Louis Lumière

00:00:22 Jean Renoir, we have just finished watching projections

00:02:41 who thought that cinema was first and foremost a means of reproduction, of transmission

00:04:39 Bowls Competition

00:10:54 an extraordinary means for representing the life of our times.

00:12:46 But, for example, there is no choice involved in the framing of a close-up or a long shot.

00:15:16 to the facts, the circumstances.

00:17:00 and women in long skirts and corsets.

00:18:50 that in those few seconds

00:22:20 The proof is that it makes us think of Proust and Renoir and so many other things.

00:24:35 Arrival of a Train at La Ciotat were amazed by are not at all the same.

00:27:42 and that way they all come to watch themselves on film. That's on an anecdotal level.

00:29:59 a host of amazing observations. It's as if all of a sudden

00:34:28 What is the relationship between the New York of the Lumiere films

00:38:18 It reveals and broadens incredible horizons. But in the acted films, it's different.

00:40:40 I'll give you an example. In films that are supposedly realistic

00:43:56 You filmed people walking

00:47:16 For me, the fundamental thing that stands out

00:50:49 the retrospective in Venice. I knew of one of the inventors of 3-D cinema

00:52:38 With each reproduction, there is a loss of light.

00:54:52 During that era it was the overriding principle.

00:57:53 And Henri Langlois believes

00:59:42 So we at least had to imagine the voices and the sounds.

01:01:44 Canvases aren't as easily damaged and are fairly solid.

01:03:42 There are small volumes published by various publishing houses