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1
00:00:36,800 --> 00:00:38,767
Come see your mask in action.
2
00:01:12,232 --> 00:01:16,030
I'd like to read you
something I wrote.
3
00:01:18,866 --> 00:01:23,390
"Isolation in a chamber that must be
sealed off from the outside world
4
00:01:23,566 --> 00:01:26,727
because it's full
5
00:01:26,900 --> 00:01:28,594
of deadly gas...
6
00:01:29,366 --> 00:01:31,765
a chamber in which...
7
00:01:33,067 --> 00:01:37,125
one must wear a mask
to survive...
8
00:01:39,000 --> 00:01:43,933
strongly evokes the conditions
under which modern man lives."
9
00:01:44,100 --> 00:01:46,225
I don't want to design
any more of these.
10
00:01:46,399 --> 00:01:49,298
"One cannot reflect
on this mythical one-dimensional man
11
00:01:49,466 --> 00:01:52,831
without analyzing
12
00:01:53,000 --> 00:01:57,024
all the characteristics
of our industrial society.
13
00:01:59,766 --> 00:02:04,426
Nevertheless, a well-drawn metaphor
could be very informative
14
00:02:04,599 --> 00:02:09,464
and shed light on certain
far-reaching consequences
15
00:02:09,633 --> 00:02:12,259
that are never
explicitly addressed.
16
00:02:12,900 --> 00:02:17,560
For example, doesn't knowing
that one must wear a mask
17
00:02:17,900 --> 00:02:21,129
create a sense of anxiety?
18
00:02:22,266 --> 00:02:26,996
Internalizing these obsessive,
hallucinatory needs
19
00:02:27,167 --> 00:02:30,600
leads not to
an adaptation to reality
20
00:02:30,900 --> 00:02:36,163
but to mimicry and standardization,
the elimination of individuality.
21
00:02:37,966 --> 00:02:42,331
The individual transfers
the outside world to the interior.
22
00:02:44,933 --> 00:02:47,331
There is
an immediate identification
23
00:02:47,499 --> 00:02:51,933
among individuals in society
as a single entity.
24
00:02:52,533 --> 00:02:55,830
One's needs for physical survival
25
00:02:56,000 --> 00:02:59,865
are met by industrial production,
26
00:03:00,033 --> 00:03:03,023
which, in addition, sets forth
as equally necessary
27
00:03:03,533 --> 00:03:08,228
the need to relax,
to enjoy oneself...
28
00:03:10,167 --> 00:03:15,429
to behave and consume
according to advertising models
29
00:03:15,633 --> 00:03:20,124
that render in explicit detail
desires anyone may experience.
30
00:03:21,533 --> 00:03:25,557
Film, radio, television,
31
00:03:25,733 --> 00:03:28,290
the press, advertising,
32
00:03:28,499 --> 00:03:30,295
and all other facets
33
00:03:30,466 --> 00:03:32,296
of industrial production
34
00:03:32,466 --> 00:03:36,399
are no longer directed
at different goals."
35
00:03:37,666 --> 00:03:40,292
No, this sentence isn't clear.
36
00:03:41,800 --> 00:03:44,131
"Film" comma,
37
00:03:44,633 --> 00:03:46,759
"radio" comma —
38
00:03:48,933 --> 00:03:50,399
Sorry.
39
00:03:52,800 --> 00:03:55,562
I watched these.
They're very entertaining.
40
00:03:55,733 --> 00:03:57,495
I'll watch them tonight.
41
00:04:07,533 --> 00:04:10,659
"Under these conditions
of uniformity,
42
00:04:11,200 --> 00:04:15,133
the old sense of alienation
is no longer possible.
43
00:04:16,100 --> 00:04:20,556
When individuals identify
with a life-style imposed from without
44
00:04:20,766 --> 00:04:24,221
and through it experience
gratification and satisfaction,
45
00:04:24,766 --> 00:04:30,029
their alienation is subsumed
by their own alienated existence."
46
00:04:30,200 --> 00:04:32,325
Just some notes.
47
00:04:58,833 --> 00:05:01,629
DILLINGER IS DEAD
48
00:07:49,566 --> 00:07:51,294
Something wrong?
49
00:08:00,000 --> 00:08:01,660
I have a little headache.
50
00:08:06,399 --> 00:08:12,197
When I see other couples
in a warm embrace
51
00:08:13,666 --> 00:08:16,997
While the sun makes off
52
00:08:17,167 --> 00:08:19,656
With another day
53
00:08:21,466 --> 00:08:26,490
Red sky
54
00:08:26,666 --> 00:08:30,429
Where are you going
55
00:08:30,833 --> 00:08:36,528
Stay and maybe I too
56
00:08:37,599 --> 00:08:41,691
Will find love
57
00:08:47,833 --> 00:08:50,732
I'm hungry.
I'm going down to eat.
58
00:08:59,033 --> 00:09:01,023
What can I do for you?
59
00:09:01,700 --> 00:09:03,894
Thanks. Bye.
60
00:12:35,033 --> 00:12:38,591
- Which would you choose?
- This one or this other one.
61
00:12:38,766 --> 00:12:40,733
This one's nice too.
62
00:12:40,900 --> 00:12:43,560
Thanks. Now let's join
the others downstairs.
63
00:12:55,800 --> 00:12:58,232
- What's your name?
- Anna.
64
00:12:58,399 --> 00:13:01,457
Tell me, do you wear lipstick?
65
00:13:01,800 --> 00:13:05,631
No, I don't care for it,
and my mother wouldn't approve.
66
00:13:05,866 --> 00:13:08,662
Maybe next year.
- I wear it.
67
00:13:08,833 --> 00:13:11,664
- You do? What's your name?
- Lalla.
68
00:13:11,833 --> 00:13:13,959
You wear lipstick
and what else?
69
00:13:14,299 --> 00:13:18,960
Eye shadow, false eyelashes,
eyeliner — everything.
70
00:13:19,133 --> 00:13:22,531
- When do you wear all this?
- When my mother goes out.
71
00:13:22,700 --> 00:13:25,531
I call my friends,
and we stand at the window.
72
00:13:25,700 --> 00:13:27,894
- Why the window?
- So people can see us.
73
00:13:28,133 --> 00:13:29,531
Little girl.
74
00:13:33,399 --> 00:13:37,491
You haven't spoken yet.
What's your name?
75
00:13:38,399 --> 00:13:42,060
- Sheila.
- Do you wear lipstick already?
76
00:13:42,232 --> 00:13:44,790
No, but I will
when I'm grown up.
77
00:13:44,966 --> 00:13:47,330
- Good. How old are you?
- Twelve.
78
00:13:47,499 --> 00:13:50,466
You look older than 12.
79
00:13:50,633 --> 00:13:52,100
I know. I'm very tall.
80
00:13:52,299 --> 00:13:53,960
- How tall?
- I don't know.
81
00:13:54,133 --> 00:13:57,224
Is your mother happy
with you wearing nylons?
82
00:13:57,399 --> 00:14:01,628
No. At first she was upset,
but I wore them anyway,
83
00:14:01,800 --> 00:14:04,165
and she stopped
saying anything.
84
00:14:05,000 --> 00:14:06,899
Do you wear miniskirts?
85
00:14:07,067 --> 00:14:09,193
Not miniskirts,
but short skirts.
86
00:14:11,399 --> 00:14:15,423
Here today
Tomorrow where will I be
87
00:14:19,366 --> 00:14:23,198
Here and there
I love freedom
88
00:14:27,499 --> 00:14:31,557
And no one's going
to take it away from me
89
00:14:34,366 --> 00:14:37,993
For a while
90
00:14:38,800 --> 00:14:40,790
You understood
91
00:14:43,499 --> 00:14:47,126
And I stayed at your side
92
00:14:50,266 --> 00:14:52,756
But now
93
00:14:54,833 --> 00:14:57,164
You've taken me
all for yourself
94
00:14:59,466 --> 00:15:03,593
And soon
I won't be able to breathe
95
00:15:07,466 --> 00:15:11,025
Here and there
I love freedom
96
00:15:15,399 --> 00:15:19,355
And no one's going
to take it away from me
97
00:15:22,299 --> 00:15:25,892
Here today, gone tomorrow
98
00:15:26,599 --> 00:15:28,828
That's how I like to live
99
00:15:31,232 --> 00:15:34,529
Never putting on the brakes
100
00:15:39,200 --> 00:15:40,461
Here and there
101
00:15:40,633 --> 00:15:42,896
I love freedom
102
00:15:47,100 --> 00:15:50,396
And no one's going
to take it away from me
103
00:17:26,466 --> 00:17:32,798
I recorded your voice
on two tape recorders
104
00:17:33,200 --> 00:17:36,257
That play continuously
105
00:17:36,466 --> 00:17:39,490
So that your voice
106
00:17:39,833 --> 00:17:45,733
So that your voice
is always here
107
00:21:04,833 --> 00:21:12,232
PUBLIC ENEMY NO. 1 GUNNED DOWN
OUTSIDE MOVIE THEATER
108
00:23:03,433 --> 00:23:06,026
- Good evening, sir.
- Good evening.
109
00:23:13,133 --> 00:23:15,100
Hand me the celery, please.
110
00:23:47,000 --> 00:23:48,194
I'm so thirsty!
111
00:23:48,433 --> 00:23:51,525
I'll hang on to the bottle.
I had some salted cod.
112
00:23:51,733 --> 00:23:53,529
Good night.
113
00:31:10,933 --> 00:31:12,797
What are you looking for?
114
00:31:15,366 --> 00:31:17,265
A nail file.
115
00:31:24,733 --> 00:31:27,064
Why don't you come to bed?
116
00:31:37,133 --> 00:31:39,622
Bring me
the sleeping pills, please.
117
00:32:14,966 --> 00:32:16,557
Give me two.
118
00:32:17,599 --> 00:32:19,293
I want to sleep.
119
00:32:21,966 --> 00:32:23,557
A glass of water
120
00:32:24,433 --> 00:32:26,593
and the hot water bottle, please.
121
00:33:09,033 --> 00:33:10,522
Good night.
122
00:33:15,133 --> 00:33:16,861
Kiss.
123
00:35:04,232 --> 00:35:06,166
You're the handsomest of all.
124
00:35:16,966 --> 00:35:18,523
Just a moment.
125
00:35:24,200 --> 00:35:26,928
Excuse me, Sabina.
Do you have a nail file?
126
00:35:27,100 --> 00:35:28,726
Over there.
127
00:38:00,733 --> 00:38:02,200
Yes?
128
00:38:04,499 --> 00:38:05,830
Who?
129
00:38:08,033 --> 00:38:09,499
Just a moment.
130
00:38:17,900 --> 00:38:19,457
Sabina.
131
00:38:20,733 --> 00:38:22,290
Telephone.
132
00:38:24,100 --> 00:38:25,930
At this time of night?
133
00:38:26,299 --> 00:38:27,857
I'm coming.
134
00:38:40,900 --> 00:38:42,332
Sorry.
135
00:38:43,966 --> 00:38:45,398
Yes?
136
00:39:06,433 --> 00:39:08,297
It was fate.
137
00:39:09,299 --> 00:39:11,164
I can't talk now.
138
00:39:16,433 --> 00:39:18,229
It was fate.
139
00:39:18,399 --> 00:39:20,889
His legend lives on
in everyone's heart.
140
00:39:21,200 --> 00:39:23,393
Our very own Fausto Coppi:
141
00:39:23,566 --> 00:39:25,999
There was no ascent
that could tire him,
142
00:39:26,167 --> 00:39:29,157
no dizzying descent
that could unnerve him,
143
00:39:29,332 --> 00:39:31,731
no finish line
he couldn't reach first.
144
00:39:32,800 --> 00:39:34,426
It was fate.
145
00:39:45,466 --> 00:39:48,228
There won't be
another athlete like him
146
00:39:48,399 --> 00:39:49,889
for a long time...
147
00:39:52,100 --> 00:39:53,862
It was fate, of course.
148
00:39:54,033 --> 00:39:57,431
Ours is an "overground" filmmaker,
the filmmaker of space,
149
00:39:57,599 --> 00:40:01,192
or, borrowing the title
of his recent 70mm film,
150
00:40:01,366 --> 00:40:03,560
the "satellite" filmmaker.
151
00:40:03,933 --> 00:40:08,263
If I had to choose one image
to define his films, it would be this:
152
00:40:12,332 --> 00:40:16,732
the young girl with the soft lips
and searching eyes.
153
00:40:18,033 --> 00:40:21,363
It's a short film
consisting of one long shot
154
00:40:21,533 --> 00:40:23,693
that probes the face and body
155
00:40:23,866 --> 00:40:26,697
of a wild, fascinating
young girl.
156
00:40:27,833 --> 00:40:32,289
At first the filmmaker is driven...
157
00:40:32,466 --> 00:40:33,831
Behave yourself!
158
00:40:34,033 --> 00:40:35,829
... by a Godardian fascination
159
00:40:36,000 --> 00:40:38,398
with woman's natural ambiguity
160
00:40:38,599 --> 00:40:41,589
and the magic
of cinematic images.
161
00:40:42,633 --> 00:40:46,760
But then he rebels
and begins altering his perfect image.
162
00:40:46,933 --> 00:40:50,297
He cuts it up,
turns it inside out,
163
00:40:50,466 --> 00:40:52,660
takes it apart, burns it...
164
00:40:53,533 --> 00:40:56,126
insults it, negates it.
165
00:40:57,299 --> 00:41:01,232
We're forced
by this physiological process,
166
00:41:01,399 --> 00:41:03,628
this "cinemato-physiological" process,
167
00:41:03,800 --> 00:41:07,358
to become aware of what is "us"
168
00:41:07,533 --> 00:41:09,591
and what is "other."
169
00:41:12,200 --> 00:41:14,996
It was fate — period.
170
00:41:28,433 --> 00:41:31,196
- Calling this late...
- Take these things away.
171
00:41:38,232 --> 00:41:40,256
I'm sorry.
172
00:47:33,599 --> 00:47:35,691
Go away! Go away!
173
00:47:36,900 --> 00:47:39,389
Don't film me
while I'm playing!
174
00:53:53,033 --> 00:53:55,795
Don't get mad.
Calm down.
175
01:03:27,466 --> 01:03:29,933
You don't understand anything!
176
01:03:30,966 --> 01:03:33,592
Cut it out
with that damned camera!
177
01:03:34,599 --> 01:03:37,123
You're a monster,
that's what you are!
178
01:03:37,366 --> 01:03:40,731
You don't understand anything
and never have!
179
01:03:42,266 --> 01:03:45,529
You can't get inside my brain
with your zoom lens!
180
01:03:46,499 --> 01:03:49,660
Leave me alone!
I hate you!
181
01:03:50,766 --> 01:03:51,926
Go away!
182
01:05:51,499 --> 01:05:52,966
Anita.
183
01:06:48,533 --> 01:06:50,500
Where do you want to go?
184
01:06:51,800 --> 01:06:52,960
Oops-a-daisy!
185
01:12:16,833 --> 01:12:18,390
Who's this?
186
01:12:19,232 --> 01:12:20,961
The Virgin as a baby.
187
01:12:36,133 --> 01:12:37,656
Move over.
188
01:12:55,299 --> 01:12:57,766
Why do you find me sexy?
189
01:13:26,399 --> 01:13:28,457
This bed's small.
190
01:13:40,966 --> 01:13:42,398
Tell me...
191
01:13:44,100 --> 01:13:45,930
do you like honey?
192
01:13:48,900 --> 01:13:51,560
- What?
- Honey — like you eat.
193
01:13:55,733 --> 01:13:57,791
Get it.
It's in the closet.
194
01:14:05,733 --> 01:14:07,996
Scared that war will break out?
195
01:15:34,067 --> 01:15:35,590
Come on.
196
01:15:36,966 --> 01:15:38,330
Come here.
197
01:15:42,433 --> 01:15:45,628
Please, I'm very tired.
198
01:15:52,266 --> 01:15:54,233
Don't tickle me.
199
01:31:03,566 --> 01:31:08,590
Brave and strong Hermes,
who left your father's fields
200
01:31:08,766 --> 01:31:11,323
to make the sea your home,
we will miss you.
201
01:31:20,033 --> 01:31:24,659
Above all,
you were a good man.
202
01:31:26,000 --> 01:31:30,330
Rest in peace, amen.
Lower him into the sea.
203
01:31:47,599 --> 01:31:49,998
- Who died?
- The cook.
204
01:31:50,733 --> 01:31:52,256
Let's go, boys.
205
01:31:53,766 --> 01:31:56,927
- Excuse me.
- Ceremony's over. Let's go.
206
01:32:02,167 --> 01:32:05,725
- I'd like to ask you something.
- I'm just the boatswain.
207
01:32:05,900 --> 01:32:08,332
- Don't you need a cook now?
- Of course.
208
01:32:08,533 --> 01:32:11,160
I'm an excellent cook.
209
01:32:12,299 --> 01:32:13,926
Ah, this air!
210
01:32:14,499 --> 01:32:17,160
The sea's always been my dream.
211
01:32:20,266 --> 01:32:23,029
I'd like to sail.
- It's not up to me.
212
01:32:23,200 --> 01:32:27,031
The captain gives the orders,
but the young lady's the boss.
213
01:32:27,200 --> 01:32:29,462
Then why don't we ask her?
214
01:32:33,866 --> 01:32:36,628
She's walking away.
Why don't we ask her?
215
01:32:37,232 --> 01:32:40,495
Try me out.
My cooking's very healthy.
216
01:32:40,666 --> 01:32:42,360
I don't doubt it.
217
01:32:43,133 --> 01:32:47,123
Okay, we'll try, but no guarantees.
I'll take you to her.
218
01:32:54,232 --> 01:32:55,893
Excuse me, miss.
219
01:32:56,332 --> 01:32:59,129
He says he's a cook.
Shall we try him out?
220
01:33:12,599 --> 01:33:15,157
Have him make
a chocolate mousse.
221
01:33:15,366 --> 01:33:17,959
Thank you very much.
222
01:33:18,499 --> 01:33:20,227
Let's go to the galley.
223
01:33:22,966 --> 01:33:25,728
- I was lucky.
- She obviously likes you.
224
01:33:25,900 --> 01:33:28,560
- Where's this ship headed?
- Tahiti.
225
01:33:29,167 --> 01:33:30,963
I can't believe it...
15563
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