:20:00
Christ already lives in us,
:20:03
but to show him in
a violently mundane context...
:20:09
It may seem a desperate
gamble.
:20:12
Blasphemy, almost, I agree.
:20:15
But I know an artist such as you,
whether a believer or not,
:20:20
will understand
that structuralist cinema
:20:23
can recapture sublime poetry
through primal images
:20:28
that are spare,
eloquent in their poverty -
:20:32
syntagmatic, as my friend
Roland Barthes would say.
:20:35
Something between Dreyer
and Pasolini
:20:39
with just a hint of John Ford,
of course.
:20:43
As long as it reflects
:20:44
the death throes and decay
of our capitalist system...
:20:49
a Western can claim
to be militant.
:20:53
That's what Lukacs says.
:20:55
We'll create historical characters
sociologically contextualised.
:21:00
Thus, our two outlaws represent
irresponsibility and anarchy.
:21:04
The busty girl is the illusory
escape into the irrational.
:21:08
The prairie is beyond history
:21:10
and the bisons are
man's struggle for subsistence.
:21:15
This film will be in color.
:21:17
Harsh colors, rough costumes
:21:19
to reconcile the holy landscape
with the prairie.
:21:24
Sort of Piero della Francesca
and Fred Zinneman...
:21:28
An interesting formula.
You'll adapt to it very well.
:21:32
Just let your heart speak.
:21:34
The producers promised me
a Ferrari -
:21:37
latest model.
:21:40
Where is it?
:21:43
Yes, the Ferrari...
:21:46
You'll get the Ferrari.
After the show.
:21:50
You'll get it
after tonight's gala.