12/17/06

Meeting Natal

I received a message from Natal, who produced, with Hystery prod, "One Night Stand" by Emilie Jouvet. She just saw my film "Missed" in a festival. She loved it. Good thing, I want to work with this production... We decided to meet.

This is the night. We meet in a café. I arrive the first. I choose a quiet place. I would be more comfortable if everyone did not hear what I have to tell.

She arrives. She is very gentle, very simple. A child's face, the oval quite rounded, the eyes slightly restrained. She looks a bit naive. The voice quiet and pretty safe. I assume she must be stubborn sometimes.

We talk a little. She spoke of "Missed", of my voice. I smiled. I want to say : "yes, I'm an actor too", but I say nothing.

She seems impatient to begin. I'm pretty sure she is going to ask what we are waiting when I say: "We order our coffee and then we start, ok?". It answered the question she was close to ask. I see it in her way to nod.

We smiled.

People come sit next to us. I wanted to be quiet ... Too bad.

I take my step outline and I begin to read. Here I come in a tunnel over an hour during which I read, I punctuate, I explain. I am alone here. I'm slogging a bit. But her enthusiastic reactions, her pensive air, her playful eyes encourage me. It seems to ring a bell to her.

She listened, asked for details and does not say what she really thinks. But she seems to understand the need I have to try to get onto sex in a different way, to use dark and light and to try to conceive an other method of work, for artistic and political reasons.

I also show her notes, plans of all colors that I use to work on the rhythm ... It amuses her.

She asks me what I need. I said, "no money, it is important to make a film without money, to see what can be done without resources. The resources are something for lazy people who believe that it replaces work. No, I need a look from the outside to write and then to be supported for the production or distribution... "

I have the feeling that I was able to share my enthusiasm, and actually I am genuinely enthusiastic.

Now I'm tired.

She will think about it. We are done for this time.

Mood:


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10/11/06

Preliminary draft

I wrote a step outline. This is a very detailed plan or a short script.

I happened to do it quickly. I had already a lot of images in mind.

The framework and the rhythm are quiet classical : it begins with a catch line: they fuck; then happens an obstacle: they don't desire each other; a long time in the dark with a work on the lights; after they play around, come closer or move away from each other...

The device is precise, a thread unrolling throughout the film and many improvised things.

It works as a trail, dotted with milestones. The actors are up to go around, spontaneously.

Mood:
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8/10/06

Appetite #3

I would like to use the dark.

I sense it could allow me to raise many questions with images.

It could be very strong...
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Appetite #2

I want to make a movie about the body.

Sex seems to me a really rich subject to explore.

I need to go through, raise and use all the questions it asks.

It can be perilous. Critical.

Almost everything has to be done.

This is stirring.
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Appetite/starting point

I directed several short movies, in which I try to catch something happening rather than making it up.

I want to go much further.

How can I go about it? How put together an actor, a crew, some cameras, a place without knowing beforehand what is going to happen?

Moreover, how could even anything happen, since we all know everything stops when a camera is turned on?

Mood:

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