You
You
How can you conceive and imagine this delirium is that you can because when we receive that on paper we say
In other words, but how am I going to play that? Are we asking this question? It's more like a pro
so I immediately thought of a seven or eight-year-old boy and my desires of
What I wanted to do at seven or eight years old to enter the character of a boy. What does he do at seven or eight years old?
He thinks he has super powers and
Especially the Bruce Lee side where he is really a big fan of Bruce Lee and when we are all children we are still a big fan of Bruce Lee
I think it helped me a lot to enter this character there at first. It's a pretty lost character, the character of Anna-Rodriguez Pereira, she is really lost
she is between
two men
She makes jokes that she doesn't react, she reacts hardly
There you go, she's with a dealer, a little bit of a banlieu
And I think that man and woman
confused, at a moment in our lives we are all confronted with this story of being lost
So then we are going to puise in his sensory memory and then after it's a story of comedy recipes
In fact my role
my role is
to try to help the director
to understand him first and anyway he is the one who makes the film, he takes his decisions
We tell him be careful with that, be careful with that, in the narration, be careful of falling on it, be careful of bowing, it's a short, be careful of that
That's it, and at the limit of giving the most advice
And then I even gave advice at the time of cutting a scene that he shot and it's very good, it's him who decides, so that's good, it's part of the game
And then I was able to go to the editing, so I saw the editing and I gave him my feelings, I told him the editing, I'm still very hard
and there I think Christophe, when I go to the version, it's interesting, that is to say that there is another quality
it's never to be attached to the material when you are a director, and the problem of a young director or when you start is that sometimes it's so bad to make the images
that the length of the shot, an emotion, an actor, something, we want to keep it
And you always have to look at the film from the point of view of what we are talking about and of the global
And me for example in all my films, and still at this time, the most beautiful shot I shot in general, it ended up falling
So what's good now with the DVDs is that we can put them in the bonuses
but where there are things from a scene, we say to ourselves, it's really a shame, but in fact it's the film of the master
How did you choose the staging?
The staging is directly linked to the concept of the film, that is to say that the concept of the film, if you understood it well
I know there was a lot of information in 10 minutes, but this man is actually followed by a team of reporters
in our scripted way, and so it was necessary that the concept of the camera, the way it was filmed, be directly linked to it
So we had two possibilities, camera and pole, we could also make some fixed shots, we did both
But in any case it was out of question from that moment when I had decided the concept, obviously, to try a more graphic staging
and then we didn't have the means to do it, I had four days of shooting and a lot of things to do in four days
So we had to avoid it
The last image of the special effects, which is quite interesting, why didn't you put it elsewhere?
Or did you just put this end with this special effect that can seem either too much or not enough?
Or how do you justify this special effect of the end?
The end effect, when you speak the language, I think it can have different interpretations of this language
because it's true that it happens in a bit of a prompt way, but I wouldn't necessarily have an answer to that
I would just say that for me it's a fantasy, and that it had its place at this moment in the film
I didn't want to make a film where I explained everything, and it's not my vision, it's not the way I see a film
I'm not here to explain everything, I don't want to feed the spectators all the time, to know what's going on
I want them to think about it, I want them to interpret it
And that was the idea at the start, and I remember a conversation we had with Yann about a café
I saw a lot of cafés on this film, and we had talked about it, where Yann was telling me
he was right, because he pushed the script a bit in a way so that it would be more readable
because there are versions that are a bit less readable, on the other hand, I explained that I didn't want to make a film
in which I explained everything, but although these comments were very fair on the script
A big thank you also to Short TV, thank you to them, thank you to this operation, shoot
Don't forget that if you want to see the six films that we'll see again, the one with Christophe
it will be on January 21st from 22 hours on Short TV, numerical
and I wish you a long life at your course, it's very good that a course can exist in the festivals
on television, and simply, unlike me who is big, I just tell you to be short
Thank you to Julien and Michael who won the event, thank you to Fnac
