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That was My Night at Maud's,
one of Eric Rohmer's Moral Tales,
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which we'll discuss
with Jean Douchet,
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well known to cinephiles,
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contributor to Cahiers du cinéma,
film director and critic.
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Also joining us is Jean-Louis Trintignant,
whom you've just seen in the film,
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and Pierre Cottrell,
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who produced the film
with Barbet Schroeder and a few others.
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So he's the young producer
of My Night at Maud's.
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Before continuing, l must praise
the incredible acting in the film.
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Jean-Louis, it's been hailed
as one of your best performances.
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l'd like to ask
Pierre Cottrell about the cast.
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Was Rohmer set on getting
the actors he had in mind?
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Yes, he'd cast them
several years earlier.
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We had to wait three years
for Jean-Louis to be free at Christmas,
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because the film had to be shot
during the Christmas season.
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We often hear of power struggles
between directors and actors,
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and it would seem that Rohmer --
to use a word no actor likes --
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" manipulates'' his actors.
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ln any case, he obtains
incredibly nuanced performances.
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Do you feel you had
a lot of creative input on the film,
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or did you just obey Rohmer?
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l trusted his direction.
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lt's strange. l've been in a lot of films
that use improvisation.
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l enjoy it and feel
comfortable with it.
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ln Rohmer's screenplay,
everything was carefully scripted.
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Even the commas
were significant.
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ln the middle of
a very elegant phrase
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in an 18th-century style,
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he'd written " E-r...E-r...E-r''
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to show that the actor
should hesitate
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and say, " Er... er... er.''
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That's what it meant
in this very scripted dialogue.
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00:02:10,797 --> 00:02:12,788
When l saw that, l panicked.
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l told Rohmer, " There's no way
an actor can say that.''
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He said,
"Try it. Say it out loud.''
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l did, and to my surprise,
it worked perfectly.
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There was
no other way to say it.
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00:02:27,080 --> 00:02:33,679
The dialogue was tightly scripted
but wonderfully easy to deliver.
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Yes, we'll talk more
about Rohmer's dialogue later.
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00:02:39,792 --> 00:02:43,694
He writes incredible dialogue,
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but don't actors find it difficult
to recite something so well written
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because it's not
everyday language?
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No, because it's language that --
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lf you're in character,
it's absolutely natural,
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because it's conversational.
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lt's elegant and well-written,
but at the same time conversational.
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His dialogue
is a pleasure to recite.
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00:03:08,988 --> 00:03:14,722
As you've noticed, Eric Rohmer
is conspicuous by his absence.
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We called and tried
to persuade him to come,
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but as you may know,
he refuses to appear in public.
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l wonder if Jean Douchet, who's
known him a long time, could explain.
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There's no need to explain.
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l don't see that he needs to explain
for refusing to appear in public.
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00:03:34,214 --> 00:03:38,583
But in Rohmer's films,
and especially in the Six Moral Tales,
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he constantly plays
with the idea
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not of living a double life
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but of moral codes of conduct.
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And this applies
to Rohmer in his own life.
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lt's a kind of game,
a character, a role
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in which he reveals himself
while pretending to hide.
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lt's in all his films, especially Trintignant's
character in My Night at Maud's.
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lt's a complex character:
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He considers himself a Catholic
and seeks to follow a moral code.
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Rohmer uses " moral tales''
in an 18-century sense.
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A moral code
shows the way to live,
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and the main character in each tale
tries to follow a specific moral code.
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ln My Night at Maud's,
it's Catholicism,
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and in La collectionneuse,
it's dandyism.
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Each character tries to follow his path,
and each meets a female character
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who embraces life
with all its surprises and chances.
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The film frequently mentions
Pascal's concept of chance.
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We realize that the character
doesn't always follow his moral code
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and feels guilty about it,
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but in the end,
his moral code wins out
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at the end of a very twisted
and indirect path.
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That's the theme of this film,
and of all Rohmer's films.
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They play with this idea.
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That's the real meaning
of his Moral Tales.
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We'll discuss that later,
but you didn't answer my question.
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l trust Rohmer will forgive me,
since it has appeared in the press,
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so l'll explain
why Rohmer won't show his face.
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He doesn't want his family
to know he's a filmmaker.
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Perhaps they consider it
an inferior art form.
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That's the real reason.
l've revealed his secret.
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Rohmer won't appear
on television as a filmmaker,
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but he doesn't hide when he appears
in schools as a professor.
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He used to teach and still holds
the title of professor.
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We'll discuss the film's content, but first
l'd like to ask Pierre a few questions
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that may be of interest to everyone.
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You needn't reveal your secrets,
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but how does a young producer
without contacts --
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though this is a subject
for another talk --
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go up against the big studios
to produce a film like Rohmer's?
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Rohmer's La collectionneuse
had enjoyed modest success,
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and he next wanted to make a film
that wasn't commercial at all.
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lt was Truffaut's idea to bring together
some producers and directors
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who respected
and trusted Rohmer.
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They allowed him to make this film
free of commercial pressures.
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lt was fairly difficult
to bring together eight coproducers.
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They all invested
equal amounts in the film.
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Actually, it was the actors who
decided the film would get made.
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The ending on the beach was shot
three months before the rest of the film,
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before any contracts
had even been signed.
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Rohmer himself edited the scene
and showed it to the actors.
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- So they'd continue on the film.
- Right.
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l think Jean-Louis
was surprised by the crew
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on Belle île who shot the scene.
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Yes, it was fairly improvised.
The crew was three people.
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Since that's not enough to cover
all the posts when filming,
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we used whoever was there,
like my great-nephew.
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lt was shot near the small house
l had on Belle île.
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My great-nephew was there on vacation,
so he became the sound engineer.
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But it didn't look amateurish.
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All the rest
was filmed professionally,
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with a real sound engineer,
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but shooting began
in a totally amateurish way.
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That's a nice story.
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So you were busy
on other projects at the time.
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As Cottrell said,
they had to wait a long time for you.
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So those few days on Belle île
convinced you to do the film?
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No, l was already convinced.
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lf l hesitated, it wasn't because
l was booked solid for three years,
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but because
of certain moral scruples.
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l didn't feel very close
to the character.
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l felt l lacked certain things,
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but Rohmer's unyielding stubbornness
finally convinced me.
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Did the character in the script
seem too gloomy?
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The script was wonderful, but l --
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Catholicism isn't
a particular concern of mine,
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and that made me say no.
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lt would be dishonest.
l had no right.
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But Rohmer convinced me that it would
lend greater ambiguity to the film
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if l took the role,
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precisely because l wasn't Catholic.
135
00:09:11,851 --> 00:09:16,550
ls Rohmer deeply concerned
with religion?
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ls it present in all his films?
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lt's certainly present in this one.
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But no, it's not in others.
139
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What are his major concerns,
especially in the Moral Tales?
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We talked about --
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What's the basic theme
of Rohmer's Moral Tales?
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The Moral Tales are this:
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A man loves a woman,
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but before going to her,
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he'll meet and be tempted by another
woman, only to end up with the first.
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That's the general framework
of the six films.
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lt seems very immoral
for a " moral tale.''
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Frustration intervenes --
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" Moral'' here doesn't mean " morality.''
150
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lt's a code of conduct
that varies for each individual.
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00:10:07,473 --> 00:10:09,737
Rohmer's characters choose
their own moral code.
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Each has a personal moral code
that they follow.
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lt's an 18th-century
sense of the word.
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But Rohmer's concerns are many.
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First: a strong drive for authenticity.
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Pierre alluded to this earlier:
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He waited for Christmas to shoot.
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00:10:31,731 --> 00:10:35,724
The setting was Clermont-Ferrand
in the context of the Michelin factory.
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00:10:35,935 --> 00:10:39,029
lt's mentioned clearly in the film.
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lt involved engineers, etc.
and it had to be true to life.
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When mass is shown,
it's a real mass.
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lt's a mass being said for believers,
not for the camera.
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The streets of Clermont
are shown exactly as they are.
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All perfectly described
in the script.
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You've worked with him enough
to know we don't shoot in a street
166
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unless it adjoins the street
shot in the previous scene.
167
00:11:07,900 --> 00:11:09,868
Rohmer's always like that.
168
00:11:10,069 --> 00:11:14,369
He strives for authenticity in terms
of settings and characters,
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as well as the story he's telling.
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l'd like to add to that.
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For Rohmer, music should never
be used unless there's a reason.
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Films always have music
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that a composer has written
separately to underscore the film.
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ln Rohmer's films, no sound exists
unless it is made by something in the film.
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For example, if music's heard,
it's playing on an onscreen radio.
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No music is brought in
from outside.
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00:11:51,711 --> 00:11:55,044
Yes, everything has
to reflect reality.
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00:11:55,247 --> 00:11:57,545
lt's almost an obsession.
179
00:11:57,750 --> 00:12:05,589
Another thing Rohmer is concerned with
is depicting today's society
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from his point of view,
which is an extremely rigorous one,
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even haughty, to be honest.
182
00:12:13,265 --> 00:12:18,430
But Six Moral Tales creates
a sort of panorama
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of different aspects
of contemporary French society.
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00:12:22,208 --> 00:12:28,238
He's often accused of only
portraying the bourgeois,
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00:12:28,447 --> 00:12:33,783
but his defense is that
that's the only life he knows.
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00:12:34,253 --> 00:12:38,713
Nonetheless, the way he portrays life
in Clermont is extremely realistic.
187
00:12:38,924 --> 00:12:44,123
lt's a view of provincial life
rarely seen in French films,
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00:12:44,330 --> 00:12:48,391
where it's usually much more
of a caricature than a true portrait.
189
00:12:48,601 --> 00:12:51,195
Here it's really
a provincial environment
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00:12:51,403 --> 00:12:57,035
among fairly intellectual people.
191
00:12:57,243 --> 00:13:00,371
And one thing about the provinces --
where Rohmer lived --
192
00:13:00,579 --> 00:13:06,074
is that intellectual discourse is deeper
because people have more time.
193
00:13:06,285 --> 00:13:10,745
A long discussion about Pascal
over dinner is realistic.
194
00:13:10,956 --> 00:13:14,949
Not for everyone, of course,
but for a specific social class,
195
00:13:15,161 --> 00:13:17,152
whereas it wouldn't be
realistic in Paris.
196
00:13:17,363 --> 00:13:20,730
Was that a difficult scene for you?
197
00:13:20,933 --> 00:13:23,731
- Yes, very.
- You were in a café with --
198
00:13:23,936 --> 00:13:25,870
lt was filmed in long takes.
199
00:13:26,071 --> 00:13:29,097
He shot an entire magazine
without cutting.
200
00:13:29,308 --> 00:13:33,677
A magazine holds 1 ,000 feet of film,
which is 12 minutes of shooting time.
201
00:13:33,879 --> 00:13:36,370
For a static shot, that's very --
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