Bruno Dumont
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PUBLICITY LE PUBLIC SYSTEME CINEMA IN PARIS: 40, rue Anatole France - 92594 Levallois-Perret cedex - FRANCE Tel : +33 (0)1 41 34 20 32 / 21 09 IN CANNES: 13, rue d’Antibes - 4th floor - 06400 Cannes - FRANCE Tel : +33 (0)4 97 06 08 33/ 31 82 - Fax : +33(0)4 93 68 14 05 Bruno Barde Alexis Delage-Toriel : [email protected] Agnès Leroy : [email protected] www.lepublicsystemecinema.fr INTERNATIONAL SALES PYRAMIDE INTERNATIONAL RACHID BOUCHAREB, JEAN BREHAT ET MURIEL MERLIN PRESENT IN PARIS - 5, rue du Chevalier de St-George - 75008 Paris - FRANCE Tel : +33 (0)1 42 96 02 20 - F. +33 (0)1 40 20 05 51 - www.pyramidefilms.com IN CANNES - Riviera Stand F6 - Tel : +33 (0)4 92 99 32 17 Yoann Ubermulhin : [email protected] OUTSIDE Lucero Garzon : [email protected] PRODUCTION 3B PRODUCTIONS 10 passage des taillandiers - 75011 Paris - FRANCE SATAN Tel : +33 (0)1 43 13 10 60 - [email protected] (HORS SATAN) A FILM BY BRUNO DUMONT RUNNING TIME : 109 MN www.horssatan.com PRESS BOOK GRAPHIC DESIGN © PYRAMIDE 2011 • POSTER © LES MONSTRES • PHOTOS © 3B / ROGER ARPAJOU At the edge of the English Channel, on the Côte d’Opale, near a hamlet, its dunes and marshes, there lives a strange fellow who gets by somehow, poaches, prays and builds fires. A vagrant who appears from nowhere and who, in a single breath, hounds out the evil from a village haunted by the devil and places the world outside of Satan. INTERVIEW BRUNO DUMONT BY JEAN-MICHEL FRODON How did Outside Satan come about? really affect me. My films always start from a One of the essential dimensions of directing as it takes. But it mostly has to do with the In the first shot of The Life of Jesus, you could place, for its depiction. The landscapes that as an intensifying force lies in a particular actors, barely with the technical aspects. see a small hut made of corrugated iron, you see in the film are part of a protected use of sound, in a film where there is hardly where a loner lived… I wanted to make a film land made of dunes and woods; theoretically any dialogue and no music at all. Who are the actors? Did you know them about such a character. I started to write a public access is prohibited, which was quite We recorded only live and “mono” sounds. when you wrote the script? story that took place there, in Bailleul, that is complicated as far as the shooting process What you hear in the film are the actual sounds I knew David Dewaele, I had already shot to say in Flanders. was concerned… Visually, that single place recorded during the shooting, I didn’t alter or two films with him - he had a small part in had a large and varied potential. I spent a re-record them. I wish some noises weren’t Flanders and Hadewijch. I wanted to give I’ve been around a lot while shooting lot of time walking in the area before I started Flanders and Hadewijch, and eventually I there, but I kept them anyway, stoically. him a leading role. I know how he behaves in writing. I chose the locations, and then I wrote Sometimes you can even hear the tracks of front of the camera, I wrote the part with him felt I needed a change of scenery, I wanted the script. I need the power of nature to confer to make a film that would be set in a single the camera dolly, or the lens focusing. I no in mind. But I didn’t know Alexandra Lematre, some intensity upon scenes in which very longer work with a sound editor, and there I met her by chance in a café in Bailleul. We place. The character of a loner provided that simple things are to happen. stability, in a different territory, a place I am was no post-synchronisation whatsoever. The made a few screen tests, she was perfectly sound material is very rich and untamed. fine. I liked her sense of propriety, the way she familiar with, given that I have been spending This intensity results from the landscapes, but part of the year there since I was a child. Therefore, when there is a moment of silence, has difficulty sharing her feelings. also from the filmmaking… you can feel it loud and clear. Where is that place? Indeed, the directing aims at exposing Did she meet with your expectations for the the strength that comes out of characters You make very few takes, you make do with part? On the Côte d’Opale, in the Pas de Calais, and situations which are often ordinary in what happened in front of the camera, is near Boulogne sur Mer. The script that I wrote is No, it doesn’t work that way. I don’t shape themselves, or that could seem so if they were that right? my characters once and for all, I am open based on these landscapes, on that light, and filmed differently … This balance of power on my wish to settle in that area. Landscapes Not at all, I look for something that is quite to whatever may happen and of course to probably constitutes the very art of directing. precise, and we do the scene as many times the input of the person who is going to play the part, to the transformations his or her In this film, you have radicalized your presence and way of being are to bring directing. Even more so than your previous about. Thus I also have to reconsider my own films, Outside Satan is almost made approach along the way. entirely of very wide angle shots showing landscapes, and of close-ups. But you are also quite demanding on the Indeed, my approach to filmmaking has set? changed, it is more composed. I used to Yes, I am determined to obtain something think that the storyline and the characters specific that corresponds to the film as prevailed, that the shooting crew had to a whole. But my demands are always follow. I don’t do this any more. It was congruent with what the actors give me, detrimental to the quality of shots. Good what comes from them. For the sake of acting calls for good filming. This time, the comparison, the actor is the colour, but I definition of what you would get to watch choose the intensity of this colour. Before in the end was much more precise before the shooting we talk and agree on what we each take – for instance, there were many are going to do together. Then, the actors marks on the ground to guide the actors’ discover each morning what they are going movements. It changes the way they act, and to play exactly, but it always remains within they are “properly filmed”, that is to say the the framework of what we have settled for, angles, the viewpoints are more complex. within the broad lines they are familiar with. I This way of shooting contributes to instilling don’t take them by surprise. power into shots where something very trite may be happening. Did you decide on a particular visual idiom This intensification results from your all the ins and outs, it loses energy and gets of representation that is mine, with live for this film? directing, but also from some excessive, considerably heavier. I have faith in the sound, with specific camera angles and Yes, I do that for all my films. The composition disproportionate actions. retrospective abilities of the audience, in positions, without using music... I can’t work is crucial, it must be felt by the audience It is essential. If you show ordinary actions in the possibility to show something that you possibly parachute some “effect” out and be part of the project in its own right. For a natural way, nothing happens. There must don’t understand right away, but that will of nowhere, from some other aesthetic Outside Satan, in addition to the alternating be some disproportion in the actions and makes sense eventually. It provides a sense universe. For a long time I did think about very wide angle shots / close-ups, I wanted in the acting of the actors, provided that of motion and intensity with regard to the how to remain within this framework. And to use lots of high-angle and low-angle this lack of balance means something, that film as a whole. Films that constantly take about how to shoot this situation in a way shots. For the high-angle shots, we had four it makes the viewers perceive something you by the hand, that explain and justify that wasn’t necessarily related to religion. I camera heights, 2 meters, 4 meters, 6 meters, more than what they see at first sight. There everything, every step of the way, make me don’t believe in God, and my film doesn’t 8 meters and that’s all. Emotion must come must be some representation! feel bored or depressed. A director has to demand any faith from the public besides out of camera positions at least as much as play with what happens in the head of the the faith in cinema. Because to me cinema from what is said or done. The composition The film uses a strange stylistic device: you spectators, and trust them to enjoy such is what allows the extraordinary to be of frames - for instance the setting of the show several times a character looking at shifts.