[ad_1]
An important interview with the French producer Vincent Maraval, founder of Wild Punch, based on Abdul Latif Keshish. Maraval participated in the production of "Hayat Adil" for the Chechish, and in this interview conducted by Batiste Manzbade and published on Technicart, because of the controversy that accompanied the latest Keshish film "Maktoob, My Love: Antermeso", revealing facts we do not know closely. , An obscure artist who works in a very private and confidential way, explaining to a large extent what he says about it, in response to the moral and disciplinary war he has perpetrated since the life of Adil, which has earned him the Golden Ring Award at Cannes in 2013. In the following text of the dialogue translated from French:
I have participated in the production of Hayat Adil. How did the work with Kushish go?
When we came to produce Adil's Life, we told him that it was better to be a co-producer of the film in order to achieve it in accordance with his own approach. By taking the production ourselves, we were afraid to bring it with a casting.
Why did not you follow him on "Maktoob, my love"?
We started working together. We have explored some places for photography and would like to restore the same co-production system. But we did not have time in this period. We were in Cannes, had to make decisions quickly and asked for a lot of time to shoot. We work primarily in the distribution and purchase of films: to produce a film is for us an extraordinary thing. It was a bad time and since we had worked with him already, we know the attention he needs. Overall, we said that we were not able to do it.
Is his approach to work so laborious?
Keshish looks a lot, so it works for a long time. The problem is that in cinema, budget issues, there is a very specific agenda. But he can not express himself in such a framework, so things have to be organized to be a period of renewable photography.
Is the very long period he sometimes needs to photograph due to his search for the truth in the performance of his representatives?
Yes, not at all the scenario that is only orientation. Collect items from actors, crystallize characters, and reduce the size of other characters. It's like a tree-based painting, starting from the trunk and letting some branches grow. If we want to get the most out of his art, the challenge requires us to organize spaces to allow him to exceed the allotted time. It's sometimes complicated, in a specific production setting.
Vincent Maraval.
And do you realize that this can also be difficult for the actors, especially at the level of bad scenes?
I'm not sure that bad scenes require the most time. With Kushish, it's hard for the actor to know what it will be, because the actors are filming without knowing exactly what will be in the movie. Whether in Adil's life or at Maktoob, my love, their problem was that they did not know when the photography would end. For Kishish, complexity comes from general norms that do not fit his approach. I even advise him to stop filming in France.
What is the problem with these customs?
The same model problem, he must stay for hours in the same position in front of a sculptor. Public custom does something wrong together. The art is not something together. It is impossible for an administrator to wait from 8 am to noon and from 2 pm to 6 pm to give him what he wants. Abdel Latif needs to live his representatives as they do, there is a side like "summer camp" in his work. After all, that's what they liked, despite the tension of working together for a long time. "Maktoob, my love" means two years of shooting, at a time when some are not able to bear.
The first part of "Maktoob" presented at the Venice Film Festival in 2017.
Do you think his cinema would be more popular if it was seen in the United States, for example?
In the United States, cinema is heavily besieged by unions and badociations, which are more rigid than France. But everything has its price, from the moment we have an agreement with the unions, can be filmed up to six days a week. In France, filming is allowed five days a week, with shorter working hours. However, this can be easier in many countries. When I played "Purple Butterfly" (Lu Yi-2004) in China with Zhang Zhi, the photography lasted 36 hours continuously. Zhang slept on a chair between two scenes, never complaining.
So, did the French forget that cinematographic art was first and foremost?
Here is the problem, the art of cinema and the industry at the same time. Indeed, the French cinema applies rules very close to those of the industry, with many restrictions and at the same time quite legitimate in my opinion. But it is also true that when we make Russian, Chinese or Japanese films, there is more room for creativity. In France, cinema is a profession, like others, in other countries, it is a private profession, almost a privilege.
Lea Sadou in "The Life of Adele".
How do you react to the testimony of Compars (in the movie Keshish) that she found herself "fragile" during filming?
What happens in everyday life occurs in the scene of any movie. Some of them flirt with each other, some behave well, some do not, but you will find similar stories at each place. In the past, it was part of the life of photography, and it stayed in the photograph, they would settle it between them. Today, I have been transformed into "difficult situation". We are living a wonderful time.
But are not these behaviors condemned in life as in cinema?
Of course, there are laws! Should complain in breaking the law, but I think that "Abd" does not encourage bad behavior. I think I know him: he is the most secret of the camera, does not speak, stays in his corner, questions the director of photography. Even on "Maktoob, my love", I have a girlfriend who works with him and who has gone through all the cases: "I hate him, I love him, I hate him". I just finished shooting a movie and we had the same stories. The handicaps of society itself are doomed. Perhaps on kashish filming sites, more things are happening because filming takes longer and is therefore much more difficult, especially because it selects young actors who do not yet have the codes. . I want to believe that there may be somebody who gets their hands on the back of one of them and who stands between the actors, etc., but I do not can not believe that Keshish encourages him. I've known very evil directors who do things, not them. Photography lives as a celebration, happy people, using strangers because he does not want to come to his home as a professional. In "Adele's life", he wanted to let Lia Saidu withdraw from the profession, and soon realized that they were very automatic, supervised. To make the children cry, Henry George Clauso, slapping them, was like that, and he said, "Shoot now." Some still do it.
How does Kachish draw this realism from his representatives?
It does not mean how, but what he wants, is working on the awakening of the actors two months before filming. Listen to them, steal stories from them, crystallize their scripts and repeat them often. That's what he did in Adèle's life, and the lack of friendship between him and Lia is probably due to the fact that having so much work is easier than a novice actor, whether it's obtained by actors who have already shot a lot in a traditional setting. The two months in which the actors live together allow a rehearsal and preparation. They shoot a little, they give up the shoot, then come back. So, abandon them, miss. If things happen, he hides instead of finding a solution to the conflict because he hates it. I hear a lot about him but I do not know the person who worked with him. The only one I spoke to was bad, Lia Sadou, and I know that they were not part of a single wave, so that ended up hating each other, because they were not did not do the same movie.
Is it possible to compare what happened to Lia Sadou during the filming of "Hayat Adil" with the absence of O & # 39; Feeley Bo during the show "Intermezu" in Cannes this year?
I know very well what Kushish says. 80% of what was said about Adele's life was incorrect. Initially, the film was lyrical, but changed focus during photography. In the original scenario, the film ends in the middle, there is no part where we see Adele working, with children, etc. In fact, it is Adele who dazzled him. His role has been expanded and changed the original title which was "the hottest blue colors" (referring to the poetry of Lea Blue in the editor of the film). It annoyed Leah, I understood it. All that I saw after the screening of the film in the living rooms was at the origin of this anger.
Keshish at the press conference in Cannes in 2019.
However, Adele Exarchopoulos said the same thing!
I asked both: What happened to attack this interview with Promier? Adèle said, "It is true that we were watching.We said:" How much suffering did we suffer during the shooting? "We were like old warriors preparing their story by saying," You remember that when you expelled the mucus, it was terrifying. "As usual, he did not want to answer, but everyone knows how it works." The only complaint we had was when the technicians wanted to negotiate their wages once the original painting was finished, this which was normal, and we found a solution, but we did not receive any complaints from the representatives, and on the other hand, we never talk about Keshish's complaints about his representatives and his techniques, for he prefers to keep these problems in the intimate nature of photography, but we know it.
How did Lia react during the show "Adele Life" in Cannes?
She knew exactly what she had photographed, but was hesitant to stay during the show. I understand his reluctance to see himself on a big screen in bad scenes in front of 3,000 people, with a particularly attentive audience. During the show, I said, "Take my hand and hit it hard if you feel the strength."
It's not unlikely that the second part of "Maktoob, My Love" is categorized as badgraphic movies …
Product "love" for Gaspar Neue, I know these things.
"Love" a lot less the last sensation!
I laugh! A young man from a far-right badociation, Promovoir (André Bonnet, publisher), has made the ban his main concern for 15 years. The first time I met him, he had to "bad me" (Virginie Deppant – 2000). He tries to prevent movies with bad bad scenes from time to time and often succeeds. He is the only member of this badociation, a former tax lawyer, who is expelled from the court. The controversy continued with "love" of three weeks. The Minister of Culture, Flor Pillerin, was forced to intervene and the law was subsequently amended. The film "Abdul" will have a clbadification that prevents less than sixteen or eighteen years to enter, but it must go out in theaters. If we clbadify a badgraphic film, we will be back compared to the 1970s and 1980s.
On the other hand, the acts of Kachish and his crews are evoked in the testimonies of those who worked for him.
Take all the actresses who have worked with "Abd", with the exception of Lia Sadou, who will come back to her once he has called them. Adèle Exarchopoulos, Hafsia Harzi, Sarah Forrestier … must not be sworn by him. Something may have happened during the filming of "Maktoob", but I have the impression that he is stuck in dirty things. I spent two years with Abdel Latif, not only during the filming, but also during our world tours during the "Adil life" … "Abd" is exactly the character embodied by Shaheen Boumediene in Maktoob, the boy who watches young men plead for girls and who dares not. So, if the girls say that he is filming them while waiting for them to get away from a moment of truth, yes, waiting for real moments and that is his cinema! He likes when he sees that the actress has thrown something. So he hopes to break the craft by showing something that he has never seen anywhere else. He is like a sculptor or a painter. Sophie Marceau in "Polis" sank and told Maurice Biella that he had pushed her to the limit. "Abdul" does not correspond at all to this nasty thing that they are trying to involve on him badually.
Is not it a bit easy to compare it to sculptors because it represents the bad?
Yes, but you are here in the field of film criticism. In criticizing this side I find it scary. "Abdellah" told me that he had done "Antrimzo" in response to that Tahrani era, and I understand it. If the director likes to film Ardafa for three hours and that's what Fellini did with the liberation of women, especially in Women's City, it's his right. If you send the scenario "City of Women" today to Cbad or France 2, not only will they throw it to you, but they will call you the criminal and give you to the police. He likes that, and does not hide, the feminine ground, he likes to glorify the cinematograph. Ophili Po, when I see her in "Maktoob, my love", she is not immediately beautiful, but glorifies her. At the end of the film, there are two Russian models supposed to be very beautiful in life, but here they look very weird. Our present day makes us feel guilty: it's as if Tarantino or Dembala had been blamed for the torture scenes in their movies. The art of Fantasia. I lived with Gaspar Neue, I heard everything about him, it was said that he was mentally ill, oblique. I live with him for 20 years, he is one of the most numerous in the world, almost a moral preacher.
If their art breathes?
Exactly. "Adel" loves to eat and discuss in the fields of art, drawing and literature rather than cinema. His kindness to his representatives is absolute, ensuring that everyone is treated well. I saw the press conference in Cannes, spending his time sending everything to his representatives.
But that prevents them from speaking.
Because he does not like to talk about his approach. On that occasion, he would be very angry if I knew that I was revealing something about him. In "We Do not See You" for Ken Loach, whom we co-produced, there is a weeping girl on the table, which I find incredible. I asked Ken Howch how he had managed to get it and he told me so. "Abdul", no. That hates. When we talked about Intermezzo, he said to me, "What bothers me is that the work of the actors is not targeted, everything is happening around me … I know what he's going to face not naive, but I have always recognized him as a protector of his representatives. We talked a bit about it, he thinks the film speaks for itself and has nothing to add, which is annoying for the promotion.
From the ranks of war to the arena of honor and martyrdom
50% discount on Premium annual subscription
[ad_2]
Source link
