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Downloaded from
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Official YIFY movies site:
YTS.MX
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SARAH MEISTER
PHOTOGRAPHY CURATOR MOMA
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So, here are the beautiful prints.
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Sergio Larraín, broken window
and tree shadow.
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purchased with Edward Steichen funds
in 1954.
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They have
a wonderful pearly quality to them.
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Beautiful condition,
very soft printing style.
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And the next two,
have some sort of much more grit to it.
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You see the sprocket holes
from the negative.
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You can see the prints
don't lie as flat.
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The paper is thinner.
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It's also glossier,
so it's more reflective of the light.
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So it makes sense to me
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that these may come actually
in two different occasions.
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Look, that's Captain Edward Steichen's
handwriting.
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Not very clear, but he writes MoMA Coll,
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for MoMA Collection.
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For me, especially when I see
prints like these,
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in this incredible, delicate
silvery light...
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when I see the kind of imbalance
of the composition
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and I think about
where they were made...
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In that sense, who made them
and where they were and when.
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That all matters.
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That's a pretty good way
to get to know a photographer.
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He showed us the poor children
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and a reality
that was there for all to see
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but nobody had seen it.
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Until Sergio Larraín photographed it.
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He disappears among the children
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because he transforms
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into a beggar, into an orphan.
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Sergio Larraín's big issue was feeling
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somewhat abandoned,
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feeling orphaned somehow from his family.
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He identified with those children.
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Because through his photos,
Queco realized
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there was so much suffering in the world.
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The pain that existed in the world.
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The inequality.
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He was skinny, a little shy, solitary.
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The only boy in the house
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and with three sisters.
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I think Queco was very fragile,
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he was a highly sensitive person
in many aspects.
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For Queco, it was very important
that our father believed in him.
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I think he cared a lot
about our father's opinion of him.
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I think my father
liked success very much.
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If you were a photographer,
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you had to be successful.
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If you were an academic,
you had to be successful.
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You were to do things
with enthusiasm and well.
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He felt so belittled next to my father,
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because maybe Queco felt
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that he wasn't fulfilling
my father's wishes,
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that he didn't have...
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all the talents and everything
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that my father expected from him.
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I had a set of letters
from Queco to my father.
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In one letter it said:
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"Dad, I want to tell you
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that you will never have
the son you wanted."
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SERGIO LARRAÍN
THE ETERNAL MOMENT
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We never lacked anything.
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On the contrary,
there was an abundance of everything.
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It was a very fun house,
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in one part we had a tennis court,
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and we had a swimming pool.
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Lots of activities, trips, books.
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We had all sorts of opportunities.
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It was a happy childhood.
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Without any worries.
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He rejected his background
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and all the frivolity,
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the money and the pomposity.
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And that they invited
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my father to conferences,
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that he was always a dean,
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that he always had high positions
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and people admired him.
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Sergio Larraín García-Moreno
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and Mercedes Echeñique Correa
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de Larraín, at that time,
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when women belonged to men.
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She was beautiful.
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Look how flirtatious she was
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with her fishnet stockings.
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My father, Sergio Larraín,
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was a very successful architect.
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He was very sociable,
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he held various positions
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at the university later on.
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He was a dean
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at the School of Architecture.
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He created the School of Design.
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After that, he started all the work
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with the founding of the museum.
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His father begins to unravel
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the mysteries in Latin America.
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He becomes an avid collector,
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particularly of ancestral cultures.
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On those journeys,
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he is accompanied by his wife,
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by his friends, historians, writers,
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who through their dialogues,
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begin to visualize
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that this journey isn't just
the exploration of a culture,
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but also a sort of discovery
of their own origins.
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Latin American.
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Primordial.
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Immediately a sort of commitment is made,
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a profound commitment
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to make these treasures known.
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So he starts to accumulate and collect,
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to gather from different places
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very important collections that
ultimately form the founding collection
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of the Museum of Pre-Columbian Art
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and which he generously donates
to a foundation
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so that it can exist for the pleasure
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and appreciation of the Chilean public.
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And this teaching certainly
must have left an impression
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on Sergio Larraín.
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Fine Art Photography,
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as it's called today,
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was a natural practice
for Sergio Larraín,
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an instinctive practice
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because he struggled
with his familial identity.
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With his American identity.
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With his Chilean identity.
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And with his personal process of identity
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as a restless adolescent,
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with conflicts.
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When Queco decided to go
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and study Forestry in the United States,
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my father supported him 100 per cent.
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I think he wanted to leave home.
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At that point, Queco's personality
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started to change drastically,
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and he started sending
pretty terrible letters.
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My father was very worried.
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This is one of the letters he sent me
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from the United States.
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"Here I am, taking a break from studying
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to write to you.
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I've been thinking
about myself constantly
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and that's bad.
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When you think about yourself too much,
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it becomes
increasingly difficult to think
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about so many other things.
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And very difficult to get involved
with other people.
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You start to dream
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about how nice it would be
to hug someone,
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it doesn't matter who.
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And that they love you very much.
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And then you realize that it's bad.
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And you start to think
about God and Christ,
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and about all of the good and great men,
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and the shame comes and you feel regret
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and you promise a thousand things.
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But you're still alone all the time
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and you can't escape
the bad temptations."
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Astonishing! So sad! This is so sad!
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Because when I got these letters,
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they didn't worry me
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and now it makes me sad.
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He felt that he could be a priest.
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He had received Christian values,
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that he never abandoned.
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He took Communion every day.
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Queco valued manual work very much,
craftsmanship.
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He made an analogy between work
in the darkroom and mass,
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the work of the priest at the altar.
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He said it had to be immaculate, clean,
because it was a ceremony.
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"And it's the same here", he told me,
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"everything has to be in order
and done in stages
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because this is the same as Communion
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or the Eucharist,
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this is a ceremony."
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He always had a relationship
with religion,
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he always had an interest.
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My mother renounced her previous life.
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She decided that she needed to focus
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on working on her internal self,
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she became very religious.
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Everything changed in the house.
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Primarily because of my brother's death.
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It was such a hard blow,
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especially for my mother.
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My father found no better way
of distracting the family
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or dealing with the grief,
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than by organizing a trip
with all of us to Europe.
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Not just Europe, we started in Egypt,
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then we went to Israel and then Lebanon,
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Greece, Italy, Paris, France,
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then we went to London.
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We had been traveling for six months,
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my mother was suffering
from an infinite sadness,
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that she couldn't express
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because my mother never expressed
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anything she felt.
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Is that my mother?
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Look. Let's see.
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Yes.
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At Gaudi's "Sagrada Familia"
in Barcelona.
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He shows her so tiny in front
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of that grandiose thing,
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that fantastic church.
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But my mother was overwhelmed
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by the events,
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by life, by the world.
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He makes her look so small.
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I think my mother felt like that.
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Queco captured her how she was,
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I think, or how he saw her.
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It's so beautiful.
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Queco was already taking
photo after photo.
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Look at that solitary character
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with that big tree.
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I think he resented loneliness a lot,
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human loneliness.
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Something much more philosophical,
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not just him, not just his issue.
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Look at that tree, all damaged,
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truncated.
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That huge tree. Is that my father?
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It says on the back: "Dad. Mount Athos."
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"Hepidemos. Dad. Greece."
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It's from the same period.
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Perhaps he wanted
to see my father that small
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so that he wouldn't be so scared of him.
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Because I think
he was afraid of my father.
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I don't know if it was fear,
he resented him. A lot.
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But they were from different galaxies.
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Two worlds with so little in common.
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This book
is Cartier-Bresson's first book.
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And this book belonged
to Sergio's father,
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Sergio Larraín.
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Sergio Larraín learned from this book.
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It's all expressed in here,
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the counterpoint
that Cartier-Bresson talks about.
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There's a counterpoint here,
much like Bach's.
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And here pages are missing.
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Some pages are cut out
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and the pages are cut out by Sergio.
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And he placed them next to his own,
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to see how to master the geometry.
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He made albums.
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When Santiago died,
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my mother became very good friends
with Father Hurtado,
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because there was a home
for homeless children
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and at that time
Queco began taking photos
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of the children
that lived under the bridges
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and on the streets.
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There is no concession.
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The austerity of his image
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is radicalized in him.
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Everything that is there
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has to be.
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And in that frame,
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that magical instant which Sergio Larraín
always talked about, appears.
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Consciousness opens,
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where everything appears controlled,
but everything is out of control.
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Chance together with control
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constitutes a philosophy of life,
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that has to do
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with this detachment from oneself
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and letting things happen
because they have to.
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Sergio was...
269
00:21:20,896 --> 00:21:24,566
a photographer with a very sharp eye,
270
00:21:24,900 --> 00:21:26,101
very personal.
271
00:21:26,535 --> 00:21:28,237
Clearly,
272
00:21:29,037 --> 00:21:32,074
for every photographer, the idea
of being part of Magnum
273
00:21:32,140 --> 00:21:33,742
was something of a myth.
274
00:21:34,510 --> 00:21:35,878
Thanks to Cartier-Bresson,
275
00:21:35,944 --> 00:21:38,881
who Sergio meets after a trip to London,
276
00:21:40,282 --> 00:21:43,385
I believe in 1958,
277
00:21:43,852 --> 00:21:46,555
he meets Magnum photographers who propose
278
00:21:46,622 --> 00:21:49,625
that he join the Co-operative.
279
00:21:50,158 --> 00:21:52,160
After that, he settles in Europe,
280
00:21:52,227 --> 00:21:53,595
in France, in Paris.
281
00:21:54,162 --> 00:21:55,664
From France he makes
282
00:21:55,731 --> 00:21:57,366
an enormous amount of trips,
283
00:21:57,432 --> 00:21:58,467
for magazines,
284
00:21:58,534 --> 00:22:00,335
commissioned by Magnum.
285
00:22:00,402 --> 00:22:02,571
He went to Iran, Algeria,
286
00:22:02,638 --> 00:22:05,173
Sicily, lots of places.
287
00:22:17,352 --> 00:22:21,857
"I'm nervous because my report has been
published in Match.
288
00:22:23,125 --> 00:22:26,228
Because I've been in Via Veneto,
289
00:22:26,662 --> 00:22:29,698
where all the exceptional people
in Rome are.
290
00:22:29,765 --> 00:22:31,466
And I've been received so well
291
00:22:31,533 --> 00:22:34,736
by the photographers, very amicably.
292
00:22:35,604 --> 00:22:38,507
The Magnum Aristocracy.
293
00:22:43,445 --> 00:22:46,348
I've been with the divas and stars,
294
00:22:46,415 --> 00:22:48,717
that whole ambiance that excites me,
295
00:22:48,784 --> 00:22:50,152
the beauties
296
00:22:50,218 --> 00:22:52,454
and I tremble and I'm anxious
297
00:22:52,521 --> 00:22:54,990
to be a part of that world of lights,
298
00:22:55,057 --> 00:22:56,858
and try to be in the center of it all
299
00:22:56,925 --> 00:22:58,727
and conquer it,
300
00:22:58,794 --> 00:22:59,928
to capture the people,
301
00:22:59,995 --> 00:23:05,100
the beauties and prevail amongst
the men with prestige,
302
00:23:05,167 --> 00:23:06,535
and I tremble.
303
00:23:07,502 --> 00:23:09,905
And those photos
that I hardly even realize
304
00:23:09,972 --> 00:23:12,174
I've taken in the moment,
305
00:23:12,240 --> 00:23:14,009
become important
306
00:23:14,476 --> 00:23:16,612
and stand out from the rest.
307
00:23:17,412 --> 00:23:18,947
All that emotion.
308
00:23:19,014 --> 00:23:20,916
The self."
309
00:23:31,226 --> 00:23:33,895
I am, I am, I am! The self.
310
00:23:33,962 --> 00:23:36,064
And he has the confidence to say:
311
00:23:36,131 --> 00:23:39,201
"I try to impose myself and captivate
312
00:23:39,267 --> 00:23:41,236
and I want to sleep with all the women."
313
00:23:41,303 --> 00:23:43,105
Strong.
314
00:23:43,171 --> 00:23:45,507
But honest.
315
00:23:45,574 --> 00:23:47,843
He says it and doesn't hide it.
316
00:23:48,944 --> 00:23:52,914
I was always impressed by Sergio.
317
00:23:53,982 --> 00:23:56,385
I always saw him
318
00:23:57,152 --> 00:23:59,788
as a kind of monk,
319
00:23:59,855 --> 00:24:03,592
but with such a high level
of concentration,
320
00:24:04,626 --> 00:24:05,861
something very intense.
321
00:24:05,927 --> 00:24:08,830
He transmitted something very intense,
322
00:24:08,897 --> 00:24:11,266
and we knew from a young age,
323
00:24:11,333 --> 00:24:14,603
that he was taking photos
with pretty strong themes.
324
00:24:15,103 --> 00:24:16,471
His photos were impressive,
325
00:24:16,538 --> 00:24:19,641
and they fit with the character
326
00:24:20,142 --> 00:24:21,743
that I felt Sergio was.
327
00:24:21,810 --> 00:24:23,779
There was something dramatic.
328
00:24:42,497 --> 00:24:46,001
ENRICO MOCHI
DIGITAL MANAGER MAGNUM PHOTOS PARIS
329
00:25:03,585 --> 00:25:06,388
Here it is.
Sergio Larraín photographed in Milan
330
00:25:06,455 --> 00:25:08,957
the poet Salvatore Quasimodo,
331
00:25:09,491 --> 00:25:13,962
who won the Nobel Prize
for Literature that year.
332
00:25:14,663 --> 00:25:18,233
Here we are in front
of Sergio Larraín's prints,
333
00:25:18,734 --> 00:25:22,070
vintage prints from that era.
334
00:25:24,439 --> 00:25:27,676
Here we have different
examples of subjects,
335
00:25:27,743 --> 00:25:30,879
images Sergio took at the UN,
336
00:25:31,246 --> 00:25:33,882
that were used a lot by the press.
337
00:25:34,216 --> 00:25:39,154
This one is of the famous
Shah of Iran's wedding.
338
00:25:54,970 --> 00:25:56,571
This one is Tierra del Fuego.
339
00:25:59,975 --> 00:26:01,409
What's really interesting
340
00:26:01,476 --> 00:26:05,480
is the composition of the faces
that Sergio chose,
341
00:26:06,214 --> 00:26:09,117
because we can follow the eye's trail
342
00:26:09,184 --> 00:26:10,652
moving from one face to another
343
00:26:10,719 --> 00:26:11,953
when we look at this photo.
344
00:26:12,554 --> 00:26:17,592
Maybe Palermo, but could be anywhere.
345
00:26:18,827 --> 00:26:21,196
Magnum commissioned him to do a report
346
00:26:21,263 --> 00:26:24,199
about the Mafia in Sicily,
347
00:26:25,333 --> 00:26:28,236
and no other photographer accepted it
at the time.
348
00:26:28,303 --> 00:26:31,373
Once there, he passed as a tourist
349
00:26:31,439 --> 00:26:34,109
to try and get close
350
00:26:34,176 --> 00:26:37,312
to the Mafia personalities.
351
00:26:39,181 --> 00:26:43,318
In the end, he managed to make contact
352
00:26:43,385 --> 00:26:46,221
with this character, Russo,
353
00:26:46,655 --> 00:26:52,194
who was one of the most
wanted mafiosos in Sicily.
354
00:26:52,594 --> 00:26:54,629
These photos were very important
355
00:26:54,696 --> 00:26:58,266
because Magnum offered them
356
00:26:58,333 --> 00:27:00,902
to prestigious magazines
357
00:27:00,969 --> 00:27:03,872
like "Life" and others,
358
00:27:05,006 --> 00:27:06,608
and that was very good
359
00:27:06,675 --> 00:27:08,276
for Magnum at that time.
360
00:27:58,159 --> 00:27:59,294
Giuseppe Russo.
361
00:27:59,794 --> 00:28:01,329
Giuseppe Genco Russo.
362
00:28:01,963 --> 00:28:03,331
Genco Russo?
363
00:28:03,765 --> 00:28:07,602
That gentleman was a bit mafioso.
364
00:28:08,370 --> 00:28:11,039
They were taking him to another prison,
365
00:28:11,106 --> 00:28:13,341
at that time they traveled by train.
366
00:28:13,742 --> 00:28:16,077
I'm talking about many years ago.
367
00:28:16,144 --> 00:28:17,846
But he wasn't a gentleman.
368
00:28:17,913 --> 00:28:20,448
He was! All mafiosos are gentlemen!
369
00:28:20,515 --> 00:28:22,584
But if he could help, he helped.
370
00:28:23,218 --> 00:28:24,819
He was a handsome man,
371
00:28:24,886 --> 00:28:27,489
taller than me, proud.
372
00:28:28,857 --> 00:28:32,060
When you talk to these people
373
00:28:32,127 --> 00:28:34,462
they are sweet talkers.
374
00:28:38,333 --> 00:28:41,469
Even with people they have issues with.
375
00:28:41,803 --> 00:28:44,272
It's not that they're bad,
they are good people.
376
00:28:44,339 --> 00:28:46,841
Evil came before!
377
00:28:48,510 --> 00:28:50,779
That's how it goes...
378
00:28:51,880 --> 00:28:57,152
They're good at being evil! Not good!
379
00:29:01,356 --> 00:29:02,791
Unfortunately.
380
00:29:03,658 --> 00:29:05,961
The Mafia is another state,
381
00:29:06,728 --> 00:29:08,663
they have networks
382
00:29:08,730 --> 00:29:10,765
operating all over the world.
383
00:29:12,834 --> 00:29:16,104
"Life". This is an issue from April 1960,
384
00:29:16,171 --> 00:29:18,506
that published
385
00:29:18,573 --> 00:29:24,245
the fourth part
of "The Evil Work of the Mafia",
386
00:29:24,312 --> 00:29:28,683
which was a series of reports
387
00:29:28,750 --> 00:29:29,851
about the Mafia
388
00:29:29,918 --> 00:29:31,753
as this scandalous entity,
389
00:29:31,820 --> 00:29:33,421
the fights within the Mafia.
390
00:29:33,488 --> 00:29:36,124
He starts to publish these photos,
391
00:29:36,191 --> 00:29:38,026
and then they appear in reports.
392
00:29:38,093 --> 00:29:41,196
This one is a Mafia member's funeral,
393
00:29:41,963 --> 00:29:43,531
police standing guard
394
00:29:43,598 --> 00:29:46,701
on the streets of Sicily.
395
00:29:49,671 --> 00:29:50,572
Life.
396
00:29:51,239 --> 00:29:53,775
Sergio's eye is present in all of them.
397
00:29:55,310 --> 00:29:59,748
These shots, some chickens, widows, etc.
398
00:30:01,750 --> 00:30:04,319
This other one, the funeral with guards
399
00:30:04,386 --> 00:30:06,354
above keeping watch,
400
00:30:06,855 --> 00:30:08,656
it portrays the moment of fear
401
00:30:08,723 --> 00:30:11,659
that the city must have experienced
and Sergio behind.
402
00:30:16,197 --> 00:30:21,036
Giuseppe Russo taking a nap
403
00:30:21,936 --> 00:30:23,705
under the sacred heart.
404
00:30:23,772 --> 00:30:26,941
To have been there in the bedroom
405
00:30:28,009 --> 00:30:29,244
with him sleeping,
406
00:30:29,778 --> 00:30:32,680
the truth is Sergio
must have become a good friend
407
00:30:34,149 --> 00:30:36,251
and gained his trust
408
00:30:36,918 --> 00:30:39,087
that I don't know how he managed
409
00:30:39,154 --> 00:30:40,789
and how long it took.
410
00:30:40,855 --> 00:30:43,324
But once this photo was published,
411
00:30:44,893 --> 00:30:49,631
I'm sure he must have been
sentenced to death,
412
00:30:49,697 --> 00:30:52,267
for high treason.
413
00:31:04,079 --> 00:31:06,681
"I had no idea what the Mafia was.
414
00:31:07,415 --> 00:31:08,817
They just said:
415
00:31:08,883 --> 00:31:11,553
'Hey, here's another Leica camera
416
00:31:11,619 --> 00:31:12,887
and some money,
417
00:31:12,954 --> 00:31:15,557
go to Rome, stay at this hotel
418
00:31:15,623 --> 00:31:17,258
and they will pick you up.
419
00:31:17,325 --> 00:31:19,794
And you have to take photos in Sicily.'
420
00:31:19,861 --> 00:31:21,863
But they didn't explain much more.
421
00:31:22,263 --> 00:31:23,965
Then I arrive in Sicily,
422
00:31:24,032 --> 00:31:26,534
and once I start taking the photos,
423
00:31:26,601 --> 00:31:30,205
I begin to realize
what I've got myself into.
424
00:31:30,939 --> 00:31:33,908
Then I understand the real weight of it."
425
00:31:37,112 --> 00:31:40,215
He manages to get pretty close to them.
426
00:31:40,281 --> 00:31:44,986
They don't consider the potential
importance of those photographs
427
00:31:45,053 --> 00:31:46,688
and they give him access.
428
00:31:49,124 --> 00:31:53,128
The last photo he took is the one
of the mafioso taking a nap
429
00:31:53,194 --> 00:31:55,430
with the painting of Christ behind,
430
00:31:55,497 --> 00:31:57,365
which he took at siesta time,
431
00:31:57,432 --> 00:32:01,002
through the window shutters.
432
00:32:01,069 --> 00:32:03,605
He knew then that it was dangerous.
433
00:32:30,665 --> 00:32:33,401
So he went back to his hotel,
434
00:32:34,502 --> 00:32:36,504
packed his suitcase and went to Rome
435
00:32:36,571 --> 00:32:38,039
and then France.
436
00:32:38,106 --> 00:32:40,141
When they saw all this at Magnum
437
00:32:41,142 --> 00:32:43,745
and it brought in
a large amount of money,
438
00:32:44,412 --> 00:32:46,881
because it was sold all over the world,
439
00:32:48,616 --> 00:32:51,686
So Magnum said:
440
00:32:51,753 --> 00:32:53,688
"We've got a gold mine here.
441
00:32:54,222 --> 00:32:57,158
This photographer is going to bring us
442
00:32:57,225 --> 00:33:01,696
more big news stories like this".
443
00:33:01,763 --> 00:33:03,898
So they start to commission him
444
00:33:05,166 --> 00:33:07,235
similar work.
445
00:33:08,136 --> 00:33:10,038
And Queco is not good at that.
446
00:33:11,039 --> 00:33:12,707
Queco is not a journalist,
447
00:33:13,741 --> 00:33:15,343
Queco is not a reporter,
448
00:33:15,777 --> 00:33:18,012
Queco is not a paparazzi.
449
00:33:18,613 --> 00:33:19,547
He's a poet.
450
00:33:45,807 --> 00:33:48,509
The power of the images
begins in the framing.
451
00:33:48,943 --> 00:33:52,013
Sergio made framing
452
00:33:52,347 --> 00:33:54,148
the essence of his work.
453
00:34:11,299 --> 00:34:13,868
He went beyond academic framing.
454
00:34:14,469 --> 00:34:16,537
He was daring.
455
00:34:17,205 --> 00:34:21,743
He broke certain established
criteria of the time.
456
00:34:57,211 --> 00:34:59,947
I think Sergio's photographs
457
00:35:00,014 --> 00:35:02,016
need an interpretation key
458
00:35:02,083 --> 00:35:04,319
to understand his photography.
459
00:35:04,886 --> 00:35:08,356
Because he isn't immediate,
460
00:35:08,423 --> 00:35:11,492
we need the photo's story
461
00:35:11,559 --> 00:35:13,661
and his personal story.
462
00:35:13,728 --> 00:35:16,064
Only with all those elements,
463
00:35:16,130 --> 00:35:19,934
can we truly appreciate the quality
of Sergio's images.
464
00:35:30,878 --> 00:35:33,981
What strikes me most is
465
00:35:34,482 --> 00:35:37,685
that Larraín's photographs are like
466
00:35:37,752 --> 00:35:42,457
when a washing machine is on spin mode,
467
00:35:43,057 --> 00:35:46,494
it finishes and you open the machine,
468
00:35:46,561 --> 00:35:51,666
and all the clothes
are around the drum, right?
469
00:35:51,733 --> 00:35:54,836
And the center is free.
470
00:35:55,903 --> 00:35:57,905
Everything happens on the edge.
471
00:35:58,306 --> 00:36:00,675
Everything is on the verge of going out
472
00:36:01,242 --> 00:36:02,477
but it's inside.
473
00:36:03,144 --> 00:36:06,881
He starts to compose
with what we don't see.
474
00:36:07,882 --> 00:36:09,917
Documentary photography,
475
00:36:09,984 --> 00:36:13,521
in its beginnings, tried to say things,
476
00:36:13,588 --> 00:36:16,958
to be clear, to be pertinent, to be just.
477
00:36:17,024 --> 00:36:18,893
And here's this photographer,
478
00:36:18,960 --> 00:36:20,128
in that same era,
479
00:36:20,528 --> 00:36:22,597
who doesn't try to say everything,
480
00:36:22,663 --> 00:36:25,700
he tries to suggest things,
481
00:36:25,767 --> 00:36:29,237
and that was notable,
it was revolutionary,
482
00:36:29,303 --> 00:36:30,705
for that time.
483
00:36:32,440 --> 00:36:34,509
With Sergio we'd talk about
484
00:36:34,909 --> 00:36:36,978
how difficult photography is.
485
00:36:37,044 --> 00:36:39,280
Because in one click,
486
00:36:40,081 --> 00:36:41,716
you've got to write a story.
487
00:36:50,124 --> 00:36:52,527
What started to draw my attention
488
00:36:52,593 --> 00:36:53,928
was what he looked at.
489
00:36:54,362 --> 00:36:56,364
A sweater, a clock,
490
00:36:57,965 --> 00:37:01,602
things we don't normally look at.
491
00:37:02,370 --> 00:37:04,705
The earth, the contact between matter,
492
00:37:04,772 --> 00:37:06,541
the lines.
493
00:37:11,612 --> 00:37:15,283
This man who's cut, the tired dog,
494
00:37:15,917 --> 00:37:18,219
he portrays the situation.
495
00:37:19,787 --> 00:37:22,824
He said: "You need
to photograph the air."
496
00:37:23,891 --> 00:37:26,093
It doesn't matter
if you cut someone's head,
497
00:37:26,160 --> 00:37:28,463
or if there's a hand in the shot,
or an eye,
498
00:37:29,263 --> 00:37:31,332
or it's out of focus.
499
00:37:31,766 --> 00:37:33,367
He said: "Catch the air.
500
00:37:33,801 --> 00:37:35,169
The air that's circulating,
501
00:37:35,236 --> 00:37:36,804
that's what's important."
502
00:38:01,662 --> 00:38:05,666
Sergio Larraín
is always in search of himself.
503
00:38:06,367 --> 00:38:07,668
When he says that
504
00:38:07,735 --> 00:38:10,638
when he scans the exterior,
505
00:38:10,705 --> 00:38:12,273
with the rectangle in his hands,
506
00:38:12,340 --> 00:38:13,441
the camera,
507
00:38:13,508 --> 00:38:15,943
it is within himself
508
00:38:16,010 --> 00:38:18,045
that he searches for the images.
509
00:38:18,112 --> 00:38:21,449
To understand Sergio Larraín's work,
510
00:38:21,916 --> 00:38:23,651
we must understand that text.
511
00:38:24,018 --> 00:38:27,788
It's not the external world that matters.
512
00:38:42,703 --> 00:38:43,971
The gaze,
513
00:38:44,839 --> 00:38:46,874
the solitude,
514
00:38:46,941 --> 00:38:50,511
the tenderness in that woman.
515
00:38:51,012 --> 00:38:52,046
It is all there.
516
00:38:52,113 --> 00:38:55,850
And the world passing by her,
517
00:38:56,350 --> 00:38:58,719
totally indifferent.
518
00:38:59,353 --> 00:39:01,722
The world moves around her.
519
00:39:02,390 --> 00:39:05,092
And that second,
520
00:39:05,593 --> 00:39:09,297
that fleeting millisecond
521
00:39:09,897 --> 00:39:12,466
that we photographers are always chasing
522
00:39:12,533 --> 00:39:14,268
and that he has.
523
00:39:23,144 --> 00:39:27,415
There are photos of Sergio's in which
524
00:39:27,481 --> 00:39:30,952
the damage in the characters' gazes
525
00:39:31,018 --> 00:39:34,088
is a miracle.
526
00:39:34,155 --> 00:39:38,392
And that is what moves me.
527
00:39:39,026 --> 00:39:41,729
Photographing that damage, that solitude,
528
00:39:41,796 --> 00:39:45,900
I know that he is
photographing his solitude,
529
00:39:45,967 --> 00:39:49,737
that followed him to the end of his life.
530
00:40:03,584 --> 00:40:07,088
There's a tremendous letter
which he wrote
531
00:40:07,154 --> 00:40:10,124
to Cartier-Bresson in which he says:
532
00:40:10,191 --> 00:40:13,461
"I've tried to do
what I have been asked."
533
00:40:13,527 --> 00:40:15,296
Because he wants to be a good boy,
534
00:40:15,363 --> 00:40:18,633
he doesn't want to let down this father,
535
00:40:18,699 --> 00:40:20,534
that is Cartier-Bresson,
536
00:40:20,601 --> 00:40:22,937
in the way he feels
that he has disappointed
537
00:40:23,004 --> 00:40:24,538
his real father.
538
00:40:34,081 --> 00:40:35,416
"Dear Henri,
539
00:40:36,017 --> 00:40:38,285
Thank you for your letter.
540
00:40:38,352 --> 00:40:41,722
It is always a joy to receive your news.
541
00:40:47,328 --> 00:40:48,763
Here I am.
542
00:40:48,829 --> 00:40:52,466
I spend most of the time writing
543
00:40:52,533 --> 00:40:55,102
and I take a photograph here and there.
544
00:40:56,137 --> 00:40:58,606
I'm disconcerted.
545
00:41:03,678 --> 00:41:07,181
I love photography as a visual art,
546
00:41:07,248 --> 00:41:09,817
like a painter loves painting.
547
00:41:10,918 --> 00:41:13,187
That's the photography that I like.
548
00:41:14,088 --> 00:41:18,959
But the work that sells
forces me to adapt.
549
00:41:19,393 --> 00:41:22,296
It's like a painter having to make signs.
550
00:41:23,230 --> 00:41:26,767
I don't like doing it.
It is a waste of time.
551
00:41:30,071 --> 00:41:33,774
Taking good photographs is difficult,
552
00:41:34,241 --> 00:41:35,843
it takes a long time.
553
00:41:36,377 --> 00:41:42,149
I tried to adapt as soon
as I joined the group.
554
00:41:42,750 --> 00:41:46,287
But I would like to find
a means that allows me
555
00:41:46,353 --> 00:41:50,391
to act at a level
that is more vital for me.
556
00:41:51,859 --> 00:41:54,195
I can't keep adapting myself.
557
00:41:55,162 --> 00:41:57,698
That's why I'm writing.
558
00:42:05,039 --> 00:42:08,309
I have a nine-month-old
daughter that I love.
559
00:42:09,510 --> 00:42:12,246
A beautiful house. A kind wife.
560
00:42:12,880 --> 00:42:15,416
And a desire to act,
561
00:42:15,483 --> 00:42:19,720
which I need to do in a way
562
00:42:19,787 --> 00:42:22,356
that is satisfactory for me.
563
00:42:23,457 --> 00:42:28,529
My warmest regards, Sergio."
564
00:42:51,152 --> 00:42:53,053
Love,
565
00:42:53,120 --> 00:42:55,523
I'm going to buy
566
00:42:55,589 --> 00:42:59,260
A little plane you can fly
567
00:43:00,694 --> 00:43:04,799
At one point it was like a playground
for Chilean intellectuals
568
00:43:04,865 --> 00:43:06,734
to go hang out in Valparaiso.
569
00:43:07,701 --> 00:43:09,470
Where things happened,
570
00:43:09,537 --> 00:43:11,939
the sailors, the girls,
571
00:43:12,006 --> 00:43:14,575
the cabarets, the bohemia,
572
00:43:14,642 --> 00:43:17,411
and the super interesting people
that came out of there.
573
00:43:17,478 --> 00:43:20,147
Painters, musicians, architects,
574
00:43:20,214 --> 00:43:22,750
politicians, priests
575
00:43:22,817 --> 00:43:24,285
and prostitutes.
576
00:43:30,991 --> 00:43:34,161
You like to dance
to the rhythm of "Chipi chipi"
577
00:43:37,998 --> 00:43:40,668
There was
"The House of the Seven Mirrors",
578
00:43:40,734 --> 00:43:42,036
and what a name:
579
00:43:42,102 --> 00:43:44,205
"The House of the Seven Mirrors."
580
00:43:47,274 --> 00:43:50,578
Where marvelous things happened.
581
00:44:01,555 --> 00:44:05,092
Love, I'm going to buy
582
00:44:05,893 --> 00:44:09,163
A little boat to sail
583
00:44:10,598 --> 00:44:13,734
On our honeymoon
584
00:44:14,869 --> 00:44:17,905
Love, I'm going to buy
585
00:44:18,906 --> 00:44:21,809
A little train to take
586
00:44:31,218 --> 00:44:32,786
And I asked him: "But Queco,
587
00:44:32,853 --> 00:44:35,256
how did you manage to get so close up
588
00:44:35,322 --> 00:44:37,224
in The House of the Seven Mirrors?"
589
00:44:37,291 --> 00:44:41,228
That mixture of dance hall,
brothel, cabaret.
590
00:44:41,662 --> 00:44:44,164
It wasn't easy to just
go there and take photos.
591
00:44:44,231 --> 00:44:47,668
"Look," he said, "I'd go with my camera
592
00:44:47,735 --> 00:44:49,637
in a paper bag,
593
00:44:49,703 --> 00:44:52,640
I'd fit in, if I didn't draw attention,
594
00:44:52,706 --> 00:44:54,608
I'd take the camera out of the bag
595
00:44:54,675 --> 00:44:55,876
and leave it on the table.
596
00:44:55,943 --> 00:44:58,479
I'd wait another twenty minutes,
another beer,
597
00:44:58,545 --> 00:45:00,881
and if the coast was still clear,
598
00:45:00,948 --> 00:45:05,753
I'd take the camera,
without making a fuss,
599
00:45:05,819 --> 00:45:08,923
without getting up from my seat,
600
00:45:08,989 --> 00:45:10,925
without moving, without making
601
00:45:10,991 --> 00:45:13,260
any abrupt movements
602
00:45:14,061 --> 00:45:15,663
and I'd take the photo."
603
00:45:24,471 --> 00:45:27,942
There are books written about his work,
604
00:45:28,008 --> 00:45:29,610
but by far the most important is,
605
00:45:29,677 --> 00:45:31,712
"The Rectangle in the Hand".
606
00:45:31,779 --> 00:45:34,715
It compiles Sergio's most important work,
607
00:45:34,782 --> 00:45:38,218
the photos of the girls
coming down the steps
608
00:45:38,285 --> 00:45:40,521
in the Bavestrello passage in Valparaiso.
609
00:45:40,587 --> 00:45:43,757
One can recognize
Sergio Larraín's work immediately.
610
00:45:43,824 --> 00:45:47,294
It's a talent that he had
from the beginning,
611
00:45:47,361 --> 00:45:50,831
from the photos for the "Home of Christ",
the children from the Mapocho river.
612
00:45:50,898 --> 00:45:53,100
One can see Larraín's
signature immediately.
613
00:45:53,934 --> 00:45:57,638
This is the most famous photo,
this one here.
614
00:45:57,972 --> 00:45:59,940
I'll show you if you like.
615
00:46:00,574 --> 00:46:02,843
I managed to get this one in Paris.
616
00:46:02,910 --> 00:46:05,746
A marvelous photo,
617
00:46:05,813 --> 00:46:10,250
for me, it's one of the most important
photos in the world.
618
00:46:11,218 --> 00:46:13,687
This one with the girls
going down the stairs.
619
00:46:15,456 --> 00:46:17,191
He told me that first
620
00:46:17,257 --> 00:46:20,394
he investigated the light,
621
00:46:20,461 --> 00:46:21,562
the shadow,
622
00:46:21,628 --> 00:46:24,331
he already knew that a certain time,
623
00:46:24,398 --> 00:46:26,266
a certain moment,
624
00:46:26,333 --> 00:46:28,302
would produce that play of light.
625
00:46:28,369 --> 00:46:32,239
So he arrived, set up his camera,
626
00:46:33,607 --> 00:46:35,209
not waiting for anything.
627
00:46:36,543 --> 00:46:38,612
He would say that you had to be
like in the film
628
00:46:38,679 --> 00:46:40,247
"The Good, the Bad and the Ugly,"
629
00:46:40,314 --> 00:46:41,982
when he would draw his gun
630
00:46:42,049 --> 00:46:43,751
and put it straight back.
631
00:46:43,817 --> 00:46:45,652
It was the same with the camera,
632
00:46:45,719 --> 00:46:48,689
he knew the aperture
and the speed in his mind,
633
00:46:48,756 --> 00:46:51,358
he would take it out, shoot,
and lower it.
634
00:46:52,693 --> 00:46:54,962
Attracting as little attention
as possible.
635
00:46:55,462 --> 00:46:57,364
So, there he was,
636
00:46:58,065 --> 00:47:01,001
when he sees a girl descending slowly.
637
00:47:02,636 --> 00:47:06,006
He talks to her and asks
if she can walk down again.
638
00:47:07,674 --> 00:47:09,643
When she goes down again,
639
00:47:10,611 --> 00:47:13,914
another girl appears out of nowhere,
dressed almost in the same way.
640
00:47:14,748 --> 00:47:16,717
And the miracle of reality occurs.
641
00:47:33,467 --> 00:47:38,372
I found a photo
of my dad with me as a baby
642
00:47:39,540 --> 00:47:45,446
and one of my dad from a magazine
643
00:47:47,047 --> 00:47:49,917
from that time, it's sepia.
644
00:47:52,019 --> 00:47:55,222
"Sergio Larraín photographing
the Plaza de Armas for 'Life' magazine."
645
00:47:59,059 --> 00:48:02,329
For me, he was the image
of masculine beauty.
646
00:48:02,796 --> 00:48:04,531
I had tremendous admiration
647
00:48:04,598 --> 00:48:06,934
and even more so because I never saw him,
648
00:48:07,000 --> 00:48:09,670
because I lived in France with my mother.
649
00:48:10,170 --> 00:48:12,406
I saw photos of him
650
00:48:12,473 --> 00:48:15,542
and I found him so handsome,
651
00:48:16,210 --> 00:48:19,379
for me, all the actors at the time,
like Gregory Peck,
652
00:48:19,446 --> 00:48:21,782
were nothing compared to my dad.
653
00:48:42,870 --> 00:48:44,938
We went to Egypt, he and I.
654
00:48:45,005 --> 00:48:46,540
He took me to Egypt.
655
00:48:47,941 --> 00:48:49,543
I was little,
656
00:48:50,344 --> 00:48:52,880
I must have been nine or ten years old.
657
00:48:54,181 --> 00:48:57,417
And since my dad was clueless
about upbringing,
658
00:48:57,484 --> 00:49:00,254
about what should and shouldn't be done,
659
00:49:00,954 --> 00:49:04,558
I would climb the palm trees
like a monkey
660
00:49:04,625 --> 00:49:06,226
and my dad wouldn't tell me off,
661
00:49:06,293 --> 00:49:07,594
he didn't say anything.
662
00:49:07,661 --> 00:49:12,499
So, it was a strange
father-daughter relationship,
663
00:49:13,534 --> 00:49:15,302
not typical.
664
00:49:22,075 --> 00:49:26,513
I think he had
an artistic hyper-sensitivity,
665
00:49:27,114 --> 00:49:29,816
to create with a profoundness,
666
00:49:29,883 --> 00:49:31,485
and on the other hand,
667
00:49:31,552 --> 00:49:34,021
he was like an adolescent
668
00:49:34,087 --> 00:49:36,223
that never adapted to anything.
669
00:49:36,290 --> 00:49:38,458
He never wanted to adapt,
670
00:49:39,059 --> 00:49:39,993
ever.
671
00:49:40,494 --> 00:49:43,630
SERGIO LARRAÍN,
SEPTEMBER 11 - DECEMBER 22, 2013
672
00:49:44,264 --> 00:49:46,466
Every time I went
to one of his exhibitions,
673
00:49:46,533 --> 00:49:47,968
I felt like crying.
674
00:49:49,169 --> 00:49:55,108
In general, when I see an exhibition,
675
00:49:55,175 --> 00:49:57,778
I see the artist.
676
00:49:58,779 --> 00:50:02,416
If I see a painting by Picasso,
I see Picasso.
677
00:50:02,916 --> 00:50:06,620
If I see one of your paintings,
I see you.
678
00:50:06,687 --> 00:50:11,024
If I see one of my dad's photos,
I see my dad.
679
00:50:11,091 --> 00:50:14,161
And that is what moves me,
seeing the artist,
680
00:50:14,795 --> 00:50:17,064
connecting with the artist.
681
00:50:24,238 --> 00:50:26,006
I must have been around
682
00:50:26,073 --> 00:50:27,808
seven or eight years old.
683
00:50:28,408 --> 00:50:31,612
And I met him under
quite nice circumstances,
684
00:50:31,678 --> 00:50:34,615
I met him as a potential boyfriend
of my mother's.
685
00:50:35,015 --> 00:50:39,620
I think my mum had
the same passion for drawing
686
00:50:39,686 --> 00:50:41,722
that Sergio had for photography.
687
00:50:41,788 --> 00:50:46,893
They both had a way of capturing reality.
688
00:50:47,327 --> 00:50:49,596
My mother with pencils and brushes,
689
00:50:49,663 --> 00:50:51,365
and Sergio with his camera.
690
00:50:51,431 --> 00:50:54,701
In that sense, they were doing something
very similar.
691
00:50:59,673 --> 00:51:02,943
CARMEN SILVA
PAINTER
692
00:51:33,640 --> 00:51:36,977
"Dear Sweetheart,
693
00:51:37,978 --> 00:51:40,414
I've spent the entire trip writing
694
00:51:40,480 --> 00:51:43,750
to all the people whose addresses I have.
695
00:51:45,285 --> 00:51:48,889
It keeps me from getting
bored on an endless trip,
696
00:51:48,955 --> 00:51:51,458
on a boat that sways so much.
697
00:51:51,525 --> 00:51:54,928
We've been sailing in the canals recently
698
00:51:54,995 --> 00:51:57,264
and the landscape is beautiful now.
699
00:51:57,331 --> 00:51:59,900
I stand at the highest part of the ship,
700
00:51:59,966 --> 00:52:02,436
I put the cameras down on the ground,
701
00:52:02,502 --> 00:52:04,171
and I just watch.
702
00:52:04,638 --> 00:52:06,773
I pick up a camera
703
00:52:06,840 --> 00:52:10,110
and point it at a cloud a while,
704
00:52:10,177 --> 00:52:11,511
then I put it down
705
00:52:11,578 --> 00:52:13,680
and watch for a long while again,
706
00:52:13,747 --> 00:52:16,283
while the water passes by the ship,
707
00:52:16,350 --> 00:52:18,585
and soon we'll arrive in Punta Arenas,
708
00:52:18,652 --> 00:52:24,124
where I plan to swirl around the region
709
00:52:24,191 --> 00:52:27,794
and catch its incredible wonders.
710
00:52:27,861 --> 00:52:30,864
Sweetheart, my love."
711
00:52:40,540 --> 00:52:41,842
So beautiful!
712
00:52:42,476 --> 00:52:47,748
See, all this watching,
watching the world,
713
00:52:47,814 --> 00:52:50,150
capturing it, him with his camera,
714
00:52:50,217 --> 00:52:52,819
my mother with her oil paints and paper.
715
00:52:54,554 --> 00:52:56,223
Fantastic.
716
00:53:07,801 --> 00:53:13,306
Queco returns to South America, to Chile,
717
00:53:13,373 --> 00:53:15,675
as a sort of correspondent.
718
00:53:15,742 --> 00:53:20,313
He sent many things. I think 90 per cent
of them weren't published.
719
00:53:24,451 --> 00:53:29,189
And he told me
about his walks in the country
720
00:53:31,825 --> 00:53:34,261
with Violeta Parra.
721
00:53:36,596 --> 00:53:40,000
Violeta Parra with a tape recorder,
722
00:53:40,066 --> 00:53:44,337
to record the songs of folk singers
723
00:53:44,404 --> 00:53:45,639
and him taking photos.
724
00:53:45,705 --> 00:53:48,175
They were good friends, intimate
725
00:53:48,241 --> 00:53:49,676
with Violeta Parra.
726
00:54:36,323 --> 00:54:38,458
The transparent look in his eyes.
727
00:54:38,525 --> 00:54:40,360
He was a friendly being,
728
00:54:40,427 --> 00:54:43,964
easy to establish
a relationship with him.
729
00:54:46,500 --> 00:54:52,339
I have ten photos
and still frames of Sergio.
730
00:54:54,975 --> 00:54:57,444
I don't know
why I didn't take more photos.
731
00:54:58,111 --> 00:55:01,014
Because he was there for an hour talking,
732
00:55:01,081 --> 00:55:04,384
maybe so as not to interrupt the moment
733
00:55:04,451 --> 00:55:06,553
that was being created with him.
734
00:55:13,760 --> 00:55:16,196
I should've taken more photos,
735
00:55:16,263 --> 00:55:18,131
but it's too late now.
736
00:55:18,798 --> 00:55:20,467
There's no point in regret
737
00:55:20,534 --> 00:55:23,136
when you're in front of the light table,
738
00:55:23,203 --> 00:55:25,472
with the entire roll
739
00:55:26,506 --> 00:55:29,142
and what's there is there, it's done.
740
00:55:32,045 --> 00:55:33,146
He went to Arica,
741
00:55:33,213 --> 00:55:35,815
he got into Eastern meditation
742
00:55:35,882 --> 00:55:37,817
and the world of drugs,
743
00:55:37,884 --> 00:55:39,653
and he changed.
744
00:55:43,623 --> 00:55:46,059
Queco was in search
745
00:55:46,126 --> 00:55:48,595
of an internal transformation,
746
00:55:48,662 --> 00:55:51,064
of the world, and people.
747
00:55:51,131 --> 00:55:53,500
And his search was full-scale,
748
00:55:53,567 --> 00:55:57,470
because Queco was very intense.
749
00:56:03,843 --> 00:56:06,947
Queco took very seriously
750
00:56:07,447 --> 00:56:09,249
the matter of transcendence.
751
00:56:09,749 --> 00:56:12,252
The answer at that moment was a master.
752
00:56:12,786 --> 00:56:16,890
So this produced
753
00:56:18,625 --> 00:56:20,293
a sort of step in his mind.
754
00:56:36,743 --> 00:56:40,046
Queco felt that one
had all the components,
755
00:56:40,113 --> 00:56:41,948
but that the connection
756
00:56:42,015 --> 00:56:44,417
with the energy was missing,
757
00:56:45,585 --> 00:56:48,822
that know-how, that dexterity,
758
00:56:48,888 --> 00:56:51,591
of doing an exercise
759
00:56:51,658 --> 00:56:54,728
and obtaining an experience
from the exercise.
760
00:56:54,794 --> 00:56:56,763
When Queco did it,
761
00:56:56,830 --> 00:56:59,599
there was no doubt in his mind,
762
00:57:00,967 --> 00:57:03,269
that he had entered the light.
763
00:57:19,052 --> 00:57:20,787
Sergio Larraín
764
00:57:20,854 --> 00:57:23,356
is the father of my second child.
765
00:57:24,024 --> 00:57:25,692
He was a person that I met
766
00:57:25,759 --> 00:57:27,961
when I was in the spiritual search
767
00:57:28,028 --> 00:57:29,863
of the seventies,
768
00:57:29,929 --> 00:57:33,099
I was told about a man
called Oscar Ichazo.
769
00:57:38,672 --> 00:57:40,507
There was a lot of anguish at the time,
770
00:57:40,573 --> 00:57:43,977
like there wasn't much hope.
771
00:57:46,479 --> 00:57:49,282
And Oscar Ichazo brought
a ray of light somehow,
772
00:57:49,349 --> 00:57:51,584
he was a very powerful man,
773
00:57:51,651 --> 00:57:54,020
an extremely powerful man.
774
00:57:55,088 --> 00:57:57,490
And strange, he was different.
775
00:57:58,992 --> 00:58:02,162
He wasn't what you expected
from a master.
776
00:58:04,330 --> 00:58:06,099
That period with the Arica group
777
00:58:06,166 --> 00:58:08,401
was beautiful
because there was so much energy.
778
00:58:08,468 --> 00:58:09,836
Everyone was very awake,
779
00:58:09,903 --> 00:58:11,805
but I didn't have the notion yet.
780
00:58:11,871 --> 00:58:15,909
I was too young to realize
that what we were experiencing there
781
00:58:15,975 --> 00:58:20,346
was extremely profound
and truly wonderful.
782
00:58:23,083 --> 00:58:25,518
Oscar decided that man shouldn't be alone
783
00:58:25,585 --> 00:58:27,187
but rather with a woman,
784
00:58:27,253 --> 00:58:29,389
and I was there in the group with Queco,
785
00:58:29,456 --> 00:58:31,624
I had already separated from my husband,
786
00:58:31,691 --> 00:58:34,094
because the energy of the Arica group
787
00:58:34,160 --> 00:58:36,196
was very tumultuous and intense
788
00:58:36,262 --> 00:58:38,665
and many couples broke up.
789
00:58:39,232 --> 00:58:40,700
So Queco,
790
00:58:40,767 --> 00:58:43,236
who liked to do things very precisely,
791
00:58:43,303 --> 00:58:47,540
and Oscar had just said that man
wasn't alone but with woman,
792
00:58:47,607 --> 00:58:50,043
he decided that I was there
793
00:58:50,110 --> 00:58:51,544
and I was ideal,
794
00:58:51,611 --> 00:58:55,215
and so we became a couple at that moment.
795
00:59:09,596 --> 00:59:13,066
We were always moving towards
796
00:59:13,133 --> 00:59:15,735
reaching higher levels of consciousness.
797
00:59:22,108 --> 00:59:24,210
The higher the state of consciousness
798
00:59:24,277 --> 00:59:25,945
of the person who takes that Satori,
799
00:59:26,012 --> 00:59:28,148
the more perfect the photo will be.
800
00:59:32,152 --> 00:59:33,753
In the sense of Satori,
801
00:59:33,820 --> 00:59:36,689
of being able to bring
Satori to photography.
802
00:59:37,090 --> 00:59:39,425
Of being able to transmit that state,
803
00:59:39,492 --> 00:59:41,294
where you look at something
804
00:59:41,361 --> 00:59:43,096
with complete consciousness
805
00:59:43,163 --> 00:59:44,664
and it's reproduced in the photo.
806
00:59:49,235 --> 00:59:52,372
Because Satori is about being here
807
00:59:52,438 --> 00:59:54,073
in the present moment,
808
00:59:54,140 --> 00:59:56,943
which is what Queco
most valued all the time:
809
00:59:57,010 --> 00:59:57,977
the present.
810
01:00:29,008 --> 01:00:32,111
The night I was initiated,
811
01:00:34,514 --> 01:00:36,916
we were two new women.
812
01:00:36,983 --> 01:00:40,086
So, I got undressed
and I went in wearing just my underwear.
813
01:00:40,153 --> 01:00:41,888
It was like a spiritual exercise,
814
01:00:41,955 --> 01:00:43,423
and I was in the lotus position,
815
01:00:43,489 --> 01:00:44,858
there were certain positions.
816
01:00:46,960 --> 01:00:50,930
And well, sexually,
it was the ultimate experience.
817
01:00:50,997 --> 01:00:53,766
What can I tell you?
The man was a genius.
818
01:00:55,969 --> 01:00:58,605
But after having so much sex with him,
819
01:00:58,671 --> 01:01:00,573
I was never that interested in sex again.
820
01:01:07,447 --> 01:01:08,715
It was very secret.
821
01:01:08,781 --> 01:01:11,017
It was only with the women
822
01:01:11,084 --> 01:01:12,719
and the men couldn't know,
823
01:01:12,785 --> 01:01:16,856
because according to Oscar men
were at a much lower level than women.
824
01:01:20,827 --> 01:01:23,529
My friends,
all the women that were there,
825
01:01:23,596 --> 01:01:24,797
never told.
826
01:01:26,599 --> 01:01:28,001
But I did.
827
01:01:29,068 --> 01:01:30,904
I told Queco.
828
01:01:32,071 --> 01:01:34,941
And I think it was a big mistake.
829
01:01:35,742 --> 01:01:39,045
The Tantrayana work
we did with Oscar Ichazo
830
01:01:39,112 --> 01:01:42,315
was not well received.
831
01:01:43,283 --> 01:01:46,552
I think that troubled him a lot.
832
01:01:48,454 --> 01:01:49,956
It troubled him
833
01:01:50,356 --> 01:01:51,291
forever.
834
01:01:58,564 --> 01:02:00,166
But he made a big mistake
835
01:02:00,233 --> 01:02:02,936
when he took my son
Juan Jose away from me.
836
01:02:03,670 --> 01:02:07,874
A child should never be taken away
from their mother. Ever.
837
01:02:11,010 --> 01:02:13,780
In some way, Queco had defeated me.
838
01:02:14,280 --> 01:02:15,915
And I didn't fight him.
839
01:02:16,316 --> 01:02:17,750
I didn't fight him.
840
01:02:30,229 --> 01:02:33,967
Queco was a person
whose mood would change.
841
01:02:34,467 --> 01:02:37,036
You could be talking to him
842
01:02:37,103 --> 01:02:39,105
and the look in his eyes would shift,
843
01:02:39,172 --> 01:02:41,274
and you could see
that his look was different.
844
01:02:42,241 --> 01:02:43,910
He was a different person.
845
01:02:47,547 --> 01:02:50,450
Queco had a lot of internal demons
846
01:02:51,117 --> 01:02:52,552
and they were intense.
847
01:02:52,618 --> 01:02:55,054
He had a lot of internal conflicts.
848
01:02:56,155 --> 01:02:58,558
He hurt people that he loved very much.
849
01:02:58,992 --> 01:03:01,861
I think that was one
of his greatest battles:
850
01:03:01,928 --> 01:03:02,895
with himself.
851
01:03:03,563 --> 01:03:05,698
In the end, he stopped
being a photographer.
852
01:03:06,332 --> 01:03:08,835
He was searching for himself,
searching for peace.
853
01:03:08,901 --> 01:03:10,269
He had gone to the North,
854
01:03:10,336 --> 01:03:13,940
he had already self-exiled.
855
01:03:28,988 --> 01:03:31,290
That's Tulahuén over there.
856
01:03:37,597 --> 01:03:39,799
It's so dark in here, does it show up?
857
01:03:39,866 --> 01:03:41,167
Yes, it looks good!
858
01:03:41,234 --> 01:03:42,769
Let's pose here.
859
01:03:42,835 --> 01:03:43,870
The walnut trees...
860
01:03:47,874 --> 01:03:48,841
Look at that!
861
01:03:52,378 --> 01:03:53,312
Lovely.
862
01:03:55,915 --> 01:03:59,585
Come and look around a bit.
I'm going to check on the jam.
863
01:03:59,652 --> 01:04:01,721
Yes, so it doesn't stick.
864
01:04:03,489 --> 01:04:06,259
Look, come and see,
this is Ao's official room.
865
01:04:07,026 --> 01:04:09,095
Well...
866
01:04:10,029 --> 01:04:13,266
This was my father's house,
867
01:04:13,332 --> 01:04:15,401
Sergio Larraín Echeñique,
868
01:04:15,468 --> 01:04:17,904
who might have been a photographer
for everyone else,
869
01:04:17,970 --> 01:04:19,872
but for me he was just my father.
870
01:04:21,507 --> 01:04:23,810
Today this is my house, well,
871
01:04:23,876 --> 01:04:25,845
it was my house growing up too,
872
01:04:25,912 --> 01:04:30,349
but it was considered my father's house.
873
01:04:30,416 --> 01:04:33,519
Now I'm going to show you
which room was mine.
874
01:04:34,954 --> 01:04:37,523
This was my room, it's a bit untidy now
875
01:04:37,590 --> 01:04:42,128
because it's not being used
at the moment,
876
01:04:42,195 --> 01:04:45,164
and the house got a bit destroyed
by the earthquake.
877
01:04:45,731 --> 01:04:49,235
Well, I built this bedroom
just how I wanted it.
878
01:04:49,302 --> 01:04:51,671
While the house was being built,
879
01:04:51,737 --> 01:04:53,739
I decided that this was my room.
880
01:04:57,610 --> 01:04:59,912
This was my father's monk cell,
881
01:04:59,979 --> 01:05:04,817
where he would sit and write,
meditate, paint, draw.
882
01:05:06,219 --> 01:05:10,423
I think there's a photo
with this image here.
883
01:05:13,826 --> 01:05:18,064
Well, the monk's cell,
or "monk's office",
884
01:05:19,999 --> 01:05:23,402
is where the monk secludes himself,
885
01:05:24,570 --> 01:05:26,806
to be within himself.
886
01:05:27,940 --> 01:05:30,376
Well, it's just another room really,
887
01:05:30,443 --> 01:05:34,814
but it has the things needed to be calm,
888
01:05:34,881 --> 01:05:38,050
and where he can do what he wants,
889
01:05:38,117 --> 01:05:42,288
it centers him and brings him
inside himself.
890
01:05:46,659 --> 01:05:51,164
I took this photo while he was
sitting in his monk cell,
891
01:05:51,230 --> 01:05:54,734
at the moment when he was doing
what he did in his monk cell:
892
01:05:54,800 --> 01:05:56,936
writing, taking notes,
creating sentences,
893
01:05:57,003 --> 01:05:59,438
compiling, making his lists,
894
01:05:59,505 --> 01:06:01,774
because he was always making his lists.
895
01:06:06,312 --> 01:06:08,347
You go to bed, get up in the morning,
896
01:06:08,414 --> 01:06:10,650
I'm hungry, I'll make myself breakfast,
897
01:06:10,716 --> 01:06:13,986
of course, I made myself breakfast,
898
01:06:14,921 --> 01:06:18,424
because my dad didn't...
899
01:06:19,959 --> 01:06:22,895
It was better not to bother him
and tell him you were hungry.
900
01:06:22,962 --> 01:06:24,830
You were best off making it yourself.
901
01:06:25,565 --> 01:06:27,733
Because he didn't like to be interrupted,
902
01:06:27,800 --> 01:06:30,303
particularly when he was concentrated.
903
01:06:31,270 --> 01:06:34,106
Plus he was a little
temperamental, let's say.
904
01:06:44,183 --> 01:06:47,186
His mood was a little changeable.
905
01:06:47,787 --> 01:06:49,622
He could be in a really good mood
906
01:06:49,689 --> 01:06:51,257
and then all of a sudden he wasn't.
907
01:06:53,492 --> 01:06:55,061
And he had a bit of a poker face,
908
01:06:55,127 --> 01:06:57,763
so you couldn't tell from his face
what was going on.
909
01:07:12,044 --> 01:07:14,146
He was right about a lot of things,
910
01:07:14,213 --> 01:07:15,948
but a lot of others he needed to update
911
01:07:16,015 --> 01:07:17,683
and bring down to earth a bit.
912
01:07:17,750 --> 01:07:19,852
He idealized them a little maybe.
913
01:07:24,056 --> 01:07:28,227
But at the end of his life he did realize
914
01:07:28,294 --> 01:07:30,129
and start to ground them.
915
01:07:30,196 --> 01:07:32,632
And it was part of a mutual evolution.
916
01:07:33,199 --> 01:07:35,201
Mine, because I was growing up,
917
01:07:35,268 --> 01:07:37,770
and him, growing as a father with me.
918
01:07:37,837 --> 01:07:39,605
He had no idea how to be a dad,
919
01:07:39,672 --> 01:07:41,607
and no one does until it's their turn.
920
01:08:07,033 --> 01:08:08,968
I finally found Sergio.
921
01:08:09,435 --> 01:08:10,970
He accepted my camera,
922
01:08:11,337 --> 01:08:13,673
but he asked me not to film his face.
923
01:08:14,407 --> 01:08:17,343
Sergio showed me his photos
and his watercolors.
924
01:08:18,177 --> 01:08:20,680
He always had the unrelenting need
925
01:08:20,746 --> 01:08:21,947
to correct himself,
926
01:08:22,348 --> 01:08:23,983
to seek perfection.
927
01:08:24,417 --> 01:08:26,852
I listened as he talked to me
about photography
928
01:08:26,919 --> 01:08:28,954
as a spiritual discipline.
929
01:08:33,526 --> 01:08:35,227
He was in another world,
930
01:08:35,294 --> 01:08:37,029
in an immaterial world,
931
01:08:37,096 --> 01:08:38,764
in a spiritual world,
932
01:08:38,831 --> 01:08:41,100
a utopian world,
933
01:08:41,634 --> 01:08:45,271
and it was often impossible
to follow him.
934
01:08:49,742 --> 01:08:51,844
The only challenge you have is to achieve
935
01:08:51,911 --> 01:08:53,746
the perfection of the rectangle.
936
01:08:53,813 --> 01:08:55,915
And the subject has no importance at all,
937
01:08:55,981 --> 01:08:59,518
at that moment
you enter another dimension,
938
01:09:00,186 --> 01:09:03,089
because you enter the order of reality.
939
01:09:03,422 --> 01:09:07,426
You are organizing your consciousness,
940
01:09:07,493 --> 01:09:10,563
and your center, and your body.
941
01:09:11,130 --> 01:09:13,566
The moment you achieve
a really good photo
942
01:09:13,632 --> 01:09:15,534
is the moment that you align yourself
943
01:09:15,601 --> 01:09:17,436
and have a moment of Satori.
944
01:09:17,503 --> 01:09:19,905
When you take a photo, it's a rectangle,
945
01:09:19,972 --> 01:09:21,574
with the things inside,
946
01:09:21,640 --> 01:09:23,743
but the stronger lines are the borders.
947
01:09:23,809 --> 01:09:25,644
Because it's not easy to reach reality.
948
01:09:25,711 --> 01:09:26,746
Everyone is dreaming,
949
01:09:26,812 --> 01:09:30,983
but to get here, you've got
to transcend dreams.
950
01:09:33,386 --> 01:09:35,020
In the end...
951
01:09:36,155 --> 01:09:38,858
he had, I don't know if it's the courage,
952
01:09:38,924 --> 01:09:40,760
or strength
953
01:09:40,826 --> 01:09:45,064
or if it was just inevitable,
954
01:09:45,931 --> 01:09:48,000
but he stopped taking photographs.
955
01:09:48,768 --> 01:09:52,104
I think someone that stops like that,
956
01:09:52,171 --> 01:09:54,840
someone so well-known,
that did great things,
957
01:09:54,907 --> 01:09:57,810
that stops suddenly and does
something completely different,
958
01:09:57,877 --> 01:09:59,145
whatever their field is,
959
01:09:59,845 --> 01:10:01,947
deserves a certain respect.
960
01:10:13,592 --> 01:10:16,762
Pompeii here...
961
01:10:16,829 --> 01:10:18,431
JOSEF KOUDELKA
MAGNUM PHOTOGRAPHER
962
01:10:20,166 --> 01:10:22,868
I met him by chance
963
01:10:22,935 --> 01:10:24,770
when he first arrived in Paris
964
01:10:25,337 --> 01:10:28,908
and we became friends straight away.
965
01:10:31,610 --> 01:10:35,214
I think our meeting
was important for him.
966
01:10:35,981 --> 01:10:39,318
But I think Sergio
967
01:10:39,952 --> 01:10:43,956
had enormous talent,
968
01:10:45,024 --> 01:10:46,625
but it was cut short.
969
01:10:47,493 --> 01:10:52,498
He didn't complete his work.
970
01:10:53,232 --> 01:10:55,634
He didn't take full advantage
of his capability.
971
01:10:56,135 --> 01:10:58,237
And when he would always send me letters,
972
01:10:58,304 --> 01:11:02,374
saying: "We have to save the world"
973
01:11:02,441 --> 01:11:04,043
or "We have to do this",
974
01:11:04,443 --> 01:11:08,280
I would say:
"Sergio, you have an ability
975
01:11:08,347 --> 01:11:12,551
that not everyone has,
976
01:11:13,486 --> 01:11:16,622
don't send me any more letters,
977
01:11:17,389 --> 01:11:20,192
send me photographs.
978
01:11:20,259 --> 01:11:22,661
Pick up your camera
and take some photos."
979
01:11:23,195 --> 01:11:24,830
He did send me some photos
980
01:11:24,897 --> 01:11:26,265
but they weren't that good,
981
01:11:26,699 --> 01:11:28,667
or at least I didn't like them.
982
01:11:29,869 --> 01:11:31,971
When he wanted to destroy his material,
983
01:11:32,037 --> 01:11:33,405
I said, "No way."
984
01:11:33,839 --> 01:11:35,541
I didn't destroy anything.
985
01:11:36,809 --> 01:11:39,912
He was an extraordinary guy,
986
01:11:42,882 --> 01:11:44,950
but I think that he didn't reach
987
01:11:45,017 --> 01:11:46,785
his full potential.
988
01:11:47,486 --> 01:11:49,955
And that is sad for us,
989
01:11:50,022 --> 01:11:51,657
maybe not for him,
990
01:11:51,724 --> 01:11:54,026
because he did what he wanted.
991
01:11:54,927 --> 01:11:57,563
He had the ability, but he didn't take
full advantage of it.
992
01:11:57,630 --> 01:12:00,266
I don't know what happened
993
01:12:00,332 --> 01:12:03,035
with him later on.
994
01:12:04,570 --> 01:12:08,340
But he must have had the life he wanted.
995
01:12:08,774 --> 01:12:11,043
Here's to Sergio!
996
01:12:12,645 --> 01:12:14,179
I remember him well.
997
01:12:20,352 --> 01:12:22,922
The last time I saw him he didn't have
his camera with him,
998
01:12:22,988 --> 01:12:25,891
and I said, "Queco, the camera?
Didn't you bring your camera?"
999
01:12:25,958 --> 01:12:30,029
"No", he said, "photography is useless."
1000
01:12:31,630 --> 01:12:33,532
That was terrible.
1001
01:12:33,599 --> 01:12:35,167
I said: "Queco, what do you mean?"
1002
01:12:35,234 --> 01:12:37,803
"No", he said, "It's useless.
1003
01:12:38,704 --> 01:12:40,005
It doesn't change the world."
1004
01:12:51,116 --> 01:12:52,851
A letter...
1005
01:12:54,286 --> 01:12:55,888
that says, "Sweetheart".
1006
01:12:55,955 --> 01:12:57,656
He called me Sweetheart.
1007
01:12:59,325 --> 01:13:02,127
"Here is 'Valparaiso' finished,
1008
01:13:02,194 --> 01:13:03,796
with text and everything.
1009
01:13:03,862 --> 01:13:06,198
The original is in Paris, in Magnum,
1010
01:13:06,265 --> 01:13:07,700
in English.
1011
01:13:08,467 --> 01:13:10,469
"With the Valparaiso book,
1012
01:13:10,536 --> 01:13:13,005
I felt like going there to take photos.
1013
01:13:13,072 --> 01:13:16,709
I prepared my camera, rolls
and traveled to Ovalle,
1014
01:13:16,775 --> 01:13:20,212
and from there
I took a night bus to Valparaiso."
1015
01:13:25,517 --> 01:13:28,253
I went up to the room on the third floor
1016
01:13:28,687 --> 01:13:30,956
that looks over the little square
1017
01:13:31,023 --> 01:13:33,726
with the Arturo Prat monument.
1018
01:13:35,127 --> 01:13:38,597
And the room was poetry itself.
1019
01:13:39,398 --> 01:13:42,201
I started, I took out my camera,
1020
01:13:42,267 --> 01:13:43,769
I prepared everything,
1021
01:13:43,836 --> 01:13:46,505
I started to photograph.
1022
01:13:49,475 --> 01:13:51,510
With my camera ready, I set off
1023
01:13:51,577 --> 01:13:53,912
to one of the port's funiculars.
1024
01:13:54,346 --> 01:13:56,115
One with a long set of steps.
1025
01:13:56,482 --> 01:13:58,550
A very steep set of steps.
1026
01:13:58,617 --> 01:14:01,954
With people coming down in a hurry
to get to work.
1027
01:14:02,888 --> 01:14:06,592
It was the most beautiful
start to the day.
1028
01:14:08,160 --> 01:14:12,064
I spent three hours taking photos.
1029
01:14:12,731 --> 01:14:14,800
The day, the streets,
1030
01:14:14,867 --> 01:14:16,635
the hills, the elevators,
1031
01:14:17,302 --> 01:14:19,338
it is the most poetic walk
1032
01:14:19,405 --> 01:14:21,306
that you can take on the planet.
1033
01:14:22,374 --> 01:14:25,844
Delightful, tender, naive,
1034
01:14:25,911 --> 01:14:27,946
fragile, fantastic.
1035
01:14:28,781 --> 01:14:31,650
So good, that one can't imagine
1036
01:14:32,117 --> 01:14:34,753
that there is so much beauty
on the planet.
1037
01:14:36,055 --> 01:14:38,057
The droplets after the rain
1038
01:14:38,123 --> 01:14:39,825
on the urban landscape.
1039
01:14:40,225 --> 01:14:43,328
Landscapes in detail: a gem.
1040
01:14:48,434 --> 01:14:50,836
Four hours had passed,
1041
01:14:51,236 --> 01:14:53,605
engrossed in the miracle of poetry,
1042
01:14:53,672 --> 01:14:55,140
taking photographs.
1043
01:15:00,579 --> 01:15:02,715
Now I am developing,
1044
01:15:02,781 --> 01:15:05,718
and I captured something of the delight
of doing things with love,
1045
01:15:06,051 --> 01:15:07,686
for pleasure, for oneself.
1046
01:15:08,921 --> 01:15:13,092
I have enlarged about 14 photos
of the new shots of Valparaiso.
1047
01:15:13,892 --> 01:15:15,427
They're really good!
1048
01:15:16,095 --> 01:15:18,897
Combined with the night shots
1049
01:15:18,964 --> 01:15:21,066
that I will never be able to do again,
1050
01:15:21,667 --> 01:15:24,269
at 60 years old, it's just not possible.
1051
01:15:24,737 --> 01:15:28,140
You can't do more than one
or two subjects in your life.
1052
01:15:28,807 --> 01:15:31,376
You have to connect completely,
1053
01:15:31,810 --> 01:15:33,278
like when you get married.
1054
01:15:33,679 --> 01:15:37,316
You only do that with one
or two places in your life.
1055
01:15:37,983 --> 01:15:40,085
No more. That's enough.
1056
01:15:47,693 --> 01:15:49,528
He knew poetry,
1057
01:15:49,595 --> 01:15:50,829
painting,
1058
01:15:50,896 --> 01:15:52,197
spirituality.
1059
01:15:52,931 --> 01:15:56,435
I've never been able to detach myself
1060
01:15:57,636 --> 01:15:59,605
100 per cent like he could,
he didn't care,
1061
01:15:59,671 --> 01:16:01,940
he'd throw everything to the wind
1062
01:16:02,741 --> 01:16:04,343
and he lived at peace.
1063
01:16:08,614 --> 01:16:10,883
I think he knew that I forgave him,
1064
01:16:10,949 --> 01:16:12,584
because I stayed with him.
1065
01:16:14,186 --> 01:16:16,088
After all, I was the only one
1066
01:16:16,155 --> 01:16:17,589
who stayed with him
1067
01:16:18,690 --> 01:16:20,759
and put up with him,
1068
01:16:20,826 --> 01:16:22,528
because he was a character,
1069
01:16:23,262 --> 01:16:25,798
he had his... highs and lows.
1070
01:16:32,404 --> 01:16:34,873
That whole struggle throughout our lives,
1071
01:16:34,940 --> 01:16:36,041
to find each other,
1072
01:16:36,108 --> 01:16:38,076
which I managed to turn around,
1073
01:16:39,645 --> 01:16:41,446
and in the end,
1074
01:16:41,513 --> 01:16:44,616
when we loved each other deeply
1075
01:16:44,683 --> 01:16:46,952
and were such good friends,
1076
01:16:47,853 --> 01:16:48,787
he left.
1077
01:16:49,521 --> 01:16:52,624
I was so sad when he died.
1078
01:16:55,861 --> 01:16:59,264
I think that here
he felt attacked from all sides,
1079
01:16:59,331 --> 01:17:01,834
by demands, expectations,
1080
01:17:01,900 --> 01:17:04,169
what people would say,
1081
01:17:06,205 --> 01:17:10,108
what's worthwhile, what's not.
1082
01:17:10,509 --> 01:17:13,712
There, he was able to create his kingdom.
1083
01:17:15,681 --> 01:17:17,716
Being there was good for Queco.
1084
01:17:31,530 --> 01:17:32,865
Is it recording?
1085
01:17:32,931 --> 01:17:34,733
-Yes.
-Okay, ready.
1086
01:17:34,800 --> 01:17:36,969
Now we've entered
universal consciousness.
1087
01:17:37,469 --> 01:17:39,738
The candle is a symbol of unity.
1088
01:17:41,039 --> 01:17:42,174
Life!
1089
01:17:44,276 --> 01:17:47,379
But, are you seeing
what consciousness is?
1090
01:17:53,085 --> 01:17:56,054
Start by slowly closing your eyes,
1091
01:17:56,521 --> 01:17:59,091
breathe with a steady rhythm
1092
01:17:59,157 --> 01:18:00,726
and bring it to your abdomen
1093
01:18:01,693 --> 01:18:03,295
for three minutes.
1094
01:18:04,496 --> 01:18:09,635
Visualize yourself going into
the Solar Plexus chakra,
1095
01:18:10,202 --> 01:18:12,771
located in the stomach area,
1096
01:18:13,505 --> 01:18:16,041
continue breathing rhythmically,
1097
01:18:16,108 --> 01:18:19,378
inhaling and exhaling steadily.
1098
01:18:21,413 --> 01:18:25,117
Now, imagine that you have
a candle flame in your spinal cord
1099
01:18:25,584 --> 01:18:29,221
that rises with every breath
1100
01:18:29,288 --> 01:18:30,889
from the bottom to the top,
1101
01:18:30,956 --> 01:18:32,591
for one minute.
1102
01:18:35,227 --> 01:18:36,895
The golden-white candle,
1103
01:18:36,962 --> 01:18:38,297
now above your head,
1104
01:18:38,363 --> 01:18:41,733
slowly spreads throughout your whole body
1105
01:18:42,968 --> 01:18:45,070
until it transforms into a bubble
1106
01:18:45,137 --> 01:18:47,072
of golden-white light.
1107
01:18:50,075 --> 01:18:55,080
The golden bubble expands throughout
the whole room.
1108
01:18:56,615 --> 01:18:58,517
Let it grow more and more
1109
01:18:58,583 --> 01:19:02,354
until it reaches the size
of the building you are in.
1110
01:19:04,256 --> 01:19:06,625
Continue slowly expanding
the bubble of light
1111
01:19:06,692 --> 01:19:08,994
to cover the entire planet.
1112
01:19:10,195 --> 01:19:12,197
Sense your auric field of light,
1113
01:19:12,264 --> 01:19:14,199
and feel one with the light.
1114
01:19:26,411 --> 01:19:31,783
Mentally use the mantra for one minute.
1115
01:19:32,951 --> 01:19:35,988
I am love, I am love, I am love.
1116
01:19:37,022 --> 01:19:40,993
I am God, I am God, I am God.
1117
01:19:43,462 --> 01:19:49,267
I am light, I am light, I am light.
1118
01:19:51,069 --> 01:19:52,704
In this state of serenity,
1119
01:19:53,505 --> 01:19:56,408
visualize a white light above your head,
1120
01:19:56,475 --> 01:19:58,176
that begins to spread through you.
1121
01:19:58,510 --> 01:20:02,114
With your mind's eye
observe that you can start to communicate
1122
01:20:02,180 --> 01:20:03,915
verbally with your guide,
1123
01:20:04,249 --> 01:20:06,418
as if an old friend has come back
1124
01:20:06,485 --> 01:20:08,587
into your life again.
1125
01:20:16,528 --> 01:20:19,698
FOR MY MOTHER, VERONICA