À LA UNE 2025 par Konbini

Konbini

il y a 6 jours

The Whale, Black Swan, Requiem for a Dream, The Fountain : Darren Aronofsky n’a aucun flop à son actif. Ce réalisateur de légende fait enfin son entrée dans notre Vidéo Club ! Il révèle son amour pour le cinéma français, ce point commun qu’entretiennent “La Haine” et “Black Swan”, et ses films qui font de vous, ou non, de véritables amoureux de son travail 😉

“Caught Stealing” en salles depuis le 27 août en salle !

It's only on Konbini !

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Transcription

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00:00Si vous connectez avec quelqu'un avec un cape, vous connectez avec un god ou un demi-god.

00:04Je trouve ça plus intéressant quand vous connectez avec des gens.

00:07Vous vendez tous les Gaspard Noé films, qui est bien pour mon ami Gaspard.

00:11C'est un film génial, tout le monde devrait voir ça.

00:13Amadeus est, pour moi, un film go-to quand je suis depressed.

00:17Je pense que c'est une meilleure merveilleuse.

00:19Je suis nerveux, je travaille avec elle et elle me dit, « Oh, je vais voir mon film » et je me suis dit, « Oh, gosh.

00:23C'est bizarre à voir ces espaces parce qu'ils n'existent pas encore.

00:30C'est bizarre à voir ce qu'il n'y a pas encore.

01:00C'est très popular à Requiem for a Dreamtime.

01:02So I finally had a little pocket money, and me and my DP, Maddie, would go to this one store

01:07that would always get the new DVDs as they started to print them.

01:11And it was just like going to Toys R Us as a kid.

01:14It was an amazing feeling just to be like, « Oh, my gosh, it's on DVD. »

01:19And that's where all of our money went for a long time.

01:21And then eventually, I took all the DVDs, and I stuck them into folders, and I alphabetized them,

01:27and I have these big books with all the films.

01:30But I'd say, unfortunately, I'm more in the realm of digital.

01:35You know, I don't know if you know, Pi was the first downloadable streamed movie on the Internet.

01:41Legally?

01:42No, legally, legally, they actually put it out.

01:45It would take you five hours to download it, but I was like, why is it?

01:49But it's a nice little trivia point about the movie.

01:53Perfect.

01:53Well, talking about Pi, there's a movie behind you.

01:56Yeah.

01:56It might ring a bell.

01:57Sure, Tetsuo.

01:58Shinya Tsukamoto.

01:59I'm a big fan of Tetsuo.

02:05You know, it was the type of film you see as a student filmmaker that has so much energy and power and punch and passion.

02:16So it was a big, big inspiration, you know, definitely for Pi.

02:20I mean, the way he used the camera expressively definitely, like, freed me up to, like, think of it more as a paintbrush and less as a camera.

02:29And then I became good friends with Tsukamoto.

02:32I haven't seen him in a little bit, but super sweet guy.

02:35Perfect.

02:36So maybe we can go to the French section.

02:38Yeah, yeah.

02:38Back on your left.

02:39We could stop here with L'Estrada, I see.

02:41Oh, yeah, sure.

02:42Yeah.

02:42I would like to work.

02:45I like to be an artist.

02:47That's a super important film for me.

02:54I think it's a near-perfect movie.

02:55I have a 19-year-old son.

02:57When I was raising my son, the goal was to get him to be able to watch a black-and-white movie with subtitles and to appreciate it and have an emotional response.

03:07And this was the first film that connected.

03:10It's so simple yet so complicated.

03:14It's truly a masterpiece.

03:16Wow.

03:16So many good films.

03:19It's so weird to see one of these spaces because they don't really exist anymore.

03:23Yeah.

03:23But this was so much of my youth was like searching through mostly VHS tapes.

03:30They never really did rental DVD things in the United States or not stuff that had this type.

03:35I guess that's not true.

03:37There was a blockbuster DVD thing.

03:39So behind you, you have all the French movies.

03:42Oh, wow.

03:42And I know that there are some of them that you want to talk about.

03:45The Gaspard Noe section is empty.

03:47You sold off all the Gaspard Noe films, which is good for my friend Gaspard.

03:51But I love Gaspard's work.

03:53I think he's always inventive and always pushing cinema.

03:58He thinks about how to make a movie very different.

04:01He thinks about it very much as an expressionist.

04:04And it's all about pushing the emotion forward.

04:08And that's always inspiring.

04:10Which one would you have picked on Gaspard?

04:13For Gaspard?

04:13I mean, I just watched Climax recently again.

04:27And it's just a beautiful film.

04:30But like everything, there's always something interesting in all of them.

04:34Edge of the Void, of course, is like really a tremendous movie.

04:37My life is...

04:39I mean, Amelie, similar vein of expressive film.

04:46I remember seeing this.

04:47I remember them meeting Jeunet at a party in Hollywood

04:51and embarrassing myself because how excited I was.

04:54Audrey Tattoo is amazing in it.

04:56I mean, La Haine by Kasovitz was a big one,

04:59especially like the first hip-hop movie that came out of,

05:03I think, anywhere but America.

05:05So you saw it in theater?

05:06I saw it in the theater.

05:09And probably, I'm not sure if that's what turned me on to Vincent Cassell.

05:13I might have seen him before that,

05:14but that definitely was such an incredible performance.

05:17And that definitely led me to thinking about casting him in Black Swan.

05:23This is your moment, Nina.

05:26I put a Godard movie, but I know that it's not the one that you prefer.

05:30Yeah, look, all Godard is interesting.

05:33This is, I guess this is Breathless, right?

05:35I mean, I like Breathless, but I'd probably choose Alphaville

05:45just for its inventiveness.

05:46The idea of low-budget sci-fi was totally an inspiration on Pi.

05:51Like, thinking about how to tell bigger stories

05:55with very limited resources, he was the master of that.

05:59Just like where the style or the narrative is like enough

06:05to carry you through a genre film.

06:08What are you doing in Alphaville?

06:13This is Hitchcock.

06:17So many of his films could sort of be connected to Caught Stealing

06:20in that it's often an innocent man that then gets in over his head.

06:30That was like a great genre of film, which I don't think they make anymore.

06:36I guess like Frantic was a more recent one.

06:39But usually when it's a normal person and they get pressure on them,

06:46they suddenly whip out their kung fu or they, you know,

06:50suddenly can load a gun in five seconds and they were former CIA.

06:54But like in Caught Stealing and in most Hitchcock films,

06:58it's just a normal guy and how they deal,

07:00which I think is actually more interesting because it's less fantasy

07:04and more what as viewers we can connect with as like,

07:09and maybe what we might do in that case.

07:12Which other Hitchcock movie did you have on mind?

07:15I think North by Northwest was a big one that the studio kept referencing.

07:19Do you know this man?

07:21And thinking about it, I mean, Austin watched this one while making it.

07:31But all of them, I mean, they're all just normal people that suddenly are thrust,

07:36even Rear Window.

07:37Well, there's probably nothing important at all.

07:39It's just a little neighborhood murder.

07:41Say murder, Jeff?

07:42Yes.

07:42As a matter of fact, I did say murder.

07:44In fact, Rear Window, someone just pointed out to me

07:47because Bad Bunny watched the film for the first time

07:50and he was talking about how the relationship between Zoe Kravitz

07:55and Austin Butler is a very unique relationship

07:57in that you never see a relationship about to either go further or not further.

08:03Usually it's like you're going to fall in love or you're going to break up.

08:06But this was about like, hey, we're getting serious.

08:10Are we going to be more serious?

08:11I want to know if I can take this seriously.

08:13What do you need to take this seriously?

08:16Come on, kids, get it rude.

08:18And Bunny was saying how original that was, which I hadn't thought about.

08:22But then in Rear Window, it's a similar thing

08:25where she's basically putting pressure on him.

08:27Are we going to go further or not?

08:29So nothing's really that original.

08:32Couldn't we just keep things status quo?

08:38Without any future.

08:40Well, when am I going to see you again?

08:43Not for a long time.

08:48At least, not until tomorrow night.

08:54Cool.

08:56Cool, cool, cool.

08:58Ah!

09:00Cool, Han, look.

09:00This is from my mentor, Stuart Rosenberg.

09:14Great, great director also from the same neighborhood.

09:16I was in Brooklyn.

09:18He was my teacher when I was a student at the American Film Institute.

09:24The best teacher I've ever had.

09:26What a great movie.

09:26I mean, Paul Newman, I think Austin Butler, Paul Newman definitely are made from a similar mold.

09:33We talked a lot about Paul Newman's performances in different films when we were making Caught Stealing.

09:38Just a great movie.

09:39He taught me so many things like get in late, get out early.

09:42You know, so many lessons.

09:46Every day I think about Stuart on the set.

09:49He also did The Pope of Greenwich Village, which has Mickey Rourke.

09:53Why are you being such a cooge, huh?

09:54He taught us a lesson about when Mickey breaks up with Daryl Hannah, his back is to her.

10:06And Stuart directed him to, like, show the emotion with his back.

10:11And very few actors can do that, but Mickey, of course, can do it.

10:14And that gave me the idea when I was starting to shoot The Wrestler, for other reasons as well,

10:19because I think people were like, what does Mickey look like?

10:22And curious and leaning in, but I was like, you know what?

10:24Let's do as long as we can in this movie, show him from behind so that the audience is kind of leaning in,

10:30trying to see his face.

10:32And Mickey just kept that going.

10:34And so you don't see him until about 10 minutes into the movie.

10:36Right next to it, this is a huge influence on us after Hours, 1987.

10:42I'm Horst.

10:45I'm Paul.

10:47Hi.

10:48Not the most famous Scots is a picture.

10:51Although it's coming back.

10:52It's very interesting.

10:53I'm not sure how I first saw this, but I'm pretty sure, I know I saw it on a VHS tape.

10:58And it was a terrible, terrible, like, transfer.

11:00When I was making Mother, I really wanted all the actors to see this movie.

11:04And so I tried to find a print.

11:08And it was nearly impossible to get a print.

11:10No one had a print.

11:11So eventually I got in touch with Scorsese, and he said, I have a print.

11:14Come to my theater, and I'll show it to you.

11:16Because it was such a bad transfer, there was nothing in the blacks.

11:19So suddenly there was more detail in the cinematography.

11:23And also the sound design.

11:26The sound mix had been terrible.

11:28So it was like seeing a great masterpiece and then finding out that it's even more of a masterpiece.

11:33I've seen it many times, and it was a big influence on us because it's like, you know,

11:38a normal character where things start to spiral out of control more and more.

11:42And the score is amazing, Howard Shore's score.

11:51I could hear it in my head right now.

11:53But it's funny because Griffin is also in Caught Stealing.

11:56And in After Hours, he's called Paul.

12:00And it turns out that he's also Paul in my movie.

12:04Someone pointed it out to me like last week, and I actually didn't realize it.

12:08So last night I was texting with Griffin to try to get him to come to the premiere.

12:13And I was like, do you realize that you're Paul in both films?

12:16And he's like, I just found out myself.

12:17He was on a podcast in Canada, and they told him, and he didn't know either.

12:22So in some ways I kind of wish that the Paul from this movie quit his job on Wall Street

12:29and opened up a bar in the East Village, and actually it was the same Paul.

12:34The timeline wouldn't work, but it would have been cool.

12:36So maybe it sort of works.

12:38It sort of works, yeah.

12:38But this is a great movie.

12:39Everyone should see that film, absolutely.

12:41This is a childhood favorite, the Taking a Pelham 123.

12:46Hey, how am I supposed to see what you...

12:49Holy God, what do you want?

12:52I'm taking your train.

12:55How does it...

12:55It doesn't translate as well.

12:56The Pirates of the Subway.

12:59Yeah, terrible.

13:00Yeah.

13:00Terrible.

13:01But it just has incredible aesthetics, and it's just such a New York film of the 70s,

13:08and the character's a great Walter Matthau, truly one of the great actors,

13:12and it's just a great thriller, and I always go back to it.

13:15It always makes me happy.

13:16Yeah, you have to choose one lament for caught stealing, and this is the obvious one.

13:21Most people have seen it, Dog Day Afternoon.

13:23You the manager?

13:24It's a matter of power.

13:26Just keep talking, like nothing was wrong.

13:32What the hell does that title translate to?

13:35A Dog Afternoon.

13:36It does, okay.

13:37Yeah.

13:37How do you say dog?

13:38Chien.

13:39Chien, okay.

13:40Oh yeah, The Afternoon of Dogs.

13:42Yeah.

13:42Amazing film.

13:43Sidney Lumet's totally the patron saint of caught stealing.

13:46He was the master of making New York City films.

13:49This is definitely his masterpiece, I think his opus, and it just has so much of the energy

13:57of New York City.

13:58It is its own love letter to New York and New Yorkers, for sure.

14:02And my film caught stealing is made by all New Yorkers about New York.

14:08Most of us lived through the 90s in New York, and so it was very much a love letter to New

14:13York as well.

14:14But it's funny that these are next to each other, because Spike, who's a huge influence

14:18on me, probably the reason I'm a filmmaker.

14:20I saw She's Gotta Have It when I was a teenager, and I was like, oh, a movie can be like this?

14:25This is also shot by Maddie Libatique, my DP.

14:28But what's interesting, Spike made a bank robbery movie, and he actually cast so many

14:32of the actors from this, in this film, Carol Kane's in this movie and in my movie, as well

14:38as Marsha Jean Harden, who's like an actress who was in Requiem for a Dream and is a good

14:43friend of mine, and was also in Dog Day Afternoon.

14:46I mean, it's a great bank robbery movie.

14:48Spike does this a lot, is like, he references great films.

14:52I'm a cinephile.

14:53I'm a cinephile.

14:56This has nothing to do with those two movies, but this is a total favorite.

15:02Hiya, Harry Angel.

15:04Pleased to meet you, Mr. Angel.

15:07Angel Heart is like such an important movie in my life, and that, I mean, it's what made

15:14me fall in love with Mickey.

15:15I mean, I still quote, I quoted him today when they said, do you speak French?

15:18And I was, and he says in the movie, I'm from Brooklyn.

15:21You speak French, Mr. Angel?

15:23I'm from Brooklyn.

15:25Which is true for me, too.

15:26So it's so deeply in my blood, this film.

15:30But it's interesting.

15:31Stylistically, it's not at all how I work.

15:33But I think Alan Parker is one of the great underappreciated masters.

15:40Every film he did was beautiful, nearly masterful, if not masterful.

15:45It's sad that his career got short.

15:47I got to meet him and have a couple bottles of wine with him one night at dinner, and it

15:53was great.

15:54We connected later in his life.

15:57I really wanted to help him get back to filmmaking, but it was too close to the end.

16:02But wow, what a great filmmaker, and what a great vision.

16:06I picked a movie because I wanted to talk about Austin Butler.

16:11Sure.

16:11We can talk a little bit about Elvis.

16:13I watched that skinny boy in the pink suit transform into a superhero.

16:19I mean, Baz is great and always kind of surprising, but definitely this was my exposure to Austin, the first time I saw him.

16:31I remember when he got cast.

16:33It was a lot of press on the casting of Elvis by Baz Luhrmann.

16:35It was everywhere.

16:36And I was thinking, like, how did he not choose Harry Styles?

16:39There was a few other people that I was like, wow, and no one heard of this guy.

16:43And I remember looking at the face of Austin going, okay, I could sort of see it.

16:47And then Austin pulled it off.

16:49There's two types of biopics.

16:51There's a biopic that doesn't work, and then there's a biopic that works.

16:54And how they work is one that you believe that the actor is the character.

16:59Like, you kind of believe it.

17:01I mean, Timothy did it with the Bob Dylan one, which was super hard to do because Bob Dylan is so well known, as is Elvis.

17:09But you kind of buy that they are that person.

17:12You forget while watching the movie what the real person actually looked like.

17:16And you kind of buy into it.

17:17And then you could see, I won't name them, but you'll see other biopics where it's just like, no, that's just an actor playing that person.

17:22It's not real.

17:24Amadeus is, like, for me, a go-to movie anytime I'm depressed.

17:31That was Mozart.

17:34I will go to this movie, and it will cheer me up.

17:37It's exceptional.

17:38I mean, it's just, it's filled with so much joy and so much beauty.

17:42The performances, the music, the production.

17:46It's just a remarkable accomplishment.

17:49Definitely always in the top five.

17:53That's interesting that you say it brings you so much joy, because for me, what I recall, the end, it's so depressing.

17:59Bobby!

18:00Yeah, but I think the, it is a, it's a very depressing movie, but the beauty of it is just overwhelming.

18:13The beauty of that movie is just, like, the lushness of it.

18:17The believability of all the characters.

18:19And I think the massiveness of the pain at the end is beautiful.

18:24I find that beautiful.

18:25I mean, same like Good, the Bad, and the Ugly.

18:27It's filled with, like, all of humanity.

18:30Like, the dark, the great, the genius, the insufferable, the insanity.

18:36It's just all there, breathing.

18:40And then when you have, like, the reason I bring up the Good, Bad, and the Ugly,

18:43because that, too, is like an opera, in the sense that it's, it leaves all genre.

18:47It stops being drama of any type, and it becomes, it just becomes opera,

18:51in the sense that it's, like, music and image blended into pure emotion.

19:05And that's what Amadeus does at the end.

19:08You know, for me, the best musical, probably best concert film.

19:14I mean, there's a lot of good concert films, but it's up there for me.

19:17Stop making sense.

19:18Run, run, run, run, run away

19:21The conception by the Talking Heads of reverse engineering a concert

19:28and starting off with a bare stage

19:30and then turning into getting more and more elaborate,

19:34it's just so much fun and brilliant.

19:36I always share this film.

19:37I'm so happy A24 did a re-release.

19:39I didn't see the re-release.

19:40It's embarrassing, but I'm very upset.

19:43But, talking about Demi, this was, this was my editor's pick for me to watch while making Caught Stealing.

19:50God damn you, Charlie.

19:51I saw your wedding ring.

19:53Shit!

19:54I saw the family pictures.

19:56I get myself involved with a married man who's not even married?

19:59You know, I was married when those pictures were taken.

20:01He kept pushing me to see it eventually.

20:03I had seen it when it came out.

20:05Something Wild.

20:06Dangerous.

20:07Sue to report.

20:08What is it, like?

20:09Dangerous in every way.

20:10Dangerous in every way.

20:11Yeah, so I feel bad for the French because your title, Suffer, when the translations, it's like, you know,

20:18I think spiritually it's related to our film in a lot of ways of, like, once again,

20:24a normal character getting sucked into another universe and over their head.

20:29Kind of David Lynch does it too, actually.

20:31If you think about Blue Velvet, you have a normal character who's getting sucked into this world.

20:36It gets darker and darker.

20:37I love the genre because I think, once again, if you're connecting with someone with a cape,

20:42you're connecting with, like, kind of a god or a demigod.

20:45But I find it more interesting when you're connecting with people and humans.

20:49Another big influence on us, French Connection.

20:52All right, Popeye's here.

20:54Get your hands on your heads.

20:56Get off the bar and get on the wall.

20:57Come on, move.

20:58Move.

20:58Still probably the greatest chase scene ever, but definitely the best chase scene ever in the city of New York.

21:05Nearly impossible to accomplish in today's world.

21:08Like, I don't think with all the regulations and laws, I mean, look, we had so many more tools than caught stealing.

21:15Nowhere near as much time.

21:17You know, there's, like, this weird thing, like, filmmaking back in the day, you'd have 150 days to make a movie because labor was cheap enough and you could just actually take that time.

21:28But you needed it because if you showed up that night and you watched dailies and there was a C-stand in the middle of the shot, there's nothing you can do except for go back the next day and shoot it.

21:38Now, with digital, we have the advantage of, okay, we'll just erase that.

21:43And so, truly, everything had to be perfect.

21:46So, they had more time.

21:47But ultimately, I think the more time allows for, like, a chase scene, like in French Connection.

21:53And also, probably with less legal restrictions, you can race cars around, you know, and probably do stuff.

22:01We did our best on caught stealing.

22:03We definitely went back to the spirit of this movie, which is, like, real physics, real world chase scenes.

22:09You know, because I think movies have moved more and more into, like, the impossible, which is great.

22:14But I think sometimes it goes past impossible and people are just not that interested.

22:19And now, with, like, all the new AI tools, it's just going into the surreal.

22:24So, I think grounding and real emotion, real physics, real people, like we do in caught stealing, that's kind of been the goal of what we did in that one.

22:35We should talk about Zoe's movie.

22:37What are we going to do about you?

22:40Hmm?

22:46Zoe directed this.

22:47It's really, really pretty good.

22:49And she is a director.

22:52She really is a director.

22:53I was nervous, you know, I was working with her.

22:55And she's like, oh, go see my movie.

22:56And, like, oh, gosh.

22:58I was really nervous.

23:00But I went, and I was just like, oh, wow.