On the occasion of the eleventh edition of Filming Italy Los Angeles, conceived and directed by Tiziana Rocca, Juliette Binoche was awarded the film IN-I Motion for her new artistic career as a director. A recognition that marks an unpublished stage of the career of the Oscar-winning actress, increasingly oriented towards creation and expressive research beyond acting.
Welcome to Filming Italy Los Angeles. What does this recognition mean to you as a director, precisely on the occasion of the American premiere of the film?
It was almost a “meeting”, because you usually receive a reward after the audience saw the film, not before. It is something very much in the style of Tiziana Rocca, which has a unique way of doing things, and I have accepted with joy precisely because she is a special person. I can’t say I deserve an award as a director: I’m only at the beginning of this path.
He said he was ready to run. What kind of stories would you like to tell in the future?
There’s a movie I’d like to make, but I think it’s important to keep silence on your desires until they really take shape. Every creative process needs to mature mysteriously and secretly; talking about it too soon risks losing energy. That’s why I prefer not to reveal anything yet.
This project represents a new artistic adventure for her: from theatre and dance to film direction. How important is it to continue exploring different creative territories?
One of the most interesting themes in life is creation: how can we transform ourselves from simple creatures into creators? It is a profoundly spiritual question. I think it’s a vertical path, more than horizontal, that puts us in relation to something bigger. This research is central to me, my heart and my way of understanding art.
The idea of the film also arises from an encouragement of Robert Redford. What do you remember about that meeting?
It wasn’t a real conversation. At the end of a show, after a tour lasted about a year with over one hundred and twenty replicas, we arrived in New York. I wasn’t even in the dressing room. He was waiting for me in front of the door. When I got there, he let me in, shut the door and said, “You must make a film from this show. ” He repeated it several times and I knew he was right. I knew I had to share that experience, but I still had no production or knew how to do it. At the end of the tour, in Paris, I asked director Marion Stalens to film the last seven replicas. Fifteen years later, I met two producers interested in working with me and propounded them that material. From there the idea of making a documentary about the creative process of the show was born, using both the images shot and the recordings of the tests and performances.
Let’s talk about the role of women in the cinema. What future do you imagine for women, in front and behind the camera?
We have to create our future without waiting for someone else to do it. The actresses must recognize where they can put their energy, their soul, within a story. For me everything is related to transformation: if in a story there is no transformation, then it becomes flat. Life itself is transformation, physical and inner. And that’s what makes a very interesting character, both for those who play it and for the public.
We’re in Hollywood. What is the difference between European and Hollywood cinema?
As part of the European Film Academy, I believe that in Europe you tend to put art before business. We look for a film quality linked to a language, a vision, a place. Cultural differences between our countries become a form of union. Here in Hollywood, for my experience working with many people, it seems that the first concern is often business. Of course there are also artists deeply connected to cinema as a form of art, but I would say that this remains the main distinction.
L’articolo Juliette Binoche a Filming Italy Los Angeles proviene da IlNewyorkese.
