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Martin Scorsese, Steven Spielberg, Olivier Assayas, David Fincher, Wes Anderson e outros diretores renomados comentam a famosa entrevista que Alfred Hitchcock concedeu a François Truffaut na década de 1960. Documentada no livro Hitchcock/Truffaut, espécie de Bíblia dos cinéfilos, a conversa causou impacto na sétima arte, influenciou de diversas formas estes realizadores e segue inspirando jovens artistas até hoje.
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00:00:06Música
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00:01:12Why do these Hitchcock films stand up well?
00:01:16They don't look old-fashioned.
00:01:19Well, I don't know the answer.
00:01:24I think it's because they're so rigorous.
00:01:27Well, there's no characteristics of the word death in it, because it's true to yourself.
00:01:35That's true. Yes.
00:01:48My dad was a big movie buff, and it was one of the books that was in his library.
00:01:58From the time I was about seven years old, he knew I wanted to make movies, so he recommended it
00:02:04to me.
00:02:05And I remember picking over it, and I must have read it.
00:02:09There's sections of it, like there's the Oscar Homolka sequence from Sabotage, where it sort of lays out all of
00:02:17the cutting pattern.
00:02:23It's not even a book anymore.
00:02:26It's like a stack of papers, because it was, you know, I had a paperback, and it's just, you know,
00:02:32it's got a rubber band around it.
00:02:34In 1966, Francois Truffaut published one of the few indispensable books on movies, a series of conversations with Alfred Hitchcock
00:02:44about his career, title by title.
00:02:52It was a window into the world of cinema that I hadn't had before, because it was a director simultaneously
00:03:00talking about his own work,
00:03:02but doing so in a way that was utterly unpretentious and had no pomposity.
00:03:12There was starting to be these kind of erudite conversations about the art form, but, you know, Truffaut was the
00:03:21first one where you really felt that, you know, they were talking about the craft of it.
00:03:31That was incredibly fascinating to me that these two people from very different worlds were both doing the same job,
00:03:40how they would talk about things.
00:03:44It's not just Truffaut makes a book on Hitchcock. The book of Truffaut is an essential piece of his work.
00:03:55I think it conclusively changed people's opinions about Hitchcock, and so Hitchcock began to be taken much more seriously.
00:04:07At that time, the general consensus and climate was a bullying, as usual, by the establishment as to what serious
00:04:18cinema is.
00:04:21So, it was really revolutionary. Based on what the Truffaut Hitchcock book was, we became radicalized as movie makers.
00:04:31It was almost as if somebody had taken a weight off our shoulders and said, yes, we can embrace this,
00:04:35we can go.
00:04:39In 1962, Hitchcock was 63 years old, a household name in television, and a virtual franchise unto himself.
00:04:53He had already been known for many years as the master of suspense, and he had scared the wits out
00:04:59of audiences all over the world with Psycho,
00:05:01and in the process, upended our idea of what a movie was.
00:05:06And in this house, the most dire, horrible events took place. Let's go inside.
00:05:14He had just completed his 40th feature, The Birds.
00:05:25Truffaut, half Hitchcock's age, had made only three features, but he was already an internationally renowned and acclaimed filmmaker.
00:05:35When I went to New York, when I presented my films to New York, they asked me, I don't know,
00:05:39the journalists always asked me what my favorite film was, and when I cited Hitchcock, there was always a kind
00:05:44of excitement.
00:05:46Truffaut wrote Hitchcock a letter.
00:05:48He proposed a series of in-depth discussions of Hitchcock's entire body of work in movies.
00:06:18Je le connaissais déjà parce qu'on l'avait souvent interviewé à Paris.
00:06:27For Truffaut, the book on Hitchcock was every bit as important as one of his own films, and it required
00:06:34just as much time and preparation.
00:06:56Je suis allé à Hollywood avec une interprète collaboratrice, Mrs. Ellen Scott, et nous sommes installés un peu vers les
00:07:04Hôtels, et tous les jours, on est allé au studio.
00:07:06Universal, et on s'enfermait de 9h du matin à 6h du soir, avec des micro-cravates autour du cou,
00:07:12et on parlait cinéma toute la journée, même pendant les heures de repas.
00:07:17The meeting was documented by the great photographer, Philippe Halsman.
00:07:25Hitchcock and Truffaut, they were from different generations and different cultures, and they had different approaches to their work.
00:07:34But both men lived for and through the cinema.
00:07:45My mind is strictly visually.
00:07:50Hitchcock was born with the movies.
00:07:57There's no such thing as a face.
00:08:01It's non-existent until the light hits him.
00:08:07There was no such thing as a line.
00:08:10It's just light and shade.
00:08:14It's a function of pure cinema,
00:08:17as we well know,
00:08:18is the placing of two or three pieces of film together
00:08:22to create a single idea.
00:08:31Hitchcock was trained as an engineer,
00:08:34then moved into advertising.
00:08:37Through that, I went into the designing
00:08:40of what were, in those days of silent films,
00:08:43the art title.
00:08:46And then art direction, script writing,
00:08:48and production duties.
00:08:53They said,
00:08:54how would you like to direct a picture?
00:08:56And I said,
00:08:57I've never thought about it.
00:08:59I was 23.
00:09:03My wife was to be my assistant.
00:09:07We're not married yet.
00:09:09But we're not living in sin either.
00:09:18Hitchcock had many close collaborators,
00:09:20but none of them was closer than Alma Reville.
00:09:24She was credited on some films,
00:09:27uncredited on many others,
00:09:28but Hitchcock consulted his wife
00:09:30on every movie he ever made.
00:09:36The lodger was the first time
00:09:40I'd exercised any style.
00:09:56He's making floors out of glass
00:09:58so that you can show people
00:09:59walking in circles in the apartment above.
00:10:02He's playing with all those
00:10:06things that make cinema fun
00:10:11and magic.
00:10:13The tricks of it.
00:10:16He was also conceptual
00:10:19with the way he approached
00:10:20many of these films.
00:10:22This movie, I have an idea
00:10:24for a way that I've never worked before.
00:10:32This is somebody whose mind
00:10:34is racing, filled with ideas,
00:10:36and that's why, you know,
00:10:37we refer to him all the time.
00:10:40Do you realize a squad van
00:10:42will be here any moment?
00:10:43No, really, oh my God,
00:10:44I'm terribly frightened.
00:10:45Why, have you been a bad woman
00:10:47or something?
00:10:48Well, not just bad, but...
00:10:50But you've slept with men.
00:10:51Oh, no!
00:10:52He directed the first British talking.
00:10:55Knife!
00:10:57Knife!
00:10:57Alice, cut us a bit of bread, will you?
00:10:59Knife!
00:10:59I'm an enchilter,
00:11:00you mustn't use a knife!
00:11:03And then, in 1934,
00:11:06he made the first
00:11:07100% Hitchcock picture.
00:11:10Tom Moritz was the beginning
00:11:12of the man who knew too much.
00:11:17It was the place of our honeymoon.
00:11:50And, of course,
00:11:51Hollywood beckoned.
00:11:55I wasn't attracted
00:11:57to Hollywood as a place.
00:12:00They had no interest.
00:12:04What had interest for me
00:12:05was getting inside that studio.
00:12:28Hitchcock did some of his
00:12:30best work in the 40s.
00:12:39But in the 50s,
00:12:40he soared.
00:12:42I have a murder on my conscience,
00:12:43but it's not my murder.
00:12:46And curiosity of James Stewart
00:12:48in this story of a romance
00:12:50shadowed by the terror
00:12:51of a horrifying secret.
00:12:58Look, John, hold them.
00:13:03Diamonds.
00:13:15It was a spell that was cast
00:13:16with those films
00:13:17in the 50s and to the 60s.
00:13:20And it's a
00:13:23blessed time
00:13:24for me
00:13:25because I saw them
00:13:26as they came out.
00:13:37Trouffaut began as a critic
00:13:39in the early 50s.
00:13:40He started at the great
00:13:42French film magazine
00:13:43Cahiers du Cinéma.
00:13:45For the writers at Cahiers,
00:13:47soon to become the filmmakers
00:13:48of the Nouvelle Vague,
00:13:50Hitchcock's greatness
00:13:51as an artist
00:13:51was self-evident.
00:14:07Before they made
00:14:08their own movies,
00:14:09the Cahiers critics
00:14:10erected a new pantheon
00:14:11of cinema.
00:14:13The directors
00:14:14who were the true artists,
00:14:15the authors
00:14:16who wrote with the camera,
00:14:18the auteurs.
00:14:27La poétique des auteurs
00:14:28dit
00:14:28c'est l'individualisation
00:14:30totale.
00:14:32La poétique des auteurs
00:14:33dit
00:14:33non pas que
00:14:34tous les films
00:14:35d'Hitchcock
00:14:35sont bons
00:14:35et que tous ceux
00:14:36de la noix
00:14:36sont mauvais,
00:14:37mais elle dit
00:14:37le plus mauvais film
00:14:39d'Hitchcock
00:14:39est plus intéressant
00:14:40pour nous
00:14:40que le meilleur film
00:14:41de la noix.
00:14:42Voilà.
00:14:43Elle est une profession
00:14:45d'individualisme
00:14:47quand même.
00:14:52La nouvelle vague
00:14:53c'est le moment
00:14:54où le cinéma
00:14:54prend conscience
00:14:55de lui-même
00:14:57et où
00:14:58de jeunes
00:14:59cinéastes
00:15:00en devenir
00:15:00disent
00:15:02le cinéma
00:15:03est un art
00:15:04et nous sommes
00:15:05des artistes.
00:15:16Bonjour, madame!
00:15:20Being an individual artist
00:15:23meant
00:15:23self-exposure.
00:15:26Pouring
00:15:26all of yourself
00:15:27into your movie.
00:15:29All of your fears
00:15:30and obsessions
00:15:31and fetishes.
00:15:32Just like
00:15:33Hitchcock did.
00:15:39All together.
00:15:40Pull!
00:15:44Tout ce qui le terrifie
00:15:45il le pense
00:15:46jusqu'à un point
00:15:47où il puisse
00:15:47dire qu'il est attiré
00:15:49par ça.
00:15:49Il ne s'arrête pas
00:15:50simplement à la terreur,
00:15:51il a une fascination
00:15:53pour ce qui le terrifie.
00:15:54Donc il n'y a plus
00:15:55au bout d'un moment
00:15:56il n'y a plus
00:15:56de différence
00:15:57entre ce qui le fait
00:15:58vibrer de peur
00:16:00ou ce qui le fait
00:16:00vibrer d'amour.
00:16:04Hitchcock
00:16:05often told
00:16:06the story
00:16:06of being sent
00:16:07to the police station
00:16:08as a boy
00:16:09where he was
00:16:10locked up
00:16:10for a few minutes
00:16:11as a symbolic
00:16:12punishment.
00:16:14He said
00:16:14that it led
00:16:15to a lifelong
00:16:16fear
00:16:16of the police.
00:16:24But Truffaut
00:16:26really was
00:16:27locked up.
00:16:27He was
00:16:28delivered to
00:16:29the police
00:16:29by his own
00:16:30father
00:16:31and then sent
00:16:32to a juvenile
00:16:33detention center.
00:16:40an episode
00:16:42he put into
00:16:43his autobiographical
00:16:44first feature.
00:17:03truffaut
00:17:03had a fierce
00:17:04attachment
00:17:04to freedom.
00:17:05It's there
00:17:06in all of his films
00:17:07and it sent him
00:17:09in search
00:17:09of another father,
00:17:10a father
00:17:11who would
00:17:12liberate him.
00:17:13He found
00:17:14the great
00:17:15film critic
00:17:16André Bazin
00:17:17who virtually
00:17:17adopted Truffaut
00:17:19and brought him
00:17:20to Cahiers du Cinéma.
00:17:25He found
00:17:26Jean Renoir
00:17:27and Roberto
00:17:28Rossellini
00:17:33And he found
00:17:34Alfred Hitchcock
00:17:36Hitchcock
00:17:37had freed
00:17:37Truffaut
00:17:37as an artist
00:17:39and Truffaut
00:17:40wanted to
00:17:40reciprocate
00:17:41by freeing
00:17:41Hitchcock
00:17:42from his
00:17:43reputation
00:17:43as a light
00:17:44entertainer.
00:17:46And that's
00:17:47the basis
00:17:48on which
00:17:48they started
00:17:49their conversation.
00:17:55Let me check
00:17:56with him
00:17:57and see
00:17:57if he's
00:17:57running
00:17:58yet.
00:18:02You started?
00:18:03You're running?
00:18:06All right.
00:18:06You're running
00:18:07now, huh?
00:18:08Okay, fine.
00:18:09We are now
00:18:10on the air.
00:18:11We are now
00:18:12on the air.
00:18:20You're a type
00:18:22of picture.
00:18:25People
00:18:26get enjoyment
00:18:28but pretend
00:18:29not to be fooled.
00:18:33They suck.
00:18:36They begrudge
00:18:36them.
00:18:37They give
00:18:37their pleasure
00:18:37grudgingly.
00:18:39Yes.
00:18:40Well,
00:18:40I say pleasure
00:18:41I don't mean
00:18:41amusement.
00:18:42Now,
00:18:43they're obviously
00:18:45they're going
00:18:45to sit there
00:18:46and say
00:18:46show me.
00:18:48Oui,
00:18:48évidemment.
00:18:49They go there
00:18:49and say
00:18:49show me.
00:18:51And they expect
00:18:52to anticipate.
00:18:53I know what's
00:18:54coming next.
00:18:55I have to say
00:18:56do you?
00:19:12Yes,
00:19:13but you see
00:19:13to me
00:19:14the plausibility
00:19:16for the sake
00:19:17of plausibility
00:19:20doesn't help,
00:19:21you know.
00:19:22It doesn't help.
00:19:22Yes.
00:19:36But not to avoid
00:19:38it if it's useful.
00:19:44I have a favorite
00:19:45little saying to myself.
00:19:47Logic is dull.
00:19:49Oui,
00:19:49oui,
00:19:49non,
00:19:49c'est vrai,
00:19:50oui.
00:19:54Est-ce qu'on peut
00:19:55maintenant essayer
00:19:56de définir
00:19:56le suspense?
00:19:57Is it possible
00:19:58now for us
00:19:58to define suspense?
00:20:00That is to say
00:20:00are there many
00:20:01forms of suspense?
00:20:04Les gens croient
00:20:04un peu naïvement
00:20:08que le suspense
00:20:09c'est quand on a peur.
00:20:12Ce qui est faux.
00:20:13Which is wrong.
00:20:14Non,
00:20:14non.
00:20:15In the film
00:20:16Easy Virtue.
00:20:18Dans le film
00:20:18Easy Virtue.
00:20:20The young man
00:20:20was proposing
00:20:21to this woman.
00:20:23Le jeune proposé
00:20:24à cette femme
00:20:24wouldn't give an answer.
00:20:26She said,
00:20:28I'll call you up
00:20:29when I get back
00:20:30around 12 o'clock.
00:20:37And all I showed
00:20:39was the operator
00:20:41on this telephone
00:20:42switchboard.
00:20:47That girl
00:20:48is in suspense.
00:20:50Cette fille
00:20:50a du suspense.
00:20:52And she was relieved
00:20:53at the end.
00:20:54Elle a été soulagée
00:20:55à la fin
00:20:55that the suspense
00:20:57was over.
00:20:57Que le suspense
00:20:58était terminé.
00:20:59The woman
00:20:59said yes to him.
00:21:00La femme a dit
00:21:01oui.
00:21:01Suspense
00:21:02doesn't always
00:21:03have fear.
00:21:04ne suggère pas
00:21:06nécessairement
00:21:06la crainte
00:21:07before.
00:21:08Moi,
00:21:08c'est ça,
00:21:08pas nécessairement.
00:21:09de la femme
00:21:27Il parle de la femme
00:21:29de la femme
00:21:30contextualise
00:21:30what the work
00:21:31of a director
00:21:32truly is
00:21:33at its most
00:21:34fundamental
00:21:35e mais simples.
00:21:41Emocionalmente, o tamanho da imagem é muito importante.
00:21:47Você está lidando com espaço.
00:21:51Você pode precisar de espaço e usar isso dramáticamente.
00:21:59Quando a garota se levantou no sofá,
00:22:04eu guardei a câmera em trás e usava o espaço para indicar a nada.
00:22:12De qual ela se levantou.
00:22:21Se você tiver algum tipo de compreensão de color, design e luz,
00:22:29dirigir são realmente três coisas.
00:22:31Você está editando o comportamento ao tempo,
00:22:36e aí controlando momentos que deveriam ser muito rápidos e fazer ele lento.
00:22:42E momentos que deveriam ser muito rápidos e fazer ele lento.
00:22:45É verdadeiramente uma ocasião sólida.
00:22:47Eu vou mudar você para o nosso microfone.
00:22:49Sim, isso é uma coisa que vemos muito bem,
00:22:52a dilatação do tempo.
00:22:54Sim, isso é o que o filme é para.
00:22:58Ou seja, para contratar o tempo,
00:23:02ou para extender o tempo,
00:23:05ou para expandir o tempo.
00:23:06como você quiser.
00:23:07Sim, sim, isso é muito interessante.
00:23:15Hitchcock foi o mestre,
00:23:17digamos,
00:23:17e a sculptor de momentos e tempo para te levar a uma sequência
00:23:23ou para dirigir a sua percepção de uma maneira
00:23:25onde ele poderia elongáter o tempo ou o telescópáter.
00:23:29Bem, há momentos em que você tem que parar o tempo.
00:23:33Em meu primeiro filme,
00:23:37em Fort André de Blues,
00:23:38eu tive uma experiência de isso.
00:23:40Em fazendo a Bussonniere escola,
00:23:41o filho na rua
00:23:43encontrou sua mãe com um homem,
00:23:45que não era seu pai.
00:23:47Descreve-me em detalhe o que foi a acção.
00:23:51Nós fomos com os filhos
00:23:53que se levam na rua em vez de estar à escola.
00:23:55Ela cortou para a mãe antes que o garoto vê-la.
00:23:58Ela não olhou, ela não olhou.
00:24:01Ela não olhou ainda.
00:24:01Ela não olhou para o filho ainda.
00:24:03Ela olhou para o garoto.
00:24:06Ela olhou para o garoto.
00:24:07Ela olhou para o garoto.
00:24:08Você mostrou a mãe que eles olhou para o garoto.
00:24:10Oh, meu Deus, Antônio, ele me segurou.
00:24:12Eu me perguntarei de um ponto de vista.
00:24:14Qual foi a intenção?
00:24:17A intenção foi mostrar que os dois eram vus,
00:24:19l'un à l'autre.
00:24:22E ela disse,
00:24:23eu tenho certeza que ele me viu.
00:24:24Eu esperava que não fosse nada falado.
00:24:29Trufaut não é um estilista.
00:24:31Ele não gosta disso.
00:24:32Ele filme admirávelmente bem,
00:24:34mas a questão nunca está lá.
00:24:41Você está lá.
00:24:42Você tem medo.
00:24:45Você tem medo.
00:24:46Uma coisa ele retira de Hitchcock,
00:24:48é a concisão.
00:24:50É a velocidade.
00:24:51Mas a diferença,
00:24:52é que Hitchcock tem um sentido
00:24:54absolutamente matemático
00:24:56da construção de essas séquências.
00:24:59Hitchcock é um teorista de espaço.
00:25:13Na minha opção,
00:25:14eu acho que o tempo é muito.
00:25:18gráfico
00:25:19e preciso
00:25:21há muito a aprender disso
00:25:27ele diz que quando eu estou no set
00:25:29eu não estou no set, eu estou assistindo
00:25:31na tela
00:25:33esse é o clube de Hitchcock
00:25:35ele vê a foto em sua cabeça
00:25:42eu imagino que ele só sat alone
00:25:45e essas imagens viram para ele
00:25:46e ele nunca perguntou
00:25:47você não sente que ele não está
00:26:03confiante em todos os shots
00:26:08é um cara que você não realmente questione
00:26:10ele sempre funciona dentro do seu mundo
00:26:13é um tipo de coisa
00:26:20eu acho que é preciso
00:26:22eu acho que é preciso
00:26:36hoje
00:26:41eu acho que é isso
00:26:58O que eu falo é que eu falo é uma pessoa que se diz que eu falo é um homem,
00:27:10mas por isso eu falo de uma vez que eu falo para o filme.
00:27:15É que eu falo assim, se eu falo de um homem que se faz mal,
00:27:20mas eu falo de um homem que se faz mal.
00:27:22Mas eu falo de uma vez que eu falo para o filme.
00:27:26Eu acho que você não gostou de comer.
00:27:29Não, eu não gostei de comer.
00:27:59Eu acho que você não gostou de comer.
00:28:24Eu estava dando ao público o grande privilégio de abrassar Cary Grant e Ingrid Bergman juntas.
00:28:35Foi um tipo de ménage à trois temporais.
00:28:42E os atores não gostaram de fazer isso. Eles se sentiam extremamente mal à l'aise.
00:28:48Na maneira que eles tinham se acolher.
00:28:52E eu disse, eu não sei como você se sente, eu só sei o que vai ser na tela.
00:28:58Eu não sei como você se sente, mas o que me interessa é a aparência da tela.
00:29:02Ele obviamente teve um relacionamento, em alguns casos, com atores.
00:29:08Ele definitivamente solicitou movie stars.
00:29:10Você sabe que há no doubt em ler o livro que ele é muito cognizante de valor.
00:29:17E o livro que as pessoas querem ver.
00:29:20E às vezes, com complicações que vem com esse bagagem.
00:29:48Eu tive um conflito com Clift.
00:29:54Eu disse, Monty, eu quero que você se sente, mas o hotel.
00:29:58Eu quero que você se sente também.
00:30:00Então ele me disse, eu não sei se eu se sente, mas o hotel.
00:30:06Eu disse, por que não?
00:30:07Ele disse, eu posso ser ocupado por as pessoas abaixo.
00:30:13Eu disse, eu quero que você se sente, mas o hotel.
00:30:18E eu quero que você se sente, mas o hotel é o hotel.
00:30:24Então, um ator vai tentar interferir com mim, organizando minha geografia.
00:30:30Por isso, todos os atores são atos.
00:30:33É por isso que eu digo que todos os atores são de bêtais.
00:30:35Com Hitchcock, você tem uma sensação de uma psicólogia self-continada,
00:30:39que nós vamos explorar sua obsessão e o que ele estava interessado em.
00:30:43Eu acho que sua colaboração não foi muito longe do que isso.
00:30:48Hitchcock, é um grande parte do filme, mas não é a única parte do filme.
00:30:55E eu acho que Hitchcock foi um dos primeiros que disse que há uma estrutura para essa linguagem.
00:31:12Ele provavelmente fez mais para a psicólogia de caracterização em motion pictures.
00:31:22E, por isso, ele provavelmente fez mais para a psicólogia de caracterização em motion pictures.
00:31:31Para explorar esse tipo de comportamento no set.
00:31:35É o rigor de dramatizar em termos narrativo,
00:31:39e não permitir que isso se espelhe sobre o edge do bucket.
00:31:48E, por isso, ele provavelmente foi um descanso, um descanso, um descanso.
00:32:13E, por isso, ele provavelmente, o que uma performance ou uma persona no screen seria.
00:32:21E é que o actor é o principal instrumento, realmente.
00:32:25E isso é tudo expressado, eu acho, em Brando, James Dean, e Clift.
00:32:30Alfred Hitchcock foi capaz de conseguir os artistas dos artistas no screen,
00:32:33se fosse Cary Grant, even Marie Saint, Grace Kelly, Jimmy Stewart.
00:32:38E, por isso, ele provavelmente vem de outra tradição.
00:32:42Eu gostaria de ver De Niro, Pacino, Dustin Hoffman.
00:32:48Para ver que esse grupo de actor, você sabe,
00:32:53ter que floreça under esse,
00:32:56under o arombrela de,
00:32:59esse é o que esse próximo 3 1⁄2 segundos é sobre.
00:33:07Eu gostaria de perguntar para você,
00:33:10você sente que é muito problema
00:33:12ter que dirigir os artistas no seu trabalho?
00:33:17O que eu gosto é uma formula intermediaire.
00:33:21Como falar com um actor
00:33:23falar com um actor
00:33:24no dia depois de dinear
00:33:28e fazer o diálogo
00:33:29no dia,
00:33:30com os palavras de seu vocabulário.
00:33:32com as palavras que ele também usou
00:33:34em parte de seu próprio vocabulário.
00:33:37Sim, eu acho.
00:33:37O que significa que você tem que escrever no noite?
00:33:40Souvent, no dia para o amanhã.
00:33:42Em Jules e Jim, por exemplo,
00:33:44em um momento,
00:33:45os três homens estão assis,
00:33:46isso foi completamente improvisado.
00:33:48Isso foi completamente improvisado.
00:33:49Você vai sacrifiar os moustachos?
00:33:50Oh, sim, eu faço como todo mundo.
00:33:52Mas eu não me gosto assim,
00:33:53eu tenho a sensação de ser tudo nido.
00:33:54Mas, enfim, são coisas, obviamente,
00:33:56que rendem o filme mais vivo,
00:33:57mas que são muito perigoso
00:34:01para a cura.
00:34:01Para a cura.
00:34:03Para a forma.
00:34:04Para a forma da peça.
00:34:05Ah, sim, sim, sim.
00:34:09Eu me falo muito bem
00:34:11sobre se eu acolio
00:34:14a o que eu chamo
00:34:16a forma de cura de uma cura
00:34:18de uma história
00:34:19e se eu não deveria experimentar
00:34:23com a forma de forma de narrativa.
00:34:28Às vezes, é muito difícil
00:34:30porque se você trabalha
00:34:33para a cura de uma cura
00:34:34de uma cura
00:34:35de uma cura
00:34:36de uma cura
00:34:37de uma cura
00:34:38de uma cura
00:34:40de uma cura
00:35:00de uma cura
00:35:01de uma cura
00:35:05de uma cura
00:35:10de uma cura
00:35:31Eu não gosto do controle no cinema.
00:35:34Eu não gosto do controle de um filme onde não existe uma forma de transformação do escenario,
00:35:38de transformação da matéria humana.
00:35:41E eu acho que há algo de transcendente no controle do Hitchcock.
00:35:46É que Hitchcock inventou uma clarté na escrita...
00:35:53... que não é materialista, mas que captura o invisível, que saísa uma forma de espiritualidade.
00:36:06Eu fui alto porque eu não queria gastar muita foto sobre as pessoas que saíram e começam a tirar o
00:36:16fogo.
00:36:16Mostra as pessoas que saíram e que saíram o fogo.
00:36:20Se você joga um caminho longe, você não se compromete a nenhum detalhe.
00:36:25Não foi apenas apenas para mostrar toda a cidade e como as pessoas que saíram.
00:36:30Foi um outro tipo apocalíptico, religioso feel.
00:36:35Foi omnisciente.
00:36:38É a clenagem da terra.
00:36:41Quanto ponto de vista é quando você corta a tudo mais sobre tudo?
00:36:44Deus ponto de vista?
00:36:45Nós somos todos os julgados de tudo mais sobre?
00:36:47Você sabe, que parece que...
00:37:04Você aceita ser considerada como um artista católico?
00:37:14Você sabe, você tem Martin Balsam indo para as ruas, certo?
00:37:18Você sabe que ele vai conseguir, mas você não espera que esse alto nível.
00:37:26Há alguma coisa omnisciente sobre isso que é meio que fracassante.
00:37:35Em seus filmes, eu sinto muito a odor do PC original também.
00:37:39Sim.
00:37:51Eu adoro, eu sou embaraçado por dar exemplos, mas eu sinto realmente, em seu trabalho, o sentido de uma culpabilidade
00:37:58de homens.
00:38:01Todo mundo sempre tem algo a se reprocher.
00:38:04Todo mundo sempre tem algo a se sentir culpabilidade de.
00:38:07E eles perguntam, se você ever ouviu de topaz?
00:38:09Colonel Kustanov, o termo de topaz significa algo para você?
00:38:13Ele se corta a defecador, e a câmera é um pouco sobre ele, e você vê que as o olho
00:38:19se muda.
00:38:20O olho não é covered.
00:38:21Isso significa que o ângulo deve ser certo.
00:38:25Agora, você sabe que ele é mentindo.
00:38:27O que é que é a poem?
00:38:28Você pode deixar a religião, mas o hão de sábado sempre está lá.
00:38:34que infusam tudo, o processo de pensamento e o processo de contabilidade.
00:38:40E continuamente torna o nosso coração da malha,
00:38:46e da coisas mundos,
00:38:50para ti.
00:38:56É curioso porque todos os filmes de Hitchcock
00:38:59são baseados em um transferência de culpabilidade,
00:39:01incluindo The Wrong Man.
00:39:05A crime que eu não fiz, mas eu nunca fiz um crime.
00:39:08É o transferência de culpabilidade que é a base de todos os filmes.
00:39:12Para mim, The Wrong Man é um dos melhores filmes
00:39:14porque há esse transferência de culpabilidade entre o real culpado e o mal culpado.
00:39:18Over os anos, eu continuo revisando isso,
00:39:20vejo, vejo, vejo e de novo.
00:39:25Este é o average man, decent man, eu deveria dizer.
00:39:28A família, os filhos,
00:39:30que se encontram.
00:39:31O nome é Chris?
00:39:33Você me chamou?
00:39:34E tudo...
00:39:37Tudo...
00:39:39Tudo...
00:39:40tudo...
00:39:40ele faz isso.
00:39:41E você sabe que ele não fez.
00:39:42Um...
00:39:44dois...
00:39:46três...
00:39:48quatro.
00:39:51Você está certeza?
00:39:52Absolutamente.
00:39:54Eu acho que não podemos fazer um filme assim.
00:39:57É impossível fazer um filme assim,
00:39:58se você não vibra de empatia para cada gesto, cada momento, cada objeto.
00:40:04...
00:40:09quando ele está ficando em brincadeira para cada gesto.
00:40:10Os resultados extraordinários de insertos
00:40:11onde Henry Fonda está sentindo no banco.
00:40:14Ele olha a a cerveza ao redor dele,
00:40:16e...
00:40:17ele corta em diferentes cerções de cerveza.
00:40:21O que faz você sentir opressa?
00:40:23A abril na porta, mas de qual ângulo?
00:40:34Foi impossível para um cineasta não-catholico
00:40:37fazer essa cena de a praia de Rangman
00:40:40Sim, é impossível
00:40:46O golpe de génie, o fundo
00:40:47com os dois olhos e o mal
00:40:50Nós vemos o mal
00:40:51Mas o mal não é o mal, não é o cara que faz o cambrioleur
00:40:54Não é o mal, é o fato de que esse homem se tornou condamnado
00:40:59quando ele era inocente
00:41:00E o mal não é que um dos agentes do mal
00:41:11Sempre com esse mesmo movimento, Hitchcock se retirou do filme
00:41:13O que permite ao espectador
00:41:15ter uma parte pré-éminente no filme
00:41:18E ao fim do filme, a sensação de ver um autoportrait do seu autor
00:41:25É muito, muito
00:41:30Não é muito, não
00:41:34E você sente o importância do rêve?
00:41:37Quando você sente o seu trabalho, a importância do sonho
00:41:40Muitos sonhos
00:41:40Muitos sonhos, provavelmente
00:41:42Sem o desejo, você retombe automaticamente
00:41:44No domínio do rêve, que é sempre feito sobre o péril e a solitude
00:41:49Bem, isso é provavelmente eu, dentro de mim
00:41:57Porque sua lógica, que não satisfaz as críticas, como a gente diz sempre
00:42:01É um pouco a lógica do rêve
00:42:03Look
00:42:08I think it occurs because I'm never satisfied with the ordinary
00:42:14I can't do well with the ordinary
00:42:37Hitchcock keeps referring to these sort of fetish objects
00:42:43Quaises, handcuffs, ropes, etc...
00:42:46Which are kind of dream objects
00:42:49Which have a kind of Freudian weight
00:42:59Como em rêve, há uma forma de hiperperception dos objetos
00:43:02Há coisas que, de repente, têm uma preeminência, uma importância essencial
00:43:08E coisas essenciais que são no segundo plano
00:43:10E isso é realmente o rêve
00:43:15Um sac à mão significa
00:43:17Uma clé significa
00:43:18Uma bouteille significa
00:43:19E o que ela significa, não sabemos o que isso significa
00:43:22Como em um rêve, onde se diz
00:43:23Mas qual é a clé dos sonhos?
00:43:25J'ai rêvé de um oiseu
00:43:26Quê que isso quer dizer, em Birds?
00:43:28Porquê?
00:43:29E não sabemos
00:43:37No primeiro, o homem que sabe muito
00:43:39Há um plano magnífico
00:43:41Onde a mãe lêve os olhos ao céu
00:43:42Vacia um pouco
00:43:46Há uma contradição entre os panéos filets
00:43:48Que vão muito rápido
00:43:48E o movimento de l'actriz
00:43:49Que é muito ralenti
00:43:51A mãe tombe e se esvanoui
00:43:56À esse momento, aparece
00:43:57L'image do Psy-Pins
00:43:58Que a filha tinha
00:43:59De sa médaille de ski
00:44:00Em insert
00:44:02E, de repente, há esse visage
00:44:03Enfantin
00:44:04Que faz pensar
00:44:05Avec essa massa de fourrure
00:44:07Derriere
00:44:07Como a tête d'un enorme monstre
00:44:09Então, pense à La Belle et la Bête
00:44:11C'est aussi l'image fascinante
00:44:13C'est des images
00:44:13Qui tênent aussi du cinéma muet
00:44:19C'est la forme la plus pure
00:44:25C'est ça
00:44:26De dire qu'il n'y avait eu
00:44:28Aucun besoin
00:44:29D'abandonner
00:44:32La technique
00:44:33Du cinéma pur
00:44:35La façon
00:44:38De la manière dont ça
00:44:40A été abandonné
00:45:09Quand on a amené le son
00:45:12C'est comme disait Truffaut
00:45:14Les gens qui ont connu
00:45:14Le secret perdu
00:45:16Les gens qui ont commencé
00:45:17À l'époque du cinéma muet
00:45:18Qui savent quelque chose du cinéma
00:45:19Que tous les cinéastes
00:45:20Qui ont commencé
00:45:21Pendant le parlant
00:45:22Ignoreront toujours
00:45:33Il y a vraiment un savoir plastique
00:45:43D'une force
00:45:44C'est admirable
00:45:59Les transparences chez Hitchcock
00:46:01Qui ont une fonction
00:46:02Qui est vraiment
00:46:04Qui est extrêmement complexe
00:46:06C'est l'idée de plan de réalité
00:46:23Cette idée d'un personnage
00:46:24Qui comme dans un rêve
00:46:25C'est à dire
00:46:25Le personnage est en vrai
00:46:27Et derrière le monde
00:46:28Est comme une toile de rêve
00:46:35Vertigo
00:46:36C'est un de vos films
00:46:37Les plus poétiques
00:46:38Les plus poétiques
00:46:39Les plus poétiques
00:46:39Les plus poétiques
00:46:39Les plus poétiques
00:46:40Les plus poétiques
00:46:40Les plus poétiques
00:46:40Mais le film
00:46:43Dans le côté rêve
00:46:44Il y a une espèce
00:46:45De lenteur
00:46:46Quelque chose de contemplatif
00:46:48Que n'ont pas
00:46:48Nos autres films
00:46:49Ils sont souvent construits
00:46:51Sur la fulgurance
00:46:52La rapidité
00:46:53Mais tu es en train
00:46:55Avec le point de vue
00:46:56D'un homme émotionnel
00:47:00Qu'est-ce qui intéressait le plus
00:47:03Monsieur Hitchcock
00:47:04Dans le sujet
00:47:05Je m'intriguais
00:47:07Avec les efforts
00:47:08De créer
00:47:09Une femme
00:47:22Ce qui m'intriguait
00:47:25C'était les efforts
00:47:26What your interests
00:47:27Are
00:47:28What your prurient interests
00:47:30Are
00:47:31What your noble interests
00:47:32Are
00:47:33What your fascinations
00:47:35Are
00:47:35If you think
00:47:36You can hide that
00:47:37In your work
00:47:37As a film director
00:47:39You're nuts
00:47:40You know
00:47:41And I think
00:47:42That he was one
00:47:43Of the first guys
00:47:43Who said
00:47:45I'm gonna go with it
00:47:48I'm just gonna
00:47:49I'm gonna be
00:47:50I gotta be me
00:47:55In the case
00:47:57Of his best work
00:47:58There's
00:47:59A more
00:47:59Direct
00:48:00Umbilicus
00:48:01To his
00:48:03Subconscious
00:48:06Certainly
00:48:06I think
00:48:07That's true
00:48:07Of Vertigo
00:48:09The sex
00:48:11Psychological
00:48:11Side
00:48:12Is that
00:48:13You have
00:48:14A man
00:48:15Creating
00:48:16A sex
00:48:17Image
00:48:18That he can't
00:48:19Go to bed
00:48:20With her
00:48:21Until
00:48:21He's got her
00:48:22Back
00:48:23To the thing
00:48:24He wants to
00:48:25Go to bed
00:48:26With
00:48:26I should be
00:48:27Back from your
00:48:27Face
00:48:28And pinned
00:48:28To the neck
00:48:28I told her
00:48:29That
00:48:29I told you
00:48:30That
00:48:30We tried it
00:48:32Or
00:48:33Metaphorically
00:48:35Indulged
00:48:36In
00:48:36A form
00:48:37Of
00:48:38Necrophily
00:48:39That's what
00:48:40It really was
00:48:44The things
00:48:45You see
00:48:46That I
00:48:47Liked
00:48:48And felt
00:48:49Most
00:48:50When she
00:48:50Came back
00:48:51From having
00:48:52Her hair
00:48:53Made blonde
00:48:54And it
00:48:55Wasn't up
00:48:57This means
00:48:59She has
00:49:00Stripped
00:49:01But won't
00:49:02Take her
00:49:03Knickers
00:49:03Off
00:49:04You see
00:49:07She says
00:49:08All right
00:49:09And she
00:49:10Goes into
00:49:10The bar
00:49:11And he
00:49:11Is waiting
00:49:14He's waiting
00:49:15For the woman
00:49:16To undress
00:49:17And come out
00:49:20New
00:49:21Ready
00:49:22For it
00:49:23I'll wait
00:49:23To both
00:49:24I hope
00:49:31And while
00:49:32He was
00:49:33Looking at
00:49:34That door
00:49:34He was
00:49:35Getting
00:49:35An erection
00:49:37We will
00:49:38Now tell
00:49:38A story
00:49:39Shut the
00:49:39Machine
00:49:39On
00:49:41What I
00:49:41Love about
00:49:42Virgo
00:49:42Is just
00:49:43It's so
00:49:43Perverted
00:49:44It's just
00:49:45So perverted
00:49:47Here
00:49:47Judy
00:49:48Drink this
00:49:48Straight down
00:49:49Just like
00:49:49Medicine
00:49:55I've always
00:49:56Felt that
00:49:57The most
00:49:57Interesting
00:49:58View of
00:49:59Vertigo
00:50:00Would be
00:50:02Her story
00:50:04The color
00:50:05Of your
00:50:05Hair
00:50:09Judy
00:50:10Please
00:50:10It can't
00:50:11Matter to
00:50:11You
00:50:13And it's
00:50:14Almost more
00:50:14Honest than
00:50:15The guy's
00:50:15Point of
00:50:15View
00:50:22I guess
00:50:23Taking
00:50:24Scotty's
00:50:24Point of
00:50:25View
00:50:25Was
00:50:26Will
00:50:27You
00:50:27Love
00:50:27Me
00:50:27Hitchcock's
00:50:28Point of
00:50:29View
00:50:31Yes
00:50:35I
00:50:35Yes I
00:50:38Enjoyed
00:50:39It
00:50:39You
00:50:40Know I
00:50:41Had
00:50:41Vera
00:50:41Miles
00:50:42Tested
00:50:43And
00:50:43Costumed
00:50:44We were
00:50:44Ready to
00:50:45Go
00:50:45With
00:50:45She
00:50:46Went
00:50:46Pregnant
00:50:47And
00:50:48That
00:50:49Was
00:50:49Going
00:50:49To
00:50:49Be
00:50:49The
00:50:49Part
00:50:50That
00:50:50I
00:50:50Was
00:50:50Going
00:50:50To
00:50:51Bring
00:50:51Her
00:50:51Out
00:50:51She
00:50:52Was
00:50:52Under
00:50:52Contract
00:50:52To
00:50:53Me
00:50:54But
00:50:54I
00:50:54Lost
00:50:55Interest
00:50:55I
00:50:55Couldn't
00:50:56Get
00:50:56The
00:50:56Rhythm
00:50:57Going
00:50:57Again
00:50:57With
00:50:58That
00:50:58Silly
00:50:59Girl
00:50:59I
00:51:00Don't
00:51:00Think
00:51:00He
00:51:00Would
00:51:01Have
00:51:01Been
00:51:01Able
00:51:01To
00:51:01Take
00:51:01Vera
00:51:02Miles
00:51:02Into
00:51:03That
00:51:03Judy
00:51:03Place
00:51:05Into
00:51:05That
00:51:06Real
00:51:06Kind
00:51:07Of
00:51:07A
00:51:08Slutty
00:51:08Place
00:51:08And
00:51:09So
00:51:10I
00:51:10Think
00:51:10That
00:51:10He
00:51:10Surmounted
00:51:11His
00:51:11Restriction
00:51:12In
00:51:12That
00:51:12Way
00:51:14I
00:51:14Saw
00:51:15The
00:51:15Film
00:51:16Fairly
00:51:17Early
00:51:17In
00:51:18My
00:51:18Life
00:51:18As
00:51:19A
00:51:19Film
00:51:20Person
00:51:20And
00:51:20I
00:51:20Saw
00:51:21It
00:51:21Through
00:51:21Marty
00:51:21It
00:51:22Became
00:51:22A
00:51:23Lost
00:51:23Film
00:51:24So
00:51:24To
00:51:24Speak
00:51:24And
00:51:25I
00:51:25Ain't
00:51:25Talking
00:51:25All
00:51:25The
00:51:26Filmmakers
00:51:26In
00:51:26The
00:51:26Seventies
00:51:27Were
00:51:27Trying
00:51:27To
00:51:27Find
00:51:27Copies
00:51:28Of
00:51:28It
00:51:29Some
00:51:29People
00:51:30Had
00:51:30Sixteen
00:51:30So
00:51:31It
00:51:31Became
00:51:31A
00:51:31Picture
00:51:31You
00:51:31Were
00:51:31Looking
00:51:32For
00:51:32It
00:51:33Was
00:51:33A
00:51:34Kind
00:51:34Of
00:51:35Forbidden
00:51:35Document
00:51:36A
00:51:36Sacred
00:51:36Document
00:51:37That
00:51:51Hitchcock
00:51:52Wasn't
00:51:52Talking
00:51:53About
00:51:53It
00:51:53That
00:51:53Much
00:51:53Because
00:51:54It
00:51:54Wasn't
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01:10:09Important
01:10:09For
01:10:09Who
01:10:10We
01:10:10Were
01:10:10Then
01:10:13You
01:10:14Have
01:10:15Vietnam
01:10:15You
01:10:16Have
01:10:16World
01:10:16Revolution
01:10:17You
01:10:17Have
01:10:18Everything
01:10:18That
01:10:19Happened
01:10:19In
01:10:19The
01:10:1960s
01:10:19And
01:10:19The
01:10:19Society
01:10:20Has
01:10:20Never
01:10:20Been
01:10:20The
01:10:20Same
01:10:22That
01:10:23Picture
01:10:23Really
01:10:23Touched
01:10:24Upon
01:10:24That
01:10:24I
01:10:25Think
01:10:25Psycho
01:10:30Of
01:10:30Course
01:10:31You
01:10:31Want
01:10:31Everything
01:10:31So
01:10:31Neat
01:10:32And
01:10:32Wrapped
01:10:32Up
01:10:34Well
01:10:34Life
01:10:35Isn't
01:10:35Like
01:10:35That
01:10:36Even
01:10:36The
01:10:36Stories
01:10:37I'm
01:10:37Going
01:10:37To
01:10:37Tell
01:10:37You
01:10:37Are
01:10:37Not
01:10:37Like
01:10:37That
01:10:38Now
01:10:40My
01:10:41Main
01:10:41Satisfaction
01:10:42Is
01:10:44That
01:10:45Film
01:10:46Did
01:10:46Something
01:10:47To
01:10:47An
01:10:47Audience
01:10:48I
01:10:48Really
01:10:49Mean
01:10:49That
01:10:49In
01:10:50Many
01:10:50Ways
01:10:51I
01:10:51Feel
01:10:52My
01:10:52Satisfaction
01:10:53With
01:10:54Our
01:10:55Art
01:10:56With
01:10:56With
01:10:56Our
01:10:57Art
01:10:58A
01:10:59Complicated
01:11:00Of
01:11:00A
01:11:01Mass
01:11:02Emotion
01:11:03D'
01:11:03Une
01:11:03Emotion
01:11:04De
01:11:04Mas
01:11:04It
01:11:06Wasn't
01:11:06A
01:11:07Message
01:11:07It
01:11:08Wasn't
01:11:09Some
01:11:09Great
01:11:10Performance
01:11:11It
01:11:12Wasn't
01:11:12A
01:11:13Highly
01:11:14Appreciated
01:11:15Novel
01:11:15The
01:11:16Sur
01:11:16The
01:11:16Audience
01:11:17It
01:11:17Was
01:11:17A
01:11:17A
01:11:17So
01:11:19L'
01:11:20Audience
01:11:20It
01:11:21Was
01:11:22Pure
01:11:22Film
01:11:25People
01:11:26Were
01:11:27Terrible
01:11:28To
01:11:28Make
01:11:29The
01:11:30Subject
01:11:30Was
01:11:31Horrible
01:11:32People
01:11:32Were
01:11:33Small
01:11:34There
01:11:34Were
01:11:35No
01:11:35Caractere
01:11:36I
01:11:37Know
01:11:37All
01:11:37This
01:11:37But
01:11:39I
01:11:39Know
01:11:39One
01:11:39Thing
01:11:40But
01:11:43I
01:11:53React
01:11:54And
01:11:54Become
01:11:55Emotional
01:11:56My
01:11:57Only
01:11:57Pride
01:11:58That
01:11:58Why
01:12:00Is
01:12:00The
01:12:01Picture
01:12:02Belongs
01:12:03To
01:12:03Filmmakers
01:12:04It
01:12:05Belongs
01:12:06To
01:12:06Us
01:12:07You
01:12:07And
01:12:07I
01:12:12Yes
01:12:13How
01:12:13Do
01:12:14Handle
01:12:15This
01:12:15Well
01:12:15I
01:12:16Am
01:12:16The
01:12:16Cameraman
01:12:16You
01:12:17Are
01:12:17The
01:12:17Director
01:12:18And
01:12:18You
01:12:18Are
01:12:18Directing
01:12:19A
01:12:19Double
01:12:19Portrait
01:12:20Of
01:12:20A
01:12:21Mr.
01:12:21H
01:12:21Cook
01:12:22Whatever
01:12:23You
01:12:24Want
01:12:24Any
01:12:25Idea
01:12:25That
01:12:25Really
01:12:26It
01:12:27My
01:12:27Directing
01:12:28Mr.
01:12:28Truffaut
01:12:29Isn't
01:12:29It
01:12:30Yes
01:12:31But
01:12:31You
01:12:32Direct
01:12:32Also
01:12:32Yourself
01:12:33Ah
01:12:33I
01:12:34Got
01:12:34I
01:12:34Got
01:12:34One
01:12:35Sure
01:12:35Okay
01:12:35Okay
01:12:37Now
01:12:40Here
01:12:40We
01:12:40Are
01:12:41Look
01:12:41Here's
01:12:41The
01:12:41I'm
01:12:42Going
01:12:43To
01:12:43Be
01:12:43Like
01:12:43This
01:12:43You
01:12:44See
01:12:44Now
01:12:44Mr.
01:12:45Truffaut
01:12:45Should
01:12:45Half
01:12:46Turn
01:12:46Around
01:12:46And
01:12:46Look
01:12:47Back
01:12:47To
01:12:47Me
01:12:47Regard
01:12:48Moi
01:12:50Like
01:12:50This
01:12:51You
01:12:51See
01:12:51Then
01:12:55We
01:12:56Better
01:12:57Not
01:12:57Have
01:12:58Cigars
01:12:58All
01:12:58Right
01:12:59Otherwise
01:12:59It
01:13:00Might
01:13:00Make
01:13:00Us
01:13:00Look
01:13:01Like
01:13:01Movie
01:13:01Directors
01:13:02And
01:13:02God
01:13:02Forbid
01:13:03We
01:13:03Ever
01:13:03Look
01:13:03Like
01:13:04That
01:13:17The
01:13:17Conversation
01:13:18That
01:13:18Began
01:13:19In 1962
01:13:19Extended
01:13:21Far
01:13:21Beyond
01:13:21The
01:13:22Book
01:13:22And
01:13:23Bloomed
01:13:23Into
01:13:23A
01:13:23Real
01:13:24Friendship
01:13:24Hitchcock
01:13:32Hitchcock
01:13:32And
01:13:32Truffaut
01:13:33Spoke
01:13:34And
01:13:34Wrote
01:13:34To
01:13:34Each
01:13:35Other
01:13:35Constantly
01:13:38They
01:13:39Read
01:13:39Each
01:13:40Other's
01:13:40Scripts
01:13:40Made
01:13:41Story
01:13:41And
01:13:42Casting
01:13:42Suggestions
01:13:43And
01:13:43Screened
01:13:44Each
01:13:44Other's
01:13:45Films
01:13:50After
01:13:50The
01:13:50First
01:13:51Edition
01:13:51Of
01:13:51The
01:13:51Book
01:13:51Was
01:13:52Published
01:13:52In
01:13:531966
01:13:54Truffaut
01:13:55Made
01:13:55A
01:13:55Movie
01:13:55A
01:13:56Year
01:13:57Sometimes
01:13:57Two
01:14:02Hitchcock
01:14:03Made
01:14:03Only
01:14:03Three
01:14:04More
01:14:04Films
01:14:07Right
01:14:08To
01:14:08The
01:14:08End
01:14:08He
01:14:09Was
01:14:09Haunted
01:14:09By
01:14:09The
01:14:09Question
01:14:10He
01:14:10Had
01:14:10Raised
01:14:10With
01:14:11Truffaut
01:14:13Should
01:14:13I
01:14:14Have
01:14:14Experimented
01:14:15More
01:14:15With
01:14:15Character
01:14:16And
01:14:16Narrative
01:14:19Did
01:14:19I
01:14:20Become
01:14:20A
01:14:20Prisoner
01:14:21Of
01:14:21My
01:14:21Own
01:14:22Form
01:14:30The
01:14:31Same
01:14:31Old
01:14:31Question
01:14:32Still
01:14:32Swirled
01:14:33Around
01:14:33Him
01:14:34Was
01:14:35He
01:14:35An
01:14:35Artist
01:14:35Or
01:14:36An
01:14:36Entertainer
01:14:39Could
01:14:39Anyone
01:14:40Really
01:14:40Claim
01:14:40To
01:14:41Be
01:14:41An
01:14:41Artist
01:14:41Working
01:14:42Within
01:14:42The
01:14:42Factory
01:14:43Conditions
01:14:43Of
01:14:44Hollywood
01:14:48In
01:14:49America
01:14:49You
01:14:50Call
01:14:50This
01:14:50Man
01:14:51Hitch
01:14:51In
01:14:52France
01:14:53We
01:14:54Call
01:14:54Him
01:14:54Monsieur
01:14:55Hitchcock
01:15:05Two weeks
01:15:06After
01:15:07The
01:15:07American
01:15:07Film
01:15:08Institute
01:15:08Tribute
01:15:09Wrote
01:15:09Truffaut
01:15:11Resigned
01:15:11To
01:15:12The
01:15:12Fact
01:15:12That
01:15:12He
01:15:12Would
01:15:13Never
01:15:13Shoot
01:15:13Another
01:15:13Film
01:15:14Hitchcock
01:15:15Closed
01:15:15His
01:15:16Office
01:15:16Dismissed
01:15:17His
01:15:17Staff
01:15:18And
01:15:18Went
01:15:19Home
01:15:26François
01:15:27Truffaut
01:15:27Truffaut's
01:15:28Energy
01:15:28And
01:15:29His
01:15:29Love
01:15:29Of
01:15:29Cinema
01:15:30Seemed
01:15:31Inexhaustible
01:15:33The
01:15:34Idea
01:15:34That
01:15:35He
01:15:35Would
01:15:35Be
01:15:35Dead
01:15:35At
01:15:36The
01:15:36Age
01:15:36Of
01:15:3652
01:15:37Only
01:15:38Four
01:15:38Years
01:15:39After
01:15:39Hitchcock
01:15:40Was
01:15:41Unthinkable
01:15:43It
01:15:43Still
01:15:44Is
01:15:49The
01:15:50Last
01:15:50Completed
01:15:51Project
01:15:51Of
01:15:51Truffaut's
01:15:52Life
01:15:52Published
01:15:53A few
01:15:54Months
01:15:54Before
01:15:54He
01:15:55Died
01:15:55Was
01:15:56An
01:15:56Updated
01:15:56Edition
01:15:57Of
01:15:57His
01:15:57Book
01:15:57In
01:15:58Which
01:15:59He
01:15:59Gave
01:15:59Us
01:15:59Alfred
01:16:00Hitchcock
01:16:02Not
01:16:03The
01:16:03Television
01:16:03Star
01:16:04Not
01:16:05The
01:16:05Master
01:16:05Of
01:16:05Suspense
01:16:07But
01:16:08Alfred
01:16:08Hitchcock
01:16:09The
01:16:09Artist
01:16:09Who
01:16:10Wrote
01:16:11With
01:16:11The
01:16:11Camera
01:16:18I
01:16:19Suppose
01:16:20The
01:16:21Films
01:16:22With
01:16:23Atmosphere
01:16:24Suspense
01:16:26And
01:16:26Incident
01:16:27Are
01:16:28Really
01:16:28My
01:16:29Creations
01:16:30As
01:16:31A
01:16:31Writer
01:16:31My
01:16:32Création
01:16:32As
01:16:33Circus
01:16:33Révin
01:16:42In
01:16:439
01:16:43Films
01:16:44Sur
01:16:4410
01:16:46You
01:16:47Have
01:16:47Showed
01:16:48Des
01:16:48Personnages
01:16:48Between
01:16:49Who
01:16:50Created
01:16:50A
01:16:50Fosset
01:16:52Because
01:16:53They
01:16:53Had
01:16:54A
01:16:54Secret
01:16:54They
01:16:55Obstined
01:16:55To
01:16:56Not
01:16:56Reveiller
01:16:56L'un
01:16:57L'autre
01:16:58The
01:16:59Ambiance
01:16:59Was
01:16:59Oppressant
01:17:01Until
01:17:02They
01:17:02Decide
01:17:03To
01:17:03Expliquer
01:17:03What
01:17:04They
01:17:04Can
01:17:04To
01:17:05Liberate
01:17:05You
01:17:05Recognize
01:17:06Your
01:17:06Films
01:17:06There
01:17:07You
01:17:07Are
01:17:18Sure
01:17:19Let's
01:17:19Try
01:17:19That
01:17:22Is
01:17:23My
01:17:23Conclusion
01:17:32O que é isso?
01:18:06O que é isso?
01:18:34O que é isso?
01:19:00O que é isso?
01:19:26O que é isso?
01:19:53O que é isso?
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