First of all, I must mention that it is premir this evening. How do you feel?
I am somewhere between total exaltation and abject terror. It changes every minute for me. I am really excited to do it to do it and see it with a very general public, in particular this audience, because it is the coolest festival, I think, in the world. I love the public here. I lived here a long time ago.
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Oh, do you have?
I did it. So I have been part of this community of cinema for a long time, so I am delighted to be back here. So yes, a lot of feelings. It’s very moving to me.
Well, I think that thing, I don’t know if you get enough credit for this in recent years –
No. [laughs]
[laughs] Good answer. It is difficult to have original stuff made, especially now, and you have managed to get original stuff through the finish line. How difficult is it with a film like this, especially at the moment, post-Pandemic, Post-Frapped?
It’s more difficult than ever, yes. I am very sad that, at a very difficult moment, everyone has panicked and has done things that have changed the behavior of public members, and I think that many ways irreversibly.
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Agreed.
It is therefore a disappointment, but I think people warmly warm up at the idea of: “We cannot have beautiful things if you don’t take care of them.” I think people always appreciate the experience of going to a film, and it is the perfect film for an audience. It is such a fun and common experience to live. I hope people will present themselves.
I think we have two incredible stars that are increasing. I think that, help. I think we have a really clean and exciting premise that helps and a certain relatability since we are all chained to these things [holds up his phone]. More than anything, I think word-of-mouth is always the best weapon you can have. I pray for people to love the film and talk about the film. Especially after this evening.
Look at Brandon, who was in “It ends with us” last year. How much was you stoked when it happened? You say to yourself: “He’s in my film!”
It was both incredible, then became something terrifying. [laughs] It’s so funny, because I knew the film because he had just finished filming it when I threw it, but I knew nothing about this film. It is not my wheelhouse. So he got out of the left field for me, and I think that for many people, the success of this one. But it was definitely a blessing.
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You have worked a lot with Blumhouse. You worked with Blumhouse years ago and you worked with Blumhouse now. I think Blumhouse had to change because the company has changed. Before, Jason Blum was like: “Here are $ 5 million, go make your film.” I do not know if Blumhouse has enough credit to be a provider of the original cinema, but how much did it change work for them over the years? Where is it?
I think their mission has maintained. I think they always strive to do original stuff and like to take risks. They are the only risk takers, I think, to be honest. Unless you talk about deep and deep pockets of a few places like Amazon or Netflix, whether they take certain risks. I don’t know what they are. These are algorithmic risks. I don’t know.
Of course.
But I think what [Blumhouse has] I have really been able to maintain and protect, these are the original films, and also the protection of filmmakers and their vision. It is always the best and the best reason to go to work with them, and that is why I continue to come back again and again, because you just have freedom. You have autonomy, they don’t bother you, they don’t tell you what to do. It’s very collaborative and it’s your film, for better or for worse. I think it’s a good thing to get when most things are done by the committee now.
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