0:00:00.858,0:00:04.677
Vincent Moon: How can we use computers,

0:00:04.677,0:00:09.172
cameras, microphones to represent the world

0:00:09.172,0:00:11.336
in an alternative way,

0:00:11.336,0:00:13.370
as much as possible?

0:00:13.370,0:00:16.324
How, maybe, is it possible to use the Internet

0:00:16.324,0:00:20.042
to create a new form of cinema?

0:00:20.042,0:00:25.035
And actually, why do we record?

0:00:25.035,0:00:27.953
Well, it is with such simple questions in mind

0:00:27.953,0:00:31.936
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 Blogothèque,

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

0:00:40.475,0:00:42.130
We were crazy about music.

0:00:42.130,0:00:44.822
We wanted to represent [br]music in a different way,

0:00:44.822,0:00:47.410
to film the music we love,[br]the musicians we admired,

0:00:47.410,0:00:50.871
as much as possible, far [br]from the music industry

0:00:50.871,0:00:53.253
and far from the cliches attached to it.

0:00:53.253,0:00:56.219
We started to publish every week

0:00:56.219,0:00:57.969
sessions on the Internet.

0:00:57.969,0:01:03.290
We are going to see a few extracts now.

0:01:05.944,0:01:09.744
From Grizzly Bear in the shower

0:01:09.744,0:01:14.940
to Sigur Ros playing 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 [br]hotel room in New York.

0:01:26.241,0:01:28.707
From Arcade Fire in an elevator

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

0:01:30.856,0:01:35.554
to Beirut going down[br]a staircase in Brooklyn.

0:01:36.486,0:01:40.500
From R.E.M. in a car

0:01:40.500,0:01:42.863
to The National around a table at night

0:01:42.863,0:01:46.620
in the south of France.

0:01:46.620,0:01:49.952
From Bon Iver playing with some friends

0:01:49.952,0:01:52.925
in an apartment in Montmartre

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

0:01:59.866,0:02:02.370
unknown or very famous bands.

0:02:02.370,0:02:03.926
We published all those films

0:02:03.926,0:02:05.882
for free on the Internet,

0:02:05.882,0:02:08.898
and we wanted to share

0:02:08.898,0:02:11.068
all those films and represent music

0:02:11.068,0:02:13.828
in a different way.

0:02:13.828,0:02:16.998
We wanted to create [br]another type of intimacy

0:02:16.998,0:02:18.662
using all those new technologies.

0:02:18.662,0:02:21.768
At the time, 10 years ago actually,

0:02:21.768,0:02:24.018
there was no such project on the Internet,

0:02:24.018,0:02:27.663
and I guess that's why the project we [br]were making, the Take Away Shows,

0:02:27.663,0:02:28.940
got quite successful,

0:02:28.940,0:02:32.720
reaching millions of viewers.

0:02:32.720,0:02:35.920
After a while, I got a bit —

0:02:35.920,0:02:37.830
I wanted to go somewhere 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,

0:02:44.523,0:02:46.564
and actually it was also

0:02:46.564,0:02:50.535
this idea of nomadic cinema,[br]sort of, that I had in mind.

0:02:50.535,0:02:57.583
How could the use of new technologies [br]and the road fit together?

0:02:57.583,0:02:59.431
How could I edit my films in a bus

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

0:03:01.466,0:03:03.400
So I went on five-year travels

0:03:03.400,0:03:05.334
around the globe.

0:03:05.334,0:03:10.310
I started at the time in the digital film [br]and music label collection Petites Planètes,

0:03:10.310,0:03:13.526
which was also an homage to[br]French filmmaker Chris Marker.

0:03:13.526,0:03:16.371
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 tecno brega diva of[br]northern Brazil, Gaby Amarantos

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

0:03:39.241,0:03:44.315
From experimental electronic music [br]in Singapore with One Man Nation

0:03:46.368,0:03:52.322
to Brazilian icon Tom Zé singing[br]on his rooftop in São Paolo.

0:03:54.672,0:03:59.846
From The Bambir, the great [br]rock band from Armenia

0:03:59.846,0:04:02.303
to some traditional songs

0:04:02.303,0:04:06.114
in a restaurant in Tbilisi, Georgia.

0:04:07.731,0:04:14.011
From White Shoes, a great retro [br]pop band from Jakarta, Indonesia

0:04:15.012,0:04:21.390
to DakhaBrakha, the revolutionary [br]band from Kiev, Ukraine.

0:04:22.320,0:04:24.020
From Tomi Lebrero

0:04:24.020,0:04:28.136
and his bandoneon 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 trek.

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,

0:04:41.229,0:04:42.630
with a structure or anything.

0:04:42.630,0:04:45.711
I was traveling alone with a backpack —

0:04:45.711,0:04:48.180
computer, camera, microphones in it.

0:04:48.180,0:04:50.965
Alone, actually, but [br]just with 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 trek.

0:05:01.457,0:05:04.352
I really believed that cinema could be

0:05:04.352,0:05:06.544
this very simple thing:

0:05:06.544,0:05:11.263
I want to make a film and you're going [br]to give me a place to stay for the night.

0:05:11.263,0:05:16.195
I give you a moment of cinema[br]and you offer me a capirinha.

0:05:16.195,0:05:18.480
Well, or other drinks,

0:05:18.480,0:05:20.715
depending on where you are.

0:05:20.715,0:05:24.172
In Peru, they drink pisco sour.

0:05:24.172,0:05:29.014
Well, when I arrived in Peru, actually,

0:05:29.014,0:05:34.289
I had no idea about what I would do there.

0:05:34.289,0:05:41.569
And I just had one phone number, actually,

0:05:41.569,0:05:43.064
of one person.

0:05:43.064,0:05:44.407
Three months later,

0:05:44.407,0:05:48.735
after traveling all around the [br]country, I had recorded 33 films,

0:05:48.735,0:05:51.755
only with the help of local people,

0:05:51.755,0:05:54.217
only with the help of people

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

0:05:56.469,0:06:01.515
What is important to record here today?

0:06:01.515,0:06:03.343
By living in such a way,

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

0:06:06.174,0:06:11.369
I was able to react to the moment

0:06:11.369,0:06:14.787
and to decide, oh, this is [br]important to make now.

0:06:14.787,0:06:17.033
This is important to [br]record that whole person.

0:06:17.033,0:06:21.049
This is important to create this exchange.

0:06:21.049,0:06:24.100
When I went to Chechnya,

0:06:24.100,0:06:26.310
the first person I met

0:06:26.310,0:06:28.520
looked at me and was like,

0:06:28.520,0:06:30.730
"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 [br]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 —

0:06:42.440,0:06:45.575
incredible culture of Sufism in Chechnya,

0:06:45.575,0:06:50.849
which is absolutely unknown [br]outside of the region.

0:06:50.849,0:06:52.903
As soon as people understood

0:06:52.903,0:06:55.343
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 [br]give them to the people

0:06:59.955,0:07:01.767
and I would let them do [br]what they want with it.

0:07:01.767,0:07:03.690
I just want to represent [br]them in a beautiful light.

0:07:03.690,0:07:06.378
I just want to portray them in a way that

0:07:06.378,0:07:09.649
their grandchildren are going[br]to look at their grandfather,

0:07:09.649,0:07:11.204
and they're going to be like,

0:07:11.204,0:07:16.288
"Whoa, my grandfather is as [br]cool as Beyoncé." (Laughter)

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,

0:07:22.948,0:07:24.604
because that's the way

0:07:24.604,0:07:28.430
people are going to look differently at [br]their own culture, at their own land.

0:07:28.430,0:07:30.614
They're going to think about it differently.

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

0:07:37.256,0:07:40.549
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

0:07:44.634,0:07:48.060
which says, "Every recording

0:07:48.060,0:07:51.966
is a tombstone of a live performance."

0:07:51.966,0:07:54.981
It's a really good [br]sentence to keep in mind

0:07:54.981,0:07:58.889
nowadays in an era saturated by images.

0:07:58.889,0:08:00.409
What's the point of that?

0:08:00.409,0:08:03.189
Where do we go with it?

0:08:03.189,0:08:06.470
I was researching. I was still [br]keeping this idea in mind:

0:08:06.470,0:08:09.085
What's the point?

0:08:09.085,0:08:11.305
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

0:08:18.718,0:08:21.164
what I would discover, [br]which is a very simple thing:

0:08:21.164,0:08:23.949
Everything was sacred, at first,

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

0:08:29.472,0:08:32.767
How could I use my camera,

0:08:32.767,0:08:37.255
my little tool, to get closer

0:08:37.255,0:08:39.701
and maybe not only capture the trance

0:08:39.701,0:08:45.595
but find an equivalent, [br]a cine-trance, maybe,

0:08:45.595,0:08:48.047
something in complete harmony

0:08:48.047,0:08:50.815
with the people?

0:08:50.815,0:08:55.154
That is now my new research I'm doing

0:08:55.154,0:08:59.575
on spirituality, on new [br]spirits around the world.

0:08:59.575,0:09:03.376
Maybe a few more extracts now.

0:09:07.913,0:09:12.689
From the Tana Toraja [br]funeral ritual in Indonesia

0:09:17.127,0:09:20.645
to an Easter ceremony [br]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,

0:09:30.270,0:09:35.722
to 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 [br]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,

0:10:02.102,0:10:04.281
to an ayahuasca ceremony

0:10:04.281,0:10:08.404
deep in the Amazon of [br]Peru with the Shipibo.

0:10:11.996,0:10:14.162
Then to my new project, [br]the one I'm doing now

0:10:14.162,0:10:15.798
here in Brazil, named "Híbridos."

0:10:15.798,0:10:17.584
I'm doing it with Priscilla Telmon.

0:10:17.584,0:10:22.547
It's research on the new [br]spiritualities all around the country.

0:10:22.547,0:10:28.505
This is my quest, my own little quest [br]of what I call experimental ethnography,

0:10:28.505,0:10:36.773
trying to hybrid all [br]those different genres,

0:10:36.773,0:10:40.060
trying to regain a certain complexity.

0:10:41.485,0:10:44.000
Why do we record?

0:10:44.000,0:10:46.681
I was still there.

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

0:10:50.494,0:10:51.900
The way we show the world

0:10:51.900,0:10:56.150
is going to change the [br]way we see this world,

0:10:56.150,0:10:58.290
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.

0:11:17.252,0:11:22.423
To reinvent life today,

0:11:22.423,0:11:26.213
we have to make new forms of images.

0:11:26.213,0:11:28.377
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
Bruno Giussani: 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:

0:11:50.888,0:11:54.914
You show up in places like the [br]ones you just have shown us,

0:11:54.914,0:11:56.818
and you are carrying a camera

0:11:56.818,0:11:59.313
and I assume that you are welcome

0:11:59.313,0:12:02.000
but you are not always absolutely welcome.

0:12:02.000,0:12:04.634
You walk into sacred rituals,

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

0:12:08.471,0:12:10.680
a group of people.

0:12:10.680,0:12:12.576
How do you break the barrier

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

0:12:18.000,0:12:20.605
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 taught me to travel,

0:12:25.610,0:12:28.433
to trust the memory of the body

0:12:28.433,0:12:31.083
more than the memory of the brain.

0:12:31.083,0:12:33.395
The respect is stepping forward,

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

0:12:36.240,0:12:39.190
by engaging your body in the[br]moment, in the ceremony,

0:12:39.190,0:12:41.553
in the places, people welcome you

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

0:12:43.237,0:12:44.900
BG: You told me that most of the videos

0:12:44.900,0:12:47.569
you have made are [br]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, etc.

0:12:53.486,0:12:55.313
Otherwise, you just go in and capture

0:12:55.313,0:12:57.119
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, in a way,

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 [br]are going to feel closer,

0:13:13.688,0:13:16.501
are 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 of that as a matter [br]of respecting the viewer,

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

0:13:27.581,0:13:29.645
to just let the time go.

0:13:29.645,0:13:31.749
BG: Tell me in a few words [br]about your new project,

0:13:31.749,0:13:33.284
"Híbridos," here in Brazil.

0:13:33.284,0:13:35.062
Just before coming to [br]TEDGlobal, you have actually

0:13:35.062,0:13:37.333
been traveling around [br]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 — [br]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 [br]in terms of spirituality

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

0:13:51.541,0:13:54.515
And it's a big project I'm [br]doing over this year,

0:13:54.515,0:13:59.315
which is researching in very[br]different regions of Brazil,

0:13:59.315,0:14:01.420
in very different forms of cults,

0:14:01.420,0:14:03.308
and trying to understand [br]how people live together

0:14:03.308,0:14:04.753
with spirituality nowadays.

0:14:04.753,0:14:08.489
BG: The man who is going to [br]appear onstage momentarily,

0:14:08.489,0:14:10.199
and Vincent's going to introduce him,

0:14:10.199,0:14:13.851
is one of the subjects of [br]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.

0:14:20.758,0:14:23.602
BG: So it was one of [br]your first ones in Brazil.

0:14:23.602,0:14:25.833
VM: It was amongst the [br]first ones in Brazil, yeah.

0:14:25.833,0:14:27.290
I shot the film in Recife,

0:14:27.290,0:14:29.259
in the place where he is from.

0:14:29.259,0:14:32.269
BG: So let's introduce him. [br]Who are we waiting for?

0:14:32.269,0:14:33.740
VM: I'll just make it very short.

0:14:33.740,0:14:36.343
It's a very great honor for [br]me to welcome onstage

0:14:36.343,0:14:39.304
one of the greatest Brazilian [br]musicians of all time.

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

0:14:41.643,0:14:43.555
BG: Naná 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
Naná Vasconcelos: Let's go to the jungle.

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