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00:00 [MUSIC PLAYING]
00:03 Hello, everyone, and welcome to The Process.
00:09 I'm Justine Trier, the writer-director
00:12 of Neon's Anatomy of a Fall.
00:14 And I'm pleased to be here for a conversation
00:17 with my longtime editor, Laurent Senechal.
00:21 Hi, Laurent.
00:23 Hi, Justine.
00:24 I was wondering, do you remember exactly--
00:29 how we start-- it's so weird.
00:33 Because we know each other since a long time ago,
00:36 and we did a lot of editing together.
00:41 Do you remember--
00:42 Usually, we speak French.
00:44 Yeah, yeah, yeah, of course.
00:48 Do you remember how it starts with this movie?
00:52 Your first impression when you read the script
00:57 before the editing process, but just
00:59 when you read the script the first time?
01:03 Yeah, I have it, the script.
01:08 Because I didn't-- it's long ago now,
01:11 so I wanted to just watch it a little.
01:16 But in fact, it was not useful to have it today.
01:22 Because what I think is that I remember quite
01:27 that it was a reading without so many notes,
01:33 very interesting notes.
01:34 Because you know me, I'm really noting a lot of things
01:37 when I read a script.
01:41 And it was really amazing, this one.
01:45 It was like I was already into a movie.
01:48 It was really so well written and so catchy.
01:53 So I didn't have so many clever things to say.
01:59 It was very-- I don't know if you remember,
02:02 but it was pretty about warnings.
02:08 Be careful, because you are at some--
02:12 for some scenes, you are taking so many risks.
02:16 For instance, the argument.
02:19 So I was written, be careful.
02:24 It's a very risky scene.
02:27 You have to be--
02:29 you have to shoot it with options
02:35 and with good transitions.
02:37 Because it's not something that can work for sure.
02:44 And also when the boy is testifying for the second time
02:50 at the end of the movie, it was very rich.
02:54 But I really wondered how it was going to work.
02:59 So I knew that we have this chapter.
03:03 And actually, it's the first time
03:06 that we work in a different way than before.
03:10 Because we decided to not--
03:13 that you didn't start without me before the end of the shooting.
03:20 So it was a new way of doing between us.
03:24 And because I hate so much, as everyone--
03:31 I'm not original like this, but I hate so much the beginning
03:34 of the editing process.
03:36 And you know that very well.
03:37 And I could be totally crazy at the beginning.
03:41 So do you remember when you discovered--
03:47 not when you discovered, but the beginning of the editing
03:50 process, how you can come inside this story and--
03:55 Yeah, in fact, I thought it was clever not to--
04:02 me to do an assembly rough edit without you.
04:05 Because we knew that it was very hard for you,
04:10 previously, for the two previous movies, to see that.
04:15 It was not that I wasn't working well alone.
04:20 But it's really useful for the structure and all this.
04:23 But it's true that it had your mind completely in a mess
04:29 at the beginning of it.
04:30 So you really prefer--
04:33 that's what we decided to make all the journey, all the trip
04:38 since the beginning.
04:39 And--
04:41 Sorry.
04:42 When we started here for "Anatomy," for me, it was just--
04:47 the script was so great that I knew we were
04:51 going to some good structure.
04:53 So it was not that scary not to have this assembly
04:58 before being with you.
04:59 Because I knew that the script, this time--
05:02 because for "Cebu," it was not like that.
05:04 This time, the script was really, really tough and solid,
05:09 even if we had to refine it a lot.
05:12 But the main things were there.
05:15 And we kept stuck to it.
05:19 This isn't working for me anymore.
05:21 Well, organize your time differently if you want to.
05:27 It's up to you.
05:28 When's the last time you've had Tim doing his homework?
05:30 It's delicious.
05:31 There's a ton of things you don't give a shit about.
05:33 But that's the time I'm talking about.
05:35 Darling, the book just came out.
05:37 You know very well it's just this time.
05:39 It's always just this time, whether you have a book out
05:46 or you're writing or you need space
05:49 to figure out what to write.
05:50 I mean, I've been following your lead for years.
05:56 I can't do anything with my time.
05:59 Do you understand?
06:00 It's not my time.
06:05 It's yours.
06:06 Do I force you to teach?
06:15 Do I force you to homeschool Daniel?
06:19 No one's forcing you.
06:21 If you want to make more time for yourself,
06:22 I've never stopped you.
06:23 Are you fucking serious?
06:25 I cut my course loan in half this year to gain more time.
06:29 And it's still not enough.
06:30 I have to finish the renovation.
06:32 Plus, I'm dealing with everything else.
06:35 Why do you refuse to talk about it?
06:38 Why can't you just admit that it has to do with how
06:40 things are divided between you?
06:42 Because you are wrong.
06:43 I don't owe you any time.
06:45 I do my part.
06:47 Come on, let's not start taking inventory here, please.
06:51 Let's relax.
06:51 [WATER POURING]
06:55 I love you.
06:59 The question of the languages was really
07:13 in the core of our work.
07:15 Because of course, Sandra is talking in French,
07:18 but most of the time in English.
07:20 And it's a question of languages inside the movie,
07:24 but in our work all the days.
07:28 Because yes, we were all the time
07:34 with this different material.
07:38 Yes, and for me, what is amazing,
07:45 I had been editing on foreign languages for French people
07:52 before, Japanese for instance.
07:55 And also, there was a little of English
07:57 with you on your previous movies, but less than here.
08:01 And I was pretty sure that you could.
08:06 For me, I knew it would be possible.
08:08 But I knew that also for you, it will be possible to really
08:12 be accurate, even if it's not our native language
08:17 for the acting.
08:18 Because acting is not only about understanding all the words,
08:23 even if you understood everything, of course.
08:26 But it was not an issue to have English in the material.
08:37 If you remember, we were as accurate as in French,
08:41 I think.
08:43 It was also great to have these languages.
08:47 And do you remember, for you, what was the best challenge?
08:53 We spend a lot of time in this room.
08:58 I think quite, I don't know, 10 months or something like this.
09:02 So do you remember the best challenge of our work
09:07 together, of this movie?
09:10 Because sometimes we speak about the code to find,
09:15 to get inside the game, or to win the game,
09:18 or just to get inside the--
09:22 like a game.
09:23 But yes.
09:26 For me, I don't know if it's the same for you.
09:29 But for me, it was clearly three points.
09:35 The first one was to--
09:38 we discovered that we had to be simple, really
09:42 simple in the form.
09:43 Even if we were choosing--
09:45 because it was your artistic challenge
09:48 to have a role movie with the harsh things,
09:51 and documentary-like things.
09:54 So we were picking the first scenes
09:57 with all these flares and errors and this.
10:00 But we wanted also the movie to be simple for the audience.
10:07 Because the subject was so complex.
10:10 There is a complexity into the empathy
10:14 for the main character.
10:16 There is complexity.
10:17 We were talking about something--
10:20 the audience is with us.
10:22 That's good news.
10:23 But we didn't know that it was going to be like that.
10:26 And I don't know if you remember that,
10:28 but you wanted at the beginning to make some split screens,
10:33 such as Boston Strangler.
10:36 And it was so complicated.
10:39 The form was too complicated for this complicated subject.
10:42 That recording is not reality.
10:52 It is a part of it, maybe.
10:54 If you have an extreme moment in life, an emotional peak,
10:57 and you focus on it, of course it crushes everything.
11:01 It may seem like irrefutable proof,
11:03 but actually warps everything.
11:05 It's not reality.
11:06 It's our voices.
11:07 That's true, but it's not who we are.
11:08 I don't give a fuck about what is reality, OK?
11:11 You need to start seeing yourself the way
11:14 others are going to perceive you.
11:16 A trial is not about the truth.
11:17 I didn't know there'd be a trial.
11:19 Well, there is.
11:32 Now, what will really count is who you have around you.
11:38 There's nobody around me.
11:39 Yes, there's Daniel.
11:41 Yeah.
11:42 Daniel is important.
11:45 And didn't you and Samuel have any friends, someone--
11:49 We should never have come here.
11:50 I didn't want to.
11:51 I was so happy in London.
11:52 It was him.
11:57 He insisted so much.
11:58 He said there'd be no more distractions from work.
12:01 It will solve our financial problems.
12:03 I left my shithole in Germany and ended up
12:13 stuck here in his shithole.
12:14 It's fucking absurd, isn't it?
12:15 Come on.
12:22 I think at the end, we chose for the takes, for the rhythm,
12:31 for everything, to get away from our American masterpiece
12:41 of American influences and to get closer to France
12:46 and to try to really put this project in France.
12:52 Because of course, we are so influenced in a good way
12:56 by these movies.
12:58 But I think we chose to be in a--
13:07 I don't know how to describe this,
13:09 but do you know what I mean about the French style?
13:12 Yeah.
13:12 Copy in a way.
13:14 Yeah, yeah.
13:15 For me, it was pretty about the form, of course,
13:20 but also the acting.
13:21 When some actors, when they were speaking English,
13:26 they had also this American way of behavior, acting.
13:32 And it was possible.
13:34 It was good.
13:35 But we chose to avoid all this and to keep--
13:42 for instance, for Vincent, the lawyer,
13:46 we wanted him to stay this gentle guy, almost female guy.
13:52 He's sometimes really, really sweet, nice,
13:55 but not the great lawyer who is going to save the world.
13:59 Yeah, and I think we are very conscious about this
14:02 because the movie is a genre movie in a way.
14:06 And of course, we were not naive about all this influence.
14:12 I think it was really something.
14:14 And for choosing the text from Sandra,
14:18 I think it's the same thing.
14:19 We chose at the end all the documentary texts.
14:22 And we put all the sophisticated texts aside, I think.
14:29 I remember this, but maybe I'm--
14:33 No, that's true.
14:34 Because Sandra Hüller is so--
14:36 she's so talented that she can accelerate a lot and be really--
14:41 she's amazing about the third or fourth text.
14:45 But she's also really endearing, very charming
14:53 since the first take.
14:54 And I think we took very often the first or the second take
14:59 for Sandra.
15:00 But to go back to your question about the challenges,
15:04 in fact, the main challenge is for us--
15:07 and it's easy to understand.
15:10 It was to maintain the ambiguity around Sandra,
15:15 but without doing it in a clever way, in a--
15:22 Old school way.
15:23 Yeah, or cynical way.
15:25 She's guilty.
15:26 You think she's guilty.
15:27 Yeah, she's not going to be guilty.
15:29 And then she's guilty again.
15:30 It was not like that.
15:32 We wanted-- we didn't want it like that.
15:34 We wanted to be--
15:35 to maintain this doubt, but in a candor way, with candor,
15:43 in a candid way, in order to preserve access,
15:48 direct access to empathy with her.
15:53 That's the challenge you put with this project.
15:56 And I knew it from the first, very first reading.
16:01 You want the audience to stay in doubt around a character
16:08 that you want us to adopt and love and like.
16:12 And it's unusual.
16:14 It's really risky, this.
16:16 And that was really hard to do, because as soon
16:19 as we were changing details in the beginning,
16:24 the first 30 minutes, we could have this character completely
16:29 becoming manipulative.
16:32 Do you remember the scene, the great scene at night with snow
16:37 where they are drinking?
16:38 It was a very beautiful scene that we loved.
16:40 And we had to cut so many things in that, in order that she is--
16:46 our soul is still stuck in the trial.
16:49 Yeah, yeah, yeah.
16:51 With this question, how my relatives are looking at me
16:56 now, do you think I'm guilty?
16:58 She's asking the lawyer and then her son.
17:01 And we avoid every lightness from her.
17:06 And it was important, because if not, you remember,
17:11 we had this feeling that we could not
17:16 go on with her in the trial.
17:18 She was becoming a very tricky woman.
17:23 Sorry, but I remember that at the beginning,
17:26 I was very obsessed by taking another editor
17:33 to build a series aside the movie.
17:37 And I was always saying to you, Laurent,
17:42 please don't put anything on the garbage,
17:44 because it's too good.
17:46 So you have to edit in the same time a series.
17:50 And do you remember this face and what you say to me
17:55 at this moment?
17:57 No, no, maybe I don't remember.
17:59 But tell me.
18:02 You said to me, OK, maybe we can do a series later
18:06 after the movie is finished.
18:09 But I'm not sure to edit it myself, because I think, yes,
18:17 it could have been very, very weird to just get another time
18:22 in this process.
18:23 [LAUGHTER]
18:25 But I dropped everything.
18:26 I dropped this idea now.
18:27 But it was, yes, a huge--
18:31 but because I think the movie was so--
18:33 even the writing process, it was so huge.
18:42 At the beginning, the media was really
18:45 important in the movie.
18:47 And we had to remove some things,
18:51 because it was quite similar as a series, the way we were
18:57 starting the writing process.
18:58 So we had to find a way to push it and to say, OK,
19:02 we have to choose, to choose one, two, or three--
19:05 Lines.
19:10 Lines to really be with Sandra and the child.
19:17 But it was interesting in a way, because--
19:20 sorry, because I think that the way--
19:23 in a way, I think all these movies
19:25 are experimental in a way.
19:28 The way we find a way to work together, the way we--
19:32 we were very free.
19:33 And this movie, I think, has been built--
19:40 has been built-- no.
19:43 Has been built in a very free--
19:46 Really, yeah.
19:47 Yeah, way of doing.
19:49 And because it's a genre movie, in a way,
19:52 to be as free as we were was really important to--
19:58 even in the--
19:59 I remember that we discussed a lot about the music
20:02 and just to choose to not using some additional music instead
20:07 of PMP, of course, with--
20:10 Yeah, but it's digested into the scenes.
20:13 The God, the PMP and 50 Cents are beyond the movie.
20:19 But instead of it, I think we chose really to not do
20:24 some sound design, something.
20:26 And for a genre movie, some people around us
20:28 was really anxious and said, OK, maybe we
20:32 will be bored by being in silence
20:38 during two hours and a half.
20:40 A flat movie.
20:40 And it's really far from a flat movie.
20:43 Yeah, and at the end, I think we--
20:45 I don't know if you remember this, but about the piano
20:49 and the place and how we create this thing with the piano
20:53 and the--
20:54 [SPEAKING FRENCH]
20:56 Yes, of course.
20:57 Yes, of course.
20:58 You had this idea.
20:59 At the beginning, you wanted to play yourself as the boy.
21:04 Do you remember?
21:07 But yeah, of course, the title sequence
21:11 was not supposed to be with a photograph also.
21:15 It was a way for us to really create past life
21:21 empathy with this family we don't even know.
21:25 And they are already killing each other, maybe.
21:29 This is a really clever-- this idea,
21:31 we had it really late in the editing process.
21:35 But the piano, yeah.
21:36 I remember we really used it a lot to make the boy exist also,
21:44 because he's the main character at the end of the movie.
21:47 But for a long time, he's like a shadow.
21:51 And we wanted him to be really present.
21:54 And the piano, it's with him.
21:56 We had this idea for the ellipse of one year time passing ellipse.
22:02 He's playing the piano really better.
22:05 And this is not written.
22:07 This was not written.
22:08 It's an idea we had.
22:10 I forgot this.
22:11 It's funny, because I forgot that it was not written.
22:14 It was not written.
22:15 And there are so many things.
22:17 And at the beginning, we were so, so much
22:20 using the piano scenes differently
22:23 than previously written.
22:26 That we were wondering that his progress
22:30 in being a piano player was correct in the movie,
22:34 because sometimes he's playing better than after.
22:40 And we were using the off when we don't see him
22:44 to create this continuity with him.
22:48 And one of the most beautiful moments for me in the movie
22:52 is the next time we hear him playing
22:56 before his last testifying.
23:00 You know, when he's thinking about his father and all that,
23:03 before the last court scene.
23:07 And sorry, Laurent, do you remember?
23:10 Because there is a lot of people say
23:14 that it's dangerous to use animals and kids in movies.
23:19 And we had to-- and you had to edit a lot of scenes
23:27 with Snoop, the dog.
23:29 And of course, with Milo.
23:31 But Milo, he was like a little adult in a way.
23:36 So it was for us, like everyone.
23:39 But do you remember?
23:40 Yes.
23:45 How do you-- sorry for my English.
23:50 Oh, did I work with Snoop?
23:52 Yeah, thank you.
23:53 Yeah.
23:55 The funny thing is that it was a good manner for me
24:01 to see the world we are living in changing.
24:04 Because it's the first time, thanks to you,
24:07 that I'm editing an animal pretty exactly
24:14 like if it was a human being.
24:19 He has a very important role in the cast.
24:23 And of course, it's funny, but it's true.
24:26 We had many, many takes on him.
24:30 Of course, he is doing--
24:31 He won the Palme d'Or.
24:33 He won the Palme d'Or.
24:34 So--
24:34 Great, of course.
24:36 And what's really nice, the way you used it on the set.
24:40 Because we are-- of course, we edit Snoop.
24:44 And I am so in love with dogs.
24:48 And their looks on human beings is so, so interesting
24:53 for me.
24:54 But the way you--
24:57 it's not only for the structure.
24:59 We are starting with him.
25:00 We are ending with him.
25:02 It's the way you pay attention to his life.
25:07 In the movie, he's not only useful.
25:10 He's living.
25:12 We can see him breathing.
25:15 His body-- I should say "it" instead of "he,"
25:18 even if it's an actor.
25:22 It's at the end, maybe the last shot, for instance.
25:26 He's really like-- you can have an amazing empathy with him.
25:32 And usually, when we have that feeling with animals,
25:37 it's like "Babe," like a movie around animals.
25:42 Yeah, yeah, yeah.
25:43 I totally agree.
25:44 But you are not frank about something.
25:46 Because you forgot something.
25:49 When we discover all the takes with him,
25:54 we had a huge problem.
25:55 And you have to explain to me.
25:59 It reminds me the problem of something
26:02 when I want something for the scene
26:04 when the dog has supposed to just walk like a pontier
26:11 and very slowly.
26:12 And we wanted to make some very smooth, superb, smooth shot
26:18 behind him.
26:19 And he was not like--
26:22 No, yeah, he's very fast.
26:24 He's Joe Pesci-like.
26:27 He's very quick.
26:28 Joe Pesci-- how do you say it?
26:31 Joe Pesci's dog.
26:33 Yeah, Joe Pesci's dog.
26:36 Because he was too fast.
26:40 He could not walk slowly.
26:42 And the shot--
26:45 So we had to change a lot of scenes because of this.
26:49 Because--
26:50 Yes, of course, of course.
26:51 We had to-- how do you say to ralentir?
26:54 Yeah, to slow down.
26:58 Yeah, slow down the pace of the--
27:02 do a time warp for editors.
27:04 Because Laura Martin, that I adore, his trainer,
27:14 she says to us, OK, he can do anything.
27:19 But the only thing that he can't do is just walking slowly.
27:26 But he can-- one, one, one, one.
27:31 And when he's tired, he just stops.
27:38 Just like this.
27:40 There is not--
27:42 In between, yeah.
27:43 Yeah, yeah, yeah.
27:44 So we discover it on set, in a way.
27:47 And you discover it after.
27:49 And we have to manage with this.
27:51 Yeah, yeah.
27:52 The editing has to adapt.
27:53 But do you remember that even if we struggled with the dog,
27:59 it's an editing idea to put a photograph of the dead father
28:06 like in the eyes of the dog.
28:09 Yeah, yeah, yeah.
28:10 Because the scene was supposed to go to Sandra.
28:13 Yeah, yeah.
28:14 And we had this idea to give him a point of view again.
28:22 Because the movie starts like that.
28:24 But there are so many things we did with this dog.
28:27 Yeah.
28:28 And I have a question, very important,
28:31 because you know that I love to work with me,
28:34 because you are so patient.
28:37 Patient?
28:38 Yeah.
28:40 Because I'm always there.
28:43 I never let you alone to work without.
28:48 And I'm always telling to you, OK, your back is talking.
28:53 Because for me, I never--
28:57 I'm behind you.
28:58 And you are just--
28:59 yes, devant moi.
29:01 Beyond.
29:02 In front of me.
29:03 In front of me.
29:04 And I have just your back.
29:07 But your back is talking for me.
29:08 Because when you don't like a take,
29:10 I can feel it without any words.
29:13 So I want to thank you for this.
29:15 Because I don't know anybody in work who have this kind of--
29:22 I don't know, talking back, back, talking back.
29:25 And yeah, yeah, yeah.
29:27 And I can feel it.
29:30 Yeah.
29:32 But I don't know anybody who is able to just give
29:37 the good or the bad feeling that you have for a take.
29:42 But I have a question for you.
29:45 Do you remember-- yes, I don't know if--
29:49 the worst thing with me, to work with me.
29:52 I don't know.
29:53 Something-- it was all not the worst, but something--
29:58 I don't know.
30:00 Well, in fact, what is hard with you?
30:06 It's really the other side of what is good.
30:11 It's so intense.
30:14 We are working so intensively.
30:18 Because you want to have fun.
30:22 And fun for you is to have--
30:24 feel the acting and feel some ideas, some new ideas.
30:27 You don't want to be bored in an editing room.
30:31 You cannot be bored less than 15 minutes.
30:35 So we have to be very concentrated.
30:38 And it's long, because it's months, months, and months.
30:42 But it's so exciting.
30:45 It's sometimes hard, because yeah, it's
30:49 very demanding to work with you.
30:52 But it's very exciting.
30:54 And I'm the lucky guy.
30:56 Everyone knows that.
30:58 And I'm the first who is knowing that.
31:00 Because the fact that we are looking for--
31:03 we don't know.
31:04 We are never doing what we were supposed to do.
31:07 We are only trying to be sensitive.
31:12 We are using the material, but not with ideas.
31:16 The material is using us to come into the movie.
31:20 It's a really strange method.
31:23 And I think you are so different compared to me.
31:27 We are very different and complementary in a way.
31:29 Complementary, yeah.
31:31 Complementary in a way.
31:32 And I think-- sorry, it's like a lot of compliments.
31:38 But I think what I love a lot with you
31:41 is that you never drop the problem and say, OK,
31:49 I cannot handle this.
31:51 And for me, it's really, really important.
31:54 Because sometimes, yes, it's like mountains.
31:57 And of course, for me, the editing
31:59 is so important in all the process.
32:03 And it's really different compared to the other things.
32:08 Because I think it's like a fusion between you and me.
32:12 And we are very alone.
32:14 Yeah, yeah.
32:15 We are.
32:15 And sometimes, we are displeased.
32:17 And sometimes-- and so it's really beautiful
32:21 when you can find somebody with you.
32:23 You know that he knows the worst thing on you.
32:27 And sometimes, yeah, sometimes it's
32:30 complicated because we lose.
32:34 We are losing the belief, the la croyance.
32:39 The trust, sorry.
32:42 The trust in what we are doing.
32:44 Yeah, sometimes we are losing it.
32:46 And I think we are very different in a way.
32:52 And it's really important to not be the same in the editing
32:55 room, for me.
32:56 Of course.
32:58 Because if you are the same way, if you are too much cerebral
33:03 or too much just in a gesture, it's not possible.
33:09 So--
33:10 But--
33:11 Sometimes, what I say, but it's very caricature.
33:15 It's that you-- I'm in charge of making
33:23 a little consistent all the explosive ideas
33:28 that you are having.
33:30 But it's very caricature.
33:31 Of course, you are also into structure
33:34 and very into what we are building.
33:39 And you are not like--
33:40 it's not-- you're not only intuitive,
33:42 but you are really intuitive.
33:44 And me, I'm rather--
33:46 Yeah, sorry.
33:47 No, sorry.
33:47 I'm rather in charge of how to make all this work.
33:53 And you are often breaking the rules.
33:55 And I'm just saying, OK, yes, let's break the rules.
33:58 But let's find a rule, our rule, our code.
34:02 Yeah.
34:03 And what I hate is when somebody comes in the room and say,
34:08 you cannot do something with this footage.
34:12 For me, I need to be in the trust, in a huge trust.
34:20 Sometimes it's not possible because the material is not
34:23 good.
34:23 And sometimes we have to spend months
34:26 to figure out that we have to put it in the garbage.
34:30 But sometimes it's just a way of finding the game
34:35 and to find the code.
34:37 The code.
34:39 But of course, and we have to be frank, on this movie,
34:45 it was different than before because another person came
34:48 at the end in the editing room.
34:53 Yeah.
34:54 So Arthur was-- we were so into it.
34:58 And we needed insight.
35:00 And yeah, he was the great guy for this.
35:06 There was-- yeah.
35:08 I had two lions in my editing room, of course.
35:12 Very different.
35:13 You are so different.
35:15 You are also very complimentary, you two.
35:18 Yeah, yeah, yeah.
35:19 But it was something because, of course,
35:22 when there is two directors with one editor in a room,
35:26 in a very tiny, very small room, it means something,
35:30 I think, for your nerves.
35:31 Yes, yes.
35:32 It was-- yeah, it was cloudy sometimes between you.
35:36 But in fact, what was really interesting in this time
35:45 was that, in fact, we had a lot of ideas
35:51 because you were arguing, or sometimes you agree together,
35:56 but you were arguing a lot.
35:59 And it was really creative.
36:02 Most of the time, it was really creative.
36:04 And we had to balance everything to see if it was
36:09 a good idea for your movie, or it was an idea for the kind
36:14 of movie that Arthur is doing because they
36:17 are really different.
36:18 And you were saying it's a good idea, but it's not my cinema.
36:22 It's not my movie.
36:23 So no for this.
36:26 Let's go to find something else.
36:28 I think it was quite similar that what
36:30 we spent in the writing process.
36:33 Even if the writing process was, of course, different
36:36 because we were in the fantasy time,
36:40 it was when we are in the editing for me,
36:43 and I think for you, and for everyone,
36:46 it's the humble time.
36:49 We are like, OK, we cannot cheat in any ways
36:54 because in a way, we are just in front of what we have done.
36:58 And we cannot fantasize anything and any actors.
37:02 And sometimes after we have to convince financial people
37:06 and blah, blah, blah, now it's just the way it is.
37:10 And we have to just be confronted to this.
37:14 And sometimes it's very cruel in a way.
37:17 And yes, I think we were very lucky with this movie.
37:26 And it was most of the time so interesting and so--
37:34 yes, so interesting.
37:36 I don't have a lot of vocabulary in English, sorry for this.
37:40 But because we were working with Sandra Hüller,
37:44 with Swan Arlo, with Antoine Renard, with Milo, the child,
37:48 with every--
37:49 this cast was really amazing.
37:52 And I remember that you said it to me.
37:56 Yeah, of course, of course.
37:58 For me, I told you, it's Christmas.
38:00 When you open a scene with the main character played
38:03 by Sandra Hüller, it's like Christmas.
38:07 You have so many leverage.
38:11 You can do so many things.
38:13 And it's like in French, we say, "problème de riche."
38:18 It's we are too rich.
38:20 We are too rich, so we have problems we have to choose now.
38:24 Yeah, yeah.
38:25 It was something for this movie.
38:27 I think there is--
38:28 I don't know.
38:29 And of course, instead of it, it was a huge, massive work
38:36 and a massive mountain to overcome.
38:39 But in a way, it was--
38:41 yes, we were very lucky with this, of course.
38:44 Laurent Nant, it was very--
38:45 it was so nice to speak with you.
38:48 And so weird to talk with you like this.
38:54 But yes, and to do this thing with you.
38:56 Thank you so much to take this time with us.
38:59 And--
39:01 It was my pleasure, Christine.
39:03 Welcome this movie with me.
39:05 Was a fairy tale in a way.
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