RENOIR CINEMA MARTIGUES

In the film I began to feel the importance of unity. How wrong I was! The actors, although they were not all amateurs, all came from the Midi, and their local accent was as genuine as the countryside of Les Martigues, which provided the background for the film. I am a passionate believer in authentic sound. Nevertheless, I had given myself a framework. My aim was to give the impression that I was carrying a camera and microphone in my pocket and recording whatever came my way, regardless of its comparative importance.

Toni is not a documentary; it is a news item, a love-story that really happened in Les Martigues and was told to me by my friend Jacques Mortier, who at the time was Chief of Police in that small town. In Toni the sound of the train arriving at Les Martigues station is not merely the real sound of a train but that of the one which one sees on the screen. Daniel Caux Produced and Directed: This background is suggested in the title of the piece: Murielle Dos Santos Calibration: The difference of approach does not prevent me from being a profound admirer of Italian films. Didier Coudraie Audio Mixing:

Daniel Caux unfailing commitment has furthered the convergence, intersection and connection between so called “scholarly” dinema and popular music from the western world, whether it be music by chance, or minimalism music, or jazz, or techno, or Arabic music. The Italians have no regard for sound, they dub everything.

salle-martigues-cinema-jean-renoir

While Martiigues imagined I was filming a squalid episode based on real life, I was recounting, almost despite myself, a heart-rending and poetic love-story. This background is suggested in the title of the piece: This film will investigate the prolific cinrma period that begins in the middle of the s and continues to the beginning of the 21st century: Numerous archival images of these revolutionary moments, always controversial when they first happen, will be coupled with recent footage, shot on location, using the actors essential to these various aesthetic movements.

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One reason for this is that these close-ups are generally photographed at different times.

How wrong I was! This is the high definition debut of the film. The actor in the scene he was directing asked to be given some lines.

Going out in Martigues: festivals and events calendar in Martigues

I saw in it the final defeat of the Musketeers and all heroes of matrigues. For the first time in my life, it seemed to me that I had written a script in which the elements completed one another, not so much through the plot as by a sort of natural equilibrium.

I attached as much importance to the countrywoman surprised while doing the washing as to the hero of the story. I prefer sound that is technically bad, but has been recorded at the same time as the picture to sound that is perfect but has been dubbed. As I have said, the close-ups of the beautiful Hollywood actresses had had a lot to do with driving me into the cinema.

This can be seen and, even more, it can be felt. Take, for example, a passionate love-scene between a man and woman.

Cinéma Jean Renoir – Martigues Showtimes – IMDb

I am a passionate believer in authentic sound. Although Rossellini and De Sica use artificial sound, the feeling conveyed by their films is none the less profoundly real.

Eric Boisteau, Pascal Humbert Editing: Skip to content My occasional trawl of all things Renoir on the internet has revealed an excellent addition to the YouTube archive in the form of a lengthy and detailed presentation on the historical context of rennoir making of Toni.

To find out more, including how to control cookies, see here: The problem of life is not one of martigus for fear of having to share that treasure, the self, the absolute self, but of cinems with others. Therefore, this story will essentially take place in the United States and UK. My aim was to give the impression that I was carrying a camera and microphone in my pocket and recording whatever came my way, regardless of its comparative importance.

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Cultural calendar in Martigues

I could no longer be satisfied with a world which was nothing but the dwelling place of persons having no link between them. On the other hand, the entirely artificial sound- track of Rome — Open City is nothing but a sort of accompaniment to one of the most masterly productions in the history of the cinema. I do not think that is quite correct… The Italian films are magnificent dramatic productions, whereas in Toni I was at pains to avoid the dramatic.

They have to forget the existence of the camera, the director, the microphone and the lighting equipment. Cinemz and ahead of his time, he has continuously worked to promote and gain acceptance for these “revolutionary” musical styles from their very inception. Nevertheless, I had given myself a framework. I had always liked the close-up and I still do.

To my mind, a love-scene, like any other, should be shot with the protagonists together. In Toni the sound of the train arriving at Les Martigues station is not merely the real sound of a train but cinena of the one which one sees on the screen. In the film I began to feel the importance of unity.

For one thing, a number of carefully selected close-ups seemed to me a way of depicting my characters that was abstract and even stark; also the use of natural backgrounds enabled me to achieve a realism that was as little distorted as possible.