French Connection
SINGAPORE: Considering Frederic Auburtin is a Frenchman helming a film about the different facets of love in the various neighbourhoods of Paris, the Marseille-born director is surprisingly indifferent about Valentine’s Day.
“For me, Valentine’s Day is really tacky,” he told TODAY, conspiratorially. “I think the best Valentine’s Day is to celebrate the day you met the people you love. Well, that’s tacky as well, but at least it’s connected to reality.”
The affable 44-year-old director was in town recently to promote Paris je t’aime (Paris I Love You), the opening film at last year’s Cannes Film Festival. The film opens in Singapore on Feb 22.
A collective of 18 five-minute segments steered by some of the biggest names in the film industry - such as the Coen Brothers, Gus Van Sant, Christopher Doyle, Alfonso Cuaron and Alexander Payne.
With French actor Gerard Depardieu, Auburtin co-directed a bittersweet segment that takes place in a cafe in the affluent Latin Quarter. There, an elderly couple - played by film legends Gena Rowlands and Ben Gazzara - discuss getting a divorce.
The film also boasts a stellar cast, some of whom joined the project on a whim.
“Nick Nolte joined three days before filming began on his segment,” Auburtin explained. “Gus Van Sant wanted Orlando Bloom opposite Gaspard Ulliel in his segment but chose Elias McConnell - who he worked with in Elephant - because Orlando was filming Pirates of the Caribbean.”
Other actors involved include Natalie Portman as a girl in a relationship with a blind man in Faubourg Saint-Denis; Juliette Binoche as a bereaved mother in Place des Victoires; and Rufus Sewell and Emily Mortimer as a couple who rediscover love with the help of Oscar Wilde’s ghost in the famous cemetery at Pere-Lachaise.
“Initially, the film was going to be divided by the 20 districts in Paris, but they didn’t mean anything,” said Auburtin. “So, it became more a question of neighbourhoods. That’s more human. People are more familiar with the Eiffel Tower or Montmartre, not the 15th or 16th districts.”
Unsurprisingly, despite the immense talent connected with the project, the logistics of coordinating the innumerable schedules was a nightmare, said Auburtin, who was also the overall editor of the film.
“The order of the short stories was the most important thing. We made more than 83 cuts just to find the balance in the film,” said Auburtin, adding that cast and crew were treated equally.
“Just like in a Woody Allen movie, everyone was paid the same amount. Each director received 5,000 euros. The Coen brothers naturally only got 2,500 euros each. So, it’s obvious no one did it for the money.”
In fact, while the directors knew they had to deliver short films, none of them were aware of what the final product was going to be until the film’s premiere at Cannes. Thankfully, said Auburtin, they had only good things to say.
“Alfonso Cuaron came up to me and said: ‘Congratulations, maestro,” Auburtin recalled. “That was one of the most beautiful compliments I have ever received.” -
Channel News Asia