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1
00:02:36,000 --> 00:02:40,000
www.titlovi.com
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00:02:43,000 --> 00:02:46,400
How are they knotting their ties now?
Large or small?
3
00:02:47,700 --> 00:02:50,600
What are you mumbling?
4
00:02:54,000 --> 00:02:57,000
The Wilson knot...
that's it, the Wilson...
5
00:02:57,500 --> 00:03:00,400
- Have you lost it again?
- Not at all.
6
00:03:01,100 --> 00:03:04,100
I just can't stop thinking
about what I am doing.
7
00:03:07,200 --> 00:03:10,100
You've always had trouble
with the simplest things.
8
00:03:10,600 --> 00:03:13,900
My father, with five movements,
or perhaps three,
9
00:03:14,600 --> 00:03:17,600
tied a perfect knot.
10
00:03:21,900 --> 00:03:24,500
Who were you taIking to
in the garden?
11
00:03:24,600 --> 00:03:27,500
- To a bore.
- To whom?
12
00:03:28,500 --> 00:03:31,400
- To a bore from the university.
- What does he do?
13
00:03:36,900 --> 00:03:40,000
I suppose the same thing all of
you do at the university.
14
00:03:40,400 --> 00:03:43,300
- Do you know him well?
- No.
15
00:03:45,300 --> 00:03:48,400
- What do you mean?
- I often run into him around there.
16
00:03:49,900 --> 00:03:52,800
- What�s his name?
- I don�t know.
17
00:03:53,000 --> 00:03:56,000
- But he must have a name.
- It�s possible.
18
00:04:01,700 --> 00:04:04,600
Yes? Oh, hello.
19
00:04:04,800 --> 00:04:07,700
It's practically all decided.
20
00:04:09,200 --> 00:04:12,200
I'm glad you are getting
the prize. Seriously.
21
00:04:16,600 --> 00:04:19,600
Good.
22
00:04:20,000 --> 00:04:22,900
Yes, all right.
23
00:04:26,400 --> 00:04:28,200
Fine.
24
00:04:28,200 --> 00:04:30,500
we�ll be talking.
25
00:04:30,500 --> 00:04:33,400
Good-bye.
26
00:04:52,200 --> 00:04:55,600
I have read a splendid book by a
Welsh writer, a marvel composition.
27
00:04:56,200 --> 00:04:59,100
You know practically nothing
about the characters,
28
00:04:59,700 --> 00:05:02,100
or their attitude about life.
29
00:05:02,100 --> 00:05:05,600
The only protagonist
is the city of Constantinople.
30
00:05:07,800 --> 00:05:11,000
In fact, the idea of
historical time does not exist.
31
00:05:12,200 --> 00:05:14,600
The present and the past
are blurred.
32
00:05:14,600 --> 00:05:17,200
One of the narrative cores
is the racetrack,
33
00:05:17,300 --> 00:05:19,000
where, throughout centuries,
34
00:05:19,000 --> 00:05:21,900
different urban factions
confront one another.
35
00:05:21,900 --> 00:05:24,300
- Did you read it in English?
- Yes.
36
00:05:24,300 --> 00:05:26,500
It was recently
published in London.
37
00:05:26,600 --> 00:05:29,500
Read it again and you'll
find that this Constantinople
38
00:05:29,900 --> 00:05:32,000
you talk about so fervently,
39
00:05:32,000 --> 00:05:35,000
is not the city.
but the name of a racehorse...
40
00:05:41,000 --> 00:05:43,500
If ordinary people,
those who make things work,
41
00:05:43,600 --> 00:05:46,200
were as dispersed as you,
nothing would work.
42
00:05:46,200 --> 00:05:48,400
You get confused
because you talk too much.
43
00:05:48,500 --> 00:05:51,900
Verbal incontinence is, in fact,
a corporate tick.
44
00:05:52,500 --> 00:05:55,500
- A tick?
- Yes, because it's compulsive.
45
00:05:56,100 --> 00:05:59,100
You get a great idea
and then test it
46
00:05:59,200 --> 00:06:02,200
by flinging it out.
47
00:06:03,100 --> 00:06:05,000
Sure...
48
00:06:05,000 --> 00:06:07,200
like a ball against a wall,
49
00:06:07,200 --> 00:06:10,300
to catch it on the rebound
and throw it again.
50
00:06:11,000 --> 00:06:13,700
A simple muscular movement.
51
00:06:13,700 --> 00:06:16,700
I know people in this profession
who are practically mute.
52
00:06:16,900 --> 00:06:17,900
Yes.
53
00:06:18,000 --> 00:06:20,900
Poets who don't drink,
but there are very few of those.
54
00:06:23,200 --> 00:06:25,100
I am tempted to contradict.
55
00:06:25,100 --> 00:06:27,600
It�s your obligation.
56
00:06:27,700 --> 00:06:30,600
Each of you is a comforting
mirror image of the other...
57
00:06:30,700 --> 00:06:31,800
Come now!
58
00:06:31,900 --> 00:06:33,900
You need each other to endure
59
00:06:34,100 --> 00:06:37,000
the hard conditions
of your profession.
60
00:06:38,000 --> 00:06:40,500
Alright, let's get busy.
61
00:06:40,500 --> 00:06:43,500
- They must be impatient outside.
- Some more than others.
62
00:06:47,700 --> 00:06:50,100
What would you say to suggesting
63
00:06:50,100 --> 00:06:53,000
that the author change the title?
64
00:06:53,000 --> 00:06:56,000
It's a hackneyed
and decadent title
65
00:06:56,100 --> 00:06:58,500
with a romantic
smell that bothers me...
66
00:06:58,500 --> 00:07:00,100
No, no! Definitely not.
67
00:07:00,200 --> 00:07:03,200
I have a sense of smell for titles.
This one is perfect.
68
00:07:03,200 --> 00:07:05,200
- Let's not complicate things.
- It shouldn't be changed.
69
00:07:05,200 --> 00:07:06,200
It's a find!
70
00:07:06,200 --> 00:07:09,200
I dare say it�s the best
thing about the book.
71
00:07:10,600 --> 00:07:13,600
You're small-time, but you�d
die to say something significant.
72
00:07:14,700 --> 00:07:17,700
Leave your professional abuses
for your literary gatherings...
73
00:07:18,200 --> 00:07:20,100
There are none any more...
74
00:07:20,100 --> 00:07:23,000
Then leave them
for another occasion.
75
00:12:02,400 --> 00:12:03,500
Welcome, Mr. Mayor.
76
00:12:03,600 --> 00:12:05,700
You have a knack
for getting people together.
77
00:12:05,700 --> 00:12:06,900
Not me, culture.
78
00:12:06,900 --> 00:12:09,300
Culture by itself
doesn't open any doors.
79
00:12:09,400 --> 00:12:12,300
That's true; you are right
in that respect.
80
00:12:13,800 --> 00:12:16,800
I appreciate you
having made the time.
81
00:13:25,800 --> 00:13:28,300
- Pawn 4 Queen.
- Knight 3, Bishop, King.
82
00:13:28,400 --> 00:13:31,300
Pawn 4, Bishop, Queen.
83
00:13:31,800 --> 00:13:34,200
Pawn 3, King.
84
00:13:34,300 --> 00:13:37,200
Pawn 3, Knight, King.
85
00:13:38,400 --> 00:13:41,200
- Pawn 4. Queen.
- Bishop 2, Knight.
86
00:13:41,300 --> 00:13:44,200
- Tartakower.
- Catalan opening.
87
00:13:44,500 --> 00:13:47,400
Barcelona, 1929.
88
00:13:48,700 --> 00:13:50,900
- May I?
- Sure.
89
00:13:51,000 --> 00:13:54,100
- See you tomorrow.
- Not tomorrow. The day after.
90
00:14:50,100 --> 00:14:51,700
- I knew you'd come.
- Really?
91
00:14:51,800 --> 00:14:53,700
- Yes, of course.
- Why?
92
00:14:53,800 --> 00:14:56,700
- I know you well.
- That�s what you think.
93
00:14:56,701 --> 00:14:58,500
You�re a scoundrel.
94
00:14:58,600 --> 00:15:00,600
- You look beautiful.
- Do you think so?
95
00:15:00,700 --> 00:15:02,600
- Trying to impress someone?
- What�s up?
96
00:15:02,700 --> 00:15:03,600
Yes, you.
97
00:15:03,650 --> 00:15:05,200
- How are you?
- Very well.
98
00:15:05,250 --> 00:15:10,100
Hello!
99
00:15:10,200 --> 00:15:12,900
Is your father still
determined to seduce you?
100
00:15:12,950 --> 00:15:15,600
Of course! I make it
very easy for him.
101
00:15:15,650 --> 00:15:18,600
Don't take it so seriously.
102
00:15:58,100 --> 00:16:00,500
Do you know anyone with a secret,
103
00:16:00,500 --> 00:16:03,300
anyone with mystery?
104
00:16:03,400 --> 00:16:05,300
One or two...
105
00:16:05,300 --> 00:16:07,500
Seen anything interesting lately?
106
00:16:07,500 --> 00:16:10,500
An exhibit of
contemporary art.
107
00:16:25,600 --> 00:16:27,900
Stop...
108
00:16:28,000 --> 00:16:31,000
You and you, back inside.
Keep going.
109
00:17:06,300 --> 00:17:09,300
I think you are exaggerating...
110
00:17:09,400 --> 00:17:12,200
I said too little,
I should have added more...
111
00:17:12,200 --> 00:17:15,000
You enjoy enhancing your
reputation as a louse.
112
00:17:15,100 --> 00:17:17,700
What are you saying?
You see my innocent, angel face?
113
00:17:17,700 --> 00:17:20,200
I don't know what malice is...
114
00:17:20,200 --> 00:17:23,200
And what about the music?
What's wrong with music?
115
00:17:24,300 --> 00:17:27,200
No great composer
has appeared in years.
116
00:17:27,800 --> 00:17:30,700
- And why is that?
- Because silence no longer exists.
117
00:17:47,100 --> 00:17:49,800
He�s famous because
his book was liked here,
118
00:17:49,900 --> 00:17:52,400
and there by those up high
and in the middle.
119
00:17:52,400 --> 00:17:54,200
And those at the bottom?
120
00:17:54,200 --> 00:17:56,800
In arts and letters
there is no bottom,
121
00:17:56,900 --> 00:17:59,800
those on the bottom
are in the middle.
122
00:18:00,100 --> 00:18:02,400
We must give the figure
of the writer prestige,
123
00:18:02,500 --> 00:18:05,500
and these cultural events
help do this.
124
00:18:05,700 --> 00:18:08,700
A country that forgets its
writers pays dearly for it.
125
00:18:09,000 --> 00:18:11,100
What is the last thing
you�ve read?
126
00:18:11,100 --> 00:18:14,100
A 275 page report
on the subsoil of the city.
127
00:18:17,000 --> 00:18:19,500
I find it out of place.
128
00:18:20,700 --> 00:18:23,600
What are writers like?
129
00:18:23,600 --> 00:18:25,400
They have evolved very little.
130
00:18:25,400 --> 00:18:28,700
They practice an old profession.
like prostitutes and actors.
131
00:18:29,500 --> 00:18:32,500
- But they're adorable.
- Why?
132
00:18:33,000 --> 00:18:36,000
They are shy and aggressive,
and, like politicians,
133
00:18:36,400 --> 00:18:39,300
they consider themselves
much better than they are.
134
00:18:39,700 --> 00:18:42,700
- Thank you a lot.
- Not at all.
135
00:18:43,200 --> 00:18:45,400
The waiter has taken
my Whiskey again.
136
00:18:45,500 --> 00:18:48,800
- I won't sign without it.
- Does the glass have to be full?
137
00:18:49,600 --> 00:18:50,600
Of course!
138
00:18:50,600 --> 00:18:53,100
It's just that
I sign in two stages:
139
00:18:53,200 --> 00:18:55,100
first I write my name,
140
00:18:55,100 --> 00:18:57,500
then I take a sip
from a full glass,
141
00:18:57,700 --> 00:18:59,900
and finally
I scribble a flourish,
142
00:19:00,000 --> 00:19:02,100
cause I sign with a flourish.
143
00:19:02,100 --> 00:19:05,200
Leaving each person's idiosyncrasies,
no doubt very legitimate
144
00:19:05,900 --> 00:19:08,800
it would be more reasonable
and more in keeping
145
00:19:09,000 --> 00:19:10,700
with the residual character
of literature...
146
00:19:10,700 --> 00:19:11,800
I'm not signing.
147
00:19:11,800 --> 00:19:13,600
Bring me a glass of whiskey.
148
00:19:13,600 --> 00:19:15,800
- Sign, will you.
- You said the same thing last year.
149
00:19:15,800 --> 00:19:19,200
Wrong! I remember that last year
I spoke of invisible ink.
150
00:19:20,400 --> 00:19:23,300
Your memory's going.
You're getting old.
151
00:19:23,700 --> 00:19:26,200
AFTER THE VOTING,
THE JURY
152
00:19:26,200 --> 00:19:28,900
AWARDS THIS PRIZE
TO THE NOVEL
153
00:19:29,000 --> 00:19:31,900
"WARSAW BRIDGE".
154
00:19:53,700 --> 00:19:56,500
Excuse me.
Did you expect to win?
155
00:19:56,600 --> 00:19:59,500
- I suppose so.
- Are you satisfied?
156
00:19:59,900 --> 00:20:01,800
At the moment, overwhelmed.
157
00:20:01,800 --> 00:20:04,500
What are you planning
to do with the prize?
158
00:20:04,500 --> 00:20:08,000
First spend it and then regret
having spent it so foolishly.
159
00:20:09,500 --> 00:20:12,000
Would you dedicate
this prize to someone?
160
00:20:12,100 --> 00:20:14,500
Yes, but only in case
of an Act of God.
161
00:20:14,600 --> 00:20:17,100
Would you like your book
to be a film?
162
00:20:17,100 --> 00:20:20,000
More than please me,
it would worry me.
163
00:20:20,100 --> 00:20:22,500
What is the last
book you've read?
164
00:20:22,500 --> 00:20:25,300
I couldn't say.
I read many at a time
165
00:20:25,500 --> 00:20:27,800
Do you admit the influence of American
166
00:20:27,900 --> 00:20:30,400
post-war literature on your work?
167
00:20:30,500 --> 00:20:33,500
Which American literature?
Columbian, Mexican, Peruvian?
168
00:20:34,200 --> 00:20:37,300
I'm referring to American,
from the USA, of course.
169
00:20:38,000 --> 00:20:39,600
And which post-war?
170
00:20:39,600 --> 00:20:42,500
World War II, Korea, Vietnam,
171
00:20:42,600 --> 00:20:45,500
or the war on the island
of Grenada?
172
00:20:46,400 --> 00:20:48,700
What will you do to
celebrate the prize?
173
00:20:48,900 --> 00:20:51,200
Go to a restaurant
I save for special occasions.
174
00:20:51,200 --> 00:20:53,100
What will you order?
175
00:20:53,100 --> 00:20:56,000
Yes, that I know.
176
00:21:08,800 --> 00:21:10,800
And you.
What do you think of quatrains?
177
00:21:12,000 --> 00:21:15,200
Are you referring to quatrains of 3
verses or tercets with 1 rhyme?
178
00:21:15,900 --> 00:21:18,000
Yes, of course.
179
00:21:18,000 --> 00:21:20,400
A lot has been written
on the subject.
180
00:21:20,500 --> 00:21:23,400
It has even been said that
because of the fashion,
181
00:21:23,700 --> 00:21:26,700
many on-rhyme tercets
could have lost the 3rd verse
182
00:21:27,200 --> 00:21:29,500
becoming 2 verses or 4 verses.
183
00:21:29,500 --> 00:21:31,500
But if you want my opinion,
184
00:21:31,600 --> 00:21:34,500
I do not believe
in this possibility.
185
00:21:34,500 --> 00:21:37,400
Now, if you�ll allow me...
186
00:21:41,600 --> 00:21:43,400
So, how am I doing?
187
00:21:43,400 --> 00:21:46,500
Perfectly.
188
00:21:53,900 --> 00:21:56,900
Do you follow the same line
as in your earlier novels?
189
00:21:58,400 --> 00:22:01,400
I hope so, since one always
writes about the same things.
190
00:22:02,500 --> 00:22:05,500
And...
191
00:22:07,100 --> 00:22:10,200
- Did it take much to write it?
- In time, money or mental effort?
192
00:22:11,600 --> 00:22:13,700
Well, let's say in time.
193
00:22:13,800 --> 00:22:16,700
If you mean writing time:
three weeks.
194
00:22:18,200 --> 00:22:19,800
By hand or with a typewriter?
195
00:22:19,900 --> 00:22:21,900
- It depends...
- On what?
196
00:22:22,000 --> 00:22:25,000
I write poems by hand
and novels on the typewriter.
197
00:22:25,700 --> 00:22:27,700
And I dictate articles.
198
00:22:27,800 --> 00:22:30,400
Could you give me
a synthesis of the plot?
199
00:22:30,400 --> 00:22:33,900
If it were a film script
it would take me 30 seconds.
200
00:22:34,700 --> 00:22:37,100
For the novel,
the synthesis you want
201
00:22:37,100 --> 00:22:39,000
consists of the
200 pages of the book.
202
00:22:39,000 --> 00:22:42,300
- In other words, one has to read it.
- Or at least try to.
203
00:22:43,200 --> 00:22:46,200
All right, I'll try.
204
00:22:53,800 --> 00:22:57,200
WARSAW BRIDGE
205
00:27:08,500 --> 00:27:10,200
Body of a man.
206
00:27:10,300 --> 00:27:12,900
Age: about 45.
207
00:27:12,900 --> 00:27:15,800
Decubitus prone position.
208
00:27:18,100 --> 00:27:21,000
Right arm folded over thorax,
209
00:27:21,400 --> 00:27:24,700
left arm in unnatural position
due to fractures.
210
00:27:40,300 --> 00:27:42,300
Hyper-flexing of the head,
211
00:27:42,400 --> 00:27:45,800
face covered with mixture
of dried blood and mud.
212
00:27:47,500 --> 00:27:50,500
Probable fracture
of the spine,
213
00:27:52,200 --> 00:27:55,200
remains of encephalic mass
on the forehead.
214
00:27:55,400 --> 00:27:58,300
After washing face
to eliminate the remains,
215
00:28:00,100 --> 00:28:03,500
we observe black
and blue swollen features,
216
00:28:04,800 --> 00:28:07,300
deformed
217
00:28:07,400 --> 00:28:10,300
and fundamentally asymmetrical,
218
00:28:12,000 --> 00:28:14,800
as if the left side
of the face had
219
00:28:14,800 --> 00:28:17,800
slid vertically over
the other half,
220
00:28:17,900 --> 00:28:20,800
with the eye socket, cheek,
and jawbone on the left
221
00:28:22,100 --> 00:28:25,000
displaced towards
the centre and downwards.
222
00:28:28,000 --> 00:28:30,400
It seems evident
the fractures affect
223
00:28:30,400 --> 00:28:32,700
not only the neck and skull,
224
00:28:32,800 --> 00:28:35,800
but the whole osseous
facial mass.
225
00:28:41,300 --> 00:28:44,300
No sign of violence
on the hands,
226
00:28:46,000 --> 00:28:48,900
very neat, clean fingernails
227
00:28:49,200 --> 00:28:52,600
with no foreign matter,
such as hair or threads.
228
00:28:55,700 --> 00:28:57,900
Difficult to distinguish
229
00:28:58,000 --> 00:29:00,900
whether the skin belongs
to the palm or the back
230
00:29:02,100 --> 00:29:04,300
of the hand as there are
no calluses,
231
00:29:04,400 --> 00:29:07,400
grazes,
232
00:29:07,600 --> 00:29:10,500
or light injuries.
233
00:29:12,400 --> 00:29:15,400
In the lower abdomen
234
00:29:15,700 --> 00:29:18,600
we observe
235
00:29:19,500 --> 00:29:22,400
a bruised wound
some 20 centimeters long,
236
00:29:23,700 --> 00:29:26,700
with evisceration
of intestinal mass.
237
00:29:28,100 --> 00:29:29,700
Cause of death:
238
00:29:29,800 --> 00:29:32,800
injuries compatible with
cranialencephalic traumatism
239
00:29:32,800 --> 00:29:35,000
and traumatic shock.
240
00:29:35,100 --> 00:29:38,400
Mechanism of death compatible with
a fall from an undetermined height.
241
00:33:33,700 --> 00:33:35,900
The passing of time
242
00:33:35,900 --> 00:33:38,800
modifies my capacity to evoke
243
00:33:39,400 --> 00:33:42,400
and introduces a new system
of memory selection
244
00:33:43,900 --> 00:33:45,900
bit by bit those memories
245
00:33:45,900 --> 00:33:48,800
I could share with others
become blurred
246
00:33:48,900 --> 00:33:51,800
and those I cannot share
force themselves on me.
247
00:33:53,900 --> 00:33:56,900
They are vivid
and persistent memories,
248
00:33:57,200 --> 00:34:00,400
but not verifiable by anyone else.
There are no witnesses.
249
00:34:01,800 --> 00:34:04,800
They are like still photographs
that are redeemed
250
00:34:05,500 --> 00:34:08,500
during moments
of undefined emotion...
251
00:34:10,100 --> 00:34:11,600
streets,
252
00:34:11,600 --> 00:34:13,300
squares,
253
00:34:13,300 --> 00:34:14,900
bridges,
254
00:34:14,900 --> 00:34:17,300
open fields...
255
00:34:17,300 --> 00:34:20,300
huge iron and glass domes,
256
00:34:20,400 --> 00:34:23,400
station platforms
without passengers.
257
00:34:24,700 --> 00:34:28,200
All submerge in the slowness
and silence of distant memory.
258
00:34:32,400 --> 00:34:35,300
I caught the urban train
in Friedrichstrasse
259
00:34:36,300 --> 00:34:39,100
and went by the Warsaw Bridge.
260
00:34:39,400 --> 00:34:42,400
From the station I saw
a landscape of railroad tracks,
261
00:34:43,700 --> 00:34:46,000
cars stopped on the sidings,
262
00:34:46,000 --> 00:34:49,000
trains moving
in different directions,
263
00:34:50,000 --> 00:34:52,300
and engines making almost
264
00:34:52,400 --> 00:34:55,700
imperceptible manoeuvers
when my car started moving.
265
00:34:57,900 --> 00:35:00,000
I could see sheds,
266
00:35:00,000 --> 00:35:02,600
asbestos roofs
and chimneys,
267
00:35:02,600 --> 00:35:06,000
various buildings colored
by smoke year after year,
268
00:35:06,700 --> 00:35:09,700
eroding the original
color of the walls...
269
00:35:13,500 --> 00:35:16,500
In the background a bridge,
270
00:35:16,800 --> 00:35:19,800
the Warsaw Bridge,
271
00:35:19,900 --> 00:35:22,900
grey on an identical sky.
272
00:35:23,700 --> 00:35:26,300
For years that view
273
00:35:26,300 --> 00:35:29,300
gave me an emotional shock.
274
00:35:29,500 --> 00:35:32,500
I always intended to go
as far as the bridge some day
275
00:35:33,100 --> 00:35:36,100
to cross it from side to side.
276
00:35:36,400 --> 00:35:39,400
I never did.
277
00:36:23,000 --> 00:36:25,400
Suddenly things accelerated
278
00:36:25,400 --> 00:36:28,400
to such a fever pitch that
few could have foreseen it.
279
00:36:29,500 --> 00:36:32,500
Rather, no one foresaw it.
280
00:36:33,200 --> 00:36:36,500
That going from the old situation
to the new was staggering
281
00:36:37,100 --> 00:36:40,000
but also splendid.
282
00:36:40,200 --> 00:36:43,200
What failed
was our perception.
283
00:36:44,100 --> 00:36:46,500
In other words, ourselves.
284
00:36:46,600 --> 00:36:49,500
Do you believe there is
a reality outside of ourselves,
285
00:36:49,600 --> 00:36:52,500
an objective reality, perhaps?
286
00:36:52,900 --> 00:36:54,500
I didn�t say that.
287
00:36:54,500 --> 00:36:58,000
To get away from this objective
reality that worries you so,
288
00:36:59,600 --> 00:37:02,500
I would never say "solus ipse�
as Bishop Berkeley did.
289
00:37:03,400 --> 00:37:06,400
- The Bishop of Berkeley?
- Not the Bishop of Berkeley!
290
00:37:06,700 --> 00:37:09,700
Berkeley who was a bishop!
291
00:43:31,800 --> 00:43:36,400
292
00:44:49,200 --> 00:44:51,800
It is the human mind
that makes the distinction
293
00:44:51,800 --> 00:44:53,800
between the living
and the non-living.
294
00:44:53,800 --> 00:44:56,800
The most primitive forms
are those of a single cell.
295
00:44:57,000 --> 00:44:59,800
Cells that duplicate
themselves indefinitely.
296
00:45:00,500 --> 00:45:03,500
At this stage there is
no division of labor,
297
00:45:03,600 --> 00:45:06,500
and consequently,
no aging process.
298
00:45:07,000 --> 00:45:09,900
They are, in a way,
immortal.
299
00:45:10,000 --> 00:45:13,300
There is no doubt that
these organisms were aquatic,
300
00:45:14,600 --> 00:45:17,100
unable to live out of water.
301
00:45:17,100 --> 00:45:20,100
The primitive atmosphere of the earth
was not suitable for life.
302
00:45:20,400 --> 00:45:23,000
Because the delicate molecules
303
00:45:23,100 --> 00:45:26,000
were subjected
to strong radiations.
304
00:45:27,000 --> 00:45:29,500
Nowadays nobody except
305
00:45:29,600 --> 00:45:32,600
die-hard theologians doubt
306
00:45:32,700 --> 00:45:35,300
that life originated from
307
00:45:35,300 --> 00:45:38,100
the organic forms diluted in water.
308
00:45:38,900 --> 00:45:41,800
The evolution of plant life
is a prodigious tale;
309
00:45:42,400 --> 00:45:44,800
the adventure
of some types of algae
310
00:45:44,900 --> 00:45:47,900
that manage to leave the sea
and colonize the earth.
311
00:45:48,800 --> 00:45:52,100
The blue of the sky is a consequence
of the green of the algae,
312
00:45:53,300 --> 00:45:56,700
thanks to the intense activity
of these photosynthesizing beings.
313
00:46:01,700 --> 00:46:05,100
The first colonizers
were very simple
314
00:46:06,200 --> 00:46:09,200
and their reproductive
systems asexual.
315
00:46:11,800 --> 00:46:15,100
Sexuality is an evolutionary success
that involves paralysis
316
00:46:16,500 --> 00:46:19,100
and death,
317
00:46:19,100 --> 00:46:21,300
but which makes selection and
318
00:46:21,300 --> 00:46:24,300
the permanence of
the species possible.
319
00:46:24,500 --> 00:46:27,200
The first very rudimentary algae,
320
00:46:27,200 --> 00:46:30,200
incessantly swept by the water,
321
00:46:30,700 --> 00:46:33,600
had great difficulties...
322
00:46:34,700 --> 00:46:37,600
In the process
of evolutionary adaptation
323
00:46:37,900 --> 00:46:40,600
the algae that acquired
systems of fixation
324
00:46:40,700 --> 00:46:43,800
to the substances which protect
their cellular membranes,
325
00:46:44,600 --> 00:46:47,500
for example,
gelatinous algae, flourish.
326
00:47:09,300 --> 00:47:12,200
- What time is it? Late?
- Twenty five after twelVe.
327
00:47:12,800 --> 00:47:14,800
Some voice!
Are you hoarse?
328
00:47:14,800 --> 00:47:17,500
I talked too much.
329
00:47:17,500 --> 00:47:20,400
You should measure
your strength.
330
00:47:21,800 --> 00:47:24,900
When I finish a class,
I always feel depressed somehow.
331
00:47:26,500 --> 00:47:28,600
I digress a lot...
332
00:47:28,600 --> 00:47:31,300
but besides, today
I had the feeling
333
00:47:31,400 --> 00:47:33,500
I was saying
someone else's words.
334
00:47:33,500 --> 00:47:35,700
I'm not surprised.
You could be a medium.
335
00:47:35,700 --> 00:47:38,700
- Don't laugh. I�m serious.
- So am I!
336
00:47:38,700 --> 00:47:41,700
Oh, come on!
337
00:47:43,500 --> 00:47:46,500
Some days we have
strange feelings. That's all.
338
00:47:48,800 --> 00:47:51,800
I really think I'm not
cut out for teaching.
339
00:47:53,300 --> 00:47:56,200
You must be, you've
done it for years.
340
00:47:56,800 --> 00:47:59,500
You and most of the others
know how to act.
341
00:47:59,600 --> 00:48:02,400
I lack appeal.
I can't seduce...
342
00:48:02,500 --> 00:48:05,200
You can't seduce?
343
00:48:05,200 --> 00:48:08,200
You are the paradigm
of seduction.
344
00:48:10,100 --> 00:48:13,100
We'll go to lunch and
continue the conversation.
345
00:48:13,900 --> 00:48:16,800
- Are you serious?
- Let's talk.
346
00:48:17,700 --> 00:48:20,600
There's a restaurant that
serves baby squid with aubergine.
347
00:48:20,600 --> 00:48:23,800
Are you sure they're squid?
Not cuttlefish?
348
00:48:24,700 --> 00:48:27,600
No. squid!
349
00:48:28,300 --> 00:48:29,200
Are you sure?
350
00:48:29,200 --> 00:48:32,200
Cephalopeda decapoda dibranchiata!
351
00:48:34,000 --> 00:48:36,800
With laminar expansions
352
00:48:37,600 --> 00:48:40,000
or contractile fins
on both sides.
353
00:48:40,000 --> 00:48:43,000
Exactly!
354
00:48:44,000 --> 00:48:46,400
With a calcareous and
wide internal shell.
355
00:48:46,400 --> 00:48:48,400
Yes, but they remove it first.
356
00:48:48,500 --> 00:48:50,800
With 2 tentacles
longer than the rest.
357
00:48:50,800 --> 00:48:53,800
With a prehensile function,
and suction cups.
358
00:48:54,400 --> 00:48:55,800
With an ink gland...
359
00:48:55,900 --> 00:48:59,100
that secretes a black
liquid for defensive purposes...
360
00:49:00,100 --> 00:49:02,700
very developed crystalline eyes
361
00:49:02,800 --> 00:49:05,700
and anterior and posterior
sockets that form real images...
362
00:49:06,200 --> 00:49:09,200
and a notable visual
and tactile associative memory.
363
00:49:13,100 --> 00:49:16,000
They're not squid,
they're cuttlefish.
364
00:49:16,100 --> 00:49:19,200
They are not cuttlefish!
They're squid.
365
00:49:20,300 --> 00:49:22,400
Lolinguncula vulgaris,
366
00:49:22,500 --> 00:49:25,400
lolinguncula vulgaris.
367
00:49:25,400 --> 00:49:28,400
Squid, squid!
368
01:01:42,600 --> 01:01:43,500
Good afternoon.
369
01:01:43,600 --> 01:01:45,500
Is this the road
to "Los Arcos"?
370
01:01:45,600 --> 01:01:48,100
On the other shore.
You can't miss it.
371
01:01:48,100 --> 01:01:49,800
Thanks.
372
01:01:49,800 --> 01:01:52,700
Could you tell me
what you are doing?
373
01:01:54,400 --> 01:01:56,400
I'm putting oxygen
into the pond.
374
01:01:56,500 --> 01:01:59,400
The water is low and
the fish are dying.
375
01:01:59,900 --> 01:02:02,400
- They need oxygen.
- Right.
376
01:02:02,500 --> 01:02:05,500
Bye.
377
01:02:52,900 --> 01:02:55,800
How�re you doing?
378
01:02:59,400 --> 01:03:02,100
Oil.
379
01:03:02,200 --> 01:03:05,100
This knife cuts very well.
380
01:03:05,700 --> 01:03:07,900
- Do you wash the mushrooms?
- Yes.
381
01:03:07,900 --> 01:03:10,300
When I go near the dam,
I feel strange.
382
01:03:10,300 --> 01:03:12,500
- Does that happen to you too?
- No.
383
01:03:12,500 --> 01:03:15,000
For me a dam is just
an ordinary reality.
384
01:03:15,000 --> 01:03:18,200
The most ordinary things can
take on an unusual dimension.
385
01:03:20,800 --> 01:03:22,600
Dams are sleeping waters,
386
01:03:22,600 --> 01:03:25,600
that sometimes arouse
foul fantasies,
387
01:03:26,100 --> 01:03:28,100
they�re easy to interpret
388
01:03:28,100 --> 01:03:31,100
because they refer
to some submerged village
389
01:03:31,600 --> 01:03:33,800
or to the foreboding
of a catastrophe
390
01:03:33,800 --> 01:03:36,700
if the retaining wall
gives way.
391
01:03:37,400 --> 01:03:40,400
Even the story
about the bells in the dam
392
01:03:40,900 --> 01:03:43,900
is easy to explain
because, in fact,
393
01:03:44,300 --> 01:03:46,400
the bells do toll.
394
01:03:46,400 --> 01:03:49,400
It's been proved that when
the water level drops,
395
01:03:49,400 --> 01:03:52,100
the bells toll, whether
they are there or not,
396
01:03:52,200 --> 01:03:55,200
the bells toll.
397
01:03:56,400 --> 01:03:59,800
On the other hand,
salt marshes, swamps
398
01:04:01,300 --> 01:04:03,900
but above all lakes,
are something else.
399
01:04:04,000 --> 01:04:06,900
- Should I use flour?
- No.
400
01:04:07,300 --> 01:04:09,900
Especially lakes...
401
01:04:09,900 --> 01:04:12,200
They really do stimulate
the imagination
402
01:04:12,200 --> 01:04:15,500
with legends relating to the mysteries
of their unknown depths.
403
01:04:19,600 --> 01:04:23,000
Today a woman in the
bread shop was telling
404
01:04:23,700 --> 01:04:27,100
a strange story about her
sick sister and the bells.
405
01:04:29,500 --> 01:04:31,500
My older sister
406
01:04:31,600 --> 01:04:34,500
was put in a rest home
407
01:04:35,000 --> 01:04:37,600
because she was losing her mind.
408
01:04:37,700 --> 01:04:40,600
Suddenly she would ask me:
409
01:04:40,600 --> 01:04:42,800
Who are you?
410
01:04:43,000 --> 01:04:48,100
What are you doing here?
I felt so sorry for her.
411
01:04:48,100 --> 01:04:50,600
This morning
we went to see her
412
01:04:50,600 --> 01:04:53,600
and she seemed to
remember everything.
413
01:04:54,400 --> 01:04:57,800
She even remembered making
me the sweater I was wearing.
414
01:04:58,700 --> 01:05:02,200
Suddenly she looked at me
like a child,
415
01:05:04,100 --> 01:05:06,900
she leaned closer
416
01:05:06,900 --> 01:05:09,600
and whispering in my ear,
417
01:05:09,700 --> 01:05:12,300
she said:
418
01:05:12,400 --> 01:05:14,700
Confidentially,
why don't you tell me
419
01:05:14,700 --> 01:05:17,700
how long I've been dead.
420
01:05:18,000 --> 01:05:21,000
How long have I been dead?
421
01:05:21,200 --> 01:05:24,200
My blood went cold.
422
01:05:39,100 --> 01:05:42,100
You don�t care whether
things correspond.
423
01:05:43,100 --> 01:05:46,000
If you mean names attract me,
you're right.
424
01:05:46,200 --> 01:05:49,100
But without losing interest
in their meaning.
425
01:05:49,200 --> 01:05:52,200
At times temptation is tough.
426
01:05:52,300 --> 01:05:55,300
I think I know what
I'm dealing with.
427
01:05:57,000 --> 01:06:00,000
You probably know better
than many others.
428
01:06:00,800 --> 01:06:02,600
Does it surprise you to find
429
01:06:02,600 --> 01:06:05,300
there are real idiots
among writers?
430
01:06:05,400 --> 01:06:07,100
Idiocy does not surprise me,
431
01:06:07,200 --> 01:06:10,100
every profession has its quota.
432
01:06:12,800 --> 01:06:14,100
What bothers me
433
01:06:14,100 --> 01:06:16,200
is that the printed
word has too much prestige.
434
01:06:16,200 --> 01:06:18,900
Some printed words
merit their prestige.
435
01:06:19,000 --> 01:06:21,600
Some are like night court.
436
01:06:21,600 --> 01:06:23,600
like that band of writers
437
01:06:23,600 --> 01:06:26,600
who research into
a supposedly lived past,
438
01:06:27,300 --> 01:06:29,500
when they are really
reducing memory
439
01:06:29,600 --> 01:06:32,100
to insubstantial recollections.
440
01:06:32,100 --> 01:06:35,100
Some have a poor heritage.
441
01:06:50,300 --> 01:06:52,400
Do you want to
talk about your book?
442
01:06:52,500 --> 01:06:55,400
Is this is the best time?
Of course I do.
443
01:06:55,800 --> 01:06:57,700
You never know
what you've written
444
01:06:57,700 --> 01:07:00,300
if others don't
explain it to you.
445
01:07:00,300 --> 01:07:02,800
I can only discuss part of it now.
446
01:07:02,900 --> 01:07:05,700
- I couldn't finish it.
- You missed the best part.
447
01:07:05,800 --> 01:07:08,300
- Were you bored?
- No, that's not it.
448
01:07:08,400 --> 01:07:11,400
Then it's really serious.
449
01:07:29,800 --> 01:07:33,200
At first it works, even suggests
that it may be interesting,
450
01:07:33,800 --> 01:07:37,200
but you introduce a change
that probably makes for more sales.
451
01:07:37,900 --> 01:07:39,700
But that's another story.
452
01:07:39,700 --> 01:07:42,100
Look, I write to be read,
453
01:07:42,200 --> 01:07:45,200
and I can continue writing
because I am read.
454
01:08:23,400 --> 01:08:25,700
Yes, of course. Why?
455
01:08:25,700 --> 01:08:28,100
The reader must be
given enough clues
456
01:08:28,200 --> 01:08:31,200
to defend himself
against general stupidity.
457
01:09:39,800 --> 01:09:42,000
The public accepts anything.
458
01:09:42,000 --> 01:09:44,900
The important reader is
the one who isn�t a reader yet,
459
01:09:45,000 --> 01:09:46,900
and perhaps never will be.
460
01:09:46,900 --> 01:09:48,800
I insist, the most lucid authors
461
01:09:49,000 --> 01:09:51,900
create the most reasonable
and renovating trends.
462
01:09:52,300 --> 01:09:55,300
What you call public
should go fuck itself.
463
01:10:05,900 --> 01:10:08,800
I'll show you something
you're going to like.
464
01:11:12,600 --> 01:11:15,500
I don't want you to reproach
my rustic origins
465
01:11:16,000 --> 01:11:19,300
but a man in my village
took the same route every day.
466
01:11:19,900 --> 01:11:22,900
He would leave home at
dawn and go back at dusk.
467
01:11:23,500 --> 01:11:25,700
In both cases in the twilight,
468
01:11:25,800 --> 01:11:28,600
which is the best time,
he observed the sky.
469
01:11:28,700 --> 01:11:31,600
The man knew what he wanted.
470
01:11:32,000 --> 01:11:34,700
He traveled on a donkey.
471
01:11:34,700 --> 01:11:37,200
He got to know the heavens
so accurately
472
01:11:37,200 --> 01:11:39,500
that they said
he knew them by heart.
473
01:11:39,500 --> 01:11:42,400
On one occasion
he observed a change
474
01:11:42,900 --> 01:11:45,900
in the order of the planets
and stars.
475
01:11:46,200 --> 01:11:48,900
He stopped and noted the presence
476
01:11:49,000 --> 01:11:50,900
of a new heavenly body.
477
01:11:50,900 --> 01:11:54,000
He hurried to announce
his discovery.
478
01:11:56,100 --> 01:11:59,100
The weird thing is he
discovered it some hours
479
01:11:59,700 --> 01:12:01,200
before it was tracked at
480
01:12:01,300 --> 01:12:02,700
the Observatory at Greenwich.
481
01:12:02,800 --> 01:12:05,600
They tell many stories
like that in villages.
482
01:12:05,600 --> 01:12:06,700
Really?
483
01:12:06,700 --> 01:12:09,500
- It's logical they should.
- Really?
484
01:12:09,600 --> 01:12:12,500
Perhaps they express
a certain prevention,
485
01:12:12,800 --> 01:12:14,200
as opposed to science,
486
01:12:14,300 --> 01:12:16,100
which is an urban phenomenon.
487
01:12:16,100 --> 01:12:18,800
Now I have the interpretation.
Now what?
488
01:12:18,800 --> 01:12:22,100
Nothing, but it's natural
for different life-styles
489
01:12:23,000 --> 01:12:25,900
to create their own mythology
in self-defense.
490
01:12:27,200 --> 01:12:30,000
I think you are taking it
too literally.
491
01:12:30,000 --> 01:12:33,200
The person who made up the story
could be just a wise guy!
492
01:12:34,300 --> 01:12:37,300
It's a good story
and literally believable.
493
01:12:37,900 --> 01:12:40,500
In the right hands it would
be a good short story.
494
01:12:40,600 --> 01:12:44,000
I'm glad you said short story,
at least they are brief.
495
01:13:08,200 --> 01:13:10,700
...I was addicted to politics.
496
01:13:10,800 --> 01:13:13,700
An addiction that made me feel
worthwhile as well as free.
497
01:13:14,900 --> 01:13:17,900
For years I lived
entrenched in my dignity.
498
01:13:18,000 --> 01:13:20,900
Too entrenched... probably.
499
01:13:21,900 --> 01:13:24,200
It was not difficult
for me to put off decisions
500
01:13:24,200 --> 01:13:26,900
because I lived intensely
in the illusion that the future
501
01:13:26,900 --> 01:13:29,900
was much more real than the present.
502
01:13:30,300 --> 01:13:33,200
I lived as if I deserved
a second chance...
503
01:13:34,700 --> 01:13:36,600
I remember a name,
504
01:13:36,700 --> 01:13:38,900
the face of a friend,
505
01:13:39,000 --> 01:13:41,600
but suddenly
my mind goes blank,
506
01:13:41,600 --> 01:13:44,600
and is unable to establish
any significant ties...
507
01:13:45,900 --> 01:13:48,000
... You talk about stirring up
your memory
508
01:13:48,000 --> 01:13:50,500
but you live engrossed
in your memories...
509
01:13:50,500 --> 01:13:53,500
You use your past,
your shitty Warsaw Bridge,
510
01:13:53,600 --> 01:13:55,500
to feed your narcissism.
511
01:13:55,500 --> 01:13:58,400
You are stifled by aesthetics...
512
01:13:59,800 --> 01:14:00,900
It's true.
513
01:14:00,900 --> 01:14:03,800
You�re stifled by rather
precarious aesthetics.
514
01:14:04,000 --> 01:14:05,500
You�d better shut up.
515
01:14:05,600 --> 01:14:07,700
You�ve had things very
easy up to now.
516
01:14:07,700 --> 01:14:10,700
- You're going too far.
- Mind your own business.
517
01:14:11,700 --> 01:14:14,200
Let�s not make this something
personal when it is not.
518
01:14:14,200 --> 01:14:16,100
What do you mean?
519
01:14:16,100 --> 01:14:18,600
That you are avoiding
the question.
520
01:14:18,700 --> 01:14:21,600
And what is the question?
521
01:14:23,700 --> 01:14:25,600
You know very well,
522
01:14:25,600 --> 01:14:29,000
it's the attitude one
takes towards literature.
523
01:14:30,900 --> 01:14:33,800
Because in literature, as in
everything else, there are 2 choices:
524
01:14:34,700 --> 01:14:37,800
you either take risks or you
use it to earn a living.
525
01:14:39,000 --> 01:14:41,900
- You're a real son of a bitch!
- Probably.
526
01:21:00,700 --> 01:21:03,100
Newspapers have reported
527
01:21:03,100 --> 01:21:06,400
the strange case, of a diver
found in a burnt forest.
528
01:21:07,000 --> 01:21:09,300
According to the press,
529
01:21:09,300 --> 01:21:11,800
while filling its water tanks,
530
01:21:11,800 --> 01:21:15,300
a plane from the Forest Service
scooped up the diver
531
01:21:16,000 --> 01:21:19,500
hurling him down later
on the burning forest.
532
01:21:22,500 --> 01:21:26,500
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