Not Rated | 55min | Fantasy, Drama | 20 May 2010 (Greece)
Original Title: Le sang d'un poète
A young artist draws a face at a canvas on his easel. Suddenly the mouth on the drawing comes into life and starts talking. The artist tries to wipe it away with his hand, but when he looks into the hand he finds the living mouth on his palm. He tries to wipe it off on the mouth of an unfinished statue of a young woman. The statue comes into life and tells him that the only way out of the studio is through the looking glass. The artist jumps into the mirror and comes to the Hotel of Dramatic Lunacies. He peeps through the keyholes of a series of hotel rooms. In the last room he sees desperate meetings of hermaphrodites. One of them has a signboard saying "Mortal danger". Back in the studio the artist crushes the statue with a sledgehammer. Because of this he himself becomes a statue, located at the side of a square. Some schoolboys start a snowball fight around the statue. One of the boys is killed by a snowball. A fashionable couple start playing cards at a table beside the corpse. The woman tells the man that unless he holds the ace of hearts he is doomed. The man takes the ace of hearts from the dead boy. The child's guardian, a black angel, appears and takes away the corpse as well as the card. Losing the ace of hearts the man shoots himself. The woman is transformed into the unfinished statue from the studio, and walks away.
Director: Jean Cocteau
Writer: Jean Cocteau
Stars: Enrique Rivero, Elizabeth Lee Miller, Pauline Carton
Original Title: Le sang d'un poète
A young artist draws a face at a canvas on his easel. Suddenly the mouth on the drawing comes into life and starts talking. The artist tries to wipe it away with his hand, but when he looks into the hand he finds the living mouth on his palm. He tries to wipe it off on the mouth of an unfinished statue of a young woman. The statue comes into life and tells him that the only way out of the studio is through the looking glass. The artist jumps into the mirror and comes to the Hotel of Dramatic Lunacies. He peeps through the keyholes of a series of hotel rooms. In the last room he sees desperate meetings of hermaphrodites. One of them has a signboard saying "Mortal danger". Back in the studio the artist crushes the statue with a sledgehammer. Because of this he himself becomes a statue, located at the side of a square. Some schoolboys start a snowball fight around the statue. One of the boys is killed by a snowball. A fashionable couple start playing cards at a table beside the corpse. The woman tells the man that unless he holds the ace of hearts he is doomed. The man takes the ace of hearts from the dead boy. The child's guardian, a black angel, appears and takes away the corpse as well as the card. Losing the ace of hearts the man shoots himself. The woman is transformed into the unfinished statue from the studio, and walks away.
Director: Jean Cocteau
Writer: Jean Cocteau
Stars: Enrique Rivero, Elizabeth Lee Miller, Pauline Carton
Category
🎥
Short filmTranscript
00:00:00This is not the same journey.
00:00:17The bus is leading Orpheus where it should not lead him.
00:00:22We are far from his beautiful immobile walk.
00:00:26Orpheus and his guide are drifting,
00:00:30all around sin and carried away by a great inexplicable breath.
00:00:56Orpheus and his guide are drifting,
00:01:00all around sin and carried away by a great inexplicable breath.
00:01:05Orpheus and his guide are drifting,
00:01:09all around sin and carried away by a great inexplicable breath.
00:01:15When a film has no intrigue,
00:01:18when we don't know that at the beginning there is a gentleman and a lady,
00:01:21and at the end a gentleman will kill a lady or a lady will kill a gentleman,
00:01:24each image is very important.
00:01:54Orpheus and his guide are drifting,
00:01:57all around sin and carried away by a great inexplicable breath.
00:02:01Orpheus and his guide are drifting,
00:02:04all around sin and carried away by a great inexplicable breath.
00:02:08Orpheus and his guide are drifting,
00:02:11all around sin and carried away by a great inexplicable breath.
00:02:15Orpheus and his guide are drifting,
00:02:18all around sin and carried away by a great inexplicable breath.
00:02:22Orpheus and his guide are drifting,
00:02:25all around sin and carried away by a great inexplicable breath.
00:02:29Orpheus and his guide are drifting,
00:02:32all around sin and carried away by a great inexplicable breath.
00:02:36Orpheus and his guide are drifting,
00:02:39all around sin and carried away by a great inexplicable breath.
00:02:43Orpheus and his guide are drifting,
00:02:46all around sin and carried away by a great inexplicable breath.
00:02:51This film will be a kind of Chinese shadow of my life.
00:02:56I told you that mine, alas, could not be told,
00:02:59nor take an anecdotal form.
00:03:02It is a long struggle against habits,
00:03:05against others, against myself,
00:03:08a terrible mixture of consciousness and unconsciousness,
00:03:12of disorder and rigor,
00:03:15a silhouette like the one cut in black paper in the 18th century.
00:03:24We live in an enigma.
00:03:41It is likely that a poet is an invisible man.
00:03:44And it is likely that, contrary to Giges,
00:03:47to whom a god had given a ring that made him invisible,
00:03:51a god, Farser, gave me a ring that makes me visible.
00:03:55And I have a terrible visibility.
00:04:00We are the workers of a darkness that is clean but that escapes us.
00:04:06We know this deep man very poorly.
00:04:09He is our true self.
00:04:13He is hidden in the darkness.
00:04:16He gives us orders.
00:04:23I decided to sink myself into this terrible hole,
00:04:28into this unknown mine, at the risk of meeting the gray one.
00:04:32There is a state of drowsiness that is not sleep
00:04:37and a kind of truth that comes out of us
00:04:41and that is neither dream nor dreaminess.
00:04:46The concierge of the mouth is asleep
00:04:49and words come out that we might not let come out
00:04:53if this concierge was not asleep.
00:05:01Gustave!
00:05:03Gustave!
00:05:05Madame la Comtesse?
00:05:07Who are these gentlemen?
00:05:09Who are these gentlemen, Madame la Comtesse?
00:05:11These are two unknown gentlemen who are walking around my house.
00:05:17I don't see anyone, Madame la Comtesse.
00:05:19It's the concierge.
00:05:21Shall I say I'm crazy?
00:05:22Oh, Madame la Comtesse!
00:05:24You may go.
00:05:26What an era!
00:05:39Don't be stubborn.
00:05:41A painter always makes his own portrait.
00:05:44You will never reach this flower.
00:05:48Shit!
00:05:50Shit, shit, shit, shit, shit!
00:06:09Shit!
00:06:39Shit!
00:07:01It's your turn, Doctor.
00:07:03Show us your talent.
00:07:06Poets die and come back to life.
00:07:09Dali invented a very beautiful science,
00:07:12the phoenixology.
00:07:14The phoenixology means that people often die to be reborn.
00:07:19It's the renaissance of the phoenix.
00:07:21We burn, we burn to change into ashes
00:07:25and in turn the ashes change into themselves.
00:07:29Well, in my film, the flower will die,
00:07:33will be reborn, will die again
00:07:35and it is Minerva, the goddess of reason,
00:07:37who will see that it is a reborn flower
00:07:39and who refuses it.
00:08:02I'm sorry, I'm sorry.
00:08:22What horror!
00:08:26What horror!
00:08:31What a horror!
00:08:37I was born on July 5, 1889.
00:08:40Many dictionaries remind me of two years ago.
00:08:42I was born in Maison Lafitte, in Seine-et-Oise,
00:08:45in a charming family.
00:08:51My father was a painter, an amateur painter.
00:08:54He died when I was ten years old.
00:09:02My grandfather collected objects of art and paintings.
00:09:05He had audacity and eclecticism.
00:09:08My grandfather's friends were virtuosos,
00:09:10violinists, cellists,
00:09:13with whom he organized quartets.
00:09:18Sivori was a dwarf.
00:09:20He ate strawberries by pricking them with a toothpick.
00:09:23As he was a dwarf, he was assailed on scores.
00:09:26So he looked at the titles and said,
00:09:28« Pas sur Beethoven, madame. »
00:09:31« Pas sur Beethoven. »
00:09:33When my grandmother came from the salon
00:09:35and crossed the billiard room
00:09:37on tiptoe with her knitwear,
00:09:39he would get up and stop playing.
00:09:43He would stop playing.
00:09:45It is likely that one always resembles one's family,
00:09:48but it is the dilettantism of my family
00:09:50that deceived me first and then helped me.
00:09:53My family was very eclectic.
00:09:56They listened to Wagner and Gounod, for example, with the same pleasure.
00:10:16All this, in addition to the mysterious departure of my family
00:10:19for the opera, either to Faust or to The Twilight of the Gods,
00:10:24composed a funny mix
00:10:26that could only give me a vague love
00:10:28of painting, music and theatre.
00:10:31For a long time, I did not have the right to go to the theatre.
00:10:33I only knew the theatre through the programs
00:10:35that my mother forgot in my room.
00:10:38I saw her leave for the theatre.
00:10:40I saw her dressed, the woman in the room on her knees,
00:10:43as if in front of a madame.
00:10:45Then she went to join the great mysterious rooms.
00:10:48Then she came back forgetting,
00:10:50throwing programs on my bed.
00:10:52There was a magazine with a colored cover
00:10:55called Theatre.
00:10:57I had the scarlatine, the ruby,
00:10:59and I was in my bed.
00:11:01I also had false appendices so as not to go to college.
00:11:04And then I cut out sets,
00:11:06I reinstalled them in small theatres.
00:11:08And now, even when I did Pelléas and Melisande,
00:11:11I made these sets,
00:11:13quickly drawn on transparent surfaces,
00:11:15remembering my childhood
00:11:18and the small sets that I cut out in my bed.
00:11:23It turned out that poetry
00:11:25appeared to me as a kind of game
00:11:27and that the idea of struggle did not bloom in me,
00:11:29nor to face the terrible roundabout
00:11:31whose charm I only envisaged
00:11:33and whose charm I ignored,
00:11:35which imitates the religious lies
00:11:37that devour those they love.
00:11:39It still happens to me to pay the bill
00:11:41for having had too young
00:11:43false chances that were bad luck.
00:11:45At that time, I was writing absurd poems
00:11:48and it was Ayade who presented
00:11:50my hateful poems to Féminin
00:11:53through Édouard de Max.
00:11:55He spoke ill of all the poets,
00:11:57except me, of course.
00:11:59He was a charming man.
00:12:06I started, you see, very young,
00:12:08with too much luck,
00:12:10in an environment that did not taste
00:12:12the things that should make me holy.
00:12:15I understood only at the age of 20
00:12:17the role of a work of poetry,
00:12:19and at the age of 20,
00:12:21I decided not to go to school.
00:12:23At the age of 20,
00:12:25Raymond Radiguet was to die
00:12:27having never set foot
00:12:29on the wrong path
00:12:31and telling us at the age of 15
00:12:33which one he should follow.
00:12:37My encounters, which had to teach me so much,
00:12:40were those of Igor Stravinsky
00:12:42and Pablo Picasso.
00:12:45Another of my masters was Éric Satie,
00:12:48whose line was opposed to musical impressionism
00:12:51and whose degreased music,
00:12:53delivered with sauce and veil,
00:12:56seemed a little too naive to the intellectuals.
00:13:00Well, Satie, compared to us,
00:13:02was already old.
00:13:04He had a small loop,
00:13:06a small goat's foot barbie,
00:13:09and he sat near my bed
00:13:12with his moulin,
00:13:14he never left his moulin,
00:13:16tilting to his binoculars,
00:13:18an umbrella between his legs.
00:13:20He was half Scottish,
00:13:22half Montfleur.
00:13:24He had a bit of that spirit of Alphonse Allais.
00:13:27And there,
00:13:29twirling his fawn beard,
00:13:31his grey fawn beard,
00:13:33he spoke of Ravel's evil,
00:13:35hated Ravel.
00:13:37And like Debussy,
00:13:39who also hated Ravel,
00:13:41on Sundays,
00:13:43when he had lunch
00:13:45with his old comrade Debussy,
00:13:47he spoke of Ravel's good,
00:13:49to tease Debussy,
00:13:51saying,
00:13:53well, Satie,
00:13:55you won't tell me
00:13:57that the Valse-Nobles are sentimental?
00:13:59Ah, yes, it's not so bad,
00:14:01etc. Get out,
00:14:03said Debussy.
00:14:05Instead of the blur of impressionism,
00:14:07it coincided with
00:14:09a kind of return
00:14:11to the exactitude,
00:14:13to the line.
00:14:15And when Diaghilev
00:14:17ordered the ballet Parade,
00:14:21I thought it had to be
00:14:23with Satie to have Picasso.
00:14:25At the time of my great sottis,
00:14:27when I was very, very young,
00:14:29I remember it was Place de la Concorde.
00:14:31After the show,
00:14:33Diaghilev had told me,
00:14:35well,
00:14:37he too
00:14:39was astonished
00:14:41by the extraordinary effervescence
00:14:43of painters, poets,
00:14:45French musicians of the time.
00:14:49What is typical of Paris
00:14:51is that musicians
00:14:53and painters,
00:14:55let's say Spanish and Russian,
00:14:57can be considered French.
00:14:59For example, when I say Picasso
00:15:01or Stravinsky, I always think
00:15:03that Stravinsky is French.
00:15:05It's absurd, but it's a fact.
00:15:17And then, after Picasso,
00:15:19Matisse, Braque,
00:15:21Oric-Poulenc worked
00:15:23for the Russian ballet,
00:15:25which was no longer Russian,
00:15:27but by its dancers.
00:15:33Diaghilev came from Russia
00:15:35with this kind of fair
00:15:37at the Gorod factory,
00:15:39and he was wearing a police uniform
00:15:41which was held by
00:15:43nurse pins.
00:15:45He never had any money.
00:15:47Diaghilev never had any money.
00:15:49He had no money.
00:15:51He had no money.
00:15:53He had no money.
00:15:55He had no money.
00:15:57He had no money.
00:15:59He had no money.
00:16:01He never had any money.
00:16:03Diaghilev never had any money.
00:16:05He looked like a young bulldog
00:16:07with a tooth on the side
00:16:09of his mouth.
00:16:11He dyed his hair black
00:16:13and reserved a white mesh
00:16:15so that his dancers called him
00:16:17a chinchilla.
00:16:19He was always at the bottom
00:16:21of a lodge with little nails
00:16:23and he didn't give anything
00:16:25to his dancers.
00:16:27He was ferocious.
00:16:29He didn't like it.
00:16:31He would hit
00:16:33Princess Polygniac or the Rothschilds.
00:16:35And Miss Coco Chanel,
00:16:37who had an anonymous generosity,
00:16:39had already made a lot of money
00:16:41and had allowed the re-shoot
00:16:43of a Spring Sacrifice
00:16:45and of a parade.
00:16:47It was a scandal
00:16:49and a success
00:16:51thanks to her.
00:16:53She was mixed with the Russian dancers
00:16:55but in the shadows
00:16:57And Diaghilev dragged the whole troupe along in one fell swoop.
00:17:00He had to hit, hit, hit each other.
00:17:03And his Kodak camera was always at the foot of the stairs.
00:17:10I still see Nijinsky ready to enter the role of the black-and-gray Firazade,
00:17:16with his hands on his knees so as not to damage his make-up,
00:17:21saying, ''I won't come in unless you bring my Kodak with you tomorrow.''
00:17:28''No,'' he said, because he was a character.
00:17:32And he wouldn't be on stage. So Diaghilev gave in.
00:17:36But for me, it had also become a family.
00:17:42Everyone had seen the Ballets Russes,
00:17:44including Renoir, Proust, Rodin.
00:17:49But we had brought in Sarah Bernhardt, and she understood nothing at all.
00:17:53She said, ''But it's all about the puces, all those puces that jump.''
00:17:55''What are those puces that jump?''
00:17:58Well, the Ballets Russes had the greatest influence on me.
00:18:02From afar, the Ballets Russes are a firework.
00:18:05Obviously, Nijinsky jumped higher than anyone else.
00:18:08Nijinsky didn't look like anyone else, and he wasn't worth it by the jump.
00:18:13No more than a great boxer is worth it by the punch.
00:18:19THE BALLETS RUSSES
00:18:44He was very curious, because he was a little monkey.
00:18:48A little monkey with fairly rare hair that hung over his ears.
00:18:52He had very short hands.
00:18:55He had very big muscles, even though he was deforming his pants.
00:18:58And you couldn't imagine him on stage.
00:19:02He was another character on stage.
00:19:04He said that a dancer should have his size when he gets on stage.
00:19:11THE SACRE DU PRINTEMPS
00:19:17He already disliked it.
00:19:19He liked it, he disliked it.
00:19:21He had triumphs in the Spectre de la Rose,
00:19:24and he didn't want to come back to salute,
00:19:27because they were whistling, they were blowing the sacre.
00:19:31You can't find anyone who's whistled the sacre now,
00:19:34but everyone has whistled the sacre.
00:19:37The Sacre du Printemps was a typical scandal.
00:19:41The scandal came from the fact
00:19:45that the usual people of the Russian ballet didn't understand anything,
00:19:49and that behind Corbeil's lodgings
00:19:51there were all the young people of Montparnasse,
00:19:55who almost came to their senses
00:19:57with the beautiful ladies who occupied the lodgings.
00:20:00You can still see the old countess of Portalesse
00:20:02standing in her Corbeil's lodging,
00:20:04waving her fan at the plume of ostriches and shouting,
00:20:07For the first time in 60 years,
00:20:10one dares to make fun of me.
00:20:12And another time I was entering,
00:20:16during the prelude,
00:20:18in a lodging behind the ladies,
00:20:22and I heard a lady say,
00:20:23Because Golschmann, the conductor, looked a bit like me.
00:20:26He had the same hair as me.
00:20:28And I heard a lady say,
00:20:30Oh, of course, it's always the same phrase, it's nonsense.
00:20:33We play nonsense.
00:20:35It's Cocteau who's having fun conducting the orchestra.
00:20:42The Spring Sacrifice shook me up,
00:20:44from the bottom of my heart.
00:20:46The first Stravinsky taught me this insult to habits
00:20:50without which art stagnates and dies.
00:20:57In Picasso, the insult to habits
00:21:01has something religious in it.
00:21:04It's like the love invocations
00:21:07that the Spaniards address to the Madonna
00:21:08if she's not the one in their parish.
00:21:10I met Picasso when I was 16.
00:21:13I said that Stravinsky was one of my first encounters.
00:21:16Picasso was my first encounter.
00:21:19Picasso was already the king of the chiffoniers
00:21:22who continued to be in Valoris,
00:21:24picking up everything in the street
00:21:26and giving it back to the dignity of Serville.
00:21:29He was an orpheus, he charmed objects.
00:21:32The objects he charmed, he took them wherever he wanted.
00:21:35Picasso taught me to run faster than beauty,
00:21:39which makes you look like you're turning your back on him.
00:21:44He's a little blackbird with quick and terrible flights,
00:21:48an eye that searches you,
00:21:50and generally, when he reproaches you for something
00:21:54and we think he's wrong, he's right.
00:21:56At that time, he didn't have the hair of a rat,
00:21:59he wasn't hot yet,
00:22:01and his hair was all over the place,
00:22:03and his genius was all over the place,
00:22:05like a watermelon.
00:22:07He intimidated me.
00:22:09When I had the idea of doing a parade with him,
00:22:12Montparnasse was such a wild place
00:22:15that there were only four-season merchants,
00:22:17grass growing between the pavements,
00:22:19and I always see myself between the roundabout and the dome.
00:22:22Speaking of Picasso, in the middle of the street,
00:22:24there weren't many cars,
00:22:26and he said to me,
00:22:28since we were going to Rome,
00:22:31since we were going on a trip to Nostra,
00:22:33we were going to announce our trip to Gertrude Stein.
00:22:36We went to Gertrude Stein, Rue de Fleurus.
00:22:39He said, I'll introduce you to my fiancée,
00:22:41and we'll go on a trip to Nostra in Italy.
00:22:43The work was done in a cellar called the Taglioni cellar.
00:22:46Picasso was greatly helped
00:22:48in the construction of these large carcasses by the futurists.
00:22:52And what interested me
00:22:54was to transport,
00:22:57as Picasso did for objects,
00:23:00in another world, the gestures.
00:23:02For example, Massine's gestures
00:23:04were at the time grimace gestures.
00:23:06I wanted to try to rush
00:23:09the gestures of everyday life to the dance.
00:23:17You know that it all ended at the chapel
00:23:20by a terrible scandal.
00:23:22They wanted to kill us.
00:23:24Ladies rushed to us with pins on their hats.
00:23:27We heard, Picasso and I,
00:23:29a man saying to another,
00:23:31if I had known it was so stupid, I would have brought the children.
00:23:40The other big scandal
00:23:42was the marriage of the Eiffel Tower.
00:23:45They thought I was disrespecting the army
00:23:48because the general was a ganache,
00:23:50that I was disrespecting the family
00:23:52because the little boy was bombing the family,
00:23:54that I was disrespecting the painters
00:23:56because there was a ridiculous scene on the painters.
00:23:59I don't know what happened.
00:24:01It was a scandal
00:24:03almost as strong as the one of the Spring Sacrament.
00:24:09The importance of marriage
00:24:11now seems to me to be with hindsight.
00:24:18It's a work that should have raised laughter,
00:24:21that should have raised a good mood.
00:24:24We make fun of everything that seems respectable.
00:24:28First, we had a huge success
00:24:30during the first two scenes.
00:24:36And then suddenly, at the entrance of the wedding,
00:24:38it was a scandal and it didn't stop until the end.
00:24:41They thought I was attacking everything.
00:24:44And it was a game.
00:24:46We were very young.
00:24:48We were having fun, of course, with our moths.
00:24:51But it wasn't a work of attack.
00:24:59Maybe in this game
00:25:01we put more of ourselves
00:25:04than in the works of Gravity Falls.
00:25:08A poet must be a very serious man
00:25:13and, politely, must have a light air.
00:25:16Often, unfortunately, a poet is a light man who takes a serious air.
00:25:20I think that here we gave a playful aspect
00:25:24to something that might have been more important.
00:25:27A show like this at our time would be impossible.
00:25:30We had to... I don't know what.
00:25:32We had to live a lot together, which is no longer the case.
00:25:36I believe that people live less together.
00:25:39At certain times in my life
00:25:42I always live with others
00:25:44and talk about the same things,
00:25:47trying our work before putting it into practice.
00:25:51It's not the same.
00:25:55We don't know the reasons for the scandal.
00:25:57It's strange to think that Parade was during Verdun,
00:26:02that Paris had an intense life
00:26:05while there was the intense life of the trenches.
00:26:13I didn't have to go to this war
00:26:16because my health forbade it.
00:26:19I went to the front with the Red Cross convoys.
00:26:23I was in Belgium.
00:26:25I slipped among the naval gunmen.
00:26:29I was forgotten.
00:26:31The naval gunmen adopted me.
00:26:33I wore their uniform
00:26:35and I ended up thinking I was a naval gunman.
00:26:39One day, the admiral offered me the Red Cross
00:26:43and the discovery of the Pot-au-Rose.
00:26:46I was picked up by two gendarmes.
00:26:50The gendarmes saved me.
00:26:53Almost all my comrades died the next day at the St-Georges post.
00:26:57You see how strange fate is.
00:27:39The Red Cross
00:27:44We're all in a train
00:27:47heading for death.
00:27:49Some read, others play cards,
00:27:52others fight with other colonists.
00:27:55I don't like the pen and paper
00:27:59in this train that takes me to death.
00:28:02I like the things that occupy my hands.
00:28:05I like working with my hands.
00:28:09The Red Cross
00:28:20People often ask why I paint chapels.
00:28:22It's because I need walls and I can't find them anywhere else
00:28:25except in a building that may no longer exist,
00:28:28which is now the wedding hall of Monton.
00:28:32...like a household and children.
00:28:35The wife competes with the husband
00:28:37to ensure the moral and material direction of the family,
00:28:41to provide for his care,
00:28:43to raise the children and to prepare their establishment.
00:28:46The wife replaces the husband in his position of head.
00:28:49If he is able to express his will
00:28:52because of his incapacity,
00:28:54because of his absence...
00:28:56You see, Jean, I didn't want to interfere
00:28:59with the work of painters.
00:29:01I did the work of a writer.
00:29:03You see all these lines.
00:29:05It's written in writing.
00:29:07It's mostly great poetry.
00:29:10It's very clear, very logical.
00:29:12And because of that, it's very pleasant.
00:29:14I think it's very inspiring for newlyweds.
00:29:18In any case, I don't think I'm offending any painter.
00:29:21I'm not trying to offend them.
00:29:23I wanted to do the work of a poet, of a writer,
00:29:26and I stayed within my limits.
00:29:29Of course, naturally,
00:29:31as a son of a painter,
00:29:33I can't dare...
00:29:35I can't dare.
00:29:37But he loved what was gay,
00:29:40and he loved to have fun.
00:29:42And I think he would have had a great time
00:29:44with all these characters.
00:29:46I wanted...
00:29:47I find that the newlyweds have a certain pomp in the church,
00:29:51and they don't find it in the town hall.
00:29:53So I wanted to make a nice room
00:29:56where the colors invite them to...
00:29:59All the allegories, any color.
00:30:02Obviously, what matters is the life of the line.
00:30:06When I draw,
00:30:08it's written,
00:30:10untied, and re-tied differently.
00:30:13And my line can be alive or dead.
00:30:17The drawing is beautiful if the line is alive.
00:30:20A line is in danger of death
00:30:22throughout its journey.
00:30:26My method of drawing
00:30:29is very similar to jazz improvisation.
00:30:35I improvise with the lines
00:30:38and with the colors.
00:30:40You don't see the colors.
00:30:42I can't show them today.
00:30:44Like, for example, Charlie Parker
00:30:46improvised with his saxophone.
00:30:48It wasn't always very well understood either.
00:30:52But in drawing,
00:30:55there's a great joy.
00:30:57Writing is drawing
00:31:01tied differently.
00:31:03And drawing is another use of writing.
00:31:08And when I draw, I write.
00:31:12And maybe when I write,
00:31:15I draw.
00:31:21The more manual work I have,
00:31:23the more I can believe
00:31:25that I'm involved in earthly things.
00:31:28And the more I get involved,
00:31:30the more I get involved.
00:31:32Well, right now,
00:31:34it's a maneuver that speaks to you.
00:31:37Of course, when I write,
00:31:39it happens to me
00:31:41that it's not exactly a maneuver
00:31:44because my head has to work
00:31:47at the same time as my hand
00:31:49to preserve this mysterious character
00:31:51that lives in me and that I don't know.
00:31:53I'm just an intermediary,
00:31:55a medium, and a work of art.
00:31:57And all poets are mediums and works of art
00:32:00of this mysterious force that lives in them.
00:32:02I don't sell myself.
00:32:04I don't talk about inspiration.
00:32:06Inspiration doesn't come from a few skies.
00:32:09Inspiration should be called expiration.
00:32:12It's something that comes out of our depths,
00:32:15from our night.
00:32:17It's a way of putting one's night on the table.
00:32:47I don't understand. It's a serious flaw.
00:32:49I've already heard that sentence.
00:32:51You wrote it.
00:32:53I built here on the coast
00:32:55the chapel of Villefranche-sur-Mer.
00:32:58Maybe it still exists.
00:33:00Maybe you know it. Maybe it doesn't exist anymore.
00:33:03But this chapel of Villefranche
00:33:05is the work of an intermediary.
00:33:08When you enter,
00:33:10on the left and on the right,
00:33:12there are two chandeliers of the Apocalypse.
00:33:14And the eye that sees everything
00:33:16is the temple, the altar.
00:33:19When I painted this chapel,
00:33:21I wasn't there.
00:33:23I was just a worker
00:33:25climbing up ladders
00:33:27or climbing up practicables.
00:33:29I locked myself in for two years
00:33:32like a pharaoh painting his own sarcophagus.
00:33:36And I was already dead.
00:33:42I hid Christ in a curve
00:33:45of the Vautromane.
00:33:47When you enter the chapel, you don't see him.
00:33:49It's like in Emmaus' pilgrims.
00:33:51You only see him when the bread is broken.
00:33:53You have to get close to the altar to see him.
00:33:56By the phenomenon of perspective of the curves,
00:33:59he places himself in front of the priest
00:34:02or in front of the spectator.
00:34:04And to make a ceiling,
00:34:06you understand that it's very difficult.
00:34:08I wonder, like Michelangelo did the Sixtine,
00:34:11he had a candle attached to his forehead
00:34:14with an iron wire.
00:34:16The candle would flow into his face.
00:34:18And not only did he paint,
00:34:20he didn't paint what we call tempera,
00:34:22but he made frescoes.
00:34:24In addition, he had a job as a worker,
00:34:27a job as a craftsman.
00:34:45The guards, Pilate's soldiers,
00:34:48make fun of St. Peter after the renunciation.
00:34:55At the top of a ladder, the hull,
00:34:57and at the bottom, the truth,
00:34:59which is masked with three fingers,
00:35:01which represent the three sides of the hull.
00:35:15The gypsies, the guitar player,
00:35:17the little dancer.
00:35:19As before, the princes ordered a concerto or a plait.
00:35:23I did the portrait of Mlle Bézélaire,
00:35:26looking at them in front of a wheel,
00:35:28since Mlle Bézélaire
00:35:30always supported me with her friendship and kindness.
00:35:44¶¶
00:36:14¶¶
00:36:45¶¶
00:37:06¶¶
00:37:14¶¶
00:37:45Ah!
00:37:54Try it.
00:37:57Oh!
00:37:59Improvisation is often very moving, very beautiful.
00:38:02And often, when you do things like brick and brick,
00:38:05like I did in the Poet's Hall,
00:38:07you don't imagine it.
00:38:09I had the Focke's basin come from the acclimatization garden
00:38:13and when he went into the mirror,
00:38:15he went into the Focke's basin.
00:38:17When you put it back together, it's like he's in the mirror.
00:38:20But it was much easier to do.
00:38:22I knew the job, but I didn't know it.
00:38:24What made this film worth it,
00:38:26what made it remarkable,
00:38:28were the faults.
00:38:30It's because of the faults that we're the most real.
00:38:33Only there are enough faults
00:38:35so that these faults become forces of dogma.
00:38:38Faults so great that they cease to be faults.
00:38:41There are things that surprised the specialists
00:38:44and that are gross mistakes.
00:38:46I didn't know that travelling was done with a rail.
00:38:49So I had put the actor, Rivero,
00:38:52when he approaches in the night
00:38:55to go to the Hotel des Folies Dramatiques,
00:38:58I had put him on a stretcher.
00:39:00A stretcher with a thread,
00:39:02so as not to say the word defended.
00:39:04And it's a very hesitant, very strange travelling.
00:39:07Chaplin even asked me how I did this travelling.
00:39:10I said, it's very silly, I just didn't know there was a rail.
00:39:13And then, in La Belle et la Bête,
00:39:15I put Josette Day on a stretcher,
00:39:17but I was imitating her.
00:39:19It had ceased to be pure.
00:39:25It happens that we are bewitched
00:39:27by an enigmatic atmosphere,
00:39:29that of dreams, among other things.
00:39:31And I think that a work can intrigue you
00:39:35without being understood,
00:39:37without being attached to it,
00:39:39without proving it,
00:39:41and without finding its balance,
00:39:43without being subjected to the disciplines of the golden rule.
00:39:46That's probably what happens
00:39:48when my film interests make-up artists and dressmakers.
00:39:52I'm sorry to speak to you with eyes that are not mine,
00:39:56but I have these eyes
00:39:58because I'm going to meet Jean Marais in the role of Oedipus,
00:40:02blind, and I meet him without seeing him
00:40:05because in the text it is said
00:40:07that when we want to know a lot of things,
00:40:10we see them too late and we see them without seeing them.
00:40:14I don't like what is poetic.
00:40:16I like poetry,
00:40:18that is, poetry that is done alone,
00:40:20that we never deal with.
00:40:23An artwork has the excuse of being
00:40:26if it is a solitude shared by a large number
00:40:30thanks to the only means that can make it accessible to others.
00:40:35In front of a page, in front of ink, I get bored.
00:40:38I have to work with my hands.
00:40:40I'm a craftsman, a worker.
00:40:42That's why I get along so well with my cinematographers.
00:40:46I don't have actors at home.
00:40:48The script has very few characters.
00:40:51One main character, two or three main characters,
00:40:54and then we meet enigmatic figures
00:40:59and some of my friends,
00:41:01who corresponded to the role of these episodic characters,
00:41:04have agreed to say three or four words.
00:41:07Nicole Courcel appears and says nothing.
00:41:09Without the incredible modesty of Daniel Gélin,
00:41:12I would never have dared to give him a text
00:41:14that strangely resembles silence.
00:41:16They shoot because they are my friends,
00:41:18but they don't shoot because they are famous.
00:41:20The First Secretary of His Highness Serenissime will receive you.
00:41:23Aurel, Réjean's husband,
00:41:25always said during rehearsals
00:41:29that Mrs. Réjean had a grey hair.
00:41:32So it was easier for the actors to be great actors.
00:41:36The Prestidigitator card came out faster.
00:41:39There are no more of these burlesque actors
00:41:41that I knew when I was young.
00:41:43At that time,
00:41:46we applauded the entry of an actor.
00:41:50We applauded things that we wouldn't applaud now.
00:41:52And if the so-called Hercules,
00:41:55the colossi of the theater of the time,
00:41:58Albert Lambert, Moulin Sulivre,
00:42:01led to the existence of any small actor of today,
00:42:04they would die.
00:42:06They hardly played.
00:42:07They would lie on the skin of animals,
00:42:09feed the pigeons of the Royal Palace,
00:42:11drink coffee cream at the Regency,
00:42:13cut their roses in the countryside.
00:42:15They would play for a week.
00:42:19Now they wouldn't last.
00:42:22It's a completely different thing.
00:42:25Suddenly, the cinematographer made the audience
00:42:28demand heroes at the age of heroes.
00:42:31Moulin Sulivre played Rublas at 70.
00:42:34Mrs. Barthez played Ephigénie at 80.
00:42:37There were big chisels, big tristans.
00:42:39It didn't shock anyone. It was the theater.
00:42:42I repeat, the heroes had to be at the age of heroes.
00:42:45There were no longer strong enough shoulders
00:42:47to carry the classic masterpieces.
00:42:50And when I gave the parental rights,
00:42:53Jouvet said,
00:42:54''You're crazy. Jean Marais is incapable of playing this role.''
00:42:57I was so obsessed with Jean Marais
00:43:00and the stories of Max, Moulin Sulivre and Sarah Bernard
00:43:03that he cried.
00:43:04He rolled over on the floor and played it.
00:43:06He had about thirty reminders.
00:43:10I wanted to make a drama
00:43:12with a mechanism of vaudeville.
00:43:15I wanted to make a play for Yvonne Debray and Jean Marais.
00:43:21Yvonne Debray believed she was Jean Marais' mother,
00:43:24which annoyed Jean Marais' real mother.
00:43:26There were always arguments between them.
00:43:28That's what gave me the start of the play.
00:43:30Léo is right.
00:43:31Léo is a marvel.
00:43:33I still can't believe it's happening.
00:43:37Help me.
00:43:38I wanted to save myself from Jean Marais.
00:43:41I must admit that ''Les Parents Terribles''
00:43:43is, cinematographically speaking, my great success.
00:43:46As Barrethes said, I had a loop.
00:43:48I wanted three things.
00:43:50First, to make a play of incomparable artists.
00:43:56Second, to walk among them
00:43:58and look at them instead of seeing them from a distance.
00:44:01And, as I said, to put my eye to the lock
00:44:03and surprise my foes with the telephoto lens.
00:44:06I can't get anything. I'm going down.
00:44:08No, no, no. Leave me alone.
00:44:18I'm going down.
00:44:27The play was about the strength of writing
00:44:30and the darkness of the ink
00:44:32that was diluted by the fire of the ink.
00:44:34As I walked through the rooms,
00:44:36I kept the atmosphere locked away.
00:44:40I showed these corridors of storm
00:44:42that haunted our childhoods
00:44:44and which are the streets of families
00:44:46that don't leave their homes.
00:44:48Thanks to the passages from one room to another,
00:44:51I kept this life in thermos, this life in a closed vase.
00:44:54And I did a lot of close-ups, for example.
00:45:12The film allowed this extraordinary phenomenon
00:45:15of living a work instead of telling it
00:45:18and, moreover, to show the invisible,
00:45:21to make objective the most subjective abstractions.
00:45:27That's why I loved cinematography so much.
00:45:31IN THE FOOTSTEPS OF JOSEPH GARCIA
00:45:43The student of Argelot was the backbone of the class.
00:45:48IN THE FOOTSTEPS OF JOSEPH GARCIA
00:45:56The snowfall between his hands
00:45:59could become as harmful as the knives of Spain.
00:46:04Generally, children give us the tone.
00:46:08I know that there are adults who preserve their childhood,
00:46:12but it's wonderful
00:46:14when childhood and adults are intertwined
00:46:17and that childhood brings us something.
00:46:26Radiguet was like my son.
00:46:30Radiguet, as soon as he appeared among us,
00:46:35was the youngest and the oldest.
00:46:42He had the madness of youth
00:46:45and he was wise, like an old man, like an old Chinese man.
00:46:53I met him when he was 14.
00:46:56My mother's old friend once told me
00:46:59there was a child in the antechamber with a cane.
00:47:02It was Raymond Radiguet.
00:47:04And he never left me again.
00:47:07I knew right away what he would be.
00:47:10I had guessed what he would become.
00:47:14I wasn't sure, but he was exceptional.
00:47:17And it was mainly because of his silence.
00:47:21He was demoralized by his silence.
00:47:24He was mute, and when we discovered him
00:47:29and bought him glasses,
00:47:31he found everything awful.
00:47:34He only used one of his glasses, like a monocle,
00:47:38making an awful grimace with his left eye.
00:47:41He liked to make a grimace, but he didn't like it.
00:47:45One day we were all together in Montparnasse.
00:47:49Picasso, Modigliani,
00:47:52Ortiz de Zarate, Reverdy, a whole bunch.
00:47:56At a painter's called Haydn.
00:47:59Haydn showed us paintings
00:48:02and our silence was significant.
00:48:05He realized that, and when he showed us the last one,
00:48:09he apologized and said,
00:48:11''It's not finished.''
00:48:13We heard Radiguet say,
00:48:15''It would be human to finish it.''
00:48:18That's the only time he said anything.
00:48:21He was always silent behind us.
00:48:24But his silence spoke.
00:48:27His presence was not silent.
00:48:33Raymond Radiguet's classics were our books.
00:48:36He read them at his father's in a boat on the Marne.
00:48:41He came as a contradictor.
00:48:43He contradicted everything that was new to us.
00:48:46He explained to us
00:48:48that we shouldn't contradict habits and the bourgeois spirit,
00:48:53but that we should go further and contradict the avant-garde.
00:48:56He said, ''The avant-garde starts standing and ends sitting.''
00:49:00He said, ''You have to copy.''
00:49:03To someone who has something in him,
00:49:06it's impossible to copy.
00:49:08By copying, you give yourself a base,
00:49:10and it's impossible to copy.
00:49:12You have to prove yourself.
00:49:14Radiguet set up his chivalry in front of the Princess of Cleves
00:49:18and he made the Count of Orgel's ball.
00:49:21He set up my chivalry in front of the Chartreuse of Parmes
00:49:25and he was the result of it.
00:49:27Thomas the impostor.
00:49:29When he wrote ''Le Diable au Corps,''
00:49:32his first masterpiece,
00:49:34he was 15.
00:49:36When he wrote his second masterpiece,
00:49:39''Le Bal du Comte d'Orgel,''
00:49:41he was 19.
00:49:43He died at 20.
00:49:45This boy was our school.
00:49:47He was our schoolmaster.
00:49:49He was for many, many writers.
00:49:51Believe him.
00:49:53Always.
00:49:54''Beuf sur le toit, beuf sur le toit, beuf sur le toit.''
00:49:57''Whiskey, gin.''
00:50:00And...
00:50:02I could say, like Verlaine,
00:50:04''My god, wine, who gave him death,
00:50:06''confus de la typhoïde.''
00:50:08It was as if someone had thrown a match
00:50:11on a pile of straw
00:50:14imbibed with gasoline.
00:50:16It was over.
00:50:18I still see it when I take it to Rupicini
00:50:21to Mlle. Chanel and Mme. Certe,
00:50:23because we were very poor.
00:50:25And I still see him in that ambulance
00:50:27with a little cap
00:50:29and a bandouliere.
00:50:31He had a bazaar.
00:50:33In that bazaar, he had the manuscript
00:50:35of ''Le Bal du Comte d'Orgel.''
00:50:37I don't want to talk about his death.
00:50:39It's very painful.
00:50:41But I didn't want to see him on his deathbed.
00:50:44All the dead look alike.
00:50:46And they don't look like themselves.
00:50:48They look like wax gizos.
00:50:50The figure is closed in a triple turn.
00:50:52You want to say, ''What did I do to you?''
00:50:55It's like a definitive fog.
00:50:58As far as I'm concerned, I'm not afraid of death.
00:51:01I've been dead a lot longer than alive.
00:51:06I'm only afraid of the death of others.
00:51:10For me, the real death is the death of those I love.
00:51:14I considered Raymond Rediguet as my son.
00:51:17And his death cut my hands off.
00:51:20I was so sick, so dark,
00:51:24that my friend, the law,
00:51:27advised me to take opium as a remedy.
00:51:31I was trapped,
00:51:33and it took a long time to get out
00:51:36after seven useless attempts.
00:51:48I was at the Saint-Cloud Clinic
00:51:50for a detoxification of opium.
00:51:52I'd just written the opium notes.
00:51:56A clinic room is a clinic room.
00:51:59I was in great solitude,
00:52:01and I had very few visitors.
00:52:03And Berard came to see me,
00:52:05and Berard told me about another room,
00:52:08that of a friend of mine.
00:52:10He said, ''You know,
00:52:12''I've been in this room for a long time,
00:52:15''that of a friend of ours.
00:52:17''The girl is dead.
00:52:19''The young man is in the trap.''
00:52:21His brothers and sisters
00:52:23lived in closed vases,
00:52:27in thermoses.
00:52:29They couldn't stand the germs
00:52:32from the outside.
00:52:35And he was absolutely ignoble
00:52:38to imagine the incest
00:52:41between this brother and this sister
00:52:44and between this father and this son.
00:52:47For me, it was so far,
00:52:50so far from sex.
00:52:52What I call the game of the terrible children,
00:52:55I avoid explaining this game.
00:52:57You don't touch these things.
00:52:59You don't touch them.
00:53:01You don't touch these things with men's hands.
00:53:05The deep self wanted me to become a Sanskrit,
00:53:09and dictated my book to me.
00:53:12I wrote seven pages a day.
00:53:14I think I said I wrote 17 pages a day,
00:53:17but that's a Marseillais fanfare.
00:53:20I wrote seven pages a day.
00:53:22No more.
00:53:24And in the middle of the book,
00:53:26when Elisabeth marries the young American,
00:53:29I wanted to say things that interested me about numerology.
00:53:32I wanted to get involved.
00:53:35And the mechanism stopped.
00:53:38I had to wait 15 days for it to start again.
00:53:42I'm going to set up and we're going to play a game.
00:53:45I'm too used to playing alone.
00:53:47Listen.
00:53:48The game of the children, Tolstoy,
00:53:51in Thick War,
00:53:53is given to us in four or five lines
00:53:55when the children play in a corner
00:53:57and they shut up when their parents approach.
00:54:00I don't touch that kind of thing.
00:54:02So I talk about it from afar.
00:54:04It was in Villefranche
00:54:06that I finally found my personal mythology.
00:54:10Christian Birard also lived at the Hotel Welcome in Villefranche.
00:54:13That's where I met him.
00:54:15He was called Baby because he had a doll figure
00:54:18and he didn't wear a beard,
00:54:20as we see now on the images of the poor babies.
00:54:24That's when a friend brought me a can of Greek shepherds from Greece.
00:54:29I had the idea of putting Greek tragedy
00:54:32to the rhythm of our time.
00:54:34With Antigone, I made my hand.
00:54:38I had the idea of sewing back
00:54:41an old beauty,
00:54:43to make her skin stretch,
00:54:45to shorten
00:54:47the admirable drama of Sophocles,
00:54:50with a force so unusual
00:54:53that our judges thought
00:54:55some lines were internationalist statements of my own.
00:54:59For example,
00:55:01Do your borders have a meaning among the dead?
00:55:04I was born to share love, not hatred.
00:55:07The lines were whistled and taken,
00:55:09I apologize for my own lines.
00:55:12I started with Antigone,
00:55:14then I continued with Oedipus,
00:55:17and much later I took Oedipus
00:55:20with the infernal machine,
00:55:22but much, much later.
00:55:29The pharaohs put in the foundations of the temples
00:55:33pieces placed upside down from the previous temples.
00:55:37They sowed seeds to grow the temples like plants.
00:55:47When a young Egyptologist explained to me
00:55:50this enigma of reusing,
00:55:53I later understood
00:55:56how I had made the infernal machine.
00:56:00In short, I followed the rhythm
00:56:02of the Egyptian temple builders without knowing it.
00:56:09This interpretation of myths is essential to their lives.
00:56:13They go from pen to pen,
00:56:15and from age to age, like some stories,
00:56:17they go from mouth to mouth, from middle to middle,
00:56:20magnifying or drying out,
00:56:22in any case distorting
00:56:25the personality of the narrator.
00:56:28The great myths are very few.
00:56:31Racine, Shakespeare, Goethe
00:56:33knew why their usage was effective.
00:56:36It is the key myth
00:56:38that can open the most closed souls,
00:56:40the most closed to the poet.
00:56:43I have always preferred mythology to history,
00:56:47because history is made up of truths
00:56:50that become the language of lies,
00:56:53and mythology is made up of lies
00:56:56that become the language of truths.
00:56:58And if I still have the chance to live in your minds,
00:57:02it is in a mythological form.
00:57:04The celebrity we are given
00:57:06comes from a thousand false noises,
00:57:09from confused rumors,
00:57:11from tics we are given
00:57:13that do not correspond to our person.
00:57:16But it makes us stand up, it hooks us.
00:57:19Then these superficial motifs fall on their own,
00:57:22and the work begins to live for us, in our place.
00:57:27I am a famous stranger.
00:57:30And at the time, for example,
00:57:32when I was Dr. Henri Scosa of Oxford,
00:57:37or when I took the Colette chair at the Royal Academy of Belgium,
00:57:40or when I was appointed to the French Academy,
00:57:42or when I was commander of the Legion d'Honneur,
00:57:44I had a lot of honour.
00:57:47But these honours are addressed to the characters on the surface.
00:57:50And I would even say that it is the inner character,
00:57:53the inner me,
00:57:54that seeks to compromise us
00:57:56to live in these comfortable darknesses,
00:57:59pure of all honour.
00:58:01Honours must be considered
00:58:04as a kind of transcendental punishment.
00:58:08We let ourselves be seen.
00:58:10A poet should not let himself be seen.
00:58:13No.
00:58:15But the Parisians decided to make me a character,
00:58:20and I would not like this character.
00:58:22I would not like to meet him, I would not like to know him.
00:58:24That's why I live very little in Paris,
00:58:26to give him a place.
00:58:27You come to disturb me on the boat,
00:58:30and kill, if I'm not mistaken, escape from the Musée Grévin.
00:58:34Well, it gives me pleasure and displeasure.
00:58:39It gives me pleasure because I don't love you.
00:58:43You are the one who moves in my place.
00:58:45You are the one who is spoken to.
00:58:46You are the Parisian.
00:58:48But on the other hand,
00:58:50when I am hit with a stick,
00:58:52it falls on your shoulders.
00:58:53And when they hang me honours,
00:58:55it is on you that they hang them.
00:58:57And during this time, I am quiet and I work.
00:58:59And of this, I was very grateful.
00:59:02But you have to move a little less,
00:59:04to stir a little less,
00:59:05to make me talk about you a little less.
00:59:07And while you return to Paris,
00:59:09I think there is a train tonight,
00:59:11you can take the train to your place at 7.20 or 7.25.
00:59:14I stay on the coast and I work.
00:59:21I am constantly astonished to hear
00:59:23that I am accused of being fanciful,
00:59:26facetious,
00:59:28without understanding anything of these reproaches,
00:59:30because from Plainchamp to Lange-Hortebise,
00:59:32to Paraposody,
00:59:33from Orphée to La Machine Infernale,
00:59:36from La Belle et la Bête to Testament d'Orphée,
00:59:38from Les Enfants Terribles to La Difficulté d'Être,
00:59:41my work results from serious calculations
00:59:45consisting of metamorphosing the numbers into numbers
00:59:47and I hide among these blood donors
00:59:51who are the only artists I respect,
00:59:53and whose long red train that they leave behind fascinates me.
01:00:00The poet is nothing more than the handiwork of the schizophrenic,
01:00:04in the time of the madman,
01:00:06that each of us carries in himself
01:00:08and of which he is the only one not to be ashamed.
01:00:12Like the child, he has only the right to unite.
01:00:16Talent brings him only a craft base,
01:00:18it serves him only to sculpt the ectoplasm that flows from his hand,
01:00:22to put the night in the middle of the day,
01:00:26to cut the umbilical cord of the delicious monsters
01:00:30that help him to come to the world.
01:00:33Do not be mistaken,
01:00:35this schizophrenic inhabits and even haunts
01:00:38the famous artists for their balance
01:00:41and their robust moral health, let's say the ogres.
01:00:45If I dared to quote myself,
01:00:47I would say that Victor Hugo was a madman who took himself for Victor Hugo.
01:00:51Did you hear Charles Chaplin say that he liked to live in France
01:00:55because a man like me could compose a poem, a novel, a ballet,
01:00:59sets, costumes, plays, films, a chapel,
01:01:03without being asked for accounts.
01:01:05Free, that's the word.
01:01:08Yes, like these bad subjects whose families declare he is capable of everything,
01:01:13the poet, bad subject supreme, transcends what society reproves,
01:01:17suspect subject.
01:01:19To all the police of the world,
01:01:21the poet should be capable of everything
01:01:23and not drown in a glass of ink.
01:01:25Look for a fresh place on the pillow, said Stravinsky.
01:01:28That's right.
01:01:30If my rifle hurts my right shoulder, I carry it to the left.
01:01:33And I refuse to admit a time when right and left
01:01:36have taken a pejorative, narrowly political meaning,
01:01:39where the slightest of our gestures engages us
01:01:42on grounds where we never set foot
01:01:44because the profound politics of art
01:01:47require all our strength.
01:01:49And now I must confess a scandal
01:01:53in a time that is taken for tragic.
01:01:56It happens to me to be happy.
01:01:58And I will confide to you the secret of these crises of happiness.
01:02:03It is simple.
01:02:05I hate hatred.
01:02:07I love others and I love to love.
01:02:09I strive to understand and admit what is foreign to my lifestyle.
01:02:12The success of my comrades comforts me
01:02:15and I am surprised that one can be jealous of the rest.
01:02:18As for friendship,
01:02:20I feel more comfortable than in love
01:02:23and it has cost me a lot of painful misunderstandings
01:02:26and sarcasm.
01:02:33Quick, quick, follow me.
01:02:41The land, after all, is not your homeland.
01:02:51All you have to do is ask for an autograph.
01:03:01What about this?
01:03:05Well, here it is.
01:03:07We are the very humble domestic
01:03:11of a force that inhabits us.
01:03:15We are led by a force
01:03:18that is not external to us, but internal.
01:03:21We are led by this night,
01:03:23which is our true self.
01:03:34And yes, here I am again.
01:03:37Because we never finished saying goodbye.
01:03:39And I could not leave without apologizing for a strip-tease
01:03:43where I take off my costume, my skin, my skeleton
01:03:47to show you my soul, all naked.
01:03:50That is to say, a shadow zone
01:03:52where realism looks like the absurd rigour of a dream.
01:03:55A shadow zone
01:03:57where intelligence, our worst enemy,
01:03:59does not exert its control
01:04:01and does not spoil the best of ourselves.
01:04:05Death changes an academician into a chair.
01:04:08That's a funny metamorphosis.
01:04:10But it brings me closer to you,
01:04:12who look at me and listen to me
01:04:14in your comfortable judges' chairs.
01:04:17Accused, I was in my mother's womb.
01:04:20Accused, I was young.
01:04:22Accused, old, I remain.
01:04:25I have to live standing up
01:04:27and die standing up,
01:04:29if possible.
01:04:31Of course, if you whistle at me, I will be sad
01:04:33because I like to love and I like to be loved.
01:04:35And this film shows you
01:04:37that I can lie
01:04:39if your court condemns me.
01:04:41Barely given your death sentence,
01:04:43I disappear.
01:04:45I disintegrate.
01:04:47I return, cowardly,
01:04:49to the world where I lived before I was born.
01:04:51A world where no one
01:04:53pays the salty note of his innocence.
01:04:55In good Mediterranean,
01:04:57I extend our goodbyes
01:04:59thanks to the famous
01:05:01«Allez, au revoir, qui nous éternise,
01:05:03nous autres bavards du sud,
01:05:05au seuil de la porte».
01:05:07You have a chance to convince yourself.
01:05:09It is better that I leave you quickly
01:05:11and that I imitate, as a farewell,
01:05:13the charming formula
01:05:15of this brave guy who said,
01:05:17appearing in the divine court,
01:05:19«Allow me to greet you, sir,
01:05:21it has been a long time
01:05:23since I have seen you».
01:05:25Jean-Claude.
01:05:37© BF-WATCH TV 2021
01:06:07© BF-WATCH TV 2021
01:06:37© BF-WATCH TV 2021