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Vilmos, before we sit down,
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00:00:28,220 --> 00:00:30,810
I'd like to show you
the frame and the light.
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00:00:30,965 --> 00:00:35,535
I put a 35 mm
as a focal length.
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00:00:37,226 --> 00:00:37,960
Like this.
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00:00:38,254 --> 00:00:39,264
All right. All right, all right.
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00:00:39,711 --> 00:00:42,306
We use a Softbox
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00:00:42,774 --> 00:00:45,784
with a broadcast on it.
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00:00:45,880 --> 00:00:48,318
The place is inconvenient.
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00:00:49,750 --> 00:00:52,240
I've been thinking about that kind of contrast.
Is it open?
12
00:00:52,307 --> 00:00:56,544
With something like this,
by placing the subject to one side.
13
00:00:56,824 --> 00:00:59,871
Do you prefer
that we take the projector out of the frame?
14
00:00:59,936 --> 00:01:02,872
No,
you can leave it in the plan.
15
00:01:04,056 --> 00:01:07,239
Would you like to see
how does that look on the screen?
16
00:01:07,960 --> 00:01:08,960
That's a good idea.
17
00:01:13,318 --> 00:01:14,916
Lower the camera, it will be better.
18
00:01:17,680 --> 00:01:20,249
What do you think of the backlighting?
19
00:01:20,418 --> 00:01:24,362
Sometimes the sun shines
the back of a face.
20
00:01:25,804 --> 00:01:29,354
I like the backlighting
but you mustn't overdo it.
21
00:01:29,534 --> 00:01:30,800
Let's turn it off for a second.
22
00:01:35,709 --> 00:01:36,709
It's off.
23
00:01:37,121 --> 00:01:40,080
Yes, but it's much worse.
24
00:01:40,240 --> 00:01:42,789
You have to be able to draw the silhouette.
25
00:01:43,557 --> 00:01:48,200
- Turn Nathan back on.
- Except with a subject in the dark.
26
00:01:53,395 --> 00:01:56,390
I should be a little higher.
27
00:01:56,484 --> 00:01:58,063
Will two inches be enough?
28
00:01:58,492 --> 00:02:01,160
I think it'll be good.
29
00:02:01,295 --> 00:02:03,740
- But it's not very comfortable.
- Is that enough?
30
00:02:04,097 --> 00:02:05,113
It's all right. It's okay. It's okay.
31
00:02:05,812 --> 00:02:06,871
That's good. That's good.
32
00:02:07,465 --> 00:02:11,556
You can step back,
it'll be safer.
33
00:02:11,892 --> 00:02:13,573
It'll be safer for you.
34
00:02:16,965 --> 00:02:20,818
Now move over like this.
35
00:02:21,189 --> 00:02:23,617
I don't have to say my name?
36
00:02:23,661 --> 00:02:24,539
No.
37
00:05:01,352 --> 00:05:03,757
Vilmos is from another generation.
38
00:05:04,177 --> 00:05:07,078
He's a master of light
39
00:05:07,103 --> 00:05:08,680
that showcases the actors.
40
00:05:08,899 --> 00:05:12,284
It masters the use of
from direct sources,
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00:05:12,831 --> 00:05:16,928
like the classic spotlights
in traditional cinema.
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00:05:17,134 --> 00:05:19,732
Its light draws its strength
43
00:05:19,879 --> 00:05:21,539
for its remarkable simplicity,
44
00:05:21,626 --> 00:05:25,261
powerful
in the composition.
45
00:05:25,940 --> 00:05:28,055
The quality of his photography
46
00:05:28,080 --> 00:05:32,406
is always closely related
to the story being told.
47
00:05:34,008 --> 00:05:35,674
The Italian writer,
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00:05:35,846 --> 00:05:38,854
Umberto Eco,
has written something very beautiful.
49
00:05:39,704 --> 00:05:41,137
Art does not exist
50
00:05:41,494 --> 00:05:44,777
if the means of communication
between the artist and the public
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00:05:45,187 --> 00:05:46,199
are not renewed.
52
00:05:46,837 --> 00:05:50,922
A step forward must be
crossed in the elements of communication
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00:05:51,237 --> 00:05:56,651
of the thought that the artist
wants to pass on
54
00:05:57,031 --> 00:05:59,277
to the public seeing his artwork.
55
00:05:59,864 --> 00:06:01,423
A step forward must be taken.
56
00:06:01,771 --> 00:06:04,374
negotiable
57
00:06:04,730 --> 00:06:07,272
for all mankind
not only for the artist
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00:06:07,905 --> 00:06:09,933
Because we're not coming back
backwards,
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00:06:10,403 --> 00:06:12,055
once you've taken the plunge.
60
00:06:12,673 --> 00:06:14,677
Go back in time
is imitation.
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00:06:15,331 --> 00:06:16,502
It's not art anymore.
62
00:06:17,109 --> 00:06:19,348
And Vilmos has had a great impact
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00:06:20,133 --> 00:06:22,309
in that way
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00:06:22,754 --> 00:06:24,960
aesthetic or philosophical.
65
00:06:24,985 --> 00:06:27,503
Because he allowed the cinema
to take a step forward,
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00:06:28,560 --> 00:06:30,139
from which there is no turning back
backwards.
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00:06:36,984 --> 00:06:38,984
Vilmos, what did you dream about as a child?
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00:06:39,523 --> 00:06:43,726
We didn't have much choice then.
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00:06:43,828 --> 00:06:45,597
Communism
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00:06:45,760 --> 00:06:48,122
was in power
in my younger years.
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00:06:48,308 --> 00:06:50,896
I was 14 years old,
at the end of the war.
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00:06:51,440 --> 00:06:54,120
The Russians have arrived
and two years later,
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00:06:54,359 --> 00:06:56,167
the country became communist.
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00:06:56,480 --> 00:06:58,119
We didn't have a lot of dreams.
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00:06:58,191 --> 00:07:00,257
Life was so limited.
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00:07:00,511 --> 00:07:03,153
When I turned 17,
an uncle offered me
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00:07:03,423 --> 00:07:05,946
a book of photographs.
78
00:07:06,781 --> 00:07:11,087
The photographer
was called Eugene Dülovitz.
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00:07:11,960 --> 00:07:14,437
Beautiful pictures
in the backlight.
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00:07:15,095 --> 00:07:18,510
The most important thing,
it was the light.
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00:07:19,147 --> 00:07:21,067
I fell in love
of photography.
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00:07:22,095 --> 00:07:25,531
Vilmos imported with him
the photographic vision
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00:07:26,062 --> 00:07:28,326
from Eastern Europe,
which was very refined.
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00:07:28,723 --> 00:07:32,937
The whole story's in his house
of Hungarian photography
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00:07:33,359 --> 00:07:39,960
but also Hungarian painting,
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00:07:40,013 --> 00:07:42,116
that was traditional
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00:07:42,141 --> 00:07:43,148
and very classy.
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00:07:44,997 --> 00:07:47,338
How do you feel
in Hungary?
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00:07:48,687 --> 00:07:51,818
I'm feeling very good about it,
in reality. I like to spend
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00:07:53,967 --> 00:07:56,268
a week,
a month.
91
00:07:57,362 --> 00:07:59,722
A little longer,
if I'm making a movie.
92
00:08:00,169 --> 00:08:06,844
I often think in Hungarian.
I've even started to rediscover the language.
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00:08:07,693 --> 00:08:08,802
At one point,
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00:08:08,935 --> 00:08:11,927
I spoke both languages
with an accent.
95
00:08:13,182 --> 00:08:14,890
I've been back there a lot.
96
00:08:15,002 --> 00:08:18,490
Then I'm probably talking about
better Hungarian.
97
00:08:18,903 --> 00:08:22,195
But I feel American, actually.
America loves immigrants.
98
00:08:23,188 --> 00:08:27,117
By the time we arrived,
it was another country.
99
00:08:31,362 --> 00:08:33,680
Yesterday, you were American
and not Hungarian.
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00:08:33,862 --> 00:08:37,565
- What does that mean?
- Well, what was the subject?
101
00:08:37,756 --> 00:08:40,874
- It depends on the question.
- The question was simple, Vilmos.
102
00:08:41,225 --> 00:08:44,641
- Are you Hungarian or American?
- I felt American.
103
00:08:44,713 --> 00:08:46,691
And now,
you feel Hungarian?
104
00:08:47,412 --> 00:08:50,435
I feel Hungarian
in front of this beautiful panorama
105
00:08:50,578 --> 00:08:51,578
on Budapest.
106
00:08:52,746 --> 00:08:55,940
We've learned a lot
Italian movies.
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00:08:56,202 --> 00:08:59,075
Neo-Realist films
of Vittorio De Sica.
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00:08:59,506 --> 00:09:01,243
They showed poor people,
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00:09:01,291 --> 00:09:04,879
real people.
The party tolerated these films.
110
00:09:05,252 --> 00:09:06,712
So, we were imitating them
111
00:09:06,783 --> 00:09:09,315
in Hungary, even at school.
112
00:09:10,037 --> 00:09:13,530
Upstairs,
there's a projection room
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00:09:14,284 --> 00:09:17,271
where we were watching
Western movies.
114
00:09:17,431 --> 00:09:19,936
We have seen
The Dictator of Chaplin,
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00:09:20,440 --> 00:09:22,279
up there in that movie theater.
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00:09:22,440 --> 00:09:25,577
Actors and students
had heard about it.
117
00:09:26,359 --> 00:09:28,531
They all wanted to see that movie,
118
00:09:29,246 --> 00:09:32,902
because he wasn't projected
nowhere else.
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00:09:33,942 --> 00:09:35,553
I remember,
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00:09:37,760 --> 00:09:39,527
there was
seating for up to 100 people
121
00:09:40,043 --> 00:09:42,040
and about 250 spectators
122
00:09:42,102 --> 00:09:44,827
were crammed
one on top of the other
123
00:09:45,475 --> 00:09:46,668
to see this movie.
124
00:09:47,519 --> 00:09:51,146
It was amazing.
It was a revolution.
125
00:09:52,281 --> 00:09:55,461
Chaplin makes a long speech
at the end of The Dictator.
126
00:09:55,990 --> 00:09:59,668
It's a very capitalist discourse
127
00:10:00,223 --> 00:10:03,523
and we all thought that the police
128
00:10:03,567 --> 00:10:05,202
was coming to take us in.
129
00:10:21,897 --> 00:10:25,691
I was very familiar with this style.
It looked a lot like
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00:10:25,730 --> 00:10:28,660
to what we were doing
in Prague at that time.
131
00:10:29,350 --> 00:10:32,787
Oddly enough, we were inspired
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00:10:33,272 --> 00:10:35,066
by Hungarian films
from the fifties.
133
00:10:36,119 --> 00:10:38,997
The Czech New Wave,
dates back to the '60s.
134
00:10:39,800 --> 00:10:43,054
Hungarian films of the 1950s
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00:10:43,934 --> 00:10:47,345
were interrupted
by the Russian invasion.
136
00:10:48,108 --> 00:10:50,742
And the Czech New Wave
suffered the same fate as the Russians,
137
00:10:51,433 --> 00:10:52,435
of the Soviets.
138
00:10:55,564 --> 00:10:59,624
Vilmos left Hungary in 1956.
139
00:11:01,428 --> 00:11:03,420
While he was studying film.
140
00:11:03,848 --> 00:11:06,975
With László Kovács, they took a camera...
141
00:11:07,125 --> 00:11:11,445
and when the Russian tanks
have entered Budapest.
142
00:11:11,662 --> 00:11:14,748
they went out into the streets
to film this footage
143
00:11:15,251 --> 00:11:17,292
of the Russian invasion.
144
00:11:17,784 --> 00:11:20,633
Students throwing
Molotov cocktails.
145
00:11:21,141 --> 00:11:23,502
They kept the film
and fled the country
146
00:11:23,796 --> 00:11:25,605
under Russian fire.
147
00:11:25,851 --> 00:11:28,625
They went through
the Austrian border
148
00:11:28,847 --> 00:11:30,993
and the film
could have gotten to us.
149
00:11:31,086 --> 00:11:32,870
And I thought, "Well,
150
00:11:34,831 --> 00:11:36,054
a man capable of doing that,
151
00:11:37,362 --> 00:11:38,664
so brave,
152
00:11:38,911 --> 00:11:42,427
so inventive,
he's the man I need.
153
00:11:43,959 --> 00:11:44,959
for Deliverance."
154
00:11:51,068 --> 00:11:53,776
Cinema was born for the image.
155
00:11:53,983 --> 00:11:56,166
There was no sound or color.
156
00:11:57,359 --> 00:11:59,910
A camera
only allowed you to record
157
00:12:00,719 --> 00:12:03,004
one action, one movement.
158
00:12:03,099 --> 00:12:06,756
I have a special affection
for black-and-white films.
159
00:12:07,947 --> 00:12:10,535
I consider these films
160
00:12:11,334 --> 00:12:13,468
as more graphic,
161
00:12:13,596 --> 00:12:15,691
compared to color cinema.
162
00:12:15,802 --> 00:12:18,548
The colors don't come
disrupt history.
163
00:12:18,929 --> 00:12:21,842
We remove the light source
to create shadows
164
00:12:22,397 --> 00:12:26,857
and the shadows tell the story...
more than light.
165
00:12:28,380 --> 00:12:30,382
László and I decided...
166
00:12:30,796 --> 00:12:35,025
as we were asked
to define our style,
167
00:12:36,376 --> 00:12:40,320
we decided to call it
"poetic realism".
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00:12:41,552 --> 00:12:42,897
Poetry,
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00:12:42,922 --> 00:12:44,478
in a nutshell,
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00:12:45,252 --> 00:12:48,693
is in the light
and in the compositions.
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00:12:48,871 --> 00:12:49,879
We wanted to
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00:12:50,038 --> 00:12:52,716
careful composition
like paintings.
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00:12:53,494 --> 00:12:57,708
I was mostly inspired
174
00:12:58,560 --> 00:13:00,176
of the works of Rembrandt,
175
00:13:01,295 --> 00:13:03,966
Georges de La Tour,
especially for the light,
176
00:13:04,799 --> 00:13:06,006
Caravaggio.
177
00:13:06,761 --> 00:13:11,376
And mainly
of the Dutch painters.
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00:13:11,852 --> 00:13:16,804
My photographic style
is not so different
179
00:13:16,884 --> 00:13:20,600
in the style of others
cinematographers
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00:13:20,686 --> 00:13:23,867
whose work I love, like...
181
00:13:25,490 --> 00:13:29,481
You mentioned László Kovács,
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00:13:30,243 --> 00:13:31,791
Haskell Wexler,
183
00:13:33,132 --> 00:13:34,327
Owen Roizman...
184
00:13:37,926 --> 00:13:41,085
And on the European side,
Vittorio Storaro.
185
00:13:41,371 --> 00:13:43,988
With Darius Khondji,
it's that same style.
186
00:13:44,752 --> 00:13:46,359
A lot of movies
187
00:13:46,816 --> 00:13:49,745
are more beautiful
than they should be.
188
00:13:50,745 --> 00:13:52,237
That's really something.
189
00:13:53,253 --> 00:13:56,347
I recognize
a good cinematographer,
190
00:13:57,244 --> 00:14:01,413
when the subject of the film is in agreement
with the cosmetic treatment.
191
00:14:02,492 --> 00:14:05,953
You can't just settle for
to make the pictures too beautiful.
192
00:14:06,453 --> 00:14:08,886
It can ruin a movie.
193
00:14:08,933 --> 00:14:10,475
People aren't going to feel
194
00:14:14,038 --> 00:14:18,049
what history expresses.
195
00:14:18,563 --> 00:14:19,902
It happens a lot,
196
00:14:20,021 --> 00:14:24,160
because it's easy
to make pretty pictures.
197
00:14:24,208 --> 00:14:25,240
Yes, it's true.
198
00:14:25,480 --> 00:14:27,040
But it can ruin a movie.
199
00:14:27,166 --> 00:14:29,436
With digital tools,
200
00:14:29,516 --> 00:14:33,639
we can accentuate the colors,
tampering, adjusting the image.
201
00:14:34,771 --> 00:14:37,160
One can easily realize
overly stylized movies.
202
00:14:37,211 --> 00:14:39,198
Today,
everyone's filming digitally.
203
00:14:39,455 --> 00:14:43,010
Many
new chief operators
204
00:14:44,145 --> 00:14:47,575
don't know how to translate atmosphere.
205
00:14:48,058 --> 00:14:49,090
They don't know.
206
00:14:49,776 --> 00:14:53,836
Producers do not
make them ask
207
00:14:54,157 --> 00:14:55,786
to go fast, faster and faster.
208
00:14:56,553 --> 00:15:00,974
It's easy to film quickly
with a digital camera.
209
00:15:01,037 --> 00:15:05,246
because all you have to do is turn on the unit...
to get a picture.
210
00:15:05,271 --> 00:15:06,283
Exactly. Exactly.
211
00:15:06,339 --> 00:15:08,220
Maybe even a quality image.
212
00:15:08,503 --> 00:15:10,794
You said
something interesting,
213
00:15:10,903 --> 00:15:15,448
about the time
where we were lighting the movies
214
00:15:15,815 --> 00:15:18,686
shot on film.
215
00:15:19,216 --> 00:15:21,629
We were using natural light
and artificial.
216
00:15:21,907 --> 00:15:23,560
And this lighting work
217
00:15:23,720 --> 00:15:26,572
represented the soul of the cinematographer,
218
00:15:26,688 --> 00:15:29,323
or the director
through the cinematographer.
219
00:15:29,623 --> 00:15:32,740
His will, his approach
220
00:15:32,986 --> 00:15:34,589
and his point of view.
221
00:15:35,655 --> 00:15:39,016
Light up the scenes,
the characters, the landscapes,
222
00:15:39,246 --> 00:15:43,600
this lighting work,
we're being robbed of more and more of it,
223
00:15:43,625 --> 00:15:45,825
because he's no longer
really necessary.
224
00:15:46,334 --> 00:15:48,800
It's a big change.
225
00:15:48,960 --> 00:15:50,544
It's interesting to point that out.
226
00:16:44,981 --> 00:16:50,054
My arrival in New York
made a big impression on me,
227
00:16:50,158 --> 00:16:53,475
because I was in shock
228
00:16:54,073 --> 00:16:57,240
in front of this great city
full of people.
229
00:16:57,289 --> 00:16:59,300
I didn't speak English.
230
00:17:01,077 --> 00:17:03,363
I've been trying to find a job.
231
00:17:04,078 --> 00:17:07,885
I wanted to meet people
of the Hungarian community,
232
00:17:08,076 --> 00:17:10,716
who had emigrated
during World War II.
233
00:17:12,050 --> 00:17:15,745
And it hasn't been
a great success, to tell you the truth.
234
00:17:15,875 --> 00:17:17,554
I've met
a cinematographer
235
00:17:18,108 --> 00:17:22,261
well known in advertising,
who said to me:
236
00:17:23,132 --> 00:17:27,276
"The best advice
that I can give you,
237
00:17:27,419 --> 00:17:28,967
is to forget your dream.
238
00:17:29,673 --> 00:17:33,997
Become a director of photography
in America.
239
00:17:34,056 --> 00:17:37,206
Because you'll never make it.
It's too hard."
240
00:17:38,800 --> 00:17:41,900
And the interesting thing is,
241
00:17:42,960 --> 00:17:45,040
is that I blamed him,
at first.
242
00:17:45,065 --> 00:17:47,511
But then I realized
243
00:17:47,959 --> 00:17:50,962
than by telling me
that I'd never make it,
244
00:17:51,850 --> 00:17:55,998
he had pushed me
to outdo myself to prove to him
245
00:17:56,432 --> 00:17:59,105
that everyone
could succeed in America.
246
00:18:21,200 --> 00:18:24,311
I was given tasks
more and more important.
247
00:18:24,930 --> 00:18:27,480
At first,
in low-budget movies.
248
00:18:27,527 --> 00:18:28,876
And I was wondering
249
00:18:29,254 --> 00:18:32,289
where I was going to end up
working on these films
250
00:18:32,395 --> 00:18:34,260
that no one from the movie business
would never see,
251
00:18:34,470 --> 00:18:36,574
only the drive-in crowd.
252
00:18:36,811 --> 00:18:39,905
After five years in Los Angeles,
253
00:18:40,635 --> 00:18:42,770
I was able to make
an application for naturalization.
254
00:18:42,992 --> 00:18:45,406
Immigration offices
have let me know
255
00:18:45,704 --> 00:18:51,060
that my name was too difficult
to write, to pronounce.
256
00:18:51,529 --> 00:18:54,323
They advised me
to at least change your first name.
257
00:18:54,569 --> 00:18:57,840
So, I was recorded
like "William" Zsigmond.
258
00:18:58,764 --> 00:19:01,895
In all my bad movies
I was credited "William."
259
00:19:02,229 --> 00:19:06,279
The people who saw them,
when I became Vilmos again,
260
00:19:06,433 --> 00:19:09,423
did not necessarily
the link with me!
261
00:19:13,504 --> 00:19:15,697
- My name is Mickey Terry.
- And I'm Szimpa Linpad.
262
00:19:16,091 --> 00:19:18,329
- Excuse me?
- Szimpa Linpad.
263
00:19:18,765 --> 00:19:20,379
- I'm Hungarian.
- You are?
264
00:19:20,472 --> 00:19:23,379
The term
"director of photography"
265
00:19:23,452 --> 00:19:27,028
was born out of the conflict that existed
266
00:19:27,754 --> 00:19:29,588
between cinematography
and directing.
267
00:19:31,880 --> 00:19:35,853
The oldest association
is American.
268
00:19:36,108 --> 00:19:37,989
American Society
of Cinematographers.
269
00:19:39,481 --> 00:19:42,693
When the directors formed
the Director's Guild of America,
270
00:19:43,851 --> 00:19:47,001
conflict has broken out
between those who made up the image.
271
00:19:48,029 --> 00:19:51,529
Cinematographers
were arrogant,
272
00:19:53,000 --> 00:19:56,546
they said:
"we are not secondary.
273
00:19:57,349 --> 00:19:58,996
So are we,
we want to be directors."
274
00:20:01,011 --> 00:20:05,000
Although they belonged
at the Society of Cinematographers.
275
00:20:05,160 --> 00:20:07,652
By the way, cinematographer
is the perfect term.
276
00:20:09,241 --> 00:20:11,866
Photography, photographer.
277
00:20:12,357 --> 00:20:14,206
Cinematographer, cinematographer.
278
00:20:15,246 --> 00:20:17,989
Photography, photographer.
Cinematography, cinematographer.
279
00:20:18,948 --> 00:20:21,942
He's the one who expresses himself
through the moving light.
280
00:20:41,159 --> 00:20:43,468
The CSA has always been an association
281
00:20:43,493 --> 00:20:44,770
very elitist.
282
00:20:45,297 --> 00:20:50,294
It was created by cameramen
under contract with the major studios.
283
00:20:50,683 --> 00:20:54,120
They used to come here to relax,
they were well paid.
284
00:20:54,178 --> 00:20:56,560
It was difficult to integrate
the association.
285
00:20:56,630 --> 00:20:58,051
When I met you,
286
00:20:58,340 --> 00:21:02,809
your wife was with you,
she spoke better English than you.
287
00:21:03,255 --> 00:21:06,802
I'm still having trouble understanding
your accent, after all these years.
288
00:21:06,881 --> 00:21:08,135
But I can't hear well.
289
00:21:08,181 --> 00:21:09,993
It was at the festival
from San Francisco,
290
00:21:10,462 --> 00:21:13,421
...I used to host this crazy movie called Futz.
291
00:21:14,942 --> 00:21:17,649
I knew the movie was bad,
no one had loved him.
292
00:21:18,540 --> 00:21:21,816
At the end of the screening,
Haskell came to see me.
293
00:21:22,340 --> 00:21:25,370
He said to me:
"I know how you feel about the movie.
294
00:21:25,680 --> 00:21:26,879
But I gotta tell you,
295
00:21:26,939 --> 00:21:28,455
I'm very fond of photography.
296
00:21:29,000 --> 00:21:31,747
And if you need any help
in Hollywood,
297
00:21:32,271 --> 00:21:33,310
come and see me."
298
00:21:33,879 --> 00:21:36,929
That's what he told me.
He was my first mentor,
299
00:21:37,132 --> 00:21:38,140
in America.
300
00:21:38,192 --> 00:21:41,812
This film is still available.
The photography is very successful.
301
00:21:41,986 --> 00:21:46,342
It didn't look like
to what we were doing in America.
302
00:21:47,359 --> 00:21:49,066
You were a good immigrant!
303
00:21:49,487 --> 00:21:51,137
I have you to thank for that.
304
00:21:51,233 --> 00:21:53,909
because it launched my career
305
00:21:54,286 --> 00:21:55,169
in Hollywood.
306
00:21:57,359 --> 00:21:59,729
Our first meeting
went well.
307
00:21:59,952 --> 00:22:02,936
With Lázsló already on the set,
he recommended Vilmos to me:
308
00:22:03,055 --> 00:22:05,200
"His name is Bill Zsigmond,
but call him Zigi."
309
00:22:05,261 --> 00:22:07,006
"Is your name really Bill Zigi?
310
00:22:07,712 --> 00:22:10,049
Bill or Zigi,
what's your real name?"
311
00:22:10,696 --> 00:22:12,925
"Vilmos!
- Change the claps!
312
00:22:13,195 --> 00:22:14,825
"Note this on the camera reports.
313
00:22:15,235 --> 00:22:17,874
The director of photography is called
Vilmos... Zsigmond.
314
00:22:18,178 --> 00:22:20,760
Zsigmond Vilmos?
- No, Zsigmond Vilmos."
315
00:22:22,205 --> 00:22:26,438
That's how Bill-Zigi...
got his name back.
316
00:22:29,041 --> 00:22:30,920
He must have learned everything.
317
00:22:31,160 --> 00:22:32,951
What directors
learn at school,
318
00:22:33,673 --> 00:22:35,300
he learned it on the set.
319
00:22:35,393 --> 00:22:36,720
He was an actor
320
00:22:36,788 --> 00:22:40,003
and never thought
become a director.
321
00:22:41,920 --> 00:22:43,080
He was a quick learner.
322
00:22:43,240 --> 00:22:46,760
Within a week, he knew everything
what a director needs to know.
323
00:22:47,436 --> 00:22:49,931
I wanted to be enlightened
by candlelight
324
00:22:50,960 --> 00:22:52,091
and oil lamps.
325
00:22:52,702 --> 00:22:54,635
It had to be realistic.
326
00:22:54,820 --> 00:22:59,683
The lighting couldn't have come from
of a projector that flattens everything.
327
00:22:59,708 --> 00:23:01,752
That would have ruined the story.
328
00:23:02,357 --> 00:23:04,439
To explain to Vilmos
329
00:23:06,514 --> 00:23:08,546
problems
that I was going to meet,
330
00:23:09,341 --> 00:23:12,018
I asked him to come with me
at the Fox studio.
331
00:23:12,530 --> 00:23:15,728
We've been watching
a black and white copy
332
00:23:16,045 --> 00:23:18,909
from the John Ford movie,
The Infernal Pursuit.
333
00:23:19,545 --> 00:23:21,014
that my father had played in.
334
00:23:22,120 --> 00:23:24,585
Zsigmond says to me:
"I want to see this movie."
335
00:23:25,678 --> 00:23:29,501
I tell him I'm not going
explain to him what I want.
336
00:23:29,800 --> 00:23:32,604
"Okay, you'll tell me in the end."
337
00:23:32,629 --> 00:23:34,216
"No, you'll figure it out."
338
00:23:34,824 --> 00:23:38,361
He seemed to be wondering
why I was doing this to him.
339
00:23:51,083 --> 00:23:53,638
Then we went back to the movie.
340
00:23:53,702 --> 00:23:58,137
"Peter, why do we have to see him again?
Why don't you tell me what you want?"
341
00:23:58,233 --> 00:24:01,701
I said:
"This time you're going to see him, Vilmos."
342
00:24:02,631 --> 00:24:03,445
"I don't know..."
343
00:24:03,619 --> 00:24:04,838
And the movie started.
344
00:24:04,934 --> 00:24:07,879
Fortunately, the problem appears
in the first reel.
345
00:24:08,564 --> 00:24:12,056
From the first game.
We didn't have to see the whole thing again.
346
00:24:13,501 --> 00:24:16,953
The long-awaited moment is coming
when my father walks into a hotel.
347
00:24:17,236 --> 00:24:20,588
He's wearing filthy clothes,
like a cowboy on the loose
348
00:24:20,837 --> 00:24:22,928
and there are
oil on the walls.
349
00:24:23,440 --> 00:24:25,563
But what strikes me,
350
00:24:25,624 --> 00:24:27,973
is that they're illuminated
in the spotlight
351
00:24:28,190 --> 00:24:30,657
and their light on the walls
352
00:24:31,093 --> 00:24:35,819
casts a shadow
that highlights the source of the light.
353
00:24:36,603 --> 00:24:41,328
"Ah!... You can see the shadows of the lamps,
It's not okay."
354
00:24:41,438 --> 00:24:43,741
You got it.
"That's what you have to remember:
355
00:24:44,280 --> 00:24:46,298
Our lamps won't make
of cast shadow."
356
00:24:46,599 --> 00:24:51,061
"That's great, Peter.
Thank you for showing me this film.
357
00:24:51,360 --> 00:24:52,760
We'll avoid that."
358
00:24:53,158 --> 00:24:54,158
And so we did.
359
00:24:58,679 --> 00:24:59,750
There's a scene,
360
00:24:59,973 --> 00:25:03,052
in which with the camera,
we go around the house.
361
00:25:03,505 --> 00:25:06,691
You saw the movie,
you know the rest.
362
00:25:06,803 --> 00:25:09,099
The sun's going to set soon.
363
00:25:09,632 --> 00:25:12,544
We know we have to succeed
this plan on the first try.
364
00:25:12,885 --> 00:25:14,221
This is the final scene.
365
00:25:15,196 --> 00:25:16,775
I wanted to finish the reel.
366
00:25:17,435 --> 00:25:20,286
I wanted to do one take
until the end.
367
00:25:21,365 --> 00:25:23,563
Zsigmond thought it was a great idea.
368
00:25:24,254 --> 00:25:26,690
We start on Verna Bloom,
369
00:25:27,976 --> 00:25:29,595
looking to his left,
370
00:25:30,798 --> 00:25:33,988
and then to his right,
the camera's still moving.
371
00:25:35,816 --> 00:25:37,339
She has no text.
372
00:25:38,304 --> 00:25:39,638
I wanted the look in his eyes.
373
00:25:40,199 --> 00:25:43,151
The camera's watching him
and sees her transform.
374
00:25:43,395 --> 00:25:45,260
Warren Oates is going back to the farm.
375
00:25:45,875 --> 00:25:47,928
He's riding my horse.
376
00:25:48,480 --> 00:25:49,932
I wanted a black and white horse
377
00:25:50,167 --> 00:25:53,505
so that everyone understands
it was Harry's horse.
378
00:25:56,844 --> 00:25:59,738
Arch, played by Warren Oates,
advance on horseback.
379
00:26:00,373 --> 00:26:01,412
It's coming.
380
00:26:02,800 --> 00:26:05,381
The frame tightens on him.
381
00:26:05,683 --> 00:26:10,286
I said to Warren:
"Keep moving while you can feel the sun.
382
00:26:10,560 --> 00:26:15,854
Stay in the shadows,
leave the horse in the sun.
383
00:26:15,909 --> 00:26:17,195
We'll see you, don't worry."
384
00:26:24,370 --> 00:26:27,120
He had to put the horses
in the barn,
385
00:26:27,425 --> 00:26:30,542
before lighting a lantern
with the matches.
386
00:26:31,018 --> 00:26:33,922
And at some point,
after an accurate count,
387
00:26:34,343 --> 00:26:37,549
he was supposed to come by
in front of the barn window.
388
00:26:38,890 --> 00:26:42,501
Then he had to
backtrack
389
00:26:43,178 --> 00:26:44,678
with a lantern.
390
00:26:46,146 --> 00:26:47,471
I wanted to make it clear
391
00:26:47,907 --> 00:26:50,783
that even if the credits started,
the film was going on.
392
00:26:51,977 --> 00:26:53,033
The camera's still rolling.
393
00:26:53,803 --> 00:26:56,803
And the genius of Zsigmond has made it possible
to time the light.
394
00:26:57,478 --> 00:26:58,899
He has succeeded in this challenge
395
00:26:59,994 --> 00:27:01,912
without artificial light.
396
00:27:02,010 --> 00:27:03,232
All the lighting is natural.
397
00:27:03,859 --> 00:27:05,654
He's filming Warren's arrival
398
00:27:06,176 --> 00:27:09,019
that forgets to turn on
that damn lantern.
399
00:27:09,376 --> 00:27:14,448
But Zsigmond is holding on,
he's not moving the camera.
400
00:27:14,540 --> 00:27:15,551
We keep it running.
401
00:27:17,440 --> 00:27:19,699
The light goes down
slowly, very slowly.
402
00:27:19,747 --> 00:27:23,021
And if you look closely,
you see the trees
403
00:27:23,765 --> 00:27:25,472
moving slightly into the wind.
404
00:27:25,615 --> 00:27:28,740
That should be enough to show
that the film was still rolling.
405
00:27:29,563 --> 00:27:33,370
We didn't freeze the image.
We kept shooting.
406
00:27:34,381 --> 00:27:37,839
And nature took care of the rest,
407
00:27:38,000 --> 00:27:39,346
when the image went black,
408
00:27:39,964 --> 00:27:41,169
it was natural.
409
00:27:41,647 --> 00:27:43,806
We filmed
until the day's disappearance.
410
00:27:45,925 --> 00:27:47,877
And we didn't need
of a fade to black.
411
00:27:49,798 --> 00:27:51,365
The sun took care of it.
412
00:27:54,376 --> 00:27:56,257
The director
and the cinematographer
413
00:27:56,329 --> 00:27:57,866
have to go hand in hand.
414
00:27:58,772 --> 00:28:02,551
Just like the director,
with his actors.
415
00:28:03,090 --> 00:28:06,005
And when it does,
416
00:28:06,336 --> 00:28:10,015
it's up to the cinematographer
to immortalize this complicity.
417
00:28:21,662 --> 00:28:23,654
We were on a shoot
in San Francisco,
418
00:28:24,121 --> 00:28:27,167
about to finish the movie
Taken at face value,
419
00:28:28,361 --> 00:28:29,647
of Jerry Schatzberg.
420
00:28:31,163 --> 00:28:34,450
And I wanted to show Susan
421
00:28:34,778 --> 00:28:38,087
my favorite place in California,
Big Sur.
422
00:28:39,396 --> 00:28:40,417
We came here.
423
00:28:42,099 --> 00:28:44,581
We walked around.
424
00:28:44,702 --> 00:28:48,590
We went to see
beautiful beaches.
425
00:28:52,223 --> 00:28:53,285
And we liked it.
426
00:28:55,428 --> 00:28:58,973
Later, we decided
to get married here.
427
00:28:59,878 --> 00:29:02,968
We arrived by road
that we borrowed yesterday.
428
00:29:04,095 --> 00:29:07,401
We hadn't seen the ocean yet,
or just this side.
429
00:29:07,775 --> 00:29:11,695
We discovered this house,
on this little hill.
430
00:29:12,389 --> 00:29:14,706
Our car was climbing,
climbed, climbed, climbed...
431
00:29:15,516 --> 00:29:18,600
It was flat here then.
There were no trees.
432
00:29:18,760 --> 00:29:20,258
It didn't look like that.
433
00:29:21,036 --> 00:29:22,506
And we bought the house.
434
00:29:23,512 --> 00:29:24,577
That was the beginning.
435
00:29:34,518 --> 00:29:37,423
Seeing John McCabe,
436
00:29:39,176 --> 00:29:42,480
This is the first time
I was discovering the work of Vilmos...
437
00:29:43,695 --> 00:29:46,859
I thought to myself:
"It's not
438
00:29:46,894 --> 00:29:48,041
an American movie."
439
00:29:48,605 --> 00:29:53,072
I still remember the picture.
I forgot the story
440
00:29:53,575 --> 00:29:55,051
but I remember the picture.
441
00:29:55,471 --> 00:29:59,881
And that was clearly the expression
442
00:29:59,990 --> 00:30:02,665
eye-to-eye
of a director of photography,
443
00:30:03,200 --> 00:30:05,567
which was very consistent.
444
00:30:29,928 --> 00:30:31,840
To understand this experience,
445
00:30:31,880 --> 00:30:35,374
and what Vilmos has endured,
you have to know Bob.
446
00:30:35,667 --> 00:30:38,500
Bob was very playful,
he liked to take risks.
447
00:30:39,968 --> 00:30:42,536
He was always on the edge.
448
00:30:42,805 --> 00:30:44,885
He was a good loser, too.
449
00:30:45,000 --> 00:30:48,430
If it didn't work,
he was on his way back.
450
00:30:49,160 --> 00:30:51,960
He was ready to start all over again,
with another movie.
451
00:30:51,985 --> 00:30:54,600
Bob wasn't going to make this movie
without Vilmos.
452
00:30:54,760 --> 00:30:57,839
He had to fight
before we get started,
453
00:30:57,864 --> 00:30:59,376
for union matters
454
00:30:59,757 --> 00:31:00,804
that he had to fix.
455
00:31:01,344 --> 00:31:03,384
It was a big production.
456
00:31:03,693 --> 00:31:07,915
Back in Hollywood,
the movies all ended "in the bath."
457
00:31:07,940 --> 00:31:10,563
At night, the lab would parade them around,
458
00:31:10,650 --> 00:31:13,030
all films
were developed together.
459
00:31:13,452 --> 00:31:14,595
Bob has had the opportunity
460
00:31:14,944 --> 00:31:19,175
to develop his film separately,
in a Canadian bath at night.
461
00:31:19,512 --> 00:31:23,530
So, he and Vilmos
have decided together
462
00:31:23,689 --> 00:31:26,417
to do something called
a "flashbulb",
463
00:31:26,449 --> 00:31:27,982
which means exposing it to the light.
464
00:31:28,076 --> 00:31:30,628
After this step,
there was no turning back.
465
00:31:31,876 --> 00:31:33,352
That was final.
466
00:31:33,377 --> 00:31:36,637
It was like opening
the body of your camera,
467
00:31:38,032 --> 00:31:40,682
with film
and put it in the light a little bit.
468
00:31:40,718 --> 00:31:42,701
It changed the quality of the print.
469
00:31:44,130 --> 00:31:46,503
I get it.
that a page had been turned
470
00:31:46,560 --> 00:31:48,120
in the aesthetics of cinema.
471
00:31:48,279 --> 00:31:50,161
We were shooting in Vancouver,
472
00:31:51,250 --> 00:31:52,433
Altman had contacted
473
00:31:52,996 --> 00:31:56,050
the only local lab,
at the time.
474
00:31:56,090 --> 00:32:00,580
He offered to pay
the whole development,
475
00:32:00,702 --> 00:32:02,418
from beginning to end.
476
00:32:02,505 --> 00:32:04,941
And it became a western,
477
00:32:05,005 --> 00:32:06,920
or what used to be called
a "northwestern".
478
00:32:07,590 --> 00:32:09,991
When producers
have seen the dailies,
479
00:32:10,023 --> 00:32:11,364
they didn't panic?
480
00:32:11,430 --> 00:32:14,509
- Yeah, they totally freaked out.
- I'll bet they did.
481
00:32:14,747 --> 00:32:18,413
They didn't understand.
They wondered who had filmed it.
482
00:32:18,493 --> 00:32:23,809
I wasn't famous then.
It was my first big movie,
483
00:32:24,079 --> 00:32:25,199
with big stars.
484
00:32:25,421 --> 00:32:26,515
And Altman said to them:
485
00:32:26,610 --> 00:32:28,998
"the negative of this film is perfect."
486
00:32:29,414 --> 00:32:32,160
That was not true,
we did that on the negative.
487
00:32:32,255 --> 00:32:34,680
They were in shock.
488
00:32:34,880 --> 00:32:37,840
They wanted to get rid of it.
489
00:32:37,911 --> 00:32:38,960
They wouldn't even take it out.
490
00:32:39,120 --> 00:32:40,544
The movie wasn't "watchable."
491
00:32:40,615 --> 00:32:44,839
We were criminals,
so to speak.
492
00:32:45,209 --> 00:32:46,338
A bunch of criminals.
493
00:32:46,385 --> 00:32:48,153
Warren Beatty, you and Altman.
494
00:32:51,984 --> 00:32:54,430
It's an interesting picture,
I'd never seen her before.
495
00:33:00,070 --> 00:33:04,406
It's funny, I seem to have
20 years older than my age.
496
00:33:04,779 --> 00:33:06,889
That's because the filming of the movie
was very hard.
497
00:33:11,769 --> 00:33:15,359
Choice of operator
is also important
498
00:33:15,541 --> 00:33:17,385
than the actors in a movie.
499
00:33:18,988 --> 00:33:21,359
I'd seen his work
on John McCabe.
500
00:33:21,732 --> 00:33:23,867
Which impressed me,
501
00:33:25,400 --> 00:33:28,019
is that there was
a lot of catches
502
00:33:28,726 --> 00:33:30,480
shot with long lenses.
503
00:33:30,670 --> 00:33:32,771
The camera was following the movement
504
00:33:33,370 --> 00:33:35,441
and the focus was superb.
505
00:33:35,488 --> 00:33:37,552
It was tremendously fluid.
506
00:33:38,449 --> 00:33:40,022
And I wanted to,
507
00:33:40,102 --> 00:33:43,822
I needed this guy
of shots in Deliverance.
508
00:33:44,610 --> 00:33:48,120
Because it was necessary
follow the actors on canoes,
509
00:33:48,581 --> 00:33:51,076
along the river,
510
00:33:51,720 --> 00:33:55,440
with long lenses,
while maintaining focus.
511
00:33:55,855 --> 00:33:57,403
When you meet
the men of the woods,
512
00:33:57,887 --> 00:33:58,995
the camera is static.
513
00:33:59,201 --> 00:34:02,752
Actors shoot the
all around
514
00:34:03,215 --> 00:34:08,142
they go in and out through
another side of the camera
515
00:34:08,221 --> 00:34:09,428
it was very disturbing.
516
00:34:10,312 --> 00:34:14,939
The camera was following the movement
in the previous scenes.
517
00:34:16,191 --> 00:34:19,479
The fixed plane
was creating enormous tension.
518
00:34:19,812 --> 00:34:22,145
Filming required
a lot of preparation.
519
00:34:22,193 --> 00:34:25,050
First of all, the actors
have had to go through training
520
00:34:25,900 --> 00:34:28,693
for canoeing, archery, archery
521
00:34:30,054 --> 00:34:31,120
and get back in shape!
522
00:34:31,205 --> 00:34:34,921
It was a very physical exercise.
523
00:34:35,753 --> 00:34:37,101
Today, all the movies
524
00:34:37,126 --> 00:34:38,690
are controlled
525
00:34:39,007 --> 00:34:41,028
to assess the dangers
526
00:34:41,257 --> 00:34:43,913
inherent in each of the scenes.
527
00:34:45,575 --> 00:34:48,199
We wouldn't have been able to shoot
Issuance
528
00:34:48,794 --> 00:34:50,196
under these conditions.
529
00:34:50,370 --> 00:34:53,651
Or if we did it today,
530
00:34:53,770 --> 00:34:57,047
these safety measures
would prevent us
531
00:34:57,117 --> 00:34:58,656
to make the same movie.
532
00:34:59,205 --> 00:35:01,277
I wanted to make sure
that the actors
533
00:35:01,393 --> 00:35:04,610
would do nothing
that I hadn't tried before.
534
00:35:04,915 --> 00:35:08,588
If they were worried
seeing the rapids,
535
00:35:09,940 --> 00:35:11,987
I'd tell them, "I've already done it.
536
00:35:12,106 --> 00:35:14,479
Vilmos and I went there.
537
00:35:15,209 --> 00:35:16,879
It's doable."
538
00:35:24,806 --> 00:35:26,828
Vilmos était habile comme un chamois.
539
00:35:26,971 --> 00:35:29,626
Il pouvait adopter
toutes les positions avec sa caméra,
540
00:35:31,066 --> 00:35:32,460
avec de l'eau jusqu'au cou
541
00:35:32,865 --> 00:35:35,818
ou accroupi sous un rocher.
Il improvisait toujours.
542
00:35:35,974 --> 00:35:38,270
C'était si difficile
d'installer le matériel.
543
00:35:38,424 --> 00:35:42,130
Ce qui caractérisait Vilmos,
c'est qu'il était acharné.
544
00:35:42,447 --> 00:35:43,519
"Pourquoi on ne filme pas ?"
545
00:35:44,221 --> 00:35:46,971
Qu'est-ce qu'on attend ?
Allons-y ! Allons-y !"
546
00:35:48,052 --> 00:35:52,513
Et des fois,
ça agaçait l'équipe du tournage
547
00:35:52,568 --> 00:35:55,040
parce que tout le monde
faisait au mieux.
548
00:35:56,488 --> 00:35:57,480
Et je lui disais :
549
00:35:57,639 --> 00:36:01,440
"Vilmos, respire un bon coup.
550
00:36:01,600 --> 00:36:04,639
Nous allons réussir cette prise,
ça prendra un peu de temps."
551
00:36:04,862 --> 00:36:07,482
Quand je suis arrivé
sur le tournage de Délivrance,
552
00:36:08,452 --> 00:36:11,015
j'étais plutôt sûr de moi.
553
00:36:11,412 --> 00:36:14,720
J'avais fait mes preuves,
554
00:36:14,839 --> 00:36:19,089
je pouvais dire au réalisateur
que je ferais les choses comme ceci
555
00:36:19,200 --> 00:36:21,825
ou comme cela.
Et John Boorman
556
00:36:22,214 --> 00:36:24,793
écoutait toujours mes suggestions.
557
00:36:25,166 --> 00:36:26,372
Mais certains jours,
558
00:36:26,419 --> 00:36:29,641
je devenais plus agressif
quand j'avais une idée.
559
00:36:29,888 --> 00:36:31,588
J'ai dépassé les limites.
560
00:36:31,613 --> 00:36:33,000
Il m'a arrêté une seconde.
561
00:36:33,778 --> 00:36:34,788
Il est venu me dire :
562
00:36:35,760 --> 00:36:38,820
"Vilmos, si tu continues
à te comporter comme ça,
563
00:36:40,293 --> 00:36:43,594
je vais te retirer la caméra
des mains."
564
00:36:43,723 --> 00:36:45,676
- je tenais ma caméra Arriflex.
565
00:36:46,545 --> 00:36:47,728
Il l'a attrapée et m'a dit :
566
00:36:48,225 --> 00:36:49,551
"Je vais te la jeter à la figure
567
00:36:50,511 --> 00:36:53,747
et tu seras obligé d'arrêter."
568
00:36:55,588 --> 00:37:00,080
J'ai compris
que j'avais fait une erreur.
569
00:37:01,008 --> 00:37:02,277
Je lui ai présenté mes excuses.
570
00:37:03,313 --> 00:37:07,592
Et après ça,
je me suis rappelé ses paroles.
571
00:37:07,646 --> 00:37:10,883
Pas seulement sur ce tournage,
mais toute ma vie.
572
00:37:13,778 --> 00:37:17,301
J'aime travailler
avec des réalisateurs qui improvisent
573
00:37:17,389 --> 00:37:20,839
parce que des fois,
ils ne peuvent pas prévoir
574
00:37:20,985 --> 00:37:22,763
ce qu'ils voudront filmer
le lendemain.
575
00:37:23,869 --> 00:37:27,441
Et je dois les aider
à prendre ces décisions,
576
00:37:28,594 --> 00:37:30,332
en quelques minutes seulement.
577
00:37:30,635 --> 00:37:34,077
Si vous arrivez sur un lieu
et que la lumière est mauvaise,
578
00:37:34,698 --> 00:37:37,958
il faut changer d'idée
pour que ça fonctionne.
579
00:37:39,416 --> 00:37:41,480
La veille du premier jour
de tournage,
580
00:37:41,639 --> 00:37:44,560
Vilmos et moi sommes retournés
sur les lieux,
581
00:37:44,702 --> 00:37:46,979
pour réfléchir à quelques angles,
quelques plans.
582
00:37:48,032 --> 00:37:49,572
C'était formidable.
583
00:37:49,625 --> 00:37:52,863
Le ciel était gris foncé,
584
00:37:53,163 --> 00:37:55,462
les champs étaient jaunes
585
00:37:55,858 --> 00:37:57,840
comme si nous les avions peints.
586
00:37:58,223 --> 00:38:02,240
Le vent soufflait,
les herbes de sauge virevoltaient.
587
00:38:02,416 --> 00:38:04,440
Le lendemain, c'était pareil.
588
00:38:04,550 --> 00:38:05,400
En Amérique,
589
00:38:05,480 --> 00:38:06,988
l'horizon s'étend à perte de vue.
590
00:38:08,346 --> 00:38:12,050
On peut voir une tempête par ici
et le soleil briller par là.
591
00:38:13,135 --> 00:38:15,422
C'est formidable de traverser
ce pays en voiture.
592
00:38:18,337 --> 00:38:22,058
J'avais comme idée
de suivre ces deux personnages
593
00:38:22,129 --> 00:38:26,441
comme deux poissons hors de l'eau,
qui allaient parcourir le pays.
594
00:38:26,854 --> 00:38:29,359
Et je pensais peut-être faire
des travellings,
595
00:38:29,574 --> 00:38:31,007
pour rester en mouvement.
596
00:38:31,359 --> 00:38:33,110
Les caméras pouvaient
suivre les déplacements.
597
00:38:33,891 --> 00:38:36,608
Et j'avais préparé
une liste d'arguments
598
00:38:36,639 --> 00:38:39,340
pour expliquer
ce que je pensais chercher.
599
00:38:40,086 --> 00:38:41,610
Et Vilmos l'a écoutée.
600
00:38:42,737 --> 00:38:44,190
Au bout d'un moment, il m'a dit :
601
00:38:46,140 --> 00:38:47,584
"Je ne vois pas les choses
comme ça."
602
00:38:48,394 --> 00:38:52,279
J'ai répondu : "Ah bon ?"
Nous étions tous les deux très polis.
603
00:38:52,894 --> 00:38:53,680
"Explique-moi."
604
00:38:53,839 --> 00:38:57,519
Il m'a répondu :
"Pour moi, ces personnages,
605
00:38:57,648 --> 00:39:00,395
même s'ils ne s'entendent pas bien,
606
00:39:01,625 --> 00:39:06,034
après une journée seulement,
ils décident de travailler ensemble.
607
00:39:06,111 --> 00:39:06,923
C'est un conte de fées."
608
00:39:07,685 --> 00:39:09,960
J'ai dit : "Oui." Et il a continué :
609
00:39:10,120 --> 00:39:12,680
"Je crois qu'on pourrait faire
de belles images de l'Amérique
610
00:39:12,839 --> 00:39:14,040
avec ces personnages."
611
00:39:14,200 --> 00:39:15,596
Et j'ai commencé à y réfléchir.
612
00:39:16,453 --> 00:39:19,270
Bien sûr, je savais
ce que je voulais faire.
613
00:39:20,200 --> 00:39:23,077
Je n'étais sûrement pas
très enthousiaste.
614
00:39:23,189 --> 00:39:25,546
Mais je repensais au conte de fées.
615
00:39:25,950 --> 00:39:28,951
Et à 4h du matin,
616
00:39:29,110 --> 00:39:31,626
j'avais réussi à me convaincre
qu'il fallait suivre cette idée.
617
00:39:32,728 --> 00:39:38,289
Le lendemain,
j'ai attendu une heure respectable
618
00:39:38,500 --> 00:39:41,331
pour l'appeler et lui dire :
"j'aime beaucoup ton idée.
619
00:39:42,120 --> 00:39:44,458
Plus j'y réfléchis,
plus elle me plaît.
620
00:39:45,037 --> 00:39:47,056
Je suis convaincu
qu'il faut la suivre.
621
00:39:48,171 --> 00:39:51,765
Elle me plaît tellement
que je dirai qu'elle vient de moi."
622
00:40:07,579 --> 00:40:10,920
Vilmos n'est pas que chef opérateur,
c'est aussi un penseur.
623
00:40:10,975 --> 00:40:14,600
Comme il m'avait tout de suite
suggéré une idée,
624
00:40:14,678 --> 00:40:18,947
je savais qu'il avait lu le scénario,
que l'histoire l'intéressait.
625
00:40:19,057 --> 00:40:21,677
Il s'intéressait au scénario,
aux comédiens
626
00:40:21,852 --> 00:40:26,166
et il s'inquiétait toujours
de la réaction du public.
627
00:40:27,560 --> 00:40:30,996
Tout le monde n'est pas
aussi consciencieux.
628
00:40:32,336 --> 00:40:35,947
On a moins besoin de coupes
au montage,
629
00:40:36,531 --> 00:40:39,327
avec un film tourné en Scope.
630
00:40:40,550 --> 00:40:44,952
Un plan en Scope permet de suivre
deux valeurs de plans
631
00:40:45,674 --> 00:40:46,825
pendant très longtemps.
632
00:40:47,452 --> 00:40:49,211
Les acteurs sont en gros plan
633
00:40:50,116 --> 00:40:52,775
tout en montrant
le paysage derrière eux.
634
00:40:53,301 --> 00:40:54,890
Un montage trop saccadé
635
00:40:55,388 --> 00:40:59,759
détourne l'attention des spectateurs
du fil de l'histoire,
636
00:41:00,211 --> 00:41:01,641
avec trop de coupes.
637
00:41:02,378 --> 00:41:05,441
De nos jours,
c'est un style très répandu.
638
00:41:05,497 --> 00:41:08,521
Beaucoup de gens aiment
les montages frénétiques.
639
00:41:09,000 --> 00:41:10,025
Découper chaque seconde.
640
00:41:10,572 --> 00:41:12,635
Et on ne peut pas
s'empêcher de réfléchir.
641
00:41:12,699 --> 00:41:14,603
D'accord, on voit un film
642
00:41:15,064 --> 00:41:19,460
mais sans être immergé
dans l'histoire.
643
00:41:20,380 --> 00:41:23,249
Quand une scène
dure plus d'une minute,
644
00:41:24,439 --> 00:41:27,082
on peut presque oublier
qu'on est dans une salle de cinéma.
645
00:41:27,574 --> 00:41:29,579
On observe la vie
646
00:41:30,716 --> 00:41:34,000
se dérouler en une seule séquence.
647
00:41:35,214 --> 00:41:38,767
Beaucoup de réalisateurs
apprécient ce style.
648
00:41:38,908 --> 00:41:41,116
It allows
to tell a story better.
649
00:41:51,775 --> 00:41:54,830
Sugarland Express has been my
first movie with Steven.
650
00:41:57,813 --> 00:41:59,615
Steven was so young!
651
00:42:02,262 --> 00:42:03,981
We had a great time
on this set.
652
00:42:05,680 --> 00:42:08,329
We were able to make
almost everything we wanted,
653
00:42:08,940 --> 00:42:10,935
against the will of the studio.
654
00:42:11,888 --> 00:42:14,795
They thought some of the plans
were infeasible.
655
00:42:17,580 --> 00:42:19,533
We started
talking about movies
656
00:42:19,939 --> 00:42:21,018
and style.
657
00:42:21,417 --> 00:42:26,044
Steven had some good ideas
and he was also very open.
658
00:42:26,083 --> 00:42:28,440
I've been looking for solutions.
659
00:42:28,501 --> 00:42:31,969
I suggested a small model
of the Panavision camera.
660
00:42:32,024 --> 00:42:33,326
We could place her
661
00:42:33,376 --> 00:42:36,622
in the middle of the car
to film through the windows.
662
00:42:37,162 --> 00:42:40,154
The old models were unsuitable,
especially for sound.
663
00:42:40,439 --> 00:42:42,662
He didn't want to film in the studio.
664
00:42:42,940 --> 00:42:44,950
He wanted
that the film is realistic.
665
00:42:45,410 --> 00:42:47,431
He had thought of many angles.
666
00:42:47,872 --> 00:42:49,407
He added a touch of comedy.
667
00:42:49,495 --> 00:42:52,511
The public made Spielberg
668
00:42:52,884 --> 00:42:54,922
a very sought-after director,
after this movie.
669
00:42:55,097 --> 00:42:58,033
He went on and on
with the famous Jaws.
670
00:42:58,240 --> 00:42:59,558
I wasn't involved.
671
00:42:59,613 --> 00:43:01,759
I was busy on other shoots.
672
00:43:04,524 --> 00:43:05,607
From you to me,
673
00:43:06,553 --> 00:43:08,426
I didn't like the story.
674
00:43:08,514 --> 00:43:11,915
It's funny to think
that I turned down this movie.
675
00:43:12,654 --> 00:43:17,871
I didn't think it was
as good as Sugarland Express.
676
00:43:18,123 --> 00:43:21,419
And not so good too.
than Dating the Third Kind.
677
00:43:21,798 --> 00:43:24,440
He promised me
that we'd shoot it together,
678
00:43:24,635 --> 00:43:27,468
when he's done
Jaws.
679
00:43:35,008 --> 00:43:37,603
It was a small project,
on a very small budget.
680
00:43:38,666 --> 00:43:39,928
It was a student film.
681
00:43:40,273 --> 00:43:43,172
And he managed to implicate
other writers.
682
00:43:43,444 --> 00:43:46,176
They developed the idea
683
00:43:46,425 --> 00:43:47,477
to make
684
00:43:48,254 --> 00:43:49,723
a 35 mm film.
685
00:43:49,802 --> 00:43:53,120
The budget
several thousand dollars
686
00:43:54,028 --> 00:43:57,664
started to swell, little by little.
687
00:43:57,780 --> 00:44:00,427
About $8 million.
Richard Dreyfuss
688
00:44:00,491 --> 00:44:01,510
joined the film crew
689
00:44:01,708 --> 00:44:05,399
and the budget went up.
In the beginning, the film was supposed to cost...
690
00:44:05,502 --> 00:44:07,962
about 15 or 16 million
of dollars.
691
00:44:08,542 --> 00:44:10,296
At the time,
692
00:44:11,366 --> 00:44:14,826
we talked a lot
of UFO sightings in America.
693
00:44:15,810 --> 00:44:19,139
That's why
that people were interested in the film.
694
00:44:19,720 --> 00:44:21,120
"Yeah, let's make a movie.
695
00:44:21,279 --> 00:44:25,279
Let's do something good."
696
00:44:25,519 --> 00:44:28,639
The film became
bigger and bigger.
697
00:44:28,792 --> 00:44:31,847
Steven had some new ideas
every day, every night.
698
00:44:31,942 --> 00:44:32,857
He was watching old movies.
699
00:44:32,882 --> 00:44:35,544
"Well, I'd have to stop..."
700
00:44:36,058 --> 00:44:38,518
The budget had increased a lot.
701
00:44:38,754 --> 00:44:42,349
In the end, it cost
$20 million.
702
00:44:42,891 --> 00:44:44,482
Maybe even 25 million.
703
00:44:45,053 --> 00:44:46,894
And Columbia Pictures
704
00:44:46,984 --> 00:44:50,706
was on the verge of bankruptcy,
at that time.
705
00:44:50,968 --> 00:44:52,466
They didn't make good movies.
706
00:44:53,060 --> 00:44:54,778
It had been a bad year.
707
00:44:55,449 --> 00:44:58,661
They were afraid of losing everything
708
00:44:59,104 --> 00:45:01,335
and close the door.
709
00:45:02,113 --> 00:45:04,243
And I kept telling them:
710
00:45:05,047 --> 00:45:08,413
"Don't worry,
...this movie is gonna save Columbia."
711
00:45:12,200 --> 00:45:15,327
The last sequence of the film
712
00:45:15,800 --> 00:45:17,660
was like a dream.
713
00:45:17,811 --> 00:45:20,080
We have realized
that we're running out of light.
714
00:45:20,672 --> 00:45:24,686
The last 40 minutes were
a light show.
715
00:45:25,218 --> 00:45:26,828
It was all about the light.
716
00:45:27,884 --> 00:45:30,694
The ship's door opens
and an incredible light
717
00:45:31,225 --> 00:45:32,905
spreads out over the set.
718
00:45:33,223 --> 00:45:35,611
We must have overexposed
the characters
719
00:45:36,170 --> 00:45:38,114
to accentuate the bright light.
720
00:45:38,543 --> 00:45:41,171
With two or three degrees
of overexposure.
721
00:45:41,841 --> 00:45:45,809
But the public understood
that it wasn't a mistake.
722
00:45:46,271 --> 00:45:47,431
It was on purpose.
723
00:45:49,826 --> 00:45:51,452
When I got my Oscar,
724
00:45:51,564 --> 00:45:56,223
I should have thought
to thank Steven Spielberg.
725
00:45:57,032 --> 00:45:58,088
I forgot.
726
00:45:58,220 --> 00:46:01,277
It's the worst thing I've ever done.
I owe him an apology.
727
00:46:01,370 --> 00:46:05,306
because he's the one who deserved
the award I received.
728
00:46:05,788 --> 00:46:07,288
It was his movie.
729
00:46:07,462 --> 00:46:09,280
I made that mistake,
730
00:46:09,470 --> 00:46:12,396
because the conditions of filming
were terrible.
731
00:46:12,737 --> 00:46:14,387
Everybody wanted to fire me.
732
00:46:14,412 --> 00:46:17,872
It haunted me for years.
It was a mistake.
733
00:46:18,021 --> 00:46:24,158
But in my defense,
Close Encounters... has been nominated eleven times...
734
00:46:24,325 --> 00:46:25,722
and I was the only one who won.
735
00:46:25,858 --> 00:46:28,923
It was the first prize awarded
that night.
736
00:46:30,279 --> 00:46:32,331
If I had known
that it was going to be the last one,
737
00:46:33,174 --> 00:46:35,570
if I had been told
that it would be the only one,
738
00:46:36,078 --> 00:46:37,184
I would have said:
739
00:46:37,366 --> 00:46:42,336
"Sorry, this award
goes to Steven Spielberg."
740
00:47:30,110 --> 00:47:31,475
Today, when I speak
741
00:47:31,673 --> 00:47:32,776
to someone,
742
00:47:34,080 --> 00:47:36,563
the question always comes up.
743
00:47:37,722 --> 00:47:42,126
To know what the movie is
that I'd rather do?
744
00:47:44,432 --> 00:47:47,844
Then I'll ask the question again.
745
00:47:48,005 --> 00:47:49,657
"What's the movie
that you liked better,
746
00:47:50,864 --> 00:47:52,468
of my entire career?"
747
00:47:53,586 --> 00:47:55,930
95 percent of the time,
748
00:47:56,471 --> 00:47:58,205
I get the answer:
Journey to the end of hell.
749
00:48:03,594 --> 00:48:04,829
For my sake,
750
00:48:05,131 --> 00:48:08,826
it's 100 percent cinema.
751
00:48:08,917 --> 00:48:10,804
I don't find any fault with it.
752
00:48:11,413 --> 00:48:15,090
Even the less successful parts.
Some scenes are underexposed
753
00:48:15,558 --> 00:48:18,050
not by accident,
but out of necessity.
754
00:48:18,669 --> 00:48:20,876
We didn't have a lot of equipment
755
00:48:21,561 --> 00:48:23,767
in Thailand,
to film the night scene.
756
00:48:24,480 --> 00:48:27,990
The generator blew up,
we had to dim the lights.
757
00:48:28,086 --> 00:48:30,359
But the image was consistent.
758
00:48:30,519 --> 00:48:32,952
The film was more realistic,
more touching,
759
00:48:33,547 --> 00:48:35,134
thanks to this lack of lighting.
760
00:48:35,762 --> 00:48:37,460
It couldn't have been better.
761
00:48:38,373 --> 00:48:41,527
We were limited
under these conditions.
762
00:48:42,331 --> 00:48:44,079
And we did our best.
763
00:48:45,532 --> 00:48:48,705
But that's where the sound
plays an important role.
764
00:48:49,215 --> 00:48:53,351
In a dark movie,
with an underexposed image.
765
00:48:53,938 --> 00:48:55,768
Sometimes,
sound can save a movie.
766
00:48:56,636 --> 00:49:00,790
People listen more carefully
and don't see everything.
767
00:49:51,056 --> 00:49:54,519
I was discovering Pittsburgh
in an American movie.
768
00:49:55,000 --> 00:49:57,339
But that wasn't the idea
that I had America.
769
00:49:57,639 --> 00:49:59,134
I used to live in London.
770
00:49:59,213 --> 00:50:01,610
The beginning of the film
has marked me more than anything else.
771
00:50:02,004 --> 00:50:07,068
There was something
of profoundly honest
772
00:50:07,525 --> 00:50:09,519
in this story of workers
773
00:50:09,622 --> 00:50:12,916
who were sent to war
like cannon fodder.
774
00:50:13,422 --> 00:50:14,946
It was very unusual.
775
00:50:15,065 --> 00:50:17,201
If they wouldn't die at the factory...
776
00:50:17,425 --> 00:50:19,240
Yeah, they had nothing to lose.
777
00:50:19,400 --> 00:50:22,200
I remember the fire scenes
in the steel mills,
778
00:50:22,405 --> 00:50:24,920
Early in the morning, when they go out
from work.
779
00:50:24,987 --> 00:50:27,587
It didn't look like a war movie...
with John Wayne.
780
00:50:28,420 --> 00:50:31,452
The aesthetics of the film
contributes a lot to that.
781
00:50:32,032 --> 00:50:34,017
That's interesting,
782
00:50:34,672 --> 00:50:37,370
we've been fortunate
to live in these times.
783
00:50:37,519 --> 00:50:40,775
Everything that has been produced
in the '60s and '70s,
784
00:50:41,352 --> 00:50:45,398
it's been a miracle
in the history of American cinema,
785
00:50:45,776 --> 00:50:47,418
because everything's changed.
786
00:50:48,560 --> 00:50:51,539
Everybody
wanted to reinvent cinema.
787
00:50:51,888 --> 00:50:55,087
And it's true,
this influence came from Europe,
788
00:50:55,648 --> 00:50:57,170
for most of us.
789
00:50:57,273 --> 00:50:59,519
Even those who didn't come
of European countries,
790
00:51:00,130 --> 00:51:01,384
so do the Americans.
791
00:51:02,289 --> 00:51:06,065
Haskell, you made this movie...
what was it called?
792
00:51:06,124 --> 00:51:07,886
America, America.
793
00:51:08,108 --> 00:51:11,528
That's pretty representative.
It was a film shot abroad...
794
00:51:11,960 --> 00:51:13,440
but made in America.
795
00:51:14,067 --> 00:51:15,781
When you look at the pictures
796
00:51:16,122 --> 00:51:21,295
great photographers
like Diane Arbus,
797
00:51:21,366 --> 00:51:23,199
Cartier-Bresson,
or others like them,
798
00:51:24,292 --> 00:51:28,054
they are impregnated
of their personalities
799
00:51:28,130 --> 00:51:31,439
which allows the photographed subject
to feel free
800
00:51:31,526 --> 00:51:33,359
and be himself.
801
00:51:33,730 --> 00:51:35,336
To a certain extent,
the chief operator
802
00:51:35,417 --> 00:51:37,476
brings the same thing.
803
00:51:37,973 --> 00:51:40,791
One way or another,
when you get older,
804
00:51:40,947 --> 00:51:42,677
you wish you could say:
805
00:51:43,137 --> 00:51:46,659
"My existence on Earth
has served a purpose
806
00:51:47,072 --> 00:51:49,889
and will not disappear
after my last breath."
807
00:51:52,812 --> 00:51:55,201
We had built a tent
808
00:51:55,241 --> 00:51:57,447
for the roller-skating scene.
809
00:51:58,952 --> 00:52:02,278
The ceiling was made of canvas
810
00:52:02,825 --> 00:52:04,932
painted in sepia tones.
811
00:52:06,012 --> 00:52:08,563
We didn't need
of filtering on the cameras,
812
00:52:08,621 --> 00:52:11,307
we could film faster.
813
00:52:11,444 --> 00:52:13,102
The only problem,
814
00:52:14,007 --> 00:52:17,467
is when the clouds
were moving outside.
815
00:52:18,572 --> 00:52:20,080
Everything was getting dark
816
00:52:20,240 --> 00:52:21,774
and then became clearer again.
817
00:52:22,012 --> 00:52:25,104
We had posted
someone out there,
818
00:52:25,647 --> 00:52:28,914
a camera assistant
819
00:52:29,445 --> 00:52:30,946
with a walkie-talkie
820
00:52:31,375 --> 00:52:33,864
that said:
"In five seconds,
821
00:52:34,372 --> 00:52:36,331
a cloud will cover the sun."
822
00:52:37,219 --> 00:52:39,275
At that moment,
my camera assistant
823
00:52:39,997 --> 00:52:41,927
had his hand on the shutter
824
00:52:42,760 --> 00:52:45,768
and waited for the light to change
on the ceiling,
825
00:52:46,205 --> 00:52:49,622
to change the settings
one or two stops.
826
00:52:52,417 --> 00:52:54,439
Christopher Walken.
827
00:52:56,470 --> 00:52:57,708
Isabelle Huppert!
828
00:53:00,242 --> 00:53:02,242
Michael Cimino made this movie
829
00:53:03,147 --> 00:53:04,375
years ago
830
00:53:04,526 --> 00:53:07,375
and no one understood
what he was talking about.
831
00:53:08,717 --> 00:53:13,213
America was booming
economical at the time.
832
00:53:13,324 --> 00:53:15,126
People understand this movie
833
00:53:15,560 --> 00:53:16,795
much better today.
834
00:53:50,600 --> 00:53:52,252
Michael Cimino had ordered
835
00:53:52,331 --> 00:53:55,172
a delicious lunch.
As I recall,
836
00:53:55,765 --> 00:53:59,300
it's still ingrained
as the happiest day
837
00:54:00,711 --> 00:54:02,419
of the whole shoot.
838
00:54:03,298 --> 00:54:06,072
To have this lunch with Cimino
839
00:54:06,111 --> 00:54:08,466
and also Isabelle.
840
00:55:06,389 --> 00:55:08,604
What's the hardest part,
841
00:55:09,222 --> 00:55:10,816
once you live
with a cinematographer?
842
00:55:11,018 --> 00:55:11,462
Well, well, well, well,
843
00:55:12,994 --> 00:55:15,549
the hardest part,
it's probably
844
00:55:15,923 --> 00:55:18,708
that the film
always comes first.
845
00:55:19,919 --> 00:55:22,473
It doesn't matter.
if it's an important birthday,
846
00:55:23,037 --> 00:55:27,436
the death of a relative,
a funeral.
847
00:55:28,426 --> 00:55:29,819
The film always comes first.
848
00:55:30,157 --> 00:55:31,538
And the easiest part?
849
00:55:32,286 --> 00:55:36,586
We've traveled everywhere
in the world,
850
00:55:37,130 --> 00:55:38,267
in fascinating places.
851
00:55:38,320 --> 00:55:41,356
The film I found
the most extraordinary,
852
00:55:41,814 --> 00:55:45,518
It was a TV movie.
whose name was Stalin.
853
00:55:47,295 --> 00:55:48,938
A whole team has been on the move
in Moscow,
854
00:55:49,597 --> 00:55:53,464
in 1991, right after the coup.
855
00:55:54,078 --> 00:55:58,647
We were able to see Russia
856
00:55:58,726 --> 00:56:00,781
in the middle of a turmoil.
857
00:56:01,216 --> 00:56:03,684
Vilmos and Ivan Passer,
the director, for the shooting,
858
00:56:04,828 --> 00:56:08,204
had access to the Kremlin,
859
00:56:08,317 --> 00:56:11,097
to parts that had
never been open to the public,
860
00:56:11,843 --> 00:56:14,487
but also to Stalin's dacha.
861
00:56:15,182 --> 00:56:19,103
His old cleaning lady
was still there.
862
00:56:19,485 --> 00:56:23,590
The American team
came in under the snow,
863
00:56:23,696 --> 00:56:24,836
in this dacha.
864
00:56:24,903 --> 00:56:28,320
We all went to see
where Stalin had lived.
865
00:56:28,387 --> 00:56:31,582
A prima ballerina
from the Bolshoi Ballet
866
00:56:31,638 --> 00:56:35,029
came into these rooms,
to dance Swan Lake.
867
00:56:41,120 --> 00:56:44,347
When I was getting ready
filming Stalin in Russia,
868
00:56:45,200 --> 00:56:48,541
I knew I needed
from Vilmos.
869
00:56:49,596 --> 00:56:50,542
He said to me, "You know,
870
00:56:51,169 --> 00:56:53,073
I only make movies."
871
00:56:53,137 --> 00:56:55,899
And it was a TV movie for HBO.
872
00:56:57,943 --> 00:56:59,861
I said, "Vilmos, listen.
873
00:57:01,758 --> 00:57:05,061
Since you've managed
to ruin United Artists
874
00:57:05,656 --> 00:57:09,640
with The Gateway to Paradise
from Cimino
875
00:57:10,708 --> 00:57:14,823
everyone is afraid of
hire you because of it.
876
00:57:15,470 --> 00:57:17,674
If you team up with me,
877
00:57:19,279 --> 00:57:22,733
you'll always find a job
after Stalin."
878
00:57:23,990 --> 00:57:26,470
I was just joking when I said that.
879
00:57:26,583 --> 00:57:29,100
We liked to tease each other.
880
00:57:29,286 --> 00:57:33,141
Imagine if we succeeded
making 34 shots,
881
00:57:33,693 --> 00:57:34,548
on the last day.
882
00:57:35,656 --> 00:57:37,714
34 camera positions.
883
00:57:38,800 --> 00:57:41,616
For Heaven's Gate,
he only did one a day.
884
00:57:42,609 --> 00:57:43,669
He had made
885
00:57:44,388 --> 00:57:46,320
a lighting system.
886
00:57:46,480 --> 00:57:48,249
He had covered with a sheet
887
00:57:49,160 --> 00:57:51,401
a frame on wheels,
888
00:57:52,160 --> 00:57:54,200
that we're moving everywhere.
889
00:57:54,359 --> 00:57:56,158
It took us three minutes
890
00:57:57,158 --> 00:57:58,734
to light up a socket.
891
00:57:59,777 --> 00:58:04,730
That's why our film
was the only one to meet the deadline
892
00:58:05,096 --> 00:58:06,036
in Russia.
893
00:58:06,516 --> 00:58:09,359
In every movie I direct,
894
00:58:09,519 --> 00:58:11,034
for my own pleasure,
895
00:58:11,447 --> 00:58:15,650
I like to pay tribute
to another director.
896
00:58:16,604 --> 00:58:18,490
For Stalin, in the Kremlin,
897
00:58:20,241 --> 00:58:23,350
I wanted to pay tribute
to Sergei Eisenstein.
898
00:58:24,818 --> 00:58:29,337
There are these big shadows
899
00:58:30,401 --> 00:58:32,009
in his movie Ivan the Terrible,
900
00:58:33,748 --> 00:58:35,541
...that are outlined on the walls.
901
00:58:35,613 --> 00:58:36,524
I told Vilmos:
902
00:58:37,071 --> 00:58:38,463
"We'll make a take
903
00:58:39,147 --> 00:58:41,979
when Robert Duvall-Stalin,
go up the stairs.
904
00:58:42,471 --> 00:58:47,055
We'll see his shadow
grow up, grow up, grow up."
905
00:58:47,920 --> 00:58:50,659
Vilmos answered me:
"We lack lighting.
906
00:58:50,760 --> 00:58:52,216
We don't have the time."
907
00:58:52,800 --> 00:58:55,855
I said to him:
"You'll figure it out."
908
00:58:56,400 --> 00:58:58,040
And of course he found her.
909
00:58:58,200 --> 00:59:01,663
Even if you forgot this movie,
you remember that scene.
910
00:59:23,232 --> 00:59:24,771
Did I look like this?
911
00:59:25,533 --> 00:59:28,873
A mustache
and tousled hair?
912
00:59:29,182 --> 00:59:32,279
And me, explaining to Vilmos
what take I wanted.
913
00:59:32,519 --> 00:59:34,835
It's one of the first plans
that we shot.
914
00:59:35,041 --> 00:59:37,732
Vilmos helped a lot
for this take.
915
00:59:37,883 --> 00:59:41,263
When the nose of the plane
falls within the scope,
916
00:59:41,557 --> 00:59:42,572
it was perfect.
917
00:59:42,890 --> 00:59:44,728
With "The Rose" written on the plane.
918
00:59:44,759 --> 00:59:48,402
I owe this plan to Vilmos.
919
00:59:48,577 --> 00:59:50,424
I met him
920
00:59:50,734 --> 00:59:51,757
thanks to Robert Altman.
921
00:59:52,424 --> 00:59:55,000
One night, we were having dinner.
We were friends.
922
00:59:55,240 --> 00:59:57,654
He said, "You should
...to play the role of Marty Augustine."
923
00:59:57,924 --> 01:00:00,774
Bob had rented a house
in Malibu
924
01:00:01,417 --> 01:00:02,947
to shoot The Private
925
01:00:03,266 --> 01:00:06,680
and he lived in this house
during the filming.
926
01:00:07,171 --> 01:00:09,104
Bob didn't do anything like everybody else.
927
01:00:09,676 --> 01:00:15,122
Vilmos loved making this movie
on location outside the studios.
928
01:00:15,502 --> 01:00:17,423
Even though he was very talented
929
01:00:17,465 --> 01:00:18,230
in the studio.
930
01:00:19,580 --> 01:00:20,826
I was amazed
931
01:00:21,389 --> 01:00:25,518
by the fact that he was
932
01:00:25,716 --> 01:00:29,855
plus a collaborator,
than a simple chief operator.
933
01:00:31,782 --> 01:00:34,229
That movie, The Rose
shot with Vilmos,
934
01:00:36,011 --> 01:00:39,185
it's the most important work
of my career.
935
01:00:43,792 --> 01:00:45,985
Vilmos is a very sensitive man.
936
01:00:46,435 --> 01:00:49,155
He's emotionally fragile
937
01:00:49,872 --> 01:00:52,131
and very receptive
to the intimist atmosphere.
938
01:00:52,924 --> 01:00:57,122
Bette had to do all the
live concert stages.
939
01:00:58,192 --> 01:01:00,752
and we only had one shot,
every time.
940
01:01:02,054 --> 01:01:05,700
So, I decided to call
all my friends chief operators
941
01:01:05,748 --> 01:01:07,200
so they'll help me,
942
01:01:08,055 --> 01:01:09,542
each one behind a camera.
943
01:01:10,493 --> 01:01:14,928
"Choose an angle
and do whatever you want.
944
01:01:15,635 --> 01:01:17,817
Improvise, follow your desires."
945
01:01:18,441 --> 01:01:20,470
All I said to them was:
946
01:01:20,879 --> 01:01:23,356
"You'll do close-ups.
947
01:01:23,864 --> 01:01:25,777
You, you'll take care
wide shots.
948
01:01:26,266 --> 01:01:29,665
You can change the focal length,
change the angle,
949
01:01:30,252 --> 01:01:31,228
during the concert."
950
01:01:31,840 --> 01:01:34,149
And that's why
that in the credits there's
951
01:01:34,214 --> 01:01:37,799
the best chief operators
from Hollywood.
952
01:01:37,867 --> 01:01:40,769
Lázsló Kovács, Haskell Wexler,
953
01:01:41,318 --> 01:01:42,563
Owen Roizman,
954
01:01:43,634 --> 01:01:44,713
Johnny Alonzo.
955
01:01:47,439 --> 01:01:50,685
It was great.
The pictures are beautiful.
956
01:01:51,309 --> 01:01:53,504
They had too many choices when they were editing.
957
01:01:53,955 --> 01:01:55,329
Really,
it wasn't difficult.
958
01:01:56,821 --> 01:01:59,243
With an artist like Bette,
959
01:02:00,100 --> 01:02:01,883
and with the songs
960
01:02:01,923 --> 01:02:02,875
she was singing,
961
01:02:03,720 --> 01:02:06,081
and with the musicians
that were with him.
962
01:02:07,239 --> 01:02:09,160
We didn't have
963
01:02:10,611 --> 01:02:12,881
the feeling of doing
an ordinary musical.
964
01:02:13,791 --> 01:02:19,920
It was more like
a raw show of improvisation.
965
01:02:21,963 --> 01:02:23,400
It wasn't difficult.
966
01:02:24,720 --> 01:02:27,618
All we had to do,
was to encourage
967
01:02:27,904 --> 01:02:32,898
the team to improvise.
968
01:02:33,445 --> 01:02:34,440
Live in the moment.
969
01:02:34,475 --> 01:02:36,800
"If you see something good,
move over."
970
01:02:37,111 --> 01:02:38,483
There were a lot of cameramen.
971
01:02:39,134 --> 01:02:43,678
"Do not follow
what you were planning to do.
972
01:02:44,320 --> 01:02:45,400
Be creative
973
01:02:45,436 --> 01:02:47,839
and move around
whenever you feel like it.
974
01:02:47,864 --> 01:02:50,690
Don't hesitate, Lázsló.
Go for it,
975
01:02:50,996 --> 01:02:53,802
and goes as close as possible to his performance."
976
01:03:47,617 --> 01:03:52,400
Blow out is my favorite movie,
as an actress.
977
01:03:52,529 --> 01:03:55,484
For several reasons.
978
01:03:55,564 --> 01:03:57,352
I loved the script.
979
01:03:59,335 --> 01:04:01,311
Like I said,
I didn't think I'd do it.
980
01:04:03,363 --> 01:04:04,910
I didn't like the character.
981
01:04:05,699 --> 01:04:10,185
So I had to find a way
to fall in love with her.
982
01:04:10,281 --> 01:04:11,281
I believe...
983
01:04:11,423 --> 01:04:14,161
that working with John has helped me,
984
01:04:14,612 --> 01:04:18,272
we were able to find
what was going to work
985
01:04:18,343 --> 01:04:19,050
for us.
986
01:04:19,518 --> 01:04:20,589
Next,
987
01:04:21,852 --> 01:04:25,484
the experience of shooting was
the best I've ever had in my entire career.
988
01:04:25,595 --> 01:04:31,291
It was all there,
the sound, the makeup,
989
01:04:31,553 --> 01:04:33,303
the hairstyles, the costumes,
990
01:04:33,858 --> 01:04:35,232
the beautiful images.
991
01:04:35,265 --> 01:04:37,518
Most important
in a movie,
992
01:04:37,550 --> 01:04:39,780
is when this whole
machine is well oiled.
993
01:04:39,923 --> 01:04:41,748
I didn't know you hated
your character.
994
01:04:42,363 --> 01:04:44,781
We loved him, anyway.
995
01:04:44,892 --> 01:04:47,955
And that's why
that the end was tragic.
996
01:04:48,552 --> 01:04:49,687
We didn't want to lose her.
997
01:04:50,026 --> 01:04:52,496
And in another end, she survived.
998
01:04:52,582 --> 01:04:55,344
The scream was recorded,
999
01:04:55,941 --> 01:04:57,504
but they said
that you'd been hurt.
1000
01:04:58,582 --> 01:04:59,806
Unlike the other one.
1001
01:05:00,148 --> 01:05:03,569
We chose the version
Shakespearean.
1002
01:05:03,807 --> 01:05:05,751
- That was Brian.
- Yeah, it was Brian.
1003
01:05:06,128 --> 01:05:08,307
That was an interesting choice.
1004
01:05:08,332 --> 01:05:10,595
The first
would have been more commercial.
1005
01:05:11,348 --> 01:05:12,785
The other one wasn't.
1006
01:05:12,825 --> 01:05:17,565
I remember arriving
on this beautiful location.
1007
01:05:18,145 --> 01:05:21,454
It was like a painting,
there was a bridge and a river.
1008
01:05:21,486 --> 01:05:25,561
"What are they filming down there?
Owls and frogs?"
1009
01:05:25,879 --> 01:05:28,834
This sequence
made us laugh a lot.
1010
01:05:29,192 --> 01:05:33,541
Brian asked me for a plan
over the frog's shoulder.
1011
01:05:35,342 --> 01:05:36,839
But the frog
1012
01:05:37,008 --> 01:05:38,449
was tiny!
1013
01:05:39,322 --> 01:05:41,627
We've settled in.
1014
01:05:41,944 --> 01:05:43,365
The frog was there.
1015
01:05:45,205 --> 01:05:48,493
We placed the camera,
we put in a dioptric corrector.
1016
01:05:49,002 --> 01:05:50,827
It was hard to take stock
1017
01:05:51,175 --> 01:05:52,755
and even madness.
1018
01:05:53,346 --> 01:05:55,616
There was the dioptric corrector...
and the frog...
1019
01:05:57,887 --> 01:05:59,339
and the bridge in the background.
1020
01:06:03,021 --> 01:06:05,370
If you want
make a realistic movie,
1021
01:06:05,516 --> 01:06:07,711
you have to use this technique.
1022
01:06:07,758 --> 01:06:09,336
If there's not much light,
1023
01:06:09,779 --> 01:06:14,320
the dioptric corrector
allows you to extend the focus.
1024
01:06:14,551 --> 01:06:17,991
Brian was known
for his 360-degree shots.
1025
01:06:18,294 --> 01:06:19,431
I don't like to admit it,
1026
01:06:19,960 --> 01:06:21,897
but only time
where I left a set,
1027
01:06:22,519 --> 01:06:23,529
it was there.
1028
01:06:23,554 --> 01:06:25,007
- Really?
- Yes
1029
01:06:25,366 --> 01:06:25,985
Why?
1030
01:06:26,018 --> 01:06:27,405
I don't know if you knew that.
1031
01:06:27,666 --> 01:06:29,887
- In the editing room?
- Yes, in the editing room.
1032
01:06:30,069 --> 01:06:32,458
That was take 57,
I remember very well.
1033
01:06:32,483 --> 01:06:33,490
57.
1034
01:06:34,440 --> 01:06:37,567
And I told Brian...
He was exhausted and so was I.
1035
01:06:37,678 --> 01:06:39,266
We were all exhausted.
1036
01:06:40,194 --> 01:06:44,130
We were already at the end of the
third month of shooting.
1037
01:06:44,874 --> 01:06:45,946
I said to Brian:
1038
01:06:46,279 --> 01:06:50,286
"Tell me what more you want
1039
01:06:50,897 --> 01:06:54,307
that we haven't already filmed
on the 10th take and I'll do it.
1040
01:06:55,040 --> 01:06:57,902
But I don't have the energy
to start over."
1041
01:06:58,418 --> 01:07:00,755
He said, "Do it again."
1042
01:07:00,780 --> 01:07:04,096
I said to him:
"I can't. I can't anymore."
1043
01:07:04,659 --> 01:07:05,800
And I left.
1044
01:07:05,960 --> 01:07:08,582
I knew that out of those 57 takes,
1045
01:07:08,732 --> 01:07:12,152
there was one
that was gonna work.
1046
01:07:12,896 --> 01:07:14,070
I remember a scene
1047
01:07:14,222 --> 01:07:16,865
in the train station, in the restaurant.
1048
01:07:17,537 --> 01:07:20,307
Brian wanted to move on
and I said, "No, no, no.
1049
01:07:20,616 --> 01:07:21,975
We have to do another one."
1050
01:07:22,015 --> 01:07:25,969
This time, I'm the one
asked to do another take.
1051
01:07:26,499 --> 01:07:28,607
One or two takes later,
1052
01:07:28,660 --> 01:07:29,995
you did it.
1053
01:07:30,020 --> 01:07:32,419
I had seen in rehearsals
1054
01:07:33,337 --> 01:07:35,210
that you could play this scene
1055
01:07:35,710 --> 01:07:37,670
to perfection.
All the shots were good,
1056
01:07:37,702 --> 01:07:40,454
but less than in rehearsals.
And I was thinking:
1057
01:07:40,505 --> 01:07:42,890
"Nancy's got to make it."
1058
01:07:42,982 --> 01:07:45,348
It's a tricky thing to pull off,
1059
01:07:45,780 --> 01:07:48,279
it can be very repetitive.
1060
01:07:48,313 --> 01:07:51,728
We'll have to wait,
before you get back to the magic.
1061
01:07:52,413 --> 01:07:55,978
And I've always loved
working with John,
1062
01:07:56,130 --> 01:07:59,384
cause
if we had to make a scene again,
1063
01:07:59,415 --> 01:08:01,918
he added something
different.
1064
01:08:02,196 --> 01:08:03,792
You had to bounce back.
1065
01:08:04,008 --> 01:08:06,000
In this scene,
1066
01:08:06,160 --> 01:08:08,449
he did it to me twice.
1067
01:08:08,909 --> 01:08:10,877
And it was really...
1068
01:08:11,111 --> 01:08:13,413
- It looks more alive.
- It's fresh.
1069
01:08:13,801 --> 01:08:15,515
You have to trust the director.
1070
01:08:15,634 --> 01:08:17,432
We loved Brian, the look in his eyes.
1071
01:08:18,075 --> 01:08:21,202
But we must also be able to trust
to the director of photography,
1072
01:08:22,149 --> 01:08:24,324
or else an actor dies inside.
1073
01:08:24,688 --> 01:08:27,269
It all depends
the way we're being filmed.
1074
01:08:27,990 --> 01:08:30,914
If the angle's wrong,
the emotion isn't transmitted.
1075
01:08:31,366 --> 01:08:33,080
We're as good as dead.
1076
01:08:33,513 --> 01:08:36,367
You have to know how to communicate.
1077
01:08:37,802 --> 01:08:41,330
And it expresses itself in the frame,
the angle and the light.
1078
01:08:52,558 --> 01:08:53,891
Jodie Foster, guys!
1079
01:08:57,260 --> 01:09:00,326
And here I am, asking:
"Why are we shooting here, Vilmos?
1080
01:09:00,604 --> 01:09:02,160
We could have stayed there."
1081
01:09:02,263 --> 01:09:05,320
Every time we took a shot, we were moving around.
Everything had to be perfect.
1082
01:09:05,480 --> 01:09:07,150
Every decor.
1083
01:09:08,052 --> 01:09:11,123
If we had to make a counter-field
a mile away,
1084
01:09:12,521 --> 01:09:14,966
so we were going back
a mile away.
1085
01:09:16,552 --> 01:09:19,885
He was a perfectionist.
I'm sorry, he's a perfectionist.
1086
01:09:22,436 --> 01:09:26,027
For a scene, you needed someone
to play an old German artist.
1087
01:09:26,720 --> 01:09:28,045
Who better than Vilmos?
1088
01:09:28,569 --> 01:09:31,180
He played the role of the painter.
1089
01:09:31,886 --> 01:09:34,956
And there he is,
about to be filmed.
1090
01:09:35,920 --> 01:09:37,535
In costume
1091
01:09:38,591 --> 01:09:41,460
to adjust the camera
and make sure everything was perfect.
1092
01:09:42,928 --> 01:09:43,930
It's Vilmos.
1093
01:10:03,000 --> 01:10:04,960
I loved the way he worked.
1094
01:10:05,120 --> 01:10:06,440
I loved his style.
1095
01:10:07,422 --> 01:10:10,219
I had a lot of fun
working with him.
1096
01:10:15,368 --> 01:10:18,328
In The Witches of Eastwick.
Jack Nicholson plays the devil
1097
01:10:18,487 --> 01:10:21,019
that appeals to all three
Witches of Eastwick.
1098
01:10:21,820 --> 01:10:24,844
Sarandon, Cher and Pfeiffer.
1099
01:10:25,278 --> 01:10:28,245
I was an intern. I was doing everything
the camera crew was asking me:
1100
01:10:28,348 --> 01:10:30,974
carrying the crates, cleaning the optics,
even bring the coffee.
1101
01:10:31,014 --> 01:10:33,393
We were turning in an elevator
with Michelle Pfeiffer.
1102
01:10:33,441 --> 01:10:37,649
and during a take, an assistant
has cast a shadow over Michelle.
1103
01:10:37,744 --> 01:10:39,219
No one noticed her.
except for me.
1104
01:10:39,307 --> 01:10:42,057
We had to move on,
the team was in a hurry.
1105
01:10:42,434 --> 01:10:44,973
I ran to tell Vilmos:
"There's a problem.
1106
01:10:45,505 --> 01:10:48,760
I saw Kenny's shadow.
on Michelle in the elevator."
1107
01:10:49,400 --> 01:10:52,046
Vilmos, of a calm nature,
said, "What?"
1108
01:10:52,308 --> 01:10:54,224
I rehearsed:
"I saw a shadow on Michelle."
1109
01:10:54,674 --> 01:10:56,519
He looked at me and said:
1110
01:10:56,944 --> 01:10:58,562
"George, we have to do it again!"
1111
01:10:59,227 --> 01:11:00,449
The whole team's been bitching.
1112
01:11:01,254 --> 01:11:04,120
And someone threw me:
"Here's your plane ticket."
1113
01:11:04,301 --> 01:11:05,738
As if
I was on my way home.
1114
01:11:06,589 --> 01:11:10,325
Vilmos said, "Pull this plug,
I want to see her tomorrow."
1115
01:11:11,160 --> 01:11:14,766
The whole crew was watching the dailies,
in 35 mm at our hotel.
1116
01:11:14,837 --> 01:11:17,745
I started to get worried.
Did I see a shadow?
1117
01:11:18,571 --> 01:11:21,657
I was terrified
to go home.
1118
01:11:22,801 --> 01:11:23,857
We watched the dailies.
1119
01:11:24,598 --> 01:11:27,131
The first take was bad.
1120
01:11:27,337 --> 01:11:30,547
And indeed, there was
a shadow on Michelle.
1121
01:11:31,102 --> 01:11:33,666
We watched the other take
and it was good.
1122
01:11:33,975 --> 01:11:35,562
Vilmos had an interesting reaction.
1123
01:11:35,639 --> 01:11:39,240
He stood up, front row,
I was in the back of the room,
1124
01:11:39,400 --> 01:11:40,800
we were having a glass of wine.
1125
01:11:41,040 --> 01:11:43,524
He said, "Jimmy, thank you very much."
1126
01:11:46,080 --> 01:11:47,800
And I noticed that with Vilmos,
1127
01:11:48,259 --> 01:11:50,394
that was quite a way to be.
1128
01:11:51,267 --> 01:11:54,458
He was very imposing,
he had great power,
1129
01:11:54,720 --> 01:11:56,077
he had a point of view,
1130
01:11:56,680 --> 01:12:00,645
and he was also very humble
and generous,
1131
01:12:01,025 --> 01:12:03,363
and open to suggestions.
1132
01:12:04,166 --> 01:12:05,761
All the teams loved him.
1133
01:12:05,975 --> 01:12:09,542
He was firm and flexible
and he was implicating you.
1134
01:12:10,015 --> 01:12:12,045
We felt like we were doing
really part of the movie.
1135
01:12:25,608 --> 01:12:29,160
I knew Woody Allen,
1136
01:12:29,320 --> 01:12:30,931
just like everybody else.
1137
01:12:32,831 --> 01:12:34,560
A famous director.
1138
01:12:34,680 --> 01:12:35,960
An outstanding screenwriter.
1139
01:12:36,156 --> 01:12:38,822
Leading operators
had already worked with him
1140
01:12:41,230 --> 01:12:42,881
like Gordon Willis
1141
01:12:43,892 --> 01:12:46,920
They had turned
a dozen times together.
1142
01:12:47,152 --> 01:12:50,080
They worked well together,
1143
01:12:50,739 --> 01:12:53,000
like Ingmar Bergman
with Sven Nykvist.
1144
01:12:53,089 --> 01:12:56,811
And one day, he wanted to work
with someone else.
1145
01:12:57,750 --> 01:12:59,874
And that "someone else",
it was me.
1146
01:13:02,115 --> 01:13:04,648
When we were preparing
our second movie together.
1147
01:13:04,806 --> 01:13:06,439
Even if he didn't like the steadycam.
1148
01:13:06,551 --> 01:13:11,867
I thought we had to convince him
to try the steadycam.
1149
01:13:12,145 --> 01:13:14,156
Because it was faster
1150
01:13:14,536 --> 01:13:16,497
than setting up dolly shows.
1151
01:13:16,822 --> 01:13:18,839
I convinced him and he liked it.
1152
01:13:18,960 --> 01:13:21,087
And for our third movie together,
1153
01:13:21,238 --> 01:13:22,246
I was very surprised
1154
01:13:22,389 --> 01:13:26,661
because he wrote the script,
thinking about steadycam.
1155
01:13:27,378 --> 01:13:31,383
He could make a plan last
indefinitely.
1156
01:13:31,497 --> 01:13:33,777
On a page or two
of dialogue.
1157
01:13:33,873 --> 01:13:35,833
His staging was incredible.
1158
01:13:35,858 --> 01:13:40,729
He knows to show
the setting of its history
1159
01:13:40,809 --> 01:13:43,261
So, sometimes he starts
with a wide shot.
1160
01:13:43,676 --> 01:13:46,207
Then the camera tightens up
about two people
1161
01:13:46,372 --> 01:13:48,323
and maybe finishes
with a close-up.
1162
01:13:49,221 --> 01:13:52,921
He's letting the story unfold.
It's good for the actors.
1163
01:13:52,993 --> 01:13:56,604
They can play their part
like in the theater.
1164
01:14:02,462 --> 01:14:05,652
One day Woody says to me:
"You don't need a crane for this scene."
1165
01:14:06,279 --> 01:14:08,680
"But Woody, it won't take
than ten seconds
1166
01:14:08,721 --> 01:14:11,629
and you'll see what happens.
in the story."
1167
01:14:11,775 --> 01:14:12,920
"I don't know,
1168
01:14:13,021 --> 01:14:14,711
I don't like turning with a crane."
1169
01:14:15,120 --> 01:14:16,775
We're still shooting with it.
1170
01:14:16,883 --> 01:14:20,005
The next day,
we went to see the dailies.
1171
01:14:21,080 --> 01:14:22,430
He said to me:
1172
01:14:23,915 --> 01:14:25,580
"I'm not going to be able
use this plan."
1173
01:14:26,464 --> 01:14:27,766
I asked him, "Why?"
1174
01:14:28,620 --> 01:14:30,692
He said to me:
"This is too Hollywood."
1175
01:14:40,024 --> 01:14:42,516
We installed a backlight,
I'll turn it off.
1176
01:14:43,298 --> 01:14:45,257
It's all right. It's okay. It's okay.
It's not a fiction film.
1177
01:14:45,282 --> 01:14:46,384
- All right. All right, all right.
- It's all right. It's okay.
1178
01:14:46,409 --> 01:14:47,606
Do what you like.
1179
01:14:49,454 --> 01:14:50,567
Somebody's calling me.
1180
01:14:50,930 --> 01:14:55,501
I'm in front of the camera,
in the usual place.
1181
01:17:24,539 --> 01:17:29,603
Adaptation: Anna Le Clézio
Pierre Filmon and Marc Olry
84379
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