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it was the turn of the 20th century and
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the disciplines of art and film were
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about to converge in a way that would
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change our perception of the world
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forever if still photography had already
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had a profound effect on mid 19th
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century artists especially MANET what
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influence would Motion Pictures have on
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the next generation by 1893 Edison's
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Kinetoscope was an international
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sensation but only one person at a time
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could view this miniature world of
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movement
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Edison's ultimate objective was to do
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for the eye what his photograph had done
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for the ear but in 1895 there would be
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the Lumiere brothers in Paris advancing
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Edison's technology and introducing the
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cinematograph projecting motion pictures
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it was one of a range of remarkable new
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technologies including aviation that
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promised the annihilation of time and
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space as it was known
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[Music]
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we tend to think of cubism more in terms
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of geometry and structure the truth is
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that it is a technological art it's
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involved with what we've come to know is
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the Industrial Revolution and we've
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forgotten the revolution part of it it
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really was a revolution in how people
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thought of themselves not just in terms
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of technology but how technology changed
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people themselves their whole view of
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their world and of their relation to it
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and Picasso and Braque were born into
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this world
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[Music]
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Picasso comes from a family of painters
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his father was a teacher of drawing at
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the academy in Madrid at a certain point
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he took his brushes and gave them to his
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son surrendering the tradition to him
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brach also came from a family in which
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there were painters his family business
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was the decoration business in Lahab but
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his father was an amateur fine art
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painter in his spare time and encouraged
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his son to follow in the family business
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but also to paint in his spare time and
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finally Brock made the choice to be a
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painter rather than a decorator there's
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a certain way that in the arts generally
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how to portray emotion basically through
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still media like painting or drawing or
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sculpture had always been an issue
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photography when it appeared in the 19th
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century had to be very still because it
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had a very long exposure time but
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starting around the 1880s and into the
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1890s still photography began to become
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instantaneous photography
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you could see something with the
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photograph but you can't see with your
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naked eye and the idea that if you could
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get instantaneous exposures you could
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make motion pictures began to occur to
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people like my bridge and moire but
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immediately people thought well if you
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can do that you could also not just
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analyze motion but synthesize it
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recreate it really record a moment
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[Music]
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when Casso was 15 years old he saw his
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first films it was 1896 barcelona he
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went to a screening in a place called
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the salad of polio
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there was one film in particular that
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struck him and it was the charge of the
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17th French curacy X and Picasso was
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sharing his first studio with his friend
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pilaris he went back to that studio and
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made of painting that drew on that
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charge of these French soldiers but
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combined it with a painting source by
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Maria Fortuna and he became an instant
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scene in file and he and his friends
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went to the cinema over and over again
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in the program that because I saw there
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were 12 or 13 films and the apparatus
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could be seen in the room so one could
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see how this mechanism operated right
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from the beginning one could see what
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the film looked like one could hear the
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clicking and the whirring of the
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mechanism turning over and so it had a
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kind of animal quality that people
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responded to for conservative
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estheticians this idea was one of the
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things that condemned cinema it could
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never be an art form it was simply a
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machine film of course is motion
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pictures and that's so obvious that I
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think we very often don't think about
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how extraordinary it had to be or the
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audience is seeing them for the first
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time not just for the technical novelty
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you know but suddenly they're seeing
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motion pictures but literally for the
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possibility of recording motion itself
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you're actually preserving time in its
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flight time in its progression and
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motion itself particularly of the human
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body but also of natural phenomenon
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waves the leaves in the trees which
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artists had often referred to either in
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poetry or in painting but had never
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literally captured
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film could do that and that is more than
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just a normal recording function it is
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opening up a whole new way of seeing and
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a whole new vision
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you
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one of the things that I really like
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about the experience in the early films
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is it it's a lot like when somebody has
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a camera for the first time has the
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ability to take a picture for the first
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time without thinking about it they walk
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around and they take a picture of that
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oh that's what take a picture of that
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you know and I'll take a picture of that
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they find something that is just up a
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contrast or or just something different
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and they take a picture of that and the
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same thing you know in some of the early
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movies the guy said wow I can take a
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picture of that and so you got a bunch
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of guys walking around or you got people
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doing them very simple basic human kinds
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of things that these guys got a chance
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to see for the first time and record for
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the first time he also got a chance to
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relive time in a way that hadn't existed
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before and as far as I'm concerned right
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a really exciting thing they got a
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chance to monkey with it and so that you
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can see the first guys who figured out
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about how to do some of these things
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they said that this is this is so neat I
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can speed up time oh gee if I wind the
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camera make it go slower I get this
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turkey jerky motion that becomes more
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hysterical and kind of peculiar and
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launches into a kind of another fantasy
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realm then some other bright spot
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figured out you know since all the film
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was double perf in those days I can take
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the film and I can make it run upside
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down and backwards and I can have time
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go backwards I mean can you imagine how
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it seems to me remarkable that idea was
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I mean remarkable enough to turn me on
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like all these years later so I still do
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it sometimes with a lot of screens and
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overlapping sound
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[Music]
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from earliest surviving drawings we have
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we know that Picasso was intoxicated
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with all forms of popular culture around
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and this is a lifelong obsession a
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lifelong love
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he loved the Tarot machia the bullfight
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he came from a world awash in visual
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signs and visually coded meanings the
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most passionate meanings the Eucharist
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the symbols of the mass but he also came
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from a place in Malaga
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where without saying a word you could
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glare it but by how you held your fan
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you could say meet me on the balcony
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it's free and in fact there was a very
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elaborately coded language of fans in
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fact there were multiple language of
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fans and in his cubist works Picasso at
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and before as well I mean for years
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Picasso includes images of fans but in
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some works the body parts actually
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become folded like a fan that knows the
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ridges under the eye the cheek the
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forehead and then and some of the images
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which also so deeply evoke the handheld
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movie cameras a diaphanous wispy soft
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monochrome of the very first cinema
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they also evoke the fluttering of the
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fan
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for centuries there had been tremendous
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interest in optics and perspective and
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it turns out that these interests were
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superseded and teaching at large and yet
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you see in this little elementary school
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textbooks she was fascinated and kept
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nine different points of view he loved
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bringing in letters and numbers and
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musical notes all issues which would
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become so central to cubism and these
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only surface when he comes to the
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enabling environment of Paris
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Picasso first comes to Paris in 1900
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he's going to the Exposition Universelle
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which is an enormous kind of World's
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Fair one of the things that brings him
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as he has a small painting in an
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exhibition of Spanish art
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at the fair the Lumiere brothers had a
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huge screen 15 by 27 meters and on it
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they projected some of those same films
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that because I had seen initially the
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other thing that because I would have
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seen it the Exposition Universelle was
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Loie fuller the American dancer who was
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very well known in Paris
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Loie fuller was an import from Chicago
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actually she'd had a little success in
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the United States but she was brought to
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Paris in 1893 to be at the folly
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brassiere and she introduced this dance
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that she had already pioneered in the
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United States and gotten some attention
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with which he called the serpentine
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dance
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[Music]
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instead of exiting footwork it accented
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form in the shape of these enormous
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billowing cloths so you've got a dance
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that's totally thought about almost as a
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work of changing sculpture mobile
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sculpture
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she had stage assistants bathing her in
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constantly changing light a spectacle
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that is like nothing that anyone had
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ever seen Loie fuller set a patent solo
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day solo solo be do boo Tebow me Soho da
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itis ago says hijo o TiVo ah voila
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enumerable maksakov
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generally dances were extremely popular
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subject matter for early cinema but the
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serpentine dance was undoubtedly the
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most popular in every country where
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somebody was operating a camera they got
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someone often not as skilled was fuller
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but who could manipulate the cloth and
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could give this kind of spectacle motion
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in this new recording but what about the
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color there was not yet the possibility
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of color cinematography but people came
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up with a brilliant solution
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which is that they actually would tint
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the film itself they were able to give
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again that sense of a constant
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metamorphosis of color people who are
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involved with organizing
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the exposition understood that they were
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marking a moment of self conscious
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transformation and change a moment where
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the modern was entering into daily life
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and that this involved technology and it
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involved art and bridging the two was
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the idea of movement many things of the
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1900 exposition marked this Fuller and
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the Lumiere's
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but also the sense of the new art the
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sense of the new technology new aspects
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of the exposition the moving sidewalk
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for instance which circled around the
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exhibition
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not only were you moving through the
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00:15:05,990 --> 00:15:08,870
exposition but you had a mobile view of
279
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the exhibitions which as though
280
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everything was in motion
281
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[Music]
282
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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
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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
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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
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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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