Anne Fontaine on ‘Boléro’, new project on popular music| Trending Viral hub

Please do not stop the Music: Ana Fontaine It is not over yet.

After “Boléro” – world premiere in Rotterdam International Film Festival — the prominent director is developing another melodic project.

“This is a character who was a star at the age of 10. He had a “magical” voice, but suddenly lost it. Years later, he’s ready to return. “It’s a comedy, based on something real,” he says. Admitting that this time he will change classical compositions for popular melodies.

“I like songs: they are in our blood. We listen to them and remember that we lost a lover while they played. They mark our lives. There will be a lot of music (in this movie). And all these incredible voices, including a real-life singer making her film debut.”

The new project will combine “cruelty and humor.”

“Our fate may be cruel, but we can still laugh at it. After ‘Boléro’ I still wanted to talk about music but show another side of it. “It’s such a powerful form of expression.”

In his latest film, Fontaine, whose previous credits include “Coco Before Chanel,” focuses on French composer and pianist Maurice Ravel, played by Raphael Personnaz. Or rather, about his most famous creation.

“I prefer to say that I made a biographical film of ‘Boléro,’” he observes.

“Alexandre Tharaud, pianist who acts in the film, told me that when he plays Ravel, he feels his sensitivity and personality. We can only know Ravel through his music: he was very mysterious. You think you know famous people, but you don’t. With Coco Chanel I focused on his youth. Here, I explore his emotions. It is an internal journey.”

Beginning with Marcel Marnat’s 1986 monograph on Ravel, Fontaine quickly found a personal way in.

“Bolero”
Courtesy of IFFR

“I come from a family of artists; my father was an organist. I grew up listening to classical music until I couldn’t stand it anymore. Later, as a dancer, I was very impressed when I saw (choreographer) Maurice Béjart’s performance of ‘Boléro’ with Jorge Donn.”

His love for “characters who hide their suffering” also suited him well. Ravel, who pines for the married Misia Sert (Doria Tillier), is unable to give in to emotions. Until they explode in “Boléro,” commissioned by dancer Ida Rubinstein (Jeanne Balibar).

“It’s so sensual, a metaphor for life and death, desire and obsession. But people don’t know how difficult it was for him to compose it. I like the idea that her most famous creation was so difficult to complete and that she thought there was “no music in it.” How ironic.”

As Fontaine demonstrates, “Boléro” has traveled the world. He has similar hopes for the film.

“It was a little easier with Chanel, because it is a well-known brand. But dance and music are universal. Everyone knows this melody. I tried it: I would give it to the taxi drivers in Paris. “They knew it even when they didn’t know Ravel.”

Her fears and insecurities, which were later exacerbated by the illness, were something she also recognized.

“Everyone who believes has doubts. You never know if you will be successful. He had done all these fancy things, but at that moment he was completely empty inside. Plus, he shows that you can’t choose your legacy. People can connect with something you don’t even like and you can’t control it,” he states.

“I’ve learned not to be a control freak anymore. When I was about to make my first film (‘Affairs Usually End Badly’), I was devastated: ‘My God, now everyone will see that I don’t know how to do it.’ It is a difficult job because in the end you are alone.”

Fontaine looked back in time also later that day during IFFR Talk, this time accompanied by her producer and longtime husband, Philippe Carcassonne.

“His first comments towards me were discouraging. I am self-taught, I have never studied at a film school. He later said, “Maybe I can talk to her again.” I didn’t want her advice, but we ended up having a meeting. It’s hard for me to admit that she said smart things, but it’s true,” she deadpanned.

Admitting that he always needs to “believe” his actors: “It’s the only thing my films have in common. I have to be able to look at them and see their character”; she also mentioned “The Innocents,” set in 1940s Poland, and her first English-language film “Adore” with Robin Wright and Naomi Watts, based on the Doris Lessing film. short novel.

“She told me, ‘Be sexy in the movie.’ It was surprising for me to see this mature woman, a Nobel Prize winner, have this taste for sensuality. Three days ago, a man told me that he saw the movie three times, with his wife. I said, ‘You must have a good relationship.’

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