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Présentation de "Irma Vep 1, 2, 3, 4" d'Olivier Assayas (Cinémathèque - Paris - 10 décembre 2022) | alaindmj others | YouTubeToText
YouTube Transcript: Présentation de "Irma Vep 1, 2, 3, 4" d'Olivier Assayas (Cinémathèque - Paris - 10 décembre 2022)
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This content is an introduction to a special screening of the first four episodes of the series "Diamaret," emphasizing its unique cinematic quality and the freedom granted to the filmmaker, Olivier Saillas, by its American producers. It also highlights the series' connection to classic French cinema and the collaborative spirit of its creation.
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Hello everyone, thank you for coming in such
large numbers to this
exceptional and truly unique screening, because
I don't think there will be any
others. So today,
today, as
as
requested by filmmaker Olivia Saillas, you will see the
first four episodes of the
series, Diamaret, back-to-back and without interruption. You will need to come back
tomorrow at 2:30 PM to see the
next four. Tomorrow's screening
will be followed by a discussion with Olivier
Assayas, which I will have the pleasure of moderating
with Bernard Benoliel. I would like to thank
our partners, of course: HBO, the
broadcaster and one of the
original producers, and
OCS, which allowed us to hold this
screening of this series, which is currently
on OCS and will continue to air since it began
began
last spring and will continue throughout the summer.
So, a big thank you to Julie from
OCS, thank you to Ambassador Cars, thank you
to the Ministry of Culture, the CNC for
their support, Chanel, the Gan Foundation
for Cinema, Sylvie Partait (who must
be in the audience somewhere), thank you very much
for helping us
organize this screening, and also
Ludovic. Gottigny also, for his help
and support, I ask you
his actors Laura Hamzaoui,
thank you a thousand times. I'm
really going to... For me, this is a rather
exceptional screening in the sense that it's one of the very
first times the
film is being shown as it should be seen. That is to
say, the version you are about to see
see
is a
DCP version, so it's the
best quality, which is obviously the one that is
broadcast on the
platforms. It is therefore color-
graded from both an
image and sound perspective for theatrical screening.
screening.
And so, ultimately, it does justice to all of
our work
because we
actively and militantly refused to
television and cinema,
and because, for me, this boundary doesn't really exist.
For me, where there is
freedom, there is
cinema, and where there is no freedom, there is
no cinema. It happens quite
simply, and in a way,
never... and here I am immensely
grateful to our partners,
Ethi, who
are the American producers of
this film, for
simply giving us the
freedom to
work. You'll see, it resembles
many things, but it doesn't really resemble
a series. And we
always had the support, the
benevolent gaze of partners who, once again,
gave us
space, a duration of
a film that was made in
1996 in Paris with no budget at all.
That is to say, it's a film that was made, to go back in time, having been
rejected
absolutely everywhere, by all the municipalities, all
the committees, all the
possible and imaginable commissions in
France. The TV stations... well, they just got in our faces. And the
film, moreover, rightly so,
because the film was,
I mean, my success, that is to say, a
[Music]
It's a film that wasn't shown very much, that didn't exactly set the
box office on fire, but it was a
worldwide success,
particularly in the United States. That's why, in a way,
way,
American producers
approached me about doing a
Wire series. Something like that would
never have happened in France,
even under any circumstances.
So we made a version, and we were all very
happy with how
the film was received on the platform
platform
that broadcast it.
But we wanted to make a version
specifically designed for
broadcast. That means there are no
credits at the
end of each episode. It's a
film in two parts: the one you'll
see this
afternoon and the other
that I hope you'll want to see tomorrow.
tomorrow.
So, with a break between them,
it could be a
one-day interval. It's one day on, one day on, it's actually a
a
part that was itself cut into
what could be defined as
So
this version has been shown very little.
It was shown at the Tokyo Film Festival,
it was shown at the
a mess.
We showed three episodes in
a version that was unfinished, so
in any case, certainly not as
polished, because it's more than what we're going to
see. No, that's all.
In any case, it's the first
time this version has been screened in
France, and apart from the
technical screenings we did for the team, for the team,
team,
exciting was being
able to develop, to unfold over time,
themes that were only touched upon
in Irvin's earlier version,
and above all, being able to return to what had
inspired me, to what had been
the poetic vision of the
original film, which is the cereal, the
novelistic aspect. serialized drama, and therefore to be able to
give Ramir back his bad side
in a different way, and you'll see
in this version if there are many
more Feuillades than there were
in the original film, and I
even relied heavily on
Louis Feuillade's episodes to try to create a
humorous dialogue, I hope,
also through a century of cinema. There's
cinema. There's
a circulation, at least,
between what you're going to see
today and what Feuillade did in the
past, which is obviously
the source from which
everything stems.
I believe this film is also a
testament to my admiration and
love for Feuillade's work, already done
to say, for Europe in serialized drama in general,
general,
in a spirit of a victim rivet, hold on, what is, what is,
and from that point
of view, Olivier, before you introduce
your actors and tell us what they
do in the film, in the film, in the
film, by the way,
it's a particular pleasure to
have all four of you at the
Cinémathèque Française this afternoon. And
to have the film because, of course, the
Cinémathèque Française is very linked to
someone named Musidora,
who is quite important in this
whole story, from the vampires
and the film series,
and she even worked on the film "The Fall of the
French Ships." She was a friend
of Henri Langlois, so she's someone
we never forget. But I think it was
important for you too to come back
here and show
this film,
the stress that, because this film
film "The Vampires," and in the
9th century, it's not in the public domain because of the
fact that it's been a long time since the
Gaumont film was produced and the
Gaumont company of today is no longer in the public domain. So, in
reality, this film was "The Vampires of
Feuillets," saved by Henri
Langlois, who, if I'm not mistaken, in the
1950s, found a copy made from a
positive print, etc., and
the restored, and
therefore allowed us to
see today the vampires of "Dans une
vie" in a version
entirely faithful to
Feuillade's original work, with image quality
suitable for cinemas. So, simply put, to
make this film, or even to
make the original film, my
interlocutor has always been the
Cinémathèque, which holds the
rights to this film. So, I'll stop there, etc., and first,
I want to give a little
shout-out to the actors in the film because
when you shoot like we did, very
very
quickly, in an energy that is
certainly very positive but can also
be exhausting, etc., you have to do it
with a freedom that comes from
the inspiration, the imagination, the creativity
of the film's performers. So, I'd like to be able to
decide on my hair. I
want to start with Vincent
Macaigne because,
Vincent, well, I don't know, I don't
think I would have made this film without you.
Me [Laughs]
in the sense that he, he, Vincent
suitable silhouette, the way you
appropriated the character and the way
you made your way in such an incredibly
episode after episode, having the same,
having the same, a clarity of vision,
a general quality
of filmmaker, etc. It's once again, I
think, that you
allowed me to go much further than I
a while since I've been able to
make a film without her, so in the same
way, an addiction,
and so, and then especially what you'll
see is that, in addition to
the role of the assistant
director's assistant in the
film, which means that there are
many scenes, those
film scenes, during the
filming, etc., that owe a lot to her
capacity for invention, inspiration,
[Music]
the film gave her a space to play
that was [Music]
[Music]
a space played that wasn't necessarily
there in the script that was
you'll see you'll see it's the
first time so that it's not
once we've filmed together we've
connected for a long time and I
think we know that it's the first
time we've been around each other certainly
not the last because it has been
absolutely a joy every moment
to tell each other that I believe to discover each
other and and
I think that both the seriousness and
the comedy that was that are
really the heart of the film it's
something that you embodied in an
absolutely and frankly there are
sequences I don't know if I want to
laugh or cry
him who puts in any case it's
very strong feelings at each you have
no but thank you Olivier after
working with Olivier and projects
like this I find that these are things
that save so it's another Something that
even cinema, or it is cinema, or it's what
cinema should be,
because actually I don't know if
he eats, I don't think so. I think what
Olivier brings to the work and
to life ultimately benefits everyone,
and I think that's
also the result of the work. And
I don't think I've carried more than that, but I've
received an enormous amount.
And concretely, in fact,
the moment we made it—I mean
concretely, even for me, in my
own life—it saved me from becoming like this because of this
film and this thing.
I almost have tears in my eyes saying
this because it's something that's
obvious but that sometimes slips away from film
to film and becomes rare. And
Olivier gives that, in fact, in a way—I know, I think, I believe it's
not even intentional—if it's his way of being,
and somewhere there's something that
embraces everyone and allows them to express themselves,
but even to be
happy—I mean, to be happy
to work, to be happy to be
alive. to come and express myself, so I
thank you for offering me
these opportunities, and especially for bringing us together,
and for being who you are
because it's important, it's a connection.
Here we are at the Cinémathèque, and it means something to
me because it's
Olivier. For me, he's someone who is
totally present today, and at the same
time, he's someone who has a
kind of connection, and it's funny because
the film tells that story. It has a connection to
history, the whole history of cinema, and
when he talks about cinema, about his
pleasure, it makes things very easy
because we realize that, in fact, we are always
alive, that
Louise Dora was alive, that yesterday was
alive for me, and that the cinema of the
past, of today, and of the future, and it's here, it's now.
now. [Music]
[Music]
So, I thank Olivier
for the role, but more than the role, for what it has given me to experience
in my
daily life, bringing us together, and that creates
love, it creates... [Music]
[Music]
It's justice, it's what's right
for me, it's what's right in
action, in cinema, working on it, that's all there is, really,
and it's
I'll try to do it. I
obviously wanted to thank you again
because you know how
stimulating and happy it is for me to
work with you, and it just so happens that
I don't think it's entirely by chance. It's
true that on every
Olivier shoot, it turns out that my co-stars, whom
I admire and
who intimidate me with their Vienna-like qualities, are
friends and a kind of family, and I have
the feeling that Olivier creates a kind
of language, something in the
truth that pushes us to feel free
to improvise because you allow us
a poetry of being ourselves, of
surpassing ourselves with a guy who is both joyful,
a childlike guy, and trustworthy. And so
it's true that the shoot has always
been fine, indeed it was a time, that's all,
but it has always been a joy,
all the time
it has It was a game, really, it was
a game in the acting, and then, and
I must also say that what has
always touched me in
Olivier's films, even before working with
him, is this
coexistence between something very
contemporary, very modern, and something
very metaphysical, existential,
and making life, death, and love coexist like that,
something of the order of
modern times. And I wouldn't necessarily have believed that
this project, which fascinated me and in which I
clearly wanted to play a part, would necessarily
touch me
personally. And it turns out that I
think it also explains why we have
such joy in acting together and
doing this project with you, Olivier. It's because
I believe it awakens things
of the order of
what is essential to each of us, that it
awakens memories, ghosts. No matter how far we move
in our lives, there is
always something like that
rolling around us, something of the
purity of what we live, our
history, our past, our memories. And
so I believe that That's what makes
this project so beautiful and unique,
so thank you for making sure I'm a
part of it. [Applause] There's
something in everything I've heard that really resonates with me:
when I was invited to be
on this film, I entered
Olivier's world, and so on. I
met some girls, etc. The
personality, the love of rock music, that's
very important to me, and I was
invited in, and I had an
exceptional role, as you'll see, as he says. And what's great is that even though we did
n't know each other at all, what's great is that the
director encourages me,
and that's the whole point of the word "encourages." He
means that at any moment, he gives me something to
give to the film, it doesn't matter what,
but what's most personal, most surprising, something unexpected.
And that's rare because
it means that this
man isn't afraid. You're not afraid of
freedom, and that's a
rare quality that must be... To truly belong, perhaps,
to people who possess a
certain wisdom, to
realize that freedom is what
allows us to live, not what
prevents us from living. That's something that,
today, I find, is becoming a tiny, fleeting
aspect, a word like that, disappearing.
This film tells the exact opposite story:
we cannot live without this freedom
Thank you so much, thank you
infinitely for coming to speak with us on
Saturday afternoon at 2:30 pm, and also about
your work. Enjoy the screening at
Olivier's, see you tomorrow, and thank you, Frédéric,
for organizing this collection; it was
magnificent and very natural. Enjoy the screening.
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