Original subtitles

THE MAKING OF TIME TO LEAVE

BEGINNING OF THE FILMING THE PHOTO SHOOT

How is the shirt?

- It's fine. - You see, here, I don't know why...

Herve, we might need a track, so how do we do...?

- We can put it... - Of course.

First, we'll be here, then we'll come over here - we haven't marked it.

And then we'll take a few steps back.

I've marked an approximate spot.

Then I'd like to be here. Pardon?

- Will we follow Melvil? - Yes.

- Do I stay put at the beginning? - Move over there.

- I don't stop and look? - Yes, you do.

Wait a bit longer before you start talking to...

Also look around to show that you're getting angry.

Look at your watch, since you have it.

I shake her hand?

You say, "Hello." She's very... But you say, "Bonjour."

Be distant. OK? Let's try that.

Melvil is hiding the Japanese people when he's moving forward.

OK. Stop the music, it annoys me.

Let's start again.

Roll cameras!

5/6, second take.

Action!

Go.

Cut!

You should look only once at the sky.

- I'm a little behind. - You start late.

I need to...

Maybe, Melvil, close your eyes as if you can't see,

and then faint.

It needs to be more sudden.

You know what I'd really like?

- To take a picture with you. - Sure.

That way, I'll have us both.

Yes, for Melvil and Anna. I'll take a picture of them.

- Really? Great. - Sure.

Come on. The two of you. How do you open it?

- We're not there yet. - Like the old ones.

Which button do I press? There's no flash?

OK.

Very good. There you go.

Ask him for his autograph now.

- Should I? - Yes.

- He'll be a monk soon. That's the thing. - True.

WITH HIS FAMILY

What if...? Because it's grey here.

- It fades into the hair. - OK.

Just add a little bit of white here.

- I'd rather shade off those two ends. - OK.

- But keep this so that it's uniform. - OK, let's do that.

- So that it doesn't... - Because he looks like an imp.

- A beard in reverse, no? - I am an imp.

- Or like a sailor. - Yes, you're right.

If your husband likes looking like that...

- Well, I'm used to it. - Yes.

- To bearded men? - I'm joking.

I'm not used to it. ljust pretend I'm used to seeing you like that.

- Over there. - Oh, no.

Or we could have Louise-Anne.

You want to touch him?

He could be next to you. We'll see.

At 11:30 am, we'll do the positioning.

Not, "You've touched me too much."

I'm taking it a bit far, but it's true.

It's the idea that...

Why doesn't he want me to touch his hair?

Because he's no longer a child.

- She sees him as a child. - I agree with you.

- There he comes. - I mean that I've cuddled him too much.

It could sound incestuous.

No, he was our son from the beginning. I always cuddle Melvil.

And he hates me because of that.

We're wondering how Marie touches you. That's the question.

Just like that.

- But that's enough. - It annoys him.

In the bathroom, you'll do this.

"Your hair is too long." That makes him angry.

Especially as he's done his hair.

- Oh. Is that the case? - No, not yet.

I find it prettier. It shows your face.

It's different because we've often seen you like this.

Whereas this way, you look more...

more like a 16th-century lady.

We could give it some body.

- It's better. - Yes, we can do that, but...

- Do you like it? - Yes.

I find it much prettier.

- Isn't that nice? - Yes. So do we...?

- Something like that. That's great. - It's nice.

I really find it pretty.

I think it's not bad.

He's just had a meal. He needs a nap.

You need to get used to the set.

- Hello. - Hello.

Let's introduce you to everyone. Here's your uncle.

Hello. You're so cute.

That's your uncle. You've got the same nose. Here is your grandma.

He's so scared he can't even shout.

And your mom, that you already know.

- He's very young. - Yes. Hello.

Do you recognise Louise-Anne?

My darling, you're so cute!

- So far so good. - He's really delightful.

Let's get him used to the set.

His mom needs to go away.

With the baby, you need to be cheery and to take him in your arms.

Hopefully some funny things will happen. You need to be more...

Be more energetic, or it will ruin the whole scene.

Noe is here. Louise-Anne, bring him here.

Come on.

Louise-Anne takes Noé.

- Here he is. - There you go.

Take this.

Put it on him. I don't know how.

The child is great. Let's go.

- Come on, Jeanne and Véronique. - Yes.

Oh, he got hurt.

Louise-Anne, look at Melvil at the end.

Maybe he needs a feed.

Do you stay on Louise-Anne?

- Do we stay on her at the end? - At the end, yes.

Do we have a fake baby just for the end?

No, a real...

We have two children.

Take him to the other room, give him some fresh air.

- What do I do? - Take care of Daniel.

Lift it, laugh with it.

Position yourself side on. It's hiding... No...

More like that. Yes, like that.

This doll is horrible.

- Try and pull its head. - Pull its head?

No! That's disgusting.

What's the child doing? Is he sleeping?

What's the child doing, Christine?

He's playing?

Until the take is good...

Even the sound...

He looked at the camera.

Are you sure he did?

- He looked our way. - I think he looked at me.

- He seemed to look at us. - I'm sure he didn't.

- See how he's grown? - Yeah, he's adorable.

Too cute.

- A spitting image. - Of who?

- Romain. They have the same nose. - It's Alain's nose.

Tempted to have one?

- Stop it, Mom. - What?

Aren't two grandchildren enough?

You know your mother. She's so maternal.

But Romain has always loved children. Right, honey?

Too bad your son's a fag! No descendants on my side.

OK, very good.

You're done. Right, you can cry now.

- He's had enough. - But we keep...

- We do keep Samuel, right? - Yes.

So, what food do we have here?

What's he brought us?

Oh, chicken...

- Not more carrots? - They already have some.

That's right. So, we need to...

- It's too much then. - Yes.

Lucky boy, he's got two legs.

He's got two legs?

So it's a three-legged chicken?

- I eat fast. - Tristan?

I'm done.

- People won't notice. - Sorry?

If people are bored and the actors aren't good, they'll look at the plate.

- So, Louisiane... - Louisiane?

You'd better be good or they'll count the chicken legs.

You need to take away some things. They'll only eat vegetables.

Is everyone ready?

Try not to make too much noise with your knives and forks.

Don't make... Exactly. Careful with the dishes.

Do I pour myself some wine?

- Sure, when? - Maybe when we're arguing.

- No? - It's going to bother me.

- I'm a good cook. - Really?

I eat bad food at the moment.

I put the bottle next to you.

- When do you want to drink? - "And you know why?"

- No, not at that moment. - OK.

- At the beginning... - Otherwise, ljust hold the bottle.

At the beginning, when Louise-Anne is talking, you drink.

Pour yourself a drink.

- At the beginning... - Some time after that.

When she asks you, "What's new with you?",

then you're filling your glass.

Which would explain why there's a pause.

- Quiet, please! - Melvil, take your position.

Louise-Anne, too.

We sign next week, if all goes well.

I'm sure it will.

I can't help stressing. This guy's a hard sell.

I'd love a portrait of Dad and I.

Like in English magazines.

That would be fun.

Save your breath, Mom.

We're not hip enough.

Bring down the... Daniel.

- We can't see anything. - I moved forward to avoid the door.

Could you...?

I should have moved forward earlier to avoid the door altogether. This is not...

- Could you move forward at the end? - Yes, I could do that.

Melvil?

We need to feel that you are more drunk, or tipsy at the end.

As if you were suddenly exhausted, really tired.

Maybe you've got a headache. The fight has an effect on you.

- Louise-Anne, get up sooner. - Yes.

- Don't wait. - I'm waiting for Marie's line.

- She no longer says it. - You don't?

I don't interrupt him.

She doesn't say anything any more.

Forget about Marie.

Act when...

- When you want to hit him, do it. - She's talking.

It doesn't matter. If you feel like...

If you feel like hitting him earlier, do it.

Don't be shy. If he annoys you from the start, just hit him.

Do it then, it will take us all by surprise.

Even before he finishes talking.

Surprise us, otherwise it looks as if you're just waiting for your cue.

And your ugly mug would be in the picture,

it makes me want to puke.

Romain, stop it!

No wonder your man left. It's like...

I'm gonna kill him!

Calm down.

I can't take it any more.

Who's coming on Monday?

On Monday, we no longer need Daniel and Louise-Anne.

It's the bathroom scene.

We were supposed to finish this sequence, but it's good as it is.

You come at the end of the week for the car scene.

- For the car. - Yes.

Thursday and Friday? It's changed?

Wasn't it on Monday and Tuesday?

On Monday, we shoot the bathroom scene.

- Are we done? - Yes.

We're done for today. Thank you all.

Thank you.

Do I frighten you?

Sometimes, yes.

This might be better. It frames the face more.

And then he can put his hair behind his ears.

There was another one as well. It was softer.

- Those locks of hair are nice. - Yes, it's fine.

Frangois is not sure.

- If he likes it or not. - That's true.

The costume?

What is it that you don't like?

I'm not sure about the colour.

Yes, put those sleeves up.

- That's better, perhaps. - Yes, it is.

- I am a puppet. - You are a puppet?

- I am a puppet. - Yes.

- Like all actors. - That's right.

- That's fine. - You like it?

- I mean it's fine to be... - To be a puppet?

Is this better?

- The sleeves are better. - The shirt looks better.

Whatever you want.

It looks more normal, no?

- Yes, I don't look like a model. - Exactly.

You come here almost straight away.

I thought you could come earlier...

"Still playing those stupid games? You're not 12."

"Where were you?" "At my parents." I don't know. We'll see.

So, Christian.

- Hello. - Hello, Christian.

- How are you? - Good.

So, Christian...

You'll be sitting here.

Can we have the joystick for the game?

You won't look where you should.

You'll be looking at the video game here. It's here.

We're going to give you the things...

The fake joystick.

So, Melvil will come in through the back.

See? Over there.

But you almost never look back.

At the beginning, you can look at him briefly.

And you only join him at the end.

Good, and then, you'll be kissing...

on the lips.

- I draw him here, no? - Yes.

Good.

Good. Make it sexy.

OK, let's do it one more time.

Cut!

It was very good.

- Load the camera. - Let's shoot one last take.

Load the camera.

Why...

am I off-camera in this?

- Is it because my part is not good? - Yes, because you suck.

No, it's because when I was doing this travelling shot,

the previous shot was mainly on you.

Here, I'm doing Melvil's shot.

While you were taking coke, I was on you. Here, it's Melvil.

I filmed you before.

- Don't worry. - No... Well, I do.

I do, because...

When we keep doing it again...

- I start worrying. - Sorry?

- I start... - You worry? No, it's normal. We try things.

We try things from a technical point of view, with acting.

You two also do different things.

- He comes here. - He attacks him?

Well, they're fighting. It should... It's Christian.

Christian takes the upper hand and pins him down.

He holds him like that?

Or he can try to...

- It will be fast. - Should it be violent?

- It has to be fast. - But do you want it to be violent?

Not too much...

When he grabs him,

he can do it like that, or he can put his...

his arm on his throat, to block him,

- and it's... - Oh, no, because...

They've just had sex...

When I've had sex and I'm angry, I get violent.

No, they're not that angry.

- He attacks him... - The other one is not as strong.

And Melvil thinks it's funny.

We just need to design the way they roll, so that Melvil falls over him.

I think Christian should be pulling him.

That way, he doesn't get hurt.

- So, he stands up. - Christian, stand up.

Stand in front of him.

I think he should actually grab him here, you see.

Here, so he can attack him like this.

And they can start to squabble.

- Do it. - Let's see.

He starts to... Then remember to roll around.

Right. You get on top of him.

But you're too far because what...

They must fall over here.

- So I need to roll the other way. - Exactly.

So, go ahead and roll the other way.

You need to roll once on the bed.

Right here.

- And then... - There's the table.

- Yes, I've put my hand on it. - OK.

Then what you need to do is roll over him to be on top on the ground.

You'll be on top, OK?

Like that.

Good. And then you put your hands on his neck,

and it can end like that. What do you think?

It would be better if you fell here,

with your heads here.

So we don't really care about the bed in the end.

Right, that way, and...

Christian should be like that.

It's better. That way, I don't have to move.

- It would be better if they were naked. - Yes, the underwear...

- I know, but... - The underwear...

- I don't want to show their bits. - You want them to be naked?

- Well, after sex, normally... - The underwear is awkward.

We need to find something else.

I don't know what to do. Have them naked?

- We won't see it anyway... - Except when they're in bed.

Then I'll do a close-up when they're fighting.

Let's try in their underwear first, to see if it's noticeable.

That's going to make them comfortable! "You're going to be naked all day."

It might get you excited, and then you'll be crazy.

OK, you're stronger, happy?

Go ahead, kill me.

Asshole.

I can't see it, but you need to take off your underwear.

We can't see it, but we feel it's there, and it's better for you to be naked after sex, no?

Is it a problem?

- It's a problem? - Yes.

- So... - Use the sheet.

Cover yourself with the sheet, or...

- I need to be naked? - Yes, I think so.

- It's better. - OK.

- It's just... - You won't see...

All we can ever see will be your buttocks.

He's taken off a scab.

- Is it a problem? He's crazy. - Yes.

- I think tomorrow, it will be better. - But you'll have a scar.

Yes, you will.

- Really? - When you take off...

- Dermis is not... - He should never have done this.

- I'm hallucinating. - When you have a scab...

When you have a scab like that, doctors tell you to let it fall off.

The scab was already falling off because of this morning's make-up.

I know it's not good. I'm just saying that he didn't tear this scab off.

With a cotton swab, he had no trouble taking it off.

What happened is that with the make-up,

- it just... - Softened?

Yes. It was easy to remove. All right, he shouldn't have done it.

So let's just see a dermatologist to reassure everyone.

- Do you want to call your doctor? - I don't care.

Where's her practice?

- In Villemoulde. - OK, we're next to St Louis, so...

...because now, he's on the verge of crying.

I told him he's young and so his skin will get better.

It's not a problem.

- She told me... - Is he going to get another scab, now?

I don't know. We should put an ointment on.

He should not take Clamoxyl because it's allergenic and very strong.

So she told me about a cream which is gentle - she likes homeopathy.

Shouldn't we see someone else before using a cream?

- I don't... - We need to see a very good doctor now.

This morning, we were in a good mood - Franck-Pascal and me.

But we saw Christian arrive

with a huge scab all over his nose.

He fell down while trying to get on his bike on the slippery road.

It didn't make me laugh this morning.

So you cancelled Christian's scenes?

Yes. We managed to do long shots, but we couldn't do close-ups.

Do you mind going to the kitchen?

- Where? - To the kitchen, over there.

This one is really scary.

- He's always been. - He's really scary.

Or rather... Do we really need to choose now?

I'd say either this one, this one or this one.

- Those three. - OK.

So, I'm going to explain to them that we'll choose later.

ljust wanted to make sure you explain the scene to them and they get the idea.

Shall I have all three of them come here and tell them we'll film them later?

- So you can... - OK.

Go ahead. Bring those three here.

- So... - Here they are.

Come in. Close the door.

- Come in. - Come in.

- He's going to explain the scene to you. - So, it will be one of you...

There will be several fistings.

But there will be one rather graphic with an actor,

who, of course, won't do it for real. There will be a double for close-ups.

You'll need to be careful because the actor is not into this.

So... You'll be filmed with your face uncovered.

You don't mind? Good.

- It depends if it's a static shot. - Yes, it will be.

You're still an extra, but we'll really see you.

We'll see your face, and then your fist.

OK.

So, think about it. If you...

But at the same time, the room is rather dark.

You won't have a light in the face.

Plus, I'll be focusing on the actor. I want the beginning.

I don't really know how it's done.

- First, you put on a glove? - Yes.

- And then? - The product.

Can the other one be wearing chaps? On the swing?

Do you penetrate him with your fingers right away?

- How does it happen? - We wait a bit.

We don't do it just like that.

Do you talk to him, kiss him?

- Is there any tenderness? - There is a preparation.

- You put the other one at ease. - Oh, yes.

- We don't do it directly. - You don't.

So, we'll probably film this preparation.

And then, progressively...

When is the penetration done? Do you start with a finger?

It's progressive. It also depends on how he is.

If he's relaxed...

if he's cool... Whereas if he's tight, it takes longer.

But if he's relaxed, it's quite fast.

OK.

We need it to be quite fast.

The scene can't last an hour.

We need it to be gradual, so we'll make believe with the actor,

and then, with the double, we can do the beginning for real.

But what I'm interested in is the tenderness at the beginning, the preparation.

And does the guy who's fisted take peppers?

Most often, yes.

Here...

The hard-core part is here.

- You'll be on this. - So I'll be...

You won't be tied. You'll be...

Come here, and put your head this way.

Like that. You need to be higher.

Let your legs hang.

- Like that? - We'll see.

It's good, that way we won't see much of it.

Anyway, he'll show you how...

Your hands might not be over your head.

Are you comfortable?

It was good.

Try to put your arms on your side.

Lower them.

- Like that? - I think so.

And you'll have peppers.

You'll sniff it.

The other guy will be here.

Right here. And you, Melvil,

you'll look at it with your friends.

And towards the end, you'll look at Melvil.

It's good, isn't it?

Good.

Are Valéria and Melvil here?

Valéria is in the shot, too.

What about my steak and chips?

I've been waiting forever.

Ask someone else.

How are you?

Very good.

Careful with your shoes.

It sounds better.

It looks like she's been a waitress for twenty years.

I'm not sure about Valéria's posture. You're too...

- You need to be more... - I like leaning on it.

That's fine, but change your posture.

You need something to do.

You could clean crumbs. Or take away his plate.

- OK. - I don't know.

You could ask him if he has finished. He says yes.

Then you go, but you come back right away

because... I don't know.

Maybe the sugar's not here.

Because it's a bit strange to...

So if we...

You bring his coffee, and you ask if he's finished.

"Yes."

Like that.

You take this away,

and you ask for a coffee...

You say, "Oh, there's no sugar."

- "Can I have sugar?" - "Can I have another sugar?"

No, he only takes one.

You've forgotten it.

Because you were fetching it, and so you forgot it.

So you come back right away. You give the tray to Tristan.

You come back with sugar. "There you go."

Then you say, "lt's not too busy today."

- So do I have to take the tray away? - Yes, he's finished.

Take your positions.

Let's rehearse the action, the sound, the shots.

Put that tray further away because...

She's going to put the other one next to it.

Jeanne, record the scene so we can see how it looks.

Come on. It will be easier.

Record it.

Say the right words.

It needs to hit you all of a sudden.

We need to feel a change, otherwise...

When I ask him that, I'm not joking. "Do you have children?"

- It's more serious. - Yes, all of a sudden.

She must not be serious at the beginning.

She must act like a good girl.

She does her job well.

She smiles, she's nice.

Melvil, spend more time on your steak

to show that you feel disgusted. We couldn't feel it.

You went straight to the chips. You eat your steak

and you look more tired, exhausted.

Because you looked energetic. Be more...

Do everything slowly. You're lifeless, and you...

That's why you take your medicine, because you feel tired.

It's better than when you're standing.

You did that while standing.

That's really good.

You need to speak earlier.

- It's good. - Let me see how it is when I stand up.

This is too long.

I ask him, "And you are..."

- So long as you ask him something... - And then I stand up.

THE CHILDREN

Look at their faces!

It's going to be long.

- Do you like it? - Yes.

Come with me.

What will they wear?

- This? - Yes.

- His clothes... - I'm not yet...

This isn't your costume.

You think you're going to pee that way.

But you realise you're too short.

So, what you do...

Victor and Ugo, you slowly walk that way.

You tiptoe like this.

Walk one behind the other.

Like that. Otherwise, you'll hide each other.

And you come to the stoup.

Here, you say, "We're too little."

You say,"Let's get a chair."

You look around and say, "Let's get a chair."

So you take a chair and start again.

OK?

Let's do it again.

I can give you a bigger one.

That's the right size. Are they going to mess with it?

Is it tricky to put in the trousers?

Not really...

Shall we try those?

We'll see with them. I just don't want them to get wet. Don't put too much.

This needs to be hidden. There's water in it.

So you put it like that and press just once. I need to hear the noise.

You put it in your underwear... I mean, in your trousers.

Be careful. If you press it, it's going to wet your trousers.

- There's water in it. Is there much? - Just a bit.

There. Who gets the bigger one?

Take it.

Put it on, but hide it.

- Put it inside. - Not this way, or it will leak.

Like that.

It's funny, it will take time to take off.

Close your flies.

Cut.

So.

Ugo, when you arrived here, you looked at the camera.

You looked towards the camera. Don't do it.

- I looked there. - Look in this direction, then.

Otherwise, you're looking at the camera.

The rest was good. Did the water come out OK?

Roll camera!

Rolling.

32, 1l2,take 3.

Action!

Hide.

Go.

Go.

- Body of Christ. - Amen.

- Very good. - He did it very well.

He's used to doing it.

- Body of Christ. - Amen.

- Body of Christ. - Amen.

It makes you laugh.

- Very good. - You can smile, but don't laugh.

If you laugh, he'll slap you.

- I really do that. - Be ready.

As our Saviour Christ has commanded and taught us, we are bold to say:

Our Father, who art in Heaven,

hallowed be Thy name,

Thy kingdom come,

Thy will be done on Earth as it is in Heaven.

Give us this day our daily bread.

Forgive us our trespasses...

Do they sit down again?

- No, we stand up the whole time. - OK.

Finally!

Let me see.

- He's pale. - Yes, he is.

Even without the makeup, he's pale.

You're preparing your roast.

And first, I film you from behind.

You say, "You should tell your parents."

- And then? Where's the script? - Right here.

It's in a folder, but you can still take it.

Let's see.

- That's the garden scene, it's later. - OK.

- There. - "I tried, but I couldn't." "Why not?"

Then you come here. Next to him.

Will you be making the seasoning? What will you do?

We have to find something for you to do here, too.

I want it to be very...

I want you to have plenty of things to do.

Vinegar.

Right. You can put your things in place.

I can't have that.

I need salt.

And you should both be sitting down.

I'll have a good view of you.

Let's do it again. Action!

- You should tell your parents. - I tried, but I couldn't.

Why not?

I don't think anyone wants to hear it.

Mom will smother me even more, and Dad will disappear.

L think I...

- I like... - I like it that nobody knows.

It's like a vengeance.

From what?

Sometimes I wonder...

- Sometimes, I feel like... - That could be funny.

You can't open this thing and ask him...

It's going to make me look like an old lady.

For staying childlike, that irascible and violent boy...

I don't like that line. Let's change it.

- Which one? - "That irascible boy."

"For still being an irascible and violent boy"?

Yes, "for staying an irascible boy".

- What about "furious", and not "violent"? - Yes.

- "Irascible and furious." - I like furious children.

Everyone is violent, the Iraqis, the Palestinians, the Israelis.

- Whereas he is furious, right? - He is furious.

Let's do it one last time so that I can decide how I'm going to film it.

- I need a towel. - Tristan, find one.

Whatever you need, ask Tristan.

- I need a wooden spoon, not too big. - A wooden spoon...

There's one just here. You can grab it at the beginning.

Tristan, what's all that smoke?

She's not setting the house on fire!

Although, it's quite pretty with this light.

- Stand by. Action! - Quiet.

- You should tell your parents. - I tried, but I couldn't.

Why not?

I thought, Melvil, you would sit on this side, with the paintings.

Jeanne could be here.

I don't know your favourite side.

- I don't really care. - Good. Melvil, I haven't spotted yours.

- You haven't? Nice! - After all those years.

You look better face on.

Some of your photos in profile look good. I can't find them.

- Jeanne, start with, "ls that allowed?" - OK.

Or maybe first, "You haven't finished." He's not eating it all.

Right? You're full.

I was thinking about making you say,

"You haven't finished." "I'm full." "You need to eat."

You reply, "What's the point?" I'm not sure.

- It's too cynical. - "Make an effort."

"Make an effort." That's good. "You haven't finished." "I'm full."

- "Make an effort." - "What's the point?"

No, don't say it. Plus, you'll say it later anyway.

"You haven't finished." "I'm full."

"Make an effort." Then, you take a cigarette.

- "Is that allowed?" - "I do what I want now."

"Can I have one?"

- That's where I have a problem. - Me too.

I have deleted all of this.

And this.

"It's really unfair to die so young."

- It's daft, isn't it? - Yes, it is.

Yes, let's get rid of this. I agree with you.

"L feel like being at peace."

- You say it later. - He said it...

He told me he feels good in his own skin in the garden.

- No, in the kitchen. - What did you say?

- I said... -You said...

"As a teenager, I was resentful, but today, I feel at rest."

Let's delete this. "Can I have one?" "So, who have you told?"

"So, who have you told?"

"No one. Just you."

"Friends, colleagues?"

"Nobody at all. I told them I needed a vacation."

- "What about your sister?" - "You're crazy. No way."

"She'd get off on babying me, like she does her kids."

"And Sasha?"

"No, I couldn't."

That's it. It's enough.

"And Sasha?"

There's a break anyway. She tells her anecdote.

"When your grandfather was about to die, I asked if he wanted to see his brother."

"He thought about it, hesitated... But no."

"He refused. He was too scared."

"Like you." What if she said, "Like you"?

"He was too scared. Like you."

"He was too scared. Like you."

"He was like a little child who's afraid of the dark."

"Of the wolf."

- The dark or the wolf? - I don't know.

We'll see. It's good.

"He was too scared. Like you. He was like a child who's afraid in the dark."

And not "of the dark".

- "Wolf" is good too. - "Wolf" is fine. Let's choose that.

"He was too scared. Like you. He was like a child who's afraid of the wolf."

"At the funeral, his brother came and I lied. I said Jacques had asked to see him."

"He started to cry and gave me a hug."

The other script said, "He died one year later of a lung cancer."

It was sinister.

Good. And after, I'm not sure we'll have time to shoot this tomorrow.

- We should rehearse it anyway. - Of course.

- What we'll do is shoot up to here. - Yes.

We'll do... Am I right?

Oh, there's a whole crowd behind us!

Then we'll shoot the scene when he's leaving, while it is sunny.

Then, since it takes place at night, we'll finish it later.

Melvil, you're going to eat this.

And you'll finish it, OK?

And some potatoes, too.

I dreamt about working with Frangois Ozon.

I feel like I've known him forever,

since his first short films, that I've been lucky enough to see

thanks to Jean-Claude Moireau, the still photographer.

It was a dream, but...

He's surrounded by a wonderful team, and what is really rare

is that this team is making the same film, his film.

As an actress, even with '(he passing oi time,

I still always feel when there is an osmosis,

a real transformation, progress.

That's good. We'll try that.

He knows how to get a lot from you. He lets you...

he lets you express a lot.

And then he just picks whatever he needs.

- You should kiss him at the end. - OK.

- We need the little kiss at the end. - Yes.

I'll try something.

Do you want to rehearse it first?

- I'd rather film it now, please. - OK. Benoit, do the focus.

Check the continuity.

Jeanne, check the lighting.

Take your positions. We're going to shoot.

- Frangois, I don't move? - No.

When you say, "Because we're the same," smile.

You can also close your eyes as if she was lulling you.

- I said the wrong words. It distracted me. - Yes, and maybe...

say it more...

Don't whisper it, but say it more...

- Yes. - Don't say it openly.

- Say it more gently. - "Your father never forgave me..."

And say it more slowly. You can take more time.

I said the wrong words after that.

- "Your father never forgave me." - "But I know I was right."

"lf I hadn't had all those lovers,

- I would have died too." - Thank you.

At the beginning

you'll be here.

- Is this cake good? - Have some.

No, thank you. I'm not hungry.

- You'll be here. - Don't refuse.

You'll be sitting here, with your flowers.

Then Melvil will come.

When he arrives, he will say, "I'm ready to go."

- They're ugly. - We're not going to use these.

We took a bouquet. What do they say? "I'm ready to go."

"Sure you won't stay for lunch?"

Then you stand up. "lf you get tired, pull over and rest."

Give him the flowers while walking.

"L picked them this morning."

"For my funeral?" "No..."

You come out.

And then the car is on the right. And I...

- I'll have some after all. - It's very good.

Plus, it's a small piece. Careful with the cherry stones.

- Have you eaten? - No.

It's really good.

Ah, a stone.

- Put it here. - It's OK.

- Take some more. - No, thank you.

Come on.

OK.

OK. Let's move on to the next sequence.

We are going to...

You are going to change clothes again

to shoot the scene with the medicines and vitamins.

- Or... Let me think... - Put the roses in the fridge.

- They're the last ones. - Tell Tristan. Tristan, for tomorrow.

Let's see.

What's this hole on the door?

What's this? We don't have another door?

- In this colour? - What about that one?

- The hinges are the other way around. - And the one next to it?

But this wasn't there, was it? It's just been done.

- No. - Of course.

It wasn't there. It's been done while we were shooting.

Someone hit it.

What do I do? It's just been done. It wasn't there this morning.

It was already there yesterday.

Are you sure?

- I saw it this morning. - I have to film the door.

Yes, it's...

- Can't we put something on it? - It looks...

Can't we prevent it from reflecting the light?

Can't we use this one?

- This one? - It's the other way around as well.

And we need a pink door.

It's right in the middle. If it was in a corner at least...

- What's this hole? - We've only just seen it.

- Let's cover it. - Can't we put a painting on it?

A painting on a door? Right in the middle?

- It's not good. - Some embroidery?

A cloth?

- I put calendars on doors. - Yes...

- Do we have a calendar? - There's one in that room.

Let's take it.

- It's quite large. - Is it pretty?

It's not bad.

- Are you asleep? - No.

What's the matter?

- Can't you sleep? - No, impossible.

Want to talk?

No, just sleep with you.

Come in, then.

Don't close the door.

We no longer close the door.

You sleep with your door open.

So, Melvil...

Look as if you're sleepwalking.

Be less realistic, maybe.

And maybe...

do this...

Stand like this.

So I see you. Then you really open the door.

Leave it like that and just stand there.

OK.

There's the white part.

This bit is white.

- Can't you just paint it? - We don't have the right colour.

That's crazy.

I really need it.

- Let go. - OK, then.

Good, I'll fall asleep.

- Are you sawing the door? - No, we're enlarging the holes.

They're enlarging it.

They're going to make a hole in this one as well.

What's that hole?

The door must have hit the corner of the table.

We put it here.

Thank you.

I'll have to change it.

So...

You want the opposite?

So, Jeanne...

Can you look more towards me, for the light.

More upright.

Sit upright, and Ugo will... Like that.

Sit as you did earlier. The light was good.

And now, Ugo... Good.

Act as if you knew me.

I'm crushing your shoulder.

You're going to switch places. It will be better for the lighting.

Switch.

Ugo, go to the other side of the bed.

- You don't mind? - No.

- No. Is it a problem? - Personally, I don't care.

It's not a problem with Ugo's face?

Cut. Very good.

Let's check it. It was Jeanne's last shot.

Thank you.

Thank you, Ugo.

- Thank you, Frangois. - Thank you.

Thank you, everyone.

Jean-Claude has to take his photos.

- We don't have the chairs. - The things jut out.

It's OK, Christophe.

It's like that.

Of course it is.

Is my hair OK, Jean-Pierre?

- Yes. - It's OK?

- You were cute as a child. - Yes, and I was a good actor.

As they say in the kasbah,

it's a shame they have to grow up.

Are we done?

ONLY ONE TAKE FOR MELVIL

How much do you weigh? You weigh less than 6O kilos?

Between 4O and 61.

- You're not under 6O yet? - I weigh...

- With those scales. - If I weigh 61 on that one,

it means I weigh 60.

Go ahead.

We'll see how it looks on screen.

That's how they do it, but you should hold your hair.

- Like that, Franck? - No.

Don't hold your hair.

No, otherwise it won't cut it.

No, just really go into it, like that.

All this will fall down.

- OK. - And after that?

He keeps going-

First I shave here.

Yes. Try to look up.

No, it's not great.

Try on the side.

You can also shave the side.

Yes. We'll see.

If the first one doesn't work, I can shave the side, like that.

Roll camera!

- Stand by. - 37, 2/1 , first take.

Rolling.

Action!

What about the belly?

Cut!

Did you do the belly?

OK. I thought... Don't cut, Benoit.

Let's do it again.

Excuse me, I'm going to check if...

Let me see if it's the right position.

It's so stressful!

Go.

Cut.

Very good.

Wait.

- We'll... - That was my hair's last scene.

We're going to shoot close-ups of the hair, but there isn't much left.

Yes, there is, look.

I thought it wasn't going to be good. But then...

Your hair was a bit wet, wasn't it?

Turn on the sound.

That's scary.

Look at your head!

BRITTANY

The clouds tend to go away as the tide goes out.

He says it could be sunny within two hours.

But we have to wait for the tide to go out.

What should we do?

I'd like to return to the hotel instead of waiting here.

Yes, of course.

- It's not far. - Yes.

Arrange for a car to bring Melvil to the set.

Go back to the hotel, if you're tired.

- Get some rest. - Take Melvil to the hotel.

If we do keep...

If we film it in the right order, following the sun,

we should almost do it in real time.

If the tide is good around one o'clock,

we should film until nine o'clock so that...

Except the scenes in the water, of course.

I think we can shoot everything if it's sunny.

- Yes, but this afternoon... - What?

It isn't going to be sunny.

We don't know yet.

If we only get 15 minutes, and then nothing for another two hours, we're stuck.

We can't spend one week doing shots here and there.

- Where is Christine? - She must be around.

Maybe we should go back to Paris and come back when there is an anticyclone.

And then we can shoot everything in two days.

We can do it all in two days.

Then we stay here. We don't go to Creuson.

I'll still go to Creuson, but with a smaller team.

I don't need the sound. It's just for the end.

Do I look skinny?

- Of course. - It's not bad, eh?

- Well, not bad... - I think it's fine.

Show us your back.

We see everything.

That's the best one.

How are you?

- Are you OK? - Yes.

Hello, Alba.

Are you OK?

Fine? Did you have a nice trip?

Look!

Look how skinny you're going to be!

You're not skinny.

OK. We're waiting for the sun.

Have you had lunch?

Go.

Careful with the microphone.

Cut.

He needed to go the other way.

He had to go the other way.

Are we done here after that?

Hey, Melvil!

Don't eat it.

Don't eat it.

I need to feel your disgust, even from behind.

I need to feel your disgust, because now, we feel you like it.

We feel you're happy. You have no appetite.

It was good until the moment when...

The same thing with some sun and people, it could be nice.

- Let's stop now. - We're stopping now.

Let's go to the other side. That's it.

There's no point. There's no one on the beach.

I think that between Saturday and Sunday evening,

I shot a lot.

What day is it? Was it sunny yesterday? No.

- We didn't shoot anything. - Nothing?

We did on Sunday. We shot scenes on Saturday night and Sunday.

- Can you put lighting on the beach? - No.

In Hollywood, wouldn't they be able to?

Spielberg doesn't shoot films in Brittany.

Say he's chosen this beach...

- With lights everywhere? - He'd take the plane to...

OK, but if we had the money, would you be able to put up lighting?

With 5O or 1000 kilowatt lights?

- What about Saving Private Ryan? - You can't get much stronger than 18.

- And arc lights? - It won't...

You put them everywhere, on top of the casino.

You'll have many different shadows.

You put them close together.

18 kilowatts can recreate the sun.

- But no further than six feet. - OK.

OK, thank you, Jeanne.

You can finish your ice cream.

Thank you very much, sir. Speak to you later.

- What does he say? - It should be sunny again.

This is just the beginning. It should be sunny early in the afternoon

and it will be cloudy again at three o'clock.

So we have to have lunch here again.

- Yes, of course. - Should the extras eat now? It's noon.

Not you? Where will you be? Here.

We can go up there, or we can put the zoom on.

We can get it, it's up there.

- Some people aren't here yet. - OK, so bring me the...

- 135 or 180mm. - Should I use the zoom, Jeanne?

- Or the 135mm lens? - Use the 135 if you can.

- Yes, I think it could work. - Are you ready over there?

Stand by!

Don't look at me.

- Don't look at the camera. Act. - Pierre, is it OK? Roll camera!

- Roll camera! - 43/2, first take.

Action!

Cut!

- We lost the light. - Yes.

Melvil... Sit down to undress.

Otherwise, you look too relaxed.

It looked like you had put on some weight.

Hold in your stomach when you sit down.

At some point, be tired and look into space or at your feet.

Like that, but with a small smile.

- OK. - When I'm undressed?

Yes.

Oh, the light is good.

- Pierre, can we film? - No.

Why not?

- Do one take. - Let's film like this.

It seems to last.

Stand by!

- Roll camera! - Use the same dial.

- The extras have to walk. - Rolling.

Start acting again, please.

- Rolling. - Roll camera A.

- Slate! - 43/3, first take.

Action!

Wow, today...

- You're skinny. - You are. Are you doing something?

Is my posture good?

- You really look skinny. - What are you doing?

- You're holding in your stomach? - Do that again.

You look like Christ.

Thank you very much.

I'm very schizophrenic. I think I'm Christ.

Show us what she's put on your back.

There's nothing? Has she put any makeup on?

- Where is Maud? - She's coming.

If I use this posture, does it look good?

It makes your ribs stand out.

- It makes you look hefty. - Your shoulders...

You need to be flabby.

You can just walk normally.

- When you've got water up to here. - OK. I put the mask on.

- Then, we cut. - With my back to you?

Yes, or... Yes, put your back to us.

- Can I do this to take the sand out? - Yes, you can do that.

Action!

It's hard to tell on this screen.

- I made his face look gaunt. - It's the light.

Make the rings more visible.

Your posture is good, it makes you even skinnier.

The family that's standing up...

You've already put your things in your bags.

YOu!

There. You're closer to the stairs.

- You've left. - With the castle, you're standing up.

Wait! You'll start from there.

So, Melvil,

take your position.

Be careful...

Those...

They'll be there. Otherwise, they'll hide Melvil.

Make them start next to the blue parasol.

They will be sitting and leave...

Come on, hurry up, make them leave now.

Stand by!

Melvil, are you ready?

- Stand by! Roll camera! - Roll camera!

- Benoit, is it good? - Let me focus.

43 1/9, first take.

Action!

We see it very well.

Look.

As we had to wait for several days because of the weather,

the shooting did not suddenly come to an end as it usually does.

It dragged on a bit at the end,

so it felt like it had ended for some time.

The last shot was not a shock with a lot of emotion.

As an actor, it's one of the most important films I've done.

For my acting,

but also Francois's directing and our bond, it was perfect.

I felt safe,

very comfortable, and supported, and I trusted him.

It was ideal. Now that I think about it...

I couldn't do many things, as I couldn't eat or drink, so I wasn't very...

I didn't do much. I stayed in my room, but I made a video.

I'll show you, it is strange.

Look down.

Cut. Very good.

Is everyone here?

Is everyone happy?

Everyone?

- Come on, another one. - Another one!

- Mathieu. - Come here.