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00:00:00You
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00:03:06Saw your land OCCC Poitier whiskey beans beer
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00:04:30See you may be
00:04:32Services
00:04:34I
00:04:36Move
00:04:58Tanya nasa Marikana's in Romy a potter terminally a keynote on Patalico to leave a rose in Rotom
00:05:05Costa Moe who actually saw Mussolini
00:05:07He had to get a little Papa. Can any he there possible tree?
00:05:12Jenny Exxon kick it as a giro giro
00:05:15Don't play breezy and as it a loss
00:05:17Bon giorno, Senora to late. It was nice to meet him yet. Authority. Ta. Yo
00:05:23Rufiano Patentato to
00:05:26Voodoo, you know, but I don't know
00:05:28When it comes to late is the Olympics is who each other who look at all of the italica
00:05:35El Papa
00:05:36We tell us can impose then accuser
00:05:39K. Epimeni who not to be needed a bellissima
00:05:44Americanos
00:05:46family
00:05:48El Papa
00:05:50We tell us can be so kiss kept at a polio Petitico's Obama's Americanos
00:05:57Delicato Archie Timmy idea
00:05:59Voodoo, no piccolo cardinalio
00:06:03One Americanos
00:06:06Panamanian attacked us in Papa
00:06:09We tell us risk it is a discourage this
00:06:12But I can't be a is that the prospatia
00:06:15Yeah, I mean a cantaloupe see to see my two
00:06:19Papa to lay it Papa. Molto difficile, ma. No impossible
00:06:26I
00:06:56And I suppose, oh strato
00:07:06Post Elena's tellinika to strato
00:07:11Strato tolera, no, no, no, no, no, no, no, no
00:07:16Keep us little antithetical to strato
00:07:19I
00:07:21Said I didn't know that you put in a month. I lost all the barrier strato. Pino me catch the nemo
00:07:28Come on, they're peanut a cafe so for your
00:07:33Peanuts, but I mean I'm a little coffee
00:07:36You have a ten, I said it a palette. Oh, let me do it. You can meet at a laxam. It'll let me go
00:07:42I
00:07:47Don't give it to the strato, you know to lose
00:08:05Those strato italy to come here will ya it's
00:08:13A sit-up in san el nico
00:08:29Easterland those Kelty's
00:08:42I
00:09:13That's the stupid to me I stand to some will make it a boy
00:09:22To feel as we have to admit of it now to our ball
00:09:42I
00:09:56Love this be my time
00:09:59Okay scar on a stick was panos a pal use couple struggle down
00:10:06There's more media lawyer the Lenny sticky
00:10:09I
00:10:11Didn't
00:10:13Get that if you are a cat put the body fire for her to surprise you except for Tony McAfee still I had a war
00:10:18It's an ungrateful key
00:10:23Grassy get the stooge
00:10:27Yeah, I think they're going to work you have a baby I didn't buy the antithetical
00:10:34I plan on the CCL in a segment of stooge
00:10:37Copious antithesis
00:10:40Last was the music
00:10:42It was the exterior co-emergency
00:10:49Yeah, people graphics to speakers
00:10:53Get the net also
00:10:56Perigraph is the sinister my tassel
00:10:59Rookie
00:11:00after the fighting's a parasite
00:11:03They're open to sinister my time in if the high-tech and if they're gonna
00:11:08Tell you get your studio low-graphic
00:11:13It's been barium
00:11:24Assis
00:11:26The graph of the PC. Oh, yeah, but I'll pee see all of it
00:11:30What the hell
00:11:32Bring up the death of a ghost me a poem
00:11:35Get it. I have to pee. Oh
00:11:38Damn in the a therapy. She
00:11:40Did it or oh, I have to do it again
00:11:59I
00:12:18Borrowed Q Beckett
00:12:30I
00:12:43He's a poppy get the federal get the cup
00:12:47Okay, then echo up to see the camera
00:12:51Akula Thomas me a genic ought to be able to see
00:12:53up with the Horio
00:12:55I
00:13:25It raises a lot of questions.
00:13:41Thank you, kid.
00:13:45We'll meet again.
00:13:56How did you do it?
00:13:58I like it.
00:14:01The big guys have an attitude that pisses me off.
00:14:04It's not a matter of how much you know.
00:14:06It's a matter of which side of the fence you put it.
00:14:09Yes, you're right.
00:14:11It's a matter of who you work for.
00:14:13For the world or for a few people.
00:14:18However, Beckett is a good guy.
00:14:22He generally searches and finds different tricks to shock his little ones.
00:14:29I don't know.
00:14:45The father of Colette, who seems to hate him, bought her a new car.
00:14:52He wants us to go to Athens to pick him up at Christmas break.
00:14:57We can take you with us if you want.
00:15:00You can be our tour guide.
00:15:03What is this Colette?
00:15:05It seems to me that you are in love with her.
00:15:08You've seen her.
00:15:10If you see her, you will fall in love with her too.
00:15:20This is not a theatre.
00:15:22Beckett sells fiction and style.
00:15:24He doesn't say anything.
00:15:26He is full of silence.
00:15:28Silence is needed in a theatre.
00:15:31Beckett does it on purpose.
00:15:33To distract the audience.
00:15:36And to make them feel the length of time that passes for his hero.
00:15:41What is Beckett and Beckett, you Greeks say?
00:15:46I'm not Greek. I'm German.
00:15:49I speak a little Greek.
00:15:56You say your name means something in Greek.
00:15:59It could mean, for example, Moulari.
00:16:02Moulari?
00:16:04No, the name Beckett in Greek doesn't mean anything.
00:16:07We just went and saw his play.
00:16:09And there are many similarities.
00:16:11Tell us.
00:16:13What do you think about the play?
00:16:16Do we care?
00:16:18And your opinion, tell us.
00:16:20What do you think?
00:16:22The truth is that I'm also shocked that you throw old people's parents in the trash.
00:16:29From what it seems in your play,
00:16:31you justify those who throw their parents in the trash
00:16:35and on the other hand you call the night for the poor old people
00:16:38who are scattered in the bottom of the trash.
00:16:41In the end, don't you have a proposal what to do with the old people?
00:16:44Why? Do you have a proposal?
00:16:46You're not okay.
00:16:47What are you going to say?
00:16:48Don't push him.
00:16:49Shouldn't I push him?
00:16:54What are you going to say?
00:16:57To say my proposal,
00:16:59you have to let me tell you a fairy tale that my grandmother told me
00:17:01when she died 105 years ago.
00:17:03Tell us.
00:17:13Once upon a time,
00:17:15a king died in a deep grave.
00:17:18And his son, who had been a slave for so many years
00:17:21until he took power,
00:17:23called all the young people in the palace and told them,
00:17:26children,
00:17:28let's abolish the old age system.
00:17:32If you all agree,
00:17:33go back to your homes and kill your fathers.
00:17:36No one should remain to control us and tell us no.
00:17:42The young people screamed with joy
00:17:45that they could get rid of their old people
00:17:47with the king's order and responsibility.
00:17:49And they went back to their homes and each one of them
00:17:51killed his father.
00:17:53Only one young man didn't do it.
00:17:55The old man felt sorry for him and he hid him in Sofita.
00:17:58Every day he would go up,
00:18:00eat and drink and tell him the news.
00:18:06Then the magicians came from the East
00:18:08and prophesied that the three evils of their fate
00:18:11would fall on their heads.
00:18:14The plague, the earthquake and the madness in the waters.
00:18:19And the first evil fell.
00:18:21The plague.
00:18:23Then the old man in Sofita said to the young man,
00:18:27I am running up the mountain
00:18:29and gather the strong and the weak
00:18:31to make a bed and cure the sick.
00:18:34The young man went,
00:18:35he brought the weak, they made the bed
00:18:38and he was running around with a rod
00:18:40and he was watering the sick and they were being cured.
00:18:42And the plague passed.
00:18:45Now, the young man says to the old man,
00:18:47the second evil is to fall.
00:18:49The earthquake.
00:18:51Do you have any idea what we should do?
00:18:54You should do what the Abkhazians did.
00:18:58As soon as they saw the snakes coming out of the holes
00:19:00and going out into the wilderness,
00:19:02they left their homes
00:19:04and set up tents in the saloons and squares
00:19:06and waited there.
00:19:07And the earthquake came and passed.
00:19:10And you make the big ones again.
00:19:12You don't make people again.
00:19:16Now, the third evil was to fall.
00:19:19The madness in the waters.
00:19:22The young man goes to Sofita and says to his father,
00:19:24Do you have any idea why we are losing?
00:19:26The people are preparing for a revolution
00:19:28to overthrow the king,
00:19:29while others are supporting him
00:19:30and it will become a civil war.
00:19:33Tell this bastard
00:19:35not to drink the holy water,
00:19:38but to drink it from the mad water,
00:19:40said the old man.
00:19:42And everything will be settled.
00:19:45The young man took a cup from the mad water,
00:19:48went straight to the king and said to him,
00:19:50Drink.
00:19:52And the one who knew him immediately
00:19:54from his reputation,
00:19:56became convinced
00:19:58and drank from the mad water.
00:20:00And he went crazy with the crazy people
00:20:03and instead of a battle,
00:20:05he became a mad Glenda Trecouverto.
00:20:08The king then said to him,
00:20:10You are hiding something from us, aren't you?
00:20:13I, as a teacher,
00:20:15had the best teachers
00:20:17and you give me solutions that I can't think of.
00:20:19You have a secret.
00:20:21I have, said the young man.
00:20:23I have the wisdom of the elders.
00:20:26Remember when you ordered us
00:20:28to kill all our fathers?
00:20:30I listened to you then.
00:20:32And I have it now
00:20:34and you give me advice.
00:20:37The king thought for a while and said,
00:20:39In the end,
00:20:41you did well to listen to me
00:20:43because now we have it
00:20:45and it gives us useful information from the past.
00:20:47But I will tell you something
00:20:49and I want you to listen to me.
00:20:51Keep him locked in the closet
00:20:53and don't let him come out
00:20:55because in time, peace and quiet
00:20:57is able to jump us all.
00:21:05This is what my grandmother Sarafina told me
00:21:08when she died 105 years ago.
00:21:17I drink whiskey.
00:21:19Only the wine from my village
00:21:21suits me right now.
00:21:23And this is a fairy tale,
00:21:25you should write it
00:21:27and make a play out of it.
00:21:29Yes, a play.
00:21:31Only a play is suitable
00:21:33for a young man like me.
00:21:55Let me introduce you to Colette.
00:21:57She wants to get to know you.
00:22:03How is the new car going?
00:22:06It can't wait to take you to Greece.
00:22:10Is this your stand?
00:22:13What is it called?
00:22:15St. Claudius.
00:22:18Are you going to sit down?
00:22:20Max will sit down.
00:22:22I will come another time.
00:22:27I didn't expect you like this.
00:22:29How did you expect me?
00:22:31The Greeks are the worst.
00:22:33I hope that during the trip
00:22:35you will confess all your sins.
00:22:51How did Colette look to you?
00:22:53She doesn't look like the typified French girls
00:22:55who have copied their personality
00:22:57from TV.
00:22:59It's the opposite.
00:23:01Colette has copied her personality
00:23:03from literature.
00:23:05It's a strange cocktail
00:23:07from Balzac,
00:23:09Stendhal, Sartre
00:23:11and from the songs
00:23:13of Georges Brassens.
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00:29:05I'll think about it.
00:29:14Colette!
00:29:22Max?
00:29:24I told you I'd come another time.
00:29:26I remember. Sit down.
00:29:36What will you have?
00:29:38Espresso.
00:29:39Stretto?
00:29:40Normal.
00:29:42Claudia! Espresso!
00:29:44Lungo.
00:30:00Who is he?
00:30:01He's the one with Beckett.
00:30:04That's him.
00:30:05Don't be silly.
00:30:07Beckett has been dead for years.
00:30:33And now to the cafés.
00:31:03I don't know.
00:31:18Tell me, Marco.
00:31:20Do you prefer the Greeks or the French?
00:31:22Like me, for example.
00:31:24You're not a French.
00:31:26Max says you're a heroine of history.
00:31:28And you've described your personality
00:31:30through George Brassen's songs.
00:31:33I don't know what you're talking about.
00:32:03In the hand, the long walks
00:32:06Of flowers, billiards, serenades
00:32:11Of crimes, madness
00:32:14That for these beautiful eyes we commit
00:32:17The sea transport
00:32:2295 times out of 100
00:32:25The woman gets bored kissing
00:32:27That she confesses to him
00:32:29It's not every day that his buttocks are derided
00:32:32The poor muggers are convinced
00:32:35On the contrary, they are cocky
00:32:37At the time of the work of flesh
00:32:39She is often sad, poor
00:32:41What's the difference between the Greeks and the French?
00:32:43I'd like to know.
00:32:45The French have big differences
00:32:47with the Greeks, the Turks and the Balkans.
00:32:50From the genders I've tried.
00:32:52They sing in a different emotional range.
00:32:55In a range of passions and passion.
00:32:57What is passion?
00:32:59It's something much stronger and deeper than love.
00:33:01But it also has an expiration date.
00:33:03It ends and ends
00:33:05when one stops being enthusiastic about the other.
00:33:07But you can't explain the theory of passion in a few words.
00:33:31What is passion?
00:33:52Where is the chocolate from in France?
00:33:54From Limoges.
00:33:56Do you know?
00:33:57Of course.
00:33:58The name Limoges was written behind all the porcelains
00:34:01of my aunt in Andromache.
00:34:03I'm a limousine.
00:34:05The ladies from Limoges are called limousines.
00:34:08We, again, say limousines after luxury cars.
00:34:11I don't know why.
00:34:14I'm going to see the archives.
00:34:28I'm going to see the archives.
00:34:50I think Colette invited us on this journey
00:34:53to measure us.
00:34:55To guide us through her.
00:34:57And to choose.
00:35:02Today, women try many things
00:35:05to find the best.
00:35:08And poor Colette
00:35:10finds it difficult to choose
00:35:13between the unforeseen orientalist
00:35:17and the western housewife.
00:35:20You're not a classic western type.
00:35:23I don't want to say that I don't like her.
00:35:26But I don't want to get involved with her.
00:35:29I prefer Greek and Balkan women.
00:35:32Southern women.
00:35:34Even though they are terribly retarded.
00:35:37Deep down,
00:35:39I've come with you to help Colette choose you.
00:36:22The suitcases!
00:36:24They took our suitcases!
00:36:26No, no, no, no!
00:36:28Where?
00:36:30Don't do that.
00:36:32I miss my own bag, too.
00:36:34Whose?
00:36:36Don't do that. We'll find them.
00:36:38We'll see.
00:36:40It's okay.
00:36:42It's okay.
00:36:44It's okay.
00:36:46It's okay.
00:36:48It's okay.
00:36:50It's okay.
00:37:21Slowly!
00:37:34The two of you are worth it.
00:37:36You'll find our suitcases and your handwritten letter.
00:37:39I'll find it.
00:37:41Your optimism is killing me.
00:37:43I had a friend
00:37:45whose suitcase was a cycle.
00:37:47Do you know why?
00:37:49Because life is a cycle.
00:37:51And logic must be round, not square.
00:38:19Hello.
00:38:41Hello.
00:38:45Hello.
00:38:49Hello.
00:39:09Everybody wants Manoli's gun.
00:39:15Boom!
00:39:17Shh!
00:39:47Shh!
00:40:17Hi.
00:40:19Hi.
00:40:46Who are you?
00:40:48Why are you following me?
00:40:51Are you French?
00:40:53I'm Greek, like you.
00:40:55Tell me, who taught you these tricks?
00:41:02The professor.
00:41:04That professor must be very great.
00:41:07He is very great.
00:41:09I'd like to meet him.
00:41:15First, you'll take me to the professor.
00:41:17Okay, I'll go with you.
00:41:19Come with me.
00:41:47Come with me.
00:42:05Come on.
00:42:08Be about your best.
00:42:17Come on.
00:42:47Come on.
00:43:17Come on.
00:43:47You can't imagine what a torture it is
00:43:49to remember what I wrote and to rewrite it.
00:43:51Are you a writer?
00:43:53I want to be.
00:43:55These manuscripts are of no value to anyone,
00:43:58only to me.
00:44:00And how did you come to tell me that?
00:44:04God, or rather the devil, brought me to you.
00:44:08It came to me as inspiration.
00:44:10I'm surprised.
00:44:12And how are you so sure
00:44:15that I will help you?
00:44:18What am I asking for?
00:44:20Are these things that can be sold?
00:44:22Whoever took them will throw them away as useless.
00:44:25And that's what I'm afraid of.
00:44:27What if I don't catch up with whoever took them and throws them away?
00:44:30Did you go to the police with your friends?
00:44:32Yes, we did.
00:44:33He showed his suitcases.
00:44:35What should I show?
00:44:36The useless paper?
00:44:38Right.
00:44:39What should you show?
00:44:41Wait.
00:44:43I'll be right back.
00:45:13THE RESTAURANT
00:45:35Where are you from, young man?
00:45:38I'm from Athens.
00:45:40I went to Paris to study and I fell for it.
00:45:43You're an artist, aren't you?
00:45:47I'm an artist too, but in another art.
00:45:51The art of transforming people.
00:45:55You mean you're a make-up artist?
00:45:57You can say that. But I don't just make-up.
00:46:01I change people's faces and bodies and make them look different.
00:46:06I even make people look different.
00:46:10I make them think they're different.
00:46:13So you're a director too?
00:46:17You can say that.
00:46:19But I'm a professor in art.
00:46:22Where did you learn it?
00:46:25You don't learn it in universities or in theatres and cinemas.
00:46:30Where do you learn it?
00:46:33You know, my father was from a small village in Affaktia.
00:46:38He left when he was little and went to Patras.
00:46:41I was born in Patras.
00:46:43But in the summer I used to go to my grandfather's village.
00:46:47That's how I learned about art.
00:46:52When I started to feel myself,
00:46:55I had the virus inside me that made me want to travel.
00:46:59To travel the world.
00:47:01So I went to Princesi and other parts of Italy.
00:47:04And one day in Milan,
00:47:06I met a prestigious person.
00:47:09You know, one of those people who makes a lot of mistakes.
00:47:13He's the one who makes people wonder and laugh.
00:47:18He's the one who makes people wonder and laugh.
00:47:49THE SOLVED THE MOST DRAMATIC CASE
00:48:06So I went to Rome.
00:48:08I did a little business there
00:48:11and I realized that I could work my grandfather's art.
00:48:15So I sat down and organized it, and as you can see, I became a professor.
00:48:22And how did you understand that Piazza in Rome was looking for your grandfather's art?
00:48:28That's a good question.
00:48:31My dear Markos, Rome has always lived on the big industry of tourism
00:48:37and on the smaller industries that maintain tourism, feed it.
00:48:44One of them is...
00:48:47cinema.
00:48:49And the other, complementary industry of tourism is...
00:48:53Zitiania.
00:48:56And it has an ancient tradition.
00:48:58There have always been communities where there were schools of Zitiania.
00:49:03The poorest parents could always send their children to these communities
00:49:07to learn how to get money from tourists.
00:49:10There were, of course, schools of...
00:49:13thefts, burglaries, but...
00:49:16other professions of theft and other professions of Zitiania.
00:49:21This is a difficult and dangerous profession.
00:49:26Many times,
00:49:28the children were bullied and they would become real thugs.
00:49:32They would cut their legs, their hands, their eyes,
00:49:35and they were unhappy for a lifetime.
00:49:37Let them suffer for a lifetime.
00:49:40There were mothers who met Zitiania,
00:49:43they would hold her in their arms and as soon as a customer approached,
00:49:46they would pierce their child's neck with a needle to make him cry
00:49:49and to be sorry to give them money.
00:49:52But I...
00:49:54I brought the modernism.
00:49:56I grabbed a pencil and started learning.
00:49:59Instead of being defenseless,
00:50:02they should pretend to be defenseless,
00:50:05without getting hurt
00:50:07without being, of course.
00:50:11I founded the Athenian School.
00:50:14I changed art from a foundation.
00:50:18You could teach hypocriticism at the Drama School.
00:50:23Yes, they suggested it to me.
00:50:25Federico Fellini saw me and found me to teach his students
00:50:28in a film he made,
00:50:30how to do some difficult tricks.
00:50:32I wanted to be a professor at Cinecittà,
00:50:35but I refused.
00:50:37Why didn't you accept?
00:50:39Well, you're an idiot.
00:50:41I don't care.
00:50:43And I don't want to have conflicts with the authorities and the state.
00:50:46I believe in...
00:50:48private initiative.
00:50:50What do you call it here in Greece?
00:50:52In private initiative.
00:50:54Ah, I believe in that.
00:50:59Anyone who thinks that people and the state are the same thing makes a big mistake.
00:51:04But it's not like that.
00:51:06The state can change,
00:51:08it can be destroyed,
00:51:10and someone else can come in its place.
00:51:12This only concerns some...
00:51:15matheodics,
00:51:17who are dying to have power in their hands.
00:51:19But those who have learned the art of life
00:51:22and want to live,
00:51:24don't care about the state.
00:51:26Because the state, and those who serve it,
00:51:28are some prohibitionists
00:51:30who deal with temporary and temporary things.
00:51:33That's what you say, my young compatriot.
00:51:37Do you have many students?
00:51:39Yes, of course I do.
00:51:41Many decades so far.
00:51:43What ages are we talking about?
00:51:46From 4 to 15 years old.
00:51:49But the older ones are not...
00:51:51are not efficient.
00:51:53They learn hard.
00:51:55So it's about little kids
00:51:57who take advantage of their parents.
00:51:58Taking advantage is a big deal.
00:52:01You know, the market makes them open-minded quickly
00:52:04and teaches them to work for themselves.
00:52:07In a decade in Zitiania
00:52:09they can make their family rich
00:52:11and secure their own future.
00:52:14Many of them
00:52:16don't feel the exploitation.
00:52:18You know,
00:52:20in the beginning,
00:52:22they take Zitiania as a game.
00:52:24After they gain a conscience,
00:52:25a professional conscience
00:52:27that, believe me,
00:52:29has nothing to do
00:52:31with the conscience
00:52:33of other professionals.
00:52:48Didn't you tell us, professor,
00:52:50that you also deal with painting?
00:52:52Ah, you mean art?
00:52:53Yes, I deal with art.
00:52:55You see, the old ladies are illiterate
00:52:57and the winners are big-headed
00:52:59and they flatter the old ladies.
00:53:01That's why I help the old ladies
00:53:03to know what they're missing.
00:53:05Right.
00:53:07You say you're an impressionist.
00:53:09What? You learn French, too?
00:53:11If you know French, French is a piece of cake.
00:53:14And if I asked you,
00:53:16professor,
00:53:18which of the great painters do you prefer?
00:53:21Greco.
00:53:23Who else?
00:53:25I love Greeks.
00:53:27I've helped many people.
00:53:29I've helped hundreds of poor families
00:53:31who didn't have sunflowers
00:53:33to eat a piece of bread,
00:53:35to share a piece of the pie of tourism.
00:53:37I've helped
00:53:39some students
00:53:41to study
00:53:43and some to become actors
00:53:45in theater and cinema.
00:53:47And I continue to work
00:53:48so that you can share the money
00:53:50and not just collect the big bags.
00:54:19You'll drink a whiskey first
00:54:21and then you'll leave
00:54:23because I have a lesson.
00:54:25I won't drink anymore, thank you.
00:54:27Don't insist, professor.
00:54:29But I won't hide from you
00:54:31that you're very interesting to me.
00:54:33If you let me watch your lesson.
00:54:35I'll let you,
00:54:37but not today.
00:54:39I have to prepare them first
00:54:41because some of them are wild
00:54:43and they'll get bored with the presence of a stranger.
00:54:45Tell me when to come.
00:54:46I have to go to Europe
00:54:48to take care of your friend's suitcase.
00:54:50Oh, yes.
00:54:52I'd tell you if you could,
00:54:54but you're in time.
00:54:56Goodbye, Marco.
00:54:58Goodbye, professor.
00:55:12Where did you find him?
00:55:14To see how you explain
00:55:16to the good kids
00:55:18who trust them.
00:55:20Did you put them to steal us?
00:55:22Only fools have such suspicions.
00:55:24Don't you look at your tree
00:55:26to see if you can find your grandmother
00:55:28who was attacked by a fool?
00:55:30What about our suitcases?
00:55:32We'll find them.
00:55:34It'll be a miracle.
00:55:36Come on, Aristides.
00:55:38Get up and show us
00:55:40how to make a suitcase.
00:55:42Come on, my boy.
00:55:57Come on, my boy.
00:55:59Break your leg a little.
00:56:01Come on.
00:56:05A little more.
00:56:07Inwards.
00:56:09A little more.
00:56:11A little more.
00:56:13That's it.
00:56:15Now, take a few steps.
00:56:22Don't let go of your leg.
00:56:24Don't let go.
00:56:26Don't let go.
00:56:28That's it.
00:56:30Come on.
00:56:32Lock it.
00:56:33I can't, Professor.
00:56:35Of course you can.
00:56:37Come on.
00:56:39That's it.
00:56:41You're perfect.
00:56:44See how easy it is?
00:56:46Who's going to show us now?
00:56:48Do you want to go first?
00:56:52Come on, my boy.
00:56:54Break your leg a little.
00:56:56Come on.
00:56:58I can't.
00:57:00You can't.
00:57:01Okay, hang on.
00:57:03Aristides, come and show us.
00:57:06Slowly, my boy.
00:57:08You're going to break it.
00:57:10Show us.
00:57:14That's it, my boy.
00:57:16Come on, you can do it.
00:57:18A little more.
00:57:20Well done.
00:57:31Come on, my boy.
00:58:02I can't.
00:58:09Here's your suitcase, Monsieur Max.
00:58:12How did you like our lesson?
00:58:16From a pedagogical point of view, it was excellent.
00:58:21And, in fact, very modern.
00:58:24You made the lesson a game.
00:58:26Thank you, children.
00:58:28And I'm sure it's more effective this way.
00:58:33But I have some doubts as to the purpose of such a lesson.
00:58:44Because it obviously serves the exploitation of man by man.
00:58:51The exploitation of tourists by children and children by parents.
00:58:59And, in the end, the exploitation of children, parents and tourists by me.
00:59:04Yes, something like that.
00:59:15Don't be so absolute and excessive.
00:59:18No one exploits anyone.
00:59:22How does it look like you're from the North and you don't understand the Mediterranean mentality?
00:59:30Zitiania is not an exploitation, my dear.
00:59:33Of course, judging by the intention and the movement of Zitiania, Zitiania seems like an exploitation.
00:59:40Zitiania humiliates you when he provokes you at night to get you some money.
00:59:47But don't judge by Zitiania's intentions.
00:59:51Get out of there.
00:59:53Zitiania makes fun of you at night, but at the same time he makes you believe that you have money while he doesn't.
01:00:04He constantly reminds you of the social inequalities that exist.
01:00:10You, a kind person, can't sleep peacefully.
01:00:16You consume endlessly.
01:00:19He reminds you that there are people around you who suffer and don't have money.
01:00:24He reminds you that there are people who really don't have anything and who don't become Zitiania.
01:00:31Because they are proud.
01:00:34And I don't want to admit to others that they don't have anything.
01:00:39Because they lack the strength to stand up to others.
01:00:42It's not easy, my dear, to expose, as Zitiania does, or as the actor does, let's say.
01:01:04What do I owe?
01:01:07100 euros.
01:01:08I didn't take money from Mark because he didn't ask me what he owes me.
01:01:12He understood that I served him out of pleasure because I appreciated his smartness to reach me.
01:01:18The only thing I could do was serve him.
01:01:20But you feel that you owe something, and from this feeling you will pay.
01:01:23Not for me, but for the children who took the risk to open their cars, and for the children who carried their suitcases here.
01:01:30I think they deserve a gift.
01:01:33Of course, of course, they deserve it.
01:01:35But you deserve something, too.
01:01:45Nikos, it's a pleasure to meet you, guys.
01:01:48Likewise.
01:01:51My dear Mark, I'm glad that there are Greeks like you.
01:01:55I will always remember you. I hope you remember me, too.
01:01:58I won't forget you, Professor.
01:02:06And where have you been?
01:02:08To believe in miracles.
01:02:36Mark, sing us a Greek song.
01:02:59Fodorakis?
01:03:05I will teach you your rights.
01:03:14The rational word is the word of God.
01:03:17The rational word is the word of man.
01:03:20Maybe of the devil, too.
01:03:23What are you talking about?
01:03:25Nothing, nothing. Just a flash of the moment.
01:03:28A flash?
01:03:35A flash?
01:03:47Do you know what a French proverb says?
01:03:50A sentence without a clause looks like a parade without a trumpet.
01:03:57What are you talking about, man?
01:03:59You don't meet a German who knows French proverbs every day.
01:04:02I'm a citizen of the world.
01:04:04I am exactly the opposite.
01:04:07Nevertheless, I am disappointed.
01:04:10I will never be able to conquer Colette.
01:04:14It shows a preference for you. I have understood that.
01:04:18I came with you to help you.
01:04:20To influence Colette to choose you. Don't you forget that.
01:04:23The love triangle is not my best.
01:04:26I told you, I am monogamous.
01:04:34I remember you from the trip to Mallorca,
01:04:37where we talked several times with the writer's friend.
01:04:40What was his name?
01:04:42I'm sorry, Mr. Mella. I was lost and I didn't see you.
01:04:45I was lost, too. That's why we were talking.
01:04:48Let me introduce you to my friend, Marco.
01:04:51He wants to be a writer, too.
01:04:54I'm sorry, Mr. Mella. I was lost and I didn't see you.
01:04:57I'm sorry, too. That's why we were talking.
01:05:00Let me introduce you to my friend, Marco.
01:05:01He wants to be a writer, too.
01:05:14Norman Mailer.
01:05:17You want to be a writer.
01:05:20Who are you chasing in this desert?
01:05:22I'm not chasing anyone.
01:05:24You're wrong.
01:05:26We have to chase our heroes.
01:05:28Who are you chasing?
01:05:30Mr. Norman Mailer.
01:05:32He's from Limoges.
01:05:35From Limoges?
01:05:37And you go to Mani by car?
01:05:40Yes, we go by car.
01:05:42But by car.
01:05:44Not by foot.
01:05:46It doesn't matter.
01:05:48I go by car to see some friends.
01:05:50Then we could all go together.
01:05:52A convoy.
01:05:54It wouldn't be bad.
01:05:55My friends are a bit crazy.
01:05:58Not that we've done anything special.
01:06:01But now that I think about it,
01:06:03it wouldn't have been bad to meet them.
01:06:06He looks like a young adventurer.
01:06:09And my friend, Kanados,
01:06:11was a real adventurer when he was young.
01:06:16I'm looking for heroes for my new book.
01:06:19And I can't find any.
01:06:21As far as I know, they're terribly friendly.
01:06:23They're all the same.
01:06:25They're all the same.
01:06:27They either sell their souls to the devil
01:06:29or they're after money.
01:06:32On the other hand, my friend Kanados
01:06:35was a great adventurer when he was young.
01:06:41He was like that before he came here
01:06:44to cultivate his garden with a friend.
01:06:48I think he's Greek.
01:06:51And he might be interested in you.
01:06:54Yes, yes. I'd like to meet him.
01:06:58That's why I'm interested in him.
01:07:00Otherwise, what would Kanados,
01:07:02an adventurous guy, do to him?
01:07:04You're right.
01:07:06You have to chase your heroes.
01:07:08Those who deserve to be heroes in a novel.
01:07:12Those who seek to live in unusual phases.
01:07:15Those who do things that might be exemplary.
01:07:19In Greece, you don't have contemporary heroes.
01:07:22You only have one, Alexis Zorba.
01:07:24Isn't that a shame?
01:07:26Since you're an adventurous guy
01:07:28and a true novelist,
01:07:30why don't your writers make heroes?
01:07:34Maybe because Greek writers
01:07:36are the same people in a novel
01:07:38who deserve to be heroes in a novel.
01:07:41In Greece, there is a worship of writers
01:07:44greater than the heroes they created.
01:07:46You have a heavy load from the past
01:07:48that weighs you down.
01:07:50And it doesn't allow you to go beyond
01:07:52a Hercules,
01:07:54a Achilles,
01:07:56an Odysseus,
01:07:58a great Alexander,
01:08:00an Antigone,
01:08:02a Medea.
01:08:04I don't praise ancient heroes.
01:08:06Why?
01:08:08Because they're terrible.
01:08:10I wish we only had contemporary heroes.
01:08:12A Faust,
01:08:14a Gianni Agianni,
01:08:16without too many philosophies.
01:08:18A healthy reaction from a young Greek
01:08:21who wants to be a great writer.
01:08:23That's what I'm trying to do.
01:08:25And since I can't be myself,
01:08:27and I don't want to be a hero,
01:08:29I remain an observer.
01:08:42Who is this old man you carried?
01:08:47It's Norman Mailer,
01:08:49the great American writer.
01:08:51What?
01:08:53This tough anti-feminist?
01:08:55What bothers me about you, writers,
01:08:58is that your books
01:09:00want to be role models for everyone.
01:09:03Who are you talking about?
01:09:05I've read Dostoevsky's letters
01:09:07to his wife.
01:09:09He was, he says, ill with gambling
01:09:11and he wrote to her to ask her
01:09:13for forgiveness for his passion.
01:09:14And I promised her
01:09:16that he wouldn't gamble again.
01:09:18If I were in her shoes,
01:09:20I would have divorced him right away.
01:09:22But now you allow me
01:09:24to be such a great writer
01:09:26and waste your money in casinos
01:09:28and leave your wife alone?
01:09:30You become such a great writer
01:09:32and we will forgive you
01:09:34for all the stupid things
01:09:36your crazy head has done.
01:09:38Didn't you tell us
01:09:40that you're such a fanatic fan
01:09:42of the musical phallocrat?
01:09:44I insist that every criminal
01:09:46should be punished
01:09:48and that even fools
01:09:50should be punished.
01:10:06Mr. Mailer,
01:10:08may I ask you a question?
01:10:10Go ahead, my dear.
01:10:12I have nothing to hide.
01:10:14Nothing at all.
01:10:16Tell me,
01:10:18was Merle Monroe
01:10:20good in bed
01:10:22or was she made up
01:10:24by the movies?
01:10:26Let me tell you.
01:10:28Merle was a popular girl
01:10:30like everyone else.
01:10:32She wasn't very good at sex.
01:10:34She had a tragic affair
01:10:36because she fought all alone
01:10:38against the puritanism
01:10:40of the American establishment.
01:10:42I appreciated her struggle
01:10:44as a woman
01:10:46and as a man.
01:10:48But she wasn't very good
01:10:50at sex.
01:10:52Are you going to be late?
01:10:54I'm going to see a friend
01:10:56so I can say good evening.
01:10:58I suggest you go to Marco
01:11:00because my friend lives with
01:11:02a strange Greek.
01:11:04Do you want to come with me?
01:11:06Come on, we have nothing to hide.
01:11:08No.
01:11:10I met a Greek
01:11:12and it's enough for me.
01:11:14Don't say that.
01:11:16Do you want to eat
01:11:18or do you want me to fuck you?
01:11:20Fuck you.
01:11:22I said you said it.
01:11:24Should I take it as a challenge
01:11:26and at the same time as an invitation?
01:11:28Take it as you want.
01:11:30Be careful
01:11:32because I don't play.
01:11:34Try to lay your hand on me
01:11:36you phallocrat.
01:11:38That's enough.
01:11:40You've had enough.
01:11:42See you in the hotel in an hour.
01:11:44Bye.
01:12:07Listen to the old man
01:12:09if he wants to show off.
01:12:11Shut up.
01:12:12I heard you.
01:12:14What did you hear?
01:12:16You did something.
01:12:18What did I do?
01:12:20Nothing.
01:12:22I didn't do anything.
01:12:24That's what you said.
01:12:42What's up with the Greeks?
01:12:46I heard a story in Pelion
01:12:48about a man
01:12:50who got lost at noon.
01:12:52He left his sails
01:12:54in the sand
01:12:56went into the sea
01:12:58and no one saw him again.
01:13:00They put people in the water
01:13:02in the rocks
01:13:04nothing.
01:13:06The body was never found.
01:13:08Some said
01:13:09he was a hard fish
01:13:11others
01:13:13that he was in cahoots with
01:13:15fishmen
01:13:17who put him in a boat
01:13:19and left the country
01:13:21to escape from his wife
01:13:23who ruined his life.
01:13:25It crossed my mind
01:13:27that this Greek
01:13:29is the same guy
01:13:31who got lost at the gas station.
01:13:33They said
01:13:35that his wife took his sails
01:13:37and put them in the ocean.
01:13:40You're a good storyteller.
01:13:42I bet
01:13:44you're the one
01:13:46who made the picture
01:13:48at the gas station.
01:13:53What do you want to do with your life?
01:13:56I want to learn
01:13:58the art of writing.
01:14:00I want you to tell me
01:14:02what you think about literature.
01:14:04Literature, literature, literature...
01:14:06What's the big deal
01:14:08with literature?
01:14:10You describe it,
01:14:12who you saw,
01:14:14who you met,
01:14:16how you jump,
01:14:18it's all literature.
01:14:20I believe that literature
01:14:22is to answer
01:14:24the hot questions
01:14:26that torture people.
01:14:28Well said,
01:14:30so you know what to do.
01:14:32You don't need advice.
01:14:34Let me ask you something.
01:14:36Is St. Andrew far from here?
01:14:38I am a communist, sir,
01:14:40and I have defeated the saints.
01:15:03I am a communist, sir,
01:15:05and I have defeated the saints.
01:15:33I am a communist, sir,
01:15:35and I have defeated the saints.
01:16:03Don't break your habits
01:16:05and leave the house.
01:16:07We said, since you are here,
01:16:09we should see you again.
01:16:11Max,
01:16:13and Colette.
01:16:15Bye.
01:16:22Bye.
01:16:31I know what you want to tell me.
01:16:33I shouldn't say anything
01:16:35in your village, in Pelion,
01:16:37that I met you.
01:16:39Please.
01:16:42No, I haven't committed any crime.
01:16:45Nothing illegal.
01:16:51I want to protect my life.
01:16:54My life.
01:16:57You know, I discovered
01:16:59that after a certain age
01:17:01women in Pelion
01:17:03kill their men.
01:17:05kill their men.
01:17:07kill their men.
01:17:09kill their men.
01:17:11I mean,
01:17:13with subtle, invisible movements
01:17:15they lead them straight to death.
01:17:18Subtle.
01:17:20Subtle.
01:17:22Subtle.
01:17:24Subtle.
01:17:26That's how Susan
01:17:28saved Thito.
01:17:30saved Thito.
01:17:32I don't know if you understand what I'm saying.
01:17:35I understand you.
01:17:38I understand you.
01:17:40I see what you want to say.
01:17:42I noticed it too.
01:17:44It's not just in Pelion.
01:17:46It's more common in Kampos.
01:17:48Don't be afraid.
01:17:50I'm a tomboy.
01:17:52The lady will never find out.
01:17:54Thank you.
01:17:56Thank you, my sin.
01:17:58You are very kind.
01:17:59You are very kind.
01:18:22He was the man with the eagles.
01:18:25He was.
01:18:26So no passing fish ate him.
01:18:29He took the eagle and brought it back.
01:18:32Because he slipped the other time.
01:18:34And he confessed his origin to me.
01:18:36And then he thought about it and got scared.
01:18:38He said nothing in his village, in Pelion.
01:18:40And his own people will find him.
01:18:42He asked me, he had myths.
01:18:44You are amazing.
01:18:46Since we have answered the question of the past of his friend David,
01:18:49we are done.
01:18:51We can go back to our homes.
01:18:56Let's go.
01:19:07Hi, Skolet.
01:19:09Don't think I have appreciated your boldness and your courage.
01:19:13Yes, but you didn't dare to throw the wood in my hand.
01:19:16The wood will go with the shit.
01:19:18It is an honor for me to make love to a great writer
01:19:21who lives in Maryland.
01:19:23He is a golden lover.
01:19:26No, no.
01:19:28Don't make fun of me.
01:19:30Is this Theotreli?
01:19:32What are you talking about?
01:19:34Am I your girlfriend and I don't know it?
01:19:36We said friends, but not like that.
01:19:38I will do what my friend Markos says.
01:19:42Markos takes the sword of Solomon and judges.
01:19:46And we do what you say.
01:19:49Are you sure you will obey what I say?
01:19:52Sure, sure.
01:19:54Sure?
01:19:56I, as an orientalist,
01:19:59believe in the right of the team,
01:20:02but also in the right of every self-centered individual.
01:20:08I accept that everyone has the right to do
01:20:11whatever he wants to do.
01:20:14This is my opinion.
01:20:15No matter how crazy he is,
01:20:18he does not violate the team's rights.
01:20:21And in this case,
01:20:23I believe that the whole team
01:20:26will feel bad for you
01:20:29and for us to sit here like idiots
01:20:31and wait for you to express yourself.
01:20:34We will also feel somehow
01:20:36sympathetic to this sudden sexual phase
01:20:39that occurred to you suddenly and abruptly
01:20:41due to an irrelevant nonsense
01:20:44and not due to the normal waves of sex or love.
01:20:48Therefore, on behalf of the team,
01:20:51I urge you not to do it.
01:20:54This is Christos Solomontas in my opinion.
01:20:57I said and I did and I have no sin.
01:21:41I am sorry.
01:21:56How did you get the idea that Norman Mailer was sleeping with Meryl Monroe?
01:22:01You confuse Norman Mailer with Arthur Miller.
01:22:04You are irrelevant.
01:22:06You are irrelevant.
01:22:08Meryl had a relationship with Mailer before she married Miller.
01:22:11You see, he is not the well-known American writer.
01:22:15I let you believe it to impress you.
01:22:18He is someone I met in Mallorca
01:22:21where Norman Mailer was studying.
01:22:24Because he looked amazing
01:22:27and everyone had given him the nickname Norman Mailer.
01:22:31I knew it.
01:22:36I will go back by bus.
01:22:38My father called me and said he was sick.
01:22:57So,
01:22:59are the lies over?
01:23:01Lies never end.
01:23:04We will continue our vacations
01:23:06and then we will go to Limoges by car to get married.
01:23:11Bye, Limoges.
01:23:15I would never marry you.
01:23:18You are very oriental
01:23:20and you still believe in miracles.
01:23:28Thank you, man.
01:23:30You kept your promise
01:23:32that you came with us to help Collette
01:23:34choose me.
01:23:36As you can see, it was not a big effort.
01:24:34I love you.
01:25:04I love you too.
01:25:30Claudius doesn't work here either.
01:25:32I am an old customer.
01:25:34The coffee shop has changed for many years.
01:25:37Are you looking for someone?
01:25:39Mr. Samuel Beckett.
01:25:42A man with curly hair,
01:25:44like a mule.
01:25:47Let's go.
01:25:49I don't know anyone by that name.
01:25:53Can I leave a note in case he asks for it?
01:25:56Of course, sir.
01:26:00Can I have an espresso?
01:26:03Stretto.
01:26:13Garconi didn't even know his name.
01:26:16He may be very old now and is hiding in a safe.
01:26:21My father died in his own house seven years ago.
01:26:25I have lost the wisdom of the elders,
01:26:28but I have also started to grow up dangerously.
01:26:32Mr. Beckett.
01:26:54I kept my promise.
01:26:56I finished the dance I promised you.
01:26:58I kissed
01:27:02Sofita's father.
01:27:07But things in Greece are such
01:27:10that I don't think I will publish it or accept it,
01:27:13at least in the next 30 years.
01:27:25Good night.
01:27:28Good night.
01:27:40The little Greek.
01:27:58Good night.
01:28:28Good night.
01:28:58Good night.
01:29:28THE END
01:29:58© BF-WATCH TV 2021
01:30:28© BF-WATCH TV 2021
01:30:58© BF-WATCH TV 2021