On the occasion of the 25th anniversary of his powerful film La Haine, the director and actor Mathieu Kassovitz spoke in detail about the films that inspired him as an artist and his idea of cinema. On the side, turn off some current films, including the latest films by director Christopher Nolan.
Mathieu Kassovitz versus the CGI
You can’t write and stage La Haine and have your tongue in your pocket! Mathieu Kassovitz demonstrates it regularly. If the actor and director is known for his spicy and eruptive character, he is also a talented artist, an accomplished director with a great film culture, as his passage in “Video” shows Club “of our colleagues from Konbini. Like Albert Dupontel (Bernie) , Guillaume Canet (Les Petits Mouchoirs), Edward Norton (Brooklyn Affairs) and Taika Waititi (Thor: Ragnarok) in front of him, Mathieu Kassovitz spoke at length about the directors and the films that made him, as a man and as an artist. He therefore praises them Work by directors Steven Spielberg (Jurassic Park), Michel Gondry (Eternal Sunshine of the Immaculate Mind), David Fincher (Fight Club), but also films such as Ben-Hur or Docteur Folamour.
Kassovitz also expresses his deep dismay at the excessive use of CGIs in today’s cinema. He couldn’t see George Miller’s Mad Max: Fury Road because of the avalanche of digital effects. He admits, “I couldn’t watch for more than twenty minutes.” Other films that deeply bored the French director: Tenet and Interstellar by Christopher Nolan. Although he sees Nolan as a “great director”, the director expresses his deep anger at the avalanche of digital effects: “Tenet to make film, a film that is 90% digital, I don’t, I don’t get the point.”
Have the huge advances in special effects destroyed cinema? Mathieu Kassovitz says: “Today everything is possible digitally and you can no longer dream.” The director compares our time to that of the first Superman and the original Star Wars trilogy: “When a movie like this came out, it was an event. […] We saw things that we had never seen before in the cinema and we wondered how that is possible. “It would be wrong to see Mathieu Kassovitz’s words as“ an old man who is resistant to the slightest progress. ”Like Martin Scorsese’s on the films of the Marvel Cinematic Universe, they allow a real debate on the philosophy of the The director of Babylon AD also uses this term when speaking of his admiration for Spielberg, with whom he has worked:
Steven Spielberg’s Munich was filmed and edited. No CGI in the film, compared to the subject and his work as a director, was Spielberg shooting on film like he was shooting in the 80s. I understand that. It’s a philosophy.
The questions raised by Kassovitz and Scorseses Diatribes against the ubiquity of CGIs are absolutely fascinating because they bring with them equally important questions. Hasn’t the CGI avalanche in Hollywood cinema fundamentally changed the way films are made? Have they not enabled the Hollywood studios to consolidate their power over directors due to their often exorbitant costs? Who has to justify them ever higher budgets? Today special effects are no longer satisfied with suggesting the unreal with more or less developed artifacts; They allow it to be created. Doesn’t that change the way we consume films? When we see the first Star Wars or Dark Crystal, the viewer tries hard to enter the film, he makes a pact with the director. Despite the apparent artificiality of the special effects, he promises to believe in them as much as possible. This pact is now null and void: the viewer no longer has to try so hard to believe it. Whether or not we agree with Mathieu Kassovitz’s words, it is interesting that these questions are asked and we look forward to reading your opinions on these philosophical-artistic questions in the room. Remarks ..