- How did you discover the novel by Marie-Sabine Roger and why she wanted to adapt it to the big screen?
- Someone in my confidence is devoted to research topics and made me discover the novel Afternoons with Marguerite, Marie-Sabine Roger. Nothing more to read, I was captivated. Then I drew the character of this good man unpolished, suffering with a lack of culture and could be dismissed as a simpleton, but not be for nothing. Thanks to a fortuitous meeting with an old lady scholar who will reveal the wealth of reading, evolves.
- Why nominated Jean-Loup Dabadie that adapt to you?
- long time we wanted to work together. I gave read Afternoons with Marguerite, he really liked. It was the perfect occasion.
- Do you like the writing process?
- For me, the highlights of the filmmaking process for writing and editing. The shooting is a distressing period because I have always the impression of being under the dash and I force myself to be as rigorous as possible so as not to get away from the written page.
- He has always been the same during the filming?
- It's nice to meet every day for six weeks in a row with gang members. But I'll be honest, it can be very boring always having to answer the same question: "What do we do?" I recognize that I am a hard man during filming. Cry a lot, but I know that every mistake me away from the goal: to be faithful to what is written. For me, every detail is essential. Just a little mistake to jeopardize a film. So prepare each scene in advance and avoid the failures. "
- When thought of Gérard Depardieu, with whom he had worked in Elisa, for the role of Chazes Germain?
- Next. Even before you start writing the script. Di's novel Marie-Sabine Roger Bertrand de Labbey, my friend and my agent. He suggested Depardieu's name and asked if I could give her the book. Gerard called me after three days and told me about the story and character for over an hour, much deeper. I think you know the book as well or even better than I, that explains the fluidity of interpretation. The deep love she felt for the story was to increase my desire to make the film. And then there's the joy that went into collecting with that old woman, a 95-year extraordinary actress, Gisèle Casadesus. After a screening, someone told me: "Those two were meant to be."
- I had directed in The fortune of living. Why proposed this new role?
- Despite a fragile appearance, Gisèle has lots of character, something that fit perfectly with the character. Do not think it necessary to speak of his talent.
- Let's talk about roles. Can you explain briefly what prompted him to choose the actors, beginning with Claire Maurier in the role of mother Chazes Germain?
- I saw on TV in an air is extinguished by Cédric Klapisch, and I immediately knew that Claire was able to play the role of the mother violent and peculiar.
- Maurane?
- Then took the role because I wanted to do, but was also afraid of not living up to. But he got into character quite naturally. Humanly, it is someone very special.
- Sophie Guillemin in the role of girlfriend Germain?
- It's a very natural performer. The couple formed with Germain is perfectly credible. It is true that the age difference between the two is great, but after all, she is the one who pampers. I have the impression that work well together on screen.
- Is it easy to find actors that correspond to their idea of \u200b\u200bthe characters?
- I rely heavily on selection of the casting director.
- How directs actors on the set?
- not directed at an actor. I hate that expression. I give them free rein. Occasionally we talk about a small misunderstanding.
- Tell me about the staging.
- I like to make a simple movie. My father would often say that a good staging is the staging that is not noticed. If you excel, to the detriment of the story because the viewer is set to something that is not essential. For me, the staging is to accompany the evolution of the characters during the course of the plot.
- All movies have one thing in common: they are nostalgic not regret the past. How get a result so sensitive?
- do not know. The subjects move me. Most come from novels. Others use the building for storytelling.
- It comes to see EVENING WITH MARGUERITTE completely moved, without the feeling of having given in to blackmail tear. What method used to achieve this result?
- No tears start looking for the public, though some claim otherwise, nor do I have pulled the strings of sentimentality. Just try to tell best what moves me and bring this emotion to the screen.
- Do you think that with every movie he learns to tell stories better that move him?
- course improved. No, just kidding. But it's true you learn something with every movie and I always try not to repeat my mistakes. Sometimes, experience is helpful ...
- Have you changed much in the editing room?
- I tried deleting the moments in which the viewer could anticipate the next scene. Never doubt the time to cut. It is more difficult in the early films that you do because you want to images. But a director should not fall in love with your images. I learned not to do and concentrate on rhythm.
- Why Laurent Voulzy asked to compose the music for the film?
- Very simple, and the answer is not original. I like his songs and melodies. At first I accepted because I thought that would not have time. But when I showed him the film, said yes. Then, everything went very quickly. After a month he sent a theme that we liked.
- Do you panic the premiere of his movie?
- It is said that once finished the assembly, the film does not belong to the principal. As far as I'm concerned, it is not true. I get involved all the way to the premiere. If it takes three years to make a film, a detail I do not want anything to ruin all our efforts on the home stretch, for the promotion of film. Then when the movie comes to the public, can work well, moderately or poorly.
- Someone in my confidence is devoted to research topics and made me discover the novel Afternoons with Marguerite, Marie-Sabine Roger. Nothing more to read, I was captivated. Then I drew the character of this good man unpolished, suffering with a lack of culture and could be dismissed as a simpleton, but not be for nothing. Thanks to a fortuitous meeting with an old lady scholar who will reveal the wealth of reading, evolves.
- Why nominated Jean-Loup Dabadie that adapt to you? - long time we wanted to work together. I gave read Afternoons with Marguerite, he really liked. It was the perfect occasion.
- Do you like the writing process?
- For me, the highlights of the filmmaking process for writing and editing. The shooting is a distressing period because I have always the impression of being under the dash and I force myself to be as rigorous as possible so as not to get away from the written page.
- He has always been the same during the filming?
- It's nice to meet every day for six weeks in a row with gang members. But I'll be honest, it can be very boring always having to answer the same question: "What do we do?" I recognize that I am a hard man during filming. Cry a lot, but I know that every mistake me away from the goal: to be faithful to what is written. For me, every detail is essential. Just a little mistake to jeopardize a film. So prepare each scene in advance and avoid the failures. "
- When thought of Gérard Depardieu, with whom he had worked in Elisa, for the role of Chazes Germain?
- Next. Even before you start writing the script. Di's novel Marie-Sabine Roger Bertrand de Labbey, my friend and my agent. He suggested Depardieu's name and asked if I could give her the book. Gerard called me after three days and told me about the story and character for over an hour, much deeper. I think you know the book as well or even better than I, that explains the fluidity of interpretation. The deep love she felt for the story was to increase my desire to make the film. And then there's the joy that went into collecting with that old woman, a 95-year extraordinary actress, Gisèle Casadesus. After a screening, someone told me: "Those two were meant to be."
- I had directed in The fortune of living. Why proposed this new role?
- Despite a fragile appearance, Gisèle has lots of character, something that fit perfectly with the character. Do not think it necessary to speak of his talent.
- Let's talk about roles. Can you explain briefly what prompted him to choose the actors, beginning with Claire Maurier in the role of mother Chazes Germain?
- I saw on TV in an air is extinguished by Cédric Klapisch, and I immediately knew that Claire was able to play the role of the mother violent and peculiar.
- Maurane?
- Then took the role because I wanted to do, but was also afraid of not living up to. But he got into character quite naturally. Humanly, it is someone very special.
- Sophie Guillemin in the role of girlfriend Germain?
- It's a very natural performer. The couple formed with Germain is perfectly credible. It is true that the age difference between the two is great, but after all, she is the one who pampers. I have the impression that work well together on screen.
- Is it easy to find actors that correspond to their idea of \u200b\u200bthe characters?
- I rely heavily on selection of the casting director.
- How directs actors on the set?
- not directed at an actor. I hate that expression. I give them free rein. Occasionally we talk about a small misunderstanding.
- Tell me about the staging.
- I like to make a simple movie. My father would often say that a good staging is the staging that is not noticed. If you excel, to the detriment of the story because the viewer is set to something that is not essential. For me, the staging is to accompany the evolution of the characters during the course of the plot.
- All movies have one thing in common: they are nostalgic not regret the past. How get a result so sensitive?
- do not know. The subjects move me. Most come from novels. Others use the building for storytelling.
- It comes to see EVENING WITH MARGUERITTE completely moved, without the feeling of having given in to blackmail tear. What method used to achieve this result?
- No tears start looking for the public, though some claim otherwise, nor do I have pulled the strings of sentimentality. Just try to tell best what moves me and bring this emotion to the screen.
- Do you think that with every movie he learns to tell stories better that move him?
- course improved. No, just kidding. But it's true you learn something with every movie and I always try not to repeat my mistakes. Sometimes, experience is helpful ...
- Have you changed much in the editing room?
- I tried deleting the moments in which the viewer could anticipate the next scene. Never doubt the time to cut. It is more difficult in the early films that you do because you want to images. But a director should not fall in love with your images. I learned not to do and concentrate on rhythm.
- Why Laurent Voulzy asked to compose the music for the film?
- Very simple, and the answer is not original. I like his songs and melodies. At first I accepted because I thought that would not have time. But when I showed him the film, said yes. Then, everything went very quickly. After a month he sent a theme that we liked.
- Do you panic the premiere of his movie?
- It is said that once finished the assembly, the film does not belong to the principal. As far as I'm concerned, it is not true. I get involved all the way to the premiere. If it takes three years to make a film, a detail I do not want anything to ruin all our efforts on the home stretch, for the promotion of film. Then when the movie comes to the public, can work well, moderately or poorly.
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