[Interview] Clovis Cornillac for a LITTLE, A LOT, BLINDLY

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– The criticism of the film

– the interview of Lilou Fogli

Has the release, may 6, excellent a LITTLE, A LOT, BLINDLY, we had the chance to meet Clovis Cornillac as a director, and Lilou Fogli, his wife, to the origin of the project. Two meetings separated to learn more about the genesis of this romantic comedy original and personal. (see the interview of Lilou Fogli)

 

What is it that prompted you to go behind the camera ?

-Clovis Cornilac : In fact, nothing has caused me to be sincere. It will be thirty years that I play, and for twenty-five years, I said, wrongly, that I will never. Five years ago, it began to tickle. But I don’t think that one makes a film because you want to, rather than because we need it. So I left it aside a little until it goes up sufficiently.

The idea proposed by Lilou has finally arrived at a better time.

-C. C. : Yes, I found his idea interesting and I asked him to develop. By reading the version 1 that I liked, I had envi to do that. So I’m back in the writing. From the moment that I really had ” my ” scenario, nothing could stop me. Apart from the research funding, which is never very pleasant, but otherwise I was really inhabited.

We note different styles throughout the film. It requires, in particular, from Tex Avery to be a nod to silent film. You had the desire to make references ?

-C. C. : In fact, for me it is consistent. A movie, it is as a human being. In life, there are moments funny, others dramatic or chaotic. And so in the same way it’s all part of the same narrative. Being in the burlesque does not mean make a whole movie like that. In fact, in an unconscious way I’ve been doing what I expected of the film.

With the decor of the studio is very marked there is a side romance of the hollywood of the 1950s. It is a cinema that inspires you ?

-C. C. : With the cinema of the 1940s and 1950s, there was first a specification very clear. But, despite this, they are films which will be able to see further. They keep a spectacular dimension, while echoing something deeper. This is the case for both the westerns of John Ford that the comedies of Capra or Lubitsch, for example. It’s going further than the show. This is what made me go to the cinema and I think that it is towards it that I try to go to.

Tell us about your relationship to music, especially with Serge Lama, which has a particular significance in the film.

-C. C. : Serge Lama has a feature comedy in the film. Pass to Serge Lama with I am sick just after an orgasm on Chopin, it makes me laugh. But in reality I think that the variety we all lived. Me, in 1977, when he does it, I’m sick, I’m a punk who listens to the Clash and the Sex Pistols. But I would wait for my father in the 4L, to hear this song and you have a big grief because it touched me at the time. In this, the music has this strength I find. This is the vector most immediate, that it speaks without asking for intelligence. So I wanted to pay homage to this idea with the variety and with Serge Lama that I like a lot. Because in the background it has all of the stuff rotten in the head that we don’t say to his buddies.

So how was your collaboration with William Rousel, who signed the music ?

-C. C. : The meeting with William was great. It was immediately understood what we were talking about. I was glad to have someone who has worked on films very epic and that is not afraid. Suddenly he was very responsive and the exchange has proven to be very nourishing.

”Realize, it is the most beautiful thing, professionally, that happened to me in life”

You’re quickly the use of mobile phones.

-C. C. : Then, of course, this is not a film with a message. We don’t have to wear a speech. I just wanted to say around a joke that this is something that takes a place and that can be a little heavy. Of course it’s nice, it is a must today, but there may be a way to use it wisely. From time to time these machines are intrusive, it was fun to make a wink, while saying in a simple way, do blunder of not getting lost.

You have to earn the job on this film. How to manage the realization and your acting ?

-C. C. : In fact it was not very complicated. We organised the shoot so that I can carry all day without having to be the partner of the other. It is, therefore, Pierre Cognon, a filmmaker and comedian, who has made my lining. I stayed behind the camera but never in front of the actors, that is to say behind the wall. They have never played with me. I was able to more look at the actors and at the end we were making plans on me with a small team.

It’s not that complicated of directing yourself ?

-C. C. : In fact on a lot of films there’s no direction of actors. So, this is something that I have lived full-time. It had never aroused the slightest distress or complication.

You are satisfied with your first experience ?

-C. C. : I knew exactly what I wanted. Each scenery, each shot is thought out and decided in a precise manner. I wanted to film in scope, I wanted this pace, this kind of music. In the end it’s really the cinema that I wanted to do. Without being self satisfaction, it is very nice to be able to produce what you want at the base. And finally I think that to realize, it is the most beautiful thing, professionally, that happened to me in life.

So you are ready to iron behind the camera ?

-C. C. : It is not that I am ready, is that it’s an obsession now. My dream of absolute is to make a second and continue. It would be a grief to me if I couldn’t do the other because it is extraordinary, I really fell in love with the achievement.

What would you like to go next ?

-C. C. : If I can do other films I think it will always be with a support of the kind. This is something that fits me. It is a way of self talk while looking at the base to bring people together in the room for an appointment. This is before everything that I like.

 

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