What are you doing?
Can't you guess?
- I'm off. - So soon?
Marie-France Pisier, for Love on the Run, you appear in the credits as a scriptwriter.
Yes.
How did that work out?
Did Frangois Truffaut commission you? Did he ask you to write something?
Yes, he explained to me...
I don't know whether he said, "it's the end for Antoine Doinel,"
or "Antoine Doinel is dead,"
but anyway, he was quite emotional.
He knew it was a way of getting closure,
of ending the saga about Doinel, which affected him enormously.
He immediately conveyed to me that he was extremely anxious for Jean-Pierre.
He didn't how it would effect Jean-Pierre Léaud
to know he was ending that storyline.
And straightaway there was this sort of contract in our relationship.
He wanted me to help him with the screenplay,
the part about my relationship with Jean-Pierre.
That's the part I worked on
with Suzanne Schiffman and him.
But he also had this idea that he wanted me there, taking his side
with regard to Jean-Pierre, who he was worried might lose the plot.
And how did you work? Did you watch the earlier Doinel films
to be able to insert bits of the story like that?
We very quickly got together and talked.
He asked me what I wanted to do in the film.
He really wanted Jean-Pierre to meet his first love again.
He said, "What job could you have?" And we chose a job.
He knew I'd studied law so it was easy to decide on me being a lawyer.
Then we decided what things she would be up against,
what would cause her problems.
We decided on the death of a child, a theme which runs throughout the film.
It's one of the themes that keeps circulating.
And most importantly, the way Antoine and Colette met
had to be reminiscent of this completely wild side...
This elusive side.
She's a woman who has eluded Jean-Pierre
and he wanted us to bring that idea back in.
And I was...
I was very much behind the idea of the train, which I'm very pleased with.
Especially seeing as Truffaut said this was a film
built round the notion of real-life flashbacks,
because these were real actors and real people
who followed Jean-Pierre from the age of 13 to, I don't know how old, about 30.
He put a lot of thought into how to introduce the flashbacks.
He worked on that in the first films,
but in this one in particular, there is a whole series of flashbacks.
I remember him saying about the train idea,
when I sent him my idea that they could meet on this train,
"That's a wonderful way of introducing the flashbacks.
"The rails and the sound of the train. It works, I'll buy it."
And that was one of the first things we worked on.
I didn't work on the overall structure of the film.
I worked more precisely on the relationship between Colette and Antoine.
For my part, I worked a lot with Suzanne Schiffman.
We compared notes with each other and then with Frangois.
- And Jean Aurel? - Yes.
But Jean Aurel perhaps worked more on other things.
- On the editing? - Perhaps.
The extracts taken from the four other films?
On the amount of old clips, perhaps.
Straightaway, we see that Antoine Doinel has changed a lot.
He's much more self-assured,
his relationship with women is much more calculating, much more shrewd.
He's lived a bit, he got married,
he's had mistresses,
he's separated from Christine Darbon,
Christine Doinel, and he's even about to get divorced.
So he's got a story to tell.
And there he's really finding it hard to agree to live with her.
He's ostensibly a brat.
He's running away a bit from the main characters.
And this choice of Dorothée and the character she plays,
it's very contemporary.
She's a thoroughly modern girl.
She was already working with children at that time.
I can't remember exactly what she was doing at the time,
but I know Frangois had...
I don't know if she already had a children's TV programme by then,
but she was linked in his mind...
Apart from the fact that she no doubt looked the part,
there was something that he liked about the way she related to children.
I think one of the jobs she does in this film involves writing or drawing for children.
Léautaud's Diaries!
That's a reference to Leautaud whose work Truffaut wanted to adapt.
He wanted to adapt The Little Friend for the cinema but gave up.
I think another filmmaker had the same idea.
- But Léautaud is very important for Truffaut. - Yes.
First the idea of a diary in 18 volumes
and then the idea of a man who is in love with his mother.
Anyway, thanks for his diaries.
Antoine is going to find another job. He's a proof-reader.
A proof-reader in a printing house.
I remember a conversation with Frangois where he was uneasy, suffering a little.
I said to him, "Why does Antoine Doinel have to stop there?"
He said, "Because now Jean-Pierre is a man who is out there in the world.
"I can't keep finding odd jobs for him here and there.
"And Antoine Doinei with a proper job is no longer Antoine Doinel.
"So I don't know what to do with him."
Yuck!
Those of you who know Frangois Truffaut will know all is not well there.
If she turns up with a girlfriend and he's faced with two women,
he's going to fall in love with both women, so we sense that trouble is brewing.
How to choose?
How could he not love them all?
I think it's unique in the history of cinema
to pick up a character like that.
In the interim, Jean-Pierre Léaud made other films
with other filmmakers, as did you.
Do you remember how Truffaut felt about picking them up again,
picking up the threads again?
Was it emotional for him?
On the Doinel series? Yes. I know it was very close to his heart.
As I was saying to you just now, what really distressed him
was this idea of putting an end to it.
- Perhaps... - To get rid of Léaud, in a way.
He worked a lot with Jean-Pierre afterwards, but Antoine Doinel was disappearing.
The osmosis between Truffaut and Doinel and Jean-Pierre Léaud was hard to define.
Was this his last film with Jean-Pierre?
- It was their last film together. - No, they shot Two English Girls after this.
Love on the Run was in '78, '79.
- They didn't work together again? - No. It's their last movie together.
- Two English Girls was in '71. - Good Lord.
- This was their last film together. - Yes.
I think he would have found a way of using Jean-Pierre again,
but with the Doinel films, it was...
It was hard.
Okay. I'll be there.
I've got two seats for the Shapiro concert.
Want to come?
I'm busy. Do you want Paul Simon? If not, I'll put him away!
First, I want to listen.
In the booth. What a creep!
I think there's a strong physical resemblance between Leaud and Truffaut.
The suits...
It was impressive when we were shooting
just how closely Jean-Pierre managed to resemble Frangois.
But since I had seen Jean-Pierre in a Godard film,
having no difficulty looking like Godard,
I knew he'd be all right.
How could you forget our divorce?
No one would believe it.
The incredible is often true.
I bet you've forgotten our wedding date.
February 26!
You actually remember!
It's Saint Nestor's Day.
Of course.
- Why the violin? - For a lesson.
That's Bed and Board.
That's the end, the separation,
the argument between Antoine and Christine.
You can have the bed.
No, not in the same room as you!
It's already over.
He doesn't believe in it any more.
He doesn't believe love can last forever.
But with Truffaut, there is this idea
that after love there is friendship.
There's this idea that you continue to have a relationship.
- Yes, at least... - Not as brother and sister or ex-lovers,
but you retain something.
Yes, but at the same time, the dream's over.
I think at one point he says,
Jean-Pierre says to Claude Jade when he leaves her,
"You're my sister, you're my mother, you're my friend," whatever,
and she replies, "I would have liked to be your wife, too."
- That's at the end of Bed and Board. - At the end of Bed and Board,
so something remains after love, but it's no longer love.
Of course, of course.
- So it's... - It's a sort of loving friendship...
- You have to keep the connection. - You have to keep the connection, but...
It's still very painful when you know
how much the characters put into the love affair.
This is the section with the lawyers, the divorce, the proceedings.
Here, too, there's a need to get things right.
It corresponds to something real at the time.
I mean, the administrative procedure for divorce.
Divorce by mutual consent.
So it's very tied in with the period you wrote it in.
Yes.
I can't stay long. I'm meeting some friends later.
That's Stolen Kisses.
- You're sure now? - I don't mind at all.
If you did, would you tell me?
No, I wouldn't. But I really don't mind.
Mr Doinel, to the Judge's Chambers.
Please be seated.
I'm seeing you separately
to make sure you both reached your decision
freely and without coercion.
Since our first meeting
three months ago, you've had time to consider
the consequences of your act.
Until very recently,
to get a divorce, you had to produce abusive letters from your spouse.
What if they hadn't written any?
I'd make some up...
We get information about what divorce used to be like.
That's right, yes.
This is very cruel, cutting this scene with the previous one, because...
In the previous scene he wants to kiss her.
Here it's the reverse. A few years have passed.
He lets it happen but...
Mrs Doinel to the Judge's Chambers.
I'll now read the clauses of the Settlement.
"Names of the parties:
"Mrs Doinel reverts to her maiden name of Christine Darbon."
He mixes things up a bit here.
She changes her name back to Christine Darbon,
which was Colette's name.
There's a little twist there with your character in Antoine and Colette,
who becomes Christine.
"Child Custody and Support:
"By mutual agreement the mother will have custody of the child.
"The father is granted visitation rights
"and may provide lodging for a period
"not in excess of half the annual vacation.
"Mr Doinel will pay Mrs Doinel
"as his share of child support a monthly alimony of 900 francs..."
There, too, it's very interesting.
Even in this crucial, painful moment of divorce,
he can't help catching this woman's eye and fantasising about her.
It's always there in the background,
this impossibility of settling for one woman's face.
Will you do it?
Try me.
Put your glasses on again.
What was incredibly successful, I think,
in these Doinel films, is...
Antoine Doinel is terrible, in that he doesn't stop running from one woman to the next,
but at the same time, Frangois manages to make it very moving.
It's a strong case of self-defence
which is extremely successful.
Because he's immature, so we forgive him for everything.
"...both parties will bear the costs."
He believes deeply that love doesn't last, that love is always on the run.
I think, too, it's because we've seen
Antoine Doinel as an adolescent, a child aged 13, in The 400 Blows.
The charm he showed in this film and the emotion we felt for him
protects him indefinitely and gives him enormous credit.
Pictures! Hope they'll give us a few.
Funny!
Let's make a good impression.
It was bound to happen.
- That's it. - This is where you appear.
You don't say hello?
How are you?
- It's so nice to see you. - You too.
See our debate on TV?
That prosecutor overdid it.
The law isn't so new.
Giscardian divorce!
Right, Antoine?
Leave me out of it.
The lawyer assigned to the case.
I know that guy.
He's Antoine Doinel.
I met him years ago, at a Youth Concert.
Seeing that today in 2000, having seen TV series
incorporating reminiscences, images from the past,
Truffaut was really ahead of his time.
He had such novelistic material
that he could insert scenes with the same characters.
It's very unusual to see that in the cinema.
Very few filmmakers have been able to film an actor over several years like that.
Today, with virtual editing,
you can use these types of inserts
to bring someone back into the story.
He was always excited by the idea
that the cinema could capture a face over several years.
He used to say, "We'll do a film every six years."
I know he said that to a lot of actors.
I think he was very interested in the idea that the camera was like a treasure trove
for the passing of time, for faces.
It has always been very important for him,
as with the Doinel films, to create a real character
who follows this novelistic trajectory...
Watch out for your suit!
Here Doinel is always in a hurry, a man in a hurry,
always a bit on the run.
And here, too, we see his work, we see...
The printing house.
He told me he had to rack his brains to find jobs for him.
I know it was one of his biggest problems with Stolen Kisses
and Bed and Board, I can't remember what jobs he did.
For him it was always the starting point for the script.
He always said, "I must find him a little job."
They were always interesting jobs, but relatively marginal.
This was someone who could never be anything other than marginal
and who was always a bit artistic, too.
But if you look at what he went on to do with Depardieu
or with Charles Denner, it's the same thing.
With Depardieu, or Charles Denner, I'm thinking of The Man Who Loved Women,
Charles Denner drives models into the water.
It's the same for Depardieu in The Woman Next Door.
The men always have jobs that are a bit...
That involve miniature objects.
I remember when you only went out with tall girls.
Very tall.
I liked them at least a head taller.
Here Charlie Chaplin comes to mind,
but also Truffaut
and how short he was compared to women.
As for my involvement in the script, he asked me who I would like to work with.
"Who would you like to have as a lover?" I said Daniel Mesguich, who I really admired.
I'd mainly seen him at the theater.
One thing at a time. First, which Dalloz?
His book on child-murderers.
It's that case in Draguignan. I'm in a spot.
I see you couldn't care less!
Listen, Colette.
In here, you're just another customer.
Thanks!
Well, to me, you're much more than a salesman!
Don't I know it!
What strikes me, if you like, is that...
In fact, it's Colette who most resembles Antoine Doinel
out of all the women he has had.
She's the most...
I don't know how to say it. She's someone who's always on the move.
She has lovers but doesn't know where she is.
She has a job she doesn't know if she should be doing.
She doesn't know how far she should go with this case.
As a woman, I've always felt she's...
More like Antoine's sister than...
That's perhaps why she never becomes his sexual partner.
They're a bit too similar.
Yes, she's rebellious. Both unstable and rebellious.
What a bastard!
Love And Other Troubles.
That's it!
Let's see your bread.
You ate some.
When you see images from The 400 Blows,
it seems Jean-Pierre can do anything.
It's beautiful, very harsh.
At the same time, he's self-critical in the film.
He says, "Having an unhappy childhood doesn't make it okay to annoy people."
He contradicts everything. That's why I love Love on the Run.
It's really a condensing of all the questions he's asked himself
about how far you can go when you're talking about yourself.
With its autobiographical references and "sublimation",
Love on the Run really revolves around this issue.
Gare DE Lyon.
To come back to my idea about "Best of", this is like a "Best of Antoine Doinel"
but before digital editing,
before special effects.
I'd say that Truffaut almost anticipated our era in '78, '79.
He had already anticipated what to do with his stock of images,
namely, to redistribute them in a story,
by taking the characters as they are
20 years later, 15 years later.
- The station is a place where... - The station is wonderful.
It's a very funny moment, too,
because he settles his scores with his critics so wonderfully.
- It's as funny as anything. - About the music.
It's going to come up a bit later but it's a reply not to be missed.
When you think of all the debate there was between the director and the critics,
there was already...
Having said that, he himself was a critic and a very harsh one.
He was talking about himself here, too,
except that he went from being a critic to a filmmaker.
He was a good critic and a good filmmaker, unlike everyone else.
He didn't say he had been a great critic.
He was a great critic,
but he was always annoyed with himself for being so cruel.
In relation to the controversy surrounding him recently, he said of himself...
In time he came to think that he had sometimes been too negative.
In fact, he was like all those people who thought
you could do a lot of good for cinema
by outlining the merits of a film rather than destroying it.
He was perhaps too ensconced in a position of...
"That's good, that's not good."
It's better to evaluate what is good to teach people,
but from a positive standpoint.
I have a memory of him telling me
he stood by most of what he said because he was rarely wrong,
in terms of aesthetics, not the harm he did people.
He rarely got it wrong. He felt he had...
He didn't go back on his opinion.
That's your coach, I think.
Run, my son!
Be nice to little girls.
Give your daddy a kiss.
This insert isn't from any of the films.
He just liked the line, "Hold on, Dad."
Which one is mine?
Number 51.
When does the train leave?
In six minutes.
- Is there a diner? - It's up front.
When does it leave?
Your train leaves very soon.
In exactly 15 minutes.
I bet that woman's a spy.
Your violin, Alphonse. Practise well.
Practise to become a great musician.
And if I don't?
If you don't practise, you'll wind up a music critic.
That's the sentence.
It's leaving.
I like that a lot.
This reference to musicals, to silent movies,
to Chaplin...
And here, for example,
this new departure, if you like, for the story between Antoine and Colette.
It starts out with something real,
which amused Frangois, because it's what happened in real life.
One day Jean-Pierre, when I was taking the train after filming in Paris
and I was going back to Nice or somewhere,
he came to see me off at the station and at the last moment, he got on the train.
We carried on chatting on the train,
and I told this to Frangois and he was staggered at Jean-Pierre's nerve
and he loved the idea of inserting into Love on the Run
something partly true instead of something else.
We were constantly able
to work fact and fiction into the screenplay.
She invents a personality that isn't hers,
he makes up a story about the torn letter.
But there is always a little something,
which is a reference to fiction, which is truer...
Fiction becomes truer than reality.
"She's not even my type."
What's funny is that, obviously, Frangois was often confronted
by the fact that lots of people recognised themselves in his films.
What he dramatises here in the film
is the fact that someone like me, for example,
complains about seeing something in a book that pretends to be true but isn't.
If you like, it comes down to, "Am I allowed to or not?"
And he thinks he is allowed to.
Of course he's allowed to.
At the end of Bed and Board,
when Antoine Doinel says he's writing a novel for his wife Christine,
she tells him she doesn't like the idea of settling scores through literature.
That's a real discussion Frangois Truffaut had with someone.
- Perhaps he had it with himself. - Or perhaps with his wife.
The idea that you don't make a work of art to settle your scores. But I think he's right.
Anything is allowed.
I think that, once you're an artist,
whether in the cinema or in literature, wherever,
you always come across people who see themselves in the work.
Those who write or make films are shocked
because in their minds, so many elements come together
that it's no longer reality, or they have forgotten.
People recall a tiny detail and are always very angry.
I think that happened to Truffaut lots of times.
Here, too, he's not afraid of mixing black-and-white with color,
and it works.
What's funny in the train...
NéstorA/mendros did the cinematography for Love on the Run,
and Frangois was always playing jokes on Néstor, who he adored.
He had huge admiration for him.
But NéstorA/mendros had a reputation for being quite whimsical, for dreaming.
He was good at his job but he was a dreamer.
So at the last minute, Frangois would unplug something and say, "Action!"
And he'd burst out laughing because Nestor hadn't noticed.
He played endless jokes to lighten the mood.
Because it was a shoot that I remember being very painful for him.
I don't know why. The atmosphere was very distressing.
Jean-Pierre disappeared a couple of times, he wasn't happy.
There was the notion, there's no other word for it,
of death hanging over the death of Antoine Doinel.
I know Suzanne Schiffman was in the same state as him.
It was really tense.
As always in these situations,
there was a need to try and have some fun on the shoot
and these two things at the same time...
Fate decided otherwise: her family moved and now lived
right across the street from me.
How long did the shoot last?
- Not that long. - I can't remember.
The scenes shot in '78 only last about 40 minutes, I think.
- The film is about an hour and a half long. - Yes.
- There are lots of scenes... - There are a lot of sets,
so I don't know how long it took, six or seven weeks.
I called her "Peggy Proper."
"Peggy" for her British reserve.
"Proper" because she was.
As for the type-casting of Claude Jade, he made her look very wise.
I forgot my handkerchief. Can you lend me one?
I've only got Kleenex.
I never blow my nose in paper!
- Well, so long. - Where's your violin?
The film is built around the odd habits and mannerisms that characterise a role.
It's quite rare in the history of cinema
to go back to someone, to recognise them,
to be able to say, it's definitely him, it's Antoine Doinel.
There's always a bit of time-lag.
In this scene we see the thought process.
There's a picture which formulates the thoughts of the character.
Eureka! The penny drops.
Naturally.
I think that's really lovely,
with these flashbacks.
Truffaut seems to be experimenting with special effects,
which were quite rare in the cinema, and especially in his films,
but that was the process.
Really?
Oh, yes, I'll be right there.
So the train was your idea.
It's a very Hitchcockian idea.
Yes, and the idea of the misunderstanding,
because she's hoping it's her lover
who got on the train but it's someone else.
And this is what I was saying earlier,
she finds herself in a similar situation to Antoine Doinel, unlucky in love.
Also, there's something interesting in terms of the dialogue,
which Frangois had a hand in much more here.
There are some very literary elements that he was attached to.
"It's you, my love. I was hoping it would be."
I said to him, "Are you sure?" He said, "Yes, you have to say it like that."
Because...
I don't know. He had some literary reference in his head...
What a strange day.
These are characters from a novel. Life is really a novel.
It's really the idea of a novel.
Colette, too, has a past.
We learn a lot about you in the film here.
Colette,
I often think of you.
How long has it been?
Stop!
No figures, no dates. We don't need that!
- Is that Frangois talking there? - Yes.
That's Frangois speaking.
No numbers, no dates, just the passing of time.
So instead of Frangois and Jean-Pierre, I bring up the idea of time passing.
How much time? Too much, perhaps. We don't want to know. That's the idea here.
A bit autobiographical, but fiction.
You said it!
I just read that part about my family moving.
Here's how it goes...
We've come back to the idea
of changing the truth, emphasising something and changing it,
and people aren't happy.
Fair enough.
"Fate decided otherwise: her family moved
"and now lived right across the street
"from me.
"I couldn't turn down their invitations
"without being rude."
Sharp and well written, but it's a lie.
A pack of lies.
You gave up your room
to move across the street from us.
My parents were so surprised that day
when we got home.
Do you see what I see?
The picture proves that you're right.
We have a picture to prove that he's lying.
We filmed the scene.
That's wonderful.
Because Truffaut can occupy all the possible places and positions
through Doinel.
Truffaut liked misunderstandings.
He liked it when the truth wasn't totally clear-cut.
But William Irish's books were often about misunderstandings.
They're all a bit like that.
Mississippi Mermaid is about someone who gets mistaken for someone else.
It's almost the essential starting point.
But the sun shines down on our side!
You're right.
But it worked better with the roles inverted.
There you have it. Yes.
And I merged several people into one character.
I know all about creative devices.
But I'm right in assuming the girl from the Youth Concerts
is in fact me?
Let's get back to you.
I think it's wonderful that this is happening on a train.
The passage of time and all that.
Images flashing by.
And the sound, too.
An outsider can't presume to judge, but...
Did you really try to save your marriage?
No, on the contrary.
In writing my book,
the memories of my past made me edgy, nasty.
Christine was no help. She disapproved of my work.
So I started playing around...
What strikes me is that Frangois Truffaut likes intimacy
but straightaway he feels he has to expose it and talk about things.
Marriage, divorce, break-ups...
He spoke about mistresses.
The novel isn't afraid of intimacy.
Nor is film, or cinema, of course.
Thank you.
Going out?
Yes I am.
But you can stay here with Alphonse.
This scene is very long.
He took three or four minutes from Bed and Board.
Yes.
Another thing I remember is...
What really struck me working with him as an actress
was just how he hated rehearsals.
He didn't like actors to rehearse,
especially...
Often it was because he got them to do relatively trivial things
and it was up to everyone to bring poetry to the process.
He hated us rehearsing the intensely dramatic scenes, for example.
I know because I had to play a dramatic scene in this film,
which has to do with the death of a child,
which comes a bit later, I think.
And Frangois was almost cruel,
because an actor needs to warm up a bit, after all,
to rehearse,
especially if the atmosphere of the film is particularly heavy.
But he didn't want to. He wanted us to launch straight into the scene
and then go immediately on to something else.
And I had a bit of, not exactly friction with him,
but I found him a bit offhand.
Actors had rights, too. They had their careers, too.
We discussed it and I said we were entitled to a bit of concentration.
But it's this idea that the transition between life and film had to be graceful,
light and joyful, with momentum.
It's strange to analyse this sort of...
...almost hatred at the idea of seeing an actor rehearse.
He really didn't like it.
And yet he liked inventing things
but he wanted it to happen easily, seamlessly.
Don't send me a copy. I won't read it.
I dislike the whole idea
of writing about one's youth to smear one's parents.
I'm not smart, but I know this:
Writing to settle old scores isn't art!
That's a typical Truffaut line,
in the sense that it is quite radical but at the same time...
We can definitely challenge it because Truffaut always did the opposite.
Yes, and he really admired very violent things
by other filmmakers or authors.
- Of course. - With Léautaud and others.
When you visit the baby, I won't be home.
Where's that cab?
They said six minutes.
Anyway, I hope you're happier now.
I wouldn't say that.
It's hopeless. She and I hardly talk any more.
You can always smile.
That's all we do!
By evening, I've got lockjaw from all that smiling!
That's mean. He's talking about a Japanese girl who smiles all the time.
I'm expected to make small talk.
I can't even eat!
It's awful.
I told her I was going away for three days.
I don't envy you.
If I may be so bold,
Jean-Pierre Leaud really reminds me here
of Tom Cruise in Kubrick's film, with this coat.
- Have you seen Eyes Wide Shut? - Yes.
I'm really struck by how much Tom Cruise looks like him.
This romantic side,
his hair...
You're sweet.
Kiss me.
Jean-Pierre comes out with a very thought-out line when she gets into the car.
Here it is. It's good.
You're my sister, my daughter, my mother...
I'd hoped to be your wife as well!
- So there! And she's right. - So there.
During one of our reconciliations
a newcomer joined us.
That's the script speaking there. Someone is brought in.
...and all Christine aspired to be.
I've always wanted to play.
Shouldn't I buy my own violin?
It's too soon. Just rent one.
See you Saturday.
I'll tell you where to rent a violin.
Great. Good bye.
Sorry to come back to Jean-Pierre,
but what fascinates me greatly about this actor,
who has become a stupendous actor,
is the extent to which he already knew
exactly when a director wanted to almost highlight the text.
He wasn't at all afraid of faking it to emphasise a line.
In Truffaut's world, and he was perhaps less successful in other films,
but what he's doing is unique.
And it made certain critics gnash their teeth,
but I think, on the contrary, he was absolutely right
in terms of what Truffaut expected.
You're close. They were commissioned by Eric Rohmer for his film.
Who did them?
That's incredible.
- It's really a quotation... - Is that Luchini we can see?
That really is a nod to Rohmer there.
Sometimes, Liliane slept over.
Alphonse had grown.
Did you sleep well?
He's gone back to something he's fond of there,
people inhabiting different windows. He used it in Love at Twenty.
Here he goes back to this idea of people framed in a window like that.
- Shut what? - Shut your trap!
Since her arrival,
I'd had no intimacy with Christine.
So I rented a summer house.
And there she was again.
One, two, three...
Now, left foot forward...
One and two...
Your hands like this.
I'll never make it.
You will. Let's try again.
It was as if they wanted to exchange personalities.
If Antoine knew, we'd never hear the end of it.
You know, he's reading Colette.
Her books on backstage life, the Claudine series.
So he's got lesbians on the brain.
I don't know if he often referred to female homosexuality
but I think it appears in The Last Metro.
With Andréa Ferréol, yes.
- I think that's it. - Yes, that's it.
"You know what I mean? If I were you, I'd be careful."
The old, familiar pattern.
Husbands need breathing space.
They leave, come back and leave again.
One day, they find the door bolted.
I didn't mean to depress you.
What will you do? I mean about your ticket?
Get off at the next stop.
No stop until Lyon!
I don't know.
Let's go back to my sleeper, okay?
Come on.
That's a little scene
that tells us something about Colette's life,
that's hard to understand.
It's like a little trauma.
It's lovely. We don't know...
We don't know why she suddenly loses her head.
- An overreaction to something that is... - Almost insignificant, yes.
I'm thinking of Hitchcock again,
of Eva Marie Saint and Cary Grant.
This idea of letting Antoine Doinel into her compartment
reminds me of North by Northwest.
- There's a shrewdness. - Yes, yes.
She's quite cunning here,
but it's not very realistic.
He can easily go into her compartment without it being very serious.
- But the fiction is necessary. - Yes, the fiction is necessary.
Truffaut's women use their wiles.
It's the female character...
...who's leading the game.
Like Eva Marie Saint in North by Northwest.
And Colette...
Her behaviour is...
She's filmed almost as if she's a spy,
or someone a bit mysterious.
He's already filming what she's about to invent
in the following scene,
or a bit later, what she is supposed to be.
I don't believe it.
What a creep!
Hand me a pillow.
You write well, Antoine.
But you won't be a real writer
until you create a story that is wholly fictional.
There you go. The issue comes up again.
I've started it. Real fiction. I've even got the title.
Remembrance of Things to Come.
"That's a very good title."
Is that a reference to a film?
No?
Is it The Saragossa Manuscript,
by Has?
What's happening there is lovely. I really like it.
I like it a lot as well.
It reminds me of Woody Allen.
We suddenly see Doinel looking to us in this shot,
talking to us in front of the phone box.
"Drop dead!"
At one point, the guy takes out a photograph,
the picture of a woman...
And he's telling the story of what would be a real made-up novel.
That's it.
And we're about to discover that this real made-up novel,
which he's conjuring up with ail his might, is a true story that happened to him.
To him? Yes, because we see him in the shot.
There's a sort of double background in the picture.
...as he pieces the puzzle together.
On the back, the photographer's imprint
is the first lead in his investigation.
It's the definition of cinema.
The more preposterous the story line is, the more fascinated Colette is going to be.
...with the unknown woman.
Go on, it's fascinating! What happens?
That's it.
Patiently, craftily, obstinately,
my hero tracks the girl down...
In this scene, he's addressing all those who are disparaging
about the fact that reality shouldn't be mixed with fiction,
and in such a simple way.
He's in love with her.
But does she love him?
That's where I'm stuck.
She'll probably respond to his love.
But their affair is bound to wind up as usual.
Disappointment, arguments and a break-up.
All the things I already dealt with in my first book.
When you were writing with Frangois and Suzanne,
did you feel a sense of jubilation when it came to creating a story within the film
which becomes the story of the film?
To be very honest with you, I had the impression
that we were at the heart of the structure of Love on the Run at that moment.
What is it?
There have never been so many things happening
which are pure fiction, postmodern even,
because the whole time they're inventing...
But really he's just telling us his story with Sabine, played by Dorothée.
What are you doing? Get off!
That's really absurd, burlesque.
The clumsy man.
- Yes, but it's her lawyer's gown, too. - Yes.
You're right.
But she's a bit more tense than she should be.
These are all little things we set up.
Let me kiss you.
No, I won't. Do you know why?
It takes two to kiss!
You haven't learned a thing from what happened to us in the past.
Antoine, I liked you, but I didn't love you.
You tried to badger me into loving you...
Colette doesn't want any misunderstandings.
She's spelling it out.
And Doinel has had it, because he is continually going
from one situation to the next, in a blur of ambiguity.
You're no different now...
As he can't understand the truth,
she's forced to resort to fiction and tell him something she's made up.
It's the only way to deal with him.
- That's right. - With lies.
What have we talked about for the past two hours? You!
Some discretion!
Even if you don't care, I'll tell you what I've become.
The message was from that gorilla, the man in the corridor.
I can make 1000 francs by sleeping with him tonight.
Times are tough, Antoine.
I've got a law degree, but no work.
Still, an attractive girl can always get by.
My speciality is night trains.
I give 10% to the porter.
Frangois said to me, "Go on, be brazen."
I think I'd better leave.
And it's very complicated. This episode is meant to be exciting for him.
At the same time, it makes him run away.
It's true that in Truffaut's films, there are a lot of Freudian slips,
things that have to do with subconscious desire.
It's crazy...
As this is a film about the Doinels and there's a summing-up,
people trip up, there are lots of little accidents
which bring the subconscious into play.
It's unbelievable, stopping a train in the night.
It's not nothing.
Here, too, there is a reference to a Hitchcock film, The Lady Vanishes.
The background is always a bit...
At least the action shots.
And it's true...
This is the erotic moment, the sexual moment,
with the train, but there's nothing going on, just words.
Just words, inevitably...
He made this film after The Man Who Loved Women,
where the man looks at women and is attracted to them.
Here the women are more...
I think things are more equal between the men and the women.
Yes...
in the relationships, anyway, with Dorothée, who is Sabine.
There is this idea that the women really exist.
Yes, but I remember I was very feminist at the time,
and I found that it was too obvious.
The men were allowed to have several different sexual affairs,
but the women were made in such a way
that one partner was enough for them
and they would only require him to be faithful in his head,
which was ideal, since it allowed him to do anything.
There was something about that that didn't seem quite egalitarian, you might say.
I still think that in Love on the Run...
- It's the film that goes furthest. - Without being feminist, which isn't the aim.
Truffaut's not interested in being feminist, but we feel that the women are...
They have lives, they have stories to tell.
They have a life.
You want me to apologise?
I'm sorry I hung up on you. Listen to me.
I'm listening.
I can't talk this way.
I'm very struck by...
There are lots of domestic rows in Truffaut's films,
but it's never like with Bergman or Cassavetes.
It's never that emotional.
But there are always quarrels between men and women.
- He filmed that a lot. - Yes.
Especially with Doinel, but not only.
I mean, it's part of the game.
But I feel hostile towards you!
About our vacation...
Sorry, I've made other plans. I'm going away by myself.
- Where to? - 2000 miles from Paris.
Open up. I lost an important document in your place.
It might convince you.
Convince me of what?
Of my good faith.
Wait there.
I think what troubled Frangois for so long about this film
was the impression that there was a rather makeshift element to it.
This photo...
This argument for winning over a woman,
having kept her photo on him for a long time,
for him it seemed very probable,
but he was worried that the audience would find it a bit flimsy.
- Forced. - A bit forced, yes.
But since this is about fantasy...
I'll be back in three days.
Will you be faithful to me?
Of course I will!
What about you?
I have no choice. I'm totally under your spell, you bastard.
Good. Stay that way.
But you said you weren't jealous and I was free.
I don't plan to. I just want to know.
True, I'm not jealous. Do as you please.
But try and be faithful to me,
at least in your head.
Let's shake on it.
It's a deal.
First to fail is a worm!
Here are the galleys.
The book spells out everything General DE Gaulle did
on May 30, 1968, when he disappeared for a whole day.
The press is dying to get hold of this book.
The boss says it's top secret.
Really?
Yes, there's only one set of proofs,
and the type will be destroyed right after printing.
Keep it in the safe. I'm off.
In the printing house.
There is a very important scene in the film,
and in Truffaut's oeuvre, of course.
The scene where an important character comes back.
His stepfather.
- Or his mother's lover. - Yes.
There's Julien Bertheau.
He's dropping off a manuscript, or picking up a manuscript.
And it's a silent scene, or just about.
Everything is communicated by looks or memories.
He's got a bit of nerve, because I don't think it's the same actor.
And seeing as we see a flashback of the kiss with the mother...
The man kissing his mother is Jean Douchet.
Yes, it's Jean, you're right.
In The 400 Blows. He's a critic, not an actor.
That's Julien Bertheau.
What's great, if you like, for Truffaut,
with the settling of scores and all that...
In The 400 Blows, he went quite far
with the cruelty in his mother's behaviour towards him,
and here, thanks to the scene with his mother's lover,
Antoine Doinel gets the chance to find out about this kiss that he found so traumatic.
His mother also felt it was something dreadfully upsetting to inflict on a child.
It's the first time we get to hear her side of the story.
Suddenly, thanks to this scene,
we're on the side of someone he hasn't understood.
- And I think he really needed that. - "An anarchist."
I never thought of my mother as an anarchist.
Of course, with me, she wasn't like that.
She was like a little bird.
A little bird.
After your father's death,
he and I were always good friends,
her eyesight began to fail, but she wouldn't wear glasses.
But we managed anyway.
I'd read out loud to her.
One hour every night...
What nicer thing is there to hear about your mother
than that she wanted to be read to,
compared to the terrible image he had of her.
He thought he was the only one to escape in books
and he finds out that his mother, too, in a way...
When Frangois Truffaut's mother died in '68,
he realised she'd kept everything written about him in the papers.
She followed his...
- There it is. - I like that.
That's it, that's the picture.
Imagine her shock seeing you in the street...
"How shocked she was."
That's really...
Suddenly...
It's the first time we get to hear the mother's point of view.
That's it. Yes.
- She has a lover. - Yes.
Because she wants to have a lover.
Yes, Serge!
We're happy to excuse him. It's just it's the first time he's been given...
...a reason for living.
Here you are!
The extra homework made you sick...
We learn what was most important to both Frangois and his mother,
- in other words, love and books. - That's it.
It was more the grandmother who read books, I think.
But he insists on the fact that she was read to.
It's my mother, Sir.
What about your mother?
She just died.
I'm sorry, son. I didn't know.
Doinel!
Excuse me, son.
That's Serge Moati.
- Who? The pupil is Serge Moati? - The kid is Serge Moati.
He gets the important bits right. This scene is very strong.
It's incredible. We have seen thousands of classroom scenes,
and yet here the camera movement, everything seems so right.
And the child, we only see him.
Just wait till I get you home!
To tell you the truth,
I felt bad that you missed her funeral.
I couldn't help it.
I was in an army jail in Germany.
The C.O. sent for me.
He gave me three days off...
I don't know where this story comes from.
No, he's mixing up several things.
There was military prison in Truffaut's life,
but he was much younger and his mother died later.
And we don't know
if he wants Antoine Doinel to lie about something important.
Of course!
That's what comes across.
There is this sudden reinstatement of the mother.
By a very poetic character, Julien Bertheau.
You know who she was?
I don't think so.
The heroine of Camille, by Alexandre Dumas.
I thought he'd invented her.
No, she really existed.
Your mother's buried next to her. Didn't you notice?
Frankly, I've never visited my mother's grave.
I didn't even know where she was buried.
I can hardly believe my ears!
Know what?
When do you report back to work?
A1I2I30 P.M.
It's 19 francs. That's 9.50 each.
And you don't remember at all how that scene was written?
This one, no.
I admit that I don't remember at all.
I'm sure Truffaut would have had a hand in it.
Of course.
They're going to the cemetery where Truffaut is buried.
You could really plumb the depths with this film.
It's terrible.
I rent dress clothes by the day.
Another interesting little reference to quirky jobs.
A little job to do with show business.
By now, you surely realise that
your parents can't be blamed for all your troubles.
Some were your fault as well.
Here you feel that Truffaut is reassessing almost all his past work.
But the more I look at you,
the more you remind me of her.
- Very odd. I don't know what to do with that. - Yes, it's very strange.
It's as if the young Doinel, now that he's a man,
must perform some sort of psychoanalysis
on his revolt, on himself.
You're a size 36.
What's he suggesting there?
If he needs a suit, he's offering to have one made to measure for him,
at his expense.
Yes. Wearing another suit.
As for the purpose of the dialogue there... That must mean...
It takes the edge off this rather heavy scene.
It's loaded, yes.
"My darling Sabine,
"whom I love and who shuns me.
"I must tell you my strange meeting today."
That's Frangois' handwriting.
And Jean-Pierre's is very similar.
"The main one.
"His questions about my mother reminded me..."
Here there's another abrupt change in direction.
The psychological investigation.
Your parents say you're a liar.
Well, I lie sometimes.
He gives the truth back to the young Doinel.
He goes back to Doinel, thankfully.
A little bird!
"Were we talking about the same person?
"Still, she taught me that love is the only thing that matters.
"When she came home, I'd pretend to be asleep."
The inevitable woman's leg.
What's the quote? "Women's legs are connections criss-crossing the world."
Yes.
"And they give it equilibrium,
"or rather harmony."
Have you ever slept with a girl?
Truffaut was a bit wary of psychoanalysis. But here we're not far from...
He was very wary of it but I think he read quite a lot about psychoanalysis.
To me, this isn't far from...
- I remember a conversation... - Perhaps therapy almost.
Yes, for sure.
In fact, he was suspicious,
but he was suspicious of anything that could be indoctrinating.
And theoretical.
But I think he was very fascinated by it,
a fascination he shared with Hitchcock,
who he spoke to quite a lot about it.
But I remember a completely stupid conversation one day about Lacan.
We were talking about Lacan and he said, "Lacan is all word play."
It was funny but he was always playing on...
It amused him to play with words.
"The student? The salesgirl?
"The typist at the Ministry?"
There he's inserted scenes from The Man Who Loved Women.
"One fine day..."
A fine day, indeed.
"I met you, Sabine,
"and stopped looking at other women.
"Remember our first date at the movies?
"You clung to me because of the violence."
It's horrible. I hate boxing!
Those are shots he really likes,
people falling in love in front of pictures.
"I was so glad you hated boxing!
"But now you're rejecting me.
"I feel hopeless.
"I may kill off the hero of my novel."
Here we go back to Colette, the professional, the lawyer.
He can't be the kid's stepfather.
The boy was actually his own son...
So she's a lawyer, and she comes up against...
She's gone to Aix for a case, is that it?
Yes.
When the mob saw him
spit on the kid's body, they went wild.
Despite the police, they almost lynched him.
He doesn't want a lawyer.
It's a father or a mother who has killed their child, I don't remember.
Truffaut was very concerned about child abuse.
Of course.
Child abuse was something he was greatly concerned about.
I imagine he had newspaper cuttings about it.
Yes.
But with Colette, there is this idea that there is a trauma,
but there is this idea that everyone can be defended.
Everyone is entitled to speak and you have to defend everyone,
even dreadful people, those who affect you badly,
even if they have murdered a child.
And that is all the more painful for her in light of what we learn later.
- Slit his wrists. - A piece of glass.
From his watch?
He broke the light bulb in his cell.
You have a week to make up your mind.
We'll be in touch with you.
I shouldn't admit it, but I'm relieved.
I need time to think.
Shall we take you to the station?
I'd appreciate it. I'm really upset.
I want a friend to meet me in Paris. May I call him?
The fiction is woven very...
...very tightly, with fine thread.
Barnerias... Sabine Barnerias!
The name there, the confusion about the name.
Here, too, we're back to psychoanalysis.
I thought these things only happened in soap operas!
A married man passing himself off as a bachelor!
So the misunderstanding there...
- She thinks she's his wife. - Yes, exactly.
We do, too.
Thanks to Truffaut.
The way this scene is filmed makes us think all through this scene...
Yes, because a man and a woman at the cinema must be lovers.
The perfect place for an erotic encounter. The train and the cinema.
We see an excerpt from a Truffaut film, A Gorgeous Girl Like Me.
We see Dussollier there.
From a production point of view, that's smart.
It didn't cost him anything.
As he doesn't want to look complacent,
the film gets criticised by Sabine, who says...
"I don't get it."
So the complacency is played down by the dialogue.
It's a deadlock.
I'm stumped.
We're both alike. We'll probably wind up together.
I don't get this movie.
That's unbelievable.
What's more, he's criticising the Barnerias story
that he's just used himself.
So he's criticising himself twice over, for the other film and for this one.
- There she is. - I love this scene.
I enjoyed Playinfi] it-
It's so funny. I don't care. I'm off.
I must reach him immediately.
Give me his wife's number.
He's not married.
Then, his ex-wife's number.
I assure you he's never been married.
He hasn't?
It's very funny but also very easily resolved.
That's what... Because it's so easily resolved,
he had to add in that traumatic little outburst at the start.
There's something a bit American about it. You need a happy ending.
Here he has two of the women in Doinel's world meeting one another.
What could two women talk about other than Doinel?
"Are you talking to me?"
And they're going to talk about a third, because"...
She's come to see...
Sorry.
I'm not Sabine Barnerias.
But you and I belong to the same sorority.
We're both ex-girlfriends of Antoine Doinel.
I saw you the other day at the Divorce Court. I'm a lawyer.
I'm also Colette, the girl from the Youth Concerts.
Oh, of course!
Going to Sabine's?
Yes, I am.
I rang. She's not home. I don't know what to do.
Let's wait for her together. Somewhere more comfortable.
Sure, there are benches in the courtyard.
I suspect you're here on a special mission.
Quite right. And you?
Me too, but it's for myself.
I know her brother. I was tying up some loose ends.
I just read Antoine's book. To you, it's ancient history,
but it shook me up.
Shall we sit down?
That heel! He makes me feel guilty retroactively.
So I'm trying to help him out.
I've always suspected he married me only because you turned him down.
Then there's the flashback where she talks about happy times.
Since they're too settled, he needed a scene that was free.
Sit down. Have you eaten yet?
You have?
I ate, thanks.
Are you sure?
I can whip up an omelette.
No thanks, I'll just have a tangerine.
You want a plate for the peels?
Don't bother. I'll use yours.
Not again!
- Who is it? - I don't know.
It's a real parade today.
Hello. Come in.
"It's a constant stream of visitors."
Colette has a constant stream of men, like Antoine Doinel,
who has accumulated love affairs, too.
He's had a rough time of it, too. There's that, too.
My stepfather.
Antoine...
I believe you've already met.
- We met once. - I'll get my coat.
Got a cigarette?
I'm ready. Let's go.
Good night.
Antoine also longed for thrills.
Liliane and I had become close friends.
She spent a summer with us.
Antoine argued with her constantly.
I'm not excited, I'm calm.
We saw this couple, Dani and Léaud, in Day for Night.
They have a fling, the row, the break-up.
There are lots of references.
One day, I ran short of cash while shopping,
so I came home early. The door was shut.
Another fight, I said to myself.
The day before, I'd asked Antoine to be nicer to Liliane.
And here he has the nerve to give as an excuse
the fact that he had fallen in love with this young woman
because she looked after books so well...
He noticed that to protect it
she'd made a dust-jacket with a newspaper. This so moved him.
You can imagine Truffaut being moved by someone who loves books.
And there's Fahrenheit 451, too.
I wasn't upset.
My lack of jealousy made me realise I was no longer in love with him.
From a woman's point of view, what Claude Jade says is very good.
The idea that a woman, too, can set herself free
and leave an affair.
Don't leave him.
He'll fall apart.
He's always falling apart.
He needs a wife, a mistress, a kid sister and a wet-nurse.
I can't fill all those functions.
You're being unfair to him.
I can't help it. He wants everyone to pay for his unhappy childhood.
That's it. The women are dotting the I's there.
Yes, but we're on his side still. That's what's so great.
Of course.
That's a scene from Stolen Kisses.
Colette has married the guy she went off with.
The film is in color.
Truffaut has made a black-and-white print, a sepia print.
You're wondering if it's a boy or a girl.
You must come over some evening.
Do you have my number?
I think so.
Well, you haven't used it lately.
You never used to be afraid of the phone.
See you soon.
Is your child a girl or a boy?
She was a little girl, Julie.
Here there is this very brief but very violent scene, very moving,
and it's filmed in such an incredible way.
It's... I don't know...
Frangois was very emotional, very uneasy,
very upset.
It was impossible to play the scene.
He wanted one take, not two.
Repeating it was out of the question.
He couldn't bear it.
Liliane isn't acting there. It's like a sort of flashback.
Yes, but for an actress, that's still acting.
It's filmed so that we see as little as possible.
- It's like a nightmare. - Yes.
He wouldn't have wanted to see that scene acted
perhaps because it fell outside the main story.
I think I won't wait for Sabine.
Why should I worry about Antoine
when my own life is so confused?
The things lawyers have to do!
I love a man. He runs a bookshop.
- That bit is very Rohmerian. - Yes, very.
People make mistakes all the time, so there's a need to sum up.
If Antoine gets it back, I can't explain it all,
but it may lead to a happy ending.
That's Truffaut's assistant, Emmanuel Clot.
He died in an accident.
A car accident, I think.
But there's this idea which always strikes me,
and that is that all the women love Antoine Doinel.
He always manages to show that even if they are rivals,
there is always a point where they love him, they succumb to his charm.
- He is, after all, a character... - They forgive him.
I don't know...
I think that is very much what women think of Truffaut, even now.
There is a sense that he was at the heart of something.
Yes.
And he managed to get everyone to love him.
Of course. Yes.
It's like a musical, this part, with the crank.
And the colours.
The curtain, the crank.
We're at the movies with the happy ending.
That's what we want so we're going to film it.
A bit of silent cinema.
I don't know if he cut it, but there was the crank.
- Yes. - We're not going to miss that.
- It's you, who... - With that movement, yes.
That's very...
It's as if he said to himself, "How can we do a silent scene?"
- It's clear. - It's very American comedy, I think.
I made love to you right away.
I wanted to as much as you did.
Later on, I asked you where we stood.
You wouldn't answer my question.
I decided to protect myself.
I don't know much,
but I'm sure that two people who love each other
should share everything.
What happens to one, happens to both without exceptions.
Something strikes me about that, namely,
the women demand parity, equality,
and that in a couple, both people have a role to play.
But what Truffaut is trying to tell us via Doinel is that fiction and fantasy
are outside of that.
You can't share them.
Of course. Fusion is impossible. It's a dream.
You have to make your case as convincing as possible,
but it is impossible.
I think the film is called Love on the Run because of that.
He doesn't believe in it. He wants to believe in it but he can't.
But you have to pretend to believe.
I think that's the conclusion the film draws.
...from the way they ogle me through the window.
I came here looking for you.
I'd already known you for two weeks.
- It's not true! - It isn't?
Of course not.
Listen to me carefully.
This is where the ends are tied up with the story about the train,
his way of telling his next novel.
And in fact, what's going to bring back...
...this woman to Antoine Doinel is the fact that he fantasised about her.
Of course! He first saw her on a photo. She started out as a fetish.
It's an argument that works better for a woman than any other romantic gesture.
Truffaut thinks women are interesting and complicated,
more interesting than men, because fiction works better on them
than anything prosaic.
He threw the pieces to the ﬂoor.
After hanging up, he stormed out.
So I went in, into the booth.
I don't know why I did it,
but I picked up all the pieces
and put them in my pocket.
Back home, I went to work
and constructed the picture with scotch tape.
After a while,
as if by magic,
the puzzle was assembled.
A woman's face emerged.
I fell in love,
madly in love with her.
I ran to the photographer...
That's why Frangois Truffaut will always be loved by women,
because he can tell them stories.
I searched all of Paris...
Dabadie! Yes.
I asked everyone,
went everywhere.
I bothered strangers
who reacted angrily.
Often, I had to run like hell.
I tailed people.
An insert from Stolen Kisses.
I managed to track the woman down.
He didn't overdo that but it was enough to get across the leg fantasy.
Truffaut really enjoyed editing.
"We've got something, we've got an insert. That works."
I remember.
I don't know why Truffaut was so hard on this film.
Apart from the fact that this was the last Doinel film,
for me it is a film where a lot of work has gone into the characters...
Yes, I think he had the impression
that the way he used flashbacks, which are very celebratory,
meant he needed a lot of explanatory scenes, which I think he handled well,
but to him they seemed a bit heavy, perhaps.
But I received a letter from him after he had watched the film again.
I think it was some months later,
because he wasn't happy when the film came out.
He said he'd seen the film again and that he was reconciled with it.
I think that was the word he used, "reconciled".
He discloses a lot about his method,
his way of working, the materials, the fiction, the autobiography,
what is based on reality and what is fiction.
It's a film that teaches us a lot about the cinema according to Truffaut.
And now we get Souchon's song.
And I think it's one of the most beautiful songs ever by Souchon.
It's very, very beautiful.
And we've been saying this as we've gone along,
but it's central to this film,
how to make use of reality,
how to make it differ from fiction.
The fluctuating gap between fiction and reality is what makes a film.
These are themes he deals with all the time, but particularly in the Doinel series,
and especially in Love on the Run.
Thank you, Marie-France Pisier.