"It is no longer the same journey," "Heurtebise leads Orpheus where he shouldn't be led." "We are far from his fine stately static presence." "Orpheus and his guide drag their feet, alternately halted and carried away by a strong, inexplicable wind." "You know, when a film contains no intrigue, when one doesn't know that it begins with a man and woman, and ends with the man killing the woman or vice versa, then every image must be very important." "JEAN COCTEAU:" "Autobiography of an Unknown Artist" "This film will be a sort of Chinese shadow-play of my life." "I have told you that my life, alas, could not be told in any form of anecdotal charm." "It is a long struggle against habits, against others, against myself, a terrible mixture of the conscious and the unconscious, of chaos and order, a silhouette like those cut out of black paper in the 18th century." "We ourselves live in an enigma." "A poet, you know, is probably an invisible man." "Probably contrary to Gyges who was given a ring by a god which made him invisible, a joker god had given me a ring to make me visible." "And I have a terrible visibility." "We are workers of a shadow that suits us but escapes us." "This profound man is not well known to us, our true self." "He is hidden in the shadows, he orders us around." "I've decided to sink into myself, in this terrible hole, in this unknown mine, at the risk of encountering firedamp." "There's a state of slumber that is not sleep, and one sort of truth that comes out of us, and which is not a dream, nor a reverie." "The mouth's guard is asleep, and words emerge that one would otherwise not allow to emerge if that guard were not asleep." "Gustave!" "Gustave!" "Madame the Countess..." " Who are these gentlemen?" " Which gentlemen, Madame?" "Those two strangers!" "They're walking around in my house!" "I don't see anyone, Madame..." "That's just too much!" "Are you implying I'm mad?" "But Madame!" "You're dismissed." "What times!" "Do not insist." "A painter always paints his own portrait." "This flower, you'll never succeed in painting it." "Shit!" "Shit, shit..." "Your turn, doctor." "Show us your talents." "Poets die and come back to life." "Dali invented a very beautiful science:" "Phoenixology." "That means, people often die in order to be reborn." "The phoenix' rebirth." "It burns in order to turn into ashes, which, in their own turn, change back into the phoenix." "In my film, the flower dies, is resurrected, dies again." "This is Minerva, goddess of reason, who sees that it is a reborn flower and she will refuse it." "Excuse me..." "I..." "Excuse me." "What horror..." "What horror..." "What horror..." "I was born on July 5th, 1889." "Many books make me 2 years younger." "I was born at Maisons-Laffite in Seine-et-Oise, to a charming family." "My father was an amateur painter." "He died when I was 10 years old." "My grandfather collected art objects and paintings." "He was audacious and eclectic." "His friends were virtuosos, violinists, cellists with whom he organized string quartets." "Cibori was a midget." "He ate berries with a toothpick." "As he was a midget, he used to sit on top of music sheets." "He looked at the titles and repeated: "Not on Beethoven..."" "When my grandmother entered the room, coming from the salon, crossing the billiard room on tiptoe, holding her knitting, he saluted her without stopping to play." "Perhaps one still resembles one's family, but my family's dilettantism misled me at first, then helped me later." "My family was very eclectic." "They listened to both Wagner and Gounod." "All this and on top, my family's mysterious trips to the opera, be it to see Faust or twilight of the Gods, created this strange mixture that could only give me a vague love of painting, of music and of theater." "For a long time I was not allowed to attend the theater, and didn't know the theater except through the programs that my mother would forget in my room." "I saw her leaving for the theater, dressing up, her chambermaid kneeling as if worshipping the Virgin." "She then left for the grand mysterious halls and upon her return, threw her programs on my bed." "There was a magazine with a colorful cover, called the theater." "I was sick with scarlet fever, in bed, and I invented a case of appendicitis to avoid school and then cut out pictures for sets for my little theater, and now, when I made Pelleas and Melisande, I made stage sets" "hurriedly drawn on transparent surfaces, remembering my childhood and the little sets I'd cut out in bed." "As a result, poetry seemed to me a sort of game and the idea of fighting didn't occur to me, nor facing the terrible circle of muses whom I only found charming, and I ignored the fact" "that like praying mantises, they devour their beloved." "I still pay sometimes for having had the wrong opportunities too young." "At that time I wrote absurd poems and Tailhade presented my hideous poems to Femina, courtesy of Edouard de Max who spoke badly of all poets except myself, of course." "He was a charming man." "You see, I had a very early start with too much luck among circles who disapproved of hallowing things." "Only at the age of 20 did I understand the role of a poetic work and what poetry was about." "At the age of 20 I decided to stay in school..." "At the age of 20, the age which Raymond Radiguet died, not having ever set foot on the wrong paths and telling us at the age of 15 which paths we should follow." "My meetings taught me so much, on the paths of Igor Stravinsky and of Pablo Picasso." "Another teacher of mine was Eric Satie, whose line was the opposite of musical impressionism, and whose changing music gave the source and the push and seemed a bit too naive for intellectuals." "Satie was already old compared to us." "He had a little goatee and sat next to my bed in his bowler hat." "He never budged without it." "It reached down to his binnacle, umbrella between his legs." "He was half Scot, half from Honfleur and had a bit of the Alphonse Allais spirit." "And there, twisting his faun's beard, his grey faun's beard, he spoke meanly of Ravel." "He detested Ravel." "And as Debussy equally detested Ravel, on Sundays, when he lunched at his old friend Debussy's home, he spoke highly of Ravel in order to irk Debussy who said," ""Really, you're not going to tell me the noble and sentimental waltzes..."" ""It's not that bad-" "Get out of here!" said Debussy." "Instead of the impressionists' haze, he brought us lines, very clean, which coincided with a sort of... return to precision." "When Diaghilev commissioned him to write the ballet "Parade"," "I thought that he should have Picasso along with Satie." "When I was very foolish and very young," "I remember it was at the place de la Concorde, after a show," "Diaghilev said to me:" ""Astound me!"" "He was also astonished by the freshness of the French painters, poets, and musicians of the time." "Typical of Paris, these musicians and painters were Spaniards and Russians, but considered French." "For example, when I mention Picasso, Stravinsky," "I always think of Picasso as French, Stravinsky as French." "It's absurd, but it's a fact." "Furthermore, after Picasso, Matisse, Braque, Auric, Poulenc, worked for the Ballets Russes that had nothing Russian about it except for its dancers." ""Théâtre de Monte-Carlo Les Ballets Russes"" "Diaghilev came from Russia with this company of Nijninovgorod, wearing a fur coat held together with safety pins." "He never had a penny." "Diaghilev never had any money." "He looked like a young bulldog." "He had but one tooth showing through his smile." "He dyed his hair black and kept one white lock for which his dancers nicknamed him "Chinchilla"." "He was always at the back of a box with his pearly glasses and he never indulged his dancers." "He was ferocious." "He was broke and maintaining this troupe and its decor wasn't easy this way." "So he approached Princess de Polignac, the Rothschilds, and Coco Chanel who gave him a lot of money very generously and anonymously, she enabled him to reproduce The Rite of Spring and Parade." "The scandalous Parade was now a success thanks to her." "She was involved with the troupe behind the scenes, but no one knew this." "Diaghilev managed this whole company without a cent." "He had to ask for loans from various people because he had to pawn his Kodak camera." "I still see Nijinsky ready for his role as the Slave in Scheherazade with his hands on his knees to save his make up and saying:" "I won't enter if you don't get my Kodak out of the pawnshop tomorrow." "He said this because Diaghilev had an awful character, and so he didn't go on stage and finally Diaghilev relented." "They became my family." "Everyone saw the Ballets Russes, even Renoir, even Proust, even Rodin." "But Sarah Bernhardt came and didn't understand a thing." ""They are all like fleas, jumping fleas..."" "The Ballets Russes influenced me very much." "From afar the Ballets Russes are like fireworks." "Obviously, Nijinsky jumped higher than anyone else." "He wasn't like anyone and his jump was not his main quality, no more than a great boxer is appraised by his fist." "He was strange because he was like a little monkey, with rather thin hair hanging over his ears." "He had very short hands, and very large muscles, which deformed his pants and one could not imagine him on stage." "On stage, he was a different person altogether." "He said dancers had to have stature when standing on their toes." "He already displeased..." "pleased, displeased." "He triumphed in Phantom of a Rose and did not wish to take more bows because people hissed, booed the Rite of Spring." "Today, no one would whistle at The Rite, but, everyone used to whistle at The Rite." "The Rite of Spring was a scandalous type of ballet." "The scandal broke out because the Ballets Russes' fans did not understand the ballet and behind the corbel boxes there was the youth of Montparnasse who nearly came to blows with the ladies who were seated in the boxes." "I can still see the old Countess of Pourtales standing and shaking her ostrich feathers, crying:" ""For the first time in 60 years they dare to make fun of me!"" "Another time, I entered a box behind the ladies at the opening and overheard a lady..." "Bockman, the conductor, looked like me... we had the same haircut..." "so I overheard her saying:" ""Naturally..." "One says anything nowadays, one plays anything," ""Cocteau is playing at conducting an orchestra..."" "The Rite of Spring confused me, shook me completely." "Stravinsky was the first to teach me to reject habits so as not to let art stagnate and die." "With Picasso, rejecting habits was something of a religion." "It was like the amorous invectives that Spaniards emit to the madonna of a different parish..." "I met Picasso in 1916." "I said that Stravinsky was one of my main acquaintances but Picasso was foremost." "Picasso was the king of ragmen at Vallauris, collecting everything in for the dignity of serving." "He was an Orpheus, he charmed objects." "He took the objects he charmed wherever he wanted." "Picasso taught me to run faster than beauty which makes one seem to turn one's back on it." "It's a small bullfighter with high and terrible jumps, and an eye that bores into you." "Usually when he reproaches you and one thinks he is wrong, he proves himself right." "At that time he had not yet shaved his head, and his hair shot up all over, and his genius shot up all over, just like from a shower head." "He impressed me." "Still I thought of working on Parade with him." "Montparnasse's such a wild place with merchants all year round," "I still see myself between La Rotonde and La Coupole, talking with Picasso on the street, there weren't many cars and he told me - we were going to Rome to join Diaghilev..." ""Since we are going on a honeymoon, let's announce this to Gertrude Stein."" "We were at Gertrude Stein's home on rue de Fleurus." "He said, "Meet my fiancée, we're leaving for Italy" ""on our honeymoon." Work was conducted in the Taglioni cellar and Picasso was greatly assisted in making this great carcass by the futurists." "What interested me was to carry gestures into another world, the way Picasso did with objects." "For example, Massine's movements were then considered grimaces." "I wanted to dare to use everyday movements, as if it were a dance." "It all ended at the Chatelet theater in great scandal." "People wanted to kill us, ladies pounced on us with hat-pins." "Picasso and I heard one gentleman saying to another:" ""Had I known it would be this foolish, I'd have brought the kids..."" "The other great scandal was Les Mariés de la tour Eiffel." "People thought I lacked respect for things such as the army, because the piece contained a foolish general, the family, as the boy rejected his own, and for art dealers because of a scene that ridiculed them." "Finally this scandal was almost as great as The Rite's." "Only today do I understand the importance of Les Mariés." "The play should have aroused laughter, and a good mood." "It laughs at anything that seems respectable." "First we had enormous success during the first 2 scenes." "Then all of a sudden, as the wedding started, scandal broke out all the way to the end." "People thought I attacked everything, but this was a game." "We were young." "We were having fun with our bonemarrows." "After all, this is not a piece that attacks." "Perhaps in this game we make more of ourselves than in works that are falsely weighty." "A poet owes it to himself to be a very grave person, and to take a light attitude out of politeness." "But often a poet is a light being that assumes gravity." "I believe that in this, we give a playful aspect to something that is of greater importance." "Such a play in our times would be impossible." "I don't know, one would have to live together a lot, which is no longer the case." "People live less together." "At certain periods of my life we were always together, talking, going through the same things, trying out our work before bringing it out to the world." "This is no longer the case." "The reasons for the scandal are unknown." "It's already quite strange to think that Parade was shown at the time of Verdun strangely proving that both life in Paris and in the trenches were intense." ""Dear Blanchie"" ""We are all going to die." "I am off." "Jean."" "I shouldn't have gone off to this war, for health reasons." "I faked my way in, with a Red Cross convoy." "I was in Belgium, managed my way to Coxie-de-Bains, among the fusiliers." "I was forgotten." "The fusiliers adopted me." "I wore their uniform and ended up believing I was one of them." "One day, the admiral proposed me for the War Cross and then I was found out." "I was arrested by two policemen - they saved me." "All my comrades were killed at Saint Georges the next day." "You see how bizarre destiny can be." "We are all riding a train that leads to death." "Some of its passengers read, others play cards, rub themselves with cologne." "As for me, on this train, I don't like pen and paper." "I like things that keep my hands busy." "I like working with my hands." "I am often asked why I paint churches." "It's because I need walls and I don't find them elsewhere except in a building that perhaps no longer exists and that is today the nuptial hall of Menton." "The wife competes with the husband to establish the moral and material direction of the family, to provide for it, to raise their children and prepare them for the future." "The wife replaces the husband in his dominant role if he is not capable of manifesting his will for reasons of his incapacity, his absence." "So you see, Jean, I didn't want to trespass the work of painters." "I have worked as an author, that's why you see these lines." "They look like untied writing." "That's very great poetry." "First of all, it's very clear, logical." "It's very agreeable and I think inspiring for newlyweds." "In any case, I think I don't offend any painters." "I don't try to trespass them." "I wanted to create as a poet, a writer and stayed within the limits." "And naturally, as a painter's son..." " I can alleviate your doubts." " I don't dare show you my wall." "He liked cheerful things, and liked to have fun and I think he would be prodigiously amused with all these characters." "In church, the couple have a certain pomp which they wouldn't have found at City Hall." "I wanted to make a nice hall for them and the colors make them..." "The whole allegory..." "It's not only the colors..." "That is what's important." "The life of the line." "When I draw, it's like tied and untied writing." "My lines can be vivid or dead." "The drawing is beautiful if the line is alive." "A line is in danger of dying all along." "My method of drawing is very much like jazz improvisation." "I improvise with the lines and the colors - you can't see the colors, I can't use them today, for example like Charlie Parker improvising with his saxophone." "He was not always understood either." "There's great joy in drawing." "Writing is drawing in different apparel, and drawing is another way of writing." "And when I draw, I write." "Perhaps when I write, I draw." "The more I work with my hands, the more I seem to take part in terrestrial things, and the more I insist, the more I seem to hang on to a sinking ship." "At this moment, a manual laborer is speaking to you." "Evidently it happens to me when I write, not exactly being a manual laborer, since my head and hands must work at the same time, my hand serves the mysterious person that lives in me and that I don't know." "I am but a medium, a work-hand." "All poets are mediums and work-hands of this mysterious force that inhabits them." "I am not bragging." "I do not mean inspiration." "Inspiration does not come to us out of the blue." "Inspiration should be called expiration." "It's something that emerges from our depths, our night, and a poet tries to lay out his night upon the table." "This gesture..." "It's you who named me." "I hardly recognize you." "You used to be blond." "For a film." "This time it's no longer a film, it's life." " You were dead." " Like everyone else." " Why do you come by sea?" " Why?" "Always why?" "You try to understand too much, that's a serious mistake." " I've already heard that." " You wrote it." "Here on the beach is the church of Villefranche-sur-Mer, perhaps it still exists." "Perhaps you know it." "Perhaps it no longer exists." "But this church of Villefranche is the work of an intermediary." "Right and left of the entrance are 2 apocalypse chandeliers and the all-seeing eye looks at the lamb, the alter." "When I painted this chapel, I wasn't quite there." "I was simply a worker climbing ladders..." "I shut myself in for two years like a pharaoh painting his own coffin, and I was already dead." "I hid the Christ in a curve of the Roman vault." "Upon entering the chapel one cannot see it." "And it's like in the Pilgrims of Emmaüs, one doesn't notice when the bread is broken." "I mean, one must approach the alter to see." "Through the perspective of the curves it is placed before the priest or before the spectator." "Making a ceiling poses great difficulties," "I even wonder how Michelangelo managed to do the Sistine Chapel" "He had one candle fixed on his forehead with a wire and this candle must have dripped on his face and hurt him." "He didn't paint using tempera paint, he painted frescoes, - in other words, he was more a workman than an artist." "The guards, Pilate's soldiers, laugh at Saint Peter after the renunciation." "At the end of the ladder, the cock, and below, Truth, masking itself with 3 fingers, representing 3 cock crows." "The gypsies, guitar players, the little dancer, and as the princes used to commission a quartet long ago," "I've made the portrait of Miss Weisweiller looking at them in front of a trailer, as Madame Alec Weisweiller always supported me with her friendship and kindness." "It seems to me that I passed by Saint Pierre chapel with Cégeste, which I painted in 1957 as my own coffin." "Offered to the fishermen of Beaulieu and Saint Jean in memory of my dead youth, and to the fishermen of this Villefranche where I lived." "Of course, I wish people could keep of me the image of the one and of the ones that I have been and of this mysterious one that lives in me." "Well, what's happening?" "Don't try to tell me you didn't see him." " I've seen him just like you." " He pretended not to see me." "You've shouted enough everywhere that if you'd meet him" " you'd not shake his hand." " He hates me." "I've used the film as a poetic vehicle to show things I couldn't say." "If I tell about a man entering a mirror, the listener shrugs." "But if I show it, ah... try..." "No!" "Often improvisation is very touching and very beautiful." "And often when one does things in a trifling manner as I made The Blood of a Poet one doesn't imagine," "I used the seals' pool from the botanical gardens to shoot from the roof, and when he enters the mirror he enters this pool." "Actually, he seems to enter the mirror." "But all this would have been easier had I been professional, but I wasn't." "What made this film worthwhile, or perhaps remarkable, were its errors." "Through errors we become more real." "The errors need to have the force of dogma so that they cease to be errors." "There are things that surprised the specialists, great errors." "I didn't know that traveling shots were made with a rail, so I placed the actor Ribeiro at night as he came back to the hotel, I placed him on a trolley." "He was pulled with a rope, so as not to say the forbidden word." "It's a very hesitant shot, very bizarre." "Chaplin himself asked me how I made this traveling shot." "I said "It's so silly, I just didn't know there was a rail."" "Then in Beauty and the Beast, I put Josette Day on a trolley but there I imitated myself, this was no longer pure." "Sometimes one is enchanted by an enigmatic atmosphere, as in dreams among other things, and I assume that a work might intrigue without being understood, reach people finding equilibrium without being subjected to disciplines of the golden rule." "That's probably what happens when my film interests the makeup artists and dressers." "Pardon me for speaking to you with eyes that are not mine, but I have these eyes because I will pass by Jean Marais in the role of the blind Oedipus and I pass him without seeing him because it says in the text," "that when we really wished to know certain things we see them too late and see them without seeing them." "I don't like the idea of poetry, I like poetry itself." "Poetry that creates itself, without anyone's involvement." "A work of art alone has no excuse for existing unless it is shared by a great many, thanks to the sole means which makes it accessible to others." "I get bored having to work with a blank page and ink." "I have to work with my hands." "I am an artisan, a workman, that's why I get along well with the workers of cinema." "I don't work with proper actors." "The script carries very few characters:" "A main character, 2-3 main ones, and they encounter enigmatic figures." "Some of my friends who suit these episodic roles have agreed to say 3-4 words." "Nicole Courcel appears and says nothing." "Without the incredible modesty of Daniel Gélin," "I never would have dared to trust him with a text that strangely resembles silence" "They act for they're my friends, not because they're famous." "His Highness' 1 st secretary will receive you..." "Porel, Réjane's husband, always said during rehearsal," ""Around Madame Réjane, it's only grayness!"" "It was easier for the actors to be great actors." "The magical talent emerged more quickly." "And there are no more of these burlesque actors whom I knew when I was young." "At that time, one applauded an actor's entry." "One applauded things that are no longer applauded for." "Besides, if what one called the Hercules, the colossus of theater of that time, the Albert Lamberts, the Mounet-Sullys, lived like the most junior apprentice nowadays, they'd die." "They hardly acted." "They laid stretched out on furs, fed the pigeons at the Palais Royal, had coffee at La Régence." "They'd tend to their rose bushes in the country, they performed one evening and no longer the whole week..." "Now they wouldn't hold out." "It's totally different." "All of a sudden the public wants actors the age of their heroes." "So Mounet-sully played Ruy Blas at the age of 70," "Madame Barthet played Iphigenia at the age of 80." "There were fat Isoldes, fat Tristans, it didn't shock anyone." "That was theater." "I repeat, heroes had to be the age of heroes, there were no shoulders strong enough to bear the classics." "When I gave Les Parents Terribles," "Louis Jouvet said: "You're crazy." ""Jean Marais is incapable of this role."" "I filled Jean Marais with so many stories about Max and Sarah Bernhardt, that he cried, rolled on the ground, went on stage and had thirty curtain calls." "I wanted to produce a drama, that would work like vaudeville." "What got me going down..." "I wanted to make a play for Yvonne De bray and Jean Marais." "Yvonne De bray thought she was Jean Marais' mother, which annoyed his real mother very much, they always argued, and that gave me the beginning of the work." "You're right." " Leo is marvellous." " Marvellous." "I can't believe that what happened is real." "And I!" "I who wanted to run away to my work in Morocco." "I must admit that Les Parents Terribles, filmwise, was my greatest success." "I had it made, as Barres said." "I had three wishes:" "First, to get outstanding actors," "second, to walk among them and look at them full face, instead of seeing them from afar on stage, and glue my eye, as I said, to the keyhole and surprise the poor souls with the tele-lens..." "Impossible to get anything, I'm coming down." " It's useless..." " Let me be!" "My dear... your mother is dead." "The film was as powerful as the play in its writing and the power of the black ink diluting on the screen." "While crossing rooms, I kept the oppressive mood of the work" "I showed those halls of rage that haunted our childhood, that are the paths of families that never leave their homes." "By strolling from one room to the next," "I kept this life in a thermos, this life in a closed vessel, and made plenty of close-ups." "Film legitimizes this extraordinary phenomenon which consists of living out a piece instead of telling it, and moreover, helping to see the invisible, rendering the most subjective abstractions objective." "That's why I liked film so much." "The student Dargelot was the class tyrant." "A snowball in his hands could become as hostile as the knives of Spain." "Usually adults give the tuning." "I know certain adults preserve their childhood, but it's marvellous when childhood and adulthood mix and that childhood gives us something." "Radiguet was like my son." "Ever since he appeared in our midst he was the youngest and the oldest." "He had the madness of youth and was as wise as an old man, as a Chinese sage." "He was 14 years old when I first met him." "My mother's old maid told me one day:" "There's a child with a cane in the antechamber." "That was Raymond Radiguet." "And he never left me after that." "I immediately saw who he would be, whom he would become." "I wasn't sure, I just knew he was exceptional." "He was very very... especially because of his silence... he demoralized others in his silence." "He had..." "He saw nothing." "He was short sighted and when we found out we bought him glasses." "He found everything absolutely abominable." "He used only one lens of his glasses, like a monocle, making an atrocious face with his left eye." "This face annoyed people, which he enjoyed." "He wasn't a pleaser." "One day we were in Montparnasse, all of us," "Picasso, Modigliani, Ortiz de Zarat, Reverdy..." "The whole gang, visiting a painter called Hayden, and Hayden showed us his paintings." "We fell silent." "He noticed that and showing us his last painting, he apologized saying, "This one isn't finished"." "Then we heard the strangest thing come out of Radiguet:" ""It would be human to finish it." He rarely spoke, he was always following us, silently." "But now his silence spoke." "His presence was not silent." "The classics of Raymond Radiguet were our books." "He read them in his father's boat on the Marne." "And he came as a contradictor." "He contradicted everything that was new to us." "He explained that one shouldn't only contradict habits and the bourgeois spirit but go further and contradict the avant-guard." "He said:" "The avant-guard starts upright and finishes sitting down." "He said:" "One should imitate, because you can't copy someone who has something inside, so imitation gives you a basis." "Thus, one finds oneself because of what one cannot copy." "Radiguet got settled and set his easel before La Princesse de Clèves and created Le Bal du Compte d'Orgel" "He set my easel before the Charterhouse of Parma and that resulted in thomas I'imposteur." "You know that when he wrote the Devil in the Flesh, his first masterpiece, he was 15 years old." "He was 19 when he wrote his second masterpiece," "Le Bal du Compte d'Orgel." "He died at the age of 20." "This boy was our school master." "He was that for many writers, believe me." "So, always ox on the roof, ox on the roof, whisky, gin..." "I'd say like Verlaine," ""But God came, made him die, confused with typhoid fever"." "It was as though one threw a burning match onto a pile of straw drenched with gasoline." "It was finished." "I still see him as I took him to rue Piccinni thanks to Mesdames Chanel and Sert." "We were so poor and I still see him in that ambulance wearing a cap, and in his shoulder belt he had a pouch in which he carried the manuscript of Le Bal du Compte d'Orgel." "I don't want to speak of his death, that's too painful," "I didn't want to see him on his deathbed." "All the dead resemble each other and not themselves." "They look like wax puppets, their face locked up." "One seems to want to tell them, "What have I done to you?"" "It seems like a definite quarrel." "As far as I'm concerned, I'm not afraid of death because I have been dead much longer than alive." "I only fear the death of others." "For me, true death is that of the people I love." "I thought of Raymond Radiguet as my own son and his death paralyzed me." "I was so ill, so stricken, that my friend Laloy advised me to take opium as a remedy." "I was trapped, and took a long time to heal, after 7 vain attempts." "I was at the clinic at Saint Cloud to get cleaned of opium." "I had just written Notes on Opium." "A room at the clinic is a room at the clinic." "I was very lonely and received hardly any guests." "Berat came to see me and told me about another room:" "That of friends of ours." "The girl was dead, the young man joined the Trappist Order." "This brother and sister lived in a closed vessel, in a thermos." "They were sensitive to the microbes from the outside..." "It was absolutely horrifying to imagine incest between this brother and sister, father and son." "For me this was so far-removed from sex, what I called Les Enfants Terribles." "I avoid explaining it." "One doesn't touch these things with a human hand." "The profound self wanted me to become its scribe, and dictated my book to me." "I wrote 7 pages a day." "I think I said 17 pages a day but that was a gross exaggeration." "I wrote 7 pages a day." "Not more." "In the book, when Elisabeth marries the young American," "I wanted to say things that interested me about America." "I wanted to get involved in it, and it interrupted the narrative." "I had to wait 15 days to make it resume its course." "I'll lay down and we'll play the game." " I'm too used to playing alone." " Listen..." "The children's game, Tolstoi gives it to us in War and Peace in 4-5 lines when the children play in a corner and become silent, as the parents come closer." "You can't spoil that." "I speak of them from a distance." "In Villefranche I finally found my personal mythology." "Christian Bérard stayed at Hotel Welcome, I met him there." "He was called 'Baby' because he had a doll's face and didn't grow a beard, as seen here in these pictures." "That's where a friend brought me a shepherd's cane from Greece." "I thought of placing Greek tragedy in modern rhythm." "I had my practice with Antigone." "I thought of recreating old beauty, giving it a face-lift..." "Through this shortcut," "Sophocles' greatness emerged with such rare force that our judges thought that certain lines were internationalist declarations of my own making." "For example: "Do your borders make any sense to your dead?"" "And "I was born to partake in love, not in hatred."" "Lines whistled at and taken as my own." "So I started with Antigone, and then continued with Oedipus, and much later" "I took Oedipus and adapted it in The Infernal Machine." "But much, much later." "Inside the foundations of their temples, the pharaohs had pieces counter-posed to the preceding temples." "They sowed these seeds in order to help their temples grow like plants." "When a young Egyptologist explained this recycling method," "I understood in retrospect how I made The Infernal Machine." "Unknowingly I'd followed the rhythm of those temple builders." ""Invoked or not, the divine will be present."" "This interpretation of myths is indispensable to our lives." "They are passed on through writings, as stories are passed on by word of mouth, magnifying or drying them up, but anyway, undergoing a transformation according to the personality of the tellers." "The great myths are few." "Racine, Shakespeare, Goethe knew why their use was effective." "The key-myth opens for the poet the most locked of souls." "I've always preferred mythology to history." "Because history is made up of truths which eventually turn into lies." "Mythology is made up of lies that eventually become truths." "And if I have the luck of living on in your mind, it would be in mythological form." "Fame is a result of a thousand rumors, confused rumors, manners one attributes to us that are false." "But it makes us take hold, it has us hooked." "Then these superficial motives vanish on their own and the work starts to live for us, instead of us." "I am an unknown celebrity." "At the time when I received an honorary doctorate degree from Oxford, took the Colette seat in the Royal Academy of Belgium, nominated for the French Academy and was commander of the Legion of Honor " "I received so many honors - these honors were meant for my superficial personality, and I'd even say it's the internal personality that tries to compromise and make us live in these shadows without any honor." "Honors should be regarded as a sort of transcendental punishment." "Because we unveiled ourselves." "A poet mustn't unveil himself." "But Parisians decided to turn me into a certain character and I am not pleased with him." "I wouldn't like to meet him." "I wouldn't like to know him." "That's why I am hardly in Paris." "To make room for him." "You come and disturb me on the Riviera, and you have, if I understand correctly, escaped from the Wax Museum." "Well, that pleases and displeases me." "It displeases me because I don't like you." "It's you who moves instead of me, people talk about you." "You are the Parisian." "On the other hand it's your back that gets flogged and the honors are pinned on your chest." "And at that time I have quiet and I work." "For that, I appreciate you very much." "But try to move a little less, to twitch a bit less, be less busy with what is said about you, and when you return to Paris, I believe there's a train tonight, you could take the train at Beaulieu at 7:20 or 7:25," "and I'll stay on the Riviera and work." "I am incessantly accused of being a fantasizer, of being facetious, without understanding these reproaches, as from Plain Chant to L'Ange Heurtebise, from Orpheus to The Infernal Machine, from the Beauty and the Beast to Testament of Orpheus," "from Les Enfants Terribles to the Difficulty of Being." "My work results in serious calculations consisting of transforming figures into numbers and put me among these blood-donors who are the only artists I respect and whose long red train fascinates me." "The poet is none other than the working hand of the schizophrenic..." "Once one would have said the lunatic... that everyone of us carries inside himself, and of whom he is the only one who is not ashamed." "Like a child, he has no right but to genius." "Talent gives him an artisan's basis for which he has no use except to sculpt the ectoplasm that flows from his hand, to turn night into day, cut the umbilical cord of delicious monsters that help him come into the world." "Do not be mistaken." "This schizophrenic lives and haunts even famous artists because of their balance and moral health." "Let's say the ogres, if I'd dare quote myself " "I'd say Victor Hugo was a madman who thought he was Victor Hugo." "I've heard Charles Chaplin saying he liked living in France because a man like me could create a poem, a novel, a ballet, sets, costumes, theater plays, films, a chapel, without accounting to anyone." "Free, that's the word." "Yes, like those black sheep whose families declare:" ""He is capable of anything." The poet, black sheep supreme, transcends that which society condemns." "Suspect to all the police forces in the world, the poet should be capable of everything and never drown in his own ink." "Look for a fresh place on the pillow, said Stravinsky." "That's right." "If my rifle wounds my right shoulder, I give it my left." "I refuse to accept an era in which right and left are derogatory political terms, where the least of our gestures engages us in lands we had never set foot on because profound politics of art demand all our powers." "And now I must confess a scandal at a time when tragedy is highly regarded." "I happen to be happy..." "I'll confess my secret to you:" "It's simple." "I hate hatred." "I love others, I love to love." "I try hard to understand and accept that which is strange to my lifestyle." "My friends' success reassures me and I'm surprised people can be jealous." "As for the rest," "I'm more at ease in friendship than in love." "That has saved me from many painful misunderstandings, and sarcasm." "Quick, follow me." "My land, after all, is not your home." "Let's just ask him for an autograph." "I'll be damned!" "Well, here we are, the humble servants of a force that lives in us." "We are taken by a force that is not external to us." "It is inside us." "We are taken by this night which is our true self." "Yes, here I am again." "One never ceases to say goodbye." "And I cannot leave without apologizing to you by removing my suit, my skin, my skeleton, to show you my naked soul." "In other words, a shadowy zone where realism resembles the absurd order of dreams, a twilight zone where intelligence, our worst enemy, does not have control and does not spoil the best in us." "Death changes a member of the Academy into a chair." "This is a strange transformation, but it draws me closer to you, you who are looking at me and listening to me in your comfortable judges' chairs." "Accused was I in my mother's womb." "I was accused when I was young, and I remain accused as an old man." "I have to live upright and die upright." "If possible." "Of course, if you hiss at me, I'll be sad, because I love to love and love being loved and this film shows how I'll get away if your court condemns me." "As soon as the verdict is read, I shall be gone." "I'll disintegrate, and cowardly return to where I was before my birth." "A world where no one pays the heavy price of his innocence." "As a loyal Mediterranean-born, I prolong our farewell words before the final "Goodbye", which perpetuates us, southern chatterers, at the threshold." "And I guess that, alas, that is another error error, the means of losing another little chance to convince you." "Better to leave you fast and pretend to say goodbye, by using the charming formula of the nice guy who said in the divine court:" "Allow me to salute you, Lord." "It's been a long time since I've never seen you!" "Repair and Synchronization by Easy Subtitles Synchronizer 0.9.5.2"