I think it's the right place to be doing it because the sheer weight and density and magnificent movement between forms that Al-Irlandro has been involved with seems to have found its right set in the British library. All of those books that seem to be safe and stuck on walls, I can already see them begin to move and itch and I can see the library thirsting to get that copy of Dune. Dwi'n gwneud eich ymdweith. A'i adnod o'r cyflauio i'r cortyiad. Felly, rydyn ni'n gwybod i'r rôl eich cyflauio o'r ffigur byd o Edwardo Pallotsi, mae'r gweld i'r rôl ysgolchau o'r Isaac Newton. Felly, rwy'n gwneud ddim yn ein rhaglen o'r argynnau graff. Yn ymddangos, efallai'n meddwl. Efallai efallai'n ddweithio'r ffilm ydyn nhw'n amser yw'r rydyn ni'n wneud. mae'r rhai cynnig hwnnw i'w ddyn nhw'n gwneud yw'r blawbion yn cyfnodol, mae'n cyfnodol yn gweithio gweithio ffordd o'r hyfforddiadau, a'r gwneud o'r wyrhau mewn arfer ac yw'r fyrddio yn ei gweithio'n gweithio. Rhywbeth yw'n meddwl ydym wedi'i gweithio mewn Llywodraeth. Rydyn ni'n gweithio'n gweithio'n cwrs yn y ffilm sydd wedi'i gweithio. Ac rwy'n ei gweithio i'w ddweud o'r ffordd y byddwyr arwein y swydd. I don't speak English. I try to explain. If you don't understand it, do it like this. So maybe I have a person who will help me. I will translate. I will make my best to say to you something useful. Everything I can, but it's difficult, no?  Then, excuse me. But you were a master of mine. But it's difficult. We started with... What do you ask about Dune? I ask about Dune. We see this film. Yes. And it's extraordinary how you approach Dali, awesome world. Everything is true. Everything. So you have... In a sense, you gathered up everything in the world. You kind of are the energies of all of these so disparate people were brought together. Yes, I find... And then it explodes. Yes, you see in the picture. And you say yes, it doesn't matter. Yes, I will not repeat the picture. I say everything like that. But everything in the picture is true. They are nothing like you can prove all the person is there. I knew all this person and everything is there. And then what I will repeat the picture, no? But I think I am a lesson in order to fight in order to do whatever you want to do and to be patient and to wait and not to change it and not to sell yourself.  Fight against the terrible American industry and continue it. That is what I want to say. To have faith in yourself and do it. And that is the truth. And to have a cat. It looked a bit difficult being your cat. Just cat. I love it. It's fantastic. And when I did, I say when I never did dune, from one day to the other, we cannot do it. And then Don Danobano, who was a very genial person, went two years in an asylum. It's like Cishica asylum, no? Two years. And then went out with Alian. He write Alian. But how he suffered. And every one of these persons realized themselves. He suffered a lot. But myself, I say to me, doesn't exist to fail. To fail is to shine the way of your expression. If you cannot do something here, go and do here. Everything I didn't do in dune, I'm making comic. I say to Moebius, who was writing the script. Fantastic artist. Not only by his talent, but because he was so quickly. So quickly. When I made him come with a comic series, I didn't write anything. I told everything to him. I dictated. In four days we make a book. In four days it was a genius. Well, I say to Moebius, I have an history. Everything I didn't put in dune will put in in Cal. Another history, no? I realized myself. For me it's not a failure not to do something. Because if you have the dream to do that, the dream is there. And then you will have the way to do it that you can do it something. If you want really, you can do it. But the difficulty is to want. If you don't want, you don't do it. But if you want, you do it. Now I am making a picture, I have a lot of successes after that. This dance of reality is the name. In this picture I finished speaking with the producer Michel Sedou. And we say we will make another picture now. And we made it. And have a success. But in order to make a picture, I wait 22 years. I never say I failed it. 22 years I waited. I waited. And it's going well. That is a mystery. But it's going well. And it's a happiness. You started right at the very beginning when you were in Chile. You were a poet. Yes, yes, poet. And then you were involved with theatre. I made theatre, dance. And so when you came to make Fando Elise, that early film, at that time you were not interested in the technique of making cinema. It was just a question of the collaboration with Arabal. I was making 100 theatre plays. But all my life from, I don't know, from 16. At 16 years I was making poems. And I studied dance and painting and puppets. I did everything. Because I think in order to make movies, for me movies was the biggest art of the humanity. Movies, the most complete art. For me was not a business. For the American it's a business. They make pictures in order to make money. And there is the problem. Because when you make money, come the lies, the thief, the lack of liberty, the decadence. For me no, for me it was art. And then I say, I want to be a poet, but make pictures like a poet do. If I make a picture I want to do everything. Everything. I know how to make a decor. How to make a costume. Everything. How to dress an elephant or a dog. I did it. I did it. They give me an elephant in India. In order to act. How you can make act an elephant. I did it. But I say what the elephant like most. It's a lacana secret. It's this bamboo, sugar bamboo. How do you say it? Sugar cane? Sugar cane. And then the elephant need to fight against the train. And then put in the front of the train a lot of sugar cane. And then I did it to have a sugar cane. When I direct Peter O'Toole, it was worse than an elephant. And then in order to move this guy. I put his agent there and he was there. And then he changed the agent and he came there. With sugar cane for him. Etc. Etc. What I have a picture of that I don't know. And then this is the thing. To have a dream and to do it. That is the question. And why I was making poetry. Excuse me, I can't speak with us. You give me the permission to speak? No. And then I say I wanted to know myself. That is the reality. Suddenly when I have 20, 21 years old. I realize. I see the sky and realize the star will disappear. The street will disappear. Everything was changing. I will disappear. My friend will disappear. Nothing was forever. I said why am I here? I am a body who have a conscience. Or I have a conscience who have a body. Or the two. What is that? What is to be yourself? What is that? And then I start to search in myself. To see how was deeper than my personality. What was the mystery of myself? And then I start to search, to search this thing. What is art? What is poetry? What is the goal of that? And the goal of art and poetry is to show to the others how beautiful is the soul they have. The beautifulness of the other. That is the goal of art. To await the person. To open the conscience. Why I will make picture for two hours who cost 400 million dollars. And the person will come there. We'll see the picture. We'll relax. We'll be raped by three dimension. You need to say the three dimension not with your eyes but with your action.  And then I go out. I am the same. Nothing changed. I think art is you see the art and you get more rich. You get a change in yourself. You discover something in yourself. You discover yourself. This is the thing. To do this thing. See now, why to do things? Only to want money. If you want money selling drugs, it's better. You want more money. And in reality the Hollywood system is to sell drugs. Why not? I don't criticize your smoke but the smoke relaxes you but kills you.  That is what you see. You leave Chile. You have had a bad relation with your father who seems to be quite a difficult, brutal figure in some ways. And those relations you see all the way through to El Topo, the father and son, father and son dramas go on and on and your way of seeing the world is through the family. But in my last picture the reality is about that. I decided you can change your memory. Memory you cannot change. But you can change your point of view about your memory.  In order to make my picture I went to Little Town in north of Chile and this town is forgotten, is dying this town. It's exactly when I went out I have 10 years old. The town was exactly when I have 10 years. Nothing changed. And then I went there for me was enormous town. I was only one street. Little street was not big. But in my memory it was enormous because it was my point of view of a child. And then my point of view of my father who, how do you say my father? My father is my father. Crush, right? Someone speaks Spanish here? How do you say my father? Crush me is my point of view of a child. But today after finishing the picture I see my... I am older than my father. I see my father was a child, him. I was not the child, was my father the child. And he had a suffering and he was like this because he was fighting to be an adult. He never was. And my mother was a humiliated woman. And then I realized what, why. I realized my mother always wanted to be an opera singer. And he explained to me very, very... He said, Alejandrito, ven a tomar tu desayuno. All right. In this picture I take the singer of opera with the same breath. Singer of opera. And realize my mother. I realize my father. I humanize my father. I change my memory. When I think of my father and my father and my mother... One of the things you've done is to give talks, lectures, to groups of people in which you use the drama of the family, you take people out of the audience, you say. Are you into work? I invited that. I never loved that. I invited it. But a damn priest copied me. A mega constellation who in all the world are doing what I invited, a constellation. But constellation, this name came in a documentary about me, a fair documentary with Yodorofsky's constellation.  You pick a camera man to bring it.  You have a sister and brother. Show your sister and brother. And then she made the genealogical three till the great fathers. 15 persons with a little more and put in the scene and realized that like a sculpture or a comedy. The thing that was weird is when you chose your father, the person had the same problem of your father. It was a coincidence. But when you project your image in the other, you don't project your image in any person. You project in the right person. What do you want to know? I don't want to know. I just want to hear the sound of it. I've seen a film. Don't speak with the picture. The heart of all of everything that you're doing is to do with the tarot. The tarot did my say in particular. Literally your heart. I am always with the tarot. You didn't know. Even I worked to restoration of the tarot of the 14th century. For me, I don't see the future. Not to see the future. The tarot is not to see the future. I am not a Lister Crowley. He doesn't understood nothing of the tarot between us. He changed everything. That is a sacred tarot. Tarot needs to be anonymous. Every sacred creation is anonymous. The pyramids, the solar Aztec calendars. A lot of the Bible. Every sacred creation is received. It cannot be signed by somebody. The tarot is this. When you make your own tarot, it is a version of that. But a personal ego version. Then you put all your deviations in the tarot. They are dangerous, the other tarot. The only good tarot is the tarot of Marsella because it is anonymous. It is the father or the mother of all the others. I don't know maybe from the one thousand and hundred. It's a very old thing. I write a book in English now. The Way of the Tarot.  And develop my intuition. Because I was very intellectual and logic and atheist. My father broke all the imagination. I need to realise myself in some way. Discover my intuition. Thank you, the tarot, I could do it. That's informed in films like El Toppo. It's informed by the mood of the tarot. It's coming along. Now I memorise the tarot. I can read the tarot without the tarot now. You say give me a number. Three numbers, I read you the tarot. For example, choice three cards. One. Two. Yes. And then what's your choice? Incredible, no? This is really incredible. Because you have the strength, the force. You have the pope and the moon. It's interesting because the strength is you are creating something. Fighting and doing something very deep in you now. The pope is you, you can give lessons now. Thank you. But you have a big, big intuition. That the moon is big intuition. It's interesting. I go deeper because we are not here for that. I will not speak about your mother. I cannot because it's not the moment. Not the moment. But the tarot gives me for 30 years, 30 years. I went every Wednesday to a coffee near my house. I read the tarot free without to be paid. To any person who comes to the coffee he wants. And now there are a lot of people. Now I cannot do it because I start to make pictures. But I let people, he's there. You can do it. Still now you can go and they read the tarot to you. Not the future, but like this to analyze. Why? Because the artists need to live. A lot of people make movies. The only thing they know is movies. Writer, the only thing they know is novels. You need to know human being in order to make your art. You cannot nourish yourself of what you are doing. If you only know pictures, your director is like a sandwich. Make the bread with bread and nothing inside. You need to have and then when you start to speak with the other you start to discover yourself and you start to discover the other. Not only your nostril, there are others. And the other is very important in the art for me. You know in London how the importance of tarot through TS Eliot using it in his poem, The Waste Land, which is a kind of... He doesn't know anything of tarot. I have been studying tarot for 40 years and I don't know nothing. It's like the violin. You need to develop. They take a tarot and start to speak. No, you need to study a thing. You need to go inside this thing. Then you need to possess this thing.  Again, you studied that but it's not... I study the Buddhism. But I start also, it's interesting because the Kalashakra mantra I study what is inside the tantric teaching. And then they make... It's not mantra. Mandala. They are making a mandala with sound. A big mandala with sound. When he finishes, they erase and they start a new mandala. It's like life, who is coming and despairing. But what is in the centre of this mandala? That we need to know when we speak about Tibet. In the centre of the mandala there is fornication. Pure example, porno. There are a couple of gods making love inside of that. It's the sacred force of sexuality who is coming to you and you need to discover because in the sexuality is life. The real life and the gods are there. That is Tibet. Then you say, that is Tibet. You say, well, the Dalai Lama is living with that woman or with that man. It's not a couple. It's one person. Like the pope, it's one person.  This I am dreaming. A person, individually, is mortal. Like humanity, we are immortal. If we are humanity, we have everything. If we are individuals, we have nothing. That's what I see myself now. In the earlier films there is a lot of Catholic imagery and heresies. I am in Latin America. Latin America is the religion. No, it's terrible. I cannot believe that. It's terrible. I suffered all that. I suffered. This good depiction. I suffered. It's terrible. Sensorship. Were you sympathetic to Buñuel? I was with Buñuel. I celebrated, we have 80 years in Mexico.  He was little and very large. He shared a pantalon. I need to say everything has pants, but he was special. He doesn't listen. This is why his picture has no music. And then he cannot do like this. He was like this. This is why his picture has no movement of camera like that. Very, very easy. And he was speaking like this and the young director was there sitting on the floor because they have no permission to shoot. In order to shoot a picture in Mexico he had the permission of the old directors in that time. I was young, 30 years old. They were sitting there. I was sitting near him. I don't know how. I was empathic for him. When he was speaking, the guy was like this. They will never make pictures. Myself, when he was speaking, his pocket was like this, female sex. And then I put it in the hand. In the pocket, I did like this. I raped the pocket of Buñuel. No, it's true. I never told this story. My wife doesn't know this story. Look at the content. See, see, see, real because I wanted, I wanted to make pictures. And then I made Fando Elise. When I made Fando Elise, I didn't know about pictures. And then I said to the technician, listen, I don't know nothing about pictures. But I know what I want. I will do what I want. And then I don't know the movement, the camera, the name. I don't know. And then I take the photographer. I tie myself back to the photographer. I move the photographer. Like this I shoot. Camera. I push the guy. And I make the picture. I think we don't know the school of art. An artist is an artist. A businessman is a businessman. A lawyer is a lawyer. An artist is an artist. You need to be born with this talent. Every one of us have a talent. It's not the same. Everyone might say I have a talent. I have a big imagination. What I can do. What I can do. I want to tell something, but I swear it's real. When I close the eyes, always I see images. Maybe it's an illness. I don't know, but I see faces, faces, towns, streets. I have an image. Before to sleep I make like this. I have an image. My brain is a creator of tales and images. What I can do. It's without the ego trip. It's like that. It's like that. What I can do. About images in Holy Mountain. I did whatever I wanted. You know why? Michael Topper, United States, was a big, big explosion, but not commercially underground. The theatre was a theatre like that. Full of clouds of smoke of marijuana. Full. Every night at midnight they give that. Then John Lennon entered this picture. This is what I could show. He loved so much. He said to Alan Klein, the producer, give a million dollar to Alejandro, and let him do it whatever he wants. They give me a million. Today will be five million. I did whatever I wanted. That is the reality. I don't think it will be commercial or not commercial. They will understand or not understand. I do whatever I wanted. I make the Holy Mountain. The only time this happens in life is when you don't want it to happen.  Someone says, here's five million dollars. You spend years working on Dune, and they say no. Because it's already too realised. That's the way it goes. Also, at that time, were you with John Lilley? You know why I suggest to you? I will tell you a story. An old man, the most old man of the country, came to an interview. A young person of newspaper making an interview. He said, you are the oldest man. Yes, yes. You have a method to live so much. Yes, yes. You can tell to me. Yes, tell to me. Contradigw. Never say no to anybody. Never. Only that. It's not possible. Yes, yes, it's not possible. Myself, always I say yes. But in reality, I didn't understood the question. Can you repeat that slowly? What do you say? I forget the question. The answer made it impossible. I wanted to ask about John Lilley, who at the time of Holy Mountain, John Lilley, did you say something about him? I did John Lilley who was working in the Dauphin, John Lilley, and then he had the bed with water. I wanted to know that. I wanted to know John Lilley. Yes, I did it. I am in his book, John Lilley. But why I wanted to go there? Pascal was a surprise there. John Lilley was searching love, all his life, and find love at 75 years. I was in love. The woman of his life, he find at 75 years. And then I need to know him. Myself, I find the woman of my life at the wattage. Ben. 76, I find her. And then what's in my mind, something like, I always say, I will finish with an oriental woman. And she is half Vietnam, French-Vietnam. Maybe you know what will happen in your future. We have a destiny in some way, mysterious. Myself, I study Ditaro. The Major Arcanas of Ditaro are 22. And I was born in Tokopilla who is in the Parallel 22. And Tokopilla is, his name is Toko, double, double quadrado, Toko, Toko. How do you say it in English, double quadrado? Double square. Double square. Piyan is Diablo. Ditaro is a double square. Ditaro, a half the cart of the devil, very important. And why I study Ditaro? Maybe because I was born there. Why I went to see Lily with this story? Because I knew it would happen to me, maybe. And then he opened the box, and showed me, you can open when you want. You meditate. If you are English because you are closed in there, open. And you see it's not closed. And then you float in there. I did the experience, I write that. It was very interesting. But I say, for me, I never say to him, I don't need the water or that. I can sit in any position and meditate. Why I need all that? Why? Why I need to do like this for meditating then? Five years ago, I was kicking me a master Zen because I make classes. I make mountain paths. I make like this. Valley paths. No mountain, no valley. Sassen. Merda. And then I read this story. Boddidharma came from India to China to search his disciples. And what he did in India, he went to the temple, Shaolin temple and see the world for eight years. It was a million of Chinese. My disciple, the transmission of the lamb will come.  He doesn't understand. And then time came, winter came. Doesn't move the guy. And the guy was desperate. He was like, take this story. Could the arm, shoot. Throw the arm to Boddidharma. You are my student. And you will transmit the lamb. And he was the first master in India who created Zen. I said to me, don't the master of Zen have not an arm? How he do that? But it's a true story. What tell me the story? I mean that. I can meditate like this. It's the same. That is not important. The water is not important. What is important is the work you do in your interior. The position doesn't important. All these are histories. Is when the chocolate you eat but you don't eat the paper of the chocolate. That is the paper. We need to go to the sugar. I read a beautiful article you did for a California magazine called Arthur. And it was about a relationship you had with Leonora Carrington in Mexico. Can you hear me? Leonora Carrington. Yes, in Mexico. It was one of the most beautiful things I've ever read. I was just very haunted by that. What is the question? Yes. Can you tell me, can you say a little bit about her? A memorable couple of statements? I can't say too soon. I come to see. She was a very admired but Andre Breton, surrealist, director surrealist. She was a surrealist painter. I want to know her. I went to her house. He had something like 15 years more than me. Or 20. And then I see her like a master. Myself, I came to Mexico. I was a young artist. I want to know Ditaro. I know she knows Ditaro. And then I will give you a tea. She will give me a tea. And she has a wound. With a small bone. A wound with a bone. She takes the spoon. Take out the bone.  And put in the tea. And give it to me to drink the tea. That was the first thing. When I drink, I was astonished. And then he said, show me Ditaro. Teach me Ditaro. And then they take it out. Show me a car. I said, what do you see? Well, I see, I see, I see a man who goes with a dog. And he said, illuminate him. Show the second card. And then I say the 22 card. I say what I was looking myself. I said, that is Ditaro. Ditaro is a mirror. Ditaro is what do you see? Was my friend listening to Ditaro. Till today is that. Ditaro is like a mirror. If you are ugly, you see uglyness. If you are beautiful, you see beautifulness. You see what you are. And then you work with Ditaro. And you start to see Ditaro as most beautiful as possible. And then you need to change. And that is art. Art is what do you see? That is what Leonora. But I will not tell all the history with Leonora. When he was an innotel, eaten calameras de azúcar. How do I say it? How do I say it in English? A school of sugar. With your name here. The school. It changes the school. The master changes the school of him. Leonora Alejandro. Leonora. Wheat in the schools. Was innocent. But it was important for me. Was the first master woman I had. One of the first master woman I had. Because she was surrealist. I like a lot. Very free. Big imagination. Big job. See you all. See in internet you are not a Carrington. And you will have all the painting. You will see who she is. I cannot tell all the life of her because she is 40 years. I will speak 40 years. Impossible. You are happy? What do you want to know? If I make love with her, no. No. I want to have been there to see the two of you. I still imagine her coming after you in the moonlight. Naked and beautiful, saying don't go. Stay with me and make magic under the moon. Very beautiful. Very poetic. Very beautiful. Yes. Nothing. You speak about the warriors that you brought together to make June. It was a long time ago. Do you look out in comics and film today and see a fellow spiritual warrior that can give us hope other than the Michael Bayes of the world that just hurt us repeatedly with big robots? I understand about the magic warriors I searched. Who are the figures now if you were doing a similar process that you would find in the world in the way that you rounded up those disciples? Now they are searching me, the young. I am a spiritual warrior. You want a spiritual warrior, they are the one. Thank you. Very beautiful. But I will tell you this story of a spiritual warrior came from a picture of Kurasawa, the Seven Samurais. I asked the Seven Samurais. I was searching for seven warriors, but not of the soul of the spirit. But this picture influenced me in that. Now I realize. Another question. Hola. Thank you for all your work. The work of Moebius was unfortunately not with us anymore. My question was, did you ever have any reactions from the Catholic Church in South America or anywhere and could you say anything about that? Yes, I have. Sure, when I was making the Holy Mountain 2,000 people made the filet, the manifestation saying Yodorowski in the criminal mansion. We need to kill him. And they escaped from Mexico to New York. I finished the picture in New York. That was the last thing I have. I had their censorship when I made the theatre. The young Catholic of the right when come there to get acid in the chair. We need to escape by a window. It was difficult in Mexico. But I continued. It made 100 shows at the theatre place. They are not a lot of public. I said they are not a lot of public. All the people went to bad theatrical place. That's always commercial thing. I said I will make theatre for few persons. I will start to think about public and then I start to reduce the public. I finished to stop completely the public and make the person act. I am doing today. Today I am making some conference where I give exercise to the public and they act and they do it. 1,000 persons, they do it. They do it exercise. I finished with the passive public. Yes? But in reality, directly, officially, never I was censored. Never I was going to make for you the eject. How did the chair say you are out? Excommunicated. I never was excommunicated. Listen. In the tantra, the finger have a meaning. This finger is intellect. This finger is heart. This finger is sex. And this finger, the little is the body. And this is the soul who speak with the intellect, with the emotion, with the sex, with your body, the concept. This is the thing. I make the benediction. I take the sex. I take the body. With the intellect and the heart, I make the benediction. I eject you. I take the intellect. I take the heart with sex and body. I say goodbye. In the wajel, is the head. Here. Here. Is sex and here. The priest never say, they say, I will speak on your day of God. Never I will speak. They are cutesy. When I have nothing against them. Yeah. When I say Neruda, great Chilean poet say, diolch me llibre. Diolch me llibre, how I can translate diolch me llibre. God liberate me to say lies when I am singing. God liberate me to invent things when I am singing. I don't understand that. Every time I speak, I speak the truth. Something. I always search what was not ordinary. Then I live a life that is not ordinary. But I never lie. Never. Everything I tell to you is true. I am not lying. What I say about Leonora is true. She take the blood and she put in the tear. It's truth. It's really truth. She have the flu. With bread on. She went to a restaurant. Like that she said with bread on. The restaurant with the muster. He take out the shoes and put the muster here. Because she have the flu. And she said, this is the realist woman. But I don't take lies. Sure you can ask whatever you want. I will tell the truth. Hello. You recently met with Kanye West. What was your impression of him? You recently met with Kanye West. What was your impression? Very surrealist. You want to tell you? I don't lie. Pascal was there. It's true. It was like this. I didn't knew nothing about Kanye West. Really. I don't know who he is now. The only thing he say a rapper. A person who sing rap. He say to me, I speak you are a genius. And he inspire to him. To make a show with rapper Jesus. And he is inspired by the holy mountain. And he inspire him. Fantastic. Because always with the rock I have something weird. One day somebody at 3 o'clock in the morning. Mr Jodorowsky. You know I am Marilyn Manson.  No I am Marilyn Manson. I like the holy mountain. I want you to direct the picture with Nick. And then I was... When I want to rest a little. Because I was too much. I go to Nice. Nice. In south of France. Because they are an hotel. Who name is Negresco. Who is an old hotel. Full of painting of all the personality. It's very crazy hotel. I like that. And he call me by telephone. The secretary. Mr Kanye West. Will see you. Want to see you. Ah yes. Pascale. Who is Kanye West? Answer because he is very well known. Maybe. Yes I can see but I am in Nice. Mr Kanye West is in Cannes. And then he can go to Nice. I have an hour to see you. Well he can. Well. OK. At 7 o'clock. OK. I wait for him. At 6 o'clock. Or at 5 o'clock. The guy of the hotel call me by room. Mr Kanye West is here. We can lend to you. A big room. Free. Because it was like crazy. Free in order to stay with him. OK. OK. I will go to the bar. He was there. He was there with four more guys. He was with the director. What is his name? Spike Young. Spike Young. He was with him there. Spike Young. He was there. An architect. Five guys. And then we went to the room. They lent me and was table. Was a table like that. Like this. And then the table like this. A table like that. And then Kanye West sit here. And then where I put me? With the five guys there. And then the guy came and take this table and put here. And then I sit here. The five guys might say. Pascal sit there. He can translate me in English. She sits here. I say what do you want? And then I didn't know. Because what I will say. I don't know this person. He sings. Yes. What I say. What do you want? Until I will make an exact show. I don't know what. I want to know you. And they say. If you want. Like friend. It was very sympathetic. Really really. Like a child was like me. Very sympathetic. Immediately I liked him. I feel communication. The other guy was very very. Helping him. Was there. But I don't know why they was there. And then. If you want you make your way shows. Yes. If you want like friend. I will give you an idea. What I didn't know. And then I say in order to sing. I will not repeat. Because maybe he will use that. You do that. He liked the idea. I made a gift and idea. Do you know from where come this day. To give an idea from Dali. Because when I. I want. One thousand dollar. The hour or I don't know the minute the hour. Maybe it was the minute was the hour. I don't remember very well. One thousand dollar. I want to be the actor the most well paid. Of the history of movies. I say. If you pay me. One thousand dollars. I will give you. Like a price. Three ideas. Three. Three ideas. Three. I realized the idea. They are like a gift. And then I give you an idea. He liked it. And then we continue to speak. And then we make a photo. And he went out. I never knew. What he wanted. Till today I don't know. What he wanted. I started to see what he did. On the internet. He was in a moto. Singing with a very.  And then. What I can do. It's a phenomenon. But I don't know really. That is a gift. It's a gift. What give to you. He wanted to know me. I am happy. It was very fantastic. Mysterious. He wanted to know me. This is all. Like here. He wanted to speak with me. I speak it. I swear it's true. This is exactly. Alwydde Algo? You want to work with me? He wants to work with me. He wants to work with me. Maybe. Maybe. I cannot say that. He says nothing. Maybe yes. Maybe no. Who knows? Have we? I forget. I have nothing to say to him. Merd. Merd. May I read the tarot to you? Yes. Yes. And then I read the tarot to him. That I did. It was fantastic. It was really fantastic. It was so beautiful. Evidently, he is a man of an enormous legal ambition. He really what he expressed to me. He really wants to help something who gives something to the young person. He won't really he is searching a meaning. Maybe maybe for that model he wants to come to me. He has a big idea or something. And then I put three cards. I put one here and one here. Two cards. To know what I can give to him. And he has this son. He has very good cards. He has this son here. The son. Who is a very luminous card. And here who have the the battle, the magician. Who have in the hand a little a little son. A little yellow center. I said you have the son in your hands. Maybe you can do it what do you want. But who you are? The mad.  And then where you are going? The world. The 21 here. Was so beautiful. You are really beautiful. A beautiful tarot. Eh. And he was very very very very touchy. Because I don't like. I did that. That would happen. It was beautiful tarot. Another thing I like of him he wanted to express me. I don't know what kind of movement he like to do. And he jumped and it was in the floor speaking to me. After he was sitting and continued to speak to me. Like myself in this picture. I am speaking. I take a cut and then I speak. He said if he was speaking he was further in the floor. And then he continued to speak like nothing. Normal. Normal. But the difference I see. What is your name? He. He is speaking. And then plus. And then he sits and continues to speak. I never see that. It's weird. Well. Hello. I ask it what do you want to drink? All the person drink water. With this five. He could ask it alcohol. No. They are all drinking water. Fantastic. I'll try to meet my my question brief. You've worked primarily in the French comic book. Well, European comic book industry. I wondered what your thoughts were about the American industry and the work that they produced. What are your thoughts on it? What is it? I don't understand. What are your thoughts on the American comic industry? You work a lot in the French comic industry. What do you think about the American? I will tell you that. I am trying to be polite. No, because maybe you love, you know. Comic you need to understand. Comic is an industrial art. Why? Because it's so expensive, the comic. It's not like to write a paper. The guy who would make that is his eight hours drawing. You need to pay something like $600 the page and then you have the writer and then you have the impression if you don't have a public you cannot do the comic. And then you are obliged to work with the producers the distributor and then you will need to be inside the industry. And then the industry of comic in United States is an industry. Without respect in the time I knew for the artist because the artist is not the owner of his pages. In France you make a drawing you publish and then you are the drawing and you can sell the drawing. In United States you draw and finish it and then you need to make Superman you need to make little and then you have censorship. Comic is an art. This is what I am trying to comic can say deep things. Can say that but when the American want to say something deep they become hippy. Like this. That is to be profound. It's very superficial everything it's a kind of fashion. And now comic are finished this kind of funny because they are not selling a comic they are not they are not tiendas. Sure? Sure you are selling the comic every time and then they came to movies when Stan Lee I eat with Stan Lee I have a dinner when Stan Lee who was a nice person very intelligent started he made fantastic four he make a revolution against DC comic he was the Hollywood the Superman the castrate hero without nothing. See they cannot have that Superman. He made the first hero who have the first hero who have economical problem Spider-Man have economical problem that was interesting he was searching something social something but it's only funny amusing I don't believe in that anymore I know for me the only American great after Croom but this Croom is Croom is avant-garde but in the comic comics is Spider-Man Stan Lee Stan Lee Will Eithner Will Eithner that is a genius Will Eithner is a genius and it's American comic but it's American Jewish comic but all the comic are Jewish with Superman of great were Jewish person and then Stan Lee no the other Will Eithner create the the drama the graphic novel graphic novel is the great creator of graphic novel ha? no Alan Majest there is another thing we will explain later there is a different phenomenon Will Eithner create create the went out of Superman and create human stories Will Eithner to read the graphic history of Will Eithner that I admire more I want to know him because more for me is very interesting in the magic this person who start to study Alistair Crowley the magic and introduce I believe magic in comic he make a big a big gift to this art this this person but every person have his way I need to speak with him in order to know if he have something positive about humanity that I don't know that I don't know because myself I a little tired of art who speak how bad is humanity myself I believe in an art who can heal humanity now to destroy them to so violent so destroying so degenerated so terrible we don't need anymore because the world is like that now we are repeating the world an art is now in order to make a revolution need to be optimist today they need to start to believe in humanity today to believe in us to believe we have a meaning no? and that is a lack of the comics it's a lack it's a idea I cannot say anymore I am trying to not make critic I am trying to not make critic I cannot criticize that but the superhero's picture is really really a side of the colonial colonialism of united states united states have two strong arms atomic bomb and the movies in order to colonize the planet he is colonizing it's very difficult now to make movies because all the theater are showing American pictures this idiocy of Superman there are enormous persons who are destroying towns nothing so idiot who become a robot a transformer I want a person who become a fantastic human being a magician I am a transformer what is that eight in popcorn I want to be superhuman not superman superhumanity et cetera et cetera I am not here for that we need to be more happy you know yes actually I have a question kind of dramatic well I am Mexican and I watched your films when I was 17 and I am very grateful to because the holy mountain helped to find myself at that age especially I was 17 how old you are I am 28 28, I am 85 and I changed your incredible avatar changed your life I think avatar no sorry I didn't understand I see avatar 400,000 million I don't remember I love the cartoon but not the movie fantastic I am very happy well I really feel like we in this moment in the world as humanity we actually kind of need a lot a movie like Dune with the ending you made and I saw this this video about the pollution in Tokopilla and that for me that is like one drop in the storm we are having in all over the world in Mexico is huge all the disasters environmental and that destruct human lives and cultures and traditions and I don't know I just wonder that we need Dune we need that ending happy ending and I don't know if you can talk about what are the kind of challenges you have this feeling because you have Hodorowsky's Dune that is there something you don't do can be stronger than something you do but it's a war it's a war against the individuals and the collectives that trying to grow and you know to maintain the faith with all this war artistic war into our minds you know it's kind of difficult it's not easy what can artists do for example what can artists do what can artists do what can artists do to help this ending of Dune that we need you need to see Hodorowsky's Dune in a second time because Mae'r cyfan yn ddechrau. Mae'r cyfan yn ôl yn ymddangos, ond mae'n cysylltiadol ar y gwahod ddisgu am polishedurach. Mae'r pwyau lle o'r bagnwyd yna, ond mae'n wneud diwethaf o'r wneud o'r cyfan o'r gwylech ond mae'n ddisgu. Mae'n croeso gyda'r newid. The message is coming, you are coming. There is the message. It's not necessary to make the picture. There are persons in Paris who said, I want to shoot the script. I said, no.  This book is better if I didn't do it. Because now you are there speaking, and this picture is. All the persons are seeing this picture. A lot of people. And it's like a manifest, an artistical manifest. And that is good. You need to, what an artist needs to do? If you are a dancer, dance.  If you are a painter, paint. Yes. You will say to me, I don't have the money. No, you can't have the money. Do you know? Myself, in my picture, I make a collect. They give me money for internet. For dance and reality. Because I have no money. And they send me money. I need $4 million to make the picture. They send me $40,000. 1%. I receive it. But I put in my pocket $40,000. I feel strong. And then I went to find. I find the formula. I find it. And when I find the formula, I give it back the money to every person. I give it back the $40,000. But I put the name in the picture. They are producers. By the intention, no? They wanted the help. And that is good. That is good. Picasso was very poor. And have no money to buy paintings. And then he painted in newspapers. Paper with his excrement. He paints Picasso. And he makes a beautiful painting. An artist can express himself any moment. Yes. Yes. When I make a topo, I need to tell this, but it's very quickly. I make a couple of men, a young person, a young woman, say to me, we have a theater of puppets, marionette. If you want to see, because we'll make a show. Yes, yes. And then we go. And then I go to see the show. I think they will bring me a theater. I will bring me to a little apartment. And make me a dinner for me. Well, no, I was hungry. I made a very good dinner. But when we go to the show, where it is, it's here. How? What? Here? And then in the corner was a curtain. And then they opened the door, it was a little theater. And then she started to play an instrument. And the show started to come with little puppets. Little puppets. It was so fantastic. I say, we make this. How? But who sees that? We find a person who deserves it. I show them. Every time it's one person who shows the show. And it's the most beautiful show I ever see, never. So beautiful with the puppets. It was incredible for me. And they make this art for one person at a time. And then I realize that you have, a million person is good. You have only one person who understands you is good. I make the picture for you.


Emotional intelligence is very important in everyday behavior. There is a study there are so many studies I am just quoting one of those very comprehensive study and thoroughly designed it looked at college students and took the ability test of emotional intelligence and they also looked at the big 5 personality trait. They wanted to understand whether emotional intelligence is affected by the personality type or not. So, big 5 personality type many of you might remember that big 5 personality types are related to extraversion means our tendency to express our behavior externally whenever I am facing some issue introversion means my tendency to going back within myself whenever I need energy consensuousness means following the process openness to experience that means being experiment about life about situations and neurotic means emotional instability these are the 5 personality traits this is called big 5. The big 5 was assessed emotional intelligence was assessed and then they were also asked to provide the life scale life space scale information that looks at the self-care behavior leisure pursuit academic activities and interpersonal relations. What in this study was found that women invariably they scored significantly higher than men on the emotional intelligence however emotional intelligence was a stronger predictor of the life space criteria for men for men if they become emotional intelligent that has much more impact on their life space scale related variables. And what happens when someone is suffering from low emotional intelligence or comparatively lower emotional intelligence principally that is connect that is related to the inability to perceive emotions and to use emotion to facilitate thoughts and that was also associated with the negative outcome. And what are the negative outcomes of lower emotional intelligence in that this study amongst the college student illegal drug and alcohol use deviant behavior poor relations with friend all these variables were connected to low emotional intelligence finding remained significant even after statistically controlling for a scores on big 5 and academic achievement. So that means personality type or academic achievements are not connected to emotional intelligence in other words you need to do not worry whatever is your personality type you need not to worry whether your academic achievement is high or not high in comparison to your colleagues is still you can have emotional intelligence and is still it will pay off is still it will be one of the most important criteria to be successful in career. And in many situation it is more important than cognitive skills it is more important in many situation in comparison to academic achievement let us look at what you say is about it. So you recall our discussion on how mind works and that is what we discuss according to the yogic perspective there are varieties there are mind modifications and there are clisht varieties and clisht varieties clisht clisht varieties which are which causes suffering which which cause bond bondage and clisht variety which are unhindered not causing suffering. Mind modifications can be because of right knowledge it can be because of viparaya which is abhidya smitha ragh dvesh abhinvesh it can be because of imagination sleep or memory. So mind modifications can be clisht or clisht depending on that we have a kind of chit bhoomi the quality of mind we attain that can be chit which is very fluctuating with chit generally fluctuating a kag is focused niruddha means well controlled completely in control. So that is how the mind works if we look at emotions from the indik perspective we see a very universal classification of emotions and that is very useful to label the emotion and recognize that emotion you remember the ruler the recognition to labeling these are the three important steps in in the rural model of emotional intelligence. If we keep 9 or 10 or 8 rasas in our mind we can very easily label and classify the emotions what we are experiencing ourselves what others are experiencing. So varatamuni is nateshastra which was written about 2000 years ago it gives excellent classification of the different emotions this is called rasas rasas are the dormant emotions these are sangar which is related to love and attractiveness hasya which is related to laughter or comedy or myth raghdram which is related to anger or fury karunya which is related to a compassion and mercy bivhats which is meaning disgust and aversion bhyanakam which is related to horror and terror viram or virras that is related to heroic mood, weller, courage adhubutras which is about the wonderment and amazement these 8 rasas were identified by bharatamuni in the nateshastra then there was a conceptual problem the conceptual problem which was recognized and then addressed by abhinavagupta in 8th or 9th century was that during the play because nateshastra was about the drama and how people enjoy the drama and in that connection the conceptual problem was that how come people enjoy seemingly contradictory rasas so sangar is a one type of rasas which has a very deep pleasantness in it and bivhats it is a bhyanakras in the same play rasik or the observers can enjoy both the rasas how come that is possible because if I am in sangar how I can move from sangar to bivhatsras and that is related to our personal life as well same people can experience one rasas at times and another rasas another time what is that capability which makes people swiftly move from one rasas to another as it is appropriate according to a situation there must be something else there must be some backdrop under which this shifting of rasas shifting of mood from one kind of rasas to another kind of rasas happening and that concept was added by abhinavagupta please gave the notion of shantaras so shantaras is like a substratum in which people experience fluctuation and that fluctuation can be in the form of sangaras or hasiras and raudaras but people then come back to that substratum and that also is enjoyable that is also a rasas that is shantaras tranquility so indian perspective and yogic perspective of emotional intelligences or emotional balances that it is not about having only sweet emotions we discussed in the second wave of positive psychology as well there is a recognition and that is kind of very long recognized in the indian tradition that there are no emotions which are only negative or only positive negative emotions sometime result into personal growth and positive emotions they may sometime tilt it toward hedonism of which in the long run we may have negative outcome so there are no water tight strict negative emotions or positive emotions what is important is to have appropriate emotion at appropriate time and our ability to come back to samatha our ability to regain the equanimity when that is that capability is there we call the person is titipragya that is a very highest state but we that is that in the normal life in the day to day life we call that is titi called samatha equanimity or emotional balance that is required in the day to day life and our ability to experience different rasas and coming back to shantaras is the essence of emotional balance as per in the indian perspective.