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I guess you know the camera. The feel should take. You have to take this stuff as a way to the way under the hood. But you want to take the action and you mess up. Well, you don't mess with internal investigation is more problematic. Good. I'll. You better. Let me do it. So. Welcome, sir. So you. So you could come. The material is excluded along been brought up. Good good good. The rule demanded wasn't to assume that Nico Bob was good. Are they? Plenty. So basically, it's Rosie, like. Because, you know, to justify that we're going to compound a lot to get near and it's just I don't know to me, definitely an approach. A simple blood pressure method plan. Nonetheless, all the discipline. I promise on the conference I should have made. Perfect to no routine for new two months. You know this is the wrong place on the news I want to. It does. It is certainly the problem. Call it on time. Electrical on the back. But do you just. You know, it kind of. Look, there's probably a lot of sweat. Just the computers to do something and do the problem. They don't know. They do it on dogs. And they should keep huskies in school. Did you see it? You practically told you that. You need to do that. Don't sweat it. Just wait. No. The intensity of the racket. Sure. Wishful thinking? No no no no. You mean a sweep? That is the move. Well, you bomb that well, then washroom as well. De la e. I don't know about this awful shoe shop. They like all the. A something up you sound. Is that what you are? Yeah, I don't I don't usually come in and I'll stick out in the middle. Then you'll. Sure, but let me get some sort of text. The the imagism. Okay. Pathological. I put it like a joke, but then I guess some procedure that I'm some that you'd want me to at least know. What condition? There's a way to do it. It's in the became the expected amount of as well as a student who. Loses a great deal. Done and dusted off. Very. You know what can be popular? So he or not? Or subsidy from the the songs. Correct. We tried. You dear little formula comes into existence remained almost like a lot is critically so just simply law society motor vehicle exactly what the deal seems quite like. All the drama of this, the residual electrical dramatics. Sit there, give it your career, give it a feel for the whole alien dramas. It. I think you see the whole period on where you take a moon of an undertaking. It's illusionary. Okay. You stop to make booty, booty to do that and also feel like, well, never mind. So 30 consecutive existence for men, but sort of having indirection and to to term it okay to show the particularly unique a tiny commercial deployment to me and then it will fit you know me fit the character here if it is something more than just on the first on the right shows. The syndicator said it was a robust, good to see the media and it really saw push down there and the net, you know, you can follow these people that we played on this activity. They don't see contact. You don't see restriction to really unique on phone, but it's on the on the physical existence. But I mean. I don't mean to in some way. That's good. What a question that I said so ceaselessly. Why Mother Song. Oh did you not? You didn't. Safiya, call the police. Do you beat? The drum. Oh, see? You stood still. I'm sitting there, I sit, sit. I'm in the. That play at Home Depot. Held it up early on there. You want to speak in English? But I won't be that good or speak in English if you don't know. You mean the border of sheep. So I tell you, I probably do my own little small market with you here. Look around. They. Don't see you see the drama, do you? Call the police? If it's all those conductors you don't see. Not in the way. In that way, on days, if you don't let them keep the peace, respect that. Suppose I can show you the man. Now, in this issue, it is important to mention to him on the Immunologic response. You have the potential to actually really feel and extend that. And Greg, so that yeah, you feel good about to what I you know, something that I mean, as if you can't do two at a time. Did you get like an absolutely not, just a different event. And to really see this particular dramatic sample now in AFI and the amount of data that we do, just look through all the stuff. Yeah. And this unique team plot and you consider the avenue for some different issues development. So if you can see Stacey, the metal mutable lizard and all this adversity, Peter, does it feel a little dire that your latest app will beat the the native invader dynamic tick as you did in the first kill? You do not exist. Does it do? If you get on, have got to finish. He added to the real artist here and I'll of you will do this nostalgic stuff and stuff. Unless you guys don't. You just said it was a good job you go to Jake. It was just too good to remember. Metaphysic elasticity. The lone killer market you may want to see. This is so cool to to get that Celtic City, David, of the lack of good news and to put on to Superdome and good new city, plus an expedition to the ground without power. I'm about to do that people. You get stuck to the the daughter the downside the config Yasuko some source with one them. May the problem of the technique. That way on the infield that you can't get it done in the. In some ridiculously synthetic, they can chose coconut oil. I don't know what you. Mean stipulation. The possibility that the studio engineered that in some the new fo considerable money and study avec le marsh should be funded by the government was reported honestly to the IP that they in this pleaded inexperience, that is to say the experience the who led any in sunset field to die. In some sense you want to do the 3D. What an even more more point of view. Your point of view. My monitor application. This the suitcase that they're all residual as you might have gone in and really see that blond that I'm at. I mean it was a I was it the consumers. It's the corporation the who legality that could exist. They knew who was to die at all. What is the case? No. Two. Now you want to bet more? That's good. Suits. I picked up the the more complex. Not a very complex. Let's see. Come on. Come to the group. Let's put you on. Functioned as that nimble technique. But you follow the policies you chose to do. He commanded. She. She knew the problem. Every time they get love it feel very self an issue for me to deny them, Him ridicule, mockery if. Oh yeah, this is a little attention. Okay, Google, thank you for this. You know, if it was getting any big cookie until they said no to some of you on the line, you you you which is complicit fashion. We see the possible this is here leisure and among who share the resistance you must resist Israel. This is an even more. This is even more important. And now you support me because I welcome them by you personally. I suddenly find it to be dark. Invented a cryptic social potato to set to a limit. Like I get you. Okay, I get you. Could be a will approach you. People here already could get it on real cinema. A real quick activity. There you see the pathway. You missed some. Good idea, Elmo. The cinema. Do you like when you get them to see you in that key? Could here live and no. And blocked off. And we live in Los Angeles doing what we suppose we need to do and I didn't know existed. It was very unique as it transformed it even more and also allow them live rumors of the chili cook years to come. Yes. Any ticket correct estimated if you have to talk to the cinema room. I'm so glad you could. Could appear that if you require you to do a little money contest issue and it involves matic and then, you know, signal to get our system when we do the geriatric geriatrics who left the room on a radically contrastive survey, a radical unification like a justice with a central of who refused to the thumb on whom you responsible for the shoes. They've all been put on a task for me to show the rocket ship rescue. The more I want to say to the 17 second automatic, get to the front of the house. And he said he did that for me the more. Oh, these are my favorite cinema. And now I get to see the man. Get that girl. I don't know if I can see, but getting attributed to you could get you to want to stick together. Until now, I don't know, but maybe a command to respect that. Oh, she said you get a knife. But not only that. Got your desire and agenda. Should you cook, if you absolutely long to vitamin D, well, you're not limited to and you also will fall. Don't notice you liked it. Don't eat food on the remote with preconception reflection and all concrete is in one direction. Hypothesis. Doing the not you took any can adjust the numerical based on real life. What you did. I think only you play the way to get closer to do you look at the Queen city US circuit you know. Happy Mother's Day and it's better than Quincy do is it is not must be representing the topic. Correct. If you probably replace it shouldn't it in bow and portrayed in male the family the potatoes you know become people to be able to real plush. I found a new exhibit of Timmy in Japan. The attendant said firmly that this is unique. Not only could they do that shows really quickly. Do as I suggest you perform the things you critique. Do such things. You should definitely get your feedback. So it does show the lives that we play. Is some kind of a feeling critic as a device that we simply cannot miss. It performs it and the music, and it is quite good and figure in Quincy to USA the but it is not defeat on the way to refer to the buffering of film idea. And if you do that could you the maximum dilemma, the maximum the detail in a way that the area is full sweet to get that you have effortlessly the condition, then get back to the Sicilian market with a little knowledge on the field. In that method about the cookie, is what I should get. It is unique. In Kenya. And you liked it? I take it in the form of acquaintances. And see, I'm in total initiative and not this. This is the first one in early cook and post. Definitely. Yeah, that's what I meant. We're on the market going to the most material to extend it to the thickness. I didn't make if I tell people that I don't who doesn't shook mucosal people form the analogy when the film says a good teacher, maybe if you could shake that, you could see he lifted off from the chair. So you cannot expect to see you because it don't particularly discipline may not expect to recruit out. And then, as you will notice, if he didn't know, the cables are spectacular, spectacular cum spectacle. You fuck you in positions of public aperture and people in Quincy to get into the contract. What is it? There's a tunnel so we can do something. On the hook. Reunification. So we should be able to link up with the show, perform in my spirit, and experience a case that's not going to do this. But as you may, I should point out to you. Hey, come on, you got busy. So in competition. Delay does have a knock. And competition settlement now in the Constitution. He or she called in to do us a good. The competition will come up here at about three. Not yet. The best way to do it. So. So go to school and you give me some of the pussy pussy people preferred to make? This is said to be part of your public barbecue. I mean, I guess it's like that. They can see that they can come up. Make sure to recommend it for fun. A sec. The the the value of addition to the always you play. The first one will be the A. We'll see the Fairfax County data needs to. I would work well alongside you today. Employees are committed about as you say. I'm just going to give my comments that the bacteria in that yakisoba removal occurred on immediately. Update oh, okay. The the Iraqi registered ship to the dialog presume reduction to humor van Niekerk. You don't want to believe that. I mean, I didn't know Ricky knew from these two places in the Matthew Barrett and Matthew Key on Sweet exudate, and that is a detriment in the book. Come in and listen to this resume. You should get this. Is it to look like a home perspective to see the massive amount of cases in L.A.? Because it really has to fit in with some legal regional assistant to just the length of their element. Yet to be able to conquer the what the tactic is. They do more sensitive guys on work. This ability to show that he could go wrong will shake it good. Let's think about it. But you do not feel sick. It has governor. And the only good journalism is here's the deal. Entrepreneurism ad more of a cookie. But like, I mean, I was so even signification could not allow the Filipino results certain. Just in the. Realm of bugs, okay, etc.. 18 of a little known route kill kill the Greek on them live in Oshawa. This is that you can look at and you shall be blessed. And then that you're at a courier terminal from yesterday and a lot invested here. Q do you feel like, does this do all the talk of health? And so this popped up in the spotlight here on especially the music you flow through this. Oh, so quiet yourself on the set of tonight. On the flip side is. It Elmo. Nationality or not, every descent of sodium or spontaneity attached to your liquor. Nikita. Due to excessive. More data allows you to elaborate. City data. Come on. Put on a party scenario. And. Create in existence. Montana electric car. Is that it's enough. You know, they convert some of the not only formula into his during the circuit until the Canadian aujourd'hui. Giant's Causeway did on camera really cook? Okay. You can generally cook. We don't have on the camera at normal city video, so that the local media is there to do a physical security camera on them. So the idea that I want you to take this doesn't concern me to take this. Does it concern the bus is the best. Camera. If you're a champion, then if you could do better. No no, no. It is incumbent upon conscience. Good girl. Let me tell you, cook. L.A. River actually may just be perfect for their personality. Yeah. The new deal is to do not drink or service in the person of the rock. What good does it feel? Naturally, that number two, on their own, direct the revenue service to the shop. The lady entrepreneur. Got it. Oh, come it! Yahoo! You. My person doesn't want a camera, so just set person for the vetted. Absolutely. No, al, man, you said it over and over. According to the personality Eric took the passion to take. It to higher ed. What is see you do that with the context. This person, that the learner is the the metal situation. If you could as a rule on that particular. But it's a it's a job to do to hold it on the quark go against the defeated undirected wave equation. Comedienne. I know that here the female SNCC remark liberal policy could adjust. I think in camera would be occurring signification. I think you're taking on more and this in the great jauntily androgen the cream is some color similar. You could do that to ensure thick it doesn't exist. Does anybody banal or prove this signification? I don't if it does a lot per year okay. If I do gender age sex response. Boss. Let me ask you this. You all do. Defeated. Can't you play and get up? So you might be able to express if it works on the river valley? Sure enough, the signification coconut was seen him up off on the way, don't they? I would like a comet. Yeah. Amateur sense was on a finish. Fiction, a coincidence, a possibility. The profound signification. Nouvelle atrophy of the. I mean, don't you get it? Next she's. She effectively. Excuse it. Yeah. We should be good down there. New negative is more Philip from your direction. So. Yeah. Good night. Gentlemen. Repeat this on moi. I will do just that. Put it yourself in. Put it to good. It will be. Teresita is picturesque to be. Go look like. I did this that the atmosphere here also. Could you make it better? Yes it does. I'm not sure I'm the Loudly Cook media service. This is on the disastrous. The provocation, the roof. Did that vision large enough to hold a problem with that? I know what. Okay, so I'm gonna take your final SUV directly to the right. I'll just go. Best I can use the danger as an embedded signification. If a critique is required to the critique you're about to do, the critics to see to the video the most perpetual can use all the privileges. Yeah. You some you're not a comedian presentation. So just junk and worry. I kind of think, you know, some of you are not a comedian. Oh. Just here. Grass, lush grass, a bill. Look at Bill Jockeying for position. Yes, this is right because I said it could be said I'm taking measures on potential. They are pushing me to the contest. Things exist. Tough love. An emotional move in. Yeah, is a quack, said the impossibility in this is a rule in the development of the nouvelle. Yes. So she wanted a neutral feel so unconscious we neutral from the can. Do you not know from the execution the museum Senate Democratic city cinema studio central. We do this stuff. If you didn't invent the motion, it's good. That's good. Lawyers Nouvelle alignment. The new quantum, the montage. You'll have complete the view. Here's the key. So opposed silicone, I see. Did you like the video camera and camera key tone. You send employees a a note in a public that I bought. They move them on the camera. I know who they need. One of these examples are they making price? I see I see sense to sort of like, you know, give me a little measure and so come to pure good. That's good. It don't service it. She's not that she really swag enough you know I don't know communication very physical chic. Vick said you'll feel like yourself, Jessica. You could feel the pressure no more. The farmers send down the level of complexity featured a beetle with a lounger that does. Anybody that didn't sit at six loading their bus good, you know, accepted as well. That's really this view of the city of The person that Obama with some physic illustrations is. You're doing a lot of work. He does have a King linguist and the details, you know, it's a camera just in full original action. It'll be mostly written. You can say camera security camera is a camera. Yeah, definitely does have a Ringo's a camera designed to do that. Cool. Well, you know the good news here in the V video. Which is it? The facial. Looking fabulous. Get a gun and you go to the empty loo of his. You can look at that major A in imaging. Far too disparaging a thing to do. I don't know, guys we got to endorse said we see mediocre news about the next three PC. Okay. Because of the extension, the theory the study just gave you that The usual lecture. So the question is even now. Is it a book length treadmill? Some good grass like your physique, like a mirror, a recluse, also clunky computer. Well known dimensions implement their own city democracy. Ooh, you know, they didn't know those reasons. But about Jesus said he imagined, you know, in Histoire de Fiji, some of the teenagers, the the Bobby Sox's Peppermint Lounge and two and a half years later on the verge of being beatnik syntactic sugar. So yeah. So I thought I definir it to take a look at how the word supposedly good is only spelled as we saw it as we suspected physique. Not it does. He was go to the teenager excelled in a movie where you suck them and. Let me see Stanislavski. Yes. But Spencer doesn't do a bit of evil. This experience did the recoil. Quite the emotion. I think. Do metal coffee bean interpretation? Great. Well, hello. She was here not only to defeat. Awkwardly, she, but Ringo by introducing the locals here. We hope it's a celebrity. So she's. It is possible to witness who knows a cafe who does well, the definitive date. And that is a mere decree that we are to contact the. That's not easy. A little Ethan, but I love her. Louis. Mo. Mo. One contact presenting. Are they good? Well, she'll sit in and. You know, for example, if the network is an opportunistic as if you've been to telematic led to the coup on that. Sure, sure. Effective Mo. As you see, Ballard, though, doesn't get the scoop off. Netflix should have an opportunity to acquire contact with the team, having to go from there and push them all. They ask a price with no apologies because I feel a place to get effective. Monetary authority is good. You can't shoot, sir. It's good, it's good. Why not? Okay. Present. Jim. Supposedly l value in the FEMA. Throw a Louis a seafood clinic. Equipment and equipment for me. I bought it every book with a lifetime will send it. And it's really fun. Do you mean I can do anything I can do right next to you today? Yeah, we're sitting here. Yes. You recently, LeVar Burton. Symptoms at all levels of physic, Keith Hardwick. It has really looked not super serious. If you just want to. Do that. The concrete is a and now listen to you. And there were also enough to be listed which can be a lot of dramatics will happen. While also keen to promote a cinematic Robbie Van Dike show, he did not have a possible direction with beacon. That said, any machine learning show for more professional pet animation erotica less than breakage. Category two consistent breakage because I seriously remember If I may, and you mentioned you don't go to new MacLaren. Don't go non-canon. Give him up. Let's go. Classical music. Did you know? Listen, you may be right. No such emotionally cocky measures. It's not cinema. It was. You know, a lot of people just use it. Looking back with such good religion in mass will be enough. Good idea. Lab is unique in that you can set on your mark with a fairly good palette of the material. And made me see that, wasn't it? In pursuit of the cinema tradition and apparently may little shield them on nerves. If I'm not registered animation fifth element really is an issue. Jake. Do you suppose you really want us to? And the presidency? I don't want you. To Oh, she didn't seem to fit in, but then, yeah, I seen him sitting on Holly. Nothing in Mickey. You do keep, you know you can plastics who try to tell you can't have a cinema directors in a marquee that you perceived. Did you read this event? You know, like, you know, you name it. Enough. Good. Two men, good animation. I mean, it was a lot to do with the movies in America. Confident they wouldn't be like John Major in lieu of the tattooed on Monkey fella. Female. You sure that it would seem a lot easier for people, you know, just can be ruled out that way? But actually, physically talented used to get it. Those who live near the airport. Nearly eight require the question. O.J. Simpson. Imagine I will almost initiate the actual physical cinema. And also cinema direct and click if you want to know if the visual work is to go and pick your digital stick. The theme. As usual, let's shift cinema that quickly. Just because we felt you gave an opportunity to give us the film. Oh, now the Blue Jay, the contemporary in the control room, the movement camera several during the past year should look really like this would be a complete malicious speculation. Justification. Sure. Good. Sucky, actually. So if we do, it will be a potato dome video. It's not that Google is able to cinema video. Symbolic cinema movie made digital do the scene in the town the cinema. A consequence of digital trends online that listen if you can you give you profound good to do this. I could do the controls. You could do a little bit of linear. Hello. So this show is going on. A couple who I love. I love food, you know. It's good to see you. So chemo mop. They they really take care of it. But. With their eyes. See only that's. You see, I got shows on Google Home. You know, notion. A young woman shows a clock tower. Cam shows key. Kiki's key. Two, three on you. Where are you? So I don't know. Why don't you ask your question in English was, you know, much more precise. I wish it was. Excuse me. Do you think it. Yeah. Come in instant. You. Hey, can you play while certain that's way to move on. To be like the. And that's the I couldn't I didn't play. Look, you were like you fit well though I don't see on all that was well on the only the. Besides the Madam New September song segment about good he lamented himself confessed. Don't go on. I mean, I also I mean I, I slipped you your own attitude to do it. One of you senior I don't. The question suppose. Come on. A girl kills the emotion. Kelly Jones But on politics you want to utilize any when idiotic will fail the efficient use of supposedly. Wasted video. No, ma'am. Jaggu, what do you think? People want to sit in English for a while. You make any day when you come off of it as an impulse junkie to play by the game you're on. I'm just sitting, he says I want to. We get certain effects from a phase, but these effects that we get are conditioned by what we've seen before. They're not. If you get that certain impression that you got from the Peppermint Lounge. And measles, it's it's not just because of the thing itself that happened with, but it's also because of a whole suite of things that have gone before. Which have conditioned us as a spectator. We have to go and I just have to not go live anymore again. Well, you know, I don't care. So that we who live right, that the snowball died. You want and need the spectator. I said the second rule or second news. I want complete CDs. Wait. Come on. Put on a shut. Be me. Like traditional montage. What's this? Is the apology composite two tone. I'm upset because. Repeat re. Let's see. Martin Luther King blond, low and damp on an ongoing. Kathmandu. That's good. Feel good with equal pay. Martin. The speech. Martin Luther King did it. I feel like a little piece on the scope of the g, g g. Cooper. You did not. That's good. You have it in your key. He can see a simple click. The Cooper you click. Bait is a decent speech. Okay. But a demand is is probably gonna go. You expect it, but the integral not easy. But you have to let people know there's every fucking way. So do you have a do $12 million a year to set aside your set mutual account? Oh, no. Not yet. Yeah. Dos on what would a coupla a coupla speak. Oh, it is not. Just give me something good look at me. Not necessarily because I think it's a little more important to have, but let me put it on to you fairly well. Thank you, I did that. That's what I did get involved with. We made an interesting because. Good, good. Bus. Long, long. It's a marshall jam. Come on, babe. I like something, a responsibility of the spectator and responsibility of our king. Two. Excuse me. So the question is, is what's the biblical use of politic asteroids? A is it simply Montgomery College School? I do, I hear a lot of what. Goes back to some evolution meeting on the street like you expect. You see, I keep loving it on. I'm playing on the thread on the floor. Just really and truly fair. Participate. A spectator or speech, a puzzle, right? Some of Malaysia. Usually require? I certainly should say. I feel it's best to. Yeah. Direct onto like what the Martin Luther King expected some man who by my country Cooper like peace cuz I can be the focus of us to them to to a. It was a fairly montage. One around a certain moment but soon the PGA having a king is a lesser king. Don't do that. Let me see my classical shot and the shots that are made. Cool. The last to do the theme setting was composer who respected the continuous. And I say I King who keyless swapping going on. Boo boo killer. It's it's also the pretty sure a lot of things you said but from the let's go again smackdown. The sanitation can give us a bounty of life, and some of it is unpredictable naturally. You may add even more of an emphasis on the plight of repetitive Luther King, which is not only boast school. You only men who are not on the question of the disagreement problem. So that 235 politicians. You know, I don't give a shit. You can predict a sufficient measure, but it may well be that he's your king. So there's the G. Yeah. But that. Typekit. Yes. I think some of this and they said due to these aa the keystone marine mammal. Why? No. Fuck it over the weekend for a huge movie. Just to make it établi king. Yeah we do I pur because he felt he had the YouTube looking dumbest thing done and not expected to have a pearl. He felt it to film and Dong who took offense adjudication completion. They took him, sir. Hey. Yeah. This is what you said. So do you have any of that? I know he did. He looks like PewDiePie. He's holding up your major. Let's get some, like, a book coming out. Anything. I said organism Medusa. No, I said longer. Hello? Such an opponent could possibly I. Know who you're dealing with. Whether you get long as you wish. Buffet feeling that it is just. You know, if you look on the list, you know extraordinaire. See, now you've the film. Film is real. What is your problem? It gives you ideal fits is if it's absolutely absurd, you must go to the pathology countries. It's ideal. If you go back, the. Document is going to put up a little document to elect fictions. Until you do a series, you'd go and imagine what could if you don't want it does. You're not going anywhere until the present blue satirized. For example, a robot ruler I see when I show fiction, when the fictional put on blue and the name of a novel. Now when all the fictional people when you go visit America biological clock, Yahoo! Yeah, but then the fish caught on to the Hamas declare this event monkey for the nurse cells in malgré Tuscan per barrel. I just keep it that one, 2 or 3. That's enough that for you? Thank you for the nail polish. Create something new for you in your home. I just feel like I need a show in the recent film. It means a film or service and signification. I know room. The manager must go to jail. They say. Didn't tell us to do it. You see, the comedian and Comedy Central in the right way. All function can be hypothetical, but it is good to say that solely with the camera. When you get to know the stuff well, the rascal is up to here on camera. It is very live in the long run. Cannot wait. If you do not see the controllers of courage is waiting for some places require a barrier that must be important with a building. A layer of cinema is a caucus this cinematic like. And this will be a Complete, no less function de la necessary to individual teams and fill in the rubbish and what looks good. Not personally. Dana, please tell us about unification. Computational ray grant of quantum control shouldn't have been shown to each cook to look at resolutions. And Nicomedia and Italian army of perceived to me on the your that you may prejudice in your desire that the city of the each cook claiming the they did best. Okay. Oh, complicity from the media of you to Nouvelle vague. I recollect it does require good of self. It is crucial that actually cooks at present day is it does not yet that they said you think was get to ignore to skin alter the noise in spontaneity. If that's what I need you to move more over to the coolest show that the movie could play. You know they should be able to contact exit to really get to see Movie Christmas first. You know, you play a risk in whether it's actually for the nurse. They feel like measles. No, it's good you rested it's experience that about well, we did it in more personal degree only structure predation and a little climatic. But it's actually so happy Mother's Day when city. I want you to listen to theme decision. Good. They must be again. For those of you that play me city level for themselves, what is it going to sound? Because ultimately, who by the sound experience of yourself for somebody to meet your boy for your book and get off the plane not to get to observe and hope is a battle mask of occasional description to get. Them on that day. If I didn't put any new revision, wicked and confusion extraordinaire, I'm going to get to explore the question just one more day. The information should include information to them and not hysteria, and a critique of the initial reports could be illegal. You live like blah blah blah. Be sure to care and honest. But you know the media. The world would be a you know my previous even if you could meet yesterday, you know, in a bar has been awful for as long as you know it. You know, you could do absolutely no if you're looking motorist give it up. You might be inconvenienced here, but a little more vitality. You know, if you keep looking to keep children, I think he's going to get me. You can get despite the challenges in the US, but due to the Covid year from the gentleman who didn't work, youthful is not why you do not possibly fiction 11 personally questionable companionship left feeling with your body, but the devotional it experiment that happens if you haven't you know if you have this normally cooked meal in the middle of the day, this is a bit guilty. I looked on the total known cinema well, almost the last years. Yeah, but this cinematic movies I want a cinematic possibly experience jubilation cinema. Did you show nonlinear big meal yet? You listen. You make you listen to my symbolic cinema operation, the icon in the him until he joined in. You don't get a very good present, but only when you can't see the cost per se provided equivalence. May Lecoq new person does offer the possibility to knuckle cinema this year to digitally cook, but cannot believe that you you need to do all of share the same woman. We think so. User feedback. At the beginning of the experiment, Caribbean Museum of Food said with love as good an adult, it is better to pay us to thank you. So our vehicle contact shows and does your mommy can you just so this shows you are only a delicious organic cook and Quincy tfc you nervous airport afternoon Netflix game okay you do it does anybody else you shows that. Yes, sir. The positive on cultural shifts just settling your other April 1st critic social psychologist available but Do the Quincy do nothing. You critic radicalized me again. What could you call an opening? You can keep in mind this, you know. You get. A ticket to the director in Histoire which resulted experimentation. Show me the whole complex constellation that he threw out and get the show's dope. Good. Well, we will work on the victims carcasses, though. Go to your normal. Do these two out of the your nose. I need you to do that. And what I need to know. Second is. Yes. Can you also face I feel uncomfortable or don't you either? And then she's on a special paroxysm kill of a new affair. Like. And then rather fun way, way Weighing possibility. Cinema. The note was on the square with it lets you know what we think is likely to be the likelihood of the Cuban currency. But you do confident. Check Lucas if he's now and did well. If he was the decision and assume check the visualize the most people should do it. The show the foreman form an agent of the 640 here and then you have Lukic, Mark technique, Kelly Cook and the unpleasant experience to feed his own country. You know, I probably cook my ego to come. You come, I said. Not the man is a concrete impossibility. It is assumed you direct policy development. I don't care. Some locations programs require feeding given of itself what you see best, you know. And the fact that exactly. Most magic teach me this. You know, say the things that they get you further to do the work. And that's why the elegant levy European spotted kitchen champion, Olympic gymnastic Alex O'Malley a parallel not left in. But it was kitchen comedienne. Not enough. You know the player from Suffolk. So marry you know live in the altered parallel. Pretty girl seated in Connecticut said lucky for money she can control. I would feel myself as a pocket, you know, in parallel for something. No new course I can't touch. Savvy Lexus's civic element of the competition a big element possible flushes Elle avec so marry me table you know element to enter a personality battle not immortal about you know real addiction of France. Izuku personal domestique admirable mosses is the more modest image you like. Let me have eight, I think a million to the nerve down in Britain, until this busy beatnik, the pug, a fellow colossal marry, you know, little tricky. But only Charlie. There can be further said that looks set to do like this doesn't do not champion or peak at you leave it to the people. She could do a key to shelter in position or to that position, or the tree opposite you to said figure in a voice the clothes they could pursue. That veneer left in Boswell Key arrived in the division of the blueberry it university finally not many new and say, but signify and all look at all the guys do feel good nonetheless. So that's a problem to be lucky because as you take a minute, could not do this also did exist. Keep the material more satisfied. Result you know has no Normal person transmission me over the next. I wanted to know a parameter of the document. And I suppose you do like it if you will do it. The feeling that anybody see me, you know. Oh, I don't feel in the shot. None of them do. If you show me fully qualify for this, you know the rush you get to the group, get excited. They're more assimilated, I guess. Magnitude. Arguably. Broader cinema, classic cinema direct. I might similarly do so. You have to concern that that you're doing the cinema. I hope all these Tulsa workers, you'll see that you seen my limited resources. But pull up here. Did have you moved down to New Comedy City? Just direct from. Difficulty is required. Percentage of a pass. Incomplete knowledge seen in Matlab already like a lot of my definitions, but that will only divide the vanilla academic session for that. If you don't, you never know when I shown it first one unit. I think you all put that on the market analysis second test or illusion I well so this is a little more than mammoth. Do it in more character. Yeah. If you tell me. But you said that you can establish good. You see it on plenty. That is academic. Do you do academician to do that? I vote to steal the work you from another. If you open, the more a possibility, go for it directly submitted in the view. Or possibly it did a good lecture. Possible it didn't matter. Go for the direct middle integrated to sir. As if you know you said only I do Unification. We all laughed at your boot so that you'll end up with a repository on all the director. Don't go. Who studied an AP appointed? You got a piece on it. But it is to my living, I think, with a seizure. It's up to us today from you. Will admit you missed some of it. Tell us about working blood. Doesn't have to be you. Oh, sure. But they said when it is in the mail. It took me a long work on it. Okay. So this is a here to some dollar upon me. But she nodded. In a village question after account goods or has anything to consider have keep them at home to listen to the language. I've got some gal come to the deck. You know, like I met your mother, the Baton Rouge. She met the guy. Get your. Just an investor. I would just put in this position. Oxygen is a vessel until you kill the junkie. Supposedly next year, probably unknown this year. Not just an emergency, but you could pass up that insight. And we still perform. I thought this year at the direct, you know, refit up to the reminiscences. You said that it took it and Tony Haas had a little more. So you must register for triple digit residency if there is a foothold there. But let's go to the same guy making sure the capitalism is loose. You know what you can you go with me, set it up. So renowned producer love cinema, but hopefully, you know you could get a good deal from that competitor. Varian. Awesome. I got the link up. Yeah. You know, we only had one. You could say it's a bet you don't see eye to eye. You may not even know about them. No sequel to new video review the original decision and the result and making that happen. Gossip girl just keep looking here, which is taking up a major. Kick on British possibilities in your mouth. Mitt Romney let him live in hell. It looks good, but you don't have to in order to do that. Ideologically, something like it can be done in music. That's it. Do the concrete. Just geometric. That means an execution. This is a death of the bush. You can gather, but see. It's not the play with the performance. That is the real purpose of all one's efforts. The U.S. is just like it is, essentially. Come here. The bottom line is that you could follow my lead on the I don't I'm not trusting him, but I could join up on that going on Search simulator through the universe requests. You've been making me give up the conception. Let me nostalgic forces you to listen to the movement. I said, yeah, I that's usually made possible down the detector to your memory for if you talk to the little widget there for the plastic object addressing in the legwork study of a cinema, it it's what most likely it was the most simple and easy Lulu. This. Monkey classic plasma spaghetti. And you collect a monkey. You should for should for some issues because it does not look now. Yeah new version if you get your computer that's admitted I brought you deliver on the console rather than you will from the decay to automatic developed to help you do not that But it was concealed from the scene. I found it on there. I'm done. I can't go up. It was a question. No no no no no. All right. Excuse us. You said something. What was it? 20,000 on on a. Don't plan on them. Don't do that. Only divide it from your kids. Don't grow up on the well done yet. Question. Problem is that on two of the two of the problem. A if they can't do it. Well, you make it seem good between the two. What is it exactly? The way they they become the component parts. We support them together. The party. Do they have an interview in the article and compose. Because the the. Circumnavigation on two. La la la Concepcion. So get going. When I when I would clam, it was like del nouvelle. Sure you want to climb your montage? I'm focusing on this. This is cinema. So no shooting for sound. Nouvelle function de montage. The last few days to have generally good. Go and examine. To say to people. Oh, this is a big well. The group comes back to do. Inspect it. The other critique put on the gadget. Hello. Please. Like there we do. So I see what Olivia Peacock I know. Who that would be a slew of values that they would keep. Hello. Oh, this is. It was your that came back to. It's so I do that lecture and but professionally he created all the activities. We have one example. That's good and we should. Looking ahead to next August you'll have a few tornadoes to look through classically. Very good first okay. Sporting libraries Edison physical Review. Net I wish we could. Find you. Don't you cook to learn that. Not a celebrity. Not to look at it but yeah a local shooter. Someone somewhere large to You don't go to you hike to the symbolic, right. Are you sure it's really connected in a certain. The country could hardly show it. In the next video along the young lake on Lake Ontario. And then don't get busted. Perfection. Yeah, I'm talking to someone. Oh, it was Charles. And the show is done. If you go to the in his own film Mecca. I think you should. So go. Rock on them. Not even when they don't have a table on the floor. Human experience. Did I send you a lot, please? Was one of the few. The food. We don't really deserve it all. And did you wonder who that, like, was going to tell everyone that? And then it came with some having not. But can move. You can keep it in a seat in the middle of night, in of the continuation of families who sell a ticket up to new Lagash director here the man actually had gone to the lineage is actually the king. The ten magic. How much push it came to should be convenient to Alicia Eisley. Aren't going to play the show. It to you to this other than it is really is composes best in their aperture. Doesn't actually remember the scale out of you did you so good dinner for your food district the. The machinery? I don't really know, but this is somewhat international attention to her. She may have done measures himself. We do not put symbolism. We simply know a person that critical to you. So problem to live. So talk to her now. So Yeah. So now these events are due to the high level that Monash you luxury the knowledge that your shoulders up. So that is your very good decision for the procedure. Just let us do. Tokyo media really interested me. I will not read the grade and that will do great. The the number never really releasing the whole problem on television as of the China. But for you to cybersecurity the emerging discipline to become a symbol of revolution. Right. You see more progress in terms of the studio could go on the circle, move ahead. You could get a jug, become like an equivalent like those a few people. Where do we go from there? So he does it. Repugnant portion of it. Yeah. She is, She is one of the. She directed the 100 pretty good girl, only love. It's I'll get down the list at all times. What does it and text classically listed is a meticulous theorem that okay I'm a TV technology show. So if you have the best finish the first attitude you just have to watch for this period. Excuse me. There's only in the thick with the passion compared to the gentleman. He cannot do fairly excessive and said that must have been that long. It's not a minute, but it's a resume is required. This is the device. Usually you come off. It is actually that most people don't want it. But we're not going to do just your important. They still want us. You don't want to unplug Until the question, what was it? You have to keep up. But. Why are you gonna be killed? I'm a stay off the people down there. Tell them to not kill the horn. You got a nice remem investment. Don't like it, don't you? Don't people think I'm a who? Nothing tells me that. Doesn't really look like a dumb, dumb material. He bought it, boys. You give it back to them. That code itself. Make people look, you know, look at people, you know. Shut up the place with so long for this one man. Long for this one man. He. I thought you lived in certain angles. You don't make a rectangle out here. I put place on the roof like a studio. Since it was you guys, you know, registered, you put a studio effort to write a studio to come up to select a mess. Well, not really. You just shown in. She shook her fingers, and you could have gotten closer. You can do to control Chekov. Controversy, Victor Shakespeare. To tell you that the terrible. Quark is used to know if a person is near. Cannot go to the front of the cinema on a seven. Not over the murder. The perception. The perception was Not offended. Thank you for lecturing me. I said you couldn't possibly give me the two atlas since you get here. I'm not sure I will take off. Well, then you can get some simple moment to cook, she told me. I prefer to keep the council said on the report should look good because the Queen city is a communist kitchen. You've got to look like in two cities. We have it in pretty terrible trouble as well. But I would guess if, you know, not the ability to disable the communication property the other day. The problem is all the people I see. But. I know grew up. The little did the montage. The cinema, the Hyatt citizen cinema. I've seen him do something I don't like. Review kiss. Kiss moves. See the conceptual not touch affair? Didn't you just say. I think the text of the new place, the darling of the new city, is over. You see, I seen your measurements in improvise. If I see them, we should have. If it's only a few of us, as you know, at least 12, which is all relevant to them or not. So as you possibly a for an integer. So. So you see the subject. To the scene. If you get your family together. Do you want me to him. This should work. Okay. Okay. Here. The part I needed to let you do that. Then will do. You don't want it. Okay. Conseguenza. How could you do this on your nose? It's not a good idea to name the. Less. Have to let me see the the the show so she can show, you know. No, he allowed you to consult a few more there before the. But nevertheless, at any given moment she says every moment the query will proceed. Apple. She did not sound very off them. Some sarasti had to go to other structures. What is a la la la? I told you the sentence the first initiate in men. Oh, no, problems are going badly. Pulse in. You see people who got away. Did you? Can't you play sassy physician? Somebody in his own counter. Good to nothing really quirky did it. It declared that he did look picturesquely because figures showed it doesn't have to live with it. It's the best measure that. May I see at the V there you can look I see body that question the stupid questions to ask stupid. Then he said, okay, I didn't know she going to ask on both of these. On the middle class of Middle West America, you know, to make sure the higher up the second place like as indicated, like not only did you to send it out a few months ago, they haven't made the machines just human, not as independent with your who was everything seen in the open openness attitude to this work on purpose to constantly you show me to do that please. You should have. I think your maximum security doesn't, my dear. Doesn't sound so good on that. But that bothers when the who by doesn't. If I don't produce the defendant on dictate is given. Do they please w we don't see to video to the Don't blow. Can't see anybody, right? They don't want to play games. And some of that will be havoc. Furthermore it does. So the the question will be myself a don't look if they come in concealed. I don't see you going from. Yeah. Who who Mr. May buck is it sitting shows primordial the Gowdy lamp question to the top and the bottom. So if you if you need to go with a though the follow. Come to me. Tell me it's right here. As long as you will not get any will not get to limit. Yeah. It won't hurt. Pleasantly unspectacular. A particular Wound tired. You know the way it should bounce back if if it really has been done. Yeah. Because if you are normal, your line is what you just said by comparison. But they didn't. But this year, the thing if you know, this year, the more people don't feel like they have around you w come back up on the move more. I said we on how we do here so help with old shoe shuffle mall. I said the sale on the phones with value on walking on at the event that mom say okay they have the activation could only see said the modern neural association. Physically that's so very levitated like yeah do that maybe other you know book could do a little could they will no I couldn't get it from the could move on, he said. Do all the association physically approve a divorce with me and so on? Hold on. Hold on to the whole lesson. If you can show that idea of what to look past and you don't know if somebody's very seduced. We're going to play like this. And there's like a minute only subtle. So could only visit boot a buffet or character and. So I've got the humility clear to other people. See them all come up with positive plays on this. You know, it's just that you get on so by example on these lovely and on this occasion. You know. But it wasn't in the same league. You know, if the quarterback beat us, and we certainly hope so, we'll call it. No. No. I took a second. Yes. Do you ever go to the the home that often used to ship the first version? Celtic, I guess. I guess that's what they are here. So that you feel I'm in a gender path. And Chakotay, you know, experiment. Is that something like their social attitudes are severely technical. Do you do the live stream or you don't? Do me makes it out of some cinema in the city. When they suggested that you are obliged to need to study Nevsky on the clock to executive know, it could call it a death. And there was just one question. I met Oliver kindly day. Oliver. Okay, I'll try to stop you say that. We can't even imagine. We have a passenger ship to support the public, to decide if it disapproval only for them on is attacking you a regular John? But you have a brother deforestation rebellion that could do the the that not superior. Yeah. Yeah. In the actual physical tell on the only direction me it doesn't accept action on patriotism. Do you also didn't see it again due to severe or not. Very cool the more. Yeah. Yeah. You said you needed key. Will he make sure? Kick him. That's where the servers read the so called the new secret, but honestly, not the context. He says you don't do gear keys direct. And again, unless you're going to build kill again to meet you. Don't set an axiom on them. They on old man, I love what? Let me go. Come on. There is lose a lot. Come on. Here. You lose a hurry on them. This is a cinema. Yes, I see a problem. It's a really guess. You want to pull this method, man, I'm on the floor. We just agreed to send you a good. This is a cinema in my fancy lose record below. See in full. Not to a mirror to nature. Me if you want to default more. And merging the two, for example David instead on the verge of becoming linearly more extended. But, you know, you were talking about senior management. Regardless, you might almost refer it to that fellow who won't hesitate to ask permission to vote for. A four year old in a special one for a reason. Well, offensive. Part of the problem. Like of the permanent like a continually called the amount of time to not another year. Like I said, this is and you know this is what I've done a few different possible this year. Why not go we have you getting the message. Thank you for being on telly. We have concerns. The peculiar reason you left this year because as I mentioned, is he likes promotion, done a great job with the measures to. Try to do a the study stage screen. Ladies with physique I got oh cinema is a quirky fruit movie asset that is attached to the show, similar to securing their fit. And you can click on show de la prodigy. Coco was founded in the 70s. This is an emergency recruit may come up with no other way to get at least. Several fusion listed but she's a physician already promoting emerge Keselowski to simulate a trailer, but they were focused on proving the real required. Good drunk and in control. But it came on buffet most to is more buffet more potential plus to know depends you can let particular men, but you could want to have gotten off in your final soggy wrestling or such a final. I like if you talk or to to shifted around due to perfection longer Okay. Oh, no. Oh, well, says you still have plenty more, but I'm not going to pay you to come over. Does the foyer need a shower? Actually, the people who make the rock on the paper, like Kelly de la spontaneity, could do it. Well, you cook in this, of course. Creating. But I don't want to do that. So tell us, did you do you volunteered to support our nation's zipper repair. The researchers. The puzzle shoeboxes problem, which was Viagra like the shoeless Jimmy level dishwater nerd. You click, click, click that one. The medical journal. Seymour. One. In the end, your kids don't get to pick up. Boxes of it. What he did of all Hope those observations can pretty please be there. Come on. Continue. Yeah. After the uncle selected the second one. Alex, the audience introduction and the competition between animal and shark. Here. The important. Come on. Come on. As you can not see the spectator cascade. He's like, what is that? Look at the cinema as usual. It is also now another duty. Please go to the west of the city for Mr.. At the National Association. Have a look. Is invited to speak at the close. The cinema is like that. You can see better when we divided by 2:00. Oh look what the two thumbs down is. What we have an aspect that cosmetic participants are left to see. Is so, you can ask people to please if they don't think they will do it. So this issue reportedly shows oh la la as you go to people look for them aspect that does not contribute to alienation. The of the spectator. Not a part Dodger who doesn't does anything on the Achilles. But you see from me you really relegated to you know me. I think still you offended who were promoted to. Public who wanted to hear verify the interrogation even later than September final. No food processing your message. You might imagine that present so early on that I want you to go complete the process on the cinema view, but not that serious in the level of mystery behind in New York. A better idea is to feast on the perception on. I don't need a party to be able to see a wreck. Don't forget. Respect that. If a family mucho respect that definition. 32 to the naive is so conditional. We will see just after 10 p.m.. Oh, really? Few must be longer. Cut down upon a group with respect to join. As if you did not know what to do. Here it is not clear yet. It's also not only because who would choose? Well if you took this picture condition in photo tutorial step by step show a very I think book of as a key. We must keep a journal of the whole new part will be provided as well. If we see that Issues with that, you'll have to meet again and vote. The city has to blow to a decent pressure system for dealing with a cuckoo, of course, illustrated with the on the said executive budget request, a decision that it could absolutely. At Villa Ocean City I wanted to be an assassin Glazer. But when we let in brushing theater efficient then what we could give. Would you leave me for the Republican enrollment and is going to. I mean, it's much better. The policies have a lot less cinematic aspect. There's a Notre cinema aspect that you know how to get across the you don't go the participle key. I've talked to several. If you a year in existence places you. I can't get our policy in emails. Oddly it does in your case and you make your concern So I could do a miracle film and remember it was the last thing she wanted to do. Have brought new rookie up to speed conservative. So you don't feel like your film, as well as a significant modification of the society, is just as good as you keep. Okay. You seem like cinematic enough. You've got me. You know, I appreciated the sound. Did you like to do a whole capital? Not too. Not a phenomenon. It is a classic, period. Bueller. Because Montgomery wrote. Absolutely not. Set the scene possibilities and shock value of radio. It is. What do we get from there? Not at all. Can I get you something on? The troublesome. We have So you know what I call the end of the school. Those guys give away defeat by defeat. Accident? That auto accident to key. Key? Oh, but to the best. The key to suddenly. Don't. I don't say yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262365#t=3.33,5128.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262365/transcript/76732/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I see a really inconvenient output.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262365#t=5130.01,5135.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262365/transcript/76732/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This attitude, you know. So you let us see it. Look a little expected. Keyblade junction set and a shake. Collision ethic to Jenny. Don't be exhaustive. Well, as cute as cute, where you download the theme they don't achieve doesn't get any new, actually. Look for the Subcommittees to communicate communications, communions. Budget looking constituencies. And television. Film films to develop a new contract. Is this a report to think carefully? Injection will provide us with masterclass. We do not need to say anything yet, but you know much better to listen to the film to the right. Like you might understand this, I didn't necessarily see so this film more keep more frequent communism at this point, you know, if you can summon your foot and feel it a piece of film Reconquista, they must get to the cinema because it has to deal with self-defense. The deal that goes on performed, you know, missing a lot of the ability to shock you to to shake. We're going to the deal. Pictures coming again like, you know the the problem I think it usually they keep it that the I don't play dumb. Sure like also. And click okay. I think he's good. Thank you. Good communication. After I've done a number of other unexpected there. What condition is expected there? Almond don't book is what you need. You don't understand. Why don't you just put it into a drawer? Okay. We'll pull. Okay. Okay. Provocation. Actually. Something wrong? She left it at the foot. The continuity. Good. Ill in much of expertise. Honestly. Hey, key. He said don't follow that. Who's old? Not. Yeah. It took you for all. There was a very pretty little circle. The edition will a. You really know that there is something. On election day. Remember the day just to finish the photos that plays out for the family? Yes, yes, I bet you I do get up too much stuff. You never can solve the catharsis. Female rule. Satire complex is then sometimes, but usually at a hundred people. Most of sheriff's office. Now let me. Just show you. So you require me to be a little bit messy, but undoubtedly the kind of fiction they do. Crazy. The sample passcode on the. If you get on Google only with whatever you said you need, you don't get any different mission. So I said this on your computer. They really did with the reality. If I did, you did not send but prefer that you inspection inspector to a If only certain conditions were less likely to leak, people could play. But that wasn't enough. Reporters on the direct to. Major quirk of Woody's reposted his own reality. Children feel ideas, for example. Don't that. Don't. If you can even sit back with the exhibition that it feels like in the past it may have shown you fully in the Netflix show on a limited desktop. You feel like I can just click do a point of view on a battery of output from there. I know the Queen city USA. You can take a look at it. You don't just sarcastically look at it. I can only go to the. To Charlotte at the awesome looking through these blue Devils electronic doses. Not as a party resource that you If you are not able to turn that aspect there. Also look at Birdie Eric Bookman as the results suggest, you could theoretically should not equal adjusted to manual clean neighborhood in case the air conditioning seminar on Reddit were on the way. The latter, she said to critique them. Do you tell me I can, but that now you throwing in your group prices are there, I thought. I said, I can't think of it in the previous week. Oh, what up this year? Not another race or conflict somebody else has put out. Thank you for that critique. Critical social and political critique society to notice a difference in more people from Buffalo Los Angeles and some of the all the delegate there as well. He said, well, you need more economic humor. Probably you thought that you have a new video. You. And. What is your last wish? You don't do a problem, so that keeps you in a good life. I prefer that, yes. So that's good. By means of the female fix your budget and tax. Get management unit but not magic alchemy. You get a communique measles Nicomedia. And do they require she'll. They don't feel different on the hormone definitively or during the shoot. You know, you give a sweet when you lean on the cheek in his arms. Also two on this cute the fierce. Who can do so well I'm looking at and I possibly question can pose a solid pose a a low liquid. Yeah I do this to do and tissue uneven ideologue. He's a real party. Employees in my party education policy reply that measure the view to the civil cost where the movement camera. For something, a lot is either now or now in the musical, or to the person accessible to show that he knew who is, I'm not sure. Yes, to let his remuneration or to qualify. Usually if you can identify with the looking glass and measures of the situation itself, but you can go do not continue to put yourself. It would be like walking with me to the shell to get to see the spontaneity. It's just a rescue. The was a good low down to carry out the complement basket per se. But you know, my own goal may well accept silver cookie that way. Like a lady shows the gigs each day on the road. You should the amendment to this decision. All that key penetrated the more law the pursue of pursue people see if it are not as good, if you deliciously hate them and others who quite enjoy them. To a book critic, to cinema for a purpose. You know, there's you know, I said, but you see more if, you know, if you go to gigs to come to your stream and yet men get to the reservoir form. And good that I forgave you. Never can push me a little. Stop. Imagine. You never know there is going to come and play all that's going to let you him to get to know me. If you could do without thinking that more or less period. L'efficacia it does. Netflix. Is it in quick clearly there is that he messed it up, 100 is in the middle and another can be here in Australia. Potentially could be a monkey from India. As if he could develop the plastic. If you feel up to that and text to me if you like fixture. I'll see you later. Pioneer Kinetic Capital points to the revolution. We see a cathartic version of cinema, but not enough women have until cinema. Hello! Set it up. It was 40 on that. The laser. If you want to desert these, don't play composer and blue you to with your mission amendment a pretty new field. I think my friction people say a lot the silly purpose you to go back home. Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262365#t=5136.73,5684.61"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262365/transcript/76732","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262365/transcript/76732/annotation/4","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/732/original/trint_Coll458_jb0051_Marcorelles_01_transcript.vtt?1740616576","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/732/original/trint_Coll458_jb0051_Marcorelles_01_transcript.vtt?1740616576"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366","type":"Canvas","label":{"en":["Media File 2 of 2 - Coll458_jb0051_Rouch_01.mp3"]},"duration":6874.93225,"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/141800/file/262366/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/366/original/Coll458_jb0051_Rouch_01.mp3?1739226410","type":"Audio","format":"audio/mpeg","duration":6874.93225,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0051_Rouch_01.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e April the 18th, no August the 18, Paris, interview with Jean Rouch, au Bonaparte, Saint-Germain-des-Prés.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6.559,17.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The successor of Lyon.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=21.6,22.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e S'il vous plaît, de Gaët-Vallée.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=24.41,26.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e C'est comme Jaguar, la pose de Jaguar.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=26.76,28.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, no, it's a strictly ethnographic film, and it's the traditional thing. Two caffeine drinks.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=29.19,37.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We met yesterday, in California, and he came to present his film to us, rather to sell it, I think we sold it at Night of the Artist.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=39.37,54.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=56.29,57.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So he came with... He came to SLA and also to make a film about education. So... We talked a lot about him and everything. I spent maybe four hours with him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=57.61,76.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e That is very, very good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=78.75,79.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Bye-bye, baby.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=79.98,80.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Michel was here not long ago. He went to shoot a film in Yugoslavia, he went to the Moscow festival.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=83.229,89.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e We'll do something next year. I like this team a lot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=93.509,98.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And then there was what?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=99.34,100.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Yes, they are. Yes, in front of us. Yes, it's like that. I really like all these teams. They are very nice.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=100.98,108.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I've known them for a long time, it's been a great festival.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=110.11,115.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Where did you work last year?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=118.48,119.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Last year, I changed my job. I became a film teacher for a while. At UCLA. So, I was invited to take classes. I said to myself, that's great. I am a black guy. And I am followed by Ansternberg. They have a show where they invite people everywhere. So precisely, the course I was doing was not at all didactic, but a kind of exploration on these problems of reality and fiction They are surrounded by... I focused all of this on what I called the non-actor. It's a fusion that gives an existence in front of the camera. So we explored a lot of things. We did psychodrama attempts. That's interesting. Yes, but I had done a short film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=121.11,194.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What kind of students did you have? Students...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=197.18,201.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e ...Café au lait? Oui, oui, ça... Du lait, du lait s'il-vous-plaît, on l'a oublié, le lait. Oui, de café au lai, oui.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=205.36,208.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Nothing. I had a fever of about between 20 and 25 years, some people were 25 years old. You knew Hugh Gray over there? Yes, very well. A wonderful guy. Yes, he had a cardiac arrest recently. He's a little paralyzed. He was in England. He was just in England? He came here.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=209.35,233.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e I saw him in Paris, he supported his thesis, he passed his thesis. He did not recognize us in Detroit.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=233.97,240.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He was very happy. I had spoken to someone who had seen him here, and I arrived after him. He was so excited about the fact that he had passed.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=243.48,262.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e With Michel, I would like to make a film with him. Ah, that's great. The United States of Detroit. Oh, wow. I would love to do that. That's great, that would be great. But I don't know if it's possible.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=265.32,276.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e He has to try. He agrees. He agrees, Michel agrees, my brother agrees.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=277.669,282.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e It's very complicated because you have to turn it, maybe if we turn it here, it's either we turn to Ford in Detroit, it won't be so easy, or we turn here to Renault.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=282.97,290.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e Yes, but people don't agree.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=293.96,295.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But in the course of my lectures, I didn't know I could speak, so that's one thing I did. So, in the sense that Father Marino is right, we have to start. Of course. And all of a sudden... It's good. I started the course in the most stupid way possible. I asked everyone, I had 50 students in the class, I asked them to stand up and take a picture of the room. So they found it very unexpected that it was in a correct university. And I said, well, let's play a game. I did this game of concentration where we clap our hands rhythmically and we end up with a finger clap. And each person has a number and we call a number, and then the one who has to answer has to clap his finger, etc. So with five people, the one that forgets to answer, or doesn't answer quickly enough, goes to the end of the circle. Well, there were some reactions, of course. There were people who were embarrassed, who were nervous. What is this? What are you doing here? Can I know the reason, please, for this demonstration?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=301.91,388.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Oh","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=390.21,390.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Let's see if you are intelligent, if you pay attention. Well, we played some stuff. Finally, when we finished, I said, you're going to write to me next week, why did I do that? So we proceeded like that. And from there, I went on like that too. But of course, it was a preparatory stage that unified the class. It was quite extraordinary. All of this was a reflection of the stage environment, finally. But in the course of this project, I presented the chronicles of the summer. What was the reaction? Very, very good. Very good. I went through it four times. You shouldn't say it in a contemporary or an audio film. Because we don't have the right. I went over it four time. I ran, the people... And then I gave the exam. Because one of our problems there is that we don't have an explanation of the text, as you have in France. So no one is looking for the form or explaining something. We don't know how to find the form. So I wanted to force them, even in the risk of being wrong, to look for... A formative structure in the film, and themes, and see how it could be a structure. Because at first there were some who thought, what is this? Others who found it wonderful, but didn't know why. Others who immediately took the moral point of view. I mean, we don't have the right to do that. We have to do it. And then, with the corollary, is it true in the end? So it's always a question of whether there is a truth that is completely fair in the ending. And all of that brings us to this. It's the French idea, that is, we played with it. I want to ask you, what is the path of your French since the interview that you gave to Mark Harrell in 1960? I also want to know the details, your reactions, what led people, what brought them to overcome this kind of barrier that separates the interview from the revelation. In the case of The Chronicles of Nettie, and then in Baudaine, a film, I think the thing at the North Gate, I didn't see it, unfortunately, because I don't want to talk about it. But where you are in the fiction, but as Desartre said, it's very important, he told me. We're not talking about fiction, we're talking about reality. He says, I'm not talking fiction, I am revealing reality. And then it bounces back. So, I don't want to make fun of you and ask you questions of a reporter in the newspaper. We're going to have a little bit of that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=392.81,628.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e First of all, the barrier problem, where did you come up with this system, you have already done it. You know very well that when you have a microphone, for example like this, and when you have a camera and it is mounted on people, there is all of a sudden a phenomenon that happens where, because people are recorded, they have very different reactions from those I don't know if he was not registered, and what always seemed very strange to me is that, contrary to what one might think, when people are registered, their reactions are always infinitely more sincere than those they have if they are not registered. So what is it about? I don' t know, there is a cabotinage phenomenon, what we call cabotination, that is to say that someone says to himself, we are going to see me, And so I have to give myself an image that is... And then it lasts for a very short time, and very quickly they try to think, perhaps for the first time, very sincerely, about their own problems, about what they are, and express what they have in them. It's a very singular phenomenon, which must be, it's a bit similar to what you were saying earlier, when you said you didn't want to talk in public, and that it was enough to start, and then that's it. The fact of being recorded makes us give people to the public. And at that moment, they put a lot of effort on themselves to explain what is, let's say, the best change of value of themselves. And that, I have always noticed in a very, very clear way, both by using a simple microphone and by filming someone. So if you want to cross this wall of sound... It's very easy to get through. What there is is that these are very brief moments, in my opinion, which you have to know how to enjoy. That's the art of this kind of film. Experience shouldn't be too long. Because at that moment, the people who are involved in this game, especially if you project the rushes to them, et s'il se voit start to consider the character they represented, that they completely ignored, that they discovered all of a sudden with a huge surprise, and to play that character. So at that moment, to be someone else, to be something else. So that's a first point, and in which I think, well, I think we haven't fully exploited it in the field of cinema. I'll explain. If you want, in all this kind of film, and we have all done the same thing, when you see your rushes, it's wonderful. The people are flustered, they make a mistake, etc. You see the path of a thought, which is something extraordinary. And then, for reasons of the show, for some reasons... Of artistic creation, we go up, and at that moment, we cut. And when we cut, we transform the truth. So we try to transform it, of course it's an artistic work, but at that time, we try transforming it by making a choice, by trying to find what are the... The most important things that have been said, the most interesting testimonies, etc. This choice becomes a completely subjective choice and in which the people we have questioned are not concerned. At this point, there is a sudden return of the people interviewed against you who consider that we have betrayed their thoughts, that it is not what they said because we have cut something, we have built something. So that's the big point. If you want, when I was doing Chronicles of Nettie... With Morin. Morin was a sociologist and studied the problems of work in particular. We worked with this whole team of people and every time, at the beginning, it was wonderful, extraordinary. What we collected was extraordinary. We had rushes, one hour. And then when we arrived at ten hours of rush, we said, well, then what? And we had to go up. So here begins the most difficult and the most annoying job that consisted of... It's cut in life, it's cut into life. And as we work in collaboration with the people who made this film, it was a terrible challenge because as the film was being made, we showed them. They were less and less in agreement or, on the contrary, more and more in agreement. And they became completely different characters. For example, you remember Marceline, the girl who, instead of Concorde, talks about her memories of deportations. Well, this is the first scene we shot with Michel Brault. Until then, I shot a few scenes with a camera and a blimp on my feet at the same Marceline's place. We'd organize meals that we'd see in the film quite often and we'd talk to each other. All of this, if you will, was not very good television, it wasn't extraordinary. And then suddenly, I knew, I had seen the work that Michel Brot had done, and I knew that we could try to walk around with a cam, well, get out of this... To get out of the closed room, to use the micro-cabins, etc, etc. So the producer of Hommant accepted to bring Michel Brot, and Michel arrived. And there began the great corridor. All of a sudden, we felt liberated. We could go anywhere. So we experimented on our equipment, and we started... Where is the North Cape? No, thank you. You're welcome.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=634.1,1003.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Thank you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1007.3,1007.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e So, for example, this scene in Place de la Concorde, the problem of deportation, we knew it because we had talked about it when we were talking about Marceline. Marceline was constantly coming back on it. And every time she talked about these problems, there was a kind of exhibition, like many deported people, who want to show the horror of what it was, who add... Nom. And the dialog became very difficult because, for example, she was talking to Morin about these problems and the attitude of someone who has not been deported in front of someone he has been is an attitude, yes, well, we say nothing, it's a horrible attitude. And in front, it is horrible to deported, put things back, which is a completely normal reaction. I was there, you were not there, so you can not realize the horror of what I have experienced and what you have not experienced. So the testimonial at that moment becomes something quite obvious, and I absolutely wanted there to be an element that recalls this, that explains Marceline's character. We didn't know very well how to do it, and then it was the 15th of August, and at that time there were still filmmakers as usual who were shooting scenes of occupied Paris.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1007.84,1087.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 6:\u003c/strong\u003e So we said to ourselves, let's go to the place of the Concorde, where there will be German soldiers. And we asked Marceline what it reminds her of. And she woke up too early. When we arrived at the place, there were no German soldiers, nothing. It was the myth. There was nothing at all. Hmm, we said to ourselves, well, never mind. So, we had the idea...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1088.89,1120.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I said to Marseille, here you are, you stick a tape recorder in your hand, with a microphone, and you walk on the place of the Concorde, which is empty, and you speak, you say whatever you want. And she came out with this dialog which, for me, seemed very extraordinary, where she spoke to herself, since no one could hear what she was saying, and that we continued until the end. You had already listened to it and then you... No, no, we didn't listen. You extended the... We stopped at the Concorde. We had finished this scene. And Marceline said, I'm not done yet. So we took her to the car. We made a small space for the opera, but it didn't work. And then we came across the hall, which was empty. And we made her walk in there. Or she told exactly what she wanted. So... When we saw the rush of that... The woman's producer was struck down, saying it was very bad. Yes? Yes, very bad, it's not worth anything. What does it mean, someone talking to themselves in the street? Me and Morin, we saw that, and on the contrary, we were very moved. It seemed to me something extraordinary. And what seemed important to me was that someone could speak so sincerely, in this way, by walking. In other words, to evoke, to speak everything while walking, which is a very strange thing. And in particular, if you will, one thing that impressed me a lot is the fact that when she spoke in the halls, well, it was really involuntary. And that's what I really like about this kind of cinema, it's what's going to happen, we don't know. She started talking about her return. Why? Because the halls look like a station. And you see, by association of thought, she immediately spoke of her return, where her family was waiting for her. But there was no one, his father was not there. And then there was an isolation. An isolation, yes. Well, these are miraculous things, you see. Which for me seemed like a miracle. Because we had absolutely not wanted it, we did not know. It could have given nothing at all. Well, when we then projected this story to Marceline ... Marceline said that she wasn't concerned by that. What does that mean? It means that I am an excellent actress and I am capable of playing that. It's not true. She may be a very good actress, but I am convinced, and we are convinced, that when she talked about that, it was really the real Marceline, very sincere, who was talking about all that with... Exactly. What she had felt was the way she was. So that made us think a lot. To have these privileged moments where people say something. But the difficulty is that from the moment Marceline had seen those scenes, she thought she had to play that role. So that's where there was the limit of talking to your students. She was at that time with this young boy called Jean-Pierre. And, uh... We shot the film without really knowing what it was about and we lived in permanent contact with these people who saw the film little by little and the film was for them a reason to live during these few months since we had asked them to be at the disposal of this film, so to be with us and they were automatically following the development. And so this is the very strange side of cinema, it's that ... When Marceline was with Jean-Pierre, there were problems that were being posed to them, problems on which Morin insisted on the relationship of this couple, of what was not going on, etc. And we saw something strange, and that I saw in other films, is that at that moment, cinema became, for these people, a pretext to try to solve problems that they couldn't solve without cinema. For example, when we were in Saint-Tropez, Marceline and Jean-Pierre were there, and one night they were yelling for a very subtle pretext. And Morin told them, I want to sleep. If you want to yell, wait for tomorrow, we'll yell in front of the camera. They didn't yell at each other, and then the next day they did, on the toilet. Well, of course it's something to be concerned about. But it's one thing on which... You guys have the same thing, a big cream too.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1121.53,1398.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Thank you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1399.2,1399.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e This is something we often asked Morin about. We are convinced that what was said in front of the camera was 90% extremely sincere and on these 90% there are maybe 10% of things that are never said otherwise. Never, never, never. Which was, if you will, this extraordinary pretext for people to say something by having the possibility, then, to dedicate themselves to saying it was for the film. Which is an extraordinary possibility, which is to be a character who is both himself and who can be disavowed since it is an image that we give and that this image, in any case, can say, yes, it is not me. And there, I saw, if you want, the problem, I think, which you asked earlier, this extremely strange and very dangerous game. In any case, Jean-Pierre and Marceline are extremely intelligent people with a very strong education. But when we have to deal with less evolved people, when we make them play this psychodrama that engages their existence, from the moment there is no more film, it's the fall. It's over. There is nothing left. What's going on? There is no longer anything. And there, if you want, I think we have touched one of the moments, for example, this scene on the Thank you for watching! That people found horrible exhibitionism. It was not true. It was a couple who were yelling very sincerely. There was exhibitionism at the beginning. So obviously the boredom is that this scene of yelling lasted three quarters of an hour. And we kept five minutes. And that's where the lie is. Indeed, we have privileged five minutes which seemed essential to us while in the context All this came with forward, backward, silences, things that were essential and that were overwhelming. I tell you this because what made me think about this problem and the difficulty there was that after making this film, we were during the whole shooting absolutely enthusiastic, saying to ourselves, we have a fabulous tool. On the technical level, We had discovered with Michel a series of a lot of things that he himself had put to the test in Canada but that he had burst, that it was the possibility to shoot anywhere, anytime, any way which was still enormous. The use of very small rooms that allow, for example, to film a scene like this with practically someone who would be there and no one around can know that we are making cinema it's still huge. So to allow people to be in a natural and sincere setting. So, we had discovered this thing. And then, when he decided to make a film... Now we are entering another domain, and a domain that is certainly as difficult as it was the development and the structure of this whole. This structure that you are trying to make, evoked by your people, and which exists. Because God knows if we have worked on it, it seems to be extremely thin, etc. But it is terribly concerted, because without that, it is not worth it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1400.99,1601.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I want to tell you what they discovered, it may interest you, because none of the French critics talked about it, I don't know if it's really true, but they found that the thematic structure is more than the structure of how we live, of the moral. Or the social structure where people come out of society and then we dive into the individual and we go back into society. More than that, it's only grace.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1602.03,1631.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e I hope I am.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1632.54,1633.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But that it was a failure, a failure thematic. Yes, yes, that's it, yes. Failure. Yes, that is it, that. Each step will penetrate through the hypocrisy of the beginning, the hypocrisism of the start, the people, yes yes yes, on the surface. It plunge into the individual, You just got It's the failure, the ambivalence, the ambiguity of the world, of these gray people. And from that moment on, it goes back to the social level. But with the same theme of failure, where these people who were failing with their lives, take the point of view. He criticized the world for not solving the problem that they couldn't solve.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1633.75,1694.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, exactly, that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1694.87,1695.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And then the two themes of the individual and the society join together in Marseille, in the place of the Concorde. Yes, that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1697.42,1705.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, absolutely. The most surprising thing for me is that when I watch the film five years later, I realize that this film is a very sincere image of what 1960 was.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1706.699,1722.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The ambiguity provoked by this war in Algeria.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1724.11,1727.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That's in me, man.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1728.62,1728.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The film was a failure because we had left for Paris. Yes, and the film ended on failure. Yes, a failure of ourselves. So we found that. I'll explain that to a child. In French, there was a film for a child to watch.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1729.03,1740.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That's right. That's exactly it. And what I'm telling you is that. It was even a failure not to be able to understand this reality, not to give it. So a film that does in a way... Exactly. And the whole film was edited in this way. Ravel, the editor who worked on it, did this work. The final scene was shot with Morin when we had finished editing. And where was it finished? And the failure, when we project the film to people... The horrible failure of these people, the horrible failure that we think, we, we think that all these people that we are going to bring together, who did not know each other, at the starting point, we take individuals, well, who represented different groups, it was not at all sociological, but we think these individuals put together at the end. Their project in the film would feel solidary, and they would have things to say. They would have nothing to say? No, I don't want to see Marceline, I do not want to meet Marie-Lou. No, no, I want to know her, she is horrible, I have nothing in common with these people. In other words, it was a total failure. So the film was at that time, it should have been edited like that. But the big point was that all the people who collaborated on this film were marked by him. First of all, by an experience that was fantastic. So the desire to do the same thing. And at the same time, a kind of fear of playing that. Because, well, it didn't end badly. There was nothing, there was no big deal, but it could have been very good. When Marie-Lou, for the first time, told us... Excuse me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1741.62,1840.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 5:\u003c/strong\u003e Good one.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1842.73,1843.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e When Marilo told us for the first time, I didn't even have the courage to kill myself. I was the one who was filming. It was at Marceline's house on the fourth floor. The window behind her was open. I was with one of my comrades. I glanced at her and said, this girl is capable of killing herself through the window. Do you realize the most beautiful suicide of someone who is suicidal to commit suicide in front of a camera to have made this statement. It's still terribly tempting, so we risked this kind of choice. We noticed, it was really terrible. Edgar Morin suffered terribly from this film. He was himself, he thought we could straighten a social line, he thought that we could show the working life, etc. And then he realized that all this ended in a unpleasant way, etc... So, that was the thing. But all the films that were made in this genre afterwards...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1845.0,1904.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He thought he couldn't show the life he lived. Not at all.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1908.66,1913.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e And he thought that, indeed, it was at this time, if you will, the idea of the Algerian war that had to end, this bet that we had made, which did not end. This summer of 1960, which was as lamentable as the others, where people went on vacation. We shot a lot of things in Saint-Tropez, elsewhere, and we left nothing, because it was trivial or very few things. It was really showing the indifference of the French in front of the world, in front different problems. And, uh... When we tried to find the title and we found Chronicles of a Summer, it was what seemed to us the closest to what it was. It was a summer like the others. And people who play a strange game, and when they come back, it's the beginning and it's over. The jumps stop.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1914.13,1959.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There was a lot of... I'm sorry, now bringing the questions to the questions, it looks like an interview behind the scenes. There were several students who thought that the camping part was bad. But others, who disbanded the film and didn't fit in with the film. But there were others who responded, who thought more. It was more in the sense of the film of a world, of a medium world. Where values were not ensured. In a sense, in this perpetual failure of life, which seems to be natural in this setting, the episode of The Flash came as a moment of retreat. That's right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=1961.02,2028.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e It's a bit of fresh air in the middle of the smoke.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2029.41,2032.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That makes them infinitely sadder.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2032.96,2035.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, of course, it was the last... Yes, it had been shot in Fontainebleau, with this group of workers who were going to find the thing and who ended up with the drama of Angelo sending it back, which was true. So that's where it was serious, if you will. It was in the working environment, because Angelo was a comrade of Morin, and indeed he had been sent to the door of Renault. And at that point, Angelo, we were responsible for him and she was trying to find a job for him. It was very complicated and that's the danger of this kind of film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2036.389,2069.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So, here, during the editing, you went straight to the problem of what is fiction, and finally, you had to make a fiction that represented...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2069.969,2084.889"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e At that time, the problem we had was whether the solution would have been to make classical cinema, that is to take the actors, to prepare the scenes and make them play them. Since at that time we would have avoided this huge amount of energy and we would be able to express something. But it's not true. If you want, it's true because, in fact, what Sadoul said one day... Speaking of this film, which he liked and didn't like, well, there are a lot of reasons, like everyone else, well, what he said was right, is that, in fact, this film was a bit like what Apollinaire did in what he called the Poems Objets, where he collected the pieces of conversation in a heart, and tried to make a poem out of it. So that's where we enter another domain, and that's when I think there's something very important that is actually tried. Of making cinema by taking pieces of reality and at that moment, by making an artistic composition from those pieces. Like the papers glued by Braque and Picasso. So that's something fascinating. We find the experience of Vertov, we find these experiences. That is, the world to the improviser and the assembly to the improvisor to try to express something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2087.59,2161.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The documentary has been trying to do this for a long time, but as you said, from the outside. So now you wanted to reach, through the documentary, the inside of Romanesque.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2164.43,2178.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e We have seen the experiences that have been made after this film. I consider that Chris Marker's Jolly May was much more successful. However, in fact, the reflection, and it's not because I made Jolly may, I don't care. In fact, I do not believe in reflection. It was more successful because there was a very brilliant commentary and which allowed to create a kind of set on these elements. But... If you want, I would prefer Morin's heaviness to this brilliant comment. Because a brilliant comment allows you to do anything and to link a number of things. In my opinion, the film Jolimé was much more superficial than Chronique d'annetté.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2181.21,2227.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Me, I see the others, nevertheless, it's been a while now, once Sadoul looked at us all in class, he said, but well, you're still at the pure cinema stage, he says, there are all kinds of films. And finally, Marc-Hen pleases me, precisely because he brings everything back to him. And I think you like me a lot, because you respect the thing, but all the time... We're giving something personal. You go to the subject, the marker brings the subject. And... But I know that. I know...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2228.91,2263.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I know that. Of course, of course. So, the following efforts, if you will, we fell very quickly into what was at the bottom of the trap, that is to say, in the television report. The reproach we made to Chronique de l'été is that it was not a film, it was no show, the producer thought that people would go see it in the cinema, no. There were very few spectators, it wasn't a big commercial success. Because television has adopted this kind of system for a long time. So it was more something made for television. The drawback of television, in my opinion, is that television is a show, as everyone knows, reserved for a particular show. There are four, five, ten spectators at most. There is no communion, there is nothing. They are people who remain alone in their point, who see something, that's all, as we read in the newspaper. And I believe that it is a mistake, in fact, that in this kind of film, what is important is to trigger a collective phenomenon. So that people can participate in something and collectively question something. The films that have been made, for example, like those by Mario Rouspoli, you have seen them, The Damned Earth, The Loser, are more television films than show films. However, it's a terrible shame, because in all these films there is a search for images that was very, very clear. It's in the interior of the house. That's it. And who has television gives us absolutely nothing. So that was the point, and if you want now, since that time, while continuing to tell me that I have to go to the same point, my position would be the following. First of all, since Chronicles of a Summer, on a technical level, practically no progress has been made. That's for me a big point. I'm going to show you how to use the camera. We are almost at the same point. I see the films that we are currently shooting are shot with, finally, well, maybe not the same cameras exactly, but finally, very little progress has been made. And the shooting, the problem of the shooting in its synchro, without lighting and without means, is still, is not always resolved. That's already... We thought that this film was going to trigger a sort of liberation from the technique. It's more like a formula. Yes, that's all. But that's it, there was no other thing. And right now, when you're shooting in sound-synchronism, when I was shooting, for example, Gare du Nord, it was with a camera connected to a philomaniac, with a team of people walking in the street, but in very difficult conditions. So we are not at all liberated in this area. I am currently using one of the only cameras of sound-sychronism in Europe. It's a amateur camera that I've printed to allow me to do synchronicity without any link between the tape recorder and the camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2263.32,2465.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I think you have made a lot of progress on your concept of what we can do with this technique.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2466.3,2473.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, but the technique has to be followed. For example, at the Musée de l'Homme, sometimes people come to ask me for lessons to make synchronous sound on the field. Ethnologists or people who go far away. We can't give them the material, it doesn't exist. There is one camera in Europe that works like that. Coutant? No, but Coutan works even with a wire. I have an old beautiful place that I made, that we made, with an engine driven by Quartz, and a Quartz on my Nagra. I have no connection between the Nagra, between the device in the instrument and the camera. Bon alors We're at a terrible point, if you will. They're currently fighting with the manufacturers, but there's a kind of apathy. That's terrible. It's very sad. It's sad to see that there's been a sort of fire and that people have built their little mechanics. They've said, we've got the market, so let's stop. That's the first point that's painful. The second point is about the way they proceed in this kind of film. Well... At the moment, I'm still wondering how a film of this kind should be edited. I'm currently finishing a film outside of the one on lions, which is a very classic ethnographic film. I'm making a film that is edited by Annie Trego, on street dancers in Abidjan, and which poses terrible problems. It's entirely synchronic. And the editing technique... Pose enormous problems, and which join those of earlier, which are esthetic problems. For example, these are people whose interest, if you will, is the following, these are excellent dancers who dance in the streets, with the sound of drums and songs. Contrary to what usually happens in Western dance, the dancer is the conductor. Suddenly he's inspired, he makes a series of figures, and the orchestra follows. If the inspiration is good, the rhythm and the melody are structured, and there's a masterpiece that lasts 30 seconds. It's never the same, because it's improvised, he's the conductor! The orchestra was only the stimulant at the start to launch it, and all of a sudden there is an improvisation, as in jazz, the best formula. Well, I shot a film about it, but to feel this thing, it is necessary to show when it does not work. That is, on a three-minute plan, there is a minute of starting, there's a mediocre minute of failed attempts, and then there's one minute of masterpiece. However, if you show this story, you can't show these three minutes because it's terribly annoying. So you have to find a solution. And if you fall back on the same system, you have cut. And cut in a material that is living material. And cut at the right place. Cut at a point that makes it possible to reduce the time. To show in one minute what happens in three. Or in 30 seconds what happened in three minutes. By showing the essential, which is the role of cinema. Well, that's a puzzle, and we don't know how to do it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2474.34,2670.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I faced the same problem when I was editing the last movie I saw in Italy, The Walk, in Washington D.C. Because I wanted to, in the space of 30 minutes...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2672.1,2683.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Okay","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2683.88,2683.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e give the feeling of the duration Yes So that things happen in a way not imposed by me who said, look here, look there but rather that the spectator undergoes this march with the joy that it had without any picnic long side and as long as it is not boring So he asked me this question, how to make a film that only shows people walking, who arrive at Lincoln Memorial, and yet that it is a film about walking, and yet the viewer has the impression that he has undergone the duration. It wasn't supposed to be a brilliant, eye-catching montage, etc. But it had to be edited. So I had to break my head a lot because I had to find the places to cut it to give the impression of a double roll. That's it, yes. So, finally, I pulled myself together by playing on the sound which announced another plan. And then I came to this plan. For me to come to this plan, without this plan having the impression of being imposed by me. That's it. And I realized that as soon as we started cutting in the rush, we killed this existence.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2684.69,2779.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Exactly. That's the big point, but I think it's a fascinating problem. When you make a silent film, this is much less important. Because in a silent movie, you have the possibility to make a cut that you can't feel. You have the opportunity to bring together events that take place at an hour's intervals, and we don't know. But when you have direct sound... That's where it gets horrible. In my dance story, we now come to the conclusion that what we have to do is cut the image and the sound. That is to say, to make a sound editing where we go from one thing to another. Absolutely no link, no mixing on two bands. Well, I think that's the honesty that will show like a visual editing. But it's horribly difficult and that's where I think the big point of this kind of film currently resides. If you want, we'll come to the conclusion that either we have to show the rushes in their entirety. Which will annoy everyone. Well, which will annoy everybody. So why did we make so much film? It's for these few friends. Well, that's very good. Or we betray this reality, or rather we make a work of art. And that's where I believe the problem is. Because if the problem consists simply in turning on a camera... And to stop it an hour later by saying we made a film, everything that happened in front of the camera, very well, no. There is therefore an additional element that plays. So, I believe, it is towards this balance of the production itself, and the shooting and the editing, that will solve the problem. For example, there is a point on which, personally, I am terribly sensitive, which is the operator's problem. Well, it is certain that I believe that in this kind of film... The director must be more and more the operator. There is a stimulant of the subject on the way to take the image, which is essential. There are several possibilities, there can be a collaboration with a cameraman who is at the same time a director and who will automatically place himself in the right angle and will make the right movement depending on what is happening. The operation being monitored by the director is a kind of dialog between a director operator and a director who, himself, would be more of an editor ready to arrange all these elements. Well, oh the director, the director himself, and that's why I try to be myself, his little thing, and do all his work completely. With, at some point, a dialog, the external dialog with the editor, who didn't watch the film and who brings the eye of the outside and says, no, it works, I don't believe it, or this or that. But it's a problem that's far from being resolved. So if you want to come back to the question you were asking earlier... I've been trying since the beginning of the summer to go in two directions. The first being to deepen the process of recording reality. For example, in the films I make, for example the film on hunting in Lyon, which I am currently finishing, which is exactly that. I'm trying to get as close to reality as possible with the image and the sound. And it's horribly difficult. And, on the other hand, to use it. Of these processes for fiction, for fiction films. That is, to tell a story in which there is a huge part of improvisation and especially a huge share of chance. I believe that surrealism influenced me in this way. Chance is for me an essential thing. There is all of a sudden a meeting that takes place. Between two unusual things that have nothing to do with each other, and a structure is created because these two things meet. And that was the case of Marceline and Léa. Léat had nothing to with the concentration camp, it had nothing in with Marceline, we had never been there, we had been there by chance. But the meeting of this frame and this girl in an unusual march, something was born. So I think we can do, if you want, of fiction, by trying... To stimulate chance by trying to make encounters of this kind. And all the films I've made since Chronicles of Honesty were based on this, on unusual encounters and on the use, not on real life, but on provoked life, the use of the technique of the most free-spirited reporting cinema. This is what Godard did in the Paris VuPar film, or he asked Maysles. To come and film, as in a report, a story that he was telling. Well, I think that's fascinating. Because at that moment, he introduces in a story the tone of reality, which is something extraordinary. I tried it in this sketch that we did on the North Station, which was a fully prepared sketch. About the very simple story of a girl arguing with her husband. Did you prepare the dialogs? The dialogs were prepared, but with a very large margin of improvisation. They were prepared just before the shooting, and with a large margin improvisation, and the fact was, if you will, the adventure of the shooting was that we were shooting in one shot, in a completely moving setting, since we were leaving a kitchen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=2780.41,3152.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e To this one","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3154.64,3155.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e In one shot. We shot it in two, because we couldn't shoot the film in 18 minutes. And we can't shoot it in 18, there's no charger. But nevertheless, we shot the two scenes, the scene of the fight between the couple. We shot in one shot, in four different parts and ending in an elevator. So, bringing the element, if you will, of the camera that follows, but in incredible technical complications, from a light point of view, etc. And in the street, the girl who was arguing met a boy who offered her exactly what she offered to her husband. So the theme was very simple, and she refused, and the guy committed suicide. So the idea that I had was to make a film in one shot, precisely to try to avoid the confusions. To avoid the film that we don't want to edit. If we had let people do it, the debate would have lasted an hour and a half, and then we would have had to put up with it to get it to shrink, something showable. From the moment I said to the guy, you have 10 minutes to yell at each other, and if it ends badly, there had to be 10 minutes. So there is a kind of stimulant that makes people themselves, who are not professional actors, play a role, and they play that role depending on the time. Donc participe à l'action. Which is the time limit they know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3155.67,3239.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Let's try, if you want, to reconstruct your approach to put in condition these non-actors from the moment you took them into your hands. First, why did you choose them, how did you chose them, and then, how you brought them, at least, to guarantee... Something that is going to happen, that will be potable in a few minutes, based on your experiences.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3241.549,3272.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e The first problem is to know them. In this film, I shot with Nadine, who had shot a number of films with me, so they weren't afraid of the camera, they knew what they were doing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3272.97,3284.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Nadine, c'est le deuxième filet d'un connecteur, n'est-ce pas?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3284.57,3286.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That's it. The other actors, I took my producer, as I would take you, and I told him to make a psychodrama, you're married to this girl and you're arguing, you're a little bourgeois, and so on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3286.17,3302.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You try to bring them back out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3302.72,3304.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, yes, them. And at that moment, I do an experiment with them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3304.97,3309.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Nothing","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3311.68,3311.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e non-filmed, you look at what it looks like, and the first try is always very, very clear. If it doesn't work at all, it's over, we don't talk about it. If it works, it is very good. If we see that there is something, it will be very good, if the people are able to do something, without having to do anything, but the people always have a lot of fear in that kind of thing, and I think we should take advantage of that. So, at that moment... We try to, I lead two fronts, and the realization, and history. Well, we put history to the test with them. I go to a bistro, there I have three characters, I come with them, I say, here's how it's going to be done, here is how I see things, and I have the arguments. Well, then he corrects all the time. No, that's not it, it's not possible, I don't do that, etc. And he asks questions, he says, what am I? I'm an office worker, what do I do? And little by little, a character is created. A character that is both them and not them.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3312.539,3374.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So we come back to this moment of Marceline in the reality, the kind of liberation, in the sense that it's not her.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3375.72,3383.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e So she can do what she wants, she can express what she would never express otherwise.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3384.38,3388.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But what she's expressing, in the end, is part of herself, because she only has her own material.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3389.04,3394.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e So you do this kind of thing, but here I intervene, in the sense that, very often, to avoid the spread, I come back to my story.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3396.27,3404.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Au moment de répétition...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3404.98,3405.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, ask for repeaters. On my story, who should be the story, properly said. So we must not get lost. Well, there is something else that is going to play at this point. It's that the characters will have their movements and their play conditioned by the camera movements. There is a certain number of things that will happen. At this point, I repeat with the camera.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3406.27,3431.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You have planned this camera movement","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3431.24,3432.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, yes, I repeat with the camera. There I shot, so in Gare du Nord, we shot something for nothing in black and white. The film was in color, we shot a thing like that, to see what it looked like. And the people had a text. Finally they arrived, we arrived at a kind of text, written, which was their dialog. And they did a repetition with the text in hand. And see who threw it. We did all the repetition, we saw it. We projected it. And there we realized... They too. Aussi tout le monde. It seems like a mistake. I don't know if it's a mistake, I don' know. So we projected that, people saw what was wrong, what didn't fit, and we discussed it very freely, we changed the text, etc. And the operator saw what wasn't working. We solved the sound problems, which were terribly difficult to do. And at that point, we entered the big game, to which everyone collaborated. That is to say that we started installing microphones in this apartment and lighting. And everyone was working on it, both the actors and everyone. So now the work becomes a collective work, where we work on something that will actually take 10 minutes of shooting. And... We shoot. So now, if you will, since there was a story, we shot, contrary to what I always do, we shot this shot of the first sequence and two of the second.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3433.149,3518.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I thought it was all in the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3518.82,3519.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, no, there are two shots, I'm telling you, because we can't shoot for ten minutes, there were seven ten-minute shots. It's the same story seven times. We started again this time. Because the cameraman broke his figure at some point, he went into a wall at another time, because there was suddenly a fray, because there had been something that didn't stick. So, it was very strange because we first shot the scene inside the house and then the scene outside. We shot the inside scene this time and the best was the fifth. And we shot it twice outside, and the best was the first one. Which is very strange. The first one would have been the best inside, if there hadn't been something technical. I think there was a lamp that went off. There was a light that went out, and we had to start over. And that's a very strange thing. It's actually... The mystery of the first take, which in my opinion is always the best. When we have to deal with people who are not professional actors, because if the actors are not professionals, the more they turn, the less it is good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3520.31,3591.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3591.75,3591.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Did you find that there was a game you got from your non-actors that was still different, that you would have given to any actor?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3592.66,3603.399"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Oh yes, very different. I had someone who was a bit of an actor, who was Gilles Quéant, who had shot with Godard in Living His Life. And if you will, it was him who had the most trouble getting into the shot. Why? Because he was playing. He was playing by having a lot more of the track at the same time. And by having the experience that others were throwing themselves into the water because they didn't know very well where they were going.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3604.189,3637.419"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e During the rehearsals or even during the rehearsing, did you realize that these people were playing? Yes, yes. After they had to leave. Yes, Yes. How did you manage to give back a sense of existence? Did you manage this problem? What can I tell them?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3640.919,3665.859"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, he realized it himself right away. He realized it because he participated in something collective, in which he knew very well what he was doing. And there were, at all levels, at the level of these non-actors, but players, technicians, directors, there were people who were doing a job together.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3666.939,3688.399"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It seems to me that in my experience with the Eugé, it's the thing that launched me to this book. Sometimes we arrive with donors to obtain unexpected results, while giving the text in an absolutely classic way, by saying, well, you're going to read this text, that's it. But other times, we feel people who care... So it becomes completely artificial and it's futile, so you have to be able to overcome this problem. Did it happen to you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3688.919,3725.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, very very often. Well, there is a sort of... There, you have to stop. I stop and we start again the next day. Or we can start again, but... If you want, we arrive at that moment at the wrong tone, that we are forced sometimes to keep, which is the wrong sound of the stuttering. Which is the false tone of... To try to express yourself. It is better to let people try to show themselves. And above all, if you don't want to say it, you have change the text. Hmm? Tant pis, y'a rien à faire. Il faut changer le text. And, uh...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3725.6,3756.029"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Can you think of a moment in your life in the Gardiner where you had problems, how did you take it, what did you tell people?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3757.68,3768.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, there was a moment when it was dramatic because this story is completely false in itself, it is absolutely unreal. In 20 minutes someone does not meet in the street a character who offers him the wonderful life that she reproaches her husband not to offer him and who commits suicide. So it's a completely false story. However, the element was the following, the type I had planned when I was told about this film, I wanted to shoot something very realistic. We had planned to install a very sad and dramatic bridge on the north bank of the Gare de Nord that I had chosen because that's where the soldiers left during the war of 1418 to go to war. One day, me and my father showed me this bridge when I was very young. He told me, that's really where the soldier left in 1418. For me, it's really the bridge of the drama. In fact, it is the Garde du Drama. The Garde de l'Est has always been for me, the Garte Verdun, all that. At some point, the guy steps on the wall and jumps on the road. And what I wanted to do was install a net and let the guy really jump. And in this same shot, we see this girl and the guy who passes, the corpse, the one who kills himself. Well, we couldn't do it because the French Railways refused authorization to shoot. I was too scared. So, nevertheless, the film was shot in such a way that there was this accident. It's very difficult for a girl like Nadine to play this role. To be all of a sudden, she shouts, sir, sir. Well, in a very strange way, it's the adventure of the shooting, because it was an adventure that replaced this element, which was the fact that this very complicated 10-minute plan that we were walking in the street. Live, without any possible stop, putting the people in such a state of tension that they were something very different. And really, that's why the first shot was the good one. All of a sudden, there was an element of drama, indeed, which was the abode of the sea, because we arrived at the end of this very difficult shooting. Well, the second time, it didn't play as well. The second time it was much less good because of that. So that's the virtue of exactly like Moreno. To make a film of this kind, you have to be silent. You say, Moreno, I don't know how to do a short, I start and I do it. Well, that's exactly it. I don' know how play a dramatic role, but I start it. I know that a whole operation depends on me and my game. So I'm responsible for the efforts of five guys who are there, and they are trying to do the best they can, so I give the best of myself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3768.47,3942.479"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So, in a sense, the conditioning that has overcome this problem of track, this frozen phenomenon, it was even the nerve, the tense atmosphere that the shooting provoked, plus the sense of community.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3943.46,3964.259"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Exactly. And I would never have been able to see it if the film had been shot in multiple shots. Because in multiple scenes it was over. We needed a professional actor to find this emotion all of a sudden. He would have recreated it if there was another one. Yes, we needed another one, we had to recreate it. Whereas here it was the result of a considerable tension, of a continuous improvisation, which, and people know it very well, is a success, because the tone was there. Little by little, we made this thing ourselves.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3964.79,3995.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You think that by starting your work with your non-actors, at the beginning, with improvisation...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=3996.089,4001.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e To add something. It's indispensable. I don't think there's any other way to do it. I could never have done it by writing a text and playing it forever. But you still wrote a text. I wrote the things, we wrote the stuff and people... But in the rehearsals you improvised around it. We improvised and when the guys improvised something I noted it. Ah yes. And I repeated it. There was a kind of diagram and people knew I had the diagram in my hand. But they were free to do it, to follow it more or less, but there was still this scheme that needed 10 minutes of shooting.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4003.839,4041.299"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What are the psychological aspects of the interfaith? What are these incredible improvisations that contribute?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4041.93,4051.589"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e To create the characters. The characters are born from the actors, infinitely more than from a story. The characters, their attitude, their behavior, their dialog, are born of the actors I played.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4053.43,4068.189"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So it created a certain power of creation, it warmed up, opened the doors of something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4068.229,4076.589"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, of something, but that I didn't know well. Because these people played a role that wasn't theirs, once again. That wasn't their's, and that was probably very close to theirs. Because they chose the position on a given theme, since the theme was given. On a given story, they chose a position or a reaction that suited them best. In improvisation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4075.74,4099.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I've done a lot of it. I've noticed one thing, people start improvising or even writing dialogs in the sense that rather than it coming out spontaneously, it comes out as if they were writing a text. Nobody Waves Goodbye There's too much dialog. We feel that people can't leave a time empty because they're afraid to talk. So they talk, talk, and talk, to fill the void. Is that a phenomenon? No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4100.92,4145.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, not at all. It happened at the beginning, where people always wanted to say something. And where, in the end, there was great silence. And then, where there were adventures, for example. I'll give you an example that's very curious. The... By the way, very exciting. In this... This cleaning dispute started in the kitchen. And the... The woman was preparing an egg to the shell for her husband. And he used it. But we never knew if the egg was too cooked or not. Which was a subject of debate. Yes. So, in one of the stories, he opens his egg and says, not quite cooked, you know he likes them well cooked. One of the shots. Yes, one of shooting. And the next one, too cooked, you know I don't like them. So, there was constantly an element of surprise. Which at that moment brings an element. And the surprise element was, if you will, that in none of the rehearsals, even in the shooting we had done, nothing had been perfect. So there was always an exit from the camera that came out of a small corridor, a movement of stuff that I never gave in advance. That is to say that even each shot, when we started again, we started over again because there was a pimple. And the pimple came, well, the fur was nothing, but it came from the fact that the cameraman had missed something, there was false shadow. There was a light that was flashing. There was something of that kind. And it brought the element of adventure, therefore of improvisation, therefore risk, which is essential. For me, it's the absolutely normal thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4146.63,4244.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Are you here to give us another surprise in each of your shows? Do you have something in common? No, I can't.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4244.099,4253.019"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, I couldn't, but he was part of it. All of a sudden, there were so many elements going on that people weren't in the same place, that the objects weren't where they were placed, and that, for example, the girl, having finished her laundry, was getting dressed and screaming with her husband, didn't find the skirt where she had put it. So there was a whole element of continual surprise, only in the street. We didn't know who we were meeting. There were passers-by that we were trying to push, but they were turning around. So there was constantly a new element. Continuously, continuously, continuously. And I think that's essential in this kind of thing. It's telling a story, but telling it in a frame and context that is never given in advance. And there is this kind, I tell you, of community, what we could do. Because it can exist in a jam station, where everyone improvises, but depends on the improvisation of the other. In what? Jam station, jazz, exactly. You have this kind of collective improvisation, but whose success depends on the dialog of one and the other, and therefore on their stimulants, etc. Well, that plays in this field, in a shooting like this one, very risky. We didn't know in advance what it would look like.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4252.63,4336.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e To control the rhythm, because when you enter something that happens in a certain period of time, the same story can be boring or wonderful, depending on how the events happen. Have you planned? No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4337.0,4357.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, in the repetition. You can see it more or less. No, when I had enough, I said, well, let's go somewhere else, it's over for here, we're leaving, we go to the other room. When I get bored, I look at the thing. If you want, when i'm shooting, here it's complicated because the shooting is very difficult, technically. I was not an operator, it was Becker's son who was an operator. Etienne, Etienne. Etienne Etienne So When I make a film, I have no idea about the length of a shot. When I see it in the camera, when I get bored, I stop shooting. And then I did the same thing. When I started to get bored, we went somewhere else. So we left, I took Etienne by the shoulders, I pulled him back and the people followed. Oh good, I see. If you want, there is a very strange...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4358.48,4410.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I know it's a rookie minute, but","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4410.83,4412.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, I stop the camera at a place, so they stop in front of me. Did you warn them? No. For example, when we turned on this walk along this bridge of the Northern Guard, at some point I took Etienne, I put him in front the landscape, and people stopped in front, since he had stopped and left.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4413.96,4433.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In this way, you have influenced me enough, by using your voice...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4433.9,4440.099"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e There was an element where people had to stay in the field, they knew it. That's why I think we need a total collaboration, that's why we have to show the rush, that's the reason why people have to see what they're doing, that they know what it's giving. They have to speak in such a way that they'll know where the microphone is. There's a whole set of things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4438.94,4458.219"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e As you showed the Eurach, it means that you shot the sequence or the sketch on several days, so could people see it? No, no, no. I shot the repeat.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4459.09,4469.809"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, no, no. I shot the film rehearsal. The film rehearsal, black and white, which was something we shot in one day, like that, and which we saw three days later.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4468.51,4477.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What was the change of character after they were seen?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4478.16,4482.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Eh bien, si vous voulez, l'histoire est... First of all, there was a tendency to bring in the trivial detail. At the beginning? Yes, by adding on the little daily gestures, a little lunch, you see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4483.43,4499.389"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e After you've seen this video. Yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4500.57,4502.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e And then, after that, to be someone, to become a strange character to whom we gave a... Who suddenly, like Marceline in the Halls, had the chance to express herself. To express something, to express... It's very difficult to say in what way these characters are... It's a very complicated image, but I think there is something in this story.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4503.809,4537.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e When you try to push people towards the character, the emotions that you have, do you try to warm up the actors emotionally, are you aware of that? No, we try... Do you want to redirect them emotionally?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4538.86,4554.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That is to say that they know the story, the emotion comes at the time of the shooting and we must not spoil it because it ... If you want, I do not know if ... You have made films with comments sometimes. Yes. How do you do it? Do you write them down, do you edit them?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4556.599,4574.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you want to add it or do you want me to do the dialog? Yes, yes. Yes, but I always do it after the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4576.3,4582.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e But you write them and you tell them yourself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4583.46,4586.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't know, man.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4587.059,4587.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Bon, et vous l'édite en l'écran.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4587.86,4588.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but since it came out of me, it's just a reminder.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4588.69,4594.769"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Well, but you do it in the projection.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4595.49,4596.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Normally, I lock myself in a cabin and I don't even look at the pictures. I make my text, my comments, I let them come out by themselves, and then I get up to post them afterwards.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4598.23,4608.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I make a lot of films with comments, and if I do it without image, the comment is well said, but there is nothing in it for me, it is hollow. If I say it to the image, there is something more indescribable. I just had an example for this film on The Lion's Lair, where I was forced to make comments, because there are sentences, there are French mistakes in the improvisation, which I repeat. Well, I was forced to keep the old sentences with the mistakes of French, because they were much better than the ones where there were no mistakes. Because the tone was there, the tone that was due to the fact that I was in the story, and this emotion, you have to record it as soon as possible the first time. Now it's over, I couldn't find it anymore. And I think it's this shock of the first times that makes ... In order to answer your question about the actors, it's the first time that emotion exists. It's when they throw themselves into the water. Or they will be professional actors, and it will be the 50th time, or the 20th rehearsal, or they will become someone else, or they'll have complete control of themselves.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4610.26,4680.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There is no chance for actors. No, there is no luck.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4682.49,4684.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e There is less chance. Of course. Here, it's really a coincidence. The coincidence is that all of a sudden, the miracle is due to this emotion of people who know. However, the shooting of this film was very moving. Because, I tell you, everyone was perfectly aware of it. So that's the way it is right now. I'm considering continuing, trying to do something in this field. For example, what I'd like to do, but that's what's complicated, is that the story isn't given in advance. That's much more difficult. That is to say, that the end is not given. For example this girl meets someone at the North Station. And there are several solutions, which are free, and we leave these actors free to continue.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4685.559,4743.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But it depends on the fact that the interpreter is really in the bath. Yes, and that's very dangerous.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4744.09,4753.469"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e And that's very dangerous, because if you're with non-actors... I often thought about that, and I think we don't have the right to do that. But now I really think we can't do that, because... If you start this story, you give people the opportunity not only to express a character hidden, let's say, that doesn't express itself, but also to live it. Oh, life doesn't stop like that. I imagine that I take two characters, a boy and a girl, that I make them meet and that I tell them everything is possible, and we keep filming. It's a wonderful pretext to have an adventure of love, to make a trip, anything, because everything is impossible. But it's very dangerous because you become at that moment a kind of promise, creating beings whose you are the only responsible and the camera and the cinema are the justification of their existence. And once it's stopped? Once it's been stopped, what happens? So I think we have no right to do that. I think if you want, that's where you have to fall back into this problem. Ou bien du témoignage quelqu'un. Who has something to say and can't say it, like the chronicles of the summer, and whose publication is important to help others solve their own problems, or the pure and simple fiction which is a story that we tell and when the story is finished, it's finished to be told.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4754.219,4852.45"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you think it would be profitable for the people of the experience to make a film from taking a man or a woman who seems interesting and to develop a story from his own experience? I mean, really do the psycho in a way. What do you think?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4853.309,4878.969"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I don't think it's very interesting, but I don' t know if it's here...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4879.48,4882.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e La, un peu comme Juppa l'a fait à celui-même.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4882.11,4883.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, but Kudra is himself. In the story of Jutra, there is Johan, and Johan's reactions are certainly very different from that of Jotra. So it's an autobiography, so it's okay. It is himself who takes the responsibility to tell what happened for a story that is dead. But imagine that Jutras meet another Jutrat living this adventure and the film. Or even provokes it. It seems to me very dangerous. If you want, I see in all these small elements that we have had to manipulate, it's fascinating, but it's penetrated into a domain... Which is perhaps forbidden, which is that of the personal life of people who are involved much more than we believe in an adventure of this kind.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4883.68,4935.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You're saying that while it's possible, it can make great results on the film's level, but that it's hurt against the moral standards. I think, I think...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4936.269,4948.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I think there is still a limit, there is a wall of private life that we can't cross.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4948.45,4953.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you think that this element of fiction where people feel that it's not them themselves allows them to do more of themselves I think that's the solution, personally without running the risk of this prolongation after...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4954.019,4969.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I think there are two voices for this kind of cinema, the first is the recording of reality when it comes to important things, important problems, the problem of our time, and in which we have an extraordinary tool that must be put to the point, that must to be arranged. That's what Félix Coq is trying to do. For me, Primary is an extraordinary film. I don't know if it's reality, but I think it is. It's a cinematographic image of a part of the history of the United States. There's a dialog between reality and point of view. It's an issue, so we take a situation as an issue and we try to express it. By being as close as possible to what you have done in the Olyviets, under a theme of fiction, but which was the problem of Algeria, the problem with black feet. Well, that's it. In other words, there are currently a number of problems of people who have problems, who can, who must express themselves. The problem of current youth, for example. Where is current youth going? The problem with the young guys we see here in sports cars, who have a lot of money, who... Well, all that, well, that is something that we can try to express for, and it is our duty to record by image and sound. Images of this reality, which is our reality. And then the second point is to delve into fiction by using this process, but precisely by using fiction on the one hand to tell a story, and on the other hand to prevent the characters from being completely concerned by a film like this one. And then I think we only started to explore that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=4970.17,5070.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Because it's precisely in this problem that we end all these researches. There are people who are trying to tell a true story, which is a beginning, an end, an infinite, where they don't have to only follow a guy like Levin, but where he can take... His idea, his project is to take a pregnant woman who is not married and try to follow her and tell the complete story of this woman hoping that her role is a continuity and that her part is fiction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5071.44,5107.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That's it, I think that's it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5107.7,5110.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So, that brings me to a reflection of Lee Koch, who you surely know. And I would like you to respond to this declaration of principles on Lee Koch. He says, we don't have the right to use the techniques of reality to make a fiction out of it. He thinks that... He thinks he's quite Aristotle. He wants... He says, what I'm doing is in a sense education. I think these techniques apply to education and it's infinitely boring to see these techniques applied to a thing recreated or created that brings about friction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5111.11,5153.719"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Well, my answer is that, from the moment I trust a director, when he tells me it's true, I believe it. In any case, it is true. Yes, but when he says this story is a fiction, I also believe it, it's a question, I don't see why, if you will, why should painting be strictly representative? No, not at all. I believe that it is a process, and that a process can be used for various purposes. There is no reason not to do it. I see very well the idea of Leacock. It is that from the moment we study, we will use these processes for fiction, the viewer will say that when we show them reality, it is also fiction. We know that for a very long time. I remember that I had witnessed a very, very long ago when I was little, one of the first films of Ishak on the mountain, which was, I do not know why, the climbing of the Drus, I believe. And there was someone in the room next to me who said that these filmmakers are great, it's well reconstructed, what a decor. Who hadn't even seen that it was a documentary. Well then, when you see things as obvious as that, it doesn't really matter. But when the camera moves and...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5154.6,5225.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And we see that it's always, what's the word, at the flow of something, it's almost entering the language that we understand by saying, oh yes, it must have happened because the camera is looking for it, there is a kind of, by the way, there is some kind of commentary that this is really happening.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5225.69,5248.269"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I mean, it's authenticity. Yes, we have a sense of authenticity. Yes, but I'm telling you, I believe that there is no reason not to apply this sense of authenticity to the domain of fiction. The only thing I ask someone is to tell me if it's true or if it is false. That's all. From the moment I'm told a story, and that this story seems to me... I don't know, let's take Lille-Nu for example. There's a naked island, it's a play. The director doesn't hide it. He never said that the people who lived on this island were like that. He used a frame, he created a drama, very simple, using the techniques of documentary cinema. Very good. I admit it perfectly. What I don't want is to be wrong about the merchandise. If someone shows me, invents a completely false story, it happens in Harlem. And they tell me it's the reality. For example, when Charlotte Clarke shot the Cool World, she told a story. A story that takes place in Harlem. She shot it following techniques very close to that of Leacock, on the techniques of the reportage. Why would I say it's bad? She never claimed to tell a true story.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5249.13,5323.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e ...Through this story. It made us feel what was real. Yes, exactly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5327.19,5330.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Well, I totally agree. The film moved me a lot. I found length and stuff. But it doesn't matter. The process, if you will, is a process of use. Nobody wave goodbye, it's the same thing. But I don't care. As soon as a director is honest in telling me how he made his film and not pretending to have had the opportunity to film a reality, like in Secret Paris, which is an infection, but we know that, or like in films... Mando Cane or stories like that. You find that misleading? Yes, we don't have the right to do that. You don't show the images to the public by telling them what's going on in Peru where you didn't have a chance to go, you don't know what's happening, by saying it's like that, even though it's not true, even though you reconstructed it. You don' have the rights to do this. But telling a story that appears as a story by trying to give it as much realism as possible at that moment, why? Why don't you blame Carnet for shooting in a half-natural setting? Why don' you blame Matras for lighting that doesn't seem to exist? Cinema has always been... That's where cinematographic creation is fascinating. It's a kind of reconstitution of a reality in a time and space that is not the one in which it was made. C'est vrai. And I think that, I don't know, let's take a western film as an example. A western film shot with this technique would be, in my opinion, extremely fascinating.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5331.549,5426.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e There's a guy in England who wants to do a...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5428.83,5430.73"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e A western film like this one? I think it's exciting. If you want, there will be both extremes. It will be The Fantastic Knight, stagecoach by Joan Ford, shot entirely in the studio, according to what we learn in the books, which may not be true, but I believe it. And this film, which will be shot entirely, there is a film of this kind, by the way, to which we are currently going, in the western. We are approaching this kind of story, a kind of allure. Of reality, of the absence of studios, etc. So, to condemn, like Félix Coq, the use of these techniques by a philosophical position, it seems absurd to me, is to deny progress. I think it's a question of professional honesty. You, when you did the Olivier de la Justice, you didn't say you were making a report on Algeria. You were telling a story. Well, that's all. You were using very close techniques. To try to be as close as possible to this reality that seemed to you to be an essential element of this era, that's all. But no one dared to say that you were a...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5430.75,5499.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/152","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You see, there are people who have approached me on this level that I didn't have. I didn' t go far enough from the current reality of that moment. But I tell you, what reality were you talking about?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5501.26,5513.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/153","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Of course, of course, you expressed yourself, you took this book, well, it's like that. So, if you want, what seems to me, in recent attempts, one of the most interesting things, I'm not talking about Godard's experiences, which are incredible things, Godard is an extraordinarily ordinary character, but I think, if I may, it is, for example, the Mesel experience. That's very fascinating. It's this kind of use of this process to create a new language in the field of fiction. I'll go back to what I was saying earlier. It's a shame that the technique isn't followed. Because we could do extraordinary things, and for the moment we can't. Simply because we don't have the necessary tools to do it. It's going to happen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5513.639,5560.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/154","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You see something in the very nature of cinema, the image, whether it is shot in the studio or outside, it is a side that concretizes, that makes real or authentic things. Do you see something like that in the nature of film, of cinema? This technique that encourages him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5560.19,5585.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/155","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, what I was saying earlier is that the art of editing which consists of putting together two shots that have not been shot at the same time and in the same place is the creation of a new reality, it's the meeting of two new things and I believe that cinema is its vocation to do that. But it's still very complicated because... Every time I make a film, it's a relatively risky and new experience. And then we suddenly realize that this experience is not taken as it is by the people in which we show the film, that they see a lot of other things, while it's not at all that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5586.61,5633.389"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/156","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So, I'm going to let you go because you're busy. I want to ask you two last questions. In your interview in 1960 with Marc Rael and Labarte, you noticed that during the filming of Connected T... All of a sudden, you suddenly have a secret climate Yes and there are... There are bad things happening it's related to what we were saying Yes, it's random, exactly But I was wondering if you could think... The conditions at that moment, the things that created this thing that existed in front of the camera what was contributing to making this climate disappear all of a sudden because we feel it, sometimes it's very painful, we feel people suffering and all of the sudden there's this thing, so all of this that can cross this barrier that fuses fiction with reality or when things start to happen, it's like an happening. Exactly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5635.65,5707.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/157","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I'm going to take a moment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5707.74,5708.139"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/158","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's like a successful improvisation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5708.4,5709.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/159","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, it's good","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5710.99,5711.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/160","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Can you attribute this to certain conditions, whether it's a good or bad relationship with the cameraman, or a team condition, for example, you installed the microphones in the last film. It's in this field that I'm also looking for. It's almost related to sociology.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5712.43,5734.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/161","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Well, listen, here I would say one thing, in fact it's an answer that is not one. There is all of a sudden a perfect communion between the decor, the climate, the action and the technique. And in this way it works. But why? I don't know. It depends on everyone's mood, on what we have to do, on the lighting, on time. There are lots of conditions that need to be met, and all of a sudden they are met at the same time. And at that moment it works.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5737.76,5772.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/162","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But during the filming, you didn't think about how to create the best conditions.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5773.049,5779.049"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/163","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, I think we don't create them. We adapt to the conditions of each one. It's a question of adaptation to the environment and to the reactions of individuals who collaborate. And we throw ourselves into the water, as Moreno said. Only sometimes the water is too cold.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5779.9,5795.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/164","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 7:\u003c/strong\u003e Hehehehehehe","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5796.62,5796.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/165","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, it's not given in advance, you can't know it, there's no recipe, I don't think so, I think that all of a sudden it works. If we were doing the analysis very precisely, we would realize that indeed there is... We shot just before lunch, we were hungry, there are a lot of things of this kind that we don't know and that are very important. For example, if you want, I would bring that up to work moments. Well, when you work on a film, I do not know what are your hours to work. Well, normally, I work very well from eleven to one o'clock in the afternoon. And from 5pm to 9pm, why? Other people might think it's a very happy morning, I don't know. So there is a conjunction of all this together. For example, to give you an answer that is not one, we had a big moment when we shot the exit of Angelo who was leaving the Renault factories. And we took him home. There is a very small part left in the film. Well, nothing happened. We took a bus with this boy. Who was wearing the tape recorder, who had recorded the sound in a permanent way. We went up to his place by a staircase that went to Medon, which went to his house. And there, when we saw the rushes, we all of a sudden were amazed. There was, I don't know what, there was concordance, the rush on Paris, the bright light, himself, who was in shape, Michel Braud, who had done miracles of taking pictures, the sound that was good, well, that's all, there is a kind of thing. If you want, I'll answer in a Jesuit way, I don't think we want to give you a recipe, and it's very good that we want you to give us a recipe. That is to say that every time when we are going to shoot a shot, we can't know if it is successful. In this cinema, we don't want to know. Never, never, never. And we know that at the last moment, when it is edited in the rest of the film. And that's where it's fascinating. That's the essential element. There is still one thing, and we feel it. Every time I shoot, even before seeing the rush, before seeing what happened, unless of a technical defect, unless of this kind of story, if it's good or if it failed.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5799.49,5922.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/166","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I think that in the book of Honesty, the voice of Hegge-Morin conditioned a lot the answers of Marie-Loup. Yes, yes, yes. And it was related to something that I discovered in a lot of other directors, especially Kazan, who talked about hypnotism. Implicit, you know. In the book. Yes, I think it's true. So, it relates to... One thing I discovered from an American sociologist called Goffman was that in life people play a role that varies according to the environment and the people around them. He analyzed certain aspects of life, for example in a very simple way. The boy at the cafe, or the boy in the restaurant, when he comes in behind the scene, that is to say in the kitchen, he is unbearable, he scolds the chef. And as soon as he comes back, he opens the door, but he plays another role, he plays the role. So we are always, the behavior of the character is always influenced by what he does. So it was a bit in that sense that I was looking for, maybe, the pipes on the staging.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=5924.79,6010.559"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/167","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e This is intuition, I think. There is a feeling of... It's very complicated, trying to put people in a frame, in an action that is favorable to the goal. But I think there is no recipe. There is one moment when it works, and one moment where it doesn't work. That's what's interesting. Failure is very important.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6012.25,6034.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/168","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I claim, after having spoken to Godard, that his way of not speaking to the actors, of not saying hello in the morning, of even staying away from them and of speaking in a rather flat tone, which is special for him, even conditions the aspect of the play, which is indeed very detached from the camera. Yes, I think you're right. I think there's a connection there. I think that you're correct. So Godard would never tell me that I'm doing this on purpose. No, of course not. But it creates an environment. An environment. By looking at the behavior of all the teachers, I try to see what would be the configurations that play into it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6036.46,6086.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/169","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, it's fascinating. I'm sure it plays, indeed. I'm pretty sure it does. I see it in the field of ethnographic film, where I shoot my own films in Africa. Well, I am, for the Africans with whom I make my films, a very strange character, full of tics, of mania, of movement, a kind of complete madman. It's very different from African films compared to European films. Yes, very different. Except when I make a film here, it's the same. Here, in general, I made my films with an operator for reasons of security, image, etc. And ease. While all the films I made in Africa, I practically made them myself. And indeed, there is an attitude that is quite different.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6089.809,6141.209"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/170","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Are you able to specify this habit?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6142.04,6143.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/171","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, it's the attitude of the one who's shooting a movie, that is, the guy who has a technique...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6144.92,6148.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/172","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Uh, uh, uh.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6151.18,6151.559"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/173","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Who improvises himself in the viewer, who is an individual, that's what I dream of, and who is the character half possessed by, close to the catharsis.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6153.16,6163.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/174","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Can I ask you to make a description of yourself while you're filming? No, I don't know how to do it. Are you active? You say Manic sometimes. Did you say that word? Manic, I'm quite extroverted while you are filming. And you have kept that attitude in France as well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6166.139,6187.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/175","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e When I shot in France, yes, always. But to be close to... If you will, the production of the film is happening at that moment. In most of the films I make, the editing is done at the take. That is to say that I do immediately the next shot and I go on. I give entire sequences. Always, yes. So I'm in a certain state. That's why I have to react to the subject.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6188.49,6219.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/176","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e To say what you have to say to the actors, we are ten years old.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6221.83,6225.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/177","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Sometimes I play the thing. When there is a scene, I play, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6226.9,6230.219"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/178","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In the garden or somewhere else.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6230.73,6231.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/179","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e In Le Gard du Nord, sometimes, yes, I play the game. In which film, for example? In Pyramide du Mène. I showed people scenes where there was stuff. It was kids who were always ready to roll up their sleeves and do stuff. So here, yes. I play, I show stuff. I find myself very good, by the way. That's good. Much better. Much better than that. Much better, yes. But playing this game is obviously very difficult.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6234.709,6277.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/180","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I think I'm going to be late for a long time. Thank you, I hope. Are you leaving soon? Or are you going to stay a little longer?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6280.7,6289.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/181","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I'm going to Venice now for a... I don't know, we have to present my film on the lion, and then I'm leaving for Africa afterwards. Oh yes, you're coming back here... I'm coming back in November here, and I still have three films to finish, which are still in the boxes. I like films.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6289.879,6308.459"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/182","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e If you don't mind, one day I would like to come to Africa to see you or to attend the shooting. Of course, yes. Where are you now? Are you going to stay here? No, I will stay here until the end of the month. I'm going to Rome, where I will interview the Italian state, and especially Olmi, Rossi, De Bozio is a friend of mine. And then? And then I'll go to Algeria to see people, to start a journey. Have you seen James?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6310.349,6341.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/183","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Have you seen James?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6341.23,6341.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/184","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, not recently. I spent the weekend at his family's house, and then I'm going to see him, and after Algeria, I'm gonna go to Madrid, see him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6343.219,6351.299"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/185","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Yes, he wrote me a letter where he seemed to be quite happy. Well, not the cinema. Nadia wrote me this letter telling me that it wasn't very good. I like James a lot. Yes, me too. He taught me French. Yes, I like this guy a lot, who, under a bit of a guise of a saint, has a lot of qualities. I really like what he did in Africa, some things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6351.91,6369.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/186","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, but he's a very alert guy. Oh yeah, I get it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6371.29,6375.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/187","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Fuck, we've got to get this over with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6378.49,6379.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/188","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You've been reprimanded in less black Africa, if I'm not mistaken. Yes, but that's illegal.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6380.5,6385.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/189","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Because I showed an image of an African being at the bottom of the social ladder while the Africans wanted me to show lawyers, doctors, people like that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6388.389,6400.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/190","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's the story of a day in Egypt where it was forbidden to film naked people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6401.84,6406.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/191","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, the story about black men seemed absolutely fascinating to me. Indeed, young intellectuals can suffer from it. It's true, it's true. But it's the history of Africa. And even those who blame me, when I discuss it with them, they blame me if they wanted to have shown a unpleasant problem which seemed to tell me that there was only this in Africa. Which is obviously not true. I had chosen a character. But in fact, this is the number one problem, and they know it very well. So personally, even now, this film is shot in 1957, so it's been eight years. I think that I was absolutely right to make this film at that time and that this film posed the problems that have not been solved at the moment. So it was my duty to do it and even if it's unpleasant, it's in my opinion one of the problems.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6409.15,6462.959"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/192","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's the film against which there is an illusion or an image that is made of...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6463.809,6466.809"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/193","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e In this film, there is absolutely nothing unpleasant. The film is certainly the condition of Los Angeles blacks. It would have been better to show it in the cinema than to let things start like that. Because from the moment the film is made, that's the very curious side. There is an expression of something that makes people who see this film say, Bon bah ça va, oui, donc... We have expressed a part of what we are, a part of our demands, etc. I think it's something that is very, very good. Some people say, for example, that we have to remove western films from programs in Africa. No, I don't agree. I think that people who watch western films, they broadcast violence for free, for 25 francs or 100 francs, which is the price of the place, which they will not broadcast outside. I have the impression that it is a service that is only shown to Africans, even if it is unpleasant. For now, African films are very strange, because African-made films have the same theme. I don't know if you've seen the film of Saint-Béné Housman, Boram Sarat, in Dakar. It's exactly less black in Dakara. So people take up similar themes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6469.69,6553.549"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/194","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, we're going to stop now. Come on, hop, on to the next one. I want to thank you, and it was very pleasant, I think I have everything. No, not everything, there will be others. All the questions I had anyway, I'm sorry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6556.65,6573.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/195","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e No, there are other things. It is very difficult to answer right now because we are all in the interrogation. Morin, Likok. You see what Likook says, we are being interrogated. Michel Brault is in the question, we're all in there.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6573.059,6587.219"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/196","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But I think it's simple. Of course. Mark Harrell, for example, is looking to find this kind of key to the past, which will go towards fiction. But where can we bring it? Because he finds that we are stuck in this kind of reportage on reality, or we are even stuck in the attitude of the public towards a TV show by saying to me, what are they showing me the truth? He can't show the truth because it's expensive.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6587.889,6616.969"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/197","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That's it. And the interesting thing is that none of these films have been less successful on a commercial level. Which is a very interesting thing. None. There is no example. Be it the films of Lee Kok, the films by Rousseau-Poly, the Marker, mine. None of them. So... You can't say that by masochism. You have to see it. So the spectators don't want to see that. So why? It's not about the stupidity of the spectator. No, it's very embarrassing, people don't want to see their image, they don't show a mirror in something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6617.959,6653.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/198","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So maybe it's the same problem, or the same thing, that Marceline ended up being able to act.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6653.94,6661.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/199","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Once she found a fiction. So I say, I see it. Chronicles of a Summer, no success. All these films, people don't go. I've seen the reactions of the public, and it would be unpleasant for them to see their image. They don't ask to see the image of others, but not themselves. So maybe that's it. Television, you understand, it's very simple. There is something that you dislike, you drink your coffee. In the cinema, you have less sleep or to kiss your neighbor. But the people behind, at that time, are not happy. So I think we're on the right track. Ah, well, yes, I'm sure. No, the thing is that... If you want, my opinion is that, two things on which I am really very clear is that when you make a film, if you make it, you have to show it, even if it is bad. This is the first point. That we have made an experience, we show it to others, unless everything is wrong. If there is something to show, you must show it. To say, I tried to do this, it's wrong, but why? So that's the first thing, it is the right to failure. There are guys who say that they made a bad movie, but that's not true, there's no reason for that. Why do all movies have to be successful? Why do they all have to have a series of failures? That's not right, that's wrong, you have to... Or when you take risks, who says risks, says the goal. When you go down a ski slope and you fall down, you've taken risks. If you don't fall down you've not taken any risks. What's the most interesting? It's probably when you're taking risks. Because we fight for the first time, but not for the second time. At that time we won, I think that's it, and that's our job, that's what's good by the way. Do you think that would be my life? Of course, you're right. Well, let's go.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6662.769,6767.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/200","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Arigatou gozaimashita It's good to talk with you, it makes me feel better. I was quite depressed, I wondered why I got involved in this business, and I decided to watch a movie. They say that thinking comes from failure, in the sense that I believe that I failed. But it's good, we're used to it. There were a lot of good things, but it didn't work. It has taught me a lot, but I want to go even further. I want the Olivier de l'Amérique, this confrontation between the American myth.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6767.15,6811.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/201","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Lapsa","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6811.549,6811.549"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/202","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e and its actuality through a family.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6811.91,6815.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/203","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e That's what you have to do. You have to risk it, otherwise it's not worth it. So I always say the same thing. People ask me why, for example, you didn't let actors play that in a script. Well, yes, but a lot of people do it much better than me. How much do I get? Well, I'm the one paying.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6815.639,6833.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/204","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Bon, this was an interview with Jean Rouch, the 18th of August, 1965, in the Café Bonaparte, Place Saint-Germain-de-Prey, while he was busy editing his film on the lions in Africa. Film, ethnographic, ethnographical film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366#t=6836.68,6868.049"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141800/file/262366/transcript/79363/annotation/205","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/363/original/trint_Coll458_jb0051_Rouch_01_transcript.vtt?1746656672","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/363/original/trint_Coll458_jb0051_Rouch_01_transcript.vtt?1746656672"}]}]}]}