Original subtitles

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.