100% French purebred Luc Besson

Gabrielle 2022-03-31 09:01:09

100% French purebred Luc Besson

interviewed and wrote: After

Zhongbei Luc Besson sat down, he put his right leg on the chair beside him. For nearly an hour of interviews, he kept almost the same pose. In between, he wanted to drink a few sips of Coke Zero from the heroine Louis Bourquen. He only took his legs off when he got up to get the Coke can, and then put his elephant legs back on the chair with a "pop". He sighed and continued to listen to our chat. The chair he was sitting on remained motionless, and together with the adults, the whole was like a naive Maitreya Buddha. From my position, most of the sight is dominated by the old man's floppy belly. Against this backdrop, Louis on the side became more and more slender.

"You don't have much film experience. You only have one work, "The Moroccan Girl". During the filming process, was Besson strict with you?"

Louis was about to speak, when Besson interjected: "I hit her with a small whip. "The Moroccan Girl" It's a stupid movie."

"Did he give you a lot of leeway?"

Besson continued to snatch "...the door to try is always open."

Luc Besson gushed, Louis curling his hair with his fingers, Looking at him with a smile.

"What did you learn from him?"

"I learned how to work with people in a very talented circle. Besson uses the top talent in the industry, and he can make these people work well in Together. Communication is very skillful. On the set, Besson usually takes the camera himself, which gives me a sense of security. A lot of directors don’t do that, they just sit and watch what’s happening on the screen. "This time Besson didn't answer. Obviously, he believed that "Sweetheart" Louis could answer a question by himself.

If Besson is doing a video interview, he must set up the camera and adjust the camera in person. In his view, the interview scene is like a studio, which needs to be controlled, adjusted and guided. Luc Besson's aura is powerful and compelling.

boy from sea world

No one would argue that "The Extraordinary Adventures of Adela" is Luc Besson's first film, although the old man said before that he only made 10 films in his life, and then he pursued freedom. Having said that, it's hard to imagine that after 34 years in the film industry, he could find anything else to make him happy.

Besson's parents were both professional divers. Before the age of 6, he had followed his parents all over the world and performed various diving missions. At the age of 8, Besson would spend long hours underwater playing with dolphins as long as his parents worked on the seabed. At the time, he thought he was connected to the ocean all his life, but an accident at the age of 17 left him temporarily unable to dive. In 1988, Besson's "Blue Sea and Blue Sky" almost told about this experience. In his own way, Besson showed the world his emotions for the sea and dolphins.

Luc Besson said in an interview with the British "Guardian": "Before I was 17, my dream was to be a dolphinologist. But when I was 17, an accident happened. I can't dive anymore." In fact, the idea of ​​becoming a dolphin scientist lasted only a few months before he changed his mind. Because he "wasn't interested in the science part of dolphin research" and "was more interested in the emotional part." He loves dolphins, the ocean, and people living by the sea. "Being a dolphinologist is more of an emotional factor." "Instead of becoming a scientist, it's enough to see them and make friends with them."

Luc Besson, who was not a dolphin scientist, thought about what to do next. He wrote all the things he could do on the left side of a piece of paper and the things he couldn't do on the right side. He discovered that he loved writing, images, and took a lot of photos. Maybe making a movie is a good choice. At the time, his friend's brother was an assistant director, so he went to the set, which was full of trucks, wires, lights. He immediately fell in love with the atmosphere on set.

In order to get an intuitive feel for the film, 18-year-old Luc Besson finds work on the set as much as possible. In a few years, he has worked as a microphone operator, scene maker, assistant editor, director assistant... Almost all types of work related to movies, he tried them one by one. Until the age of 24, he made his first film "The Last Battle". In this film without stars, colors, or even dialogue, you can see the young director's confession of film art and the possibility of his artistic creation. But soon in 1985's "Underground", Luc Besson has learned to put some possible commercial elements into the film. For example, the use of stars (Isabel Adjani, Christopher Lambert), the combination of funny scenes, and the characters have wonderful dialogues... This film made the actor Lambert become the "Best Actor" at the French Caesar Film Festival that year. main character".

Luc Besson's films of this period are strongly relevant: Atlantis, after Blue Sea and Blue Sky, also addresses the theme of the sea; The Fifth Element, after The Last Battle, presents A more dazzling and crazy future world; "Nikita" after "Underground" continued Luc Besson's observation of the urban fringe; and "Killer Leon" can be regarded as the male version of "Nicky" tower".

"Are you so good at telling stories because you know literature?" I asked. It was not until Besson answered this question that I realized how academical the word "literature" was, and even brought back memories of his rejection by the school. "Story" is the appropriate object for this question.

"At 16, my family had the first TV. At 17, I started to get involved in the film industry. I didn't spend a lot of time watching TV. Of course, there was a cinema that was only 5 kilometers from my house at the time. , I don't go too often. Probably 2 times a year. When I tried to apply to study at a French film school, they rejected me. In a weird way, I didn't develop a bad habit of thinking that TV That's how it's supposed to be, that's how movies are supposed to be. I'm telling the stories I want to tell. I don't care if people say I'm similar in style to any director. What I do is purely what I feel. Very Maybe, that makes my films a little bit different. Because they come out of my heart and not from anywhere else in the world."

The model of the story that comes out of my heart is Leon, the killer who wears a little black hat and a long trench coat with a box of milk every day. He kills like a numb but he cares for the 12-year-old girl next door. rub the leaves of a plant. This killer Leon, who combines ruthlessness and warmth, fortitude and softness, swept the world overnight. In 1994, when the film was made, Luc Besson was only 35 years old. This film is also the first American film he directed, although the story has a French flavor from beginning to end.

He doesn't belong in France

For harsh French critics, Leon the Killer meant Luc Besson's departure from French cinema and his surrender to Hollywood cinema. So much so that the film was nominated for all the Caesars Film Festival awards that year, but ultimately failed. This broke Luc Besson's heart. Facing the increasingly fierce criticism from the French film circle, the mighty Besson still went his own way and continued to move forward along the road of commercial production. In 1997, "The Fifth Element" was a global hit, hitting a box office record of 270 million US dollars, ranking third in the world's box office revenue that year.

In the eyes of Americans, Luc Besson is a well-known super director, "Nikita", "Killer Leon"... These are his identity labels. But in France, even across Europe and Asia, Luc Besson is also a film tycoon, star promoter, and entertainment blockbuster producer. In his more than 30-year career, in addition to making films himself, he has also written dozens of screenplays and participated in the production of dozens of commercial films, including some of the most commercially successful French films of all time. In the process, he almost single-handedly kicked French cinema from the hut of pure art to diversity.

This vexed French critics, who saw that the Bessonian model of filmmaking had succeeded in deflecting French cinema from the traditions of the literary intellectual. The real reality is that audiences around the world pay for and applaud for "Amelie", "Brotherhood of the Wolf", "The Crimson Rivers"... such films spanning Hollywood and the French film industry .

Some people couldn't stand it and wrote a denunciation under the title "Besson Murdered My Cinema". The stubborn bearded director knew it, but he didn't feel guilty at all. He said: "In France, we do have such a problem. We don't admit that film is always an industry, and film is entertainment."

If the 18-year-old Luc Would things have been different if Besson could go to the French National Film School?

During the first interview, the examiner asked Besson: "Who are the directors you admire most?"

"Steven Spielberg, Martin Scorsese and Milos Foreman..." the young man replied.

The examiner interrupted: "Enough, I don't think you belong here." The

movie and the women,

"Leon the Killer," made Jean Reno and Natalie Portman a hit. Funny, I'm afraid Portman was the only heroine at the time who wasn't in a relationship with Besson. After all, she was only 12 years old.

If it weren't for Virginie Silla, Besson wouldn't know how many heroines he would be cruising around. Sheila's professional identity has always been a producer at Luc Besson's Europa Films. When she first met Besson in 1999, she was just a production assistant for Taxi 2. The following year, her romance with Besson had surfaced. But it wasn't until she gave birth to Besson's daughter, Talia, that their relationship was only slightly solidified. She hopes she's Besson's last stop and can save him from his cyclical games with the actress. At this time, Besson had been married twice. His ex-wife Anne Parillaud and Milla Jovovich were the daughters of "Nikita" and "The Fifth Element" respectively. main character.

Besson's marriage to Anne Paio lasted the shortest. In 1990, when Paio became the heroine of "Nikita", he and Besson had a 3-year-old daughter. But their marriage only lasted the length of the film "Nikita", and the two broke up shortly after the filming. It is said that the divorce was because Paio couldn't stand Besson's "arbitrary", "willful" and "calling for wind and rain". After finishing the break, Paio went to pursue his own freedom.

In 1993, Besson gave birth to their second daughter, Shanna, with Maïwenn Le Besco, who was only 17 years old at the time. Besco is not a beauty in the traditional sense. Her big mouth, buck teeth, and high cheekbones are the characteristics of her appearance. Even so, her entanglement with Besson is eternal because of "Killer Leon". It is said that Leon's emotional story with the little girl evolved from her and Besson's emotional story. And Besco's characteristic appearance made her appear in a more exaggerated shape in "The Fifth Element". That's right, she is the blue alien Diva Plavalaguna with a lot of tentacles on her head, and the few "ah, ah, ah..." floating from her body is beautiful enough to make the universe rippling.

It's not over yet. In 1995, when looking for a heroine for "The Fifth Element", Besson chose Milla Jovovich, a girl of Ukrainian descent. Jovovich, who was a model at the time, had a tall figure, a futuristic look, and a glowing white eye, which fascinated Besson. Jovovich also became Besson's second wife while "The Fifth Element" was gaining box office. But with the failure of "Joan of Arc", their marriage also came to an end, and the time before and after did not exceed 2 years.

Looking at the tall, blond beauty Louis Bourquin in front of me, I asked Besson: "Is Adela the perfect image of your lover?"

"She should be the kind of woman that men like to pursue, but men I also understand very well that this kind of woman cannot live together. I want to wish the man who married Adela good luck, I am really sweating for him." Besson replied.

In all of the interviews he gave for "The Extraordinary Adventures of Adela," Luc Besson insisted on bringing Louis Bourquin, what Besson called "sweetheart." But it doesn't matter, this time in China, Virginie Sheila has also been with the old man. As the only wife at this time, she was the heroine who attended various occasions with Luc Besson. In private, Luc Besson and actor Vincent Perez have a very good relationship, and Perez's wife Karina Sheila and Virginie Sheila are sisters. Relatives and friends, presumably Besson will not be too bad for Virginie Sheila, right?

"Weekend Pictorial" No. 606, A24~26

Interview with Luc Besson

Interview, author: Zhong Bei

In Luc Besson's films, women are strong and powerful, and the new film "Adela's Extraordinary Adventure" does not exception. In the story, Adela is resourceful and unruly. To Besson, she was the Indiana Jones of France. "Remember, Hollywood movies don't make women the protagonists of adventure stories!" Besson said.


MW = Weekend Pictorial

LB = Luc Besson

MW: "The Extraordinary Adventures of Adela" is a comic book story, how did you come up with the idea of ​​turning the comic book story into a movie?

LB: Because Adela is an interesting character. The background of the story is in 1912, when women did not have the right to vote, were not allowed to participate in sports, and were not allowed to participate in politics... In general, the status of women at that time was relatively low. So Adela's story was the first time women had the freedom to do a lot of things: drink, smoke, swear in the bath... Adela didn't care about the rules. It was really interesting to see such a woman in the early 20th century, so I wanted to make her story into a movie.

MW: Like Adela's Louis Bourquin?

LB: Kind of. But Louis is sweeter, she's a sweetheart.

MW: Louis has no acting experience, how did she get the role?

LB: I think too much knowledge is not a good thing. Once actors become professional, their performances are predictable, cookie-cutter, professional film actors know the angles, know the camera positions, nothing new. Louis was a former TV anchorwoman, and on the TV screen, she knew how to play tricks and inspire viewers. Because of this, I know she has the intelligence and ability to fill the role. And before shooting, we will do a lot of practice. So it doesn't matter that Louis doesn't have much filmmaking experience. On the contrary, her performance also made me feel fresh.

MW: In your past films, women are strong and full of power. Is this your basic attitude towards women?

LB: Yes. Women are always stronger than men.

MW: Really? But you created their world.

LB: Don't you think women are stronger than men?

MW: But you are the director.

LB: No, I'm asking you, what do you think?

MW: I can only say that sometimes it is.

LB: In the movies, I make women special, even though real world history is made by men, without exception. Men often think that the ultimate answer to things has to do with power, violence. Most of the time, women don't have the strength to fight, so they have to have other strengths like intelligence, ideas. Then day in and day out, convincing others, "Please, I can!" In the end, most of them get what they want.

MW: A lot of people say that your films are Hollywood-style, the only difference between the two is that you shoot in France. Take Adela's Extraordinary Adventures, for example, which part of the film is French? Which part is Hollywood?

LB: The film is not American at all, everything is French. Americans make so many action films, adventure films, that when the audience sees it, they think it's American. That's not the case. If Adela's Extraordinary Adventures had something American, it would have been like Indiana Jones -- the main character is a man, the story is more serious, there's not a lot of humor, and there are gang fights. Lewis's rivalry with "Big Bird" pterosaurs is not American at all, it is...

MW: French joke?

LB: Absolutely. Adela wears a long dress. She has never drawn a gun or beaten anyone in the movie, but she is still heroic. In the story, she is a character from 1912, while Indiana Jones is a character from the 1930s and 1940s, and Laura is later. In terms of time, Adela is Indiana Jones' mother and Laura's grandmother.

MW: It seems that you don't like the title "France's Steven Spielberg" at all.

LB: There is only one Spielberg in the world. Probably the only thing I have in common with him is that we both have big beards. Two artists, one living in America and telling stories in America; one living in France and telling stories in France. I'm glad people are comparing me to him, but from a movie standpoint, it's not fun at all. Because he is a unique director, making films in his style. I will never be able to make "ET", and he will never be able to make "Blue Sea and Blue Sky".

MW: Many Chinese directors, producers and actors regard Hollywood as their dream. I can understand because that was a huge temptation in every way. How can one resist such temptation?

LB: It's easy. You have to understand why you are making movies. If you make movies to be famous and to make money, go to Hollywood. But I have no interest in being such a director. As an artist, first of all express yourself, express what he knows, understand, express his country and culture.

MW: There are two particularly interesting episodes in Adela's Extraordinary Adventures. One is that at the end of the story, Adela boarded the Titanic; the other is the interesting "big bird" pterosaur in this story. What humorous message do you want to send to another great director, James Cameron?

LB: Jim (nickname for James) is a fan of mine. But I hope you don't mention that boat in the article, because it's a surprise for my audience. At least, don't mention the ship's name in the article. In the manga published in 1972, the story ended that way. The comics were published before Jim's films. My movie is based on a comic book story, so from that point on, the big ship's plot design is okay with Jim's movie, and Avatar was done later.

MW: Are you going to make a sequel?

LB: Huh, it's not up to us, the audience has the final say. If Chinese audiences take to the streets after watching this film, holding up posters and chanting "We need Adele", I will definitely make a sequel. If the audience's reaction is bad, we definitely won't do it again.

MW: In other words, box office is everything.

LB: Can't say it's everything. Because if you love a character, the only way to get to know him is to go to a movie theater, and the box office is the favorite presentation, the message that the audience loves to deliver. To do a sequel that no one is watching would be stupid.

MW: A few days ago, I attended the press conference of the film festival that you attended, and you said at the meeting that many young directors would apply to you for funds to complete the post-production of the film. What kind of movies can you put money into?

LB: Generally, when they apply, the film has already been shot, so I can see some content in advance. If I find the film interesting and talented, then I'll help him.

MW: In return, the director who received support was to plant a tree at the Normandy post-production facility. Is there already a grove there now?

LB: Haha, yes. It was a forest for young directors. Many young directors can get money to make a movie, but they have no money for post-production after the filming. So I am willing to provide a post-production base in Normandy for these young filmmakers to use, and just plant a tree when I run out. This can not only green, but also calculate the real number of videos.

MW: Did you help with any independent films?

LB: Yes, but still watch the movie. Whether it is an independent film or a big production is not the criterion for judging. Some indie films are also silly and bad. Juno is an independent film, and...

MW: Yes, but it was very successful commercially.

LB: It was successful because it was a good movie. Sometimes even if a movie is shown in a small theater, it will be released on DVD and broadcast on TV. A good movie is always a good movie. I don't think there's a particularly big gap between the good and the bad of today's blockbusters and indie films, the war between them is over.

MW: Does your company Europa tend to support the production of some commercial films?

LB: No. If we knew the film was going to make money, every studio would grab it. I'm a keeper of movies, I just make the movies I want to see and make the movies I want to see. Once this movie is what I want to see, so good, I pay for it. It doesn't matter if they're goofy French comedies like the Taxi series or German stuff like Four Minutes. If it wasn't what I wanted to see, I wouldn't pay even if a big star like Huppert was involved. You think I'm paying for these films to make money is stupid because no one knows how these films will turn out. I can sleep soundly at night only by making the films I want to watch. If the result is not good, it's fine, anyway, I can confidently say: "I like it!"

"Weekend Pictorial" No. 606, A27

's relaxed policy and comfortable environment allow French films to grow in an orderly manner. In addition to allowing local filmmakers to shoot pure films without any worries, maintaining the noble attitude of art, it also allows French filmmakers who go out to have something to rely on. I have to admit that it is the French film policy that allows filmmakers to attack and defend. France interviewed and wrote

in Hollywood and abroad : Zhong Bei France is the number one film country in Europe, with an annual output of about 150 films. In France, French films often compete with Hollywood blockbusters, and the box office becomes the number one of the year. Taking 2008 as an example, "Welcome to the North" broke the box office record set 40 years ago by "Escape from a Tiger's Mouth". In addition, France has the most complete film industry outside of Hollywood, with films nominated for the Academy Award for Best Foreign Language Film almost every two years. So Hollywood has always regarded French films as a source of creativity and a talent pool. Now, the new wave, film noir, author's film genres of French cinema have flourished in Hollywood. And many local French movie stars are striving to develop in Hollywood, such as Marion Cotillard, who won the Oscar for "Best Actress" in 2008, and the actresses of "The Da Vinci Code" and "Amelie" The protagonist Audrey Tautou (Audrey Tautou), the older ones include Sophie Marceau, "Tarzan" actor Christopher Lambert (Christopher Lambert), Juliette Binoche, Catherine Dener Eiffel, Jean-Reno, Vincent Perez...







Not only that, Hollywood has also successfully recruited many French directors. The most typical example is Luc Besson. "Leon the Killer" and "The Fifth Element" are both American-style French blockbusters. And like Jean-Jacques Arnold ("The Name of the Rose"), Jean-Pierre Genet ("Alien 4"), Matthew Cassowitz ("Babylon AD"), Louis Leterrier ("Alien 4") "The Incredible Hulk"), Christopher Gance ("Silent Hill") worked directly in Hollywood. For these French filmmakers, Hollywood was the touchstone of the famed Vanity Fair and the film industry.

French film language

Although Hollywood is a melting pot that gathers top world film talents, all filmmakers who have a bit of a spectrum will be recruited. However, not all French filmmakers bought their accounts, and some even clearly expressed their disgust for Hollywood, and even took to the streets or burned Hollywood films to resist "cultural aggression" in severe cases. The most famous is Jean-Luc Godard, the representative of French "new wave cinema". Godard likes to study "Selected Works of Mao Zedong" and admires the model drama of the Chinese revolution. In his opinion, Spielberg is a "liar" who wastes film footage.

Godard's example is extreme. Not long ago, Mona Achache, director of "The Elegance of the Hedgehog" who appeared at the 7th French Film Festival, said that "Luc Besson is not my cup of tea". Despite being in France, Adela's Extraordinary Adventures topped the French box office in its first week of release.

"In France, we think Luc Besson is a special person. He's very powerful, he's a movie tycoon. I think many of Besson's films are interesting, and as a producer, Besson has also made a lot of things," said Ashachi. Good movie. But he's mostly commercial movies, he's not my cup of tea. Sometimes he's a big businessman rather than a producer, director. I can't imagine how a businessman can make a real Movie."

The young female director somewhat despised Besson's meaning, but it is also a certain fact that the box office of "Hedgehog" was not as good as that of the heroine "Adela". But why is a director who is not tough at the box office, why can't he look down on the box office Icon? In a country with a population of only 65 million, in addition to the films imported every year, France has to digest about 150 films a year, and the entire film market is also in a state of free competition. Why are these local films that do not need to be exported? High-profile to maintain their own taste and quality?

To explain this problem, we must first clarify the characteristics of French cinema. If Hollywood is using a common language to make films for audiences all over the world, then French films are probably talking to themselves. Compared with the splendid landscape and expensive post-production of Hollywood blockbusters, French films tend to present different aspects of life and tell the reality of the moment with ironic or indifferent brushstrokes. For a long time, French films have been influenced by realism, adhering to the tradition of being close to and reflecting social reality, which has become the most constant characteristic of contemporary French films. Whether it's Tessina, who tells gay stories, or Corno, who is film noir, there are no exceptions. Even commercial films such as "Violence 13" and "Corporate Warrior" produced by Luc Besson's Europa Company have elements of French reality.

It can be said that focusing on the present is the benchmark for French cinema. At the 7th French Film Festival, "The Elegance of the Hedgehog", which tells the story of the Paris concierge, and "The Two Houses of Lea", which tells about the family problems of the young girl Lea's growing up, tells the story of the pianist Matthew and his younger brother Paul. The "Dawn of Tomorrow" ... is all related to the problems in the French real society, such as people's loneliness in modern society, the helplessness of people-to-people communication, the growth of children in divorced families, etc.

Loyalty to reality made French directors abandon the fantasy competition with American films. French cinema is everyday, life-like, and the setting is real. It's not surprising that when Luc Besson's "The Fifth Element" came out, French film critics thought it was his "capitulation of Hollywood cinema" and "a betrayal of French cinema", because of the kind of doomsday, Star Wars-style whimsy doesn't belong in the language of French cinema.

Policy "rob the rich to help the poor"

The most important reason why French films dare to stay close to reality and even abandon the business model is the support of the state. To a certain extent, it is precisely because of the support of the state that the development of French cinema has become what it is today. The French film policy can be said to be a model for the film support policies of European countries. For example, the French government's "cultural exception policy" aims to show that cultural products, especially films, require considerable investment, and that cultural products can be different from products in other industries.

The most important role in supporting the French film industry is the French National Film Center (CNC). This agency is affiliated with the French Ministry of Culture and manages the French government's grants for the audiovisual and film industries. According to statistics, 70% of French films each year directly benefit from this institution, especially the so-called "art cinema".

Martine Vidalene, vice-chairman of the Short Film Production and Short Film Export Committee of the French Film Union, explained by taking the application for CNC funding for a short film as an example: "Our selection criteria are not based on whether the film is profitable or not. For example, we generally do not choose comedy films, because most of these types of films are more commercial. The themes we recommend are mostly art films, author films. The purpose of this is to help some talented newcomers love films To get familiar with this profession and bring them into the film industry, another layer of significance is to increase the popularity of these newcomers and help their future career development. In short, our purpose is not to make profits, but to help the film industry Germination of new things and vitality."

For CNC, it does not have to worry about funding. CNC's film industry support funds mainly come from state appropriations, special surtax on cinema seats (TSA, 11% of ticket price), income tax on private TV channels, and revenue share from public TV stations. The part of the state appropriation has hardly been cashed, and only in a few years, the government has invested. Most of the time, the source of funds depends on taxes.

Ms. Bai Nan, head of the Greater China Region of the French Film Federation, told me: "Although Hollywood blockbusters imported into France are very popular, they also pay a considerable proportion of tax. So they rob the rich and help the poor, and use the proceeds of American films to subsidize local French films.” This means that the total amount of special surtax to be paid by a Hollywood blockbuster is equivalent to the production cost of 5 to 6 French films.
On this basis, two main funding funds are formed: automatic funding and selective funding. The former is directly linked to the box office, and the revenue share is automatically returned to the producer; the latter relies on the box office advance payment system, namely CNC, to prepay a part of the film budget to the producer (usually 5~6%), if the film can be profitable, the production People will pay back the money they borrowed to the CNC, and if the film fails, the producer doesn't have to pay it back.

In addition to the special surcharge, French TV channels also have great support for the film industry. The French government stipulates that 20% of the annual revenue of paid private channels should be used to buy or co-produce local films. It is not surprising that the biggest film studios in France are TV stations such as TF1, Canal Plus and Arte.

A double-edged sword supported by the state The

relaxed policies and comfortable environment allow French films to grow in an orderly manner. In addition to allowing local filmmakers to shoot pure films without any worries, maintaining the noble attitude of art, it also allows French filmmakers who go out to have something to rely on. I have to admit that it is the French film policy that allows filmmakers to attack and defend.

When I asked Christopher Lambert why he left Hollywood in the first place, the handsome boy who was nominated for the Best Actor Oscar for his performance in Tarzan said, "I want to go back to France to shoot some The film I wanted to make, but I'm thankful for Hollywood, which gave me my initial fame." The handsome old man is now Sophie Marceau's boyfriend, and probably his most work is walking around with his girlfriend.

Look at Juliette Binoche, who won the "Best Actress" at this year's Cannes Film Festival with "Legal Copy." What made her really familiar to the world audience was her role as a nurse in "The English Patient", and "Chocolate" earned her a "Best Actress" nomination at the 2001 Golden Globe Awards. But Binoche, who won an actress this year, said in an interview with the media, "I do have a fear of Hollywood, and I don't know why I can say no to Spielberg's "Jurassic Park," let alone "Jurassic Park." Know why I turned down the role of Tom Cruise on Mission: Impossible." Her reason for fear is: "I want to protect my children. My life is very personal, so I didn't have a choice in the first place. Living in New York, Los Angeles, or London, where you can't live peacefully, rest in peace, and worry about your kids making headlines all the time. For me, living without privacy is totally unacceptable Yes, you know, in Paris, the law prohibits taking pictures of private individuals on the street, and I think maybe that's why I don't want to go to Hollywood to make a film."

Although Lambert and Binoche's words are a bit cheap and condescending Suspicious, but it's a good choice to return to the French film industry. After all, in the more competitive American film circle, the twilight ending of the old hero may be more tragic.

The old-timers' film mechanics are by no means 100% perfect. On the contrary, it is precisely its comfort that leads to the loss of competitiveness and the redundancies of the institution. Earlier, I interviewed Morrison, who used to be Time magazine's station correspondent in Paris, France. He said, "France today has been reduced to reminiscing about its past glory. The underlying reason is the French economy. The decline of power and international influence and the over-developed policy of cultural protection. Compared with the reality that the American cultural industry thrives without relying on government funding, France is simply unable to resist the invasion of American culture.”

Today’s audiences are faced with the output of Hollywood movies. Values ​​have become accustomed to, whether praise or criticism, have become the catalyst and lubricant of this value. And what French films and French filmmakers do, whether they are stories that are close to reality or stylized sketches, are in the situation where Hollywood films dominate, and they have won more voices. That is the mission of French cinema.

Weekend Pictorial Issue 606, A28~29

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Extended Reading
  • Brett 2022-03-28 08:01:02

    The Egyptians are so happy, pointing to the Louvre and saying that it is so beautiful that the pharaoh who built a pyramid here is simply possessed by the lemur king Juli of Madagascar. . The starring Miss Louise is really beautiful, and I didn't see her "superior acting skills", but compared to this gorgeous fantasy blockbuster, the performance given is still wonderful enough, and some of the scenes are quite overflowing.

  • Clifford 2022-04-02 09:01:15

    There is nothing left of the photoelectric shears.

The Extraordinary Adventures of Adèle Blanc-Sec quotes

  • Adèle Blanc-Sec: Death is the only path that leads to birth.

  • Adèle Blanc-Sec: [repeated line]

    Adèle Blanc-Sec: Into my arms!