00:00:00: Hello, Danny Cote at Locarno Film Festival.

00:00:02: We're here to talk about your new film!

00:00:05: About which you just gave me this amazing button called Nobody's Violance.

00:00:09: The violinist deals with its very muted.

00:00:12: Great to have you hear how do feel?

00:00:14: A lot better because I'm three years later in my transplants and it is important that said up.

00:00:20: This film was written In the last year of my disease.

00:00:24: That way i was feeling the worst.

00:00:26: So I created this semi-autobiograph script using a character.

00:00:31: It reminds me of my condition when I made the film and it's fun now to have made this movie in good health.

00:00:38: We're

00:00:39: definitely glad that we've had you back, more interesting works.

00:00:42: so if you were close to death You may be very concerned with this but also this aspect of assisted suicide especially in Switzerland.

00:00:52: But on more countries becoming legislation gets more accessible for people.

00:00:58: You planned for a long time to make the film that deals with that aspect.

00:01:02: or was it more of an idea being close at end-of life?

00:01:05: It's more...being

00:01:06: closed.

00:01:07: I didn't want anything like social films, I didn' t wanna have any special message on this question.

00:01:13: If you see the film then you can say i'm not pro and against.

00:01:17: Quebec now is considered not the right word but champions in terms of assisted suicide.

00:01:24: In Canada we call it medical aid in dying.

00:01:28: It's called mate.

00:01:29: So I never hear assisted suicide, which

00:01:31: sounds actually better that way You know because suicide has this negative ring to

00:01:35: it Because medical aid means that you have a team of doctors Helping you die with dignity.

00:01:41: so your diet home.

00:01:42: you died with your friends and family.

00:01:44: The project was really really centered on the way?

00:01:47: I was feeling with my kidney disease.

00:01:49: It's not a social film And i wanted To make sure there Was enough light in the film.

00:01:54: the film was luminous Enough or else be just a depressing film.

00:01:58: I'm a bit surprised now reading some reviews that this one would be sooo dark, i think it's full of light humor.

00:02:05: its going all over the place ,its a cute chaos at some point but people are really attached to thematic of assisted suicides .

00:02:13: So..I understand Some people come and they talk about their private lives and know my mother this and dad this.

00:02:20: thank you for your film huh?

00:02:26: film about a character, Mira and she's looking to have new life.

00:02:30: That depends on the interviews.

00:02:43: So

00:02:52: I can easily imagine it's touching all kinds of people with different origins, and some people are totally for it.

00:03:02: Some peoples' are... against it, some people are very at ease and at peace with their decisions.

00:03:07: I wanted to have a broad vision on the question but still stay on Mira and her quest to find a new life for

00:03:16: herself.".

00:03:16: You

00:03:17: mentioned that you wrote this film when you were still very ill... ...but you shot if i understood right?

00:03:22: When your already getting better so basically got this new life did change your outlook or imagine would've shot before you got transplants or without knowing if you would get a wand.

00:03:34: It's

00:03:35: kind of true that I wrote it when i was very sick, so I didn't know what will happen but I WOULD have been too sick to shoot it.

00:03:41: So I knew I was writing and it was obvious that I'd shoot in my new life But I had no clue on the New Life Would Be.

00:03:48: You need to understand That your going towards something called Dialysis Something called Transplant.

00:03:53: What does this mean?

00:03:54: And then ya get this new organ and open your eyes and what?

00:03:57: everything is clear?

00:03:59: Thats who I was like fifteen years ago Colour.

00:04:02: But you don't know when your writing.

00:04:03: When you're writing, it's a. everything is kind of gray.

00:04:06: Everything is iron.

00:04:07: You don't care about colors.

00:04:09: Your never...you are not dying!

00:04:12: Yeah I wrote this but It was obvious that i would shoot in my next life without knowing which kind of life.

00:04:17: So its very fun.

00:04:19: That's funny In the total mystery..You know ure filmmaker You know ur gonna shoot that script But in what condition?

00:04:26: Did U then look on the script differently?

00:04:28: Where there things like you said?

00:04:29: I dont wanna do it that way anymore because I now have a new script.

00:04:32: Don't look at the script as, uh... The memory of who i was in that period.

00:04:36: So Of course this one looks very very dark Now when I look at it..I know I proposed something Very DARK.

00:04:43: Okay well Im gonna say an interview into people When I do Q&A's.

00:04:46: It was written In That Period But im not sure today if would write This Script.

00:04:51: I think I will NOT remember the state I Was in Because your life is just changing.

00:04:56: Its As If You Would Ask Me Well Write A Script When you had two arms and Now you have one, really remember because now I'm living my daily life with one.

00:05:04: And i would never regret the film he just saw... ...I think it's a period of my life.

00:05:09: Was there a lot of improvisation with the actors to develop their characters or was everything very strictly written down?

00:05:16: It

00:05:16: was a fifty-five page script which is pretty short but You want to make sure that you HAVE A SITUATION and you hope that the actors will make it bigger.

00:05:25: So there are parts in this movie where they're improvised But its completely written others.

00:05:30: that is completely improvised and you think it was.

00:05:33: It's because some actors are better at improvising than other, who never know how its gonna turn.

00:05:38: now The dinner scene.

00:05:40: I told them to say these lines of dialogues but everything else had to be improvised.

00:05:46: You don't know whats going to happen And Its so fun to have this moment.

00:05:50: So...you dont'know what your film will look like Cause i come from a place where everything is SO well written all the time and their rules are so strict that you need to respect a budget.

00:06:03: So we make very, very locked in film And with this film I could find spaces for exploration.

00:06:10: That's really great.

00:06:11: You also regularly work with your main actress Larissa Carnivore.

00:06:15: How was it working here again?

00:06:17: Was from beginning clear she would be the main actress?

00:06:20: Yes

00:06:20: because She needed her own film.

00:06:22: i know i made man was in synopsia But wanted her to be well scripted film if you want, and it's a six or seven collaborations.

00:06:32: I don't like to use the word news because i don't Like that word?

00:06:36: It was like a cliche but we're like old friends when We can just talk with each other by winking Or whatever.

00:06:42: there is no extra intellectualization of concepts or Whatever she knows When She's doing something I Don't like.

00:06:48: it's like an Old-Old couple.

00:06:50: You know when I Was young I wasn't looking at films from before Has been done.

00:06:55: I always see That these people had a family.

00:06:58: Always the same actors, always... And I was like why?

00:07:01: Why do you call Jean-Pierre Luiot to be in your film and why is it always the same actor with Fassbinder?

00:07:06: Now i understand You can trust people.

00:07:09: It's a family And Larissa is part of that family for sure.

00:07:13: She's very good at with silences.

00:07:15: Everything goes on.

00:07:16: her eyes is so inhabited While other actors they don't have any lines So they look a bit dead.

00:07:23: But she looks very spiritual.

00:07:26: She's very esoteric at the same time, and I'm very concrete.

00:07:30: Oil is a perfect collaboration.

00:07:32: You

00:07:32: have this winter landscape with snow and ice everywhere.

00:07:36: Is it just that its Canada?

00:07:37: It's a lot of cold?

00:07:38: or was it intentionally...

00:07:40: Well you have dates!

00:07:41: You have shooting days.

00:07:42: You don't know when it gonna be And we were very lucky The Lucky Unlucky.

00:07:46: There was a snow storm And it was minus thirty.

00:07:49: When you see Winter Its minus twenty-five Thirty.

00:07:51: When it's snowing We're like Yeah.

00:07:53: So it's hard to shoot.

00:07:55: It's too cold its harm but on screen it's beautiful.

00:07:58: So, It was regular winter in January.

00:08:02: Yeah, we were lucky visually.

00:08:03: We were looking.

00:08:04: what

00:08:04: was the biggest challenge when you did that film?

00:08:07: at

00:08:07: first I thought it Was a challenge of shooting on two seasons because i never Did that and i was afraid of the moment?

00:08:13: We would wait to reshoot And then It was amazing Because we shot only summer.

00:08:18: i could edit Summer and Then i knew exactly What i had To shoot in winter.

00:08:22: so i was Afraid.

00:08:23: and now i'm is really Really so.

00:08:25: technically it was not A problem.

00:08:27: god i wish i Could tell me which was a Problem.

00:08:29: relationship with The director for Progressing?

00:08:31: That's all I'm gonna say to you there, to without my lawyer.

00:08:36: So

00:08:36: we'll say a lot of content about how the film would look.

00:08:39: or are you just supposed two people with very strong opinions?

00:08:42: No it was what you saw is sixteen millimeter and everybody using Kodak because that's whats left.

00:08:47: i am lucky enough to propose that we shoot in on film And the producers said okay We will organize the budget so You can.

00:08:53: Shoot On Film.

00:08:54: A Ghost On Entology Was On Film.

00:08:56: That kind Of Summer Was On Films.

00:08:58: Again I Said Look If We Shoot On Sixteen The Grain I'm gonna make sure it looks not ugly, but very low resolution.

00:09:05: And that will match the way our... The state i was in when I was saying everything with the colors were bad.

00:09:12: So this film matches how I was feeling and really love them.

00:09:15: But one day the director of photography showed me on YouTube a video of an old film stock from Germany East Germany called ORWO That was created in nineteen forty nine east germany.

00:09:28: It kind of disappeared over time And then we discovered that the company still exists and they sell one hundred feet of film to young people.

00:09:37: just go have fun in street and out.

00:09:39: He said, what if I would contact a company and ask them for...to buy so much film stock That We Can Make A Feature Film?

00:09:47: Then Orwell told him Never Happened That We Produced As Much Film Stock For Our Film.

00:09:54: Let's Try To Order Big Amount Of Film Stock And See What We Can Do.

00:09:58: Then The Film Stock Came.

00:09:59: DP just discovered that it was completely unpredictable.

00:10:03: It's an unpredictable celluloid, like he would shoot and he was completely afraid.

00:10:08: there wasn't enough light And its not like Kodak.

00:10:10: So it is a savage choice.

00:10:12: Savage film star!

00:10:13: Sometimes they call me nearly crying.

00:10:16: I'm not sure if i shot yesterday with the team of thirty-five people Not even sure its gonna come out okay?

00:10:23: Well thats what i want, very experimental Say yeah but theres experimental and underexposed.

00:10:29: So we were so afraid and in the end, it's okay.

00:10:32: And I liked the result but i'm not sure if you would use again that film stock.

00:10:36: It is too unpredictable.

00:10:37: .So ,I think this was first time in history there are feature films using that.

00:10:41: That was a danger and beauty of it.

00:10:43: Its

00:10:43: hard to see it as parallel with whole situation because your health and life trajectory was also unpredictable.

00:10:53: Would they come out light or just be like darkness?

00:10:58: The way

00:10:59: we talk about it now, yes.

00:11:00: It's fine but when you shoot... dangerous.

00:11:06: But it worked, but he was sore.

00:11:08: and then we agreed that We would only use the ahohole on daylight exterior.

00:11:13: everything that is shot at night an interior Skoda and color correction will try to make Everything match.

00:11:19: we have our drone shot.

00:11:20: drone shot has to be video.

00:11:21: So we had to make anything match.

00:11:23: It's fun experience not trauma.

00:11:26: in many descriptions of your film or even some reviews I read that its supposedly a futuristic story And i always drug a bit to see that futuristic element.

00:11:36: Did you feel it as something that plays maybe in the near future?

00:11:39: The look of

00:11:40: this film makes me look seventies!

00:11:42: Some people said its dystopic, Its not futurist.

00:11:45: and what I like is there's timeless quality for the proposition.

00:11:50: And on topofit i live in country where everything is legal and made looks like deep dark web with weird organization so doesn't exist.

00:11:59: It's improbable Not futuristic because the future is medical aid and dying in many, many Western countries.

00:12:10: Is it in Germany?

00:12:11: In Germany It's legal but extremely hard to assess.

00:12:14: So

00:12:15: you see its gonna come.

00:12:16: But me Its like regressed Like still illegal Made a country where its legal.

00:12:21: I love that.

00:12:22: this film.

00:12:24: How do say in English?

00:12:25: It not possible.

00:12:26: A lot of situations are just What thats impossible.

00:12:28: That doesn't work.

00:12:30: There s moment when she meets that guy in winter It's winter.

00:12:33: And then it's summer and she goes to Ludo's place in the house, and he says I looked at your GPS and it seemed that you stayed for a long time In that region but was eight months ago doesn't work.

00:12:44: There are a lot of things i don't care anymore want To be so free and try to find poetic zone.

00:12:51: when i used to write scripts everything needed A reason and You would go to institutions?

00:12:56: And Try to tell The institution i want this i want That yeah why?

00:13:00: Why now?

00:13:01: they Don't ask me too much question, they respect my words.

00:13:04: As long as I bring them to Berlinale or Localno de Let Me Make My Films and there's a lot of things that i don't care anymore.

00:13:10: when I make film And it's fun!

00:13:12: It is open...I feel so

00:13:14: free!!

00:13:15: This film for me the freest film I made.

00:13:17: Do you

00:13:18: already have any new project?

00:13:19: You like talk about?

00:13:20: But usually after a film like this..I make a film with a bunch friends.

00:13:23: That's five thousand euros Like Paul.

00:13:25: So I think im gonna go shoot six months in mansion.

00:13:28: The mansion will be main character.

00:13:30: And then we bought the rights to a Japanese book written in two thousand and it's called Revolver.

00:14:02: Thank you

00:14:02: so much for this interview.