Documentary Now! (2015–…): Season 3, Episode 4 - Waiting for the Artist - full transcript
♪♪
♪♪
♪♪
♪♪
Good evening.
I'm Helen Mirren, and you're
watching "Documentary Now!"
season 52.
The modern art world can be
divided into two groups --
Izabella Barta
and everyone else.
In 2010, a film crew followed
the renowned performance artist
as she returned to her roots
in Budapest, Hungary,
to prepare for her
career retrospective.
Please enjoy
"Waiting for the Artist."
[Camera shutter clicking]
♪♪
Sprout: Izabella Barta is,
without question,
the most important performance
artist of the last half century.
So many have tried to follow
in her footsteps,
and so many have failed
because what she does
is impossible to replicate.
[Guetta speaking French]
Dimo: And now, Izabella,
she is returning
to her hometown
of Budapest, Hungary,
and she is there for a
retrospective of her life's work
and maybe the promise
of something new, a new piece.
The question, uh,
on everybody's mind,
and that they're
not saying is,
"Does she have
anything new to say?"
I think maybe no.
Her best work is in the past,
and, uh, that is okay
for an artist.
I'm nervous, yeah.
No, no, I'm always nervous.
Woman: Could you lean
forward, please?
I mean, for how many years
can you --
you be surprised?
You know, I jump out
of your closet one night,
and you be shock, but I do
the same thing for 30 years,
at some point,
you're going to say to me,
"Hey, you know [laughs]
get your own
closet to hide in."
Birth, death.
Birth, death.
Birth, death.
I am human.
I am human.
I am human.
I am human.
♪♪
♪♪
♪♪
[Train passes]
[Orchestra playing]
[Sighs]
We are but a few months
away from the show,
and as of now, Izabella has yet
to be inspired with an idea.
But historically,
if given space to explore,
an idea will come to her.
[Speaking gibberish]
What she's doing now will not be
the performance...
I don't think.
I like my hair in that one.
It's good.
Maybe here.
So what we're doing is,
we're going through my archives
to find the pieces
that best represent my career.
♪♪
Izabella's early work
was about being unseen.
There was "Spotlight"
where she stood
just outside a beam of light.
Then, of course,
"Under the Blanket,"
where she remained under
a blanket for the entire day,
making only the smallest
of movements.
The idea of invisible
performance
has so much to do
with Izabella's childhood.
What you have to understand
about me
is that I grew up
under Communist rule in Hungary.
You know, my parents,
they lived in state housing
that was not zoned
for children.
When I was born,
they kept me hidden
because the stove
in our apartment, it work,
and they were worried
if we move to new apartment
that the [laughs]
that the stove there would,
you know, would not work.
So Izabella, she told me
this story.
When she was a child,
the inspector came
to the building
to inspect for children,
and her mother
put a coat over Izabella.
The inspector did not know
it was her,
so he put his coat over,
thinking that
she was a coat rack.
She stayed like this,
not moving for a long time
until the inspector left,
and this, as you know,
is the inspiration
for "Coated Spirit."
I'm very nervous.
This is a big deal, I tell you.
Got pain
in my uterus already.
Each room has one
of my historic piece
performed
by someone else,
and then I will be here
in the last room,
and then I cover the walls
in, Rei,
in gasoline, right?
Then I light the gasoline.
Big fire.
And then I run out of the museum
before it burns down.
What don't you like?
Fire is very unsafe, and...
Yes, but art is not
supposed to be safe.
It's supposed to be
radical.
But there are still rules
to starting fires indoors.
Whose rules?
The city.
Mm-hmm.
We could apply
for permits.
No.
It's ruined.
[Knock on door]
Izabella, please come out.
Ohh!
Rei: She's frustrated.
She's worried she has
no more ideas.
[Birds chirping]
♪♪
♪♪
You look so nervous.
Hello!
So nice to meet you.
Ah, and the man
with the beard, too.
Hello.
So nice, and you have
such lovely ears.
I like it.
Everyone's cellphones.
You will be so happy.
Nobody will know where you are.
I need you to find the comfort
in the discomfort.
We might do some, like,
punching
and some, um, some tweaking.
If I come and I
pull your nipples,
no screams,
no screams at all.
[All speaking foreign language]
♪♪
[All panting]
[All exhale slowly]
♪♪
Whoa!
Good. Who's next?
[Thuds]
Woman: Oh!
Carrots for everybody.
You know, you will be performing
my historic piece, right,
so I, you know, I have to trust
you with my life, you know?
But I want you to feel free,
you know, to ask me
absolutely anything, okay?
♪♪
The "Bucket Series" is one
of Izabella's most famous works.
For the "Bucket Series,"
a telephone was placed on
a pedestal
in the center of the room.
Then, the men in the room
were invited to place
objects on the floor.
There were mousetraps,
roller skates, and so on.
Once the floor was littered
with dangerous objects,
everyone would take their seats.
After a moment,
the phone would ring,
and Izabella would charge
into the room
with a bucket on her head.
[Telephone ringing]
Aah! Oh!
Whoa!
Sprout: This show was incredibly
popular with teenage boys.
It was an amazing piece
in that it showed
how bestial an audience
could be when given a chance.
They could have cleared
a path for her,
but instead,
they put her in peril,
and no matter how bad she fell
or how many things she ran into,
that face on the bucket
remained happy.
And that facade,
that smiling bucket,
is... is what it means
to be a woman.
[Speaking French]
You know, he changed her life.
And every night, the show,
it would end with me
just writhing on floor.
It was terrible pain,
except the night
Dimo was there.
You know, he was the first
person to tend my wounds.
When he removed my bucket,
and I saw his face,
in that moment, it -- it --
it was love.
I found it offensive that a man
would interrupt
the performance of a woman.
But, of course, with Dimo,
offensive is the goal.
♪♪
[Speaking French]
Sprout: I first became aware
of Dimo when he won
Breakthrough Talent
at the Milano Biennale
D'Arte Moderna.
Of course, we later learned
that the Milano Biennale D'Arte
Moderna was Dimo's own creation
that he tricked people
into believing was real.
I mean, when I heard about this,
I -- I thought, "Wow," I mean,
"Who is this man who demands
to be seen like this?"
You make big posters, and then
you rent out a big white room,
and you tell all
the journalists,
and then, uh,
the next thing you know,
you win a stupid little award.
There was an assumption
among many, myself included,
that when it was time for Dimo
to do real work
instead of pranks, the art world
would see him for a fraud.
But this time did not come.
My core goal as an artist
is to deconstruct the idea
of working, of effort,
because we are raised to believe
that great works of art
require suffering.
I want to show that, no,
the opposite is true.
The best art is made while
eating cookies
or drinking chocolate.
He was incredibly lazy.
His first gallery show
was called "Modern Sculptures."
It was a series of works
designed to challenge
what art was.
"Toy Car in Glass of Water,"
"Army Men in Ice Tray,"
and "Toothbrush Next To Fork."
What I did was, I put no thought
and no time into it.
I waited until opening night,
and, uh, I went to the store
right to the left
around the corner.
I bought a bunch of...
[speaking Italian]
...crap.
The next item up for bid
is the new piece
by Dimo Van Omen,
"Cereal Box in a Party Hat."
[Guetta speaks French]
$800,000, $900,000,
are we going to get
over a million?
Jessen: Soon after they met,
Dimo and Izabella fell in love,
and of course, that sent ripples
through the art world.
He was actually...
He was very untroubled,
you know, which I found very,
for me, very calm
because when I'm alone,
I think my instincts,
they, you know,
they tend towards the chaos,
and, uh, when I am
without idea, as I am now,
I really do long for that...
for our connection.
Yes, even how it ended
between us,
I don't think
I would ever trade it, no.
I don't think she would either,
because how could she?
This was the most fertile time
for her creatively.
My opinion was that
she carried Dimo.
You had a woman who risked
everything in her art
and a man
who risked nothing.
Dimo: I conceived this
performance "Impressions,"
two lovers covered in paint,
violently launching ourselves
into the canvas
so that even when we left,
we would remain.
"Impressions" was identical
to an original piece
of Izabella's
called "Miss Remembered."
Dimo:
It is very different.
This piece is two people,
not one, very different.
That paint was black.
This was blue.
Blue is different than black.
Jessen:
The art world was always drawn
to the story
of Dimo and Izabella.
Their work always made
you wonder
what their relationship
must be like.
Dimo insisted that, you know,
in spite of our success,
that we should drive around
Europe in this -- this old van.
It was, you know,
it was very old, very...
It was very beat up.
We would perform and drive,
and Dimo would pick a spot
for us
to park the van for the night,
and then we would make love,
and because this van was really
so small, we would...
Well, I would sleep in the back,
and he would sleep out
under the stars...
...which I know now is not true,
but, you know,
it was actually...
It was lovely thing to believe.
Dimo almost always parked
near a five-star hotel.
He would get a room
for the night
while Izabella slept in the van.
This was also when
the infidelities began.
Izabella, she had asked
that we be monogamous,
and I said yes,
and true to my word,
I was always monogamous
when I was with her.
It was the other times
that I was not,
and still, for whatever reason,
she considered it a betrayal.
Women.
Their breakup was very painful
for Izabella,
but instead of dealing
with it in private,
she offered to make it
a public moment.
Jessen:
Their breakup performance
was called "Stairwell."
Izabella started at the bottom
of the Empire State Building,
and Dimo was at the top,
and they were wearing ski boots.
Barta: What was important,
I think for me,
was that we passed each other
exactly the halfway
because I believe that we had,
in the end,
we had given the same
to each other.
They did not pass halfway.
Dimo stopped a few times
to have a cigarette,
and then he flirted
with a couple of secretaries.
You both have
beautiful eyes.
I don't know who is the better.
I'd say that it's a tie.
It's a even tie.
And when he realized
he was running behind,
he exited the stairwell
to take the elevator.
But by the time he made it
to the 51st floor,
she had already passed it.
So he sat waiting
while she continued on.
She climbed every step.
By the time she reached
the top, he was asleep.
The sad thing is, she was never
the same as an artist,
and I blame myself
for that, of course,
but she needs to accept that it
was a mistake to part with me.
[Quietly]
How long?
[Quietly]
45 minutes.
I can hear you.
Sprout:
We had a bit of a shock today.
We've been preparing a book to
go along with her retrospective.
It's been arduous because
Izabella is very particular.
Today, this book
arrived in stores.
It's written by Dimo.
She has been on the floor
ever since,
still no idea for her show.
If I was a kind of person
who worried,
I would worry now.
Dimo:
Well, this is the book.
It came out good.
Um...
Well, there is no courage
in offending
unless you are also willing
to offend those you love.
And I hope that that will be
a famous quote someday.
It frustrates me that Izabella
doesn't value
her post-Dimo work more.
There was so much great work
in that era,
like "Ein Tag, Ein Frankfurter,"
for one.
Ah, yeah, "Ein Tag,
Ein Frankfurter."
"Ein Tag, Ein Frankfurter,"
when people look back
at it today,
they say, "Oh, she ate
a hot dog a day for 365 days.
What's the big deal?"
But they forget, she only ate
one hot dog a day,
and she ate it
for the entire day.
Barta:
So there were two key elements
to performing "Ein Tag,
Ein Frankfurter."
The first was to imagine
that each day was my last,
and this was going to be
the final meal
that I would ever eat.
So I had to savor every single
moment of the experience.
And the second key
was tiny bites.
♪♪
[Guetta speaking French]
When I was 17, I saw Izabella
perform "Stranger in Need."
Changed my whole life.
Sprout: Hundreds of people a day
went through that exhibit.
Each one had the opportunity
to interact with Izabella
in a moment
of great vulnerability.
♪♪
♪♪
[Crying]
♪♪
[Applause]
♪♪
This is the kind of work people
are expecting from her.
[Metal clanging]
What? What?
Excuse me?
Excuse me?
The wire, I think it's causing
a big wrinkle in the middle.
We cannot have the wrinkle in it
because it has to be smooth.
Oh, it's very bad.
Okay. So this is the letter
I received --
"Dearest Dimo, will you join me
for one last moment,
one last tryst,
one last performance?
Yours truly, Izabella."
No, I was not surprised.
I think Izabella has always made
the best decisions,
and she is correct to assume
that the public will want
to see us together again.
This is the proper culmination
of her career.
Yeah, part of me is disappointed
that she's sharing
this moment with him.
I believe her career is her own.
[Speaking French]
I will not be happy to see Dimo.
I have nothing to say
about this.
Sorry, nothing more.
♪♪
♪♪
♪♪
♪♪
♪♪
- Over here, Dimo!
- Dimo!
[Camera shutters clicking]
Oh, well, here we are,
and let's see what happens.
Photographer: Dimo, over here!
Over here! Dimo!
[Speaks foreign
language]
♪♪
Up?
♪♪
♪♪
♪♪
Whoa!
[Clatters]
[Crowd gasps and murmurs]
[Cheers and applause]
[Cheers and applause continues]
Barta: You know, if you're
a woman working in the arts,
or anywhere actually,
people always think
that you're being controlled.
But I've always had control.
You know,
so if the audience thinks
that I'm sad
or fragile or emotional,
it's because I want them
to think that.
I've always known exactly
what I want
and exactly how to get it.
Because I'm artist.
♪♪
♪♪
♪♪
♪♪
Aah!
Oh, oh, oh!
I am human.
I am human.
I am human.
I am human.
I am human.
♪♪
♪♪
♪♪
Good evening.
I'm Helen Mirren, and you're
watching "Documentary Now!"
season 52.
The modern art world can be
divided into two groups --
Izabella Barta
and everyone else.
In 2010, a film crew followed
the renowned performance artist
as she returned to her roots
in Budapest, Hungary,
to prepare for her
career retrospective.
Please enjoy
"Waiting for the Artist."
[Camera shutter clicking]
♪♪
Sprout: Izabella Barta is,
without question,
the most important performance
artist of the last half century.
So many have tried to follow
in her footsteps,
and so many have failed
because what she does
is impossible to replicate.
[Guetta speaking French]
Dimo: And now, Izabella,
she is returning
to her hometown
of Budapest, Hungary,
and she is there for a
retrospective of her life's work
and maybe the promise
of something new, a new piece.
The question, uh,
on everybody's mind,
and that they're
not saying is,
"Does she have
anything new to say?"
I think maybe no.
Her best work is in the past,
and, uh, that is okay
for an artist.
I'm nervous, yeah.
No, no, I'm always nervous.
Woman: Could you lean
forward, please?
I mean, for how many years
can you --
you be surprised?
You know, I jump out
of your closet one night,
and you be shock, but I do
the same thing for 30 years,
at some point,
you're going to say to me,
"Hey, you know [laughs]
get your own
closet to hide in."
Birth, death.
Birth, death.
Birth, death.
I am human.
I am human.
I am human.
I am human.
♪♪
♪♪
♪♪
[Train passes]
[Orchestra playing]
[Sighs]
We are but a few months
away from the show,
and as of now, Izabella has yet
to be inspired with an idea.
But historically,
if given space to explore,
an idea will come to her.
[Speaking gibberish]
What she's doing now will not be
the performance...
I don't think.
I like my hair in that one.
It's good.
Maybe here.
So what we're doing is,
we're going through my archives
to find the pieces
that best represent my career.
♪♪
Izabella's early work
was about being unseen.
There was "Spotlight"
where she stood
just outside a beam of light.
Then, of course,
"Under the Blanket,"
where she remained under
a blanket for the entire day,
making only the smallest
of movements.
The idea of invisible
performance
has so much to do
with Izabella's childhood.
What you have to understand
about me
is that I grew up
under Communist rule in Hungary.
You know, my parents,
they lived in state housing
that was not zoned
for children.
When I was born,
they kept me hidden
because the stove
in our apartment, it work,
and they were worried
if we move to new apartment
that the [laughs]
that the stove there would,
you know, would not work.
So Izabella, she told me
this story.
When she was a child,
the inspector came
to the building
to inspect for children,
and her mother
put a coat over Izabella.
The inspector did not know
it was her,
so he put his coat over,
thinking that
she was a coat rack.
She stayed like this,
not moving for a long time
until the inspector left,
and this, as you know,
is the inspiration
for "Coated Spirit."
I'm very nervous.
This is a big deal, I tell you.
Got pain
in my uterus already.
Each room has one
of my historic piece
performed
by someone else,
and then I will be here
in the last room,
and then I cover the walls
in, Rei,
in gasoline, right?
Then I light the gasoline.
Big fire.
And then I run out of the museum
before it burns down.
What don't you like?
Fire is very unsafe, and...
Yes, but art is not
supposed to be safe.
It's supposed to be
radical.
But there are still rules
to starting fires indoors.
Whose rules?
The city.
Mm-hmm.
We could apply
for permits.
No.
It's ruined.
[Knock on door]
Izabella, please come out.
Ohh!
Rei: She's frustrated.
She's worried she has
no more ideas.
[Birds chirping]
♪♪
♪♪
You look so nervous.
Hello!
So nice to meet you.
Ah, and the man
with the beard, too.
Hello.
So nice, and you have
such lovely ears.
I like it.
Everyone's cellphones.
You will be so happy.
Nobody will know where you are.
I need you to find the comfort
in the discomfort.
We might do some, like,
punching
and some, um, some tweaking.
If I come and I
pull your nipples,
no screams,
no screams at all.
[All speaking foreign language]
♪♪
[All panting]
[All exhale slowly]
♪♪
Whoa!
Good. Who's next?
[Thuds]
Woman: Oh!
Carrots for everybody.
You know, you will be performing
my historic piece, right,
so I, you know, I have to trust
you with my life, you know?
But I want you to feel free,
you know, to ask me
absolutely anything, okay?
♪♪
The "Bucket Series" is one
of Izabella's most famous works.
For the "Bucket Series,"
a telephone was placed on
a pedestal
in the center of the room.
Then, the men in the room
were invited to place
objects on the floor.
There were mousetraps,
roller skates, and so on.
Once the floor was littered
with dangerous objects,
everyone would take their seats.
After a moment,
the phone would ring,
and Izabella would charge
into the room
with a bucket on her head.
[Telephone ringing]
Aah! Oh!
Whoa!
Sprout: This show was incredibly
popular with teenage boys.
It was an amazing piece
in that it showed
how bestial an audience
could be when given a chance.
They could have cleared
a path for her,
but instead,
they put her in peril,
and no matter how bad she fell
or how many things she ran into,
that face on the bucket
remained happy.
And that facade,
that smiling bucket,
is... is what it means
to be a woman.
[Speaking French]
You know, he changed her life.
And every night, the show,
it would end with me
just writhing on floor.
It was terrible pain,
except the night
Dimo was there.
You know, he was the first
person to tend my wounds.
When he removed my bucket,
and I saw his face,
in that moment, it -- it --
it was love.
I found it offensive that a man
would interrupt
the performance of a woman.
But, of course, with Dimo,
offensive is the goal.
♪♪
[Speaking French]
Sprout: I first became aware
of Dimo when he won
Breakthrough Talent
at the Milano Biennale
D'Arte Moderna.
Of course, we later learned
that the Milano Biennale D'Arte
Moderna was Dimo's own creation
that he tricked people
into believing was real.
I mean, when I heard about this,
I -- I thought, "Wow," I mean,
"Who is this man who demands
to be seen like this?"
You make big posters, and then
you rent out a big white room,
and you tell all
the journalists,
and then, uh,
the next thing you know,
you win a stupid little award.
There was an assumption
among many, myself included,
that when it was time for Dimo
to do real work
instead of pranks, the art world
would see him for a fraud.
But this time did not come.
My core goal as an artist
is to deconstruct the idea
of working, of effort,
because we are raised to believe
that great works of art
require suffering.
I want to show that, no,
the opposite is true.
The best art is made while
eating cookies
or drinking chocolate.
He was incredibly lazy.
His first gallery show
was called "Modern Sculptures."
It was a series of works
designed to challenge
what art was.
"Toy Car in Glass of Water,"
"Army Men in Ice Tray,"
and "Toothbrush Next To Fork."
What I did was, I put no thought
and no time into it.
I waited until opening night,
and, uh, I went to the store
right to the left
around the corner.
I bought a bunch of...
[speaking Italian]
...crap.
The next item up for bid
is the new piece
by Dimo Van Omen,
"Cereal Box in a Party Hat."
[Guetta speaks French]
$800,000, $900,000,
are we going to get
over a million?
Jessen: Soon after they met,
Dimo and Izabella fell in love,
and of course, that sent ripples
through the art world.
He was actually...
He was very untroubled,
you know, which I found very,
for me, very calm
because when I'm alone,
I think my instincts,
they, you know,
they tend towards the chaos,
and, uh, when I am
without idea, as I am now,
I really do long for that...
for our connection.
Yes, even how it ended
between us,
I don't think
I would ever trade it, no.
I don't think she would either,
because how could she?
This was the most fertile time
for her creatively.
My opinion was that
she carried Dimo.
You had a woman who risked
everything in her art
and a man
who risked nothing.
Dimo: I conceived this
performance "Impressions,"
two lovers covered in paint,
violently launching ourselves
into the canvas
so that even when we left,
we would remain.
"Impressions" was identical
to an original piece
of Izabella's
called "Miss Remembered."
Dimo:
It is very different.
This piece is two people,
not one, very different.
That paint was black.
This was blue.
Blue is different than black.
Jessen:
The art world was always drawn
to the story
of Dimo and Izabella.
Their work always made
you wonder
what their relationship
must be like.
Dimo insisted that, you know,
in spite of our success,
that we should drive around
Europe in this -- this old van.
It was, you know,
it was very old, very...
It was very beat up.
We would perform and drive,
and Dimo would pick a spot
for us
to park the van for the night,
and then we would make love,
and because this van was really
so small, we would...
Well, I would sleep in the back,
and he would sleep out
under the stars...
...which I know now is not true,
but, you know,
it was actually...
It was lovely thing to believe.
Dimo almost always parked
near a five-star hotel.
He would get a room
for the night
while Izabella slept in the van.
This was also when
the infidelities began.
Izabella, she had asked
that we be monogamous,
and I said yes,
and true to my word,
I was always monogamous
when I was with her.
It was the other times
that I was not,
and still, for whatever reason,
she considered it a betrayal.
Women.
Their breakup was very painful
for Izabella,
but instead of dealing
with it in private,
she offered to make it
a public moment.
Jessen:
Their breakup performance
was called "Stairwell."
Izabella started at the bottom
of the Empire State Building,
and Dimo was at the top,
and they were wearing ski boots.
Barta: What was important,
I think for me,
was that we passed each other
exactly the halfway
because I believe that we had,
in the end,
we had given the same
to each other.
They did not pass halfway.
Dimo stopped a few times
to have a cigarette,
and then he flirted
with a couple of secretaries.
You both have
beautiful eyes.
I don't know who is the better.
I'd say that it's a tie.
It's a even tie.
And when he realized
he was running behind,
he exited the stairwell
to take the elevator.
But by the time he made it
to the 51st floor,
she had already passed it.
So he sat waiting
while she continued on.
She climbed every step.
By the time she reached
the top, he was asleep.
The sad thing is, she was never
the same as an artist,
and I blame myself
for that, of course,
but she needs to accept that it
was a mistake to part with me.
[Quietly]
How long?
[Quietly]
45 minutes.
I can hear you.
Sprout:
We had a bit of a shock today.
We've been preparing a book to
go along with her retrospective.
It's been arduous because
Izabella is very particular.
Today, this book
arrived in stores.
It's written by Dimo.
She has been on the floor
ever since,
still no idea for her show.
If I was a kind of person
who worried,
I would worry now.
Dimo:
Well, this is the book.
It came out good.
Um...
Well, there is no courage
in offending
unless you are also willing
to offend those you love.
And I hope that that will be
a famous quote someday.
It frustrates me that Izabella
doesn't value
her post-Dimo work more.
There was so much great work
in that era,
like "Ein Tag, Ein Frankfurter,"
for one.
Ah, yeah, "Ein Tag,
Ein Frankfurter."
"Ein Tag, Ein Frankfurter,"
when people look back
at it today,
they say, "Oh, she ate
a hot dog a day for 365 days.
What's the big deal?"
But they forget, she only ate
one hot dog a day,
and she ate it
for the entire day.
Barta:
So there were two key elements
to performing "Ein Tag,
Ein Frankfurter."
The first was to imagine
that each day was my last,
and this was going to be
the final meal
that I would ever eat.
So I had to savor every single
moment of the experience.
And the second key
was tiny bites.
♪♪
[Guetta speaking French]
When I was 17, I saw Izabella
perform "Stranger in Need."
Changed my whole life.
Sprout: Hundreds of people a day
went through that exhibit.
Each one had the opportunity
to interact with Izabella
in a moment
of great vulnerability.
♪♪
♪♪
[Crying]
♪♪
[Applause]
♪♪
This is the kind of work people
are expecting from her.
[Metal clanging]
What? What?
Excuse me?
Excuse me?
The wire, I think it's causing
a big wrinkle in the middle.
We cannot have the wrinkle in it
because it has to be smooth.
Oh, it's very bad.
Okay. So this is the letter
I received --
"Dearest Dimo, will you join me
for one last moment,
one last tryst,
one last performance?
Yours truly, Izabella."
No, I was not surprised.
I think Izabella has always made
the best decisions,
and she is correct to assume
that the public will want
to see us together again.
This is the proper culmination
of her career.
Yeah, part of me is disappointed
that she's sharing
this moment with him.
I believe her career is her own.
[Speaking French]
I will not be happy to see Dimo.
I have nothing to say
about this.
Sorry, nothing more.
♪♪
♪♪
♪♪
♪♪
♪♪
- Over here, Dimo!
- Dimo!
[Camera shutters clicking]
Oh, well, here we are,
and let's see what happens.
Photographer: Dimo, over here!
Over here! Dimo!
[Speaks foreign
language]
♪♪
Up?
♪♪
♪♪
♪♪
Whoa!
[Clatters]
[Crowd gasps and murmurs]
[Cheers and applause]
[Cheers and applause continues]
Barta: You know, if you're
a woman working in the arts,
or anywhere actually,
people always think
that you're being controlled.
But I've always had control.
You know,
so if the audience thinks
that I'm sad
or fragile or emotional,
it's because I want them
to think that.
I've always known exactly
what I want
and exactly how to get it.
Because I'm artist.
♪♪
♪♪
♪♪
♪♪
Aah!
Oh, oh, oh!
I am human.
I am human.
I am human.
I am human.
I am human.