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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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[light piano music playing]
4
00:00:36,625 --> 00:00:38,666
[camera whirring]
5
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NEW WAVE
6
00:00:42,583 --> 00:00:44,791
[narrator] The great Asian dust
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covers the past
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00:00:46,958 --> 00:00:49,041
and shrouds the future.
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00:00:49,125 --> 00:00:50,958
[dramatic music playing on screen]
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00:01:14,291 --> 00:01:16,291
[film stops]
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00:01:16,375 --> 00:01:18,375
[scattered applause]
12
00:01:20,750 --> 00:01:22,750
[indistinct chattering]
13
00:01:28,250 --> 00:01:30,708
{\an8}Well, now we know.
14
00:01:30,791 --> 00:01:32,583
{\an8}All of civilization is mortal.
15
00:01:32,666 --> 00:01:33,791
{\an8}[together] Even film!
16
00:01:33,875 --> 00:01:35,833
{\an8}- Especially this film.
- [all chuckle]
17
00:01:35,916 --> 00:01:37,791
{\an8}But there are free drinks at the party.
18
00:01:39,708 --> 00:01:41,708
{\an8}[jazz music playing]
19
00:01:51,083 --> 00:01:53,208
[people laughing and chattering]
20
00:01:58,583 --> 00:02:01,041
You thrilled me in Bonjour Tristesse.
21
00:02:01,125 --> 00:02:03,208
- What a haunting performance.
- [chuckles]
22
00:02:03,291 --> 00:02:05,541
[in English] "I live with melancholy."
23
00:02:05,625 --> 00:02:06,958
Don't tell me,
24
00:02:07,375 --> 00:02:08,833
you're a director.
25
00:02:09,333 --> 00:02:11,250
[in French] Yes, well, I mean...
26
00:02:11,333 --> 00:02:13,333
[people chattering]
27
00:02:15,375 --> 00:02:17,458
Your film is a load of shit.
28
00:02:17,541 --> 00:02:19,875
Wait, don't ruin it for me.
29
00:02:19,958 --> 00:02:22,541
I want to read your review
when it comes out.
30
00:02:24,416 --> 00:02:27,000
La Passe du Diable
is not so much far from good,
31
00:02:27,083 --> 00:02:29,291
as it is close to being bad.
32
00:02:30,958 --> 00:02:32,875
You're my favorite critic, you know.
33
00:02:32,958 --> 00:02:34,458
So remember this,
34
00:02:34,541 --> 00:02:37,416
the best way to criticize a film
is to make one.
35
00:02:37,500 --> 00:02:38,791
Here we go.
36
00:02:39,291 --> 00:02:40,625
Beau-Beau.
37
00:02:40,708 --> 00:02:42,333
I’m ready to make a film.
38
00:02:42,833 --> 00:02:45,208
I hired you to write
the Pêcheur d'Islande script
39
00:02:45,291 --> 00:02:46,916
and you can't finish it.
40
00:02:47,000 --> 00:02:48,750
Because I'm not going to direct it.
41
00:02:48,833 --> 00:02:50,791
I don't know what the story is.
42
00:02:50,875 --> 00:02:52,833
- It's an adaptation.
- Exactly.
43
00:02:52,916 --> 00:02:55,416
I'm ready to direct. Now.
44
00:02:55,500 --> 00:02:58,333
Mr. de Beauregard, your film is a wonder.
45
00:02:58,416 --> 00:03:00,708
- The landscapes are spectacular.
- Thank you.
46
00:03:00,791 --> 00:03:03,916
Splendid movie.
Even better than Ramuntcho.
47
00:03:04,000 --> 00:03:04,916
[indistinct chatter]
48
00:03:05,000 --> 00:03:06,083
See you later.
49
00:03:10,833 --> 00:03:12,750
How come no one ever stands for me?
50
00:03:12,833 --> 00:03:14,416
Thank your lucky starlets we don't.
51
00:03:14,500 --> 00:03:16,208
We respect you too much for that.
52
00:03:16,791 --> 00:03:18,958
The one in the middle is Truffaut.
53
00:03:20,000 --> 00:03:22,000
And of course, Chabrol.
54
00:03:23,250 --> 00:03:25,666
The one with sunglasses is Jean-Luc.
55
00:03:25,750 --> 00:03:26,916
Jean-Luc?
56
00:03:28,291 --> 00:03:29,458
Godard.
57
00:03:31,250 --> 00:03:32,791
He's the real genius.
58
00:03:34,166 --> 00:03:36,291
- At least, that's what he'll tell you.
- [scoffs]
59
00:03:36,375 --> 00:03:39,333
Cannes is not ready
for your brilliance, François.
60
00:03:39,875 --> 00:03:42,791
I tell you,
your film is going to mesmerize them.
61
00:03:43,333 --> 00:03:46,000
They'll see the true face
of modern French cinema.
62
00:03:46,083 --> 00:03:48,333
Why say that? He just cursed my film!
63
00:03:48,416 --> 00:03:51,500
- [Beau-Beau] Stop with the superstitions.
- Don't worry, they'll hate it.
64
00:03:51,583 --> 00:03:52,875
Year's worst film.
65
00:03:52,958 --> 00:03:54,583
Never be released.
66
00:03:54,666 --> 00:03:56,791
- Bound to be a flop.
- [Suzanne] It's no Citizen Kane.
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00:03:56,875 --> 00:03:58,166
Not by a long shot.
68
00:03:58,250 --> 00:04:01,666
It'd be a miracle
for those Neanderthals to like your film.
69
00:04:02,333 --> 00:04:03,541
Your wife.
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00:04:03,625 --> 00:04:05,416
Ah... Ooh... [inhales]
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00:04:11,250 --> 00:04:13,125
Rossellini was best man at their wedding.
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00:04:13,208 --> 00:04:14,541
Written in the stars.
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[indistinct chatter]
74
00:04:22,916 --> 00:04:23,958
[woman] Pardon me,
75
00:04:24,458 --> 00:04:26,166
Claude Chabrol, right?
76
00:04:26,250 --> 00:04:27,583
Sorry to intrude.
77
00:04:27,666 --> 00:04:30,041
I just wanted to say I loved
Le Beau Serge.
78
00:04:30,916 --> 00:04:33,458
[splutters] Thank you. I am flattered.
79
00:04:33,958 --> 00:04:35,250
I admire you a lot.
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00:04:41,166 --> 00:04:43,166
[car horn honks in distance]
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00:04:43,666 --> 00:04:45,000
[laughing]
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00:04:45,083 --> 00:04:46,875
When I told my parents
83
00:04:47,416 --> 00:04:48,916
I had to make movies,
84
00:04:49,000 --> 00:04:51,666
it was like saying
"I want to be a composer,"
85
00:04:51,750 --> 00:04:53,625
to someone who'd never heard music.
86
00:04:53,708 --> 00:04:56,708
It's unknown territory for them.
But I have to direct.
87
00:04:57,250 --> 00:04:58,125
Hmm.
88
00:04:58,958 --> 00:05:00,333
It's past time, Suzanne.
89
00:05:01,416 --> 00:05:04,291
There's no such thing.
When it's time, it's time.
90
00:05:04,375 --> 00:05:07,083
I was supposed
to make my first film by 25.
91
00:05:07,166 --> 00:05:09,791
"Missed the Wave"
would be a nice epitaph.
92
00:05:09,875 --> 00:05:11,250
You did direct at 25.
93
00:05:11,333 --> 00:05:12,416
A short.
94
00:05:12,500 --> 00:05:14,083
That you directed.
95
00:05:14,166 --> 00:05:15,500
Mm.
96
00:05:15,583 --> 00:05:18,375
Those don't count.
Short films are anti-cinema.
97
00:05:19,291 --> 00:05:20,708
Face facts.
98
00:05:20,791 --> 00:05:23,208
I'm the last one from Cahiers to direct.
99
00:05:23,291 --> 00:05:25,291
Rivette, yes. Rohmer, yes.
100
00:05:25,375 --> 00:05:26,583
Chabrol, two times, yes.
101
00:05:26,666 --> 00:05:27,916
Truffaut, yes.
102
00:05:28,000 --> 00:05:31,708
Rohmer even wrote a novel.
Truffaut is a year younger than me.
103
00:05:33,000 --> 00:05:34,708
But Godard, no!
104
00:05:34,791 --> 00:05:36,125
[Suzanne sighs]
105
00:05:36,208 --> 00:05:38,583
How much longer until
you work up the courage?
106
00:05:40,166 --> 00:05:42,500
It's put-up-or-shut-up time,
the best moment.
107
00:05:46,166 --> 00:05:48,166
{\an8}[typewriter clicking]
108
00:06:04,458 --> 00:06:05,958
[sighs]
109
00:06:08,125 --> 00:06:11,333
"The 400 Blows
will be a film signed Frankness."
110
00:06:12,083 --> 00:06:14,500
"Rapidity. Art."
111
00:06:14,583 --> 00:06:17,000
"Novelty. Cinematograph."
112
00:06:17,500 --> 00:06:20,416
"Originality. Impertinence."
113
00:06:20,500 --> 00:06:22,750
"Seriousness. Tragedy."
114
00:06:23,291 --> 00:06:25,791
"Ferocity. Ubu Roi."
115
00:06:26,375 --> 00:06:27,958
"Fantasy."
116
00:06:28,041 --> 00:06:30,125
"Affection. Universality."
117
00:06:30,208 --> 00:06:31,458
"Tenderness."
118
00:06:31,541 --> 00:06:34,333
So why aren't we at Cannes
for the premiere?
119
00:06:34,416 --> 00:06:37,291
It's absurd.
Everyone's at Cannes. Everyone.
120
00:06:37,875 --> 00:06:38,708
I'm not.
121
00:06:38,791 --> 00:06:39,833
Me neither.
122
00:06:41,458 --> 00:06:42,375
But me,
123
00:06:42,916 --> 00:06:44,625
what the hell am I doing here?
124
00:06:45,375 --> 00:06:46,791
Eh, le Grand Momo?
125
00:06:47,375 --> 00:06:48,666
Go if you want to go.
126
00:06:48,750 --> 00:06:50,583
I really do love François movies.
127
00:06:51,125 --> 00:06:51,958
Me too.
128
00:06:52,583 --> 00:06:54,125
Me three. Me four!
129
00:06:54,875 --> 00:06:57,083
I would suffer 400 blows
130
00:06:57,166 --> 00:06:58,833
to see the premiere at Cannes.
131
00:06:58,916 --> 00:07:00,333
[Rivette] Then go,
132
00:07:00,416 --> 00:07:01,583
just leave us alone.
133
00:07:36,125 --> 00:07:37,166
[grunts softly]
134
00:07:38,416 --> 00:07:39,583
I'm going.
135
00:07:43,083 --> 00:07:45,958
["Come Prima (Tu me donnes)"
by Dalida plays]
136
00:08:02,416 --> 00:08:04,416
[people chattering]
137
00:08:06,666 --> 00:08:08,208
{\an8}[film camera whirring]
138
00:08:08,291 --> 00:08:11,125
{\an8}[contemplative music playing]
139
00:08:32,375 --> 00:08:34,375
[music stops]
140
00:08:35,625 --> 00:08:37,625
[applause]
141
00:08:47,375 --> 00:08:48,750
[indistinct chatter]
142
00:08:52,333 --> 00:08:53,666
Congratulations, François.
143
00:08:53,750 --> 00:08:58,166
Remember, art is not a pastime
but a priesthood.
144
00:08:58,250 --> 00:09:00,250
[indistinct chatter]
145
00:09:11,750 --> 00:09:12,791
Bravo!
146
00:09:14,666 --> 00:09:16,666
- [birds squawking]
- [indistinct chatter]
147
00:09:19,166 --> 00:09:20,708
[Jean-Luc] "A 28-year-old director:
148
00:09:21,291 --> 00:09:22,458
François Truffaut."
149
00:09:22,541 --> 00:09:25,291
"A 14-year-old star: Jean-Pierre Léaud."
150
00:09:25,375 --> 00:09:26,791
"A triumph at Cannes:"
151
00:09:27,500 --> 00:09:28,958
"The 400 Blows."
152
00:09:30,125 --> 00:09:31,833
Like Chabrol said last night,
153
00:09:32,583 --> 00:09:35,041
not bad for a school dropout, runaway,
154
00:09:35,125 --> 00:09:36,500
and army deserter.
155
00:09:38,666 --> 00:09:41,416
I talked to Braunberger
about your script, Odile.
156
00:09:42,333 --> 00:09:44,458
He said it was 250 pages.
157
00:09:44,541 --> 00:09:46,041
He told me it was unfilmable.
158
00:09:46,875 --> 00:09:48,250
What's unfilmable?
159
00:09:48,333 --> 00:09:50,458
Anything and everything is filmable.
160
00:09:51,041 --> 00:09:52,916
He must have meant un-produce-able.
161
00:09:53,416 --> 00:09:56,000
- [indistinct chatter]
- [camera shutters clicking]
162
00:09:58,375 --> 00:09:59,666
[Godard] Prenatal then?
163
00:10:00,541 --> 00:10:04,375
Maybe call it A Woman is a Woman
and make it part musical?
164
00:10:04,458 --> 00:10:05,375
Which part?
165
00:10:06,083 --> 00:10:08,208
[grunts softly] Not nearly half.
166
00:10:08,291 --> 00:10:10,625
Our best bet is the Truffaut outline,
167
00:10:10,708 --> 00:10:13,000
the American-girl-loving cop killer.
168
00:10:13,083 --> 00:10:14,958
- The true crime guy?
- Hm.
169
00:10:15,041 --> 00:10:16,416
Michel Portail?
170
00:10:16,958 --> 00:10:18,458
He's just a petty thief.
171
00:10:18,541 --> 00:10:21,416
You and Truffaut did it together. Perfect.
172
00:10:23,625 --> 00:10:26,500
I'd like to show you
what I have of Prenatal.
173
00:10:26,583 --> 00:10:28,208
You want a chance or not?
174
00:10:28,291 --> 00:10:30,833
Let Igance Morgenstern do Prenatal.
175
00:10:30,916 --> 00:10:34,250
I'll only let you direct
if you shoot Truffaut's story.
176
00:10:47,708 --> 00:10:51,000
I was secretly hoping
that would be the one you favored.
177
00:10:52,166 --> 00:10:54,833
We can make it for a paltry sum.
I promise.
178
00:10:54,916 --> 00:10:57,833
However paltry, I don't even have that.
[chuckles]
179
00:10:57,916 --> 00:11:00,166
But with Truffaut and Chabrol's names...
180
00:11:00,250 --> 00:11:01,208
Claude too?
181
00:11:01,291 --> 00:11:05,250
He'll be our Technical Director.
Or Artistic Supervisor.
182
00:11:05,333 --> 00:11:07,541
Whatever satisfies the union.
183
00:11:07,625 --> 00:11:09,250
Truffaut, Chabrol,
184
00:11:09,833 --> 00:11:10,958
and me.
185
00:11:12,250 --> 00:11:14,041
If they want New Wave
186
00:11:14,958 --> 00:11:16,500
we'll deliver the whole wave.
187
00:11:16,583 --> 00:11:18,416
Precisely! That's the spirit.
188
00:11:18,500 --> 00:11:21,041
Everyone wants the New Wave.
189
00:11:21,125 --> 00:11:24,750
With subsidies, plus Pignères,
190
00:11:24,833 --> 00:11:26,833
and I've lined up Gérard Beytout,
191
00:11:27,333 --> 00:11:28,875
It will still be less
192
00:11:28,958 --> 00:11:31,583
than a third of the budget
for an average film.
193
00:11:31,666 --> 00:11:33,250
More than enough.
194
00:11:33,333 --> 00:11:37,208
But please,
don't ever say "average" again.
195
00:11:37,291 --> 00:11:38,333
Never again.
196
00:11:38,416 --> 00:11:41,541
We at Cahiers believe
films shouldn't cost much.
197
00:11:41,625 --> 00:11:43,416
I've always liked that about Cahiers.
198
00:11:43,500 --> 00:11:45,458
It's the way to creative freedom!
199
00:11:45,541 --> 00:11:47,291
- That, I like less.
- [chuckles]
200
00:11:47,916 --> 00:11:48,833
Look,
201
00:11:48,916 --> 00:11:52,125
this is one of the notebooks
where I've put
202
00:11:52,208 --> 00:11:54,208
a decade of making movies in my head.
203
00:11:54,625 --> 00:11:57,083
Now's the time to transform ideas
204
00:11:57,166 --> 00:11:58,666
into clear images.
205
00:11:59,458 --> 00:12:03,541
All you need for a movie
is a girl and a gun.
206
00:12:03,625 --> 00:12:04,791
I'm counting on that.
207
00:12:04,875 --> 00:12:08,041
The instantaneous and unexpected
are excluded in a formal narrative.
208
00:12:08,125 --> 00:12:09,875
It's time to explore that.
209
00:12:09,958 --> 00:12:12,416
Yet a formal narrative
is what an audience enjoys.
210
00:12:12,500 --> 00:12:15,125
The paying audience, that is.
211
00:12:15,208 --> 00:12:19,000
How often can it choose
between lyricism and narrative,
212
00:12:19,083 --> 00:12:20,500
this paying audience?
213
00:12:22,375 --> 00:12:24,916
Why am I getting involved
with a cinephile?
214
00:12:25,000 --> 00:12:27,416
I'm either insane or a genius.
215
00:12:28,250 --> 00:12:30,666
[boat horn honks]
216
00:12:30,750 --> 00:12:33,166
[bird squawking]
217
00:12:35,625 --> 00:12:36,666
[soft grunt]
218
00:12:36,750 --> 00:12:38,583
We'll never get Jean Seberg.
219
00:12:38,666 --> 00:12:40,666
[light jazz music playing]
220
00:12:44,000 --> 00:12:46,125
[Godard] It doesn't cost anything to try.
221
00:13:00,375 --> 00:13:01,500
Lucien?
222
00:13:02,916 --> 00:13:05,625
- You hate that name?
- No, but why change it?
223
00:13:05,708 --> 00:13:07,041
You're right.
224
00:13:07,625 --> 00:13:09,750
Michel it was, Michel it shall remain.
225
00:13:10,416 --> 00:13:13,500
But instead of Michel Portail,
Michel Poiccard.
226
00:13:14,000 --> 00:13:16,000
Poiccard? Why not?
227
00:13:20,041 --> 00:13:22,041
[train clattering]
228
00:13:43,833 --> 00:13:46,333
- Well?
- Good.
229
00:13:46,416 --> 00:13:47,458
Not great?
230
00:13:47,541 --> 00:13:49,541
It's an outline, how great can it be?
231
00:13:49,625 --> 00:13:51,750
I applaud these ideas. It's coming along.
232
00:13:54,000 --> 00:13:57,541
I should go make that film in Panama.
At least I know it well.
233
00:13:57,625 --> 00:14:00,125
Jean-Luc's infamous lost years.
234
00:14:00,208 --> 00:14:02,250
That too will be an interesting movie.
235
00:14:02,333 --> 00:14:03,583
Maybe next time.
236
00:14:04,791 --> 00:14:07,375
- It's Liliane David.
- What a surprise.
237
00:14:09,958 --> 00:14:12,375
This is where you two write?
238
00:14:12,458 --> 00:14:13,625
[Truffaut] For years.
239
00:14:14,166 --> 00:14:17,458
Says here, "First draft, December '56"
240
00:14:17,541 --> 00:14:21,000
"We're going to talk about
very nasty things." Stendhal.
241
00:14:21,083 --> 00:14:22,833
Can't say I'm surprised.
242
00:14:24,125 --> 00:14:26,791
Jean-Luc, you have a part for me?
243
00:14:27,416 --> 00:14:28,833
Definitely not.
244
00:14:28,916 --> 00:14:30,541
[chuckling]
245
00:14:30,625 --> 00:14:33,250
Film your feelings.
Make a great film, my name's on it.
246
00:14:34,250 --> 00:14:36,041
- But it’s my movie.
- [Truffaut] Precisely.
247
00:14:36,125 --> 00:14:37,500
Make your own mistakes.
248
00:14:44,875 --> 00:14:46,916
{\an8}[indistinct chattering]
249
00:15:01,958 --> 00:15:04,166
You need to work on your footwork.
250
00:15:04,250 --> 00:15:05,291
[chuckles]
251
00:15:07,166 --> 00:15:09,041
You're lucky you wear glasses.
252
00:15:11,166 --> 00:15:13,250
[Godard] So, your character,
253
00:15:13,333 --> 00:15:14,291
Michel,
254
00:15:14,791 --> 00:15:16,666
will either die,
255
00:15:16,750 --> 00:15:18,750
or get the girl.
256
00:15:19,833 --> 00:15:21,166
I can do both.
257
00:15:24,041 --> 00:15:26,291
[gloves hitting]
258
00:15:27,916 --> 00:15:29,708
You'll shoot it like
Charlotte et son Jules?
259
00:15:31,500 --> 00:15:34,333
- But this time you dub your own voice.
- Why?
260
00:15:34,916 --> 00:15:36,875
You did such a great job in my absence.
261
00:15:37,375 --> 00:15:38,791
I did the best I could.
262
00:15:39,291 --> 00:15:42,250
You're done with
military service in Algeria?
263
00:15:42,333 --> 00:15:43,166
Yes.
264
00:15:43,250 --> 00:15:45,958
So you'll be able
to dub yourself this time.
265
00:15:47,416 --> 00:15:48,833
If I do the picture.
266
00:15:49,333 --> 00:15:51,041
It's not another short, is it?
267
00:15:55,500 --> 00:15:57,708
{\an8}[people chattering]
268
00:16:23,333 --> 00:16:25,958
Roberto Rossellini,
you're the father of New Wave,
269
00:16:26,041 --> 00:16:28,125
and we feel like your adopted children.
270
00:16:28,208 --> 00:16:30,208
Cahiers du Cinéma is your home.
271
00:16:30,291 --> 00:16:31,416
Welcome, Roberto.
272
00:16:31,500 --> 00:16:32,541
[applause]
273
00:16:40,833 --> 00:16:42,041
Thank you, my friends.
274
00:16:42,125 --> 00:16:44,250
Circle of cinemaniacs.
275
00:16:44,333 --> 00:16:45,541
[all laughing]
276
00:16:45,625 --> 00:16:47,083
Insurgents all.
277
00:16:48,208 --> 00:16:51,416
I'm always trying to create a movement.
278
00:16:52,125 --> 00:16:54,541
But I've yet to succeed
because I understand that,
279
00:16:54,625 --> 00:16:57,708
to create a movement,
you must crystallize yourself
280
00:16:57,791 --> 00:16:59,083
into a position.
281
00:17:00,000 --> 00:17:02,500
To crystallize yourself
is to castrate yourself.
282
00:17:05,208 --> 00:17:06,708
Cinema is a moral affair.
283
00:17:07,291 --> 00:17:10,333
There is no technique
for grasping reality.
284
00:17:10,416 --> 00:17:13,750
Only a moral position can do so.
285
00:17:13,833 --> 00:17:17,166
The camera's a ballpoint pen,
an imbecile,
286
00:17:17,750 --> 00:17:19,791
it's worth nothing
if you have nothing to say.
287
00:17:20,416 --> 00:17:22,916
The best way of filming is the simplest.
288
00:17:23,000 --> 00:17:24,500
Real art
289
00:17:24,583 --> 00:17:27,250
avoids artistic effects like the plague.
290
00:17:27,333 --> 00:17:29,666
True freedom is logical
291
00:17:29,750 --> 00:17:32,208
and does not care about rules and habits.
292
00:17:32,291 --> 00:17:36,791
Filming should only be done
in a state of urgency and necessity.
293
00:17:39,250 --> 00:17:42,375
Don't regard cinema as something mystical.
294
00:17:44,041 --> 00:17:45,125
I'll be watching.
295
00:17:45,208 --> 00:17:46,875
[all laughing]
296
00:17:46,958 --> 00:17:48,958
[people chattering]
297
00:17:49,041 --> 00:17:53,166
- To urgency and necessity.
- Thank you, Jacques.
298
00:17:53,708 --> 00:17:56,208
Journey to Italy shook me to my core.
299
00:17:56,291 --> 00:17:57,791
[exclaims softly]
300
00:17:58,750 --> 00:18:00,333
Thank you for your speech.
301
00:18:06,458 --> 00:18:07,458
[Godard] At last!
302
00:18:08,625 --> 00:18:10,916
My dream came true.
I'm making my first film.
303
00:18:11,000 --> 00:18:12,458
Beauregard greenlighted it.
304
00:18:12,541 --> 00:18:13,791
For fuck's sake!
305
00:18:14,291 --> 00:18:16,375
First day of shooting: end of dream.
306
00:18:16,458 --> 00:18:17,916
[both laughing]
307
00:18:24,000 --> 00:18:25,708
Anybody can make movies.
308
00:18:25,791 --> 00:18:27,833
It's just another means of expression.
309
00:18:27,916 --> 00:18:29,958
Forget about live sound,
color, big screen.
310
00:18:30,041 --> 00:18:31,958
Disrespect cinema's traditional forms.
311
00:18:32,041 --> 00:18:33,625
Where should I drop you?
312
00:18:33,708 --> 00:18:36,541
Turn left. Remember, shoot quickly.
313
00:18:36,625 --> 00:18:39,375
Interrupt shooting
when inspiration flags.
314
00:18:39,458 --> 00:18:40,541
It's a one-way street.
315
00:18:40,625 --> 00:18:42,375
Then the next left.
316
00:18:42,875 --> 00:18:44,333
Use notes instead of a script.
317
00:18:44,416 --> 00:18:47,291
Find cheap technical solutions
to logistical problems.
318
00:18:47,375 --> 00:18:48,500
Here, it's fine.
319
00:18:55,291 --> 00:18:56,208
Thank you, Roberto.
320
00:18:56,291 --> 00:18:58,458
Thank you for the ride, Jean-Luc.
321
00:19:03,250 --> 00:19:04,541
[car door closes]
322
00:19:06,291 --> 00:19:08,291
Do you have any money you could lend me?
323
00:19:14,166 --> 00:19:16,208
[Montel]
It'll be the biggest mistake of your life.
324
00:19:16,291 --> 00:19:18,166
The biggest mistake of my life?
325
00:19:18,666 --> 00:19:20,041
Are you positive?
326
00:19:20,125 --> 00:19:21,291
You promise?
327
00:19:21,875 --> 00:19:24,708
I'm okay with this being my worst fuck-up.
328
00:19:24,791 --> 00:19:28,166
Let's just hope it's never released.
It'll ruin your career.
329
00:19:28,250 --> 00:19:31,083
Then line up another film
before I'm done with this one.
330
00:19:31,166 --> 00:19:33,250
I know Godard's your friend,
331
00:19:34,458 --> 00:19:36,291
but this is career suicide.
332
00:19:36,375 --> 00:19:38,875
You're wrong. He's not that good a friend.
333
00:19:38,958 --> 00:19:40,166
I can tell.
334
00:19:40,250 --> 00:19:43,541
The contract they sent won't pay
for your vacation on the Riviera.
335
00:19:44,250 --> 00:19:46,291
A side trip to Monaco,
one spin of the wheel
336
00:19:46,750 --> 00:19:47,916
will pay for it.
337
00:19:49,291 --> 00:19:51,041
I'll ask you one more time:
338
00:19:51,125 --> 00:19:54,250
I can get you
a part in Julien Duvivier's film.
339
00:19:54,333 --> 00:19:56,166
You'll work less, make more.
340
00:19:56,250 --> 00:19:58,416
And be in a film people will see.
341
00:20:00,083 --> 00:20:02,125
And be bored to death.
342
00:20:02,916 --> 00:20:04,875
[sighs] You're wearing me out.
343
00:20:04,958 --> 00:20:06,208
Thank you.
344
00:20:08,041 --> 00:20:10,041
- Don't be mad at me.
- [squeals]
345
00:20:10,666 --> 00:20:11,791
It will be fine.
346
00:20:12,958 --> 00:20:15,333
{\an8}[footsteps]
347
00:20:15,416 --> 00:20:17,041
[people chattering]
348
00:20:17,125 --> 00:20:19,375
[pinball machine dinging]
349
00:20:23,125 --> 00:20:25,416
The only way not to be late,
350
00:20:25,500 --> 00:20:27,125
is to always be early.
351
00:20:27,708 --> 00:20:31,166
I said I'd make you the youngest
First Assistant Director in France.
352
00:20:31,666 --> 00:20:32,708
Thank you.
353
00:20:36,541 --> 00:20:38,250
[Godard] Here's the story outline.
354
00:20:38,333 --> 00:20:39,250
[Rissient] Ah.
355
00:20:41,166 --> 00:20:43,250
Plenty for me to start scheduling.
356
00:20:43,833 --> 00:20:45,333
When should we start scouting?
357
00:20:45,416 --> 00:20:46,791
I already have my locations.
358
00:20:46,875 --> 00:20:48,625
- This is the list.
- Great.
359
00:20:48,708 --> 00:20:50,500
[Godard] And here's a list of cars.
360
00:20:50,583 --> 00:20:52,791
All the ones I want for the shoot.
361
00:20:52,875 --> 00:20:56,375
The big American car
is stolen by Michel at the beginning.
362
00:20:56,458 --> 00:20:57,500
Mm-hm.
363
00:20:57,583 --> 00:20:58,958
You'll find one in Marseilles?
364
00:20:59,041 --> 00:21:00,291
Of course.
365
00:21:02,375 --> 00:21:03,583
That's all?
366
00:21:03,666 --> 00:21:05,166
[dinging]
367
00:21:07,583 --> 00:21:08,791
So, Jean-Luc,
368
00:21:08,875 --> 00:21:11,500
in this scenario, there are 58 scenes.
369
00:21:11,583 --> 00:21:12,958
Give or take ten.
370
00:21:13,500 --> 00:21:15,333
Of course, it could all change.
371
00:21:15,416 --> 00:21:16,875
All but the money.
372
00:21:16,958 --> 00:21:18,250
Which means our days...
373
00:21:19,833 --> 00:21:21,833
We have 20 days to shoot,
374
00:21:21,916 --> 00:21:24,166
no matter how many scenes there are.
375
00:21:24,250 --> 00:21:26,916
It's more than enough. Beyond adequate.
376
00:21:28,500 --> 00:21:30,541
Don't let anyone see any of that.
377
00:21:37,000 --> 00:21:38,625
[woman gasps]
378
00:21:46,541 --> 00:21:47,500
[man] Sir, please.
379
00:21:48,208 --> 00:21:49,583
Melville said I could visit.
380
00:21:49,666 --> 00:21:51,000
What's your name?
381
00:21:51,875 --> 00:21:54,500
- Jean-Luc Godard.
- I'm sorry, no press on set.
382
00:21:54,583 --> 00:21:56,291
Melville invited me.
383
00:21:56,375 --> 00:21:57,833
And I'm not press.
384
00:22:02,166 --> 00:22:03,916
I'm a director now.
385
00:22:04,000 --> 00:22:06,791
- I didn't think you'd come.
- Really?
386
00:22:06,875 --> 00:22:08,833
Add another length of track.
387
00:22:08,916 --> 00:22:10,666
I just want to soak it in.
388
00:22:11,166 --> 00:22:14,333
I have so many questions
as day one gets closer.
389
00:22:14,416 --> 00:22:16,291
But of course. Naturally.
390
00:22:16,375 --> 00:22:21,041
A filmmaker should be constantly open
and "traumatizable."
391
00:22:21,125 --> 00:22:25,750
Their sense of observation
and psychology must be sharp.
392
00:22:25,833 --> 00:22:28,041
And you have to use Martial for the music.
393
00:22:28,125 --> 00:22:30,750
Solal is sublime.
I'll make sure you two meet.
394
00:22:30,833 --> 00:22:32,250
Roland!
395
00:22:32,333 --> 00:22:34,916
Let's swap out the Cadillac.
Use the Buick.
396
00:22:36,416 --> 00:22:39,541
I can introduce you to some car thieves.
397
00:22:39,625 --> 00:22:41,958
Specialists. The best of the best.
398
00:22:44,375 --> 00:22:45,416
This one.
399
00:22:46,625 --> 00:22:48,541
Make your storytelling easy.
400
00:22:48,625 --> 00:22:50,500
Lose the sub-plots.
401
00:22:51,000 --> 00:22:53,916
- Even the one including you?
- Of course not.
402
00:22:54,000 --> 00:22:56,333
Find the lyricism in your narrative.
403
00:22:57,125 --> 00:23:01,500
Feel free to ignore what I've said.
That's what advice is for.
404
00:23:01,583 --> 00:23:02,791
If you'll excuse me...
405
00:23:02,875 --> 00:23:04,916
I'll be right back.
406
00:23:05,000 --> 00:23:07,958
When you're on set
and everyone's looking at you,
407
00:23:08,041 --> 00:23:10,041
that will be your own personal hell.
408
00:23:10,708 --> 00:23:12,708
You two, on the other side,
409
00:23:12,791 --> 00:23:14,333
you, come with me.
410
00:23:19,791 --> 00:23:22,708
{\an8}- [horn honks]
- [people chattering, laughing]
411
00:23:23,583 --> 00:23:25,875
{\an8}[camera shutters clicking]
412
00:23:27,875 --> 00:23:29,500
Jean Seberg has just arrived,
413
00:23:30,166 --> 00:23:32,041
she is getting out of her car.
414
00:23:32,125 --> 00:23:34,291
[people chattering]
415
00:23:35,166 --> 00:23:36,541
Are you settling in here?
416
00:23:37,125 --> 00:23:38,500
What do you expect from Paris?
417
00:23:39,333 --> 00:23:41,750
Money, fast cars,
418
00:23:41,833 --> 00:23:43,083
diamonds!
419
00:23:43,166 --> 00:23:44,791
[all laughing]
420
00:23:45,875 --> 00:23:47,625
No, seriously,
421
00:23:47,708 --> 00:23:51,916
a quiet, creative life with my husband
422
00:23:52,500 --> 00:23:53,541
and my friends.
423
00:23:54,416 --> 00:23:55,458
Thank you.
424
00:23:55,541 --> 00:23:58,166
[overlapping chatter]
425
00:24:00,625 --> 00:24:04,375
{\an8}[singing "Happy Birthday" in French]
426
00:24:12,541 --> 00:24:14,458
[blowing]
427
00:24:14,541 --> 00:24:16,916
[cheering]
428
00:24:23,750 --> 00:24:28,125
Do you consider yourself
a movie star or an actress?
429
00:24:28,750 --> 00:24:31,291
[soft grunt] I think that...
430
00:24:32,083 --> 00:24:33,041
[sighs]
431
00:24:34,083 --> 00:24:37,333
I'm living proof
that all the publicity in the world
432
00:24:37,416 --> 00:24:40,375
will not make you a movie star,
433
00:24:40,458 --> 00:24:42,750
if you are not also an actress.
434
00:24:43,583 --> 00:24:45,583
- What is your name again?
- Godard.
435
00:24:46,125 --> 00:24:47,666
G-O-D-A-R-D.
436
00:24:47,750 --> 00:24:49,166
I should be on the list.
437
00:24:49,708 --> 00:24:52,083
Jean Seberg might star in my film.
438
00:24:54,833 --> 00:24:55,750
François Moreuil?
439
00:24:57,875 --> 00:24:59,958
- François Moreuil
- Raymond, he's with me.
440
00:25:00,666 --> 00:25:02,916
Jean-Luc Godard. Glad you could make it.
441
00:25:03,000 --> 00:25:03,958
Thank you.
442
00:25:04,500 --> 00:25:06,291
Thanks for having me.
443
00:25:06,375 --> 00:25:09,166
Didn't expect to have room in my life
for another François.
444
00:25:10,083 --> 00:25:11,500
Jean's excited to meet you.
445
00:25:11,583 --> 00:25:13,250
Jean Seberg has seen my work?
446
00:25:13,333 --> 00:25:14,833
You've made a film before?
447
00:25:16,291 --> 00:25:18,500
I feel so close to the New Wave.
448
00:25:18,583 --> 00:25:22,000
Truffaut wrote the script,
Chabrol is an advisor.
449
00:25:22,083 --> 00:25:23,875
I think it would be great for her.
450
00:25:23,958 --> 00:25:25,458
What does she think?
451
00:25:25,541 --> 00:25:30,750
Otto Preminger is the world's
most charming dinner guest
452
00:25:30,833 --> 00:25:35,166
and the world's most sadistic director.
453
00:25:35,875 --> 00:25:37,250
That's not true.
454
00:25:37,333 --> 00:25:40,500
He's only okay as a dinner guest.
455
00:25:40,583 --> 00:25:42,291
[chuckles]
456
00:25:42,375 --> 00:25:43,916
I'm not Preminger.
457
00:25:44,500 --> 00:25:46,583
I won't do more than two takes.
458
00:25:46,666 --> 00:25:48,000
They'll let you do that?
459
00:25:50,208 --> 00:25:53,541
The more you repeat,
the more mechanical things get,
460
00:25:53,625 --> 00:25:55,541
the more the film loses life.
461
00:25:56,916 --> 00:25:59,458
I want to maintain
the independence of the artist,
462
00:25:59,541 --> 00:26:03,125
like a painter who leaves
his canvas to get a drink
463
00:26:03,208 --> 00:26:04,583
if he feels like it.
464
00:26:04,666 --> 00:26:07,291
To seek inspiration.
465
00:26:08,458 --> 00:26:11,458
Wow. That sounds interesting.
466
00:26:11,541 --> 00:26:13,708
Very different from what
467
00:26:13,791 --> 00:26:15,500
Herr Otto taught me.
468
00:26:16,041 --> 00:26:17,625
It's not so different.
469
00:26:18,791 --> 00:26:22,000
Breathless will be a continuation
of your role in Bonjour Tristesse.
470
00:26:23,541 --> 00:26:24,500
How?
471
00:26:24,583 --> 00:26:28,041
Imagine Preminger's last shot,
472
00:26:28,125 --> 00:26:30,875
dissolve, then the title,
"Three Years Later."
473
00:26:30,958 --> 00:26:32,583
All you have to be is yourself.
474
00:26:33,875 --> 00:26:34,708
Huh.
475
00:26:34,791 --> 00:26:38,416
I want you to keep the gestures
you make away from set.
476
00:26:38,500 --> 00:26:40,416
The way you hold your cigarette,
477
00:26:41,250 --> 00:26:42,500
or comb your hair.
478
00:26:44,166 --> 00:26:46,041
You've never seen me comb my hair.
479
00:26:46,125 --> 00:26:47,291
Yet...
480
00:26:48,083 --> 00:26:49,750
everyone would love to.
481
00:26:49,833 --> 00:26:51,500
[in English] A very famous place in Paris.
482
00:26:51,583 --> 00:26:52,916
[in English] Oh, I've been here.
483
00:26:53,000 --> 00:26:55,000
I grew up on a farm in Iowa.
484
00:26:56,041 --> 00:26:58,000
And on the night
of the Saint Joan premiere,
485
00:26:58,083 --> 00:27:01,500
Harry Belafonte sang me
"My Funny Valentine" right there.
486
00:27:01,583 --> 00:27:02,625
Just for me.
487
00:27:02,708 --> 00:27:04,166
[chuckling]
488
00:27:04,250 --> 00:27:06,250
[in English] You were
a saint in Saint Joan.
489
00:27:06,333 --> 00:27:07,375
[in French] The saint.
490
00:27:08,250 --> 00:27:10,291
[in French]
And a sinner in Bonjour Tristesse.
491
00:27:10,375 --> 00:27:13,750
In this you'll be both. Sinner and saint.
492
00:27:14,458 --> 00:27:16,166
[in French] Sounds quite tempting.
493
00:27:17,625 --> 00:27:19,791
If the big bad wolves will let me.
494
00:27:23,541 --> 00:27:24,916
Which wolves are those?
495
00:27:25,000 --> 00:27:27,500
Preminger sold Jean's contract
to Columbia Pictures.
496
00:27:28,416 --> 00:27:29,416
What contract?
497
00:27:30,458 --> 00:27:33,541
Don't worry. I'll make sure
Columbia sees it our way.
498
00:27:34,500 --> 00:27:38,000
We'll offer them $15,000
or half the worldwide profits.
499
00:27:38,666 --> 00:27:41,333
- They'll take the cash.
- $15,000!
500
00:27:42,083 --> 00:27:43,208
She's worth it.
501
00:27:43,916 --> 00:27:47,291
[light jazz music playing]
502
00:27:52,583 --> 00:27:53,875
[laughs]
503
00:28:10,583 --> 00:28:11,916
[exhales]
504
00:28:13,291 --> 00:28:14,416
[moans]
505
00:28:15,000 --> 00:28:16,916
- [in English] Well?
- [in English] Well...
506
00:28:18,916 --> 00:28:20,333
He's not Truffaut.
507
00:28:20,416 --> 00:28:21,958
He's not Chabrol. [chuckles]
508
00:28:22,041 --> 00:28:24,250
He'll be better
than working with Preminger.
509
00:28:24,333 --> 00:28:26,250
Honestly, who wouldn't be?
510
00:28:35,791 --> 00:28:38,333
{\an8}[phone ringing]
511
00:28:40,416 --> 00:28:42,958
This is the fantastic cameraman
I told you about.
512
00:28:43,041 --> 00:28:44,375
I am Raoul Coutard.
513
00:28:44,458 --> 00:28:46,833
I don't like Beau-Beau imposing me
instead of Latouche.
514
00:28:46,916 --> 00:28:48,750
That's not how I get work.
515
00:28:50,791 --> 00:28:52,958
I want to know
if I'm the right man for this.
516
00:28:53,041 --> 00:28:55,125
Have you ever used the Cameflex Eclair?
517
00:28:55,958 --> 00:28:57,375
During the war, yes.
518
00:28:57,458 --> 00:28:59,000
But it's noisy. And--
519
00:28:59,083 --> 00:29:00,791
No sync sound, I know.
520
00:29:01,375 --> 00:29:04,291
But it weighs so little,
it allows you to do anything,
521
00:29:04,375 --> 00:29:05,625
even carry it in hand.
522
00:29:05,708 --> 00:29:08,166
When a shoot is over-planned,
523
00:29:08,250 --> 00:29:09,708
over-prepared,
524
00:29:09,791 --> 00:29:14,083
it's just a practical application
of what's already imagined.
525
00:29:14,166 --> 00:29:15,833
I want to go in each day
526
00:29:15,916 --> 00:29:17,750
not knowing what I am going to shoot.
527
00:29:17,833 --> 00:29:18,916
I want to search for it.
528
00:29:19,000 --> 00:29:20,583
Like reporting I've done.
529
00:29:20,666 --> 00:29:23,500
What about filming
at night without lights?
530
00:29:25,875 --> 00:29:27,041
I like Ilford.
531
00:29:27,125 --> 00:29:28,666
Who doesn't?
532
00:29:29,333 --> 00:29:31,750
It's lowlight stills film,
not movie stock.
533
00:29:32,708 --> 00:29:34,291
It's only sold in small canisters.
534
00:29:34,375 --> 00:29:38,083
What's keeping us from splicing
eight or nine of them together?
535
00:29:38,166 --> 00:29:39,375
Would that work?
536
00:29:39,458 --> 00:29:42,708
Yeah. If splices go through a projector,
they should go through a camera.
537
00:29:43,333 --> 00:29:44,666
Let's try it.
538
00:29:45,958 --> 00:29:46,958
And for ratios?
539
00:29:47,583 --> 00:29:50,875
The norm is 'scope.
1:37 would be a bit arbitrary.
540
00:29:50,958 --> 00:29:52,458
That's why I like it.
541
00:29:53,458 --> 00:29:54,916
Listen, Coutard,
542
00:29:55,666 --> 00:29:58,000
I want a cameraman that goes with me.
543
00:30:00,000 --> 00:30:02,958
- When I ask, he delivers.
- [soft chuckle]
544
00:30:05,333 --> 00:30:06,791
How can I know
545
00:30:06,875 --> 00:30:11,708
that you'll be willing to get on board
with this kind of guerilla shooting,
546
00:30:11,791 --> 00:30:14,416
with no sound stage and no lighting?
547
00:30:15,708 --> 00:30:17,083
Listen, Godard,
548
00:30:17,166 --> 00:30:19,666
I had no money growing up,
549
00:30:19,750 --> 00:30:21,208
that's why I joined the army.
550
00:30:21,708 --> 00:30:23,916
I learned photography there
as a simple soldier.
551
00:30:24,625 --> 00:30:26,708
I got all my images in split seconds,
552
00:30:26,791 --> 00:30:28,916
on the fly, without lighting,
553
00:30:29,000 --> 00:30:31,000
on stages of a far different sort.
554
00:30:32,958 --> 00:30:35,208
[in English] Jean, what are you doing?
555
00:30:36,458 --> 00:30:38,583
[in French]
He's here. And he can't wait to meet you.
556
00:30:38,666 --> 00:30:40,000
Come on, baby, please.
557
00:30:41,500 --> 00:30:43,791
[in English]
I never even said that I'd do the picture.
558
00:30:44,625 --> 00:30:47,541
[in French] I didn't fight
to get you out of that fucking contract
559
00:30:47,625 --> 00:30:48,875
so you could back out now.
560
00:30:49,708 --> 00:30:50,708
Jeez.
561
00:30:51,458 --> 00:30:54,083
[in English] Get to know him.
It will help convince you.
562
00:30:54,166 --> 00:30:56,833
What if I don't want to be convinced?
563
00:30:56,916 --> 00:30:58,750
You might do another project
with him someday.
564
00:31:00,250 --> 00:31:01,125
[sighs]
565
00:31:01,208 --> 00:31:03,541
[Moreuil] It's your second time
working with Jean-Luc Godard?
566
00:31:03,625 --> 00:31:04,583
[Belmondo] Absolutely.
567
00:31:04,666 --> 00:31:05,583
[in French] Hello!
568
00:31:06,166 --> 00:31:07,291
Nice to meet you.
569
00:31:07,375 --> 00:31:08,541
Delighted to meet you.
570
00:31:09,541 --> 00:31:10,958
[in English] What can we get you?
571
00:31:11,041 --> 00:31:13,458
[in French]
Cheese? Bread? Sandwich? Salad?
572
00:31:13,541 --> 00:31:15,666
Wine? Beer? Coca-Cola?
573
00:31:15,750 --> 00:31:17,708
Yes. Sure. All of it, please.
574
00:31:17,791 --> 00:31:20,083
I just finished boxing. [grunts]
575
00:31:20,166 --> 00:31:22,083
Be careful... I'll take care of it!
576
00:31:22,166 --> 00:31:23,791
[laughing]
577
00:31:23,875 --> 00:31:24,958
This way.
578
00:31:26,166 --> 00:31:27,000
[in English] So...
579
00:31:27,708 --> 00:31:30,208
- You have a beautiful house.
- [in French] Thank you.
580
00:31:30,833 --> 00:31:32,583
And the garden looks lovely.
581
00:31:32,666 --> 00:31:33,875
Let's see...
582
00:31:34,500 --> 00:31:36,875
[Seberg]
Jean-Luc would hate that we're meeting.
583
00:31:38,000 --> 00:31:39,583
Probably the last thing he wants.
584
00:31:39,666 --> 00:31:41,250
- Mmm.
- I told him.
585
00:31:42,500 --> 00:31:43,416
Why?
586
00:31:43,500 --> 00:31:44,625
What did he say?
587
00:31:44,708 --> 00:31:47,958
I asked him if he'd like to join us.
He laughed.
588
00:31:48,958 --> 00:31:52,416
He said that you'd talk about him anyway,
so the sooner, the better.
589
00:31:52,500 --> 00:31:53,500
[sighs]
590
00:31:53,583 --> 00:31:54,708
So let's begin!
591
00:31:57,166 --> 00:31:59,916
I first met him in the Latin Quarter.
592
00:32:00,875 --> 00:32:03,875
He put me off with his sunglasses,
the way he talked.
593
00:32:03,958 --> 00:32:05,250
Mmm.
594
00:32:05,333 --> 00:32:07,666
A few weeks later, poof,
595
00:32:07,750 --> 00:32:09,666
he materializes at the Brasserie Lipp,
596
00:32:09,750 --> 00:32:12,750
and asks if I'd shoot a short
in his hotel room.
597
00:32:13,250 --> 00:32:14,583
I thought he was hitting on me.
598
00:32:14,666 --> 00:32:15,500
[chuckling]
599
00:32:15,583 --> 00:32:18,500
When I told my wife,
she said, don't be ridiculous.
600
00:32:19,958 --> 00:32:21,666
That shoot went great.
601
00:32:22,166 --> 00:32:25,208
Then he sent me a letter
when I was in the army in Algeria,
602
00:32:25,291 --> 00:32:27,208
asking if he could dub me.
603
00:32:28,041 --> 00:32:30,875
He wrapped it up by saying,
"The day I make my first feature,
604
00:32:30,958 --> 00:32:32,250
it will be with you."
605
00:32:32,333 --> 00:32:33,333
Voilà.
606
00:32:34,000 --> 00:32:36,333
He stayed true to his word.
Nowadays, that's something.
607
00:32:36,416 --> 00:32:38,750
That's something. It's true.
608
00:32:39,625 --> 00:32:43,583
But he's only edited
animal documentaries, travelogues,
609
00:32:43,666 --> 00:32:46,708
and directed an industrial film
and two shorts.
610
00:32:47,250 --> 00:32:50,041
I can't say why,
because I'm not even sure myself,
611
00:32:50,541 --> 00:32:51,666
but I trust him.
612
00:32:52,625 --> 00:32:54,291
Does he even like actors?
613
00:32:54,375 --> 00:32:56,125
A long as you don't perform.
614
00:32:57,333 --> 00:32:58,625
I don't know.
615
00:32:59,666 --> 00:33:00,500
And...
616
00:33:01,250 --> 00:33:05,083
This story sounds so sordid and squalid.
617
00:33:05,583 --> 00:33:07,375
- You think so?
- Don't you?
618
00:33:08,125 --> 00:33:09,958
He hasn't told me what it's about.
619
00:33:10,041 --> 00:33:11,125
And you signed on?
620
00:33:11,208 --> 00:33:12,541
You did, too.
621
00:33:13,041 --> 00:33:15,166
It's not as if
he gave you a script, right?
622
00:33:15,250 --> 00:33:16,708
Truffaut's script?
623
00:33:16,791 --> 00:33:20,750
No, he just said the story
was all in the newspapers.
624
00:33:20,833 --> 00:33:23,916
About a crook, Michel Portail.
Michel Poiccard now.
625
00:33:25,000 --> 00:33:27,208
Either way, I guess that's me.
626
00:33:28,458 --> 00:33:30,500
That's what the story's
supposed to be about,
627
00:33:30,583 --> 00:33:32,625
but knowing Godard,
it'll be completely different.
628
00:33:33,458 --> 00:33:36,875
I don't know if that sounds
terrifying or exciting.
629
00:33:38,333 --> 00:33:39,500
Both maybe?
630
00:33:40,875 --> 00:33:42,416
[in English] I guess we shall see.
631
00:33:42,500 --> 00:33:44,291
Here's to our adventure.
632
00:33:44,375 --> 00:33:45,708
Mm!
633
00:33:45,791 --> 00:33:46,666
Okay.
634
00:33:50,291 --> 00:33:51,708
[Beau-Beau] Jean-Luc?
635
00:33:51,791 --> 00:33:53,083
[Godard] Yes.
636
00:33:53,166 --> 00:33:56,083
Please meet our publicist,
Richard Balducci.
637
00:33:56,666 --> 00:33:57,666
Hello.
638
00:33:57,750 --> 00:33:58,791
Hello.
639
00:33:58,875 --> 00:34:00,583
I plan to create some mystique.
640
00:34:00,666 --> 00:34:02,541
I'll leak a story during production
641
00:34:02,625 --> 00:34:05,625
that you once held up
a garage at gunpoint.
642
00:34:07,208 --> 00:34:08,166
I like it.
643
00:34:08,250 --> 00:34:11,125
Not bad, eh? [laughing]
644
00:34:11,208 --> 00:34:14,250
- A new outlaw in town.
- [both laughing]
645
00:34:14,333 --> 00:34:16,583
Also, there will be an assistant on set
646
00:34:16,666 --> 00:34:18,750
who's actually a reporter.
647
00:34:19,333 --> 00:34:20,333
Marc!
648
00:34:22,541 --> 00:34:24,333
Jean-Luc, Marc Pierret.
649
00:34:25,750 --> 00:34:26,708
Hello.
650
00:34:26,791 --> 00:34:28,583
[Pierret] I'm a huge admirer of your work.
651
00:34:28,666 --> 00:34:32,166
I've read all your reviews.
I'll keep a diary of the shoot.
652
00:34:33,125 --> 00:34:35,791
As long as you know
we will put you to work.
653
00:34:36,458 --> 00:34:38,041
We could use an assistant.
654
00:34:38,125 --> 00:34:39,125
Perfect.
655
00:34:43,625 --> 00:34:45,750
[telephone ringing]
656
00:34:52,708 --> 00:34:55,916
[Godard] There.
A great mugshot for our Poiccard.
657
00:34:56,000 --> 00:34:57,416
Ah, yes. Yes.
658
00:34:57,500 --> 00:34:59,541
- His headshot in the Film Directory.
- Mm-hm.
659
00:34:59,625 --> 00:35:00,666
It's perfect.
660
00:35:01,666 --> 00:35:04,416
I'll have it printed up
in a copy of France-Soir?
661
00:35:04,500 --> 00:35:05,500
Obviously.
662
00:35:06,541 --> 00:35:08,541
[jazz music playing]
663
00:35:34,625 --> 00:35:37,291
Who am I to direct
after seeing this masterpiece?
664
00:35:37,375 --> 00:35:38,875
Bad time to go shoot.
665
00:35:38,958 --> 00:35:41,625
Think of Rosellini. Be fast like him.
666
00:35:41,708 --> 00:35:43,625
Be witty like Sacha Guitry,
667
00:35:43,708 --> 00:35:46,625
musical like Orson Welles,
simple like Marcel Pagnol.
668
00:35:46,708 --> 00:35:48,458
Be wounded like Nicolas Ray,
669
00:35:48,541 --> 00:35:50,208
effective like Hitchcock,
670
00:35:50,291 --> 00:35:51,625
profound like Bergman,
671
00:35:51,708 --> 00:35:53,625
and insolent like no one else.
672
00:35:54,708 --> 00:35:57,416
Another crucial thing: good morale.
673
00:35:57,500 --> 00:36:01,750
Confidence and courage is required
every day to continue.
674
00:36:01,833 --> 00:36:03,958
Not just to continue but to be audacious.
675
00:36:04,041 --> 00:36:05,458
Twenty days is a lifetime.
676
00:36:05,541 --> 00:36:08,000
Be determined to astonish.
677
00:36:09,500 --> 00:36:11,500
Just don't fuck it up.
678
00:36:15,625 --> 00:36:18,083
{\an8}DAY 1
679
00:36:24,916 --> 00:36:28,125
[church bell tolling]
680
00:36:41,416 --> 00:36:45,000
I hope our film
will be beautifully simple.
681
00:36:45,083 --> 00:36:46,708
Or simply beautiful.
682
00:36:48,583 --> 00:36:50,250
Thanks for having faith in me.
683
00:36:50,333 --> 00:36:51,416
Faith.
684
00:36:52,000 --> 00:36:53,916
What would a producer do without it?
685
00:36:54,000 --> 00:36:56,333
My prayers continue around the clock.
686
00:36:56,833 --> 00:36:58,541
You cannot trifle with cinema.
687
00:36:58,625 --> 00:37:00,041
Or it will trifle with you.
688
00:37:02,041 --> 00:37:03,625
To direct
689
00:37:04,250 --> 00:37:06,833
is to aim for intellectual
and moral anarchy.
690
00:37:06,916 --> 00:37:10,541
I don't want anything obscure
like some of your reviews.
691
00:37:11,416 --> 00:37:13,708
Just a story that makes sense,
692
00:37:13,791 --> 00:37:15,958
a realistic, sexy slice of film noir.
693
00:37:38,583 --> 00:37:40,666
[camera whirring]
694
00:37:42,958 --> 00:37:44,541
Hello, everyone!
695
00:37:44,625 --> 00:37:46,750
[light jazz music playing]
696
00:37:46,833 --> 00:37:47,791
So...
697
00:37:48,333 --> 00:37:49,541
The time is now!
698
00:37:50,250 --> 00:37:51,541
Let's make this film.
699
00:37:52,416 --> 00:37:53,541
Let's make it.
700
00:37:59,625 --> 00:38:00,750
[camera shutter clicks]
701
00:38:01,416 --> 00:38:03,291
[Raymond]
Come on, gentlemen, get closer.
702
00:38:05,333 --> 00:38:06,916
We're standing too close.
703
00:38:07,000 --> 00:38:08,958
Only on Day One can we be this close.
704
00:38:10,500 --> 00:38:11,666
[camera shutter clicks]
705
00:38:11,750 --> 00:38:12,750
[Godard] Wait, Raymond.
706
00:38:12,833 --> 00:38:14,458
Take another one, stand there.
707
00:38:14,541 --> 00:38:17,166
- Yes, sir!
- And so a director is born.
708
00:38:20,541 --> 00:38:22,750
Ready? Watch the birdie!
709
00:38:22,833 --> 00:38:23,791
[whistles]
710
00:38:24,875 --> 00:38:27,375
[Beau-Beau]
You have met Suzon, our script supervisor?
711
00:38:27,458 --> 00:38:28,458
[Suzon] Nice to meet you.
712
00:38:29,166 --> 00:38:30,000
[in English] Hi.
713
00:38:30,083 --> 00:38:31,708
You know you're not working today.
714
00:38:31,791 --> 00:38:33,041
[in French] Yes, but...
715
00:38:33,541 --> 00:38:36,375
Preminger always wanted me around.
716
00:38:37,333 --> 00:38:40,250
On call around the clock. I like it.
717
00:38:40,833 --> 00:38:41,875
Absolutely!
718
00:38:42,333 --> 00:38:43,458
Nice to meet you.
719
00:38:43,541 --> 00:38:45,875
Likewise.
I'm Suzon, the script supervisor.
720
00:38:45,958 --> 00:38:50,416
So obviously, I have nothing to do yet.
721
00:38:50,500 --> 00:38:53,541
Come on! Let's make movie history.
722
00:38:53,625 --> 00:38:55,833
Let's just make our day.
723
00:38:55,916 --> 00:38:57,541
Time to enter the pantheon.
724
00:38:58,041 --> 00:38:59,666
Everyone, our first set-up is...
725
00:39:00,333 --> 00:39:01,291
Wait, Pierre.
726
00:39:01,875 --> 00:39:03,916
No words of wisdom before we begin?
727
00:39:04,000 --> 00:39:05,541
[mutters]
728
00:39:06,333 --> 00:39:08,791
Let's prove that "Genius is not a gift,
729
00:39:08,875 --> 00:39:11,500
but a way out
invented in desperate cases."
730
00:39:11,583 --> 00:39:13,500
Jean-Paul Sartre. How's that?
731
00:39:13,583 --> 00:39:15,541
Bravo. Take a bow.
732
00:39:16,250 --> 00:39:18,250
Okay. What's the hold up?
733
00:39:18,333 --> 00:39:20,500
Raoul is holding the camera, we're ready.
734
00:39:20,583 --> 00:39:21,583
Let's go!
735
00:39:24,791 --> 00:39:26,083
You want to have a look?
736
00:39:28,000 --> 00:39:30,416
You go inside,
you want to talk to Patricia,
737
00:39:30,500 --> 00:39:31,916
but you forgot her number.
738
00:39:32,708 --> 00:39:35,041
And that damn machine ate your coin.
739
00:39:35,125 --> 00:39:36,375
Roll camera, Raoul!
740
00:39:37,666 --> 00:39:39,875
- [camera whirring]
- Rolling, Jean-Luc.
741
00:39:39,958 --> 00:39:40,916
Action!
742
00:39:54,500 --> 00:39:56,083
Cut. It was good.
743
00:39:57,666 --> 00:40:00,125
We have to go...
744
00:40:00,208 --> 00:40:01,500
Come on, let's go.
745
00:40:04,708 --> 00:40:06,083
- Rolling.
- Go!
746
00:40:07,625 --> 00:40:09,416
[Godard] Walk up to the counter to order.
747
00:40:09,500 --> 00:40:10,458
A beer.
748
00:40:10,541 --> 00:40:12,666
Wait. Turn around...
749
00:40:13,416 --> 00:40:14,750
count your money.
750
00:40:15,958 --> 00:40:17,750
See what you can afford.
751
00:40:20,250 --> 00:40:22,958
- How much is ham and eggs?
- 180 francs.
752
00:40:23,541 --> 00:40:24,750
Make it one.
753
00:40:28,500 --> 00:40:30,125
Gotta get a paper. Be right back.
754
00:40:37,333 --> 00:40:38,708
- Cut.
- Cut.
755
00:40:40,125 --> 00:40:41,708
We move to the close-up.
756
00:40:52,416 --> 00:40:53,250
Cut.
757
00:40:54,583 --> 00:40:55,500
It's cut.
758
00:40:56,875 --> 00:40:57,791
Moving on?
759
00:40:57,875 --> 00:41:00,625
No. That's all for today.
I'm out of ideas.
760
00:41:01,375 --> 00:41:02,416
We're wrapping?
761
00:41:03,083 --> 00:41:05,583
[in English] After only what?
It's been two hours, right?
762
00:41:05,666 --> 00:41:06,625
Yes.
763
00:41:07,416 --> 00:41:09,041
Should we rehearse for tomorrow?
764
00:41:09,125 --> 00:41:10,125
No.
765
00:41:10,208 --> 00:41:11,916
Do we have a script for tomorrow?
766
00:41:12,000 --> 00:41:15,166
No. I want them to stay in character,
not learn lines.
767
00:41:16,166 --> 00:41:17,375
[in French] Which lines?
768
00:41:18,166 --> 00:41:21,291
If they think about their dialogue,
they will be prepared.
769
00:41:21,375 --> 00:41:24,083
[in English] Yeah, that's true.
I could see how that'd be a...
770
00:41:24,166 --> 00:41:25,750
big mistake, right?
771
00:41:25,833 --> 00:41:26,833
Yes.
772
00:41:27,333 --> 00:41:29,583
You'd think about how you'd like to do it,
773
00:41:29,666 --> 00:41:31,958
- and not how I'd like you to do it.
- Mm-hm.
774
00:41:32,750 --> 00:41:33,833
This way,
775
00:41:33,916 --> 00:41:36,125
you give more of yourself
in the moment.
776
00:41:36,708 --> 00:41:41,000
[in French] Are you making up
how to direct as you go along?
777
00:41:41,083 --> 00:41:42,083
"In the moment"?
778
00:41:42,166 --> 00:41:45,375
[laughter]
779
00:41:45,458 --> 00:41:47,375
- Until tomorrow, everyone.
- Okay.
780
00:41:49,333 --> 00:41:51,416
- One glass of wine.
- Make that two.
781
00:41:51,500 --> 00:41:52,375
Three.
782
00:41:57,833 --> 00:41:59,208
Same thing for me.
783
00:41:59,291 --> 00:42:00,458
{\an8}Roll camera, Raoul.
784
00:42:00,541 --> 00:42:01,375
{\an8}DAY 2
785
00:42:01,458 --> 00:42:03,541
{\an8}Listen carefully to what I say.
786
00:42:03,625 --> 00:42:05,625
You walk this way and you take the stairs.
787
00:42:05,708 --> 00:42:06,708
Rolling, Jean-Luc.
788
00:42:06,791 --> 00:42:09,333
Come on. Move out. Out!
789
00:42:10,875 --> 00:42:11,833
Action.
790
00:42:11,916 --> 00:42:14,875
Look in the paper, look for your mugshot.
791
00:42:14,958 --> 00:42:16,041
It's not there?
792
00:42:16,125 --> 00:42:18,166
Then clean your shoes.
793
00:42:18,666 --> 00:42:20,666
They have to be shiny for Liliane.
794
00:42:24,416 --> 00:42:25,375
Cut.
795
00:42:26,541 --> 00:42:28,208
- You want to do it again?
- No.
796
00:42:28,833 --> 00:42:31,666
Let's go upstairs. Come on, hurry up!
797
00:42:33,250 --> 00:42:35,666
{\an8}[footsteps]
798
00:42:38,250 --> 00:42:39,500
It's this one.
799
00:42:50,750 --> 00:42:52,166
Good morning.
800
00:42:52,250 --> 00:42:53,500
You're early.
801
00:42:54,250 --> 00:42:56,375
- No, we're n...
- Not by much.
802
00:42:57,083 --> 00:42:58,500
I just got up.
803
00:42:58,583 --> 00:43:00,083
You look magnificent.
804
00:43:00,166 --> 00:43:03,291
Don't brush your hair.
And don't put on any makeup.
805
00:43:06,625 --> 00:43:07,625
Leave that.
806
00:43:09,208 --> 00:43:11,291
You, this,
807
00:43:12,000 --> 00:43:13,041
everything looks perfect.
808
00:43:24,333 --> 00:43:26,875
Rehearsing!
809
00:43:26,958 --> 00:43:30,625
Let's clear the room
for rehearsal, people.
810
00:43:30,708 --> 00:43:32,708
[laughing]
811
00:43:33,791 --> 00:43:34,833
I'll be back.
812
00:43:42,500 --> 00:43:44,000
Raoul, what are we waiting for?
813
00:43:51,083 --> 00:43:53,916
You know why Beau-Beau
and Bénazéraf are here?
814
00:43:54,000 --> 00:43:56,083
To see you take your bra off.
815
00:43:56,166 --> 00:43:58,541
- But I don't wear one!
- [both laughing]
816
00:43:58,625 --> 00:44:01,416
Beau-Beau's protecting
his future box office,
817
00:44:02,458 --> 00:44:05,333
Bénazéraf is just a lech.
818
00:44:05,416 --> 00:44:06,708
[laughing]
819
00:44:06,791 --> 00:44:09,333
When he says that,
you want me to undress?
820
00:44:10,083 --> 00:44:10,916
[Godard] Wait.
821
00:44:11,416 --> 00:44:12,833
How about you pull your dress
822
00:44:12,916 --> 00:44:15,125
over your head first?
823
00:44:15,958 --> 00:44:17,625
Then undress underneath.
824
00:44:18,500 --> 00:44:23,125
So the nudity is just suggested, imagined.
It's more powerful.
825
00:44:24,416 --> 00:44:27,791
It would be like the shot
in Bergman's Summer Interlude.
826
00:44:28,708 --> 00:44:30,083
You know the one, Raoul?
827
00:44:31,000 --> 00:44:33,833
Uh... [mutters] I'm not sure.
828
00:44:33,916 --> 00:44:36,583
Yes, the one
where she puts on a bathing suit.
829
00:44:36,666 --> 00:44:38,541
Ahh.
830
00:44:38,625 --> 00:44:42,000
- You haven't seen it?
- No, I was in Vietnam.
831
00:44:42,708 --> 00:44:44,625
[Rissient] Jean-Paul will be here soon.
832
00:44:44,708 --> 00:44:45,791
Raoul, are you ready?
833
00:44:45,875 --> 00:44:47,833
I'm ready. I've been ready.
834
00:44:50,291 --> 00:44:52,708
Suzon, was the cup there before?
835
00:44:52,791 --> 00:44:54,375
No, it wasn't! Thanks, Pierre.
836
00:44:54,458 --> 00:44:55,791
Stop!
837
00:44:55,875 --> 00:44:58,166
Why destroy
838
00:44:58,250 --> 00:45:00,666
the environment I'm trying to film?
839
00:45:01,250 --> 00:45:03,041
It's not continuity.
840
00:45:04,000 --> 00:45:08,208
Suzon, say I'm trying to record
the sounds of the forest.
841
00:45:08,291 --> 00:45:11,208
And, to listen clearly
to the sounds of nature,
842
00:45:12,083 --> 00:45:14,083
I chop down every tree,
843
00:45:14,666 --> 00:45:16,291
I kill every animal.
844
00:45:17,000 --> 00:45:18,166
Would that be realistic?
845
00:45:18,708 --> 00:45:19,666
No!
846
00:45:19,750 --> 00:45:21,791
Reality is not continuity!
847
00:45:22,708 --> 00:45:25,500
But Jean-Luc, we must match.
848
00:45:25,583 --> 00:45:26,958
We must, we must...
849
00:45:27,041 --> 00:45:28,750
Just don't touch anything!
850
00:45:35,583 --> 00:45:36,583
Everyone, set up!
851
00:45:38,416 --> 00:45:40,541
Raoul, frame it out?
852
00:45:41,750 --> 00:45:44,416
Hey, checking all is going well.
853
00:45:46,500 --> 00:45:49,041
Yes. When it's going. Right, Jean-Luc?
854
00:45:49,125 --> 00:45:50,875
Hurry! You're okay?
855
00:45:50,958 --> 00:45:52,083
Sit here.
856
00:45:54,000 --> 00:45:55,208
Roll camera, Raoul.
857
00:45:55,291 --> 00:45:56,791
Rolling, Jean-Luc.
858
00:45:57,500 --> 00:45:58,958
Can you lend me some money?
859
00:45:59,625 --> 00:46:01,125
[Belmondo] Can you lend me some money?
860
00:46:07,375 --> 00:46:08,833
[camera shutter clicks]
861
00:46:09,708 --> 00:46:12,541
Will there be other scenes
with Liliane David?
862
00:46:12,625 --> 00:46:14,625
Liliane deserves more scenes.
863
00:46:14,708 --> 00:46:18,166
Liliane deserves a whole film.
All to herself.
864
00:46:18,791 --> 00:46:20,583
You should do it together.
865
00:46:24,375 --> 00:46:26,750
- What, already done?
- Yes.
866
00:46:28,291 --> 00:46:29,708
- [Godard] Oh.
- Good morning.
867
00:46:29,791 --> 00:46:31,625
- [Godard] You took a taxi?
- Yes.
868
00:46:32,375 --> 00:46:33,500
I was coming to visit.
869
00:46:33,583 --> 00:46:35,666
[in English] But you're done. [chuckles]
870
00:46:35,750 --> 00:46:38,000
Well, tomorrow you work.
871
00:46:38,083 --> 00:46:38,916
[in French] Yes.
872
00:46:39,000 --> 00:46:40,625
- So no taxi.
- Why?
873
00:46:41,125 --> 00:46:42,708
You're sending a car for me?
874
00:46:43,208 --> 00:46:44,333
There is no car.
875
00:46:44,416 --> 00:46:46,500
Walk to work. It's better for "Patricia".
876
00:46:47,833 --> 00:46:49,250
And what does she do, "Patricia"?
877
00:46:49,333 --> 00:46:51,583
Patricia. Patricia.
878
00:46:51,666 --> 00:46:54,208
And what does she do, "Patricia",
879
00:46:55,250 --> 00:46:57,416
besides having to walk?
880
00:46:57,500 --> 00:46:59,958
It's okay to not always be
the goody-goody.
881
00:47:00,583 --> 00:47:01,791
I think you'll like it.
882
00:47:01,875 --> 00:47:03,916
I'm no goody-goody.
883
00:47:04,708 --> 00:47:05,583
Mm.
884
00:47:05,666 --> 00:47:09,458
I might just walk out
on you and your film.
885
00:47:09,541 --> 00:47:10,375
[Godard] See?
886
00:47:10,458 --> 00:47:11,833
You're starting to get it.
887
00:47:13,125 --> 00:47:15,208
See you tomorrow, walking.
888
00:47:16,500 --> 00:47:20,375
- [singsong] Patricia. Patricia.
- [in English] Okay, there we go.
889
00:47:22,041 --> 00:47:23,500
{\an8}[Godard] Artistic creation...
890
00:47:23,583 --> 00:47:24,416
{\an8}DAY 3
891
00:47:24,500 --> 00:47:26,541
{\an8}...does not mean the painting
of one's soul in things,
892
00:47:26,625 --> 00:47:28,625
{\an8}but painting the soul of things.
893
00:47:28,708 --> 00:47:32,333
Cinema is the expression
of lofty sentiments.
894
00:47:32,416 --> 00:47:35,375
So this is our script.
895
00:47:36,291 --> 00:47:37,583
Could you maybe
896
00:47:37,666 --> 00:47:41,750
write down some of your lofty sentiments?
897
00:47:42,291 --> 00:47:43,291
Jean...
898
00:47:44,125 --> 00:47:46,500
It's about a boy and a girl
899
00:47:46,583 --> 00:47:49,333
who use the same words
but with different meanings.
900
00:47:49,916 --> 00:47:53,208
- What is difficult and important...
- [chuckles]
901
00:47:53,291 --> 00:47:55,250
...is to advance into unknown lands.
902
00:47:56,750 --> 00:48:00,541
To be aware of the danger,
to take the risks, to be afraid.
903
00:48:01,500 --> 00:48:04,000
He'll either die or kill the girl.
904
00:48:04,083 --> 00:48:05,750
Can we decide that right now?
905
00:48:05,833 --> 00:48:06,791
We cannot.
906
00:48:08,583 --> 00:48:10,458
We could, but you don't want to.
907
00:48:10,541 --> 00:48:12,333
Disappointments are temporary.
908
00:48:12,416 --> 00:48:14,625
Film is forever.
909
00:48:14,708 --> 00:48:17,833
Whatever the ending,
what matters is to have fun.
910
00:48:19,750 --> 00:48:21,833
Shall we shoot? [laughing]
911
00:48:22,458 --> 00:48:23,458
He's right.
912
00:48:26,708 --> 00:48:27,916
What is this thing?
913
00:48:28,000 --> 00:48:30,250
- Look what I've found!
- Brilliant!
914
00:48:30,333 --> 00:48:31,583
Where did you get it?
915
00:48:32,375 --> 00:48:33,791
The camera fits here.
916
00:48:35,625 --> 00:48:36,666
With Raoul inside,
917
00:48:36,750 --> 00:48:38,500
top it off with packages,
he's hidden.
918
00:48:39,000 --> 00:48:41,583
No one on the street will know
we're shooting a film.
919
00:48:42,125 --> 00:48:43,333
It's perfect.
920
00:48:43,416 --> 00:48:44,416
The extras will be free.
921
00:48:44,500 --> 00:48:48,083
And they'll be completely
natural and realistic.
922
00:48:48,583 --> 00:48:50,208
It's only a bargain if it works.
923
00:48:52,750 --> 00:48:55,333
Raoul, you will fit in there?
924
00:48:55,416 --> 00:48:56,458
Of course.
925
00:48:57,125 --> 00:48:58,208
[trunk closing]
926
00:49:01,916 --> 00:49:05,875
In Jean's contract, she has
a makeup artist. Meet Phuong.
927
00:49:05,958 --> 00:49:07,375
- Good morning.
- Good morning.
928
00:49:07,458 --> 00:49:09,083
Thanks, but we don't need you.
929
00:49:09,166 --> 00:49:10,666
There's no makeup in my movie.
930
00:49:10,750 --> 00:49:11,833
[chuckles]
931
00:49:11,916 --> 00:49:13,958
- Is he joking?
- I'll solve this.
932
00:49:14,458 --> 00:49:16,208
But it's necessary!
933
00:49:16,291 --> 00:49:17,125
No.
934
00:49:17,208 --> 00:49:18,958
My wardrobe is from the dime store.
935
00:49:19,500 --> 00:49:23,125
You could at least let me
wear some makeup. Please.
936
00:49:23,833 --> 00:49:25,375
- [in English] You handle this.
- Yeah.
937
00:49:25,458 --> 00:49:26,416
Okay.
938
00:49:28,250 --> 00:49:29,291
Jean-Luc.
939
00:49:29,375 --> 00:49:31,833
[in French] May Jean at least
have a make-up person nearby,
940
00:49:32,333 --> 00:49:34,750
if only for security
when I have to be at work?
941
00:49:35,666 --> 00:49:37,750
I can't always be here.
Phuong reassures her.
942
00:49:39,958 --> 00:49:41,208
It's really in her contract?
943
00:49:41,291 --> 00:49:43,083
Yes, the $15,000 one.
944
00:49:45,458 --> 00:49:46,625
[car horn honks in distance]
945
00:49:47,375 --> 00:49:48,208
Okay.
946
00:49:48,291 --> 00:49:49,333
Perfect.
947
00:49:51,041 --> 00:49:52,125
The camera...
948
00:49:52,625 --> 00:49:54,875
- Careful with your head.
- Wait a second.
949
00:49:54,958 --> 00:49:56,583
Let me get ready.
950
00:49:57,500 --> 00:49:58,500
Careful.
951
00:50:00,375 --> 00:50:02,625
Now, the packages.
952
00:50:09,416 --> 00:50:10,541
Good for you?
953
00:50:11,208 --> 00:50:12,375
Great.
954
00:50:16,791 --> 00:50:18,708
Remember, you're selling papers,
955
00:50:18,791 --> 00:50:20,791
so shout it out occasionally.
956
00:50:20,875 --> 00:50:21,958
Roll camera.
957
00:50:22,041 --> 00:50:23,875
Last chance to place your bets!
958
00:50:23,958 --> 00:50:25,166
[Godard] Go, Patricia!
959
00:50:26,708 --> 00:50:29,125
New York Herald Tribune!
960
00:50:30,416 --> 00:50:32,958
New York Herald Tribune!
961
00:50:33,041 --> 00:50:34,333
Pure genius.
962
00:50:35,333 --> 00:50:36,583
I walk in the street.
963
00:50:36,666 --> 00:50:40,250
This guy films me
with a camera hidden in a mail cart,
964
00:50:40,791 --> 00:50:44,750
I say whatever goes through my head
because this will all get dubbed.
965
00:50:44,833 --> 00:50:47,958
I have no idea what the fuck I'm doing.
966
00:50:48,041 --> 00:50:49,291
Never mind, kiddo.
967
00:50:50,583 --> 00:50:51,916
We're in the same boat.
968
00:50:52,708 --> 00:50:55,291
But if we row together,
maybe we'll get somewhere.
969
00:50:55,916 --> 00:50:59,250
This is utter madness.
And it's only the beginning.
970
00:50:59,333 --> 00:51:01,666
New York Herald Tribune!
971
00:51:01,750 --> 00:51:04,291
- Let me get one.
- Of course.
972
00:51:05,625 --> 00:51:06,791
Thank you.
973
00:51:09,291 --> 00:51:10,541
I don't have any change.
974
00:51:12,375 --> 00:51:13,416
Thank you.
975
00:51:13,500 --> 00:51:15,000
To the crosswalk!
976
00:51:15,958 --> 00:51:17,000
You are superb.
977
00:51:17,083 --> 00:51:18,250
[in English] If you say so!
978
00:51:19,291 --> 00:51:20,708
Take his hat.
979
00:51:27,250 --> 00:51:29,000
Kiss her on the cheek.
980
00:51:29,083 --> 00:51:30,291
No, she kisses me.
981
00:51:30,375 --> 00:51:31,916
Kiss him on the cheek.
982
00:51:36,291 --> 00:51:38,708
[Godard] Raymond, enough!
You're in the shot!
983
00:51:38,791 --> 00:51:40,291
- Jean!
- [Seberg] Yes?
984
00:51:40,791 --> 00:51:42,250
Give a kiss to Belmondo!
985
00:51:42,333 --> 00:51:43,458
[Seberg] Now?
986
00:51:43,541 --> 00:51:44,541
Run!
987
00:51:47,291 --> 00:51:49,916
He told me to come over here,
kiss you, then you go that way.
988
00:51:50,000 --> 00:51:50,958
[in English] Okay.
989
00:51:56,541 --> 00:51:57,625
How was that?
990
00:51:58,333 --> 00:51:59,708
Great. Cut.
991
00:52:01,750 --> 00:52:03,166
Is it too late to quit?
992
00:52:04,500 --> 00:52:05,916
Legally, never.
993
00:52:06,458 --> 00:52:08,583
Ethically, morally,
994
00:52:09,125 --> 00:52:10,208
probably not.
995
00:52:10,875 --> 00:52:11,958
Career-wise, well...
996
00:52:12,041 --> 00:52:13,125
As if I care.
997
00:52:13,208 --> 00:52:15,833
How did you convince me to do this? How?
998
00:52:15,916 --> 00:52:18,791
I told you I wanted
to make a movie with Truffaut. Or Chabrol.
999
00:52:18,875 --> 00:52:20,916
He is not Truffaut
and he is not Chabrol.
1000
00:52:21,000 --> 00:52:23,541
[in English] You're right.
He's not Chabrol, he's not Truffaut.
1001
00:52:24,166 --> 00:52:25,083
He's Jean-Luc Godard.
1002
00:52:25,166 --> 00:52:27,333
[in French] "Go, Patricia, go!"
1003
00:52:27,833 --> 00:52:30,375
"I must have a line for you to say."
1004
00:52:32,000 --> 00:52:34,791
[in English] I would feel differently
if there was sync sound.
1005
00:52:34,875 --> 00:52:36,000
If there was sync sound,
1006
00:52:36,083 --> 00:52:38,500
he couldn't continually talk
throughout the take.
1007
00:52:39,916 --> 00:52:41,000
I wanna quit.
1008
00:52:44,208 --> 00:52:47,750
I agree to hear all your problems
1009
00:52:47,833 --> 00:52:50,125
and to talk about them
as much as you want.
1010
00:52:50,666 --> 00:52:52,833
- But there's no question you quit.
- [groans]
1011
00:52:58,583 --> 00:52:59,583
Take me to dinner.
1012
00:52:59,666 --> 00:53:00,875
[jazz music playing]
1013
00:53:00,958 --> 00:53:02,208
Of course.
1014
00:53:02,291 --> 00:53:03,708
[Godard] Should we roll
1015
00:53:04,375 --> 00:53:05,708
or do we want to miss it?
1016
00:53:05,791 --> 00:53:07,166
Wait, Jean-Luc.
1017
00:53:07,250 --> 00:53:09,458
I faithfully timed it for weeks,
1018
00:53:09,541 --> 00:53:13,208
so I have a very good idea of when...
1019
00:53:13,791 --> 00:53:15,916
- Just give me enough warning.
- Yes.
1020
00:53:18,458 --> 00:53:19,416
Okay.
1021
00:53:20,291 --> 00:53:21,458
Ready, Raoul?
1022
00:53:24,000 --> 00:53:25,166
Roll camera.
1023
00:53:29,541 --> 00:53:30,875
Rolling.
1024
00:53:30,958 --> 00:53:33,166
[all exclaim]
1025
00:53:33,250 --> 00:53:34,458
Keep it rolling.
1026
00:53:34,958 --> 00:53:36,083
Keep it rolling.
1027
00:53:36,666 --> 00:53:37,500
Cut!
1028
00:53:39,833 --> 00:53:41,583
Not bad, eh?
1029
00:53:42,250 --> 00:53:44,208
I wish every shot could be so easy.
1030
00:53:44,750 --> 00:53:46,625
- Bravo.
- Thank you.
1031
00:53:46,708 --> 00:53:49,250
{\an8}DAY 4
1032
00:53:52,416 --> 00:53:54,416
[indistinct chatter]
1033
00:53:54,916 --> 00:53:56,083
Guess who?
1034
00:53:57,125 --> 00:53:58,291
Brigitte Bardot?
1035
00:53:58,791 --> 00:53:59,875
Natalie Wood?
1036
00:54:00,416 --> 00:54:01,625
Sugarpuss O'Shea?
1037
00:54:02,208 --> 00:54:03,500
New Wave!
1038
00:54:03,583 --> 00:54:04,958
Cahiers du Cinéma!
1039
00:54:06,791 --> 00:54:09,541
The film is both a circle
1040
00:54:09,625 --> 00:54:11,375
and a straight line.
1041
00:54:11,458 --> 00:54:13,458
[chuckling]
1042
00:54:14,541 --> 00:54:15,750
Bravo, Patricia.
1043
00:54:15,833 --> 00:54:17,791
- Scene.
- [Godard] Sit down, please.
1044
00:54:18,333 --> 00:54:19,916
I have a line for you.
1045
00:54:20,000 --> 00:54:21,708
A key to the script, perhaps?
1046
00:54:21,791 --> 00:54:22,833
Listen.
1047
00:54:24,541 --> 00:54:26,916
"Am I unhappy because I am not free,
1048
00:54:27,416 --> 00:54:29,541
or not free because I am unhappy?"
1049
00:54:29,625 --> 00:54:30,916
Careful, trick question.
1050
00:54:31,000 --> 00:54:34,833
[in English] Unhappy because I'm not free
or not free because I'm unhappy?
1051
00:54:35,500 --> 00:54:36,708
Human beings
1052
00:54:37,291 --> 00:54:39,416
play with life every second
1053
00:54:39,500 --> 00:54:42,291
and stage their own executions,
one way or another.
1054
00:54:42,875 --> 00:54:45,833
[scoffs]
[in French] I'm familiar. [chuckles]
1055
00:54:45,916 --> 00:54:47,833
THE HARDER THEY FALL
1056
00:54:49,666 --> 00:54:52,750
While Coutard's getting ready,
I'll tell you a story.
1057
00:54:53,416 --> 00:54:56,416
Michel Poiccard's doom and demise
1058
00:54:56,500 --> 00:54:57,833
come from Bogart
1059
00:54:58,375 --> 00:55:00,916
in High Sierra and The Big Sleep.
1060
00:55:01,583 --> 00:55:04,333
Think about Bogart in The Maltese Falcon.
1061
00:55:04,833 --> 00:55:06,625
Try to embody that.
1062
00:55:11,375 --> 00:55:13,333
The harder they fall...
1063
00:55:13,416 --> 00:55:16,500
To think I first noticed him
in a piece of shit Allégret film.
1064
00:55:16,583 --> 00:55:17,791
[mutters]
1065
00:55:17,875 --> 00:55:19,875
[jazz music playing]
1066
00:55:19,958 --> 00:55:21,625
[in English] Let's evenly space ourselves.
1067
00:55:21,708 --> 00:55:22,916
Come on.
1068
00:55:23,000 --> 00:55:25,875
And when the camera gets to you,
just wink.
1069
00:55:25,958 --> 00:55:26,958
Okay?
1070
00:55:27,958 --> 00:55:29,500
[in French] Roll camera, Raoul.
1071
00:55:29,583 --> 00:55:32,000
[jazz music continues]
1072
00:55:49,583 --> 00:55:51,208
Don't tell me you're rolling, Raoul?
1073
00:55:51,291 --> 00:55:52,166
[all laughing]
1074
00:55:52,250 --> 00:55:53,583
Wink!
1075
00:55:55,500 --> 00:55:57,708
Moving on? [chuckles]
1076
00:56:01,708 --> 00:56:02,666
{\an8}Balducci!
1077
00:56:02,750 --> 00:56:03,583
{\an8}DAY 5
1078
00:56:03,666 --> 00:56:05,166
{\an8}Cinematic glory awaits.
1079
00:56:05,250 --> 00:56:06,750
We need you at the front.
1080
00:56:06,833 --> 00:56:07,791
Why?
1081
00:56:08,708 --> 00:56:10,125
[Godard] I have a part for you.
1082
00:56:10,208 --> 00:56:11,083
Me?
1083
00:56:11,166 --> 00:56:12,333
Yes.
1084
00:56:12,416 --> 00:56:14,458
You're going to be perfect.
1085
00:56:15,125 --> 00:56:17,125
You will be perfect too, Lila.
1086
00:56:17,708 --> 00:56:18,708
So...
1087
00:56:19,708 --> 00:56:22,541
We start with this scene.
You'll have to learn some lines.
1088
00:56:22,625 --> 00:56:24,125
[Suzon] Let me get this straight.
1089
00:56:24,208 --> 00:56:26,875
Tolmatchoff was to play a gangster
named Balducci.
1090
00:56:26,958 --> 00:56:30,958
He didn't show up.
So our publicist, named Balducci,
1091
00:56:31,041 --> 00:56:32,708
is going to play the gangster,
1092
00:56:32,791 --> 00:56:35,041
but you've changed his name
to Tolmatchoff.
1093
00:56:35,833 --> 00:56:38,458
Exactly what the scenes needs.
1094
00:56:39,000 --> 00:56:40,208
Spontaneity!
1095
00:56:40,291 --> 00:56:42,291
- [telephone ringing]
- [people chattering]
1096
00:56:44,291 --> 00:56:45,250
- Rissient!
- Yes.
1097
00:56:45,333 --> 00:56:46,541
What are we waiting for?
1098
00:56:46,625 --> 00:56:48,625
- We are ready.
- No, two seconds.
1099
00:56:49,125 --> 00:56:50,458
We're ready in two seconds.
1100
00:56:53,750 --> 00:56:55,541
The guy you talk to
1101
00:56:56,541 --> 00:56:58,166
is named Antonio.
1102
00:56:58,750 --> 00:57:01,333
Antonio. Sort it out with Balducci.
1103
00:57:01,416 --> 00:57:04,958
- What's his number again?
- Élysée-99-84.
1104
00:57:05,041 --> 00:57:07,041
- Can I call from here?
- Go ahead.
1105
00:57:11,125 --> 00:57:13,875
- Who is the girl you came to see?
- A New Yorker...
1106
00:57:14,500 --> 00:57:17,000
- Is she pretty?
- She's cute, I like her.
1107
00:57:19,666 --> 00:57:22,708
Hello? Élysée-99-84?
1108
00:57:23,500 --> 00:57:25,083
I'd like to speak to Antonio.
1109
00:57:26,333 --> 00:57:27,916
- Hello.
- [phone hangs up]
1110
00:57:28,000 --> 00:57:29,916
- See you later, kid.
- Ciao, amigo.
1111
00:57:33,041 --> 00:57:34,208
Really?
1112
00:57:35,541 --> 00:57:36,708
Again?
1113
00:57:39,458 --> 00:57:40,958
You're late
1114
00:57:41,041 --> 00:57:42,166
and slow.
1115
00:57:42,250 --> 00:57:43,458
Cut.
1116
00:57:44,416 --> 00:57:46,416
Balducci, faster with the phone.
1117
00:57:46,916 --> 00:57:48,916
And you, Boulanger, Fabre.
1118
00:57:49,625 --> 00:57:51,666
When his foot hits here...
1119
00:57:52,541 --> 00:57:53,625
go!
1120
00:57:57,458 --> 00:57:58,750
Go again.
1121
00:57:58,833 --> 00:57:59,833
Better.
1122
00:58:00,916 --> 00:58:02,750
If they come in late, we can slow down.
1123
00:58:02,833 --> 00:58:05,708
No, we don't slow down.
Film is a revolutionary art.
1124
00:58:05,791 --> 00:58:07,291
It is the sensation of movement.
1125
00:58:07,375 --> 00:58:09,625
If they never let you direct
another film,
1126
00:58:10,125 --> 00:58:12,125
you can always be
a world-class dolly grip.
1127
00:58:12,208 --> 00:58:13,708
{\an8}DAY 6
1128
00:58:13,791 --> 00:58:15,458
{\an8}"PATRICIA IS NOT IN THE SCENE."
1129
00:58:15,541 --> 00:58:18,666
[Rissient]
Jean Luc, you the only one here?
1130
00:58:18,750 --> 00:58:20,166
[Godard] One is always alone.
1131
00:58:21,791 --> 00:58:24,250
On the set, as before the blank page.
1132
00:58:24,916 --> 00:58:27,375
To be alone means to ask questions.
1133
00:58:27,458 --> 00:58:29,833
To make films means to answer them.
1134
00:58:29,916 --> 00:58:32,375
Nothing could be
more classically romantic.
1135
00:58:32,458 --> 00:58:35,541
I love the romance of early call times.
1136
00:58:35,625 --> 00:58:37,083
[laughing]
1137
00:58:38,541 --> 00:58:40,083
[indistinct chattering]
1138
00:58:41,916 --> 00:58:43,583
Duke Ellington once said,
1139
00:58:43,666 --> 00:58:46,375
"I don't need time, I need a deadline."
1140
00:58:47,166 --> 00:58:49,083
If you are honest and sincere
1141
00:58:49,166 --> 00:58:50,750
and backed into a corner,
1142
00:58:50,833 --> 00:58:53,166
the result will be honest and sincere.
1143
00:58:53,250 --> 00:58:54,458
[Rissient] Yes.
1144
00:58:55,291 --> 00:58:57,291
You have beautiful handwriting.
1145
00:58:59,666 --> 00:59:01,375
Today's precise facts.
1146
00:59:02,791 --> 00:59:04,041
Ah, thank you.
1147
00:59:04,125 --> 00:59:05,791
[Seberg humming]
1148
00:59:17,791 --> 00:59:18,708
Cut.
1149
00:59:18,791 --> 00:59:19,916
[Raoul confirms]
1150
00:59:20,625 --> 00:59:22,625
- Bravo.
- Bravo.
1151
00:59:26,083 --> 00:59:27,083
What do you think?
1152
00:59:29,083 --> 00:59:30,000
I don't know.
1153
00:59:30,083 --> 00:59:31,083
It's good for me.
1154
00:59:32,166 --> 00:59:33,333
Let's go again!
1155
00:59:40,208 --> 00:59:42,083
- Roll camera.
- Rolling.
1156
00:59:43,916 --> 00:59:44,958
Wheel.
1157
00:59:46,125 --> 00:59:47,125
[Godard] Action!
1158
01:00:15,291 --> 01:00:16,625
- Cut.
- [Raoul] Cut.
1159
01:00:19,041 --> 01:00:20,291
How was that?
1160
01:00:20,375 --> 01:00:21,541
[Raoul] Good for me.
1161
01:00:24,041 --> 01:00:25,041
What?
1162
01:00:25,708 --> 01:00:27,125
You want me to be satisfied?
1163
01:00:28,500 --> 01:00:30,083
So, going again?
1164
01:00:30,166 --> 01:00:31,416
- No.
- No?
1165
01:00:31,500 --> 01:00:32,750
This is too obvious.
1166
01:00:33,708 --> 01:00:34,750
We go over there.
1167
01:00:35,541 --> 01:00:37,750
Rivette, lie on the ground.
1168
01:00:38,541 --> 01:00:40,083
We pick it up from there.
1169
01:00:40,166 --> 01:00:42,375
No stunt, we'll just hear the crash.
1170
01:00:42,458 --> 01:00:43,791
What do you mean?
1171
01:00:44,666 --> 01:00:46,791
The offscreen is more evocative.
1172
01:00:49,958 --> 01:00:51,458
It's costly, that stuntman.
1173
01:00:52,083 --> 01:00:53,375
[Raoul] Rolling.
1174
01:01:08,291 --> 01:01:09,166
Cut.
1175
01:01:09,250 --> 01:01:11,250
[indistinct chattering]
1176
01:01:13,375 --> 01:01:14,291
We're done.
1177
01:01:15,875 --> 01:01:17,958
Thank you, Jacques. You're a real friend.
1178
01:01:18,041 --> 01:01:19,041
That's it?
1179
01:01:19,791 --> 01:01:21,375
I don't get a close-up?
1180
01:01:22,208 --> 01:01:24,500
- [Godard] No, no close-up.
- [chuckles]
1181
01:01:26,875 --> 01:01:28,541
But immortality just the same.
1182
01:01:28,625 --> 01:01:29,666
Thank you.
1183
01:01:30,250 --> 01:01:31,750
And what would you say after that?
1184
01:01:31,833 --> 01:01:32,791
{\an8}DAY 7
1185
01:01:32,875 --> 01:01:33,916
[in English] Of course.
1186
01:01:34,541 --> 01:01:35,458
Of course.
1187
01:01:36,083 --> 01:01:37,666
- Of course!
- [laughs]
1188
01:01:37,750 --> 01:01:40,708
I have something to show you.
Down in the metro.
1189
01:01:41,208 --> 01:01:42,625
Come on!
1190
01:01:43,125 --> 01:01:44,875
- Come on, Jean-Luc...
- Let's go.
1191
01:01:48,750 --> 01:01:50,208
What are we doing here?
1192
01:01:50,291 --> 01:01:52,333
Guess who's shooting there
and wants to say hi?
1193
01:01:52,416 --> 01:01:54,375
Hope this is worth it.
1194
01:01:54,458 --> 01:01:56,375
- You know me.
- [Godard] Exactly!
1195
01:02:06,083 --> 01:02:07,333
Look who's here.
1196
01:02:07,416 --> 01:02:08,666
Over there, Jean-Luc.
1197
01:02:08,750 --> 01:02:10,875
- Where?
- Right there.
1198
01:02:10,958 --> 01:02:12,375
Watch out!
1199
01:02:12,458 --> 01:02:14,125
Lay off the wine, pal!
1200
01:02:16,041 --> 01:02:17,375
I don't know that guy.
1201
01:02:17,458 --> 01:02:19,000
Monsieur Robert Bresson.
1202
01:02:19,083 --> 01:02:21,083
French cinema personified.
1203
01:02:21,166 --> 01:02:22,291
Jean-Luc,
1204
01:02:22,833 --> 01:02:24,291
are you missing anything?
1205
01:02:25,083 --> 01:02:25,916
Hmm?
1206
01:02:26,000 --> 01:02:27,166
A better ending to my film?
1207
01:02:28,750 --> 01:02:30,291
Meet Kassagi,
1208
01:02:30,375 --> 01:02:32,458
the world's best pickpocket.
1209
01:02:33,208 --> 01:02:35,416
- Trade you?
- [Belmondo] Don't, it's empty.
1210
01:02:35,500 --> 01:02:36,625
I'll take that!
1211
01:02:37,750 --> 01:02:39,750
[laughing]
1212
01:02:47,000 --> 01:02:49,208
They would only give me four days
1213
01:02:49,291 --> 01:02:50,916
with a crowd of extras.
1214
01:02:51,708 --> 01:02:53,625
I can make that work.
1215
01:02:54,333 --> 01:02:56,541
But it's been the same people every day.
1216
01:02:57,041 --> 01:02:59,458
I have stations, racetracks, metros.
1217
01:02:59,541 --> 01:03:01,708
Every public place
is full of the same faces!
1218
01:03:02,625 --> 01:03:04,875
I'm trying hard to disguise that,
but it's ridiculous.
1219
01:03:06,125 --> 01:03:08,833
Honestly, that sounds
like a good problem to have.
1220
01:03:08,916 --> 01:03:10,500
One day, maybe.
1221
01:03:11,083 --> 01:03:12,000
Who knows?
1222
01:03:15,791 --> 01:03:18,166
So you work
with Bresson all the time?
1223
01:03:18,250 --> 01:03:19,208
Yes.
1224
01:03:20,083 --> 01:03:21,416
How lucky.
1225
01:03:21,500 --> 01:03:24,083
{\an8}DAY 8
1226
01:03:24,166 --> 01:03:26,166
[jazz music playing]
1227
01:03:53,958 --> 01:03:56,208
Let's see what we're up against today.
1228
01:03:57,583 --> 01:03:58,833
[Suzon] Good luck deciphering
1229
01:03:58,916 --> 01:04:00,250
that spy code.
1230
01:04:01,125 --> 01:04:03,500
I'm sure he's changed his mind anyway.
1231
01:04:03,583 --> 01:04:05,750
Well, he didn't throw it away
1232
01:04:05,833 --> 01:04:08,500
because he wants to do it, right?
1233
01:04:12,291 --> 01:04:13,166
Pierre?
1234
01:04:13,250 --> 01:04:14,208
Yes?
1235
01:04:14,708 --> 01:04:16,083
That's a wrap for today.
1236
01:04:19,041 --> 01:04:20,458
We didn't even shoot.
1237
01:04:20,541 --> 01:04:21,458
[door opens]
1238
01:04:21,541 --> 01:04:23,125
Maybe he's quitting?
1239
01:04:23,208 --> 01:04:24,041
[door closes]
1240
01:04:24,125 --> 01:04:26,291
I don't think so. [chuckling]
1241
01:04:27,916 --> 01:04:30,458
{\an8}DAY 9
1242
01:04:32,041 --> 01:04:33,750
I wonder what he wants to show us.
1243
01:04:33,833 --> 01:04:34,916
I don't know.
1244
01:04:38,833 --> 01:04:39,875
Good morning.
1245
01:04:41,875 --> 01:04:42,958
Good morning.
1246
01:04:46,916 --> 01:04:47,875
Hmm.
1247
01:04:49,458 --> 01:04:51,041
Another quote!
1248
01:04:53,041 --> 01:04:54,166
[Godard] Why not?
1249
01:04:54,250 --> 01:04:57,375
If you want to say something,
just say it.
1250
01:04:57,958 --> 01:05:00,791
It's not where I take things from,
it's where I take them to.
1251
01:05:00,875 --> 01:05:04,458
Jean and I could split up that stack
and read them to the camera.
1252
01:05:04,541 --> 01:05:06,166
- Good idea.
- Thank you.
1253
01:05:07,041 --> 01:05:09,083
"Immature poets imitate,
1254
01:05:09,166 --> 01:05:11,208
mature poets steal."
1255
01:05:11,750 --> 01:05:13,208
T.S. Eliot.
1256
01:05:13,291 --> 01:05:14,708
[Seberg] A quote
1257
01:05:14,791 --> 01:05:17,916
about quotes. [chuckles]
1258
01:05:18,000 --> 01:05:20,916
- I understand why I'm playing a thief.
- Uh-huh.
1259
01:05:21,000 --> 01:05:22,541
[both laughing]
1260
01:05:23,333 --> 01:05:24,666
Paul Gauguin said,
1261
01:05:25,666 --> 01:05:27,875
"In art, one is either a plagiarist
1262
01:05:28,541 --> 01:05:30,625
or a revolutionary."
1263
01:05:33,625 --> 01:05:36,750
You say, "I'll be back in a second."
1264
01:05:36,833 --> 01:05:41,541
And you, "The French always say a second."
1265
01:05:42,166 --> 01:05:43,125
No kidding.
1266
01:05:43,208 --> 01:05:44,166
Roll camera, Raoul.
1267
01:05:44,666 --> 01:05:45,958
[Raoul] Rolling, Jean-Luc.
1268
01:05:47,916 --> 01:05:48,875
[Godard] Action.
1269
01:05:48,958 --> 01:05:51,333
I'll be back in a second.
1270
01:05:51,416 --> 01:05:54,916
The French always say a second
when they mean five minutes.
1271
01:05:55,666 --> 01:05:56,708
Keep rolling.
1272
01:05:57,500 --> 01:05:58,500
Rolling.
1273
01:06:06,333 --> 01:06:07,750
- Cut.
- Cut.
1274
01:06:09,166 --> 01:06:10,250
You want to do it again?
1275
01:06:10,333 --> 01:06:12,083
Only if you do. It's fine.
1276
01:06:12,791 --> 01:06:14,041
Then let's go eat.
1277
01:06:14,541 --> 01:06:17,416
Jean-Luc, wait, do you mean...
1278
01:06:17,500 --> 01:06:19,625
We're done for the day. I'm hungry.
1279
01:06:19,708 --> 01:06:20,625
Ah, yes.
1280
01:06:21,416 --> 01:06:24,375
Filming isn't only suffering,
there's happiness too.
1281
01:06:24,458 --> 01:06:27,000
You're so down. What's happening?
1282
01:06:28,541 --> 01:06:29,416
Hmm?
1283
01:06:30,166 --> 01:06:33,166
I thought I could make a film
where anything goes, but I can't.
1284
01:06:33,250 --> 01:06:35,833
You know what Braunberger
said before The 400 Blows?
1285
01:06:35,916 --> 01:06:36,958
An old Hollywood maxim.
1286
01:06:37,041 --> 01:06:38,333
"There's no place like home?"
1287
01:06:38,416 --> 01:06:41,083
That each film is made up
of five different films.
1288
01:06:41,166 --> 01:06:43,958
The film you write, the film you cast,
1289
01:06:44,041 --> 01:06:45,916
the film you shoot, the film you edit,
1290
01:06:46,000 --> 01:06:47,208
the film you release.
1291
01:06:47,708 --> 01:06:50,416
So it's not too late for anything goes?
1292
01:06:50,500 --> 01:06:51,791
Not by a long shot.
1293
01:06:51,875 --> 01:06:53,250
Things change all the time.
1294
01:06:53,833 --> 01:06:56,541
Remember when you wanted
to be a great novelist? [chuckles]
1295
01:06:57,416 --> 01:06:58,916
Dodged a bullet there.
1296
01:06:59,000 --> 01:07:01,208
When you were skipping
anthropology classes,
1297
01:07:01,291 --> 01:07:03,625
you boasted you were writing
30 pages a day.
1298
01:07:03,708 --> 01:07:06,083
I wanted to publish a novel
with Gallimard.
1299
01:07:06,166 --> 01:07:08,208
Astruc had done it, I wanted to do it too.
1300
01:07:08,291 --> 01:07:09,916
Was it really 30 pages a day?
1301
01:07:10,000 --> 01:07:11,333
- [grunts]
- [chuckles]
1302
01:07:11,416 --> 01:07:12,750
They were no good.
1303
01:07:12,833 --> 01:07:15,416
It was too difficult, like mathematics.
1304
01:07:16,625 --> 01:07:18,041
I would write,
1305
01:07:18,750 --> 01:07:22,000
"The weather is nice.
The train enters the station."
1306
01:07:22,833 --> 01:07:25,750
And then I'd sit there
for hours, wondering
1307
01:07:25,833 --> 01:07:28,875
why I couldn't just as well
write the opposite,
1308
01:07:28,958 --> 01:07:30,708
"Train enters the station,
weather is nice."
1309
01:07:30,791 --> 01:07:31,916
[all laughing]
1310
01:07:33,291 --> 01:07:34,791
Or maybe just, "It's raining."
1311
01:07:35,416 --> 01:07:37,541
Definitely not 30 pages a day.
1312
01:07:38,708 --> 01:07:40,458
With cinema, it's simpler.
1313
01:07:40,541 --> 01:07:43,458
Seeing movies delivers me from
the terror of writing.
1314
01:07:43,541 --> 01:07:47,250
Mmm. Seeing movies delivers me
from the terror of a real job.
1315
01:07:47,333 --> 01:07:50,666
As a kid, seeing films delivered me
from the terror of attending school.
1316
01:07:50,750 --> 01:07:53,125
I saw my first 200 films
while playing hooky.
1317
01:07:53,666 --> 01:07:56,750
Now, seeing films delivers me
from the terror of the real world.
1318
01:07:56,833 --> 01:07:58,000
[laughing]
1319
01:07:58,666 --> 01:07:59,750
But careful...
1320
01:08:00,541 --> 01:08:03,291
Seeing films should not deliver us
1321
01:08:03,375 --> 01:08:05,333
from the terror of making them.
1322
01:08:05,416 --> 01:08:06,375
Exactly.
1323
01:08:13,750 --> 01:08:15,625
I would love for you to act in the film.
1324
01:08:15,708 --> 01:08:17,666
And reshoot Belmondo's entire part?
1325
01:08:17,750 --> 01:08:18,583
[laughing]
1326
01:08:18,666 --> 01:08:19,875
No, idiot.
1327
01:08:20,958 --> 01:08:21,916
No.
1328
01:08:23,541 --> 01:08:27,333
It would be perfect if you played
the man who recognizes Poiccard
1329
01:08:27,416 --> 01:08:28,666
and reports him to the cops.
1330
01:08:28,750 --> 01:08:31,208
Really? I always saw you in that part.
1331
01:08:31,291 --> 01:08:32,458
Of course.
1332
01:08:33,166 --> 01:08:34,916
- Right?
- It would be perfect.
1333
01:08:35,500 --> 01:08:37,375
[Truffaut] Believe me,
you'll be wonderful.
1334
01:08:38,291 --> 01:08:39,166
{\an8}DAY 10
1335
01:08:39,250 --> 01:08:40,083
{\an8}[phone ringing]
1336
01:08:40,166 --> 01:08:41,041
{\an8}Hello?
1337
01:08:41,125 --> 01:08:42,041
- [Godard] Raoul?
- Yes.
1338
01:08:42,125 --> 01:08:43,666
We can't shoot today.
1339
01:08:43,750 --> 01:08:45,833
Call Rissient, have him notify the crew.
1340
01:08:46,333 --> 01:08:48,333
And call Beauregard at his office.
1341
01:08:48,416 --> 01:08:49,833
But not until 9:00 a.m.
1342
01:08:50,458 --> 01:08:53,750
I don't feel well.
I must have had some bad pizza.
1343
01:08:54,625 --> 01:08:57,250
[line hangs up, dial tone]
1344
01:08:57,333 --> 01:08:59,333
[people chattering]
1345
01:09:00,750 --> 01:09:01,875
[bell on door dings]
1346
01:09:03,416 --> 01:09:06,375
- Ah. The invalid himself.
- [pinball machine dinging]
1347
01:09:06,458 --> 01:09:08,083
[Godard] I'm really not feeling well.
1348
01:09:08,625 --> 01:09:10,625
Actually, I'm feeling quite mortal.
1349
01:09:11,583 --> 01:09:13,291
You can't call in sick!
1350
01:09:13,375 --> 01:09:16,208
In two weeks,
we've had eight half-days of work,
1351
01:09:16,291 --> 01:09:17,708
some only two hours long!
1352
01:09:17,791 --> 01:09:19,125
You only mention what's wrong.
1353
01:09:19,208 --> 01:09:20,875
I am the producer!
1354
01:09:20,958 --> 01:09:23,041
Money is not important to me.
1355
01:09:23,125 --> 01:09:24,666
Especially when it's mine.
1356
01:09:24,750 --> 01:09:27,125
What matters in a film
is to control the money.
1357
01:09:28,041 --> 01:09:29,500
Money means time.
1358
01:09:29,583 --> 01:09:33,000
Time to be spent following
one's rhythm and pleasure.
1359
01:09:33,083 --> 01:09:34,583
That's the genius of my system.
1360
01:09:34,666 --> 01:09:36,041
Your system is shit!
1361
01:09:36,125 --> 01:09:38,458
Your rhythm is not my pleasure.
1362
01:09:38,541 --> 01:09:41,083
But it's the right rhythm
1363
01:09:41,708 --> 01:09:42,916
for me and my film.
1364
01:09:43,000 --> 01:09:46,833
What's right could be shutting it down,
cutting my losses.
1365
01:09:46,916 --> 01:09:49,625
I'll withhold wages
if you keep working short days
1366
01:09:49,708 --> 01:09:52,250
or if you cancel another shoot day.
1367
01:09:54,500 --> 01:09:55,416
[groans]
1368
01:09:55,916 --> 01:09:57,166
Come on, Beau-Beau.
1369
01:09:57,708 --> 01:09:58,708
Come on.
1370
01:09:58,791 --> 01:10:00,375
[grunting]
1371
01:10:00,458 --> 01:10:01,958
Come on, fight.
1372
01:10:02,041 --> 01:10:02,958
Stop!
1373
01:10:03,875 --> 01:10:05,958
[yelling]
1374
01:10:09,458 --> 01:10:12,166
I'm trying to seize reality
at random, Beauregard.
1375
01:10:12,250 --> 01:10:14,333
Trust me, you'll be glad I did.
1376
01:10:14,416 --> 01:10:16,416
Seize it on a full-time basis!
1377
01:10:16,916 --> 01:10:18,500
That's the reality of a shoot!
1378
01:10:20,166 --> 01:10:21,333
Get out!
1379
01:10:24,000 --> 01:10:27,625
[door opens, closes]
1380
01:10:27,708 --> 01:10:28,541
{\an8}DAY 11
1381
01:10:28,625 --> 01:10:30,833
{\an8}[Rissient] Everyone?
Beau-Beau wants me to read this.
1382
01:10:30,916 --> 01:10:34,583
"Shooting can't be interrupted
without the producer's approval."
1383
01:10:35,208 --> 01:10:37,208
"The producer trusts
both director and crew,
1384
01:10:37,291 --> 01:10:39,791
but this trust has been betrayed."
1385
01:10:39,875 --> 01:10:42,833
"In the first two weeks,
the schedule has not been respected."
1386
01:10:42,916 --> 01:10:44,541
- There was a schedule?
- [laughter]
1387
01:10:45,708 --> 01:10:47,083
[Rissient] "This cannot continue."
1388
01:10:47,666 --> 01:10:51,083
"For the last time, we ask the director
and crew to work honestly,
1389
01:10:51,166 --> 01:10:53,000
as on a normal production."
1390
01:10:53,083 --> 01:10:54,958
As if this were a normal production.
1391
01:10:55,541 --> 01:10:56,666
No, thank God.
1392
01:10:58,000 --> 01:11:00,791
"And not put off until tomorrow
what might be done today."
1393
01:11:00,875 --> 01:11:01,875
That's it.
1394
01:11:01,958 --> 01:11:03,791
He's pumped up, Beau-Beau!
1395
01:11:05,125 --> 01:11:07,000
So, what do we do?
1396
01:11:07,083 --> 01:11:08,083
I don't know.
1397
01:11:17,416 --> 01:11:18,791
That's all just noise.
1398
01:11:19,333 --> 01:11:20,625
It doesn't affect us.
1399
01:11:23,041 --> 01:11:24,583
Let's not lose heart.
1400
01:11:25,166 --> 01:11:27,458
[police siren blaring in distance]
1401
01:11:28,833 --> 01:11:32,833
Let's continue our search
for the instantaneous
1402
01:11:32,916 --> 01:11:34,083
and the unexpected
1403
01:11:34,166 --> 01:11:36,291
as only we can.
1404
01:11:38,791 --> 01:11:40,791
[jazz music playing]
1405
01:11:42,416 --> 01:11:44,416
[car horns honking]
1406
01:11:45,833 --> 01:11:48,041
[Raoul] Not the best time for this,
in direct sunlight.
1407
01:11:48,833 --> 01:11:50,666
[Godard] I find it quite extraordinary.
1408
01:11:51,541 --> 01:11:54,166
Let's force the film stock
to give its maximum.
1409
01:11:54,250 --> 01:11:56,291
Let's make it do what it's not made for.
1410
01:11:57,416 --> 01:11:58,833
It, too, can suffer
1411
01:11:58,916 --> 01:12:01,666
by being exploited
beyond its possibilities.
1412
01:12:03,958 --> 01:12:05,333
Why us and not it?
1413
01:12:06,708 --> 01:12:08,000
I like this idea.
1414
01:12:09,458 --> 01:12:11,541
The film stock can be breathless too.
1415
01:12:12,333 --> 01:12:13,291
Patricia.
1416
01:12:13,375 --> 01:12:14,333
Cut.
1417
01:12:15,375 --> 01:12:16,625
No, no, no!
1418
01:12:16,708 --> 01:12:17,583
[in English] What?
1419
01:12:17,666 --> 01:12:19,208
Only essential gestures.
1420
01:12:19,291 --> 01:12:20,500
I fumble to find them.
1421
01:12:20,583 --> 01:12:23,166
You already found them. Courage.
1422
01:12:23,791 --> 01:12:25,583
[in English] Maybe just grab my face?
1423
01:12:27,625 --> 01:12:28,916
What are you shooting?
1424
01:12:29,000 --> 01:12:30,166
A documentary
1425
01:12:30,666 --> 01:12:34,458
about Jean-Paul Belmondo
and Jean Seberg acting out a fiction.
1426
01:12:36,041 --> 01:12:38,375
[in English] Though a documentary
would have sync sound.
1427
01:12:38,458 --> 01:12:39,291
[chuckles]
1428
01:12:39,375 --> 01:12:40,291
What is it?
1429
01:12:40,375 --> 01:12:41,208
What?
1430
01:12:41,291 --> 01:12:42,750
- Nothing.
- [Raoul laughing]
1431
01:12:42,833 --> 01:12:44,416
Roll camera, Raoul.
1432
01:12:44,500 --> 01:12:45,875
[Raoul] Rolling, Jean-Luc.
1433
01:12:46,708 --> 01:12:47,666
Action.
1434
01:12:48,208 --> 01:12:49,458
Patricia...
1435
01:12:52,083 --> 01:12:54,666
{\an8}DAY 12
1436
01:12:55,541 --> 01:12:57,541
[all exclaiming]
1437
01:12:58,250 --> 01:12:59,375
Bravo!
1438
01:13:01,250 --> 01:13:03,541
[pop music playing on radio]
1439
01:13:10,083 --> 01:13:12,083
[speaking indistinctly]
1440
01:13:13,041 --> 01:13:14,208
The magazine...
1441
01:13:14,791 --> 01:13:16,291
Leave the magazine.
1442
01:13:21,500 --> 01:13:23,500
[Seberg, in English] Six, seven, eight.
1443
01:13:23,583 --> 01:13:25,583
[pop music continues]
1444
01:13:27,833 --> 01:13:28,958
[in French] On the right.
1445
01:13:30,041 --> 01:13:31,416
[in English] And then... Ah.
1446
01:13:35,541 --> 01:13:36,541
[in French] Again.
1447
01:13:36,625 --> 01:13:38,666
So this is how they do it in America.
1448
01:13:39,458 --> 01:13:42,500
[in English] Not in Iowa. [chuckles]
1449
01:13:43,458 --> 01:13:44,583
Take your book.
1450
01:13:46,208 --> 01:13:48,166
"Do you know William Faulkner?"
1451
01:13:48,250 --> 01:13:50,000
[in French] Do you know William Faulkner?
1452
01:13:50,083 --> 01:13:52,041
[Godard] "No. Who's that?
Some guy you slept with?"
1453
01:13:52,125 --> 01:13:53,166
No. Who's that?
1454
01:13:53,666 --> 01:13:55,250
Some guy you slept with?
1455
01:13:55,333 --> 01:13:56,916
No, silly.
1456
01:14:00,208 --> 01:14:01,250
Thank you.
1457
01:14:01,791 --> 01:14:03,083
Thank you, Sam Fuller.
1458
01:14:03,625 --> 01:14:05,541
Thank you for Forty Guns.
1459
01:14:06,041 --> 01:14:07,458
And thank you for this shot.
1460
01:14:07,541 --> 01:14:08,583
Plagiarist.
1461
01:14:09,083 --> 01:14:11,250
Not plagiarism! Homage!
1462
01:14:12,000 --> 01:14:15,833
As Faulkner's style came out
of his inability to write lyric poetry,
1463
01:14:16,375 --> 01:14:18,500
my directional style is born--
1464
01:14:18,583 --> 01:14:21,708
Out of an inability to write a script?
1465
01:14:21,791 --> 01:14:23,333
[laughing]
1466
01:14:23,416 --> 01:14:24,458
Touché.
1467
01:14:27,916 --> 01:14:30,500
She wore a different
striped sweater before.
1468
01:14:30,583 --> 01:14:33,041
Well, she changed her clothes.
1469
01:14:33,125 --> 01:14:34,583
The eyeline is wrong.
1470
01:14:34,666 --> 01:14:36,500
You keep crossing the line.
1471
01:14:37,208 --> 01:14:40,583
When editing,
they'll be looking the same way.
1472
01:14:40,666 --> 01:14:42,250
Suzon, I know.
1473
01:14:42,333 --> 01:14:44,333
I understand. And I don't care.
1474
01:14:44,416 --> 01:14:47,000
Following the rules
won't get me where I wanna go.
1475
01:14:51,625 --> 01:14:53,791
A little game. Roll camera, Raoul.
1476
01:14:53,875 --> 01:14:55,500
- [camera whirring]
- Rolling, Jean-Luc.
1477
01:14:56,458 --> 01:14:57,458
Joy.
1478
01:14:59,208 --> 01:15:00,416
Tranquility.
1479
01:15:02,208 --> 01:15:03,791
- Surprise.
- [exclaims]
1480
01:15:04,791 --> 01:15:05,916
Confusion.
1481
01:15:07,958 --> 01:15:08,958
Sadness.
1482
01:15:11,041 --> 01:15:12,041
Disgust.
1483
01:15:13,875 --> 01:15:15,750
- Fear.
- [gasps]
1484
01:15:15,833 --> 01:15:17,583
- Horror.
- [gasps loudly]
1485
01:15:17,666 --> 01:15:19,583
- Despair.
- [sighs]
1486
01:15:20,541 --> 01:15:21,541
Joy.
1487
01:15:22,541 --> 01:15:23,541
Cut.
1488
01:15:24,125 --> 01:15:25,125
Cut.
1489
01:15:26,166 --> 01:15:27,333
Not funny to you?
1490
01:15:27,833 --> 01:15:29,041
It's fun.
1491
01:15:29,125 --> 01:15:31,000
To get across the room,
1492
01:15:31,083 --> 01:15:32,500
you have to crawl over the bed.
1493
01:15:32,583 --> 01:15:34,000
Exactly.
1494
01:15:34,083 --> 01:15:36,750
I think he deliberately chose this hotel
1495
01:15:36,833 --> 01:15:39,666
because it has the smallest rooms.
1496
01:15:40,250 --> 01:15:41,875
Absolutely.
1497
01:15:41,958 --> 01:15:44,625
He stayed here on his first trip to Paris.
1498
01:15:44,708 --> 01:15:46,625
This place means something to him.
1499
01:15:47,166 --> 01:15:48,583
I'm not sure what.
1500
01:15:50,041 --> 01:15:51,625
[Godard speaks French, snaps fingers]
1501
01:15:51,708 --> 01:15:53,333
- Say that...
- [Seberg] Hmm?
1502
01:15:53,416 --> 01:15:55,583
...as you're going into the bathroom,
1503
01:15:55,666 --> 01:15:56,916
you stay on the bed.
1504
01:15:57,000 --> 01:16:00,166
Then you follow her,
and pass in front of the window.
1505
01:16:00,250 --> 01:16:01,666
- Good?
- Yes.
1506
01:16:01,750 --> 01:16:03,000
Roll camera, Raoul.
1507
01:16:03,083 --> 01:16:04,875
- [camera whirring]
- [Raoul] Rolling, Jean-Luc.
1508
01:16:04,958 --> 01:16:07,000
- Action.
- [light piano playing]
1509
01:16:07,083 --> 01:16:08,750
[Belmondo] Come on, don't be mad at me.
1510
01:16:08,833 --> 01:16:10,958
[in English]
I can never be alone when I want to.
1511
01:16:16,083 --> 01:16:17,000
Cut.
1512
01:16:17,083 --> 01:16:18,958
"Dear Pierre Braunberger,
1513
01:16:19,541 --> 01:16:22,958
Don't regret not producing Breathless."
1514
01:16:23,041 --> 01:16:25,625
"If Beauregard makes some money with it,
1515
01:16:25,708 --> 01:16:27,041
he deserves it,
1516
01:16:27,125 --> 01:16:28,416
if he loses money,
1517
01:16:28,500 --> 01:16:30,000
he deserves that too."
1518
01:16:30,500 --> 01:16:32,083
"Seberg is panicked
1519
01:16:32,166 --> 01:16:34,000
and regrets making the movie."
1520
01:16:34,583 --> 01:16:37,458
"We are now shooting day by day."
1521
01:16:37,958 --> 01:16:39,208
"I write the scenes
1522
01:16:39,291 --> 01:16:42,166
while having breakfast
at the Dupont Montparnasse."
1523
01:16:42,250 --> 01:16:46,000
"When watching the dailies,
the whole team, including the DP,
1524
01:16:46,083 --> 01:16:47,875
find the photography disgusting."
1525
01:16:47,958 --> 01:16:50,583
"I find it quite extraordinary."
1526
01:16:50,666 --> 01:16:51,916
{\an8}DAY 13
1527
01:16:52,000 --> 01:16:54,125
{\an8}[Pierret] Bonjour Tristesse
is a good adaptation, no?
1528
01:16:54,208 --> 01:16:55,541
[Godard] Hmm.
1529
01:16:55,625 --> 01:16:56,791
Yes, it works.
1530
01:16:57,708 --> 01:17:00,666
But you should never adapt a book to film.
1531
01:17:01,833 --> 01:17:04,458
You should adapt
the movie to the book.
1532
01:17:05,000 --> 01:17:06,083
Any book?
1533
01:17:06,166 --> 01:17:08,125
Mm-hm. Yes, any book.
1534
01:17:08,666 --> 01:17:09,833
Even the Bible?
1535
01:17:11,416 --> 01:17:14,583
If I were ever to film the life of Christ...
1536
01:17:16,875 --> 01:17:19,416
I'd film the scenes
that are left out of the Bible.
1537
01:17:19,500 --> 01:17:21,250
[Seberg] And the script would be
1538
01:17:21,333 --> 01:17:22,666
quotes by Renoir?
1539
01:17:22,750 --> 01:17:24,125
And Rossellini.
1540
01:17:24,208 --> 01:17:25,958
Their quotes are the holy scripture.
1541
01:17:27,208 --> 01:17:28,541
- Amen!
- [camera shutter clicks]
1542
01:17:28,625 --> 01:17:31,708
[Godard] Now do Bogie,
1543
01:17:32,500 --> 01:17:34,666
and say your favorite Bogart lines.
1544
01:17:39,666 --> 01:17:42,000
- I can't think of any.
- [Godard] Come on.
1545
01:17:42,583 --> 01:17:45,833
[in English]
Maybe not today, maybe not tomorrow,
1546
01:17:46,458 --> 01:17:49,166
- but soon, and for the rest of your life.
- [laughing]
1547
01:17:49,250 --> 01:17:53,708
[in English] Louis, I think this is
the beginning of a beautiful friendship.
1548
01:17:53,791 --> 01:17:56,750
[Belmondo laughing]
[in English] Look, angel...
1549
01:17:56,833 --> 01:17:57,708
I'm tired.
1550
01:17:58,250 --> 01:17:59,916
My jaw hurts and my ribs ache.
1551
01:18:00,416 --> 01:18:01,541
I killed guy back there.
1552
01:18:01,625 --> 01:18:04,833
I had to stand by
while the real homeless guy was killed.
1553
01:18:04,916 --> 01:18:07,166
[in French] Stop. You guys are killing me.
1554
01:18:07,250 --> 01:18:08,416
[in French] Wait, I have it.
1555
01:18:11,375 --> 01:18:13,416
[in English]
I was born when she kissed me,
1556
01:18:14,958 --> 01:18:17,083
I died when she left me,
1557
01:18:17,750 --> 01:18:19,833
I lived a few weeks while she loved me.
1558
01:18:23,375 --> 01:18:24,500
[in French] How about that?
1559
01:18:28,500 --> 01:18:30,416
I'm not especially handsome,
1560
01:18:31,583 --> 01:18:32,958
but I'm a good boxer.
1561
01:18:36,666 --> 01:18:38,083
I'm not especially handsome,
1562
01:18:38,583 --> 01:18:40,166
but I'm a good boxer.
1563
01:18:45,708 --> 01:18:46,666
Cut.
1564
01:18:47,708 --> 01:18:48,916
Cut.
1565
01:18:49,000 --> 01:18:50,791
[Godard muttering]
1566
01:18:51,625 --> 01:18:52,583
- Raoul...
- Hm?
1567
01:18:53,083 --> 01:18:55,125
...do you think this will cut together?
1568
01:18:58,291 --> 01:19:00,291
Good thing the camera
really loves these two.
1569
01:19:01,875 --> 01:19:03,541
Please try that one last time.
1570
01:19:07,833 --> 01:19:10,208
Between grief and nothingness,
1571
01:19:10,291 --> 01:19:11,833
I choose grief.
1572
01:19:12,666 --> 01:19:15,000
What would you choose?
1573
01:19:16,291 --> 01:19:17,666
Show me your toes.
1574
01:19:18,875 --> 01:19:21,166
It's very important,
women's toes, don't laugh...
1575
01:19:22,625 --> 01:19:24,208
What would you choose?
1576
01:19:25,625 --> 01:19:27,125
Grief is idiotic.
1577
01:19:27,791 --> 01:19:29,125
I choose nothingness.
1578
01:19:37,291 --> 01:19:39,250
[inhales] Hm.
1579
01:19:48,333 --> 01:19:50,041
[Seberg sighs]
1580
01:19:50,125 --> 01:19:52,666
Jean, I can't find the line you said.
1581
01:19:52,750 --> 01:19:53,916
Have you invented it?
1582
01:19:54,416 --> 01:19:55,583
Who knows?
1583
01:19:55,666 --> 01:19:57,208
Keep reading.
1584
01:19:57,291 --> 01:19:58,875
End of day.
1585
01:19:59,458 --> 01:20:02,125
It really smells like a man on the run.
1586
01:20:02,208 --> 01:20:03,708
Give me that. I'll wash it.
1587
01:20:03,791 --> 01:20:04,958
[Godard] No, leave it.
1588
01:20:06,208 --> 01:20:07,208
Don't worry,
1589
01:20:07,291 --> 01:20:09,041
it will remain crumpled.
1590
01:20:09,125 --> 01:20:11,208
So I guess I'll go home naked?
1591
01:20:11,875 --> 01:20:13,916
- Wear my robe.
- Ah. Thank you.
1592
01:20:14,625 --> 01:20:16,916
Making this film is so un-Hollywood,
1593
01:20:17,000 --> 01:20:19,708
I've become completely unselfconscious.
1594
01:20:19,791 --> 01:20:21,583
I wouldn't say completely.
1595
01:20:21,666 --> 01:20:22,666
[Seberg] Okay.
1596
01:20:22,750 --> 01:20:25,916
But it feels almost like a home movie.
1597
01:20:26,000 --> 01:20:29,708
And you're one of the freest actors
I've ever worked with.
1598
01:20:29,791 --> 01:20:31,208
- One of?
- Mmm.
1599
01:20:31,291 --> 01:20:34,250
Who else is freer?
1600
01:20:34,333 --> 01:20:37,916
- [laughing]
- There's no one freer. Mm?
1601
01:20:41,125 --> 01:20:42,208
- Hello.
- Hi.
1602
01:20:42,291 --> 01:20:43,375
How's it going?
1603
01:20:45,833 --> 01:20:46,708
Phuong.
1604
01:20:47,208 --> 01:20:48,208
Hello.
1605
01:20:48,291 --> 01:20:49,458
Jean-Luc.
1606
01:20:51,750 --> 01:20:54,333
Thank you, goodbye, see you tomorrow.
1607
01:20:54,416 --> 01:20:55,291
[Belmondo] Goodbye.
1608
01:20:55,958 --> 01:20:57,250
{\an8}DAY 14
1609
01:20:57,333 --> 01:20:59,541
{\an8}So I could hold on one of you
1610
01:20:59,625 --> 01:21:01,583
even when the other's talking.
1611
01:21:01,666 --> 01:21:02,791
Whoa.
1612
01:21:04,041 --> 01:21:07,583
I could flip a coin to choose
whose side I stay on.
1613
01:21:07,666 --> 01:21:08,916
I'll call it in the air.
1614
01:21:09,000 --> 01:21:11,291
I can do it now, or in the editing room.
1615
01:21:11,375 --> 01:21:13,250
We should flip now.
1616
01:21:13,333 --> 01:21:14,458
You're right.
1617
01:21:14,541 --> 01:21:16,083
[pop music playing on radio]
1618
01:21:16,166 --> 01:21:17,916
- Tails.
- No need.
1619
01:21:18,000 --> 01:21:19,500
You know you're gonna win.
1620
01:21:22,833 --> 01:21:25,375
{\an8}DAY 15
1621
01:21:33,708 --> 01:21:35,000
[in English] Least favorite part!
1622
01:21:36,541 --> 01:21:38,708
[laughing]
1623
01:21:38,791 --> 01:21:40,625
[in English] That's okay. Back.
1624
01:21:55,041 --> 01:21:56,416
- Hey!
- Thank you.
1625
01:21:56,500 --> 01:21:58,250
[Beau-Beau] What's going on here?
1626
01:21:58,333 --> 01:21:59,916
It's 11:00 in the morning,
1627
01:22:00,000 --> 01:22:02,166
what are you waiting for? Hmm?
1628
01:22:03,250 --> 01:22:06,833
Art and crime
both require leisure time to flourish.
1629
01:22:06,916 --> 01:22:08,500
And I have a terrible toothache.
1630
01:22:08,583 --> 01:22:10,208
Then off we go to the dentist.
1631
01:22:10,708 --> 01:22:12,708
I know just where to take you.
1632
01:22:12,791 --> 01:22:15,041
And I wouldn't call
this specialist painless.
1633
01:22:15,500 --> 01:22:16,916
I should tell you,
1634
01:22:17,000 --> 01:22:19,291
I'm just in it for the laughing gas.
1635
01:22:19,375 --> 01:22:20,500
It will be fun.
1636
01:22:22,250 --> 01:22:25,083
My agent keeps saying
we'll never work again.
1637
01:22:26,291 --> 01:22:28,291
Just another peculiar interlude
1638
01:22:28,958 --> 01:22:31,291
in a life full of peculiar interludes.
1639
01:22:32,083 --> 01:22:34,125
- Your husband just got here.
- Hm?
1640
01:22:36,000 --> 01:22:39,250
[Seberg] As I said,
another peculiar interlude.
1641
01:22:39,333 --> 01:22:40,208
Hello.
1642
01:22:40,750 --> 01:22:42,833
- [in English] How are you, darling?
- Hi.
1643
01:22:42,916 --> 01:22:43,791
{\an8}DAY 16
1644
01:22:43,875 --> 01:22:45,125
{\an8}[Beau-Beau] Listen, Jean-Luc,
1645
01:22:45,208 --> 01:22:48,250
{\an8}even if you don't want to show me
the pages, give them to Rissient.
1646
01:22:48,791 --> 01:22:51,541
Or do you have new pages
after these days off?
1647
01:22:53,708 --> 01:22:54,833
Three things:
1648
01:22:55,875 --> 01:22:57,416
I have nothing written down.
1649
01:22:57,500 --> 01:23:00,500
I wouldn't show it to you even if I did.
1650
01:23:00,583 --> 01:23:02,583
And I don't take days off.
1651
01:23:06,166 --> 01:23:07,500
[car horn honks]
1652
01:23:13,333 --> 01:23:14,458
[Seberg] Ahh.
1653
01:23:15,208 --> 01:23:16,875
You look very handsome.
1654
01:23:17,833 --> 01:23:18,833
But...
1655
01:23:19,916 --> 01:23:24,083
your character would wear powder.
1656
01:23:25,041 --> 01:23:27,750
Jean-Luc, how will you hold the newspaper?
1657
01:23:29,875 --> 01:23:30,916
Ah.
1658
01:23:32,875 --> 01:23:35,583
I told François he would be perfect,
but he wouldn't do it.
1659
01:23:35,666 --> 01:23:37,708
We could have gotten Chabrol.
1660
01:23:40,375 --> 01:23:41,375
- Rissient!
- Yes.
1661
01:23:42,750 --> 01:23:43,625
Where is my pipe?
1662
01:23:43,708 --> 01:23:46,666
I'll get it right away.
1663
01:23:49,416 --> 01:23:50,583
Rolling.
1664
01:23:50,666 --> 01:23:52,666
[camera whirring]
1665
01:23:53,583 --> 01:23:54,875
France-Soir.
1666
01:23:54,958 --> 01:23:56,583
France-Soir, please.
1667
01:23:56,666 --> 01:23:58,500
Hello, sir. 25 Francs.
1668
01:23:59,291 --> 01:24:00,416
Thank you.
1669
01:24:20,958 --> 01:24:22,166
[Seberg laughing]
1670
01:24:23,958 --> 01:24:25,083
Cut.
1671
01:24:25,166 --> 01:24:26,041
[Raoul] Cut.
1672
01:24:26,125 --> 01:24:27,291
You want another one?
1673
01:24:28,041 --> 01:24:29,125
Jean? Jean?
1674
01:24:30,041 --> 01:24:31,291
Let's go again.
1675
01:24:31,833 --> 01:24:34,583
Film is a revolutionary art, you know.
1676
01:24:34,666 --> 01:24:36,583
Only the essential gestures.
1677
01:24:36,666 --> 01:24:41,208
[laughing] Life is short and art is long.
1678
01:24:42,416 --> 01:24:45,375
We'll do it a few more times
1679
01:24:45,458 --> 01:24:47,250
- until you forget...
- [chuckling]
1680
01:24:47,333 --> 01:24:50,000
...what you imagined all by yourself.
1681
01:24:50,875 --> 01:24:54,791
- Roll camera, Raoul. Roll camera.
- Roll camera.
1682
01:24:54,875 --> 01:24:56,166
Roll camera, Raoul.
1683
01:25:00,750 --> 01:25:02,250
[chuckles]
1684
01:25:03,750 --> 01:25:06,125
I'm serious. Careful with the car.
1685
01:25:06,208 --> 01:25:08,208
It was difficult to bring it from the US.
1686
01:25:08,291 --> 01:25:10,291
The paint job is unique,
can't find it here.
1687
01:25:10,375 --> 01:25:12,958
Don't worry, if we scratch it,
1688
01:25:13,041 --> 01:25:14,666
we'll paint it pink.
1689
01:25:14,750 --> 01:25:15,958
I love your jokes.
1690
01:25:16,041 --> 01:25:17,875
Come on. Hit the road!
1691
01:25:17,958 --> 01:25:19,458
[Seberg, in English] Let's go!
1692
01:25:19,541 --> 01:25:21,541
[jazz music playing]
1693
01:25:23,708 --> 01:25:26,125
Thank you so much.
1694
01:25:27,208 --> 01:25:29,666
{\an8}DAY 17
1695
01:25:32,041 --> 01:25:34,041
Thank you for being here.
1696
01:25:34,125 --> 01:25:36,250
Come, I need to talk to you.
1697
01:25:36,333 --> 01:25:38,333
[jazz music continues]
1698
01:25:42,125 --> 01:25:45,000
So you're okay with me running that story?
1699
01:25:45,083 --> 01:25:46,416
- The one about the garage?
- Yes.
1700
01:25:46,500 --> 01:25:47,500
Yes.
1701
01:25:47,583 --> 01:25:48,583
[laughing]
1702
01:25:49,333 --> 01:25:52,250
And you can also work in
1703
01:25:52,333 --> 01:25:54,958
that I stole it from my father's clinic.
1704
01:25:55,041 --> 01:25:57,625
Okay. Fantastic. Even better.
1705
01:25:58,500 --> 01:26:01,750
I actually stole from
my grandmother, repeatedly.
1706
01:26:01,833 --> 01:26:05,041
She had a flat in Paris, and a library
1707
01:26:05,125 --> 01:26:06,875
filled with first edition books.
1708
01:26:07,416 --> 01:26:10,333
I'd sell them for money. [chuckles]
1709
01:26:10,416 --> 01:26:14,000
But it's better to say
I stole from my father's clinic.
1710
01:26:14,750 --> 01:26:17,833
It's more heartless to steal
from an upstanding doctor.
1711
01:26:19,166 --> 01:26:20,125
[Seberg] Jean-Luc?
1712
01:26:20,208 --> 01:26:21,250
Yes?
1713
01:26:21,333 --> 01:26:23,458
[in English]
I thought I was interviewing Rossellini.
1714
01:26:23,541 --> 01:26:26,875
Remember? That's what we talked about.
That's what you promised me.
1715
01:26:27,666 --> 01:26:29,250
- François.
- Yes?
1716
01:26:29,333 --> 01:26:31,916
I'd like you play a press photographer.
1717
01:26:32,000 --> 01:26:33,250
With pleasure.
1718
01:26:33,333 --> 01:26:35,250
Go see Rissient, he knows about it.
1719
01:26:36,375 --> 01:26:37,500
Why no Rossellini?
1720
01:26:38,000 --> 01:26:39,708
Ask the film gods.
1721
01:26:39,791 --> 01:26:42,291
Oh. I thought I was.
1722
01:26:43,041 --> 01:26:44,125
[chuckles]
1723
01:26:44,833 --> 01:26:46,916
Besides, Melville will be better.
1724
01:26:47,000 --> 01:26:49,291
[plane flying overhead]
1725
01:26:51,166 --> 01:26:52,750
I want to direct too.
1726
01:26:53,583 --> 01:26:55,333
It's a big ambition of mine.
1727
01:26:55,916 --> 01:26:57,416
Probably the biggest.
1728
01:26:57,500 --> 01:26:58,500
Probably?
1729
01:26:59,375 --> 01:27:01,833
It must run in the family.
William Wyler is a cousin.
1730
01:27:02,958 --> 01:27:04,708
First cousin, or distant?
1731
01:27:04,791 --> 01:27:06,750
I'm adapting a novella by Françoise Sagan.
1732
01:27:06,833 --> 01:27:08,958
For now, I prefer being a go-between.
1733
01:27:11,583 --> 01:27:13,250
Okay, we're ready!
1734
01:27:15,166 --> 01:27:16,416
The actors!
1735
01:27:16,500 --> 01:27:18,166
Jean-Pierre! Jean!
1736
01:27:18,833 --> 01:27:19,791
Come on.
1737
01:27:23,708 --> 01:27:24,791
[laughing]
1738
01:27:27,750 --> 01:27:30,083
So we play this like a real interview?
1739
01:27:30,583 --> 01:27:33,083
Precisely. Answer to whoever you like.
1740
01:27:33,666 --> 01:27:36,125
I can talk about women
or anything I want?
1741
01:27:36,208 --> 01:27:40,291
Only if you make it as funny and brilliant
as you really are. [chuckles]
1742
01:27:40,875 --> 01:27:42,333
- And Patricia...
- [in French] Yes.
1743
01:27:42,416 --> 01:27:44,041
I'll give you your questions.
1744
01:27:44,125 --> 01:27:45,083
[in English] What?
1745
01:27:45,625 --> 01:27:49,791
[in French] So he says whatever he wants,
but I have lines fed to me?
1746
01:27:51,166 --> 01:27:52,750
Haven't you got it yet?
1747
01:27:53,583 --> 01:27:54,541
No.
1748
01:27:54,625 --> 01:27:56,083
You're playing me.
1749
01:27:57,083 --> 01:27:59,333
[Melville and Godard speak indistinct]
1750
01:28:01,666 --> 01:28:02,708
[groans]
1751
01:28:03,916 --> 01:28:05,041
{\an8}DAY 18
1752
01:28:05,125 --> 01:28:07,041
{\an8}Before they shoot,
1753
01:28:07,666 --> 01:28:09,166
one of the cops says,
1754
01:28:10,000 --> 01:28:11,708
"Quick, in the spinal column!"
1755
01:28:11,791 --> 01:28:12,916
[laughing] Oh no.
1756
01:28:13,541 --> 01:28:14,791
You cannot put that in.
1757
01:28:16,791 --> 01:28:18,458
"Quick, in the spinal column."
1758
01:28:18,541 --> 01:28:21,416
Please, not even one take that way.
1759
01:28:22,666 --> 01:28:24,750
I don't even think he should die.
1760
01:28:30,625 --> 01:28:32,916
The same street where Kiki,
1761
01:28:33,000 --> 01:28:34,875
Man Ray, Marcel Duchamp,
1762
01:28:35,416 --> 01:28:36,750
and Francis Picabia hung out.
1763
01:28:36,833 --> 01:28:38,041
History gets richer.
1764
01:28:40,958 --> 01:28:43,750
Hm. I love this location.
1765
01:28:43,833 --> 01:28:47,041
Look at the dialogue ideas I came up with.
1766
01:28:47,875 --> 01:28:49,500
You did not work too hard.
1767
01:28:52,333 --> 01:28:53,333
Any blood?
1768
01:28:54,000 --> 01:28:55,500
Not blood. Red.
1769
01:28:55,583 --> 01:28:57,666
- An open wound?
- No. Just red.
1770
01:28:58,875 --> 01:29:01,625
[groans] Almost over, almost over.
1771
01:29:02,833 --> 01:29:04,166
Roll camera, Raoul!
1772
01:29:05,041 --> 01:29:07,000
- [camera whirring]
- [Raoul] Rolling, Jean-Luc.
1773
01:29:07,625 --> 01:29:08,625
Action!
1774
01:29:09,708 --> 01:29:11,708
[vehicle approaching]
1775
01:29:15,458 --> 01:29:16,708
[tires screech]
1776
01:29:22,125 --> 01:29:23,083
[Godard] Cut!
1777
01:29:23,666 --> 01:29:26,166
- You're too slow.
- [Raoul] Cut.
1778
01:29:26,250 --> 01:29:28,125
Get out of the car faster.
1779
01:29:28,208 --> 01:29:30,083
You look like you don't wanna kill him.
1780
01:29:33,333 --> 01:29:34,625
Rolling.
1781
01:29:38,125 --> 01:29:39,833
Quick, in the spinal column!
1782
01:29:39,916 --> 01:29:42,208
- [gunshot]
- [woman gasps]
1783
01:29:42,291 --> 01:29:43,541
- Cut.
- Missed.
1784
01:29:44,208 --> 01:29:45,625
Not even close.
1785
01:29:45,708 --> 01:29:47,458
I live to see another day.
1786
01:29:47,541 --> 01:29:50,333
- Poiccard will never die.
- [laughing]
1787
01:29:50,416 --> 01:29:52,666
Again, without the line. For Truffaut.
1788
01:29:52,750 --> 01:29:53,666
Set up.
1789
01:29:58,583 --> 01:29:59,958
It's your death, Poiccard.
1790
01:30:00,458 --> 01:30:01,333
Ready?
1791
01:30:01,833 --> 01:30:03,083
It's time to die.
1792
01:30:05,000 --> 01:30:06,000
It will be
1793
01:30:06,541 --> 01:30:07,833
on this crosswalk.
1794
01:30:12,041 --> 01:30:16,333
Destiny and death
are cinema's pet themes.
1795
01:30:21,250 --> 01:30:23,250
Roll camera, Raoul.
1796
01:30:24,916 --> 01:30:26,708
Get slowly closer.
1797
01:30:29,583 --> 01:30:32,458
[car horns honking]
1798
01:30:32,541 --> 01:30:35,541
Don't worry! It's for a movie.
1799
01:30:36,291 --> 01:30:38,375
Look at me, don't look at the camera.
1800
01:30:40,625 --> 01:30:42,625
Everything's fine.
1801
01:30:45,375 --> 01:30:46,625
Watch out for jolts.
1802
01:30:46,708 --> 01:30:48,500
Everything's fine.
1803
01:30:52,583 --> 01:30:55,041
Keep rolling, keep rolling...
1804
01:30:55,708 --> 01:30:56,750
Stop.
1805
01:30:57,583 --> 01:30:58,458
Cut.
1806
01:30:59,333 --> 01:31:01,083
- Are you okay, Jean-Paul?
- [Belmondo grunts]
1807
01:31:01,166 --> 01:31:02,125
Bravo.
1808
01:31:03,375 --> 01:31:04,916
Beautiful death.
1809
01:31:07,208 --> 01:31:08,250
Don't slow down!
1810
01:31:08,333 --> 01:31:09,500
Run!
1811
01:31:11,541 --> 01:31:13,375
Until you're breathless!
1812
01:31:14,208 --> 01:31:15,375
[in English] I am!
1813
01:31:17,208 --> 01:31:18,541
[Godard] It's fine.
1814
01:31:18,625 --> 01:31:19,958
A little faster.
1815
01:31:21,250 --> 01:31:22,083
Run!
1816
01:31:22,166 --> 01:31:23,916
Raoul, roll camera.
1817
01:31:25,541 --> 01:31:26,791
- Ready?
- Rolling.
1818
01:31:26,875 --> 01:31:27,875
Action.
1819
01:31:34,166 --> 01:31:36,083
- [officer] What happened?
- [overlapping chatter]
1820
01:31:36,166 --> 01:31:37,666
Oh, it's a movie.
1821
01:31:37,750 --> 01:31:40,041
Pierre, have these people
move back a little.
1822
01:31:40,750 --> 01:31:41,833
No, Pierre.
1823
01:31:42,333 --> 01:31:43,541
Let's not chase them off.
1824
01:31:44,083 --> 01:31:46,333
They would be here, the crowd is good.
1825
01:31:46,416 --> 01:31:47,458
All right, Jean-Luc.
1826
01:31:52,041 --> 01:31:52,916
Cut!
1827
01:31:54,458 --> 01:31:55,875
[man] Wait a second.
1828
01:31:55,958 --> 01:31:57,333
A chair, excuse me.
1829
01:32:00,375 --> 01:32:01,375
All right.
1830
01:32:02,791 --> 01:32:06,500
Let's make the saddest shot
in the history of cinema.
1831
01:32:08,583 --> 01:32:10,583
Right up there with Bergman
1832
01:32:11,083 --> 01:32:13,458
who does a superb shot in Monika.
1833
01:32:18,750 --> 01:32:20,083
- [camera rolling]
- [Raoul] Rolling.
1834
01:32:20,166 --> 01:32:21,750
[exhales softly]
1835
01:32:22,500 --> 01:32:24,708
[Godard] Each thought should recall
the ruin of a smile.
1836
01:32:25,958 --> 01:32:27,041
[inhales sharply]
1837
01:32:28,208 --> 01:32:29,250
Patricia...
1838
01:32:30,375 --> 01:32:31,375
take his wallet.
1839
01:32:33,375 --> 01:32:34,666
No. No.
1840
01:32:35,833 --> 01:32:37,750
You're the thief, not me.
1841
01:32:37,833 --> 01:32:39,791
I know that's what you would do,
1842
01:32:39,875 --> 01:32:40,916
but she wouldn't.
1843
01:32:41,000 --> 01:32:42,041
But Franchini,
1844
01:32:42,125 --> 01:32:43,750
you could use what's inside,
1845
01:32:43,833 --> 01:32:45,375
you don't want the cops to get it.
1846
01:32:45,458 --> 01:32:47,541
No. I'm not doing that.
1847
01:32:48,416 --> 01:32:50,166
Come on. Sleight of hand.
1848
01:32:50,250 --> 01:32:51,750
Like you slip him a note.
1849
01:32:51,833 --> 01:32:53,333
[breathes shakily]
1850
01:32:54,291 --> 01:32:55,750
It doesn't seem right.
1851
01:32:55,833 --> 01:32:58,208
Purity is not of this world.
1852
01:32:58,291 --> 01:32:59,833
[in English] No! I already turned him in
1853
01:32:59,916 --> 01:33:02,416
and now you want me to steal
from him too? I'm not gonna do that!
1854
01:33:02,500 --> 01:33:03,958
- Cut.
- [Raoul] Cut.
1855
01:33:04,041 --> 01:33:06,166
We control our thoughts,
1856
01:33:06,250 --> 01:33:07,875
which mean nothing.
1857
01:33:08,541 --> 01:33:10,708
Not our emotions, which mean everything.
1858
01:33:10,791 --> 01:33:13,333
When will this fucking movie be over with?
1859
01:33:14,125 --> 01:33:15,125
Well...
1860
01:33:22,791 --> 01:33:24,791
[camera whirring]
1861
01:33:25,541 --> 01:33:26,666
If...
1862
01:33:26,750 --> 01:33:29,166
If you won't steal his wallet,
1863
01:33:29,875 --> 01:33:31,500
give me something.
1864
01:33:31,583 --> 01:33:33,208
Give me a Bogie.
1865
01:33:33,291 --> 01:33:34,541
At least that.
1866
01:33:38,583 --> 01:33:41,208
[Seberg, in French] What is "disgusting"?
1867
01:33:55,041 --> 01:33:56,333
- Cut.
- Cut.
1868
01:33:56,416 --> 01:33:57,333
Okay for you?
1869
01:33:59,625 --> 01:34:01,375
That's a picture wrap on Jean.
1870
01:34:02,250 --> 01:34:03,833
We did it, kid.
1871
01:34:05,958 --> 01:34:08,500
- Bravo.
- [giggles]
1872
01:34:09,375 --> 01:34:10,375
Bravo.
1873
01:34:12,333 --> 01:34:13,625
Mmm...
1874
01:34:14,916 --> 01:34:16,708
You saw what she just did? Amazing.
1875
01:34:23,875 --> 01:34:26,291
Do you think he was
leading her there all along?
1876
01:34:26,375 --> 01:34:27,791
[scoffs] Are you kidding?
1877
01:34:27,875 --> 01:34:29,416
You think he had a plan?
1878
01:34:30,458 --> 01:34:32,750
"Not our emotions
which mean everything."
1879
01:34:32,833 --> 01:34:34,750
"Come on, Patricia."
1880
01:34:34,833 --> 01:34:36,125
"At least that."
1881
01:34:36,208 --> 01:34:38,291
[in English] That was horrible.
1882
01:34:41,500 --> 01:34:42,333
It's over.
1883
01:34:43,166 --> 01:34:44,208
On to the next.
1884
01:34:44,291 --> 01:34:45,250
Huh?
1885
01:34:45,958 --> 01:34:48,666
Let No Man Write My Epitaph
starts next week.
1886
01:34:49,958 --> 01:34:52,000
Think about that. Hollywood.
1887
01:34:53,125 --> 01:34:54,583
[in French] America.
1888
01:34:55,166 --> 01:34:57,166
["Tout l'amour" by Dario Moreno
plays]
1889
01:35:07,416 --> 01:35:08,791
{\an8}DAY 19
1890
01:35:08,875 --> 01:35:09,750
{\an8}[bird squawking]
1891
01:35:09,833 --> 01:35:11,833
Hans Lucas,
1892
01:35:12,416 --> 01:35:14,083
what shall we start with?
1893
01:35:14,166 --> 01:35:15,750
Maybe a close-up of this?
1894
01:35:15,833 --> 01:35:17,625
- Very good.
- An extreme close-up.
1895
01:35:17,708 --> 01:35:19,625
As the first image of the film?
1896
01:35:20,333 --> 01:35:21,333
[Godard] Maybe.
1897
01:35:22,333 --> 01:35:23,166
Maybe not.
1898
01:35:24,250 --> 01:35:25,208
I like it.
1899
01:35:25,291 --> 01:35:26,250
I love it!
1900
01:35:27,166 --> 01:35:31,625
- After all, we have to start somewhere.
- [police siren blaring]
1901
01:35:31,708 --> 01:35:33,375
[birds chirping]
1902
01:35:33,458 --> 01:35:36,166
And now, to make a killing,
1903
01:35:37,041 --> 01:35:38,458
so to speak.
1904
01:35:38,541 --> 01:35:40,708
Artists and criminals are alike,
1905
01:35:41,208 --> 01:35:42,541
they both want to surprise.
1906
01:35:43,208 --> 01:35:45,500
This police officer
can't know what hit him.
1907
01:35:47,666 --> 01:35:49,250
Trust me.
1908
01:35:49,333 --> 01:35:50,375
He won't.
1909
01:35:51,041 --> 01:35:51,916
[chuckles]
1910
01:35:52,000 --> 01:35:55,791
Once you are hit by the bullet,
let gravity do its work.
1911
01:35:59,791 --> 01:36:01,083
After, you can...
1912
01:36:02,291 --> 01:36:03,250
This way...
1913
01:36:05,458 --> 01:36:06,666
- Good?
- Okay.
1914
01:36:09,750 --> 01:36:12,083
Grab your shoulders, extend your arms.
1915
01:36:12,166 --> 01:36:13,083
Good.
1916
01:36:13,708 --> 01:36:14,958
That's it.
1917
01:36:17,666 --> 01:36:19,916
Watch the birdie.
1918
01:36:20,416 --> 01:36:22,333
Cinema is...?
1919
01:36:22,416 --> 01:36:24,375
- [all] Disgusting.
- [camera shutter clicks]
1920
01:36:25,791 --> 01:36:28,166
{\an8}DAY 20
1921
01:36:31,208 --> 01:36:33,625
Jean-Luc, you want to have a look?
1922
01:36:33,708 --> 01:36:34,666
No.
1923
01:36:35,791 --> 01:36:37,916
Last set-up, I should know better.
1924
01:36:41,500 --> 01:36:43,875
- Roll camera, Raoul.
- Rolling, Jean-Luc.
1925
01:36:43,958 --> 01:36:44,958
[camera whirring]
1926
01:36:45,041 --> 01:36:46,458
Run!
1927
01:36:56,833 --> 01:36:58,208
- Do we have it?
- [Raoul] Yes.
1928
01:36:58,291 --> 01:36:59,791
- All good.
- [Godard] Then cut.
1929
01:36:59,875 --> 01:37:02,666
- Cut.
- We are done anyway.
1930
01:37:03,500 --> 01:37:06,416
Leonardo da Vinci said it best,
1931
01:37:07,458 --> 01:37:09,583
"Art is never finished,
1932
01:37:10,458 --> 01:37:12,208
only abandoned."
1933
01:37:12,291 --> 01:37:13,875
And that's a wrap!
1934
01:37:15,291 --> 01:37:16,708
Keep running!
1935
01:37:17,416 --> 01:37:19,041
See you back in Paris!
1936
01:37:19,875 --> 01:37:21,000
Wrong way!
1937
01:37:21,500 --> 01:37:24,208
Paris is that way!
1938
01:37:24,833 --> 01:37:27,125
Forget Paris, I'm going to Rome.
1939
01:37:27,208 --> 01:37:30,666
[jazz music playing]
1940
01:37:30,750 --> 01:37:32,750
- Thank you, Coutard.
- No problem, Godard.
1941
01:37:48,500 --> 01:37:50,000
Cécile! Lila!
1942
01:37:50,875 --> 01:37:52,125
Hope you are ready.
1943
01:37:53,125 --> 01:37:54,541
Because I love editing.
1944
01:37:54,625 --> 01:37:58,083
It's where we hold the past,
1945
01:37:58,166 --> 01:38:00,875
the present, and the future in our hands.
1946
01:38:00,958 --> 01:38:03,541
Time to snip and clip
whatever lacks oomph.
1947
01:38:03,625 --> 01:38:04,958
Which scene you want to cut?
1948
01:38:05,041 --> 01:38:06,666
We're not cutting any scene.
1949
01:38:06,750 --> 01:38:08,750
We're cutting within the scene.
1950
01:38:09,875 --> 01:38:11,291
We could cut Van Doude.
1951
01:38:11,875 --> 01:38:13,166
No. Think again.
1952
01:38:13,750 --> 01:38:16,291
Close-ups of Seberg
are a quarter of the footage.
1953
01:38:16,375 --> 01:38:17,625
But they are essential.
1954
01:38:18,291 --> 01:38:21,083
The Melville scene is long.
Do we need it?
1955
01:38:21,166 --> 01:38:23,291
No more or less than any other scene.
1956
01:38:24,041 --> 01:38:26,750
Each scene stays.
But only its strong moments.
1957
01:38:26,833 --> 01:38:27,875
My strong moments!
1958
01:38:28,416 --> 01:38:30,333
We're going to take each sequence
1959
01:38:30,416 --> 01:38:34,208
and cut what can be cut
to create a new rhythm.
1960
01:38:34,291 --> 01:38:35,791
- In each scene?
- Yes.
1961
01:38:36,541 --> 01:38:38,083
That's what will bring it to life.
1962
01:38:38,166 --> 01:38:40,833
Pull up the scene with Poiccard
in the Oldsmobile.
1963
01:38:41,416 --> 01:38:43,458
Only keep the moments
when he overtakes cars,
1964
01:38:43,958 --> 01:38:45,500
and put them end to end.
1965
01:38:45,583 --> 01:38:46,541
Like Poiccard,
1966
01:38:46,625 --> 01:38:48,291
the film is impatient to move forward.
1967
01:38:48,375 --> 01:38:49,333
It'll be choppy,
1968
01:38:49,958 --> 01:38:50,875
abrupt.
1969
01:38:50,958 --> 01:38:52,541
It'll be amazing.
1970
01:38:52,625 --> 01:38:55,291
It'll be disconnected
like it's jumping everywhere.
1971
01:38:55,375 --> 01:38:56,958
Absolutely.
1972
01:38:57,041 --> 01:38:58,375
Let's make everything jump.
1973
01:38:59,125 --> 01:39:02,958
If audiences enjoyed
the jump cuts of Méliès,
1974
01:39:03,041 --> 01:39:06,083
Eisenstein, and Jean Rouch,
they will enjoy ours.
1975
01:39:06,166 --> 01:39:07,083
Or maybe not.
1976
01:39:07,166 --> 01:39:09,083
Audiences will accept our new truth.
1977
01:39:10,750 --> 01:39:11,791
Lila!
1978
01:39:13,291 --> 01:39:14,416
Let's jump.
1979
01:39:16,291 --> 01:39:18,458
I hear there's a lot of brilliant stuff.
1980
01:39:19,583 --> 01:39:23,041
But contractually, it can't last
longer than an hour and a half.
1981
01:39:23,750 --> 01:39:24,958
Ninety minutes.
1982
01:39:25,583 --> 01:39:26,791
Oh.
1983
01:39:26,875 --> 01:39:28,958
- That's what an hour and a half is?
- [soft chuckle]
1984
01:39:30,416 --> 01:39:33,333
Don't worry,
we're on our way to 90 minutes.
1985
01:39:36,250 --> 01:39:39,125
We lived through a difficult,
trying time together.
1986
01:39:40,125 --> 01:39:42,000
We must have something to show for it.
1987
01:39:45,708 --> 01:39:49,500
I don't know if I should cajole you
or manipulate you,
1988
01:39:50,250 --> 01:39:52,416
threaten you, or speak straight.
1989
01:39:53,208 --> 01:39:54,166
[sighs]
1990
01:39:55,583 --> 01:39:59,500
I could not conceive
of making a film with a producer
1991
01:40:00,125 --> 01:40:01,791
who wouldn't also be a friend.
1992
01:40:04,916 --> 01:40:06,416
[phone ringing in distance]
1993
01:40:06,500 --> 01:40:07,458
[sighs]
1994
01:40:07,541 --> 01:40:09,541
[whirring]
1995
01:40:09,625 --> 01:40:11,541
[jazz music playing]
1996
01:40:20,750 --> 01:40:22,625
[Poiccard] It's really disgusting.
1997
01:40:26,333 --> 01:40:27,791
[Patricia] What did he say?
1998
01:40:27,875 --> 01:40:30,541
[man] He said,
"You are really disgusting."
1999
01:40:36,083 --> 01:40:38,916
What is "disgusting"?
2000
01:40:39,000 --> 01:40:41,000
[slow piano music playing]
2001
01:40:59,708 --> 01:41:01,791
There's never been anything like it.
2002
01:41:03,541 --> 01:41:04,791
Congratulations, Jean-Luc.
2003
01:41:05,375 --> 01:41:07,458
- The world isn't ready for...
- Careful, Beau-Beau.
2004
01:41:08,250 --> 01:41:09,583
...for your piece of shit film.
2005
01:41:09,666 --> 01:41:10,916
[laughing]
2006
01:41:11,000 --> 01:41:11,958
So,
2007
01:41:12,666 --> 01:41:15,291
is it a piece of shit or a load of shit?
2008
01:41:15,375 --> 01:41:17,000
The year's worst film.
2009
01:41:17,083 --> 01:41:19,041
- Will never be released.
- I slept though it.
2010
01:41:19,125 --> 01:41:21,708
Finally, someone besides me
spreading those rumors.
2011
01:41:21,791 --> 01:41:23,291
All of civilization is mortal.
2012
01:41:23,375 --> 01:41:25,208
- It's no Citizen Kane.
- Not by a long shot.
2013
01:41:25,291 --> 01:41:27,583
Definitely the year's worst film.
2014
01:41:27,666 --> 01:41:28,958
They're going to hate it.
2015
01:41:39,208 --> 01:41:41,208
[slow jazz music playing]
2016
01:41:46,458 --> 01:41:51,583
{\an8}Breathless is considered one of
the most influential films ever made.
2017
01:41:51,666 --> 01:41:57,083
{\an8}Jean-Paul Belmondo did work again.
2018
01:41:57,166 --> 01:42:00,500
{\an8}After Breathless,
he became an international movie star,
2019
01:42:00,583 --> 01:42:03,166
{\an8}appearing in nearly a hundred films.
2020
01:42:03,250 --> 01:42:07,375
{\an8}Jean Seberg divorced Moreuil
shortly after this.
2021
01:42:07,458 --> 01:42:10,958
{\an8}She acted in 35 films
before dying at the age of 40.
2022
01:42:11,041 --> 01:42:18,041
{\an8}Her obituary called her
"the star of Breathless."
2023
01:42:18,750 --> 01:42:21,583
{\an8}Jean-Luc Godard's
personal cinematic revolution
2024
01:42:21,666 --> 01:42:23,625
{\an8}continued for more than 60 years.
2025
01:42:23,708 --> 01:42:29,125
{\an8}He was never not making
feature films, cinematic essays...
2026
01:42:29,208 --> 01:42:33,375
{\an8}and shorts.
2027
01:42:33,458 --> 01:42:35,500
{\an8}Truffaut, Chabrol, Rivette,
Rohmer, Schiffman,
2028
01:42:35,583 --> 01:42:39,875
{\an8}and the rest of the French New Wave
revolutionized cinema.
2029
01:42:39,958 --> 01:42:43,541
{\an8}In a three-year period,
162 French filmmakers
2030
01:42:43,625 --> 01:42:46,416
{\an8}would make their feature debut.
2031
01:42:49,375 --> 01:42:51,750
["Nouvelle Vague"
by Richard Anthony plays]
2032
01:45:14,750 --> 01:45:16,500
[song fades out]
2033
01:45:16,583 --> 01:45:18,583
[jazz music playing]
2034
01:45:54,625 --> 01:45:56,625
[music fades out]