Turn with them is similar, it is believed, to a crazy experience. Much more in their new film, “Holy Love” where Gérard Depardieu and Benoît Poelvoorde make the wine route … The reality is different, as we learn eight of their players, Isabelle Adjani Vincent Lacoste .
Vincent Lacoste: “We spent three hours at the table”
(a played in Holy Love ): “their method may give the impression of great disruption, but it has proven. One camera, never reverse shot. A sequence equal a plan. No rehearsals. This leaves great freedom to the actors and allows to turn very quickly. One day we drove up to fifteen minute film, which was still me never happened: in normal production, it never turns more than one or two useful minutes. Sometimes, at noon, we finished all the sequences of the day and we spent more than three hours at the table! The winemakers of the area came to offer us their wines one after the other. These moments of conviviality are also very useful to Delépine and Kervern, because they take the opportunity to observe people and socialize. The day before the shooting a sequence with a family, they had not yet chosen the actors. In the evening, they meet a family in a car park and hire them for the day. Their cinema thrives on those chances. Myself, they called me two weeks before the shooting, and I accepted without even reading the script. To work with them, the desire must precede reflection. “
Michel Houellebecq:” An ultimate survival of the old spirit Canal “
(played in Near death experience and Holy Love ): “to me, they represent a residual area of freedom. The ultimate survival of the old “spirit Canal”. Now I have often felt to represent the same thing, albeit from a very different universe. I am old enough to have known a time when political correctness did not exist in publishing: it was a new word, and little understood. In short, we met as would meet representatives of endangered species. As if a white rhino met two turtles Yellowlegs. Something like that. “
Ovidie:” There is a real punk side home “
(played in Holy Love ) : “I have a small role in the film: a single day of shooting on the side of Montelimar, a nude scene where I play a real estate agent who offers Poelvoorde during a visit. tight work plan, no rehearsals, towards minimalist actor: it was close enough, finally, production conditions of a porn independent film, as in my former profession! There is a real punk side with them, something supersauvage. They do not grind the brain about their image, whether it be a little fuzzy, a little dirty. The urgency of making movies, spontaneity count more than anything. “
Benoît Poelvoorde:” With them, you have to expect any “
(played in Aaltra Louise-Michel , Le Grand Soir , Holy Love ) : “In Aaltra my first film with “the boys”, we only see my ass. The day of the shoot, they just gave me a piece of paper with my text and they filmed me back during a motocross competition without any authorization otherwise. You could be thrown at any time. I was not sure they were directors, but I knew they were brave. When turning with them, you have to expect anything. The work plan is rarely respected. One is never sure that what has been written will be played. They are able to change the sequence arriving in the morning. They may well have a reputation for being party animals, they remain focused on the shootings. Holy Love is by far their most accurate scenario. This does not prevent us to improvise. Gérard was pretty screwed up in the taxi … At the time, we think always have been great, but it was not. On assembly, the flights they cut a bit too lyrical. During a scene with Dupontel on Le Grand Soir Benoît Delépine, still in costume, with his air of vicar, we stop to say: “ No, here you do too much; again. “ It seeks to avoid any form of complacency. When Le Grand Soir was selected for Cannes, I have not failed to point out to them that there was a slight contradiction with the punk and anti-capitalist message of the film. They pushed up the retail rotten sleep in a hotel near the station while I prélassais me in the suite of a luxury hotel. “
Gérard Depardieu:” Their weaknesses unite “
(played in Mammuth, Le Grand Soir, Holy Love ) : “Kervern is an actor, Delépine a pamphleteer; their film, a kind of database that holds most of the drawing realism. Since they drink more and are more concerned with their movies, their shoots are less gays. In addition, it is their pain and their frailties among them. And that suffering belongs to the French society today, where we have less and less confidence. Holy Love few people know what to do, few have goals in life. “Life is like a field, we must make a furrow” said just my character peasant … Benoît and Gustave have foreknowledge of social reality. Their films feel right. They are made of stories, not of “scenes”. I, anyway, I do not care scenes: I work in the atrium, without learning. I prefer to be a spectator filming. And empty, to be in the moment. Only laborious need to be filled! Mammuth, my first film with them, showed people who have lost speech before the madness of political or trade unions. It suited me: I love you again become animals who only remember the phrase “I love you”. They stuck me with sacred tresses for the role. As I can not stand me, I found it well. As a couple gets older, they become more tolerant with each other, not compete anymore. But do not always run. They have music in the head. You never repeat, here we go. Nothing comes from elsewhere repeating. And then, we headed alcoholics? I do not drink anymore, that’s why I’m sad. To live in France today, drink. But how to hold my Benoît Poelvoorde when he needs a gun? He starts screaming. Too worried about the future of humanity. And smart enough to quickly get bored. It reminds me of what I was … “
Yolande Moreau:” They wanted me to be the mother of Depardieu “
( Louise-Michel, Mammuth, Le Grand Soir) : “they seem not to touch it, to make films buddies, but they have a clear idea of what they want and still get to the heart because they only have a month of vacation to turn. They also refuse to get into the psychology of the characters, and that’s good because I hate someone to come tell me how to play, in what state or what my character thinks. I remember a scene from Mammuth I had to kiss Depardieu. As we are both a bit big, I thought we would never get there and I was taking a giggle. But soon, I told myself: “Pull yourself together, old, there will be no two takes!” When I watch the scene, I see in my eyes that I still laugh. They sometimes foolish ideas that are a little scared. Mammuth , they wanted first that I am the mother of Depardieu. Anyway! Their tandem work because they have no ego and a lot of respect for each other. One can have the impression that Benedict know where it goes and Gustave less control. In fact, it brings a touch of madness, poetry, an offset. They are complementary. “
Isabelle Adjani:” They are the same being in two bodies “
(played in Mammuth ) : “I thought I was not their gender. But how refuse to play the ghost of the first love of Gérard Mammuth ? Am I not become a sort of ghost in French cinema? As they are very delicate, it bothered them that I appear in every scene face bloodied by my accident. Not me. They still want their actors to be happy. To Mammuth , they had entrusted the canteen to their former butcher, a gourmet cook: I’ve never seen Gérard binge as much. But before playing, foie gras, delusions of meats and fine wines, I do not know if it’s terrible … Gustave and Benoit are permanent truant, they are crazy. No rehearsals, few takes, and it was done … Their camera, I never saw it, it was as if we were shooting to ourselves. They even confided to me: “Filme, you!” I, therefore, directed scenes from Mammuth … Their method? Do not be. They launch the alternate decision, it is for one or the other without identifying who does what. There is a complicity between them as I had ever seen. Impossible to separate them: they are the same being in two bodies. Besides, they never talk to isolate in a corner. No need. It’s more than love, they have intuitive knowledge of each other: the cosmic twins. Making such confidence at the moment! Able to laugh at everything, especially the worst. Grolandais for ever “
Céline Sallette.” The days on the shoot are among the funniest of my life “
(played in Holy Love ): “They invited me to lunch to offer me the role of Venus, a 50 year old woman … and of postmenopausal Tarzan, his twin brother! The discussion was underway, Gustave wanted an English actor to play my ex-husband, or José Bové. I had a little trouble following but we laughed a lot. I found them powerfully sympathetic. When they came across this authentic history of early menopause, they could transform the female character to match me better. What made me a little worried. I spent ten days on the set, from the funniest of my life. Their relation to human and humor has few equivalents in French cinema. For an actor, the amount of toys available, in terms of scenery, characters, situations, goes far beyond what is found elsewhere. If we add to that actors like Depardieu or Poelvoorde, the vital energy level on set, already very high, becomes downright unconventional. mythology it borders with those two, it’s Bacchus and Pan on a tray. This state of laughter, permanent excess, causes a staging style on the go. Benoît and Gustave are great lovers of their players and their characters, they refrain from judging. What is rare. For them, life is as important as the cinema. “
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