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1
00:01:01,294 --> 00:01:04,247
This film is not for judges.
2
00:01:04,634 --> 00:01:09,840
It addresses friends known and
unknown that our work brings us,
3
00:01:10,026 --> 00:01:13,085
and who are the only reason
for us to be poets,
4
00:01:13,261 --> 00:01:15,443
a true attack on modesty,
5
00:01:15,626 --> 00:01:19,410
since being a poet means
publicly confiding one's secrets,
6
00:01:19,593 --> 00:01:23,411
better to speak out loud
in our sleep.
7
00:01:24,254 --> 00:01:29,117
That is why the film will search
those who read the figures,
8
00:01:29,542 --> 00:01:31,724
who go to the trouble
of reading the figures,
9
00:01:32,046 --> 00:01:35,308
a task the spirit despises
10
00:01:35,560 --> 00:01:39,901
but the heart performs
with remarkable facility.
11
00:01:41,126 --> 00:01:46,297
I have too often advised young
filmmakers to use 16 mm
12
00:01:46,831 --> 00:01:49,228
without taking the risk myself.
13
00:01:49,823 --> 00:01:52,528
Moreover, I find that amateurs
14
00:01:52,711 --> 00:01:56,079
are often tempted by the
technique of professionals.
15
00:01:56,711 --> 00:02:01,360
Being a professionaI,
I wanted to make an amateur film
16
00:02:01,825 --> 00:02:04,398
without burdening myself
with any rules.
17
00:02:04,573 --> 00:02:08,119
One day, one shall regret
having been too precise
18
00:02:08,574 --> 00:02:12,322
and artists will try
to provoke intentionally
19
00:02:12,748 --> 00:02:15,808
the accidents that
chance provides.
20
00:02:16,332 --> 00:02:18,549
That will be the
difficult moment.
21
00:02:19,497 --> 00:02:24,015
The Kodachrome counter-type has
its own way to transform colors
22
00:02:24,368 --> 00:02:26,965
and in the most
unaccepted manner.
23
00:02:27,359 --> 00:02:29,826
One must accept that
it somehow creates something
24
00:02:30,560 --> 00:02:34,557
like the interpretation
of a painter.
25
00:02:34,909 --> 00:02:37,578
One must also accept
the surprises.
26
00:02:37,935 --> 00:02:41,196
We face a machine
that invents.
27
00:02:41,657 --> 00:02:44,254
What I show is not
what I want
28
00:02:44,788 --> 00:02:49,473
but that which the machine
and chemicaI baths want.
29
00:02:49,798 --> 00:02:51,601
It's a different world
30
00:02:51,849 --> 00:02:55,953
in which one must forget
the world one inhabits.
31
00:02:57,207 --> 00:03:01,857
Villa Santo Sospir belongs
to Madame Alec Weissweiller.
32
00:03:02,599 --> 00:03:04,996
It dominates Cape Santo Sospir,
33
00:03:05,382 --> 00:03:07,884
the last point on the map
34
00:03:08,061 --> 00:03:10,005
before arriving at Cape Ferrat.
35
00:03:10,530 --> 00:03:14,244
The villa is situated
on the road to the lighthouse,
36
00:03:14,497 --> 00:03:17,723
and its rocks descend
to the sea.
37
00:03:18,288 --> 00:03:24,302
It looks out on Antibes,
Cannes, Nice,
38
00:03:25,142 --> 00:03:30,313
and to the right, Villefranche
where I have lived a long time.
39
00:03:30,569 --> 00:03:34,246
Here is the new lighthouse.
Its scaffolding is still up,
40
00:03:34,430 --> 00:03:37,384
and it resembles Piranese
architecture in style.
41
00:03:41,631 --> 00:03:45,485
When I stayed at Santo Sospir
in the summer of 1950
42
00:03:45,806 --> 00:03:48,546
I hastily decorated a wall.
43
00:03:48,971 --> 00:03:52,553
Matisse told me that if
you decorate one wall,
44
00:03:52,728 --> 00:03:55,575
you should do the others
as well. He was right.
45
00:03:58,816 --> 00:04:01,971
Picasso opened and closed
all the doors.
46
00:04:02,504 --> 00:04:05,765
All that was left to do
was to paint the doors.
47
00:04:05,948 --> 00:04:07,501
That is what I tried to do.
48
00:05:29,856 --> 00:05:32,846
But the doors lead into rooms.
49
00:05:33,266 --> 00:05:35,341
The rooms have walls.
50
00:05:35,700 --> 00:05:39,697
And if the doors are painted
the walls have an empty look.
51
00:05:40,153 --> 00:05:43,830
I spent the entire summer
of 1950 working on ladders.
52
00:05:44,015 --> 00:05:46,684
An old Italian worker
prepared my pigments,
53
00:05:46,868 --> 00:05:48,849
immersed in fresh milk.
54
00:05:49,790 --> 00:05:52,849
A young woman lives
at Santo Sospir.
55
00:05:53,164 --> 00:05:55,488
I didn't need
to dress the walls.
56
00:05:55,739 --> 00:05:58,550
I had to draw
on their surface.
57
00:05:58,834 --> 00:06:02,511
That's why I made
line frescoes,
58
00:06:02,696 --> 00:06:05,886
with a few colors
that echo tattoo art.
59
00:06:06,592 --> 00:06:10,696
Santo Sospir is
a tattooed villa.
60
00:06:11,672 --> 00:06:13,924
The first tattoo of
the large hall
61
00:06:14,107 --> 00:06:18,210
is over the fireplace which
itself is tattooed with leaves.
62
00:06:18,490 --> 00:06:21,644
That represents
the myth of the sun.
63
00:06:24,090 --> 00:06:27,873
To the right and to the left
you see the sun priests,
64
00:06:28,057 --> 00:06:29,680
the fishermen of Villefranche.
65
00:07:27,404 --> 00:07:30,595
The next tattoo shows
the evening sun.
66
00:07:30,918 --> 00:07:32,934
A woman sleeping on the sand.
67
00:07:49,217 --> 00:07:52,337
Her head rests on the corner
of a vestibule door.
68
00:08:01,531 --> 00:08:04,970
In the shade, behind me,
you will notice
69
00:08:05,149 --> 00:08:09,668
one of the vestibule graffiti,
"Night in its Chariot"
70
00:08:10,020 --> 00:08:15,167
as in Amphitryon, where
Night speaks with Mercury.
71
00:08:18,056 --> 00:08:22,089
Back to the main hall. I didn't
mention the myth of the moon:
72
00:08:22,543 --> 00:08:25,283
a sleeping fisherman
and a unicorn.
73
00:08:45,956 --> 00:08:49,146
The hall echoes
of a Greek grave,
74
00:08:49,608 --> 00:08:54,957
because of the tattooless bay
which surrounds the dining hall,
75
00:08:55,140 --> 00:08:59,481
containing a tapestry
which I will show you later.
76
00:09:20,396 --> 00:09:23,100
We are in "Diana's Room".
77
00:09:23,735 --> 00:09:26,795
This room shows the
myth of Akteon.
78
00:09:27,109 --> 00:09:31,106
Surprised by Diana
and her nymphs,
79
00:09:31,493 --> 00:09:34,233
Akteon turned
into a stag.
80
00:09:55,392 --> 00:10:01,549
Diana was surprised...
Here is a bird.
81
00:10:09,933 --> 00:10:11,736
Here is another bird.
82
00:10:16,682 --> 00:10:18,663
Here is a third bird.
83
00:10:26,283 --> 00:10:29,888
If one looks from a greater
distance, the 3 birds disappear
84
00:10:30,075 --> 00:10:34,559
in favor of the whole
and form one of these voids
85
00:10:34,737 --> 00:10:38,070
around which the significant
lines form themselves,
86
00:10:38,286 --> 00:10:42,389
because the insignificant lines
must become significant.
87
00:10:42,981 --> 00:10:45,448
They affect
the patch-like style.
88
00:10:51,575 --> 00:10:56,781
The tatooists of the doors are inspired
by catalogues and postcards.
89
00:10:57,279 --> 00:11:00,162
I respected this tradition but
was inspired
90
00:11:00,341 --> 00:11:02,072
by Renoir's Bathers.
91
00:11:13,351 --> 00:11:17,383
Over the bed, a shepherd attends
the mythicaI scene
92
00:11:18,360 --> 00:11:20,092
indifferently.
93
00:11:21,945 --> 00:11:24,614
The sun annoys us. It eats
up the lines and the colors.
94
00:11:24,797 --> 00:11:27,821
I will try to show them
to you a bit better.
95
00:11:56,697 --> 00:12:01,215
A tiny antechamber leads to
the room we just visited.
96
00:12:01,881 --> 00:12:05,214
A reaI maze of nooks
and crannies
97
00:12:05,568 --> 00:12:08,035
forces us to proceed
like acrobats.
98
00:12:12,387 --> 00:12:15,507
To the right of the
sleeping reader...
99
00:12:15,900 --> 00:12:18,048
Lots of sleeping
on these walls...
100
00:12:18,787 --> 00:12:20,899
The stairs lead to
the rooms downstairs.
101
00:12:21,083 --> 00:12:23,752
The vault which shows
the genius of sleep
102
00:12:23,935 --> 00:12:26,261
is the only painted fresco
in the villa.
103
00:12:26,788 --> 00:12:29,006
My work as a painter
was not easy.
104
00:12:29,433 --> 00:12:31,828
I forgot there were steps.
I stepped back,
105
00:12:32,006 --> 00:12:34,638
and more than once
I was knocked over.
106
00:12:45,644 --> 00:12:49,356
Dioscure on the right.
I didn't manage the left one,
107
00:12:49,539 --> 00:12:53,916
having no retreat. That will
give us one sleeper less...
108
00:12:54,341 --> 00:12:57,946
The deformation of the arm
comes from having to film
109
00:12:58,132 --> 00:13:00,280
Iying down, our back
on the steps.
110
00:13:19,318 --> 00:13:22,473
Another drawing based
on a modeI by Renoir.
111
00:13:32,537 --> 00:13:36,083
Santo Sospir was
apparently a hunter.
112
00:13:36,885 --> 00:13:39,981
Here is the Centaur of ancient Antipolis
113
00:13:40,156 --> 00:13:44,462
on which the saint is mounted.
Armed with his bow,
114
00:13:45,027 --> 00:13:48,086
he marks his prey
and his route.
115
00:13:50,141 --> 00:13:53,401
The narrowness of the corridor
keeps us from filming all of it.
116
00:13:53,932 --> 00:13:56,399
One can only guess it
from the fragments
117
00:13:56,576 --> 00:13:58,273
across the doors.
118
00:13:59,916 --> 00:14:03,806
Here is the saint on horseback
on the centaur,
119
00:14:03,986 --> 00:14:08,504
with his hair Pisanello style,
falcon on his wrist.
120
00:14:40,270 --> 00:14:42,665
We open a door
that you already know.
121
00:14:44,027 --> 00:14:47,953
Here is the billy-goat room,
or room of sages.
122
00:15:07,091 --> 00:15:11,812
There you see billy-goats,
or sages over the beds.
123
00:15:32,381 --> 00:15:37,007
Facing the beds, the goat-foot,
unicorns and waves.
124
00:16:13,675 --> 00:16:16,665
I forgot to tell you that the
goat-foot is holding
125
00:16:16,841 --> 00:16:22,784
the flat-bread, traditionaI sacrament
of Grasse, Biot and Antibes.
126
00:16:31,347 --> 00:16:34,016
Since the transformation
of the Grimaldi museum,
127
00:16:34,200 --> 00:16:37,497
Merchants from Antibes call it
"Picasso's Manna".
128
00:16:38,583 --> 00:16:41,915
Here is one flat-bread
that hasn't been cut yet.
129
00:16:45,714 --> 00:16:48,109
The tattoo of the next room
130
00:16:48,394 --> 00:16:51,134
tells the myth of Narcissus.
131
00:16:51,420 --> 00:16:54,017
The room is called
the "Echo Chamber".
132
00:16:55,595 --> 00:16:58,619
Mosquito-nets, alas,
are indispensable.
133
00:16:59,455 --> 00:17:05,849
In this room one sees Narcissus
and at times the nymph Echo
134
00:17:06,413 --> 00:17:08,359
who repeats her name
tattooed in red.
135
00:17:27,321 --> 00:17:29,823
It's the shade
of those Nice beds.
136
00:18:11,953 --> 00:18:17,444
Another room here, called
"Initiation of the Bacchants".
137
00:18:17,728 --> 00:18:21,274
Two young women are
initiated by bacchants.
138
00:18:22,077 --> 00:18:24,129
We go back all the way
to the garden.
139
00:18:38,741 --> 00:18:43,259
Facing us, Dionysus sleeps
after having drunk.
140
00:19:20,312 --> 00:19:24,759
It so often happens that
tattoo art leads to painting.
141
00:19:25,390 --> 00:19:28,759
In 1951,
the villa was tattooed.
142
00:19:28,939 --> 00:19:32,580
I started to paint.
I hid my paintings.
143
00:19:32,765 --> 00:19:34,533
My closets are full
of pictures.
144
00:19:34,818 --> 00:19:38,365
But the camera is the most
indiscreet eye of all.
145
00:19:39,654 --> 00:19:43,782
This painting represents the
myth of Ulysses and the sirens.
146
00:19:44,141 --> 00:19:48,624
Bound to the mast, Ulysses
plugged his ears with wax.
147
00:19:49,116 --> 00:19:53,978
The sirens danced and sang,
not knowing they were defeated.
148
00:19:54,334 --> 00:19:57,916
One of them arrives from
faraway at great speed.
149
00:20:05,606 --> 00:20:10,776
A bound sailor tightens
his hat over his ears.
150
00:20:21,747 --> 00:20:23,857
Again, a hidden painting.
151
00:20:24,044 --> 00:20:26,545
This is the myth
of Phaedra and Oenone.
152
00:20:32,218 --> 00:20:35,243
Phaedra suffers.
I change perspective.
153
00:20:35,488 --> 00:20:40,422
I go over her face, expressing
indifference, come what may.
154
00:20:49,646 --> 00:20:52,635
It's unwise to smoke
while filming.
155
00:21:00,605 --> 00:21:02,336
When one no longer knows
where to place the canvases,
156
00:21:02,518 --> 00:21:03,834
they are hung on trees.
157
00:21:07,666 --> 00:21:10,263
Orpheus attacked
by the Bacchants.
158
00:21:15,632 --> 00:21:17,507
Head of the dead Orpheus.
159
00:21:24,434 --> 00:21:28,218
Here is the temptation of
Christ on the mountain.
160
00:21:57,100 --> 00:21:58,594
The Apple.
161
00:22:03,049 --> 00:22:07,912
Satan is charming, of course.
He tries to persuade.
162
00:22:08,720 --> 00:22:13,026
Christ listens only with one
ear. The other is elsewhere.
163
00:22:15,712 --> 00:22:17,480
Here are painted bricks.
164
00:22:22,774 --> 00:22:26,628
And a small canvas,
"Jacob fighting the AngeI."
165
00:22:27,435 --> 00:22:31,147
Another Orpheus: "Orpheus
among the Leaves".
166
00:22:42,046 --> 00:22:45,592
Here is a wheat field
on a garden bed.
167
00:22:52,483 --> 00:22:56,065
Here is golden Orpheus
on the beach.
168
00:23:54,822 --> 00:23:58,120
Nothing is more comfortable
than these American pants
169
00:23:58,301 --> 00:23:59,653
to carry cigarettes.
170
00:24:04,459 --> 00:24:06,676
For lack of room,
I often paint
171
00:24:07,207 --> 00:24:08,761
in a studio under
construction,
172
00:24:08,946 --> 00:24:10,820
between the villa
and the lighthouse.
173
00:25:07,876 --> 00:25:11,067
I'm very proud when the workers
show interest in my work
174
00:25:11,252 --> 00:25:12,841
and forget about their own.
175
00:25:13,060 --> 00:25:15,421
Same window, the other
way round.
176
00:25:15,669 --> 00:25:17,720
Time flies...
177
00:25:18,557 --> 00:25:23,207
The studio is finished. I visit
it with Francine Weisweiller.
178
00:25:34,768 --> 00:25:36,915
If I were prone to jealousy,
179
00:25:37,098 --> 00:25:39,731
I'd envy Edouard Dermit
for his paintings.
180
00:25:39,917 --> 00:25:42,312
Example of the storm
of color in counter-type:
181
00:25:42,735 --> 00:25:45,652
This painting which seems pale
and in one single green tone
182
00:25:45,830 --> 00:25:49,614
actually consists of very
vivid and numerous greens.
183
00:25:49,866 --> 00:25:52,119
It's the second time with
Jean Marais
184
00:25:52,301 --> 00:25:55,396
that one of my actors surprises
me by starting to paint.
185
00:25:55,572 --> 00:25:59,047
It's odd to see
how very young painters
186
00:25:59,224 --> 00:26:03,742
already oppose the abstract
schooI as they develop.
187
00:26:04,581 --> 00:26:07,676
At my age one no longer has
the time to go on vacation.
188
00:26:07,921 --> 00:26:10,032
Vacation is work.
189
00:26:10,669 --> 00:26:13,302
When I write a play,
I write a play.
190
00:26:13,730 --> 00:26:15,461
When I paint, I paint.
191
00:26:27,611 --> 00:26:29,307
When I draw, I draw.
192
00:28:05,365 --> 00:28:08,947
I write, paint, draw.
193
00:28:09,226 --> 00:28:14,303
But work never keeps me
from moving from port to port,
194
00:28:14,653 --> 00:28:19,800
between Villefranche, and its
famous hoteI Welcome...
195
00:28:35,908 --> 00:28:39,870
Between Villefranche and
the beautifuI Porto Venere,
196
00:28:41,961 --> 00:28:46,612
with its phantom houses,
phantom rocks,
197
00:28:47,040 --> 00:28:51,725
phantom church,
its phantom of Lord Byron.
198
00:28:54,520 --> 00:28:59,311
Work does not keep me from
an occasionaI horse ride.
199
00:29:24,715 --> 00:29:28,605
Work does not keep me from
even riding a lion.
200
00:29:36,299 --> 00:29:39,490
For the rest, my horse and
my lion get along splendidly.
201
00:29:41,936 --> 00:29:45,684
Work does not keep me from
the occasionaI game of "boules".
202
00:29:51,815 --> 00:29:55,398
This drink is a welcome substitute
for cigarettes
203
00:29:55,573 --> 00:29:58,728
in the editing rooms where
we are forbidden to smoke.
204
00:29:59,016 --> 00:30:02,979
I wanted to try and make
flowers on the cape.
205
00:30:03,157 --> 00:30:05,268
I started by painting them.
206
00:30:05,974 --> 00:30:09,034
I quickly renounced
this method.
207
00:33:18,038 --> 00:33:22,723
I shall now show you a
masterpiece of French handicraft
208
00:33:23,499 --> 00:33:26,453
I don't mean myself,
nor my work -
209
00:33:26,630 --> 00:33:32,121
but the work of weavers at
the Bourret Studio in Aubusson.
210
00:33:32,370 --> 00:33:34,352
I have named them "harpists";
211
00:33:34,631 --> 00:33:38,106
because they play harps
with string and pattern.
212
00:33:38,318 --> 00:33:42,173
Matisse warned me against
the absence of patterns,
213
00:33:42,355 --> 00:33:45,474
a result of the flat
tones of modern tapestry.
214
00:33:45,729 --> 00:33:49,998
Here, in one meter,
I cannot differentiate
215
00:33:50,182 --> 00:33:54,736
between the tapestries of
Aubusson and the originaI.
216
00:33:55,086 --> 00:33:58,277
The 3 by 3.5 meter tapestry
217
00:33:58,461 --> 00:34:01,830
represents Judith after the
death of Holopherne.
218
00:34:02,113 --> 00:34:05,968
I've intentionally chosen
a Roman Prize' subject.
219
00:34:06,150 --> 00:34:08,960
Judith has stuck,
she's no longer a woman,
220
00:34:09,663 --> 00:34:14,740
but a walking sarcophagus,
possessor of her own history.
221
00:34:14,986 --> 00:34:17,417
She is carrying the head
of her victim.
222
00:34:18,080 --> 00:34:19,848
She comes across in the moonlight,
223
00:34:20,030 --> 00:34:23,576
the sleeping guards,
who were drugged by her maid.
224
00:35:18,125 --> 00:35:21,351
The maid resembles
some kind of insect,
225
00:35:21,570 --> 00:35:26,504
still lit by the room
where the beheading took place.
226
00:35:49,017 --> 00:35:52,563
One of the bizarre qualities
of counter-type Kodachrome
227
00:35:52,739 --> 00:35:55,550
is that instead of a tapestry
lit from the front,
228
00:35:55,836 --> 00:35:59,832
one seems to be looking at
stained glass lit from behind.
229
00:36:05,819 --> 00:36:09,152
Here is Madame Weisweiller
painting.
230
00:36:09,890 --> 00:36:11,870
Naturally, the portrait was painted
by Edouard Dermit.
231
00:36:12,046 --> 00:36:15,451
Allow me to present the lady
of the manor, in person.
232
00:36:15,769 --> 00:36:18,651
She would like to thank you
for your patience.
233
00:36:23,526 --> 00:36:26,966
Here is the villa's mascot.
We call him "the Master".
234
00:36:27,283 --> 00:36:30,237
May he bring you luck,
as he does for us.
235
00:36:38,033 --> 00:36:40,287
I'd like to take this opportunity
to thank Dr. Ricoux,
236
00:36:40,468 --> 00:36:43,208
vice president of the cinema
club of Nice of which I am
237
00:36:43,390 --> 00:36:46,759
president of honor, who has
helped us in our task.
238
00:36:57,932 --> 00:37:01,572
Picasso, Matisse, Chagall
and myself,
239
00:37:01,931 --> 00:37:04,921
on this coast where
Renoir used to live.
240
00:37:05,098 --> 00:37:09,440
We have tried to defeat the
destructive spirit of our time.
241
00:37:10,003 --> 00:37:11,770
We have ornamented the surfaces
242
00:37:11,951 --> 00:37:14,062
which men dream
to demolish.
243
00:37:14,282 --> 00:37:17,342
Perhaps the love of our work
244
00:37:17,517 --> 00:37:20,020
will protect it from bombs.
20111
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