DOCSLIB.ORG

A Conversation with Jacques Tati*

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Conversation with Jacques Tati* A Conversation with Jacques Tati* Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00294/1754012/octo_a_00294.pdf by guest on 27 September 2021 Cahiers: The first question we have is: How do you come up with a film like Play Time? How do you write it? Jacques Tati: You have to distinguish between a visual film and one that is thought out and written. Play Time is completely unlike a literary film; it is written in images, more like a ballet. I actually draw the pictures, although my drawings are not really very good, and so I tell my story in images. The dramatic struc- ture comes from this vision. I know my films by heart, and when I am on the set, I never look at the script. Cahiers: Seeing the film, it is hard to imagine what the script might look like . Tati: Well, technically speaking, the preparation is no different than what you have with any other film. The camera crew and the assistants all have to know the shots and their numbers. Once this initial work is done, they handle the technical work. Naturally, I check the angles of the shots myself. Then it is up to me to make sure that everyone gets the feeling that we are not on a film set. I have to create a certain ambiance, so we joke around a lot. I do a fair bit of shouting. I might grab a guy who hasn’t closed a door properly, and the actors (and there are, after all, quite a few of them in the film) often say to me at the end of the day, “We don’t feel as if we have done any work.” That’s why you sense this naturalness with the people in Play Time; it’s not exactly that anything goes, but certainly it is more natural. They are not act- ing. In order to achieve this effect, I don’t look as much for actors as for nat- ural “types.” If some very thin fellow comes into the office, and he talks really fast, then I think he might get angry easily. On the other hand, if I see some- one who casually slumps down in his chair, then I think I shall have him wait in the office. Do you see what I mean? It means that I have to do a lot of character research at the beginning. I don’t have what you might call a filing system, but I do walk around a lot. If I see a couple of real street kids, then I ask them to be in the film. I don’t ask them to make anything up; they just have to be themselves. Actually, I did that rather more in Les Vacances de * Appearing in Cahiers du Cinéma 199 (March 1968), the conversation “Le champs large” (The wide field) was conducted by Jean-André Fieschi and Jean Narboni. OCTOBER 160, Spring 2017, pp. 109–126. © 1968 Cahiers du Cinéma SARL for French original. 110 OCTOBER Monsieur Hulot than in Mon Oncle, which was more of a comedy in the tradi- tional sense, and that is why I think it has aged less well than Les Vacances. In Les Vacances de Monsieur Hulot, for that reason, the people really felt like they were on vacation. I saw the film again, a few months ago, with some students, and I was very happy, not so much with myself, but with the fact that the actors behaved just as people might today at the beach. That is very impor- Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00294/1754012/octo_a_00294.pdf by guest on 27 September 2021 tant; time lets you see things as they are, and you can see what is natural and what is overdone. Cahiers: To get back to the script, it seems to us that the structure of a film like Play Time could very well be shown on paper with highly complex graphic designs . Tati: Unfortunately, I think you must have seen the film with the intermission. I am upset with the Empire about that, and I am doing everything I can to get it changed. The structure is much clearer without the intermission. When you see the film straight through, you can see much better that everything that looks serious and a bit stiff in the first part becomes funny in the second part. For example, look at the German businessman—the guy with the soundproofed door—and how he changes his behavior at the Royal Garden; he went along with it, and he is not at all a funny guy himself. This is true of all of the characters. Take the American women who see the same lampposts, the same roads, and the same airport as they did when they arrived, and yet they are freer because the party is still going on (as it often is). Just because you build a modern building doesn’t mean you can’t have fun with it; all you need is for something somewhere to go a little wrong to bring things back to normal. That is why my dramatic composition is important. The characters are not just picked out at random. If all you see is a series of sequences: Orly, the offices, the display stands . then you are not seeing the film. Now, I can’t deny that, when you see Hulot looking for the office manager in the maze of offices, there is a certain length to that, but the length is necessary. The pre- fect of police complained that it took him a week to get used to the new police station because it was too modern, and because the corridors were too long. If it takes the prefect of police a week to find his way around, then can’t we give Hulot a few minutes to get used to the building? So this is my understanding of the evolution of film comedy (Play Time is, after all, a film that is supposed to be a comedy). A fellow they called Little Titch made the first funny film. It was a music-hall act called “Big Booth,” and it was a really remarkable act. All they did was film it. You can find it in London, at the British Film Institute, and everyone should see it. Everything that has been done in film comedy starts from that. Afterward, everything came from the music hall—I mean the great school of Keaton, Chaplin, Max Linder, etc. But film comedy has evolved. At first, we see a character before us with a label that says: “I am the funny man for tonight, I know how to jug- gle, fall in love, be a musician, a gagman, etc.” After that, we get Laurel and A Conversation with Jacques Tati 111 Hardy, two characters, and one of them is the straight man just like in the circus. Hardy is the whiteface clown, and Laurel is Auguste. As I see it, they are the ones who brought about the critical change in comic cinema, and that change came about not just because there was a straight man in the act, but because they both became, each one of them and at the same time, straight man and Auguste. After a time, Auguste would take over from the Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00294/1754012/octo_a_00294.pdf by guest on 27 September 2021 straight man, and vice versa. Then this pattern evolved a bit more, and you have the Ritz Brothers, and there were three of them. They passed the cracks and gags around between them like you pass a rugby ball. One would open a door, the other would go through it into the room, and the third would have the joke. Then you have the Marx Brothers, and after that Hellzapoppin’, where everyone is in the gag and adds to it. In my own work, I have followed this evolution, and so, instead of hav- ing it be Hulot, as in Les Vacances, who takes on all, or almost all, of the gags in the film, I have tried to give the gags to other characters according to which character is best suited to carry it off. So it isn’t Hulot who presses a button to see how it might sound when it announces a character in an office. Instead, I choose the character best suited for the job, and in this case, it’s a little old guy, who was actually retired, and he does it much better than Hulot could. Of course, Hulot would do it differently and with other comic possibilities; he might hit the wrong button, for example. But this little guy, he has to try hard because he is afraid of buttons, and so he is bothered by it. This is one of those points, in this evolution that I am talking about, where I think many critics have not properly seen what I have been doing. For a Jacques Tati. Play Time. 1967. 112 OCTOBER maître d’hôtel, the right gag, the truest gag, is to have it done by a real maître d’hôtel. If the fish dish does not fit on the shelf of the kitchen open- ing, then you have to find the person responsible for that; and the one who’s responsible is the carpenter who put in a 25cm wooden shelf when the dish was actually 50cm long.
Load more

Recommended publications
  • Layout Version Gerlach
    The Brock Review Volume 10 (2008) © Brock University Greenscape as Screenscape: The Cinematic Urban Garden 1 Nina Gerlach Ruprecht-Karls-Universität Heidelberg Abstract : The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the boundary - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the boundary defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre. The dystopian city of Los Angeles in Ridley Scott’s Blade Runner (1982) lacks space not only for gardens, but for any natural environment in general. The only garden that remains, exists as a kind of Paradise Lost , a placeless topos with a unicorn, banished into and limited by the world of imagination of the protagonist. As this example indicates, the cinematic garden and particularly the more specialized topic of the relationship between the garden and the city within cinema is still an under-examined realm of the research of garden history.2 In cinematic genres where the city is usually presented as the essential character -- such as in Neorealism, Film Noir, and dystopian science fiction -- garden space is hardly discovered. 3 These types of films frequently transport an extremely negative connotation of the city.
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Bread Loaf School of English2016
    BREAD LOAF SCHOOL 2016 COURSE OF ENGLISH CATALOG SUMMER 2016 1 SUMMER 2016 SESSION DATES VERMONT READ THE Arrival and registration . June 21 Classes begin . June. 22 Classes end . August. 2 Commencement . August. 6 WORLD At Bread Loaf, we engage and inspire innovative thinkers who, NEW MEXICO Arrival and registration . June 18–19 through the interpretation of literary and critical texts, Classes begin . June. 20 contribute creative thought, write persuasive and original arguments, Classes end . July . 28 and use relevant emerging technologies to develop effective Commencement . July. 30 teaching and learning practices. OXFORD Arrival . June 27 Registration . June . 28 Classes begin . June. 29 IN A WHOLE Classes end . August. 5 Commencement . August. 6 NEW WAY 2 BLSE SUMMER 2016 1 WELCOME TO BREAD LOAF WHERE YOU'LL FIND ■ A community of engaged students eager to immerse themselves in rigorous graduate study with leading faculty from eminent colleges and universities across the U .S . and U .K . ■ The opportunity to work closely with faculty and fellow students . ■ Innovative, place-based learning oppor- tunities at three culturally distinctive campuses . IMMERSIVE UNIQUE INNOVATIVE The six-week summer schedule allows working Courses at Bread Loaf’s three campuses in Students have access to major libraries; state- ■ A one-of-a-kind chance to refresh and professionals to pursue graduate education. Vermont, New Mexico, and Oxford, England, of-the-art digital tools for research, writing, and recharge your imagination in a collabo- The full-time residential experience encourages link education to place and give students unpar- teaching; and membership in the nationally rative environment for six uninterrupted students to immerse themselves in curricular alleled access to diverse cultural experiences.
    [Show full text]
  • Modern Architecture and Spatial Experiences in Film
    Modern Architecture and Spatial Experiences in Film Rizka Fitri Ridayanti Advisor: Diane Wildsmith Architecture International Program Faculty of Engineering University of Indonesia ABSTRACT Architecture and film in this modern era are inseparable concerning the generation of perceptual spaces. Architecture is built in and around spaces, which may provide the setting for a film, whereas film stands as a two-dimensional medium to explore and present architecture as a narrative framework. Architecture is a fundamental component in order that film can deliver its narrative. This paper discusses how architectural representation is conveyed to encase the spatial narrative of a film and the important role they hold in conveying messages, underlying narratives, and the spatial experiences in a film. It discusses the workings of real to reel, borrowing Nezar AlSayyad‟s term in reference to the reality and the cinema, using the modern architecture in Jacques Tati‟s Playtime (1967) as a case in point. Architecture in the real and reel stand as the main focuses of this paper. Finally, it observes the concept of reel to real, how the architecture and film can affect our perspectives in life and be used as parameters for design. Keywords: architecture; architectural representation; film; narrative; space INTRODUCTION Since the late 19th century, film developed as a medium that has allowed increased awareness and appreciation of the 3D representation of architecture as well as urban spaces.1 Film captures motions, sounds, and sequential narratives of a city‟s architecture that allows an experience of 3D architectural spaces through 2D medium. No other medium has had the power to present an exploration of real or virtual 3D architectural spaces as boundlessly as film.
    [Show full text]
  • Cuisine and Symbolic Capital
    Cuisine and Symbolic Capital Cuisine and Symbolic Capital: Food in Film and Literature Edited by Cheleen Ann-Catherine Mahar Cuisine and Symbolic Capital: Food in Film and Literature, Edited by Cheleen Ann-Catherine Mahar This book first published 2010 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2010 by Cheleen Ann-Catherine Mahar and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2219-1, ISBN (13): 978-1-4438-2219-0 TABLE OF CONTENTS List of Images............................................................................................ vii Preface........................................................................................................ ix Contributors................................................................................................ xi Culinary Translations of Identity: From Britain to China Chapter One................................................................................................. 2 Translating Crepes: Politics, Economics and Culture in Philipe Massonnet’s “La crêperie de Pékin” Michelle Bloom Chapter Two .............................................................................................
    [Show full text]
  • 16FQ Film Classes
    Film Courses Fall 2016 3020-01 History of Film Staff TTH 1:30-3:35 The course will examine the evolution and development of film from its beginnings in the mid 1890's to rougly 1960. Focus will be upon the four broad areas of investigation: (1) the technological innovations upon which the film industry depended (2) economic modes of production that governed film industry practice (3) aesthetic movements and styles as an expression of national identity, and (4) the cultural and social impacts of the movies. The course chronology will be framed to cover the early years of cinema, or "Primitive Era" (1895-1914), the Silent Era (1914-1927), the Sound Era to the Post War Period (1927-1945), and the High Classical period that ends wtih the breakdown of the studio system (1945-1960). 3240-01 Genre: Horror Cumbow TTH 6:00-8:05 Tales and images of the supernatural, hauntings, human madness, monsters from outside and inside have dominated the art, literature, and culture of every society. These themes and images of horror helped define the early cinema, from the dancing imps and moon people of Georges Melies to the first “Frankenstein,” created at the New Jersey studios of Thomas Edison. Many of the formative classic films are horror films. What does horror tell us about ourselves, about the human condition, and about film art? This course examines two dozen exemplary horror films, spanning several countries and eleven decades of film history, finding reasons for each film’s lasting importance, the light each sheds on its particular era and culture, and how each represents the changing face of the horror genre itself.
    [Show full text]
  • Lecture: Tuesday / Thursday 11:00 A.M.–12:15 P.M., Castellaw 101 Screening: Wednesday 6:00–10:00 P.M., Castellaw 101
    Baylor University ● Dept. of Communication Studies, Film & Digital Media Division ● Spring 2011 Lecture: Tuesday / Thursday 11:00 a.m.–12:15 p.m., Castellaw 101 Screening: Wednesday 6:00–10:00 p.m., Castellaw 101 Professor: Dr. James Kendrick Office: Castellaw 119 Office Hours: Monday, Wednesday 12:00–2:00 p.m. All other times by appointment Phone: 710-6061 E-Mail: [email protected] Web Site: http://homepages.baylor.edu/james_kendrick COURSE DESCRIPTION This course offers an institutional, aesthetic, and cultural history of motion pictures across the world, starting with the invention of moving picture technologies in the late 19th century and concluding with the ever-rising dominance of the Hollywood blockbuster and the development of digital cinema in the 21st century. In studying the history of motion pictures, we will take into account not only the major figures who influenced their development both technologically and aesthetically, but also the cultural influences, politics, and economic factors that helped shape them. We will consider the development of motion pictures as a narrative form, cultural commodity, political object, art form, and avenue of escapist entertainment. One of the keys emphases in the class will be the historical intersections of various sites of cultural production (movies, television, advertising, censorship, political propaganda, etc.) and how they influence and shape each other. Because the breadth of international film history far exceeds what can be covered in a single semester, this course will focus most heavily on the history of film in the United States, although we also look at various historical moments in the Soviet Union, Japan, France, Germany, Italy, and Poland.
    [Show full text]
  • The Life and Films of the Last Great European Director
    Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN Macnab-05480001 macn5480001_fm May 19, 2009 11:55 Geoffrey Macnab writes on film for the Guardian, the Independent and Screen International. He is the author of The Making of Taxi Driver (2006), Key Moments in Cinema (2001), Searching for Stars: Stardom and Screenwriting in British Cinema (2000), and J. Arthur Rank and the British Film Industry (1993). Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN The Life and Films of the Last Great European Director Geoffrey Macnab Macnab-05480001 macn5480001_fm May 8, 2009 9:23 Sheila Whitaker: Advisory Editor Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2009 Geoffrey Macnab The right of Geoffrey Macnab to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 046 0 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress
    [Show full text]
  • And the Ship Sails On
    And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation.
    [Show full text]
  • Of the Lumière Festival
    Vive le cinéma! The program of the Lumière festival October 14-20, 2013 Retrospectives Special series Events, invitations, tributes Premieres of films on the cinema Before their release in theaters, the new film by Quentin Tarantino: Lumière Award 2013 Art of Noir Vive the cinémathèques! Ettore Scola, a documentary-homage to Fellini, and a documentary by James Toback and Alec Baldwin, Quentin Tarantino will be in Lyon to celebrate After a first session in 2009, Eddie Muller, president La Cinémathèque française who interview cinema greats about film production. classic cinema and receive the Lumière Award. of the Film Noir Foundation in San Francisco, and As we approach the centenary of Henri Langlois, we Film retrospective of the filmmaker, a huge the writer-historian Philippe Garnier are back to are proud to invite the most beautiful of film libraries, Films on films : documentaries on the cinema cinephile and ardent fan of the 35 mm film. Vive present their unearthed treasures. Rarities that a worldwide reference for conservation, restoration In the theater of the Villa Lumière, view a selection le cinema! you are not likely to see elsewhere! With the world and enhancement. In the presence of its President, of documentaries on the cinema, where we will see premiere of the restored print by Warner, filmmaker Costa-Gavras, CEO Serge Toubiana, and A personal journey through cinema by Chaplin, Jean Seberg, Michael Haneke, René Clément, Gun Crazy / Deadly is the Female, in the presence their teams. Bernard Natan, or Jean-Pierre Marielle Quentin Tarantino of its starring actress, Peggy Cummins. Discover some of Quentin Tarantino’s personal 25 years of Studio Ghibli The program picks in this year’s lineup.
    [Show full text]
  • Works Cited – Films
    Works cited – films Ali (Michael Mann, 2001) All the President’s Men (Alan J Pakula, 1976) American Beauty (Sam Mendes, 1998) American History X (Tony Kaye, 1998) American Psycho (Mary Harron, 2000) American Splendor (Shari Springer Berman and Robert Pulcini, 2003) Arlington Road (Mark Pellington, 1999) Being There (Hal Ashby, 1980) Billy Elliott (Stephen Daldry, 2000) Black Christmas (Bob Clark, 1975) Blow Out (Brian De Palma, 1981) Bob Roberts (Tim Robbins, 1992) Bowling for Columbine (Michael Moore, 2002) Brassed Off (Mark Herman, 1996) The Brood (David Cronenberg, 1979) Bulworth (Warren Beatty, 1998) Capturing the Friedmans (Andrew Jarecki, 2003) Control Room (Jehane Noujaim, 2004) The China Syndrome (James Bridges, 1979) Chinatown (Roman Polanski, 1974) Clerks (Kevin Smith, 1994) Conspiracy Theory (Richard Donner, 1997) The Conversation (Francis Ford Coppola, 1974) The Corporation (Jennifer Abbott and Mark Achbar, 2004) Crumb (Terry Zwigoff, 1994) Dave (Ivan Reitman, 1993) The Defector (Raoul Lévy, 1965) La Dolce Vita (Federico Fellini, 1960) Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964) Evil Dead II (Sam Raimi, 1987) 201 Executive Action (David Miller, 1973) eXistenZ (David Cronenberg, 1999) The Exorcist (William Friedkin, 1973) Fahrenheit 9/11 (Michael Moore, 2004) Falling Down (Joel Schumacher, 1993) Far From Heaven (Todd Haynes, 2002) Fight Club (David Fincher, 1999) The Firm (Sydney Pollack, 1993) The Fly (David Cronenberg, 1986) The Forgotten (Joseph Ruben, 2004) Friday the 13th
    [Show full text]