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Hot line, cool death Afirst feature to the Directors Fortnight

BY MICHAEL DORLAND

ubert-Yves Rose is off to the Directors' Fortnight at the International Film Festival at Cannes with his first feature film, La ligne de chaleur (The Heat Line), atale of death and relationships between fathers and their sons . HThe title refers to that point in the drive between Quebec and Florida where the heat of the south suddenly strikes, changing irrevocably the atmosphere. Rose is 44 years old and has only two other films behind him: the 40-minute L'Heure bleue, made at the National Film Board in 1976, and Voyageur, ashort made with the Association cooperative de productions audio-visuelles (ACP AV), producers of his current feature . As he explains to Michael Dorland in the interview which follows, his "MY FATHER DIED IN 1976 AND I WAS IN apprenticeship has been long and taken him from awriter's job at the NFB - where NEW YORK WHEN HE DIED. I CAME BACK TO MONTREAL TWO DAYS AFTER HIS he also worked as a. d. to Jean Beaudin - to Radio-Quevec where he wrote and hosted DEATH AND MY FATHER'S BODY HAD ashow about film directors . Along the way, he found time to finish an M. A. at the ALREADY BEEN RETURNED TO Universite de Montreal. MONTREAL, SO I WAS ASKED BY MY Rose wrote La Ligne de chaleur with Micheline Lanctot, his partner on the job MOTHER TO GO AND BRING BACK HIS CAR, HIS PERSONAL EFFECTS. NOT THE and off, and is currently working on other projects with her. The film he takes to SAMETHING AS BRINGING BACK ABODY. Cannes is closer in tone and theme to Lanctot, Sonatine than it is to Canada's AND I WENT THERE ALONE. DURING THE recent contributions to the Fortnight, The Decline of the American Empire, TRIP I REGRETTED NOt HAVING Night Zoo and I've Heard the Mermaids Singing. Rose insists, however, that BROUGHT MY SON WITH ME. SO I TRANSPOSED IT INTO THE FILM." it is rooted in the films of the early '70s.

"THE LIGHT IN FLORIDA IS VERY PECULIAR IN DECEMBER. THERE'S A SORT OF BATTLE BETWEEN THE HEAT AND THE COLD IN DECEMBER. BEFORE CHRISTMAS, IN THE MONTH OF DECEMBER, DEATH IS WRITTEN ALL OVER FLORIDA. THAT'S WHAT'S SO UTRAORDINARY. "

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Cinema Canada: Three years in a raw, a Quevecois and to friends that Quebec has an enviable decline . Why, I don't know. One thing I'm sure relationship of the son come into it on the one hand? film has been picked for the Directors Fortnight at geographical, historical and sociological is that it has nothing to do with cinema. Unlike Then there 's the attempt of Robert (Gabriel Arcand) to Cannes. Suddenly Quevecois cinema is interesting position. We're between the old world - Europe Wenders who gives us a perception of America reconcile himself with his father on the other, with the again. Why do you think this is happening 7 - and America. We should be a synthesis of through cinema, I think mine is different. It's a ghost of his father. And thirdly there's your own Hubert-Yves Rose: What a question! That I those two cultures. Personally, I don't think it's voyage in the interior. It's different than dedication of the film to your father. don't know. We're picking up on the aftermath happening yet. We're at the start of something, Wenders, I don't know why. I'm North Hubert-Yves Rose: It's a complex question. Can sequels of the Decline and Un Zoo, but we must but we're really not there right now. American, not German .... you formulate it in a simpler manner? bear in mind that other films paved the road I've seen a lotof films in my life. I started to go before them. Films in the '70s like Les Demieres Cinema Canada : That's something that Denis to cinema when I was five. I've seen thousands Cinema Canada : One of the tensions within the fianrailles by Jean Pierre Lefebvre that won the Heroux has always said, about Quevec as aplaque and thousands of films. For me it was important film, and to some extent one of the problems that I have critics prize or Les Ordres by Michel Brault that toumante, as a turntable, but that leads to avery to make a first feature that didn't relate to with the film, is that there is that relationship to death won the prize for Best Direction; Les Bans different kind of cinema. Heroux's cinema, I mean, cinema, that didn't have a single cinematogra­ and the sense of the apprehension of death and the devarras by Francis Mankiewicz; and more not your film . phic reference. I wanted to liberate myself from whole vision of death. It's very, very strong. It just recently Sana tine, which won the Silver Lion in Hubert-Yves Rose: Normally, we should have my culture. I wanted to put myself in the permeates the film extraordinarily. But it conflicts Venice. done what the Germans did in the '70s. The situation of a pioneer, a primitive. I tried to look with the attempt at reconciling three generations. explosion of German cinema : Wenders, at America as a primitive. It would have been Hubert·Yves Rose: I agree with you. Cinema Canada: Do you have some idea what these Herzog. We should have done it in the '70s, after easy forme to make a lot of references in my film three films of the lastthree years might be saying ... 7 the '60s. Is it happening now? I don't know. It's because I've seen a lot of films, so I tried to put Cinema Canada: II's to some degree two films Hubert-Yves Rose: Not three films. Two films. too early to say. I think so. You cannot say that all that aside. again, a little bit like Un Zoo la nuit which is trying on the basis of two or three films. It's difficult for to deal with two films simultaneously and bring them Cinema Canada : I'm anticipating since there's a me to evaluate my own film. You've seen it, Cinema Canada: But in watching La Ligne de together. And 1think you've got two elements in La continu ity one can make with you r film as well. so ... chaleur there are alot of references, not direct Ligne de chaleur that dOll' t necessarily come Hubert-Yves Rose : My film is very different references but indirect references. Not so much in together completely. I think the whole portrait of from Un Zoo and The Decline. I think it's much Cinema Canada: I'm interested in the intentions respect of film but in terms of Quevecois literature. America is tremelldously ambitious and very more in the tradition of what we were seeing in and why . It was lovely, for instance, to see in the For instance Iivy Beaulieu's interpretation of effective. At the same time you've also got this other the '70s. It's a much more modest film. Don't credits of La Ligne de chaleur an American crew. Kerouac and his view of America; the novels of Pierre equally ambitious theme - the reconciliation of the you think so? As akind of reversal. Turgeon; Hubert Aquin' s Antiphonaire that's set in generations. Hubert-Yves Rose: To me, it was important. I California; Jacques Godbout. I see La Ligne de Hubert-Yves Rose: I know. Well I have to be Cinema Canada : Yes and no. always wanted to make a film in the United chaleur as an extension along these lines. Are these honest with you. The film is made, so it's too late Hubert-Yves Rose : Personally, I think it fits well States because of my childhood. conscious influences for you? to change that. So I must talk to you about the in the Directors Fortnight. Better than Un Zoo Hubert-Yves Rose: No, unconscious. When I premise. My father died in 1976 and I was in and The Decline. I think that Decline should have Cinema Canada: Can you explain that; why because shot that film I tried to put myself in a primitive New York when he died. I came back to been in the competition. Un Zoo, I don't know. of your childhood? state. Of course it's impossible because I've seen Montreal two days after his death and my To me, it's a commercial film rather than an Hubert-Yves Rose: I was always attracted to the films, I've read books. There aren't any more father's body had already been returned to artistic film. It's a product. United States. To me they symbolize adventure, primitive talents like John Ford or Allan Dwan Montreal, sol was asked by my mother to go and liberty, freedom and naivete. So I was always today. It's impossible. bring back his car, his personal effects. Not the Cinema Canada : The point I'm trying to bring up is attracted to the United States; I'd been going same thing as bringing back a body. And Iwent areorientation of a Quevecois cinema towards or there since I was five. I have another project that Cinema Canada: What does that mean to put there alone. During the trip I regretted not around the idea of americanite. And the implications will take place in the United States again. And I yourself in aprimitive state and how do you think that having brought my son with me. So I transposed of that. The three films, with Lauzon's and would go back to Florida because Ilike the light. operates in the film in terms of your composition and it into the film. Arcand's ... Florida is to me what Polynesia was to Gauguin. so on? What would you say is the primitive in the The whole thing is based on guilt. The whole Hubert Yves Rose: Are less Quebecois. It's funny what I'm saying because I don't have film? approach is one of guilt and regret. That's the any affinities with the Americans. I'm much Hubert-Yves Rose: The look, the cadrage. The entire stance of the film: guilt and regret. If it Cinema Canada: No. Blit are trying to deal with a more attracted to Europe. If I had a chance to way the film was shot. There aren't many were to be done again I would write a story of a cinema postreferendaire ... work abroad I wouldn't go to United States. I closeups .... In fact, I thought of one filmmaker man who goes south but alone now. The minute Hubert-Yves Rose : Less nationalistic. .. would go to Europe. and one photographer throughout the shoot. In you put a child in a film, it's over. He upstages terms of cinema I thought of John Ford and, as what you want to say. If you want to talk about Cinema Canada: In one sense, but are working Cinema Canada: You say you were attracted by the far as light is concerned, I thought of Joel death, you don't bring along a kid. Ithink itwas around some kind of reconciliation with an American United States as aplace of adventure and so forth, and Meyerovitz. If you want to have some references a mistake to write the film around a man and a modemihJ which is QlIevecois. yet the portrait of the United States that La Ligne de you have John Ford and Meyerovitz but it young boy. Perhaps it was not a mistake but it Hubert-Yves Rose: In that sense, yes. It's true. chaleur articulates is the U'lited States as death. As doesn't look like a John Ford movie. There are a was not well integrated. I agree with you. You They're different from the previous work we've awhole continent of death in which the living dead few shots that look like Meyerovitz photographs, have two stories and they conflict. Alot of seen. How? I think it's beyond Quebec. The wander arollnd, have no roots, just //love around that's all, a few shots. people will see a film which treats the films are inscribed in a space that is happening waiting in anticipation of the great event -the final relationships between father and son. Except not only in Quebec but throughout the world. wtry of the tunnel, if you want. How do you recollcile Cinema Canada: Along with the theme of death , that I like to talk about death. That's what It's a current that I hesitate to call post-modern­ that idea of adventure with afairly dark Canadian there's awhole other dynamic 1found very interesting interests me, not the relationships between ism but ... andlor Quevecois view of the United States beyond the that has to do with winter. father and son. sunlight as this land of death? Hubert-Yves Rose: First of all I'm happy that Cinema Canada : 111 a way, SlIre, bllt ill the context Hubert-Yves Rose : I don't know. It's related to you're taIking to me about death because this Cinema Canada: Even if it's amistake as you say, I where the beyond ness is, if you want, Quebec in my nature. I'm attracted by death and to death. film has nothing to do with father-and-son don't think it 's there completely by accident either. America. So what was it that made you Wallt to make 1'm attracted to life and survivors so it's relations. To me the film is about the sentiment Because if you want to come to terms with death there this film in that kind of context 7 What are your something to reflect upon. It's intuitive. WhenI of death. The apprehension of the sentiment of has to be some degree of reconciliation, generational feelings about Quebecas part of America 7 For in that was very young I used to be attracted by very death. That's what it's all about. reconciliation that's important in terms of an sense, the film is a brilliant essay all America. lively things .. . now what attracts me in the approach towards death as well. American landscape is death, decadence, Hubert-Yves Rose : I have always said to myself Cinema Canada: How, in those terms then does the Hubert-Yves Rose: Reconciliation with

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urselves also as a people. The film, initially, in n earlier draft of the script, ended in Montreal .1stead of Virginia. That was really ambitious. I ,anted to make a post-referendum film. When I legan writing the script it was soon after the eferendum. I wanted the film to end with the haracter arriving at Montreal but not being able o cross the river. I'll do it in another film .

::merna Canada : After the referendum ...haw did hat leave you feeling and what did that mean interms If aproject for film ? What would be the role of the ilmmaker in apost-r if&endaire cinema ? dubert-Yves Rose : What you're asking me is iifficult. It's difficult for me to answer because ny approach is both individual and also nscribed in the collective.

Cinema Canada : Collective in the sense that what me is representing comes out of acol/ective imagination anda co llective experience so that is ;omething that underlies, in thiscase, the story of the ind ividual? Hubert-Yves Rose : I would like to respond to this. Before the referendum I was not a nationalist, I wasn't capable of being a nationalist. I was too individualist. For me it was too important ; English culture is too important for me, for enrichment. I may well be an One anguished evening, Robert reaches out to his son in l.a l.igne de chaleur indipendantiste but for me it's very important that Quebec protects its English minority. I can 't live Cinema Canada: Has Queoecois cinema at all been film. It 's an intuitive approach. It 's not have ill Florida alId Georgia is overcast . It's bright, without speaking and thinking in English. I shift modernist for you ? conscious. and yet at thes ame time there'sa grtl)nes s to if. Which constantly between English and French and that Hubert·Yves Rose: The most modernist film to is part of the wintery look. is also part of my contradictions. As Orson me was Sonatine . As far as post-modernism is Cinema Canada: Is that something that you Hubert· Yves Rose : In fact , the minute you go up Welles once said, all artists experience a tension concerned, Un Zoo /a nuit is a post-modern personally feel when Robert says he doesn 't like the north, as soon as you leave Florida. That was with their own contradictions and they work work. sun and soforth ? deliberate. We left the heat to move towards the with that. I'm like that. I am torn between Hubert· Yves Rose: Me neither. I feel uncomfor­ cold. It was normal that, leaving Florida, it Europe and the United States. Before the Cinema Canada: With its bricolage of quotations, of table. would get colder. The light is not the same thing. referendum I had no sense of belonging here. I references to all kinds of film s? wasn't nationalistic but now that it is no longer Hubert· Yves Rose: Un Zoo la nuit is the Cinema Canada: What' s the discomfort? Is it Cinema Canada: BlIt in the film , it's there in the fashionable to be nationalistic, I am. I feel that improbable encounter between vision and a film physical? Florida sequences too. In the sense of the presence of we lost something. We missed the point. Also, about fish and game. It's two styles. Indeed, it's Hubert·Yves Rose: Yeah, it's physical. To me death, whether it be the father 'Sbody, through the I'm not in agreement with the time we live in. all the contradictions that, because of his age and it's impossible to work in summer. I'm very plastic bag in the morgue, or whether it be the mall by The modern era is finished. We're in the his culture, Lauzon can relate to. Whereas I'm attracted towards Florida. Especially the Keys. the pool ill the sense of the anticipation of death. But post-modern. I find that it's a decadent cultural entirely at the opposite pole of that cultural All southern Florida attracts me. It's ugly. It 's as you go north, it tUnIS ilItO sncnv all the car. The current, searching for a style, a way of thinking. current. full of condominiums. The whole coast is full of windows fog up. There 's an increasing darkness on It's acultural melting pot which doesn't have an condominiums. Yet I have a real predilection for the return , but it 's dark there already. identity, or a personality. Take, for example, Cinema Canada: Iwant to come back to the question the light there. For example, Micheline Lanctot Hubert·Yves Rose: I have an answer for that. post-modern architecture: in 10 years' time of winter in La Ligne de chaleur which is av ery has written an original screenplay for me called When I went location scouting for the film, I we'll be laughing at the Cooperant's building wintry look at the United States. Robert is a wintry "Tarzana ". The action takes place in Tarzana, went in December, just before Christmas. The here. It's impersonal, neo-Berlinism. person. He says as much. He's someone who doesn 't Los Angeles, and ends up in Death Valley. I light in Florida is very peculiar in December. like the sunshine or the heat even . And yet at the same didn't like the light at all in California. I'm There's a sort of battle between the heat and the time there seems to be an implication that there is a attracted by the light in Florida. There's a cold in December. Before Christmas, in the Cinema Canada: Is La Ligne de chaleur a potential for akind of creativity coming out of winter. brilliance that you don 't find anywhere else. month of December, death is written all over post-modern film? For instance, the shots of Montreal with thes now . I don 't like the light in Montreal. To me it's Florida . That's what's so extraordinary. It isn't Hubert·Yves Rose: I made it against post-mod­ Alright, all is covered, but there may be something ugly. The only place where the light is pretty in hot. It isn't cold . It 's full of old people who walk ernism. I haven't yet made a choice from an happening beneath that whereas the land of suI1 shine Quebec is in two places: in Abitibi or in the about dressed in wool. It 's deserted. I was aesthetic point of view ... La Ligne de chaleur is, doesn't have that possibility. Because of the heat , Lower 51. Lawrence. In Montreal (I define struck by thaI. And that was what I tried to perhaps, a very classical work. Perhaps one becauseof the sun , becauseof thelight , it can only rot myself as a metropolitan filmmaker) the light is recreate in the film, instead of creating a could say neo-classical but for now I'm looking and decay. The sun and the light and the clarity is ugly. The only time of the year when the light is suffocating heat, a tropical hea t - which in for a new way of telling stories. I haven't found death whereas what looks like death , the darkness, the pretty in Montreal is about this time of year. The Florida, only exists during the summer, never in it yet. Because of my age, I feel closer to snow-covered landscape is, in fact , life. How do you difficulty with the light in Quebec is that it 's February or March. It 's completely different in modernism than post-modernism. For me, relate to that? orange. In Florida, it's different. summer than in winter. I was in the presence of modernism ends with Antonioni. Post-modern­ Hubert· Yves Rose: I don't know how to answer death in December. I tried to reproduce a certain ism begins with Wirn Wenders. that. It's like you're asking me to analyze my Cinema Canada : Yet in the film , the light that you coldness inside a tropical clirna te. 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of death in Florida. That's in the images. I Hubert-Yves Rose : Yes. I thought of that film my classical studies. matured. During those formative years, I got rid hadn't foreseen that at the beginning. That's the while I was shooting. The Quebecois filmmaker of my cinematographic culture, I was liberated shock that I had when I went to scout for with whom I identify the most is Gilles Groulx. Cinema Canada: You grew up and studied in from the father, from my cinematographic locations for the film. Despite the fact that my films are completely Montreal? fathers . I've come to terms with my culture. different. He is still a giant of Quebecois cinema. Hubert-Yves Rose: Yeah. For me, encountering Which is something Wenders has not yet done. Cinema Canada: That is also the discovery of I think it's a shame that he has fallen silent. films in college was a revelation. I remember the When he doesn't make afictional film, he makes America beneath the surface. Paradoxically, I was the last to interview him. I first film, La dolce vita, and a week later, Rocco et one about a film father like Ozu. I would have Hubert-Yves Rose: Behind publicity, behind hosted a series called "Cineastes al'ecran" at ses freres. The revelation of my life was done the same thing, because I had seen too television, there's another world. Which Radio-Quebec and I was the last to interview Antonioni. That's my master, the filmmaker many films. Thousands and thousands of films. Wenders has never shown us with his road Gilles Groulx at Ste-Hyacinthe in a miserable with whom I have the most affinity. When I Instead of talking about films I've seen, I want to movies. The only American filmmaker who has apartment in a rooming house run by some studied films in college, that's when I began to talk about other things than cinema. That's what shown us that with his road movies - for me the Haitians . It's an interview that still exists on want to make films . Before that, I went tG the waiting has brought me. quintessential road movie - is Monty Hellman video. movies for entertainment. Then in 1969, Jean with Tooling Blacktop. Pierre Lefebvre created a studio at the National Cinema Canada: So cinema becomes something you Cinema Canada: What was it about Groulx? The Film Board, called Le Studio des premieres do instead of something you talk about? Something Cinema Canada : That also brings us to that word which usually comes to mind is lucidity or at oeuvres. He wanted to train a new generation of you do as acreator as opposed to something you live? Queoecois perspective of the northern part of America least an attempt at lucidity. filmmakers. Like ajob, a relationship of control to what you're from which we can view the United States. Hubert-Yves Rose:Yes. And also his anguish. doing as opposed to something that's just coming out Hubert-Yves Rose: It's a northern vision of Amixture of lucidity and anguish. But, unlike Cinema Canada: People like Jean Chabot, Fernand of your life? America which is different from a European Arcand, I don't think he was cynical about what Belanger .. , Hubert-Yves Rose: No. It's coming out of my vision like Wenders. he was looking at. He was less detached than Hubert-Yves Rose: That was the first batch - life. I am incapable of conceiving of cinema as a Arcand. More implicated, But lazy. He was a Andre Theberge, Belanger, Chabot, Michel job. Cinema Canada: The European vision is admiring. lazy creator. Audy, Yvan Patry. And I carne in with the Yours is the critique of America which the Queoicois second batch in 1969. Unfortunately, the first Cinema Canada : Not ajob in that sense but in terms bring to their reflections on americanite. Cinema Canada: Are you lazy? Are you attracted film I directed was in 1976. of mastery. Hubert-Yves Rose: We could say that in by laziness? Hubert-Yves Rose: It's both. Before, it was Quebecois literature, America is the father and Hubert-Yves Rose: Yes, I'm attracted to it. Cinema Canada: All this time with the intention of something I didn't control. I spent my time France is the mother. The look with which we That's why I work seven days a week. I don't directing J referring to movies. Now, it sounds pretentious view America is the look with which we view our know how to live. I work seven days a week Hubert-Yves Rose: Yes. I wrote a lot of scripts. to say this, I refer to my life. Asifl had buried all father. The look with which we view Europe is because I'm very lazy. I am the opposite of When I applied to the Board, it was with the my cinematographic culture. the look with which we view our mother. We are Micheline who is capable of balancing her time intention of directing my own scripts. But, the sons, in Quebec, and we don't want to grow between work and her family life. instead of doing it in 1969 or 1970 like my friends, Cinema Canada: What kind of influence has old. That's why we have an obsession with Chabot or Forcier or Theberge, the first film I Micheline Lanctot had on you? children in Quebec literature and films . Cinema Canada : What was your attraction to directed was L'heure bleue in 1976, a medium­ Hubert·Yves Rose: The influence. To come to Personally, I think there are too many children in cinema? Haw did you become afilmmaker? length film. terms with life instead of movies. She's Quebecois literary or cinema. This is the last film Hubert-Yves Rose : At first I wanted to be an someone who has brought me life. She took me I'll make with a child. It's time we grew up. actor. It all started when I was five. My father Cinema Canada: What do you think it has given you out of dark movie theatres and out of culture Look at the filmmakers themselves, they look waited a long time to introduce television in our to come to it later ? Has that been useful to you? with a big C. She brought me balance. Before like children, Look at Francis (Mankiewicz), family and I was 10 when I first saw a TV Hubert-Yves Rose: In a way, it was. If I would meeting her, I lived for and through cinema; I look at Lauzon. Look at myself. We all look like program. So between five and 10, we used to go have started at 30 years old, I would have done ate, fucked, and shit cinema. Now, since I met , children. We don't look like adults. to the movies three times aweek and before I did "des films de cinephile", films paying homage. her, I have created some distance between me my classical studies, all that I had seen were I have a lot of regrets. I think I wasted my and that Culture. Micheline has an equilibrium Cinema Canada : When we spoke before about the B-movies, American films, so I've seen a lot of formative years, between 30 and 40 years old. between life and culture which I didn't have. light in Florida, that made me think of Gilles Groulx shit, but to me it was something enriching. I But, tneanwhile, in thqse years (I'm 43) I would That's what she brought me. That's why we and his film Voir Miami. started to see my first European films when I did have made films as a dnephile. Now, I've work together.

Simon Gonzalez as Maxime

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"Wait to see what we do in Canada . You'll be jealous. " Jean Sirois to Australian PBS WE WILL MAKE A GIFT BAG ESPECIALLY FOR YOU. Cinema Canada: And that's going to continue in don 't think I'll have the same approach as choice. We 've lost our perception of the real. other projects ?You mentioned Tarzana. Doillon. Before, in the '60s and '70s, we could conceive of Our gift bags are beautiful. Their Hubert· Yves Rose : There is also another project a Quebecois reality which we have since lost. contents are a selection of Native which is in negotiation with two other Cinema Canada : What role did ACPAV and Marc The view we have of Quebec is a bourgeois view, Canadian and local handicrafts. producers. It's called Les Rosessat/vages from the Daigle in particlIlar play ill terms of La Ligne de Each bag is prepared detached, cynical and self-satisfied . That's what individually. Without wanting to novel by Jacques Ferron. It 's a very ambitious chaleur? III tenns of their slipport. I don 't like. The last two "beaux regards" on work. Why do you laugh? divulge our secret, these bags Hubert· Yves Rose : ACPAV is the last Quebec were Sonatine by Micheline Lanctot and contain yummy gourmet treats as production company where you can still make Au pays de Zom by Gilles Groulx. Au pays de Zorn well as handmade remembrances Cinema Canada : In temlS of Robert coming back to films d'allteurwith a lot of liberty. I don 't think it was wonderful. M. Zorn lives on the south ofCanada for the mantle at home. Montreal .. your hesitation in terms of coming back would have been the same if I had done it with shore, he gets out of his car, he looks at Prices vary according to contents. and making afilm abollt here. other companies. Montreal. For me, that image is worth 15,000 From $50. Hubert·Yves Rose :I'm tackling one of the giants images by Lea Pool or Jean-Claude Lauzon. Yet of Quebecois literature. I have as many chances Cinema Canada : Are the other projects with we're told that those two filmmakers bring a This present is a lovely and of being successful as of flopping. Maybe I'll ACPAV ? new tone, a new look on Quebec; to me, that's original way to say" Welcome" or come to terms with myself by directing it. Hubert· Yves Rose : Roses sal/vages is with an imposture, for it's a borrowed look. The real "Thank You " to your cast and ACPAV. Tarzana is with my production one is the one from Zorn. crew or "Goodbye" Cinema Canada: YOll were saying earlier that you company, Stop Film. There aren't any to former government employees. feel some ambivalence about going to Cannes , and producers involved in Tarzana. Les Roses sauvages Cinema Canada : The look of someone who owns or going through the whole publicity process. is with Eva Zebrowski and Marc Daigle. I don 't belongs to what he 's looking at? Hubert· Yves Rose : It's good that the film has know if it will be produced by Eva 's company, Hubert·Yves Rose: Yes. I think we have lost THE WORN DOORSTEP been chosen, but as far as I am concerned, I'd which is called Primo Piano Inc. , or with that. We don't have that. I don 't know if you 1411 FORT STREET rather stay in Montreal and work instead of ACPAV. agree . MONTREAL H3N 2N7 going there. 1-514-932-6698 Cinema Canada : You were saying that it was too Cinema Canada : Up to a point. The character of Cinema Canada : Arcand spent something like ayear early to come to any cOllclusion about the direction Zorn is abourgeois nevertheless. In the view of owner­ We deliver, promoting The Decline. Is that something that you Quebec cinema was taking. In ageneral manner, do ship,there is room for the bourgeois look, for that sort and promise discretion. can envisage? you feel good about how it's going? of thing. Hubert·Yves Rose : It is necessary. You have to Hubert· Yves Rose : I have mixed feelings Hubert·Yves Rose : You're right. do that. You have to accompany your film. 1 towards Quebec cinema. If you look at the Cinema Canada : And in that sense there 's nothing have an advantage. Two projects are already in people who make the films, there's Denys inherently wrong in a bourgeois cinema; it's all a development. Taroma will have a completed Arcand, Jean·Oaude Lauzon, Lea Pool, matter of how you look at the look. One could argue 514-282-1631 draft in two weeks and Les Rosessauvages already Simoneau. I have mixed feelings about the that one of the weaknesses of the cinema in this country 416-924-6441 has a treatment and I'm supposed to start cinema they're making. I feel myself much more is that it hasn't looked at the bourgeoisie closely working with Micheline on it by the first ofJune . close to the movies of the '60s. I think of ATout enough. And there's something interesting to be said It has to be finished by Dec. I. Normally, if prendre by Oaude Jutra, Le Chat dans Ie sac by for looking at the bourgeoisie. everything goes well, I should start directing by Gilles Groulx or La Vie heureuse de Leopold Zby Hubert·YvesRose : But not via Decor Magazine . I April 1, 1989. Gilles Carle. I have more affinity with this feel much more related to the '60s. I'm cinema than with the cinema that's being made /tP suspicious about what's going on. Very, very Cinema Canada: What do you think will happen now. productiOns suspicious. Since Le Dec/in there's a sort of with La ligne de chaleur? Do YOll see it getting a syndrome ; we're in the middle of the sweet V' fairly large commercial distribution? What are your Cinema Canada : YOIi have what one could call a smell of success. hopes for the film? neoclassic stance in relationship to the filmmakers of Hubert· Yves Rose : Personally, I don 't think it the' 60s who would be our classics? Cinema Canada : And yet, in asense, you may be is proud to announce will get a fairly large, commercial distribution, Hubert·Yves Rose : I don't know. I stand at a involved in it as wel/. the opening of our but you never know. I'm not worried about the distance from the other filmmakers . In the '60s Hubert·Yves Rose : Unfortunately, I don 't like it Toronto division critical reception. What worries me is the public. there was a spontaneity, a freshness, that we when one includes me in all that. The Gazette, La How do we reach the public? Because I'm not don 't have in the '80s. As we mature technically, Presse are all saying, "After The Decline and The known. I'm coming from a cinema like that of we are making increasingly bourgeois films. Zoo comes .... " I don 't want to be part of that. Rohmer, Doillon, people like them. You have to That's what I don't like. We've moved from the The film that I made is different. It's more like CASTING DIRECTORS make a certain number of films before one is kitchen to the loft. I think we've surrendered a the films which we made before .• Rosina Bucci known. Who will we reach? and how? Cannes, Vera Miller for that, will help the film, I hope. Nadia Rona

3981 St. Laurent Cinema Canada : Do you see ascenario for yourself Suite #700 like Doillon, making acertain number of films and Montreal, Que. sliYWly building afollowing? What's your wild H2W lY5 dream? 501 Yonge Street Hubert·Yves Rose : It could be like that but Les Suite 224 Roses sauvages will be very different in terms of Toronto, Ontario rhythm, light; La Ligne has a slow pace, Roses will M4Y lY4 be the exact opposite, very rapid. lean' t find the right term to define the rhythm of the film . I Toronto contact: already have an idea of what it will be. Tarzana Angela Wright will be very different from the Roses sauvages so I

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