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How did you work with Rocco? We come from very different worlds but in this movie Rocco is an actor, not a porn actor. He respected my limits and was very respectful towards me. How did Catherine direct you? Catherine is not concerned with an actor's pat psychology. I was often moved by her, carrying her burden come hell or high water, arriving on the set in the morning and finding herself in the same emotive state as the actor because she is in the same labyrinth and feels the same nervousness. She becomes a real scene partner. The actors are an extension of herself, of her imagination and of what she is trying to say. We are the raw material that she molds. She is uncompromising in terms of her work. She doesn't censor herself and, through her intelligence, she leads you into her way of thinking. With Catherine, you walk hand in hand in the dark. The wealth of her culture relies on a shared experience, a handing down, and that inspired me enormously. I always hope for emotion. When I buy into a filmmaker's vision, I can push myself very far, although I think I'll only do a project like this once in my life. Catherine was aware of my reservations, my protestant upbringing and my self-discipline, which she appreciated. I gave myself over to her voluntarily, as a woman in charge of her destiny, a woman who shares her way of thinking. The dialogue is very literary in a tragic register. It is beautifully written. It was important to avoid theatricality. The scansion is complicated, the sentences are long, discontinuous sometimes, always meaningful and, from a syntactic point of view, heavy for an actor. It is all very fragile. There is a whole world between the original screenplay and what appears on screen. Every day, an image needs to be created and that's not easy. The whole crew has to engage in a creative process that can be brutal, demanding and conflictual in terms of oneself and one's doubts, in order to achieve the harmony that gives birth to that image. Starting from a void to form an image and a conception is totally abstract. To my mind, Catherine's work can easily be compared to that of a painter. Was this role a challenge you set yourself? Did you learn something about yourself? An enormous amount. I think I came out of this experience both highly vulnerable and extremely strong. Being a committed actor, who invests deeply in a part, requires huge energy. Being naked on set is not easy. Personally, I don't like it. And at the same time, I felt extremely protected by the second skin constituted by the make-up and lighting. All that contributes to the sublimated dimension of the movie. How does Catherine talk you through a scene? We don't work on the scenes together. They come out of the moment on set. You're on the razor's edge. You have to know your lines perfectly because Catherine is capable of altering any single element of the context. She works instinctively. It's what happens at any given moment that counts, not what was planned or set down on a storyboard. It's not improvisation either because she doesn't like that but it's a process that's very alive, instantaneous, which, without changing the lines, can alter their direction. As an actor, you are constantly being molded. Catherine has an incredible way of directing actors and her method is both extremely strict and vulnerable. The director is there to manipulate the actress. If the idea of being manipulated is upsetting, it's because there is no trust. If I hadn't accepted it, I would have been out of place. Anatomy of Hell may shock those who don't buy into what it is saying. This movie wasn't for just any actress and quite a few of them would have been constantly having second thoughts. As for me, I see Catherine as an avant-gardist and I don't want to clip her wings. I allowed her to construct her vision. When you work with someone like Catherine, if you understand what she has to say -- not intellectually but deep within -- it can be so elevating.. What will be your strongest memory of this experience? Things aren't set in stone. This is neither my first nor my last movie but it is an important stage in my life as an actress. It counts a lot to me because I gave a lot of myself. I am glad to have met Catherine. She is everything and its opposite. Both brazen and shy, brutal and extremely gentle. I like those paradoxes within her. I like giving myself up to her vision because I know it sublimates the actress and the woman. Some people won't agree but that's how I feel. For me, she is the heir to Pasolini. If this film shocks people, it will be in the same way that Salo did because, with its own distinct ideas, it is in that tradition. Even if my protestant upbringing taught me a sort of stoicism, Catherine has added something essential to my life: detachment.
CINEMA 1989 ERREUR DE JEUNESSE by Radovan Tadic 1991 LE SILENCE DE L'ETE (short) by Véronique Aubouy 1994 DEPART IMMEDIAT (short) by Thomas Briat SORTIE DE LYCEE (short) by Caroline Champetier AINSI SOIENT-ELLES by Patrick Alessandrin 1995 SHARPE'S SIEGE by Tony Clegg LIMITED EDITION by Bernard Rapp 1996 WOULD I LIE TO YOU? by Thomas Gilou César nomination for Best Newcomer 1998 Trophée du <strong>Film</strong> Français 1998 MARIE BAIE DES ANGES by Manuel Pradal MIRADA LIQUIDA by Rafael Moleon 1998 WHY NOT ME? by Stéphane Giusti SOONER OR LATER by Anne-Marie Etienne FROM BEHIND by Valérie Lemercier LE COEUR A L'OUVRAGE Laurent Dussaux 2000 ONCE WE GROW UP by Renaud Cohen WOULD I LIE TO YOU? 2 by Thomas Gilou HOW I KILLED MY FATHER by Anne Fontaine BUNUEL AND KING SOLOMON'S TABLE by Carlos Saura 2001 NOURRIR LA LUNE by Jacques Baratier HYPNOTIZED AND HYSTERICAL by Claude Duty RENEE by Catherine Corsini 2002 UNDER ANOTHER SKY by gaël morel 2003 MARIÉE MAIS PAS TROP by Catherine Corsini SYLVIA by Christine Jeffs ANATOMY OF HELL by Catherine Breillat AMIRA CASAR TELEVISION 1996 BEETHOVEN, UN AMOUR INACHEVE by Fabrice Cazeneuve 2001 MURDER ON THE ORIENT EXPRESS U.S.A./ Grande-Bretagne 2002 LES CHEMINS DE L'OUED by Gaël Morel FORTY by David More pour Channel 4 2003 LES THIBAULT by Jean Daniel Verhagues THEATER 1999 AUNT DAN AND LEMON by Wallace Shawn - directed by Tom Kairn, with Miranda Richardson, Glen Hedly - Almeida Theatre, London HEDDA GABLER by Henrik Ibsen - directed by Raymond Aquaviva, with Jean-Claude Dauphin - Petit Théâtre de Paris
Page 1: ANATOMY OF HELL
Page 5 and 6: ANATOMY OF HELL In places where peo
Page 8 and 9: Human fertility is more enigmatic.
Page 10 and 11: When I wrote the screenplay, I went
Page 12 and 13: NOVELS L’HOMME FACILE / Christian
Page 18 and 19: When did Catherine Breillat first m
Page 20 and 21: Rocco Siffredi was born in Ortona M
Page 22 and 23: The Girl The Guy Wasteland lovers B

films - Flach Film

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