Afterwards Fidélité Films Presents in Association with Wild Bunch
Total Page：16
File Type：pdf, Size：1020Kb
AFTERWARDS FIDÉLITÉ FILMS PRESENTS IN ASSOCIATION WITH WILD BUNCH AFTERWARDS A FILM BY GILLES BOURDOS WITH ROMAIN DURIS JOHN MALKOVICH EVANGELINE LILLY AND PASCALE BUSSIÈRES REECE THOMPSON SCREENPLAY BY MICHEL SPINOSA AND GILLES BOURDOS BASED ON THE NOVEL AFTERWARDS BY GUILLAUME MUSSO, XO EDITIONS FRENCH RELEASE DATE: DECEMBER 24TH, 2 0 0 8 RUNTIME: 1H47 WORLD SALES: VINCENT MARAVAL C: +33 6 11 91 23 93 E: [email protected] GAËL NOUAILLE C: +33 6 21 23 04 72 E: [email protected] CAROLE BARATON / LAURENT BAUDENS C: +33 6 70 79 05 17 E: [email protected] SILVIA SIMONUTTI C: +33 6 20 74 95 08 E: [email protected] WWW.WILDBUNCH.BIZ INTERNATIONAL AND CANADIAN PR DURING TIFF: INGRID HAMILTON & MARTIN MARQUET GAT + M.LINK 30A BISHOP STREET TORONTO, ON M5R 1N2 P: 416-966-1319 GAT – CANADIAN PRESS: INGRID HAMILTON E: [email protected] FESTIVAL CELL: 416-527-0144 C:416-731-3034 M.LINK – US AND INTERNATIONAL PRESS: MARTIN MARQUET E: [email protected] FESTIVAL CELL: 416-527-0135 US C: 310-927-5789 [2] At the age of eight, Nathan had a «tunnel of light» near-death experience while trying to save a little girl. Pronounced dead, he inexplicably returned to life. Twenty years on, Nathan is a brilliant New York lawyer, bruised by a painful divorce and barricaded into his job, far away from his ex-wife Claire and their daughter. At this point, a mysterious doctor enters his life. Doctor Kay claims he can foresee exactly when certain people are going to die. With all his life’s cornerstones shattered by Kay, Nathan finally discovers why he came back. [4] [6] CREW [8] G I L L E S B O U R D O S WRITER AND DIRECTOR How did this project come into being? What originally started me off on the project was a novel I happened to read. The story dealt with some of my own obsessions in a catchy, gripping way. It left me with the same sort of material as I get from reading a crime report: a raw chunk of drama, a piece of narrative, a character’s itinerary, a substance boiled down to its essence. The next day I told my producers, Marc Missonnier and Olivier Delbosc, what I had gleaned from a single reading of Guillaume Musso’s novel. They reacted very encouragingly. Their determination and amazing ability to act fast gave me great impetus all through the film. Were you already thinking in terms of images or were you attracted by a more human element? At first I was attracted by the story of initiation: how Nathan, faced with the possible imminence of his own death, learns to be mortal and embrace the incalculable, irreversible, tragic sides of life. It is not about being reconciled with death; to my mind, death will always have its radical strangeness. For Nathan, it is more a matter of coming to realize the essential precariousness of life. Once he sees that, he can open up completely to himself, to other people, and the world. But yes, I do think primarily in pictures. I have obsessions that constantly make me react as a filmmaker: visual themes such as the color white, car crashes, reflections of light, whistling noises, floating particles, etc. In the early stages of the project I kept quiet about my own obsessions, especially with death, so as not to scare everybody off. Guillaume Musso’s book helped me tackle this fixation by approaching it through a genre, the supernatural fantasy. How did you construct the story and your characters? Working closely with Michel Spinosa, I write what is more like a musical score than a movie script in any standard sense. It enables everybody down the line to do their job properly. If the score is right, my coworkers-mostly the same key crew as on my previous film-understand my intentions very quickly. Everyone is singing from the same hymn sheet. A statement by François Mitterand led us like a beacon through the writing process: «The wonder is in the moment and we always realize it too late.» This thought lay at the heart of our discussions. We worked very hard to bring this tough, arrogant New York lawyer to the edge of the desert and the very simple, very gentle moment when he repaints the chairs of the woman he loves. It is a moment of fullness and simplicity. All his fears and hopes have gone. All that is left is his absolutely pure concentration on brushing the white paint onto the chair. Once he has accepted the fragility of human existence, the grace of the moment can finally be bestowed on him. He has untied the knots and is ready to make up with the woman he has loved ever since he was a boy. It is the end point of the journey of initiation that Kay has taken him on through the film. Selected filmography Director and screenwriter 2008 ET APRÈS (AFTERWARDS) 2004 INQUIÉTUDES (A SIGHT FOR SORE EYES) 1999 DISPARUS 1993 RELÂCHE, short movie 1989 L’ÉTERNELLE IDOLE, short movie 1986 UN CADEAU DE NOËL, short movie, co director with Michel Spinosa Screenwriter 1994 EMMÈNE-MOI (TAKE ME AWAY) by Michel Spinosa, co writer with Michel Spinosa Did the themes of the film trigger any discussions between you and your crew? Your cast is a subtle mix of actors. How do you work with them? The person I spoke most with after Michel Spinosa was my other friend and very close collaborator, the cinematographer, Mark Ping Bing Lee. I direct them very little. I have no hard and fast technique. I adapt to each actor. My ears are always open. All that really matters We repeatedly had long chats about questions such as, how do we face the inevitable? How do we accompany our loved ones to their end? How to me is to make the actor feel confident. I wouldn’t presume to give directions to John Malkovich. The day before, we meet for ten do we disentangle the knots before saying goodbye to each other? How can we make this ordeal a chance to make up with the people we love? minutes to read through the scene and establish the character’s intentions. We arrive on the set having agreed on the exact meaning These are all questions that everybody asks themselves in the course of their lives and I have been lucky enough to express as a filmmaker. of every line of dialogue. The fact that the sets, costumes, and acting space were all chosen beforehand creates a strong intention that the actors can naturally fit into. So my directing style is more subterranean than frontal. It is not explicit or psychological. It’s a At what stage did you choose your actors and what guided your choices? collaborative process. I always believe that when it comes to casting, a project casts itself. For example, the script found its way to John Malkovich without my Many things belong to the actors. They can sense the inner rhythm of their character and the music of their body, which sometimes leads having to contact him directly. He liked it and came to us of his own accord. them to suggest something different from what I had in mind. They are often right and I try to take on board what they give me. John is More or less the same thing happened with Evangeline Lilly. Her instant enthusiasm on reading the script won me over. In a way, she chose the project dazzlingly intelligent and thoughtful. instead of vice-versa! I don’t believe in the idea that there is only one actor capable of playing a certain part. There is no such thing as a predefined Romain Duris is a hard worker, very conscientious and very involved in all his projects. I like his fragile sensitivity very much. He has a character. It’s all a matter of meeting and interpretation. But of course, now that the film is finished I find it hard to imagine it with other actors. wonderful ability to be constantly listening to his acting partner and the situation. It so happens that I live in New York and the script was originally written for an American actor but that idea started to bother me as Acting in a foreign language is the most complicated thing an actor can do. It blocks his spontaneity. This difficulty was a powerful bond I brought the project forward. I felt the need to anchor my feelings through a European actor. Then I saw THE BEAT THAT MY HEART SKIPPED and between Romain and me because I also found it hard at times to get my meaning across to the American crew members. I immediately wanted to offer the part to Romain Duris. Evangeline Lilly has all the simplicity and humanity of her character inside her but there is a tendency among American actors to respond very strongly to situations and it was probably there that I, as a European filmmaker, put a little more work into suggesting that she tone In your film, all the places have significance... down her expressive American acting style. In the way I go about working, places have to be very expressive and so choosing them is every bit as important a step as the writing. People generally think in three stages: writing, shooting, and editing. For me, there is a crucial fourth stage that comes between the writing and Were you surprised by what your actors gave you? shooting-the stage of visual preparation and location scouting.