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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