French filmmaker Leos Carax discussed the highs and lows of his 42-year career at the Marrakech International Film Festival on Sunday.
He was candid about the setbacks and sense of doubt about his place on set in the early days of a shoot, across his seven feature directorial credits to date spanning Boy Meets Girl (1984), The Night Is Young (1986), Les Amants du Pont Neuf, Pola X, Tokyo!, Holy Motors and Annette.
“With each film, it’s true I’ve only done a few, but I feel like a beginner, a bit like an imposter so I need to do lots of tests to get to know the new tools, the cameras as the film gets on the road. I become a technician in a way,” he said.
Carax said a series of near-chance meetings with people who would become long-time collaborators had been at the heart of his career as a director.
He was candid about the setbacks and sense of doubt about his place on set in the early days of a shoot, across his seven feature directorial credits to date spanning Boy Meets Girl (1984), The Night Is Young (1986), Les Amants du Pont Neuf, Pola X, Tokyo!, Holy Motors and Annette.
“With each film, it’s true I’ve only done a few, but I feel like a beginner, a bit like an imposter so I need to do lots of tests to get to know the new tools, the cameras as the film gets on the road. I become a technician in a way,” he said.
Carax said a series of near-chance meetings with people who would become long-time collaborators had been at the heart of his career as a director.
- 11/13/2022
- by Melanie Goodfellow
- Deadline Film + TV
The following text is an excerpt from an essay commissioned by the specialist publishing house Hatori Press (Japan) for a tribute to the great critic, scholar and teacher Shigehiko Hasumi on the occasion of his 80th birthday (29 April 2016). Other contributors to this book (slated to appear in both Japanese and English editions) include Pedro Costa, Chris Fujiwara and Richard I. Suchenski. Beyond Prof. Hasumi’s many achievements in criticism and education (he was President of the University of Tokyo between 1997 and 2001), his ‘method,’ his unique way of seeing and speaking about films, has served as an immense inspiration for a generation of directors in Japan including Kiyoshi Kurosawa and Shinji Aoyama. The online magazines Rouge (www.rouge.com.au) and Lola (www.lolajournal.com), co-edited by Martin, provide the best access to Hasumi’s work in English (see references in the notes below).Leos Carax and Shigehiko Hasumi. Photo by Michiko Yoshitake.
- 3/30/2016
- by Adrian Martin
- MUBI
Exclusive: Kurosawa shoots first ever French-language film.
Celluloid Dreams has picked up sales on Japanese director Kiyoshi Kurosawa’s upcoming French-language fantasy tale The Women In The Silver Plate starring Olivier Gourmet and Tahar Rahim.
Gourmet plays Stephane, a former fashion photographer obsessed with an old 19th century photography technique, said to have given eternal after-life to the souls of the people whose image it captured.
Rahim plays Jean, a new assistant, who quickly falls under the spell of Marie, Stephane’s only daughter and model. When Marie takes a mysterious fall one evening, the difference between image and reality becomes much harder to decipher.
Kurosawa’s first French language film, it is currently in post-production having shot earlier this year on the outskirts of Paris.
It is produced by Paris-based Michiko Yoshitake of Film-in-Evolution and Jérôme Dopffer Les Productions Balthazar are co-producing with Tokyo-based Bitters End, with the backing of Franco-German broadcaster Arte.
Kurosawa is in Cannes...
Celluloid Dreams has picked up sales on Japanese director Kiyoshi Kurosawa’s upcoming French-language fantasy tale The Women In The Silver Plate starring Olivier Gourmet and Tahar Rahim.
Gourmet plays Stephane, a former fashion photographer obsessed with an old 19th century photography technique, said to have given eternal after-life to the souls of the people whose image it captured.
Rahim plays Jean, a new assistant, who quickly falls under the spell of Marie, Stephane’s only daughter and model. When Marie takes a mysterious fall one evening, the difference between image and reality becomes much harder to decipher.
Kurosawa’s first French language film, it is currently in post-production having shot earlier this year on the outskirts of Paris.
It is produced by Paris-based Michiko Yoshitake of Film-in-Evolution and Jérôme Dopffer Les Productions Balthazar are co-producing with Tokyo-based Bitters End, with the backing of Franco-German broadcaster Arte.
Kurosawa is in Cannes...
- 5/13/2015
- ScreenDaily
This is a talk given by French director of photography Caroline Champetier at the La Roche-sur-Yon International Film Festival in October 2012, originally published in two parts on the festival’s site (www.fif-85.com). This translation is being published with their kind permission. This year's festival will take place from October 16-21, Kelly Reichardt will be the guest of honor. Many thanks to Emmanuel Burdeau, programmer of the festival, Jordan Mintzer and Caroline Champetier.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
- 9/20/2013
- by Ted Fendt
- MUBI
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