couldn't help but excerpt from the interview reports of Dumont and Binoche, a total of seven articles. For communication and learning purposes only, no publication is allowed.
The first article: http://www.cineuropa.org/ff.aspx?t=ffocusinterview&l=en&tid=2481&did=233199
Author: Fabien Lemercier Date: 2013-2-13
Question: Binoche has already contacted you and said he wanted to be with you cooperate. How did this project come about?
Dumont: I thought about it for a long time: what can I offer her? I remember that in addition to acting, she also painted. So naturally I thought of Camille, because I think they have something in common. Then we start building the character.
Q: Why is the story of the film so weak?
Dumont: I found Camille very reclusive, her life in the hospital was very simple. When a film's story is weak, there is more room for the development of film-making means. The thing that can interfere with Camille's daily life, give her hope, and bring her joy is the visit of her brother. So I developed the script with a visit from Paul as the main event.
Q: How do you deal with the line between madness and reality?
Dumont: When I read Camille's letter, I was stimulated by her description of life circumstances that made her miserable. She found it unbearable to live in close proximity to people. Living with mentally ill people is heart-wrenchingly painful. I just wanted to recreate this environment, and then I wanted to work with patients. I contacted a psychotherapist who does art therapy to organize a casting session with patients. Except for some autistic patients, many people can express their intentions clearly enough, and their relatives agree. Binoche spent a lot of time with them, establishing connections. I also got closer to the actors, and soon the misunderstandings we all had about insanity were cleared up. So this film can also be said to be a record of their sick state. Since the filming required the presence of the nurses, I decided to film the nurses as well. I take their illness seriously, so they behave naturally. Facing up brings understanding, understanding of insanity, understanding of Camille's pain, grief, degeneration, tragedy.
Q: Why is the opening chapter so cold (referring to Camille's bath)?
Du Meng: Coldness produces confusion. It takes an hour and a half to watch the movie, so to create strong confusion, it is necessary to show the various procedures of life. You can't create a hot feeling without being cold or warm. Viewers have to experience the harshness of Camille's life. She talked about it, wrote it, and cried about it. Then, the film moves on to discourse. In order to reach the emotional catharsis and grace in the back, the cruelty of the beginning is necessary. Insane, funny and sad, funny and tragic. The same is true of cinema: subjecting the audience to cruelty, and then elevating it to grace. Movies can't be flat everywhere, and they can't be downright elegant. You need to step by step, step by step, to clarify the content to the audience. The core of film art is temporality, and the audience should walk slowly and watch. Can't be instantaneous, can't be intellectual, can't be conceptual, but gradually boil.
The second article: http://enkr.blouinartinfo.com/news/story/867163/interview-juliette-binoche-on-art-and-brunot-dumonts-camille
Author: Isabelle Regnier Date: 2013-2-13
Question: What does sculpture mean to you?
Binoche: My father was a sculptor.
Question: Did he teach you?
Bi: I learned a little bit. He once said, "Hold this bowl and look at the moon..." I prefer to paint. I have been drawing since I was a child. Space art fascinates me. But achievement takes time, and I don't have much time for sculpture.
Q: What does your mother do?
Ratio: Miscellaneous. She is an actress, director, and art lover. Parents are very curious. Thanks to them, I was exposed to art, writing, concerts and more.
Q: How do you feel about Camille's work?
B: Her passion for the untouchable especially touched me. She breathes life into her work, creating light with materials. Her sculptures are full of her soul, not necessarily Rodin's. It can be said that her works are related to love. Camille worked day and night and never knew how to rest. As her brother Paul described, she kept studying animals and working. Because of her diligence, Rodin paid attention to her.
Q: How do you feel about Rodin's work?
BI: He started out with heavy, bulky pieces. There is some lightness after meeting Camille. It was as if all of a sudden, ideas and materials merged. Rodin must have realized this, because he wrote it. Hell's Gate was influenced by Camille's Whispers and The Waves. This is obvious, but many scholars still do not pay attention to her.
Camille-Claudel, Sculpture: Les Causeuses Whispers
Q: Do you think her importance as an artist is generally recognized?
Than: No, not common. An auctioneer recently told me that Camille was a "minor sculptor", so wrong! Besides, why doesn't Paris have any of her works to this day? With Boudelle, Mayor, Moore, there is no Camille, not one! Why not cast a piece of her work to stand in the city as compensation for her 30-year hospital career? We have compensation for the war in Algeria, and we should have compensation for Camille.
Part 3: http://blogs.indiewire.com/theplaylist/berlin-interview-juliette-binoche-on-camille-claudel-and-the-auteurs-haneke-minghella-carax-shes-worked-with-twice- 20130220
Author: Jessica Kiang Time: 2013-2-20
Question: The film seems to be resolutely anti-dramatic, is it a film about love, creativity, the absence of company?
BI: I would say it's about "self-denial." Camille was abandoned by society, by her family, and her ego and creative potential had lost its roots. People wanted her to continue writing, and she refused. When things developed to this point, she had no choice, even though she couldn't accept that she was crazy. This leads to the result of "she is not her"... When a person is forced to such a point, he has to find a reason to live from the heart. I guess her spiritual life may have opened up around that time.
Her brother visited her two weeks before her death, and records that she looked happy, as if she had reached bliss. I'd be like, "Oh, life took everything from her, she lived so empty and so injustice, and she survived." It was fascinating.
Q: It's challenging to play this passionate and difficult role, is that why you wanted to be part of it?
B: Actually, I don't have any doubts about the character, I just want to work with Dumont. I think he is the most talented director in France. I miss Tarkovsky and Dreyer, but there is no chance of cooperation, so I try to "invent" a cooperation with Dreyer! It was one of my sorrows; Dumont was the closest to that world.
I was shocked when he came up with the idea of Camille, because I was already in touch with her: I was infected by her passion, and she was living her life. I was exposed to a psychiatric hospital when I was young because of a relative's health problem, so I know a little bit about its environment. Still, deciphering the content of psychosis is a problem I fear. So I said to Dumont, "I want to hire a special instructor, because I'm afraid of it. I'm afraid I'll withdraw once I go." Dumont didn't care at first, saying, "You don't trust my coaching ability enough. , and I am capable. "I just said" not to say this. As an actor, you also have to trust me, and I trust you even if you don't show me the script. Trust is a two-way street, not just me trusting you."
Q: Didn't Du Meng give you the script in advance?
B: He said "you don't have to read the script". Afterwards, I tried my best to use his words to understand the content of the story. During the meal routine, I said "I know it's her three days of life, so you at least tell me what happened on the first day and the second day", and he started to describe it to me. Fortunately, there were napkins in the restaurant, so I quickly wrote it down and kept saying "Speak slowly, speak slowly!"
Part 4: http://www.nprberlin.de/post/interview-actress-juliette-binoche-camille -claudel-1915#stream/0
Author: MONIKA MÜLLER-KROLL Time: 2013-2-26
Binoche said there are only four pages of text to play the characters.
When asked about his initial impressions of the finished film, Binoche said, "I imagine Camille's living environment should be louder and more screaming, but I think the director's purpose is to create an experience, not too much."
(on the non-professional patient actors) "They are sometimes vulnerable and sometimes powerful because they don't count for anything. But with this film, because they are patients, their performances are always right. They are them. I count A wave among them. It helps me to create a new layer of reality."
Part 5: http://cinemagazine.nl/interview-bruno-dumont-camille-claudel-1915/
By Lodi Meijer Time: 2013-9-13
(Original Dutch, translated into English by bing, then roughly translated into Chinese...)
Regarding the selection of the story time point, Du Meng said: "It is not known why she was hospitalized and why she stayed for so long. I try to describe it. This puzzle. The film not only shows Camille's living environment, conveys her feelings, but also tries to portray his younger brother. Although he is more mysterious, the importance of this sibling relationship is certain. He was she who left the hospital Last hope. His wish for sanctification didn't come true. His cowardice led to the tragedy of Camille."
Regarding choosing a story, Dumont said: "Focusing on someone who has nothing is more instructive. It's more fun than focusing on superheroes. In the movie theater, we not only need to laugh and cry, but also to think.”
Regarding human nature, Dumont said: “There is a strong duality in human nature, and I deliberately arranged it on Paul. I also succeeded because I listened to To the different opinions of the masses. Some people say he is a bad guy, some people say he has done a good thing after watching the film. I leave the right to explain to the audience. Everyone can have different views on their sister and brother. My film focuses on experience, I hope the audience will remember this experience. For example, in my previous "Hardwig", the protagonist is full of love for God and acts of terror. This is what I want to express, reason stands in my film Unstoppable, the protagonists are full of mystery and weirdness. I hope the audience can feel what a person is in a complete experience in an hour and a half."
Chapter 6:http://www.eyeforfilm.co.uk/feature/2014-06-11-interview-with-bruno-dumont-feature-story-by-richard-mowe
Author: Richard Mowe Time: 2014-6-11
Asked: Binoche offers to work with you. This is how the project started?
Dumont: She said on various occasions her willingness to cooperate, so I'm not surprised she called. I was happy, and then searched everywhere for a role that would fit her.
Q: How did you choose the role of Camille, and how long did it take?
Dumont: I will first recall Binoche, her past and present, her age and appearance, I know she is still a painter. So try to find a character that fits this image. I don't believe in creating characters out of thin air, I prefer to determine based on the characteristics of the actors. Camille was considered later.
Q: How did Binoche react?
Du Meng: Actually, in the conversation, she said that she is willing to interpret the troubles of a contemporary woman and the affairs of her children. And then I sadly said, "No. Let's do Camille's hospital life." It was a period that was rarely documented, rarely understood, and never been shown in movies. She agreed immediately, and I made two preconditions: no script, no makeup. With this foundation, I started writing.
Q: How long did it take to complete the script?
Dumont: With the idea of Binoche, it took about six or seven months. Writing starts with medical records and diaries so it doesn't take long. The dialogue respects the documentation, and most of the episodes can be found in the medical records. A scene in the theater is fictitious, but it is based on historical photos of the rehearsal of Molière's play in the small theater of the hospital.
Q: Are there challenges in working with real patients?
Dumont: To a certain extent, there is uncertainty throughout the film, about truth and fiction. That is, about their respective medical conditions, and how well they understand acting. We had rehearsals for the two actors on stage, and no instruction for some autistic people. The young woman next to Camille understood the content of the play better.
Q: Did Binoche have trouble acting with them?
Dumont: No. Instead, she pays attention to their reactions and then acts humble as her character loses her ego. This process gave her the opportunity to connect with pure and natural emotions. She asked to live with them for ten days in advance, and then get to know each other so that they could be known by their names.
Q: Do you think it's brave enough for Binoche to be so involved?
Dumont: I think actors are supposed to be prepared to be exposed to different things, but directors often avoid this kind of thing. Binoche is brave and dares to try. I'm sure many actors have this curiosity, so we should encourage them.
Q: The film seems to contain two very different parts, what do you think?
Dumont: The film tries to show a kind of breadth, one end is the expression of poor information in the hospital, and the other end is Paul's poetic and gorgeous expression. You will receive this breadth as a time travel of the human condition.
Q: There is already a film about Camille's life (the 1988 version starring Adjani), do you consciously focus on this small time period in your film?
Dumont: I know most viewers have probably seen that movie, so I have a reason to omit Camille's previous life. I was fortunate not to have to explain the Rodin part, to narrate that part to the audience like I teach a child. I also saw that movie 20 years ago.
Q: Do you watch a lot of movies?
Dumont: I watch regularly, but my main interest lies in silent films and early films. The performances of the early actors nourished me. I let Binoche watch films by Griffith, Louis Feillard, and an interesting film by Sacha Gitri featuring Rodin and his studio. I often go to the Paris Film Archive and, of course, I can find many films online now that have no copyright considerations. I have many interesting discoveries. However, I like to watch silent films without any soundtrack.
Part 7: http://www.cine-vue.com/2014/06/interview-bruno-dumont-chats-camille.html
Author: David W. Mault Time: 2014-6
Question: You said before that the idea of Binoche wanting to work with you was reckless. How exactly?
Dumont: That's why she came to me. She wants to expand the frontier, she wants to change something and try something new.
Q: Do you think Camille is really sick? Or is it the injustice of the patriarchal society to her?
Dumont: She's really paranoid, and all the psychiatric reports say she has a mental problem. But it's hard to imagine that this is the one who was locked up. So the main question was, why didn't his brother take her away, after all the doctors said she could be discharged. In the film, the doctor also said, "You can take her out of the hospital." So, it has become a perpetual mystery. Everyone can make their own judgments, and the best I can do is to photograph the problem.
Q: How important is Paul in the sibling relationship in the film?
Dumont: He is extremely important. Her other relatives had abandoned her, leaving Paul to take care of her. In her letters she repeatedly mentioned Paul, and the only prospect for 30 years was Paul's visit. This is another mystery.
Question: Do you yourself consider religious obsession a psychopath?
Dumont: This time, I used an intellectual way to describe the mind of Paul Claudel, the great poet of the 20th century, his alienation, his condition of being blinded by faith. It was weird to me to watch Camille, who was anti-clerical, become a daily prayer. I am interested in devout, Catholic-loving people. Becoming a Catholic is one step away from the birth of abstinence; the difference between the cinema and the theater is also one step away; therefore, God is like a drama, and believers are like a movie. Making movies about believers is fun. (Translation note: The original text is: Being Catholic you are on the borderline and the closest to ascetic and so this borderline is interesting because God is theatre. So to film a religious person: they are cinema. It is very interesting.)
Q: You Does it make you angry that Anglo-Saxon's works are always given simplistic interpretations of Anglo-Saxon culture?
Dumont: Of course. Because I'm really depicting the complexity of the human condition, that dark thread. But the mystery about Paul is also very interesting. I'm not judging him, but I can't help it if the audience wants to. My task is to ask questions. Some viewers like Paul, think they understand him very well, understand that he doesn't save his sister, and understand that he is not a hero. Paul was a hero as a poet, but a coward as a man. It would be interesting to be able to deal with characters from that invisible world.
Q: Finally, your approach to filming has changed since 1997's Virgo The Life of Jesus/Man's Son, what do you think?
Dumont: I feel like I'm improving. My way of directing is changing and the camera position is more appropriate. It used to be that I mostly set up the camera, let the actors play, and try not to interfere as much as possible. Now I am more confident and construct that space more. Binoche was also surprised to see the camera being so domineering, because she is usually the domineering one. She said that she was usually walking around, not like in this film, where the camera was walking around.
Chapter 8:http://www.huffingtonpost.com/karin-badt/director-bruno-dumont-lec_b_4385201.html
Author: Karin Badt Time: 2013-12-4 (updated on 2014-2-3)
This is a class lecture on film and television, translated owe.
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