1: 00:00:20.20 00:00:24.15  
      Mrs de Galard, you are in charge
      of the #Dim Dam Dom #programme#.#

   2: 00:00:24.20 00:00:28.05  
      It is one
      of the most revolutionary shows on TV.

   3: 00:00:28.19 00:00:31.20  
      Where did the idea for this show
      come from ?

   4: 00:00:32.07 00:00:34.21  
      A year ago, Mr Contamine asked me

   5: 00:00:35.00 00:00:38.01  
      to develop a women's program
      for the second channel.

   6: 00:00:38.09 00:00:41.19  
      There was nothing revolutionary
      to the project on paper.

   7: 00:00:41.23 00:00:43.23  
      It was a succession of segments,

   8: 00:00:44.02 00:00:47.24  
      but very short ones,
      and that was revolutionary.

   9: 00:00:48.03 00:00:53.01  
      Some of them were 1-2 mn long,
      up to 15 mn.

  10: 00:00:53.05 00:00:58.06  
       We feature up to 10 segments
      on very different people within an hour.

  11: 00:00:58.12 00:01:02.11  
      What is the guiding principle
      of the programme ?

  12: 00:01:02.23 00:01:06.19  
      We want to inform the public

  13: 00:01:07.11 00:01:11.06  
      through high-quality images,

  14: 00:01:11.10 00:01:13.11  
      and high-quality sound now.

  15: 00:01:15.09 00:01:18.08  
      What lies behind
      this quest for aestheticism ?

  16: 00:01:18.12 00:01:22.18  
      I would like to make
      as many people as possible

  17: 00:01:22.22 00:01:27.18  
      aware of the problems
      surrounding and affecting them.

  18: 00:01:28.07 00:01:31.02  
      By people I mean women, basically.

  19: 00:01:31.21 00:01:36.06  
      This should enable them to envision
      their daily surroundings

  20: 00:01:36.12 00:01:41.05  
      with some taste
      and some sense of quality,

  21: 00:01:41.09 00:01:44.00  
      I try to infuse the images
      with that same quality.

  22: 00:01:46.21 00:01:49.04  
      I tend to lean
      toward the 2nd dimension,

  23: 00:01:49.08 00:01:51.02  
      and for an issue...

  24: 00:01:51.06 00:01:55.08  
      To look neat,
      a topic cannot be left raw.

  25: 00:01:56.03 00:02:00.03  
      It must be thought-through, worked-out
      and the topic well-prepared.

  26: 00:02:00.12 00:02:01.24  
      And then...

  27: 00:02:02.11 00:02:05.00  
      We may end up with a... 

  28: 00:02:05.04 00:02:08.05  
      with an image which may seem absurd

  29: 00:02:08.09 00:02:11.24  
      to someone who didn't watch it
      or didn't understand.

  30: 00:02:12.07 00:02:15.17  
      But this image will be able to move,

  31: 00:02:15.23 00:02:18.11  
      because of our concern for quality,

  32: 00:02:18.15 00:02:20.21  
      it will move people
      with inquiring minds,

  33: 00:02:21.00 00:02:23.10  
      who are actually
      our target for this show.

  34: 00:02:26.08 00:02:28.22  
      You say you want to introduce

  35: 00:02:29.01 00:02:31.15  
      everyday issues to female viewers,

  36: 00:02:31.19 00:02:36.00  
      by showing them images
      resembling associations of ideas.

  37: 00:02:37.02 00:02:39.07  
      We have a fashion segment

  38: 00:02:39.12 00:02:41.21  
      featuring little sailors,

  39: 00:02:42.00 00:02:45.13  
      which were everywhere this year
      presented by all the designers.

  40: 00:02:45.17 00:02:50.14  
      We present these fashion models
      in front of Jules Verne screenings,

  41: 00:02:50.19 00:02:52.20  
      because a Jules Verne exhibition

  42: 00:02:52.24 00:02:55.19  
      is about to open
      at the #Bibliothèque Nationale#.

  43: 00:02:55.23 00:02:58.24  
      And we want to link
      those sailor costumes

  44: 00:02:59.04 00:03:00.16  
      to Captain Nemo.

  45: 00:03:00.20 00:03:04.24  
      Our aim is to place the sailors
      from today's fashion, spring '66,

  46: 00:03:05.03 00:03:06.22  
      in the news.

  47: 00:03:07.09 00:03:12.05  
      Not only fashion news:
      our models aren't standing on a catwalk.

  48: 00:03:12.09 00:03:15.22  
      They are connected to Jules Verne,

  49: 00:03:16.01 00:03:18.09  
      who wrote #20 000 Leagues
      Under the Sea,#

  50: 00:03:19.09 00:03:21.14  
      and connected the sea to his work.

  51: 00:03:21.24 00:03:26.09  
      This segment was shot
      by a fashion photographer,

  52: 00:03:26.13 00:03:29.03  
      a young man
      called Just Jaeckin.

  53: 00:03:29.14 00:03:31.01  
      Vadim has worked for us,

  54: 00:03:31.05 00:03:35.21  
      as well as Agnès Varda,
      for a segment to be shown later on.

  55: 00:03:36.21 00:03:41.14  
      Regular movie directors work for us.

  56: 00:03:41.18 00:03:45.24  
      They adapt to the television format
      and to #Dim Dam Dom#,

  57: 00:03:46.03 00:03:49.21  
      in order to take part in this magazine.

  58: 00:03:52.06 00:03:53.06  
      I'm fairly happy

  59: 00:03:53.10 00:03:57.09  
      because until now,
      the show has been watched and enjoyed

  60: 00:03:57.13 00:03:59.03  
      by a certain group of people.

  61: 00:03:59.07 00:04:03.14  
      They say it's high-quality, refined,
      smart and sophisticated...

  62: 00:04:03.18 00:04:04.20  
      Whatever.

  63: 00:04:04.24 00:04:08.15  
      They take their hat off to the show.

  64: 00:04:08.19 00:04:10.21  
      I have yet another goal.

  65: 00:04:11.00 00:04:14.13  
      I want as many women as possible
      to watch it.

  66: 00:04:14.21 00:04:18.01  
      How can you get them to?

  67: 00:04:18.05 00:04:20.17  
      Let them turn their TV to it just once,

  68: 00:04:20.21 00:04:24.20  
      on a day they know
      we're showing something about fashion.

  69: 00:04:24.24 00:04:27.11  
      They should watch it for 10-15 minutes.

  70: 00:04:27.22 00:04:30.03  
      If they don't like it, so be it.

  71: 00:04:30.07 00:04:32.18  
      But they should at least try it.

  72: 00:04:33.04 00:04:38.19  
      I have a dream that a majority
      of viewers, men and women,

  73: 00:04:39.04 00:04:42.23  
      will discover,
      thanks to #Dim Dam Dom,#

  74: 00:04:43.03 00:04:46.23  
      new means of expression
      and TV production.

  75: 00:04:47.03 00:04:50.10  
      Subtitles by C. Bourgogne,
      L. Serris, T. Close-Koenig & E. Fuchs.