1 00:00:06,370 --> 00:00:08,870 A killer tire in the American desert. 2 00:00:10,149 --> 00:00:12,030 A man with a fringed jacket 3 00:00:12,131 --> 00:00:14,331 who dreams of being the only one in wearing jackets. 4 00:00:15,889 --> 00:00:18,330 A gang of thugs rejuvenated and quarrelsome 5 00:00:18,431 --> 00:00:20,811 who call themselves the Chivers. 6 00:00:20,917 --> 00:00:23,417 A prolonged detention until dawn. 7 00:00:26,583 --> 00:00:29,976 A guru who kidnaps dogs to teach their owners to love. 8 00:00:32,415 --> 00:00:34,082 The films of Quentin Dupieux, 9 00:00:34,183 --> 00:00:37,509 who is also the musician Mr. Oizo, They don't look like any other. 10 00:00:37,743 --> 00:00:40,303 They are unusual comedies, labyrinths 11 00:00:40,404 --> 00:00:42,836 that trace a universe particularly unique. 12 00:00:43,390 --> 00:00:44,703 I can't get up. 13 00:00:44,877 --> 00:00:48,430 I can't get up. I'm glued to the seat. 14 00:00:51,570 --> 00:00:53,196 This unclassifiable director, 15 00:00:53,297 --> 00:00:55,556 who preaches what is false to search for the true, 16 00:00:55,657 --> 00:00:59,469 who shoots one movie a year with a small team of faithful collaborators, 17 00:00:59,570 --> 00:01:01,875 and with whom all the actors they want to work, 18 00:01:01,976 --> 00:01:05,042 accepted for the first time open the doors of one of their sets, 19 00:01:05,143 --> 00:01:06,895 during the filming of Daaaaaalí! 20 00:01:06,996 --> 00:01:09,390 It's the same car as John Lennon. 21 00:01:09,730 --> 00:01:12,903 Cut! Cut! There is a time problem... 22 00:01:13,601 --> 00:01:15,015 After your first line, 23 00:01:15,116 --> 00:01:17,376 he answers you and there you can start to slow down. 24 00:01:17,477 --> 00:01:19,516 Seems like you start off a little fast there. 25 00:01:19,617 --> 00:01:21,690 It's not resolved at all. Move forward. 26 00:01:22,790 --> 00:01:25,623 We skated on the sand. The car is too heavy. 27 00:01:25,910 --> 00:01:28,063 Who are you on this planet 28 00:01:28,164 --> 00:01:32,010 to judge the weight of a Rolls-Royce? 29 00:01:32,291 --> 00:01:34,990 I'm sorry, Mr. Salvador. We're stuck. 30 00:01:35,477 --> 00:01:37,497 You don't know how to drive! Step aside! 31 00:01:47,928 --> 00:01:49,933 We meet him on three occasions: 32 00:01:50,034 --> 00:01:53,321 In a place where there was filming, later, driving in his car, 33 00:01:53,422 --> 00:01:56,300 and finally, in a cheese factory, where he had scheduled us. 34 00:01:56,404 --> 00:02:01,250 I will give you this camcorder almost new digital. 35 00:02:01,371 --> 00:02:02,744 I tried it recently. 36 00:02:02,877 --> 00:02:04,832 It works like it was newly manufactured. 37 00:02:04,933 --> 00:02:06,106 The camera of Le daim! 38 00:02:06,413 --> 00:02:08,826 We use it to film to our guests. 39 00:02:12,263 --> 00:02:16,503 Quentin Dupieux FILMMING MAKES YOU THINK 40 00:02:17,003 --> 00:02:20,396 Who is Quentin Dupieux? How do you make your films? 41 00:02:21,450 --> 00:02:24,156 Our story begins in the late '90s 42 00:02:24,257 --> 00:02:28,116 with a meeting with the DJ, producer and French composer Laurent Garnier. 43 00:02:28,510 --> 00:02:31,170 I met Quentin through his father. 44 00:02:31,337 --> 00:02:36,769 Everything happened because they lived in the house right opposite, 45 00:02:36,870 --> 00:02:40,581 On a small street in Malakoff, right in front of his father's workshop. 46 00:02:40,683 --> 00:02:42,689 Every day when I left my house, 47 00:02:42,790 --> 00:02:45,249 the father was on the sidewalk smoking his cigarette. 48 00:02:45,350 --> 00:02:49,597 And one day, he tells me: "My son makes short films." 49 00:02:50,730 --> 00:02:52,216 I replied, "Great!" 50 00:02:53,370 --> 00:02:55,229 "Show me something!" 51 00:02:55,330 --> 00:02:59,991 And a week later, I had VHS tapes in my mailbox. 52 00:03:00,290 --> 00:03:04,190 One of them was a short film who was called Sinan. 53 00:03:04,730 --> 00:03:09,664 And on another it was written on the cover: "Do not give to an idiot." 54 00:03:11,176 --> 00:03:14,187 And then I saw the short films, 55 00:03:14,927 --> 00:03:19,183 they are exactly on the same line of Quentin's films today. 56 00:03:19,284 --> 00:03:21,544 The guy already had his style at that time 57 00:03:21,904 --> 00:03:24,950 filming everything with his group of friends. 58 00:03:25,050 --> 00:03:29,991 You can see that they were made with two threads and three pieces of duct tape. 59 00:03:30,403 --> 00:03:32,456 music too I found it interesting. 60 00:03:32,917 --> 00:03:34,331 And then I met Quentin. 61 00:03:34,550 --> 00:03:36,933 And I told him: "Damn, I love your universe!" 62 00:03:37,034 --> 00:03:39,667 "Wouldn't you like us to do a video clip together?" 63 00:03:39,796 --> 00:03:42,143 He had a good eye, somehow. 64 00:03:42,350 --> 00:03:46,076 Because trust me so had seen at that time, it was not simple. 65 00:03:46,330 --> 00:03:49,550 And shortly after, he told me: "Go ahead and make my next music video." 66 00:03:49,770 --> 00:03:51,590 So everything went very fast. 67 00:03:51,916 --> 00:03:53,563 Especially because at that time, 68 00:03:53,664 --> 00:03:56,523 a new video clip that came out, It was quite an event. 69 00:04:01,810 --> 00:04:05,410 He wasn't Mr. Oizo yet. He was a guy who made music with his friend. 70 00:04:06,630 --> 00:04:10,310 I told him: "I would like to that you would make a Maxi by yourself", 71 00:04:10,411 --> 00:04:12,130 and "Find yourself a stage name." 72 00:04:12,250 --> 00:04:13,856 And that's when Mr. Oizo emerged. 73 00:04:20,640 --> 00:04:22,617 One day, Quentin calls me 74 00:04:22,718 --> 00:04:25,779 and he tells me that he was in a cafe nearby, Let's have lunch together. 75 00:04:25,880 --> 00:04:27,519 And he tells me: "I'm with Stéphane." 76 00:04:27,880 --> 00:04:30,006 So, I went to the cafe... 77 00:04:30,107 --> 00:04:34,713 Stéphane was a kind of puppet yellow made with felt. 78 00:04:34,920 --> 00:04:37,175 I go to an antique store 79 00:04:37,276 --> 00:04:40,665 and I find a little head very cute yellow puppet, 80 00:04:40,917 --> 00:04:43,476 a kind of mitten puppet for kids or something like that. 81 00:04:43,620 --> 00:04:45,423 I bought it for two coins. 82 00:04:46,010 --> 00:04:50,716 And just then I was taking out my second album with F Communication. 83 00:04:51,280 --> 00:04:53,564 And suddenly, the idea occurs to me, 84 00:04:53,665 --> 00:04:56,270 to design a body 85 00:04:56,371 --> 00:05:00,159 and do something in the style of the Muppets Show for that video clip. 86 00:05:04,403 --> 00:05:07,883 And at that moment, Levi's watches the video clip 87 00:05:08,076 --> 00:05:12,269 and they say: "We want an announcement made for Quentin and we want the puppet." 88 00:05:12,370 --> 00:05:16,210 Suddenly I find myself rolling in Los Angeles those ads for Levi's, 89 00:05:16,311 --> 00:05:18,237 with almost total carte blanche, 90 00:05:18,338 --> 00:05:22,985 with huge cameras, with a team gigantic and all possible means. 91 00:05:23,290 --> 00:05:25,923 And suddenly, my project expands 92 00:05:26,024 --> 00:05:28,950 and I see that in that context, I make pretty pictures, etc. 93 00:05:29,051 --> 00:05:32,683 And it was fascinating for a neighborhood boy meet in Los Angeles 94 00:05:33,030 --> 00:05:36,590 directing a shoot of that magnitude. 95 00:05:37,283 --> 00:05:39,896 From one day to the next, Flat Eric is everywhere. 96 00:05:39,997 --> 00:05:44,150 The single Flat Beat travels the world and more than 3 million copies are sold. 97 00:05:44,735 --> 00:05:46,402 After this resounding success, 98 00:05:46,510 --> 00:05:49,803 Dupieux's future seemed to be in the world of advertising 99 00:05:49,909 --> 00:05:51,557 and electronic music. 100 00:05:51,658 --> 00:05:53,843 But he prefers to launch with his friends 101 00:05:53,944 --> 00:05:57,203 Sébastien Tellier and Kavinsky in a much more uncertain adventure: 102 00:05:57,330 --> 00:06:00,870 A first self-produced medium-length film in a mockery of the industry. 103 00:06:01,297 --> 00:06:02,850 Nonfilm. 104 00:06:03,216 --> 00:06:07,070 The director prefers that you say "it will be in black and white" 105 00:06:07,171 --> 00:06:08,937 instead of "it will be in color." 106 00:06:09,170 --> 00:06:11,976 -Who is the director? - The guy with the camera there. 107 00:06:13,785 --> 00:06:17,145 - Could I talk to him? - Come with me. 108 00:06:17,930 --> 00:06:22,016 Nowadays, any 19-year-old can shoot a "nonfilm" 109 00:06:22,176 --> 00:06:24,377 for 30 coins, anywhere, 110 00:06:24,478 --> 00:06:27,343 with a better image than mine back then. 111 00:06:27,470 --> 00:06:29,948 But at that time, it was quite a mess: 112 00:06:30,059 --> 00:06:34,779 the film, the laboratory, the editing, then in 35mm and all that. 113 00:06:35,176 --> 00:06:37,289 So it was quite a challenge. 114 00:06:37,390 --> 00:06:40,783 He couldn't get them to produce a movie and needed to shoot. 115 00:06:40,903 --> 00:06:43,608 Quentin always has to be doing something. 116 00:06:43,709 --> 00:06:46,056 And at that moment I wanted to film no matter what. 117 00:06:46,182 --> 00:06:49,067 So he said: "I can't find a producer, "We will do it the same." 118 00:06:49,168 --> 00:06:52,814 I wrote only 10 pages and then I would see what I would do in the place. 119 00:06:52,915 --> 00:06:56,182 I had a nightmare, and I still have it, 120 00:06:56,283 --> 00:06:58,688 and I think it's the nightmare from many directors: 121 00:06:58,789 --> 00:07:03,068 Arriving on set and not knowing what to film. It is absolute anguish. 122 00:07:03,428 --> 00:07:04,929 But then what should I do? 123 00:07:05,049 --> 00:07:06,849 All the scenes where he says "Pat." 124 00:07:06,950 --> 00:07:09,722 I only had the beginning, the filming, the making-of. 125 00:07:09,823 --> 00:07:11,283 That's what was written. 126 00:07:11,384 --> 00:07:13,416 And we were relatively faithful to that. 127 00:07:13,550 --> 00:07:17,303 It says here: "Pat flips through the script." 128 00:07:18,910 --> 00:07:20,010 Do I do that? 129 00:07:20,111 --> 00:07:21,316 No, not that... I don't think so. 130 00:07:21,730 --> 00:07:24,896 And then it was over. 131 00:07:24,997 --> 00:07:28,017 Within a week, there was no script. 132 00:07:28,118 --> 00:07:29,778 You had to invent something every day. 133 00:07:29,879 --> 00:07:32,284 So it took me a while in the morning 134 00:07:32,385 --> 00:07:33,925 to write the new scene. 135 00:07:34,026 --> 00:07:36,919 And we filmed it as soon as it was ready. 136 00:07:37,170 --> 00:07:38,422 Everyone was there. 137 00:07:38,506 --> 00:07:39,447 Let's get started! 138 00:07:39,531 --> 00:07:42,396 It was kind of an extreme experience. 139 00:07:42,576 --> 00:07:46,808 But the only objective was to a fun movie. 140 00:07:46,909 --> 00:07:50,175 There was no other hidden ambition. 141 00:07:50,370 --> 00:07:52,476 you have to know that we will use real bullets 142 00:07:52,577 --> 00:07:55,049 - so that the sound is realistic. - OK. 143 00:07:55,504 --> 00:07:58,557 It will warm your hand a little when you shoot. 144 00:07:58,676 --> 00:08:01,750 - I'm not worried. Shot in the air. - All good, then. 145 00:08:02,190 --> 00:08:04,343 We called the camera "the dwarf." 146 00:08:04,450 --> 00:08:06,662 He didn't want to film with the camera on his shoulder. 147 00:08:06,763 --> 00:08:09,243 He filmed at hip height, let's say. 148 00:08:09,370 --> 00:08:12,169 We all had the impression to be inventing something, 149 00:08:12,270 --> 00:08:16,316 which is necessary in the creation of movies with Quentin. 150 00:08:16,563 --> 00:08:20,043 If you don't have the impression of being inventing something, it's not interesting. 151 00:08:20,323 --> 00:08:21,383 Oh yes, yes, yes. 152 00:08:21,490 --> 00:08:23,949 I learned a lot of things making this movie. 153 00:08:24,050 --> 00:08:26,270 I don't know exactly what, or where. 154 00:08:26,396 --> 00:08:28,695 But I know I won't come back to do that ever again. 155 00:08:28,796 --> 00:08:33,422 I will never again start without a precise script, 156 00:08:33,523 --> 00:08:35,649 because it's hell. 157 00:08:35,750 --> 00:08:38,096 Every day I felt lost. 158 00:08:39,070 --> 00:08:41,316 Is anyone filming? 159 00:08:41,523 --> 00:08:44,942 Nonfilm spreads little, but it becomes an object of worship 160 00:08:45,043 --> 00:08:48,569 and attracts the attention of the comedy duo best known from the 90s. 161 00:08:48,823 --> 00:08:50,216 It's great! 162 00:08:50,370 --> 00:08:52,230 Eric and Ramzy, at the peak of their success 163 00:08:52,331 --> 00:08:54,563 after H and La Tour Montparnasse Infernale, 164 00:08:54,664 --> 00:08:58,713 they want Dupieux as the director and screenwriter of his next film. 165 00:08:59,030 --> 00:09:01,750 They go with him to film Steak in Canada. 166 00:09:07,650 --> 00:09:12,776 I knew it was going to be uncontrollable if he filmed the two together. 167 00:09:12,877 --> 00:09:17,010 I thought I better write to you scenes in which they are separated. 168 00:09:17,170 --> 00:09:18,662 That's how I could make my movie. 169 00:09:18,763 --> 00:09:21,382 And then there are great moments in which they come together, 170 00:09:21,496 --> 00:09:24,482 like that great scene of the clouds, which is really... 171 00:09:24,750 --> 00:09:27,635 That's where we meet, because it is my text 172 00:09:27,736 --> 00:09:32,030 but with its disorder inside and his management of rhythm. 173 00:09:32,290 --> 00:09:34,356 - Do you see that cloud up there? - Yes. 174 00:09:34,476 --> 00:09:36,222 What do you think it's made of? 175 00:09:36,476 --> 00:09:41,036 - It looks like some kind of fabric. - No, cotton. 176 00:09:42,070 --> 00:09:43,624 - That? - Yes, yes. 177 00:09:43,725 --> 00:09:46,911 It doesn't matter if it's that specific one... It looks like cotton, that's all. 178 00:09:47,012 --> 00:09:50,658 That's it, you ruined my joke! I can't tell the ending anymore! 179 00:09:52,058 --> 00:09:54,423 - Sorry. - You ask me to tell a joke, 180 00:09:54,524 --> 00:09:55,610 and you ruin it for me. 181 00:09:55,690 --> 00:09:58,030 No, I didn't ask for it. It was you who told me. 182 00:09:58,131 --> 00:10:00,297 My mood suited me better than before. 183 00:10:01,610 --> 00:10:05,656 These guys convinced the industry so that he could make Steak with them. 184 00:10:05,757 --> 00:10:10,163 And the industry said that Steak It was a boring arthouse film. 185 00:10:10,264 --> 00:10:13,843 300,000 tickets were sold, when With these guys they sold 2,000,000. 186 00:10:13,990 --> 00:10:19,390 They left me aside and at that moment It became impossible to make films again. 187 00:10:19,523 --> 00:10:20,956 In fact, I wasn't worth much. 188 00:10:21,070 --> 00:10:24,350 Let me explain something to you. With those guys, I'm playing it. 189 00:10:24,450 --> 00:10:26,370 I could be out in 2 seconds. 190 00:10:26,910 --> 00:10:28,936 Do you understand what I mean with "out"? 191 00:10:29,063 --> 00:10:30,163 Not being inside anymore. 192 00:10:30,264 --> 00:10:31,676 That is, not being inside anymore. 193 00:10:31,777 --> 00:10:33,910 Well, that, in less than 2 seconds. 194 00:10:34,050 --> 00:10:36,290 That's why I can't walk with you, do you understand? 195 00:10:36,403 --> 00:10:39,823 You scare, really, to infinity. 196 00:10:40,436 --> 00:10:43,343 Then, Rubber, is again a "non-film". 197 00:10:43,463 --> 00:10:47,550 It is again an invention crazy in the desert. 198 00:10:47,669 --> 00:10:51,637 The desert would be a blank page, the place you go to be calm 199 00:10:51,750 --> 00:10:54,050 when you feel like doing something embarrassing. 200 00:10:54,170 --> 00:10:58,189 Well, Rubber: again a very small budget, 201 00:10:58,290 --> 00:11:02,589 something improbable, a movie that she films herself being filmed, etc. 202 00:11:02,756 --> 00:11:05,129 The same principle, but more elaborate. 203 00:11:05,243 --> 00:11:10,423 The movie you are going to see today It is a tribute to the "without reason", 204 00:11:11,611 --> 00:11:15,056 powerful verbal expression. 205 00:11:22,797 --> 00:11:25,437 It was very funny because he told me, 206 00:11:25,538 --> 00:11:29,384 "Listen, we're going to make a movie with a camera", 207 00:11:29,503 --> 00:11:32,189 "But I swear it's going to be a real movie." 208 00:11:32,290 --> 00:11:36,436 It is one of the first films which was made with a 5D. 209 00:11:36,537 --> 00:11:38,376 For me there was no problem. 210 00:11:38,477 --> 00:11:42,103 The first day, the first shot What we filmed was in the car. 211 00:11:42,204 --> 00:11:44,790 And then, I was filming with 5D, 212 00:11:44,891 --> 00:11:47,150 and suddenly he said, "Ok, cut!" 213 00:11:47,250 --> 00:11:49,956 And he said to me: "Look, look how great it looks... 214 00:11:50,057 --> 00:11:51,723 "We're making a movie!" 215 00:11:58,690 --> 00:12:03,610 They had built a wheel with a motor inside that made it vibrate. 216 00:12:03,803 --> 00:12:05,769 Then we realized 217 00:12:05,870 --> 00:12:08,883 that just by throwing the wheel to roll 218 00:12:08,984 --> 00:12:10,869 and film it in close-up, 219 00:12:10,970 --> 00:12:13,449 one had the impression that she was alive. 220 00:12:13,550 --> 00:12:15,650 It wasn't necessary make special effects 221 00:12:15,751 --> 00:12:18,084 or extraordinary things so that this object 222 00:12:18,185 --> 00:12:21,218 made you feel something, even feel sorry for him. 223 00:12:21,350 --> 00:12:26,110 It was incredible that with so few resources the wheel could come to life. 224 00:12:38,624 --> 00:12:39,924 Action! 225 00:12:53,250 --> 00:12:54,709 Wow! It came out great! 226 00:12:54,810 --> 00:12:58,490 The macabre touch, I think which was what saved the movie. 227 00:12:58,950 --> 00:13:01,656 In any case, that did that always had resonance. 228 00:13:01,770 --> 00:13:05,476 That macabre touch with blood, with exploding heads, 229 00:13:05,630 --> 00:13:08,930 gave rise to images that people don't forget. 230 00:13:09,031 --> 00:13:11,316 The fact that the protagonist be a wheel, 231 00:13:11,417 --> 00:13:14,784 makes the movie memorable, even if it's not great. 232 00:13:14,930 --> 00:13:17,689 At least the idea is remembered. 233 00:13:18,950 --> 00:13:21,323 Rubber does not leave you indifferent to the spectators 234 00:13:21,424 --> 00:13:25,190 and it is a success in Cannes, as well as in numerous festivals where it is screened. 235 00:13:25,469 --> 00:13:29,336 Dupieux decides to go live in Los Angeles to continue making movies. 236 00:13:29,723 --> 00:13:32,363 He takes his companion with him, Joan Le Boru, 237 00:13:32,464 --> 00:13:36,003 who will become his wife, your guide and your closest collaborator. 238 00:13:38,770 --> 00:13:41,630 We met her at Garage Sapay, on the outskirts of Paris, 239 00:13:41,731 --> 00:13:45,116 place where you look for some of the objects that populate its decorations. 240 00:13:51,604 --> 00:13:56,443 Quentin was really looking forward to it. of filming movies in the United States, 241 00:13:56,576 --> 00:14:00,358 linked to your imagination and everything what he had seen when he was younger. 242 00:14:00,459 --> 00:14:03,052 So we agreed that we had to go, 243 00:14:03,832 --> 00:14:06,705 and try the adventure in Los Angeles. 244 00:14:07,703 --> 00:14:10,290 And we had the opportunity to film Wrong. 245 00:14:10,690 --> 00:14:14,683 At that moment he told me: "You have to work with me, 246 00:14:14,803 --> 00:14:18,203 because the movies they take a long time, 247 00:14:19,183 --> 00:14:21,930 and it's very exciting and fun to do them, 248 00:14:22,031 --> 00:14:24,977 So let's share that together." 249 00:14:25,176 --> 00:14:28,523 "If you want, you could start helping to the production designer 250 00:14:28,624 --> 00:14:30,410 who is going to work on the film." 251 00:14:30,949 --> 00:14:33,782 "And if you like it, we'll see what we do." 252 00:14:33,889 --> 00:14:38,169 The production designer, who had a lot of experience 253 00:14:38,270 --> 00:14:40,844 and that he had agreed to make the film 254 00:14:40,945 --> 00:14:44,458 out of admiration for Quentin, but it was not very available, 255 00:14:44,559 --> 00:14:46,490 He let me work a lot, 256 00:14:46,636 --> 00:14:50,616 and maybe because she is the director's wife, 257 00:14:50,730 --> 00:14:53,643 they let me do a little what I wanted... 258 00:14:53,763 --> 00:14:56,383 And I loved it! I loved it! 259 00:14:57,530 --> 00:14:59,823 You'll love it, I assure you. 260 00:15:00,817 --> 00:15:02,936 My father gave it to me when I turned 19 261 00:15:03,037 --> 00:15:05,204 She's so cute... 262 00:15:05,621 --> 00:15:08,295 Plus, it lights up beautifully. 263 00:15:08,854 --> 00:15:10,627 I'm going to read. 264 00:15:11,768 --> 00:15:13,627 Yes, you illuminate beautifully! 265 00:15:13,728 --> 00:15:15,201 Isn't it true? 266 00:15:15,375 --> 00:15:19,341 It was very fun, because I could brag a little, 267 00:15:19,602 --> 00:15:21,648 which rarely happens with Quentin. 268 00:15:21,750 --> 00:15:24,330 But in that case, in the script I had only written: 269 00:15:24,431 --> 00:15:25,970 "It's raining in an office." 270 00:15:26,390 --> 00:15:29,550 And I told him, that would be great that it was a travel agency 271 00:15:29,651 --> 00:15:33,537 with images of islands from exotic countries. 272 00:15:33,776 --> 00:15:37,815 We had visited places completely impersonal. 273 00:15:37,916 --> 00:15:41,490 They were hangars. We choose one which we completely fixed. 274 00:15:41,710 --> 00:15:45,236 And then, we had to make the rain. That moment was super creative. 275 00:15:51,810 --> 00:15:55,282 The America that I saw in cinema At first, I was completely naive. 276 00:15:55,383 --> 00:15:59,185 A mix of images cinematographic... 277 00:15:59,286 --> 00:16:02,192 Spielberg, I'll tell you anything, but they are images... 278 00:16:02,293 --> 00:16:05,416 I grew up with all that, like everyone else, like many children. 279 00:16:05,517 --> 00:16:07,669 So, foolishly, It's what you're looking for there. 280 00:16:07,770 --> 00:16:09,802 Then it becomes your everyday life 281 00:16:09,909 --> 00:16:12,295 and you forget, but I believe that I soaked up that. 282 00:16:12,475 --> 00:16:14,628 And then when I do Wrong, I start to talk 283 00:16:14,729 --> 00:16:17,435 of the relationships between people, neighbors, etc. 284 00:16:17,536 --> 00:16:23,335 In fact, I think I was inspired a little about what we live there. 285 00:16:24,089 --> 00:16:25,949 Afterwards, Wrong cops is particular. 286 00:16:26,050 --> 00:16:29,390 Wrong cops was because he had want to do something dirty. 287 00:16:29,583 --> 00:16:33,822 It wasn't so much America that gave me the idea of hiding drugs in rats. 288 00:16:33,923 --> 00:16:36,916 It was that I wanted to do something disgusting 289 00:16:37,017 --> 00:16:41,350 because it was useful for my music, which I perceive as something a little dirty. 290 00:16:41,690 --> 00:16:43,317 It comes from there, I think. 291 00:16:43,418 --> 00:16:47,035 Well, it's not the finished topic, okay? 292 00:16:47,136 --> 00:16:49,209 I'm still working in the structure, 293 00:16:49,310 --> 00:16:51,181 but you can have an idea of what it's about. 294 00:16:51,282 --> 00:16:54,582 Don't worry about the technical shit, just touch. 295 00:16:54,777 --> 00:16:56,655 You will be the first to hear this. 296 00:17:00,550 --> 00:17:02,996 My way of making music is accidental. 297 00:17:03,130 --> 00:17:06,369 The best things I've recorded They have been accidents, 298 00:17:06,470 --> 00:17:08,176 on which I later worked. 299 00:17:08,277 --> 00:17:11,289 I don't get up one morning with a melody in my head. 300 00:17:11,390 --> 00:17:13,089 Nothing to see. 301 00:17:13,190 --> 00:17:16,642 It's more my taste that makes me achieve make songs and finish them. 302 00:17:16,743 --> 00:17:18,648 It's a limited tool for me. 303 00:17:18,749 --> 00:17:22,522 Make the soundtracks of my films, it was always complicated. 304 00:17:22,810 --> 00:17:24,876 It was fun in Wrong Cops because... 305 00:17:25,436 --> 00:17:29,270 I could use all the songs dumbest in my discography, 306 00:17:29,371 --> 00:17:31,490 because they fit well with the movie. 307 00:17:31,591 --> 00:17:36,490 But if only I made movies With my music, I would be finished. 308 00:17:36,591 --> 00:17:38,750 So I have often turned to friends. 309 00:17:38,870 --> 00:17:42,070 Gaspard de Justice, Tahiti Boy... 310 00:17:42,616 --> 00:17:45,322 When we did Rubber with Gaspard, it was great 311 00:17:45,423 --> 00:17:47,877 because it brought me melody ideas. 312 00:17:47,978 --> 00:17:50,004 He gave me the base composition, 313 00:17:50,105 --> 00:17:53,069 and I did all the orchestration, because I do know how to do that: 314 00:17:53,170 --> 00:17:55,263 Choose the instruments, choose the sound, 315 00:17:55,364 --> 00:17:58,530 at what point does the battery come in, when we double... 316 00:17:58,631 --> 00:18:00,050 ...arrangements and all that. 317 00:18:00,151 --> 00:18:03,449 I loved doing it, because there was a solid foundation of writing, 318 00:18:03,550 --> 00:18:06,816 the music was well composed, and that's what I don't know how to do. 319 00:18:12,170 --> 00:18:14,536 The last movie made in the United States 320 00:18:14,637 --> 00:18:17,550 It is a choral film that intertwines the story of a girl 321 00:18:17,651 --> 00:18:20,097 who finds a VHS tape inside a wild boar, 322 00:18:20,198 --> 00:18:22,798 an aspiring director played by Alain Chabat 323 00:18:22,899 --> 00:18:26,403 who seeks to record the best moan in the history of cinema, 324 00:18:30,423 --> 00:18:33,870 and a suffering entertainer an eczema crisis on the body. 325 00:18:34,723 --> 00:18:39,048 Everything is double, everything is confusing, that is the reality, according to Dupieux. 326 00:18:40,498 --> 00:18:42,838 It's interesting to build a narrative 327 00:18:42,939 --> 00:18:45,611 that can attract people and don't leave it outside. 328 00:18:45,730 --> 00:18:48,383 I know I still have a way to go 329 00:18:48,484 --> 00:18:52,210 because they are films that leave a lot of people out. 330 00:18:52,637 --> 00:18:55,730 But there is something fascinating in attracting people 331 00:18:55,837 --> 00:19:01,365 to these ideas that are a little unconscious and irrational, 332 00:19:01,763 --> 00:19:04,363 and they don't necessarily make sense. 333 00:19:05,403 --> 00:19:08,676 Dupieux's cinema is part of that cinema 334 00:19:08,777 --> 00:19:12,583 that offers an experience especially very sensory, 335 00:19:12,796 --> 00:19:17,389 although in fact, the characters They may lack sensitivity. 336 00:19:17,570 --> 00:19:19,796 In any case, the viewer experience something of it 337 00:19:19,897 --> 00:19:22,550 and I think Dupieux tests to the viewer. 338 00:19:22,651 --> 00:19:25,006 This movie doesn't exist yet. 339 00:19:25,113 --> 00:19:27,084 I am the director. It's my movie. 340 00:19:27,185 --> 00:19:28,872 I just finished the script and... 341 00:19:28,973 --> 00:19:30,811 - ...they can't see it now. - Move! 342 00:19:30,912 --> 00:19:34,670 time does not exist and my films are proof of this. 343 00:19:34,776 --> 00:19:38,656 My movies last 1h15 but it seems like they will last 2 hours. 344 00:19:38,856 --> 00:19:43,356 There are people who strive to energize and do things very quickly 345 00:19:43,463 --> 00:19:46,010 that deconstruct time in another way. 346 00:19:46,522 --> 00:19:48,803 Well I have found a way to do it, 347 00:19:48,904 --> 00:19:52,548 a way to reconstruct time and to deconstruct and reconstruct it. 348 00:19:52,823 --> 00:19:54,596 Because that's what cinema is, really: 349 00:19:54,697 --> 00:19:57,623 They are fragments of time that you join together to create 350 00:19:57,724 --> 00:20:00,489 a closed temporality that tells a story. 351 00:20:00,590 --> 00:20:04,790 I just saw my movie in a cinema with an audience. 352 00:20:06,350 --> 00:20:10,596 The movie exists, Bob, I've seen it and it is also very bad. 353 00:20:12,610 --> 00:20:15,830 He tells me that he has seen his movie in the cinema, well, your movie, 354 00:20:15,931 --> 00:20:17,057 and that it is very bad. 355 00:20:17,158 --> 00:20:19,783 Maybe that's when I discover the magic of assembly. 356 00:20:19,890 --> 00:20:22,790 Last night I dreamed exactly the same thing. 357 00:20:22,891 --> 00:20:25,495 I saw my movie in a theater and tried to interrupt... 358 00:20:25,596 --> 00:20:28,980 I have found a way of mini virtuosity 359 00:20:29,081 --> 00:20:32,070 with very simple material because the images are very simple. 360 00:20:32,171 --> 00:20:34,183 But I have managed to convert them 361 00:20:34,337 --> 00:20:38,277 in a kind of mental spirals that take you far away, and so on. 362 00:20:38,422 --> 00:20:40,456 I was very happy with that, 363 00:20:40,557 --> 00:20:43,650 and to all those who burden me with this movie, 364 00:20:43,751 --> 00:20:46,830 I want to tell you that there will be more. 365 00:20:46,996 --> 00:20:52,535 I have simplified it so much so that it is filmable, readable and understandable, 366 00:20:52,636 --> 00:20:55,903 that I have had the feeling to make a very simple film. 367 00:20:56,010 --> 00:21:01,863 Maybe it was a kind of farewell, yes... a final greeting... 368 00:21:02,374 --> 00:21:04,147 Maybe it was time to go back. 369 00:21:06,029 --> 00:21:09,090 In 2017, after five feature films, 370 00:21:09,191 --> 00:21:11,790 Dupieux finally dares to film in France. 371 00:21:11,891 --> 00:21:14,550 Installed in the basement of the Communist Party in Paris 372 00:21:14,651 --> 00:21:15,844 and roll Au Poste!, 373 00:21:18,950 --> 00:21:21,843 with Joan as set designer and artistic director, 374 00:21:21,944 --> 00:21:24,463 and new ones like Olivier Affonso in special effects 375 00:21:24,564 --> 00:21:26,384 or the chief electrician Renaud Garnier. 376 00:21:26,485 --> 00:21:29,091 And he meets his friend again Lebras in sound, 377 00:21:29,245 --> 00:21:31,225 fifteen years after Nonfilm. 378 00:21:31,370 --> 00:21:33,969 The first shot of Au Poste! that we roll, 379 00:21:34,343 --> 00:21:37,829 I thought: "Oh, of course! That's how it was!" 380 00:21:37,930 --> 00:21:40,676 When you work with Quentin, It gives you that feeling. 381 00:21:40,777 --> 00:21:44,190 I experienced the Magdalena effect, 382 00:21:44,931 --> 00:21:47,650 and my whole body suddenly vibrated. 383 00:21:47,910 --> 00:21:50,996 I felt like I was 18 years old, and as if he were reliving. 384 00:21:51,390 --> 00:21:56,150 Gather a team of loyal collaborators and establish a shooting method, 385 00:21:56,270 --> 00:21:59,436 which will allow you, from then on, produce one film a year. 386 00:22:00,310 --> 00:22:02,789 He asked me something that I thought quite particular: 387 00:22:02,890 --> 00:22:06,810 asked me to question everything I knew, 388 00:22:06,950 --> 00:22:09,890 all my principles, all my habits, 389 00:22:10,190 --> 00:22:13,350 and try to forget them to remake them with him. 390 00:22:13,576 --> 00:22:18,889 The goal, both for him and for me, was to find a new methodology. 391 00:22:18,990 --> 00:22:22,050 I have ideas of scale, of value, 392 00:22:22,456 --> 00:22:26,924 but I can't at home, in Paris, or in front of the computer define 393 00:22:27,442 --> 00:22:30,590 where will the camera be, What will be the focal point... it is not possible. 394 00:22:30,691 --> 00:22:33,817 It would be like shooting myself in the foot, do something different. 395 00:22:33,957 --> 00:22:36,849 When we came to film Au Poste! here, at the PCF headquarters, 396 00:22:36,950 --> 00:22:40,510 Quentin showed me pictures and a very particular light. 397 00:22:40,810 --> 00:22:45,129 My first question was: "What do you want?" what to do with the light in this scenario?" 398 00:22:45,230 --> 00:22:48,996 He told me: "I choose the place also for its natural light". 399 00:22:49,570 --> 00:22:52,283 "It's closed here, It's completely artificial 400 00:22:52,384 --> 00:22:55,956 but it is already illuminated", and he answered me that we couldn't change all that, 401 00:22:56,057 --> 00:22:59,097 what were we going to see how to beautify and use it. 402 00:23:00,703 --> 00:23:02,023 Did you have a lapse? 403 00:23:02,503 --> 00:23:04,743 Yes, sorry. I'm sorry. 404 00:23:05,109 --> 00:23:07,275 When Renaud puts three extra spotlights on me, 405 00:23:07,770 --> 00:23:11,850 I'm going to have a coffee, and has installed three spotlights without telling me, 406 00:23:11,970 --> 00:23:15,336 I see them, they shock me, and suddenly It's not my movie anymore. 407 00:23:15,437 --> 00:23:17,975 And I have the impression of playing at making movies, 408 00:23:18,076 --> 00:23:21,729 there is something that is not right, and the same goes for the decorations. 409 00:23:21,909 --> 00:23:26,623 It's exactly the same: We are neither realists nor anti-realists. 410 00:23:26,743 --> 00:23:30,090 It's quite complicated, because it is a unique scenery, 411 00:23:30,489 --> 00:23:31,630 you can't go wrong. 412 00:23:31,731 --> 00:23:34,491 I remember that the team who I worked with at the beginning 413 00:23:34,592 --> 00:23:37,798 I had an idea of a police station completely classic police. 414 00:23:37,899 --> 00:23:40,510 But Quentin and I were not convinced, 415 00:23:40,611 --> 00:23:43,742 so we try create something that does not exist. 416 00:23:43,843 --> 00:23:48,883 I confess: I have never been so bored in an interrogation like tonight. 417 00:23:49,103 --> 00:23:50,749 Anyway, let's continue. 418 00:23:50,890 --> 00:23:54,349 Okay... That wasn't very nice, but it's not my fault, 419 00:23:54,450 --> 00:23:55,663 because I'm telling the truth. 420 00:23:55,830 --> 00:23:59,996 Yeah, sure, but... don't be offended, Fugain. 421 00:24:00,110 --> 00:24:01,256 I'm not offended. 422 00:24:01,390 --> 00:24:03,683 Yes, he is offended. It's your life, it's your life. 423 00:24:04,030 --> 00:24:08,230 I saw how it was built, have you seen the place? It's not easy, 424 00:24:08,331 --> 00:24:10,270 It is a strangely shaped place. 425 00:24:10,371 --> 00:24:13,930 We recreate a window, we recreate the space, etc. 426 00:24:14,302 --> 00:24:15,442 That was impressive. 427 00:24:15,590 --> 00:24:17,602 A sleeping city is beautiful. 428 00:24:17,703 --> 00:24:21,328 There is no mention of the role of the sets in the performance, 429 00:24:21,429 --> 00:24:24,221 but as far as I'm concerned, They help me a lot. 430 00:24:24,322 --> 00:24:27,309 The atmosphere of a place, in which we are going to interact... 431 00:24:27,410 --> 00:24:30,116 In Quentin's movies, we have the feeling 432 00:24:30,217 --> 00:24:33,989 to enter a parallel world, which is the world of the movie. 433 00:24:34,176 --> 00:24:37,290 I try to keep images in mind, 434 00:24:37,391 --> 00:24:41,122 movie references that we have enjoyed with Quentin, 435 00:24:41,223 --> 00:24:43,730 environments that we want to recreate, 436 00:24:43,831 --> 00:24:47,402 that make us dream, or at least that disconnect us from reality. 437 00:24:47,503 --> 00:24:51,469 And then I talk about it with my team. and we put everything into motion. 438 00:24:51,570 --> 00:24:52,836 I don't have a method. 439 00:24:52,963 --> 00:24:55,236 And Quentin needs concrete things, 440 00:24:55,370 --> 00:24:59,943 so I'm not going to overwhelm you with a thousand references. 441 00:25:00,044 --> 00:25:01,050 That would upset him. 442 00:25:01,190 --> 00:25:03,429 It has to be concrete 443 00:25:03,530 --> 00:25:07,237 and choose things as you go a little instinctively, 444 00:25:07,338 --> 00:25:09,816 which is also his way of working. 445 00:25:09,950 --> 00:25:11,490 We are in tune with that. 446 00:25:11,603 --> 00:25:15,029 She does a very subtle and beautiful job: 447 00:25:15,130 --> 00:25:17,750 all the accessories are pretty, everything is thought out. 448 00:25:17,830 --> 00:25:22,270 I don't know how to explain it. It's always elegant but it's not boring. 449 00:25:22,456 --> 00:25:23,663 Look at this! 450 00:25:24,396 --> 00:25:27,255 Quentin arrives on the sets and says: 451 00:25:27,356 --> 00:25:31,549 "Hoho! The scenery is incredible, I love it, it's beautiful!" 452 00:25:31,870 --> 00:25:35,929 and send me a screenshot... There is nothing more satisfying. 453 00:25:36,150 --> 00:25:38,410 Oh no! This doesn't look good... Hey, sir! 454 00:25:39,457 --> 00:25:41,010 Well, hey! 455 00:25:41,636 --> 00:25:42,663 Damn! 456 00:25:43,590 --> 00:25:44,843 Shit! 457 00:25:46,590 --> 00:25:48,164 What a bummer! 458 00:25:51,022 --> 00:25:53,802 Quentin was afraid that They would think it was digital, 459 00:25:53,903 --> 00:25:55,803 because he is not a big fan of digital, 460 00:25:55,930 --> 00:25:57,390 when in fact it was a prosthesis. 461 00:25:57,498 --> 00:26:00,023 And the wink, precisely, It is at the end of Au poste!, 462 00:26:00,170 --> 00:26:04,371 I suggested making a mask that is removed, like the old way, 463 00:26:04,484 --> 00:26:08,550 and not in the Mission Impossible style where it's like the skin is torn off. 464 00:26:08,856 --> 00:26:14,010 That's what brought us together artistically: that taste for craftsmanship, 465 00:26:14,090 --> 00:26:16,403 that taste for the classic. 466 00:26:16,504 --> 00:26:18,550 Does it have a hole? I don't understand. 467 00:26:18,943 --> 00:26:21,503 That, I have a hole in my chest. 468 00:26:21,663 --> 00:26:23,136 It's disgusting! 469 00:26:23,503 --> 00:26:27,989 No, no, it barely hurts. Well, let's continue. 470 00:26:28,350 --> 00:26:32,836 In Au poste!, Dupieux mixes the absurd, the melancholy of the big city 471 00:26:33,009 --> 00:26:34,882 and pure office comedy. 472 00:26:35,143 --> 00:26:39,030 At the center of its creation, pleasure of language and the art of replication. 473 00:26:39,290 --> 00:26:42,116 I wrote intentionally a movie full of dialogues, 474 00:26:42,503 --> 00:26:45,745 with many dialogues, because I wanted to get back to that, 475 00:26:45,898 --> 00:26:48,669 because deep down, It is my first passion. 476 00:26:48,770 --> 00:26:50,329 I have always written dialogues. 477 00:26:50,430 --> 00:26:53,890 And in fact, he told me that he himself He said the dialogues out loud. 478 00:26:54,050 --> 00:26:57,983 I think he acts the scenes while writing them. 479 00:26:58,183 --> 00:27:03,296 And it doesn't surprise me, because... making dialogues is very difficult, 480 00:27:03,397 --> 00:27:06,236 that is, it is everyday, but it is not easy to write it. 481 00:27:06,337 --> 00:27:09,110 It seems normal, but it is not, 482 00:27:09,290 --> 00:27:12,644 and the language he uses is very much his own, very particular. 483 00:27:12,790 --> 00:27:16,877 And it is written very precisely, like a sheet music, 484 00:27:17,197 --> 00:27:18,771 even with the hesitations, 485 00:27:18,884 --> 00:27:21,897 the sounds, the "e's", the repetitions What we do when we speak. 486 00:27:21,998 --> 00:27:24,655 Are you the policeman's wife who only has one eye? 487 00:27:24,756 --> 00:27:28,056 Do you know Philippe? Yes, it's my husband, how do you know? 488 00:27:28,570 --> 00:27:34,370 Yes, well, I know him, but actually I don't know him yet, if you prefer. 489 00:27:34,471 --> 00:27:36,823 It's... No, forget it, you won't understand. 490 00:27:37,056 --> 00:27:38,596 Well, tell me. 491 00:27:39,202 --> 00:27:41,050 It is difficult for me to say the text of others, 492 00:27:41,151 --> 00:27:44,397 so I have written many of my parts in the movies, 493 00:27:44,683 --> 00:27:49,863 but Dupieux is so well written, it's so precise. 494 00:27:50,116 --> 00:27:55,391 They are dialogues that express the stupidity of the characters 495 00:27:55,492 --> 00:27:59,289 and writes stupid things so well, that one does not want to change anything. 496 00:27:59,390 --> 00:28:04,750 I remember that in Mandibules, with David, we thought it would be good 497 00:28:04,830 --> 00:28:06,789 do a rehearsal and everything. 498 00:28:06,890 --> 00:28:11,730 And he looks at me and says: "Yes, a rehearsal, but We have to see how the duo turns out, 499 00:28:12,090 --> 00:28:15,837 how they are situated, "How are they together, you know?" 500 00:28:15,990 --> 00:28:19,750 "Well, there's the text, right? "I think the text is there, guys." 501 00:28:19,830 --> 00:28:22,250 Well, if you want, we do a reading 502 00:28:22,334 --> 00:28:25,110 And in reality, everything is based on the text. 503 00:28:25,211 --> 00:28:28,656 Sometimes it seems to go away anywhere, and not really. 504 00:28:28,830 --> 00:28:34,090 We realized, with David, sometimes wanting to improvise something in Mandibules. 505 00:28:34,730 --> 00:28:37,463 At first he lets you do it, and then cuts and says: 506 00:28:37,564 --> 00:28:40,656 - "Why did you add that phrase?" - Well, I don't know, I thought... 507 00:28:40,757 --> 00:28:42,310 "Yes, but you see that..." 508 00:28:42,703 --> 00:28:46,729 But it was not to discourage us, nor a question of superiority. 509 00:28:46,830 --> 00:28:50,870 If you wrote it, it's because it works. for the continuity of the story. 510 00:28:50,971 --> 00:28:53,923 Maybe it sounds picky, but "boobs" are feminine. 511 00:28:54,024 --> 00:28:57,310 The "boobs" are the breasts in the torso. It's feminine. 512 00:28:57,436 --> 00:29:00,556 I think what you're trying to say is that His balls were freezing. 513 00:29:00,657 --> 00:29:04,163 Not at all. No no. I was cold in the breasts. I felt it here. 514 00:29:04,264 --> 00:29:07,084 The chest, the bust... is exactly what I wanted to say. 515 00:29:07,223 --> 00:29:09,636 This cinema, for me, works and intrigues, 516 00:29:09,737 --> 00:29:12,930 because there is something demanding and precise in the script. 517 00:29:13,070 --> 00:29:16,610 It doesn't work with everyone. There are actors who need freedom 518 00:29:16,896 --> 00:29:21,196 and that they are not comfortable in this species somewhat rigid score. 519 00:29:21,350 --> 00:29:24,615 I don't necessarily impose that. 520 00:29:24,716 --> 00:29:27,443 But I realize that When we leave that lane, 521 00:29:27,588 --> 00:29:31,481 It becomes something else and that gives me some editing problems. 522 00:29:31,582 --> 00:29:35,109 It's as if we changed tone. There is something that no longer works the same. 523 00:29:35,210 --> 00:29:38,910 - I'm leaving, I'm done. - Lucky, I just started. 524 00:29:39,056 --> 00:29:42,102 - See you tomorrow. - No, I'm pregnant and I won't be able to. 525 00:29:42,203 --> 00:29:45,329 - Pregnant? - I'm going to take exams tomorrow, 526 00:29:45,430 --> 00:29:48,723 so that doctors can see if the fetus develops normally. 527 00:29:48,850 --> 00:29:54,116 In one shot, he uses a northern accent, because he has it in his genes. 528 00:29:54,390 --> 00:29:57,429 We thought it looked great, and right there we decided to use it. 529 00:29:57,530 --> 00:30:01,696 It's something I've never done in my life. I find the accent thing very annoying. 530 00:30:01,797 --> 00:30:07,150 But here, by reading the script and learning the text, I thought it was incredible. 531 00:30:07,270 --> 00:30:11,157 I felt like she spoke with an accent. of the North, and I dared to propose it, 532 00:30:11,258 --> 00:30:15,903 but knowing him now, I could have been fired. 533 00:30:16,057 --> 00:30:18,563 But he said yes: "Ok, let's try it, let's try it." 534 00:30:18,664 --> 00:30:21,744 - Shit, it's my fault. - For the sushi down here? 535 00:30:21,845 --> 00:30:26,216 - It's very good. He never hurt me. - No... I made the sushi myself. 536 00:30:26,330 --> 00:30:30,183 It was quite difficult to do, why lie 537 00:30:30,355 --> 00:30:32,134 I would be there all the time there at the door... 538 00:30:32,235 --> 00:30:34,361 It was a bit of an absurd scene. 539 00:30:34,602 --> 00:30:37,468 And that's when I realized the difficulty of Quentin's cinema. 540 00:30:37,590 --> 00:30:42,429 There is a theatricality in his cinema, always. 541 00:30:42,530 --> 00:30:44,436 I think he hates the theater, but still, 542 00:30:44,537 --> 00:30:46,923 There is something theatrical, like in Buñuel. 543 00:30:47,037 --> 00:30:50,109 It's true that it was a bit like If I wasn't invited to the party. 544 00:30:50,210 --> 00:30:53,336 Frustrating and at the same time very funny, because I loved it 545 00:30:53,437 --> 00:30:55,083 everything he had to say. 546 00:31:00,150 --> 00:31:03,487 Exceptionally, we were able to observe the filmmaker in action. 547 00:31:03,588 --> 00:31:07,682 It was January 10, 2023, while I had finished filming Daaaaaalí!, 548 00:31:07,783 --> 00:31:09,915 on Canadel beach, near Lavandou. 549 00:31:10,094 --> 00:31:12,409 - Does the plant bother you or not? - No, no, I see it. 550 00:31:12,510 --> 00:31:13,523 - There, can you see the car? - Yes. 551 00:31:13,624 --> 00:31:14,636 Great. 552 00:31:19,000 --> 00:31:20,780 If that sounds good to you, we'll try it. 553 00:31:20,881 --> 00:31:23,440 Try to look towards the car without anything in the mouth. 554 00:31:23,619 --> 00:31:25,272 - Shall I start? - Yes, go ahead. 555 00:31:30,200 --> 00:31:31,279 He came out, we cut. 556 00:31:31,440 --> 00:31:32,539 Cut, thank you. 557 00:31:32,640 --> 00:31:34,100 Let's change the plane. 558 00:31:36,513 --> 00:31:39,613 I was going to film with Quentin Dupieux... anyone would be upset. 559 00:31:39,746 --> 00:31:41,772 It would be something incredible... 560 00:31:41,953 --> 00:31:45,505 I was quite nervous. But no, not at all. 561 00:31:45,606 --> 00:31:49,599 Because although the demand always is present, there is a playful side. 562 00:31:49,700 --> 00:31:54,240 It's wonderful to work like this. wants have fun while working seriously. 563 00:31:56,160 --> 00:31:58,619 Normally, I work with a director of photography 564 00:31:58,720 --> 00:32:00,900 that anticipates and tells me what to do next. 565 00:32:01,001 --> 00:32:04,546 While here, we meet a Quentin 566 00:32:04,647 --> 00:32:08,760 that will make us think about its plan, change our mind, move a little... 567 00:32:08,904 --> 00:32:11,030 and we don't know What will be the next plan? 568 00:32:11,664 --> 00:32:14,691 I don't even know if he knows or if you are able to say it... 569 00:32:14,853 --> 00:32:16,579 ...or those who will come after. 570 00:32:16,680 --> 00:32:20,052 Maybe the sequence will be reduced with two shots, maybe we'll do seven. 571 00:32:20,153 --> 00:32:23,108 And all of this was very confusing. In terms of lighting, 572 00:32:23,209 --> 00:32:24,819 since I didn't know beforehand. 573 00:32:24,920 --> 00:32:27,846 It was difficult to anticipate. That is, I had the impression 574 00:32:27,947 --> 00:32:32,073 of... turning on the light and not knowing What was I going to film? 575 00:32:32,226 --> 00:32:36,219 I don't work as a director of photography. That is, I work by instinct. 576 00:32:36,320 --> 00:32:39,666 What interests me is Whether I'm going to get an image or not, 577 00:32:39,986 --> 00:32:41,573 whatever the condition. 578 00:32:41,674 --> 00:32:47,520 Even if it was the worst of all to make images, I would, 579 00:32:48,239 --> 00:32:51,412 why be just a director sitting in a chair 580 00:32:51,513 --> 00:32:54,726 looking at a screen It's not a job that interests me. 581 00:32:55,466 --> 00:32:58,978 You made a good tracking shot, Georges. You work very well. 582 00:32:59,079 --> 00:33:02,896 Jean Dujardin, Adèle Haenel, Adèle Exarchopoulos, Steve Little, 583 00:33:02,997 --> 00:33:06,351 Élodie Bouchez, Ray Wise, Gilles Lellouche, Benoît Poelvoorde, 584 00:33:06,452 --> 00:33:09,699 Orelsan, Jack Plotnick, Vincent Lacoste, Marie Bunel, 585 00:33:09,800 --> 00:33:12,889 Eric Wareheim, John Glover, Jonathan Lambert, Doria Thillier, 586 00:33:12,990 --> 00:33:16,722 Jean-Pascal Zadi, David Marsais, Oulaya Amamra and many others... 587 00:33:16,843 --> 00:33:20,157 Actors are like material that shapes from film to film. 588 00:33:20,696 --> 00:33:23,842 Alain Chabat was even willing to do the voice of Didier 589 00:33:23,943 --> 00:33:25,203 in Fumer fait tousser. 590 00:33:25,340 --> 00:33:26,896 Yes, we'll talk later. 591 00:33:26,997 --> 00:33:30,053 Enjoy your stay and don't forget why you are here. 592 00:33:30,220 --> 00:33:34,786 Someone tells you: "Look, let's go to work together and you are not here by chance. 593 00:33:34,899 --> 00:33:36,486 "I know you are capable of doing it." 594 00:33:36,587 --> 00:33:38,913 "We will find out together. "We will do it together." 595 00:33:39,060 --> 00:33:43,125 It is reassuring and at the same time, It puts an additional responsibility on you. 596 00:33:43,226 --> 00:33:46,598 In relation to work, that makes me feel good. 597 00:33:46,699 --> 00:33:49,120 It gives the impression that we work first with him, 598 00:33:49,221 --> 00:33:51,808 while the most common on a film set, 599 00:33:51,909 --> 00:33:55,619 it's just that the director is a little far away along with everyone else. 600 00:33:55,720 --> 00:33:59,640 The director of photography also occupies a lot of space on set, a lot of time. 601 00:33:59,741 --> 00:34:02,620 And here, the fact that he has the eye on the camera 602 00:34:02,721 --> 00:34:07,372 and direct everyone with your voice, It changes things enormously. 603 00:34:07,473 --> 00:34:10,359 We are in contact with him, and he is with us. 604 00:34:10,460 --> 00:34:13,826 The team is very, very connected to each other. 605 00:34:13,986 --> 00:34:17,846 And that eliminates a lot of waiting time. 606 00:34:17,975 --> 00:34:21,008 And for the actors, it's great because those waiting times 607 00:34:21,109 --> 00:34:22,595 They make us fall into a kind of... 608 00:34:22,696 --> 00:34:25,666 Recover the energy of the sequence, 609 00:34:25,767 --> 00:34:29,213 It's more complicated. So, it's very nice to work like this. 610 00:34:30,660 --> 00:34:31,926 OK thanks. 611 00:34:41,720 --> 00:34:44,586 In general, we try "get the sequence in," as they say. 612 00:34:44,700 --> 00:34:47,253 The sequence enters in an allotted time. 613 00:34:47,400 --> 00:34:49,828 Here, we know that there is to reach a result. 614 00:34:49,929 --> 00:34:55,148 But in fact, the rhythm of the sequence, often, it is put together in the moment, 615 00:34:55,249 --> 00:34:58,979 because sometimes there is a script that has long monologues that have to be filmed. 616 00:34:59,080 --> 00:35:02,760 And sometimes it doesn't come out, but it doesn't matter. I like the idea of ​​being able to fail. 617 00:35:02,861 --> 00:35:05,940 And Quentin is someone that allows you to fail. 618 00:35:06,041 --> 00:35:09,861 When the actors are inspired, or the text works with them, etc., 619 00:35:09,962 --> 00:35:13,788 In general, I manage in the assembly to keep up the pace. 620 00:35:13,953 --> 00:35:18,693 Because there are times, breaths, something what makes it impossible to be recomposed 621 00:35:18,964 --> 00:35:22,916 mechanically by a machine to go faster. 622 00:35:23,023 --> 00:35:24,997 For me, one of the absolute objectives 623 00:35:25,098 --> 00:35:27,662 is to make them say anything, and make it seem true. 624 00:35:27,763 --> 00:35:31,117 It's very simple: I connected the shit from Paul to a device 625 00:35:31,218 --> 00:35:35,096 that collects information and translates it into a video signal. 626 00:35:35,197 --> 00:35:37,872 Then, thanks to this other device, 627 00:35:37,973 --> 00:35:41,395 I can search in the unconscious of this shit 628 00:35:41,496 --> 00:35:43,729 as much as you want and record what interests me. 629 00:35:44,163 --> 00:35:47,177 What he always asks of us, and I speak from my experience, 630 00:35:47,278 --> 00:35:50,697 has been doing things to the letter and without any cynicism. 631 00:35:50,798 --> 00:35:54,448 That is something that is essential, I believe, and non-negotiable when working with him, 632 00:35:54,549 --> 00:35:56,682 and what generates "the absurd", 633 00:35:56,783 --> 00:36:00,195 which is not because of how the actors they embody a sequence or a character, 634 00:36:00,296 --> 00:36:03,143 is the sequence itself the one that generates the absurd. 635 00:36:04,106 --> 00:36:05,306 Oh shit! 636 00:36:06,440 --> 00:36:09,052 I also have a story horrible to tell you. 637 00:36:09,780 --> 00:36:11,039 What the hell are you talking about? 638 00:36:11,140 --> 00:36:14,666 I think this way of counting stories is great for him: 639 00:36:15,060 --> 00:36:18,566 stories within stories. I think it suits you especially well. 640 00:36:18,680 --> 00:36:24,006 My segment, narrated by a barracuda in cooking process... 641 00:36:27,359 --> 00:36:29,959 Oh! But what have you done, Mickaël? 642 00:36:30,060 --> 00:36:33,165 Nothing. We were passing waste and a beam got stuck. 643 00:36:33,266 --> 00:36:34,919 I tried to push her to... 644 00:36:35,020 --> 00:36:37,120 - Why? - To force. I'm sorry. 645 00:36:37,221 --> 00:36:38,413 - But...? - I'm sorry. 646 00:36:38,514 --> 00:36:41,114 This is not right! At all! 647 00:36:41,220 --> 00:36:44,693 We said we were doing a film by the Dardenne brothers, 648 00:36:44,794 --> 00:36:46,640 called Drama in the factory. 649 00:36:46,741 --> 00:36:49,339 It had to seem true or we would be dead. 650 00:36:49,440 --> 00:36:52,200 If not, it would be stupid, a comedy and... 651 00:36:52,320 --> 00:36:54,499 I wanted it to be a little more than a sketch. 652 00:36:54,600 --> 00:36:56,040 But it's not possible! 653 00:36:56,141 --> 00:36:59,047 Don't worry, aunt. It doesn't really hurt me. 654 00:36:59,148 --> 00:37:02,152 - I think I'm fine. - No, it's not good at all! 655 00:37:02,253 --> 00:37:05,019 Don't you realize? It hasn't reached your brain yet! 656 00:37:05,120 --> 00:37:08,279 This is very, very wrong! It's going to hurt a lot! 657 00:37:08,540 --> 00:37:12,600 And I remember that there was little moments in this scene, 658 00:37:12,726 --> 00:37:15,480 that didn't work because they were too funny, 659 00:37:15,633 --> 00:37:18,338 where things happened too fast, 660 00:37:18,439 --> 00:37:20,099 or there were good lines that I removed, 661 00:37:20,200 --> 00:37:22,960 and we reduced it to the most concrete. 662 00:37:23,061 --> 00:37:25,079 If there is a problem, it has to be solved. 663 00:37:25,180 --> 00:37:27,720 The helper will not help you because he is a coward. 664 00:37:27,946 --> 00:37:30,459 And the boy is not in pain. It's a reality. 665 00:37:30,560 --> 00:37:33,939 This is how the scene is achieved, of the Dardenne brothers. 666 00:37:34,040 --> 00:37:36,940 We couldn't help but laugh and at the same time scare us, 667 00:37:37,041 --> 00:37:39,653 because we had a machine that really crushed, 668 00:37:39,754 --> 00:37:43,716 and we had to hold on, while Anthony was located 669 00:37:43,817 --> 00:37:46,691 very willingly and we added blood... 670 00:37:46,792 --> 00:37:50,379 In fact, the story he told, We also lived it on set. 671 00:37:50,480 --> 00:37:52,426 It was very interesting. 672 00:37:52,546 --> 00:37:54,733 We care about realism 673 00:37:54,834 --> 00:37:57,466 in a place where everything It is completely incongruous. 674 00:37:57,567 --> 00:37:59,559 And this is the case with all my films. 675 00:37:59,660 --> 00:38:02,793 You know, it's crazy that this accident unites us in this way, 676 00:38:02,894 --> 00:38:05,705 because I always thought of you like a second mother. 677 00:38:05,806 --> 00:38:07,040 Don't talk nonsense. 678 00:38:07,300 --> 00:38:08,580 Yes, yes, I swear. 679 00:38:10,359 --> 00:38:11,859 The bucket he takes in his arms... 680 00:38:11,960 --> 00:38:14,780 Everything will be fine... everything will be fine. 681 00:38:14,860 --> 00:38:16,540 Like a distant cousin of the Rubber wheel. 682 00:38:16,680 --> 00:38:18,580 Well, nephew, today is not your day, huh? 683 00:38:18,681 --> 00:38:21,526 An unexpected emotion that makes its way towards us, 684 00:38:21,627 --> 00:38:23,580 despite the absurdity of the situation. 685 00:38:24,000 --> 00:38:26,300 I'm glad you told me 686 00:38:26,401 --> 00:38:30,213 What excites you when it makes you vomit? to the bucket. It seems beautiful to me. 687 00:38:30,314 --> 00:38:33,814 Then she comforts him, and suddenly He becomes friendly, even though he doesn't like it. 688 00:38:34,093 --> 00:38:35,119 It's very fun. 689 00:38:35,220 --> 00:38:37,739 There is something moving, which looks like real life. 690 00:38:37,840 --> 00:38:40,752 There is much that is fictitious, but the emotions are sincere, 691 00:38:40,853 --> 00:38:43,259 and we can't help but feel emotion. 692 00:38:43,360 --> 00:38:47,445 And the smart thing to do is act to the actor alongside Blanche... 693 00:38:47,546 --> 00:38:49,579 There was a real exchange of actors. 694 00:38:49,680 --> 00:38:52,766 It was not just a technical performance, with a mouth that spoke 695 00:38:52,867 --> 00:38:54,139 in a bucket of blood. 696 00:38:54,240 --> 00:38:55,860 When was that? 697 00:38:56,585 --> 00:38:59,593 Oh yes, I think it was at dad's funeral. 698 00:39:00,120 --> 00:39:03,360 Oh yes! It's a nice photo, I like it. 699 00:39:05,379 --> 00:39:09,740 Since Rubber, Dupieux prefers artisanal, non-digital effects. 700 00:39:10,500 --> 00:39:12,927 He films them live with the actors on the set, 701 00:39:13,028 --> 00:39:15,660 to capture the greatest amount of things in the place, 702 00:39:15,761 --> 00:39:18,327 and avoid as much as possible, post-production. 703 00:39:19,279 --> 00:39:22,399 I made all my wishes come true garbage movie cinematics: 704 00:39:22,500 --> 00:39:27,583 Bloody things, uncomfortable things, slightly unhealthy things, etc. 705 00:39:27,980 --> 00:39:33,071 The theme of the body, explosions, blood, guts, 706 00:39:33,280 --> 00:39:35,940 It's very basic, but I think What comes from this obsession 707 00:39:36,540 --> 00:39:40,440 for the Z movies I used to watch and for me, they counted something. 708 00:39:40,600 --> 00:39:43,453 I have not gone deeper, but I think they tell something, 709 00:39:43,700 --> 00:39:46,166 about the absurdity of being human. 710 00:39:46,280 --> 00:39:48,959 I'm talking to you, but I'm meat. 711 00:39:49,060 --> 00:39:50,766 You see it, you are aware of it. 712 00:39:51,026 --> 00:39:53,666 And I think I have fun with that. 713 00:40:04,846 --> 00:40:09,179 It's 100 times more interesting film an effect and have it in the camera. 714 00:40:09,280 --> 00:40:12,120 My cinema is concrete. I need to touch. 715 00:40:12,221 --> 00:40:15,920 Like that fly in Jaws: It was unthinkable that it wasn't there. 716 00:40:16,233 --> 00:40:18,673 We need to touch the objects, laugh with them. 717 00:40:18,800 --> 00:40:22,340 And at the end of the day, that effect It's already in the camera. 718 00:40:22,441 --> 00:40:24,660 So when it comes the assembly stage, 719 00:40:24,866 --> 00:40:28,520 It is material that is ready to use and it works immediately. 720 00:40:28,660 --> 00:40:31,359 In Le daim, when we made 721 00:40:31,460 --> 00:40:35,800 the effect of the cut on the guy's face that falls backwards, 722 00:40:35,953 --> 00:40:39,032 I told him it seemed a little strange to me. 723 00:40:39,133 --> 00:40:42,553 that we cut his throat like this, with a little blow, 724 00:40:42,654 --> 00:40:46,466 and I asked him if he didn't prefer to cut him the jaw and it falls backwards... 725 00:40:46,567 --> 00:40:48,020 "Great, great!" 726 00:40:54,840 --> 00:40:58,960 It's very stupid, but I can't stand it when it is overproduced. 727 00:40:59,100 --> 00:41:03,379 I can't stand the "we'll see in the edition", or we will do everything in "post-sync". 728 00:41:03,480 --> 00:41:05,520 I can't stand all that. 729 00:41:05,680 --> 00:41:10,200 I need to have shots that have At least a little magic. 730 00:41:10,320 --> 00:41:12,439 The sound is essential. 731 00:41:12,540 --> 00:41:15,173 It has to be good and feel good. 732 00:41:15,540 --> 00:41:20,240 There has to be intensity in the socket, otherwise it doesn't work. 733 00:41:20,341 --> 00:41:24,940 And often when a shot is good, we keep the sound almost as is. 734 00:41:25,040 --> 00:41:28,380 We improve it, we add elements, sound effects etc. 735 00:41:28,500 --> 00:41:32,259 For Guillaume's sound shot, We don't even need to talk. 736 00:41:32,360 --> 00:41:34,940 It is something that is evident to us. 737 00:41:35,140 --> 00:41:38,660 After some scenes, some shots, 738 00:41:38,853 --> 00:41:42,805 sometimes we exchange a look and we know it was fantastic, 739 00:41:42,906 --> 00:41:45,029 but it remains between us. 740 00:41:45,130 --> 00:41:47,732 There is a challenge every year. 741 00:41:48,160 --> 00:41:52,557 I don't think about it, but I realize that there is a challenge in making 742 00:41:52,740 --> 00:41:57,006 all those people are every time happier to come to my movies. 743 00:41:57,399 --> 00:41:58,759 Okay, let's roll. 744 00:42:08,226 --> 00:42:12,086 There is something very comforting in being with the right people 745 00:42:12,246 --> 00:42:15,792 who understand immediately and adapt quickly to work mode 746 00:42:15,893 --> 00:42:18,843 Quentin's or mine. And it's very relaxing. 747 00:42:28,459 --> 00:42:32,619 You see it works, idiot! 748 00:42:33,826 --> 00:42:35,700 Like the elusive Salvador Dalí, 749 00:42:35,801 --> 00:42:38,727 who takes the wheel of his Rolls and crashes into a camera, 750 00:42:38,828 --> 00:42:42,359 Dupieux's characters take us on the other side of appearances, 751 00:42:42,460 --> 00:42:44,200 to places we don't know yet, 752 00:42:44,301 --> 00:42:47,610 but what do we find strangely familiar. 753 00:42:49,726 --> 00:42:53,419 Stories that remind us that our existence is covered with dream, 754 00:42:53,520 --> 00:42:55,999 and that our reality It's as fragile as a dream 755 00:42:56,100 --> 00:42:59,400 that we assemble image by image. 756 00:43:01,206 --> 00:43:05,553 I'm a better editor than a technical director. 757 00:43:05,766 --> 00:43:08,139 For me, that moment is what interests me. 758 00:43:08,292 --> 00:43:11,839 I am very happy on filming, we share with people, 759 00:43:11,940 --> 00:43:14,093 and we see how the movie is made and all that, 760 00:43:14,194 --> 00:43:17,507 but the emotion of cinema It's in the editing, not in the filming. 761 00:43:18,126 --> 00:43:19,342 Yeah! 762 00:43:19,833 --> 00:43:22,633 In fact, he edits his film while he is rolling it. 763 00:43:22,973 --> 00:43:25,533 Sometimes he says: "There, I have what I need." 764 00:43:25,720 --> 00:43:29,233 You, very academically, say: "Yes, but you haven't done the reverse shot," 765 00:43:29,334 --> 00:43:32,506 and he says "I already have what I need: your reaction at that moment, 766 00:43:32,607 --> 00:43:34,019 "I already know how I'm going to do it." 767 00:43:34,120 --> 00:43:39,480 I'm not into that "let's take cover" thing: I'm going to take a short shot, 768 00:43:39,581 --> 00:43:42,588 and then I will make a general plan just in case", etc. 769 00:43:42,707 --> 00:43:46,346 which bores me deeply and it's a waste of time, 770 00:43:46,447 --> 00:43:49,227 Well, you ask the actor to do the same thing a thousand times, 771 00:43:49,328 --> 00:43:51,179 people have less and less fun, 772 00:43:51,280 --> 00:43:54,119 and in the end, it's just material to cover you in the edition. 773 00:43:54,220 --> 00:43:56,933 Okay, it's over. Very good. Let's download this. 774 00:43:57,120 --> 00:43:58,980 Great. Magnificent. 775 00:43:59,440 --> 00:44:02,373 Let's look, if we're okay, We fold and move forward. 776 00:44:02,513 --> 00:44:04,186 Quentin has that particularity: 777 00:44:04,294 --> 00:44:06,840 after a few shots, 778 00:44:06,941 --> 00:44:08,473 he isolates himself in a room, 779 00:44:08,574 --> 00:44:12,561 review and download memory cards 780 00:44:12,662 --> 00:44:15,762 see more or less what he has, 781 00:44:15,863 --> 00:44:19,226 to see if you can ride with what you have, 782 00:44:19,327 --> 00:44:20,499 and that is why he isolates himself. 783 00:44:20,600 --> 00:44:24,646 At first I was a little surprised because I was thinking, "Where is he going?" 784 00:44:24,767 --> 00:44:27,854 When I go to a dressing room to see the images, 785 00:44:27,955 --> 00:44:30,588 sometimes I make small assembly cuts 786 00:44:30,720 --> 00:44:33,926 to see if everything works well, very quickly... a draft. 787 00:44:34,027 --> 00:44:37,092 I have seen the new tape and it's really crazy, I love it. 788 00:44:37,212 --> 00:44:38,365 Can we talk about that? 789 00:44:38,466 --> 00:44:42,836 So I only shoot the essentials. It's risky, 790 00:44:42,937 --> 00:44:48,480 because it means that I trust in the editor, which is myself, 791 00:44:48,581 --> 00:44:51,099 I decide when I cut or when I need more. 792 00:44:51,200 --> 00:44:53,812 He reads the script, says: "This afternoon we will do this and this", 793 00:44:53,913 --> 00:44:58,226 and then he looks at the script and says: "This scene doesn't matter at all." 794 00:44:58,459 --> 00:45:02,019 I was like, "Yeah, okay." 795 00:45:02,345 --> 00:45:06,539 And he said: "Well, the end. It's noon, but we are not going to roll just to roll, 796 00:45:06,640 --> 00:45:10,105 everyone to rest, like this tomorrow in the morning, fresh, 797 00:45:10,206 --> 00:45:12,619 we will make a scene, and we will have an incredible day." 798 00:45:12,805 --> 00:45:15,398 I need more action. I need more blood. 799 00:45:16,839 --> 00:45:20,939 "I need, I need..." Are you giving me orders? 800 00:45:21,040 --> 00:45:22,139 Yes, that's right. 801 00:45:22,240 --> 00:45:26,146 Now I'm at a point where I never miss anything in the edition, 802 00:45:26,247 --> 00:45:28,970 but on the other hand, I have very little extra material. 803 00:45:29,320 --> 00:45:30,904 Enough for extra plans. 804 00:45:31,100 --> 00:45:35,080 The drawback of this quality I already edit during filming. 805 00:45:35,181 --> 00:45:38,294 That is, if I see two takes with an actor, 806 00:45:38,395 --> 00:45:40,580 and there are three lines that already I'm not interested, 807 00:45:40,681 --> 00:45:44,606 At that moment I cut them, and ask to the actor not to say them anymore, for example. 808 00:45:45,960 --> 00:45:47,033 Mystery. 809 00:45:49,040 --> 00:45:50,760 115 minus 15. 810 00:45:51,466 --> 00:45:54,873 The cinema of Quentin Dupieux revolves around the imagination. 811 00:45:54,974 --> 00:45:56,933 Invent an alternative reality. 812 00:45:57,034 --> 00:45:59,746 Explore a world where games Children have their own rules. 813 00:45:59,840 --> 00:46:02,293 One, two, three, spiders, birds, saucepan. 814 00:46:02,384 --> 00:46:04,820 And where the alarm clocks They ring at 7:60. 815 00:46:04,921 --> 00:46:08,419 But this divergence does not prevent him from leaving a little of himself in each film, 816 00:46:08,520 --> 00:46:11,999 and tell the story in strokes of this apprentice filmmaker, 817 00:46:12,100 --> 00:46:14,546 of this self-taught dreamy and melancholic, 818 00:46:14,760 --> 00:46:16,386 shown in Le daim. 819 00:46:17,920 --> 00:46:20,360 I realize things very late. 820 00:46:20,520 --> 00:46:23,880 That is, when I do Le daim, I'm not taking a break, 821 00:46:24,080 --> 00:46:27,960 I don't even realize that he looks like me, 822 00:46:28,040 --> 00:46:30,840 and I'm filming a guy who is becoming a filmmaker, 823 00:46:30,941 --> 00:46:34,580 amateur, with a beard, and with a camera that I had when I was younger. 824 00:46:34,740 --> 00:46:37,993 Actually, I'm so worried for other things, 825 00:46:38,094 --> 00:46:41,380 that is, to make a movie, make sure it works, 826 00:46:41,460 --> 00:46:45,019 I'm so focused on it I am not in that analysis, 827 00:46:45,120 --> 00:46:48,480 At least, before finishing the movie. 828 00:46:48,940 --> 00:46:51,860 Hello, is everything okay? 829 00:46:51,980 --> 00:46:53,433 Yes, all good, thank you. 830 00:46:54,120 --> 00:46:55,780 Can we talk for a minute? 831 00:46:55,881 --> 00:46:58,286 Why are you filming me? What are you recording? 832 00:46:59,093 --> 00:47:01,199 - It's my job. - Oh, yes? 833 00:47:01,300 --> 00:47:05,960 When we meet at night in the snow, with Quentin and Joan, 834 00:47:06,140 --> 00:47:09,160 who were in mimicry, both with a leather jacket, 835 00:47:09,280 --> 00:47:11,586 both with a camera filming each other, 836 00:47:12,080 --> 00:47:15,206 and I held a searchlight, and in the end the three of us were there, 837 00:47:15,346 --> 00:47:17,739 and I thought: "They're crazy, seriously." 838 00:47:27,080 --> 00:47:29,500 There is a kind of self-portrait there, but I think that in an interview, 839 00:47:29,600 --> 00:47:32,960 Joan had said she liked it, I don't remember how I said it, 840 00:47:33,061 --> 00:47:36,300 but he liked to absorb his director 841 00:47:36,420 --> 00:47:38,740 to try to understand and interpret his character. 842 00:47:38,860 --> 00:47:43,046 And it is true that, little by little, The two influenced each other. 843 00:47:43,147 --> 00:47:45,746 I lived the arrival of these little cameras, 844 00:47:45,873 --> 00:47:47,960 the small, portable Handycams, 845 00:47:48,500 --> 00:47:53,640 The excitement for that was crazy. small digital screen, 846 00:47:53,740 --> 00:47:55,319 The format was already crazy, 847 00:47:55,420 --> 00:47:57,719 especially when we looked on that screen, 848 00:47:57,820 --> 00:47:59,300 This is how we used them, 849 00:47:59,401 --> 00:48:03,560 we had cinematic sensations very strong. 850 00:48:15,009 --> 00:48:16,691 They are characters that... 851 00:48:16,811 --> 00:48:21,058 They are stuck in situations often dramatic, 852 00:48:21,159 --> 00:48:25,470 but with a kind inversion of empathy, 853 00:48:25,550 --> 00:48:30,250 or at least, as if they had amputated his emotions a little, 854 00:48:30,404 --> 00:48:33,131 and for that reason, they drive dramatic situations 855 00:48:33,232 --> 00:48:37,013 a bit as if they were robots or puppets. 856 00:48:37,183 --> 00:48:40,869 We are used to a way of narrating emotions in cinema. 857 00:48:40,970 --> 00:48:43,062 You can get excited, even if you get bored. 858 00:48:43,163 --> 00:48:45,683 Since my scripts are not there worked that way, 859 00:48:45,784 --> 00:48:48,289 Emotions are a bit random. 860 00:48:48,390 --> 00:48:50,376 Sometimes I surprise myself in editing, 861 00:48:50,523 --> 00:48:52,910 I realize that There is a scene that takes off, 862 00:48:53,011 --> 00:48:55,701 precisely because I put a small fragment, 863 00:48:55,802 --> 00:48:59,488 or a sound, or a silence that counts something, 864 00:48:59,723 --> 00:49:01,669 and suddenly, an emotion arises, 865 00:49:01,770 --> 00:49:04,770 but it was not planned, It was not highlighted in the script. 866 00:49:17,030 --> 00:49:20,550 I was very happy to have found that, because it opened a door. 867 00:49:20,710 --> 00:49:22,756 It was like the movie she's not so stupid: 868 00:49:22,857 --> 00:49:26,070 an object seen in a mirror and remember memories. 869 00:49:26,223 --> 00:49:28,230 It's silly, but... 870 00:49:28,331 --> 00:49:32,583 the music I played at that moment creates something cinematically solid. 871 00:49:32,750 --> 00:49:35,602 That is also the magic of cinema, that's why I like it... 872 00:49:35,703 --> 00:49:38,309 try new things all the time, 873 00:49:38,410 --> 00:49:41,213 start with an idea completely impossible 874 00:49:41,314 --> 00:49:43,213 to build a movie with it, 875 00:49:43,314 --> 00:49:45,867 because that's how you find gems on the way. 876 00:49:46,346 --> 00:49:49,140 A cinema of explorers, in search of a truth. 877 00:49:49,241 --> 00:49:53,509 A concrete, playful experimentation, which takes the form of comedy, 878 00:49:53,610 --> 00:49:57,336 to better explore the absurdity of the world and the fragility of emotions. 879 00:49:57,472 --> 00:49:59,712 Come and kill me, you little bastard. 880 00:49:59,813 --> 00:50:01,050 Respect the text. 881 00:50:01,151 --> 00:50:02,311 Continue. 882 00:50:02,506 --> 00:50:04,039 Son of a bitch. 883 00:50:04,273 --> 00:50:05,539 Come on! 884 00:50:05,834 --> 00:50:07,634 Come closer! 885 00:50:11,656 --> 00:50:14,456 Tireless, the filmmaker takes care of each stage 886 00:50:14,557 --> 00:50:16,321 of the making of his films, 887 00:50:16,422 --> 00:50:18,822 and as soon as they are projected on the screens, 888 00:50:18,923 --> 00:50:21,542 the page is already turning and dream of the next one. 889 00:50:22,030 --> 00:50:25,510 There is an ease in the gesture to make a movie, 890 00:50:25,611 --> 00:50:28,010 Which seems very nice to me. 891 00:50:28,111 --> 00:50:33,517 And in fact, Quentin has maintained that kind of fervor and impertinence 892 00:50:33,618 --> 00:50:36,106 which he must have had, I think, when he was young. 893 00:50:38,816 --> 00:50:44,292 He wants his movies to be happy, fun, not at all serious. 894 00:50:44,466 --> 00:50:47,772 It's very nice to see, almost addictive too, 895 00:50:49,321 --> 00:50:53,174 but it can submerge you in metaphysical questions 896 00:50:53,275 --> 00:50:55,221 and be dizzying, 897 00:50:55,383 --> 00:50:57,450 and that seems very powerful to me. 898 00:50:57,690 --> 00:51:00,090 The good too is not being able to define the recipe. 899 00:51:00,330 --> 00:51:03,790 There is something happening, That's how it is, his cinema... 900 00:51:04,469 --> 00:51:05,502 ...is marked. 901 00:51:05,603 --> 00:51:09,429 We know they are his movies, and yes, it has a special place. 902 00:51:09,783 --> 00:51:12,596 I have the impression that everyone realizes that. 903 00:51:12,943 --> 00:51:15,996 Okay, okay, I can explain everything. 904 00:51:17,750 --> 00:51:21,690 The magic that escapes me They are the first ideas, 905 00:51:22,750 --> 00:51:26,463 that arise and what they are completely the core 906 00:51:27,043 --> 00:51:29,243 and even the essence of a script. 907 00:51:29,349 --> 00:51:31,262 I need to be excited 908 00:51:31,363 --> 00:51:36,017 for something that gives me the impression of coming from a place I don't know. 909 00:51:37,503 --> 00:51:38,656 Come! 910 00:51:39,156 --> 00:51:42,049 Let's follow his gaze, let's let ourselves go for your thoughts 911 00:51:42,150 --> 00:51:43,562 to defeat immobility, 912 00:51:43,663 --> 00:51:45,923 because in this state of perpetual creation, 913 00:51:46,024 --> 00:51:49,463 the word "end" is just the promise of an imminent beginning.