0:00:00.858,0:00:04.917
Vincent Moon: How can we use computers,

0:00:04.917,0:00:09.462
cameras, microphones to represent the world

0:00:09.462,0:00:13.062
in an alternative way, as much as possible?

0:00:13.062,0:00:16.324
How, maybe, is it possible to use the Internet

0:00:16.324,0:00:20.452
to create a new form of cinema?

0:00:20.452,0:00:24.715
And actually, why do we record?

0:00:24.715,0:00:28.383
Well, it is with such simple questions in mind

0:00:28.383,0:00:31.936
that I started to make films 10 years ago,

0:00:31.936,0:00:35.424
first with a friend, Christophe Abric.

0:00:35.424,0:00:37.809
He had a website, La Blogotheque,

0:00:37.809,0:00:40.475
dedicated to independent music.

0:00:40.475,0:00:42.051
We were crazy about music.

0:00:42.051,0:00:44.873
We wanted to represent music in a different way,

0:00:44.873,0:00:47.359
to film the music we love, the musicians we admired

0:00:47.359,0:00:48.766
as much as possible

0:00:48.766,0:00:51.341
far from the music industry

0:00:51.341,0:00:53.603
and far from the cliches attached to it.

0:00:53.603,0:00:56.549
We started to publish every week

0:00:56.549,0:00:57.969
sessions on the Internet.

0:00:57.969,0:01:03.029
We are going to see a few extracts now.

0:01:05.944,0:01:09.944
From Grizzly Bear in the shower

0:01:09.944,0:01:14.094
to Sigur Ros in a Parisian cafe,

0:01:16.570,0:01:21.358
from Phoenix playing by the Eiffel Tower

0:01:21.358,0:01:25.281
to Tom Jones in his hotel room in New York,

0:01:26.601,0:01:28.707
from the Arcade Fire in an elevator

0:01:28.707,0:01:30.856
in the Olympiades

0:01:30.856,0:01:35.554
to Beirut going down stairs in Brooklyn,

0:01:36.486,0:01:40.091
from [??] in a car

0:01:40.091,0:01:42.863
to the National around a table at night

0:01:42.863,0:01:47.240
in the south of France,

0:01:47.240,0:01:49.292
from Bon Iver playing with some friends

0:01:49.292,0:01:52.925
in an apartment in Montmarte

0:01:52.925,0:01:56.783
to Yeasayer having a long night,

0:01:56.783,0:01:59.866
and many, many, many more

0:01:59.866,0:02:02.070
unknown or very famous bands.

0:02:02.070,0:02:05.636
We published all those things for free on the Internet,

0:02:05.636,0:02:08.898
and we wanted to share

0:02:08.898,0:02:13.803
all those films and represent music in a different way.

0:02:13.803,0:02:16.998
We wanted to create another type of intimacy

0:02:16.998,0:02:19.112
using all those new technologies.

0:02:19.112,0:02:21.868
At the time, 10 years ago actually,

0:02:21.868,0:02:24.208
there was no such project on the Internet,

0:02:24.208,0:02:25.873
and I guess that's why the project

0:02:25.873,0:02:27.751
we were making, the Take Away Shows,

0:02:27.751,0:02:29.450
got quite successful,

0:02:29.450,0:02:33.072
reaching millions of viewers.

0:02:33.072,0:02:36.053
After a while, I got a bit "Mmmm,"

0:02:36.053,0:02:37.830
I wanted to do something else.

0:02:37.830,0:02:40.800
I felt the need to travel and[br]to discover some other music,

0:02:40.800,0:02:42.735
to explore the world,

0:02:42.735,0:02:44.523
going to other corners,

0:02:44.523,0:02:49.056
and actually it was also this idea of nomadic cinema,

0:02:49.056,0:02:50.646
sort of, that I had in mind.

0:02:50.646,0:02:54.673
How could the use of new technologies

0:02:54.673,0:02:57.530
and the road could fit together?

0:02:57.530,0:02:59.431
How could I have my films in a bus

0:02:59.431,0:03:01.466
crossing the Andes?

0:03:01.466,0:03:05.325
So I went on a five-year travels around the globe.

0:03:05.325,0:03:07.270
I started at the time in the [???] filming

0:03:07.270,0:03:10.376
my music le bon Collection Petites Planètes,

0:03:10.376,0:03:13.896
which was also an homage to[br]French filmmaker Chris Marker.

0:03:13.896,0:03:16.371
We're going to see now a few more extracts

0:03:16.371,0:03:19.176
of those new films.

0:03:23.356,0:03:31.320
From the Tecnobrega diva of[br]northern Brazil, Gaby Amarantos

0:03:32.904,0:03:35.671
to a female ensemble in Chechnya,

0:03:39.241,0:03:41.745
from experimental electronic music in Singapore

0:03:41.745,0:03:44.396
with One Man Nation

0:03:46.368,0:03:52.322
to Brazilian [???] Tom Zé singing[br]on his rooftop in Sao Paolo,

0:03:54.672,0:04:00.256
from the Bambir, the great rock band from Armenia

0:04:00.256,0:04:02.303
to some traditional songs

0:04:02.303,0:04:06.114
in the restaurant in Tbilisi, Georgia,

0:04:08.321,0:04:10.111
from the White Shoes,

0:04:10.111,0:04:14.322
a great [??] band from Jakarta, Indonesia

0:04:14.322,0:04:18.830
to Dakha Brakha, the revolutionary band

0:04:18.830,0:04:21.630
from Kiev, Ukraine,

0:04:22.320,0:04:24.086
from Tomi Lebrero

0:04:24.086,0:04:28.136
and his band and his friends[br]in Buenos Aires, Argentina,

0:04:28.136,0:04:30.735
to many other places

0:04:30.735,0:04:33.412
and musicians around the world.

0:04:33.412,0:04:36.381
My desire was to make it as a truck.

0:04:36.381,0:04:38.147
To do all those films,

0:04:38.147,0:04:39.778
it would have been impossible

0:04:39.778,0:04:41.229
with a big company behind me,

0:04:41.229,0:04:42.910
with a structure or anything.

0:04:42.910,0:04:45.711
I was traveling alone with a backpack:

0:04:45.711,0:04:48.084
computer camera, microphones in it.

0:04:48.084,0:04:50.965
Alone, actually, but just with just local people,

0:04:50.965,0:04:53.800
meeting my team, which was absolutely not

0:04:53.800,0:04:57.715
professional people, on the spot there,

0:04:57.715,0:04:59.976
going from one place to another

0:04:59.976,0:05:01.457
and to make cinema as a truck.

0:05:01.457,0:05:03.822
I really believed that cinema could be

0:05:03.822,0:05:06.764
this very simple thing.

0:05:06.764,0:05:09.408
I want to make a film and you're going to give me

0:05:09.408,0:05:11.343
a place to stay for the night.

0:05:11.343,0:05:13.145
I give you a moment of cinema

0:05:13.145,0:05:16.355
and you offer me a [???].

0:05:16.355,0:05:20.392
Well, or other drinks, depending on where you are.

0:05:20.392,0:05:24.442
In Peru, they drink pisco sour.

0:05:24.442,0:05:29.334
Oh, well, when I arrived in Peru, actually,

0:05:29.334,0:05:31.809
I had no idea

0:05:31.809,0:05:34.396
about what I would do there,

0:05:34.396,0:05:41.569
and I just had one phone number, actually,

0:05:41.569,0:05:43.284
of one person.

0:05:43.284,0:05:44.937
Three months later,

0:05:44.937,0:05:46.804
after traveling all around the country, I had recorded

0:05:46.804,0:05:51.956
33 films, only with the help of local people,

0:05:51.956,0:05:54.217
only with the help of people

0:05:54.217,0:05:56.469
that I was asking all the time the same question:

0:05:56.469,0:05:58.674
what is important to record

0:05:58.674,0:06:01.905
here today?

0:06:01.905,0:06:03.343
By living in such a way,

0:06:03.343,0:06:06.174
by working without any structure,

0:06:06.174,0:06:11.799
I was able to react to the moment

0:06:11.799,0:06:15.016
and to decide, oh, this is important to make now.

0:06:15.016,0:06:17.153
This is important to record that whole person.

0:06:17.153,0:06:21.169
This is important to create this exchange.

0:06:21.169,0:06:24.004
When I went to Chechnya,

0:06:24.004,0:06:28.661
the first person I met looked at me and was like,

0:06:28.661,0:06:30.730
"What are you doing here?

0:06:30.730,0:06:33.734
Are you a journalist? NGO? Politics?

0:06:33.734,0:06:36.872
What kind of problems are you going to study?"

0:06:36.872,0:06:39.482
Well, I was there to research

0:06:39.482,0:06:42.440
on Sufi rituals in Chechnya, actually,

0:06:42.440,0:06:45.523
incredible culture of Sufism in Chechnya,

0:06:45.523,0:06:51.631
which is absolutely unknown outside of the region.

0:06:51.631,0:06:53.273
As soon as people understood

0:06:53.273,0:06:55.343
that I would give them those films,

0:06:55.343,0:06:57.953
I would publish them online for free[br]under a creative commons license,

0:06:57.953,0:06:59.955
but I would also really give them to the people

0:06:59.955,0:07:01.957
and I would let them do what they want with it.

0:07:01.957,0:07:04.061
I just want to represent them under a beautiful light.

0:07:04.061,0:07:06.378
I just want to portray them in a way that

0:07:06.378,0:07:08.909
their grandchildren are going[br]to look at their grandfather,

0:07:08.909,0:07:11.204
and they're going to be like,

0:07:11.204,0:07:16.288
"Whoa, my grandfather is as cool as Beyoncé."

0:07:16.288,0:07:18.144
It's a really important thing.

0:07:18.144,0:07:21.643
(Applause)

0:07:21.643,0:07:22.948
It's really important,

0:07:22.948,0:07:24.814
because that's the way

0:07:24.814,0:07:27.043
people are going to look at their own culture,

0:07:27.043,0:07:28.454
at their own land.

0:07:28.454,0:07:30.614
They're going to think about it differently.

0:07:30.614,0:07:35.710
It may be a way to maintain a certain diversity.

0:07:37.956,0:07:40.549
Why you will record?

0:07:40.549,0:07:42.710
Hmm. There's a really good quote

0:07:42.710,0:07:44.634
by American thinker Hakim Bey

0:07:44.634,0:07:48.031
which says, "Every recording

0:07:48.031,0:07:52.226
is a tombstone of a live performance."

0:07:52.226,0:07:55.241
It's a really good sentence to keep in mind

0:07:55.241,0:07:59.269
nowadays in an era saturated by images.

0:07:59.269,0:08:03.250
What's the point of that? Where do we go with it?

0:08:03.250,0:08:06.074
I was researching. I was still keeping this idea

0:08:06.074,0:08:09.415
in mind: what's the point?

0:08:09.415,0:08:11.305
I was researching on music, trying to pull,

0:08:11.305,0:08:14.173
trying to get closer to a certain origin of it.

0:08:14.173,0:08:16.367
Where is this all coming from?

0:08:16.367,0:08:18.718
I am French. I had no idea about

0:08:18.718,0:08:21.417
what I would discover, which is a very simple thing:

0:08:21.417,0:08:23.949
everything was sacred, at first,

0:08:23.949,0:08:27.369
and music was spiritual healing.

0:08:29.472,0:08:33.127
How could I use my camera,

0:08:33.127,0:08:37.575
my little tool, to get closer

0:08:37.575,0:08:39.701
and maybe not only capture the trends

0:08:39.701,0:08:45.505
but find an equivalent, the [???], maybe,

0:08:45.505,0:08:48.587
something in complete harmony

0:08:48.587,0:08:50.815
with the people?

0:08:50.815,0:08:52.907
That was, that is now,

0:08:52.907,0:08:55.214
my new researches I'm making

0:08:55.214,0:09:00.185
on spirituality, on new spirits around the world.

0:09:00.185,0:09:03.376
Maybe a few more extracts now,

0:09:07.913,0:09:12.689
from the Aluk To Raja funeral ritual in Indonesia

0:09:17.127,0:09:20.645
to an Easter ceremony in the north of Ethiopia;

0:09:23.629,0:09:26.198
from jathilan, a popular trance ritual

0:09:26.198,0:09:29.299
on the island of Java,

0:09:30.990,0:09:35.722
to an Umbanda in the north of Brazil;

0:09:38.580,0:09:43.357
the Sufi rituals of Chechnya

0:09:45.386,0:09:50.669
to a mass in the holiest church of Armenia,

0:09:54.846,0:09:56.691
some Sufi songs in Harar,

0:09:56.691,0:10:00.377
the holy city of Ethiopia

0:10:02.102,0:10:04.591
to an Ayahuasca ceremony

0:10:04.591,0:10:08.404
deep in the Amazon of Peru with the Shipibo;

0:10:11.996,0:10:14.122
then to my new project, the one I'm doing now,

0:10:14.122,0:10:15.798
here in Brazil name "Híbridos."

0:10:15.798,0:10:18.374
I'm doing it with Priscilla Telmon of [East Reach?]

0:10:18.374,0:10:22.547
on the new spiritualities all around the country.

0:10:22.547,0:10:25.641
This is my quest, my own little quest of what I call

0:10:25.641,0:10:28.415
experimental ethnography,

0:10:28.415,0:10:31.325
trying to

0:10:32.915,0:10:36.773
hybrid all those different genres,

0:10:36.773,0:10:39.680
trying to regain itself in complexity.

0:10:41.765,0:10:44.083
Why do we record?

0:10:44.083,0:10:46.681
I was still there.

0:10:46.681,0:10:50.494
I really believe cinema teaches us to see.

0:10:50.494,0:10:52.042
The way we show the world

0:10:52.042,0:10:56.580
is going to change the way we see this world,

0:10:56.580,0:10:58.290
and we live in a moment where the mass media

0:10:58.290,0:11:00.899
are doing a terrible, terrible job

0:11:00.899,0:11:03.126
at representing the world:

0:11:03.126,0:11:07.160
violence, extremists,

0:11:07.160,0:11:09.314
only spectacular events,

0:11:09.314,0:11:11.541
only simplifications of everyday life.

0:11:11.541,0:11:13.666
I think we are recording

0:11:13.666,0:11:17.252
to regain a certain complexity.

0:11:17.252,0:11:21.673
To reinvent life today,

0:11:21.673,0:11:26.203
we have to make new forms of images.

0:11:26.566,0:11:28.377
And it's very simple.

0:11:28.377,0:11:31.060
Muito obrigado.

0:11:31.060,0:11:35.158
(Applause)

0:11:42.204,0:11:45.263
Moderator: Vincent, Vincent, Vincent.

0:11:45.263,0:11:48.301
Merci. We have to prepare for[br]the following performance,

0:11:48.301,0:11:50.888
and I have a question for you,[br]and the question is this:

0:11:50.888,0:11:54.060
you show up in places like the ones you just

0:11:54.060,0:11:56.670
have shown us, and you are carrying a camera

0:11:56.670,0:11:59.313
and I assume that you are welcome

0:11:59.313,0:12:02.061
but you are not always absolutely welcome.

0:12:02.061,0:12:04.634
You walk into sacred rituals,

0:12:04.634,0:12:08.471
private moments in a village, a town,

0:12:08.471,0:12:11.091
a group of people.

0:12:11.091,0:12:12.576
How do you break the barrier

0:12:12.576,0:12:14.859
when you show up with a lens?

0:12:18.220,0:12:20.605
VM: I think you break it with your body,

0:12:20.605,0:12:23.243
more than with your knowledge.

0:12:23.243,0:12:25.610
That's what it teaches me to travel,

0:12:25.610,0:12:27.973
to trust the memory of the body

0:12:27.973,0:12:30.413
more than the memory of the brain.

0:12:30.413,0:12:33.395
The respect is stepping forward,

0:12:33.395,0:12:36.240
not stepping backward, and I really think that

0:12:36.240,0:12:39.075
by engaging your body in the[br]moment, in the ceremony,

0:12:39.075,0:12:41.553
in the places, people welcome you

0:12:41.553,0:12:43.237
and understand your energy.

0:12:43.237,0:12:45.037
Moderator: You told me that most of the videos

0:12:45.037,0:12:47.569
you have made are actually one single shot.

0:12:47.569,0:12:49.177
You don't do much editing.

0:12:49.177,0:12:50.921
I mean, you edited the ones for us

0:12:50.921,0:12:53.486
at the beginning of the sessions[br]because of the length and etc.

0:12:53.486,0:12:55.263
Otherwise, you just go in and

0:12:55.263,0:12:57.119
capture whatever happens in front of your eyes

0:12:57.119,0:12:59.853
without much planning, and so is that the case?

0:12:59.853,0:13:01.586
It's correct?

0:13:01.586,0:13:03.594
VM: My idea is that I think that

0:13:03.594,0:13:07.614
as long as we don't cut,

0:13:07.614,0:13:10.719
as long as we let the viewer watch,

0:13:10.719,0:13:13.688
more and more viewers are going to feel closer,

0:13:13.688,0:13:16.501
is going to get closer to the moment,

0:13:16.501,0:13:20.337
to that moment and to that place.

0:13:20.337,0:13:23.869
I really think that's a matter of respecting the viewer,

0:13:23.869,0:13:27.581
to not cut all the time from one place to another,

0:13:27.581,0:13:29.865
to just let the time go.

0:13:29.865,0:13:31.529
Moderator: Tell me in a few words

0:13:31.529,0:13:33.284
your new project, "Híbridos," here in Brazil.

0:13:33.284,0:13:35.332
Just before coming to TEDGlobal, you have actually

0:13:35.332,0:13:37.333
been traveling around the country for that.

0:13:37.333,0:13:39.156
Tell us a couple of things.

0:13:39.156,0:13:41.485
VM: "Híbridos" is, I really believe Brazil,

0:13:41.485,0:13:45.658
far from the cliches, is the greatest[br]religious country in the world,

0:13:45.658,0:13:48.504
the greatest country in terms of spirituality

0:13:48.504,0:13:51.541
and in experimentations in spiritualities,

0:13:51.541,0:13:54.915
and it's a big project I'm doing over this year,

0:13:54.915,0:13:59.745
which is researching in very[br]different regions of Brazil,

0:13:59.745,0:14:02.050
in very different forms of [???]

0:14:02.050,0:14:03.648
and trying to understand how people live together

0:14:03.648,0:14:04.953
with spirituality nowadays.

0:14:04.953,0:14:06.629
Moderator: The man who is going

0:14:06.629,0:14:08.509
to appear onstage momentarily,

0:14:08.509,0:14:10.409
and Vincent's going to introduce him,

0:14:10.409,0:14:13.851
is one of the subjects of one of his past videos.

0:14:13.851,0:14:15.718
When did you do a video with him?

0:14:15.718,0:14:18.272
VM: I guess four years ago,

0:14:18.272,0:14:20.758
four years in my first travel.

0:14:20.758,0:14:22.512
Moderator: So it was one of your first

0:14:22.512,0:14:23.919
ones in Brazil.

0:14:23.919,0:14:25.943
VM: It was amongst the first ones in Brazil, yeah.

0:14:25.943,0:14:27.620
I shot the film and the rest of it

0:14:27.620,0:14:29.689
in the place where he is from.

0:14:29.689,0:14:31.061
Moderator: So let's introduce him.

0:14:31.061,0:14:32.849
Who are we waiting for?

0:14:32.849,0:14:35.096
VM: I'll just make it very short. It's a very great honor

0:14:35.096,0:14:37.143
for me to welcome onstage one of the greatest

0:14:37.143,0:14:39.304
Brazilian musicians of all time.

0:14:39.304,0:14:41.643
Please welcome Nana Vasconcelos.

0:14:41.643,0:14:43.555
Moderator: Nana Vasconcelos!

0:14:43.555,0:14:47.961
(Applause)

0:14:50.563,0:14:57.309
(Music)

0:19:07.657,0:19:11.815
Nana Vasconcelos: Let's go to the jungle.

0:23:47.636,0:23:51.636
(Applause)