- I had worked with Jean Becker's Elisa, the mid-90's, but how long have you known?
- I have a feeling that since forever. Jean belongs to a cinematic tradition whose members have been, in a way, my parents. I mean actors like Jean Gabin, Bertrand Blier, Paul Meurisse, Pierre Brasseur, Michel Simon, authors such as Michel Audiard and his unique sense of replication, dialogue, language. All that is lost. It is no coincidence that Jean is one of the few filmmakers, Claude Chabrol, who conserve and make live the spirit belonging to a kind of popular cinema that is disappearing. Just look at his films, is interested in the details.
- Has it changed much since he shot Jean Becker Elisa?
- No, only more demanding. He does not trust himself. Jean is a pathological hiperemotivo. He wants the truth is evident in his films, not that film. Part of the filmmakers who do not always manage to make what they want to achieve. But they are artists, because art is not moved by words. It is similar to that found in wine or sculpture, you have to be a magician to get it. Can not be explained. Knew by heart the manual for perfect staging does not mean being a great filmmaker.
- How did working in EVENING WITH MARGUERITTE?
- Labbey Bertrand sent me the novel by Marie-Sabine Roger. As I read, I called to tell her that Jean had a knack for choosing great books. At the end of the day, to make movies, do not you just a wonderful story like this? I do not like the effects. And in the movies more and more effects. Jean is on the opposite side. Decided to adapt the novel that is simply moving in the noblest sense of the word. And just let go to play Chazes Germain.
- Speaking of Chazes Germain, how is the character?
- is not evil. Is complex, but not angry about anything. It is extremely positive, but that's not a simpleton. Germain I could have been in real life. It's like when I was 13 and decided to leave. I also watched it all, I noticed everything. I know, I know how much humor and love leads inside. There is more to see the relationship with her mother. Although she has not shown love, not condemnation. He loves a girl played by Sophie Guillemin. When together, the age difference disappears because it is a pure. Contrary to what many may believe, Germain is a character who fits perfectly in modern times. In my opinion, represents what is left to live if you flee from society that we offer. Germain, still believes in certain values \u200b\u200bin life, despite having been hit by everything.
- Since we know the path to Chazes Germain, was easy to interpret?
- Yes, as I've said before, enough to get carried away by situations and by text. When I act, I always try to be as close to what the viewer can watch and see. Do not know what else can bring to a situation described as a text. You should not compose, invent, if you do not want to fall into the format of both fled.
- Has been a pleasure working with Gisèle Casadesus?
- A tremendous pleasure because I became a spectator. It's amazing to see a woman her age to memorize a text and focus as she does, shows that is very valuable. But I was seduced by its incredible femininity, her coquetry, which I think the fruit of a beautiful life and love, hope or belief. Gisèle believe in birds, the beauty, sorrow and sadness in a world where many people lack the courage to face the storm of grief. When I work with her, I see everything, I feel its tremors. Ahead of her, I feel free. Freedom means not being afraid of anything, have the force of life itself. In As you begin to feel fear, it's over. I am not afraid of anything, let alone the existence, unlike many people who, as it ages, is surrounded by railings.
- Gisèle Casadesus is compared to a hurricane when it appears on the set before shooting a scene. Do you agree with that description?
- Yes, it's my nature. But just hearing the word "motor", I'm in the paper. Also, I can fall asleep in a chair rather than move, and work the same way. The scene is all that counts, no matter whichever is earlier.
- Still feeling the same pleasure as always when it comes to acting?
- Yes, of course. Especially since I do many things when they ring and a shoot is like a break. Although the film has changed, equipment, people remain the same. I know the U.S. filming with his huge amount of media and a host of assistants. But I grow heavy. There is no room for spontaneity. Actually, I'm like the character of late with MARGUERITTE: alive today. Last comes quickly, you do not get it. I eat constantly present, all that eludes us and we lived when we sleep, when we love, when we look ... Everything leaves traces in memory, pain, feelings, sounds, colors, smells, ... And the pain, these feelings, sounds, colors, I smell fuel. That explains why, before a shoot, I never think the character that the director interpret them except when I talk about it. And in this case, was to prepare the paper Chazes Germain, a man watching people and listening.
- I have a feeling that since forever. Jean belongs to a cinematic tradition whose members have been, in a way, my parents. I mean actors like Jean Gabin, Bertrand Blier, Paul Meurisse, Pierre Brasseur, Michel Simon, authors such as Michel Audiard and his unique sense of replication, dialogue, language. All that is lost. It is no coincidence that Jean is one of the few filmmakers, Claude Chabrol, who conserve and make live the spirit belonging to a kind of popular cinema that is disappearing. Just look at his films, is interested in the details.
- Has it changed much since he shot Jean Becker Elisa? - No, only more demanding. He does not trust himself. Jean is a pathological hiperemotivo. He wants the truth is evident in his films, not that film. Part of the filmmakers who do not always manage to make what they want to achieve. But they are artists, because art is not moved by words. It is similar to that found in wine or sculpture, you have to be a magician to get it. Can not be explained. Knew by heart the manual for perfect staging does not mean being a great filmmaker.
- How did working in EVENING WITH MARGUERITTE?
- Labbey Bertrand sent me the novel by Marie-Sabine Roger. As I read, I called to tell her that Jean had a knack for choosing great books. At the end of the day, to make movies, do not you just a wonderful story like this? I do not like the effects. And in the movies more and more effects. Jean is on the opposite side. Decided to adapt the novel that is simply moving in the noblest sense of the word. And just let go to play Chazes Germain.
- Speaking of Chazes Germain, how is the character?
- is not evil. Is complex, but not angry about anything. It is extremely positive, but that's not a simpleton. Germain I could have been in real life. It's like when I was 13 and decided to leave. I also watched it all, I noticed everything. I know, I know how much humor and love leads inside. There is more to see the relationship with her mother. Although she has not shown love, not condemnation. He loves a girl played by Sophie Guillemin. When together, the age difference disappears because it is a pure. Contrary to what many may believe, Germain is a character who fits perfectly in modern times. In my opinion, represents what is left to live if you flee from society that we offer. Germain, still believes in certain values \u200b\u200bin life, despite having been hit by everything.
- Since we know the path to Chazes Germain, was easy to interpret?
- Yes, as I've said before, enough to get carried away by situations and by text. When I act, I always try to be as close to what the viewer can watch and see. Do not know what else can bring to a situation described as a text. You should not compose, invent, if you do not want to fall into the format of both fled.
- Has been a pleasure working with Gisèle Casadesus?
- A tremendous pleasure because I became a spectator. It's amazing to see a woman her age to memorize a text and focus as she does, shows that is very valuable. But I was seduced by its incredible femininity, her coquetry, which I think the fruit of a beautiful life and love, hope or belief. Gisèle believe in birds, the beauty, sorrow and sadness in a world where many people lack the courage to face the storm of grief. When I work with her, I see everything, I feel its tremors. Ahead of her, I feel free. Freedom means not being afraid of anything, have the force of life itself. In As you begin to feel fear, it's over. I am not afraid of anything, let alone the existence, unlike many people who, as it ages, is surrounded by railings.
- Gisèle Casadesus is compared to a hurricane when it appears on the set before shooting a scene. Do you agree with that description?
- Yes, it's my nature. But just hearing the word "motor", I'm in the paper. Also, I can fall asleep in a chair rather than move, and work the same way. The scene is all that counts, no matter whichever is earlier.
- Still feeling the same pleasure as always when it comes to acting?
- Yes, of course. Especially since I do many things when they ring and a shoot is like a break. Although the film has changed, equipment, people remain the same. I know the U.S. filming with his huge amount of media and a host of assistants. But I grow heavy. There is no room for spontaneity. Actually, I'm like the character of late with MARGUERITTE: alive today. Last comes quickly, you do not get it. I eat constantly present, all that eludes us and we lived when we sleep, when we love, when we look ... Everything leaves traces in memory, pain, feelings, sounds, colors, smells, ... And the pain, these feelings, sounds, colors, I smell fuel. That explains why, before a shoot, I never think the character that the director interpret them except when I talk about it. And in this case, was to prepare the paper Chazes Germain, a man watching people and listening.
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