|
Hearts of Darkness A Filmmaker s Apocalypse
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Hi, I'm Eleanor Coppola. |
| 00:00:02 |
I'm here in the Napa Valley |
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I'm not so comfortable |
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I'm much more at ease behind |
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I'm here to really introduce |
| 00:00:17 |
that's just been finished. |
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It's called Coda: Thirty Years Later. |
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And it covers the experiences |
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of shooting in Romania on Francis' |
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I became the family documentarian |
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We were in the Philippines |
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and the producing company |
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wanted to have five minutes |
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and there wasn't anyone |
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so Francis asked me to do it |
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since I was an artist |
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The documentary |
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is the result of our work together |
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And I think it's an opportunity to see |
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grown and matured, |
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that he went back |
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We were working in Romania |
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and especially |
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I had to be on set for many long hours |
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and I'm just standing around |
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So it was quite an arduous experience |
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but very fascinating to see Francis |
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and as a family experience, |
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So, thanks for watching, |
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and I hope you really enjoy this new |
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Ever since I was a student in college, |
| 00:01:46 |
we used to do a thing |
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And since I've been making films, |
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and it made those films have good luck. |
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So this is for good luck, |
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for a wonderful production |
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We all take our hands... |
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I'm going to go three times, |
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- And, Poowaba! Poowaba! Poowaba! |
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I'm very excited by this, |
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I feel like it's a film that really deals |
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with some very intriguing |
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It isn't just a lot of car chases |
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And it's really a grown-up film |
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about things that we're thinking about, |
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So, I think it's great that Francis has |
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that really are personally interesting |
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as opposed to taking |
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You know, how do you get |
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How do you understand what kind... |
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It's as if there was a Martian |
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you know, "You humans have this kind |
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"We don't think we have it. |
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"Can you explain to us what it is, |
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And what would you say? |
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"Well, it's a kind of knowing |
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"so that the process of my knowing |
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"has with it a personality |
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"So that I'm aware of my thinking, |
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"which is to say..." |
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"Well, does that mean |
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"you're also thinking |
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And I'd say, "Yeah, it's sort of like that, |
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"is that, I'm thinking |
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"An emotional identity, |
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"And I'm aware that I'm thinking |
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"I really appreciate you telling me |
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"because we beings from other planets |
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"have intelligence, which is to say |
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"we can figure out problems. |
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"But we feel that human beings have |
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"a much more mysterious sense |
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"of inner self |
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"Could you describe it to us?" |
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"Well, I could try to describe it, |
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"It's as though if you were a person |
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"And you would only see, you know, |
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"and you have no sense of depth. |
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"When you take away the one eye, |
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"it's the same as what suddenly |
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"except it's not just the third dimension, |
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"And it exists in thought, |
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"in imagery because it brings memory |
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"That's very interesting. |
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"I do understand what you mean about |
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"but a person who had |
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"who I'd said had one, |
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"would not know what you're |
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"So perhaps that's why I can't |
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"That's exactly right. |
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"That's exactly what I'm trying to say. |
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"It's a wholeness that's multifaceted... |
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"But not multifaceted |
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"Multifaceted in a way that |
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"three dimensions brings out |
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"a larger sense of itself. |
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"That's what I think consciousness is." |
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"Oh, very interesting! |
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- Hey, Tim? |
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You want to do something |
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- Of course. |
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I can do it, no problem. |
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'Cause what we could do, |
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and a high camera, |
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but you might get a certain energy |
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Like knowing where to look. |
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You'd screw up once in a while, but... |
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In other words, you'd do this. |
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Roll. Action! |
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So, it's come back to my old passion. |
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The philosophy of religion. Yes. |
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For you it will always come back to that. |
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Francis traveled to Bucharest |
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I didn't join him until September. |
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It was the longest we had been apart |
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What were the rooms like, Ellie? |
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The production found an old mansion |
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that had been divided into apartments |
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You are doing very well... |
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It had a ballroom where Francis |
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for two weeks before shooting. |
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You want to create an atmosphere |
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A little theater workshop, |
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He created an atmosphere for me |
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...not only that but religion. |
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There was nothing |
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there's nothing that I should |
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Then the things |
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he'd say, "It's no problem." |
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"It's no problem. It's no problem |
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"I'm sitting over here, and I gotta do it." |
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"y eah, you'll be fine." |
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It's so strange about acting |
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You have the dream |
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and you have the passion |
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and you want to do it |
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But I'm never 100% sure that |
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It's an attempt on my part to have more |
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even when you are shooting the film. |
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Which is to say that, |
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will become the manner... |
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Then we'd call in the photographer |
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and what have you |
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So many cars, so many extras, |
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But on this one |
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And so we can be more imaginative. |
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maybe we'll have it that the car |
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and two guys are pushing it across |
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And of course, this is also for all |
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that means fewer hair people to help, |
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and better lunch. |
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I want to make my apologies |
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because we were shooting on Sunday |
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and unfortunately we eliminated |
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But, it's so beautiful to see this, |
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and to see it back in 1938 |
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without this eternal traffic jam. |
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Francis chose his project |
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But making a film is always complex |
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and even more so when working |
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The process is fraught with |
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and creative decisions that have |
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I don't even know if I want to shoot, |
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I don't want to go there, |
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And how come I'm told yesterday |
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and then I'm told we don't have a deal. |
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What am I gonna hear on Monday? |
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I'll make it very clear, |
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that we feel that |
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and we want it clear that |
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I was told, I got an e-mail from you |
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Now I'm told it's not all done. |
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But this time when we sign it, |
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and we are doing it under duress |
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and so clearly we can't argue. |
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I'm the same guy now |
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Maybe I've learned a couple of things |
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Walk here and he was hit by lightening. |
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I'll tell you what I did like to do, |
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especially, was to stay really close by |
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when he was doing scenes |
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or setting up some kind of |
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and see how he staged it. |
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Took the minimum |
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which is sort of always what |
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And he's very, very good at that. |
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It's wonderful to watch. |
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Cut! Good! Okay! |
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"But what do I think, |
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"Well, I wanted to make the movie |
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"so I can do any stupid thing |
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"But is that responsible?" |
| 00:12:09 |
"I don't know if it's responsible |
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"it will mean that the film |
| 00:12:17 |
"What's regular?" |
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I haven't made a film |
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And I didn't want to just make |
| 00:12:32 |
I was waiting for something |
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that I could make a more personal kind |
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I believe that when you make a film, |
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and when you finish the film, you |
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So, this film is my asking |
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human consciousness, |
| 00:12:53 |
These are pretty complicated themes, |
| 00:12:55 |
I think one thing that |
| 00:12:58 |
does want are movies that |
| 00:13:02 |
"What is the nature of time? |
| 00:13:03 |
"What is the nature |
| 00:13:07 |
That's interesting. |
| 00:13:08 |
When I read the script l, I thought, |
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Because when you go to the cinema |
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you always, not always, but you often |
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have the feeling that |
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you know the love stories, |
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When I read this script I really |
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that it's such an extraordinary story |
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combining so many different things, |
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philosophical thoughts or theories, |
| 00:13:45 |
You have taught me about Chandrakirti, |
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the concept of tetralemma logic, |
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What you say is so, or it is not so. |
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Or it's neither so nor not so combined. |
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You know, when you're talking |
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"Well what about... Is it right or wrong?" |
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He says, "Well, it's right and it's wrong |
| 00:14:04 |
So I mean I think that's a concept |
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And that basically is the concept |
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that the world is not as we must, |
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by nature being human beings, |
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It has good and bad, |
| 00:14:25 |
It's true that the real reality is an illusion |
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out of the very sophisticated nature |
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And our consciousness |
| 00:14:36 |
So, all those things |
| 00:14:38 |
and so is Mircea Eliade interested in, |
| 00:14:41 |
because he's very interested in |
| 00:14:44 |
and all Indian myth |
| 00:14:47 |
It's been understood that she will be |
| 00:14:50 |
before leaving the clinic, |
| 00:14:51 |
and will continue to sleep until we reach |
| 00:15:47 |
The alarm at 4:30 a.m. |
| 00:15:51 |
There was a familiar |
| 00:15:53 |
about driving to shooting locations |
| 00:15:56 |
during the gray light of early dawn. |
| 00:16:03 |
- Is it cold in... Near the border of Nepal? |
| 00:16:15 |
Okay, cut. Good. Once again. |
| 00:16:18 |
Beautiful. So try one |
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you are coming out of is deeper, |
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and you're just slowly coming out |
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because you're going a thousand years |
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And you, you play it, Adrian, |
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and she has come home. |
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I was witnessing my husband |
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a profound creative process. |
| 00:16:58 |
He was directing again after a lapse |
| 00:17:01 |
a film for which he wrote the script |
| 00:17:08 |
In the interim he had |
| 00:17:09 |
in his attempt to make a big personal |
| 00:17:15 |
I was about 1 7 |
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and I knew a young girl who was 16. |
| 00:17:20 |
And we were going |
| 00:17:24 |
She was an exceptionally bright |
| 00:17:28 |
And, in fact, I confess she was |
| 00:17:33 |
And her name was Wendy Doniger, |
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and today is one of the pre-eminent |
| 00:17:40 |
So Wendy read my screenplay |
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to read some of Eliade's work, |
| 00:17:46 |
and she sent me various excerpts |
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And partly, it was a speech from |
| 00:17:55 |
the part where Professor Tucci |
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I did feel it was helpful and I read that |
| 00:18:01 |
and I read other of Eliade's work, |
| 00:18:07 |
At that time I was very frustrated, |
| 00:18:10 |
I felt in stalemate with Megalopolis. |
| 00:18:12 |
I've often described Megalopolis |
| 00:18:15 |
with a wonderful woman |
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And so, you can't have her, |
| 00:18:21 |
but she sort of takes the place |
| 00:18:26 |
So that you end up, |
| 00:18:29 |
just sort of stumped. |
| 00:18:31 |
And I began to think, "Well, what if |
| 00:18:36 |
"sort of the way my daughter, Sofia, |
| 00:18:40 |
And when I read the story of Eliade, |
| 00:18:44 |
I thought, "Well maybe this is the story." |
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That wasn't my life, this is my life. |
| 00:18:59 |
That didn't happen to me, |
| 00:19:02 |
It's a new life, a very sensual new life. |
| 00:19:08 |
Your senses are operating, really, |
| 00:19:15 |
He has to play so many things, |
| 00:19:17 |
He has to be young, old, middle-aged. |
| 00:19:21 |
He has to be sentimental, he has to be |
| 00:19:25 |
and he has to be able to play |
| 00:19:31 |
relative to being a fugitive |
| 00:19:36 |
Just drive, drive, anywhere! |
| 00:20:03 |
I didn't understand how you could |
| 00:20:07 |
Not a clue! |
| 00:20:09 |
And so when I spoke to him |
| 00:20:10 |
I was very excited by it. |
| 00:20:15 |
The first question, really, for me was, |
| 00:20:18 |
"How the hell you going to do this? |
| 00:20:19 |
And he said, "I don't know. |
| 00:20:23 |
"We'll figure that out." |
| 00:20:33 |
"Good and evil lose their meaning |
| 00:20:36 |
"being coincides with non-being." |
| 00:20:40 |
Yes but what no one dares to say is that |
| 00:20:43 |
atomic wars must be, |
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No, I reject that. |
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The true meaning |
| 00:20:51 |
the mutation of the human species |
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The double is a very pragmatic, |
| 00:20:59 |
message of, "All that matters |
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It doesn't matter who is hurt, |
| 00:21:07 |
Everything gentle |
| 00:21:13 |
falls away in light of the nature's desire |
| 00:21:18 |
You're saying the end justifies... |
| 00:21:19 |
Are you saying, are you saying |
| 00:21:22 |
Are you giving me that cliche? |
| 00:21:25 |
You can say that if you want. |
| 00:21:26 |
No, there is no other way. Just as |
| 00:21:30 |
but age and death. |
| 00:21:32 |
Suffer. I like maybe the word |
| 00:21:36 |
That's what it's really about, |
| 00:21:37 |
are we not to have compassion |
| 00:21:40 |
And he would say, "No." |
| 00:21:42 |
Somehow, we've got to argue |
| 00:21:46 |
against the cold, icy cold, practical side, |
| 00:21:49 |
which the double represents. |
| 00:21:51 |
But when you start talking about |
| 00:21:53 |
the stories and tragedies |
| 00:21:56 |
I mean I don't think a dog ever sits |
| 00:21:58 |
"Oh, did you hear about |
| 00:22:03 |
"who was the fourth puppy? |
| 00:22:04 |
"I understand he had a terrible time. |
| 00:22:08 |
That's all these concepts that |
| 00:22:12 |
is able to conjure up. |
| 00:22:16 |
Then he says, "No!" |
| 00:22:17 |
And he takes this chair |
| 00:22:19 |
Maybe he smashes the chair. |
| 00:22:21 |
I like the something physical. |
| 00:22:24 |
You know, because it's all in his head, |
| 00:22:28 |
He's denying the part of him... |
| 00:22:31 |
I think Francis's thing about |
| 00:22:34 |
I think is, it's many things, |
| 00:22:42 |
how many times do you wish in your life |
| 00:22:48 |
or you could try a different sentence, |
| 00:22:52 |
I mean, It's a Wonderful Life... |
| 00:22:53 |
You know, |
| 00:22:55 |
and change the direction |
| 00:22:58 |
And this man does have a chance |
| 00:23:02 |
In a sense, he doesn't have a chance to |
| 00:23:09 |
I feel that you aren't mine. |
| 00:23:13 |
That you are never here with me, |
| 00:23:21 |
I'm not thinking of your research, |
| 00:23:23 |
which in spite of what you believe |
| 00:23:26 |
I wanted to help you with that. |
| 00:23:27 |
But you keep yourself shut away |
| 00:23:34 |
So for my sake, and for yours, |
| 00:23:38 |
we should break our engagement |
| 00:23:41 |
No. Laura, no. |
| 00:23:43 |
We are still young, we both love life. |
| 00:23:51 |
You'll have more time for your research. |
| 00:23:56 |
You'll see later. |
| 00:24:09 |
When I was about 16 years old, I was... |
| 00:24:13 |
I was of course a theater arts student, |
| 00:24:16 |
but I was very interested in film. |
| 00:24:18 |
And I had written a short film |
| 00:24:22 |
involving a Ionely middle-aged man, |
| 00:24:25 |
kind of that introspective character, |
| 00:24:31 |
and perhaps does not have |
| 00:24:37 |
And I remember I was able to get |
| 00:24:40 |
and I bought a 16mm Bolex camera, |
| 00:24:44 |
and I asked my Uncle Clarence, |
| 00:24:49 |
who was one of the wonderful uncles |
| 00:24:52 |
who would always take us |
| 00:24:54 |
and sort of indulge us kids in our |
| 00:24:58 |
And I asked my Uncle Clarence, |
| 00:24:59 |
and I dressed him up |
| 00:25:02 |
and I built a tiny set |
| 00:25:07 |
And really made what is the first film |
| 00:25:12 |
I photographed it myself |
| 00:25:15 |
And it had to do with the routine |
| 00:25:19 |
living alone, coming home |
| 00:25:24 |
Taking a few cans out of a cupboard |
| 00:25:28 |
and warming up a modest meal |
| 00:25:33 |
and I think this was |
| 00:25:36 |
that has haunted me, |
| 00:25:37 |
and is an element of the character |
| 00:25:44 |
And certainly, the character |
| 00:25:49 |
But these themes of the Ioneliness |
| 00:25:53 |
really represent something |
| 00:25:58 |
and may show up again in my work. |
| 00:26:01 |
And I think there's more to do |
| 00:26:06 |
I would like to make in the future, |
| 00:26:08 |
than a lot of the work |
| 00:26:24 |
Sometimes I admit to myself |
| 00:26:28 |
I will never be able to |
| 00:26:35 |
My one and only book. |
| 00:26:39 |
And that in the end, without her, |
| 00:26:48 |
there will be nothing. |
| 00:26:51 |
And I will die alone. |
| 00:27:01 |
How is the fit on him? |
| 00:27:02 |
Does it make him look a little bit more |
| 00:27:05 |
Because he shrinks, so the clothes |
| 00:27:09 |
the clothes. |
| 00:27:14 |
'Cause you know, he's an old man |
| 00:27:20 |
What can you tell me about |
| 00:27:26 |
I think every day's a Friday. |
| 00:27:28 |
By that I mean that you feel like you've |
| 00:27:35 |
And he is fearless. |
| 00:27:40 |
Ostensibly fearless. |
| 00:27:44 |
He is not afraid to just jump in |
| 00:27:48 |
and paddle around, you know. |
| 00:27:50 |
And comes up with the most |
| 00:27:54 |
And sometimes |
| 00:27:57 |
I'm sure he's done an extraordinary |
| 00:28:01 |
But sometimes it looks like |
| 00:28:04 |
and it does invigorate you. |
| 00:28:08 |
...now he has his chance to do it. |
| 00:28:10 |
I think it's a little bit of a struggle, |
| 00:28:14 |
It's a struggle to walk, |
| 00:28:17 |
it's a struggle to admit... |
| 00:28:19 |
Yeah. And the whole time he's coming |
| 00:28:24 |
Secret service. |
| 00:28:25 |
They'll never believe I'm past 70, |
| 00:28:28 |
and therefore they'll never believe |
| 00:28:32 |
Of course, we'll be very careful. |
| 00:28:35 |
Anything can happen |
| 00:28:38 |
I won't let that happen. |
| 00:28:40 |
It's true though, |
| 00:28:45 |
I don't know, watching Tim |
| 00:28:48 |
and I felt that I could trust this feeling. |
| 00:28:51 |
And from the beginning, |
| 00:28:54 |
I had a very, very good |
| 00:28:58 |
without forcing and trying to be nice |
| 00:29:03 |
Nothing. I don't know, it was when |
| 00:29:08 |
this reading together. |
| 00:29:10 |
And it's certainly, also, |
| 00:29:14 |
He's very good for actors |
| 00:29:19 |
And you feel you can lean back |
| 00:29:22 |
and what he's saying is good for actors. |
| 00:29:30 |
You're sure he's squeezed your finger? |
| 00:29:33 |
Couldn't it have been a reflex gesture? |
| 00:29:36 |
Please try it yourself, Professor, |
| 00:29:39 |
If you understand what I say, squeeze! |
| 00:29:47 |
So at this point, maybe if you're going |
| 00:29:50 |
and think about it a little. |
| 00:29:52 |
You know, like you can now |
| 00:29:55 |
and begin to give him your instructions. |
| 00:29:58 |
I never did that before, |
| 00:30:01 |
where you're back to a familiar, sort of, |
| 00:30:04 |
where everyone more or less... |
| 00:30:06 |
And then rehearse it there |
| 00:30:09 |
You know, it was interesting. |
| 00:30:14 |
I just got wrapped in bandages |
| 00:30:17 |
Oh, good. Oh, yeah... |
| 00:30:21 |
All right, here we go, |
| 00:30:23 |
more or less as we just did it. |
| 00:30:25 |
And what it makes me think back, |
| 00:30:26 |
as I go back all the way back |
| 00:30:30 |
and understanding in |
| 00:30:31 |
one of the things |
| 00:30:35 |
is public embarrassment. |
| 00:30:37 |
And I think this had to do |
| 00:30:40 |
and the fact that I went |
| 00:30:44 |
Like when I was a kid, age 13, |
| 00:30:47 |
brought up to the front of the class |
| 00:30:51 |
having come from Queens, New York, |
| 00:30:52 |
and they said, |
| 00:30:56 |
"He's going to be a new student." |
| 00:30:58 |
Everyone laughed, you know, |
| 00:31:02 |
Or taking me, there in front |
| 00:31:08 |
you know beautiful girls and boys |
| 00:31:11 |
of what was a very different culture |
| 00:31:15 |
and coming into class and having |
| 00:31:18 |
And I looked and I said, |
| 00:31:23 |
And everyone laughed at me, you know, |
| 00:31:24 |
because I had never heard |
| 00:31:26 |
which was the common expression |
| 00:31:29 |
whereas in New York schools |
| 00:31:34 |
On a movie set, I misunderstood |
| 00:31:38 |
That somehow shooting to me |
| 00:31:43 |
In other words, if you're a good director |
| 00:31:46 |
and you immediately know |
| 00:31:49 |
and what lens to use |
| 00:31:53 |
and be very snappy about telling |
| 00:31:57 |
And when someone confronts you |
| 00:32:02 |
"Well, you know, if you do that |
| 00:32:06 |
"or the screen direction is wrong," |
| 00:32:09 |
that public embarrassment was |
| 00:32:18 |
I felt that if I'm taking |
| 00:32:20 |
across the country for four months |
| 00:32:23 |
and they don't like making movies, |
| 00:32:26 |
And if they're unhappy, it's no good |
| 00:32:35 |
So essentially what I'm saying is that |
| 00:32:36 |
I thought directing was being sort of like |
| 00:32:40 |
the "jock" mentality of the crew which is, |
| 00:32:42 |
"Oh, yeah, well he's a great director, |
| 00:32:46 |
according to their standard. |
| 00:32:47 |
And I realized, |
| 00:32:49 |
and one was like a super jock, |
| 00:32:52 |
"Come in here, put the camera here, |
| 00:32:55 |
"the screen direction right to left, |
| 00:32:57 |
"bring in the actors, do this, do that," |
| 00:33:00 |
and there was another director |
| 00:33:02 |
or say, different degrees of that |
| 00:33:04 |
and he didn't know where |
| 00:33:06 |
and didn't know what to say |
| 00:33:11 |
that there's no saying that |
| 00:33:17 |
in terms of performance on the set, |
| 00:33:18 |
might be doing the really beautiful film. |
| 00:33:21 |
Because it all depends on |
| 00:33:27 |
I can't work this way! |
| 00:33:29 |
I quit working for 10 years! |
| 00:33:32 |
Now, I started with a little unit |
| 00:33:35 |
And about the lights, please tell me... |
| 00:33:37 |
Okay, okay. I resign as producer. |
| 00:33:45 |
The unit is twice as big as it was! |
| 00:33:47 |
I don't feel comfortable to be here |
| 00:33:50 |
getting here early in the morning |
| 00:33:52 |
and I see there's a whole |
| 00:33:55 |
And I feel when we come out |
| 00:33:57 |
that suddenly there are so many people |
| 00:33:59 |
that no one does their job |
| 00:34:02 |
and nobody is looking to do the thing. |
| 00:34:07 |
I'm fighting all day to try to get you |
| 00:34:12 |
And then I go over there |
| 00:34:14 |
Tim's here with us. |
| 00:34:17 |
Everybody's here. Who's there? |
| 00:34:22 |
Vehicles. |
| 00:34:24 |
I never saw so many vehicles in my life. |
| 00:34:26 |
What it really comes down to |
| 00:34:29 |
there's what happens in the camera |
| 00:34:32 |
which are the scenes you are doing. |
| 00:34:34 |
And then there's the vast support unit |
| 00:34:39 |
And the difference is, in opinion, |
| 00:34:44 |
I've long felt that motion pictures |
| 00:34:51 |
and crew and trucks and drivers |
| 00:34:54 |
and stuff that has nothing |
| 00:34:57 |
And that that's like a tax |
| 00:35:01 |
because the filmmaker's in a tough spot |
| 00:35:08 |
because those, that support unit is |
| 00:35:13 |
And my theory has always been |
| 00:35:17 |
like this truck right behind us, |
| 00:35:19 |
which theoretically is supposed |
| 00:35:22 |
you need to make a motion picture in it. |
| 00:35:24 |
And a few trucks... |
| 00:35:27 |
That that enables the director to spend |
| 00:35:33 |
working with the actors and stuff. |
| 00:36:30 |
Sorry, Tim would you please go back |
| 00:36:33 |
He shouldn't have a guy |
| 00:36:40 |
Okay, ready? |
| 00:36:41 |
Now, these German guys |
| 00:36:45 |
there's only one here and I'll help you. |
| 00:36:50 |
And, begin! |
| 00:36:53 |
The director doesn't just direct by |
| 00:36:58 |
and saying to the actor, |
| 00:37:01 |
The director also is helping |
| 00:37:07 |
by how he chooses to make it. |
| 00:37:09 |
On Apocalypse Now, I went in and said, |
| 00:37:11 |
"This movie should be made like |
| 00:37:14 |
"And the battle scenes should be like |
| 00:37:18 |
And I did it that way. |
| 00:37:20 |
I could have made Apocalypse in 16mm |
| 00:37:23 |
the way George Lucas thought |
| 00:37:25 |
and it would have made |
| 00:37:27 |
But that wasn't the style |
| 00:37:30 |
So, the style you choose to make a film |
| 00:37:33 |
relates to the auspices or the crew |
| 00:37:35 |
or the amount of trucks |
| 00:37:40 |
What I've done is, |
| 00:37:43 |
and instead of just assume, |
| 00:37:46 |
I went with the assumption, |
| 00:37:49 |
"Oh, we have to have a camera. |
| 00:37:52 |
"We have to have lights, okay." |
| 00:37:54 |
In other words, I added |
| 00:37:57 |
based on what was |
| 00:37:59 |
...shoot it where he thinks best. |
| 00:38:01 |
I just think there's |
| 00:38:04 |
You know, in the words of Napoleon, |
| 00:38:07 |
To walk around and just see |
| 00:38:11 |
Because the more things |
| 00:38:14 |
the other people, the weather, |
| 00:38:20 |
the more it comes to life. |
| 00:38:22 |
Because, you're not just pre-making it, |
| 00:38:24 |
you're allowing it to happen |
| 00:38:28 |
which is a series of accidents in a way. |
| 00:38:31 |
...is what I'm after, |
| 00:38:34 |
- Yeah. |
| 00:38:39 |
So now you're sort of starting |
| 00:38:43 |
in a way, you're getting to the point |
| 00:38:44 |
where your instincts are better |
| 00:38:49 |
It's such a simple thing to say, |
| 00:38:53 |
I mean, if you're gonna choose a script |
| 00:38:58 |
you choose something |
| 00:39:02 |
Because the object of art, I think |
| 00:39:05 |
is to catch life. |
| 00:39:07 |
You know, to have it |
| 00:39:12 |
or looks at that |
| 00:39:14 |
they're hearing more than just what it is. |
| 00:39:18 |
They're hearing something |
| 00:39:21 |
And he comes and he looks and he, |
| 00:39:25 |
That's not Hitler, he didn't look like that. |
| 00:39:28 |
- No, the other one. No. |
| 00:39:32 |
Oh. So, Florin, get on that side, |
| 00:39:37 |
Excuse me, I'm gonna run and look |
| 00:39:39 |
to see how this looks. |
| 00:39:41 |
It's nice to get these exteriors |
| 00:39:45 |
You know, to have some... |
| 00:39:51 |
More, more, more. |
| 00:39:54 |
Okay. |
| 00:39:59 |
Okay, action! |
| 00:40:04 |
Normally, the car comes in, |
| 00:40:07 |
But I preferred the tableaux. |
| 00:40:12 |
I have this big discipline on this |
| 00:40:14 |
unless it's for a purpose. |
| 00:40:16 |
And the theory is |
| 00:40:18 |
then when you do it, it's like... |
| 00:40:56 |
Of course, I will never forget the day |
| 00:40:57 |
when, in Balcik, |
| 00:41:01 |
we were all at breakfast, |
| 00:41:03 |
and he said, "Alexandra, |
| 00:41:06 |
"Yeah, of course!" And he said, |
| 00:41:11 |
"the sea is beautiful! And I would love |
| 00:41:15 |
The scene was written in the bedroom. |
| 00:41:19 |
And then he had this idea to do it |
| 00:41:22 |
And it was perfect, |
| 00:41:25 |
and so tough to be there on the rocks. |
| 00:41:29 |
But it was such a big help, of course, |
| 00:41:31 |
Because then you feel the pain |
| 00:41:36 |
and to play your part, |
| 00:41:42 |
During shooting on the Black Sea, |
| 00:41:44 |
my camera was |
| 00:41:46 |
as every effort was made to complete |
| 00:41:50 |
It was November, and the actors |
| 00:41:55 |
My darling! |
| 00:41:59 |
What is it? I was so worried! |
| 00:42:06 |
- What is it? |
| 00:42:13 |
Remember yesterday, I was saying, |
| 00:42:15 |
"I hope we get a storm." |
| 00:42:18 |
The two of you in that water, |
| 00:42:21 |
Must have felt ferocious, too. |
| 00:42:23 |
It just knocks your breath away. |
| 00:42:24 |
Because of the cold |
| 00:42:27 |
When it hits you, |
| 00:42:30 |
It looked it, yeah. |
| 00:42:40 |
And he senses you want |
| 00:42:42 |
He says, you know, |
| 00:42:45 |
"but you don't dare say it." |
| 00:42:48 |
You're confused by this. |
| 00:42:50 |
All of a sudden you're living |
| 00:42:52 |
with this man you didn't know. |
| 00:42:55 |
You've had this big experience |
| 00:42:59 |
And you know it's true |
| 00:43:01 |
yourself saying this strange language. |
| 00:43:04 |
All you have is him, |
| 00:43:10 |
- My love. |
| 00:43:16 |
Francis, one day, |
| 00:43:20 |
So, it was Tim's close-up. |
| 00:43:23 |
Francis came to me and he said, |
| 00:43:25 |
"I will tell you a story, |
| 00:43:28 |
And Tim had to give the answer. |
| 00:43:31 |
...a man and a woman were murdered... |
| 00:43:33 |
For Francis, it was just important |
| 00:43:38 |
So I told him the story, |
| 00:43:40 |
but did not know the answer. |
| 00:43:42 |
...it was Adam and Eve. |
| 00:43:44 |
And when I heard Adam and Eva, |
| 00:43:47 |
"Adam and Eva, Adam and Eva," |
| 00:43:50 |
And I did not understand |
| 00:43:53 |
For me it sounds like paranoia. |
| 00:43:56 |
Or I thought Adam and Eva |
| 00:44:00 |
that for me in German |
| 00:44:07 |
Now you're just trying |
| 00:44:09 |
I just like to see you thinking... |
| 00:44:10 |
And Francis, also, he was incredible. |
| 00:44:13 |
and I wanted so much |
| 00:44:17 |
But it's so difficult to make a joke |
| 00:44:21 |
But they all helped me, |
| 00:44:26 |
Also, I'm trying to think more as a kid. |
| 00:44:28 |
Saying, "Oh gee, you know, |
| 00:44:30 |
"You know, well, I'll do a love scene and |
| 00:44:33 |
You know, dumb things like that. |
| 00:44:37 |
I'm trying to think as more I would have |
| 00:44:42 |
You know, "Oh, isn't it neat, I have a |
| 00:44:48 |
"but it's not coming from there, |
| 00:44:51 |
So you know, "Oh, it's modern." |
| 00:44:54 |
I learned very early in my movie career |
| 00:44:58 |
and to be uncomfortable and not to be |
| 00:45:03 |
Which is what I thought it would be |
| 00:45:06 |
So, this experience, |
| 00:45:10 |
and with the structure different, |
| 00:45:15 |
I'm much more comfortable. |
| 00:45:18 |
I wasn't dreading it. I always used to sit |
| 00:45:24 |
just hoping the car |
| 00:45:41 |
So the suitcases are gonna come |
| 00:46:03 |
Stong a muri |
| 00:46:06 |
So can we do sort of like this? |
| 00:46:14 |
This is all a very interesting point |
| 00:46:18 |
But maybe the age 66 |
| 00:46:23 |
Because it's at that age, that he's really |
| 00:46:27 |
to being an elderly person, a grandpa, |
| 00:46:31 |
or one of those guys who comes in the |
| 00:46:36 |
to the various charity dinners |
| 00:46:41 |
Or maybe he's gonna become a |
| 00:46:44 |
Look at Matisse, |
| 00:46:47 |
But I have a feeling that Matisse, |
| 00:46:51 |
having a nice time |
| 00:46:55 |
Painting just what you see and enjoy |
| 00:47:01 |
Making a film |
| 00:47:03 |
and worrying about the weather, |
| 00:47:05 |
Because it snowed, but if it snows |
| 00:47:08 |
And do you have the money to do this? |
| 00:47:13 |
for an old man to be doing. |
| 00:47:15 |
I don't know what consciousness |
| 00:47:19 |
It's pretty abstract, I mean, it's not like |
| 00:47:23 |
And, well, close your eyes, |
| 00:47:25 |
His style has always been... |
| 00:47:29 |
...kind of classical, kind of operatic. |
| 00:47:34 |
And this movie's managing |
| 00:47:37 |
and then have these kind of |
| 00:47:39 |
I mean you're trying to look older |
| 00:47:41 |
Maybe, just try, and you're trying... |
| 00:47:43 |
- Right, and you're trying to look older. |
| 00:47:46 |
With those glasses, |
| 00:47:49 |
What do you mean ridiculous glasses, |
| 00:47:53 |
Those aren't even a prescription. |
| 00:47:56 |
That's good, |
| 00:47:59 |
- I still don't know... |
| 00:48:02 |
- You don't even know who the hell he is. |
| 00:48:03 |
As betters at a race track would say, |
| 00:48:05 |
"I put everything I had on one horse, |
| 00:48:08 |
I'm Ted Jones Jr., I'm a correspondent |
| 00:48:12 |
- Okay. |
| 00:48:13 |
- It's American enthusiasm. |
| 00:48:16 |
American, you want me |
| 00:48:19 |
As betters at a race track would say, |
| 00:48:20 |
"Yeah, yeah, yeah, yeah, |
| 00:48:23 |
A little more? A little more? Okay. Yeah. |
| 00:48:26 |
You just avoided it. |
| 00:48:29 |
That's a fugitive, |
| 00:48:33 |
And he's just camera shy also. |
| 00:48:35 |
You know, he doesn't want anyone |
| 00:48:40 |
On January 8, you turned 7 4 years old. |
| 00:48:46 |
- Eleven, again. |
| 00:48:48 |
those glasses aren't even prescription. |
| 00:48:54 |
I still don't... Thank you. |
| 00:48:57 |
with whom I have the pleasure |
| 00:49:00 |
I'm Ted Jones Jr., |
| 00:49:04 |
I've been looking for somebody for |
| 00:49:07 |
and he's somebody who's 87 years old, |
| 00:49:12 |
- Oh, all right! |
| 00:49:15 |
No, but I mean, we'll moderate. |
| 00:49:17 |
It's really kind of epic and large |
| 00:49:21 |
and yet he's managed to streamline |
| 00:49:26 |
And it still carries this kind of |
| 00:49:30 |
But because the budget's down, |
| 00:49:33 |
and it's allowed to deal with themes |
| 00:49:37 |
And I think that's exactly |
| 00:49:40 |
you want Francis Ford Coppola |
| 00:50:00 |
A movie is like you throw |
| 00:50:03 |
and it's at the mercy of so many winds. |
| 00:50:08 |
It's the wind |
| 00:50:12 |
is like at that time, |
| 00:50:18 |
really will strike the audience right |
| 00:50:25 |
But if you throw a ping-pong ball |
| 00:50:29 |
how do you know |
| 00:50:51 |
Action! |
| 00:51:00 |
If you were going into the desert |
| 00:51:04 |
and if the well had water in it, |
| 00:51:05 |
there was a spirit |
| 00:51:07 |
We're just so |
| 00:51:10 |
that it's obvious that human beings |
| 00:51:13 |
with their sophisticated consciousness |
| 00:51:17 |
began to think of these elements |
| 00:51:21 |
and to be honored and to be prayed to, |
| 00:51:26 |
to try to nudge, you know, things. |
| 00:51:30 |
We all of us do that, I'm worrying about |
| 00:51:33 |
I'm starting to say, "I hope |
| 00:51:35 |
That's the beginning of praying |
| 00:51:44 |
- Snow. Looks like snow to me. |
| 00:52:15 |
- Okay, cut. Good. |
| 00:52:17 |
Okay, print the one last one. |
| 00:52:18 |
...come in car, can go out. |
| 00:52:22 |
Action! |
| 00:52:24 |
- Hooray! |
| 00:52:28 |
I've always believed |
| 00:52:31 |
a person, is kind of on the way up |
| 00:52:34 |
or on the way down, in life, |
| 00:52:38 |
- When will you finish it, Dominic? |
| 00:52:43 |
The origins of society, family, |
| 00:52:47 |
Certainly the way we live life, |
| 00:52:50 |
you're either hot upon them and you're... |
| 00:52:56 |
And I just felt in the era when I was, |
| 00:53:02 |
it was clear I was on the way up. |
| 00:53:03 |
And then you hit some... |
| 00:53:08 |
You hit some real left hooks in your life. |
| 00:53:11 |
And then it's clear |
| 00:53:14 |
Sometimes you can go |
| 00:53:16 |
Of course then it comes down to |
| 00:53:20 |
if you believe |
| 00:53:26 |
It's cool and refreshing |
| 00:53:30 |
and it has no shape, |
| 00:53:33 |
Or it can be hot and boiling. |
| 00:53:36 |
Or in some cases |
| 00:53:38 |
Or it can just be like a gas, |
| 00:53:43 |
Or if you take the Martian's hand |
| 00:53:46 |
they would kind of get it, |
| 00:53:48 |
if Martians... Do Martians have hands? |
| 00:54:08 |
You know, I know these people in |
| 00:54:12 |
wanted to be |
| 00:54:15 |
or other people in my life. |
| 00:54:17 |
And this need to be talented, and great, |
| 00:54:22 |
And I always used to say |
| 00:54:24 |
I said, "Are you the greatest composer |
| 00:54:27 |
And he said, "No, of course not," |
| 00:54:30 |
After all, there was such a man |
| 00:54:34 |
So, it's settled that no matter how great |
| 00:54:38 |
you're never gonna be |
| 00:54:40 |
because there's always |
| 00:54:42 |
and there's always gonna be |
| 00:54:49 |
so many. |
| 00:54:51 |
And I said, "Are you the worst composer |
| 00:54:54 |
"and the most terrible one?" |
| 00:54:57 |
there's terrible hack composers |
| 00:55:02 |
And so I said, "Look, so that means |
| 00:55:06 |
"and the worst composer. So, that's |
| 00:55:10 |
And you know, it's sort of how I feel. |
| 00:55:13 |
I'm not ever going to dare to be, |
| 00:55:16 |
even to think that I could be the greatest |
| 00:55:20 |
because we have so many, |
| 00:55:24 |
so many giants. We have Shakespeare, |
| 00:55:28 |
and in film, we have Pabst |
| 00:55:34 |
and Fellini, and all these people. |
| 00:55:36 |
So, I'm never gonna be |
| 00:55:39 |
And, you know, I don't think |
| 00:55:42 |
because there are plenty of |
| 00:55:48 |
So, I'm somewhere |
| 00:55:50 |
And I kept thinking, |
| 00:55:53 |
You know, you know what, |
| 00:55:56 |
"Why not live your life and love life |
| 00:56:00 |
"and all the things that are so fulfilling." |
| 00:56:03 |
Of course, it's wonderful |
| 00:56:05 |
because ambition does make you |
| 00:56:10 |
and try, at least, |
| 00:56:14 |
But, you know, it's funny, |
| 00:56:20 |
in which talent and success |
| 00:56:24 |
was really an obsession. |
| 00:56:40 |
As you know, making a film |
| 00:56:43 |
So, we are very grateful |
| 00:56:48 |
We'll try to have a nice time |
| 00:56:52 |
and we'll try to do them |
| 00:56:55 |
Thank you very much for your help, |
| 00:57:17 |
Despite my precautions, I was afraid |
| 00:57:21 |
conversing with professors |
| 00:57:25 |
I knew more than any of them, |
| 00:57:27 |
and understood things |
| 00:57:46 |
I know you are a good friend of the |
| 00:57:50 |
I'm very sorry, |
| 00:57:53 |
Now we're in the mood in which |
| 00:57:58 |
to distance themselves. |
| 00:58:01 |
"Did you hear about his things? It was a |
| 00:58:05 |
And you're really talking about yourself. |
| 00:58:30 |
Our son, Roman, |
| 00:58:34 |
We rode to work together, worked near |
| 00:58:38 |
shared gear to withstand the freezing |
| 00:58:43 |
complained about the food together. |
| 00:58:47 |
a common topic of conversation |
| 00:58:51 |
Bread and meaty. |
| 00:58:54 |
Cream of Wheat is so stinky to eat |
| 00:58:58 |
- It's really good with salted butter. |
| 00:59:02 |
Why are you all talking about food? |
| 00:59:03 |
- To get our mind off the freezing cold. |
| 00:59:07 |
- It's breakfast time! |
| 00:59:11 |
Oh, no. It's balmy! |
| 00:59:15 |
- It is breakfast time. What time is it? |
| 00:59:18 |
Oh, just for a second I thought it so. |
| 00:59:19 |
5:40. It's noon. |
| 00:59:21 |
"5:40. It's noon." |
| 00:59:23 |
Like so many locations before, Tulsa, |
| 00:59:29 |
Sicily, Versailles, Tokyo, |
| 00:59:34 |
I realized that Bucharest and Romania |
| 00:59:36 |
would soon fade into an exotic memory |
| 00:59:49 |
Mr. Matei, |
| 00:59:52 |
what do we do with time? |
| 00:59:59 |
That question, |
| 01:00:01 |
expresses the supreme ambiguity |
| 01:00:06 |
I have no idea |
| 01:00:09 |
An opportunity has been given to us. |
| 01:00:14 |
We, the human race. |
| 01:00:17 |
What is in this past, |
| 01:00:21 |
For instance, |
| 01:00:25 |
music and poetry |
| 01:00:31 |
and above all, science. |
| 01:00:36 |
So, this is why |
| 01:00:38 |
When you say, "Oh, well, you know, |
| 01:00:40 |
"people might not be interested |
| 01:00:42 |
But, if you do it so they don't |
| 01:00:45 |
and then later upon seeing it again, |
| 01:00:47 |
they want to look at it |
| 01:00:49 |
they can and they'll discover more. |
| 01:00:52 |
So, I think that's the kind of movies |
| 01:00:55 |
I would like to make. |
| 01:00:57 |
What I like about this |
| 01:01:00 |
to a younger man |
| 01:01:03 |
The same way |
| 01:01:05 |
in the scene in the Cafe Select. |
| 01:01:17 |
Dominic, |
| 01:01:20 |
it's true, you've come back! |
| 01:01:24 |
Welcome. |
| 01:01:27 |
We have to show that he's coming |
| 01:01:30 |
He's an old man who's feeling younger, |
| 01:01:34 |
both painful and pleasurable |
| 01:01:38 |
See we're missing all the interesting |
| 01:01:42 |
I think it's rare that you can, |
| 01:01:43 |
that you find someone |
| 01:01:49 |
I would call my wife, and I'd say, |
| 01:01:53 |
She said, "You keep telling me that." |
| 01:01:56 |
She said, "Be repetitive, it's that good!" |
| 01:02:00 |
And she said, "I've never heard you |
| 01:02:04 |
Yeah, I know. |
| 01:02:10 |
I have been living in Romania |
| 01:02:14 |
observing Francis's creative process |
| 01:02:16 |
as he's been making his new film, |
| 01:02:21 |
It's a familiar experience, |
| 01:02:25 |
of a freedom he has always wanted. |
| 01:02:28 |
It was impossible |
| 01:02:30 |
between the way Francis |
| 01:02:34 |
and the differences. |
| 01:02:38 |
That's why I wanted to make the movie, |
| 01:02:40 |
to take my own personal questions, |
| 01:02:44 |
And I know for sure, for sure, for sure, |
| 01:02:47 |
and we perceive and we look up |
| 01:02:51 |
and we wake up in the morning |
| 01:02:56 |
all of those things |
| 01:03:01 |
As a kid, I knew that the stars were not |
| 01:03:04 |
little balls of fire up there and stuff, |
| 01:03:06 |
I knew that the stars |
| 01:03:10 |
You know, whether it was |
| 01:03:12 |
I knew it wasn't, that nothing of our life, |
| 01:03:18 |
I am sure of that. |
| 01:03:22 |
Well, what do you think it is? |
| 01:03:23 |
It's a kind of changing tapestry |
| 01:03:28 |
of illusion. |
| 01:03:36 |
And that's the movie. |
| 01:03:38 |
A changing tapestry of illusion, |
