[INTERVIEW] The team of the film PARIS-WILLOUBY

We met Quentin Reynaud and Arthur Delaire at the occasion of the presentation of PARIS-WILLOUBY first to Bordeaux (city of origin of the two young directors). Two boys are highly complementary and which are expressed almost with one voice. They were accompanied by two of their main actors, the delicious and involved Alex Lutz and Stéphane De Groodt. The exchanges were numerous and passionate.

Also read, our review of the film PARIS-WILLOUBY

 

The intentions and the universe filmmakers – Their sources of inspiration

– Quentin Reynaud and Arthur Delaire : We what we wanted to do, it was a film about a family that looks at the lives of the people, and particularly in a stepfamily, in which the situations are not always very clear. And because it was thought that it was not too much discussed in France. We wanted to make a comedy-sensitive, not a pure comedy with coarse jokes and gags every two minutes. For each situation, we took care to situate it in a real context, we rather tried to work in the delicacy. We also wanted to address the theme of abandonment and the grief, because grief can become mature.

Our sources of inspiration, rather, it is the american comedies, such as Little Miss Sunshine, Thelma and Louise, we love as spectators. We also love all the things that are not, such as, for example, the city about which Stephen King in his books, Little Tall Island. It offers us a great freedom : you don’t like it when there are too many codes in writing, that slows down our creation, and it explains in particular the red thread in our film of the cows lost.

– Alex Lutz : I love their universe, their dreams, their poetry and I wanted, as soon as the first version of the scenario, bite the bait.

– Stéphane De Groodt : there is something british and belgian in their universe.

 

The time of the project and the difficulties of financing The scenario and the contribution to the writing of Baya Kashmi

– Q. R and A. D : It took four years between the beginning of the writing and the filming. When you block on a scenario, and when it is a little galley-financial reporting, the use it is to call someone who brings his gaze, his distance, which allows to make an inventory and to give back, a desire, an impetus to the project. This is what was done with us Baya Kashmi (editor’s NOTE: co-screenwriter of I am to you right away or life a very private Mr. Sim) for two months and still the final scenario is really different!

 Their way of working together – The storyboard

– Q. R and A. D : We are friends since several years. We have already worked together on two of our short films so we know where we’re going, we don’t misplaced ego and there is no double-talk. Our method of operation, this is not like the brothers Larrieu, who each have their domain. We share everything and we are ready to discuss everything. It is also for this reason that it has completely storyboardé our film. It was learned after the fact that it was quite rare to do like this, but this is like a Bible, a road cut, on which we worked a lot upstream of the filming, which allows us to ensure and control our film

– S. D. G : I would have liked to see how they have drawn on the Storyboard !

 

The nostalgia of the aesthetic objects of the past and music

– Q. R and A. D : We very much appreciate the aesthetic objects of the past, the old phone the day before car are timeless element that give a certain patina. It is as for the music, mixing music with nostalgic memories of Lara Fabian with those of the group modern electro Gush, who guard well the spirit of the Beatles

– A. L : We always try our Madeleine de Proust ! As you write a script today, we have to integrate the mobile phones. And the human relationship through the mobile phone is difficult to treat. This surconnectivité the abyss systematically. With the initiatory journey to PARIS-WILLOUBY, we took a time of breathing.

 

The choice of actors

– Q. R and A. D : It was thought first to ourselves, to our family when we were writing. Each time that it was written for a character, we tried to play it and put yourself in his place because we both trained as an actor. It was important for us that players are hyper-natural in the scenes. Then we chose actors with whom we shared artistic affinities, which we appreciate the universe, and humor. They are all beautiful human encounters.

 The not temptation for actors, authors, also, change the dialogues – Their vision of the job that changes

– Q. R and A. D : It was chosen before any of the actors, and the fact that they are the authors, we were not effleure the spirit. But it is certain that it facilitates and streamlines the reports and it has worked in the trust.

– A. L : The market has evolved, and today, it is actually more in a trade multicasquettes. It is not at all in a world of bohemians or wealthy, it has never been so real. The next craft is very hard on a film, it is like a village with all the crafts of cinema, it gives the offset of amazing. When we play, we learn to put the caps, even if it itches sometimes ! But it is a pure pleasure to be a performer and not wanting to do everything at the same time.

– S. D. G : It was quickly seen the potential of dialogues that allow us to integrate quickly enough. The scenes should also work with what we are, but we have not felt the need to change, just that we own them. As an actor, you may abandon the service of the authors, it is their vision, their story, it was very exciting to embark on this project.

There is, indeed, a new generation of actors, a tendency to do everything. This is a chance to do this business, it’s nice to tell stories, it is a privilege to earn a living as well !

 

The way in which the actors have approached their roles

– A. L : Me anyway, I can paste anything on the head, it gets me going ! It is still the only profession that allows you to do that ! There is a very playful, very artisan with this trade. To the extent that the role amuses me, it inspires me and allows it to return to my imaginary child. Even if Marc is a little tortured, as soon as I found the “the”, I went into the character exciting to play.

 

The joy of being together – The strength of this film depending on the actors

– Q. R and A. D : On was extremely happy to be together, and that we have understood as soon as we did the first reading of the scenario in the offices of the producers. We immediately saw that we created a family.

It has often been chosen the sequence, especially that it was shot six days in the car. It was important for us to film the actors during three minutes, we had confidence in their talent. They are all a great accuracy of play. Look carefully at the scenes in the car, even when behind they continue to play while the camera is not directly on them ! Thanks to this generosity in their game, the film has different levels of reading.

– A. L : This is the least of the things anyway ! There is a bunch of actors normal in every sense of the term. There was a thing normal contact with each other, we felt like in the film, the need to take in the arms, have a good laugh ! The strength of this film, it is the empathy with the other, the exchange. For example, when Isabelle Carré looks at you, hop, it is the character ! Of course, there will always be the great mad geniuses, who can afford, and be at the same time in the concrete. Read “Innocent”, the book of Depardieu !

– S. D. G : It is safe, there are so many people who go when they have finished we give the replica, forcing us to play in front of a piece of scotch tape. If I could, I would have adopted Aminthe, who plays my daughter, Plum, small mature girl in this swirl family !

Their reactions to criticism

– Q. R and A. D : The critics have a mission, to be respected, on condition that they think, they argue, that they expose their opinion. There is often a lack of respect on their part to simply write that he should not go see the movie and that it is null. Their role is to sublimate the works, to be benevolent and to criticize with talent, formulating phrases that show that there is respect of the work. But the reality is when even the reception of the public and the number of entries.

– A. L : It is safe, if there is talent, it goes better ! When one is an actor, as a link in the chain of the film, if we did our job with sincerity, and it is achieved by the criticism of the film. This exercise of criticism is necessary, it is done with intellectual honesty and seriousness. But it should not be a posture on the part of critics to say that we did not liked just to make the buzz. We are still human beings and it can be violent, such as psychic, a painful experience to say that it has not been understood. It is necessary to have the leather hard and stay waterproof to the extent possible. And then it also depends on our personal investment. I was chatting the other day with Jean-Marie Poiré during the filming of the Visitors 3. He told me that his first film, My Best Friends, had been hated by the critics, while its literary form is very good. But after all, the film no longer belongs to us as soon as he comes.

– S. D. G : In our time, it is necessary to be vigilant and stay inside as much as possible on the work, even if it dézingue people.