1
00:00:38,035 --> 00:00:40,746
 Hello.
 My name is Jean-Pierre Jeunet.

2
00:00:40,746 --> 00:00:44,207
 l'm going to talk to you
 about ''Delicatessen'' all alone -

3
00:00:44,207 --> 00:00:48,045
 - because Marc Caro doesn't like
 commentaries.

4
00:00:48,045 --> 00:00:50,172
 He never listens to them.

5
00:00:50,172 --> 00:00:56,553
 But l'm partial to commentaries. lt's
 like getting the recipe for a dish.

6
00:00:56,553 --> 00:01:02,601
 l'll dive into my memory, because we
 made the film more than 10 years ago.

7
00:01:02,601 --> 00:01:08,065
 So it'll be interesting for me
 to dive into my memories again.

8
00:01:08,065 --> 00:01:12,509
 l remember the butcher
 sharpening his axe.

9
00:01:12,653 --> 00:01:20,531
 The background ofthis story was this:
 l used to live above a butcher shop, -

10
00:01:20,744 --> 00:01:26,124
 - and every morning l was woken up
 by the butcher chopping away.

11
00:01:26,124 --> 00:01:29,878
 My fiancée wanted to move very badly
 and she said to me:

12
00:01:29,878 --> 00:01:34,049
 ''l'm sure he's chopping up
 the resident on the 7th floor.''

13
00:01:34,049 --> 00:01:37,427
 ''Then it'll be the resident on the 6th
 floor, and he'll move downwards.''

14
00:01:37,427 --> 00:01:40,263
 ''We have to move
 before it's our turn.''

15
00:01:40,263 --> 00:01:45,310
 l thought that would be a great idea,
 to make a film like a closet play.

16
00:01:45,310 --> 00:01:48,563
 All the stories l wrote with Caro
 were too expensive.

17
00:01:48,563 --> 00:01:51,525
 We hadn't been able to do
 ''The City of Lost Children''.

18
00:01:51,525 --> 00:01:57,489
 This was an affordable story,
 all taking place in a single building.

19
00:01:57,489 --> 00:01:59,950
 That's how ''Delicatessen'' began.

20
00:01:59,950 --> 00:02:05,747
 The building is totally isolated
 in a sort of no-man's-land -

21
00:02:05,747 --> 00:02:10,544
 - so we didn't need a whole town
 around it. That was very practical.

22
00:02:10,544 --> 00:02:15,998
 This was shot the first day.
 That's never much good.

23
00:02:16,591 --> 00:02:21,742
 Nothing's perfect
 the first days you're shooting.

24
00:02:23,056 --> 00:02:27,227
 The actor with the strange eyes
 is Pascal Benezech.

25
00:02:27,227 --> 00:02:34,297
 He's quite a peculiar actor. A friend
 oftramps with an unusual past.

26
00:02:35,068 --> 00:02:39,364
 He made us wet our pants laughing.
 lt was an adventure working with him.

27
00:02:39,364 --> 00:02:44,745
 lt was our first feature film.
 l remember the day before we began.

28
00:02:44,745 --> 00:02:49,666
 We'd waited 10 years for this ...
 l was driving through Paris, singing.

29
00:02:49,666 --> 00:02:55,714
 Finally this story was taking shape.
 Finally we were making a film.

30
00:02:55,714 --> 00:02:59,552
 lt was great. l was thrilled to bits.

31
00:03:00,385 --> 00:03:06,183
 The lighting was done by
 Darius Khondji. lt was his début.

32
00:03:06,183 --> 00:03:12,272
 lt was the début for many of our
 technicians who followed us later.

33
00:03:12,272 --> 00:03:15,275
 The guy who carries the bin
 is Olivier Gleyze, -

34
00:03:15,275 --> 00:03:19,154
 - a member ofthe special effects
 team ''Les Versaillés''.

35
00:03:19,154 --> 00:03:22,198
 We use them all the time.

36
00:03:22,199 --> 00:03:26,453
 ln our films there's hardly a take
 without a special effect.

37
00:03:26,453 --> 00:03:30,040
 He's part ofthis group
 who made these three films.

38
00:03:30,040 --> 00:03:36,201
 For ''Alien'' l didn't have them.
 l used an American group.

39
00:03:36,421 --> 00:03:43,289
 Dreyfus chopping. He's not a
 physical type, action's hard for him.

40
00:03:43,762 --> 00:03:46,138
 The title sequences.

41
00:03:46,139 --> 00:03:52,062
 l like title sequences that are
 part ofthe film's imagery -

42
00:03:52,062 --> 00:03:55,395
 - and have a cinematic function.

43
00:03:55,398 --> 00:03:59,194
 l did that in ''Foutaises''
 and in ''Amélie'' -

44
00:03:59,194 --> 00:04:02,531
 - but not in ''The City ...''
 because it was too expensive.

45
00:04:02,531 --> 00:04:07,244
 We had two or three ideas, but not
 enough money to carry them out.

46
00:04:07,244 --> 00:04:11,706
 The script was co-written
 with Gilles Adrien.

47
00:04:11,706 --> 00:04:12,707
 Darius Khondji ...

48
00:04:12,707 --> 00:04:16,711
 We've already mentioned his
 lighting and chemical processes.

49
00:04:16,711 --> 00:04:22,592
 Carlos d'Alessio, the musician who
 died a few years later, unfortunately.

50
00:04:22,592 --> 00:04:27,036
 The sound director,
 he was a débutant too.

51
00:04:29,015 --> 00:04:31,767
 No comment ...

52
00:04:31,768 --> 00:04:35,856
 The costumes ... The poor
 costumier had very few funds.

53
00:04:35,856 --> 00:04:41,486
 All the stuffwas made out of rags.
 Lots of people did the sets.

54
00:04:41,486 --> 00:04:44,447
 Jean Rabasse did the sets
 for ''The City ...''.

55
00:04:44,447 --> 00:04:49,744
 Hervé Schneid is the only technician
 who's done all my four films.

56
00:04:49,744 --> 00:04:54,791
 My 1st assistant ...
 The director of production.

57
00:04:54,791 --> 00:04:59,796
 My faithful producer Claudie Ossard,
 who deserves a lot of credit.

58
00:04:59,796 --> 00:05:04,676
 She spent a whole year fighting
 with everybody to get the money.

59
00:05:04,676 --> 00:05:09,639
 Nobodywanted to produce this film,
 nobody understood the script.

60
00:05:09,639 --> 00:05:13,059
 Finally, it was UCG
 who made a deal with her, -

61
00:05:13,059 --> 00:05:18,982
 - and that's how the adventure began.
 But it was a long, hard struggle.

62
00:05:18,982 --> 00:05:26,052
 We called her every morning for one
 year, and there was no progress.

63
00:05:26,323 --> 00:05:29,534
 Dreyfus,
 who's in the three French films, -

64
00:05:29,534 --> 00:05:33,372
 - and Jacques Mathou,
 a great actor.

65
00:05:34,998 --> 00:05:39,753
 At the back there's Ticky Holgado,
 Anne-Marie Pisani and Karin Viard.

66
00:05:39,753 --> 00:05:42,881
 This was her screen début.

67
00:05:43,173 --> 00:05:45,967
 We'd seen her
 in Chatiliez's film.

68
00:05:45,967 --> 00:05:49,512
 There's a funny anecdote about
 the grain. They pay with grain.

69
00:05:49,512 --> 00:05:54,309
 Claudie Ossard presented the script
 to a producer. No names mentioned.

70
00:05:54,309 --> 00:05:59,689
 He opened the script and came upon
 a scene where they pay with grain, -

71
00:05:59,689 --> 00:06:02,442
 - and he said:
 ''This film will never be a succes''.

72
00:06:02,442 --> 00:06:05,527
 Because they paid with grain.

73
00:06:05,528 --> 00:06:10,073
 Here's Dominique Pinon,
 our old accomplice.

74
00:06:14,996 --> 00:06:21,920
 l didn't discover him in ''Diva'',
 but in the short film ''Découverte''.

75
00:06:21,920 --> 00:06:27,926
 Not in the sense of discovering
 something, but in the cinematic sense.

76
00:06:27,926 --> 00:06:33,974
 l always knew l'd make a film with
 him. l wrote a 52-minute film for him.

77
00:06:33,974 --> 00:06:38,317
 lt was never made
 but l wrote it for him.

78
00:06:39,813 --> 00:06:43,550
 At the time he didn't know about it.

79
00:06:44,192 --> 00:06:48,738
 The building you just saw
 was a model built by Jean Rabasse.

80
00:06:48,738 --> 00:06:52,576
 We couldn't afford to build big sets.

81
00:06:53,368 --> 00:06:57,580
 All this was shot in the
 old Cetac storehouses.

82
00:06:57,580 --> 00:07:03,503
 A factory that was no longer in use.
 ''Nikita'' was shot at the same place.

83
00:07:03,503 --> 00:07:08,174
 lt was wonderful. lt was summer,
 the weather was fine, -

84
00:07:08,174 --> 00:07:12,137
 - and this entire mini-town was
 at our disposal.

85
00:07:12,137 --> 00:07:15,515
 We used the big halls as studios,
 and the streets.

86
00:07:15,515 --> 00:07:21,187
 We just added the shop front, but
 the rest ofthe set was there already.

87
00:07:21,187 --> 00:07:24,315
 lt was a real little town.

88
00:07:26,067 --> 00:07:31,197
 We quickly came upon the title.
 l told Caro the outline ofthe story -

89
00:07:31,197 --> 00:07:35,452
 - and he said:
 ''l've got the title: Delicatessen.''

90
00:07:35,452 --> 00:07:39,391
 He'd wanted to use it for a long time.

91
00:07:43,084 --> 00:07:48,965
 Here's Les Versaillés at work.
 The story ofthe match is typical.

92
00:07:48,965 --> 00:07:54,346
 You rehearse it 50 times, but once
 the camera's rolling, it doesn't work.

93
00:07:54,346 --> 00:08:00,507
 The match refused to split in two,
 and we shot it 30 times.

94
00:08:00,643 --> 00:08:03,897
 Special effects are always like that.

95
00:08:03,897 --> 00:08:07,331
 l must have made a mistake, then.

96
00:08:15,241 --> 00:08:21,706
 You can hear the train. Caro and l
 adore the sound oftrains far away ...

97
00:08:21,706 --> 00:08:26,961
 lt's our love for the atmosphere
 of Doisneau/Prevert.

98
00:08:26,961 --> 00:08:31,382
 Prevert was a deliberate
 reference for this film.

99
00:08:31,382 --> 00:08:34,511
 He never saw it with us, -

100
00:08:35,136 --> 00:08:40,350
 - but he saw it later and sent me a
 kind postcard l still have. He said -

101
00:08:40,350 --> 00:08:46,106
 - that ifthe owner ofthe cinema had
 known how much he liked the film ,-

102
00:08:46,106 --> 00:08:49,317
 - he'd have made him pay
 ten times as much for his seat.

103
00:08:49,317 --> 00:08:54,280
 He says: ''Now the hardest thing
 for you will be to keep it simple.''

104
00:08:54,280 --> 00:08:59,953
 You don't look right for the job.
 You havn't got the right build ...

105
00:08:59,953 --> 00:09:06,215
 We'd seen Jean-Claude Dreyfus
 as the boss ofthe troglodytes.

106
00:09:07,043 --> 00:09:13,466
 lt was very hard for us the find the
 butcher. The casting took over a year.

107
00:09:13,466 --> 00:09:17,001
 l thought he'd be a great butcher.

108
00:09:18,138 --> 00:09:23,794
 We've established a golden rule
 that l always follow -

109
00:09:24,394 --> 00:09:28,565
 - of doing test shots
 of all the actors.

110
00:09:28,565 --> 00:09:31,067
 l think you can see this in the DVD.

111
00:09:31,067 --> 00:09:34,602
 l've kept everything. l always do.

112
00:09:34,863 --> 00:09:41,933
 So you can see the test shots with
 Julie Clapet and Dominique Pinon.

113
00:09:42,120 --> 00:09:47,667
 There's a funny story about this
 staircase. We found it at Le Valois.

114
00:09:47,667 --> 00:09:53,465
 lt was perfect. lt was a bit tricky,
 because we were going to flood it.

115
00:09:53,465 --> 00:09:56,634
 lt was a derelict building
 ready for demoliton.

116
00:09:56,634 --> 00:10:02,290
 The mayor of Le Valois,
 whose name l can't remember, -

117
00:10:02,557 --> 00:10:08,897
 - decided at the last moment, one
 week before we started shooting, -

118
00:10:08,897 --> 00:10:15,528
 - that they wanted 100,000 francs.
 So we built it at the studio.

119
00:10:15,528 --> 00:10:21,075
 We built two and a halffloors
 and the rest was a trompe l'oeil

120
00:10:21,075 --> 00:10:24,913
 So there was much
 less pressure on us.

121
00:10:24,913 --> 00:10:30,251
 At the end we built an enormous
 cistern to flood the staircase.

122
00:10:30,251 --> 00:10:33,922
 But the staircase we found
 at Le Valois was our model.

123
00:10:33,922 --> 00:10:38,301
 Maybe you can see our shots from
 the Le Valois staircase in the DVD -

124
00:10:38,301 --> 00:10:43,048
 - with Darius Khondji, Caro
 and my assistant.

125
00:10:45,308 --> 00:10:51,570
 Dominique Zardi was a real
 character in 50's and 60's films.

126
00:10:54,776 --> 00:10:59,422
 - Does your hair grow out again?
 - Well, no.

127
00:10:59,697 --> 00:11:02,242
 This is, untypically,
 post-synchronised.

128
00:11:02,242 --> 00:11:07,247
 l hate post-synchronisation.
 All directors hate it.

129
00:11:07,247 --> 00:11:13,378
 This is a typical early shot.
 The picture is disagreeable, -

130
00:11:13,378 --> 00:11:18,299
 - the edge is too near Dominique's
 eyes, the lighting is ugly ...

131
00:11:18,299 --> 00:11:23,930
 Nobody's at home in the film yet.
 They're still looking for themselves.

132
00:11:23,930 --> 00:11:26,558
 l'd love to do those first weeks over.

133
00:11:26,558 --> 00:11:30,311
 Every time we make a film,
 we think the first takes go better.

134
00:11:30,311 --> 00:11:33,439
 But no. They still suck.

135
00:11:42,323 --> 00:11:46,494
 lt's hard to remember now
 who had which idea, -

136
00:11:46,494 --> 00:11:49,664
 - but l know that the monkey ...

137
00:11:49,664 --> 00:11:57,138
 The clown played by Dominique and
 the little monkey was Caro's own idea.

138
00:12:04,887 --> 00:12:09,809
 The layout ofthis building
 is difficult to understand.

139
00:12:09,809 --> 00:12:16,608
 Few people understand that the
 water comes from old Potin's flat, -

140
00:12:16,608 --> 00:12:19,694
 - where he lives
 with the snails and the frogs.

141
00:12:19,694 --> 00:12:23,823
 Understandably, everybody thinks
 he lives in the cellar.

142
00:12:23,823 --> 00:12:28,578
 But he lives just above them and
 that's why the water's dripping down.

143
00:12:28,578 --> 00:12:33,333
 This isn't very explicit in the film.
 But the Japanese understood it.

144
00:12:33,333 --> 00:12:38,787
 They reconstructed a complete
 layout ofthe building.

145
00:12:41,883 --> 00:12:45,011
 He's skinny.

146
00:12:45,261 --> 00:12:48,181
 This is a beautiful set,
 created by Aline Bonetto.

147
00:12:48,181 --> 00:12:55,554
 She also did the sets for ''The
 City of Lost Children'' and ''Amélie''.

148
00:13:02,362 --> 00:13:06,574
 l'd like to tell the story
 of how we first met Dreyfus.

149
00:13:06,574 --> 00:13:10,412
 l went to see him in a play in Paris.

150
00:13:13,790 --> 00:13:19,337
 He did something extraordinary
 on stage. They were two actors, -

151
00:13:19,337 --> 00:13:25,718
 - and something clearly wasn't
 going right, there was a problem.

152
00:13:25,718 --> 00:13:31,516
 They had an argument on stage,
 and one ofthem slapped the other.

153
00:13:31,516 --> 00:13:34,852
 The audience felt
 very uncomfortable.

154
00:13:34,852 --> 00:13:40,149
 10 minutes later the play finished and
 it was clear they'd just been acting.

155
00:13:40,149 --> 00:13:44,189
 Dreyfus loves doing
 that kind ofthing.

156
00:13:48,616 --> 00:13:52,745
 This is the scene with the bubble.
 l remember it very well.

157
00:13:52,745 --> 00:13:59,210
 We met this very talented boy who
 did one-man shows, Gustave Parking.

158
00:13:59,210 --> 00:14:06,482
 He made performances in the street
 and had this incredible bubble act.

159
00:14:06,759 --> 00:14:10,930
 He taught Dominique Pinon
 how to make bubbles, -

160
00:14:10,930 --> 00:14:16,269
 - how to smoke a cigarette inside it
 and put one bubble inside another etc.

161
00:14:16,269 --> 00:14:23,945
 The day we shot it, it was very hot on
 the staircase because ofthe lights.

162
00:14:24,110 --> 00:14:30,450
 There were hundreds of kilowatts.
 lt got too hot to make bubbles.

163
00:14:30,450 --> 00:14:36,611
 We had to get these huge fans
 and cool down the staircase -

164
00:14:37,832 --> 00:14:41,335
 - for hours
 with the lights turned off.

165
00:14:41,335 --> 00:14:44,046
 When the temperature was right, -

166
00:14:44,046 --> 00:14:48,490
 - we shot the whole scene
 in half an hour.

167
00:14:49,927 --> 00:14:53,389
 The bubble was supposed
 to stay in the frame.

168
00:14:53,389 --> 00:14:59,145
 Dominique would burst it with his
 fag and the smoke would rise again.

169
00:14:59,145 --> 00:15:02,273
 lt was beautiful,
 but we didn't manage.

170
00:15:02,273 --> 00:15:05,818
 When we rehearsed,
 we always got it right, of course ...

171
00:15:05,818 --> 00:15:11,991
 Marie Laure Dougnac played the
 part ofJulie Clapet wonderfully.

172
00:15:11,991 --> 00:15:17,705
 Many people were convinced she was
 really myopic. She has true talent.

173
00:15:17,705 --> 00:15:21,501
 This was the scene
 which was used for the trailer.

174
00:15:21,501 --> 00:15:25,630
 This scence has been pirated
 so often for commercials.

175
00:15:25,630 --> 00:15:29,008
 lfwe'd sued them all, we could've
 lived off it for ten years.

176
00:15:29,008 --> 00:15:33,971
 The Americans used it for Coca-Cola,
 among others.

177
00:15:33,971 --> 00:15:38,617
 They nicked it
 for a good dozen commercials.

178
00:15:41,312 --> 00:15:44,948
 Directly inspired by Buster Keaton.

179
00:15:47,693 --> 00:15:50,321
 lnspirations are always fun.

180
00:15:50,321 --> 00:15:55,159
 But sometimes we nick scenes
 without knowing it.

181
00:15:55,159 --> 00:15:58,287
 That's very unpleasant afterwards.

182
00:15:58,287 --> 00:16:02,875
 ln the scene at the end with the
 bathroom that is emptied ofwater, -

183
00:16:02,875 --> 00:16:06,963
 - we were convinced we'd found
 an original idea. lt was Caro's idea.

184
00:16:06,963 --> 00:16:14,033
 Years later, l saw a Laurel & Hardy
 film with exactly the same idea.

185
00:16:14,929 --> 00:16:20,977
 Maybe Caro saw it as a boy and
 forgot about it. These things happen.

186
00:16:20,977 --> 00:16:25,648
 Don't think we didn't do all the takes
 for this scene in one go, -

187
00:16:25,648 --> 00:16:28,859
 - because there are different sets
 and different actors.

188
00:16:28,859 --> 00:16:33,906
 Sometimes we're on the stairs,
 sometimes in Tapioca's flat etc., -

189
00:16:33,906 --> 00:16:38,619
 - so to do this scene we had to
 storyboard and prepare it carefully.

190
00:16:38,619 --> 00:16:42,154
 The rhythm of each take was timed.

191
00:16:42,456 --> 00:16:45,918
 We used a metronome
 to give them the same rhythm.

192
00:16:45,918 --> 00:16:51,978
 lt was extremely structured.
 Otherwise it'd be impossible.

193
00:17:05,313 --> 00:17:09,233
 All the shots ofthe springs
 were done in one go.

194
00:17:09,233 --> 00:17:16,000
 The perch man was on the bed
 because he had a good sense oftempo.

195
00:17:23,914 --> 00:17:28,377
 Mixing it was hell. We did it twice.
 First time for the trailer -

196
00:17:28,377 --> 00:17:31,338
 - and then we remixed it.

197
00:17:31,339 --> 00:17:34,800
 To decide what to put in
 the foreground and the background, -

198
00:17:34,800 --> 00:17:42,274
 - the sound effects or the music, made
 the mixing extremely complicated.

199
00:17:46,687 --> 00:17:51,636
 The sound effects were made
 by Jerôme Thiault -

200
00:17:51,859 --> 00:17:55,488
 - and Marc Caro who spent a lot
 oftime on the post production -

201
00:17:55,488 --> 00:18:00,534
 - with the electronic machines
 that appeared in those years.

202
00:18:00,534 --> 00:18:06,594
 The sampler and all that,
 which was quite new at the time.

203
00:18:06,874 --> 00:18:13,965
 Caro did the post production while
 l edited the film with Harvé Schneid.

204
00:18:13,965 --> 00:18:18,594
 Finished? Then get down.
 There's the bulb on the 2nd floor.

205
00:18:18,594 --> 00:18:22,223
 We were innovative
 as far as sound goes.

206
00:18:22,223 --> 00:18:28,990
 The sound engineer, Vincent Arnardi,
 who's done all our films ...

207
00:18:29,980 --> 00:18:36,040
 lt wasn't easy for him.
 ln France we had no sound culture.

208
00:18:36,070 --> 00:18:43,494
 lt was difficult to find the base for
 certain sounds, e.g. a simple gunshot.

209
00:18:43,494 --> 00:18:47,915
 Today the French do that as well as
 the Americans, but not back then.

210
00:18:47,915 --> 00:18:52,128
 To get the right sound,
 we had to work on it for a week.

211
00:18:52,128 --> 00:18:55,881
 A gunshot is a mixture
 offive or six different sounds.

212
00:18:55,881 --> 00:19:01,234
 lt was hard to get a sound
 in the American fashion.

213
00:19:01,679 --> 00:19:08,185
 The staircase in trompe l'oeil
 The 2 1/2 floors look like five.

214
00:19:08,185 --> 00:19:13,740
 The postman is Chick Ortega.
 He's from Nancy like me.

215
00:19:14,400 --> 00:19:17,528
 Wim Wenders used him a lot.

216
00:19:19,739 --> 00:19:26,662
 - You have 20 seconds to disperse!
 - lt's obvious you've no kids to feed.

217
00:19:26,662 --> 00:19:28,956
 Chick's past is quite exceptional.

218
00:19:28,956 --> 00:19:33,961
 He used to be the manager of
 Johnny Halliday and Claude François.

219
00:19:33,961 --> 00:19:38,340
 He's not from a film environment.
 But he is a born actor.

220
00:19:38,340 --> 00:19:42,011
 He never
 took any acting classes, -

221
00:19:42,011 --> 00:19:47,465
 - but it's in his blood.
 His technique is wonderful.

222
00:19:47,808 --> 00:19:50,602
 He's a great actor.

223
00:19:50,603 --> 00:19:52,855
 - He's a friend.
 - A friend?

224
00:19:52,855 --> 00:19:56,358
 ''A friend''. That line used
 to crack me and Caro up, -

225
00:19:56,358 --> 00:19:58,736
 - but l don't think it made
 anyone else laugh.

226
00:19:58,736 --> 00:20:05,604
 Sometimes a small sequence makes
 us laugh, but nobody else laughs.

227
00:20:05,659 --> 00:20:08,788
 That's all right.

228
00:20:11,999 --> 00:20:15,127
 See you, Julie.

229
00:20:16,921 --> 00:20:21,163
 All this in our staircase set
 went well.

230
00:20:22,468 --> 00:20:26,508
 - Here. For the advert.
 - As you wish.

231
00:20:26,764 --> 00:20:29,016
 He looks funny, the new guy.

232
00:20:29,016 --> 00:20:35,076
 lt was in this film l started using
 short focal distances.

233
00:20:35,815 --> 00:20:39,249
 lt adds character to the persons.

234
00:20:41,403 --> 00:20:44,837
 lt accentuates their physiognomy.

235
00:20:44,949 --> 00:20:48,244
 Most ofthis lies in the casting, -

236
00:20:48,244 --> 00:20:52,456
 - but the short focal distance
 contributes -

237
00:20:52,456 --> 00:20:57,001
 - to making the characters
 more expressive.

238
00:20:59,547 --> 00:21:04,718
 And of course the effect is greater
 when we see the whole set.

239
00:21:04,718 --> 00:21:08,657
 ln this take you can see the ceilings.

240
00:21:09,098 --> 00:21:14,019
 Personally, l loathe
 long focal distances. lt's too facile.

241
00:21:14,019 --> 00:21:19,608
 lt's a certain style that makes
 all American film look the same -

242
00:21:19,608 --> 00:21:24,947
 - in their non-style
 of using long focal distances.

243
00:21:24,947 --> 00:21:27,448
 We'll get them!

244
00:21:27,449 --> 00:21:30,870
 The special effects team
 did this directly:

245
00:21:30,870 --> 00:21:34,001
 He spits and breaks the glass.

246
00:21:35,374 --> 00:21:38,878
 Three cheers for the synchronisation.

247
00:21:38,878 --> 00:21:43,966
 Our poor postman had difficulties
 handling his motorbike.

248
00:21:43,966 --> 00:21:49,847
 That kind ofthing really kills you.
 He'd never ridden a motorbike before.

249
00:21:49,847 --> 00:21:57,220
 But you don't get three extra weeks
 to teach an actor technical skills.

250
00:21:57,354 --> 00:22:02,484
 - He takes his time just to annoy me.
 - He succeeded.

251
00:22:02,484 --> 00:22:04,653
 So what's he waiting for?

252
00:22:04,653 --> 00:22:09,867
 This is the gag with the condom
 patched up with bicycle rubber.

253
00:22:09,867 --> 00:22:14,917
 lt doesn't make me laugh
 quite so much any more.

254
00:22:15,122 --> 00:22:20,794
 l'd do it more subtly now,
 specially regarding the sound.

255
00:22:20,794 --> 00:22:27,885
 lt lacks a bit offinesse. He puts
 it in the water, it doesn't burst ...

256
00:22:27,885 --> 00:22:33,933
 l'd make the sound more subtle today.
 Behind him there's a TV screen.

257
00:22:33,933 --> 00:22:39,185
 All the images on the screen
 have to do with food.

258
00:22:39,563 --> 00:22:43,609
 You can see a cheese platter
 turning around.

259
00:22:43,609 --> 00:22:46,737
 They're obsessed with food, -

260
00:22:47,947 --> 00:22:53,160
 - with the lack offood,
 so all the images revolve around it.

261
00:22:53,160 --> 00:22:58,499
 This is Potin's flat.
 He's played by Howard Vernon, -

262
00:22:58,499 --> 00:23:04,559
 - a mythical actor from the 50's
 and 60's, who's dead now.

263
00:23:07,341 --> 00:23:10,468
 He was very cooperative.

264
00:23:10,469 --> 00:23:15,317
 A man his age,
 covered in snails and frogs ...

265
00:23:28,737 --> 00:23:34,285
 The poor frogs. As the Americans say:
 ''No animal was harmed in this film.''

266
00:23:34,285 --> 00:23:41,961
 We put them out in a pond afterwards.
 They must have some stories to tell.

267
00:23:43,043 --> 00:23:48,382
 But it wasn't much fun for them.
 The paint came offthe walls -

268
00:23:48,382 --> 00:23:54,138
 - and l don't think they have fond
 memories ofthis film.

269
00:23:54,138 --> 00:23:57,975
 Every man for himself
 and God for us all.

270
00:23:57,975 --> 00:24:02,924
 Ajournalist from Nancy
 who sees all our films -

271
00:24:03,856 --> 00:24:07,401
 - found the image ofthe snail shells
 very disturbing.

272
00:24:07,401 --> 00:24:12,552
 lt made her think of death camps.
 lt haunted her.

273
00:24:14,324 --> 00:24:19,747
 Here we have the famous tea-scene.
 Well, perhaps not famous.

274
00:24:19,747 --> 00:24:24,334
 Anyway, the tea scene. You can
 see the trials of it on the DVD.

275
00:24:24,334 --> 00:24:28,255
 We used it to cast the part
 ofJulie Clapet.

276
00:24:28,255 --> 00:24:34,887
 We rehearsed it in this set.
 lt wasn't quite finished at the time.

277
00:24:34,887 --> 00:24:41,149
 lt was lots ofwork. We have so
 much material to choose from.

278
00:24:43,854 --> 00:24:51,126
 lfyou watch the trial runs, you can
 see it was meticulously rehearsed.

279
00:24:51,779 --> 00:24:57,785
 l tried out something in this film
 which worked really well:

280
00:24:57,785 --> 00:25:02,289
 l reject the rehearsed version
 at the last moment, -

281
00:25:02,289 --> 00:25:08,955
 - but only tell one ofthe actors.
 So the other one is surprised.

282
00:25:09,505 --> 00:25:15,552
 This is very exciting for the actors,
 who have to semi-improvise.

283
00:25:15,552 --> 00:25:18,222
 But they've rehearsed it carefully, -

284
00:25:18,222 --> 00:25:24,561
 - so they're able to play the scene to
 the end, but they have to improvise.

285
00:25:24,561 --> 00:25:26,855
 We'd rehearsed this scene for weeks -

286
00:25:26,855 --> 00:25:31,735
 - with Marie Laure Dougnac
 and Dominique Pinon.

287
00:25:31,735 --> 00:25:36,740
 But at the last moment
 l told Dominique to take her place, -

288
00:25:36,740 --> 00:25:41,328
 - so she'd have to improvise.
 You'll see what happens.

289
00:25:41,328 --> 00:25:46,750
 He offers her flowers, that's new.
 That's the first little surprise.

290
00:25:46,750 --> 00:25:53,618
 Her little awkward gestures are
 improvised, she's truly surprised.

291
00:25:54,007 --> 00:25:57,094
 This situation has been
 rehearsed, everything's fine.

292
00:25:57,094 --> 00:26:02,307
 Dominique is supposed to sit here,
 but what happens?

293
00:26:02,307 --> 00:26:07,761
 ''Did you paint that?''
 She doesn't know what to do.

294
00:26:09,231 --> 00:26:14,611
 ''lt's nothing special.'' He takes
 her place, look. ''No, no,'' she says.

295
00:26:14,611 --> 00:26:18,824
 She's embarrassed. All the rehearsals
 are suddenly turned upside-down.

296
00:26:18,824 --> 00:26:23,745
 All the movements are reversed,
 so she feels very awkward.

297
00:26:23,745 --> 00:26:28,959
 She's completely lost.
 She's not acting, she really is!

298
00:26:28,959 --> 00:26:33,630
 The actors and the crew sensed it
 when l did this kind ofthing -

299
00:26:33,630 --> 00:26:37,217
 - and gathered around the camera.
 Discreetly, of course.

300
00:26:37,217 --> 00:26:39,386
 l hope you don't find me too forward?

301
00:26:39,386 --> 00:26:42,514
 Not at all. Why?

302
00:26:42,848 --> 00:26:47,191
 A young girl inviting
 you home like this.

303
00:26:49,188 --> 00:26:53,775
 Marie Laure has a talent
 for playing a short-sighted person.

304
00:26:53,775 --> 00:26:56,235
 Thank me? What for?

305
00:26:56,236 --> 00:27:02,195
 You saved my parcel on the staircase.
 l was very touched.

306
00:27:03,202 --> 00:27:06,330
 lt's only natural ...

307
00:27:08,665 --> 00:27:15,088
 Camera operator Darius Khondji was
 one ofthe first to try out a method -

308
00:27:15,088 --> 00:27:19,835
 - invented
 by Bertolucci's camera operator, -

309
00:27:19,885 --> 00:27:23,722
 - whose name l'll remember shortly ...

310
00:27:23,722 --> 00:27:29,978
 He invented a process we call NR.
 lt's a complicated chemical process.

311
00:27:29,978 --> 00:27:33,148
 Some film tapes are left out
 and others accentuated.

312
00:27:33,148 --> 00:27:36,401
 lt accentuates contrasts
 and tones down colours.

313
00:27:36,401 --> 00:27:39,404
 So the photography has
 a very distinct character.

314
00:27:39,404 --> 00:27:42,574
 lt was still in an experimental stage.

315
00:27:42,574 --> 00:27:46,412
 lt turned out somewhat
 monochrome, -

316
00:27:47,120 --> 00:27:53,877
 - but the film had a very particular
 character, except in the USA, -

317
00:27:53,877 --> 00:27:58,924
 - where the Americans didn't process
 the copies and it was very ugly.

318
00:27:58,924 --> 00:28:01,718
 Well, maybe not ugly,
 but a lot less interesting.

319
00:28:01,718 --> 00:28:03,679
 Here we have Silvie Laguna.

320
00:28:03,679 --> 00:28:10,042
 l saw her in an advertisement,
 and she just made me crack up.

321
00:28:10,602 --> 00:28:14,565
 The role of Mme lnterligator
 fits her like a glove.

322
00:28:14,565 --> 00:28:19,152
 She's wonderful at playing
 a nervous type, -

323
00:28:19,152 --> 00:28:24,950
 - someone on the edge of hysteria.
 She's perfect for it.

324
00:28:24,950 --> 00:28:27,785
 She made us laugh so much.

325
00:28:27,786 --> 00:28:30,914
 More food commercials.

326
00:28:32,207 --> 00:28:38,267
 l have no choice. Here.
 Tomorrow at 11. Ring the doorbell.

327
00:28:42,509 --> 00:28:45,637
 Move? Why? l just got here.

328
00:28:47,597 --> 00:28:52,849
 The flats are insanitary.
 The walls are crumbling.

329
00:28:56,148 --> 00:29:01,028
 Maybe you don't like me?
 You talk as ifyou want me to leave.

330
00:29:01,028 --> 00:29:06,616
 This is the kind of cartoonish gag
 we're very fond of.

331
00:29:06,616 --> 00:29:10,912
 Now they're going to knock
 their heads together.

332
00:29:10,912 --> 00:29:14,750
 They had to do it for real.
 We tried it out, -

333
00:29:14,750 --> 00:29:19,194
 - and ifthey faked it,
 it was too obvious.

334
00:29:19,546 --> 00:29:27,222
 So they knocked their heads together
 and Marie Laure's bump wasn't a fake.

335
00:29:28,388 --> 00:29:33,685
 l like this little scene where
 Dominique blows on her forehead.

336
00:29:33,685 --> 00:29:37,898
 To me, it's a precursor
 ofthe kissing scene in ''Amélie'', -

337
00:29:37,898 --> 00:29:44,613
 - when Nino and Amélie kiss
 in a very long and very special way, -

338
00:29:44,613 --> 00:29:50,370
 - that makes all movie theatres
 fall absolutely silent.

339
00:29:55,415 --> 00:29:58,849
 l really like this little moment.

340
00:29:59,669 --> 00:30:06,739
 ln a script, there's always these
 little lines you write and forget.

341
00:30:07,052 --> 00:30:10,183
 Then you make the film and ...

342
00:30:10,680 --> 00:30:15,852
 ''l break things, so l have two of
 everything,'' and she gets a new vase.

343
00:30:15,852 --> 00:30:21,407
 We laughed when we wrote it,
 but forgot all about it.

344
00:30:22,484 --> 00:30:27,030
 Do you play the cello?
 l also play an instrument.

345
00:30:27,030 --> 00:30:32,077
 When we showed the film the first
 time, that line made everybody laugh.

346
00:30:32,077 --> 00:30:35,713
 We'd forgotten this line was funny.

347
00:30:36,373 --> 00:30:42,029
 lt's strange how we get used
 to the humour we invent -

348
00:30:42,713 --> 00:30:46,955
 - and then rediscover it
 one year later.

349
00:30:51,304 --> 00:30:54,725
 This was Marc Caro's idea.
 Playing the saw.

350
00:30:54,725 --> 00:31:00,785
 The two actors had to learn
 how to play these instruments.

351
00:31:00,814 --> 00:31:05,235
 Of course we don't hear them play,
 but to get the movements right, -

352
00:31:05,235 --> 00:31:12,406
 - they had to learn how to play.
 ln ''The Making Of' you can see how.

353
00:31:14,202 --> 00:31:18,206
 They played completely out oftune.
 lt was awful.

354
00:31:18,206 --> 00:31:21,543
 But they got the movements right.

355
00:31:21,543 --> 00:31:25,672
 As the film was planned
 one year ahead, -

356
00:31:25,672 --> 00:31:31,803
 - Marie Laure Dougnac had time
 to learn Carlos d'Alessios music.

357
00:31:31,803 --> 00:31:36,600
 So she rehearsed it for almost
 one year on the cello in her flat.

358
00:31:36,600 --> 00:31:42,939
 Some painters were redecorating
 the courtyard where she lived.

359
00:31:42,939 --> 00:31:46,693
 So they heard the theme
 from the film every day.

360
00:31:46,693 --> 00:31:50,739
 One morning she heard them
 whistling the film's theme -

361
00:31:50,739 --> 00:31:54,576
 - one year before it was released.
 That's really something.

362
00:31:54,576 --> 00:31:59,222
 Do you know that tune?
 lt was his favourite.

363
00:32:02,334 --> 00:32:05,462
 There, a little scene -

364
00:32:05,712 --> 00:32:12,177
 - with the couple playing ''Duet for
 Saw and Cello'' by Carlos d'Alessio.

365
00:32:12,177 --> 00:32:17,224
 He was Marguerite Duras' composer.
 He did the ''lndian Song''.

366
00:32:17,224 --> 00:32:22,354
 He wrote a marvellous piece
 l used for my short film ''Foutaises''.

367
00:32:22,354 --> 00:32:25,586
 lt was very moving. Just right.

368
00:32:28,485 --> 00:32:32,948
 l heard it in concert once. ln Tokyo.
 No snobbery intended.

369
00:32:32,948 --> 00:32:37,452
 We went there to promote the film,
 and d'Alessio gave a concert -

370
00:32:37,452 --> 00:32:42,098
 - with Michael Newman,
 the English composer.

371
00:32:45,919 --> 00:32:49,047
 Jean Rabasse's model ...

372
00:32:49,130 --> 00:32:53,051
 Have you noticed
 how light the nights are?

373
00:32:53,051 --> 00:32:56,388
 lt's always like that
 in the era ofVirgo.

374
00:32:56,388 --> 00:33:00,529
 Mlle Plusse.
 We like these weird names.

375
00:33:01,935 --> 00:33:07,894
 We find them in catalogues
 from the thirties and forties.

376
00:33:08,275 --> 00:33:11,194
 Monsieur Potin, Mademoiselle Plusse, -

377
00:33:11,194 --> 00:33:14,239
 - the Kube Brothers,
 the Tapioca family.

378
00:33:14,239 --> 00:33:17,951
 l've made a production company
 called Tapioca Film.

379
00:33:17,951 --> 00:33:22,956
 lt's a tribute to General Tapioca,
 the ''Tintin'' character.

380
00:33:22,956 --> 00:33:29,045
 lt's be such a pity to lose these
 lovely hams. And these little piglets.

381
00:33:29,045 --> 00:33:36,052
 l always direct the takes. l don't
 shoot them, Darius Khondji did that, -

382
00:33:36,052 --> 00:33:39,180
 - but l always direct them.

383
00:33:40,390 --> 00:33:44,531
 l have a deep need
 to do the directing.

384
00:33:46,146 --> 00:33:49,681
 l never leave that to anyone else.

385
00:33:57,240 --> 00:34:01,536
 lt's just like you said.
 The wind is changing.

386
00:34:01,536 --> 00:34:04,664
 lt's going to pour down.

387
00:34:04,956 --> 00:34:12,531
 You can't see your own films without
 reciting the words. lt's unbearable.

388
00:34:13,298 --> 00:34:17,469
 l don't know if l'm still able
 to recite all of ''Delicatessen'', -

389
00:34:17,469 --> 00:34:20,597
 - but it's quite possible.

390
00:34:32,025 --> 00:34:37,030
 l don't know if l have the right
 to say this, but ...

391
00:34:37,030 --> 00:34:42,994
 The caster, Pierre-Jacques Benichau,
 is another faithful friend.

392
00:34:42,994 --> 00:34:46,998
 He did the three films.
 Not counting ''Alien'', of course.

393
00:34:46,998 --> 00:34:51,336
 The crew that followed me
 on ''Alien'' were Hervé Schneid, -

394
00:34:51,336 --> 00:34:55,715
 - my scripter Aruna Villiers,
 Pitof, who did the special effects, -

395
00:34:55,715 --> 00:34:59,149
 - Dominique Pinon, the actor ....

396
00:35:02,013 --> 00:35:05,141
 And an assistant.

397
00:35:07,227 --> 00:35:10,355
 SOPORlFlC HERBAL TEA

398
00:35:17,570 --> 00:35:24,236
 And Darius Khondji, the camera
 operator who did the three films.

399
00:35:26,121 --> 00:35:32,627
 l like this shot where she takes off
 his very long clown's shoes -

400
00:35:32,627 --> 00:35:37,549
 - and puts them next to her tiny feet.
 l like that image.

401
00:35:37,549 --> 00:35:41,594
 The monkey's costume was made
 by Valérie Pozzo di Borgo.

402
00:35:41,594 --> 00:35:47,058
 l have it at home. l always keep
 one or two souvenirs from each film.

403
00:35:47,058 --> 00:35:53,481
 From ''The City ...'' l kept the Styx
 boat, which is 1,50 metres long.

404
00:35:53,481 --> 00:35:57,527
 From ''Alien'' l had an alien sent
 over from Hollywood in a box.

405
00:35:57,527 --> 00:36:02,657
 When it arrived, l told the delivery
 man he was in for a surprise.

406
00:36:02,657 --> 00:36:07,495
 He opened the box and saw one
 ofthe alien's arms and said:

407
00:36:07,495 --> 00:36:12,949
 ''Oh, an alien,''
 as if he delivered them every day.

408
00:36:21,259 --> 00:36:25,930
 ''Delicatessen'' was one ofthe first
 French films that got sold worldwide.

409
00:36:25,930 --> 00:36:32,091
 lt's wonderful to have one's film
 shown on all continents -

410
00:36:33,480 --> 00:36:36,316
 - to people of all races,
 in all countries.

411
00:36:36,316 --> 00:36:40,558
 People react exactly
 the same way to it.

412
00:36:40,779 --> 00:36:47,849
 They are moved at the same time,
 laugh and applaud at the same time.

413
00:36:48,161 --> 00:36:54,250
 The nightmare, which today might be
 made with sophisticated techniques -

414
00:36:54,250 --> 00:36:58,492
 - was simply made
 with a pliable mirror.

415
00:36:58,671 --> 00:37:03,115
 We shook it and got these
 deformed images.

416
00:37:04,344 --> 00:37:07,879
 lt was an extremely simple method.

417
00:37:09,140 --> 00:37:13,853
 Nightmares are a film cliché,
 but this is a double nightmare.

418
00:37:13,853 --> 00:37:18,650
 One nightmare inside another.
 We think she's woken up, -

419
00:37:18,650 --> 00:37:21,882
 - but she's in a new nightmare.

420
00:37:22,028 --> 00:37:27,200
 l love these scenes with doors that
 open up. They're in all my films.

421
00:37:27,200 --> 00:37:31,538
 Sometimes one does these things
 without realizing it.

422
00:37:31,538 --> 00:37:36,543
 You have a vague feeling
 you've seen it somewhere before.

423
00:37:36,543 --> 00:37:43,815
 lt's usually the editor who says:
 ''You're repeating yourself a bit.''

424
00:37:44,634 --> 00:37:48,930
 This is a moment that my producer
 Claudie Ossard didn't like.

425
00:37:48,930 --> 00:37:52,058
 lt's the most scary bit.

426
00:37:53,476 --> 00:37:58,324
 ln fact, there's no real violence
 in my films.

427
00:37:58,690 --> 00:38:04,952
 Fights, pursuits and action sequences.
 lt's not a bad thing.

428
00:38:05,864 --> 00:38:08,283
 This is our favourite scene.

429
00:38:08,283 --> 00:38:11,411
 The most noted sequence.

430
00:38:15,123 --> 00:38:19,377
 lt's hard to define the magic
 ofthis scene.

431
00:38:19,377 --> 00:38:23,715
 But the music helped us a lot.
 The little video, -

432
00:38:23,715 --> 00:38:30,078
 - which we found on a TV channel
 and bought for a pittance, -

433
00:38:30,680 --> 00:38:36,060
 - is one ofthose period videos with
 actors who play badly, move badly, -

434
00:38:36,060 --> 00:38:40,398
 - directed by debutants,
 if not by their assistants ...

435
00:38:40,398 --> 00:38:42,816
 What a treat to watch.

436
00:38:42,817 --> 00:38:48,574
 Anyway, it gave the rhythm
 and the idea for this scene.

437
00:38:49,032 --> 00:38:55,205
 lt was one ofthe two places where
 the audience always applauded.

438
00:38:55,205 --> 00:38:58,708
 The other one was Mme lnterligator's
 failed suicide at the end.

439
00:38:58,708 --> 00:39:01,836
 l'm really proud of it.

440
00:39:04,047 --> 00:39:07,481
 We spent a whole day shooting it.

441
00:39:09,552 --> 00:39:16,420
 Dominique found the rhythm difficult,
 and he's a great technician.

442
00:39:17,268 --> 00:39:20,702
 The editing was very complicated.

443
00:39:20,980 --> 00:39:24,616
 You had to hitjust the right chord.

444
00:39:26,361 --> 00:39:29,489
 lt was hell.

445
00:39:30,531 --> 00:39:34,167
 Karin's just perfect in this scene.

446
00:39:35,161 --> 00:39:40,918
 Karin does auteurfilms now,
 more intellectual things, -

447
00:39:41,668 --> 00:39:45,922
 - and doesn't refer much
 to ''Delicatessen''.

448
00:39:45,922 --> 00:39:52,285
 Maybe she's not too proud of it today.
 But she was brilliant.

449
00:39:58,101 --> 00:40:00,811
 lt's the second spring.

450
00:40:00,812 --> 00:40:03,940
 A great moment.

451
00:40:05,066 --> 00:40:09,904
 Here's Mme lnterligator. This extract
 was in a Bernard Pivot show, -

452
00:40:09,904 --> 00:40:14,033
 - where Bertrand Tavernier and l were
 guests. Pivot asked me:

453
00:40:14,033 --> 00:40:21,457
 ''But do you like Tavernier's films?''
 l was petrified. l'd never seen any.

454
00:40:21,457 --> 00:40:27,416
 A terrible moment.
 l think Tavernier's still angry at me.

455
00:40:28,006 --> 00:40:31,050
 This is interesting:
 The voice that we hear.

456
00:40:31,050 --> 00:40:34,888
 ln fact, it's Jacques Mathou's voice.

457
00:40:35,054 --> 00:40:39,767
 ln the first mix
 we were in Dolby and in stereo.

458
00:40:39,767 --> 00:40:46,837
 lfyou heard it in stereo, it sounded
 as ifthe voice was in her head.

459
00:40:48,151 --> 00:40:55,221
 lfwe played it in mono, it sounded
 as ifthe voice came from the tap.

460
00:40:55,533 --> 00:41:02,401
 So the use of stereo changed the
 story completely. A real dilemma.

461
00:41:02,665 --> 00:41:07,920
 We knew that sometimes the film
 would be in mono, sometimes stereo.

462
00:41:07,920 --> 00:41:12,162
 Too bad for those
 who don't have stereo.

463
00:41:14,135 --> 00:41:17,889
 l always loved
 these mechanical contraptions, -

464
00:41:17,889 --> 00:41:20,141
 - where one thing leads to another.

465
00:41:20,141 --> 00:41:25,146
 l think it comes from a serial story l
 loved as a kid: ''Mission lmpossible''.

466
00:41:25,146 --> 00:41:30,818
 They invented these incredible
 systems to do quite simple things.

467
00:41:30,818 --> 00:41:35,448
 Later l found out there was an
 American cartoonist, Rob Goldberg, -

468
00:41:35,448 --> 00:41:42,013
 - who used this gimmick in his
 cartoons. l didn't know it then.

469
00:41:44,749 --> 00:41:48,688
 Mme lnterligator in all her splendour.

470
00:41:50,088 --> 00:41:55,885
 A wonderful actress.
 And Caro really perfected her look.

471
00:41:55,885 --> 00:42:01,099
 With that hairdo and those glasses,
 it's really something ...

472
00:42:01,099 --> 00:42:05,019
 Our collaboration was
 in fact quite simple.

473
00:42:05,019 --> 00:42:10,274
 Caro supervised the whole look,
 colours, costumes, hair, make-up.

474
00:42:10,274 --> 00:42:16,864
 He designed the whole image with
 a mania that's even worse than mine.

475
00:42:16,864 --> 00:42:23,530
 l put more work into directing,
 writing the script, casting etc.

476
00:42:25,665 --> 00:42:32,230
 This flat was built in the studio.
 At the storehouses, that is.

477
00:42:32,839 --> 00:42:39,804
 The window sill is in fact at ground
 level, only 50 cms from the ground.

478
00:42:39,804 --> 00:42:43,137
 ln the next shot ... this one, -

479
00:42:45,560 --> 00:42:51,649
 - l spent weeks, no, years, creating
 that sensation of emptiness, -

480
00:42:51,649 --> 00:42:55,778
 - to give the impression that
 the flat was on the second floor, -

481
00:42:55,778 --> 00:42:59,282
 - when in fact it was on the ground.

482
00:42:59,282 --> 00:43:05,746
 Try to imagine the ground just below
 the window. lt's completely abstract.

483
00:43:05,746 --> 00:43:11,705
 Now l see itjust like any other
 spectator, two floors up.

484
00:43:12,128 --> 00:43:16,132
 For years l could only see it
 the way we'd shot it.

485
00:43:16,132 --> 00:43:22,013
 A director needs at least six months
 to see his film as the audience does.

486
00:43:22,013 --> 00:43:27,560
 But it takes a few years before
 he feels it the way they do.

487
00:43:27,560 --> 00:43:32,231
 At first you're too caught up
 in the production, in the details.

488
00:43:32,231 --> 00:43:37,612
 You just see small mistakes,
 little things you regret.

489
00:43:37,612 --> 00:43:41,955
 lt takes time to get it
 into perspective.

490
00:43:44,494 --> 00:43:49,790
 This is perhaps our co-writer Gilles
 Adrien's most successful scene.

491
00:43:49,790 --> 00:43:51,959
 The bullshit detector.

492
00:43:51,959 --> 00:43:55,505
 He wrote it right after
 a meeting with us.

493
00:43:55,505 --> 00:44:00,259
 Sometimes last-minute inspirations
 really pay off.

494
00:44:00,259 --> 00:44:03,387
 Talk bullshit. Come on.

495
00:44:04,597 --> 00:44:08,851
 We should've put it into production.
 We'd have made a fortune.

496
00:44:08,851 --> 00:44:11,436
 Life is beautiful.

497
00:44:11,437 --> 00:44:14,732
 What a load of bullshit,
 your detector.

498
00:44:14,732 --> 00:44:19,737
 Listen, Tapioca, ifyou won't fix me
 up, l have to find a solution, fast.

499
00:44:19,737 --> 00:44:22,448
 lfyou keep stalling,
 my fuses will blow.

500
00:44:22,448 --> 00:44:27,411
 ldioms are always difficult when
 a film is sold all over the world.

501
00:44:27,411 --> 00:44:30,643
 They give translation problems.

502
00:44:30,831 --> 00:44:37,797
 A film loses 20 º/o of its interest with
 this kind of intranslatable dialogue.

503
00:44:37,797 --> 00:44:41,300
 - l have many mouths to fill!
 - Grandma's, for example.

504
00:44:41,300 --> 00:44:43,469
 Yes. Why did you mention her?

505
00:44:43,469 --> 00:44:49,125
 The film won the 1st prize
 at the Tokyo Film Festival.

506
00:44:51,185 --> 00:44:54,313
 That was a great surprise.

507
00:44:54,689 --> 00:44:58,901
 There were two cameras on us.
 We didn't expect to win.

508
00:44:58,901 --> 00:45:03,698
 First they said it in Japanese
 and we didn't understand.

509
00:45:03,698 --> 00:45:09,412
 Then in broken English. lt was some
 time before we realized we'd won.

510
00:45:09,412 --> 00:45:13,624
 l remember Alan Parker clapping
 like a seal with his hands in the air.

511
00:45:13,624 --> 00:45:19,171
 lt was one ofthe best prizes we won.
 Later the film won four Césars.

512
00:45:19,171 --> 00:45:22,300
 Best script, best début, -

513
00:45:22,758 --> 00:45:28,264
 - and l think best sets and editing.
 We got 9, or was it 11 nominations.

514
00:45:28,264 --> 00:45:35,187
 Grain seems important to me. Amélie
 loves dipping her hands into it.

515
00:45:35,187 --> 00:45:39,732
 Here's the butcher's cellar,
 full of grain.

516
00:45:46,782 --> 00:45:49,827
 Kreka was also on the list
 of set producers.

517
00:45:49,827 --> 00:45:53,362
 He also did Emir Kusturica's sets.

518
00:45:55,374 --> 00:46:01,636
 The fourth one was Jean-Philippe
 Carp. So it was a big team.

519
00:46:03,632 --> 00:46:10,139
 The sets were made with skill
 and imagination, on a small budget.

520
00:46:10,139 --> 00:46:17,209
 The film was made on 18 million from
 the beginning, and ended on 24.

521
00:46:18,397 --> 00:46:23,778
 l talked about improvisations before.
 This one was a bit nasty.

522
00:46:23,778 --> 00:46:30,242
 l felt this scene was a bit weak, so
 l told Dreyfus to slap her for real.

523
00:46:30,242 --> 00:46:37,918
 So in this close-up, the tears you can
 see in Marie Laure's eyes are real.

524
00:46:39,502 --> 00:46:47,301
 lt humiliated her. She thought l did it
 because she couldn't play the scene.

525
00:46:47,301 --> 00:46:51,472
 And in the other shots
 she's acting, of course.

526
00:46:51,472 --> 00:46:54,600
 But in the close-up
 all the emotions are real, -

527
00:46:54,600 --> 00:47:00,564
 - and l remember that the whole crew
 had tears in their eyes just like her.

528
00:47:00,564 --> 00:47:05,210
 The result is better
 than if she was acting.

529
00:47:05,903 --> 00:47:13,074
 lt's hard to make tears come into
 one's eyes in the middle of a take.

530
00:47:30,594 --> 00:47:35,038
 l find them magic,
 the lights that shine -

531
00:47:35,099 --> 00:47:38,937
 - in the windows of a house at night.

532
00:47:40,020 --> 00:47:44,066
 lt comes from an illustration l saw
 as a child, from ''Thumbelina'' -

533
00:47:44,066 --> 00:47:46,025
 - by Gustave Doré.

534
00:47:46,026 --> 00:47:50,406
 Today, when l go home at night
 there's a big apartment building -

535
00:47:50,406 --> 00:47:55,244
 - with a very Parisian facade
 and when there's a light on, -

536
00:47:55,244 --> 00:48:00,082
 - l always think of ''Thumbelina'' and
 ''Delicatessen''. Look to the right!

537
00:48:00,082 --> 00:48:04,962
 There's a vague shadow on the
 ground. lt's a pipe for cooling water.

538
00:48:04,962 --> 00:48:09,258
 lt was forgotten there by our props
 assistant, who watered the ground.

539
00:48:09,258 --> 00:48:14,513
 We couldn't see it because ofthe fog.
 You can just see it very dimly.

540
00:48:14,513 --> 00:48:21,228
 Details like that make Marc Caro sick
 and quite ready to give up the film -

541
00:48:21,228 --> 00:48:27,818
 - as a total flop because there's
 a bit of pipe showing at the bottom.

542
00:48:27,818 --> 00:48:35,191
 Maybe that's why he wouldn't do the
 commentary. He remembered the pipe.

543
00:48:35,868 --> 00:48:41,874
 Now we're at that fabulous location,
 the water reservoir at Saint-Fargeau.

544
00:48:41,874 --> 00:48:45,409
 An incredible location. lt exists.

545
00:48:46,420 --> 00:48:50,800
 We got access to it quite
 clandestinely to discover it, -

546
00:48:50,800 --> 00:48:54,386
 - and afterwards we applied
 for an official permission.

547
00:48:54,386 --> 00:48:59,517
 So we knew it already
 when we got the official tour of it.

548
00:48:59,517 --> 00:49:04,522
 We followed the guide who wasn't
 at all familiar with the place.

549
00:49:04,522 --> 00:49:10,236
 We pretended to discover the places:
 ''Perhaps we could go this way?''

550
00:49:10,236 --> 00:49:13,489
 ''No, there's nothing there,'' he'd say.
 ''Yes, let's try.''

551
00:49:13,489 --> 00:49:19,246
 The week before we'd found
 the locations we liked best.

552
00:49:21,914 --> 00:49:24,792
 lt was hard to get the permission.

553
00:49:24,792 --> 00:49:30,548
 Drinking water reservoirs are more
 or less classified secrets -

554
00:49:30,548 --> 00:49:37,921
 - because someone ... l shouldn't
 say this ... could poison the water -

555
00:49:39,348 --> 00:49:43,602
 - and poison one quarter
 ofthe inhabitants of Paris.

556
00:49:43,602 --> 00:49:48,440
 But as a location for filming
 they're quite marvellous.

557
00:49:48,440 --> 00:49:53,529
 The open reservoirs we see later
 aren't drinking water, -

558
00:49:53,529 --> 00:49:59,589
 - it's a natural source that feeds
 the fountains of Paris.

559
00:49:59,910 --> 00:50:06,041
 The drinking water reservoirs are
 kept in total darkness to avoid algae.

560
00:50:06,041 --> 00:50:10,045
 There are stalactites
 formed by rain water.

561
00:50:10,045 --> 00:50:15,134
 The constructions, built under
 Napoleon lll, are totally abstract, -

562
00:50:15,134 --> 00:50:19,054
 - because you're in the dark
 and they form a mirror phenomeon.

563
00:50:19,054 --> 00:50:26,103
 You can't see where the bottom is,
 what's reflection, shadow or light.

564
00:50:26,103 --> 00:50:28,855
 lt's fabulous.

565
00:50:28,856 --> 00:50:35,623
 There were so many beautiful shots
 to do, we just couldn't leave.

566
00:50:35,863 --> 00:50:40,534
 This might seem a bit unhealthy, but
 it's not at all a disgusting place.

567
00:50:40,534 --> 00:50:47,200
 lt's a humid and warm place,
 but with a very healthy atmosphere.

568
00:50:48,292 --> 00:50:54,757
 Earlier on, we'd visited the sewers
 under the Boulevard Sebastopol, -

569
00:50:54,757 --> 00:50:58,090
 - and that was a real nightmare.

570
00:50:58,302 --> 00:51:02,598
 You die ifyou fall in,
 the crew had to get vaccinated, -

571
00:51:02,598 --> 00:51:10,072
 - there were aggressive rats and a
 risk of explosions and fast flooding.

572
00:51:10,230 --> 00:51:15,736
 So we decided against the sewers.
 This is the kind of scene -

573
00:51:15,736 --> 00:51:20,449
 - that made us scream
 with laughter when we shot it, -

574
00:51:20,449 --> 00:51:24,036
 - but never made
 the audience laugh.

575
00:51:24,036 --> 00:51:31,005
 l think Dreyfus is funny, but nobody
 laughed. Not out loud, anyway.

576
00:51:35,464 --> 00:51:41,053
 The spider is interesting ifwe want
 to compare Hollywood with Paris.

577
00:51:41,053 --> 00:51:45,140
 Our props manager bought a spider,
 put it on the wall and that was it.

578
00:51:45,140 --> 00:51:49,895
 lt cost the price ofthe spider.
 No, l think he found it in the attic.

579
00:51:49,895 --> 00:51:54,441
 ln Hollywood there was a spider too,
 which Ron Pearlman shot dead.

580
00:51:54,441 --> 00:52:02,117
 They brought in the insect specialist
 who showed me 100 different spiders.

581
00:52:02,408 --> 00:52:07,746
 This guy came for three days
 at 105,000 francs a day.

582
00:52:07,746 --> 00:52:10,541
 That's why Hollywood films
 are expensive.

583
00:52:10,541 --> 00:52:14,670
 We wanted to kill the spider,
 but that was out ofthe question.

584
00:52:14,670 --> 00:52:18,215
 We had to find a spider
 that had died of natural causes.

585
00:52:18,215 --> 00:52:24,982
 Maybe one ofthem had a heart attack,
 we certainly didn't kill it.

586
00:52:26,682 --> 00:52:30,060
 The appearance
 ofthe troglodytes ...

587
00:52:30,060 --> 00:52:35,107
 When we did the storyboard, l spent
 two days getting the idea for it.

588
00:52:35,107 --> 00:52:39,111
 Bizarrely, l was inspired
 by the first ''Alien''-film.

589
00:52:39,111 --> 00:52:44,950
 At the end, there's an interior shot
 ofthe small vessel.

590
00:52:44,950 --> 00:52:50,914
 Suddenly, it moves and we realize
 it's there although we didn't see it.

591
00:52:50,914 --> 00:52:57,378
 l did the same thing with the
 troglodytes who suddenly appear.

592
00:52:57,713 --> 00:53:03,469
 lt was inspired by ''Alien''.
 Doubtlessly a premonition.

593
00:53:03,469 --> 00:53:06,388
 Patrick Paroux,
 the leader ofthe troglodytes ...

594
00:53:06,388 --> 00:53:13,660
 ln ''Amélie'' he was the prompter
 who gave the shy people their lines.

595
00:53:15,063 --> 00:53:22,739
 We've also got Dominique Betenfeld
 who's in ''The City of Lost Children.''

596
00:53:24,698 --> 00:53:28,738
 Maurice Lamy
 and Marc Caro himself ...

597
00:53:29,119 --> 00:53:31,080
 Our brother Matt's shirt.

598
00:53:31,080 --> 00:53:35,334
 l think you'll see Marc Caro
 in a minute.

599
00:53:35,334 --> 00:53:38,462
 To you, we're just game.

600
00:53:39,421 --> 00:53:42,716
 - Meat eater.
 - Not me, l swear!

601
00:53:42,716 --> 00:53:46,554
 The costumes are
 not a happy memory.

602
00:53:46,970 --> 00:53:50,099
 To get that brilliance -

603
00:53:51,892 --> 00:53:56,313
 - we oiled them with table oil
 before each take.

604
00:53:56,313 --> 00:54:03,080
 You had to take care not to rub
 against them. lt was a nightmare.

605
00:54:03,904 --> 00:54:08,659
 Pameau, tell this calamity
 in skirts to behave.

606
00:54:08,659 --> 00:54:12,496
 There's at least one month's
 harvest there ...

607
00:54:12,496 --> 00:54:15,624
 The grain again ...

608
00:54:17,960 --> 00:54:21,088
 Corn!

609
00:54:22,881 --> 00:54:29,951
 There's lots of it at the house.
 30 big sacks in my father's cellar.

610
00:54:31,557 --> 00:54:38,324
 Our set producer fell in the water
 all the same, but he survived.

611
00:54:45,779 --> 00:54:47,865
 Can l help you, miss?

612
00:54:47,865 --> 00:54:51,994
 We haven't talked about Jean-François
 Perrier, who is an amazing actor.

613
00:54:51,994 --> 00:54:59,835
 He was a male nurse for the Red Cross
 at Lourdes. He has an incredible past.

614
00:54:59,835 --> 00:55:07,107
 He was discovered in the play
 ''Le Bal''. Scola made it into a film, -

615
00:55:07,175 --> 00:55:14,043
 - and that's where we discovered
 Perrier, who is quite marvellous.

616
00:55:14,558 --> 00:55:16,392
 Hi, Julie.

617
00:55:16,393 --> 00:55:22,316
 This was the first photo we gave
 to the press from ''Delicatessen''.

618
00:55:22,316 --> 00:55:25,444
 Are you all right?

619
00:55:26,612 --> 00:55:30,450
 Sorry.
 l'm just preparing a new act.

620
00:55:31,408 --> 00:55:36,663
 There was a very special atmosphere
 when we did this film. Everyone felt -

621
00:55:36,663 --> 00:55:42,002
 - that we were doing something quite
 new and different in French film.

622
00:55:42,002 --> 00:55:46,215
 People tell me
 that ''Delicatessen'' opened a door, -

623
00:55:46,215 --> 00:55:51,261
 - permitting other ''different'' films
 to be made. l don't know if it's true.

624
00:55:51,261 --> 00:55:54,493
 But if it is, l'm very pleased.

625
00:55:54,932 --> 00:55:59,937
 lf it was hard to make, it's because
 we never made any compromises.

626
00:55:59,937 --> 00:56:04,483
 We never accepted a casting
 that wasn't ours, -

627
00:56:04,483 --> 00:56:08,487
 - we never accepted making a film
 that we didn't feel for.

628
00:56:08,487 --> 00:56:15,118
 We waited 10 years to make a
 full-length film but didn't regret it.

629
00:56:15,118 --> 00:56:20,457
 l like the black humour in this scene:
 ''l'd have liked to say goodbye to her.''

630
00:56:20,457 --> 00:56:24,670
 ''That's what we're going to do.''
 Oh, horror!

631
00:56:24,670 --> 00:56:29,174
 Mathou taking a piece
 of Dreyfus' leg to him.

632
00:56:29,174 --> 00:56:34,930
 He's going to offer him a piece,
 but the other one isn't hungry.

633
00:56:34,930 --> 00:56:40,283
 Going out at night like that ...
 What got into you?

634
00:56:41,395 --> 00:56:45,738
 We got exceptional reviews
 for this film.

635
00:56:47,442 --> 00:56:50,361
 lt was the surprise effect.

636
00:56:50,362 --> 00:56:55,409
 ln France, when you surprise people,
 you get credit for it, -

637
00:56:55,409 --> 00:56:59,830
 - and you're indulged more
 than everyone else.

638
00:56:59,830 --> 00:57:07,203
 The second film is always harder,
 but we were very lucky with this one.

639
00:57:08,463 --> 00:57:12,342
 l found this scene again in a film
 by Jacques Odiard, -

640
00:57:12,342 --> 00:57:18,806
 - and l say this with no malice
 because l love Odiard's films.

641
00:57:19,474 --> 00:57:23,729
 He reproduced this scene,
 undoubtedly without realizing it.

642
00:57:23,729 --> 00:57:29,587
 l like finding these little
 inspirations and references.

643
00:57:29,901 --> 00:57:34,239
 - Sometimes, it's impossible.
 - Nobody is entirely evil.

644
00:57:34,239 --> 00:57:38,986
 lt's the circumstances.
 People make mistakes.

645
00:57:43,331 --> 00:57:46,918
 This is a model shot
 made by motion control, -

646
00:57:46,918 --> 00:57:49,921
 - a computer operated camera.

647
00:57:49,921 --> 00:57:53,925
 Back then it was
 the latest thing in optics.

648
00:57:53,925 --> 00:57:58,268
 You can see
 that's it's very approximate.

649
00:57:59,598 --> 00:58:04,061
 With this film we started
 using video trick films.

650
00:58:04,061 --> 00:58:09,919
 lt wasn't digital, of course,
 and the quality was bad, -

651
00:58:10,901 --> 00:58:16,557
 - but Dubois and Pitof started
 using it for this film.

652
00:58:17,282 --> 00:58:20,410
 lt was quite innovative.

653
00:58:20,952 --> 00:58:26,083
 Just look at Caro and Maurice Lamy.
 A pretty cartoonish couple.

654
00:58:26,083 --> 00:58:28,668
 We were criticised for it:

655
00:58:28,668 --> 00:58:33,965
 The troglodyte scenes look more like
 a cartoon than the rest ofthe film.

656
00:58:33,965 --> 00:58:38,303
 Today l'd give them
 a stronger human identity -

657
00:58:38,303 --> 00:58:41,535
 - and make them more realistic.

658
00:58:43,475 --> 00:58:48,355
 lt's true they are a bit cartoon-like
 and cut us off a bit from the story.

659
00:58:48,355 --> 00:58:53,910
 This is the water reservoir.
 A mind-blowing location.

660
00:59:06,957 --> 00:59:09,876
 Mme lnterligator's
 second failed suicide.

661
00:59:09,876 --> 00:59:14,381
 l love thinking up
 this kind of contraption.

662
00:59:14,381 --> 00:59:19,386
 lt probably comes from
 my background in film animation, -

663
00:59:19,386 --> 00:59:23,325
 - where principles like this are used.

664
00:59:27,018 --> 00:59:32,399
 l started as an animator and did
 two short animated films, -

665
00:59:32,399 --> 00:59:37,821
 - ''L'Évasion'' and ''Le Ménage''.
 Caro did the puppets' heads.

666
00:59:37,821 --> 00:59:42,770
 A bit like Tim Morton,
 only much less talented.

667
00:59:43,827 --> 00:59:47,261
 But it's sort ofthe same process.

668
00:59:48,123 --> 00:59:55,193
 Maybe that's where our desire to do
 everything ourselves comes from.

669
00:59:55,338 --> 00:59:58,884
 ln animation
 you're the all-round artisan, -

670
00:59:58,884 --> 01:00:03,631
 - controlling even the
 characters' movements.

671
01:00:07,309 --> 01:00:10,437
 No, not Daddy's golf clubs!

672
01:00:12,731 --> 01:00:19,498
 Everyone always heard this as.
 ''Pas les silly pommes de terre!''

673
01:00:25,035 --> 01:00:29,122
 The facade was hard to shoot,
 since we'd only built two floors.

674
01:00:29,122 --> 01:00:34,544
 There were only 10 centimetres
 above the frame. The rest was sky.

675
01:00:34,544 --> 01:00:38,685
 We always enjoy creating
 all the props.

676
01:00:39,966 --> 01:00:43,703
 The photo album, the newspapers etc.

677
01:00:45,013 --> 01:00:51,174
 We adore making things like that
 and do it with great care.

678
01:01:06,159 --> 01:01:12,926
 l like this little gag. Maurice Lamy
 is going to taste the grain.

679
01:01:13,416 --> 01:01:19,274
 With his thumb he indicates that:
 ''No, it's not good''.

680
01:01:20,298 --> 01:01:23,429
 ''Yes, you fool, it's great!''

681
01:01:24,177 --> 01:01:28,556
 - Danger, don't know what it is.
 - Courage is our business.

682
01:01:28,556 --> 01:01:34,813
 Once, l saw the film and there were
 two guys next to me who hated it.

683
01:01:34,813 --> 01:01:39,317
 They were there by accident.
 When they saw this scene they said:

684
01:01:39,317 --> 01:01:45,532
 ''They stole that from the Americans!''
 Sure we did. That's the reference.

685
01:01:45,532 --> 01:01:51,538
 l must have lost two kilos listening
 to them tear the film apart.

686
01:01:51,538 --> 01:01:56,501
 The rest ofthe theatre laughed,
 but l could only hear their comments.

687
01:01:56,501 --> 01:02:02,465
 As the film advanced they seemed to
 get into it, so l got my hopes up.

688
01:02:02,465 --> 01:02:06,720
 But no: ''This film sucks!''
 l was desperate.

689
01:02:06,720 --> 01:02:11,057
 l remember a funny episode
 when we shot this scene -

690
01:02:11,057 --> 01:02:17,314
 - with the troglodytes crawling up,
 passing all the toilets on their way.

691
01:02:17,314 --> 01:02:22,869
 The big boss at UGC,
 Alain Sussfeld, visited the set.

692
01:02:25,655 --> 01:02:32,523
 He was pretty dismayed and said
 to us: ''Count yourselves lucky''.

693
01:02:32,746 --> 01:02:37,042
 A few months later the film was
 released and we were in Cannes, -

694
01:02:37,042 --> 01:02:41,046
 - and l enjoyed saying to him:
 ''Count yourself lucky.''

695
01:02:41,046 --> 01:02:45,288
 - Now what's wrong, Aurore?
 - George ...

696
01:02:51,931 --> 01:02:54,851
 l had great discussions
 with Khondji -

697
01:02:54,851 --> 01:02:58,688
 - about the lighting
 in the rubbish chute.

698
01:02:58,688 --> 01:03:03,568
 He thought it was beautiful
 and l thought it was absurd.

699
01:03:03,568 --> 01:03:07,989
 We could discuss
 that kind of detail for hours.

700
01:03:07,989 --> 01:03:14,329
 Caro and l often had conflicts about
 the narrative versus the aestheticism.

701
01:03:14,329 --> 01:03:17,457
 Caro often won the duels.

702
01:03:19,125 --> 01:03:26,094
 This scene is directly inspired
 by Clouzot's film ''Le Corbeau'', -

703
01:03:28,551 --> 01:03:31,682
 - where Susy Delair gets sick.

704
01:03:32,305 --> 01:03:37,769
 Or maybe l'm mixing things up,
 but there was a cupping-scene.

705
01:03:37,769 --> 01:03:42,516
 Jean-Claude Dreyfus hated it
 and he suffered.

706
01:03:45,902 --> 01:03:49,948
 Always video clips with cakes
 and food ...

707
01:03:49,948 --> 01:03:54,998
 The wretchedly bad kind
 of clips l talked about.

708
01:03:56,538 --> 01:03:59,770
 A complete disaster. Wonderful.

709
01:04:01,292 --> 01:04:04,423
 Do you want me to talk to her?

710
01:04:05,255 --> 01:04:09,699
 She's only thinking
 about this Louison ...

711
01:04:09,843 --> 01:04:12,974
 All the scenes were rehearsed.

712
01:04:13,054 --> 01:04:17,642
 He's on telly tonight.
 lf l were you, l'd go and tell him.

713
01:04:17,642 --> 01:04:20,773
 l'm sure he doesn't even know.

714
01:04:22,897 --> 01:04:29,866
 l like Karin's little ''oh'' followed
 by the mooh. lt's like music.

715
01:04:30,780 --> 01:04:37,495
 Our recordist is Jean-Pierre Lelong.
 He's an extraordinary fellow.

716
01:04:37,495 --> 01:04:43,555
 He makes the sounds directly,
 synchronised with the image.

717
01:04:44,794 --> 01:04:49,945
 He's the kind of artist
 they don't make any more.

718
01:04:54,179 --> 01:04:59,225
 lt's quite extraordinary to watch him
 at work. He's done all my films.

719
01:04:59,225 --> 01:05:02,520
 l bitterly regret
 he wasn't in the USA, -

720
01:05:02,520 --> 01:05:08,193
 - because the American recordists
 are much less skillful.

721
01:05:08,193 --> 01:05:12,197
 Another important person was
 the sound editor, Gérard Hardy, -

722
01:05:12,197 --> 01:05:15,241
 - who also did ''The City ...''
 and ''Amélie''.

723
01:05:15,241 --> 01:05:20,121
 He edits in all the background noises,
 scratching, -

724
01:05:20,121 --> 01:05:23,666
 - birdsong, cars in the distance, -

725
01:05:23,666 --> 01:05:27,462
 - trains, all the things
 that make the film come alive.

726
01:05:27,462 --> 01:05:34,219
 The audience doesn't see it at first,
 but Dominique's got a third leg.

727
01:05:34,219 --> 01:05:38,562
 We nicked it
 from an American circus act.

728
01:05:38,848 --> 01:05:41,976
 lt's a shameless theft.

729
01:05:46,481 --> 01:05:52,695
 Dominique started out shooting this
 scene and he was pretty nervous.

730
01:05:52,695 --> 01:06:00,068
 Starting out is never easy and once
 this shot was done, he felt better.

731
01:06:00,078 --> 01:06:03,206
 He'd faced it.

732
01:06:03,873 --> 01:06:07,001
 l always put my foot in it.

733
01:06:14,551 --> 01:06:19,389
 - lt's true. He's got clown's shoes.
 - Mission complete.

734
01:06:19,389 --> 01:06:26,964
 These two guys really are cartoonish.
 lt's not the the thing we did best.

735
01:06:27,105 --> 01:06:33,973
 These are the first video recordings.
 The quality is not the best.

736
01:06:34,404 --> 01:06:39,951
 l don't know ifyou can see it on a
 TV, but on the big screen you could.

737
01:06:39,951 --> 01:06:42,036
 And the mosquito ...

738
01:06:42,036 --> 01:06:47,490
 The technique we used
 was revolutionary at the time.

739
01:06:55,133 --> 01:07:00,284
 Poor Howard Vernon,
 the things we made him do ...

740
01:07:02,432 --> 01:07:05,563
 These are real clown's props -

741
01:07:05,643 --> 01:07:10,491
 - that we discovered
 via the clowns who came -

742
01:07:10,815 --> 01:07:17,885
 - to play the bits of music and
 to practise the acts with Dominique.

743
01:07:18,573 --> 01:07:24,078
 We played Carlos d'Alessio's
 music on those little metal plates.

744
01:07:24,078 --> 01:07:25,996
 Quiet!

745
01:07:25,997 --> 01:07:33,004
 l remember my producer Claudie
 Ossard visiting us at the reservoir -

746
01:07:33,004 --> 01:07:36,549
 - in her Chanel suit
 and stiletto heels.

747
01:07:36,549 --> 01:07:43,215
 lt was quite surrealistic to see her
 among the oily troglodytes.

748
01:07:43,306 --> 01:07:49,063
 But Claudie feels comfortable
 anywhere and with anyone.

749
01:07:50,313 --> 01:07:56,575
 She has true artistic sincerity
 and has always supported us.

750
01:07:58,821 --> 01:08:04,702
 At the same time she's classy enough
 to find money in financial circles -

751
01:08:04,702 --> 01:08:10,156
 - among people who are
 completely different from us.

752
01:08:11,459 --> 01:08:16,589
 This was the first time
 l made a little improvisation.

753
01:08:16,589 --> 01:08:21,094
 lt's not the best scene, but look ...
 that movement.

754
01:08:21,094 --> 01:08:25,390
 l had Dominque do it without telling
 Marie Laure. Look what happens ...

755
01:08:25,390 --> 01:08:30,853
 She's holding back a laugh.
 lt gives that little extra something -

756
01:08:30,853 --> 01:08:34,649
 - that made me want
 to continue improvising.

757
01:08:34,649 --> 01:08:39,320
 Aurore, you should see this.
 lt's impressive.

758
01:08:39,320 --> 01:08:45,118
 Mme lnterligator's last and most
 complicated, sophisticated suicide.

759
01:08:45,118 --> 01:08:50,774
 The shotgun directed at her.
 The pills in her hand ...

760
01:08:52,583 --> 01:08:59,674
 The rope around her neck, the gas
 turned on and a thing for lighting it.

761
01:08:59,674 --> 01:09:02,802
 She's foreseen everything.

762
01:09:06,973 --> 01:09:10,476
 The plaque for those
 who died for their country -

763
01:09:10,476 --> 01:09:16,107
 - bears the names
 of all the set production assistants.

764
01:09:16,107 --> 01:09:19,844
 - l'm wearing contact lenses.
 - Oh.

765
01:09:20,653 --> 01:09:26,951
 l think the voice you can hear is
 the perch man's, Laurent Zelig.

766
01:09:26,951 --> 01:09:33,718
 A great name. l think ''Zelig'' is
 my favourite Woody Allen film.

767
01:09:34,041 --> 01:09:36,460
 You never told me!

768
01:09:36,461 --> 01:09:41,048
 lt's not the best scene.
 The actors agreed with us about that.

769
01:09:41,048 --> 01:09:45,970
 There are too many intentions
 and also the surprise ...

770
01:09:45,970 --> 01:09:49,640
 lt's best to have
 just one idea for each scene.

771
01:09:49,640 --> 01:09:52,852
 Mixing ideas never works out well.

772
01:09:52,852 --> 01:09:55,521
 This is the most amazing set
 ofthe whole film.

773
01:09:55,521 --> 01:10:01,360
 The roofwas built in an empty lot,
 so we could shoot at night -

774
01:10:01,360 --> 01:10:05,031
 - without having
 any obstacles behind it.

775
01:10:05,031 --> 01:10:10,411
 ln ''The Making Of' you can see
 how strange it is to see the roof -

776
01:10:10,411 --> 01:10:16,918
 - on the ground, as ifthe building
 had been swallowed up by the earth.

777
01:10:16,918 --> 01:10:20,421
 A bit like Cédric Klapisch did
 in ''Peut-être''.

778
01:10:20,421 --> 01:10:24,509
 lt was quite magical
 to see the roof at night all lit up -

779
01:10:24,509 --> 01:10:28,852
 - as if it had come back
 out ofthe earth.

780
01:10:31,432 --> 01:10:36,687
 How can Mlle Plusse see something
 on the roof reflected in the window?

781
01:10:36,687 --> 01:10:41,192
 l never understood it,
 but it was the only way -

782
01:10:41,192 --> 01:10:48,262
 - we could have her see the butcher
 on the roof bending the antenna.

783
01:10:48,533 --> 01:10:51,661
 Louison!

784
01:10:51,786 --> 01:10:56,230
 Oily troglodytes wriggling
 in the ducts, -

785
01:10:57,500 --> 01:11:00,934
 - filmed horizontally, of course.

786
01:11:01,379 --> 01:11:05,758
 Here we use an old-fashioned trick:
 a semi-transparent lens -

787
01:11:05,758 --> 01:11:11,305
 - that gives us the gun in close-up
 and the woman in the background.

788
01:11:11,305 --> 01:11:14,941
 Back then it took hours to arrange.

789
01:11:15,476 --> 01:11:19,213
 Now it's so easy to do it digitally.

790
01:11:20,773 --> 01:11:25,318
 But in those days
 this was the easiest way.

791
01:11:28,531 --> 01:11:31,659
 Come, come ...

792
01:11:37,248 --> 01:11:44,338
 Look at the moon. lt's the real moon.
 Today it's so easy to trick it.

793
01:11:44,338 --> 01:11:51,105
 We'd make it larger and more
 beautiful. But that's the real moon.

794
01:11:52,305 --> 01:11:55,739
 - Come back!
 - l can't hear you!

795
01:11:58,019 --> 01:12:03,482
 As l said before, Dreyfus,
 who's going to fight with Pinon, -

796
01:12:03,482 --> 01:12:06,815
 - isn't really a physical actor.

797
01:12:07,445 --> 01:12:13,808
 The meat axe is trembling a bit,
 because it's not a real axe.

798
01:12:14,660 --> 01:12:20,416
 As far as action goes, it's not
 the most succesful sequence ever ...

799
01:12:20,416 --> 01:12:27,385
 But Dreyfus enjoyed doing it,
 it's not something he does every day.

800
01:12:28,716 --> 01:12:34,069
 The film made him ...
 Well, he wasn't discovered, -

801
01:12:34,222 --> 01:12:38,161
 - but it contributed to his celebrity.

802
01:12:39,560 --> 01:12:46,024
 He'd have made it without
 ''Delicatessen'' too, but it helped.

803
01:12:47,401 --> 01:12:54,370
 Pinon is a magnificent actor, but in
 the category ofJohn Turturro -

804
01:12:55,660 --> 01:13:00,915
 - and they're not recognized,
 in France for what they're worth.

805
01:13:00,915 --> 01:13:07,171
 l don't know why, but it's sad,
 because he's a fantastic actor -

806
01:13:07,171 --> 01:13:11,009
 - who deserves to get much more work.

807
01:13:18,224 --> 01:13:22,103
 This is another scene
 which was stolen outrageously -

808
01:13:22,103 --> 01:13:26,190
 - by a British director of
 commercials called Tarsem.

809
01:13:26,190 --> 01:13:33,489
 He pretends to be a fan but is a thief
 who steals left, right and centre.

810
01:13:33,489 --> 01:13:38,869
 Not only did he plagiarise
 ''Foutaises'' quite shamelessly, -

811
01:13:38,869 --> 01:13:46,242
 - but also copied this passage for
 a commercial. Adidas l think it was.

812
01:13:47,086 --> 01:13:50,548
 Both regarding colour, image and idea.

813
01:13:50,548 --> 01:13:54,083
 Mme lnterligator's failed suicide.

814
01:13:55,469 --> 01:14:00,266
 The sounds were not added
 in the editing as we'd do today, -

815
01:14:00,266 --> 01:14:04,710
 - but done directly
 by Jean-Pierre Lelong.

816
01:14:12,820 --> 01:14:19,827
 Exactly there the audiences applauded
 for the second time. Everywhere.

817
01:14:19,827 --> 01:14:22,955
 At the exact same place.

818
01:14:23,247 --> 01:14:26,709
 Here we have one of my great regrets:
 He pushes the glass.

819
01:14:26,709 --> 01:14:30,463
 We'd made a wonderful sound
 ofthe rubber against the glass.

820
01:14:30,463 --> 01:14:36,761
 And we forgot to put it in. Vincent
 Arnardi forgot it. l hate him for it!

821
01:14:36,761 --> 01:14:43,023
 l can't see it without making
 the sound. l miss it too much.

822
01:14:43,642 --> 01:14:48,564
 But all right,
 it doesn't make the film a total flop.

823
01:14:48,564 --> 01:14:51,692
 Stop! Stop!

824
01:14:56,572 --> 01:15:03,037
 ln the films Karin does now,
 she doesn't get trapped in carpets.

825
01:15:03,037 --> 01:15:06,165
 How silly!

826
01:15:06,999 --> 01:15:11,241
 Punching the camera
 is always efficient.

827
01:15:14,715 --> 01:15:17,258
 ''l fell,'' she says.

828
01:15:17,259 --> 01:15:22,208
 - l got on the chair and l fell.
 - Yes, Aurore.

829
01:15:29,146 --> 01:15:31,273
 l got this idea for the explosion, -

830
01:15:31,273 --> 01:15:35,361
 - because a real explosion was
 complicated and expensive.

831
01:15:35,361 --> 01:15:40,658
 We'd imagined the whole set with
 the roofs trembling. A monstrous task.

832
01:15:40,658 --> 01:15:46,497
 l got this idea when l saw ''Salaire
 de la Peur'' where a lorry blows up -

833
01:15:46,497 --> 01:15:51,627
 - and there's a great shot, 100
 times better than what we did here.

834
01:15:51,627 --> 01:15:56,507
 l've always been jealous ofthis
 in Clouzot's films.

835
01:15:56,507 --> 01:16:02,638
 You see a person rolling a cigarette
 and he's put the tobacco on the paper.

836
01:16:02,638 --> 01:16:07,183
 Suddenly the tobacco is blown
 offthe paper.

837
01:16:07,685 --> 01:16:13,023
 3 seconds later we hear the explosion
 and know the lorry's blown up.

838
01:16:13,023 --> 01:16:17,528
 The visual idea is so beautiful,
 and it inspired us.

839
01:16:17,528 --> 01:16:22,032
 That's why we hear the sound
 ofthe explosion with a delay.

840
01:16:22,032 --> 01:16:27,890
 This little idea saved us
 from building an enormous set.

841
01:16:28,831 --> 01:16:33,586
 We made this trick on video,
 not digitally, just on tape.

842
01:16:33,586 --> 01:16:40,426
 The knife was shot separately against
 a blue background and put in later.

843
01:16:40,426 --> 01:16:46,183
 At the time it was very complicated
 to do these things.

844
01:16:47,224 --> 01:16:49,268
 Julie! What are you doing here?

845
01:16:49,268 --> 01:16:54,318
 Wash your face right now
 and go home! Right now!

846
01:16:54,899 --> 01:17:00,454
 Remove that lipstick!
 And you, just wait! l'm coming!

847
01:17:02,656 --> 01:17:08,412
 Obviously, we had to work on
 Jean-Claude's stunt for several hours.

848
01:17:08,412 --> 01:17:10,831
 And when the window broke ...

849
01:17:10,831 --> 01:17:16,337
 Our budget was so tight, we had two
 windows. They're fake, of course.

850
01:17:16,337 --> 01:17:22,384
 They're made of a kind of resin,
 are very fragile and cost a packet.

851
01:17:22,384 --> 01:17:29,757
 We'd broken one, so we only had one
 left. The shot had to be a one-off.

852
01:17:30,851 --> 01:17:35,194
 - What about the others?
 - Here they are.

853
01:17:40,986 --> 01:17:43,196
 Did it work out?

854
01:17:43,197 --> 01:17:48,247
 They were ready for picking.
 And we're all here!

855
01:17:49,078 --> 01:17:52,205
 Shit!

856
01:17:52,206 --> 01:17:54,792
 lt's not my favourite scene.

857
01:17:54,792 --> 01:17:57,503
 - What is this?
 - Shit, shit!

858
01:17:57,503 --> 01:18:02,250
 Pank, is this loot
 we were supposed to bring?

859
01:18:03,092 --> 01:18:05,219
 lt gets better. This is quite funny.

860
01:18:05,219 --> 01:18:10,099
 - Pank, explain this.
 - lsn't this what we agreed on?

861
01:18:10,099 --> 01:18:12,434
 Place des Albumines. Name: Louison.

862
01:18:12,434 --> 01:18:15,354
 Bad faith can be really funny.

863
01:18:15,354 --> 01:18:18,941
 l also wrote ''Sex: Male.''
 ''Wears clown's shoes''.

864
01:18:18,941 --> 01:18:23,284
 - Let's check it.
 - Sex: Male. Sex: Male!

865
01:18:25,698 --> 01:18:30,445
 - Well?
 - Look at the packet. ls this a male?

866
01:18:30,953 --> 01:18:34,832
 That's not my problem.
 The Louison mission was the packet.

867
01:18:34,832 --> 01:18:40,488
 Pank! Louison ... The packet,
 is it a male, yes or no?

868
01:18:44,633 --> 01:18:45,759
 We'll have to check.

869
01:18:45,759 --> 01:18:51,932
 A film director can be
 in extremely bad faith, l'll tell you.

870
01:18:51,932 --> 01:18:56,477
 Sorry, Louison,
 it's strictly professional.

871
01:18:57,938 --> 01:19:01,650
 Are you all mad?
 l've had it with ...

872
01:19:01,650 --> 01:19:04,903
 l used this shot ofthe feet
 in ''Alien'', too,-

873
01:19:04,903 --> 01:19:11,619
 - and in l'm sure you can find it in
 ''The City ...''. l love filming feet.

874
01:19:11,619 --> 01:19:18,588
 This is one ofthe few occasions
 where a long focal view works well.

875
01:19:22,087 --> 01:19:25,215
 Cordon Bleu to Flying Onion.

876
01:19:25,674 --> 01:19:29,411
 Artichoke Heart in immediate danger.

877
01:19:31,263 --> 01:19:35,202
 The actors enjoyed these silly things.

878
01:19:35,517 --> 01:19:41,274
 lt's like being a child
 playing cops and robbers again.

879
01:19:42,107 --> 01:19:46,445
 lt's simple: The actors are playing
 in the sense of having fun.

880
01:19:46,445 --> 01:19:52,909
 Everybody knows it's a game.
 There's no intellectual pretense.

881
01:19:53,035 --> 01:19:56,205
 lt's a complete joy
 for all film makers.

882
01:19:56,205 --> 01:20:01,457
 Milan, Fox, Tourneur ...
 Get the others, hurry up.

883
01:20:01,585 --> 01:20:04,713
 What about me? Hey!

884
01:20:06,674 --> 01:20:09,133
 Don't forget me!

885
01:20:09,134 --> 01:20:12,262
 lt's Dominique Betenfeld.

886
01:20:12,596 --> 01:20:17,646
 He's also in ''The City ...''
 and in ''Amélie''.

887
01:20:17,685 --> 01:20:21,146
 ln ''Amélie'', he's the neighbour -

888
01:20:21,146 --> 01:20:28,923
 - whom Amélie drives mad by unplugging
 his antenna during a football match.

889
01:20:34,368 --> 01:20:38,105
 Acting, what a wonderful profession.

890
01:20:41,792 --> 01:20:47,840
 This scene made us all tremble. The
 kissing scene between the two heroes.

891
01:20:47,840 --> 01:20:52,261
 With the metal bar
 thatjumps out between them.

892
01:20:52,261 --> 01:20:55,431
 For safety reasons
 we invented a system ...

893
01:20:55,431 --> 01:21:01,186
 They wore invisible strings around
 their necks like dog leashes -

894
01:21:01,186 --> 01:21:07,860
 - that prevented them from getting
 too close, marking the safety limit.

895
01:21:07,860 --> 01:21:13,365
 - We've only got volunteers here.
 - Exactly. And obedient.

896
01:21:13,365 --> 01:21:18,579
 The sound ... Tick ... ofthe hair
 was made by Jean-Pierre Lelong -

897
01:21:18,579 --> 01:21:23,629
 - simply by clicking his nail
 against his tooth.

898
01:21:24,334 --> 01:21:29,283
 Often the simplest,
 stupidest tricks work best.

899
01:21:35,304 --> 01:21:39,748
 lt was a bit early talking
 about the kiss.

900
01:21:47,691 --> 01:21:50,194
 Poor Karin didn't like this scene.

901
01:21:50,194 --> 01:21:54,638
 lt was slippery
 and she risked falling in.

902
01:21:55,324 --> 01:21:57,366
 The kissing scene.

903
01:21:57,367 --> 01:22:01,508
 We haven't got much time ...
 Julie, go!

904
01:22:01,663 --> 01:22:06,084
 lt's always scary because you know
 there might be an accident, -

905
01:22:06,084 --> 01:22:09,821
 - a miscalculation.
 lt's dangerous.

906
01:22:11,799 --> 01:22:15,738
 - Don't cry.
 - lt's my contact lense.

907
01:22:24,603 --> 01:22:31,976
 lt'd have been better ifthey'd been
 closer, but that was too dangerous.

908
01:22:33,862 --> 01:22:38,033
 The bathroom filled with water
 was a really interesting set.

909
01:22:38,033 --> 01:22:41,669
 We had to fill the room with water.

910
01:22:42,162 --> 01:22:45,798
 l'll tell you about it in a moment.

911
01:22:50,712 --> 01:22:53,423
 This ideajust made us crack up.

912
01:22:53,423 --> 01:23:00,695
 Dominique wore layers and layers
 of clothes to prolong his undressing.

913
01:23:01,223 --> 01:23:07,771
 When the mob breaks in, we got a
 great shot ofthe door crashing down.

914
01:23:07,771 --> 01:23:11,191
 The camera was fixed to the floor.

915
01:23:11,191 --> 01:23:18,532
 And of course a prop fell in front of
 it, so the image was totally blocked.

916
01:23:18,532 --> 01:23:22,035
 This is the famous scene
 Caro thought of -

917
01:23:22,035 --> 01:23:26,707
 - and which l saw later
 in a Laurel & Hardy film.

918
01:23:26,707 --> 01:23:30,168
 The bathroom that fills with water.
 How did we do it?

919
01:23:30,168 --> 01:23:34,410
 We built a small pool
 about 60 cms deep.

920
01:23:36,091 --> 01:23:41,040
 So the bathroom was open
 with a concrete wall -

921
01:23:41,096 --> 01:23:45,434
 - because the pressure
 was considerable, after all.

922
01:23:45,434 --> 01:23:52,858
 So we built this low pool, and to give
 the illusion that the water rises, -

923
01:23:52,858 --> 01:23:56,612
 - we lowered the set into the pool
 in 3 or 4 stages, -

924
01:23:56,612 --> 01:23:59,740
 - sawing it down each time.

925
01:24:01,283 --> 01:24:06,246
 The actors began playing standing up,
 then kneeling, then sitting down, -

926
01:24:06,246 --> 01:24:11,043
 - to give the impression
 there was more and more water.

927
01:24:11,043 --> 01:24:15,839
 This is the first stage. The set is
 still intact and we see the water, -

928
01:24:15,839 --> 01:24:20,510
 - which was cold, we couldn't heat it,
 so bad luck for the actors.

929
01:24:20,510 --> 01:24:23,430
 You'll see what happens
 in the next stages.

930
01:24:23,430 --> 01:24:30,604
 This is the only gunshot in the film,
 which was so hard for us to get.

931
01:24:30,604 --> 01:24:36,109
 Feet filmed at a long focal distance.
 Feet are an exception.

932
01:24:36,109 --> 01:24:39,237
 There. The gunshot.

933
01:24:39,613 --> 01:24:43,552
 - Tourneur is hit!
 - Tourneur is hit!

934
01:24:44,201 --> 01:24:50,540
 This is the second stage. We've
 sawed the set and lowered it.

935
01:24:50,540 --> 01:24:55,287
 The water is in fact
 still at the same level.

936
01:24:57,422 --> 01:25:03,482
 - Hey, postman, are you all right?
 - l've seen one ofthem.

937
01:25:06,390 --> 01:25:09,518
 That gag always works.

938
01:25:12,771 --> 01:25:19,437
 - The rotters are everywhere.
 - l know them. They won't be back.

939
01:25:19,778 --> 01:25:26,034
 The water keeps rising. But in fact it
 doesn't, it's the set that descends, -

940
01:25:26,034 --> 01:25:30,789
 - giving us the impression
 there's more water.

941
01:25:30,789 --> 01:25:38,263
 lt was still cold. We had wetsuits,
 but the poor actors had a hard time.

942
01:25:38,338 --> 01:25:43,792
 We shot it in the autumn,
 so it wasn't warm anymore.

943
01:25:45,345 --> 01:25:48,473
 Are you okay?

944
01:25:49,725 --> 01:25:51,268
 - Janvier!
 - Voltange!

945
01:25:51,268 --> 01:25:52,811
 - Milan!
 - Roland!

946
01:25:52,811 --> 01:25:55,939
 Tourneur ...

947
01:26:01,945 --> 01:26:06,742
 We loved the deformed bodies
 seen under water.

948
01:26:06,742 --> 01:26:12,903
 Another little Rob Goldberg effect.
 This shot was reversed.

949
01:26:20,547 --> 01:26:26,720
 ln real life l like making little
 mechanical contraptions like this.

950
01:26:26,720 --> 01:26:30,053
 That's something l really enjoy.

951
01:26:38,732 --> 01:26:45,238
 We've lowered the set again. The
 actors must be sitting on the floor.

952
01:26:45,238 --> 01:26:49,075
 We really get the impression that
 the water has reached the ceiling.

953
01:26:49,075 --> 01:26:52,412
 We had to find an idea for the kiss.

954
01:26:52,412 --> 01:26:55,457
 There's nothing more traditional
 than a film kiss.

955
01:26:55,457 --> 01:27:02,923
 l was very pleased with my idea for
 the underwater kiss. lt was nicked ...

956
01:27:02,923 --> 01:27:06,051
 ... by the Americans.

957
01:27:06,093 --> 01:27:11,181
 For ''Amélie'', l had the idea
 ofthe kiss in the hall.

958
01:27:11,181 --> 01:27:14,893
 The film kiss is always a challenge.

959
01:27:14,893 --> 01:27:20,145
 This was the shot where
 a prop blocked the camera.

960
01:27:20,607 --> 01:27:24,861
 The actors are almost lying
 on the floor.

961
01:27:24,861 --> 01:27:31,034
 We're still in the 70 centimetre pool,
 with the set lowered maximally.

962
01:27:31,034 --> 01:27:34,955
 There's only 20 cms
 between the water and the ceiling.

963
01:27:34,955 --> 01:27:37,999
 This is another very special set.

964
01:27:37,999 --> 01:27:42,746
 We hired these trucks
 at the Cetac buildings.

965
01:27:44,297 --> 01:27:50,303
 ln fact we're in the courtyard, we
 just built the outer bathroom walls.

966
01:27:50,303 --> 01:27:53,431
 We filmed it with five cameras
 and did trial runs.

967
01:27:53,431 --> 01:27:57,477
 On the body ofthe truck
 we built an enormous cistern, -

968
01:27:57,477 --> 01:28:02,065
 - which contained 10 times as much
 water as the bathroom would have -

969
01:28:02,065 --> 01:28:08,024
 - to get this result.
 And we filmed it with five cameras.

970
01:28:08,113 --> 01:28:11,658
 We realized there was
 a completely safe place, -

971
01:28:11,658 --> 01:28:15,871
 - where Mme Tapioca,
 Anne-Marie Pisani, is standing.

972
01:28:15,871 --> 01:28:20,876
 She was sure she'd be
 carried away by the water, -

973
01:28:20,876 --> 01:28:25,046
 - but of course we didn't
 take chances with her safety.

974
01:28:25,046 --> 01:28:28,258
 The water had an enormous force.

975
01:28:28,258 --> 01:28:33,611
 l remember seeing Ticky Holgado
 passing below me, -

976
01:28:35,015 --> 01:28:38,651
 - and he was aquaplaning.
 Amazing.

977
01:28:39,269 --> 01:28:46,276
 Afterwards we built another cistern on
 the 2nd floor to get all these shots.

978
01:28:46,276 --> 01:28:51,740
 We filled it and emptied it several
 times, so the set was ruined, -

979
01:28:51,740 --> 01:28:55,994
 - but we had
 no more shots left to do there.

980
01:28:55,994 --> 01:29:00,438
 The paint peeled of,
 but it didn't matter.

981
01:29:01,082 --> 01:29:04,211
 We were done with the set.

982
01:29:18,391 --> 01:29:22,312
 A lot of special effects
 were needed for this set too.

983
01:29:22,312 --> 01:29:29,281
 We had to rebuild and repair the
 bathroom so it looked like before.

984
01:29:30,570 --> 01:29:36,493
 Some ofthe boards are showing
 and you can see the tiles ...

985
01:29:36,493 --> 01:29:42,457
 lt's not at all perfect.
 Look at those bricks falling down ...

986
01:29:42,457 --> 01:29:47,103
 Caro and l were so ashamed
 when we saw that.

987
01:29:55,887 --> 01:29:59,766
 Every actor in every film
 have problems with one line.

988
01:29:59,766 --> 01:30:04,312
 For Karin Viard it was that line.
 We did it 50 times.

989
01:30:04,312 --> 01:30:06,146
 lt's a mystery.

990
01:30:06,147 --> 01:30:12,487
 No matter who the actor is, he or she
 always has problems with one line.

991
01:30:12,487 --> 01:30:18,749
 Let me pass! l just keep getting
 into hot water. What a day!

992
01:30:21,538 --> 01:30:24,871
 Caro made these musical effects.

993
01:30:25,041 --> 01:30:29,586
 l enjoyed editing the sound
 for this scene.

994
01:30:29,671 --> 01:30:33,307
 lt was hard to find adequate music.

995
01:30:35,010 --> 01:30:39,889
 D'Alessio's music is wonderful,
 but not for action scenes.

996
01:30:39,889 --> 01:30:45,646
 So this scene is made
 with Caro's little sound effects.

997
01:30:48,648 --> 01:30:51,776
 No more bullshit!

998
01:30:52,235 --> 01:30:55,363
 You're toast!

999
01:30:58,199 --> 01:31:02,454
 This is the gag l'm least proud of,
 but it made the audience holler.

1000
01:31:02,454 --> 01:31:07,706
 The easiest gags often do.
 That's a bit difficult.

1001
01:31:07,959 --> 01:31:12,338
 The-kick-in-the-butt-and-
 the-guy-falls-into-the-pool-routine -

1002
01:31:12,338 --> 01:31:15,759
 - still works in French film.
 That irritates me enormously.

1003
01:31:15,759 --> 01:31:19,512
 So l'm a bit ashamed
 ofthis facile gag.

1004
01:31:19,512 --> 01:31:23,975
 Anne-Marie Pisani looks completely
 deranged in this scene ...

1005
01:31:23,975 --> 01:31:28,621
 ln a moment
 we've got another video insert -

1006
01:31:29,606 --> 01:31:32,734
 - ofthe flying knife.

1007
01:31:33,068 --> 01:31:36,196
 - Damn!
 - Bastard!

1008
01:31:36,446 --> 01:31:42,203
 The film was so cheap
 that we tricked this in one take.

1009
01:31:42,410 --> 01:31:48,541
 We had half a revolver.
 The special effect was storyboarded, -

1010
01:31:48,541 --> 01:31:54,464
 - and then we shot it in reverse.
 That's a tight budget for you.

1011
01:31:54,464 --> 01:31:59,177
 The video insert ofthe knife
 is far from perfect.

1012
01:31:59,177 --> 01:32:03,681
 Of course that's just a knife handle
 stuck onto Dreyfus' forehead.

1013
01:32:03,681 --> 01:32:08,731
 He couldn't move very much
 or it would fall off.

1014
01:32:09,896 --> 01:32:13,191
 Have lgotsomething here?
 l like that line.

1015
01:32:13,191 --> 01:32:18,948
 lt worked well, especially
 with Mme Tapioca's reaction.

1016
01:32:20,532 --> 01:32:25,986
 l'm not dreaming, right?
 Have l got something there?

1017
01:32:27,080 --> 01:32:31,726
 lt still makes me laugh.
 That's a good sign.

1018
01:32:37,006 --> 01:32:41,147
 lt's funny seeing
 the film years later.

1019
01:32:41,511 --> 01:32:47,183
 You see it with indulgence, yet
 you're merciless towards yourself.

1020
01:32:47,183 --> 01:32:50,516
 lt can be a very painful ordeal.

1021
01:32:52,522 --> 01:32:56,276
 Always unpleasant to have
 a drop of blood in one's nose -

1022
01:32:56,276 --> 01:33:01,124
 - that has to trickle out
 at the right moment.

1023
01:33:06,202 --> 01:33:09,247
 Jean Rabasse's model
 for the last time.

1024
01:33:09,247 --> 01:33:11,624
 This is the crane shot in the film.

1025
01:33:11,624 --> 01:33:19,098
 We could only afford to hire the crane
 for one day and we did this shot.

1026
01:33:33,188 --> 01:33:37,531
 This is the only exterior
 daytime shot, -

1027
01:33:38,693 --> 01:33:44,365
 - which we did in the empty plot
 on the roof. We did several takes.

1028
01:33:44,365 --> 01:33:47,660
 But this one was quite exceptional
 with its ''false colours''.

1029
01:33:47,660 --> 01:33:53,708
 The sun appeared and disappeared
 many times, producing colour changes -

1030
01:33:53,708 --> 01:33:58,004
 - that are normally considered
 errors and are not used.

1031
01:33:58,004 --> 01:34:05,579
 We kept them because they had that
 magical feeling, which adds something.

1032
01:34:06,971 --> 01:34:09,431
 lt's a strange ending.

1033
01:34:09,432 --> 01:34:13,520
 The main characters are
 under an umbrella.

1034
01:34:13,520 --> 01:34:20,526
 When we first shot this scene, it was
 raining, and we found that too sad.

1035
01:34:20,526 --> 01:34:26,032
 We preferred the takes without rain,
 but somehow the umbrellas remained ...

1036
01:34:26,032 --> 01:34:29,567
 One ofthese strange little things.

1037
01:34:35,500 --> 01:34:42,772
 Look at the false colours, a bit
 offog, a bit of sun, a bit of it all.

1038
01:34:43,550 --> 01:34:46,678
 And now it's clearing up.

1039
01:35:14,831 --> 01:35:17,166
 And now to the end credits.

1040
01:35:17,166 --> 01:35:21,913
 l like to present the actors
 in another way -

1041
01:35:23,756 --> 01:35:26,301
 - than simply listing their names.

1042
01:35:26,301 --> 01:35:31,556
 lt's like a homage at the theatre,
 seeing them one at a time.

1043
01:35:31,556 --> 01:35:38,424
 This allows the audience to applaud
 them at festivals ifthey like.

1044
01:35:39,731 --> 01:35:41,899
 lt's a little homage.

1045
01:35:41,899 --> 01:35:48,666
 Sigourney Weaver really liked
 that when she saw ''Delicatessen''.

1046
01:35:55,705 --> 01:36:02,775
 l'd like to see the two boys today.
 They must be grown men of 20 ...

1047
01:36:03,338 --> 01:36:06,466
 lt must be really strange
 for them to see the film again.

1048
01:36:06,466 --> 01:36:13,940
 A bit like old family films, but in
 35 mm, costumes and proper lighting!

1049
01:36:28,738 --> 01:36:34,899
 That was the only scene we cut out,
 Zardi starting his car.

1050
01:36:36,412 --> 01:36:42,674
 You didn't see that in the film.
 We cut out very few scenes.

1051
01:36:43,503 --> 01:36:48,424
 l prefer to devote the energy,
 time and money to scenes -

1052
01:36:48,424 --> 01:36:52,387
 - that will be in the film instead
 of cutting 3 hours down to 1 1/2.

1053
01:36:52,387 --> 01:36:54,889
 l don't understand that method.

1054
01:36:54,889 --> 01:37:01,562
 l'd much rather prepare things
 carefully and use all the material.

1055
01:37:01,562 --> 01:37:06,814
 l hope l haven't demystified the film
 completely -

1056
01:37:07,276 --> 01:37:12,528
 l hope l haven't demystified the film
 completely -