00:02Ma perché le domande italiane sono sempre più migliori che i francesi?
00:06È vero!
00:08Prepararsi all'urto!
00:14In the beginning of the movie, I saw, I won't spoil that scene,
00:18but let's just say there's an helicopter,
00:21and I thought, oh, how can it be a French movie?
00:24How important is it for the European industry to make big movies like your movie?
00:32I think it's very important that we can make our own films on the world
00:36and that we don't be confiscated by Hollywood, the action films.
00:39I think we should be able in Europe to make action films.
00:42It's totally natural.
00:45This is your first movie. How cool was making all that action scenes?
00:51Because at the first movie, it's not so frequent.
00:55But I think, like all of us, I grew up watching films from all over the country.
01:01I grew up not only watching the French movies,
01:03I grew up watching the Italian movies, the English movies, the American movies, the Chinese movies, the Hong Kong movies
01:08and the French movies.
01:09And so, when I wanted to make my own films, I was inspired by all these films.
01:15And I didn't want to set up a border or a limit.
01:18And so, in fact, it came naturally.
01:22The action scenes are technical scenes, but not more difficult than the others.
01:28The real difficulty in a film is the main difficulty.
01:32The most interesting difficulty is the actor's direction.
01:33And it's always the same.
01:34And after, it's technical work.
01:36And it's also the idea of making a pari,
01:38which is to be able to make films that are not the ones we usually make.
01:41And so, to have a production that is capable of following you in this pari.
01:45I don't know if I answered the question.
01:47Did I answer the question?
01:48Yes.
01:49Okay.
01:51You said that you went to the Skywalker Ranch for the sound of this movie.
01:58How is the Skywalker Ranch?
02:00It's like being in a monastery.
02:02It's the monastery of the sound.
02:03In fact, it's a whole valley that was built around the sound.
02:08A bit like a submarine is built around the sound.
02:10So, it correspond perfectly to the experience of a submarine.
02:12It's very solitary.
02:14In fact, we cross the shadows.
02:15And these shadows are people who have made the films of Coppola or David Lynch.
02:20So, it's very interesting.
02:22It's a very deep work.
02:23You know, on a film, there are a lot of sound pieces.
02:26And according to the sound effect that we mix,
02:29we will get very different films.
02:31So, it's a very, very beautiful work.
02:34And in the same time,
02:34in which you have to stay connected to your intuition in permanence.
02:37And there, in the Skywalker Ranch,
02:39it's the best in the world for the sound.
02:40So, it was absolutely fascinating to be able to do that.
02:44I think it was the first French film that was mixed in the Skywalker Ranch.
02:49You did an amazing job on the sound, the sound design.
02:52almost synesthetics.
02:55Because the sound is more important than the visual.
02:59So, why did you choose to make sound the center of your movie?
03:05You know, when you're born, when a child is born,
03:08the first thing you perceive from the world is the sounds.
03:11And it's the same experience in a submarine.
03:13I've always been fascinated by the sounds.
03:14Because there is a dimension of a mystery.
03:17You can always try to dive deeper,
03:20and try to discover what there is inside.
03:22When you listen somewhere,
03:24if you listen to your listen,
03:26you will always discover things that you didn't have ever seen before.
03:29So, I wanted to make a film based on the sound and music.
03:33And also, I wanted to make a film that is still alive,
03:35in which there is no longer time left.
03:38There is always a relationship between the music, the sound and the dialogue.
03:41so that when we go into silence,
03:45it's not a silence dead,
03:47it's a silence that is like music.
03:49And so, since I've always wanted to do that.
03:51And when I discovered the world of the submarine,
03:53I thought that it's there.
03:55It's exactly the center of the film that I've always dreamed of doing.
03:58You said that you did a totally different job before doing cinema.
04:08In this movie, I find that there is an interesting contrast between art and discipline.
04:17So, since your past, it was intentional.
04:21It was a precise choice.
04:25But why is it that the Italian questions are always better than the French one?
04:28It's crazy.
04:30It's well...
04:30I mean...
04:31Sorry.
04:32Yeah, no, it's super,
04:33because your questions are really very just at every time.
04:37And...
04:37And...
04:38Yes, in fact,
04:39it's one of the main questions of the film.
04:42It's...
04:42The hero,
04:43it's a character who is...
04:45a military,
04:46it's a very young person,
04:48who has been recruited on his abilities
04:50of intuition and sound,
04:52in fact,
04:52in particular.
04:54And...
04:55So,
04:55it's not all at all in the military military.
04:58And...
04:59And...
04:59It's a function,
05:00in fact,
05:00which is the function of the oreille d'or,
05:02it's to put words on the sounds of the unknown.
05:04And so,
05:05it's exactly the function of a poet,
05:06in fact.
05:07It's the function of the poetry,
05:08in fact.
05:09And...
05:09I found it very interesting to discover,
05:11within a military world,
05:12a military world,
05:13this dimension of the poetry,
05:15which was strong and effective
05:16and operationally,
05:17because it's on him
05:17that's the survival of the crew.
05:20And...
05:20It's a question,
05:21which is, for me,
05:22more profound,
05:23which is also
05:24the relationship between the systems,
05:26the world of machines
05:27or the system hierarchical,
05:29and what we can feel
05:30like intuition
05:31and like conscience
05:32personal.
05:33And what is,
05:33in a world who is menacing
05:35like the ours,
05:36what is going to save the world?
05:38Is it the systems
05:38that are in place,
05:41the systems of diplomatic alliances,
05:43the systems like
05:44the nuclear nuclear,
05:45the political systems,
05:46or is it the intuition
05:48and the confidence
05:49between the two people
05:51who will be able to save the world?
05:52Or is it a mix of all that?
05:53So, all that,
05:54the question you asked is really
05:55at the center of the film.
05:57Thank you.
05:57Bye.
06:03Bye.
06:05Bye.
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