IR Interview: Helene Cattet & Bruno Forzani For "Reflection In A Dead Diamond" [Shudder] - Part I - video Dailymotion

The Inside Reel

Co-Writers/Co-Directors/Partners Helene Cattet & Bruno Forzani talk to The Inside Reel about concept, colors and planning in regards to their new film: "Reflection In A Dead Diamond" from Shudder.

Transcript

00:00Music

00:17And I knew what I would end up with this long way of destruction.

00:40We talked about sort of DIYing a lot of what you like to do.

00:44But the thing that really got me, Bruno, from the get-go, was Never Say Never Again as the influence off the bat.

00:52It's funny because for me, it's one of my childhood memories, this Never Say Never, because it was shot in the area where I was living.

01:04But when we've watched it again, it's a bit the same thing as our movie, in fact.

01:08But in a more straightforward action movie, for sure.

01:13But it's the same thematic, in fact.

01:15Yeah, that's funny.

01:16Yeah, it's funny.

01:17Because for us, the starting point was a mix between James Bond and Death in Venice.

01:25From Visconti.

01:26From Visconti.

01:27And so it's, you know, like a spy you remember his past and things like that.

01:34And so that was the starting point.

01:38And after, what inspired us a lot was Sunset Boulevard, you know, for the côté mise en abîme.

01:49The character himself, though, how did he come into it?

02:17Was it just an amalgamation of different characters?

02:20It's funny because when I think about him, he reminds me of Umberto D.

02:25But it's not Umberto D. It's more James Bond.

02:29But in fact, it's really Fabio Testi who inspired us, the character.

02:33Because he has done these genre movies in Italy, like Italian Western, Eurocrime.

02:41But he played in very big authors' movies like De Sica, Zulewski, Chabrol.

02:49And so it was that mix that we tried to do with this movie, you know, to mix like a popular cinema with more author cinema.

02:57And he was the perfect key to enter this world, in fact.

03:00But the visuals, I mean, to take nothing away from the sort of idea of the story, but the visuals and the way they play.

03:07You know, because there is that, there's almost a samurai aspect at some point.

03:11There's so many influences in that way.

03:13The illusion is the main subject of the movie, illusion of a world, of a life, etc.

03:23So, in fact, we used this op art, who is the art of the...

03:30Optical illusion.

03:32Optical illusion.

03:32So, we used a lot of things from op art, like the costumes, like the props, the sets.

03:45And so we worked a lot on it, and with the lights, to have this illusion, this atmosphere of illusion and mirrors.

03:59For me, there are three colors.

04:02It's blue, because it was about the sea.

04:06And for us, it was a blue film.

04:09But we had a lot of problems with the meteo, and it became sometimes gray, but blue.

04:15And after, for the more psychedelic part, it's more maybe the red.

04:20And as Hélène said about op art, there were a lot of reflections, so it's like silver.

04:27There are two people who are very strong.

04:29I'm not a million, but a dizaine of millions of barrels.

04:34Don't you worry about it.

04:38My resources are infinite.

04:39I'm not a million, but a lot of people are infinite.

04:54I'm not a million, but a lot of people are infinite.

04:54It's structure, because the thing is, you guys always are very interesting with structure.

05:04But this, because it's reflective of existence, in a way, it has to take on a certain thing.

05:10Could you talk about structure in terms of how you had to look at both shooting and editing?

05:16We have written the script with colors, in fact, because there are several layers, several realities, several layers of narration.

05:24Yeah, and several time, several temporality.

05:31So, in fact, it's very precise in the writing.

05:36And so, we still, we are thinking about the editing when we are writing.

05:43And it's the same structure at the end that varies at the editing.

05:48We are not working on the structure when we edit.

05:52It's all done before.

05:53Because we do all the storyboard regarding the editing.

05:57You know, we don't shoot thousands of shots, and after, we're going to think about it in post-production.

06:04In fact, we really want each shot to have a meaning, like if it was a word.

06:12And with the editing in head, it constructs a sentence.

06:17So, it's really like a language that we try to develop.

06:23Yeah, in fact, we try to be really sensitive.

06:26We try to tell the story through the cinematographic language, but not with the verbal language, not with the dialogue.

06:47Well, because it does have a visual language.

07:08And I can't remember if it was at that screening or I mentioned to somebody else, that's very punk.

07:13Very punk in many ways.

07:15But the thing is, I know you guys are so precise with the way the image looks.

07:20Can you talk about making something feel so spontaneous and energetic?

07:24I remember how into it everybody was, but keep it very structured.

07:29Is that just an energy that you get on set?

07:31The energy comes first from the actor, because when we were talking about Fabio, his character, we talked a lot with him and of his past.

07:44And we used his real past to direct him for the character in the present.

07:49And after, we think, we thought each time about the editing when we do the storyboard.

07:59So, all the transitions are there.

08:02And so, it's that to keep the rhythm.

08:04And we have a lot of shots to do.

08:07There were 1,300 shots to shoot.

08:11Sometimes, they are very small, but it gives all the energy to the film, in fact.

08:16We reconstruct all the sound design, like if it's an animation movie.

08:21We don't take the direct sound on the set.

08:24So, it's a creation.

08:26So, it's really precise.

08:29Yeah, it's that, because in fact, we do the image editing, mute.

08:33So, you have the rhythm of the image.

08:36And the rhythm of the image will give all the rhythm to the sound.

08:40And it's not, you know, when you do a video music, you have the music and you do the editing of the image of the music.

08:45It's the opposite.

08:46It's the opposite.

08:47It's the image who gives the rhythm to the sound.

08:50Smile.

08:51Smile.

09:15Smile.

09:16Smile.

09:17Home.

09:17Smile.

09:18Smile.

09:19Smile.

09:19—

09:20결eline.

09:212030 —

IR Interview: Helene Cattet & Bruno Forzani For "Reflection In A Dead Diamond" [Shudder] - Part I

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