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Encyclopedia of French Film Directors

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364 • EPP, LIONEL<br />

1996 Saint-Exupéry: La Dernière Mission (also coscreenwriter,<br />

co-adapter; shot in 1993)<br />

EPP, LIONEL (May 9, 1960, France–)<br />

He managed his musical studies and sociology degree<br />

at the same time. After being an assistant director<br />

for several TV shows (including Les Guignols de l’Info),<br />

he directed several dance videos for modern dance<br />

companies and some docu-fi ctions on music and<br />

dance for the <strong>French</strong> cultural TV channel Arte. A<br />

pr<strong>of</strong>essional reader <strong>of</strong> screenplays for two TV channels<br />

(France 3 and Canal Plus), he used a pseudonym<br />

to direct his fi rst short before going back to his Alsatian<br />

grandmother’s name <strong>of</strong> Epp. He also directed<br />

several commercials.<br />

<strong>Film</strong>ography<br />

1994 Le Temps des Cerises (short; as Lionel Boncompagni;<br />

also screenwriter, dialogist)<br />

1996 Une Belle Nuit de Fête (short; also screenwriter,<br />

dialogist)<br />

2003 En Territoire indien (also screenwriter, dialogist)<br />

Television <strong>Film</strong>ography<br />

2004 Vous êtes de la Région? (also screenwriter,<br />

dialogist)<br />

EPSTEIN, JEAN (March 26, 1897, Warsaw, Poland–April<br />

1, 1953, Paris, France)<br />

The son <strong>of</strong> a <strong>French</strong>-Jewish father and a Polish<br />

mother, he left Warsaw in 1903 with his mother and<br />

sister after his father died. He was a schoolboy in<br />

Lausanne, Switzerland, until the start <strong>of</strong> new school<br />

year <strong>of</strong> 1909, when he went to a private school, la<br />

Villa Saint-Jean. After attending “math-élem.” classes<br />

until 1915, he chose to go to Lyon (where his father<br />

had lived). In 1916, he opted fi rst to study for entrance<br />

to the Ecole Centrale before branching <strong>of</strong>f into<br />

natural sciences and medicine. A nonresident student<br />

at Lyon General Hospital, he met Auguste Lumière<br />

and became his secretary. Passionately interested in<br />

literature and poetry, he founded in December 1920<br />

a review, Promenoir, and obtained texts from writer<br />

Blaise Cendrars, fi lmmaker Auguste Lumière, and<br />

painter Fernand Léger. Blaise Cendrars (who worked<br />

at the time as an assistant director to Abel Gance)<br />

introduced him to publisher Paul Laffi tte, the former<br />

founder <strong>of</strong> the <strong>Film</strong> d’Art in 1908 and the creator and<br />

owner <strong>of</strong> the Editions de la Sirène. In 1920, Laffi tte<br />

published his fi rst book, La Poésie d’aujourd’hui, un<br />

nouvel état de l’Intelligence (with a preface by Blaise<br />

Cendrars), who was praised by fi lm theoreticians<br />

Louis Moussinac and Louis Delluc. In 1921, Laffi te<br />

hired him as a secretary, and Delluc asked him to<br />

write articles in his review Cinéa and to be his assistant<br />

on the movie Le Tonnerre. The same year,<br />

he published another essay, Bonjour Cinéma, which<br />

strengthened his reputation <strong>of</strong> being “the fi rst fi lm<br />

theoretician in the world,” according to the words<br />

<strong>of</strong> fi lm historian (and theoretician) Jean Mitry. He directed<br />

his fi rst fi lm in 1922. Thanks to his books and<br />

his most interesting fi lms, his name remains linked<br />

to the avant-garde. Other books: 1922 La Lyrisophie<br />

(poetry; Editions La Sirène); 1926 Le Cinématographe<br />

vu de l’Etna (essay; Les Ecrivains réunis); 1932 L’Or<br />

des Mers (novel; Editions Valois); 1935 Les Recteurs<br />

et la Sirène (novel; Editions Montaigne); Photogénie<br />

de l’Impondérable (essay; Editions Corymbe); 1947<br />

L’Intelligence d’une Machine (essay; Editions Jacques<br />

Melot); 1948 Le Cinéma du Diable (essay; Jacques<br />

Melot); 1955 Esprit de Cinéma (Editions Jeheber).<br />

<strong>Film</strong>ography<br />

1922 Les Vendanges (documentary; short)<br />

1923 Pasteur<br />

L’Auberge rouge / USA: The Red Inn (also<br />

screenwriter, adapter)<br />

Coeur fi dèle (also co-screenwriter)<br />

La Montagne infi dèle (documentary; short)<br />

1924 La Belle Nivernaise / USA: The Beauty From Nivernais<br />

(also screenwriter, adapter, editor)<br />

La Goutte de Sang / Du Sang dans les Ténèbres<br />

(Jean Epstein started to shoot this fi lm, and it<br />

was fi nished by Maurice Mariaud)<br />

Le Lion des Mogols (also screenwriter, adapter,<br />

editor)<br />

1925 L’Affi che / USA: The Poster (also co-screenwriter)<br />

Le Double Amour<br />

Les Aventures de Robert Macaire / USA: The<br />

Adventures <strong>of</strong> Robert Macaire (fi ve-episode<br />

serial)<br />

Photogénies (documentary short)<br />

1927 Mauprat (also screenwriter, adapter, producer)<br />

Au Pays de George Sand (documentary; short;<br />

also producer)<br />

Six et demi, onze (also producer)<br />

La Glace à trois Faces (also screenwriter,<br />

adapter, producer)

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