Screenrush met with André Téchiné and Céline Sciamma (Tomboy, Gaza girls), who co-wrote the new film from filmmaker When you have 17 years (this Wednesday). Both trust on this collaboration, this “joyful alliance”.
From Cannes 2014, at which time we heard for the first time a collaborative project between André Téchiné and Céline Sciamma, we must admit that the idea of this association between two filmmakers, two generations, the obvious artistic affinities, around the same feature – When you have 17 years- tickled our curiosity. How did the idea of this collaboration? What was the fruit of this association?
AlloCiné, André Téchiné director and co-writer, and Céline Sciamma, co-writer of When one is 17, lent themselves to cross-maintenance, opportunity to discuss this alliance they describe as “joyful”. Meet necessarily happy too
Screenrush: What is the first artistic memory you have of each other
Céline Sciamma : It’s My favorite season, which is the first film of Andre that I saw in theaters. Then, very quickly, I saw everything possible to counter because there were no DVDs. I saw My Favorite Season, Wild Reeds, and I’m back in time. I stole Poster My favorite season was great in my room.
And you remember a snap after seeing this film …
Celine Sciamma: Yes, absolutely. This is one of the first copyright movies I went to see only the movies. This is the beginning of my self-cinephile approach, not cornaquée by family or school. This is the very beginning almost a ritual in my life, my daily around the cinema. This is very striking. We remember the first films where one includes the staging, we understand the vision, where it is a choice to go …
Celine Sciamma: This was Catherine Deneuve. I repeat all the time but I do not tire of repeating it because being enamored with Catherine Deneuve is potentially become cinephile: we discover Bunuel, Téchiné, Truffaut, Demy … The list goes on. It is a beautiful panorama of the authors that count. Follow Catherine Deneuve, is leaving for a trip to the cinema. It was my guide!
Follow Catherine Deneuve, is leaving for a trip to the cinema. It was my guide!And to you, Andrew, what is the first artistic memory you have of Céline Sciamma?
André Téchiné : To me it was time. I have not seen Lilies at its outlet in Paris, but in Turin, where the film was very well received. I think there was also in this film a rather prominent actress, right? ( he smiles )
Celine Sciamma: Yes (laughter )
André Téchiné: A prototype, which I really caught the eye. This is obviously … Adèle Haenel ( André Téchiné directed him in his previous film, The man who loved too, Editor’s note. )
Celine Sciamma: It’s not bad! ( laughs )
André Téchiné: After I saw Tomboy I found upsetting. In the eyes of Céline on adolescence, there was something that attracted me a lot. And even seduce, it’s a little low. It was a kind of delicacy and luminosity. Because most films about adolescence, when they are interesting nevertheless have a rather melancholic and sometimes suicidal slope. I think of great filmmakers such as Olivier Assayas or Gus Van Sant.
In Celine’s movies, there was an air of Appeal case and appeal to emancipation, something that was that we went out not sealed, that film kept his enchanted character. And that made me really want to know and try to build a relationship with her in the work.
In the films of Celine, there was an air of Appeal case and call to emancipation, something that was not sealed that one out, that film kept his enchanted character. And that made me really want to know and try to build a relationship with her in the work.
As I knew more it would be a kind of portrait of boys was although there is a mother in the center, which is played by Kiberlain. But already in the first stage of writing, for me, a woman was needed, and the woman who was needed by his talent, it was necessarily her. ( she smiles ) You know, I do not much have a choice ( laughs ). No, this is for fun
Celine Sciamma: This is my chance! It is the lack of choice that created my opportunities! ( laughs )
== & gt; Kiberlain: “I have great admiration for freedom in André Téchiné movie”
Sometimes, we feel that there are affinities between filmmakers, screenwriters, actors … But there may be a fear of saying “I want to work with you.” Do you, it happened naturally? Much like we would declare his love, dare you say that you wanted to work together? Do you remember your first meeting
Celine Sciamma: We met to work
<. strong> André Téchiné: We met in a commission
Celine Sciamma. Yes, a commission around short films against homophobia ( Céline Sciamma has made a short film for the collection 5 films against homophobia, Editor’s note. ). But we had crossed. There one has seen …
André Téchiné: At coffee …
Celine Sciamma: And it was really around the question of the film. There was a proposal. There was no great mutual seduction. We met for a work question. We shook hands at the end saying “yes.” ” We try “. And the next time, it was seen to work. It was extremely practical, simple. It is a covenant, a generational alliance.
A generational alliance. But also a curiosity kind of how we were going to agree and come together to make the same film. It was really exciting
André Téchiné. Generational, it’s true. But also a curiosity kind of how we were going to agree and come together to make the same film. It was really exciting. I saw immediately that I had to do, that is to say, not a yes-yes what. It was also very stimulating a writing partner can have the respondent and a critical eye on what I could possibly offer. In the same way that I did not bothered people compared me that it also offered me
Celine Sciamma. We rushed into the work …
André Téchiné: We had no fear of injury narcissistically. It’s always difficult when you do not know writers, the share of narcissistic injury. They bring you a gift, proposals … How to measure the work, which is quite defensible, and at the same time reject, say we do not want? That’s really hard.
Now, strangely, so we reciprocally refused proposals from each other, and we had a very dynamic way many disagreements , it never spilled over a copyright susceptibility. I do not know how it has escaped it
Celine Sciamma. It’s true! It’s crazy but it’s true
and this is important! To not end up accepting things we do not want …
André Téchiné: This is important – it was me happened on other experiments, less heureuses- because after we deal with the resentment of the author injured. It can contaminate the working relationship. But we’re not at all fallen into these traps then
Celine Sciamma. Not at all
André Téchiné. : From time to time, she was angry, she got up, she was smoking his cigarette out the window and she came back. ( laughs ). And I think it went fairly quickly
Celine Sciamma. Yes, it took a year in total. A year where also our respective films were each finished [The man who loved too much for André Téchiné, and Strip for girls Celine Sciamma]. And as the filming was in two parts [ in winter and summer, Editor's note. ], we rewrote a bit in the middle together. It was very intense. It was conducted smoothly in time. It was not a river writing was very focused. As we met in the work, we also became friends …
André Téchiné: Oh that’s saying a lot! ( laughs )
Celine Sciamma: The question to love and be likely, it’s not like it was tight . It was joyful
André Téchiné. Yes, it was joyous
Maybe is it the temperament of great melancholy, but we try. always going to joy. This is the place where one is heard
Celine Sciamma. We have temperaments that are compatible. Maybe is it the temperament of great melancholy, but we always try to go to joy. This is the place where one is heard
André Téchiné. Yes, it’s true. It was a kind of desire of excitement that brings us
Celine Sciamma. I think it also says that there was something harmonious, there even in disagreement. The hard part is when you are in conflicting energies into writing
André Téchiné. And it was also selfishly useful to work with Céline because I assumed she could bring me the unit. I like it when it goes in all directions. I like digressions, sub-stories, history crossroads … I love it. I knew, without either the confrontational mode, with Celine there would be a purity of line. In this film, the simple side and right, I owe to the presence of Céline scenario, which has a great sense of concentration and unity. This is not a compliment, it’s a fact.
In this film, the simple side and right, I owe to the presence of Céline scenario, which has a great sense of concentration and unity.
you’ve anticipated my question … What do you think you have made to each other?
André Téchiné: The unit, that’s it. Minimalism. I tend to be a bit too baroque and superabundant
Celine Sciamma. He had told me, so I knew I was called at that place .
André Téchiné: It is super concise
Celine Sciamma. the questions disagreements we may have on fiction, they are those that we can have in our relationship to the world. Is that fiction is lying? Is she telling the truth? I returned in the report Téchiné movie in its report to the characters … And it moved me. We’ll see how much it moved me in my own work. I allowed myself, for example, in dialogues more literary things … Things that I like but I do not necessarily authorized him to me …
Andrew, in an interview in Le film French, you recently were talking about your “ constant desire [you] renew and make the next project to be in opposition to the previous “
André Téchiné: It’s kind of my character. This is true for successive projects, and this is true for the steps of the same film. For example, I wrote the screenplay with Céline and after it was no longer seen. It did not take her there to prepare. Shooting, it is no damn feet ( laughs ).
And you agreed?
André Téchiné: I do not want a social worker. ( she laughs ) Not true. Of course it’s true. But on the other hand, I still uses it for installation where to find new continuity. In any case, these three steps, I made them one against another, shooting against the script, and the mounting against the shooting. Shooting, I really live in the present, as if each scene was a short film, and an absolutely privileged moment, separated from the rest.
And for my movie projects, it’s true it ‘ is a little similar. I accepted a commissioned film [ about his next feature, Our Roaring Twenties, Editor's note.] , and then what we did, it ‘ is an original subject
I would really go elsewhere, find something else. It’s always a motivation, it’s always my first step. When the object is completed, I-I do not know if I have to say unfortunately as betterment or realize that there are common themes with other films, I always hollow in fact the same furrow.
But, initially, the will is absolutely to discover a new direction to go elsewhere. As a line of flight. And sometimes with very marked contrasts. I make a film “star system” as my favorite season, I’ll do a movie like The Reeds. My favorite season was a film on aging; Reeds, a film about adolescence. You see, it is very marked. I make a film in 16 mm black and white, like the Matiouette entirely in the studio, whereas before I had made a film entirely on location.
Go also discover something else is always a motivation, it’s always my first step.
[My next film] is a period film in costume, while the film that I just was contemporary and outdoors. It’s about things like that, I feel I have an intake of air. I will not say to renew me is too utopian, but in any case not to repeat myself.
This is the author of the authors, [Ingmar] Bergman who said, in criticism he had read, that the criticism that had most affected, about autumn Sonata, “Bergman makes Bergman.” From the moment one is cataloged in a checkerboard case very narrow, as a writer, there is this danger, we can really be manipulated, very suffocating. It seems to me to be very careful, even if it necessarily takes risks, that’s for sure, doing commissioned films, for example. But these risks are, in my opinion, extremely beneficial to escape imprisonment and management of copyright film. You see what I mean
Celine Sciamma: Finished
André Téchiné. It watches us. But these are risks. What makes you control films on various facts. I like the variety is because it is the baroque in life. “But, hey, why he did not make a more personal movie?” But I prefer that. I am better with myself, and with my relationship with cinema. It’s more fertile than remain trapped in a system, a system as close as it is
Celine this is something that guides you, while digging a trench, do that each project is different from the last …
Celine Sciamma: Yes, I am exactly on the same line, even with the unconscious of his own obsessions. When you see the film, we see what goes around, one sees that path. But cons, to be extremely deliberate, this is not a command that is happening to oneself is a reaction. It’s almost an intuition to say, I will go elsewhere. Finally, this is also in friendship with what preceded it.
And that’s just as nice to go unconsciously account, it was a bit on the same territory, but in the method, in energy, including production – that André- said in a report to the decor, to the actors, make a second film which is a pirate movie [ Tomboy, Editor's note] even though first allow me to make a film more “bourgeois” we will say, in terms of resources, it was an extremely energy released me, which allowed me to explore other sites in setting scene. It is a mindset that we share.
I never made When you have 17 years in the wake of Reeds. For me, it was absolutely unthinkable.
Does this mean that it is somehow “easier”, more “simple” to do a project in continuity , doing something is expected of you, rather than doing something very different each time
André Téchiné: that can be done with respect to some films that, so quite unpredictable, are successful. Me success, frankly, I have not experienced much. Without geignardise. For example, The Reeds. I never made When you have 17 years in the wake of Reeds. For me, it was absolutely unthinkable.
After The Reeds, where it was actually proposed to me from teens romances, or you pulled me to the representations of the sexual minorities, you see what i mean. Short. There I had made a film star system a little thriller, which is Rogues, with daring narrative. A cubist film.
Besides I read that you do not necessarily love us to do a parallel between Reeds and wild When it was 17 years, so that there are grounds returning. I see almost a tribute to Wild Reeds. It’s different, but we find things …
André Téchiné: Celine generational theory it ( she bursts laughing ). No, but of course the comparison is inevitable. But we are not in the same world.
Although it is a story of boys, the central character is the female character, both in The Reeds that there. The character played by Kiberlain has nothing to do with the teenage character of Reeds. In The Reeds, it’s a boy and a teenage girl who err love story, who believe they are in love and realize that this is not the case. It will lead to another and love it too.
Here is the portrait of a mature woman happy with her husband, with his job, and with his son.
Here is a portrait of a mature woman happy with her husband, with his job, and with his son. It is true that there is war in two overs, the war in Algeria [in the first], external operations [in the second], but this is not the same war.
The agricultural world is much more present in this film. And all [the communication] Skype, this modern side of the absence and presence. Sometimes there are couples who are separated in space, and still coming to found a family, while being a great geographic distance, and happens to end up in the same time.
all this kind of relationship, and all the ways it can move the family, for me it was something very important When it was 17 years. It was unthinkable at the time of the war in Algeria at the time of Reeds. Even if one is in adolescence and in the mountains, I wanted to show that the world has changed and the connections are not the same.
While it is in adolescence and in the mountains, I wanted to show that the world has changed and the connections are not the same.
We are in a France which is not often viewed, not often visible, and I really wanted to make it visible, visual. One is in somewhat forgotten lives which I have tried to give greatness. We see how the real world is the same.
And in The Reeds, the characters were trying to verbalize much what they were experiencing. A girl teacher, a character played by Gael Morel was a movie buff … It spent much of the speech to try to understand who they were, what they were to become, where they were … It was real windbags ! Here it’s the opposite.
You want to do a physical film, almost …
Celine Sciamma: … Action. We did not want the characters that are in the saying of themselves, or in the dissertation, but the pulsations of the present. The film, in its rhythm, thwarts the program of the revelation of desire. It should be 1:20, it takes time before the embrace. It is not standardized in the codes of his dramaturgy. We tried to do something surprising, not by desire to surprise, but because the characters are themselves surprised what passes through them, what they discover.
The film, in rhythm, thwarts the program of the revelation of desire
it is not at all the same stylistic program the Reeds. it is not against a program. But it evoked very little. It is now that the film is called much. We can play the game of similarities and differences, but it was not the ghost of this film. By cons, we said: it’s been that Andre has not made a film about youth, so there is this idea of generational movie 20 years later, and therefore is for another generation … .
now I want to talk about your projects. You mentioned earlier. Planning a new feature, which should turn this summer
André Téchiné: Yes, you never know with film, you know
Celine Sciamma. You touch wood, there
André Téchiné: touch wood, absolutely . It should be to turn this summer. I should theoretically begin preparation after the release.
It’s called Our Roaring Twenties, with Pierre Deladonchamps and Adèle Exarchopoulos, right?
André Téchiné: That’s right, it has not changed
. and you, Celine, you have this project with Para One. I see things go on it for about a year … It’s very mysterious.
Celine Sciamma: It’s very mysterious. It was a bit a culture of secrecy. It is about to finish writing. I can not tell you much. This is his first film. I can not even pitcher. It’s hard to pitch when you have not finished writing it.
Ca advance. It is the beginning of financing, writing end. In a few weeks, the scenario object is finalized. And I have an animated film that I write too will come out, which will be in Cannes (My Life zucchini Editor’s note.) . And then my own movie that I have not started writing. There, it’s not that I have the secrecy is that I will not know what to tell you.
I do have something to ask: I read a nice portrait Ellen Page in Libération a few weeks ago in which you said you had proposed a scenario …
Celine Sciamma: this is the reverse. But, yes, it is said that the portrait of Libération. one can have exchanges that are not very provided. as it is also producing … Well, we got each sign, and it happened to me to hear from her, especially in the form of a scenario, but this is not a project.
You are entries contact après this tweet ?
Exactly. I saw she had tweeted. I asked her mail to my American agent, we’re in the same agency. I had written to him to show him my joy that the film has liked. But I’ve never met her.
The trailer When you have 17 years on the screens March 30, 2016
When you have 17 years trailer
Interview by Brigitte Baronnet, March 22, 2016, Paris