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Text of the page (random words):
willing to talk about every facet of the film the interview too was herky jerky and wildly allusive but i kept having ah ha moments as we talked the way you do when you unpack a dense enough work and i ve long meant to share these tidbits so a transcript follows i m sorry it s so late let me set the scene we were in the last half of the annual toronto international film festival just past the point of exhaustion desplechin spoke a clear somewhat manic often skittering english we turned only occasionally to the translator and even in the media rich environment of a film festival where movie writers pack in four five sometimes more films every day i found desplechin s love of the medium both rare and energizing though we explored the film s ideas only lightly the way he described his playful approach to its many fragments sent me sailing through the final days of the fest i ve flattened his voice into text but i hope you get something similar robert davis when you see a bunch of films in a festival in a short period of time you start connecting them in your head and seeing common themes and in this festival i ve seen a lot of family dramas and family reunions but yours is very different there s more there s more energy and more acid i think arnaud desplechin laughs rd could you tell me what your original idea was for the film ad what you said you know more energy more just to be brutal really it s coming from films you know yes i had the governing lines of the plot but empty lines which means i didn t know anything about the marrow transplant or just the movement of it the idea ok this amount of characters they will be gathered in that house in a large house the title the idea do you have in canada or the us these sort of houses during christmas we call them les calendrier de l avent and you know each day of the month before christmas you open a little window rd yeah ad and you have a small gift which is not a gift it is just glowing you know and so the kids open 21 22 23 24 baby jesus so that kind of shape with scenes like little rooms plus in the set little rooms for each character so i had this shape in mind plus i saw i guess i saw it when i was a kid but i didn t get it but when i saw only angels have wings by howard hawks those characters were so brash you know and i thought it was so modern and i thought ok let s think about the last films i saw this year they are much more cowardly than the howard hawks movie which was made in the 1930s and the speed of it snaps his fingers snap snap snap and that speed in the movie making was driven by the speed of the characters themselves you know what i mean in this howard hawks movie the guys are all aviators rd yes rita hayworth cary grant and jean arthur in only angels have wings ad yeah yeah so they re risking their lives each day i mean really risking i mean the opening is amazing you have a main character he s with a girl oh i would love to spend some time with you let s try let s go in a restaurant ok i ll take a plane boom the guy s dead you know feels like ten minutes of movie it s just so you understand that they don t have time to lose so they go straight to the point at the opening of each scene which gives this pace you know that is so speedy because the characters are all experiencing an emergency situation so i was trying to find the emergency and it became cancer which is the big risk and this idea of the transplant you know which is this idea of the danger the threat that forces all those characters to be that brash and impolite rd i remember in only angels have wings the way cary grant would grab the arm of who s the actress uhh jean arthur and rita hayworth of course rd ad two actresses it s wonderful in a film to have two love stories between the male and two actresses there s the blonde girl and his former ex wife or rd yeah that s right that s right he would grab their arms and rush them off to some room and it always seemed so harsh the way he would take hold of them ad yeah by the way i want to sleep with you motions as if dragging someone away no you say you can t do that in films yes but i don t have the time because i m an aviator wow it s so brutal you know so i thought it would be nice to have a family of big mouths like that acting that way rd what was your concept behind the music in the film ad several ones when i finish a film when i start editing as soon as i don t understand a scene meaning i can t figure out where the most intense moment is what s the best shot what it s about when i encounter a situation i remove the sound i just put some music any kind of music something that i happen to be listening to at the moment and i edit like that visually just like a silent film with just the music and after that i put the sound back and the dialogue always sounds right i mean it s never pointless if you have question and answer it always works because if the acting is good it s good it doesn t need sound for that so the music is the tool that helps me to understand what i did during the shooting you know critics have likened desplechin s film to the royal tenenbaums and i think it s curious that he cites the river as inspiration which wes anderson acknowledged as an influence on his tenenbaums followup the darjeeling limited thus the triangle is complete rd i will just take one very simple example at the very opening you can see junon she s alone it s quiet because now she s old and retired it s in the provinces small city and she s fixing the tea for her husband so it s cool and nice and i was listening to editing to some beautiful ragas but i said why am i doing it why does it work i start to ask myself this question why does it work which drove me to the answer you know which is jean renoir s the river you know it s a film about family it s a quotation of the river jean renoir s movie because it s about death failure stuff like that but you have to express it in a sweet way so those ragas were perfect each time you could see junon she was the river she was jean renoir s movie which is a movie about a family gathering in a house you know so it just matched it permits me to understand what i shot you know but before that i knew for sure i would use the mendelssohn score because here and there there were some quotations of midsummer night s dream so i thought the mendelssohn music would be appropriate for the firecrackers you know and after each time it s something like that rd and another movie that sort of hovers musically is vertigo ad yeah yeah yeah yeah this one i knew i would have to quote that sound you know because henri s character is about he s a widower he s the eternal widower he had this wife the italian one she just died two weeks after they were married and his mother will die you know and then the mother is in this museum and the name of the character is madeleine so it s about women and loneliness and the fact that when you love a woman it means that you always loved another one before so it s quite deceptive but it s nice let s be practical because it does happen laughs and so this feeling yeah the vertigo yeah it just you see what i mean so it sort of yeah rd and the charles mingus song that s in the movie is reincarnation of a ad of a bird yeah rd of a lovebird it all fits ad yeah i think it was appropriate for the scene laughs so each time it s a way to try to dig the meaning of the scene you know plus the character who had this letter which is so violent so brutal and when henri is writing to his sister the lines are really brutal and when we discussed that on the set with mathieu we knew that we wouldn t be brutal that in a way it was much more interesting to act it like a sort of regret you know to say and plus to focus on the very last lines little sister the fact that he s sorry for his sister you broke up your toys you know i m really sorry you want to fix them so to be full of love instead of full of anger you know and so i thought elizabeth would have such a bad time during the movie then to offer her a lullaby would be nice so i tried the lullaby by gerswhin you know and i knew this wonderful french jazz player armel dupas you know and so we used the quateure and he added some improvs on the lullaby so not to be mean to elizabeth s character that was it it was a way to take care of her and her son so it s always things like that rd the way mathieu speaks the letter to the camera seems theatrical enough that i wondered at first if it were real i mean we see the letter but later he says since when do i write letters ad laughs rd as if i wondered for a minute did he really write this letter ad just after that he adds a little oh yeah i wrote to her actually the letter does matter a lot in the movie but for the character oh yeah i just wrote it rd he barely remembered ad that s it but for him it s such a big deal in the opening but the guy he just didn t realize how violent he is you know because the letter was quite violent yeah yeah come on i wrote a letter it s strange rd i wonder too if he got some of that from his mother who also has very harsh things to say to him especially about how her body is going to reject she doesn t want his bone marrow ad yeah or the opposite when she says i love this line henri came from my womb so i m taking back what belongs to me wow she s speaking like schwarzeneggar you know and it s funny because they are so sure they hate each other and that they don t match each other but they look alike junon and her son rd and even the final scene their final exchange at the end in the hospital it almost seems tender even though the words are harsh just the fact that they re together seemed a little bit tender ad yeah yeah yeah rd abel the father is a really lovable character in the film and i know you made a movie previously about your father and about a house and i haven t had a chance to see that yet unfortunately but i wonder if any of your own father is in the abel character ad i m sure he would love it he would be proud laughs no it s a different kind of character and yes i m a good son i do love my father laughs it s quite different quite different it sounds more like uh pause perhaps does it sound more like my grandfather the father of my father yeah there are a few things the fact that perhaps it s just because my father was like les pã res qui maternent mothering fathers you know that kind of character rd yeah so in addition to madeleine there is another character we never see but who is sort of a ghost in the story and that s henri s brother ad joseph rd that s right joseph the child who died and there s also this wolf in the basement i like how there are things just outside of the frame things the characters are all aware of ad yeah rd and that still affect their lives even though they re long gone i was going to mention one other thing about vertigo which is i know your film is going to be in san francisco s french series in october have you been to san francisco ad yeah once er twice rd if you haven t already you should go see the vertigo sites you can see all these different locations that are in vertigo ad i had the chance to do some jogging you know so each time i have been actually i ve been three times out there and my jogging is along the piers up to vertigo s bridge aka the golden gate bridge and if you make a little loop you can go in front of this place where the old arch where you have this famous wide shot where you know yeah plus i was staying at the hotel just in front of madeleine s place rd oh cool ad yeah just in front of the corner where he s parked and waiting for the first time the first time that he s following her i was staying in the hotel just beside and i could see the place it s amazing but i couldn t stop thinking of harry callahan too dirty harry rd oh yeah yeah ad so sometimes i was seeing dirty harry and sometimes here it was vertigo it s quite a cinematic city rd there s a moment in vertigo when they re walking in the muir woods and there s nothing special going on but because the music is really eerie it gives it this sort of ghostlike quality and in your film a christmas tale there are many scenes like when the two women are shopping when the music is very tense like something is about to happen something sinister but it isn t necessarily a sinister situation i like how the music can provide a counterpoint in that way ad yeah it s funny because it s a scene where the two women are quite i guess they try to impress the other one ok you re gutsy i will be i will show you i m gutsy i will show you how gutsy i am you know they are you re a bitch i m a bitch come on look there s something like that between the two girls you re funny i can be funnier you know there is something like that plus there is a real friendship between them which just happens why are we friends it is just there in the middle of them but junon escaped she escaped because she doesn t want the marrow transplant any longer you know she doesn t want to risk anything she s bored with sickness she s bored with the fact that she will die she s bored with the fact that she s getting old you know ok next year i will have this leukemia and it s the last dress i m buying i won t be a woman any longer i ll just be a pitiful human being you know shitting in my bed in the hospital i won t be light and you know so there something there is a sort of emergency pace in it which is it s the last time i m doing it because i m getting too old it s the last time that i can pretend that i m light and free so that s why i thought the music was not to cheat with the scene but was revealing a facet of the scene which is relevant rd one of the few things the family does together is they stop for a minute to watch cecil b demille s the ten commandments ad laughs rd why do you think it s important that they watch that movie and that scene it s the parting of the red sea ad if i was telling you the truth you would be horrified i m not sure that i m allowed to say it because it would sound so pompous and intellectual and like an obscure joke that i m doing just with myself i don t want to impose that on anyone in the audience first i know for sure that i m allowed i feel that i m allowed to say it because i was raised as a good catholic boy you know the jesus character on screen is boring to me i m not saying for the other spectators but to me he s boring because he will lose you know and i always thought that moses was a better character on screen rd laughs ad it s just like that you know when i was ten years old i thought all the films with jesus i know passolini s film is so great but in other films to me it was a weak character i was not that interested plus i couldn t relate because the guy is always saying that he s the son of god ok fine so i m not the son of god i m just a human so it was difficult for me to relate to a character so powerful so it was quite difficult so yes i love the biblical mov...