![]() It was a very enriching experience, and I owe her a lot, because in addition to being in every shot, she perpetually had a camera stuck to her face… literally! It allowed us to continue to find the character together throughout the shoot. We worked a lot as we went along, because from the start, the idea was to shoot as much as possible in chronological order. So in addition to being an excellent actress, she also had to be very physical, but that we keep a certain innocence, and a credible suffering, as if she was discovering the tube little by little. Gaia Weiss carries the film on his shoulders. Gaïa Weiss is the heroine of your film, can you tell us about her performance and her training for this film? Who are the other actors? You now have an idea of how we were able to make certain shots, in particular the one where Lisa rushes towards the camera and that one backs up with her in the tube, at full speed, for more than 12 meters. Imagine a kind of pizza oven, and the camera is the utensil that allows you to put the pizza inside. To do this, we had to invent a whole system of machinery, sometimes even for a single shot! For example, for the long moving shots facing and back to Lisa, the camera was installed in a sort of cage on wheels, the whole topped by a very long metal bar. From the start, I wanted complex shots, movement, to follow Lisa’s journey, and put the viewer directly at her side, and not “outside”. So I have what looks more like a comic book than a storyboard, but it helps to communicate with the team. So during the preparation, at first, I draw (very, very badly) each plan. Because I wanted to avoid at all costs finding myself stuck doing only “simple” shots, and finding the rhythm and the style of the film only during the editing. And from the very conception of the decor, we had to find ways not to limit the staging. We knew that from the start with the team. Turning through tunnels must have been complicated. We invented a system of machinery to be able to turn. I always try to have more symbolic than frontal influences, and the flow of Meander could compare as a whole to the very premise of the proof-of-concept video game, with a hint (okay, a big hint) of gore and gore. ![]() I admire his work, and I took a few references from the imagery of his last game, Death Stranding, but also in another work of the master, called PT, more metaphorically. I am a big fan of Hideo Kojima ( Metal Gear Solid), and I had the chance to meet him following the Japanese release of my first feature film, Hostile. But for conscious influences, I would say that it will mainly look on the video game side. So yes, subconsciously there must be a few touches that come close to his work. I love Vincenzo Natali’s work, but I admit not having seen Cube since I discovered him as a teenager. Obviously, we are getting closer to Cube in the overall concept. The pitch necessarily makes you think of Cube, what were your influences? ![]()
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