estfilmindustri
Director
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rafaël ouellet
Male
35 years old
montréal/dégelis
Canada
Last Login: 8/25/2009
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Mood:
creative
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estfilmindustri's Film Bio
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| Influences | printemps 2007
estfilmindustri presente
LE CEDRE PENCHE
avec Viviane Audet
et
Marie Neige Chatelain
dir. artistique et production
Claudie Bouchard
son
Daniel F.-Begin
musique originale
gilles-vincent martel
avec la musique de
nicole caron
marie neige chatelain
viviane audet
vincent vallieres
patrick groulx
miyagi
en collaboration avec
nihilproductions
Urbansounds
Beebop Studios
affiche
jon claytor
scenario, image, montage et realisation
rafael ouellet |
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estfilmindustri's Interests
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| Heroes | estfilmindustri@videotron.ca
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estfilmindustri's Details
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| Status: | Married | | Zodiac Sign: | Aries |
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estfilmindustri's Latest Blog Entry
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DERRIÈRE MOI au Festival du Nouveu Cinéma
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DERRIÈRE MOI AU FESTIVAL DE TORONTO
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LE CÈDRE PENCHÉ À L’EX-CENTRIS dès vendredi [13 juin]
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Le cèdre penché aux RVCQ
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top music 2007
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| [View All Blog Entries] |
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estfilmindustri's Blurbs |
About me:
The approach to the human face is without doubt the hallmark and the distinguishing quality of the film. From this we might conclude that the actor is our most precious element and that the camera only registers the reactions of this instrument.
-Ingmar Bergman, 1959
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Film-making doesn't mean audiences, festivals, reviews, interviews. It means getting up every day at six o'clock in the morning. It means the cold, the rain, the mud and having to carry heavy lights. It's a nerve-racking business and, at a certain point, everything else has to come second, including your family, emotions, and private life. Of course, engine drivers, business men or bankers would say the same thing about their jobs. No doubt they'd be right, but i do my job and i'm writing about mine. Perhaps i shouldn't be doing this job any more. I'm coming to the end of something essential to film-maker -namely patience. I've got no patience for actors, lightning cameramen, the weather, for waiting around, for the facts that nothing turns out how i'd like it to. At the same time, i mustn't let this show. It takes a lot out of me, hiding my lack of patience from the crew. I think that the more sensitive ones know i'm not happy with this aspect of my personnality.
Film-making is the same all over the world: i'm given a corner on a small studio stage; there's a stray sofa there, a table, a chair. In this make-believe interior, my stern instructions sound grotesque: Silence! Camera! Action! Once again i'm tortured by the thought that i'm doing an insignificant job. A few years ago, Libération asked various directors why they made films. I answered at the time: 'Because i don't know how to do anything else.' It was the shortest reply and maybe that's why it get noticed. Or maybe because all of us film-makers with the faces we pull, with the money we spend on films and the amounts we earn, with our pretentions to high society, so often have the feeling of how absurd our work is. I can understand Fellini and most of the others who build streets, houses and even artificial seas in the studio: in this way not so many people get to see the shameful and insignificant job of directing.
as so often happens when filming, something occurs which -for a while at least- causes this feeling of idiocy to disappear. this time it's four young french actresses. in a chance place, in inappropriate clothes, pretending that they've got props and partners they act so beatifully that everything becomes real. they speak some fragments of dialogue, they smile or worry, and at that moment i can understand what it's all for.
-Krzysztof Kieslowski
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