Salvador DALI announces that his new painting will bear the following name: "Metaphysical Hyperrealism" because, thanks to mathematics, he has just made a hole in the sky, so all his visions seen through the prism of this hole will be metaphysical. It presents a canvas leaving for New York: "The Chair", stereoscopic work and totally metaphysical. Thanks to the critical paranoid method, his visions are not ethereal but are so hyperrealistic that we could build with concrete buildings.
In Paris, Salvador Dalí began the illustration of a new edition of "Don Quixote". At the Moulin de la Galette, in front of a crowd of onlookers, he drew the main lines of the future masterpiece using his usual talismans: rinocéros horn and bread croutons, with a four-season car as an easel.
In his house in Port Llieucat, the painter Salvador DALI is working on a painting paying tribute to the apotheosis of the dollar, using the moiré technique. In the garden of his house, he lends himself to the game of posing for a photograph alongside his wife Gala and a young American model to play his role in the next film of Visconti.
Salvador Dalí, appearing upside down, compares his madness or "madness of precision" and "cryptic paranoid" with that of Don Quixote, the most anti lithographic character that exists, then he explains the reasons for his hatred for the soft process of lithography and its Quixoan gift projections.
Interview with Salvador DALI from his house in Portlligat near Cadaqués in the presence of his wife Gala about his lack of desire to commit suicide despite the excess of advertising and popularity as Brigitte Bardot, media, - television in particular-, are "means of debasement and cretinization of crowds, but I love to use them because at the practical level, the more people who run after Dali, the more the paintings sell more expensive...it would be silly not to take advantage of them". He then talks about his growing avarice, his taste for money for money.
Interviewed by Louis PAUWELS, Salvador DALI responds to the accusations of André Breton calling him a traitor to surrealism, loving money too much with an anagram "Avida dollars", "magic anagram" for Salvador DALI, who since a shower of dollars with a "delicious monotony". He loves silver and gold more than anything, after his wife Gala. He believes in crazy love but not crazy love like the surrealists. It shows how we live from the "charity of 1900", the year in which all the great advances of society and science were made with the thinkers Freud, Marx, or the invention of the metro.
On a trip to Perpignan, in the Pyrénées Orientales, Salvador DALI, alongside his wife Gala and accompanied by the crowd arrives in the park of Sant Vicens. Installed on a royal platform, Salvador DALI then delivers a metaphysical speech punctuated with onomatopoeia and neologisms in "ic" or "hique" under the cheers of the crowd. The festivities to welcome the painter end with a troupe dancing the Sardanne.
In a press conference on the occasion of the retrospective exhibition of his work at the Centre Beaubourg, Salvador DALI evokes the theme of his next painting that will amaze the world, always conceived with mathematics, in the manner of the painter Vermeer, but with the shadow of a polytope, he then virulently explains the reason for his white glove worn on the recommendations of the Duke of Windsor to touch his cane stained with the blood of several women killed in the stampede during the fire of the Bazar de la Charité.
On the occasion of the release of a book by his friend Robert DESCHARNES gathering photos of his works "Dali de Gala", Salvador DALI is questioned about his main source of inspiration his wife Gala or "The eternal feminine". "Women have no possibility of creating in the artistic fields but they have an almost divine gift of man’s cretinization. Gala has totally cretinized me in the sense of continually inspiring my life and my work."
At a press conference in Figueras, Salvador DALI would like to pay tribute to the Perpignan train station, which saved humanity from the drift of continents, by dedicating a painting to it.
Philippe SOUPAULT (surrealist writer), Robert DESCHARNES (photographer, archivist of DALI) and Doctor Pierre DOUMERGUE (psychiatrist of DALI) testify on the personality of the painter Salvador DALI: exhibitionist, cabotin, great painter or semi crazy?
Interviewed by Louis PAUWELS, the painter Salvadore DALI admits that he would have liked to live in the time of Raphael but that he also likes to live well today because he considers that his genius shines more today in this world of mediocrity. He sees in all media as well television as radio and press an instrument of cretinization. He then explains why he is so keen to draw attention to himself with his eccentricity, he has just discovered it thanks to his psychiatrist that "he embodies the dioscuric myth", that he tries to kill the image of his dead brother, -that his family loved to give him the same name. He lived all his childhood and adolescence with all the prerogatives and virtues of this dead brother and, to fight against him, he was in fact forced to show concentric eccentricity to assert his personality at the expense of his brother. If he had been someone else, he would have liked to be the Catalan philosopher and theologian Raymond Lulle.
After a montage of works by the surrealist painter Salvador DALI, the latter expresses himself in front of his most ambitious painting "Tuna fishing" and returns to his genesis, inspired by firefighter art through a painting admired in his father’s notary’s office and a commercial record.
Questioned in his house in Portlligat near Cadaqués, the Spanish painter Salvador DALI does not consider himself an impostor, but, much worse and better than that, as a traitor to his class, -the bourgeoisie- as a monastic and a provocateur, "a provocateur of everything".
In Port Lligat near Cadaquès, meeting between Salvador DALI with his glasses with antennae on the nose and the singer Antoine on the occasion of the shooting of a program of Jean Christophe AVERTY. DALI says a few words about Antoine that he likes even if he is himself metaphysically monarchist:" He is an anarchist in the metaphysical sense of the word", he also wears long hair like the archangels of the painter Raphael. For his part, Antoine respects this elder, "I think as much of myself, which is a lot".
Interview with Salvador DALI about Pablo PICASSO. "He is a great destructive anarchist genius ... " He lived all his life terrorized by the firefighters, the fireman painting "
Salvador DALI tells an anecdote from his meeting with LE CORBUSIER during which he considered that the architecture of the future should be "edible", like that of the "genius" Antonio GAUDI.
At the Paris Fair, Salvador DALI presided over the baking of the longest loaf of bread of the century,12 meters long before presenting it solemnly to the public during a procession. Commentary on factual images.
Questioned in his garden of Cadaquès in the company of his wife Gala, Salvador DALI claims that the Church itself admits that there is always eroticism upstream of the mystical scenes, and declares: "At the approach of God, always happens an ejaculation" [Comments]: The program from which the excerpt is taken, commissioned by the RTF in 1961, and which was supposed to be broadcast at a late hour, with the white square, and preceded by an announcement was finally deprogrammed for "immorality". Here are some excerpts from the announcement that was to be made before broadcasting: "We want to believe that at this late hour of the night the children have long been in bed. It would be very harmful indeed if they could see the images that will follow. We give at least 18 years the advice to turn off their receivers now, advice that will also be followed with profit by impressionable people..." (Télé Magazine from 1 to 7 October 1961) Nevertheless this "Close-up" was broadcast on Arte on 28/10/1993. This document is part of a set of documents listed in the inventory of 13/02/1974 as being in hell.
The INA Galaxy 
