FABIO CONVERSI PRESENTS

AUTEUIL KASSOVITZ

THELOOKOUT

AFILMBYMICHELEPLACIDO

GOURMET

RUNTIME:89minutes

FRENCHRELEASE:5SEPTEMBER2012

SYNOPSIS

CAPTAINMATTEI(DANIELAUTEUIL)ISONTHEBRINKOFARRESTINGANOTORIOUSGANGOFBANKROBBERSWHENROOFTOPSNIPER(MATHIEUKASSOVITZ)SHOOTSATAUNITOFCOPSTOALLOWHISACCOMPLICESTOESCAPE.ONEOFTHEGANGISSERIOUSLYWOUNDED,WHICHFORCESTHEMTOCHANGETHEIRPLANS.HIDINGOUTWITHACORRUPTDOCTOR(OLIVIERGOURMET),THEYHAVETOPOSTPONESHARINGTHESPOILS.ASCAPTAINMATTEIORGANIZESAMAJORMANHUNT,THEGANGSTARTSTHEIRDESCENTINTOHELL...

INTERVIEWWITHMICHELEPLACIDO

WHEREDOESTHELOOKOUTFITINTOYOURFILMOGRAPHY?

Thefilm’sgenesisgoesbacktotheproducerFabioConversi,whoacquiredtherights.Thetwo screenwritersalsowantedmetomakethefilmbecausetheyhadbeenstruckbyROMANZOCRIMINALE.IthoughthavingaveryFrench‐inspiredcopthrillershotbyanItaliandirectorwasarealhonor,althoughIwasalittleintimidatedatthestart.AfterI’dgonethroughthescriptandseenthatDanielAuteuil,MathieuKassovitzandOlivierGourmetwereonboard,Istartedtofeelcalmer.Allthreeareexcellentandmoreimportantly,theycorrespondedperfectlywiththeimageIhadofthecharacters.

DIDYOUBRINGAPARTICULARLYITALIANPERSPECTIVETOTHEFILM?

Ihavebeeninfluencedbyallcinematicgenres.IwasraisedonTruffaut,theNewWave,MelvilleandBecker,andIhavealwaysbeenahugefanofJeanGabin.Eveninhismoreminorfilms,hissubtlety,humanityandironyareamazing.Duringtheshoot,IfeltmoreofaParisianthanaforeignerwithanItalianviewofFrance.Inaestheticterms,IviewedParismoreasatheaterstagethanamovieset.Iwasn’tbotheredaboutseekingoutatypicallyParisianfeelbecauseIwasdeterminedtoputtheemphasisonitbeingacontemporarynarrativewithuniversalthemes.

Undertheguiseofacopthriller,wealsodealwithyoungsoldierssenttoAfghanistan.Theaudienceshouldfeelthatourcivilizationisundergoingakindofcollapseintermsofhumanrelationships.ThestoryshowsthisthroughlinksthatbindDanielAuteuil’scharacter,hissonandtheFrenchsecretservices.Parisislikethearenaforasettlingofscoresfromthatwar,aswellasprovidingawonderfulbackdropforthisthriller.

YOUSAIDTHATYOUALSOWANTEDTOEXAMINEWESTERNDECADENCE.OTHERTHANTHESITUATIONINAFGHANISTAN,ISOLIVIERGOURMET’SCHARACTERSYMPTOMATICOFTHATDECADENCE?

Absolutely.ThescreenwriterswantedtomakeOlivier’scharacteralittlebourgeoisParisianwhoseparentsdideverythingtomakehimagoodman.Butthereisadisturbingsidetohimthatleadshimtobecometheexactopposite.ThatreallyremindedmeofPirandello’swork,andthewayhedealtwiththediscomfortoftheWesternbourgeoisie.OlivierGourmet’sperformancereallytakesthattoitslimit.Heiscorruptedbyevilandallieswithit,despitehisprofessionasadoctor,hiseducation,andthemoralsthathisparentstriedtoinstillinhim.

Nowadays,allyouhavetodoistolookatourpoliticianswhoaresupposedtoleadbyexamplebutwhobehaveappallinglybehindtheirmasks.OlivierGourmetistheperfectembodimentofthistwo‐facedcharacter,aDrJekyllandMrHydeofthemodernage.

OLIVIERGOURMETHASALWAYSENJOYEDAMBIGUOUSROLES.DOYOUSHAREHISATTRACTIONFORHUMANCOMPLEXITYANDTHETHINLINEBETWEENGOODANDEVIL?

Ialsoloveexploringdarkareas.Rightnow,I'mworkingonShakespeare’s“KingLear”asbothadirectorandanactor.Tomymind,hewastheinventorofthemodernmanwithallhiscontradictions.InTHELOOKOUT,Iwantedtoexplorethosewho,atfirstglance,areeither“goodies”or“baddies,”andmaketheaudiencethinkaboutwhotheyviewastherealguiltyone.Itisareflection,likeShakespeare’s,ongoodandevil.

YoucouldsayIidentifymorewithoutlawsbecausejusticeissometimesinadequateanderratic.Whenonewatchesthenews,oneismoresurprisedtolearnthatapoliticianhasbetrayedthetrustofthepeopleratherthanacriminal,becausethecriminalis,infact,abidingbytheirownrules.

YOUHAVESAIDYOUDIDN’TWANTTOMAKEAPOLITICALFILM.BUTTHATIS,NONETHELESS,ATHEMETHATISCLOSETOYOURHEART,ISITNOT?

Imadeanactionmoviewithgeneralappeal,withoutweighingitdownwithapoliticaldiscourse.ButintermsofmyowncareerandthoseoffilmmakerswithwhomI'veworked,likeMarcoBellocchioinparticular,youcanreallyfeelpoliticscomingthrough.Ican’thelpit.Withoutwantingtobecontroversial,theproblemwithItaliancinemaisn’taboutcommunicatinganaesthetic,butreflectingthecountry’sproblems.

ThereisacrisisoffreedomofexpressionandoneofthereasonsforthatisthedistributionmonopolyofRaiandMedusa.Wedefinitelyneedmoreindependentdistributioncompanies.

IfIwantedtomakeafilmrightnowaboutItalianpoliticsoverthelastfewyears,itwouldn’tbepossible.IthinkthereismoreroomformaneuverintheFrenchmovieindustrybecausereligionandstateareseparate,whereasinItaly,Catholicismisstillverypowerful.AsidefromMatteoGarroneandPaoloSorrentino,fewfilmmakersdaretoventureintosensitiveterritory.IdreamofbeingabletomakeanimportantpoliticalfilminFrance.

IhavenoticedthattheFrencharemoreenthusiasticaboutcinema,orattheveryleast,theyaremoreopentomanydifferentgenresandcultures.ThesuccessofASEPARATIONperfectlyillustratesthis.InItaly,theaudienceismorelikelytowatchTVandgotothemoviestowatchcomedies.Almostalltheart‐housemovietheatershavedisappeared,thoseplacesthathelpencouragetherarefactionofauteurdirectors.Currently,60filmsareshotinFranceforeveryfiveinItaly,fourofwhicharecomedies.Thatisprettytelling.

AMONGOTHERSOURCESOFINSPIRATION,YOUMENTIONHEATBYMICHAELMANN.CANYOUTELLUSABOUTONEOFTHEVERYFIRSTSCENESOFTHEFILM,AMOMENTOFBRAVURAWHEREASNIPERCUTSDOWNTHEPOLICE?

Wehadsomeamazingstuntartists,aswellascarandweaponsexperts–thesameoneswhohaveworkedwithMichaelMann.MathieuKassovitzmadequitealotofsuggestionstohelp.NothavingaHollywoodbudget,wedidahugeamountofupstreampreparation.IspentalotoftimewalkingaroundParisdoingreccies,andIfoundtheperfectplacefortheaction.WeneededtotakeahugenumberofprecautionsandIwasn’tabletodestroyasmanycarsasMichaelManninHEAT.Mypastlifeasacopwasalsoveryuseful.

WHATDIDYOURETAINFROMTHISEXPERIENCEANDHOWHASITFEDINTOYOURMOVIE‐MAKING?

IwasborninPugliainthesouthofItalyintoalargeandnotparticularlywell‐offfamily.Likethevastmajorityofmyfriends,IwaseducatedinaCatholicinstitutionandafterwards,thechoicewasclear:becomeapolicemanoremigrate,toGermanyorFranceforexample.Iknowmanypeoplewholeftandthensankintoillegalitytoearnaliving.

It’sallaquestionofchoice.Peopleareresponsiblefortheirownlives,butIfindithardtocondemnthosedelinquentsbecausetheyareoftenfrommodestbackgrounds,likeprostitutes.Howmanypeoplewhohavetheopportunitytobecomealawyerorapoliticianfallintosimilarcircumstances?AsBertholdBrechtsowonderfullysaid,“Icametothetableaswell,butthey’dalreadyeatenallthecake.”

DOESTHATEXPLAINYOUREMPATHYTOWARDSTHOSE“STRAY”CHARACTERS,CRIMINALSEVEN,ASITISONCEAGAINTHECASEWITHTHELOOKOUT?

Absolutely.Inmymovies,youcanfeelthatI’veknownmenwhodogoodandevilandhavelookedthemintheeye.Ialsohavealiteraryapproachtopeople:authorslikeDostoyevskywhocreatethepassionsandgreatmysteriesofthesoulhavehadahugeinfluenceonme.IbelieveIhavelearnedtorespectallhumanbeings.ThatcomesfrommyChristian–andnotmyCatholic–culture,withthatso‐beautifulimageofChrist.

MATHIEUKASSOVITZISONCEAGAINIMPRESSIVEASASHARPSHOOTER...

Wegotalongverywell,althoughwehadtoworktogethertofindtherightwaytointerpretsuchacomplexrole.Mathieufeelsmorelikeadirectorthananactor,despitebeingaverypowerfulperformer.Heisalsoverycritical,inaconstructiveway.Thefactthathe’softenquestioning–alittlelikeHamlet!–meanthehelpedmealotbecausetheresultswerebetter.OnceMathieuisconfident,hegiveshisall.Ilovedworkingwithhimagain.

DANIELAUTEUILHASPLAYEDAGREATMANYCOPSINHISCAREER.HOWDIDTHETWOOFYOUAPPROACHTHECHARACTEROFCAPTAINMATTEI?

Matteithinksagreatdealbutdoesn’tdomuch.Thereisasadnessinhiseyesabouttheworldthatiscrumblingaroundhim.It’saverydifferentideaofapoliceofficerthanyounormallyfindinanactionmovie.Danielmadehimselfextremelyavailableandheisagreatactortodirect.Rightfromdayonehehadalotoffunwatchingmeshowhimhowtoplaythecharacter.MathieuandIhadadirector‐to‐directorrelationship,whereaswithDaniel,werelatedtoeachotherasactors.ItremindedmeofwhatClintEastwoodsaidaboutdirectingactors:hedoesn’tspeakmuch,actsthesceneandthenaskstheactortodothesame.ThatissimilartohowitworkedwithDanielwho,happilyseatedinhischair,appreciatedwhatIwasshowinghim.Offset,wesharedalotoffunmoments.

THEREARETWOVERYSTRONGANDDETERMINEDFEMALEFIGURESATTHEHEARTOFTHEACTION:MATHIEUKASSOVITZ’SLAWYERANDTHEGANGSTER’SWIFE.WHATROLEDIDYOUWANTTOGIVETHEMINTHENARRATIVEOFTHEFILM?

ItwastheFrenchproductioncompanywhoofferedtheroleofthegangster’swifetomydaughterViolante,afterhavingseenherwithGeorgeClooneyinTHEAMERICAN.Originally,thecouplewasn’tsupposedtobeItalian,butitjustcametogetherwithViolanteandLucaArgentero.

Ilikedtheidea,whichI’dseenbeforeinfilmslikeLECERCLEROUGEwithGianMariaVolonté.Thecoupleenablestheintroductionofalovestoryandaromanticsidetothefilm.Thecharacterofthelawyerismoredisturbed,butIwantedtousethesetwowomentohighlighttheirreligiousness.Womenarecapableoffollowinganyonebecauseoflove.Theyarebraverandmoresentimental,whichisn’tnecessarilythecasewiththemen.Thewomenareimportanttothisfairlyhardstorybecausetheyofferahealthycounterpoint.

WHYDOESMICHELEPLACIDOTHEDIRECTORSORARELYWORKALONGSIDEMICHELEPLACIDOTHEACTOR?

Thedirectorwouldn’tbeabletobehonestwiththeactorandwouldgiveintotheworstkindofcompromises.Thereisn’tnecessarilyaroleformeandI’mmoreinterestedindirectingthanacting.Inmy“KingLear”theaterproject,Idobothanditscaresme.IamalittleshyaboutdirectingmyselfandIdeeplybelievethatanactormustconfronttheviewofadirector.

IfIhadtoplayoneoftheroles,OlivierGourmet’swouldhavebeenmostinterestingtome.Icanseemoreofmyselfinhischaracter,whichiscomplexandthereforemorehuman.Ilikecharacterswhocommitalotofsins.Asforchoosingascene,I’dgoforthelastone,thatofthemurderoustriangle!

WOULDYOUDESCRIBETHELOOKOUTASAVERYDARK,HUMANTRAGEDY,ORASATOUGHTHRILLER?

Beyondtheaestheticofthecopthriller,humanbeingsarewhatinterestme.Betweenanoutlaw,amanthatnolongerfeelsthatlawsapplytohimandsomeonewhohasnomoreboundaries,you’reattheveryheartofhumantragedy.

FILMOGRAPHY

MICHELEPLACIDO

2012 THELOOKOUT2011 ANGELOFEVIL2008 THEBIGDREAM2005 ROMANZOCRIMINALE2004 OVUNQUESEI2002 AJOURNEYCALLEDLOVE1997 DELPERDUTOAMORE1995 UNEROEBORGHESE1992 CLOSEFRIENDS1989 TOMATO

INTERVIEWDANIELAUTEUIL

POLICEIDTheinterestingthingaboutMatteiisthedualitybetweenhisroleasatoughcopandhispositionasafatheradrift,duetotheparallelinvestigationintothedeathofhisson.Heisanunimpeachablecaptain,calmandcollected,buthe’sonarazor’sedge.MichelePlacidosawMatteiasacomplicatedman,abitofacharacterwho,likecertainpeopleinfictionsuchasArlequininMolière’scomedies,endsupbecomingareference.Ifyoulookatcopthrillers,filmsbyMelvilleorthoseaboutpeopleinjail,thereisalwaysaMatteikickingaroundsomewhere.Asidefromthegenreaspect,there’salotofhumantragedyintherole.

Idon’tneedtofeelempathywithacharacterinordertoplayit.However,Ihavetobelieveinthestoryandtherehastobeacertaintruthtotherole.OnlythencanIletmyselfgoandgetintothegameofcopsandrobbers.Imayhavemadealotoffilmsinmycareer,includingthrillers,buttheenjoymentisalwaysthesame.

CHIEFPLACIDOIthoughtROMANZOCRIMINALEwasabsolutelyheart‐rending,aswashisnextfilm,THEBIGDREAM.WhatIlikeaboutMichele–somethingyouoftenfindwithfilmmakerswhohavealsohadcareersasactors–isthefreedomhehasintermsofhistechniqueandchoiceofsubjects.Theshapehechoseforhisfilmisverymodernandgivesthefeelofathrillerthatmixesituponallsides.Itiscompletelyimpregnatedwiththecodesofthegenre,andyettotallyfreedfromitatthesametime.

Ialsolikedthefactthathedoesn’ttalkmuch.Withoutwords,therewasakindofrecognitionbetweenus,becausewe’vebothhadafullandvariedactingcareer.Ourrelationshipwasasimpleone,withoutegoandvanity.Webothunderstandthepriceofpleasureandknowthatyoumustn’twasteit,soweenjoytheexquisitepleasureofnewencounters.

Idon’tthinkyouwouldsayMichelebringsaparticularlyItaliansensitivitytothefilm.It’smoreawealthofcinematographicculture.Cinemaalwayshasdifferentaccents,dependingonitscountryoforigin,butinTHELOOKOUT,theonlyItalianIseeisthedirectorofphotography.

Anyactorwhobecomesadirector,likeMichele,knowshowtoobtaintherightprecisionandauthenticityforascenefromhisorheractors.Whenhewasunabletofindthewords,he’ddemonstrate,andthatwayofworkingsuitsme,becauseIdoittoo.

ButIhadnoideaMicheleusedtobeacop!LikeOlivierMarchal,hehaswitnessedtheboundarybetweengoodandevil,returnedfromit,andusedittoservehisartisticvision.Certainthingsareclearertomenow.

PUBLICENEMYNUMBERONEIlovewatchingotheractorsperform.IwasdelightedtomeetMathieuKassovitz,whosedirectingIlikeverymuch.Histalentasanactorisstriking,notablyinthedistancehemaintainsbetweenhimselfandhischaracters.IwasalsocaptivatedbyOlivierGourmet’sperformance.MathieuandOlivierhaveaverystrangeandpersonalpowerinthewaytheyperform.Oneofthefilm’sstrengthsstemsfromhowitbringstogethersomeveryassuredandverydifferenttemperaments.

Idon’treallythinkintermsof“work”withactorslikethese.IfI’veenjoyedwatchingtheminfilms,I’mcurioustomeetthemintheflesh.Spendingafewdaystogetherandgettingtoknowthemalittlebetterisasimplepleasurethatispartoftheveryessenceoftheprofession:exchange.Becauseyouneverknowifyourpathswillcrossagain,orevenifyou’llbestillworkingtomorrow,Ilovetoseizethemoment.

THEROOTSOFEVILMicheleisinterestedintheverythinlinebetweengoodandevil,andthat’sarecurringthemeofthegenre.Mostcharactersincopthrillersarevictimsoftheirownweaknessesandareseekingredemption,orforgivenessattheveryleast.Thethemeisbothclassicandessentialtotheintensityofanyfilmnoir.

Thereisalsothatfascinationthatonehaswiththugs,likethegangofrobbersdescribedinthefilm.Theybreaktaboos,dowhatyoucouldneverimagine,andchallengesociety’sviews.Dependingonthemethodsused,somebecomeheroesandothers,bastards.THELOOKOUTdealswithallthatandforcestheaudiencetothinktwicebecauseappearancesaredeceivingandhumanvaluesarethrownintoquestion.

FIELDREPORTIlovedworkingwithMichele,thecombinationofdifferentnationalitiesandthereassuranceofworkingwithactorswhoarefuntobewith–justlikewhenyoumeetupwithfriendsyoumadeatsummercampthepreviousyear.MicheleandIalsotalkedalotaboutbeautifulItalianactresses.

Duringashoot,thereisalwayswhatwecall“amomentofgrace.”OnTHELOOKOUT,itwasmoreofanatmosphere.MeetingupinAugustinanemptyPariswithpeopleblowingstuffup,runningacrosstherooftopsofChâtelet...It’sarealprivilegetobeabletoforgetaboutrealityandbelikeakidagain.Iamtotallyinvestedinmyprofessionforexperienceslikethat,andthateuphoriaofthemoment.

IthinkTHELOOKOUTisadifferentkindofgenrefilm.Itstandsaloneandhasauniqueenergy.I’mdelightedeverytimeI’mofferedthechancetogrowmycareer,tofindarolewithinmycapabilitiesthatcorrespondstomyage–IrunlessthanIusedtobutmyaimisjustastrue.

SELECTEDFILMOGRAPHYDANIELAUTEUIL

2012 THELOOKOUTBYMICHELEPLACIDOJAPPELOUPBYCHRISTIANDUGUAYLAMERÀBOIREBYJACQUESMAILLOT

2010 THEWELLDIGGER’SDAUGHTERBYDANIELAUTEUIL2008 JEL’AIMAISBYZABOUBREITMAN2007 MR73BYOLIVIERMARCHAL2006 CONVERSATIONSWITHMYGARDENERBYJEANBECKER MYBESTFRIENDBYPATRICELECONTE2005 THEVALETBYFRANCISVEBER2004 PAINTORMAKELOVEBYARNAUDANDJEAN‐MARIELARRIEU

ONESTAYS,THEOTHERLEAVESBYCLAUDEBERRI36THPRECINCTBYOLIVIERMARCHALHIDDENBYMICHAËLHANEKE

2002 APRÈSVOUS...BYPIERRESALVADORI2001 THEADVERSARYBYNICOLEGARCIA

SMALLCUTSBYPASCALBONITZER2000 THECLOSETBYFRANCISVEBER1999 SADEBYBENOÎTJACQUOT1998 MAUVAISEPASSEBYMICHELBLANC GIRLONTHEBRIDGEBYPATRICELECONTE1997 LEBOSSUBYPHILIPPEDEBROCA THEWIDOWOFSAINT‐PIERREBYPATRICELECONTE1996 LUCIEAUBRACBYCLAUDEBERRI1995 THIEVESBYANDRÉTÉCHINÉ THEEIGHTHDAYBYJACOVANDORMAEL1994 LASÉPARATIONBYCHRISTIANVINCENT1993 QUEENMARGOTBYPATRICECHÉREAU1992 MYFAVORITESEASONBYANDRÉTÉCHINÉ UNCŒURENHIVERBYCLAUDESAUTET1988 MAMA,THERE’SAMANINYOURBEDBYCOLINESERREAU1987 AFEWDAYSWITHMEBYCLAUDESAUTET1985 L’AMOURENDOUCEBYEDOUARDMOLINARO

MANONOFTHESPRINGBYCLAUDEBERRI JEANDEFLORETTEBYCLAUDEBERRI1980 THELADYBANKERBYFRANCISGIROD

INTERVIEWMATHIEUKASSOVITZ

AVERYDISCREETCRIMINALIoftenfindithardtotalkaboutmyrolesbecauseIseethefilmmoreintermsofaglobalproject.Logically,it’sthedirectorwhoholdsthekeystohisorherprotagonistsandwhoisbetterpositionedtotalkaboutthem.MichelePlacidowasmainlylookingforahumanandvisceralapproachtohischaracters.ThescreenplaywasalreadyveryclearaboutVincent’smotivations.Heisamanwhoisconstantlyonthemoveandintheaction.Whenweallstartedworkingtogether,itwasmainlyaboutfine‐tuningtheinteractionbetweenthemultitudeofroles.InthescenewithViolantePlacido,wehadtofightandhurlabuseatoneanotherwhilstbeingconsumedwithtearsandpassionateemotions–itwasalotoffuntoplay!

WhenI’macting,Iforcemyselftoputmydirectorialexperiencetooneside.Istayasfaroutofthewayaspossible,andItrynottomixthingsup.Observingthedarkerareasofhumanbehavior,asisthecaseinTHELOOKOUT,isoneofthefactorsthatpushpeopletogotothemovies.Personally,I’mmorefocusedonhumanproblemsthrownupbypolitics.Asamanandafilmmaker,Iprefertotalkabouttheglobalconditionofsocietythanthehumancondition.ButthatislogicallyattheheartoffilmslikeTHELOOKOUT.

Ialwaysviewtheworkofanactorasaclearlymarked‐outprocess:youreadascript,youcomeonboardandthenyoudoyourbesttocorrespondtothedirector’svision.Itistheywhothinkaboutit,nottheactor.IappearinfilmsmorefortheencountersIhavewiththedirectorandcrewthanforthecharacter.The“joyofacting”isn’treallymything!

L’ARTEDELLACOMMEDIAIthoughttheconceptthatwasthebasisforTHELOOKOUTwasveryinnovative.Michelewasparticularlyinterestedinhumancomplexityandthetransgressionoftheboundariesbetweengoodandevil.Iwascaptivatedbyhisinterpretationofthehighly‐colorfulcharactersinROMANZOCRIMINALE.Eachcountry’scinemahasitsowncodesandproductionmethods.ThatoftheItalianshasalwayshaditsrootsinlacommediadell’arte.

Ontheshoot,itwasfunforaFrenchactortoseehowMicheletackledtheconstructionofhischaracters.Itwasverydynamicandmoreinstinctivethanpremeditated.Michelemainlyworksinthemoment,withanamazingfreedomofmovement.Ascenemightbecompletelyturnedonitsheadbywhatpeoplesuggest,becauseMicheleiscompletelyopentothat.It’sanapproachthatisreassuringandyetsomewhatdestabilizingatthesametime–everythingisaquestionofobservation,listeningandunderstandingwhatishappeningateachmomentonset.

ThestyleofcinemathatcomesthroughinTHELOOKOUTisonewedon’tseesomuchanymore.InFrance,westillhaveOlivierMarchalwhoisinterestedincops,butromanticfilmsaboutcriminalsarerarelymade.Aesthetically,Michelewantedtocreateanelegantwork,but

thereisalsoacool,timelesssidetoit.Iseeitassomethingsurgicalthatcreatesthedistancenecessarytorenderrealitybeautifulandnotjusttranscribeit.

BLACKISBLACKTomymind,THELOOKOUTdealsmorewithhumanbestialityand–asinanygoodcopthriller–theprotagonistsareconstantlyhavingtodealwiththeirownweaknesses.Theinterestingthingisthatnoneofthethreemaincharactersisabletoescapehispastorhisinternaldemons.

Michelehashadhisownexperiencewithinthepolice,whichobviouslyhasaninfluenceonthewayheviewsthetwosidesofcopandcriminal,andrendersthatsubtler.The“humantragedy”sidetoitthatMichelewantedisveryItalianbutalsocorrespondstotheveryessenceofthecopthrillergenre.THELOOKOUTisinthestyleof1970smovieslikeTHEFRENCHCONNECTION.

WhatIloveaboutthenoirgenreisthosecleverscreenplays;theCohenbrothers’copthrillers,Melville’sfilmsthatarefullofcharactersandatmosphereandAmericancinemafromthe1950s.I’mnot,however,attachedtoanyparticularstyleorgenre.InTHELOOKOUT,thereareagreatdealofreferences,aswellasauniquestyle.Forexample,JacquesAudiardhastheskilltobeabletoadapt1950sand1960sAmericancopthrillers.Evenwhenhe’snotmakinggangstermovies,likeSEEHOWTHEYFALLandASELF‐MADEHERO,theyarestillimpregnatedwithacopthriller‐likeuniverseandatmosphere.

Nowadays,actionfilmshaveblurredtheboundaries.Idon’tunderstanditwhenpeopledescribeTHEBOURNEIDENTITYasacopthriller.Thentherearethrillers,slashermovies,whilethecopthrillergenreremainsintimatelylinkedtohumanproblems.IfIhadtomakeone,I’dlovetoworkwithaDavidMametscript,alongthelinesof“Spiral.”Aboveall,I’maviewerandIlikeinvestingmyselfintellectuallyinordertoresolvethemysterythatunfoldsonscreen.Tome,thebestcopthrillerwas“Columbo.”Intermsofmovies,ifyouputasideAmericanmoviesofthe1950s,I’mabigfanofMILLER’SCROSSING.

BROTHERS‐IN‐ARMSOnashoot,Ifocusonsharingopinionsandpersonalities,onwatchinghowthedirectorandtheotheractorswork.Thatdoesn’tleadmetomakejudgments–Icouldn’tcommentonDanielAuteuil’sorOlivierGourmet’stechnique.However,Idofindthatactorsareoftenclosetotheimagewehaveofthem.Thisissimplybecausewhentheyact,theyinevitablydelivertheirface,theirmannerismsandtheirtruth.Anactor’spersonalitycomesthroughsoclearlyastheymovethroughtheircareerthatoneisrarelysurprised.Theonlyremainingquestioniswhetherornottheybecamebig‐headed.WhenImetAuteuilandGourmet,IknewwhatIwasdealingwith.Ihaveknownthemfor20years,althoughI’dneveractuallymetthem.Theybothlovetheirjobsandfighttirelesslytosharetheirideasbecausetheyknowthatnothingshouldeverbetakenforgranted.Theydon’thaveanegothatpreventsthemworkingwithothers.It’sfascinatingtowatchthemlookforsolutionstotheeverydayproblemsonashoot.It’smuchhardertounderstandadirectorbecauseyouneverknowwhatheisthinkinganditcanchangeradicallyfromonefilmtothenext.

PROGRESSREPORTFrommyexperienceonTHELOOKOUT,IwillneverforgetMichele’sinnocentfun.He’snotafraidtotryoutnewthingsandtoexplorenewideas,relyingonhiscastandcrew.It’satypicallyItaliankindofcinemaintermsoftheproductiontraditions–inthe‘60sand‘70s,the

guyshadalmostnodialog,you’dshootandtheresultscouldbeamazing.Thatstyleofadventureeitherturnsyouon,oryoudon’tdoit!

FILMOGRAPHYMATHIEUKASSOVITZACTOR

2012 THELOOKOUTBYMICHELEPLACIDO HAYWIREBYSTEVENSODERBERGH ANOTHERWOMAN’SLIFEBYSYLVIETESTUD2011 REBELLIONBYMATHIEUKASSOVITZ2010 LOUISE‐MICHELBYGUSTAVEKERVERN&BENOÎTDELÉPINE2006 AVIDABYGUSTAVEKERVERN&BENOÎTDELÉPINE2005 MUNICHBYSTEVENSPIELBERG2003 NADIABYJEZBUTTERWORTH2002 AMENBYCOSTA‐GAVRAS

CÉSARNOMINATIONFORBESTACTORASTERIXANDOBELIXMEETCLEOPATRABYALAINCHABAT

2001 AMÉLIEBYJEAN‐PIERREJEUNET1999 JAKOBTHELIARBYPETERKASSOVITZ1998 PLEASURE(ANDITSLITTLEINCONVENIENCES)BYNICOLASBOUKHRIEF1997 THEFIFTHELEMENTBYLUCBESSON

ASSASSIN(S)BYMATHIEUKASSOVITZ1996 DESNOUVELLESDUBONDIEUBYDIDIERLEPÊCHEUR

MONHOMMEBYBERTRANDBLIERASELF‐MADEHEROBYJACQUESAUDIARD

1995 THECITYOFLOSTCHILDREN(UNCREDITED)BYMARCCAROANDJEAN‐PIERREJEUNETLAHAINEBYMATHIEUKASSOVITZLESFLEURSDEMARIAPAPADOPYLOU(SHORT)BYDODINEHERRY

1994 SEEHOWTHEYFALLBYJACQUESAUDIARDCÉSARFORBESTMALENEWCOMERELLEVOULAITFAIREQUELQUECHOSE(SHORT)BYDODINEHERRY

1993 CAFÉAULAITBYMATHIEUKASSOVITZCÉSARNOMINATIONFORBESTMALENEWCOMERANDBESTFIRSTFILMPUTAINDEPORTE(SHORT)BYJEAN‐CLAUDEFLAMANDBARNY

1992 UNÉTÉSANSHISTOIREBYPHILIPPEHAREL1991 TOUCHANDDIEBYPIERNICOSOLINAS

ASSASSINS(SHORT)BYMATHIEUKASSOVITZ1990 FIERROTLEPOU(SHORT)BYMATHIEUKASSOVITZ1981 NEXTYEARIFALLGOESWELLBYJEAN‐LOUPHUBERT1979 AUBOUTDUBANCBYPETERKASSOVITZ

DIRECTOR2010 REBELLION2008 BABYLONA.D.2004 GOTHIKA2001 LABALLE2000 THECRIMSONRIVERS

ÉTOILED’ORFORDIRECTINGCÉSARNOMINATIONFORBESTDIRECTOR

1998 ARTICLEPREMIER(SHORT)1997 ASSASSIN(S)

LUMIÈRESSURUNMASSACRE(10SHORTSAGAINSTANTI‐PERSONNELMINES)

1995 LAHAINECÉSARFORBESTFILMBESTDIRECTOR,FESTIVALDECANNES

1993 CAFÉAULAITCÉSARNOMINATIONFORBESTMALENEWCOMERANDBESTFIRSTFILM1991 CAUCHEMARBLANC(SHORT)

ASSASSINS(SHORT)1990 FIERROTLEPOU(SHORT)DUBBING–VOICEOVER2012 APOCALYPSE,THESECONDWORLDWAR

BYISABELLECLARKEANDDANIELCOSTELLE2011 THEPRODIGIESBYANTOINECHARREYRON

INTERVIEWOLIVIERGOURMET

BATTLEPLANThefirsttimeImetMichelePlacido,itwasinPariswiththetwoscreenwriters.Wetalkedmoreaboutmycharacterthanaboutthescreenplayasawholeandthethemesitdealtwith.WithoutgivinganythingawayaboutFranck,thefilmisnotadocumentaryaboutguyslikehim.Heisonlyoneoftheelementsoftragedyandcopthrillerinthefilm.ThenImetMathieuKassovitzandFrancisRenaud,amongothers,forareadingduringwhichweallthoughtabouttheinteractionbetweentheroles.

Michelewasveryclear,spellingoutthehumanmotivationsinthenarrativeandhisaestheticvision.Aboveall,hewantedtomakeathrillerabouttoughguys.IlovefilmsofthatgenreandIreadalotofdetectivestories.Ioftensaythatthere’snotmuchchanceofmebecomingadirectorbutifIhadtomakeafilm,itwouldbeadocumentaryoracopthriller!

AMODELCITIZENMichele’sideawasclear‐cut.Franckhadtobeimpeccable,withafriendlyfacethatinspirestrustinpeople.Weevenredidhismoustache–likethesoundengineer’s–tomakehimmoregood‐natured.

Michelealsoaddedthingsthatweren’tinthescript.Intheend,wedidn’tshootthembutallofthatfedintothecharacter.Forexample,theinteriorofthelittlehousewhereFranckliveswasinitiallysupposedtohavebeendecoratedbyhismother:weimaginedhimhavinglivedwithherwhileshewatchedthecomingsandgoingsoutsidefrombehindhernetcurtains.Michelekepttheideaofahousewithafemininetouch,whichgavetheplaceanodd,ratherdisturbingfeelofsomethingnotbeingquiteright.

Franckfeelsnoemotionsandgivesnothingaway.However,whenheneedsto,he’squitecapableoffakingthem.MicheleandIworkedtogetheronthat.Forexample,inthefirstscene,whenMathieu’scharacteraimshisgunathim,Francksuddenlystartscrying.Amanascoldasthatwouldneverhavefeltfear–it’spureacting,purepretense.Sometimes,hegetsitwronganditcomesoverfakeorexaggerated,becausehedoesn’talwaysplayhispartwell.Sometimes,Micheleaskedmetobeabitmoreexcessive,butweagreedtopreservehisambiguity.

PLACIDOMANONTROPPOMicheleworkedalotupstreamwithhisdirectorofphotographyonthecutting,lightingandshotshewanted.Duringtheshoot,everythingwasveryconciseandprecise.Micheletoldmethathefeltmoreateaseinsituandhelovedputtinghimselfintheactors’shoes.Hetalkedalot,orhe’dcomeandperformonset.Heliterallygotunderthecharacter’sskin,whichwasbothgreatandalittledisconcerting.Inthebeginning,heplayedFranckwithgreatbreathsandexaggeratedgestures.IwasalittletakenabackbutthenIrealizeditwastomakehimselfunderstoodandnotformetocopy!

Micheleworksoninstinctandneedstofeeltheemotionanddynamismofasceneforhimself.Healsotalkedalotabouttheaterwhichishisgreatpassion.It’snocoincidencethatthefilmhasatragedy‐likestructure.

Ididn’tfeelthatitwasanItalianperspective,butratherMichele’sownviewofParisandthecopthrillergenre.ItwasthesamewithROMANZOCRIMINALEwhichissimilartoTHELOOKOUT.Hehashisownsensitivitiesandconfersauniquetoneonthefilm.Thereisanunrelentingfeeltoitrightacrossthewholenarrative.Forexample,whenwewereshootingtheclimax,therewasaclearWesterninfluencethatcouldbefelt.Sportscoatswereopenedupandlongglancesexchanged.Thewaythesetwasarrangeddrewusintothatatmosphere.Thetwomenarriveatoppositeendsofanalleyandareforcedtofaceoff.MichelealsobroughtacoolfeelofItalianneorealismtothemovie.ThefactMichelewasacopinhisearlierlifewasobviouslyalsoaverypositivethingforthefilm.Heunderstandsthehumanmotivationsofcopsbecausehewasthere,ontheground.Hispersonalityandhisculturearericherforthat.Thereareatmospheresandcolorsthatheexperiencedwhichhavedefinitelyfoundtheirwayontothescreen.

THEBETTERPARTOFDARKNESSIneverjudgethecharactersIplay,unlessit’saparody.Thisisagenrefilmwithgeneralappeal,aspectacle,andit’sapleasuretoperformwithallthosecodes.Michelenonethelesswantedustogetascloseaspossibletothehumanityofthesemen.Themaintrioismarkedbysolitude:thatofthefatherwhoisunabletogrieve,thatofasoldierwhohasdesertedandwhohasn’tletgoofviolence,andthatofasickman,reclusiveinhisdepravity.ButFranckhasnoexcuses:heiseducated,he’sadoctorandheunderstandsthelinebetweengoodandevil,skulkingintheshadows.

THELOOKOUTdoesn’ttacklethemonsterFranckisinascientificway,butIhadhischaracteristicsinmind:hehasanoutsizedego,helikestodominate,heisparanoid,andheonlyseestheworldthroughhisownprism.Healsohasmomentsofclarityregardinghisbehavior,asIhaveseeninmanydocumentaries.Franckmanipulates,possessesanddestroysothers:it’sakindofadrenalinthatheneeds,butheneverquitemanagestosatisfyhisthirst.

AGANGOFDIEHARDSIhavewantedtoworkwithDanielAuteuilforalongtime.Ireallyappreciatehiswork:he’ssimple,directandgoesstraighttotheessentialofascenewithouttormentinghimself.Mathieuissometimesmorecomplex.Heworksveryhardbecauseheneedstounderstandthingsindepth.Heisadirectorsoheneedstograsphowashotisgoingtowork.Heoftenqueriesthings,questioningthescreenplayandthedialogues.It’snicetoseeanactorwhogetssoinvolvedinastoryandtheresultingfilm.

Iquestionmyselftoo,butlikeDaniel,it’smoreofanupstreamprocess.Thedynamicbetweenthethreeofuswassettledwhenwestartedshooting.We’dnotspenttoomuchtimetogetherbeforehandsoeverythinghappenedduringthescenes.

UNDERTHEGUISEOFACOPTHRILLERMichelewantedtousethisgenrefilmtotalkaboutWesterndecadenceandbarbarism,butwedidn’ttalkmuchaboutthatbetweenus.However,weknewthefilmwouldtacklepowerfulsubjectsattimes,suchashumansavagery,griefandAfghanistan.Therichnessofthescreenplaycomesfromthosethemes,distilledintotheveryheartofthisgenrefilm.Therolesandsituationsareverystronglyanchored–wewereanythingbutcaricaturesofgoodandevil.Iliketheideathatweallhave,inourpasts,elementsthatexplainwhatwedo:allthecharactersaretangibleandformanintegralpartofsocialreality.

InROMANZOCRIMINALE,Michelesucceededinfleshingouthisheroes,makingthemhumanandaccessible.Understandinghissensitivityasafilmmaker,Iknewthathe’dattachthesameimportancetoTHELOOKOUT.Thatsimplyservedtomakethiscopthrillerevenmoredenseandcomplex.

INVESTIGATIONREPORTIgotahugeamountofpleasureoutoftakingonthischaracter,eventhoughIknewthefilmwouldn’texploretheinnermostdepthsofhisspirit.Iwasabletodomyownresearchintocharacterslikehimandgetaglimpseofwhatdrivesthem.

Makinganactionfilmisalsoenjoyable.Thereisalwaysachildishpleasureinplayingcopsandrobbers.Foranactorlikeme,whoenjoysexploringthemotivationsofthesoulbutwholikestoplayaround,Iwasinmyelement!

FILMOGRAPHYOLIVIERGOURMET

2012 THELOOKOUTBYMICHELEPLACIDO

LATENDRESSEBYMARIONHANSEL2010 THEMINISTERBYPIERRESCHOELLER

BESTDIRECTORATTHEANGOULÊMEFESTIVAL2011BAYARDD’ORFORBESTSCREENPLAYATTHENAMURFESTIVAL2011ACTINGPRIZEATTHEMARDELPLATAFESTIVAL2011CÉSARNOMINATIONFORBESTACTOR2012

2009 BLACKVENUSBYADBELLATIFKECHICHEROBERTMITCHUMISDEADBYOLIVIERBABINET&FREDKIHNGRANDPRIXDUJURYATTHEANGERSPREMIERSPLANSFESTIVAL2011NOMINATEDFORBESTFIRSTFILMRAINDANCELONDON2011AVANCASPECIALMENTIONOFTHEJURY2011OPENINGFILMOFTHEOFFICIALCOMPETITIONATTHEFESTIVALDEMILAN2011INCOMPETITIONATTHEFESTIVALFRANCOPHONEINNAMUR2011SELECTIONACIDE,CANNES2010

2008 MESRINE:PUBLICENEMY#1BYJEAN‐FRANÇOISRICHET2007 HOMEBYURSULAMEIER2006 THECOLONELBYLAURENTHERBIET2005 LEPARFUMDELADAMEENNOIRBYBRUNOPODALYDES2002 THESONBYJEAN‐PIERREDARDENNE&LUCDARDENNE

BESTACTOR,FESTIVALDECANNES20022001 READMYLIPSBYJACQUESAUDIARD

CAST DANIELAUTEUIL MATTEI MATHIEUKASSOVITZ VINCENTKAMINSKI OLIVIERGOURMET FRANCK FRANCISRENAUD ERIC NICOLASBRIANÇON MEYER JÉRÔMEPOULYFROMLACOMÉDIEFRANÇAISE DAVID VIOLANTEPLACIDO ANNA LUCAARGENTERO NICO ARLYJOVER KATHY CHRISTIANHECQ GERFAUT MICHELEPLACIDO GIOVANNI HOCINECHOUTRI GYPSYARNAUD PASCALBONGARD MITCH GÉRALDINEMARTINEAU SONIA FLAVIENTASSART MARCOFRANZETTI CÉDRICMELON MOTORBIKECOP PIERREDOUGLAS THEO SÉBASTIENLAGNIEZ HEISTDRIVER YVESGIRARD BOUNCERMITCH BENBADRA KARIM TCHEWKESSAFI GYPSYANGELO AMANDINENOWORYTA YOUNGGIRL JOELSAINTJUST HOTELCOP VINYE HEISTCOP STÉPHANECOHEN POLICEMARKSMAN VINCENTAGUESSE POLICEMARKSMAN ARMELCESSA POLICEMARKSMAN SHIRLEYBALTIMORE GIRLATMITCH’SPLACE

CREW DIRECTOR MICHELEPLACIDO SCREENPLAYANDDIALOG CÉDRICMELONANDDENISBRUSSEAUX FIRSTASSISTANTDIRECTOR THIERRYVERRIER SCRIPTSUPERVISOR LYDIABIGARD CASTINGDIRECTOR JULIETTEDENIS(ARDA) EXECUTIVEPRODUCER JEAN‐YVESASSELIN PRODUCTIONMANAGER PHILIPPECHAUSSENDE UNITMANAGER FRANCOISPULLIAT(AFR) PHOTOGRAPHY ARNALDOCATINARI(A.I.C.) EDITING SÉBASTIENPRANGERE‐CONSUELOCATUCCI SETPHOTOGRAPHY STÉPHANEKYNDT SOUNDENGINEER JEANMINONDO SOUNDEDITING FRÉDERICDEMOLDER‐NICOLASPROVOST SOUNDRE‐RECORDINGMIXER PHILIPPEBAUDHUIN SETDESIGN JEAN‐JACQUESGERNOLLE(A.D.C.) COSTUMES VIRGINIEMONTEL MAKEUPSUPERVISOR JOELLAVAU HAIRSUPERVISOR LAURENTBOZZI ORIGINALMUSIC NICOLASERRERA ORIGINALMUSIC EVGUENI&SACHAGALPERINEAFRANCE‐BELGIUM‐ITALY/BABEFILMS‐CLIMAXFILMS–FILMARNOCOPRODUCTION

INASSOCIATIONWITHRANENTERTAINMENTPRODUCEDINFRANCEWITHSTUDIOCANAL‐FRANCE2CINÉMA‐APPALOOSAFILMS‐

APIDEV2010‐RANENTERTAINMENTPRODUCEDINBELGIUMWITHRTBF(BELGIAN TELEVISION) – MADE WITH THE SUPPORT OF THE BELGIAN FEDERAL GOVERNMENT TAX SHELTER

CASAKAFKAPICTURES&CASAKAFKAPICTURESMOVIETAXSHELTEREMPOWEREDBYBELFIUS

PRODUCEDINITALYWITHRAICINEMAWITHTHEPARTICIPATIONOFCANAL+ANDCINE+WITHTHEPARTICIPATIONOFFRANCETÉLÉVISIONS

INASSOCIATIONWITHCINEMAGE6,PALATINEETOILE9ANDCOFIMAGE23WITHTHESUPPORTOFTHEILE‐DE‐FRANCEREGION

INTERNATIONALSALESSTUDIOCANALASSOCIATEPRODUCERSSÉRICTAVITIANANDJÉROMEROUGIER

PRODUCEDBYFABIOCONVERSICOFIMAGE 23