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The Living, in Your Delightfully Warmed 4, Rue Félix Faure Tél

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The Living, in Your Delightfully Warmed 4, Rue Félix Faure Tél THE YOU LIVING by Roy Andersson Presse française Ventes Internationales Cédric Landemaine Coproduction Office 1, Cité Paradis, 24, rue Lamartine 75010 Paris, France 75009 Paris, France Tél. +331 4405 9760 Tél. +331 5602 6000 Mob. +336 6264 7007 Fax +331 5602 6001 Email cedriclandemaine Email @hotmail.com [email protected] A Cannes Hôtel Splendid A Cannes Riviera L6 Be pleased then, you the living, in your delightfully warmed 4, rue Félix Faure Tél. +334 9299 3316 Tél. +334 9706 2222 bed, before Lethe´s ice-cold wave will lick your escaping foot Fax +334 9399 5502 Production Johann Wolfgang von Gœthe Römische Elegien Roy Andersson Presse internationale Filmproduktion AB Sarah Wilby Sibyllegatan 24 Réjouis-toi donc, ô vivant ! de cette place échauffée par 45a Rathbone Street, 114 42 Stockholm Londres W1T 1NW, Tél. +46 8662 5700 l’amour avant que le fatal Léthé ne baigne ton pied fugitif ! Grande-Bretagne Fax +46 8662 9240 Johann Wolfgang von Gœthe Elegies Romaines Tél. +4420 7580 0222 www.royandersson.com Fax +4420 7580 0333 Email [email protected] A Cannes Pavillon britannique 6, rue Léon Mob. +4478 6081 0055 Mob. +336 6928 4720 Cast/Distribution Carpenter & Special Constructions/ Chef menuisier & Constructions spéciales Jessica Lundberg, Elisabet Helander, Björn Englund Jacob Björkander Leif Larsson, Ollie Olson, Kemal Sener, Håkan Angser Props & Scenic Artist/Accessoires & Décors Birgitta Persson, Gunnar Ivarsson Anna-Märta Waern Production Manager & Assistant Director/ Directeur de production & Assistant réalisateur Crew/Équipe technique Johan Carlsson Editing/Montage Director of Photography/Directeur de la photographie Anna Märta Waern Gustav Danielsson Sound/Son Producer/Producteur Jan Alvermark, Robert Sörling Pernilla Sandström Sound Mixer/Mixage son Scriptwriter & Director/Scénario & Réalisation YOU, THE LIVING Owe Svensson FSFL Roy Andersson Music Recording/Enregistrement de la musique Production/Production Robert Hefter Roy Andersson Filmproduktion Assistant Cameraman & Special Constructions/ Co-Production/Co-Production DU LEVANDE Assistant caméra & Constructions spéciales Parisienne de Production/Philippe Bober Fredrik Borg Thermidor Filmproduktion/Susanne Marian Directed by Roy Andersson Casting & Key Costume/ Posthus Teatret/Carsten Brandt Sweden, Germany, France, Denmark, Norway, 2007, 94’, colour Distribution artistique & Costumier 4 M /Håkon Øverås Sophia Frykstam Sveriges Television, Arte France Cinéma, WDR/Arte, Style Jam Backdrop Design & Painting/Dessin des toîles de fond & Peinture With support from/Avec le soutien de Magnus Renfors, Elin Segerstedt Svenka Filminstitutet, Eurimages Council of Europe, Nordisk Economy & Administration/Comptabilité & Administration Film & TVFond, Filmstiftung Nordrhein-Westfalen, Danske Johanna Wennerberg Filminstitut, Norsk Filmfond with/avec Canal+ « You, the Living is about the human being, about her greatness and her miserableness, her joy and sorrow, her self-confidence and anxiety. A being at whom we want to laugh and also cry for. It is simply a tragic comedy or a comic tragedy about us. » Roy Andersson Synopsis Synopsis « You, the Living parle de l’Homme, de sa grandeur et sa misère, sa joie et sa tristesse, sa confiance en soi et son anxiété. Un Homme dont l’on se moque mais qui nous fait aussi pleurer. C’est tout simplement une comédie tragique ou une tragédie comique dont nous sommes le sujet. » Roy Andersson You, the Living There is a proverb in a collection of old Icelandic poetry called “The Poetic Edda” that says: “Man is man’s delight”. I like this idea that A film about the grandeur of existing man is not alone on earth, but is dependent on others. by Roy Andersson Nevertheless, if man is the joy of others, he is also the source of his problems and pain – this is as true for important moments in history as it is for the little moments of everyday life. Man fascinates man: that is how I interpreted this concise piece of thousand-year-old wisdom and adopted it as a device for the film. My film is composed of a series of tableaux that illustrate the human condition. The characters represent different facets of Director´s comment Note d’intention You, the Living Dans « L’Edda poétique », ancien recueil de poésie islandaise, un proverbe dit : « L’homme est la joie de l’homme ». J’aime l’idée que Un film sur la grandeur d’exister l’homme n’est pas seul sur terre, mais qu’il dépend des autres. par Roy Andersson Néanmoins, si l’homme fait la joie de ses congénères, il est aussi la source de leurs problèmes et leurs peines – ce qui se vérifie autant dans les grands événements historiques que dans les petits moments du quotidien. L’homme fascine l’homme: c’est ainsi que j’ai interprété ce très sage proverbe millénaire, en l’adoptant comme devise du film. Mon film est composé d’une succession de tableaux qui illustrent la condition humaine. Mes personnages représentent différentes facettes human existence. They face problems, large and small that The tableaux show the misunderstandings and mistakes made by range from issues of day-to-day survival to the big philosophical people who meet but don’t really, because they feel so pressed for questions. I hope that You, the Living will give audiences the time, in their pursuit of what seems important to them. The film is impression of watching moments of their own existence. about people’s lives, their work, how they behave in society, their My study of man’s fascination with man sheds light on the thoughts, worries, dreams, sorrows, joys and unquenchable thirst underlying philosophy of the film. Contemporary cinema often for acknowledgement and love. These phenomena, what they’re ignores these values and favours storytelling that is in line with made of as much as their appearance and motivation, have as many conventional dramaturgy. The intention is not to condemn this type variations as there are people on earth. And this is why “man is of cinema, but instead to develop a cinematic language that is less man’s delight”. predictable. My film breaks with classic narrative structure to tell its story via a mosaic of human destinies. Director’s comment Note d’intention de l’existence. Ils affrontent des problèmes, petits et grands, qui Les tableaux qui le composent exposent les malentendus et les vont de la survie quotidienne aux grandes questions philosophiques. erreurs de gens qui se rencontrent sans réellement communiquer. J’espère que, face à You, the Living les spectateurs auront le Car ils courent après le temps qui passe et s’obstinent à chercher sentiment d’être confronté à leur vécu. ce qu’ils estiment important. C’est un film sur la vie des hommes : Ma lecture de cette fascination de l’homme pour l’homme éclaire leur travail, leur comportement en société, leurs pensées, leurs la philosophie du film. Souvent, le cinéma contemporain ignore ces inquiétudes, leurs rêves, leurs chagrins, leurs joies et leur valeurs et privilégie une narration en phase avec une dramaturgie insatiable besoin de reconnaissance et d’amour. Tout cela, ainsi conventionnelle. Sans condamner cette démarche, je m’efforce de que leur apparence et leurs motivations, se décline en autant définir un langage cinématographique moins prévisible. de variantes qu’il y a d’individus sur terre. Et c’est pour cela que Mon film rompt avec les structures narratives classiques pour « l’homme est la joie de l’homme ». raconter son histoire à partir d’une mosaïque de destinées humaines. Scenes Scènes child : What’s wrong, mam? judge 1 : Life sentence, in my view. man : You simply have bad luck some times, woman : My husband called me a hag. judge 2 : That’s not enough. I’ve played 39 times in the military orchestra so child : What’s that? judge 1 : The electric chair perhaps. Precisely. The electric chair? far this year. And played at 48 funerals. woman : You’ll have to ask him. judge 2 : Yes! woman : Nice! defence lawyer : The electric chair. man : All money went to my retirement funds.And now I find enfant : Qu’est-ce qu’il y a, maîtresse ? the accused : That’s life. out… All that money, just gone down the drain. It’s really a shame. femme : C’est mon mari... il m’a traitée de nigaude. woman : Oh, so nice! enfant : C’est quoi, ça ? juge 1 : Je requiers la prison à perpétuité. femme : Tu demanderas à mon mari. juge 2 : Ce n’est pas suffisant. homme : Parfois, on n’a pas de chance. Cette année, j’ai joué juge 1 : La chaise électrique, peut-être ? 39 fois avec la garde royale et lors de 48 enterrements. juge 2 : Exactement. femme : C’est bon ? avocat de la défense : La chaise électrique. homme : J’ai tout mis dans les fonds de retraite. Cet argent accusé : On n’y peut rien. est comme emporté par le vent. C’est très triste. femme : (gémit) Oh, que c’est bon ! salesman : It’s quite simply not my day. vendeur : Ce n’est pas mon jour. I’ve had a fight with my wife. Je me suis disputé avec ma femme. client : It happens. client : Ça arrive. salesman : The thing is, I happened to call her a hag. vendeur: C’est que… je l’ai traitée de nigaude. client’s wife : That wasn’t very nice. femme du client : Ce n’était pas gentil. salesman : But what about her? She called me stuck-up. vendeur : Elle m’a traité d’andouille. client : Sorry? client : Pardon ? salesman : Stuck-up! vendeur : Andouille. client’s wife : Personally, I think hag is worse. femme du client : Nigaude, c’est pire. Don’t you think so Gustav? Tu ne trouves pas ? client : Oh, I don´t have a bloody idea. Let’s go. client : J’en sais rien. Viens, on y va. Interview with Entretien avec Roy Andersson Subject and humour Sujet et humour How do we spend our time on earth? I show examples from Comment passons-nous notre temps sur terre ? Je prends des people’s lives and hope that the result is humorous.
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