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Vincent Moon: How can we use computers,
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cameras, microphones to represent the world
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in an alternative way, as much as possible?
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How, maybe, is it possible to use the Internet
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to create a new form of cinema?
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And actually, why do we record?
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Well, I research these simple questions in mind,
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then I started to make films 10 years ago,
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first with a friend, Christophe Abric.
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He had a website, La Blogotheque,
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dedicated to independent music.
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We were crazy about music.
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We wanted to represent music in a different way,
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to film the music we love, the musicians we admired
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as much as possible
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far from the music industry
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and far from the cliches attached to it.
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We started to publish every week
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sessions on the Internet.
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We are going to see a few extracts now.
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From Grizzly Bear in the shower
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to Sigur Ros in a Parisian cafe,
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from [???] playing by the Eiffel Tower
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to Tom Jones in his hotel room in New York,
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from the Arcade Fire in an elevator
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in the Olympiades
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to Beirut going down stairs in Brooklyn,
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from [??] in a car
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to the National around a table at night
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in the south of France,
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from Bon Iver playing with some friends
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in an apartment in Montmarte
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to Yeasayer having a long night,
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and many, many, many more
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unknown or very famous bands.
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We published all those things for free on the Internet,
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and we wanted to share
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all those films and represent music in a different way.
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We wanted to create another type of intimacy
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using all those new technologies.
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At the time, 10 years ago actually,
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there was no such project on the Internet,
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and I guess that's why the project
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we were making, the Take Away Shows,
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got quite successful,
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reaching millions of viewers.
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After a while, I got a bit "Mmmm,"
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I wanted to do something else.
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I felt the need to travel and
to discover some other music,
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to explore the world,
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going to other corners
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and actually it was also this idea of nomadic cinema,
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sort of, that I had in mind.
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How could the use of new technologies
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and the world could fit together?
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How could I have my films in a bus
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crossing the Andes?
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So I went on a five-year travels around the globe.
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I started at the time in the [???] filming
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my music le bon Collection Petites Planètes,
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which was also an homage to
French filmmaker Chris Marker.
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We're going to see now a few more extracts
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of those new films.
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From the Tecnobrega diva of
northern Brazil, Gaby Amarantos
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to a female ensemble in Chechnya,
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from experimental electronic music in Singapore
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with One Man Nation
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to Brazilian [???] Tom Zé singing
on his rooftop in Sao Paolo,
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from the Bambir, the great rock band from Armenia
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to some traditional songs
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in the restaurant in Tbilisi, Georgia,
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from the White Shoes,
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a great [??] band from Jakarta, Indonesia
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to Dakha Brakha, the revolutionary band
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from Kiev, Ukraine,
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from Tomi Lebrero
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and his band and his friends
in Buenos Aires, Argentina,
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to many other places
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and musicians around the world.
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My desire was to make it as a truck.
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To do all those things,
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it would have been impossible
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with a big company behind me,
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with a structure or anything.
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I was traveling alone with a backpack:
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computer camera, microphones in it.
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Alone, I shoot with just local people,
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meeting my team, which was absolutely not
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professional people, on the spot there,
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going from one place to another
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and to make cinema as a truck.
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I really believed that cinema could be
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this very simple thing.
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I want to make a film and you're going to give me
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a place to stay for the night.
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I give you a moment of cinema
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and you will [???].
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Well, or other drinks, depending on where you are.
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In Peru, the drink pisco sour.
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Oh, well, when I arrived in Peru, actually,
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I had no idea
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about what I would do there,
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and I just had one phone number, actually,
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of one person.
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Three months later,
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after traveling all around the country, I hard recorded
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33 films, only with the help of local people,
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only with the help of people
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that I was asking all the time the same question:
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what is important to record
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here today?
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By living in such a way,
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by working without any structure,
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I was able to react to the moment
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and to decide, oh, this is important to make now.
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This is important to record that whole person.
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This is important to create this exchange.
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When I went to Chechnya,
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the first person I met looked at me and was like,
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"What are you doing here?
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Are you a journalist? NGO? Politics?
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What kind of problems are you going to study?"
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Well, I was there to research
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on Sufi rituals in Chechnya, actually,
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incredible culture of Sufism in Chechnya,
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which is absolutely unknown outside of the region.
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As soon as people understood
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that I would give them those films,
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I would publish them online for free
under a creative commons license,
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but I would also really give them to the people
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and I would let them do what they want with it.
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I just want to represent them under a beautiful light.
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I just want to portray them in a way that
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their grandchildren are going
to look at their grandfather,
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and they're going to be like,
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"Whoa, my grandfather is as cool as Beyoncé."
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It's a really important thing.
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(Applause)
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It's really important,
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because that's the way
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people are going to look at their own culture,
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at their own land.
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They're going to think about it differently.
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It may be a way to maintain a certain diversity.
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Why you will record?
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Hmm. There's really good quotes
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by American thinker Hakim Bey
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which says, "Every recording
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is a tombstone of a live performance."
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It's a really good sentence to keep in mind
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nowadays in an era saturated by images.
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What's the point of that? Where do we go with it?
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I was researching. I was still keeping this idea
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in mind: what's the point?
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I was researching on music, trying to pull,
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trying to get closer to a certain origin of it.
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Where is this all coming from?
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I am French. I had no idea about
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what I would discover, which is a very simple thing:
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everything was sacred, at first,
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and music was spiritual healing.
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How could I use my camera,
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my little tool, to get closer
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and maybe not only capture the trends
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but find an equivalent, the [???], maybe,
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something in complete harmony
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with the people?
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That was, that is now,
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my new researches I'm making
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on spirituality, on new spirits around the world.
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Maybe a few more extracts now.
Krystian Aparta
The English transcript was modified on 4/2/2015: at 01:28, "the Olympiades" was changed to "the Olympia."