Filmmaker Gainsbourg, Gainsbourg IN filmmaker. Four films, variously greeted by critics, were enough for our light-voyeur universe imposes its dilapidated condition and I love you, moi non plus, Ecuador, Charlotte for Ever and Stan The Flasher. A cinema in a state of distress and loneliness or self-destruction leads the game Elegance and exhibitionism, rigor and misanthropy of alleged indecent subjects. Movies rarely stuck to fantasies of those who put them on stage. Painter, poet, musician and singer, Serge Gainsbourg is also an author of film perfectionist who dominates all elements of filmmaking. We like it or not, but can only applaud the artist.
How do you get the desire for a movie? Stan The flash for instance, how did you get the idea ?
Serge Gainsbourg: Like a flash photographer ... In concert, I was an American musician, a sax Stan Harrison's name that I presented in joke as Stan The Flasher. Then I met Claude Berri. I saw his face, I felt its potential for dementia, her despair. And like I needed to project my subconscious, my intellect on film - c was a moment when I was ill before my operation - I started writing for Claude Berri. And the largest producer Europe has agreed to make a film for Gainsbourg. It's an auteur film, I am unable to do anything else. That is my integrity. I am not an opportunist. What matters is not the number of entries is my sincerity and my rigor.
As a filmmaker, you have the feeling of being understood by the critics?
Today, I can not critique the critics because I was praised for Stan The Flasher. But first, sorry, I strangely enjoyed! My other films have been greeted by a bazooka some sublimely by others. When Ecuador was released, had Libe titled: "What is that sweat!" It was found quite necessary to recognize ... About I love you, moi non plus, Truffaut had said he would one day in the film archives. We do not know, we never met ... It is still critical for that I put the short sentence in the letter that its failure hen leaves before Stan has learned: "The cinema is not for you darling!" .... Ecuador is true, was booed at Cannes, but it is a film I'm proud because there is absolutely no complacency in it, contrary to what some have said. During filming, I went to a small bar run by Marseilles an old whore, a suburb of Libreville. The way there were poor whites in distress as alcoholic as I do. One day, rue de Verneuil, in front of me, I met one of these White me who said: "Sir, you've got it in Africa, with your plan on the paddlers Ogooué. "It is true that it is a sublime level, the men who move along the river and are afraid.
And Charlotte for Ever, this is a good movie?
It Was A miscasting ... In hindsight, I realize that I should not play the father of Charlotte. I should take or Depardieu Christopher Lambert ... There is no incest in the film. I do not touch not this small nettle, I mean Charlotte. But I like nettles, wild ...
You had other projects that have failed?
One time he was asked me to do a remake of "Spit on Your Graves, Boris Vian. Then there was a project with Adjani and Polanski as actors. I also wanted Mitchum, but it was not ok with my Senar. Then, Dirk Bogarde was also read: "Too hard," he wrote t me. Delon Finally, it has not bothered to read it, but he sent me a word: "I think we live in two different worlds. This is not new, long ago we know ... ".
To have made the actor a time, it taught you something about the cinema?
time I was an actor, but I did that bullshit. Almost. When I Jane turned the horse thief, Abraham Polonsky, I watched what was happening, and Polonsky said, "You, you have the intelligence of the camera. Go make a movie, do it! ". You remember the slave revolt, one of my epic films in Italy where I wore a skirt? Well! I saw him one day in a room with Jane Barbès. When I die, at the end Arabs who were in the room yelling: "Although made to shut up, manure, motherfucker! "I told Jane:" Come on, we break, otherwise they will kill me at the end! ".
What is the role of cinema in your creation?
The cinema interferes with painting, I practice since the age of thirteen, poetry (Rimbaud, Baudelaire), architecture, because cinema is the conjunction of all these disciplines, although I'm not sure that is an art major. I think the minor arts are now the major arts buggered! I'm more entries in three months a platinum disc as Delacroix and Gericault in a lifetime!
What blows were your heart to the cinema?
The best movie I saw was The Night of the Hunter. It's pure poetry. I would also mention Asphalt Jungle Huston. And then three or four films that have a common theme: Paths of Glory by Kubrick, Losey of Kingston and Country with Dirk Bogarde, Men cons of Rosi, and Johnny Got His Gun by Dalton Trumbo.
What particularly touches you in these movies?
is the heroic dimension of words that is shocking. I was very affected by the war in my childhood. Since I was born, I have not seen the blood stop flowing. I knew the Sino-Russian War of Spain, world war, Indochina, Algeria and now the wars of religion. That's why I have an excuse to drink. I'm out of focus to not see the cruelty of man. Today I no longer go to the movies so much. I watch my tapes alone or with Bamboo. Lulu loves cartoons, and I also ... I will not piss me off with stuff without interest. I have no time to lose! While the movies, I read. As in literature ...
There are French directors like you?
For me there are two sizes today: Louis Malle and Godard. And Costas-Gavras. I do not like about the prosaic, the vulgarity of the dialogs from movies today. I remain a fan of avant-garde cinema, Carné, Prévert. I loved Gabin I knew well and with whom I had a few memorable cooked.
The event of Thursday, March 1991
