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Behind the Lens

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Behind the Lens BEHIND THE LENS Synopsis On the banks of the Mekong, where access to education is a daily struggle, six children of different ages dream of a better future. Like the pieces of a puzzle, the paths taken by Prin, Myu Lat Awng, Phout, Pagna, Thookolo and Juliet fit together to tell the amazing story of WHEN I GROW UP. WHEN I GROW UP is first and foremost a story of a coming together. A coming together of a charity, Children of the Mekong, which has been helping to educate disadvantaged children since 1958; with a committed audio-visual production company, Aloest; with a film director, Jill Coulon, in love with Asia and with stories with a strong human interest; with a pair of world-famous musicians, Yaël Naïm and David Donatien. These multiple talents have collaborated to produce a wonderful piece of cinema designed to inform as many people as possible of the plight of these children and of the benefits of getting an education. Find out more at www.childrenofthemekong.org Credits: A film by Jill Coulon Produced by François-Hugues de Vaumas and Xavier de Lauzanne Director: Jill Coulon Assistant Director: Antoine Besson Editing: Daniel Darmon Audio mixing: Eric Rey Colour grading: Jean-Maxime Besset Music : Yaël Naïm and David Donatien Subtitles: Raphaële Sambardier Translation: Garvin Lambert Graphic design: Dare Pixel Executive Production Company: Aloest films Associate Production Company: Children of the Mekong INTERVIEW WITH THE DIRECTOR Jill Coulon A professional film director with a passion for all things Asia, Jill Coulon put her talent at the disposal of the six narrators of WHEN I GROW UP so they could tell their stories to an international audience. Fading into the background, she strived patiently to develop an understanding of the inner workings of Children of the Mekong and to make a film which truly reflects the realities that these children face. Can you tell us how the project Also, to take advantage of a unique opportunity to meet these children and came about? the people who support them. When Aloest approached me I was very interested straight away. Knowing nothing at all about Children of the Finally, to share the reality of their Mekong, I immersed myself in its world, everyday life with as wide an audience reading all I could, and watching all as possible, and, above all, to ensure its videos. I quickly realised that what that more children can benefit from moved me most was hearing children sponsorship in the future. tell stories in their own words. I wanted to see things from their point of view, to give them a platform to tell it as they Why this title? see it. Children of the Mekong supported The aim with this film was to choose me in this, for which I am very grateful, children of different ages and to show and I immediately got very excited by them growing up, as one. But even the whole project. more than that it was to demonstrate that in enabling children to get an education Children of the Mekong Why did you want to and its supporters help them above make this film? all else to know themselves, to assert themselves, to develop themselves and For lots of reasons - which all fit neatly to better themselves - in a nutshell, together! First, to continue my work to grow up. In settling upon the title about Asia (of my ten previous films WHEN I GROW UP, I wanted to show nine were shot in Asia). Next, to do that there is more to growing up than something more meaningful and make just getting an education; sponsorship a “worthwhile” film. While I was working touches every part of a child’s life. in television for many years, I frequently asked myself the question “should I not be doing something different?”. What sets this documentary Maybe they will realise that they need help to get an education and to carve apart? Why do you think it is out a future for themselves. necessary? Yes, the children are poor. Yes, they lead very difficult lives. But that is not what What is your message to those comes out when they tell their stories! who want to bring about On the contrary, what they say is full change? of resilience and the hope of a better future. They may live on the other side I can only encourage them to keep of the world in Asia, but the message up the good work! In today’s society, which comes through is a universal one: it often feels as if we are caught up in in education lies strength and power. If a storm of events over which we have this film can help show children in the no control. But in fact, there are things West how lucky they are simply to go to that all of us can do! Out in the field school, if it can convince adults in the I saw how any action, however small, West to take an interest in the plight of can have an effect – and that effect can all the children like these in Asia, then I sometimes be very big. That much was think I will have succeeded! clear when the children we met told us, with stars in their eyes, of the strength of the bond they have with their sponsors This film is both a voyage of discovery – people far away in a distant land who into other cultures, and an encounter they have never met but who support with six adult human beings in the them financially and, most important of making. It is intended to help us put our all, give them moral support. I found own lives into perspective, and, even that extraordinary. I imagine from time more importantly, to change the way we to time, a map of the world showing all look at others. The next time they visit the links between supporters of Children Angkor Wat in Cambodia or travel down of the Mekong and the children they the Mekong, people who have watched sponsor in Southeast Asia - bringing the film will perhaps see the children who this to reality would be wonderful! beg from tourists through different eyes. BIOGRAPhy: Jill Coulon Passionate about photography and travel, Jill Coulon cut her teeth in film working as an assistant to the director Thomas Balmès on “Babies”. In 2008 she set off alone with her camera to immerse herself in a sumo stable in Tokyo. Out of this came the first film of her own, co-produced with NHK Japan, calledA “ Normal Life: Chronicle of a Sumo Wrestler”. The film won numerous awards at international festivals before being released in cinemas by Aloest Distribution under the title “Tu seras sumo” (Becoming a Sumo). It got rapturous reviews. Numerous television documentaries followed: “Les Nouveaux Explorateurs” (The New Explorers) for Canal+, “Voyage en Occident” (Journey to the West) for Planète+ and “Au fil du monde”, five documentaries for Arte about artisan spinners, embroiderers, weavers and dyers in Asia, co-directed with Isabelle Dupuy Chavanat. All of Jill’s films have a strong human interest, and all focus on Asia, the continent for which she has so much affection. THE FILM MUSIC : : yaEl naim AND david donatien Generous and supportive, singer-songwriter Yaël Naïm and musician David Donatien, who regularly work together, agreed to compose the music for WHEN I GROW UP. Here they tell us why they chose to support this project. Why did you choose to get Why do you say that? involved and compose the DD: In today’s world it is no longer music for the film? the norm to show humanity, to display empathy or to help one’s neighbour. In Yaël Naïm (YN): We were attracted my mind it is obvious that supporting by two things – by what we could see, children is investing in the future. To when we were approached, of the work provide emergency help to children of Children of the Mekong, and by Jill who are refugees or affected by famine Coulon’s film itself. The combination of is essential but not enough. We need a worthy cause and a profoundly artistic to do more than relieve suffering; we piece of cinema made us want to make also need to instill in children the values our own contribution. that enable men and women to be David Donatien (DD): Generally responsible adults. To rebuild a country, speaking there are endless causes it is first necessary to rebuild its youth. worthy of support. Yaël and I have the good fortune to make music, which is Did one of the stories in the something we love doing but which can film move you more than the also serve a purpose. Whenever we others? find an efficient organisation promoting a worthwhile cause we do not hesitate YN: Each of the stories moved me in a to get involved. That Children of the different way. But I have a particularly Mekong really makes a difference, with soft spot for Prin, in Vietnam. You projects in the field that transform cannot fail to be moved by all she has children’s lives, was an important had to put up with, and she is only six. factor for us. Supporting children is So young! preparing the world for tomorrow. DD: For my part, I was particularly moved by the story of Phout, the young Hmong girl who is deaf and does not speak. Her disabilities bring added difficulties to a background which was film: six lives showcased using 10 years already very problematic.
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