LE SOMMAIRE CONTACTS Créateurs et producteurs Producteurs Alex Boden Susan Jacobson PISTACHIO PICTURES Directeur de production Flat 1 Jean-François Guillou Grove Court ANGEVINE PRODUCTION Drayton Gardens 106 rue du Pré Pigeon SW10 9QY London 49100 Angers England, UK France Handjerystrasse 76 (+0033) 6 32 17 68 35 “Sand & Blood” [email protected] 12159 Berlin Format d’image 1.85 - Dolby SRD - 105’ Germany www.angevineproduction.com www.pistachio.co.uk Direction artistique Producteur Aurélia Izarn-Berger José Antonio Hergueta (+0033) 6 84 60 66 70 [email protected] MLK PRODUCCIONES / PROYECTOS MLK c/ Josefa del Rio Peña nº 4 Local 29017 Málaga Assistante de production Spain Pénélope Lamoureux (+0033) 6 87 67 54 86 www.mlk.es [email protected] LE SOMMAIRE L’ARGUMENT Le synopsis de SAND & BLOOD 1 Angevine Production avec la participation du Festival Premiers Plans d’Angers, Europa Cinemas, le Festival du Cinéma Espagnol de Nantes et le cinéma français Indians 2. 3. 4 Les 400 COUPS, accompagnés des sociétés de production MLK Producciones et Pistachio Pictures, souhaitent redonner vie aux magnifques décors des westerns- L’Ultime Témoin 5, 6, 7 spaghetti existants dans la province d’Almeria en Espagne. Le pari de ce concept novateur est d’apporter un regard neuf sur un site culturel aujourd’hui laissé en Once Upon a Time in Almeria 8, 9, 10 partie à l’abandon et dont la beauté a permis de concurrencer Hollywood dans un genre où les Américains étaient passés maîtres. Cobradores 11, 12, 13 L’audace du concept ALMERIA COLLECTION est de donner la possibilité à 7 Trapped in Paradise 14, 15 équipes de jeunes réalisateurs venus de toute l’Europe d’écrire et de réaliser 7 his- toires qui seront réunies en un seul flm. L’objectif principal est de mettre en valeur 21H Pile 16, 17, 18 la diversité de la jeune création européenne à travers la réhabilitation de son patrimoine. El Vals 19, 20 Pour parvenir à cette mission inédite, Angevine Production a lancé à travers l’Europe un appel à scénario qui a permis de sélectionner les 7 projets La note d’intention de production 21, 22 européens qui forment aujourd’hui le long-métrage intitulé : SAND & BLOOD. “Sand & Blood” L’équipe technique permanente 23 Format d’image 1.85 - Dolby SRD - 105’ Les producteurs 24 La difusion 25 Almeria Collection 26 INDIANS, une comédie de Daniel Martín Novel LES 7 HISTOIRES DUREE 105’ LE SYNOPSIS DE SAND & BLOOD SUPPORT DE TOURNAGE SUPPORT D’EXPLOITATION Numérique 4K DCP et 35mm Les décors et paysages des westerns-spaghetti sont ici le fl conducteur LANGUES PRINCIPALES ET SOUS-TITRES et le théâtre de 7 histoires au sein de la province d’Almeria. Sur fond de Anglais, Français, Espagnol crise existentielle, du 19ème siècle à nos jours, les diférents protago- nistes se trouvent à un moment charnière de leur existence, un “point DECORS de non-retour”. La province d’Almeria en Espagne Une petite flle s’interroge sur l’identité d’un astronaute perdu dans le désert. Trois pistoleros se retrouvent face à leur passé et un village américain découvre les revers des premières élections politiques. En DATES DE TOURNAGE ENVISAGEES DATE DE SORTIE ENVISAGEE 2013, Abdoulaye, immigré illégal africain, découvre le prix d’un mort et le coût de sa précaire liberté de sans-papiers. Marco, jeune espagnol de 25 ans, paie les dettes de son frère pour retrouver sa femme et sa flle. Joaquin, à l’aube de la cinquantaine et confronté à lui-même face à une strip-teaseuse de 19 ans endormie à l’arrière de sa voiture, tente 1 Indians (Espagne) de sortir grandi de sa propre traversée du désert. Dans un futur proche et chaotique, en plein émeutes mondiales, René et Maëlle s’émancipent 2 Te Ultimate Witness (France) du Nantais afn d’essayer de pénétrer dans l’unique zone sécurisée créée 3 Once Upon a Time in Almeria par l’ONU et l’OTAN... Qu’il s’agisse d’expansion, de vengeance, de résurrection, de folie ou (Royaume-Uni) bien encore de survie, ces vies basculeront. 4 Cobradores (Espagne) 5 Trapped in Paradise (France) 6 21h Pile (France) 7 El Vals (Espagne) 01 INDIANS, une comédie de Daniel Martín Novel La note d’intention du réalisateur A Chinese teenage GIRL and her two little brothers wan- THE “SPAGHETTI” AND I der, bored, about the deserted streets of one of the Ameri- My frst contact with the Western genre was through my father’s can Western towns in Tabernas, Almería. Tey are part old Video 2000 tapes. Tey were all flms bought at clearance sales of a group of Asian tourists visiting the dusty town. at old video shops. Most of them were action or comedy flms from Spain, Italy or Asia; all of them could be classifed as B-Movie flms. I remember Bruce Lee’s kung fu flms, those of the malevolent Fu Manchu, or Something magical happens to them: the two small ones fnd out, those with the rowdy Charles Bronson and Chuck Norris. I also remember in awe, that they are able to shoot real bullets just by pointing with the Italian peplum flms, one or two Spanish comedies with Tony Leblanc and their fngers, and they begin a shooting match across the town. Concha Velasco, and, of course, the Spaghetti Western flms. My favourite col- lection was that of Bud Spencer and Terence Hill flms, among which one Tis surprising occurrence is the only thing that manages to pull in particular stood out: “Tey Call Me Trinity,” a Spaghetti Western flmed the girl’s eyes away from the screen of her mobile phone. Tis, in Almería in 1970. It is the frst Western I ever saw, as far as I remember. together with the strange presence of an astronaut holding an I was a teenager by the time I fnally discovered Sergio Leone. I al- American fag at the end of the street, fnally grabs her attention. ready knew about Clint Eastwood, an actor I admired for other flms, sa- cred to me, like “Where Eagles Dare” or “Kelly’s Heroes.” Leone’s flms, Te astronaut happens to be an amazed old man, a sort of travel- and Spaghetti Western in general, were, to me, Clint Eastwood’s flms. ler lost in time, in whose lapel is a label with the name “Clint E.” WHY CHINESE AND AMERICANS? Te Western genre is an artistic projection of a country’s particular identity, the Te girl and the astronaut start a strange conversation. Clint is United States of America. Historically, countries have felt the need to justify their surprised to fnd Chinese people in the middle of what he be- identities basing them on determined historical facts. In the case of the United lieves to be America. When he fnds out that he is in Almería, States, a young country founded by European emigrants and born out of a war for in- in the South of Spain, his confusion only increases; he comes dependence, their need for legitimizing their own identity was even more pressing. to the conclusion that the whole world has been fnally in- Te solution came from their borders. Te conquest of the West as a con- vaded by the Chinese, as he himself predicted decades ago. cept became a crusade for the identity of a country. Later, afer the Second World War, it would also become a product, a colonising element. Resigned with the fall of America, he asks the GIRL to Te Western had an essential role in the United States’ plans for expan- sion and propaganda. Its infuence was felt in flms practically all around the take care of his fag. Ten he says goodbye and walks away, world, including the oriental world. It can be seen, for example, in flms about melancholic. Te GIRL watches him go, convinced that she has met the legendary Clint Eastwood. Or at least somebody very much like him. 02 INDIANS, une comédie de Daniel Martín Novel warriors and samurais, like Kurosawa’s, intentionally conceived in the style of the Western. But why “Indians?” Te title Indians makes reference to those big duels between Te Western also became a proftable product. Tat same proftability got Europe, and Almería cowboys and the evil indian tribes which stalked them to steal their cattle, kill in particular due to its unique geographic characteristics, to start producing Western flms. their sons, rape their wives... In this case, I turn the story on its head: the cowboy is Te decadence of the American Western was determined by the Cold War and by the the loser this time, defeated, without having been any fghting, by a quite peculiar beginning of the Space Race. Te Moon became the new frontier, the new West, a new “indian,” a teenage girl. In a way, this is an homage to the fgure of the indian tribes, concept to allow the legitimizing of the American essences. Tis supplantation has the great losers of the Western genre, and to the American History in general. been quite well refected in a wonderful flm called “Toy Story,” in which the main pro- tagonist, a cowboy named Woody, is replaced by an astronaut named Buzz Lightyear. INDIANS, THE STORY Tese ideas about generational shifs and frontiers are the ones that justify the story of Te basic approach for INDIANS, regarding photography and Indians, conceived as a fantastic comedy, with strong doses of surrealism, which focuses on image planning, does not keep a strict link with the aesthetic of the concepts like the origins and the decay of the genre rather than on its aesthetics and themes.