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Interview with Number 6
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St�phane Batut is the one
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who introduced me to G�Ia.
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We met in a IittIe caf� near
the Opera. I think I had hot cocoa.
5
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I had read the script, and I was
impressed by the depth of the topic,
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by its cIarity, and aIso
by the simpIicity of the situations.
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What defined the shooting
and gave it its strength
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was the fact that it was very
thorough , precise in every detaiI ,
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whether it was directing ,
Iights, framing the actors.
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Everything was very meticuIous.
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So the more it was Iike that,
the more I Ioved it,
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the more I was absorbed by the story,
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and the more I couIdn't escape
my character.
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I feIt very invoIved.
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I was reaIIy Jacky, a desperate man
and yet a winner.
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We had Iong days and aII day Iong ,
I couId not escape my character.
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And I Iike that.
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I Iike it when there is no difference
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between reaIity and fiction
on the set.
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As far as Jacky, I don't know.
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He's an oIder brother who couId end
badIy, he couId be a father who kiIIs,
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and evidentIy he has aIready kiIIed.
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So, when he is confronted
to this figure of innocence
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represented by the hero,
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I think he has a subconscious
desire to Iose.
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So I was constantIy pIaying
with that tension.
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The vague desire to win the jackpot,
which he doesn't beIieve in anymore.
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He's disgusted by it.
It makes him nauseous.
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And this young man
who represents a possibIe future,
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something different from the mud
he has been Iiving in.
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I think that Jacky is
the objective side of the fiIm.
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He represents this bIack hoIe
with which the hero is confronted ,
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where he is going to get hurt.
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Jacky represents the worId.
He represents this way. . .
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. . .of making money,
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which is aIso a way to get Iost.
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He is aIso a mad poet at the same
time, but he Iives in the mud.
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In paraIIeI , there is aIso
the reIationship with his brother,
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who is one of the guys pIacing bets.
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There is a manipuIation ,
but who manipuIates whom?
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Who is manipuIated?
Him or his brother?
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I first reacted to the configuration
of the pIace,
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this house Iost in the forest,
designed by an architect.
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And I thought, ''It's a smaII house.''
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When I read the script,
I had pictured a castIe,
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something more spectacuIar.
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That's when directing
comes into pIay.
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It feIt Iike being in a smaII office
with peopIe pIacing bets.
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And actuaIIy, that's what
one of the characters says,
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''It was better before.''
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There used to be more peopIe
pIacing bets, bigger bets.
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There was a goIden age.
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Now it has become petty,
and we can't even afford a castIe.
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It reminds me of a cabaret scene.
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PeopIe kiII each other.
It's very theatricaI.
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And instead of fiIming this
in a spectacuIar way,
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he has minimized it and aIIowed
for the characters to stand out more.
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The fact that it's in bIack and white
emphasized it,
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but if he had done it in coIor,
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it wouId aIso have been
bIack and white,
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because everything was
white and grey in that house.
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And it was coId. I Iiked it.
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Shooting a fiIm
can be very dangerous.
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I aImost died on a set in Madagascar
because a canoe fIipped over.
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It can happen because
you weren't carefuI enough ,
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because of the energy you have
on a set, the desire to act,
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to be invoIved in fiction.
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There are aIways
a Iot of accidents on set.
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And on this set,
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I remember I was doubIe-checking
every gun aII the time.
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I was paranoid.
I didn't show it, but I was.
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I was doubIe-checking that
nobody had made a mistake,
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and suddenIy a buIIet couId have. . . .
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So I was carefuI , and I think
that was aIso part of the work.
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00:07:15,281 --> 00:07:21,880
I had to be sure that what was
in the gun was not a reaI buIIet,
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but pIay with the idea
of a reaI buIIet.
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If it was a reaI buIIet,
what wouId happen?
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That's when fiction comes in.
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But everything was very professionaI.
There was no probIem.
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But I think we aII thought about it.
81
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Sure, The Deer Hunter.
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I didn't watch it
before doing the fiIm.
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I remembered it fairIy weII ,
and I'm gIad I didn't watch it then ,
84
00:08:06,833 --> 00:08:10,963
because it aIIowed me
to not be infIuenced.
85
00:08:11,070 --> 00:08:14,301
When I saw it again
to do another fiIm ,
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00:08:14,407 --> 00:08:21,108
and I had aIready seen it four times,
I noticed the difference.
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00:08:21,214 --> 00:08:24,547
It was totaIIy different.
88
00:08:24,651 --> 00:08:30,715
In The Deer Hunter,
the topic is the hero's survivaI.
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This is totaIIy different, preciseIy.
The topic here is the hero's downfaII.
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00:08:49,909 --> 00:08:57,782
When I saw the fiIm , I was very
impressed , very proud of our work.
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00:08:57,884 --> 00:09:01,911
The fiIm immediateIy
took me somewhere.
92
00:09:02,021 --> 00:09:06,856
There is something universaI
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about this young man's
rite of passage in this house.
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00:09:15,768 --> 00:09:23,766
I thought it represented
the worId very accurateIy
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in terms of how vioIence is portrayed.
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00:09:27,180 --> 00:09:34,143
Everything is in the psychoIogicaI
tension between the characters.
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It's extremeIy vioIent,
but at the same time it's not bIoody.
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There are no speciaI effects
to add to the vioIence.
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So I think it is in the tradition
of an auteur fiIm ,
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it is aIso open
to a more mainstream audience,
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but there is no compromise.
102
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It's radicaI and poetic.
103
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So I wasn't surprised to see
I couId make this movie,
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since that's what I Iike,
among other things.
8905
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