Sunday, November 16, 2014

Reda Kateb: “I do this work to discover worlds” – Télé

It fills the screen con, doctor or rapper. In “Bright Who” Marianne Tardieu, he plays a security guard, alongside Adele Exarchopoulos. Interview with Reda Kateb.

This is definitely “his” moment: we discovered this week vigil dreaming of escape to the suburbs in Who goes , of Marianne Tardieu. You can still see the Algerian doctor, easy scapegoat for the French health system, in Hippocrates, Lilti Thomas, one of the successes of the season. In 2015, he will star in five films, including Away Men , according to Albert Camus, and – no less – in Lost River , produced by his “friend” Ryan Gosling.

It all went very quickly for Reda Kateb, 37, discovered five years ago, the convict from other convicts in A Prophet by Jacques Audiard. Since then, it has declined a lot of roles dealer or bor archi violent guy, he chained especially movies and chased shots revealing an unexpected sweetness (in Coming Home , for example ). To Hollywood.

It gleans a time in a busy schedule, he hand turn on the Coast Stop me there , a film of “error judicial “Gilles Banners, the first to be filmed in the series Gears (season 2) in 2008. Voice asked, sharp thinking, he takes the time to tell the story of a actor who has learned the love of the game with his father, actor theater Malek Kateb. The words he found in the texts of its parent, Kateb Yacine (1929-1989), great writer, rebel poet, founder of the modern Algerian literature with Nedjma in 1956.

Your presence on the screen, it’s revenge?

 Coincidence rather. Quite old projects have materialized because funding finally arrived. Other proposals have emerged, I could not decently refuse. I do not seek to occupy the land, I see the way people look at me changed without understanding why. The irony protected me when I was told I had a weird head. It still protects me when I read an article title as “Ryan Gosling and Reda Kateb, the two hunks of the Cannes Film Festival.” Something is open, but I’m not a disfigured face, or the new darling of Cannes.

“I have a face on which to put stories. “

Let’s talk about your mouth. Honestly, it’s pretty good …

 I do not have much to say. I do not play to be good or to be bad. My face is a vehicle service characters. It happens that I have a mouth on that today we can put stories. Codes of cinema have changed. Arrived actors like Gregory Gadebois or Adèle Haenel, who brought oxygen. I take this opportunity and I am delighted. This was not the case a few years ago, when I spent castings. It was looking smoother people. In the United States, we do not ask Harvey Keitel, one of my models, or Philip Seymour Hoffman what they thought of their face …

What you like with Harvey Keitel?

 An actor like him inspires me. I discovered as a teenager, in Reservoir Dogs Quentin Tarantino. I already was studying theater and passionnais me for the Actors Studio, the psychological character of the ultra thorough research. Beyond their roles, Harvey Keitel trimbale own universe, where we can enjoy a form of poetry. I saw then in Scorsese or Ulysses’ Gaze, Theo Angelopoulos. This contemplative film becomes very intense with him, even in the empty moments.

You are yourself Actors Studio?

 I did not Conservatory or a school like this one. It is with my father that took place early discussions. I was still in high school, really gung. Rather play according to the precepts of Brecht, which advocates distancing the actor with his character? Or those of Stanislavski, the actor who must appeal to his own emotions for a role? In fact, the two pin it very well.

Diderot summarizes it in his The paradox of the actor , putting the need to be codified in a very natural universe, the ” lie true. ” Some players need a fixed method, I do not. I turn around roles, I document, I am working language, if there is a specific language. Or approach the character. Voluntarism but without conscience to do my homework. It is a gentle immersion.

Your father was your first teacher?

 As in the circus or in the traditional music of North Africa, it is transmitted from father to son that. I’m talking about North Africa because my father was an emigrant theater. He grew up during the war in Algeria before coming to France to be an actor. No worker at Renault. It was hard for an Algerian actor at the time. It has had its ups and downs, flourished during the great years of the subsidized theater in the early 80s He then wrote a small role in an adaptation of Moha le fou, Moha wise Tahar Ben Jelloun. I was 11 years old.

What has happened then?

 I had a theater box Ivry-sur-Seine, where we lived. Coming out of high school, I did odd jobs, some trainers. I was, for example, record the voice messages – mostly love – that people sent on pagers, before the widespread use of mobile phones. They trusted me with their lives. Meanwhile, I was in the concrete daily acrobat doing street theater, especially in Aurillac festival. There was something sixty-eighter in this process. I had trouble paying my bills, but I held until the bailiffs come to me in the early 2000s.

How did you rebound?

 Just before his death, my father spoke of his desire to put me in a montage scene texts Kateb Yacine. They both shared the same disappointment at what had become of the Algerian revolution. It was essential to the crack house. My father was involved in the creation of the Algerian National Theatre and momentum was sorely disappointed. In the 90s, he saw happen in France of former colleagues who were filled their pockets and gave tunes now threatened by fundamentalism artists: it infuriated him …

In short, less like a work of mourning as a survival strategy, I set myself this show. I adapted texts, found a Gnawa musician, an opera singer, and started playing this little form, first in the MJC and in theaters. Then I’ve found an agent and began to live my art making a lot of street theater, in factories or in prisons.

“The writing Kateb Yacine was founder. “

Your Algerian roots are important to you?

 My identity was a bit blurred. In France, I was the child of an immigrant. In Algeria, the French. My father told me: “And thou shalt go further than me because you’re born in France, it’s your country. “ He chose to speak to me only in French, I still do not speak Arabic fluently. In adolescence, there has been heavy times: I remember a drama teacher in high school. “You are the great-nephew of Kateb Yacine and you do not know his work? “ Next week, I worked the monologue of Dead surrounded : ” Here is the street Vandals … “ A wonderful text that I poorly said. The teacher gave me in my place.

But writing Kateb Yacine was a founder. I started with a book of interviews, The Poet as a boxer, where his vision of the role of the artist impressed me. I often played with his son, Amazigh Kateb, the Gnawa Diffusion, a performance of poetry and music, with texts by his father. I’d like to take, and why not in Algeria. Y back through work, it would be nice.

Have you suffered from racism?

 During adolescence, not really. I lived in a fairly quiet city, Ivry, not far from the device. From time to time, small checks “facies.” It all depended on how I dress. If I was walking jogging, a little “hip-hop” was more common. Later, when I spent castings, as soon as I crossed the stage, made me come back to tell me that finally no, I typed too much or not enough, which annoyed me. One would notice it right away, right?

Part of the press wanted to see me in the standard-bearer of Arab actors, but I have no sense of community. I have the impression of being made of a mosaic of identities. My first three-screen roles have finally settled this question: Gear I was an Arab rapper, A Prophet , a Gypsy, Qu a single take and others will My character is called Stéphane …

However, tolerance does not quite seem to advance in society French …

 Whenever there was a regressive dynamics in society, against-dynamic are created. My path is the proof. This is also why it was important to turn in Far men, David Oelhoffen, according to a new Albert Camus. The story of an unlikely friendship between an Algerian farmer accused of murder, and the teacher who must deliver it to the police. The film shows how men can meet, beyond the communities beyond religions, and anything that can obstruct human relations. It’s almost subversive today such a belief.

“I fill my need for spirituality through my passion for Gnawa music.”

You yourself, are you a believer?

 I’m not religious, but I am not an atheist. It’s like Brecht or Stanislavski, I did not choose! To clarify a bit, I will not say that life is reduced to a mathematical formula; but I will not either fill my need to be reassured by the religion. I love that it can raise men, I hate that she put on her knees, or pushing for war. I have a musician friend that I like the speech: “My God, look at me, I look at my God. “

The need for spirituality, I feel. I also packed through my passion for music gnaouas these trance music coming from African slaves. I recently recorded with a friend of Radio France. It was just before Ramadan, a special month where one organizes lila, evenings rites of possession. This type of mystical journey interested. Thanks to my intermittent status, I even left an internship percussion in Rajasthan!

The intermittent fighting, you are secured?

 Obviously. This is a very dangerous society where everything – to art and health – not only obeys the laws of the market. I’m talking about health because my mother was a nurse. She lived the transformation of public hospitals evoked Hippocrates . It was all demonstrations. His father had been a worker in Czechoslovakia and she had maintained a tempestuous relationship with the Communist Party, making her card and then taking … I’ve been thinking about doing it in the film.

As for culture I see that there are perverse in the system intermittently. The obsession to make his hours sometimes takes precedence over the true desire to create. There may be other systems to be invented. In Belgium, the actors who have worked a number of years an artist’s lifetime status with a small guaranteed income …

“Turn with Jacques Audiard was a cap. “

You have made your first short film. What filmmaker you learned the lessons?

 I tried to reproduce for others that I myself loved the shootings: feel free and guided both. So obviously I’m going to quote Jacques Audiard. During the filming of A Prophet many team members felt ownership of the film, and yet it was he who led things. Technicians came to see him to ask him to resolve a particular practical question. He answered them: “You know that … Pick. “ So, people gave the best of themselves

Turn with Jacques Audiard was a cap. There was on set this imbalance, vertigo, this club ongoing issue that are the hallmarks of the game. Audiard changed the text constantly, sometimes to return to the original scenario, but it should never settle for canning scenes already written. And he did not behave in sorcerer’s apprentice. It is easy to see if a filmmaker makes this research with you or he just rented a car and does not care whether it will use the tires …

In American films you turned, there was the same research, the same accountability?

 I have not shot in the studios in Hollywood. Zero Dark Thirty, it was Jordan, in a prison. The morning started with us our laptops, it was to be as unobtrusive as possible. I saw the prisoners go dressed like me. This stuff is printed before playing. The relationship with filmmaker Kathryn Bigelow was simple craft. On the set, we wondered how to approach the stage, we were discussing. It is once the decisions that landed machinery: three cameras simultaneously for some sequences

For the Ryan Gosling film, I spent a month in Detroit.. It is said that actor is a job that cutting reality. Instead, it builds bridges to plenty of great realities. I do this work to discover worlds. And I travel as much when I moved to North Station film Claire Simon.

Play Is there a commitment to accurately represent the world?

 I wanted to turn in Qui vive, Marianne Tardieu, because she spoke suburban avoiding clichés, showing normal people trying to live normally. I also work with Hame and Ekoué, the two founders of the rap group The Rumor. We shot a short film, a fiction for Canal +, and a film was prepared for the cinema. This is a story of friendship that binds me to them, but I admire their integrity. Their commitment has remained exemplary while many in the French rap, they just wanted to get rich. They have a different way of filming the cities, the Parisian night.

After that, I do not tell me not committed artist, because too often it is a pose. The commitment is sometimes used as an excuse for poor work. I just need to be consistent with the films in which I play. Being closer to the human, it is the most beautiful engagement.

Reda Kateb few dates

1977 Birth in Ivry-sur-Seine.
2002 Create Poet surrounded , editing texts Kateb Yacine.
2009 A Prophet , Jacques Audiard.
2012 Zero Dark Thirty , Kathryn Bigelow.
2015 Several films out, including Away Men , David Oelhoffen, Lost River Ryan Gosling Astragalus , Brigitte Sy, The White Knights , Joachim Lafosse.


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