You had such a selective profession. Is there any specific kind that you did not really deal with, but Do you want that? Lickykky
I do not care about this type. What matters to me is the story first. When I have a story, I try to find the best type to inform it. So this type reaches secondly, and I often mix them. 8 women were not musical to start. This depended on a play. A bad He plays. The old model. But I loved the plot: eight women, one of whom is a killer. My idea was to make it music because it was a way to be democracy. To give each character the opportunity to express herself with a song, with a dance. With all these actresses together, there may be one scene, for example, ISABELLE HUPPERT is just an additional background. And you say: “Isabelle, don’t move! Now Catherine, say your lines.” I liked it, Isabelle, but Catherine Deniov did not get what I was trying to do. When I watched the movie, I understood. But during an exchange of shooting, it was very theater for her.
8 women were very successful, and I met and Catherine again after that – we are human, we are able to speak, and sometimes we have problems but we explain ourselves. Perhaps our next movie, Pothhe, was easier for her because she was the main woman instead of eight eight. Also, I knew any kind of films that I wanted to make this time.
I am a treasure. What plans to complement? I would like to see continuous exploits of the Pujol Poison Factory. Jackfenwick
This will be funny because the movie happened during the seventies. It can be continued in the eighties. This is an idea. But I am not sure that it is possible to film a movie with Gérard Depardieu with all the problems it faces today. He is a great actor, but it is now difficult to finance a movie with him. I haven’t done a complement to my films, but I know that there is a new version of 8 women on Netflix. But now 7 women [7 Women and a Murder] Because they cut the black character. All Italian women white. It is not musical, it is just Woodonite. So [raises eyebrow] I will allow you to see yourself.
Isabelle Hubert was asked recently: “Can the film change someone’s life?She said: “Perhaps a person’s day may change.” Do you want to make life change films? Or is this enough to change one day? Dmitry
For me, it comes to help. I made a very useful movie for many people – with the grace of God [about real-life cases of child abuse by Catholic priests in France]. It was not my goal. It was not what I started doing. But it was a great success in France. I had many testimonies from people after they saw the movie and I certainly heard people went out around what they lived as children. This is when I realized that the movie helped many people. Some were unable to speak publicly, but after watching it, they went to the police or told their families what happened to them.
My original idea of this movie was making a documentary, because I loved the real people who told me their stories. Talks were held with all families: children, wives. But when I said, “I want to make a documentary about your story,” they said, “Please, no.” I realized that they were only able to give me all this information because I was a fiction manager. They were waiting for me to make a kind of lights.
After the wonderful at home and now When the fall falls, I would like to ask: Are you copying Claude Tabulol? Because it seems as if you are carrying his topics from good people who do bad things or bad people doing good things. Jeroenspecula
Sheproll inspired me because he went in many directions and had a way to make films very close to my country. There is a lot of fun in his films. He enjoyed the story of the stories. Like Fassbnder, it was not a masterpiece every time. Stanley I love Cubic also, but I feel closer to Shabrol and Faspinder, who made many films.
I met Shubroll when he was photographing the girl cut in two. It was very nice. He knew my films and praised me under the sand. I was affected. In fact, I met two managers from the mysterious Nouvelle: Shbroll and Eric Roller, who was my teacher. I am closer to them than Truefault or Godard. Oh, Godard – I also met him! He came to my cinematic school, not Vimis. It meant very much in terms of money. Money with money. It is not a generosity like Chabrol or Rohmer, who wanted to deliver their passion. Cinema should deal with money. It is part of the job. But I was surprised to hear Godard only talking about money. I was waiting for something more intellectually.
I have worked with many iconic French stars. Are there any icons you left you want to work with? Cal 85
What will happen. I know that some directors make first casting and after they try to find the story, but it is not my way of work. First I need to get the story, to develop the text program, then I am looking for actors. But there are some counter -examples, such as Pootiche, where I already knew Catherine. Before I started this scenario, I asked her whether it could be “Rutik” – a cup wife. She said, “Why not?” Without accepting it, I couldn’t make the movie. But I usually work first on the text program. When I wrote under the sand, I was in my mind a 50 -year -old woman who was beautiful who agreed to be in the beach swimwear. And all French actresses said no! The film first suggested to Isabel Adjani. When I later worked with her on Peter Von Kant, I said, “Do you remember?” She said, “I never read the text.”
But I met Charlotte Ramling in A party and I thought it was beautiful. Everyone said, “Don’t work with her. She has finished.” When he was under the sand he was successful, I felt like a great revenge. For Charlot, it was a new start to her career. When I met her and her agent to play the role, I said: “I want to see Charlotte Rambleng, discharges.” A very bad idea to say this at the first meeting. Her agent kicked me under the table! So it was a bad start. But she trusted me and had a beautiful relationship. When she realized that she would not be one of the eighties of 8 women, she said: “This is not a problem. Because I was the only woman under the sand.”
How to look at the last Pedro Midover profession, and do you have any ambitions like it? [in The Room Next Door] To make an American adventure? Zaroban
I love pain and glory. I thought it was a beautiful movie. Very personal and very honest. You are mixed around the next room. I think the fact that it was not in the Spanish language made it less comfortable in the dialogue. It may be difficult when you don’t have the ear for language. This was the case for me when I made Angel, which was in English and was a great fluctuation. In France, cinema is more important than everything, so we all work for the movie. When I worked in England, I felt that everyone only worked in their small area. By the way, people were surprised when I threw Michael Vaslender because he was not famous at the time. “Why is this actor?” They said. But I loved Michael – it was beautiful and intelligent, and very participating.
For work in the American system, I think it is difficult, especially for the French. There are some managers who are now doing a very good job. But Corali Vargit shot the material in France, remember, and I think it is with English money, no? [It was a Working Title production.] When you are used to working in the French system with the final pieces, the American method can be difficult. I approached the work in Hollywood, but there was not much imagination in what was offered to it: After the pool, many texts were sent from the exciting excitement. But I do not want to repeat myself. And I realized that in America, the producer is the master of the movie and the director is just a technician. François Truffau said that the Americans respect you when you work in your country, but when you work in their country, they destroy you.