THE CONCERT

A FILM BY RADU MIHAILEANU

Audience Award at the 2010 Nantucket Film Festival Audience Award at the 2010 Nashville Film Festival

107 minutes Not Yet Rated by the MPAA Scope. Dolby SRD/ST/DTS In French and Russian with English subtitles

The Weinstein Company New York Los Angeles Sara Finmann Serlen Pantea Ghaderi T: 646-862-3812 T: 323-208-3094 C: 917-239-0829 C: 310-503-5302 [email protected] [email protected] THE CONCERT

CAST Andreï Filipov ALEXEÏ GUSKOV Sacha Grossman DMITRY NAZAROV Anne-Marie Jacquet MÉLANIE LAURENT Olivier Morne Duplessis FRANÇOIS BERLEAND Guylène de La Rivière MIOU MIOU Ivan Gavrilov VALERI BARINOV Irina Filipovna ANNA KAMENKOVA PAVLOVA Jean-Paul Carrère LIONEL ABELANSKI Victor Vikitch ALEXANDER KOMISSAROV Owner of the ‘Trou Normand’ RAMZY

FILMMAKERS Directed by Radu MIHAILEANU Screenplay Radu MIHAILEANU In Collaboration with Alan-Michel BLANC Matthew ROBBINS From an Original Story by Hector CABELLO REYES Thierry DEGRANDI Original Music Armand AMAR Producer Alain ATTAL Director of Photography Laurent DAILLAND Production Designer Cristian NICULESCU Editor Ludovic TROCH Sound Pierre EXCOFFIER Selima AZZAZI Bruno TARRIÈRE 1ST Assistant Director Olivier JACQUET Set Designer Stan REYDELLET Costume Designer Viorica PETROVICI Production Manager Xavier AMBLARD Post-Production Director Nicolas MOUCHET Unit Manager Grégory VALAIS

AN OÏ OÏ OÏ PRODUCTIONS, LES PRODUCTIONS DU TRESOR, FRANCE 3 CINEMA, EUROPACORP, CASTEL FILMS, PANACHE PRODUCTIONS, RTBF (BELGIAN TELEVISION), BIM DISTRIBUZIONE COPRODUCTION WITH THE PARTICIPATION OF CANAL+, CINECINEMA AND FRANCE 3 WITH THE SUPPORT OF EURIMAGES, THE REGION OF ÎLE-DE-FRANCE, BELGACOM, ING TAX SHELTER AND LE FONDS D’ACTION SACEM

2 THE CONCERT

Synopsis

Andreï Filipov was a prodigy—the celebrated conductor of the Bolshoi Orchestra, the greatest orchestra in Russia. Today, aged 50, he still works at the Bolshoi, but as a cleaner.

During the communist era, he was fired at the height of his fame for refusing to get rid of all his Jewish players—Zionists and enemies of the People—including his best friend Sacha Grossman. Andreï sank into booze and depression.

The Director of the Bolshoi, an old apparatchik, has been promising forever to return Andreï’s orchestra to him “soon”, but he’s mocking him, humiliating him sadistically. For him, Andreï’s a has-been, and he’s doing him a big favor by keeping him on as a cleaner.

Then Andreï finds a fax inviting the orchestra to play at Pleyel, in Paris, in two weeks’ time, as a last minute replacement for the indisposed Los Angeles Philharmonic. Andreï conceives of a crazy notion: he’ll round up his old musician buddies, a motley bunch now scraping a living in Moscow as cab drivers, removal men, flea market traders, suppliers of porno film sound effects…

They’ll go to Paris as the Bolshoi. They’ll defy destiny and take their revenge! Will they make it?

3 THE CONCERT

About the Production

THE CONCERT was born out of a simple concept: a fake Bolshoi orchestra lands in Paris. “I was first approached by a producer who submitted a synopsis to me. I really liked the central idea, but not the rest. I asked this producer if I could develop my own script from the same starting point and he gave me the go ahead,” explained writer/director Radu Milhaileanu.

Producer Alain Attal became involved with the film after Mihaileanu reworked the original concept. “I really liked the way the script handled a big story through the small story of these colorful characters who never let themselves be beaten… After meeting Radu I bought the rights.”

Milhaileanu and his collaborator Alain-Michel Blanc traveled to Russia to meet the people who would inspire the film’s characters. The director initially envisioned shooting the film in English with American actors. “Radu wanted to make an entertaining, mainstream movie. He thought that English would allow it to be more universal and reach a bigger audience,” said Attal. “We worked on an English version of the script for a few months with Matthew Robbins—who did a tremendous job by the way—but we soon realized English would render the film more artificial. Shortly after the 2007 Cannes Film Festival we decided to shoot in the original languages: Russian and French. We also knew that the old-fashioned French, spoken by the Russians, generated moments of sheer comedy.”

Alain also found other elements of comedy in Radu’s rich script. “Radu was concerned that there wouldn’t be enough humor. I reassured him, telling him we didn’t need a gag every two minutes to provoke laughter. Just the idea of this gang of has-beens recruited by an ex-conductor to play Tchaikovsky at the Chatelet is a funny set-up. “

With a script locked, Attal and Mihailenau set out to cast the film. “Some parts were obvious, like François Berléand for the Director of the Chatelet or Lionel Abelanski as his assistant,” said Attal. “I met Radu two or three years ago and we immediately felt we were on the same wavelength.” explained François. “We also have the same sense of humor… When he mentioned THE CONCERT, he told me that the role of the Chatelet director was for me. I was very touched. I knew that Alain Attal was producing the film and as I’m often part of his projects, it all came so naturally.”

Radu and Milhaileanu both immediately thought of Miou Miou for the role of Guylène De La Rivière. Miou Miou was very attracted to the script, “It’s one of the most beautiful scripts I’ve ever read. I thought the writing was funny, original and ambitious. I felt proud to be part of this adventure. Of her character she said, “Guylène is very tough, very demanding. You think this is all down to her nature, but little by little you understand there are reasons why she is so bitter. In fact she carries a heavy secret. As a result, because she is at the root of the film’s mystery. You can understand why these Russian musicians want to go back to Paris and play that Tchaikovsky concerto.”

Attal and Mihailenau had to think hard about whom to cast as Guylène’s young virtuoso, Anne-Marie Jacquet. The role went to INGLORIOUS BASTERDS star Mélanie Laurent. Laurent was excited to take on the challenge, “I was immediately engrossed by this gang of Slavic characters… I was seduced by the constant changes between the comic scenes and moments of pure emotion. The script tossed certain themes around, themes dear to me: communism and the hopes it embodied, long gone ideals to which some still hold, the power of the Russian Mafia, etc… I liked the political theme behind the comedy and the lightness. Also the thought of playing an instrument—if only by mimicking the move—was very appealing.”

4 Unlike the search for an ingénue, Attal and Mihaileanu had no problem casting the title role of conductor, Andreï Filipov. The part went to Aleksei Guskov who had not heard of the director before he was cast. Of playing Filipov, Guskov said, “he has all the human weaknesses: he is an ordinary man thrown into extraordinary circumstances. He and his wife have such a strong bond… My character has done everything by himself in his life but he could have never succeeded if he hadn’t had someone close by his side.” The role of Irina Filipovna went to Anna Kamenkova, who was impressed by her character’s love for her husband and her faith. “Love and faith allow her to find light in the most difficult situations. Beneath a somewhat severe appearance, she has a sensitive soul.”

Along with his wife, Filipov also finds support in his sidekick Sacha Grossman played by Dmitry Nazarov. He explained that Sasha is “a fountain of emotions, hot-blooded, a child with a nuclear charge inside of him.” Nazarov especially enjoyed the bond between Sacha and Alexei, “In this duo, Sacha is the follower. He looks after his friend, not because he is older or has more experience, but because he loves him, he loves his work… That is why he forgives him everything and tries his best to protect him.” Rounding out the cast is Valery Barinov as the orchestra’s Paris-obsessed manager, Ivan Gavrilov. Barinov described his character as a “passionate adventurer.”

Once the film was in production, everyone had to conquer the language barriers presented by the cast and crew, who were divided between French and Russian speakers. Barinov said of the obstacle, “this shoot was unusual in that we didn’t speak the same language… We had some very amusing moments. When we were on set and the interpreter translated everything that was being said, everything went very well and I thought I understood [Radu] well. But outside, when we had no interpreter we just couldn’t communicate.” Guskov said of his experience, “we got along with the French actors very well. We drank a lot of wine, ate cheese and exchanged a lot of jokes. They are exceptional working partners.” As the shoot went on and the group got to know each other, language became less and less of a problem for Guskov. “Even though Radu and I needed an interpreter when we started, he only needed to look me in the eyes for me to understand what he expected of me by the time we finished shooting. The interpreter wasn’t essential anymore.”

Dmitry Nazarov bridged the gap with his ability to speak French. “The fact that I spoke French helped communicating with my fellow actors, with the director and the whole team.” Nazarov faced other linguistic setbacks however, “I learned my lines in proper French then had to translate those into bad French the way my character spoke. That might have been easier to do if I hadn’t spoken French at all.”

For his role as Gavrilov, Barinov had to learn to speak old-fashioned French. “It was very difficult, Generally speaking, I learn my lines very quickly; in Russian I don’t learn them at all. I read them once and I am ready. For this role, I had to learn them by heart. Even with good coaches in Paris and in Bucharest, I was still concerned no one would be able to understand what I was saying.”

Along with learning languages, some of the actors also had to transform into musicians. As Anne-Marie Jacquet, Mélanie Laurent had to become a violin virtuoso. “I trained for three months with an extraordinary teacher, Sarah Nemtanu, first Violin at the National French Orchestra, who has become a great friend. Thanks to her, I lived with an orchestra and understood how it worked. It helped me understand the character and acquire some handling techniques for the violin and bow.” Laurent had many challenges to overcome when prepping to become Jacquet. “I’m left handed and the violin is the only instrument that cannot be inverted. The right hand holds the bow, which is a nightmare for me. It is such an unnatural gesture that I nearly got tendonitis.”

During production, the cast and crew were afforded the opportunity to shoot at historic locations such as The French Communist Party Headquarters, the Theatre Du Chatelet and Red Square. Said Barinov of shooting in front of the French Communist Party Headquarters, “I was impressed by its sheer size and

5 massive form. You immediately feel this house is a very important institution… I was deeply moved when we filmed in Red Square, because, as strange as it may seem, I rarely go there. We were taken there very early in the morning. It was a beautiful day and we were about to leave for Paris, so it was particularly moving.”

Filming in Russia was not without problems. “Everything is so complicated there,” explained Attal, “We found out that Red Square had been covered in turf for the Champions League final only days before shooting was due to start and no one had bothered to tell us! We had to reschedule everything. We therefore decided to start a co-production with Romania, where we did most of the Moscow sequence in four weeks. In Moscow we did only exterior shots.”

The film’s final concert sequence was shot on location at the famed Theatre Du Chatelet in Paris. “At first, the Theatre Du Chatelet folks were a bit daunted at the thought of a film crew invading their premise, but once they read the script, they were wonderful. We were made to feel welcome. We shot at night as well as during the day for a few weeks. We totally took over the place. Alexei Guskov was moved by the opportunity to shoot in such a renowned theatre, “First I was scared, immensely scared. Then I was filled with wonder.” Miou Miou said, “It was a magnificent experience! Only Radu would obtain the Chatelet for his crew. I even used to go back on Sundays to watch rehearsals. They were magical moments… When I am in that neighborhood today I cannot stop myself from walking past the artists’ entrance that leads straight backstage.”

The piece performed by the Bolshoi at the Theatre Du Chatelet is Tchaikovsky’s Concerto for Violin and Orchestra, adapted by composer Armand Amar for the film. “It was a real challenge,” said Amar, “we started from the unabridged Concerto, which lasts 22 minutes. We got it down to 12 minutes, trying to prevent Tchaikovsky from turning over in his grave. It made us analyze the Concerto in depth… then we had to find a connection between the Concerto’s crescendos and the feeling Radu wanted to spark.” Amar had his fears about altering a well-known Concerto. “It is slightly sacrilegious to touch such piece. I know Tchaikovsky’s work very well. Like him, I have composed many ballet scores. But he is not a composer who particularly belongs to my culture. I feel closer to Stravinsky and Prokofiev.”

Tchaikovsky’s Concerto affected all of the performers in the concert. Before she started as Anne-Marie Jacquet, Laurent wasn’t familiar with classical music, but is now an avid listener. “I get a lot of pleasure of listening to it now, and as I make music myself, I enjoy spotting the first violins… It has triggered something in me and made me discover something that will stay with me forever. I still listen to Tchaikovsky’s Concerto today from beginning to end.” The film was also Miou Miou’s introduction to the world of classical music. “The film gave me a taste for it. I think a long lasting one. This type of music satisfies our senses. Thanks to this film, I have now realized that the performer is paramount, not just the composer.”

6 THE CONCERT

A Conversation with Writer/Director RADU MIHAILEANU

What was it like creating the screenplay? My collaborator Alain-Michel Blanc and I went to Russia for two weeks first in order to meet the people who would be the inspiration for our characters. This gave us an enormous amount of lines, scenes and ideas that ended up becoming the script. That was in 2002, before the shooting of GO, SEE AND BECOME.

When Les Productions du Trésor took the project over, for a while we envisaged shooting the film in English with American actors. Destiny had other ideas and we returned to the story’s original languages: French and Russian. Be that as it may, the screenplay’s structure got tighter with the new trio: Alain Attal, Alain-Michel Blanc and me.

In THE CONCERT once again we come across the theme of the “positive imposture,” with the creation of the fake orchestra… It’s a theme that takes over my work in spite of myself. It might be linked to the fact that my father, who was called Buchman, had to change his name during the war in order to survive. He became Mihaileanu so he could face first the Nazis, then Stalin. Even though I viewed this positively, there is a conflict in me between these two identities. Moreover, I have suffered for a long time being considered a foreigner wherever I find myself—in France or in Romania—and of course everywhere else. Today I see this as an advantage and I am very happy to be both an insider and an outsider. That is probably why my characters have huge difficulties at the beginning and have to pretend to be someone they are not in order to liberate themselves and try building bridges to others.

From the outset, the film introduces a touch of irony with the demonstration of old communists who in fact are extras. When Alain-Michel and I were in Russia, we were struck by this demonstration that takes place every Sunday morning in Moscow and which sums up the paradox of the new Russian society. On one side there are the old communists, very nostalgic for that era, and the medals peddlers who sell their stuff to the demonstrators and tourists alike and, on the other side, there are the new capitalists hardliners. And in that varied crowd of people, some are lost. I find this contrast both tragic and comical.

Through the metaphor of the concert, the film talks about the fundamental relationship between the individual and the group. While doing the sound mix, I saw that this metaphor also exists in the choice of the program: Tchaikovsky’s “Concerto for Violin and Orchestra.” It is the relationship between the individual and the community, which takes us back to today’s crisis. We reached the ultimate degree of individualism and human beings are out of step with the world. They’d like to keep the individual’s fundamental rights, while going back to a society that’s a bit more united. I discovered that Tchaikovsky’s concerto couldn’t be harmonious if the violin and the orchestra did not complement each other—if the violin doesn’t sound good, the orchestra drifts away and vice-versa. The two are intertwined. Today’s crisis shows this in a violent way; the link between the individual and the collective must be very strong and in order to find harmony—or happiness—we must try to play in unison as much as we can.

This harmony is also built through the exchange between the Russians, the Gypsies and the French who all view the world in very different ways… That is what we call “intercultural exchange.” In a society, as in France, the mixing of cultures is omnipresent and extremely rich, if not without its difficulties. This is our world today and it will be more so tomorrow. That is the film: a gang of down-and-outs from Moscow—Russians, Gypsies and Jews—

7 land in Paris, and the encounters between the Slavic-Eastern culture and the Western culture are both rich and Cartesian. From the onset, the shock is explosive: the “barbarians” from the East land in the country of the “civilized.” In the end, despite friction, beauty and light emerge from this encounter. THE CONCERT expresses this harmony born out of culture shock.

How do you define the “ultimate harmony” that Andreï talks about so often? My Russian characters aspire to “ultimate harmony” after being ostracized from society. We’ve all been there at some point or another, damaged by life, out for the count as it is put in boxing. It’s very hard to get up again and that is precisely what my characters are trying to do. First they try to regain their self- confidence, then they try to get up and become worthy human beings once more. All in order to find the ultimate harmony again, if only for a moment—the duration of a concert—and to prove to themselves that they still have enough strength to dream. It is a little victory over the death that waits for us in the wings.

How would you define the film’s humor? My favorite kind of humor is a response to suffering and difficulty. For me, humor is a joyous and intelligent weapon—a gymnastics of the spirit—against barbarism and death. Tragedy’s twin. In the film, the humor comes from a wound that was inflicted on Russia thirty years ago, in Brezhnev’s USSR. People were humiliated and cast down. Beyond their tragedy, and because of humor, the protagonists of THE CONCERT have the strength to aspire to their dreams. This for me is the most beautiful expression of vital energy.

Explain the contrasts between the Russian and the French sets. We attempted to differentiate both societies through sets, costumes, light, sound and direction. In Russia, the costumes are both colored and “distempered,” old-fashioned, often with chaotic lines. Paris is more luminous, often golden, “contrasty” and mostly composed of straight lines. For example when the Russians call the director of the Theatre du Chatelet on the phone, they are in a pathetic little closet located in the basement of the Bolshoi, amidst a cacophony, whereas the office of the Parisian director they are talking to is almost completely white, furnished in the latest style, squeaky clean, composed of perfectly straight lines. Whereas the Russians live in imperfection, the Frenchman played by Berléand does so in quasi-perfection. Consequently, the Russians are often filmed with a handheld camera. They are in permanent motion, “badly centered,” whereas Duplessis and his team are mostly filmed symmetrically, with a fixed camera or in a very calculated movement. I also like the contrast in the scene in the restaurant between Andreï and Anne-Marie. It reminds me my arrival in France: Andreï wears a brand new suit but it seems too big and from another time—he is presentable, he wants to be worthy of this dinner. Anne-Marie wears a pretty silver blouse, simple, modern and sober. Her jewelry shines like her eyes and the surrounding lights. Andreï seems like a dark patch in the City of Lights.

The way the Russians make the French language their own is so funny. Again I was inspired by personal experience. When I was a child, I learned French from a French woman in her seventies who had left France in her youth to follow a Romanian she had fallen in love with. She spoke in a French no longer used. So I learned a literary, very old fashioned French. When I arrived in France I used most of the archaic expressions that my characters use in the film. I thanked a lady who helped me get my entry visa by saying “I fuck you warmly” (“Je vous baise chaleureusement”—the verb “baiser” is no longer used to mean “to kiss” but is now slang meaning “to fuck”). My characters think they speak perfect French but it’s barely comprehensible. I felt I could use this to great comic effect. It was also a way of paying homage to a generation who adored French culture and is now disappearing.

Each Russian character has his own particular French. Yes, there are three different styles which we had a lot of fun with while writing. Ivan thinks his French is perfect, but he must have been taught by an old French lady in the fifties. He composes pompous sentences, gets by pretty well, a few errors of syntax and meaning notwithstanding. Andreï, who doesn’t

8 speak as well, somehow keeps an archaic preciosity, punctuating each sentence with “n’est-ce pas.” Finally Sacha, whose vocabulary is very limited and who speaks pigeon French, peppered with a few Russian words.

Through communication, you also question contemporary values. I feel that since the end of the 20th century, we have not paid sufficient attention to the emergence of the new means of communication—the virtual world. The virtual world has provoked today’s crisis. We put aside the real values such as work, time, friendship, love, knowledge, by adopting more virtual values such as money, information, a frantic pace, communication and the acquisition of new tools. I think human beings today want to go back to true values. That the matter of the Other is true wealth and they try to re-establish a balance between the Individual and the community. I tried to show that without friendship, without this meeting with another culture, one cannot reach happiness.

Can you talk about your direction of the actors? I needed flexibility during the preparation. I held rehearsals from the early stages. Initially I had a bit of an arm wrestle with the Russians who arrived very sure of their superiority and of their incredible tradition. It was only a game, a way of testing me. They realized very quickly that I knew exactly what I wanted, that I too was from the East and that I was only here to help them. From then on we collaborated very constructively and they were fantastic. The second power struggle was the meeting between François Berléand and three of the Russian actors who wanted to exert some kind of hold on him. Confused at first, François regained his control and through humor showed them his great actor’s range. He was brilliant, meteoric. That really astounded them and they respected him immediately, as much as he respected them.

What about Mélanie Laurent? I’ve adored her in everything she’s been in, particularly Philippe Loiret’s DON’T WORRY, I’M FINE. But I do think that here she has found her first great woman’s role. We really tried to build the character of a truly free woman. I want to thank her for all she gave me, she is quite simply sublime. And watch out… the seeds of a star!

The film recalls the fate of the intellectuals and artists in Brezhnev’s Russia. Even if a little wind of freedom started blowing nearly ten years prior to Perestroika, Brezhnev’s government was still incredibly repressive. Each totalitarian regime fears the intelligentsia’s points of view will contaminate the masses and encourage revolt. Brezhnev didn’t trust the Jews, amongst others, as they often spoke up on sensitive issues and were susceptible to the opinions of relatives abroad. That is why he got rid of the Jewish musicians in the Bolshoi Orchestra, as well as the Russians who had defended them. I wanted to show that a fact that could be considered insignificant—the sacking of a conductor and of Jewish musicians—can spark off a terrible trauma for a whole generation who will spend the next thirty years trying to get over it. That is the case of broken destinies for many people from Eastern bloc countries.

We sense in your work an iconoclasm that tries to shake up conventions. I think that life is made of rules, and at the same time of moments where the rules have to be shaken up. My characters have nothing to loose. They have no other choice than resourcefulness. They are condemned to innovate and to progress. From then on, everything is possible, even if that means breaking established laws. They fabricate their passports; they don’t go to rehearsals; they carry on diverse illegal dealings. All my characters have a share of poetry—feet on the ground and head in the clouds—because I think it is impossible to separate the realms of reality and the imaginary.

As always, you’ve brought together actors from different origins. Yes. First there are five formidable Russian actors who are great stars in their country. I was struck by their ability to express themselves both inwardly and outwardly with their physicality. Then I was very

9 lucky to work with exceptional French actors. But what was really marvelous was to witness the meeting of these two schools who, little by little, ended up understanding each other. And I am not forgetting my Romanian actor friends! It was a brilliant melting pot.

How was the shoot? We shot in Romania for about three weeks; we reconstituted nearly all the Russian parts of the film there because it was very difficult to shoot in Russia. Nevertheless we needed to shoot in Moscow for two days for shots of the city and of Red Square. Something happened to us there, worthy of a film—the day before we were due to shoot we still had had no authorization, despite a six month wait. Miraculously, thanks to Alexeï Guskov’s intervention the whole thing unblocked, we got Red Square all to ourselves, which is remarkable. We were laughing, pretending we were the crew of a James Bond movie!

And in Paris? This was my first true feature film in Paris, where we worked for a total of eight weeks. I have to say that the Theatre du Chatelet welcomed us warmly, from the management to the stagehands—we could have only great respect for them. I do hope that the film pays the homage that this theatre deserves; I also hope this magical place gets rediscovered.

How did you prepare for the shooting of the concert itself? It was a nightmare that lasted six months! I was terribly frightened of this stage because the film ends with the concert and that’s what will stay in the audience’s mind. I had to get it right. Not to mention that I had never shot a classical music concert. I started by viewing every single film about music, concert DVDs, classical, rock, etc. I learned a tremendous amount—the “language,” the importance of each instrument, at which moment it has to be filmed and in which way so that it is dramatically effective. The challenge was to try to be more spectacular and modern, while being faithful to the drama and the characters. We then worked with music coaches so the actors could be credible as musicians. We prepared the continuity editing, shot by shot. We each had a bunch of boards indicating everyone’s roles, always according to the musical bars. When it came to the shoot, we worked with three cameras, each one supposed to center on this or that musician or section. It was all the more difficult as we only had four days to do it. Lastly, I also had to take the flashbacks into account as we were filming so they could be added when editing, to the very second, while taking musical accents into consideration at the same time.

This is the second time you’ve collaborated with composer Armand Amar. I consider music the true soul of a film—the invisible part that is not revealed in images, its secret story. On THE CONCERT there was the existing classical music that needed to be adapted for the film and on then the original music. Like me, Armand is curious about other cultures: I felt strongly that the Slavic spirit had to be brought into the music. We listened to a lot of Russian music—liturgical, soviet and contemporary. In the end the original score includes symphonic music, modern music, Gypsy music, and some chorale to translate the passing of time and contrast the present and the past. What’s more, the film’s rhythm is musical. I hope that it will connect to the music each person carries within, and that children will no longer be afraid of classical music while continuing to love all the others.

10 THE CONCERT

About the Cast

ALEKSEI GUSKOV / Andreï Filipov Alekseï Guskov was born in Poland on May 20, 1958. After studying at the Technical High School of Bauman in 1983, he completed his acting education at the MKHAT and joined the Malaya Bronnaya’s company. He then went to the Gogol Theater and the Pouchkine Theatre in Moscow. He returned to the MKHAT in 2003 and has been there ever since. Throughout his stage career, he has played over 30 roles. In 1985, Guskov added film-acting to his repertoire and has appeared in over 40 films. In 1992 he created his own production company, FAF Entertainment, which produced several feature films and television series. In 2001 he was named an Emeritus artist of The Russian Federation.

1986 - Plyumbum Or A Dangerous Game, by Vadim Abdrachitov 1990 - Dikiy plyazh, by Natalia KiraKozova 1991 - A Sacrifice for the Emperor, by Rosa Orynbassarova 1991 - Volkodav, by Mikhaïl Toumanichvili 1995 - Odinokiy igrok, by Vladimir Bassov 1998 - Klassik, by Gueorgui Chenguelia 2001 - Garbageman, by Gueorgui Chenguelia 2002 - Vovochka, by Igor Moujjoukhine 2003 - Smert Tairova, by Boris Blank 2004 - Ragin, by Kirill Serebrennikov 2004 - Slova i muzika, by Ivan Solovov 2005 - Turkish Gambit, by Djanik Faiziev 2006 - Tanker 'Tango', by Bakhtier Khoudoinazarov 2006 - Infidelity, by Evgueni Zvezdakov 2006 - Ruskie dengui, by Igor Maslennikov 2007 - Father, by Ivan Solovov 2008 - Streetracers, by Oleg Fessenko 2008 - The One Who Switches Off The Light, by Andreï Libenson 2009 - The Weather Station, by Johnny O'Reilly 2010 - Karavan, by Mourad Aliev

DIMITRI NAZAROV / Sacha Grossman Dimitri Nazarov was born in Moscow on July 4, 1957. In 1980, he graduated from the Theater School Chtchepkine. Between 1980 and 1995, he performed at the Maly Theatre and The Sphere Theatre. He joined the Russian Army Theater in 1995, leaving in 2002 to join the Art Theater. Named “Artist of the Russian People” in 2000, he became popular with his TV show CULINARY FIGHT.

2004 - Temnaya notch, by Dmitri Astrakhan 2005 - Zolotoy telenok, by Ouliana Chilkina (TV-Series) 2006 - Den deneg, by Alekseï Roudakocv

MÉLANIE LAURENT / Anne-Marie Jacquet Mélanie Laurent was born in Paris on February 21, 1983. Though her parents were both in the arts, her mother was a dance teacher and her father a dubbing actor, Mélanie fell into her acting career by chance, after being discovered by French actor Gérard Depardieu. In 1998, Depardieu chose her for a role in UN

11 PONT ENTRE DUEX RIVES. In 2000, she starred in Rodolphe Marconi’s CECI EST MON CORPS with Louis Garrel and Jane Birkin. The film was presented at the Cannes International Film Festival.

She was recognized for her parts in Jacques Audiard’s film DE BATTRE MON COEUR S’EST ARRÊTÉ IN 2005 and the Belgian comedy DIKKENEK IN 2006. Her career took off with her lead role in JE VAIS BIEN NE T’EN FAIS PAS directed by Philippe Lioret. The role earned her several nominations and awards, including the Romy-Schneider award in 2006 and the Cesar Rising Star Award in 2007.

Her first short-film as a director, DE MOINS EN MOINS, was selected for the Cannes International Film Festival in 2008. In 2009, her career took an international turn when she starred as Shosanna Dreyfus in Quentin Tarantino’s INGLORIOUS BASTERDS. The role also earned her a nomination for ‘Best Female Breakout Star’ at MTV Movie Awards.

Cinema 1999 - Un pont entre deux rives by Gérard Depardieu and Frédéric Auburtin, as Lisbeth 1999 - Route de nuit by Laurent Dussaux (TV) 2001 - Ceci est mon corps by Rodolphe Marconi, as Clara 2002 - Embrassez qui vous voudrez by Michel Blanc, as Carole 2003 - Jean Moulin, une affaire française by Pierre Aknine (TV) 2003 - Snowboarder by Olias Barco, as Célia 2004 - Rice Rhapsody by Kenneth Bi, as Sabine 2004 - Le Dernier jour by Rodolphe Marconi, as Louise 2004 - Une vie à t'attendre by Thierry Klifa, as the young woman in the factory 2005 - De battre mon cœur s'est arrêté by Jacques Audiard, as Minskov’s girlfriend 2006 - Dikkenek by Olivier Van Hoofstadt, as Natacha 2006 - Je vais bien, ne t'en fais pas by Philippe Lioret, as Lili 2006 - Indigènes by Rachid Bouchareb, as Marguerite 2007 - La Chambre des morts by Alfred Lot, as Lucie Hennebelle 2007 - Le Tueur by Cédric Anger, as Stella 2008 - Paris by Cédric Klapisch, as Laetitia 2009 - Jusqu'à toi by Jennifer Devoldere, as Chloé 2009 - L'Amour caché by Alessandro Capone, as Sophie, Danielle’s daughter 2009 - Le Mytho by Hugo Gélin 2009 - Inglourious Basterds by Quentin Tarantino, as Shosanna Dreyfus 2009 - Jamais d'autre que toi by Olivier Abbou, as Manon 2009 - Cendrillon by Marc Esposito, as Cendrillon 2010 - La rafle by Roselyne Bosch, as Annette Monod

FRANCOIS BERLÉAND / Olivier Morne Duplessis François Berléand was born in Paris on April 22, 1952, the son of a Russian -Armenian native father and a French mother. During his studies in business school he began learning theatre. He joined the Tania Balachova’s acting school and met Daniel Benoin, a theatre director with whom he collaborated on modern and classic plays between 1974 and 1981. During the 1980s he entered the world of cinema with numerous successful comedies. Berléand won the Cesar award for Best Supporting Role for his work in Pierre Jolivet’s MA PETITE ENTREPRISE. His first leading role in Guillaume Canet’s MON IDOLE earned him an “Étoile d'or” and a Cesar nomination for Best Leading Role. He received another Cesar nomination for Best Supporting Role for his work on LES CHORISTES, directed by Christophe Barratier. This prolific actor has become a key actor for the French cinema, in all genres, as well in comedies, tragedies or thrillers.

12 1978 - Martin et Léa by Alain Cavalier, as the detective 1980 - Un étrange voyage by Alain Cavalier, as the crook witness 1981 - Les Hommes préfèrent les grosses by Jean-Marie Poiré, as Julien 1982 - La Balance by Bob Swaim, as a detective 1983 - Ôte-toi de mon soleil ou Diogène by Marc Jolivet, as Socrate 1984 - Marche à l'ombre by Michel Blanc, as the detective 1985 - Strictement personnel by Pierre Jolivet, as Gérard 1986 - Poker by Catherine Corsini, as the lawyer 1986 - La Femme secrète by Sebastien Grall, as Zaccharia Pasdeloup 1986 - Les mois d'avril sont meurtriers by Laurent Heynemann, as Baumann 1986 - Le Complexe du kangourou by Pierre Jolivet, as the brother 1987 - Au revoir les enfants by Louis Malle, as Michel’s father 1988 - Un père et passe by Sebastien Grall, as Maxence 1988 - Suivez cet avion by Patrice Amblard, as Combette 1988 - Camille Claudel by Bruno Nuytten, as Doctor Michaux 1988 - L'Otage de l'Europe by Jerzy Kawalerowicz, as General Montholon 1989 - L'Orchestre rouge by Jacques Rouffio, as Corbin 1989 - Milou en mai by Louis Malle, as Daniel 1990 - Génial, mes parents divorcent ! by Patrick Braoudé 1992 - Tableau d'honneur by Charles Némès, as Alain Denizet 1993 - Le bateau de mariage by Jean-Pierre Améris, as the Mayor 1993 - Le Joueur de violon by Charlie Van Damme, as Charles 1993 - À l'heure où les grands fauves vont boire by Pierre Jolivet, as the cousin 1995 - Fugueuses by Nadine Trintignant, as Nicolas 1995 - L'Appât by Bertrand Tavernier, as Detective Durieux 1995 - Les Milles by Sébastien Grall, as Detective Boisset 1995 - Un héros très discret by Jacques Audiard, as Mister Jo 1996 - Capitaine Conan by Bertrand Tavernier, as Commandant Bouvier 1997 - Tout le monde descend by Laurent Bacher, as Jean-Pierre 1997 - Fred by Pierre Jolivet, as Barrère 1997 - Le Pari by Didier Bourdon and Bernard Campan, as Doctor Bricourt 1997 - Le Septième Ciel by Benoît Jacquot, as the Doctor 1997 - L'Homme idéal by Xavier Gélin, as Balto’s man 1997 - La Mort du Chinois by Jean-Louis Benoît, as Detective Chevalot 1998 - Innocent by Costa Natsis, as Jean-René 1998 - Le Sourire du clown by Éric Besnard, as Drouot 1998 - Place Vendôme by Nicole Garcia, as Éric Malivert 1998 - Dormez, je le veux ! by Irène Jouannet, as Paul , the uncle / Raymond, the father 1998 - L'École de la chair by Benoît Jacquot, as Soukaz 1998 - Le Plus beau pays du monde by Marcel Bluwal, as Brafort 1999 - La Débandade by Claude Berri : Doctor Nataf 1999 - Ma petite entreprise by Pierre Jolivet, as Maxime Nassief 1999 - L'Homme de ma vie by Stephane Kurc, as Frydman 1999 - Mauvaises Fréquentations by Jean-Pierre Améris, as René 1999 - Six-Pack by Alain Berbérian, as Thomas 1999 - Romance by Catherine Breillat, as Robert 2000 - Les Acteurs by Bertrand Blier, as François Nègre 2000 - Promenons-nous dans les bois by Lionel Delplanque, as Axel de Fersen 2000 - Le Prince du Pacifique by Alain Corneau, as Commandant Lefèvre 2000 - La Fille de son père by Jacques Deschamps, as Henri

13 2001 - HS Hors Service by Jean-Paul Lilienfeld, as Louis 2001 - Les Âmes câlines by Thomas Bardinet, as Jacques 2001 - L'Adversaire by Nicole Garcia, as Rémi 2001 - Le Transporteur by Corey Yuen and Louis Leterrier, as Detective Tarconi 2002 - Mon idole by Guillaume Canet, as Jean-Louis Broustal 2002 - Filles uniques by Pierre Jolivet, as Mermot 2002 - Une employée modèle by Jacques Otmezguine, as François Maurey 2003 - En territoire indien by Lionel Epp, as Jean-Claude Adam 2003 - Remake by Dino Mustafic, as François-Charles Lecomte 2003 - Les Amateurs by Martin Valente, as Meineau 2003 - Les Choristes by Christophe Barratier, as Rachin 2003 - Le Convoyeur by Nicolas Boukhrief, as Bernard 2003 - Pour le plaisir by Dominique Deruddere, as François 2003 - Narco by Tristan Aurouet et Gilles Lellouche, as Guy Bennet 2003 - Adorables Créatures by Dolorès Payas 2004 - Le Grand Rôle by Steve Suissa, as Benny Schwarz 2004 - Les Sœurs fâchées by Alexandra Leclère, as Pierre Demouthy 2004 - Éros thérapie by Danièle Dubroux, as Adam Corbeau 2004 - Une vie à t'attendre by Thierry Klifa, as Simon 2005 - Le plus beau jour de ma vie by Julie Lipinski, as Valentin 2005 - Le Transporteur 2 by Louis Leterrier, as Tarconi 2005 - Edy by Sthépan Guérin-Tillé, as Edy Saïovici 2005 - Quartier V.I.P. by Laurent Firode, as Bertrand Fussac 2005 - Aurore by Nils Tavernier, as the King 2006 - L'Ivresse du pouvoir by Claude Chabrol, as Michel Humeau 2006 - Le Passager de l'été by Florence Moncorgé-Gabin, as Maurice Lecouvey 2006 - Ne le dis à personne by Guillaume Canet, as Eric Levkowitch 2006 - Fragile(s) by Martin Valente, as Paul 2007 - Pur week-end d' Olivier Doran, as Commandant Papan 2007 - Je crois que je l'aime by Pierre Jolivet, as Roland Christin 2007 - La fille coupée en deux by Claude Chabrol, as Charles Saint-Denis 2008 - Ca$h d'Éric Besnard, as François 2008 - 15 ans et demi by Thomas Sorriaux and François Desagnat, as Albert Einstein 2008 - Le Transporteur 3, as Tarconi 2008 - La difference c'est que c'est pas pareil by Pascal Laethier, as Sylvain 2009 - Le Siffleur by Philippe Lefebvre, as Armand

MIOU-MIOU / Guylène de La Rivière In May of 1968, a young woman named Sylvette Herry, an apprentice tapestry-maker, joined “Café de la Gare,” the company that advanced spontaneous theatre far away from commercial issues. Coluche, a member of the company, give Herry the nickname “Miou-Miou,” a name that she has kept throughout her acting career.

Her first film was LA CAVALE, directed by Michel Miyrani in 1971. Lively and cheeky, Miou-Miou appeared in many films embodying the anti-authority spirit of the period. She was part of a rebellious trio, alongside with Gérard Depardieu and Patrick Dewaere, in Bertrand Blier’s LES VALSEUSES in 1974. Her breakout role in the film made her a star. Miou-Miou went on to make many successful films, personifying all the faces of the modern woman.

14 In 1980, she won the Cesar Award for Best Actress for her role as a prostitute in Daniel Duval’s LA DÉROBADE. She has been nominated for nine other Cesar Awards for Best Actress: Maurice Dugawson’s F… COMME FAIRBANKS (1977); Claude Miller’s DITES LUI QUE JE L’AIME (1978); Christopher Frank’s JOSÉPHA (1983), Diane Kurys’s COUP DE FOUDRE (1984), Bertrand Blier’s TENUE DE SOIRÉE (1987), Michel Deville’s LA LECTRICE (1989), Louis Malle’S MILOU EN MAI (1991), Claude Berri’s GERMINAL (1994), and Anne Fontaine’s NETTOYAGE À SEC (1998). She also received a Lumière Prize for her role in NETTOYAGE À SEC.

During her career, Miou-Miou has stayed popular with general public through comedic work, and working with great independent directors like Claude Miller, Joseph Losey and Louis Malle.

1973 - Quelques messieurs trop tranquilles by Georges Lautner, as Anita 1973 - Les Granges brûlées by Jean Chapot, as Monique 1973 - Les Aventures de Rabbi Jacob by Gérard Oury, as Antoinette Pivert 1974 - Les Valseuses by Bertrand Blier, as Marie-Ange 1974 - Tendre Dracula by Pierre Grunstein, as Marie 1975 - Pas de problème ! by Georges Lautner, as Anita Boucher 1975 - Un génie, deux associés, une cloche (Un Genio, due compari, un pollo) by Damiano Damiani, as Lucy 1976 - Al piacere di rivederla by Marco Leto, as Patrizia 1976 - La Marche triomphale (Marcia trionfale) by Marco Bellocchio, as Rosanna 1976 - D'amour et d'eau fraîche by Jean-Pierre Blanc, as Rita Gonzalez 1976 - F... comme Fairbanks by Maurice Dugowson, as Marie 1976 - On aura tout vu by Georges Lautner, as Christine 1976 - Jonas qui aura 25 ans en l'an 2000 d'Alain Tanner, as Marie 1977 - Dites-lui que je l'aime by Claude Miller, as Juliette 1978 - Les Routes du sud by Joseph Losey, as Julia 1979 - Le Grand Embouteillage (L'Ingorgo - Una storia impossibile) by Luigi Comencini, as Angela 1979 - Au revoir à lundi by Maurice Dugowson, as Nicole 1979 - La Dérobade by Daniel Duval, as Marie 1980 - La Femme flic d'Yves Boisset, as Detective Corinne Levasseur 1981 - Est-ce bien raisonnable ? by Georges Lautner, as Julie Boucher 1981 - La Gueule du loup by Michel Leviant, as Marie 1982 - Josepha by Christopher Frank, as Josépha Manet 1982 - Guy de Maupassant by Michel Drach, as Gisèle d'Estoc 1983 - Coup de foudre by Diane Kurys, as Madeleine 1983 - Attention! Une femme peut en cacher une autre by Georges Lautner, as Alice 1984 - Blanche et Marie by Jacques Renard, as Blanche 1984 - Canicule by Yves Boisset, as Jessica 1984 - Le Vol du Sphinx by Laurent Ferrier, as Laura 1986 - Tenue de soirée by Bertrand Blier, as Monique 1988 - Les Portes tournantes by Francis Mankiewicz, as Lauda 1988 - La Lectrice by Michel Deville, as Constance/Marie 1990 - Milou en mai by Louis Malle, as Camille 1991 - Netchaïev est de retour by Jacques Deray, as Brigitte 1991 - La Totale! by Claude Zidi, as Hélène Voisin 1992 - Le Bal des casse-pieds de Yves Robert, as Louise Sherry 1993 - Tango by Patrice Leconte, as Marie 1993 - Germinal by Claude Berri, as Maheude 1994 - Montparnasse-Pondichéry by Yves Robert, as Julie 1994 - Un indien dans la ville d'Hervé Palud, as Patricia

15 1996 - Ma femme me quitte by Didier Kaminka, as Joanna Martin 1996 - Le Huitième Jour by Jaco Van Dormael, as Julie 1997 - Nettoyage à sec by Anne Fontaine, as Nicole Kunstler 1997 - Elles by Luís Galvão Teles, as Eva 2000 - Tout va bien, on s'en va by Claude Mouriéras, as Laure 2004 - Folle Embellie by Dominique Cabrera, as Alida 2004 - Mariages ! by Valérie Guignabodet, as Gabrielle 2005 - L'Un reste, l'autre part by Claude Berri, as Anne-Marie 2005 - Riviera d'Anne Villacèque, as Antoinette 2005 - Les Murs porteurs by Cyril Gelblat, as Judith Rosenfeld 2006 - La Science des rêves by Michel Gondry, as Christine Miroux 2006 - Le Héros de la famille by Thierry Klifa, as Simone Garcia 2008 - Le Grand Alibi by Pascal Bonitzer, as Éliane Pages 2008 - Affaire de famille by Claus Drexel, as Laure Guignebont 2009 - Pour un fils by Alix de Maistre, as Catherine 2009 - Une petite zone de turbulences by Alfred Lot, as Anne

VALERI BARINOV / Ivan Gavrilov Valeri Barinov is a Russian actor, born in Zhilino on November 27, 1945. In 1968, he completed his studies at the Acting school of Maly Theatre. Between 1968 and 1974, he worked at the Pouchkine Theatre in Saint Petersburg. From 1974 to 1988, he was with the Soviet Army Theatre in Moscow. He was named artist of Russian People in 1999. He performed with the Pouchkine theatre of Moscow and at the Maly Theatre until 2006. In 1996, Barinov received the Best Actor Award at the Russian Film Festival in Honfleur (France) for his role in Guennadi Baissa’s AGAPE. In 2007, he received the Best Actor Award at the Moscow Film Festival for his role in Larissa Sadilov’s NOTHING PERSONAL.

1996 – Agape, Guennadi Baissak 1996 – Principal and Compassion look, by Aleksandr Soukhotchev 2004 – Russian, by Aleksandr Veledinski 2005 – Needing a Nanny, by Larissa Sadilova 2006 – Andersen, a life without love, by Eldar Riazanov 2006 – Shindaï game, by Andreï Razoumovski 2007 – Election Day, by Oleg Fomin 2007 – Nothing personal, by Larissa Sadilova 2008 – Kromov, by Andreï Razenkov 2008 – The best movie, by Kirill Kuzin

ANNA KAMENKOVA / Irina Filipovna Anna Kamenkova was born in Moscow on April 27, 1953. In 1974, she completed her studies at the Theatre acting school of Chtchepkine, and then joined the Theatre Malaya Bronnaya’s company. Her first feature film role came when she was 5 years old—in LITTLE GIRL LOOKING FOR HER DAD, directed by Lev Golub. In 1985 she was named an Emeritus artist of The Russian Federation. She is one of the most popular actresses in Russia.

1976 – Spring selection, by Pavel Lyubimov 1978 – Young wife, by Isaak Menaker 1986 – Pouchkine : The last road, by Leonid Menaker 1991 – A Circle of Damned, by Yuri Belenky 1995 – You are, by Vladimir Makeranets

16 2001 – An Avalanche, by Ivan Solovov

17 THE CONCERT

About the Filmmakers

RADU MIHAILEANU / WRITER-DIRECTOR Radu Mihaileanu is a French director and screenwriter born in Bucarest, Romania on April 23, 1958. Son of a Jewish journalist, he fled from Romania in 1980 during Ceausescu’s dictatorship, and found refuge in Israel, and then in France where he studied cinema at IDHEC. During the 1980’s, he worked as a director assistant, notably for Marco Ferreri.

In 1993, he directed his first film, BETRAYAL, for which he also co-wrote the script. This film was well received and received prizes around the world including the Great Prize of Americas, the Montreal Prize for First Feature Film and a special mention from the Ecumenical Jury at the Montreal World Film Festival.

With his second film, TRAIN OF LIFE in 1998, Radu Mihaileanu achieved international success. The film received a Cesar nomination for Best Screenplay. In addition, the film won dozens of awards, including: the Fipresci and Anicaflash Prizes at the Venice Film Festival; the Audience Award at the Cottbus Festival of East European Cinema; the Audience and Criticism Award at the Sao Paulo International Film Festival; the David Prize for Best Foreign Film; the Audience Award at the 1999 Sundance Film Festival; the Audience Award at the Miami Film Festival; the Audience Award at the Hamptons International Film Festival; the Silver Ribbon of The National Syndicate of Italian Film Journalists; and it was nominated for Best Foreign Film by the Great Prize Brazil Cinema.

In 2002, Mihaileanu directed LES PYGMÉES DE CARLO for television, which won the Youth Jury Prize at the Namur International French-Speaking Film Festival.

With LIVE AND BECOME in 2005, Mihaileanu won the Cesar Award for Best Original Screenplay (with Alain Michel Blanc). The film was also nominated for Cesar Awards for Best Film and Best Director. LIVE AND BECOME was honored at the Berlinale with the Ecumenical Jury Prize, the Panorama Audience Prize and the Europa Cinemas Label. The Copenhagen Film Festival also awarded the film the Golden Swan for Best Film.

1980 – Les Quatre Saisons (short film) – director 1989 – Le Banquet (TV) – screenwriter 1993 – Betrayal – writer/director 1997 – Bonjour Antoine (TV) – director 1998 – Train of life – writer/director 2002 – Les Pygmées de Carlo (TV) – writer/director 2005 – Live and become – writer/director

ALAIN-MICHEL BLANC / SCRIPT COLLABORATION Alain-Michel Blanc wrote LE JUGEMENT DE LA TORTUE, which received a Jury Special Mention in the Great Prize for Best French Screenplay. Blanc previously worked with Mihaileanu several times, most notably on LIVE AND BECOME in 2003. He won the Cesar Award for Best Screenplay, the Audience Award at the Berlinale and the Great Prize for Best French Screenplay for his work on the film.

1998 – Le jugement de la tortue, writer 2004 – Billie Cherie, co-written with Pierre Mathiote 2004 – Live and become, by Radu Mihaileanu, co-writer

18 2006 – Le petit Lion, writing in collaboration with Radu Mihaileanu 2006 – Elle ment, writing in collaboration with Radu Mihaileanu 2006 – Le droit du sang, by Eléonore Faucher, co-writer 2007 – La source des femmes, by Radu Mihaileanu, co-written with Radu Mihaileanu 2009 – Comme nos enfants, by Ismaël Ferroukhi, writing in collaboration with Ismaël Ferroukhi

MATTHEW ROBBINS / SCRIPT COLLABORATION Matthew Robbins was nominated for a Writers Guild of America Award in 1975 for his adapted screenplay of THE SUGARLAND EXPRESS, (shared with Hal Barwood and Steven Spielberg). That script also earned him Best Screenplay at the 1974 Cannes Film Festival.

Robbins followed that success with another WGA nomination in Best Adapted Screenplay for THE BINGO LONG TRAVELING ALL-STAR & MOTOR KINGS (shared with Hal Barwood) in 1977. Robbins then alternated between directing and writing on a number of projects, notably directing the cult teen hit THE LEGEND OF BILLIE JEAN in 1985. He went back to screenwriting in 1998 when he was nominated for a Saturn Award for Best Screenplay for MIMIC (shared with Guillermo del Toro).

1974 – The Sugarland Express, by Steven Spielberg, story and screenplay 1976 – The Bingo Long Traveling All-Stars & Motor Kings, by John Badham, writer 1977 – MacArthur, by Joseph Sargent, writer 1978 – Corvette Summer, writer and director 1981 – Dragonslayer, writer and director 1985 – The Legend of Billie Jean, director 1985 – Warning Sign, by Hal Barwood writer and executive producer 1987 – *batteries not included, writer and director 1989 – Mothers, Daughters and Lovers, director (TV) 1991 – Bingo, director, written by Jim Strain 1997 – Mimic, by Guillermo del Toro screen story and screenplay 2007 – Blood Brothers, by Vishal Bhardwaj, writer (short film) 2010 – Don’t be afraid of the dark, by Troy Nixey, screenplay

HECTOR CABELLO REYES / FROM AN ORIGINAL STORY BY 2010 – Protéger et servir, by Eric Lavaine 2009 – Incognito, by Eric Lavaine 2009 – Poltergay, by Eric Lavaine

THIERRY DEGRANDI / FROM AN ORIGINAL STORY BY THE CONCERT is DeGrandi’s first film.

ARMAND AMAR / COMPOSER Born in Jerusalem in 1953, Armand Amar is a Frenchman of Moroccan origin. Spending his childhood in Morocco fostered his love of “exotic” sounds. South African choreographer and trained anthropologist Peter Goss introduced Amar to dance in 1976. Since then he has worked with various choreographers in different branches of contemporary dance (Marie-Claude Pietragalla, Carolyn Carlsson, Francesca Lattuada, etc.). Two challenging new ventures broadened his scope even further: his involvement in Patrice Chéreau’s actors’ school and his teaching at the Conservatoire National Supérieur [Higher

19 National Music School] focusing on the relationship between music and dance. The musical and spiritual influences show through in his film scores.

In 1994, in partnership with his friend Alain Weber, he founded the record label Long Distance for traditional, world and classical music. It now boasts more than 60 titles. Naïve, Long Distance, and Universal release the CDs of his own music.

Amar has been nominated for three Cesar Awards for Best Soundtrack for the following films: Costa- Gavras’ EYEWITNESS, Mihaileanu’s LIVE AND BECOME and Rachid Bouchareb’s DAYS OF GLORY. He also received a Special SACEM Award for Best Original Music for his score in Eric Valli’s THE TRAIL.

2002 – Eyewitness, directed by Costa Gavras 2005 – The Axe, directed by Costa Gavras 2005 – The Trail, directed by Eric Valli 2005 – Live and Become, directed by Radu Mihaileanu 2006 – Days of Glory (Indigènes), directed by Rachid Bouchareb 2006 – Blame it on Fidel, directed by Julie Gavras 2007 – Mon Colonel, directed by Laurent Herbiet 2007 – Comme ton père, directed by Marco Carmel 2007 – The first Cry, directed by Gilles de Maistre 2008 – La jeune fille et les loups, directed by Gilles Legrand 2008 – Sagan, directed by Diane Kurys 2009 – Welcome, directed by Philippe Lioret 2009 – Eden à l’ouest, directed by Costa Gavras 2009 – Moi, Van Gogh, directed by Peter Knapp and François Bertrand 2009 – Home, directed by Yann Arthus-Bertrand

ALAIN ATTAL / PRODUCER Alain Attal made his first steps as producer with several short films—GOOD LUCK MR. GROSKY (2002), BOOMER (2001), J'PEUX PAS DORMIR (2000)—that obtained many awards and award nominations. Through these short films, he gathered a team of talented young actors and directors he would work with on his feature films.

Attal produced Guillaume Canet’s MON IDOLE in 2003. The film was nominated for two Cesar Awards —Best Actor for François Berléand and Best First Work for director Canet. Canet was also nominated for the European Discovery of the Year at the European Film Awards, while Berléand received the French Cinema Golden Star for Best Actor for the film.

Attal then brought Nicole Garcia’s CHARLIE SAYS to the 2006 Cannes Film Festival. Shortly after that, Attal produced TELL NO ONE in 2007. The film won Cesar Awards for Best Actor, Best Director, Best Editing and Best Music Written for a Film. The film was also nominated for Cesars for: Best Film, Best Cinematography, Best Sound, Best Supporting Actor and Best Adapted Screenplay. TELL NO ONE also won two French Golden Star Awards, for Best Actor and Best Composer, and was nominated for Best Director and Best Screenplay. The film’s other honors include: a French Lumière Award for Best Film, a French Lumière Award for World Audience, Best Foreign Language Film from the Dallas-Fort Worth Film Critics Association, a nomination for Best Foreign Independent Film from the British Independent Film Awards, a nomination for Foreign Language Film of the Year from the London Critics Circle Film, a nomination for Best Motion Picture Screenplay from the Egdar Allan Poe Awards, and a nomination for Best Foreign Thriller Trailer from the Golden Trailer Awards.

20 2000 – Photo de famille, by Xavier Barthélemy (short film) 2000 – J'peux pas dormir, by Guillaume Canet (short film) 2002 – Good Luck Mr. Grosky, by Félicie Dutertre and François Rabes (short film) 2002 – 8 rue Charlot, by Bruno Garcia (short film) 2002 – Boomer, by Karim Adda (short film) 2002 – Mon Idole, by Guillaume Canet 2003 – Narco: The Secret Adventures of Gustave Klopp, by Gilles Lellouche & Tristan Aurouet 2005 – Tell no one, by Guillaume Canet 2005 – Charlie says, by Nicole Garcia 2007 – 2 alone in Paris, by Éric Judor, Ramzy Bedia 2007 – Pur week-end, by Olivier Doran 2008 – The Whistler, by Philippe Lefebvre 2008 – The Concert, by Radu Mihaileanu 2009 – Little white lies, by Guillaume Canet 2009 – A View of love, by Nicole Garcia

LAURENT DAILLAND / DIRECTOR OF PHOTOGRAPHY Dailland has worked on many films and was nominated for a Cesar Award for Best Cinematography for PLACE VENDÔME, by Nicole Garcia.

1985 – Y'a pas le feu..., by Richard Balducci 1988 – Sanguines, by Christian François 1988 – Junior Size 36, by Catherine Breillat 1991 – Dirty Like an Angel, by Catherine Breillat 1992 – Loulou Graffiti, by Christian Lejale 1993 – Betrayal, by Radu Mihaileanu 1994 – Fear City: A Family-Style Comedy, by Les Nuls 1996 – Perfect Love!, by Catherine Breillat 1997 – Didier, by Alain Chabat 1997 – Héroïnes, by Gérard Krawczyk 1998 – Place Vendôme, by Nicole Garcia 1998 – Train of Life, by Radu Mihaileanu 1999 – East – West, by Regis Wargnier 2000 – It Takes All Kinds, by Agnès Jaoui 2002 – Aram, by Robert Kéchichian 2002 – Asterix and Obelix Meet Cleopatra, by Alain Chabat 2003 – Gift from Above, by Dover Koshashvili 2004 – RRRrrrr!!! , by Alain Chabat 2005 – Hell, by Danis Tanovic 2005 – Man To Man, by Regis Wargnier 2007 – Les deux mondes, by Daniel Cohen 2007 – Trivial, by Sophie Marceau 2007 – Have Mercy on Us All, by Regis Wargnier 2008 – Me Two, by Nicolas Charlet & Bruno Lavaine

CRISTIAN NICULESCU / PRODUCTION DESIGNER 1993 – Betrayal, by Radu Mihaileanu 1996 – Asphalt Tango, by Nae Caranfil

21 1997 – Little Ghost, by Linda Shayne 1998 – Frankenstein Reborn!, by David DeCoteau 1998 – Train of Life, by Radu Maihaileanu 1998 – Teen Knight, by Phil Comeau 1999 – Teen Sorcery, by Victoria Muspratt 2002 – Vacuum, by Luke Cresswell & Steve McNicholas 2003 – Mimic: Sentinel, by J.T. Petty 2004 – Blessed, by Simon Fellows 2005 – 7 Seconds, by Simon Fellows 2006 – Incubus, by Anya Camilleri 2007 – Catacombs, by Tomm Coker & David Elliot 2009 – Eva, by Adrian Popovici 2009 – Town Creek, by Joel Schumacher 2010 – The Glass House, by Mark Schmidt

VIORICA PETROVICI / COSTUME DESIGNER 1993 – Betreyal, by Radu Mihaileanu 1994 – Lurking Fear, by C. Courtney Joyner 1995 – Huntress: Spirit of the Night, by Mark S. Manos 1996 – Asphalt Tango, by Nae Caranfil 1996 – Magic in the Mirror: Fowl Play, by Ted Nicolaou 1998 – Train of Life, by Radu Mihaileanu 1999 – Diplomatic Siege, by Gustavo Graef-Marino 2005 – Tertium non datur, by Lucian Pintilie 2005 – The Last Drop, by Colin Teague 2008 – Fire and Ice, by Pitof

22