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Can we start?

Thank you.

Ready?

We can start.

Everything ok?

My name is Françoise Lebrun.

My name is Pascal Cervo.

My name is Pierre Léon.

Françoise, you were in
Jean-Claude Biette's first film.

Ce que cherche Jacques, right?

Yes, and in Pornoscopie, in 1982.

And in Pornoscopie.

Are you crazy?
Stop that or close the drapes.

(can't hear this part)?

Alright!

It's terrible, I have a hard-on.

You tire me.

You, Pascal, were
in Saltimbank in 2002.

Yes.

And you, Pierre, in which film by
Jean-Claude Biette were you?

A little in Chasse gardée,
in 1989,

And a little more in
Complexe de Toulon,

shot between 1994 and 1995,
and premiered in 1996.

Start the crescendo in fa.

Signal that.

Sylvie Sator.

Marc Sator.

Sylvie, you were one of the first
ones to meet Jean-Claude.

When did you meet him?

-I met him... in which year?
-Yes, approximately.

Yes, in 1962, I think.

He came to us,

to the group we had
at that time

around the magazine Cahiers,

withn Jean-Louis Comolli, Narboni,
Jean-André Fieschi...

All those people.

He followed us in a way.
He used to come to the group.

We hadn't invited him,
but he came all the same.

He was a little younger than us,
but that was enough

for him to be the
young one in the group.

That's the memory I have,
in any case.

Jean Narboni.

Something that seduced me
right away from him

and that, visibly...
well... "visibly"

may be a little too presumptuous
from my part but...

He didn't have the
same effect on everyone

and there was something
that delayed, perhaps.

or did, if not more complicated,
at least more delayed,

his entrance to Cahiers,

is that there was something about him,
he looked like an extreme dreamer

something that didn't belong "to this world".

That together with precision,
meticulousness

and a lot of firmness,

and also a poetic,
aleatory presence,

that was for me very charming.

Jacques Bontemps.

In 1963, Rohmer shot
La Carrière de Suzanne

and Jean-Claude played in that film
the role of a student

who smokes a pipe in "Luco",
the bar in boulevard Saint-Michel...

Will you have the car on Saturday?

...and who tried to kiss Suzanne
at a party, with no success.

And to me that role
Jean-Claude had in the film

is completely illuminating for
what Jean-Claude was at that time.

He was only passionate about
what came from the clandestine school.

And in that time,
the clandestine school,

as cinema didn't have a
place yet at the university,

was cinema, but also
literature and music.

Hello.
Have you seen Suzanne?

She was here half an hour ago.

-Can you give me her adress?
-If you want to know more,

call Guillaume.

Goodbye.

See you later.

And that was before our first
texts for Cahiers,

around 1964.

And then we started to deliver texts

at the same time as Daney and Téchiné.

I liked right away that
way of being, of talking,

his sentences, so abrupt and
variable at the same time

sometimes from one day to the next
about the hierarchies of filmmakers

and very original points
of view about cinema.

Bernard Eisenchitz.

I had the feeling that...

I said it once in the editorial
committee of Cahiers du Cinéma,

that he had...

What Borges said about Oscar Wilde:

"The first thing that is surprising
about Oscar Wilde

is that he is almost always right".

It was fun because, with cinema,

he had that thing where he didn't
want to be like everyone else

with some paradoxical attitudes.

For example he was very reticent
towards Hitchcock for a long time

more than reticent.

He would say, I remember:
"It's ok and that's it".

And then he would say later,
"No, it's extraordinary.

I saw Vertigo again,
and it's fantastic".

An expression Rohmer used to
have, about that,

when I did with him his book
Le goût de la beauté,

is the "group contamination".

Rohmer would do the same, or do the same.
All of a sudden he would say:

"I never really liked Minelli or Ophüls".

But we were all like that.

If the group liked it,
then we all liked it.

Jean-Claude was less sensitive to that.

There was something very strange in him.

Regarding cinema,

I was inside a cinephile canon,

not completely,

because I was very interested
in other things,

be it Italian genre movies
or Soviet cinema.

But there was, above all, a canon,

the Cahiers canon, let's say.

The New Wave, the New Cinema,
and then the classics.

And Jean-Claude didn't give a fuck.

On the one hand he had a
total ignorance for certain things

that were evident for most of us

that we had seen on the
first year in d'Ulm street.

On the other hand he knew things
that were completely implausible

that he admired, and he showed me.

He didn't care for groups much.

No, he didn't like them much.
Me neither.

But I was more taken by the group
contamination than he was.

I think he had fear
and panic towards groups.

I do too, fear and panic with groups.

But nevertheless I got contaminated,
and he didn't.

I sustain that,
regarding this group fobia,

I can share it with him,

but he had a way of keeping
his distance from all of that,

while I gave in some
times to dominant taste

or to the dominant "bad taste",

which I revised much later.

Rohmer, even Douchet...

not to cite filmmakers like
Buñuel or Chaplin

or others...

Antonioni...

Sylvie Pierre.

To say there was no
snobbery in Jean-Claude

is a little rushed.

He was a snob,

he liked to surprise,

he loved to be where
we didn't expect him,

he liked the great lords,

he liked the "happy-fewism",

but when everything went too well,
he would start to distrust.

He defended like an animal...

How was that film called,
from that young filmmaker?

Les Nuits fauves.

While no one was talking about it,
he defended it to death in commissions,

and then when the film
was a total success...

That was pure Jean-Claude

When the film was a success,
he started to say it wasn't that good.

Because he couldn't stand
be a part of a consensus,

he loved to be on these areas...

Do you want to go see
Marius tonight?

My wife has a headache.

Marius, Fanny, César...
"Work, family, homeland".

It's something purely circumstantial.

To see something failed
I prefer the Nibelung.

At least it has music.

In 1965, Biette is
summoned by the army.

He doesn't want to go, so he defects.
He runs away to Italy.

Just like that!

This is what I received later,
when he got there.

"Romans welcomed me in the best way,

especially Gianni"...
Gianni d' Amico.

"...without which I would
currently be a 'wreck'".

Wreck between scare quotes, of course,
in his vocabulary.

that was only for boats...

something from Stevenson

But the way in which he used it
made us laugh a lot.

"Can I count on your discretion?

No one has to know that I
'bailed the service".

Hard...

"I don't want to be repatriated.

In the same night I met everyone".

"Everyone", it's a small world

"Baldi...",
who will be his producer .

"Pelloni...",

who will be the cameraman
of his Italian shorts.

"Pasolini, Elsa Morante.

I'm looking for work.

I may be an extra in Cinecittà,

while I wait for a more serious job.

I will see if Pasolini wants
to learn any French.

My first impression of him
is that he is

extremely fine and very simple.

On the other hand, on the contrary,
in the pictures from Cahiers,

he is blond and looks very young".

Jean-Claude and the sortileges...

Or perhaps a short
pasolinean experience

that had been very short,
I don't know...

"He is blond and looks very young"!

He gave French lessons to Pasolini.

Is that how he met Pasolini?

Pasolini wanted to improve or
learn French, I don't know,

in any case, to improve,
and he gave him lessons.

Because he wanted to read
Barthes in the text.

Yes? I had forgotten.

"Sex is a pretext.

For as many the encounters are,

even in the winter,
in the streets left to the wind

between the piles of trash
against the distant buildings

they tend to be many- they are
but moments of solitude.

the warmer and more alive
the tender body is

who anoints with sperm and leaves,

the colder and deadlyer all
around the beloved desert is.

it is he who fills with joy,
like a miraculous wind,

not the innocent smile
or the murky force

of who is going next.

He brings with him a youth
enormously young.

And that is inhuman,

because it doesn't leave traces, or better,
it leaves a single trace,

which is always the same
in every season.

A boy in his first loves

is nothing but the world's fertility.

And the world arrives with him

appears and disappears like
a shape that shifts.

All things remain intact

and even if you could go through half
the city, you won't find it any more.

the act is carried out,
the repetition is a rite.

Therefore loneliness is even greater

if a whole crowd waits its turn,

in fact the number of
disappearances increases

To go away is to flee,

and the next one is on the current one,
like a duty

a sacrifice to be made
to the desire for death.

But with age,

fatigue begins to be felt,
above all in the momento

right after the time
for dinner has gone by,

and for you nothing has changed,

And then you are close
to crying or whimpering,

and that would be enormous if it wasn't,
precisely, only fatigue

and maybe a little hunger.

Enormous because it would mean

that your desire for loneliness
could no longer be satisfied,

so then, what awaits you,

if what does not pass for loneliness
is the real loneliness,

the one that you cannot accept?

There is no dinner or lunch
or world satisfaction

worth an endless walk in the poor streets,

where one must be unhappy and strong,
brother of the dogs".

What touches me,
when I re-read this letters,

is that he lived that moment
as a very important moment,

because he had the impression
that it meant a very

positive evolution for him.

It is the time in which he
worked on other films

on the beautiful Pasolini l'enragé,
by Fieschi,

He was an assistant in
"EŒdipe roi" by Pasolini,

and then after his Roman days,

he was Marcianus in Othon,
by Jean-Marie Straub.

Alas, my pain comes from the fact

that I know too much.

If you would deign to learn

what your merit is,

you would not doubt of
the love it excites.

Othon is a proof of it:
he had never loved a thing,

Since he was charmed by Poppee.

Though Neron took her
away from his arms,

her image was still printed
in his heart.

Death, even Death,
couldn't put it away from it.

To you alone was due
the honor of erasing it.

You alone took the glory away

To make the sweetest memory vanish,

And to have been able to
reduce to new wishes

This heart impenetrable to
the most charming objects

And you are surprised
that I sigh for you !

I am much more surprised
that you dare to tell me

I am surprised to see that
he no longer remembers you

the happy Martian used to
be the slave Icelus.

That he changed his name
without changing his face

It is this fate crime
which spreads my courage:

while, despite of it,
I am what I am,

what I'm worth of is seen,
by seeing what I'm capable of.

pure chance without
us rules our birth

but as the merit is in our power,

the shame of a fate that
we live ill-matched

Made all the more honor
when we came out.

Whatever the stain my ancestors
may leave in my blood,

since the Romans have
accepted masters,

these masters have always
chosen among my pairs,

for the best jobs
and the secret consultants.

They have put the public
fortune in our hands,

they have submitted the
world to our politics.

Patrobe, Polyclete,
and Narcisse, and Pallas,

have deposed kings
and given states.

We are lifted to the throne
out of our chains

Under Claudius, Felix was
the husband of three queens,

and when Love, in myself,
shows you a husband,

you call me a slave,
and unworthy of you!

Mrs, whatever the rank
you may have born in,

it's a lot to be listened
by the great master.

Vinius is consul,
and Lacus is prefect,

I'm none of it,
and i am more indeed.

and these consulates,
and these prefectures,

I can, when I please,
make creatures.

Galba is finally listening to me;
and it's being today,

although without these big names,
the first according to him.

Adolpho Arrieta.

He was doing very well in Rome,
he was very happy.

He was a close friend of Pasolini,
of Laura Betti,

a lot of people.

In that moment he didn't make films...

he had made three films
that I liked a lot.

I told him:"They are very good,
you have to keep filming".

He had made two films in Roma

with actors, Italian guys.

I don't know if he
showed them or not.

Yes, yes. One was Ecco ho letto
and the other was La Partenza.

Yes.

The first of his texts
that impacted me...

that impacted me like a return

was about unreleased that Brion had shown.

In his Cinéma de Minuit

a series of unreleased films

that we had seen out of order,
everyone had seen one or two,

but not all of them.

It was a true discovery.

It was total disorder,

the Langlois-like face of
Brion that we loved,

there wasn't any hierarchy
in what he was showing.

What I really liked also

was that inicial way of writing
about films, so concrete

to then move to something that kept
turning more and more complex,

which became more complex,

and it ended in a much
larger idea of cinema.

Jean-Paul Civeyrac.

Anne Benhaïem.

That way of putting
in the same level

the films from the present
and the films from the past

as if a film from the past
had just been released

for me it was a shock.

That way of watching films.

It is a relationship with the past
that doesn't intimidate you.

But, on the other hand, he wasn't
someone who got intimidated,

or his films. It wasn't his way of being.

He wasn't intimidated by the
great works from the past.

Which could be my case.

He showed well...
Well, is what I understood

and, when I would bump into him
or read what he wrote,

in which aspect every
film writes its own laws.

Cinema has laws, but
they change in every film.

And it's a critic's job
to deduce those laws.

I really liked his way of
avoiding big general ideas,

articles presented like
"featured articles"

and that let things work.

Sometimes that exasperated me,
when I didn't agree with him.

when I didn't agree with him.

And then we laughed a lot about it...

Whenever we met, we had a lot of fun

with that way of discovering the films,
of getting together...

on disagreeing with someone.

I didn't see what he saw in this or that,

or why didn't he liked this or that,

and then everything would
end in a stream of jokes.

Marie-Anne Guerin.

When I arrived to Paris,

the first time I heard about
Jean-Claude Biette,

was when I saw the title written
by Daney in a blackboard:

Le Théâtre des Matières.

There were three titles:

Je tu il elle,
Le Théâtre des Matières

y Le Camion.

Me: Zero.

I didn't know anything.

What are these films?

I searched for them immediatly.

He had written only the titles,

not even the filmmakers names.

It's an image I will
carry my whole life

because it's an epoch.

TO THE MEMORY OF
PIER PAOLO PASOLINI

THEATRE OF MATERIALS

SCRIPT, DIALOGUE AND DIRECTION
JEAN-CLAUDE BIETTE

I met him very young.

We were three die-hard cinephiles,

Olivier Séguret, Mathieu Riboulet
and me,

and we discovered
Femmes femmes, by Vecchiali,

a film which freed us from many things.

Because we said:
"We can make films like these!"

We found an ad on Cahiers,
I think,

for a festival in Marcigny,
in Morvan.

We didn't even know where that was,

and there was everything from "Diagonale".

The three of us went.

A festival where all the "Diagonale"
people were.

Vecchiali, Guiguet, Biette...

I don't know if was there
Marie-Claude Treilhou, I think so...

there were actors...

We saw right away that they
weren't as we imagined,

they were very grounded people,

pretty realistic,

and that's where we met them

because it was very simple to
talk to people, of course,

-What year was that?
-En 1980.

Late 80s.

Mathieu Riboulet.

It was the winter, it snowed...

We went, above all,
and we were astonished

to a sort of prolongation and enlargement

of the impact we felt after
Femmes Femmes.

We discovered the other
films by Vecchiali

and the films that were made
after Femmes Femmes.

obviously Le Théâtre des Matières
by Jean-Claude Biette,

but also Guiget's film...

And by Marie-Claude Treilhou?

And Marie-Claude Treilhou, yes.

Paul Vecchiali.

I met Biette in a very strange
way in Parnasse studio,

where they were showing
Les Roses de la vie,

mi first short film.

He was sitting next to Rivette,
in the first row,

as they usually did.

And when the debate came he said,
after having voted "excelente":

"This film made me think of

The Man Who Shot
Liberty Valance, by John Ford".

And I couldn't stop laughing.

It was the first time I
saw all the paradoxes

that made Jean-Claude Biette.

Interesting, fascinating paradoxes
which are much more acute,

much more close to a certain truth,

his, naturally,

but truth all the same.

-Any more questions?
-No.

The first time I
heard about your group,

I though it was
"The theater of Emma Thiers".

like saying,
"The theater of Sylvia Monfort".

Really?
Well no, nothing to do with that.

"Diagonale" started with La Machine
and Le Théâtre des Matières.

-1977?
-1976.

Marie-Claude Treilhou.

I don't know what we shared,
it was very curious.

We shared...

the people around Paul,

we shared a love for cinema,
that's for sure.

And, also, we felt a
curiosity for each other.

Whenever we went to see certain films

or when we had seen the
same films separately

and this films were
a source of tension,

more favorable, les favorable,
we tried to be clear about that.

We needed to know absolutely
and imperatively

what was going on,

what divided or united us,

the weakness that
was hidden on this film.

because they are often hidden,

it takes a lot of attention,

of insight to succeed in unearthing,

in finding the precise place
where the betrayal takes place,

where the lie occurs

it is often illegible at first sight,

you have to really work,
to roll up your sleeves,

to be able to find these things.

And it would take us
until two in the morning!

We were really a group,
extremely tight-knit,

and we didn't see each other much.

At Christmas,

I have pictures, there there are Bouvet,
Biette, Guiguet, Surgère, Saviange,

Guy Gille, Chemin, everyone,

we had meals together,
produced by "Diagonale".

On the other hand, the telephone!

We made feature films,
as we used to say with Biette.

We were making "Cleopatra"!

Three hours on the phone, sometimes...

Hi? Is that you?
Yes, it's me. I slept badly.

Fell in the trap, once again.

Paths of Glory, by Kubrick,
horrible.

The biggest memory I have of
Jean-Claude was laughter.

Laughter!

We couldn't speak on the phone
sometimes because we laughed so much.

I had...

maybe...

the person I felt the most
affection for in the group

I think it was Jean-Claude.

Because I never had problems
with him, never.

A very small one day,
when I wanted to cut a fragment of

of Le Théâtre des Matières.

I found the shots of the moon a bit long...

Three years later he calls me
on the phone and says:

"I just saw Le Théâtre,
why didn't you make me cut?".

I told him: "It's not my nature.

I thought it was long,
I told you, you didn't want to".

You have to keep the film as
it is, eh, don't be afraid.

It was the only time where we fought a bit,

never again.

While with the others, it happened often.

We were taking care of each other.

We knew it was necesary.

Otherwise it was all over.

Everything.

We were still people...
it was a society

and in a society you have to be careful,

you need rules of good citizenship.

Guiguet was very difficult.
Very difficult in character.

He was a lovely guy.

If Biette was able to live for years, it
was thanks to Jean-Claude Guiguet.

He made his soup, he did
everything, he made him eat.

They were really a couple,

not in the sexual sense, but a couple.

Completely extravagant

because they had nothing in common,
nothing at all.

And also the Theatre of Materials is not eternal.

You are kind.

I ask for nothing.

that it had
scattered around the world.

We had a familiarity
that was sealed forever

in the cinema of Vecchiali cinema,

in the everyday practice
of "Diagonale",

where everything circulated: the food,
the dogs, the people.

Everyone served everyone,

we came to serve each other
of actors,

we gave a hand in this or that.

That's what brought us together
truly and definitely.

And I think we loved each other
Nonetheless,

very deep down.

And what did you say, no?

Right away.

You did good.

No! I said to him:
"Right away".

What do you mean "right away"?

What could I do
a prospecting right away

and manage to find money.

And then?

He offered me some tea

and he began to tell me
his music anecdotes.

I think it was done
to film Sonia Saviange.

There was a meeting
between the two of them,

she had something moving,
A little bit lost,

that corresponded to aspects
of himself that seem obvious to me.

Sonia was
incredibly fragile

and a gift of herself so upright
that scratched ...

self-sacrifice.

It was very moving.

In her gaze...

I saw again Le Théâtre des Matières
last week

and I had the same feeling
that, behind her gaze,

there is a void.

"It was during the horror of a dark night.

My mother Jezebel in front
of me showed herself,

As on the day of his pompously adorned death.

His misfortunes had not demolished his pride;
Even she still had that borrowed sparkle

She took care to paint and adorn her face,

To repair the irreparable outrage for years.

Tremble, she said to me, worthy girl.

The cruel God of the Jews also prevails over you.

I pity you for falling into his dreadful hands,

My girl. "By finishing these dreadful words,

Her shadow towards my bed seemed to drop;

And I held out my hands to kiss her.

But I only found a horrible mix

Of bones and flesh bruised
and dragged in the mire,

Bloody shreds and ugly limbs

That devouring dogs were
arguing among themselves.

Oh my God!

You scared me!

We met a lot because of our
friendship with Howard Vernon.

I knew Vernon
through Lotte Eisner,

he was very related
with Lotte Eisner because of Lang.

And Jean-Claude went looking for him
at the time when few people,

except Jesus Franco,
has stopped looking for him.

Do you want to know what's next?

Yeah, right.

I was very attached to this troupe
of actors, it is evident.

Maybe the image
of a parental couple,

I do not know, we will not do
cheap psychology ...

Howard always interprets
unpleasant characters in his films,

pretty tough.

So you didn't sell it?

No, not that. I don't want to touch it
my grandmother left it to me.

Really? Very well.

You can always use it on stage.

It will be better
than a rental ring.

A mental ring?

Mental ring?

Rental!

Do you know that no newspaper
featured my interviews?

That promises.

Don't you miss music
sometimes?

Yes.

At Le Théâtre des Matières
he is devilish in the end.

And she's kind of
victim, excluded ...

is one of his great themes,
the exclusion. Exclusion from the group.

And in Loin of Manhattan?

Loin of Manhattan,
Why "Far from Manhattan"?

Evidently,
we know it was a joke

about a movie
that he did not like,

but it was also the place
where you don't think you can be

or where one does not think
that a movie can happen.

And we are just going there.

There is a bit of cake left.

It is not because it remains.

Maybe you prefer a fruit?

Chardin made me hate fruits.

So, a piece of cake.

Jean-Christophe Bouvet.

The relationships between Paulette Bouvet
and I, Paulette Bouvet, my mother,

they were family scenes
that he had seen in real life.

He used to come to dinner here
sat at this table

with a notebook
and took notes of each evening

and every dinner that was made here.

It depends
than you mean by humor.

Everybody understands that
no definition is needed.

Justly.

It is evident that Ingrid,
in his lack of humor

evident too,

has even less than Béatrice.

How funny.

Paulette Bouvet.

I met Biette
through Jean-Christophe.

He was a friend of Jean-Christophe

and, at the same time, was part
Vecchiali's team, he too.

All those people, Frot-Coutaz, etcetera,

all those people around
Vecchiali, all those young men ...

I participated more or less
in some of his movies.

They came home to dinner often
and they told me:

"Come on Paulette,
make a little appearance."

In the films of Jean-Claude
Biette, I had more text.

It was very nice.

Being an actress is not my vocation,

So it was almost a game

but a game that required
some attention.

What was the intention of the director,
what did he want...

and Jean-Claude was very good
in that.

When I asked him:
"What is your intention?

Should I interpret with emotion
calmly, lively?",

he told me:
"Do what you feel."

Sit down, Dorothée.

Did you see the weather?

Yes, ma'am.

-It's good, isn't it?
-Yes.

Sometimes,
you should go for a walk.

But, Mrs. Nogrette,
I do not understand it...

It's not important. Go now.

But they weren't movies
that were laughable, I think.

-I did.
-Yes?

In particular, you made them laugh.

But I wasn't going to tell him ...

Modesty made me say ...

But yeah when I show up
indeed, people laugh.

But you have to have
a little humility,

even more so when I'm not a star,
far from it.

I never believed
that I could make movies

and he told me that maybe
those who believe the least

that are the best performers.

We called each other
by surnames.

I called him Biette
he called me Bouvet.

Like boys in school.

I think what interested
Jean-Claude from me

it was that frivolous side,
that light facet

in life, in pleasure,
hedonism, enjoyment, sexuality.

He was very modest

and very discreet
in relation to sexuality,

but he wanted me not to be.
For him, let's say.

I do not speak of their sexual practices,

but of his speech
about sexuality.

Benjamin Esdraffo.

Did his movies make you want
to make movies?

Yes.

Because its cinema
it had something of proximity.

Because one could find it
easily

and also because there was a bond
with the cinema of the past

considerably important.

And besides, I had the impression

that, from the point of view
of implementation,

it was something that seemed possible ...

it didn't seem very complicated from
production point of view.

Serge Bozon.

When I saw Loin of Manhattan,
it was a real shock

because it did not uncomplex me
nor did he set me free,

but it gave me a concrete idea
of something that would be possible to do.

And when I saw it, I said to myself ...
not that you had to do the same,

but the idea of making movies
it became much more concrete.

Not so much the emotion
that I felt as a spectator,

but the fact of feeling that I could
try to make short films

because, suddenly,
the idea of making movies

it became simpler, more concrete.

In particular,
there was a relationship with humor,

it was one of the first things
that caught my attention.

And then...

I saw the movies
when they were released

and I saw the ones that had come out before
in hindsight, but...

And nature
to see the amount needed.

Well, very good.
We return to the theater.

I had this impression

at the same time survival
in the little everyday things:

how to live...

that is, we do theater, but
we work in a travel agency

they all have those little trades

and there is also a question
of survival

in relation to the theater
or the most artistic activity.

That is why, when he spoke
to make Robinson Crusoe,

I told myself it was pretty consistent.

He made very thoughtful films ...

-Very?
-Very thoughtful.

Very elaborate mentally.

His was not spontaneity,

he was interested in reflection,

I wanted to know exactly
what I was going to film,

what he was going to do.

And was he in one of your movies?

-Who?
-Jean-Claude.

Yes, he had a scene at Pointilly.

His ear is visible.
You can see his profile and his ear.

-And that's it?
-Yes.

-It's good.
-Yes.

Thomas Badek.

At first, I had called him
for a very precise project,

which was Chasse gardée,

but what, I believe,
had trouble editing,

although it was not bad
definitely.

And between the two, this project was born,
Le Champignon des Carpathes,

with Valérie Jeannet,
here present.

He called me on the phone.

And he told me: "Just
the trigger is snow.

It's snowing over the Field of Mars
you have to capture this moment.

It would be the first day of filming
from a movie,

where would I deal with relationships
brother-sister and father-daughter."

I think he had the plot
I had some instructions

but everything was to discover
and create on the go.

Visibly, Valérie knew
much more than me.

And at the end of the scene,
I thought it was over.

And the next day
or two days later,

he calls me and says:
"You are going to continue a little longer."

Is this the mushroom that allows
you to speak with the dead?

That one there.

Are we going to be able to talk to mom?

One day maybe.

There was something like that in that winter light
on the Field of Mars

and another thing that I really liked
about the interiors

and the exteriors.

Those interiors where the light passes,

like in tonie marshall's house,

or the interiors
fully caulked

when Valérie Jeannet
and his brother look at the mushroom

or when Howard Vernon
is at home.

I remember a scene where
he's at the typewriter ...

I even remember scenes
of theater rehearsals

where it is no longer clear,
after a moment,

whether the scene happens
at night or during the day.

In a moment people come out
and you think, "Look, it was daytime."

I often have the impression
that if Biette left a mark

in many filmmakers,

it was undoubtedly because
of this kind of thing,

a mix of precision
and strangeness.

I saw one or two Amalric movies

and I told myself I never would have done
those movies

if I hadn't seen
Biette's movies.

I don't mean they look alike
formally or anything like that.

And I had that same impression
many times.

When you are in a universe
strange, without being surreal

in a universe where the strangeness
it is not forced

a domestic strangeness.

Chasse gardée is a crime thriller

so there is a certain linkage
with genre cinema.

If you can say that
Le Champignon des Carpathes

it's a fantastic film,

in Chasse gardée there are many echoes
of the thriller,

for example in the scene
where Gérard Blain is in his car.

At the same time there is a link
deep with American cinema,

but what are they related
with the question of secrecy

and that cannot be associated
with such a character or such an intrigue,

but to the question of secrecy
how can we see it

in Tourneur's films,
for example,

or other B-movies.

In life, for example,
if someone has a secret,

there is at least one person
for which it is not a secret.

If I tell you, "This is a secret,
do not repeat it to anyone",

for you and me there is no secret.

In life, there cannot be
a total secret, a pure secret,

since there is always a person
for which it is not a secret.

While in movies
like those of Tourneur

we have the impression that
the secret is something that is there,

a pure secret,

that is, there is no one who knows
the keyword and others that don't.

The secret has to do
with the staging,

not with the fact that such a character
knows something and others do not.

It would be a secret
say, intransitive,

not something that could be said,
but something that exudes, that arises ...

Anne, you have the same glass
as Franz,

the kind that breaks
all the time.

I propose a toast.

How solemn. Love it!

To Inès!

Now is the time to
get your fingers dirty.

I discovered something fundamental in him,

that he suffered a lot to be born
of divorced and separated parents.

Suffered for it

and I think that
had a major influence

in his way of being and even
in his way of being a filmmaker.

He distrusted stories.

Narration creates problems.

Because, deep down ...

and he understood that very quickly,
by force of circumstances,

the son of divorced parents
he is in

in a knot of interdictions
about narration

because you don't have to
say in dad's house

things that come from mom's house,

that we lived or saw there,

and vice versa.

He needed a certain strategic
curtain of smoke

around stories.

You had to wrap them
because telling too much was bad.

I was on the edge
of double talk sometimes,

but above all
from one side and the other,

for their narration
and for his story,

there was no need to increase the risk

that the story in question,
from one side or the other,

could bring problems.

He loved conflicts
in the cinema, it's not about that,

adored Walsh,

but he, intimately,
mistrusted narrative

because it could have ...

So I think he started
for applying himself

and did not make confidences

and there was a moment
where things stopped.

"I don't count anymore, now it's your turn

unravel the tale".

You have to sleep now,
you have to sleep.

The thing that is shocking,
when watching the movie again

Le Complexe de Toulon,

is that things which I remembered,

which are the most natural,
the most surprising,

since they impose a staging
quite fluid,

are music and England. In the film.

The rest is a universe
much more familiar

for a spectator
from Jean-Claude's films.

It's Paris, with those bedrooms,
those enclosures,

those places that one does not know
where this is going

nor where is it going to go

while with England
at Le Complexe de Toulon,

Suddenly, it boils down to:
"Do you remember me?"

And everyone knows it,

and the relationship with culture
is no more, because it's not there.

There is no relationship
with the culture there.

This kind of way
towards a form of reality

that is not quite idealized
on the set

or in the staging

because there is almost no staging,
but a kind of découpage.

There is no staging
with many shot-counter shots,

it is silent film in a way.

There are no characters
in England, it's people.

The English.

And it is very precise:
he looks at the windows a lot,

look evidently at the squirrels
and the cats,

that kind of cold distant passion
and extremely warm at the same time

that Jean-Claude had
for the animals, for the children,

for everything that was not him,
in general,

and maybe also for women,
I dont know

a kind of wonder,

curious to see something
that has life apart from him.

It is very beautiful
in Le Complexe de Toulon

see that cat live like this,
or the squirrels,

even more so with that famous story
from "the test by the squirrel".

Nobody knows the proof by the squirrel
in this country.

The democratic movie,
it's so forced in England

that even the animals
they realize...

Squirrels are the first
that got it.

In France,
they walk along the palisades,

they come to eat in the hands.

There is also a fox that comes
to eat from the garbage cans.

That's the proof by the fox.

Kant adored squirrels.

The last time I saw him
it was in a restaurant

where we had lunch together,
in Paris.

He was a bit distraught.

He had problems
with the producers

in general.

I was in a tension
a little dangerous.

Do you remember when that was?

In 1995.

For the people who lived
this authors' party,

those we called "the authors" ...

There is a lavish period,
very lavish

until the year 1985,

it was extremely lavish.

There was room for artisans,

there was room for industry.

The site for handicrafts
he was small, modest,

everything was going well,

but nobody asked for more.

And then it was all called into question.

Like antique dealers
in relation to the peddlers,

like the great farmers
versus small farmers,

the same model, let's say.

He had known, you understand,
a kind of ease,

a very minimalist ease,

he was a very undemanding guy

who was satisfied with little,

a Jansenist, in a way,

someone very modest

that he did not ask for anything more.

But he had been granted
that space.

And then, suddenly, he saw it fade.

And I think someone
as sensitive as him

He could not stand it.

Impossible.

I watched their suffering

and god knows he was someone
who didn't like it

express your suffering.
He hardly ever complained.

And there I saw that he lost his humor.

At one point,
I saw a strong suffering

that I had never seen ...

in him.

This lack of success, in the sense
from the common of mortals,

when people start to know
your name

and it is mediatized, and publicized,

that was his father's world,
what had this horror told him

who confessed to me one day:

"I'll start to believe in your movies
when they show you

at the Cannes festival".

It is true that it weighed him
this absence of recognition.

And Jean-Claude, who didn't have ...

a very exacerbated narcissism,

he was someone very simple, modest

and who had the right amount of self-love,

we felt he was happy

when there was a recognition
From his job

that did not exist, obviously,

but Trafic was a means
for him, without a doubt,

to be recognized.

Trafic was a project
by Serge Daney

for which I had a great interest
for several years.

He gathered his team.

Jean-Claude, obviously,

Raymond volunteered,

Patrice Rollet too, and then
I wrote in number 1

and, at number 2, they summoned me
and they told me:

"Now you are part of the team."

Besides, he was a filmmaker,
he already had movies on his record,

his critical point of view

it can be said that it came back a little
to what was done in Cahiers du cinéma,

that is, the filmmaker's
critic that Serge liked.

So, he dedicated himself,

as the title of his first text in Trafic

he was "on the job."

It seems that he
was the one who found the title.

From Traffic?
Yes absolutely.

It is a tribute to Jacques Tati,

there is a Jacques Tati film
which is called Trafic.

Yes, it is a title that he liked a lot,
Serge and I liked it too.

Who says "Trafic",
it says 'circulation', 'crossroads' ...

It is true that in the group
"trafic",

the people who worked
for Trafic to exist,

He felt good, he found his place.

It was good for him, of course,

and it was good for all of us,
on the other hand,

have this place for writing

that was only constrained
by the idea, limitation,

constrained only by the need to do our best.

It is L'Avventura.

With two "v". "L" apostrophe,
A, two V's, E, N, T, U, R, A.

It means 'The Adventure',
in Italian,

and Antonioni said
it was an adventure

over several different registers.

Robinson Crusoe ... I am so sorry
that he hasn't not done this movie

because I said to myself:
"It's his movie!"

At first, Robinson's father
explains that, in life,

you have to choose ...

he wanted to go out to sea, he wanted to go,

He wanted to discover the world.

And the father says:"It is not possible."

Life goes between the mean,
that is "the small",

slavery, let's say,
"the small thing", which is bad,

and the great, the great.

There is no need to be
in any of these situations.

It is necessary to be
in the middle station.

You have to stay there
where one can take advantage

of all the nice things
of the life

without being too affected.

And, when I read that,
I felt crossed and I said to myself:

"It's Jean-Claude."

It's not possible
when you are an artist like him,

when you have
that sensitivity that he had

and also that ambition
to live, to exist,

to live in the fullest sense
of the word,

we cannot isolate ourselves
in this middle station

the "middle cinema", if you want ...

Denis Lavant.

"Only desperate men,
on the one hand,

or extremely ambitious,
for another,

they were going abroad
In search of adventures

to improve your condition
through elevated companies

or become famous doing works
that went out of the way

that I was way above
or below those things,

that my state was the average state

or what might be called the level
Highest of the low levels,

which, according to his own experience,
it was the best state in the world

and the fittest for happiness. "

Joaquim Carvalho.

Jean-Claude presented the project
from the film in France in 1993

and came before to see the locations.

It was the first time
who was coming to Portugal?

Yes I think so.

And you accompanied him
for one week...

We got to the south

and we did all the beaches
to Lisbon

and then we took a boat
to go to an island.

As usual,
locations are sought

to see what is possible
and what not.

He thought
that it was an opportunity,

but I don't know if it was the trip ...

I don't know, something very strong
it scared him.

It was very difficult for him
stay there.

It was an adventure.

Yes a real adventure
for him.

We saw each other repeatedly
with Jean-Claude Biette.

Naturally, I did not know who he was,
what he had done,

as was my habit
at that time.

It was about more than everything
to get ready for an adventure,

without worrying about the past,
nor to have references,

nor think what genre of cinema
we were doing

I trusted the person.

It was a matter of going to roll
in Portugal

and it's not that I disliked it
travel there.

And furthermore, the fact
of not filming in nature itself,

but in a botanical garden.

Wait, what are you saying?

Did he want to roll
in the botanical garden?

-Yes!
-I did not know, I did not know it.

Really? I thought that was why
who had come to Lisbon.

Not only.

We shot in the botanical garden
but I didn't know that he wanted to shoot there.

But yeah, that was the idea.

Not go mess
on a desert island,

but try to film most
of the island scenes

in the botanical garden of Lisbon.

-It's extraordinary.
-It's a good idea, isn't it?

Welcome.

I'm Paulo, the gardener.

I do not know what lived in Portugal,

but it is clear that he revived
a kind of golden age,

something mythical.

Found a place where
each one has its place.

And where art has its place,

the taste of art,

and the taste of beauty.

And also courtesy.

Why have they abandoned me?

Respond!

Lord Thunder and Lady Gunpowder!

Luis Miguel Cintra.

"By the frank azure of my beard,
I see nothing coming.

No one is out there!

More than dust
that flutters in the distance

gallows on the hill
it's deserted

only their ropes rot in the sun.

God of the day, why do you put
the emptiness around me?

In the tall grasses of the coasts,

in the dark silence of the woods,

in the rain of arrows,

I took my horse everywhere
for Your glory,

even on the sand of the seas

and the dead looked good.

I obeyed you with the ardor
of an advancing fire.

I secured your harvest
in the best way that I could.

Night and day I held my eyelids
at the edge of the abyss.

I stumbled without vertigo every life
that he was going to his ruin.

God you never appear, may your voice
finally resound in the castle!

If not, how can I count
on my strength?

I am your faithful eyes, your hands,
your obedient sword.

When the moon does not rise in the sky
to light up at night

on the walkway,

you are the breeze that brushes my face,

that disappears in the wind
as soon as I move my fingers.

Why do you leave me alone
in front of the stars,

like a lost son,

doomed to sleep
without finding your dream?

Is this another test
when every day you ignore me?

Should I always wait
until the night descends

so that the time returns
of well-being?

I curse every Christian
that did not capsize in silence.

Are you the blackbird that passes
from old oak to southern ash

to sing at dawn?

Am i the culprit
among your soldiers?

Is it me, then, under your immense
eyes, he who abandons his guard?

Am I the coward who deserves punishment?

To make a complaint heard,
I don't know how to scream

You see me and hear me
God without mercy.

Why did I lock myself up again
in this great stone belly

where was i born

I hope well armed
that death speaks to me".

Christine Laurent.

I wanted to invent something
from Bluebeard,

but he didn't know which way to go.

And one day I was chatting with someone
what he said:

"You never read Biette's script?"

I recovered the two numbers from Trafic
where it appeared,

I read it
and I was completely moved.

I call him and say:

"Would you like me to play it
for theater?

If you want to adapt it,
work it again..."

And he immediately said yes.

So, we go to Lisbon,
we settled there.

I had told Luis Miguel
it would be good for him to come

maybe not all the time,
he wouldn't want to stay all the time

"I'm sure you would like
come to attend rehearsals.

And I would love it. "

Here's a night
that was not made to die!

Decidedly,
life fits my beard.

They come to warn me from afar.

That one forced me to sleep
but in the story he told me,

I find all the characters
of my dream,

the one who I saw in my dream
in that clearing in the forest,

where nobody
could have found me.

I see myself entering the castle like
an expat claiming his own.

The one who knows everything about me,
you don't know me yet.

I think there is a monologue
who wrote in Paris

before putting on the show

and the second
wrote it on the spot.

I remember the presence as
sweet as possible.

Everything was always fine.

At no time did he say

"You don't have to do like this"
or "You have to do it differently."

We felt his face, a lot.

He was someone who created with
the pleasure of being together

without talking about anything very serious,
never.

We never had
important conversations.

For me that was very good.

I hadn't seen his movies

it was all through Christine.

And Christine told me:
"You will like him very well."

And, when I saw his movies,

it matched completely
with what one knows about him.

Because they are movies that
they don't look like anything.

I really liked that feeling
that he did not belong

nor to the world of intellectuals
nor the theater people,

that it was a person with another form
to live, he was a special guy.

Manoel de Oliveira.

Biette is my friend.

Always input,
he understood my films well.

For us filmmakers,
or for any artist I think,

the best he can hope for
from his job

is understanding.

The hardest
is to reach understanding

and that's what Biette gave.

From the beginning,
he understood my movies.

And that hit me too hard ...

-Is it said strongly?
-Strongly.

We talked a lot about the movies
by Oliveira

that Jean-Claude liked
and the ones he didn't like.

Oliveira always told me
that the best things

that had been written
about his movies

were Biette's texts,
that he liked very much.

Biette and Oliveira got closer
in the sense

that they are never contrary
nor to reality

nor to the nature of things

in the sense that what exists
it's like that, there are no lies.

And in Oliveira
I feel it a bit like that too.

In very concrete things.

For example, if there is any
production difficulty,

he integrates the difficulty
to production

and becomes part of the movie.

And that works in very
surprising ways at times.

Doesn't that remind you of anything?

No, should it remind me of something?

Yes, Portugal.

We were supposed to spend ten days
together in Lisbon.

And what does it make you think about?

In the pineapple.

Three years ago, we had dinner
exactly in this place

and, when the pineapple was finishing,
we made a vow.

A vow.

I did not forget it.

I did not forget anything.

And we were forced to cancel it.

And it wasn't your fault.

It was nobody's fault.

As usual.

We were in the Ursulines studio,

there was a projection
of Le Complexe de Toulon

and when we were going
out, he told me:

"You are going to perform at Trois ponts,
you're going to do Franck Opportun. "

As it is. Not so dryly
as I just said, of course,

he was very sweet...

And that I would act together
to Mathieu Amalric and Jeanne Balibar.

Bye Arthur!

Yes, good night.

You are not very communicative.

Yes I am, why?

Because they do not have
a communicative air, like a man.

I am neither communicative,
nor not communicative.

Mathieu Amalric.

I think that...
maybe I was young at that time,

but there is something
that I understood right away

and it is very nice to interpret s
omething you don't understand,

something that seems strange to you,

particularly in the
name of the characters.

Can you remind me of your name?

Yes. Arthur Échéant.

How?

Arthur Échéant.

Same as the french expression
"when appropriate"?

Yes.

And then there is the character
by Isabelle Ruth,

that intermediary who, suddenly,
hints that she knows much more ...

-It's here?
-No, no, you are waiting for me here.

We don't know if she is hostile

finally revealed
conversely, she knows things ...

-Mister.
-Yes.

Don't give up hope.

Its hard for me to understand
how did he find those things

where they were hiding, from where ...

where did that ability come
to amaze completely.

What is that cockatoo suit?

Hs...

I carry the cigarettes
you carry the bottle.

I'm going!

Jeanne Balibar.

I like to let the personality imprint,

the body, in fact,
more than the personality, the body

and the voice of the director.

So it was him
who made me say that.

"Cockatoo" is not a word
that I use. Never.

But despite everything
there was something very readable

in the way that
Jean-Claude built the plan,

what makes the difference for me
between a filmmaker

and someone who produces
an audiovisual machine.

Like actor,

when one has
to a real filmmaker in front,

one manages to read something in the way
in which he arranges the plan,

the camera and therefore the light.

And I remember very well
strangely,

while there are many things
in the stories from the movies

which I do not remember,

from the movies themselves,

but I do remember very well how
Jean-Claude had the camera ready.

I would almost be able to say:

"In such a scene, he put her
in such a place, at such a time".

Go straight ahead and you will run
into the São João hospital,

the university neighborhood
is next to the hospital.

Very well. Is it a large hospital?

It is Circunvalação street.

Thank you very much Ricardo,
Thank you so much.

I'm ready.

I remember very well
where had i put the camera

and how, right away,
the space became very readable

and it became very easy to say:
"I'm going to sit in this chair."

You are not afraid
that I get lost on the way?

No we went yesterday and the cathedral
can be seen from all sides.

Thanks for the confidence.

Frankly...

the true criterion was laughter.

On the other hand, he played me
a trick

because now it's hard for me ...

when I work with filmmakers
they don't say ...

I do not know how to say it...

you know? It's like Socrates
and the touchstone.

If I don't have in front of me
to someone who expresses

an equal level of glee
to the "Yes, it's crazy!"

unfortunately I will never be able to
to imitate him, I would love to,

but the fact of not being able to feel that,
it frustrates me horribly.

No, no, calm down Christian...
so indecisive

it's insane.

And, deep down ...

when he said: "How insane",
in real life,

was exactly what, sometimes,
came back so precious

the fact that he said it
during filming.

East French, Romola Road,
maybe he writes you in French,

but the letter was sent
from Paris.

I saw it already.

It's insane.

It was that, one felt ...

how happy he was.

I don't remember taking into
account any indication

beyond a certain degree
of jubilation in him.

The relationship with him resembled
a little his movies

something incredibly full,

incredibly light,
incredibly serious,

one after another
and at the same time

and always funny, always delicate,
despite everything.

Not delicate for dispersal, of course,
but in the sense of courtesy.

"Uncle Vania",
Scene 3, take 1.

Harder.

We had very serious purposes

but we were laughing our asses off.

An excellent guy. A retired professor,

old crust, sick with gout,

this...

Sorry!

Suddenly we had a relationship,
he had already made movies,

kept doing them,

we began to reflect
about that, to be interested ...

then I saw it
like a filmmaker,

he was an important guy,
that his work was beginning,

and that this important guy
consider us their equals

that he did not hesitate to invest
in our projects

or, when we invited him
to participate,

He did not hesitate to think
when talking about the movies

what were we doing

the same way he thought
about Godard films

or Oliveira

I still feel fascinated
so.

"Vania", 19, 1, second.

It is not generosity, because for him
that was completely natural.

There was no effect on that.

It was completely natural.
It was very...

I don't know how to say it ... natural ...

Democratic.

Yes, democratic, you could
almost say that, it's true

it had a side like that.

There is something that I envied Biette

and it is that he remembered all
the reactions of all spectators.

He never had many spectators,

was lucky to have ...

a critical reception
always very interesting

very positive, very subtle, very fine,
but few spectators.

And he remembered the reactions
of all his viewers.

He remembered what his concierge
I had told him,

what a neighbor had told him,

and he remembered it years later.

And that fascinated me.

Because if you tell me something
about one of my movies,

tomorrow I already forgot.

And I did not understand.

I envied that a lot

because, when you don't have
many spectators,

it's great to be able to remember
everyone's reactions,

that multiplies them,

gives them an extraordinary intensity.

That very particular way
to have a relationship

face to face with Jean-Claude,

I always believed that
he had it with everyone,

necessarily different,
of course,

each relationship varies
from one individual to another,

but probably just as intense,

just as particular and marked
for a great individuality,

of great attention
to the person in question.

I know he knew a lot of people

with which he had
very constant relationships

and those people did not know
each other necesarily

and I always represented it,
mentally

like a series of beams,

but I always believed that they
had the same intensity.

And I loved it:
being one of those bundles.

His modesty was a strength.

His different friends must
have had entry gates

into the fortress, each his own,

each one had to have the key.

But he didn't give all the keys
at the same time to everyone.

Well ... camera!

Loin de Manhattan, 25, first.

I think the weather is going to change.

I think those are cumulonimbus.

They are nimbus, simply.

And are you planning to go to New York?

Not for now.

I have two or three little trips
in sight in Europe.

I had the feeling that
people filmed differently

and I always hoped to film like this,

I could not do it

And when I saw Biette filming

that is, in a rhythm
totally quotidian,

without me feeling
stress or tension.

It was formidable to me.

He would say to me:"But it's a movie!"

It's a movie, and there's a kind
of sweetness, of harmony.

And surely the tension was there

but there was some sort
of almost domestic sweetness.

And Biette never got nervous

it's very strange.

While I was going crazy
in my shootings,

I became a little calmer
in recent years,

but it didn't come ...
it drove me crazy while rolling.

And Bruno will play,
he will play for a while.

So when he goes to play,
it's a shame to be so far away.

Yes, but we've seen it
so much on television.

Wait, he will play...

Looking at the sheet.

We need the sheet in the shot.

We have that, but ...

We are far away, you don't see much.

It is not defined much either.

But what do you want to define?

No, nothing.

What it is for you,
Biette's cinema?

That I wonder myself.

I can't answer you.
It's kind of like ...

something very subtle,
that comes from him

as an emanation of his character.

It's a kind of atmosphere

an atmosphere of him.

And the actors?
Are they theater actors?

The actors too they were
selected on the last day.

-The last day before filming?
-And it is.

But did they laugh a lot? Together?

If we laughed a lot?
Yes all the time.

But do his movies
don't they make you laugh?

-Don't you laugh in his movies?
-Not.

They make me think, reflect on things.

You should use the word
"amateur",

return your meaning
to the word "fan".

Because "professional" ...
is a work rhythm

are wages and all that.

Here, there is another rhythm

at the same time economical,
human, sentimental.

It is fixed.
It was nothing.

Sir, my name is Jeremy Fairfax.

Do you agree to work for the company
Pocket Shakespeare, what do I direct?

But I don't know anything about theater.

Even better.

And, as for electricity,
I am not a professional.

Our life is too short

for us to be anything
other than amateurs.

A guy pulling the plug ...

Movies that pull the plug!

When one sees Saltimbank,
it shows that we are no more

in the 80s:people who talk,
the guys who steal the paintings ...

there is something that belongs
at the time of filming.

And, although for many people,

the movies have
a dull and lonely side

or "dandy", I don't know why,

would be exclusion movies,
isolation, closed,

it seems to me that there is
great porosity

to what is random in the present,
in the time that passes

in what changes
without one realizing it.

What movements do we have
in Frankfurt today?

Nothing, I think.
I have nothing online.

Anyway...

I'll try one more time

Don't, leave it.
We'll see after lunch.

Mr. Saltim, you want an accurate report.

And me, what is my name?

You are not the same
I have it in front of me.

I do what you asked me to do,
I call you Bruno.

Come in.

What is this?

Urgent.

Saltimbank, which is his last
movie, it's quite prophetic,

says many things about the world that
is in the process of being transformed ...

And he was right.

For example, Chekhov's piece
that had to be interpreted

is replaced, for lack of money,
by comedians.

Mom, I decided to leave
classical theater.

I hired some clowns.

It is not incompatible.

Micheline Presle.

He wasn't a guy who talk much
Jean-Claude ...

-It was perfect for acting ...
-Yes Yes.

It was perfect for me

me neither, I am very
of the "psychology".

I know I had a lot of pleasure doing it,

but to do it precisely with him.

No, it is fatty and complicated.

Biette ... I'm seeing it now ...

I have this image of him
in the sun in the garden

looking at me and telling me

"My next movie, I think
it will be a western

Would you agree with that?"

And I know that I did not hesitate
not a second.

I told:
"Obviously what a good idea."

I didn't even think about it.
Deep down, it doesn't surprise me.

Eléphant et château is a story
that happened in Scotland,

it was with Mathieu Amalric.

I had asked Jean-Claude
that we film

with Jeanne Balibar
and Mathieu Amalric.

He told me:
"Yes, but there is a problem

at this time they are
a little separated. "

So I said:
"We are going to make two movies,

we're going to shoot separately."

He said, "Yes, okay."

We did Saltimbank,
with Jeanne Balibar,

and then we were going to do
Eléphant et château,

with Mathieu Amalric.

Do you know a little more
than me?

No, very little.

I know it was in Scotland
I know it was with Bouvet

Bouvet was very happy.

I remember there were some stories
of kilts,

something that excited a lot
to Jean-Claude ...

and we were going to shoot it
after Saltimbank.

Had he written something?

- He gave me nothing.
- Didn't he give you anything?

-Not. He had written something.
-And it is?

- But hadn't he given you anything?
- Not.

The wine tasting is ready.

And Eléphant et château had to do
with a London tube station

which is called Elephant and Castle.

and that's it.

O my sovereign King!

So here I am, trembling
and alone in front of you.

My father told me a
thousand times in my childhood

than with us you swore
a holy alliance

when to make you a town
nice for your eyes

your love liked to choose
our ancestors.

Even you promised them
with your sacred mouth

a posterity of eternal duration.

What is going on?

Mathieu!

It's not you ...

You want to kill me, right?

What is going on?

Mathieu!

It's not you ...

You want to kill me, right?

Fear nothing sir

you waiter told me that I would find you
here in this clearing.

Who are you to come
to force me from my sleep

without fear for your life?

This sword knows the dangers

and I received the order
to push my horse

until I found you
within reach of my voice.

Entering this forest to sleep
before returning to the road,

I perceived a light.

When going towards you,
I lost sight of it

and I lost myself,

I heard a horse
that brought me back to the light

and I recognized your weapons.

It is the night that led me
to you and your waiter ...

To the fact, to the fact!

You took me out of my dream
What do you have to announce to me?

Your process ended three days ago
in your favor.

My master commissioned me to bring
you this that testifies to it.

Bring that lantern closer!

Good!

Mathieu!

It's excellent!
More timely, impossible!

God led you to me

and he will still be with you
when you leave.

This is how you watch over my dream?

Darkness is the best
of guardians.

Who are you to dare to say that?

A stable boy that obeys
you in everything.

I know your feeling
about the things of the world.

And then,

Who watches over my horse
at this time?

Lord, the darkness.

On the other hand, he sleep,
like any creature at this hour.

Look you idiot

With the moon
that rises in the sky

I see my horse and yours
a hundred steps from here.

Look!

Who watches over whom now?

Can't you see, still further away,
between the bushes

to the bearer of good news,
with their nostrils that shine?

Take your lantern and find
the path to go to sleep.

Tomorrow morning, you will retake
the way of the pilgrims.

And you will return to the castle
after vespers.

Your horse is old
do not force it.

Leave me!

Here's a night
that was not made to die!

Decidedly life fits my beard.

I have nothing to fear.

They come to warn me from afar.

That one forced me out of sleep
but in the story he told me

I find all the characters
of my dream

the one who I saw in my dream
in that clearing in the forest,

where nobody could have found me.

I see myself entering the castle like
an expat claiming his own.

The one who knows everything about me,
you don't know me yet.

I will fulfill this dream
that often returns,

the one that no creature
he dared to interrupt.

Tonight finally

God spoke to me.

LISBON, NOVEMBER 2

FONTENAY-SOUS-BOIS,
DECEMBER 18, 2009