WEBVTT

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(Jacques) Good morning!

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Good morning, everybody!

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(Audience) Good morning!

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Claudine and I are delighted 
to be with you this morning

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to be the first ones.

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I left home when I was 13
to go to apprenticeship,

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that was in 1949.

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Actually, home was a restaurant
where my mother was the chef,

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I was already in that business.

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In fact, there was 12 restaurants
through the years in my family

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and 12 of them owned by women,

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I'm the first male to enter 
that business in my family.

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I went into apprenticeship from Lyon,
where my mother had her little restaurant

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to Bourg-en-Bresse, where 
I was born a few miles away.

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Prior to that, when we were 
about 8-9 years old,

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my mother had that little restaurant

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so, my brother and I, 
before going to school,

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walked with my mother to the market

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- the St. Antoine market
along the Saône river -

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and she would walk the market one way, 
about 1/2 a mile, and buy on her way back.

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Buying a case of mushrooms 
which were getting dark

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maybe for a third of the price or less.

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We carried, of course,
we didn't have a car at the time.

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She'd get home and start doing 
her vegetables, peeling for the day.

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She did not have 
a refrigerator at that time.

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She had an ice box, that is
a block of ice into a little cabinet,

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so she'd have chicken of the day, meat,

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fish, usually, whiting or mackerel 
or skate - inexpensive fish -

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and that she has to use it that day.

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And again, the day after, 
we start all over again.

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Everything was organic, 
everything was local.

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The word organic did not really exist --

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well, since chemical fertilizers 
did not exist either,

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or fungicides, insecticides, pesticides,
all that stuff did not exist,

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so everything was, you know, local and --

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(Claudine) Organic.
(Jacques) Organic, that's it.

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So, I went into apprenticeship, 
I was 13 years old and, at that time,

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it was very structured,
well, still is to certain extend,

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you got to be there on time,
you got to be clean,

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you have to be willing,

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it's discipline, it's structure,
that's the way a kitchen can work.

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We learn through a type of osmosis.

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The chef never really explained 
anything, he'd just say, "Do that".

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And if you say, "Why?", and he'd say, 
"Because I just told you".

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That was about the end
of the apprenticeship.

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Probably, just as good for
someone who's 13-14 years old.

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So, we worked, repeating, and repeating,
and repeating those techniques ad nauseam;

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we were not allowed
to go to the stove for a year.

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So, during that year,
I did pluck a lot of chicken,

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eviscerated a lot of chicken, 
scaled fish, chopped parsley,

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all of that type of things,
and then, the chef called me --

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My name was "you" at the time,

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then by the time I went to the stove,
they called me Jacques, so I got the name.

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So, he said, "You start tomorrow".

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"I start tomorrow?",
I didn't know how to do it;

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I went to the stove
and I knew how to do it.

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There was that type of osmosis,
things that you show, that you mentor.

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I've got a book called, "La technique",
that I published in 1975,

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so it's 40-year old,

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and I don't cook
the way I did 40 years ago.

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But the way I did an egg white, 
or sharpen a knife,

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or bone out a chicken, 
to give you a sense;

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it is that kind of permanence,
that kind of continuity,

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that, you learn in the kitchen;

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to be first a craftsman.

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And it's very difficult, 
very often, to explain in words

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something that you can show --

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It's easier to show --

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than to explain

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in words.

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You can do that to chocolate as well.

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You'd do that at exactly 
the right temperature.

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And we used to

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put the butter in 
a little container, that on top,

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and now you can charge 20 bucks for it.

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(Laughter)

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Put that in water, that's cold, 
so we could do whatever.

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(Applause)

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Thank you, Titine.

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For me, first you have to be a craftsman.

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You have to be a craftsman, and is
that repeat, and repeat, and repeat,

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that is very important.

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Just like

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you can spend a year, two years, 
in a studio in art school

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and learn the law of perspective,
it is perfectly fine,

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and you learn how to mix 
yellow and blue to make green,

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you know what to do with your thumb, 
with your spatula, with the brush;

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then you can come out and 
do one painting after another.

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Does that make you a chef? Not really.

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But you're by then, a good craftsman,
and that's very important.

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You have, first, to know your trade,

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whether you are

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a shoemaker, or a cabinet maker
- like my father -

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first, you know your trade.

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So, those things that we boned out

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I learned, as I said, as a child.

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And then, I learned this from --

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I don't remember where I learn that but --

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when you learn something 
you learn it a certain way

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and after a while, you don't remember 
where it comes from,

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and you do it your own way, eventually.

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To do a type of lollipop 
like that, as we used to --

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So, those techniques, as I said,
first make you a craftsman,

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and if you are a good craftsman,
then you can run a restaurant.

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There are about 20,000 restaurants in NY

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and 100 are well known, maybe 200, 
maybe 300, maybe 400 even,

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but what happen to the 19,500
is that they are run by artisans,

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people who know how to work properly,

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and this is the only way if you become,
in my opinion, a good craftsman,

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if you have that type of knowledge,
then you can express yourself.

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This is half of yourself,

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the other half has to do with talent.

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If you have talent --

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If you happen to have talent,

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by this I mean, if you have taste,

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if you have a bit of a vision,

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if you have a little bit of creativity,

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then you can express yourself,

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you now have the means in your hands
to express yourself,

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if you've gone through those techniques.

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You have to repeat 
those techniques, as I said,

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long enough so that,
you can afford to forget it after.

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Here we are, 
half of this, now the filet.

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(Claudine) If you have any questions
you should shout them out,

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it's a good opportunity.

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(Claudine) There's going to be a test.

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(Laughter)

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(Jacques) This way.

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There's my carcass.

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Now, the tip of the filet,
you remove it here.

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This one here --

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So, you free your hand
by learning those techniques

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and as I said, you can now

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think in term of texture,
in term of other things

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because, as I said, you free your hand
by repeating and repeating.

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Now, this is one part of yourself,

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half of yourself is there, 
it's the craftsman;

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the other part of yourself

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now depend on whether 
you have talent or not,

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and even if you have 
a little bit of talent, not too much,

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you can still run a little restaurant
by being a good technician.

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If you have a lot of talent,
then you can take it further.

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Not all the chefs are René Redzepi,

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or David Chang,

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or José Andrés --

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Here we are.

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(Applause and cheering)

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(Jacques) At that point 
you really don't want to cut the bone

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because the skin will shrink 
all over the place so, we break it.

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And you know, the interesting part
is that if you carve in the dining room,

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or if you do a quail 
or a pheasant or a goose,

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the morphology is the same.

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If you cut a chicken 
in pieces to do a skew,

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you cut exactly in the sample place,
at the shoulder joint, at the hip joint --

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Okay.

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Now, you have to be very proud 
of what you're doing

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but you also have to be humble
to a certain extend

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because there's always someone

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who can think with 
more creativity than you are,

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who can think harder than you do.

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We're all limited
by the extent of our taste

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and they are different,

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and sometimes, you have people,

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like a food critic, who doesn't 
really know how to cook

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but maybe who can
taste better than you do.

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We fail on that and sometimes
it's not easy to take,

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but that's the way it is.

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For me, a young chef should work
with a good chef, in a good place,

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and at that point your aim is 
to try to visualize what that chef does.

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If she or he works with you,
then you try to see --

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Yeah, that's where there are no bones --

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a little bit here --

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you try to see the food through
his or her sense of aesthetic,

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their sense of taste,

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and even if it doesn't coincide with you,

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most of the time it won't coincide

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with your sense of taste
or your sense of aesthetic,

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but it doesn't 
really matter at that point,

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you have to look at it through that,

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and you do it for a year or two,

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then you work with another chef
for a year or two,

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and again looking at things 
through a different point of view,

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different sense of aesthetic,

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and then maybe with a third one
a few more times --

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then, at some point,
you're going to give it back.

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You're going to give it back,

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and now you're going to filter it
through your sense of taste,

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through your sense of aesthetic,

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that's how it works

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because ultimately, at some point,
you cannot escape yourself,

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you are who you are, and that's the way
how you are going to do it.

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It's always a bit of a paradox for me

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because I work with young chefs
like at Boston University

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and everyone wants to do 
something special and different.

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I do a class which I call a perfect meal,

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which is a roast chicken,
a bowl of potatoes and a salad.

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It used to be done this way:

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They all go to the stove
to do the same type of things

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and I say, "Don't try to blew my mind
because I know that I have 12 people here,

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I'm going to have 12 different chicken."

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Because that's the way it is,

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you don't really have to torture yourself 
to be different, you are different,

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there's no way that you can 
do exactly the same thing

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than the person next to you.

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This is a good beef stuffing 
- not really - but

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just to give you an idea.

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Okay, Titine --

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So, we have our galantine,
that is if we poach it,

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and our ballotine if we roast it.

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Thank you.

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So, we put it this way --

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(Claudine) No questions?

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(Jacques) Okay.

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(Jacques) Very quiet here.

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(Claudine) I know.

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(Claudine) Do you want some wine?

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(Jacques) Ah, my daughter knows me --

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(Laughter)

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(Jacques) Our galantine, so --

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(Applause)

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(Jacques) Up to that point --

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(Claudine) You have five minutes --

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(Jacques) Oh yeah, okay.

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The technique to do something
remain fairly constant,

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but at that point
this is what it'll change:

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when you're happy with the way 
you cook it, what you do with it,

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the seasoning and all of that 
become your own.

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Okay.

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- (Jacques) Pepper, Titine?
- (Claudine) Yeah.

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(Jacques) That's your salt --

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(Pepper mill grinding)

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(Claudine) Everybody needs one of me 
in your kitchen, you all need me --

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(Laughter)

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(Jacques) Now I cook with
my granddaughter as well.

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(Claudine) She's 12.

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(Jacques) Yes --

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when I did a television show 
with Claudine many years ago --

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(Jacques) Why did you 
give me two of those?

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(Claudine) I offered
whatever you want it --

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(Jacques) Okay, good.

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(Jacques) I learned how to make 
three different types of omelettes.

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A flat omelette, called à la piperade

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or omelette basquaise and so forth --

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Western omelette, as it's called the US,

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and then, we did an omelette
that my mother would do

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with very large curd, brown --

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and then we did a more 
classic omelette - like this one -

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and for those we want to make 
very small curds, like scramble egg.

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Now, there are three different 
types of omelettes that I would do,

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one is not better than the other,
it's just different.

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A few weeks ago, 
I did that for a television

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who came to my house and wanted me
to do the three types of omelettes,

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which I did --

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and then they realized they only have 
a minute and a half when they edited,

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so they just took some stuff 
from one omelette to the other,

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to the other, and mix 
the whole thing together --

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(Laughter)

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(Jacques) What a waste!

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So, here you bring it back here,

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so that you're now rolling 
really a carpet --

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so you're just bringing one lid --

00:17:26.770 --> 00:17:28.858
one lid here and a half moon --

00:17:29.619 --> 00:17:31.124
nice half moon --

00:17:31.749 --> 00:17:33.330
bring that here --

00:17:34.158 --> 00:17:36.676
bring the other lid on top --

00:17:36.929 --> 00:17:39.354
this is the time 
when you want to stuff it,

00:17:40.488 --> 00:17:41.781
change hands --

00:17:42.100 --> 00:17:43.780
and then that omelette should be --

00:17:45.839 --> 00:17:47.210
to the edge --

00:17:49.298 --> 00:17:50.433
Ooooh!

00:17:51.178 --> 00:17:52.556
The chef in my kitchen --

00:17:52.556 --> 00:17:55.829
(Applause)

00:18:01.150 --> 00:18:04.079
The chef in my kitchen 
would have seen the pleads on top

00:18:04.079 --> 00:18:08.209
and he would have done some reference
to the behind of his grandmother --

00:18:08.209 --> 00:18:10.541
(Laughter)

00:18:12.701 --> 00:18:16.938
As you see, it should be pale 
right on top, very creamy,

00:18:16.938 --> 00:18:19.828
very soft inside, like scramble eggs,

00:18:19.828 --> 00:18:23.216
and that's what a classic omelette is.

00:18:25.049 --> 00:18:26.170
Yes, Claudine?

00:18:26.170 --> 00:18:27.258
(Claudine) Yes, papa!

00:18:27.258 --> 00:18:28.834
(Jacques) Will you drink to that?

00:18:28.834 --> 00:18:29.811
(Claudine) I will!

00:18:29.811 --> 00:18:31.241
(Jacques) Thank you very much!

00:18:31.241 --> 00:18:33.949
(Applause and cheering!

00:18:39.958 --> 00:18:45.488
(Claudine) Whatever 
you take away from here, I hope --

00:18:45.718 --> 00:18:48.694
and it's so wonderful that 
you're taking the time to be here,

00:18:48.828 --> 00:18:52.873
I hope you share 
your knowledge with everyone

00:18:52.991 --> 00:18:55.850
because that's how the craft continues,

00:18:55.979 --> 00:18:58.689
that's how our trade continues,
that's how it gets better.

00:18:58.709 --> 00:19:03.582
(Jacques) Yeah, I realized quite well,
all of you know those techniques,

00:19:03.582 --> 00:19:09.468
some better than me... 
yet, I thank you for coming

00:19:09.468 --> 00:19:13.589
and listening to me, but for me
the permanence is there,

00:19:13.589 --> 00:19:19.208
to teach, to explain and to show
at least the basic structure,

00:19:19.208 --> 00:19:22.339
and at that point, when you have
that type of manual dexterity

00:19:22.339 --> 00:19:24.508
or technical knowledge,

00:19:24.508 --> 00:19:26.448
then you can run a kitchen quite well.

00:19:26.448 --> 00:19:29.390
As I said, if you happen to have talent,

00:19:29.390 --> 00:19:31.689
then you bring it to a another level

00:19:31.689 --> 00:19:37.609
and, like the person who works 
in a studio for a couple of years,

00:19:37.949 --> 00:19:40.652
after that, you know how 
to mix all your paintings,

00:19:40.652 --> 00:19:42.542
and know what you can do with a brush,

00:19:42.542 --> 00:19:45.088
you step outside you do 
one painting after another --

00:19:45.088 --> 00:19:47.149
Does that make you an artist?

00:19:47.149 --> 00:19:49.704
Not really, at that point 
you're a good craftsman.

00:19:49.799 --> 00:19:52.188
If, however, you have talent,

00:19:52.188 --> 00:19:54.999
now you have the means in your hands
to express that talent,

00:19:54.999 --> 00:19:56.783
to take it somewhere.

00:19:57.680 --> 00:19:59.909
As I said, you do have to 
transcend that level

00:19:59.909 --> 00:20:03.894
at which you have to concentrate
on the manual task that you're at.

00:20:03.926 --> 00:20:07.499
You see a beginner coming around
and you say: "Do you have any parsley?"

00:20:07.499 --> 00:20:10.400
and he says: "Don't disturb me,
someone is slicing something."

00:20:10.400 --> 00:20:13.740
You have to transcend that level
so you don't have to think about it,

00:20:13.740 --> 00:20:17.259
things that are there, 
so you can think in terms of texture,

00:20:17.259 --> 00:20:20.312
combination of ingredients,
or things like these.

00:20:20.312 --> 00:20:21.497
Right, Titine?

00:20:21.497 --> 00:20:23.610
(Claudine) Right. 
Do you have any questions?

00:20:23.610 --> 00:20:26.228
(Jacques) I think I was there
at one and a half minute,

00:20:26.228 --> 00:20:28.018
now I'm back to seven minutes?

00:20:28.088 --> 00:20:29.828
(Laughter)

00:20:29.988 --> 00:20:31.628
(Claudine) Okay!

00:20:31.698 --> 00:20:32.735
(Jacques) Yes --

00:20:33.438 --> 00:20:35.533
Any questions?

00:20:37.841 --> 00:20:39.595
No questions? Yes, sir?

00:20:39.595 --> 00:20:41.198
(speaking from the audience)

00:20:41.198 --> 00:20:43.779
(Claudine) Oh, yeah.
(Jacques) Do I know that man here?

00:20:43.779 --> 00:20:47.359
(Claudine) I gave him 20 bucks before 
to say that. Thank you, Michelle!

00:20:47.479 --> 00:20:49.318
(Claudine blows a kiss)

00:20:49.429 --> 00:20:51.200
(Jacques) Thank you, Michelle... yes!

00:20:52.887 --> 00:20:56.459
I know that there are great, 
fantastic chefs here --

00:20:56.459 --> 00:21:00.012
we had an extraordinary, 
extraordinary meal at Noma,

00:21:00.012 --> 00:21:02.899
I'm gratified to be here,

00:21:02.899 --> 00:21:05.559
I know I'm the oldest of the group

00:21:05.559 --> 00:21:09.849
and now that I've passed 80 years old
I'm supposed to be wise.

00:21:09.849 --> 00:21:12.520
I don't think that I'm wiser
than when I was 30 years old

00:21:12.520 --> 00:21:16.019
but this is what happens when you get old.

00:21:16.019 --> 00:21:17.468
You think I'm wise, Claudine?

00:21:17.468 --> 00:21:21.329
- (Claudine) Yes, yes, of course, you are!
- (Jacques) Ok, that's a good daughter.

00:21:21.329 --> 00:21:22.428
(Laughter)

00:21:22.428 --> 00:21:26.841
(Jacques) Now I'm doing a show
with my granddaughter, Shorey,

00:21:26.841 --> 00:21:29.228
which we called "Lesson of a grandfather".

00:21:29.228 --> 00:21:32.749
So, little things, 
even how to set up a table,

00:21:32.749 --> 00:21:35.969
eat properly at the table or --

00:21:35.969 --> 00:21:38.088
But no, not enjoying wine yet.

00:21:38.088 --> 00:21:41.368
(Claudine) No, no, no wine yet,
it's just to give us show, so --

00:21:41.368 --> 00:21:43.021
(Laughter)

00:21:43.021 --> 00:21:44.479
(Claudine) Yes, sir?

00:21:44.479 --> 00:21:47.108
(speaking from the audience)

00:21:52.498 --> 00:21:56.819
It's a very interesting question.
Do you want to repeat the question?

00:21:56.819 --> 00:21:59.588
(Claudine) The question is
how are the kitchens today

00:21:59.588 --> 00:22:03.426
different than the kitchens
that my father was an apprentice in.

00:22:04.409 --> 00:22:05.588
Pretty dramatic?

00:22:05.588 --> 00:22:08.563
(Jacques) Yes, well, no... but, yes!

00:22:08.563 --> 00:22:10.128
(Laughter)

00:22:10.128 --> 00:22:12.289
There is a permanence there,
the point is that

00:22:12.289 --> 00:22:14.189
you still have to come on time,

00:22:14.189 --> 00:22:16.289
you still have to be ready to work,

00:22:16.289 --> 00:22:20.139
you still work in a place which is 
very structured, very disciplined,

00:22:20.139 --> 00:22:21.359
like in the army,

00:22:21.359 --> 00:22:24.079
you don't say, "Yes, captain!",
but you say, "Yes, chef!",

00:22:24.079 --> 00:22:26.668
it's about the same thing
and you have to --

00:22:26.668 --> 00:22:29.570
you have to, so that 
the kitchen works properly.

00:22:29.570 --> 00:22:30.968
You're a member of a team,

00:22:30.968 --> 00:22:33.929
and if you're late or don't show up
to be part of that team,

00:22:33.929 --> 00:22:35.748
you're going to destroy the structure,

00:22:35.748 --> 00:22:37.708
so that remains the same.

00:22:37.708 --> 00:22:40.511
That being said, when I was a kid,

00:22:40.511 --> 00:22:44.181
we would never up there
to cut a tomato --

00:22:44.181 --> 00:22:45.739
we only cut it in one direction,

00:22:45.739 --> 00:22:49.449
we'd never alternate to the other side
when I worked at the Plaza and in Paris,

00:22:49.449 --> 00:22:50.749
or whatever in the fifties.

00:22:50.749 --> 00:22:53.027
Now, there's a much greater deal

00:22:53.027 --> 00:22:55.401
and innovation is part of yourself too.

00:22:55.401 --> 00:22:59.878
And, of course, we,
up to 20-30 years ago --

00:22:59.878 --> 00:23:05.568
I've been in the kitchen 65-67 years --

00:23:05.568 --> 00:23:08.300
the cook were at the bottom
of the social scale.

00:23:08.300 --> 00:23:12.828
Any good mother would have wanted
her child to marry a doctor, an architect,

00:23:14.998 --> 00:23:16.809
certainly not a cook.

00:23:16.809 --> 00:23:20.388
Now we are genius! I don't know 
exactly what happened but --

00:23:20.388 --> 00:23:23.101
this is great, this is terrific,
so it's quite different.

00:23:23.101 --> 00:23:25.859
- (Claudine) Papa, he has a question.
- (Jacques) Yes, sir.

00:23:29.839 --> 00:23:32.271
- (René) I have a question for you.
- (Jacques) Yes.

00:23:32.271 --> 00:23:34.318
(René) You said you're 
more than 80, right?

00:23:34.318 --> 00:23:36.628
(Jacques) Yes.

00:23:36.938 --> 00:23:39.049
(René) I'm 39.

00:23:41.543 --> 00:23:44.285
I think a lot of cooks 
that deal with this --

00:23:45.695 --> 00:23:48.379
what can I say, like, guilt, sometimes --

00:23:48.379 --> 00:23:51.572
they feel like they should be yearning
for something in the past,

00:23:51.572 --> 00:23:53.889
that in the past 
things were better, kind of --

00:23:55.279 --> 00:23:58.774
Can you please tell us

00:23:58.904 --> 00:24:00.899
how it used to be in the kitchen

00:24:00.899 --> 00:24:04.429
and whether you think 
the life in the kitchen is better today,

00:24:04.429 --> 00:24:08.319
and actually, do you think 
that food has become better

00:24:08.319 --> 00:24:10.401
- and is becoming better?
- (Jacques) Yes.

00:24:10.401 --> 00:24:13.211
(René) Or, was it better 
back in the old days?

00:24:14.115 --> 00:24:16.718
No, it is better,
there's a cycle also --

00:24:16.718 --> 00:24:19.872
certainly as I said, my mother used 
only organic products too

00:24:19.872 --> 00:24:22.408
but that's what we have,
we didn't have anything else,

00:24:22.408 --> 00:24:25.357
so we're going back to that,
which is a great thing, of course,

00:24:25.357 --> 00:24:27.388
to be in communion with the Earth

00:24:27.388 --> 00:24:29.259
and in communion to where you work,

00:24:29.259 --> 00:24:30.910
and be local, and so forth.

00:24:30.910 --> 00:24:32.501
Yes, absolutely.

00:24:32.951 --> 00:24:34.305
The cooks now still have

00:24:34.305 --> 00:24:36.229
the same structure
that we used to have

00:24:36.229 --> 00:24:40.630
but you have much more freedom
than we ever had before.

00:24:41.888 --> 00:24:45.340
Certainly, I got kicked in the rear end
a few times by my chefs,

00:24:45.340 --> 00:24:49.183
I mean it was the type of things
that it was supposed at that time --

00:24:49.183 --> 00:24:50.709
it was supposed to be difficult,

00:24:50.709 --> 00:24:53.181
you have to go to 
a rite of passage and all of that,

00:24:53.181 --> 00:24:54.770
which is not really necessary,

00:24:54.770 --> 00:24:56.892
you don't need to be yelled at --

00:25:00.302 --> 00:25:04.532
I've seen a lot of show on television,
certainly, reality show,

00:25:04.532 --> 00:25:09.279
and the kitchen is like mayhem and 
the chef is yelling all over the place.

00:25:09.279 --> 00:25:12.306
This is not conducive 
to good work, certainly.

00:25:12.539 --> 00:25:16.478
There's a great deal of love, a great deal
of yourself that you put in that food,

00:25:16.478 --> 00:25:20.739
and the yelling at other people,
the lack of respect,

00:25:20.739 --> 00:25:25.032
those things are not conducive,
in my opinion, to learning well

00:25:25.032 --> 00:25:27.418
and teaching people how to cook.

00:25:27.418 --> 00:25:31.248
At a certain age, when I was 12-13,
the best way of learning

00:25:31.248 --> 00:25:34.859
was probably through 
that kind of osmotic way:

00:25:34.859 --> 00:25:37.619
you look, you repeat, 
you look, you repeat, and so forth.

00:25:37.619 --> 00:25:39.418
We passed that level now.

00:25:39.418 --> 00:25:42.998
Chefs come from cooking schools,

00:25:42.998 --> 00:25:46.220
they come out from college
when they are older,

00:25:46.220 --> 00:25:48.841
they want to know how to do it,
they want us to explain,

00:25:48.841 --> 00:25:51.989
so it's a different way of teaching
than what we're used to;

00:25:51.989 --> 00:25:55.229
and people are much more in a hurry
than how we were too;

00:25:55.229 --> 00:25:58.412
we had at least three other apprenticeship
without paid or anything,

00:25:58.412 --> 00:26:01.779
so, you know, there are 
six apprentices in front of you --

00:26:02.979 --> 00:26:04.577
so, this is much better now.

00:26:04.577 --> 00:26:08.379
A much greater respect for the chef,
for what we do for our tradition,

00:26:08.379 --> 00:26:10.509
and this is why, I mean, 
we're here today --

00:26:10.509 --> 00:26:11.979
- Yes?
- (Claudine) Wrap it up.

00:26:11.979 --> 00:26:15.548
(Jacques) Wrap it up. Yes, ma'm, okay.
But I still see one minute --

00:26:15.548 --> 00:26:17.320
(Claudine) Trust me.

00:26:17.320 --> 00:26:21.431
(Jacques) I don't know whether 
that's the right answer to your question,

00:26:21.431 --> 00:26:24.110
or whether I was not 
specific enough but --

00:26:25.520 --> 00:26:27.669
(René) Can you just say in a yes or no?


00:26:27.669 --> 00:26:30.158
(Laughter)

00:26:30.158 --> 00:26:33.779
(Claudine) You'll be the first one
to ever get that answer, if it's possible.

00:26:33.779 --> 00:26:36.757
- (René) If you look back when you were 30
- (Jacques) Right --

00:26:36.757 --> 00:26:39.938
(René) and you look at kitchens 
and chefs and cooking now,

00:26:39.938 --> 00:26:41.790
do you believe that is better now?

00:26:41.790 --> 00:26:44.130
(Jacques) Oh yes, absolutely, 
no question at all.

00:26:44.130 --> 00:26:46.889
- (René) Thank you so much!
- (Jacques) No question at all!

00:26:46.889 --> 00:26:48.612
(Applause)

00:26:53.429 --> 00:26:56.591
(Claudine) Thank you, of course,
to the MAD team for working there,

00:26:56.591 --> 00:27:00.710
took us off to the extend 
that I find extraordinary

00:27:00.710 --> 00:27:02.568
and rather inspiring so,

00:27:02.568 --> 00:27:05.378
I hope that everyone feels 
really good about the work here,

00:27:05.378 --> 00:27:09.748
but, of course, thanks to all of you
for caring so much about what we do

00:27:09.748 --> 00:27:12.768
and about what you do 
and bringing it to the next level.

00:27:12.768 --> 00:27:15.349
We hope you have a wonderful,
wonderful couple of days.

00:27:15.349 --> 00:27:16.829
- Thank you!
- (Jacques) We are!

00:27:16.829 --> 00:27:18.469
And drink a lot of wine!
Thank you!

00:27:18.649 --> 00:27:21.419
(Applause and cheering)

00:27:24.459 --> 00:27:26.025
My daughter, Claudine!

00:27:42.808 --> 00:27:45.421
- (Jacques) Jose is not here?
- (René) He's here --

00:27:47.510 --> 00:27:51.138
(Jacques) Okay. Everything I know,
I learned from him, you know.

00:27:51.138 --> 00:27:53.378
(Laughter)

00:28:01.696 --> 00:28:08.756
English subtitles by Jenny Lam-Chowdhury