A Quote by Thomas Chatterton Williams
Jacques Audiard has always been an outlier in a French film industry that is starkly bifurcated between high and low.
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I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!
I've scored all the movies that Jacques Audiard has directed. It's a long love story between us, trying to find a voice that would belong to his films only.
It’s funny, I started by making fake American movies, The Transporter and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
It's funny, I started by making fake American movies, 'The Transporter' and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
There are few teachers from the film industry to guide newcomers. One can see a gap between the film industry and those teaching at film schools.
If you think about the history of the PC industry, the PC industry has essentially been nothing but acquisitions by one company or another. Dell is the outlier. Dell built its own culture. They automated themselves to be the most efficient manufacturer.
I still struggle with my low notes. It's just always been something for me: I'm not a low singer. I have a really high voice.
I think the record industry, by and large what's left of it, is still totally homophobic. I think it's much less so in the film industry now, but the record industry, it's always been a man's world.
I hope it's always going to be a mix between theatre, film and radio. I've been very lucky living in London that you can do all that - in New York and L.A., there's more of a structure for film in L.A. and theatre in New York. In London, our industry is smaller, but it produces brilliant work all in one place.
Well I never play back my music, just so you know, it's there sitting in my drawers and what I remember is that, what I can say is that there are steps, you know, moments in my life where I know that one score was a new chapter. I can say that 'Read My Lips,' by Jacques Audiard, 'Sur Mes Levres' was a chapter.
The film The Conquest will be seen on many different levels and the American point of view is always more technical. The French are less technical - it's 'I like it, or I don't like it.' I hope that this film can have a life in the U.S. - it's the grand country of cinema. I grew up with Hollywood movies, so for a French director to have a film distributed in the U.S. is a real opportunity.
I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"
I was in Jacques Brel Off-Broadway for many years, so I've always been a singing actress, but the songwriting was a complete surprise. I had never written a song in my life. We were on the road with Jacques Brel doing the national tour, and I picked up a guitar one day and I wrote a song.
To every man there openeth a way, and ways, and a way. And the high soul climbs the high way, and the low soul gropes the low. And in between, on the misty flats, the rest drift to and fro. But to every man there openeth a high way and a low, and every man decideth the way his soul shall go.
My film is in French. It's not something folkloric. It's who we are. There's this tension about immigrants coming in. Will they learn French? Will they adapt? In this film, I'm on the reverse side because Monsieur Lazhar comes from a society where French is also the second language.
It wouldn't have existed without France, and it's a French initiative. As a filmmaker, I owe everything to France - I got accepted at a French film school that takes six directors a year. Once you're in, you make films under the eye of people in the industry. You grow up in front of their eyes.
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