01:05:05.520 --> 01:05:08.320
He may improvise,
but technicians don't.

01:05:08.480 --> 01:05:10.200
So someone's taking notes.

01:05:10.720 --> 01:05:14.960
"I somehow have the feeling
I'm shooting an amateur's film,

01:05:15.440 --> 01:05:17.440
but that's neither here nor there.

01:05:18.320 --> 01:05:22.040
Read the Libération issue of April 26
that mentions the film.

01:05:22.840 --> 01:05:26.560
Switzerland, Swiss men and women

01:05:27.040 --> 01:05:29.640
are ass-holes,
which you already knew."

01:05:29.880 --> 01:05:31.880
Don't forget that Godard is Swiss.

01:05:32.400 --> 01:05:33.640
"What about you?

01:05:33.840 --> 01:05:36.160
I think
you could make a short-feature,

01:05:36.800 --> 01:05:39.680
shoot it without sound and lights.

01:05:39.960 --> 01:05:42.360
There's a new way to imagine a shoot,

01:05:42.800 --> 01:05:45.000
just with a camera and an assistant.

01:05:45.280 --> 01:05:48.800
We'll talk about it in Paris
where I hope to be on May 10."

01:05:49.400 --> 01:05:53.000
Here it is,
this brief letter says it all

01:05:53.160 --> 01:05:56.480
about the atmosphere
of the Nouvelle Vague.

01:06:04.400 --> 01:06:05.760
Do I speak in French?

01:06:09.440 --> 01:06:12.200
Lotte Eisner was very important
for the Cinémathèque

01:06:12.360 --> 01:06:16.480
because a large part
of the German expressionism collection

01:06:16.640 --> 01:06:18.080
are here thanks to her.

01:06:19.480 --> 01:06:21.440
These drawings are in the collection.

01:06:21.600 --> 01:06:24.160
There were shown in the exhibition
which was

01:06:25.000 --> 01:06:28.800
very important for the Cinémathèque
when we moved to Bercy.

01:06:29.080 --> 01:06:33.400
She was very close to the filmmakers
of the New German Cinema

01:06:34.120 --> 01:06:36.640
such as Wim Wenders, Werner Herzog.

01:06:36.840 --> 01:06:39.120
Werner Herzog became
a very close friend

01:06:39.560 --> 01:06:42.840
after he walked from Germany to Paris.

01:06:43.640 --> 01:06:47.440
Here we have
a very important photograph

01:06:47.640 --> 01:06:49.560
signed by Werner Herzog.

01:06:49.720 --> 01:06:50.640
Here he is.

01:06:51.160 --> 01:06:53.640
She is hiding
under that shell like thing,

01:06:53.800 --> 01:06:55.920
as if she were reborn
after her illness.

01:06:56.080 --> 01:06:59.360
Here's Werner Herzog lying down.

01:07:00.320 --> 01:07:02.440
Very seventies style.

01:07:03.560 --> 01:07:04.920
With his new beard.

01:07:05.800 --> 01:07:09.160
Here is Lotte Eisner under her shell.

01:07:09.320 --> 01:07:12.920
One wonders why she is like that,
hidden under her shell.

01:07:13.080 --> 01:07:16.720
Personally I think it conjures
the idea of rebirth.

01:07:16.880 --> 01:07:19.720
She was locked in by illness
and she comes back to life.

01:07:20.480 --> 01:07:24.200
Over here we have Bruno Ganz,
who had one of the main roles.

01:07:25.560 --> 01:07:28.360
I don't know the others,
technicians probably.

01:07:28.520 --> 01:07:30.640
Technicians who worked on the shoot.

01:08:06.920 --> 01:08:09.800
Let's see,
I've been in the Cinémathèque

01:08:10.880 --> 01:08:12.320
for 23 years.

01:08:13.480 --> 01:08:16.040
But I also worked
at the Film Library

01:08:16.200 --> 01:08:18.640
before it was absorbed
by the Cinémathèque.

01:08:18.840 --> 01:08:22.400
I've worked in several places
like Chaillot.

01:08:22.960 --> 01:08:24.520
-Chaillot...
-25 years.

01:08:24.680 --> 01:08:26.240
Yes, for 25 years.

01:13:05.680 --> 01:13:08.720
Dear Haizea, it's 8:30 a.m.

01:13:10.080 --> 01:13:13.440
As planned,
I leave our home in Valverde street

01:13:13.600 --> 01:13:15.640
towards the Madrid Barajas airport.

01:13:16.720 --> 01:13:19.920
I'll catch a plane to Porto
where I'll wait over two hours

01:13:20.080 --> 01:13:23.200
for another plane to take me
to my final destination, Munich.

01:13:24.480 --> 01:13:27.680
I'm only taking three changes
of clothes, a polar fleece,

01:13:27.840 --> 01:13:30.720
several T-shirts and pants,
two tripods, two cameras,

01:13:30.880 --> 01:13:32.920
two fixed lenses, hard-drives.

01:13:34.440 --> 01:13:36.280
Along with technology, literature:

01:13:36.480 --> 01:13:39.000
Several magazines and notebooks,

01:13:39.240 --> 01:13:41.600
Lotte Eisner's
"The Haunted Screen",

01:13:41.920 --> 01:13:43.200
"Herzog on Herzog"

01:13:43.600 --> 01:13:45.280
and the reason for this trip,

01:13:45.960 --> 01:13:47.520
"Of Walking in Ice".

01:13:50.080 --> 01:13:52.120
Werner walked for Lotte Eisner.

01:13:52.400 --> 01:13:53.760
Today I walk for both.

01:13:54.800 --> 01:13:56.720
He walked for the love
of his friend.

01:13:56.880 --> 01:13:58.960
I'll walk for you
and my love of cinema.

01:14:00.160 --> 01:14:02.560
I will record this journey
in a documentary.

01:14:02.720 --> 01:14:06.080
So far, it has no title,
"Dear Werner" may be a good option.

01:14:12.200 --> 01:14:15.840
Haizea, my wife, said goodbye
between yawns and kisses.

01:14:16.480 --> 01:14:18.320
With a last wave going downstairs,

01:14:18.480 --> 01:14:20.960
I noticed
that she had taken several pictures.

01:14:21.200 --> 01:14:23.040
She sent them a few minutes later.

01:14:23.520 --> 01:14:26.400
A three images sequence
while I go down the stairs.

01:14:27.040 --> 01:14:28.240
In the first one, I wave.

01:14:28.400 --> 01:14:31.400
In the next two,
I'm facing the upcoming adventure.

01:14:32.520 --> 01:14:35.280
Using her cell phone
she has documented

01:14:35.440 --> 01:14:37.720
the first steps of the journey
I'm about to take.

01:14:37.880 --> 01:14:39.400
As always, thanks to her,

01:14:39.880 --> 01:14:42.240
her unconditional support
and her vision.

01:14:43.320 --> 01:14:45.160
She'll be in my thoughts.

01:14:46.120 --> 01:14:49.360
Like my parents and my friends
who all wished me luck

01:14:49.520 --> 01:14:51.360
on the morning of my departure.

01:14:51.520 --> 01:14:52.800
They're my strength.

01:14:55.720 --> 01:14:59.640
I'm impatient to start on this journey
I've been preparing for months.

01:14:59.960 --> 01:15:03.480
I can't believe I'll soon be walking
on the grass in Sachrang,

01:15:03.640 --> 01:15:05.560
Werner's hometown in the Alps.

01:15:12.080 --> 01:15:16.400
I watch the sun reflect on clouds
through the plane window.

01:15:16.640 --> 01:15:18.640
I'll be in Germany in a few hours.

01:15:19.720 --> 01:15:22.000
Whenever I'm about
to start shooting a film,

01:15:22.160 --> 01:15:25.320
I keep in mind images I created
when I wrote the script.

01:15:26.440 --> 01:15:28.800
It's easier to create them
for a fiction film.

01:15:28.960 --> 01:15:32.640
You can build the atmosphere,
there's the set, the props department,

01:15:32.800 --> 01:15:35.080
the camera crew and the lenses...

01:15:35.840 --> 01:15:38.080
This is my first day of shooting
on my own.

01:15:38.440 --> 01:15:40.120
A documentary on my own,

01:15:40.840 --> 01:15:42.240
walking and no more.

01:15:42.800 --> 01:15:45.640
That's what I wanted to do,
like Werner did in 1974.

01:15:45.920 --> 01:15:47.880
Any other way wouldn't make sense.

01:15:48.760 --> 01:15:51.960
Suddenly, while in Porto entering
the second airplane,

01:15:52.120 --> 01:15:54.240
a mental image took hold of me.

01:15:54.440 --> 01:15:57.120
It becomes clearer,
more visible by the second.

01:15:57.800 --> 01:15:59.440
I know I have to make it real.

01:15:59.600 --> 01:16:01.720
I don't know how,
but I have to film it.

01:16:02.960 --> 01:16:05.760
It seems simple,
yet it's also mysterious and magical.

01:16:06.360 --> 01:16:09.400
A huge green field
enveloped in mist,

01:16:09.800 --> 01:16:12.800
like the start of Herzog's films,
like "Aguirre".

01:16:13.480 --> 01:16:16.240
A very wide shot,
and in the center of the frame,

01:16:16.400 --> 01:16:19.000
symmetrically, I'm filming the mist

01:16:19.160 --> 01:16:21.640
with my camera and my tripod.

01:16:24.400 --> 01:16:26.640
On the ground, next to me,
my backpack.

01:16:27.000 --> 01:16:29.320
After a few seconds,
I pack everything up.

01:16:29.960 --> 01:16:32.400
I put my backpack on
and I start walking

01:16:32.560 --> 01:16:34.160
towards the horizon,

01:16:34.520 --> 01:16:36.600
disappearing among the trees
and the mist.

01:16:38.240 --> 01:16:41.000
If I manage to reach Paris
at the end of my journey,

01:16:41.320 --> 01:16:43.440
this image could be
a good way to finish,

01:16:44.040 --> 01:16:45.520
perhaps as an epilogue.

01:16:47.080 --> 01:16:49.800
If the shot were interesting enough,

01:16:49.960 --> 01:16:52.360
it could even become
the film's last shot.

01:16:55.360 --> 01:16:59.360
But if I want to build this image,
I must continue on my quest.

01:17:00.040 --> 01:17:00.920
Today,

01:17:01.240 --> 01:17:03.720
plagued by doubts and fears,

01:17:04.200 --> 01:17:07.120
my sole goal is my only certainty.

01:17:09.000 --> 01:17:10.760
To walk towards the woods,

01:17:12.280 --> 01:17:13.720
towards the fog,

01:17:15.680 --> 01:17:17.080
towards my dreams.

01:17:19.720 --> 01:17:20.720
And then,

01:17:22.680 --> 01:17:23.880
to keep on walking.