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French Canadian Crime Writing: Will It Waken the Elephant Next Door? of the detective novel in French America, Le Roman policier en Amerique francaise, His novels Le Rouge ideal (; The red ideal), Le Chemin des brumes (; The Increasing cloudiness late in the day), which began his Daniel Duval series.
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We met on the Police District series where he was my partner. I then cast him in Gangsters where he played the part of Rocky, the violent cokehead cop. TSI: Did the real Titi Brasseur urinate on his boss to show his dissatisfaction with his appointment, as he does in your film?

He was fired of course. The anecdote was told me by Eric Yung, a former cop from the Anti-Gang Squad, and today a journalist and writer. Did you witness that? OM: Not personally, but it happened.

During a security check some neighbourhood youths who were driving around in a stolen car crashed through a roadblock. A police officer was killed and the driver of the vehicle shot down.

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When the superintendent attended the burial of his subordinate, all those present turned their back on him. Did you meet this artistically tattooed Christo who you play with such gusto? OM: I really enjoyed playing this character, even if he only has one scene in the film. My wife Catherine — she plays Eve Verhagen in the film — came onto the set that day to direct me.

Her looks and her tips were very valuable.


  1. Realist Vision.
  2. The Daughters of Maitland Valley: A Collection of Short Stories and Poems;
  3. French Literature?

I hold to the principle that a director must primarily be concerned with his actors. You need the genius of an Orson Welles or the confidence and experience of a Clint Eastwood to give yourself a leading role as well as directing the film. All the more so because I was under great pressure. I had to measure up to the project, measure up to all the talent who had embarked on this adventure and to the trust invested in me by the backers, distributors and producers. He was really small, covered in tattoos, wore scruffy tracksuit bottoms, and sported a narrow Errol Flynn moustache.

He was on police records for organised crime and was a member of the gang from the southern banlieue, a major robbery crew. He took me into his confidence and started to tell me the story of his life. Two or three months later I learnt that he was already getting a crew together and the Organised Crime Unit was on his heels. I have the memory of a Parisian urchin with a tired jailbird look and the cheek of Michel Audiard. My fascination is perhaps unhealthy, but I have a lot of respect and admiration for robbers of the old school.

On this subject, one of the best moments in the shoot took place during the meal. All the cops in this scene are real cops. After a couple of hours things had warmed up and all my cops started improvising and singing. That day we were visited by Michel Vaujour who had come to see his friend Dominique Loiseau. Their friendship had been forged when they met in prison.

With a bullet wound to the head sustained during a bungled robbery Vautour had been transferred to jail after a long period in a coma, which had a serious effect on his behaviour. When they were placed in the same exercise yard, Vaujour and Loiseau had become friends. As Vaujour had difficulty expressing himself because of his injury, Dominique had patiently taught him to speak again. A beautiful story and pretty rare in the world of prisons. At the start their meeting was a little tense.


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  • Everything was approached in a mood of mutual respect. TSI: You also show a new generation of criminals, wild and lawless. OM: Yes, Horn and company.

    Realist Vision - PDF Free Download

    These groups exist now. They are guys from the banlieue who associate with top criminals. I gave the role of Horn to my friend Alain Figlarz. He assembled most of the actors for this film. It was Alain who choreographed the fights and gunfights — taking note of my point of view — with the collaboration of the storyboard artist Richard Mvogo who was on my wavelength straightaway and did a great job too. I wanted the action to be short and brutal, as it is in real life. Hence my choice of slow motion shots alternating with shots at normal speed — especially during the death of Valence.

    In this sequence Alain Figlarz was injured in the lower belly by a piece of shrapnel he had chosen not to wear protection so as to move more freely. He was sewn back up and the doctor signed him off work for a week. Alain took no notice and was back on set the following day to shoot the sequence where he takes Eve hostage during the gunfight.

    Catherine, who plays Eve, was also injured in this scene. She bent back her thumb and continued to act until she fainted. It was a difficult day for me. At the same time, the results are wonderful. TSI: When he goes home, Vrinks wants to tell his wife nothing about what he does.

    Camille has her suspicions, but she knows nothing. She wants to know nothing. Each cop lugs around a different past. Before joining the Anti-Gang Squad Vrinks was boss at the criminal bureau and carries the consequences with him. TSI: When Vrinks is at his lowest ebb and has lost everything, you just film the prison walls. In the background we hear his howls of despair. Vrinks is actually the Count of Monte Cristo. OM: Absolutely. The scene is all the more awful with those austere buildings topped with barbed wire and this wrenching cry which rings out from behind the walls.

    You feel all his despair, his terrible isolation and powerlessness. His wife died and he could do nothing. The burial scene was inspired by something I experienced as a young cop. At the time I was attached to a squad in Versailles. My unit had instructions to take a villain out of prison and escort him to the cemetery so he could attend the funeral of his little daughter.

    I tell you that I no longer wanted to be a cop on that day. I was ashamed to be there. TSI: You left the force because you could no longer put up with the system, yet all your films revolve around it. Are they therapy? An exorcism? Or simply an act of bearing witness? OM: I have a problem with Good and Evil. I read lots of thrillers, I watch a lot of them in the cinema. At the same time I no longer manage to watch the news on TV and I no longer buy newspapers. What happens around me frightens me.

    Realist Vision

    TSI: In 36, as in Gangsters, you take great care over dialogue, this time to the point of restraint, almost spareness. My dialogue bears traces of all those influences. He had great authority and was known for his way with words. Auteuil too is a model of sobriety and sensitivity. Was it difficult to direct them?

    Filmography

    OM: Not at all. They behaved as if it was my tenth film and showed total trust in me. We worked phenomenally hard on this film but we also had a great time. He belches, he kids around, laughs and delivers his performance wholesale. Daniel is more cerebral.

    Francis Poulenc sur "La courte paille"

    He arrives on set with his cases packed, if I can put it like that. He works on depth and suppleness. He has read and re-read the script dozens of times, he has talked to me about cops at great length, has met many of them and has spent whole days wandering around near HQ. Then he lets the director take him by the hand and guide him.

    They are both great guys and it was a real pleasure to work with them. Like all the other actors, in fact.