All language subtitles for Marc Jacobs & Louis Vuitton (2007)

(playful xylophone music)

- [Voiceover] Ladies and
gentlemen, Marc Jacobs.

- Hello

- [Man] We're in that truck.

- [Marc] That's the truck?

- [Voiceover] Marc
Jacobs in pigeon disguise

for his end of year New York party,

forced to ride in a truck,
as his costume is so huge,

it won't fit into any car.

But, that epitomizes
a whole state of mind,

that of the most influential
American fashion designer

of his generation.

- [Crowd] Hi!
- Hello

(classical music)

- [Voiceover] The theme
of the party is Venice.

Anyone not in costume, is not allowed in.

The doors open at 8 pm
sharp, and close at 8:15.

It's fun, but serious fun.

The whole of New York
has fought for invites,

to this now legendary party,

in the great French
tradition of mask wearing

fashion designers like
Jacques Fath, or Paul Poiret.

A somewhat overblown party,

because Marc Jacobs
has been walking on air

since he became artistic
director with Louis Vuitton,

and helped transform
the French luggage maker

into the most profitable
luxury business ever.

(ominous sounds overlying classical music)

(parade fanfare music)

- [Voiceover] Store openings
have become the new premieres.

A movie can be a flop,
but not a store opening.

When Louis Vuitton
re-opened his flagship store

on the Champs-Élysées in Paris,

undenied rumor had it that
the megalomaniac amount

spent on renovating the
building had been amortized

in just one month.

- If we didn't love
fashion, we'd be naked.

- [Voiceover] Luxury today means reckoning

with the world's market leader.

The LVMH Group, uniting
over 60 different brands

of clothing, champagne,
watches, and leather goods,

and its golden goose,
accounting for half of it sales

is Louis Vuitton, a genre model,

it's most emblematic and profitable brand

with its 19th century monogram,

a yearly turnover of
several billion Euros,

hundreds of stores worldwide,

and for each new opening,
endless queues of diehards,

ready to shower the shop assistants

with bank notes.

(energetic instrumental music)

The man at the heart
of the Vuitton miracle

is Bernard Arnault, the business
man who bought the brand

in 1989 and transformed it into

an international giant on the up.

He's the richest man in France,

but also something of an enigma.

His boldest decision was to appoint

a young, independent, and
unpredictable American designer

as Artistic Director of Vuitton,

inventor of grunge, Marc Jacobs.

- [Voiceover] Vuitton's
specialty is leather bags.

Yet, as I look at the model's hands

during his first March
'98 fashion show reveals,

Marc had sought of forgotten something.

- [Voiceover] Yet, it wasn't
long before he'd given

the bags a makeover,
transforming them every season

while remaining faithful
to Vuitton craftsmanship.

He's incredibly popular, and seems to live

in a whirlwind of stars.

- Look at us, what a
motley crew we are, huh?

- [Voiceover] Here's the
first row at a Vuitton show.

Jade Jagger, Ludivine Sangnier,
Diane Kruger, Winona Ryder,

the singer Eve, Wes
Anderson, Marilyn Manson,

stripper Dita Von Tees,
painter Elizabeth Peyton,

Japanese artist, Takashi Murakami.

On the next block, Vuitton
boss, Yves Carcelle,

Salma Hayek, Alexander Payne,
Misses Deneuve and Thurman,

Mr. & Mrs Arnault, Sharon
Stone, Pharrell Williams,

Gillian Anderson, the
French Minister of Trade,

one Spanish Duke, and

the Minister of the Economy's wife, phew!

But to understand what lies
behind this creativeness

one must access Marc
Jacobs, the only problem is

Marc Jacobs cannot be
filmed, he's off limits.

He's very straight up in interviews,

yet has never allowed a camera

to look at his creative process.

- [Marc] No, no, no, no, no.

- [Woman] Anyone not doing
hair and makeup, get out!

- [Voiceover] About to give up after years

of trying to approach him to no avail,

we noticed a chink in the
armor, Camille Miceli,

a key member of his inner circle,

artistic advisor to
Marc Jacobs at Vuitton,

she also designs jewelry that seems

to drive Naomi Campbell crazy,

and organizes the shows.

- Camille said we're not on the list.

- [Voiceover] It so
happened that her mother,

Dominique Miceli could get
us access to this "in-crowd."

- I love your daughter so much,

and I love her mom,
and I love her brother,

so the Miceli family for me, it's like ...

As long as I have you
guys in my life, I'm okay.

- [Voiceover] So, we took her
on as our guide and chaperone,

and she got is in everywhere.

New York, Tokyo, London, Paris,

introducing us to close
friends and collaborators.

- I'm not sure about
- [Dominique] Allo

- Something like that, but
- [Dominique] Ah, d'accord!

- [Voiceover] Okay, she
did speak a little loud

on the phone sometimes during
interviews, but she was nice.

We started filming with
a skeleton crew of three.

Dominique, a sound
engineer, and a cameraman.

- That's Louis.

- I think every shoot should be like this.

- [Man] Yeah?

- Yeah, it feels so much ...you don't need

more than three people.

- This is all being
documented for French TV

so everyone on their best behavior please.

- [Voiceover] Like we said,

Marc Jacobs works for two labels,

his own based in New York,
and Louis Vuitton in Paris.

- Louis Vuitton Paris would be like this.

And then Marc Jacobs
Paris would be like this.

(laugh)

Or like this.

- [Voiceover] Marc Jacobs
set up his own label

when he was 20, with faithful
associate Robert Duffy,

always by his side, through good and bad,

and of course during the
negotiations with Vuitton.

Robert Duffy of the wide open shirt collar

is behind his champion night and day.

He's the one who oragnizes
the zany end of year parties.

Marc Jacobs is a bucker
of trends par excellence.

He's afraid of nothing.

- There's my ass.

- [Voiceover] One of his
brands is called Stinky Rat,

and its logo is a stinky rat.

In his window displays,
he's taken a political stand

against his government,
and the war in Iraq.

He's done everything
a marketing consultant

would urge one not to
do with a luxury brand,

yet his stores are full,
with an average spend

per customer of over $3,000,

according to in-house statistics.

- [Announcer] Mister Marc Jacobs!

- [Crowd] Hey!

- [Voiceover] He's won a ton of awards,

but keeps a level head.

- [Interviewer] That's
important for fashion

right now, don't you think?

- I don't know, "important" and "fashion"

shouldn't be used in the same sentence.

(crowd screams)

- [Voiceover] Never coy, he's always up

for a bit of star play,
and if a photographer

asks him to scream his head off

with his friends and crew
for an hour, he'll do it.

(crowd screams)

- So sky is the limit.

(upbeat rock music)

- [Voiceover] Before
catching the preparations

for the Vuitton show in Paris,

we were told we could film the buildup

to his own show in New York.

"Come at ten, you'll get to
see Marc Jacobs at work."

So, off we went, to the
heart of the hippest area,

where on the intercom we noticed

it was just above a poet's circle.

Eighth floor, here we are.

There he is.

- Look!

- [Voiceover] A portrait of Sofia Coppola

by Elizabeth Peyton on the wall,

and on the desk, seven CFDA trophies,

the US fashion Oscars.

- [Man] Breakfast?

- Protein bar, yeah.

- [Man] A protein bar?

So, we should try a nice version

of that pocket shape, right?

And, fix the fly.

I think we should try the heavier thread.

- [Voiceover] This is the inner sanctum.

No one has ever filmed here,

and especially not this,

the elaboration of Marc Jacobs'
collection as it happens.

He cuts fabric on the floor,

cobbles together pants that would be

on the catwalk one week later.

This is it, in the making.

And at last, we're in.

He even lets us film him ironing.

- Making a documentary.

- [Woman] Really?

- Uh-Hmm.

- [Woman] Oh good.

- We have it good.

- [Voiceover] So how does

the Marc Jacobs machine actually work?

From this moment on, we'd
be able to observe it.

(classical music and electronic mix)

In the room that night,
were Joseph and Shelly.

Shelly is the cabin model.

Tattooed all over, she fits
clothes all night long.

Standing on 15-inch
heels for hours on end,

her main concern is to
keep her blood circulating.

(electronic music plays)

- Oh, sorry Shell.

(classical music and electronic mix)

- Your shoulders are the perfect shoulder.

- Small? They're small?

- Yeah.

- Ants could dance on my shoulders.

- I think it's more desirable in a woman.

- [Voiceover] Joseph is the body and soul,

totally devoted assistant.

- Oh my God Joseph, you look amazing now.

(laughter)

- [Voiceover] Joseph, is
Marc Jacobs second eye,

he can't do without him.

- Joseph?

Joseph?

Where did he go?

Anybody see Joseph?

Where did Joseph go?

I need to see Joseph, is Joseph available?

Can he come out here.

Oh, Joseph ...

Joseph

Joseph

Joseph

Where's Joseph?

- [Voiceover] And when he finds him,

he's over the moon.

- Yay!

Lots to do Joseph.

It's gonna work.

Well?

Very nice.

("Canon in D" by Johann Pachelbel)

It's very caught in the seam isn't it?

Maybe, it's weird period, let's see.

What do you think ladies?

(crowds makes approving noises)

Of this creation?

It's gonna be in white, with silver.

- [Voiceover] He and
Joseph try out some roughs

of dresses on Shelly, in
colors garish and disturbing.

A vision that would only come clear

the following week on the catwalk.

("Canon in D" by Johann Pachelbel)

The staff at Jacobs' New York workshop

is unflinchingly faithful,

many have been there since
the brand was created.

They've known the ups and downs,

the near bankruptcies, and
the many sleepless nights.

- Usually, when we interview somebody

we try to explain that the two weeks

before the show, they
will not be sleeping.

Maybe one hour, two hours a night.

- So, we have to do fast.

No time to sleep.

- New people don't believe you.

But, after one season, they believe you.

- This is my a, let's see,
my 24th collection with Marc.

- Some of them for like years, and years,

like fifteen years.

- I was in the army,
then I came to fashion.

- Believe me, they're
not really very happy

about it here but ...

Everybody here works very
hard, but in America,

this what we do, is work
... as Mohammed Ali said.

- [Voiceover] But luckily
Marc Jacobs has a secret

molecule to boost his troops morale.

- Have some sugar, it'll keep you going.

(crowd applauds and cheers)

- [Voiceover] Sugar-doped
troops who it seems

absolutely worship him.

- How you doing?

(offscreen beckoning noise)

What?

- I want you to sign my hat.

- Okay

- Please

- Yeah

Okay.

(hip hop plays on radio)

- Love it.

- Good

Enjoy!

- Got it!

- [Woman] What does it say?

- Got it!

- [Man] Oh wow.

- Look everybody!

- [Voiceover] The working
conditions are special.

As they say here, we're family.

- [Man] Go Ash, yeah.

- Come on Ash, let's do the hustle.

- The hustle bustle.

(laugh)

- You don't know how to do the hustle?

- No, I do know how to
do the hustle bustle.

- You're too young, c'mon.

- I'm not too young to do the hustle ...

- Do this, you to the slide thing.

Follow me, don't be so stiff.

- I can't do this ...
- Relax, relax, relax.

- The whole company feels very like,

like family atmosphere.

Robert Duffy I think
makes a nice environment,

and a lot of people have
worked there for a long time.

So, I always feel very
at home when I go there.

In any case, everybody
seems pretty relaxed.

Like the models who come
for casting sessions,

and who change in plain
view, unabashed all day long.

Marc Jacobs works on two fronts.

In New York for his own brand,

and in Paris for Louis Vuitton.

Obviously in the Vuitton building,

things are not so homey.

In this global company, you need

a different badge for every door.

At Vuitton too, something totally new,

we'd be allowed to follow
over a period of months

the creative process of Marc
Jacobs and his Paris teams,

which began with an
attack of meeting-itis.

- How are you today Loïc?

- [Loïc] Alright, and you?

- I'm super-fine.

(energetic orchestral music)

- [Voiceover] Of course,
we were dying to see

and understand how Marc
Jacobs eye is nourished,

how it adapts to a system like Vuitton's.

He starts out with walls of inspiration.

Everything gets posted there.

Old magazine photos,
pretty freaky portraits,

photocopies of tortured
bits of fabric, flowers.

It all amounts to a sort of riddle.

Half an idea here, a bit
of that spirit there.

A whiff of this, a resemblance of that.

During the Vuitton bag meetings,

the technique is always the same.

The team brainstorms
scores of proposal panels,

samples, drawings and photographs.

Of course, this is a laboratory,

one where billions are made.

With ideas in the making, which as yet,

not patented, cannot be filmed.

- Here there is different options.

- That I would absolutely love to do,

but I'm sure we would
have a lot of problems.

- [Voiceover] Alligator
skin of every shade.

Zany inventions that
will make the competition

green with envy.

- We've tried to to a new
texture, with leather.

- [Voiceover] Also in the
making, new fasteners,

new monograms, here, the unexpected rules.

The quest for visual neologism.

Is it ugly or beautiful?

It's the eternal question of the new.

- I mean, is it so
horrible, that it's good?

(laugh)

Maybe it's just so horrible,
that it's horrible.

- [Voiceover] Dilemma is the watchword

while one reflects and
awaits enlightenment.

(tense electronic music)

- That was the other
thing, what was I looking

at the other day ... little bells.

You know those pretty little bells

like that look like Lily of the Valley,

- [Group] Yes.

That might be a nice thing to have,

hanging from a bag, like little bells.

- [Man] Yeah
- I like it.

- Why did I think of that?

- [Voiceover] Yet amidst
all this industry,

there are also long periods
of meditative silence.

(pop music plays in the background)

Waiting for an angel to pass.

In house legend has it,

that such meetings are haunted by faeries.

(whistling)

(footsteps)

(door creaks)

- Bad faeries getting in here.

(laughter)

- [Woman] They're skyping.

- [Voiceover] Yet, sometimes
these creative meetings

are indeed haunted, by old dead clothes

trying to come back to life.

For example, that day, a dowdy
old mauve acrylic sweater

is about to be raised from the dead,

with a touch of Marc
Jacobs' healing hands.

(hip hop music plays in the background)

The sweater is sized up,
compared to other materials,

other colors.

A DNA sample is taken.

And glory be, a few weeks later,

our old mauve, acrylic sweater has become

a young mauve, Marc
Jacobs cashmere sweater.

And its rather plain pattern has been

considerably refreshed in the process.

(classical music)

Louis Vuitton isn't exactly summer camp,

the parents are around.

There's a certain Bernard Arnault,

a huge organization,
numerous marketing teams,

and an omnipresent CEO, Yves Carcelle.

Among other colossal play things,

is a special room, where
hundreds of up and coming

window displays are reproduced life-size,

waiting for heavy duty approval.

- [Voiceover] At Vuitton,
anything is possible,

if you want to fly the
whole HQ staff and studio

to Japan to stage an exact
remake of the earlier

Paris show in a lunar
bubble built specially

for the occasion on
the outskirts of Tokyo,

then you do it.

- [Man on PA] Can we get all the cameras

in the dressing area!

- [Man on PA] This is Alain
for everybody in queue eight.

(drums)

- [Alain on PA] I need 75
staff in the runway area.

- [Alain on PA] Thank you.

(opera music)

- And the stone is going to be clean.

So the woman with the heel,

they just step like this, on the stone.

They do a walk.

Whoa

Shall we continue?

Allez

- [Voiceover] The guest
list is a who's who

of the Asia Pacific region.

Singers, movie stars,
contemporary artists.

- [Voiceover] Nothing is left to chance.

Press agents have compiled
the outfit, bag, and shoes

of each of their guests,

so that no one will suffer
the supreme humiliation

of wearing someone else's
precious unique piece.

The models too are
identical to the Paris show.

They've flown an average of 25 hours

for about 27 seconds on the catwalk.

But everyone here seems
to find that normal.

It all seems really over the top.

But, it's hard to believe
that so much money

is being squandered to no purpose.

- [Voiceover] And when the stars arrive,

it's pure bliss.

(joyful scream)

No one is wearing the same
shoes, the same outfit,

or the same bag.

- [Interviewer] Are you excited?

- Oh, very excited.

- [Voiceover] Vuitton
boss Yves Carcelle greets

LVMH boss Bernard Arnault.

- [Reporter] Why did
you choose Tokyo to be

the home of the show?

- We stuck a pin on the map.

(laughter)

That's how we do things at
Louis Vuitton, totally random.

(laughter)

So random, we just throw a dart.

- Oops

- [Voiceover] The shoes,
the dresses, the bags,

the stars, everything is in order.

The show can begin.

(intense instrumental music)

And at last, Asia can
applaud the incredible,

the one and only, Marc Jacobs.

And now, it's party time.

(disco dance music)

The Emperor of Luxury
gives him the thumbs up,

everyone clamors to get
photographed with him.

This will be a night like no other.

Fueled by a thousand
magnums of French champagne.

(rapid Tabla music)

(Scottish bagpipe music)

While triumph and hysteria
reign the dance floor,

a radiant Bernard Arnault gives a lecture

on economic strategy, and
suddenly it all seems so simple.

- We are the only company,
completely integrated,

with product, produce,
everything in our ...

(drowned by dance music)

with our craftsmen, and we
sell only in our own shops.

When the others, all the other brands,

they do sell, and they
sell also wholesale.

We don't do it.

It's the reason why we do it so exclusive.

It's the only brand in
the world that has ...

(drowned by dance music)

(Sottish bagpipe music)

- [Voiceover] Usually,
there's nothing worse

than these big corporate parties

where snobs and shareholders
pretend to have fun.

But here, the hippest in
town have all been invited,

and genuine excitement,
mingled with jet lag,

seems to be blending
into a working cocktail.

Even Marc Jacobs is dancing.

Everyone's letting rip, but
isn't that a flower pot?

(singing in a foreign language)

- [Voiceover] Yeah, you
have to throw parties

and attend religious
ceremonies to bless new stores

according to the local customs.

(religious Japanese chanting)

(claps)

(Scottish bagpipe music)

- [Voiceover] The crowd
drank, laughed and danced

as if there was no tomorrow.

But next day, Marc Jacobs
had to go back to Paris.

(energetic instrumental music)

- So excellent.

- [Voiceover] From their trip to Japan,

the Vuitton teams have brought
back kimono belts, of course,

but also these books of dolls
that seem to be everywhere.

Dolls with cutesy flowered headbands

that will make their mark.

(energetic instrumental music)

Headbands whose flowers are
about to be aged and stressed.

- [Voiceover] And when exploding
them won't do the trick,

they're crushed until their beauty

is unanimously agreed upon.

- [Voiceover] Says she,
destroying flowers.

- It's all about destruction.

- [Voiceover] Much better!
- Ah oui la, parfait.

- Maybe they can, when they
dip a little bit in tea.

- [Voiceover] But there's worse than tea.

Everything has to be bleached,

including jewelry and embroidery
in baby baths on the roof.

- [Voiceover] Only
problem is, bleach smells,

and is highly corrosive.

- [Voiceover] The quest
is for more or less

random destruction,
because the idea of chaos

interests Marc Jacobs.

Chaos he plays with, draping
the model as he goes,

or even with nothing to go on,

no safety net whatsoever.

- You can have a bit of this blouse,

and a bit of a pin tuck.

- Yeah

- You can go there.

- Yeah

- Ivories of whatever, or
these things, you know,

under those things.
- Yup

- That looks nice.

- Yeah

- Maybe those can just be like shells

or something more hard,
you know what I mean?

Because the necklines
here are so romantic.

Maybe that should be like just
chopped up like crew neck.

- Yeah

- [Voiceover] So a photograph is taken,

and Marc Jacobs synthesizes his vision

into a technical drawing
so the workshop staff

can understand it.

(contemplative instrumental music)

This taste for cut and paste,
for chaotic choppiness,

tends to rankle during bag meetings.

By way of freeform cutting
into raw monogrammed canvas,

the search for new shapes,

the accumulation of old bags on the floor,

a pocket retrospective of Marc
Jacobs' cult Vuitton bags,

and a python patchwork
shoe, an idea emerges.

That of a quasi cubist, mix-and-match bag.

- Maybe, it'd be good to take,

like the quilting we did do for the Fall,

and do it in ivory.

- Yeah

- A bit of that for part of a bag,

and put it with the new smocking thing,

and put it with a denim, and put it with,

maybe even see if we could change

some of the graffiti-ed, a white on brown,

and a bit of appliqué from Julian,

you know, just like, kinda everything.

- That would be good.

- Could be.

So it would be nice to see
all these things together,

to see that we really can combine.

- [Voiceover] Sometime
later, it becomes a muddle

still far from approved.

Of course, Marc Jacobs is
going to put his spoke in.

A lot of spokes.

- But maybe it should go this way.

- [Woman] Yup.
- What about like this?

And chopped.

- I think it's too much.

Maybe we outta tape like that.

- [Voiceover] We also witnessed the birth

of new shoes, with Frabrizio
Viti, the house shoe stylist.

We'd all already met him in Tokyo.

(Scottish bagpipe music)

He starts out with a men's shoe.

A disco man's shoe.

- So we thought that maybe the only place

where we can still find
issues is very base.

- [Voiceover] A Glam disco man's shoe.

- Very, very bad taste man's shoes.

- [Voiceover] A high
heeled Glam disco shoe.

We're between two minds.

Some models look pretty funky.

(funky electronic music)

When suddenly ...

- You have more like this kind of a thing?

(pencil on paper)

- [Woman] Yeah, oui.

- There's a hole inside.
- Yeah, and wrapped like that.

Yeah, of course.

- [Voiceover] And bingo, a few weeks later

the boxes arrived from the
Vuitton workshops in Italy.

(crinkly paper unfolds)

- Ooh, the green one.

- [Voiceover] Not in the least masculine.

But as a starting point,

it was a necessary, if throwaway, step.

- [Woman] Oh, look at that!

- [Voiceover] Yet, one
unexpected production hitch,

is that the metal heels
turn out to be really heavy,

and cannot be modified before the show.

- You walk down the
runway, and you'll have

like legs like Arnold
Schwarzenegger in this

by the time you get back.

(energetic electronic music)

- [Voiceover] In New
York too, we were there

when the boxes for the Marc
Jacobs' label were opened.

And each one held a surprise,

paper flowers made by
feather maker Le Marielle,

from American sandwich wrapping.

- This, I love these.

The French butcher paper.

- [Voiceover] Others cut into
French butcher shop paper.

- C'est joli non?

C'est le boucherie 110 rue dans ...

Oh the French, boy do they know

how to make beautiful flowers.

- [Voiceover] Because
this mix of rich and poor,

ugly and beautiful, twee and twisted,

is a Marc Jacobs obsession.

- Yeah, tragic.

(hard rock music)

Okay, as screwy as it can be, the better.

- Yeah, okay.

- You know what I mean?

'Cause, I like them
more fucked up than ...

- Yeah, yeah.

- [Voiceover] Of course if a
T-shirt is to be made screwy,

the screwiness will be perfectly
controlled, hole by hole.

- That hole is very important.

- Sssst!

- You know, it's not just any hole.

Defects are good, we're celebrating them.

There is another possibility,
which is even more ridiculous.

I don't think it will look
ridiculous in a bad way.

I think, I mean I uses that
word in the very nice sense.

It's great being uncool.

So this is brassiere, let's
have a walk in the brassiere,

which I love, but it may be too ugly.

But I mean, it's really good.

It's really good but it's really ugly.

I know that, and I like that.

Don't worry!

As soon as I get my clothes,
I'll push it really far.

So far, that you might, that
we may get hams thrown at us.

Oh, let me see those violet ones.

Robert, like this is really super insane.

Look at the falling down heels on that.

- That is awesome.

- [Voiceover] Though he plays
around with his clothes,

when it comes to musically staging them,

he knows exactly what he wants.

A remix of a great
classic, Pachelbel's Canon.

("Canon in D" remix)

Intrigued by such a choice,
we simply asked him why?

And out came one of the keys

to how it all works in his head.

- I had it in my mind, this
Pachelbel, I don't know why.

I like, I get very ... It comes from ...

I don't know, just like
all of a sudden like,

think of something kind of cliché,

in a way, and I just think okay but,

I don't want to do it exactly
the ... Way I know it.

It's that simple really.

(laugh)

It's so completely, not
a real, cerebral concept.

I mean it's very pretty, it's nice.

I mean I can see Sofia
wearing it like that.

- [Voiceover] We were beginning
to fall under his spell,

just like Sofia Coppola,
barefoot, pink nails,

her ballet flats nearby, Laduree candles

on the coffee table,
white smelling peonies,

Fellini and Soderbergh
DVD's to catch up on,

painting still unwrapped,
and expecting a baby,

she gave us her take
on Marc Jacobs' vision.

- Mark is such a creative person,

and creative people, creativity,
is mysterious I think.

So, I don't know exactly how he translates

what he sees into what he makes,

but I can relate to, um,

or I can see how he takes a
lot of different information

and interests and combines it in his work,

which I think is interesting.

- [Voiceover] A novelist
Francine Prose tried

to explain this state of grace.

- Its kind of a charmed situation,

I mean that is anything that
is associated with Marc Jacobs

instantly becomes popular.

So, essentially they could call any line

anything they wanted to,

and if there were a
connection with Marc Jacobs,

it would be incredibly popular.

It's sort of the combination
of extremely stylish,

extremely beautiful,
extremely unpretentious,

and extremely hip.

I mean the cachet is extraordinary.

- You know, I have a teenage daughter,

all her friends, I mean
to them, Marc is God.

- He is an American genius in fashion.

- [Voiceover] But for now, the
American genius in fashion,

is stressing him out in the limo

that is taking him to the
first show of the season.

The New York show of his own label.

In the backstage half light,

he seems to be the only one
who can read the whole puzzle,

to know how many balls he has in the air,

an adrenaline overdose
he knows how to handle.

It seems nerves and a knife edge are key

to his creative process.

- Sasha, can you go back with
Ryan in the white T shirt.

("Canon in D" by Pachelbel remix)

(claps)

- [Woman] Alana!

Alana!

Diani!

Maya!

Alana!

- [Voiceover] The Marc
Jacobs New York show

is the key event of the
North American fashion scene.

It's the place to be.

Even the blasé of Hollywood
can't quite believe it.

- This is more press than at a premiere.

- Wow.

It's the most important
social event in New York,

Marc Jacobs fashion show, number one.

Everybody can see, it's everybody sitting,

and looking, and people feel strongly

that he knows something,
you know, and he does.

He has a good sensibility.

It's sort of like an arena, you know,

like if the games begin,

everyone can see.

It's a fascinating
sociological type situation.

And Marc is the top dog,

and doesn't care to be,
but he is, you know.

("Canon in D" by Pachelbel, remix)

(crowd applauds)

- [Voiceover] But he takes
it all in his stride,

without melodrama.

- I didn't do anything, I just did my job.

Hello ...Oh My god.

- Oh my God, famous people!
- It was so crazy out there!

- Hey, how are you?
- Congratulations, alright.

And you're in it.

- Wow.

(screams)

- I love you!

- You look so fucking good!
- My girl!

I told you ...

(screams)

Sofia!

That's my friend Sofia, this is Kim.

- Hi
- ... and Zoe.

- Hi Zoe.

Ah, she looks great.

- [Marc] Ladies and
gentlemen, Victoria Beckam.

- [Photographer] The
French people are jealous.

- No they're not, I
love the French people.

Some of my best friends are
French people, right Loïc?

(yawns)

This is insane.

(muffled traffic sounds)

So crazy.

I never really believe
what people say, you know.

- Congratulations

(ominous instrumental music)

- Thanks

- How are you?

- Take a picture with him.

- I did

- I loved your collection,

it's a drastic, drastic
contrast from last season.

It's amazing.

- You're amazing.

- Oh my God.
- So many mistakes.

- There were so many mistakes.

I'm so upset.

- Wow, yeah, that first shoe.

- The first shoe, the first
shoe and then the two dresses

that didn't come out.

- That's alright, you know what,

everybody was like, that's the
fashion industry right there.

- No!

Another one's over,
it's on to the next one.

On to the next.

- [Voiceover] When we do catch up with him

after his New York show, he's in pieces.

- I'm really feeling like
very, very, very exhausted.

Very exhausted.

So ...

- [Voiceover] But he
has neither the choice

nor the time, in just three weeks,

he must do another show,
for Vuitton this time,

and start the idea machine pumping afresh.

But where do you find inspiration

when you're utterly drained.

All year around,

when Marc Jacobs isn't
silently judging gloth,

he regenerates his creative strength,

running around the galleries,
contemporary at fairs,

and auctions, building up
his own art collection.

He greets the gallery owners,
checks out what's on offer,

along with one of his best friends,

diamond dealer John Reinhold,

who introduced him to this milieu.

- Good?
- Good.

- They're making a documentary.

- Oh, on you?

- Yeah, no, on you, we
didn't tell you yet.

(laugh)

- Did you find good things here?

- I bought, yeah, a couple of nice things.

I bought a nice drawing of Ed Ruscha's,

and I bought a nice Richard Prince.

(classical music)

- [Voiceover] Yet, he chooses
not to show his collection.

He remains very discreet on the subject.

He owns neither boat nor car.

He doesn't even own his own apartment.

His only possessions are his
paintings and sculptures.

Starting out with portraits,

he then focused on
contemporary American artists.

And now seems to be gradually
leaning towards abstraction.

- Do you know very much about Picabia?

- A little bit, a little bit.

I bought a drawing, a Picabia drawing

from London a few years ago.

- [Voiceover] When he
really wants a piece,

he has no qualms about
besieging a gallery,

like the very prestigious

Larry Gagosian gallery in New York.

- [Interviewer] C'est Cezanne, oui?

- Cezanne yeah.

- [Interviewer] Cezanne again?

- Cezanne yeah, and Picasso,

and this is Bacon, Francis Bacon.

- [Interviewer] I love that
you have a Francis Bacon

on the floor.

- Bacon there, Warhol,
and that's Cy Twombly.

Marc's a very competitive collector.

I mean he he does his homework.

He knows when an artist
is going to have a show.

He's very, very, he's very, in a nice way,

but he's quite aggressive,
and you have to really

have that kind of passion and kind of

polite aggression, hopefully polite,

but you need the ... to make a collection.

Otherwise you're just buying stuff.

- If he goes to an auction himself,

together with me, which
happened once in a awhile,

we would discuss the final price,

but then, when he was actually there,

and he would see the piece come up,

he would whisper to me,

"Oh we can go much higher than that."

That's even before they started bidding.

So, I would ask him to
please sit on his hands,

so that he wouldn't be
able to raise his paddle.

- Hey Jeff!

- [Voiceover] Jeff Koons,
Rachel Feinstein, John Currin,

Elizabeth Peyton, he hob
nobs with numerous artists

from the New York scene.

And when Californian artist Ed Ruscha

attended one of his shows,

a lifelong dream had come true.

- When I met Madonna, I was
like, Hi, nice to meet you,

and I like her, I
respect her, she's great,

but when I met Ed
Ruscha, I couldn't speak,

I had, I was like, oh my God.

- [Voiceover] In the endless
corridors of his Tokyo hotel,

we thought to ask him about
this boundless admiration,

and his hang-ups as a craftsman
in the face of artists.

- Oh, my door's open.

Come on in.

- [Interviewer] Yeah?

- Yeah, why not.

Oh, I think they're
doing the housekeeping.

You can come in.

Look I have like a Japanese dining room,

I have this living
room, beautiful bedroom,

gorgeous bathroom.

- [Interviewer] Fantastic.

- [Voiceover] They booked him into

one of the hotels' largest suites.

It seems his French employers
put a premium on his comfort.

- Do you want to sit down?

- [Voiceover] But we didn't dare.

We weren't half as relaxed
as the Japanese photographer

who sang with him in the elevator
a couple of days earlier.

(sings in Japanese)

Yet, we did have a chat.

- A little intimidated because again,

I've always felt intimidated
by the art world,

you know what I mean?

Like I thought other ...

Like again in the creative hierarchy,

the art world is like up here,

and fashion is like down there.

And it's actually Elizabeth who's made me

feel differently about that.

You know, she's always
saying, you're so wrong.

And it's like, you know,
so important, and so vital,

and, you know, what you do.

She's very encouraging that way,

because I'm always saying,
it's, you know, like a job.

It's like ... because I see the life

of these artists sometimes,
and the way they live,

and how they travel, and just think

it's such a beautiful, creative existence

that seems so sort of pure
in some way, you know.

- [Voiceover] In New York,

in the heart of Greenwich Village,

we went to meet the
famous Elizabeth Peyton,

the painter of an entire
generation, Marc Jacobs' idol.

He'd spend his time leafing
through catalogs of her work.

And in diamond dealer
John Reinhold's bedroom,

next to millions of
dollars of Warhol's Marilyn

were a couple of portraits of Marc Jacobs,

by Elizabeth Peyton.

She was moving into her new home,

the dog didn't bite anyone,

the glasses were still
wrapped in newspaper.

It was an important meeting.

- [Interviewer] You're the
one who got his complex away,

Because he felt so inferior artistically?

- That's just so hard
to imagine knowing Marc,

because he's so creative,

and he's really so sophisticated.

But, I think when you're outside of art,

it can seem like it's
some impenetrable world,

but he was really right there already,

with all his ideas and thoughts.

When he started collecting
art, he knew what he wanted.

You know, he's very smart, really.

He just seems so in tune with culture,

and he's making culture,

like he's sort of remaking
the world in his image

by sending off droves of
people, girls down the street

in sequin ballet flats, and
you know, purple corduroys.

I think that's so brilliant,
and incredibly powerful too

about the kind of affect
you can have on your world

through your will alone.

And that's basically
what artists are doing,

sort of remaking a world
within their work, right?

- [Voiceover] But his interest in art

has already found an outlet in his work.

Having asked creator Stephen Sprouse

to graffiti Vuitton handbags,

he's now asked Japanese
artist, Takashi Murakami

to toy with Vuitton bags in 36 colors.

- [Interviewer] How
did you get the idea to

call Murakami the first time?

- Because, I had seen his
sculpture at an auction,

and I'd read some articles about Takashi,

and then there was a show
at the Cartier Foundation,

and when I was at the show
at the Cartier Foundation

I went to work the next
day, or two days later,

and I asked Camille to try and find him,

to get in touch with him,
so we sent him an email.

Just like that.
- [Interviewer] So simple.

- Yeah, it's like really ...

You know I'm not very
clever, I'm just like

oh call him up, see if he wants to chat.

(upbeat flute melody)

- [Voiceover] Takashi
Murakami's celebrity has soared.

As he signs autographs and bags,

his market price has exploded,

and his ego oscillates
between the utmost humility,

and megalomaniac euphoria.

- So this piece is not, you
know, I have no point of view,

so, if you have a questions,

(laugh)

it's really hard for me.

Our contract is very interesting,

when it will be opened
200 hundred years later,

people really understanding what is that,

really beautiful contract, I believe.

It is my work, no, no,
it is our collaboration.

Not you know (unclear)
monogram, it is a concept.

You know if we can overhear,

people really impressive, maybe, yeah.

Very beautiful, not visually,

the concept is very beautiful, I believe.

- [Voiceover] The Vuitton
Murakami collaboration

is a textbook case of marketing.

As it fuels the artist's career,

it adds a cachet of audacity
and creativity to the brand,

and everybody gets richer in the process.

And it's about to happen again,

as Marc Jacobs picks up on a sculpture

by Swiss artist, Sylvie Fleury,

a Vuitton bag cast in
silver coated bronze.

Suddenly it's come full
circle on the runway,

and the front row seem to love it.

(playful percussive instrumental)

Artists are worthy when
full in every sense,

and Vuitton, who has the
means to afford its foibles,

has decided to a giant sized museum,

at a cost of 100 million Euros,

to concretize the spirit
of artistic collaboration.

As for Marc Jacobs, he
continues to seek out

confrontations with artists.

In Tokyo we'd seen him visit the venerable

Yayoi Kusama, renowned
for her famous polka dots

with which she tirelessly
adorns just about everything.

(inspirational electronic music)

- Aw!

That's so beautiful, look at that.

(laugh)

- [Voiceover] They both share a capacity

to oppose their vision
onto a limitless world.

Suddenly they were exchanging
a few home truths on creation.

Marc Jacobs home truth number one.

- I don't have any separation
between life and work.

I guess it's the same thing.

- [Voiceover] Yayoi Kusama,
home truth number two.

- Without my art, you
know, my life is nothing.

- [Voiceover] Marc Jacobs,
home truth number three.

- I don't know how to define success.

If I can continue to do what I love,

then I am successful.

- [Voiceover] And the great Yayoi Kusama,

principle number four.

- No surrender, no, you know, compassion,

just work very hard you know.

- We must.

- Yeah, we must you know.

- I promise, you too!

- Yeah, me too.
- Don't stop.

- Yeah, don't stop.

(laugh)

- You keep going.

- [Voiceover] In the end,
they didn't want to part.

We sensed that Yayoi Kusama's endless dots

would echo awhile in Marc Jacobs' mind.

(contemplative strings music)

- I met Yayoi Kusama.

- How are you?

- She's great, she's dotty as could be.

- [Voiceover] Back in Paris at Vuitton,

aren't these polka dots?

- [Marc] I mean I think they
could be like a shock or

- [Voiceover] And when night falls,

it's time for a little relaxation.

Laying pastel leather dots on bag models

for hours on end.

Bag's whose genealogy can
doubtless be traced back

to Yayoi Kusama's Tokyo polka dots,

to this old bottle top bag in the studio,

and perhaps even to a plate
in the company kitchen

where Marc Jacobs dines every evening,

a plateful of macaroons.

Right this way, you macaroons.

("Dance of the Sugar Plum
Fairy" by Tchaikovsky remix)

- [Woman 1] Please, may I taste one

of your protein bars.

- [Man] They're very nice.

- [Marc] Do you want one?

Do you and Pete want to split one?

Does anyone else, do you like one?

- [Man] Okay.

- [Woman 2] Is it nice?

- [Woman 1] Yeah

- Hey kids ...

- [Woman 1] It's quite nice really.

- I told you!

Protein is good for you.

- [Woman 1] They're off me teeth.

- [Voiceover] So Marc Jacobs' brain feeds

on fashion, art, music, and encounters.

On a more prosaic level, to
set its wheels in motion,

and oil its neurotransmitters,

it thrives on a rare diet of proteins ...

- So good.

- [Voiceover] ...pins ...

(playful organ music)

...fingernails ...

And above all, nasty cigarettes.

He gave up drugs and alcohol,
which had become a problem.

But he certainly hasn't
lost his compulsive habits.

(cigarette lighters flip on)

But fortunately, specialists
have studied his case.

And he's become a model
of healthy nutrition.

- Okay, now, I drink, in
case you're interested,

all you watchers out there, want to know

about healthy, nutrition, whatever ...

This is mangosteen, it's disgusting,

tastes like baby vomit.

It's a very rare fruit.

And this is, goji juice,
it's also very rare, berry.

Very good for the digestion.

These are omega-3, and for digestion.

Very good for you.

This one, is VSL#3, the friendly bacteria.

It's acidophilus, which
you find in yogurt.

Really good for you.

Mix that up with water.

Actually, that one tastes okay.

(stirs in cup)

Then, you get to eat your dinner.

- It's very filling.

- Oh, I forgot to tell you,

you get really constipated
from eating these things.

(laughs)

- [Voiceover] Now that the macaroon layout

has been decided upon, we move
on to the production stage.

- Quatre would be deal,
three would be acceptable,

two would be ...

- Unacceptable.

- A disaster

Four is ideal.

Let's go for the ideal ... so ...

- [Voiceover] Marc Jacobs wants

four different macaroon
bags in just five days.

That means stepping on it.

He has a habit of asking for
everything in multiple colors,

thus, every pair of shorts, every jacket

exists in at least six different colors.

But all will not be shown,

it's a matter of having the choice

when styling and
finalizing the silhouettes.

In New York, a 150 models,
and multiple versions

were not used for the show.

There were scores of different bag models,

and as for the shoes ...

- [Interviewer] Tell me how many shoes

do you produce for the show?

- 500 - 600

("Dance of the Sugar Plum
Fairy" by Tchaikovsky remix)

- This is shoe Heaven.

Shoe Heaven!

Shoe Heaven!

Shoe Heaven!

- [Voiceover] In this business,
things tend to snowball.

When Parisian suppliers
like the Giulio Gussans

come to present their
wares, the Vuitton teams

do their utmost to stretch the order list

as long as it will go.

While the artisan will try to resist

to protect his own staff,
already overburdened

with work for prestigious
names such as Chanel,

or Balenciaga during
the fashion show week.

- 115 pieces

- Can't we have 60.

(laugh)

(throat clearing)

- [Voiceover] 24 hours before
the show, it's accessory time.

The bags, shoes, headbands and
jewelry are brought together

and a game of musical chairs begins

to determine what goes with what.

("Dance of the Sugar Plum
Fairy" by Tchaikovsky remix)

We're getting dangerously
close to the show deadline.

(Scottish bagpipe music)

When in walks a prized guest,

one of the most influential
women in the fashion world,

Chief Editor of American
Vogue, Anna Wintour.

(dialogue obscured by music)

- Thank you for receiving me.

- Oh, you're welcome.

- Thank you for my bag.

- I'm just running to the men's room

so I'll be right back,
okay Robert's right there,

if you wanna talk to him.

- Okay.

- [Voiceover] Her eagle
eye scans the room,

and immediately spots
the showstopping bag.

- This tote right here.

- Yeah, they're really funny.

It's leather.

- It's leather?

- It's leather, yeah,
it's all leather woven.

Shoes, what dya think?

- [Voiceover] She gets her
own, on the go, fashion show.

(energetic electronic music)

And she even makes a comment.

- Very pretty.

(opera music plays)

- [Voiceover] As soon as
Anna Wintour has left,

finalizing of the accessories begins again

with a vengeance.

- These shoes, we have other options,

where they come in her size.

Could we try, can we
see the gold metal one?

Let's make this looks
rich enough, you know.

(speaks in French)

- [Voiceover] This was
the moment we dreaded.

One we'd already experienced in New York.

Pushed to our physical limits.

There we saw how these last 12 hours

were a race against the clock,

compromise, and possibility.

- Yeah, the labels in the wrong side.

- [Voiceover] The clothes
were still mutating.

Even the T-shirts were back to front.

- Turn it around again.

Has it been cut yet?

- Yes

Is it possible to cut it again,

in the pearlescent way, so
the (unclear fashion term).

- Okay, stick it out the front?

- Stick it in the toaster.

- Okay.

- We may have to make an ivory version,

but I think we need more,
like as much of this stuff.

It would be great to have
this one and a black one

out her, but if they could be
cut in the different patterns.

- Okay, yeah.

- Oh, is the white coat ready?

What I'd like to do is add
like a couple more layers.

- Okay

- Oh, Joseph, and on the pants,

there's spots on one side.

- I think, what we can do,
is keep the big motif here

and maybe just do a partial motif,

like a really small one here,
at least to give some weight.

It's never going to be the same.

- Yeah

- Are you Okay?

- Yeah

- Are you crying.

So maybe, you know, but
just a tiny bit in the front

and then maybe weighing
the back a little bit.

- [Voiceover] The machine was racing.

Ideas from all sides, workshops gone wild,

Marc Jacobs in meltdown.

(sirens sound)

(chaotic electronic music)

(calming piano music)

(chaotic electronic music)

(sewing machine hums)

- I'm gonna take your purse.

- [Voiceover] In Paris, at Vuitton,

the pressure is even more intense.

Everyone is in overdrive.

At 4 am, bags are still
arriving in dribs and drabs.

(speaking French)

All but one.

Four people have been working relentlessly

for three days on the
extravagant Cubist bag.

The compilation of several
Vuitton bags in one.

The multiple layers of
leather have broken needles,

even machines.

They completed it by hand.

And here it is, the
impossible bag is finished.

(tense orchestral music)

(door creaks)

It's 6:30 in the morning,

but will this bag win the
approval of a Marc Jacobs

who has never seen it?

(suspenseful orchestral music)

- Wow

Look at that!

That is so insane.

That is sick in the head.

- [Man] (speaks in French)

- [Woman] No!
- (speaks in French)

That is like insanity personified.

- Its so brilliant.

- That is so good.

- [Voiceover] 28 signed examples would be

produced and sold around the world.

Price, 35,000 Euros.

- That, photographed against nude legs,

is going to be fantastic, no?

- Yeah.

- That's insane, isn't it?

You remember when we were making that

just the other day.

It's so nuts.

(soulful chanting music)

- [Voiceover] While some merely

take a break during this white night,

Marc Jacobs grabs a bare 45 minutes sleep.

(soulful chanting music)

- [Woman] How you do feel?

- Much better.

(cough)

- 32

(laugh)

- Wow, I love that so much.

- [Voiceover] It's nine in the morning.

The show is at three.

And most of this dress is
still just pinned together.

Yet, nobody seems ruffled.

And just as well, because,
even its final shape

is still pretty hazy.

- Um, the other thing is Jane,

you could put like a
little tie, a canvas tie,

you can attach something
here and here, like a tie.

Do you have a tape?

Jolissima

(laugh)

- [Man] I think she should.

I think she should.

(down tempo piano music)

(Polaroid camera noises)

- Aw, that's yours.

- It's finished, she's the last one?

- Yeah

(cheers)

- Let's, let me get
photographed, and... kidding.

- [Voiceover] Noon, the
accessories are done.

But in the workshops, the race goes on.

Nervous tension turning to hilarity.

(laughs)

(parade music plays)

- [Voiceover] In the Petit Palais,

the models are getting ready.

If the Marc Jacobs show
is one of the highlights

of the New York fashion calendar,

the Louis Vuitton show comes at the close

of the Paris Fashion Week.

Meaning the most sought after models

will have cat-walked
an average of 90 shows,

with hairdos and makeup to beat the band.

Given the toll it's taken
on their hair and skin,

some have become almost
allergic to cosmetics.

12:48 and counting.

Some of the linings are pretty shaky.

And even worse, several
dresses, are looking flakey.

Accident prevention rules.

Fabrizio Viti trashes
the soles of his shoes

to make them more adherent
and to avoid a fall.

- It's very psychological as well,

if a shoe is not scratched,
we think the girl gonna fall.

- [Interviewer] And has uh,

a girl falling at the Vuitton show?

- No

- [Interviewer] Never happens?

- Sorry but, I have to touch, you know.

- [Voiceover] They think of everything.

Each model has her own
emergency bag containing

a bale, safety pins, a g-string, tampons,

a shoe horn, a cutter, adhesive tape,

and a roll on fluff remover.

- [Voiceover] Not quite
finished when you have to thread

a needle after a sleepless night.

- [Voiceover] Almost 2 pm.

As soon as each garment is finished,

it's immediately couriered to the show.

(motorcycle hums)

(tense orchestral music)

Meanwhile rehearsals have already started.

Marc Jacobs discovers the giant screens,

except the video isn't
the one he was expecting.

- There's a storm.

- [Camille] We tried with that ...

- What happened?

Why did you do that Camille?

(dialogue obscured by music)

- [Voiceover] In the
workshops they're still at it.

2:28 pm, two garments are still resisting.

One, a safari jacket with
a liberty layered bag,

was such a headache that
the reluctant buttons

remain to be fitted.

- [Voiceover] And, a
lampion sleeved jacket

with a back lacing, straight out of Hell.

- [Voiceover] Yet, in 30 minutes,

it must all be on the catwalk.

(mid tempo electronic music)

(French speaker on PA)

(speaking French)

- Please don't move around too much

when we've looked at you okay?

Stay still!

And nope, this isn't on
your shoulder is it Sveta?

Just hold it down please, for now.

- Yeah, I'm coming over
with that one on the bike.

Okay, see you, bye bye.

(tense orchestral music)

- [Voiceover] The last jacket is ready,

but a new race begins.

In New York, two dresses
never made it to the show.

(energetic electronic music)

We're in the center of Paris, a Pont Neuf.

The show is at the Petit
Palais on the Champs-Élysées,

about 15 minutes in
traffic jams from here.

A show that starts in one minutes time.

And the dispatch rider hasn't arrived.

But Janet Jackson is already
sitting in the front row.

(crowd noises, music, and cameras)

- Eh, eh, eh!

(motorcycle revs)

- [Woman 1] Lapel.

- [Woman 2] They're out,
through there, doing something.

(footsteps)

- [Voiceover] The missing
jackets have arrived,

but of course, they have
to be touched up again,

one last time.

(speaking French)

Marc Jacobs checks the lacing
on the lampion sleeved jacket.

The mob of photographers
is growing impatient.

- Excuse me, excuse me.

(chandeliers twinkling)

- [Voiceover] But now, the
chandeliers are being raised.

The Vuitton show is about to begin.

(contemplative electronic music)

- [Marc] You saw us working on the shoes,

and the bags, and the clothes,

and I think each thing
influences the other.

You know, and you start to do a bag

that's like kind of more elaborate,

then you go back and look
at a piece of clothing

that you thought was pushed far enough,

but then you realize maybe
it should be pushed further,

and visa versa, it's
like such a long process

between choosing fabrics,
developing prints,

working on the embroideries.

I mean, you saw the
team, everyone has been

busy working on all of
the stuff for months.

It just comes together at a certain point,

and the momentum sort of builds,
and the time gets shorter

so you have to make decisions, you know,

and then, you're left
with what is the show.

(playful drum music)

Is it so horrible that it's good?

(uptempo piano music)

So it would be nice to see
all these things together

to see that we really can combine.

So insane.

That is sick in the head.

(Scottish bagpipes music)

So we took two fabrics sometimes,

and had them woven together,
and then we bleached them out.

Yeah, tragic.

(classical music remixed)

As screwy as it can be, the better.

(classical music)

(scissor cuts)

(steam hisses)

(contemplative piano music)

(energetic percussive music)

(chandeliers twinkling)

- Um, nice to meet you.

- Hi gorgeous.

Hi Dieter

- Fantastic

Fantastic

Incredible

Ah, really

Yes

It's fantastic

There's so many bags!

This is incredible, but
the bags, so many ideas.

Effects, fantastic.

- Good

- You aren't regretted.

- No, you aren't.

(contemplative electronic music)