Original subtitles

Ah, Canal+, without whom there would be no film today.

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We thank them in passing.

So welcome to this audio commentary.

Official YIFY movies site: YTS.BZ

I am Olivier Cazas, the director of Brothers, and I am with

Michel de Robert, whose film is History which is played by Yvan Attal.

Hi Michel.

Hello, yes.

And with Olivia Chichet, the chief editor.

Good morning.

So here, we start with a very good sound edit from

Loïc Priant, who I asked to make a range of forest

sounds that we were going to hear throughout the film.

And I found it quite interesting to start the film with an

immersion in the room where we were only on sound, we really

didn't have an image, really we were only with the sounds of nature.

And there, there is a flash of the appearance of the name Mathieu

Kassovitz, for the character of Patrice, as something of a

precursor to what is going to be the hardest and most complicated in the film.

The first plan is always complicated, know by

where do we start, we asked ourselves the question a lot.

While I finish this, will you take care of the chicken coop?

Yes.

So here we are at the very end of filming in fact, because we were one day

away from cutting the children's hair, who had remained long during these

long months of filming, we filmed for almost a year with them, and in the

following sequence their hair will be cut and so we were really at the very

end of filming, we did it in reverse in any case with those we called the little ones.

We messed with those quite a bit.

It's the beginning with Olivier in editing, this work.

And yes it wasn't... we asked ourselves questions

precisely because it's the first time we discovered Mr.

Brunet, and we wanted us to see it, it was important, and

at the same time not saying too much more about the plot.

I asked the photographers to come and take their portrait.

I took advantage of going to town to relaunch the administration about them.

Social services don't seem to be in a hurry to find their mother or place them.

Above all, I believe that they are overwhelmed or that they have no space, ma'am.

I see that, but hey, even if they are endearing, we're not going to keep them forever.

And in fact we said to ourselves that the most effective thing

would be to be quick enough with this shock for the children.

This is one of the rare moments that was not respected during the script.

Wait Patrice!

So obviously that was a key moment.

Especially with little ones.

So these are things that we shot...

separately obviously with the...

We had... we shot the empty shot with...

Eddy, the actor who plays Monsieur Brunette.

Alone, hanged and then the children...

in the same shot but from behind...

with nothing in front to put them...

at the sight of this scene.

I imagine for you Michel that it was one of...

I know the first time you saw it was a scene that...

It's terrible because everything has... Everything changed, everything began...

by this scene...

extremely difficult to live with.

Fear.

And besides it's a...

It's a scene that we rehearsed in front of Michel with the little ones.

When we started the preparation with...

with Marc Robert the child coach on the film.

I remember very well rehearsing in front of... in front of you Michel.

It was quite... It was a little embarrassing for me.

And then I saw very quickly that you...

that you were going over what.

This race is always remembered.

It's incredible.

I still have this...

deep inside me.

So we have a friend with... with Olivia called David Onassian who...

who asked me for months what plan you are going to put on...

what he calls the director's shot.

What plan do you put your name on.

And it was a... Every time I saw him he asked me the question.

I ended up... sending him a screenshot saying well look.

It's more important to you than to me.

I think he was happy with the result.

He's super happy because he loved this plan.

This plan...

dived... from a drone.

What we called broccoli among ourselves.

Because from above these... these trees...

These leaves look like broccoli.

So that was filmed...

almost a year before the... the images that... you saw...

the scenes you saw just before.

It was in... in October 2022.

We were in... it was Autumn.

While the rest was filmed in June 2023.

And during all these long months we have...

we have... our hair has grown.

The children have grown up.

We mature.

And above all we were also able to do a

filming session in winter which we will see later.

And that obviously made it possible to... show nature in all its aspects.

But that's one of the... it was the first day of shooting the film.

And this is the first sequence that we...that we edited.

When we entered the editing room.

Because we went up in three hours.

In three different periods.

And that was the first scene...

with which we started.

So this scene... with Michel who we discover as an architect.

Normally She had to open the film.

In the script that Olivia wrote.

This is the opening scene.

And so, first we put it together.

Respecting the scenario.

And then finally we decided to put it on a little later.

Pepper please.

And a cloth.

And it was adapted from a...

from a scene where Michel cut himself while cooking.

And he told me that... pepper worked very well.

Afterwards it's his own thing.

I advise no one to... to try everything that Michel could do.

Pepper stops the bleeding.

This it seems.

I'll leave you.

With his techniques.

What was important to me was that...

we obviously get very quickly into the... the heart of the film, namely...

this link...

completely out of the norm between these two adult brothers.

Tell me if you know anything.

Oh no I don't know anything.

Please.

Finally I will tell you.

I have a bad feeling.

He hasn't been well lately.

There in terms of image we are in something much more mineral.

There is less... the colorimetry is less strong.

The colors are a little... lower.

We have...

We worked with... Magali Tsassi the...

the cinematographer, the director of photography so that... by telling himself that the universe...

Urbain by Michel was obviously... a little disembodied, dehumanized.

I think I always feared that this moment would come one day.

Eric!

You see with the design office... and with Looking forward to Friday's presentation.

What are you talking about ?

Michael!

A bit like an animal that we would have...

out of... out of nature.

Wait for me here, we're going to Orly afterwards.

I don't have long.

It's strange to have a part of your being... that lives outside of you.

Not a twin.

What have I been thinking about...

the fact of having said Orly instead of Roissy in assembly.

I almost asked Yvan to do it again.

It's been nonsense even though it's going very well.

Because at the time the planes for Canada took off from Orly.

Sometimes we get stuck on little things like that.

It takes patience to work with directors.

You need patience to work with female directors, I think.

This scene, you see this scene c 'East...

It's a terrible thing to be alone.

Knowing that no one is coming.

It's really very difficult.

And so there the children have the...

hair cut.

It was a great moment for us because... for a year we...

we paid attention to her hair.

Like a... a treasure and we asked... we especially didn't want to make them...

do not add any additions to them.

So we wanted it to be real long hair.

And when we cut them I can tell you that with each cut of the scissors it was...

There are even technicians whom I saw with tears in their eyes when...

I met tears in my eyes.

When they got them with short hair.

It was a big moment for us.

Our mother who only had her name...

There it is the production director behind who is taking...

little pies on the shoulder by... my friend Gilles.

There it is... We had a lot of fun with that.

You took it then he hit it hard.

They are both good actors.

Yeah they're good yeah.

You shouldn't... Don't throw them.

They only ask for that.

The magnetic beauty of your mother which you I have often spoken.

Our mother still passed on something to us.

An ability to abandon everything without looking back.

That's always what... That's... It's still there.

And it's...

It was... a strength.

What are you doing here?

I had to leave the office.

What's going on?

Is this for your project in Mexico?

No.

I have to leave for a while.

There we still find this universe a little... a little disembodied, a little dehumanized.

As if this man...

could not be fully alive in...

in the environment in which he operates today.

You had to leave without warning.

Like a captive animal.

It's Patrice, right?

Can you tell me what exactly is going on?

? I don't know.

I don't know what to tell you.

I have a bad feeling.

Of course.

I'm sorry.

Just tell me how long you can...

There is something that was not obvious in the

film for all the secondary actors, all secondary roles.

This is because they actually had very, very few days of filming.

There are a lot of almost satellite actors.

And therefore create a connection...

husband-wife like that when we...

we have two days of filming together.

I don't even know if Chloé, Stéphanie and...

and Yvan didn't have just one day together.

It wasn't easy.

It's always complicated to...

to make people believe there is intimacy when...

when we don't have time to work on it like that.

And I was happy because it worked.

It worked very well.

Good evening ladies.

Good evening Gabriella.

Is my daughter at Elle?

Madame left two days ago for 'Argentina.

She asked me to pass the message on if I saw you.

She told you for how long Was she leaving?

She talked about two, three weeks.

And the children?

So she told me that the three of them had accompanied her to the airport.

This is the last day of filming.

We finished with Toussaint.

It's been a huge day.

We were...

We were on our knees.

And that's the last shot.

This is the last shot we shot.

The couch look.

This subjective look there.

From the car.

We weren't at all sure that it would work.

We talked a lot with you Olivia about...

Because we feared it wouldn't work during editing.

And we worked a lot on that with Magali.

That's my hand, here.

Which is sewn up.

Don't worry, watch the road.

How soon will we be there?

In 45 minutes.

Yes my love.

Dad it's my 20th birthday.

I know, I'm sorry.

What the fuck are you crazy about?

Patrick? We matter more than we actually do.

It's complicated to explain to you.

What was also complicated for us during editing was to make the

two narrative threads evolve between the children and the adults.

And it's true that we have a lot of each other, asked a lot of questions in

the construction of the beginning to launch the film on these two universes.

Finally these two narrative threads.

Without there being one who is...

And above all that the spectator also has the

understanding to approach these two temporalities.

It was quite complex.

Yes we knitted it a lot.

What we were saying earlier was that

we had actually started with adults.

The scene of the architect's office.

And finally we decided to put it all together later.

We found it to be most effective starting with the children at the beginning.

We ended up becoming much more attached, even to adults afterwards.

Seeing them small to start the film.

How are you ?

Did you sleep well?

I made you some coffee.

So we made coffee for the children at 'era.

It's true.

It was the glass of red wine at noon.

Coffee with milk.

Yeah.

Coffee with milk was the usual thing.

So here we come back, we come full circle in terms of storytelling.

We return to a scene we saw... At the start.

Initially but from another angle.

This is one of my favorite shots.

Anzo's plan.

The actor who plays Patrice in Through the Bars.

I have to go Monday, I could t 'take away.

I prefer to go there today.

And then you know Paul, I have documents to register at the sub-prefecture.

It makes me happy.

I find him extremely intense on these levels.

I think there's so much going on.

We already feel that he will never be a child again.

The luck we had in this setting is that...

It is a House which has been completely restored.

But which has been restored in the manner of 'era.

It was almost a movie set.

I didn't mind.

We don't really see that there was a year gap between the images.

How are you ?

It's true.

The first days are more distressing.

But we will very very quickly adapt to the 'environment.

And we will quickly understand that we have no choice.

That we are prisoner of this fear of being caught for Patrice.

So we will react.

And try to adapt very quickly.

For me it was already important to show the difference

in experience that will emerge between one and the other.

Even if they are going to share everything.

There is one for whom it will obviously be much more complicated.

Much harder.

Much more...

Empowering.

And it will last like this throughout life.

Because Patrice carried everything on him.

It was the biggest.

He was protecting his brother.

And he was...

He was actually guilty of this...

I follow her right away.

And there very quickly we see the skills of Michael.

And especially these two roles which will separate like this.

Which will be shared naturally.

Our escape had obviously not moved anyone.

That's one of the first scenes we put together too.

In fact very first scene there with the children.

And it was very emotional for me because...

But at the same time as they began to adapt to the forest.

I adapted a little to them.

Finally I discovered them.

It was very moving.

Always moved when I see this passage again.

You've toured a lot huh.

Sorry Olivier.

You've toured a lot.

We had a lot of material.

Besides, the film lasts 1h45.

I think we had about 130 hours of rush.

As they say.

130 hours of material, image.

130 hours of rush you think?

Yeah.

Yeah I think so.

Yeah.

Yeah.

Maybe between 125 and 130.

Yeah.

And there in particular there was...

I don't know, we had maybe 20 hours there for this whole first trip through the forest.

There was a lot to do.

Besides, our first edit of this sequence lasted 30 minutes.

Yeah.

It lasted a third of the film.

We had the impression of almost putting together a documentary on

these children, we were discovering the forest at the same time as them.

It was a heartbreak for Victor who built this

cabin, it was a heartbreak -heart to cut the plans.

It's true.

They were all more beautiful than the others with the flair of light.

It was...

It's strange to see that there are so few left.

It's true.

So how does that...

And Magali did an extraordinary job, the cinematographer.

Yeah.

The light on all its planes is magnificent.

Oh yeah it was really... You see I didn't remember that there was so little left.

But it was also heartbreaking compared to the

children's work because their gestures were so

precise, so accurate, that in editing it was difficult to choose.

I don't know.

But it's the same, poor Victor there 'we see in the foreground, if he had

known that this stick with which I made him s took hours and hours, that it

was going to last two seconds at the end 'image, he would never have followed me.

He would never have worked on me.

But in reality it also took a very long time to get to use it.

That's what I told myself.

It's not... It's not simple.

It's easy.

We see that in the image but in reality

we try twenty times, thirty times, fifty times.

And the little ones, as they are called there, the little children, they were...

Finally I saw it in the rushes, I didn't see it on set

but when I discovered it, it was impressive because we

see, their hair is wet, it's humid, it's complicated conditions.

And they were always very willing.

Every time in the rushes they said “Come on, whenever you want Olivier!

» While they were soaked, they were cold, they were shivering.

But they took off their cover as soon as 'Olivier said action and off we went.

It's true that they had a will, they were incredible.

Incredibles.

But it helps to understand the strength of children

and their ability to adapt, which is extremely rapid.

Yeah, and then there's a desire, there's something... yeah, you're right.

This is a filming that took place on the the island of Oléron.

Because we weren't very far from the oyster

beds, so there is what we call the work plan which is...

which is the organization of the filming which was done by the first assistant Arnaud

Esterès, so it is one of the charges among many others.

And it's true that we had to put together sets

so that we could stay within our shooting time.

And so we were lucky enough to find this car

scrapyard that we obviously renovated a little.

But on the island of Oléron, which wasn't easy

because it's not a place where you think

you're going to find terra-vagues and car wreckers.

And we brought back a few trucks with...

Charlotte Favier, the interior designer.

She did such a crazy job because all the vintage bottles...

She did some flea markets with her cans.

She sends me photos.

It’s true that she did an incredible job.

It was so important because it This is what allowed us to...

It also gave us a lot of resources to do things.

To get through it, to get it all back.

It’s sure that it has changed your daily life.

The plug destroyed by hand, hours and

hours of waiting, hours and hours of testing.

But we're getting there.

When you're hungry.

That's the same, they were moments of grace.

Those are extraordinary moments.

Happiness, freedom.

That's one of my little prides 'admits.

Drone shots.

We left for Canada, we were a very small team.

Because it had to fit into our budget.

The landscapes are sublime.

I remember leaving with the car and the drone to do this shot.

I didn't think it would turn out this well in the end.

I point out that you have never done this before.

You passed your license for filming, to make drone plans.

And honestly, there are some that are very, very beautiful.

This is the advantage of simulators now.

You can simulate on a computer.

But hey, when you get to real life, you

tell yourself if the simulator works or not.

I confirm, having seen a few accidents in the rushes against

trees, it was not like with a simulator.

I still blew a few propellers.

The drone did not return unscathed, but he is still alive.

Him too.

This is a setting in Abitibi, Témiscamingue.

That’s really where the film takes place.

It's real Canada as they say.

And that's the lady who ran this station in the middle of nothing.

Who was very stressed there.

This is the last take, I don't know if you remember Olivia.

Yes, it's true.

Plus, it was in sequence, so Elle couldn't be wrong.

This is a cabaret called the Last Chance Cabaret.

Everything is said.

It's all said there.

Alright.

She would not have had a visit from a French by chance.

If I saw a Frenchman...

Great actress.

Well yes, we saw it.

It leads.

A good guy.

It's the new fashion in France to come and get lost in Abitibi.

Do you know where he is?

Hey!

Vic!

Come!

And another wonderful actor, Alexandre

Gastonguay, who is really a great guy.

I'm looking for a Frenchman who arrived there...

Which I almost never discovered.

Imagine that we were...

It's one of the roles we had the most difficulty finding.

And I cast it in zoom.

It was at the last minute.

We got his contact through Antoine Bertrand.

And it's true that...

He's great.

He's great.

I told him right away, it's you.

And he had tears in his eyes.

He was super touching.

And it was a working look with him.

Another hell of a sparrow.

What a laugh we had with this damn sparrow.

Besides, it makes you laugh.

In the room, people laugh a lot at this passage.

At the same time, we didn't give them much opportunity to laugh.

So that's good.

There has to be some.

Huh, Michel?

No.

I will be.

It's not easy because it didn't have

to be a caricature of a trapper either.

We were a bit expected at the tournament by our Canadian friends on this one.

We feel that the character has real depth, real dimension.

So, Yvan, who is very chilly, who made us laugh, as he knows

to do, to worry about the fact that he was not going to survive in Canada.

But we brought that back in breasts and sauces.

That's an important plan too.

It's important.

That's all the thinking.

My God.

This is...

And then read with nature.

So important.

Obviously out of the ordinary.

That,

I think it was one of the most trying days of filming.

We had so much to do that day.

It was...

You will see later in the film all the sequences that we

done on the edge of the ocean with those we call the greats.

So Michel and Patrice a little bigger.

Children, but a little older.

And there were all these sequences, no longer the whole ocean to go.

It was... I remember this morning when I said that to myself...

We won't get to the end.

We won't fit everything.

And we did it.

There you are cold.

The children were great because there, We really didn't have time to...

What suffering...

What suffering, the cold.

It was...

Really...

So difficult to live with.

I need to get you some medicine.

We stay.

Don't worry.

It's like when I leave in the evening.

I'll be back soon.

You told me they'll catch us if we go out during the day.

It'll be OK.

With the music that we composed with my son Simon and my friend Cyril Morin.

That’s also one of the great joys of this film.

It's having done this together.

Which particularly has its place here because...

This is one of the first complicated moments for children.

In the forest.

And that's the only part, I think, where I wasn't

on set because I was filming another sequence.

And Enzo, the actor, came back to see me super proud

because he had made the shots that I had asked him to do.

I remember this moment very well.

You often spoke to me, Michel, from that moment.

A terrible moment.

This is the first time I've actually been sick.

Well, feverish.

And...

Patrice is gone.

And I...

I'll wait and...

It's horrible.

There, for us, it was technically a hassle

because there was no snow that winter.

And we ran after some snowy places.

We were in the Vosges with the cabin that

you discover a little later in the film.

The adults of Mathieu and Yvan.

And...

And how much time did we spend?

And how afraid we were of not having snow

and not being able to shoot these sequences.

Without Patrice, I no longer had any reason to fight.

I waited for them to come back.

Until exhaustion.

There, the children were incredible because on

that day, we would never have gone home without...

Without their talent.

Dude !

With such a strong moment.

You have often spoken to me about these cases.

Not too much.

There, in addition, it is a moment, obviously, particular.

But even, I think the hugs were every time you got together.

Yes, it was extraordinary.

We needed to hold each other close 'other.

Need to be close.

Because it was our survival.

One in relation to the other.

It's the only secret that exists between us.

And we, during the editing with Olivier, we did a little cuddle cleaning.

Because there were so many, at

one point, that we had to sacrifice a few.

I had shot so many.

I brought this back for you.

Thank you so much.

I tell you for a city guy, you know how to drink.

For a guy close to nature, you drink a lot.

I can ask you what you came here to do with your brother.

Get some fresh air.

I love Yvan when he takes the time, like that.

When he is in silence.

Here we go ?

Yes.

Tell me.

So the pick-up in front was a pick-up -up rental.

And it was delivered to us brand new.

And so with Arnaud, the first assistant, we skidded in the snow.

To try to dirty it for an hour.

And nothing happened.

Because in fact, it's made for, you see.

So we did everything we did to ruin it.

Well, when I see it, I say to myself that it's not bad.

But we were ridiculous.

How are you ?

How are you.

Go over the hill there, we won't need snowshoes anymore.

And that, since we give away all our little

secrets, this sentence, It was not in the script.

We added it to Canada.

Because here we are in Canada.

And there, we cross back into the Vosges.

And precisely, because we had all these problems

filming snow which was lacking in the Vosges.

I added this little sentence to Vic's character.

To explain that behind, there would no longer

be snowshoes, that there would be less snow.

And there, we added snow.

Moreover, numerically, on the plans, the

snow in the back, It does not exist, in fact.

Because although it was the middle of

winter and in the Vosges, there was no snow.

It doesn't seem like much, but it was a

great complexity for us, this snow story.

When we make a film outdoors, It’s always very complicated for that.

We can no longer be calm.

I never knew how to hide that from you.

First day of filming between Yvan and Mathieu,

with a scene which is obviously already very strong.

And it was great to see that they threw themselves into the characters like that...

How are you ?

Were you in shock?

Without... Yeah, that's fine.

Well, you don't have to hide a train.

Reserve.

Are you working?

Yes.

You forgot your guitar.

Gift.

I've never used it.

OK thanks.

I'm going to take one of the two canoes down there, then I leave you the second.

You'll spend the night here, if you want.

Oh, thank you.

I have to move forward.

I'm going to take advantage of the beautiful season to 'make one at home.

I have to go trap you further and further north.

Okay.

I hope you have an idea of ​​what the old visit is like.

Winter is no joke.

The forest is rough.

In France, we go camping.

That's what he told me, Lucie.

There, you like him.

It's not just you who likes him, Michael.

I love it, it's very posh.

We can laugh at a lot of people, Yes.

It's also great to see a character in life who

understands everything, but who says nothing.

If you face yourself, you can't lie to yourself.

I really like the idea that these men, without saying anything to each

other, contact each other, because they are all made of the same wood.

There is something that brings them together, which binds them.

This is all real rain.

We didn't cheat.

We were under the fleet.

So it was the first filming session.

We had non-stop rain.

It was a shoot at...

It's more like Platoon than...

We were in the mud.

The kids were in the rain, so obviously covered between takes.

They didn't even catch a cold, but they were very willing.

It was great.

I love the decor of this cabin.

I think She's really... She's perfect.

She is really...

I couldn't dream of anything better.

All the little accessories, everything was really...

Very very well thought out.

Charlotte... Charlotte-Savie really did an incredible job.

Our decoration chief.

I think it was the first day of couch filming, that part, by the way.

Of course.

No chess game.

I'll see what I can do.

I hope you play better than before.

It was the first evening they were together.

It was complicated with... It was great luxury.

What was complicated with Yvan and Mathieu, we had quite

a few days of filming and, in fact, all the scenes were important.

There wasn't a scene where we said to ourselves,

come on, this one, we can approach it a little coolly, a little...

With a little less intensity.

All that was left was the essence of their relationship in the film.

And it’s true that everything was very intense.

Did you come here to die?

There are worse things, right?

You would have left without saying goodbye.

There, for me, is really the beginning of this

emotional western, this intimate western between the two.

The looks, the silences.

Was it Sylvie who called you?

Yes.

Economy of words.

I'm glad you're here, Mick.

But you can't stay.

For your members.

That's what I'm going to manage.

And then the children are grown up, and then Elise can understand.

How do you make them understand?

We never told them anything.

So here, I continue my...

My work as an Urban double.

After Yvan's hands, I do Mathieu's hands.

And the guitars.

I was the hands of the actors in the film.

You have to understand, I don't believe it anymore.

But how can you say that?

Look at the rage it took for you to have all this.

Everything you built.

Exactly.

I believed that to become someone, that would fill the void.

What is the sequel?

I don't know, I'm here.

I know that for you, Michel, this is one

of the most complicated scenes to tackle.

This is actually what I had the most difficulty showing you.

There, I tried to transcribe the happiness you spoke to me about, as a child.

I love this scene because I remember...

I remember asking you, before filming, I told you Olivier...

There are scenes that I would like to see in this film, which are...

When we run in the fields, when we play in the river.

Happiness, ultimately, the happiness we experienced, the suffering we experienced.

And I believe that happiness was greater than suffering.

We dominated all that.

In any case, that's what I wanted to say.

I was very proud to have found this solution of putting foam.

Because it allowed us to solve the rain problem.

To resolve the problem of waterproofing the roof of the cabin.

Because the first one wasn't easy.

In any case, this one seems much more reassuring and comfortable than the first.

It's smaller, it's warmer.

It is waterproof.

And it was the one that lasted the longest.

Because it lasted for years, that one.

And there, the same, when we shoot outdoors with

nature, we are dependent on the weather, sun, bad weather.

And there, we had a moment of magic because 'we found ourselves

at a time when the sun was falling on the forest and he was right

at the height to come and hit the objective and do your sniffing.

It was a moment of magic.

And fortunately we also have luck on the sets.

Because...

when working with nature, It’s She who decides.

Well, that’s a recurring construction.

The alternations in editing are something that was in the script, but.

..

We weighed the pros and cons often with Olivia.

We said to ourselves, do we keep?

Aren't there too many?

Should we remove it?

Shall we put some back?

It’s a team that is fragile.

Yes, we didn't want to overuse it, but at the same time, there are

moments like that where it resonated so much 'one scene to another that...

it was important in the film.

Afterwards, there are scenes like that of echo, do you remember?

There's the one where he cuts his hair.

Unfortunately, we have...

Yes, it's true.

Because it's true that the first version

of the film was much longer, obviously.

What were we, at 2:25?

And there you have it, there was in particular this scene where the children cut their hair.

And the adults, later, bigger.

I loved this scene.

Yes, so older adults, you know I didn't shoot it, after all.

No, we didn't shoot it.

It's true.

It stopped before.

But we dismantled it, anyway.

Besides, She will perhaps be in the DVD bonuses.

Yes, it's a very beautiful scene that we didn't keep, in the end.

And that was a subject for some spectators, you see.

We said to ourselves, they are not going to ask

themselves the question of hair that is not yet growing.

And there were some who told us that on tour, you see.

Afterwards, we cannot answer all the questions.

So, we are all fans of this kiss that Mathieu gives in Ivan's Tène.

Yes, he has a way.

Each time, I was very emotional during the editing.

Every time, I see it again.

I find it to be benevolent.

He's lucky.

I think I'll never get used to the sounds of the forest at night.

We believe in it, up front, Michel.

Amazing.

It's great, the work you've

done, because I feel like I see us.

It's incredible.

It's not like I didn't freeze them.

And then, I who didn't know Patrice, it's true that

These are the looks and images I had of it.

Mathieu is wonderful in interpretation

of Patrice, because he has this knife blade.

I think you're doing well, then.

You do as you feel.

There were subjects, particularly with Ivan, the tempo.

But how much I love them when they don't say anything.

When they look at each other, when they have Just...

For me, that's it, you two.

But that was so much it.

It is...

You look.

There, it's the same.

We had several versions of Mathieu who reacted.

And finally, the coldest is what appeared to us to be the most obvious.

That look, like that, I love.

That little look at the end.

The best.

The Mont-Blanc plan, as it was called.

Because it looks like whipped cream.

You had our little codes in editing with Olivia, to save time.

So that,

for the actors, it's never very funny, these telephone

scenes, because obviously, they are... Like a woman abandoned by her husband.

They are often not together.

And even if they respond to each other, it's true that there

is something that is a little... And finally, It works well, but...

It's horrible, because you put me in an untenable position.

But this is something that we had to shoot in

the rain, you can't see it, you can't hear it anymore.

But it was... The whole part in the restaurant, there, She's...

She's in the rain, and it's been a bit complicated.

I want to feel like you can leave n it doesn't matter when.

I'm afraid I won't hold you this time.

Would you like to pass me the kidney, please ?

For me it was an important moment, because we still

have to remain attached to this character, because we

still see him completely abandoned, all plated up, like that.

He must not become a character that we put aside.

So it was... This connection with family, This way of managing, It was important.

We also need to understand the reaction.

It's important.

Would you like to wish your sister happy birthday, please?

Yes.

And tell him I love you.

You tell him, right?

Yeah, I promise.

I kiss you.

Dad.

Stan Dupas, who is a great actor, Also.

Promised.

Who plays Ivan's son.

Piss off!

Uh...

Yeah, it's the same, children, they were great.

Because you can't see it, but the water was freezing.

They were incredible.

They were having a blast.

They had a blast, eh, but...

And there you have it.

Our big ones.

Those we called our greats.

The big ones.

Fernand on the left and Vigo on the right.

That was a moment... There was a lot

at stake for us, in editing, at that time.

Because, there we are, we got very attached to the little ones.

We spent 45 minutes with them, Already.

And there, all of a sudden, there they are, they are the same characters.

But embodied by... Others.

Other actors.

And... I was so attached to the little ones.

You too, Olivier, we said to each other, Oh dear, we have to have...

Now, here we are, with these grown-ups.

Yeah, it's not easy.

It still makes...

Your characters, Michel, they are still played by three different actors.

And it's...

And at some point, it is not necessary that, for the

viewer, the process takes up too much space.

And cuts us off from emotion.

So, it's true that we were very, very attentive to this passage.

This change from small to large.

At the same time, they have such intensity, straight away, that...

Amazing.

We want to look at them and say to ourselves, what's going on in their heads?

We want to be interested in them.

Obviously, they are there.

This is the first day of filming with the adults.

It was the first day of filming.

It’s that hunting moment.

Same, who was in the rain.

So, in terms of sound, it was unusable.

The whole team did an incredible job to...

That it all fits together.

A front of...

It's so true.

So true.

There, the same, Mathieu is super intense.

We feel that...

It can twist at any time.

And it's really powerful.

So, this scene, for Olivier and me, it was a mountain.

It was a thing.

We were talking about it.

Before we got there, we said to ourselves, but...

When we have to put on this scene, it's going to be...

I don't know why, anyway.

We had saved it for last.

And I believe there are 165 sequences in the film.

Yeah.

We had a painting.

Each time, we checked the sequences that we had gone up.

A huge painting.

And this one, She was always last.

And then, one week, we said to ourselves, Come on, let's tackle the game of chess.

It must be done.

And there you have it.

And actually, we did it quite quickly.

Yeah.

It wasn't that bad.

It wasn't that bad.

Mick.

What is it?

I can't help but think that if you had

had children, you wouldn't be there.

It was a... It's one of the important moments of the film.

That's what we know.

One of the key moments.

A seesaw.

We need to...

It's one of the rare moments, ultimately, where we also feel, at the same time as the

conflict, the complicity between the two brothers.

Because...

There is not that much opportunity in the film

to show this link in everyday life and in dialogue.

If I win, you tell me what happened to you the winter you disappeared.

It was really something that haunted me, that.

Knowing what had happened, what had happened to him.

Chick.

Chick.

Chick.

And you never knew.

But I never knew it.

Never, never.

When he left, before leaving, he told me I protected you when you were little.

I protect you now.

You don't need to know.

Failure.

And I kept that.

Failure.

Here again, Magali from Sassy, ​​the cinematographer,

director of photography, she did an incredible job.

Because I find that the light in this scene, It is... It is magnificent.

She really left... I'm sick.

It's both warm and dark, there is everything.

I so need to understand, it's hard for me.

This is a part that...

Seeing it again with you, I can talk about it

all the more and I think about it all the more.

It is...

That was the most painful thing to show you when you discovered the film.

Because you have to know that you can't

-not having come to the set, to the filming at all.

You discovered everything once you got on.

After these hundreds of hours of discussion, these five years of sharing.

Discussion...

But because you were so immersed in

this story, I wanted to see it come out of you.

I wanted to see it, see what you were going to do with it.

And like I told you the first time I saw this film, I

was in tears and I only had one word to say, it was...

Olivier, thank you.

Thanks, that's all.

Everything was said, everything was there.

But it's true that that day, when I showed you the

film the first time, and Olivier talked so much about

this moment in editing, when I saw this scene dream, I...

I wasn't proud in my seat, I can say that...

It's so much emotion.

It was hard.

But this scene, for me, is terrible.

It's... I can't...

I can't hold back my tears when I see this scene.

It's not possible.

I have seen the film several times.

Every time... It's so strong between us.

It's so terrible.

Today...

It's still there.

So strong.

So strong.

It's all in this scene.

Everything we've been through, everything we have...

felt.

We're going to enter a scene that was for me...

a big challenge.

Because when she read it, she touched a lot of people.

It's a scene that was key for many readers of the script.

And I knew there was a lot of anticipation on this gypsy scene.

They were caught hunting in the forest.

And rather than fleeing... And it was a moment of grace because we...

We recreated this gypsy camp in the Dordogne.

With lots of locals.

And gypsies who are notably musicians who are Venus.

It's been really great.

Something happened.

Really, we were...

For one night, we were all together partying.

It was pretty crazy.

It’s a great memory from filming.

There, it's the same.

Magali, She lit with... ... ... ...almost nothing.

She gave us an absolutely crazy image.

You talked a lot about this gypsy moment.

It was really...

I knew that for you, moreover, it was a memory that was important.

And there, we clearly see the difference between the two of us.

Patrice who is... ...who is crazier and who is going... ...who is going elsewhere...

...during his life, always be crazier.

And I am... ...who asks myself questions, who asks me why.

Why all this?

She's a beautiful little girl in slow motion.

My daughter, Léa.

It was great because I had my son playing guitar.

Well there he is, he’s there, he’s just passed by.

And the fact of filming this with his children, I admit it was a...

Ah Well, that’s great.

...a moment that I will not forget.

You know them very, very well, you, Michael.

She will make you miss what he is.

It's the first time we see society again, that we hear music.

It's the first time we feel Love outside of the two of us.

Tenderness.

It's extraordinary, this time with the gypsies, it was...

But I find that little Vigo, there, he plays it really very, very well.

This moment of...

This moment of incomprehension and discovery of maternal Love, I find that it...

They are magnificent, the children.

It's so true.

Obviously, they offered us to go with them.

I wanted to.

And you didn't agree for the first time?

No.

For Pat, our community, it was him.

And me.

He was right.

The next day, we didn't even think about it anymore.

So this is a scene that wandered into many places in the film.

We put...

She has traveled quite a bit.

In the overall editing of the film.

This contact between the two of us which brought us to life, that’s it.

It's all there.

There, I have a little regret each time.

It's from having cut the shot from before a little early.

It's our little ones... We're attacking all our little ones...

Every time I see him, I say to myself,

why didn't we leave that one further away?

Because there is a whole phase, before finishing the film,

where we try to tighten up, to save time, to gain a little tension.

And each time, it's a little moment where I say to myself Ouch!

It would be a redo.

I would have left a few more images.

That's a nice moment.

I love that.

Yeah...

Among all the little cheats of cinema, the little guitar moment

that we saw furtively, we shot it on the evening of the Gypsies.

Six months later, and it's working very, very well.

Because it took a real zygane musician's hand to do that.

I can do the lining well, but I don't know how to do that.

That was beautiful, that whole sequence.

I say it was because there you go, the lake was freezing.

There was a whole sequence.

We saw Michel and Patrice fishing at the edge of the lake.

Which we also cut.

It's true.

For timing issues, efficiency, storytelling.

Vic!

What do I like about Vic in this sequence?

I think he has a...

He's great.

He has modesty and...

which touches me a lot.

How are you ?

Isn't that too hard?

No, are you okay?

Is Patrice there?

Yes, he is still sleeping.

Listen.

It's none of my business why you're here.

Both.

There, Yvan, he’s really caught between the two fires.

He was looking.

He was with a 20 year old.

Did you say what his name was?

Vincent?

I don't know.

We all have our little secrets.

Then all the time.

Guys like you, we respect that.

David, the boss, more or less said nothing.

I just want you to know.

Mathieu, there is an intensity in this scene that is...

quite incredible.

Yes.

The young man who was with him asks lots of questions.

It seems like he misses his father.

And there, the plan that will arrive when Mathieu comes out...

He has an intensity in his face.

Amazing.

A gravity.

Amazing.

Each time, it gave us goosebumps.

We see his look there.

Where he is confronted with all these demons.

For me, it could have been the poster for the film.

It's so... That sums up this...

It's true, you're right.

And there, for the record, we had a whole sequence shot.

Which worked very well with the arrival of Mathieu.

And we had forgotten that Yvan had put on his glasses.

And we have a whole set that filmed with it Yvan putting on his glasses.

And we take it easy.

And there are 30 of us around.

And there is no one who says...

He has his glasses.

He has his glasses on.

And so, we had to cut the plan.

It was funny.

At the time, we weren't laughing.

But now we're laughing.

This is how it all started, eh, Olivier?

The size of the piece of wood.

Yeah, that's true.

It's true.

It's true.

That's how it all started.

It's the same.

It's the little things.

But the little smoke in the background that Magali added to the photo.

It's magnificent.

This little ray of light there is a small detail.

But what do I like.

This work.

How I love what She did.

We went back to Canada.

To real Canada.

You made him walk a lot, Yvan.

In the rushes.

He walked for a long time.

He was a little... He was a little angry, in the end.

I think his knees suffered a bit from a lot of snowshoeing.

He was a little angry with me, it's true.

I just want to know if you're alive.

It’s a moment that I found super strong, that.

Yeah.

Throw that phone away, like that, with... But...

And what you would have been capable of.

I would have done it.

So that was one of the moments of grace with the children.

Because...

From memory, I don't know if we made eleven or thirteen.

But I think there were eleven takes.

To think about how this camera descends on them.

And the first take was... You have to do forty-five seconds, no more.

And there, in the end, after eleven takes, She does...

It's over two minutes long.

Because I would have asked to take the time... So wrong.

So bad.

To truly be in gentleness.

And...

And when Vigo...

Who plays Michel on the right will...

Take the arm of his big brother who caresses his face.

It got us all... It wasn't planned at all.

And we all had tears in our eyes on set.

Where?

With this music, which is very beautiful.

That you composed with Simon and Cyril.

It was always, for us, a bit like the theme of the film.

From the start, in fact.

You found it very very quickly, this music.

We immediately put her on this sequence.

And it never changed.

Yeah, it's true that it never changed.

I'm tired.

But if you only knew how true it is.

It's incredible.

We're going to swim in the sea.

And there we were at the start of filming.

So it's not easy for children.

Especially boys from...

There you have it, there is modesty.

Especially at that age.

They are a little older.

So it's more complicated to have gestures of tenderness.

Complicity, like that.

And to be tactile.

And it’s true that they were incredible.

Because they split their wall very, very quickly.

And they let themselves go.

It was...

It was great.

The shot we saw before of Mathieu and Yvan

sleeping, it replaced the haircut you were talking about.

Adults, in the scenario.

We notice Robert who plays Monsieur Leandry.

Yeah, I love it.

Who was the child coach.

And who is an incredible actor.

A wonderful actor.

Great actor.

But in all the previews, that's always been the question.

Everyone asked.

Have you seen the oyster farmer again?

? Did the oyster farmer mark...

He marks this film with his presence.

Yeah, that obviously has a lot to do with Marco's game.

Of course.

Do you know what the bolt is?

It's true that when we were reading and preparing

the coaching scenes with the children... You mix well.

He was a little... He was groping and then he asked me...

I was going to offer him the role, but he asked me before I offered it to him.

And to me, it seemed so obvious that

he had this closeness with the children.

So it was great that it was him.

It has this gentleness and at the same time this experience.

It's all there.

There, we put Jimi Hendrix on the first version.

We thought we were rich in the editing.

Sometimes you put out music, you know

you'll never be able to afford it, but you do it.

We also put Bowie on.

We put Bowie on too, yeah.

We had the whole playlist.

We broke the budget with two titles.

And so in the end, there is no more Bowie, there is no more Hendrix.

But there's a big headline coming.

It's true.

Spoilers.

It's true, you're right.

So this, this place, we called it

cabin 3 to make it clearer between us.

We were talking about cabin 1, cabin 2, cabin 3.

And straight away, we knew what sequence we were talking about.

That's good too.

This is cabin 3.

The idea came as soon as I felt that this wall was hot.

I said to myself, but we have to come here because this winter...

And there, it was a great decorative job

because obviously, it's a transformer like that.

There are almost none left.

And certainly not where we wanted to shoot.

So, it was the film crew who remade it.

Who completely rebuilt it.

To the point that people who walked around

that area said, but I've been coming for years.

I didn't realize there was a transformer.

We could have left it.

Even though he never stopped believing that 'he would end up paying for his crime.

The famous reunion.

The famous cans.

You hugged each other.

I stuck with an old setup.

Yes, it’s true that that’s still what you were saying earlier.

We took away the hugs.

Yes, you see, I expected to see it.

I heard a little breeze there.

There was a lot of work from the team of Loïc

Priant and Jean-Paul Heurier from the mixer to also

make the film exist in sound and in the sounds of nature.

I think it looks so good.

Pat?

Particularly in the dining room.

And there, I hope at home, you will be able to enjoy it too.

Pat?

When I see an ashtray like that, I think so much of Patrice.

My God.

He smoked three packs of cigarettes a day.

There, it was a moment when we asked ourselves the question of music.

In fact, there was nothing better than the sounds of nature.

This sound of snow that we love with Olivia.

This little snow falling on the leaves.

That little crackle.

It almost looks like super sweet fried food.

Patrice!

Stop!

Pat!

And there, speaking of music, this is one of the moments...

And it's incredible, the same scene twice, child and adult.

Yeah.

Yeah.

And it's true that...

Yeah, yeah.

For us, with Olivia, there, you see, that's a moment

of music that has always been a special moment.

I care a lot about it.

It's a beautiful moment of music, That.

Gorgeous.

We later learned that Mr.

Léandré had lost a child the age of Patrice during the war.

Hence, perhaps, his insistence on forging a link with us.

How intense it is, Marco, in this... Incredible.

It's incredible.

Eventually he came back to see us once or twice.

And Patrice ended up accepting that we work for him.

It was important to... It wasn't easy to do...

That we can accept that you, as wild as you are,

can somewhere be adopted or approached by an adult.

And Marco, he had that in his eyes.

This is a shot where I broke the drone.

At the beginning, that's the same.

In editing, I think that... I found it magnificent, that moment.

We had driven, I think, 4-5 minutes by car.

It was a little too much.

We censored ourselves.

It's true.

And there we discover...

Arnaud, suddenly, assistant.

Your first assistant, Olivier.

We'll bring him back and then we'll be fine for today.

Stay good, I have with us, guys.

So, each time, the two characters...

go from the bottom of the character frame

negative, namely the mother and the grandmother.

It's crazy.

This neighborhood hasn't changed in 30 years.

It's a moment that you haven't forgotten, Michel, I think so.

No, that's for sure.

But we don't understand.

We don't understand what's happening.

Because we don't recognize her.

We are taken aback by these women who look at us.

And I think they are starting to ask questions.

I want us to leave.

But the cabin is finished.

I like the window park.

He is nice to us, Mr. Landry.

It's extremely strong...

for a child of Fernand's age, because he

is the one calling the shots in this scene.

This is the tempo of play.

But sometimes I'm afraid.

It takes a while...

and he has an ease in taking over the stage, which is quite incredible.

I don't think people care.

I'm not afraid of going to prison.

There weren't many takes, Besides, that.

In fact, it was shot, like many scenes, with two cameras.

And it's true that in a few... they did three, four takes.

Right away, they were right.

Very fair.

But he knows how to take time that even many adults don't take.

And he has an intelligence of the game which is quite incredible.

I understood that you were behind it.

It seems to work well for you.

I'm not complaining.

And you're not too cramped here, with the children.

No, it's okay.

I went to Charente last summer.

In the village where you dropped them off on vacation, before fleeing to Argentina.

There are two wild children their age working at the oyster farm.

Okay.

You believe what you want now out there.

Thank you for your visit.

If I'm going to report you to the police, and they see that you have

done it again by abandoning your two sons, this time, It’s prison, for sure.

It will change you.

You can count on me.

I think we feel the...

all the affection that binds your mother and your grandmother, right?

There, we see that the two women hate each other.

With your flat there, you will still have water up to

your knees, when I have already arrived at the sandbank.

Hey Pat, I'm going to race.

I'm very happy with this little part.

This back and forth during editing, you did it really well.

We feel like we're with them, that it is their daily life.

There is something...

There really is a daily life that is super interesting, I find.

Yes, they did it in a very natural way.

Field entry from below, exactly.

And the plan you called for, always.

The piano lesson.

So.

Nick, look at the car.

So there, in reality, in fact...

There is one of the two children who asks the 'other who is this lady.

And She answers, I am your mother.

Without it doing absolutely anything to you.

Would you like to take a ride inside?

And Patrice remains fascinated by this car.

And at that moment, She understands that... You can see inside, if you want.

She must use the fact...

The admiration of this car for being able to hear us.

I'll take you.

Hold on.

Come.

There, it's the same, there are...

The looks of Marco, of Monsieur Alejandri, the oyster farmer.

They bring a lot of...

Tensions on stage.

Poor guy.

We see the suffering of the children in his eyes, in fact.

And we never saw him again.

And this man must have suffered.

Of our departure, like that, brutal.

We had left our cabin the previous morning.

A morning that was like all the others.

And if we had known, we would have opened the doors and left.

Without knowing that we would never come back.

Our cabin.

That I had taken so much care to build.

For which Patrice had worked so hard to bring me what I needed.

We never saw him again.

There we come to a plan...

Which is a key plan, because...

In the scenario, he...

It replaces somewhere...

A good twenty sequences...

Who told of the return of Michel and Patrice to civilization in Paris.

...

And for which I had...

Neither the time nor the money... To shoot all these sequences.

And...

So I made a choice...

Staging for... By telling myself...

We will try to make this difficulty...

To make it a strength.

And ultimately, it was a good thing.

Because I think I would have... That's a good summary... Because in fact...

The images speak for themselves.

...

And it's true that this long shot like that... On which...

Which was technically very complicated to set up... Because there was...

It took a... A crane... There were rails on the ground... That had to be erased...

And it was a...

A big technical challenge... It's a... I find that there is a...

It brings a lot...

To what is happening...

Certainly much more than if we had had all these sequences...

Tours... Finally, sometimes...

The vagaries of production, it allows you to... To be creative.

...Technically, it's true that for you, Olivier... For your entire team...

There, it was a tour de force to adjust that... It's adjusted to the millimeter...

In fact, as a result, we had done the... We had recorded...

You recorded Ivan's voice... We had edited the sound of his voice...

There, we hear...

And that you broadcast afterwards... The day of filming... On huge speakers...

It was Mathieu who broadcast that... Your sound engineer...

And as a result, you are perfectly aligned with the image on this...

For the door to open... Totally at the right time... Yeah, that...

This scene is terrible... My god...

For me, it's...

So violent...

Obviously, it was a huge challenge for the actors... Because...

Because they start playing after two minutes of footage...

And what they have to play is not nothing, obviously...

It was the last shot on the set of Vigo and Fernand...

Children, moreover...

There... Those were the worst years of my life...

Six years without Patrice...

Six years placed in a reformatory, doing everything to find oneself.

..

We didn't have too much...

We didn't really question this choice of making it completely black like that...

Finally, we tried it, we accepted it... There weren't too many...

We didn't have any questions about it...

But it’s true that we, in editing, we don't have... Huh, Olivia, we don't have...

We were very keen on it, in any case...

This cabin that I really never got tired of... I love this cabin...

I find that She really has... She is in her juices, She is more than a century old...

It was built at the beginning of the 20th century...

She has a stamp, She has something... Something that is...

You have to come see mine now, the one I made...

I redid one, a cabin... You're not a century old... I can't...

People will imagine that you have more 100 years...

Me, I can't live without a cabin, it's not possible...

But you can't live from that... You haven't been alive for 100 years, Michel...

So there, the scene was also shortened a lot, but here, for once...

There was definitely a ton of snow...

And then, Yvan, to clear that, there, the pick-up... It lasted a very, very long time...

It was very, very laborious... He had a big laugh when he saw...

Because I asked there... I've needed a snowy pickup for months...

So they managed to find him there...

And when he saw the thing, there was like two tons of snow on the pickup...

He burst out, he told me... But I'm not going to clear that thing...

It was very funny... Hey, how are you?

Haven't you seen the Vic?

Uh, no... I don't see him in the winter... Well, I saw your brother...

What ?

Well yes, he came by two evenings ago... He told me he was going back to France...

We put on some reggae, there... I don't know why...

But there is a little music atmosphere... We put on some reggae... We know...

With Cyril, we know...

Simon, we know... Is it reggae?

Yeah, it's reggae...

It's a small...

It's the same, it's a setting that I really like, this gas station...

That we just left...

That I really wanted in the middle of nowhere...

A kind of place where there is a station -service...

A bit of a bar... A bit of a business... A middle of nowhere...

This is a sequence that we put together quite early with the adults...

As soon as we got the footage, we...

It was a...

It's even the first sequence that we both edited...

Even before their reunion...

It's quite unusual to actually start editing

a sequence which is at the end of the film...

We started at the end... It's true... By the best...

We started with the best... Even during editing... Yes...

Everything you pay today, it's because you protected me...

Because you think I would have survived without you?

But those were our best years...

Since we left this cabin...

I really like that the leaflet that sells is crushed like that...

Nothing has any flavor anymore... It's at the bottom of the stairs...

I think after something that won't come back...

So true...

We will never be like them...

Yeah...

If...

We became like them...

Why did we never talk about it then?

I don't have the courage to tell everyone that we lied from the start...

There is a rhythm in this sequence that I I really

like it and what's more, it's what also allowed us to...

Finally to at least intervene in the

editing and leave the actors in the...

They found a rhythm that I find super interesting...

After 30 years of marriage, things happen, right?

No man...

It's this fucking secret that destroys everything...

And I would like one day to be free of it...

What do you mean?

Nothing...

You should go back to Paris and try to save your family...

And there are little moments of grace in certain takes like that where...

It's here all alone...

We remain on the same level, the tipping point between Yvan and Mathieu and...

And they both have perfect timing and an

intensity with Mathieu in the foreground always...

Which works really well...

Yes...

There we found ourselves in a hotel which generously...

A great Parisian hotel...

Château Voltaire not to mention it...

Who generously lent us a room and when it was time to film we realized

that in fact... The paintings on the wall were by Picasso and Basquiat...

And we couldn't film them...

So hence this shot of the bed which skims the walls and which never rises...

Because I was in a...

And we couldn't touch them either because they were worth more than the film.

..

That the production of the film was Her alone therefore...

It was enough...

Quite strange to be in a setting that you can only film...

To put the ground...

I left, leaving my wife and two children...

It's always the same...

We have to reinvent ourselves and ultimately I like what...

How did we... We organized this plan...

Maybe Patrice is right...

Our secret destroys everything in its path...

Even if it's impossible for him to understand...

How attached are we to this divine voice-over...

Which we had very very early in the editing... I learned to record very early...

Saying to yourself, maybe it's a witness voice... Maybe we won't look at it...

And then finally it's... She is the one who stayed...

It has become our music... Impossible to get rid of... Yeah...

Mr. Director... Could you go down to the emergency room?

There we have a problem with a patient and the police... I'm coming... Thank you...

Don't want to be disturbed?

How are you ?

Yeah... Apart from this young man who was violent with the staff...

Great actor there too... Who plays the...

The zoner... He doesn't want to sing with my dog... Super intense...

Come home with your dog... What does he look like?

A veterinarian?

It's okay, I manage... Are you sure?

Yeah of course... I told you he knew you... We've met before...

Thanks Marco... Yeah the young doctor too...

There were lots of young actors who were super interesting...

Otherwise we go beyond the manufacturer's tolerance standards...

But I already explained that to him...

But I think it would be better if it came from you... Listen...

Call him back if there is a problem, pass it on to me...

We find this very cold universe... Very...

Very mineral... A little... A little lifeless...

You don't believe me that I knew myself?

Don't do that... I...

You can't... Hello?

Yeah, are you okay?

How are you...

I'm with a kid who reminds me of us 30 years ago...

Ah well I hope he has a brother to watch over him...

I'm afraid not...

Listen, I'm sorry, I won't be able to come this weekend...

I have a floundering construction site...

Don't worry about that... Yeah...

What happened with Liz this morning?

Not much...

And then Laura wasn't there...

She left just before I arrived to avoid running into me...

There are a lot of things that pass through Mathieu's eyes, it's...

But hey don't worry...

I don't have time to think about it, I'm drowned in work...

These are things that we put together quite easily, quite quickly...

You will come next weekend...

I'm going to take this opportunity to take Sylvie to

a star hotel, it's been a long time since we did that...

The world is turned upside down, she has already forgiven me...

I have to go back...

I remind you, I kiss you...

Me too...

It's the same with Mathieu's look, he says everything...

On this whole part we did what we called with Magali...

The director of photography for perpetual tracking shots...

That is to say that the camera from the

moment it begins to move forward, She won't stop...

It's like destiny being cast, that we cannot stop, against which we

cannot fight... This irremediable movement that we cannot stop...

And these are the tracking shots on which we didn't

even think about the camera angle, they were going straight...

We positioned the camera and moved it straight forward, always at the same pace.

..

And we immediately put them on this music...

That was really your first intention Olive...

I think that from the very beginning, it didn't move...

The music remained, we were lucky enough to be able to see it...

And even the length of the shots, the wedging, it didn't move...

I said it for several sequences, It's true...

But we really put this one together very, very early on...

Almost during our first editing session, or the second at the very beginning...

And it was important for me to know this ending, to have this ending...

To better mount everything that was there before...

A Ségur 86 calon please... Well sir... We're doing something...

It's true that when we started working on it...

And we saw how it worked with this song by John Bayes...

We were both galvanized, and at the same time a little terrified...

That is to say, I hope that it will enter our economy...

And that we can afford it, because...

It's so extraordinary, this song... It's the voice of angels...

And we were terrified too, Michel, to show you this extract...

Me, every time, I thought of you, going up this passage...

Seeing it again ten years ago... Dozens and dozens of times...

And I said to myself, but... We can't show him that, emotionally...

It's going to be much, much too strong, for him...

And it's so present to me...

His wife's narration, for this scene...

But it's true that it's one of the... It's She who...

Who told me...

This is one of the moments when we often talked, that is to say...

Saying to Olivier, both in editing, but...

What will it be like the day you show this to Michel?

It's hard... It's hard, because I know he...

He's going to leave...

Good evening...

Good evening...

Good evening...

Good evening...

Good evening...

There, I love this moment, because I have The impression that

Matthieu has already disappeared, and at the same time as he

returns, there is this moment, a little suspended, on the door...

You can't keep someone who wants to leave

forever, but even less so someone like Patrice.

He had planned everything down to the smallest detail... I have often thought about this...

Until his letter that I received in the morning...

This morning when you went to work at the oyster farm, this

morning like all the others and this evening, you never came back.

You were already with your mother and you boarded.

I've often thought about that moment when you left the cabin without knowing it.

Without knowing that we would never come back.

Obviously, it was a strong moment for us on set with Yvan because...

and without knowing that he would regret that all his life he would have been marked by that.

Even when we were both at Canada.

He even wrote down the password to open his computer.

So that I could access everything he had carefully prepared.

For you to live, I have to go.

It's true that everything was ready, he did everything and...

He gave me the strength to be here today 'today.

He convinced himself that by leaving he was going to free me.

That he was going to take away the part that contained our suffering.

I still wanted us to be in a setting that wasn't too sad.

Which is also in kind.

Whether it is consistent with...

with you.

I wanted a cemetery that was...

with rare people, with nature.

I haven't said anything in 30 years of marriage.

It only took three weeks after his death for everything to come out.

So that everything comes out and a second life can begin.

What did I like about working this...

that part with...

all these memories, even if emotionally it was...

it was hard, but there was... finding these plans of the children.

These memories with this music that rises until it explodes.

It's a... it's strong for us to work on all this.

How intense children are in their looks.

Trained.

Mixed in with all these moments of grace.

Which we were never able to find.

And that I know I will never find again.

He left with all this violence.

To leave us only the happiness we had being together.

He gave me the gift of taking away our rage... against human nature.

I love this look of Ferrand on the fire.

Music.

Music Music Music Music Music Music.

The 4 there, they were really fantastic.

They were absolutely incredible generous.

This piece is magnificent.

So this is, I think, one of the most beautiful houses I have seen in my life.

She is...

built from Canadian wood.

With imported Canadian barn wood.

Exactly.

And it was absolutely a favorite...

It is magnificent in the middle of the forest.

She is incredible.

And it was very important for me to finish the film to be...

that if the character agrees to find the...

civilized life somewhere.

Whether in...

But above all... A marriage like this between nature and the House.

With the forest next to it.

So there are plenty of people who are convinced

that you are the architect but you see... Yes.

We can deny it.

Or that it's your House.

There is no problem.

Or that this is my House.

No, it's not my house.

If one day you want to build it for me... It doesn't matter.

I'm not saying no.

What do you think?

Is it there?

I know you could do it.

It's there.

But I also found a... It's there for me.

Yeah.

It's there.

It's there.

Where I have my Olivier cabin.

Yeah.

Where I redid my cabin.

And that last look from Alzo.

And from Yvan who we feel soothed.

Yeah.

Michael.

Gorgeous.

Yeah.

There Yvan has a... He is trained.

That's... He has absolute fullness.

A beautiful scene.

Yeah.

We obviously asked a lot of questions about

these last boxes, what we call the boxes, the texts.

Because obviously there are quite a few.

There are quite a few.

And at the same time there are so many...

We leave so many questions unanswered about you, about your mother,

on everything that may have happened around your life that we have...

Finally we decided to leave everything.

And this photo that was in front of us in montage, all the time, from the beginning.

The photo of you, little one.

It was necessary...

This had to be written.

And there... We will find Clint Eastwood.

How beautiful you look in that.

I confirm.

What a presence.

For us it was important to finish there -above.

This is so important.

To end on this whole subject of lost

children who have also been forgotten by history.

And really it was... It was really an important subject for us.

And an extraordinary discovery for thousands of people.

Who saw the film?

And who were...

Got up to come see us and tell us...

How come we forgot that?

How come we could... Let us not talk about that.

Of all these children.

And unfortunately...

The news is that today we are still in it.

It was really...

It was really...

A great opportunity to shed some light on this part of our history.

That we forgot.

And that concerns people... Some still alive in fact.

Like you.

Who have built lives on...

On this oversight.

We end on...

On the arrangements...

This is the music that we composed with...

The arrangements of...

In my opinion, Sylvain Goldberg and his team.

It was also very, very nice to do this together.

There are people.

I would like to take this opportunity to thank them for 'elsewhere.

Because I really was lucky to have a team who

knew how to completely talk about this story.

And without them, the film wouldn't be what it was. 'he became.

So thank you everyone.

And I thank Olivier for making me get this story out of myself.

Which I would never have told.

That I never would have thought... One day leaving with.

And today...

She brought so much to all these people...

Which we were able to meet in all the premieres.

And now who has seen this movie.

That...

I think I did well.

I thank you for entrusting me with your treasure.

Well, thank you both.

We're going to leave the people to the music.

THANKS.

Thank you.