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Neither seen these films, nor known

April 18 category:Movie
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Neither seen these films, nor known



Similarly, Jean-Pierre Mocky, who has 56 films to his credit, only shows 4615 entries with Yellow Fox.

afp.com/Valery Axe



Not content with being unknown to the public, director wants to remain anonymous. "It bothers me that my film to be seen as a failure, as I did not see that." Good for him. One would imagine that this man of 40 years, the pale face lit by a smile, convenient glass half full policy. Yet it would be more accurate to speak of the drop of water to the bottom of the glass. His first film, released in 2013, attracted just 1,000 spectators. It can be reassured by thinking that it is not the only one. They are 91 French filmmakers not to have exceeded 10 000 entries last year. Over 235 films, it's huge. 40%, exactly. Some will cry foul and wasted public money. Making fun of those red lanterns, of course, easy.

However, just look at those damned box office only to find that they work at a discount and fold in eight to complete their project. For them to stage is a visceral need, not a mercantile ambition. In the digital age and achievement within the reach of all, they are ignoring the TV channels of the disallowance, sometimes improvise distributors and go into battle armed only with their unwavering faith. Obviously crushed by the competition, they will never admit defeat and swear, next time, they will do better. Artistically and financially. But until when? And what good, especially? With a dozen new films on the screens every week, it is inevitable that many of them drown. But the authors cling. In their dreams turned into lifeline.

There is everything in these castaways. Self-taught as Cheyenne Carron, 37, director of Public Girl, his fourth film, the story of his youth in Family Welcome note 589 entries after the site CBO Box-Office, about 6000 according to the applicant, who has managed to turn its copies in several provincial theaters. Ambitious as Etienne Faure, 44, author of disorders, a thriller with Sonia Rolland and Isaach de Bankolé- 6000 entries. Darlings of the "Press thinking" as Vincent Dieutre, 53, head of Jaurès, an essay, and Torn / Graves, a documentary? 841 entries for both. Heads burned as Malik Chibane, 50, author of Hexagon noticed in 1994 and unnoticed Poor Richard, a comedy with Frédéric Diefenthal- 7000 entries.

And even an old-timer: Jean-Pierre Mocky, 80, 56 films including the meter A funny parishioner or Death !, the referee and released in 2013, The yellow Renard - 4615 entries. Or reconverted actors, such as our anonymous witness, who regrets the lack of risk taking its distributor. "He did that out to touch the automatic aid. No display, two or three advertisements in the press to deceive, and that's it. Of the hundred copies he had promised me, it rose to ten, frightened by the aesthetics of the film. They forget that cinema is a supply sector, when these people swear by the application. "

"The day before the release, I knew it was screwed up"

A good point, so to say, the day of the release, nobody anxiety. The die is cast, nothing goes. While major productions officials are agonizing waiting for the first digit of entries, the others accepted their fate long ago. Additional Detail: Poor Richard came face to Django Unchained and Disorders compete with Les Profs - which is, ironically, the biggest hit of 2013.

Etienne Faure, decided to distribute his own movie rather than entrust, like its predecessor, a small company has struggled like hell until harass Nicolas Seydoux, President of Gaumont. "I wanted it projects it into one of the rooms, says the director. He said that it was the programming department who decided that there was nothing ... When working in outside the system, it is difficult or impossible to work with a large structure. The day before the release, I knew it was screwed. "

Poor Richard, he took the honors from one screen to the UGC Cine Cite Les Halles, one of the biggest theaters in France. Malik Chibane and producer, Nadia Hasnaoui, went there without much hope. A reason. Only eleven curious had moved to the first session. "Malik was disappointed, of course, remembers Nadia Hasnaoui but he expected. We went for a drink to cheer up." Cheyenne Carron, her, quietly waiting for her a call from the manager of the Paris Public broadcasting room Girl. "The only thing that interested me was whether he kept the film next week. I find the confirmed, I went to bed with the feeling that the job had been done. "

It is true that the director can boast a glowing press. Le Monde reports "a film where the influence of 400 Coups meets that of A nos amours" and Liberation welcomes "fair and delicate film." Jaurès, Vincent Dieutre, himself has gleaned some awards at festivals, including Berlin, no less.

Others can not be said, trounced or worse, ignored by critics. "It was challenging, of course, says Etienne Faure. But every film is a prototype. There are 100,000 reasons why he will like it or not." Some have already completed their next film, others are preparing to turn. For modest sums allocated by various organizations, public or private. Canal +, regional councils or small cable channels are always the first to be approached.

Do not be beaten, only rely on yourself

A positive response is far from guaranteed, but surely more likely that the share of traditional terrestrial television. "Jaurès cost 27,000 euros, says Vincent Dieutre. Arte bought about 10 000. For the rest, there are various aids. Some movies have a twenty-five times larger budget, and make as few entries! I find it absurd to enter 6 million for auteur film, given the radicalization of the market.

Today, art and essay should not ape the big but create its own originality. "And to show pellet as Cheyenne Carron, who for his new film, The Apostle, sent to the ten largest fortunes in France a letter with a DVD and a Girl Public funding request in good standing . A business leader, she was the name has responded. "This is not charity, she says. We signed a contract. "

And Etienne Faure has found an American producer for a project that will stage this summer in the United States. Others were less fortunate. Poor Richard was right society and Nadia Malik Chibane Hasnaoui. "In a sense, it relieves me, says the producer. There are twenty years, I had trouble with investors, but those of today, emerging from HEC formatted with a speech, are worse."

And do not lie: a film, even successful, that displays a disastrous box office, is not the best business card. "This is a shot that I hang recognizes our anonymous filmmaker. At each visit, they look at me as if I had an industrial accident head." Hence the choice of his companions in misfortune: not to be felled and only rely on yourself. "I'm not Cosette said Etienne Faure. I have a box with little overhead, I look to sell my films abroad and continue my job as a craftsman." Seven times down, eight times up.

Yet, in time, the problem of the theatrical release comes up. And since all ensure that their film was a second honorable life on VOD platforms, is it not time to think of another operating mode, in the same way that music is now consumed with the download? In short: first broadcast the film on the web by paying mode and, in case of tremor, take it out on the big screen.

Many authors are installed against this solution, refusing their film "is seen on a tablet with a popping sound." But the reality and the law catch up with the market no doubt. Cheyenne Carron, Vincent Dieutre and Etienne Faure, themselves, have understood and push for other delivery systems. "Anything that allows a work to exist is good," says Cheyenne Carron. And a film exists only if seen. Possibly by more than 10 000 people.

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