Original subtitles

Orpheus, poet and musician, was allowed to go to hell

to get his wife back in the living at the condition that

he wouldn't look back at her until the end of the journey.

Just near arrival, he looked back and lost Eurydice forever.

The Maenads pursued him and tore his body to pieces.

Since then, his head and his song come up the rivers endlessly.

Julien lost Anne in vague and mysterious circumstances.

Anne is probably dead.

Anne is probably dead.

Is it through a universe of death

that Julien wanders in hope of finding Anne?

Is it out of hell, or in hell,

that he goes looking for Anne?

Of Eurydice?

Where he might finally find her?

1-2-3-4. There's four measures.

That's it.

la-la-la-la-la-la-la

;-)

Harmonically, it wouldn't be bad to...

Euh... Yes.

We can... It's more...

It's easier to cut in this piece than in the other one.

Yes.

Yes.

Yes, so we can start one measure earlier.

Eurydice...

Eurydice.

Eu-ry-dice.

It's here.

I remember.

It will be there.

Yes, we're starting again. Yes.

We want to do it once more because it wasn't exactly right.

To us.

In our point of view.

Ok.

The boat appeared in the beams of light.

As it got close to the quay, the soldiers looked away.

One of them held his nose.

There was 4000 persons in that small boat

measuring about 50 meters long by 20 meters large.

Half of the refugees from the North of the country

were women and children of all ages.

Some of the children were born during the journey.

Wounded people inside the boat, water up to the waist.

A man with his ears cut-off.

Another, blind.

All were reaching out in the same direction.

A walkway of 15 meters, leaning at 45 degree, was put in place.

Guards holding Tommy guns, one of them chewing on a cigar,

placed themselves in a tight line at the end of the walkway.

A soldier, in the background, armed with a 24-36,

was taking pictures with an electronic flash.

Sailors, in line, were getting the babies out.

A net, taken down with a crane,

was coming up with loads of women and children.

As soon as she got on the ground, a woman gave birth.

I dreamt so hard about you.

I loved your shadow so much.

A single one of your glances.

One single look from you.

Loved your shadow so much.

I am the body. And you the best part.

Let me look at your eyes.

Soft looks. Eyes full of beauty.

Let's leave this light that only allows me to see your face.

This time that is neither day or night.

Dark night we waited for in vain.

I can see you at last.

I wouldn't want to lose you from too much love.

Hell, Julien, would be to stop loving.

Hell, Anne, would be to stop loving.

Just as a living soul bonds to a lifeless body.

Just as a living soul bonds to a lifeless body.

If I couldn't love you anymore.

I would scream for death to darken my clearest day.

From hell only arises the eternal thirst for an impossible death.

Your turn Florence,...

That's good, pretty good to me, but there is something that...

Wait.

You have your mouth open. You say something like �Oh!�.

This arm should be more rounded.

And this arm, more stretched.

Is it ok here?

What about this leg?

Yes, it's ok.

Except that the legs are the other way around.

This one is like this and it's the other one that's like that.

Raised a little?

Yes, it should be raised.

There it is.

Ok. You hold this profile and you have your mouth shut.

And you still look at her.

And you you are a little more towards him. Your glance.

And you say �Oh!�.

And your face is more like this. That's it.

It's hard not to break one's face.

Like this.

That's it.

Ok.

Ok. You take the pose.

Nicole you get out of frame. You can still make a few touch-up if you want.

The �Oh� of the mouth, like this...

Ok.

Ok, sand and light.

So, I'll take it like this, and I'll round it up afterwards...

Another myth says that Apollo, in love, chased the nymph Daphne.

The young girl, just when the God was to take her...

Your left arm... straighter.

The limbs stretched out more, extended up.

Mostly your left arm.

Hair as foliage.

Arms as branches that extend.

In an instant, inert roots hold her back.

That's it, you are taking pictures.

You get your equipment down, you have to look at the camera.

It's when you see the camera that the camera sees you.

But do I really look at it or is it simply in my visual field?

You look at the camera, it's in your visual field.

You look at it, the camera.

Ok, get me some wind. Plug this thing there.

Orpheus lost Eurydice.

In the city, Julien is going to meet up with Anne.

Day is coming, Julien.

Jeanne.

Anne.

Can we do it again?

Yes, yes, yes.

It's a matter of accent.

There is real strong accents.

We can play a bit with these accents.

You can resume if you wish to.

Yes. Oh that goes later.

Immediately before he goes back and sees Eurydice.

Yes... Oh, ok.

Absolutely. The moment when she disappears.

Yes.

When I sing �O.....�

She disappears.

Euhm, we do all that part again.

It's a question of...

It's more or less a question of ensemble.

That is to say that...

I am under the impression that, euhm, the ideas...

It's a question of rhythm, the rhythm. Wait what is the term...

It's very rhythmic. Even though we believe that it would be more...

It's hard to find the exact... ensemble.

And you think we'll find it now? We start again?

Yes.

In my opinion it gives an impression that is not exactly...

It's not the right taste.

Not the good taste required by our era, if you want...

Therefore I have to change the harmonies.

For example to transform the minor chords into major chords.

Don't you think it might be the ornaments that aren't...

Too much, it is too much?

Too much ornaments?

No, it just wasn't. It wasn't...

It wasn't the right ornaments.

It's never perfect. It doesn't exist.

Not perfect. But it's a lot better.

A lot better.

I guess we'll have to do with �a lot better�.

Ok. Yes. A lot better.

Eurydice.

Eurydice.

Eurydice. Eurydice.

Eu-ry-dice.

Eu-ry-dice.

Eurydice.