 --> 00:28:48,750
That's not how I get work.
430
00:28:50,791 --> 00:28:52,958
I want to know
if I'm the right man for this.
431
00:28:53,041 --> 00:28:55,125
Have you ever used the Cameflex Eclair?
432
00:28:55,958 --> 00:28:57,375
During the war, yes.
433
00:28:57,458 --> 00:28:59,000
But it's noisy. And...
434
00:28:59,083 --> 00:29:00,791
No sync sound, I know.
435
00:29:01,375 --> 00:29:04,291
But it weighs so little,
it allows you to do anything,
436
00:29:04,375 --> 00:29:05,625
even carry it in hand.
437
00:29:05,708 --> 00:29:08,166
When a shoot is over-planned,
438
00:29:08,250 --> 00:29:09,708
over-prepared,
439
00:29:09,791 --> 00:29:13,250
it's just a practical application
of what's already imagined.
440
00:29:14,166 --> 00:29:15,833
I want to go in each day
441
00:29:15,916 --> 00:29:17,750
not knowing
what I am going to shoot.
442
00:29:17,833 --> 00:29:18,916
I want to search for it.
443
00:29:19,000 --> 00:29:20,583
Like reporting I've done.
444
00:29:20,666 --> 00:29:23,500
What about filming
at night without lights?
445
00:29:25,875 --> 00:29:27,041
I like Ilford.
446
00:29:27,125 --> 00:29:28,666
Who doesn't?
447
00:29:29,333 --> 00:29:31,750
It's lowlight stills film,
not movie stock.
448
00:29:32,708 --> 00:29:34,291
It's only sold in small canisters.
449
00:29:34,375 --> 00:29:38,083
What's keeping us from splicing
eight or nine of them together?
450
00:29:38,166 --> 00:29:39,375
Would that work?
451
00:29:39,458 --> 00:29:42,708
Yeah. If splices go through a projector,
they should go through a camera.
452
00:29:43,333 --> 00:29:44,666
Let's try it.
453
00:29:45,958 --> 00:29:46,958
And for ratios?
454
00:29:47,583 --> 00:29:50,875
The norm is 'scope.
1:37 would be a bit arbitrary.
455
00:29:50,958 --> 00:29:52,458
That's why I like it.
456
00:29:53,458 --> 00:29:54,916
Listen, Coutard.
457
00:29:55,666 --> 00:29:58,000
I want a cameraman that goes with me.
458
00:30:00,000 --> 00:30:02,291
When I ask, he delivers.
459
00:30:05,333 --> 00:30:06,791
How can I know
460
00:30:06,875 --> 00:30:11,708
that you'll be willing to get on board
with this kind of guerilla shooting,
461
00:30:11,791 --> 00:30:14,416
with no sound stage and no lighting?
462
00:30:15,708 --> 00:30:17,083
Listen, Godard,
463
00:30:17,166 --> 00:30:19,666
I had no money growing up,
464
00:30:19,750 --> 00:30:21,208
that's why I joined the army.
465
00:30:21,708 --> 00:30:23,916
I learned photography there
as a simple soldier.
466
00:30:24,625 --> 00:30:26,708
I got all my images in split seconds,
467
00:30:26,791 --> 00:30:28,916
on the fly, without lighting,
468
00:30:29,000 --> 00:30:31,000
on stages of a far different sort.
469
00:30:36,458 --> 00:30:38,583
He's here. And he can't wait to meet you.
470
00:30:38,666 --> 00:30:40,000
Come on, baby, please.
471
00:30:44,625 --> 00:30:47,541
I didn't fight to get you out of
that fucking contract
472
00:30:47,625 --> 00:30:48,875
so you could back out now.
473
00:31:01,208 --> 00:31:03,250
It's your second time
working with Jean-Luc Godard?
474
00:31:03,333 --> 00:31:04,583
Absolutely.
475
00:31:04,666 --> 00:31:05,583
Hello!
476
00:31:06,166 --> 00:31:07,291
Nice to meet you.
477
00:31:11,041 --> 00:31:13,458
Cheese? Bread? Sandwich? Salad?
478
00:31:13,541 --> 00:31:15,666
Wine? Beer? Coca-Cola?
479
00:31:15,750 --> 00:31:17,708
Yes. Sure. All of it, please.
480
00:31:17,791 --> 00:31:19,291
I just finished boxing.
481
00:31:20,166 --> 00:31:22,166
Be careful...
I'll take care of it.
482
00:31:23,875 --> 00:31:24,958
This way.
483
00:31:27,708 --> 00:31:30,208
- You have a beautiful house.
- Thank you.
484
00:31:30,833 --> 00:31:32,583
And the garden looks lovely.
485
00:31:32,666 --> 00:31:33,875
Let's see...
486
00:31:34,500 --> 00:31:36,875
Jean-Luc would hate that we're meeting.
487
00:31:38,000 --> 00:31:39,583
Probably the last thing he wants.
488
00:31:40,416 --> 00:31:41,250
I told him.
489
00:31:42,500 --> 00:31:43,416
Why?
490
00:31:43,500 --> 00:31:44,625
What did he say?
491
00:31:44,708 --> 00:31:47,958
I asked him if he'd like to join us.
He laughed.
492
00:31:48,958 --> 00:31:52,416
He said that you'd talk about him anyway,
so the sooner, the better.
493
00:31:53,583 --> 00:31:54,708
So let's begin!
494
00:31:57,166 --> 00:31:59,916
I first met him in the Latin Quarter.
495
00:32:00,875 --> 00:32:03,875
He put me off with his sunglasses,
the way he talked.
496
00:32:05,333 --> 00:32:06,458
A few weeks later,
497
00:32:06,541 --> 00:32:07,666
poof,
498
00:32:07,750 --> 00:32:09,666
he materializes at the Brasserie Lipp,
499
00:32:09,750 --> 00:32:12,750
and asks if I'd shoot a short
in his hotel room.
500
00:32:13,250 --> 00:32:14,583
I thought he was hitting on me.
501
00:32:15,583 --> 00:32:18,500
When I told my wife,
she said, don't be ridiculous.
502
00:32:19,958 --> 00:32:21,666
That shoot went great.
503
00:32:22,166 --> 00:32:25,208
Then he sent me a letter
when I was in the army in Algeria,
504
00:32:25,291 --> 00:32:27,208
asking if he could dub me.
505
00:32:28,041 --> 00:32:30,875
He wrapped it up by saying:
"The day I make my first feature,
506
00:32:30,958 --> 00:32:32,250
it will be with you."
507
00:32:32,333 --> 00:32:33,333
Voilà.
508
00:32:34,000 --> 00:32:36,333
He stayed true to his word.
Nowadays, that's something.
509
00:32:36,416 --> 00:32:38,750
That's something. It's true.
510
00:32:39,625 --> 00:32:43,583
But he's only edited
animal documentaries, travelogues,
511
00:32:43,666 --> 00:32:46,708
and directed an industrial film
and two shorts.
512
00:32:47,250 --> 00:32:50,041
I can't say why,
because I'm not even sure myself,
513
00:32:50,541 --> 00:32:51,666
but I trust him.
514
00:32:52,625 --> 00:32:54,291
Does he even like actors?
515
00:32:54,375 --> 00:32:56,125
A long as you don't perform.
516
00:32:57,333 --> 00:32:58,625
I don't know.
517
00:33:01,250 --> 00:33:05,083
This story sound so sordid and squalid.
518
00:33:05,583 --> 00:33:07,375
- You think so?
- Don't you?
519
00:33:08,125 --> 00:33:09,958
He hasn't told me what it's about.
520
00:33:10,041 --> 00:33:11,125
And you signed on?
521
00:33:11,208 --> 00:33:12,541
You did, too.
522
00:33:13,041 --> 00:33:15,166
It's not as if
he gave you a script, right?
523
00:33:15,250 --> 00:33:16,708
Truffaut's script?
524
00:33:16,791 --> 00:33:20,750
No, he just said the story
was all in the newspapers.
525
00:33:20,833 --> 00:33:21,708
About a crook,
526
00:33:21,791 --> 00:33:23,916
Michel Portail. Michel Poiccard now.
527
00:33:25,000 --> 00:33:27,208
Either way, I guess that's me.
528
00:33:28,458 --> 00:33:30,500
That's what the story's
supposed to be about,
529
00:33:30,583 --> 00:33:32,625
but knowing Godard,
it'll be completely different.
530
00:33:33,458 --> 00:33:36,875
I don't know if that sounds
terrifying or exciting.
531
00:33:38,333 --> 00:33:39,500
Both maybe?
532
00:33:42,500 --> 00:33:44,291
Here's to our adventure.
533
00:33:50,291 --> 00:33:51,166
Jean-Luc?
534
00:33:51,791 --> 00:33:52,625
Yes.
535
00:33:53,166 --> 00:33:56,083
Please meet our publicist,
Richard Balducci.
536
00:33:56,666 --> 00:33:57,666
Hello.
537
00:33:58,875 --> 00:34:00,583
I plan to create some mystique.
538
00:34:00,666 --> 00:34:02,541
I'll leak a story during production
539
00:34:02,625 --> 00:34:05,625
that you once held up
a garage at gunpoint.
540
00:34:07,208 --> 00:34:08,166
I like it.
541
00:34:08,250 --> 00:34:09,333
Not bad, eh?
542
00:34:11,208 --> 00:34:12,708
A new outlaw in town.
543
00:34:14,333 --> 00:34:16,583
Also, there will be an assistant on set
544
00:34:16,666 --> 00:34:18,750
who's actually a reporter.
545
00:34:19,333 --> 00:34:20,333
Marc!
546
00:34:22,541 --> 00:34:24,333
Jean-Luc, Marc Pierret.
547
00:34:27,083 --> 00:34:28,583
I'm a huge admirer of your work.
548
00:34:28,666 --> 00:34:32,166
I've read all your reviews.
I'll keep a diary of the shoot.
549
00:34:33,125 --> 00:34:35,791
As long as you know
we will put you to work.
550
00:34:36,458 --> 00:34:38,041
We could use an assistant.
551
00:34:38,125 --> 00:34:39,125
Perfect.
552
00:34:52,708 --> 00:34:55,916
There.
A great mugshot for our Poiccard.
553
00:34:57,500 --> 00:34:59,125
His headshot in the Film Directory.
554
00:34:59,625 --> 00:35:00,666
It's perfect.
555
00:35:01,666 --> 00:35:04,416
I'll have it printed up
in a copy of France-Soir?
556
00:35:04,500 --> 00:35:05,500
Obviously.
557
00:35:34,625 --> 00:35:37,291
Who am I to direct
after seeing this masterpiece?
558
00:35:37,375 --> 00:35:38,875
Bad time to go shoot.
559
00:35:38,958 --> 00:35:41,625
Think of Rosellini. Be fast like him.
560
00:35:41,708 --> 00:35:43,625
Be witty like Sacha Guitry,
561
00:35:43,708 --> 00:35:46,625
musical like Orson Welles,
simple like Marcel Pagnol.
562
00:35:46,708 --> 00:35:48,458
Be wounded like Nicolas Ray,
563
00:35:48,541 --> 00:35:50,208
effective like Hitchcock,
564
00:35:50,291 --> 00:35:51,625
profound like Bergman,
565
00:35:51,708 --> 00:35:53,625
and insolent like no one else.
566
00:35:54,708 --> 00:35:57,416
Another crucial thing: good morale.
567
00:35:57,500 --> 00:36:01,750
Confidence and courage is required
every day to continue.
568
00:36:01,833 --> 00:36:03,958
Not just to continue
but to be audacious.
569
00:36:04,041 --> 00:36:05,458
Twenty days is a lifetime.
570
00:36:05,541 --> 00:36:08,000
Be determined to astonish.
571
00:36:09,500 --> 00:36:11,500
Just don't fuck it up.
572
00:36:15,625 --> 00:36:18,083
{\an8}DAY 1
573
00:36:41,416 --> 00:36:45,000
I hope our film
will be beautifully simple.
574
00:36:45,083 --> 00:36:46,708
Or simply beautiful.
575
00:36:48,583 --> 00:36:50,250
Thanks for having faith in me.
576
00:36:50,333 --> 00:36:51,416
Faith.
577
00:36:52,000 --> 00:36:53,916
What would a producer do without it?
578
00:36:54,000 --> 00:36:56,333
My prayers continue around the clock.
579
00:36:56,833 --> 00:36:58,541
You cannot trifle with cinema.
580
00:36:58,625 --> 00:37:00,041
Or it will trifle with you.
581
00:37:02,041 --> 00:37:03,625
To direct
582
00:37:04,250 --> 00:37:06,833
is to aim for intellectual
and moral anarchy.
583
00:37:06,916 --> 00:37:10,541
I don't want anything obscure
like some of your reviews.
584
00:37:11,416 --> 00:37:13,708
Just a story that makes sense,
585
00:37:13,791 --> 00:37:15,958
a realistic, sexy slice of film noir.
586
00:37:42,958 --> 00:37:44,541
Hello, everyone!
587
00:37:46,833 --> 00:37:47,791
So...
588
00:37:48,333 --> 00:37:49,541
The time is now.
589
00:37:50,250 --> 00:37:51,541
Let's make this film.
590
00:37:52,416 --> 00:37:53,541
Let's make it.
591
00:38:01,416 --> 00:38:03,208
Come on, gentlemen, get closer.
592
00:38:05,333 --> 00:38:06,916
We're standing too close.
593
00:38:07,000 --> 00:38:08,958
Only on Day One can we be this close.
594
00:38:11,750 --> 00:38:12,750
Wait, Raymond.
595
00:38:12,833 --> 00:38:14,458
Take another one, stand there.
596
00:38:14,541 --> 00:38:17,166
- Yes, sir!
- And so a director is born.
597
00:38:20,541 --> 00:38:22,750
Ready? Watch the birdie!
598
00:38:24,875 --> 00:38:27,375
You have met Suzon, our script supervisor?
599
00:38:27,458 --> 00:38:28,458
Nice to meet you.
600
00:38:30,083 --> 00:38:31,708
You know you're not working today.
601
00:38:31,791 --> 00:38:33,041
Yes, but...
602
00:38:33,541 --> 00:38:36,375
Preminger always wanted me around.
603
00:38:37,333 --> 00:38:40,250
On call around the clock. I like it.
604
00:38:40,833 --> 00:38:41,833
Absolutely!
605
00:38:42,333 --> 00:38:43,458
Nice to meet you.
606
00:38:43,541 --> 00:38:45,875
Likewise.
I'm Suzon, the script supervisor.
607
00:38:45,958 --> 00:38:50,416
So obviously, I have nothing to do yet.
608
00:38:50,500 --> 00:38:53,541
Come on! Let's make movie history.
609
00:38:53,625 --> 00:38:55,833
Let's just make our day.
610
00:38:55,916 --> 00:38:57,541
Time to enter the pantheon.
611
00:38:58,041 --> 00:38:59,666
Everyone, our first set-up.
612
00:39:00,333 --> 00:39:01,291
Wait, Pierre.
613
00:39:01,875 --> 00:39:03,916
No words of wisdom before we begin?
614
00:39:06,333 --> 00:39:08,791
Let's prove that "Genius is not a gift
615
00:39:08,875 --> 00:39:11,500
but a way out
invented in desperate cases."
616
00:39:11,583 --> 00:39:13,500
Jean-Paul Sartre. How's that?
617
00:39:13,583 --> 00:39:15,541
Bravo. Take a bow.
618
00:39:16,250 --> 00:39:18,250
Okay. What's the hold up?
619
00:39:18,333 --> 00:39:20,500
Raoul is holding the camera, we're ready.
620
00:39:20,583 --> 00:39:21,583
Let's go.
621
00:39:24,791 --> 00:39:26,083
You want to have a look.
622
00:39:28,000 --> 00:39:30,416
You go inside,
you want to talk to Patricia,
623
00:39:30,500 --> 00:39:31,916
but you forgot her number.
624
00:39:32,708 --> 00:39:35,041
And that damn machine ate your coin.
625
00:39:35,125 --> 00:39:36,375
Roll camera, Raoul!
626
00:39:37,666 --> 00:39:39,125
Rolling, Jean-Luc.
627
00:39:39,958 --> 00:39:40,916
Action!
628
00:39:54,500 --> 00:39:56,083
Cut. It was good.
629
00:39:57,666 --> 00:40:00,125
We have to go...
630
00:40:00,208 --> 00:40:01,500
Come on, let's go.
631
00:40:04,708 --> 00:40:06,083
- Rolling.
- Go!
632
00:40:07,625 --> 00:40:09,416
Walk up to the counter to order.
633
00:40:09,500 --> 00:40:10,458
A beer.
634
00:40:10,541 --> 00:40:12,666
Wait. Turn around...
635
00:40:13,416 --> 00:40:14,750
count your money.
636
00:40:15,958 --> 00:40:17,750
See what you can afford.
637
00:40:20,250 --> 00:40:22,958
- How much is ham and eggs?
- 180 francs.
638
00:40:23,541 --> 00:40:24,750
Make it one.
639
00:40:28,500 --> 00:40:30,125
Gotta get a paper. Be right back.
640
00:40:37,333 --> 00:40:38,708
- Cut.
- Cut.
641
00:40:40,125 --> 00:40:41,708
We move to the close-up.
642
00:40:52,416 --> 00:40:53,250
Cut.
643
00:40:54,583 --> 00:40:55,500
It's cut.
644
00:40:56,875 --> 00:40:57,791
Moving on?
645
00:40:57,875 --> 00:41:00,625
No. That's all for today.
I'm out of ideas.
646
00:41:01,375 --> 00:41:02,416
We're wrapping?
647
00:41:05,666 --> 00:41:06,625
Yes.
648
00:41:07,416 --> 00:41:09,041
Should we rehearse for tomorrow?
649
00:41:09,125 --> 00:41:10,125
No.
650
00:41:10,208 --> 00:41:11,916
Do we have a script for tomorrow?
651
00:41:12,000 --> 00:41:15,166
No. I want them to stay in character,
not learn lines.
652
00:41:16,166 --> 00:41:17,291
Which lines?
653
00:41:18,166 --> 00:41:21,291
If they think about their dialogue,
they will be prepared.
654
00:41:25,833 --> 00:41:26,833
Yes.
655
00:41:27,333 --> 00:41:29,583
You'd think about how you'd like to do it,
656
00:41:29,666 --> 00:41:31,583
and not how I'd like you to do it.
657
00:41:32,750 --> 00:41:33,833
This way,
658
00:41:33,916 --> 00:41:36,125
you give more of yourself,
in the moment.
659
00:41:36,708 --> 00:41:41,000
Are you making up how to direct
as you go along?
660
00:41:41,083 --> 00:41:42,083
"In the moment"?
661
00:41:45,458 --> 00:41:47,375
Until tomorrow, everyone.
662
00:41:49,333 --> 00:41:51,416
- One glass of wine.
- Make that two.
663
00:41:51,500 --> 00:41:52,375
Three.
664
00:41:57,833 --> 00:41:59,208
Same thing for me.
665
00:41:59,291 --> 00:42:00,291
{\an8}Roll camera, Raoul.
666
00:42:00,375 --> 00:42:01,291
{\an8}DAY 2
667
00:42:01,375 --> 00:42:03,541
{\an8}Listen carefully to what I say.
668
00:42:03,625 --> 00:42:05,625
You walk this way and you take the stairs.
669
00:42:05,708 --> 00:42:06,708
Rolling, Jean-Luc.
670
00:42:06,791 --> 00:42:09,333
Come on. Move out. Out!
671
00:42:10,875 --> 00:42:11,833
Action.
672
00:42:11,916 --> 00:42:14,875
Look in the paper, look for your mugshot.
673
00:42:14,958 --> 00:42:16,041
It's not there?
674
00:42:16,125 --> 00:42:18,166
Then clean your shoes.
675
00:42:18,666 --> 00:42:20,666
They have to be shiny for Liliane.
676
00:42:24,416 --> 00:42:25,375
Cut.
677
00:42:26,541 --> 00:42:28,208
- You want to do it again?
- No.
678
00:42:28,833 --> 00:42:31,666
Let's go upstairs. Come on, hurry up!
679
00:42:38,250 --> 00:42:39,500
It's this one.
680
00:42:50,750 --> 00:42:52,166
Good morning.
681
00:42:52,250 --> 00:42:53,500
You're early.
682
00:42:54,250 --> 00:42:56,375
- No, we're n...
- Not by much.
683
00:42:57,083 --> 00:42:58,500
I just got up.
684
00:42:58,583 --> 00:43:00,083
You look magnificent.
685
00:43:00,166 --> 00:43:03,291
Don't brush your hair.
And don't put on any makeup.
686
00:43:06,625 --> 00:43:07,625
Leave that.
687
00:43:09,208 --> 00:43:11,291
You, this,
688
00:43:12,041 --> 00:43:13,041
everything looks perfect.
689
00:43:24,333 --> 00:43:26,875
Rehearsing!
690
00:43:26,958 --> 00:43:30,625
Let's clear the room
for rehearsal, people.
691
00:43:33,791 --> 00:43:34,833
I'll be back.
692
00:43:42,500 --> 00:43:44,000
Raoul, what are we waiting for?
693
00:43:51,083 --> 00:43:53,916
You know why Beau-Beau and Bénazéraf
are here?
694
00:43:54,000 --> 00:43:56,083
To see you take your bra off.
695
00:43:56,166 --> 00:43:57,583
But I don't wear one!
696
00:43:58,625 --> 00:44:01,416
Beau-Beau's protecting
his future box office.
697
00:44:02,458 --> 00:44:05,416
Bénazéraf is just a lech.
698
00:44:06,791 --> 00:44:09,333
When he says that,
you want me to undress?
699
00:44:10,083 --> 00:44:10,916
Wait.
700
00:44:11,416 --> 00:44:12,833
How about you pull your dress
701
00:44:12,916 --> 00:44:15,125
over your head first?
702
00:44:15,958 --> 00:44:17,625
Then undress underneath.
703
00:44:18,500 --> 00:44:21,250
So the nudity is just suggested,
704
00:44:21,333 --> 00:44:23,125
imagined. It's more powerful.
705
00:44:24,416 --> 00:44:27,791
It would be like the shot
in Bergman's Summer Interlude.
706
00:44:28,708 --> 00:44:30,083
You know the one, Raoul?
707
00:44:32,833 --> 00:44:33,833
I'm not sure.
708
00:44:33,916 --> 00:44:36,583
Yes, the one
where she puts on a bathing suit.
709
00:44:38,625 --> 00:44:42,000
- You haven't seen it?
- No, I was in Vietnam.
710
00:44:42,708 --> 00:44:44,208
Jean-Paul will be here soon.
711
00:44:44,708 --> 00:44:45,791
Raoul, are you ready?
712
00:44:45,875 --> 00:44:47,833
I'm ready. I've been ready.
713
00:44:50,291 --> 00:44:52,708
Suzon, was the cup there before?
714
00:44:52,791 --> 00:44:54,375
No, it wasn't! Thanks, Pierre.
715
00:44:54,458 --> 00:44:55,791
Stop!
716
00:44:55,875 --> 00:44:58,166
Why destroy
717
00:44:58,250 --> 00:45:00,666
the environment I'm trying to film?
718
00:45:01,250 --> 00:45:03,041
It's not continuity.
719
00:45:04,000 --> 00:45:05,250
Suzon,
720
00:45:05,333 --> 00:45:08,208
say I'm trying to record
the sounds of the forest.
721
00:45:08,291 --> 00:45:11,208
And, to listen clearly
to the sounds of nature,
722
00:45:12,083 --> 00:45:14,083
I chop down every tree,
723
00:45:14,666 --> 00:45:16,291
I kill every animal.
724
00:45:17,000 --> 00:45:18,166
Would that be realistic?
725
00:45:18,708 --> 00:45:19,666
No!
726
00:45:19,750 --> 00:45:21,791
Reality is not continuity.
727
00:45:22,708 --> 00:45:25,500
But Jean-Luc, we must match.
728
00:45:25,583 --> 00:45:26,958
We must, we must...
729
00:45:27,041 --> 00:45:28,750
Just don't touch anything!
730
00:45:35,583 --> 00:45:36,583
Everyone, set up.
731
00:45:38,416 --> 00:45:40,541
Raoul, frame it out?
732
00:45:41,750 --> 00:45:44,416
Hey, checking all is going well.
733
00:45:46,500 --> 00:45:49,041
Yes. When it's going. Right, Jean-Luc?
734
00:45:49,125 --> 00:45:50,875
Hurry! You're okay?
735
00:45:50,958 --> 00:45:52,083
Sit here.
736
00:45:54,000 --> 00:45:55,208
Roll camera, Raoul.
737
00:45:55,291 --> 00:45:56,791
Rolling, Jean-Luc.
738
00:45:57,500 --> 00:45:58,958
Can you lend me some money?
739
00:45:59,791 --> 00:46:01,125
Can you lend me some money?
740
00:46:09,708 --> 00:46:12,541
Will there be other scenes
with Liliane David?
741
00:46:12,625 --> 00:46:14,625
Liliane deserves more scenes.
742
00:46:14,708 --> 00:46:18,166
Liliane deserves a whole film.
All to herself.
743
00:46:18,791 --> 00:46:20,583
You should do it together.
744
00:46:24,375 --> 00:46:26,750
- What, already done?
- Yes.
745
00:46:28,875 --> 00:46:29,708
Good morning.
746
00:46:29,791 --> 00:46:31,625
- You took a taxi.
- Yes.
747
00:46:32,375 --> 00:46:33,500
I was coming to visit.
748
00:46:35,750 --> 00:46:38,000
Well, tomorrow you work.
749
00:46:38,083 --> 00:46:38,916
Yes.
750
00:46:39,000 --> 00:46:40,625
- So no taxi.
- Why?
751
00:46:41,125 --> 00:46:42,708
You're sending a car for me?
752
00:46:43,208 --> 00:46:44,333
There is no car.
753
00:46:44,416 --> 00:46:46,500
Walk to work. It's better for "Patricia".
754
00:46:47,833 --> 00:46:49,250
And what does she do, "Patricia"?
755
00:46:49,333 --> 00:46:51,583
Patricia.
756
00:46:51,666 --> 00:46:54,208
And what does she do, "Patricia",
757
00:46:55,250 --> 00:46:57,416
besides having to walk?
758
00:46:57,500 --> 00:46:59,958
It's okay to not always be
the goody-goody.
759
00:47:00,583 --> 00:47:01,791
I think you'll like it.
760
00:47:01,875 --> 00:47:03,916
I'm no goody-goody.
761
00:47:05,666 --> 00:47:09,458
I might just walk out
on you and your film.
762
00:47:09,541 --> 00:47:10,375
See?
763
00:47:10,458 --> 00:47:11,833
You're starting to get it.
764
00:47:13,125 --> 00:47:15,208
See you tomorrow, walking.
765
00:47:22,041 --> 00:47:22,875
{\an8}Artistic creation...
766
00:47:22,958 --> 00:47:23,958
{\an8}DAY 3
767
00:47:24,041 --> 00:47:26,458
{\an8}...does not mean the painting
one's soul in things,
768
00:47:26,541 --> 00:47:28,625
but painting the soul of things.
769
00:47:28,708 --> 00:47:32,333
Cinema is the expression
of lofty sentiments.
770
00:47:32,416 --> 00:47:35,375
So this is our script.
771
00:47:36,291 --> 00:47:37,583
Could you maybe
772
00:47:37,666 --> 00:47:41,750
write down some of your lofty sentiments?
773
00:47:42,291 --> 00:47:43,291
Jean...
774
00:47:44,125 --> 00:47:46,500
It's about a boy and a girl
775
00:47:46,583 --> 00:47:49,333
who use the same words
but with different meanings.
776
00:47:49,916 --> 00:47:51,791
What is difficult and important
777
00:47:53,291 --> 00:47:55,250
is to advance into unknown lands.
778
00:47:56,750 --> 00:48:00,541
To be aware of the danger,
to take the risks, to be afraid.
779
00:48:01,500 --> 00:48:04,000
He'll either die or kill the girl.
780
00:48:04,083 --> 00:48:05,750
Can we decide that right now?
781
00:48:05,833 --> 00:48:06,791
We cannot.
782
00:48:08,583 --> 00:48:10,458
We could, but you don't want to.
783
00:48:10,541 --> 00:48:12,333
Disappointments are temporary.
784
00:48:12,416 --> 00:48:14,625
Film is forever.
785
00:48:14,708 --> 00:48:17,833
Whatever the ending,
what matters is to have fun.
786
00:48:19,750 --> 00:48:20,916
Shall we shoot?
787
00:48:22,458 --> 00:48:23,458
He's right.
788
00:48:26,708 --> 00:48:27,916
What is this thing?
789
00:48:28,000 --> 00:48:30,250
- Look what I've found!
- Brilliant!
790
00:48:30,333 --> 00:48:31,583
Where did you get it?
791
00:48:32,375 --> 00:48:33,791
The camera fits here.
792
00:48:35,625 --> 00:48:36,666
With Raoul inside,
793
00:48:36,750 --> 00:48:38,500
top it off with packages,
he's hidden.
794
00:48:39,000 --> 00:48:41,583
No one on the street will know
we're shooting a film.
795
00:48:42,125 --> 00:48:43,333
It's perfect.
796
00:48:43,416 --> 00:48:44,416
The extras will be free.
797
00:48:44,500 --> 00:48:48,083
And they'll be completely
natural and realistic.
798
00:48:48,583 --> 00:48:50,208
It's only a bargain if it works.
799
00:48:52,750 --> 00:48:55,333
Raoul, you will fit in there?
800
00:48:55,416 --> 00:48:56,458
Of course.
801
00:49:01,916 --> 00:49:05,875
In Jean's contract, she has
a make-up artist. Meet Phuong.
802
00:49:06,541 --> 00:49:07,375
Good morning.
803
00:49:07,458 --> 00:49:09,083
Thanks, but we don't need you.
804
00:49:09,166 --> 00:49:10,666
There's no make-up in my movie.
805
00:49:11,916 --> 00:49:13,958
- Is he joking?
- I'll solve this.
806
00:49:14,458 --> 00:49:16,208
But it's necessary!
807
00:49:16,291 --> 00:49:17,125
No.
808
00:49:17,208 --> 00:49:18,958
My wardrobe is from the dime store.
809
00:49:19,500 --> 00:49:22,458
You could at least let me
wear some make-up. Please.
810
00:49:28,250 --> 00:49:29,291
Jean-Luc.
811
00:49:29,375 --> 00:49:31,833
May Jean at least
have a make-up person nearby,
812
00:49:32,333 --> 00:49:34,333
if only for security
when I have to be at work?
813
00:49:35,666 --> 00:49:37,750
I can't always be here.
Phuong reassures her.
814
00:49:39,958 --> 00:49:41,208
It's really in her contract?
815
00:49:41,291 --> 00:49:43,083
Yes, the 15,000-dollar one.
816
00:49:47,375 --> 00:49:48,208
Okay.
817
00:49:48,291 --> 00:49:49,333
Perfect.
818
00:49:51,041 --> 00:49:52,125
The camera...
819
00:49:52,625 --> 00:49:54,875
- Careful with your head.
- Wait a second.
820
00:49:54,958 --> 00:49:56,583
Let me get ready.
821
00:49:57,500 --> 00:49:58,500
Careful.
822
00:50:00,375 --> 00:50:02,625
Now, the packages.
823
00:50:09,416 --> 00:50:10,541
Good for you?
824
00:50:11,208 --> 00:50:12,375
Great.
825
00:50:16,791 --> 00:50:18,708
Remember, you're selling papers,
826
00:50:18,791 --> 00:50:20,791
so shout it out occasionally.
827
00:50:20,875 --> 00:50:21,958
Roll camera.
828
00:50:22,041 --> 00:50:23,875
Last chance to place your bets!
829
00:50:23,958 --> 00:50:25,166
Go, Patricia!
830
00:50:33,041 --> 00:50:34,333
Pure genius.
831
00:50:35,333 --> 00:50:36,583
I walk in the street.
832
00:50:36,666 --> 00:50:40,250
This guy films me
with a camera hidden in a mail cart,
833
00:50:40,791 --> 00:50:44,750
I say whatever goes through my head
because this will all get dubbed.
834
00:50:44,833 --> 00:50:47,958
I have no idea what the fuck I'm doing.
835
00:50:48,041 --> 00:50:49,291
Never mind, kiddo.
836
00:50:50,583 --> 00:50:51,916
We're in the same boat.
837
00:50:52,708 --> 00:50:55,291
But if we row together,
maybe we'll get somewhere.
838
00:50:55,916 --> 00:50:59,250
This is utter madness.
And it's only the beginning.
839
00:51:01,750 --> 00:51:04,291
- Let me get one.
- Of course.
840
00:51:05,625 --> 00:51:06,791
Thank you.
841
00:51:09,291 --> 00:51:10,541
I don't have any change.
842
00:51:12,375 --> 00:51:13,416
Thank you.
843
00:51:13,500 --> 00:51:15,000
To the crosswalk!
844
00:51:15,958 --> 00:51:17,000
You are superb.
845
00:51:19,291 --> 00:51:20,708
Take his hat.
846
00:51:27,250 --> 00:51:29,000
Kiss her on the cheek.
847
00:51:29,083 --> 00:51:30,291
No, she kisses me.
848
00:51:30,375 --> 00:51:31,916
Kiss him on the cheek.
849
00:51:36,291 --> 00:51:38,708
Raymond, enough. You're in the shot.
850
00:51:40,791 --> 00:51:42,250
Give a kiss to Belmondo!
851
00:51:43,541 --> 00:51:44,541
Run!
852
00:51:58,333 --> 00:51:59,708
Great. Cut.
853
00:52:04,500 --> 00:52:05,916
Legally, never.
854
00:52:06,458 --> 00:52:08,583
Ethically, morally,
855
00:52:09,125 --> 00:52:10,208
probably not.
856
00:52:10,875 --> 00:52:11,958
Career-wise, well...
857
00:52:25,166 --> 00:52:27,333
"Go, Patricia, go!"
858
00:52:27,833 --> 00:52:30,375
"I must have a line for you to say."
859
00:53:02,291 --> 00:53:03,708
Should we roll
860
00:53:04,375 --> 00:53:05,708
or do we want to miss it?
861
00:53:05,791 --> 00:53:07,166
Wait, Jean-Luc.
862
00:53:07,250 --> 00:53:09,458
I faithfully timed it for weeks.
863
00:53:09,541 --> 00:53:13,208
so I have a very good idea of when...
864
00:53:13,791 --> 00:53:15,916
- Just give me enough warning.
- Yes.
865
00:53:18,458 --> 00:53:19,416
Okay.
866
00:53:20,291 --> 00:53:21,458
Ready, Raoul?
867
00:53:24,000 --> 00:53:25,166
Roll camera.
868
00:53:29,541 --> 00:53:30,583
Rolling.
869
00:53:36,750 --> 00:53:37,666
Cut!
870
00:53:39,833 --> 00:53:41,583
Not bad, eh?
871
00:53:42,250 --> 00:53:44,208
I wish every shot could be so easy.
872
00:53:44,750 --> 00:53:45,583
Bravo.
873
00:53:46,875 --> 00:53:49,291
{\an8}DAY 4
874
00:53:54,916 --> 00:53:56,083
Guess who?
875
00:53:57,125 --> 00:53:58,291
Brigitte Bardot?
876
00:53:58,791 --> 00:53:59,875
Natalie Wood?
877
00:54:00,416 --> 00:54:01,625
Sugarpuss O'Shea?
878
00:54:02,208 --> 00:54:03,500
New Wave!
879
00:54:03,583 --> 00:54:04,958
Cahiers du Cinéma!
880
00:54:06,791 --> 00:54:09,541
The film is both a circle
881
00:54:09,625 --> 00:54:11,375
and a straight line.
882
00:54:14,541 --> 00:54:15,750
Bravo, Patricia.
883
00:54:15,833 --> 00:54:17,791
- Scene.
- Sit down, please.
884
00:54:18,333 --> 00:54:19,916
I have a line for you.
885
00:54:20,000 --> 00:54:21,708
A key to the script perhaps?
886
00:54:21,791 --> 00:54:22,833
Listen.
887
00:54:24,541 --> 00:54:26,916
"Am I unhappy because I am not free,
888
00:54:27,416 --> 00:54:29,541
or not free because I am unhappy?"
889
00:54:29,625 --> 00:54:30,916
Careful, trick question.
890
00:54:35,500 --> 00:54:36,708
Human beings
891
00:54:37,291 --> 00:54:39,416
play with life every second
892
00:54:39,500 --> 00:54:42,291
and stage their own executions,
one way or another.
893
00:54:43,416 --> 00:54:44,875
I'm familiar.
894
00:54:45,916 --> 00:54:47,833
THE HARDER THEY FALL
895
00:54:49,666 --> 00:54:52,750
While Coutard's getting ready,
I'll tell you a story.
896
00:54:53,416 --> 00:54:56,416
Michel Poiccard's doom and demise
897
00:54:56,500 --> 00:54:57,833
come from Bogart
898
00:54:58,375 --> 00:55:00,916
in High Sierra and The Big Sleep.
899
00:55:01,583 --> 00:55:04,333
Think about Bogart in The Maltese Falcon.
900
00:55:04,833 --> 00:55:06,625
Try to embody that.
901
00:55:11,375 --> 00:55:13,333
The harder they fall...
902
00:55:13,416 --> 00:55:16,500
To think I first noticed him
in a piece of shit Allégret film.
903
00:55:27,958 --> 00:55:29,500
Roll camera, Raoul.
904
00:55:49,708 --> 00:55:51,708
Don't tell me you're rolling, Raoul?
905
00:55:52,250 --> 00:55:53,583
Wink!
906
00:55:55,500 --> 00:55:56,583
Moving on.
907
00:56:01,708 --> 00:56:02,541
{\an8}Balducci!
908
00:56:02,625 --> 00:56:03,458
{\an8}DAY 5
909
00:56:03,541 --> 00:56:05,166
{\an8}Cinematic glory awaits.
910
00:56:05,250 --> 00:56:06,750
We need you at the front.
911
00:56:06,833 --> 00:56:07,791
Why?
912
00:56:08,708 --> 00:56:10,125
I have a part for you.
913
00:56:10,208 --> 00:56:11,083
Me?
914
00:56:11,166 --> 00:56:12,333
Yes.
915
00:56:12,416 --> 00:56:14,458
You're going to be perfect.
916
00:56:15,125 --> 00:56:17,125
You will be perfect too, Lila.
917
00:56:17,708 --> 00:56:18,708
So...
918
00:56:19,708 --> 00:56:22,541
We start with this scene.
You'll have to learn some lines.
919
00:56:22,625 --> 00:56:24,125
Let me get this straight.
920
00:56:24,208 --> 00:56:26,875
Tolmatchoff was to play a gangster
named Balducci.
921
00:56:26,958 --> 00:56:30,958
He didn't show up.
So our publicist, named Balducci,
922
00:56:31,041 --> 00:56:32,708
is going to play the gangster,
923
00:56:32,791 --> 00:56:35,041
but you've changed his name
to Tolmatchoff.
924
00:56:35,833 --> 00:56:36,875
Exactly
925
00:56:36,958 --> 00:56:38,458
what the scenes needs.
926
00:56:39,000 --> 00:56:40,208
Spontaneity!
927
00:56:44,291 --> 00:56:45,250
Rissient!
928
00:56:45,333 --> 00:56:46,541
What are we waiting for?
929
00:56:46,625 --> 00:56:48,625
- We are ready.
- No, two seconds.
930
00:56:49,125 --> 00:56:50,458
We're ready in two seconds.
931
00:56:53,750 --> 00:56:55,541
The guy you talk to
932
00:56:56,541 --> 00:56:58,166
is named Antonio.
933
00:56:59,708 --> 00:57:01,333
Sort it out with Balducci.
934
00:57:01,416 --> 00:57:04,958
- What's his number again?
- Élysée-99-84.
935
00:57:05,041 --> 00:57:07,041
- Can I call from here?
- Go ahead.
936
00:57:11,125 --> 00:57:13,875
- Who is the girl you came to see?
- A New Yorker...
937
00:57:14,500 --> 00:57:17,000
- Is she pretty?
- She's cute, I like her.
938
00:57:19,666 --> 00:57:22,708
Hello? Élysée-99-84?
939
00:57:23,500 --> 00:57:25,083
I'd like to speak to Antonio.
940
00:57:28,000 --> 00:57:29,916
- See you later, kid.
- Ciao, amigo.
941
00:57:33,041 --> 00:57:34,208
Really?
942
00:57:35,541 --> 00:57:36,708
Again?
943
00:57:39,458 --> 00:57:40,958
You're late
944
00:57:41,041 --> 00:57:42,166
and slow.
945
00:57:42,250 --> 00:57:43,458
Cut.
946
00:57:44,416 --> 00:57:46,416
Balducci, faster with the phone.
947
00:57:46,916 --> 00:57:48,916
And you, Boulanger, Fabre.
948
00:57:49,625 --> 00:57:51,375
When his foot hits here,
949
00:57:52,500 --> 00:57:53,625
go!
950
00:57:57,458 --> 00:57:58,750
Go again.
951
00:57:58,833 --> 00:57:59,833
Better.
952
00:58:00,916 --> 00:58:02,750
If they come in late, we can slow down.
953
00:58:02,833 --> 00:58:05,708
No, we don't slow down.
Film is a revolutionary art.
954
00:58:05,791 --> 00:58:07,291
It is the sensation of movement.
955
00:58:07,375 --> 00:58:09,625
If they never let you direct
another film,
956
00:58:10,125 --> 00:58:12,125
you can always be
a world-class dolly grip.
957
00:58:12,208 --> 00:58:13,791
{\an8}DAY 6
958
00:58:13,875 --> 00:58:15,458
{\an8}"PATRICIA IS NOT IN THE SCENE."
959
00:58:15,541 --> 00:58:16,833
Jean Luc,
960
00:58:17,333 --> 00:58:18,666
you the only one here?
961
00:58:18,750 --> 00:58:20,041
One is always alone.
962
00:58:21,791 --> 00:58:24,250
On the set, as before the blank page.
963
00:58:24,916 --> 00:58:27,375
To be alone means to ask questions.
964
00:58:27,458 --> 00:58:29,833
To make films means to answer them.
965
00:58:29,916 --> 00:58:32,375
Nothing could be
more classically romantic.
966
00:58:32,458 --> 00:58:35,625
I love the romance of early call times.
967
00:58:41,916 --> 00:58:43,583
Duke Ellington once said:
968
00:58:43,666 --> 00:58:46,375
"I don't need time, I need a deadline."
969
00:58:47,166 --> 00:58:49,083
If you are honest and sincere
970
00:58:49,166 --> 00:58:50,750
and backed into a corner,
971
00:58:50,833 --> 00:58:53,166
the result will be honest and sincere.
972
00:58:55,291 --> 00:58:57,291
You have beautiful handwriting.
973
00:58:59,666 --> 00:59:01,375
Today's precise facts.
974
00:59:03,041 --> 00:59:04,041
Thank you.
975
00:59:17,791 --> 00:59:18,708
Cut.
976
00:59:26,083 --> 00:59:27,083
What do you think?
977
00:59:29,083 --> 00:59:30,000
I don't know.
978
00:59:30,083 --> 00:59:31,083
It's good for me.
979
00:59:32,166 --> 00:59:33,333
Let's go again!
980
00:59:40,291 --> 00:59:42,083
Wheel.
981
00:59:43,916 --> 00:59:44,958
Wheel.
982
00:59:46,125 --> 00:59:47,125
Action!
983
01:00:15,291 --> 01:00:16,625
Cut.
984
01:00:19,041 --> 01:00:20,291
How was that?
985
01:00:20,375 --> 01:00:21,333
Good for me.
986
01:00:24,041 --> 01:00:25,041
What?
987
01:00:25,708 --> 01:00:27,125
You want me to be satisfied?
988
01:00:28,500 --> 01:00:30,083
So, going again?
989
01:00:30,166 --> 01:00:31,416
No.
990
01:00:31,500 --> 01:00:32,750
This is too obvious.
991
01:00:33,708 --> 01:00:34,750
We go over there.
992
01:00:35,541 --> 01:00:37,750
Rivette, lie on the ground.
993
01:00:38,541 --> 01:00:40,083
We pick it up from there.
994
01:00:40,166 --> 01:00:42,375
No stunt, we'll just hear the crash.
995
01:00:42,458 --> 01:00:43,791
What do you mean?
996
01:00:44,666 --> 01:00:46,791
The offscreen is more evocative.
997
01:00:49,958 --> 01:00:51,458
It's costly, that stuntman.
998
01:00:52,083 --> 01:00:53,375
Rolling.
999
01:01:08,291 --> 01:01:09,166
Cut.
1000
01:01:13,375 --> 01:01:14,291
We're done.
1001
01:01:15,875 --> 01:01:17,958
Thank you, Jacques. You're a real friend.
1002
01:01:18,041 --> 01:01:19,041
That's it?
1003
01:01:19,791 --> 01:01:21,375
I don't get a close-up?
1004
01:01:22,208 --> 01:01:24,041
No, no close-up.
1005
01:01:26,875 --> 01:01:28,541
But immortality just the same.
1006
01:01:28,625 --> 01:01:29,666
Thank you.
1007
01:01:29,750 --> 01:01:30,833
{\an8}DAY 7
1008
01:01:30,916 --> 01:01:32,250
{\an8}And what would you say after that?
1009
01:01:37,750 --> 01:01:40,708
I have something to show you.
Down in the metro.
1010
01:01:41,208 --> 01:01:42,625
Come on.
1011
01:01:43,125 --> 01:01:44,208
Jean-Luc...
1012
01:01:48,750 --> 01:01:50,208
What are we doing here?
1013
01:01:50,291 --> 01:01:52,333
Guess who's shooting there
and wants to say hi?
1014
01:01:52,416 --> 01:01:54,375
Hope this is worth it.
1015
01:01:54,458 --> 01:01:56,375
- You know me.
- Exactly.
1016
01:02:06,083 --> 01:02:07,333
Look who's here.
1017
01:02:07,416 --> 01:02:08,666
Over there, Jean-Luc.
1018
01:02:08,750 --> 01:02:10,875
- Where?
- Right there.
1019
01:02:10,958 --> 01:02:12,375
Watch out!
1020
01:02:12,458 --> 01:02:14,125
Lay off the wine, pal!
1021
01:02:16,041 --> 01:02:17,375
I don't know that guy.
1022
01:02:17,458 --> 01:02:19,000
Monsieur Robert Bresson.
1023
01:02:19,083 --> 01:02:21,083
French cinema personified.
1024
01:02:21,166 --> 01:02:22,291
Jean-Luc,
1025
01:02:22,833 --> 01:02:24,291
are you missing anything?
1026
01:02:26,000 --> 01:02:27,166
A better ending to my film?
1027
01:02:28,750 --> 01:02:30,291
Meet Kassagi,
1028
01:02:30,375 --> 01:02:32,458
the world's best pickpocket.
1029
01:02:33,208 --> 01:02:35,416
- Trade you?
- Don't, it's empty.
1030
01:02:35,500 --> 01:02:36,625
I'll take that!
1031
01:02:47,000 --> 01:02:49,208
They would only give me four days
1032
01:02:49,291 --> 01:02:50,916
with a crowd of extras.
1033
01:02:51,708 --> 01:02:53,625
I can make that work.
1034
01:02:54,333 --> 01:02:56,541
But it's been the same people every day.
1035
01:02:57,041 --> 01:02:59,458
I have stations, racetracks, metros.
1036
01:02:59,541 --> 01:03:01,708
Every public place
is full of the same faces!
1037
01:03:02,625 --> 01:03:04,875
I'm trying hard to disguise that,
but it's ridiculous.
1038
01:03:06,125 --> 01:03:08,833
Honestly, that sounds
like a good problem to have.
1039
01:03:08,916 --> 01:03:10,500
One day, maybe.
1040
01:03:11,083 --> 01:03:12,000
Who knows?
1041
01:03:15,791 --> 01:03:18,166
So you work
with Bresson all the time?
1042
01:03:18,250 --> 01:03:19,208
Yes.
1043
01:03:20,083 --> 01:03:21,416
How lucky.
1044
01:03:21,500 --> 01:03:24,083
{\an8}DAY 8
1045
01:03:53,958 --> 01:03:56,208
Let's see what we're up against today.
1046
01:03:57,583 --> 01:03:58,833
Good luck deciphering
1047
01:03:58,916 --> 01:04:00,250
that spy code.
1048
01:04:01,125 --> 01:04:03,500
I'm sure he's changed his mind anyway.
1049
01:04:03,583 --> 01:04:05,750
Well, he didn't throw it away
1050
01:04:05,833 --> 01:04:08,500
because he wants to do it, right?
1051
01:04:12,291 --> 01:04:13,166
Pierre?
1052
01:04:13,250 --> 01:04:14,208
Yes?
1053
01:04:14,708 --> 01:04:16,083
That's a wrap for today.
1054
01:04:19,041 --> 01:04:20,458
We didn't even shoot.
1055
01:04:21,541 --> 01:04:23,208
Maybe he's quitting?
1056
01:04:23,958 --> 01:04:25,250
I don't think so.
1057
01:04:27,916 --> 01:04:30,458
{\an8}DAY 9
1058
01:04:32,041 --> 01:04:33,750
I wonder what he wants to show us?
1059
01:04:33,833 --> 01:04:34,916
I don't know.
1060
01:04:38,833 --> 01:04:39,875
Good morning.
1061
01:04:41,875 --> 01:04:42,958
Good morning.
1062
01:04:49,458 --> 01:04:51,041
Another quote!
1063
01:04:53,041 --> 01:04:54,166
Why not?
1064
01:04:54,250 --> 01:04:57,375
If you want to say something,
just say it.
1065
01:04:57,958 --> 01:05:00,791
It's not where I take things from,
it's where I take them to.
1066
01:05:00,875 --> 01:05:04,458
Jean and I could split up that stack
and read them to the camera.
1067
01:05:04,541 --> 01:05:06,166
- Good idea.
- Thank you.
1068
01:05:07,041 --> 01:05:09,083
"Immature poets imitate,
1069
01:05:09,166 --> 01:05:11,208
mature poets steal."
1070
01:05:11,750 --> 01:05:13,208
T.S. Eliot.
1071
01:05:13,291 --> 01:05:14,708
A quote
1072
01:05:14,791 --> 01:05:17,125
about quotes.
1073
01:05:18,000 --> 01:05:20,916
I understand why I'm playing a thief.
1074
01:05:23,333 --> 01:05:24,666
Paul Gaugin said:
1075
01:05:25,666 --> 01:05:27,875
"In art, one is either a plagiarist
1076
01:05:28,541 --> 01:05:30,625
or a revolutionary."
1077
01:05:33,625 --> 01:05:34,875
You say:
1078
01:05:34,958 --> 01:05:36,750
"I'll be back in a second."
1079
01:05:36,833 --> 01:05:41,541
And you:
"The French always say a second."
1080
01:05:42,166 --> 01:05:43,125
No kidding.
1081
01:05:43,208 --> 01:05:44,166
Roll camera, Raoul.
1082
01:05:44,666 --> 01:05:45,958
Rolling, Jean-Luc.
1083
01:05:47,916 --> 01:05:48,875
Action.
1084
01:05:48,958 --> 01:05:51,333
I'll be back in a second.
1085
01:05:51,416 --> 01:05:54,916
The French always say a second
when they mean five minutes.
1086
01:05:55,666 --> 01:05:56,708
Keep rolling.
1087
01:05:57,500 --> 01:05:58,500
Rolling.
1088
01:06:06,333 --> 01:06:07,750
Cut.
1089
01:06:09,166 --> 01:06:10,250
You want to do it again?
1090
01:06:10,333 --> 01:06:12,083
Only if you do. It's fine.
1091
01:06:12,791 --> 01:06:14,041
Then, let's go eat.
1092
01:06:14,541 --> 01:06:17,416
Jean-Luc, wait, do you mean...
1093
01:06:17,500 --> 01:06:19,625
We're done for the day. I'm hungry.
1094
01:06:21,416 --> 01:06:24,375
Filming isn't only suffering,
there's happiness too.
1095
01:06:24,458 --> 01:06:27,000
You're so down. What's happening?
1096
01:06:30,166 --> 01:06:33,166
I thought I could make a film
where anything goes, but I can't.
1097
01:06:33,250 --> 01:06:35,833
You know what Braunberger
said before The 400 Blows?
1098
01:06:35,916 --> 01:06:36,958
An old Hollywood maxim.
1099
01:06:37,041 --> 01:06:38,333
"There's no place like home"?
1100
01:06:38,416 --> 01:06:41,083
That each film is made up
of five different films.
1101
01:06:41,166 --> 01:06:43,958
The film you write, the film you cast,
1102
01:06:44,041 --> 01:06:45,916
the film you shoot, the film you edit,
1103
01:06:46,000 --> 01:06:47,208
the film you release.
1104
01:06:47,708 --> 01:06:50,416
So it's not too late for anything goes?
1105
01:06:50,500 --> 01:06:51,791
Not by a long shot.
1106
01:06:51,875 --> 01:06:53,250
Things change all the time.
1107
01:06:53,833 --> 01:06:56,291
Remember when you
wanted to be a great novelist?
1108
01:06:57,416 --> 01:06:58,916
Dodged a bullet there.
1109
01:06:59,000 --> 01:07:01,208
When you were skipping
anthropology classes,
1110
01:07:01,291 --> 01:07:03,625
you boasted you were writing
30 pages a day.
1111
01:07:03,708 --> 01:07:06,083
I wanted to publish a novel
with Gallimard.
1112
01:07:06,166 --> 01:07:08,208
Astruc had done it,
I wanted to do it too.
1113
01:07:08,291 --> 01:07:09,916
Was it really 30 pages a day?
1114
01:07:11,416 --> 01:07:12,750
They were no good.
1115
01:07:12,833 --> 01:07:15,416
It was too difficult, like mathematics.
1116
01:07:16,625 --> 01:07:18,041
I would write:
1117
01:07:18,750 --> 01:07:22,000
"The weather is nice.
The train enters the station."
1118
01:07:22,833 --> 01:07:25,750
And then I'd sit there
for hours, wondering
1119
01:07:25,833 --> 01:07:28,875
why I couldn't just as well
write the opposite:
1120
01:07:28,958 --> 01:07:30,708
"Train enters the station,
weather is nice."
1121
01:07:33,291 --> 01:07:34,791
Or maybe just, "It's raining."
1122
01:07:35,416 --> 01:07:37,541
Definitely not 30 pages a day.
1123
01:07:38,708 --> 01:07:40,458
With cinema, it's simpler.
1124
01:07:40,541 --> 01:07:43,458
Seeing movies delivers me
from the terror of writing.
1125
01:07:44,208 --> 01:07:47,250
Seeing movies delivers me
from the terror of a real job.
1126
01:07:47,333 --> 01:07:50,666
As a kid, seeing films delivered me
from the terror of attending school.
1127
01:07:50,750 --> 01:07:53,125
I saw my first 200 films
while playing hooky.
1128
01:07:53,666 --> 01:07:56,625
Now, seeing films delivers me
from the terror of the real world.
1129
01:07:58,666 --> 01:07:59,750
But careful...
1130
01:08:00,541 --> 01:08:03,291
Seeing films should not deliver us
1131
01:08:03,375 --> 01:08:05,333
from the terror of making them.
1132
01:08:05,416 --> 01:08:06,375
Exactly.
1133
01:08:13,750 --> 01:08:15,625
I would love for you to act in the film.
1134
01:08:15,708 --> 01:08:17,666
And reshoot Belmondo's entire part?
1135
01:08:18,541 --> 01:08:19,875
No, idiot.
1136
01:08:23,541 --> 01:08:27,333
It would be perfect if you played
the man who recognizes Poiccard
1137
01:08:27,416 --> 01:08:28,666
and reports him to the cops.
1138
01:08:28,750 --> 01:08:31,208
Really? I always saw you in that part.
1139
01:08:31,291 --> 01:08:32,458
Of course.
1140
01:08:33,166 --> 01:08:34,916
- Right?
- It would be perfect.
1141
01:08:35,500 --> 01:08:37,208
Believe me, you'll be wonderful.
1142
01:08:38,291 --> 01:08:40,041
{\an8}DAY 10
1143
01:08:40,125 --> 01:08:41,000
{\an8}Hello?
1144
01:08:41,083 --> 01:08:42,041
- Raoul?
- Yes.
1145
01:08:42,125 --> 01:08:43,666
We can't shoot today.
1146
01:08:43,750 --> 01:08:45,833
Call Rissient, have him notify the crew.
1147
01:08:46,333 --> 01:08:48,333
And call Beauregard at his office.
1148
01:08:48,416 --> 01:08:49,833
But not until 9:00 a.m.
1149
01:08:50,458 --> 01:08:53,750
I don't feel well.
I must have had some bad pizza.
1150
01:09:04,208 --> 01:09:05,708
The invalid himself.
1151
01:09:06,458 --> 01:09:08,083
I'm really not feeling well.
1152
01:09:08,625 --> 01:09:10,625
Actually, I'm feeling quite mortal.
1153
01:09:11,583 --> 01:09:13,291
You can't call in sick!
1154
01:09:13,375 --> 01:09:16,208
In two weeks,
we've had eight half days of work,
1155
01:09:16,291 --> 01:09:17,708
some only two hours long!
1156
01:09:17,791 --> 01:09:19,125
You only mention what's wrong.
1157
01:09:19,208 --> 01:09:20,875
I am the producer!
1158
01:09:20,958 --> 01:09:23,041
Money is not important to me.
1159
01:09:23,125 --> 01:09:24,666
Especially when it's mine.
1160
01:09:24,750 --> 01:09:27,125
What matters in a film
is to control the money.
1161
01:09:28,041 --> 01:09:29,500
Money means time.
1162
01:09:29,583 --> 01:09:33,000
Time to be spent following
one's rhythm and pleasure.
1163
01:09:33,083 --> 01:09:34,583
That's the genius of my system.
1164
01:09:34,666 --> 01:09:36,041
Your system is shit!
1165
01:09:36,125 --> 01:09:38,458
Your rhythm is not my pleasure.
1166
01:09:38,541 --> 01:09:41,083
But it's the right rhythm
1167
01:09:41,708 --> 01:09:42,916
for me and my film.
1168
01:09:43,000 --> 01:09:46,833
What's right could be shutting it down,
cutting my losses.
1169
01:09:46,916 --> 01:09:49,625
I'll withhold wages
if you keep working short days,
1170
01:09:49,708 --> 01:09:52,250
or if you cancel another shoot day.
1171
01:09:55,916 --> 01:09:57,166
Come on, Beau-Beau.
1172
01:09:57,708 --> 01:09:58,708
Come on.
1173
01:10:00,458 --> 01:10:01,958
Come on, fight.
1174
01:10:02,041 --> 01:10:02,958
Stop!
1175
01:10:09,458 --> 01:10:12,166
I'm trying to seize reality
at random, Beauregard.
1176
01:10:12,250 --> 01:10:14,333
Trust me, you'll be glad I did.
1177
01:10:14,416 --> 01:10:16,416
Seize it on a full-time basis!
1178
01:10:16,916 --> 01:10:18,500
That's the reality of a shoot!
1179
01:10:20,166 --> 01:10:21,333
Get out!
1180
01:10:27,708 --> 01:10:28,541
{\an8}Everyone?
1181
01:10:28,625 --> 01:10:29,458
{\an8}DAY 11
1182
01:10:29,541 --> 01:10:30,833
{\an8}Beau-Beau wants me to read this.
1183
01:10:30,916 --> 01:10:34,583
"Shooting can't be interrupted
without the producer's approval."
1184
01:10:35,208 --> 01:10:37,208
"The producer trusts
both director and crew,
1185
01:10:37,291 --> 01:10:39,791
but this trust has been betrayed."
1186
01:10:39,875 --> 01:10:42,833
"In the first two weeks,
the schedule has not been respected."
1187
01:10:42,916 --> 01:10:44,083
There was a schedule?
1188
01:10:45,833 --> 01:10:47,083
"This cannot continue."
1189
01:10:47,666 --> 01:10:51,083
"For the last time, we ask the director
and crew to work honestly,
1190
01:10:51,166 --> 01:10:53,000
as on a normal production."
1191
01:10:53,083 --> 01:10:54,958
As if this were a normal production.
1192
01:10:55,541 --> 01:10:56,666
No, thank God.
1193
01:10:58,000 --> 01:11:00,791
"And not put off until tomorrow
what might be done today."
1194
01:11:00,875 --> 01:11:01,875
That's it.
1195
01:11:01,958 --> 01:11:03,791
He's pumped up, Beau-Beau.
1196
01:11:05,125 --> 01:11:07,000
So, what do we do?
1197
01:11:07,083 --> 01:11:08,083
I don't know.
1198
01:11:17,416 --> 01:11:18,791
That's all just noise.
1199
01:11:19,333 --> 01:11:20,625
It doesn't affect us.
1200
01:11:23,041 --> 01:11:24,583
Let's not lose heart.
1201
01:11:28,833 --> 01:11:32,833
Let's continue our search
for the instantaneous
1202
01:11:32,916 --> 01:11:34,083
and the unexpected
1203
01:11:34,166 --> 01:11:36,291
as only we can.
1204
01:11:45,833 --> 01:11:48,041
Not the best time for this,
in direct sunlight.
1205
01:11:48,833 --> 01:11:50,666
I find it quite extraordinary.
1206
01:11:51,541 --> 01:11:54,166
Let's force the film stock
to give its maximum.
1207
01:11:54,250 --> 01:11:56,291
Let's make it do what it's not made for.
1208
01:11:57,416 --> 01:11:58,833
It, too, can suffer
1209
01:11:58,916 --> 01:12:01,666
by being exploited
beyond its possibilities.
1210
01:12:03,958 --> 01:12:05,333
Why us and not it?
1211
01:12:06,708 --> 01:12:08,000
I like this idea.
1212
01:12:09,458 --> 01:12:11,541
The film stock can be breathless too.
1213
01:12:12,333 --> 01:12:13,291
Patricia.
1214
01:12:13,375 --> 01:12:14,333
Cut.
1215
01:12:15,375 --> 01:12:16,625
No!
1216
01:12:17,666 --> 01:12:19,208
Only essential gestures.
1217
01:12:19,291 --> 01:12:20,500
I fumble to find them.
1218
01:12:20,583 --> 01:12:23,166
You already found them. Courage.
1219
01:12:27,625 --> 01:12:28,916
What are you shooting?
1220
01:12:29,000 --> 01:12:30,166
A documentary
1221
01:12:30,666 --> 01:12:34,458
about Jean-Paul Belmondo and Jean Seberg
acting out a fiction.
1222
01:12:39,375 --> 01:12:40,291
What is it?
1223
01:12:41,291 --> 01:12:42,291
Nothing.
1224
01:12:42,833 --> 01:12:44,416
Roll camera, Raoul.
1225
01:12:44,500 --> 01:12:45,875
Rolling, Jean-Luc.
1226
01:12:46,708 --> 01:12:47,666
Action.
1227
01:12:52,083 --> 01:12:54,666
{\an8}DAY 12
1228
01:13:13,041 --> 01:13:14,208
The magazine...
1229
01:13:14,791 --> 01:13:16,291
Leave the magazine.
1230
01:13:27,833 --> 01:13:28,958
On the right.
1231
01:13:35,541 --> 01:13:36,541
Again.
1232
01:13:36,625 --> 01:13:38,666
So this is how they do it in America.
1233
01:13:43,458 --> 01:13:44,583
Take your book.
1234
01:13:46,208 --> 01:13:47,875
"Do you know William Faulkner?"
1235
01:13:48,416 --> 01:13:50,125
Do you know William Faulkner?
1236
01:13:50,208 --> 01:13:51,916
"No. Who's that?
Some guy you slept with?"
1237
01:13:52,000 --> 01:13:53,166
No. Who's that?
1238
01:13:53,666 --> 01:13:55,250
Some guy you slept with?
1239
01:13:55,333 --> 01:13:56,916
No, silly.
1240
01:14:01,791 --> 01:14:03,083
Thank you, Sam Fuller.
1241
01:14:03,625 --> 01:14:05,541
Thank you for Forty Guns.
1242
01:14:06,041 --> 01:14:07,458
And thank you for this shot.
1243
01:14:07,541 --> 01:14:08,583
Plagiarist.
1244
01:14:09,083 --> 01:14:11,250
Not plagiarism. Homage.
1245
01:14:12,000 --> 01:14:15,833
As Faulkner's style came out
of his inability to write lyric poetry,
1246
01:14:16,375 --> 01:14:18,500
my directional style is born...
1247
01:14:18,583 --> 01:14:21,708
Out of an inability to write a script?
1248
01:14:23,416 --> 01:14:24,458
Touché.
1249
01:14:27,916 --> 01:14:30,500
She wore a different
striped sweater before.
1250
01:14:30,583 --> 01:14:33,041
Well, she changed her clothes.
1251
01:14:33,125 --> 01:14:34,583
The eyeline is wrong.
1252
01:14:34,666 --> 01:14:36,500
You keep crossing the line.
1253
01:14:37,208 --> 01:14:40,583
When editing, they'll be looking
the same way.
1254
01:14:40,666 --> 01:14:42,250
Suzon, I know.
1255
01:14:42,333 --> 01:14:44,333
I understand. And I don't care.
1256
01:14:44,416 --> 01:14:47,000
Following the rules won't get me
where I wanna go.
1257
01:14:51,625 --> 01:14:53,791
A little game. Roll camera, Raoul.
1258
01:14:53,875 --> 01:14:55,208
Rolling, Jean-Luc.
1259
01:14:56,458 --> 01:14:57,458
Joy.
1260
01:14:59,208 --> 01:15:00,416
Tranquility.
1261
01:15:02,208 --> 01:15:03,208
Surprise.
1262
01:15:04,791 --> 01:15:05,916
Confusion.
1263
01:15:07,958 --> 01:15:08,958
Sadness.
1264
01:15:11,041 --> 01:15:12,041
Disgust.
1265
01:15:13,875 --> 01:15:14,875
Fear.
1266
01:15:15,833 --> 01:15:16,666
Horror.
1267
01:15:17,666 --> 01:15:18,708
Despair.
1268
01:15:20,541 --> 01:15:21,541
Joy.
1269
01:15:22,541 --> 01:15:23,541
Cut.
1270
01:15:26,166 --> 01:15:27,333
Not funny to you?
1271
01:15:27,833 --> 01:15:29,041
It's fun.
1272
01:15:29,125 --> 01:15:31,000
To get across the room,
1273
01:15:31,083 --> 01:15:32,500
you have to crawl over the bed.
1274
01:15:32,583 --> 01:15:34,000
Exactly.
1275
01:15:34,083 --> 01:15:36,750
I think he deliberately chose this hotel
1276
01:15:36,833 --> 01:15:39,666
because it has the smallest rooms.
1277
01:15:40,250 --> 01:15:41,875
Absolutely.
1278
01:15:41,958 --> 01:15:44,625
He stayed here on his first trip to Paris.
1279
01:15:44,708 --> 01:15:46,625
This place means something to him.
1280
01:15:47,166 --> 01:15:48,583
I'm not sure what.
1281
01:15:51,708 --> 01:15:52,791
Say that
1282
01:15:53,416 --> 01:15:55,583
as you're going into the bathroom.
1283
01:15:55,666 --> 01:15:56,916
You stay on the bed.
1284
01:15:57,000 --> 01:16:00,166
Then you follow her,
and pass in front of the window.
1285
01:16:00,250 --> 01:16:01,666
- Good?
- Yes.
1286
01:16:01,750 --> 01:16:02,833
Roll camera, Raoul.
1287
01:16:03,541 --> 01:16:04,875
Rolling, Jean-Luc.
1288
01:16:04,958 --> 01:16:06,000
Action.
1289
01:16:07,083 --> 01:16:08,750
Come on, don't be mad at me.
1290
01:16:16,083 --> 01:16:17,000
Cut.
1291
01:16:17,083 --> 01:16:18,958
"Dear Pierre Braunberger,
1292
01:16:19,541 --> 01:16:22,958
don't regret not producing Breathless."
1293
01:16:23,041 --> 01:16:25,625
"If Beauregard makes some money with it,
1294
01:16:25,708 --> 01:16:27,041
he deserves it,
1295
01:16:27,125 --> 01:16:28,416
if he loses money,
1296
01:16:28,500 --> 01:16:30,000
he deserves that too."
1297
01:16:30,500 --> 01:16:32,083
"Seberg is panicked
1298
01:16:32,166 --> 01:16:34,000
and regrets making the movie."
1299
01:16:34,583 --> 01:16:37,458
"We are now shooting day by day,
1300
01:16:37,958 --> 01:16:39,208
I write the scenes
1301
01:16:39,291 --> 01:16:42,166
while having breakfast
at the Dupont Montparnasse."
1302
01:16:42,250 --> 01:16:46,000
"When watching the dailies,
the whole team, including the DP,
1303
01:16:46,083 --> 01:16:47,875
find the photography disgusting."
1304
01:16:47,958 --> 01:16:50,583
"I find it quite extraordinary."
1305
01:16:50,666 --> 01:16:51,916
{\an8}DAY 13
1306
01:16:52,000 --> 01:16:54,208
{\an8}Bonjour Tristesse
is a good adaptation, no?
1307
01:16:55,625 --> 01:16:56,791
Yes, it works.
1308
01:16:57,708 --> 01:17:00,666
But you should never adapt a book to film.
1309
01:17:01,833 --> 01:17:04,458
You should adapt
the movie to the book.
1310
01:17:05,000 --> 01:17:06,083
Any book?
1311
01:17:07,125 --> 01:17:08,125
Yes, any book.
1312
01:17:08,666 --> 01:17:09,833
Even the Bible?
1313
01:17:11,416 --> 01:17:14,583
If I were ever to film the life of Christ...
1314
01:17:16,875 --> 01:17:19,416
I'd film the scenes
that are left out of the Bible.
1315
01:17:19,500 --> 01:17:21,250
And the script would be
1316
01:17:21,333 --> 01:17:22,666
quotes by Renoir?
1317
01:17:22,750 --> 01:17:24,125
And Rossellini.
1318
01:17:24,208 --> 01:17:25,958
Their quotes are the holy scripture.
1319
01:17:27,291 --> 01:17:28,541
Amen.
1320
01:17:28,625 --> 01:17:31,708
Now do Bogie,
1321
01:17:32,500 --> 01:17:34,666
and say your favorite Bogart lines.
1322
01:17:39,666 --> 01:17:42,000
- I can't think of any.
- Come on.
1323
01:18:04,916 --> 01:18:07,166
Stop. You guys are killing me.
1324
01:18:07,250 --> 01:18:08,416
Wait, I have it.
1325
01:18:23,500 --> 01:18:24,500
How about that?
1326
01:18:28,500 --> 01:18:30,416
I'm not especially handsome,
1327
01:18:31,583 --> 01:18:32,958
but I'm a good boxer.
1328
01:18:36,666 --> 01:18:38,083
I'm not especially handsome,
1329
01:18:38,583 --> 01:18:40,166
but I'm a good boxer.
1330
01:18:45,708 --> 01:18:46,666
Cut.
1331
01:18:51,625 --> 01:18:52,583
Raoul,
1332
01:18:53,083 --> 01:18:55,125
do you think this will cut together?
1333
01:18:58,291 --> 01:19:00,291
Good thing the camera
really loves these two.
1334
01:19:01,875 --> 01:19:03,541
Please try that one last time.
1335
01:19:07,833 --> 01:19:10,208
"Between grief and nothingness,
1336
01:19:10,291 --> 01:19:11,833
I choose grief."
1337
01:19:12,666 --> 01:19:15,000
"What would you choose?"
1338
01:19:16,291 --> 01:19:17,666
Show me your toes.
1339
01:19:18,875 --> 01:19:21,166
It's very important, women's toes,
don't laugh...
1340
01:19:22,625 --> 01:19:24,208
What would you choose?
1341
01:19:25,625 --> 01:19:27,125
Grief is idiotic.
1342
01:19:27,791 --> 01:19:29,125
I choose nothingness.
1343
01:19:50,125 --> 01:19:52,666
Jean, I can't find the line you said.
1344
01:19:52,750 --> 01:19:53,916
Have you invented it?
1345
01:19:54,416 --> 01:19:55,583
Who knows?
1346
01:19:55,666 --> 01:19:57,208
Keep reading.
1347
01:19:57,291 --> 01:19:58,875
End of day.
1348
01:19:59,458 --> 01:20:02,125
It really smells like a man on the run.
1349
01:20:02,208 --> 01:20:03,708
Give me that. I'll wash it.
1350
01:20:03,791 --> 01:20:04,958
No, leave it.
1351
01:20:06,208 --> 01:20:07,208
Don't worry,
1352
01:20:07,291 --> 01:20:09,041
it will remain crumpled.
1353
01:20:09,125 --> 01:20:11,208
So I guess I'll go home naked?
1354
01:20:11,875 --> 01:20:12,916
Wear my robe.
1355
01:20:14,625 --> 01:20:16,916
Making this film is so un-Hollywood,
1356
01:20:17,000 --> 01:20:19,708
I've become completely unselfconscious.
1357
01:20:19,791 --> 01:20:21,583
I wouldn't say completely.
1358
01:20:21,666 --> 01:20:22,541
Okay.
1359
01:20:23,333 --> 01:20:25,916
But it feels almost like a home movie.
1360
01:20:26,000 --> 01:20:29,708
And you're one of the freest actors
I've ever worked with.
1361
01:20:29,791 --> 01:20:30,791
One of?
1362
01:20:31,291 --> 01:20:34,250
Who else is freer?
1363
01:20:34,791 --> 01:20:37,333
There's no one freer.
1364
01:20:42,291 --> 01:20:43,375
How's it going?
1365
01:20:45,833 --> 01:20:46,708
Phuong.
1366
01:20:47,208 --> 01:20:48,208
Hello.
1367
01:20:48,291 --> 01:20:49,458
Jean-Luc.
1368
01:20:51,750 --> 01:20:54,333
Thank you, good-bye,
see you tomorrow.
1369
01:20:54,416 --> 01:20:55,291
Good-bye.
1370
01:20:55,375 --> 01:20:57,250
{\an8}DAY 14
1371
01:20:57,333 --> 01:20:59,541
{\an8}So I could hold on one of you
1372
01:20:59,625 --> 01:21:01,583
even when the other's talking.
1373
01:21:04,041 --> 01:21:07,583
I could flip a coin to choose
whose side I stay on.
1374
01:21:07,666 --> 01:21:08,916
I'll call it in the air.
1375
01:21:09,000 --> 01:21:11,291
I can do it now, or in the editing room.
1376
01:21:11,375 --> 01:21:13,250
We should flip now.
1377
01:21:13,333 --> 01:21:14,458
You're right.
1378
01:21:16,166 --> 01:21:17,916
- Tails.
- No need.
1379
01:21:18,000 --> 01:21:19,500
You know you're gonna win.
1380
01:21:22,833 --> 01:21:25,375
{\an8}DAY 15
1381
01:21:56,500 --> 01:21:57,625
What's going on here?
1382
01:21:58,250 --> 01:21:59,916
It's 11:00 in the morning,
1383
01:22:00,000 --> 01:22:01,208
what are you waiting for?
1384
01:22:03,250 --> 01:22:06,833
Art and crime
both require leisure time to flourish.
1385
01:22:06,916 --> 01:22:08,500
And I have a terrible toothache.
1386
01:22:08,583 --> 01:22:10,208
Then off we go to the dentist.
1387
01:22:10,708 --> 01:22:12,708
I know just where to take you.
1388
01:22:12,791 --> 01:22:15,000
And I wouldn't call
this specialist painless.
1389
01:22:15,500 --> 01:22:16,916
I should tell you:
1390
01:22:17,000 --> 01:22:19,291
I'm just in it for the laughing gas.
1391
01:22:19,375 --> 01:22:20,500
It will be fun.
1392
01:22:22,250 --> 01:22:25,083
My agent keeps saying
we'll never work again.
1393
01:22:26,291 --> 01:22:28,291
Just another peculiar interlude
1394
01:22:28,958 --> 01:22:31,291
in a life full of peculiar interludes.
1395
01:22:32,083 --> 01:22:33,625
Your husband just got here.
1396
01:22:36,000 --> 01:22:39,250
As I said, another peculiar interlude.
1397
01:22:39,333 --> 01:22:40,208
Hello.
1398
01:22:42,916 --> 01:22:43,750
{\an8}DAY 16
1399
01:22:43,833 --> 01:22:45,125
{\an8}Listen, Jean-Luc,
1400
01:22:45,208 --> 01:22:48,250
{\an8}even if you don't want to show me
the pages, give them to Rissient.
1401
01:22:48,791 --> 01:22:51,541
Or do you have no new pages
after these days off?
1402
01:22:53,708 --> 01:22:54,833
Three things:
1403
01:22:55,875 --> 01:22:57,416
I have nothing written down.
1404
01:22:57,500 --> 01:23:00,500
I wouldn't show it to you even if I did.
1405
01:23:00,583 --> 01:23:02,583
And I don't take days off.
1406
01:23:15,208 --> 01:23:16,875
You look very handsome.
1407
01:23:17,833 --> 01:23:18,833
But...
1408
01:23:19,916 --> 01:23:24,083
your character would wear powder.
1409
01:23:25,041 --> 01:23:27,750
Jean-Luc, how will you hold the newspaper?
1410
01:23:32,875 --> 01:23:35,583
I told François he would be perfect
but he wouldn't do it.
1411
01:23:35,666 --> 01:23:37,708
We could have gotten Chabrol.
1412
01:23:40,375 --> 01:23:41,375
- Rissient!
- Yes.
1413
01:23:42,750 --> 01:23:43,625
Where is my pipe?
1414
01:23:43,708 --> 01:23:46,666
I'll get it right away.
1415
01:23:49,416 --> 01:23:50,666
Rolling.
1416
01:23:53,583 --> 01:23:54,875
France-Soir.
1417
01:23:54,958 --> 01:23:56,583
France-Soir, please.
1418
01:23:56,666 --> 01:23:58,500
Hello, sir. 25 Francs.
1419
01:23:59,291 --> 01:24:00,416
Thank you.
1420
01:24:23,958 --> 01:24:24,791
Cut.
1421
01:24:26,125 --> 01:24:27,291
You want another one?
1422
01:24:28,041 --> 01:24:29,125
Jean? Jean?
1423
01:24:30,041 --> 01:24:31,291
Let's go again.
1424
01:24:31,833 --> 01:24:34,583
Film is a revolutionary art, you know.
1425
01:24:34,666 --> 01:24:36,583
Only the essential gestures.
1426
01:24:38,041 --> 01:24:41,208
Life is short and art is long.
1427
01:24:42,416 --> 01:24:45,375
We'll do it a few more times
1428
01:24:45,458 --> 01:24:47,250
until you forget
1429
01:24:47,333 --> 01:24:50,000
what you imagined all by yourself.
1430
01:24:50,875 --> 01:24:52,791
Roll camera, Raoul.
1431
01:25:03,750 --> 01:25:06,125
I'm serious. Careful with the car.
1432
01:25:06,208 --> 01:25:08,208
It was difficult to bring it from the U.S.
1433
01:25:08,291 --> 01:25:10,291
The paint job is unique,
can't find it here.
1434
01:25:10,375 --> 01:25:12,958
Don't worry, if we scratch it,
1435
01:25:13,041 --> 01:25:14,666
we'll paint it pink.
1436
01:25:14,750 --> 01:25:15,958
I love your jokes.
1437
01:25:16,041 --> 01:25:17,875
Come on. Hit the road!
1438
01:25:23,708 --> 01:25:26,125
Thank you so much.
1439
01:25:27,208 --> 01:25:29,666
{\an8}DAY 17
1440
01:25:32,041 --> 01:25:34,041
Thank you for being here.
1441
01:25:34,125 --> 01:25:36,250
Come, I need to talk to you.
1442
01:25:42,125 --> 01:25:45,000
So you're okay with me running that story?
1443
01:25:45,083 --> 01:25:46,416
- The one about the garage?
- Yes.
1444
01:25:46,500 --> 01:25:47,500
Yes.
1445
01:25:49,333 --> 01:25:52,250
And you can also work in
1446
01:25:52,333 --> 01:25:54,958
that I stole it from my father's clinic.
1447
01:25:55,041 --> 01:25:57,625
Okay. Fantastic. Even better.
1448
01:25:58,500 --> 01:26:01,750
I actually stole from
my grandmother, repeatedly.
1449
01:26:01,833 --> 01:26:05,041
She had a flat in Paris,
and a library
1450
01:26:05,125 --> 01:26:06,875
filled with first edition books.
1451
01:26:07,416 --> 01:26:09,583
I'd sell them for money.
1452
01:26:10,416 --> 01:26:14,000
But it's better to say
I stole from my father's clinic.
1453
01:26:14,750 --> 01:26:17,833
It's more heartless to steal
from an upstanding doctor.
1454
01:26:19,166 --> 01:26:20,125
Jean-Luc?
1455
01:26:20,208 --> 01:26:21,250
Yes?
1456
01:26:27,666 --> 01:26:29,250
- François.
- Yes?
1457
01:26:29,333 --> 01:26:31,916
I'd like you play a press photographer.
1458
01:26:32,000 --> 01:26:33,250
With pleasure.
1459
01:26:33,333 --> 01:26:35,250
Go see Rissient, he knows about it.
1460
01:26:38,000 --> 01:26:39,708
Ask the film gods.
1461
01:26:44,833 --> 01:26:46,916
Besides, Melville will be better.
1462
01:26:51,166 --> 01:26:52,750
I want to direct too.
1463
01:26:53,583 --> 01:26:55,333
It's a big ambition of mine.
1464
01:26:55,916 --> 01:26:57,416
Probably the biggest.
1465
01:26:57,500 --> 01:26:58,500
Probably?
1466
01:26:59,375 --> 01:27:01,833
It must run in the family.
William Wyler is a cousin.
1467
01:27:02,958 --> 01:27:04,708
First cousin, or distant?
1468
01:27:04,791 --> 01:27:06,750
I'm adapting a novella by Françoise Sagan.
1469
01:27:06,833 --> 01:27:08,958
For now, I prefer being a go-between.
1470
01:27:11,583 --> 01:27:13,250
Okay, we're ready!
1471
01:27:15,166 --> 01:27:16,416
The actors!
1472
01:27:16,500 --> 01:27:18,166
Jean-Pierre! Jean!
1473
01:27:18,833 --> 01:27:19,791
Come on.
1474
01:27:27,750 --> 01:27:30,083
So we play this like a real interview?
1475
01:27:30,583 --> 01:27:33,083
Precisely. Answer to whoever you like.
1476
01:27:33,666 --> 01:27:36,125
I can talk about women
or anything I want.
1477
01:27:36,208 --> 01:27:39,916
Only if you make it
as funny and brilliant as you really are.
1478
01:27:40,875 --> 01:27:41,750
And Patricia,
1479
01:27:41,833 --> 01:27:43,583
I'll give you your questions.
1480
01:27:45,625 --> 01:27:49,791
So he says whatever he wants,
but I have lines fed to me?
1481
01:27:51,166 --> 01:27:52,750
Haven't you got it yet?
1482
01:27:53,583 --> 01:27:54,541
No.
1483
01:27:54,625 --> 01:27:56,083
You're playing me.
1484
01:28:03,916 --> 01:28:04,875
{\an8}DAY 18
1485
01:28:04,958 --> 01:28:07,041
{\an8}Before they shoot,
1486
01:28:07,666 --> 01:28:09,166
one of the cops says:
1487
01:28:10,000 --> 01:28:11,708
"Quick, in the spinal column."
1488
01:28:11,791 --> 01:28:12,916
Oh no.
1489
01:28:13,541 --> 01:28:14,791
You cannot put that in.
1490
01:28:16,791 --> 01:28:18,458
"Quick, in the spinal column."
1491
01:28:18,541 --> 01:28:21,416
Please, not even one take that way.
1492
01:28:22,666 --> 01:28:24,750
I don't even think he should die.
1493
01:28:30,625 --> 01:28:32,916
The same street where Kiki,
1494
01:28:33,000 --> 01:28:34,875
Man Ray, Marcel Duchamp,
1495
01:28:35,416 --> 01:28:36,750
and Francis Picabia hung out.
1496
01:28:36,833 --> 01:28:38,041
History gets richer.
1497
01:28:42,125 --> 01:28:43,750
I love this location.
1498
01:28:43,833 --> 01:28:47,041
Look at the dialogue ideas I came up with.
1499
01:28:47,875 --> 01:28:49,500
You did not work too hard.
1500
01:28:52,333 --> 01:28:53,333
Any blood?
1501
01:28:54,000 --> 01:28:55,500
Not blood. Red.
1502
01:28:55,583 --> 01:28:57,666
- An open wound?
- No. Just red.
1503
01:28:59,541 --> 01:29:01,625
Almost over, almost over.
1504
01:29:02,833 --> 01:29:04,166
Roll camera, Raoul!
1505
01:29:05,666 --> 01:29:07,000
Rolling, Jean-Luc.
1506
01:29:07,625 --> 01:29:08,625
Action!
1507
01:29:22,125 --> 01:29:23,083
Cut!
1508
01:29:23,666 --> 01:29:26,166
- You're too slow.
- Cut.
1509
01:29:26,250 --> 01:29:28,125
Get out of the car faster.
1510
01:29:28,208 --> 01:29:30,083
You look like you don't wanna kill him.
1511
01:29:33,333 --> 01:29:34,625
Rolling.
1512
01:29:38,125 --> 01:29:39,833
Quick, in the spinal column.
1513
01:29:42,541 --> 01:29:43,541
Missed.
1514
01:29:44,208 --> 01:29:45,625
Not even close.
1515
01:29:45,708 --> 01:29:47,458
I live to see another day.
1516
01:29:47,541 --> 01:29:49,083
Poiccard will never die.
1517
01:29:50,416 --> 01:29:52,666
Again, without the line. For Truffaut.
1518
01:29:52,750 --> 01:29:53,666
Set up.
1519
01:29:58,583 --> 01:29:59,958
It's your death, Poiccard.
1520
01:30:00,458 --> 01:30:01,333
Ready?
1521
01:30:01,833 --> 01:30:03,083
It's time to die.
1522
01:30:05,000 --> 01:30:06,000
It will be
1523
01:30:06,541 --> 01:30:07,833
on this crosswalk.
1524
01:30:12,041 --> 01:30:16,333
Destiny and death
are cinema's pet themes.
1525
01:30:21,250 --> 01:30:23,250
Roll camera, Raoul.
1526
01:30:24,916 --> 01:30:26,708
Get slowly closer.
1527
01:30:32,541 --> 01:30:35,541
Don't worry! It's for a movie.
1528
01:30:36,291 --> 01:30:38,375
Look at me, don't look at the camera.
1529
01:30:40,625 --> 01:30:42,625
Everything's fine.
1530
01:30:45,666 --> 01:30:46,625
Watch out for jolts.
1531
01:30:46,708 --> 01:30:48,500
Everything's fine.
1532
01:30:52,583 --> 01:30:55,041
Keep rolling, keep rolling.
1533
01:30:55,708 --> 01:30:56,750
Stop.
1534
01:30:57,583 --> 01:30:58,541
Cut.
1535
01:30:59,333 --> 01:31:00,458
Are you okay, Jean-Paul?
1536
01:31:01,166 --> 01:31:02,125
Bravo.
1537
01:31:03,375 --> 01:31:04,916
Beautiful death.
1538
01:31:07,208 --> 01:31:08,250
Don't slow down,
1539
01:31:08,333 --> 01:31:09,500
run!
1540
01:31:11,541 --> 01:31:13,375
Until you're breathless!
1541
01:31:17,208 --> 01:31:18,541
It's fine.
1542
01:31:18,625 --> 01:31:19,958
A little faster.
1543
01:31:21,250 --> 01:31:22,083
Run!
1544
01:31:22,166 --> 01:31:23,916
Raoul, roll camera.
1545
01:31:25,541 --> 01:31:26,791
- Ready?
- Rolling.
1546
01:31:26,875 --> 01:31:27,875
Action.
1547
01:31:34,333 --> 01:31:35,333
What happened?
1548
01:31:36,166 --> 01:31:37,666
Oh, It's a movie.
1549
01:31:37,750 --> 01:31:40,041
Pierre, have these people
move back a little.
1550
01:31:40,750 --> 01:31:41,833
No, Pierre.
1551
01:31:42,333 --> 01:31:43,541
Let's not chase them off.
1552
01:31:44,083 --> 01:31:46,333
They would be here, the crowd is good.
1553
01:31:46,416 --> 01:31:47,458
Alright, Jean-Luc.
1554
01:31:52,041 --> 01:31:52,916
Cut!
1555
01:31:54,458 --> 01:31:55,875
Wait a second.
1556
01:31:55,958 --> 01:31:57,333
A chair, excuse me.
1557
01:32:00,375 --> 01:32:01,375
Alright.
1558
01:32:02,791 --> 01:32:06,500
Let's make the saddest shot
in the history of cinema.
1559
01:32:08,583 --> 01:32:10,583
Right up there with Bergman
1560
01:32:11,083 --> 01:32:13,458
who does a superb shot in Monika.
1561
01:32:19,083 --> 01:32:20,083
Rolling.
1562
01:32:22,500 --> 01:32:24,708
Each thought should recall
the ruin of a smile.
1563
01:32:28,208 --> 01:32:29,250
Patricia...
1564
01:32:30,375 --> 01:32:31,375
Take his wallet.
1565
01:32:33,375 --> 01:32:34,666
No.
1566
01:32:35,833 --> 01:32:37,750
You're the thief, not me.
1567
01:32:37,833 --> 01:32:39,791
I know that's what you would do
1568
01:32:39,875 --> 01:32:40,916
but she wouldn't.
1569
01:32:41,000 --> 01:32:42,041
But Franchini,
1570
01:32:42,125 --> 01:32:43,750
you could use what's inside,
1571
01:32:43,833 --> 01:32:45,375
you don't want the cops to get it.
1572
01:32:45,458 --> 01:32:47,541
No. I'm not doing that.
1573
01:32:48,416 --> 01:32:50,166
Come on. Sleight of hand.
1574
01:32:50,250 --> 01:32:51,750
Like you slip him a note.
1575
01:32:54,291 --> 01:32:55,750
It doesn't seem right.
1576
01:32:55,833 --> 01:32:58,208
Purity is not of this world.
1577
01:33:02,500 --> 01:33:03,500
Cut.
1578
01:33:04,041 --> 01:33:06,166
We control our thoughts,
1579
01:33:06,250 --> 01:33:07,875
which mean nothing.
1580
01:33:08,541 --> 01:33:10,708
Not our emotions, which mean everything.
1581
01:33:14,125 --> 01:33:15,125
Well...
1582
01:33:26,750 --> 01:33:29,166
If you won't steal his wallet,
1583
01:33:29,875 --> 01:33:31,500
give me something.
1584
01:33:31,583 --> 01:33:33,208
Give me a Bogie.
1585
01:33:33,291 --> 01:33:34,541
At least that.
1586
01:33:38,583 --> 01:33:41,208
What is "disgusting"?
1587
01:33:55,041 --> 01:33:55,916
Cut.
1588
01:33:56,416 --> 01:33:57,333
Okay for you?
1589
01:33:59,625 --> 01:34:01,375
That's a picture wrap on Jean.
1590
01:34:02,250 --> 01:34:03,833
We did it, kid.
1591
01:34:14,916 --> 01:34:16,708
You saw what she just did? Amazing.
1592
01:34:23,875 --> 01:34:26,291
Do you think he was
leading her there all along?
1593
01:34:26,833 --> 01:34:27,791
Are you kidding?
1594
01:34:27,875 --> 01:34:29,416
You think he had a plan?
1595
01:34:30,458 --> 01:34:32,750
"Not our emotions
which mean everything."
1596
01:34:32,833 --> 01:34:34,750
"Come on, Patricia."
1597
01:34:34,833 --> 01:34:36,125
"At least that."
1598
01:34:41,500 --> 01:34:42,333
It's over.
1599
01:34:43,166 --> 01:34:44,208
On to the next.
1600
01:34:45,958 --> 01:34:48,666
Let No Man Write My Epitaph
starts next week.
1601
01:34:49,958 --> 01:34:52,000
Think about that. Hollywood.
1602
01:34:53,125 --> 01:34:54,583
America.
1603
01:35:07,416 --> 01:35:09,750
{\an8}DAY 19
1604
01:35:09,833 --> 01:35:11,833
Hans Lucas,
1605
01:35:12,416 --> 01:35:14,083
what shall we start with?
1606
01:35:14,166 --> 01:35:15,750
Maybe a close-up of this?
1607
01:35:15,833 --> 01:35:17,625
- Very good.
- An extreme close-up.
1608
01:35:17,708 --> 01:35:19,625
As the first image of the film.
1609
01:35:20,333 --> 01:35:21,333
Maybe.
1610
01:35:22,333 --> 01:35:23,166
Maybe not.
1611
01:35:24,250 --> 01:35:25,208
I like it.
1612
01:35:25,291 --> 01:35:26,250
I love it!
1613
01:35:27,166 --> 01:35:28,208
After all,
1614
01:35:29,041 --> 01:35:30,708
we have to start somewhere.
1615
01:35:33,458 --> 01:35:36,166
And now, to make a killing,
1616
01:35:37,041 --> 01:35:38,458
so to speak.
1617
01:35:38,541 --> 01:35:40,708
Artists and criminals are alike,
1618
01:35:41,208 --> 01:35:42,541
they both want to surprise.
1619
01:35:43,208 --> 01:35:45,500
This police officer
can't know what hit him.
1620
01:35:47,666 --> 01:35:49,250
Trust me.
1621
01:35:49,333 --> 01:35:50,583
He won't.
1622
01:35:52,000 --> 01:35:55,791
Once you are hit by the bullet,
let gravity do its work.
1623
01:35:59,791 --> 01:36:01,083
After, you can...
1624
01:36:02,291 --> 01:36:03,250
This way...
1625
01:36:05,458 --> 01:36:06,666
Good? Okay.
1626
01:36:09,750 --> 01:36:12,083
Grab your shoulders, extend your arms.
1627
01:36:12,166 --> 01:36:13,083
Good.
1628
01:36:13,708 --> 01:36:14,958
That's it.
1629
01:36:17,666 --> 01:36:19,916
Watch the birdie.
1630
01:36:20,416 --> 01:36:22,333
Cinema is?
1631
01:36:22,416 --> 01:36:23,750
Disgusting.
1632
01:36:25,708 --> 01:36:28,166
{\an8}DAY 20
1633
01:36:31,208 --> 01:36:33,625
Jean-Luc, you want to have a look?
1634
01:36:33,708 --> 01:36:34,666
No.
1635
01:36:35,791 --> 01:36:37,916
Last set-up, I should know better.
1636
01:36:41,500 --> 01:36:43,875
- Roll camera, Raoul.
- Rolling, Jean-Luc.
1637
01:36:45,041 --> 01:36:46,458
Run!
1638
01:36:56,833 --> 01:36:58,208
- Do we have it?
- Yes.
1639
01:36:58,291 --> 01:36:59,791
- All good.
- Then cut.
1640
01:36:59,875 --> 01:37:02,666
- Cut.
- We are done anyway.
1641
01:37:03,500 --> 01:37:06,416
Leonardo Da Vinci said it best:
1642
01:37:07,458 --> 01:37:09,583
"Art is never finished,
1643
01:37:10,458 --> 01:37:12,208
only abandoned."
1644
01:37:12,291 --> 01:37:13,875
And that's a wrap!
1645
01:37:15,291 --> 01:37:16,708
Keep running!
1646
01:37:17,416 --> 01:37:19,041
See you back in Paris!
1647
01:37:19,875 --> 01:37:21,000
Wrong way!
1648
01:37:21,500 --> 01:37:24,208
Paris is that way!
1649
01:37:24,833 --> 01:37:27,125
Forget Paris, I'm going to Rome.
1650
01:37:30,750 --> 01:37:32,750
- Thank you, Coutard.
- No problem, Godard.
1651
01:37:48,500 --> 01:37:50,000
Cecile! Lila!
1652
01:37:50,875 --> 01:37:52,125
Hope you are ready.
1653
01:37:53,125 --> 01:37:54,541
Because I love editing.
1654
01:37:54,625 --> 01:37:58,083
It's where we hold the past,
1655
01:37:58,166 --> 01:38:00,875
the present, and the future in our hands.
1656
01:38:00,958 --> 01:38:03,541
Time to snip and clip
whatever lacks oomph.
1657
01:38:03,625 --> 01:38:04,958
Which scene you want to cut?
1658
01:38:05,041 --> 01:38:06,666
We're not cutting any scene.
1659
01:38:06,750 --> 01:38:08,750
We're cutting within the scene.
1660
01:38:09,875 --> 01:38:11,291
We could cut Van Doude.
1661
01:38:11,875 --> 01:38:13,166
No. Think again.
1662
01:38:13,750 --> 01:38:16,291
Close-ups of Seberg
are a quarter of the footage.
1663
01:38:16,375 --> 01:38:17,625
But they are essential.
1664
01:38:18,291 --> 01:38:21,083
The Melville scene is long.
Do we need it?
1665
01:38:21,166 --> 01:38:23,291
No more or less than any other scene.
1666
01:38:24,041 --> 01:38:26,750
Each scene stays.
But only its strong moments.
1667
01:38:26,833 --> 01:38:27,875
My strong moments.
1668
01:38:28,416 --> 01:38:30,333
We're going to take each sequence
1669
01:38:30,416 --> 01:38:34,208
and cut what can be cut
to create a new rhythm.
1670
01:38:34,291 --> 01:38:35,791
- In each scene?
- Yes.
1671
01:38:36,541 --> 01:38:38,083
That's what will bring it to life.
1672
01:38:38,166 --> 01:38:40,833
Pull up the scene with Poiccard
in the Oldsmobile.
1673
01:38:41,416 --> 01:38:43,458
Only keep the moments
when he overtakes cars,
1674
01:38:43,958 --> 01:38:45,500
and put them end to end.
1675
01:38:45,583 --> 01:38:46,541
Like Poiccard,
1676
01:38:46,625 --> 01:38:48,291
the film is impatient to move forward.
1677
01:38:48,375 --> 01:38:49,333
It'll be choppy,
1678
01:38:49,958 --> 01:38:50,875
abrupt.
1679
01:38:50,958 --> 01:38:52,541
It'll be amazing.
1680
01:38:52,625 --> 01:38:55,291
It'll be disconnected
like it's jumping everywhere.
1681
01:38:55,375 --> 01:38:56,958
Absolutely.
1682
01:38:57,041 --> 01:38:58,375
Let's make everything jump.
1683
01:38:59,125 --> 01:39:02,958
If audiences enjoyed
the jump cuts of Méliès,
1684
01:39:03,041 --> 01:39:06,083
Eisenstein, and Jean Rouch,
they will enjoy ours.
1685
01:39:06,166 --> 01:39:07,083
Or maybe not.
1686
01:39:07,166 --> 01:39:09,083
Audiences will accept our new truth.
1687
01:39:10,750 --> 01:39:11,791
Lila!
1688
01:39:13,291 --> 01:39:14,416
Let's jump.
1689
01:39:16,291 --> 01:39:18,458
I hear there's a lot of brilliant stuff.
1690
01:39:19,583 --> 01:39:23,041
But contractually, it can't last
longer than an hour and a half.
1691
01:39:23,750 --> 01:39:24,958
Ninety minutes.
1692
01:39:26,875 --> 01:39:28,625
That's what an hour and a half is?
1693
01:39:30,416 --> 01:39:33,333
Don't worry, we're on our way
to 90 minutes.
1694
01:39:36,250 --> 01:39:39,125
We lived through a difficult,
trying time together.
1695
01:39:40,125 --> 01:39:42,000
We must have something to show for it.
1696
01:39:45,708 --> 01:39:49,500
I don't know if I should cajole you
or manipulate you,
1697
01:39:50,250 --> 01:39:52,416
threaten you or speak straight.
1698
01:39:55,583 --> 01:39:59,500
I could not conceive of making a film
with a producer
1699
01:40:00,125 --> 01:40:01,791
who wouldn't also be a friend.
1700
01:40:20,750 --> 01:40:22,625
It's really disgusting.
1701
01:40:26,333 --> 01:40:27,791
What did he say?
1702
01:40:27,875 --> 01:40:30,541
He said: "You are really disgusting."
1703
01:40:36,083 --> 01:40:38,916
What is "disgusting"?
1704
01:40:59,708 --> 01:41:01,791
There's never been anything like it.
1705
01:41:03,541 --> 01:41:04,791
Congratulations, Jean-Luc.
1706
01:41:05,375 --> 01:41:07,458
- The world isn't ready for...
- Careful, Beau-Beau.
1707
01:41:08,250 --> 01:41:09,583
...for your piece of shit film.
1708
01:41:11,000 --> 01:41:11,958
So,
1709
01:41:12,666 --> 01:41:15,291
is it a piece of shit or a load of shit?
1710
01:41:15,375 --> 01:41:17,000
The year's worst film.
1711
01:41:17,083 --> 01:41:19,041
- Will never be released.
- I slept through it.
1712
01:41:19,125 --> 01:41:21,708
Finally, someone besides me
spreading those rumors.
1713
01:41:21,791 --> 01:41:23,291
All of civilization is mortal.
1714
01:41:23,375 --> 01:41:25,208
- It's no Citizen Kane.
- Not by a long shot.
1715
01:41:25,291 --> 01:41:27,583
Definitely the year's worst film.
1716
01:41:27,666 --> 01:41:28,958
They're going to hate it.
1717
01:41:46,458 --> 01:41:51,583
{\an8}Breathless is considered one of
the most influential films ever made.
1718
01:41:51,666 --> 01:41:57,083
{\an8}Jean-Paul Belmondo did work again.
1719
01:41:57,166 --> 01:42:00,500
{\an8}After Breathless,
he became an international movie star,
1720
01:42:00,583 --> 01:42:03,166
{\an8}appearing in nearly a hundred films.
1721
01:42:03,250 --> 01:42:07,375
{\an8}Jean Seberg divorced Moreuil
shortly after this.
1722
01:42:07,458 --> 01:42:10,958
{\an8}She acted in 35 films
before dying at the age of 40.
1723
01:42:11,041 --> 01:42:18,041
{\an8}Her obituary called her
"the star of Breathless."
1724
01:42:18,750 --> 01:42:21,583
{\an8}Jean-Luc Godard's
personal cinematic revolution
1725
01:42:21,666 --> 01:42:23,625
{\an8}continued for more than 60 years.
1726
01:42:23,708 --> 01:42:29,125
{\an8}He was never not making
feature films, cinematic essays...
1727
01:42:29,208 --> 01:42:33,375
{\an8}and shorts.
1728
01:42:33,458 --> 01:42:35,500
{\an8}Truffaut, Chabrol, Rivette,
Rohmer, Schiffman,
1729
01:42:35,583 --> 01:42:37,083
{\an8}and the rest of the French New Wave
1730
01:42:37,166 --> 01:42:39,875
{\an8}revolutionized cinema.
1731
01:42:39,958 --> 01:42:43,541
{\an8}In a three-year period,
162 French filmmakers
1732
01:42:43,625 --> 01:42:46,500
{\an8}would make their feature debut.