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You look at the images of this film and you ask yourself...
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where does this go on your scale of film knowledge?
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00:01:35,916 --> 00:01:40,666
And yet, just like a romantic comedy or war film,
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00:01:40,750 --> 00:01:44,458
an instructional film is part and parcel of cinema history.
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00:01:45,583 --> 00:01:48,000
Just like the two other genres,
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00:01:48,083 --> 00:01:51,833
instructional films used to suffer from rigid ideas
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00:01:51,916 --> 00:01:54,250
on how they were to be produced
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00:01:54,333 --> 00:01:56,541
and tight limits on the actors.
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A Study of the Basic
Techniques of Tennis
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was produced in 1966 by Gil de Kermadec,
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first national technical director of tennis,
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00:02:11,291 --> 00:02:14,500
who, over time, wasn't really convinced
13
00:02:14,583 --> 00:02:16,083
that the film was that relevant.
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Incredible, huh?
15
00:02:59,083 --> 00:03:01,916
Gil was also astonished
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00:03:02,000 --> 00:03:04,333
that he had to organize these demonstrations
17
00:03:04,416 --> 00:03:07,250
before matches at Roland Garros.
18
00:03:07,333 --> 00:03:10,416
Famous players would come on court,
19
00:03:10,500 --> 00:03:12,500
in front of the spectators,
20
00:03:12,583 --> 00:03:15,500
and take up fixed positions,
21
00:03:15,583 --> 00:03:17,666
and were told not to move.
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Players who are doing demonstrations
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00:03:25,375 --> 00:03:29,000
always think they are making the movements that they make in a match.
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00:03:32,541 --> 00:03:38,416
But, actually, film has the power to show how impossible that is.
25
00:03:42,375 --> 00:03:44,000
Armed with this knowledge,
26
00:03:44,083 --> 00:03:47,416
Gil de Kermadec asked in 1969
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00:03:47,500 --> 00:03:51,708
for the camera lenses to be turned on the Roland Garros tournament
28
00:03:51,791 --> 00:03:53,875
and the reality of playing.
29
00:03:56,500 --> 00:04:00,041
The thrust of his films are about competition
30
00:04:00,125 --> 00:04:03,083
and soon lead to a new level of awareness:
31
00:04:05,708 --> 00:04:10,708
No, the French way of teaching tennis is not at all universal,
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00:04:10,791 --> 00:04:13,083
nor applicable to everybody.
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00:04:20,375 --> 00:04:22,500
From 1977,
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00:04:22,583 --> 00:04:26,916
de Kermadec begins to use the technique of the portrait.
35
00:04:27,000 --> 00:04:31,333
He becomes more concerned with what makes each player unique,
36
00:04:31,416 --> 00:04:33,125
and after that,
37
00:04:33,208 --> 00:04:37,583
he starts to analyze the type of tennis which he or she can produce.
38
00:04:39,750 --> 00:04:42,083
In 1985,
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00:04:42,166 --> 00:04:46,958
the last work from this highly original series of instructional portraits
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00:04:47,041 --> 00:04:50,333
is dedicated to the American John McEnroe,
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00:04:50,416 --> 00:04:52,125
world number one for four years.
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00:06:30,958 --> 00:06:33,750
♪ To the extent That I wear skirts♪
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00:06:33,833 --> 00:06:35,500
♪ And cheap nylon slips♪
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00:06:35,583 --> 00:06:37,666
♪ I've gone native♪
45
00:06:37,750 --> 00:06:40,750
♪ I wanted to know The exact dimensions of hell♪
46
00:06:40,833 --> 00:06:42,833
♪ Are you for sale?♪
47
00:06:42,916 --> 00:06:44,541
♪ Fuck you♪
48
00:06:44,625 --> 00:06:46,750
♪ Does "Fuck you" Sound simple enough?♪
49
00:06:46,833 --> 00:06:49,125
♪ That was the only part That turned me on♪
50
00:06:49,208 --> 00:06:51,916
♪ But he was candy all over♪
51
00:06:56,875 --> 00:06:59,916
♪ Come on down to the store♪
52
00:07:00,000 --> 00:07:02,958
♪ You can buy some more And more and more and more♪
53
00:07:03,041 --> 00:07:06,250
♪ Come on down to the store♪
54
00:07:06,333 --> 00:07:09,375
♪ You can buy some more And more and more and more♪
55
00:07:09,458 --> 00:07:12,791
♪ Come on down to the store♪
56
00:07:12,875 --> 00:07:15,541
♪ You can buy some more And more and more and more♪
57
00:07:15,625 --> 00:07:18,541
♪ Come on down to the store♪
58
00:07:18,625 --> 00:07:21,416
♪ You can buy some more And more and more and more♪
59
00:08:55,916 --> 00:08:59,000
In 2011, my friend Nicolas Thibault
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00:08:59,083 --> 00:09:02,833
was coming to the end of making a film about Gil de Kermadec.
61
00:09:02,916 --> 00:09:08,333
This tennis player-filmmaker had spent his entire life
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00:09:08,416 --> 00:09:11,250
watching the development of the best players in the world
63
00:09:11,333 --> 00:09:13,958
on the clay courts of Porte d'Auteuil
64
00:09:14,041 --> 00:09:16,958
like others would follow the development
65
00:09:17,041 --> 00:09:19,791
of emperor penguins in the Antarctic.
66
00:09:25,958 --> 00:09:30,750
Nicolas wanted to make room in his film for Gil among the archives
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00:09:30,833 --> 00:09:33,625
and asks me to take him there.
68
00:09:33,708 --> 00:09:39,125
Dazed as if we were standing in front of an installation by Christian Boltanski,
69
00:09:39,208 --> 00:09:42,500
we are confronted by a heap of metallic boxes,
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00:09:42,583 --> 00:09:46,583
each of which contained fragments from his life.
71
00:09:48,416 --> 00:09:53,708
Watching Gil lovingly scan these images from the distant past,
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00:09:53,791 --> 00:09:59,083
I imagined him navigating back into a strange otherworld of worries.
73
00:10:01,291 --> 00:10:03,375
Our inventory continued,
74
00:10:03,458 --> 00:10:08,416
and I am stunned to find that there was so much material on John McEnroe.
75
00:10:11,625 --> 00:10:15,416
The rushes are more than 20 times the final length
76
00:10:15,500 --> 00:10:17,750
of the film that Gil had made about him.
77
00:10:19,541 --> 00:10:22,416
I spent several months editing together
78
00:10:22,500 --> 00:10:27,333
hundreds of little reels that had been scattered all around.
79
00:10:27,416 --> 00:10:30,125
If the wastebins from yesteryear
80
00:10:30,208 --> 00:10:34,791
quite often provide the treasures in today's archaeology museums,
81
00:10:34,875 --> 00:10:36,625
then I had the feeling
82
00:10:36,708 --> 00:10:41,583
that these bits and pieces could yield something precious,
83
00:10:41,666 --> 00:10:45,041
something that could reveal some forgotten truth
84
00:10:45,125 --> 00:10:47,750
to whoever would be willing to listen.
85
00:11:03,458 --> 00:11:05,166
Viewing these rushes,
86
00:11:05,250 --> 00:11:09,750
I was rapidly struck by the camera movements, the clapper board...
87
00:11:09,833 --> 00:11:12,791
I was struck by a feeling of immersion,
88
00:11:12,875 --> 00:11:15,541
an incredible sensation of immediacy.
89
00:11:21,208 --> 00:11:25,291
We were not in the process of watching John McEnroe,
90
00:11:25,375 --> 00:11:28,583
nor a film about John McEnroe.
91
00:11:28,666 --> 00:11:32,625
We were actually the cameramen on the set of a film
92
00:11:32,708 --> 00:11:36,041
which was in the process of being made.
93
00:11:36,125 --> 00:11:39,000
If you two can't hear that,
there must be something wrong.
94
00:11:39,083 --> 00:11:42,666
There's something very wrong
if you can't hear a ball
two inches in front of you.
95
00:11:42,750 --> 00:11:45,416
No, no, perhaps--
Perhaps I'm 20 times
better see
96
00:11:45,500 --> 00:11:47,541
and 20 times better hear
than you'll ever be.
97
00:11:48,791 --> 00:11:50,750
What the hell are you?
Who are you?
98
00:11:52,583 --> 00:11:54,125
Picked your name
out of a hat.
99
00:12:37,083 --> 00:12:39,291
Perhaps it's the easiest point
of the match, you know?
100
00:12:42,250 --> 00:12:43,458
Ever think of that?
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00:12:51,916 --> 00:12:53,416
Time.
102
00:13:27,583 --> 00:13:30,875
Here's Nicolas, collaborator and Gil's friend.
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00:14:02,250 --> 00:14:03,958
Let!
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00:15:27,083 --> 00:15:32,666
Let's relive the sequences which are shot in three-quarters profile.
105
00:15:32,750 --> 00:15:35,333
We're not really spectators.
106
00:15:35,416 --> 00:15:39,916
We're invited to discover, with a certain empathy,
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00:15:40,000 --> 00:15:44,083
what is actually needed to win a point in a tennis match.
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00:15:54,958 --> 00:15:57,125
- Oh!
109
00:16:17,333 --> 00:16:21,125
Of course, we're frequently shown this shot in three-quarters profile
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00:16:21,208 --> 00:16:25,666
in the film
Roland Garros 1985
with John McEnroe.
111
00:16:43,666 --> 00:16:45,541
Come on, come on!
112
00:20:22,291 --> 00:20:26,250
Gil de Kermadec was fascinated by slow motion,
113
00:20:26,333 --> 00:20:29,333
by how movement is broken down.
114
00:20:29,416 --> 00:20:34,666
He was fascinated by everything that allows you to see what the eyes can't see.
115
00:20:49,208 --> 00:20:52,541
You ask yourself while watching a horror film,
116
00:20:52,625 --> 00:20:55,916
"Where do these phantoms and hordes of ghosts come from?"
117
00:20:59,041 --> 00:21:00,666
That's before you realize
118
00:21:00,750 --> 00:21:05,208
that it's unwise to build your house on an old burial ground.
119
00:21:10,416 --> 00:21:13,791
A cemetery of a kind lies hidden
120
00:21:13,875 --> 00:21:17,875
underneath the red clay of the Roland Garros Stadium.
121
00:21:17,958 --> 00:21:22,541
It's called the Station physiologique du Parc des Princes,
122
00:21:22,625 --> 00:21:26,083
and it is where EÉtienne-Jules Marey and Georges Demeny
123
00:21:26,166 --> 00:21:30,166
took their chronophotographic pictures.
124
00:21:30,250 --> 00:21:33,625
In other words, what the eyes could not see.
125
00:21:37,750 --> 00:21:42,583
The specter of these first forays into capturing movement
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00:21:42,666 --> 00:21:45,250
haunts the films of Gil de Kermadec.
127
00:21:53,541 --> 00:21:56,875
And it is in these supernatural images,
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00:21:56,958 --> 00:21:59,625
created with the trick of slow motion,
129
00:21:59,708 --> 00:22:03,083
that he paradoxically finds a form of truth.
130
00:22:28,333 --> 00:22:31,541
The ball is on the line.Look at the mark.
131
00:22:45,000 --> 00:22:46,583
It's my decision.
132
00:22:54,125 --> 00:22:55,458
Let's play.
133
00:22:56,666 --> 00:22:58,666
Using up to three cameras
134
00:22:58,750 --> 00:23:03,750
to film sequences that might not even offer up any technical content,
135
00:23:03,833 --> 00:23:09,041
the people who used to crave control by placing footprints on the ground
136
00:23:09,125 --> 00:23:11,708
were now like fishermen.
137
00:23:11,791 --> 00:23:15,916
They had no idea what the day's catch would bring.
138
00:23:21,083 --> 00:23:22,750
Let. Fault.
139
00:23:38,791 --> 00:23:41,541
The film critic Serge Daney used to say...
140
00:23:41,625 --> 00:23:43,416
"It's the advantage of clay.
141
00:23:43,500 --> 00:23:45,416
That's why
I prefer this surface.
142
00:23:45,500 --> 00:23:47,458
It's because it creates fiction.
143
00:23:47,541 --> 00:23:50,541
There are the players
and what they know they can do.
144
00:23:50,625 --> 00:23:54,208
There are the fans,
who also know their role
in the proceedings.
145
00:23:54,291 --> 00:23:59,208
There are the officials,
who are ready to get
into everyone's bad books.
146
00:23:59,291 --> 00:24:01,291
But more than all of that,
there is time"--
147
00:26:42,583 --> 00:26:45,916
The film critic Serge Daney used to say...
148
00:26:46,000 --> 00:26:48,750
"Unlike football or rugby,
149
00:26:48,833 --> 00:26:51,416
tennis is based
on relative countdown.
150
00:26:53,458 --> 00:26:57,500
The length of a match depends
on the ability of the players
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00:26:57,583 --> 00:27:00,416
to create the time
that they need to win."
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00:28:29,375 --> 00:28:31,291
When you watch a tennis match,
153
00:28:31,375 --> 00:28:33,291
you don't really ever know what you're watching.
154
00:28:38,666 --> 00:28:43,875
The intrigue which pitted Jarkko Nieminen against Bernard Tomic in Miami
155
00:28:43,958 --> 00:28:47,958
was resolved in 28 minutes and 20 seconds,
156
00:28:48,041 --> 00:28:52,000
about the same time as an episode from the series
Hitchcock Presents.
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00:28:53,000 --> 00:28:54,458
Equally,
158
00:28:54,541 --> 00:28:57,375
you would have to watch the threeGodfather films
159
00:28:57,458 --> 00:29:00,666
with an hour's break between each one
160
00:29:00,750 --> 00:29:03,875
before you knew the winner of the match at Wimbledon
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00:29:03,958 --> 00:29:07,958
between the American John Isner and the Frenchman Nicolas Mahut.
162
00:29:13,625 --> 00:29:18,166
So why did Serge Daney, the editor-in-chief ofCahiers du cinéma,
163
00:29:18,250 --> 00:29:21,750
agree in the '80s to write an article about tennis
164
00:29:21,833 --> 00:29:23,875
in the newspaperLibération?
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00:29:29,250 --> 00:29:33,750
What common denominator between tennis and cinema
166
00:29:33,833 --> 00:29:36,916
would be able to get Daney's juices flowing?
167
00:29:38,541 --> 00:29:40,333
Uh...
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00:29:40,416 --> 00:29:42,750
The length of time.
169
00:29:44,416 --> 00:29:45,708
Explanations.
170
00:29:45,791 --> 00:29:47,333
"Cinema for me
171
00:29:47,416 --> 00:29:50,541
isn't at all about being amazed
in front of a moving image.
172
00:29:50,625 --> 00:29:53,208
It's more about the sounds
you hear, the sense of time,
173
00:29:53,291 --> 00:29:55,583
the race against time and fate.
174
00:29:55,666 --> 00:29:57,791
It's about telling stories
about countdowns.
175
00:29:59,083 --> 00:30:01,416
There's also
the underlying question:
176
00:30:01,500 --> 00:30:03,916
How much time is left
before the end credits?
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00:30:04,000 --> 00:30:06,166
In other words,
what possibilities are there
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00:30:06,250 --> 00:30:08,291
to create an extra bit of time?
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00:30:08,375 --> 00:30:09,750
That's it.
180
00:30:09,833 --> 00:30:12,125
In my opinion, the thing
that makes a great film
181
00:30:12,208 --> 00:30:13,875
is the invention of time."
182
00:30:19,083 --> 00:30:21,375
McEnroe is not a filmmaker,
183
00:30:21,458 --> 00:30:24,791
but he excels in the area of inventing time.
184
00:30:24,875 --> 00:30:27,791
Thanks to his dexterity on the tennis court,
185
00:30:27,875 --> 00:30:32,708
it is he who dictates and who, as the attacking force,
186
00:30:32,791 --> 00:30:36,250
allows himself the right to say, "Cut!"
187
00:30:36,333 --> 00:30:38,250
by coming to the net and shortening the rally.
188
00:30:41,791 --> 00:30:44,958
McEnroe was a master of concluding rallies,
189
00:30:45,041 --> 00:30:49,166
but he also loved being able to decide how they begin.
190
00:30:49,250 --> 00:30:54,333
He found it difficult when someone else wanted to take charge of exchanges,
191
00:30:54,416 --> 00:30:58,958
and he doesn't hesitate to ask the technicians under his orders
192
00:30:59,041 --> 00:31:02,583
for what reasons the film of the match has been interrupted.
193
00:31:06,500 --> 00:31:08,166
It was a serve.
There was no point.
194
00:31:09,916 --> 00:31:12,291
No. So if
there's a serve,
there's no point.
195
00:31:12,375 --> 00:31:14,541
Because if you saw
the ball out,
there's no point.
196
00:31:14,625 --> 00:31:17,166
Okay,
then it was out.
197
00:31:17,250 --> 00:31:19,041
The serve was out.
198
00:31:19,125 --> 00:31:21,625
No, you said you
saw the serve out.
199
00:31:21,708 --> 00:31:24,750
-There's no point then.
200
00:31:24,833 --> 00:31:26,041
This serve.
201
00:31:26,125 --> 00:31:28,291
Why didn't
anyone call it?Hmm?
202
00:31:28,375 --> 00:31:29,916
Why didn't
anyone call it?
203
00:31:31,458 --> 00:31:33,125
Okay, then it's
a second serve,
right?
204
00:31:34,458 --> 00:31:37,458
What?
What-What's
the problem?
205
00:31:37,541 --> 00:31:40,583
It's a second serve.
If the ball was out,
the serve was out.
206
00:31:41,375 --> 00:31:43,458
I don't understand.
207
00:31:43,541 --> 00:31:45,125
Can you bring
the referee out,
please?
208
00:31:49,500 --> 00:31:51,083
Oh, now you saw
the ball in?
209
00:31:55,000 --> 00:31:57,500
Can you show me
the mark, please?
210
00:31:57,583 --> 00:31:59,458
Why not?
Come on, Johnny!
211
00:31:59,541 --> 00:32:02,541
Can he show me the mark?
That's all I want to see.
212
00:32:02,625 --> 00:32:06,000
I just want
to see the mark.
That's all I'm asking.
213
00:32:06,083 --> 00:32:08,416
But I'd like him
to show me the mark.Mr. McEnroe, please.
214
00:32:08,500 --> 00:32:10,458
Can't you show me
the mark? Why not?
215
00:32:10,541 --> 00:32:14,333
Why can't you
show me the mark?
216
00:32:14,416 --> 00:32:16,583
Why can't you
show me the mark?
217
00:32:16,666 --> 00:32:18,791
Why can't you
show me the mark?
218
00:32:18,875 --> 00:32:21,583
Can you answer me the question?
Why can't you show me the mark?
219
00:32:24,000 --> 00:32:25,750
But all I'm asking
is to see the mark.
220
00:32:37,250 --> 00:32:38,958
Everybody in place?
221
00:32:42,916 --> 00:32:44,125
Rolling...
222
00:32:46,708 --> 00:32:47,875
Action.
223
00:32:48,750 --> 00:32:50,125
Fault.
224
00:33:45,083 --> 00:33:46,458
Fault.
225
00:33:49,708 --> 00:33:51,708
When you're making a documentary
226
00:33:51,791 --> 00:33:55,208
and your camera confronts real situations,
227
00:33:55,291 --> 00:33:57,875
two possibilities come before you.
228
00:33:59,666 --> 00:34:03,291
In the first, you try to make people believe
229
00:34:03,375 --> 00:34:09,333
that the people you are filming are acting exactly as they would in real life,
230
00:34:09,416 --> 00:34:12,541
and that the presence of the camera isn't changing anything.
231
00:34:26,541 --> 00:34:29,541
In the second, you accept the fact
232
00:34:29,625 --> 00:34:33,500
that the presence of your camera alters how things really are...
233
00:34:33,583 --> 00:34:34,666
Fault.
234
00:34:37,250 --> 00:34:39,583
...and that the subject of your documentary
235
00:34:39,666 --> 00:34:42,291
goes through this change of reality.
236
00:35:13,458 --> 00:35:16,375
The people
with the cameras. Okay?
237
00:35:16,458 --> 00:35:18,916
Have someone do something
before we play again.
238
00:35:25,916 --> 00:35:27,541
Over here, over here.
239
00:35:30,250 --> 00:35:31,583
Everywhere.
240
00:35:31,666 --> 00:35:33,583
They keep coming back.
241
00:35:33,666 --> 00:35:35,250
They keep coming back.
242
00:36:00,666 --> 00:36:01,916
Time.
243
00:36:23,958 --> 00:36:26,583
Come on, you jerk piece of crap.
244
00:36:26,666 --> 00:36:29,166
You come out here--
245
00:36:40,375 --> 00:36:43,208
Come on, you jerk piece of crap.
246
00:36:43,291 --> 00:36:45,958
You come out here--
247
00:37:11,875 --> 00:37:13,125
Fault.
248
00:38:12,583 --> 00:38:15,208
Hello? Yes?
249
00:40:04,958 --> 00:40:06,875
Keep that thing
away from me,
you understand?
250
00:40:09,125 --> 00:40:11,875
You see this?
Your mouth.
251
00:40:15,958 --> 00:40:18,916
Repeat that in French
to the people, okay?
You're gonna get it.
252
00:40:23,333 --> 00:40:26,625
Can you-- Umpire?
Can you ask to keep this
away from me, please?
253
00:40:26,708 --> 00:40:28,291
That microphone?
254
00:40:29,500 --> 00:40:31,250
I want it turned off,
please.
255
00:40:33,916 --> 00:40:36,250
Ask him to turn it off.There's nothing
I can do about it.
256
00:40:36,333 --> 00:40:38,541
Why not?Because it's perfectly--
257
00:40:38,625 --> 00:40:40,666
Oh, okay. Yeah.
It's perf--
perfectly all right
258
00:40:40,750 --> 00:40:42,208
that he sticks it
in my face, right?
259
00:41:42,166 --> 00:41:44,666
If spectators quickly realized
260
00:41:44,750 --> 00:41:48,083
that McEnroe had an unusual style
261
00:41:48,166 --> 00:41:49,958
and a rare feel for the game...
262
00:41:55,875 --> 00:41:59,125
...very few of them understood that he was also
263
00:41:59,208 --> 00:42:03,625
a man who played on the edge of his senses.
264
00:42:05,750 --> 00:42:07,083
Fault.
265
00:42:08,458 --> 00:42:10,750
His entire body was capable
266
00:42:10,833 --> 00:42:15,583
of reacting to the slightest noise,
267
00:42:15,666 --> 00:42:17,958
or the tiniest change of atmosphere.
268
00:42:20,333 --> 00:42:21,625
Out.
269
00:42:27,750 --> 00:42:29,750
I'm not in the Actors Studio.
270
00:42:34,208 --> 00:42:36,750
I'm a professional tennis player.
271
00:42:43,958 --> 00:42:45,125
Fault.
272
00:42:55,000 --> 00:42:57,875
Oh, no!
273
00:43:06,666 --> 00:43:08,833
Excuse me? You fucked my wife?
274
00:43:08,916 --> 00:43:10,333
30 all.Excuse me?
275
00:43:10,416 --> 00:43:12,125
You fucked my wife?
276
00:43:12,208 --> 00:43:13,458
30 all.Excuse me?
277
00:43:13,541 --> 00:43:16,458
Just tell me.
278
00:43:16,541 --> 00:43:18,458
Please play now.Tell me the score
and I'll play.
279
00:43:18,541 --> 00:43:21,208
You're very smart, Joey.The right score.
280
00:43:21,291 --> 00:43:23,750
You give me all these answers, but you ain't giving me the right answer.
281
00:43:23,833 --> 00:43:25,583
30 all.
282
00:43:36,583 --> 00:43:38,291
I'm asking you again.40-15.
283
00:43:40,166 --> 00:43:42,291
40-15.The ball was called out.
284
00:43:42,375 --> 00:43:44,291
Did you or did you not?
285
00:44:38,666 --> 00:44:43,166
Here, the film crew captured quite a rare sequence.
286
00:44:43,250 --> 00:44:47,375
It's a bit like the flowering of thePuya raimondii,
287
00:44:47,458 --> 00:44:50,416
or a comet passing near Earth.
288
00:44:50,500 --> 00:44:53,416
It is John McEnroe on a practice court.
289
00:44:58,041 --> 00:45:03,416
Of course, exercises and practice are what hard workers have to do.
290
00:45:03,500 --> 00:45:07,625
The talented don't really need to do such things.
291
00:45:07,708 --> 00:45:13,666
But I really think that McEnroe did not like pretending.
292
00:45:15,250 --> 00:45:18,000
He preferred to play in the white heat of competition
293
00:45:18,083 --> 00:45:21,250
rather than go through the motions of a training session.
294
00:45:22,291 --> 00:45:24,416
Throughout all his career,
295
00:45:24,500 --> 00:45:27,583
McEnroe played in the doubles at tournaments,
296
00:45:27,666 --> 00:45:31,458
the true basis of his physical preparation.
297
00:45:31,541 --> 00:45:34,125
He often played with his younger brother Patrick,
298
00:45:34,208 --> 00:45:35,791
who we see here.
299
00:45:39,500 --> 00:45:42,916
No, McEnroe didn't like pretending.
300
00:45:44,333 --> 00:45:46,916
If he didn't like training sessions,
301
00:45:47,000 --> 00:45:50,500
he liked photo sessions even less.
302
00:45:50,583 --> 00:45:53,541
Look at how much he just loves getting ready here.
303
00:46:18,958 --> 00:46:23,916
John McEnroe didn't always know how to play upon his image.
304
00:46:25,041 --> 00:46:27,791
First he needed to understand,
305
00:46:27,875 --> 00:46:31,000
and then accept, just like each of us,
306
00:46:31,083 --> 00:46:34,875
one of the great misunderstandings of our lives:
307
00:46:34,958 --> 00:46:37,875
The image we have of ourselves
308
00:46:37,958 --> 00:46:42,000
rarely ever tallies with the image that others see.
309
00:47:02,875 --> 00:47:04,541
So, okay.
310
00:47:04,625 --> 00:47:07,583
All these ambiguities are sorted out.
311
00:47:07,666 --> 00:47:11,125
The stars of the day are on the tennis court.
312
00:47:11,208 --> 00:47:15,375
The stars of the silver screen aren't in front of the cameras.
313
00:47:15,458 --> 00:47:17,416
They're in the stands.
314
00:47:33,875 --> 00:47:38,125
But while I'm struggling to destroy pretenses,
315
00:47:38,208 --> 00:47:41,125
because I don't think McEnroe is an actor,
316
00:47:41,208 --> 00:47:47,208
I learn that the actor Tom Hulce prepared for his film as Mozart inAmadeus
317
00:47:47,291 --> 00:47:49,708
by watching McEnroe play.
318
00:47:49,791 --> 00:47:53,708
Not on the stage, but on the tennis courts.
319
00:47:57,708 --> 00:48:00,000
Show me the mark.
320
00:48:00,083 --> 00:48:02,041
Can you show me
the mark, please?
321
00:48:02,125 --> 00:48:04,875
Can you show me the mark,
please? Why not?
322
00:48:04,958 --> 00:48:08,333
Why can't he
show me the mark?Because I saw--
323
00:48:08,416 --> 00:48:10,750
You can't see
your own shoelaces.
How can you--
324
00:48:15,000 --> 00:48:17,125
The ball is out.
325
00:48:17,208 --> 00:48:19,000
Where's the mark?
326
00:48:20,125 --> 00:48:21,916
What mark is that?
327
00:48:23,208 --> 00:48:24,875
Come on.
328
00:48:24,958 --> 00:48:27,583
-The ball is out.
329
00:48:36,916 --> 00:48:39,416
He made up the mark.
He just made it up.
330
00:48:39,500 --> 00:48:42,000
He just put his finger
like this.
331
00:48:42,083 --> 00:48:44,583
There was no mark.
There's only a mark
on the line.
332
00:48:47,583 --> 00:48:50,791
He didn't-- There wasn't--
He couldn't find a mark.
333
00:48:50,875 --> 00:48:53,541
He never found a mark.
334
00:48:53,625 --> 00:48:56,083
No, but he never
found a mark.
335
00:48:56,166 --> 00:48:57,791
It was right
on the line.
336
00:49:00,833 --> 00:49:03,583
No, no, it wasn't out though.
It was on the line.
He said the ball was--
337
00:51:04,333 --> 00:51:06,666
You saw it on the line
and you called it in.
338
00:51:09,041 --> 00:51:12,291
You called the ball in.
You never sent
anyone there.
339
00:51:12,375 --> 00:51:14,291
You called it in.
How do you know
that's the mark?
340
00:51:15,791 --> 00:51:17,250
You didn't send a line--
341
00:51:19,250 --> 00:51:21,791
But, no, you called
the ball in. Youdid.
342
00:51:21,875 --> 00:51:23,291
You didn't call it in?
343
00:51:24,458 --> 00:51:26,958
How good is he, this Mozart?
344
00:51:27,041 --> 00:51:30,125
-He's remarkable.
-He's an unprincipled, spoiled,
345
00:51:30,208 --> 00:51:31,625
conceited brat.
346
00:51:31,708 --> 00:51:33,541
I'm a vulgar man.
347
00:51:34,666 --> 00:51:36,916
But I assure you,
my music is not.
348
00:51:37,000 --> 00:51:40,500
♪ Hurt me, break me, kill me♪
349
00:51:41,833 --> 00:51:43,416
He is divinely inspired.
350
00:51:43,500 --> 00:51:46,875
He is arrogant,
vulgar, obscene.
351
00:51:46,958 --> 00:51:49,291
He creates music
for the gods.
352
00:51:49,375 --> 00:51:51,375
- He is passionate.
- He burns with fire.
353
00:51:51,458 --> 00:51:53,750
- He is an angel.
- He is a devil.
354
00:54:55,500 --> 00:54:58,000
And I'm able to get
involved in things like this
355
00:54:58,083 --> 00:54:59,833
and to still be able
to concentrate well,
356
00:54:59,916 --> 00:55:02,250
which is something
that not too many other players
seem to be able to do.
357
00:55:02,333 --> 00:55:04,083
That's what
the players are afraid of,
358
00:55:04,166 --> 00:55:06,916
because they know when you
get angry, you're not
going to destroy your game,
359
00:55:07,000 --> 00:55:10,000
whereas if they get angry,
they've had it.
360
00:55:10,083 --> 00:55:13,083
Well, you know, that's
something that I've practiced
over the years.
361
00:55:13,166 --> 00:55:15,541
That's something that
I've practiced over the years.
362
00:55:15,625 --> 00:55:18,000
That's something that
I've practiced over the years.
363
00:55:32,500 --> 00:55:35,000
Is there a rule
against asking?
364
00:55:35,083 --> 00:55:37,333
Huh?
365
00:55:37,416 --> 00:55:39,291
What's the problem?
366
00:56:05,875 --> 00:56:09,708
I think things would be easier
if people realized that
it's me making a statement,
367
00:56:09,791 --> 00:56:11,916
like, "You do your job
and I'll do mine,"
368
00:56:12,000 --> 00:56:14,625
rather than me just complaining
for the hell of it.
369
00:56:19,041 --> 00:56:20,875
That hit the line.
370
00:56:51,625 --> 00:56:53,458
He didn't even see a mark.
371
00:56:53,541 --> 00:56:55,916
He asked the guy in the chair
if he saw a mark.
372
00:56:56,000 --> 00:56:57,291
He's not-- There's--
373
00:56:57,375 --> 00:56:59,625
There's not one mark
outside the line.
374
00:56:59,708 --> 00:57:02,000
There's not one mark wide.
It was right on the line.
375
00:57:03,958 --> 00:57:06,083
So how can you call
the ball out then?
376
00:57:06,166 --> 00:57:09,208
He didn't even--
Just ask him if he even saw it.
377
00:57:09,291 --> 00:57:11,666
Well, he couldn't find--
The mark was right on the line.
378
00:57:13,750 --> 00:57:16,250
But he asked this guy
in the chair if he saw a mark.
379
00:57:20,125 --> 00:57:22,000
So why don't--
I mean, the worst--
380
00:57:22,083 --> 00:57:25,000
First of all,
the ball was on the line.
The worst I get is a let.
381
00:57:26,208 --> 00:57:27,958
I mean, the ball was
right on the line.
382
00:58:51,750 --> 00:58:55,083
Allez, John! Come on, John!
383
00:59:01,458 --> 00:59:02,958
...just complaining
for the hell of it.
384
00:59:06,375 --> 00:59:10,291
I think things would be easier
if people realized that
it's me making a statement,
385
00:59:10,375 --> 00:59:12,458
like, "You do your job
and I'll do mine,"
386
00:59:12,541 --> 00:59:15,333
rather than me just complaining
for the hell of it.
387
00:59:15,416 --> 00:59:17,541
I saw
it was out.
388
00:59:17,625 --> 00:59:20,208
Why doesn't he--
Show me the mark.
There's no mark that's out.
389
00:59:28,416 --> 00:59:31,916
The ball is out.
390
00:59:38,625 --> 00:59:40,958
No, no, no...
391
00:59:50,833 --> 00:59:53,458
There.
It's out.
392
00:59:54,666 --> 00:59:56,208
John, it's out.
393
01:01:41,750 --> 01:01:43,416
Take your glasses off.
394
01:01:53,666 --> 01:01:55,250
Take your glasses off.
395
01:01:56,041 --> 01:01:58,000
So what?
396
01:01:58,083 --> 01:01:59,458
What does that mean?
397
01:02:00,458 --> 01:02:02,291
You speak English?
398
01:02:02,375 --> 01:02:05,166
Take your glasses off,
so you can see the ball,
all right?
399
01:02:05,250 --> 01:02:07,291
This? Take these off.
400
01:02:27,958 --> 01:02:30,791
Serge Daney wrote about John McEnroe...
401
01:02:30,875 --> 01:02:32,750
"One thing interests him:
402
01:02:32,833 --> 01:02:36,583
the eternal injustice that
afflicts him and him alone.
403
01:02:40,000 --> 01:02:42,125
A single passion motivates him:
404
01:02:42,208 --> 01:02:45,333
to owe his victories
only to himself,
405
01:02:45,416 --> 01:02:48,333
to seize them
from the rest of humanity,
406
01:02:48,416 --> 01:02:50,666
and share them with no one else.
407
01:02:56,708 --> 01:03:02,166
Bjoörn Borg puts the ball
in the spot where
the other player is not.
408
01:03:02,250 --> 01:03:06,916
McEnroe puts it in a place
the other player
will never reach.
409
01:03:10,208 --> 01:03:15,625
McEnroe only plays well
if he feels that
everyone is against him.
410
01:03:15,708 --> 01:03:18,000
Hostility is his drug.
411
01:03:18,875 --> 01:03:20,916
The referees, the lines,
412
01:03:21,000 --> 01:03:24,833
the net, the net cord judge,
and the spectators
413
01:03:24,916 --> 01:03:26,875
must all threaten him.
414
01:03:27,833 --> 01:03:29,916
They must force him to win
415
01:03:30,000 --> 01:03:34,750
while he keeps giving
the impression that
his back is against the wall.
416
01:03:36,000 --> 01:03:38,666
In truth, it's a ruse.
417
01:03:42,250 --> 01:03:44,375
He follows a golden rule
418
01:03:44,458 --> 01:03:49,041
which is that
he must never seem to be happy
with what he's doing.
419
01:03:49,125 --> 01:03:52,000
Consequently, there is
a whole range of gestures,
420
01:03:52,916 --> 01:03:54,958
from a shout of despair
421
01:03:55,041 --> 01:03:58,250
to the pout of a child
bottling up his tears.
422
01:04:00,250 --> 01:04:03,416
He can also throw in
that look of unending fury.
423
01:04:08,291 --> 01:04:13,375
Is he a spoiled brat, impulsive,
or just a bad seed?
424
01:04:13,458 --> 01:04:16,416
Probably all of those things.
425
01:04:16,500 --> 01:04:19,166
But my guess is something else.
426
01:04:19,250 --> 01:04:24,916
All this acting and theater
of absurd self-destruction
is a technique.
427
01:04:25,000 --> 01:04:30,750
It's a ploy to transform
this hostility which
he feels is bearing down on him
428
01:04:30,833 --> 01:04:33,875
into wonderful tennis.
It's sublime."
429
01:08:55,291 --> 01:09:00,083
John McEnroe
always finds a way to win.
430
01:09:00,166 --> 01:09:03,958
Vince Lombardi, the late coach
of the Green Bay Packers,
431
01:09:04,041 --> 01:09:07,458
a master of motivation,
this is what he said:
432
01:09:07,541 --> 01:09:11,416
"Life's battles don't always go
to the stronger or faster man.
433
01:09:11,500 --> 01:09:16,416
But sooner or later,
the man who wins
is the man who thinks he can."
434
01:09:16,500 --> 01:09:20,750
John McEnroe
always thinks he can win.
435
01:09:20,833 --> 01:09:24,333
Vince Lombardi
would have loved John McEnroe.
436
01:09:24,416 --> 01:09:26,541
Nice guys don't win
in this game.
437
01:09:26,625 --> 01:09:31,166
Well, there might be a few
of 'em around, but basically,
it's a sport for killers.
438
01:09:31,250 --> 01:09:35,416
This is kill or be killed
for millions of dollars.
439
01:09:35,500 --> 01:09:38,833
Nobody buries you if you lose.
They just forget you.
440
01:09:38,916 --> 01:09:40,708
And that's what the fear is.
441
01:09:40,791 --> 01:09:45,041
It's a competitive life
where we all have to fight
for whatever we get:
442
01:09:45,125 --> 01:09:47,708
living space, jobs.
443
01:09:47,791 --> 01:09:49,958
And when we get 'em,
somebody else wants 'em.
444
01:09:50,041 --> 01:09:51,458
And that's what's happening.
445
01:09:51,541 --> 01:09:54,166
That's what McEnroe is showing
you out on that tennis court.
446
01:09:54,250 --> 01:09:56,500
"I want it. I'm grabbing it.
It's mine!
447
01:09:56,583 --> 01:09:58,416
Try and stop me."
448
01:09:59,458 --> 01:10:01,625
Is he a reflection of our times?
449
01:10:01,708 --> 01:10:04,500
Is he violence personified
on the tennis court?
450
01:10:04,583 --> 01:10:06,708
Yes, McEnroe does disturb us.
451
01:10:06,791 --> 01:10:08,625
He's a genius who worries people
452
01:10:08,708 --> 01:10:11,000
because he's a reflection
of the times we live in:
453
01:10:11,083 --> 01:10:13,958
harsh, violent times.
454
01:10:14,041 --> 01:10:18,000
We can see in him
what society has done to us.
455
01:10:18,083 --> 01:10:24,000
In life, as in tennis today,
you're either a winner
or a loser.
456
01:10:24,083 --> 01:10:26,083
We live in a rewards system,
457
01:10:26,166 --> 01:10:30,333
and John McEnroe is
a pure product of it.
458
01:10:30,416 --> 01:10:32,916
He is a winner.
459
01:10:56,541 --> 01:10:58,250
Drama, noun.
460
01:10:58,333 --> 01:11:01,958
Comes from the Latindrama, which means "theatrical performance."
461
01:13:22,250 --> 01:13:25,666
McEnroe leads 1-love in the first set.
462
01:13:25,750 --> 01:13:28,958
Nothing must stand in his way from taking control of his final.
463
01:13:40,541 --> 01:13:42,541
See that microphone
underneath the court?
464
01:13:43,416 --> 01:13:44,916
That's it, underneath.
465
01:13:54,833 --> 01:13:55,875
Turn it off.
466
01:14:08,083 --> 01:14:09,541
Time.
467
01:14:31,291 --> 01:14:33,208
After only 21 minutes,
468
01:14:33,291 --> 01:14:35,583
the American has his first break point.
469
01:14:53,708 --> 01:14:57,416
3:52. McEnroe is in command.
470
01:15:18,333 --> 01:15:20,875
The American leads 5-2.
471
01:15:20,958 --> 01:15:22,916
Ivan Lendl tries to dig.
472
01:15:25,416 --> 01:15:28,208
How can you overrule right now?
There was the serve,
but you didn't overrule it.
473
01:15:28,291 --> 01:15:29,833
I overruled.
The ball is out.
474
01:15:29,916 --> 01:15:32,875
Why do you do everything
in his favor?
Are you afraid of him?
475
01:15:32,958 --> 01:15:34,541
Are you afraid of him?You are to play.
476
01:15:34,625 --> 01:15:36,166
Are you afraid of him?No.
477
01:15:36,250 --> 01:15:38,541
So don't do everything
in his favor, okay?
478
01:15:40,250 --> 01:15:43,541
4:01. Set point for McEnroe.
479
01:16:04,166 --> 01:16:06,208
At the beginning of the second set,
480
01:16:06,291 --> 01:16:09,416
McEnroe appears keen to press home his brilliant start to the match.
481
01:16:33,083 --> 01:16:35,375
Another break point to the American,
482
01:16:35,458 --> 01:16:37,583
who is already 3-love up.
483
01:16:52,875 --> 01:16:54,416
4:22.
484
01:16:54,500 --> 01:16:56,458
The match commentators are scrambling
485
01:16:56,541 --> 01:16:59,458
to recall someone who had ever played with such authority.
486
01:17:12,583 --> 01:17:16,000
After only 29 minutes in the second set,
487
01:17:16,083 --> 01:17:18,125
McEnroe has a set point.
488
01:17:21,291 --> 01:17:22,583
Fault.
489
01:17:23,333 --> 01:17:24,958
Turn that thing off.
490
01:17:25,041 --> 01:17:26,625
God, you people
really bug me.
491
01:18:11,708 --> 01:18:12,916
Fault.
492
01:20:32,083 --> 01:20:33,750
Shut up!
493
01:20:33,833 --> 01:20:36,958
The spectators no longer support McEnroe,
494
01:20:37,041 --> 01:20:39,541
who is trying to win as quickly as possible
495
01:20:39,625 --> 01:20:42,625
by coming to the net at every possible opportunity.
496
01:21:24,291 --> 01:21:27,166
Ivan Lendl manages to take a 3-2 lead
497
01:21:27,250 --> 01:21:30,208
thanks to a slight lull in the American's game.
498
01:22:23,750 --> 01:22:26,833
Back in a match which had been one-way traffic,
499
01:22:26,916 --> 01:22:30,625
the Czechoslovakian manages to conjure up a set point.
500
01:23:09,875 --> 01:23:11,250
5:46.
501
01:23:11,333 --> 01:23:14,083
It is time for McEnroe to regroup in the final.
502
01:23:45,583 --> 01:23:49,000
After two hours and 24 minutes of play,
503
01:23:49,083 --> 01:23:52,458
the American clearly doesn't want a center-court marathon.
504
01:24:03,375 --> 01:24:08,916
McEnroe is within sight of the crown, leading 4-3 in the fourth set.
505
01:24:09,000 --> 01:24:11,458
But Lendl gets a break point and takes it.
506
01:24:38,291 --> 01:24:40,666
Lendl! Lendl!
507
01:24:58,583 --> 01:25:01,625
Four all, fourth set.
508
01:25:01,708 --> 01:25:04,583
McEnroe gets a break point on Lendl's service.
509
01:25:32,916 --> 01:25:38,666
6:33. Lendl leads 1-love in the fifth set.
510
01:25:38,750 --> 01:25:41,416
It is the first time in three hours and seven minutes of play
511
01:25:41,500 --> 01:25:42,958
that he is ahead in the match.
512
01:26:32,708 --> 01:26:35,625
Two all, fifth set.
513
01:26:35,708 --> 01:26:38,541
It is crucial not to lose their service.
514
01:26:44,416 --> 01:26:46,041
Fault.
515
01:26:46,125 --> 01:26:47,375
Fault.
516
01:27:12,375 --> 01:27:14,000
There's no mark
where he just did it.
517
01:27:14,083 --> 01:27:16,041
That was right on the line.
518
01:27:16,125 --> 01:27:17,708
No, but he didn't--
No, but he didn't say--
519
01:27:17,791 --> 01:27:19,208
There was no mark.
520
01:27:19,291 --> 01:27:21,541
There was no mark
where he did it.
521
01:27:21,625 --> 01:27:23,583
No, but, Jacques, he didn't--
There's no mark there!
522
01:27:24,958 --> 01:27:27,416
There's no mark
where he did that.
523
01:27:27,500 --> 01:27:28,916
You can't look?
524
01:27:32,666 --> 01:27:35,125
Where's the mark?
525
01:27:35,208 --> 01:27:37,083
Where's the mark?
526
01:27:39,458 --> 01:27:40,916
Where's the mark?
527
01:27:42,125 --> 01:27:43,791
Can you ask him?
528
01:27:46,208 --> 01:27:48,958
There's no mark. I see the mark.
529
01:28:01,541 --> 01:28:05,333
Ivan Lendl.
Game, McEnroe.
530
01:28:05,416 --> 01:28:09,541
Ivan Lendl.
Game, McEnroe.
531
01:28:09,625 --> 01:28:13,083
Ivan Lendl...
532
01:30:27,041 --> 01:30:29,041
Ivan, congratulations.
533
01:30:29,125 --> 01:30:31,916
This is the first time
you've won the grand slam
in Paris.
534
01:30:32,000 --> 01:30:34,000
It's your first
grand slam victory.
535
01:30:38,250 --> 01:30:39,750
That's correct. That's correct.
536
01:30:52,833 --> 01:30:56,000
Cinema lies, not sport.
537
01:32:18,458 --> 01:32:21,041
♪ I'm about To have a nervous breakdown♪
538
01:32:21,125 --> 01:32:23,583
♪ My head really hurts♪
539
01:32:23,666 --> 01:32:26,166
♪ If I don't find A way out of here♪
540
01:32:26,250 --> 01:32:28,791
♪ I'm gonna go berserk 'Cause♪
541
01:32:28,875 --> 01:32:31,291
♪ I'm crazy and I'm hurt♪
542
01:32:33,166 --> 01:32:35,458
♪ Head on my shoulders♪
543
01:32:36,833 --> 01:32:41,250
♪ It's going berserk♪
544
01:32:46,250 --> 01:32:48,916
♪ I hear the same old Talk, talk, talk♪
545
01:32:49,000 --> 01:32:51,416
♪ The same old lines♪
546
01:32:51,500 --> 01:32:53,625
♪ Don't do me that today Yeah♪
547
01:32:53,708 --> 01:32:55,166
♪ If you know What's good for you♪
548
01:32:55,250 --> 01:32:56,708
♪ You'll get out of my way 'Cause♪
549
01:32:56,791 --> 01:32:59,083
♪ I'm crazy and I'm hurt♪
550
01:33:01,083 --> 01:33:03,291
♪ Head on my shoulders♪
551
01:33:05,125 --> 01:33:07,916
♪ Going berserk♪
552
01:33:14,041 --> 01:33:16,750
♪ I won't apologize♪
553
01:33:16,833 --> 01:33:19,166
♪ For acting outta line♪
554
01:33:19,250 --> 01:33:21,833
♪ You see the way I am♪
555
01:33:21,916 --> 01:33:24,541
♪ You leave anytime you can 'Cause♪
556
01:33:24,625 --> 01:33:26,958
♪ I'm crazy and I'm hurt♪
557
01:33:28,958 --> 01:33:31,250
♪ Head on my shoulders♪
558
01:33:32,958 --> 01:33:38,333
♪ Going berserk♪
559
01:33:46,833 --> 01:33:49,375
♪ Crazy! Crazy!♪
560
01:33:49,458 --> 01:33:52,208
♪ Crazy! Crazy!♪
561
01:33:52,291 --> 01:33:54,916
♪ I don't care What you fuckin' do♪
562
01:33:55,000 --> 01:33:57,583
♪ I don't care What you fuckin' say♪
563
01:33:57,666 --> 01:34:00,208
♪ I'm so sick of everything♪
564
01:34:00,291 --> 01:34:04,958
♪ I just wanna die!♪
565
01:34:28,250 --> 01:34:29,416
Please.
566
01:34:40,458 --> 01:34:41,750
Please.
44112
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