All language subtitles for Brotherhood.of.the.Wolf.(2001).DC.V2.(1080p.BluRay.x265.10bit.Tigole)_track8_eng

My name is Christophe Gans
and I am the happy director

of the film PAKT DER WÖLFE.
This is my second long feature film

and I was lucky that the film
was very successful in France.

This comment will be a little
different than that of CRYING FREEMAN,

in that 4 years had passed
between the comment and the film.

For me it was almost like a
psychotherapeutic analysis.

The impressions of the PAKT are still fresh.
I am currently testing the

DVD version finished, so I'm in
a completely different condition.

We start with moving one
Crane that gives a special effect.

This movement goes right
through the window.

This sequence was thanks to two
Movements,

without control device or computer support.
The two sequences

are connected only by the force
of the crane operator's wrist.

I really wanted Jacques Perrin to play
the role of the count. On the one hand,

because the similarity between the actor,
who plays the young count

and Jacques Perrin is amazing
and on the other hand

because for me Jacques Perrin for one
Tradition of actors stands.

The film also has numerous
references to the Italian tradition.

I have the face of Jacques
Perrin in films like for example

LA RAGAZZA CON LA VALIGIA by
Valerio Zurlini can never forget.

He also has one of the most
beautiful voices in French cinema.

He has the voice of a
storyteller and the actor himself

brings something special to the story,
that impresses people.

I wanted a helicopter shot
the descriptive at the same time

and should be symbolic.
You should present the place of action

and somehow stand
for a flashback.

I've been racking my brains for a
long time about how I'm a classic

Could combine technology
with symbolism.

So I got on the mini helicopter.
This little helicopter

with built-in camera enabled me
Take pictures very close to the ground

and with a virtual sequence very
quickly through a crack in the stone

to finally manage to
get to this fleeing girl

25 years before Jacques
Perrin decides to

to tell us his story.
This scene with the shepherdess is one

funny homage to the opening scene of
DER WEIRE HAI by Steven Spielberg.

Only that I did the
opposite for everything.

It happens on solid ground,
during the day, in a landscape,

which looks rather elegiac at first glance.
It is almost an advertising revision

for France. A shepherdess fleeing
something, from this thing

caught and what's amusing
is this monster not to show

only to hint and through this rock you
can feel the strength of this monster.

Here you come to the story.

For me, the film is like a western.
I've always looked at him that way.

From the point where men on
horseback cross a lonely landscape,

is it a western. This is the picture
which for me stands for a western.

I wanted a start that matched the
Spaghetti Westerns remembered.

They were interesting because the
plot was exactly the opposite of

actually expected. For example,
it was constantly snowing or raining.

The action was in the mud.
In these westerns, things are

just flipped over in a way
since they were only shot in Europe.

Her style has expressed this.
A film in the pouring rain

It was really interesting to open
but the realization was complicated.

I found the idea that the aggressors
put on strange makeup and as women,

like the shepherdess, disguised,
very good.

You should actually be the beast,
that only attacks women.

Their costumes resembled a dancing
dervish, I liked that.

The scene where they turn around
and look at the two riders,

is a small allusion to the
Opening scene from DJANGO

by Corbucei, one of my favorites.
A couple of guys are whipping right now

an actress from
which is called Loredana Nusciak.

They turn around and suddenly
Django appears. He tells them

they should stop or they should die.
I must have seen this film

when I was about 12 and he probably
shaped my existence as a cinema friend.

I love the idea of introducing the
heroes through their actions first

and show the faces later.
This is a principle of the genre film.

You hardly see the face, but these
two guys, covered by long coats,

are almost two avenges of revenge
Hit villains in the face.

This scene is typical of the time
in which the film is playing.

This is a fight with bars. What that
Special about this scene,

is the beauty of choreography.
The way I take them apart

the opposite of the context of the mantle and
Epee films is completely unconventional.

And thanks to Philip Kwok, who cares about the
Fighting, I could

focus on something very important to me.
Because I already have

always practiced martial arts
and in competitions I tried

to imagine the fight as a fighter.
I tried to give the impression

within the bodies that were moving
to be and not outside.

I worked a lot with this
idea at PAKT DER WÖLFE.

The fights were recorded here
differently than with CRYING FREEMAN.

This fight lasts much longer
here I think it's enough.

It was originally three times longer.
The whole fight is with the extras.

The two intervene
as if they were sheriffs.

They also act like law enforcement officers.

I like these arts to present them
without knowing who they are.

I love this fade from Mark
Dacascos to the shy girl,

that Virginie Darmon plays wonderfully.
I love that: a little fade

and you know they fall in love.
That is the advantage of a hundred years

cinematographic culture in the back.
You can allow yourself these effects

and you’re sure that it works.
The audience immediately accepts the idea

that something emotional is
going to happen between the two.

I like the water like one
Gutter flows out of the three-pointed tips.

This is one of the first pictures I
saw when I started reading the script.

The long coats, the tricorn, the
Downpour, a kind of stylized version

18th century. Often this epoch
corresponds, especially in the youth,

the world of Musee Grevin,
which is not very funny.

People are a little stiff
and I liked the idea

to use soft and sensual materials
such as leather or velvet,

to show an 18th century that could
be very sexy and mythological.

The costumes in the film correspond to
the authentic clothing of that time.

We worked with documents and
paintings from the 18th century

and just took out the costumes,
that seemed outdated to us.

So the film gets a sexy touch,
which also helped

that it was very well
received by young people.

Here you can see them for the first time,
you see their faces for the first time

and of course it's the narrator
Jeremie Renier, who first discovered her

who will later be Jacques Perrin.
It’s important that he sees her first,

since he will tell the story
but you don't know that yet.

The old count Hans Meyer plays
for me is Baron Munchausen.

He has an incredible face.
You might think

that he played in hammer films.
This strange

face drawn by time, which gently
absorbs the light of the candles.

Here the scene, of course,
a contershot with a slight sideways pan,

a technique that I use a lot.
It is gentler on the eye

and gives the impression that the
camera just happened to be there

and it’s not going to be long before
she moves on to the next scene.

With small camera movements,
I always have the impression that one

can read the story from the screen.
You’re always sweeping the room

looking for the first scene.
I really did with films

felt by Carpenter. He often uses this
technique. The camera goes with it

small movements very slowly.
You don't see that, but you can feel it.

When I saw this first sequence in the
Looking at patterns, I knew immediately

that with Dan Laustsen as Director of
Photography had hit the mark.

Already his work at MIMIC and at
NIGHTWATCH by Ole Bornedal

had spoken to me. That is two
B-Movies, which I think is absolutely great.

One as the other.
He is a great director of photography.

He really has a very original one
Style. Here, for example.

Here is the proof of his competence.
It is a recording

in an attic with a
steadycam and as you can see

the camera turns in all directions,
without seeing the headlights,

which were all attached to the beams,
above the actors.

Really great camera work
which we thanks to the long and massive

Could search for clues.
In this search I have

all technicians taken to every location,
that I had chosen.

I explained to you exactly
how the light should be, etc.

And that enabled us
to create such a performance.

I loved the idea of adding
a symbol to the sequence,

this with the help of a camera movement.

The moment the white man falls
asleep, the Indian kicks

into a dream world and feels things
that no one else can feel except him.

I like that. This is very graphic
and describes it quite well.

When I saw Mark walking
towards the window, I also knew

that Mark was the right
actor for Mani's role.

There is something feline about him.
I have this role in the film,

which is based on the original script
by Stephane Cabel, completely new added.

This is really my contribution
to the original story.

I like this scene. I am in love
Shots where people through curtains

go and the camera from above this
Picks up curtains. You can see them

white beds. This idea comes from
Italy. There are thousands of similar ones

Scenes in both old and new films.
Remember the

famous scene in the bedroom in SUSPIRIA,
where everything is red and the

Hang sheets like this too. Really nice
Scenes. Here it's always interesting

when the camera encounters something that strikes
the eye against the backdrop of the backdrop

can't see. So the camera always
makes slalom movements between

the buildings and the accessories.
Here, that's very important to me

because of the use of the image area.
It can get very boring

if the eye does not interfere with any obstacle.
Because there are always obstacles,

Foregrounds and baits for the eye there
the picture gets a special dynamic,

which emphasizes the mysterious and
voyeuristic side at the same time.

Here is this shot with the boy
Woman in the pond, an allusion to

the art deco pictures and this
idea of a macabre Ophelia,

the naked, bluish and disgusting
Pond covered with leaves,

is a very aesthetic idea.
I was very worried

when I checked off, dissected,
and had to show torn corpses.

I really wanted to present
it with a certain aesthetic,

in a strange way poetic.
It’s incredibly important to people

who don't like horror,
to offer an excuse for them

to look at it from a different
angle, not from horror.

This is how the idea of this pond
with the body lying in it came about.

All of the costumes in the film were edited
based on the color of the surroundings.

It was a very large work
that we did with Dominique Borg.

You will notice that each costume matches
the colors of the horses, the environment,

the leaves on the trees fit.
I've already got it in the comment

mentioned for CRYING FREEMAN.
For me, the colors of the elements

come in front of the camera
and not photographic work.

For me, the photographic aspect of
the film is primarily in the contrasts

and in the balance between shadow and
Lying light and definitely not

affect the colors.
The colors of the costumes, complexion and

the skin of the actors should be
created by the artistic direction.

That's why I don't add colors.
I also don't use color filters.

What you see here is really
what we recorded.

I think that's pleasant and I think
the film will survive.

At least it won't necessarily
be typical of that time.

I like the ravens attached to the
poisoned corpse of the shepherdess

pecked around and died of this poison.
It's a strange and weird idea.

I like situations that are difficult to
understand, that are not predictable.

I like it when the viewer has to think.
If not everything is chewed

becomes, as is the case with today's,
especially with the US films.

The transition from the body of the shepherdess
to the salon of the nobles of the region,

where you tell the story of the beast,
is a kind of charge against them.

The harpsichord resounds after the body
and when you think back to this scene

after watching the whole
movie, you realize

that I denounce the guilty.
You are guilty.

You murdered the girl.
These old bloodsuckers.

I took this scene in the
castle of Roquetaillade,

a kind of "meringue" lock,
entirely decorated by Viollet le Duc.

He's for his cluttered style,

that almost borders
on bad taste.

I like these backdrops, which only
consist of an abundance of arabesques

and decorative elements,
and the people who are only in it

posing in their great costumes.
It brings a lot of splendor into the picture

and also shows how these people
flaunt this Parvenus.

It's kind of an unpacking
of luxury and bad taste,

a real contrast to the white castle
of the count and his grandson,

who are very modern
and progressive minded.

Here we are with the old families
who are proud of their money

and their wealth are
and they show it.

Dan's light is fantastic.
It brings out the decoration,

without emphasizing the ugly.
The decoration is incredibly ugly,

when you visit the castle.

In this case, the Viollet
le Duc style is fascinating.

A light smoke gives the
scene a certain depth.

Emilie Dequenne,
that I admired in ROSETTA

really impressed me.
I found her beautiful.

I found it outrageous
when you called her "unemployed

Plastic boots.
"It was the price she got in Cannes

not worthy, it said. I was delighted
when people saw their beauty

in the PACT OF THE WOLF.
Anyway, I had beauty

seen in ROSETTA. Your incredible
Beauty really touched me a lot.

The first shot on the terrace

was shot with absolutely natural light.
I was very proud

to be able to shoot this scene
that no rework was necessary.

Of course, it’s similar to the recordings
of the big Hollywood studios of the

at the time of Technicolor and the cloak
and epee films by George Sidney,

SCARAMOUCHE or THE THREE MUSKETEERS,
where to find this decoration frenzy.

But I shot here in a real one
Castle, in the Chateau de Biron,

and that's real 6 o'clock evening light,
that enchants you a little.

Emilie is incredibly beautiful here.
Of course, the actors are out

DANGEROUS LOVES by Stephen
Frears very much affected our actors,

for me is one of the most beautiful films
that was ever made with Barry Lindon.

I asked my actors to be DANGEROUS
LOVE, a film with a very

good work on this topic, and
VALMONT, a less good edit

of the same subject to look at to see
how good the actors in the first film

are and how bad the excellent
Actors of the second film act

if you tell them exactly
how to play.

So my actors knew how they
had to play in PAKT DER WÖLFE.

This is a small
allusion to Cocteau.

I put animal heads on top of the
statues that weren't very prominent.

I love innuendo if it fits
organizationally into the film.

I love Cocteau, of course I love
BEAUTY AND THE BEAST.

I love what he says to the French
Brought cinema. That freedom.

I had a lot of fun with this
Sequence because I've never had myself

with the problem of actors
CRYING FREEMAN set apart.

I had also guarded against it a little
and here they all around a table

to find and film them,
was very funny. I discovered

that it can be fun and
easy to work with actors.

Above all, you shouldn't be afraid
of them and have fun with them.

People like Jean Yanne only
require mutual agreement from you.

You just require that you
deal with them easily,

as if they were normal people
and not stars or "monuments".

It was really funny to do that.
It's a very complicated scene

because of the numerous recordings,
that you had to do. I think,

we shot 47 shots in one day.
That is colossal.

I had rails built on both
sides of the table and me

shot one picture after the other.
And Dan's incredible light again,

which was prepared for a long time and
gave me the opportunity to take 47 pictures

to rotate without having to keep
repositioning the light. It stayed constant

as you see it here. The work of one
Experts in light and camera.

During the preparation I told him
that I'm filming with multiple cameras.

And there are two in this scene
Cameras mounted on the same dolly.

So if a camera is behind an
eye lure during a dialogue,

z. B. A person in the foreground, and
not picking up the movement of the lips,

there are always 2 cameras that capture the scene,
the person from 2 different

Take angles.
So I was sure not to miss anything.

Of course, this table was fun.

The fact that I'm centering
the length of the table

as soon as something special happens here
no matter if it is the opening

or the bad poem...

I wanted the table
with lots of things

among other things, grapes,
as in the Cocta films, is decorated.

This gives the impression of
a very emphasized foreground

and these little camera movements
continue to give the impression

that the camera never stop
but will keep going.

It's a big extras scene
that we shot in the Pyrenees.

I tried to remember the scenes
from the film THE REVOLUTION

WHERE correct crowds occur.
This film was very underestimated

and went in the direction
of the Peter Watkins films,

such as B. THE BULLY OF CULLODES.
It was time for these films

with a lot of post-documentary
Realism filmed.

There were many strange ones
camera positions

and they were never placed too
much outside of the action.

Anyway, I tried
to remember this in this scene.

Here once again the incredibly
good work by Virginie Darmon,

a young actress for whom the
role was entirely designed.

I learned it from a very good one
Know friend, with Nicolas Boukrief.

He also happens to be a filmmaker.
I was going to be a witch

of a shy girl,
to design and than I do them

with their cakes,
I knew that she was an actress

because I had it in Nicolas’s film
LE PLAISIR ET SES PETITS TRACAS seen.

At first glance,
I thought of this role.

It's a very nice role and I
think she embodies it very well.

She looks very sexy and very authentic
in the role at the same time.

There's something very earthy about her,
a quality that I like very much.

Here I take the risk for the first time

to mix the genre of the fight
film with another, the epoch film.

The risk is enormous
if I may say so.

The choreography is amazing
very complicated

and yet it was one of the fight scenes
the easiest to shoot.

We easily turned it off within 2 days.
There is of this

but a lot of pictures.
Five cameras rotate at the same time.

Some are hidden behind
the crowd and a steady cam

is about this fight. Of course
we would have the shots where the

Steadycam crosses with the other
cameras, can take out.

But that resulted in very good recordings
with a lot of twists and turns.

I love it and the
extras are incredible.

They really participated and
they are extremely lively there.

You can really
look at their faces

of all their movements.
These are local farmers

and they bring this impressive
Scene incredibly realism.

You see an Indian
in the fight against a barbarian,

that might have come
from a Mad Max movie.

I would have liked that
Mad Max side doesn't come out that much

but we couldn't do it.
I might have

something else wanted.
I really wanted to implement this idea:

The Indian who,
after finishing the two guys,

to fight against two women.
It was also important to me

Women with physical strength,

that are really athletic to show
and I enjoyed it. The fact,

that women can fight like this
is a principle of Hong Kong cinema.

I think that's good. The Hong Kong
cinema is very matriarchal, feminist.

You never hesitate
to show two fighting women.

I love that!

Especially at that casual time,
women definitely had to fight around.

This is a real principle of Kung Fu
Film. First you fight against 2,

again against 2 and suddenly there are 5,
who also carry weapons.

Suddenly this "festival of struggle"
an end and it gets really dangerous.

But the hero outdoes himself.

Mark is the only one here who really
keeps himself straight, as you can see.

Everyone else is crouched
what their treachery shows.

This is a principle of genre cinema:
The sequences are in terms of assembly

very complicated and as far as this is concerned

David Wu, who was very creative,
created the style of the film.

He also created the more tranquil one
Style at CRYING FREEMAN and here

he created a more "jazzy" style.
I told him to do something to me

that should constantly interrupt the
rhythm. He had just been on for 6 weeks

this film when he worked for the
LARGO WINCH series was recalled.

So he had to go and his place
in the middle of the first cuts

Left to Sebastien Prangere,
who really did an excellent job.

He is a young, cultivated cutter
from my clique of crazy cinema fans.

I love it when there are very
long shots after the fight.

Here comes a kind of dialogue sequence
that was turned with the crane.

You can relax a little.
I think for this fight scene

we had up to 300 shots.
I don't wanna tell nonsense now

but it was an enormous number.

Because of this scene there was a big one
Controversy between the producers

Samuel Hadida and me.
He didn't really believe in epilepsy.

I found the idea of epilepsy
very good in the 18th century.

To show a young woman
who is considered a witch,

which is ultimately only sick,
who suffers from epilepsy attacks.

I found it interesting. A modern one
Perspective of these scenes,

that always seem a bit clichéd.
The witch the peasants are afraid of

and they want to burn and there
is only one poor, sick girl.

Here is an incredibly good one
Game of Virginie,

an excellent interpretation
by Philippe Naon,

the movie lover out of the amazing
Films from Gaspard Noe, such as B.

Know SEUL CONTRE TOUS.
He’s in this film,

because I from his work at Gaspars
Work very impressed.

I also wanted to show Philippe in a completely
different way than at SEUL CONTRE TOUS.

I wanted to show that he is a
very loving person. He's also

incredibly gentle in real life.
I wanted to give him that role.

I loved it,
filming the people on the horses.

This is really great.
I am a real western fan.

This is my favorite genre
the ultimate, most beautiful cinema genre.

Impressively,
political and erotic.

For me that's genre # 1.
I was so happy,

to be able to film riding people.
This scene on the way

doesn't look like anything,
but we had to turn it four times

and every time it
smelled or hailed.

Fog came up and made it impossible
for us to shoot this shot.

Each shoot took place on different
days, sometimes in a different location.

We really worried about it.

Some of the many
were made twice.

It was very difficult for the actors:
Come to the set, costumes and wigs

get dressed, get on the horses,
try to shoot the scene

and every time the weather intervened.
That was right hell

it is actually a simple one
Scene. The most complicated scenes

are not the ones that were
complicated to shoot. The fight scene,

that we saw in camp was easy to shoot.
This was hell.

Look at that. It's nothing!
The picture with Jean and Vincent

was made much later.
A few months later

a parking lot in barbizon.

I really wanted to have this
dialogue between the two.

Here, this ride, another scene,
which is shaped by the Hong Kong style.

Within a narrative, in the middle of
the action, a kind suddenly appears

relaxing musical interlude and
that is very typical for Hong Kong.

I love that!

You give the viewer
a little cake,

a treat between two big scenes.

This scene also enables the musicians
to compose something nice.

I always pay attention to the music and
I love film music. I'm a big one too

Soundtrack collector. Here, this one
Abbey, these ruins in the middle of the forest.

We shot it in Barbizon,
WHERE there is of course no abbey.

It consists exclusively of
Props and decorative elements,

that of the artistic director
Guy-Claude Francois created.

He was very different from etchings and
German paintings from the 19th century.

Let yourself be inspired
Fantasy of the 18th century. Were.

Since there were no photos, the painters
made themselves in the 19th century. The fun

the 18th as ruins and sculptures,
that should represent the passion

depicting Olympus as a
kind of strange Elysium.

It was actually a
very romantic idea.

The ravages of time were
symbolized by this kind of remains.

By thinking of these paintings
we created the look of the film.

The hunting scene was
extremely difficult to realize.

William Gereghty, director of the 2nd team,
took care of this scene very much.

He already supervised several scenes at
CRYING FREEMAN. I admire him very much.

He's also very closely involved
Sam Peckinpah worked together.

When realizing complicated
I create sequences first

a storyboard. I prepare it very
carefully and then I trust it

William Gereghty. I know he's
going to spend 3, 4 days, maybe too

for a week.
I couldn't do that

because I have to take care of the
main characters and their presence.

The inclusion of these wolves is really
complicated and he does it very well.

Unfortunately there was an
accident in this sequence.

A horse died in the process.
That was the only accident while filming

and hit and heavy. It was filmed
too and I hesitated a long time

to show it because I love animals very much.
But I hated to show it.

The recording was very impressive
but there was something unhealthy about it.

I hated using an animal's
death for a film.

We were very concerned with
the death of this animal.

Here again small lateral pans
and a contershot between Emilie

and Samuel, who is very special:

A contershot with a cross axis.

That is very complicated. We made it because
the people didn't look at each other

looked into the eyes. So we had no
problem with the viewing directions.

This wolf on the pedestal
stands for the statement:

If there's anything sacred about this
Place there, it's the wolf.

Many people viewed Mark Dacascos
as a figure of Christ in this film.

But for me the white wolf has
something Christlike about it.

In this film everything I believe
in is symbolized by the Indian.

For me, everyone else is wrong.
There is only one character

who is absolutely right here.
That’s why he’s played by Mark Dacascos,

who played with CRYING FREEMAN.

For me it is more than one of mine
Favorite actor. I would say,

he is the ideal embodiment of
what I believe in and if the character

the Indian stands out so well
then it's because

that I in this character the reason
the consciousness of the film invested.

The dead wolves were created digitally.
We took in 3 sleeping wolves

and then reproduced them.
It was very fun to do.

In this scene I got right
Want to make this film.

Then the hero says
that Mani is not a servant

but Indians and his blood brother.
This scene is the trigger for

that I felt like
to make this film.

When I read the script, she amazed me.
I fell over when I read

that the hero’s companion is an
Indian and his blood brother.

Because of this scene,
I wanted to make the film.

But I also wanted him because of this
Make scene after hunting.

Through dialogue, she allows me
to represent that

what i believe in and what bothers me.

Namely, these intolerant
and racist statements.

This sentence by Jean Yanne
"could you be with a woman of ours

Breed breed? "Was very funny
to write at the same time

we wondered who might be able
to pronounce this sentence correctly.

We also wanted it to be
pronounced with all its meaning.

That's why we looked at the casting
Jean Yanne from. In my opinion

he was the only one who could
utter this monstrous sentence.

That's how we went about casting.
Stephane Cabel, the screenwriter,

always asked us who could
best speak which sentences.

Who best embodies the role?
So the casting was based on the text.

And except for an actor who wasn't
free right now because he was

was committed to the theater, namely
Jean-Pierre Marielle, that corresponded

the cast corresponded exactly to the people
that we had thought of.

It is a very interesting technique.
Often you think of the cast

if you want to start,
but here we thought about it much earlier.

We knew we wanted all of these actors.
In this scene is the

Indians like a prince whose dignity everyone
Nobles around this table surpasses.

That is the theme of this scene.
At the same time, it's a funny scene.

It's kind of a comedy
but there is no message.

I had messages in films.
I don't like a viewer

to impose something that
may not be in his view.

If so, I have to slow him down
to make you think naturally

so he knows which side it is
Good and on which evil stands.

But I don't like sermons nor
Scenes with any messages.

I hate the idea of
an "embassy cinema".

The little comedy here helps me
convey my views

without forcing it onto you.

I got a shock when I saw
how Vincent Mark approached and

took off his glove with his teeth.

Vincent is an incredibly good one
Actor. He is amazing.

In this scene, he's amazing.
What he says about his family!

How it works.
How he looked at his sister,

his mother, his father behaves.
That's incredible. This strange

he brings across the subliminal
logic of this family with his game.

As if his game provides all the
keys to all the film's secrets.

Vincent is incredible.
He is a somewhat harsh actor.

He is an actor,
who is fundamentally against everything.

He's against you, against the character
against the scene, against everything.

This is ultimately his way of working.
His way of working thoroughly.

He fears something could go wrong
when things are too smooth

and going too much in one direction.
And he's right there.

From his spirit of contradiction he
draws all the strength for his game

and this spirit also makes
up all of its personality.

Ah, the scene with the brothel.
I think that's my favorite scene.

It is really sensual.

To enter a place and only women,

filming the camera, that is,
looking at me, was very good.

It reminds a little of a carousel.
A carousel of looks, of women,

of shadows and lights, of fabrics.

That was really something
that I took with pleasure.

There was an incredible atmosphere
with this sequence. Everyone had fun.

I think you can see that.

When I finished the sequence
I wondered,

whether I should maybe make
an erotic film one day.

It was pure luck. It was amazing,
to shoot this scene.

I always recorded Monica either
with a mask or in the mirror,

because their character cannot actually be.
It has two faces

and that's why I always filmed them
indirectly. I used a lot of tricks

to be able to record them: mirrors,
Mirror images, masks, veils.

Anything that could cover
her face or change the angle.

And I took advantage of all that
because her character is like that.

A completely opaque person.

This crossfade here and the movement
of the camera was a very good idea.

It was created during the cut.
A very good idea.

The cut is fascinating to me
since I'm actually a master cutter.

I have no training as
Photographer or cameraman.

At that moment I really had that
Impression of actually making a film.

I love assembly.
An absolutely privileged moment.

You can find a lot of things there
and that's where the film comes from.

In its limits and in its mistakes.
But it's interesting

to edit them. When you're shooting,
you're always afraid to forget something,

not to have made the recordings
clear enough. The cut finally

gives us the opportunity
sift through the material again

and make something out of it.
The cut has something honest.

You have what you have. You have
material and you make something of it.

The ideas are good. It is on everyone
Fall those who will stay.

I often use that in this film
Steadycam as you can see.

There were a lot of steady cam recordings.
I have one at CRYING FREEMAN

very bad experience with the
Steadycam made. The Cameraman

and I disagreed and I
said goodbye very quickly

from the idea of using the Steadycam.
But thanks to our Steadycam man Michel

and with our mutual agreement
it was a pleasure for me

to use them. He is a great one
Man and I owe him

some of the most beautiful shots in the film.
A costume film with a steady cam

shooting is unconventional,
it's fun and fun.

Here, where Mark takes off a piece of cloth,
I wanted to have a little godemiche

stand out of ivory. This brothel
was full of slippery antiques.

Here too, a phallic carafe
in front of the mirror,

in which you can see Monica's
incredibly beautiful body.

It's a tribute to the comics.
The pictures are very characterized by

Hugo Pratt, who created COROTO MALTESE.
I love the idea

that the hands of a royal
woman caress these pictures,

that resemble a very nice comic.
I feel for the art of comics

the same passion as for the cinema.
Both are closely related.

This shot of Monica is one of mine
Favorite recordings. I am very happy,

that I was able to take such a picture.
I really feel like a cineast.

Monica is a phenomenal person
I can't say that enough.

It is really an excellent one
Actress. She has during

of the film constantly surprised and I
was constantly struck by its broadcast

seduced the camera. This is pure graphics,
which is very rare to find in models.

The scene where it turns
into a blurred landscape

I call the "Rochemort" scene.
I really wanted to do that.

For me it is a symbol of
what interests me about the cinema:

On the one hand a certain freedom and on
the other hand the director's signature,

in this case this crossfade,
from which you can see

what personality is behind the
Hides pictures. This scene here

was taken in a quarry.
The snow you see falling

actually consists of potato flakes.
This is the most beautiful artificial snow

that you can imagine.
I love scenes with falling snow.

I've always wanted to film that.
I do not know why.

It has something cinematographic about it.
Here the snow prevents the eye

to see everything. The eye has
to find its way through the snow.

Of course it's a kind of
comic or picture book vision.

That is very nice. Here are the
two small children with the goats.

The contrast is enormous here.

The cold snow and in the
church it is very hot.

The poor little children outside,
the rich who sit in the church.

I love contrasts.
The contrast is significant.

What I want to convey about
the situation at the time

I convey visually
not through dialogue.

This is a real gathering of powerful
people in front of the camera.

All these wonderfully dressed people
and the shot with the camera crane!

A la Visconti.

These are privileged moments
in the life of a cineast.

To be able to tell yourself
that you are in control of what

what you're filming.
When I shoot such a scene, the point is

that I wanted to give my life,
my career, was completely achieved.

Here the snow no longer
consists of potato flakes,

but from foam.
I'm not so happy with the result.

I find the snow too artificial.
It looks far too heavy when it falls.

I asked the special effects
manager if he wasn't

had something more poetic and
then he offered me potato flakes.

But we weren't really impressed
by this snow from foam.

It sticks to people. It is not
realistic and not very pretty either.

Here we return to the snow
made from potato flakes.

It's much better, more compact.

Still the quarry.
It all became in July

taken in the middle of a heat wave.
We were bothered by the mosquitos.

Here you don't know if it was
shot in the studio. My good friend

With this passage, Marc Caro really asked
himself: is it in the studio or not?

I always try to turn from the bottom up.
Usually there is always

the framework of the studio, but it's not
a studio here. This is something else.

Then people say
it would be an outside studio.

But no, we use props and the whole
thing went in the middle of summer

bombarded with snow.

This little fun of outwitting the
seasons is almost like a little

sweet revenge for all the weather problems,
that we had while filming.

There were so many weather related problems
and I could say

You got me with the hurricanes and
Rain showers and so on annoyed

for that you get a good one now
Winter in the middle of summer, in July!

As for the boy's body,

which has obviously
been horribly mutilated

the snow allows to hide
the horror a little

while creating a graphically
satisfactory aspect

so the viewer is not so
fixated on the horror.

When Mark sees the wolf at this cave
the scene has something of a silent film.

The wolf shows him the entrance to one
Kind of cave and in that cave

lies the sleeping girl. It looks
a bit like a silent film sequence.

I'm thinking of films that I really
like, namely LE VENT

by Victor Sjöström or the original version
of the film L "'HOMME QUI RIT by Paul Leni.

A film with Conrad Veidt.
I really like these two films.

You have a huge number of scenes with snow,
that are incredibly beautiful

as if you were shooting on another planet.
That strange feeling

may be due to the fact that the
Silent movie seems really funny.

These silent films go so far back
that it seems to us somehow

as if you shot on another planet.
Like this scene here,

a shot à la Nanouk,
where Mani carries the girl in his arms.

There is something original there.
Despite all special and digital effects

I love it when my films
keep an original page.

A scene that I enjoyed a lot
was the council meeting,

where poor Eric Prat, who plays
Duhamel, is removed from his job.

I really like this kind of scenes.
This gloomy

these weird faces, the costumes,
an absolutely beautiful equipment.

The film was only shot outside,
except for the sequence,

where the beast attacks the couple
in the house everything collapses.

Everything was filmed outside with
a real background and this hall

was incredibly beautiful.
He gave beauty to the scene.

All we had to do was film.
Put the camera down and go.

Of course, the gives fantastic
Camera work by Dan Laustsen

everyone a vampire face,
a hammer note, so to speak.

These English films from the 60s

tell of the big topics like
werewolves, Dracula and Frankenstein.

Christoper Lee has often played with
and they had this special aesthetic,

with which they have overcome the time.
That's why we, Dominique Borg,

the costume designer,
who is also a big fan of the Hammer films,

and I also remembered them.
One of Dominique's favorite films

is THE DOG OF BASKERVILLE, which one as
Ancestor who could see PACT OF THE WOLF.

I love the way Samuel
moves in this scene.

I love his easygoing way
how he dangles his legs.

He is intelligent and close to the people.
A real smart fox.

I like his game, his role as a
flawless character, his directness.

I wondered if his game wasn't too
direct and at the same time I think

that in this film all
characters have two faces.

They hide something from others
and unmask their counterparts.

Ultimately, I liked how
Samuel Le Bihan played his role.

The popular hero,
who is completely sincere.

The good boy, the good guy.
It is exactly the opposite

from Vincent for example.

I love the transition from
this gloom to the snow.

You really notice
how to be blinded by the snow.

As if you came into a snowy one
Landscape.

Of course, this is not a real one either
Everything you see here

is artificial and a part was made
thanks to digital technology.

Turning this was very interesting.
I had to shoot 3 scenes on the same day.

With this I needed about 2 hours.
We shot here with two cameras:

One for wide-angle
and sideways panning

and the other for the close-ups.

That's really interesting,
because it's one of the things

that you do when you have one
Must meet the schedule.

Even if the film is known for
that the dates were not kept.

Nevertheless, we tried that day
to do our work particularly well

and record three scenes a day
even if it's not always easy.

But for the time I spent
shooting this scene

I think the result is really good.
It's going really well.

Emilie is excellent.

And the dialogue here is very good.
I prefer the 1st half of the film.

If I'm honest, I think
that the first part went quite well so far.

The mix between the
mysterious action

and I find the moral as well as
the sexual looseness very good.

The characters are well drawn.
But in the second half I think

that I lost control
of the film a bit.

This half is deeper
for me and is more like

what I like as a viewer.
When I look at this 2nd half

I'm a little less excited.
I really prefer the 1st part.

That will be a lesson
to me for my next film.

Here I use a lot of mirrors again.

I love the spotty mirrors. I like the
idea that thanks to the dolly movements

the spots slide over Monica's body.
These spots give the impression

uncovering her character while
passing on important information.

I really enjoyed it
to turn that.

The idea came to me on the set,
but I had already planned all the mirrors,

that I needed for this scene.
It was very difficult to cut.

Through these mirrors and mirror
images, all cuts are actually wrong,

but once the audience understood
that they are mirrors,

I think this visual
chaos is rather amusing.

Monica is stunning
again in this scene.

It absorbs the light incredibly well.

While filming,
she had a few problems with her accent,

since she was constantly commuting
between Italy and France,

to finish MALENA. It is true,
it must have been difficult for them.

In Italy she spoke with Italian
Accent and if they're French

had to speak, he got through again.
With the post-synchronization it has

nevertheless achieved excellent results.
She has returned to her role

found and at the same time added very
good, new subtleties.

Ah, the dream scene!
This scene caused a real polemic!

Not on the part of the producers,
but on the part of the screenwriter

and on the part of the person
who edited the script,

namely Frangois Cognard.
He didn't quite understand the meaning.

And neither am I, that's right.

I just wanted to shoot it.
When I look at her today

I find it completely logical and
it also fits the rest of the film.

It is understood that Fronsac begins
to doubt this woman

that even a feeling of
fear crystallizes out.

Hence this nightmare where Monica is
in the middle of a strange landscape

turned into a kind of
succubus beyond the mirror.

This scene actually
fits well into the film.

But I didn't ask myself any
questions during the shoot

and I find the result
absolutely amazing.

It is very similar to the Mario Bava films
with Barbara Steele, which I really like.

One example is LE MASQUE DU DEMON.
The shot of Monica on the bed,

where her hair looks like a whip,
is a tribute to LA FRUSTA E IL CORPO,

to the Daliah Lavi sequence,
by Mario Bava.

Here is another sequence
of the type I like.

I like to take apart sequences
but I also like scenes like that

especially when they're complicated.
Here z. B. With the crowd,

the horses, the dogs and at
the same time with dialogue.

Turning that is incredibly fun.
When building a long scene you have

really give the impression of making cinema.
In contrast to the short ones.

The spirit of cinema is in
length rather than brevity.

Here we have a little
assembly effect.

He is said to join the efforts of the Russian
Cinemas from the 20s remember

when such fades and
montages were attempted.

This is still a secret reference.
They liked to make these fades,

because it allowed
to create geometric figures.

You can also find them in German
cinema at the end of the 20s.

There is a very well known film called
BERLIN, SYNPHONY OF A LARGE CITY,

that contains many such scenes.
I love the light of this scene

Dan's light in
the hot tub scene.

That's incredible. It looks,
as if it were a painting

but without this stiff, forced
Side of academic cinema,

these are the pictorial ones
Applies references.

Here comes the spaghetti western
again: The guy is sitting in a hot tub,

smokes and talks. The dog comes over.
He also released water vapor.

There is also an aspect from the
Romanesque countries: very physical

and a bit trivial.
Here are the light and the equipment

insanely beautiful. I loved it,
to shoot this scene

because of the personalities of
Johan Leysen and Bernard Farcy.

I loved shooting with
these two actors,

because they're constantly
improvising on the set.

They think up new things all the
time and make jokes while filming.

They have a lot of fun
to make a scene

and figure out their roles.
You put things on one

special kind that I like.

When filming this scene,
I clearly thought of Italian cinema.

The priest catches Mani
how he did his magic in the middle

applied to the girl at night.
Quite typical of the Romanesque area.

As I have said many times

I don't think about references
so often when I shoot.

Sometimes I think of it when I
write or when I imagine a scene.

But when I turn
my head is empty in the relationship.

I think of how I can best
shoot and finish my scene.

When you watch a movie
is it interesting to ask yourself

where the idea comes from. That's right.
For me, the two main ones

Influences Japan and Italy, at least,
what my aesthetic style

and concerns my camera work.

Here it is, for example, Dario Argento.

The way the hero hung the
Considered portraits. Crossfade and

Camera work gives the impression
the character in a way

want to lock up mental dimension.
A dimension that actually

which is his reasoning. I liked that
about this room with these beams.

You felt like you were in your
brain, as if you were suddenly

in the head of this character who asks
questions about the alleged perpetrators.

I looked a little
bit for this effect.

Farre. I think he makes a lot of
himself, but I love that.

I love it when supporting roles
fight for their place on the screen.

And what I like about Farre is
that he plays really well.

In today's French films,
supporting roles are often not noticed.

You don't see them or
you don't remember them.

I liked the supporting roles from
the French films of the 600s,

who fought to be remembered.
And I love that

what Farre does with his role.
He "kidnapped" the sequence for himself.

Here comes a very important scene.
This is the first time you see the beast.

That was a big threat to the film.
I don't know if I did it.

Because I wanted the beast to
remind of its creator’s travels,

also in Africa. So I imagined
it as a kind of voodoo mask.

The scene in which the beast appears
was originally planned differently.

However, it would have been too expensive.
Therefore and for security reasons

had to be shot in the studio.
But that was not possible either.

So there were many in this scene
Frontal shots of the beast.

In my opinion,
it doesn't really work.

On the other hand, we have a very
good job here from Sec Caudron,

a very good technician for digital
Effects and a real artist.

He came up with this kind of structure,
that really resembles a spider web

and is visible across the whole scene.
It really reminds of a nightmare.

I really like the idea of the spider web.

It works like a mental
veil over the scene.

Here's a long shot
that was shot with the steadycam.

You follow the heroes down here.

The dialogue in this
scene was edited exactly

that it is distributed
over its entire length.

It was very cold down there and you
could see the breath of the actors.

I found that very fun.

I used that to compare
Fronsac and Beauterne,

Johan Leysen is playing. He pushed the
Exhale like a cartoon

from Walt Disney,
where Donald Duck faces a bull,

whose breath is constantly
coming from the nostrils.

In this scene I kept thinking
of the Walt Disney bull.

I found that the characters looked
like 2 bulls facing each other.

When filming, strange things
often go through your head.

People often think when
shooting a big movie like this

would you think of great role models
Movies like CITIZEN KANE

or films by John Ford.
In fact, I mostly think of something

completely weird like a small one
Cartoon of Walt Disney,

that I saw a long,
long time ago.

Sometimes the process of
shooting is really weird.

I love Mark's Aztec
attitude and this shot.

I think it looks like an Aztec.
He really looks like an Indian.

That's the great thing about him.
If you make a Japanese out of him,

he looks like this too. Do one
Indians from him, he looks like that too.

In the film I'm preparing
he will play a chinese.

I am sure that he will look
flawless like a Chinese.

In the scene with the stuffed
wolf we had a real groomed animal.

This means that the preparation was
carried out by a real taxidermist.

However, no wolf was prepared,
because these animals are protected.

You can't use them for such
purposes, and that's a good thing.

We used a Canadian coyote

that we had in a freezer.

This coyote was stuffed
in front of the camera.

It was a live preparation.
So it's actually done that way.

Part of the team
literally ran away

but I have to say,
that it was fascinating to film.

This recording was again under the
Directed by William Gereghty.

A very, very good job.
The scene was very complex.

The recordings were very
difficult to compile

and I think the
result is fascinating.

I like the idea that this scene
reminds us of the surgical procedures

by Peter Cushing as Dr. Frankenstein
remembered in the Hammer films,

when he was on the body of the monster
It's hard work.

It's just that it's
an animal's body here.

In this scene,
Samuel Le Bihan has the same stance as

Dr. Frankenstein in the Hammer films.
How he prepares

torture that poor lifeless body.

So far, the film has come
very close to the real events.

That is interesting.

The true story of the
Gevaudan beast...

You could say it corresponds to
the following scene. This animal,

this wolf was demonstrated at the
king's court and the matter was settled.

Until then, the film is novel,
but remains true to the original legend.

After that, it's more my imagination.

This is the 1st scene of the long version,
which is the real version of the film.

For cost reasons,
Canal + people asked me

shorten the film by about 10 minutes.

So that the film could appear four
times instead of three times a day.

Three performances would have
been a bit handicaping, so I cut

some scenes out. I regret it,
but I owe it to them.

Here again the Steadycam.
The girl who is very scared

looking at the camera
that is very italian.

Only they can do that.
This comes from the Gialli category,

Italian thrillers that use these
types of effects in excess.

The camera movements are subjective,
people looked straight into the camera.

This is one of the
Giallo's favorite effects.

It's a very interesting scene
which was really difficult for me

to take them out. When Samuel Le
Bihan comes to the Morangias Castle

and definitely wants to visit Emilie.
I think that was

a very important scene that tentatively
explained the character of Vincent.

Vincent's character is ambiguous.

Doesn't his love for his
sister hide anything else?

No further sexual inclinations?
That suggests this scene.

I often talked to Vincent about it.
This is roughly our version

of the character but I think
everyone can think of their own.

We came up with the following:
This person can actually

except for sleeping with his
sister with no other woman.

He also hides his weakness.

He actually fools everyone with it.
That won't make things easier.

When I shot the Steadycam
in this big room

the confrontation scene between
Emilie, Fronsac,

so Samuel Le Bihan, and Vincent Cassel,
I thought to myself:

Like on a basketball court!

I wanted them to move
that the lighting effects

are on the camera that you really got
the impression of being in the room

together with them that the
production looks a bit sporty, yes...

It's like the scenes in
WHITE MEN CAN'T JUMP by Ron Shelton.

People stand there on one
Opposite basketball court and talking.

And the steadycam revolves around her
records them in the room.

The idea is a bit confused
but the result is interesting.

Vincent is absolutely
terrible here again.

Very amazing.
Really very amazing.

The scene was not easy to shoot.
Mainly because of the inclusion,

where Emilie throws away the portraits.
Of course, portraits fall

never on the right side
and we needed a few reps

to get a shot
where they really fell

The producers accuse me of
such ideas from time to time.

And I think they're right.
But I love doing something like that!

A shot of Versailles,
which we see in the documentary

from Albert Lamaurice
since Versailles today

no longer allowed to record like this.
Versailles is no longer allowed

film from the helicopter. This is
far too dangerous for the building.

I tried to imagine
that Versailles a courtyard

made of porcelain. As if that
People would be porcelain dolls. Completely white,

transparent, made of porcelain,
to really show

how big the discrepancy between
Paris and the province is.

The province exposed
to beast violence

and Paris, an abstract place with
brightly dressed, immaculate people,

which take up abstract,
political and non-worldly topics.

With the close-ups of the gardens,
with their geometric figures

I want to express that you
are here from the real world

is really very far away.
People face each other

express themselves beautifully
speak of things

that are less and less important
but at the same time catastrophic

To have consequences. It is my representation
of the political world, so to speak.

You think you're suddenly
in another world.

The equipment also has
only a geometrical meaning.

This moment is probably one of the most
important in the film. The discrepancy

between Paris and the province.
It's an old French idea

which unfortunately has been used far
too often by people with bad intentions.

It's also an old idea
that Paris is different from the real world,

completely isolated from the people,
in this case just from anyone

Creature is shredded somewhere.

This idea is very ambiguous.
One should be careful with such ideas.

I like the transition from the gardens
to the organic chaos of the forest.

It works well.
It is meaningful.

Here's another complicated sequence.
The sequence with the second shepherdess.

I was told how beautiful they are
Shepherdesses in my film.

That's right, I love the idea
that the shepherds, the victims,

are very beautiful women.
Like in Italian or English films,

where the victims are always very beautiful.
This follows a certain logic

according to which the beast
is led by a sexual psychopath.

The choice of his victims thus shows...
not to his taste,

but more on his aversion
to a certain type of woman.

His violence against a type of woman.
women,

that could possibly attract him
but cannot satisfy him.

He would put the beast on such women.
This blonde and very pretty

Shepherds are a guide for
me, yes.

The course of this scene is again
borrowed from the Romanesque countries.

The idea that a very pretty woman
falls into a kind of mud hole

and that suddenly the camera goes at
her, that she's practically first

from the camera and then from
Beast is attacked, that is

an idea a la Argento. All your
Efforts to escape are astounding.

All the more because the reactions
of the little dog emphasize them.

The presence of animals in this
For me, film has a dual function.

You me enables me

to incorporate natural elements
into artificially created scenes.

The scenes with the beast were
generally created artificially.

But when a dog or a wolf looks
at the artificial creature,

I find that again
Balance is established.

A balance between the
natural and the artificial.

So this is my humble contribution
to the scenes with special effects,

to restore the seriousness
of the situation.

This is typical of our cutter
David Wu.

These stopped pictures in the mud
you had to be able to do that.

The girl is literally
frozen with fear.

I loved it when I saw that.
They also told me a lot about it.

It was often said that it was too much
too confident, as they say,

the staging was too confident,
but how much I like it!

How good that looks.

What courage to bring something like that.
A stopped picture in such a scene!

I love that about David Wu.

This is genius,
to be allowed to film in such a cathedral.

This is an ingenious background backdrop!
At the same time you have space

to place a crane for camera panning.
It is very pleasant.

That was also an important scene
where the two heroines

meet and I find it
extremely important

that women just meet.
They are also very different.

They really appreciated each other on the set,
for one, because they are both in life

are very generous and secondly,
because both are exceptional.

It is very pleasant,
to let them meet.

It's a confrontation between
this being that Monica represents

and this block of life and youth,
that Emilie Dequenne forms.

I think I need a certain
type of woman in my films

because there were very similar
types in CRYING FREEMAN:

Julie Condra who
played the young girl

and then Yoko Shimada,
which is extremely sophisticated and feminine,

which is very beautiful and very large.
And in this scene here

we have very similar types of women.

I'm not aware of these things.

That comes naturally
to me when I write.

Sometimes I should take care...

At the same time, directors
somehow always make the same film.

Monica's finish is very reminiscent of Cocteau.
Frankincense hovers behind her,

the door was naturally
opened for them...

It goes through and it
automatically closes behind it...

I regretted losing this scene.
The scene in the harbor.

I shot this scene in England,
because there are such ports in France

no longer exist with large masters.
The extras here were incredible!

These people play extras
scenes all year round

and develop an incredible skill.

These are people, these are the places...
These people live in the small town

close to the port, they are impeccable!
Take a look at these extras.

As if they were playing your own life.
Great! Great!

Here we worked on the colors.
Dominique Borg suddenly asked me

if she could color everything blue

except for the two heroes who are more in
Leather and warm colors are dressed.

And always Mani, heaven
closer to spirituality

when he was the man
who sits on a mast at height.

This man is closer to the gods
than to people. That's why he dies.

It was also shot very quickly.

The tide came and the ships
had to leave the harbor again.

I think we shot this
scene in two hours.

Here we are back in the Gevaudan.
The wolf is still there.

I like this confrontation
between the pagan symbol

that the wolf embodies
and the Christian, the Jesus.

Both peacefully side by side.
And I like the camera work

along the rider's body.
It can always be done well.

It is rare to see a
howling wolf on the canvas.

Another wolf was locked
up in a cage not far away.

The two struck. I used that
to turn the howling wolf

who greets the heroes when
they come back to the region.

Here is another dog
another trained animal.

Here we filmed in a small abandoned
village that you saw 100 years ago

converted into a sheep pen.
It is a real 18th century village.

It is in the middle of the mountains
and it is very difficult to reach.

With the artistic direction,
we have turned it into a real village.

We built roofs and a little
bit of everything for that.

It looks like we shot in the
studio, but no, that's one

real 18th century village,
that we have prepared a bit.

People feared that it
could start raining again.

That they get stuck in the mud
when it rains again.

And that the trucks get stuck.
But then everything went well.

It is often the case that with certain
Scenes takes everything into account

especially the worst
and that nothing happens at all.

Problems then arise
with very simple scenes.

The trees are of course false trees.
Always make up the reality,

install a small transition.

This is the only scene
that was shot in a studio.

The scene in the house. Very complicated!

I think working with
the special effects was

very brutal with the digital
effects of this film.

Almost a kind of defloration,
I would almost say.

Edit digital special effects,
is really not very easy

but you just have to go through there.
This is one of the means

that are available to us.
It’s like a real education,

since the French
technicians are not used to

to act with special effects.
You still have trouble

to record them in their
normal work on the set.

It is not easy for them.
But we will learn all of this.

That will come. There are people,
who handle it very well,

because they are the pioneers
in France for such things.

Caro and Jeunet z. B. Real
Pioneer in special effects.

That applies in general, but for
It’s still difficult for people like me.

This is a sequence...
Well, what can you say about it?

It caused us enormous problems.

I wanted two different types of
action, dynamic.

First the dynamics of the beast and the
that starts from the collapse of the house.

One always hopes for a small plus
point from scenes with special effects.

I've brought a lot of destruction here
in addition to the appearance of the beast.

The bars fell over, everything shook...

That was my way of saying:
There is a creature here

and everything will collapse.

It was not easy to turn.

All in all, it works quite well
and looks good. Especially,

because it's in a closed
Space plays. The camera operator here

was also very delicate.

There was a lot of talk about the beast.
Some didn't like them at all.

But it belongs to the film and
I think it corresponds to it.

The beast is made up of
this strange composition,

that looks a little patched up.
A little bit of that and everything.

I think our beast is really
the Pact of the Wolves,

which is itself an outrageous film.
It has a somewhat strange side.

That's why I think it really
fits the film. I am happy,

because in the end it gets touching.
All the work you do at Henson

put in the eye, the way
to make it really come alive!

Many people were firmly convinced
that I'm a real lion

had stuck under the tank.
But it was simple and moving

a composed of many parts,
agile creature. A puppet.

Ah, the pumpkin scene.

A typical example of a
very long dialogue scene,

which I tried to liven up
a little by the staging.

The idea is
that they shoot pumpkins.

Overall, it works quite well.

It even looks very funny.

We filmed pumpkin
explosions for days.

Will Gereghty took care of it.

They blew up pumpkins for days.
They were full of pumpkin juice.

That was very strange.

That shows that my cinema
is still very... childlike.

I mean, I’m not really getting
through long dialogues,

if nothing happens in between.
Recordings like this really show

how desperate I am when I have four
pages of dialogue in front of me.

But all of that will come.

It is true,
that I'm always exaggerating a bit

A very nice Tomahawk throw.

In a way, he opens the
third part of the film.

From here on it gets
really barbaric.

The absolute genre film.

And as I said,
I prefer the first part.

Many fans of genre films
preferred the second part.

If I want to be honest
with my work as a director,

I prefer what we saw at the beginning.
The first 40 minutes.

Here I find that my
soup is too thick.

It starts to form lumps.

But I think that the enjoyable
euphoric aspect

doesn't save the film.

I think when you see the film
you can't deny

that we had a good time and that we
also entertained the audience well.

I think,
that convinced the audience.

That is why the film was
so successful in France.

This film is euphoric cinema.
It was made by people

who really enjoyed it.
This is the scene of the arena

which also shows what I was
going to do with the film.

I wanted him with a certain one
Connect reality in France.

I have often asked myself
what a young audience

could be interested in such a story.
Finally I found it interesting

to find everything in history
what about the state of France

remembered today.
The way young people know it.

For them, the 18th century Far away,
the clothes are like a costume for them.

But if you see such a beast
in a basement or in a cave,

that is trimmed like a pit bull to
fight, a light suddenly comes on.

You understand the social aspect,
that this scene is supposed to express.

I always tried to combine
the scenes with modernity

that it appeals to today's
youth and is familiar to them.

Here it is the connection to the
Fighting dogs in the cellars of the suburbs.

I find that completely off-putting.
However, it marks usage

of animals as instruments for
Use of violence in society.

That is one of the topics in the film.

Here is another contershot,

this time with just one swivel
on one of the participants.

This technique is very mature in the
United States. You swing on the actor

who listens and picks up the
speaker with a fixed attitude.

In this way you emphasize
that the speaker is more important.

On paper that's insane
but it comes across very well.

I got this scene on July 14th,
on national day, filmed.

The planes were heard all the time.

We were already 1.5 months late
and it was raining and raining...

That was completely dubbed.
You could hear the rain on the plastic tarpaulin,

that protected the two.
It rained and rained and rained.

It was awful. I didn’t understand.
In the middle of July this storm.

We were damned.

Mark with his mohawk tattoo.
It's a real mohawk tattoo,

which I found in a very
beautiful English painting.

It is the first mohawk ever
seen by anyone from the east.

An amazing tattoo,

that reminds of some video game heroes.

It is a real mohawk tattoo.
That's the great thing about it.

Reality often brings you
more ingenious things

than you'd like to believe. The pure
Graphics are not necessarily the best.

Often in history,
research in documents.

Those are the things
which can then convince you

and also bring an
amazing dimension.

Like the coats at the beginning of the film.
This tattoo is real.

Here he was supposed to
delirium under Indian drugs.

The sequence was very sophisticated.

You should consider the forest
Represent underwater world.

The character of Jeremie Renier
would have found himself in a forest

that would wave like...
yes, an undersea forest.

As a plankton, there would have been
some kind of phosphorescent cloud,

that would have moved through the Walt.
It would have represented the forest spirits

that practically
penetrated Mani's body.

Mani would have done some
kind of Indian blood dance.

The realization would have been very
complicated and one would have to do it

can only use digital means.

Unfortunately it wasn’t filmed,
because the budget wasn’t enough.

Here we have the chase sequence,
which quickly became a nightmare,

because the weather outwitted us.
As you can see, everything is green here.

We shot here in a quarry,
that's why I chose it.

The quarry was reminiscent of video
games due to its polygonal outline,

for example to TOMB RAIDER.

I decided to make the
scene like a video game

namely with a uniform color.
So we have this kind everywhere

green mini lawn set,
a swampy, almost monochrome

and create strange backdrop.
I spend a lot of time

with video games.
I think they are a certain language

that is developing. I know,
the purists will be shocked

about my utterance but i think
in the field of video games

is currently doing a lot and they are
currently in a very similar state to

the cinema at the beginning of its development.
A new mythological language

that interests me. That is why this
scene is structured like a video game.

The character has to fight the boss,
so the creature that's difficult

is to be eliminated and a whole
series of traps to be avoided.

Only then can he eliminate this creature.
He has to go through all stages,

so that he can win.
This scene was very complicated.

We had a lot of axes in the
camera work and the recordings.

Then there were the beast's attacks.
For me it was an experiment.

These scenes with the special effects,
as you can see here

will have major ramifications
for the next films.

But I think that goes too far
because in the language of

There are special effects
Traps to avoid.

This was filmed again
in different places,

so in Mezelle and in the Pyrenees.
When Mani goes into the big cave

that was filmed in the Pyrenees.

I think one of the big problems
with the movie was effectively

that was constantly filmed
in distant locations.

Mani enters the
villains' grotto.

It's like a comic.

It shows all the cartoon
characters for children,

which were very
popular in the 700s,

that I devoured as a child in a
holiday camp. There were z. B. A Tex.

And there was always someone
who entered a hell

to fight the bad guys.
Generally he got away safely.

Only this time it’s not like this,
and that's the difference.

It's funny how much reality
has made sense of the comics,

where heroes like Mani always got away.

In today's genre cinema, the death
of this type of hero is permitted.

This fight scene was the least
liked by everyone in the film.

Why?

Because it takes place in too small a space.

If the fight had spread
to a larger room,

would have seen Mani try
to escape his attackers

it would have been a lot nicer.

But here it is too narrow.
That happens to the others too.

They are actually
constructed like a ballet.

Therefore,
they are always circular.

The decor is also structured in this way.

I would have liked to emphasize
Mani's attempts to escape this trap.

What saves the scene
is Mani's barbaric appearance.

It was a big decision
To let mani die.

A real risk.
Would the audience allow it?

Would you accept it
that such a personable character

just shot like a dog and then
carried away like garbage?

That was a risk.

At the same time, this death scene
contains the correct meaning of the film.

What I wanted to express
was symbolized by this death.

The fall of the angel.
You throw your body away.

The body falls...
like a beaten angel.

I find the presence of the wolf
very touching in this scene.

The wolf takes its true place
That said, he's really Mani's totem.

The totem as a gathering point of souls.

Represented by the cramping
Hand and the wolf in the background.

A possible connection between the
Animal and man are hinted at.

Maybe the wolf takes
in part of mani

and thus later serves his revenge.
That should convey this sequence.

That was filmed in a landfill.
The garbage was removed beforehand.

With these rocks that was
a very nice background.

It kind of reminds me of
the background backdrop

z. B. The Scott films,
but which were filmed in studios.

What you can find in nature...

A landfill can become
an enchanting place.

You only need a few mushrooms,
some fern and a nice light.

We shot the autopsy scene in the
Sacristy of a Catholic school.

That was near Lourdes.
A fire destroyed the paintings there.

It was a beautiful backdrop.
It had burned.

The paintings impressed me.
There were brutal scenes on the walls.

Pagan paintings. The pagan
Side of the Catholic religion.

They were executed, martyrs and
bleeding people. I found it interesting

that this hard and morbid scene
took place under this vault.

The hero had to have the body of his
Take apart friend,

to reveal the truth.
The game in this sequence was

get that flickering light.

We installed light sources on
Swivel rails and have them

moved very slightly,
which gives the scene a nightmare aspect.

The hero's revenge begins in
Film a whole series of action scenes.

Sometimes the necessary
connections may be missing.

I think this fact disappointed
me a bit in this part.

Here it sits deeper. This half
consists of the "desire for scenes".

It dominates the desire to tell
that we had in the first half.

Here you are carried away
by a current of events.

I have to pay attention to that.
I have to take care

that my lust doesn't
affect me too much.

Even if cinema is a
question of pleasure.

Directors have the ambition
to return to the original scene.

The scene you saw
as a child one day.

By which you started to love the
cinema a little irrationally.

It's really great fun
to make such command sequences.

The hero attacks the camp.
He'll fight the bad guys.

Here you really have fun with the camera.
It's like a hide and seek game.

The camera work with the actors is
always a hide and seek game, this one

through the hero's hide-and-seek
game with his opponents.

Many directors love
these types of scenes.

The unconscious fun of the
The staging is thus doubled.

When I shoot scenes like that
I could explode with joy.

I love it so much.

I imagined that
Equipment would be completely rotten.

The hero is so angry that
he kicks people in the butt

hurls through the walls.
It worked very well.

He looked like a bull.

This scene is really
extremely violent.

Maybe a little too much.

That looks very bad
THE TEXAS CHAINSAW MASSACRE.

The atmosphere of a slaughterhouse.
These red colors,

the walls from which the plaster crumbles,
these feverish executions.

Something that is obviously very much of
US horror films was influenced.

I'm not even talking about this
Kind of slaughterhouse on which the bad guy

hides his crimes and hides
his sinister sick soul.

He enters a place that represents
the soul of the villain. This soul

that was shaped through all the
travels and godless experiments.

A very, very nice equipment.
This kind of lumber room,

which may lead to the lord of
the beast is very meaningful.

Truly amazing.
That is the good thing about such films.

Everything, whether it's the
Costumes, or the equipment deals,

supports each other.

In other words, at one point the
Staging something, the sound comes,

the equipment or the photographic
Work on this lack.

If you make films with everyone
Occupations are involved,

there is something like mutual
Competitive that is incredible.

So you can be almost sure
that every sequence is convincing.

Although I think that in this case the
narrative is somewhat disadvantaged.

At the same time,
I love to shoot scenes where the character

coming through different places
that bring him closer and closer to the goal.

I find this procedure fascinating.
Here he goes down.

The hunting ground is connected to caves,
in which the beast is drilled.

I think,
the whole thing worked well.

In the second part of the film, the
narration is taken over from the staging.

It is represented by a
sequence of recordings.

So I think
that there are two films in one.

Usually there should
have been only one.

Mani being tortured.
A picture full of violence.

The scene was originally much longer
and was deliberately shortened.

The pictures were too brutal.
They were accelerating slightly

turned to them this feverish,
to give a painful impression.

It's an interesting sequence
when he burns his friend.

Here again the two
religions face each other.

The pagan, Indian,
indigenous religion on the one hand,

the Catholic religion, on the other hand.
It is shown very sinister

and at the same time stands
for mass dumbing down.

The hero stands with
his back to the priest,

while his friend's body
is devoured by the flames.

At this moment the film is
flooded with pagan images.

They point to the way of salvation,
to the "emergency exit",

given the overwhelming demands
of the Catholic religion.

For those who haven't
noticed, I admit

that this film is very ancient.

You can even wonder

whether part of Mani's soul may
not have passed into Fronsac.

He begins to behave like an Indian.
He even wears clothes

of his friend and later he even
wears the war paint on his face.

That is really the idea. The idea
also comes from the Chang Che films.

Chang Che was a great director
of Chinese sword films.

When a character died, he often let
that soul pass into the other's body.

When one died, the other caught
Character suddenly started to resemble him.

Or he began to take personality
traits from the deceased.

As if it were necessary for revenge
that the deceased helps the avenger.

It is a very special idea.

Here again a fascinating one
Supporting role: Hadji-Lazaro.

He does it the same way as Farre.

He seizes the scene.

He plays "over the top".

He gets the best out of himself
when he plays his character.

And I love that.

This scene was very difficult to shoot
since we had ventilation problems.

Because of the smoke from the torches.
We often had problems like this.

The smoke from these torches fills that
Space and equipment very quickly.

He attacks the material, such as the Cambo.
This little screen,

which enables me to see what is
currently being recorded with the camera.

The smoke harmed material like this.

The idea that people eat
when the puzzle is solved

comes from spaghetti westerns.

You have a very trivial
dirty way of eating.

That also comes from
the Romanesque area.

In addition, it is very logical
because the dish is poisoned

and the hero will feel the consequences
for himself. This is funny.

It brings a bit of
life to the scene.

Leone was really the specialist
for this kind of idea.

This Leone, we miss him a
little more every day...

At this point the film exists

only from the following
Events, from feature pages.

Every scene ends with a surprise,
that arouses new interest every time.

That is the essence of the feuilleton,
that was initially a literary genre

and became a cinematographic genre
through the impulse of the serial.

The logic is just that of surprise.

You just take the events.

The characters are
exposed to the events.

With this rhythm of events,
the characters emerge.

Farcy becomes a much more dangerous one
Character than you originally thought.

Lafont makes on disgusting
Way to little Emilie.

Then there is the revelation
of Vincent Cassel's character.

Now the film is the emotions

all deep seated,
Instinctual exposed.

You are not far from chaos.

Do you read z. B. LES MYSTERES DE PARIS.
If you read Eugene Sue, you are from the

incredible violence in his
Written documents, totally shocked.

The characters suddenly turn out to
be murderers, madmen, serial killers.

These are exactly the
characteristics of the feuilleton.

Through his characters, he brought the
People flirt without taboo.

Everyone on the
canvas is freaked out.

Everyone shows their dark,
ominous side.

The funeral was the first scene
that was filmed.

The first shot of the
first day of shooting.

It was very quiet
but we were going to warm up.

There's a little crane movement here,
then the first female shot of the film,

Monica in her blue dress.

As I said, I work at the cinema
based on these recordings.

To take in a beautiful woman
is always a great satisfaction.

The film is very close to the end here.
One notices sins of omission.

And there is an excess of
actors, of events

and revelations. At the same time,
it's about the essence of the film.

Still, there are so many characters
to deal with.

I became aware,
how complicated everything was when shooting.

When I read the script
everything seemed easy to me.

But suddenly I had to go with them
Characters whose sick psyches

and handle the many
different situations.

I realized that maybe
I was aiming too high.

It's a scene that I really like.
The whole scene of the room with Emilie

I think I did a good job.
It belongs to the scenes

that I look at and
find my work good.

Even if I'm forced to
to say it.

I'm on the home stretch right now.

Fortunately, for the time being, it's
probably the last time I've seen the film.

Because once you're done with a movie,
it doesn't mean that you can do it

no longer has to work.
You have to edit the digital effects,

make the transfer, the masters for DVD,
Prepare TV and tapes...

You are locked in like in your work
and that resembles your own hell.

Now I know that I won't be
seeing this film for a while

and I'm happy about that.

The scene with Emilie and Vincent
is a very daring thing and I think

the actors support
them very well.

In the beginning it was much more disassembled.
Then I decided these long ones

To take pictures. I wanted to
cut them as little as possible.

The breaks through this
I like close-ups very much.

This is theatrical and at the same
time you are in the equipment,

inside the scene,
the actors move around you.

The camera stays on them
the actors can develop.

I understood the complex spectacle
in this scene. I thought,

the more I take the scene apart,
the more it works.

It is obvious that Vincent made
something incredible out of this scene.

And Emilie as well.

It was really amazing what he
had to express in this scene.

He reveals shared experiences,

what he has been hiding
from his sister so far.

Vincent shows the scope of
his talent in this scene.

Especially when you consider
that he's in the movie at the same time

THE PURPLE RIVERS played and
played a completely different role.

I was always a little scared
To use Vincent.

I first thought he was a very
natural, realistic actor.

That he really is an actor
for Matthieu Kassowitz.

He is a director whose
work I find admirable.

When I saw him in this scene,
I realized how diverse Vincent is.

The idea of how to play an insane
version of Fellini's CASANOVA.

Casanova played by Donald Sutherland.
It was very strong.

He has such a whimsical, unexpected
Side having a contrast

to his others,
forms more naturalistic roles.

With that, I think he shows
the extent of his talent.

Here is a part of the recording that I like.

The moment he turns
to his sister.

This is something i like.

The girl's movement,
that recognizes the type that

turned to her in a kind of corset.
Here he looks really terrible.

This recording worked and there
is something strange in general.

I argued with Vincent that day.
Who didn't want me to see him with that

Take your back to me. He was afraid,
that I miss some of his game.

But he played so well that himself
His back and shoulders played.

So I thought you could
shoot him from behind.

I am looking forward to,
to make a new film with him.

As a completely different character
which is of course that of Bob Morane.

It's wonderful to work with
an actor who can transform.

A director is looking for a continuing one
Relationship with an actor.

A friendship, a tacit one
Agreement like I do, for example

to build up to Mark Dacascos.
And the character is different every time.

You don't build a lasting
relationship with an actor

so that he does the same thing every time

Here comes the finale.
The night scene at Abtel.

It is a great tribute to the decor
of Italian cinema in the 1960s.

Especially the films from
Riccardo Freda and Mario Bava.

These red costumes, these masks,
this apocalyptic atmosphere.

At this point the film is
just an expression of my joy.

There is no logic.

There is only what I wanted to do.

The work of the stuntmen is in this
The scene is really great.

I was a little afraid of that
Kill character of Mark Dacascos.

Because he's an excellent fighter.
He has had his whole life

engaged in martial arts.
Suddenly you try to kill him in a movie

show up with the actor who is
significantly less trained than him.

This could have been a danger.

But I have to say,
Vincent and Samuel have

enormously invested in the next scene,
both physically and athletically.

It is really amazing.
I was so happy

to show French heroes who
could fight with such skill.

It was a real pleasure.

I watched Hong Kong cinema for hours.
This scene hides everything

what I've learned from it.

It's not just about fighting or
Staging, blows and movements.

It's more about the meaning
who is behind it.

What I like is the idea of the
Knighthood as an apocalyptic expression.

The knighthood in Chinese cinema
is part of an accomplishment.

It appears at a time,
at an era that is coming to an end.

It stands for it and it expresses it
Chivalry a very specific,

very violent,
very messy and very barbaric state.

And this is really an era.

The last heroes keep
fighting each other.

According to them, it's over.
The idea that the hero

scalps the bad guys,
was a lot of fun here.

The idea that a French
hero has Indian reactions

and I thought it was great how an Indian
reacts when he kills his opponent.

There are so many cuts in this scene.

You have to consider setting one up
Recording takes at least 45 minutes.

Now and then I think:
So much work for recording

which sometimes only last
a fraction of a second.

In fact, it's still interesting for
me, and it's still convincing

to bring the genre film.
Especially the French coat and epee films.

I wanted to shake
and shake this genre.

I wanted to know if it was possible
to advance this genre.

Further than that
what to expect.

It was a kind of bet that
I wanted to stick to.

With the risk that the audience
will not accept the film and say:

No, this is not possible,
you can't go that far.

But that was the bet. I wanted to
expand that, to cross the borders.

Here are the weapons that
the different characters use.

They symbolize their
psychological state.

Samuel Le Bihan is fighting B. With the
Twin sword that his relationship

to Mani, who is absent, symbolizes.
He represents the two characters.

He is Mani and Fronsac at the same time,
so use the twin sword.

The other uses a kind of bone sword.
It is reminiscent of the arm.

The arm he was hiding.
An ominous weapon that turns

turned into an insidious weapon.

I got that from Asian cinema
Fetishism adopted for weapons.

You are given a real psyche.

The psychology of weapons is something
very special in Asian cinema.

Here the two actors
do their very best.

That's crazy.

Sebastien Frangere built
this scene completely.

David Wu was no longer there
when we recorded this scene.

That shows how Sebastien does the tricks of
David Wu learned and recorded.

How feverish do the fights seem?
I don't know if that's a little too much.

At the same time,
a director should always do what he wants.

Whatever he dreams.

If he crosses the borders
it doesn't really matter.

He can go back a bit in the
next films and dampen his lust.

It is true that as a child I always
dreamed of doing scenes like this.

The opportunity to do that
is a kind of liberation.

I got everything out of myself.
You can see that, I think.

All that energy that I have with this
Staging.

At the same time I can say today
that I did it.

I think I have
dealt with myself.

I love the picture of Vincent,
who is resting on the floor.

It suddenly becomes a kind of chimera.
Half a man, half a woman.

With his hair spread out.
It is very bizarre, very strange.

Here the great danger
to make an end after the end...

Putting the end in, even though
you've got the big thing behind you.

Very dangerous, very problematic.

The audience is less and less used to it.
That is also a problem today.

You think you have memories of
Movies, memories of masterpieces,

where the narrative structure
continues until the end.

Today’s cinema,
especially American cinema, tends to

to give people what they want.

And then send them out as soon as
the film has fulfilled its role.

All blockbusters end
with an impressive scene.

With lots of explosions and everything.
There was still a lot to tell here.

We still had a half
Turn the coil. It was'nt easy.

The scene when the priest
flees from the wolves

was the director of the second team
Shaun O'Dell headed

who replaced Will Gereghty,
who had another job.

The inspiration for this scene clearly
came from the passage of the film

MARIANNE DE MA JEUNESS by
Julien Duvivier.

A girl commits a gruesome act.
She strangled a deer

afterwards she is pursued in the
forest by deer who trample her.

The revenge of the animals. I saw the movie
when i was very young

I always remembered him.
I like Julien Duvivier very much.

He is undoubtedly one of the
classic French directors,

to which I feel very close.
I like the way he wants to do everything

its versatility and
Experimentation.

The difficulty with which his
work can be grasped today...

One wonders what exactly he wanted
to do because he made so many films

has tackled so many different genres.
This is very interesting.

It's true that there are also
cineastes like Becker at the same time,

which is a better performance and
Have brought quality relationship,

but Duvivier is definitely the one
that fascinates me the most.

Here you come to a very delicate
Part of the film where past

and the present mix
WHERE two epochs of film

merge, which is also done
with special effects.

We had a good storyboard for that.
In contrast to CRYING FREEMAN

there is rarely a storyboard here.
I only used it

when I had scenes with the beast.
But for this passage,

the fusion of two epochs,
I prepared one very carefully.

And I think we
got a good result.

This is really pure cinema.
It's a feature of cinema

Visualize things that cannot
be expressed in words.

One cannot describe how
two epochs merge into one.

You had to emphasize the melancholy
of this passage. This means,

this was probably the only one
Adventure that the character

by Jeremie Renier ever experienced.
This character who is constantly

of adventure, from far away
Countries dreams like its fascination

towards the Indian and the researcher,
who came back from America shows.

In the end you realize that this
was probably the only adventure

that he would ever experience.
There is a lot of melancholy there.

You understand that he's the storyteller
that Jacques Perrin is playing.

After all, you understand what
connects him so much to this adventure.

Once in his life he was
involved in a novel story.

He met fantastic people.
That was his only great experience.

He grew old without realizing it

and today he's going
to be put on the stake

although he's one of the privileged
Is a witness of his era.

A privileged witness to the problems
which led to the final revolution,

that brought about
the French Revolution.

I was also a little scared here

in a kind of nostalgia to the nobles,
opposite the monarchy, slide in.

I had to be careful.
I hope you understand

that the character is not good
because he belongs to the nobility,

because he's from the common
vengeful rabble is brought away.

He simply embodies
the idea of adventure,

the one with the transition to a new one
Epoch, to modernity, flies away.

I really love my
beast in this scene.

The scene in which she rests in
the dust and is ready to die.

You can feel the pain of
the animal under this shell.

This is a scene that I like a lot.

I try not to describe it too
much, rather to avoid something,

because I'm interested in
the pain in the beast's eyes.

Jim Henson and his technical
team did a great job.

I was very scared
that the eye doesn't look realistic.

Or that the animal's tongue
would not be realistic enough.

In the end it turned out very
well and not a second you think

that a fake animal is hidden
under this strange tank.

This tongue is very realistic.
It was made from gelatin.

The whole thing depends on
the quality of the spectacle

underlined by Samuel and Philippe,

which is a very strong emotional
Represent relationship.

There were so many conflicting emotions
which one in this scene

about life, about getting old,
about the changing age

had to mediate
that it was really problematic.

A friend of mine
underlined the fact

that it could be dangerous

to represent the amount
anonymously and vengefully.

That it might not be
politically correct.

He’s probably right

but I didn't know how to
do the scene differently.

The character of the
Indian is interesting here.

It ultimately closes the circle.

His death provoked the solution
of the film and in the end

his ashes are thrown into the sea.

This helps
to emphasize its importance.

The ship is also called
"Brother of the Wolf".

It's hardly noticeable
but shows the development

from Fronsac through its
Relationship with Mani.

The heroes also sail to Africa,
that's a strange idea.

You're sailing towards a continent,
who was terrible at the time.

It's very unconventional like this
Shot where night falls.

For me it is the solution to the film:
Marianne didn't survive

this ending is a wish of the
marquis Perrin is playing.

It helps him to go to the
stake to accept his death.

He dreams of a happy ending
that doesn't exist.

But those who want a
happy ending have got it.

And those who want to
think about the end find

that it's a wrong happy ending.
That it's a melancholy

Happy ending goes,
which actually hides a kind of despair.

I wanted to put this end to the film.

I don't think I will watch the
film in the next 4 or 5 years.

In any case, I thank you for
that you listened to me

and that you see me through that
PACT OF THE WOLVES.