When a director makes a film according to his life story, what memory does he intend to recall? Starting from a concern for a musical goof in the film Three Times, the article seeks to explore, by means of an approach based on the Derrida's ”archive fever”, the relationship between film and memory. According to Derrida, the memory that a film attempts to recall is definitely not ”real information”, but the invisible ”shadow archive” hidden behind the information. Finally, in terms of Derrida's discussion on the logic of dream, this article also points out that a film director cannot recall the memory he expects unless the film becomes his own dream.