Please tell us about the projects you worked on before making ‘Aux Bords de Seine’. How did you start, and how did you learn to make films?
Before directing "Aux Bords de Seine" I worked on several small shoots as first assistant directors, production assistant, most of these projects did not see the light of day, some are still in post-production at the hour that I write to you; this allowed me to see the flaws during filming but especially in the organization, whether in preparation, in pre-production and in post-production. My bachelor’s degree at Paris 1 University, then my Master's degree at EICAR and my BTS greatly facilitated my integration on these film sets, my studies also helped me a lot to integrate two production companies where I did my internships. I was able to improve my skills and practice the technique. All this experience allowed me to co-produce “Sing Sing” and to direct “124”, my first commissioned film.
Tell us about ‘Aux Bords de Seine’. How do you describe it?
“Aux Bord de Seine” is first of all a film that I like, the idea came to me while walking on the banks of the Seine in Paris and sometimes in the Parisian suburbs, it was then that a thought came to me : The Seine has existed since Napoleon, for centuries, our ancestors have seen it and left, we will see it and we will leave too, the future generation will also see it and will leave too but the Seine remains; It is from this idea that “Aux Bords de Seine” was born, which I describe as a poetry, an enigma to be solved,
a romance, a tragedy, a crossroads of several stories, a meeting and a crossroads of characters which is built little by little on the banks of the Seine, but also an idyll of a couple: Hillona Riménèse and Guillaume Rivière, which takes place most of the time outdoors hiding the evolution of each other, threatened by the fate of life, the day after deconfinement.
Please tell us about your favorite filmmakers.
I like complex and well-written stories, like “Shutter Island”, “6th Sense”, “Let Justice Be Done”, “Inception”, “Memento”, I love the world of Christopher Nolan, Alfred Hitchcock, the master of suspense, and Echiro Oda, creator of “One Piece”. I can add Guy Ritchie also.
Each image, each shot, each Sequence, Each scene, each visual, each word, each line is charged with meaning to build the story, the universe and resolve the enigma of the film.
If you were given a good budget, what would be your ideal project?
Ha ha ha, the dream!
I wrote a feature film during confinement "France Rougebleu", it's a story that is close to my heart, if I had a good budget I would refine the story and direct it. I also have a short film that I am currently writing "A Mother's Hatred" which fascinates me.
Describe how you would ensure that production is on schedule. What steps would you take?
The key to a good production is to have backup shots, plan A, B, C, and D. Life being full of surprises, it is important if we want to represent this life cinematographically, to have several shots in advance in your pocket. The key to ensuring good production meets the deadline is good organization and good management, for this you need to hire the right people, competent collaborators who follow the same vision.
What was the hardest part of making ‘Aux Bords de Seine’.
What was difficult in the production of ''Aux Bords de Seine'' was the withdrawal of the collaborators: When you had a director of photography who abandons you 3 days before filming while you had spent 3 months preparing the filming to locate, prepare the plans with him, to rehearse, to book the actors, the equipment, the authorizations for filming on public voices it is very difficult. What is difficult is when actors or technicians let you go at the last minute and you have to find another one in a relatively short period of time, what is even more difficult is because due to lack of means, as a director you have to wear several hats, do the decor, do the production, do the clap, play the extras, do the management, because there is delay, because there is not enough budget and you are the only guarantor of your dream: to make the cinema.
This is why you must always have plans a, b, c, d and even e, not to feel sorry for yourself but to find a solution each time.
If possible, tell us about your next work. What plans do you have for your future work?
I have just finished post-production on ''Racines à Plumes'', a documentary about a painter.
I'm writing ''A Mother's Hate'' a short film which starts happily and becomes very sad.
I hope one day to direct my feature film "France Rougebleu" but first "Aux Bords de Seine" must receive a lot of awards for the producers to finance it.
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