00:00Sous-titrage Société Radio-Canada
00:30No, he had this whole little sub-obsession with Vermeer.
00:33I'm looking at this image and I see something that looks like it came out of a video camera.
00:38This fall-off of light is something that an artist really cannot see.
00:41There must be a way to actually get the colors accurate with mechanical means.
00:47I propped up a small mirror at a 45-degree angle right on the forehead.
00:52You can see that they match.
00:53Holy cow.
00:54It took me about half an hour to learn how to operate a paintbrush.
00:57Good for you. It took me 40 years.
01:00It's possible that he was more of a tinkerer, more of a geek.
01:05And in that way, I feel a kinship with him.
01:07So I'm going to construct a replica of the exact room where Vermeer painted.
01:12That's right.
01:13The harpsichord, the Spanish chair, the viola de gamba, the rug.
01:16The wind's trying to blow my shape.
01:21Well, this certainly is not easy.
01:30This is very ingenious.
01:32That's where the painting is, Buckingham Palace.
01:34Using Tim's device, you've become a machine.
01:39I'm proposing an alternate history of Vermeer.
01:42Was Vermeer a machine?
01:43Oh, my God.
01:45I think it might disturb quite a lot of people.
01:47If we weren't making a film, would I quit?
01:53Yeah, I definitely would.
01:55Yeah, I would find something else to do right now.
01:57For me, I won't be making a film film
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