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1
00:03:11,729 --> 00:03:14,800
At the side of the freeway right
at the entry to the Paris airport...
2
00:03:15,439 --> 00:03:20,389
stands a maiestic tree that signals
my arrivals and departures.
3
00:03:21,379 --> 00:03:25,479
lt's a cedar from Lebanon that
must be at least 150 years-old.
4
00:03:26,250 --> 00:03:29,120
The last time l went by on my way
to the festival in Cannes...
5
00:03:29,719 --> 00:03:31,530
the tree had
a different message.
6
00:03:31,990 --> 00:03:34,509
lt reminded me that it had seen
the beginnings of photography...
7
00:03:35,060 --> 00:03:38,599
and the entire history of cinema.
which it might just as well survive.
8
00:03:39,689 --> 00:03:43,289
so l arrived in Cannes with a
question. that l asked my colleagues.
9
00:03:47,530 --> 00:03:49,340
How long is the reel?
10
00:03:49,800 --> 00:03:51,759
-10 minutes.
-fine.
11
00:04:01,319 --> 00:04:03,069
l've got this piece of paper
that Wim Wenders gave me.
12
00:04:03,520 --> 00:04:08,409
He's set up a camera
and a tape recorder...
13
00:04:09,759 --> 00:04:12,800
and left me here.
14
00:04:14,759 --> 00:04:17,889
But he hasn't set me properly...
15
00:04:19,530 --> 00:04:21,810
for me to see the tennis game.
16
00:04:23,370 --> 00:04:29,169
lt's a ball.
A ball who talks.
17
00:04:30,180 --> 00:04:33,689
l'll play the ball.
l'll play the fool.
18
00:04:35,520 --> 00:04:38,150
this is an enquiry about
the future of the cinema.
19
00:04:38,719 --> 00:04:40,530
the context:
20
00:04:40,990 --> 00:04:44,469
more and more movies
Iook like TV series...
21
00:04:45,159 --> 00:04:49,080
in terms of lighting.
framing. and editing.
22
00:04:49,830 --> 00:04:52,610
for large parts of the audience
all over the world...
23
00:04:53,199 --> 00:04:58,120
a television aesthetic has
replaced a cinematic aesthetic.
24
00:04:59,039 --> 00:05:00,680
Well...
25
00:05:01,110 --> 00:05:03,979
you have to know
who invented television...
26
00:05:04,580 --> 00:05:07,889
and what the context was.
27
00:05:08,919 --> 00:05:12,579
lts arrival coincided with
the talkies...
28
00:05:13,649 --> 00:05:18,839
at a time when governments were
half-consciously thinking of...
29
00:05:19,759 --> 00:05:24,560
harnessing the incredible power...
30
00:05:25,430 --> 00:05:28,360
that was released by the silent film...
31
00:05:28,970 --> 00:05:32,870
which. unlike painting.
achieved instant popularity.
32
00:05:33,610 --> 00:05:35,660
Popularity among the masses.
33
00:05:36,139 --> 00:05:38,949
Rembrandt's paintings...
34
00:05:39,550 --> 00:05:42,360
and Mozart's music were supported
by kings and princes.
35
00:05:42,949 --> 00:05:48,430
But it was a mass public that very
quickly came to support....
36
00:05:49,389 --> 00:05:50,470
the cinema.
37
00:05:53,629 --> 00:05:57,730
the silent movie was
something to behold.
38
00:05:58,500 --> 00:06:00,959
first you look. then you speak.
39
00:06:01,540 --> 00:06:04,379
the sound film might've been invented
right away. but that didn't happen.
40
00:06:04,970 --> 00:06:07,139
lnstead. it took thirty years.
the age of reason...
41
00:06:07,639 --> 00:06:12,529
Whoever has the power has right
on his side. as l said in a movie.
42
00:06:15,250 --> 00:06:18,879
first came the technical
birth of television.
43
00:06:19,589 --> 00:06:21,699
When the film people
weren't interested in it...
44
00:06:22,189 --> 00:06:27,050
it had to be rescued by the post
office. people in communications.
45
00:06:27,930 --> 00:06:32,180
so. today. television...
46
00:06:32,970 --> 00:06:35,959
is like a little post office.
47
00:06:36,569 --> 00:06:38,790
lt's nothing to be afraid of.
it's so small...
48
00:06:39,310 --> 00:06:43,819
and you have to be
very close to the picture...
49
00:06:44,639 --> 00:06:47,449
ln the cinema
on the other hand. the picture...
50
00:06:48,050 --> 00:06:51,009
is large and intimidating... and you
watch it from some distance.
51
00:06:51,620 --> 00:06:54,899
today. it seems people would rather
Iook at a small picture close up...
52
00:06:55,560 --> 00:06:57,990
than a large one from a distance.
53
00:07:01,730 --> 00:07:05,160
television emerged very quickly
because it was born in the USA.
54
00:07:05,829 --> 00:07:09,930
lt was born at the very same time
as the advertising that financed it.
55
00:07:10,699 --> 00:07:14,420
so it was the highly articulate
advertising world...
56
00:07:15,139 --> 00:07:19,860
saying things in a
single phrase or image...
57
00:07:20,709 --> 00:07:25,069
like Eisenstein
as good as Eisenstein...
58
00:07:25,889 --> 00:07:28,199
as good as Potemkin.
59
00:07:28,790 --> 00:07:33,589
so they made ads like Potemxin.
only Potemxin is 90 minutes long.
60
00:07:34,459 --> 00:07:40,000
An ad is less than a minute long.
because otherwise...
61
00:07:40,970 --> 00:07:43,139
you would have to tell
the truth about...
62
00:07:43,639 --> 00:07:48,680
the car. the tennis racket...
63
00:07:50,540 --> 00:07:55,050
lt is linked to the truth
and we admit the lack of it...
64
00:07:55,879 --> 00:07:58,129
and all the chattering
that goes with it.
65
00:07:59,420 --> 00:08:01,319
More and more movies
talk about other movies...
66
00:08:01,790 --> 00:08:04,689
rather than about a reality
outside the cinema.
67
00:08:05,290 --> 00:08:09,889
lt's true. It's difficult to shoot
outdoors. you have to take risks.
68
00:08:10,730 --> 00:08:14,540
lt seems that life can't provide
stories with no troubles.
69
00:08:15,269 --> 00:08:17,610
As soon as there is trouble
we say there is no story.
70
00:08:18,139 --> 00:08:20,829
We just want a story
we know already.
71
00:08:21,410 --> 00:08:25,829
We are reassured not because it's the
story of Alain Delon and his gun...
72
00:08:26,649 --> 00:08:31,480
or Charles Bronson
or something like that...
73
00:08:32,350 --> 00:08:33,990
but because we know the end...
74
00:08:34,420 --> 00:08:36,699
we are reassured about
our own story.
75
00:08:37,220 --> 00:08:42,199
l think a picture is like
an X-ray you take. sick or not.
76
00:08:43,100 --> 00:08:48,170
You get worried or reassured after
seeing a bit of your own story.
77
00:08:49,269 --> 00:08:55,009
And television is made
in the name of power...
78
00:08:56,339 --> 00:08:59,209
political and money power.
79
00:08:59,810 --> 00:09:04,439
they don't want a story.
there is no story in Dallas.
80
00:09:06,189 --> 00:09:09,500
sometimes that is
what l like about Dallas.
81
00:09:11,089 --> 00:09:16,949
''fewer and fewer movies are made''.
that's false. We're making more films.
82
00:09:18,029 --> 00:09:23,889
Americans are very good.
they make fewer movies.
83
00:09:25,540 --> 00:09:29,580
they found out that you need
to make fewer movies.
84
00:09:30,340 --> 00:09:32,360
Hollywood's dream is
to make one movie...
85
00:09:32,850 --> 00:09:36,279
but the television makes it and
to have it distributed everywhere.
86
00:09:36,950 --> 00:09:41,460
Movie and TV series
change titles...
87
00:09:42,289 --> 00:09:44,429
but they are still the same.
88
00:09:44,929 --> 00:09:49,289
text becomes more important
to characterize the story.
89
00:09:51,129 --> 00:09:53,850
so people can think
it's different.
90
00:09:54,429 --> 00:09:56,860
like kids...
91
00:09:58,870 --> 00:10:01,299
Why do people have kids?
92
00:10:02,610 --> 00:10:04,450
''there is a focus towards
big productions.''
93
00:10:04,909 --> 00:10:07,690
we do less but distribute
more widely.
94
00:10:08,279 --> 00:10:11,029
small movies tend to disappear.
95
00:10:11,620 --> 00:10:13,580
Cinema was born with small movies.
96
00:10:14,049 --> 00:10:19,059
small nations too. poor or rich.
will disappear.
97
00:10:19,960 --> 00:10:23,330
Everything small.
98
00:10:32,269 --> 00:10:35,899
''film on VHS are available
very quickly.''
99
00:10:36,610 --> 00:10:38,190
Yes...
100
00:10:38,809 --> 00:10:40,769
this new market is booming.
101
00:10:41,250 --> 00:10:45,639
People prefer to watch movies
at home on tape.
102
00:10:46,850 --> 00:10:49,509
lt's just a pretext.
103
00:10:50,690 --> 00:10:55,580
A porn movie at home on tape
is a pretext to invite a girl...
104
00:10:56,460 --> 00:11:01,559
and it's avoiding the minimal work...
105
00:11:02,470 --> 00:11:03,779
of talking to her about love.
106
00:11:04,669 --> 00:11:08,149
so l don't know...
107
00:11:16,149 --> 00:11:20,950
''ls cinema dying out as a language.
will it soon be a defunct art form?''
108
00:11:23,519 --> 00:11:25,009
lt really doesn't matter.
It's bound to happen some time.
109
00:11:25,429 --> 00:11:29,210
l shall die. but will my art die?
110
00:11:29,929 --> 00:11:31,159
l remember telling
Henri Langlois that...
111
00:11:31,529 --> 00:11:34,460
he should throw away
his collection of films...
112
00:11:35,070 --> 00:11:37,649
and go off somewhere.
otherwise he would die.
113
00:11:38,200 --> 00:11:42,360
so one should just go off somewhere.
It's much the better way.
114
00:12:15,809 --> 00:12:20,970
films are created when
there's no one looking.
115
00:12:23,149 --> 00:12:26,190
they are the invisible.
116
00:12:26,820 --> 00:12:31,799
What you can't see
is the Incredible...
117
00:12:32,690 --> 00:12:37,029
and it's the task of the cinema
to show you that.
118
00:12:37,830 --> 00:12:41,110
to show what you can't see.
119
00:13:39,190 --> 00:13:41,850
l'm sitting here
in front of the camera...
120
00:13:44,799 --> 00:13:48,429
but in reality. in my head.
l'm behind it.
121
00:13:54,970 --> 00:13:58,809
My world is the imaginary and...
122
00:14:01,009 --> 00:14:06,809
that's a journey between
forwards and backwards...
123
00:14:07,820 --> 00:14:09,600
between to and from.
124
00:14:10,620 --> 00:14:14,460
like Wim. l'm a great traveler.
see you later.
125
00:14:34,450 --> 00:14:35,679
Bye.
126
00:14:39,120 --> 00:14:43,950
''ls cinema a language about
to get lost. an art about to die?''
127
00:14:46,490 --> 00:14:48,710
Answer: yes. l think.
128
00:14:51,899 --> 00:14:54,330
lt's obvious that
it's on the way out.
129
00:14:54,870 --> 00:14:57,009
there's no reason
to suspect otherwise.
130
00:14:57,500 --> 00:15:00,220
the novel has been dead for
a long while. People know that.
131
00:15:00,809 --> 00:15:05,230
Poetry is exhausted
a hundred years ago.
132
00:15:06,049 --> 00:15:08,860
Plays hardly exist.
Once in a while.
133
00:15:09,450 --> 00:15:13,960
And every now and then.
there's a movie. But that's about all.
134
00:15:15,360 --> 00:15:20,139
the television is replacing it? Yes.
135
00:15:20,990 --> 00:15:23,039
l. myself...
136
00:15:23,529 --> 00:15:26,570
prefer watching most television
to most movies.
137
00:15:29,799 --> 00:15:34,899
l think the reason why movies
are dropping dead...
138
00:15:35,809 --> 00:15:38,149
is the same as with the novel.
139
00:15:40,779 --> 00:15:43,649
the novel had life in it when...
140
00:15:44,250 --> 00:15:46,909
it was based upon characters...
141
00:15:47,490 --> 00:15:51,440
when the novel was a vehicle
for an artist to create characters.
142
00:15:52,190 --> 00:15:54,559
there was a novel. people read it.
143
00:15:55,090 --> 00:16:00,190
When there was plays. like
Shakespeare. anybody. Shaw...
144
00:16:01,100 --> 00:16:05,350
there's only good plays. Molisre.
if they wrote good characters.
145
00:16:06,139 --> 00:16:08,539
the plots in their plays.
their philosophy...
146
00:16:09,080 --> 00:16:11,799
their meaning. their politics.
are all negligible.
147
00:16:12,379 --> 00:16:15,159
Most of them were ridiculous. stupid.
they go out of fashion.
148
00:16:15,750 --> 00:16:18,149
But good characters stay alive.
149
00:16:18,690 --> 00:16:21,850
the movies don't use
characters anymore.
150
00:16:22,490 --> 00:16:26,769
they use some horrible thing called
''directors and photography''.
151
00:16:27,559 --> 00:16:31,070
l prefer television because
television uses people.
152
00:16:31,759 --> 00:16:36,240
there're no directors on television.
It has much more life than movies.
153
00:16:37,070 --> 00:16:39,409
there're characters on television
on the talk-shows...
154
00:16:39,940 --> 00:16:43,600
there're characters on sitcom
situation comedies.
155
00:16:44,309 --> 00:16:47,820
there're characters on weekly series.
adventure series.
156
00:16:48,509 --> 00:16:53,230
the intrusion of director
does not exist in television.
157
00:16:54,090 --> 00:16:56,840
the material is second-rate...
158
00:16:57,419 --> 00:16:59,610
but the material of the movies
is second-rate.
159
00:17:00,129 --> 00:17:03,500
But people does exist on television.
It's better.
160
00:17:04,159 --> 00:17:05,330
And...
161
00:17:05,870 --> 00:17:10,000
maybe one day television will
die out too. but...
162
00:17:10,769 --> 00:17:11,970
l don't know.
163
00:17:12,340 --> 00:17:13,769
l. myself...
164
00:17:15,879 --> 00:17:21,070
think the movie critics. more than
anything. have destroyed films.
165
00:17:23,649 --> 00:17:27,159
ro ask a director like myself.
from the Philippines...
166
00:17:27,850 --> 00:17:31,389
what the future of the cinema is
l find...
167
00:17:34,529 --> 00:17:38,009
a very absurd question.
because...
168
00:17:38,700 --> 00:17:41,889
to ask what the future
of cinema is in Philippines...
169
00:17:42,539 --> 00:17:45,669
like asking what the
future of Philippines is.
170
00:17:49,940 --> 00:17:51,549
-Good bye.
-Bye.
171
00:17:51,980 --> 00:17:53,620
Nice to meet you.
172
00:18:07,460 --> 00:18:09,069
l don't...
173
00:18:10,359 --> 00:18:12,759
go to the movies very much anymore.
174
00:18:13,930 --> 00:18:17,359
l have a video recorder...
175
00:18:18,039 --> 00:18:21,730
and l record videos off the air.
176
00:18:22,440 --> 00:18:25,160
But l don't watch them while
they're being recorded.
177
00:18:25,750 --> 00:18:30,819
and l very rarely look at them
after l've recorded them.
178
00:18:31,819 --> 00:18:37,589
l have a library with
200 movies that l...
179
00:18:39,289 --> 00:18:40,930
l never see.
180
00:18:47,829 --> 00:18:49,759
l think that...
181
00:18:52,039 --> 00:18:54,230
it doesn't really matter much...
182
00:18:54,740 --> 00:18:59,490
wether movies look like TV
or TV looks like movies...
183
00:19:00,349 --> 00:19:06,210
or wether the language
in the cinema is changing.
184
00:19:08,019 --> 00:19:12,910
l don't that pictures are dying.
l think that...
185
00:19:16,759 --> 00:19:20,099
there are good times
and bad times for movies. And...
186
00:19:22,099 --> 00:19:25,910
l think that the last few years...
187
00:19:26,640 --> 00:19:29,220
have been a bad period.
l think that...
188
00:19:29,779 --> 00:19:34,059
haven't been a lot of movies
that l cared to see...
189
00:19:34,849 --> 00:19:38,279
and the ones that l have seen
l've been disappointed in. so...
190
00:19:38,950 --> 00:19:44,490
lf l go to see a movie that disturbs
me because it's not very good...
191
00:19:45,460 --> 00:19:51,109
that l'll look for an old movie
that l've seen before that l like.
192
00:19:52,099 --> 00:19:57,750
And l'll go to see it and l get some
kind of nourishment from it.
193
00:20:06,009 --> 00:20:10,200
''ls cinema dying out as a language.
will it soon be a defunct art form?''
194
00:20:10,980 --> 00:20:15,990
l don't think so. If you look at
the development of television...
195
00:20:16,890 --> 00:20:20,519
it is going to be
this fabulous tool...
196
00:20:21,230 --> 00:20:26,470
and its incredible ability
to beam out films...
197
00:20:27,400 --> 00:20:31,349
all over the world by satellite...
198
00:20:32,099 --> 00:20:35,730
and everybody will be able
to watch them simultaneously.
199
00:20:36,440 --> 00:20:40,130
thanks to that amaZing
device called video...
200
00:20:40,849 --> 00:20:44,250
Well. then l do feel that cinema
as we know it is on the way out.
201
00:20:44,920 --> 00:20:49,200
Even while l was making my film
''Mourir à 30 Ans''...
202
00:20:49,990 --> 00:20:52,859
l would sometimes
have this feeling...
203
00:20:53,460 --> 00:20:56,970
that it was all out of date.
204
00:20:57,660 --> 00:21:02,960
Magnetic sound recording.
all the lab processing...
205
00:21:03,900 --> 00:21:06,890
the things you have
to do to a film...
206
00:21:07,509 --> 00:21:13,369
how cumbersome and
time-consuming it all is...
207
00:21:14,380 --> 00:21:18,390
when all you're doing is
trying to tell a story.
208
00:21:19,150 --> 00:21:22,369
for instance. when l was shooting
''Mourir à 30 Ans''...
209
00:21:23,289 --> 00:21:24,519
telephone.
210
00:21:25,220 --> 00:21:26,509
Hello?
211
00:21:27,529 --> 00:21:31,369
No. nobody here.
l am alone.
212
00:21:35,640 --> 00:21:41,000
l don't know. because l am alone.
l can't answer to you.
213
00:21:49,420 --> 00:21:51,529
Very strange talking to yourself.
214
00:21:58,660 --> 00:22:00,299
l don't know. l don't know.
215
00:22:01,259 --> 00:22:04,299
l'd like to think
that films are...
216
00:22:04,930 --> 00:22:07,390
l don't know.
Let me just talk personally.
217
00:22:07,930 --> 00:22:12,089
the reason l make movies
l think films are about passion' n.
218
00:22:12,869 --> 00:22:17,319
People make a film the same way
they might paint a painting...
219
00:22:18,140 --> 00:22:21,240
because they are passionate about
something. because they like life...
220
00:22:21,880 --> 00:22:25,720
and they want to reflect that and
they put it in a certain form.
221
00:22:26,450 --> 00:22:31,369
When that passion
goes out of movies...
222
00:22:32,259 --> 00:22:35,480
that's when it starts
to die like any...
223
00:22:36,130 --> 00:22:40,289
like any other art form
that just becomes...
224
00:22:41,400 --> 00:22:42,799
lifeless.
225
00:22:43,640 --> 00:22:45,750
lt's not the cinema that's dead.
226
00:22:46,240 --> 00:22:48,410
lt's the filmmakers
who make moronic films.
227
00:22:48,910 --> 00:22:51,250
People die because they're not allowed
to make the films they want to. But...
228
00:22:51,779 --> 00:22:53,299
that's another story...
229
00:23:41,789 --> 00:23:44,509
''there are fewer movies
being made''. that's true.
230
00:23:45,099 --> 00:23:47,029
films are getting polarized.
231
00:23:48,569 --> 00:23:52,349
One strand of cinema
sensation-oriented cinema...
232
00:23:53,069 --> 00:23:56,029
which tends to be
colossal and bombastic...
233
00:23:57,910 --> 00:24:00,079
you can definitely see that.
234
00:24:00,880 --> 00:24:03,019
On the other hand
like l said...
235
00:24:03,519 --> 00:24:07,000
there is very individual cinema...
236
00:24:07,690 --> 00:24:12,700
or national cinema of
individual filmmakers...
237
00:24:15,029 --> 00:24:20,660
which is far more important today...
238
00:24:21,630 --> 00:24:25,230
than cinema which is
indistinguishable from television.
239
00:24:45,519 --> 00:24:48,920
l think l'll start by taking
my shoes off.
240
00:24:50,059 --> 00:24:53,160
You can't answer a question
like that with your shoes on.
241
00:25:11,920 --> 00:25:16,400
l don't see the situation
in such a dramatic way...
242
00:25:17,220 --> 00:25:21,119
as the question seems to imply.
243
00:25:22,930 --> 00:25:28,759
l feel that we aren't all that
dependent on television.
244
00:25:30,400 --> 00:25:34,789
film aesthetic is something
apart and separate.
245
00:25:35,609 --> 00:25:38,859
TV is just a kind of jukebox.
246
00:25:39,509 --> 00:25:42,529
You're never inside the space of
a theater or inside the film itself.
247
00:25:43,150 --> 00:25:46,809
you have sort of a mobile position
as a viewer.
248
00:25:47,519 --> 00:25:51,180
And you can switch it off.
You can't switch off a cinema.
249
00:25:54,730 --> 00:25:58,539
l'm not all that worried.
250
00:25:59,269 --> 00:26:04,190
l was talking to a friend
one night recently in New York.
251
00:26:05,069 --> 00:26:09,109
We went for a long walk and he
told me how worried he was about...
252
00:26:09,880 --> 00:26:13,420
everything being taken over
by video and television.
253
00:26:14,109 --> 00:26:19,970
soon. you'll choose vegetables in
the supermarket by video camera...
254
00:26:20,990 --> 00:26:23,160
or by pressing buttons
on your telephone...
255
00:26:23,660 --> 00:26:28,079
or your computer.
you can order your meal.
256
00:26:28,890 --> 00:26:34,279
lt won't be long before you can draw
money out of the bank via video...
257
00:26:35,230 --> 00:26:38,859
or this medium here.
258
00:26:40,339 --> 00:26:45,380
''l'm not so worried about camera
or film''. l said to him...
259
00:26:46,279 --> 00:26:50,730
''because whatever happens there.
that's not where life happens.
260
00:26:51,619 --> 00:26:54,519
Life is going on somewhere else.
Wherever life is dynamic...
261
00:26:55,119 --> 00:26:58,660
wherever life touches us
most directly...
262
00:26:59,359 --> 00:27:02,519
that's where you'll find the cinema.
263
00:27:03,160 --> 00:27:05,940
And that's what will survive.
264
00:27:07,869 --> 00:27:10,359
Only that will always survive.''
265
00:27:14,410 --> 00:27:15,720
And...
266
00:27:16,839 --> 00:27:19,940
therefore l am most likely
the last one who is worried...
267
00:27:20,579 --> 00:27:24,589
the last one who is worried
about a question like that.
268
00:27:31,160 --> 00:27:33,240
l'm gonna turn it off now.
269
00:27:39,799 --> 00:27:42,019
l started out writing.
l wrote these novels...
270
00:27:42,529 --> 00:27:46,480
and l felt like l was trapped inside
this enormous tradition.
271
00:27:47,240 --> 00:27:49,289
Movies for me were free
there were no rules.
272
00:27:49,779 --> 00:27:52,029
there was my turf. l could do
anything l wanted to do...
273
00:27:52,539 --> 00:27:55,819
just like everybody else was doing.
274
00:27:56,750 --> 00:27:58,619
that's movies. you know?
275
00:27:59,079 --> 00:28:01,980
Cinema's already...
the books are on the shelf.
276
00:28:03,920 --> 00:28:07,700
Personally. l'd like to stop
making films every day.
277
00:28:09,900 --> 00:28:11,980
lf l could put together...
278
00:28:12,460 --> 00:28:15,119
small productions
to make small films...
279
00:28:15,700 --> 00:28:18,690
with the energy and passion
that l know l have...
280
00:28:19,299 --> 00:28:21,109
that would be my choice.
281
00:28:22,170 --> 00:28:26,180
Here. instead. l perceive...
282
00:28:27,349 --> 00:28:30,190
that the screenwriter disappears...
283
00:28:31,519 --> 00:28:35,180
and the language
and subject matter...
284
00:28:36,859 --> 00:28:39,140
are not that interesting.
285
00:28:40,930 --> 00:28:43,619
l don't know what else
l can say...
286
00:28:47,369 --> 00:28:49,450
but l would like...
287
00:28:51,200 --> 00:28:52,599
to emphasize...
288
00:28:53,740 --> 00:28:56,900
that electronic films
do not interest me.
289
00:28:59,380 --> 00:29:02,599
And l think they can't really interest
any true artist.
290
00:29:03,720 --> 00:29:06,849
l am grateful for this interview
in every way.
291
00:29:08,289 --> 00:29:11,480
Later l would even like to see it.
292
00:29:12,119 --> 00:29:13,549
thank you.
293
00:29:21,470 --> 00:29:23,049
the truth is...
294
00:29:25,069 --> 00:29:29,930
the problem l have with the cinema.
with the films l watch...
295
00:29:30,880 --> 00:29:36,009
with the directors l like and
who affect my work. is this:
296
00:29:36,950 --> 00:29:41,049
how do you make a film
without getting trapped...
297
00:29:41,819 --> 00:29:44,859
in a vicious circle?
298
00:29:45,490 --> 00:29:50,559
A film is made from creativity.
struggle and pain.
299
00:29:51,500 --> 00:29:57,150
But people who make films
no longer take the time to live.
300
00:29:58,140 --> 00:30:02,450
filmmaking overlaps with life
to such an extent that...
301
00:30:03,240 --> 00:30:05,990
you have to ask yourself.
at what point...
302
00:30:06,579 --> 00:30:09,769
am l putting my own life on the
screen. or living out my own films?
303
00:30:10,420 --> 00:30:15,339
the interweaving is so strong...
304
00:30:16,220 --> 00:30:22,079
l don't know if today movie makers and
movie-goers take their time to live.
305
00:30:28,029 --> 00:30:30,309
l'm one of the last of optimists...
306
00:30:30,839 --> 00:30:34,910
about the history and the future of the
motion picture industry in Hollywood.
307
00:30:35,670 --> 00:30:39,039
But l really believe that all
my colleagues who...
308
00:30:39,710 --> 00:30:41,259
love film...
309
00:30:42,650 --> 00:30:44,789
and know nothing else...
310
00:30:45,779 --> 00:30:47,009
lf there were...
311
00:30:47,390 --> 00:30:50,170
lf the end of the world came. we
couldn't dig a hole to climb into.
312
00:30:50,759 --> 00:30:54,829
We wouldn't know how to do that
either. We know movie making.
313
00:30:55,589 --> 00:31:00,039
so l have to be very optimistic
that movies are only going to...
314
00:31:03,640 --> 00:31:05,160
expand...
315
00:31:06,210 --> 00:31:09,309
Hopefully. not at the expense of
other films that might contract...
316
00:31:09,940 --> 00:31:11,250
for economic reasons.
317
00:31:11,640 --> 00:31:14,509
Because we all know money is
short today. It's 1982.
318
00:31:15,109 --> 00:31:17,660
the dollar doesn't stretch as much
as it used to.
319
00:31:18,220 --> 00:31:24,079
ln 1974. when l made ''Jaws'' and
l went a 100 days over schedule...
320
00:31:25,089 --> 00:31:28,160
went from 55 to 155 shooting days...
321
00:31:28,789 --> 00:31:31,069
the budget went to US$ 8 millions.
which is twice as much.
322
00:31:31,599 --> 00:31:35,609
today. because of the dollar.
the franc. the Marc...
323
00:31:36,369 --> 00:31:38,390
the Yen. whatever...
324
00:31:38,869 --> 00:31:44,000
because we're experiencing runaway
inflation within the film business...
325
00:31:44,910 --> 00:31:47,369
''Jaws'' today would probably cost
about US$ 27 millions...
326
00:31:47,910 --> 00:31:50,279
if you shot a 155 shooting days.
a full crew...
327
00:31:50,819 --> 00:31:55,420
away from home. in local motels. have
to feed them and take care of them.
328
00:31:56,259 --> 00:31:57,490
so...
329
00:31:58,720 --> 00:32:00,240
my fear is...
330
00:32:01,589 --> 00:32:04,609
that a movie like my
most current film. ''E.R.''...
331
00:32:05,230 --> 00:32:08,009
,
which cost US$ 10.3 millions
which for me is...
332
00:32:08,599 --> 00:32:11,440
really the least expensive movie l've
made in the last couple of years...
333
00:32:12,039 --> 00:32:14,970
,
Even a film like ''E.r.''
5 years from now...
334
00:32:15,569 --> 00:32:20,049
will cost US$ 18 millions. that picture
takes place in a house. children...
335
00:32:20,880 --> 00:32:23,690
a backyard. a front yard.
one shot in the forest.
336
00:32:24,750 --> 00:32:26,799
Very limited locations.
337
00:32:29,490 --> 00:32:32,970
l don't think we can go around
blaming people for...
338
00:32:34,430 --> 00:32:36,130
blaming unions for
inflating budgets...
339
00:32:36,559 --> 00:32:40,539
by the annual 150% increase
in Hollywood across the board.
340
00:32:41,700 --> 00:32:45,240
We can't just blame the government
nor the shrinking dollar.
341
00:32:46,269 --> 00:32:47,670
Because there's nobody to blame...
342
00:32:48,069 --> 00:32:50,500
because of the state
of the economic art...
343
00:32:51,240 --> 00:32:53,609
l think the best do can do
is just live with what we got...
344
00:32:54,150 --> 00:32:55,700
make the best movies
we know how.
345
00:32:56,109 --> 00:32:59,450
lf we've to compromise to make a film
that looks like a US$ 15 millions...
346
00:33:00,119 --> 00:33:03,960
or perhaps US$ 3 or 4 millions.
we just gonna have to do it.
347
00:33:04,690 --> 00:33:07,529
We're the prisoners from
our own time. and our generation...
348
00:33:08,130 --> 00:33:12,519
is the only generation that's gonna be
able to break through this kind of...
349
00:33:16,769 --> 00:33:18,960
l don't know what you would call it.
kind of like be a...
350
00:33:22,170 --> 00:33:23,980
lt seems that Hollywood...
351
00:33:24,440 --> 00:33:26,549
lt's not that l'm guilt of this.
l've just been...
352
00:33:27,049 --> 00:33:29,599
fortunate to have made
some very successful films...
353
00:33:30,150 --> 00:33:33,049
but seems like everybody
in studio positions...
354
00:33:33,650 --> 00:33:36,140
with the power to say yes.
and the power to say no...
355
00:33:36,690 --> 00:33:37,980
wants a homerun with
everybody on base...
356
00:33:38,359 --> 00:33:42,339
they want a grand slam.
with the games tied 4 and 4.
357
00:33:43,099 --> 00:33:46,059
Everybody wants to be a hero.
358
00:33:46,670 --> 00:33:50,569
And they want to ride into Hollywood
at the 11th hour...
359
00:33:51,299 --> 00:33:54,369
and pull a piece
of shit out of the...
360
00:33:55,009 --> 00:33:56,849
closet and turn into
some sort of a silk purse...
361
00:33:57,309 --> 00:33:59,039
and you have a last-minute hit...
362
00:33:59,480 --> 00:34:02,380
and everybody wants the hit
to be a US$ 100 millions hit.
363
00:34:03,650 --> 00:34:07,019
there seems to be an attitude among
the people who run the studios...
364
00:34:07,690 --> 00:34:10,849
not all of them. but a lot of people
who run the studios...
365
00:34:11,490 --> 00:34:13,569
seem to have an attitude that...
366
00:34:14,190 --> 00:34:18,319
if a film can't at least reach
3rd base let alone home...
367
00:34:19,099 --> 00:34:20,740
then we don't really know if they
wanna make this picture.
368
00:34:21,170 --> 00:34:22,369
And that's the danger:
369
00:34:22,730 --> 00:34:25,799
the danger is not from the filmmakers.
the producers. the writers...
370
00:34:26,440 --> 00:34:29,690
is from the people who are
in control of the money...
371
00:34:30,339 --> 00:34:31,680
who essentially say:
''l want my money back...
372
00:34:32,079 --> 00:34:36,559
l want those returns multiplied by
the powers of 10''.
373
00:34:38,279 --> 00:34:43,500
''l'm not interested in seeing
a movie about your personal life...
374
00:34:44,420 --> 00:34:46,119
your grandfather...
375
00:34:46,559 --> 00:34:49,519
what was like to grow up
in an American school...
376
00:34:50,130 --> 00:34:55,289
or what was like to masturbate
for the first time at 13. whatever.
377
00:34:56,200 --> 00:34:59,099
l want a picture that is going
to please everybody.
378
00:34:59,700 --> 00:35:02,799
ln other words. l think Hollywood
wants the ideal movie...
379
00:35:03,440 --> 00:35:06,460
with something in it for everyone.
and of course that's impossible.
380
00:35:14,119 --> 00:35:17,219
What l think about this problem is...
381
00:35:17,860 --> 00:35:22,250
l'd prefer to speak Italian.
It's easier for me.
382
00:35:23,059 --> 00:35:26,159
l believe this is a serious problem...
383
00:35:26,800 --> 00:35:30,719
and you did the right thing. Wim...
384
00:35:31,469 --> 00:35:34,489
to face it in a movie.
385
00:35:36,070 --> 00:35:41,780
As you said. it is true that the
existence of cinema is threatened.
386
00:35:43,550 --> 00:35:47,150
We have to keep in mind other things.
387
00:35:47,849 --> 00:35:50,510
there are different aspects
to this problem...
388
00:35:51,090 --> 00:35:53,989
that can't be denied.
389
00:35:54,590 --> 00:35:56,460
for example...
390
00:35:56,929 --> 00:36:02,730
the fact that television
is influencing everybody...
391
00:36:04,570 --> 00:36:08,730
the mentality and the eye
of the viewer. is undeniable.
392
00:36:09,510 --> 00:36:14,289
Especially the younger viewers.
the kids.
393
00:36:15,150 --> 00:36:21,010
But it is undeniable that we think
that this subject is particularly...
394
00:36:22,989 --> 00:36:24,099
serious...
395
00:36:25,119 --> 00:36:27,610
possibly only.
because we are a different age.
396
00:36:28,159 --> 00:36:30,940
We have to adapt...
397
00:36:31,530 --> 00:36:36,389
to what is the need
of entertainment in the future.
398
00:36:37,269 --> 00:36:39,199
We all know that
there are 9 forms of...
399
00:36:39,670 --> 00:36:44,360
representation of reality.
400
00:36:45,210 --> 00:36:47,550
there are new forms of reproduction...
401
00:36:48,079 --> 00:36:53,059
new technologies like the magnetic
tape. which will probably...
402
00:36:53,949 --> 00:36:56,139
come to replace
traditional film stock...
403
00:36:56,659 --> 00:37:00,230
which no longer meets...
404
00:37:00,929 --> 00:37:05,760
today's requirements.
405
00:37:06,630 --> 00:37:09,320
lt has problems.
for instance...
406
00:37:09,900 --> 00:37:13,820
Scorsese has pointed out
that color...
407
00:37:14,570 --> 00:37:18,030
film fades over time.
408
00:37:18,710 --> 00:37:21,869
lt is an interesting problem.
that concerns films more...
409
00:37:22,510 --> 00:37:25,530
than magnetic tapes.
410
00:37:26,179 --> 00:37:30,340
l believe that with
the new technologies...
411
00:37:31,119 --> 00:37:33,840
like the electronic system...
412
00:37:34,429 --> 00:37:37,650
and maybe others. like lasers.
who knows...
413
00:37:38,300 --> 00:37:40,909
or others that are
yet to be invented...
414
00:37:41,530 --> 00:37:46,570
the audience is growing...
415
00:37:47,469 --> 00:37:50,809
and this problem will be resolved.
416
00:37:51,480 --> 00:37:53,090
l still don't know how...
417
00:37:53,510 --> 00:37:57,019
and l am myself worried about
the future of cinema.
418
00:37:57,920 --> 00:38:00,789
We are still attached to film...
419
00:38:01,389 --> 00:38:03,880
because film has given us
many opportunities...
420
00:38:04,420 --> 00:38:07,110
to show what we feel...
421
00:38:07,690 --> 00:38:10,849
and what we thought
we had to say.
422
00:38:11,500 --> 00:38:16,010
But it is possible that with
the acquisition of new...
423
00:38:16,840 --> 00:38:20,940
technologies. like the magnetic tape.
with what it will be able to offer...
424
00:38:21,710 --> 00:38:26,949
possibly this feeling we have.
will no longer exist.
425
00:38:27,880 --> 00:38:30,980
ln reality. there is always
a gap between today...
426
00:38:31,619 --> 00:38:35,130
and tomorrow's mentality
that we can't foresee.
427
00:38:35,820 --> 00:38:38,429
We can't even predict how these
houses will look like...
428
00:38:38,989 --> 00:38:41,130
these ones we see
outside the window.
429
00:38:41,630 --> 00:38:44,030
One day they'll no longer be there...
430
00:38:44,559 --> 00:38:47,929
We don't only have to think...
431
00:38:48,599 --> 00:38:51,590
short term.
432
00:38:52,199 --> 00:38:55,739
But we have to think of a future
that will probably never end.
433
00:38:56,440 --> 00:39:02,300
We have to think of the
viewer's needs in the future.
434
00:39:03,480 --> 00:39:05,760
l am not as pessimistic.
435
00:39:08,489 --> 00:39:10,449
l have to say that l am quite...
436
00:39:14,230 --> 00:39:15,400
Well...
437
00:39:15,760 --> 00:39:19,360
l've always tried to adapt
to the forms...
438
00:39:20,929 --> 00:39:24,269
of expression
that would fit the time.
439
00:39:24,940 --> 00:39:27,929
so l made a movie in videotape...
440
00:39:30,510 --> 00:39:34,760
many years ago. when research
on colors was required.
441
00:39:35,550 --> 00:39:37,949
l painted the reality.
442
00:39:38,480 --> 00:39:40,380
lt was a rudimentary system...
443
00:39:40,849 --> 00:39:45,010
but it anticipates my work on video.
444
00:39:45,789 --> 00:39:50,769
l'd like to try further experiments
in that direction...
445
00:39:51,659 --> 00:39:52,949
because l'm sure that...
446
00:39:53,329 --> 00:39:56,900
the different...
447
00:39:57,599 --> 00:40:00,030
possibilities...
448
00:40:00,570 --> 00:40:02,300
of video...
449
00:40:02,739 --> 00:40:06,869
will teach us different ways
of thinking about ourselves.
450
00:40:12,679 --> 00:40:17,780
lt's difficult to talk about
the future of cinema.
451
00:40:19,789 --> 00:40:22,690
Probably. widely...
452
00:40:23,289 --> 00:40:25,780
high-quality videocassettes will soon
bring films into people's homes...
453
00:40:26,329 --> 00:40:29,639
and with high definition
magnetic tape...
454
00:40:30,300 --> 00:40:33,960
we'll have cinema at home. We won't
need to go to the movie theaters.
455
00:40:34,670 --> 00:40:37,599
Current structures will disappear.
456
00:40:38,210 --> 00:40:41,900
Not as quickly and easily
as that suggests...
457
00:40:42,610 --> 00:40:44,659
but it will happen.
458
00:40:45,150 --> 00:40:50,369
the change is inevitable...
459
00:40:51,289 --> 00:40:55,360
and we can't do anything
to prevent it. We will only have...
460
00:40:56,130 --> 00:40:59,150
one thing to do:
we will need to adapt.
461
00:41:00,269 --> 00:41:03,610
l examined the problem
of adapting...
462
00:41:04,269 --> 00:41:08,550
in ''Deserto Rosso''.
463
00:41:09,340 --> 00:41:12,440
Adapting to new technologies...
464
00:41:13,079 --> 00:41:17,940
to new levels of pollution
in the air...
465
00:41:18,820 --> 00:41:21,539
that we'll have to breathe
in the future.
466
00:41:22,119 --> 00:41:24,989
Our own organism will evolve.
467
00:41:25,590 --> 00:41:28,199
Who knows what lies in store for us?
468
00:41:28,760 --> 00:41:31,980
the future will present itself...
469
00:41:32,630 --> 00:41:37,050
with unimaginable ruthlessness.
470
00:41:37,869 --> 00:41:40,739
But we can guess what it would be.
471
00:41:42,469 --> 00:41:44,170
l believe that...
472
00:41:46,909 --> 00:41:50,539
Now l would need to restate
what l've just said.
473
00:41:51,250 --> 00:41:55,670
l'm neither a good speaker.
nor a good abstract thinker.
474
00:41:56,489 --> 00:41:59,510
l like to be practical and...
475
00:42:00,119 --> 00:42:03,690
do the experiments
instead of talking about them.
476
00:42:04,400 --> 00:42:06,130
My feelings is that...
477
00:42:06,559 --> 00:42:10,019
it won't be all that hard...
478
00:42:10,699 --> 00:42:13,829
to transform us into new men...
479
00:42:14,469 --> 00:42:17,750
better adapted to
our new technologies.
480
00:42:18,409 --> 00:42:20,780
this is all l have to say.
481
00:42:35,389 --> 00:42:39,289
Yesterday l went to see
another filmmaker...
482
00:42:40,030 --> 00:42:44,130
who was unable to
come to this room.
483
00:42:47,510 --> 00:42:49,000
He is a Turk.
484
00:42:51,079 --> 00:42:55,150
the Turkish government has demanded
his extradition and for that reason...
485
00:42:56,650 --> 00:42:59,230
he couldn't leave the security
of his place of refuge.
486
00:42:59,780 --> 00:43:05,320
He has answered the same question
concerning the future of the cinema...
487
00:43:06,289 --> 00:43:08,190
and recorded his reply.
488
00:43:09,659 --> 00:43:12,699
l think l'm just going to play it.
489
00:43:14,500 --> 00:43:16,230
Mr. Yilmaz Güney...
490
00:43:25,280 --> 00:43:26,590
l think...
491
00:43:36,119 --> 00:43:38,260
Cinema should be examined
from two angles:
492
00:43:38,760 --> 00:43:44,300
the industry cinema
and the artistic cinema.
493
00:43:45,260 --> 00:43:48,449
Between the industry cinema
and the artistic cinema...
494
00:43:49,099 --> 00:43:51,210
there is an unbreakable bond.
495
00:43:51,699 --> 00:43:55,800
Because of this. for the film
industry to reach the masses...
496
00:43:56,570 --> 00:44:00,670
the film industry should especially
consider the expectations...
497
00:44:01,449 --> 00:44:05,400
the mood
and the desires of the masses.
498
00:44:06,550 --> 00:44:08,739
However. the desires of the masses
are not frozen...
499
00:44:09,250 --> 00:44:12,000
not unchanging and not monotonous.
500
00:44:12,590 --> 00:44:17,599
for this reason. filmmaking.
in order to reach the masses...
501
00:44:18,500 --> 00:44:21,079
should consider
changes in the masses...
502
00:44:21,630 --> 00:44:27,489
if need be. the social changes
or-political changes...
503
00:44:28,510 --> 00:44:31,579
changes of consciousness...
504
00:44:32,210 --> 00:44:33,880
constantly.
505
00:44:35,480 --> 00:44:40,260
While artistic cinema
talks about the masses...
506
00:44:41,119 --> 00:44:46,360
industry cinema primarily
considers money.
507
00:44:48,690 --> 00:44:53,440
lf artistic cinema cannot satisfy...
508
00:44:54,300 --> 00:44:59,690
the needs of the industry cinema...
509
00:45:00,639 --> 00:45:03,300
in other words...
510
00:45:03,880 --> 00:45:06,719
if it doesn't make money...
511
00:45:07,309 --> 00:45:11,380
the bond is broken
and there is change.
512
00:45:13,019 --> 00:45:15,980
for example. when a lot of
young filmmakers...
513
00:45:16,590 --> 00:45:20,219
advancing young filmmakers...
514
00:45:20,929 --> 00:45:24,739
come in contact with producers
from advanced capitalist countries...
515
00:45:25,460 --> 00:45:27,190
they lose their independence.
516
00:45:27,630 --> 00:45:32,260
Whatever limits are drawn
by large capital...
517
00:45:33,099 --> 00:45:35,650
they are forced to work
within these limits.
518
00:45:36,210 --> 00:45:39,719
At this point. not becoming
part of advancing cinema...
519
00:45:40,409 --> 00:45:44,329
but becoming part of
collapsed. dissolved...
520
00:45:45,079 --> 00:45:47,389
and outdated filmmaking is wanted.
521
00:45:47,989 --> 00:45:49,659
That's why it's a tragedy...
an artist's tragedy.
522
00:45:50,090 --> 00:45:52,369
Also this should be taken as
advancing cinema's...
523
00:45:52,889 --> 00:45:55,000
tragedy.
524
00:45:55,489 --> 00:45:57,449
Basically. in my country...
525
00:45:57,929 --> 00:46:01,360
dominant. advancing cinema
is old-fashioned.
526
00:46:02,030 --> 00:46:06,130
On the other hand. there is
a blooming type of cinema...
527
00:46:06,900 --> 00:46:10,119
that is being constantly
suppressed...
528
00:46:10,780 --> 00:46:13,820
banned. punished. silenced...
529
00:46:14,449 --> 00:46:17,670
by some dominant forces.
43914
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