jeanlucgodard

Godard: ‘I get high staring at posters in the streets. I get high on people.’

Note: Godard who has just finished shooting his lates film One Plus One, agreed to meet Hermine Demoriane for this interview but would not consent to it being recorded. “What you don’t remember, make up”, he said. Excerpts from the interview follow.

We have a lot of professional filmmakers who would be better off doing something else.

 

HD: You have said everybody should make movies.

JLG: No. I did not say that,  I said more people should. There are not enough films. Look, there is no black cinema at all. Stokely Charmichael should make a film. But he can’t. Even if Mao sent him the money he would not find a distributor. There aren’t any films from the workers, either. I’d like to hand over my unit, lock, stock and barrel and let some of them get on with it. We need films FROM people, not FOR them. In the meantime, we have a lot of professional filmmakers who would be better off doing something else.

HD: What do you think of Claude Givaudan’s experiment?

JLG: Very good. You should be able to go into a shop and buy the latest Godard, take it home and project it with no more fuss than reading a paperback. In two years time we may be putting cassettes of our own films into TV sets.

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HD: You have said England was an American colony. Does this apply to its films?

JLG: There are no English films. There are American films set in London.

HD: What do you think of American cinema, then?

JLG: The most conservative in the world. It works on worn-out formulas totally irrelevant today. Its only aim is to lift people out of their environment for a moment and persuade them the world is a beautiful place so they keep quiet and allow the system which begats such films to continue.

HD: You didn’t even like Bonnie and Clyde?

JLG: Average. Very average.

HD: And the cinema in France?

JLG: Very conservative, too.

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HD: What do you reckon is the way to break the monopoly of the big companies?

JLG: Either drop a bomb or them or buy them.

HD: You have just made a film for French TV. Would you like to do more?

JLG: I see no difference between cinema and TV films. I would like to make more, yes, but I doubt if they’d get shown. TV is governmental, and not only in France. Governments are always clever enough to take it over. Consequently TV would be the same in Cuba as it is in Greece. I think opposition parties should have an equal influence.

HD: Do you believe that hippies could be a force to purge Capitalism, as the Red Guards purged Soviet Communism?

JLG: The hippies will do nothing until they are politised.

HD: They need a Mao?

JLG: Not necessarily. Only to get educated politically.

HD: The demonstration at the first night of the Green Berets proves that something is burning.

JLG: Yes, that was excellent. I wish someone had told me, I would have gone.

HD: Do you think the uprising could come from England eventually?

JLG: Yes, it is good here because there are plenty of people with money and open minds. But alas, they don’t use their minds, and they are usually corrupted by money. People could do things but won’t. Look at the Beatles for instance. And Peter Brook. He should have put his Marat/Sade outside Buckingham Palace.

HD: Are you aware to have prophested Sorbonne in La Chinoise?

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JLG: No. Prophesy is a mild form of fascism.

HD: What about your next film?

JLG: It is going to be produced and shot in America. That’s all I know about it. Except the title. I’ve got that. An American Movie.

HD: Have you ever taken acid?

JLG: No. Not interested. I get high staring at posters in the streets. I get high on people.

HD: Exactly what my mother says. Thank you.

 

*Interview with Jean-Luc Godard by Hermine Demoriane, published in IT (International Times) no. 39, 6-19 September 1968

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Crazy for Godard

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There are movies you can watch with one eye closed, while texting your crush or thinking about your grocery list. There are movies you can watch with a bunch of friends and comment, laugh, talk about something else for a while, get up to get some more popcorn. There are movies who don’t demand your full attention, they are here to present a certain plot and try to entertain you while on the greater scale their sole purpose is to earn as much money as possible and then fall into the oblivion. Everyone who had at least a brief encounter with Jean-Luc Godard‘s movies is aware, of course, that this is not the case.

The average mind raised on the typical American style cinematography will get confused after five minutes, get bored after twenty and is most likely to give up from watching the movie after 45 minutes. But that’s no surprise and doesn’t mean that the average mind is stupid or uneducated. Godard’s work is an acquired taste, the one that when/if the viewer accepts it and gets to know it, falls in love more and more until you start looking at the everyday life scenes through Jean-Luc’s glasses.

That started happening to me after I watched Une femme est Une Femme (A woman is a Woman, 1961), my first Godard experience. I was a bit puzzled at first but it was love at first sight – the story, Anna Karina, Belmondo, the clothes, dialogue, colors, language… Freedom! Freedom is the key, freedom from the overpayed, overplayed, predictable script, nonchalant deconstruction of what is considered ‘normal’ or ‘succesful’. Godard himself says it all in one simple sentence:

“Improvising on the set is different from faithfully following the script.”

C’est vrai.

The last one I’ve (re) watched is also one of the most important French new wave titles – Pierrot le Fou (Pierrot Goes Wild, 1965).  It’s one of those movies that stuck with me and will always be important, also this time I had a chance to watch it in the cinema, on the big screen. What an experience, not even drunk people talking pretty loudly or leaving in the middle of the film couldn’t spoil the good feels and my overall excitement. If an extraterrestrial finally visits our beautiful planet one day, I suggest playing Pierrot for him/her/? to explain what ART means. You can’t define it in one word, it can be completely subjective, but once you come across it, you know it’s here.

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What I like the most about this film is the criticism towards Americanization, war and consumerism. We are so obsessed with things and accumulating stuff we don’t really need. We all know that, we’ve seen Fight Club for god’s sake, but still we remain clueless. I’m looking for winter coats online as we speak and I get that adrenaline rush because I’m in a hurry to pick the PERFECT one, the one that DEFINES me and at the same time I hate myself for it, but also can’t help it. Ridiculous, it’s like being stuck in between two worlds. That’s why artist that present sober critics to their public need to be even more appreciated. They are not just artists who create something for themselves and a small circle of people, they represent the state of society in general. Through the words, music, images and beautiful or funny scenes they can comfort us, but also implement a warning sign in our mind that something needs to be changed.

Like all great works of art, Pierrot le Fou is still very much relevant, I always laugh at the statement:

“Now we are entering the age of the ass.”

We are very much in that age and it seems like we will be in it for a while longer, don’t we? It’s hard to come out and look up, I guess.

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To conclude, i really think everyone should find some free time and dedicate it to watching good, classic movies, and not just so they can boast about it and act all ‘intellectual’ in front of others, it should be completely opposite, actually. Watching Godard helps me create my own little world, draw inspiration from it and learn. Finding out that  improvisation can coexist with author’s  control over  his work and what he’s trying to achieve is something I didn’t know before Godard, and now I very much appreciate. It is the unique pleasure of letting the viewer feel whatever he wants to, find his own way through the two hour movie watching experience without pulling his hand like he’s a kid about to get lost in the shopping mall. Let him get lost on purpose to find something new and exciting, that is the goal.

There are many little joys we all need to give our life true meaning, the memory of coming out of the cinema, snapping my fingers while singing quietly Ma ligne de chance is and always will be among my favourite instant mood boosters. And the best part is, I have yet to discover the rest of the ‘nouvelle vague’ familly – Truffaut, Chabroul, Rivette….

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FIN.