This article in Shenbei and the subsequent interviews were originally published in the "Film Critic" from May to June 1973. At that time, it had been roughly half a year since the interview took place. A few weeks after I did this interview, before it came out, I went to work for Tati as a script consultant. A few years ago, this article reappeared on the webpage of Southern Art Magazine Drain. ——The author presses
Like all the greatest comedies, Tati created a world before making us laugh. A world that revolves around his personality is like a tiny salt grain surrounded by its crystals in a cup of oversaturated solution. Of course, this personality with the Tati label is very interesting, and at the same time maintains close contact with that world under any circumstances. He can always get away skillfully in the comic pranks, which is manifested in the fact that Mr. Luo is just an elegant symbol in the long chaos caused by every time he passes.
Regrettably, André Bazin’s research monograph on Jacques Tati ("Mr. Yu Luo and Time", 1953; see "What is a movie?") has been deleted from his English edition of critical essays. It is also regrettable that Bazin also failed to appreciate this masterpiece of Tati during his lifetime. In a sense, "Game Time" can be regarded as an experiment and expansion of Bazin’s most cherished deep-focus and long-lens aesthetics. More importantly, these technologies provide the audience with the so-called "people’s fine-straight short-sleeved me The main" free movie*.
This is of course controversial, that is, Tati gave his audience too much freedom, and overestimated the acceptance of many audiences-this reason may explain why "Game Time" premiered in Paris It was released in the United States only five years later. "A pure masterpiece exuding the beauty of blur and vertigo," Jean-André Fieschi commented briefly in the "Cinema Manual" after its premiere. "Almost never has a movie filled with so many wisdom, mysteries and Visual activity: Finding a contrasting reaction is simply a big challenge." Simply put, the richness of "Game Time" makes it impossible for anyone to see it all. In the best case, the audience can perceive this richness in front of them; in the worst case, the audience is so bored with what he can’t see that he can’t even perceive the ongoing revolution in movie language. The black fate was stretched across the corner. (A similar situation appeared in the American critics less than four months after the release of "2001: A Space Odyssey".) If you just look at it, then "Game Time" may give people some opposite opinions, such as interesting or saying Boring, empty or full, vivid or dull, beautiful or ugly; but from its overall perspective, this situation will not appear. As Noël Burch commented in "Film Practice" (Galima Press, 1969 edition): "Tati’s film is the first such film in film history: it not only requires repeated viewing, but also requires viewing from different levels. . It may be the first truly “open” movie. And will it always be the only one?”
A group of American female tourists wandered around Paris, a building made of glass and deformable materials; a girl, the oldest of them The light one is looking for the "real" Paris in her heart. At the same moment, Mr. Yu Luo was also wandering in the same building, to be precise, looking for a Mr. Giffard, who happened to meet this group of Americans and other groups. In the middle of the film, Mr. Yu Luo found the Mr. Giffard, reunited with an old comrade, and joined the hot opening of an expensive restaurant where the other characters were located; along with the bad design and decoration, they eventually fell apart. All of them became acquainted with each other; by the next morning, Yu Luo bought an outdated gift and gave it to the American girl. She turned it on on the way back to Orly Airport by bus: a light bulb on the highway. Bouquet of plastic lilies.
Jacques Levitt said that ""Game Time" is a film with a dark life on the corners of the leather. Despite Tati himself, it is completely done from the perspective of the creator." Resonating with it is a point of view revealed by Tati himself in the following interview, when he declared that "Game Time does not belong to anyone". So exactly where is its black leather diagonally stretched and its vitality reflected?
In conventional movie grammar, there is always a clear distinction between the subject and the background. When a character moves in a scene, our attention will be firmly attracted by his actions—what he did (or what he is doing); and when the scene is highlighted in these actions, it becomes了主。 The main body. But in "Game Time", every scene is filmed by a fixed long lens, each character has its extra meaning, and everything around them is constantly related to those behaviors, the subject in a typical shot It is often everything displayed on the screen. Many scenes, represented by the series of events in the restaurant, have become an open stage where multiple potential points of interest compete to monopolize our attention. Regardless of whether you choose to automatically ignore what is the background or the secondary thing, the arrangement of the main body of the film can always be adapted to our preferred viewing reflection, and we can always see the movie we want to see. If we sit there nervously and wait for the funny scene to arrive, then I am afraid we will not get much. And when we give our viewing freedom, let our eyes wander in the light and shadow*, and pay attention to the overall movement behavior, we will find characters and characters, characters and objects, lively moments and static moments, and the funny and visible The nonsensical "laughing fruit" produced by the complex relationship between the underlying humor: a light song and dance drama in the geometric sense. Viewed in isolation, some of these details are boring and some are interesting; and when they are combined, they become unparalleled and unique-this is a comedy in the philosophical sense.
This idea is not only revealed in this movie, but also as an aesthetic claim. Indirectly, Yu Luo passed on such a concept to the American girl through a series of trivial things. As Tati hinted in the subsequent interview, this is a lesson that is of great benefit to mankind, about some unexpected small twists and turns can break the regular monotonous linearity in life. The openness of the film lies in the movement of the linear mode of restraint and freedom. The first laugh was arranged in the second and third shots, from the headgear of the two nuns walking on the aisle of the inexplicable building (then we found that it was Orly Airport); and the other passengers' This behavior is also very serious and serious.
Perhaps the first wonderful moment of movement in "Game Time" was Mr. Yu Luo's "unintentional" dance on the smooth floor of the waiting room, when the tip of his umbrella temporarily acted as his fulcrum. This small gliding took only a second or two, but it was the only example of Tati's physical grace as an actor in the entire movie: the legacy of his early performances in the entire concert hall was secretly conveyed in such an isolated , In a hurried posture. (A very unusual contrast appears between Tati’s ambition as a director and his low-key simplicity as an actor, which is based on his comedy philosophy and has been mentioned many times in interviews; from this point of view, The over-exaggerated Yu Luo in "Traffic" is a more obvious retrogression, undoubtedly because of commercial considerations.)
After the movie, at an exhibition of small artifacts, the American girl wandered around-her eyes wandering between the linearly planned areas of the building-she noticed a "smile" that made her laugh (Yu Luo and some Small disaster caused by him). Later in the restaurant, the failure of the construction engineer was accurately predicted, the theoretical collapse became a reality, and the well-organized linear movements gradually turned into a vortex of arc-shaped dance steps. At the same time, we unearth colorful details to maintain a comprehensive view of the overall movement. In fact, it is necessary for us to change our gaze track from time to time: if we try to sweep the entire screen with a straight look, it will be very easy to lose. Many connotations. (A notable example is the neon light that flashes at the entrance of the restaurant. Its arrow is straight at one end and curved at the other end. It is the initiator of a series of funny jokes.) We are trapped in architecture and follow those linear patterns. Propelling our actions is like when Giffard chased someone like Yu Luo at the beginning of the movie (and there are many such characters in the movie) so that he slammed into a glass door. superior. This non-traditional viewing concept is precisely Tati's "label".
In the scene in the restaurant, the fierce conflict between different points of interest was resolved, because we found that all the guerrillas were gathered together, and every detail had a unique connection with the whole on the screen. A flowing cycle is formed. This concept ends with a wonderful picture of the endless cycle of urban traffic, and at the same time all the surrounding sports are enriching rather than deviating from the previous imagination: on the window glass of an adjacent garage, The images reflecting the ups and downs of vehicles imply the up and down movement of a merry-go-round, and the monotonous vehicle displacements that extend to the distance constitute this "event."
It takes nearly an hour to travel from the center of Paris to Tati’s studio. When you enter that suburban community, you will find it confusingly blend traditional and modern architectural styles, and you can't help but think of the scenes in "My Uncle" (1958). Tati settled in one of the relatively new buildings: a neat office building with glass doors, and a small coffee shop on the ground floor, where he usually eats. During the filming of "My Uncle," Tati's film company occupied the entire second floor of the building. Today, the tedious overhead of "Game Time" has made his company on the verge of bankruptcy, and all his business has to be limited to two rooms on the same floor.
Just as Tati’s films tend to reject verbal descriptions, the dialogue between me and him also has such problems. When he spoke, some slightly flustered explanatory small gestures accompanied his words as a latent text-this small habit derived from pantomime body language showed that he wanted to express far more than What he said. During our interview, his body and voice continuously moved from explanation to argumentation, in order to clarify a point of view, with incredible precision, imitating a character or even an object in his movie, and even copied it. Partial dialogue or sound effects. I was not ridiculed by Tati’s clown demeanor: whether he turned the unpacker that represented the efforts of an ordinary mechanic into a screwdriver, or used his voice to imitate the sound of a car turning to second gear, he would always be more like it. It is a natural response when acting rather than explaining something.
Although we talked for nearly two hours, I finally regret that we could not talk about the specific controversies in his first three feature films, and Tati also tends to insist on giving me more information about the distribution of audio tracks. Technical information. In the following topic, his assistant Marie France Siegler gave me some more meaningful help. She mentioned to me how Tati did her best to get the sound of the waiter’s pants being torn in "Game Time" so that she tore every piece of material available in the studio until the right sound was Synthesized; occasionally he uses his own voice to win other sound effects; and overall, the most exciting part of sound effects guides his audience-practically-through a variety of subtle ways.
Our interview took place at the end of November two weeks before Transportation started commercial operations in New York. Tati has just finished an intense trip to the United States, and I started to ask questions from his thoughts on the trip.
Jacques Tati: It's hard to tell. When you live in another country like me, it is a bit pretentious to suggest what should be done and what should not be done, or to distinguish what is right and what is wrong. To talk about my view of New York, one can say: Of course it is too tight and too crowded, but on the other hand it is very real. I mean, in those other big cities, reality is more or less hidden. They always try to show you the good side. And in New York, all those competitions and everything are in front of you. Every situation is happening there, and I like this kind of all-round positive life (I wouldn't say that there is everything in the world, it's a bit too much). It's really very real, and you always feel like a vacation when you go to other cities.
The cities are also different from each other: in San Francisco, that's a completely different kind of life; so is New Orleans; in Dallas, where materialism is rampant, people publicly show what they have. But most of the time I stayed with the students in the university. I was very impressed by how much they know about movies: they know the true meaning of movies, they also understand old movies and will find a kind of classical charm from them. . I think this is a very important progress, as Mr. Langlois said to those big companies before: "Don't discard those old movies, because one day you will realize their important artistic quality."
Jonathan Rosenbaum : In the universities you visited, did you spare them "Game Time" and "Traffic"?
Tati: Not all of them. In San Francisco, they offered me two days to show all my works. The last "Game Time" I played-I always play "Game Time" after "Traffic". In my overall idea, "Traffic" should have been filmed before "Game Time". "Game Time" will always be my "last" movie because it focuses on "people" in terms of the depth of the set. There is no obvious or particularly important role in there. Everyone is as important as me. It is the moment when funny scenes and comedic factors realize the people's short-sleeved short sleeves—people's personalities are set in a building created for us without asking whether we agree or not. In the end, we continue to talk in a certain sense and win a big victory; even if everything is messed up, we are still partners, and many small people will still be considered important.
The structure of the building is so distinctive. I'm happy when people say they can't see this in "Game Time", because you can't extract one or two scenes from the movie...it's kind of like a ballet. In the beginning, people's actions are always determined by the structure of the building. They don't even turn, (Tati draws a series of precise lines and angles with his hands), and they walk from one side to the other. Later on, more and more people danced, and then gradually began to make a little turn, then a full circle, and finally began to completely spin-because we have made up our minds to be there all the time. That's what I want. Some people may not understand this because they are always accustomed to focusing on individual characters; they will say, "Oh, that's Mr. So and so, he will be so funny all night." The
images are all designed. However, after you watch this movie two or three times, it is no longer my movie but yours. You recognize those people, you know them, and you don't even know who will direct the movie. It is not a movie that has been labeled with a personal label such as Fellini's "Roman Style Painting". "Game Time" does not belong to anyone. I would not say that this is easy to do. The depth of viewing determines the depth of the image. I will not highlight anything or deliberately leave traces on the screen to show how good a director I am. I just want your eyes to take you to the opening of the restaurant, as if you were really there that night.
There are many people who don't like "Game Time"; they can't even see the end. But some people make me feel gratified, especially some very important directors, they like it very much... the set of the movie is shining. All of us, the French laundry powder was placed in the red country, the British, the Americans, the Canadians, and people everywhere-began to exist in a unified international setting. This is why I used 70mm film to shoot. 70mm film can accurately grasp the depth of New York Airport, Orly Airport, and highways. Of course now you can even use 35mm to shoot.
I have been struggling with the soundtrack problem all my life. They will be forced to be magnetic one day, and it is ridiculous for current investors to make them optical. Through spectroscopy, more than a certain amount, the result will be distorted, and magnetization can provide you with the entire range you want. Today's investors can't predict that magnetization is the real future of sound effects. It's really stupid. Every time we get a magnetized sound effect, we have to convert them into a spectral form, which becomes fuzzy and without depth. Even today when 35mm film is used, if you have a stereo system-if a car appears on the right side of the screen, you have to be forced to listen to it on the right side; in the middle you have to listen in the middle; and When it leaves from the left, you have to go to the left again. However, no one will fight for this, because that will bring a lot of work to the planner and the investor. So what did they do for the movie today? Nothing at all. They sell movies like they sell pasta or Danish beer. They don't care about our new attempts or respect our artistic accomplishments at all.
Jonathan Rosenbaum: Can you describe some of your thoughts on creating soundtracks?
Tati: Well, well, first of all, I can do it myself because dialogue is not very important in my movie, and visual effects are the first thing for me. My conversation is the noisy city sounds you hear when you walk on the streets of Paris or New York. (Tati murmured some voices immediately to show.) People asked "Where are we going?" And you are not sure where they are going. I also like to base the visual effects a little bit on the sound effects. In "Mr. Yu Luo’s Holiday", the sound of the car is as important as the appearance of the car, because the sound of the engine tells us that it is coming before the car has appeared-that is to say, the sound effect gives the car a Personality characteristics. In "Game Time", when Yu Luo sits on that modern chair, it produces a visual effect, but the sound is as interesting as the deformation of the chair: whoooosh... the younger generation of directors will Use sound creatively in the later era; you can express very little movement in a simple picture, and sound will give it a new dimension, just like making a picture sound-whoooosh.
Jonathan Rosenbaum: So your movies were all silently shot, and did you make a separate soundtrack afterwards?
Tati: Yes, I have to do that, because when creating certain visual scenes, you need to keep talking. If you use a professional actor, it will be different, because you give him a fixed line and he will speak it as well as possible. But in my case, many times you are shooting scenes of some objects—chairs, dogs—you will need to say to the dog: "Come here—sit here." But you can’t record other sounds. Go in (such as "Attention! Restez-là, don't move, please stop!), and I often talk to my actors to make them feel relaxed. If you play with them or make jokes or something, it will make the movie It looks more life-like.
Jonathan Rosenbaum: I heard that "Game Time" was cut 15 minutes after its premiere in Paris...
Tati: That was for investors. This movie is very expensive, and they think it would be shorter. It will be better, of course, this is not the case. Whether you accept it or not, as long as it doesn’t fit your own vision, you can leave the cinema in the opening 15 minutes. It’s like an impressionist painting, if you Like it and understand it, the more you can find what you are interested in-sounds, actions, characters-when you return to it. I am the same as you: I like it. I am proud of "Game Time" , It is indeed the movie I want to make. All of my other movies can be changed. If I were to shoot it again now, it would be different. But "Game Time" is not-I really finished I went through a lot of financial and emotional difficulties for it, but it really became the movie I imagined. That long, original version is what I have in mind. In Los Angeles, I put It was shown to the members of the Academy of Motion Picture Arts and Sciences. Although there were only two hundred people in the 700-800-seat theater, the response was surprising: everyone came over and kissed me, the scene at the time. It’s very warm. It’s not just polite, something is certain.
Jonathan Rosenbaum: How did you create the restaurant scenes? It seems that it should have some unusual difficulties.
Tati: I had to make each part and direct each character individually. It took me seven weeks to shoot it. I first establish the various movements in the background, and then each movement in the foreground. When creating each shot, I look through the camera lens to make sure everything is under control. I have to take them all in one shot, there is no other way. Many people think that the camera is still from start to finish. In fact, it is moving, but it is always in sync with your natural visual movement, so you can't feel it.
Jonathan Rosenbaum: So how was the set of "Game Time"—the set of that city built on the outskirts of Paris—was built?
Tati: As for the architectural setting, we can't go to the pharmacy and Orly Airport to make them suspend their daily operations, that's impossible. And I need a kind of consistency: all chairs, for example, in the restaurant and in the bank-are the same. The floor is the same, so is the painting. That's expensive, but it must be so-but it won't be more expensive than having Sophia Rowland play it.
Jonathan Rosenbaum: How do you feel about the buildings in the movie? You made a lot of jokes about them, and they always looked beautiful in those night scenes.
Tati: It varies depending on the situation. Sometimes in New York, when you look out from a window from a very high place, you will see a long line of lights-very eye-catching. But when you take the elevator down from above at six in the morning, then what you see is completely different. It seems that you are not allowed to laugh, whistle, or be yourself: you have to press the "push" button, there won't be too many channels for expressing yourself. But when you see that all the lights are on at night, you will want to create music and painting to express yourself, because that is another dimension of reality, like a dream. You cannot see who lives in those buildings and what is happening there. When you arrive in New York by plane at night and see all the patterns formed by the magnificent lights, you will feel that living there will be like a dream: you are sure that the food there will be very delicious and the girls are also very cute. And when you really get there, the food is not all that delicious, and the girls are not all that beautiful. It's all the same. The lights at night changed the face of reality.
Jonathan Rosenbaum: In "Traffic", the role of those campers is similar to that of the restaurant in "Game Time"-something is blocked between people so that people can't get together until it is broken. Ask a question that may not be very polite, what is your attitude towards these cars?
Tati: Okay, first of all, they change people's personalities. For example, a good gentleman you met in a bar, and when he got into his car, he suddenly changed. It would be impossible for him to stay the same. Secondly, the more designers do for us, the less we need to do when we drive...In the past, people were personally involved in driving, and they used the sound of the engine to switch gears-呶呶呶, go to the second Gear, and then to the fourth gear. You are personally involved so you must be a good driver. Now, being a good player no longer makes any difference to a person who drives an American car. I'm exaggerating. What they call comfortable, new technology, and the car I tried to create is so absurd that you can take a shower, drink coffee, and shave in it-but in the end it seemed so impractical and became It is the worst choice for vacation, because it will bring so much trouble. And only when you get away from the things that are tailored for you, the relationship between people starts to work-just like those in the clothing inspection bureau that the police had just washed last night in the movie. I always try to maintain a simple person who does things with his own hands in every shot and every moment.
Jonathan Rosenbaum: I used to be curious about the references to those characters in "Traffic" seeing the Apollo 2 scene
on TV ... Tati: Simulate what people see on TV and then joking, people work The ground is slower. For them, Feiyue is not a great feat. It is related to their personal lives. It is just a heavy walk.
Jonathan Rosenbaum: Do you often go to the movies?
Tati: Yes, I always go to study-at my age I am more of a student than an expert. The cinema is like a big garden with a hundred flowers in full bloom. Of course, I get more exposure to comedy, which is already a big garden.
Jonathan Rosenbaum: How do you feel about those comedies, such as Jerry Levis or Woody Allen?
Tati: I like "Banana" very much, I laughed. And it’s not easy for a movie to make me laugh. I realize it is good, but it is not part of my way of trying to express myself. I focus more on observation: You see, when a president or a warden does a little bit of fun, it makes me feel more funny than a comedy scene. I can make Hu Luo do all the antics, because I came from the concert hall and I am very good at these, but that is not my way. I prefer an important person to do funny things, so at that time people would look around and say: "Why does he speak so loudly? He is not that important!" I mean, comedy can transform people Restored to his true colors. And one day today, when President Nixon won the election and stepped forward-a very small detail made him very, very ridiculous, not serious at all. He had a big smile (Tati imitated his behavior), but it was not unnatural at all-and if he slipped on a certain step, it would not be so funny. The same situation happened with something that Charles de Gaulle did on TV one day: it was too funny, because it was done by a general. A small detail, not interesting for Laura and Hardy, but interesting for de Gaulle. In comedy, even when funny scenes follow and a series of cute things happen, people are still laughing, but I don't believe in the fun anymore. I mean, it won't be so important in fifteen or twenty years from now. Keaton's movies still look great today, because he is not exaggerated at all in it: he has the same face in his life, without a smile, and is very modern. One day I saw live people having fun in that restaurant in "Game Time", and I am sure the wait staff will be the same in ten years from now. He argued for himself in the same way, making the same gesture. I think "Game Time" will get better in a few years, when more and more people feel that those new settings are happening in their lives. People are not becoming as many as people think. They have changed according to social occasions and economic principles, but their essence has not changed. A great director once told me: "Tati, you are 100% correct in defending people, because when you walk into a hospital, whether you are severely ill or not, some of your nature will emerge regardless of whether you are strong or timid. Here. Ads, refrigerators, new cars... Those are all art... Everyone's nature becomes clear when visiting a hospital. When a person realizes something really important, he returns to his nature.
Jonathan Rosenbaum: The behavior of the people you show in the movie is often in public-you almost always show people in the crowd, very rarely in private situations. Have you ever thought about making a psychological film?
Tati: Maybe I don't have enough ability to make a movie like that. Maybe, if I can help, if someone wants... Chaplin didn't do anything special when he was filming "The Big Alone Going straight to the Chef": He made a joke on Hitler, so what? To educate others? ——I don’t educate others, I just try to give people an accessible situation where they can have a reason to laugh. I always respect the public. I describe things that make me laugh, and maybe it can make other people laugh. But we have to continue and do more things-of course we can too, but it is by no means one person can accomplish it, it has to be a team. People of our generation have to communicate with the next generation, your generation or even the generation after you: then maybe we can create something.
Jonathan Rosenbaum: Back in Paris last week, I paid attention to all the buildings along the Seine. The highway being built near Notre Dame and the skyscraper being built by Montparnasse all look alive as if they came out of "Game Time." Interestingly, I don’t know who wants to have such a highway there.
Tati: Yeah, no one. It's just that it will be faster and more practical-that is what all designers care about, but the people are qualified to make decisions when they invest money. I don't know what the outcome of the next election will be, but no political party has the power to change policy now. An independent group can disagree a little bit like you, but it's not enough. Because they can never be smarter than those in power-they will "penetrate" further into us at a time. The more they say on TV, the more absurd they are. Pompidou is now much worse than when he came to power. You'll hear him say a bunch of things on TV but it's the same as saying nothing. He would say something like: "Ok, that's good." But you know there is nothing good. We have to admit it all the time-that's why the new generation says no to them. They need real glue line to hang the image, you can't lie to them. They opposed the war because they realized how stupid it is to spend money on bombing when most people don’t even have enough food. This is a crucial controversy. But they desperately need to be strong. I gave my opinion, and it is no more important than others. But if people use drugs to evade reality or forget it, then nothing will help. They are building a new "Jewish Quarter" for themselves.
Jonathan Rosenbaum: Maybe these questions are related to the problem of our lord, but in a sense it may not be the problem in "Game Time"-because comedy is usually thought to mean that all people are at the same moment. Laughing for the same things; on the contrary, in "Game Time", as a viewer really responds to it, different people will laugh for different things at different times.
Tati: That's exactly how I feel and it's very strong. If we accept a new shaving foam without realizing that it is actually not good, if we accept a comedy movie with a fixed pattern for our laughter, if we just accept everything passively, Then we will become a member of the impersonal crowd. Because people with more money always have a greater right to speak. You watch those people on American TV, the way they speak, their manners, their clothes, their wigs-they all wear wigs, and nothing you can see about them is true. This is why the things they create are neither warm nor natural. Look at all the cream products used in merchandise-I saw them everywhere from 9 to 11:30 in the morning: spread on bread, shoes, face, potatoes, dirty --chocolate sauce. I just do not understand. At 12:30 I had a lunch date and I said, "Really, no kidding, I have no appetite."
Jonathan Rosenbaum: What should he do if someone wants to oppose the construction of a highway near Notre Dame?
Tati: Yes, we tried it-my assistant and I did it, no one paid any attention. Building a highway there is the dumbest idea you can imagine. Thirty, forty or fifty years later, we will find that we were wrong, but now it seems that everything is arranged very well. The boys play the guitar there and the girls come over to make a flirt with them, that's Paris. This is also the original intention of my creation of "Game Time".
"Movie Review" May-June 1973 issue was
published on September 15, 2009 by Jonathan Rosenbaum
PS:
1. The two sentences with * are from http://www.mtime.com/my/moviegoer/blog/ 172919/ . He translated these two sentences much better than I did, so I simply abandoned my own translation and quoted his.
2. ""Playtime" does not belong to anyone", this is my translation method, the original sentence is "PLAYTIME is nobody", the translation of the friend above is ""Playtime" is not about people"-I am based on My understanding of the whole context, but it may not be accurate-you can choose to judge:
Jacques Rivette has remarked that "PLAYTIME is a revolutionary film, despite Tati; the film has completely effaced the creator" — an idea echoed by Tati himself in the following interview, when he asserts that “PLAYTIME is nobody.” But how, exactly, is it revolutionary?
3. Original address: http://www.jonathanrosenbaum.com/?p=15628
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