"Whatever drew him to museums?" "He never actually knew." "Surely, it wasn't only their obvious charm." "When he was a boy, I'd often take him along." "I'd show him painting, sculpture..." "The Rodin Museum gardens..." "The (Gustave Moreau Museum staircase..." "I'd show him what I felt was important." "He'd respond in unexpected ways." "In Saint Ursula's Martyr by Carpaccio, he loved that a wall was missing so we could see inside the houses." "Just like a doll's house." "A theatre of puppets." "He enjoyed that a lot." "We saw that again in (Echo, during the same trip." "He loved Bosch and Brueghel, as children do." "We'd stare at foetuses in the History Museum." "At the two-headed lambs, the eight-legged cats..." "The Louvre mummies, the History Museum dinosaurs..." "He'd be ecstatic, excited, stimulated." "Spellbound." "Overwhelmed." "Time after time." "His excitement, t don't know when, became a frustration." "A feeling he didn't know what to do with." "Once in Wanna, before a Cranach, a woman with long white arms," "I felt him quiver." "We both felt we had Stendhal syndrome." "Inebriated, saturated with beauty..." "With Klimt, with Schiele." "We were fragile, we were tumbling." "That Cranach in a tiny unexpected museum changed him." "That museum could've been a house." "Ours or his." "He wanted to cry." "I saw he was trembling." "He wished he'd made it and it'd be his." "He wanted to live there next to it." "He wanted something he couldn't say, something that troubled him." "And there I was, not knowing what to do." "h happened again and again." "Later, he'd go by himself, because the sexual energy made me feel out of place." "Of course he'd already had girls over." "He already had his own life." "But it was in a museum that I felt my son had become a man." "Do you have the number for the historian?" "Have you got someone?" "Hold on." "One second." "Be right back." "I've an idea." "Pm on"." "I'll need someone with me." "You're right." "Any preferences?" "Someone who can come up with ideas..." "Even if they're far-fetched..." "It'd help me to narrow things down." "Yes, I agree." "I'm on it." "My friend Celia could be great." "I'm looking at the Hermaphrodite." "It's gorgeous." "Of course it is..." "I'm sorry, I have to go now." "See you at the meeting, OK?" "You'll think of someone?" "I've already got someone." "My friend Celia." "See you later." " See you." " Goodbye." "ls there a love story or..." "a connection between them?" "There's a story..." "I'd like it to focus on the body falling apart, and on someone who watches that body." "That relation could be love." "But overall, the film begins with the withdrawal." "So how she realises the body..." "ever since she was born, she's felt something weird." "Something not right." "The theme here is:" "What happens when she can't control her body with the drugs." "How it's going to evolve and come out." "So how she realises...?" "She has it in her." "And could you tell us a little bit about this research, that you're doing at the same time, of a painting...?" "And to you what's the connection to the idea of a monster, and all that?" "There are only a few elements so far." " Only a few?" " Elements." "But one which I really care for is the presence and the importance of a painting," "as in Vertigo to make it short." "A central element that would tell something of the story, that confronts the character, and that revolves around... it sounds a bit generic, but... a monster." "In this situation, what I think is interesting for the actors, is that when she meets him, she does it with a fake identity, in a way." "How is it interesting for the actors?" "Two people meeting?" "Meeting, but also..." "People meet all the time in films." "Let me explain." "People who have a secret" " Ah, the unsaid..." " to tell each other." "In that situation." "She meets Pascal, as she's looking for her father, and starts asking him questions." "Then she'll find out why both of them disappeared." "It's because something in it wasn't... quite legal." "But for a producer, this is..." "Kind of risky?" "Exactly." "I'm used to it." "That's true." "Hi." "Enrico Bene from Lecce Film Festival in Italy." "I'd like to do a big retrospective of your films in the festival, and invite you." "I imagine you're very busy, but if you could call me back at 00" "Message saved." "How could I refuse?" "I shall tell all you desire." "I will say it all." "I will say it all." "I will say it all in plain, round terms." "In plain, round terms." "In plain, round terms." "I will say it all in plain, round terms." "How are the rehearsals?" "Not bad." "Have you started?" "We've tried a few things..." "I'm going to wear horns on stage." "Huge horns." "Real horns, very heavy." "I've been wearing a helmet to get used to the weight." "The make-up girl says she'll need an hour to get my hair and make-up done every day." "She's very nice." "She said:" ""Barbara, we should be friends 'cause we're going to be together a lot"." "Because she..." "First, she backcombs my hair, then she puts a frame with the horns, which are very heavy." "After that, she does my make-up, regular face make-up, then the body make-up." "You look worried." "No, I'm fine." "I'm just tired." "This painting is not often exhibited." "Well, if we can call this a painting..." " Not often exhibited because..." " I don't know." "It rarely comes out of the reserve collections." "And can I ask you why this one...?" "For our appointment?" "To look at you looking at it." "To get to know you." "The substance of the work comes from its title." "It's Portrait of a dancer, you see." "It's only after you've learned that, that you can make out the signs, that you can make out the balance, and the scales, and the tips of the toes..." "That you can also understand what it's saying about that 19th century bourgeois art form, which is classical dance, etc..." "Miró is not a painter I'm completely crazy about." "That world-class Catalan leaves me quite indifferent." "If we know it's a dancer, if we know the title, the painting's components can make the subject" "seem unsettling." "Otherwise... not that much." "Otherwise it's more of a gag, you're right." "Because what you're interested in is a frightening monster or..." "No, it's not as simple as that." "It's above everything a kind of emotion that should be conveyed by an image, an inward-outward representation." "You see how blurry it still is to me." "A kind of emotion that should be conveyed by something that..." "pertains to... monsters." "Should we see the monster'?" " Not necessarily..." " Not necessarily." "Not necessarily in such a clear, simple way." "And you need only one?" "Yes." "That's what makes it hard." "The subject here is distorted rather than actually deformed ." "This monster only exists as a monster in the eyes of the one who painted it as such." "That's what seems compelling to me." "We're aware, at the same time, that a monster is being shown to us, but just a second before or after, that person would look perfectly... normal." "It's only in the eyes..." "In the eyes of the one who makes it a monster..." "This is how I want to proceed." "By reductio ad absurdum ." "We'll go to the places I love." "I'll show you things, and we'll look for the monster within." "If we find it, you'll be crazy about me." "You'll think I'm brilliant." "And if we don't find it, you'll love someone else." "Hello?" "Yes, I'm busy." "Yes, tell me." "She'll do the screen tests?" "Right." "Not tomorrow." "Let her stew." "Next week?" "I don't understand what this is." "Two Sisters by Théodore Chasseriau." "Thank you, but why?" "What's the connection?" "Well, you tell me." "It's not a Rorschach test, is it?" "Did you hear what I said outside?" "Yes, I did hear what you said, but I really can't see the monster in this." "But the double!" "It scares me." "These sisters scare me." "They look like twins." "Like Japanese ghosts." "Look at how they're holding each other." "The block they form together, like they wanted to be born this way." "Siamese, with the same body." "I'm sure they wanted that." "Those almond-shaped faces don't comfort me." "I feel they're ready to attack." " You're exaggerating." " Always." "Everything is much more interesting when one exaggerates, right?" "Sorry." "Celia Bhy?" "Of course it's a bad time." "I'm in the bathtub." "Well, I don't know..." "You can deliver it to my office." "How about a little initiative?" "I have to go." "There's risk of electrocution from the phone." "I apologise." "Ordering cigars." "ls it weird?" " You mean, for a woman?" " I meant over the phone." "Didn't you have... shorter hair, last time?" "I don't know." "It was only a few days ago." "I like to change." "They're extensions." "Impossible to tell." "Well, maybe my hair grows very quickly." "Wanna talk about it?" "No, it's fine." "I often come to see this one." "It's pretty self-explanatory." "The Virgin is a monster by definition." "In the sense of a malformation, or a deformity..." "Of extraordinary physical capacities..." "She has powers." "She's a creature." "It's a blasphemy to say it, but she's a monster in the medical, physical sense." "What I also love about it as an atheist, because it's a blasphemy, is that Caravaggio shows the death of a real woman." "She was what she was." "With her own skills and deformities." "But there she dies simply as a woman." "As a woman, loved by her kin, caught up by her own fate." "Surrounded by others, but alone all the same." "In suffering." "It's the only time the Virgin Mary does something to me." "Because a dying woman always does something to me." "It's the paradox of Caravaggio." "He's a dissident." "But he makes me love these people." "The other blasphemy is that his model was a whore." "Of course you've heard about it." "A huge painting..." "I'm sorry." "I'm so late." "A pedophile murderer..." "Made out of little children's hands..." "I remember that very well." "It was in London." "In the early 90s." "A woman tried to slash it with a knife." "A huge uproar." "I find that reassuring." "Not the uproar but to slash a painting." "It's quite beautiful." "I don't know if I'm interested in the... social monster." "Nor in the sacred monster, nor in the monstrous action." "Was it a knife?" "I wonder if it wasn't with ink." "Suddenly I'm not so sure." "Be right back." "Have you decided on the medium?" "Is it just painting, or also photography, sculpture?" "We haven't discussed it, but I think I'd prefer a painting." "Your friend is a little... special." "Special is good, isn't it?" "Better than horribly dull." "Yes, but I'd like it to be efficient." "I need a coffee." "I can't wake up." " He doesn't let you sleep?" " A coffee, please?" "Can you believe it?" "I didn't seduce him." "I didn't go all super "cougar" on him..." "It was him!" "He comes up to me and says:" ""I really want to fuck you"." "22 years old." "How could I resist?" "He likes to be dominated." "No big deal." "I just improvise." "I just make things up." ""Do this, do that"." "He loves it." "Good for me." "He's not really a pervert." "He's not really into SM." "He's whole as a saint." "As a fruit." "How did you like the Blake I sent?" "And Bacon's self-portrait?" "The Bacon... is great... more than great." "It's so great that I..." "But I'm leaning more towards a female figure." "The truth is..." "It's too perfect." "Right." "A woman, then." "I'll think about it." "So let's recap..." "Later on the phone, they discussed a small Renoir, simply titled:" "Portrait of a young man and girl ." "Celia said that this young man, walking towards that delicate girt, round and rosy..." "That this young man was a demon, a satyr ready to attack, and strangle her or tear her apart." "I ask myself if this interpretation isn't a bit moralistic." "They talked about that, and about other things." "They had seen Cindy Sherman's self-portraits." "And Celia had said:" ""its true." "That's a possible direction." "Seeing one's own identify as unknown, incomplete." "Exploring oneself as a foreign country"." "The next days, he'd go to museums alone without Celia." "h' was like an infidelity." "Like he'd secretly walk into a sex-shop." "He'd look at different things." "Maybe to recover his own taste, his own body..." "Diane Arbus, for example." "That picture of a young man wearing a bra." "He'd stare at it." "Yet he knew he had a message on his phone." "Two messages, actually." "An invitation to show one of his films at the Cinematheque." "And another one, from his producer Alice, saying:" "I know you want to experiment, but I need something to work with." "Just telling me "it's a man helping a dying woman" isn't enough." "If not a script, I'll need something else." "How's that coming up ?" "Yes, hello?" "What brings you here?" "I have this rash." "I don't know what it is." "On my back." "I can't see it." "What worries me is that it's growing bigger." "It's very unusual." "It's shaped... like a hand." "It doesn't really hurt." "But I'm afraid it will grow even bigger." "Well, I know it can be some kind of psychosomatic reaction, but I don't know in what way." "It's like it is... trying to tell me something." "It obsesses me." "You came here to discuss that?" "It doesn't look like anything I know, so it worries me." "Are you sure it worries you?" "You're talking to a retired doctor..." "Sure you want to heal?" "You can still write prescriptions." "A doctor stays a doctor." "I'm not here to discuss interpretations." "Cheap psychology is not gonna get us anywhere." "What really intrigues me is that you chose to see me." "I'm not a dermatologist." "You describe it like it's extraordinary." "It worries me." "It makes me a bit anxious, so I came to see you because I can't tell that to just anyone." "You understand that, right?" "I love being a doctor." "I was happy today" "Just say it clearly." "I feel you want me to look at it as an art collector." "I can do that." "Just tell me." "Tell me: "Look at my back like a work of art." "Find it beautiful"." "That's not a problem." "But last night on the phone, you lied to me." "You used me." "What are you talking about?" "I've known you 40 years." "You were only one or two days old." "You were nothing." "And now you're fucking with me?" "You know how happy I was to have a patient?" "To be working again'?" "You don't care about what I expected." "Take off your shoes." "Excuse me?" "I want to examine your feet." "No reason." "I want to piss you off." "To hell with your back." "Hello." "How are you?" "I am fine." "But I can't talk to you right now." "I'll cal!" "you later tonight." "Or maybe, tomorrow." "Ok, then." "Ciao." "Ciao." "Good night." "Yes, you mo." "Sleep tight." "See you later." "I'd rather listen to you" "than talk for hours" "on the phone, and not say anything." "Because what I love," "is you and listening to you" "all night." "I love your sounds, and your harmonies." "I get what you're saying, but..." "To me, there's something... missing." "There are too many characters." "And it's hard to... to relate to just one." "I mean, to feel connected to." "They're too many." "I don't really know where to go... in this picture." "I understand." "That woman wearing a mask..." "Couldn't she be this simple, unique subject?" "Because what is monstrous here..." "The reason why I..." "Besides Gustave Moreau himself, who seemed to fall under what" "you're looking for..." "The reason I particularly like it, though it isn't one of his best works, is the monstrosity of the painting's composition." "The painting itself is a monster." "Complex, heteroclitic." "Made with shapes and techniques very different from each other." "From this Durer-like village to those tinted trees, and those sketchy womanlike figures," "which pierce through... which cut a hole... in the systematic" "multitude of characters that are in this painting." "To me, the notion of a "hole" is capital in a monster figure." "It's always where there's a cry for air." "Incomprehensible, immeasurable." "The unfinished aspect adds to this feeling." "Because if you look right there at another version of this picture, which looks like a sort of... of negative from the early ages of photography..." " What is that?" " I don't know." "I felt like looking crazy and stupid." " Hello!" " Pleased to meet you." "Celia, Barbe." " I'm sorry." " Don't worry." "The Pretenders." "Nice, but not really our topic." "If it's not our topic, you ignore it?" "To a pretty woman you'd say:" ""Sorry." "You're a brunette." "I expected a blond." "You're off-topic"." "It should be up and tied at the back." "I've told you." "I tried it." "It felt wrong." "Please." "Finally, I have you." "Something wrong?" "No." "I'm going outside." "It's hot." "Very hot." "Please." "Six years have gone by, I think, since this movie was finished and out in theatres." "I never read critics, but I remember it was well received in Venice." "In your previous film, Laurie Markovitch , a man had surgery on his face to look like the woman he loved," "Laurie." "And so, as she was replaced by this double, the real Laurie became useless, and ended up dying." "So we followed the obliteration of a woman who had to give up her image and personality because she loved a man." "It's the same motif in Madeleine from the dead , where a woman obliterates herself, loses her identity, her persona, because of love." "What is unique in all your films, in my opinion, is the eroticism of transformation." "But every time, only men take pleasure from it." "And the women are, in the end, the victims, whether consenting or inconscient." "And what troubles me is that your films are not at all misogynistic, but extremely feminine." "It's a dichotomy that I can't really explain." "It's nothing." "I just smoked a gigantic joint, so I'm..." "I'm a little, a little..." "Speak for yourself!" "Well..." "Let's stay classy." "I'm slightly..." " Stay classy, yes." "Let's stay classy, is what you mean." "Alright." "I'll stay classy." "Will she have body hair'?" "What?" "What body hair'?" "The girl, the woman... the young woman in the film." "Ah... when she..." "Oh boy!" "Take it easy!" "What are they doing?" "Well, listen..." "When she transforms, will she have body hair'?" "Yes, well..." "Hair, no hair, I don't know." "It should be beautiful or not beautiful, but tangible." "Just leave us alone..." "So yes..." "I was thinking hair on her face..." "And things inside her." " Hair inside?" " Not hair inside!" "In the body structure." "Her bones could move or mutate..." "I still don't know how to show it." "What was I saying?" "Are we ﬂying tomorrow?" "Not tomorrow!" "I can't." "Come on!" "Let's catch a plane tomorrow!" "Not with you!" " Why not?" " I love you, but not on a plane." " I love flying with you." " It's a nightmare!" "Bertrand and I are so scared of ﬂying that when we go on a plane together, we take everything we can find." "All kinds of liquor and pills..." "Every Xanax, every Lexotan..." "Whatever we can find." "And it works!" "We mix everything up and we put it in our drinks, in our whisky, and... after that, we crawl our way to the plane!" "Last time, we flew to Los Angeles." "He wanted to take..." " You're going to hurt me." "Amphetamines." "Can you imagine that?" "It's not like, you know... get on, take a seat, sleep, land..." "No!" "You get on and barn!" "You buckle up and say: "OK!" "Let's go?"" " Champagne!" " My glass!" "Where's my glass?" " Do you have time for lunch?" " No." "I had a blazing row with my husband and my son." "There!" " What happened?" "I hate them." "Can I say that?" "I hate my husband and my son?" "I hate them." "I do." "Want to talk about it?" "No, no." "Somehow I love it." "I love to hate." "Wakes me up." "Don't you ever feel like that?" "Are you here for a reason?" "Well, if pleasure is a reason... yes!" "Idiot!" "I have to run." " Ok." " Go see mom!" "You never go." "And in the end, she's in suffering." "She's screaming..." "Wailing in pain." "He doesn't know what to do, so he embraces her." "He soothes her very gently." "As she's mutating." "He sways with her." "And it becomes a sort of dance." "A dance, a waltz." "She cries." "He holds her, and starts crying too." "I see it as something mesmerising that becomes just a unique dance moment." "It's... risky." "But that's what you like." "If it were anyone else, I'd say "Oh boy"..." "It'll be wonderful." "I'm so happy." " What is it?" "I don't know." "It's your film, it's..." "It's also the kid..." "He called me." "It's everything together..." "It's..." "I'm overwhelmed." "I'm scared." "I'm anxious." "I'm terrified, but..." "I'm happy." "Do people say that: "I'm happy"?" " Hello." " You were here?" "I dropped in to borrow a blanket." " Catherine, my sister." " Hello." "I'm gonna go." "I'm gonna go too." "I'm meeting that journalist." "Do you wanna come to support me?" "I can't." "I have to run, too." "I have a conference call with our... favourite Chinese." "Who is that?" "Ching!" "Our co-producer, my darling." "I'm going now." "R's a b" weak." "Without a script or anything..." "It's hard for us to raise the money." "Can we discuss it?" "ls tomorrow good for you?" "Could we postpone this so I can prepare better?" "It was hard enough setting this meeting today." "You're... a very busy person." "I wouldn't want to waste your time." "I feel you don't have..." "It's just that for that kind of stuff..." "It would be better, even for you, if I were in the right mood." "I have a lot on my mind right now." "I can't just go back into the past..." "I apologise." "Maybe I wasn't prepared..." " Not at all." " ...not in the right mood..." "Not at all." "It would be better, don't you think?" "Let's meet again." "I'll be better at this." " Alright." " Do you mind?" " Can I try another question?" " Sure." "Here it is." "I was thinking about this question..." "What is contradictory is that you tell me that my question doesn't seem very grounded..." "And that would make you start talking about something that is too... vast?" "And I find that..." "you're telling me this in real life, but in your films, there's always a place where... something lingers..." "something is left unsaid." "There's something in the atmosphere, something that isn't very clear." "You allow yourself to make the public feel a little lost." "And what I mean by that..." "My question..." "You say that you like contradictions..." "I see contradictions in your films." "And so, I'd like to know:" "Are contradictions like this one, for example..." "To be withheld by something..." "And at the same time, making films..." "Expressing something... is "contradiction" an artistic value to you?" "Is it a territory?" "A space?" "Is "contradiction" an artistic value..." "Well, actually..." "I'll repeat what I said before." "Usually, when I'm interviewed, people want explanations." "But I don't always know the answers." "I mean..." "I don't do what I want, I do what I can." "And there are a lot of shots or scenes" "I do in a certain way because something happened on the set that made them like that." "And then, people interpret it and I feel I have to agree with them." "That's why it's complicated for me to... answer those... questions." "It's not that I'm against big themes, against something more... elaborate." "But I'd have to think it over." " Ok." "If that's your angle, we should do this another day, if you don't mind." "I'm very lucky already that you could come today." "We'll see each other again." "I have your phone number." "Give me ten days and I'll call you back." "Sure." "I hope it wasn't a waste of time." " Would you like a coffee?" " I have to go." " See you." " Goodbye." " Thanks." " Thank you!" "You're welcome." "Stuck due to bomb alert." "But the bomb is Balthus." "Enjoy, Celia Bhy." "What do you think?" "What do you think?" "I leave at 11 tomorrow." "Be back in 2 weeks." "We're performing in Marseille." " Do you like it?" " I love it." "What is that?" "Won't it drive us crazy?" "I think I'm going nuts." "My love." "My love." " Hello." " Good morning." "I got here 15 minutes ago and nobody's been able to tell me where this painting is." "Should be that way." "After you." "There it is." "I saw this painting a long time ago in an exhibition." "It's almost never exhibited." "It was painted in Brazil, in the late 18th century." "It's an albino, as you can see." "Black albinos used to be categorised as "pied negroes"." "They were displayed in royal courts." "What is he thinking about?" "I always ask myself what the models are thinking about, but here... even more." "There's no objective answer to that." "But we can give our own." "I personally think the model held that livid stare the whole time he was being painted." "The painter chose to give him that look, at that time." "You liked this one, right?" "It made quite an impression on me." "It's quite worth it." "For several reasons." "The life-size scale is impressive and... it's also quite an astonishing representation." "I'm running late now." "I have to ﬂy, I'm sorry." "Celia?" "I've never done this before..." "rehearsing on set..." "But I think something will happen in this process, that will lead us eventually to the next scene." "The scene is scripted, but at the same time it leaves a lot of open doors for what comes next." "We'll explore all the options." "Won't we lose some spontaneity when we start rehearsing?" " Because of the text?" " Yes." "No." "It's good to have a framework." "I was thinking about you..." "Can I call you Edith?" " Of course." " Ok, then." "I don't know..." "Do you like rehearsing?" "Are you comfortable doing that?" "I don't know." "I can adapt." "I'd be happy to rehearse, to try it out..." "What do you think?" "How does he relate to that story?" "For the moment, I have no idea." "I'd have to ask..." "I'd have to see about that with Bertrand." "It's true there are dozens of questions about this character." "Still, I have the impression there is..." "In this scene, there's a mixture of... fear... of seeing it happen again... and satisfaction..." "that it happens again." "I'm curious about this "encounter scene"." "We'll work together on putting a face to the image of that child." "I'm sure Edith will be amazing." "Why would I be amazing?" "Maybe I suck, maybe I'm horrible." "You passed the screen tests." "You might like clothes in a store, but never wear them later." "Maybe I'm those clothes." "I'm sorry, I'm..." "This isn't my world." "I don't know what to say." "What made you want to audition?" "I don't know." "A sudden urge to be desired?" "MY 'We'?" "I'm drunk." "It's good to be drunk in Marseille." "I think the performance went well." "I think. .." "M)' love..." "I miss you, my love." "Hello." "Excuse me." "I'm sorry." "Wonderful, isn't it?" "The Nazis used to say he was a degenerate." "It's so elegant how he mocks innocence, how he disfigures the face of this bourgeoise little girl." "I don't understand..." "You always start like that?" "How am I supposed to react?" "Is this a game?" "Do you want it to be?" "You're gonna tell me you are Celia?" "I don't know what to say." "Your hair is much longer." "That's why you're staring at me?" "Yes, I'm going out later." "I say she's a monster, but truth is" "I find her absolutely adorable." "I really have to struggle." "There's... the hole in the eyes, where everything comes from." "We feel those holes are generating what covers her face." "And it covers the face like some sort of... of a helmet, which gives her the aspect of a warrior." "Otherwise, the hair, according to Baudelaire, is sensuality." "The cascades of hair..." "Here, it looks more as if some kind of demon had taken possession of her face." "Or a gorgon, a Medusa..." "At the same time, here, the chin, the neckline... they're untouched, delicate." "Wondering where I'm going?" "That's not the first question on my mind." "Want to come with me?" "I don't know where you're going." "You need to know where I'm going, to come with me?" "Well, yes." "Alright." "I thought we were beyond seduction..." "We're seducing each other now?" "Of course." "It's much more interesting, isn't it?" "I'm not saying something will happen." "We don't really give a damn, do we?" "We shouldn't give a damn." "The interesting part is to... to imagine!" "If you have body hair, for example." "I was asking myself that." "Know what I'm saying?" "So what should we imagine?" "Where you're taking me for dinner." "You weren't going anywhere." "That you shall never know." "This isn't really happening." "It's just me." "I know." "I'm in a restaurant with some friends." "And you're in a taxi cab." "But a different one." "Somewhere else." "Your wife calls you." "You talk about Pessoa." "The letters between his pseudonyms." "This isn't really happening." "We're almost there." "They serve quickly." "Perfect." "I don't want to keep my friends waiting." "I thought we weren't really living this." "True." "But I still have to hurry." "I can't live in your head forever." "Do you like it?" "It shouldn't be easy to get a table at this hour." "I know some people." "I went to see a Diane Arbus the other day, just after the..." "Nevermind..." "Just after the Balthus, I went to see a Diane Arbus." "A man wearing a bra, sitting on a chair." "I don't know that one." "I know the old ladies in masks." "The mentally disabled patients." "And also the giant with his parents." "This one's a young man very natural, with his legs crossed." "He's staring right at us." "I stopped because he reminded me of someone I know." "And as you say," "I looked for the monster in it." "So I said to myself:" ""Masculine, feminine"..." "I thought a lot... about Journiac, Claude Cahun..." "He's holding his head in a very beautiful way." "I know Diane Arbus used to say:" ""Monsters are aristocrats"." "I'm sure you like that." " Yes." "What about the Balthus?" "I loved it" "He was 25 when he painted it." "I thought you'd like her eyes." "Not only her eyes..." "It's also her coming-of-age... her body transforming..." "I saw a monster in light of this mutation." "Adolescence as a transformation scene in a movie." "How did you leave the other day?" "What do you mean?" "At the Museum of Medicine." "I watched you walk away." "I followed you in the hallways." "I don't get it." "What exit did you take?" "Specifically." "Specifically?" "The roof exit!" "Same way I got there." "Disappearing is my specialty." "One day I'll vanish." "Not too soon, I hope." "Are you growing fond of me?" "That you shall never know." "Repeat after me:" "I'll suffer a violent death..." "A crack in my ribs." "A slit in my throat." "A severing of my hands." "A long fall." "A landslide." "I shall die crushed under the red." "Does the fake smoke bother you?" "How do you want us to..." "How do you want us to do this?" "I don't really remember the first interview." "Well, it's kind of... as you want, really." "I'm caught off my guard because I had prepared a lot for... maybe too much... for our first interview." "I never thought you'd call me back." "Sol don't know what to say." " It doesn't matter." " No, but..." "I'm afraid you'll waste your time because..." "I didn't really call you for the interview, but because I felt I was... a little offhand." "Maybe I just wanted to take this opportunity to review some things over, to put them in order..." "Well, to approach..." "I decided not to ask you any questions, but I can't do it, as a matter of fact." "We can do this without any questions." "I invented so many things for mortal men." "Yet presently," "despair!" "Nothing springs to mind." "Not an idea, not a cunning to free myself from this distress." "Just listen to the rest, you will be astonished by what I taught them." "I was the first to show men the truth in dreams," "to reveal what obscure omens hide in words." "I was the first to teach them the ways of birds." "How they eat, how they make love, how they fight, how they share their nests." "I taught them how to read their entrails..." "Excuse me." "Could you slow down?" "Hello?" " Celia?" " Yes?" "I'm sorry." "I thought we had an appointment today." "I'm in London until tomorrow night." "Yes, of course." " Bertrand?" " Yes?" "I can't have this conversation alone." "Yes, I'm sorry." "Don't worry." "I like your pauses." " See you Friday." " See you." "I'll get off at the next corner." "Very well, sir." "I'm just... terrified." "It's the unknown..." "I can't handle it." "It's true that on the other hand, I feel... alive." "I mean, I have a lot in my head." "But I don't know where it's going to." "I'm not used to this feeling." "I'm terrified because I'm constantly telling lies." "I try to reassure everyone, the actors who trust me, my producer whom I love, who supports me and doesn't ask questions..." "But I have no idea..." "where it's all heading to." " Is it the first time that..." " Yes, it's the first time." "Sometimes I feel what we're doing is good..." "Sometimes I take a closer look and I think: "But why?"" "And I don't know..." "There are more rehearsals coming up." "I don't know what to tell those people..." " Is it..." " And I always say everything's fine." "I feel like someone doing a parachute jump who suddenly thinks:" ""Shit." "Why am I doing this?"." " I hope it's going to..." " Me too." "And to be frank, I've actually considered disappearing." "I'd like to be your friend." "Let's try to find the right position." "Your leg there..." "Your left arm..." "'(our fingers, ab" spread open..." "The elbow, just a bit further back." "The head..." "Perfect." "A chair..." "We're almost there." "There's something still different from the original model." "The person in the picture is actually completely hairless." "If you don't mind, I'd..." "Could you shave it off'?" "Whose place is this?" "We're at a friend of Barbe';" "who's asked us to take care of her apartment, and that's why..." "Might as well throw a party in it." "This stew is very good." "I've too many forks and knives." "Are you picturing us making love?" " Yes!" "Sorry." " No problem." "Be my guest." "I apologise." "You have some nerve!" "You said it was a costume party." "And you were snooping around in my house." "Go to hell!" "Can I have more wine?" "You look great." "We met each other next to a Balthus." "Sparrow?" "I'm sorry." "She's lost her whiskers." "It looked so good on you..." "I'm a joumalist." "Where is Barbe?" "Not far." "She'll be here in a minute." "You don't know what to do with me." "Should I do something with you?" "We're not going anywhere anymore." "But our friendship?" "I have a request." "Go ahead." "It's nothing really." "I don't have a crush on you or anything." "It's a simple request." "I'd like you to kiss my hand." "Kiss your hand?" "Yes." "I have smooth hands." "People tell me wonders." "I have to go." " I didn't ask you to go!" " It's my decision." "I have to go." "I'm blushing." "I can't stand it." "What am I gonna do?" "Goodbye." "See you soon." "Are you dressed as Irma Vep?" "No." "Not at all." "I'm a mouse." "I thought putting whiskers on Irma Vep was weird." "Vampire women don't have whiskers." "I have whiskers because I'm a mouse!" "Looks more like a cat." "Certainly not!" "I know very well what you are." "A burglar." "You scuttle across the roofs." "Wearing black so we can't see you." "Stealing jewellery from rich women." "You see?" "At first, I felt ridiculous." "Now I think I'm the prettiest one here." "A little bit of tea?" "Certainly not!" "Can I lick you?" "In an idle time of my life," "I decided to rule things with cards." "I'd wake up, pick a card, and think of a way to do what it said." "And I'd obey." "I'd pick another one, then another one..." "What started as a game ended like a nightmare." "I fell down into a hellish spiral." "Within a few days I couldn't make any decision without a new card." "Each one sent me into my own depths." "Into something dreadful." "Strangely, for Bourdelle, death is always soothing." "If it weren't called Dying Centaur we couldn't tell." "We'd think he was asleep, head sideways, like a pink ﬂamingo." "But he's dying." "He's on his feet." "Massive." "Majestic, robust." "Only his head is tilting." "He's dying." "Do you know Love Agonising ?" "A drawing of a young man lying down?" "Is everything ok'?" "Yes..." "I'm sorry." "Want to have a cigarette?" "I'm going to smoke outside." "This low-angle is heartbreaking." "It's like a celebration of himself, but at the same time," "it's like he was saying:" ""I, the emaciated outcast, can only be noble in death"." "I'm going to ask if it's possible to move it for filming." "Be right back." "Have you seen the person I came in with?" "No, sir." "She didn't ask to see... someone in charge, the curator...?" "I haven't seen anyone." "At night," "I used to cal!" "the kindly one," "I suffocated in my dreams." "I was so miserable." "One day." "The god spoke plainly." "He commanded my father to hunt me down, to expel me from his kingdom." "So I'd go away, with no ties, abandoned to myself." "Roam to the limits of the world." "Immediately, everything was destroyed." "My beauty, my mind." "Horns sprang upon my forehead." "L--- tormented by the stings of a gadﬂy," "started to roam about aimlessly." "And from land to land, the goddess' whip still hunts me down." "There it is." "Know what they did to me?" "If you want to say what toils remain, do it." "But, please!" "Don't seek to soothe me with lies." "Embellishing truth is the foulest of things." "Come in." "You're going back on stage?" "No, I'm dead." "Can I show you something?" "You know, we needn't always love each other." "But every moment we spend together must always be spectacular." "I never saw my son again." "Barbe came back one year later." "She simply said:" ""He is fine"."