Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:01,586 --> 00:00:03,004
Let's go.
2
00:00:02,000 --> 00:00:07,000
3
00:00:03,421 --> 00:00:05,173
Once more.
4
00:00:06,591 --> 00:00:09,511
AU HASARD BRESSON
5
00:00:08,000 --> 00:00:13,000
6
00:00:10,970 --> 00:00:14,974
Quick, Marine!
You're late. Action!
7
00:00:16,685 --> 00:00:18,645
That's no good.
8
00:00:28,947 --> 00:00:32,909
1943
ANGELS OF THE STREETS
9
00:00:33,410 --> 00:00:37,539
1944
THE LADIES
OF THE BOIS DE BOULOGNE
10
00:00:38,039 --> 00:00:42,085
1950
DIARY OF A COUNTRY PRIEST
11
00:00:42,627 --> 00:00:47,549
1956
A MAN ESCAPED
12
00:00:52,220 --> 00:00:56,725
1962
TRIAL OF JOAN OF ARC
13
00:02:05,794 --> 00:02:08,463
Go ahead.
It keeps them together.
14
00:02:10,507 --> 00:02:13,384
Go on. Once more.
15
00:02:15,303 --> 00:02:17,055
Action.
16
00:02:19,265 --> 00:02:22,060
- That's good.
- That's not what you wanted.
17
00:02:22,185 --> 00:02:24,062
Yes, it is.
18
00:02:25,396 --> 00:02:27,023
Do it again.
19
00:02:27,148 --> 00:02:28,566
Quickly.
20
00:02:29,234 --> 00:02:30,568
Ready?
21
00:02:31,027 --> 00:02:33,988
Action.
22
00:02:34,155 --> 00:02:36,324
Faster! No, sir!
23
00:02:56,469 --> 00:03:02,600
The boy's over there.
You turn your head and go that way.
24
00:03:13,945 --> 00:03:20,493
I always like to see and hear
the film before I shoot it,
25
00:03:20,910 --> 00:03:24,539
to come up with things
by working on my own,
26
00:03:24,706 --> 00:03:28,042
things from my memory
or imagination,
27
00:03:28,376 --> 00:03:35,258
even if I don't end up filming them.
28
00:03:37,260 --> 00:03:41,931
They're often things
I can't come up with on set,
29
00:03:42,223 --> 00:03:46,686
so I believe it's important
to create a solid groundwork,
30
00:03:46,811 --> 00:03:49,022
a set of constraints
31
00:03:49,147 --> 00:03:51,441
within which
the film will take shape.
32
00:03:51,608 --> 00:03:54,652
Because I'm aware
of these constraints,
33
00:03:54,819 --> 00:04:01,784
I can ask my nonprofessional actors
to surprise me:
34
00:04:01,951 --> 00:04:06,748
unlimited surprises
but within a limited context.
35
00:04:06,956 --> 00:04:11,628
Also, you must be
constantly alert
36
00:04:11,794 --> 00:04:13,922
to seize new ideas on the spot,
37
00:04:14,088 --> 00:04:17,133
things you'd never think of,
38
00:04:17,300 --> 00:04:20,511
born from the novelty
39
00:04:21,012 --> 00:04:24,182
of an unfamiliar character
40
00:04:24,599 --> 00:04:30,229
set loose in an unfamiliar context.
41
00:04:30,396 --> 00:04:33,733
New and unpredictable things
are bound to happen.
42
00:04:33,900 --> 00:04:39,948
I'm totally opposed to directors
who storyboard everything
43
00:04:40,073 --> 00:04:46,287
or ask actors to follow
a script to the letter.
44
00:04:46,412 --> 00:04:49,582
You must allow yourself
to be surprised.
45
00:05:07,976 --> 00:05:10,395
He discovered her at the pool.
46
00:05:12,188 --> 00:05:15,358
He liked the fact
she was petite and slim,
47
00:05:15,483 --> 00:05:17,694
and he asked her age.
48
00:05:17,819 --> 00:05:24,409
Since it's difficult to find
a girl who looks very young,
49
00:05:24,575 --> 00:05:27,328
because they grow up
so fast now,
50
00:05:27,453 --> 00:05:29,998
he thought she was perfect.
51
00:05:35,878 --> 00:05:38,006
But it did cause some trouble.
52
00:05:38,172 --> 00:05:42,218
An inspector came around
to check her papers,
53
00:05:42,385 --> 00:05:46,931
because
the magazine Match wrote
54
00:05:47,181 --> 00:05:50,184
that she was just 14.
55
00:05:50,560 --> 00:05:54,105
So an inspector came
to check her ID
56
00:05:54,355 --> 00:05:58,985
to make sure she was
old enough to be out of school.
57
00:06:00,028 --> 00:06:03,865
It's absolutely forbidden
to hire minors...
58
00:06:04,741 --> 00:06:07,702
without proper authorization.
59
00:06:11,039 --> 00:06:13,458
Here we need to feel
you're hiding them.
60
00:06:13,833 --> 00:06:17,378
If you put them here,
we lose that.
61
00:06:17,545 --> 00:06:21,090
Remember where the camera is
and don't block it,
62
00:06:21,257 --> 00:06:25,511
except when you move this way.
Then you block it on purpose.
63
00:06:25,636 --> 00:06:31,225
It's revealed at the last minute
when he exits holding the crate.
64
00:06:39,442 --> 00:06:41,152
Don't block him.
65
00:06:43,780 --> 00:06:45,448
Go ahead.
66
00:06:49,577 --> 00:06:52,622
Light the inside
so I see both of them.
67
00:06:54,248 --> 00:06:56,584
Once more. Very good.
68
00:06:58,878 --> 00:07:00,588
No, don't do that.
69
00:07:01,089 --> 00:07:04,008
Stay there, like that.
70
00:07:05,134 --> 00:07:08,137
Okay, pick the bottles up again.
71
00:07:12,391 --> 00:07:15,937
Move aside, please.
We can't light it right.
72
00:07:52,515 --> 00:07:54,809
First of all, for 10 years
73
00:07:54,976 --> 00:07:58,855
Bernanos's heirs had been
asking me to make this film.
74
00:07:58,980 --> 00:08:02,233
Secondly,
and most importantly...
75
00:08:03,109 --> 00:08:07,155
I wanted to make
a film this year
76
00:08:07,822 --> 00:08:09,866
but I was short on time,
77
00:08:09,991 --> 00:08:14,912
so I was really pleased to have
something already written
78
00:08:15,079 --> 00:08:17,582
because I had no time to write.
79
00:08:19,250 --> 00:08:25,339
And I liked the fact it wasn't
psychology in literary form.
80
00:08:28,009 --> 00:08:31,137
It was about a young girl
81
00:08:31,304 --> 00:08:36,017
trapped in a bad
or even horrible situation.
82
00:08:37,852 --> 00:08:41,105
I thought it would be interesting
to take a young girl
83
00:08:41,397 --> 00:08:44,734
and place her
in this horrible situation
84
00:08:44,859 --> 00:08:47,403
to see what she would do.
85
00:08:47,528 --> 00:08:51,532
Often, in films with children,
86
00:08:51,699 --> 00:08:54,160
the child is just acting,
87
00:08:54,327 --> 00:08:59,373
and it's all either
sweetness or silliness.
88
00:09:19,143 --> 00:09:20,937
Wait a second.
89
00:09:25,733 --> 00:09:27,235
Better? Okay, go.
90
00:09:37,912 --> 00:09:41,374
But it would work better if —
91
00:09:41,666 --> 00:09:45,795
What's happening here?
She's been here a long time.
92
00:09:46,587 --> 00:09:49,090
You have to film her
as she passes.
93
00:09:49,257 --> 00:09:52,260
Get her as she passes
in one direction.
94
00:09:54,178 --> 00:09:57,181
We can cut with the movement
when she turns around.
95
00:09:57,348 --> 00:09:59,934
Will you cut it with her
coming or going?
96
00:10:00,935 --> 00:10:03,729
Coming. We saw her leave.
97
00:10:03,896 --> 00:10:07,191
Yes, we showed that.
Let's try it.
98
00:10:12,029 --> 00:10:15,283
- Okay.
- Let's do a trial run.
99
00:10:15,449 --> 00:10:17,994
Quiet on the set!
100
00:11:03,873 --> 00:11:05,875
Only you can answer that,
my dear.
101
00:11:26,187 --> 00:11:29,023
He looks like a sheep
this morning!
102
00:11:30,858 --> 00:11:33,611
What happened to your hair?
103
00:11:47,458 --> 00:11:50,211
Gentlemen,
we start at 1:00 p.m.
104
00:11:50,378 --> 00:11:52,380
You have half an hour.
105
00:12:03,265 --> 00:12:05,309
It's almost time.
106
00:12:05,434 --> 00:12:09,438
In ten minutes we have to be
three miles from here.
107
00:12:09,605 --> 00:12:12,233
Let's get moving.
108
00:12:28,207 --> 00:12:30,209
Put your hand here.
109
00:12:38,384 --> 00:12:40,261
Now push it off you.
110
00:12:41,011 --> 00:12:44,723
Film her arm here,
then catch up with her there.
111
00:12:51,063 --> 00:12:52,481
Go ahead.
112
00:12:54,442 --> 00:12:56,026
Keep going.
113
00:12:58,779 --> 00:13:00,614
Get up right away.
114
00:13:00,781 --> 00:13:04,118
She gets up too slowly.
115
00:13:05,870 --> 00:13:07,663
Okay.
116
00:13:07,788 --> 00:13:11,876
Stand as soon as you sit up.
117
00:13:12,001 --> 00:13:14,587
Do it in one motion.
118
00:13:15,963 --> 00:13:17,465
What?
119
00:13:17,631 --> 00:13:19,800
Do it again.
120
00:13:19,925 --> 00:13:22,303
Don't get up jerkily.
121
00:13:22,470 --> 00:13:25,764
Take the sitting position a moment.
Thanks.
122
00:13:25,931 --> 00:13:27,266
Start over.
123
00:13:27,391 --> 00:13:29,560
Just like you were before.
124
00:13:29,685 --> 00:13:31,812
Put your left hand there.
125
00:13:33,564 --> 00:13:35,774
Push it off you.
126
00:13:35,983 --> 00:13:38,986
Sit up and stand right away.
127
00:13:39,445 --> 00:13:41,155
Slowly.
128
00:13:42,198 --> 00:13:43,782
That's okay.
129
00:13:44,241 --> 00:13:45,826
Will that work?
130
00:13:47,495 --> 00:13:49,663
When?
- The first few times.
131
00:13:49,830 --> 00:13:51,832
Start over.
132
00:13:53,292 --> 00:13:55,586
Do it in a single movement.
133
00:13:56,962 --> 00:14:00,382
Do it at your own pace,
but keep it fluid.
134
00:14:01,675 --> 00:14:03,969
Ready? Go.
135
00:14:06,013 --> 00:14:07,640
Go ahead.
136
00:14:12,144 --> 00:14:14,063
Do your breathing.
137
00:14:14,230 --> 00:14:16,857
Be careful where you look.
138
00:14:17,608 --> 00:14:19,735
Do your breathing.
139
00:14:21,612 --> 00:14:23,280
Not so heavy.
140
00:14:29,036 --> 00:14:32,456
Close your mouth completely.
141
00:14:34,124 --> 00:14:35,751
Close your mouth.
142
00:14:39,296 --> 00:14:41,674
Does her eyeline match?
Let me check.
143
00:14:45,928 --> 00:14:48,472
Don't look up so high, Nadine.
144
00:14:49,473 --> 00:14:53,102
Good. No higher.
Did you choose a spot?
145
00:14:53,561 --> 00:14:55,396
You know where to look?
146
00:14:55,521 --> 00:14:57,731
It was better before.
147
00:14:57,898 --> 00:15:00,526
Start from the beginning, please.
148
00:15:02,111 --> 00:15:04,572
No, stay sitting up for a second.
149
00:15:06,323 --> 00:15:10,661
Jean, are you framing
her head or her elbow?
150
00:15:10,828 --> 00:15:14,331
Or purposely not framing?
That might be best.
151
00:15:14,498 --> 00:15:18,335
You see? If you get her head,
the framing's bad.
152
00:15:18,502 --> 00:15:22,298
Make it half her head
and half her hand.
153
00:15:24,049 --> 00:15:28,554
We'll get all of her when she stands.
No use framing her head here.
154
00:15:28,721 --> 00:15:31,390
I could follow her head
as she stands up.
155
00:15:31,557 --> 00:15:33,517
But you catch up with her.
156
00:15:35,269 --> 00:15:38,939
Let's try it.
Go ahead, Nadine.
157
00:15:39,607 --> 00:15:41,066
Go ahead.
158
00:15:41,734 --> 00:15:43,777
In one movement.
159
00:15:45,613 --> 00:15:47,615
I like that better.
160
00:15:47,990 --> 00:15:50,951
Did you see her head?
I'd only get part of it.
161
00:15:53,454 --> 00:15:55,748
She enters the frame
and stands right away.
162
00:15:55,873 --> 00:15:58,125
Whatever you think best.
163
00:15:59,335 --> 00:16:02,087
- We could do both.
- Fine.
164
00:16:02,421 --> 00:16:04,048
Ready?
165
00:16:05,466 --> 00:16:07,343
Let's start over.
166
00:16:07,509 --> 00:16:09,219
One last time.
167
00:16:09,345 --> 00:16:12,723
Do it just like before,
nice and fluid.
168
00:16:13,182 --> 00:16:15,476
All in one movement.
169
00:16:16,268 --> 00:16:18,687
Get her head, like you wanted.
170
00:16:19,271 --> 00:16:21,649
Get up slowly.
171
00:16:22,858 --> 00:16:25,319
That was a bit jerky.
172
00:16:25,944 --> 00:16:28,530
You have her?
Take a position.
173
00:16:36,372 --> 00:16:37,873
It's definitely related.
174
00:16:38,290 --> 00:16:42,294
I've already said that other arts...
175
00:16:42,419 --> 00:16:44,505
or other muses...
176
00:16:45,464 --> 00:16:48,467
mustn't be mixed
with the muse of cinema.
177
00:16:48,592 --> 00:16:50,844
However, I believe...
178
00:16:51,845 --> 00:16:54,932
they can be friends.
179
00:16:56,392 --> 00:17:01,730
I think the muse of painting
can be friends with cinema,
180
00:17:02,064 --> 00:17:04,817
but not the muse of literature.
181
00:17:04,983 --> 00:17:08,278
Degas, the great painter,
had a wonderful line.
182
00:17:08,445 --> 00:17:14,493
He said the muses
never speak to each other,
183
00:17:14,618 --> 00:17:17,037
but sometimes
they dance together.
184
00:17:17,204 --> 00:17:20,916
So the muse of painting can dance
with the muse of cinema.
185
00:17:21,083 --> 00:17:25,045
But a word of warning:
Even though I'm a painter,
186
00:17:25,170 --> 00:17:28,340
don't jump to conclusions.
187
00:17:28,507 --> 00:17:31,176
I'm not trying
to make a painting.
188
00:17:31,343 --> 00:17:35,389
I'm against making films
into paintings or picture postcards.
189
00:17:36,598 --> 00:17:40,018
No. Walk nearby and stop.
190
00:17:40,185 --> 00:17:43,731
Get out of the way.
Let him go by.
191
00:17:48,068 --> 00:17:49,737
Can you manage?
192
00:17:57,536 --> 00:17:59,955
This is a terrible position
for the shot.
193
00:18:01,039 --> 00:18:03,292
We can't even see his head.
194
00:18:03,417 --> 00:18:05,085
Let's start again.
195
00:18:06,253 --> 00:18:08,589
Action. Pull it back.
196
00:18:08,756 --> 00:18:10,632
Stop!
197
00:18:10,758 --> 00:18:14,219
- Her bangs should be down.
- Like this.
198
00:18:18,599 --> 00:18:21,185
Jean, are you following his head?
199
00:18:21,810 --> 00:18:25,439
- There? Yes.
- Darn it. That's too bad.
200
00:18:25,606 --> 00:18:28,734
You didn't think
to frame his body?
201
00:18:28,859 --> 00:18:31,111
Didn't you wait for him?
202
00:18:31,278 --> 00:18:34,865
Sure, I did.
Getting his head is the hard part.
203
00:18:35,032 --> 00:18:38,452
- Why not do it from the back?
- Then I get the shoulder.
204
00:18:38,619 --> 00:18:41,413
Okay, the shoulder.
You didn't reframe it?
205
00:18:41,580 --> 00:18:43,207
It's a static shot?
206
00:18:43,373 --> 00:18:47,294
That means we can show
his exit using his shoulder.
207
00:18:47,628 --> 00:18:49,296
Let's start over.
208
00:18:50,589 --> 00:18:53,842
I forgot to tell you,
but it was a static shot.
209
00:18:54,009 --> 00:18:55,969
You didn't follow the movement?
210
00:18:56,136 --> 00:18:59,348
Shoot the exit.
Otherwise we're short on time.
211
00:19:01,767 --> 00:19:04,144
I must say something.
212
00:19:04,269 --> 00:19:08,482
Unfortunately, in my opinion —
213
00:19:08,649 --> 00:19:10,692
which you don't have to share —
214
00:19:10,818 --> 00:19:13,987
in contemporary cinema,
215
00:19:14,446 --> 00:19:17,991
objects and characters are framed
216
00:19:18,158 --> 00:19:22,454
in terms of the dramatic function
they'd have in the theater.
217
00:19:22,621 --> 00:19:25,958
They're placed here or there
in order to say or do something
218
00:19:26,124 --> 00:19:28,335
exactly like in a play.
219
00:19:28,502 --> 00:19:33,549
For me, the position
and order of characters
220
00:19:33,674 --> 00:19:35,843
and the framing of a shot
221
00:19:36,009 --> 00:19:37,886
are the essence of cinema.
222
00:19:38,011 --> 00:19:41,807
They're much more important
than the simple dramatic action,
223
00:19:41,932 --> 00:19:47,521
which is only revealed
through the form the shot takes.
224
00:19:47,646 --> 00:19:50,315
In cinema,
what matters is the form,
225
00:19:50,440 --> 00:19:53,193
and it must be given priority.
226
00:19:53,694 --> 00:19:57,239
When composing a shot,
227
00:19:57,823 --> 00:20:02,536
the composition
must express something
228
00:20:02,703 --> 00:20:05,080
even before the characters speak.
229
00:20:05,205 --> 00:20:08,959
The shot itself
should embody the idea.
230
00:20:20,846 --> 00:20:22,514
More to the left.
231
00:20:22,723 --> 00:20:25,058
Follow her.
232
00:20:25,559 --> 00:20:27,728
Start. It's a low shot.
233
00:20:27,895 --> 00:20:29,479
Lower it.
234
00:20:30,397 --> 00:20:33,775
Even lower. Get her back.
235
00:20:34,359 --> 00:20:37,195
- Want me to get her head?
- Yes.
236
00:20:38,238 --> 00:20:41,241
That makes it easier
to understand, right?
237
00:20:44,036 --> 00:20:46,997
Some start here.
Others start on her left.
238
00:20:48,457 --> 00:20:50,000
On her left?
239
00:20:50,167 --> 00:20:52,794
To make it shorter,
she has to be alone.
240
00:20:52,920 --> 00:20:55,923
The last group has to be quicker.
241
00:20:56,048 --> 00:20:57,549
Okay.
242
00:20:58,759 --> 00:21:01,970
Go, Nadine. Slowly.
243
00:21:02,262 --> 00:21:05,432
Everyone else, faster!
244
00:21:09,603 --> 00:21:12,356
Damn it. Cut. It's no good.
245
00:21:12,522 --> 00:21:14,316
Back in position.
246
00:21:15,484 --> 00:21:18,278
She should be last, not first.
247
00:21:18,445 --> 00:21:19,863
Of course.
248
00:21:26,787 --> 00:21:30,082
The last group
has to pass her right here.
249
00:21:35,253 --> 00:21:38,465
The last group passes her here.
250
00:21:39,174 --> 00:21:41,635
She goes in alone behind them.
251
00:21:45,347 --> 00:21:47,182
Don't go yet.
252
00:21:47,307 --> 00:21:49,977
Lower. Real low.
253
00:21:51,144 --> 00:21:53,146
First group, go ahead.
254
00:21:55,941 --> 00:21:59,152
Not the last group.
Go, Nadine.
255
00:22:00,112 --> 00:22:02,030
Last group, quickly!
256
00:22:02,155 --> 00:22:04,157
Slow down, Nadine.
257
00:22:11,665 --> 00:22:13,083
Is that better?
258
00:22:15,002 --> 00:22:16,837
Back in position.
259
00:22:20,799 --> 00:22:25,095
There's solidarity in good
and solidarity in evil.
260
00:22:25,470 --> 00:22:29,516
For this film, I chose to focus
solely on the solidarity in evil.
261
00:22:30,267 --> 00:22:35,814
There's a kind of evil complicity
262
00:22:36,106 --> 00:22:38,650
against poor Mouchette,
263
00:22:38,817 --> 00:22:43,363
but that was the author's choice.
264
00:22:43,530 --> 00:22:48,535
Georges Bernanos had to choose
evil rather than good,
265
00:22:48,702 --> 00:22:52,039
because Mouchette would
not only suffer but die because of it.
266
00:23:01,256 --> 00:23:06,386
I don't think the transformation
was very clear in the book.
267
00:23:06,553 --> 00:23:10,140
It was glossed over a bit.
268
00:23:10,807 --> 00:23:13,685
Nonetheless,
I believe I'll manage
269
00:23:13,810 --> 00:23:16,354
to show how,
despite appearances,
270
00:23:16,521 --> 00:23:22,194
this transformation
of the soul still occurs,
271
00:23:22,319 --> 00:23:24,946
but in secret.
272
00:23:25,155 --> 00:23:27,699
It will be expressed
through images
273
00:23:27,866 --> 00:23:30,744
and the relationship
between sound and image.
274
00:23:40,962 --> 00:23:43,256
Redemption isn't achieved in death.
275
00:23:43,423 --> 00:23:46,134
We don't know
what happens after death.
276
00:23:46,259 --> 00:23:51,264
Redemption must occur now,
277
00:23:51,389 --> 00:23:53,391
while we're alive.
278
00:23:53,600 --> 00:23:56,853
Christ redeemed us
with his death,
279
00:23:57,020 --> 00:24:00,190
but we must redeem ourselves
with our lives,
280
00:24:00,357 --> 00:24:04,236
for it's up to us
to choose to be redeemed.
281
00:24:08,782 --> 00:24:10,909
We have to raise her up.
282
00:24:11,409 --> 00:24:13,829
We can't go any higher.
We have to raise her.
283
00:24:14,663 --> 00:24:16,248
Raise her.
284
00:24:16,957 --> 00:24:19,334
Raise the lady five more.
285
00:24:19,459 --> 00:24:21,962
We can pull back a bit more.
286
00:24:23,130 --> 00:24:27,926
That stretched beyond the horizon
287
00:24:28,593 --> 00:24:34,474
Three days
and I'll give you a world
288
00:25:02,711 --> 00:25:06,006
It was like that.
It was already ajar.
289
00:25:06,673 --> 00:25:09,676
She had to squeeze
to get through.
290
00:25:14,347 --> 00:25:16,391
When she came through here?
291
00:25:22,189 --> 00:25:25,650
We see her back
when she enters the shot.
292
00:25:30,697 --> 00:25:32,824
It's fine like that.
293
00:25:36,661 --> 00:25:39,080
Is she moving left or right?
294
00:25:39,247 --> 00:25:43,168
Slant the fence this way
so it isn't so flat.
295
00:25:44,336 --> 00:25:47,130
No, forget it.
We'll get shadows.
296
00:25:47,297 --> 00:25:50,717
Was it right-left or left-right?
297
00:25:51,051 --> 00:25:55,722
To get her position
in relation to the gate.
298
00:25:55,889 --> 00:25:58,391
She can enter here or there.
It doesn't matter.
299
00:25:58,558 --> 00:26:00,060
That's good.
300
00:26:00,227 --> 00:26:04,064
Don't slant it too much.
The sun will cast shadows.
301
00:26:04,898 --> 00:26:08,068
Keep looking that way.
Go on, slide through.
302
00:26:11,488 --> 00:26:12,906
Cut.
303
00:26:13,240 --> 00:26:15,825
I wonder if her sliding through —
304
00:26:16,660 --> 00:26:19,579
Arms stiff. Slow down.
305
00:26:23,208 --> 00:26:25,252
Look at the house.
306
00:26:25,418 --> 00:26:27,420
Slide through slowly.
307
00:26:38,431 --> 00:26:41,268
Very slowly. Good. Cut.
308
00:26:44,145 --> 00:26:46,356
Very good. Print that one.
309
00:26:46,481 --> 00:26:48,858
- How much?
- That's done.
310
00:26:48,984 --> 00:26:51,778
Test included, 260 feet.
311
00:26:57,284 --> 00:27:01,246
In my opinion...
312
00:27:01,413 --> 00:27:06,126
it's clear that music
is one of the elements
313
00:27:06,251 --> 00:27:08,837
that transforms a film.
314
00:27:10,046 --> 00:27:12,716
Let me back up a bit.
315
00:27:12,882 --> 00:27:16,594
I believe all the elements:
image, sound —
316
00:27:16,761 --> 00:27:19,806
and sound includes dialogue,
sound effects, and music —
317
00:27:19,931 --> 00:27:23,435
should work together
to effect a transformation.
318
00:27:23,601 --> 00:27:25,979
Without transformation,
it isn't art.
319
00:27:26,271 --> 00:27:29,899
That's why I consider
today's cinema a reproduction,
320
00:27:30,025 --> 00:27:31,985
not a true art,
321
00:27:32,152 --> 00:27:35,655
because it's just a copy
of another art: theater.
322
00:27:35,822 --> 00:27:40,660
If we want cinema to be
a true, independent art,
323
00:27:40,827 --> 00:27:43,079
there must be transformation.
324
00:27:43,204 --> 00:27:46,541
An image or a sound
on its own is nothing.
325
00:27:46,666 --> 00:27:49,085
It takes on meaning
326
00:27:49,336 --> 00:27:52,339
only in relation
to what transforms it.
327
00:27:52,505 --> 00:27:55,383
An image only matters
in relation to other images,
328
00:27:55,550 --> 00:27:57,886
or a sound to other sounds
329
00:27:58,011 --> 00:28:00,847
or to the images
it accompanies.
330
00:28:01,639 --> 00:28:04,893
I made this mistake at first too,
331
00:28:05,018 --> 00:28:08,855
but music mustn't be used
to underscore or emphasize
332
00:28:08,980 --> 00:28:11,107
but to transform.
333
00:28:11,274 --> 00:28:14,027
Therefore, in Mouchette,
334
00:28:14,152 --> 00:28:19,366
the music used, sacred music...
335
00:28:21,701 --> 00:28:25,872
probably certain
wonderful passages
336
00:28:25,997 --> 00:28:29,042
from Monteverdi's Magnificat,
337
00:28:29,542 --> 00:28:34,130
will be used during
the hunting scene that I added.
338
00:28:34,297 --> 00:28:38,551
I wanted to establish a connection
between the prey and Mouchette.
339
00:28:38,718 --> 00:28:42,097
With sacred music
playing during the hunting scene,
340
00:28:42,263 --> 00:28:45,725
you'll see an extraordinary
transformation of the wild animals
341
00:28:45,850 --> 00:28:48,228
through Monteverdi's music.
342
00:28:48,395 --> 00:28:51,731
Mouchette, scene 339, take 1.
343
00:28:52,732 --> 00:28:55,568
Don't waste any time. Go.
344
00:29:02,992 --> 00:29:04,786
Okay. Go ahead.
345
00:29:35,275 --> 00:29:37,402
Watch out.
You're being filmed.
346
00:29:37,569 --> 00:29:41,823
As long as those guys
don't break the camera.
347
00:29:41,990 --> 00:29:44,325
You'd better watch out.
348
00:29:46,202 --> 00:29:47,912
Mustard?
349
00:29:48,997 --> 00:29:50,832
That's not bad.
350
00:29:50,957 --> 00:29:54,252
There, the mustard. Nice shot.
351
00:30:44,928 --> 00:30:48,973
AU HASARD BRESSON
24124
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.