:16:03
But we manage to transform dangers
into creative potentials.
:16:08
It's different from the Americans,
who destroy everything with napalm.
:16:13
Then, you see Leonardo di Caprio
in Viêt-nam. Actually,
:16:18
he's on a 70m-long yacht
:16:20
on a lake and does nothing.
:16:23
We really took the plunge.
:16:26
We did everything by ourselves,
and hoped it would go right.
:16:33
We were dilettantes.
:16:36
By dilettantes, I mean
:16:40
we had the faculty to create novelty,
:16:44
to create abnormal situations
:16:48
that you don't generally use
:16:50
in this kind of normal productions.
:16:54
I'm convinced that we succeeded
:16:59
because we were attracted
:17:02
by this passion for novelty,
:17:07
by the wish to make a movie
:17:09
that goes off the beaten track.
:17:15
I was really interested
:17:18
in the possiblility of making
:17:22
the images of the second half
of the movie credible.
:17:27
We made it thanks to the skills
of our camera operator
:17:31
who shot the scenes,
camera in hand.
:17:35
The imperfections helped
:17:39
to made the images we shot
credible.
:17:44
When I think about it,
:17:47
I lived in the hope
:17:50
of carrying our project through.
:17:55
There are two filmic languages:
the classical language
:17:59
of the structure of the film