WEBVTT
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[music]
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[sil.]
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[sil.]
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From where are you from?
(inaudible), where are you from?
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From Paris. And what place… Sweden.
Sweden. Yeah.
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You should (inaudible) Brooklyn beach is beautiful.
Brooklyn beach? Yeah. Yeah, we’ll go and then try.
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Do you live here? I lived
here when I was much younger
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in ‘70… from ‘71 to ‘73.
And now I’m living between
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(inaudible), Israel, whatever.
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I’m a nomadic person. Yeah. That’s nice.
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[sil.]
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[sil.]
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[sil.]
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A rabbit always passed through a village
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to get to the forest and
there at a foot of a tree
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and it was always a same one he
began to pray and God heard him,
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his son too always passed through the
same village to get to the forest.
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But he could not remember where that
he was, so he prayed at the foot of
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any all tree and God heard him.
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His grandson did not know where the
tree was, not the forest, so he went to
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pray in the village and God heard him.
His great grandson
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did not know where the tree was, not
the forest, not even the village,
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but he still knew the worth of the prayer.
So he prayed in his house
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and God heard him. His great grandson
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did not know where the tree was, not the
forest, nor the forest, nor the village
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but even the worth of the prayer,
but he still knew the story,
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so he told it to his
children and God heard him.
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My own story
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is full of missing links, full of blanks
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and I do not even have a child.
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[music]
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[sil.]
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[sil.]
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When we made last days in particular we…
we were inspired by Jeanne Dielman.
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[sil.]
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[sil.]
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First, we watched Jeanne Dielman
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and we were working in a house,
so he was very much like
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taken with the cinematographic
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umm… aspects of the way Chantal
Akerman like positioned the camera
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and looked at characters. She
seemed to be looking at…
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architecturally and there
were specific angles
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that that she was shooting,
they would be looking directly
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parallel to the wall, there
wasn’t any like sideways shots.
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And in that cinematography, we started to
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think of our film in that way in sort of
like an architectural representation of
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the… the room and… and the characters.
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We usually put the camera like
36 inches or 38 inches up,
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and whenever a character was in a particular
room, the camera will be in the same place,
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and it was pretty much… that
was the main inspiration.
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[sil.]
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I have seen where are they’ve
mentioned real time as, you know,
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in talking about Chantal, but I think
that she umm… sort of rejects real time,
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you know, she calls it her time or my time,
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umm… which I guess is… is… is true.
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But umm… just by… just by not worrying
about time, you all of a sudden
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enter into this… other realm of… of,
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you know, against cinema time.
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[sil.]
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Shooting for a long time from
one angle starts to emulate
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the real time that might be happening in the
room and it also takes advantage of… of
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whatever that is that’s
happening in the room.
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And which would be usually the actors,
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whatever they’re doing becomes like sort of
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hyper authentic because
there isn’t manipulation
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via like editing, you leave at… you
sort of leave editing out of it.
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[sil.]
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[music]
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[music]
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[sil.]
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But I think that Chantal’s films, you
know, will always stand on there own
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as the things that there are, you know,
the sort of works that they are,
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which are valuable and I think that,
you know, the young film makers will,
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you know, find them and popularize them,
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I think, I hope.
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[music]
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This is bridge just give (inaudible).
What a beauty I like it.
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Good for you. And for you what’s good?
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[sil.]
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Looking to exchange a New York apartment…
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[music]
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[music]
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[music]
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[non-English narration]
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