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Downloaded from
YTS.BZ

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Official YIFY movies site:
YTS.BZ

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I've seen a lot of your films
and I think you're a huge pervert.

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Well, who isn't?

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My fantasies
are identical to the viewers'.

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I only show what everybody dreams about.

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Listen.
We're going to hear Borowczyk's voice.

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I wanted to make a film about love.

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But what kind of love?

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Love of power,

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fully independent physical love,

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love of objects,

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love of freedom.

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All of these can be loved.

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He loved freedom.

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Borowczyk fled from Poland to France
because he loved freedom.

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He saw France as a place of freedom,

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particularly artistic freedom.

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In all of his movies
love leads to death.

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Love - that is, a desire for freedom.

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This desire for freedom ends in death
in many of his films:

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"The Beast," "Blanche,"
"Goto," "The Margin"...

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It's quite strange.

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For me Borowczyk was a world
that suddenly vanished.

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I can't pinpoint the date
of its disappearance. There you go.

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May 1968.

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A great French revolution begins.
Paris stands still,

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students are being brutalized,
workers clash with police,

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a general strike begins

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and I'm invited to shoot
"Goto, Isle of Love".

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The film will be shot
in Pierre and Marie Curie's old factory,

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the site of their experiments
with radioactivity.

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We are whisked from the frenzy of Paris

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to the calm of a small factory
with an incomprehensible director

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who built a fantasy world:

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a remote island that no outsider
set foot on in 100 years.

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Each morning I drove across Paris
filled with cops and students

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to spend the day in Borowczyk's
weird, crazy world.

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We thought he was completely bonkers.

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- Is this the Marie Curie parking lot?
- Yes, right there.

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So, we're shooting
in this historical factory,

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our director is completely
detached from reality,

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and each evening we go back to Paris

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where cops fight students and workers.

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May 1968 reminds me of 3 things:

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the revolution,

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my first film with Borowczyk -

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"Goto, Isle of Love,"
and my first marriage.

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When I met him in 1968,

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I think he'd lived in France
for 10 years or so.

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I think he arrived in France in 1959.

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I met Walerian Borowczyk in 1946
at the Academy of Fine Arts in Krakow.

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Borowczyk was open about the fact
that he, the son of a railway worker,

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only went there because he wanted
to teach drawing in middle school.

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His art would take him far -
but in a completely different direction.

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Professor Radnicki gathered us students
when the first year had ended.

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He looked us over and said:

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"I see one very talented person
in this group."

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Everyone puffed up a little...

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But the professor quickly added:
"It's Walerian Borowczyk."

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The fact that he switched
to filmmaking was unusual.

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I can't recall any of our sculptor
or painter colleagues

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who'd picked up a movie camera.

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We were talking about Poland
and someone said to Borowczyk:

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"Well, Poland is a free country!"

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Borowczyk just exploded with rage:

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"So go there if you want,
I moved here precisely

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because I've experienced
the Communist regime!"

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THE HOUSE (1958)

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The hair that devours everything

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could've been seen as an allegory
of the political situation at the time.

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I never thought he'd go there!

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It was amazing.
Whatever gave him the idea?

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Why did he do it?
He must've felt compelled somehow.

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It was a portent of things to come.

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'Polish film "The House"
took first place

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and a $10000 prize...'
Well, well!

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'At the international film festival
in Brussels."

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This success launched him
into a whole different world.

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French cinema was rather insular -
they didn't need us,

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Polish directors
had nothing to say to them...

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Before "Goto"
I had no idea that he even existed.

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Later on they showed us

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a few of his animated films
by way of introduction.

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That's how I discovered his world.

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Watching Borowczyk's wonderful,

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minimalist animations

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we get the feeling
that he did everything himself,

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sitting alone in his studio,
drawing frame after frame...

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A truly solitary endeavor.

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Disney, Pixar or Dreamworks animations

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make a completely different impression -

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you just feel the effort
of 300 or so people behind them.

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That's when I realized that
every director carries a world inside:

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Borowczyk had a whole world in his head.

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THE ACTION OF THE FILM IS SET IN OUR TIME
ON THE ISLAND OF GOTO

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IN THE FORTRESS-RESIDENCE
OF ITS GOVERNOR - GOTO I II.

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Name - Grozo!

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00:14:15,992 --> 00:14:18,895
All movies are essentially animation.

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00:14:19,129 --> 00:14:25,602
Live-action cinema
is animated photography -

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a reel of tape
is just a row of pictures.

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It's the same thing
if you replace the photos with drawings.

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We were surprised by Borowczyk's behavior
on the set of "Goto".

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We all thought he was shooting
an animated film.

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Boro did things
that directors didn't usually do -

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he made props, painted decorations,

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fixed costumes...
He did everything!

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Every time he did something like this
we asked ourselves:

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"What is he doing? Why is he doing it?
What will he do next?"

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On the first day,
he looks at the set and shouts:

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"It's much too clean! How awful!

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Get me some paint and a brush!"

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He repainted all the decorations
that very day, all by himself.

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I've never seen a director
do anything like this before!

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Almost on his own.

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We were only accessories
to his meticulousness.

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He used the word "character" a lot:

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"charrracterrr walk in,
charrracterrr walk out."

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He used his actors in an unusual way

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and talked to them as they worked.

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The first scenes with Pierre Brasseur
were incredible.

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We rehearsed several times,

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Brasseur repeated Boro's instructions,

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we said "action",
cameras started rolling...

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And Borowczyk starts giving orders:
"Go in, sit, leave, stand..."

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Brasseur stops: "Is he going
to talk like this all the time?!"

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And Boro replies:
"It normal, I direct actor!"

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Goto I II,

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00:16:35,632 --> 00:16:37,467
Goto I,

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Goto I I.

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Borowczyk did everything himself.

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The opening of each little funnel

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is designed to be inviting to flies.

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The fly doesn't realize it won't be able
to leave once it's inside.

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00:18:06,990 --> 00:18:09,626
When Borowczyk said "I want this",
I did what he told me to.

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00:18:09,960 --> 00:18:11,428
I gave him what he asked for.

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We had a bond because he knew
I understood what he wanted.

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00:18:27,077 --> 00:18:30,013
I worked with a number of directors

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00:18:30,246 --> 00:18:33,016
and I wasn't Borowczyk's slave.

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I was his servant - but with medals.

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I knew that he'd call me
if he wanted to make another movie.

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00:18:44,094 --> 00:18:48,098
And I never would've even thought
to refuse.

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00:18:48,331 --> 00:18:53,069
I'd never tell him "No".
Once, I don't remember which film it was,

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I was away shooting with Borowczyk,

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00:18:55,338 --> 00:18:59,275
and Polański asked for me.
I had to refuse Polański.

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Borowczyk was like family.

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00:19:01,511 --> 00:19:04,481
And I have to admit that
I didn't understand that film at all,

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but once I watched it,

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I realized we made a masterpiece.

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00:21:19,582 --> 00:21:21,384
The Simon report from a few months ago,

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the French equivalent
of the Kinsey report,

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was a controversial success.

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The statistics overturned
a number of stereotypes.

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Here's a question for today:

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are the French a nation of prudes?

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The majority of the French
refuse to acknowledge sexuality.

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80 make love in the dark.

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Sex shops aren't popular,

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erotic films
don't attract a wide audience.

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00:22:07,630 --> 00:22:10,667
The upheavals of '68

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formed several
new political battlefields,

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but also reshaped us
on a personal level:

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sexuality, free love...

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Censorship became much less strict,

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giving authors an opportunity

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to create more sensual and erotic works.

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He could spread his wings and fly.

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We loved transgressive films,

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even extremely iconoclastic ones.

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Even - should I say - immoral ones.

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The girl's lashes flutter
like butterfly wings. It's wonderful.

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That's the famous...

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That's Borowczyk.

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This ass and the road rolling back.

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The image detaches from the background.

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This is Borowczyk!

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This is freedom!
Absolute freedom!

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Erotic freedom, all kinds of freedom.

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Is it an erotic and libertine film

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or a libertine and erotic film?

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I think it's both.
But most of all

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it's aesthetic.

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It takes images that could be called
pornographic and transforms them

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into works of almost libertine art.

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This film showed me eroticism

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in the language of cinema,

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an eroticism that permeates
the whole world,

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not just a few stolen sex scenes.

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"Immoral Tales" make you feel like

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the whole world throbs with eroticism.

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There is an eroticization of objects
in Borowczyk's films.

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His eroticism involves

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the juxtaposition
of bodies and objects -

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objects that can penetrate the body

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and objects
completely unrelated to the body.

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His eroticism is linked with desire

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and - at times - cruelty.

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Boro wasn't widely known when he worked
on his earlier films.

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Then the erotic "Immoral Tales"
suddenly catapulted him to fame.

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"Emmanuelle" was the only film
that could've rivaled

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the eroticism of "Immoral Tales" -

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00:31:08,671 --> 00:31:10,906
but its eroticism

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wasn't liberating or revolutionary,

204
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it was just sex for bourgeois viewers
wanting to jack off

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in a movie theater
on Boulevard de Sébastopol.

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It didn't make sense.

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I was impressed
by the courage of this man

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00:31:27,923 --> 00:31:35,498
who dared to show
the joys and pleasures

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of eroticism without trying to

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normalize it,

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00:31:44,106 --> 00:31:46,075
make it useful,

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00:31:46,308 --> 00:31:53,449
or justify it in the name of love
or some other cause.

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00:31:53,682 --> 00:31:55,918
Our sound engineer
in the first chapter

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of "Immoral Tales",
one Gerard Delaguarde,

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was extremely Catholic, very Christian,

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very fundamentalist,
almost as holy as the Pope.

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At the end of the shoot
he comes up to Borowczyk and says:

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00:32:07,396 --> 00:32:12,301
"My dear Boro, it's a waste of
your talent! You're making porn!

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00:32:12,535 --> 00:32:14,937
This isn't right.
You're becoming a pornographer

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00:32:15,171 --> 00:32:17,039
and I refuse to work with you."

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00:32:17,273 --> 00:32:19,742
Boro flew into a rage.

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He was being pigeonholed -
and he hated being pigeonholed.

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"I'm not a pornographer!
I'm a revolutionary

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00:32:29,151 --> 00:32:32,121
who uses sex to express
the idea of freedom,

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00:32:32,354 --> 00:32:35,925
the right to freedom!"

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00:32:59,982 --> 00:33:04,019
Each film is a trip, an adventure.

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00:33:04,253 --> 00:33:07,122
The end result is always a surprise.

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00:33:07,356 --> 00:33:14,563
We work around the clock
with no downtime;

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our eagerness

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to see the end result
is truly fascinating.

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That's real creativity!

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00:33:34,483 --> 00:33:36,285
I've always felt that

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the most transgressive movies are
those that weren't intended as such -

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00:33:41,156 --> 00:33:46,562
where the filmmakers
just did what came to them naturally.

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00:33:46,795 --> 00:33:50,065
Many scandalizing films
weren't meant to scandalize.

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00:33:55,971 --> 00:33:59,174
Oh, Lisbeth... Fabulous!

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00:37:00,422 --> 00:37:02,858
The movie "The Beast"

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is a fantasy film
as well as an erotic film,

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00:37:10,199 --> 00:37:17,873
but most of all and above all

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it's a film about
the mechanics of dreams.

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This scene is pretty funny.

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00:38:25,340 --> 00:38:30,345
And the Beast resembles a giant rat
rather than a bear.

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00:38:31,580 --> 00:38:36,318
It's clear that it's really a man
in a monster suit.

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00:39:05,981 --> 00:39:08,984
The Beast's spurting sperm,

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00:39:09,218 --> 00:39:15,357
Scarlatti, the forest, the death
of the Beast. It's extraordinary!

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00:39:53,962 --> 00:39:56,331
One small detail: who did the squirting?

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00:39:56,565 --> 00:39:59,368
Borowczyk himself! He used a pump.

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00:40:00,068 --> 00:40:05,374
No one could squirt
as good as Borowczyk. Naturally!

249
00:40:05,607 --> 00:40:08,110
He always liked to
do everything himself.

250
00:40:18,620 --> 00:40:19,688
Nice to meet you.

251
00:40:20,122 --> 00:40:21,423
What an incredible place!

252
00:40:21,657 --> 00:40:25,427
This is the temporary warehouse
of the Swiss Film Archive.

253
00:40:30,465 --> 00:40:32,434
We'll discover it together.

254
00:40:32,668 --> 00:40:34,236
Incredible.

255
00:41:05,734 --> 00:41:07,736
The head...

256
00:41:16,812 --> 00:41:18,981
- Are you alright?
- Yes.

257
00:41:23,452 --> 00:41:27,022
The testicles, the penis...

258
00:41:27,923 --> 00:41:30,192
The tongue moves...

259
00:41:30,425 --> 00:41:31,994
The actor went inside.

260
00:41:34,096 --> 00:41:37,332
Face to face with the Beast.

261
00:41:48,443 --> 00:41:52,647
The hair of the beast, it's amazing.

262
00:44:45,587 --> 00:44:47,889
"The Beast" was a bit of a divorce
with critics.

263
00:44:48,123 --> 00:44:53,261
They reproached him
for making a coarse,

264
00:44:53,495 --> 00:44:55,697
overly violent film.

265
00:44:58,099 --> 00:45:01,970
Is it porn or is it overdone erotica?

266
00:45:02,204 --> 00:45:06,107
It's classic sophisticated porn!

267
00:45:08,109 --> 00:45:09,644
I think it's scandalous.

268
00:45:09,978 --> 00:45:11,379
The scene where the woman

269
00:45:11,613 --> 00:45:14,316
pleasures herself with
the rose is the worst.

270
00:45:14,549 --> 00:45:18,520
The fact that this film
is also scandalous

271
00:45:18,753 --> 00:45:22,891
doesn't make me reject it.

272
00:46:50,378 --> 00:46:53,315
Take a painting by Vermeer.

273
00:46:53,548 --> 00:46:57,852
It looks interesting from a distance,

274
00:46:58,086 --> 00:47:04,559
even if it was only painted
on commission for a rich merchant.

275
00:47:04,793 --> 00:47:07,195
But get up close
and examine it carefully,

276
00:47:07,429 --> 00:47:10,965
like you would a Rembrandt,
and you'll see

277
00:47:11,199 --> 00:47:15,637
the suffering,
the brush strokes, the texture...

278
00:47:15,970 --> 00:47:17,038
It's extraordinary!

279
00:47:50,505 --> 00:47:54,609
It's a very disappointing work
by an inconsistent filmmaker.

280
00:47:54,909 --> 00:47:58,279
I think Borowczyk
is at his lowest in this film.

281
00:47:58,513 --> 00:48:00,081
It's naturalist,

282
00:48:00,315 --> 00:48:02,417
which never was
Borowczyk's strong point,

283
00:48:02,650 --> 00:48:05,186
the acting is flat

284
00:48:05,420 --> 00:48:08,823
and the erotic scenes are awful.

285
00:48:09,057 --> 00:48:10,325
It doesn't make any sense.

286
00:48:31,479 --> 00:48:37,085
In this movie Borowczyk
was working with two icons of erotica -

287
00:48:37,318 --> 00:48:41,823
Joe Dallesandro,
the star of Morrissey's films,

288
00:48:42,056 --> 00:48:45,360
and Sylvia Kristel,
famous for "Emmanuelle".

289
00:48:45,593 --> 00:48:48,463
He gave them magnificent roles.

290
00:48:56,671 --> 00:49:00,241
Here's a quote
from Sylvia Kristel's autobiography.

291
00:49:00,475 --> 00:49:04,412
"Walerian Borowczyk,
the director of "Immoral Tales,"

292
00:49:04,646 --> 00:49:06,381
offers me a part in "The Margin,"

293
00:49:06,614 --> 00:49:09,484
an adaptation of Pieyre De Mandiargues'
award-winning novel.

294
00:49:09,717 --> 00:49:12,520
It's a powerful role.
Maybe even my favorite.

295
00:49:12,921 --> 00:49:15,423
Walerian seems haunted by
his erotic fantasies

296
00:49:15,657 --> 00:49:17,325
and fetishistic tastes.

297
00:49:17,559 --> 00:49:19,427
I play a prostitute."

298
00:49:52,494 --> 00:49:58,666
But it had to happen.
Sylvia Kristel signed a contract.

299
00:49:59,033 --> 00:50:01,469
The Japanese
had already bought the film.

300
00:50:01,703 --> 00:50:04,138
We simply had to shoot it.

301
00:50:05,540 --> 00:50:07,876
It's very bad. Do you agree?

302
00:50:08,109 --> 00:50:11,246
No, it's not very bad.

303
00:50:13,381 --> 00:50:15,984
Let's just ignore it.

304
00:50:16,217 --> 00:50:18,653
No, it's important,
because it concerns Borowczyk,

305
00:50:18,953 --> 00:50:21,189
who's quite an eminent artist.

306
00:50:21,422 --> 00:50:24,325
Maybe the fault
isn't entirely his own,

307
00:50:24,559 --> 00:50:26,427
but the movie is just plain stupid!

308
00:50:26,661 --> 00:50:29,163
Walerian Borowczyk has his own world,
Mandiargues

309
00:50:29,397 --> 00:50:31,165
and maybe Dallesandro
have theirs too,

310
00:50:31,399 --> 00:50:34,402
but all we see here
is the world of Sylvia Kristel!

311
00:50:34,636 --> 00:50:37,038
It's only fit for hairdressers,

312
00:50:37,272 --> 00:50:39,674
it's like a glossy magazine!

313
00:50:53,955 --> 00:50:55,156
"The film is a flop.

314
00:50:55,390 --> 00:50:57,959
It's only screened
in 'arthouse' cinemas.

315
00:50:58,192 --> 00:51:01,029
A nice name with low viewership -
a pity."

316
00:51:01,262 --> 00:51:03,331
Borowczyk gradually limits himself to -

317
00:51:03,565 --> 00:51:06,067
or is limited to - erotica.

318
00:51:43,671 --> 00:51:46,541
Mr Borowczyk,
are you still interested in sex?

319
00:51:46,774 --> 00:51:49,077
How much longer
will it remain an inspiration?

320
00:51:49,310 --> 00:51:53,881
Excuse me, it's not just me -

321
00:51:54,115 --> 00:51:57,218
everyone's interested in sex!
That's always been the case!

322
00:51:57,452 --> 00:52:01,556
He became more famous once he started

323
00:52:01,789 --> 00:52:05,293
making erotic films.

324
00:52:05,526 --> 00:52:10,665
It became easier for him
to start new erotic projects,

325
00:52:10,999 --> 00:52:13,001
because his producers kept saying

326
00:52:13,234 --> 00:52:17,405
"Go on, make another erotic flick,
you're great at it,

327
00:52:17,639 --> 00:52:19,574
people love them!"

328
00:52:19,807 --> 00:52:25,580
Seriously, contrary to popular opinion
I'm not an erotic filmmaker.

329
00:52:25,813 --> 00:52:31,085
I think Disney is more erotic!

330
00:52:31,319 --> 00:52:33,154
The man eschewed labels -

331
00:52:33,388 --> 00:52:35,356
this used to confuse film critics.

332
00:52:35,590 --> 00:52:36,858
"What shall we do about Boro?

333
00:52:37,091 --> 00:52:41,496
He makes animations, medieval dramas,
all sorts of odd films..."

334
00:52:41,729 --> 00:52:44,198
They didn't know how to categorize him.

335
00:52:44,432 --> 00:52:48,503
But when he started shooting erotica
in his own style,

336
00:52:48,736 --> 00:52:52,273
they suddenly found a label that fit:

337
00:52:52,507 --> 00:52:54,642
Borowczyk makes erotic cinema!

338
00:52:54,942 --> 00:53:03,317
Whenever someone says "erotic movie"
or "a film about sex",

339
00:53:03,551 --> 00:53:14,028
the expression is always
either sarcastic or derogatory.

340
00:53:14,262 --> 00:53:19,067
I understand why he was annoyed -

341
00:53:19,300 --> 00:53:23,571
it was like they'd shoved him
into a small box

342
00:53:23,905 --> 00:53:27,341
labeled "erotica"
and told him to stay there.

343
00:53:27,575 --> 00:53:32,447
I'm sorry,
but I always have to emphasize

344
00:53:32,680 --> 00:53:36,050
that I don't specialize
in any particular thing.

345
00:53:36,284 --> 00:53:38,019
I'm just a filmmaker.

346
00:53:38,286 --> 00:53:41,322
If there's anything
I specialize in, it's filmmaking.

347
00:53:41,622 --> 00:53:43,491
Borowczyk wanted to do other projects,

348
00:53:43,725 --> 00:53:46,160
like Harry Dickson stories,

349
00:53:46,394 --> 00:53:48,830
but the producers didn't support him.

350
00:53:49,063 --> 00:53:52,467
They didn't support him.

351
00:53:52,700 --> 00:53:55,970
They wanted him to keep making erotica.

352
00:54:10,218 --> 00:54:14,655
I don't remember shooting this.

353
00:54:16,023 --> 00:54:19,627
I've never filmed that!
What's this scene doing here?

354
00:54:24,565 --> 00:54:27,135
Oh, they added an orgy?

355
00:54:27,368 --> 00:54:29,370
Damn.

356
00:54:29,604 --> 00:54:33,074
Borowczyk never directed that!

357
00:54:34,075 --> 00:54:38,079
They pornified this film afterwards.

358
00:54:39,313 --> 00:54:42,083
Here you go. Two drawings

359
00:54:42,316 --> 00:54:46,954
based on stills from "Immoral Tales"

360
00:54:47,188 --> 00:54:52,160
that have absolutely nothing to do

361
00:54:52,393 --> 00:54:56,297
with the plot of the film.

362
00:54:56,531 --> 00:55:00,635
The cover image of this tape
of "Goto, Isle of Love"

363
00:55:00,968 --> 00:55:06,440
shows a scene completely unrelated
to the movie as well.

364
00:55:06,974 --> 00:55:10,711
Here's a particularly egregious example:

365
00:55:11,045 --> 00:55:13,247
"The Margin," based on
an important novel

366
00:55:13,481 --> 00:55:15,983
by André Pieyre de Mandiargues,

367
00:55:16,217 --> 00:55:19,353
was retitled "Emmanuelle 77".

368
00:55:19,587 --> 00:55:22,423
As you can see,
the unfortunate director

369
00:55:22,657 --> 00:55:25,293
is listed dead last,

370
00:55:25,526 --> 00:55:28,329
far below

371
00:55:28,563 --> 00:55:30,898
Sylvia Kristel
and Joe Dallesandro.

372
00:55:31,132 --> 00:55:38,406
The actors aren't as important
as the director and the writer!

373
00:55:38,639 --> 00:55:45,313
And "Emmanuelle 77"
sounds like a porn flick.

374
00:55:47,415 --> 00:55:50,651
From one scandal to another,
from "Blow-Up" to "Last Tango in Paris,"

375
00:55:50,985 --> 00:55:53,221
cinema finally vanquished censorship.

376
00:55:54,455 --> 00:55:57,058
Seeing the plethora of porn
that came out this year

377
00:55:57,291 --> 00:55:59,193
it's hard to imagine
that only 6 years ago

378
00:55:59,427 --> 00:56:02,396
it would've been unthinkable
to show any pubic hair.

379
00:56:02,630 --> 00:56:04,398
Around 150 pornographic

380
00:56:04,632 --> 00:56:08,369
and erotic films come out every year.

381
00:56:08,603 --> 00:56:11,239
Given 6.5 million views
in Paris alone

382
00:56:11,472 --> 00:56:15,376
one gets the idea
of the surge of erotic cinema

383
00:56:15,610 --> 00:56:20,147
and why 50 of film budget
is spent on erotic films.

384
00:56:20,448 --> 00:56:22,149
Is it liberation or profit?

385
00:56:36,063 --> 00:56:40,668
10 years later
eroticism was no longer

386
00:56:40,968 --> 00:56:45,840
an expression of freedom,
a tool of revolution.

387
00:56:46,207 --> 00:56:48,509
We have ideas and desires

388
00:56:48,743 --> 00:56:51,445
precisely because some boundaries exist.

389
00:56:51,679 --> 00:56:56,350
Absolute freedom
can be quite terrifying.

390
00:57:20,007 --> 00:57:24,011
What does it say to Borowczyk
when he has to put up with a producer

391
00:57:24,245 --> 00:57:28,249
who changes his posters
and adds sex scenes?

392
00:57:28,482 --> 00:57:31,319
It says to him that he's no longer God.

393
00:57:31,552 --> 00:57:33,220
That must've been hard.

394
00:59:24,465 --> 00:59:28,202
I made around 10 films
with Walerian Borowczyk,

395
00:59:28,436 --> 00:59:30,838
8 of them feature length.

396
00:59:31,072 --> 00:59:32,807
We worked together,

397
00:59:33,040 --> 00:59:36,277
saw each other a lot on set
and never interacted outside of work.

398
00:59:36,510 --> 00:59:40,448
I had him over for lunch once.

399
00:59:40,681 --> 00:59:43,551
Once in 20 years of collaboration!

400
00:59:43,784 --> 00:59:47,788
I told my dear wife Zoe:

401
00:59:48,022 --> 00:59:49,957
We have to make potatoes.

402
00:59:50,191 --> 00:59:54,628
We fixed him a dish of potatoes
with quark and chives.

403
00:59:55,262 --> 00:59:56,597
Borowczyk said:

404
00:59:56,931 --> 00:59:59,500
"That's one of
the best meals I've ever had!"

405
00:59:59,733 --> 01:00:03,904
I knew he usually ate potatoes
with quark and chives.

406
01:00:04,438 --> 01:00:09,210
I think that was the last time
I saw Borowczyk.

407
01:00:21,088 --> 01:00:25,359
I often say that the end of the 1970s
was the end of an era

408
01:00:25,593 --> 01:00:29,530
and our modern times began in 1980.

409
01:00:29,763 --> 01:00:34,668
It was a period of huge changes
all over the world -

410
01:00:35,002 --> 01:00:38,272
intellectual, political,
economic transformation.

411
01:00:38,506 --> 01:00:46,046
The 1980s are seen
as the peak of hedonism,

412
01:00:46,280 --> 01:00:54,455
a time of lightness,
insouciance, and money,

413
01:00:54,688 --> 01:01:04,231
of ideas that heralded
the decline of profound thought.

414
01:01:04,465 --> 01:01:06,267
How is Emmanuelle doing now? She's fine!

415
01:01:06,500 --> 01:01:10,271
She lives in Réunion
and enjoys the landscapes of our island.

416
01:01:10,504 --> 01:01:14,074
Today is the last day of filming;
here's some footage from the set.

417
01:01:33,594 --> 01:01:35,996
We're in Domaine de la Confiance
in Saint-Benojt

418
01:01:36,230 --> 01:01:40,000
during the last rehearsal
of the final scene.

419
01:01:41,101 --> 01:01:43,237
Is this an adventure film
with a dash of eroticism?

420
01:01:43,571 --> 01:01:47,908
No, it's just an adventure film.

421
01:01:48,142 --> 01:01:53,080
The eroticism is imparted
by the director: Walerian Borowczyk,

422
01:01:53,314 --> 01:01:57,184
a great filmmaker,

423
01:01:57,418 --> 01:01:59,587
sculptor, and painter of women.

424
01:01:59,820 --> 01:02:02,990
The budget of "Emmanuelle 5"
is 23 million francs.

425
01:02:05,693 --> 01:02:07,561
- Yes?
- Good morning.

426
01:02:07,795 --> 01:02:11,131
- Thierry Bazin?
- Speaking.

427
01:02:11,365 --> 01:02:13,701
This is Noël Very. Glad to meet you.

428
01:02:14,435 --> 01:02:17,238
It's interesting that we remember
Borowczyk differently.

429
01:02:17,471 --> 01:02:18,639
Of course we do.

430
01:02:18,973 --> 01:02:24,111
- I worked with him in 1986.
- I did in 1968.

431
01:02:24,445 --> 01:02:27,047
We made "Emmanuelle 5".

432
01:02:27,281 --> 01:02:30,484
I have to say it's a 'great' film.

433
01:02:30,718 --> 01:02:34,521
- And you didn't shoot it.
- No, I didn't.

434
01:02:34,755 --> 01:02:38,993
It was in the era of "Indiana Jones",

435
01:02:39,226 --> 01:02:43,530
an unbelievably successful film.

436
01:02:45,299 --> 01:02:48,402
Siritzky bought "Emmanuelle"

437
01:02:48,636 --> 01:02:52,706
and added a lot of adventure tropes

438
01:02:53,040 --> 01:02:55,442
and a protagonist reminiscent of Indy.

439
01:02:55,676 --> 01:02:57,211
Yeah, it wasn't particularly creative.

440
01:02:57,444 --> 01:03:00,281
I guess hiring Borowczyk

441
01:03:00,514 --> 01:03:04,285
gave Siritzky an artistic alibi.

442
01:03:04,585 --> 01:03:09,123
I was one of the few people
who liked being around Borowczyk

443
01:03:09,356 --> 01:03:12,426
during the preliminary stages.

444
01:03:12,960 --> 01:03:15,596
I listened to him, watched him,

445
01:03:15,829 --> 01:03:17,498
lunched with him every day.

446
01:03:17,731 --> 01:03:20,334
I was the only person
that had lunch with him every day.

447
01:03:20,567 --> 01:03:25,005
We always ate
at that place on rue Berri.

448
01:03:25,239 --> 01:03:27,141
They served fondue.

449
01:03:27,374 --> 01:03:28,676
He didn't eat cheese...

450
01:03:29,043 --> 01:03:31,011
Yeah, he only ate the boiled potatoes.

451
01:03:31,245 --> 01:03:33,614
Boiled potatoes!
Remember the boiled potatoes?

452
01:03:33,947 --> 01:03:37,284
- Of course!
- Sure, he only ate potatoes.

453
01:03:37,518 --> 01:03:41,889
- Like a proper Pole.
- Yes, like a proper Pole, it's logical.

454
01:03:42,523 --> 01:03:44,858
During the preparations

455
01:03:45,092 --> 01:03:48,929
I always felt like
he was in his own world.

456
01:03:49,163 --> 01:03:54,535
The assistant director
must ask the director

457
01:03:55,169 --> 01:04:00,240
to justify certain choices
or make certain decisions.

458
01:04:00,474 --> 01:04:04,111
Walerian had a very hard time
answering my questions.

459
01:04:04,378 --> 01:04:07,114
He gave me no input about casting -
it didn't interest him at all.

460
01:04:07,348 --> 01:04:09,416
I think he had no choice in the matter,

461
01:04:09,650 --> 01:04:11,985
he was just given these actors.

462
01:04:12,219 --> 01:04:16,256
For me, there's a lot of technical work.

463
01:04:16,523 --> 01:04:21,261
We went to Réunion to shoot on location.

464
01:04:24,064 --> 01:04:30,170
After 3 shooting days
we were already 2 days behind schedule.

465
01:04:30,404 --> 01:04:32,306
Or even more.

466
01:04:32,973 --> 01:04:37,411
I think most people on that set
didn't realize what we were making.

467
01:04:37,644 --> 01:04:41,615
We weren't shooting according to plan.

468
01:04:42,049 --> 01:04:47,254
We had a 35BL - a fairly hefty camera.

469
01:04:47,488 --> 01:04:51,992
He carried it on his shoulder,
swaying slightly under the weight,

470
01:04:52,226 --> 01:04:56,130
and shuffled actors around.
They didn't understand him.

471
01:04:57,398 --> 01:04:59,400
He didn't get angry,

472
01:04:59,633 --> 01:05:06,306
but the American actors found him
incomprehensible and insufferable.

473
01:05:08,308 --> 01:05:11,278
Until that moment

474
01:05:11,512 --> 01:05:16,450
when the 'famous' American actress...
I think she slapped him.

475
01:05:18,552 --> 01:05:21,088
When she slapped him,
Walerian just walked off.

476
01:05:22,289 --> 01:05:23,957
We realized

477
01:05:24,191 --> 01:05:27,461
he took the first plane back to Paris.

478
01:05:28,061 --> 01:05:31,098
In the absence of Borowicz,
the film's director,

479
01:05:31,331 --> 01:05:36,503
his assistant directs the actors.

480
01:05:37,671 --> 01:05:40,574
The producer said

481
01:05:40,808 --> 01:05:45,345
he wanted me to take over
and finish the film.

482
01:05:45,579 --> 01:05:48,182
Finish the film?!
We barely started shooting!

483
01:05:51,018 --> 01:05:51,618
Action!

484
01:06:13,106 --> 01:06:13,707
Cut!

485
01:06:14,274 --> 01:06:17,678
No, the end result was not a good film.

486
01:06:18,011 --> 01:06:19,880
This film is...

487
01:06:20,113 --> 01:06:23,250
I don't think it's a Borowczyk film.

488
01:06:23,484 --> 01:06:25,486
It's not even the producer's film.

489
01:06:25,719 --> 01:06:29,223
I think it's an object

490
01:06:29,456 --> 01:06:33,861
available in different languages

491
01:06:34,094 --> 01:06:36,530
depending on the country
it's screened in,

492
01:06:36,763 --> 01:06:39,333
which makes it the distributor's film.

493
01:06:54,348 --> 01:06:58,118
I always felt like he needed solitude,

494
01:06:58,352 --> 01:07:00,854
he needed to be all by himself.

495
01:07:01,555 --> 01:07:10,364
That made working in the film industry
somewhat of a challenge.

496
01:07:11,031 --> 01:07:17,571
Did you feel like "Emmanuelle"
was supposed to buy him this solitude?

497
01:07:17,804 --> 01:07:21,675
Yes, I think that's the only reason
he took this job.

498
01:07:23,343 --> 01:07:28,415
It felt like it was his last movie.

499
01:07:29,249 --> 01:07:30,951
I really got this impression.

500
01:07:31,184 --> 01:07:34,454
It was supposed to be his last work,
a means to make some money

501
01:07:34,688 --> 01:07:40,127
to afford the solitude he required.

502
01:09:33,674 --> 01:09:37,611
I'll tell you quite honestly -
a director will do everything

503
01:09:37,944 --> 01:09:40,514
they can to achieve freedom
in making a live-action film,

504
01:09:40,747 --> 01:09:42,416
but it's an impossible goal.

505
01:09:42,649 --> 01:09:45,085
Immense strength is needed
to avoid getting crushed

506
01:09:45,318 --> 01:09:50,957
by all the non-artistic things
involved in filmmaking.

507
01:09:51,258 --> 01:09:59,199
From financing to ordering decorations,

508
01:09:59,466 --> 01:10:02,302
you can't do it without a large crew.

509
01:10:02,536 --> 01:10:04,337
Animation, like painting,

510
01:10:04,571 --> 01:10:07,174
is my safety valve -

511
01:10:07,407 --> 01:10:12,879
it lets me be alone and work on
things totally on my own.

512
01:10:13,113 --> 01:10:18,218
I'll show you a piece
I just finished editing.

513
01:10:18,919 --> 01:10:23,056
I won't spoil the ending,

514
01:10:23,290 --> 01:10:25,425
you'll see the whole thing
when it's done.

515
01:10:25,659 --> 01:10:29,463
I'll show you the beginning,

516
01:10:29,696 --> 01:10:35,235
maybe it'll pique your curiosity.