Dardennes Interview


"Two Days, One Night" might be the best Dardennes movie yet. Marion Cotillard is mesmerizing in her role as Sandra, a young Belgian mother who discovers her co-workers were pressured to choose between getting a significant pay bonus and having her keep her job. The way Cotillard approaches each and every co-worker, pleading — sometimes even begging — for them to change their vote is heartbreaking. It’s a movie that once again places the talented directing duo on the short list of the very best filmmakers in the world today. I met up with them a few months back to discuss the process, Cotillard and the small details that make a Jean-Pierre and Luc Dardenne film so damn great.


What were the roots of this film ?
Luc Dardenne : We've been working on the screenplay for a very long time. The character of Sandra was the main focus. We always saw that character as someone who was scared but who fought through adversity no matter how intense or frustrating the times got it. There were a few questions we wanted to answer 1) Against social insecurity, how can she rebuild? 2) At the end of this voyage Sandra had to turn into a new person, a sort of rebirth. We didn't know exactly how how we would get to that point, but we knew that it would end -one way or another- with Sandra saying "I'm not scared anymore".

One of the interesting things about this film is that its episodic nature is revealed quite early in the film and that you know exactly what kind of film this is going to be
L. D. : We had to to take this formula seriously. We always knew there would be suspense with each of the meetings she had with her co-workers. Who will open the door? Will they say yes or no? Given her psychological instability, how will Sandra take it? We know from the first few minutes that she isn't a fighter. At the end of all this will she be able to rally the troops and get them to vote for her. We always knew repetition or an episodic kind of film would make for good drama if done right. We purposely had her co-workers give similar replies, such as "put yourself in my position" or "what are the others saying". It was a also a case of: If we told you that 10 out of the 15 people agreed to change their votes, would you be less scared?
Sandra doesn't really stigmatize her co-workers
L.D : It is not a story about good vs. evil.  Every meeting is very complex. Sandra understands them and sometimes you feel as if she doesn't blame them for taking the bonus. Would she have done the same thing in their position? She might have, that's part of the complexities of the film. We purposely chose a small-scale company where there weren't enough workers for there to be a union. The film would have been very different if it was unionized.
Most of your films have had less famous actors and that brought a feeling of realism to the surroundings. Cotillard is not an unknown actress, this was a stroke of genius in casting. What led you to choosing Marion?
Jean-Pierre Dardenne : 
Choosing a big name actress was a gamble and potentially dangerous for the realism we were going for, This became a somewhat exciting challenge for us, Marion found a way to deliver something she hadn't really delivered before, a new body, a new face, a new side to the Marion we all dearly knew.

We always wanted to work with Marion. We co-produced Jacques Audiard's Rust and Bone and we wanted to meet when the film was going to shoot in Belgium. We met briefly for  around 10 minutes. We actually wanted to cast Marion as a doctor for another screenplay we were working on. When we abandoned the doctor project, the character of Sandra came back to the fold and Marion was the obvious choice. It had to be Marion. We had to make sure she was fine with the role, since we abandoned the doctor project, her response was "I really don't care, I just want to work with you guys" We rehearsed for a month and a half, as we do with all our projects. All that rehearsal and repetition really prepared Marion to be as raw and bar bones for a role that is very complicated and layered with undertones.


L.D It became quite obvious we made the right decision the moment we started shooting. There was something in those eyes and the expressions on her face that instantly made it an ideal match.
One thing that struck me is the color of the clothes Sandra wears. That -now iconic- pink top and other lively colors. Anything behind that?
L. D. : Good catch. We tried to dress up Sandra in colors that a person coming out of a past depression would wear. Colorful, never wanting to go back to the dark side. Even if at times she does fall off the bandwagon, the colors stay the same with the hope of going back to the light. We also were very careful with the shoes we chose for Marion to wear, the noise they made. We had the choice for lighter shoes but they didn't make any noise when she walked. We wanted every step heard on this journey she was in.
Do you guys do many takes?
L. D. : Depends. For the scene where Sandra breaks down in the room we did around 81 takes. If we have a scene where we find the flow is not right we will say something like : « Now Marion, can you please take a shorter silence in between so and so words and say so and so a little faster » but really it all comes down to how it flows in the editing room, thats why getting many takes is sometimes a great thing. Our editing has a lot to do with the certain flow we are going for even before we shoot the movie.

To end this interview I'm going to ask you guys a question that I tend to ask most filmmakers at the conclusion of an interview. Is there a movie that you've discovered recently that has renewed or solidified your passion for movies?


J.P.D Too many to name. The last Jia Zhang-Ke was phenomenal. Abbas Kiarostami never disappoints. Wong Kar-Wai. "Boyhood" the last linklater was phenomenal.


L.D. There's a great scene in that movie where the mother played by Patricia Arquette sits at the kitchen table and sends her son off to college and there's just such a simplicity and attention to detail that really just got to me. Everything in that scene just works right. 

2014



Under the Skin
Blue Ruin
Gone Girl
The Grand Budapest Hotel
Whiplash
Fury
Birdman
Interstellar
Foxcatcher
Selma



Force Majeure
Nightcrawler
Captain America: The Winter Soldier
Unbroken
Mommy
Inherent Vice
Wild
Snowpiercer
Edge Of Tomorrow
Chef
American Sniper
Lucy
Policeman
Citizenfour
Frank
Neighbors
The LEGO Movie
Non-Stop
Grand Piano
Nymphomaniac Part II
Joe
Night Moves
Life Itself
Get On Up
St. Vincent
Love is Strange
John Wick
The Guest
The Hunger Games: Mockingjay
Exodus: Gods and Kings
Two Days, One Night
A Most Violent Year
Straw Dogs
Starred Up



Ida
Leviathan
Stranger By The Lake
Listen Up Philip
The Raid 2
Calvary
Goodbye to Language
The Interview
Top Five
The Babadook
The Imitation Game
The Theory of Everything
The Drop
Guardians of the Galaxy
A Most Wanted Man
I Origins
Dawn of the Planet of the Apes
Oculus
Labor Day
Enemy
Locke
The Immigrant
X-Men: Days of Future Past



The Judge
Jimi: All is By My Side
The Gambler
22 Jump Street
Obvious Child
The Fault in Our Stars
Noah
Bad Words
Tim's Vermeer
The Last of the Unjust
Robocop
The Wind Rises
Divergent

Moore, Witherspoon and the inevitable


Julianne Moore. There, I said it. That’s a name you’re likely going to be hearing a lot in the coming weeks, hell, probably months. She is the surest thing to come out of this year’s awards race. Ever since I saw her incredibly moving performance in “Still Alice”, back in September, it seemed like a no-brainer. Based on Lisa Genova’s 2007 best-selling novel, the film is a striking look at the nastiness and brutality that falls upon an American family when one of their loved ones is diagnosed with Alzheimer’s disease. Moore is ever so brilliant in the movie, encompassing the way a person can lose track of herself and her own identity even when she tries ever so hard to retain it. Just through Moore’s eyes you can witness the slow detachment Alice is going through from society, friends, family, and herself. It’s a devastating film because, just like Alice, her ever deteriorating brain keeps getting erased of its precious memories without you even noticing the effects – it isn’t until the last few scenes that the devastation this disease has caused hits you.

“Still Alice” has some of the hardest scenes to watch of any movie this year, but it’s all so worth it for the humbling journey that is involved with it. Indie filmmakers Wash Westmoreland and Richard Glatzer don’t try to pull at the heartstrings, they just tell their story in the simplest way possible, and why wouldn’t they? They have Julianne Moore at their disposal, one of the great actresses of our time (“Short Cuts”, “The Kids Are All Right”, “Boogie Nights”, “Far From Heaven”, “Safe”, “Magnolia”, “Children of Men”, “The Hours” and even next year’s “Maps to the Stars” directed by David Cronenberg, in which she plays a down-and-out actress, desperate for her next big shot). Every time she’s on screen, Cronenberg’s film ignites with excitement and his pitch black Hollywood satire gets even darker.

If Moore is the surest thing to come out of this year’s race, it doesn’t mean that the other nominees should pack it up and call it a night. For example, if Reese Witherspoon hadn’t won back in 2006 for “Walk the Line” we’d be talking about a close race to the finish. Witherspoon’s work in Jean-Marc Vallée’s “Wild” is astounding, equaling her Best Actress work as June Carter Cash. Coming out next week, the same week “Still Alice” is released, Vallée’s film is a stirring portrait of love, despair and hope. You can call it “Eat, Pray, Hike”, but that’s where comparisons should end with that Julia Roberts vehicle. Vallée, who directed last year’s “Dallas Buyers Club”, is an artist through and through. Ever since his beginnings in Quebec cinema I’ve kept a watchful eye on him. Just check out “Café de Flore” or “C.R.A.Z.Y” to see how great of a filmmaker he can truly be.

“Wild” has a more conventional storyline than those aforementioned films but he and Witherspoon make up for it with sheer artistry. It also helps that gifted writer/novelist Nick Hornby and Cheryl Strayed – on whose book this is based – wrote the screenplay. After a brutal divorce and losing her mom to cancer, Strayed went on an 1100 mile hike of the Pacific Crest Trail by herself to try to bring meaning to a life that was crumbling. It sounds like the kind of stuff the Hallmark channel would dig, but don’t kid yourself, Vallée knows better than to stoop down to that level. Apart from Witherspoon’s emotionally resonant performance, the other major thing you notice in the film is how incredibly well edited it is.

Going back and forth between present day, flashbacks, flash forwards and dream-like imagery can be a tricky business, but Vallée and his longtime editing partner Martin Pensa (“Dallas Buyers Club”) nail every detail. And Witherspoon, what more can be said about an actress who had me at hello ever since the day I first saw her in Alexander Payne’s “Election” (still the best performance she’s ever given). It wasn’t just that movie – her enormous talent has shone through over the years in films such as “Pleasantville”, “American Psycho”, “Cruel Intentions”, “I Walk the Line” and last year’s underrated “Mud”.

 How refreshing it is to have not one but two top notch female performances coming out in the same week. These two actresses are on par with the incredible work Felicity Jones has done in the recently released “Theory of Everything”, Rosamund Pike’s harrowingly hypnotic femme fatale in David Fincher’s “Gone Girl”, Anne Dorval in “Mommy”, Scarlett Johansson in “Under the Skin” and my dark horse favorite Marion Cotillard and the mesmerizing performance she gives in “Two Days, One Night”. The latter three might not get the nominations they deserve, but I advise you to seek these performances out because they will absolutely blow you away.

http://www.awardsdaily.com/blog/2014/11/moore-and-witherspoon-on-parallel-paths-to-the-oscars/

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