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Point of view... Benoît Ameil, Director, Screenwriter & Producer

From the idea to the screenplay

I can't really say how I got the idea of this film. In fact, all started with an image, a scene… From that, I developed a first version of the script that I sent to Laurent Freynet. Then we met regularly for 2 or 3 month to speak about the scenario. I used to take notes, to make the changes and then again, we met to speak about the new version, I took notes and so on. It's like that we made the story evolved.

Aude Roman

A important step in the construction of the screenplay was the confrontation with external points of view. After several versions, we though the writing was finished. So I ask three persons who worked on film thereafter to read the script: director of the photography Sylvain Rodriguez , Stephan Ripé, who created the credits and Myrtille Saint-Martin who produced the movie with me. They pointed all the lack of the screenplay, all what was not credible to them. Their frankness was an asset. From that, we worked over again the screenplay. But it was not a question of directly taking their propositions to modify the script. I believe that, when one writes a screenplay or when one directs a movie, it's essential to keep the course. When they read the script, each time they pointed a lack in it, they naturally proposed the solution such as they imagined it. So if I had taken their advice until the end, that would have led to give up much choice I had made, what I did not want. Laurent and I had to find the solutions to improve the screenplay while keeping the elements that I appreciated and that I wanted to keep. At the end there was as much work before and after having made read the scenario.

After the shooting, I found an interview of director Mathieu Kassovitz which explained: “In France, when I want to make a film, I got money and no one asks me questions… In the United States, producers discusse about the script. Even if that leads to a clash and that the film is finally not done.” At this time, I understood that the discussion I had with my three accomplices did not simply concern external points of view, but it corresponded in fact to the discussion the producer owe to have with the director and the screenwriter. (Being producer of the film, it was difficult to me to discuss with myself ;-)... ). To me, it became obvious that the producer must have an artistic role on a film. Of course it's also obvious that it's the director's film, but this artistic role, like a coach, makes the difference between the producer and the simple financier. Of course, since the producer assumes an artistic point of view, it's very possible that he could not being in phase with the director. But in my opinion, a good-natured clash and not making the film together, is better than beginnibg a film and then realizing in the middle of the shooting that there's problem. On the contrary, if both (or three… Don't forget the screenwriter) are in phase, then there are chances for the director to profit from a support without fault on behalf of the producer...