WEBVTT

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[sil.]

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Hello! Hello! Hello! You will go there.

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Yeah. Hello! Hello! Hello! You join this.

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[sil.]

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You have a glass.

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It was there. No, a glass, I would
like to have a glass for the water.

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(inaudible). Thank you but… all right.
(inaudible).

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Um… oh thank you.

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Whatelse, what you like to drink that I
can …would you like (inaudible) water

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I can bring it for you. No thanks.
No. Sure, okay.

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[sil.]

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It’s, it looks small uh.

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I need a cushion. You can put back
a little, little further, okay.

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Think, I need a…

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She wants a cushion. Cushion.

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Yeah, because the table is so high. Sure.
I don’t know it’s, I don’t care but…

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Yeah.

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How about this one? (inaudible). Really.

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Um … Is it comfortable? Great.
Better. Better now.

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Yeah, yeah. Let me start, okay.

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(inaudible) no.

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[sil.]

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(inaudible), okay.

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[sil.]

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They look at (inaudible).

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Yes. Oh, my god. I want to start

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with but your question is,
what’s cinema to you?

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What is cinema to you? A
simple definition on this.

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Too complicate question.

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I… I… can’t say, I don’t know,
I don’t know just how to say,

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it’s too complicated. Cinema… cinema…

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cinema… cinema… like a rose is
a rose… is a rose… is a rose…

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I don’t know. Of course,

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it is something related

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to each time and space

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and I don’t know. And it’s too
much, too big of a question.

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And why did you choose Cinema

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in the first place to express yourself?

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Because I was crazy,

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uh… it’s, um… because it’s very hard job.

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[sil.]

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Because you know I went to,
I went to see Gaddafi,

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my fun enough visit and decided to make…

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that I wanted to make, to make it
too I was 15 but I had no idea

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about what, I still had no, I have no idea

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about what, what cinema

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and why I wanted to do it,
but I suppose that uh…

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in 65 when I was 15,

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uh… because before I wanted to act
but suddenly when I saw the Gaddaffi

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it seems a thing exciting to do.

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It was not a world of
images like it is now,

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yet, it become, became slowly.

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What it is now that, you know, you cannot
move without having image all over,

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it was at that time

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more precious, more… more special.

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[sil.]

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But you know it was an instinct,
it was a feeling I didn’t …

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there was not one reason,
it was just uh… a desire.

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A strong desire to start.

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[sil.]

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And you know at that time I didn’t
know uh… that it was difficult,

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I didn’t know it was to do or I
didn’t know it was expensive,

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nothing I thought it was very possible

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and I didn’t see any problem.
Now I see the problems.

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In the beginning of your work,

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your presumption was with another
cinema or experimental cinema,

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like, (inaudible). Right.
And… and your inspiration was

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(inaudible) and Michael Snow

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on that moment when you saw those
pictures and made short films,

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do you feel that you encounter
about your art is a beginning

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after with art and your intense
experience with cinema

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and you saw these experimental works
and do you feel like you will conquer

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best to your art is like inspiration

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by I think I will do that,
I will do… No… no… no…

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no you know, what happened when I saw uh…

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especially the Michael Snow
film, it’s, I realized

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that especially when

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I love Centrale Région as you know,

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but I realized in a small film he did,

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and not so beautiful but very interesting.

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Uh… what the film did to me, which
is and it’s a very simple film

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called Forth and Back or Back and Forth I
don’t remember. Anyway, the camera is here

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and it’s a new classroom.
And it’s going like that

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and like that for 20 minutes. And you are,

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as of you, as a spectator very, very tensed

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to see if this time he will go
a little bit further, okay.

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So it’s very minimal, very simple.

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And I realized that with just
that, he can make you as tense

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as in a (inaudible) film,
which is not really nothing.

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And that in a way

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changed my way of thinking

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about how to use times, you
know, it was, it was not slow,

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but that you can make, that
you can… build attention,

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which is story or not a story or whatever,

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in a totally different way and that
the viewer will be very implicate,

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you know, total, you know
totally different sense.

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So it was not to… what I did
with sort of not, there it was …

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because I did the film in
a hotel and I also showed

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that Michael Snow in a way if there was
no class, he didn’t care. It was really

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just on the experiment. When I did Hotel
(inaudible) it was not just for the experiment.

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It was also uh… to show hotel

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and uh… bring attention and
also to play with abstraction

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and… very complete.

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Like for example you have the
corridor or hallway and it’s yellow.

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At the end, its red. And
I stay for a while.

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I don’t know, a minute or 45 second.

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Well, you forget that it’s
a hallway after a while.

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And you see red and yellow, so it become
abstract. So I… I play with that but I,

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you also have a feeling about
a hotel with few people.

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So it’s working on many level.

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And also the tension that I bring in

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and the visuality and the
plasticity but, but uh…

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it’s very… very different
than certain (inaudible)

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is making his diaries forever.
It’s totally different.

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But it’s also very different from
Michael Snow. And (inaudible)

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used to have a sound track, but I lost it.
And I was telling a story so,

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as in a voice over.

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But then since I… I lost it,
because it was double bond.

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I like it like that too. But again,

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you have the feeling of women, of
a, of a young women of New York

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or something which doesn’t interest at all.

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Uh… Michael Snow, Michael
Snow, what he likes

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is the experiment. It’s not me.

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[sil.]

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Now let’s talk about image,
in many of your films,

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you use, you like to use uh…
frame on frame more vivid

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like a (inaudible) and
you, you restrict that

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and you like to put walls, doors,
windows, corridors as you said,

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creating symmetric shots. Yeah.

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And… I want you to talk about your image composition
and if there’s any influence by a painter

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or how you do the composition as,

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the image composition of your work?

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It’s a secret.

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Uh… That’s it. You know, well,

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you know, since I’m not
interested by (inaudible).

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When you are like that very fronted

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and very much uh… symmetrical,
you go out of naturalism.

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You have all idea… you have
all idea of stylization.

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But you know,

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I made, he actually did it like that.
When I did Gentleman uh…

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I was looking and, and the girl who was doing the framing
she said, \"Why don’t you tell me that it is symmetric

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and that’s a… \" I said, \" I
don’t know, I’m looking

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and when I feel it’s good, it’s good.\"

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Always did it and I try to not
do it because uh… I said oh

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am I going to do that all my life and
when I don’t do it, I trust myself

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to don’t do it sometime. Then I’m sad.

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If there is something which
is not… (inaudible).

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[sil.]

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Excuse me. Unfortunately,
we can’t stop here.

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[sil.]

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And, and what about your interest in…

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Uh…

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Walls, doors and the image on
frame and… It’s, it’s straight,

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it does, it gives a straight
view inside the framing.

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And also it helped me to as you all said,

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I always needed it and when I don’t
have it, it’s really like uh…

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in (inaudible), New York
he made like one corridor

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but almost no doors. My set designers say,

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\"How I’m going to… to work with that?\"

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It’s … I always ask, I always ask him,

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I need the corridors, I need, I
need those otherwise I cannot work.

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Its building the (inaudible).

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[sil.]

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Excuse me. Unfortunately, we can’t,
we can’t smoke here. Close the door.

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No, it’s not possible to, all of them,

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all of them are viewing. I’m sorry.
You should not.

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One.

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It’s beautiful but even in our places,

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we use to smoke.

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[sil.]

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Don’t worry.

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[sil.]

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You know, let’s talk about the script.

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Uh… The… the writer

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and (inaudible)said that
he sits every morning

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writes until the end of the day? My god.

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And by the end of the day, if he
gets aligned, it’s a good day

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and if he gets on one page, a
whole page it’s an excellent day,

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how is your methodology trait,

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you have a methodology?

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No. Like, I, you know,

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and I try and it’s coming or not coming but

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I don’t sit for the whole
day and it drive me crazy.

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And then I work in the stage and
by working if it’s, if I’m loved

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working is very good. I should do tell that

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to all those, so we’ll
have more than one line.

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Um… yeah. I’m not a man you know

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who had that medical direction. It’s
much more fluid. One day it works,

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the other day it doesn’t
and I walk and I know

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I got to pick the paper and then
my brain in a way it’s working

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and the next day I have,
who know it depends

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but I have no methodology,
but only one thing,

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I … when I’m writing I’m
getting very early,

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because you know and
nobody should talk to me.

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So I’m with myself.

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And I like to write in the weekend
because you feel everybody

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is yeah gone and I feel and
it’s usually good day,

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Saturday and Sunday are my best days.

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[sil.]

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So we’ll talk about script and
we’ll just take one script

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of yours like a team when
you adapted (inaudible),

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you want me to write some essence,

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essence of the characters and after
that, you do a… Listen I… I,

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well, for me it was the essence for me

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that we have many… many more
interesting things in the…

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in the book of course.

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But I chose that team of challenging,
like challenging, if that’s a little

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too simple to say, it’s
only challenging, but

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and… I took all those rest out

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and then uh … in a way I
think I had the raft of it,

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for me anyway, anyway or
probably someone else

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would be more interested by other seeing
it. When I read that I was very young

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and then I feel with it
and I was like 25, 26

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and I remember that there was at
that appartment and the corridor

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and the two characteristics
that’s the story for me.

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[sil.]

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So, when you were there,

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when you were taking, were
you… you take some elements

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that are close to you? Yes, of course.

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It’s always, you know,
if you choose a book uh…

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[sil.]

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That’s what you are looking for.
Was that just you?

00:22:55.000 --> 00:22:59.999
[sil.]

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Because when I see that
deep, I see proves in it.

00:23:05.000 --> 00:23:09.999
Yeah. And… and… and you…

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You know, uh… many film were done
from these beautiful writing

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and it is good that he’s
not with us anymore.

00:23:20.000 --> 00:23:24.999
I wonder what he would
think, but, you know,

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it’s a film for … it becomes something else

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and I don’t think it’s a good idea
to refer or time to the book.

00:23:35.000 --> 00:23:39.999
Of course,

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when many people said that they
have read the book many times,

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but it’s not so told. You know, a lot
of people who are doing like that

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and they have all an idea about,

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how the character is and
I choose a blonde guy

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and a blonde girl and their able,

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I kept in was supposed to be go
curly and black hair and of course,

00:24:10.000 --> 00:24:14.999
everybody knows his face. But I said
to myself, if I try to find that

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then I think to get where from it,

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it was better, it was like a new thing.

00:24:25.000 --> 00:24:29.999
Even though I stole a lots from him,

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but to keep too tight to the book,

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people who did it, I think
they will all on(ph).

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I think most of the female
who were all this, I mean,

00:24:45.000 --> 00:24:49.999
I didn’t like the female whoever
that they form opposed,

00:24:50.000 --> 00:24:54.999
they try to back everything together.

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So there is home for nothing.

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Finish with this again.

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[sil.]

00:25:10.000 --> 00:25:14.999
Life is a reputation of act and they basis

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and this is a central
team in your work. Yeah.

00:25:20.000 --> 00:25:24.999
Gentleman, besides that you
debate about relationships,

00:25:25.000 --> 00:25:29.999
love, sex, tragedy and deaf

00:25:30.000 --> 00:25:34.999
and many others essential
compositions of a human life.

00:25:35.000 --> 00:25:39.999
Why your attractions to these things
specifically? There is nothing else.

00:25:40.000 --> 00:25:44.999
What else?

00:25:45.000 --> 00:25:49.999
There is love,

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politics, time where … there is nothing
else to be attracted to, I think.

00:25:55.000 --> 00:25:59.999
Of course, it depends

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on the way you are using it

00:26:05.000 --> 00:26:09.999
and how that entice with it, because that’s

00:26:10.000 --> 00:26:14.999
every writer, every filmmaker
is dealing with that

00:26:15.000 --> 00:26:19.999
in his own way.

00:26:20.000 --> 00:26:24.999
I don’t know what to tell you,

00:26:25.000 --> 00:26:29.999
I think it’s abuse.

00:26:30.000 --> 00:26:34.999
Look, I have already put three times

00:26:35.000 --> 00:26:39.999
during that glass, that’s a big issue.
Yeah. That’s working.

00:26:40.000 --> 00:26:44.999
I can’t predict him with a cigarette,

00:26:45.000 --> 00:26:49.999
that’s collision and I’m joking.

00:26:50.000 --> 00:26:54.999
No, that’s life.

00:26:55.000 --> 00:26:59.999
Look at me,

00:27:00.000 --> 00:27:04.999
it’s awful things here, I know
it’s not me, it was them, umm…

00:27:05.000 --> 00:27:09.999
[sil.]

00:27:10.000 --> 00:27:14.999
You know, about, you define
the position of the camera

00:27:15.000 --> 00:27:19.999
and give this perspective to the viewer.
And they asked you to long try the shots

00:27:20.000 --> 00:27:24.999
on the landscape and the people face,

00:27:25.000 --> 00:27:29.999
how do you determine this positive,
the concept of your work,

00:27:30.000 --> 00:27:34.999
how to put the camera and initiate it here?

00:27:35.000 --> 00:27:39.999
You have to feel it, it’s a
question of feeling, really.

00:27:40.000 --> 00:27:44.999
I told about for example,

00:27:45.000 --> 00:27:49.999
I was with the camera

00:27:50.000 --> 00:27:54.999
and so then I saw a shot and it was…

00:27:55.000 --> 00:27:59.999
and as it, that’s height.

00:28:00.000 --> 00:28:04.999
So, feelings suddenly
you feel that what is,

00:28:05.000 --> 00:28:09.999
was maybe new ahead before on that or
there is something that you’ll looking

00:28:10.000 --> 00:28:14.999
and its height.

00:28:15.000 --> 00:28:19.999
You know, it’s… much more
simple that your question,

00:28:20.000 --> 00:28:24.999
you know, you just feel it,

00:28:25.000 --> 00:28:29.999
you feel it it’s right

00:28:30.000 --> 00:28:34.999
and you also feel it’s wrong.

00:28:35.000 --> 00:28:39.999
And it’s very instinctive

00:28:40.000 --> 00:28:44.999
and not meant,

00:28:45.000 --> 00:28:49.999
umm… and for example,

00:28:50.000 --> 00:28:54.999
when I did (inaudible)

00:28:55.000 --> 00:28:59.999
was doing some, giving some classes to the
university and I have a friend of mine

00:29:00.000 --> 00:29:04.999
who was helping me a bit
is that about putting

00:29:05.000 --> 00:29:09.999
the (inaudible) said that.

00:29:10.000 --> 00:29:14.999
And I went home and I saw some bookshelves.

00:29:15.000 --> 00:29:19.999
And I see what’s that I don’t digest,
I don’t remember having done it,

00:29:20.000 --> 00:29:24.999
he did it when I wasn’t there.

00:29:25.000 --> 00:29:29.999
And I immediately felt something was wrong,

00:29:30.000 --> 00:29:34.999
it not on for him, probably,

00:29:35.000 --> 00:29:39.999
but it was on for me. I said
I don’t look a nice meeting.

00:29:40.000 --> 00:29:44.999
And he did it behind my back.

00:29:45.000 --> 00:29:49.999
So it’s very,

00:29:50.000 --> 00:29:54.999
it’s more simple, it’s
simple and the complexity

00:29:55.000 --> 00:29:59.999
you cannot explain, because you
don’t know yourself why, you go

00:30:00.000 --> 00:30:04.999
for what you feel.

00:30:05.000 --> 00:30:09.999
[sil.]

00:30:10.000 --> 00:30:14.999
So…

00:30:15.000 --> 00:30:19.999
So, let’s talk about

00:30:20.000 --> 00:30:24.999
the viewer.

00:30:25.000 --> 00:30:29.999
Since did the whole there is
a discussion about for what

00:30:30.000 --> 00:30:34.999
and their representation and the art works.
A window as adopted the world

00:30:35.000 --> 00:30:39.999
and the existence of the viewer.

00:30:40.000 --> 00:30:44.999
When you put a woman doing the
domestic service in her house

00:30:45.000 --> 00:30:49.999
in real time that puts your cinema

00:30:50.000 --> 00:30:54.999
in a reflection of these pretends
to the viewer. The viewer sends

00:30:55.000 --> 00:30:59.999
the presents and the against… which
are thoughts about the relation

00:31:00.000 --> 00:31:04.999
between your films and your
thoughts about the viewers,

00:31:05.000 --> 00:31:09.999
when you do a film and puts
a real time, if you are

00:31:10.000 --> 00:31:14.999
to think about the viewer? I
never think about the viewer

00:31:15.000 --> 00:31:19.999
and it’s nothing real
time, it’s decomposed,

00:31:20.000 --> 00:31:24.999
but I’m the viewer, the first viewer.

00:31:25.000 --> 00:31:29.999
And then everybody would be in my situation

00:31:30.000 --> 00:31:34.999
in the theatre.

00:31:35.000 --> 00:31:39.999
And it’s face-to-face, it’s
a face-to-face situation,

00:31:40.000 --> 00:31:44.999
because it’s set, it’s not like that,

00:31:45.000 --> 00:31:49.999
it’s not like that it’s… so, the viewer

00:31:50.000 --> 00:31:54.999
have the room, I mean, to be

00:31:55.000 --> 00:31:59.999
your going away or you’re always
on the screen, it’s goes both way.

00:32:00.000 --> 00:32:04.999
But it’s equal

00:32:05.000 --> 00:32:09.999
in a way.

00:32:10.000 --> 00:32:18.000
[sil.]

00:32:20.000 --> 00:32:24.999
Uh… And it’s… okay, and also you

00:32:25.000 --> 00:32:29.999
as if you feel the time passing by,

00:32:30.000 --> 00:32:34.999
you feel the time passing
by through your own words.

00:32:35.000 --> 00:32:39.999
And most of the cinema,

00:32:40.000 --> 00:32:44.999
when people are enjoying
a film or movie to see,

00:32:45.000 --> 00:32:49.999
I didn’t see the time, the time flies.

00:32:50.000 --> 00:32:54.999
That’s is supposed to be a good movie,
but I think that when the time fly

00:32:55.000 --> 00:32:59.999
and you don’t see the time
passing by, you are hoped

00:33:00.000 --> 00:33:04.999
from no half of, your life of two hours,

00:33:05.000 --> 00:33:09.999
because all you have in life is time.
And in fact,

00:33:10.000 --> 00:33:14.999
it’s my film, you’re aware
of every second passing by

00:33:15.000 --> 00:33:19.999
through your body.

00:33:20.000 --> 00:33:24.999
So, it makes, it, you,

00:33:25.000 --> 00:33:29.999
in a way you’re facing yourself,

00:33:30.000 --> 00:33:34.999
because we try all the time and
in life to give divert yourself,

00:33:35.000 --> 00:33:39.999
to forget about the time,
because then it can make

00:33:40.000 --> 00:33:44.999
you anxious or whatever

00:33:45.000 --> 00:33:49.999
or both with that’s the only
thing you have is time.

00:33:50.000 --> 00:33:58.000
[sil.]

00:34:05.000 --> 00:34:09.999
How, talk about fiction and documentary,

00:34:10.000 --> 00:34:14.999
you need an accounts of by your work
intercalating fiction and the documentary

00:34:15.000 --> 00:34:19.999
and sometimes in your fiction you use
some elements of the documentary

00:34:20.000 --> 00:34:24.999
you know other these and histories,
I wish I wanted you to talk about

00:34:25.000 --> 00:34:29.999
this relation fiction and documentary?

00:34:30.000 --> 00:34:34.999
For me there is not uh…

00:34:35.000 --> 00:34:39.999
such of war between those two, whatever.

00:34:40.000 --> 00:34:44.999
I think in a good film,

00:34:45.000 --> 00:34:49.999
you feel the documentary also

00:34:50.000 --> 00:34:54.999
and vice versa

00:34:55.000 --> 00:34:59.999
so that’s how I see it.

00:35:00.000 --> 00:35:04.999
It’s not so different for me.

00:35:05.000 --> 00:35:09.999
It’s still in natures

00:35:10.000 --> 00:35:14.999
and time and space.

00:35:15.000 --> 00:35:19.999
[sil.]

00:35:20.000 --> 00:35:24.999
You get feed of the documentary to fiction,

00:35:25.000 --> 00:35:29.999
you take a film and specifically film

00:35:30.000 --> 00:35:34.999
like after what have you
can do it documentary

00:35:35.000 --> 00:35:39.999
and after you do fiction, you intercalate

00:35:40.000 --> 00:35:44.999
and use their position,

00:35:45.000 --> 00:35:49.999
is there a will to do fiction,

00:35:50.000 --> 00:35:54.999
different documentary, different
documentary of fiction?

00:35:55.000 --> 00:35:59.999
[sil.]

00:36:00.000 --> 00:36:04.999
After having what we saw lot of people,

00:36:05.000 --> 00:36:09.999
which is the case in the so called fiction,

00:36:10.000 --> 00:36:14.999
I like just to be with two
or three people also.

00:36:15.000 --> 00:36:19.999
I don’t like… what I don’t
like about making a movie

00:36:20.000 --> 00:36:24.999
is that you are surrounded with
a lot of people, lot of things

00:36:25.000 --> 00:36:29.999
and a lot of light and all
those thing are very boring.

00:36:30.000 --> 00:36:34.999
And… I had my uh…

00:36:35.000 --> 00:36:39.999
VP calling me last week

00:36:40.000 --> 00:36:44.999
and she said to me, \"Oh, well I’m
playing with lot of (inaudible)

00:36:45.000 --> 00:36:49.999
you know,

00:36:50.000 --> 00:36:54.999
big thing, big where they will

00:36:55.000 --> 00:36:59.999
and I said to her oh, it’s funny,

00:37:00.000 --> 00:37:04.999
I feel it’s like a kid playing

00:37:05.000 --> 00:37:09.999
with some leg or something.

00:37:10.000 --> 00:37:14.999
It doesn’t interest me, you know,

00:37:15.000 --> 00:37:19.999
the least we have and the least
material, the best I feel.

00:37:20.000 --> 00:37:24.999
But, you know, most of the people
they like and they feel important,

00:37:25.000 --> 00:37:29.999
or like child,

00:37:30.000 --> 00:37:34.999
it’s very childish,

00:37:35.000 --> 00:37:39.999
you know.

00:37:40.000 --> 00:37:44.999
Also to get more,

00:37:45.000 --> 00:37:49.999
you get more concentrate,

00:37:50.000 --> 00:37:54.999
I don’t know it’s uh… much more pleasure.

00:37:55.000 --> 00:37:59.999
To work with us more…

00:38:00.000 --> 00:38:04.999
But I try to but at the end,
your hall ways was a bit cool,

00:38:05.000 --> 00:38:09.999
except when you know, when you
do those so called documentary.

00:38:10.000 --> 00:38:14.999
[sil.]

00:38:15.000 --> 00:38:19.999
And what I don’t like also about

00:38:20.000 --> 00:38:24.999
shooting a fiction is like, okay,

00:38:25.000 --> 00:38:29.999
today you do that, planned,

00:38:30.000 --> 00:38:34.999
now you have to do the planned.

00:38:35.000 --> 00:38:39.999
And maybe you don’t feel
like doing that today

00:38:40.000 --> 00:38:44.999
or whatever and which everything
so organized and you were,

00:38:45.000 --> 00:38:49.999
it’s like a war. I’ll be crazy.

00:38:50.000 --> 00:38:54.999
And I’m doing a schedule,

00:38:55.000 --> 00:38:59.999
in your schedule. But it’s not that I
ever go over schedule, but the way

00:39:00.000 --> 00:39:04.999
the poor assistant I’m… the poor assistant

00:39:05.000 --> 00:39:09.999
who has to do that belong to that way,

00:39:10.000 --> 00:39:14.999
all thing is annoying. And
there is not much room for

00:39:15.000 --> 00:39:19.999
something who can

00:39:20.000 --> 00:39:24.999
and you can suddenly feel

00:39:25.000 --> 00:39:29.999
that maybe, okay, this trick
was lots of you know,

00:39:30.000 --> 00:39:34.999
you have to go… you have
to go… you have to go.

00:39:35.000 --> 00:39:39.999
[sil.]

00:39:40.000 --> 00:39:44.999
Now, let’s step to the editing room.

00:39:45.000 --> 00:39:49.999
What represents the editing room for you?

00:39:50.000 --> 00:39:54.999
I like to edit,

00:39:55.000 --> 00:39:59.999
because again I’m… we just,
we can… I can concentrate,

00:40:00.000 --> 00:40:04.999
I’m knowing that is a best one I
like very much and it’s quiet

00:40:05.000 --> 00:40:09.999
and we build little by little and we look
again and they know define it will be,

00:40:10.000 --> 00:40:14.999
it’s very nice work,

00:40:15.000 --> 00:40:19.999
I love it. I prefer the editing

00:40:20.000 --> 00:40:24.999
and I prefer the writing and a big shoot.
And a big shoot

00:40:25.000 --> 00:40:29.999
if you have done one mistake
at the preparation,

00:40:30.000 --> 00:40:34.999
so something if then something

00:40:35.000 --> 00:40:39.999
will be wrong, we just set. Um …

00:40:40.000 --> 00:40:44.999
choose the wrong actor, whatever
the whole thing is finished,

00:40:45.000 --> 00:40:49.999
you can fight as much
as you want against it,

00:40:50.000 --> 00:40:54.999
forget about it. It will be fine, okay,

00:40:55.000 --> 00:40:59.999
but and all you have

00:41:00.000 --> 00:41:04.999
and then know some of them
done it and you can take shoot

00:41:05.000 --> 00:41:09.999
and see to the act was go, where
I don’t want to see you anymore,

00:41:10.000 --> 00:41:14.999
it’s not so easy.

00:41:15.000 --> 00:41:19.999
The difference of editing,
documentary, and fiction?

00:41:20.000 --> 00:41:24.999
Documentary, when editing a documentary

00:41:25.000 --> 00:41:29.999
is much more in my genesis,

00:41:30.000 --> 00:41:34.999
because when I do documentary I don’t
know which shot will be at the beginning,

00:41:35.000 --> 00:41:39.999
which shot will be at the end, it’s
like really, like sculpting, something…

00:41:40.000 --> 00:41:44.999
taking something out of the
material is sculpting in.

00:41:45.000 --> 00:41:49.999
So, it’s very surprising, you know, so
the new one shot goes with another one,

00:41:50.000 --> 00:41:54.999
you didn’t know it, you
try and done easy, wow!

00:41:55.000 --> 00:41:59.999
Oh, no, no, no, it doesn’t work,
but when you have a fiction,

00:42:00.000 --> 00:42:04.999
so called you follow the story and
then you make it as good as it can be,

00:42:05.000 --> 00:42:09.999
but though you try,

00:42:10.000 --> 00:42:14.999
but it’s not except if you
destroy the script, it’s not…

00:42:15.000 --> 00:42:19.999
if be an invention,

00:42:20.000 --> 00:42:24.999
as it is in the documentary. When
the type of documentary I’m doing,

00:42:25.000 --> 00:42:29.999
no, it’s very exciting,

00:42:30.000 --> 00:42:34.999
the… to edit the documentary.
Also, you have to have

00:42:35.000 --> 00:42:39.999
the right person and I’m working for who,

00:42:40.000 --> 00:42:44.999
how long, very long time.

00:42:45.000 --> 00:42:49.999
Probably, 20 year or something, is when

00:42:50.000 --> 00:42:54.999
(inaudible) and you know we feel,

00:42:55.000 --> 00:42:59.999
we all like … seeing the same
thing at the same moment.

00:43:00.000 --> 00:43:04.999
So, and there is no reason, you know,

00:43:05.000 --> 00:43:09.999
no rush, no reason to put those two
shot together and then a third one,

00:43:10.000 --> 00:43:14.999
but we feel inside again.

00:43:15.000 --> 00:43:19.999
And you have to a lot of satisfaction

00:43:20.000 --> 00:43:24.999
and you have to fight with the
material, it’s… it’s nice.

00:43:25.000 --> 00:43:29.999
Umm… it’s nice.

00:43:30.000 --> 00:43:34.999
And in documentary you
take back with a concept,

00:43:35.000 --> 00:43:39.999
before you are in the editing
room emerges something?

00:43:40.000 --> 00:43:44.999
No, no…

00:43:45.000 --> 00:43:49.999
And, when you were making documentary.
Mmm… I don’t know,

00:43:50.000 --> 00:43:54.999
when I’m making I’m – again
I’m following my instinct,

00:43:55.000 --> 00:43:59.999
we should do that and do the other one.
And then so then sometimes I say,

00:44:00.000 --> 00:44:04.999
we should know,

00:44:05.000 --> 00:44:09.999
if it’s right, okay,

00:44:10.000 --> 00:44:14.999
I have enough material it’s
finished, for from the uh…

00:44:15.000 --> 00:44:19.999
from the other side, I
finished one week before

00:44:20.000 --> 00:44:24.999
I was supposed to. I say
to my GP and my so many,

00:44:25.000 --> 00:44:29.999
it’s over. But I had no fractional reason

00:44:30.000 --> 00:44:34.999
to say so, what I felt it, I say enough,

00:44:35.000 --> 00:44:39.999
kind of do, they look at
me, enough, take a holiday

00:44:40.000 --> 00:44:44.999
we were in it, take a holiday
for one week, I’m going home

00:44:45.000 --> 00:44:49.999
and then it was, you have to believe

00:44:50.000 --> 00:44:54.999
in your instinct.

00:44:55.000 --> 00:44:59.999
It’s risky, you know, it’s risky.

00:45:00.000 --> 00:45:04.999
Sometimes, you come at
the editing room and…

00:45:05.000 --> 00:45:09.999
What? And sometimes you go to the
editing room and find another movie

00:45:10.000 --> 00:45:14.999
and not the movie that you were expecting.

00:45:15.000 --> 00:45:19.999
Mmm… not really, no.

00:45:20.000 --> 00:45:24.999
[sil.]

00:45:25.000 --> 00:45:29.999
No.

00:45:30.000 --> 00:45:34.999
What, for fiction sometimes,

00:45:35.000 --> 00:45:39.999
once anyway, I was expecting someone,

00:45:40.000 --> 00:45:44.999
something more vibrant and it wasn’t there

00:45:45.000 --> 00:45:49.999
and I couldn’t do anything, and
nobody was saying anything.

00:45:50.000 --> 00:45:54.999
And I felt that and I felt and I was
telling to myself, I’m, am I crazy,

00:45:55.000 --> 00:45:59.999
nobody saying anything,
they all are, look happy

00:46:00.000 --> 00:46:04.999
and I was at the mix and I said who,

00:46:05.000 --> 00:46:09.999
the thing is not right
one, it’s something wrong.

00:46:10.000 --> 00:46:14.999
Then you don’t have to say anything,

00:46:15.000 --> 00:46:19.999
because, you know, if you
say that under people

00:46:20.000 --> 00:46:24.999
who work for you, they will feel
the same and they won’t work well.

00:46:25.000 --> 00:46:29.999
I felt that’s it can happen,

00:46:30.000 --> 00:46:34.999
it’s where it have

00:46:35.000 --> 00:46:39.999
to succeed always

00:46:40.000 --> 00:46:44.999
in what you feel.

00:46:45.000 --> 00:46:49.999
That was very…

00:46:50.000 --> 00:46:54.999
very sad, I have to, I couldn’t work

00:46:55.000 --> 00:46:59.999
for long while after that, because I say,

00:47:00.000 --> 00:47:04.999
how can I make that
mistake and that mistake,

00:47:05.000 --> 00:47:09.999
but you do, it this happened to everyone.

00:47:10.000 --> 00:47:14.999
And this mistake, the
children saying is affected,

00:47:15.000 --> 00:47:19.999
I mean, in your absence
of making another movie?

00:47:20.000 --> 00:47:24.999
No… no… no… no… no.

00:47:25.000 --> 00:47:29.999
Is on which film and if
you… No, since a few years

00:47:30.000 --> 00:47:34.999
I had a kind of complicated life

00:47:35.000 --> 00:47:39.999
and I fall from that, I stay,

00:47:40.000 --> 00:47:44.999
I broke my bones, staying in a
hospital for a very long time

00:47:45.000 --> 00:47:49.999
then I tried to write conventional script

00:47:50.000 --> 00:47:54.999
and I did and with a friend of mine

00:47:55.000 --> 00:47:59.999
and if I know kind of producing I kept but,

00:48:00.000 --> 00:48:04.999
he wanted me to change
the things all the time,

00:48:05.000 --> 00:48:09.999
he wanted to make it more
commercial and I didn’t like that

00:48:10.000 --> 00:48:14.999
what they were asking me.
So, after a while,

00:48:15.000 --> 00:48:19.999
I gave up, but I lost two
years with that thing.

00:48:20.000 --> 00:48:24.999
It was very expensive,

00:48:25.000 --> 00:48:29.999
probably, it’s good that I didn’t do it.

00:48:30.000 --> 00:48:34.999
But I lost a lot of time, maybe
it’s not lost, who knows.

00:48:35.000 --> 00:48:43.000
[sil.]

00:48:45.000 --> 00:48:49.999
No but it’s sure that, it is sure that

00:48:50.000 --> 00:48:54.999
when you do a film, which is not

00:48:55.000 --> 00:48:59.999
what you felt, uh…

00:49:00.000 --> 00:49:04.999
that is giving you doubt in yourself

00:49:05.000 --> 00:49:09.999
that’s for sure, since I’m
always working on my instinct

00:49:10.000 --> 00:49:14.999
and sometime then I cannot
go on my instinct anymore.

00:49:15.000 --> 00:49:19.999
It’s a bad feeling,

00:49:20.000 --> 00:49:24.999
because it’s not your mind, you’re going
to say okay, let’s say that’s yellow

00:49:25.000 --> 00:49:29.999
and then I must not, no, it
has to come from somewhere

00:49:30.000 --> 00:49:34.999
which is self conscious and unconscious.

00:49:35.000 --> 00:49:39.999
If it’s so conscious it’s dead and again,

00:49:40.000 --> 00:49:44.999
you know, is the unconsciousness things

00:49:45.000 --> 00:49:49.999
that something that you were not expected,

00:49:50.000 --> 00:49:54.999
which is usually the richness of the work.

00:49:55.000 --> 00:49:59.999
And when you made mistake,

00:50:00.000 --> 00:50:04.999
it’s hard to take normal.

00:50:05.000 --> 00:50:09.999
[sil.]

00:50:10.000 --> 00:50:14.999
And you know, a… movie cost a lot of money.

00:50:15.000 --> 00:50:19.999
So, even on small movie uh… then
when you’re not happy with it

00:50:20.000 --> 00:50:24.999
and what you don’t say to the others,
but you are not happy, you feel awful,

00:50:25.000 --> 00:50:29.999
you feel I didn’t give up that money.

00:50:30.000 --> 00:50:38.000
[sil.]

00:50:40.000 --> 00:50:44.999
Yeah. Let’s change to where from why,

00:50:45.000 --> 00:50:49.999
what you think about contemporaries cinema,

00:50:50.000 --> 00:50:54.999
if you like and movies or
the directors of today,

00:50:55.000 --> 00:50:59.999
if you see others?

00:51:00.000 --> 00:51:04.999
I surely do it.

00:51:05.000 --> 00:51:09.999
[sil.]

00:51:10.000 --> 00:51:14.999
I don’t go often, I don’t know.

00:51:15.000 --> 00:51:19.999
[sil.]

00:51:20.000 --> 00:51:24.999
I like this small this part film

00:51:25.000 --> 00:51:29.999
and I like some

00:51:30.000 --> 00:51:34.999
that when is (inaudible)

00:51:35.000 --> 00:51:39.999
okay,

00:51:40.000 --> 00:51:44.999
I do.

00:51:45.000 --> 00:51:49.999
I really don’t go often. I’m not a
good pattern to ask that because

00:51:50.000 --> 00:51:54.999
I go maybe once a year in cinema.

00:51:55.000 --> 00:51:59.999
Even on fast folks, even on fast folks?

00:52:00.000 --> 00:52:04.999
Oh, well, then, lot of time on,

00:52:05.000 --> 00:52:09.999
in some kind of jury

00:52:10.000 --> 00:52:14.999
and if I see that and that’s like,
because then I can see 20 films in this…

00:52:15.000 --> 00:52:23.000
[sil.]

00:52:25.000 --> 00:52:29.999
But I cannot really say that lately.

00:52:30.000 --> 00:52:34.999
I discover someone big,

00:52:35.000 --> 00:52:39.999
small nice little things,
but I didn’t discover

00:52:40.000 --> 00:52:44.999
someone who like who

00:52:45.000 --> 00:52:49.999
did the effect of a
(inaudible) whatever no.

00:52:50.000 --> 00:52:54.999
Maybe there is, you know,

00:52:55.000 --> 00:52:59.999
but I don’t know.

00:53:00.000 --> 00:53:04.999
[sil.]

00:53:05.000 --> 00:53:09.999
And there’s a reason you go last
to cinema today than before?

00:53:10.000 --> 00:53:14.999
Yeah, because I’m lazy

00:53:15.000 --> 00:53:19.999
and also I don’t know.

00:53:20.000 --> 00:53:24.999
I’m too demanding

00:53:25.000 --> 00:53:29.999
and when the people are saying,
\"Oh, good to see it’s not bad.\"

00:53:30.000 --> 00:53:34.999
It’s not bad, well, but it great?

00:53:35.000 --> 00:53:39.999
\"Oh, no, no. Not great but
not bad.\" And too demanding.

00:53:40.000 --> 00:53:44.999
Then I prefer talking it,

00:53:45.000 --> 00:53:49.999
I’m not, I found less curious,
than when I was young.

00:53:50.000 --> 00:53:54.999
It’s not good I know.

00:53:55.000 --> 00:53:59.999
And in the sense,

00:54:00.000 --> 00:54:04.999
it’s the fear that you have
now, that you prefer read and…

00:54:05.000 --> 00:54:09.999
I… I have to say, I prefer it, well,

00:54:10.000 --> 00:54:14.999
I prefer to have a dinner with a friend,
because I’m living in a neighborhood

00:54:15.000 --> 00:54:19.999
where there is not a type of cinema

00:54:20.000 --> 00:54:24.999
in losing him. So I have to in daytime

00:54:25.000 --> 00:54:29.999
I’m doing, it takes time,
at night I have to go

00:54:30.000 --> 00:54:34.999
then to come back, if I have
to have a nice conversation,

00:54:35.000 --> 00:54:39.999
if someone I like or we
do go recent to radio.

00:54:40.000 --> 00:54:44.999
Then to go and then to say (inaudible).

00:54:45.000 --> 00:54:49.999
[sil.]

00:54:50.000 --> 00:54:54.999
And now we came to the final question

00:54:55.000 --> 00:54:59.999
and you may along our cinema
took entire station a script,

00:55:00.000 --> 00:55:04.999
bringing book, common in books, is
there anything do you want to do yet?

00:55:05.000 --> 00:55:09.999
Fly.

00:55:10.000 --> 00:55:14.999
That’s thing,

00:55:15.000 --> 00:55:19.999
I know,

00:55:20.000 --> 00:55:24.999
start my life all over again.

00:55:25.000 --> 00:55:33.000
[sil.]

00:56:10.000 --> 00:56:14.999
I just (inaudible) very much.

00:56:15.000 --> 00:56:19.999
They just told (inaudible).

00:56:20.000 --> 00:56:28.000
[sil.]

00:58:05.000 --> 00:58:09.999
What’s your name? (inaudible).

00:58:10.000 --> 00:58:14.999
Oops! Let’s go.

00:58:15.000 --> 00:58:23.000
[sil.]

00:58:30.000 --> 00:58:34.999
Thank you guys, (inaudible). Thank you.
Yes, it was so pleasing.

00:58:35.000 --> 00:58:39.999
I hope you like it.

00:58:40.000 --> 00:58:48.000
[sil.]