{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/0p0wp9vr95/manifest","type":"Manifest","label":{"en":["Interview with Jacques Rozier [1/4-in. magnetic audiotape], October 1965"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","metadata":[{"label":{"en":["Description"]},"value":{"en":["1 sound tape reel : 3 3/4, 1 7/8 ips; 5 in. 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You need to go write a book.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368#t=7.74,19.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Okay. This is tomorrow. This is a contract. This is a great career move. Come. Come at me. I should point technique. Oh, you need to go. I'm sorry. I said.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368#t=20.61,36.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Print it. I mean, yes, sir. Well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368#t=36.99,42.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What did you say? Because there was this rule.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368#t=43.65,48.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No no no, no, no need to look the other way. I mean.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368#t=48.45,51.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You know what I call detective?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368#t=52.4,55.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Don't pull over that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368#t=56.64,57.38"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262368/transcript/76682/annotation/9","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/682/original/trint_Coll458_jb0052_Rozier_01_p1_transcript.vtt?1740614700","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/682/original/trint_Coll458_jb0052_Rozier_01_p1_transcript.vtt?1740614700"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371","type":"Canvas","label":{"en":["Media File 2 of 4 - Coll458_jb0052_Rozier_01_p2.mp3"]},"duration":2940.42122,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/371/original/Coll458_jb0052_Rozier_01_p2.mp3?1739226506","type":"Audio","format":"audio/mpeg","duration":2940.42122,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0052_Rozier_01_p2.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's fine. I set a faster speed. This way, it will excuse the highs. We'll have rough roads. Allons-y avec des...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=4.759,17.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know, I can tell you one thing at the beginning, you asked me to answer your questions.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=22.25,28.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But I don't know. Because I have a head full of different ideas, I'm afraid to impose certain ideas on you, and you tell me, yes, that's exactly it, and then I'm going to miss something. There were types, for example.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=30.51,53.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e For example, Pasolini is like that. For Pasolina, you have to ask him a question, and he answers, and then you have to go back, and all that. No, but with the sette and the bandit, you enter into an atmosphere, it's a bit shy, kind, sincere, but who prefers... When we sit down at the table, first of all, and we eat, and then we talk. And then between pepper and cheese. And then afterwards, we talk a little bit about that, then we get together, we have a coffee. And little by little, the subject begins to get started like that, and finally he doesn't stop talking. And it was very, very good what I...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=56.36,102.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, what I'm afraid of is that I obviously have an experience that goes back to four years, five years, and what I was thinking at that time, I don't necessarily think about it anymore now. On the other hand, I do not know what I think now because I have not had the opportunity since Adieu Philippines to... To leave this experience and see where she would go now. I'm going to do something else this year, quite soon, I hope. Although in the premises it does not present itself at all as a Philippine, I will probably leave with the same experience, but with actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=103.53,143.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, so how do you see it and why the actors and what do you think it's going to be?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=143.86,150.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I wanted to say that as an introduction, because I don't know if what I'm going to tell you has a lot of value, I'll tell you a story first. Goodbye Philippines, I had to present it, I don' know, 50 times, 75 times in the ciné-club. Hello. No, no, but anyway, because the film was very popular in the ciné-clubs, and I was asked to come and present it, because we knew that the directors, the directors of the film, were coming, so we could see them, we could almost touch them. So at the beginning, I always said, yes, it was fun for me to see what people thought. And then, it's an experience that I've done very, very often, conscious of what we have done. I think it's good, by the way. It allows you to become a critic of your own film, by expressing yourself, to feel what people say, think, reproach or find good. So we can affirm his position, then we can understand his intentions. I think that it's a good idea, to be a little unconscious in terms of creation. Not to say, we're going to do this, I always think of a word, I think it was Auguste Renoir who said that, the one who speaks of a theory is always, he's fucked up in advance. I think that's very important. I even have the feeling, by saying that, of pushing open doors, but anyway, that said, everyone doesn't think so, that there are some authors who like to know exactly what they're going to express, and then afterwards, I like better to have a part of darkness, and then surprise myself, myself, that it reveals itself as time goes by. Bref, si je vous dis ça, c'est que j'aimais bien. At the beginning, to present the film in the cinemas because it allowed me to be completely lucid about what I had done. And then one thing happened, I presented 10 times, 20 times, and then the number went down. That is, it gradually became a number, which at the start was sincerity. It became after a number because automatically the audience in the rooms always ends up asking the same questions and at the same question we always manage to answer by the same answers. When you have answered 20 or 30 times the same thing, it becomes, it's not a sincere thing, it becomes a role. That is to say, I was becoming an actor, I became an actor to present the film, and then what happens to all the actors when they play too much, after a while we have holes and then we start to know more exactly what we say. And it happened to me. Finally, I managed to... And now I refuse to present it because of that, because I tell myself, when I answer a question, what I answer... That's what I know, what I've always said. And what I always say may not necessarily be the truth. The truth I may have forgotten. I'd like to tell you that now, because we're going to fall back into the same... The same explanation, I'm going to go further, because I always put myself at the door of the public and they need to understand. I have a lot to say about synchro, because strangely I think we can find a certain truth through the combination of the artifice. It was the Philippine experience, but synchros is still a completely artificial thing at the beginning, and I have the impression that I managed to do exactly the opposite. And when I talk about synchro in the ciné-clubs or the cinés-club, let's say, in two provinces, because the Parisian cinéclubs are more overt, we are naturally obliged to explain to them what a rhythm band is, etc. When we talk about rhythm bands, I'm not going to explain it to you, of course. And then we are forced to simplify. Well, I wanted to tell you this at the very beginning, because I don't know... I'll tell you later, maybe if I have the feeling of telling you the truth. Est-ce que je vais retrouver... Do I feel like I'm telling the truth? If you had asked me in 1962, I would have told you exactly what I was thinking. Now I'm going to tell you what I thought in 1962. I'll try to tell what I think in 1962 but, on the other hand, it might be more what I'm thinking now. And thirdly, I don't know what I am thinking now because it would have to be verified by a new experiment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=150.74,407.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I'd like you to follow this route, because I think it's through this sort of divagation, if I may say so, that we will arrive to find the key that will... If I could make you go from a repeated and prepared experience to an experience of finding something. What you are asking me is the problem of the direction of the actor or the non-actor. How to avoid repetition, how to renew the thing, the rendering, etc.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=410.69,456.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What I could maybe do is try to define why I shot Adieu Philippine in these conditions, in the desire to... The film was made, was produced at the start, by Georges de Borguin, Ronde Paris Film, which was associated at the time with Carlo Ponti. Our relationships were not the most pleasant towards the end of the film. Well, that was another story. So much so that... The film then changed producer, a little on my initiative. And with the agreement of Burghardt... No, not at all. But it is necessary to know at the beginning because it was immediately after the experience of... After A Bout de Souffle. Jean-Luc Godard had just shot A Boute de Soufle at Burghard's and Burghard who wanted to continue. In this production voice to give their chance to new directors, new directors on stage. I had asked Jean-Luc Godard to bring him, to talk to him about some of his friends that he could appreciate. I had done, two years ago, a year ago, a short film that was passed at the Tour Festival, Blue Gene, which by the way, I don't like so much, well it's a parenthesis, I don' t like it so much if there are certain things that I like, well I find that the film is clumsy and... There are other things that I like, but I think it was a bit of a failure. Jean-Luc Godard sees this film in 1958, and he likes the film. He told me about Borgard in 1961. I was brought in to propose Borgar from the Philippines. At that time, Borgart had a contract with Jean-Paul Belmondo. And I think that if I had wanted to take Belmondo as the main protagonist, I could have done it, because it's a program, to ask that of the distributors, it would have made things easier, after the success of Bout de Souffle. And I don't think that Belmondou would have refused, he hadn't said any proposals yet, and maybe this idea would have... But I wanted to avoid that. I wanted avoid that because from that moment on, already... I felt a lie, a transposition, I didn't appreciate it at all. Belmondo's quality as an actor, but in relation to what I wanted to do, it was something else. I don't think the film would have had the value it had if I had done it with Belmondon's interpretation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=457.24,610.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e ...Who wasn't so professional at the time... Ah, yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=611.789,615.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ah, yes, yes. He was a professional actor. The value of Belmordo is that he gives the impression that he wasn't so much, but he was. He's a guy who did the Conservatoire. We even know that he was refused the competition and there was a scandal. It was me, wasn't it? There was a bit of the miracle that existed around 1934, 1935, 1936 with Jean Gabin in France. Jean Gabain was an actor who, at that time, was really fascinating in truth. He was more of a man than an actor and some of Renoir's films were worth a lot because of his presence. Something like The Human Beast is pretty cool.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=614.84,650.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I spoke to Renoir, and he said that for him, even the non-actor, the one who was most capable of being, for him to play or exist in front of the camera, it wasn't the non actor, or it wasn' t the theater actor, but it was the musical actor who had the spontaneity. I think so too. It's very similar to that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=651.2,675.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Now, of course, I wanted to make this film, but I didn't have the idea of a show at that time. Since I wanted cinema, I was tormented by the idea of truth, maybe of realism. It's an idea that I'm moving away from now because, naturally, the definition of realism... Realism and reality are two different things. But at the time, I was confusing them. And I thought that the more a film gave the impression... ...To be made like that with people out of the street, who are ill-fated in expression, the more the film gave that impression, and the more it gave that feeling of truth. In the appearance, and the more we had to find the deep truth. I still believe, by the way, but in another way. What bothered me a lot was the well-said text, the perfect text, the well constructed sentences, the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=676.62,751.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e A whole classical structure of...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=755.35,757.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e A film struck me a lot at the time, it was my film in red, I was in black, because it was the text that seemed to be created at the moment of the recording, it struck me. In that spirit, I had to shoot Blue Jeans, I shot like that, with the idea of working in that way. But at the same time, I didn't have the direct sound and then...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=761.94,790.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It didn't bother you at the time that you were finally looking for the dialog that was born at the moment of the shooting, at the point where it was recorded, and you couldn't shoot directly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=792.53,809.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I took part in his testimony when I was shooting. No, but it came from an intention. I remember at that time thinking... It seems silly to me to say that because since then we have pushed the experience very far, more far. We were not talking about the time of cinema-truth, but I had the temptation of that. I had a temptation to make a kind of spontaneous cinema. I admired some films that had been in that direction without it being really a movement, as it has existed since. And when I saw, I don't know, maybe in news, people like that who spoke, who spoke perhaps awkwardly, but I measured the incredible distance that there could be between the written dialog and the dialog invented at the time of the recording. So I remember when I prepared Philippine, I was intending to tell a story, but I said why not tell this story by leaving a great margin of freedom for the expression of things. And I thought I was going to prepare the dialogs, prepare some dialogs, maybe even write them, but not force the performers to learn them. So that the performers could find their own dialog after the performance. And consider that their own was the right one. Naturally, when we did several takes, we would have considered... To have recorded several dialogs. So that was the starting idea, it was the theoretical idea. And I don't remember, during the preparation of Philippine, I even wrote something for myself, like that. In the notes, I wrote something to define this method. I said to myself, we'll see what it's going to look like, but I feel like we can find something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=812.43,929.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The method was then to establish a written deal, which served as a basis.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=929.19,934.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's it. That's what's happening in this scene. Let's take an example. In this scene, a girl is her mother. The girl tells her mother that she's going out. The mother doesn't agree. The girl says, yes, I'll go out anyway. So rather than saying, here's the text and you're going to take it and you'll repeat it, I thought I was going to explain to the protagonists, In this scene that we are going to shoot, this is what is happening. Like that, and you go, you mess around, you go like that. And you invent the dialog as you go along. It is naturally valid that, as the characters who had to interpret... The characters I had to choose were, in reality, real characters. They were practically confused with the imaginary characters in the story. On the other hand, I don't want to be silly, I'm trying to find the right approach. There was this idea in the dialog, and then there was also a question of appearance, which I was very sensitive to. I didn't want the main actors to look like actors. Especially the boy, I didn' want them to look actors. I didn't want them to walk in a certain way, so that he breathes in a certain way. In any case, I wanted to find a way to address them when people in life are illiterate and when they have the right to address. That was very important. And then maybe a physical question too. A question of face, of features. I wanted them to say absolutely... If the guy was defined as a television cameraman, but he could have been... It was also the idea of... The Renault adjuster, well, that's completely theoretical. I didn't want it to be interpreted by an actor who seems to be a popular actor but who isn't really authentic. I needed authenticity in the lines. I remember at the time, I think it was at that time, there was one thing that struck me, it was in a film shot in Italy, according to a novel by Vaillant, La Loi, you know, interpreted by Yves Montand. There was a scene on a public square. A scene with a few dialogs between the fishermen in the area and... The director, well, Dassin, probably thought that the dialog parts were held by professional actors. So we had this very curious thing. We saw extras who were visibly recruited on site, with the skin in a certain way. And then there were actors who had to come from Rome and who were dressed as fishermen. And then when we saw them side by side, it was something monstrous. You have to see all the difference, the living conditions. And rural, let's say, modify the genre. It's in the skin. Yes, it's in your skin, you can see it. Well, a peasant doesn't look like a citizen. And then an office worker. So even less, an actor can play the role of a shrimp fisher. Well, that's not possible. So that's something I was very sensitive to. On the other hand, I still have a deep admiration for... Well, I started there too. I liked Italian neo-realist films. J'aime bien au Sennini, j'aime ben bien. The other experiences of Italian films at that time, it was something that had marked me. I already thought that it was possible, because it's Italy, a country with a profound sense of representation. And I also had the idea, I'm trying to recreate the state of mind in which I was at that moment, I also thought that an actor didn't mean anything, that it's a state much more than a vocation. That is to say that... I considered that we are actors, we are not, it's a way of behaving in life. And then there are professional actors who are never actors. On the other hand, there are people who can be spices or restaurateurs or bus drivers and then who can behave in life in representation, by always making a number of actors, that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=935.63,1207.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I always think so. So I'm out of here.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1211.47,1214.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Refusing to write... Yes, the dialog was written, there were even scenes that were... I'll come back to that later. Well, but refusing to want to set up a dialog in a literary way. Secondly, refusing to use elements from the performers, that are in my eyes actors, without talking about their qualities as an actor. But I wanted to find absolute authenticity. So I... I took the bull by the horns, as they say, and then I said, well, I'm going to find it in the street. And I think we said that the New Wave, since at that time we were talking a lot about the New wave, the New Waves was a movement that took people in the streets like that, but it's not so often when you see the list of films that were shot at the time. Apart from the experiences of, well the films of Rouch, there are not so many films of the New Vague at that period who used actors taken like that in reality. I think that...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1219.28,1279.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think that the vote is the right thing to do. It's the only thing that can be pushed in a sense of realism, a near-realism, that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1281.0,1293.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e At the beginning it was the idea of an Italian film shot in France. It was more the Italian experience than the French experience that interested me. No, I'm gone. I did what the Italians did 10 or 15 years ago. I said, well, we're going to find him in the street, so how do we proceed? At that point, we get into the story. I don't remember everything, there would be a lot to tell. But the method was the following... We photographed, we couldn't stop people like that, by telling them we wanted to make you cinema, or you have a good face, go see the director. No, it was not possible. So I imagined something, I said, we're going to photograph people on the street as if we were photo-stoppers. So I organized three teams, three teams of photographers. And then, as it's more enjoyable to do this work alone than alone, There was someone who was arresting people. It was a guy I was looking for at the time for the interpretation. So I said, it's better if it's a girl, it'll be easier. The guys will stop more easily if it was a girl. Then there was a photographer. I organized three teams and sent them to the places because I was searching for a guy who represented... We call it the Parisian Titi, send the side like that. Always the replica prompt, a certain way to move, a way to chew gum, a sense of distribution, a certain physicality, I knew the kind of guy I wanted to look for, since we want the It's a whole frame. We said we could go to the stadiums, the swimming pools, the public balls, the professional schools, the winter campsites, I don't think we imagined it. So we prepared a whole volume of files. I mean, I didn't do this job myself, because I was looking at the results. So the three teams were leaving. They really made Paris their home. They'd bring their photos back. The girl who stopped at the station would talk, pick up some meaningful sentences, take the address, the age. They didn't say it was for a film. They said it was an investigation for a magazine, an investigation into youth, or whatever silly thing. And then I had the photos. The photos were important, because we realized that when a photo was badly taken, sometimes we could miss out on the truth. When a photo was badly taken, we could move on to the truth. Sometimes, there are some that I hesitated, then I made them come, and then they were not bad, they approached the character, and then on the photo it did not appear so much, but as I had a doubt, I made it come after. I don't know if this method, this idea of research is so interesting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1293.62,1485.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It can interest you to the extent that you are interested in knowing that it is Castellani who did exactly like that, for the sake of hope.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1485.86,1493.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's true, yes, I had read it in the book.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1494.629,1496.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He told me almost the same story.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1495.98,1500.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e By the way, I really liked the Castellani films. I think it's one of the films that influenced me the most at that time. I don't know what I would think about it now, but Under Hope and Primavera. It's a film that I really like. Blanté, Prima Vera, Sous le Soleil de Rome. Sous Le Soleil De Rome, too. So, it presented to me this kind of... It's interesting. ...Desense in realism. Yes, what was her name? Maria Fjord, the girl from Under Hope. That's how she was found.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1501.83,1531.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So that's how you found the people and then what... I didn't find the people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1538.159,1542.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I didn't find the people, no, I found the boy, the boy and other boys who... That is to say, in this long investigation, I managed to choose... I won't tell you how I did to choose because then problems arose. You will tell me if it's interesting or not, or if it interests you. No, I don't want to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1541.21,1559.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, but I want to move on to this way of getting in touch with people, because it seems to me that if we fail or succeed with a guy, the direction of the actor or non-actor, above all, it starts from the beginning. Yes, that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1558.42,1578.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, that's it. That's what made me lose my choice. The method was to have these photos, I was examining them. When a boy seemed to correspond to what I was looking for, we wrote a little word to him and he could see us. At that time he said, you know, we photographed you in the street, but it was not at all for an investigation of the newspaper, as it may have been explained to you. It was because we were preparing a film, we were looking for a boy like that, like that. So we made him talk a little, Yeah, and if it's really... It seemed even more appropriate to what I was looking for. At that point, we said, well, we're going to do some tests. So I succeeded in... I didn't like the word very much. Well, let's say I selected about ten of them like that. In which I did some tests, ten or fifteen, I don't remember, to see, and then to put them in the presence of a girl, to see how you would establish the relationships.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1576.97,1639.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You've already found the girl, haven't you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1640.68,1642.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I had found two daughters at that time, there is only one that I kept because after death the second one did not reveal the qualities that I expected. The stage of the tests was important because I wouldn't have said here is a text and then interpret the text, that was not possible. I just made them talk, I put them together, I tried to put them at ease because they were all impressed, naturally it's not happy, yet we were not impressed. We were shooting in 16, it was in a studio of photographers, we had a rather funny air, rather crazy. But still, we felt that he... That the technique impressed them, the fact that a camera is going to bother them. So I tried to break that right away. Already, I was learning something. It was useful for what I did afterwards. I tried breaking it right away, that is, by sacrificing ourselves, that is to say, by pushing in the crazy direction, by putting ourselves at their door, by joking with them, by suppressing the barrier side, finally the authority side that could give us all this technical aspect. We have a deal","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1642.8,1713.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e possible, l'importance carée de la caméra.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1715.25,1716.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's it, that's it. From the trial stage, I felt it. And it came very quickly. I remember, for example, the trial of the boy I chose. In fact, he did not pass a trial alone. They went to four. And then I started talking to them like that. So I was talking, I was off. And then they answered. And then, I said, you can talk to each other if you want. Ah yes, and to guide their spirit of repartition, I also put... I put two girls, two girls we found by the same method, two very funny girls, who have a small role in... These are the girls you see, I don't know if you remember the film, they are at a time, we see them in a cell, they are in a car, they have bought a car and then they walk in the countryside, they see at a moment the entrance of a village, two little girls, and well, it was these two girls because they had an incredible voice, It's all right, it's all good. I used them at the time. I put these two girls and these boys, and then they talked. So naturally, after a while, they drifted away, they started to be a little more comfortable, they started doing a few more intrigues, more or less spiritually, well, it doesn't matter, it was a bit of a documentary on a certain humor, on what we call a certain spirit. Extraordinarily revealing after in projection because when I saw it in projection it was a phenomenon that you also know on the moment we say well it's good, it seems quite natural in front of the camera but when we see that in projection it's as if we were getting a blow on the head because it didn't look at all like what I could have found with an actor but not at all, at all at all. I said but in the name of a dog I'm sure I'm in the truth so there it's not possible, I would never find that with ... It was absolutely impossible to go that far, it was absolutely fascinating. It fascinated me so much that the film announcement of Adieu Philippines, I did it with these tests. That is, I found the tests, I did them in 35, I edited some parts, and then I told, in the announcement, people were found like that in the street, and that's what we did, and we see it in the film. The essential parts. I won't tell you why I chose one rather than the other, I chose it because... It seemed to me to correspond more to what I was looking for. I don't know if I was exactly in the truth. And so we went shooting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1717.37,1872.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We went to Corsica. You have your distribution. And you have in your heart at this moment the basic principles. Yes, I should have talked about the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1874.79,1883.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I should talk about the other elements of the distribution. For the girls, I should have done the same work. I don't think I've gone that far. There are two girls in this film. The first, Evelyn Seri, was chosen, not according to the same criteria, she was chosen rather on a matter of physical appearance. I wanted a girl who does... That makes me think of Renoir, Auguste Renoir and Jean Renoir too. I wanted a girl with a face that could be found in a painting of Impressionism. I saw Yves Lune's series on the Champs-Élysées and she was photographed. I saw her once and then, strangely, she was later photographed by one of my photographers. But she wasn't from the same field, she didn't have the Parisian side, not at all, she wasn´t from the field at all. Samia was a decorator, I think she was a middle-class bourgeois. And she wasn't the character at all. But I was fascinated by her physical appearance. And I said to myself, well, never mind, I'll create something, I'll try to transform her. Because I probably didn't have the complete conscience that I wanted to make a documentary about characters. I was fascinated by the outside appearance, by the dialog, but I didn't think I was going to make the documentary on the characters, which I understood later in the film. I consider that in terms of the girls' interpretation, it's less successful than in terms for the boys' interpretation. And the second girl is an Italian. She is a character, but she's not a Parisian, she's a Romanian. And when I chose her... I was in Rome because... Oh yes, I'll tell you a little story. I told you earlier about a girl who had done the tests. She wasn't satisfied. It was a little actress that I had chosen for her physical appearance. But then she appeared in the tests and she was horribly artificial, horribly deformed. Maybe she had taken classes. I don't know, she was terribly deformed, she didn't play simply.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=1883.2,2010.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e She had an idea of what the game was like. That's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2010.23,2012.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's it. She had not only an idea, but a false idea. That is, it was probably not a good actress. The camera created a feeling for her. At that moment, she started to play. She played with tics. Maybe she imagined a Brigitte Bardot or Sophia Loren. I don't know. But she started becoming another character as soon as the camera was rolling. It was absolutely manifest. So I explained to her. I said to her, but no, forget that. And try to be you. A girl who lives, I don't know, in a place like that. You take the bus every morning, forget that you're looking for an actress, try to be a girl like all the other girls, but there was nothing to do, she didn't understand. She didn't get it, so I said, I can't take this girl, because it's going to be catastrophic, she's going all the way. And we were at... 15 days of shooting, and Carlo Ponti was in Paris, since he was a co-producer, he was co-production, and Ponti told me, you have to come to Rome, I have a lot of girls, they are very good, this contract, so it made me laugh a lot. Yes, it was not very rigorous as a process. On the contrary. Yes, on the contrary it was. It was fun for me to say, why not make an Italian film after all? And then there was the side of saying, Italians have the sense of that, they put themselves in representation more easily. And then also, without a doubt, the temptation of an Italian movie. I wanted to make an italian film, I wanted an Italian in France. So I said, yes, well, okay, I'm going to Rome, and then we'll see it there. And then I saw some girls who were absolutely artificial actresses, who were not what I was looking for. I found the photo of an interpreter who had been evicted. She seemed to me to be the equivalent of Ponti. She lived in a right-hand corner, the equivalent to a Parisian. Obviously, by chance, she was an actress. Well, she wasn't an actress, she had to... Make three films and two fashion photos, maybe not fashion, but advertising too. And that's it. So she called herself an actress, but she was always with her mother, and we could see she was a brave woman, that we could imagine cooking. It was the environment I was looking for. So I took a selfie. I said to myself, well, she doesn't speak French, but I don't care. The French girl in Italian, the others in French, we'll see. Well, for me, it's this kind of search... This unusual in the beginning, in the premises of the film, made me absolutely amused. And that's how it started. Besides, I knew I would have other interpreters, but I thought I could take actors, that's the most important thing. I was also part of... So there, it was something that was clear in my mind about the idea of amalgam. I remember, it's an idea that interested me in the definition of Italian neo-realism, especially when Rossellini practiced a lot, What was the amalgam on the side? Professional actors, professional and non-professional interpreters mixed together, each finding in the other category possibilities to enrich themselves. I'm telling you the things I believed at that time. We agree, I'm trying to get back to the situation I was in. I came back to the boys, so I hired one boy, because he seemed to fit more than the others physically, maybe to what I was looking for. And in those who seemed very good to me, who seemed to bring a lot at the level of the dialog, I took them as the boy's friends. And then, as they were very good, I said, I'm going to try to develop the role, to increase, because it seemed very important to me. This is the stage of the preparation. The theoretical ideas I started with, the way I applied them, how I found them, and then we went on this adventure in the film. The film takes place partly in Paris and partly in Corsica, in a holiday climate, the last holiday, during the Algerian War. I didn't shoot in a chronological order, I started shooting in Corsica. I even started by shooting the last sequence. The first day of shooting was the last one. But what I shot that day wasn't edited at all, I started again afterwards. It was a bit of an extra test. The start? Yes, that's right, the start scene. So here we are, I left falsely. First, a few days before, I tried to see if he could learn a text. He could eventually learn a text, but when he recited it, he didn't recite it, but he anonized it. Do you understand? Anonized. I believe that etymologically it's recited like a dwarf, that is, very badly, like a kid. Like a kid who has just learned to recite. Yes, that's it. The idea of a kid...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2012.48,2338.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's a good start. It happened to me too.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2340.5,2342.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, so I said to myself, I can't give him a text, and then... So it confirmed in my method, maybe it would have remained a theoretical idea, an idea on paper. No, I have the needle that sometimes sticks, that's all. So maybe the idea of saying, we're going to give a text... We're going explain what's going on, and they will then find their own language, it might have remained an idea, simply theoretical, and I might have never applied it, if... The guy had shown himself to be able to learn a text and then go out naturally. At that point, I would have probably gone into a lie, but not at all that he was not able to go out without a text like that. So I tried, I didn't despair, it allowed me to put my method to the test. I first tried to make him breath. We breathed, by the way, even throughout the film. There are some sequences that we shot completely blowing like that, in the holes where we sent the text.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2344.1,2396.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think it works. I know Godard does it a lot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2396.8,2400.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, he had told me about it, he was just taking a breath, he said, I won't give you the text to learn, anyway I'll write it at the last moment. Godard didn't do the same thing as me, I'm talking about a breath. He didn't ask his interpreters to write the text, he was writing the text at the very last moment, he was taking out a note from his notebook and then... He wrote it all, he said, you're going to say this, and since they didn't have time to learn, he sent the text like that, while breathing. And then I knew, he had told me that, I said, but you can, breathe. He said, yes, we always change. So I tried, and indeed it worked well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2401.36,2439.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So that's why he didn't stick... That's what I meant!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2441.549,2443.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He repeated exactly the same words, but he didn't have time to really think about the meaning of what he was saying. It verified what Bresson was saying, that if you think about a text, you necessarily say it wrong. Because you have to think about it afterwards. You talk about it first, and then you say, And we said that, but if we think first, if we know the text, we think about it, so we express it. With everything that can be a mistake, you see, it's a process... So, especially when you're breathing, when you are breathing, and I think it can even work with professional interpreters, if we find that they are bad, we can tell them, don't learn your text, and then we blow them the text, and then they repeat like that, and they don't have time to put in the expression, they don' t have time to think, they do not have time, to put themselves on stage, that's also what Antonioni says, I always tend to... Not to explain their roles to the actors, because otherwise they tend to become their own directors. I think these are some of the first truths regarding the direction of a professional actor or not.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2443.13,2512.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you think it creates problems in the timing of your plans?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2513.6,2519.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ah yes, yes, of course. But then, you see, there were two methods from the beginning. There was the improvisation from a given canva, or, on the contrary, if I wanted the respect of the text, the complete mechanics, that is, to blow the dialog. These were the two methods used from the start.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2521.34,2541.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In the carnival, when you put the carnivals, I'm sorry if I'm interrupting your thought process, when you have put a carnival on, do you give samples of dialog by suggesting the carnval? In order to bring into your mind certain lines on which you are counting?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2542.69,2566.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It was not regular, it had to depend on the length of the scenes. Naturally, there are scenes that are made on stares, where I wanted to say a certain sentence at a certain moment. Speaking of scenes, I'm thinking of some scenes that could have been shot. I'll give you an example. Because I also shot a lot of scenes that aren't currently in the film. I shot with all the inexperience we can have for a first film. I shot a 2.5 hour film instead of an hour and a half. It's 1.45, but I shot something that would have been 2.30. I'm thinking of a scene between Vittorio Caprioli who is a professional actor and trained in improvisation and two boys who come to offer their services. They are cablemen on TV and they also want to work outside of TV to make some extra money. I'd like to say that too, you may have heard of this film, well, I've put it back in the video.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2567.31,2643.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is a good debut of the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2645.34,2646.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, that's right, it's mostly in the first part. So they found the opportunity to get in touch with this guy who presents himself as a producer of advertising films. He wants to produce films in good conditions and then he wants to make people work a little like a rabbi. So we talk to him about these guys who work on television, he says, television, television. Well, maybe I'll be able to pay them less. And we bring them in. So they realize that. And then, there... I really used this method of improvisation. I said, here, we're going to do the scene in three steps, because it takes place during a good part of the afternoon. So to represent this afternoon with the light changing, I said there will be the moment of the meeting, and then a little later, and then the last moment when they are at the stage of the projects is confirmed. I had to make a memory effort to know what was going on. There was no dialog. There were just notes. Ideas saying, you should say this, then that, then this, and then that. And that's how it started. That's how we started. I had asked Jean-Claude Emigny, I said, imagine you're a cableman on TV. At some point he'll say, but you work. Because he is the guy, the producer in question, played by Caprioli, is still very surprised by the appearance. These guys who look like that in blue jeans, who don't look very impressive, and he tries to know what it means, he pushes them a little. He says, but you work at TV, you are employed as a current contract, well, you have a regular contract, what are you doing?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2647.13,2748.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you have any ideas? Yes, I have ideas.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2748.65,2752.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I give his name in the film, Michel Lambert answers awkwardly. He says, yes, of course, I was engaged in television regularly. And then instead of... He explains how he was engaged, that is, he says, well, they made me pass tests like that. There was a red light that turned on, that turned off. I had to follow a track with buttons. He invented it himself. No, I said, here you are. We hired the TV crew to do some psychotechnical tests. So, in the tests, it goes like this. Did you pass them? No, he didn't pass the tests. He says, it's going like this... So, you're going to tell him that. You're going tell him. You're gonna tell him you passed the tests as best you can. And of course, it's much funnier that he tells them awkwardly, because he blunders, he says, well, I had to do this, and there was a little needle that did that, so I had press a button, and then he's very awkward. So that's exactly what I was looking for. I would never have been able to write such a funny dialog, because it was a dialog made on illness. So that is a good example.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2759.609,2816.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To finish with this scene, once you have given the initiative, the first coordinates of the scene, how did you work to get it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2819.339,2833.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, by a successive correction process... No repetition. In this film, I said, as little as possible, I want to have the first feeling. I think that was one of the rules of the film. I tried to set up the technical side before, the frame, the movements. I said to the cameraman, if this happens, panoramic it like that. You try to go a little... I was defining the rules of cinema verite, but I don't think they existed. And then... You can put it there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2834.41,2868.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Also, for a little digression that does not end, did you plan a style of film that would allow you to take a certain step back on the legs to allow them to move and improvise? Because a cut too much pushed ... Ah no, I was not also ...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2868.02,2888.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I wasn't that far away. I can't say that I had the cameraman standing, who was about to zoom in and reverse the shot. No, no, I was not that far. I could have, if I had been more intelligent, when it came to what I wanted, I could probably have gone further. But... So, I defined the technical conditions like that, and then I wanted to forget the technique. And then we left. And it was used both as a first arrangement and as a repetition. And if it wasn't exactly what I wanted, I would correct it by small touches. I would say, at one point you said that, so try to say otherwise. I have some indications.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2888.04,2930.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, for example... Listen, wait a moment...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371#t=2931.0,2934.24"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262371/transcript/79529/annotation/59","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/529/original/trint_Coll458_jb0052_Rozier_01_p2_transcript.vtt?1747070375","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/529/original/trint_Coll458_jb0052_Rozier_01_p2_transcript.vtt?1747070375"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372","type":"Canvas","label":{"en":["Media File 3 of 4 - Coll458_jb0052_Rozier_02_p1.mp3"]},"duration":5477.38122,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/372/original/Coll458_jb0052_Rozier_02_p1.mp3?1739226524","type":"Audio","format":"audio/mpeg","duration":5477.38122,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0052_Rozier_02_p1.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You're the one who has to detect all of this, aren't you? Oh yes, it makes me think about the track. Do you do that in a stereotypical way? Yes, I can do it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4.59,15.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's a considerable work. It's done a lot on TV. I worked on a TV show on Jean Vigo, which was an interview-based show. I did all the editing on paper. We took it from all the interviews like that. Stenotipists take it, they tap it. Obviously, you work on paper, it's already considerable. Of the tradition.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=16.479,33.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Obviously it's more like me, but I prefer my own style when I can, because I think it gives me another vision of things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=34.879,43.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You don't like to read it when it's done.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=44.04,45.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e After listening to it, with the tone of voice in something I read, I learn a lot. When I did measures, I read a lot, it's fantastic what their voice can give to their habits. So you are going to give us some details, you want to be able to rearrange the details to make us feel the things we discover.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=45.88,68.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, I tried to find a concrete example. I'll stay on this same stage and remember it. I... I'm trying to remember the dialog. In fact, what else was I doing there besides the Commedia dell'Arte? It was exactly the Italian Commedia del'Arta on a screenplay, on a canva. By trusting myself to the spontaneity, to the invention of the interpreters. But since it's cinema and not theater, I felt the need to correct it right after. To say, what you said was very good, because you said it like that, using the verb in that place. I was probably quite elusive. I quickly realized that the true or false tone was given by a question of syntax. And I think it was a huge discovery for me because I was...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=68.73,141.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Send text download on Longhouse. Three, London, Irishman.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=141.92,144.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The same idea, said in one way, gives the impression of falsehood, and the idea in another way gives the feeling of truth. So it's a huge lesson for someone who wants to write dialogs afterwards, because we realize that there is a just way of writing them, a way that probably determines the tone of the interpretation. And if a dialog is poorly written, it can't be said precisely. I learned that at that point. I think that's something that will help me a lot now. In a poorly written dialog, a good interpreter will always have something wrong. Or the interpreter is forced to transform it. If it is well written, it comes on its own. Maybe even with a bad interpreter, we find the right time immediately. It is undoubtedly a question of writing. And it appeared to me while I was reading the texts. Well, it's a meaning that I acquired during the shooting, but it came to me quite quickly. So I noticed quickly, I said, here, you said that like that, we listened to the sound of witnesses, you see, as you said, well, try to repeat exactly the same thing, while repeating the sentence in the same way. However, at that moment, you forgot to talk about that, or I would have preferred that you didn't do this... That you do not talk about this thing, that you don't do this digression, try to go directly from such an idea to such an other idea, that's it. At that moment, you, instead of cutting it off right away or making this movement or cutting it right away with this replica, let time pass. Look, keep your eye on this thing. Look at your hand, look at your foot, look outside in the street. You see, it was from the first feeling I had, I was doing a correction work by small touch. So... That's where the direction of the actor is for me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=145.69,245.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So, did you encounter any difficulties trying to make them rediscover something that they said spontaneously? No, no, no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=245.56,255.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no, because he never said the same thing, it was never the same, so the invention always existed. I can't say that I did 30 takes, if I had done 30 takes it would have been probably completely automatic, but on average I would have done 3, 4, 5 takes, no let's say between 3 and 4, and then sometimes it was the first that was the right one. I... I'm moving forward in time to talk about the editing and then I'll come back at the time of the shooting because I haven't finished talking about the shooting. But the editing is done also on the text. After... When I read the text, I thought it was better to tell, it was funnier, more vigorous, more lively when the text is this one rather than that one. And I tried to build my editing from the text. I don't speak for all the sequences, but for a good number. And the dialog became the director of the idea of editing, because the text... This idea is good in the 135th take, 4th time and then in the 135th take it is good from idea A to idea B, and then from idea B to idea C it is in the135th first take. So, I'm going to... To have this ideal text, this feeling of continuous life, I will therefore add a little bit of the 4th 135 and a little of the 1st 135. Naturally, if I want to avoid a jump, if I don't want to give the impression of a non-desired false agreement, I am forced to put it in a cutting plan or introduce another idea, or maybe to make a shortcut or to look for a false movement agreement that goes very well. So, it's certainly the dialog that helped me a lot in the editing. But be careful, I was editing on witnesses. I think that was the big idea of the shooting with regard to these non-professional interpreters. I could add that, of course, they have become non-Professionals because they have acquired the training. They have completely... They have acquired training, they have completely made their camera skull disappear.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=254.52,418.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e They have become a sort of actor formed in this taste of improvisation, without doubling.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=420.86,427.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I also have professional actors. I have applied non-professional to professional. I think in particular of a scene that is made almost only with professional actors, it is the scene of the meal, I put it quickly in the film. Yes, there are professional actors yes. The scene of dinner, I tell you, I quickly put it in the movie, This is the scene in which Michel, our cableman, is on TV. Brings a friend who comes back from the military service for lunch this Sunday. It's in a small neighborhood, a Parisian neighborhood. There are his parents, and his parents invited two neighbors. Two older neighbors, who are good neighbors. It's the meal during which they exchange common places, the one in François every day, and then... During which Michel has to explain to his parents that he just bought a car and went on vacation with his friends. And then, from there, the parents get angry, the father gets angry, and then, well, we insist on a series of common places in the current conversation. I wanted to describe a meal like that, where we pass from one idea to another, by association. What did you say?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=430.1,506.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Have you written this meal?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=505.72,506.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, completely. The dialog was written completely. And when I read the text, I realize that what is in the film is very close to the text. And yet, the actors, the four, the father, the mother, the neighbor and the neighbor, and the friend of Michel, are five actors.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=507.12,532.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I was completely frustrated that it was there or... I can feel it. I think there's a difference. But tell me, how did you approach this scene? Well, first of all, of course...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=534.8,547.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I would have explained to these professional actors, I would've told them that I worked like this, so I wanted them not to feel any change. You see, here is the hero of the film, the protagonist of the movie, you see how he is, he is nature, he speaks like that, try to put you at his level, try to interpret in that spirit. That was to remind them of their conscious side. But on the other hand, I reminded them of the unconscious side by saying... Here is the text. They have the facility to learn it. They learn very quickly, professional actors like them. They learned it very well and I shouldn't have left it for too long. And I said, come on, let's go. Not during the shoot. During the shoot...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=547.96,584.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't know, I don' t know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=584.34,586.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ah, they had the text ten minutes before, I didn't give anything to learn. Ten minutes before they put it like that in a corner, they read it three or four times and then they learn quickly. And then hop, we shoot. So I shot a bit like we would have done on television. I didn' want to break the unit. So, I shot with two cameras in continuity. I had to do the scene in four or five units of view. In four times, I think. In four time. Which allowed me to change the lens when I was on camera, etc. And then I made some adjustments to make it easier to edit. So I would have asked them to say the text. They had set it in their memory because they had read it three or four times before, but not so much, and it allowed them to have that freedom in relation to the text, if they forgot something, they could hesitate very well, or they could, on the feeling they had of what they had to say at that moment, say, roughly, roughly. By the way, for actors playing in the theater, it's... It's not so difficult, because we know that in some parts the actors have fun, on the contrary, by changing the text sometimes. When the respect of the text is not so important, by playing something 250 times, they have fun. So it's a very common gymnastic for a professional. They are very well prepared and there is not much deviation. So no, but it's...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=585.76,666.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e If I remember correctly, it's a scene that lasts quite a long time. Yes, it is a scene with 5-6 minutes. So, you still didn't give it a lot of time to...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=667.03,672.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I didn't do it in 5 or 6 minutes, I did it in 4 beats, I had to record it in 1 minute.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=674.23,684.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But how did you get into the scene, to put it in the band, because it seemed to me that to have this kind of life of people who are preoccupied with eating and talking without it having an effect, there was still an introduction to give it a start.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=687.15,705.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, I remember that day, we shot it in the early afternoon, I kept absolutely, I did all the technical settings, lights etc. In the morning and then I kept what we had for lunch, then I said on the lunch launch, we're going to get them out of the table and then we're gonna put them at the table of the film, you see, so they will be a little, a little unlocked and it's going to be easier. We did it like that. I didn't really try to set them up in a different way. I also worked with them on these successive correction systems. When I had the feeling that the scene was good up to a certain point... To a certain place, I said, we're going to start again from this point. We're going back from this moment. At that point, you were passing the bottle to your neighbor, for example. Or I said I was going to ensure my passage through a cut-off plan. I was perhaps isolating two characters by saying, the connection would be better like this. I had to proceed in this way. Also by correction, by small corrections, by little touches. And I also remember, there was one of the actors, the one who plays the old man. He was a good man who had a lot of memories. With all those erotic, old, very trained actors, he manages to pass on that memory by doing this. We thought he was talking in his beard, but at the same time I felt that he was looking for his text. So I went to blow his text, since it was from his testimony. He blew it, so he caught on, and it went very well. It was a part of that that was doubled. It doesn't feel right because maybe I added text at the time of the dubbing. That's it, I think. I had to tell you the basics regarding the shooting method.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=706.65,821.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There is an aspect in the method of the action of the actor, which is what I want to ask. So far, your indications have been in the domain of certain precision of movement, certain precision, of the caneva, which allowed an improvisation, or an improvisations guided by a text that you have, if I may say, infused. Either by blowing it, or by suggesting a genre of text, or either by teaching it, but quickly. I wonder, in the moments when you are looking for certain emotional aspects, so to speak, qualities of emotion, which are related to other things than their culture. Of the culture at the base, that is to say, the little Parisian type, the language, etc. When it was necessary to obtain certain emotions for a scene, I don't remember precisely, I was wondering with your people, how do you proceed to obtain, to draw from them, qualities of emotion, to suggest them? Booze I think","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=822.31,901.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The scenes that are built on a feeling, on an emotion, are quite few in the film. I think they exist at the end. I think in particular there are two scenes that take place in a car. There is one that takes place in the car during the day, and one that happens in the night. These are the two scenes, a bit tense, in the movie. I mean, the two, I dare to say, the two dramatic scenes. There was a state of emotion in addition to the behavior. All the film is based on the refusal of the scenes, on the idea of an observed moment, which is significant, but afterwards the film isn't made on... I think so too. Towards the end there is the necessity of scenes that appear with tension and... Au déroulement, enfin. There, I think it was done in two times. The first time, since it forced me to be rigorous, to be precise in terms of the game of looks and expressions in relation to the dialogs. It was completely contrary to the staging, not at all spontaneous, that is to say, by saying such a thing, you have to look on the ground, You have to lower your eyes, you have to, on the contrary, don't sit down while saying such and such a thing. That's it, that's it. The game of the gaze being important, well, everything was determined like that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=903.709,998.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In a sense, you are trying to determine emotions through physical things. Yes, but then...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=998.37,1004.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So it was no longer a matter of spontaneity at the level of the performers. At that point, they became a mechanic in my hands. Yes, an object. That's it. So these are scenes that are quite cut out. So it allowed me to turn at all costs and be able to control everything. I say that, it's an experience with non-professionals. Because I don't know how I do it with professionals, it can be different. No, but it's... So, this feeling... I obtained exactly the visual expression of what I wanted. I knew it when I obtained it. I certainly didn't obtain the sound expression, or the expression in the ear, which could be false, but if I had seen something just with a false sound, it was equal to me, because I knew that I would double it anyway. That's why I say that the experience is made in two times, because naturally, when I doubled it, I doubled the movement. I didn't double it step by step, but I doubled dramatic time by dramatic time. So this spontaneity, which was erased at the time of the shots, was found at the moment of the dubbing. That's why I often think that dubbing can bring a lot of truth.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1003.91,1075.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Can you give us some gestures to surprise the performer, like raising your hand or looking to the right or to the left? You know, even Pasolini used to say to surprise a performer by saying, So, put yourself in the color of an evangelist. In the course of the interview, you were talking about the events of the interviews. Yes. For him, it was a theory that we learned so abruptly. As you said with the replicas that we were blowing, we were surprised.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1078.499,1121.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I had to experience this feeling, the feeling of this necessity, but I don't think I was very aware of it at that moment. I remember that when I was blowing, I was always blowing in a very brutal and very mechanical way, and probably with the idea of blocking... In the way I blew, I took the tone of a certain very brief commandment. To probably paralyze something in them, you see, I believe.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1123.26,1152.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Presentation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1153.25,1153.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Rather than blowing slowly, I would blow mechanically, and perhaps with an imperative tone, with the feeling that this imperative tone could in them paralyze something or block something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1154.79,1167.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's good","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1171.53,1172.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And yes, it comes back to me too, suddenly feeling that something that I had not planned was going to happen in a plan, and then trying to make it happen from this new feeling that I felt, because I try to be very receptive, when I turn, I try to be a very spectator, to look well, to completely penetrate myself with what is happening, to completely stretch my attention. Suddenly, I felt something was going to happen that didn't exist in the previous takes. And then it sometimes led me to say something very quickly, by saying, do this, do that, or go right, or turn around. That, I know I did, but it wasn't... It wasn't intuition. That's it, it wasn' t intuition at all. The object of a theory, well, starting from a theory. After, naturally.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1172.73,1225.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did you manage to play it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1226.08,1227.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Sometimes, yes. Never announce. No, no, never. I refuse to do that, because that's one of my initial ideas. I remember reading a text by Jean Renoir where he says there are two methods of directing an actor. You probably know him. He explained it several times, but... Very, very well. There are two ways of directing actors. There are those who take the place of Joan Première, who take a small voice and say, here you have to do that, and at that moment, he tries to do all the intonations that he supposes are the right ones. And then he says, it's completely wrong because a director does not have to be an actor and extend himself among the actors that exist. The director is simply there that the director is not an actor. He is there to help the actors to be themselves. That is to say, to get rid of everything that is not themselves. To help them be themselves, of course, simply. He is someone who conditions. For me, this is the rule of any direction of the actor. Even if I have a very precise idea of what I want, even if I want to have a look in a certain feeling, at a certain moment, I'm not going to mimic it. I'm going to provoke it in another way. Maybe I'll command it, maybe I'll demand it, but I'm... I don't know, it's contradictory what I'm saying. But I never said to myself, here's how you should do it, look at me, do it like that. No, because I'm not them, you understand. I've always had the feeling that I'm an observer, that I see other living beings who live in front of me, and that's what's important, that it's not me who I've represented.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1228.45,1329.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Are you trying to create randomness in order to provoke unexpected reactions?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1330.47,1337.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I've done it in the Philippines, yes. I've made scenes with, I think, in particular, scenes... With this little Italian, you know, the guy who comes in as a frog man. It was shot a bit like that, because he is a bit of a professional actor, but anyway, he's an actor in life, he is incredible, as soon as he opens his mouth, he has a comic force, a will, and so I wanted to deliver it as it is, like that. So I pushed the... The feeling of improvisation, up to chance. I mean, I say, engine, and then you're going to arrive, and then, and that's it, do whatever you want. It was almost that. Well, no, he still had the cane, but I was going further with him than with the others. It was this almost surrealism. And then he did incredible things that were not edited, but... There was a scene that I cut where he was leaving in the car and leaving at night because it was a character that came back twice. I edited after a shorter version, the version that currently exists, where I had to delete the scenes for length reasons. There was one scene that was cut where they were leaving at the night and they were found the next morning. So he left the girls in the shot and then they went into the night screaming goodbye to the girls and then left singing. But then it became something like that. Almost by chance. That was a lot of fun for me with this interpreter. I don't know if I understood your question well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1339.37,1427.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To manage the chance. As Roush told me in Gardener, the fact that the egg, we were never sure if the egg would be too cooked or not cooked enough, it was enough to make a certain tension in the scene that allowed the actors to improvise more than simply do a repetition of what they had already learned. So I was wondering if you too, maybe not in the same way, but managed some random things that happened, that were","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1429.57,1470.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I'm just thinking about what I'm thinking.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1476.04,1477.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But listen, it's a small question. Listen, because I think that in my eyes where you have worked on improvisation, there would be a lot of that anyway. Yes, there is a feeling of chance. I would like to go before it's too late for the synchonization because it's very important. Yes, because it is the second part of the question.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1484.95,1509.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's the second aspect.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1510.17,1510.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It seems to me that you have a lot of work to do, and for me that was remarkable, but I couldn't believe it. Me neither.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1511.12,1519.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Me neither, because I was hearing the sounds of witnesses. I have to quickly tell you how I did it for this film. At that time, there were no cameras in France. It only started to appear, there was the first Perfectone. I don't know what happened in my mind. I said, I'm not going to work in direct sound because I want a light camera. I don' want to have a camera, I don't want a Blim camera. I wanted a camera that was up-to-date. Why didn't I think about it? Since we had the first Perfectone equipment, why didn't we think about using the camera with its camera sound linked to the Perfectone? That's a mystery that's still a mystery to me. I didn't think about that. I said to myself, don't use the direct sound because there's no big camera. But, on the other hand, his witness. So, we made a first part of his witness with a non-synchronous agra. In a big imperfect tone, I don't remember, non-synchronic. And I said to myself, well, it will suffice to detect the sound. And then I had a guy who came from the DSL club, the radio, and who was in charge of taking his testimony. And then this guy was absolutely crazy, out of order, and... No, thank you. And... He was losing half of the sound. We had a big truck, that's the anecdotal side of things, we had a huge truck in which was the equipment, the projectors, the reflectors, etc. That we could have needed, the suitcases, and he was also storing his sound coils in there. So usually when we opened the truck door, it was a 1200 in Citroën, we saw coils falling on the ground like that, that he didn't pick up, so I was rushing like crazy, I yelled at him, I said, but you realize, well, in the end, I threw it away. So I had a small device that... The minifon. There are many of these Japanese magnetos, but in the 1960s, there weren't many, in France at least, of these miniature magnetos. I thought it was great, we could put it in pockets, we could have small microphones, they had small microphones that we put on ties, microphones that were pinched like that. So we're going to put it into the pockets, and then the interpreters will move with this device. I asked the production to buy this device on purpose for that. You see, it was the temptation of what we have done since. And then, naturally, the technique has evolved. Maybe it already existed, but I wasn't so sure, I have to say. I don't know, in 1960, I don' know where it was. No, I think it was something that had arisen. I should have known if Roux was already using it in the 60s, but... No, I did find out. I used what I could, what could bring me closer to the independence of sound and image. I even did some tests on the Champs-Élysées, I remember, with the minifon, we sat on the sidewalk across the street. Now it's fascinating because with the micro emitters, it's really the success of what I was looking for at that time. You just have to put a micro emitter tie and then you have the camera at 300 meters with a telephoto lens and then we can do what we want, we are completely independent. I really wanted to make a scene of my characters on the boulevards, talking freely in full circulation, I wanted to see that. I was able to do it, but with the dubbing and his witnesses. So I continued the film's recording, the Parisian part, which is more dialogued, with the help of the minifon. I hid the miniffon. It was usually in the field, hidden behind a book, on the ground. Naturally, as I did myself, we had non-sounding cameras, often several cameras. In addition, an incredible mix of French and Italian. This little Italian who tried to speak French, I would have preferred that she spoke Italian, or I could have detected, but she spoke in a half-way language. And it was absolutely awful to be able to detect. So I spent a considerable time, it was also at the origin of my difficulties with Beauregard, who thought I was editing the film while I was just detecting the sounds. So I spent a considerable amount of time detecting the sounds. And as I had shot a lot, I detected a lot. It was awful, it was a real nightmare. So, I won't get into it, but I managed to set up rhythm bands. And so in particular, for this scene, I'm not going to talk about the dinner scene, since all the characters speak at the same time. So rhythm bands were practically superimposed dialogs. So when I saw the rhythm bands... I said to myself, what's going to happen to me? I was very worried. And also the way of speaking, the way to speak, which was very curious, because we had written, on paper, the spoken language. That's where we judge the fundamental difference between written dialog and spoken dialog. Because when we saw that, we said, there's no dialogueist who can write like that, with constructions of incredible sentences, inuit seizures, suspensions, We don't expect them. The reading was very good, it was very true, but will the fact of putting it on a rhythm will provoke the natural, what we will find by reading this text, talking about what we will find the natural? That was my big question mark when we did the detection. And we started, the first scene that I dubbed in the Philippine India, it's the scene of the meal. And it was probably the most impressive rhythm bands. And then I had an extraordinary feeling, I remember it, I'm still fascinated by it when I think about it. It's seeing this band parade with all the texts that came at the same time, like that, and when it passed on the black bar, to hear. I realized that it was very easy, on the contrary, because of the imperfection of the text, because there were movements, it was like a music score, and everything was marked. I didn't know it, I checked it out at that time, by looking at the rhythm of the parade. You know, in Hitchcock's film, it's the man who knew too much, we see the score that goes on, and we hear the music at the same time. The feeling that an orchestra leader can have when he looks at his score. Well, it did the same. There were dramatic movements that established like that, almost naturally. Only because of the text, because each actor followed his line. And everything was written on the rhythm board.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1519.17,1911.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So who did the dubbing? The same people? The same.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1911.55,1914.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Almost entirely. There are some voices of Corsica, there are voices of fishermen, very episodic characters that have been dubbed by, because I was not going to close the authentic ones, but the main actors have been duplicated by themselves automatically.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1916.34,1930.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What were the problems to bring back a certain truth in what he was saying?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1932.74,1939.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The first feeling was that it was good because they found their own expression. Since I had chosen a montage rather than another on a certain quality of the text, on what seemed to be a better dialog than another, and by following this dialog...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1942.09,1958.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Theoretically, it's not the interpretation, it is the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1961.03,1963.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I don't think it was... Let's say it was 75% chosen, especially in terms of the quality of the dialog. Or the quality that the dialog could have, based on a certain gesture, but I think the dialog was chosen more than the visual expression, which had to be quite similar to another. So I realized that it was this real text that had to determine a certain intonation. So naturally there was also to overcome, with its non-professionals at the beginning, the paralysis, same experience number 2 in relation to the experience of shooting, paralysis at the start of the... Of the dubbing, of acquiring the mechanics of dubbing. But they dominated it very quickly, and probably even faster than during the shooting, because they were very comfortable. And that's when they became completely comedians, because they could play themselves. They were very at ease because they had been in the dark. And then I also completely unblocked them, I conditioned them by unblocking them. How did you do it? That's what helped. By authorizing the chahut, by authorizing all the eccentricities, all the... It was about carrying... I was able to do it because it was also a film about youth, so we had to give this impression of continuous laughter, continuous carelessness, continuous insolence, and it was enough to let them live as they were.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=1963.98,2051.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You have done something to overcome some kind of first politeness.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2052.15,2057.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but it was done very quickly. First of all, by a certain tone of fun, of dialog between us, like that. And then, it was the beginning of the first rock records. So Jean-Claude and Minnie always wanted to hear these records. So they said, give me a little record, so we took it to the sound engineer's cabin. So he... We listened to, for example, an American record, I remember, Little Richard, he loved it. So we put a little Richard in it. Then he had fun imitating it, he had a lot of fun imiting it. And then at the same time, the magnetic band was spinning in a loop. So on the band we were going to record, he recorded Little Richard with his voice. So then I asked the sound players, listen. We listened to these silly things that had just been recorded. Naturally, he was the first to laugh. We all laughed. Sometimes there were quite curious encounters. Or he imitated animals, sounds, cartoons, things. Absolutely a resemblance like that. So it completely relaxed the atmosphere. So with this feeling of freedom, he could get on board. Very often, I... I said to him, well, you've just done an imitation of an animated cartoon. Well, you see, your text arrives on the rhythm board. You're going to read it as if it were an animated drawing. That is, we do anything like that. So it was completely released. It was completely free from the idea that he had of the text. He didn't have time to think about the meaning. And then, little by little, I said, well, after all, it's not that far from what I want. Although I asked you to do anything, it may not be that far. Because I was also waiting for chance. I was waiting for... In this nonsense, there is a flash, something that surprises me. And I often found it, and I said, well, you see, it's not that far, you did nonsense, but it may not be that far from what I'm looking for. So there, you're going to do a little less or a little more like that, like that. And then he was first freed from any kind of interpretation, on the one hand, and then we arrived like that to record it, progressively. We are also very helped by the... I think that's quite particular in France. It's a synchro technique that is very... The rhythm lines, the possibility to erase a part of the recording while keeping another part. If you worked in a French studio, you wanted to know. I was very surprised. I don't know how it is in the United States. I don' t think it's that technical. But in Germany, for example, they ignore this system completely. But in the US, we don't see it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2059.17,2205.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There is not so much synchro anymore. He does it, but he does it in the image. That's crazy. It crisps everyone.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2206.62,2214.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Okay, I did the same, I could talk to you about it, then I did Philippine's experiment, I did it again in German, I went to do the German version, and I applied the same methods, it was to use practically non-professional interpreters, and since we didn't have the rhythm there, we managed to do it again without rhythm, completely in the image, and it went in the same direction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2215.52,2233.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So, you started from the idea of creating an ambiance in the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2234.23,2237.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, that's it. I applied the same method. Create an atmosphere, relax, laugh. Because, naturally, it was a film about youth. I think that's the secret of the film. If you want to find a certain tone of truth in the dialog, it is due to what I found in the synchro. And I think I was further away with the syncho in the truth, in the spontaneity, than if I had made direct sounds. I have the feeling that this is the culmination of the artifice. That allowed this truth. Yes, yes, because... It's completely artificial to do the... To start from a text, to pick up a spoken text with all the e's, etc. All the imperfections of language and then to make it go on a rhythm and then make it say anything and then gradually correct it, to bring it to something that I discover myself at the same time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2237.79,2295.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What happened when they couldn't say it at the same time as the black bear passed by?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2296.25,2301.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e They quickly mastered this technique. They were more or less right. There was a girl who wasn't very right, but she did it. We had some bad moments, of course. When he arrived at a moment where it wasn't possible, I gave up the rhythm, the loop, and said, let's do another one. Of course, we can't define it as a very professional experience. I mean, in terms of profitability, because I spent a considerable amount of hours in the auditorium. It wasn't very profitable. It wasn' t at all about doubling the film in four days. I doubled it in much more time than that. I don't know exactly how much time, because it wasn't done in continuity, but it was still quite a considerable time. It was still a hard work. Let's say it corresponds to having at least 15 days of work in the audience. So it's still considerable. It's also true that I didn't dub more than what the film had to offer on stage.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2303.08,2358.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You sometimes have to keep replicas that don't stick, but that you can grab at the same time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2360.35,2364.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I've always tried to have perfection like that. After recording, one thing that I have to say too is that sometimes there were parts that we couldn't detect. And then it also came during the dubbing, I realized that improvisation was still possible at the stage of dubbing. It was still available. So I'm going to save this possibility of interpretation. Of course, when the character is face-to-face and in close-up, it's quite difficult to improvise, but it's not so frequent. Very often the character moves, is in motion, and we realize that the synchro must be done more on the gestures than on the movements of the lips, because sometimes the movements are not seen, or the character can be two, three quarters, or in the background. So at that point we don't need to take care of the movements. And the Italians, by the way, synchronize like that, they mostly synchronize with the gestures, and it's much more important to punctuate the... They were quickly very right, because by trying anything, I think back to my cartoons, I had to keep it, it would have been a document, but we had false interpretations in the style of cartoons. And from there, it gave this freedom, this independence. To a preconceived idea of interpretation. And then sometimes it was a complete failure. Sometimes it was bad, it was wrong, it played, it interpreted. So I gave up. When I felt that I couldn't do it, I gave it up. Because at the same time, when I try to save a feeling in myself, that is to say, the feeling of discovery at the time, I am very, very against the idea, in terms of cinematographic creation, very against idea that we should start from something. I have enough contempt for people who know very well what they want. I know very much what I don't want. I don' t want to know very good what I want. I want to be surprised. I want be the first spectator. If I know what I really want, it's not just that I do it. As much as I close my eyes, I close the ears, and then I do my inner cinema. I want, on the contrary, to watch a show myself. So I have to discover at the same time. So it's true, at the time of the shooting, it was even better at the moment of the dubbing. So I left like that, saying that the chance would be with me, but let's be sensitive to chance, let's listen, let's look, well, let us listen, wait, and then as soon as I felt that it was what I was looking for, unconsciously at that moment I tried to fix it. And when I got to know very well what I wanted, at that time I became very, very rigorous, trying to always do the same thing again in the same place.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2366.45,2521.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2522.34,2523.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know what the hell that was.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2523.2,2523.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I was saying that because... You need precise indications. Yes, yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2525.01,2529.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, it was enough to listen. When I had a feeling of failure, when I had the feeling that the text was wrong, and that I had in my ear a right text, because I had heard it once during a rehearsal, or maybe on the sound test, at that moment I put the band aside. I said to myself, it comes from a bad nervous state in relation to the scene. This is also one of the things that I discovered during this dubbing, is that we can't do any loop. At any time of the day. There are morning loops, noon loops, evening loops and night loops. Oh yeah? Yes, very, very clearly. Uh... Precise examples. Uh... Of course, everything that is... Demanding an individual's tone, it's better after lunch, and especially after dinner. So I did very good recordings. I'll give you an example, I remember very well this one. In the beginning of the chorus part, there is a moment where the girls are dressing their tents. And in the picture we see the boy doesn't want to dress the tent, he plays the fléma and says, No, no, do it alone. I sleep outside, I sleep on my sleeping bag, I look at the stars. Do it, dress the tents. But we don't know, the girls say. And then we see them trying to put the mats underneath and then the tent canvas falls on them. On her, and then we hear them screaming, and this effect, a dubbing, but this effect... One summer evening, one June evening, we had dinner and then we came back and we put our little disk. And then there was this feeling, this feeling... I don't know, we were in an auditorium and we had the feeling... We did that at LTC. There were leaves on the trees, there was a nice summer evening. We had the feel of being outside, of being in the middle of nature. And then it went very well, like that they were a little excited because they had just had dinner. And in the midst of the shouts and the laughter, it came very naturally, you see. That was the first take, that. It was... I don't know if it was the first take. Maybe I was warming them up more and more. So, I'm telling you, the feeling that certain loops can only be done at certain moments. This loop, I could never have succeeded it in the hole of 400-500 kilometers in the afternoon when the fatigue began to settle. It would have been completely artificial, I couldn't have. On the other hand, scenes of tension, scenes, the scene of the ghets, for example, when the girl has to cry, has to burst, cry and be angry at the same time. I took advantage of her real anger, after a particularly difficult loop, around 5 or 6 hours when people are tired, I put this loop in the program, I said, let's go back to that one. And the girl was already angry, and I pushed the anger, and then I angered her, I told her, that's not it, it's my day, etc. I totally spoiled her, and then it exploded very naturally. We also have the feeling, we also join the experience of the singers, it's difficult to do dubbing in the morning. I believe that all professionals say that it's more difficult, it doesn't start, the voices are deaf, people are more or less well awake, it's not very easy. It's easier in the afternoon and in the evening. In the evening, at night, it is wonderful, until a certain point. The emotional scenes are better at the end of the afternoon. I don't know why, but the emotional scenes in the end are better. Emotional, nervous, tension, end of afternoon. When people are a bit exhausted. On the contrary, everything that needs tension, nerves, in the beginning of the day or after the meal. And then, if we want... How do I explain that? Maybe there's a certain poetic feeling in the interpretation. So that's the night. I felt it very well. The night is very late. But we can't go any later than 2 a.m. Because then it collapses. But between midnight and 2 a,m. There are privileged 2 a .m. Like that. Or a certain emotion. So we don't define it enough. All the scenes... All the scenes, not all of them, but a lot of scenes where I sing like this, this feeling, quite indescribable, of something that maybe escapes me too, that I wanted without being able to say what it was, I think it was done like that, completely at night. It's curious. But I'm absolutely sure of that. If I do it again, I'm very tempted, by the way, to continue doing my dubbing, because we can correct, we can shift the scenes. Also, I'm not a person who interprets, because we said, to give this freedom in relation to the text I was talking about earlier, we said to him, you're going to interpret it as in a police film, or on the contrary, you are going to play it as if it were a comic film. So naturally, different interpretations, you see, these are perhaps exercises that we do in the dramatic scenes, I don't know, take a text and then give it different senses according to the intonation. So we did that, we listened to it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2534.069,2825.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'm telling you this for what? I lost my life on the way. No, it was all about the ease of working with the bar. Oh yes, that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2829.45,2838.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ah yes, that's it. What we can do with dubbing is the feeling of moving a scene considerably by intonation, by interpretation. That's what fascinated me in dubbing, that we could do exactly what we wanted, maybe even a scene that is not so well shot, we catch it completely by intoning. And I believe that dubbing which is an artificial thing, if it is used in this way, can give more natural than direct sound. The take of sound directly, step by step, because also in dubbing we have, ah yes, another thing too, I repeat, because it's the same idea, we fall on the notion of dramatic time. One important thing is the place where we start and start a loop, where we begin and end a loop. Generally, the professional dubbers, well, the one who prepared the rhythm bands, cut them anywhere. We say that a book must be 30 or 45 meters long. When he says it's 45 meters, he cuts at the end of a sentence. Without realizing that he cut very badly in the middle of a dramatic movement. In a scene, when we examine something that is done afterwards, we realize that from point A to point B, I come back with my points A and B, but from point B to point A, it's done on a certain idea. A certain feeling, and then there is a break in rhythm, a musical break in the rhythm, and after it's done on another feeling, another rhythm. So, we have to cut the loops depending on that. And at the beginning, I didn't know, and I noticed, I have a few loops that are missed in the film, and that were done, precisely, because of the wrong right cut. And it's difficult to have intonation chords. So after, I said to myself, you'll take from there to there, I made the cut of the loops. And when we did the dubbing in Germany, we determined the strength of this experience. I still have the script in German, from the Philippines, with this cut. And if I had to re-do the Philippine dubbing, suppose I had dubbed it in English, I know that I would go back to my script and set the loops exactly on the same dramatic point. So this is also, for me, the useful experience of dubbing. Is that we can work from time to time in a dramatic way and something that we cannot necessarily do in direct sound if we need a certain cut-off.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2838.0,2991.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You said that you warm people up between the shots. So, apart from putting them at ease with the disks, the regalade, etc. What kind of indications do you give them to reach, to improve?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=2995.61,3013.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I can't give you a general idea. I always start with the idea of conditioning. It's a particular case. It was a film with young boys and girls from 16 to 18 years old. So they were the ones who were on the screen and on the tape. So they just had to open the gaps, let them be themselves. But, uh... That's why I call it conditioning, so I let it go, when I explained it to you earlier. Now, indications, no, I wasn't telling a story, I was simply trying to create a nervous state that corresponded to what I wanted. That's what I was always trying to do, create a state of nervousness corresponding to what was going to happen. And then that's it. And then after, record right away. You have to jump right away, don't say be careful, think that, do that, don' forget that. No, because at that moment they are paralyzed by a network of wires around them. When such a word comes, you have to think that. So here it is not possible, I don't want to paralyze them at all, I wanted to make them completely forget that side. So I liked better to go right away and cross the step and then correct. All right, let's record. We'll record it and listen to it afterwards. Once I feel like I'm in a good mood, we record it. You see, it's fine from there. You shouldn't do it like that. You have to do it with such a feeling or by making such a gesture. Yes, the gestures too, the double H gestures, even in the Coupe D. Oh yes, yes, terribly. The professional dubbers sometimes don't understand it. We see the people getting up. In the synchro artists, they get up, they have their text, they will read their text in a stupid way in front of the microphone, imagining that because they read it, they don't interpret it at all. It is absolutely essential to do the same gestures on the screen. I always demanded that, always, always. Mimics, very important, because it has an influence. It would even be that the... Well, the voice is not emitted in the same way when we are in movement, when we're in a state of rest. I've often seen professional dubbing with actors reading their texts.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3014.97,3160.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You have a mic that is still fixed, so...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3161.04,3163.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, by moving the interpreter in relation to the microphone, fortunately I had a sound engineer who was understanding for that, because there are some who say, ah, be careful, stay at 20 cm from the microphone. It's not 21, it's not 19, it is 20 cm. How do you want to interpret correctly like that? Yes, now I know. It's the sound engineer that puts everything on the ground. I had one very good sound engineer, the one who... He was very patient, he really had to, because the poor man, after his days, had to have a huge head, like a pumpkin, because hearing him scream for a whole day, like that, in a cabin, it wasn't funny. He was absolutely calm, moving his buttons, I told him, well, from now on, we're going to make a correction, with the click, he turned on his key when it was necessary. That's important, I don't think we can do a dubbing like that if we don't have a very calm guy.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3166.33,3216.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did you have much more work to do to direct the girl who was dubbing the Italian?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3217.25,3220.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, the work was to find the girl who fits well, first that the color of the voice corresponds to the physical aspect, and then to find her, to find its correspondence, to find it's correspondence... In terms of the temperament. The girl who dubbed that is not a professional either, it was a little singer who has made a career since in a group called... Who has disappeared by the way, since... She had a moment of notoriety and she had the voice that matched well. I did several attempts, I called four or five girls and then it was really the one that was obviously the one that suited the best and then especially her temperament, a very quick side, a very good little woman, a little nervous, it was going well. So she was very right-handed. I don't know if I answered your question correctly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3224.529,3278.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In general, you don't have a lot of problems when you put it in motion. There was first of all the fear in general. Yes, but that's the first two days. During the shooting. And finally, you were surprised by the way they threw themselves into the water, without experience.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3280.319,3302.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, because there is no doubt the innocence and the ease of adaptation and the insolence of youth. I don't know if I can give this experience as a general experience. If I had made a film like, for example, the film of Dos Setas, but shot in the same conditions. I do not think that his experience would be so different from the experience of Philippine, but if I had directed Sardinian peasants, what would I have found? What method would I have found? I don't know. I don' know, it wasn't the same. It wasn't by adding rock records that I could have put them at ease. It was probably another way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3304.2,3341.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The setter found very few problems. First of all, they were in their own set, in their very own atmosphere, and they got into it rather early in the day, asking themselves what they were doing, etc. And then, when it came to shooting a simple scene, they gave it all a little bit of education, and then they shot it in front of the one who was holding the camera. Yes, I know. So they were more like... To be guided by this state rather than by this type of guidance.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3342.09,3373.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e For example, if I had had to make a film with Sardinian peasants and a film that would have been very dialogued at the same time, trying to find the natural tone of these Sardine peasants by doubling them themselves, I suppose there is a considerable problem, but we have to find a solution. But it is certainly not by the same methods.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3374.839,3394.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's easy I like it. I think we've done a bit of a tour of it. Yes, I think I told you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3397.04,3407.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I told you a little bit about what I had to say.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3408.0,3409.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e On the direction of the shot, I think we've said everything. We're always surprised that it worked so well. There weren't people who were completely frozen. Me, I did the experience in Algeria, especially in dubbing, because the same genre is dubbing. So I had a lot of problems. I must also say that there was a machine gun that was shooting in the street. Yes, yes, it must not be easy. But it annoys me. We didn't find the right rhythm either, because we didn't have it there. That's why I admire your work so much, because I've had so much trouble.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3408.78,3459.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but be careful. I'm cutting you off here, but I think I understand very precisely what you're saying. But I think it's at the beginning that we shouldn't be mistaken if you may have been forced to work very fast, without having the time to choose your interpreters as I did. And I think that's important, because if you take a guy who will always be paralyzed... From the beginning, we can know that a desired performer will never be able to unblock himself completely. So I think it's at the beginning in the distribution, in the choice of interpretation, that we succeed or that we fail. That said, I don't have much feeling for the obligations of justice. I haven't had feelings for certain people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3460.01,3506.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e For example, the woman, the mother, who is the mother she convinced me wonderfully she worked very well during all the live recording and then, as we didn't have a sound that was good for certain scenes for the most part we had huge sound effects it was almost as if we sometimes used the guide tape so I had to dub certain scenes to make it clearer So I took the good woman, she was doing quite well, but she couldn't put it in her mouth. There was a crispation that made it go up and up until it went up in her head. And I have certain scenes... Which should have been funny, but for me, they turned out to be crisp. Especially for certain scenes. For the others, I didn't have many problems, but for this scene, which was spoken a lot, and since it was a written dialog, rather than a dialog that came out of them, in this scene there, which she said very well, but in front of the phenomenon of dubbing, and also with the machine gun, We had to redo the book, because our booth wasn't very loud. We had a lot of work to do. It went wrong, it missed the right shots. It was a day of rebellion in Babel. And we were very obliged because we had to confute the camp. There was a crisis patient coming up. I didn't know at all how to get away from it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3509.74,3607.089"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I had to give the episodic role to see some interpreters who were ill with the synchro. The mechanics of the syncrosa, of course, is rather ridiculous.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3608.689,3619.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But that was one of the reasons why I was very interested in your methods. So now, you said that your ideas have changed a lot, or evolved, and that we didn't even specify... The change that has taken place in the place of filming on your way of directing. Because you left with certain principles. You told me that you have abombered them more or less. No, I have...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3622.549,3652.439"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I pushed them forward, it was confirmed, which was perhaps a vague impression and a very theoretical, a vague theory, to be clear, became a truth of experience, but I don't think I checked something that I didn't want to check. I just wanted to check something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3651.439,3680.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So, you are going to make them participate in the dialog, in the creation of the dialog instead of showing them the dialogs. You have written them all, you said that you have in mind not to really give them the dialog. Yes, but it's not if it's now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3682.189,3700.129"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but it's not systematic. I think that as soon as the film exists, there are 50% of dialogs that have been established in this way, that is to say by improvisation, as Edith del Arte once again, and 50% that correspond exactly to the dialogs written.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3699.18,3711.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There is one phenomenon that I didn't notice in your film, but that I noticed a lot in the film of Don Owen, the Canadian, which was built in the same way, that is to say, by the improvisation, as you say, of the act. For me, one of the defects of improvisation or the hazards of improvisational difficulties is that people start to talk too much, to want to fill the dead time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3713.319,3737.379"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Because I was still looking for fiction, let's not forget that Adé Philippine is still the meeting point of fiction and reality. It's still a written, established story, tied to a certain goal, and using methods of cinema-truth, in fact what has been called since cinema- truth, but at the service of fiction. The film was presented in 1962. No, not in 1962, in 1963, in 1964... In 1962... No, no, no... In Lyon, in Lyon's MIP, there were the Mesas brothers... There is a dialog on it if we dare to present it or not. That's it. And Philippine was there. There were adversaries. It has nothing to do with cinema-truth. Obviously, when it comes to the result, it has nothing. It's the methods that matter. I don't really like this feeling of fulfillment that we often have in certain films of cinema-Truth. I find that it must always be reconstructed. It's not...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3737.899,3795.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but what I wanted to say is that Don Owen's film is also a fiction, but where he wanted to bring a certain take on the fiction. These improvisations had the same defect that I have often noticed in studio actors in other theater schools, where they do improvisations. So people immediately start wanting to invent dialogs. That is to say, invent dialogs in quotes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3796.779,3824.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He plays with the themes rather than reacting. Yes, but it's because I imposed themes. Freedom was only at the level of language, the choice of language and not at the levels of ideas. I imposed the themes, I said, you had to say such and such. I told you earlier that anyway, I always told you what had to happen in indirect style. You had to tell such a thing, then such a things, then that thing, then that things, but now say it as you want to say it. Or maybe say it in the order you want it to be said. Obligatoirement vous devez exprimer ces idées mais je n'ai jamais dit dite n'importe quoi ou alors quand ça m'est arrivé d'ailleurs de dire dites n'importe quoi je m'en fous mais c'était en sachant que après à la synchro je j'écrirais des dialogs je ne l'ai pas dit ça au moment quand on parlait de doublage mais j'écrirais des dialog sur le mouvement de l'ève mais qui n'aurait rien à voir avec","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3827.35,3878.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's the system also linear for the eddy system, right?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3879.37,3881.39"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, that's it. We can say anything, and then we write our dialogs. I did it. The final scene wasn't even dubbed. I tried to dub the dialog, and I realized that it was much more emotional, it didn't sound like we were talking, and that we only heard the sounds. There was a little sequence. It wasn't so successful, by the way. We see two girls on a escalator. In the spring, I shot it at full speed. We told people not to look at the camera. And I said to the girls, I don't care about the text you have to say at that moment. Say whatever, talk to each other. I detected the movement of the lips and I wrote a dialog on it. It's a lot of work, because... There are still some points of support. When you're in a labial, you still have to find another labial and you don't necessarily want to put a labia at that moment in the text, it's not always funny.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3881.66,3931.049"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did you have problems in the interpretation, problems with the misadventure of movement, or felt embarrassed or things like that? No, I don't think so. Transitions of movements...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3931.43,3944.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I don't think so. I see it quite well. If I give an indication, it seems to me that I see quite well, if I give it an indication and then I look, and then all of a sudden it seems horribly wrong. I say no, that's not it. Then I was wrong, I gave a bad indication. Then I change everything. I may even change the place where I take the opposite idea. Often, by the way, I think it's a method that puts it quite expensive, when something is not going well. Both in the direction of intonation and in the movement direction, I give an indication and then I feel the awful falsehood. So, since I gave this indication, I give the exact opposite indication and often I find the truth. Really? It's a paradox, but this paradox is often verified. It often finds its justification. To answer precisely your question, the movements, if I gave a bad indication, it appeared to me quite quickly. If I sang that a movement was...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=3945.229,4006.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Or simply, maybe not a bad education, but sometimes people... It's Enco Castellani who told me that he always found that he worked with fairly cool takes, because he couldn't ask too much for a transition in the movement or in the game, a change of feeling in the play.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4007.25,4028.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And yet, under hope, he makes quite long shots. Obviously, we always want them to be long shots, and we make them short to hold something, to control something. I know that was a problem that I encountered and that I will also encounter, certainly. And when we know we're going to dub, we say, well, you can do that a little bit as you want, but we'll catch up with you in the dubbing. We'll keep you in dubbing, we'll find exactly the right tone. Once again, having the feeling that maybe I don't know exactly what I want, what I hear is not exactly what... I heard something, I can't tell them, you're going do that, but I know very well that what I heard is not what I wanted. So there, dubbing allows this correction, this ultimate correction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4027.399,4083.839"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I spoke a lot with Milos Forman, who had the love of a blonde. So he always works with indirect suggestion, without ever giving precise indications. But in these imprecise indications, he always says exactly what he wants, but lying down in a kind of amorphous wave, amorphic side, the way to make him come in, he said almost like hypnosis. By suggestion, and then he waits, and does things. I wonder if you use as a basic principle a certain imprecision planned? Without a doubt.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4086.56,4134.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Without a doubt, I think I answered your question by saying that I wanted to be surprised, and I didn't want to explain. At the beginning of a scene, I didn't like to give the intonation, the finishing touches, to use this weird expression. And it's certainly more at the base of the suggestion. I have... No, maybe I'll answer on the side, I don't know exactly. If I answer on your side by telling you what I'm going to tell you. The dubbing, for me, you talked about hypnosis, but it looks a bit like that. There was an easy projection of their unconscious self, probably because of the black. The impudence was abolished, even though it wasn't completely abolished during the shoot. There are three or four spectators behind the camera, even if we do our best to make them feel comfortable. They still give themselves to the representation, and what they would like to... I mean, what they'd like or what I'd expect from them can sometimes be stopped by a feeling of modesty, especially with non-professionals. The dubbing disappears because of the black. And that, yes, because of black, if we establish it. Because how many times... I turned off the studio because I couldn't make a loop in the studio. I said, go full black, just the rhythm, and at that moment it worked. So it's good, it's true, because they only live on the screen, there's a microphone there. If the others are embarrassed by their presence, I put them in the background, I let them out. And at that point, the pain was abolished and we had the impression of projection like that. I think I always tell you things twice. I told you once and then I repeat behind. You use it as a detector.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4137.349,4255.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think it's a bit of a shock. Finally, live interviews are not very good, because when you ask a question, you already know what the answer will be. So I like this path, a little tattered. You can tell me two words about the way you designed the script. Because I have the impression that it must correspond a lot to your way of working in a production. First of all, I'm looking for the idea of creation, but also your perception of creation and your way of creating, and then on the structure, which makes the film hold.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4256.17,4315.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, there was a whole part of it, I dare not say of documentation because the word is impromptu, well, not of observation either, because I felt like I was participating. And then I was younger, it's a film that was made, that was prepared five years ago. So I was closer to... I don't think I could do it again now. I didn't have the feeling of breaking up between myself and these younger elements than myself, but I didn' t feel so far from them and I... I lived like that, in the middle of them. I had enough of a feeling of retreat to be able to observe them, laughing, finding the sails, the lines that I found worthy of being noticed. And at the same time, not too much spectators to not bother them. So I think I've accumulated a whole material of observation, of notes, of words, of... Of sentences, of how to behave, let's say a homework study, if you will, that's perhaps a bit like that. But it didn't have a side... I didn't feel like I was an autologist, you see, that was important. I didn' t have the feeling of watching something coldly, I also felt like I participated. Then maybe... By dialoguing with the magnetophones and by telling stories to friends, personal memories, or that friends were telling me... We mostly did it in pairs, and then I took these notes from the Magneto and I put them in a row. It gave me a huge base material where I started. Then I made a construction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4316.99,4429.309"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did you already have the idea of putting it in RIAF with the aspect of Algeria? Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4431.53,4439.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Ah yes, yes, no, the Philippine Genese has two ideas. First idea, in 1958, I wanted to make a film about a boy who left for the military service before and after, well, before and during, first completely unconscious, it was really the attempt to make film about the Algerian war, completely unconscious like all the French at that time, or almost all the french at that moment, not knowing at all what it was, living, completely ignoring the Algeria war, and then, by the time... Being put in contact with reality, and returning to his house completely dephased, completely displaced, compared to the ocean that he found, locked in his room. There is also a novel that is written on this, not a novel, it's a news, I don't remember who. I don't know what it's called. It was a bit like the beginning of the script. I also had a lot of documentation. I had spoken to guys who came from Algeria, who told me a lot about the story. I managed to get them to talk. They didn't really want to talk at the time. And then I said to myself, this script, I'll never be able to shoot it because it's going to be banned by censorship. It's not worth it. So then I tried, I tried in a second time to... To lock up what I wanted to say in a way to make it go to censorship. And then it pissed me off, it disgusted me. After a while, it was a failure. It was a fail because I didn't have the experience of building a script. I noticed after reading the notes that I had a lot. More elements to make a film of an hour and a half and that the film existed completely in what I had taken. But at that time I had the impression that a big film was something huge. So I give up on this script. That was it in 1959. I give it up and then I went on to make Blue Gene. And then afterwards, there was the meeting I told you about with Georges de Beauregard during the Vogue Godard intermédia. And then I had the idea of making a musical comedy. I had an idea of ​​making a musical commie. Yes, it's far from the Gare de l'Algerie. Burga told me to come up with ideas, so I came up with a very simple idea that seemed to me to be a good starting point for the musical community. Two girls, 16-17 years old, very friendly, waking up at night with a phone call to tell each other their last flirts. It was a bit like that, a study on very young people. And then arrives a boy... After the same age as her, they both go out with him, they tell each other their flirts, and then, finally, it shifts, it happens to be a little more... It happens... It happens on another level. They grow old, well, they grow old. They realize that they grow older by... By realizing that they are still angry without wanting to, by being too sincere with themselves. It was two very friendly girls, a boy arrives, they are no longer friends. That was the subject. I said, well, it will be a musical comedy. A boy arrives and the boy leaves. And suddenly, a bright idea. I say to myself, but he leaves, he will leave for good. And at that moment, I found my first script, the first part of the script. And it became this subject, like that, current, completely ... And then, by the way, I gave up the idea of musical comedy ... Not because the subject is serious, but because I thought I should make it a comedy, because it was a film that was supposed to be a description of the conditions that existed during the Algerian War. So I thought, if I make a sad film, if for example I show that... It's the story of a boy who is about to get married and has family problems, etc. It's going to be terribly sad and it's not going to interest anyone. And then it may not pass, it will not pass censorship, there is always the idea of ​​censorship. So I applied the principle of Beaumarchais, the Figaro marriage, to say serious things, let's say, in a comical way. That is, the more you look bad and the more we can pass the gravity of the subject. And when we take a serious tone, we often say frivolous things. That's why I decided that Indio Filippino's tone would be more of a comedy tone. Even though it might be a sad comedy, but I wanted it to be this side, like a frivolious signifier. Many people who don't think far away let themselves be taken for granted. And I said, yes, it's a holiday movie. I was often told that, what a freshness, what charm, youth, holiday films, futile, etc. I said yes, this film from the last holidays, before the war in Algeria. So often, it happened to me... By presenting the film in the CineClub, that people would say, yes, it's an allusion to the war of Algiers, we didn't understand, which also provoked the indignation of a good part of the public, of another part of public, and there were generally great discussions, great fights between people. It was always the starting point of the discussions in Cineclub. And what always pleased me, is that I always had guys who got up, if they had the courage to say it, or who came to see me later, And they were guys of 22, 23, 24 years old, coming back to the series and saying, it's great, we love the film because we found exactly what we experienced, especially this scene from the start, it touched us a lot. So for me, it justifies the film completely. And I was told, I don't know, 200 times, it's fantastic. And always the same kind of guy, who had a feeling of not existing, I don't dare to say adult, but to be a teenager before leaving and to come back, to have felt, to lose something, to find something. Rather to have found something, lost something. And that's kind of the meaning of the film. But me too, maybe I was quite unconscious of that. I discovered it almost by doing that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4439.059,4800.139"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So, on the plan, when you started to put it all together, when shooting, etc. Do you have a feeling of certain needs of structure, a conception of what you want to do? Yes, yes, yes. When... Which you follow, because in the end you don't follow an entry. You follow a kind of development... Yes, but I tried...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4804.299,4823.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but I tried to make a plan, I wanted to make some scenes, and at the same time I established a plan but I think I was wrong. First of all, the plan I had made corresponded to a two and a half hour film, I told you earlier. On the other hand, if I had wanted to cut the least dramatic scenes in these two and a half years, I would probably have made another film, but the scenes that seemed to me to be the most essential were perhaps scenes where the least apparently happened and the most deeply.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4823.1,4865.389"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e To put these scenes in value, there was a problem. I've just seen a film recently, it's a film that hasn't been released yet, I don't know if you've heard of it, where it was done only with small things. So it breaks my head because I can't get used to them. My film too, I sometimes felt the failure of wanting to always work in nuance. And to not be able to make these nuances sensed by a disguise that I employ at the moment that makes it work. So I thought that your film, for the most part, as far as I remember, worked. It was perhaps the fact that Xavács went to Algeria and gave a disguise, that gave a step back on lightness. Yes, that's right. But there was also, in the chords, the stage chords, that he was doing, that it was progressing, that it worked.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4866.5,4923.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e When I made the film, naturally, let's talk about the construction, I tried to make a construction on paper, I wrote too many scenes, I cut some of them. I mean, I've cut some scenes after the works were written, without shooting them. There are some scenes that were brought into the final scenario. There are scenes that were shot in the final scene that were not post-synchronized. There are some that were post- synchronized and some that weren't edited. There was a continuous work of suppression. And when I had the feeling of building the story in the editing, also with the time necessities, since I had said to myself, it would be necessary that this film was made at 1h45, not more. And recognizing that the ideal length for this subject should be 1 hour and 30 minutes, he would have certainly given me the feeling of length, but... I didn't have the feeling... Of uselessness in any scene. It seemed very short to me. It's terrible because when you know a film, you feel it very short. And everything was done by necessity. I almost had the feeling that... Each scene was deeply dramatic.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=4926.2,5004.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There was no general idea of the structure that came to you after the work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=5005.469,5011.549"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The need to tell the story in a shorter time than what had been planned, well, not what had already been planned but what had actually been done, forced me to try to be rigorous when it comes to construction. To be rigorous with the material I had.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=5015.17,5037.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What led you, for example, to stretch the start on a whole coil? I think it works, but it's that kind of thing that seems impossible to me. And yet, there is something in the structure that allows it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=5037.45,5053.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, because it's the film. For me, the most important scene is the one I prefer. It's one of the scenes that I prefer, I prefer the whole ending. Because for me, it's a more dramatic scene. It seems to be the least dramatic, but it's more dramatic. And it's felt like that. Here too, the audience is divided. There are people who see us simply as a purely descriptive part. Of a port, and that's it, a boat that turns, people put their camp, people act with their mouthpieces, and then it has no meaning. And others seem exactly the opposite. I wanted to give the impression... I wanted to give the impression to dilate the time, although the time is not dilated, a departure lasts even longer, but to give a feeling of dilating time, because what is important in a departure is it's precisely when we wait for it to leave. A departure is not, here I take you to the station, ah here is the train, you get on, goodbye, it's not that. It's, well, the train is at 9.30, maybe we shouldn't be late, so we will go very slowly, so we arrive, it is 9.10, and then there are people in the waiting room. And then, like that, we have nothing more to say, because we have too much to say. I'm talking about an important start, when you leave someone. And then we are embarrassed, we dare not look at each other. And then time seems incredibly long. So especially if it's something, if it is a start that marks, which is a definitive thing, if this is a page that we turn. And there, it's really a page we turn, since this guy goes to war, we don't even know if he will come back. And then he leaves his daughters, who represent a certain conception of youth. So it was very important. So I absolutely wanted to wait for myself. To this feeling, and all that is happening are just signs. What do you mean, signs? I mean, these are signs, I might be a bit modest, but I think it's not so far from the feeling we experience in certain scenes of Antonioni, I think in particular of the clips, and in particular a scene where we see Monica Vitti who goes... Who goes with friends on a flight and then she goes down and then it's very long too, it's very long. It's very, very long and it's beautiful. Yes, that's it. So we hear noises, we hear a phono, a record player in the distance, we almost feel the wind on the grass, we have this feeling like that. I can feel it very well, what is happening at that moment. She doesn't need to say it, she doesn't have to express it, she doesn' need to make the notion of a feeling appear on her face, because we feel it in her place. That's it, exactly, I wanted to try to make subjective cinema, not to show the emotion on the face of the actors, but to make viewers feel what the protagonists can feel at that time, give physically the feeling of departure. It never seemed to me to be an absolutely grand idea. We take advantage of any dramatic notion, but it never seemed grand to me, because I felt it very well as a very heavy thing of meaning. I had made a montage with a music that was going differently. The music came in earlier, and took over the emotion that was contained in the image. It was almost too obvious. It was nice, I tried to do it, but I didn't do it because it became too obvious, and I made the music go later, simply at the moment when the boat takes off. Because it becomes... At that point, I felt that the break-up had been consumed. We needed to extend the lyrical mode and the feeling that we could prove. It's a bit like... It's the notion of the opera. In this last scene, for me, there is the recitative part, and then there is a part... You know, in a Mozart opera, there's the moment when there's dialog, then there's recitative, and then suddenly, hop, we start in the completely sung part. So I felt it like that. All of a sudden, we have the need to take a feeling, a feeling in charge and that the music takes it, pulls it, transforms it, makes it live. The start is made like that on two moments. There is the realistic moment, which is made only on noises, and which goes until the moment where there is the huge stroke of siren. I also got really into the mixing because I wanted it to be a huge siren sound and since it's a very low frequency... The track didn't break that much, but I managed to make it as strong as I could. And then there's the part where the boat takes off, which is a more musical, more lyrical part. I was talking about mixing, and I think that cinema can only work with a certain quality of reproduction. A certain sound quality, a certain screen size, it's done on the feeling of space, it's made on the sensation of physical sensation. So I'm sure it doesn't go through television, for example, it is not possible to show this on television, because television is no longer just a language of signs, nodes of sensations. It almost refers to the esthetic of the poster. On the other hand, when I saw it in the auditorium with an impeccable sound, all the noises coming out, a big screen, it had a lot of effect on me. And this scene really underwent all the vicissitudes in my mind, because depending on the projection, the room of vision, the fact that it is more or less diluted or more or more serious, it never had the same effect. Sometimes, and I had landmarks, I felt it. I said, that's it, it doesn't hang. And even I didn't have the same effects. I said no, it does not hang this time. There had to be a certain level. It's like a phenomenon that has existed for a long time in the theater. There are good bloods, there are bad bloods... But it really happens to be in physiological and physical terms, I'm sure. It's like music.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=5053.4,5429.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So, I'm not going to keep you any longer, we're almost at the end of the day. I was wondering if, without going too deep into it, we could talk a little about what you have... How would you like to work with the interpreter?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=5431.139,5453.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I don't have any experience since what I did... For me, the operation in the Philippines ended in 1963. That is to say, as the film did not come out in France right away...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372#t=5455.049,5470.4"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262372/transcript/79533/annotation/111","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/533/original/trint_Coll458_jb0052_Rozier_02_p1_transcript.vtt?1747070664","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/533/original/trint_Coll458_jb0052_Rozier_02_p1_transcript.vtt?1747070664"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369","type":"Canvas","label":{"en":["Media File 4 of 4 - Coll458_jb0052_Rozier_02_p2.mp3"]},"duration":472.60735,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/content/4/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/369/original/Coll458_jb0052_Rozier_02_p2.mp3?1739226468","type":"Audio","format":"audio/mpeg","duration":472.60735,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0052_Rozier_02_p2.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Since the film didn't come out in France immediately, it was taken by a German distributor. It was supposed to be released in Germany, but it turned out to be something very important. I thought that the film was still made on a certain quality of dialog, a certain tone, if I didn't do it myself. I mean, I don't speak German very often, far from it, but if I wasn't there to watch it closely, it would have been completely missed. Indeed, there was a preview of the film, and we put it on air. It was so disgusting. It was done by a professional who didn't understand anything. So I was in Germany to do this German version, and I worked in the Philippines until 1963. This German version was made in April 1963. And from there, it's been two and a half years, I went on the wrong road, I think. I did... I wanted to shoot a little thing right away. So I worked for a television magazine and then after that I... I did another project, I went to Capri, while Godard was being despised, I did a project on Brigitte Bardot's The Paradise, which is not a film that I did well, I think, but it's not an important thing. But it took me a long time, I did the production myself, I had money difficulties, it took a long, long time. Once I got out of this story, it was in the past, I wanted to work with no means and without problems, immediately, and I did one year of television. So, during this year of television, I did three shows. I did one on cinema and one on Jean Vigo, which I like very much. And then two musical shows, which were meant to help me, because I wanted to make a musical community, well, I wanted a musical film. So, for me, that was the way to go about it, to use certain means, to... To do some tests with the poor means of television, well, the poor, the big means of the television, I mean the poor because we don't have the time to push them to the end, but at the same time the big technical means, staff, movements, studios, etc. That I couldn't have, rehearsal rooms, choreographers, dancers, etc., that I could not have if I had done a short film. So there is not so much actor experience. In the last show I transformed them a little, it was a variety show, but I made it like a kind of... The small noise of the musical community, but I probably tried to apply the things I had learned in the Philippines, but way too quickly, when you have to put in a box, in a kinescope, in a day, a half, we don't have time to start again, so we say to the actors, well, we talked like that, but no... Don't recite your text, make it moving, move a lot, that's all we can say. We can try to put a little bit of life in this completely artificial thing, but anyway, it doesn't work because television is not so important. It's only paper and paper.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=4.88,171.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you think you would have done things differently now, in relation to non-actors, or would you have pushed this same experience further?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=176.05,186.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, now I've decided, after this year on TV, to make a film. I'm not in a hurry at the moment, but I don't want to make an intimate film, like Adéphilippines, a film about a daily reality. I want to do something more structured, more Romanesque, otherwise I have the temptation of that. I still believe that the experience of... In the direction of Philippine actors, with methods inspired by cinema, it struck me and I didn't think I could use them. Maybe even if I only use professional readers, but I don't have the impression of this invention. I don' see myself writing absolutely impeccable dialogs and teaching them by heart and then doing them, no, I don't think so. Or if I do it, if I have the misfortune to do it. I know that when learning in projection, I say to myself, we put everything in the air, we start over on other methods, I'm almost sure of that. But at the same time, I believe that it can go completely in a... I can go in a completely Romanesque idea. Well, I read the word Romanesque in a certain way. In fiction, I can use this realistic method for complete fiction, Thank you very much. And even maybe in a musical style, which is a completely fictitious, completely artificial genre, I say it without a pejorative nuance.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=187.19,268.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you think it's possible to push the experience of a non-actor in the direction of psychodrama? I mean, maybe not that the film would become psychodramas like the film Jutra, but in any case... But by playing on the complete identification, by pushing the complete identification between the actor and his character, in order to be able to use these experiences from the past and in a way create a condition to make them live in front of the camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=269.69,308.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but it doesn't interest me that much, because I have the impression that now there are two temptations in cinema, there is the temptation of... There is the temptation of observation, of recording of those who are fascinated by reality, by the beauty of reality, I am one of them, but there is also the other temptation which is that of complete creation, of... To feel, to feel a little God, that is to create his world, to invent it. Where do I come from? How do I explain this? I am not very precise. But I can feel what I am going to explain. Where do i invent? Where do look? Where do observe? I have the pleasure to look and observe. Where, on the contrary, do I invent?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=311.51,364.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Like a web, which is completely in this direction. We were creating a web universe.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=369.0,373.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I want that now, so any attempt to update something that is with people, it makes it easier for me, it interests me less. Or I would like to use it for fiction. That's the point I'm at now. I don't want to make a film like Madio Philippine again, I want to do something artificial, deceptive. I mean, I use the word artificial. Yes, in a sense. That's it. And maybe one day I will make another attempt to make another film in the spirit of Madio Philippines. I don' know where it will lead me, I'll see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=376.56,415.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I thank you very much. It was very useful. I put everything you explained to us on the synchronization, because it is quite original, your approach. There are very few people who think about it. May 10th, right away. Yes, yes. Consider it, it could be possible. So, okay.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=417.86,440.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do you intend to publish it here? Yes, I would like to see it. We are not only interested in what I told you, we are interested in seeing what the others have to say to compare.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=445.0,453.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you see that thing there? It's half of what I saw. If you want to listen to it, Captain, if you have time, I can pass it to you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369#t=454.41,467.75"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141801/file/262369/transcript/79507/annotation/11","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/507/original/trint_Coll458_jb0052_Rozier_02_p2_transcript.vtt?1747070073","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/507/original/trint_Coll458_jb0052_Rozier_02_p2_transcript.vtt?1747070073"}]}]}]}