All language subtitles for Picasso and Braque go to the movies (Scorsese-Arne Glimcher, 2008) eng

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These are the user uploaded subtitles that are being translated: 1 00:00:33,489 --> 00:00:36,350 it was the turn of the 20th century and 2 00:00:36,350 --> 00:00:38,960 the disciplines of art and film were 3 00:00:38,960 --> 00:00:40,730 about to converge in a way that would 4 00:00:40,730 --> 00:00:41,989 change our perception of the world 5 00:00:41,989 --> 00:00:45,230 forever if still photography had already 6 00:00:45,230 --> 00:00:47,390 had a profound effect on mid 19th 7 00:00:47,390 --> 00:00:49,879 century artists especially MANET what 8 00:00:49,879 --> 00:00:51,589 influence would Motion Pictures have on 9 00:00:51,589 --> 00:00:55,699 the next generation by 1893 Edison's 10 00:00:55,699 --> 00:00:57,680 Kinetoscope was an international 11 00:00:57,680 --> 00:00:59,480 sensation but only one person at a time 12 00:00:59,480 --> 00:01:01,550 could view this miniature world of 13 00:01:01,550 --> 00:01:02,320 movement 14 00:01:02,320 --> 00:01:04,909 Edison's ultimate objective was to do 15 00:01:04,909 --> 00:01:07,100 for the eye what his photograph had done 16 00:01:07,100 --> 00:01:10,820 for the ear but in 1895 there would be 17 00:01:10,820 --> 00:01:13,310 the Lumiere brothers in Paris advancing 18 00:01:13,310 --> 00:01:15,260 Edison's technology and introducing the 19 00:01:15,260 --> 00:01:17,950 cinematograph projecting motion pictures 20 00:01:17,950 --> 00:01:20,659 it was one of a range of remarkable new 21 00:01:20,659 --> 00:01:22,729 technologies including aviation that 22 00:01:22,729 --> 00:01:24,500 promised the annihilation of time and 23 00:01:24,500 --> 00:01:28,120 space as it was known 24 00:01:28,120 --> 00:01:44,550 [Music] 25 00:01:44,550 --> 00:01:47,770 we tend to think of cubism more in terms 26 00:01:47,770 --> 00:01:51,130 of geometry and structure the truth is 27 00:01:51,130 --> 00:01:54,210 that it is a technological art it's 28 00:01:54,210 --> 00:01:57,430 involved with what we've come to know is 29 00:01:57,430 --> 00:01:59,350 the Industrial Revolution and we've 30 00:01:59,350 --> 00:02:02,740 forgotten the revolution part of it it 31 00:02:02,740 --> 00:02:05,620 really was a revolution in how people 32 00:02:05,620 --> 00:02:08,380 thought of themselves not just in terms 33 00:02:08,380 --> 00:02:11,260 of technology but how technology changed 34 00:02:11,260 --> 00:02:14,170 people themselves their whole view of 35 00:02:14,170 --> 00:02:16,990 their world and of their relation to it 36 00:02:16,990 --> 00:02:20,230 and Picasso and Braque were born into 37 00:02:20,230 --> 00:02:23,460 this world 38 00:02:23,470 --> 00:02:25,320 [Music] 39 00:02:25,320 --> 00:02:28,210 Picasso comes from a family of painters 40 00:02:28,210 --> 00:02:30,850 his father was a teacher of drawing at 41 00:02:30,850 --> 00:02:34,060 the academy in Madrid at a certain point 42 00:02:34,060 --> 00:02:36,250 he took his brushes and gave them to his 43 00:02:36,250 --> 00:02:39,730 son surrendering the tradition to him 44 00:02:39,730 --> 00:02:43,060 brach also came from a family in which 45 00:02:43,060 --> 00:02:45,400 there were painters his family business 46 00:02:45,400 --> 00:02:48,880 was the decoration business in Lahab but 47 00:02:48,880 --> 00:02:51,700 his father was an amateur fine art 48 00:02:51,700 --> 00:02:55,390 painter in his spare time and encouraged 49 00:02:55,390 --> 00:02:58,230 his son to follow in the family business 50 00:02:58,230 --> 00:03:02,760 but also to paint in his spare time and 51 00:03:02,760 --> 00:03:05,739 finally Brock made the choice to be a 52 00:03:05,739 --> 00:03:13,450 painter rather than a decorator there's 53 00:03:13,450 --> 00:03:15,340 a certain way that in the arts generally 54 00:03:15,340 --> 00:03:19,150 how to portray emotion basically through 55 00:03:19,150 --> 00:03:22,360 still media like painting or drawing or 56 00:03:22,360 --> 00:03:25,230 sculpture had always been an issue 57 00:03:25,230 --> 00:03:28,810 photography when it appeared in the 19th 58 00:03:28,810 --> 00:03:32,620 century had to be very still because it 59 00:03:32,620 --> 00:03:35,200 had a very long exposure time but 60 00:03:35,200 --> 00:03:37,660 starting around the 1880s and into the 61 00:03:37,660 --> 00:03:41,580 1890s still photography began to become 62 00:03:41,580 --> 00:03:43,790 instantaneous photography 63 00:03:43,790 --> 00:03:45,379 you could see something with the 64 00:03:45,379 --> 00:03:47,720 photograph but you can't see with your 65 00:03:47,720 --> 00:03:49,940 naked eye and the idea that if you could 66 00:03:49,940 --> 00:03:53,900 get instantaneous exposures you could 67 00:03:53,900 --> 00:03:56,299 make motion pictures began to occur to 68 00:03:56,299 --> 00:03:59,780 people like my bridge and moire but 69 00:03:59,780 --> 00:04:02,450 immediately people thought well if you 70 00:04:02,450 --> 00:04:05,720 can do that you could also not just 71 00:04:05,720 --> 00:04:08,030 analyze motion but synthesize it 72 00:04:08,030 --> 00:04:13,340 recreate it really record a moment 73 00:04:13,340 --> 00:04:18,720 [Music] 74 00:04:21,920 --> 00:04:25,530 when Casso was 15 years old he saw his 75 00:04:25,530 --> 00:04:30,270 first films it was 1896 barcelona he 76 00:04:30,270 --> 00:04:32,880 went to a screening in a place called 77 00:04:32,880 --> 00:04:34,590 the salad of polio 78 00:04:34,590 --> 00:04:36,840 there was one film in particular that 79 00:04:36,840 --> 00:04:39,120 struck him and it was the charge of the 80 00:04:39,120 --> 00:04:43,170 17th French curacy X and Picasso was 81 00:04:43,170 --> 00:04:45,660 sharing his first studio with his friend 82 00:04:45,660 --> 00:04:48,510 pilaris he went back to that studio and 83 00:04:48,510 --> 00:04:52,140 made of painting that drew on that 84 00:04:52,140 --> 00:04:55,650 charge of these French soldiers but 85 00:04:55,650 --> 00:04:58,350 combined it with a painting source by 86 00:04:58,350 --> 00:05:02,010 Maria Fortuna and he became an instant 87 00:05:02,010 --> 00:05:03,870 scene in file and he and his friends 88 00:05:03,870 --> 00:05:06,960 went to the cinema over and over again 89 00:05:06,960 --> 00:05:10,560 in the program that because I saw there 90 00:05:10,560 --> 00:05:13,920 were 12 or 13 films and the apparatus 91 00:05:13,920 --> 00:05:17,070 could be seen in the room so one could 92 00:05:17,070 --> 00:05:21,420 see how this mechanism operated right 93 00:05:21,420 --> 00:05:23,460 from the beginning one could see what 94 00:05:23,460 --> 00:05:25,560 the film looked like one could hear the 95 00:05:25,560 --> 00:05:27,540 clicking and the whirring of the 96 00:05:27,540 --> 00:05:30,360 mechanism turning over and so it had a 97 00:05:30,360 --> 00:05:33,780 kind of animal quality that people 98 00:05:33,780 --> 00:05:38,970 responded to for conservative 99 00:05:38,970 --> 00:05:41,940 estheticians this idea was one of the 100 00:05:41,940 --> 00:05:44,040 things that condemned cinema it could 101 00:05:44,040 --> 00:05:45,930 never be an art form it was simply a 102 00:05:45,930 --> 00:05:49,740 machine film of course is motion 103 00:05:49,740 --> 00:05:53,760 pictures and that's so obvious that I 104 00:05:53,760 --> 00:05:55,470 think we very often don't think about 105 00:05:55,470 --> 00:05:58,260 how extraordinary it had to be or the 106 00:05:58,260 --> 00:05:59,520 audience is seeing them for the first 107 00:05:59,520 --> 00:06:01,980 time not just for the technical novelty 108 00:06:01,980 --> 00:06:03,720 you know but suddenly they're seeing 109 00:06:03,720 --> 00:06:06,060 motion pictures but literally for the 110 00:06:06,060 --> 00:06:09,150 possibility of recording motion itself 111 00:06:09,150 --> 00:06:13,080 you're actually preserving time in its 112 00:06:13,080 --> 00:06:16,700 flight time in its progression and 113 00:06:16,700 --> 00:06:19,470 motion itself particularly of the human 114 00:06:19,470 --> 00:06:22,290 body but also of natural phenomenon 115 00:06:22,290 --> 00:06:25,590 waves the leaves in the trees which 116 00:06:25,590 --> 00:06:28,500 artists had often referred to either in 117 00:06:28,500 --> 00:06:31,160 poetry or in painting but had never 118 00:06:31,160 --> 00:06:32,820 literally captured 119 00:06:32,820 --> 00:06:36,900 film could do that and that is more than 120 00:06:36,900 --> 00:06:40,380 just a normal recording function it is 121 00:06:40,380 --> 00:06:43,590 opening up a whole new way of seeing and 122 00:06:43,590 --> 00:06:46,790 a whole new vision 123 00:06:58,030 --> 00:07:00,090 you 124 00:07:06,730 --> 00:07:08,750 one of the things that I really like 125 00:07:08,750 --> 00:07:11,440 about the experience in the early films 126 00:07:11,440 --> 00:07:15,380 is it it's a lot like when somebody has 127 00:07:15,380 --> 00:07:17,630 a camera for the first time has the 128 00:07:17,630 --> 00:07:19,220 ability to take a picture for the first 129 00:07:19,220 --> 00:07:23,150 time without thinking about it they walk 130 00:07:23,150 --> 00:07:25,940 around and they take a picture of that 131 00:07:25,940 --> 00:07:27,380 oh that's what take a picture of that 132 00:07:27,380 --> 00:07:28,580 you know and I'll take a picture of that 133 00:07:28,580 --> 00:07:33,020 they find something that is just up a 134 00:07:33,020 --> 00:07:35,389 contrast or or just something different 135 00:07:35,389 --> 00:07:39,320 and they take a picture of that and the 136 00:07:39,320 --> 00:07:41,540 same thing you know in some of the early 137 00:07:41,540 --> 00:07:43,820 movies the guy said wow I can take a 138 00:07:43,820 --> 00:07:45,260 picture of that and so you got a bunch 139 00:07:45,260 --> 00:07:47,330 of guys walking around or you got people 140 00:07:47,330 --> 00:07:52,070 doing them very simple basic human kinds 141 00:07:52,070 --> 00:07:54,620 of things that these guys got a chance 142 00:07:54,620 --> 00:07:57,860 to see for the first time and record for 143 00:07:57,860 --> 00:08:00,370 the first time he also got a chance to 144 00:08:00,370 --> 00:08:03,440 relive time in a way that hadn't existed 145 00:08:03,440 --> 00:08:06,800 before and as far as I'm concerned right 146 00:08:06,800 --> 00:08:08,150 a really exciting thing they got a 147 00:08:08,150 --> 00:08:11,419 chance to monkey with it and so that you 148 00:08:11,419 --> 00:08:12,800 can see the first guys who figured out 149 00:08:12,800 --> 00:08:14,210 about how to do some of these things 150 00:08:14,210 --> 00:08:16,220 they said that this is this is so neat I 151 00:08:16,220 --> 00:08:20,240 can speed up time oh gee if I wind the 152 00:08:20,240 --> 00:08:22,520 camera make it go slower I get this 153 00:08:22,520 --> 00:08:24,500 turkey jerky motion that becomes more 154 00:08:24,500 --> 00:08:27,200 hysterical and kind of peculiar and 155 00:08:27,200 --> 00:08:29,840 launches into a kind of another fantasy 156 00:08:29,840 --> 00:08:33,289 realm then some other bright spot 157 00:08:33,289 --> 00:08:35,240 figured out you know since all the film 158 00:08:35,240 --> 00:08:38,120 was double perf in those days I can take 159 00:08:38,120 --> 00:08:41,240 the film and I can make it run upside 160 00:08:41,240 --> 00:08:44,360 down and backwards and I can have time 161 00:08:44,360 --> 00:08:46,670 go backwards I mean can you imagine how 162 00:08:46,670 --> 00:08:48,950 it seems to me remarkable that idea was 163 00:08:48,950 --> 00:08:51,080 I mean remarkable enough to turn me on 164 00:08:51,080 --> 00:08:53,209 like all these years later so I still do 165 00:08:53,209 --> 00:08:55,550 it sometimes with a lot of screens and 166 00:08:55,550 --> 00:08:58,390 overlapping sound 167 00:09:02,620 --> 00:09:14,820 [Music] 168 00:09:15,130 --> 00:09:19,040 from earliest surviving drawings we have 169 00:09:19,040 --> 00:09:22,010 we know that Picasso was intoxicated 170 00:09:22,010 --> 00:09:25,040 with all forms of popular culture around 171 00:09:25,040 --> 00:09:27,380 and this is a lifelong obsession a 172 00:09:27,380 --> 00:09:28,760 lifelong love 173 00:09:28,760 --> 00:09:31,960 he loved the Tarot machia the bullfight 174 00:09:31,960 --> 00:09:34,940 he came from a world awash in visual 175 00:09:34,940 --> 00:09:37,640 signs and visually coded meanings the 176 00:09:37,640 --> 00:09:40,280 most passionate meanings the Eucharist 177 00:09:40,280 --> 00:09:43,940 the symbols of the mass but he also came 178 00:09:43,940 --> 00:09:45,530 from a place in Malaga 179 00:09:45,530 --> 00:09:48,800 where without saying a word you could 180 00:09:48,800 --> 00:09:52,810 glare it but by how you held your fan 181 00:09:52,810 --> 00:09:55,040 you could say meet me on the balcony 182 00:09:55,040 --> 00:09:58,900 it's free and in fact there was a very 183 00:09:58,900 --> 00:10:01,760 elaborately coded language of fans in 184 00:10:01,760 --> 00:10:03,710 fact there were multiple language of 185 00:10:03,710 --> 00:10:06,890 fans and in his cubist works Picasso at 186 00:10:06,890 --> 00:10:08,960 and before as well I mean for years 187 00:10:08,960 --> 00:10:12,560 Picasso includes images of fans but in 188 00:10:12,560 --> 00:10:15,200 some works the body parts actually 189 00:10:15,200 --> 00:10:18,440 become folded like a fan that knows the 190 00:10:18,440 --> 00:10:21,530 ridges under the eye the cheek the 191 00:10:21,530 --> 00:10:25,130 forehead and then and some of the images 192 00:10:25,130 --> 00:10:28,940 which also so deeply evoke the handheld 193 00:10:28,940 --> 00:10:32,680 movie cameras a diaphanous wispy soft 194 00:10:32,680 --> 00:10:35,420 monochrome of the very first cinema 195 00:10:35,420 --> 00:10:38,780 they also evoke the fluttering of the 196 00:10:38,780 --> 00:10:41,140 fan 197 00:10:42,329 --> 00:10:44,920 for centuries there had been tremendous 198 00:10:44,920 --> 00:10:48,009 interest in optics and perspective and 199 00:10:48,009 --> 00:10:50,769 it turns out that these interests were 200 00:10:50,769 --> 00:10:54,100 superseded and teaching at large and yet 201 00:10:54,100 --> 00:10:56,139 you see in this little elementary school 202 00:10:56,139 --> 00:10:58,720 textbooks she was fascinated and kept 203 00:10:58,720 --> 00:11:01,839 nine different points of view he loved 204 00:11:01,839 --> 00:11:03,879 bringing in letters and numbers and 205 00:11:03,879 --> 00:11:06,279 musical notes all issues which would 206 00:11:06,279 --> 00:11:08,740 become so central to cubism and these 207 00:11:08,740 --> 00:11:10,480 only surface when he comes to the 208 00:11:10,480 --> 00:11:14,399 enabling environment of Paris 209 00:11:21,160 --> 00:11:24,650 Picasso first comes to Paris in 1900 210 00:11:24,650 --> 00:11:26,980 he's going to the Exposition Universelle 211 00:11:26,980 --> 00:11:30,410 which is an enormous kind of World's 212 00:11:30,410 --> 00:11:33,410 Fair one of the things that brings him 213 00:11:33,410 --> 00:11:36,380 as he has a small painting in an 214 00:11:36,380 --> 00:11:39,910 exhibition of Spanish art 215 00:11:39,980 --> 00:11:44,150 at the fair the Lumiere brothers had a 216 00:11:44,150 --> 00:11:48,230 huge screen 15 by 27 meters and on it 217 00:11:48,230 --> 00:11:50,300 they projected some of those same films 218 00:11:50,300 --> 00:11:59,480 that because I had seen initially the 219 00:11:59,480 --> 00:12:01,160 other thing that because I would have 220 00:12:01,160 --> 00:12:03,260 seen it the Exposition Universelle was 221 00:12:03,260 --> 00:12:05,810 Loie fuller the American dancer who was 222 00:12:05,810 --> 00:12:09,790 very well known in Paris 223 00:12:12,010 --> 00:12:16,240 Loie fuller was an import from Chicago 224 00:12:16,240 --> 00:12:19,150 actually she'd had a little success in 225 00:12:19,150 --> 00:12:21,280 the United States but she was brought to 226 00:12:21,280 --> 00:12:25,330 Paris in 1893 to be at the folly 227 00:12:25,330 --> 00:12:28,240 brassiere and she introduced this dance 228 00:12:28,240 --> 00:12:31,660 that she had already pioneered in the 229 00:12:31,660 --> 00:12:33,040 United States and gotten some attention 230 00:12:33,040 --> 00:12:35,860 with which he called the serpentine 231 00:12:35,860 --> 00:12:38,070 dance 232 00:12:38,070 --> 00:12:41,159 [Music] 233 00:12:41,170 --> 00:12:45,620 instead of exiting footwork it accented 234 00:12:45,620 --> 00:12:48,590 form in the shape of these enormous 235 00:12:48,590 --> 00:12:52,670 billowing cloths so you've got a dance 236 00:12:52,670 --> 00:12:55,010 that's totally thought about almost as a 237 00:12:55,010 --> 00:12:56,960 work of changing sculpture mobile 238 00:12:56,960 --> 00:12:59,530 sculpture 239 00:13:00,449 --> 00:13:04,949 she had stage assistants bathing her in 240 00:13:04,949 --> 00:13:08,199 constantly changing light a spectacle 241 00:13:08,199 --> 00:13:10,930 that is like nothing that anyone had 242 00:13:10,930 --> 00:13:18,430 ever seen Loie fuller set a patent solo 243 00:13:18,430 --> 00:13:22,899 day solo solo be do boo Tebow me Soho da 244 00:13:22,899 --> 00:13:28,139 itis ago says hijo o TiVo ah voila 245 00:13:28,139 --> 00:13:32,170 enumerable maksakov 246 00:13:32,170 --> 00:13:35,360 generally dances were extremely popular 247 00:13:35,360 --> 00:13:38,930 subject matter for early cinema but the 248 00:13:38,930 --> 00:13:41,090 serpentine dance was undoubtedly the 249 00:13:41,090 --> 00:13:43,670 most popular in every country where 250 00:13:43,670 --> 00:13:46,010 somebody was operating a camera they got 251 00:13:46,010 --> 00:13:48,680 someone often not as skilled was fuller 252 00:13:48,680 --> 00:13:51,590 but who could manipulate the cloth and 253 00:13:51,590 --> 00:13:54,950 could give this kind of spectacle motion 254 00:13:54,950 --> 00:13:58,970 in this new recording but what about the 255 00:13:58,970 --> 00:14:01,820 color there was not yet the possibility 256 00:14:01,820 --> 00:14:05,510 of color cinematography but people came 257 00:14:05,510 --> 00:14:07,220 up with a brilliant solution 258 00:14:07,220 --> 00:14:09,890 which is that they actually would tint 259 00:14:09,890 --> 00:14:13,070 the film itself they were able to give 260 00:14:13,070 --> 00:14:15,020 again that sense of a constant 261 00:14:15,020 --> 00:14:19,640 metamorphosis of color people who are 262 00:14:19,640 --> 00:14:21,080 involved with organizing 263 00:14:21,080 --> 00:14:23,150 the exposition understood that they were 264 00:14:23,150 --> 00:14:26,440 marking a moment of self conscious 265 00:14:26,440 --> 00:14:28,910 transformation and change a moment where 266 00:14:28,910 --> 00:14:31,760 the modern was entering into daily life 267 00:14:31,760 --> 00:14:35,630 and that this involved technology and it 268 00:14:35,630 --> 00:14:39,170 involved art and bridging the two was 269 00:14:39,170 --> 00:14:46,490 the idea of movement many things of the 270 00:14:46,490 --> 00:14:49,880 1900 exposition marked this Fuller and 271 00:14:49,880 --> 00:14:50,900 the Lumiere's 272 00:14:50,900 --> 00:14:53,510 but also the sense of the new art the 273 00:14:53,510 --> 00:14:55,820 sense of the new technology new aspects 274 00:14:55,820 --> 00:14:57,860 of the exposition the moving sidewalk 275 00:14:57,860 --> 00:14:59,960 for instance which circled around the 276 00:14:59,960 --> 00:15:02,530 exhibition 277 00:15:02,960 --> 00:15:05,990 not only were you moving through the 278 00:15:05,990 --> 00:15:08,870 exposition but you had a mobile view of 279 00:15:08,870 --> 00:15:11,649 the exhibitions which as though 280 00:15:11,649 --> 00:15:15,640 everything was in motion 281 00:15:16,600 --> 00:15:36,720 [Music] 282 00:15:36,720 --> 00:15:39,220 but I could never explain about cubist 283 00:15:39,220 --> 00:15:43,529 paintings was that there was a thinness 284 00:15:43,529 --> 00:15:49,930 to the illusion that didn't relate to 285 00:15:49,930 --> 00:15:52,990 the flatness of modernism and there was 286 00:15:52,990 --> 00:15:55,750 a way that the light sources sort of 287 00:15:55,750 --> 00:15:58,060 interrupted the edges of the painting or 288 00:15:58,060 --> 00:15:59,740 the or the way the painting sort of 289 00:15:59,740 --> 00:16:02,529 thinned out at the edges which now I see 290 00:16:02,529 --> 00:16:06,430 in conjunction with film has more to do 291 00:16:06,430 --> 00:16:08,439 with the thinness of a cinematic 292 00:16:08,439 --> 00:16:11,319 projection which is a light projection 293 00:16:11,319 --> 00:16:13,930 and also that there's a kind of 294 00:16:13,930 --> 00:16:16,959 extraneous light source in cubism and 295 00:16:16,959 --> 00:16:20,439 that is almost as though a door had been 296 00:16:20,439 --> 00:16:23,290 opened during a darkroom projection and 297 00:16:23,290 --> 00:16:25,990 sort of splattered an interruption of 298 00:16:25,990 --> 00:16:29,500 light on to the surface and I had never 299 00:16:29,500 --> 00:16:31,180 really thought about it in those terms 300 00:16:31,180 --> 00:16:36,300 before but I was introduced to cubism 301 00:16:36,300 --> 00:16:39,339 much later than I was introduced to film 302 00:16:39,339 --> 00:16:42,189 so a lot of the inspiration in my work 303 00:16:42,189 --> 00:16:45,069 in terms of the look of it has more to 304 00:16:45,069 --> 00:16:47,649 do with sort of the filmic aspects than 305 00:16:47,649 --> 00:16:51,130 it does with the formalist art modernist 306 00:16:51,130 --> 00:16:54,579 concerns anyway what film does is trying 307 00:16:54,579 --> 00:16:57,310 to show you a believable illusion that 308 00:16:57,310 --> 00:16:59,949 you just go into you don't break it down 309 00:16:59,949 --> 00:17:02,889 in terms of its construct what you do is 310 00:17:02,889 --> 00:17:05,289 you see a dramatic moment in which two 311 00:17:05,289 --> 00:17:07,359 people are talking you know there's a 312 00:17:07,359 --> 00:17:09,819 story going on it cetera and in that way 313 00:17:09,819 --> 00:17:12,699 that relates to what I my ambition is in 314 00:17:12,699 --> 00:17:15,179 my world 315 00:17:30,280 --> 00:17:32,920 when I was in my 20s I used to go to the 316 00:17:32,920 --> 00:17:35,110 movies a lot and I'd watch Kurosawa's 317 00:17:35,110 --> 00:17:38,860 film of the Seven Samurai and you see 318 00:17:38,860 --> 00:17:42,040 these guys riding on horses in the rain 319 00:17:42,040 --> 00:17:44,440 and in the mud and you've seen this on a 320 00:17:44,440 --> 00:17:46,120 giant screen you think well how does 321 00:17:46,120 --> 00:17:49,060 painting compete with this and you 322 00:17:49,060 --> 00:17:51,040 realize or I realized that what I liked 323 00:17:51,040 --> 00:17:52,390 about painting is that painting was 324 00:17:52,390 --> 00:17:54,880 still and that the movies were moving 325 00:17:54,880 --> 00:17:56,980 and that was good for the movies but I 326 00:17:56,980 --> 00:17:58,630 like the fact that paintings were static 327 00:17:58,630 --> 00:18:00,940 now that doesn't mean that the 328 00:18:00,940 --> 00:18:04,540 combination or the syntax the dialectic 329 00:18:04,540 --> 00:18:06,100 of what's going on inside of the 330 00:18:06,100 --> 00:18:08,380 painting can't generate something 331 00:18:08,380 --> 00:18:10,840 outside of it that is moving and that's 332 00:18:10,840 --> 00:18:12,840 really what happens the simultaneous 333 00:18:12,840 --> 00:18:14,710 quality I mean when you look at a 334 00:18:14,710 --> 00:18:16,600 painting you get everything immediately 335 00:18:16,600 --> 00:18:18,970 the beginning the middle and the end and 336 00:18:18,970 --> 00:18:19,990 then you get the beginning in the middle 337 00:18:19,990 --> 00:18:22,720 and the end again the process of time 338 00:18:22,720 --> 00:18:25,330 the temporal quality of that is that the 339 00:18:25,330 --> 00:18:27,040 time spent looking when you're watching 340 00:18:27,040 --> 00:18:30,310 a movie you have to wait until it's over 341 00:18:30,310 --> 00:18:35,050 to kind of get the full I guess resolved 342 00:18:35,050 --> 00:18:37,180 object that you're going to digest 343 00:18:37,180 --> 00:18:40,510 afterwards you start looking at these 344 00:18:40,510 --> 00:18:42,910 films in the context of these paintings 345 00:18:42,910 --> 00:18:46,840 and then you start to look at even the 346 00:18:46,840 --> 00:18:49,390 marks on the film marks that have 347 00:18:49,390 --> 00:18:52,600 nothing to do with the images that are 348 00:18:52,600 --> 00:18:54,520 in the film you start to realize that 349 00:18:54,520 --> 00:18:57,370 you're looking at everything and all of 350 00:18:57,370 --> 00:18:59,530 it has meaning and you start dissecting 351 00:18:59,530 --> 00:19:02,200 what you're looking at and that 352 00:19:02,200 --> 00:19:05,020 essentially is what cubism is people 353 00:19:05,020 --> 00:19:07,750 were dissecting how they were seeing so 354 00:19:07,750 --> 00:19:09,370 the reason why there's no color in these 355 00:19:09,370 --> 00:19:10,990 paintings it's because they're sitting 356 00:19:10,990 --> 00:19:13,540 in a movie theater and they're sitting 357 00:19:13,540 --> 00:19:15,310 in the dark and the thing that I've 358 00:19:15,310 --> 00:19:16,660 always loved about going to the movies 359 00:19:16,660 --> 00:19:19,090 is you know you get in the dark and just 360 00:19:19,090 --> 00:19:22,300 as you start to watch the movie there is 361 00:19:22,300 --> 00:19:25,530 this kind of your envelop by this 362 00:19:25,530 --> 00:19:29,290 non-color or the sense of floating 363 00:19:29,290 --> 00:19:32,580 then you can leave your body 364 00:19:33,070 --> 00:19:52,740 [Music] 365 00:19:52,740 --> 00:19:55,630 the first time I really saw some of the 366 00:19:55,630 --> 00:19:57,340 mayonnaise films and new melea's was a 367 00:19:57,340 --> 00:19:59,800 magician in very very early films we saw 368 00:19:59,800 --> 00:20:01,360 a few on television but they were very 369 00:20:01,360 --> 00:20:03,880 badly presented but I saw a few in 370 00:20:03,880 --> 00:20:06,250 history of film class that Tehama Nugent 371 00:20:06,250 --> 00:20:08,740 my teacher gave at Washington Square 372 00:20:08,740 --> 00:20:10,510 College and motion picture department 373 00:20:10,510 --> 00:20:13,450 1960 this film is made up in the case of 374 00:20:13,450 --> 00:20:14,980 mayonnaise you say well it's one angle 375 00:20:14,980 --> 00:20:16,840 usually but something to the nature the 376 00:20:16,840 --> 00:20:18,910 way shoots it and the size of the frame 377 00:20:18,910 --> 00:20:20,830 and also the the tricks that are used 378 00:20:20,830 --> 00:20:23,500 within the frame and so during that time 379 00:20:23,500 --> 00:20:25,960 especially when they started to invent 380 00:20:25,960 --> 00:20:27,790 cinematic language as they were going 381 00:20:27,790 --> 00:20:30,250 along really I mean they had to very 382 00:20:30,250 --> 00:20:31,240 often they thought if they moved the 383 00:20:31,240 --> 00:20:33,310 camera in you know the old story that 384 00:20:33,310 --> 00:20:34,630 the exhibitors were saying people won't 385 00:20:34,630 --> 00:20:36,130 know they won't understand they won't 386 00:20:36,130 --> 00:20:37,300 know that that face belongs to the 387 00:20:37,300 --> 00:20:38,980 person who had just been in a wide shot 388 00:20:38,980 --> 00:20:41,200 but they had to take a chance on it and 389 00:20:41,200 --> 00:20:44,320 try it all of them did I find though 390 00:20:44,320 --> 00:20:46,270 that ultimately you know in an odd way 391 00:20:46,270 --> 00:20:47,530 and this is what's so interesting about 392 00:20:47,530 --> 00:20:50,320 the film itself and that's why I'm 393 00:20:50,320 --> 00:20:51,580 having a difficult time making the 394 00:20:51,580 --> 00:20:54,340 transition to digital I don't understand 395 00:20:54,340 --> 00:20:56,800 the ones in the zeros I understand the 396 00:20:56,800 --> 00:20:59,200 frame I understand the perforations I 397 00:20:59,200 --> 00:21:01,450 could see the celluloid I could taste it 398 00:21:01,450 --> 00:21:03,520 I know it and I see the frame line and 399 00:21:03,520 --> 00:21:05,050 the frame line and perforations become 400 00:21:05,050 --> 00:21:07,540 part of the film for me the nature of 401 00:21:07,540 --> 00:21:09,370 the film there's something that happens 402 00:21:09,370 --> 00:21:10,720 psychologically with those perforations 403 00:21:10,720 --> 00:21:12,220 and those frames are going through the 404 00:21:12,220 --> 00:21:15,120 interlock motor on being a projector and 405 00:21:15,120 --> 00:21:18,580 ultimately you know does the film exist 406 00:21:18,580 --> 00:21:21,100 at all it doesn't it exists only in your 407 00:21:21,100 --> 00:21:21,700 mind 408 00:21:21,700 --> 00:21:24,180 by these images that are being projected 409 00:21:24,180 --> 00:21:27,070 and light being refracted in different 410 00:21:27,070 --> 00:21:28,390 ways and if that light changes by the 411 00:21:28,390 --> 00:21:30,130 way you can see the same film in two 412 00:21:30,130 --> 00:21:32,080 different projection systems or two 413 00:21:32,080 --> 00:21:33,430 different projection situations and it's 414 00:21:33,430 --> 00:21:34,470 a different movie 415 00:21:34,470 --> 00:21:37,720 so it's such an ephemeral art form that 416 00:21:37,720 --> 00:21:40,720 it's always surprising and unique yes 417 00:21:40,720 --> 00:21:43,180 for me the Lumiere films some people say 418 00:21:43,180 --> 00:21:44,410 well it's just a shot of a train coming 419 00:21:44,410 --> 00:21:45,940 into a station that angle has to be 420 00:21:45,940 --> 00:21:48,340 chosen you had to make a creative choice 421 00:21:48,340 --> 00:21:50,260 as to where to place that camera so that 422 00:21:50,260 --> 00:21:53,410 it stays with you 100 a hundred fifty 423 00:21:53,410 --> 00:21:55,720 years later it still has impact but the 424 00:21:55,720 --> 00:21:57,870 maze is like and the early Edison films 425 00:21:57,870 --> 00:22:00,820 especially the Frankenstein give me an 426 00:22:00,820 --> 00:22:02,100 impression of them 427 00:22:02,100 --> 00:22:03,540 feeling them when I was young when I 428 00:22:03,540 --> 00:22:05,520 went to see films when I could escape 429 00:22:05,520 --> 00:22:08,340 into a film from wherever I was and go 430 00:22:08,340 --> 00:22:10,020 up there in the screen and live in the 431 00:22:10,020 --> 00:22:11,820 film if I connected with it but really 432 00:22:11,820 --> 00:22:13,620 what you're living unless it's a very 433 00:22:13,620 --> 00:22:15,990 hardcore straight narrative picture 434 00:22:15,990 --> 00:22:17,070 you're living a dream 435 00:22:17,070 --> 00:22:19,770 if photographing the dreams and I think 436 00:22:19,770 --> 00:22:22,530 it's a very interesting thing how you 437 00:22:22,530 --> 00:22:26,990 can actually have a machine create 438 00:22:26,990 --> 00:22:29,280 something which is very complex to 439 00:22:29,280 --> 00:22:32,480 describe in language literary language 440 00:22:32,480 --> 00:22:35,670 it's imagery it's how you create 441 00:22:35,670 --> 00:22:38,030 something that has an ephemeral nature 442 00:22:38,030 --> 00:22:41,370 that is an impression with this 443 00:22:41,370 --> 00:22:43,410 equipment which is very very physical 444 00:22:43,410 --> 00:22:48,600 you know now in the departed and the 445 00:22:48,600 --> 00:22:50,280 last page of the script after one of the 446 00:22:50,280 --> 00:22:52,230 main characters is killed the writer 447 00:22:52,230 --> 00:22:54,090 William Monahan wrote a phrase and then 448 00:22:54,090 --> 00:22:58,490 a strange thing happens a rat comes out 449 00:22:58,490 --> 00:23:03,150 okay when I went to shoot it the 450 00:23:03,150 --> 00:23:05,490 translation the rat was fairly easy to 451 00:23:05,490 --> 00:23:06,720 put in the frame we had a trained rat 452 00:23:06,720 --> 00:23:08,790 the image of the man who was shot that's 453 00:23:08,790 --> 00:23:10,380 fairly easy I had a sense of where the 454 00:23:10,380 --> 00:23:11,820 camera was gonna be I knew what I wanted 455 00:23:11,820 --> 00:23:14,130 to do but the problem was the phrase and 456 00:23:14,130 --> 00:23:17,940 then a strange thing happened how do you 457 00:23:17,940 --> 00:23:21,030 convey that on film it has to be through 458 00:23:21,030 --> 00:23:23,100 the angle that you're using it has to be 459 00:23:23,100 --> 00:23:25,050 through a lens you use a lens a very 460 00:23:25,050 --> 00:23:27,960 physical very concrete element it has to 461 00:23:27,960 --> 00:23:31,020 be the lighting and has tonight were 462 00:23:31,020 --> 00:23:32,550 creating these strange things they were 463 00:23:32,550 --> 00:23:33,990 making these strange things happen on 464 00:23:33,990 --> 00:23:35,370 film they were already dealing with this 465 00:23:35,370 --> 00:23:37,440 problem that I got caught up short with 466 00:23:37,440 --> 00:23:40,770 in a year ago on film on the set and in 467 00:23:40,770 --> 00:23:42,570 the editing room I tried many different 468 00:23:42,570 --> 00:23:45,000 ways to create that quote strange thing 469 00:23:45,000 --> 00:23:49,160 happening but haze did it 470 00:23:56,130 --> 00:23:59,059 [Music] 471 00:23:59,059 --> 00:24:03,570 Loie forms the link from film to 472 00:24:03,570 --> 00:24:07,289 painting for Picasso she is what puts 473 00:24:07,289 --> 00:24:10,590 the Demoiselles d'Avignon into movement 474 00:24:10,590 --> 00:24:14,820 with the motion of the drapes the 475 00:24:14,820 --> 00:24:17,480 demoiselle are usually thought of as 476 00:24:17,480 --> 00:24:20,639 modeled on iberian statues they're 477 00:24:20,639 --> 00:24:23,159 thought of as static in fact the 478 00:24:23,159 --> 00:24:24,359 Demoiselles d'Avignon 479 00:24:24,359 --> 00:24:27,809 is not static this is a case of arrested 480 00:24:27,809 --> 00:24:29,330 motion 481 00:24:29,330 --> 00:24:33,359 there were also films of the strongman 482 00:24:33,359 --> 00:24:39,119 Eugen Sando Sando had been photographed 483 00:24:39,119 --> 00:24:43,379 by Muybridge he was then filmed by 484 00:24:43,379 --> 00:24:47,669 Edison his act to avoid a whole act he 485 00:24:47,669 --> 00:24:52,080 too became a link for Picasso to his 486 00:24:52,080 --> 00:24:54,840 paintings of nineteen seven nineteen 487 00:24:54,840 --> 00:24:58,739 eight and here we have to revert also to 488 00:24:58,739 --> 00:24:59,879 milk yes 489 00:24:59,879 --> 00:25:03,029 one of Melges favorite tricks was to cut 490 00:25:03,029 --> 00:25:05,759 apart bodies and rearranging them two 491 00:25:05,759 --> 00:25:07,889 dimensional forms suddenly transform 492 00:25:07,889 --> 00:25:10,679 into three-dimensional forms and that 493 00:25:10,679 --> 00:25:14,399 happens in the day Marcel Divino the day 494 00:25:14,399 --> 00:25:15,470 Moselle is 495 00:25:15,470 --> 00:25:18,679 Picasso's break out picture it's his 496 00:25:18,679 --> 00:25:22,379 declaration of his taking over the 497 00:25:22,379 --> 00:25:25,739 mastery of art it's intentional it was 498 00:25:25,739 --> 00:25:28,649 meant to provoke and in fact when brock 499 00:25:28,649 --> 00:25:32,850 came to see it for the first time he was 500 00:25:32,850 --> 00:25:34,799 provoked bite he found it very 501 00:25:34,799 --> 00:25:37,200 unpleasant people found the painting 502 00:25:37,200 --> 00:25:40,259 very very unpleasant one of the things 503 00:25:40,259 --> 00:25:43,200 that's so unsettling about the picture 504 00:25:43,200 --> 00:25:46,139 is that it's mediating between stasis 505 00:25:46,139 --> 00:25:48,419 and movement it's the negotiation 506 00:25:48,419 --> 00:25:51,090 between the interests of painting and 507 00:25:51,090 --> 00:25:53,940 this new apparatus that's taken over 508 00:25:53,940 --> 00:25:56,970 vision this is an apparatus that can go 509 00:25:56,970 --> 00:26:00,179 backwards and forwards in time it can do 510 00:26:00,179 --> 00:26:03,989 anything and Braque and Picasso are in 511 00:26:03,989 --> 00:26:07,349 competition with history and they want 512 00:26:07,349 --> 00:26:10,260 to take over this painting is 513 00:26:10,260 --> 00:26:12,450 additionally described in terms of 514 00:26:12,450 --> 00:26:15,360 seasons bathers and indeed saison was a 515 00:26:15,360 --> 00:26:19,350 great presence on the scene and was the 516 00:26:19,350 --> 00:26:21,990 impetus for Picasso to begin this 517 00:26:21,990 --> 00:26:25,950 painting the other painting that Picasso 518 00:26:25,950 --> 00:26:29,400 has in view and is in competition with 519 00:26:29,400 --> 00:26:32,790 is mayonnaise - a nurse or lab so that 520 00:26:32,790 --> 00:26:36,810 there's the history of art embedded in 521 00:26:36,810 --> 00:26:41,910 this painting but it's rerun it's being 522 00:26:41,910 --> 00:26:45,240 filmed through this deus ex machina the 523 00:26:45,240 --> 00:26:47,940 cinematograph which is now intervening 524 00:26:47,940 --> 00:26:51,810 and allowing Braque and Picasso to 525 00:26:51,810 --> 00:26:55,830 repeat to restructure vision according 526 00:26:55,830 --> 00:26:59,030 to modern principles 527 00:27:06,400 --> 00:27:09,080 the rise of the cinema as a popular 528 00:27:09,080 --> 00:27:11,690 entertainment form is really quite 529 00:27:11,690 --> 00:27:15,950 extraordinary when it was born I'm gonna 530 00:27:15,950 --> 00:27:17,660 arrive in culture it was first 531 00:27:17,660 --> 00:27:19,670 integrated into the entertainment 532 00:27:19,670 --> 00:27:22,580 landscape it was already existing which 533 00:27:22,580 --> 00:27:24,560 was the Catholic Kosair for example in 534 00:27:24,560 --> 00:27:27,050 entertainments form of live performance 535 00:27:27,050 --> 00:27:30,110 of singing joke-telling live acts called 536 00:27:30,110 --> 00:27:34,220 the review but it was also very quickly 537 00:27:34,220 --> 00:27:36,770 incorporated into the circuses which was 538 00:27:36,770 --> 00:27:37,820 if you want to think about it was the 539 00:27:37,820 --> 00:27:41,770 first tradition of distribution 540 00:27:42,610 --> 00:27:44,860 we see the cinema also entering into 541 00:27:44,860 --> 00:27:47,230 spaces like the department store the 542 00:27:47,230 --> 00:27:49,419 doof IL department store was a central 543 00:27:49,419 --> 00:27:52,840 place where people could before 1983 see 544 00:27:52,840 --> 00:28:00,309 some of the earliest films by nineteen 545 00:28:00,309 --> 00:28:03,610 oh six or seven cinemas actually 546 00:28:03,610 --> 00:28:05,740 replacing live acts and what we see too 547 00:28:05,740 --> 00:28:08,019 is a sort of crisis in the culture of 548 00:28:08,019 --> 00:28:10,269 the catechol sir a crisis that's 549 00:28:10,269 --> 00:28:13,179 basically being felt by the actors and 550 00:28:13,179 --> 00:28:15,039 performers who are realizing that the 551 00:28:15,039 --> 00:28:19,630 cinema is replacing them going to the 552 00:28:19,630 --> 00:28:21,639 cinema during this period is very much a 553 00:28:21,639 --> 00:28:23,289 neighborhood affair 554 00:28:23,289 --> 00:28:25,840 we've got cinemas that are cropping up 555 00:28:25,840 --> 00:28:27,909 in every single neighborhood in Paris a 556 00:28:27,909 --> 00:28:31,480 kind of explosion in number of cinema 557 00:28:31,480 --> 00:28:35,139 houses and so by 1913 we have a 558 00:28:35,139 --> 00:28:38,309 completely independent cinema culture 559 00:28:38,309 --> 00:28:40,600 when Picasso and Braque went to the 560 00:28:40,600 --> 00:28:42,789 movies they were going into this theater 561 00:28:42,789 --> 00:28:46,840 that was a very mixed space for classes 562 00:28:46,840 --> 00:28:49,480 for men and women this is a new spatial 563 00:28:49,480 --> 00:28:52,470 environment 564 00:28:53,380 --> 00:28:55,870 this was an unknown environment a bit 565 00:28:55,870 --> 00:28:58,960 body bit risque a space where people 566 00:28:58,960 --> 00:29:02,409 could be a bit freer of social 567 00:29:02,409 --> 00:29:06,039 constraints this is a culture of people 568 00:29:06,039 --> 00:29:08,919 who are discovering the cinema as a 569 00:29:08,919 --> 00:29:10,690 social event as something that's also 570 00:29:10,690 --> 00:29:13,750 become an intellectual aesthetic topic 571 00:29:13,750 --> 00:29:16,299 because by 1913 - we have also a 572 00:29:16,299 --> 00:29:18,370 narrative tradition which is finally 573 00:29:18,370 --> 00:29:20,169 articulating itself for the first time 574 00:29:20,169 --> 00:29:22,750 in a very full way we have the artists 575 00:29:22,750 --> 00:29:25,629 discovering the first serial films but 576 00:29:25,629 --> 00:29:28,299 Louie fahadh and the Phantom a series 577 00:29:28,299 --> 00:29:30,129 that became extremely important to the 578 00:29:30,129 --> 00:29:32,500 avant-garde because it represented a 579 00:29:32,500 --> 00:29:39,039 kind of fantastic Korean underworld it 580 00:29:39,039 --> 00:29:41,139 represented the cinemas links with 581 00:29:41,139 --> 00:29:43,950 popular literature 582 00:29:45,029 --> 00:29:48,209 and we have the first indications of a 583 00:29:48,209 --> 00:29:50,969 real silica culture when we have Mexico 584 00:29:50,969 --> 00:29:53,159 and Epling they're creating a fan club 585 00:29:53,159 --> 00:29:57,139 called the Friends of fan Tomas 586 00:29:58,010 --> 00:30:00,450 well I mean the idea that they create 587 00:30:00,450 --> 00:30:03,180 this society to honor this criminal who 588 00:30:03,180 --> 00:30:05,910 is also a master of disguises and of 589 00:30:05,910 --> 00:30:08,250 course Picasso all his life was 590 00:30:08,250 --> 00:30:10,500 fascinated with disguises he was 591 00:30:10,500 --> 00:30:13,050 fascinated with explicitly naming 592 00:30:13,050 --> 00:30:14,820 something and then renaming it and then 593 00:30:14,820 --> 00:30:17,610 renaming it again turned out virtually 594 00:30:17,610 --> 00:30:19,950 everyone in picasso circle renamed 595 00:30:19,950 --> 00:30:21,660 themselves rebaptised themselves 596 00:30:21,660 --> 00:30:24,270 recreated themselves in every imaginable 597 00:30:24,270 --> 00:30:26,430 way 598 00:30:26,430 --> 00:30:29,549 [Music] 599 00:30:31,720 --> 00:30:34,759 [Music] 600 00:30:35,330 --> 00:30:39,330 my affair with Picasso began when I was 601 00:30:39,330 --> 00:30:43,770 about 18 or 19 in high school and I made 602 00:30:43,770 --> 00:30:46,890 a couple of cubist drawings and then 603 00:30:46,890 --> 00:30:48,360 mailed them to Rutgers and I got a 604 00:30:48,360 --> 00:30:51,950 scholarship so I owe him big you know 605 00:30:51,950 --> 00:30:54,860 when I see what because it's doing 606 00:30:54,860 --> 00:30:57,900 especially around the time of nineteen 607 00:30:57,900 --> 00:30:59,190 or nine or something 608 00:30:59,190 --> 00:31:01,800 she looks like an anatomist you know a 609 00:31:01,800 --> 00:31:05,010 doctor of anatomy who opens up his brain 610 00:31:05,010 --> 00:31:07,980 there's all this gray and brown matter 611 00:31:07,980 --> 00:31:12,180 it's as if this segment shows oh there's 612 00:31:12,180 --> 00:31:15,470 an apple there this segment has a nipple 613 00:31:15,470 --> 00:31:19,320 and then simply by assembling them did 614 00:31:19,320 --> 00:31:23,760 you get the painting these figures tend 615 00:31:23,760 --> 00:31:26,880 to be single figures whereas before he 616 00:31:26,880 --> 00:31:29,940 was two people talking to each other and 617 00:31:29,940 --> 00:31:32,310 it's almost as if he's talking to them 618 00:31:32,310 --> 00:31:36,210 it's if there's just him Picasso or 619 00:31:36,210 --> 00:31:38,610 Brock and then there's the figure that 620 00:31:38,610 --> 00:31:41,250 he's building and there's nothing else 621 00:31:41,250 --> 00:31:45,390 so the communication is very direct open 622 00:31:45,390 --> 00:31:51,900 and densely mysterious there's a huge 623 00:31:51,900 --> 00:31:55,530 amount of caricature involved now 624 00:31:55,530 --> 00:31:57,750 caricature was a big deal in 19th 625 00:31:57,750 --> 00:31:59,700 century France they maybe other 626 00:31:59,700 --> 00:32:03,770 countries too but with him it's both 627 00:32:03,770 --> 00:32:07,590 graphic caricature as well as character 628 00:32:07,590 --> 00:32:10,260 that existed in early films as well as 629 00:32:10,260 --> 00:32:11,640 later films 630 00:32:11,640 --> 00:32:15,780 I see his port is having expressions 631 00:32:15,780 --> 00:32:19,650 that are characteristic but also sort of 632 00:32:19,650 --> 00:32:22,650 drowned in mood a certain kind of mood 633 00:32:22,650 --> 00:32:24,630 and it's not French mood we know he 634 00:32:24,630 --> 00:32:27,510 comes from Spain so this is dark Spanish 635 00:32:27,510 --> 00:32:31,170 element whereas caricature itself tends 636 00:32:31,170 --> 00:32:34,710 to be just funny and a little bit good 637 00:32:34,710 --> 00:32:38,220 task but because of area this other 638 00:32:38,220 --> 00:32:43,920 thing which is it's a real feeling it's 639 00:32:43,920 --> 00:32:48,530 like a real smell real texture 640 00:32:55,820 --> 00:32:59,630 in 1907 it was Apollinaire who 641 00:32:59,630 --> 00:33:03,470 introduced prague to Picasso and it's 642 00:33:03,470 --> 00:33:07,310 interesting to know that it was a poet 643 00:33:07,310 --> 00:33:12,710 who introduced the two painters they 644 00:33:12,710 --> 00:33:17,480 early on Apollinaire was named by 645 00:33:17,480 --> 00:33:22,370 picasso nap after PBC because who lived 646 00:33:22,370 --> 00:33:25,730 in the bottle of wine and there were 647 00:33:25,730 --> 00:33:31,790 many hordes who visited him Brock was 648 00:33:31,790 --> 00:33:35,510 more introvert he liked to play music 649 00:33:35,510 --> 00:33:39,140 but instead at home he was not 650 00:33:39,140 --> 00:33:42,920 interested to create a coterie around 651 00:33:42,920 --> 00:33:47,230 him with because oh it just happened 652 00:33:47,230 --> 00:33:51,020 Brock had been very much interested in 653 00:33:51,020 --> 00:33:55,100 the vault the wild beasts but had moved 654 00:33:55,100 --> 00:33:59,420 on by being interested so much in his 655 00:33:59,420 --> 00:34:04,720 own to a more formal simplification of 656 00:34:04,720 --> 00:34:09,830 landscape those paintings he offered to 657 00:34:09,830 --> 00:34:13,070 be part of the salon and the paintings 658 00:34:13,070 --> 00:34:18,379 were refused Kahnweiler dealer said I 659 00:34:18,379 --> 00:34:21,830 will show your landscapes and he has a 660 00:34:21,830 --> 00:34:27,050 planarian to write the introduction his 661 00:34:27,050 --> 00:34:28,909 compositions have the harmony in 662 00:34:28,909 --> 00:34:30,739 plenitude we were waiting for 663 00:34:30,739 --> 00:34:33,350 he no longer owes anything to his 664 00:34:33,350 --> 00:34:36,620 surroundings Georges Braque knows no 665 00:34:36,620 --> 00:34:38,960 rest and every one of his paintings 666 00:34:38,960 --> 00:34:41,659 commemorates an effort that no one 667 00:34:41,659 --> 00:34:45,409 before has yet attempted it was later on 668 00:34:45,409 --> 00:34:49,719 that Brock said to Dora for yay 669 00:34:49,719 --> 00:34:53,909 the balls had come to a similar form of 670 00:34:53,909 --> 00:34:58,210 vocabulary and after that we began to 671 00:34:58,210 --> 00:35:03,400 work nearly as one man we were two 672 00:35:03,400 --> 00:35:06,730 mountain climbers held together by a 673 00:35:06,730 --> 00:35:10,869 rope SATA and the tipper come luck all 674 00:35:10,869 --> 00:35:15,040 day on one tiny knot one painting would 675 00:35:15,040 --> 00:35:18,490 be finished as because I said unless 676 00:35:18,490 --> 00:35:22,720 Fogg had seen it and not one painting of 677 00:35:22,720 --> 00:35:24,579 Prague would be finished 678 00:35:24,579 --> 00:35:28,780 unless because I had seen it Brock said 679 00:35:28,780 --> 00:35:32,530 they spoke with each other nearly in 680 00:35:32,530 --> 00:35:36,339 code he says if you would listen to our 681 00:35:36,339 --> 00:35:37,480 talks 682 00:35:37,480 --> 00:35:41,190 you wouldn't understand it it was only 683 00:35:41,190 --> 00:35:45,220 understandable for the two of us and in 684 00:35:45,220 --> 00:35:49,420 retrospect we have nothing to say it all 685 00:35:49,420 --> 00:35:56,940 went into our paintings as a sculptor I 686 00:35:56,940 --> 00:36:02,170 of course love those paintings to me 687 00:36:02,170 --> 00:36:06,520 they are very sculptural Brock is more 688 00:36:06,520 --> 00:36:10,359 painfully he keeps a small pubes more 689 00:36:10,359 --> 00:36:14,050 open there is more possibility to fill 690 00:36:14,050 --> 00:36:16,780 in the ambiguity with because of its 691 00:36:16,780 --> 00:36:20,980 heart and faceted and no transition and 692 00:36:20,980 --> 00:36:25,560 it's so daring to me 693 00:36:31,680 --> 00:36:33,740 you 694 00:36:44,510 --> 00:36:47,679 [Music] 695 00:36:57,090 --> 00:37:00,450 and you do this you know just 696 00:37:00,450 --> 00:37:02,460 conversation that poets and artists 697 00:37:02,460 --> 00:37:05,550 would have well so-and-so did this can 698 00:37:05,550 --> 00:37:08,400 this be done in this medium and I think 699 00:37:08,400 --> 00:37:12,240 that exchange was a very fruitful for 700 00:37:12,240 --> 00:37:15,000 the poets and the artists it got them to 701 00:37:15,000 --> 00:37:17,010 think about language friendly the notion 702 00:37:17,010 --> 00:37:20,130 of just juxtaposing one being against 703 00:37:20,130 --> 00:37:23,720 another without the kind of narrative 704 00:37:23,720 --> 00:37:25,740 continuity that had become to be 705 00:37:25,740 --> 00:37:27,900 expected and discursive 19th century 706 00:37:27,900 --> 00:37:30,930 poetry and I think the artist got a huge 707 00:37:30,930 --> 00:37:33,510 amount because they were listening to 708 00:37:33,510 --> 00:37:35,970 these poets talked about like what's 709 00:37:35,970 --> 00:37:38,280 what about this what about that let's go 710 00:37:38,280 --> 00:37:42,079 to the movie let's go see your film 711 00:37:51,020 --> 00:37:53,369 that's wonderful about the film's I 712 00:37:53,369 --> 00:37:56,910 think is that they're hokey and real at 713 00:37:56,910 --> 00:37:59,760 the same time and I think that the hope 714 00:37:59,760 --> 00:38:02,310 enos of the stage set and the realness 715 00:38:02,310 --> 00:38:05,010 of these people moving through space is 716 00:38:05,010 --> 00:38:08,270 something they saw through that I think 717 00:38:08,270 --> 00:38:11,040 instantly that they didn't see it as a 718 00:38:11,040 --> 00:38:13,800 fiction I mean they started as a fiction 719 00:38:13,800 --> 00:38:16,589 in which real things were moved around 720 00:38:16,589 --> 00:38:21,000 you see how the Machine operates how the 721 00:38:21,000 --> 00:38:24,089 magician plays the trick and somehow in 722 00:38:24,089 --> 00:38:26,819 film I feel like the magician reveals 723 00:38:26,819 --> 00:38:28,619 himself or herself in some way 724 00:38:28,619 --> 00:38:30,599 physically the stage set somehow 725 00:38:30,599 --> 00:38:32,520 everything seems fake and real at the 726 00:38:32,520 --> 00:38:34,470 same time and I think that's something 727 00:38:34,470 --> 00:38:38,819 that didn't exist previously in quite 728 00:38:38,819 --> 00:38:40,260 the same way and I think that's 729 00:38:40,260 --> 00:38:43,910 something that the Cubist Scott 730 00:38:49,530 --> 00:38:51,590 you 731 00:39:04,500 --> 00:39:07,599 [Music] 732 00:39:17,190 --> 00:39:20,250 which is transformed which is one of the 733 00:39:20,250 --> 00:39:23,670 key aspects of film I think it's related 734 00:39:23,670 --> 00:39:25,799 to Cuba's imagery because of the 735 00:39:25,799 --> 00:39:28,109 conceptual foundation of cubism I think 736 00:39:28,109 --> 00:39:31,079 the closest relationship early film with 737 00:39:31,079 --> 00:39:33,630 cubism is at the conceptual level it is 738 00:39:33,630 --> 00:39:36,769 the idea the idea of a simple object 739 00:39:36,769 --> 00:39:39,119 transforming uniting with a human 740 00:39:39,119 --> 00:39:41,670 subject and then the literal aspect of 741 00:39:41,670 --> 00:39:43,349 just simply a phone the fold of the 742 00:39:43,349 --> 00:39:46,500 paper a fold of a shape also the simple 743 00:39:46,500 --> 00:39:49,740 camera tilt up tilt down or go off 744 00:39:49,740 --> 00:39:52,470 screen to another location very very 745 00:39:52,470 --> 00:39:55,799 simple devices that make the point to 746 00:39:55,799 --> 00:39:57,630 tell something very simple but to tell 747 00:39:57,630 --> 00:40:00,359 in a complex way also the fact that the 748 00:40:00,359 --> 00:40:01,980 accordion a musical instruments were 749 00:40:01,980 --> 00:40:04,589 important to the Cubist's Brock himself 750 00:40:04,589 --> 00:40:06,569 being an accordion is whether or not 751 00:40:06,569 --> 00:40:09,329 they saw this film the fact that it is 752 00:40:09,329 --> 00:40:11,819 the subject of an early film and also 753 00:40:11,819 --> 00:40:13,230 this is the sense of destroying 754 00:40:13,230 --> 00:40:16,259 tradition when early films were first 755 00:40:16,259 --> 00:40:18,240 shown they were not highly accepted by 756 00:40:18,240 --> 00:40:20,279 upper middle class and either were not 757 00:40:20,279 --> 00:40:22,589 considered a legitimate art and there is 758 00:40:22,589 --> 00:40:24,750 the reference i think undoubtedly to the 759 00:40:24,750 --> 00:40:27,299 men a painting this clash of the vulgar 760 00:40:27,299 --> 00:40:30,150 popular with the classical I mean in 761 00:40:30,150 --> 00:40:33,299 many ways the film does take traditional 762 00:40:33,299 --> 00:40:35,789 art forms and makes a little pun of it 763 00:40:35,789 --> 00:40:37,259 that would be something very appealing 764 00:40:37,259 --> 00:40:40,130 to the Cubist 765 00:40:41,750 --> 00:40:44,460 cinema was always very first because 766 00:40:44,460 --> 00:40:47,640 it's hard very much part of his life and 767 00:40:47,640 --> 00:40:51,839 I think one of the effects that he he 768 00:40:51,839 --> 00:40:56,190 took consciously took was the close-up 769 00:40:56,190 --> 00:41:00,690 and Sumatra Picasso's work is to do with 770 00:41:00,690 --> 00:41:04,230 gigantism he rarely wanted to make the 771 00:41:04,230 --> 00:41:07,259 image as big as possible he had all 772 00:41:07,259 --> 00:41:09,630 kinds of different ways of doing this 773 00:41:09,630 --> 00:41:12,779 largely by cutting the head off short 774 00:41:12,779 --> 00:41:15,359 and cramming the figure in for instance 775 00:41:15,359 --> 00:41:17,609 of the Prague self-portrait is so 776 00:41:17,609 --> 00:41:19,769 crammed in and is so big that eyes are 777 00:41:19,769 --> 00:41:22,140 so enormous it looks exactly like 778 00:41:22,140 --> 00:41:25,200 self-portrait an early movie there were 779 00:41:25,200 --> 00:41:27,269 lots of stories about going to the 780 00:41:27,269 --> 00:41:30,569 movies I mean but just before 1914 and 781 00:41:30,569 --> 00:41:34,109 honored the war his great friend Sarah 782 00:41:34,109 --> 00:41:36,089 Farah seems to be a great friend once 783 00:41:36,089 --> 00:41:37,559 because they would pinched her his 784 00:41:37,559 --> 00:41:42,000 girlfriend here at not good but Saoirse 785 00:41:42,000 --> 00:41:45,359 around the Baroness judging and kept as 786 00:41:45,359 --> 00:41:47,519 it were a box a special box in Lille at 787 00:41:47,519 --> 00:41:50,250 their local movie house and people could 788 00:41:50,250 --> 00:41:52,049 drift in and out I mean hip friends of 789 00:41:52,049 --> 00:41:53,849 his and they all had a sort of card they 790 00:41:53,849 --> 00:41:56,119 could go in and sit there for a bit and 791 00:41:56,119 --> 00:42:00,869 he preferred I think unpretentious films 792 00:42:00,869 --> 00:42:03,299 I don't think he was all too keen on 793 00:42:03,299 --> 00:42:06,299 what we might call art films he loved 794 00:42:06,299 --> 00:42:08,039 slapstick comedies he was a great 795 00:42:08,039 --> 00:42:11,359 admirer of Chaplin 796 00:42:11,980 --> 00:42:15,310 and of course he adored cowboy movies 797 00:42:15,310 --> 00:42:19,119 and Braque and Picasso they loved seeing 798 00:42:19,119 --> 00:42:24,070 each other as cowboys oxes and this was 799 00:42:24,070 --> 00:42:26,050 all sort of part of the game of life I 800 00:42:26,050 --> 00:42:28,450 mean it was the way that film at that 801 00:42:28,450 --> 00:42:30,700 time was Scott encroaching on life and 802 00:42:30,700 --> 00:42:32,890 make taking up a greater part in 803 00:42:32,890 --> 00:42:34,750 people's lives and the references to 804 00:42:34,750 --> 00:42:36,670 film in general conversation as well as 805 00:42:36,670 --> 00:42:39,000 in his work 806 00:42:47,660 --> 00:42:49,790 for all their closeness Picasso and 807 00:42:49,790 --> 00:42:51,590 Braque I mean they were closer than any 808 00:42:51,590 --> 00:42:53,960 two other painters of 20th century they 809 00:42:53,960 --> 00:42:57,080 were competitive and I lived for many 810 00:42:57,080 --> 00:42:59,300 years in France with Douglas Cooper who 811 00:42:59,300 --> 00:43:01,010 had the greatest collection private 812 00:43:01,010 --> 00:43:03,470 collection of cubist painting drawings 813 00:43:03,470 --> 00:43:06,230 sculpture everything else and one of the 814 00:43:06,230 --> 00:43:08,060 most treasured things in this collection 815 00:43:08,060 --> 00:43:10,490 was the first puppy a collie ever done 816 00:43:10,490 --> 00:43:13,490 the one that bracketed behind Picasso's 817 00:43:13,490 --> 00:43:17,600 back in September 1912 and Picasso is to 818 00:43:17,600 --> 00:43:19,580 come and come to the house quite a lot 819 00:43:19,580 --> 00:43:21,470 because if we were near bullfighting 820 00:43:21,470 --> 00:43:23,720 country and after bullfights we'd give 821 00:43:23,720 --> 00:43:25,760 it dinner and he'd come and go round the 822 00:43:25,760 --> 00:43:29,420 paintings with him and one day he looked 823 00:43:29,420 --> 00:43:32,540 again on again rather ferociously at the 824 00:43:32,540 --> 00:43:36,170 the brat collage which we know that the 825 00:43:36,170 --> 00:43:38,420 papers in the collage Brock had found in 826 00:43:38,420 --> 00:43:41,740 a wallpaper shop in Avignon and so 827 00:43:41,740 --> 00:43:44,060 Picasso said you know I think on my way 828 00:43:44,060 --> 00:43:45,740 back I'll get stopped at the wallpaper 829 00:43:45,740 --> 00:43:48,590 shop and buy some more of that paper and 830 00:43:48,590 --> 00:43:52,300 show Brock how I'd I would have done it 831 00:43:52,300 --> 00:43:55,349 [Music] 832 00:43:55,850 --> 00:43:58,770 Cubism doesn't have a manifesto and part 833 00:43:58,770 --> 00:44:00,900 of its intensity part of the reason why 834 00:44:00,900 --> 00:44:03,090 it remains interesting to us is that it 835 00:44:03,090 --> 00:44:05,130 doesn't have a manifesto that it's a 836 00:44:05,130 --> 00:44:07,590 series of openings out on to new kinds 837 00:44:07,590 --> 00:44:09,510 of experience on to new kinds of art 838 00:44:09,510 --> 00:44:12,630 we've learned over the years to read 839 00:44:12,630 --> 00:44:14,820 those headlines in Cuba's pictures not 840 00:44:14,820 --> 00:44:16,890 just as arbitrary choices but as 841 00:44:16,890 --> 00:44:18,750 meaningful choices our future is in the 842 00:44:18,750 --> 00:44:20,640 air quite literally as part of the 843 00:44:20,640 --> 00:44:23,700 sloganeering of the painting we can talk 844 00:44:23,700 --> 00:44:25,620 about cubism in flight in a very 845 00:44:25,620 --> 00:44:27,120 meaningful way cubism and the Wright 846 00:44:27,120 --> 00:44:29,400 brothers cubism and the idea of Aviation 847 00:44:29,400 --> 00:44:31,440 sense their love for flight in their 848 00:44:31,440 --> 00:44:33,900 nicknaming each other Orville and Wilbur 849 00:44:33,900 --> 00:44:35,400 and we learned over the years to 850 00:44:35,400 --> 00:44:38,010 understand the Cubist jokes modulae 851 00:44:38,010 --> 00:44:40,380 taking up a popular song was an 852 00:44:40,380 --> 00:44:42,150 arbitrary and involved actually being 853 00:44:42,150 --> 00:44:44,760 open to popular music in the movies a 854 00:44:44,760 --> 00:44:48,510 very powerful model up just how much 855 00:44:48,510 --> 00:44:51,420 distortion changes a viewpoint changes 856 00:44:51,420 --> 00:44:54,630 of ideas back and forth between titles 857 00:44:54,630 --> 00:44:57,690 and images all of those things suddenly 858 00:44:57,690 --> 00:44:59,910 give you a new model of what a work of 859 00:44:59,910 --> 00:45:01,890 art can be and I think that it's that 860 00:45:01,890 --> 00:45:05,910 sense of a new rhythm for painting that 861 00:45:05,910 --> 00:45:08,040 you feel very strongly in collage and I 862 00:45:08,040 --> 00:45:09,540 think that the deepest resemblances 863 00:45:09,540 --> 00:45:11,670 between what Picasso and Braque were 864 00:45:11,670 --> 00:45:13,710 doing what the first filmmakers we're 865 00:45:13,710 --> 00:45:17,250 doing comes in that sense of permissions 866 00:45:17,250 --> 00:45:19,760 given old restrictions removed 867 00:45:19,760 --> 00:45:23,210 possibilities opened 868 00:45:24,460 --> 00:45:29,200 I very much liked at the Palio shesha a 869 00:45:29,200 --> 00:45:31,180 rather nice movie that depicted the 870 00:45:31,180 --> 00:45:34,330 adventure easy I don't seem to Marcel I 871 00:45:34,330 --> 00:45:38,230 need to teach because who really dare i 872 00:45:38,230 --> 00:45:41,770 or don't I well take courage and Trust 873 00:45:41,770 --> 00:45:45,360 in the grace of God now finding us 874 00:45:45,360 --> 00:45:49,900 agility cinemas path a touched us very 875 00:45:49,900 --> 00:45:50,530 much 876 00:45:50,530 --> 00:45:53,890 it is the unfortunate adventure with the 877 00:45:53,890 --> 00:45:57,160 pints postage stamps postcards with 878 00:45:57,160 --> 00:45:59,230 style playing cards we candelabra 879 00:45:59,230 --> 00:46:03,790 letting the man who projects a film 880 00:46:03,790 --> 00:46:06,760 today plays the role that the Joker did 881 00:46:06,760 --> 00:46:09,550 in the Georges Braque knows no rest and 882 00:46:09,550 --> 00:46:11,890 every one of his Picasso studies an 883 00:46:11,890 --> 00:46:13,900 object like a surgeon dissect the 884 00:46:13,900 --> 00:46:18,160 cadaver the most philosophical the most 885 00:46:18,160 --> 00:46:21,820 abstract of all cubist art critics most 886 00:46:21,820 --> 00:46:24,460 movies why not and if you read his work 887 00:46:24,460 --> 00:46:27,820 he frames it in terms of conti frames it 888 00:46:27,820 --> 00:46:30,250 in terms of abstraction to a degree that 889 00:46:30,250 --> 00:46:32,440 not only would you never know the cinema 890 00:46:32,440 --> 00:46:34,090 had ever been invented It was as though 891 00:46:34,090 --> 00:46:36,970 Cuba's pictures didn't exist as physical 892 00:46:36,970 --> 00:46:40,150 objects as pure abstraction and yet it 893 00:46:40,150 --> 00:46:41,980 turned out he was the first sustained 894 00:46:41,980 --> 00:46:45,610 film critic he loved the cinema now this 895 00:46:45,610 --> 00:46:48,250 at first was such a complete aberration 896 00:46:48,250 --> 00:46:50,920 because cubism depended absolutely on a 897 00:46:50,920 --> 00:46:53,050 belief that you had to distance art from 898 00:46:53,050 --> 00:46:55,210 the mesas that you rejected nature it's 899 00:46:55,210 --> 00:46:58,390 tainted materialism the fact that it was 900 00:46:58,390 --> 00:47:01,060 just a bourgeois empty form of artistic 901 00:47:01,060 --> 00:47:03,850 practice and so most Cuba's critics 902 00:47:03,850 --> 00:47:06,010 hated cinema because they hated 903 00:47:06,010 --> 00:47:08,290 photography because it was pneumatic at 904 00:47:08,290 --> 00:47:10,180 reproduce nature and so they were 905 00:47:10,180 --> 00:47:12,130 consistent they were intellectually pure 906 00:47:12,130 --> 00:47:15,100 in the sense but there were a few who 907 00:47:15,100 --> 00:47:17,470 allowed themselves to love cinema 908 00:47:17,470 --> 00:47:22,000 because the chasm seemed so profound it 909 00:47:22,000 --> 00:47:24,760 was as though there was a sort of loose 910 00:47:24,760 --> 00:47:27,250 world that they could love and then 911 00:47:27,250 --> 00:47:29,210 there was art with a capital A 912 00:47:29,210 --> 00:47:31,880 then he could go slumming with gusto in 913 00:47:31,880 --> 00:47:34,130 the cinema and in fact ray now talks 914 00:47:34,130 --> 00:47:35,900 about how the cinemas were dark and 915 00:47:35,900 --> 00:47:37,670 people would be feeling each other up 916 00:47:37,670 --> 00:47:40,150 and smooching and drinking and smoking 917 00:47:40,150 --> 00:47:44,240 and he talked about his raucous raunchy 918 00:47:44,240 --> 00:47:46,220 disjunctions that are such kindred 919 00:47:46,220 --> 00:47:49,130 spirits to cubism but he obviously was 920 00:47:49,130 --> 00:47:51,380 completely oblivious that he was 921 00:47:51,380 --> 00:47:53,690 responding to a similar Sensibility and 922 00:47:53,690 --> 00:47:55,369 there's even more I mean the first 923 00:47:55,369 --> 00:47:58,819 extended discussion of cinema was back I 924 00:47:58,819 --> 00:48:00,950 made a good mom who was a great 925 00:48:00,950 --> 00:48:04,309 symbolist and and he talks about how he 926 00:48:04,309 --> 00:48:06,289 was responding to in a split second you 927 00:48:06,289 --> 00:48:07,910 could be in this country in that country 928 00:48:07,910 --> 00:48:09,770 and a second later you've moved from a 929 00:48:09,770 --> 00:48:12,950 desert to the ocean and in the 930 00:48:12,950 --> 00:48:15,829 archetypal definition in 1912 by Glenn 931 00:48:15,829 --> 00:48:18,890 messenger in effect they characterized 932 00:48:18,890 --> 00:48:21,980 cubism and cinematic terms and didn't 933 00:48:21,980 --> 00:48:24,619 realize it so it's a really fascinating 934 00:48:24,619 --> 00:48:27,230 sense that within the culture there were 935 00:48:27,230 --> 00:48:30,020 all kinds of convergences and yet many 936 00:48:30,020 --> 00:48:32,359 people simply weren't aware because they 937 00:48:32,359 --> 00:48:34,309 were so programmed that there was as 938 00:48:34,309 --> 00:48:38,059 apocalyptic break between cinema and art 939 00:48:38,059 --> 00:48:39,550 with a capital A 940 00:48:39,550 --> 00:48:42,780 [Music] 941 00:48:43,990 --> 00:48:45,670 one of the things I love about these 942 00:48:45,670 --> 00:48:48,490 paintings is how the how the color has 943 00:48:48,490 --> 00:48:51,039 just been sucked out of it it's almost 944 00:48:51,039 --> 00:48:53,559 like taking a color television and 945 00:48:53,559 --> 00:48:56,980 turning the color down maybe I'm not 946 00:48:56,980 --> 00:48:59,740 sure what they were thinking but in my 947 00:48:59,740 --> 00:49:02,710 case I just didn't want to depend on 948 00:49:02,710 --> 00:49:04,839 color I didn't want to depend on color 949 00:49:04,839 --> 00:49:06,880 to carry the painting I wanted the 950 00:49:06,880 --> 00:49:10,150 structure and the information to be you 951 00:49:10,150 --> 00:49:13,210 know something that to depend upon the 952 00:49:13,210 --> 00:49:15,819 kind of entertainment value of color 953 00:49:15,819 --> 00:49:17,859 that is it if you don't like anything 954 00:49:17,859 --> 00:49:19,450 else you're looking at at least you're 955 00:49:19,450 --> 00:49:23,260 looking at some beautiful color and and 956 00:49:23,260 --> 00:49:28,529 and I think also there is in limitation 957 00:49:28,529 --> 00:49:32,740 an ability to focus on the other issues 958 00:49:32,740 --> 00:49:34,660 because you've gotten color out of there 959 00:49:34,660 --> 00:49:36,430 can you still make a painting that's 960 00:49:36,430 --> 00:49:39,910 interesting the thing that I recognize 961 00:49:39,910 --> 00:49:43,299 the most and felt a kind of personal 962 00:49:43,299 --> 00:49:46,470 urgency with was the extreme 963 00:49:46,470 --> 00:49:51,809 artificiality of cubism it was not about 964 00:49:51,809 --> 00:49:55,270 space it was not about atmosphere was 965 00:49:55,270 --> 00:49:58,480 not about the way we see things in 966 00:49:58,480 --> 00:50:01,349 nature it's highly compressed 967 00:50:01,349 --> 00:50:04,809 insistently flat you are always aware 968 00:50:04,809 --> 00:50:07,059 that you're looking at distribution of 969 00:50:07,059 --> 00:50:11,130 colored dirt on a flat surface and then 970 00:50:11,130 --> 00:50:14,140 emerging out of that in a fractured and 971 00:50:14,140 --> 00:50:17,680 totally unrealistic way pieces of 972 00:50:17,680 --> 00:50:21,640 imagery that begin to coalesce in your 973 00:50:21,640 --> 00:50:24,579 mind and that whole notion of making an 974 00:50:24,579 --> 00:50:26,770 image is something that I've been 975 00:50:26,770 --> 00:50:30,010 involved with in a different way I want 976 00:50:30,010 --> 00:50:32,260 the viewer always to be aware of the 977 00:50:32,260 --> 00:50:35,440 fact that it is as artificial as it is 978 00:50:35,440 --> 00:50:37,690 real and it's the tension between the 979 00:50:37,690 --> 00:50:40,869 artificiality and the reality that makes 980 00:50:40,869 --> 00:50:43,930 the difference you know style is 981 00:50:43,930 --> 00:50:46,539 embedded in process that's where the 982 00:50:46,539 --> 00:50:49,359 rubber meets the road in painting you 983 00:50:49,359 --> 00:50:51,400 have the thought process of the artist 984 00:50:51,400 --> 00:50:52,880 and and that's 985 00:50:52,880 --> 00:50:56,089 that's a contemporary experience for you 986 00:50:56,089 --> 00:50:57,739 it's like you're watching it happen in 987 00:50:57,739 --> 00:50:58,999 front of your very eyes 988 00:50:58,999 --> 00:51:01,220 you can deconstruct it and then 989 00:51:01,220 --> 00:51:03,440 construct it back again and in that 990 00:51:03,440 --> 00:51:07,930 process it's yours it's your experience 991 00:51:12,069 --> 00:51:14,869 one of the things it's extremely 992 00:51:14,869 --> 00:51:17,630 important to think about it's not only 993 00:51:17,630 --> 00:51:19,930 the way that this new modern 994 00:51:19,930 --> 00:51:22,519 technological constantly changing 995 00:51:22,519 --> 00:51:25,130 environment with something that Braque 996 00:51:25,130 --> 00:51:28,220 and Picasso were responding to but that 997 00:51:28,220 --> 00:51:30,019 their their paintings 998 00:51:30,019 --> 00:51:32,799 capture it I'm not talking about a 999 00:51:32,799 --> 00:51:36,049 literal reproduction but the fact that 1000 00:51:36,049 --> 00:51:39,680 the paintings operate like films if you 1001 00:51:39,680 --> 00:51:42,019 look at them statically I don't think 1002 00:51:42,019 --> 00:51:44,559 they work but if you look at them as 1003 00:51:44,559 --> 00:51:47,809 progressing as moving as creating their 1004 00:51:47,809 --> 00:51:50,029 own interplay between the various 1005 00:51:50,029 --> 00:51:52,430 elements and facets suddenly all that 1006 00:51:52,430 --> 00:51:56,019 breaking up into individual elements and 1007 00:51:56,019 --> 00:51:59,269 variations makes sense now would they 1008 00:51:59,269 --> 00:52:00,950 have done that if film had never existed 1009 00:52:00,950 --> 00:52:04,279 it's possible but the important thing is 1010 00:52:04,279 --> 00:52:06,769 film did exist and film was something 1011 00:52:06,769 --> 00:52:10,969 that they were seizing upon as both 1012 00:52:10,969 --> 00:52:13,880 something they could learn from and to 1013 00:52:13,880 --> 00:52:15,769 put it bluntly something they could 1014 00:52:15,769 --> 00:52:19,029 teach something too 1015 00:52:23,010 --> 00:52:24,930 one of the things that I think makes 1016 00:52:24,930 --> 00:52:27,990 cubism in the simplest sense such a 1017 00:52:27,990 --> 00:52:30,660 beautiful moment in the history not just 1018 00:52:30,660 --> 00:52:32,010 of Western art but a history of the 1019 00:52:32,010 --> 00:52:35,940 Western imagination is its ability to 1020 00:52:35,940 --> 00:52:40,290 make us feel deeply the promise of the 1021 00:52:40,290 --> 00:52:42,930 new that the possibilities that are 1022 00:52:42,930 --> 00:52:46,320 right there in front of us in flight in 1023 00:52:46,320 --> 00:52:49,500 the newspaper in the caricature journal 1024 00:52:49,500 --> 00:52:51,900 in the movies that those things aren't a 1025 00:52:51,900 --> 00:52:54,030 threat to high culture those things 1026 00:52:54,030 --> 00:52:56,579 aren't things that mark the end of 1027 00:52:56,579 --> 00:52:58,950 artistic originality but that they can 1028 00:52:58,950 --> 00:53:02,280 be incredibly powerful stimulants 1029 00:53:02,280 --> 00:53:04,829 incredibly powerful resources for art 1030 00:53:04,829 --> 00:53:07,230 for painting for the oldest of forms to 1031 00:53:07,230 --> 00:53:10,650 go on in to renew itself 1032 00:53:10,650 --> 00:53:15,910 cubism has always been more seen in the 1033 00:53:15,910 --> 00:53:20,320 light of Picasso than of Brock and I 1034 00:53:20,320 --> 00:53:23,860 feel that that early period was a period 1035 00:53:23,860 --> 00:53:27,000 where they hardly could be disentangle 1036 00:53:27,000 --> 00:53:31,690 the question I asked myself was how is 1037 00:53:31,690 --> 00:53:35,550 it possible when two artists worked so 1038 00:53:35,550 --> 00:53:38,950 intensely together that is only possible 1039 00:53:38,950 --> 00:53:43,030 for a short period of time that can 1040 00:53:43,030 --> 00:53:46,990 never continue forever and I know it 1041 00:53:46,990 --> 00:53:50,710 because I work together with Klaus 1042 00:53:50,710 --> 00:53:54,940 Oldenburg and we have moments where it 1043 00:53:54,940 --> 00:53:58,110 is very hard for us to work together 1044 00:53:58,110 --> 00:54:02,290 there is a will to do it but there is 1045 00:54:02,290 --> 00:54:05,020 something else and that something else 1046 00:54:05,020 --> 00:54:11,950 is so beautifully expressed in this idea 1047 00:54:11,950 --> 00:54:15,580 of two mountain climbers because you 1048 00:54:15,580 --> 00:54:19,600 don't have a rope holding you while you 1049 00:54:19,600 --> 00:54:23,080 are scaling a mountain when there is no 1050 00:54:23,080 --> 00:54:26,230 danger and you feel that danger there's 1051 00:54:26,230 --> 00:54:29,530 always danger between these two and one 1052 00:54:29,530 --> 00:54:32,050 waits till the other has gone to Paris 1053 00:54:32,050 --> 00:54:35,170 in order to do something that will be a 1054 00:54:35,170 --> 00:54:40,290 challenge and then the first world war 1055 00:54:40,290 --> 00:54:45,310 broke the spell it was over 1056 00:54:45,310 --> 00:54:48,610 what happens afterwards is something 1057 00:54:48,610 --> 00:54:53,950 that can never put together that moment 1058 00:54:53,950 --> 00:54:59,610 of excitement that these two artists had 1059 00:54:59,610 --> 00:55:04,470 and as because who said it was our 1060 00:55:04,470 --> 00:55:07,870 individual characters that had to 1061 00:55:07,870 --> 00:55:11,410 express themselves because there were no 1062 00:55:11,410 --> 00:55:31,390 more discoveries to be made Picasso and 1063 00:55:31,390 --> 00:55:35,650 Braque paintings of 1907 to 1914 are the 1064 00:55:35,650 --> 00:55:37,690 documents that tell the story of what 1065 00:55:37,690 --> 00:55:39,070 these two adventurers made of this 1066 00:55:39,070 --> 00:55:41,650 phenomenon what they took with them as a 1067 00:55:41,650 --> 00:55:43,990 catalytic agent to tear down the 1068 00:55:43,990 --> 00:55:47,710 conventions of representation cubism was 1069 00:55:47,710 --> 00:55:50,710 not a style it was a revolution that 1070 00:55:50,710 --> 00:55:52,990 instigated a profoundly radical change 1071 00:55:52,990 --> 00:55:57,640 of artistic form in fact a radical 1072 00:55:57,640 --> 00:56:00,510 change in vision itself 1073 00:56:00,510 --> 00:56:02,570 you 1074 00:56:03,930 --> 00:56:06,610 [Applause] 1075 00:56:06,610 --> 00:56:12,300 [Music] 1076 00:56:12,300 --> 00:56:14,360 you 1077 00:56:14,670 --> 00:56:19,129 [Music] 1078 00:56:40,100 --> 00:56:45,230 [Music] 1079 00:58:39,790 --> 00:59:29,119 [Music] 1080 00:59:30,010 --> 00:59:32,070 you 1081 00:59:32,900 --> 01:00:14,429 [Music] 77183

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