- il y a 30 minutes
Interview ou reportage d'une émission cinéma produite par CANAL+ autour d'un film disponible sur CANAL+ ou sortant en salles, un événement ou une actualité du 7ème Art
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TVTranscription
00:00Il est un Mexique, je le disais Thomas Cruz et il est plus chile que un Mexique.
00:05Il est un homme fou, qui prendra ces chiles greenes et les mettra dans le mouth.
00:11Il me dit, « Tu es un Mexique, mais je ne suis pas fou comme toi. »
00:16Bonjour le monde, Digger Rockwell ici.
00:20Tout le monde connaît les facteurs, mais la histoire doit être contente.
00:26Est-ce que c'est vrai que tu as l'idée après « Revenant » et est-ce parce que
00:31tu as passé tellement de temps dans le monde, que tu as compris la fragilité du monde ?
00:35Oui, je pense que ce film était très élevé, parce que j'ai appris la différence entre un degree et
00:43un autre degree.
00:43Les gens ne comprennent pas bien. Quand ils disent qu'un degree n'est pas très peu.
00:48Mais si tu as un froid, c'est seulement un ou deux degree que tu dois être dans ton corps
00:52et que tu es très sick.
00:54Et c'est le même, c'est le difference entre l'eau et la water.
00:58C'est une chose, et c'est juste, tu as flouves tout.
01:01Donc, « Revenant », qui était très unstable déjà, c'est un oi-opener.
01:07« Mr. President, nous sommes un protégé contre un des disasters de cette magnitude. »
01:12« Qu'est notre worst-case scenario ? »
01:14« $18 trillion, sir. »
01:18« Est-ce que c'est tout ? »
01:20« Mais ce film, pour moi, c'est important pour comprendre que ce n'est pas la nature, le climat.
01:27Je pense que c'est la nature humaine. Je pense que ça transcende tout.
01:30Ça peut être appliquée à tout. C'est la nature qui est un désastre. »
01:37« ... ou si, la situation va thinner et c'est une urgence de faire quelque chose de ça. »
01:43« Quand les paales startent à placer, les Arctiques seuls à placer,
01:48« est-ce que les commentaires se sonturés et à faire beaucoup de business et nous allons faire du l
01:56'eau. »
01:58La narrative about this good news, it was striking.
02:01It's the blindness of not seeing reality.
02:05And the own narrative of business and self, the profit of few, become the problem for everyone.
02:14And that was the starting point to say, this is a very interesting madness we are in.
02:20So that was the starting point.
02:21And I think it's a film for the young generation for me.
02:23It's a love letter for the generation that has been inerrant the baby boomer culture of insatiable grief and blindness.
02:36And they are tired to be told that everything is fine when they are experiencing another thing.
02:40So that narrative is not making sense.
02:43And the film is about that.
02:45In the whole film, there's something start crumble.
02:48And you make the decision how to tell that story.
02:51And should we laugh?
02:52Should we know?
02:54And that's the only way I wanted to tell this story of humor.
02:59Mr. Rockwell is a man who would roast our children alive if he thought he could sell them for a
03:05dime.
03:08What would happen if I stopped drilling?
03:10You stalled.
03:10You freeze to death.
03:11That's what?
03:12Fuck you.
03:12I don't care.
03:13Go on.
03:14Film away.
03:15Did you have in mind to make a film that would be so haunting?
03:20Well, I think I was having in mind something that took nine years to create and to solve and to
03:28find the best way to tell the story about storytelling.
03:32About the stories that we tell ourselves.
03:36The stories that we are told by people that control the narrative.
03:44And that's the power of this character.
03:47And I wanted to understand how to explore the human nature of denying reality and the war we have, all
03:56of us, against reality.
03:57We are incapable now to see what's going on and just being framed in our different realities, incapable to share
04:07one single reality.
04:09And that's what this film is about.
04:10It's the human nature of trying to understand reality through our storytelling that suddenly becomes blind to reality.
04:19I think power and insatiable greed has been always intoxicating human minds and soul.
04:27That's the story of humanity.
04:29And it's incredible that we still are suffering from the same disease of having men with so much power that
04:38really put all of us at risk.
04:40And that is insane.
04:42Of course, they all heap the blame on me.
04:44You just drowned half the damn continent.
04:46What the fuck are you going to do?
04:47Double down.
04:48That's the story of this film and the humanity.
04:52So I was just trying to tell it in a different mode.
04:56How did you have the idea to turn Tom Cruise, one of the most popular actors in the world, into
05:02one of the most unpopular characters to be?
05:06Was he all right with him?
05:07Yeah, I think it was great to have him completely transformed in some natural, ordinary man.
05:15He has never been that.
05:16Yeah.
05:17He looks like four years old.
05:19Now, Glacier over there in Greenland, it shifts five feet.
05:22Now, this desk in front of me is bigger than five feet.
05:25Mr. Rockwell.
05:26My is a tenth of that size.
05:27What do you want me to shut down a billion dollar platform over something that's ten times the size of
05:31my d***?
05:32And I knew that he needed to really get into that and he understood the physicality, the attitude, the way
05:41Digger or somebody like that will behave and the accent of the Texas and all these manners really help him
05:50to understand who these characters are, which is very American and very, very true.
05:54Yeah.
05:55You're this kind of director who loves actors.
05:57How did you compose this flawless cast of the film?
06:01I knew that I needed a very precise, incredible actors to get these parts, which are very precise.
06:09It's like a puzzle and it need to be at that level of precision.
06:14So it's like there was a party tour and I need the best jazz musicians like Miles Davis, John Coltrane,
06:21Ella Fitzgerald to get it.
06:23And in that level operate.
06:25And I think the cast was a dream cast that I was lucky to count with their trust.
06:30And we have fun.
06:32Let's bomb the s*** out of her, Mr. President.
06:33I got a tomahawk so accurate he can shoot the tits off a Russian ballerina from that way around the
06:37world.
06:37Please.
06:38There are women present.
06:44We really rehearse for a long time.
06:47All the frames that are visually in every sequence, I've studied for years.
06:56I have all the paintings that inspire me, all the frames.
07:00I shoot with standings and design the sets based on every frame.
07:05I want every frame to be a window that people can get lost and understand the character by the context
07:09of it.
07:10So then when they arrived, we were just having fun, finding the tone, finding the speed of the dialogue, finding.
07:19And it was so great to work at that level in complicity with this incredible cast.
07:25And Tom, it was incredible.
07:27It was a dream.
07:28Before you officially fire me or kill me, there's something I have to breathe.
07:31I'm not going to kill you.
07:32You have people who do that for me.
07:34Bad joking.
07:36Sort of.
07:36He said it took him four years to be able to play as his character.
07:42Was it the time you needed to be able to tell such a story?
07:48Yeah, I think it's funny because I started writing this like nine years ago.
07:54And I'm glad that the film didn't make it at that time because budget and schedule and it was not
08:00ready.
08:00And I think I couldn't have done this film five, six years ago.
08:06I needed more to mature the idea, to learn some skills, to, yeah.
08:14I think it took me 25, 28 years of career to make that because it's a complicated film to make.
08:22Very easy to understand, but to put it together was difficult.
08:26Every time that I do a film like this one, I like to start from the beginning, to learn about
08:32it, to don't do the same thing because I have changed.
08:35The world has changed.
08:36And while I was doing this film in nine years, the reality and the fiction doesn't stay still.
08:44Both my imagination changed and the events have been changing.
08:48So it's important to allow, to recognize and allow yourself to change.
08:55I think certainty is what really hurt us, all of us.
09:01The certainty of people that they are right and they don't change their view.
09:07That rigid point of view is what is killing us.
09:10It's the certainty of people that think their truth is what it is.
09:18But reality doesn't give a damn about our truths.
09:21Reality is much more complex and ambiguous.
09:24Our truths are basically our point of view, which is valid.
09:27It's an emotional truth.
09:28But that's not reality.
09:30So uncertainty is a great thing and changing is a great thing that allow yourself to be plastically moving and
09:39growing and learning and allow other points of view to change you and shape you.
09:44So I like, I'm not the same man, thankfully.
09:48Thankfully, I'm not the same man.
09:50I don't believe you understand what's happening, sir.
09:52What did you just say?
09:54Sorry, sir.
09:54I know perfectly well what's going on there because I'm paying for the whole thing.
09:57I'm paying for your f***ing 90% Hungarian goose down winter jacket.
10:01I'm paying your salary.
10:02You want to shut her down?
10:02Well, um...
10:03Say it!
10:03Diggers opened with a sequence that reminded me of Stanley Kubrick's 2001, you know, the old man in a room.
10:10And, of course, Tom Cruise's performance reminds us of Peter Sellers in Doctor Strangelove.
10:17How much Kubrick's was an influence of you as a filmmaker?
10:22I think, you know, Doctor Strangelove is a wonderful, incredible film, but I will say that, obviously, the satire and
10:31what he approached in the moment that the world was about to finish in this nuclear absurd race was, obviously,
10:41a beautiful satire that, historically, but not precisely was exactly what really influenced or inspired me in this case.
10:50Because it's a very different attempt in many ways, you know what I mean?
10:55But I think films that actually I screened to the actors when we were rehearsing was by different reasons, like
11:03Howard Hawks' His Girl is Friday, for example.
11:07The pace of the dialogue, the speed of the dialogue, there's so much dialogue that I wanted the dialogue to
11:13be music.
11:13Yeah.
11:14And the way Gary Grant managed the dialogue and be able to get the subtext and transmit exactly what it,
11:21at that speed, is almost impossible.
11:23So I want them to understand them.
11:25Yeah.
11:26I presented Milos Forman, Firesman Ball, Firesman Ball, for the absurdity, to be or not to be, Lugish.
11:35I put a poster there.
11:37Network, Sidney Lumet, which has been a great influence for me.
11:41He was a theater director.
11:42I was a theater student.
11:43And I have a poster, actually, of Casavetes' opening night.
11:50So all those films, for me, were incredibly important in many layers of inspiration, you know.
11:56And Kubrick is it, but I found it very, in a way, different.
12:01But all the other films really inform this film.
12:05As always, in your cinema, there is a very theatrical dimension, and this one, for real.
12:11Okay, I won't say why.
12:13How did you look at it from the beginning?
12:16More like a comedy or a tragedy or mixing both?
12:21I think tragedy and comedy are intrinsically linked.
12:27Tragedy informs comedy.
12:29The more tragic, the more comedy it could be.
12:32It just needs time.
12:34As they said, you know, comedy is tragedy plus time, which you need the separation and the representation of reality.
12:44And representation of reality could be more real than reality itself, because it allows us to recognize ourselves.
12:51And that's art, you know.
12:52Art is always a representation of reality as a painting or as a novel.
12:56And we can recognize.
12:58And humor, I always felt.
13:00And that's what I think Kubrick allowed all of us to see, that such a scary, terrifying theme works better
13:11when you add the humor in the middle.
13:13Because without the humor, humor is like the olive oil.
13:16Yeah.
13:17And I, in this case, I mix.
13:19I did the salad with olive oil and any other ingredients in order, because this is a film about storytelling.
13:28Yeah.
13:28And which story we tell ourselves and where a story we would like to be.
13:32So all these things are a little bit mixing in.
13:34Mr. President.
13:36Get that bird.
13:38Let's dance.
13:40Put it in down.
13:42Help me shape the story.
13:43They already know the story.
13:44They know the facts.
13:46The story is yet to be told.
13:48Go.
13:49You.
13:49You be.
13:49You.