- 1 day ago
Category
📺
TVTranscript
00:00:28Transcription by CastingWords
00:00:58Transcription by CastingWords
00:01:29Transcription by CastingWords
00:01:58Transcription by CastingWords
00:02:12Transcription by CastingWords
00:02:42Transcription by CastingWords
00:02:43Transcription by CastingWords
00:02:53Transcription by CastingWords
00:03:24Transcription by CastingWords
00:03:53Transcription by CastingWords
00:04:23Transcription by CastingWords
00:04:30Transcription by CastingWords
00:04:35Transcription by CastingWords
00:04:37Transcription by CastingWords
00:04:43Transcription by CastingWords
00:04:44Transcription by CastingWords
00:04:52Transcription by CastingWords
00:05:08Transcription by CastingWords
00:05:26Transcription by CastingWords
00:05:32Transcription by CastingWords
00:05:36Transcription by CastingWords
00:05:38Transcription by CastingWords
00:05:41Transcription by CastingWords
00:05:46Transcription by CastingWords
00:05:50Transcription by CastingWords
00:06:20Transcription by CastingWords
00:06:40CastingWords
00:06:43Transcription by CastingWords
00:06:59TranscriptionWords
00:07:27Transcription by CastingWords
00:07:59Transcription by CastingWords
00:08:12TranscriptionWords
00:08:13Transcription by CastingWords
00:08:44Transcription by CastingWords
00:08:49Transcription by CastingWords
00:09:42Transcription by CastingWords
00:10:14TranscriptionWords
00:10:45TranscriptionWords
00:11:15Transcription by CastingWords
00:11:28TranscriptionWords
00:11:47TranscriptionWords
00:12:15TranscriptionWords
00:12:33TranscriptionWords
00:13:03TranscriptionWords
00:13:04TranscriptionWords
00:13:19TranscriptionWords
00:13:32TranscriptionWords
00:13:47TranscriptionWords
00:14:11TranscriptionWords
00:14:31TranscriptionWords
00:14:36TranscriptionWords
00:15:06TranscriptionWords
00:15:25TranscriptionWords
00:15:37TranscriptionWords
00:15:38TranscriptionWords
00:15:57TranscriptionWords
00:16:15TranscriptionWords
00:16:45TranscriptionWords
00:17:02TranscriptionWords
00:17:13TranscriptionWords
00:17:18TranscriptionWords
00:17:31TranscriptionWords
00:17:49TranscriptionWords
00:18:30TranscriptionWords
00:18:45TranscriptionWords
00:19:18TranscriptionWords
00:19:32TranscriptionWords
00:20:17TranscriptionWords
00:20:23TranscriptionWords
00:20:50TranscriptionWords
00:21:19TranscriptionWords
00:21:49TranscriptionWords
00:22:02TranscriptionWords
00:22:45TranscriptionWords
00:23:14TranscriptionWords
00:23:40TranscriptionWords
00:24:01TranscriptionWords
00:24:44TranscriptionWords
00:25:14TranscriptionWords
00:25:24TranscriptionWords
00:25:25TranscriptionWords
00:26:02TranscriptionWords
00:26:17TranscriptionWords
00:26:50TranscriptionWords
00:27:03TranscriptionWords
00:27:16TranscriptionWords
00:28:03TranscriptionWords
00:28:18TranscriptionWords
00:28:35TranscriptionWords
00:29:11TranscriptionWords
00:29:27TranscriptionWords
00:29:43TranscriptionWords
00:29:44TranscriptionWords
00:30:17TranscriptionWords
00:30:18TranscriptionWords
00:30:21TranscriptionWords
00:30:22TranscriptionWords
00:31:02TranscriptionWords
00:31:04TranscriptionWords
00:31:25TranscriptionWords
00:31:26TranscriptionWords
00:31:32TranscriptionWords
00:31:33the happiness and pleasure that the erotism gives beyond all interpretations that tend to normalize it,
00:31:44to make it useful or justified in the name of something higher, even of love.
00:31:53In the first sketch of Constantine Moreau, we had Gérard Delagarde,
00:31:59who was very Christian, very Orthodox, he was even half Pope somewhere,
00:32:04and at the end of the first sketch, he said,
00:32:07My dear Borough, I think that you do a film, you do a film porno,
00:32:12that doesn't go at all, you become a pornographer, and I will never make your films.
00:32:16And Borough was put in a black anger, because we had to give him an autograph,
00:32:23and he didn't support it when he gave him an autograph.
00:32:25No, I'm not a pornographer, I'm a revolutionary who uses sex for my revolution,
00:32:32to express the notion of freedom, the right to freedom.
00:33:00I have done that.
00:33:03By the way, he must have the right to live,
00:33:04and he must have the right to live.
00:33:05final is always unexpected. And what is interesting is that what leads us to work a day and night
00:33:12and night and night is this insatisfied curiosity to see the final result. This is really the creation.
00:33:23Opening at the Prince Charles cinema next Thursday is Valerian Barovchek's The Beast. It's not a picture for all the
00:33:30family. Indeed there will be many who consider it unsuitable for any member of the family.
00:33:34I always feel that the big transgressive films were almost against their regret. At a moment, there is a scene
00:33:42who does something because he sees it and that there is evidence and that suddenly it makes a scandal.
00:33:56Lisbeth. Fabulous.
00:34:32Lisbeth.
00:34:35because that was, it was exaggerated.
00:34:41I knew what he wanted, obviously, I knew what he wanted,
00:34:45but doing it, I think I wasn't at my ease at all.
00:34:52So, but he was very, he was very nice,
00:34:55because when I had the scene with the rose,
00:34:58it was just a cameraman and he was in the room,
00:35:01so that was what it was.
00:35:10When I was in the situation,
00:35:15I thought about acting,
00:35:19but I didn't see the rest of it.
00:35:25He didn't talk so much, but we understood each other.
00:35:33It was something in his mind that he really wanted to show.
00:35:38I closed my eyes when it happened,
00:35:41so I couldn't see it, how he posed the rose in front of me.
00:35:46And the way he did it with his hands, it was beautiful.
00:35:51With a lot of the other scenes, he wasn't that meticulous,
00:35:57but there he was.
00:35:59He wanted it exactly as he wanted.
00:36:02This is fascinating, because it was clearly obsessing him,
00:36:06but all of his obsessions don't interest me as much as they did him, ultimately.
00:36:11I hope I did it.
00:36:14As he wanted it, but I think so.
00:36:32It's a fairy tale of the beauty and the beast,
00:36:39which it has been done so many times,
00:36:42because it's an eternal thing in the human being.
00:36:47He chose to make the beast in that way that nobody before had done.
00:37:11One, two, three, two, three, four and four, four, three, four, four, three, four, five, four, four, five, seven, six,
00:37:22seven,, eight, seven, eight, seven, nine, nine,
00:37:27I think it was much more a male fantasy of female sexuality than it was a woman's own
00:37:35experience of their sexuality, as if that's what women want.
00:37:39It's a bit naive, as far as my understanding of sexuality is concerned.
00:38:03And when you see the beast now, it's like seeing the shark in Jaws.
00:38:10Actually, it's a little bit absurd.
00:38:22The scene is quite funny, and this beast who looks much more like a rat, a giant rat than an
00:38:29owl.
00:38:31We see that this beast, we feel that it's really a man in a beast costume.
00:38:41There's this rather ridiculous erection, rather small erection, I think, in a way.
00:38:47When I first saw it, you know, 40 years ago, it was just, I started laughing, because this
00:38:52is a joke.
00:38:53This is a really bad costume.
00:38:54What are we doing here?
00:38:58I think it may have been regarded as farce then, and now we can see more clearly its subversive
00:39:04qualities.
00:39:05And it's true that the sperm of the beast, Scarlatti, and all that in a forest that will
00:39:11come to the death of the beast, it's extraordinary.
00:39:17You watch it now and you can see it as a kind of bad dream, as not erotic or pornographic
00:39:21at all, but something very disturbing and Freudian.
00:39:26Something that's so candid, so on the nose.
00:39:30There is a kind of fascination, in a way, in its directness.
00:39:38Come on, this is this wooden dong, and then the endless ejaculations.
00:39:45I mean, what are you doing, Valerian?
00:39:47I mean, what is the point you're making here?
00:39:50I don't know at that point.
00:40:00I don't know at that point.
00:40:20What a great place.
00:40:21What a great place.
00:40:22It's a temporary place of the Swiss Cinematheque.
00:40:31What a great place.
00:40:32What a great place.
00:40:45What a great place.
00:40:50What's the difference.
00:40:51Oh, what is it?
00:40:54Dollars.
00:41:05Oh, I just want to get into this.
00:41:14Oh, my God.
00:41:15Oh, my God.
00:41:16Oh, my God.
00:41:17Yes.
00:41:23The teeth will be apparent.
00:41:25The beak will be like this.
00:41:27We see here that the tongue moves.
00:41:30There was someone in it.
00:41:32It's amazing.
00:41:34I thought that there was a beast in front of me.
00:41:48That's it.
00:41:51I'll do it a bit.
00:42:08Something changed quite a lot for me when I saw his later films.
00:42:12I think his visual aesthetic changed.
00:42:21And the way he perceived women seemed different in the later films than the earlier films.
00:42:40The pictures in Goto.
00:42:48That's a very powerful image.
00:42:51This is very, very Barovczyk, isn't it?
00:42:54I mean, look at the feeling in that image of this trapped woman in this frightening place where she can't
00:43:05escape.
00:43:06I find that really powerful, just looking at that again after all these years.
00:43:13I see the portrayal of women in the later films as lacking in the compassion and sadness of the earlier
00:43:25films.
00:43:26I think they thought of themselves as being liberated.
00:43:29If you look at these movies now, of course, they're very male.
00:43:32And I think it is a point that bears saying that they are gendered in a way that people didn't
00:43:37quite grasp at the time.
00:43:38They thought it was a liberated thing and it was more liberating for men, certainly.
00:43:43Because men were the people who were making it and men were the people who, by and large, were consuming
00:43:47it.
00:43:47That's where all this radical sexual revelation movement, I claim, was even all too naive.
00:43:54They didn't see in what way, again, the system requires a certain mode of transgression to reproduce itself.
00:44:04You can ask me if I regret it.
00:44:08I don't think you should regret anything you do in your life.
00:44:13Surely I have had moments in my life where I said to myself that the film had made me harm.
00:44:27Sure. Surely.
00:44:29I think also it stopped a lot of things.
00:44:31I think it did.
00:44:34Because it was a label film.
00:44:36So no doubt about it.
00:44:38No doubt about it.
00:44:39Because it was understood as pornography.
00:44:44La bête, ça va être aussi le divorce, un petit peu avec la critique,
00:44:48parce qu'on va lui reprocher d'avoir fait une oeuvre un petit peu grossière, un petit peu trop violente.
00:44:57Est-ce un porno ou un érotique transcendé ?
00:45:01C'est le classique porno sophistiqué, c'est-à -dire...
00:45:07Je trouve ce film scandaleux quand on dit y'a la scène la pire c'est une scène où on
00:45:12va une dame avec une rose disons qu'elle fait.
00:45:14Le fait que ce film est aussi un aspect scabreux,
00:45:18ne saurait en rien me faire reculer, j'espère que beaucoup de spectateurs aussi n'occupe pas.
00:45:22C'est le début.
00:45:26C'est le début.
00:45:26Et en fait, le fin.
00:45:28C'est le début.
00:45:37C'est le début.
00:45:50C'est le début.
00:45:52C'est le début.
00:45:54Et les amis, le début.
00:45:56C'est un petit peu le plus compliqué,
00:45:58c'est le début du jour où il y a trop d'oppression de l'opération,
00:46:01c'est que nous prions accelerate très bien.
00:46:06we did, namely the permission, you can do whatever you want, you can enjoy whatever
00:46:13way you want, this permission imperceptibly changed into a superego injunction, an order.
00:46:22You have to enjoy.
00:46:47You have to enjoy.
00:46:53You have to enjoy.
00:46:56You have to enjoy.
00:46:59You have to enjoy.
00:47:05You can also see it very close.
00:47:07This is a Rembrandt of the others.
00:47:09You have to enjoy.
00:47:11You have to enjoy.
00:47:12You have to enjoy.
00:47:40You have to enjoy.
00:47:48You have to enjoy.
00:47:55You have to enjoy.
00:48:14You have to enjoy.
00:48:17You have to enjoy.
00:48:27that actor in rather than that. Those are the kinds of things you do.
00:48:31In this film, Borovshek worked with two erotism figures.
00:48:37Joe D'Alessandro, the actor of Morisset, and Sylvia Christel,
00:48:43known as Emmanuel, and he gave them two wonderful roles.
00:48:49I think the whole entire world fell in love with Sylvia Christel.
00:48:52You know, and that's the reason for anybody to make a movie with her at the time, it would have
00:48:55been, yeah.
00:48:56In the book, Sylvia Christel, Nuh.
00:49:00Valerian Borovshek,
00:49:02Cheek, the director of Contes Immoraux, offers with the film La Marge,
00:49:06adapted from the prix Goncourt d'Ander et Pierre de Mandiarg,
00:49:09a strong role, maybe my favorite.
00:49:12Valerian seems to be haunted by his erotic fantasies,
00:49:15his taste for fetishism.
00:49:17I play the role of a prostitute.
00:49:24When he did the La Marge for the Hakim brothers,
00:49:28they, who were very prestigious producers in France,
00:49:31they were constantly pressuring him to have more sex in the film.
00:49:35You know, we want to see more of Sylvia Christel naked or whatever.
00:49:39And certainly in some of the later films,
00:49:43you do wonder how much is coming from Borovshek
00:49:47and how much is coming from the producer.
00:49:52It was done because the contracts were signed,
00:49:56and that Sylvia Christel had signed his contract,
00:49:58and that the film was already sold to the Japanese.
00:50:01So we were supposed to turn the film.
00:50:05It's very bad.
00:50:06It's very bad too.
00:50:07It's very bad too.
00:50:07No, it's not very bad.
00:50:10I want you to insist.
00:50:10Yes, perhaps.
00:50:11But it's enough.
00:50:12And Charles Sork?
00:50:13No, but there's nothing to say.
00:50:14It's a film that doesn't need to be a silence.
00:50:16It's important to say that it's exécrable
00:50:18because it's Borovshek,
00:50:19who is a great author,
00:50:20who is, in my opinion,
00:50:21who is in my opinion.
00:50:22I don't know if it's a fault.
00:50:24But it's a film that's stupid.
00:50:26There's a universe of Borovshek,
00:50:28a universe of Mandiarg,
00:50:29a universe of John Alessandro.
00:50:30These three symbolizes the universe of Sylvia Christel.
00:50:34She's beautiful.
00:50:35She's beautiful.
00:50:35It's for an esthetician,
00:50:36masseuse,
00:50:37on paper very couched.
00:50:38I'm fine, but it doesn't matter.
00:50:39Very well.
00:50:53The film has no success.
00:50:55It's limited to circuits of art and essays.
00:50:58Joli nom.
00:50:58Peu m'y ont vu.
00:51:00Dommage.
00:51:01Et petit à petit,
00:51:02Borovshek va s'enfermer
00:51:03ou se laisser enfermer
00:51:04dans le monde du cinéma érotique.
00:51:05Come on.
00:51:08Music.
00:51:08.
00:51:08.
00:51:08.
00:54:11it's beautiful plants all that's what was added I've never seen a scene like that
00:54:17what is that scene there they added some scenes of the orgy or la vache
00:54:29the saloborov chic has never seen that
00:54:33the film has been churnified a posteriori
00:54:38ecco qua nei racconti immorali due disegni tratti da fotogrammi che non hanno nulla ma proprio nulla a
00:54:51che vedere con gli episodi realmente filmati e raccontati nel film goto l'ildamur vedo in
00:54:59copertina di questo video una sequenza che non c'entra assolutamente nulla in molti altri film
00:55:08uno è particolare ed è incredibile la marge tratto da un importante romanzo di andré pierre de mandyard
00:55:15è diventato emmanuela 77 e come vedete il povero valerian borov chic è terminato così in basso
00:55:25mentre la cosa più importante sono sylvia cristel e giuda alessandro che erano i protagonisti però forse
00:55:33meno importanti di scrittore e regista e poi soprattutto emmanuela 77 e roba da veramente porno shop
00:55:47di scandale in scandale, di blow up au dernier tango a pari, il cinéma ha finalmente fatto reculere la censura
00:55:54quando considera i film porno sorti questa anno, on a peine a se souvenir qu'il y a 6 ans
00:55:59n'était pas question de montrer la moindre pilosità pubiennes
00:56:02ogni anno, più di 150 film a carattere pornografiche o erotiche sono distribuiti
00:56:07e quando si chiama 6.500.000 entrazioni a pari, si comprende che al momento della grande
00:56:12flambia del film erotico, in 1974, circa 50% dei sottosti investiti al cinema
00:56:17sono destinati al cinema erotico.
00:56:20Allora, liberazione o rentabilità ?
00:56:22Dopo un tempo, l'erotismo, come si chiede, si chiede, si chiede, si chiede, si chiede, si chiede, si chiede,
00:56:32si chiede, si chiede.
00:56:35Passi un po'connessione, l'erotismo n'était più un modo liberale, un modo di rivoluzione.
00:56:45Si chiede, si chiede, si chiede, perché si chiede, si chiede, si chiede, si chiede, si chiede.
00:56:51La libertà totale è potente qualcosa di terrorizzante.
00:56:56I think in the world of cinema, it's very difficult, because you've got a very specific market, and that market
00:57:03is very, very hard to manage.
00:57:05And in the case of Borovchik, he clearly hit the market big time with The Immoral Tales and The Beast.
00:57:15But that also created a kind of trap for him, I think.
00:57:19What does Borovchik understand when he's dealing with a producer who changes the picture, adds up to the cul scenes,
00:57:27and Borovchik understands that he's no longer a god?
00:57:31That's what's incredible.
00:57:37He had a desire to make cinema, like the great cineasts. It wasn't a choice. If you don't do this,
00:57:45will you die? The answer is yes.
00:57:47I mean, I know he's a man who had many, many projects. Like a lot of people, he never stopped
00:57:54thinking about what he might be doing next, and how he might be doing it, and creating things.
00:57:59And obviously, as an animator, as someone who worked very much alone, he probably dreamt that he could achieve these
00:58:06things.
00:58:08All right. Yes, this is a letter I wrote to Borovchik in 1983.
00:58:20Dear Valerian Borovchik, you will find in close the script of Ancestral Mansion, and a short statement about the script,
00:58:30which I wrote for the British Film Institute when I applied for their financial assistance.
00:58:35I am sending this script to you because I would dearly like you to direct the film.
00:58:40Your film, Gotoh, Island of Love, was a major liberating influence on me when I wrote this script.
00:58:48Ancestral Mansion is my Gotoh, my microcosm.
00:58:51The production board, the British Film Institute production board, had changed their mind about financing the film.
00:59:03There was a problem with Borovchik. He wasn't English, he was Polish, and it was the British Film Institute,
00:59:09and there was a problem about him being a pornographer. Obviously, we were very upset, Borovchik was very upset,
00:59:17everyone was very upset, and it was, it all fell apart.
00:59:24I had to do ten films, so I made ten films with Valerian Borovchik,
00:59:28including seven or eight long-métrages.
00:59:30Well, I worked a lot with this individual. We didn't see it during the films, and never in the films.
00:59:36And then, he came to dinner at home, one time, in 20 years.
00:59:42One only time.
00:59:43And I told him to Zoe, my charming wife,
00:59:47that he had to make his fish fish fish fish.
00:59:50So we had to make his fish fish fish with white rice and white rice.
00:59:55And Borovchik told me,
00:59:56that it was one of the best dinner that I would have made in my life.
00:59:59I had to eat, as usual, the fish fish fish with white rice and white rice.
01:00:04And I think that it was the last time I saw Borovchik.
01:00:20I often spoke of the end of the 1970s as the end of an era,
01:00:25and the 80s as the restart of another.
01:00:29Because I think there's a lot of places.
01:00:35Intellectually, politically, economically.
01:00:38The 80s, which have been lived as an apogée of the Hedonism at a time,
01:00:44with a lot of lightness,
01:00:48of anxiety, of money, of ideas,
01:00:56have, in my sense, marked the beginning of the decline,
01:01:01and somehow the beginning of the decline of the thought.
01:01:04The news of Emanuel.
01:01:05Emanuel goes well.
01:01:06She lives at the reunion.
01:01:07She seems to even appreciate the landscapes of our island.
01:01:10I'll show you some images of the tournages that end these days.
01:01:16It was just that he ended up doing Emanuel Five,
01:01:20because that's what he was kind of competing with along the way.
01:01:24I haven't seen the Emanuel film he did.
01:01:27Should I have?
01:01:29No? Okay.
01:01:31Yeah.
01:01:33Yeah.
01:01:34Yeah.
01:01:34In the field of confidence in Saint-Benoît,
01:01:36the last repetition of the scene before the tournage.
01:01:39Action.
01:01:41Tour of adventure, teinted erotism.
01:01:43No, it's not an erotic film.
01:01:45In fact, it's an adventure film, yes, of course.
01:01:48And the erotism,
01:01:49well, the erotism is given by the scene,
01:01:51by Valerian Borovic,
01:01:53who is, as everyone knows,
01:01:55a wonderful performer in scene,
01:01:57a painter, a sculptor of women.
01:01:59The budget of Emanuel has been chiffred
01:02:01at 23 millions of francs.
01:02:05Allo, oui?
01:02:07Oui, bonjour.
01:02:08Oui, bonjour.
01:02:08Thierry Bazin?
01:02:10Oui, c'est ça.
01:02:11Enchanté, Noël Véry.
01:02:14Mais c'est amusant qu'on n'a pas,
01:02:15on n'a pas connu le même Borovic.
01:02:17Bien sûr que non.
01:02:18Non, mais tu vois, moi, c'était en 86,
01:02:21donc c'était...
01:02:22Oh là là , c'était en 68.
01:02:24Et qu'on avait fait, qu'on avait fait Emanuel Five,
01:02:27qui était quand même un grand film.
01:02:28Il faut le dire.
01:02:30Et que c'était pas toi qui faisait l'image.
01:02:34Non, ben non.
01:02:35C'était la pleine époque d'Indiana Jones,
01:02:38et donc qui faisait vraiment un succès incroyable.
01:02:42Et effectivement,
01:02:46Cyritsky avait repris l'histoire d'Emmanuel
01:02:48en y mettant une assez forte dose d'aventure
01:02:51Ã la Indiana Jones,
01:02:52avec un héros qui ressemblait...
01:02:55C'était assez peu créatif, quoi.
01:02:57Il a voulu prendre Borovic
01:02:58parce que c'était un petit peu un alibi artistique.
01:03:04Moi, j'étais sans doute un des seuls
01:03:06qui aimait être avec lui
01:03:08durant la préparation du film.
01:03:12Je l'écoutais, je le regardais.
01:03:15J'allais manger avec lui tous les midis.
01:03:20On allait manger tout le temps.
01:03:21Si tu veux, on sortait.
01:03:22On allait rue de Berry ou je sais plus où.
01:03:25Il y avait un endroit où il y avait de la fondue.
01:03:27Il mangeait pas le fromage.
01:03:29Et il y allait parce qu'il y avait les patates bouillies.
01:03:31Les patates bouillies.
01:03:32Tu reviens aux patates bouillies.
01:03:33Bien sûr.
01:03:34Il bouffait que des patates, évidemment.
01:03:37Comme bon polonais, quoi.
01:03:38Un bon polonais mange des bonnes pommes de terre.
01:03:40Enfin, c'est logique, quoi.
01:03:42J'ai toujours eu l'impression...
01:03:43Enfin, durant la préparation,
01:03:45j'avais vraiment l'impression
01:03:45qu'il était dans son monde.
01:03:49Enfin, quand on est assistant réalisateur,
01:03:50on se doit poser un certain nombre de questions
01:03:52au réalisateur avec lequel on travaille
01:03:55pour un peu valider les choix,
01:03:57les différents choix qu'il peut faire.
01:04:00Et Valérian avait beaucoup de mal
01:04:01à répondre à ces questions, quoi.
01:04:04Il n'a pas fait du tout le choix.
01:04:06Par exemple, au niveau du casting,
01:04:07ça ne l'intéressait pas du tout.
01:04:09Les comédiens l'ont été imposés.
01:04:13Pour moi, c'est un travail purement technique.
01:04:16C'est-à -dire qu'on allait à la réunion
01:04:17pour principalement faire des extérieurs.
01:04:23Au bout de trois jours,
01:04:26on avait déjà ...
01:04:27Au bout de trois jours de tournage,
01:04:29on avait deux jours de retard,
01:04:30ou même peut-être plus.
01:04:32Je pense que la majeure partie des gens sur le film
01:04:35ne comprenait pas du tout ce qu'on avait filmé.
01:04:37En tout cas, on n'avait pas filmé
01:04:38ce qui était prévu qu'on filme sur le plan de travail.
01:04:41On le voyait avec...
01:04:42On avait une Harry 35BL
01:04:45qui n'est quand même pas une petite caméra.
01:04:47Il l'avait sur l'épaule.
01:04:50Il vacillait un peu avec.
01:04:52Il plaçait les comédiens qui ne comprenaient rien.
01:04:57Lui, il ne s'énervait pas.
01:04:59Mais la comédienne américaine ou les comédiens américains
01:05:02en face ne comprenaient absolument rien.
01:05:04Ils ne le supportaient pas.
01:05:08Jusqu'au moment où...
01:05:11La fameuse comédienne américaine...
01:05:14Je crois bien qu'elle l'a giflé.
01:05:18Et à partir du moment où elle l'a giflé,
01:05:19Valérian est parti.
01:05:22On a compris assez rapidement qu'il prenait l'avion
01:05:24le soir même pour entrer à Paris.
01:05:28Ici, en l'absence de Borowitz,
01:05:30le metteur en scène,
01:05:31c'est l'assistant qui, en accord avec lui,
01:05:34règle chaque scène et dirige les acteurs.
01:05:38Le producteur commence à me dire
01:05:39que ça serait sans doute bien que je reprenne le film.
01:05:44Finir le film.
01:05:45Finir le film.
01:05:46On était au début du tournage.
01:05:51Action.
01:06:01Emmanuel.
01:06:02Je sais que vous êtes là .
01:06:06Je suis très désappointé avec vous.
01:06:09Je pensais que nous n'avions pas compris.
01:06:13Coupé !
01:06:14Non, le résultat final n'était pas un bon film.
01:06:17Ce film est...
01:06:19Je dirais que ce n'est pas un film de Valérian Borowczyk.
01:06:23Je crois que ce n'est même pas un film de producteur.
01:06:25Ce film, c'est un objet
01:06:29qui a été décliné en différentes langues
01:06:31avec des versions différentes
01:06:34suivant les pays où il était distribué.
01:06:37Donc, c'est un film de distributeur.
01:06:38C'est tout.
01:06:54Je l'ai toujours ressenti comme quelqu'un qui avait besoin de solitude.
01:06:58Qui avait besoin d'être tout seul.
01:07:01Et en ce sens,
01:07:03le travail de...
01:07:04le travail de...
01:07:06de cinéma
01:07:08est un peu compliqué, quoi.
01:07:10Est-ce que vous avez l'impression
01:07:13que ce projet
01:07:14pourrait lui vendre cette solitude ?
01:07:17Oui.
01:07:18Le fait qu'il travaille sur ce film,
01:07:20c'était vraiment ça.
01:07:23Moi, j'avais la sensation
01:07:24que ça ressemblait à son dernier film, quoi.
01:07:29J'avais vraiment cette impression
01:07:30qu'il faisait un dernier coup
01:07:32où il allait gagner de l'argent
01:07:34pour pouvoir s'offrir cette solitude et...
01:07:42de l'argent
01:07:54pour pouvoir s'offrir cette solitude.
01:07:54C'est parti !
01:07:54C'est parti !
01:08:38Sous-titrage ST' 501
01:08:51C'est parti !
01:09:22Sous-titrage ST' 501
01:09:23C'est parti !
01:09:25Sous-titrage ST' 501
01:09:25C'est parti !
01:09:39Sous-titrage ST' 501
01:09:40C'est parti !
01:09:40C'est parti !
01:09:41Mais c'est impossible !
01:09:42Il faut vraiment
01:09:43grande force
01:09:43pour ne pas être écrasé
01:09:45par tout ce qui est extra-artistique
01:09:48dans la réalisation d'un film, n'est-ce pas ?
01:09:51À partir du financement des films,
01:09:53après, passer par...
01:09:55par tous les étapes d'organisation,
01:09:58construction de décors, tout ça,
01:09:59on ne peut pas passer par une grande équipe.
01:10:02Et l'animation
01:10:03quand tu peintures,
01:10:04c'est pour moi
01:10:05une soupape de sûreté aussi,
01:10:07où je peux vraiment
01:10:09to find myself and to do something absolutely myself.
01:10:13I'm going to show you something I'm going to finish the filming.
01:10:18It's a surprise that I can't hate you all,
01:10:23because when the film is finished, you'll see.
01:10:26Also, you'll see the beginning of the film
01:10:29that will make you happy and want to see the next one.
01:10:33But I'm going to wait for you.
01:10:35No, at the same time.
01:10:45I'm going to wait for you.
01:10:45See you next time.
01:10:45Bye.