1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:39,665 --> 00:00:42,168 Clearly, there's going to be some piano in this. 4 00:00:44,378 --> 00:00:49,300 It was important for Arte and Gaumont to agree 5 00:00:50,176 --> 00:00:52,720 not to have their sound signature in the beginning, 6 00:00:52,803 --> 00:00:57,933 so that the first thing you hear is piano. 7 00:01:02,146 --> 00:01:03,773 I really like opening credits. 8 00:01:04,690 --> 00:01:08,235 For a while now I've been working on them with Olivier Marquézy. 9 00:01:09,820 --> 00:01:14,658 After talking about fairly complex deconstruction themes for a while, 10 00:01:15,159 --> 00:01:18,079 one day he showed me some footage he had shot 11 00:01:18,537 --> 00:01:23,084 of the sun peaking through the leaves. 12 00:01:25,169 --> 00:01:29,173 And... this is something I filmed by myself 13 00:01:29,465 --> 00:01:33,552 in a really dense tree, in Brittany. 14 00:01:34,011 --> 00:01:40,768 My son was opening the branches one by one to get this glistening effect. 15 00:01:44,522 --> 00:01:48,109 I was thinking of the melodrama, the actors' names, 16 00:01:48,192 --> 00:01:49,485 the director's name, 17 00:01:50,861 --> 00:01:52,696 the title, and... 18 00:02:06,544 --> 00:02:10,923 This is a beginning. It wasn't supposed to start like this. 19 00:02:12,049 --> 00:02:16,512 The first thing we did before the shoot, of course, 20 00:02:16,595 --> 00:02:19,890 was to build a past for these characters, 21 00:02:19,974 --> 00:02:22,059 their family life in this house. 22 00:02:22,768 --> 00:02:30,768 The old Polaroids that you see here were taken by Christophe Beaucarne, 23 00:02:32,027 --> 00:02:35,573 over the course of two days when Vicky, Arieh, 24 00:02:36,407 --> 00:02:41,078 Sacha and Anne-Sophie lived in the house and took pictures of themselves. 25 00:02:42,288 --> 00:02:44,456 We came up with the photo memory idea 26 00:02:44,540 --> 00:02:47,668 when Christophe was placing the Polaroids on the garden table 27 00:02:47,751 --> 00:02:49,086 one by one after taking them. 28 00:02:59,096 --> 00:03:01,307 Obviously, we knew... 29 00:03:02,266 --> 00:03:05,352 some things would be imaginary and some would be real. 30 00:03:07,396 --> 00:03:10,232 Without even talking about it, Christophe Beaucarne and I, 31 00:03:10,316 --> 00:03:13,152 as well as Olivier Mauvezin, the sound engineer and everyone... 32 00:03:13,485 --> 00:03:17,656 we had the intuition that they shouldn't be different. 33 00:03:17,740 --> 00:03:19,783 The material should be exactly the same. 34 00:03:24,538 --> 00:03:30,294 We thought we could show some discrepancies through sound. 35 00:03:32,379 --> 00:03:38,552 Hence this internal breathing. 36 00:03:46,060 --> 00:03:48,103 For those of you who have already seen the film, 37 00:03:48,646 --> 00:03:52,483 you know that a clue is coming. 38 00:03:55,486 --> 00:03:59,031 A little boy, stiff like a corpse. 39 00:03:59,740 --> 00:04:00,783 The sound disappears 40 00:04:01,242 --> 00:04:04,286 and she lays him to rest in the snow. 41 00:04:06,538 --> 00:04:07,539 Then, 42 00:04:08,457 --> 00:04:09,625 another corpse. 43 00:04:10,167 --> 00:04:11,168 All in white. 44 00:04:14,255 --> 00:04:15,547 Eyes closed. 45 00:04:17,925 --> 00:04:19,051 All this, of course, 46 00:04:19,927 --> 00:04:24,640 is insidious, subterranean, because what you see on screen, 47 00:04:25,474 --> 00:04:27,768 and that's why I was going to say the film is welcoming, 48 00:04:28,519 --> 00:04:30,896 is a woman leaving... 49 00:04:32,690 --> 00:04:33,691 at dawn. 50 00:04:50,082 --> 00:04:54,628 The musical note that triggers this dual time 51 00:04:56,005 --> 00:04:57,673 is something we came up with 52 00:04:57,756 --> 00:04:59,758 in the editing phase, with François Gédigier. 53 00:05:02,511 --> 00:05:06,307 There were clues, traces... 54 00:05:07,975 --> 00:05:09,727 ...this shopping list, 55 00:05:10,519 --> 00:05:14,690 this fridge which is like a memory that will evolve... 56 00:05:21,572 --> 00:05:26,493 We did this so that once the film is over, the audience can really process 57 00:05:27,369 --> 00:05:29,580 the moment when this woman is leaving 58 00:05:29,663 --> 00:05:33,500 as part of her imagination, not of reality. 59 00:05:35,336 --> 00:05:37,629 It seemed very sensitive to us, 60 00:05:37,713 --> 00:05:40,507 obvious, to have this dual time. 61 00:05:41,300 --> 00:05:43,093 A door opens... 62 00:05:45,846 --> 00:05:47,723 and somebody else arrives. 63 00:05:52,394 --> 00:05:53,604 The mittens... 64 00:05:54,438 --> 00:05:58,067 In Claudine Galea's play... The first thing I did 65 00:05:59,109 --> 00:06:02,196 was a sort of archaeology of all the objects 66 00:06:02,821 --> 00:06:04,948 she put in the play. 67 00:06:05,657 --> 00:06:07,534 The mittens were one of them. 68 00:06:12,331 --> 00:06:16,502 Here we go. She sees the rod 69 00:06:17,878 --> 00:06:19,296 which looks harmless. 70 00:06:24,593 --> 00:06:28,680 There's something violent in locking up the audience inside but... 71 00:06:30,849 --> 00:06:32,643 You can get out through the back door. 72 00:06:36,939 --> 00:06:40,651 Same thing here. Another clue. 73 00:06:41,235 --> 00:06:45,155 The car, we don't know yet which car she is going to. 74 00:06:46,198 --> 00:06:48,575 The fact that she is wrapped in a shroud. 75 00:06:58,001 --> 00:07:01,296 So we see a woman who is leaving. 76 00:07:02,047 --> 00:07:05,926 But you get the feeling that there might be something wrong, 77 00:07:06,009 --> 00:07:08,053 something else going on. 78 00:07:12,224 --> 00:07:16,562 We shot the film in Saint-Gaudens, a town nested in the valley. 79 00:07:17,688 --> 00:07:20,858 You can see the Pyrenees Mountains from there. 80 00:07:20,941 --> 00:07:22,734 Some people are attracted to the valley, 81 00:07:22,818 --> 00:07:24,486 others to the mountains. 82 00:07:25,779 --> 00:07:27,906 And then there is this factory, 83 00:07:27,990 --> 00:07:30,993 which looks like the Eiffel Tower of Saint-Gaudens, 84 00:07:31,076 --> 00:07:34,079 a smelly Eiffel Tower. 85 00:07:36,415 --> 00:07:38,584 We had to shoot over the course of three seasons, 86 00:07:39,585 --> 00:07:44,840 because we have the mountains in winter, the mountains after the snow has melted 87 00:07:44,923 --> 00:07:47,551 and we also shot in the fall. 88 00:07:48,427 --> 00:07:51,555 In between the seasons, in between the shoots, 89 00:07:51,805 --> 00:07:53,474 François and I would go up there. 90 00:07:53,807 --> 00:07:58,187 We felt like doing this scene at the very end of the shoot. 91 00:07:58,520 --> 00:08:00,439 It's a gas station. 92 00:08:01,523 --> 00:08:04,651 So... since there was a gas station, 93 00:08:05,027 --> 00:08:08,489 we had to have Aurelia Petit, just like in "On Tour." 94 00:08:10,115 --> 00:08:13,327 And she's wearing rouge, just like she did in "On Tour." 95 00:08:14,912 --> 00:08:20,083 I needed Clarisse to say a few things before leaving. 96 00:08:23,587 --> 00:08:25,839 We find out that she is German. 97 00:08:42,606 --> 00:08:45,651 Here we go. In truth, everything is said here. 98 00:08:49,238 --> 00:08:50,572 But you can't hear it. 99 00:08:58,705 --> 00:09:00,082 "You know, I see them." 100 00:09:02,292 --> 00:09:06,129 All right. But this woman is leaving. 101 00:09:08,882 --> 00:09:12,010 I also liked the idea that maybe it's like Thelma and Louise, 102 00:09:12,094 --> 00:09:14,429 maybe she's in love with this woman. 103 00:09:15,722 --> 00:09:18,016 When you're in the audience and the film starts, 104 00:09:18,100 --> 00:09:21,061 you imagine a billion stories immediately. 105 00:09:25,315 --> 00:09:33,198 We were always trying to find ways to include piano and music. 106 00:09:34,408 --> 00:09:40,539 Hence this fanciful idea of a gift offered by the gas station. 107 00:09:42,583 --> 00:09:44,209 It's a little far-fetched... 108 00:09:46,461 --> 00:09:47,462 but it works. 109 00:09:56,179 --> 00:09:59,850 We knew that Beethoven's Sonata No. 1 110 00:09:59,933 --> 00:10:03,312 would be played again later by Anne-Sophie. 111 00:10:05,063 --> 00:10:08,066 We had already shot the following scene. 112 00:10:08,650 --> 00:10:12,154 This one was shot in November 2019 113 00:10:12,404 --> 00:10:16,700 and the following scene was shot in May 2019. 114 00:10:17,784 --> 00:10:20,579 You see, another clue: 115 00:10:21,788 --> 00:10:22,998 "You made it up." 116 00:10:27,419 --> 00:10:33,258 There are traces of Paul, the character in Claudine Galea's play 117 00:10:33,342 --> 00:10:40,015 because she wrote the play "Je Reviens de loin" for the stage 15 years ago 118 00:10:40,599 --> 00:10:42,309 and it was never produced. 119 00:10:43,935 --> 00:10:45,771 These characters had never existed. 120 00:10:56,281 --> 00:10:57,616 I like traffic jams. 121 00:10:58,909 --> 00:11:02,037 I like it when there are three things happening at the same time. 122 00:11:03,288 --> 00:11:06,500 This house was fantastic for that. 123 00:11:08,669 --> 00:11:14,341 We could film people moving all around the house. 124 00:11:16,718 --> 00:11:18,720 There are two things going on at the same time. 125 00:11:19,179 --> 00:11:22,015 The lighter, which we've seen already. 126 00:11:26,770 --> 00:11:28,814 He leaves, another one comes. 127 00:11:33,318 --> 00:11:39,324 Here we have these little poems again, which were in Claudine's play. 128 00:11:45,789 --> 00:11:50,210 I like the fact that for her, this car... 129 00:11:51,545 --> 00:11:54,756 She imagines it's a booth 130 00:11:55,799 --> 00:11:58,093 where she could be in touch with them. 131 00:11:58,593 --> 00:12:00,554 We came up with the antenna. 132 00:12:01,888 --> 00:12:05,726 There's also the joy of these old cars. 133 00:12:05,809 --> 00:12:09,312 You need an adapter to play tapes. 134 00:12:10,188 --> 00:12:11,648 You see the word "piano." 135 00:12:14,067 --> 00:12:19,531 Every morning I made a very detailed list of all the information 136 00:12:19,614 --> 00:12:21,700 we had to communicate surreptitiously. 137 00:12:22,492 --> 00:12:24,202 It's a film made of feelings. 138 00:12:25,328 --> 00:12:29,249 The audience can only feel these feelings 139 00:12:29,332 --> 00:12:35,172 if we have an extremely detailed canvas. 140 00:12:42,304 --> 00:12:43,513 And here is Vicky. 141 00:12:46,725 --> 00:12:49,227 This is the moment we really get to know her in the film. 142 00:12:59,237 --> 00:13:01,615 During the editing phase, very quickly, 143 00:13:03,074 --> 00:13:06,328 we realized that it couldn't be just a road movie. 144 00:13:07,537 --> 00:13:15,086 We needed something to derail quickly. 145 00:13:16,713 --> 00:13:24,713 Hence this sudden musical telepathy that she seems to be able to control, 146 00:13:26,556 --> 00:13:28,517 between her and her daughter. 147 00:13:29,976 --> 00:13:32,270 With dialog we've already heard, 148 00:13:33,855 --> 00:13:37,108 with voice overs, soliloquies, 149 00:13:37,818 --> 00:13:40,237 I was almost going to say ventriloquist stuff. 150 00:13:42,030 --> 00:13:43,073 "Where are you?" 151 00:13:58,797 --> 00:13:59,965 "Shut up." 152 00:14:00,465 --> 00:14:02,384 Here we go. Who does she say "shut up" to? 153 00:14:12,978 --> 00:14:16,731 Here, we think: OK, she's all right. 154 00:14:17,566 --> 00:14:18,900 When we hear this music. 155 00:14:19,943 --> 00:14:22,362 That's it. She's on the road. 156 00:14:23,363 --> 00:14:25,490 So it really is a road-movie. 157 00:14:26,908 --> 00:14:28,785 It really is a woman 158 00:14:30,328 --> 00:14:32,497 who seems relieved of something, 159 00:14:33,707 --> 00:14:35,208 relieved because she's on the road, 160 00:14:36,751 --> 00:14:38,461 because she left her family. 161 00:14:40,171 --> 00:14:45,510 But intravenously, there are a couple feelings from before 162 00:14:47,804 --> 00:14:49,681 that we must have perceived. 163 00:14:51,683 --> 00:14:53,560 There are urges in her that... 164 00:14:55,395 --> 00:15:00,525 are shattered. Meaning... 165 00:15:02,944 --> 00:15:05,906 Are they memories? Are they thoughts? 166 00:15:05,989 --> 00:15:10,660 In any case she is haunted, she is not alone in her journey. 167 00:15:16,124 --> 00:15:17,876 The music stops abruptly. 168 00:15:26,384 --> 00:15:30,388 "You should give us a story we can tell." 169 00:15:30,472 --> 00:15:33,433 I really liked this line in Claudine's play. 170 00:15:33,975 --> 00:15:37,020 What is the story she can tell? 171 00:15:37,312 --> 00:15:40,315 If she tells the truth, it's unbearable. 172 00:15:40,398 --> 00:15:41,900 She can't tell the truth. 173 00:15:43,443 --> 00:15:44,569 Here we are. 174 00:15:46,112 --> 00:15:47,614 "That's what I am doing, dear." 175 00:15:49,741 --> 00:15:51,368 She means she's making it up. 176 00:15:57,916 --> 00:16:01,461 This scene came very late during the editing phase. 177 00:16:02,671 --> 00:16:07,175 Always, paradoxically, with the aim to clarify. 178 00:16:07,676 --> 00:16:15,392 We are 15 minutes into the film and she is telling exactly the truth. 179 00:16:25,151 --> 00:16:27,696 But again, we can't hear it. 180 00:16:27,779 --> 00:16:30,532 François and I realized that one of... 181 00:16:32,158 --> 00:16:33,994 the exciting tensions of the film... 182 00:16:34,077 --> 00:16:35,495 was denial. 183 00:16:41,001 --> 00:16:44,170 This is something I figured out very late, during sound mixing, 184 00:16:44,546 --> 00:16:47,841 with François and Nicolas. 185 00:16:48,508 --> 00:16:53,888 This "Señora, Señora" will come back later. 186 00:17:03,565 --> 00:17:05,567 She said she wanted to see the sea. 187 00:17:05,650 --> 00:17:07,068 She can see the sea now. 188 00:17:08,028 --> 00:17:09,487 But the sea doesn't answer. 189 00:17:11,489 --> 00:17:12,532 So she leaves. 190 00:17:16,286 --> 00:17:20,457 We extended this sequence too, it wasn't like this at first. 191 00:17:22,834 --> 00:17:26,254 At first, we even had her go to a wellness center. 192 00:17:27,380 --> 00:17:28,631 There was talk of madness. 193 00:17:31,176 --> 00:17:36,222 We cut all of it because it curtailed imagination, 194 00:17:36,306 --> 00:17:39,893 it shielded the audience. "Oh, all right. 195 00:17:40,310 --> 00:17:43,480 She is crazy. This doesn't concern me." 196 00:17:44,064 --> 00:17:45,523 It was more disturbing 197 00:17:47,108 --> 00:17:50,070 to have her be just like us. 198 00:17:50,320 --> 00:17:52,030 Because we're all like that. 199 00:18:02,290 --> 00:18:07,045 Of course, there was a sort of interference in the sound textures, 200 00:18:08,838 --> 00:18:15,095 which became a vocabulary of its own 201 00:18:16,513 --> 00:18:18,765 and in truth, replaced the actual dialog. 202 00:18:19,349 --> 00:18:20,350 Objects... 203 00:18:22,477 --> 00:18:27,065 to hunt nightmares or catch dreams, it's up to you. 204 00:18:28,566 --> 00:18:31,528 We'll see this again a little later. 205 00:18:33,029 --> 00:18:35,365 I always asked Christophe Offret, the prop master, 206 00:18:35,448 --> 00:18:40,036 to keep all the objects that were used in a scene, 207 00:18:40,954 --> 00:18:45,875 because Clarisse might want to see them again. 208 00:18:47,710 --> 00:18:50,630 Where is she in control, or not at all? 209 00:18:54,342 --> 00:18:56,636 This scene was key. 210 00:18:58,429 --> 00:19:00,723 "He's not calling me." Marc. 211 00:19:04,018 --> 00:19:05,520 This strange sentence. 212 00:19:06,813 --> 00:19:10,859 What do you mean? When we film this scene, 213 00:19:10,942 --> 00:19:12,569 played by Vicky, 214 00:19:13,194 --> 00:19:17,532 we are filming a woman who pretends she has left. 215 00:19:17,949 --> 00:19:20,702 She's thinking that if she had left, 216 00:19:21,536 --> 00:19:25,248 she might have left her phone too, or her credit card. 217 00:19:25,665 --> 00:19:28,251 We've all thought about this. 218 00:19:28,793 --> 00:19:32,922 We might not have left our family, 219 00:19:33,006 --> 00:19:36,885 we might not have disappeared but we've all thought about it at least once. 220 00:19:41,181 --> 00:19:42,182 There. 221 00:19:44,267 --> 00:19:48,730 Here, what we hear is a scene of guilt. 222 00:19:50,190 --> 00:19:51,274 A woman... 223 00:19:53,276 --> 00:19:56,362 seems to have left. It's what we see. 224 00:19:57,363 --> 00:20:00,033 And she feels guilty. 225 00:20:01,159 --> 00:20:02,452 But... 226 00:20:03,453 --> 00:20:05,747 what Vicky plays is a woman 227 00:20:06,497 --> 00:20:09,918 who has lost her family and must wait for the spring 228 00:20:11,294 --> 00:20:13,296 to find the corpses. 229 00:20:14,172 --> 00:20:15,173 So she makes things up, 230 00:20:17,675 --> 00:20:21,179 pretends she has left and they stayed behind. 231 00:20:25,642 --> 00:20:27,268 For a long time, we debated. 232 00:20:27,352 --> 00:20:31,940 Is it more touching if the audience knows or not? 233 00:20:32,982 --> 00:20:36,152 I asked François so many times that I drove him crazy. 234 00:20:37,153 --> 00:20:39,447 Actually, this scene in the café 235 00:20:41,115 --> 00:20:45,995 should happen later, once we know. 236 00:20:46,079 --> 00:20:49,707 Meaning after the scene that is coming up, 237 00:20:51,459 --> 00:20:53,294 with the avalanche and the rescue team. 238 00:20:56,839 --> 00:21:00,343 The way I shoot this kind of scene is that I set things up. 239 00:21:00,885 --> 00:21:02,929 I play the role of Clarisse myself 240 00:21:03,680 --> 00:21:08,059 and I try to give Vicky reference points. 241 00:21:08,142 --> 00:21:11,479 So this man here is a local, he comes to the bar often. 242 00:21:12,981 --> 00:21:16,484 That's all I said to her and Vicky came up with this. 243 00:21:23,574 --> 00:21:24,909 We had to go deeper, 244 00:21:26,744 --> 00:21:29,205 so that what we see on screen right now 245 00:21:29,831 --> 00:21:31,541 takes us to the other side. 246 00:21:33,960 --> 00:21:39,424 Expressions that come back... We just heard Vicky, Clarisse, use them. 247 00:21:41,050 --> 00:21:42,510 Things seem porous. 248 00:21:52,603 --> 00:21:53,646 I want to... 249 00:21:55,898 --> 00:21:57,066 have control. 250 00:22:03,531 --> 00:22:04,824 Like a prompter. 251 00:22:12,415 --> 00:22:15,501 The orange notebook, again. 252 00:22:18,171 --> 00:22:19,797 The rod, again. 253 00:22:23,551 --> 00:22:26,262 Lucie seems to play the piano a lot better. 254 00:22:29,557 --> 00:22:33,853 A merry-go-round, made out of wood. 255 00:22:34,687 --> 00:22:35,897 It's not moving. 256 00:22:36,647 --> 00:22:38,358 A carousel out of service. 257 00:22:42,236 --> 00:22:43,738 There are feelings, 258 00:22:43,863 --> 00:22:46,115 and also very tangible things. 259 00:22:46,866 --> 00:22:52,246 How can she spend the winter as quickly as possible? 260 00:22:52,789 --> 00:22:55,541 Since she must wait for the spring. 261 00:22:58,169 --> 00:22:59,212 Work? 262 00:23:01,714 --> 00:23:04,926 I liked the idea of her as a translator, working from home. 263 00:23:05,885 --> 00:23:10,973 In Vicky's bag, Clarisse's bag, she always carries The Man Without Qualities. 264 00:23:11,057 --> 00:23:12,850 That's why her name is Clarisse. 265 00:23:12,934 --> 00:23:15,561 It's a character in the novel The Man Without Qualities. 266 00:23:15,603 --> 00:23:17,563 In Claudine's play, her name is Camille. 267 00:23:19,899 --> 00:23:21,526 So we thought, there it is. 268 00:23:29,075 --> 00:23:33,121 For this kind of scene, of course, I tried to make sure 269 00:23:33,162 --> 00:23:35,373 Vicky only had to do one take. 270 00:23:37,166 --> 00:23:42,755 I really like to work with so-called non-actors, 271 00:23:42,839 --> 00:23:49,429 like this adorable History professor and his incredibly charming son. 272 00:23:49,512 --> 00:23:55,518 We had to put green make-up on him because he was too happy all the time. 273 00:23:57,812 --> 00:24:03,484 I only gave Vicky a few words. 274 00:24:03,985 --> 00:24:05,027 The word "statue" 275 00:24:08,406 --> 00:24:09,740 to refer to the child. 276 00:24:14,328 --> 00:24:15,371 And she's off. 277 00:24:16,747 --> 00:24:18,708 She takes it from there. 278 00:24:19,417 --> 00:24:21,502 Vicky Krieps takes it from there. 279 00:24:27,467 --> 00:24:30,136 The word Friday comes back very often. 280 00:24:34,098 --> 00:24:35,349 I wanted to show... 281 00:24:37,727 --> 00:24:40,938 their everyday life as a couple, this innocent sentence 282 00:24:41,022 --> 00:24:42,815 "Go without me for once." 283 00:24:44,150 --> 00:24:46,652 Yes, they went without her. 284 00:24:51,365 --> 00:24:53,326 I thought... one can pass the time 285 00:24:53,743 --> 00:24:54,952 with work... 286 00:24:56,204 --> 00:24:59,165 but there is also alcohol. 287 00:25:01,959 --> 00:25:03,711 She is going to drift and start drinking. 288 00:25:10,635 --> 00:25:13,346 Again, this realism... hyperrealism. 289 00:25:13,846 --> 00:25:15,515 Like the poster you see here, 290 00:25:18,309 --> 00:25:19,477 in the office. 291 00:25:21,604 --> 00:25:23,356 Very tangible things. 292 00:25:27,109 --> 00:25:30,988 Removing shelves. 293 00:25:31,072 --> 00:25:34,367 At one point, we even had a scene where he was removing a chunk of hair 294 00:25:34,492 --> 00:25:37,620 stuck in the sink pipe. 295 00:25:37,703 --> 00:25:39,830 He removes everything. 296 00:25:42,291 --> 00:25:45,586 Skis falling. 297 00:25:48,673 --> 00:25:50,383 There are accidents like that, 298 00:25:50,841 --> 00:25:53,803 where suddenly you take a fish seller's tool 299 00:25:55,596 --> 00:25:57,557 and all you hear is the ice. 300 00:25:59,100 --> 00:26:02,186 A sonic trajectory seems to be drawn. 301 00:26:03,396 --> 00:26:06,148 Footsteps in the bathroom. 302 00:26:09,068 --> 00:26:13,656 Again this variation on snow, the color white. 303 00:26:16,158 --> 00:26:18,911 When I was location scouting with Dylan, 304 00:26:18,995 --> 00:26:22,456 the First A.D. at the market in La Rochelle... 305 00:26:23,958 --> 00:26:29,005 I am Clarisse when I am scouting locations. 306 00:26:30,006 --> 00:26:34,677 And it was unbearable for me to see this ice. 307 00:26:36,929 --> 00:26:39,515 These slates, of course, they looked like graves. 308 00:26:41,058 --> 00:26:42,059 There. 309 00:26:43,686 --> 00:26:48,316 Vicky takes it in, she really embodies it. 310 00:26:53,070 --> 00:26:58,701 This kind of scene seems excruciating 311 00:26:59,160 --> 00:27:01,662 but when you shoot with children, this little Sacha... 312 00:27:04,040 --> 00:27:07,543 I'm laughing because he made us cry when he was doing the scene 313 00:27:07,627 --> 00:27:09,253 and as soon as he was done, 314 00:27:09,920 --> 00:27:12,548 he said, "Can I do another one?" 315 00:27:13,215 --> 00:27:15,676 But that's why there are two angles. 316 00:27:16,677 --> 00:27:18,888 We couldn't imagine doing it twice 317 00:27:20,306 --> 00:27:21,766 but a child just wants to act. 318 00:27:24,602 --> 00:27:27,480 Here we have another echo. 319 00:27:27,563 --> 00:27:31,025 A woman with a white towel. 320 00:27:31,442 --> 00:27:36,864 I asked Christophe, the prop master, to bring a white towel like... 321 00:27:37,865 --> 00:27:41,077 We thought we might put these two shots back to back. 322 00:27:41,911 --> 00:27:45,414 I always try... at least I tried with this film, 323 00:27:45,498 --> 00:27:50,878 it was my job to keep a list of junctions, a list of tracks. 324 00:27:50,961 --> 00:27:54,715 That's why I liked the idea of Marc working 325 00:27:55,841 --> 00:27:59,178 with junctions and railways. 326 00:27:59,261 --> 00:28:02,682 You see here for instance, this latch. 327 00:28:03,099 --> 00:28:04,684 Vicky found it. 328 00:28:05,184 --> 00:28:08,979 She thought of the kitchen's back door. 329 00:28:10,314 --> 00:28:13,693 Don't keep the kitchen door locked. 330 00:28:26,622 --> 00:28:28,165 This scene here, 331 00:28:28,874 --> 00:28:35,589 let me say that we've been setting it up for 10 minutes. 332 00:28:39,218 --> 00:28:42,972 The bath, white, the fish, 333 00:28:43,764 --> 00:28:46,267 the latch, the tears. 334 00:28:48,102 --> 00:28:51,480 The shelves destroyed by the husband. 335 00:28:52,732 --> 00:28:54,066 Something that... 336 00:28:55,693 --> 00:28:57,778 has been setting up this moment of horror. 337 00:29:11,250 --> 00:29:15,379 We shot in the Spanish part of the Pyrenees 338 00:29:16,756 --> 00:29:22,261 with an actual rescue team, a French rescue team. 339 00:29:22,344 --> 00:29:26,265 Here we see Sébastien, who helped us tremendously 340 00:29:26,348 --> 00:29:29,143 and gave us a lot of information. I spent a long time with them. 341 00:29:29,977 --> 00:29:33,606 We also worked with a Spanish team 342 00:29:33,898 --> 00:29:36,358 to know exactly how things were done. 343 00:29:37,943 --> 00:29:45,242 We shot this scene last, in January 2020, in winter. 344 00:29:45,326 --> 00:29:47,328 We ended the shoot in wintertime. 345 00:29:48,537 --> 00:29:49,538 Here is the mitten again. 346 00:29:50,581 --> 00:29:56,962 They told me that people are usually paralyzed. 347 00:29:58,923 --> 00:30:00,508 They don't want to believe it. 348 00:30:00,591 --> 00:30:02,885 When a tragedy happens to us, 349 00:30:03,552 --> 00:30:06,305 the first cry that comes out of our mouth is usually, 350 00:30:06,388 --> 00:30:09,350 "It can't be. Tell me it's not true." 351 00:30:09,975 --> 00:30:13,521 That was the energy of the film. 352 00:30:14,396 --> 00:30:17,983 Clarisse thinks it can't be true. 353 00:30:20,486 --> 00:30:25,032 Except that here, reality is very clear. 354 00:30:36,544 --> 00:30:40,673 The rescue team recorded the sound of walkie-talkies for us 355 00:30:41,382 --> 00:30:43,050 towards the end of the editing phase. 356 00:30:43,133 --> 00:30:47,972 We thought... I needed them to really hammer it home. 357 00:30:48,514 --> 00:30:50,724 What they were saying was much more subtle. 358 00:30:50,808 --> 00:30:51,809 But I told them, 359 00:30:52,476 --> 00:30:58,148 "No. Be blunt. I want to hear the words Corpse and Spring." 360 00:31:00,025 --> 00:31:06,031 We needed reality to come crashing in so that the character, 361 00:31:06,115 --> 00:31:12,079 Clarisse, can then drift into her delusion. 362 00:31:18,252 --> 00:31:21,005 "They're not here. It can't be." 363 00:31:22,631 --> 00:31:24,091 She just found out. 364 00:31:27,261 --> 00:31:30,848 And so she goes back to the origins. 365 00:31:32,099 --> 00:31:33,100 How they met. 366 00:31:38,355 --> 00:31:40,274 It's like being in a cave. 367 00:31:41,984 --> 00:31:45,988 We can believe we're still inside the car. 368 00:31:49,074 --> 00:31:50,576 She's wearing a strange coat. 369 00:31:51,201 --> 00:31:56,165 It looks like... ...we went too far back in time. 370 00:31:56,248 --> 00:31:58,000 They are about 35 years old. 371 00:31:59,209 --> 00:32:03,088 Surely, they didn't meet in the 1980s. 372 00:32:03,631 --> 00:32:08,469 Claudine's play talks about Bensons. 373 00:32:10,429 --> 00:32:11,889 It's not possible. 374 00:32:12,473 --> 00:32:16,685 She went too far back in time. 375 00:32:16,769 --> 00:32:20,856 Just like she makes up her road movie, 376 00:32:22,524 --> 00:32:24,401 she makes up a story about how they met. 377 00:32:26,654 --> 00:32:29,782 She reinvents it. Most likely. 378 00:32:30,991 --> 00:32:32,701 At least that's how I saw it in my mind. 379 00:32:37,873 --> 00:32:43,253 If you listen closely, the lyrics to the song are "I'll be Waiting." 380 00:32:44,672 --> 00:32:46,757 I'll be waiting. I'll be waiting. 381 00:32:54,640 --> 00:32:57,893 For this club scene, I had always thought I would use 382 00:32:57,977 --> 00:33:00,771 the song "Nage indienne" by Etienne Daho. 383 00:33:00,854 --> 00:33:03,065 That's why the film is called Hold Me Tight. 384 00:33:04,274 --> 00:33:09,738 "Hold me tight, if your body becomes lighter I can save us." 385 00:33:10,239 --> 00:33:13,784 Towards the end of the song, this turns into... 386 00:33:13,867 --> 00:33:17,997 "Don't hold me so tight, if your heart becomes lighter I can save us." 387 00:33:21,417 --> 00:33:27,214 It's the only scene where Vicky and Arieh are together. 388 00:33:27,589 --> 00:33:30,551 It was a very poignant moment where at last, 389 00:33:30,634 --> 00:33:32,845 they were physically together 390 00:33:32,928 --> 00:33:37,474 and not through a voice in their head, in their thoughts, 391 00:33:37,599 --> 00:33:39,685 or the fact that they missed each other. 392 00:33:40,477 --> 00:33:42,187 And... here it is. 393 00:33:51,739 --> 00:33:56,869 That's how we justified the fact 394 00:33:57,536 --> 00:34:01,165 and the joy of shooting with a beautiful car. 395 00:34:02,833 --> 00:34:07,337 The idea that when they met 11 or 12 years ago, 396 00:34:09,048 --> 00:34:11,800 Marc already had this old car. 397 00:34:11,884 --> 00:34:13,886 It's really his car. 398 00:34:14,720 --> 00:34:19,266 And that's also why she leaves in this car, 399 00:34:19,349 --> 00:34:22,644 because it's the car that brought her children and her husband 400 00:34:22,728 --> 00:34:23,812 to their deaths. 401 00:34:25,022 --> 00:34:28,942 Some connections are inked onto us, they are indelible. 402 00:34:29,026 --> 00:34:33,113 This one between the joy of meeting him 403 00:34:34,531 --> 00:34:37,785 and her solitude was always there. 404 00:34:39,870 --> 00:34:42,206 Of course, she removes the child seat. 405 00:34:44,833 --> 00:34:51,757 This pink scrunchie, another object that was in Galea's play. 406 00:34:55,010 --> 00:34:59,598 Here, Vicky and I thought she shouldn't cry in this scene. 407 00:34:59,681 --> 00:35:00,766 To the contrary, 408 00:35:01,475 --> 00:35:05,104 it was almost as though she was saying, "You're pissing me off, go to hell." 409 00:35:07,397 --> 00:35:08,398 "Where are you?" 410 00:35:11,985 --> 00:35:13,445 The railway theme. 411 00:35:15,572 --> 00:35:16,615 The trains. 412 00:35:17,199 --> 00:35:18,909 A man, still in love. 413 00:35:19,493 --> 00:35:23,288 His wife left, he won't let his colleagues work. 414 00:35:24,289 --> 00:35:25,582 He's stuck in a loop. 415 00:35:30,129 --> 00:35:33,298 Samuel Mathieu, one of the only professional actors in the film. 416 00:35:33,382 --> 00:35:35,467 There are very few of them. 417 00:35:38,053 --> 00:35:39,429 His wife likes it. 418 00:35:42,850 --> 00:35:43,851 She's chuckling. 419 00:35:49,189 --> 00:35:55,529 Here, we added these lines, little by little, to clarify things, 420 00:35:55,612 --> 00:35:58,615 leaving cairns along the way, references to reality 421 00:35:59,116 --> 00:36:01,535 before we go back to her delusion. 422 00:36:02,870 --> 00:36:05,455 There is nothing more simple than a face. 423 00:36:05,539 --> 00:36:08,125 Vicky's face, looking elsewhere. 424 00:36:09,293 --> 00:36:11,795 Maybe she wants to see her husband naked. 425 00:36:12,629 --> 00:36:14,631 So, there. I show him naked. 426 00:36:15,299 --> 00:36:18,302 And maybe time has passed. 427 00:36:20,053 --> 00:36:22,556 He doesn't have as much hair, he has love handles. 428 00:36:22,639 --> 00:36:25,225 Accordingly, Lucie is all grown up. 429 00:36:26,101 --> 00:36:30,355 He can't be naked anymore in front of his teenage daughter. 430 00:36:30,439 --> 00:36:31,982 We don't see her yet. 431 00:36:49,625 --> 00:36:50,792 The scrunchie. 432 00:36:51,710 --> 00:36:53,378 And this very simple sentence. 433 00:37:02,846 --> 00:37:04,223 "What do I look like?" 434 00:37:05,432 --> 00:37:06,433 Of course. 435 00:37:08,727 --> 00:37:11,647 "What are you doing to me? What am I?" 436 00:37:19,112 --> 00:37:24,660 A piece of advice: always separate road scenes 437 00:37:25,369 --> 00:37:27,537 from the shooting schedule. 438 00:37:27,996 --> 00:37:30,499 They always take a very long time. 439 00:37:31,041 --> 00:37:33,168 It's better to take a small team with you 440 00:37:33,627 --> 00:37:36,797 and spend one or two days with five people 441 00:37:37,798 --> 00:37:39,591 doing all the road scenes. 442 00:37:39,675 --> 00:37:41,510 Do not include them in the shooting schedule, 443 00:37:41,593 --> 00:37:44,179 you will waste too much time. 444 00:37:45,013 --> 00:37:49,142 This allows you to drive and see accidents like this one. 445 00:37:56,024 --> 00:38:00,570 Vicky improvises this beautiful gesture. 446 00:38:02,614 --> 00:38:03,907 That's so Vicky. 447 00:38:04,992 --> 00:38:08,495 This blend of pain and light. 448 00:38:10,580 --> 00:38:12,916 Driving at night, during the day. 449 00:38:15,210 --> 00:38:17,254 Since we shot over the course of three seasons, 450 00:38:17,337 --> 00:38:22,926 by the end we were so sick of this story, of this woman who had lost her family. 451 00:38:23,593 --> 00:38:27,806 So I told Vicky we were only going to do funny things now, in January. 452 00:38:28,307 --> 00:38:31,143 For this flirting scene, we had no actors 453 00:38:31,226 --> 00:38:34,229 so our gaffer Victor ended up doing it. 454 00:38:34,646 --> 00:38:38,191 We nicknamed him Clark Gable. 455 00:38:40,402 --> 00:38:43,822 I liked the idea that she would stare at his butt. 456 00:38:45,282 --> 00:38:46,283 Here. 457 00:38:49,202 --> 00:38:50,912 Poor sad queen, 458 00:38:53,040 --> 00:38:55,292 she doesn't have anyone to share her cake with. 459 00:38:58,712 --> 00:39:01,173 The Eiffel Tower of Saint-Gaudens. 460 00:39:01,965 --> 00:39:03,008 Again. 461 00:39:05,719 --> 00:39:09,473 Another piece of advice, when you film a car leaving from a gate, 462 00:39:09,556 --> 00:39:11,224 remember to film the way back as well. 463 00:39:11,308 --> 00:39:12,768 We didn't plan for it. 464 00:39:12,851 --> 00:39:14,269 For those who find this amusing, 465 00:39:14,353 --> 00:39:19,024 the license plate number is CJ433BM. 466 00:39:19,649 --> 00:39:23,153 I had fun with this. It's John Cage's initials reversed, 467 00:39:23,236 --> 00:39:27,657 433 is in reference to his piece 4'33" 468 00:39:27,741 --> 00:39:31,328 which is four minutes and 33 seconds of silence at the piano 469 00:39:32,204 --> 00:39:35,374 and BM is for Black Mountain, which is where he wrote it. 470 00:39:35,499 --> 00:39:39,378 So, there you go. It came about because Christophe, the prop master, 471 00:39:39,461 --> 00:39:42,714 asked me what number I wanted on the license plate. 472 00:39:45,967 --> 00:39:48,845 These are scenes we shot outside of the house 473 00:39:48,929 --> 00:39:55,769 because we didn't want to bother the owners three times, 474 00:39:55,852 --> 00:39:59,147 so the third shoot was only outside. 475 00:40:00,440 --> 00:40:03,777 I call these portraits. We made portraits. 476 00:40:07,322 --> 00:40:12,119 A portrait of Sacha, who clearly wants to climb a tree. 477 00:40:25,382 --> 00:40:28,510 Here, we have what I would call the movie pitch. 478 00:40:29,428 --> 00:40:32,264 "I'm not the one who left. I made it up. 479 00:40:32,347 --> 00:40:33,974 So you could stay here." 480 00:40:35,642 --> 00:40:42,274 The challenge was to stay at the fringe of denial. 481 00:40:43,400 --> 00:40:45,944 Clarisse is not in denial. 482 00:40:45,986 --> 00:40:50,157 She is perfectly aware of the game she has made up. 483 00:40:50,198 --> 00:40:55,412 Aware of her survival mode, her tactics, her tricks, her ritual. 484 00:40:57,497 --> 00:40:58,498 But we can't accept it. 485 00:41:00,625 --> 00:41:03,753 She smokes to remember him. She is not actually a smoker. 486 00:41:04,921 --> 00:41:07,048 She lights candles. 487 00:41:10,760 --> 00:41:12,929 I liked the idea of showing them both naked. 488 00:41:14,055 --> 00:41:15,432 We had already seen Arieh naked. 489 00:41:30,322 --> 00:41:32,491 When we shot the... 490 00:41:32,574 --> 00:41:35,160 Here you see the sign on the shelves. 491 00:41:37,162 --> 00:41:38,371 It never went away. 492 00:41:38,455 --> 00:41:42,000 I felt the need to add this line. "My trick doesn't work anymore." 493 00:41:43,627 --> 00:41:47,380 Again, a reference to reality, a meeting point. 494 00:41:49,758 --> 00:41:53,887 We shot this departure scene 495 00:41:54,471 --> 00:41:58,099 at the same time as the fake departure scene in the beginning. 496 00:41:58,642 --> 00:42:00,644 We went through the same rooms. 497 00:42:07,400 --> 00:42:08,652 But we filmed it differently. 498 00:42:14,032 --> 00:42:16,243 Here, she has to change tactics. 499 00:42:17,285 --> 00:42:21,581 Her trick doesn't work anymore. It's gone. It didn't work. 500 00:42:21,998 --> 00:42:25,544 The trick of pretending she was the one who left. 501 00:42:26,628 --> 00:42:28,797 She was brave enough to come back to the house. 502 00:42:30,215 --> 00:42:34,636 She will make something else up. 503 00:42:36,221 --> 00:42:37,639 A new trick. 504 00:42:39,349 --> 00:42:42,978 Something she hadn't planned, something that just happens. 505 00:42:45,522 --> 00:42:48,066 We hear sacred music. 506 00:42:48,900 --> 00:42:51,486 Rossini's Little Solemn Mass. 507 00:42:53,947 --> 00:42:58,410 Because she might not be spiritual, 508 00:42:59,119 --> 00:43:01,788 but there's definitely some spiritualism involved. 509 00:43:05,584 --> 00:43:10,130 Kyrie means "have pity." 510 00:43:17,554 --> 00:43:25,145 What a joy to film music for real, as it is being played. 511 00:43:25,228 --> 00:43:30,066 In order to do this, we needed Anne-Sophie, who plays little Lucie 512 00:43:30,150 --> 00:43:32,110 and Juliette, who plays Lucie here, 513 00:43:32,694 --> 00:43:35,280 to be pianists in real life. 514 00:43:36,489 --> 00:43:37,741 Live music, 515 00:43:39,159 --> 00:43:41,119 with a little inside joke about me. 516 00:43:43,288 --> 00:43:44,497 "Not so melodramatic." 517 00:43:46,333 --> 00:43:47,584 A bit of fun. 518 00:43:56,134 --> 00:44:00,805 We can feel through her moves that she might have an idea. 519 00:44:06,353 --> 00:44:07,937 She's thinking of something. 520 00:44:14,653 --> 00:44:17,489 And here of course, we think, "Wait, what?" 521 00:44:17,572 --> 00:44:21,409 She's older. 522 00:44:22,494 --> 00:44:26,247 It's Lucie. She's all grown up. She's wearing the same shirt 523 00:44:26,331 --> 00:44:29,668 and here's the scrunchie on the piano. 524 00:44:30,210 --> 00:44:31,836 It can't be. 525 00:44:34,339 --> 00:44:38,677 But we believe it, and it feels good. 526 00:44:42,847 --> 00:44:47,602 Here, a change of perspective that came from the cinematographer. 527 00:44:47,686 --> 00:44:50,355 Now, we're going to the other side. 528 00:44:54,901 --> 00:44:59,072 And we are with Juliette. She's looking out the window. 529 00:45:00,156 --> 00:45:02,075 Someone who seemed to stare. 530 00:45:08,707 --> 00:45:10,542 Always filming a face 531 00:45:13,086 --> 00:45:14,546 to show the thought process 532 00:45:15,505 --> 00:45:19,592 and her thoughts are like waiting for a graft to take hold. 533 00:45:20,510 --> 00:45:22,178 What if? What if? 534 00:45:23,972 --> 00:45:28,268 What if I had her walk in the house? 535 00:45:28,351 --> 00:45:29,769 Where would this lead? 536 00:45:30,645 --> 00:45:32,814 This traveling shot is intentionally messy. 537 00:45:34,816 --> 00:45:38,111 Here we go. No sound. 538 00:45:38,820 --> 00:45:39,863 Again. 539 00:45:41,281 --> 00:45:42,615 Let's see where it leads. 540 00:45:43,199 --> 00:45:44,534 I have her walk in. 541 00:45:45,994 --> 00:45:47,328 Lucie grew up. 542 00:45:51,666 --> 00:45:55,211 I like this. I said to Juliette, "you don't know this house." 543 00:45:56,880 --> 00:45:59,466 She doesn't know. Oh, OK this is my bedroom. 544 00:46:00,175 --> 00:46:02,927 This was the first day of the shoot. 545 00:46:07,265 --> 00:46:10,268 She gives her the diary 546 00:46:12,020 --> 00:46:16,816 but Juliette, her imaginary Lucie, doesn't know what to write. 547 00:46:18,359 --> 00:46:20,570 So her mother dictates. 548 00:46:29,621 --> 00:46:31,539 The word Friday again. 549 00:46:36,753 --> 00:46:38,129 Her mother's desk. 550 00:46:40,840 --> 00:46:42,342 And her solitude, really. 551 00:46:48,473 --> 00:46:51,267 This scene was part of what I called The Portraits. 552 00:46:51,643 --> 00:46:59,317 We had shot the ball scene in the staircase six months prior to this 553 00:46:59,776 --> 00:47:01,486 and it gave me this idea. 554 00:47:05,448 --> 00:47:07,200 I wanted her to play soccer. 555 00:47:08,243 --> 00:47:09,702 Maybe she will commit suicide. 556 00:47:10,954 --> 00:47:15,834 She's having fun imitating the factory with smoke. 557 00:47:24,175 --> 00:47:26,553 Clarisse doesn't drink anymore, that's good. 558 00:47:33,518 --> 00:47:36,729 Here again, we came up with this scene at the very last minute. 559 00:47:36,813 --> 00:47:40,859 The woman you see here, Clementine, is the Assistant Unit Manager. 560 00:47:42,443 --> 00:47:44,195 She's playing the translator. 561 00:47:47,156 --> 00:47:50,952 We filmed this during the third part of the shoot 562 00:47:52,203 --> 00:47:57,208 and we got this idea that we wanted to speak ill of the dead. 563 00:47:58,293 --> 00:48:03,673 That's how this moment... 564 00:48:10,805 --> 00:48:11,806 ...where she... 565 00:48:14,309 --> 00:48:16,311 says things very clearly... 566 00:48:17,645 --> 00:48:18,980 ...and at the same time... 567 00:48:20,064 --> 00:48:25,320 I didn't want to portray her as a saint, that was something I was obsessed with. 568 00:48:35,622 --> 00:48:38,041 There. "Throw the kids out the window." 569 00:48:38,124 --> 00:48:43,254 That's what Vicky told me when we met again for the third part of the shoot. 570 00:48:44,631 --> 00:48:49,135 "A piece of furniture" is a lyric from a Brigitte Fontaine and Areski song. 571 00:48:52,805 --> 00:48:55,141 This is the last scene we shot. 572 00:48:56,851 --> 00:48:58,519 The last day of the shoot. 573 00:49:01,272 --> 00:49:06,903 Here again, it's one of those moments where Vicky doesn't want to be alone. 574 00:49:08,363 --> 00:49:09,697 So I thought... 575 00:49:11,407 --> 00:49:13,785 she might want to make love to a man. 576 00:49:14,744 --> 00:49:16,079 We had planned to have them 577 00:49:17,580 --> 00:49:19,082 make love over there 578 00:49:19,999 --> 00:49:21,960 on the rug, in the dark. 579 00:49:23,211 --> 00:49:24,837 We also had to find an actor. 580 00:49:24,921 --> 00:49:27,715 Unfortunately, I came up with this too late to get any actor. 581 00:49:28,591 --> 00:49:30,927 So, guess who agreed to do it? 582 00:49:31,552 --> 00:49:34,430 The Assistant Art Director, Jean-Philippe. 583 00:49:34,847 --> 00:49:37,058 Why? Because he has a lot of hair. 584 00:49:37,934 --> 00:49:45,191 We needed a hairy guy because I pictured her thinking of Marc 585 00:49:45,775 --> 00:49:48,319 and Arieh has a hairy chest. 586 00:49:53,282 --> 00:49:55,576 So Jean-Philippe became an actor. 587 00:50:00,123 --> 00:50:04,460 Martha Argerich is in Claudine's play. Her name is mentioned. 588 00:50:06,004 --> 00:50:09,507 I tried to include this kind of detail in a non-intrusive way. 589 00:50:10,258 --> 00:50:14,929 There's an extraordinary, heartrending and playful documentary 590 00:50:15,430 --> 00:50:19,017 made by Stéphanie Argerich, one of Martha's daughters. 591 00:50:19,559 --> 00:50:22,270 This is what you see here. 592 00:50:23,062 --> 00:50:24,772 The daughter asks her mother, 593 00:50:24,856 --> 00:50:27,608 "How did you feel when you were pregnant?" 594 00:50:30,153 --> 00:50:38,153 That was the key to surreptitiously include Martha in the film, on screen. 595 00:50:39,954 --> 00:50:41,664 She sinks deeper in her delusion, 596 00:50:41,748 --> 00:50:49,748 to the point where she dresses up her imaginary Lucie as Martha. 597 00:51:00,933 --> 00:51:08,933 One day, Vicky put her neck-warmer on her forehead like this 598 00:51:12,570 --> 00:51:17,283 and I told her to do it on screen. 599 00:51:17,366 --> 00:51:19,285 It completely transforms her face. 600 00:51:23,873 --> 00:51:25,208 They were supposed to make love. 601 00:51:27,251 --> 00:51:31,130 Vicky and I both thought, instinctively... I never needed to talk much 602 00:51:31,214 --> 00:51:33,257 with Vicky, we thought it was too much. 603 00:51:35,551 --> 00:51:40,056 We did the part where she draws tattoos with her pen. 604 00:51:40,139 --> 00:51:43,017 We see them later. They look like dreamcatchers. 605 00:51:43,142 --> 00:51:46,687 They're on Arieh's collarbone. 606 00:51:47,480 --> 00:51:51,359 But we edited that out too and we just kept this gesture. 607 00:51:54,153 --> 00:51:55,988 We shot this really quickly. 608 00:51:57,198 --> 00:51:59,492 Christophe was sitting on a small rolling stool, 609 00:51:59,575 --> 00:52:03,871 which allowed him to do the shot and the reverse shot in one go. 610 00:52:10,920 --> 00:52:13,798 This gives me goose bumps. 611 00:52:19,470 --> 00:52:22,390 This is Stéphanie Argerich's documentary. 612 00:52:26,602 --> 00:52:28,604 "The Cat and the Mouse." 613 00:52:40,491 --> 00:52:45,204 Like Clarisse, who dresses up her daughter 614 00:52:45,288 --> 00:52:47,039 with brunette or ash blonde wigs. 615 00:52:48,207 --> 00:52:54,338 I really liked the sound, the idea that thunder became applause. 616 00:52:54,922 --> 00:52:57,341 This is the ambient sound before a concert. 617 00:53:00,052 --> 00:53:04,724 In a concert hall. With people coughing in the audience. 618 00:53:13,441 --> 00:53:17,403 It's Rameau. You heard Rameau 619 00:53:17,486 --> 00:53:19,864 played by Marcelle Meyer during the opening credits. 620 00:53:19,947 --> 00:53:23,451 The prelude. But above all, there is the gavotte, 621 00:53:24,410 --> 00:53:26,245 with six variations. 622 00:53:30,791 --> 00:53:33,169 Always the same melody 623 00:53:33,794 --> 00:53:38,591 but with a different scope, a different rhythm. 624 00:53:38,674 --> 00:53:41,510 Like something that is stuck within Clarisse. 625 00:53:42,553 --> 00:53:45,556 Like this note, incessantly coming back. 626 00:53:50,728 --> 00:53:52,313 She continues her graft. 627 00:53:53,606 --> 00:53:56,067 Here is Paul, grown up. 628 00:54:06,619 --> 00:54:10,164 It's a tapestry film, with recurring themes, 629 00:54:10,623 --> 00:54:13,125 things that come back again and again. 630 00:54:13,960 --> 00:54:15,753 The lock on the door. 631 00:54:21,092 --> 00:54:25,680 And here, we knew that we were in... for... 632 00:54:27,932 --> 00:54:32,144 ...a moment of absolute hyperrealism. 633 00:54:33,479 --> 00:54:35,731 That's why we filmed it with a handheld camera. 634 00:54:37,900 --> 00:54:39,735 In order to shoot this type of scene, 635 00:54:41,654 --> 00:54:44,448 we only did two takes. 636 00:54:44,699 --> 00:54:46,701 Two 25-minute takes. 637 00:54:47,660 --> 00:54:51,664 The first one was shot from the back of the room, 638 00:54:53,582 --> 00:54:56,043 with long-range zoom lenses, 639 00:54:57,128 --> 00:55:04,677 and the second one was shot from the spot where Clarisse is sitting. 640 00:55:06,095 --> 00:55:08,055 As though she was filming it. 641 00:55:12,059 --> 00:55:13,644 They're living just fine without her. 642 00:55:14,770 --> 00:55:15,771 So she comes back. 643 00:55:18,107 --> 00:55:19,567 They've forgotten all about her. 644 00:55:22,987 --> 00:55:25,364 She went too far in her imagination. 645 00:55:33,831 --> 00:55:37,043 "Why is she coming back to haunt me?" 646 00:55:39,879 --> 00:55:42,465 I liked the idea that she would haunt her in a domestic way. 647 00:55:43,299 --> 00:55:45,926 He repeats her sentences. 648 00:55:55,269 --> 00:55:58,606 Domestic squabbles are heaven, we just don't realize it. 649 00:55:59,982 --> 00:56:03,194 Here, Vicky has a reference point. 650 00:56:03,569 --> 00:56:05,363 How do you shoot this kind of scene? 651 00:56:06,697 --> 00:56:10,868 Vicky was actually in the other room. 652 00:56:11,410 --> 00:56:14,413 She had a monitor to see and hear what was going on. 653 00:56:15,122 --> 00:56:16,332 And she had a microphone. 654 00:56:17,583 --> 00:56:21,087 Arieh was the only one to have an earpiece. 655 00:56:21,629 --> 00:56:22,755 Not the children. 656 00:56:23,672 --> 00:56:28,928 He can hear what she says in real time. They are connected. 657 00:56:30,679 --> 00:56:33,057 They had markers, as we just saw. 658 00:56:33,516 --> 00:56:36,227 Vicky knew that when he was touching his son's hair, 659 00:56:36,310 --> 00:56:38,229 she was supposed to say, "He's grown up." 660 00:56:42,024 --> 00:56:46,445 But we could feel that it should be a seduction scene. 661 00:56:47,196 --> 00:56:49,990 That's how "Cherry" came about. 662 00:56:51,450 --> 00:56:54,537 What you're hearing is Vicky improvising. 663 00:56:54,578 --> 00:56:57,123 She suddenly started singing "Cherry". 664 00:56:57,623 --> 00:57:02,586 That's why six months after the beginning of the shoot, later, 665 00:57:03,129 --> 00:57:06,465 "Cherry" came back like a binky. 666 00:57:16,350 --> 00:57:18,310 This shot was not planned. 667 00:57:20,396 --> 00:57:23,691 The way I pictured the scene, we could hear her voice 668 00:57:24,483 --> 00:57:26,235 in her husband's head 669 00:57:26,318 --> 00:57:28,112 and what we saw was the happiness 670 00:57:28,195 --> 00:57:30,281 of ordinary life in the morning, at breakfast. 671 00:57:32,324 --> 00:57:37,163 But thanks to our fragmented shooting schedule, which I like very much, 672 00:57:38,581 --> 00:57:42,710 when I came back in the kitchen, it occurred to me 673 00:57:42,793 --> 00:57:47,131 that Vicky could be on her own 674 00:57:48,716 --> 00:57:50,259 and think the scene and the dialog, 675 00:57:50,342 --> 00:57:53,220 which we had already shot, by herself. 676 00:58:01,896 --> 00:58:03,689 Here are his tattoos. 677 00:58:11,197 --> 00:58:17,786 And the more she feels good, the more she starts feeling this longing. 678 00:58:26,170 --> 00:58:27,171 The railway. 679 00:58:35,012 --> 00:58:37,306 She looks at him, she touches him. 680 00:58:39,892 --> 00:58:42,728 That's why it's filmed differently. 681 00:58:43,103 --> 00:58:45,648 It's as though she was filming with her iPhone, 682 00:58:45,731 --> 00:58:48,150 where she is sitting. 683 00:59:03,958 --> 00:59:08,212 Her longing swells and swells. 684 00:59:19,765 --> 00:59:23,852 "Open Heart Surgery" by Brian Jonestown Massacre 685 00:59:25,229 --> 00:59:29,066 was playing in the room, 686 00:59:29,149 --> 00:59:32,611 they danced to this music during both 25-minute takes. 687 00:59:38,117 --> 00:59:39,702 Vicky could see it. 688 00:59:39,785 --> 00:59:44,248 She said, "I could see them live on my little monitor. 689 00:59:44,373 --> 00:59:47,418 I was all alone in the room. They were far away from me." 690 00:59:48,043 --> 00:59:50,045 She started to cry. 691 00:59:56,468 --> 00:59:58,387 She sings the song to him. 692 00:59:59,263 --> 01:00:02,683 It says, "I am never going away." 693 01:00:18,699 --> 01:00:23,120 We had shot a scene where Arieh was preparing 694 01:00:24,163 --> 01:00:27,291 the children's homework, their stuff. 695 01:00:28,459 --> 01:00:31,086 And he was crying, in the kitchen. 696 01:00:31,629 --> 01:00:32,630 It was very beautiful. 697 01:00:36,175 --> 01:00:40,596 But we figured that she didn't want to see him cry. 698 01:00:41,555 --> 01:00:44,725 Instead, we used these rocks, these stones. 699 01:00:46,477 --> 01:00:49,021 I searched for a way to connect them through telepathy. 700 01:00:49,104 --> 01:00:50,856 These are Arieh's stones. 701 01:00:52,316 --> 01:00:56,737 In real life, Arieh is a hiker. 702 01:00:56,820 --> 01:00:59,198 He goes on trips, he'll go who knows where for two years. 703 01:00:59,698 --> 01:01:02,743 For instance, he knows every peak in the Pyrenees. 704 01:01:05,037 --> 01:01:07,289 He has a special relationship to stones. 705 01:01:10,626 --> 01:01:12,336 This scene was not planned either. 706 01:01:13,170 --> 01:01:17,383 Since he was hiking and we were shooting in the Pyrenees, 707 01:01:17,841 --> 01:01:19,468 Arieh came earlier. 708 01:01:20,177 --> 01:01:22,012 He wasn't supposed to be on the shoot that day 709 01:01:22,096 --> 01:01:23,681 but I said, "No, you're here." 710 01:01:24,682 --> 01:01:29,353 There was such a shortage of scenes 711 01:01:29,436 --> 01:01:34,775 where both of them were on screen together that... 712 01:01:35,317 --> 01:01:38,529 We called this masturbation scene L'Atalante, 713 01:01:39,405 --> 01:01:43,992 because they were separated and they fantasied they were touching. 714 01:01:45,994 --> 01:01:49,581 This probably became a memory of their life as a couple. 715 01:01:51,250 --> 01:01:55,754 One of the joys of being on holiday as a couple is clandestinely making love 716 01:01:55,838 --> 01:01:58,382 while the children are in the room. 717 01:02:00,050 --> 01:02:01,844 When you rent a small cabin. 718 01:02:05,514 --> 01:02:07,141 Springtime comes. 719 01:02:09,309 --> 01:02:15,774 I really liked this sort of... fairytale castle. 720 01:02:22,573 --> 01:02:27,619 Evidently, I like filming girls who like flirting. 721 01:02:30,956 --> 01:02:34,752 It occurs to me because this reminds me of Jeanne Balibar 722 01:02:35,627 --> 01:02:38,464 in "Le Stade de Wimbledon." It's almost the same scene. 723 01:02:40,549 --> 01:02:43,302 With a technician. 724 01:02:49,266 --> 01:02:54,146 Of course, it's a rollercoaster. So to speak. 725 01:02:55,814 --> 01:02:58,358 Laughter, and then horror. 726 01:03:02,613 --> 01:03:06,992 Of course, this man is absolutely not an actor. 727 01:03:07,075 --> 01:03:11,955 Poor guy. He became one half an hour before this scene. 728 01:03:16,335 --> 01:03:19,213 This is a very powerful scene, which is also in Claudine's play. 729 01:03:19,630 --> 01:03:27,012 I should mention that in the play, the revelation, the twist is at the end. 730 01:03:27,596 --> 01:03:31,767 It's only at the very end that we find out. 731 01:03:32,559 --> 01:03:35,687 This woman didn't actually leave her family. 732 01:03:36,605 --> 01:03:38,148 She made it all up 733 01:03:40,651 --> 01:03:44,863 so they could keep on living, in a way. 734 01:03:46,323 --> 01:03:50,160 That's why I thought of this, when I was writing the screenplay. 735 01:03:50,577 --> 01:03:55,249 I wanted this scene to have two different parts. 736 01:03:56,708 --> 01:04:00,295 I thought of the fact that she could control time. 737 01:04:01,296 --> 01:04:06,552 She would delay the moment the bodies are found 738 01:04:07,469 --> 01:04:10,472 through this magical transition with the dog, 739 01:04:11,682 --> 01:04:13,267 which becomes a video game. 740 01:04:17,437 --> 01:04:19,773 She lacks imagination when it comes to her son. 741 01:04:20,440 --> 01:04:24,570 She evidently connects with her daughter Lucie, 742 01:04:24,653 --> 01:04:27,322 with what Lucie would have become. Her piano. 743 01:04:29,408 --> 01:04:34,121 But with her son, she pictures a video game, a tree house. 744 01:04:34,663 --> 01:04:40,961 All right. It was important to me not to give anyone any genius. 745 01:04:41,044 --> 01:04:44,506 I didn't want any character to have any special ability. 746 01:04:47,009 --> 01:04:51,471 It was really moving for me 747 01:04:52,180 --> 01:04:54,099 to see Aurèle, who is here on screen, 748 01:04:55,392 --> 01:04:59,313 being so reserved and introverted, 749 01:05:00,188 --> 01:05:03,275 in contrast with Sacha, the little one in the beginning. 750 01:05:03,358 --> 01:05:07,946 It is as though this child had shriveled. 751 01:05:13,994 --> 01:05:16,288 Here we had fun with this Western scene. 752 01:05:16,872 --> 01:05:24,046 A horse, things like a belt and a gun. 753 01:05:25,881 --> 01:05:28,926 She's having fun. She's the one creating the shots. 754 01:05:29,343 --> 01:05:33,138 Clarisse is imagining the scenes. 755 01:05:39,061 --> 01:05:40,771 So, she can... 756 01:05:43,523 --> 01:05:44,691 make jokes. 757 01:05:51,740 --> 01:05:53,742 Like this very dirty joke. 758 01:06:00,791 --> 01:06:01,792 There. 759 01:06:02,960 --> 01:06:06,672 This wasn't planned. In real life... 760 01:06:07,756 --> 01:06:11,176 It came about because Christophe Beaucarne told Vicky a joke 761 01:06:11,259 --> 01:06:14,054 and she said, "What a dick." 762 01:06:15,305 --> 01:06:20,352 This was one of those gestures I tried to nurture every day. 763 01:06:20,894 --> 01:06:24,147 I wanted to keep Vicky busy, give her something to do. 764 01:06:25,607 --> 01:06:33,407 So... Here, this is something I saw people do 765 01:06:33,448 --> 01:06:34,741 in my own family. 766 01:06:48,964 --> 01:06:56,304 This child Aurèle, who plays Paul, I saw him as the Baron in the Trees. 767 01:06:57,681 --> 01:07:01,393 He leaves. He goes hiding in his tree house. 768 01:07:02,686 --> 01:07:04,646 His sister takes the whole space. 769 01:07:05,480 --> 01:07:11,862 Her mother imagines that she'll take her desk, now that she's older. 770 01:07:13,113 --> 01:07:16,408 She sees her bedroom empty at first, 771 01:07:18,035 --> 01:07:22,581 but suddenly she has a vision, 772 01:07:25,167 --> 01:07:27,210 which we saw in a glance at the beginning. 773 01:07:30,756 --> 01:07:32,924 It looks like a picture. 774 01:07:35,886 --> 01:07:39,514 Her two children on a highway. 775 01:07:39,598 --> 01:07:42,934 It looks like the 1970s in America. 776 01:07:43,810 --> 01:07:46,688 A picture, in short. Of reality. 777 01:07:48,648 --> 01:07:49,691 But... 778 01:07:51,151 --> 01:07:52,319 something is not right. 779 01:07:58,325 --> 01:08:02,621 As we get closer we realize, 780 01:08:03,747 --> 01:08:06,374 like Juliette, who is looking at it, that it's a painting. 781 01:08:08,251 --> 01:08:12,798 This painting by the American photorealist artist Robert Bechtle, 782 01:08:14,091 --> 01:08:17,219 to me, seemed very similar to what Clarisse is doing. 783 01:08:18,470 --> 01:08:26,470 She needs to redo everything exactly as it was, to recreate every detail. 784 01:08:27,729 --> 01:08:31,650 That's why we thought it would be more powerful 785 01:08:33,568 --> 01:08:34,903 if her imagination 786 01:08:35,904 --> 01:08:41,993 and the fragments of reality were the same. 787 01:08:43,328 --> 01:08:44,579 Like hyperrealism. 788 01:08:50,710 --> 01:08:53,797 "I'm not going to remain a child forever," she says. 789 01:09:00,387 --> 01:09:03,014 I played the piano a lot when I was a child. 790 01:09:03,974 --> 01:09:05,684 I quit when I was young. 791 01:09:06,685 --> 01:09:13,900 This film allowed me to picture myself as a pianist, 792 01:09:13,984 --> 01:09:16,820 as if I had continued playing. 793 01:09:17,320 --> 01:09:19,406 And if I had continued playing, 794 01:09:19,948 --> 01:09:22,367 I would have played Ligeti. 795 01:09:41,303 --> 01:09:45,515 We shot this scene in a very fragmented way. 796 01:09:46,516 --> 01:09:48,727 We did six takes with Juliette. 797 01:09:49,352 --> 01:09:52,689 She played this piece entirely six times. 798 01:09:58,904 --> 01:10:03,033 As it happens, my sweetheart Barbara Hannigan, 799 01:10:03,783 --> 01:10:07,954 who is both a soprano and a conductor, has worked with Ligeti a lot. 800 01:10:08,705 --> 01:10:13,126 The only day she could come to the set was precisely that day. 801 01:10:13,210 --> 01:10:19,424 Being both musicians, something happened between Juliette and Barbara. 802 01:10:20,133 --> 01:10:25,889 Barbara imparted Juliette with Ligeti's animal quality. 803 01:10:29,893 --> 01:10:34,731 This scene was built like a kaleidoscope 804 01:10:35,649 --> 01:10:41,655 where all of a sudden Clarisse's imagination is diffracted. 805 01:10:42,322 --> 01:10:45,200 There is more than one thing at the same time. 806 01:10:45,283 --> 01:10:47,285 She worries about many things. 807 01:10:47,327 --> 01:10:53,833 Ligeti's music is the music that destroys everything. 808 01:10:54,251 --> 01:10:55,418 Percussive. 809 01:10:58,129 --> 01:11:02,801 It's as though Clarisse wanted to stop the damage. 810 01:11:03,843 --> 01:11:07,555 She experiences the conflict between her two teenage children, 811 01:11:07,931 --> 01:11:10,642 which is something she will never live. 812 01:11:11,351 --> 01:11:16,022 Never. She wants to burn everything. 813 01:11:17,565 --> 01:11:20,443 You can hear the same words as in the beginning. 814 01:11:42,757 --> 01:11:46,970 What hurts is that it really looks like a teenagers' quarrel 815 01:11:47,929 --> 01:11:48,930 and then, nothing. 816 01:11:49,306 --> 01:11:51,433 It's all right. She can turn the light back on. 817 01:11:57,939 --> 01:12:04,529 But in order to stop the delusion, she needs to accept it. 818 01:12:15,081 --> 01:12:20,295 Shot after shot, Juliette achieves something musically 819 01:12:20,378 --> 01:12:23,798 that is absolutely incredible. 820 01:12:39,689 --> 01:12:42,150 Here is the last take. 821 01:12:42,776 --> 01:12:45,945 The sound is the sound of the last take. 822 01:13:00,001 --> 01:13:05,382 It's a piece written only with A except the last note, which is a D. 823 01:13:08,343 --> 01:13:10,053 We did variations. 824 01:13:11,346 --> 01:13:15,350 Arieh wasn't looking at Vicky but during the last take, 825 01:13:17,185 --> 01:13:19,312 I don't know why they wanted to look at each other. 826 01:13:21,231 --> 01:13:25,026 It's the only moment they are in a shot together. 827 01:13:26,319 --> 01:13:27,737 Even though it vanishes. 828 01:13:29,948 --> 01:13:33,493 This dialog makes me cry. 829 01:13:50,093 --> 01:13:52,095 Alone with her imagination. 830 01:13:53,012 --> 01:13:54,305 One has to nurture it. 831 01:13:56,391 --> 01:13:57,851 It's like making a film. 832 01:14:01,688 --> 01:14:05,400 Sometimes, you can hold a set only with plastic straps. 833 01:14:05,859 --> 01:14:09,487 They wanted to restore them but I said, "No. Leave them. Please." 834 01:14:11,489 --> 01:14:17,745 Her imagination is going to morph, now that she's given up hyperrealism. 835 01:14:18,621 --> 01:14:22,917 Now it's going to really go off the rails, so to speak. 836 01:14:23,001 --> 01:14:26,171 It becomes total nonsense, 837 01:14:26,254 --> 01:14:29,841 to the point where she herself plays the train attendant. 838 01:14:39,142 --> 01:14:40,477 That's Vicky's voice 839 01:14:42,020 --> 01:14:43,521 and everything is fake. 840 01:14:43,646 --> 01:14:46,733 No more hyperrealism from now on. 841 01:14:48,776 --> 01:14:51,279 You can guess that it's not the Paris Conservatory. 842 01:14:53,740 --> 01:14:56,993 Nicolas Moreau, the Sound Editor, came up with the idea of this recurring note. 843 01:15:02,749 --> 01:15:04,083 It drags on... 844 01:15:08,505 --> 01:15:09,797 and it gets weird. 845 01:15:13,927 --> 01:15:21,768 In the back of our head, we thought 846 01:15:22,769 --> 01:15:26,523 if this was really a woman who had left her family, 847 01:15:27,690 --> 01:15:31,694 and her daughter hadn't seen her for years, 848 01:15:32,278 --> 01:15:36,074 when she shows up at the conservatory the day of her daughter's exam, 849 01:15:36,491 --> 01:15:39,077 it would look like this. 850 01:15:42,163 --> 01:15:47,043 You just heard Franzo, our Casting Director. 851 01:15:47,335 --> 01:15:50,672 He's playing the president of the jury because 11 years ago, 852 01:15:50,755 --> 01:15:53,216 him and I shot in the exact same room, 853 01:15:53,299 --> 01:15:55,093 at the Coupe d'Or theater in Rochefort. 854 01:15:55,176 --> 01:15:59,764 It was for "On Tour" and in the scene, he was bringing Dirty Martini flowers. 855 01:16:00,139 --> 01:16:03,935 Same setting, 11 years later, and a completely different scene. 856 01:16:09,190 --> 01:16:12,068 And here once again, bam! 857 01:16:14,320 --> 01:16:15,363 Reality. 858 01:16:17,073 --> 01:16:18,741 Supra-reality. 859 01:16:20,034 --> 01:16:21,286 Everything crumbles. 860 01:16:23,121 --> 01:16:27,834 We are in Saint-Gaudens' elementary school, for the end of the year concert, 861 01:16:28,543 --> 01:16:33,214 the school where her little eight-year-old Lucie was learning Für Elise. 862 01:16:36,551 --> 01:16:40,680 The delusion rebels. 863 01:16:42,473 --> 01:16:45,518 Vicky's gesture. She touches her belly, as though... 864 01:16:46,603 --> 01:16:48,896 ...she was keeping her in her belly. 865 01:16:51,441 --> 01:16:55,111 Vicky comes up with these things. She feels them. 866 01:16:57,238 --> 01:17:03,494 I say supra-reality because the parents here are Juliette's actual parents. 867 01:17:05,830 --> 01:17:07,415 It's something that... 868 01:17:09,334 --> 01:17:13,129 This supra-reality sounds fake, we find it unbearable. 869 01:17:21,346 --> 01:17:24,057 Clarisse is called Clarisse because of this line. 870 01:17:29,228 --> 01:17:32,774 Like Clarisse in Musil's The Man Without Qualities, 871 01:17:34,233 --> 01:17:35,485 who flirts with madness 872 01:17:38,029 --> 01:17:39,197 and ends up... 873 01:17:40,823 --> 01:17:41,866 alone. 874 01:17:47,872 --> 01:17:50,958 There were voice-overs in Claudine's play. 875 01:18:18,695 --> 01:18:20,029 They were intertwined. 876 01:18:21,531 --> 01:18:23,241 Superimposed. 877 01:18:24,867 --> 01:18:27,328 A second delusion crumbles. 878 01:18:27,870 --> 01:18:31,332 Here again, this is Aurèle's real mother, Sandra, 879 01:18:32,542 --> 01:18:37,588 who plays... I was going to say the fake parent 880 01:18:38,589 --> 01:18:40,633 of the real child on screen. 881 01:18:48,224 --> 01:18:51,728 One can also imagine, implicitly, 882 01:18:53,354 --> 01:18:55,148 that she haunted these places. 883 01:18:56,774 --> 01:18:59,277 That's why the parents want to call the police. 884 01:19:02,739 --> 01:19:07,577 Everything needs to be erased like an ice cream machine 885 01:19:07,660 --> 01:19:09,287 that removes all traces. 886 01:19:09,829 --> 01:19:11,122 We start from scratch. 887 01:19:11,789 --> 01:19:14,751 With her children. Small and real. 888 01:19:17,295 --> 01:19:20,047 Here, this sums up the whole movie in 20 seconds. 889 01:19:21,466 --> 01:19:23,593 That's it, the whole film is contained in this. 890 01:19:24,886 --> 01:19:29,056 It's the kind of idea that comes up when you're playing around. 891 01:19:33,853 --> 01:19:36,689 And it becomes surprisingly powerful. 892 01:19:40,359 --> 01:19:41,611 An actor was born. 893 01:19:42,695 --> 01:19:44,113 Jean-Marc, on screen here. 894 01:19:44,197 --> 01:19:46,866 He is the owner of the house where we shot the film. 895 01:19:47,742 --> 01:19:49,577 Again, not a professional actor. 896 01:19:51,788 --> 01:19:55,416 Here, he was acting in his first take, his first shot ever. 897 01:19:56,042 --> 01:19:59,253 It was very moving to see. It's uncanny to see... 898 01:20:01,589 --> 01:20:04,091 ordinary people... 899 01:20:05,968 --> 01:20:07,637 get into cinema this way. 900 01:20:08,179 --> 01:20:09,764 They, themselves, are surprised. 901 01:20:11,766 --> 01:20:16,062 Same thing for Cuca, the bartender, 902 01:20:16,646 --> 01:20:19,440 who is obviously not an actress. 903 01:20:21,651 --> 01:20:23,361 She's really extraordinary. 904 01:20:23,861 --> 01:20:27,448 Behind her you see Jaime, who owns this cabin. 905 01:20:28,282 --> 01:20:31,202 Hotel del Port in Baqueira. 906 01:20:42,171 --> 01:20:45,716 Professional actors need to have a certain generosity 907 01:20:46,342 --> 01:20:48,594 in order to like acting with non-actors. 908 01:20:50,054 --> 01:20:51,097 Vicky is like that. 909 01:20:51,848 --> 01:20:58,688 And here, what Cuca does, is the work of a real actress. Look. 910 01:20:59,647 --> 01:21:00,648 That. 911 01:21:02,608 --> 01:21:04,652 What she does with the bowls. 912 01:21:13,953 --> 01:21:16,289 Vicky really liked shooting this scene. 913 01:21:18,708 --> 01:21:24,171 It was done all in one take, she walked in 914 01:21:24,839 --> 01:21:28,467 and then it lasted five minutes. 915 01:21:29,010 --> 01:21:30,970 Many things happened. 916 01:21:32,513 --> 01:21:35,641 Of course, I knew I couldn't keep five minutes. 917 01:21:35,725 --> 01:21:36,934 It wasn't planned this way. 918 01:21:37,018 --> 01:21:39,896 It's our job, Christophe Beaucarne and I, 919 01:21:42,815 --> 01:21:47,486 to find cutaway shots that don't look like cutaway shots. 920 01:21:49,071 --> 01:21:51,240 Hence the bathroom, the face cloth. 921 01:21:53,075 --> 01:21:57,997 Here, it's still the same shot but because we were shooting in 6K, 922 01:21:58,080 --> 01:22:00,708 we could get inside the image. 923 01:22:01,918 --> 01:22:04,170 We actually reframed the wide shot. 924 01:22:05,588 --> 01:22:07,214 It's the end of the five-minute take, 925 01:22:08,299 --> 01:22:11,010 where Vicky acted many things in this room. 926 01:22:19,143 --> 01:22:21,228 There are loops in this film. 927 01:22:21,312 --> 01:22:24,357 There is the Polaroid loop, which opens and closes the film. 928 01:22:25,441 --> 01:22:29,695 The film, the memory. And these lines that repeat. 929 01:22:32,490 --> 01:22:34,116 It was written this way. 930 01:22:35,618 --> 01:22:39,205 It was extremely detailed in the outline, in order not to repeat the shots. 931 01:22:39,330 --> 01:22:41,624 Film them differently, from a different perspective. 932 01:22:43,209 --> 01:22:44,377 As if she knew. 933 01:22:45,795 --> 01:22:49,340 That's why even though I originally pictured this melodrama without violins, 934 01:22:52,009 --> 01:22:54,971 here they seemed to... make sense. 935 01:22:56,263 --> 01:22:59,809 Another piece of spiritual music. 936 01:23:00,351 --> 01:23:02,603 Messiaen's Quartet For the End of Time. 937 01:23:20,746 --> 01:23:24,667 For the type of shot you're about to see, of course, 938 01:23:25,292 --> 01:23:29,547 the goal is that Vicky should only have to do one take. 939 01:23:30,423 --> 01:23:32,425 We had to set everything up with the rescue team, 940 01:23:32,550 --> 01:23:34,010 none of them were actors, 941 01:23:34,093 --> 01:23:38,347 make sure they block her at the right moment 942 01:23:38,431 --> 01:23:40,433 and then let her see at the right moment. 943 01:23:40,725 --> 01:23:44,353 Find the right rhythm, make sure Jean-Marc, the cop, 944 01:23:44,395 --> 01:23:46,981 arrives to get her at the right moment. 945 01:23:47,857 --> 01:23:53,821 Make sure everything goes well 946 01:23:54,822 --> 01:23:58,242 so that Vicky only has to get in this state once. 947 01:24:01,996 --> 01:24:03,497 She was in such a state 948 01:24:04,331 --> 01:24:07,001 that we had to lower the level of her screams. 949 01:24:07,084 --> 01:24:08,377 Here are Arieh's stones. 950 01:24:15,259 --> 01:24:18,471 All these fragments of shots were done on the side. 951 01:24:19,555 --> 01:24:22,641 That's why they're a little blurry and shaky. 952 01:24:22,725 --> 01:24:26,270 Bits and pieces of life. Not this one. This was a planned shot. 953 01:24:30,441 --> 01:24:32,026 We grabbed stuff everywhere. 954 01:24:39,617 --> 01:24:43,621 This violin and this man that we've already seen a couple times. 955 01:24:44,997 --> 01:24:48,667 There are gestures like this... 956 01:24:51,629 --> 01:24:53,464 It gives you faith in humanity. 957 01:24:57,843 --> 01:25:00,763 And you realize that just like Cuca... 958 01:25:00,846 --> 01:25:03,265 This man, bringing her a chair 959 01:25:03,349 --> 01:25:05,101 Everyone knows what she's going through. 960 01:25:05,643 --> 01:25:08,979 We, the audience, are the only ones who didn't know. 961 01:25:13,526 --> 01:25:18,572 We needed to have a cemetery. We wanted to go there. 962 01:25:19,949 --> 01:25:23,202 We debated but... we needed the elements. The wind. The earth. 963 01:25:29,291 --> 01:25:30,876 There was another loop. 964 01:25:31,460 --> 01:25:34,839 The film was supposed to open with Erwan Ribard, 965 01:25:35,881 --> 01:25:39,844 the actor who plays the real estate agent. 966 01:25:40,427 --> 01:25:43,347 It was the same scene but the dialog was inverted. 967 01:25:44,598 --> 01:25:48,102 He was the one saying, "We'll need to paint the gate." 968 01:25:53,107 --> 01:25:55,109 She was the one asking, "What year was it built?" 969 01:25:56,152 --> 01:25:57,528 It was the other way round. 970 01:25:58,362 --> 01:26:00,406 It was supposed to be the beginning of the film. 971 01:26:04,785 --> 01:26:06,245 But the Polaroid memories won. 972 01:26:11,542 --> 01:26:12,543 It needed to... 973 01:26:15,588 --> 01:26:17,464 hit you in the gut 974 01:26:19,091 --> 01:26:23,971 and that seemed a little too controlled, too clever. 975 01:26:44,158 --> 01:26:45,951 These are little bits of shots we grabbed 976 01:26:46,035 --> 01:26:48,913 and used in the crepe scene 977 01:26:48,996 --> 01:26:51,457 when Vicky sits down to prepare. 978 01:27:04,136 --> 01:27:06,639 Memory connects things. 979 01:27:07,806 --> 01:27:11,060 The scene Vicky is about to do was supposed to be real. 980 01:27:11,477 --> 01:27:14,897 We were supposed to shoot with the children and Arieh in the kitchen. 981 01:27:15,981 --> 01:27:16,982 For real. 982 01:27:21,779 --> 01:27:22,821 Lucie said that. 983 01:27:25,824 --> 01:27:26,951 But... 984 01:27:28,202 --> 01:27:29,954 it wasn't right anymore. 985 01:27:31,497 --> 01:27:33,332 We had already tried incarnation. 986 01:27:34,333 --> 01:27:39,838 Now it all had to be in her head. 987 01:27:43,342 --> 01:27:45,177 She had to accept the idea of "never." 988 01:27:54,728 --> 01:27:56,272 She could tidy up, organize, 989 01:27:57,022 --> 01:27:58,816 which she couldn't do in the beginning. 990 01:28:03,404 --> 01:28:06,949 To me, it was obvious that she couldn't stay in this mausoleum. 991 01:28:09,451 --> 01:28:10,869 She had to leave. 992 01:28:16,542 --> 01:28:17,793 I like driving. 993 01:28:18,836 --> 01:28:20,838 Driving. Thinking. 994 01:28:21,630 --> 01:28:22,756 Imagining things. 995 01:28:27,803 --> 01:28:29,054 She had to leave. 996 01:28:31,515 --> 01:28:33,100 And here the loop is complete. 997 01:28:33,183 --> 01:28:39,815 Her first word at the beginning of the film is also her last. 998 01:28:44,653 --> 01:28:46,780 She is wearing a raincoat and she's herding animals 999 01:28:46,822 --> 01:28:49,616 like Cassavetes in "Love Streams" 1000 01:28:49,658 --> 01:28:52,703 when he takes care of Gena Rowlands' animals. 1001 01:28:52,786 --> 01:28:54,121 A little private joke. 1002 01:28:54,538 --> 01:28:57,624 There are many in the film, I didn't want to bore you with all of them. 1003 01:29:05,299 --> 01:29:12,806 Marcelle Meyer plays her fifth variation of the gavotte 1004 01:29:12,890 --> 01:29:14,892 and will soon start the sixth. 1005 01:29:14,975 --> 01:29:17,394 I wrote the screenplay to this music. 1006 01:29:19,396 --> 01:29:23,567 I wanted to have this kind of energy. 1007 01:29:26,945 --> 01:29:29,448 A kind of galloping melancholy. I don't know 1008 01:29:29,531 --> 01:29:32,910 Something... as if to say... 1009 01:29:33,869 --> 01:29:35,287 It's going to be all right. 1010 01:29:37,206 --> 01:29:38,582 It's going to be all right. 1011 01:29:40,417 --> 01:29:42,586 Even though you realize at this moment 1012 01:29:42,669 --> 01:29:47,549 that all the music you heard in the film never existed. 1013 01:29:47,633 --> 01:29:49,885 She never went beyond Für Elise. 1014 01:29:52,805 --> 01:29:56,308 We believed it. We needed to believe it. 1015 01:30:04,608 --> 01:30:06,693 She locks us up inside the house. 1016 01:30:08,862 --> 01:30:11,657 No, don't leave us. 1017 01:30:13,575 --> 01:30:18,038 This is where I start crying because there is no more imagination. 1018 01:30:19,081 --> 01:30:20,666 She stopped imagining. 1019 01:30:21,625 --> 01:30:25,254 We are left with only tragedy. Don't leave us here. 1020 01:30:26,046 --> 01:30:30,134 This is why François and I wanted to have... 1021 01:30:31,301 --> 01:30:36,598 after this car locks us in... 1022 01:30:38,183 --> 01:30:39,351 with the dead, 1023 01:30:47,234 --> 01:30:52,448 one last burst of light where she takes us with her. 1024 01:30:56,785 --> 01:30:59,246 She saved us with her imagination.