Friday, April 8, 2016

“The End”: Gérard Depardieu in the dream of William Nicloux – Screenrush

This Friday, William Nicloux unveils its new feature film “The End” in e-cinema. Born of a dream of the director, the film Gérard Depardieu in the foreground, lost in the forest. Meet the director Guillaume Nicloux.

Screenrush: How to position yourself The End over Valley of Love, your film Previous

Guillaume Nicloux, director: We longed to return together with Gérard (Depardieu). It was really clear to progressively shooting ( Valley of Love, the previous feature Nicloux Guillaume, Editor’s note. ). Very quickly, I thought ia another project. There are two other projects that have been devised but not rivaled what had happened between us on the film. Something was missing that could compare to the emotion, intensity that had been working together. So I abandoned these projects, and then one morning I woke up and I did The End in a dream.

One morning I woke up, and I made The End dream

something occurred to me fairly obvious; was to enjoy all these afterimages into a movie and Gerard propose to interpret my role in my own dream. All that was decided very quickly, because, as and months, I had not found the subject for which I was certain that there was something vital to us and may allow us to find us on a map also privacy. What had been the case on Valley of love.

But then reduce it even more, a kind of connection between porosity and my mental condition, and the existence of Gerard. To find matches that would one go to Gerard endorse my character, who was a character that comes purely from the unconscious. And suddenly give it flesh and introduce a highly fantasized also share in this. Would not that only through dialogues. And how Gérard monopolizes the character.

It is often governed by the will, that is what is the main enemy of desire

These are just that characters who don costumes, because mine at the end of my dream is finally the hidden part of what happens beyond this censor bars that often prevents us from seeing what is the object of our desires. It is often governed by the will, that is what is the main enemy of desire. I’m not saying that I did it, but when you try to dig in this direction, we find quite fascinating things.

This will was there ever a the past to have a dream that inspires you a movie? And just having this reflex noter.Souvent dreams are forgotten.

No doubt that certain images have enjoyed a dream afterglow, but not to the point of being a total history, becoming a film subject, and especially you can achieve it, because it was something very singular.

I consider myself very lucky. Waking up in the morning and call your producer saying, “Here, I want us to do this film with Gerard, we turn the dream I just did that night … This must be done in two months ” . It is not a foregone conclusion! So we must find the tools in this project taking shape


the solution, then, was to try to enjoy the same financial package for the Kidnapping of Michel Houellebecq. Ie to propose a broadcast exclusive to Arte and the film remains a movie in the world. Except that the problem is that we did not have time. It would not fit in a feasibility schedule because we had to wait until September and I had to turn at the end of July.

And there was this idea of ​​e platform TF1 premium -Cinema. They were quite excited, they followed us with really a lot of excitement. With both total freedom and guidance. So the film has this broadcast exclusively in France, which is the e-cinema, but it’s a movie in the world.

The e-cinema was ideal for to make this film

There is no frustration … I heard this. I said no to them because whatever happens, it was the second life of the films, to be seen on screens that were not those of the cinema. People then discover movies through DVD or TV broadcast or the VOD. And that’s an opportunity offered to the film, to have several lives actually.

and it does not prevent, for example, have been selected in Berlin in the world …

of course, it has its dissemination framework. Previews are at the Cinematheque in Paris and Lyon. There are special screenings in France. But it is true that the mass distribution, it will be in e-cinema

the release date of this film is interesting because there is a debate currently animating the profession on the exposure of art films, we oppose the “big machines” … Here it may be a way to ensure greater exposure to smaller films. Do you have a very strong views on this?

Yes, of course, but there are several questions in your question. We finally obeyed to another form of production to the extent that e-cinema is the perfect tool to be able to make this film. That is, we are not in the same situation as Made in France for example, that he finally could not hit theaters and just take another route to finally find its dissemination, and bringing him luck. This is another approach.

It should not grow too backward-looking or nostalgic vision of how cinema has existed

We knew from the start that this film this was going to broadcast exclusively through VOD in France and her life abroad as a “traditional” movie film. Now, competition in France, it is terrible to the extent that 20 films a week, too, is well known, and broadcast spaces are extremely limited. And punishment Monday morning for programmers is something terrible for filmmakers. The future of the film is played in effect until Sunday evening.

It’s very complicated, and at the same time, I believe that we must not grow too homesick nostalgic vision or the way cinema has existed. We are no longer in the era of the cinema. It happened in the era of digitographe for several years. Films are screened in DCP. We must accept both the democratization of digitographe, and at the same time, the new form of broadcasting that requires new media.

I think we can keep a kind of cinematic freedom, despite the Support

it does not mean to think films such media there, even if some directors do, that is, knowing that spectators will watch movies on screens smaller and smaller, they adjust their staging in a systematic tighter frameworks to allow the viewer not to be lost, or too far away from the subject. But I think that’s wrong. I think we can keep a kind of cinematic freedom, despite the support. It happened to me very often to discover films on DVD and experience a lot of emotion and pleasure.

Just be aware that they are different than the pleasures of the projection room. I do not think they oppose. One can experience the fun to swim in the sea and then pool ( smile ).

Gerard Depardieu and Guillaume Nicloux on the steps of Cannes, with Pierre Lescure, for the presentation of Valley of Love in 2015.

review the media chronology you seem necessary?

What seems illusory, is to think that things can remain immutable and immobile. As I said, the cinema became digitographe, so its distribution also moves. It is in paperless, it is not visible in the memory. It is not in the film, it is no longer in the physical. Before, you could open a camera housing, see the film shoot, that she was impressed. The chemistry was visible. Now we are in the era of magic, invisible magic. So that’s another thing.

I am not at all in a sort of backward-looking culture, which should be left intact all that. No, I think it’s very exciting even to evolve and that this is an open door to another distribution, can be another technology. We must accept that evolution. I do not know where it leads, I do not know if it is fair or unfair. It will inevitably lead to a kind of equilibrium. I am rather quite excited by what’s going on.

Have you had a chance to talk with fellow filmmakers who would be intrigued by the fact that you are the first french film to experiment with e-cinema?

I have not spoken with other colleagues, but I know how the film been a lot of interest and that TF1 now has a lot of proposals. Not only TF1 elsewhere. Because it is another way of looking at film production.

Finally, curiously, one might wonder why this area of ​​freedom suddenly appears a blatant manner even though one might say that we did not necessarily the same (freedom) in a traditional production method. It’s just an observation, I do not draw any lesson from all this for now.

We explore territories that previously were virgins. It is natural that there is a debate, opposition, everyone defends opinions. I will say it is too early to have a still. This is something that is in turmoil, so we must wait until the dust settles

Can you tell us about this strange link seems to unite with Gerard Depardieu movies in movies?

Gerard is part of my life since the age of 10 years. I discovered his films in cinema first. I remember being a spectator of The Inspector Burr. I then branched into more adult things, like Sept morts sur ordonnance (of Jacques Rouffio, 1975) Stavisky (Alain Resnais, 1974 Editor’s note.) Films Ferreri … he always had a foot in the cinema, we will say, copyright, sometimes radical, as Marguerite Duras, and then in both the very mainstream films.

Gérard Depardieu is part of my life for a long time

It is part of my life for a long time, and a more physical, mental and visible way for some time finally for two years. There is a kind of materialization and extremely realistic foray into something that was fantasized out. I had it on the big screen, and the dream has turned into reality, to transform back into cinema. It’s all very moving. And finally, this is not an actor of history and director. It is rather something that evolves in human tissue.

When we talk together, cinema is rarely addressed eventually. They talk about us, the things in life that move us or not. But because we’re good together. It is finally rarely well with someone. Especially we can be good together without necessarily talking. It is the rarest. We always feel that we must fill the void, but it is often the reverse, when we understand that it is the emptiness that fills us, it is much more comfortable.

A word about your projects. It was about a movie called The Confines of the world with Gérard Depardieu. Is it still valid?

Yes, for the beginning of next year. Gérard Depardieu has a role and whose main character should be played by Gaspard Ulliel.

It was made of large trails for two years in a country (Cambodia) and it happens that changes his country . finally we will turn to Vietnam, which is somehow quite logically since the film is supposed to be happening 50 years ago. We finally found what we had wanted to avoid, thinking it would be more complicated. In fact, it is that it will be much simpler, with all points of view.

I also read that you had a series of project.

I’m developing my own series for Arte. Bruno Nahon product

The trailer of The End, available exclusively in France in e-cinema today.

the End trailer

Interview Thursday, March 31, 2016 in Paris


No comments:

Post a Comment