“We always eventually get out”
About a priori less embodied the actors, the technique is no less central to the aesthetics of a film. The choice to use heavily enough to tricks and brand My loute more than any other film by Bruno Dumont, one would have thought, given the counting cinema, suspicious of this type of intervention. It is however not a Jansenist of cinematic realism: it is a baroque, mannerist, which transcends reality in favor of a parabolic worldview. An exterior shot period piece therefore makes it necessary to alter the natural setting, doing here away all the modern buildings visible in the bay. But the method is expensive, especially when the characters are in the field, and the quote borders on million.
In other words, a plan on the comet with respect to a film with a such budget. Muriel Merlin: “This is a period film. It is normally 8 million and a half, there has 6. All with a German co-producer is a can of worms of hell. Bruno will mourn certain things. “ So we reduce the tricks to a budget of EUR 400 000 and we will come out by mechanical and optical solutions, playing on the frame and the viewing angle, or using more traditional methods. Zen conclusion of director: “Early in my career, I was very distressed by technical constraints. Over time I learned to fuck me, you will eventually get out. “
The choice of the film image is the other large technical field which reveals its formal issues. Here, a constant dialogue meets the director and the cinematographer Guillaume Deffontaines, well before the actual shooting. First biology student and graduated in 1992 from Louis Lumière College Saint-Denis (Seine-Saint-Denis), he does not accommodate formatting, great lover of experimental cinema, he worked with Bruno Dumont from Camille Claudel 1915 . It is therefore, in terms of photographic technique, the man who, succeeding Belgian Yves Cape, accompanies the transfer of the filmmaker. Guillaume Deffontaines is eclectic. He works as much for the publicity for the film, both for art films and commercial. He calls in, holds that “everywhere learns” and knows Dumont “does not like working with people who are like him.”
“Our imagination is photographic”
the meeting with the author of L’Humanité is not less impressive – “This is a like with my teacher of practical work at Censier, I try to make the best possible copy. “ – even if it would open more dialogue than would be assumed that academic reference: ” This is someone who is not in a posture “ auteurist “. There is a notion of humility in everything he does. “ Thus, for example, selection of the camera. The issue of digital or 35 mm is first asked. The filmmaker, pictorially attached to the film, tested the video very late on “P’tit Quinquin” TV requires. Is he ready to convert it to a movie? The temptation of 35mm is always there, especially since it is a period film, but the format becomes coquetry increasingly luxurious. However, digital is less expensive but produces a modern image, too smooth, too flat. “The hyperrealism of the digital image problem wonder” says Bruno Dumont.
It is here, in this working pretty sharp looking, comes Guillaume Deffontaines . The two men first caress the idea of a black and white film and in scope, kind of cinema’s quintessential picture. Interested parallel to the sublime Autochrome Lumière brothers first industrial process for color photographs, marked by pointillism painting. finally pass three digital cameras testbed, the Epic Dragon in Red, Arri Alexa from home, the F65 from Sony. Optical on you can play, juggling laboratory treatments, kneaded the image to view. And it is seen: Alexa wins favor with Arri Master Anamorphic goals. It makes the image dreamed of the director, who firmly believes that “Our imagination is photographic” : stitched, contrasting with less definition but rendering, whiter whites than white, smoky black.
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